Great Singers, Vol.1

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Great Singers, Vol.1

  • Norma, ~, Sediziose voci
  • Norma, ~, Casta diva
  • Norma, ~, Fine al rito
  • Norma, ~, Ah! bello a me ritorna
  • (I) Puritani, Son vergin vezzosa
  • (I) Puritani, A te, o cara
  • (La) Sonnambula, ~, Ah! non giunge
  • Carmen, L'amour est un oiseau rebelle (Habanera)
  • Lucrezia Borgia, Il segreto per esser felici (Brindisi)
  • Pagliacci, 'Players', ~, No, Pagliaccio non son
  • (L')amico Fritz, ~, Suzel, buon dì (Cherry Duet)
  • (L')amico Fritz, ~, Tutto tace
  • Don Giovanni, Il mio tesoro
  • (Die) Zauberflöte, '(The) Magic Flute', Dies Bildnis ist bezaubernd schön
  • (La) Bohème, 'Bohemian Life', Che gelida manina
  • Turandot, ~, In questa Reggia
  • Turandot, ~, O Principe, che a lunghe carovane
  • (Il) Barbiere di Siviglia, '(The) Barber of Seville', Largo al factotum
  • Ombra di Nube
  • Samson et Dalila, ~, Mon coeur s'ouvre à ta voix
  • (Un) ballo in maschera, '(A) masked ball', ~, Eri tu che macchiavi
  • Norma, ~, Sediziose voci
  • Norma, ~, Casta diva
  • Norma, ~, Fine al rito
  • Norma, ~, Ah! bello a me ritorna
  • (I) Puritani, Son vergin vezzosa
  • (I) Puritani, A te, o cara
  • (La) Sonnambula, ~, Ah! non giunge
  • Carmen, L'amour est un oiseau rebelle (Habanera)
  • Lucrezia Borgia, Il segreto per esser felici (Brindisi)
  • Pagliacci, 'Players', ~, No, Pagliaccio non son
  • (L')amico Fritz, ~, Suzel, buon dì (Cherry Duet)
  • (L')amico Fritz, ~, Tutto tace
  • Don Giovanni, Il mio tesoro
  • (Die) Zauberflöte, '(The) Magic Flute', Dies Bildnis ist bezaubernd schön
  • (La) Bohème, 'Bohemian Life', Che gelida manina
  • Turandot, ~, In questa Reggia
  • Turandot, ~, O Principe, che a lunghe carovane
  • (Il) Barbiere di Siviglia, '(The) Barber of Seville', Largo al factotum
  • Ombra di Nube
  • Samson et Dalila, ~, Mon coeur s'ouvre à ta voix
  • (Un) ballo in maschera, '(A) masked ball', ~, Eri tu che macchiavi

This disc is best viewed as a kind of sampler. It surveys the scene, without any pretensions to being comprehensive (no bass voice included, for instance) or even representative (only one song the rest all opera). It wouldn't even claim, necessarily, to have the best of Caruso, Supervia, Tauber and so forth. But you can be sure that all are well worth hearing and, since we seem to be stopping almost at random for something which the selector happens to like we are all the more impressed by the riches that iie all around. There's Tetrazzini, for instance, marvellously full and bright and of course we smile at this, that and the other about her, but she smiles quite happily back and soon we're all rejoicing together in those clearpinging Cs and B flats, that dazzling spray of staccatos. Or old Schumann-Heink: the spirit, vitality and variety of it, the long, long held note, the majestic trill, the range. On to later times (when incidentally, the hall-ambience is a less obvious presence), and to (for instance) Lawrence Tibbett's masterly account of ''Eri tu'', to Gigli even more honeyed and winning than remembered in his best-selling La boheme aria, Schipa and Favero making ever-fresh magic out of L'amico Fritz, and Claudia Muzio, ravishing in the subdued mournfulness of her song about shadows and clouds on a sunshine day. And that is merely a sample of the sampler: every item here is a gem, each gem from its own well-stocked mine.'

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