Diva!: A Soprano At The Movies

Silva America presents a lady with the gusto in life and music "DIVA: SOPRANO AT THE MOVIES", featuring one of the favorite sopranos in the Classical World today Lesley Garrett...Britain's favorite star comes up with this 1991 reissue, and at a special price will be a sure fire winner. On this album we have twelve outstanding selections with The Philharmonia Orchestra conducted by Andrew Greenwood and recorded at The Hit Factory (London), December 1990/January 1991...with the following performances coming your way. LA WALLY (rarely performed complete) LAKME (duet became famous for a British Airways commercial) THE MARRIAGE OF FIGARO (full of life, love and games) FAUST (jewels for her left by the Devil) LA BOHEME (performed in the film "Moonstruck", one of my favorite films and favorite Puccini Operas) RUSALKA (featured in the film "Driving Miss Daisy") GIANNI SCHICCHI (featured in the 1986 film "A Room With A View") SONGS OF THE AUVERGNE (melody introduced in Laurence Olivier's "Henry V") THE BARBER OF SEVILLE (award winning Italian/Russian "Dark Eyes" with Marcello Mastroianni) CARMEN (1952 film "Carmen Jones" with Harry Belafonte and Dorothy Dandrige) TALES OF HOFFMAN (featured in 1948 "The Red Shoes") KISMET (1955 film featuring Howard Keel, Dolores Gray and Vic Damone) Take a bow Phillip Thomas (producer), Reynold da Silva and James Fitzpatrick (executive producers), David Stone (album release supervisor) and Silva Screen for this reissue...as Miss Garrett states - making opera accessible and presenting the best music to the widest audience possible is the goal in her musical career...thank you Lesley for sharing your God given talent! --J. Lovins "Mr.Jim" Listen to Samples.

Canteloube Chants d'Auvergne

Joseph Canteloube (1879-1957) first began collecting and harmonizing the folksongs of the Auvergne in 1908, and in 1923 the first of the 'Chants d'Auvergne' was composed. For some years these songs were firmly established as a landmark in the French repertoire of songs for voice and orchestra, skillfully done, and an excellent vehicle for displaying the soprano voice.

Canteloube was educated at the conservatory 'Schola Cantorum', and studied there in 1902 with Vincent d'Indy in Paris. D'Indy's most important contribution to Canteloube's education was the rigorous technical training he provided, particularly emphasizing harmony and form.

D'Indy thus revealed to him "the power and purity of musical and poetic sources that spontaneously emanate from the earth; dances and popular songs, legends and rustic dances". All this can be ascertained in Cantelouble's 'Chants of the Auvergne'.

There are two that I will mention (because they are my favorites) from this group on the disc and are completely different from each other. "Lou Bossu" which is the rather cruel story of a hunchback who is attracted to a lovely young girl and approaches her for some kind of contact; she, in turn, teases him by faining interest until she finally totally rejects his advances. The phrases are in simple metrical style with the singer portraying both characters. Dawn Upshaw does this exceptionally well, and the orchestral accompaniment supports her and the text. Just a really interesting rendition.

The "Brezairola" (Berceuse) begins luxuriantly with its high violin solo duetting with various wind instruments behind, rather than in between, the song. This melody is one of the most beautiful tunes that I personally have ever encountered, and Upshaw does it justice. This is a disc worth hearing if you like the classical folk tune experience, and it's all first-rate. --George Peabody "Ariel" Listen to Samples.

The Very Best Of Victoria de los Angeles

Victoria De Los Angeles died Saturday of heart failure at the age of 83 in Barcelona, Spain. The world of opera mourns her loss. She was a gifted soprano and a wonderful human being. On stage, she was able to directly speak to her audience and communicate with them in a very special and rare way that is not always seen today. She never hid herself behind a facade nor distanced herself from fans and audiences. She was born to sing opera. It was in her blood. This album showcases De Los Angeles in her most memorable and successful roles. Victoria De Los Angeles was one of the first singers from Spain to win worldwide acclaim. Others would follow- Placido Domingo and Montserrat Caballe. De Los Angeles is showcased in this album which may also serve as a tribute to the now late soprano. Her voice was essentially full lyric with some spinto. Hearing her renditions of "O Mio Babbini Caro"- a signature soprano role, as well as "Ebben Ne Andro Lontana" from La Wally and her performances as Mimi, one is clearly treated to the truest form of a pure lyric soprano. Her voice is spunned gold, with sweet, warm, feminine textures. Her reperotire remained in the Italian and French. Of course, being Spanish, she was a leading singer in Spanish Lieder and romantic ballads. Her Art Songs in Spanish are full of elegance and grace. A champion of obscure composers, she sang and recorded recitals that featured the works of lesser known composers, though strictly Lieder and Folk/Art Song. Victoria De Los Angeles is fortunately a well-documented artist. Some film footage exist of her performances. I seem to recall that there exists a taped performance of her Violetta in Verdi's La Traviata. She excelled in the lyric roles of Mimi in Puccini's La Boheme, Marguerite in Gounod's Faust. Her Madame Butterfly is a pure lyric rendition, with less of the dramatic intensity other singers have given the role- i.e. Leontine Price, Maria Callas, Renata Tebaldi, etc. But her Butterfly is actually the way the role ought to be sung. It's a voice of grace, naivete and above all romance that must colorize Butterfly. The dramatic intensity only makes her sound older and madly passionate. She is only a fifteen year old girl who has been deceived and betrayed. She must remain youthful sounding. De Los Angeles does justice to the truest form of Butterfly. She was thrilling in French and Italian operas and her Spanish songs were briliant and beautiful. Victoria will always be remembered. She was a unique and talented artist of the lyric repertoire. Her pure, lovely voice was like an angel's. There will never be another Victoria De Los Angeles. With her death, the end of an era also passes. In particular, I will always remember one reported incident. She was about to make her first recital in America but she had no accompanist- pianist/guitarist etc. When asked how she would handle this, she remarked: "Well I brought my guitar with me". And she proceeded to accompany herself with the guitar. --A Kid's Review. Listen to Samples.

Kiri: A Great Tribute To A Great Singer

Kiri Te Kanawa is one of the best lyric sopranos of all time, with luscious sound and a great technique. This album present this beautiful singer in some of her best recordings. The range of her career is presented in full display here, from her brilliant version of Handel's Let the Bright Seraphim through the pop song World in Union. There is a glimpse of her wonderful Mozart in a masterful rendition of Dove Sono from LE NOZZE DI FIGARO and Laudate Dominum from Vesperae solennes de Confessore K339. Other highlights of the recording are the two Puccini arias that she sang as part of the soundtrack of the Merchant Ivory movie A Room with a View. These arias (O mio babbino caro from Gianni Schicchi and Chi bel sogno di Doretta from LA RONDINE) are as beautiful as I remembered from watching the film, the voice is fresh and clear, full of expression. The lighter numbers showcase Dame Kiri's capacity to change musical styles while maintaining an excellent technical skill. All this musical pleasure is enhanced by a booklet with magnificent photographs of the singer, showing how her personal beauty is in perfect harmony with the beauty of her singing voice. The only regret I have is that there is nothing of Richard Strauss here, a composer that has been very important for the soprano's career. Anyway, this CD is a great souvenir of Kiri Te Kanawa's career and a great way to introduce people to an artist who is still today giving much pleasure to people all around the world. --M Ramos. Listen to samples.

Bailero From Chants D'Auvergne

Marie-Joseb Canteloube studied music composition at Schola Cantorum in Paris and wrote symphonic poems, operas, chamber music and even some books before his death in 1957.

Particularly famous among his works are arrangements of traditional French folk songs which he collected by travelling across the country and gave them music scores. Folk songs from his native place, Auvergne, are very popular.

One typical example is "Bailero" which is the second song in the first volume of "Chants d' Auvergne," ("Song of a Shephard.") It is often included in the repertoire of French singers.

The piece in B-flat major and in simple quadruple time, with the designation "idyllic and meditative,"starts with a prelude on the wood winds, followed by a dialogue between a shephard and a maiden.

Maiden : "Mr.Shephard, is there much fun there across the river? Lerolero, bailero lo."
Shephard : "Not much. How about over there? Lero, bailero lo.
Maiden : "Beautiful flowers are in full bloom here. Why not come here, crossing the river?
Lerolero, bailero lo."
Shephard : "Why don't you come over here, with cozy grass in the meadow? Lero, bailero lo."

A Clarinet Takes Us To The Opera

During his musical career, Richard Stoltzman has gained a reputation not only for excellence as a clarinetist but also as a show person. His recordings are varied and demonstrate both his ability to perform difficult music as well as to provide an enjoyable listening experience. Perhaps the best example of his classical talents along with his gift for entertaining would be the collection of music from opera in his recording ARIA.

ARIA is a collection of opera's favorite arias arranged for clarinet. The clarinet is an instrument that is just as at home with high and low registers, so Stoltzman is able to select arias from the soprano, tenor, mezzo, and baritone repertoire. Each of the selections transposes nicely to the clarinet arrangements. The selections range from the Bel Canto sounds of Rossini to the music of Verdi and the verissmo sound of Puccini. The French repertoire of Bizet, Gounod, and Massanet is also represented. Gershwin and Lehar round out the collection. Stoltzman is true to the music but does more than just play. He also adds a feeling that many of the great voices of opera added to these works to give them life.

ARIA is a great collection for background music or for that time that a listener is in the mood for something different. It will be appreciated by anyone who loves good music but will have a special appeal for opera lovers, and of course those of us who played the clarinet as children. We can listen and discover what could have been if we had listened to our parents who told us over and over again to practice. --Timothy Kearney Read more.

Puccini: Arias

Though Puccini is one of the composers most associated with Callas, he was not the one closest to her heart. Even the title role of Tosca that showcased her talents so brilliantly (including during her vocal decline) didn't figure among her favorites. You'd never know, though, from this aria collection recorded in 1954--Callas's vocal prime--that was inexplicably overshadowed by her complete opera recordings. Even among the best of singers, aria collections take on a certain vocal sameness; Callas often has a different voice for every character. Her Mimi in La Boheme is all lightness and ingenuousness; the timbre of her Suor Angelica (which she sang onstage only once) has a similar but distinctly different lightness, also conveying a sheltered life. Once in a while one hears signs of vocal fatique, but generally, the flapping vibrato that afflicted Callas's high notes only a few years later is well under control, as she's guided through these selections by her longtime mentor, Tullio Serafin. --David Patrick Stearns Read more.

Pucci - Gianni Scicchi Scene from Don Carlo & Simon Boccanegra

This early stereo Gianni Schicchi withTito Gobbi has been considered definitive from the day it was issued, but EMI made it frustrating to acquire since one had to buy all three parts of Il Trittico into the bargain. The Suor Angelica features de los Angeles, as does this Schicchi, but that recording sounds like re-processe mono, and Il Tabarro, the inferior entry in the tritych, rarely wins any partisans, even though Gobbi sings the black-hearted lead role.

Now we have Gianni Schicchi alone in best sound (thought not perfect -- there's some microphone shatter in climaxes), and it's a joy. Gobbi is a commanding trickster, more fierce than genial, and all the greedy relatives are played by superb Italian character singers. The young lovers are also winning (if only the tenor didn't try to reach the back row), the highlight being de los Angeles's 'O mio babbino caro.' It helps to have seen the opera's comic potential acted out onstage, but even if you have to hear it only on CD, the satire is totally engaging. --Santa Fe listener Read more.

Puccini - Gianni Scgicchi DVD

Gianni Schicchi is the third and final part of Il trittico, Puccini's trilogy of one-act operas. It is a masterpiece of Italian comedy.

The performance on the new DVD is sheer delight from every point of view. It was filmed live at the Glyndebourne Opera House in 2004. The director Annabel Arden adapted the plot from the Middle Ages to somewhere in the 19th centaury. Sets and costumed are beautiful, and Arden is doing an inspired job, full of surprises.

Vladimir Jurowski conducts the London Philharmonic Orchestra with excellent results. Puccini brilliant orchestration is heard with great transparency due to the excellence of the recorded sound (True Surround Sound).

The singers are all excellent. The extremely funny Alessandro Corbelli takes the title role; Massimo Giordano and Sally Matthews are the young lovers with fresh voices. Felicity Palmer, Marie McLaughlin and Luigi Roni are some of the relatives. Opus Arte should get a very high mark for the technical quality and presentation. Picture is crystal clear and the sound is warm and brilliant. Highly recommended!! --T.C. Read more.

Giacomo Puccini: O Mio Babbino Caro From Gianni Schicchi

"Gianni Schicchi" is the sole comic opera of Puccini, who wrote "Madam Buttery," "La Boheme'" "Tosca" and many other world famous tragic operas.

The first public performance of "Gianni Schicchi" was in 1919 at Metropolitan Opera Theater in New York.

The story takes place in Florence, Italy, at the end of the 13th century. With the death of the master of the wealthy Donati family, all his relatives get together and start shameful maneuvering over the inheritance he left behind.

In order to prevent the entire inheritance from being donate to a monastery, they consult Gianni Schicchi, a man of wisdom. Gianni's daughter, Lauretta entreats her father to arrange matters so that Rinuccio her sweethert and the nephew of the dead family head can receive the bequest.

In this scene Lauretta sings the famous aria, "O mio babbino caro," to the effect that "Oh my dear father, I love him so much. Please let me go to the town of Porta Rossa with him to buy our rings."