No comments about Vivaldi - La senna festeggiante / Cuberli · Müller-Molinari · Nimsgern · Cappella Coloniensis · Scimone.

1 comments about Offenbach - Robinson Crusoé / Brecknock · Kenny · Browne · Hill Smith · Oliver · Opie · Hartle · Parfitt · RPO · A. Francis.

1. There are few things that bring me greater pleasure than this. To know that nothing but the occasional highlight would be all that would exsist if not for Opera-Rara and the Peter Moores Foundation makes me want to kiss the ground that they walk on for making this magnificent recording!
   This is forgotten Offenbach at his finest! This is one of the hidden treasures that I thank god someone had the good taste and means to do something about and make sure that it reaches the public!
   This is genious, this is brilliance, this is a blessing for the artistic and operatic world for those not blind to see it.
   So many excellent preformers and what a lovely recording. What a plus that they would add long lost music to a long lost opera-comique! It gives me goose bumps to even think about it. Pure pleasure...do not deprave yourself.

2 comments about Verdi: Don Carlo.

1. Okay, so if you've heard the classy studio performances of DON CARLO on EMI, Decca, etc., and are wondering just how the opera sounds with a truly grand Italianate, idiomatic cast. HERE is where you may wish to start. Anita Cerquetti simply outsings and outshines most of her more famous competitors in the role of Elisabetta, including Tebaldi, Caballe, Mattila, etc. Christoff's Filippo is well known (via the early EMI 1950s recording and others, including a 1954 version on GOP records), and here he is superb. Giulio Neri was the Grand Inquisitor on the early EMI, his hollow, black voice resonating supremely, and once again he makes the role HIS own. Bastianini, along with Tito Gobbi, was the greatest Italian baritone of the 1950s and early '60s. His Posa here demonstrates why...once you hear HIM, you really can't listen to the "studio" Posas with the same ear, they simply pale in comparison. Fedora Barbieri is, IMHO, the very best Eboli on record, bar none. Angelo Lo Forese, while not a Corelli or Bergonzi, is certainly at home in the music and acquits himself well...he would be a superstar where he singing today. And, a word about the sound. It's okay, but not stereo, not "great" by today's standards...but it's listenable and you get used to it, because the great singing draws you in and holds you, gripping you, like only perhaps the Vickers-Brouwenstijn issue (on Myto) or some of the other live recordings manage to do. In any case, you can find this new and cheaply, if you look hard enough, or buy it second hand. You won't be disappointed.



2. This is a review with a proviso: I like live recordings. This CD is a single recorded performance in Florence, and as a result has all the usual coughs, applause etc. and sound quality which is less than crystal clear (though perfectly good enough to enjoy... no crackling or hissing, it just doesn't sound as fresh as a studio recording).
   The singing is largely excellent, and, in some cases, extraordinary. I am a big fan of Cesare Siepi, who sings King Philip, and he was in his absolute prime in the mid-1950s. His big aria (ella giammai m'amo) is wonderfully sung, and the Grand Inquisitor scene which immediately follows is a great performance of one of the greatest scenes in all opera.
   Ettore Bastianini is also in good form as Posa - he had a really exciting voice, but a regrettably short career, and the whole cast is very strong.
   I find that a live performance gives you a really interesting insight into what singers actually sounded like on a daily basis, rather than in a studio.
   Of course, the price ($68 today) is pretty horrific, and I'm not sure I could justify buying this instead of one of the best studio recordings - I got it out from the library - but it's fascinating to listen to.

2 comments about Meyerbeer - Dinorah / D. Cook · du Plessis · A. Oliver · D. Jones · M. Hill Smith · R. Earle · I. Caley · PO · Judd.

1. Dinorah (also called Le Pardon de Ploërmel) is a quaint piece about superstitious Breton peasants, with some lovely music, especially for soprano. The opera premiered in 1859, with Marie Cabel in the title role; celebrated baritone (and acquaintance of Rossini) Jean-Baptiste Faure as Hoël, the romantic lead; and Charles-Louis Ste.-Foy as the comic tenor Corentin (like Ali in Azor et Zémire). The critic for L'Année Musicale praises all three principals, as well as the goat. (A subsequent goat was less well-behaved: it butted Dinorah into the ravine and jumped in after her.)

   The opera is set in Brittany; the names Hoël and Corentin are genuine Breton names, as is the place-name Ploërmel; the pardon is a religious festival. Briefly, Dinorah's house has been burned down in a storm; Hoël, in hopes of getting money to rebuild it, has gone off in search of an enchanted treasure in a ravine. The only drag is that the first person to touch the treasure will die within a year; Hoël consequently lures Corentin into joining him in searching for the treasure. Meanwhile, Dinorah wanders about mad, as a result of Hoël's desertion. In the end, Dinorah inadvertently reveals the treasure's curse to Corentin, who now refuses to go in after it, and gets Dinorah to go into the ravine instead. She does; a storm hits; Hoël, finally recognizing her, runs in after her. The good-natured Corentin, showing no resentment of Hoël's attempt to get him killed (whioch indeed is treated rather lightly in the opera), runs to the village for aid, while Hoël, stricken with remorse, begs Dinorah to revive. She does, the two have a tender reunion, and Hoël persuades Dinorah that the previous year has only been a dream. Apparently, her house has, somehow or other, been rebuilt, since Hoël points it out to her. Given that Hoël's purpose in seeking the treasure in the first place had been to rebuild her home, this is somewhat puzzling.

   But not too much should be made of the plot of this unassuming little piece. The characterization in largely adequate, and the music quite lovely. The only major defect is the overture, which is too long. Among the musical numbers, I single out for special praise Dinorah's two arias, her lullaby to her (imagined) goat, and her Shadow Song; Hoël's two arias, especially the Act III aria, "Ah! mon remords te venge"; and the couple's final duet.The most unique feature about Meyerbeer's music is the orchestration, which is very colorful, imitating for example the goat's bell, thunder, and frequently the singer's (especially Dinorah's) voice. There are a couple of brief interludes for the villagers, but at least there's no ballet. (Not that I have anything against ballet, just not in the middle of my opera, s'il vous plaît.)

   The lead singers are Deborah Cook, who sings with ethereal beauty, particularly in the goat lullaby, the Shadow Song, and when reciting the legend of the treasure's curse, as well as the final duet; baritone Christian Du Plessis, who also sings beautifully, especially in the Act III aria, when he thinks Dinorah is dead; and Alexander Oliver, who sounds fine as the comic tenor (for example, in the Act I duet with Dinorah). The conductor is James Judd, with the Philharmonia Orchestra and the Geoffrey Mitchell Chorus (London, 1979).

   The notes are interesting and informative, though with a few errors (saying that the goat to whom the lullaby is addressed is the real goat); the libretto is riddled with spelling errors and typos.




2. This work, a staple of such prime donne as Adelina Patti and Amelita Galli-Curci, has all but disappeared from modern opera stages. Thankfully, the people at Opera Rara have produced this recording, so those of us who are curious may see just what the opera has to offer. While it is not a masterpiece, it is quite charming and filled with much delightful music, not the least of which is the most famous aria, the heroine's "Shadow Song." That aria is well sung by Deborah Cook, small and fleet of voice (not unlike Galli-Curci) and capping the aria with a high F. The rest of the singers are great, with Della Jones and Marilyn Hill Smith in small roles. It goes without saying that Opera Rara's packaging and presentation are first-rate. An important addition to operatic recordings.

No comments about Facco: Amor es todo invención Jupiter y Amphitrión.

3 comments about Puccini: Il Trittico.

1. I agree with the other reviewers comments. This is a very creditable recording with passion and intelligence. Miriam Gauci is outstanding in Suor Angelica and a lovely Lauretta in Gianni Schicci-listen to her in the often sung, rarely unforgettable chestnut O mio babbino caro-she sings it beautifully and phrases it magnificently restoring the piece as of intrinsic worth ( and not a self-indulgent star turn or hackneyed encore!) Tenor(Martinucci) and Baritone Tumagian) are quite fine in Tabarro, the soprano less so, but it ain't bad and at least she's got a lot of character as the restless, disaffected wife. Listen to the lead mezzo parts- La Frugola in Tabarro, the stone cold, implacable Princess in Suor Angelica and the crabby Zita in Gianni Schicci. Again, Baritone Eduard Tumagian is imposing as the conflicted Michele and yet light and funny in Gianni Schicci( although no one will ever erase the memory of Tito Gobbi in these parts). Still, he is very fine indeed with a rich and plushy baritone.
   Orchestra is good-at times very fine in fact! Recording levels could be higher and better focused in my opinion. But if you are looking for a recording of this work and don't want to break the bank or just want to hear some other folks musical ideas this is one for you! I think you can buy the set of three cds together or individually. Give this recording a try-it's worth the time and the money!!!



2. Though not as well recorded or luxuriantly cast as some other recordings, this is a performance one would be thoroughly satisfied with in the opera house. If, like me, one has an aversion to listening to the same big names in everything, this is worth exploring.



3. Miriam Gauci in the role of Suor Angelica is more than enough reason to buy this inexpensive but surprisingly decent version of Puccini's Trittico.

No comments about Bedrich Smetana: The Secret/Viola.

5 comments about Rossini - La Cenerentola / Valentini-Terrani · Araiza · Dara · Trimarchi · Ravaglia · Schmiege · Corbelli · Ferro.

1. I first acquired this set on LP from CBS Masterworks, and it dates from 1980. Lucia Valentini-Terrani is ideal as Cinderella, and Enzo Dara is her stepfather, Don Magnifico. Francisco Araiza is Prince Ramiro, and Alessabdro Corbelli is Dandini. The Cappella Coloniensis is conducted on this set by Gabriele Ferro, who also recorded "L'Italiana in Algeri" with Miss Valentini-Terrani. I love this set, as Miss Valentini0Terrni is the perfect Cinderella, and the finale of the opera, especially, ought to be on a fan's iPod as well. YOu won't go wrong buying this. One note: this recording uses original instrumentation, so you can hear for yourself what an orchestra would have sounded like in 1817.



2. After hearing Barber of Seville for the first time in High School, I became infatuated with Rossini's music, and searched everywhere for recordings of his other operas. I came across a recording of Cinderella ('La Cenerentola') at my college library-- Luigi Alva in the role of the Prince. It was a terrible disappointment (the singing, and I thought at the time, the music). And then one night, I watched the film of La Cenerentola by Jean-Pierre Ponelle. Frederica von Stade sang the title role, and a young lithe tenor named Francisco Araiza singing the role of the disguised prince. Never, and I repeat NEVER, had I heard such rich vocal tone, effortless agility, and masculine confidence in a tenor! And I have not since! I rushed to find a recording of Araiza singing the role to I could listen to the music over and over... and came across this magnificent recording on LP. (Araiza has since recorded this opera a second time with Agnes Balsta-- and it is excellent as well). Valentini-Terrani has a vibrant mezzo voice, and the Rossini Maestro Singer Enzo Dara sings the role of her step-father. But best of all, you get to hear the young Araiza in all of his glory! With this recording, you can hear why he became the most sought-after Rossini and Mozart tenor in the world during the 1980s. If you have this recording, I guarantee that you will listen to it over and over... a true operatic treasure!



3. Araiza is by far the best tenor who has ever recorded Don Ramiro : forget the poor Luigi Alva.



4. This is one of the classic Cenerentolas. Valentini-Terrani, with her deep rich mezzo voice, is second only to Simionato in this role. Araiza is the best Prince ever, with his voice sweeter and lighter than on his later recording with Baltsa, but still strong. I've never heard a better Rossini tenor and I've never understood why he is not more popular in the U.S. The supporting cast, especially Magnifico and Dandini, are great. This is a subtler, more serious Cenerentola than the Baltsa (just listen to Magnifico's false announcement that Cinders is "moire"--not hammed at all). A lot of fine points are brought out by the singers and orchestra. It lacks some of the fun bluster of the Baltsa (the stepsisters are not as humorous as we might like) and the storm is not so exciting, but it is superior on the whole to the Baltsa and the Simionato recordings.



5. It is stunning how well this record captures the humour and "magic" of the plot. I is a pity that you cannot listen to the splendid finale of act 1 on the amazon.com excerpts - it is outstanding and alone worth to buy the record.

No comments about Die Meistersinger von Nürnberg Schoffler Alsen Bohm (4 CD Box Set) (Preiser).

5 comments about Donizetti - Three Queens (Anna Bolena ~ Maria Stuarda ~ Roberto Devereux) Please advise if these operas come with English/Italian libretti..

1. Each of the three operas is in its own double jewel case.
   Each contains a full Italian/English libretto with background
   articles and photos.
   The three jewel cases are in a slipcase, and there is
   an additional 18-page booklet mostly of rehearsal photos.
   The set is nicely done.



2. These operas are Beverly Sills at her best. After hearing these operas no one will satisfy you. I wish they were on DVD's because Sills has to be seen and heard.



3. Well, I guess it's time I added my comments on these recordings.
   
   First, however, I'd like to say that I do not understand "bashing". This has been going on, in my remembrance at least, since Callas/Tebaldi in the 50's. How stupid is this! Does one REALLY think that two different singers, with two different voices and/or approaches to a role can be, truthfully, compared to one another? I have never understood this kind of thinking. I LOVE Callas (in nearly everything she sang), but she had an ugly voice....do I let this bother me or lead me to compare her to others??? NO! She was, unquestionably, the greatest singing actress of our time, period! Tebaldi...was there EVER a voice as beautiful as hers?? Sills...Was there ever a voice as light and as fresh as hers??? Sutherland?? She wasn't called La Stupenda for nothing, folks. I could go on, but I think the point is made. Every one of these singers (and others) are themselves, with their own interpretations of roles. Some sing some roles better than others, but bashing??? I don't think so!!! This shows one's uncomfortable shallowness quite clearly, I believe.
   
   The review:
   
   Sills had a wonderously light and silvery voice, that I find quite her own. I simply love her Baby Doe, and her Traviata, as her voice is simply made for the parts. Her Lucia is, also, really good. Casting her as the three Tudor Queens was a wonderful thing, it made her a real solid star at the New York City Opera. She was the only one singing these roles at the time, and it was good for her career, and, also, good for the music world to become familiar with these three great tragic, long neglected, works of Donizetti.
   
   But, as they were really beyond the capability of her instrument, she, eventually, damaged her voice with the parts, especially Elizabeth in Roberto Deveraux. This is, I guess, inevitable, as most singers do at some point in their careers, delve deeply into waters beyond their capability, and the downward progression begins. Repeatedly, singer after singer has done this.
   
   That aside, let me say that we are so very fortunate to have these three recordings, even with their flaws (and there certainly are flaws), both as a remembrance of Beverly Sills, and her colleagues, but also documentation of her performances and the presentation of Donizetti's works. All three of these works are so rarely performed, much less recorded, that they are a treasure for sure.
   
   Personally, Roberto Deveraux, I feel, hangs together the strongest in Mackerras' leadership. Sills is, admittedly, pushing the limits of her capabilities...but, by doing the role in sessions, she is really very good on the recording. Admittedly, in a live performance, straight through, there is the electricity of interaction with other characters on stage, taking the heights up a notch, and this is where she really did the damage to her voice. Her compatriots here are all really serviceable...we are so lucky to have this recording, why be objectionally picky? DG has done a remarkable job remastering this particular recording. I remember the ABC pressing on LP years ago, and am pleased with the care attended here to the remastering.
   
   Maria Stuarda, is, again, another special recording....Eileen Farrell came out of retirement to do this recording as a favor to Beverly, and we are very lucky to have them paired together. I must admit that I wish Mackerras was again at the helm here, however. There is no doubt in my mind that the whole would have been greater with his control and "color" on the orchestra. But, with the only other exceptions the old Callas with great cuts, and the Sutherland, we have few choices, and we take this recording most gladly. It is commendable.
   
   I feel that Anna Bolena is the weakest of the three works, but it has some extrodinary things in it, particularly the confrontation in the garden! Man, the first time I heard this, I stood right up out of my chair! Paul Plishka was a wonderful Henry, and Shirley Verrett certainly made her mark with Jane Seymour. Again, most commendable.
   
   I, as stated above, remember the old ABC LP pressings....they were terrible, as we all know! It is so wonderful to have these recordings, again, this time in pristine, lovingly remastered editions. Thank You, DG/Universal for lavishing the care on these lovely old recordings that you have for our enjoyment.
   
   A tremendous, and fitting, tribute to Beverly Sills.
   
   I might add that I feel you might wish to pick up this set very soon, as lately things have been getting re-issued in budget sets without libretti and informational booklets, and this is a shame, especially with a great set like this one. Also, noting the complaints about them being so "expensive"....come on, folks, wise up!!! You're getting three operas here for $80 or less, through secondary dealers, just how expensive does one really think this is? OK, enough preaching! Enjoy this set, and be thankful that we have it! ~operabruin



4. It is July 3rd and Beverly Sills has passed away..it is very sad, but, when you listen to these cds nothing about her career as a singer was at all sad.
   
   I treasure these and all of her other works. She was the glory of American opera.
   
   Buy all of her cds and see how persuasive they are, how ravishing, and how generous. Her presence on the Met Live Broadcasts was so invigorating, and her wonderful praise of Anna Netrbko, and others singing her repertoire. It is hard to imagine Lincoln Center without her, a presence so positive, so high vibration...
   
   The stars are brighter with her as our representative in the heavens!



5. Donizetti revolutionized the way dramatic opera was written when he penned the scores of Anna Bolena, Maria Stuarda, and Roberto Devereux. These were the operas that put tragedy on the map after a long history of Italian opera constantly refurbished for a comic ending to please the tastes of the public. Donizetti's magnificent music, with its complex runs and melodramma-infused composition, changed all of that, and history owes much of the great Verdi and Puccini dramas to Donizetti. Take the confrontation between Maria Stuarda and Elisabetta, for example. This scene alone was the inspiration for the several great soprano-mezzo confrontation scenes that would grace the plots of Aida and Don Carlo, to name a few of the operas that Donizetti influenced. Anna Bolena, one of my favorite operas, was the first opera that put tragedy on the operatic map, eliminating the necessity to give operas comic endings (remember that Tancredi had to be revised by Rossini to please the public). Roberto Devereux, a product of Donizetti's more mature musical skills, combines many of these great attributes that makes Donizetti so exciting and gives the prima donna a chance to display her vocal and dramatic prowess.
   
   Of course, the very critical art lover would scrutinize the Donizetti librettos with disdain after he slashed these operas and turned fact around to give way to dramatic fireworks. But who cares if he did this especially if Mary Stuart calls Elizabeth a "vil bastarda!?" With such dramatic pyrotechnics in these operas, one would imagine that perhaps a heftier voice with the Norma metal is needed to make these roles more vivid, such as that of Maria Callas. Beverly Sills, however, makes these roles so real, regal, and dramatically powerful that one forgets all the shortcomings that come as a result of the lightness of her voice. Among these three recordings, if I had to pick any one of them, I would say that her greatest achievement is her Roberto Devereux made with Sir Charles Mackerras. Every vocal gesture, inflection, emotion, and firework is covered by Sills with a grace and technique that escapes several of today's Elizabeths. She is the queen incarnate, and if it did cut ten years out of her career, I am only glad that she sang the queen. She is partnerred by a cast that is not up to her level, but her singing alone makes her queen worthwhile. A definitive recording there.
   
   Her Maria Stuarda is also perhaps the most satisfying account of the opera that I've heard. With Eileen Farrell as Elizabeth hurling dynamites whenever her mouth opens and Sills is superb form as Maria, I would say that this recording is my favorite Maria Stuarda on disc. The confrontation scene is simply to die for, and the last act with Sills saying her prayer is heartfelt and beautiful. Ceccato is not the most exciting conductor, but Stuart Burrows makes a very sensitive and graceful Leicester. I must add this though: if you really want to find a great Maria Stuarda, you must search very hard for a live recording of the opera from New York made in 1972 with Beverly Sills and Marisa Galvany as the colliding queens. The heat of that recording is simply out of this world and if you cannot find it, I am willing to burn you a copy. Just send me an email.
   
   Anna Bolena is no weak link either. Some people would compare this to Maria Callas' live Scala performance, a legendary night which in my opinion would never be repeated again. Sills was no Callas in terms of voice, but she was equipped with a voice that could handle the role in her own special way. Sills had a very touching Anna Bolena with a conductor, supporting cast, and a complete score that makes her Bolena essential. Her Giovanna Seymour is Shirley Verrett, a perfect foil to Sills vocally and dramatically. Verrett also sounds younger than Simionato, which is an asset to this recording of the opera. My favorite recording though, is another pirate recording. This recording is a live performance from New York with the superb, magnificent, mind-blowing soprano Marisa Galvany as Bolena, Olivia Stapp as Seymour, and Samuel Ramey's definitive Henry. A recording that must not be missed, and one that you must hunt for.