Freni Highlights - Puccini Tosca Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Freni Highlights - Puccini Tosca mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Highlights - Puccini Tosca Country: US Released: 1982 Style: Opera MP3 version RAR size: 1884 mb FLAC version RAR size: 1119 mb WMA version RAR size: 1130 mb Rating: 4.4 Votes: 953 Other Formats: ASF AAC WAV MP3 MP4 AHX MMF Tracklist A1 Santa Ampolle...Recondita Armonia 5:10 A2 Gente La Dentro...Mario! Mario! Mario!...Ora Stammi A Sentir 14:29 A3 Tre Sbirri, Una Carrozza...Finale Act 1 4:41 A4 Se La Giurata Fede...Vissi D'arte 7:12 B1 Lo Tenni La Promessa...End Of Act II 7:28 B2 Perlude...Lo De'Sospiri...E Lucevan Le Stelle 13:10 B3 Senti … L'ora E Vicina...Finale Act III 10:05 Companies, etc. Phonographic Copyright (p) – The Decca Record Company Limited Credits Composed By – Giacomo Puccini Liner Notes – Avril Bardoni Orchestra – National Philharmonic Orchestra Vocals [Cavaradossi] – Luciano Pavarotti Vocals [Scarpia] – Sherrill Milnes Vocals [Tosca] – Mirella Freni Notes Made In Holland. Related Music albums to Highlights - Puccini Tosca by Freni Puccini, Freni, Pavarotti, Ludwig, Kerns, Vienna Philharmonic Orchestra, Karajan - Madama Butterfly Highlights Puccini - Vaness, Giacomini, Zancanaro, Philadelphia Orchestra, Muti - Tosca Giacomo Puccini, Leontyne Price, Giuseppe di Stefano, Giuseppe Taddei, Herbert von Karajan, Wiener Philharmoniker, Wiener Staatsopernchor - Tosca (Highlights) Puccini / Miricioiu · Lamberti · Carroli / Slovak Philharmonic Chorus / Czecho-Slovak Radio Symphony Orchestra (Bratislava) / Alexander Rahbari - Tosca (Highlights) Various - La Bohème Giacomo Puccini, Orchestra E Coro Del Teatro Dell'Opera Di Roma, Oliviero De Fabritiis - Tosca Montserrat Caballé, José Carreras, Ingvar Wixell, Orchestra Of The Royal Opera House, Covent Garden, Sir Colin Davis - Giacomo Puccini - Tosca Giacomo Puccini - Mirella Freni · Luciano Pavarotti · Christa Ludwig · Robert Kerns / Wiener Philharmoniker / Herbert von Karajan - Madame Butterfly (Auszüge) Puccini, Birgit Nilsson, Franco Corelli, Dietrich Fischer-Dieskau, Lorin Maazel - Tosca Highlights Puccini - Maria Callas . Di Stefano . Gobbi . Chorus And Orchestra Of La Scala, Milan, Victor De Sabata - Tosca.

Copy Link

Recommended publications

Boston Symphony Orchestra Concert Programs, Season 118, 1998-1999
BOSTON SYMPHONY ORCHESTRA 1 I O Z AWA ' T W E N T Y- F I F 1 H ANNIVERSARY SEASO N 1 1 8th Season • 1 998-99 Bring your Steinway: < With floor plans from acre gated community atop 2,100 to 5,000 square feet, prestigious Fisher Hill you can bring your Concert Jointly marketed by Sotheby's Grand to Longyear. International Realty and You'll be enjoying full-service, Hammond Residential Real Estate. single-floor condominium living at Priced from $1,100,000. its absolutefinest, all harmoniously Call Hammond Real Estate at located on an extraordinary eight- (617) 731-4644, ext. 410. LONGYEAR at Jisner Jiill BROOKLINE Seiji Ozawa, Music Director 25TH ANNIVERSARY SEASON Bernard Haitink, Principal Guest Conductor One Hundred and Eighteenth Season, 1998-99 Trustees of the Boston Symphony Orchestra, Inc. R. Willis Leith, Jr., Chairman Nicholas T. Zervas, President Peter A. Brooke, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer Harvey Chet Krentzman, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson Deborah B. Davis Edna S. Kalman Vincent M. O'Reilly Gabriella Beranek Nina L. Doggett George Krupp Peter C. Read James E Cleary Nancy J. Fitzpatrick Mrs. August R. Meyer Hannah H. Schneider John F. Cogan, Jr. Charles K. Gifford, Richard P. Morse Thomas G. Sternberg Julian Cohen ex-ojficio Mrs. Robert B. Stephen R. Weiner William F. Connell Avram J. Goldberg Newman Margaret Williams- William M. Crozier, Jr. Thelma E. Goldberg Robert P. O'Block, DeCelles, ex-qfficio Nader F Darehshori Julian T. Houston ex-ojficio Life Trustees Vernon R.
[Show full text]
Giacomo Puccini Madame Butterfly Mp3, Flac, Wma
Giacomo Puccini Madame Butterfly mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Madame Butterfly Country: Germany Released: 1975 Style: Opera MP3 version RAR size: 1631 mb FLAC version RAR size: 1915 mb WMA version RAR size: 1924 mb Rating: 4.5 Votes: 894 Other Formats: WAV RA MMF MP2 VOX VOC DTS Tracklist A1 1. Akt 1:Teil 1:,,......E Soffitto...E Pareti...'' B1 1. Akt, Forts.:,,E Un Presente Del Mikado'' C1 2. Akt, Teil 1: ,,E Izaghi Ed Izanami'' D1 2. Akt, Forts.: ,,Che Tua Madre'' E1 3. Akt, Teil 1: ,,Oh Eh! Oh Eh!'' F1 3. Akt, Forts,: ,,Tu, Suzuki, Che Sei Tanto Buona'' Credits Choir – Chor Der Wiener Staatsoper* Chorus Master – Norbert Balatsch Composed By – Giacomo Puccini Conductor – Herbert von Karajan Orchestra – Wiener Philharmoniker Vocals [Cho Cho San] – Mirella Freni Vocals [Die Kusine] – Martha Heigl Vocals [Die Mutter] – Evamaria Hurdes Vocals [Die Tante] – Erna Maria Mühlberger Vocals [F. B. Linkerton] – Luciano Pavarotti Vocals [Furst Yamadori] – Giorgio Stendoro Vocals [Goro, Nakodo] – Michel Senechal* Vocals [Kaiserlicher Kommissar] – Hans Helm Vocals [Kate Linkerton] – Elke Schary Vocals [Onkel Bonze] – Marius Rintzler Vocals [Sharpless] – Robert Kerns Vocals [Standesbeamter] – Siegfried Rudolf Frese Vocals [Suzuki] – Christa Ludwig Vocals [Yakuside] – Wolfgang Scheider Notes Made in Germany Teldec Technology Direct metal mastering DMM Comes with 2 page inner Other versions Category Artist Title (Format) Label Category Country Year Freni*, Pavarotti*, Freni*, Ludwig*, Pavarotti*, Kerns*, Vienna Ludwig*,
[Show full text]
Madama Butterfly
THE OPERA THAT MAKES US ALL CRY: MADAMA BUTTERFLY Researched by George Kurti Plohn Giacomo Puccini, who lived between 1858 and 1924, was an immensely popular composer in his own lifetime, and his mature works remain staples in the repertory of most of the world’s opera companies. His opera Madama Butterfly followed his previous three greatly acclaimed operas, Manon Lescaut, La Bohème and Tosca. This opera takes place in the Japanese port city of Nagasaki at the turn of the last century, at a time of expanding American international presence. Japan at that time was hesitantly emerging of a long lasting self-imposed isolation, and Nagasaki was one of the country’s few ports open to foreign ships. Throughout this opera, the librettist and the composer focus on the mutual misunderstanding between the much unknown East and the so-called advanced West, including the nefarious practice of Westerners to arrange temporary marriages with attractive, even underage Japanese women. Puccini indeed tailored the action and his music to evoke this clash of cultures, while relentlessly turning the screw of the audiences’ pity to the self-deluding Madame Butterfly, the heroine of this opera. The title character of Madama Butterfly, by her Japanese name Cio-Cio-San—a young Japanese geisha who clings to the belief that her arrangement with a visiting American naval officer is a loving and permanent marriage—is one of the defining roles in this opera. The lyric beauty of Puccini’s score, especially the music for the thoroughly believable lead role, has made Butterfly timeless, as an opera.
[Show full text]
Bellini's Norma
Bellini’s Norma - A discographical survey by Ralph Moore There are around 130 recordings of Norma in the catalogue of which only ten were made in the studio. The penultimate version of those was made as long as thirty-five years ago, then, after a long gap, Cecilia Bartoli made a new recording between 2011 and 2013 which is really hors concours for reasons which I elaborate in my review below. The comparative scarcity of studio accounts is partially explained by the difficulty of casting the eponymous role, which epitomises bel canto style yet also lends itself to verismo interpretation, requiring a vocalist of supreme ability and versatility. Its challenges have thus been essayed by the greatest sopranos in history, beginning with Giuditta Pasta, who created the role of Norma in 1831. Subsequent famous exponents include Maria Malibran, Jenny Lind and Lilli Lehmann in the nineteenth century, through to Claudia Muzio, Rosa Ponselle and Gina Cigna in the first part of the twentieth. Maria Callas, then Joan Sutherland, dominated the role post-war; both performed it frequently and each made two bench-mark studio recordings. Callas in particular is to this day identified with Norma alongside Tosca; she performed it on stage over eighty times and her interpretation casts a long shadow over. Artists since, such as Gencer, Caballé, Scotto, Sills, and, more recently, Sondra Radvanovsky have had success with it, but none has really challenged the supremacy of Callas and Sutherland. Now that the age of expensive studio opera recordings is largely over in favour of recording live or concert performances, and given that there seemed to be little commercial or artistic rationale for producing another recording to challenge those already in the catalogue, the appearance of the new Bartoli recording was a surprise, but it sought to justify its existence via the claim that it authentically reinstates the integrity of Bellini’s original concept in matters such as voice categories, ornamentation and instrumentation.
[Show full text]
Verdi's Rigoletto
Verdi’s Rigoletto - A discographical conspectus by Ralph Moore It is hard if not impossible, to make a representative survey of recordings of Rigoletto, given that there are 200 in the catalogue; I can only compromise by compiling a somewhat arbitrary list comprising of a selection of the best-known and those which appeal to me. For a start, there are thirty or so studio recordings in Italian; I begin with one made in 1927 and 1930, as those made earlier than that are really only for the specialist. I then consider eighteen of the studio versions made since that one. I have not reviewed minor recordings or those which in my estimation do not reach the requisite standard; I freely admit that I cannot countenance those by Sinopoli in 1984, Chailly in 1988, Rahbari in 1991 or Rizzi in 1993 for a combination of reasons, including an aversion to certain singers – for example Gruberova’s shrill squeak of a soprano and what I hear as the bleat in Bruson’s baritone and the forced wobble in Nucci’s – and the existence of a better, earlier version by the same artists (as with the Rudel recording with Milnes, Kraus and Sills caught too late) or lacklustre singing in general from artists of insufficient calibre (Rahbari and Rizzi). Nor can I endorse Dmitri Hvorostovsky’s final recording; whether it was as a result of his sad, terminal illness or the vocal decline which had already set in I cannot say, but it does the memory of him in his prime no favours and he is in any case indifferently partnered.
[Show full text]
Staged Treasures
Italian opera. Staged treasures. Gaetano Donizetti, Giuseppe Verdi, Giacomo Puccini and Gioacchino Rossini © HNH International Ltd CATALOGUE # COMPOSER TITLE FEATURED ARTISTS FORMAT UPC Naxos Itxaro Mentxaka, Sondra Radvanovsky, Silvia Vázquez, Soprano / 2.110270 Arturo Chacon-Cruz, Plácido Domingo, Tenor / Roberto Accurso, DVD ALFANO, Franco Carmelo Corrado Caruso, Rodney Gilfry, Baritone / Juan Jose 7 47313 52705 2 Cyrano de Bergerac (1875–1954) Navarro Bass-baritone / Javier Franco, Nahuel di Pierro, Miguel Sola, Bass / Valencia Regional Government Choir / NBD0005 Valencian Community Orchestra / Patrick Fournillier Blu-ray 7 30099 00056 7 Silvia Dalla Benetta, Soprano / Maxim Mironov, Gheorghe Vlad, Tenor / Luca Dall’Amico, Zong Shi, Bass / Vittorio Prato, Baritone / 8.660417-18 Bianca e Gernando 2 Discs Marina Viotti, Mar Campo, Mezzo-soprano / Poznan Camerata Bach 7 30099 04177 5 Choir / Virtuosi Brunensis / Antonino Fogliani 8.550605 Favourite Soprano Arias Luba Orgonášová, Soprano / Slovak RSO / Will Humburg Disc 0 730099 560528 Maria Callas, Rina Cavallari, Gina Cigna, Rosa Ponselle, Soprano / Irene Minghini-Cattaneo, Ebe Stignani, Mezzo-soprano / Marion Telva, Contralto / Giovanni Breviario, Paolo Caroli, Mario Filippeschi, Francesco Merli, Tenor / Tancredi Pasero, 8.110325-27 Norma [3 Discs] 3 Discs Ezio Pinza, Nicola Rossi-Lemeni, Bass / Italian Broadcasting Authority Chorus and Orchestra, Turin / Milan La Scala Chorus and 0 636943 132524 Orchestra / New York Metropolitan Opera Chorus and Orchestra / BELLINI, Vincenzo Vittorio
[Show full text]
Christa Ludwig Bei Den Salzburger Festspielen
Christa LUDWIG, *16.3.1928 / 90. Geburtstag bei den Salzburger Festspielen 1955 25. Juli, 2., 8., 16., 2. Dame Felsenreitschule 26. August in DIE ZAUBERFLÖTE von Wolfgang AmAdeus MozArt Neuinszenierung Georg Solti, Dirigent Herbert GrAf, Regie Wiener PhilhArmoniker 6., 12., 18., 22., 29. Komponist Festspielhaus August in ARIADNE AUF NAXOS von RichArd StrAuss WiederAufnAhme Karl Böhm, Dirigent Josef Gielen, Regie Wiener PhilhArmoniker 1956 21., 28. Juli, 3., 10., Cherubino Festspielhaus 21., 30. August in LE NOZZE DI FIGARO von Wolfgang AmAdeus MozArt Neuinszenierung Karl Böhm, Dirigent OscAr Fritz Schuh, Regie Wiener PhilhArmoniker 2., 9., 16., 25., 29. 2. Dame Felsenreitschule August in DIE ZAUBERFLÖTE von WolfgAng AmAdeus Mozart WiederAufnAhme Georg Solti, Dirigent Herbert GrAf, Regie Wiener PhilhArmoniker 8., 13., 20., 23., 28. Dorabella Residenz August in COSÌ FAN TUTTE von Wolfgang AmAdeus MozArt WiederAufnAhme Karl Böhm, Dirigent OscAr Fritz Schuh, Regie Wiener PhilhArmoniker 1957 30. Juli, 3., 8., 13., Cherubino Festspielhaus 24. August in LE NOZZE DI FIGARO von Wolfgang AmAdeus MozArt Neuinszenierung Karl Böhm, Dirigent Günther Rennert, Regie Wiener PhilhArmoniker Aufnahme in der Reihe Festspieldokumente vorhanden ORFEO C 296 923 D 3 CD - 1992 2., 9., 18., 25. Dorabella Residenz August in COSÌ FAN TUTTE von Wolfgang AmAdeus MozArt WiederAufnAhme Karl Böhm, Dirigent OscAr Fritz Schuh, Regie Wiener PhilhArmoniker 17., 23., 29. Georgette Salzburger August in DIE SCHULE DER FRAUEN LandestheAter (UrAufführung der von Rolf LiebermAnn Salzburg deutschen, George Szell, Dirigent erweiterten OscAr Fritz Schuh, Regie NeufAssung) Wiener PhilhArmoniker Aufnahme in der Reihe Festspieldokumente vorhanden ORFEO C 429 962 I 2 CD - 1996 1958 4., 14., 19., 23., 30.
[Show full text]
Opera Recordings: a Very Personal Guide by Ralph Moore
“Untouchable” and ”Most Recommendable” Opera Recordings: a very personal guide by Ralph Moore My handful of regular readers might have noticed some glaring omissions in the list of thirty-seven major operas whose discographies I have surveyed over the last couple of years - operas whose quality and popularity are such that one might reasonably have expected me to have included them in my labours. There are, after all, probably around fifty truly first-rate operas which have been most often performed and recorded and I have by no means covered them all. I received requests to survey some of the following but on consideration, I realised that there were good reasons for my reluctance to do so. The most obvious omissions are these twelve operas: Verdi’s La traviata and Il trovatore; Wagner’s Lohengrin and Tannhäuser; Mozart’s Don Giovanni; Puccini’s La bohème, Tosca, Madama Butterfly and Turandot; Rossini’s Il barbiere di Siviglia; Donizetti’s Lucia di Lammermoor and Beethoven’s Fidelio. My reason for not having reviewed them collectively is that either the opera in question has received one or two recordings of such definitive quality that consideration of the others is otiose or there are so many good recordings of it in the catalogue that making a helpful or meaningful recommendation becomes difficult. I have therefore decided to circumvent the problem by making some brief, annotated recommendations and guidance for those major operas hitherto neglected. Obviously, my selections are highly subjective and controversial, and other collectors will be dismayed that I have ostensibly rejected their own candidates for recordings of classic status or nominated one they loathe but at the same time I think I may fairly claim that these are, in general, recordings which have stood the test of time.
[Show full text]
Strauss' Capriccio
Richard Strauss’ Capriccio - A survey of the discography by Ralph Moore Strauss’ swansong opera Capriccio is not especially well represented in the catalogue; of the 22 complete recordings listed in the CLOR catalogue, only around a dozen have ever been available on CD and the rest were on video. Of those CD issues, several are no longer available and only three are studio recordings; two are radio broadcasts and the remainder are live or live composite stage performances. I consider here ten recordings, including all three of those studio accounts. The libretto was based on an original concept by Stefan Zweig, who had fled to the USA after the rise of the Nazis and committed suicide earlier in the year of the opera’s premiere, 1942. It was further developed by his successor as Strauss’ librettist, Josef Gregor, then Strauss himself took it over before passing it to his conductor friend Clemens Krauss – incidentally, possessor of one of the most blatant comb-overs in history - who completed it with continued input from the composer. The text is witty and more enjoyable if the libretto is to hand or you speak German. Like Strauss’ domestic comedy Intermezzo, Capriccio is wordy and conversational, but its intellectual and philosophical content is certainly higher and couched in some of the most sublime music Strauss ever penned. As a result, it is more popular and frequently performed than other of his late works. It is a vehicle for a supreme singer-actress with a creamy voice and a gift for enlivening text; noted performers who made recordings include Krauss’ second wife, Viorica Ursuleac, Lisa Della Casa, Elisabeth Schwarzkopf, Gundula Janowitz, Kiri Te Kanawa and, more recently, Renée Fleming.
[Show full text]
Verdi's Un Ballo in Maschera
Verdi’s Un ballo in Maschera - A survey of the studio and selected live recordings by Ralph Moore Given the popularity of Un ballo in maschera, it is surprising how relatively few studio recordings it has received: only a dozen, considered below. I have added to those, for their worth and interest, five live radio broadcasts and two recordings of live performances. The most recent was recorded twenty-five years ago. I have excluded any not sung in Italian. It is performed and recorded under two guises: its original version, narrating the assassination of Gustavus III of Sweden and, recast to avoid the spectacle of a monarch being assassinated on stage, its adaptation under pressure from the Roman censors to a new location in Boston, Massachusetts, with the characters’ names changed accordingly; thus Gustavus rather absurdly becomes Riccardo, Earl of Warwick, governor of Boston during the British colonial period. Modern stage productions tend to revert to the Swedish setting but the only recordings below to do so are Karajan’s in 1989 and the live production with Pavarotti in Vienna in 1986. It is expertly structured, paced and balanced – close to flawless as operas go and nowhere as far- fetched in the action or as unbelievable in motivation as some others, as long as you make allowance for a bit of jiggery-pokery to do with fortune-telling and magic herbs. Its trio of main characters are credible and sympathetic; Riccardo/Gustavo is a likeable tenor-hero whose character is portrayed in some depth; he evinces the usual romantic ardour but also a sense of humour; Amelia is passionate and principled without being sentimentalised; Renato/Anckarström is not the vengeful monster of the type we see in Don Carlo in La forza del destino but a man wracked and tormented by the betrayal of his wife and best friend.
[Show full text]
Cilea's Adriana Lecouvreur
Cilea’s Adriana Lecouvreur - A Partial Survey of the Discography by Ralph Moore Of nearly seventy extant recordings of this opera, a mere four have been made in the studio, so choice in that regard is limited, especially as most punters would regretfully concede that the last studio recording – made fully thirty years ago – is not in the running, as the pair of veteran singers who made it, Joan Sutherland and Carlo Bergonzi, were sadly both past their prime. Everything since has been live; especially commendable are performances by that fine singer Nelly Miricioiu but they are mostly in poor to average sound and available only on websites which make copies of “private” recordings to order. The first recording was made in 1949 and is thus in relatively primitive, vintage sound; that leaves the field open to only two studio, stereo versions conducted by Capuana and Levine respectively. Fortunately, both of those are superb; we can cast our net wider by including some excellent, live, mono recordings starring singers of the calibre of Olivero, Corelli, Scotto, Caballé, Domingo and Carreras, but inevitably compromises have to be made regarding the quality of their sound. Critics have been exceptionally patronising about the music and I am amused by the number of times I have read the death-sentence pronounced upon this verismo opera as an absurd, cheesy, one-tune vocal slug-fest, yet it remains a perennial favourite amongst some opera cognoscenti and great singer-actresses, and it is still possible to find tenors who want to sing the relatively ungrateful role of Maurizio.
[Show full text]
21.92 More Lps, Laser Discs. Pp 164-177
LP SETS and SINGLES ALL IN EXCELLENT CONDITION (records and jackets) AND CONTAINING ORIGINAL PAPER MATERIALS, UNLESS OTHERWISE INDICATED, FOR SETS THAT ORIGINALLY INCLUDED THEM . MINIMUM BID AS INDICATED PER ITEM. A few have a small cut in the box usually on the right side. These were made by the dealer to indi- cate that the set was on sale. In some cases a small hole was punched in the upper right hand area instead. They are both indicated as “ small box cut ”. A few others have a neat plastic tape index label attached to the upper right cover and/or spine. “ Index lbl ” indicates such items. IN SUBMITTING YOUR BIDS FOR ITEMS IN THIS SECTION, PLEASE BE SURE TO INCLUDE THE CORRECT CATALOGUE NUMBER. OPERAS, OPERETTAS and EXTENDED VOCAL WORKS 5000. [FRANCO ALFANO ]. SAKUNTALA. Casapietra, Michele Molese, Tomleich, Mazzoli, dir. Ottavio Ziino. 2 LP boxed MRF 196. Factory sealed . $5.00. 5001. [ ALFANO] . CYRANO DE BERGERAC . Olivia Stapp, Johns, Blancas, dir. Maurizio Arenas. 2 2 LP boxed MRF 131. Factory sealed . $5.00. 5032. [ WILLIAM ALWYN ]. MISS JULIE . Jill Gomez, Benjamin Luxon, Della Jones, John Mitchinson, etc., dir. Vilem Tausky. 2 LP boxed Lyrita Stereo 121-2. Cover signed by Gomez, Jones and Luxon. $5.00. 5003. [DOMINICK ARGENTO ]. POSTCARDS FROM MOROCCO . 2 LP boxed set. Barbara Brandt, Barry Busse, Foreman, Hardy, Marshall, etc., dir. Philip Brunelle. 2 LP boxed Desto 7137/8. Factory sealed. $5.00. 5002. [ RAFFAELLO DE BANFIELD ] [libretto TENNESSEE WILLIAMS ]. LORD BYRON’S LOVE LETTER. Astrid Varnay, Gertrude Ribla, Carlin, Carrruba, dir. Nicola Rescigno. 1 LP.
[Show full text]