... The sound is good in this version.
Gianni Schicchi, opera O mio babbino caro
Composed by Giacomo Puccini
Performed by London Philharmonia Orchestra
with Ghena Dimitrova
Conducted by Anton Guadagno
>Maybe not the first version that I would choose for this aria. Dimitrova's voice ... Read review
Advantages: All good strong performances with some absolutely glorious Disadvantages: Some of the arias do not show the singers at their best
...soft high notes really capturing the vulnerability and love Gilda feels at this stage of the opera. Arguably the aria is performed a little slow in places but it is one of the best recorded versions.
Rigoletto, opera La donna é mobile
Composed by Giuseppe Verdi
Performed by London Philharmonia Orchestra
with Alfredo Kraus
Conducted by Julius Rudel
>Kraus was a classy tenor with lots of style. ... ...way - that is not the case here - he is more stylish and smooth than Pavarotti and Domingo and I think he is slghtly more convincing as the Duke who after all sneaks about the place sweet-talking ladies. He has exciting highnotes as well. The sound is good in this version.
Gianni Schicchi, opera O mio babbino caro
Composed by Giacomo Puccini
Performed by London Philharmonia Orchestra
with Ghena Dimitrova more
TRACKLIST AND REVIEW FOR "THE MOST FAMOUS OPERA ARIAS"
Rigoletto, opera Caro nome Composed by Giuseppe Verdi Performed by London Philharmonia Orchestra with Anna Moffo Conducted by Sir Colin Davis >This is a dreamy, beautiful performance of this famous aria with Anna Moffo's beautiful soft high notes really capturing the vulnerability and love Gilda feels at this stage of the opera. Arguably the aria is performed a little slow in places but it is one of the best recorded versions.
Rigoletto, opera La donna é mobile Composed by Giuseppe Verdi Performed by London Philharmonia Orchestra with Alfredo Kraus Conducted by Julius Rudel >Kraus was a classy tenor with lots of style. Initially you may find his voice a little bit nasal or even worn compared to say Domingo and Pavarotti but Kraus is very good in this opera - so often it is sung in an overblown and rather silly way - that is not the case here - he is more stylish and smooth than Pavarotti and Domingo and I think he is slghtly more convincing as the Duke who after all sneaks about the place sweet-talking ladies. He has exciting highnotes as well. The sound is good in this version.
Gianni Schicchi, opera O mio babbino caro Composed by Giacomo Puccini Performed by London Philharmonia Orchestra with Ghena Dimitrova Conducted by Anton Guadagno >Maybe not the first version that I would choose for this aria. Dimitrova's voice is a little fierce compared to say Mirella Freni and Angela Gheorghiu in this music but she does have a lovely big strong instrument and as a sheer piece of singing this is good work. Just maybe doesnt sound like a young girl - needs a sweeter voice for that.
Carmen, opéra-comique in 4 acts Habanera: La voila... L'amour est oiseau rebelle Composed by Georges Bizet Performed by London Philharmonia Orchestra with Yelena Obraztsova Conducted by Giuseppe Patane >Yelena Obraztsova has a fine strong voice and is quite subtle in places. Her voice is not smooth - very different from say the Carmen of Leontyne Price or Grace Bumbry - rather she is powerful and vivid - a performance that you either love (for all the passion and excitement) or hate (quite a hard voice and manner).
Orfeo ed Euridice (Italian version), opera in 3 acts, Wq. 30 Che faro senza Euridice Composed by Christoph Willibald Gluck Performed by London Philharmonia Orchestra with Agnes Baltsa Conducted by Riccardo Muti > Baltsa gives a full force performance here, very different from the famous performance by Kathleen Ferrier, very italianate and her vivid voice can be exciting - unusually so for this sort of music.
Madama Butterfly (Madame Butterfly), opera Un bel di, vedremo Composed by Giacomo Puccini Performed by London Philharmonia Orchestra with Ghena Dimitrova Conducted by Anton Guadagno > A strong big voice but is she at all like a young girl? probably not. She is fierce in the extract leading up to the aria and we can guess that she would have been amazing in the 'Death of Butterfly' scene at the end of the opera. But here, the first thing you notice is the rather wobbly start to Un Bel Di - maybe less a wobble and just a big broad vibrato (a pulse going through the voice) either way a little too strong. She improves after that but really does not match Renata Tebaldi (smooth and strong) or beautiful voiced Butterflys (Victoria de los Angeles and Mirella Freni)
Roméo et Juliette, opera Ah! je veux vivre Composed by Charles Gounod Performed by Munich Radio Orchestra with Edita Gruberova Conducted by Gustav Kuhn > A beautiul voice for this music, maybe not so much character as Callas but so amazing technically
Le nozze di Figaro (The Marriage of Figaro), opera, K. 492 Voi che sapete che cosa è amor Composed by Wolfgang Amadeus Mozart Performed by Munich Radio Orchestra with Lucia Popp Conducted by Leonard Slatkin > Lucia Popp is amazing here. Her voice is sweet and technically excellent. Along with good phrasing this is probably the best version I have heard anywhere.
Samson et Dalila, opera in 3 acts, Op. 47 Mon coeur s'ouvre à ta voix Composed by Camille Saint-Saens Performed by London Philharmonia Orchestra with Yelena Obraztsova Conducted by Giuseppe Patane > This suits Obraztsova better than Carmen in my opinion and she is very good here. She is not the softest voiced Dalila - this cd seems to have been chosen by people that like big strong voices - but we must remember than Dalila is not a pushover. Interesting and exciting
Tosca, opera Vissi d'arte, vissi d'amore Composed by Giacomo Puccini Performed by London Philharmonia Orchestra with Ghena Dimitrova Conducted by Anton Guadagno > Much th best we hear of Dimitrova on this CD. Her voice is excellent seems lush and strong - points that go in her favour for this opera compared to in Gianni Schicchi or Madama Butterfly - and she can be tender without resorting to crooning.
Aida, opera Celeste Aida Composed by Giuseppe Verdi Performed by New Philharmonia Orchestra with Placido Domingo Conducted by Riccardo Muti > Domingo gives a dedicated account in this difficult aria. His voice is warm and virile with plenty of attack for the high notes. Franco Corelli is more inclined to sing softly than Domingo and Pavarotti has a smoother voice but Domingo is very very good here
Il barbière di Siviglia (The Barber of Seville), opera Una voce poco fà Composed by Gioachino Rossini Performed by London Philharmonia Orchestra with Anna Moffo Conducted by Sir Colin Davis > a really nice sparkling performance of this famous aria. Moffo's sweet soft highnotes make her Rosina a softer creation than say Callas or some mezzosopranos but it makes some of the things she says funnier - you have this sweet voiced woman being really calculating an strong-willed. The conducting is a little soft - more drive would be appreciated so it doesnt sound too sentimental.
Lakmé, opera Ou va la jeune indoue? Composed by Leo Delibes Performed by Munich Radio Orchestra with Edita Gruberova Conducted by Gustav Kuhn > Beautiful, rather more dramatic than Joan Sutherland and also nice clear diction and glorious soft singing
La Wally, opera (dramma musicale) in 4 acts Ebben? Ne andrò lontano Composed by Alfredo Catalani Performed by Munich Radio Orchestra with Ghena Dimitrova Conducted by Lamberto Gardelli > a dramatic performance of this aria. Could do with clearer diction. Her high notes are terrific and hugely exciting. The recorded sound is very good here with the orchestra big and proud.
La bohème, opera Che gelida manina Composed by Giacomo Puccini Performed by Rome Opera House Orchestra with Nicolai Gedda Conducted by Thomas Schippers > A stylish, ardent performance here - different from say Pavarotti or Domingo but nice in its own way. From a great complete recording with the beautiful voiced Mirella Freni.
Die Zauberflöte (The Magic Flute), opera, K. 620 Die Hölle Rache kocht in meinem Herzen Composed by Wolfgang Amadeus Mozart Performed by Bavarian Radio Symphony Orchestra with Edita Gruberova Conducted by Bernard Haitink > Terrific, rivals evan Lucia Popp's glorious performance with Otto Klemperer on EMI. Brilliant, confident singing in a taxing aria.
famousaria to be included here. David Hobson takes control of Puccini's well-known tune and makes it his own. A beautifully simple track, again lacking the bells and whistles which make most of the album so individual.
Neither bizarre nor sublime is a track from Haircut, a reimagined version of the cult 1960s musical Hair. This mixes the show's two most familiar numbers, 'Aquarius' and 'Let the Sunshine In'. They can't quite shake their 1960s hippy origins, but it is refreshing to hear the songs in a more contemporary setting, making them slightly less dated. 'Let the Sunshine In' sounds much as it usually does, but the excerpts from 'Aquarius' are completely novel, sounding more spaced out and contemplative than the original versions of the song.
Another relatively familiar track is 'Everybody's Free (To Wear Suncreen) Mix', which ...
Advantages: easy to find the piece of music you want Disadvantages: maybe too familiar for the expert listener
This year, I actually got Christmas presents that I enjoyed, not a single returned item! It seemed that my friends and family had really thought about their gifts to me, instead of last minute panic buying. Recently I have begun to explore the world of opera, deciding to inject a little culture in my life! My uncle had definitely been listening to my interests as this CD was one of the great gifts I had.
It is a double disc album, cleverly titled 'The Only Opera Album You'll Ever Need! And I can honestly say that this may be a very true claim!
Only the mostfamousarias are included on these cds, covering many composers including Mozart, Wagner, Verdi, Puccini, Dvorak and many more.
Each track is listed with the place you'll recognise the song from, such as the British Airways advert, the films Fatal Attraction and Moonstruck ...
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