Le Paradis

le paradis

Track Listings

1. Parking

2. Winter in Paris

3. Samba de Meu Coracaon

4. Paradis

5. 6: 30 Am

6. My Time Is Short

7. One on One

8. Eclipse

9. Schut

10. Easy Smoky Way

11. 303 Returns

12. Indian Vibes

Le Paradis,Red Room,Solitude / Mri,Pop,Rock,Rock/Pop

Le Paradis

Carreras · Domingo · Pavarotti ~ the three tenors in concert / Mehta

Average customer rating:

delivery went ok
A knockout performance
The night that started it all!
Great singing from the three tenors
Excellent. Like summer sunshine. manna from heaven!

Carreras · Domingo · Pavarotti ~ the three tenors in concert / Mehta
Francesco Cilea , Giacomo Meyerbeer , Giacomo Puccini , Franz Lehar , Vencenzo De Crescenzo , Salvatore Cardillo , Ernesto de Curtis , Agustin Lara , Pablo Sorozabal , Umberto Giordano , Leonard Bernstein , Vincenzo d' Annibale , Anonymous , Andrew Lloyd Webber , Alexander Sergeyevich Dargomizhsky , Juan De Dios Filiberto , Louis Louiguy , Ruggiero Leoncavallo , Rudolf Sieczynski , Joseph M. Lacalle , Eduardo di Capua , Zubin Mehta , Plácido Domingo , Luciano Pavarotti , and José Carreras
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Similar Items:

The 3 Tenors in Concert 1994
The Best of the Three Tenors
Three Tenors: In Concert
The Three Tenors Christmas
Romantica: The Very Best Of Luciano Pavarotti

ASIN: B0000041XX
Release Date: 1990-09-05

Tracks:

Il Lamento Di Federico
O Paradis
Recondita Armonia - Luciano Pavarotti
Dein ist Mein Ganzes Herz
Rondine Al Nido - Luciano Pavarotti
Core 'ngrato
Torna A Surriento - Luciano Pavarotti
Granada
No Puede Ser
L'impovviso
E Lucevan Le Stelle
Nessun Dorma
Finale Medley: Maria - Tonight, 'O paese d' 'o sole, Cielito lINDO
Memory, Ochi tchorniye, Caminito
Mattinata ; Wien, Wien, Nur Du Allein, Amapola, 'O sole mio
Encore: 'O sole mio
Encore: Nessun Dorma

Amazon.com

Magic was created one starlit night in July 1990, when Luciano Pavarotti, Placido Domingo and José Carreras met onstage at the Baths of Caracalla in Rome and became the Three Tenors. They eschewed competitive instincts and cooperated in the spirit of mutual admiration to create one of the greatest musical events ever. This concert is an awe-inspiring orgy of the greatest hits for the tenor voice. Domingo and Pavarotti sing perfectly. The audience wins as these vocal supermen compete to seduce the hearts of the audience. One moment Domingo brings thrilling fire and pain to "E lucevan le stelle" from Tosca; the next, Pavarotti rises to heavenly heights in an inspired rendition of "Nessun dorma" from Turandot. Carreras is the competent little brother, one step behind the greatness of the big brothers from opera's Ponderosa. His singing isn't as captivating as that of the big boys; but his enthusiasm and passion are unrivaled. Mehta exquisitely captures the largeness of this bonanza through the grandiose orchestra. --Barbara Eisner Bayer

Customer Reviews:

delivery went ok.......2006-11-14

the item was delivered to me on-time and with no problems. however,i was looking for a DVD and not a audio Cd. might be good to clearly differentiate when the product is being advertised or shown.

A knockout performance .......2006-05-28

Like so many of the reviewers here I am not an opera aficionado. But I sensed immediately the night I saw this concert on television that this was one of those 'remarkable' artistic events. Domingo and Pavarotti both have such strength and beauty in their voices that they overwhelm. Carreras adds flavor and enthusiasm.
One of the most remarkable music performances I have seen.

The night that started it all!.......2005-11-02

You can read the technical information about the contents of this CD above. That is not what this review is about. I became intrested in opera about 1 1/2 years ago because of happening upon Mario Lanza. Since then, I have experienced many great truly operatic voices, including the "King," Pavarotti.
If you are just discovering opera, suffice it to say; Buy this album!!! It was the concert that launched the 3 Tenors phenomenon. It is full of uplifting, heart- tugging favorites, and you will find yourself listening to it over and over. Buy the dvd as well. It imparts absolute electricity! I am a young pianist and vocalist, and this concert is truly inspiring to me! You won't regret one penny you spend on this!

Great singing from the three tenors.......2005-06-23

This cd is a must-have for anyone interested in opera - or beautiful singing. And when you're at it - why don't buy the dvd from the concert? It will make you appreciate the cd even more.

First of all I have to comment on the editorial review of this cd. I felt the reviewer is "belittling" José Carreras here by saying he's one step behind the big brothers and his singing isn't as captivating as that of the big boys.....?!?!? Of course I can only speak for myself, but I feel she's way out of line. And I'm starting to wonder if she's been listening to the cd at all? In my opinion you have to be dead not to be touched by his rendition of "Lamento di Federico" and "L'improvviso". If anybody can deliver a line it has to be Carreras. When it comes to his interpretation of "Granada" even conductor Zubin Mehta was gobsmacked. Watching the dvd you can see him putting down his baton and applauding. He even steps down from his podium to hug José.

I have to say I'm not too keen on the two other tenors, although I have to admit I loved Pavarotti's "Torna a Surriento" and "Rondine al nido". The thing about Pavarotti is that he has a great singing technique and he's also in possession of this "push-button" which make him sing a lot of high notes, but that alone isn't enough to stir emotion.

As for Domingo, even if he's giving it all in every song, and his "No puede ser" was great,I think he's a bit too much on the nasal side. He's okay when they all perform together, but his "E lucevan le stelle" is sending shivers down my spine - and not of delight. I'm practically unable to sit still and listen to his solos. If you really want "fire and pain" you should check out Carreras in the Tosca-recording from -80, or his recording from -76. It's really breathtaking and I promise you'll end up in tears!

At the end of this concert the three tenors perform a medley together. Their voices blend perfectly and it's powerful to listen to them giving it all. A lot of people are talking about their mis-pronounciations. I for one, think it only adds to the charm of the performers. Pavarotti has some problems with the English songs (okay, big problems..), Domingo stumbles in the words in the beginning of "Wien Wien nur du allein", and (this you'll see in the dvd) in the same song Carreras is actually reading the text from a piece of paper as he's singing and his facial expressions when getting his head around the German words are really hilarious. O sole mio as an encore is fabulous when Pavarotti pushes his button and shakes out all his high notes.... And I love it when the two other join forces and repeat his stunt to perfection.

All in all this is a wonderful album. And well worth 5 stars.... José alone gets 10 stars!!!

Excellent. Like summer sunshine. manna from heaven!.......2004-05-28

This CD is terrific on so many levels. In celebration of one of the world's great sporting events - the World Cup of football (soccer to us stateside), three great tenors and one masterful conductor (Zubin Mehta) were brought together in one of the world's great cities - Rome -- for a special evening that we are blessed to have been able to listen to again and again.

The concert was held during the World Cup in 1990 at the Baths of Caracella, which are ruins of the once great Roman baths. In this beautiful setting Luiciano Pavrotti, Jose Carreas and Placido Domingo came together for one of the best CD's ever made.

The singing is exquisite. The passion of the crowd in this live performance should equal the reaction of the listener. This is art at its highest level. It is a celebration of great music, not just of opera, but in my opinion, the soaring human spirit. What power to move the soul! You don't need to be an opera fan to enjoy this music. If you like any kind of music, you cannot help but be affected by the power of this special evening. And what an evening, those in attendance were lucky to have been there!!

The casual listener will already know some of these arias, as they are from some the great operas of all time. However, I believe even the most hardenend opera fan, unless he or she is a real stiff, cannot be helped to be but moved by this music.

Tracks:

Ill Mio Tesoro
Un'aura Amorosa
Dies Bildnis Ist Bezaubernd Schon
La Ci Darem La Mano
Vani Sono I Lamenti...Svegliatevi Nel Core
Pays Merveilleux...O Paradis
Quel Trouble Inconnu Me Penetre...Salut ! Demeure Chaste Et Pure (Faust, Act III)
Ah! Tout Est Bien Fini... O Souverain, O Juge, O Pere (Le Cid, Act III)
None But The Lonley Heart
Lensky's Aria
Donna, Non Vidi Mai (Manon Lescauy Act, II)
Ah, Manon, Mi Tradisce
Dammi I Colori...Recondita Armonia
E Lucevan Le Stelle (Tosca, Act III)
Ch'ella Mi Creda (La Fanciulla Del West, Act III)
Dai Campi, Dai Prati (Mefistofele, Act I)
Virgini Muse...Quando Al Soave Anelito
O Sink Hernieder, Nacht Der Liebe
Was Am Besten Er Kann...Hoho! Hohei!

Tracks:

Se Quel Guerrier Io Fossi!...Celeste Aida
Su, Profetessa...Di Tu Se Fedele
Forse La Soglia Attinse...Ma Se M'e Forza Perderti
O Tu Che In Seno Agli Angeli
Su, Cacciator...Fontainebleau!...
Niun Mi Tema
Ach, Wie So Herrlich Zu Schau'n
Sckenkt Man Sich Rosen In Tirol
Gern Hab'ich Die Frau'n Gekusst
O Vaterland...Da Geh'ich Zu Maxim
Dein Ist Mein Ganzes Herz
Mi Aldea
Cancion Del Sembrador
No Puede Ser
Serenata
Copillas De Belen
Coplas Del Pastor Enamorado
En Aranjues Con Tu Amor
Jealousy Tango
La Golondina

Amazon.com

Placido Domingo is a phenomenon, and every aspect of his artistry is on display in this 2-CD compilation, which includes arias from his signature roles in Italian, French, German, and Russian operas, and songs from Viennese and Spanish operettas. The original recordings range from the early 1970s to the present and show that though over the years his bright golden voice has taken on a darker, more burnished glow, it has retained the melting lyricism, the heroic ring, the thrilling top notes, and the focused intensity that make it instantly recognizable. (Comparing the Verdi arias included here with their counterparts of later vintage in the all-Verdi set The Tenor Arias bears this out.) The program demonstrates his stylistic and expressive versatility and his ability to instantly establish character and mood, from Lenski's sorrow (in Eugene Onegin), Cavaradossi's heart-rending despair (in Tosca), Otello's shattering agony, to Tristan's passion, Siegfried's exuberance, Faust's ardor (first in French by Gounod, then in Italian by Boito). In three Mozart arias, Domingo spins endless, perfectly shaped phrases with incredible breath control, then adds an oddity: the famous duet between Zerlina and Don Giovanni, a role he has not performed. Five Viennese operetta songs, one of which he also conducts, are delightful; there is a smile of pleasure in his voice, but not a hint of kitsch. By contrast, Tchaikovsky's "None but the Lonely Heart" is spoiled by an orchestration that is pure Hollywood. In the final Spanish group, he is on home ground and incomparable. This is a glorious record, a must for all lovers of great singing. --Edith Eisler

Customer Reviews:

A great introduction to the art of Placido Domingo.......2007-07-04

Placido Domingo, of course, is one of the finest tenors of the latter part of the 20th century. This 2 CD set well captures his talent, showing the range of his singing. We hear cuts from Puccini and Verdi to Tchaikovsky and Wagner to Strauss and Handel. And even a traditional Spanish sung and some operetta thrown in for good measure!

This is a wonderful introduction to his artistry, and shows that he can sing well across a variety of styles and eras. Let's sample some cuts:

"Il mio Tesoro" (from Mozart's Don Giovanni) is a difficult aria to sing well. And Domingo is up to the challenge. He displays a smooth and rich voice. His is one of those distinctive tenor voices, like Tucker's or Pavarotti's, that is quickly recognizable. This is, as noted, a challenging piece and Domingo handles it well, showing off considerable vocal agility in the process.

From the same opera, "La ci darem la mano," a sweet duet with, in this instance, soprano Susan Graham. This seductive work is sung well by both parties and is a ravishing version.

From Puccini's "Tosca," "Recondita armonia." At the close, his voice rises above orchestra and chorus. Overall, well and richly sung.

And now for something very different. . . The "Forging Scene" from Siegfried. One may not think of Domingo as a heldentenor, but he does a serviceable job here. His voice sometimes appears a bit light, but, overall, he does estimable work. He catches Siegfried's spirit as he forges the shattered remains of his father's sword, "Nothung." When he sings the name of his sword at the close, with the leitmotif ringing out from the orchestra, it is an affecting moment.

Then, "Celeste Aida" (from Verdi's opera). A stentorian voice well deployed to meet the challenges of this wonderful aria. Some tenors scoop as they move from those lower to the higher notes; Domingo's voice is well controlled here. The final high note is well hit.

Strauss (Junior's) "Ach, wie so herrlich zu schau'n" is a romp! A fun piece and well sung by Domingo. He demonstrates, as before, excellent vocal agility.

Lehar's "O Vaterland" is also fun. It is a sprightly tune sprightly sung.

Finally, he ends the second CD with a traditional Spanish tune--"La Golondrina." He does not overpower this work with operatic technique. He sings it well and affectingly.

So, all in all, if one wants a good introduction to Placido Domingo's vocal oeuvre, this is a very strong starting point.

This is really the best........2007-05-16

I have many of Mr. Domingo's recordings but I really love this one. He seems to get better with age. Some of the songs are on some of my other recordings but they seem new and fresh on this CD. I really think this is the best of Placido Domingo.

If you like Placido at all, you must have this CD........2005-04-06

Placido Domingo has been around for so long, it is easy to take this great artist for granted. I totally agree with the previous reviews of this album; I can also say that I had the opportunity to hear him live in concert on April 2, 2005 in Biloxi, Mississippi, and his voice is still stunning. His opening aria that night was the prayer from El Cid, "O Souverain," which he dedicated to the memory of Pope John Paul II. This piece is the 8th selection on CD 1, and is from a 1997 live recording. His thrilling finish blew me away when I listened to it the first time, and and the crowd on the recording reacts the same way the Mississippi audience did when we heard him. That aria alone is worth the price of this CD set.

Rare And Great Domingo Classics.......2005-03-08

EMI's "The Very Best Of" series is a wonderful way for the opera lover/novice or even connoisseur in training to get acquainted with the great singers of opera in the 20th century. It is possible that in a few years, the great singers of today (from the 90's up to now and further into the future) will grace the album covers of The Very Best Of...The Very Best Of Renee Fleming, The Very Best Of Salvatore Licitra, etc. This is not exactly the best of Domingo. It is more of a collection of rare and wonderfully expressive arias from operas that range all over the map- Mozart, Verdi, Puccini, Wagner, Meyerbeer, Gounod, Massenet. Now, here's the reason why so many people adore Domingo, myself included - Domingo is a Renaissance Opera Tenor. He has sung almost every tenor role in the opera universe. Even if he is, to some, the "tenor who sang with Pavoratti in the three tenors" he proves he's the strongest of the bunch, the most dedicated, the most prolific and most artistic. Domingo has a beautiful voice, with secure high register and dark, masculine middle chest voice and exciting dramatic electricity! He's sung more than 50 operas, in addition operetta and Spanish Zarzuela (the Spanish equivalent to musicals or operetta which is where he got started and his parents sung in Zarzuela) and he has also recorded Spanish mainstream love songs for Latin audiences. A winner of Grammies, an actor in movies about operas that he starred in (Tosca, La Traviata, Otello) and the most active tenor on tv broadcasts, he is just incredible and powerful.
He is a great force in opera.

Even in his old age, he does'nt seem to be slowing down or call it quits. Recent performances (2000-2005) include Eugene Onegin, the lead in Queen of Spades, Rasputin in Debra Dratell's Nicolas and Alexandra, Idomeneo and his next role Parsifal. He is the singular tenor who mastered every repertoire- Mozart (Don Ottavio, Tamino...unfortunately Domingo as Don Giovanni is a miscast because he is too noble and romantic and GOOD to be a bad guy)..to Puccini heros (Mario Cavaradossi in Tosca, Dick Johnson in Fanciualla Del West, Rodolfo in Boheme, Pinkerton in Madame Butterfly, Calaf in Turandot) Verdi heroes (Radames in Aida, Don Carlos, Stiffelio, etc) to the French repertoire...Gounod (Faust, Romeo) Meyerbeer heroes, Massenet hero (Des Grieux, Le Cid) and Saint Saens (Samson) the list goes on and on. When this man dies, an era will die with him. His legend will live on because he will leave behind dozens of albums, movies and memories......

A real Bobby Dazzler.......2004-02-19

Fans of Mr. Domingo would be lucky to find a selection of music that more profoundly explores and exhibits the diversity of his vocal ability and interpretation than is offered on these two discs. Delicious displays of Mozart, ringing renditions of the most challenging high Italian roles, powerfully rounded accounts of some of the heavy German/Russian repetoir, and some noticably nostalgic songs from the light Spannish tradition provide an impressive catalogue of the great man's rich, focussed, technically impecable and singularly beguiling vocal talent. Those who are yet to form an opinion on any particular genre of the operatic spectrum would do well to start here, so eclectic is this album. Also, you might be reassured to know that, should you become an admirer of P.D.'s talent as a result of listening to this compilation, (it is difficult to resist), you will have no trouble finding other recordings by him. A record-breaker with more than 110 roles to his repetoir (40 is a respected total for an opera singer), he is the most recorded tenor in history, leaving more than 80 complete accounts to date of operas in the Italian, French, German and Russian traditions.

Rolando Villazon - Gounod · Massenet Arias

Average customer rating:

the way teens are to Britney or Madonna....
Villazon finds his niche...go French
Bad diction, engineering gimmicks besot otherwise noble effort
Bean sings?
A fine romantic interpreter

Rolando Villazon - Gounod · Massenet Arias
Rolando Villazon , Natalie Dessay , and Evelino Pido
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music
Similar Items:

Italian Opera Arias
Rolando Villazon: Opera Recital
Opera Recital [Includes Bonus DVD]
Verdi: La Traviata
Russian Album

ASIN: B0006IQM5I
Release Date: 2005-01-25

Tracks:

Ah! Tout Est Bien Fini... O Souverain
Enfin, Manon... En Fermant Les Yeux
Oui, Ce Qu'elle M'ordonne... Lorsque L'enfant Revient
L'amour! L'amour!... Ah! Leve-toi, Soleil
Source Dcieuse
Faiblesse De La Race Humaine!... Inspirez-moi, Race Divine
Voix Qui Me Remplissez D'une Ineffable Ivresse
Je Suis L'oiseau
Traduire... Pourquoi Me Riller
Anges Du Paradis
Salut, Tombeau
Salut, Demeure Chaste Et Pure
Je Suis Seul!... Ah! Fuyez, Douce Image
Je Vais La Voir!
Ah! Parais!

Amazon.com

Rolando Villazon's follow-up CD to his sensational debut recital of Italian arias is devoted to music by Gounod and Massenet: some as familiar as Faust's, Romeo's and Des Grieux's arias, some as rare as pieces from Gounod's Polyeucte and La Reine de Saba and Massenet's Roma and Le Mage. But almost more important than the interesting repertoire, familiar or otherwise, is Villazon's handling of the music. In Werther's passionate Act II outburst to God about suicide, which is almost never excerpted, Villazon manages, in four minutes, to create a complete character, with all his neuroses, mania, and desperation--and he caps it with a ringing high B natural which is as beautiful as it is heartfelt. He sings both of Des Grieux's arias with feeling and tenderness (aided in "Le reve" by Natalie Dessay!). An aria from La Reine de Saba turns out to bequite a showpiece, with a drop-dead high C at its close. As singing and as interpreting, this CD is a must-have. Villazon's dark-hued, expressive tone is always used in the service of the music, and following his career will be a joy for all lovers of great tenorizing. --Robert Levine

Customer Reviews:

the way teens are to Britney or Madonna...........2007-01-04

Villazon brings out the teenybopper in me. I could wear the grooves out!~just as I did with my early heros at 12 and 13 years of age. Seriously, his sound, phrasing and timbre are transcendent and ethereal. May the music never end.

Villazon finds his niche...go French.......2006-02-25

Rather than beefing up his voice for the big (money-paying) Italian roles that are one size too large for him, Rolando Villazon naturally excels in these roles from Gounod and Massenet. The narrow French vowels add a needed edge and vibrancy to his voice, the placement of the music in the head tones brings out Villazon's best timbre, and he seems temperamentally suited to refined heros. In fact, it's remarkable to hear the transformaiton here when comparing him in the recent DG La Traviata, where his Alfredo was convincing but hard work. French opera is rhtorical and poetic rather than visceral and passionate. I think Villazon fits that mold, as nearly eery aria here domonstrates.

Bad diction, engineering gimmicks besot otherwise noble effort.......2006-02-02

A tenor very quickly on the rise, this is Villazon's second recital disc, one devoted to arias by Gounod and Massenet, all in sets of three, three for Massenet, and two for Gounod. While still showing great promise, some concerns that were mildly serious with the first disc are even more so, in the French repertoire, in part because diction comes up so short here.

"O souverain" from Le Cid continues to show Villazon's command of line and squeezed but adequately forceful upper register, so that the volume boosts from the control room are really unnecessary. Diction here is already an issue, as many `u' vowels get dipthonged, especially when Villazon's sound is placed back for added weight and volume. `La reve' from Massenet's Manon is comfortably floated, with support from Natalie Dessay as Manon enhancing the intimacy of feeling to this number. Would Villazon been able to sing the short aria by Alain (who appears to the heroine at first to perhaps be little more than an apparition - shades of Frau ohne schatten perhaps? - in almost a chamber opera), from Massenet's Griselidis (track 8), at least as softly and lightly, as both the music and dramatic situation require, this could have also been very successful. He instead turns the ABA shape of this mere chanson inside out and makes a wreck of it.

The less often excerpted "Lorsque enfant" from Werther closes out the first Massenet set, as does "Pourquoi me reveiller" the second. Villazon's identification with the distraught main character of this opera is abundantly clear in both. He capitalizes well on the quixotic emotions and dreamy tendencies of the distraught main character especially well in the first selection, and he is also less intruded upon by the producers or sound engineers there as well.

It is quite curious how the control room follows the tenor up a crescendo on a line that closes out the first section of the excerpt here from Massenet's Roi de Lahore, featuring a hero (from Hindu myth) that bound to certain stipulations, has literally returned from the dead. Not quite as ostentatious as Massenet's near remake of Lohengrin, Esclarmonde (but with female protagonist instead), it is one of Massenet's most colorful scores. It has only been recorded complete once commercially, with Joan Sutherland, Luis Lima, and appearing only ten minutes apart, James Morris, and for the part of General unfortunately eliminated from this scene here, John Tomlinson, along with one other cut to Villazon's part. It would've been more valuable to have all this complete instead of one or two other arias. He captures the incipiently worried tone of Alim well, but his coloring up the vowel sounds makes it seem that he has come from a place as remote from French culture as where the opera takes place.

Most successful of the Gounod selections are two of the three rarities. The first is Source delicieuse from Polyeucte, based on the Corneille play. It opens very well with a minute of orchestral cortege. It perhaps has only been recorded once before and well, by Roberto Alagna ten years ago; Villazon conveys the heroism of the piece somewhat well, if not as securely as Alagna. Anges du paradis from Mireille (which Mirella Freni championed and recorded complete for EMI), is third, perhaps a study for Ah leve toi, soleil (Romeo), several years down the road. The second Gounod rarity on this disc is "Inspirez-moi, race divine," said to be a Caruso favorite, from Reine de Saba. Its text indicates King Solomon's prize hired builder, Adoniram, to be a very confident, if mildly haughty chap. Villazon's interpretation seems to portray a hero that constantly has to look behind his back, with all the incipiently yet controllably vibrato ridden throb and backphrasing Villazon engages in here. The high C at the end, however, is convincing. Such device as in the above, also accents and colors most phrasing in the tomb scene from Romeo et Juliette.

"Ah! leve toi soleil" opens the first Gounod set, and is sung with the right ardor, conventionally marked by tiny captured scoops, coming off phrases. Villazon's entrance and two later lines catch for having placed so far back in the throat, and intonation gets momentarily derailed. "Salut, demeure" from Gounod's Faust quickly becomes expressively leaden and monochrome.

Recitative and the beginning of the aria, "Ah! fuyez" from Manon begin well nuanced enough, and for the aria, truly softly as a change from so much else on this disc, but all-purpose bench pressing and volume boosts intrude before long. That leaves two truly atmospheric selections from two Massenet rarities, to close this recital - first, an aria from Roma, Massenet's swan song for the lyric theater and "Ah! parais" from Le Mage, opera with plot line similar to that of Verdi's Aida, following. The melody, introduced by the cellos at the outset for the latter, somewhat takes after "Pays merveilleux" from Meyerbeer's Africaine, but in more voluptuous color, such as in Thais, and Villazon and Pido both capitalize well on its opulence. Pido's work, on numerous other numbers on this disc, seems heavy, lumbering, cloying, or just simply out of his idiom, so to speak.

Word has it that Villazon, while not having a big voice, is dramatically exciting on stage and probably more immediately engaged with the content of what he is singing. How this picked up a major award from Gramophone, for the specific problems this disc has, and over two more qualified nominations (Ciofi/Di Donato Handel Duets and a Florez album) is mystifying. So much digression here is over the very specific demands that French opera makes on singers. There's much reason for hope for this tenor, but this disc, for two-thirds of it, does little to help fulfill it.

Bean sings?.......2006-01-05

A friend lent me Villazon's debut album as an introduction to the man. I loved it - but this is the one I have bought. If, like me, you have tired of the comparisons between Villazon and others (esp Domingo) fear not, this artist is an original. I must confess that on seeing the cover I wondered if Brit comedian Rowan Atkinson (Mr. Bean / Black Adder - now there's a new comarison!) had strayed into the wrong studio, but a few tracks into either disc and you'll know you're listening to the real thing. True, he has baritonish notes in the lower register, and an easy reach for the upper notes but I honestly have not heard anyone quite like him before. His is a warm voice with an early maturity that should ensure he has a long career ahead of him. His diction is excellent, without the staccato enunciation or lack of French interpretation abilities that mar lesser singers' performances. Such vocal ease makes the sung word seem as natural as the spoken word is to us lesser mortals. That his song selection moves away from the 'usual suspects' of the tenor repertoire is to his great advantage; he knows what suits him and he brings each piece to new life. The overly familiar tracks of which there are thankfully few serve only to highlight through comparison to those we know Villazon's unique timbre and interpretation. This collection includes inspired music choices, incomparable renditions, marvellous orchestration and leaves the listener keenly anticipating his next release. The recording and production are impeccable (worth ***** in their category). It does not get much better than that. Atkinson may make you laugh (or not) - Villazon will make you smile and keep you feeling that way.

A fine romantic interpreter.......2005-12-20

If not quite a poet in the manner of, say, Edmond Clément, Rolando Villazón is a first rate romantic interpreter. His French is surprisingly good and he really understands how this school of writing needs to be lived and phrased, so that he doesn't summarily yell through all phrases like some "Italian" second-rater: he shades and molds the music in the elegant style of great French tenors of a bygone era: Clément, Franz, Dalmorès, Beyle, Vaguet, Scaremberg, D' Arkor, Thill...

Just like the damned record companies to give us a mere CD of Rolando Villazón's lovely art, whilst recording the above "Italian" second-rater in every complete French rôle under the sun!

Villazón's voice itself is more like a Spanish tenor's in timbre, none too pellucid, but a manly, resonant instrument of middle weight, which he never forces.

I don't know who Evelino Pido is, or how he got through school with that name, but he is a damned sight better than the much-touted Pappano (as in EMI's horrible latest Manon.) There are no metronomic run-throughs [RUIN-throughs!] on this disk.

If you adore Gounod and Massenet as I do, this CD will be very good news indeed to you.

Average customer rating:

A surprisingly low key tenor.
The Next Generation
Fantastic Recording
A glorious new tenor, Yu Qiang Dai
Staying Abreast of the Gifted Young Tenors

The Tenor's Passion

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Marcelo Álvarez - Bel Canto / Y. Huang, WNO, Rizzi
Rolando Villazon - Gounod · Massenet Arias
Salvatore Licitra - The Debut
Italian Opera Arias
Marcelo Alvarez Sings Gardel

ASIN: B00064AEDS
Release Date: 2004-10-19

Tracks:

Che Gelida Manina
Addio, Fiorito Asil
Recondita Armonia
E Lucevan Le Stelle
Donna Non Vidi Mai
Nessun Dorma
Lamento Di Federico
Amor Ti Vieta
Come Un Bel Di Di Maggio
Cielo E Mar
M'Appari
Di Rigori Armato Il Seno
A Te, O Cara
O Paradis
Vainement Ma Bien Aimee
La Fleur Que Tu M'Avais Jetee

Amazon.com

After years of wondering whether, after Dom, Pav, and Carr, there would ever be another group of fine tenors available, the question has been answered with a resounding, "Yes!" Alagna and Vargas are realizing their potential, Florez is a spectacular bel cantist, and Villazon and Calleja are up-and-coming. And Marcelo Alvarez proves again on this CD that he has arrived. The voice is a full-grown lyric, his tone is gorgeous, he has brains and sensitivity, absolutely even production, secure, ringing high notes, and a youthful but not callow approach to the music. The Lalo aria is sung sweetly, with light tone; he brings out the heroics for "Cielo e mar," "Nessun dorma," and Chenier's last act aria; "Che gelida manina" suits his voice and temperament ideally and he brings wonderment (and a fine high C) to it; Don José's Flower Song is full of longing, in good French with nicely shaded phrases. In short, there's not a disappointing note on this recital--Alvarez is a smart, feeling tenor in his prime and this CD is highly recommended. --Robert Levine

Customer Reviews:

A surprisingly low key tenor........2007-03-13

This is one of the greatest contemporary tenors around, if not the only one.
I am so surprised that so few people have reviewed this collection of very popular operatic arias for tenor by Mr. Alvarez.
Well - it may be accounted for by the fact that Mr. Alvarez is neither TOO young, nor TOO handsome. Well, he is still reasonably young, and quite good-looking. But I wonder nowadays people go for looks more than voices in operas, hence the ultra-low profile of such an outstanding artist.
The album begins with some Puccini arias. I almost thought I was listening to Jose Carreras - especially the aria in 'Madama Butterfly'. No - Mr. Alvarez's voice is even sweeter than Carreras's in certain places upon closer listening: the 'Flower Song', for instance.
This is however a lyrical tenor. I don't think Mr. Alvarez should do those spinto roles or dramatic roles, even if you tend to reason with me that some of those roles were really 'over-done' before by big voices like Franco Corelli and Mario del Monaco.
Well, it may be so, but I've heard say that Mr. Alvarez is doing Il Trovatore, and only God will know if one day he will, like Carreras before him, do Aida's Radames (I honestly hope he won't do it). Otello is definitely not his cup of tea.
I've listened, and like his Nessum more than anyone else's. His opening aria from La Boheme is also fanatastic.Yes, he should not tackle those heavy roles indiscriminately, even if dramatic tenors are a bit hard to find these days.
I think bel canto suits him well, too. And I don't think bel canto roles should be dominated by just one or two tenors - audiences should have more choices, too, and Mr. Alvarez would be another very good option.

The Next Generation.......2005-11-10

Alas, the days of Pavarotti and Dmingo have past, and as with all things under the sun, with the dusk of the old comes the dawn of the new.

This CD is an excellent harbinger of the "new" in the world of operatic tenors.
Marcello Alvarez has truly come into his own, and with his voice having reached full maturity, he is now poised to become one of the BIG names in opera.
At the onset of his career, I was not too taken with his then very light lyric voice, but he has taken great care of his instrument, and now I can say that he has become one of my favorite new tenors.

Although I prefer the more heroic tenor voices of the past i.e. Corelli, Del Monaco and Lanza, I am very impressed with each and every selection on this CD.

From "Che gelida.." to the showpiece "Nessun Dorma" there isn't one aria that he either over/or under sings. He nails it all!

This is a great new CD by a great new tenor.

Fantastic Recording.......2005-09-30

Alvarez's voice, to borrow a quote from the last century, is "liquid gold". His effortless sound on the high C near the end of che gelida manina is pure and free. The only thing I found more impressive was the high C sharp that seemingly comes from nowhere in A Te, O Cara. As a tenor and a voice teacher, I must say I am jealous of the open and free sound of his top end. What a voice! What a recording!

I know there are some purists out there who will say, "He's no Bjorling" or whomever else, but this man can sing. He gives his own interpretation to these songs, which is a pleasant change from the canned "let's do it like . . ." He doesn't try to sing it like anyone but himself.

This CD will certainly remain a part of my collection.

A glorious new tenor, Yu Qiang Dai.......2005-01-28

It was a big shock to hear Yu Qiang Dai's debut cd. He is, I think, the best lirico-spinto tenor nowadays. He has a lovely voice, which is very well produced. The center is wonderful, the lower notes are good, the high notes are shining and of fantastic quality... the singing through the passage is very well handled. He is an itelligent musical interpreter and singer, with an interesting and appealing line and sense of style. Very good dynamic changes. He offers some of the absolutely best renditions of some arias (nessun dorma and cielo e mar, for example) that I have heard in many years.

He still has to work his Italian (specially the consonants) and his French. But there were great historical tenors with bigger idiomatical problems.

Despite taking spinto repertoire, Yu never pushes, never tries to make the voice sound darker than it is, everything is always under control, and he takes the chance to give very stylish renditions (for example, of una furtiva lagrima), which is strange for tenors who "want to sing spinto".
The tenor is a fantastic discovery, one of the best ones around. Actually, all my criticism goes to EMI and the production of the CD: no choirs, no solists (for example, for the aria of Cavalleria, where the mother should sing her line), and the acoustic "atmosphere" has made some people to doubt if Yu's voice is really as big as it seems (people who saw his Cavaradossi at Covent Garden say that it is very big, actually).
Not a the best production job by the people of EMI, but five stars (ten if possible) for the singer. Simply wonderful.

Staying Abreast of the Gifted Young Tenors.......2004-11-25

THE TENOR'S PASSION may seem a contrived, Hollywoodesque title for a CD of the warhorse tenor arias from the operatic repertoire, but just wait until you experience the intelligent, understated rendering of these arias by gifted young tenor Marcelo Alvarez and you will discover what 'passion' is here.

Not all of the arias on this CD are overused: excerpts from 'Martha', 'L'Africaine", 'L'Arlesiana, and 'Le Roi d'Ys" pepper the usual suspects from Boheme, Carmen, Butterfly etc. But in many ways this programming is timely as it gives us a recorded view, at least, of just how much this voice has matured. His `Italian Tenor's Aria' from "Der Rosenkavalier" is utterly breathtaking as is De Grieux's aria from "Manon Lescaut". And hearing the sensitive phrasing and control of vocal resources in the ever popular 'Nessun Dorma', 'Che gelida manina" and the Flower Song substantiates the rumor that here is another star on the rise.

A beautiful recording this, and one to include on the shelf with favorite tenors before the public today. Grady Harp, November 2004

Average customer rating:

The Pinnacle of Perfection : Greatest French Album of All Time
Vanessa Paradis
absolutely grand!
Yeah, It's Great
so lovely

Variations Sur Le Meme T'Aime
Vanessa Paradis
Manufacturer: Polygram Int'l
ProductGroup: Music
Binding: Audio CD

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M & J
Bliss
Live
Vanessa Paradis
Vanessa Paradis Au Zenith

ASIN: B0000072SD
Release Date: 1990-06-18

Tracks:

Amour a Deux
Dis Lui Toi Que Je T'Aime
Amour en Soi
Vague a Lames
Ophe
Flagrant Delire
Tandem
Charme Non Plus
Variations Sur le Meme T'Aime
Amour Jamais
Ardoise
Walk on the Wild Side

Album Description

1998 reissue on Mercury of 1990 album, the majority of whichis songs written by Serge Gainsbourg. 12 tracks, including 'L'amour A Deux', 'Dis Lui Toi Que Je T'aime' and a cover ofLou Reed's 'Walk On The Wild Side'. Digipak. 1998 Polydor release.

Album Details

L'original Series. Reissue of the Original Album. Digipack.

Customer Reviews:

The Pinnacle of Perfection : Greatest French Album of All Time.......2007-06-08

How does this little-known 1990 album remain the Greatest French Pop Album ever recorded?

I don't know how she did it, but almost 20 years after it was first released, "Variations Sur le Meme T'Aime" remains that most curious animal - a moderately successful album that not many people remember - yet one that has entered the record books as being perhaps the most critically acclaimed French album of all time. You wouldn't know it just by looking at it, but Vanessa Paradis' sophomore album with Serge Gainsbourg is not just a beautiful CD. Anyway you dissect it, it remains a timeless slice of just how amazing French pop can get when put into the right hands.

Vanessa Paradis was still 18 years old when this was released, and listening to it in the 2000s makes you realize that this is one of those CDs that actually gets better with time. The melodies are still stark and clear, the production is excellent, and the voice is as lovely as ever. If you heard this when it first came out, and if you hear it now, you won't be disappointed. This album has been one of my best friends through some of the most incredible times of my life (my first job, my first relationship) and I can still listen to it today and not feel anything except pure joy and amazement at the sheer artistry contained within.

If you're skeptical, well, I would say you need to get this first before being critical. People normally wonder how a Vanessa Paradis record could be any good (she is known for her almost Minnie Mouse-style vocals, and hasn't produced a bonafide hit in years). In fact, her best known single "Joe Le Taxi" is what she's remembered for, which is a pity. This particular album houses all her best work. Not even her 2000 album "Bliss" (which is a masterpiece in its' own right) is as good as this.

First, the best tracks:

1. "Au Charme Non Plus" : I said it in 1990, and I'll say it again - this has got to be one of the most melodious and emotionally affecting pop songs ever put to record. Coupled with an unforgettable chorus (another strong point of this CD), this is the highlight of the album. The opening beats alone are worth the price of admission, but that chorus! Its heart-stopping, and timeless. I can listen to this back to back and still crave listening to it. Take it from a pro. I've been listening to this track for 17 years now, and I still haven't gotten tired of it.

2. "Amour Jamais" : Now this might sound like its got a bit too much synthetic production, but it's a fierce pop number that is instantly memorable after just one listen. I have had friends who have wanted to borrow this album just for this song - in fact, I lost the copy I bought in 2001 precisely due to this. Vanessa laments the curse of love on this one, and her delicate vocal harmonies coupled with a killer chorus elevate the track to a whole new plane.

3. "Dis Lui Toi Que Je T'aime" : The hit single from this record (well, sort of hit single - it stalled on the French charts) is a gorgeous ballad with Celine Dion-style instrumentation. I hate Celine, but in this case, the song goes from being just OK to being exceptional due to some interesting lyrical content and Vanessa's powerhouse vocals. There is a live version of this song on the "Live" album that I prefer, but the original is still very pretty.

4. "Tandem" :One of the greatest French songs ever written, without a doubt. I remember seeing the video when I was about 14 and being shocked by the overtly sexual imagery (though it looks pretty tame these days). The song is a faux-rock track, and the melody and style is most closely related to "Cowboy Style: by Kylie Minogue - this is meant in the best way possible because "Tandem" almost completely defines the `cool' factor this CD possesses.

5. "L'Amour a Deux" :This is Track 1 on the CD, and is a slow jazz number that rises to almost gospel-mania before settling again into somber territory. As an opening track, it introduces you to just how excellent the record is, and everytime it spins you are surprised by just how advanced the recording sounds despite being a product of the late 1980s.

Those were the standout tracks. The others are excellent overall, as well. I would especially recommend "Ophelie" and "Ardoise" as well - two very different songs, but almost uniformly compelling. The title track is a nice play on words. "T'Aime" in French means "I love you", and in the context of the title it also means "Theme" (which has the same meaning as the English word). The title therefore means either "Variations on the same "I love you"" and "Variations on the same theme" - and the end impact is a combination of both titles as they obviously interconnect.

This album to me remains the greatest French language album to this day. I am not being biased or overtly gushing here, just honest. It goes without saying that every track is a winner, but what is utterly glorious about it is that despite being quite old it hasn't lost the title to any album since, not even an album by Vanessa herself. Much of this is probably due to Serge Gainsbourg, the French musical genius who created this alongwith Vanessa - his personality shines through on every single track, and I have to wonder if this is not the most shining star in his arsenal of quality musical output.

One of the reviewers here said that this album defined `cool' even before `cool' existed. I have to agree. Again, I don't know HOW they did it, but this album gets everything right - music, lyrics, production, and more than that, it SPEAKS to you, and becomes a VERY integral part of your life very quickly. I have often found myself sifting through my Ipod wondering if I want to listen to Radiohead, Janet Jackson, Noa or Tori Amos, and almost every single time, I reach for "Au Charme Non Plus" and sit back once again in the cozy world this album so readily offers.

This is not an album, it's a life-altering experience of the highest order. I don't think Vanessa possibly had the maturity to realize what she created when she recorded this at such a young age, but its an enduring manuscript of the highest caliber of pop music, and sits at the top of my list as the Greatest French Album ever recorded.

Five Stars. It doesn't get better than this. Buy. Now.

Vanessa Paradis.......2004-10-28

Vanessa's best album. I love all the tracks. My favorite is Vague a Lame.

absolutely grand!.......2003-02-20

when i first heard this album, i thought it was her worst. i thought the songs were completely unlistenable and that they were repetitive. but i was wrong....

once i gave this album another chance, i fell in love with vanessa all over again. her music choice on this album has so much tension and power. the lyrics are incredible.

starting off with a very powerful song "l'amour a deux" which is what first caught my attention. and then the beautiful haunting ballad of "dis-lui toi que j'taime". vanessa's voice carries it off so well.

"l'amour en soi" was one of the songs i was wary about. i thought it went on forever. but i saw the music video to this one, and it all changed. don't ask me how that happened, but i love this song now. "La Vague A Lames" is my favorite track on the album. like "dis-lui toi que j'taime" it is haunting also, with the whisperings in french by people in the background, i love it. it's beautiful.

"Ophelie" starts off as a slow rock tune, but then makes its way into a very catchy tune. it's a very good song that has the sound of an early 90's pop song. "flagrant delire" is one of those little songs that are wonderful that play just the right part before....

"tandem" i love this song. i loved it before i bought this album. the sensualness of it all, and especially the music video. vanessa's voice totally brings it alive. "au charme non plus" is one of the couple of songs that have pure tension in them. it's very powerful and intense. a nice addition to the album.

"variations sur le meme t'aime" this is probably another one of the greatest songs on this album. the little usage of english terms such as "of course i love you" or "no i don't know" is very cute. "amour jamais" is a very catchy song, but it is also a slow rock tune, very laid back. nice.

"ardoise" is a compelling rock tune that can hold you very well. it fits perfectly before coming to..."walk on the wild side" one of vanessa's first songs in english. and she does it very well too! that's one thing you have to love about vanessa: it's her diction. she says the words so crisp and clearly. which is something i couldn't do, if i ever tried to perform in french. i'd stumble all over myself!

vanessa has always had a special place in my heart when it comes to her music or movies. there's just something incredible about it all. she seems like such a wonderful person...i hope to attend one of her concerts someday! this cd definitely reminds me of the early 90's, and the memories it brings along with it...

all in all, this a fantastic cd filled with emotion, art, and beauty. serge gainsbourg did a excellent job writing the lyrics. if you're searching for a great 90's french pop cd, then you definitely have found it. one of vanessa's best and most compelling albums to date! :)

Yeah, It's Great.......2002-11-05

The best of the VP studio albums, only bested by her first live CD. Vanessa's vocal quality and choice of music here are first rate. Even as a non French speaker I liked this more than her '92 US release with Lenny Kravitz. Most songs are mid tempo, more upbeat than ballads, but slower than straight ahead rock tunes. All are arranged with a compelling blend of tension and power. If you were interested enough to find a page containing a 1990 French Pop CD, I think you love it.

so lovely.......2001-07-17

i think this is a great album, it has a little blues on it. Paradis has an extrordinary voice, it is tender and lovely. I really like her version of Lou Reeds walk on the wild side. Serge Gainsbourg did a great job writing the lyrics of these songs.

Average customer rating:

Feed the hunger of my mexican soul.....
Great Excerpts
Beautiful, the Master at his best!

Bravo Domingo

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Very Best of
The Young Domingo
Essential Placido Domingo
José Carreras: The Golden Years
Por Amor

ASIN: B00000AFRF
Release Date: 1998-09-15

Tracks:

Nessun Dorma
Largo Al Factotum
Je Crois Entendre Encore
Pays Merveilleux... O Paradis
Rachel, Quand Du Seigneur
Il etait Une Fois A La Cour D'Eisenach
Vesti La Giubba
Niun Mi Tema
O Figli, O Figli Miei!...Ah, La Paterna Mano
Morgenlich Leuchtend Im Rosigen Schein
Hor An, Wolfram!...Inbrunst Im Herzen
Una Furtiva Lagrima
Forse La Soglia Attinse...Ma Se M'e Forza Perderti
Quando Le Sere Al Placido
E Lucevan Le Stelle

Tracks:

Granada
Non Ti Scondar Di Me
Munequita Linda
Be My Love
Nostalgias
El Dia Que Me Quieras
Ella Mi Fu Rapita!
Parmi Veder Le Lagrime
La Donna E Mobile
Von Jugend Auf Im Kampfgefild
La Fleur Que Tu M'avais Jetee
Fontainebleau! Foret Immense Et Solitaire!...Je L'ai Vue
Donna Non Vidi Mai
Se Quel Guerrier Io Fossi!...Celeste Aida
Ch'ella Mi Creda Libero
O Lola Ch'hai Di Latti La Cammisa
Lunge Da Lei...De Miei Bollenti Spiriti
Tombe Degl' Avi Miei...Fra Poco A Me Ricovero
Di Quella Pira

Customer Reviews:

Feed the hunger of my mexican soul............2003-10-13

This man brings up the wonderful tones of my youth, the songs of generations before me, and sends them forth into the atmosphere of my soul in such a way that brings pride, tears, and love for all I grew up with. A most definite recommend for anyone who loves both Mexican music and a glorious vocalist.

Great Excerpts.......2002-01-20

Incredible 2 CD set at a very affordable price. The arias and ensemble chosen show Domingo at his very best in almost all the roles of the repertoire.
The set also features Granada and few other songs including two tangos sung in a baryton voice....again greatly...

GREAT Domingo.

Beautiful, the Master at his best!.......1998-11-18

The clarity of his voice, the range, and the power is unsurpassed! The selections are fantasic. Granada sung by Domingo is stirringly beautiful and deeply moving, you can feel his love for Spain and mastery of his art.

Average customer rating:

Heppner -"Beauty and the Beef"
He is DEFINATELY NOT Del Monaco or Corelli
Ben Heppner is One of the Best Tenors of All time!
Finally, a real dramatic tenor voice.
Heppner just may be the perfect tenor.

Ben Heppner - Great Tenor Arias
Ruggero Leoncavallo , Giuseppe Verdi , Giacomo Puccini , Georges Bizet , Jules Massenet , Umberto Giordano , Munich Radio Orchestra , Bavarian Radio Chorus , Roberto Abbado , Michael Glaser , and Ben Heppner
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Ideale: Songs of Paolo Tosti
Ben Heppner - German Romantic Opera
My Secret Heart - Songs of Parlour, Stage and Screen
Heppner Sings Wagner
Ben Heppner - Airs Francais / LSO, Myung-Whun Chung

ASIN: B000003FO4
Release Date: 1995-08-15

Tracks:

La Boheme: Musetta! O gioia della mia dimora!....Testa adorata
La forza del destino: Oh! fede negar potessi... Quando le sere al placido
La forza del destino: La vita e inferno all'infelice... Oh, tu che in seno agl'angeli
Aida: Se quel guerrier io fossi!... Celeste Aida
Il Trovatore: Ah si, ben mio
Il Trovatore: Di quella pira
Manon Lescaut: Donna non vidi mai simili a questa!
Turandot: Nessun dorma
La Fanciulla del West: Ch'ella mi creda libero e lontano
Carmen: La fleur que tu m'avais jetee
L'Africaine: Pays merveilleux... O Paradis
Herodiade: Ne pouvant reprimer... Adieu donc, vains objets
Le Cid: Ah! tout est bien fini... O souverain, o juge, o pere
Andrea Chenier: Come un bel di di maggio
Andrea Chenier: Colpito qui m'avete ov'io geloso... Un di all'azzurro spazio

Amazon.com

Not since the days of Lauritz Melchior have we had a true heldentenor, a singer who can take on the big Wagnerian parts and the other roles that require a voice of real weight and heft. The Canadian tenor Ben Heppner is the closest we come these days, but he is both less and more than that--less because he has so far not attempted the bigger Wagnerian roles, more because (unlike most such tenors, and as demonstrated on this disc) he has successfully mastered the idiom of French and Italian operas. He has a big voice, flexible and even, capable of a good legato line when needed (e.g., in nicely sung performances of "Ah si, ben mio" from Verdi's Il Trovatore and "O Paradis" from Meyerbeer's L'Africaine). But while his brilliant sound and dramatic intensity make him often thrilling to hear, there is also a sense of effort and a lack of charm in his singing that can put a listener off, and RCA has done him no favors with their rather distant miking. Still, he is an exciting singer, and this is a recommended disc. --Alex Morin

Customer Reviews:

Heppner -"Beauty and the Beef".......2006-11-02

Comparing tenors is always risky-no matter what, someone's feelings get hurt.Ben Heppner is, as others have suggested, the leading heldontenor of the day.What seems to separate him from others, with whom he has been compared-Corelli,del Monaco,Melchior, is the obvious fact that Heppner has a stunning lyrical quality to his sound.Many of the Mellochi, dropped larynx technique singers, are simply incapable of producing a "sweet" sound.Size isn't everything.Volume and a sweet sound are qualities that when combined add so much more musical, and hence listening value.Heppner can sing everything, because his lyrical sound is listenable.When will they get it right...a triple forte presentation all the time isn't all there is to singing opera. With Heppner we have a sense of line, modulation and all the musical aspects that make performances enjoyable. As well, Heppner is a fine musician. I dislike over done portamento. Heppner sings and delivers as the composer intended-at least as far as one can tell.I loved Corelli's sound but his magnificence was diminished by a chronic failure to follow the score.And I don't think Del Monaco ever sang anything pianissimo.I am sorry fans, but that isn't good singing.With Heppner we have an artist who delivers music with great musicality. What a concept!This CD offers example after example of how it can and should be done.
This CD has all the goods to illustrate the point.Big sound plus sweet sound equals success.Great tenor arias from a great tenor!

He is DEFINATELY NOT Del Monaco or Corelli.......2005-04-27

For all of the people out there reading the reviews on here make sure you take them with a grain of salt. Most peoples ear for voice is terrible. If you had heard Del Monaco or Corelli live you would know what complete and utter bullcrap these reviews are. Although Ben Heppner's voice may be considered large by todays standards it is small compared to Corelli and ESPECIALLY Del Monaco. In this age of state of the art recording equipment everyone sounds like they have a big voice. Mr. Heppner also lacks the core and squillo that Del Monaco and Corelli (and countless others) had. The ring in their voices is where all of the harmonics happen. It is these kinds of comparisons that have allowed the opera to decline to the level that it is today. Intstead of saying, "Why are'nt people singing like DelMonaco and Tebaldi and Nilsson anymore?" we have people trying to bring lesser voices up to their level. Very sad.

Ben Heppner is One of the Best Tenors of All time!.......2000-01-28

The only reason that Ben Heppner would not be able to fill the shoes of Corelli, or del Monaco is because Ben wears a bigger size. Heppner not only has the large full ranged voice, mentioned by the previous reviewer, but he also has impecable artistry. Unlike del Monaco he knows what dynamics are. Unlike Corelli he can get to his top register without scooping, and unlike Corelli he knows how to count, and doesn't write the music as he sings it. Don't get me wrong Corelli, and Del Monaco are two of my favorite tenors, but they are by no means better than Heppner

Finally, a real dramatic tenor voice........1999-09-29

Since the days of Del Monaco and Corelli, there have not been many dramatic tenors worthy of note. The few dramatic tenors I have seen live in recent years, namely the Russians, Atlantov and Bogachev, and the Americans, Margison and O'Neill, have indeed had big voices but not particularly attractive ones. They have also lacked the musicianship and style of singers like Del Monaco and Corelli, not to mention their top registers! Now comes a tenor like Heppner who, although he cannot fill the shoes of Corelli and Del Monaco, as indeed who can, is nevertheless worthy to walk in their footsteps. Heppner has an immense, bronze colored tenor voice. It is not darkly shaded like Corelli's or perhaps as stentorian as Del Monaco's. But Heppner displays a rich, even timbre throughout his singing, from bottom to top. In many of the arias on this CD, Heppner effectively employs dynamic shading for someone with as big a voice as his. But, above all, Heppner offers us a clinic in fine, subtle legato phrasing. His musicianship is impeccable. Heppner has enough voice and breadth to be patient with these arias, shaping the phrases in long, flowing lines without tiring or compromising his tone. Although sometimes Heppner thins out at the top, I suspect that's more of a problem with the engineering than the voice. One small criticism to be made, however, is that perhaps Heppner's performance is too controlled, lacking the spontaneity and thrill characteristic of performances by greats such as Corelli and Del Monaco. Nevertheless, we should consider outselves lucky to have this wonderful heroic tenor on the stage today.

Heppner just may be the perfect tenor........1999-09-28

How on earth did I miss this one?! Recorded in 1995, I just stumbled across it the other day. What a voice! Here is that true rarity: a genuine Heldentenor with a sweet, flexible, well-placed voice; and he is definitely NOT a tenor-baritone. I've heard "Nessum Dorma" a thousand times, sung by a hundred tenors, but never like like this--your hair will stand on end! Who said a so-called dramatic tenor can't hit a decent high-C? Heppner not only hits it--dead center--he demolishes it. And the "Un di all'azzurro spazio" is a "textbok" in vocal agility. I know of no other tenor today (or yesterday) who can so perfectly handle the two distinct "styles" of the aria, at times lyrical, and others dramatic. This aria was meant to be difficult and, although many can sing it with fair success, only Heppner grabs it, shakes it for all it's worth, and conquers it. How nice to have a North American (albeit from British Columbia) do us so proud,

Roberto Alagna - French Arias / Bertrand de Billy

Average customer rating:

Great French aria recital!!!
The first great French tenor of the 21st century!
A truly great recording
Good but not great
Alagna is a stud

Roberto Alagna - French Arias / Bertrand de Billy
Jules Massenet , Giacomo Meyerbeer , Etienne-Nicolas Méhul Charles Gounod , Camille Saint-Saëns, Alfred Bruneau, Luigi Cherubini Fromental Halévy , Edouard Lalo, François Bazin, Hector Berlioz, Ambroise Thomas Georges Bizet , and Roberto Alagna
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Roberto Alagna - Opera Arias
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Roberto Alagna & Angela Gheorghiu - Duets & Arias
Nessun Dorma; Roberto Alagna
Étienne Henry Méhul: Joseph in Aegypten

ASIN: B000058B1Y
Release Date: 2001-04-10

Tracks:

Maitre Pathelin: Act 1. Romance: Je Pense A Vous
Le Cid: Act 3: Ah! Tout Est Bien Fini!... O Souverain, O Juge, O Pere
Les Abencerages: Act 2. Recitatif Et Air: Suspendez A Ces Murs... J'ai Vu Disparaitre L'espoir
Mireille: Act 3. Cavatine: Mon Coeur Est Plein D'un Noir Souci... Anges Du Paradis
L'Amant Jaloux: Act 2. Ser: Tandis Que Tout Sommeille
La Juive: Act 4. Air: Rachel, Quand Du Seigneur
Mignon: Act 3. Romance: Elle Ne Croyait Pas, Dans Sa Candeur Naive
L'Africaine: Act 4: Pays Merveilleux
La Damnation De Faust: Part 4, Scene XVI. Invocation A La Nature: Nature Immense
Iphigenie En Tauride: Act 2. Recitatif Et Air: Quel Langage Accablant... Unis Des La Plus Tendre...
Les Pecheurs De Perles: Act 1. Recitatif Et Romance: A Cette Voix Quel Trouble Agitait Tout Mon...
Le Roi D'ys: Act 3. Puisqu'on Ne Peut Flechir... Vainement, Ma Bien-aimee
Joseph: Act 1. Recitatif Et Air: Vainement Pharaon Dans Sa Reconnaissance... Champs Paternals
Samson Et Dalila: Act 3: Vois Ma Misere, Helas!
L'Attaque Du Moulin: Act 2: Le Jour Tombe, La Nuit Va Bercer Les Grands Chenes

Amazon.com

Roberto Alagna is without peer among contemporary tenors in the French repertory, as this excellent collection of staples, sprinkled with rarities, demonstrates. He has the right blend of sweetness for the lyric selections and exciting vocal heft for those requiring more muscle. If one must find something to carp at, it's the tenor's occasional tendency to slip into an inappropriate Italianate verismo style. Examples of the "sweet" Alagna are his gorgeous floating soft ending to "Je crois entendre encore," from Bizet's The Pearlfishers, and the lovely head voice in the Lalo aria. His "Rachel, quand du Seigneur," a favorite of tenors from Caruso to Richard Tucker, is taken at a sluggish tempo, but it has the requisite vocal finish and characterization. And Alagna creates the necessary sense of wonder in the opening of "Pays merveilleux," from Meyerbeer's L'Africaine. The Bruneau selection that closes the disc is a welcome rescue of a lovely farewell-to-life aria from a long-forgotten late-Romantic opera. Unlike most collections done with a generalized, one-size-fits-all approach, Alagna's finds him almost always in character. Bertrand De Billy's accompaniments are sometimes too restrained (the orchestral introduction to the Bizet aria is downright sleepy), but that shouldn't keep admirers of French opera and world-class singing from grabbing this disc. --Dan Davis

Customer Reviews:

Great French aria recital!!!.......2003-02-13

Roberto Alagna has the makings of a great French tenor. He has the style and diction down pat. This CD shows off his tenor to great effect. I especially liked the rare selections that were included. There is some wonderful French music on this disc.

Alagna is given great support by conductor Bertrand de Billy and the Royal Opera House Orchestra of Covent Garden. The sound is excellent. This disc was finely produced. On to the review.

Alagna's voice has a scratchy edge to it that gives character to his otherwise rough timbre. His voice is not ugly, but it is not the typical sweet voice of a French tenor. His voice grows on you. His voice also has some dramatic heft to it. He is best in the arias that require some dramatic heft, but not a whole lot. He is totally committed dramatically to the music that he sings. The aria from "Joseph" and the one from "Le Cid" are two great examples. He sings the famous aria from "La Juive" very well. However, on some of the arias, he tends to use too much unnecessary drama. The editorial reviewer was correct in saying that Alagna has a tendency to slip into inappropriate Italian verismo style. Alagna's rendition of the aria from "Samson et Dalila" is not that good. That aria is probably too heavy for his voice. The timbre of his voice takes on an unattractive edge when he sings that aria. Alagna sings the delightful Sérénade from "L'Amant Jaloux" very well with lovely pianissimos. However, it seems that he is a bit rough in his delivery of some of the words. By rough delivery, I mean the use of too much emotion. This charming piece is probably not suited to a relatively heavy voice like his. Also, the exquisite aria from "Le Roi d'Ys" suffers from rough delivery of some of the words. I also wish he had sung the word "vais" in the phrase "Je vais, hélas, mourir!" pianissimo like Nicolai Gedda does on his version of the aria. Alagna's rendition of the beautiful aria from "The Pearl Fishers" is excellent. His pianissimos are to die for! One previous reviewer said that his pianissimos sounded mechanically produced and that some were even unpleasant to the ears. Do not believe that person. Alagna has gorgeous pianissimos that are very naturally produced.

Overall, this is a great recital album that includes some very rare material. It is worth getting.

The first great French tenor of the 21st century!.......2001-06-23

Roberto Alagna is probably the greatest tenor to come from France since Georges Thill, widely considered to have been the greatest French tenor of the 20th century. This is unquestionably Alagna's best solo album, the equal of his astonishing work in Werther. All of his virtues are amply displayed here: a splendid voice, directness and honesty of expression, superb diction in his native French, intelligence, imagination, complete and utter immersion in character, and the ability to make each word he sings mean something. Throughout the disc we hear nobility and sweetness, elegance and passion, tenderness and pain, even charm and humor. This is not merely a 'stud', but a great artist in the service of music.

Most important of all is Alagna's questing spirit. While some superstar singers barely change or add to their repertory over decades of performing, Alagna is eager to mine the rich lode of French repertory (of which we only know a few nuggets) and bring otherwise unknown or forgotten works to a new public. Some of these arias haven't been recorded in at least 60 and even almost 80 years. In fact, so rarely performed are they that the ROH Orchestra had to borrow the orchestral parts for two arias from the Orchestre de Paris!

Since his career began Alagna's voice has grown in drama and power with little loss to the basic lyric quality of his instrument. He does so well with the more dramatic selections not only because of his great skill as a vocal actor, but also because he actually sings the arias beautifully and lyrically instead of just belting them. He is strongest when he can combine heroism with introspection, as in the arias from `Samson et Dalila', `Le Cid', and especially `La Juive', where he perfectly embodies the inner conflicts of these three very different religious men. Indeed I found the grief and guilt of a father about to lose his daughter in the last absolutely heartwrenching. Still, I hope Alagna waits a long time before doing any of these roles on stage, and limits his appearances in them to small theatres. The best track on the disc is `O Paradis', filled with the genuine wonder of discovery. In the aria from `Joseph', Alagna convinces in the widest range of emotions from nostalgia to rage to the desperate desire for reconciliation, and the aria from `Les Abencerages' is also a dramatic tour-de-force. There is also a truly heroic rendition of `Nature immense' from `La Damnation de Faust'. The glorious paean to friendship from `Iphigenie en Tauride' is both urgent and sensitive, and the farewell to life from `L'Attaque du Moulin' is sung even more beautifully than by some historic tenors.

He also shows that he is quite capable of the light touch, such as in the aria from `Le Roi d'Ys' and especially `Elle ne croyait pas' with its beautiful diminuendi. The aria from `Maitre Pathelin' which opens the disc is a sweet, lovely serenade capped by a splendid high C#. It's a pity that he does not take all of `Je crois entendre encore' as sweetly and headily as he takes certain phrases, but I admit to being extraordinarily picky about the performance of this aria and am only truly satisfied by Gedda.

As with his performances at the Met and elsewhere, Bertrand de Billy proves his skill in bringing out the spirit and elegance of French opera. If his tempi are a trifle slow (and nowhere near as much as those of, say, Michel Plasson) they only aid musical expression. He has been a long time friend and collaborator of Alagna, and their rapport shows here. The orchestra plays very well and London Voices makes a fine choral contribution to the `Samson et Dalila' scene.

If there is any complaint to be made, it is that while Alagna differentiates character superbly, he doesn't differentiate actual musical style much. Over 100 years separate the Gretry and Bruneau arias, and he sings them basically the same way. And there are a few moments where he overdoes the heroism (and volume) a bit, notably in `Anges du paradis' and the Gretry aria. Still, in the context of the disc's overall splendor, these are minor flaws. It's also a shame that the originally announced aria from `Herodiade' is not included. I presume it didn't fit onto the otherwise generously filled (73 minute) disc.

By and large the documentation is also very good. Admirers of French opera who have only heard the rarities on historical labels with minimal documentation will greatly appreciate the full texts and translations included here. There is a nice essay on the French tenor tradition 'which Roberto Alagna inherits' written by noted English critic John Steane, who also provided explanatory notes for each track (some for the rarities could have been slightly more detailed). Although I am glad that Alagna isn't subjected here to the sugary publicity gush that most singers these days get in their CD booklets (so much for him being 'overhyped'!), it's a pity that there is no biographical or career information about him or de Billy.

I really hope that Alagna gets his wish to have some of these and other rare operas recorded in their entirety and staged, but I doubt if the political and economic situation in the opera world will permit it. Even if performances or complete recordings are impossible, Alagna absolutely must record many more solo French albums. A Berlioz disc with both Enee's and Hylas' arias from Les Troyens is essential. Certainly this wonderful stage comedian should also record more comic repertory. And of course, he should continue to bring us many more recordings of arias that haven't been recorded in ages, and even some world premieres. I also seriously hope that he gives us his interpretations of French song repertory as well. Frankly, if he wants to record the Paris phone book, that's fine with me too!

A truly great recording.......2001-06-10

This album is among the best I ever heard. Alagna's beautiful tenor tone is truly amazing throughout the CD and his perfect French diction is very enjoyable. After listening mr. Alagna's French I prefer him to anyone else I've heard singing this repertoire. IMO the loveliest songs are "Je pense à vous" with the easy high C# and the light "Vainement, ma bien-aimée". I think the arias from Le Cid and Samson are a bit too heavy for him, but however, he sings them with the great interpretative power. It's possible that he uses a little too much pianissimo in the Bizet aria, but on the other hand that's where I think his voice is at its best. Nothing can take the fifth star away! This CD will be with me anywhere I go...

Good but not great.......2001-05-23

I generally liked this recording because it presents much unfamiliar material (Mehul, Bruneau) combined with Mr. Alagna's excellent diction. However, after I unwrapped the CD, I immediately compared his singing of "Je crois entendre encore" with Jussi Bjorling and found it lacking. Bjorling lets you feel the melancholy of what the character had and lost. He is obviously reliving his memories. The pianissimo at the end is truly haunting. Mr. Alagna's soft notes seem almost mechanically manufactured.and sometimes border on the unpleasant. He was best in those pieces that required more spinto sound (the selections from Samson et Dalila and Le Cid, for example). I would recommend this recording if only for the unfamiliarity of much of the material.

Alagna is a stud.......2001-05-06

This CD is primo Alagna. Only his first recital and maybe the Rondine are better. People say he's in decline, but they just need to listen to the Gluck track on this CD. Or the Meyerbeer. Or the Gounod. It's all great. Yay Roberto!

Average customer rating:

Le Paradis
Red Room
Manufacturer: Solitude / Mri
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

General | Rock | Styles | Music

Pop Rock | Pop | Styles | Music
ASIN: B00009L1T5
Release Date: 2003-06-03

Tracks:

Parking
Winter in Paris
Samba de Meu Coracaon
Paradis
6: 30 Am
My Time Is Short
One on One
Eclipse
Schut
Easy Smoky Way
303 Returns
Indian Vibes

Jussi Björling Edition: Studio Recordings 1930-1959

Average customer rating:

Superb!
Beatiful singing - but where are the Swedish texts?
if you like bjorling this is the best thing you can get!
The ULTIMATE Collection
Definitive survey of one of the finest singers on record

Jussi Björling Edition: Studio Recordings 1930-1959

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

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General | Chamber Music | Classical | Styles | Music

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Jussi Björling Rediscovered
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The "Pearl Fishers" Duet
Jussi Björling: Opera Arias
Voices of Firestone: Jussi Bjorling

ASIN: B000002S9L
Release Date: 1998-01-20

Tracks:

Aida: Se quel guerrier...Celeste Aida
Rigoletto: La donna e mobile
La Boheme: Che gelida manina
Tosca: Recondita armonia
TOSCA: E lucevan le stelle
La fanciulla del West: Ch'ella mi creda
La Gioconda: Cielo e mar!
L'africaine: Mi batte Il cor...O paradiso
Ideale
O sole mio
The Vagabond King: Only A Rose
For You Alone
Manon: Instant Carmant ... En ferman les yeux
Carmen: La fleur que tu m'avais jetee
Faust: Salut! demeure chaste et pure
Martha: M'appari tutt'amor
Martha: Cujus animam
Messa da requiem: Ingemisco
Il Trovatore: Ah si ben mio
Il Trovatore: Di quella pira
Il Trovatore: Ah si, ben mio
Il Trovatore: Di quella pira
Rigoletto: Questa o quella

Tracks:

La Boheme: O soave faniculla
Rigoletto: E il sol dell'anima
Rigoletto: Questa o quella
Un Ballo in Maschera: Di' tu se fedele
Turnadot: Nessun dorma!
Andrea Chenier: Come un bel di di maggio
Fedora: Amor ti vieta
Cavalleria Rusticana: Mamma!...Quel vino
Pagliacci: Recita! ... Vesti la giubba
Mattinata
L'Elisir D'Amore: Una furtiva lagrima
Les Pecheurs De Perles: Je crois entendre encore
Romeo et Juliette: Ah! leve-tol, soleil!
Manon: Je suis seul! ... Ah! fuyez, douce image
L'arlesiana: E la solita storia
Cavalleria Rusticana: O Lola
Manon Lescaut: Donna non vidi mai
Tosca: Recondita armonia
Tosca: E lucevan le stelle
La Boheme: O soave fanciulla
Romeo et Juliette: Ange adorable
Jocelyn: Concealed In This Retreat
L'albe separa dalla luve l'ombra

Tracks:

Romeo et Juliette: Hoj dig, du klara sol
Rigoletto: O, I kvinnor: Questa o quella
L'illustre Fregona: Fylld av vemod sanker sig natten: Melancolque tombe le soir
Knyaz (Prince) Igor: Dagen gick langsamt till ro: Vladimir's Cavatina: Medlenno den' ugasal
Tosca: Det skona star att finna: Ricondita armonia
Tosca: Ja minns stjarnorna lyste: E lucevan le stelle
Rigoletto: Ack, som ett fjun sa latt: La donna e mobile
Il Trovatore: Skyhogt mot himlen
Pagliacci: Spela komedi! ... Pudra ditt anlet: Recitar! ... Vesti la giubba
Cavalleria Rusticana: O Lola
La fanciulla del West: Lat henne tro: Ch'ella mi creda
Fanal: I manner over lag och ratt
Sadko: I sonderns hav
La Belle Helene: Uti en skog pa berget Ida
Der Zigeunerbaron: Vem har oss vigt?
Der Bettelstudent: Skall jag tala ... Antag det fall
Der Bettelstudent: Ny ar jag pank och fagelgri: Ich hab keion Geld, bin vogelfrei
Nar hag for mig shalv i morka skogen gar
Bland skogens hoga furustammar
Ack Varmeland, du skona
Allt under himmelens faste
Tonerna
Sommarnatt: I de lyse naetter
Ett Folk: Sverige
Land, du valsignade
Namner du Sverige

Tracks:

Adelaide
Morgen
Cacilie
Bon i ofredstid
Bisp Thomas frihetssang
In The Silence Of Night
Siren: Lilacs
Jeanie With The Light Brown Hair
Because
Sylvia
A Spirit Flower
Ah, Love But A Day
Tonerna: I Bless Ev'ry Hour
Till havs
Sangen till havest
Visa king slandblom och manskara
Jungfrun under lind
Kung Helmer och Aslog
Trollsjon
Sa tag mit hjerte
Demanten pa marssnon
Cantique de Noel: Julsang (O helga natt) : Cantique de Noel

Amazon.com

This set tells you why Jussi Bjorling is a perennial entrant in the "Tenor of the Century" sweepstakes. Even as the voice darkens from the light lyric to the full, darker instrument of the later recordings, we hear a singer whose elegant style, lovely timbre and innate musicality touch the heart. Many of the selections are sung in Swedish, less of a liability than you might suppose. In whatever language, Bjorling's molten gold flows lavishly. He eschews the sobs and sentimentality that disfigure so much verismo repertory, making his points with stylish vocalism. He's been called a "cool" singer, but try his Puccini and Verdi arias on Disc One and you'll find more than enough vocal and emotional heat. The selections include many neglected Scandinavian songs, sung, like the arias, with a naturalness that disarms criticism. -- Dan Davis

Amazon.com

Swedish tenor Jussi Björling gets many votes for the distinction of greatest all-time tenor. Up to the end, the voice projected a boyish vulnerability, though he also had enough stentorian power to sing the heavy Puccini roles and was ready to take on Lohengrin when he died. He was so deeply musical he eschewed the usual tenor vulgarity without ever slighting the music's theatricality. Even these four well-filled discs of arias and songs can't fully encompass the vocal riches he left behind, but there's a lot here, much of it from his earliest years and (hope you don't mind) sung in a Swedish translation. --David Patrick Stearns

Customer Reviews:

Superb!.......2001-07-29

This is an wonderful compilation of one of the most incredible voices on record. Whether you are a new or old Bjorling fan -- and who could hear that voice and not be enthralled by it -- this is a fine CD to have. The quality of the recording is excellent, and the range in years, from 1930 to 1959, gives a splendid overview of his dazzling talent. In addition to many of the arias one might expect, there are also lieder and songs in Swedish, as well as some charming duets with Jussi's wife, Anna-Lisa. I have quite a few other Bjorling CDs, and this is one of the best in terms of quality and scope. It is a most worthy addition to any Bjorling collection, regardless of its size.

Beatiful singing - but where are the Swedish texts?.......2001-06-22

This is an excellent collection, the best available overview of a great tenor.

This would get 4 stars but has been marked down for only supplying token texts and translations in the large booklet. It is understandable (sort of) that the Italian opera excerpts don't merit texts and translations as (apart from the Callas recitals series) EMI generally doesn't provide texts with historical issues. However the tempting inclusion of a dozen or so texts to the Italian and Swedish songs makes one all the more aware of the miserliness of not providing all the texts.

if you like bjorling this is the best thing you can get!.......2000-06-26

this is so awesome, i love his voice, this is good for anyone, the professional or just someone who wants to hear the greatest tenor of all times! this is so great

The ULTIMATE Collection.......1999-11-02

When starting my Bjorling collection, I saw MANY CDs, with his early recordings. I was in a quandry as to what to buy, UNTIL I found this set. TRULY remarkable in many levels.FIRST and foremost, the voice. Captured in all levels, from the earliest to the latest. Truly wonderful, and the Swedish versions are a real treat to hear, don't worry, the Italian versions are here too!!Secondly, the remastering process. This set was remastered at Abbey Studios in London. For the first time I've heard, they actually pressed NEW 78s from the metal plates, and THEN remastered the new discs!!! Inspired, and the results--incredible.I find myself listening to Disc 3 the most. Very interesting, as it is the Swedish one. When the songs are terrific, along with the "standard" tenor arias, and it all comes together, it is PURE MAGIC!! I will admit that due to time limitations of recordings of this era, the opera house Bjorling is not fully conveyed. There are other CDs for that. Most notably "Romeo and Juliet", and for a REAL thrill, his ATLANTA concert, in STEREO, so much so, that the piano is even divided; left hand left, right hand right. Wait a minute, am I playing TWISTER??:-)) But if you want to skip all those unknown labels, you couldn't have a MORE complete set. ALL wit the great remastering I spoke of. Bjorling--His voice will NEVER die, at least in MY house!!!

Definitive survey of one of the finest singers on record.......1998-09-25

Jussi Bjoerling was one of the greatest singers of the century. His voice is pure, effortless and yet thrilling. Even better than the quality of the voice is his style. He never scoops up to a note nor does he ever whoop down from one, instead, he uses perfect legato and faultless intonation to deliver the cleanest sound you'll ever hear from a tenor.

This collection, from the large set of EMI recordings, provides a wonderful survey of Bjoerling's career. He was a straight 'spinto' tenor, that is, between a lyrical tenor (like Pavarotti) and a dramatic tenor (like Domingo). Most of the Puccini roles demand a spinto and those are the roles that Bjoerling was unbeatable in (particularly Des Grieux in Manon Lescaut). However, I think I most prize this collection for the songs sung in English on the last disc. I had some of them on a cassette I wore out in the car and others on a vinyl disc I wore out at home. For shear beauty of voice, the Berceuse by Jocelyn is stunning. For perfect diction, intonation and style, Love but a Day is breathtaking. Buy this set and I guarantee you'll fall in love with what many think is the finest voice on record.

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