Kathleen Battle and Placido Domingo delight the listener from start to finish in this complilation. Most notable are the duets from La Traviata and The Merry Widow. In my experience of soprano/tenor performances, one voice usually is stronger or more powerful than the other, thus disappointing to that listener who is seeking a perfect blending of voices. Ms. Battle and Mr. Domingo achieve that perfect blend on each duet on this CD. Their solo performances are equally outstanding. It is no wonder they are in such demand with audiences in Japan where this CD was recorded live, as well as throughout the world.
Noah Levine (born 1971) is an American Buddhist teacher and the author of the books Dharma Punx: A Memoir and Against the Stream. As a counselor known for his philosophical alignment with Buddhism and punk ideology, he identifies his Buddhist beliefs and practices with both the Theravada and Mahayana traditions. He holds a master's degree in counseling psychology from CIIS.
In many ways this is a special recording. It features first-desks from the Chicago Sym. playing two of Bach's Brandenburg Concertos, and so far beyond the average Baroque ensemble are they that one yearns for the other four. Just to hear the amazing trumpet solos in Concerto no. 2 by the legendary Adolph Herseth repays the cost of the CD. But we also get James Levine doing double duty at the harpsichord in Concerto no. 5. One deficit from the rise of period performance is that non-specialists have been driven out. The days when an all-around musician like Levine or Leonard Bernstein performed Bach and Handel are more or less over, and their replacements, to be tactful, are not on such an exalted level of talent…. By Santa Fe Listener
Leading the enormous forces to bring Puccini's huge vision to life in this now-legendary performance, James Levine presides over an evening of three one-act operas that cover the full spectrum of human experience. The great singing actress Renata Scotto is featured in all three operas, perhaps most memorably in her searing portrayal of Suor Angelica - a nu whose extreme atonement for he sin ultimately wins her redemption.
This fabulous 2000 production of Don Giovanni is the best - bar none. I have seen many, many productions of this greatest of all operas and none come even close to this brilliantly cast production. Outstanding are Solvieg Kringelborn, who nearly (but not quite) steals the show as a very funny! Donna Elvira and Paul Groves, much more sympathetic than usual in the role of Don Ottavio. Fleming, Hong, Relyea and Koptchak are terrific. But, Don Giovanni lovers literally haven't lived until they see and hear the matchless pair of Bryn Terfel as the Don and Ferruccio Furlanetto as Leporello. They both possess wonderful voices and first-class acting chops. In fact, IMO, Furlanetto is a comic genius and the best actor in opera. The fact that both Terfel and especially Furlanetto are very attractive men doesn't hurt either,I could watch them forever..
Giovanni Bononcini (1670-1747) was a gifted cellist and a rival of Handel's; he wrote more than 30 operas and 300 cantatas. I approached this "serenata a tre" with trepidation, fearing something coy and intermezzo-like; in fact, it's simply beautiful. The not-riveting plot concerns soprano nymph Cloris' refusal of love for countertenor shepherd Tirsi, and her subsequent turnaround. Baritone Fileno, a satyr, loves her but convinces her that love is cruel because he is jealous of her love for Tirsi. In the end, Fileno vows vengeance and departs, and the lovers unite, praising fidelity and love. Bononcini manages to capture truly felt moments of love, anger, warmth, happiness, and heartbreak with minimal forces–just a few strings, all played stunningly (as usual) by Ensemble 415–and fine melodies. The prominent, delicately played theorbe in the opening sinfonia is a hint of niceties to come; a solo violin winds around Cloris' "Tortorella inamorata" and adds to its meaning… –Robert Levine