No Dice [Import]

no dice [import]

Track Listings

1. I Can't Take It

2. I Don't Mind

3. Love Me Do

4. Midnight Caller

5. No Matter What

6. Without You

7. Blodwyn

8. Better Days

9. It Had to Be

10. Watford John

11. Believe Me

12. We're for the Dark

13. Get Down [*]

14. Friends Are Hard to Find [*]

15. Mean Mean Jemima [*]

16. Loving You [*]

17. I'll Be the One [*]

Editorial Reviews
Product Description
Japanese miniature paper sleeve reissue of 1970 album with 5 bonus tracks TBA. EMI. 2005.

No Dice,Badfinger,Toshiba EMI,Album Rock,Pop/Rock,Power Pop,Rock,Rock/Pop

No Dice [Import]

Average customer rating:

It's a Movie Soundtrack not a Mars Volta album
Feels Like Half of an Album

Se Dice Bisonte, No Bùfalo
Omar Rodriguez-Lopez Quintet
Manufacturer: Gold Standard Labora
ProductGroup: Music
Binding: Audio CD

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Please Heat This Eventually
Omar Rodriguez
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Com Lag (2Plus2IsFive)

ASIN: B000NJWSHG
Release Date: 2007-05-29

Tracks:

The Lukewarm
Luxury Of Infancy
Rapid Fire Tollbooth
Thermometer Drinking the Bussness Of Turnstiles
Se Dice Bisonte, No Bufalo
If Gravity Lulls, I Can Hear the World Pant
Please Heat This Eventually
Lurking About In a Cold Sweat (Held Together By Venom)
Boiling Death Request a Body To Rest Its Head On
La Tirania De La Tradicion

Customer Reviews:

It's a Movie Soundtrack not a Mars Volta album.......2007-06-06

Before you base your judgment of this CD soley in comparison to any of The Mars Volta albums you need to realize that it isn't a Mars Volta album. It is a Soundtrack for a film and Omar is even quoted by saying it is a reaction to the film. If you're a die-hard Omar fan then you'll love it. Rapid Fire Toll Booth is now one of my all time favorites and all the other songs sound great in my opinion.

I don't usually write reviews because it's so painful for me to read someone elses review especialy ones that contain the following examples. I only like their older stuff, they keep changing their style, the guitar player is too self induldgent,they should use the same producer as on their first album, there's too much ambience, there's too much guitar noodling, they've become snobs, they're not as good without the old drummer, they're progressive, they're experimental, they took a riff from some other band, I like them less with each album they put out,etc. That was in reference to all bands not just The Mars Volta.

That kinda review irritates me because it's a bunch of garbage. I wish those kinda people would just stick to their MTV lifestyles and leave the real music to those who are true fans and are more open minded. I don't know why it bugs me so much it's not like I'm defending them because I know them on some personal level it's just that some people just don't get it. I'm tired of everyone disecting the music and the musicians. All they want to do is entertain us, not create some sort of musical doctorine that should be discussed as though one was attending a seminar. As a musician I understand the need to experiment and branch out so the music making process doesn't become stale. Do you really want your favorite band to constantly repeat themselves and never evolve. People please I beg of you quit writing these cliche pointless reviews. As for me I'm through writting about this subject for as long as I live. Omar & Cedric have been making music for quite some time now. Let's allow the professionals to do their thing and the rest of you can either tune in or tune out.

Feels Like Half of an Album.......2007-06-01

I've been a fairly faithful Mars Volta fan since the band's first LP debuted back in 2003. However, to say that my admiration for the group has never wavered would be a lie. In fact, with each full-length album that the Mars Volta releases, my love for the band deteriorates just a little bit more. This downward trend is caused largely by the group's insistence on forgoing the largely prog-rock stylings of their debut in favor of more experimental paths. The "Hey, instead of a song, let's just play random crap for 8 minutes" approach was fresh on 2005's "Frances the Mute" but it felt unbelievably stale on their most recent album, "Amputechture." It should be of no surprise then that "Se Dice Bisconte, No Buffalo" is not my favorite of albums. In many ways this album is the embodiment of everything that I've grown to despise about the Mars Volta.

That's not to say that this is an unimpressive collection of songs, however. Quite the opposite! Despite my waning feelings for Omar and Cedric, I can still recognize talent when I hear it. It's just that the talent of these two individuals has been misplaced in recent years. "Buffalo" is just another example of that. For example, the first two tracks on the album "The Lukewarm" and "Luxury of Infancy" are utter throwaways. The first being a 26 second exercise in changing the pitch of your voice, while the second is just more of Omar's signature electric guitar "scribbling." These two tracks serve no purpose on the album whatsoever, as they're pretty much over before you realize it.

"Rapid Fire Tollbooth" may sound familiar to Mars Volta fans who have been to the band's live shows. Cedric Bixler-Zavala lends his vocals here, and as a result the song sounds very much like a Mars Volta song that couldn't find a home on "Amputechture." In fact, several of the songs on "Buffalo" that features Cedric's vocals sound like they were made during the production of that album, but just weren't good enough to make the cut ("Se Dice Bisonte, No Buffalo," and "Please Heat This Eventually" to be precise). "La Tirania De La Tradicion," on the other hand, is a fantastic song, and the highlight of the album. In this frantic 5-minute long song, Cedric's vocals are all over the place, and the end result is amazing!

In the end, the best moments on "Se Dice Bisconte, No Buffalo" are the ones where Omar and company play actual music as opposed to just random noise. Tracks like "The Lukewarm," "Luxury of Infancy," and "If Gravity Lulls, I Can Hear the World Pant" only serve as a reminder to how self-indulgent these musicians can be. However there are a few others that remind you why you fell in love with these guys in the first place. As a result, "Buffalo" feels more like half of an album than anything else. While some devoted fans may find it to be worthy of a purchase, I'd be much more inclined to download my favorite tracks and live out my life pretending that the others don't exist.

Recommended for fans of The Mars Volta and the Omar Rodriguez Lopez Quintet.

Key Tracks:
1. "Rapid Fire Tollbooth"
2. "Se Dice Bisonte, No Buffalo"
3. "Please Heat This Eventually"
4. "Lurking About In a Cold Sweat (Held Together By Venom)"
5. "La Tirania De La Tradicion"

5 out of 10 Stars

Average customer rating:

Only Cards -All Aces..........
Badfinger Rolled A Ten
Pete Ham and the boys create a classic
Badfinger comes of age
way better than straight up

No Dice
Badfinger
Manufacturer: Capitol
ProductGroup: Music
Binding: Audio CD

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Badfinger

ASIN: B000006MVI
Release Date: 1992-06-30

Tracks:

I Can't Take It
I Don't Mind
Love Me Do
Midnight Caller
No Matter What
Without You
Blodwyn
Better Days
It Had To Be
Watford John
Believe Me
We're For The Dark
Get Down
Friends Are Hard To Find
Mean Mean Jemima
Loving You
I'll Be The One

Customer Reviews:

Only Cards -All Aces.................2007-05-12

Well. I guess you all heard the news by now. "The Daily Snitch", one of London's top newspapers printed a story with huge headlines, "TOP SEER TO RETIRE FROM REVIEWING", including a picture of me being rushed into a waiting taxi cab. I want to assure all my fans that this is not the case. While it is true that I have stated that I wanted to cut back because of all the work involved. I was thinking of just submitting two sentences as a review, like many others (you have seen them, haven't you?). Two blerbs that say nothing and aren't challenging in the least. Of course it would be safe and non-threatening. And everyone goes home happy. Who cares if Metamorpho's Universal sacrifice is shattered like fine Lennox crystal dropped on the floor? Well.....at least there's glue. :)
But, let's move on to Badfinger, shall we? I knew they were excellent a long time ago, and while I listen to it now, it has lost none of the magic it had since the first time I heard it. Such a phenomenal pop outfit that reminds one of the Beatles. And why shouldn't it since two of them (Paul McCartney and George Harrison) guided Badfinger in so many ways? It was the wisdom and experience of how recording gets done that contributed to their superior sound. Also the smarts to recognize the talent that existed. It is the quintessential format of a pop quartet that is employed here. The harmony vocals, although rougher than the Beatles would use, are used here. We have the rythmn guitar keeping constant as tasty bits from the lead guitar color and shape the sound. The nice bass fill, jumpy and essential, and the sometimes active and sometimes understated drum breaks. Add to that, piano, some horns, and you have a very nicely put together album indeed.
But let us not forget that the songwriting here is above parr in so many respects. They all could write tunes - and none of them were shabby in the least! When you listen to the album you will be astounded on the variation of construction. They include tough rockers like "I Can't Take It", "Love Me Do", "No Matter What", and "Watford John". Semi-sweet odes such as like "Midnight Caller", "Without You", "It Had to Be", and "We're for the Dark". Included with this is the country-flavored rock of "Blodwyn". In fact people, if you like the diversity of what pop/rock can be, then you should investigate this album. There is not one bad cut here.
I suppose by now that everyone knows the story of Badfinger. Pete Ham's suicide, the non-support and atrocious activity of their record company. It is an amazement to me that a group this talented shouldn't have been mega. But, that only supports my wise Seer's outlook (after much reflection) that the best music out there is music you have never heard. Keep in mind, that, in some weird way, we are victims as much as Badfinger in the fact that the music industry has vast power of what you do or do not hear. We are the ones who have to do the work and seek out the gems. This one really was a no-brainer for your Metamorpho (stop that snickering--I hear you!).
Anyway, enough braying on my part. If you like nice melodies, great songs, and beautiful construction, get this c.d. You won't be disappointed. It is a pure joy.
Time to go and see if the newspaper will print a retraction. Hmmm...I think I'd have better luck purchasing another Lennox crystal. Oh well.

Well beyond the looking glass - your "non-retired" Metamorpho

Badfinger Rolled A Ten.......2007-04-14

Badfinger's best, most cohesive album. This is on par with Lou Reed's Transformer, T. Rex's The Slider, Mott the Hoople's All The Young Dudes, and David Bowie's Ziggy Stardust. I have personally worn out three vinyl LPs, I like this album so much. Pete Ham's guitar work is the under-rated under-appreciated strength of this album. Soaring vintage Les Paul solos, both laidback and in-your-face, are the common thread connecting the feel and atmosphere of all twelve original songs. This is a great guitar album. The extra tracks are dismissable, with the exception of the superb "I'll Be The One". (Rumor has it that the cover model is Joey Molland's wife, Kathy.)

Pete Ham and the boys create a classic.......2005-11-28

For a short time Badfinger filled the void left by the breakup of the Beatles. "No Dice" and the following album "Straight Up" are classic pop albums that had the harmony, melodic sense, energy and feeling that were the hallmark of the best of the Beatles music. While the Beatles had Lennon and McCartney Badfinger only had one great singer songwriter-Pete Ham. The other members wrote and sang but it was Ham who provided the group with the best songs and the most inspired vocals.
The heartbreak of his finest song "Without You" is only heightened by the knowledge of his tragic suicide, and with no disrespect to Harry Nilsson, this is the definitive version.
Pete of course was surrounded by a group of solid singer, writer, players that made Badfinger one of the best groups in the early 1970's and "No Matter What" is one of the few songs that have stood the test of time and still seem fresh every time you hear it.

Badfinger comes of age.......2004-05-11

No Dice (1970.) Badfinger's second album.

From their infancy when they were known as the Iveys to Pete Ham's untimely suicide in the mid-seventies, Badfinger was a damn fine (and severely underrated) classic rock group. Because they were on Apple Records, they were often forced to live in the shadow of the Beatles - and some people unfairly coin them a Beatles rip-off. This really is a shame. Badfinger's music is nothing short of excellent, and there's no place this shows like on the band's sophomore LP, No Dice. Read on for my review.

It is on this album that Badfinger truly discovered their sound. Their Iveys LP and first Badfinger LP were excellent, too, but it was obvious that the band was still strugging to find their sound. Well, they found it here. Pete Ham and the boys serve up a damn fine classic rock and roll album here, that doesn't have a single weak track. One of the band's biggest hits of all, the classic No Matter What, comes from this album. The track still get classic rock radio play to this day, and with good reason. But, the other non-hit tracks are also excellent. Many are what you'd expect from a classic rock band, and many even take on somewhat of a country-rock sound, reminiscent of Crosby, Stills, Nash, and Young. All in all, this is probably Badfinger's strongest LP overall.

The new reissue of this album doesn't just remaster the album and expand the liner notes - it also adds some rare bonus tracks! The original album, as it was, was already a five-star masterpiece, but these bonus tracks are the icing on the cake - they take an already-great album and make it even better.

In the end you were left with a damn good classic rock album, arguably Badfinger's finest. It's a shame these guys tend to be so underrated in this day and age, because their music was some of the finest classic rock out there. If you like classic rock, this album is not to be missed.

way better than straight up.......2004-03-24

I dont need to repeat everyone here, but this is a must own cd. You can thank us (and Joey when you see him at the Chicago Beatlefest in August) later.

Average customer rating:

Badfinger comes of age
Great Power Pop Classic!
One of the best releases of the early Seventies
This album isn't a gamble--Badfinger finds their voice
Cast Your Lot With "No Dice"

No Dice
Badfinger
Manufacturer: Indent Series
ProductGroup: Music
Binding: Audio CD

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ASIN: B000005JPM
Release Date: 1996-07-23

Tracks:

I Can't Take It
I Don't Mind
Love Me Do
Midnight Caller
No Matter What
Without You
Blodwyn
Better Days
It Had to Be
Watford John
Believe Me
We're for the Dark
Get Down [*]
Friends Are Hard to Find [*]
Mean Mean Jemima [*]
Loving You [*]
I'll Be the One [*]

Customer Reviews:

Badfinger comes of age.......2004-05-30

No Dice (1970.) Badfinger's second album.

Great Power Pop Classic!.......2004-02-09

No Dice was Badfinger's first masterpiece ( and my first Badfinger album!). The inspiration from The Beatles can be heard on most of these songs, but this album shows that they're much more than just a Beatles rip off. Some changes had been made since the recording of Magic Christian Music. Geoff Emerick (known from his work with The Beatles) produced most of the album; the rest of it was produced by Mal Evans who also produced some of Magic Christian Music. Ron Griffiths had already left before the release of the previous album so Tom Evans had now taken over the bass. Joey Molland ,who had played with Gary Walker, was chosen for a new guitarist. The material (the songs) on this album is very strong. "Without You" written by Tom and Pete has become an all-time classic - here`s the original version - superior to any version I've heard so far. Enjoy Pete's organ line at the end of the song - sounds like something Matthew Fisher of Procol Harum could have done. "No Matter What", "Midnight Caller" and "We're For The Dark" all show what a brilliant songwriter with an unique sense of melody Pete Ham had already become. The album is a perfect blend of ballads, rockers and a bit of country ("Blodwyn"), generally performed with more rocking feeling than their earlier recordings. Though the album is obviously dominated by Pete Ham's songs all other members contribute to it. The bonus-tracks are all very good - 4 of them hail from the never-released follow-up album to "No Dice" recorded early 1971. The strongest of them is the group-composition "I'll Be The One", which at a certain point was considered as a single - I believe it had the hit-single potential.

My favourites: Midnight Caller, Without You, No Matter What, We're For The Dark and I'll Be The One

One of the best releases of the early Seventies.......1999-06-25

It was here that Nilsson must have heard the emotive and beautiful song, "Without You," and it is on NO DICE that the song gets its best interpretation ever. Badfinger does it the justice it deserves, their emphasis bestowing a degree of sorrow that Nilsson missed. True to the Beatle-like style that they were known for, the album is full of pleasant early-seventies style rockers that makes it enjoyable from start to finish. Their first big hit, "No Matter What," is a great song that hints at what will follow on STRAIGHT UP two years later. This one is a little better sounding than the Capitol/EMI release, which is scheduled for deletion.

This album isn't a gamble--Badfinger finds their voice.......1998-09-12

The Beatles association both helped and hindered Badfinger. Like the son of a famous actor, or musician, many folks thought they had it easy because of the Beatles' patronage.

NO DICE finds Badfinger defining their musical persona and developing their distinctive sound--strong melodic hooks and great block harmonies. "No Matter What" the Pete Ham penned single from the album was just an indication of the great songwriting found throughout this album and the later STRAIGHT UP, ASS & WISH YOU WERE HERE. BADFINGER, although a little weaker than WISH YOU WERE HERE is also a great place to start listening to this pioneering power pop quartet.

Cast Your Lot With "No Dice".......1998-08-01

Along with "Straight Up" and "Wish You Were Here", "No Dice" represents the very best of Badfinger. This second album by the immensely talented and equally star-crossed Welsh/Liverpudlian quartet is an absolute must-have. Power-pop defining "No Matter What" and the ever-green ballad "Without You" are hands-down classics while "We're For The Dark", "Midnight Caller", and "Blodwyn" are three of the late and great Pete Ham's most beautiful songs. The previously unreleased bonus track "I'll Be The One" is a treasure. This album is a great introduction for new fans of Badfinger. Veteran fans should, if they have not already, check out "7 Park Avenue", an incredible collection of Pete Ham demos spanning the late sixties until 1975.

Average customer rating:

The Man from U.N.C.L.E., Vol. 3

Manufacturer: Film Score Monthly
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Honey West

ASIN: B0006SSQ8O
Release Date: 2005-01-11

Tracks:

First Season Main Title [Revised/Extended]
Jerry Goldsmith Medley: The Deadly Games Affair/The Vulcan ...
Quadripartite Affair
Double Affair, Suite No. 2
Belly Laughs
Finny Foot Affair
Fiddlesticks Affair, Suite No. 2
Yellow Scarf Affair
Meet Mr. Solo
Spy With My Face
Discotheque Affair, Suite No. 2
Nowhere Affair
U.N.C.L.E. A Go Go
Bat Cave Affair
One of Our Spies Is Missing
Monks of St. Thomas Affair, Suite No. 2
Spy in the Green Hat
Gerald Fried Medley: The Foreign Legion Affair/The Apple a Day Affair
Karate Killers
Richard Shores Medley: The Summit-Five Affair/The "J" for Judas Affair

Tracks:

Girl from U.N.C.L.E. Main Title
Dog-Gone Affair
Prisoner of Zalamar Affair
Mother Muffin Affair
Mata Hari Affair
Montori Device Affair
Horns-of-the-Dilemma Affair
Girl from U.N.C.L.E. (End Title)
Deadly Quest Affair: Teaser
Deadly Quest Affair: Act 1
Deadly Quest Affair: Act 2
Deadly Quest Affair: Act 3
Deadly Quest Affair: Act 4

Wolfgang Amadeus Mozart: Le nozze di Figaro / Don Giovanni / Così fan tutte / Die Zauberflöte - The Drottningholm Court Theatre Orchestra & Chorus / Arnold Östman

Average customer rating:

Refreshing and Surprising!
Some of the most thought-provoking recordings ever, combined with some of the most perfect performances I have ever heard.
Best ever!!

Wolfgang Amadeus Mozart: Le nozze di Figaro / Don Giovanni / Così fan tutte / Die Zauberflöte - The Drottningholm Court Theatre Orchestra & Chorus / Arnold Östman
Barbara Bonney , Arleen Auger , and The Drottningholm Court Theatre Orchestra & Chorus
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Complete Mozart Symphonies / Pinnock, English Concert

ASIN: B00006IU7V
Release Date: 2003-03-11

Album Details

These Pioneering Performances of Four of Mozart's Greatest and Most Popular Operas under the Direction of Arnold Östman were Recorded at Nacka Aula, Stockholm. They all Attracted Great Critical Acclaim at the Time of their Original Release and have Been a Part of Decca's Vast Opera Catalogue Ever Since. The Da Ponte Trilogy (One of the Greatest Librettist/Composer Collaborations in the Entire History of Music), Comprising Le Nozze Di Figaro, Don Giovanni and Così Fan Tutte, is Paired with One of Mozart's Last Operas, Dating from the Last Year of his Life, Die Zauberflöte. The Superb Casts Assembled for These Recordings Include Such Experienced Mozart Interpreters as Arleen Auger (Countess, Donna Anna), Barbara Bonney (Susanna, Zerlina, Pamina), Håkan Hagegård (Count, Don Giovanni, Speaker), Sumi Jo (Queen of the Night), Della Jones (Marcellina, Donna Elvira), Petteri Salomaa (Figaro), Kurt Streit (Tamino), Lillian Watson (Papagena), Gösta Winbergh (Ferrando), Rachel Yakar (Fiordilig

Customer Reviews:

Refreshing and Surprising!.......2006-11-24

I would strongly recommend this collection to anyone who is seeking a new approach and sound world for these Mozart operas. Ostman opts for brisk tempi and transparent textures, but hardly ever at the expense of characterization or expressivity. The singers respond to the challenge with performances that bristle with excitement and fun. The cast blends with the orchestra like a chamber music ensemble, inspiring the listener to experience the opera as a conversation between the text and the intimations expressed in Mozart's musically and psychologically penetrating orchestration. Occasionally one may miss the lyric line and warmth associated with such great Mozart conductors as Bruno Walter or Karl Bohm; but the brio, virtousity, and brilliant insights of Ostman compensate with different kinds of rewards. Also, there is an intimate atmosphere in these recordings that is most faithful to the ethos and meaning of the libretti themselves. After listening to this period approach, my understanding of Mozart has changed radically, and I continue to relish the challenge that these performances have given to my interpretative sensibilities.

Some of the most thought-provoking recordings ever, combined with some of the most perfect performances I have ever heard........2005-09-14

First of all, I must state first that I was ANXIOUS to write this rave review. Ever since I got these cd's and realized the treause that is to be found in these recordings I just couldn't wait until I'd had the chance to tell everybody else about it... I honestly believe these recordings should be heard by anybody who is interested in this repertoire and music in general, since this are also some of the most perfect pieces of music in the repertoire.

As for the music itself, I am not going to write about. I think it is enough to read my last sentence to realize exactly what I think about it - and it is really just a must. That's composition taken to the highest possible level.

What I do want to write is about the performances.
Arnold Ostman, not the most known figure in the musical world, (not even amongst musicians- I come from Juilliard, and that name is definitely not one everybody knows) has created in the 80's in Mozart the equivalent of what Harnoncourt and Gardiner have done in Bach performance practice, i.e. has totally changed the conecption which was assimilated into everybody's mind regarding notions about how music of that era should sound like.

Trying to create a performance experience which emulates Mozart's period performance practice he changed everything starting from tempos, through ornamentation and of course- the voices themselves.

For us, most people indoctrinated by the post-romantisicm eastablished especially by Herbert von Karajan and the ilks of him, the first initial response will be a shock. The almost imperceptible swift tempos, the small voices etc. are sure to knock over anybody who haven't heard these recordings before. It might create an intial negative response but hang-on there, as the result is so much more gratifying then of hearing a recording of Karajan, Giulini, Furtwangler or any GREAT other conductor from that era- They were obviously incredible musical figures, but in terms of style and total perception of the piece it just doesn't work on the same level, in Mozart of course. (You'd still want to keep your Furtwangler's ninth copy...)

What is so great about Ostman is the freshness of mind with which he walks into every piece. Just like a real iconoclast
it seems as if he has landed from an entire different planet, and is just coming to conduct these pieces and give their debut. I can't give a more sincere and true compliment than that, musically speaking.

The results are the most fresh interpretations up to date of Mozart most important operas which also derive from some of the best vocal performances I have ever heard.
Under Ostman's direction it seems as though all the singers bloom and give their most musical and inspired performances,
holding on under the swiftest tempos in an admirable way. There is no point in pointing out names because it is as in a rule that the performances are just stellar one by one, even though not carrying around sometimes the most famous names.

This is not to say that all of the recordings in this set are equally perfect, and that I agree to all of the interprations and the insights given by Ostman, but you can't disregard the feeling that he knew EXACTLY what he wanted and executed it almost flawlessly. (the one exception might be small part of Cosi, mainly the overture, which was recorded very early in the stages of period instruments playing- therefore not always as perfect as you would have liked to hear it, but the performance as a whole is still the most beautiful Cosi I know.)

As for the packaging itself: The price is a complete steal, (incredible especially if you order it through other sellers, got mine for about 40$). What you DON'T get are the librettos, so you'd HAVE to get them from a different source. Either a different recording you might have, (you just might want one of the standard reference recordings one usually hears about like Giulini's) or you could just buy the librettos through Amazon, would still cost you very little.

Should not be missed by any terms by anybody who cares for music.

Ran

Best ever!!.......2004-01-12

Ostman created a stir when he made these recordings in the 1980s. And now it available in a collectors' edition box. I'm so excited. Sumi Jo's Queen of the Night here is even better than her recording for Solti. Ostman's Don Giovanni is the fastest I've ever heard, not to mention the most exciting. This Cosi Fan Tutte is Gramophone's reference Cosi. And this Figaro has many "alternative" arias that other recordings never bother with. Don't worry, the alternative is at the back so you can program it out. In fact, this is the only set of Mozart operas with ALL the alternative arias available. Even Gardiner does not have some of these. So this is a supreme set of importance.

Tracks:

Sinfonia/Overture - Chor Der Wiener Staatsoper
Notte E Giorno Faticar - Otto Edelmann
Non Sperar, Se Non M'uccidi - Otto Edelmann
Lasciala, Indegno!...Leporello, Ove Sei? - Various Artists
Ma Qual Mai S'offre, Oh Dei - Anton Dermota
Fuggi, Crudele, Fuggi! - Anton Dermota
Orsu, Spicciati Presto - Otto Edelmann
Ah, Chi Mi Dice Mai - Otto Edelmann
Chi E La? - Otto Edelmann
Madaminia, Il Catalogo E Questo - Otto Edelmann
Giovinette, Che Fate All'amore - Walter Berry
Manco Male E Partita - Various Artists
Ho Capito, Signor, Si! - Walter Berry
Alfin Siam Liberati - Cesare Siepi
La Ci Darem la Mano - Cesare Siepi
Fermati, Scellerato!...Ah! Fuggi Il Traditor! - Elisabeth Schwarzkopf
Mi Par Ch'oggi Il Demonio Si Diverta...Non ti Fidar, O Misera...Povera Sventurata! - Various Artists
Don Ottavio, Son Morta! - Anton Dermota
Or Sai Chi L'onore - Elisabeth Grummer
Come Mai Creder Deggio...Dalla Sua Pace - Anton Dermota
Io Deggio Ad Ogni Patto - Otto Edelmann
Finch'han Dal Vino - Cesare Siepi

Tracks:

Massetto, Senti Un Po'! - Walter Berry
Batti, Batti, O Bell Masetto...Guarda Un Po' - Walter Berry
Presto, Presto, Pria Ch'ei Venga - Various Artists
Tra Quest'arbori Celata - Walter Berry
Bisogna Aver Coraggio - Various Artists
Protegga Il Giusto Cielo - Elisabeth Schwarzkopf
Riposate, Vezzose Raggzze - Various Artists
Venite Pur Avanti - Various Artists
Ecco Il Birbo Che T'ha Offesa! - Various Artists
Trema, Trema, O Scellerato! - Various Artists
Eh Via, Buffone, Non Mi Seccar...Leporello!...Signore? - Otto Edelmann
Ah Taci, Ingisusto Core! - Otto Edelmann
Amico, Che Ti Par? - Otto Edelmann
Deh, Vieni Alla Finestra...V'e Gente Alla Finestra - Walter Berry
Meta Di Voi Qua Vadano - Cesare Siepi
Zitto, Iascia Ch'io Senta! - Walter Berry
Verdrai, Carino, Se Sei Buonino - Erna Berger
Di Molte Faci Il Lume...Sola, Sola In Buio Loco - Various Artists
Mille torbidi Pensieri - Various Artists
Dunque Quello Sei Tu...Ah, Pieta, Signori Miei!...Ferma, Perfido, Ferma! - Various Artists
Il Mio Tesoro Intanto - Anton Dermota
In Quali Eccessi, O Numi - Elisabeth Schwarzkopf
Mi Tradi Quell'alama Ingrata - Elisabeth Schwarzkopf

Tracks:

Ah, Ah, Ah, Questa E Buona - Otto Edelmann
O Statua Gentilissima - Otto Edelmann
Calmatevi, Idol Mio! - Anton Dermota
Crudele? Ah No, Mio Bene! - Elisabeth Grummer
Non Mi Dir, Bell'idol Mio - Elisabeth Grummer
Gia La Mensa E Preparata - Otto Edelmann
L'ultima Prova Dell'amor Mio - Elisabeth Schwarzkopf
Che Grido E Questo Mai - Otto Edelmann
Don Giovanni A Cenar Teco - Otto Edelmann
Da Qual Tremore Insolito - Otto Edelmann
Ah, Dov'e Il Perfido? - Various Artists
Or Che tutti, O Mio Tesoro - Various Artists
Questo E Il Fin - Various Artists

Customer Reviews:

A great Don (except for the sound).......2007-06-27

I have to agree with the previous reviewer that as an operatic production, this recording is superb. The only downside is the sound quality, which probably could not be helped; one must simply take it on faith that EMI did their best to re-master the original tapes (though I feel that they may have overdone the bass parts in some places). The singers are superb, and you can hear the stage effects, which gives the recording a charming immediacy. Anyone who has only heard only modern recordings of the opera, which emphasize "period" instruments and tempos, should be warned that Furtwängler did not feel obliged to stick to any one particular set of tempi - he varies the speed quite a bit, even within particular numbers, but this reflects an overall aesthetic conception of the opera which he formed over many years (this recording was made in 1954, the year of his death) and which fits together perfectly in its own way.
Moreover, like the previous reviewer, I am glad that EMI is releasing this set for a reasonable price, and it is a good companion to the classic Giulini set (although I would recommend other versions of the opera as well - even some of the "period" interpretations).

IT'S A GREAT ONE!.......2006-01-29

"Don Giovanni" is a very great, but difficult opera. It requires a charasmatic bass-baritone (or bass) for the title role, another equally great bass-baritone with a comic flair (for Leporello), two great leading sopranos for two very difficult roles (Donnas Anna and Elvira), a flawless lyric tenor (Don Octavio), and a pair of appealing younger singers for Zerlina and Massetto. It also doesn't hurt to have a sonorous Commandatore (a real bass)who can terrify Don Giovanni and take him to down at the end of the opera. This is an opera better left alone than presented even decently. The 1950's was a great time for Mozart singers, and many of them are right here on this live recording from Vienna in 1954. Cesere Siepi made the role of Don Giovanni his own and performed it many times (as well as on a commercial London recording which still is available). Elisabeth Schwarzkopf owned the role of Donna Elvira, and, in fact, can be heard on the EMI commercial recording made five years after this performance took place. Elisabeth Grummer was primarily a singer of the lighter Wagnerian roles, but her Donna Anna has power and passion. All of the other artists - Otto Edelmann, Erna Berger, Anton Dermota, Walter Berry, etc, were well known for their Mozart performances all through the decade. They mesh beautifully together in this performance, all under the exciting leadership of the legendary Wilhelm Furtwangler, who really finds the dramatic elements in this piece --- at the price of perhaps less emphasis on the lighter moments. Still, this is a towering performance, in excellent monophonic sound (yes, there are some stage noises, but no distortion or peaking). EMI has made it available at an incredibly low and wonderful price, and I can't see how anyone who loves Mozart would want to be without it under any circumstances. This is a great companion to the EMI Giulini set, and quite probably the superior of all the others.
It's a winner!

Average customer rating:

Excellent introduction to Tebaldi's art
Wonderfull
Classic Renata

Classic Puccini Recordings
Puccini , and Tebaldi
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Wagner: Der Ring des Nibelungen
Puccini: Turandot

ASIN: B00006IU8W
Release Date: 2003-03-11

Album Details

Italian Soprano Renata Tebaldi was One of the Most Important Post-war Sopranos to Tackle a Wide Range of Puccini Roles, and During the 1950s She Recorded Several Complete Opera Recordings. Some of the Operas were Recorded Twice — in Mono and Then in Stereo. Amongst Those which Tebaldi Committed to Disc in the Recording Studio on Two Occasions Must Be Included La Bohème and Madama Butterfly. It is the Earlier, Mono Recordings of These Two Operas which Are Included Here and They Reveal a Fresh-voiced Tebaldi in Recordings Which, Despite the Stereo Remakes, have Stood the Test of Time.

Customer Reviews:

Excellent introduction to Tebaldi's art.......2005-09-29

This set covers the entire productive years of Tebaldi's recording career. Turandot, Butterfly and Boheme are from her earlier career while Tosca is from her later career. Since this Tosca recording is now out of print and is somewhat hard to find, this recording itself almost worth the cost of the set. In Turandot, you will find Tebaldi at her fresher voice, lovely and melting. Eventhough I would still rate Callas' first recorded Tosca as my first choice, this Tosca comes very close. Enjoy.

Wonderfull.......2005-08-19

Fantastic recordings at a very good price. Tebaldi and Del Monaco rule. You should definetely own this set.

Classic Renata.......2005-03-16

To say that these 12 disks contain some of the finest singing ever committed to disk is no exaggeration, but a simple statement of fact. Historical fact. In the 100 years (more or less) that Puccini operas have been around, only a few sopranos in each generation have been the equal of Renata Tebaldi. One cannot objectively say that anyone has surpassed her. Some opera lovers find her peerless in many of these performances. Personal tastes in singers vary, but no one ever sang these roles better. Few anywhere nearly so well. There is not a single note on any of these recordings that is not heartfelt to the core of her being. Like Maria Callas and Franco Corelli, she was luminous, gargantuan in her talent that personified an age. This is one of the great compilations.

Average customer rating:

Zenobia: Music of Ernesto Cordero

Manufacturer: Msr Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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General | Opera & Vocal | Styles | Music
ASIN: B00004Y6ZD
Release Date: 2000-09-26

Tracks:

En El Jardin De Lagartos
Madrugada
Renunciar
Boceto Sonora No.3
Vineta Criolla
Studio Fugaz
La Hija Del Viejo Pancho
Dejadme Llorar
Boceto Sonoro No.1
Estudio La Cubana
Boceto Sonoro No.2
Zenobia
Callate Silencio Mio
Dice La Fuente
Era Mi Dolar Tan Alto
Prld Primaverales: Prld No.1
Prld Primaverales: Prld No.2
Prld Primaverales: Prld No.3
Prld Primaverales: Prld No.4
Prld Primaverales: Prld No.5
Cantata Al Valle De Mexico: Allegro Ritmico
Cantata Al Valle De Mexico: Lento
Cantata Al Valle De Mexico: Lento

Average customer rating:

Disperato Amore

Manufacturer: Analekta
ProductGroup: Music
Binding: Audio CD

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General | Opera & Vocal | Styles | Music

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ASIN: B0007ACVP0
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Girolamo Dalla Casa: Il Secondo Libro dei Madrigali a Cinque Voci con i Passaggi

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Release Date: 2003-07-29

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