WGBH Radio WGBH Radio theclassicalstation.org

60 Jahre Munchner Rundfunkorchester: Great Singers Live

Bizet / Freni / Ghiaurov / Price
Release Date: 01/29/2013 
Label:  Br Klassik   Catalog #: 900309   Spars Code: DDD 
Composer:  Francesco CilèaGiacomo PucciniGeorges BizetJules Massenet,   ... 
Performer:  Mirella FreniNicolai GhiaurovLucia PoppHermann Prey,   ... 
Conductor:  Vladimir GhiaurovKurt EichhornGeorges PrêtreAlfredo Antonini,   ... 
Orchestra/Ensemble:  Munich Radio OrchestraBavarian Radio Chorus
Number of Discs: 6 
Recorded in: Mixed 
In Stock: Usually ships in 24 hours.  

Notes and Editorial Reviews



GREAT SINGERS LIVE Various Artists BR KLASSIK 900309, mono/stereo (6 CDs: 376:53)


MOZART Warnung. 1 Die Zauberer. 1 Der Sylphe des Friedens ( Ridente la calma 1 ). Das Veilchen. 1 Read more class="ARIAL12bi"> Die Verschweignung. 1 Abendempfindung. 1 Un moto di gioia. 1 Le nozze di Figaro: “ Dove sono 2”; “ Porgi amor 3 ” (in German). Don Giovanni: “ Io crudel?…Non mi dir” (in German 3 ). Così fan tutte: “ Come scoglio 2”; “ Per pieta 2”; “Seinen armen eil’ich entgegen 3,4”. Die zauberflöte: “ Ach, ich fühls 2” Elisabeth Grümmer (sop); 4 Waldemar Kmentt (ten); 1 Hans Altmann (pn); 2 Kurt Eichhorn, cond; 3 Horst Stein, cond; Munich R O BR KLASSIK 900309, mono/stereo (6 CDs: 376:53)


MOZART Die zauberflöte: “ Ein mädchen oder weibchen 1”. Le nozze di Figaro: “ Aprite un po’ gli occhi 2”. Così fan tutte: “ Rivolgete a lui lo sguardo 3”. ROSSINI Il barbiere di Siviglia: “Largo al factotum 1”. LORTZING Der Wildschütz: Wie freundlich strahlt die helle Morgensonne 1. VERDI La traviata: “ Di provenza 3”. Un ballo in maschera: “ Eri tu che m’acchiavi 2”. GOUNOD Faust: “ Avant de quitter 1”. LEONCAVALLO Pagliacci: “ Si puo 2?” BACH Christmas Oratorio: “ Großer Herr und starker 4”. BEETHOVEN An die ferne Geliebte 5. BERLIN They Say That Falling in Love is Wonderful 6 Hermann Prey (bar); 1 Argeo Quadri, cond; 2 Heinz Wallberg, cond; 3 Heinz Fricke, cond; 4 Kurt Eichhorn, cond; 5 Wolfgang Sawallisch (pn); 6 Roberto Abbado, cond; Munich R O BR KLASSIK 900309, mono/stereo (6 CDs: 376:53)


STOLZ Der Favorit: “ Du sollst der Kaiser meiner Selle 1”. Venus in Seide: “ Spiel auf deiner Geige das Lied von Leid un Lust 1”. LEHAR Paganini: “Liebe, du Himmel auf Erden 1”. WEBER Der Freischütz: “ Kommt ein schlanker Bursch 2”. LORTZING Undine: “ So wisse, dass in allen Elementen 2”. HANDEL Julius Caesar: “Ich lieb euch, ihr Augen 3”. MOZART Le nozze di Figaro: “Deh vieni, non tardar 3”. Vesperae solennes de Confessore: “Laudate Dominum 5”. ROSSINI Il barbiere di Siviglia: “ Una voce poco fa 3”. DONIZETTI Don Pasquale: “ Quel guardo…Son anch’io la virtù magica 3”. SMETANA The Bartered Bride: “Endlich allein…Wie fremd und tot ist alles 4” Lucia Popp (sop); 1 Werner Schmidt-Boelcke, cond; 2 Hans Zanotelli, cond; 3 Kurt Eichhorn, cond; 4 Heinz Walberg, cond; 5 Lamberto Gardelli, cond; Munich R O BR KLASSIK 900309, mono/stereo (6 CDs: 376:53)


GOUNOD Faust: “Le veau d’or 1,3”; “ Vous qui faites l’endormie 1”. BIZET La jolie filles de Perth: “ Quand la flamme de l’amour 2”. RIMSKY-KORSAKOV Sadko: “ Raging tempest of the waves 2”. GLINKA A Life for the Czar: “ You break, o dawn 2”. RACHMANINOFF Aleko: “ From night radiates to the heavens 2”. MUSSORGSKY Boris Godunov: Coronation Scene 1,3. VERDI Simon Boccanegra: “ Il lacerato spirito 1,3”. Don Carlo: “ Ella giammai m’amo 1”. ROSSINI Il barbiere di Siviglia: “ La calunnia 2”. KHRENNIKOV Much Ado About Nothing: “ Song of the drunkard 2” Nicolai Ghiaurov (bs); 1 Georges Prêtre, cond; 2 Alfredo Antonini, cond; 3 Bavarian R Ch; Munich R O BR KLASSIK 900309, mono/stereo (6 CDs: 376:53)


CILEA Adriana Lecouvreur: “Io son l’umile” (2 vers 1,2 ). PUCCINI La bohème: “ Si, mi chiamano Mimi 1”; “ Quanno me’n vo 2”. Tosca: “ Vissi d’arte 1”. Turandot: “Tu, che di gel sei cinta 1”. BIZET Carmen: “Je dis que rien ne m’épouvante 1”. MASSENET Manon: “ Adieu, notre petite table 1”. VERDI Aida: “ Ritorna vincitor 2!” MOZART Le nozze di Figaro: “ Dove sono 2”. TCHAIKOVSKY Eugene Onegin: “ Puskai pogibnu” ( Tatiana’s letter scene 2 ) Mirella Freni (sop); 1 Kurt Eichhorn, cond; 2 Vladimir Ghiaurov, cond; Munich R O BR KLASSIK 900309, mono/stereo (6 CDs: 376:53)


MOZART Don Giovanni: “ Or sai che l’onore 1”. La clemenza di Tito: “ Parto, parto 1”. Così fan tutte: “ Come scoglio 1”. Le nozze di Figaro: “ Dove sono 2”. WEBER Der Freischütz: “Und ob die Wolke sie verhülle 1”. ROSSINI Semiramide: “ Bel raggio lusinghier 1”. BELLINI Norma: “Casta diva 2”. CILEA Adriana Lecouvreur: “Poveri fiori 3”. VERDI Aida: “ Ritorna vincitor 1”. Otello: ” Piangea cantando nell’erma 1 ” “Ave Maria 2”. La forza del destino: “Pace, pace mio Dio 3”. Don Carlo: “Tu che la vanita 1” Margaret Price (sop); 1 Heinz Wallberg, cond; 2 Leopold Hager, cond; 3 Thomas Fulton, cond; Munich R O BR KLASSIK 900309, mono/stereo (6 CDs: 376:53)


This boxed set came to me with a sticky note proclaiming it optional for review. I could well understand such a decision; too often we receive “compilation” sets like this which look so promising on paper, only to discover, upon listening, that it is either a retread of thrice-familiar material (some of which has not worn well with age) or very disappointing “live” material by famous and well-loved artists. (Such a disc came my way a few months ago, a “live” Hermann Prey recital that was not worthy of his memory. Being also marked optional, I passed it by for review.)


But this set is an entirely different matter. These are, it seems, the best vocal extracts culled from the archives of the Munich Radio Orchestra’s Sunday Concerts. Formulated by Alfred Schröter, the chief of light classics at Bavarian Broadcasting, these concerts were apparently initiated the very year the Munich Radio Orchestra was founded (1952) and continue to the present day. Not only were the particular singers in this set chosen well, but so too were the specific performances therein. I can scarcely overstate that nearly every track on every CD is a vocal gem, a pearl of great price. Imagine, for instance, that you were lucky enough to trip across the legendary Mapleson Cylinders in high-fidelity sound, or the Columbia 1903 Grand Opera Series. Only then will you get an idea of just how special this set is. As in the case of the Columbia Grand Opera Series, however, there is but one shortcoming, and that is the lack of a tenor (come to think of it, there’s no mezzo or contralto here either), but considering that the most frequent tenor in these concerts seems to have been leather-jawed Rudolf Schock, I’m just as happy he wasn’t included. Another circumstance that prompted my decision to review this set as a whole is that only one of these discs, the Hermann Prey recital, was given a review in Fanfare, by James Altena in 36:1.


One must begin with the oldest singer and performances in this collection, which are the Mozart songs and arias performed by Elisabeth Grümmer. With the exception of the EMI Lohengrin, co-starring Jess Thomas and conducted by Rudolf Kempe, I’m not sure that Grümmer’s name is much known among younger classical music lovers, but it should be. Despite the somewhat slower tempos and less-crisp orchestral playing of her day in this repertoire, Grümmer’s Mozart singing is still a model of vocal management, elegant style, and affecting directness of approach. Granted, her Countess in Figaro will not break your heart the way Eleanor Steber’s would, nor is her rather lugubrious tempo for “Ach, ich fühls” acceptable nowadays, but other than that there is little to nitpick. For those who have never heard the voice, Grümmer was a somewhat heavier-sounding version of Lucia Popp, the tone clear and crystalline, the diction superb, with good technique and a serviceable trill (Popp’s trill was better). And miraculously, despite some pretty heavy singing, Grümmer retained her youthful-sounding timbre into middle age (as did her earlier countrywoman Erna Berger). In particular, Grümmer’s performance of the extraordinarily difficult “Come scoglio,” despite the somewhat weak trill, is an object lesson on how to sing this aria without wrecking the voice. Every note is placed exactly right, with the whole strung out like so many pearls in a necklace. Simply extraordinary.


Nicolai Ghiaurov starts off his disc with two of the most bang-’em-up performances of the Faust chestnuts (“Le veau d’or” and Mephistopheles’s Serenade) you’ll ever hear. Yes, there’s a bit of scenery-chewing here, but what fun! Even the chorus and orchestra sound as if they’re out to give everyone a good time. The aria from Bizet’s little-known Jolie filles de Perth, though nicely sung, isn’t much as music, just a bunch of “tra la la la las,” but he does it well. The equally obscure aria from Sadko seems to be a simple melody repeated over and over again, and always with a bit of a grim snarl to the voice, but again it is sung well. More impressive in terms of the singer’s legato phrasing and sensitivity of expression is the aria from Glinka’s Life for the Czar, and the aria from Rachmaninoff’s Aleko is even finer. The opening orchestral-choral portion of Boris Godunov’s coronation scene sounds more German than Russian (not in language, just in musical phrasing), but Ghiaurov’s tone is noble and his interpretation authoritative. Ghiaurov’s reading of the famed “Il lacerato spirito” from Simon Boccanegra may lack a bit in subtlety, but certainly not in emotion or in the intelligent reading of the text. One of the more interesting things about this version of “Ella giammai m’amo” is that they use the alternate orchestration with a solo cello playing in the introduction, rather than the entire cello section. Here, too, Ghiaurov is more generalized in interpretation, again noble in tone if just missing the bitterness and introspection that Alexander Kipnis and Jerome Hines found in it. On the other hand, Don Basilio’s “La calunnia” is superb, as is the somewhat strange (and, to me, completely unknown) aria from Khrennikov’s Much Ado About Nothing —but since it’s the song of the drunkard, you don’t need to know more than that to enjoy it.


Lucia Popp came up next on my CD player, and readers who recall my rave review of her “Unforgotten” boxed set know that I am an unashamed, unabashed Popp lover. Here, to be honest, she sparkles a little less in the operetta numbers than in the opera, but then again she wasn’t known for singing operettas on stage. She’s much more in her element doing Annchen’s arioso from Der Freischütz as well as the Mozart, Rossini, and Donizetti material. I still recall the delight I encountered when collecting her comic opera recordings of the late 1970s-early 80s ( L’Elisir d’Amore, Martha, Don Pasquale ) conducted by Heinz Wallberg, thus I was particularly happy to see Wallberg’s name as conductor on the Bartered Bride excerpt. In the liner notes, Popp admits that when she made it big, the Queen of the Night was almost the only role she knew, but how I wish that it were she, and not Pilar Lorengar, who sang on that German-language Bartered Bride recording with Wunderlich and Frick! All her comic opera arias here are, as usual, impeccably done, and it is a rare treat to hear her sing—as beautifully as ever—one of Cleopatra’s arias from Handel’s Julius Caesar, despite the somewhat over-lush orchestration. Another rarity is the concert aria from Mozart’s Vespers, sung with the superb and oft-underrated conductor Lamberto Gardelli.


Now we move on to the Prey disc previously reviewed by Altena, and if this doesn’t make you a Hermann Prey fan, I don’t know what will. Every single track on this recital practically bristles with life, enthusiasm, and a 100 percent commitment to everything he sings. These are the wittiest and most charming performances of the Cosi and Zauberflöte arias I’ve ever heard by him. He absolutely rips through the Barbiere and Wildschütz arias with spirited abandon, gives you a surprisingly moving “Di provenza” from La traviata and the most dramatic “Avant de quitter” from Faust (in French, no less!) I’ve heard in my life. He surprises you with his excellent Pagliacci prologue, and then sings a very fine version of Beethoven’s song cycle An die ferne geliebte (although here he is not as touching as Peter Schreier was). Prey sings with energy and drama, but not real menace, in Renato’s “Eri tu,” and to be honest his technique is not as fine for the excerpt from Bach’s Christmas Oratorio as you may have wanted, but those are small disappointments. He wraps up this excellent set with a warm, intimate performance of Irving Berlin’s “They Say That Falling in Love is Wonderful” from Annie Get Your Gun. (Altena criticized Prey here for exhibiting more German “schwing” than American “swing,” but “Falling in Love” is not a jazz piece, it’s just a ballad, and I think he does a great job on it.)


Without question, the biggest surprise for me was the Mirella Freni set—not because I doubted that she had been a good singer, but because so many of these performances were from 1983 and 1987, including a version of “Ritorna vincitor” from Aida, and even those of us who are Freni fans recall with a shudder how poorly she sang in the Aida under Karajan in the 1970s. Well, as it turned out I had nothing to worry about. Every single track on this disc is, like the Prey recital, a gem in one way or another. One of the more interesting contrasts are the two different performances of “Io son l’umile” from Adriana Lecouvreur that bookend this disc. The first, from 1971, is fresh-voiced, sung “out” as they say, the high notes ringing, a good, healthy sing. The second, from 1987, is much more surprising: Freni really sings dramatically here, shading and coloring the voice masterfully, and in the final high note she takes a page from Magda Olivero’s playbook, starting the note softly and then swelling it to a tremendous crescendo. It’s quite a feat for the 52-year-old soprano. Yet even more stunning is the “Ritorna vincitor” from the same concert. Unlike the Karajan performance, which had been almost screamed out, this performance is neat, musically and dramatically manicured to a fault, yet dramatic and moving from start to finish. Well, by golly, who would have guessed? Mirella Freni really could sing Aida, after all! So too could she sing the demanding “letter scene” from Tchaikovsky’s Eugene Onegin, and in Russian no less; and by the early 1980s, the soprano who had seemed clueless when called upon to sing a trill during the 1960s suddenly developed one, which you can hear in the middle of “Dove sono.” Yet another surprise is her heartbreaking rendition of Manon’s “Adieu, notre petite table,” in French. The Puccini arias, on the other hand, were almost a given for Freni, as too is Micaela’s aria from Carmen, long one of her specialties. Still, all things being equal, this is, for me, an absolutely dynamite recital and the disc I’d give to any young listener who asks me if Mirella Freni was really all that good of a soprano. Hell yes, she was!


This may sound a bit unkind, but turning to Margaret Price after being dazzled by Freni was a metaphoric cooling-off for me. Not that Price sings badly here—on the contrary, there are certain things she does that no one else has ever done as well, such as the extra trills in “Parto, parto” or the leading back to the principal melody in one breath in “Dove sono”—but her consistent roundness of tone was both her glory and a stumbling-block to dramatic expression. Price could make you catch your breath at the stunning beauty of her timbre, but like nearly all sopranos for whom vocal beauty is paramount, expression sometimes took a back seat. This is not consistently so, of course; her rendering of the arias from Clemenza di Tito and Nozze di Figaro are very dramatic in places, as are the arias from Aida, Forza del destino, and Don Carlo, but I felt that Grümmer did much more, with her nicely pointed but less lush tone, in “Come scoglio” than Price. Yet this is, perhaps, a bit unfair; Margaret Price never considered herself another Maria Callas or Leyla Gencer, nor did she have to be. She was a musician and a vocal specialist who sang virtually anything and made it sound good, not a verismatic actress or a vocal show-off. Thus we don’t need to hear every optional bit of vocal gingerbread in “Bel raggio” that we are used to hearing from sopranos ranging from Lina Pagliughi to June Anderson in order for it to be effective. In fact, by skipping all the optional high notes and mini-cadenzas that are part of tradition, it emerges as a better aria than you may remember it being. Price also does “Casta diva” about as well as anyone who is not named Rosa Ponselle, and there is a surprising amount of feeling (as well as glorious tone) in her performance of “Poveri fiori.” As for her Otello Willow Song and Ave Maria, it was a given they’d be good, and they are.


My recommendation, then, is to buy the whole set. And, if you want a “live” tenor CD from German radio to add to this collection (albeit from Baden-Baden und Freiburg rather than Munich), you can’t go wrong with Nicolai Gedda Sings Arias & Lieder on Hänssler 94.212!


FANFARE: Lynn René Bayley
Read less

Works on This Recording

1.
Adriana Lecouvreur: Io son l'umile ancella by Francesco Cilèa
Performer:  Mirella Freni (Soprano)
Conductor:  Vladimir Ghiaurov
Orchestra/Ensemble:  Munich Radio Orchestra
Period: Romantic 
Written: 1902; Italy 
2.
La Bohème: Si, mi chiamano Mimì by Giacomo Puccini
Performer:  Mirella Freni (Soprano)
Conductor:  Kurt Eichhorn
Orchestra/Ensemble:  Munich Radio Orchestra
Period: Romantic 
Written: 1896; Italy 
3.
La Bohème: Quando m'en vo' soletta "Musetta's Waltz" by Giacomo Puccini
Performer:  Mirella Freni (Soprano)
Conductor:  Kurt Eichhorn
Orchestra/Ensemble:  Munich Radio Orchestra
Period: Romantic 
Written: 1896; Italy 
4.
Tosca: Vissi d'arte, vissi d'amore by Giacomo Puccini
Performer:  Mirella Freni (Soprano)
Conductor:  Kurt Eichhorn
Orchestra/Ensemble:  Munich Radio Orchestra
Period: Romantic 
Written: 1900; Italy 
5.
Turandot: Tu, che di gel sei cinta by Giacomo Puccini
Performer:  Mirella Freni (Soprano)
Conductor:  Kurt Eichhorn
Orchestra/Ensemble:  Munich Radio Orchestra
Period: Romantic 
Written: 1926; Italy 
6.
Carmen: Je dis que rien ne m'épouvante "Micaëla's Aria" by Georges Bizet
Performer:  Mirella Freni (Soprano)
Conductor:  Kurt Eichhorn
Orchestra/Ensemble:  Munich Radio Orchestra
Period: Romantic 
Written: 1873-1874; France 
7.
Manon: Adieu, notre petite table by Jules Massenet
Performer:  Mirella Freni (Soprano)
Conductor:  Kurt Eichhorn
Orchestra/Ensemble:  Munich Radio Orchestra
Period: Romantic 
Written: 1883-1884; France 
8.
Aida: Ritorna vincitor! by Giuseppe Verdi
Performer:  Mirella Freni (Soprano)
Conductor:  Vladimir Ghiaurov
Orchestra/Ensemble:  Munich Radio Orchestra
Period: Romantic 
Written: 1871; Italy 
9.
Le nozze di Figaro, K 492: E Susanna non vien...Dove sono by Wolfgang Amadeus Mozart
Performer:  Mirella Freni (Soprano)
Conductor:  Vladimir Ghiaurov
Orchestra/Ensemble:  Munich Radio Orchestra
Period: Classical 
Written: 1786; Vienna, Austria 
10.
Eugene Onegin, Op. 24: Tatiana's letter scene by Peter Ilyich Tchaikovsky
Performer:  Mirella Freni (Soprano)
Conductor:  Vladimir Ghiaurov
Orchestra/Ensemble:  Munich Radio Orchestra
Period: Romantic 
Written: 1877-1878; Russia 
11.
Adriana Lecouvreur: Io son l'umile ancella by Francesco Cilèa
Performer:  Mirella Freni (Soprano)
Conductor:  Kurt Eichhorn
Orchestra/Ensemble:  Munich Radio Orchestra
Period: Romantic 
Written: 1902; Italy 
12.
Faust: Le veau d'or est toujours debout by Charles Gounod
Performer:  Nicolai Ghiaurov (Bass)
Conductor:  Georges Prêtre
Orchestra/Ensemble:  Bavarian Radio Chorus,  Munich Radio Orchestra
Period: Romantic 
Written: 1859; France 
13.
Faust: Vous qui faites l'endormie "Serenade" by Charles Gounod
Performer:  Nicolai Ghiaurov (Bass)
Conductor:  Georges Prêtre
Orchestra/Ensemble:  Bavarian Radio Chorus,  Munich Radio Orchestra
Period: Romantic 
Written: 1859; France 
14.
La jolie fille de Perth: Quand la flamme de l'amour by Georges Bizet
Performer:  Nicolai Ghiaurov (Bass)
Conductor:  Alfredo Antonini
Orchestra/Ensemble:  Munich Radio Orchestra
Period: Romantic 
Written: 1866; France 
15.
Sadko: Excerpt(s) by Nikolai Rimsky-Korsakov
Performer:  Nicolai Ghiaurov (Bass)
Conductor:  Alfredo Antonini
Orchestra/Ensemble:  Munich Radio Orchestra
Period: Romantic 
Written: 1894-1896; Russia 
16.
A Life for the Tsar: They sense the truth "Susanin's Aria" by Mikhail Glinka
Performer:  Nicolai Ghiaurov (Bass)
Conductor:  Alfredo Antonini
Orchestra/Ensemble:  Munich Radio Orchestra
Period: Romantic 
Written: 1834-1836; Russia 
17.
Aleko: The moon is high in the sky "Aleko's Cavatina" by Sergei Rachmaninov
Performer:  Nicolai Ghiaurov (Bass)
Conductor:  Alfredo Antonini
Orchestra/Ensemble:  Munich Radio Orchestra
Period: 20th Century 
Written: 1893; Russia 
18.
Boris Godunov: Prologue - Long life to our Czar Boris Feodorovich by Modest Mussorgsky
Performer:  Nicolai Ghiaurov (Bass)
Conductor:  Georges Prêtre
Orchestra/Ensemble:  Bavarian Radio Chorus,  Munich Radio Orchestra
Period: Romantic 
Written: 1868-1873; Russia 
19.
Simon Boccanegra: A te l'estremo addio by Giuseppe Verdi
Performer:  Nicolai Ghiaurov (Bass)
Conductor:  Georges Prêtre
Orchestra/Ensemble:  Bavarian Radio Chorus,  Munich Radio Orchestra
Period: Romantic 
Written: 1857; Italy 
20.
Don Carlos: Ella giammai m'amò...Dormirò sol sul manto mio regal by Giuseppe Verdi
Performer:  Nicolai Ghiaurov (Bass)
Conductor:  Georges Prêtre
Orchestra/Ensemble:  Munich Radio Orchestra
Period: Romantic 
Written: 1867/1884; Italy 
21.
Il barbiere di Siviglia: La calunnia è un venticello by Gioachino Rossini
Performer:  Nicolai Ghiaurov (Bass)
Conductor:  Alfredo Antonini
Orchestra/Ensemble:  Munich Radio Orchestra
Period: Romantic 
Written: 1816; Italy 
22.
Mother, opera: Song of a Drunken Merchant by Tikhon Khrennikov
Performer:  Nicolai Ghiaurov (Bass)
Conductor:  Alfredo Antonini
Orchestra/Ensemble:  Munich Radio Orchestra
Period: Modern 
23.
Der Favorit: Du sollst der Kaiser meiner Seele sein by Robert Stolz
Performer:  Lucia Popp (Soprano)
Period: 20th Century 
Written: 1916; Berlin, Germany 
24.
Venus in Seide: Spiel auf deiner Geige by Robert Stolz
Performer:  Lucia Popp (Soprano)
Period: 20th Century 
Written: 1932; Zurich, Switzerland 
25.
Paganini: Liebe, du Himmel auf Erden by Franz Lehár
Performer:  Lucia Popp (Soprano)
Period: Romantic 
Written: 1925; Vienna, Austria 
26.
Der Freischütz, J 277: Kommt ein schlanker Bursch "Polacca" by Carl Maria von Weber
Performer:  Lucia Popp (Soprano)
Period: Romantic 
Written: 1817-1821; Dresden, Germany 
27.
Undine: So wisse, dass in allen Elementen by Albert Lortzing
Performer:  Lucia Popp (Soprano)
Period: Romantic 
Written: 1845; Germany 
28.
Giulio Cesare, HWV 17: V'adoro pupille by George Frideric Handel
Performer:  Lucia Popp (Soprano)
Period: Baroque 
Written: 1724; London, England 
29.
Le nozze di Figaro, K 492: Giunse alfin il momento...Deh vieni, non tardar by Wolfgang Amadeus Mozart
Performer:  Lucia Popp (Soprano)
Period: Classical 
Written: 1786; Vienna, Austria 
30.
Il barbiere di Siviglia: Una voce poco fa...Io sono dolcile by Gioachino Rossini
Performer:  Lucia Popp (Soprano)
31.
Don Pasquale: Quel guardo il cavaliere...So anch'io la virtù by Gaetano Donizetti
Performer:  Lucia Popp (Soprano)
Period: Romantic 
Written: 1843; Italy 
32.
Bartered Bride, B 143/T 93: Alone at last...How strange by Bedrich Smetana
Performer:  Lucia Popp (Soprano)
Period: Romantic 
Written: 1863/1870; Czech Republic 
33.
Die Zauberflöte: Arie. Ein Mädchen oder Weibchen wünscht Papageno sich by Wolfgang Amadeus Mozart
Performer:  Hermann Prey ()
Conductor:  Argeo Quadri
Period: Classical 
Written: 1791; Austria 
Date of Recording: 02/10/1966 
Venue:  Kongreßsaal des Deutschen Museums, Münch 
Length: 3 Minutes 56 Secs. 
34.
Le nozze di Figaro: Rezitativ und Arie. Tutto è disposto - Aprite un po' gli occhi by Wolfgang Amadeus Mozart
Performer:  Hermann Prey ()
Conductor:  Heinz Wallberg
Period: Classical 
Written: 1786; Austria 
Date of Recording: 01/16/1977 
Venue:  Kongreßsaal des Deutschen Museums, Münch 
Length: 4 Minutes 7 Secs. 
35.
Rivolgete a lui lo sguardo, K 584 by Wolfgang Amadeus Mozart
Performer:  Hermann Prey ()
Conductor:  Heinz Fricke
Period: Classical 
Written: 1789; Vienna, Austria 
Date of Recording: 12/01/1966 
Venue:  Kongreßsaal des Deutschen Museums, Münch 
Length: 4 Minutes 52 Secs. 
36.
Il barbiere di Siviglia: Arie. Largo al factotum della città by Gioachino Rossini
Performer:  Hermann Prey ()
Conductor:  Argeo Quadri
Period: Romantic 
Written: 1816; Italy 
Date of Recording: 02/10/1966 
Venue:  Kongreßsaal des Deutschen Museums, Münch 
Length: 4 Minutes 44 Secs. 
37.
Der Wildschütz: Rezitativ un Arie. Wie freundlich strahlt die helle Morgensonne by Albert Lortzing
Performer:  Hermann Prey ()
Conductor:  Argeo Quadri
Period: Romantic 
Written: 1842 
Date of Recording: 02/10/1966 
Venue:  Kongreßsaal des Deutschen Museums, Münch 
Length: 4 Minutes 46 Secs. 
38.
La traviata: Di Provenza il mar by Giuseppe Verdi
Performer:  Hermann Prey ()
Conductor:  Heinz Fricke
Period: Romantic 
Written: 1853; Italy 
Date of Recording: 12/01/1966 
Venue:  Kongreßsaal des Deutschen Museums, Münch 
Length: 4 Minutes 12 Secs. 
39.
Un ballo in maschera: Eri tu che m'acchiave quell' anima by Giuseppe Verdi
Performer:  Hermann Prey ()
Conductor:  Heinz Wallberg
Period: Romantic 
Written: 1859; Italy 
Date of Recording: 01/16/1977 
Venue:  Kongreßsaal des Deutschen Museums, Münch 
Length: 5 Minutes 43 Secs. 
40.
Faust: Avant de quitter ces lieux by Charles Gounod
Performer:  Hermann Prey ()
Conductor:  Argeo Quadri
Period: Romantic 
Written: 1859; France 
Date of Recording: 09/01/1972 
Venue:  Kongreßsaal des Deutschen Museums, Münch 
Length: 3 Minutes 37 Secs. 
41.
I Pagliacci: Sì può? [Prologue] by Ruggero Leoncavallo
Performer:  Hermann Prey ()
Conductor:  Heinz Wallberg
Period: Romantic 
Written: 1892; Italy 
Date of Recording: 01/16/1977 
Venue:  Kongreßsaal des Deutschen Museums, Münch 
Length: 5 Minutes 21 Secs. 
42.
Christmas Oratorio, BWV 248: no 8, Grosser Herr, und starker König by Johann Sebastian Bach
Performer:  Hermann Prey ()
Conductor:  Kurt Eichhorn
Period: Baroque 
Written: 1734-1735; Leipzig, Germany 
Date of Recording: 12/17/1972 
Venue:  Kongreßsaal des Deutschen Museums, Münch 
Length: 4 Minutes 57 Secs. 
43.
An die ferne Geliebte, Op. 98 by Ludwig van Beethoven
Performer:  Wolfgang Sawallisch (Piano), Hermann Prey ()
Period: Classical 
Written: 1815-1816; Vienna, Austria 
Date of Recording: 01/10/1988 
Venue:  Prinzregententheater, München 
Length: 14 Minutes 42 Secs. 
44.
Annie Get Your Gun: They say that falling in love is wonderful by Irving Berlin
Performer:  Hermann Prey ()
Conductor:  Roberto Abbado
Period: Modern 
Written: 1945-1946; United States of Ame 
Date of Recording: 07/26/1992 
Venue:  Herkulessaal der Residenz, München 
Length: 2 Minutes 59 Secs. 
45.
Le nozze di Figaro, K 492: E Susanna non vien...Dove sono by Wolfgang Amadeus Mozart
Performer:  Margaret Price (Soprano)
Conductor:  Leopold Hager
Orchestra/Ensemble:  Munich Radio Orchestra
Period: Classical 
Written: 1786; Vienna, Austria 
46.
La clemenza di Tito, K 621: Parto, parto, ma tu ben mio by Wolfgang Amadeus Mozart
Performer:  Margaret Price (Soprano)
Conductor:  Heinz Wallberg
Orchestra/Ensemble:  Munich Radio Orchestra
Period: Classical 
47.
Don Giovanni, K 527: Or sai chi l'onore by Wolfgang Amadeus Mozart
Performer:  Margaret Price (Soprano)
Conductor:  Heinz Wallberg
Orchestra/Ensemble:  Munich Radio Orchestra
Period: Classical 
Written: 1787; Prague, Czech Republ 
48.
Così fan tutte, K 588: Temerari!...Come scoglio by Wolfgang Amadeus Mozart
Performer:  Margaret Price (Soprano)
Conductor:  Heinz Wallberg
Orchestra/Ensemble:  Munich Radio Orchestra
Period: Classical 
Written: 1790; Vienna, Austria 
49.
Der Freischütz, J 277: Und ob die Wolke by Carl Maria von Weber
Performer:  Margaret Price (Soprano)
Conductor:  Heinz Wallberg
Orchestra/Ensemble:  Munich Radio Orchestra
Period: Romantic 
Written: 1817-1821; Dresden, Germany 
50.
Semiramide: Bel raggio lusinghier by Gioachino Rossini
Performer:  Margaret Price (Soprano)
Conductor:  Leopold Hager,  Heinz Wallberg
Orchestra/Ensemble:  Munich Radio Orchestra
Period: Romantic 
Written: 1823; Italy 
51.
Norma: Casta diva by Vincenzo Bellini
Performer:  Margaret Price (Soprano)
Conductor:  Heinz Wallberg
Orchestra/Ensemble:  Munich Radio Orchestra
Period: Romantic 
Written: 1831; Italy 
52.
Adriana Lecouvreur: Poveri fiori by Francesco Cilèa
Performer:  Margaret Price (Soprano)
Conductor:  Thomas Fulton
Orchestra/Ensemble:  Munich Radio Orchestra
Period: Romantic 
Written: 1902; Italy 
53.
Otello: Piangea cantando...Ave Maria by Giuseppe Verdi
Performer:  Margaret Price (Soprano)
Conductor:  Leopold Hager,  Heinz Wallberg
Orchestra/Ensemble:  Munich Radio Orchestra
Period: Romantic 
Written: 1887; Italy 
54.
Otello: Piangea cantando "Willow Song" by Giuseppe Verdi
Performer:  Margaret Price (Soprano)
Conductor:  Heinz Wallberg
Orchestra/Ensemble:  Munich Radio Orchestra
Period: Romantic 
Written: 1887; Italy 
55.
La forza del destino: Pace, pace, mio Dio by Giuseppe Verdi
Performer:  Margaret Price (Soprano)
Conductor:  Thomas Fulton
Orchestra/Ensemble:  Munich Radio Orchestra
Period: Romantic 
Written: 1862/1869; Italy 
56.
Don Carlos: Tu, che la vanitá conoscesti del mondo by Giuseppe Verdi
Performer:  Margaret Price (Soprano)
Conductor:  Heinz Wallberg
Orchestra/Ensemble:  Munich Radio Orchestra
Period: Romantic 
Written: 1867/1884; Italy 
57.
Aida: Ritorna vincitor! by Giuseppe Verdi
Performer:  Margaret Price (Soprano)
Conductor:  Heinz Wallberg
Orchestra/Ensemble:  Munich Radio Orchestra
Period: Romantic 
Written: 1871; Italy 
58.
Work(s) by Various
Performer:  Elisabeth Grümmer (Soprano)

Sound Samples

Adriana Lecouvreur: Act I: Io son l'umile ancella
La boheme: Act I: Si. Mi chiamano Mimi
La boheme: Act II: Quando me'n vo'
Tosca: Act II: Vissi d'arte
Turandot: Act III: Tu, che di gel sei cinta
Carmen: Act III: Recitative: C'est des contrebandiers le refuge ordinaire
Manon: Act II: Adieu, notre petite table
Aida: Act I: Ritorna vincitor
Le nozze di Figaro (The Marriage of Figaro), K. 492: Act III: Recitativo and Aria: E Susanna non vien! ... Dove sono i bei momenti
Eugene Onegin, Op. 24 (Sung in German): Eugene Onegin, Op. 24, Act I: Puskai pogibnu ya, no pryezhde, "Letter Scene" (Sung in German)
Adriana Lecouvreur: Act I: Io son l'umile ancella
Faust: Act I: Le veau d'or est toujours debout
Faust: Act III: Vous qui faites l'endormie
La jolie fille de Perth: Act II: Air: Tra, La, La, Tra, La La,! - Quand la flamme d'amour
Sadko: Am Felsenufer toben ungestum die Wellen
Zhizn' za tsarya (A Life for the Tsar), Op. 4 (Sung in German): Zhizn' za tsarya (A Life for the Tsar), Op. 4, Act III: Recitative and Aria: Sie ahnen die Wahrheit - Brisch du an, o Morgenrot (Sung in German)
Aleko (Sung in German): Aleko: Alles im Schlaf. Vom nach'tgen Himmel strahlt der Mond in kuhler Schonheit (Sung in German)
Boris Godounov (Sung in German): Boris Godounov: Prologue: Lang lebe der Zar Boris Feodorowitsch (Sung in German)
Simon Boccanegra: Prologue: A te l'estremo addio - Il lacerato spirito
Don Carlos: Act IV: Ella giammai m'amo
Il barbiere di Siviglia (The Barber of Seville): Act I: Aria: La calunnia e un venticello
Mnogo shumu... iz-za serdets (Much Ado... because of Hearts): Mnogo shumu... iz-za serdets (Much Ado... because of Hearts): Kanzone des Bretunkenen

Customer Reviews

Be the first to review this title
Review This Title
Review This Title Share on Facebook




YOU MUST BE A SUBSCRIBER TO LISTEN - TRY IT FREE!
Listen to all your favorite classical music for only $20/month.
Sign up for your monthly subscription service and get unlimited access to the most comprehensive digital catalog of classical music in the world - new releases. bestsellers, advanced releases and more.
Aleady a subscriber? Sign In