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|The Only Classical CD/Tape You'll Ever Need!
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VARIOUS ARTISTS - ONLY CLASSICAL CD YOU'LL EVER NEED! - CD
|The Essential Mario Lanza
Lowest new price: $11.16
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Toscanini called Lanza's "the greatest voice of the 20th century," and, no, he hadn't forgotten Caruso. Here are 47 of his rapturously beautiful pop hits, operatic arias and Italian songs: Be My Love; The Loveliest Night of the Year; Because; Song of India; Arrivederci, Roma; Santa Lucia; O Solo Mio; Valencia; Danny Boy; E Lucevan Le Stelle; Cielo E Mar; You'll Never Walk Alone , and more!
|World's Very Best Opera for Kids
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Brand: CHILDRENS BOOK STORE DISTRIBUTION
Features 14 best-loved arias performed in English by the world's finest opera stars and rising stars and including works from some of the most popular -- and important - operas across a wide range of genres, eras and composers. In addition to 14 stellar p
|Beethoven's Wig 3: Many More Sing-Along Symphonies
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Brand: BEETHOVEN'S WIG
Beethoven's Wig celebrates the instruments! With more zany lyrics set to the greatest hits of classical music, these new Sing Along Symphonies feature a variety of different instruments from the familiar to the fascinating. The instrumental performance of each piece is also included without lyrics. A fun foundation for classical music that will last a lifetime. Beethoven's Wig has become the classical music sensation for the whole family. This is the third CD in the wildly popular Beethoven's Wig series which has won a record number of national awards (30 thus far) including two Grammy® Award nominations. The CD booklet includes lyrics, trivia questions, and activities.
Outside of Kidz Bop and Disneymania!, you won't find a lot of kids' series racking up the kind of sales that merit three installment, which is why the creators of Beethoven's Wig ought to step out of the orchestra pit and take a bow. Not only have they made it to No. 3, they've done it with a concept that veers sharply and unswervingly into educational territory. From the toot of the first cornet to the timpani's final thump, not a tired note has surfaced yet. For newcomers, here's a primer: Head wig-flipper Richard Perlmutter leads a respectable-sounding ensemble of singers and musicians in the loopy lyricizing of classic symphonic pieces. Everything from Handel to Rossini gets the word treatment. Instead of random witticisms, though, the lyrics he ascribes are meant to impart something memorable about the music. Thus, Mozart's Horn Concerto No. 4 is wedded to a charming ditty called "Chap in a Cap" and Bizet's "Toreador" song from Carmen comes to life with images of a bull in a China shop. Where Beethoven's Wig 3 differs from the others is in its focus on individual instruments--clarinets, mandolins, bassoons and basses all get the Wig equivalent of a shout-out. Otherwise, it's a return to form: Liner notes crammed not only with lyrics, but with fun questions and answers (How many fingers do harpists use when they play? Eight), a second half devoted to unsullied versions of the sung symphonies, and blasts of familiar sound leeched of stuffiness. Cue it up for anybody under 12 and keep your fingers crossed. With any luck, Perlmutter and company will come through with a fourth volume. --Tammy La Gorce
|Fiedler: Greatest Hits
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Over 60 minutes of light classical favorites from the legendary conductor's 50 years at the helm of the Boston Pops.
|Rossini: 14 Overtures
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Rossini: 14 Overtures
Rossini's Overtures are absolute jewels of the Classical period. He used them as his musical "calling cards," and with the exception of William Tell, there's absolutely no relationship between the overture and opera it introduces. The famous Barber of Seville overture, for example, was used previously for two tragic operas, including one called Elizabeth, Queen of England! All they were supposed to do was entertain the audience and let them know that the real business was about to begin. And that's just what they've been doing ever since. This comprehensive collection, at two discs for the price of one, will keep you in Rossini for a good, long time. --David Hurwitz
|The Opera Gala: Live from Baden-Baden
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List price: $24.98
Deutsche Grammophon proudly presents the new faces of the opera world in a glamorous new live concert DVD: Anna Netrebko, Elı - na Garancˇa, Ramón Vargas and the highly acclaimed young French baritone Ludovic Tézier sing a wide range of Italian and French opera favorites. This recording features highlights from concerts at Baden- Baden's Festspielhaus, where tickets to this extraordinary event sold out in record time. The DVD features the four young stars performing duets and the popular quartet "Bella figlia dell'amore" from Rigoletto. Other highlights include Delibes' famous flower duet from Lakmé performed sumptuously by Anna and Elı-na. Total Playing Time: 139 min.
The Festival Theatre at the German spa town of Baden-Baden is a spanking modern concert hall behind the façade of a handsome 19th-century railroad station. In July 2007, it hosted an evening of wonderful singing by a quartet of leading operatic stars in a program that could have been titled "Opera's Greatest Hits." After a brief orchestral piece from Bellini's Norma the fireworks begin with the duet Mira, o Norma featuring soprano Anna Netrebko and mezzo Elina Garanca, their voices blending beautifully. From then on, it's one familiar, well-loved operatic chestnut after another, all done with spirited fervor and admirable vocalism. Tenor Ramón Vargas is a positive presence, giving us the bel canto gem Una furtive lagrima from Donizetti's L'elisir d'amore in a flawlessly idiomatic interpretation that includes stunning diminuendos and a melting mezza-voce. Ludovic Tézier's rich baritone scores with a subtle rendition of Riccardo's death scene from Verdi's Don Carlo and, in yet another highlight in an evening full of them, joins Vargas in the great duet Dio, che nell'alma infondere from that opera.
Garanca's Mon coeur s'ouvre à ta voix from Saint-Saën's Samson et Dalila is undersung but her showpiece aria from Rossini's La Cenerentola sparkles, with impressive coloratura fireworks. Netrebko is among the most brilliant stars of today's operatic firmament and while overparted in Norma's Casta Diva, she's effective elsewhere. She brings the house down with the first of the concert's many encores, a performance of Lehar's Meine Lippen from the operetta, Giuditta, that includes seductive singing and acting, sexual flirtations, and energetic dancing. Her enthusiasm is infectious, sparking her colleagues as well as the audience. All four singers join in the quartet from Rigoletto that ends the formal portion of the concert, and in the final encore, they trade verses in an arrangement of the Drinking Song from La Traviata. Conductor Marco Armiliato, whose supportive accompaniments help make the concert a rousing success, directs the capable orchestra.
So this two-hour singfest provides joys for vocal buffs despite the hectic video direction that keeps the cameras moving endlessly, unnecessarily swooping around the auditorium, zooming from balconies to the stage and back, and otherwise distracting from the main event. --Dan Davis
- The Berlin Concert: Live from the Waldbühne
- Encores Great Performances at the Met
- Donizetti: Lucia di Lammermoor / Netrebko, Beczala, Kwiecien, Metropolitan Opera
- Gala Concert from St. Petersburg / Anna Netrebko, Dmitri Hvorostovsky, Mischa Maisky, Victor Tretyakov, Elisso Virsaladze, Yuri Temirkanov, Nikolai Alekseev, St. Petersburg Philharmonic
- Donizetti: Don Pasquale
- Live From Red Square Moscow
- Verdi - La Traviata
- La Boheme: The Film
- Bizet: Carmen
- Great Opera Arias - Concert With Domingo, Alagna, Gheorghiu / Royal Opera House
|Rossini: Il Barbiere di Siviglia
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Rossini: Il Barbiere di Siviglia
This is a nicely entertaining Barber, with just the right sense of fun running through it to avoid slapstick and still bring a sophisticated smile to one's lips. Teresa Berganza is so right, so unexaggerated, so pyrotechnically capable yet filled with good taste, that it's impossible to find fault with her Rosina. Luigi Alva's Count is classy and honey-toned up to the top of the staff, where the voice simply stops blooming; he's also not as good as one might wish with Rossini's difficult fast music. Hermann Prey's Figaro is similarly impaired--the coloratura is just not pristine--but his style, attitude, and intelligence are pure gold; he's vastly entertaining. The other low-voiced men are ideal Rossinians. Abbado holds the whole thing together--this is a very satisfying performance. Robert Levine
|Kathleen Battle - Bel Canto Arias
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|William Tell & Other Favorite Overtures
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