Classical music reviews

I can and do listen to this CD over and over again. The tracks are compelling and wonderful. The music is so beautifully composed and performed, to experience it puts you into a calm and happy place.

This is great mood music. This should replace one or more of your "easy listening" cds.

Although many of John Williams' Boston Pops Orchestra recordings showcase music from popular entertainment venues such as Broadway and Hollywood, in Pops In Love the emphasis is on short classical pieces by composers from various eras, ranging from the late Baroque to the post-Romanticism 20th century.

Because the Boston Pops is the Superman to the Clark Kentish Boston Symphony Orchestra, it is not surprising that the quality of the performances in this CD is matchless, and the music here is suitable for romance-minded couples to listen to -- perhaps as accompaniment to a candlelight dinner. The 11 selections chosen by conductor Williams and ace producer John McClure are gentle, soft, and like love itself, at times wistful and melancholy. Some may even be familiar to movie watchers: Baroque composer Johann Pachelbel's famous Canon was heard in Robert Redford's 1980 film "Ordinary People," and Tomaso Albinoni's Adagio in G Minor was heard -- with heart-rending effect in Peter Weir's "Gallipoli."

Albinoni's Adagio and Maurice Ravel's "Pavane pour une infante defunte" (Pavane for a deceased princess) are perhaps the loveliest, if perhaps saddest, selections of this CD, which was recorded in Boston in June of 1985. Of the two, Albinoni's composition is noteworthy because it's not really an Albinoni composition at all. Rather, it is perhaps the cleverest musical forgery in history. Although it is based on fragments of an Albinoni piece, its true author was Remo Giazotto, one of Albinoni's biographers. No matter who wrote it, the Adagio is a moving, melancholy piece.

Ravel's "Pavane for a Deceased Princess" is also singularly beautiful, with a repeated melodic refrain that is gentle yet haunting, I remember this piece having been adapted for a one-man show starring the actor who played Officer "Gross" Grossman in "Chips." The melancholy melody provided a sweet yet somber backdrop to this actor's bittersweet recollection of his marriage and the death of his beloved wife to cancer. Listeners getting over the end of a relationship may wish to skip these two tracks if they don't want to be moved to tears.

The album also highlights Ralph Vaughn-Williams' "Fantasia on Greensleeves," a melody that dates as far back as the 16th century; legend has it that its composer was none other but Henry VIII himself.

What a great recording! Basically, a digital version of recordings made on the first analog recording technology. The beauty of Caruso's singing, his anachronistic melodramatic style and the bumps and scratchings of the orgininal recording blend together for a total effect that is quite persuasive and effective. Love it.

When one hears the richness of Caruso's voice, and the depth of the emotion he expresses, it's hard to fathom that some of these recordings date back 100 years. The tracks are in chronological order, from February 1904 to September 1920.
The first three selections from 1904 are exquisite, and have only a solo piano accompaniment. The "Una Furtiva Lagrima" (track # 3) has a grace and luminosity that is breathtaking.
There are many arias that have remarkable aspects to them, like "Magiche note" from Goldmark's "La Regina di Saba", where he does a series of pianissimos, and of course, his most famous role was as Canio, in Leoncavallo's "Pagliacci", and this CD has both "Vesti la giubba" from 1907, and "No ! Pagliacco non son" from 1910. The latter is phenomenal, and has a deep, dark quality, sounding more like a baritone than a tenor.

There are some rarely heard pieces here, like the Goldmark aria, and "Deserto in terra solo" from Donizetti's "Don Sebastiano", and only occasionally heard is the beautiful "Rachel, quand du Seigneur" from Halevy's "La Juive", and no one can equal Caruso's interpretation of it.
What stands out most about his singing aside from the glorious sound is his phrasing, which is dramatic as well as supremely musical...one of the many reasons the name Caruso has become synonymous with "Italian operatic tenor".

The booklet insert has liner notes on Caruso's career, and a brief synopses for each aria.
The sound considering the age is a marvel, re-mastered from 78 RPM recordings, and states "A breakthrough in archive sound reproduction, Nimbus Natural Ambisonic Transfer technology preserves the immediacy and fidelity of the original performance". Thank goodness Caruso's emergence as a singer and the gramophone came into existence at the same time, so that recordings like this can still be heard.
Total playing time is 74'58.

The best transfer of Caruso I can lay my hand on so far. There is no surface noise and the beauty of his voice is not at all compromised, it sounds as though it is recorded in the 50s !

Caruso eclipses the great tenors of all other ages with ease. However be reminded that to some audience, his singing is dated at least so in term of taste. Others may wish to add more songs or arias to show the best of his voice etc.

The fact is, this CD runs 69.31 minutes which is more than sufficicinet to give the audience a good profile of the greatest voice of the century.

Marvelous Bach - full-blooded renditions of some of his best works for harpsichord. Puyana's scholarship is evident, but there's no 'proper' tinkling here. Some may find these recordings a bit over the top, but not me. Grab it before Universal trashes it, as it has done with Puyana's Soler and Couperin (the Soler is possibly the most exciting harpsichord recording ever made). Highly recommended.

Born in Bogota, Colombia, Raphael Puyana has been a major player in the world of harpsichords for a long time now. He was a student of Wanda Landowska, and his crisp, scintillating performances really grab the ear.
I tried to get this particular recording from another website and they were unable to get a copy for me. Then I tried Amazon, and they got it to me right away. And to think I might have missed out hearing these brilliant renditions of Bach if I had not tried to find it here.

"Great" is an over-used word, but I have no hesitation about using it three times in the title of this review.

Puyana's performances here are an impeccable combination of authentic performance style, energy, and thoughtful phrasing. The pieces themselves are wonderful, and it is likely that at least one of them will be new to the listener. The sound itself, a product of the early days of stereo recording, is crystal clear, and the limitations in dynamic range inherent in analog recording are not as evident in a harpsichord recording as they might be elsewhere.

This would be one of my favorite CDs at premium price; the fact that it is a mid-priced CD makes it a great bargain, as well.

I bought this recording in 1997 and it quickly became a favourite. Quartetto Gelato is absolutely wonderful. I went to one of their concerts in Philadelphia and was absolutely amazed by their virtuosity and versatility. It was the most fun that I've ever had at a classical concert.

They perform some things from the standard repertoire. The violinist/tenor Peter DeSotto has an absolutely beautiful voice. They also play many other things that you might not normally hear, such as Antonio Pasculli's Concerto Sopri Motivi dall'Opera la Favorita di Donizetti.

I would reccommend this recording highly. I would also reccommend seeing them live. When you see them live, it only serves to highlight the stunning virtuosity and incredible musicianship of this group.

Different in instrumentation and with a varied program, this group is a great deal of fun to experience. The performances are excellent, and with a range from La Boheme to Danny Boy, there is certainly something to appeal to everyone. And appeal is their hallmark; listening to this CD should make a believer out of anyone.

I have seen Quartetto Gelato in concert and immediately bought their CD. The concert was perhaps the best classical music concert I have seen. This eclectic group beautifully combines serious classical music talent with great fun and showmanship. If you love classical music but are sometimes turn off by the stuffiness of some performances, this is a refreshing and lively alternative.

I've had the great pleasure of working with Richard on a number of recording sessions and I can tell you first hand that he is Top-Notch. Richard plays with a passion that I dare say awes anyone listening. I've known no other musician with a greater love of his music or his instrument than Richard Dowling and I am anxiously awaiting the release of his second Chopin album.
Any of Richard's CD's will surely delight and amaze you.

I had seriously underestimated Chopin's abilities as a composer until the virtuosity of this CD forced me to reconsider my position. Dowling plays with unabashed affection, both for the music and his chosen instrument. Having heard him perform various etudes in the recital hall, I can honestly say that his readings of Chopin can stand beside those of Artur Rubenstein and Emmanuel Ax. Now, if only he would interrupt his concertizing long enough to record the Liszt B-Minor Sonata . . .

I was astonished the first time that my piano teacher took my to see Richard. He was excellent, he doesn't just play the piano for money, but he plays it because he really likes to share his music and he knows that it should be heard. I can't wait untill he comes out with his other two cd's in 2001!

This kind of opera is the most rarified of the arts. It is a treasure for all the world, but it takes some effort to come to terms with it. Tastes more used to popular arts will likely not at first be able to appreciate the tremendous richness of this work. After all, there is no hero, no love story beyond some minor flirtations, and certainly no dramatic action to excite the passions. So, what is this work and why is it so wonderfully important?

This was the last opera of Richard Strauss and it is in every sense a masterwork. The composer set himself a terribly difficult task. Here we have Flamand, a composer, and Olivier, a poet who engage in a sometimes intellectual and sometimes petty discussion of which of their arts is primary. They are both enamored of the Countess who is a patron of the arts, used to being admired, and is not quick to reveal herself. Her brother, the Count, is interested in female talent and his acting is pedestrian, but he is complemented because of his position. There is also the director of their theater, La Rouche. He starts the opera asleep, but becomes quite agitated by the ongoing debate and declares that without his art, the other two would be meaningless.

There is so much in this opera that this little paragraph can only set up all the wonderful insights that Strauss provides. Serious opera is all sung? We get spoken drama (so Olivier can make his point). There are musical comments as well on the words spoken. Brief quotes of various styles emphasize this or that point as well as undermine others. It gets to the point that towards the end, the main characters have all left the stage and eight servants appear. One comments about all the pointless discussion. Another asks whether opera will get to the point where domestics will be put on stage.

The music in this opera is like a slow continuous crescendo of sophistication and intensity. Amazing things are happening when the texture becomes its most complex including the eating of cake, the drinking of wine, discussion of the ongoing themes of the opera, and commentary on the whole scene. It is all so masterfully handled that it provides musically stunning effects and clarifies the points being discussed in the opera with great sophistication.

The final extended aria by the Countess is exquisite beyond measure and sung transcendently by Elizabeth Schwarzkopf. She is asked to think of an end for their opera. She asks if there is one that is not trivial. The opera ends, so beautifully, with the major domo calling the Countess, saying, "Your Ladyship, supper is served." Perfect. And thus Strauss ended a mighty career in writing fifteen operas.

This recording was done in 1959 and is in mono. While stereo was available, squabbling among the performers about who would be where led to using mono to settle the matter. It still sounds terrific. The booklet provided is very helpful as is the provided libretto.

Some believe that this opera should be performed in a small hall in the language of the audience. I am not so sure. The sophistication of the underlay would be lost. Nowadays, most opera halls use supertitles and they help everyone understand the opera while retaining the beauty of expression in the original language.

There have been a handful of perfect Opera recordings over the years. Perfection, of course, is a subjective judgement that can, if ill-used, incite violence. Particularly among Opera fans. Naturally, an Opera review that doesn't initiate gunplay is a good thing.

I mention it because I offer this 1957 recording of Capriccio as an example, extremely rare in the history of recorded Opera, of a perfect recording - a Reference recording, one of perhaps two dozen. Its status as a Reference recording is not controversial among serious record collectors. It assumed that mantle almost immediately after its release in 1959. But perfect? Nothing in Life is perfect!

True. But Art is NOT Life. Thankfully, what we find so disappointing, even tragic, in Life can be transmuted into perfection when Art achieves its most exalted fruition in the hands of those with a burning desire for self-expression and the unique means to do so. A tad pretentious? Maybe. But it so happens that Art is what this 1941 Opera - the last Strauss would write - is about. Art as Alchemy. The transformation of what is base and mundane into something meaningful and gloriously eternal. Something perfect! And almost as if on que, Wolfgang Sawallisch and his stunning, impossible to ever replicate cast along with perhaps the greatest house band of the era, recorded an Opera about Artistic perfection... perfectly!

Nominally, this polemic written by Clemens Krauss offers a debate between Words and Music; each claiming supremacy in the Operatic Art. The Opera begins with a lovely string sextet played by the Orchestra: the beauty of the unaccompanied music making a strong case for its primacy. The Opera ends with the words of a sonnet, and a questioning gaze into a mirror by a Countess one cannot help but compare to two others inhabiting Der Rosenkavalier and Le Nozze di Figaro. Everywhere there is the struggle between the temporal and the eternal. It is this final scene with its suggestion of verbal temporality that ignited my suspicion that Strauss comes down on the side of Music as the eternal face of Operatic Art, the winner in the debate. You may not agree. This rich suggestiveness is just one of the reasons why Capriccio, alone among Struass' late Operas, is winning wide-spread acceptance into the repertory.

Sawallisch, merely 34 at the time of recording, exhibits exquisite taste in his textural delicacy. Tempos are broad yet firm. His time-beating clear, uncomplicated and comparable to the great Knappertsbusch. Instrumental and Vocal balances are exceptionally clear. His Orchestra, the Philharmonia, was possibly the best recording band of the 1950's and early 1960's. Incidentally, the superb Horn solos are NOT played by Dennis Brain, cruelly killed in an auto accident the day before recording commenced, but Alan Civil (Horn Soloist on the Beatles' "For No One" found on their 1966 album Revolver).

Elizabeth Schwarzkopf is superb as the Countess Madeleine, emotionally reserved without hauteur. Her voice had a clarion richness at the time. Lyrical, round yet soft, without the hint of shrillness one detects in later recordings. Eberhard Wachter is a terrific Count, a rough, unmusical womanizer. Nicolai Gedda is the Composer Flamand. A youngish Dietrich Fischer-Dieskau is Olivier the Poet, Flamand's verbal nemesis. Hans Hotter is suitably officious as La Roche, the Theatre Director, a parody of the famous Director Max Reinhardt with whom Clemens Krauss had worked in Vienna and Salzburg. Christa Ludwig is wonderful, as always, as Clairon, an Actress. Anna Moffo has a cameo as "an Italian Singer". This is a cast of which dreams are made! It cannot, will not ever be duplicated! The recording itself is subtext to the Opera. Perfection comes only rarely, if at all.

The 1957-58 recording, produced by the great Walter Legge, is in a warm, full and rich Mono. Yet Stereo recordings were available since 1953. Many (including me) have bemoaned the lack of a Stereo version of this once-in-a-lifetime production. Why was this recording not released in the newer and (allegedly) superior Stereophonic format? In previous reviews I have alluded to Legge's dislike for Stereo. Much (if not all - rumors abound) of this Opera was indeed recorded in Stereo. When "balance" issues (read that EGO) arose between several of the male leads, a Draconian "compromise" was reached, much to Legge's not-so-secret pleasure, in which it was decided to proceed in Mono and the existing Stereo tapes were destroyed. That must have been some squabble!

So this magnificent version of Capriccio is only available in a Mono format. Lately, however, I have stopped my whining about this and come to feel that Mono heightens the Chamber Music feel of the Opera. That it narrows the soundfield whilst simultaneously increasing its intimacy. In other words, it improves the overall experience. The sound is so good, the recording so well produced that the issue is moot. This is a recording you MUST have in your collection. It is one of those benchmark recordings by which all others are judged. You will hear what Humans can do when at their very best. You will sample perfection and the vision of the eternal that is the gift of all true Art.

Late Strauss is unfortunately underrecorded, but this shines out as a singular example of what should be done. Capriccio is 'a conversation piece for music', a refined and subtle discussion of the age-old argument. As an opera, it's not for everyone; fans of the overtly dramatic and loud probably won't get it. And you have to have the libretto in front unless your German is exceptionally good; and for the intricate octets, only a score will really do justice. This is one of those pieces that only gets better with repeated careful listening.
Fortunately, the cast is truly, truly first rate, full of great Straussians. This is a true ensemble opera, but with some long monologues. Schwartzkopf's light and flexible voice shines out as the Grafin, especially in the wonderful ending monologue. Of special note as well is Hans Hotter as La Roche; the man who would convince you he was God onstage sings wonderfully, especially in his monologue. This isn't even to mention Gedda, Fischer-Dieskau, Wachter, and the always lovely Ludwig. If you love great singing and warm music, pick this up.

This is a marvel of a recording, the engineers did an outstanding job of making it accessible for younger generation of opera fans.
After all these years, it seems that only Fritz Reiner was able to capture the essense of Strauss' troubled, intense, and thrilling genius. Inge Borkh's voice must be exactly what the composer had envisioned -- it's "larger than life" but can convey so many shades and colors. Simply dazzling.
There's a feeling of freshness and excitement to the entire CD, it's immediately clear that both the performer and the conductor shared love and great respect for Strauss's music, this feeling has reached us through the decades and we can stand back in awe for this incredible music making.

What a magnificent CD this is ! With prime cuts from two of the greatest 20th century operas, which are also two of the strongest parts for women ever written...with savage drama, musical difficulty, and stamina, as Elektra and Salome remain on stage during the entire opera.
Inge Borkh is fabulous. She has power, precision, and not a single strident moment. Paul Schoeffler's Orest is also excellent. Though I've heard more emotional interpretations, his is a brave and ellegant Orest, and the extraordinary "Was willst du, fremder Mensch ?" Recognition Scene is terrific.

Fritz Reiner was a stern and uncompromising taskmaster (I had the opportunity to see him in rehearsal once...it was rigorous), but how he made the Chicago Symphony shine !
Reiner was a friend of Strauss' and a foremost interpreter of his sensual, complex and spectacular scores. If you want to remember Reiner in just one CD, this would be a good choice.

Elektra was recorded in '56, Salome in '54 and '55, and the total time is 67'01. The remastered sound is wonderful. The very good booklet insert has a page describing the process...unintelligible to me, but to quote them, "the result is a pure copy of the original performance, bringing Living Stereo to life for a new generation of music lovers".

This recording is a true classic. Reiner is at least the equal of anyone else that I have heard in conveying dramatic thrust, power and cumulative intensity (in particular, he is truly masterful in the way he builds up to and shapes the big orchestral climaxes), but, at the same time, keeps the textures balanced and glowingly transparent, even in the loudest and/or most complex passages, and also conveys lyrical beauty and tenderness where the music calls for it, notably in Elektra's recognition scene. The singing by Borkh and Schoeffler is likewise superb (they were leading exponents of their roles). A must purchase for Strauss lovers.

These must be the definitive versions of all 4 compositions. Recorded in 1958, 59, 61 and 65 they still remain the yardstick of every subsequent issue and in my humble opinion, have not been bettered yet. Oh when Maazel was a young man could he "flail and wail". Just listen to Le Chant du Rossignol and Capriccio Espagnole and you might find yourself conducting the orchestra from YOUR music room. Exciting, beguiling, subtle finesse and oh yeah DYNAMICS. I'm a Rock musician so I know Dynamics (Ya think?). DGs transfer to CD is impeccable. Transparent, spacious and electrifying. Boy is this good stuff...

When one comes across recordings like this there's always a risk of hyperbole. As simple as possible: these are exciting, inspiring, near-perfect performances of the Ravel operas. The engineering matches in quality. If you like Ravel, if you like opera, or if you're just curious about what a "near-perfect" performance sounds like then jump at this set. Also, the fillers are equally stunning. I've never heard (or even hoped for) a Capriccio Espagnol as striking as the one included. This collection, along with DG's release of Maazel's Firebird and El Amor Brujo (in this same series--and also great) has prompted a re-examination of earlier recordings by Lorin Maazel. Thanks DG and...Wow!

I was in a production of 'L'enfant...' last year, and was unable to find the recording in any of our local music stores. I finally found it, and it was worth the wait, especially coupled with Ravel's other work.
It's my favorite opera by Ravel, who is in turn my favorite composer.
Good stuff.

After the massive commercial success (for a classical CD) of the 'Officium' album with the Hilliards, Garbarek stretched the wallets of his many fans by releasing two double studio CDs: 'Rites' and the unpronounceable 'Mnemosyne', in quick succession.

OK, we know the guy can be prolific, but there's an impression that he releases too much -- the mediocre as well as the excellent -- and lets the fan decide. It's fine if you've got a recordable CD or mini-disk player, so that you can make your own compilation of the truly outstanding tracks. But that's hardly the purpose of releasing an album.

'Rites' starts very promisingly, with the atmospheric title track, and then what is for many, the stand-out track, 'Where the Rivers Meet'. I know of at least one secondary school where the band had a go at this piece (within months of the album's release), and it went down a blast, even though few of the parents knew the tune.

Elsewhere there is not enough material that is exceptional. I would have much preferred to have seen this released as two single CDs. It's all very pleasant and marvellously cinematic, but it lacks a certain passion.

I think we're talking pagan, not Christian, rites here. A number entitled "Pan" tips us off. That's OK, even for Christians. Jan Garbarek has earned the right to write about any rite he wants. But, as he had previously just recorded (mostly) sacred music with the Hilliard ensemble, I think it's a safe bet to think of this recording along the lines of what C. S. Lewis said when reflecting on when he first encountered the Delphic Oracle: It was almost by believing in the gods that I came to believe in God.

Whatever.

What makes this disc so interesting is that it neatly bridges two phases in Garbarek's musical pilgrimage: his pretty constant interest in ritualized musics (he has always played Jim Pepper's great theme, "Witchi Tai To," in his concerts) and his movement toward stylized world jazz that reaches its apex, perhaps, on his latest disc (as of this writing), In Praise of Dreams.

If this disc is a little messy, in that the artist seems to be probing and grasping for his next musical phase, incorporating lots of different rhythmic and cultural sensibilities, it is never less than interesting, and often compelling. If everything doesn't work optimally, that's as much because of its experimental nature as of it's imperfectly realized and, it must be admitted, somewhat inchoate aesthetic. Definitely worth acquiring, especially if you can get it at a discount.

The young Jan Garbarek listened to the radio and heard John Coltrane. He decided to become a saxophonist, and what a saxophonist.

In his career he has progressed from his Coltrane inspired Esoteric Circle through his work with Keith Jarrett's Bleonging Quartet (fantastic performances particularly on the Belonging CD) to a more austere world jazz. He can swing with the best of artists (listen to The Wind up on Belonging), but as time has moved on and he has been influenced by Arabic musicians (listen to Madar), and the folk songs and musical tradition of Scandinavia, his work has matured.

He constantly innovates, works with acoustic groups and with electronics. On this album there is Marilyn Mazur, former Miles David percussionist, Bugge Wesseltoft, one of the most interesting young electronic performers in Europe (listen to his New Conceptions of Jazz), along with group regulars Bruninghaus and Weber. Weber is one of the finest bass players in the world, and all side players are given their turn in the spotlight.

This album seems a summation of Garbarek's career to date. There are tunes form previous albums, slow meditative pieces, and in Her Wild Ways, a tune that was reminiscent of his work with the Jarrett Quartet.

Garbarek is a great artist, great to listen to live, and with his colleagues in Norway (Wesseltoft and Nils Petter Molvaer among others) gives the lie to the notion that jazz is dead.

Buy this. Buy everything by Garbarek.

GET THIS TODAY!!!!!! NO ONE IS SINGING LIKE THIS TODAY! IF THEY ARE, PLEASE COME FORWARD AND RECORD A CD. I LOVE CABALLE!

If you want proof that Montserrat Caballe is a vocal miracle don't buy this cd at once, but get a very late recording or attend one of her last recitals first. Afterwards, listen to this early recital.

There are only few voices in the world that have aged so graciously. Granted, you won't hear the radiant voice of the young Caballe any more but the perfect production of sound and phaenomenal breathing technique have, and I suppose will never abandon her! She truly has created a school of singing!

Now regarding this particular recital, it indisputably ranks among her best recitals. Each "rarity" has something different to offer. In Rossini, Caballe mostly displays her coloratura ability which was not in the same league as Sills', Callas' or Sutherland's but had a magic of its own. One never expects such agilty from such a firm and full voice. The Tancredi extract is my favourite.

In Donizetti, Caballe truly reigns! If only she'd recorded these operas completely. I've always found her sound perfectly suited to roles of wifes, mothers and aristocratic ladies in general. The operas chosen here deal with marrital problems and Caballe is the definition of the Donizzeti roles she sings here! My favs are the Parisina and Torquato Tasso moments. Comparing her and the lighter sopranos who nowadays perform these operas makes one realise that high notes are not the issue here. The full, sumptuous sound of a Monsterrat is what these operas need!

Early Verdi has a lot in common with bel canto and Caballe is again sublime! The Un Giorno extract stands out. It's breathtakingly perfect! Caballe finds meaning in every phrase she sings. But all other tracks are unforgettable as well. Needless to say that the voice at this moment of her carreer was at its best!

This double cd will always have a special place in my opera collection and my heart!

Along with the CD "Montserrat Caballe Sings Bellini and Donizetti," this 2-disc set is an absolute necessity for fans of the esteemed soprano, or anyone who appreciates the soprano voice. This has to be one of the greatest recital albums ever produced.

First of all, Caballe takes these rarely heard bel canto arias and manages to turn even the most turgid of them into something worthy of endless listening. Her technique is legendary so I do not need to extoll that. And that this was recorded when her voice was at its prime only adds to the attraction of this album.

Caballe is perhaps nowhere better than she is in the Rossini excerpts, which show off the amazing flexibility and richness of her voice. The arias from "Armida," "La Dona del Lago," and "Tancredi," are simply perfect. She is supported by the equally excellent Carlo Felice Cillario, who is a masterful conductor of the bel canto repertoire. Kudos also go to the RCA Italiana Orchestra and its estimable chorus (which adds so much to the "Armida" and "La Dona del Lago" arias), each of which is superb.

Donizetti is perhaps not quite as compelling, but nevertheless Caballe is masterful--particularly affecting in the slow section of "Torquato Tasso" and "Gemma di Vergy." The mechanics of the recording get a bit abrasive at times in these pieces, but that is such a minor quibble.

With the Verdi, Caballe turns some less-than-stellar material into show-stopping displays. Particularly exciting are the arias from "I Lombardi" and "I due Foscari." But the crown jewel of the Verdi section is Mina's aria from "Aroldo" which turns out to be a clinic in early Verdi singing (and the bel canto in general). It is a technical masterpiece, and shows Caballe to have a superior command of coloratura that makes one almost dizzy (even if the tempo is a bit ponderous).

This set is a must-have for fans of Caballe or of opera in general. It holds academic interest for those who want to hear what is no longer standard repertory in the opera house. But it also is for fans of simply beautiful singing. A classic.