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José Carreras | |
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List Price: £9.99
Our Price: £5.33
This disc is a live recording of one of the most popular concerts ever given, the Three Tenors Concert of 1990. It achieved huge listening and viewing figures when it was broadcast on radio and television throughout the world, and the disc has sold more than 10 million copies. It is not hard to see why- -these really are three of the greatest tenor voices in the world, and the joyous surprise of hearing them all together, and the simple, infectious fun of the event crackles (metaphorically!) on every track. Part of the fun, of course, lies in comparing the voices--the darkness of Domingo's more baritonal range with Pavarotti's silvery polish--and how each one of them can take a familiar aria or song and breathe new life into it. Considering this is a live recording, the standard of reproduction is surprisingly high--but then the point of this disc is not to achieve studio-quality recording, but to recapture the spirit of a great event. --Warwick Thompson
 Carreras, Domingo, Pavarotti in Concert, 2010-02-07
As always with these Tenors the singing is top-class. I've said it before and I will say it again, to have Voices like this is a GIFT FROM GOD. It was a great loss to the world when Pavarotti died. I highly reccommend this c.d.
List Price: £9.99
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Unique from a Golden Voice!!!!!!!, 2007-08-25
Since I first heard him in 1986, José Carreras has been my favourite tenor. His lyrical voice has captured my heart completely. No other voice moves me as Carreras' does. He moves me to tears, to laughter, to love, to beauty - to remembrance, to peace - and to HOPE!
As for this recording, my favourites are "Una furtiva lagrima" (Donizetti), "Dein ist mein ganzes Herz" (Das Land des Lächelns), "Che gelida manina" (La Bohème) and yes, "Nessun Dorma" (Turandot) - and no, it's not always about the strongest voice.
I have lots of other recordings with Carreras. Spanish songs, German songs, love songs, mixture of opera arias and popular songs and of course, opera. I have reviewed "Carmen" conducted by von Karajan in Berlin in 1982 where Carreras sings "the flower aria" as it has never been sung before, with a pianissimo ending. Any admirer of José Carreras who has not heard his interpretation of this famous aria in this recording, has missed something. Amazon has it, hurry and buy! ("Carmen" 1982 - Agnes Baltsa, José Carreras, Katia Ricciarelli, Herbert von Karajan).
I love Carreras' "singing from the soul" (the title of his biography). He has something very special which affects me as no other singer does. No matter how high Pavarotti goes, or how complete and full and "having it all" Domingo's voice is said by so many to be - Carreras has something entirely unique. A Swedish journalist who was writing a review of a concert with Carreras, pondered about the difference between the three. Why this seemingly less famous of them moved him so deeply. He finally concluded: "What is it with this little Spanyard. He does not reach as high as Pavarotti, or has the fullness and strength of Domingo, and yet, he sings as if every little tone were the last..."
This album is probably the best collection with Carreras, although many of these arias/songs are also to be find on other recordings. However this selection is both large and varied and does indeed show Carreras at his best. It's a perfect introduction to people who want to hear more of José Carreras.
Finally, In 1990, José Carreras held his first concert after his illness in Oslo Konserthus (Norway). This was no large performance in a huge hall used also by rock bands etc. The kind of performance with lights in different colours, very stashed up in every way. As the newspapers wrote afterwards, it was not the regular first night audience in Oslo Konserthus that night. It was the real music lovers who sat in silence and enjoyed and contemplated the sublime art they were listening to. No one got their favourite aria, this was an evening for less well known material, but oh, so exquisite.
I have heard Carreras afterwards in more glamorous settings but shall never forget that evening in April 1990. A man, his voice and a piano.
I would like to recommend this recording warmly and everything else José Carerras has sung for that matter. And for those who are not so keen on opera, there are lots to chose from, not the least film music and plenty of varied love songs. Carreras has a beautiful voice for popular love music and I see this as a perfect way of inviting an even wider public to enjoy his wonderful voice.
List Price: £15.99
Our Price: £6.74
Silver Bells, the slightest Pianissimo and magnificent Temptress!, 2007-08-24
This is my favourite "Carmen" performance, not the least since Katia Ricciarelli and José Carreras are likewise my favorite opera singers. Katia Ricciarelli with her pure, clear voice, like silver bells, is totally free from the almost "screaming", which so often happens to sopranos on hitting the highest notes. As Micaela she plays a rather small part in the performance, but she does it beautifully and her voice is perfect for that role. José Carreras is world known for his lyrical tenor. I love his "voice from the soul" and have always preferred him singing softly rather than with all his strength.
In this recording I am particularly fond of Act 1, scene 5: "Parle-moi de ma mère" between Don José (Carreras) and Micaela (Ricciarelli). But the finest and most special moment of all is the flower aria, Act 2, scene 11: "La fleur que tu m'avais jetée", sung by Don José (Carreras). Usually, tenors end this aria with a rising crescendo, as a tenor's voice is so often judged by its ability to reach and hold its strength at the highest notes.
However, late Conductor Herbert von Karajan, who favoured José Carreras as his preferred tenor, asked Carreras on this occasion if he would do the flower aria differently in this recording, and finish it not in a strong voice, but softly, tuning out into the slightest pianissimo, a slowly disappearing whisper.
How right he was. Never have I heard this famous aria sung so beautifully. So in accordance with the role of Don José and the mood the song is supposed to be reflecting.
It's these two scenes in particular I always go back to when I listen to this album, but also the rest of the recording is, of course, a delight. Agnes Baltsa has a strong and full voice perfect for Carmen, but it's her temperament I admire in particular, she is magnificent as the number one temptress of opera and even look perfect for the role. The last duet between Carmen and Don José, Act 3, scene 15: "C'est toi! - C'est moi!", is also a scene I listen too often, although it's far more dramatic than the two previous ones. It all depends on my mood.
As for my all time favourite tenor, José Carreras, whom I have had the luck to see performing on several occasions, Don José is one of his most famous opera roles and I dare say this is his finest performance to date.
List Price: £15.99
Our Price: £3.64
It's not opera; it's not a pop concert; it's not Broadway. It's all of these and none of them. Once you accept the fact that this sequel to the original blockbuster concert recording is less about music and more about entertainment and the power of musical personalities, you can appreciate what you're hearing as an event--phenomenal and bizarre, momentous and frivolous. This is an occasion to celebrate the voices and egos of three huge superstars and to have fun listening as Luciano Pavarotti, Plácido Domingo and José Carreras interact, bouncing lines off each other and playing to the overwhelmingly enthusiastic audience. Much of the fun and flavour of the concert is dependent on seeing the action, though, and without the visuals you notice flaws in the singing much more. Domingo comes off as the more solid performer and his voice is in far better shape than the other two. But if you crave big, high and loud--and you don't take your opera too seriously--you'll love this disc. --David Vernier
Better as it Progresses, 2002-11-30
Wonderful concert. The songs and singing arrangements just get better and better as the concert goes along.
The concert was attended by such well-known people as Ex Pres Bush, Bob Hope, Frank Sinatra, Arnold Schna....,Gene Kelly.
Concert was in LA and a lot of "american" favorites (such a musical from movies) were selected, some to honor the crowd such as "Singing in the Rain" and "My Way".
Received 3 curtain calls. Pavarotti's Ava Maria inspired the crowd to stand up cheer. Same for his Nessun Dorma!
Orchestra LA Philharmonic also was featured playing some pieces with just the orchestra.
Excellent, wonderful music.
List Price: £16.99
Our Price: £6.18
Artist:
José Carreras,
Plácido Domingo,
Luciano Pavarotti,
James Levine,
Zubin Mehta
Back in 1990, three of the world's most celebrated tenors, namely José Carreras, Plácido Domingo and Luciano Pavarotii, combined forces to create the Three Tenors, now celebrated on a "best of" CD. They gave their first concert in Rome; that event was recorded and went on to become one of the best-selling classical titles of all time. This latest release brings together tracks from that night in Rome (including "Nessun dorma" and a competitive rendition of "O sole mio") with music performed in a 1994 concert in Los Angeles as well as at the 1998 event in Paris where the Three Tenors sang to an audience of thousands with the Eiffel Tower as their spectacular backdrop. The 22 tracks which comprise The Best of the Three Tenors range from operatic standards, such as the joyful "Brindisi" from La traviata to popular songs including "Singin' in the rain" via songs from the shows ("You'll Never Walk Alone" from Carousel). There are no solos on this disc--each piece is performed by all three singers. And with plenty of applause and cheering to be heard, not to mention the sense of fun in the singers' voices, the disc truly captures the atmosphere of these extra...
The Best of the Three Tenors, 2003-12-08
I am not really a classical music buff, but with my father in law being one its an obvious choice for presents. knowing that he likes the 3 tenors is a big help seeing as i do not really know much at all about classical music apart form the odd few bits world cup and films. I bought this disc for his birthday not really relishing the thought of hearing it, however I was pleasently supprised indeed. This was very easy on the ears indeed and shock horror on the whole i enjoyed cd there was the odd one i was not that overly keen on not to sure which one it was called i think it was track 4 Sous le ciel de Paris. By comparrison you'll never walk alone i thought was very enjoyable along with nessumdora the world cup anthum from a few years back now. Untill listening to this cd i thought this to be a bit highbrow and deffinatelly not my cup off tea at all even for my (heinz 57) taste trance,rock,reggea,tamla garage etc my 19 month old daughter was bopping along to it even my wife thought it was good. What was more worrying still i purchased a copy myself to add to my collection looks a bit odd being just below deaf leppard. If you are into classical music or not this is well worth adding to your collection and hey you might find you like it and play it a lot more than you thought you would, I certainly did! if you do not its a good present for someone who does. The cover looks good to
List Price: £15.99
Our Price: £5.00
Artist:
London Philharmonic Orchestra,
Covent Garden Royal Opera House Orchestra,
Orchestra,
London Symphony Orchestra
Kiri Te Kanawa, the subject of this compilation disc, has had two life-changing moments in her career, the first of which made her a star, the second a mega-star. The former was her extraordinary overnight success at her Covent Garden debut as the Countess in The Marriage of Figaro in 1971. The latter was, of course, her performance at the wedding of Charles and Diana in 1981, which brought her talents before audiences watching in their multi-millions. This handsome compilation takes those two moments as the starting point of an overview of her astonishingly varied career, and includes "Dove sono" from Figaro and Handel's Let the Bright Seraphim from her royal wedding appearance. In both, her voice sounds meltingly gorgeous and creamy. The disc also includes her famously melting performances of arias from the lyric repertoire: "Depuis le Jour" from Charpentier's Louise, for example, and Puccini's "O mio babbino caro" (famously used on the soundtrack of the film A Room With a View.) There's also a selection of her smooth performances of songs by Jerome Kern and George Gershwin. A great chance to hear one of the most beautiful voices of her generati...
 Good overall collection covering a vast repertoire, 2001-11-30
An interesting mix of songs.....it's almost like this compilation of Kiri's repertoire come as two separate albums. The classics comprise the first half and the second half contains the more contemporary favorites of Kiri. You can collect some CDs of all artists and some you can be satisfied with just one. If you're looking for just one of hers, this is a great one to get.
List Price: £19.99
Our Price: £12.82
Artist:
Katia Ricciarelli,
José Carreras,
Piero Cappuccilli,
Samuel Ramey,
ORF Symphony Orchestra,
Lamberto Gardelli
Melodious and neglected early Verdi, 2008-10-22
With "Nabucco", "I Lombardi" and "Ernani" already under his belt, Verdi could hardly be said to be a novice composer when he wrote "I Due Foscari" for Rome in 1844, and yet somehow this opera seems to have been relegated to the "interesting but justly neglected" category, as if it were an immature and unrewarding work. It is, in fact, a subtle and intimate opera, full of mellow, touching duets and relying more upon plangent melody and perecptive musical characterisation rather than dramatic events - of which there are, admittedly, precious few. The cast and recording quality are of the highest order - typical of the whole Philips/Gardelli early Verdi project - and while I do not completely agree with earlier reviewers that Ricciarelli and Cappuccilli are flawless - their vocal production is at time a little breathy and deliberate - they are both very fine and Carreras is undoubtedly in his youthful, peak form (as is the young Ramey). Hearing this set might prompt you to sample the other recordings featuring Carreras in that excellent series: "Un Giorni di Regno" (1973); "Il Corsaro" (1975); "La Battaglia di Legnano" (1977) and "Stiffelio (1979), coupling Carreras with a succession of wonderful leading ladies: Ricciarelli, Caballe, Norman and Sass. These sets form the best of Carreras' recorded legacy and with the demise of studio recordings of opera, we can perhaps now feel even more appreciative of a series which certainly does not sound its age. (Those recordings where another tenor was used - a young Domingo in "I Lombardi" (1971) and "I Masnadieri" with Bergonzi - are equally recommendable.)
The opera itself is short at an hour and three-quarters and leaves you wanting more. There is mercifully little "rum-ti-tum" stuff typical of second-rate early Verdi; rather there is much gentle, delicate scoring that makes extensive use of melodic themes. An interesting and unusual addition to anyone's Verdi collection.
List Price: £15.99
Our Price: £4.11
The world becomes a better place as Leonard Bernstein conducts his first West Side Story with the abandon, genius, and intimate knowledge of every detail he, as composer, imagined. The crisp orchestra and slower tempos maximize the colours of the orchestral landscape and create magic. This recording falls just one tenor's diction short of perfection. Te Kanawa's scrumptious soprano deliciously graces Maria's music, realizing the virtuosity often unattainable in theatre singers' renditions. Troyanos combines a ferocious chestiness with classically trained savvy. The only weakness is Carreras's diction, which he so obviously works hard to Americanise, but falls distractingly short. Still, the overall recording is brilliant. --Barbara Eisner Bayer
A fathers day gift, 2009-07-15
Is exactly what it says,it was a greatly received gift so its prompt delivery was much appreciated
List Price: £19.99
Our Price: £11.98
One of the Greats, 2003-11-03
Simon Boccanegra is probably my favourite Verdi opera, aside from the incomparable Falstaff. The plot is convoluted, as usual, but it has many more serious overtones than Verdi's other librettos. No other great opera composer attempted to put a statesman on stage as an opera's principal character (unless you count Tito in Mozart's 'La Clemenza'), and Verdi succeeded brilliantly. The music is among the most beautiful and finely crafted that Verdi ever wrote, perhaps a little more subdued than usual. But what it lacks in overt passion it gains in intensity. Another reason for this work's greatness is the fact that Verdi revised the piece after he had become acquainted with Boito (librettist of Otello and Falstaff) and thus reworked parts of the score before embarking on Otello, notably the great Act Two finale, which clearly foreshadows elements of Otello in both its musical language, intensity and drama. Listen out for the wonderfully dramatic, almost Shakespearian, use of the chorus in this scene and throughout the work. The ending of the work is particularly moving, with great solemn chords in the orchestra funereally sounding out under a tolling bell, evoking the steady swell of the Mediterranean at night. Quite outstanding.Undoubtedly it's a great work, and this recording is one of the best Verdi performances available. Freni conveys both beauty and passion through her dedicated reading. But then all the singers are wonderful, especially Ghiaurov and Carreras (in superlative form) but one singer holds the whole vocal performance together: Cappuccilli, perhaps the most impressive Simon on record since Tito Gobi. Abbado, predictably, conducts a wonderful studio performance recorded shortly after a successful stage production. Hence the entire enterprise gives the impression of a true theatrical experience. The sound, while not as detailed or spacious as modern DDD perhaps, is good and clear, the balance between voice and orchestra being just about right. The Scala orchestra has Verdi in its blood, and it shows. This recording is practically perfect in every way. Magnificent music, tremendous performances, a terrific story, superb conducting...why hesitate? It should be in every Verdian's collection.
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