Reissue of the 1986 debut album by this cult English alternative rock group signed to Beggar's Banquet (issued on the I.R.S. label in the U.S. at the time). Out of print for years, this album has been highly sought after by fans & collectors. This is the U.K. edition, which contains nine of the cuts found on the deleted American CD, plus two left off of it, 'Waspy' & 'A Funny Thing…'.
Au moment de cet enregistrement, au début des années quatre-vingt, Sir Georg Solti était encore tout auréolé du prestige d'une précédente interprétation du Bal masqué réalisée en 33 tours. Plus encore que dans la première mouture, le chef d'origine hongroise exacerbe ici la violence du drame, poussant tous les personnages vers leur destin, dans un souffle épique d'une rare intensité. Une distribution quasiment idéale fait face au chef : un Pavarotti de la grande époque, un Bruson idiomatique et une Christa Ludwig d'une ardeur insoupçonnée.
Pavarotti Forever prougly presents the ultimate collection from the world's favourite tenor. Specially selected from six of his landmark concerts (including The Three Tenors and his one-man spectaculars Hyde Park and Central Park), this DVD collection captures the unique warmth, personality and charisma of Luciano Pavarotti…
This studio recording was made in 1989 coinciding with a memorable production from the Metropolitan Opera, later captured on DVD. It's a delightful performance, and a wonderful highlight of Pavarotti's later career. Kathleen Battle's sparkling soprano is a brilliant accompaniment to Pavarotti's still-ringing tone.
"Pavarotti's voice was still beautiful and pliable, his phrasing exquisite. And he loved the role of Nemorino and always seemed happy with both its comedy and pathos–he steals every scene he's in, and no one minds…Kathleen Battle sings Adina with perfect, pearl-like tone, absolute fluency and commitment, and a trill to die for…Enzo Dara is an ideal Dulcamara, just the right combination of huckster and sentimentalist, with ease in every register and with fast music."
– Robert Levine, ClassicsToday.com
Hardly any other singer of our time has had such an uninterrupted and brilliant career as the Australian soprano, Joan Sutherland. Already described as ‘La Stupenda’, the ‘Koloraturwunder’' or ‘The Incomparable’, she can look back on a career stretching over more than forty years which was soundly based and intelligently developed. Sutherland has been on the stage since 1947. Her European career began in London in 1952 and in 1959 the producers at DECCA became aware of the new vocal miracle and entered into an exclusive contract with Joan Sutherland. Since that time her regular recordings have captured all the important stages of her career…
“Sutherland's singing here is brighter and fresher than her earlier recording, with the lovely aria 'Qui la voce' no longer a wordless melisma…The recording is vivid and atmospheric and one marvels at Bellini's gorgeous melodies…with Sutherland, Bonynge and all on electrifying form.” (The Penguin Guide)
All of these are live recordings so the sound is quite variable. The standard square box contains separate soft plastic sleeves in which the cds are inserted. The advantage is that the cds are well protected (minor risk for scrapes compared to cardboard), but there is no information printed on the sleeve since it is made of plastic. There is some basic information printed on each cd (name, composer, cd #, the act/s and the date of the recording). There is also a small 24pg booklet that introduces the box including some photos as well as content description for each disc (opera, singers, time and location as well as a list of the separate tracks). I have been collecting these boxes for a while and always find it worthwhile as there are gems nicely interspersed in these collections. By Moonfish
This set was recorded in 1970, first appeared in 1971, and now is re-issued on CD as Decca - London ,there is just SOMETHING about the freedom and vocal ease of the 35-year-old Pavarotti (pre-beard!). The high notes shine and soar and he just seems to be the young, impetuous King. Milnes shows us why he was the logical American baritone successor to Tibbett, Warren, Weede, Merrill and MacNeil in the great Verdi roles .Grand Dame Renata Tebaldi as Amelia and Regina Resnik as Ulrica–both at the end of their best years; don't forget, their careers started in the mid-1940s ,the ladies acquit themselves well enough vocally and also add involved characterizations of their roles.
This was dubbed the Concert of the Century and captured Pavarotti and Horne in their prime. As some have suggested, Dame Joan may have been past her prime, but her voice was still strong and brilliant.