GRAMMY nominated for "Best Opera Recording"
589292
This is the only American recording nominated for the 2011 Grammy for "Best Opera Recording."  The competition is pretty fierce....amazing company for Ars Lyrica to be in.  Congratulations.
1083730
What an exceptional opera recording... I will mention quickly the solid orchestra, a very capable director, magnificent costumes, the beautifully though classically designed set and the efficient stage direction that allows singers to focus on their performance without giving the impression that they are lost on the stage...to focus on the amazing cast of singers.
Pendatchanska is superb in the appropriation of the role. the voice is wonderfully trained over its entire range. What amazes me is the way she colors it to express such violent and diverse emotions all along her performance. She incarnates Elisabeth and her conflicting torments, rage and despair by giving her voice an almost aggressive and edgy color which can even sound even disturbing for some 'over-sensitive' ears while managing to abide by all rules and standards of Bel Canto, by keeping her singing line composed and secure and her vibrato even throughout her vocal range...with truly amazing high notes... This being said, she really uses her instrument at 200% of its capacity...I am therefore wondering if this is a wise approach on a longer term. Let's enjoy the moment...
Giuseppe Sabbatini...God, what an amazing tenor... a beautiful 'light' lyrico-spinto di agilita... I mean by that he has the spinto color and focus, extraordinary projection, stunning high notes, voice flexibility - including outstanding piani/ssimi - matching all demands of the role's high tessitura...who else currently has such an easy, free, ringing full 'chest'-voice high D natural???... His musicianship is simply phenomenal...no flaw in his technique...a very clever and sensitive interpreter... His aria+cabaletta scene in jail is a moment of pure vocal grace.
Hearing his 'Nottingham', I understand why the baryton, Roberto Servile was 'sponsored' by Pavarotti. He is a charming, 'techniquewise' flawless singer of the traditional Italian school of singing with a warm lyrical baryton voice... He does not have a very varied palet of vocal colors to express but he delivers a solid performance. His acting skills - like Pavarotti to some extents :)- are average but sufficient enough here in this context.
Ildiko Komlosi interprets a charming although sometimes unidimensional Sara with her delightful voice. She, like the other interpreters, also has the 'physique' of the role which contributes to the interest of her performance vocally very satisfactory.
One negative remark though... Who gave valium to the audience prior to this performance...the 'polite and conventional' reaction to such a stunning performance at the curtain's fall is to me ridiculous... I dream of watching such opera performances every night...
This DVD is a must-buy/watch/keep/rewatch and recommend...
511184
Having eagerly anticipated this recording of  Scott Joplin's opera "Treemonisha", I purchased it immediately upon its release. On receiving it, my first impression was of the manner in which it is packaged, which makes it a good keepsake for years to come, and an excellent gift for now.  The cast led by soprano Anita Johnson gives a wonderful performance, as does the Paragon Ragtime Orchestra, led by Rick Benjamin, with their authentic orchestration. Liner notes are excellent, and the recording is made particularly special by the final track, which is a recording of Scott Joplin's closest living relative giving a brief oral synopsis in 2011 at age 91.  This is a treat for opera lovers as well as the uninitiated, and might be an excellent introduction to opera for people (and particularly persons of African descent) who consider opera as being for "other people".
10091
This is a truly wonderful recording; and all-out winner.
Manon Lescaut is one of Puccini's best works.  The arias are beautiful, and the orchestration highly effective, and the drama is even fuller than La Boheme, if not as powerful as Tosca.
The cast in this recording is truly first class, with the 'golden pair' of the era Renata Tebaldi in the title role and Mario del Monaco as the hero, supported by Corena as Lescaut.
The choir and orchestra of Santa Cecilia Academy of Rome conducted by Pradelli poured forth typically the best of Italian classicism in this all-Italian performance.
Monaco is robust in tone, but his characterisation is fully in sync with the score, and he was in prime voice in this recording, so is Renata Tebaldi in the title role. His soft singing was exquisite and his overall interpretation exceedingly tasteful and in character, fully passionate and yet refined.
The two famous arias 'In Quelle Trine Morbide' and 'Sola e Perduta Abbandonata' are so well rendered by Tebaldi that you would have to hear them to believe. Tebaldi had none of her latter flatness here, and the voice was as pure and deep as a highland glacier lake.
The duets of Monaco and Tebaldi are again highlights of this recording. If you thought that Monaco was to stolid and 'robust', you'd have to listen this recording to remove that misconception about del Monaco.
The chorus were heavenly and Pradelli got the absolutely 'right' approach in conducting this work, bringing out the full colours and emotions with good detail and great musical flair.
608355
There was much hype about the performances where this recording had taken its source from since Muti had denied Licitra the interpolated high C's in Di Quella Pira.  If anything at all, I think that is a minor quibble in what I deem to be the perfect recording of Verdi's Il Trovatore.  Unlike most conductors in the past, Muti offers a Donizettian spirit that puts Trovatore in perspective with early Verdi compared with other conductors who drive the orchestra in the mould of Aida or Don Carlo.  His conducting is exciting, clear, beautiful, dramatic, and full of nuances and colors that you would not hear in other recordings of the opera.  I think that Muti has a way with Verdi's scores that brought out the beauty, clarity, and stylistic refinement without ever sacrificing the composer's ultimate goal--the drama.  In this respect I consider Muti to be the very best conductor of this very popular but difficult Verdi masterpiece.

The cast is another aspect that sets this recording apart.  You have the magnificently sung Manrico of Salvatore Licitra, who sounds like a combination of Pavarotti and Domingo.  I think his performance is the most satisfying and Italianate account of the role I've heard in the recent years.  While he was denied the high C in "Di Quella Pira," I think the rest of the performance is one of the most vocally and dramatically satisfying ones of the discography.  His Leonora is the once-Mozartian Barbara Frittoli, agile of voice yet a perfect phraser and painter of the words.  Although I usually like heaver voices, Frittoli fits the role of Leonora like a glove and sings the runs with an accuracy unheard since the days of Callas.  Her "D'amor sull alee rosee" must be heard!  Leo Nucci sings the role of the count, and although he will never erase the memories of Ettore Bastianini, he more than makes up for what he lacks in weight with phrasing and dramatic nuances that complete our portrait of di Luna.  The Azucena in this recording is sung by the Lithuanian mezzo Violeta Urmana, who is perhaps the best mezzo soprano since Christa Ludwig.  While the voice lacks the blood-chilling, aggressive qualities of Cossotto or Simionato, her singing is unravishingly beautiful and accurate for the part of the old gypsy crone.  She is perhaps the greatest Verdi mezzo/ soprano of our day.  Giorgio Giuseppini sings the part of Ferrando very well.

I'd say that this is the most satisfying recording of Verdi's great masterpiece, and especially for Muti's conducting would I recommend it to the listener.  This, along with Karajan's 1962 performance on DG and Serafin's recording with the same company, should be a part of every Verdi lover's collection.
81008
What a find this recording is for those, like me, who had ignored it for years believing the works to be overblown and the singers past their prime. Neither is true; although Del Monaco was in vocal decline by 1969, following a serious road accident, he drew upon all his experience and expertise to produce a wonderful piece of singing - often much subtler and more shaded than when he was in his best "can belto" form, which was always exciting but a little monotonous.

Despite her relatively advanced years, Olivero's singing is inspired; she sang wonderfully well into her sixties and beyond (like a handful of great singers whose technique was so reliable: Battistini, Tucker and now Domingo). I remember reading somewhere her describing how frustrated Del Monaco became when trying to echo her exquisite pianissimi in the "Francesca" love duet; at least this indicates how sincerely he wanted to fine down his large voice for the tenderer moments.

The Zandonai excerpts are almost more appealing than the whole opera "Fedora"; such a winning mixture of verismo passion and some lyrical, atmospheric scene-setting. Both seem worthy of major revival - "Fedora" appears occasionally - although you will find that it takes a few, repeated listenings to absorb the beauty of the melodies used by both composers, often re-cycled in Wagnerian leitmotiv style. The excerpts from "Francesca" are enough to make us realise what we have been missing; "Fedora" is recorded complete with an excellent supporting cast, including Gobbi, rather dry of voice but very characterful, of course, especially in his one brief showpiece, "La donna russa". This opera also has the dubious distinctions of each act unfolding in three disparate settings (St Petersburg, Paris and the Swiss mountains - lots of echoes of Giordano's own ""Andrea Chenier", Puccini's "Tosca" and Catalani's "La Wally") and of being the first to feature a bicycle in the storyline!

This recording is a monument to two great artists and is especially valuable as a memento of Olivero - so grievously under-recorded by the big houses - who was such a consummate singing actress. The plot of "Fedora" is no more hokey than that of many other more successful operas and in any case the music is well worth the odd absurdity.
1528276
Massenet's beautiful lyrical opera is recorded here with an unequalled cast.  VonStade is absolutely delightful, Ruth Welting is absolutely enchanting; her coloratura is unparalelled in all of opera and her career  should have gone on forever.  Gedda, while miscast, is exceptional in the  role of the prince.  The recording is a must for any opera lovers'  collection.
830159
Like so many devotees of this spectacular recording, I am no fan of Bartok in general, but this piece transcends any general opinion I might have of his idiom; it is one of the most complete and involving performances in the whole operatic catalogue. Unlike some operas, whereby you simply resign yourself to sitting back and enjoying the music in spite of the risible plot or lumbering libretto ("Ernani" and "Le Villi" come to mind), or whereby the words seems to take precedence over the music (some of Hofmannsthal's more abstruse efforts for Strauss?), this opera embodies the perfect fusion between words and music, between drama and beauty of form, much as Debussy's "Pelleas et Melisande" - a clear influence on Bartok - does. No problem here with "prima la musica, dopo le parole" - or vice versa!

First, as so many have already noted, the Decca sound engineers triumphed; you would never guess that this recording is well over forty years old, so full and atmospheric is the sound. The unearthly, otherworldly groans accompanying the opening of Bluebeard's doors to his secret chambers are enough to make the hairs on the back of your neck prickle and the major chord sequence accompanying the flinging wide of the door onto Bluebeard's kingdom is one of the great moments in recording history.

The performances are also superlative; Berry has just the right combination of power and mystery in his voice and Ludwig manages to make Judith shrewish and importunate without dehumanising her or making ugly sounds - quite the reverse; her voice is in prime condition. I have to smile at other English speakers passing judgement on the authenticity of their Hungarian; I speak some other languages but have absolutely no idea whether their accents are good. They certainly sound convincing and I cannot imagine that either Kertesz or the (then) husband and wife team of Ludwig and Berry would have allowed poor preparation to scupper such a great enterprise. So pronouncements such as some English speaking reviewers make seem to me to be presumptuous, otiose and self-important; one declares that their delivery is good "even if it lacks the full bite and snap of singers emoting in their native language". How does he know? They sound snappy enough to me and I will stand correction only from a native speaker. My only regret about this recording is that the decision was not taken to include the spoken prologue which, oddly enough, is included in the BBC English language version with Gwynne Howell as a memorable Bluebeard (and Sally Burgess a bit shrill). An English translation is overlaid while another narrator intones the verse in Hungarian in the background, to haunting effect. (I should also like to hear the English version with the great Jerome Hines, but have been unable to find a copy.)

So forget any pre-conceived idea you might have about the merits of Bartok's music or your taste for it, and sample one of the greatest complete operatic experiences that a mere CD can provide. This is what opera should be - and too often, sadly, isn't.
1500641
This recording of Elisir is simply the best in many years. The opera moves at a wonderful pace, and The singing is simply superb.
Angela Gheorghiu(who is Romanian NOT GREEK!!) delivers another brillian performance. Her voice is clear and powerful as well as sweet when needed. She has yet again demonstrated that she is the foremost soprano of her generation. Roberto Alagna(her husband for those who do not already know) is a wonderful Nemorino. His voice is melodic and strong, which combined with his perfect intonation truly make him the fourth tenor. The one flaw in his performace however is his rendition of Una Furtiva Lagrima which lacks  the passion delivered by Pavarotti or Domingo.
As for the rest of the cast: Simone Alaimo as Dulcamara is fantastic. He captures the comedy of the Doctore as few before him have. His mastery of Dulcamara's difficult opening solo, leaves the listnener breathless.
Roberto Scaltriti as Belcore is a nice compliment to the rest of the cast. He more then holds his own. For the definitive Belcore however, listen to the Great Leo Nucci in the Pavarotti-Battle version.
Eva Dan's Gianneta shows glimpses of her wonderful voice and leaves one wondering what might have been.
In Summary this this is a wonderful recordin of this captivating opera. A must have!
4134812
All I can say is "Stupendous"  I have an original LP recording of this opera.  I have treasured  this opera, the box cover it came in and the Libretto.  I wouldn't give up this priceless recording of the most perfect rendition of ' Il Travatore "  When I came across your remastered operas section,  quite by accident,  and was shocked to see this particular rendition remastered.  I ordered it immediately even though I realized it won't be the same quality and ,,,,,,,,,,WOW,,,,,,,,,was I surprised !!  This CD way out performs my original copy !!  The only criticism is the CD did not come with a Libretto.  After all is said and done, this is, bar none,  the ultimate rendition of this opera and because of Amazon, I now own it,,,,,THANX !
1359147
Without a doubt, this is one of the greatest opera recordings of the  twentieth century!  The opera itself, here restored to its original form  -after metamorphosing into 'Katerina Izmailova', the original libretto (and  score) hidden from the world for thirty years- is one of the masterful  achievments of Shostakovich's life.  Rostropovich has assured himself a  high place in the pantheon of artists who have rendered incontestable  service to mankind by this recording.  Katerina's aria which opens the  opera is a remarkable piece of theatre in and of itself, not to mention a  perfect preamble of what is to come, and is radiantly sung by Vishnevskaya  in full command of her extraordinary gifts, every nuance intact, her  intimacy with the role apparent from the outset.  The blood of this score  is so entirely Russian, and so clearly purchased with that particular  life-sacrificing art peculiar to the Russian humanist aesthetic, that its  musical language reveals itself straightaway as an organic part of the  glorious continuum of Russian art, one of the reasons of course that Stalin  chose it to forge his hammer against everything truly Russian.  The  political history of this work of art, fascinating though it is, yet  remains an ignoble and indeed unimportant footnote beside the lasting  triumph of this particular opera.  Nicolai Gedda here demonstrates why he  is a legendary tenor- Sergey's grief, and what remains of his inner life  are wrought like gold at every turn; it is a performance of towering  artistry and unparalleled beauty.  The London Symphony is shocking in its  perfection, heated by Rostropovich's mystical gifts and pouring itself out  like a Russian lover.  Others more learned and capable than I have written  far more lucidly than I could hope to in praise of this eternal work of  art, yet I wish to call out the majesty of this masterpiece, encourage  others to purchase it, make it their own, and thereby give homage to a  genuinely rare human experience bequeathed to the world by Shostakovich,  here restored to its preeminent place by the irreplaceable artists and  collaborators who have understood what this work means to humankind,  especially in an age of unbelief.
1692201
This recording IS the gold standard by which all other recordings of Mussorgsky's Pictures at an Exhibition are measured!  The French edition has superb sound.  I have two other Sony recordings of this performance that are worth some explanation.  First, the Japanese edition.  The Japanese edition sounds a bit brighter to me that the French edition or Sony's Great Performances edition, and I think there may have been some additional remastering performed.  I say this because the high end of the Japanese edition is almost too bright.  I may be wrong about this, and the editions are very close to each other.  I am listening to them on a high-end system.  On more affordable systems, the difference may not be readily apparent.  Were I to choose, I would probably rank them from best sound to excellent I don't think I would place the Japanese edition at the top of the list.  Like I said, they are all very close, but I would rank them French followed by Great Performances followed by Japanese.  I would be very curious to hear other opinions of anyone who also has all three of these editions.  On to the disc at hand...

Brass is stunning.  For that matter, EVERY instrument is.  There is no tape hiss that I could detect on my high-end system.  In my listening room, proper balance was achieved by lifting the right channel by 1db which also improved center fill.  Woodwinds are perfectly sweet.  To be honest, I didn't remember that I purchased the disc last year.  When I discovered it, I was ecstatic.  The recording is just sublime.

But what about the performance?  It is perfect!  Ormandy was a consummate musician and his interpretation leaves nothing to be desired.  This is an emotionally-charged performance and it sounds like every member of the Philadelphia Orchestra had an equal number of espressos before coming to the hall to record.  To top it all off, the Great Gate of Kiev (which very often is a letdown in other performances) is absolutely thrilling.  This has to be one of the finest recordings Eugene Ormandy and the Philadelphia Orchestra ever produced.

Ravel's impressionistic Valses nobles et sentimentales is equally extraordinary in interpretation and sonics but does come with a closer listener perspective.  The performance is led by Charles Munch and the Philadelphians.  The disc wraps things up with a fine account of Roussel's Bacchus & Ariane Suite No. 2 conducted by Ormandy.

There is nothing further to say except look for this album anywhere and everywhere.  It is astonishing in every way!!!
3675213
Within this recording of Mozart's Die Zauberflote, one finds an impeccable recording with some of the greatest artists of the mid-twentieth century.  Fischer-Dieskau performs a wonderful Papageno, and is probably the best operatic role that he every performed!  Wunderlich was an amazing Tamino!  If there is any reason to buy this recording it is because of those two artist alone.  Bohm does an excellent job with selecting tempi and keeping the opera flowing.  This recording, performed by German Cast, definitely brings out the essential qualities of the Singspiel and truly maginifies one of Mozarts Greatest operas, next to Don Giovanni! I highly reccomend to anyone, to purchase this amazing recording!
359550
This is one of my favourite opera recordings.  The sound is believeable and well balanced.  Sometimes the top sound is a little harsh but the bass is very rich.  The brass & timpanii crescendo in the final moments is  thrilling.  Bohm paces the work directly, with subtle rubato and with  obvious care.  Above all it is the singing that impresses.  Reining is  simply magnificent.  She has a rock solid, creamy sound and is able to  float and soar to spectacular effect.  Lorenz is gutsy with the requisite  power to bring off the final moments.  Some may find the  dated vocal  techniques, especially of rising to notes, 'different', but I find it an  endearing record of a lost vocal tradition.  The ensemble, sense of  occasion and sheer joy of music making lift this set well above the Karajan  and Masur recordings which are more technically perfect but routine in  comparison.  I hesitated to buy such an old recording but needn't have  worried.  An easy 5 stars.
3216139
I have heard to most of the Ariadne recordings repeatedly for years, since I love this opera. I have enjoyed Karajan's sumptuous reading, Kempe's elegant reading, and Solti's, as clear and accurate as everything he left us. The singers in those three recordings were superb. But listening to Dessay singing Zerbinetta's rondo, as well as Voigt and Heppner singing the final duet is an entirely new experience, for no one before had achieved such splendid and effortless singing. Specially Heppner has no antecedent, for no tenor before had recorded the extremely difficult Bacchus part displaying such purity of tone and generosity of full sound. I have reconciled with the tenor voice, and I think that would Strauss live nowadays, would he himself reconcile too. Dessay sings and interprets, she trills as a goddess and phrases as an accomplished actress, can one ask for more? Voigt makes one believe that Ariadne is an easy part to sing. The others are all well casted, and Sinopoli's concertation is one of his best. In few words: don't miss the opportunity to hear to this recording if you love this opera. And if you still don't know this opera, listen to it very carefully, perhaps you will notice that it is a microcosmos of opera of every time.
1098614
I have always liked this recording. Birgit Nilsson demanded from Decca a new recording with her in this role, otherwise she would not let them record her Elektra. I can understand her. She loved to perform Tosca. Here she sings wonderfully. I remember reading in "Gramophone" that a critic telled how he played parts of Decca's new recording for his wife, asking her to guess who sang the title role. She only voted for the great namnes, Tebaldi and other famous Toscas. The critic took that as a high praise of Nilsson's singing and he thought she was worth it. And, indeed she is in top form here, singing with a very beautiful, rounded and absolute secure voice, from pianissimo to a gleaming forte. Corelli is fantastic, Fischer-Dieskau very good.
If you want to test miss Nilsson in the role once more, buy at once the recently published record "Birgit Nilsson p det Kongelige Theater" (=The Royal Theatre in Copenhagen), please look for this title at amazon.co.uk. Here - among other wonderful things - I can guarantee that Nilsson's version of Tosca's prayer will overwhelm you. It is the best sung version of this prayer I ever have heard, and I have been visiting opera houses and listened to records for over 30 years.
4449659
You never know with requiems, especially Verdi's.  It requires special treatment to truly excel and this one just knocked me out.  The earlier recording I had was good but in ranking well known Requiems it rated lower than the rest and yes, I listen to them and ranked Verdi at the bottom.  The whole performance was truly a work of great passion, thought and hit all the marks and now has become a favorite.
From Barenboim's wonderful interpretation and conducting, through the chorus and choir and especially the four lead performers it's pitch perfect.  Kauffman, Pape, Guaranca and Harteros are passionate, articulate and make this recording performance very worthwhile to own and compelling to hear.  Never overwrought it doesn't disappoint.