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Vivere - Greatest Hits
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Andrea Bocelli;
Universal;
2007-11-12;
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Usually dispatched within 1-2 business days
*Best price found from Amazon Marketplace seller
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*Amazon: £4.34
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 Customer Reviews
Brilliant!, 18 Feb 2008
I have this CD on constant repeat! The music is so varied but holds your attention every step of the way. Bocelli's voice is one you just have to fall in love with. His "Romanza" is 1 of my favourites but "Vivo Per Lei" has me hooked also. GET THIS CD!!!!!!
Almost perfect, 13 Jan 2008
There's not much to add to other people's reviews of this fine album. My only gripe, and it's a small one, is that he recorded Vivo Per Lei in Spanish with Marta Sanchez, as Vivo Por Ella, and in my opinion it's a much better, more romantic version. If you can find their version, add it to your mp3 player. Apart from that, this is a great album.
Treat yourself and discover a master of his art!, 26 Dec 2007
To me Andrea Bocelli is the only person to truly cross the devide of popular music and opera. His voice is a classical instrument - within the same note he can switch to so many different emotions.
Opera critics enjoy making their little world inaccessible - but Andrea takes your hand and leads you to a new universe of music.
I don't speak Italien but enjoy a sense of what he is singing about through his interpretations. Buy this CD and you'll be won over, and probably dip into his previous works.
If you research his life, you will see he's a great inspiration.
Magnificent, 07 Dec 2007
I purchased this because I was a huge fan of Con Te Partiro and the English language version which is the duet Time to Say Goodbye with Sarah Brightman. The man's voice and vocal range are absolutely outstanding, and the tracks on this album allow him to show that off to full effect. A great album for fans of Bocelli, or anyone who misses Pavarotti.
Not Completely the Best, 12 Nov 2007
Of course Andrea Bocelli is always great to listen to.
However, I don't want to be a kiljoy here but, how can a Bocelli album be described as 'the best' without him singing the brilliant 'Miserere'?
Mark
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Product Description
When he was growing up, Andrea Bocelli recalls finding inspiration in a favourite recording of sacred music performed by tenor legend Franco Corelli. Bocelli--who in the meantime has come to inspire millions of fiercely loyal fans himself--returns to the genre as the guiding theme of Sacred Arias, the release of which coincides with the first major English-language biography of the singer. These performances are filled with the singer's phenomenally well-known vocal signature: his flair for long, sweetly floating high notes and the gentle sense of cadence he brings to a melody. It's a mistake to compartmentalise Bocelli into a singer of "operatic" versus "popular" styles: in truth his approach is at heart the same. Lack of colour and control in his phrasing remains a drawback, but the emotional empathy Bocelli evokes is never in doubt. The arias collected here sample some of the most famous devotional pieces: Schubert's "Ave Maria" and Mozart's transporting "Ave Verum," as well as an arrangement of "Silent Night" in which Bocelli tries out his English. There's also a decidedly odd choice of bedfellows for a programme of "sacred" music, such as a song from Wagner's Wesendonck Lieder (whose "angel" is the object of an overpoweringly erotic attraction) and Handel's figurative ode to a tree, "Ombra mai fu". Still, Bocelli sings with an unfeigned directness that is sure to expand his already enormous following even further. --Thomas May
Customer Reviews
Brilliant!, 18 Feb 2008
I have this CD on constant repeat! The music is so varied but holds your attention every step of the way. Bocelli's voice is one you just have to fall in love with. His "Romanza" is 1 of my favourites but "Vivo Per Lei" has me hooked also. GET THIS CD!!!!!! Almost perfect, 13 Jan 2008
There's not much to add to other people's reviews of this fine album. My only gripe, and it's a small one, is that he recorded Vivo Per Lei in Spanish with Marta Sanchez, as Vivo Por Ella, and in my opinion it's a much better, more romantic version. If you can find their version, add it to your mp3 player. Apart from that, this is a great album. Treat yourself and discover a master of his art!, 26 Dec 2007
To me Andrea Bocelli is the only person to truly cross the devide of popular music and opera. His voice is a classical instrument - within the same note he can switch to so many different emotions.
Opera critics enjoy making their little world inaccessible - but Andrea takes your hand and leads you to a new universe of music.
I don't speak Italien but enjoy a sense of what he is singing about through his interpretations. Buy this CD and you'll be won over, and probably dip into his previous works.
If you research his life, you will see he's a great inspiration. Magnificent, 07 Dec 2007
I purchased this because I was a huge fan of Con Te Partiro and the English language version which is the duet Time to Say Goodbye with Sarah Brightman. The man's voice and vocal range are absolutely outstanding, and the tracks on this album allow him to show that off to full effect. A great album for fans of Bocelli, or anyone who misses Pavarotti. Not Completely the Best, 12 Nov 2007
Of course Andrea Bocelli is always great to listen to.
However, I don't want to be a kiljoy here but, how can a Bocelli album be described as 'the best' without him singing the brilliant 'Miserere'?
Mark
A Gift, 12 Dec 2007
A CD that has so much beauty it moves you from beginning to end. His voice portrays so much emotion that you don't just appreciate the sound, you feel every note that he sings.
There are some CDs that are simply labelled "mood music", and this for me is one that I file under such a category. Every time I listen it lifts me and transports me to places only I can go to. Somewhere that escapes the modern world.
The choice of arias is perfect. Many of which I was unfamiliar with. However, I have since introduced this CD to a number of people, many who listen to an entirely different genre of music; nearly all have been captivated by it.
All I can say is buy it and soak up the rich fare on offer.
And I haven't got the CD yet!, 09 May 2006
I have just listened to the concert, on ITV3, from which this recording was taken. I was almost moved to tears; the empathy that Andrea brings to pieces with which I was brought up, both musically and spiritually, was a joy.
My only regret is that they have, in order to market a 'Bocelli' CD, missed off the choral works that did not include him. They, too, were magnificent and if the whole concert becomes available on DVD I will certainly buy that also. beautiful voice, 25 Aug 2002
Quite simply Andrea Bocellie's Sacres Arias is a stunning piece of work. Andrea has a beautiful voice. He moves me. Anybody who loves this sort of music will become totally entranced with this. I am often moved to tears when i play Andrea's voice. I would highly recemmend this cd. Way to go, Chung! Andrea Bocelli is DA BOMB!!!!!, 26 Nov 2000
Personally, my taste leans toward Andrea's lovely pop side, but I still like this album very much for some reason. Though it lacks some elements that made "Romanza" a sensational hit, Andrea and Chung do what they can to keep this s**t together without ever letting it go. And, as a result, it works practically all around, unlike the occasional downfalls on "Verdi," a later release. That's all, folks!
After "Romanza" I was not quite so keen on "Opera Arias", 15 Aug 2000
After "Romanza" I was not quite so keen on "Opera Arias", I dont think that the recording quite captured the fine voice of Andrea Bocelli, however I am not put off, and will go on to look for more CD's with more of his songs.
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One Chance
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Paul Potts;
SonyBMG;
2007-07-16;
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Usually dispatched within 1-2 business days
*Best price found from Amazon Marketplace seller
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*Amazon: £5.00
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Customer Reviews
Brilliant!, 18 Feb 2008
I have this CD on constant repeat! The music is so varied but holds your attention every step of the way. Bocelli's voice is one you just have to fall in love with. His "Romanza" is 1 of my favourites but "Vivo Per Lei" has me hooked also. GET THIS CD!!!!!! Almost perfect, 13 Jan 2008
There's not much to add to other people's reviews of this fine album. My only gripe, and it's a small one, is that he recorded Vivo Per Lei in Spanish with Marta Sanchez, as Vivo Por Ella, and in my opinion it's a much better, more romantic version. If you can find their version, add it to your mp3 player. Apart from that, this is a great album. Treat yourself and discover a master of his art!, 26 Dec 2007
To me Andrea Bocelli is the only person to truly cross the devide of popular music and opera. His voice is a classical instrument - within the same note he can switch to so many different emotions.
Opera critics enjoy making their little world inaccessible - but Andrea takes your hand and leads you to a new universe of music.
I don't speak Italien but enjoy a sense of what he is singing about through his interpretations. Buy this CD and you'll be won over, and probably dip into his previous works.
If you research his life, you will see he's a great inspiration. Magnificent, 07 Dec 2007
I purchased this because I was a huge fan of Con Te Partiro and the English language version which is the duet Time to Say Goodbye with Sarah Brightman. The man's voice and vocal range are absolutely outstanding, and the tracks on this album allow him to show that off to full effect. A great album for fans of Bocelli, or anyone who misses Pavarotti. Not Completely the Best, 12 Nov 2007
Of course Andrea Bocelli is always great to listen to.
However, I don't want to be a kiljoy here but, how can a Bocelli album be described as 'the best' without him singing the brilliant 'Miserere'?
Mark
A Gift, 12 Dec 2007
A CD that has so much beauty it moves you from beginning to end. His voice portrays so much emotion that you don't just appreciate the sound, you feel every note that he sings.
There are some CDs that are simply labelled "mood music", and this for me is one that I file under such a category. Every time I listen it lifts me and transports me to places only I can go to. Somewhere that escapes the modern world.
The choice of arias is perfect. Many of which I was unfamiliar with. However, I have since introduced this CD to a number of people, many who listen to an entirely different genre of music; nearly all have been captivated by it.
All I can say is buy it and soak up the rich fare on offer.
And I haven't got the CD yet!, 09 May 2006
I have just listened to the concert, on ITV3, from which this recording was taken. I was almost moved to tears; the empathy that Andrea brings to pieces with which I was brought up, both musically and spiritually, was a joy.
My only regret is that they have, in order to market a 'Bocelli' CD, missed off the choral works that did not include him. They, too, were magnificent and if the whole concert becomes available on DVD I will certainly buy that also. beautiful voice, 25 Aug 2002
Quite simply Andrea Bocellie's Sacres Arias is a stunning piece of work. Andrea has a beautiful voice. He moves me. Anybody who loves this sort of music will become totally entranced with this. I am often moved to tears when i play Andrea's voice. I would highly recemmend this cd. Way to go, Chung! Andrea Bocelli is DA BOMB!!!!!, 26 Nov 2000
Personally, my taste leans toward Andrea's lovely pop side, but I still like this album very much for some reason. Though it lacks some elements that made "Romanza" a sensational hit, Andrea and Chung do what they can to keep this s**t together without ever letting it go. And, as a result, it works practically all around, unlike the occasional downfalls on "Verdi," a later release. That's all, folks!
After "Romanza" I was not quite so keen on "Opera Arias", 15 Aug 2000
After "Romanza" I was not quite so keen on "Opera Arias", I dont think that the recording quite captured the fine voice of Andrea Bocelli, however I am not put off, and will go on to look for more CD's with more of his songs.
All Hype and no Substance!, 19 Apr 2008
Isn't it amazing what TV and a whole bucket load of hype can do.
This guy would not get a part in an amateur production of Gilbert & Sullivan!Of course it's all a question of "the kings new clothes",if we criticise him we don't have a heart/cannot hear how well he sings, or just don't appreciate talent.(Where is it?)
Well, Mr Potts sings off key(often)and when he finds the key he continues by singing flat.
Make the best of it Mr Potts because the fickle world of "popular" music will soon tire of you,and when they do they will tear you to pieces, as they discover the fabrication that has been passed off as talent.
Talent cannot be invented,as has Paul Potts,it comes naturally;and this voice is decidely unatural.
TRULY APPALLING PRODUCTION ., 26 Dec 2007
I WOULD NOT NORMALLY WRITE A REVIEW AFTER 96 PEOPLE HAVE BEFORE ME . MY REASON IN DOING SO IS THAT I FEEL NOBODY HAS HIT THE NAIL ON THE HEAD WITH WHAT IS WRONG CONCERNING THIS ALBUM . IT IS RUINED COMPLETELY BY ALL THE ACCOMPANIMENTS WHICH ARE SIMPLY FAR TOO LOUD AND SWAMP THE SINGER ALL THE WAY THROUGH THE ALBUM . IT IS ALL OUT OF PROPORTION AND THE MIXING IS DIRE . LISTENING IS CONSTANTLY PAINFUL AND IRRITATING . IT IS A BATTLE ALL THE WAY THROUGH . THE VOICE IS ALSO POORLY PRODUCED . AT TIMES ALL THE SOUND IS MUFFLED AND UNCLEAR . COUPLE THIS WITH NUMEROUS VERY POOR ARRANGEMENTS OF THE PIECES AND IT IS A RECIPE FOR DISASTER IF YOU HAVE ANY GOOD TASTE . I DO THINK PAUL POTTS CAN SING AND I FIND PLEASANT TONES IN HIS VOICE . I HAVE NOT HEARD HIM PROFESS TO BE AN OPERA SINGER AND I DO NOT THINK HIS MARKETING HAS PARTICULARLY TRIED TO COMPARE HIM WITH ANY OF THE CLASSICAL GREATS - OR ATLEAST I HAVE NOT SEEN IT . THE COLLECTION OF SONGS HERE IS BORING AND WE HAVE HEARD THEM ALL 1000 TIMES BEFORE . PAUL HAS BEEN VERY ILL - SERVED BY THIS FIRST RELEASE BUT I DO THINK HE SHOWS PROMISE AS A POPULAR ENTERTAINER WITH A DIFFERENT MORE INDIVIDUAL REPERTOIRE IF PRODUCED AND MIXED BY SOMEBODY WHO ACTUALLY KNOWS WHAT THEY ARE DOING INSTEAD OF THIS CACOPHONY OF BLAND POP OVER PRODUCTION WHICH ONLY SERVES TO HIDE THE TALENT AND VOCAL CAPABILITY THAT PAUL HAS . HIS VOICE IS NOT THE BEST BUT IT IS GOOD ENOUGH TO BRING PLEASURE IN POPULAR SONG TO MANY PEOPLE . I THINK HE COULD FIND A LASTING MARKET WITH SUITABLE MATERIAL IF THE ARRANGEMENTS ACCOMPANIMENT AND MIXING ARE LESS PAINFUL AND ACTUALLY SPACED CORRECTLY AND IN PROPORTION . HE IS A GOOD SINGER OF POPULAR MUSIC AND HIS PERFORMANCE HERE IS ADEQUATE . THE MAIN FAULT IS NOT HIS . ALSO PLEASE LIST THE SONG TITLES IN THE LANGUAGE IN WHICH THEY ARE SUNG WITH THE BEST KNOWN VERSION WHERE DIFFERENT IN THE BRACKETS AFTERWARDS . HERE IT IS THE OPPOSITE . THE TITLE IS LISTED IN THE LANGUAGE NOT SUNG WITH WHAT IS SUNG IN BRACKETS . I FIND THIS YET ANOTHER IRRITATION . IF BROWSING TO POSSIBLY BUY YOU CANNOT TELL EXACTLY WHAT WILL BE SUNG . IT IS ALSO VERY POOR VALUE WHEN COMPARED TO MOST ALBUMS WITH LESS THAN 42 MINUTES PLAYING TIME AND ONLY 10 SONGS . HOWEVER IN THIS CASE I HAVE TO SAY REGRETTABLY THAT IT IS A BLESSING TO HAVE IT CUT SHORT AS OUR EARS WERE BATTERED AND OUR HEADS LITERALLY BURSTING . VERY LITTLE CARE HAS BEEN TAKEN OVER THIS RELEASE WHICH HAS BEEN RUSHED OUT WITH POOR TECHNICAL ACCOMPLISHMENT . THE CHRISTMAS EDITION CANNOT EVEN NUMBER THE TRACKS CORRECTLY SO MUCH IS THE SLAP DASH TO GET IT ON THE SHOP SHELF . ANY FOLLOW UP NEEDS TO BE FAR BETTER IF PAULS CAREER IS TO BE PROLONGED . IT IS WORRYING THAT SO MANY THINK THIS IS WONDERFUL . IT IS A REAL ASSAULT TO THE EARS AND I AM SORRY TO HAVE TO SAY IT . I HAD HOPED FOR FAR BETTER .
Hmmmm....., 25 Dec 2007
I'm kind of undecided on this one. I think this guy obviously has a raw natural talent, and he sings musically and tells a story beautifully when he sings. His 'nessun dorma' definately does something for me.
I am a classical musician (not a singer, violinist), and if you want opera, don't buy this. Potts communicates the music very well, but he is not an opera singer. Just enjoy him for what he is, which is a nice voice (singing songs, which, by and large, are not from opera! Translating a pop song into Italian does not make it opera!). The songs are so cheesey you can practically smell them, and anyone with a good classical training could sing them just as well, but whether or not you like the way potts does it is deeply personal. But to say that this is opera is insulting to people who train for hours every day to sing opera music which is much harder and technically demanding. It actually makes me sick into my mouth a little bit.
not so good at all, 17 Dec 2007
paul potts is not that good. listen to pavarotti, bocelli, russell watson , gardar cortes to mention a few and you'll be able to see the comparison.
paul dosen't cut the cloth.he's a mobile phone salesman who sings as a hobby. he isn't a classical trained performer.
there are far better operatic albums out there to buy
unfortunately this album is rather dissappointing
A singing success story, 16 Dec 2007
Paul Potts is a walking, singing example of how talent shows are so successful at both finding undiscovered talent and stirring the public into voicing their opinions and emotions so strongly towards that newly uncovered talent.
Opinions are generally divided between those who are able to take the singer for what he is (an ordinary guy with a natural gift for singing) and those who are grieved that his lack of operatic training has not hindered him in finding success in that music genre.
Technical perfection and music school education should not be prerequisites for being able to perform classical and operatic music, for history is rich with composers and artists who have found success with little or no formal training. Perhaps no better illustration of this is the famous Edward Elgar, a largely self-taught composer, who found difficultly in gaining recognition during his early years but whose talents as a classical composer are today unquestioned.
Paul Potts is a singer with a voice, and life story, to touch the hearts of those wanting to enjoy music for what it is - entertainment. Yes, I agree with the critics who claim he is not an opera singer, how could he be when he hasn't had the chance to walk onto that theatre stage yet?
What he has got however is a phenomenal talent for singing opera songs in a way which grabs the attention of those listeners who would often shy away from an area of music sometimes mistakenly regarded as only for the elitist high society.
It took courage for him to stand on that stage, and the public showed their love and admiration for him by electing him as winner so I think he deserves all the success he gets.
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Customer Reviews
Brilliant!, 18 Feb 2008
I have this CD on constant repeat! The music is so varied but holds your attention every step of the way. Bocelli's voice is one you just have to fall in love with. His "Romanza" is 1 of my favourites but "Vivo Per Lei" has me hooked also. GET THIS CD!!!!!! Almost perfect, 13 Jan 2008
There's not much to add to other people's reviews of this fine album. My only gripe, and it's a small one, is that he recorded Vivo Per Lei in Spanish with Marta Sanchez, as Vivo Por Ella, and in my opinion it's a much better, more romantic version. If you can find their version, add it to your mp3 player. Apart from that, this is a great album. Treat yourself and discover a master of his art!, 26 Dec 2007
To me Andrea Bocelli is the only person to truly cross the devide of popular music and opera. His voice is a classical instrument - within the same note he can switch to so many different emotions.
Opera critics enjoy making their little world inaccessible - but Andrea takes your hand and leads you to a new universe of music.
I don't speak Italien but enjoy a sense of what he is singing about through his interpretations. Buy this CD and you'll be won over, and probably dip into his previous works.
If you research his life, you will see he's a great inspiration. Magnificent, 07 Dec 2007
I purchased this because I was a huge fan of Con Te Partiro and the English language version which is the duet Time to Say Goodbye with Sarah Brightman. The man's voice and vocal range are absolutely outstanding, and the tracks on this album allow him to show that off to full effect. A great album for fans of Bocelli, or anyone who misses Pavarotti. Not Completely the Best, 12 Nov 2007
Of course Andrea Bocelli is always great to listen to.
However, I don't want to be a kiljoy here but, how can a Bocelli album be described as 'the best' without him singing the brilliant 'Miserere'?
Mark
A Gift, 12 Dec 2007
A CD that has so much beauty it moves you from beginning to end. His voice portrays so much emotion that you don't just appreciate the sound, you feel every note that he sings.
There are some CDs that are simply labelled "mood music", and this for me is one that I file under such a category. Every time I listen it lifts me and transports me to places only I can go to. Somewhere that escapes the modern world.
The choice of arias is perfect. Many of which I was unfamiliar with. However, I have since introduced this CD to a number of people, many who listen to an entirely different genre of music; nearly all have been captivated by it.
All I can say is buy it and soak up the rich fare on offer.
And I haven't got the CD yet!, 09 May 2006
I have just listened to the concert, on ITV3, from which this recording was taken. I was almost moved to tears; the empathy that Andrea brings to pieces with which I was brought up, both musically and spiritually, was a joy.
My only regret is that they have, in order to market a 'Bocelli' CD, missed off the choral works that did not include him. They, too, were magnificent and if the whole concert becomes available on DVD I will certainly buy that also. beautiful voice, 25 Aug 2002
Quite simply Andrea Bocellie's Sacres Arias is a stunning piece of work. Andrea has a beautiful voice. He moves me. Anybody who loves this sort of music will become totally entranced with this. I am often moved to tears when i play Andrea's voice. I would highly recemmend this cd. Way to go, Chung! Andrea Bocelli is DA BOMB!!!!!, 26 Nov 2000
Personally, my taste leans toward Andrea's lovely pop side, but I still like this album very much for some reason. Though it lacks some elements that made "Romanza" a sensational hit, Andrea and Chung do what they can to keep this s**t together without ever letting it go. And, as a result, it works practically all around, unlike the occasional downfalls on "Verdi," a later release. That's all, folks!
After "Romanza" I was not quite so keen on "Opera Arias", 15 Aug 2000
After "Romanza" I was not quite so keen on "Opera Arias", I dont think that the recording quite captured the fine voice of Andrea Bocelli, however I am not put off, and will go on to look for more CD's with more of his songs.
All Hype and no Substance!, 19 Apr 2008
Isn't it amazing what TV and a whole bucket load of hype can do.
This guy would not get a part in an amateur production of Gilbert & Sullivan!Of course it's all a question of "the kings new clothes",if we criticise him we don't have a heart/cannot hear how well he sings, or just don't appreciate talent.(Where is it?)
Well, Mr Potts sings off key(often)and when he finds the key he continues by singing flat.
Make the best of it Mr Potts because the fickle world of "popular" music will soon tire of you,and when they do they will tear you to pieces, as they discover the fabrication that has been passed off as talent.
Talent cannot be invented,as has Paul Potts,it comes naturally;and this voice is decidely unatural.
TRULY APPALLING PRODUCTION ., 26 Dec 2007
I WOULD NOT NORMALLY WRITE A REVIEW AFTER 96 PEOPLE HAVE BEFORE ME . MY REASON IN DOING SO IS THAT I FEEL NOBODY HAS HIT THE NAIL ON THE HEAD WITH WHAT IS WRONG CONCERNING THIS ALBUM . IT IS RUINED COMPLETELY BY ALL THE ACCOMPANIMENTS WHICH ARE SIMPLY FAR TOO LOUD AND SWAMP THE SINGER ALL THE WAY THROUGH THE ALBUM . IT IS ALL OUT OF PROPORTION AND THE MIXING IS DIRE . LISTENING IS CONSTANTLY PAINFUL AND IRRITATING . IT IS A BATTLE ALL THE WAY THROUGH . THE VOICE IS ALSO POORLY PRODUCED . AT TIMES ALL THE SOUND IS MUFFLED AND UNCLEAR . COUPLE THIS WITH NUMEROUS VERY POOR ARRANGEMENTS OF THE PIECES AND IT IS A RECIPE FOR DISASTER IF YOU HAVE ANY GOOD TASTE . I DO THINK PAUL POTTS CAN SING AND I FIND PLEASANT TONES IN HIS VOICE . I HAVE NOT HEARD HIM PROFESS TO BE AN OPERA SINGER AND I DO NOT THINK HIS MARKETING HAS PARTICULARLY TRIED TO COMPARE HIM WITH ANY OF THE CLASSICAL GREATS - OR ATLEAST I HAVE NOT SEEN IT . THE COLLECTION OF SONGS HERE IS BORING AND WE HAVE HEARD THEM ALL 1000 TIMES BEFORE . PAUL HAS BEEN VERY ILL - SERVED BY THIS FIRST RELEASE BUT I DO THINK HE SHOWS PROMISE AS A POPULAR ENTERTAINER WITH A DIFFERENT MORE INDIVIDUAL REPERTOIRE IF PRODUCED AND MIXED BY SOMEBODY WHO ACTUALLY KNOWS WHAT THEY ARE DOING INSTEAD OF THIS CACOPHONY OF BLAND POP OVER PRODUCTION WHICH ONLY SERVES TO HIDE THE TALENT AND VOCAL CAPABILITY THAT PAUL HAS . HIS VOICE IS NOT THE BEST BUT IT IS GOOD ENOUGH TO BRING PLEASURE IN POPULAR SONG TO MANY PEOPLE . I THINK HE COULD FIND A LASTING MARKET WITH SUITABLE MATERIAL IF THE ARRANGEMENTS ACCOMPANIMENT AND MIXING ARE LESS PAINFUL AND ACTUALLY SPACED CORRECTLY AND IN PROPORTION . HE IS A GOOD SINGER OF POPULAR MUSIC AND HIS PERFORMANCE HERE IS ADEQUATE . THE MAIN FAULT IS NOT HIS . ALSO PLEASE LIST THE SONG TITLES IN THE LANGUAGE IN WHICH THEY ARE SUNG WITH THE BEST KNOWN VERSION WHERE DIFFERENT IN THE BRACKETS AFTERWARDS . HERE IT IS THE OPPOSITE . THE TITLE IS LISTED IN THE LANGUAGE NOT SUNG WITH WHAT IS SUNG IN BRACKETS . I FIND THIS YET ANOTHER IRRITATION . IF BROWSING TO POSSIBLY BUY YOU CANNOT TELL EXACTLY WHAT WILL BE SUNG . IT IS ALSO VERY POOR VALUE WHEN COMPARED TO MOST ALBUMS WITH LESS THAN 42 MINUTES PLAYING TIME AND ONLY 10 SONGS . HOWEVER IN THIS CASE I HAVE TO SAY REGRETTABLY THAT IT IS A BLESSING TO HAVE IT CUT SHORT AS OUR EARS WERE BATTERED AND OUR HEADS LITERALLY BURSTING . VERY LITTLE CARE HAS BEEN TAKEN OVER THIS RELEASE WHICH HAS BEEN RUSHED OUT WITH POOR TECHNICAL ACCOMPLISHMENT . THE CHRISTMAS EDITION CANNOT EVEN NUMBER THE TRACKS CORRECTLY SO MUCH IS THE SLAP DASH TO GET IT ON THE SHOP SHELF . ANY FOLLOW UP NEEDS TO BE FAR BETTER IF PAULS CAREER IS TO BE PROLONGED . IT IS WORRYING THAT SO MANY THINK THIS IS WONDERFUL . IT IS A REAL ASSAULT TO THE EARS AND I AM SORRY TO HAVE TO SAY IT . I HAD HOPED FOR FAR BETTER .
Hmmmm....., 25 Dec 2007
I'm kind of undecided on this one. I think this guy obviously has a raw natural talent, and he sings musically and tells a story beautifully when he sings. His 'nessun dorma' definately does something for me.
I am a classical musician (not a singer, violinist), and if you want opera, don't buy this. Potts communicates the music very well, but he is not an opera singer. Just enjoy him for what he is, which is a nice voice (singing songs, which, by and large, are not from opera! Translating a pop song into Italian does not make it opera!). The songs are so cheesey you can practically smell them, and anyone with a good classical training could sing them just as well, but whether or not you like the way potts does it is deeply personal. But to say that this is opera is insulting to people who train for hours every day to sing opera music which is much harder and technically demanding. It actually makes me sick into my mouth a little bit.
not so good at all, 17 Dec 2007
paul potts is not that good. listen to pavarotti, bocelli, russell watson , gardar cortes to mention a few and you'll be able to see the comparison.
paul dosen't cut the cloth.he's a mobile phone salesman who sings as a hobby. he isn't a classical trained performer.
there are far better operatic albums out there to buy
unfortunately this album is rather dissappointing
A singing success story, 16 Dec 2007
Paul Potts is a walking, singing example of how talent shows are so successful at both finding undiscovered talent and stirring the public into voicing their opinions and emotions so strongly towards that newly uncovered talent.
Opinions are generally divided between those who are able to take the singer for what he is (an ordinary guy with a natural gift for singing) and those who are grieved that his lack of operatic training has not hindered him in finding success in that music genre.
Technical perfection and music school education should not be prerequisites for being able to perform classical and operatic music, for history is rich with composers and artists who have found success with little or no formal training. Perhaps no better illustration of this is the famous Edward Elgar, a largely self-taught composer, who found difficultly in gaining recognition during his early years but whose talents as a classical composer are today unquestioned.
Paul Potts is a singer with a voice, and life story, to touch the hearts of those wanting to enjoy music for what it is - entertainment. Yes, I agree with the critics who claim he is not an opera singer, how could he be when he hasn't had the chance to walk onto that theatre stage yet?
What he has got however is a phenomenal talent for singing opera songs in a way which grabs the attention of those listeners who would often shy away from an area of music sometimes mistakenly regarded as only for the elitist high society.
It took courage for him to stand on that stage, and the public showed their love and admiration for him by electing him as winner so I think he deserves all the success he gets.
Spangly Sonnambula, 31 Dec 2008
I'm slightly puzzled that Bartoli is being described as the first mezzo-soprano to sing a "Malibran" version of this score, and indeed that she is single-handedly restoring lost gems to the catalogue with her "Maria! album, dedicated to her illustrious predecessor. Frederica von Stade sang this role, transposed, in 1986. And the Malibran edition of Puritani was given, complete, the same year with Ricciarelli (You'll find bits of both on Youtube). And that's quite apart from the work done by Opera Rara. Perhaps Bartoli should join forces with them and do something truly neglected.
Apart from that, I enjoyed this set more than I expected to from the other reviews. Yes, Bartoli is a bit breathy sometimes, too closely miked, as she was with "Casta Diva", a contraversial track on her "Maria" album. But it allows her to be uncommonly delicate with her coloratura which can otherwise be rather hectoring and aggressive to my ears.
Of course there are no stratospheric high notes - but the compensations are in the warm middle voice. Some low notes sounded odd...but the sum of the parts is really quite lovely. Florez hasn't quite the "ping" that earlier tenors like Valetti or Monti have, but he is still splendid. Their voices blend reasonably well, although some of the cadenzas to duets and arias are not very imaginative.
My only other quibble - as orchestra, cast & chorus are excelent - is the strange jangly spangly sound that has been added at climaxes - sounding like the tinsel on a Christmas tree. Is it supposed to be goats' bells in an alpine meadow??? Or period instrument percussion??? Sounds a bit contrived and I find it distracting.
This is an unusual version of Sonnambula but very lovely and enjoyable. With less "fireworks" it seems a more integrated work and other pieces of the score shine instead. Above, Bellini's genius for melody wins the day.
Not up to the competition, 07 Dec 2008
Like one of the other reviewers, I live in the US and ordered this set from the UK - not because I was so anxious to have it, but simply because it was cheaper (no longer the case). That's not to say that I didn't await its arrival with some considerable expectation of pleasure. I regret to say that I was disappointed with this offering.
I greatly admire Miss Bartoli and have most of her recordings. In this one she isn't up to her usual standard. She's usually such a thoughtful and intelligent artist that she may have simply spent too much time thinking about this role. To say that it is studied would be kind. "Contrived" would be a more accurate term. I've not heard so many gasps and gulps on a recording since the last time I listened to Richard Tucker. (Sorry, Tucker fans.) Miss Bartoli's singing here is overtly, and overly, emotive. The result is a porcelain-doll preciousness that I find distasteful.
I'll also level some criticism at the erratic conducting of maestro de Marchi. His tempi at times have a lugubrious slowness that ill fits the gentle pathos of this opera. At other places there are sudden accelerations that almost jar the teeth out of one's head. The first act chorus "In Elvezia non v'ha rosa" starts at a pleasant pace but the speed nearly doubles at the words "e innocente tortorella." Granted, I'm looking at the standard Ricordi score, not the critical edition on which this recording is based, and there's no presto subito, or even accelerando, instruction here.
These points are too bad given the otherwise high quality of this recording. I agree with the other American reviewer that Juan Diego Florez is probably the best Elvino on record. But, who buys a recording of "Sonnambula" for the Elvino? Like another reviewer, I agree that Miss Bartoli and Mr. Florez don't blend well together. It sounds almost as if they recorded their duets at different times and in different places and a sound engineer spliced them together. (The booklet indicates that both duets are transposed, as are other scenes which feature both Amina and Elvino.) When individual tracks are available for download, I'd suggested getting Elvino's Act II scene and skipping the rest of this set.
However, I don't mean to say that the contributions of the basso and seconda donna are negligible. Ildebrando D'Arcangelo is splendid as Count Rodolfo, as is Gemma Bertagnolli as Lisa. Mr. D'Arcangelo has a rolling basso cantante voice that's beautifully suited to this role. The role of Lisa is given to a proper seconda donna in this performance rather than relegated to a squeaky soubrette. Actually, when available, you may also want to get the Act II quartet "Lisa mendace anch'essa!" Even the comprimarios cover themselves with glory. It really is too bad that the leading lady and the conductor let down the rest of the show.
For, make no mistake about it, this is Miss Bartoli's show. The "special edition" book is full of portraits of Miss Bartoli that are just as contrived and precious as her singing. The cover photo is a good example. There are many more. There are also the usual portraits of all the rest of the singers with the notable exception of the tenor. The last page of the book has the only photo of Mr. Florez, with Miss Bartoli, and even his pose shows he's second fiddle to the female.
I truly wish that I could give this recording an enthusiastic recommendation. I regret that I can't. With so many other fine recordings of this opera available, this one simply isn't up to the competition. My favourite studio recording remains Joan Sutherland's first take, now available at a budget price. Similarly budget priced and highly enjoyable are the recordings on the Naxos and Arts labels. If you don't mind dated sound and traditional cuts, you can't do better than the live 1957 Callas performance from Cologne.
Very disapointing, 26 Nov 2008
It is really boring to listen to this recording of La Sonnanbula. What a disappointment! One has to go back to the Callas version right away. Sorry Cecilia, I love you, I've attended many of your opera performances in Zurich and in most of them I was absolutely overwhelmed but definitely this is not your highest achievement. I only have a word for it: boring.
VERY DIFFERENT - VERY REFRESHING - AND I LOVE IT!, 24 Nov 2008
I live in the United States, where this recording won't be available until February 24th, but I was so excited when I heard about it, I decided to order it from Amazon in the United Kingdom. I'm a bel canto opera guy and while I certainly respect the opinions of my British counterparts, I am unable to come to the same conclusions as they. While I admit that there are times when Bartoli seems to aspirate in her vocal lines, I find that it adds to the childlike innocence of Amina. Whatever the case, she sings her two big numbers in the same key as Callas and Sutherland, but instead goes downwards for some of her embellishments. She never touches a top E flat, but then again neither did Cecilia Gasdia when she sang Amina in Chicago. I find Bartoli's singing very beautiful, lyrical, and am impressed by her embellishments which go down to low A flat (which Callas also did in 1955 under Leonard Bernstein). Nor is this the first time I've ever heard a "mezzo" sing this music - Marilyn Horne sang the final scene at a concert in Chicago in the 1970's --- to great effect. Florez requires no defense whatsoever. He's got the extreme top notes, and his voice is of great beauty. Together, I find his duets with Bartoli to be the ideal. I find this performance to be a valuable addition to my bel canto discography, and can now finally understand how sopranos like Malibran and Pasta sang this very intricate role. I'm not even sure that Bellini ever wrote any top E flats for the soprano in this opera to begin
with. Callas and Sutherland, of course, put them in, and both were wonderful. However, in both cases, they were not favored by a tenor like Florez. Nicola Monti, who partnered Callas and Sutherland (on her first studio recording)was lyrical and flowing, but was definitely short on top.
On Sutherland's second studio, Luciano Pavarotti made Elvino sound like a bull in a china shop ---- much too heavy with virtually no nuance. Thus, I feel that Florez is arguably the best Elvino on any "Sonnambula" recording (not that there have been that many!). I'm forever grateful to Decca for recording this opera in this fashion with these singers. It's a fresh approach, with variants not previously heard. I have no problems with the sound, and will probably find myself listening to this set again and again.
Lovely - yet somewhat unsatisfying, 12 Nov 2008
I adore Cecilia Bartoli's voice and her intelligence and musicality. Listening to her is almost unfailing delight.
But this is the first time - ever - that I must write of being disappointed by her performance.
I would like to begin by saying that this recording has many lovely things about it. Florez is meltingly superb - what a beautiful tone he has, and he phrases so intelligently! D'Arcangelo is stunning - it seems he's able to sing any sort of role at all. The chorus & orchestra all do a fine job.
But the recording quality itself is a little problematic. Bartoli's voice is recorded so far forward and with such a resonant "wet" sound that it seems not to be part of an opera... but rather like a soloist superimposed on top of all the other singers and instrumentalists. In the duet work between Bartoli and Florez, this leads to quite a disconcerting effect, which is not helped by the different approach Bartoli and Florez have to the running passages in which they should be together. Florez sings the phrases with fine legato - Bartoli over-exaggerates and chops up the phrases.
Bartoli, in fact, for the first time that I can remember has simply failed to engage me in this recording. I felt bewildered by the "ham" in her singing - it almost sounded as though she were trying to imitate Fleming in bel canto. So many sobs and sighs stuck ONTO the singing line and turning the phrases into little bits instead of coherent exhalations or contemplations...
I was so taken aback by this, and so upset by NOT being fully immersed in the loveliness of the singing (for I don't mean to imply that Bartoli isn't singing frequently with great beauty in this recording), that I and the friend with whom I was listening stopped the recording and put on the Callas Sonnambula recording... and o cielo, we knew our memories hadn't deceived us. THERE was the liquid and the feeling and the character and her emotions... there it was. When Callas sang bel canto, the sighs were IN the timbre of the voice. They were not pasted on as an addendum or embellishment. When Callas sang a character, she WAS that character - and while Bartoli has always in the past created characters in her singing, I just could not feel she succeeded in this particular role.
And when Callas sang the duet work with her tenor, it worked with a cohesiveness and sincerity that was lacking in the new Bartoli recording.
I don't know what on earth has led the beautiful Cecilia Bartoli to eschew the reality of her previous performances with this synthetic one. I do know that it's one of the most disappointing recordings I've heard for years - but that is primarily because my hopes were exceedingly high for this.
Four stars because, in spite of the melodramatic over-acting, it is still beautiful - and Juan Diego Florez is a miracle.
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The Only Opera Album You'll Ever Need
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Covent Garden Royal Opera House OrchestraLondon Symphony OrchestraLondon Philharmonic OrchestraVienna Philharmonic Orchestra;
RCA Victor;
2001-03-31;
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Usually dispatched within 1-2 business days
*Best price found from Amazon Marketplace seller
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*Amazon: £4.24
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![Andrea
Bocelli
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Under
The
Desert
Sky
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Live
In
Las
Vegas
[2006]
(NTSC)](http://ecx.images-amazon.com/images/I/41MJZPSOeQL._SL75_.jpg) |
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Customer Reviews
Brilliant!, 18 Feb 2008
I have this CD on constant repeat! The music is so varied but holds your attention every step of the way. Bocelli's voice is one you just have to fall in love with. His "Romanza" is 1 of my favourites but "Vivo Per Lei" has me hooked also. GET THIS CD!!!!!! Almost perfect, 13 Jan 2008
There's not much to add to other people's reviews of this fine album. My only gripe, and it's a small one, is that he recorded Vivo Per Lei in Spanish with Marta Sanchez, as Vivo Por Ella, and in my opinion it's a much better, more romantic version. If you can find their version, add it to your mp3 player. Apart from that, this is a great album. Treat yourself and discover a master of his art!, 26 Dec 2007
To me Andrea Bocelli is the only person to truly cross the devide of popular music and opera. His voice is a classical instrument - within the same note he can switch to so many different emotions.
Opera critics enjoy making their little world inaccessible - but Andrea takes your hand and leads you to a new universe of music.
I don't speak Italien but enjoy a sense of what he is singing about through his interpretations. Buy this CD and you'll be won over, and probably dip into his previous works.
If you research his life, you will see he's a great inspiration. Magnificent, 07 Dec 2007
I purchased this because I was a huge fan of Con Te Partiro and the English language version which is the duet Time to Say Goodbye with Sarah Brightman. The man's voice and vocal range are absolutely outstanding, and the tracks on this album allow him to show that off to full effect. A great album for fans of Bocelli, or anyone who misses Pavarotti. Not Completely the Best, 12 Nov 2007
Of course Andrea Bocelli is always great to listen to.
However, I don't want to be a kiljoy here but, how can a Bocelli album be described as 'the best' without him singing the brilliant 'Miserere'?
Mark
A Gift, 12 Dec 2007
A CD that has so much beauty it moves you from beginning to end. His voice portrays so much emotion that you don't just appreciate the sound, you feel every note that he sings.
There are some CDs that are simply labelled "mood music", and this for me is one that I file under such a category. Every time I listen it lifts me and transports me to places only I can go to. Somewhere that escapes the modern world.
The choice of arias is perfect. Many of which I was unfamiliar with. However, I have since introduced this CD to a number of people, many who listen to an entirely different genre of music; nearly all have been captivated by it.
All I can say is buy it and soak up the rich fare on offer.
And I haven't got the CD yet!, 09 May 2006
I have just listened to the concert, on ITV3, from which this recording was taken. I was almost moved to tears; the empathy that Andrea brings to pieces with which I was brought up, both musically and spiritually, was a joy.
My only regret is that they have, in order to market a 'Bocelli' CD, missed off the choral works that did not include him. They, too, were magnificent and if the whole concert becomes available on DVD I will certainly buy that also. beautiful voice, 25 Aug 2002
Quite simply Andrea Bocellie's Sacres Arias is a stunning piece of work. Andrea has a beautiful voice. He moves me. Anybody who loves this sort of music will become totally entranced with this. I am often moved to tears when i play Andrea's voice. I would highly recemmend this cd. Way to go, Chung! Andrea Bocelli is DA BOMB!!!!!, 26 Nov 2000
Personally, my taste leans toward Andrea's lovely pop side, but I still like this album very much for some reason. Though it lacks some elements that made "Romanza" a sensational hit, Andrea and Chung do what they can to keep this s**t together without ever letting it go. And, as a result, it works practically all around, unlike the occasional downfalls on "Verdi," a later release. That's all, folks!
After "Romanza" I was not quite so keen on "Opera Arias", 15 Aug 2000
After "Romanza" I was not quite so keen on "Opera Arias", I dont think that the recording quite captured the fine voice of Andrea Bocelli, however I am not put off, and will go on to look for more CD's with more of his songs.
All Hype and no Substance!, 19 Apr 2008
Isn't it amazing what TV and a whole bucket load of hype can do.
This guy would not get a part in an amateur production of Gilbert & Sullivan!Of course it's all a question of "the kings new clothes",if we criticise him we don't have a heart/cannot hear how well he sings, or just don't appreciate talent.(Where is it?)
Well, Mr Potts sings off key(often)and when he finds the key he continues by singing flat.
Make the best of it Mr Potts because the fickle world of "popular" music will soon tire of you,and when they do they will tear you to pieces, as they discover the fabrication that has been passed off as talent.
Talent cannot be invented,as has Paul Potts,it comes naturally;and this voice is decidely unatural.
TRULY APPALLING PRODUCTION ., 26 Dec 2007
I WOULD NOT NORMALLY WRITE A REVIEW AFTER 96 PEOPLE HAVE BEFORE ME . MY REASON IN DOING SO IS THAT I FEEL NOBODY HAS HIT THE NAIL ON THE HEAD WITH WHAT IS WRONG CONCERNING THIS ALBUM . IT IS RUINED COMPLETELY BY ALL THE ACCOMPANIMENTS WHICH ARE SIMPLY FAR TOO LOUD AND SWAMP THE SINGER ALL THE WAY THROUGH THE ALBUM . IT IS ALL OUT OF PROPORTION AND THE MIXING IS DIRE . LISTENING IS CONSTANTLY PAINFUL AND IRRITATING . IT IS A BATTLE ALL THE WAY THROUGH . THE VOICE IS ALSO POORLY PRODUCED . AT TIMES ALL THE SOUND IS MUFFLED AND UNCLEAR . COUPLE THIS WITH NUMEROUS VERY POOR ARRANGEMENTS OF THE PIECES AND IT IS A RECIPE FOR DISASTER IF YOU HAVE ANY GOOD TASTE . I DO THINK PAUL POTTS CAN SING AND I FIND PLEASANT TONES IN HIS VOICE . I HAVE NOT HEARD HIM PROFESS TO BE AN OPERA SINGER AND I DO NOT THINK HIS MARKETING HAS PARTICULARLY TRIED TO COMPARE HIM WITH ANY OF THE CLASSICAL GREATS - OR ATLEAST I HAVE NOT SEEN IT . THE COLLECTION OF SONGS HERE IS BORING AND WE HAVE HEARD THEM ALL 1000 TIMES BEFORE . PAUL HAS BEEN VERY ILL - SERVED BY THIS FIRST RELEASE BUT I DO THINK HE SHOWS PROMISE AS A POPULAR ENTERTAINER WITH A DIFFERENT MORE INDIVIDUAL REPERTOIRE IF PRODUCED AND MIXED BY SOMEBODY WHO ACTUALLY KNOWS WHAT THEY ARE DOING INSTEAD OF THIS CACOPHONY OF BLAND POP OVER PRODUCTION WHICH ONLY SERVES TO HIDE THE TALENT AND VOCAL CAPABILITY THAT PAUL HAS . HIS VOICE IS NOT THE BEST BUT IT IS GOOD ENOUGH TO BRING PLEASURE IN POPULAR SONG TO MANY PEOPLE . I THINK HE COULD FIND A LASTING MARKET WITH SUITABLE MATERIAL IF THE ARRANGEMENTS ACCOMPANIMENT AND MIXING ARE LESS PAINFUL AND ACTUALLY SPACED CORRECTLY AND IN PROPORTION . HE IS A GOOD SINGER OF POPULAR MUSIC AND HIS PERFORMANCE HERE IS ADEQUATE . THE MAIN FAULT IS NOT HIS . ALSO PLEASE LIST THE SONG TITLES IN THE LANGUAGE IN WHICH THEY ARE SUNG WITH THE BEST KNOWN VERSION WHERE DIFFERENT IN THE BRACKETS AFTERWARDS . HERE IT IS THE OPPOSITE . THE TITLE IS LISTED IN THE LANGUAGE NOT SUNG WITH WHAT IS SUNG IN BRACKETS . I FIND THIS YET ANOTHER IRRITATION . IF BROWSING TO POSSIBLY BUY YOU CANNOT TELL EXACTLY WHAT WILL BE SUNG . IT IS ALSO VERY POOR VALUE WHEN COMPARED TO MOST ALBUMS WITH LESS THAN 42 MINUTES PLAYING TIME AND ONLY 10 SONGS . HOWEVER IN THIS CASE I HAVE TO SAY REGRETTABLY THAT IT IS A BLESSING TO HAVE IT CUT SHORT AS OUR EARS WERE BATTERED AND OUR HEADS LITERALLY BURSTING . VERY LITTLE CARE HAS BEEN TAKEN OVER THIS RELEASE WHICH HAS BEEN RUSHED OUT WITH POOR TECHNICAL ACCOMPLISHMENT . THE CHRISTMAS EDITION CANNOT EVEN NUMBER THE TRACKS CORRECTLY SO MUCH IS THE SLAP DASH TO GET IT ON THE SHOP SHELF . ANY FOLLOW UP NEEDS TO BE FAR BETTER IF PAULS CAREER IS TO BE PROLONGED . IT IS WORRYING THAT SO MANY THINK THIS IS WONDERFUL . IT IS A REAL ASSAULT TO THE EARS AND I AM SORRY TO HAVE TO SAY IT . I HAD HOPED FOR FAR BETTER .
Hmmmm....., 25 Dec 2007
I'm kind of undecided on this one. I think this guy obviously has a raw natural talent, and he sings musically and tells a story beautifully when he sings. His 'nessun dorma' definately does something for me.
I am a classical musician (not a singer, violinist), and if you want opera, don't buy this. Potts communicates the music very well, but he is not an opera singer. Just enjoy him for what he is, which is a nice voice (singing songs, which, by and large, are not from opera! Translating a pop song into Italian does not make it opera!). The songs are so cheesey you can practically smell them, and anyone with a good classical training could sing them just as well, but whether or not you like the way potts does it is deeply personal. But to say that this is opera is insulting to people who train for hours every day to sing opera music which is much harder and technically demanding. It actually makes me sick into my mouth a little bit.
not so good at all, 17 Dec 2007
paul potts is not that good. listen to pavarotti, bocelli, russell watson , gardar cortes to mention a few and you'll be able to see the comparison.
paul dosen't cut the cloth.he's a mobile phone salesman who sings as a hobby. he isn't a classical trained performer.
there are far better operatic albums out there to buy
unfortunately this album is rather dissappointing
A singing success story, 16 Dec 2007
Paul Potts is a walking, singing example of how talent shows are so successful at both finding undiscovered talent and stirring the public into voicing their opinions and emotions so strongly towards that newly uncovered talent.
Opinions are generally divided between those who are able to take the singer for what he is (an ordinary guy with a natural gift for singing) and those who are grieved that his lack of operatic training has not hindered him in finding success in that music genre.
Technical perfection and music school education should not be prerequisites for being able to perform classical and operatic music, for history is rich with composers and artists who have found success with little or no formal training. Perhaps no better illustration of this is the famous Edward Elgar, a largely self-taught composer, who found difficultly in gaining recognition during his early years but whose talents as a classical composer are today unquestioned.
Paul Potts is a singer with a voice, and life story, to touch the hearts of those wanting to enjoy music for what it is - entertainment. Yes, I agree with the critics who claim he is not an opera singer, how could he be when he hasn't had the chance to walk onto that theatre stage yet?
What he has got however is a phenomenal talent for singing opera songs in a way which grabs the attention of those listeners who would often shy away from an area of music sometimes mistakenly regarded as only for the elitist high society.
It took courage for him to stand on that stage, and the public showed their love and admiration for him by electing him as winner so I think he deserves all the success he gets.
Spangly Sonnambula, 31 Dec 2008
I'm slightly puzzled that Bartoli is being described as the first mezzo-soprano to sing a "Malibran" version of this score, and indeed that she is single-handedly restoring lost gems to the catalogue with her "Maria! album, dedicated to her illustrious predecessor. Frederica von Stade sang this role, transposed, in 1986. And the Malibran edition of Puritani was given, complete, the same year with Ricciarelli (You'll find bits of both on Youtube). And that's quite apart from the work done by Opera Rara. Perhaps Bartoli should join forces with them and do something truly neglected.
Apart from that, I enjoyed this set more than I expected to from the other reviews. Yes, Bartoli is a bit breathy sometimes, too closely miked, as she was with "Casta Diva", a contraversial track on her "Maria" album. But it allows her to be uncommonly delicate with her coloratura which can otherwise be rather hectoring and aggressive to my ears.
Of course there are no stratospheric high notes - but the compensations are in the warm middle voice. Some low notes sounded odd...but the sum of the parts is really quite lovely. Florez hasn't quite the "ping" that earlier tenors like Valetti or Monti have, but he is still splendid. Their voices blend reasonably well, although some of the cadenzas to duets and arias are not very imaginative.
My only other quibble - as orchestra, cast & chorus are excelent - is the strange jangly spangly sound that has been added at climaxes - sounding like the tinsel on a Christmas tree. Is it supposed to be goats' bells in an alpine meadow??? Or period instrument percussion??? Sounds a bit contrived and I find it distracting.
This is an unusual version of Sonnambula but very lovely and enjoyable. With less "fireworks" it seems a more integrated work and other pieces of the score shine instead. Above, Bellini's genius for melody wins the day.
Not up to the competition, 07 Dec 2008
Like one of the other reviewers, I live in the US and ordered this set from the UK - not because I was so anxious to have it, but simply because it was cheaper (no longer the case). That's not to say that I didn't await its arrival with some considerable expectation of pleasure. I regret to say that I was disappointed with this offering.
I greatly admire Miss Bartoli and have most of her recordings. In this one she isn't up to her usual standard. She's usually such a thoughtful and intelligent artist that she may have simply spent too much time thinking about this role. To say that it is studied would be kind. "Contrived" would be a more accurate term. I've not heard so many gasps and gulps on a recording since the last time I listened to Richard Tucker. (Sorry, Tucker fans.) Miss Bartoli's singing here is overtly, and overly, emotive. The result is a porcelain-doll preciousness that I find distasteful.
I'll also level some criticism at the erratic conducting of maestro de Marchi. His tempi at times have a lugubrious slowness that ill fits the gentle pathos of this opera. At other places there are sudden accelerations that almost jar the teeth out of one's head. The first act chorus "In Elvezia non v'ha rosa" starts at a pleasant pace but the speed nearly doubles at the words "e innocente tortorella." Granted, I'm looking at the standard Ricordi score, not the critical edition on which this recording is based, and there's no presto subito, or even accelerando, instruction here.
These points are too bad given the otherwise high quality of this recording. I agree with the other American reviewer that Juan Diego Florez is probably the best Elvino on record. But, who buys a recording of "Sonnambula" for the Elvino? Like another reviewer, I agree that Miss Bartoli and Mr. Florez don't blend well together. It sounds almost as if they recorded their duets at different times and in different places and a sound engineer spliced them together. (The booklet indicates that both duets are transposed, as are other scenes which feature both Amina and Elvino.) When individual tracks are available for download, I'd suggested getting Elvino's Act II scene and skipping the rest of this set.
However, I don't mean to say that the contributions of the basso and seconda donna are negligible. Ildebrando D'Arcangelo is splendid as Count Rodolfo, as is Gemma Bertagnolli as Lisa. Mr. D'Arcangelo has a rolling basso cantante voice that's beautifully suited to this role. The role of Lisa is given to a proper seconda donna in this performance rather than relegated to a squeaky soubrette. Actually, when available, you may also want to get the Act II quartet "Lisa mendace anch'essa!" Even the comprimarios cover themselves with glory. It really is too bad that the leading lady and the conductor let down the rest of the show.
For, make no mistake about it, this is Miss Bartoli's show. The "special edition" book is full of portraits of Miss Bartoli that are just as contrived and precious as her singing. The cover photo is a good example. There are many more. There are also the usual portraits of all the rest of the singers with the notable exception of the tenor. The last page of the book has the only photo of Mr. Florez, with Miss Bartoli, and even his pose shows he's second fiddle to the female.
I truly wish that I could give this recording an enthusiastic recommendation. I regret that I can't. With so many other fine recordings of this opera available, this one simply isn't up to the competition. My favourite studio recording remains Joan Sutherland's first take, now available at a budget price. Similarly budget priced and highly enjoyable are the recordings on the Naxos and Arts labels. If you don't mind dated sound and traditional cuts, you can't do better than the live 1957 Callas performance from Cologne.
Very disapointing, 26 Nov 2008
It is really boring to listen to this recording of La Sonnanbula. What a disappointment! One has to go back to the Callas version right away. Sorry Cecilia, I love you, I've attended many of your opera performances in Zurich and in most of them I was absolutely overwhelmed but definitely this is not your highest achievement. I only have a word for it: boring.
VERY DIFFERENT - VERY REFRESHING - AND I LOVE IT!, 24 Nov 2008
I live in the United States, where this recording won't be available until February 24th, but I was so excited when I heard about it, I decided to order it from Amazon in the United Kingdom. I'm a bel canto opera guy and while I certainly respect the opinions of my British counterparts, I am unable to come to the same conclusions as they. While I admit that there are times when Bartoli seems to aspirate in her vocal lines, I find that it adds to the childlike innocence of Amina. Whatever the case, she sings her two big numbers in the same key as Callas and Sutherland, but instead goes downwards for some of her embellishments. She never touches a top E flat, but then again neither did Cecilia Gasdia when she sang Amina in Chicago. I find Bartoli's singing very beautiful, lyrical, and am impressed by her embellishments which go down to low A flat (which Callas also did in 1955 under Leonard Bernstein). Nor is this the first time I've ever heard a "mezzo" sing this music - Marilyn Horne sang the final scene at a concert in Chicago in the 1970's --- to great effect. Florez requires no defense whatsoever. He's got the extreme top notes, and his voice is of great beauty. Together, I find his duets with Bartoli to be the ideal. I find this performance to be a valuable addition to my bel canto discography, and can now finally understand how sopranos like Malibran and Pasta sang this very intricate role. I'm not even sure that Bellini ever wrote any top E flats for the soprano in this opera to begin
with. Callas and Sutherland, of course, put them in, and both were wonderful. However, in both cases, they were not favored by a tenor like Florez. Nicola Monti, who partnered Callas and Sutherland (on her first studio recording)was lyrical and flowing, but was definitely short on top.
On Sutherland's second studio, Luciano Pavarotti made Elvino sound like a bull in a china shop ---- much too heavy with virtually no nuance. Thus, I feel that Florez is arguably the best Elvino on any "Sonnambula" recording (not that there have been that many!). I'm forever grateful to Decca for recording this opera in this fashion with these singers. It's a fresh approach, with variants not previously heard. I have no problems with the sound, and will probably find myself listening to this set again and again.
Lovely - yet somewhat unsatisfying, 12 Nov 2008
I adore Cecilia Bartoli's voice and her intelligence and musicality. Listening to her is almost unfailing delight.
But this is the first time - ever - that I must write of being disappointed by her performance.
I would like to begin by saying that this recording has many lovely things about it. Florez is meltingly superb - what a beautiful tone he has, and he phrases so intelligently! D'Arcangelo is stunning - it seems he's able to sing any sort of role at all. The chorus & orchestra all do a fine job.
But the recording quality itself is a little problematic. Bartoli's voice is recorded so far forward and with such a resonant "wet" sound that it seems not to be part of an opera... but rather like a soloist superimposed on top of all the other singers and instrumentalists. In the duet work between Bartoli and Florez, this leads to quite a disconcerting effect, which is not helped by the different approach Bartoli and Florez have to the running passages in which they should be together. Florez sings the phrases with fine legato - Bartoli over-exaggerates and chops up the phrases.
Bartoli, in fact, for the first time that I can remember has simply failed to engage me in this recording. I felt bewildered by the "ham" in her singing - it almost sounded as though she were trying to imitate Fleming in bel canto. So many sobs and sighs stuck ONTO the singing line and turning the phrases into little bits instead of coherent exhalations or contemplations...
I was so taken aback by this, and so upset by NOT being fully immersed in the loveliness of the singing (for I don't mean to imply that Bartoli isn't singing frequently with great beauty in this recording), that I and the friend with whom I was listening stopped the recording and put on the Callas Sonnambula recording... and o cielo, we knew our memories hadn't deceived us. THERE was the liquid and the feeling and the character and her emotions... there it was. When Callas sang bel canto, the sighs were IN the timbre of the voice. They were not pasted on as an addendum or embellishment. When Callas sang a character, she WAS that character - and while Bartoli has always in the past created characters in her singing, I just could not feel she succeeded in this particular role.
And when Callas sang the duet work with her tenor, it worked with a cohesiveness and sincerity that was lacking in the new Bartoli recording.
I don't know what on earth has led the beautiful Cecilia Bartoli to eschew the reality of her previous performances with this synthetic one. I do know that it's one of the most disappointing recordings I've heard for years - but that is primarily because my hopes were exceedingly high for this.
Four stars because, in spite of the melodramatic over-acting, it is still beautiful - and Juan Diego Florez is a miracle.
Definately worth buying, 03 Jan 2009
Purchased this dvd after reading the previous reviews. This dvd is absolutely wonderful to watch. This is a gift to my husband who has most of Bocelli C.Ds. I thoroughly enjoyed all of the music on this dvd. I would certainly recommend this to anyone who loves music.
Andrea 'The Voice', 04 Nov 2008
Great present from husband,(Mr. G. Lewis) really enjoyed the mix of songs. What a voice this man has got.
Worth Watching, 24 Apr 2008
First heard Andrea Bcelli ages ago singing with Sarah Brightman - "Time to say goodbye". And now I can't get enough of him, well worth watching - Full marks.
Must Have!, 23 Dec 2007
I first saw this on television (by mistake).
Not only a brilliant opera singer, but also Andrea Bocellis voice suits everyday songs.
His rendition of Elvis Presleys 'Cant Help Falling In Love' was magical!
His audience in Las Vagas seem to hang on to his every word.
So impressed was i at this programe and his concert, that i cannot wait to have my own copy!
If you are thinking this will be an opera CD you would be quite wrong.
More please of the same.
This would be a perfect gift for Valentines Day, or for a loved one.
What a brilliant voice!
I was very sad to see the death of Pavarotti,and thought we would never see the like again, but i have now found a very worthy replacement in Andrea Bocelli!
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Customer Reviews
Brilliant!, 18 Feb 2008
I have this CD on constant repeat! The music is so varied but holds your attention every step of the way. Bocelli's voice is one you just have to fall in love with. His "Romanza" is 1 of my favourites but "Vivo Per Lei" has me hooked also. GET THIS CD!!!!!! Almost perfect, 13 Jan 2008
There's not much to add to other people's reviews of this fine album. My only gripe, and it's a small one, is that he recorded Vivo Per Lei in Spanish with Marta Sanchez, as Vivo Por Ella, and in my opinion it's a much better, more romantic version. If you can find their version, add it to your mp3 player. Apart from that, this is a great album. Treat yourself and discover a master of his art!, 26 Dec 2007
To me Andrea Bocelli is the only person to truly cross the devide of popular music and opera. His voice is a classical instrument - within the same note he can switch to so many different emotions.
Opera critics enjoy making their little world inaccessible - but Andrea takes your hand and leads you to a new universe of music.
I don't speak Italien but enjoy a sense of what he is singing about through his interpretations. Buy this CD and you'll be won over, and probably dip into his previous works.
If you research his life, you will see he's a great inspiration. Magnificent, 07 Dec 2007
I purchased this because I was a huge fan of Con Te Partiro and the English language version which is the duet Time to Say Goodbye with Sarah Brightman. The man's voice and vocal range are absolutely outstanding, and the tracks on this album allow him to show that off to full effect. A great album for fans of Bocelli, or anyone who misses Pavarotti. Not Completely the Best, 12 Nov 2007
Of course Andrea Bocelli is always great to listen to.
However, I don't want to be a kiljoy here but, how can a Bocelli album be described as 'the best' without him singing the brilliant 'Miserere'?
Mark
A Gift, 12 Dec 2007
A CD that has so much beauty it moves you from beginning to end. His voice portrays so much emotion that you don't just appreciate the sound, you feel every note that he sings.
There are some CDs that are simply labelled "mood music", and this for me is one that I file under such a category. Every time I listen it lifts me and transports me to places only I can go to. Somewhere that escapes the modern world.
The choice of arias is perfect. Many of which I was unfamiliar with. However, I have since introduced this CD to a number of people, many who listen to an entirely different genre of music; nearly all have been captivated by it.
All I can say is buy it and soak up the rich fare on offer.
And I haven't got the CD yet!, 09 May 2006
I have just listened to the concert, on ITV3, from which this recording was taken. I was almost moved to tears; the empathy that Andrea brings to pieces with which I was brought up, both musically and spiritually, was a joy.
My only regret is that they have, in order to market a 'Bocelli' CD, missed off the choral works that did not include him. They, too, were magnificent and if the whole concert becomes available on DVD I will certainly buy that also. beautiful voice, 25 Aug 2002
Quite simply Andrea Bocellie's Sacres Arias is a stunning piece of work. Andrea has a beautiful voice. He moves me. Anybody who loves this sort of music will become totally entranced with this. I am often moved to tears when i play Andrea's voice. I would highly recemmend this cd. Way to go, Chung! Andrea Bocelli is DA BOMB!!!!!, 26 Nov 2000
Personally, my taste leans toward Andrea's lovely pop side, but I still like this album very much for some reason. Though it lacks some elements that made "Romanza" a sensational hit, Andrea and Chung do what they can to keep this s**t together without ever letting it go. And, as a result, it works practically all around, unlike the occasional downfalls on "Verdi," a later release. That's all, folks!
After "Romanza" I was not quite so keen on "Opera Arias", 15 Aug 2000
After "Romanza" I was not quite so keen on "Opera Arias", I dont think that the recording quite captured the fine voice of Andrea Bocelli, however I am not put off, and will go on to look for more CD's with more of his songs.
All Hype and no Substance!, 19 Apr 2008
Isn't it amazing what TV and a whole bucket load of hype can do.
This guy would not get a part in an amateur production of Gilbert & Sullivan!Of course it's all a question of "the kings new clothes",if we criticise him we don't have a heart/cannot hear how well he sings, or just don't appreciate talent.(Where is it?)
Well, Mr Potts sings off key(often)and when he finds the key he continues by singing flat.
Make the best of it Mr Potts because the fickle world of "popular" music will soon tire of you,and when they do they will tear you to pieces, as they discover the fabrication that has been passed off as talent.
Talent cannot be invented,as has Paul Potts,it comes naturally;and this voice is decidely unatural.
TRULY APPALLING PRODUCTION ., 26 Dec 2007
I WOULD NOT NORMALLY WRITE A REVIEW AFTER 96 PEOPLE HAVE BEFORE ME . MY REASON IN DOING SO IS THAT I FEEL NOBODY HAS HIT THE NAIL ON THE HEAD WITH WHAT IS WRONG CONCERNING THIS ALBUM . IT IS RUINED COMPLETELY BY ALL THE ACCOMPANIMENTS WHICH ARE SIMPLY FAR TOO LOUD AND SWAMP THE SINGER ALL THE WAY THROUGH THE ALBUM . IT IS ALL OUT OF PROPORTION AND THE MIXING IS DIRE . LISTENING IS CONSTANTLY PAINFUL AND IRRITATING . IT IS A BATTLE ALL THE WAY THROUGH . THE VOICE IS ALSO POORLY PRODUCED . AT TIMES ALL THE SOUND IS MUFFLED AND UNCLEAR . COUPLE THIS WITH NUMEROUS VERY POOR ARRANGEMENTS OF THE PIECES AND IT IS A RECIPE FOR DISASTER IF YOU HAVE ANY GOOD TASTE . I DO THINK PAUL POTTS CAN SING AND I FIND PLEASANT TONES IN HIS VOICE . I HAVE NOT HEARD HIM PROFESS TO BE AN OPERA SINGER AND I DO NOT THINK HIS MARKETING HAS PARTICULARLY TRIED TO COMPARE HIM WITH ANY OF THE CLASSICAL GREATS - OR ATLEAST I HAVE NOT SEEN IT . THE COLLECTION OF SONGS HERE IS BORING AND WE HAVE HEARD THEM ALL 1000 TIMES BEFORE . PAUL HAS BEEN VERY ILL - SERVED BY THIS FIRST RELEASE BUT I DO THINK HE SHOWS PROMISE AS A POPULAR ENTERTAINER WITH A DIFFERENT MORE INDIVIDUAL REPERTOIRE IF PRODUCED AND MIXED BY SOMEBODY WHO ACTUALLY KNOWS WHAT THEY ARE DOING INSTEAD OF THIS CACOPHONY OF BLAND POP OVER PRODUCTION WHICH ONLY SERVES TO HIDE THE TALENT AND VOCAL CAPABILITY THAT PAUL HAS . HIS VOICE IS NOT THE BEST BUT IT IS GOOD ENOUGH TO BRING PLEASURE IN POPULAR SONG TO MANY PEOPLE . I THINK HE COULD FIND A LASTING MARKET WITH SUITABLE MATERIAL IF THE ARRANGEMENTS ACCOMPANIMENT AND MIXING ARE LESS PAINFUL AND ACTUALLY SPACED CORRECTLY AND IN PROPORTION . HE IS A GOOD SINGER OF POPULAR MUSIC AND HIS PERFORMANCE HERE IS ADEQUATE . THE MAIN FAULT IS NOT HIS . ALSO PLEASE LIST THE SONG TITLES IN THE LANGUAGE IN WHICH THEY ARE SUNG WITH THE BEST KNOWN VERSION WHERE DIFFERENT IN THE BRACKETS AFTERWARDS . HERE IT IS THE OPPOSITE . THE TITLE IS LISTED IN THE LANGUAGE NOT SUNG WITH WHAT IS SUNG IN BRACKETS . I FIND THIS YET ANOTHER IRRITATION . IF BROWSING TO POSSIBLY BUY YOU CANNOT TELL EXACTLY WHAT WILL BE SUNG . IT IS ALSO VERY POOR VALUE WHEN COMPARED TO MOST ALBUMS WITH LESS THAN 42 MINUTES PLAYING TIME AND ONLY 10 SONGS . HOWEVER IN THIS CASE I HAVE TO SAY REGRETTABLY THAT IT IS A BLESSING TO HAVE IT CUT SHORT AS OUR EARS WERE BATTERED AND OUR HEADS LITERALLY BURSTING . VERY LITTLE CARE HAS BEEN TAKEN OVER THIS RELEASE WHICH HAS BEEN RUSHED OUT WITH POOR TECHNICAL ACCOMPLISHMENT . THE CHRISTMAS EDITION CANNOT EVEN NUMBER THE TRACKS CORRECTLY SO MUCH IS THE SLAP DASH TO GET IT ON THE SHOP SHELF . ANY FOLLOW UP NEEDS TO BE FAR BETTER IF PAULS CAREER IS TO BE PROLONGED . IT IS WORRYING THAT SO MANY THINK THIS IS WONDERFUL . IT IS A REAL ASSAULT TO THE EARS AND I AM SORRY TO HAVE TO SAY IT . I HAD HOPED FOR FAR BETTER .
Hmmmm....., 25 Dec 2007
I'm kind of undecided on this one. I think this guy obviously has a raw natural talent, and he sings musically and tells a story beautifully when he sings. His 'nessun dorma' definately does something for me.
I am a classical musician (not a singer, violinist), and if you want opera, don't buy this. Potts communicates the music very well, but he is not an opera singer. Just enjoy him for what he is, which is a nice voice (singing songs, which, by and large, are not from opera! Translating a pop song into Italian does not make it opera!). The songs are so cheesey you can practically smell them, and anyone with a good classical training could sing them just as well, but whether or not you like the way potts does it is deeply personal. But to say that this is opera is insulting to people who train for hours every day to sing opera music which is much harder and technically demanding. It actually makes me sick into my mouth a little bit.
not so good at all, 17 Dec 2007
paul potts is not that good. listen to pavarotti, bocelli, russell watson , gardar cortes to mention a few and you'll be able to see the comparison.
paul dosen't cut the cloth.he's a mobile phone salesman who sings as a hobby. he isn't a classical trained performer.
there are far better operatic albums out there to buy
unfortunately this album is rather dissappointing
A singing success story, 16 Dec 2007
Paul Potts is a walking, singing example of how talent shows are so successful at both finding undiscovered talent and stirring the public into voicing their opinions and emotions so strongly towards that newly uncovered talent.
Opinions are generally divided between those who are able to take the singer for what he is (an ordinary guy with a natural gift for singing) and those who are grieved that his lack of operatic training has not hindered him in finding success in that music genre.
Technical perfection and music school education should not be prerequisites for being able to perform classical and operatic music, for history is rich with composers and artists who have found success with little or no formal training. Perhaps no better illustration of this is the famous Edward Elgar, a largely self-taught composer, who found difficultly in gaining recognition during his early years but whose talents as a classical composer are today unquestioned.
Paul Potts is a singer with a voice, and life story, to touch the hearts of those wanting to enjoy music for what it is - entertainment. Yes, I agree with the critics who claim he is not an opera singer, how could he be when he hasn't had the chance to walk onto that theatre stage yet?
What he has got however is a phenomenal talent for singing opera songs in a way which grabs the attention of those listeners who would often shy away from an area of music sometimes mistakenly regarded as only for the elitist high society.
It took courage for him to stand on that stage, and the public showed their love and admiration for him by electing him as winner so I think he deserves all the success he gets.
Spangly Sonnambula, 31 Dec 2008
I'm slightly puzzled that Bartoli is being described as the first mezzo-soprano to sing a "Malibran" version of this score, and indeed that she is single-handedly restoring lost gems to the catalogue with her "Maria! album, dedicated to her illustrious predecessor. Frederica von Stade sang this role, transposed, in 1986. And the Malibran edition of Puritani was given, complete, the same year with Ricciarelli (You'll find bits of both on Youtube). And that's quite apart from the work done by Opera Rara. Perhaps Bartoli should join forces with them and do something truly neglected.
Apart from that, I enjoyed this set more than I expected to from the other reviews. Yes, Bartoli is a bit breathy sometimes, too closely miked, as she was with "Casta Diva", a contraversial track on her "Maria" album. But it allows her to be uncommonly delicate with her coloratura which can otherwise be rather hectoring and aggressive to my ears.
Of course there are no stratospheric high notes - but the compensations are in the warm middle voice. Some low notes sounded odd...but the sum of the parts is really quite lovely. Florez hasn't quite the "ping" that earlier tenors like Valetti or Monti have, but he is still splendid. Their voices blend reasonably well, although some of the cadenzas to duets and arias are not very imaginative.
My only other quibble - as orchestra, cast & chorus are excelent - is the strange jangly spangly sound that has been added at climaxes - sounding like the tinsel on a Christmas tree. Is it supposed to be goats' bells in an alpine meadow??? Or period instrument percussion??? Sounds a bit contrived and I find it distracting.
This is an unusual version of Sonnambula but very lovely and enjoyable. With less "fireworks" it seems a more integrated work and other pieces of the score shine instead. Above, Bellini's genius for melody wins the day.
Not up to the competition, 07 Dec 2008
Like one of the other reviewers, I live in the US and ordered this set from the UK - not because I was so anxious to have it, but simply because it was cheaper (no longer the case). That's not to say that I didn't await its arrival with some considerable expectation of pleasure. I regret to say that I was disappointed with this offering.
I greatly admire Miss Bartoli and have most of her recordings. In this one she isn't up to her usual standard. She's usually such a thoughtful and intelligent artist that she may have simply spent too much time thinking about this role. To say that it is studied would be kind. "Contrived" would be a more accurate term. I've not heard so many gasps and gulps on a recording since the last time I listened to Richard Tucker. (Sorry, Tucker fans.) Miss Bartoli's singing here is overtly, and overly, emotive. The result is a porcelain-doll preciousness that I find distasteful.
I'll also level some criticism at the erratic conducting of maestro de Marchi. His tempi at times have a lugubrious slowness that ill fits the gentle pathos of this opera. At other places there are sudden accelerations that almost jar the teeth out of one's head. The first act chorus "In Elvezia non v'ha rosa" starts at a pleasant pace but the speed nearly doubles at the words "e innocente tortorella." Granted, I'm looking at the standard Ricordi score, not the critical edition on which this recording is based, and there's no presto subito, or even accelerando, instruction here.
These points are too bad given the otherwise high quality of this recording. I agree with the other American reviewer that Juan Diego Florez is probably the best Elvino on record. But, who buys a recording of "Sonnambula" for the Elvino? Like another reviewer, I agree that Miss Bartoli and Mr. Florez don't blend well together. It sounds almost as if they recorded their duets at different times and in different places and a sound engineer spliced them together. (The booklet indicates that both duets are transposed, as are other scenes which feature both Amina and Elvino.) When individual tracks are available for download, I'd suggested getting Elvino's Act II scene and skipping the rest of this set.
However, I don't mean to say that the contributions of the basso and seconda donna are negligible. Ildebrando D'Arcangelo is splendid as Count Rodolfo, as is Gemma Bertagnolli as Lisa. Mr. D'Arcangelo has a rolling basso cantante voice that's beautifully suited to this role. The role of Lisa is given to a proper seconda donna in this performance rather than relegated to a squeaky soubrette. Actually, when available, you may also want to get the Act II quartet "Lisa mendace anch'essa!" Even the comprimarios cover themselves with glory. It really is too bad that the leading lady and the conductor let down the rest of the show.
For, make no mistake about it, this is Miss Bartoli's show. The "special edition" book is full of portraits of Miss Bartoli that are just as contrived and precious as her singing. The cover photo is a good example. There are many more. There are also the usual portraits of all the rest of the singers with the notable exception of the tenor. The last page of the book has the only photo of Mr. Florez, with Miss Bartoli, and even his pose shows he's second fiddle to the female.
I truly wish that I could give this recording an enthusiastic recommendation. I regret that I can't. With so many other fine recordings of this opera available, this one simply isn't up to the competition. My favourite studio recording remains Joan Sutherland's first take, now available at a budget price. Similarly budget priced and highly enjoyable are the recordings on the Naxos and Arts labels. If you don't mind dated sound and traditional cuts, you can't do better than the live 1957 Callas performance from Cologne.
Very disapointing, 26 Nov 2008
It is really boring to listen to this recording of La Sonnanbula. What a disappointment! One has to go back to the Callas version right away. Sorry Cecilia, I love you, I've attended many of your opera performances in Zurich and in most of them I was absolutely overwhelmed but definitely this is not your highest achievement. I only have a word for it: boring.
VERY DIFFERENT - VERY REFRESHING - AND I LOVE IT!, 24 Nov 2008
I live in the United States, where this recording won't be available until February 24th, but I was so excited when I heard about it, I decided to order it from Amazon in the United Kingdom. I'm a bel canto opera guy and while I certainly respect the opinions of my British counterparts, I am unable to come to the same conclusions as they. While I admit that there are times when Bartoli seems to aspirate in her vocal lines, I find that it adds to the childlike innocence of Amina. Whatever the case, she sings her two big numbers in the same key as Callas and Sutherland, but instead goes downwards for some of her embellishments. She never touches a top E flat, but then again neither did Cecilia Gasdia when she sang Amina in Chicago. I find Bartoli's singing very beautiful, lyrical, and am impressed by her embellishments which go down to low A flat (which Callas also did in 1955 under Leonard Bernstein). Nor is this the first time I've ever heard a "mezzo" sing this music - Marilyn Horne sang the final scene at a concert in Chicago in the 1970's --- to great effect. Florez requires no defense whatsoever. He's got the extreme top notes, and his voice is of great beauty. Together, I find his duets with Bartoli to be the ideal. I find this performance to be a valuable addition to my bel canto discography, and can now finally understand how sopranos like Malibran and Pasta sang this very intricate role. I'm not even sure that Bellini ever wrote any top E flats for the soprano in this opera to begin
with. Callas and Sutherland, of course, put them in, and both were wonderful. However, in both cases, they were not favored by a tenor like Florez. Nicola Monti, who partnered Callas and Sutherland (on her first studio recording)was lyrical and flowing, but was definitely short on top.
On Sutherland's second studio, Luciano Pavarotti made Elvino sound like a bull in a china shop ---- much too heavy with virtually no nuance. Thus, I feel that Florez is arguably the best Elvino on any "Sonnambula" recording (not that there have been that many!). I'm forever grateful to Decca for recording this opera in this fashion with these singers. It's a fresh approach, with variants not previously heard. I have no problems with the sound, and will probably find myself listening to this set again and again.
Lovely - yet somewhat unsatisfying, 12 Nov 2008
I adore Cecilia Bartoli's voice and her intelligence and musicality. Listening to her is almost unfailing delight.
But this is the first time - ever - that I must write of being disappointed by her performance.
I would like to begin by saying that this recording has many lovely things about it. Florez is meltingly superb - what a beautiful tone he has, and he phrases so intelligently! D'Arcangelo is stunning - it seems he's able to sing any sort of role at all. The chorus & orchestra all do a fine job.
But the recording quality itself is a little problematic. Bartoli's voice is recorded so far forward and with such a resonant "wet" sound that it seems not to be part of an opera... but rather like a soloist superimposed on top of all the other singers and instrumentalists. In the duet work between Bartoli and Florez, this leads to quite a disconcerting effect, which is not helped by the different approach Bartoli and Florez have to the running passages in which they should be together. Florez sings the phrases with fine legato - Bartoli over-exaggerates and chops up the phrases.
Bartoli, in fact, for the first time that I can remember has simply failed to engage me in this recording. I felt bewildered by the "ham" in her singing - it almost sounded as though she were trying to imitate Fleming in bel canto. So many sobs and sighs stuck ONTO the singing line and turning the phrases into little bits instead of coherent exhalations or contemplations...
I was so taken aback by this, and so upset by NOT being fully immersed in the loveliness of the singing (for I don't mean to imply that Bartoli isn't singing frequently with great beauty in this recording), that I and the friend with whom I was listening stopped the recording and put on the Callas Sonnambula recording... and o cielo, we knew our memories hadn't deceived us. THERE was the liquid and the feeling and the character and her emotions... there it was. When Callas sang bel canto, the sighs were IN the timbre of the voice. They were not pasted on as an addendum or embellishment. When Callas sang a character, she WAS that character - and while Bartoli has always in the past created characters in her singing, I just could not feel she succeeded in this particular role.
And when Callas sang the duet work with her tenor, it worked with a cohesiveness and sincerity that was lacking in the new Bartoli recording.
I don't know what on earth has led the beautiful Cecilia Bartoli to eschew the reality of her previous performances with this synthetic one. I do know that it's one of the most disappointing recordings I've heard for years - but that is primarily because my hopes were exceedingly high for this.
Four stars because, in spite of the melodramatic over-acting, it is still beautiful - and Juan Diego Florez is a miracle.
Definately worth buying, 03 Jan 2009
Purchased this dvd after reading the previous reviews. This dvd is absolutely wonderful to watch. This is a gift to my husband who has most of Bocelli C.Ds. I thoroughly enjoyed all of the music on this dvd. I would certainly recommend this to anyone who loves music.
Andrea 'The Voice', 04 Nov 2008
Great present from husband,(Mr. G. Lewis) really enjoyed the mix of songs. What a voice this man has got.
Worth Watching, 24 Apr 2008
First heard Andrea Bcelli ages ago singing with Sarah Brightman - "Time to say goodbye". And now I can't get enough of him, well worth watching - Full marks.
Must Have!, 23 Dec 2007
I first saw this on television (by mistake).
Not only a brilliant opera singer, but also Andrea Bocellis voice suits everyday songs.
His rendition of Elvis Presleys 'Cant Help Falling In Love' was magical!
His audience in Las Vagas seem to hang on to his every word.
So impressed was i at this programe and his concert, that i cannot wait to have my own copy!
If you are thinking this will be an opera CD you would be quite wrong.
More please of the same.
This would be a perfect gift for Valentines Day, or for a loved one.
What a brilliant voice!
I was very sad to see the death of Pavarotti,and thought we would never see the like again, but i have now found a very worthy replacement in Andrea Bocelli!
As good as it gets, 24 Mar 2008
Read all the other reviews for soloist analysis etc. What I wish to add is do not be put off by the age of this recording. This was recorded by Decca in their glory days.The dynamic range, frequency range, soundstaging, capture of the hall sound, can (and does) put many a modern recording to shame. The breathing sounds and creaking stage boards only cement the performance. If you want to know how good your system is, can you hear the tube trains passing underneath and the birds outside.
For many including myself this is and will always be a definitive/landmark recording/performance.
The best recording of Turandot in my experience, 21 Aug 2007
The first time that I heard "Turandot" was at a performance in the Arena de Verona some years ago and it was a life-changing event for me: the opera and its performance was simply sublime, indescribable in its intensity to convey a host of emotions. At the end of the first act, less than half an hour's worth, I turned to my wife and said "I'm happy to die now!" or words to that effect: extreme it may sound, but I still hold it true. The beauty of the music and the splendour of the performance in that fantastic arena, in front of nearly 20,000 people that, like me, went wild with excitement at the end of the act, delivered sensations and emotions that can only be expressed as divine.
Since that introduction some seven years ago I have seen live and heard on CD and DVD a large number of different productions of the opera.
On CD, my favourite version is Decca's 1972 recording with a young Luciano Pavarotti as Calaf. This is a studio recording, which I prefer for opera if listening on CD - if you can't have the theatre then you have to make up by having the best sound possible and studio wins over live recordings every time. For instance, I much prefer this recording over the Carreras/Marton/Maazel recording recorded live at the Vienna State Opera that some hold as the finest recording of the opera: Carreras neither has the power nor beauty of the young Pavarotti and Maazel's conducting is ponderous.
Pavarotti's is a brilliant performance - in 1972 he still had the power to go with the gorgeous silky timbre of his voice. Calaf's role needs the power to make the end of Act 1 the thrilling piece of music and theatre that it can be - it works wonderfully well here. The first act of Turandot really is a stunning piece of music: enjoyed best if you have seen at least one production and can replay it in your mind's eye but I suspect that it could nevertheless be very appealing to any listener.
Joan Sutherland does well in the very tricky role of Turandot: this part is pitched so high that the wrong singer can sound too shrill but Sutherland's timbre is easy to listen to even when reaching the highest notes.
The remainder of the cast is also top class. Montserrat Caballe as Liu ekes out all the sympathy the role has to offer and Nicolai Ghiaurov as Timur also delivers a fine performance; the singing at Liu's death in particular is achingly beautiful. The trio of difficult roles, particularly so in the theatre, Tom Krause, Pier Francesco Poli and Piero de Palma as Ping, Pang and Pong deliver a gorgeous rendition of Act 2 Scene 1, so much so that not only can you hear the fabulous musicality of the score, but the comedy in the scene also shines through from their vocal rendition alone - a real plus for this recording.
After all of these superlatives, it should be no surprise for you to learn that I think that Zubin Mehta's conducting of the London Philharmonic orchestra is first class: the tempo is up and he manages to deliver every subtle nuance of colour from the orchestra throughout the recording.
It's a stunning recording of a brilliant opera that I have enjoyed listening to many times over and hope to again and again...if you are going to own only one recording of Turandot then make it this one!
Turandot - Zubin Mehta and the LPO, 16 Oct 2004
This is a brilliant and, so far, unsurpassed recording of Turandot. No other version comes close despite the fact it is over 30 years old. All the principals are ideally cast and the LPO plays superbly. All the nuances of Puccini's complex score are realised to perfection through an excellent recording: just note, for example, the subtle and delicate accompaniment to Caballe's Liu in the "Tanto amore segreto" aria of Act3. You have no need to consider alternative versions of Turandot, this is outstanding.
Excellent, 12 Sep 2004
This is the best recording of this opera. Sutherland and Pavarotti prove more human, easier to relate to than the OTT performances on some other sets.
Sutherland, for example, is less icy and forceful than Birgit Nilsson singing Turandot, and for this we can see her as a person, a deeply hurt person, rather than a block of ice. Her singing proves her to be just as dramtic a Turandot as Nilsson. Pavarotti has a light voice for Calaf, and you sometimes wish for a deeper voice, but his high notes are magical and he creates a strong characterisation nevertheless. The tenor who sings Calaf to Nilssons Turandot on the Molinari-Pradelli set is Franco Corelli. He is a different Calaf from Pavarotti. More baritonal, with equally powerful high notes, he is more powerful and proves to have a nearly superhuman voice. Sometimes he lacks warmth, however, and is less intigrated than Pavarotti, sounding somewhat aloof, grand. The supporting cast on the Mehta set proves stronger than the EMI set. Renata Scotto sings well as Liu, but Caballe is more radiant and beautiful with Mehta.
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