Anthony Vito Fiore - Marina Del Rey - Works great
596886
Obviously I have two of these generators.  The unit works great.  I like to see the power meter when I turn it on.  It did take me awhile to find an adapter to change the RV style connection to 120volt three prong.  Great unit.  Great generators.  Make note,  you can buy the new generators (same wattage by Honda) where you don't need this parallel unit.  That would have been the smart move.
225900
David Michael Frank can put out some awesome scores in his movies.  This whole cd is good. The songs stand on their own, even if they weren't part of Seagal's movies.
2596277
The sets are minimal in this production but that sometimes a plus because he really focuses on the singers. And in Cinzia Forte and Saimir Pirgu we have two leads who actually have voice to burn, a rarity nowadays. They sing at a comfortable level was good residence without anyone feeling pushed. And the sound quality is worth mentioning. The 5.1 recording is outstanding, it's one of the best I've heard. I got a real sense of the stage and the orchestra - it was like having good orchestra seats, without noise from thw audience. The sound for the orchestra was clear and well balanced from the deepest bass right up to the violins.
Violetta's friend Gaston was wearing a jacket we used to call "Uranium Green" and she is dressed in a red gown. The back up on the extras was a little bit on the off side but frankly they played very minor role here. Alfredo was in tones of grey. In my notes I kept referring to the sound this is so will recorded!
Unlike many recordings these days Violeta and Alfredo actually interact with each other and sing to each other. They take center stage, and at the end when Alfredo leaves after "Addio", the conductor starts with a presto and shifts to prestissimo to clear out the guests who have been at the side. Forte goes into "Ah, fors'e lui" and continues to the end alone, in a tour de force manner.
She is excellent in Act Two as well, but the scene with Germont Pere is a bit forced, as he is stiff. As soon as Alfredo returns she is able to be vulnerable again. The casino scene is very well done, starting rather fast, and gradually slowing to the end, reflecting more and more the tragedy unfolding. Alfredo winds up face down, flat on the floor, looking broken.
This production makes use of body language in a quietly effective manner that others miss.
I'm impressed with this conductor, Paolo Arrivabeni, his long arc of vision and his control of the orchestra.
The camera is intelligently used and spends all the time necessary to capture the atmosphere of each shot.
There are many large productions that would benefit from the intelligence used in presenting this one.
The great 5.1 sound doesn't hurt either.
The Third Act is fairly straightforward. No over-dramatization, no Zombie make-up, Forte lets the music speak.
I hope you'll take the chance to see this production and the 5.1 sound is really great!
403306
I have many albums by Albert Lee and they are all great.  I've seen him perform live as well.  Albert may be having trouble hitting the high notes on "Country Boy" and "Luxury Liner" as he changes the melody somewhat to accommodate a lower vocal range.  This is common to singers as they get older and is noticeable in live performances.  Nevertheless, my wife commented, as we drove along and listened in the car CD player, how much she liked it, which made me happy.  As an MP3 down load, this is great value. I haven't seen the DVD.
2020682
Although it remains one of Verdi's most popular operas, Un Ballo has had a spotty career on disc. Callas and Di Stefano are great on a studio performance on EMi but are let down by prosaic conDucting from Votto. Leinsdorg's wooden conducting also lets down Leontyne Price on her RCA set, but she was getting a bit old for the part of Amerlia already. The late-Eighties swansong uner Karajan is listeless and features an inferior Amelia in Josephine Barstow. for me, the reigning champ was the Solti set with Pavarotti and Margaret Price, a carefully prepared performance that shows off the whole opera in a veyr dramatic light with excellent work by the two leads.

Which brings us to this ultra-bargain live performance from La Scala in 1975. It is in good broadcast stereo, and there is no reason to complain about the sound as long as one keeps the source in mind. The great attraction here is the pairing of Carreras and Caballe, and they are superb, both in best voice and doing their all dramatically. the other cast members, especially ruson as Renato, keep things going at a high plane, and even the usually prosaic Milonari-Pradelli is having a good night.

Given the electicity in the air and the true Verdi spirit that prevails, I think this just might be the best Un Ballo I've ever heard. Certainly it's one of the most enjoyable.
1661459
I have just read all the reviews of this now infamous production of Faust and would like to give my input. I bought it about 2 years ago and thoroughly enjoyed it. I feel that some of the reviews have gone completely into the story, all the switching of scenes, omissions and such which I found very enlightening and don't see the need to enter into that territory. My view is pretty straight forward. I honestly bought it because of Ruggero Raimondi, and when I read the booklet I got even more excited when I saw Ken Russell's name. It's been a long time since I've seen a feature film of Russells, but I loved so many of them because they were not what was considered the 'norm'. Perhaps it was a mood of wanting to see a very traditional, long-beloved opera done differently that made me enjoy it so much. I had never seen Araiza or Benackova before, but had seen Raimondi in both the Losey 'Don Giovanni' and the Rossi 'Carmen' so I knew he could act and of course never questioned the voice. I found Araiza wonderful. Such a graceful, lyric voice that I was very drawn to his performance as I was to Benackova. Yes, she may have needed to be younger and more innocently alluring, but the sweetness of her voice and sincerity worked for me. Even though Faust seems to always want Mephisto to be gone, this devil is always looking out of windows,lurking in doorways, leering in the shadows. Sorry Faust this devil will always be around. I quite liked the scene where Mephisto appears in a glistening dark blue costume, spreads his wings and thunders into the night. Even my brother, whose musical life concentrated around Hendrix, Allman Brothers, Dylan etc., was watching this opera with me, sat bolt upright from the sofa at this sight and said "Wow'. From then on he was hooked to the point that he grabbed my arm  during the trial sequence when Raimondi appears costumed as a bishop/pope(?) and is miked in such a way that his voice is echoing all around, pulling you, shaking not only Marguerite, but you, the viewer. I found it to be very powerful theatre, the trial(which I loved because it was so dark and sinister), watching the so-called 'good villagers' pointing their finger at the demented Marguerite while above is the glistening silver light of heaven with a disgised devil all-magnificant in blue/white encrusted robes. We watch the crucifix go up and the guillotine come down, the heavenly light turning slowly into blood red. It's fun to enjoy at least vocally and visually all of this happening. I wanted to be jerked around a little bit by Russell and overall he could have gone alot crazier, but I think it was amazing theatre. Loved Raimondi!

Last thought. If you want to really be knocked off the couch then get the dvd of the Berlioz 'Damnation of Faust' done at Salzburg Festival in 1999. I have never seen this opera staged before and it took me several times to realize what the director was saying. It is the most brilliant use of Berlioz' music I have ever seen or heard. This is a visual rendition that has no equal. It will, if you let it, blow you away!
Thanks
4742687
Sonia Prina is one of the great voices in our times. Owner of a unmatched vocal coloratura, she gives treatment and interpretation singular in her jobs. Her power of variation in Vivaldian arias are strong, giving a great versatility to the posibilities of interpretation. She can make in "arie da capo" exclusive colors, following sistematically the score in first reading, and giving to us a spettacular "variazzioni" when returns "da capo", being always consistent with the dramaticity of the text and work, of the score and of the techniques, without making use of "pyrotechnics" that surprise but don't transmit what the compositon wanna tell us. The concertos also are great, do not lose anything to the vocal parts. The album repertoire is terrific. Like musicologist, collector and unconditional admirer of Vivaldi, I recommend.
2388874
Always liked Ray Anthony. Great music on the CDs and the include DVD is an interesting history of jazz and swing music. Would recommend.
297853
Exciting Luisa Miller by two of the greatest singers of their generation. Moffo and Bergonzi yield a superb performance!!. Please do not hesitate to buy this version even if already have one. This recording compares favourably against other versions available in the market both in terms of its quality and price(in that respect you could also try the DG Domingo/Ricciarelli's).
3140785
This is a reproduction of an older CD.  It contains work from Fuenllana, and pieces he rewrote for vihuela.  I love the voices of Nuria Rial and Carlos Mena, had seen the video on YouTube, and then found this CD. Most were very expensive, but this was at a decent price so I bought it immediately.  An absolute winner !
2457246
i have heard of the greats, and to some extant at least am fimiliar.  i remember caruso's voice mainly from the movie, in which the man wants to move his boat across land, and the natives put it back in the same stream going the way whence he came.  all throught the movie, he would play his victrola, and even in small pieces, i felt caruso's voice.
so i order this cd in my new appriciation for the tarantella, and its just lovely.  one thing i did not expect was to recieve a 2002 release, with a 2002 orchestra, and the original caruso blended. i most likely would have frowned upon this, for have long been a fan of all music recoreded from 1890s-1930s. so the idea of recording for a cleaner sound would have been frankly offensive.  so im glad i did not research this, odered from the word tarentella, and recieved a music that is very different from that ive experianced.  for me, its a lovely marriage, the orchestra does not sound out of place with the century old tenor recordings, as he still commands 99% of the songs.
in short, for me its not complicated, its just really beautiful music, from a very passionate singer, and that will win me anytime, i would say its a great place for new listeners to begin to figure how we have been without till now
2705477
There are so many good things about this recording. I'd never heard Giuliani's Grand Overture before and I must say, I was blown away by this performance of it. Romero plays it in such a way that it sounds like a  whole orchestra being consolodated into one instrument. He has a control  over his instrument that I have longed for. Also, one of the smoothest  versions of Recuerdos de la Alhambra I've ever heard. Definately worth the  investment
3850361
"Friday Night in San Francisco" is both among one of the greatest live recordings of all time and among the greatest classical/flamenco guitar recordings ever. The interplay is stunning between John McLaughlin, Al DiMeola, and Paco De Lucia, three of the greatest musical geniuses of our time (and I do not say that lightly...the music these three produce on their own is always full of rich texture, technical brilliance, and musical quality). This '96 recording, while not possessing the same magic as the "Friday Night..." recording (how could it, when that was one of those magical nights when everything looks, sounds, and FEELS good?), is still a wonderful piece of work. It's clear that between these three guitarists is a rapport that stands the test of time, a collaboration the likes of which most bands can only strive for, that sense of mutual cooperation and enjoyment that just enhances the goodness of the music they make. Each person has their moment to shine, either as a soloist, or as a songwriter. I am partial to "Espiritu" and "Azzura," both penned by Al DiMeola, but the opening track, "La Estiba" by Paco De Lucia tells you, right away from the first notes that this is going to be a beautiful listening experience.
This is the kind of music for any occasion. Need background music for a party? This is perfect. Need to unwind after a long day at work? Or maybe you need something to hear while at work? Pop this in. Need to feel good after feeling bad? This music will do it. This is the kind of album that reminds us why we love music in the first place. Of course nothing can rival or compare to "Friday Night...", but this comes in at a close second, and it should belong in any true music lover's collection.
3541737
Thomas Schippers was only 47 when he died, about half a dozen years after this recording of Lucia.  Earlier, he had worked with Carlo Bergonzi on the RCA Ernani in the mid-1960's, and I think it was he who premiered Barber's Antony and Cleopatra at the Met.  Lucia might not have been his last recording, but it was late in his career, and it's a fine testament to his skills -- he had a great cast, with Beverley Sills, then very much at the peak of her reputation, as Lucia, Bergonzi as Edgardo, Piero Cappuccilli as Enrico, and Justino Diaz as Raimondo.  The sound (originally a Westminster recording, now on DGG) was full and rich, the voices well-caught, and Schippers's conducting responsive to the varied requirements of the score.  The whole thing is a success, but the highlight for me is the Act 2 duet between Lucia and Enrico, in which he, her brother, convinces her that Edgardo, who has plighted his troth to her, will not return and that she should instead marry a political ally of Enrico's.  It is marvelously acted and sung, and one can get a good sense from the scene of the vocal qualities that made Cappuccilli almost the default baritone of those days -- a great voice, with lovely smoothness (which suits a relatively refined villain like Enrico) and tonal beauty.  Sills's relatively small but penetrating voice communicates perfectly the numbed vulnerability of Lucia as she believes herself deserted.  Later, Sills excels in the mad scene, complete here with glass harmonica accompaniment (and the excellent William Bennett on flute), and Bergonzi sings a poignant and beautiful final scene, richer and better paced than his earlier Edgardo (with Moffo, on RCA), good though that was.  I greatly admire the first Lucia of Callas (1953) -- darker-toned than Sills, and crazy from the get-go.  Sutherland's first Lucia is vocally spectacular (1959) and well-led by Pritchard, and I have a soft spot for Gruberova's EMI recording with Alfredo Kraus.  Still, this might be the overall best-cast one, and I wouldn't be without it.
246040
I've heard the Casales, the Ma and both are noteworthy, however, the Casales lacks the audio integrity only a modern recording can bring to the speakers and Ma gets a little heavy on the vibrato, great stuff mind you, but it's a personal preference.  Janos Starker strikes a good balance and delivers a knockout punch in his delivery.  You won't be disappointed... the work is great and is complimented by Mr. Starker's abilities and taste.  Thank you. Thank you Janos Starker.
3819612
I found this version of Rythym Del Mundo to be quite pleasing.  The audio sound is great and there is more then one stellar song to my ears.
I still like the original Rythym Del Mundo (Cuba) the best but this CD comes on strong after the 3rd or 4th listen.  It will win you over
if you like the previous efforts.
635302
Brilliant performance.  Interesting idea to play the "Gabriel's Oboe" melody of "The Mission"  on a cello instead of an oboe.  I have also heard it played on a trumpet, which, too, was outstanding.  Yo-Yo Ma and Morricone are nothing short of fabulous,  A great addition to my CD collection.