Veronica

Veronica

ASIN: B000071JXR

Track Listings

1. Veronica

2. I'm Not Impressed

3. Ersatz Samba

4. Little Waltz for Misha

5. Swing This

6. Don't Panic

7. Yerbe Buena Bounce

8. Swing '53

9. Giselle

10. DKSF

Veronica,The Hot Club of San Francisco,Panda Digital,Jazz,Jazz Music,Pop,Swing

Veronica Mars
Average customer rating:

Great Soundtrack from the Best Show Ever

I Thought.

Fantastic beyond belief

Perfect mixtape for one of the best shows on TV...

Awesome

Veronica Mars
Original TV Soundtrack
Manufacturer: Nettwerk Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B000AXWH12
Release Date: 2005-09-27

Tracks:

We Used To Be Friends (theme song) - The Dandy Warhols
I Hear The Bells - Mike Doughty
I Know I Know I Know - Tegan & Sara
I Turn My Camera On - Spoon
No Sleep Tonight - The Faders
Dakota - Stereophonics
Sway - The Perishers
Long Time Coming - Delays
On Your Porch - The Format
Ocean City Girl - Ivy
Momentary Thing - Something Happens
The Way You Are - 46bliss
Lost & Found - Adrienne Pierce
Lily Dreams On - Cotton Mather

Amazon.com

Say you're a fearless, smart, crime-solving high school student: what's on your iPod? If you're Veronica Mars, you've got a great playlist. The songs included on the "Veronica Mars" soundtrack (featured in both seasons one and two) are drawn from a pool of strong indie talent--exactly what you'd expect from a think-for-herself individual like Veronica. The Dandy Warhols' show-opening "We Used to Be Friends" sets up Veronica's emotional struggles in the deeply divided town of Neptune. And fans of the show will recall Cotton Mather's sad, Beatles-esque "Lily Dreams On" playing while a relieved Veronica dreams of her murdered best friend-- just after finally exposing her true killer. With additional tunes like Spoon's funked-up "I Turn My Camera On" and The Perishers smooth "Sway," plus the U.S. introduction of U.K. pop/punk band The Faders ("No Sleep Tonight"), the soundtrack moves through a wide range of musical and lyrical styles, yet somehow it hangs together, due in part to the eclectic nature of the show itself. Veronica aficionados will enjoy getting to know her even better through the songs chosen for this album, and newbies may soon find themselves converted to rabid fans. --Noelle Williams

Customer Reviews:

Great Soundtrack from the Best Show Ever.......2007-06-27

Some of these songs I loved when I bought it, and the rest I have come to love. Remembering them all from the series made it even better.

I Thought........2007-05-18

It's one of those cd's you have to listen to over & over again before you can begin to really like it, i honestly thought it would be alittel bit more heavier it's more pop / alternative then i wanted it to be. I was hoping it would cacth more of the music that the character veronica mars likes but they don't play alot of numetal on the tv show. Otherwise i tip my hat off to Rob Thomas the shows creator who also helped produce the soundtrack it is really good! i highly recommend this cd to anyone who is a veronica mars fan.

Fantastic beyond belief.......2007-03-02

I'm a complete "Veronica Mars" loyalist, having religiously watched the show since season 1. It was a no-brainer for me to buy the soundtrack but I was surprised by how much I would enjoy it. Usually TV show soundtracks have half the songs that you actually like, and the other half are songs you can't even remember being on the show and seem like filler. This CD is unique in that it is one of the only CDs I own where I like EVERY single track. It's amazing.

Track 1: We Used to Be Friends
Probably my least favorite on the album only because I've heard it so many times. It's still catchy and a great song, though.

Track 2: I Hear the Bells
Fantastic song by Mike Doughty. The lyrics are interesting and the melody is addictive. It reminds you of when it appeared in the show and makes you think of Logan and Veronica back in the day.

Track 3: I Know I Know I Know
One of the main reasons for me wanting this soundtrack. I remember hearing it in the episode when it originally aired. It's insanely catchy and a great song to listen to in any mood.

Track 4: I Turn My Camera On
Perfect song to emulate Veronica's job as an amateur sleuth. It has an atmospheric, funk pop feel that is extremely enjoyable.

Track 5: No Sleep Tonight
Song with a great beat. A great song to listen to if you want to get in a good mood.

Track 6: Dakota
My favorite track of the album. A mellow and amazing song that evokes times past. It sort of reminds you of the past.

Track 7: Sway
Great love song. I wasn't too keen on it at first, but it grew on me.

Track 8: Long Time Coming
Another highlight of the album. Has a funny feel to it but is very enjoyable.

Track 9: On Your Porch
Perfectly captures the turmoil and themes of the TV show. A somber and inspiring track.

Track 10: Ocean City Girl
Didn't like this song at first, but the mood it puts you in is very relaxing. Great song to just chill to.

Track 11: Momentary Thing
Screams of Veronica and Logan. Great song to bring up memories.

Track 12: The Way You Are
One of the most unique songs on the album. It's dark tones are absolutely addicting and thrilling to listen to.

Track 13: Lost & Found
A nice, sweet song that perfectly captures some teen angst.

Track 14: Lily Dreams On
I couldn't think of a better end to end the soundtrack. Words cannot express how beautiful this song is. It also ended the first season with a dreamy feel. The song can actually bring tears to one's eyes if you think about how devastating it was for Veronica to lose her best friend.

Overall, an unbelievably fantastic soundtrack. It matches the brilliant nature of the TV show. MUST BUY!

Perfect mixtape for one of the best shows on TV..........2006-11-05

I've always loved a good soundtrack. Most of the time, soundtracks are pretty crappy-just a hastily thrown together collection of some random songs that happened to appear in a movie or on a TV show. However, sometimes a film or show has a soundtrack that is just as important as the work itself. What would "Top Gun" be without "Danger Zone" and "Take My Breath Away?" What would "Pretty in Pink" be without the title song? The soundtrack to "Almost Famous" is one of my favorite albums, simply because it doesn't feel like a soundtrack--it feels like an expertly crafted mixtape. That is exactly the feeling I get when I listen to the soundtrack to "Veronica Mars."

I have loved this show since it first premiered in 2004 and I will watch it faithfully until it goes off the air (which will hopefully not be soon). Unlike many shows geared towards teens, "Veronica Mars" actually has a brain and a heart. And also unlike other teen shows, it doesn't use music as a marketing tool. Horrible shows like "The OC" and "One Tree Hill" essentially pack their episodes full of anemic "indie" music and then try to sell it to you. It isn't about creating a mood. Its about making money. "VM" is completely the opposite of this. This is clearly a show made by people who love music and don't flaunt it every chance they get. Key moments are often met with perfect soundtrack choices that enhance the mood, tell a story and make sense for the show. Fourteen of these songs are included on this amazing soundtrack.

SONG: "We Used to Be Friends" by the Dandy Warhols
WHEN IT APPEARED: This is the show's theme song. It appears before every episode, though they have rearranged it to a moodier, darker piece for the show's third season.
MY OPINION: A great, bouncy rock song that perfectly tells the story of this show. It will have you dancing and singing along in no time.

SONG: "I Hear the Bells" by Mike Daughty
WHEN IT APPEARED: Episode 2.20 "Look Who's Stalking" (Logan and Veronica talk at the alterna-prom)
MY OPINION: A gorgeous, moody song that went perfectly with an excellent scene. The lyrics are especially interesting in this one.

SONG: "I Know I Know I Know" by Tegan and Sara
WHEN IT APPEARED: Episode 2.16 "The Rapes of Graff" (Logan and Hannah get physical)
MY OPINION: Catchy, girly, sexy and unique.

SONG: "I Turn My Camera On" by Spoon
WHEN IT APPEARED: Episode 2.03 "Cheatty Cheatty Bang Bang" (Veronica spies on Kendall)
MY OPINION: A great, funky song with a pounding beat that gets under your skin.

SONG: "No Sleep Tonight" by the Faders
WHEN IT APPEARED: Episode 2.05 "Blast from the Past" (Homecoming band)
MY OPINION: Great rock song that always makes me stomp along and cut loose.

SONG: "Dakota" by Stereophonics
WHEN IT APPEARED: Episode 2.08 "Ahoy, Mateys!" (Logan pulls a gun on the Fitzpatricks at River Stix)
MY OPINION: One of my favorites on the soundtrack. Really catchy, gravelly and sexy.

SONG: "Sway" by the Perishers
WHEN IT APPEARED: Episode 2.17 "Plan B" (Veronica and Logan dance at Sadie's)
MY OPINION: A gorgeous, aching love song. Beautiful.

SONG: "Long Time Coming" by the Delays
WHEN IT APPEARED: Episode 2.01 "Normal is the Watchword" (Duncan keeps visiting Veronica and leaves her the fortune cookie)
MY OPINION: Really great, sort of fun and an awesome melody.

SONG: "On Your Porch" by the Format
WHEN IT APPEARED: Episode 2.02 "Driver Ed" (Jessie meets her father's mistress and Veronica sleeps with Duncan)
MY OPINION: Really chill and quiet. Great for relaxing.

SONG: "Ocean City Girl" by Ivy
WHEN IT APPEARED: Episode 2.08 "Ahoy, Mateys!"(Duncan's dream about Meg and finally reading her letter)
MY OPINION: Very pretty and haunting, with a relaxed, romantic feel.

SONG: "Momentary Thing" by Something Happening
WHEN IT APPEARED: Episode 1.18 "Weapons of Class Destruction" (Logan and Veronica kiss for the first time)
MY OPINION: Great song, perfect for the moment and perfectly explains the rush of new love

SONG: "The Way You Are" by 46bliss
WHEN IT APPEARED: Episode 1.11 "Silence of the Lamb" (Mac's real mother comes to see her with her adopted family; Clarence Wiedman gets the photos from Veronica)
MY OPINION: Incredibly haunting and thoughtful. Gorgeous song.

SONG: "Lost & Found" by Adrienne Pierce
WHEN IT APPEARED: Episode 2.21 "Happy Go Lucky" (Wallace and Veronica share a moment at the end of high school)
MY OPINION: A cute, catchy song that makes me smile.

SONG: "Lily Dreams On" by Cotton Mather
WHEN IT APPEARED: Episode 1.22 "Leave It to Beaver" (Veronica dreams of Lilly and finds peace)
MY OPINION: PERFECT dreamy song for Veronica to say goodbye to Lilly. Great way to end a season and a soundtrack.

In summary, this is an amazing soundtrack that feels cohesive and fits the mood of the show. Perfect. But it.

Awesome.......2006-11-03

All VM fans - the songs on the CD bring you back to some great "Veronica" moments. You have to have it!

Non-VM fans - become a fan!! The TV show is absolutely the most witty, smart, fun show out there today with absolutely awesome music!

Average customer rating:

Thrilling!!
Greatness can be whimsical!
A Sensational Opera in a Stupendous Performance
Gorgeous Griselda

Vivaldi: Griselda

Manufacturer: Opus 111
ProductGroup: Music
Binding: Audio CD

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ASIN: B000GH2WXA
Release Date: 2006-10-31

Tracks:

Allegro
Andante
Minuetto
Recitativo
Recitativo
Recitativo
Aria: Se Ria Procella Sorge Dall'Onde
Recitativo
Aria: Brami Le Mie Catene
Recitativo
Aria: Vede Orgogliosa L'Onda
Recitativo
Recitativo
Aria: Ritorna A Lusingarmi
Recitativo
Aria: Estinguere Vorrei La Fiamma
Recitativo
Recitativo
Recitativo
Aria: Alle Minacce Di Fiera Belva
Recitativo
Aria: Ho Il Cor Gia Lacero

Tracks:

Recitativo
Aria: La Rondinella Amante
Recitativo
Aria: Agitata Da Due Venti
Recitativo
Aria: Dal Tribunal D'Amore
Recitativo
Recitativo
Recitativo Accompagnato
Aria: No, Non Tanta Crudelta
Recitativo
Recitativo
Aria: Scocca Dardi L'Altero Tuo Ciglio
Recitativo
Aria: Che Legge Tiranna
Recitativo
Aria: Sonno, Se Pur Sei Sonno
Recitativo
Recitativo
Recitativo
Aria: Tu Vorresti Col Tuo Pianto
Recitativo
Recitativo
Recitativo
Terzetto: Non Piu Regina

Tracks:

Recitativo
Recitativo
Recitativo
Aria: Son Infelice Tanto
Recitativo
Aria: Moribonda Quest'Alma Dolente
Recitativo
Aira: Ombre Vane, Ingiusti Orrori
Recitativo
Aria: Dopo Un'Orrida Procella
Recitativo
Aria: Sento Che L'Alma Teme
Recitativo
Recitativo
Imeneo, Che Se' D'Amore Dolce Ardor

Customer Reviews:

Thrilling!!.......2007-03-10

A Vivaldi opera may lack the psychological depth of a Handel work in similar vein, but does it matter, not one bit when the singing is this gloriuos with pulse quickening coloratura and the sheer inventivness the of each aria. The red priest gave me a renowned appreciation of his work. Let's hope the Vivaldi Edition continues to unveil such wonders!

Greatness can be whimsical!.......2007-03-01

Singing baroque must be a test of skills for any singer, and singing Vivaldi must be a challenge that few take. Bravo for those singers like the cast of Griselda that still preserve and continue to grow this art. In Griselda, Vivaldi seems to have raised the bar higher, and taken fancy to montage voice onto overtures, and the result is quite fantastic and challenging for any singer. And no wonder, Griselda gave birth to some of Vivaldi's greatest and finest such as "Agitata", "Sento che L'Alma", "Dopo un'Orrida", and "Se Ria Procella". If the vocals are suppressed from some arias, the result is a sinfonia that stands alone quite beautifully too. Needless to say, the degree of technical difficulty is enough to make or break a singer. Casting a tenor for the role Gualtiero was clearly a great artistic call. It's refreshing. It works! Previous performances of this opera had only female voices. Not only does he get two of the most beautiful arias in the opera, but also Stefano Ferrari as Gualtiero gives a very whimsical performance in a vocal register rarely found in Vivaldi operas, the tenor. In "Sento che L'Alma teme", Stefano captures the psychological mood of the aria right on, and conveys the affliction, fear, and fright of the character. He also measures up to the task of singing coloratura and runs typically written for the heroines and villainesses in a way that sounds natural as charismatic for a male singer. His diction is fast and immaculate, never sacrificed for speed in the allegro or presto arias. Great performance!

A Sensational Opera in a Stupendous Performance.......2007-01-23

I am not generally a major fan of baroque opera -- call me a Philistine! -- but I've been hooked by the spate of releases from the French label, Naïve, which, when it is finished, will present in 100 CD sets all of Vivaldi's works found in his music library at his death. And this includes all 49 of his operas! I was intrigued by this one because it tells the tale of 'patient Griselda' whose story comes down to us from folklore as retold in Bocaccio's Decameron and, more familiarly, in the 'Clerk's Tale' from Chaucer's Canterbury Tales. It's the story of a wife who displays incredible patience in the face of the many cruel tests of her loyalty that her husband puts her through. No need to retell that story here -- except to say that Vivaldi and his librettist Apostolo Zeno (with some revision by Carlo Goldoni) soften the villainy of the husband, Gualtiero.

The music Vivaldi provides is really more a showcase for some incredible singing and abundantly satisfying music. And that is in this performance in abundance. There is some almost superhuman coloratura on display here, and there is not a single weak performance. Outstanding in the title role is the rising Canadian mezzo (although she's listed in the booklet as a contralto), Marie-Nicole Lemieux. I've been quite impressed by her recordings, mostly on Canadian labels, with the exception of the one that featured music by Brahms. Lemieux is definitely more suited to baroque music and here she is simply sensational. Her 'Brami le mie catene' in Act I is a real showpiece with sudden starts and stops, dramatic outbursts alternating with meltingly beautiful cantilena. Just as fine is her Act II scena, 'No, non tanto crudeltà'. Argentinian soprano Verónica Cangemi as Griselda's long-lost daughter Constanza is equally superb. Her second act aria, 'Agitata a due venti', is simply stunning. Simone Kermes is excellent as Griselda's rejected suitor, Ottone, and is especially notable for her management of the awkward register shifts in her Act III showpiece, 'Dopo un'orrida procella'. Tenor Stefano Ferrari is excellent as the husband, Gualtiero, although some of the incredibly difficult fioriture in his opening aria, 'Se ria procella', almost gets away from him. Countertenor Iestyn Davies delivers Corrado's Act II 'La rondinella amante' beautifully.

All of this would less effective if it weren't for the really superb orchestra, Ensemble Matheus, under conductor Jean-Christophe Spinosi's alert and sensitive guidance. The sound of the original-instruments orchestra is suitably dulcet or dramatic as required. All in all this is one of the best baroque opera recordings I've ever heard. I recommend it unhesitatingly, even for those who think they don't like baroque opera.

Scott Morrison

Gorgeous Griselda.......2007-01-03

I'm a newcomer to baroque opera and vivaldi. I now own five of his operas with Griselda being the latest. I must say I absolutely love this opera. Lemieux, Cangemi and Jarousky are superb. The coloratura is to die for and the orchestral playing is first class. Very exciting. I'm very passionate about singing, being a tenor myself and mainly singing the Mozart, Puccini, Donezetti, Verdi repertoire which is full of drama, but this is some fierce stuff. Its so refreshing to hear a tenor in this recording apart from all the "high" voices which could be a little texturally monotinous, and tenor Stephano Ferrari does a wonderful job with this demanding score. The act II trio is sublime and all the arias belonging to Cangemi and Kermes is total "madness" which I love. I would love it if Naive issue a dvd with their recording giving us a taste of these fine musicians working hard in the studio, at these operas for our enjoyment. [...]

Average customer rating:

Great Soundtrack - Great Movie - Great Actress
Very solid soundtrack - plus Sinead O'Connor
Excellent music to and underrated movie
Beautifully haunting
Hauntingly beautiful

Veronica Guerin
Harry Gregson-Williams
Manufacturer: Hollywood Records
ProductGroup: Music
Binding: Audio CD

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So Far...The Best of Sinéad O'Connor
She Who Dwells in the Secret Place of the Most High Shall Abide Under the Shadow of the
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ASIN: B0000C7PV2
Release Date: 2003-09-23

Tracks:

One More Day - Sinead O'Connor
Dublin 1996
Driving
Preparations
The Killing
Research
Traynor Lies
The Beating
Conversations
First Warning
Bad News - Brian O'Donnell
Second Warning
Deceit
Never Show Your Fear
The Funeral - Sinead O'Connor

Customer Reviews:

Great Soundtrack - Great Movie - Great Actress.......2005-08-17

To echo the other reviewers on this page, Sinead O'Conner's rendition of "One More Day" is more than worth the price of this soundtrack. Pure and simple, it is one of the most eloquently beautiful songs I've ever heard. The all too brief Gaelic version which ends this film is so haunting that you'll find yourself totally spellbound by it and the imagery which goes with it. If a tear or two doesn't come to your eye, you, my friend, are not human.

While you're lurking about Amazon.com, don't forget to pick up the DVD of this incredible film. As long as Cate Blanchett walks the face of the earth, no one should ever plan on picking up a Best Actress Oscar. Why Ms. Blanchett did not win an Academy Award for this performance defies logic.

Suffice to say you will not feel cheated if you purchase both the soundtrack CD and the DVD of "Veronica Guerin". They've both been grossly underrated. If I could give them both 10 stars, I would. Amazingly good!

Very solid soundtrack - plus Sinead O'Connor.......2005-02-08

This soundtrack contains some really nice work based on traditional Irish folk music that really hit the perfect mood for the film. It is bookended by Sinead O'Connor's performances on "One More Day" and "The Funeral" (the same tune - but in the the latter the lyrics are entirely in Gaelic). I bought the CD for those alone.

I can only describe the impact of the song in terms of its effect in the film. For someone outside the Irish culture in which it took place, Veronica Guerin's story does not have the impact that it did in Ireland. By the end of the film, though I was saddened by what I had seen, I was mostly left wondering what had really motivated this woman to pursue her expose of the Irish drug trade to the point of sacrificing her life. The film never makes this clear, probably because no one really knows. In any case, I think this is why it didn't fare well popularly in the U.S.

What was made clear was the impact of Veronica Guerin's murder in Ireland. It gripped the nation in a wave of grief and outrage that I imagine can only compare to the Kennedy assassination in America. Again, as an outsider, this was just an interesting fact - until Sinead O'Connor's performance of "The Funeral" in the final scene made it a visceral reality! As the scene of the funeral procession unfolded, my heart heard the lament of a nation in this haunting melody and I was effectively drawn in to share in their grief, suddenly no longer a mere dispassionate observer. For me it was an unusually affecting moment in film that I will not soon forget, and it made this CD a must-have.

The song stands very well on its own and is well supported by the rest of the soundtrack. Highly recommended for its own sake - but do see the film if you haven't!

Excellent music to and underrated movie.......2004-12-28

Veronica Guerin is a good movie, to put it simple. It's not ambitious and it surely fulfills its purpose, to tell the story of a very determined woman, to all of us who had no idea of who she was. This soundtrack is just amazing, it captures the essence of Irish Life and the basic tone of it is very sad and melancholic. The first and last tracks are performed by Sinéad O'Connor and they are so rich and full of emotions even if you don't understand much of it since part of the lyrics is in Gaelic. If you liked the movie tou got to have this CD. If you didn't see the movie, find it it's worth at least renting it. Either choice, this CD is great when you just want some nice music as background when you want to concentrate or don't want to be disturbed, but you certainly don't enjoy silence.

Beautifully haunting.......2004-12-01

I searched for this soundtrack for a long time after viewing the movie.I'm glad I was able to find it.I loved the movie and I love the soundtrack.

Hauntingly beautiful.......2004-08-16

Having heard of Veronica Guerin's death but knowing little about her life or work, I was very interested in seeing the film. Having Cate Blanchett in the title role was great casting and she is a treat to watch! She's so extremely talented and I don't think she's ever been better than in this role. Watching the movie and hearing the music, I knew I had to purchase the soundtrack and I'm very glad I did. Harry Gregson-Williams has created a memorable, hauntingly beautiful soundtrack and I can't help but play it over and over again. Listening to young Brian O'Donnell's SMASHING performance can send chills running down your spine and makes me think of the innocence and youth of those young people in the film whose lives were shattered by drugs. I loved reading the story of the monumental efforts it took to track down Brian after Mr. Gregson-Williams heard him singing on the streets of Dublin - it was well worth it! Sinead O'Connor's contributions should be applauded as well and greatly add to the success of the soundtrack. Unfortunately, and maddingly, it took Ms Guerin's death for the authorities to quickly change the regulations that led to increased exposure in the press and the authorities being able to apprehend the drug lords and bring them to justice. She should be honored for her tenacity and sacrifice and both the film and soundtrack are worthy memorials to her.

Average customer rating:

Another Winner from Curtis and Handel
A missed opportunity

Handel: Fernando

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Handel: Floridante
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Vivaldi: Griselda
As Steals the Morn: Handel Arias & Scenes for Tenor

ASIN: B000FIHZM8
Release Date: 2007-02-06

Tracks:

Largo
Allegro
Allegro
Recitativo: Di Mio Padre Al Furore
Recitativo Accompagnato: Voi Miei Fidi Compagni
Coro Militare: Alla Strage, Alla Morte, Alla Vittoria!
Recitativo: Madre E Regina
Recitativo Accompagnato: Rasserena, Isabella
Aria: Rendi 'L Sereno Al Ciglio
Recitativo: Giusti Numi
Aria: Forte Inciampo Al Suo Furore
Recitativo: Sancio, Mio Prence
Aria: Fra L'ombre E Gli Orrori
Recitativo: Come Piu De L'usato
Aria: Si, Si, Minaccia
Recitativo: Dionisio, Sono Anch'esi, I Re, Mortali
Aria: Il Mio Valore
Recitativo: Cosi Dunque Cospira
Aria: La Turba Adulatrice
Recitativo: Amici, Troppo Oscuro
Aria: Due Parti Del Core
Recitativo: O Diva Irene
Aria: Dite 'Pace', E Fulminate
Arioso: Padre, Germano E Sposo
Sinfonia Militare
Recitativo: Ma, O Dei, Ritorna Il Figlio Trionfante!
Duetto: Se M'ascolti
Recitativo: Fu Castigo E Non Dono
Aria: Se Discordia Ne Disciolse
Recitativo: E Cosi Tu Disprezzi
Aria: So Ch'il Ciel Ben Spesso Gode
Recitativo: Queanto Piu Sancio A Sdegno
Aria: Sento Il Cor Che Lieto Gode

Tracks:

Recitativo: Grazie Al Cielo
Duetto: Per La Porte Del Tormento
Recitativo: S'oggi Smorzati L'ire
Aria: Alle Sfere Della Gloria
Recitativo: Alfonso Amato
Aria: Vado Al Campo
Recitativo: Mio Sposo, Ahi! Qual Orrore
Aria: In Mille Dolci Modi
Recitativo: Parmi Che Un Dolce Reggio
Aria: Vola L'augello Dal Caro Nido
Recitativo: Mi Siegue La Regina
Aria: S'io Cadro Per Tuo Consiglio
Aria: S'io Cadro Per Tuo Consiglio
Recitativo: Sancio, Dov'e Il Tuo Zelo?
Aria: Cuor Di Madre E Cuor Di Moglie
Recitativo: A Deluder Le Frodi Io Mi Preparo
Aria: Sincero Affetto
Recitativo: Per La Segreta Porta
Aria: M'opporro Da Generoso
Recitativo: Correte Pure A Fiumi, Amare Lacrime
Aria: Vorrei, Ne Pur Saprei
Recitativo: Altomaro, Si renda Libero
Aria: Tiene Giove In Mano Il Folgore
Recitativo: Ah Padre, Eccoti Al Piede
Duetto: Tu Caro, Caro Sei
Recitativo: Fugga Da Questo Soul
Coro: Dopo L'ire Si Funeste

Amazon.com

Written in 1732, this opera has a curious history. The libretto, anonymously adapted from a text by Antonio Salvi, concerns the Spanish King Fernando, who undertakes to make peace between the warring Portuguese King Dionisio and his rebellious legitimate son. He is aided by Dionisio's selfless illegitimate son, his Queen, and his daughter Elvida, to whom he is betrothed, and is hindered by a treacherous Councilor pursuing his own agenda. This unflattering portrait of Portugal's royal court might have offended Britain's oldest ally, so half-way through composing the opera, Handel changed the locale and the characters' names, and re-titled it Sosarme, Re di Media. Unaccountably, he eliminated many of the narrative recitatives before the first performance, making the story less coherent and the characters less affecting.

On this recording, however, director Alan Curtis has restored the work to its original form, textually, musically and dramatically. The result is vintage Handel. The melodies are meltingly lovely; the orchestration is transparent but colorful. The music evokes and enhances the moods and images of the words: teasing dissonances and their resolution illustrate "woe" and "joy," deceptive cadences treachery. Of the seven roles, only one is a bass (the villain, naturally). Two lyrical countertenors represent the noble peacemakers, and two clarion tenors are the feuding hotheads. The mezzo-soprano is a movingly suffering Queen; her lamentations and reproaches are riveting. Elvida's soprano runs the gamut of emotion, from tremulous anxiety (with rests and hesitations), courage and determination (with stratospheric flights), to rapturous bliss in two love duets with Fernando, where instead of singing only to each other as usual, they sing together. All the parts are extremely demanding, with much florid coloratura to which the singers add further ornamentation in the da capos. The performance is beyond praise: stylistic, meticulous, clear, expressive, passionately involved, and beautiful in sound. --Edith Eisler

Customer Reviews:

Another Winner from Curtis and Handel.......2007-04-27

Again Alan Curtis has demonstrated that he is the premier interpreter of Handel's operas. The music and singing contained in "Fernando" are very soothing to the ears and uplifts your spirit. Like a fine wine it improves with every successive partaking. Not to wear you out with cliches but it truly is an oasis in an otherwise insane world. Thank goodness there is music like this being produced. If you're a fan of Handel, Baroque music, or Alan Curtis don't walk but run (i.e. click your mouse) and purchase this CD without another moment's hesitation. Don't be dissuaded that there are only two CDs contained herein. The first CD contains 71 minutes of music and the second 77 minutes. Enjoy!

A missed opportunity.......2007-02-26

Despite the presence of first rate singers Cangemi, Zazzo and Cencic in this recording, this is one of the most boring recordings of an opera I've heard to date. This must be ascribed to the unimaginative direction by Curtis, a cast otherwise containing competent to mediocre singers and an uninspired ensemble which sounds small and ineffective in the more dramatic moments. The score is not remarkable when compared with "Alcina" or "Tamerlano", however it does contain many items of interest: 'Dite pace', 'Fra l'ombre', 'Cuor di madre' to name but a few. This recording is only worth the purchase as it attempts to recreate Handel's original intention of setting the drama in renaissance Portugal instead of the mythical antiquity of Sosarme, Re di Media. The much older recording with Alfred Deller as Sosarme should remain preferable overall, as it is more energetic and engaging than this present dull recording. What this project needed in my opinion was a Minkowki or a Jacobs at the helm.

Average customer rating:

Amazing Adult Fun
best debut in 2005.

Witch's Dagger
Veronica Lipgloss & the Evil Eyes
Manufacturer: Gold Standard Labora
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

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Volta

ASIN: B0009A1AJQ
Release Date: 2005-08-23

Tracks:

Driving Thru the Rain
Mars
String Mall Glass
Just for Fun
Flickering Reels
Rats
Like Lead
Unicorn Song
Bleed to the Beat
Benny's Nightmare
Let Me See Your Eyes
Strip Mall Glass [Multimedia Track]

Customer Reviews:

Amazing Adult Fun.......2005-11-13

Veronica Lipgloss and the Evil Eyes is hands down one of the most exhilarating bands around today. The first time I saw them perform I was in awe at their energy and inventiveness and that same awe is present every time I hear something new from them. The Witch's Dagger is one of the best albums I've heard in recent years. Do yourself a favor and get this cd and catch them live when they come to your town! You will never be the same!

best debut in 2005........2005-09-30

Not too many records in 2005. are this raw,sincire,threading and easy on making you addict of it.And there is not even one debut album in 2005 with this quality.Trust me,i know what i'm saying.
While listening to "The Witch's Dagger" you may feel you are shipped in New York at the beggining of the eighties,same as you can feel you are anywhere else in 2015.The sound of sax and guitars in song Like Lead,in fact whole that tune,is reward for digging through billions of average records through the years.
And don't forget one very important thing - this is only their FIRST album!

Handel - Ariodante / von Otter, Dawson, Cangemi, Podles, Croft, Sedov, Coadou, Les Musiciens du Louvre, Minkowski

Average customer rating:

5 stars with reservations
A classic
...spoilt for choice!
Love on the rocks in Scotland
Love on the rocks in Mediaeval Scotland

Handel - Ariodante / von Otter, Dawson, Cangemi, Podles, Croft, Sedov, Coadou, Les Musiciens du Louvre, Minkowski
Ewa Podles , Les Musiciens du Louvre , Lynne Dawson , Verónica Gangemi , Richard Croft , Denis Sedov , Luc Coadou , Valérie Gabail , Glaire Delgado-Boge , Arnaud Marzorati , and Thierry Grégoire
Manufacturer: Archiv Produktion
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000060AK
Release Date: 1999-08-10

Tracks:

Ariodante: Ouverture - (Without Tempo Indication)
Ariodante: Ouverture - (Without Tempo Indication)
Ariodante - Act I: Arioso: 'Vezzi, lusinghe, e brio'
Ariodante - Act I: Recitativo: 'Ami dunque, o signora ?'
Ariodante - Act I: 'Ginevra?' - 'Tanto ardire?' - Aria: 'Orrida agli occhi miei' (Ginevra)
Ariodante - Act I: Recitativo: 'Orgogliosa beltade!'
Ariodante - Act I: Aria: 'Apri le luci'
Ariodante - Act I: Recitativo: 'Mie speranze, che fate?'
Ariodante - Act I: Aria: 'Coperta la frode'
Ariodante - Act I: Arioso: 'Qui d'amor, nel suo linguaggio'
Ariodante - Act I: Recitativo: 'T'amero dunque sempre, idolo mio'
Ariodante - Act I: Duetto: 'Prendi da questa mano'
Ariodante - Act I: Recitativo: 'Non vi turbate'
Ariodante - Act I: Aria: 'Volate, amori'
Ariodante - Act I: Recitativo:- 'Vanne pronto, Odoardo'
Ariodante - Act I: Aria: 'Voli colla sua tromba'
Ariodante - Act I: Recitativo: 'Oh ! felice mio core!'
Ariodante - Act I: Aria: 'Con l'ali di costanza'
Ariodante - Act I: Recitativo: 'Conosco il merto tuo, cara Dalinda'
Ariodante - Act I: Aria: 'Spero per voi, si, si'
Ariodante - Act I: Recitativo: 'Dalinda, in occidente'
Ariodante - Act I: Aria: 'Del mio sol vezzosi rai'
Ariodante - Act I: Recitativo: 'Ah ! che quest'alma amante'
Ariodante - Act I: Aria: 'Il primo ardor'
Ariodante - Act I: Recitativo: 'Pare, ovunque mi aggiri' - Scene 13: 'E qual propizia stella'
Ariodante - Act I: 'E qual propizia stella' - Sinfonia
Ariodante - Act I: Duetto: 'Se rinasce nel mio cor'
Ariodante - Act I: Coro: 'Si godete al vostro amor'
Ariodante - Act I: Ballo
Ariodante - Act I: Ballo: Musette I : Lentement
Ariodante - Act I: Ballo: Musette II : Andante
Ariodante - Act I: Ballo: Allegro
Ariodante - Act I: Coro: 'Si godete al vostro amor'

Tracks:

Ariodante - Act II: Sinfonia
Ariodante - Act II: Recitativo: 'Di Dalinda l'amore'
Ariodante - Act II: 'Eccolo, o amico' - Aria: 'Tu, preparati a morire'
Ariodante - Act II: Recitativo: 'Ginevra?' - 'O mio signore!'
Ariodante - Act II: Aria: 'Tu vivi, e punito'
Ariodante - Act II: Recitativo: 'E vivo ancora?'
Ariodante - Act II: Aria: 'Scherza infida in grembo al drudo'
Ariodante - Act II: Recitativo: 'Lo stral feri nel segno'
Ariodante - Act II: Arioso: 'Se tanto piace al cor'
Ariodante - Act II: Recitativo: 'Felice fu il mio inganno'
Ariodante - Act II: Aria: 'Se l'inganno sortisce felice'
Ariodante - Act II: Recitativo: 'Andiam, fidi, al consiglio'
Ariodante - Act II: Aria: 'Invida sorte avara'
Ariodante - Act II: Aria: 'Mi palpita il core'
Ariodante - Act II: Recitativo: 'Sta' lieta, o principessa !'
Ariodante - Act II: 'Mio Re' - 'Lurcanio! Oh Dei!' - Aria: 'Il tuo sangue, ed il tuo zelo'
Ariodante - Act II: Recitativo: 'Quante sventure un giorno'
Ariodante - Act II: Recitativo accompagnato: 'A me impudica?'
Ariodante - Act II: Aria: 'Il mio crudel martoro'
Ariodante - Act II: Ballo: Entree des songes agreables
Ariodante - Act II: Ballo: Entre des songes funestes
Ariodante - Act II: Ballo: Entre des songes agrebles effrayes
Ariodante - Act II: Ballo: Le combat des songes funestes et agreables - Recitativo accompagnato: 'Che vidi? Oh Dei!'

Tracks:

Ariodante - Act III: Sinfonia ed Arioso: 'Numi! Lasciarmi vivere'
Ariodante - Act III: Recitativo: 'Perfidi ! io son tradita!'
Ariodante - Act III: Aria: 'Cieca notte, infidi sguardi'
Ariodante - Act III: Recitativo: 'Ingrato Polinesso!'
Ariodante - Act III: Aria: 'Neghittosi or voi che fate?'
Ariodante - Act III: Recitativo: 'Sire, deh, non negare'
Ariodante - Act III: Aria: 'Dover, giustizia, amor'
Ariodante - Act III: Recitativo: 'Or venga a me la figlia'
Ariodante - Act III: 'Ecco la figlia' - 'Padre; ahi, dolce nome!' - Aria: 'Io ti bacio, o mano augusta'
Ariodante - Act III: Recitativo: 'Figlia, da dubbia sorte'
Ariodante - Act III: Aria: 'Al sen ti stringo, e parto'
Ariodante - Act III: Recitativo: 'Cosi mi lascia il padre?'
Ariodante - Act III: Aria: 'Si, morro'
Ariodante - Act III: Sinfonia
Ariodante - Act III: Recitative: 'Arrida il cielo alla giustizia' - Aria: 'Dopo notte, atra e funesta'
Ariodante - Act III: Recitativo: 'Dalinda! ecco risorge'
Ariodante - Act III: Duetto: 'Dite spera, e son contento'
Ariodante - Act III: Recitativo: 'Da dubbia infausta sorte'
Ariodante - Act III: Arioso: 'Manca, oh Dei!'
Ariodante - Act III: Sinfonia - Recitativo: 'Figlia, innocente figlia!'
Ariodante - Act III: Duetto: 'Bramo aver mille vite'
Ariodante - Act III: Coro: 'Ognuno acclami bella virtute'
Ariodante - Act III: Final Scene
Ariodante - Act III: Final Scene - Rondeau
Ariodante - Act III: Final Scene - Coro: 'Sa trionfar ognor virtute in ogni cor'

Amazon.com essential recording

Ariodante is one of Handel's most consistently fine operas. Yes, yes, there are whole strings of da capo arias, but they are so dramatically apt and melodically interesting that things never get tiresome. Harmonia Mundi recently released a fine recording of this opera (conducted by Nicholas McGegan and starring "La Divina" Lorraine Hunt), yet this is even better. Anne Sofie Von Otter has, in recent years, sometimes oversung in Baroque music, but her tone here is ideal--heroic and powerful yet pure. Lynne Dawson is simply spectacular throughout, her coloratura, tone, and emotional range being everything one could wish for. Contralto Ewa Podles makes a genuinely menacing arch-villain in a role taken too often by flimsy falsettists. There's not a weak link in the cast, and Mark Minkowski's conducting is consistently exciting. There is no better recording of a Handel opera out there. --Matthew Westphal

Customer Reviews:

5 stars with reservations.......2007-03-19

The singing is glorious for the most part, but the overall effect of this interpretation seems calculated and super controlled at times and at other times careless (tempi) and produces an overall effect which lacks a certain fineness and sincerity of feeling which is annoying and troubling in a subtle and not easily definable way. This is true with the exception of Lynne Dawson's interpretation which is definately definitive. The tonal colors of this interpretation are silvery compared with the deep rich bronze tone colors in the McGegan (Harmonia Mundi) version.

A classic.......2005-08-06

This is a historic recording in every respect.
Before this recording many people thought that Händel operas were all the same and mostly un-dramatic. Minkowski definitely changed this with an extremely dramatic recording. Never before we heard these extreme emotions and tempos in a Händel opera. In 1998, when the recording appeared, there were mixed reactions.
Gramophone preferred the McGegan, because Minkowski was 'over the top', but on the European continent most reviewers recognized the importance and were baffled: the French magazine 'Diapason' even attributed a 'Diapason du siècle', this means that for them this was a recording of the century.
Even now, some people still prefer the McGegan which I can not understand. Just compare the beginning of the ouverture, and you hear that Minkowski enters the drama, he gets into the music. With McGegan it's just another lovely tune in the gallant Baroque style, but this is an opera=drama! In the second part of the ouverture Minkowski has 'drive', McGegan's version already falls flat. I won't go futher into McGegan's singers, which are honorable, but can't excel in the sort of routine direction he offers. Let's concentrate on Minkowski's cast: Lynne Dawson is a definitive Ginevra. Even Gramophone said she was 'the Händel soprano of this moment' and indeed: what a beautiful voice, what technical assurance! Listen to the first act 'volate amori', and you understand what they mean by a Händel prima donna. Ecstasy in every note, the bride is extremely happy at that point, not aware of what is ahead of her.
I am normally not a big fan of Von Otter, but here she is perfectly in place. Every line she sings is heartfelt and meant. On top of that you get the bravoura e.g. in the third act 'Dopo notte', which is really liberating after all the dramatic events that preceded.
The emotional climax of this recording is 'Scherza infida' where the music almost comes to a stand-still. It's really revolutionary to go to these extremes of tempo and dynamics and it is breath-taking.
Ewa Podles is a wicked Polinesso, no pleasant voice but very convincing. And the range of her voice is simply unbelievable, listen to 'Dover, giustizia, amor' in the 3rd act and marvel. Denis Sedov was very young at the time of the recording, but what a noble king! He has the greatest entrance : he interrups the da capo of the Ginevra-Ariodante duet 'prendi da questa mano' with a great line 'Non vi turbato, bell'alma innamorate' which can not sound more lovingly parental. Veronica Cangemi and Richard Croft conclude the cast of first-rate singers and the fact alone that they can keep up with Minkowski's extreme tempos is admirable.
I own over 50 Händel opera and oratorium recordings, and this is definitively one of my favorites (others are Nelson's Semele, Christie's Orlando and Hickox' Alcina). It is certainly the one I admire most, because everything is right.
But you must see a Händel opera as drama, and not just a chain of beautiful tunes ...

...spoilt for choice!.......2002-04-24

This review is a bit of an addendum to the one I wrote about the McGegan Ariodante. How lucky we are to have both his and Minkowski's superb recordings, so different yet both alive with vocal and dramatic excitement.

I've mentioned that I choose McGegan over Minkowski and it is for a number of reasons. That said, I feel that both are really excellent and either is a good choice. My main reservation about this set concerns the conducting. The tempos are all so extreme - on the one hand, Scherza Infida is so slow as to almost cripple poor von Otter (she's a good enough artist to get through - but it's a real challenge for the listener). Then on the other hand, much of the dance music and many of the arias (poor Veronica Cangemi in Dalinda's Act 1 number!) is taken at very, very high speed. The sound made by the Musiciens du Louvre is vibrant and alive but lacks the refinement and beauty of McGegan's orchestra. Minkowski is liberal - sometimes to a fault - with ornaments, and I feel that occasionally less would be so much more.

Fewer reservations about the singing. Von Otter is a wonderful hero, full and radiant of voice, rock-solid and exciting of technique. If she made just a little more of the words she would be the Ariodante of our time. Dawson's Ginevra has been highly praised here and elsewhere and whilst she sings most beautifully and with bags of feeling, I (heretic that I am!) find her range of vocal colour just a bit limited. Cangemi's voice is accurate but thin, whilst thin is never a term that could be applied to Podles' mighty contralto. She's not a subtle singing actress, but the sheer power and security of her singing is what impresses. Croft is certainly an improvement on his Harmonia Mundi counterpart.

A very, very good recording that for me isn't quite the equal of its main rival, but certainly wouldn't disappoint any Handel lover. Five stars, and no mistake.

Love on the rocks in Scotland.......2001-01-08

"Ariodante" (1735) was intended for some of the leading performers of Handel's time. Stiff competition from Nicola Porpora and the threat of bankruptcy `forced' Handel to write works of higher quality for the first time since the Big Three: "Giulio Cesare" (1724), "Tamerlano" (1724) and "Rodelinda" (1725).

Two things make "Ariodante" and its sister opera "Alcina" (1735) exceptional: 1. singers of the four major voice categories (i.e. soprano, alto, tenor and bass). Often Handel operas do without low male voices, e.g. "Teseo" (1713) and "Amadigi" (1715). 2. the services of the notorious French ballerina Mlle. Salle and her ballet troupe.

The instrumentation of "Ariodante" is not as grand as in "Giulio Cesare", "Rinaldo" (1711) or "Teseo" which are designed to make a splash and to ravish the senses. In "Ariodante" the orchestra is `down-scaled' to strings, oboes, horns and continuo - a trumpet also appears when Ginevra is vindicated. Handel utilises the orchestra in such a way that the sound world varies from one aria to the next to capture the right mood to reflect and propel the drama.

Minkowski is onto something great with his version - and what an inspired reading it is! He keeps the drama moving at a fast pace (maybe too fast sometimes, like Dalinda's final aria). It's hard to believe it, but the singers and wonderful orchestra keep up with him in this live recording.

Minkowski has Anna Sofie von Otter as Ariodante, the role created for the talented castrato Cusanino. Handel wrote exceptionally demanding and expansive coloratura arias for Cusanino (see Teseo's arias in "Arianna in Creta"). Von Otter sings with a clinical precision that can be hard to listen to at times and her already androgynous voice does not lend much appeal to her interpretation; like Fischer-Dieskau she tries to colour every note and syllable to make it more meaningful - too much spice is just as undesirable as too little - but she sings the zipping coloratura of the first version of "Con l'ali" with unequalled skill! For me "Scherza infida" suffers the most from her overbearing colouration of the vocal line, and "Dopo notte" does not touch Janet Baker's first exulted recording. Nonetheless, I think few mezzos today can equal von Otter in this repertoire.

The Ginevra, Lynne Dawson, delivers an uneven performance. In moments Dawson's singing can be exquisite and in others painful. She does have a very beautiful voice, but at times she sounds strained. The demands placed on Anna Strada del Po, who first created this role, seem unreasonable at first - until you listen to Edith Mathis do justice to this role on the Leppard set.

Veronica Cangemi sings Dalinda. Her runs are delivered at a cracking pace - and one wishes sometimes that Minkowski had given her more breathing space, literally and figuratively. Even in the more reflective moments her character comes off like Blondchen on 78 speed. But she delivers the goods at all times.

Ewa Podles sings ("sings" being the understatement of the century) Polinesso. Nothing can quite describe how Podles transforms Polinesso's less spectacular music into something special. She delivers the most outstanding performance on this recording, turning every aria into a Gala Event! No words can convey the talents of Podles: coloratura, high notes, low notes, long phrases - none holds any terror for this incredible ARTIST. Perfect diction, perfect colouration of the vocal line without resorting to ham effects make it a complete mystery why this underrated singer is not more widely recorded.

Richard Croft as Lurcanio has the least interesting character next to Odoardo in this opera, but he brings Lurcanio to life in his arias. Croft's "Il tuo sangue" is probably one of the most exciting recorded Handel arias ever.

Denis Sedov as the The King has a beautiful, full and flexible bass voice. He has a few stunning arias, and he delivers a very fine performance.

"Ariodante" can really be seen as Handel's "Cosi". In both operas the focus is on the emotional turmoil of the characters and not the social implications of their actions. Two moments stand out here: the sinfonia introducing Act 2 and the first Ariodante/Ginevra duet. The King interrupts them before they can continue with the da capo!

"Ariodante" is not just pretty music. Handel was always ahead of his contemporaries: in "Io ti bacio" Ginevra leaves her father to await execution. The introduction consists of four notes in the continuo. Then the violins alone accompany the vocal line in unison until all the instruments join in harmony on a Neapolitan chord - the 18th century chord to convey great despair. Most revolutionary is the second Act ending with an accompanied recitative to reflect Ginevra's madness - in the Baroque era this is unheard of. Then there is the intimate Lurcanio/Dalinda duet which starts of as an aria for Lurcanio, but when you expect the B section to start Dalinda joins, and what magic, what bliss, when their voices unexpectedly unite in harmony at the end with the tenor singing a 3rd above the soprano - very Puccini! Mozart is said to have remarked: "Handel understands effect better than any of us - when he chooses, he strikes like a thunderbolt..."

I cannot resist mentioning the consecutive arias: Ginevra's "Volate amore"; The King's "Voli colla sua tromba" and Ariodante's "Con l'ali di costanza" which caused Burney to complain of Act 1 having nothing but "wings and flying"!

Love on the rocks in Mediaeval Scotland.......2001-01-08

Denis Sedov as the The King has a beautiful, full and flexible bass voice. He has a few stunning arias, and he delivers a very fine performance.

Tracks:

Overture: Night Waltz
Now/Later/Soon
The Glamorous Life
Remember?
You Must Meet My Wife
Liaisons
In Praise Of Women
Every Day A Little Death
A Weekend In The Country
The Sun Won't Set
It Would Have Been Wonderful
Perpetual Anticipation
Send In The Clowns
The Miller's Son
Finale: (Reprise Of Send In The Clowns And Night Waltz)

Customer Reviews:

"The Definitive Recording".......2004-04-02

Having finally listened to the Original Broadway Cast Recording of this masterpiece, my verdict's in and clear: the London Cast Recording is the definitive version.

The voices of the London Cast are, to a man (and woman) far superior -- this is most obvious when listening to the Quartet who open the show, and act as the chorus. The American artists, while excellent, simply can't compare to the power, range and tone of the Brits.

The arrangements are gorgeous, the choral work astounding, and the version of "The Miller's Son" found here will floor you. Not only the best recording of this particular show, but possibly the best recording of any Sondheim show available on CD -- Sweeney Todd is the only other contender, for my money.

The Orginal Cast Recording is great for a historical value. The British Cast is what you listen to when you want to hear the best show you'll never have the privilege of seeing. It's ruined me. But I'm not complaining.

Sondheim's Greatest.......2003-07-10

I'm of the mind that A LITTLE NIGHT MUSIC (and SWEENEY TODD) are Sondheim's two greatest works. Why? Because they drip with intelligence and exist entirely within the world of the music. NIGHT MUSIC is propelled by the steady pulse of 3/4, creating the impression that none of the characters would ever come to the realization that they are merely parts being acted and presented on stage--it happens in its own little universe. It's so yummy...

Having said that, I conclude that the perfect cast album could only be completed with the physical presences of Desiree Armfelt and Fredrik Egerman and the rest of the gang. It seems that, when approaching these personalities, actors and actresses treat the music as the music and not as a phase of the dialogue--they don't attack the parts with the brand of boldness and self-importance that each of these characters possesses. The London cast album suffers from such problems. None of the performers have the arrogant voices needed (unfortunately, only a couple have achieved voices somewhat-worthy of the score). Henrik cannot hit the high notes (he goes into falsetto); Charlotte is too shaky to be sufficiently biting; Fredrik seems too feminine; the Count--goofy instead of condescending--seems molded from Sesame Street. The quintet features voices too uneducated and careful. Still, Anne is cutely bubbly (even in voice), Petra is a fine belter, and Hermione Gingold as Mme. Armfelt really makes the listener savor every consonant in her speech. It is an excellent archive of Sondheim's greatest. I would recommend this over the New York cast simply because Jean Simmons creates the closest Desiree I could ever imagine.

Not comparable to the broadway recording.......2002-09-03

The performances are adequate, in some cases skillful, but from the opening note of the show (which the chorus member, in a misguided attempt at humor, aborts in order to insert a racous throat-clearing), this recording lacks the taste and dignity of its Broadway counterpart. I do not recommend this recording.

A wonderful CD release.......2002-02-15

I, ofcourse like so many other reviewers of the same cd, own both the London and original Broadway cast albums, and frankly the London recording does laps around the original. First- I will admit Jean Simmons is not the ideal Desiree, but what she lacks in beauty and glamour makes up for Glyniss Jhon's creaking melodies. There is no song on this recording that is worse then the original, and very few actors ( ofcourse, who could top the original Fredrick, definately including this one). Anne is supurb. Her voice is extremely beautiful, and makes up for the corny fluffieness of the original Anne, and her expression in such songs as " A Weekend In The Country" is simply hillariously funny. This Charlotte is also devistatingly wonderful, with her delicious voice, although you can't realy balance the two Charlottes out (the other from the original), as they play the charector with much difference. This Petra is also stunning, especially in "The Miller's Son," which is recomended in all of these reviews. And what a great operetta Quintet, along with Hermoine gingold's wonderful aged performance. All the male parts are also met to the very top, especially Henrick.
A few of my favorite songs on this album is the wonderfully light and fast paced, elegant little romp of "A Weekend In The Country," and "The Glamorous Life" (which has always been my favorite song from the production, with a much better Fredricka then the origianl).
In conclusion, this recording should certainly be bought by "A Little Night Music" fans, and especially Stephen Sondheim,in the words of another reviewer,who's lyrics are the real star,

a beautiful recording.......2001-12-19

After proving to producers that she could handle performing the role of Desiree on the National Tour, Jean Simmons was asked to come to London to debut with the show at the Adelphi Theatre. Running for a little over 400 performances the show also featured Hermione Gingold reprising her role of Madame Armfeldt.

Ms Simmons is quite affecting as the flighty and insecure Desiree who feels she is ready to pursue romance after years of broken promises and false hopes.

Gingold, now qute comfortable and honed in her role; performs the comical and contemplative "Liasons" wonderfully.

Stephen Sondheim's most complex and multi-faceted score is given a grand treatment here. Almost certainly this is Sondheim's most interesting and most beguiling score which runs the entire gamut of emotions.

Tracks:

All'erta! All'erta!
Di Due Figli Vivea Padre Beato
Che Piu T'arresti?
Tacea La Notte Placida E Bella In Ciel Sereno
Di Tale Amor, Che Dirsi Mal Puo Dalla Parola
Tace La Notte! ... Il Trovator!
Deserto Sulla Terra ... Anima Mia!
Infida!... - Qual Voce!
Di Geloso Amor Sprezzato ... Un Istante Almen Dia Loco Il Tuo Sdegno Alla Ragione
Vedi! Le Fosche Notturne Spoglie ... Chi Del Gitano I Giorni Abbella? (Anvil Chorus)
Stride La Vampa!
Mesta E La Tua Canzon
Soli Or Siamo; Deh, Narra Quella Storia Funesta ... Condotta Ell'era In Ceppi
Non Son Tuo Figlio?
Mal Reggendo All'aspro Assalto
L'usato Messo Ruiz Invia!
Perigliarti Ancor Languente Per Cammin Selvaggio Ed Ermo!
Tutto E Deserto
Il Balen Del Suo Sorriso
Qual Suono! ... Ardir!... Andiam
Per Me, Ora Fatale, I Tuoi Momenti Affretta
Ah!... Se L'error T'ingombra, O Figlia D'Eva, I Rai
Perche Piangete?
E Deggio... E Posso Crederlo? ... Urgel Viva!

Tracks:

Or Co' Dadi, Ma Fra Poco Giocherem Ben Altro Gioco
Squilli, Echeggi La Tromba Guerriera
In Braccio Al Mio Rival! ... Che Fu? ... Innanzi, O Strega
Giorni Poveri Vivea ... Tu Vedi Chi L'infame, Orribil Opra Commettea
Deh, Rallentate, O Barbari, Le Acerbe Mie Ritorte
Quale D'armi Fragor Poc'anzi Intesi?
Ah! Si, Ben Mio; Coll'essere Io Tuo, Tu Mia Consorte
L'onda De' Suoni Mistici ... La Zingara, Vieni, Tra Ceppi Mira
Di Quella Pira L'orrendo Foco ... All'armi! All'armi!
Siam Giunti: Ecco La Torre
D'amor Sull'ali Rosee Vanne, Sospir Dolente
Miserere ... Quel Suon, Quelle Preci Solenni ... Ah, Che La Morte Ognora E Tarda Nel Venir
Tu Vedrai Che AMore In Terra Mai Del Mio Non Fu Piu Forte
Udiste? Come Albeggi, La Scure Al Figlio, Ed Alla Madre Il Rogo
A Te Davanti. - Qual Voce!
Mira, Di Acerbe Lagrime Spargo Al Tuo Piede Un Rio
(Vivra!... Contende Il Giubilo I Detti A Me, Signore...)
Madre?... Non Dormi? ... Vedi?... Le Sue Fosche Impronte
Si; La Stanchezza M'opprime, O Figlio
Che!... Non M'inganna Quel Fioco Lume?
Parlar Non Vuoi?
Ti Scosta... - Non Respingermi
Prima Che D'altri Vivere... Io Volli Tua Morir! ... Sia Tratto Al Ceppo!

Amazon.com

This is Andrea Bocelli's third complete opera recording--after La bohème and Tosca. Manrico is a role to which his type of lyric sound is completely unsuited. How odd it is then that it should be the most successful one to date! Some of the problems persist, but all of them to a lesser degree than previously: a sameness of delivery regardless of situation, forcing the voice for volume (the engineers have recorded the whole opera at such a high volume that everyone sounds as if they're yelling), and, in general, just sounding as if he's trying on shoes which are too big for him. On the other hand, "Di quella pira" is thrilling, with a blazing high C at its close, and, at times, Bocelli actually sounds ardent and caring. The rest of the cast is good without approaching greatness, with Veronica Villaroel singing at times quite beautifully as Leonora and at other times sounding dead. Carlo Guelfi offers fine legato and power as di Luna, and Elena Zaremba is an energetic Azucena. Mercurio conducts the note-complete performance with energy. Bocelli fans will need this in their collections. --Robert Levine

Customer Reviews:

HORRIBLE.......2006-12-08

I purchased this CD because I love this opera...I listened to it and it was not half bad...after all how bad can Verdi be?.... but then I just listened to a recording of a live performance of Il trovatore with Franco Corelli and Leontyne Price...and I will never listen to the Bocelli CD again..it is garbage...

A recording to enjoy...............2005-04-11

I love opera,Italian operas especially.I have a good collection, both on film and CD's.I have never enjoyed one more than this one.I find I can listen to 'Trovatore daily,in fact I am so enamoured of the the last two acts,it's a wonder I havenot
worn it out.There seems to be a clinical dissection of anything Bocelli does.I have listened to three other recordings of this opera and each has it's own interpertation by the artist performing.They are very different.I do not listen to opera to
dissect the performance line by line,note by note.I listen for the overall quality and effect I feel from the performers.Yes,I could write a more technical review,but for this one,no.Suffice it to say that Bocelli brings a new and different feeling.This does not mean it is right or wrong it means that it is just different,and startlingly beautiful.To me opera is about feelings and those who don't recognize the intense feelings delivered by Bocelli have not opened their ears and more importantly their minds.I fear it has become the "fashion"to only praise tenors who bellow at the top of their lungs.Perhaps Bocelli will never get the praise he deserves.Could it possibly be those who do nothing but critize,just have a problem with his success?Forget the critics,buy this CD turn the lights low,make yourself comfortable,and enjoy !!! Then go buy Tosca if you haven't gotten it yet and if you like sacred music,don't miss DVD Sacred Arias.There are few artists whose voices are instantly recognized.Callas,Pavarotti and Bocelli.None were/are as successful as Bocelli,may he continue to persevere and make many more recordings for us to enjoy.

Fairly close to the WORST version out there.......2005-03-09

This is actually a horrible recording, simply terrible, and I have to admit, I thoroughly enjoyed listening to it. Quite a contradiction, isn't that. Well, not really, this is VERDI, and well, this goes to show that no matter how horrible the singers are, how boring the conductor is (and he is really dull most of the time) and how expressionless the entire concept of the opera as a whole is, it is still great music. And it still can just sweep you away.

Unlike a few reviewers think, THIS IS CLASSICAL OPERA. There is no such thing as popular opera, even if there are many operas that are well loved and constantly in the repertoire of all opera companies. Carmen is one of the most beloved operas, as is Aida, but no one would dare to call them "popular opera" and then wish them sung by pop stars. Trovatore was written and premiered in 1853, that is over 150 years ago, that is no longer popular. Besides, even when it was the most popular opera around and all its tunes could be heard on barrel organs around the country, there was still a standard required by the singers singing it.

This opera, like all opera, requires good voices, ones with real "squillo." (this term is an Italian term meaning, RING, penatrating power, something not to be confused with volume or loudness, though it is more evident while singing loudly, but is always present so that delicate pianissimo notes carry to the furthers corners of the theatre). Until recently, that was the only idea a manager or a theatre or a company would consider; do the voices have the necessary "squillo", and energy to make the music move forward dramatically. Sadly, no one thinks of that anymore, and now that more and more people who have never seen live opera, or even heard the real human voice in its natural state unaided by microphones, are learning to enjoy opera, they are learning to enjoy something that is simply fake. One is not hearing the real voice at all, but a manufactured one created by recording engineers.

Recording engineers love weak non-descript voices because they are a dream to record, and you can do all sorts of mixing and stuff to create a sound that simply doesn't exist. Real voices that contain all the squillo, all the upper and lower overtones (the ones needed for works like this) don't record well, and are an engineer's nightmare. The equipment simply can't handle the sound.

As a result, more and more recordings that are simply horribly sung by completely the wrong voices for the music are being released. This is one of those. It isn't that each and every singer is all that horrible (though they are not great), it is simply we are not hearing the truth. I really care less if someone who loves Bocelli (and I am a really big fan of his, when he is singing the correct music for his voice) or the more "popular false recording creations" singing this music comments that they like the opera better now it resembles the popular stuff they are used to listening to. Good for you, but for those of us who know what this music is about, well, all we can say to you is, it is time to learn something about the music now you have opened your mind enough to even listen to it.

Now to the meat of the review. Firstly, let us start with Bocelli. His voice is completely wrong in this role, and in the closing of the first act it is reduced to chirps here and there when singing with the other singers. It does improve as the opera progresses, but the STRAIN is so evident in all he is singing, and as with all his opera recordings, there is virtually no character development at all. He has no clue whatever about the personality he is trying to recreate. Some of the music is sloppy and not always in time with his accompaniment or the other singers, but for the most part, it is a more successful interpretation than anything he has previously done, though it has nothing to offer someone who understands the play and characters.

Veronica Villarroel was a complete bore, for the most part. Her introductory aria reminded me of Tebaldi when singing the last phrases of Mimi in La Boheme just before she dies! And just think, Leonore has three more acts to sing before she dies. This was about the most lifeless and directionless performances of this role I have ever heard. She did improve in other parts of the opera, and of course, her last act has much to recommend it. Her voice sounded super pushed at times, but something tells me that was more the fault of engineering than of her singing. I must say, I really did enjoy her scenes much more than when Bocelli sang, for she did feel them a bit more, one was certain some type of emotion was being expressed, even though it was hard at times to figure out what it was.

Elena Zaremba really disappointed me. She came alive later in the opera, but her voice is far too pushed and she sings with a very heavy delivery. Her introductory "stride le vampa" was more a lesson in how to gargle with mouthwash than a real presentation of the music. Her trill was simply horrible and sounded nothing like a trill at all, but rather some strange bumping of her glottis. She does not sing the high C in her duet with Manrico, which was sad, for her A was quite good, and one thought that the C would not be beyond her. However, she was very good in act three, and her ending phrases of Act four were wonderful.

Carlo Guelfi sang well, but was simply forgettable. Now this is sad, he was one singer who actually had a good techique, and seemed to have some idea what his part was all about, but he had no ability to make his voice and interpretation even memorable.

Basically, this opera was sung by "non-descript stock singers."
The conductor's interpretation was more than dull.

The packaging, however, was very beautiful, only one was instantly aware that Decca saw this completely as a "Bocelli recording." His picture is all over the place, and the conductor gets a shot, but no other principle is seen at all. The booklet contains the necessary but uselessly uniformative history of the work (something so well knows it is a waste of paper to write it each and every time the work is recorded), and nothing whatever about the singers (most of whom you have never heard of, or not much of). Recording companies are getting super stupid that way, they record something and hope we don't care who is singing, when in reality, the singers are the ones that make or break a recording (or even a performance; not even super creative strange and new stagings do a thing if the singing is horrible, and if the staging is simply terrible good singing can save an otherwise failure of a performance and concept of a work). I happen to be one who wants to knew about the singers and what their experience is. I think it adds to understanding the recording one is listening to. It also helps to know if the singer has experience with the work, or if they are coming to it new. Experience adds a lot. Anyway, we have some really good up and coming singers, but if we are never told much about them, how can we know who to watch out for? And there are some pretty terrible ones that are forced on to us, and don't we have the right to know who to avoid? I do feel insulted, and most people who love opera do as well, by the endless retelling of the plot (those who buy the opera for the most part know that), or the boring history around the writing of the opera. I would rather read the explanations of the singers/conductor of what they are trying to present, or how they envision the work, than all that boring stuff that has been printed and reprinted ad nauseum in every issuing and reissuing of a given work, especially the super well known ones (it is different if one is finding a work really quite unknown, then background information is a must; but even then, so is learning about the singers who are recreating the music for us to enjoy).

Horrible as the recording is, there is still a great deal of pleasure to be enjoyed listening to it. If you like Bocelli, buy it for him; if you are well versed in good singing, buy it anyway so you can see just how well Verdi's genius stands up to abuse, and truly great music will each and every time survive bad performances.

Good stuff.......2005-03-02

What people don't understand is that opera is not "classical music". It is popular material. It is written for the masses to enjoy and, in the history of music it was around opera that the first cases of fan-histeria happened to be. In this sense it is more than legitimate that Mr. Bocelli decided to record this particular opera, defined by Verdi himself as decidedly composed to satisy the common listener. This recording is an excelent production and Mr Bocelli's voice has character and gives a new flavor to material that was previously recorded thousands of times. It is good stuff and great fun!!!

A great opera album(Creativity+Elegance).......2005-01-17

Before I began writing this review, I was just imagining what kind of reviews I'm going to read, I didn't expect apart from 5 stars rating. Please don't get confused from those who rated this beautiful elegant complete opera. Because, I'm telling you that it would be very harsh to rate Andrea's latest cds with 1 or 2 stars. Purchasing this CD is the best thing to do if you're looking for the combination between the creativity and the elegance. Creativity generated by the big giant" VERDI". Elegance made by a collection of nice opera singers leaded by one of the most beautiful voices in the world Andrea's Voice. Andrea's voice is powerful and suitable for Manrico's role. For sure, you'll notice Andrea's effort on his voice.

Average customer rating:

beautiful
A wonderful version with a female contralto as Orfeo

Gluck - Orfeo & Euridice
Christoph Willibald Gluck , Rene Jacobs , Bernarda Fink , Veronica Cangemi , Maria Cristina Kiehr , Nicolau de Figueredo , Freiburger Barockorchester , and RIAS-Kammerchor
Manufacturer: Harmonia Mundi Fr.
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Opera & Vocal | Box Sets | Stores | Music

Classical | Imports | Stores | Music

Opera & Vocal | Imports | Stores | Music
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Strauss - Elektra / Marc, Voigt, Schwarz, Jerusalem, Ramey, Wiener Phil., Sinopoli
Mozart: Così fan tutte

ASIN: B00005O7Z4
Release Date: 2001-12-11

Tracks:

Overture
Act 1 Scene 1 Chorus: Ah! Se intorno a questurna funesta
Act 1 Scene 1 Recitative: Basta, basta o compagni (Orfeo)
Act 1 Scene 1 Ballo
Act 1 Scene 1 Chorus: Ah! Se intorno a questurna funesta
Act 1 Scene 1 Aria: Chiamo il mio ben cosi (Orfeo)
Act 1 Scene 1 Recitative: O Numi! Barbari numi (Orfeo)
Act 1 Scene 2 Aria: Gli sguardi tratteini
Act 1 Scene 2 Recitative: Che disse! Che ascoltai!
Act 2 Scene 1 Ballo & Chorus: Chi mai dellErebo
Act 2 Scene 1 Ballo & Chorus: Chi mai dellErebo
Act 2 Scene 1 Ballo & Aria with Chorus: Deh! Placatevi con me (Orfeo)
Act 2 Scene 1 Chorus: Misero giovane!
Act 2 Scene 1 Aria: Mille pene, ombre moleste (Orfeo)
Act 2 Scene 1 Aria & Chorus: Ah! Quale incognito/Men tiranne ah, voi sareste (Orfeo)

Tracks:

Act 2 Scene 2 Ballo
Act 2 Scene 2 Recitative: Che puro ciel! (Orfeo)
Act 2 Scene 2 Chorus: Vieni ai regni del riposo
Act 2 Scene 2 Ballo
Act 2 Scene 2 Recitative: Anime avventurose (Orfeo)
Act 2 Scene 2 Chorus: Torna, o bella, al tuo consorte
Act 3 Scene 1 Recitative: Vieni! Segui i miei passi (Orfeo & Euridice)
Act 3 Scene 1 Aria: Vieni, appaga il tuo consorte (Orfeo & Euridice)
Act 3 Scene 1 Recitative & Aria: Qual vita e questa mai (Orfeo)
Act 3 Scene 1 Recitative: Ecco un nuovo tormento! (Orfeo & Euridice)
Act 3 Scene 1 Aria: Che faro senza Euridice? (Orfeo)
Act 3 Scene 1 & 2 Recitative: Ah! finisca e per sempre (Orfeo, Amore & Euridice)
Act 3 Scene 3 Ballo ultimo
Act 3 Scene 3 Ballo
Act 3 Scene 3 Ballo
Act 3 Scene 3 Ballo
Act 3 Scene 3 Ballo
Act 3 Scene 3 Chorus: Trionfi Amore, e il mondo interio (Orfeo & Euridice)

Customer Reviews:

beautiful.......2004-03-06

Bernarda Fink, our contralto Orfeo, is hot stuff - this is gorgeous. I think the other versions I've heard have better technique and acting, but Fink has very luxurious tone
and beautiful... phrasing or something. (Yeah, okay, so I'm a novice.) She's a robust Orfeo - sad but demanding.

I'm not so much on board with the period instruments though; they seem unnecessarily jangly.

A libretto with translations is included. I'm not totally sure what edition this is - It's Italian, and mostly seems original, but I think they might have added some of the later ballets and an aria for Euridice - or maybe not.

A wonderful version with a female contralto as Orfeo.......2001-12-13

What makes this set so special is that, although this is (again) a recording of the original 1762 Italian version of Gluck's most celebrated (and recorded) opera, Jacobs has decided to cast a female alto as Orfeo rather that a countertenor, as has become "fashionable" in the recent(ish) recordings of this work. So, how does Ms. Bernada Fink compare to Michael Chance (for Bernius,on Sony), Derek Lee Ragin (for Gardiner), or Rene Jacobs himself (for Kuijken on Accent, my favourite recording until now) all strongest contendants ? Well to me, she first demonstrates how much more immediately appealling, how much richer a female contralto voice can sound compared to a countertenor (sorry guys !). Apart from the appeal of the voice itself, she is a first class Orfeo, very moving indeed, but this should not surprise you if you have already heard her many contribution to the record (her Cornelia in Handel's "Giulio Cesare" and her Cain in Scarlatti's "Il primo omicidio" come particularly recommended). This is now my favourite version.

Average customer rating:

Another good album
"Best Kept Secret"
Truly Amazing!
The album is awesome!
An all-around blessing.

Not Enough
Angelo & Veronica
Manufacturer: Verity
ProductGroup: Music
Binding: Audio CD

General | Christian & Gospel | Styles | Music

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Give Your Life
Purified
Change
Return

ASIN: B0000005B6
Release Date: 1997-05-20

Tracks:

God Ambition
Not Enough
Confess And Believe
Waiting For You
I Will Trust You
Do What's Right
Prayer Is The Answer
Totally Committed
Have You Experienced God
To Know You

Customer Reviews:

Another good album.......2004-10-06

If you are already a fan or new to this couple, you will enjoy this CD. They keep getting better with time. The music is real and the lyrics are well formed. Each of them have great voices in their own right and they sound wonderful together. Truly a blessing.

"Best Kept Secret".......2002-08-21

What a powerful duo! The voices are wonderful; the lyrics of the songs they sing are so meaningful. My all-time favorite is "To Know You." I can't imagine anyone being disappointed when they listen to this music!

Truly Amazing!.......2001-02-17

Close your eyes and listen..."Auh, Bee-Bee and Cee-Cee Winans have done it again!" you guessed...now open yours eyes and be blessed! I am African American and typically drawn to "our music." We are known for our distinct voices, rhythm, and sincerity of our music that can touch your heart like the hand of GOD. However, this couple truly defies that stero-type. Their voices are absolutely amazing and of GOD himself. Their committment to our LORD and SAVIOR is shown through their music. Their musical tesitmonies will fall on your heart and you will hear the voice of GOD. This dual music ministry is amazing and to own this album is to be blessed time and time again.

RRW - Indianapolis

The album is awesome!.......1999-11-07

This duet is highly anointed and the melodies in their music is phenomenal!Not only are they blessed with beautiful voices, they blend so well together that it leaves you in awe!

An all-around blessing........1999-10-05

The songs in this cd have lifted my spirits, helped me reach decisions, cope with difficulties, and just allowed for some real praise and worship-something everyone needs in their daily walk with God. Angelo and Veronica's God-given talents are awesome and inspiring. I highly recommend this cd for those seeking to be worshippers in spirit and in truth and those who want more of Him.

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