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Opera Arias

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Editorial Reviews

All Music Guide - Stephen Eddins
If any were needed, this album is a reminder of the extent of Bryn Terfel's achievement: the robust, disciplined voice, the versatility, the musical intelligence, the passion, and the interpretive depth he brings to whatever he sets his mind to. Mozart was the composer in whose work Terfel first came to prominence, particularly in the comic roles. "Non pi? andrai" is a marvel of sly wit, and Terfel's investment in the role is absolute; this is the kind of performance that made him an international sensation. He brings the same insouciance and sure grasp of the comic potential of every phrase to Leporello's Catalogue Aria. As accomplished as Terfel is in Mozart, he seems ...
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Editorial Reviews

All Music Guide - Stephen Eddins
If any were needed, this album is a reminder of the extent of Bryn Terfel's achievement: the robust, disciplined voice, the versatility, the musical intelligence, the passion, and the interpretive depth he brings to whatever he sets his mind to. Mozart was the composer in whose work Terfel first came to prominence, particularly in the comic roles. "Non più andrai" is a marvel of sly wit, and Terfel's investment in the role is absolute; this is the kind of performance that made him an international sensation. He brings the same insouciance and sure grasp of the comic potential of every phrase to Leporello's Catalogue Aria. As accomplished as Terfel is in Mozart, he seems equally at ease in Wagner and in core 19th century repertoire. "Song to the Evening Star" from "Tannhäuser" is luminous, with luster both in Terfel's voice and in the orchestra. Some of the repertoire recorded here was new to the singer when he made this recording: Italian, French, and Russian roles he had not yet sung on-stage. Malatesta's "Bella siccome un angelo" is Terfel's first Donizetti, but he fully inhabits it, and the aria from "Prince Igor," his first work in Russian, is fully persuasive. The same commitment, musicality, and understanding are evident in his arias from "Les contes d'Hoffmann," "Faust," "La cenerentola," "Macbeth," and "Falstaff." James Levine, a master of making singers and orchestras sound their very best, leads the Metropolitan Opera Orchestra in this repertoire in which it is unmatched, and the performances dazzle with apparent effortlessness and a secure grasp of such diverse idioms. Deutsche Grammophon's sound is clean and well balanced.
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Product Details

  • Release Date: 4/9/1996
  • Label: Deutsche Grammophon
  • UPC: 028944586626
  • Catalog Number: 445866
  • Sales rank: 32,809

Tracks

Disc 1
  1. 1 Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Non Più Andrai, Farfallone Amoroso - Wolfgang Amadeus Mozart & Kenneth Chalmers (3:49)
  2. 2 Don Giovanni, opera, K. 527: Act 2: Deh, vieni alla finestra - Wolfgang Amadeus Mozart & Kenneth Chalmers (2:07)
  3. 3 Don Giovanni, opera, K. 527: Madamina, Il Catalogo E Questo - Wolfgang Amadeus Mozart & Kenneth Chalmers (5:35)
  4. 4 Così fan tutte, opera, K. 588: Rivolgete A Lui Lo Sguardo - Wolfgang Amadeus Mozart & Kenneth Chalmers (4:52)
  5. 5 Die Zauberflöte (The Magic Flute), opera, K. 620: Act 1: Der Vogelfänger bin ich ja - Wolfgang Amadeus Mozart & Kenneth Chalmers (2:53)
  6. 6 Tannhäuser, opera, WWV 70: Wie Todesahnung Dämmrung Deckt Die Lande...O Du - Richard Wagner & Kenneth Chalmers (5:53)
  7. 7 Der fliegende Holländer (The Flying Dutchman), opera, WWV 63: Die Frist Ist Um - Richard Wagner & Kenneth Chalmers (11:53)
  8. 8 Les Contes d'Hoffmann, opera in 4 acts: Allez!...Pour Te Livrer Combat...Scintille, Diaman - Jacques Offenbach & Kenneth Chalmers (3:43)
  9. 9 Faust, opera: Vous Qui Faites L'endormie - Charles Gounod & Kenneth Chalmers (3:00)
  10. 10 Prince Igor, opera (completed by Rimsky-Korsakov & Glazunov): Act 2: Ni Sna Ni Otdycha Izmucennoj Duse - Alexander Borodin & Kenneth Chalmers (8:10)
  11. 11 Don Pasquale, opera: Act 1: Bella Siccome Un Angelo - Gaetano Donizetti & Kenneth Chalmers (2:56)
  12. 12 La cenerentola (Cinderella), opera: Miei Rampolli Femminini - Gioachino Rossini & Kenneth Chalmers (5:37)
  13. 13 Macbeth, opera: Perfidi! All'anglo Contra Me V'unite! - Giuseppe Verdi & Kenneth Chalmers (5:23)
  14. 14 Falstaff, opera: Ehi! Paggio!...L'Onore! - Giuseppe Verdi & Kenneth Chalmers (4:32)
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Album Credits

Performance Credits
James Levine Primary Artist
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Customer Reviews

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Sort by: Showing 1 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    Blissful Listening

    Speaking modestly as a teenager who listens faithfully to the Saturday Met broadcasts and spends all her birthday money on opera CD's, practicing her fiddle faithfully in hopes of getting into an opera orchestra someday, this is one of my favorite CD's to listen to. Bryn Terfel's voice is wide, warm, full of color and expression, and just beautiful. The CD starts off with Mozart arias; those are my favorite to listen to (I wish he'd record a CD of just Mozart!), but the rest is wonderful, too. His “Deh, vieni alla finestra” is very caressing and seductive – I haven’t had a chance to hear him sing the title role yet in “Don Giovanni” but I am anticipating it with delight. Of course, his Leporello is the best there is, so we have a problem (maybe he can do both roles at once like Hvorostovsky). His “Catalogue Aria” is full of energy, and boisterous: I could (and occasionally do) listen to this ten times a day! James Levine conducts it with expertise – the tempo is brisk, the orchestra playful and vigorous. The Cosi fan Tutte aria is gorgeous. Towards the end of it he trills nice and low and if it doesn’t run shivers down your back you’re not made of flesh and blood. Now, I think it’s rather abrupt for them to go from Mozart to Wagner straight off, but they do. That aside, Terfel’s Wagner is excellent – I hear his Woton in December was brilliant. I won’t attempt to say much more – I am not a huge Wagner fan (my Savoy Opera tastes are perhaps too shallow for Wagner), but Terfel has revealed to me through his singing of it that “Wagner’s music is not as bad as it sounds” (Mark Twain said that, not me). I LOVE the Gounod aria – his evil Mephistopholes laugh is great, and so is the aria itself. Then we have some Borodin, Donizetti, Rossini and Verdi. I don’t know about the Russian aria or the one from “Macbeth.” Terfel is great with languages, so the Prince Igor aria is good, but not one of the most memorable. I have read that Terfel is not going to do Macbeth onstage, so I don’t know why he sang the aria…I would have preferred more of the roles he has actually done. Concerning the Donizetti, to the best of my knowledge he has not played Doctor Malatesta, but he sings that beautiful aria very nicely, in his customary dramatic way. The Rossini is entertaining and funny – his comic comes out nicely in it and in the Falstaff aria. It is very evident that Terfel is enjoying every minute of it. You can’t listen to this CD and not love this great singer.

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