The Very Best of Alfredo Kraus

 

Release Date: 04/26/2005 Label: EMI Classics Number of discs: 2 Composer: Various Performer: Alfredo Kraus cd info/ buy

Review:

Alfredo Kraus remained an EMI Classics artist throughout most of his career. It is for that reason that this compilation extends from the early 1960s (two arias from Così, as conducted by Karl Böhm) up to a live recording from December 1987 ("Una furtiva lagrima" from L'Elisir d'amore and "Salut! demeure chaste et pure" from Faust). Kraus, who was born on September 24, 1927 in the Canary Islands, was 60 at the time, and hardly less of fresh of voice than he was in the Così recording. Kraus was a lyric tenor who never sounded juvenile. In lighter bel canto roles such as Ernesto (Don Pasquale) a more youthful vocal persona would have been more appropriate, perhaps, but in the heavier ones, such as Edgardo (Lucia di Lammermoor) and Arturo (I puritani), Kraus's power, maturity, and masculinity were welcomed – no tenorino here. His bright, trumpeting voice and exciting high notes were tempered by a sunny suavity. On the other hand, he could be a rather bland interpreter. Given his excellence in the French repertoire, in particular, it is tempting to go as far back as Georges Thill when looking for comparisons. Kraus died in 1999. Most of these selections are taken from Kraus's complete recordings; the exceptions are the two indicated above from 1987, which were recorded at this Paris Opéra. (Frankly, it is a shame that Kraus left commercial recordings of neither L'Elisir nor Faust.) This means that Kraus is joined by excellent singers, including Montserrat Caballé in I Puritani, Renata Scotto in La bohème and La traviata, and Beverly Sills in Rigoletto and Don Pasquale. The selections have been chosen well, although, as with the other releases, there are some untidy fade-in and fade-outs. With the exception of Così, the engineering remains bright and shiny. This is an excellent compilation, and for those who are less familiar with Kraus than with the "Three Tenors," this might whet their appetite for more.

 

flac, scans

 

The Very Best of Nicolai Gedda

 

Release Date: 09/02/2003 Label: Emi Classics Number of discs: 2 Composer: Various Performer: Nicolai Gedda cd info/ buy

Review:

Hands down, Nicolai Gedda was the classiest lyric tenor of the 1950s and '60s (and very early '70s). For the most part he wisely kept away from the after-1860 Italian repertoire: his voice lacked the necessary juice, and with Björling, Bergonzi, Corelli, and del Monaco around, why bother? These CDs offer two hours and 35 minutes of singing--and interpreting--that never tire the ear and never bore. "Ach so fromm" is ravishing in its intimacy (by its close, it's normally shouted); Lohengrin's Narrative may lack heft, but it's a model of lyricism and Gedda darkens his tone enough to give it authority; an aria from Goldmark's The Queen of Sheba closes on an unearthly head-voiced high-C that's matched only by a similar feat in Bizet's Pearl Fishers (a performance notable for its great breath control and legato as well); Hoffman's tale of Kleinzach is a riveting, snappy story, filled with just the schizophrenia the role requires; the Dmitri/Marina duet from Boris is energetic and filled with smoldering undercurrent; three Tchaikovsky songs become little dramas; Beethoven's "Adelaide" and Schubert's "Ständchen" are models of Lieder singing; selections by Gounod and Massenet exhibit his impeccable French diction and style; the high-D at the close of Adam's "Postman" aria and repeated Cs in William Tell's would be the envy of any tenor; and his bel canto style in a duet from Sonnambula (with Mirella Freni) is ideal. Yes, this is the very best of Nicolai Gedda.--Robert Levine

 

flac, scans

Puccini - Tosca - Price, Corelli, MacNeil, Adler, Metropolitan Opera

 

Release Date: 01/25/2011 Label: Sony Masterworks Number of discs: 2 Composer: Giacomo Puccini Performer: Kurt Adler cd info/ buy

Review:

The finest recorded Tosca remains the Callas/di Stefano/Gobbi on EMI, but if you won't miss Callas' multi-layered insights, di Stefano's youthful passion and beautiful (for the most part) strain-free sound, Gobbi's audible sneer and epically snide cruelty, and de Sabata's whip-smart conducting, then this new Sony release is the one for you. Recorded at the Metropolitan Opera during the matinee of April 2, 1962, it features the most impressive singing of any Tosca on disc. Both Leontyne Price and Franco Corelli had made their sensational Met debuts the previous season, and what we hear is big, exciting voices-- the kind, I'm sorry to say, we really don't have any more--in their prime. Price lightens her tone when needed and unleashes waves of gorgeous, expressive sound, and Corelli was still a fearless tenor, with dark, baritonal low and middle tones and high notes of tempered steel (which he was not ashamed to hold on to). Cornell MacNeil, a fine baritone, was still peaking at this point as well, and his singing is filled with malice, insinuation, and just pure, Italianate sound. The rest of the cast is good, and Kurt Adler, a perfectly fine Kapellmeister, is happy listening to and following his singers. The orchestra's brass is not above some bloopers, but who cares? This is a thrilling ride, and the 1962 sound is far better than acceptable. Sony's packaging is minimal--just track listings, synopsis, and cast list.—Robert Levine  Performer:  Leontyne Price,  Franco Corelli,  Cornell MacNeil Conductor:  Kurt Adler Orchestra/Ensemble:  Metropolitan Opera Chorus,  Metropolitan Opera Orchestra

 

flac, covers

Viva Villazon!

 

Release Date: 04/23/2008 Label: Virgin Classics Number of discs: 2 Composer: Various Performer: Rolando Villazón cd info/ buy

Review:

The most exciting tenor during the first decade of the new millennium has undoubtedly been Rolando Villazón. He has a charming appearance, is a good actor, has a voice that besides brilliance and beauty can also express all kinds of nuance, he has good taste and a versatility that is stunning. In other words he has all the attributes to make him a star performer. More than once his voice has been compared to that of the young Placido Domingo. In certain repertoire, notably on this set in the two zarzuela arias, the similarities are so close that one has to check who is singing. As can be seen from the track list, we are treated to a large number of the expected standard arias. Few of them have been better sung in recent times. We are also treated to several comparative rarities, which makes this an attractive buy even for those who are already well stocked with the standard stuff. When, for example, did you last hear something from Gounod’s Polyeucte or Massenet’s Le Mage and Roma? The sacred song by Berlioz is also something for the rarity list. Make no mistake: these are high quality pieces that are very likely to become friends to which you will want to return.

 

flac, scans