A. Cobo

We love this CD. Our baby falls asleep to this CD, nurses to this CD, plays on her playmat with this CD. It is a very nice flowing CD and my husband and I both love to hear the guitar as well. So nice for adults too.

This is an excellent CD. It sounds beautiful. The melodies are so warm soothing. Our baby falls asleep to this almost every night! I love it too. It's sure to please babies and adults alike. You won't be disappointed.

My babies are grown so these lullabies are for my ears. I never tire of listening to Ricardo Cobo's guitar- just lovely! Thank you.

I am a classroom teacher. I first heard this CD when babysitting for my friend's baby and really enjoyed it. So I bought the CD and I actually play it in my classroom while the kids are doing quiet seatwork. It is peaceful and enjoyable to listen to.

My husband and I listened to this CD while I was in labor with my first son. It really set the tone for a beautiful birth. We still play it often and enjoy the relaxing mood it sets for the family. I highly recommend this CD for the whole family.

I found this cd to be a beautiful addition to my collection. I do vinotherapy in my spa and use it for the background music. It is perfect for this wonderful therapy. Imagine a "Bella Lucce"" grapeseed crush body scrub, honey and wine mask and a relaxing massage, all listening to this beautiful cd. Highly recommend it.

It's like a little trip back to Tuscany. Also recommend Tuscany a Romantic Journey.

Very beautiful music. If you close your eyes when you listen to it, you can actually pretend you're really there!

A wonderful compellation of Italian classical music. I love to hear it while I'm driving; it makes road rage disappear.

Very enjoyable listening to this classical CD. I also highly recommend the CD of this series "LaBelle France Music Inspried by France".

Jose Carreras is one of the finer tenors of his era, without much question. This 2 CD set illustrates why one can say that. The first CD displays his operatic skills; the second focuses on more popular tunes, such as "O sole mio," "Funiculi funicula," and "Tonight." He shows a rich lyric tenor voice.

First, some operatic works. From "La Boheme," we hear the wonderful romantic aria, "Che gelida manina." His lyric voice fits this work nicely. He hits the high note (at "la speranza") well, if not quite perfectly.

Then, "Recondita armonia" from Tosca. This dramatic aria is another well sung piece by Carreras. He does not display the "big voice" of a Franco Corelli or Richard Tucker, but his own voice serves well with this aria (and he is not small voiced by any stretch). Every so often here and on other arias, there are some very minor affectations (such as mini-catches or cries), but not a problem. His fine vocal quality more than compensates.

The companion piece from "Tosca" for tenors is "E lucevan le stelle." I always enjoy listening to the end, where a tenor's "la vita" can be quite a dramatic sound. Just so, Carreras sings this nicely.

Then, one of the challenging pieces from one part of the tenor repertoire, "Di quella pira" from Verdi's "Il Trovatore." Tenors are supposed to sing what I call "shakes" (something like trills, but most tenors aren't close to that). Overall, these are okay, but a few are inelegant. Nonetheless, a nice piece of work by Carreras. The repeat is better than the first pass at this. What about the final high note as he calls for his troops to go into action? Does the voice soar about voices and orchestra? Not really--but it's still a pretty good effort. All in all, another nice effort.

The second CD, as noted, features more popular songs. I was especially intrigued to listen to his version of "Granada." In the 1960s, one of the (I think) big-voiced tenors recorded this, and I recall hearing it played several times on WGN radio's Wally Phillips Show. The voice way overpowered the song, but what a listen! Carreras does NOT overpower this tune. He sounds awfully good with this bon bon.

"La Danza" frustrated the great Enrico Caruso. I once had the old LP (vinyl!) with him in the clown outfit (presumably, from "I Pagliacci"). Caruso lost his breath in the middle of one of the lines of this song, so it can be tough. Carreras takes it at the quick pace and does not falter. Lots of fun to listen to.

Finally, "Be My Love." Again, Carreras does not overpower this (I recall Richard Tucker taking a trifle, "What Now My Love," and singing it in his full voice--the song could not compete with Tucker's voice and it was a delightful mess to listen to!). Bravo Carreras.

All in all, a good survey of the body of work of Jose Carreras, one of the finest tenors of his time. For those enjoying the tenor repertoire, this is worth a listen.

I can do no more than echo the raves of previous reviewers about this wonderful recording. But, I wanted to add another solid five start rating to the record.

This is my favorite Carreras album. Many of the operatic songs were recorded in the late 1970's. They include many favorites, such as "E lucevan le stelle" and "Recondita harmonia." Others, such as "Core 'ngrato" and "Torna a Surriento" were from the 1980's, but are just as lovely. Carreras also includes some songs in English, such as "Be My love" and "Memory" (from "Cats"). I find his accented English to be very romantic and appealing. He sings with great feeling, making the songs seem special and meaningful. This is a very romantic album, a wonderful compilation of many "operatic" favorites sung with prowess and passion.

Since I first heard him in 1986, José Carreras has been my favourite tenor. His lyrical voice has captured my heart completely. No other voice moves me as Carreras' does. He moves me to tears, to laughter, to love, to beauty - to remembrance, to peace - and to HOPE!

As for this recording, my favourites are "Una furtiva lagrima" (Donizetti), "Dein ist mein ganzes Herz" (Das Land des Lächelns), "Che gelida manina" (La Bohème) and yes, "Nessun Dorma" (Turandot) - and no, it's not always about the strongest voice.

I have lots of other recordings with Carreras. Spanish songs, German songs, love songs, mixture of opera arias and popular songs and of course, opera. I have reviewed "Carmen" conducted by von Karajan in Berlin in 1982 where Carreras sings "the flower aria" as it has never been sung before, with a pianissimo ending. (I also refer to and recommend another review of this version of "Carmen" here on Amazon, written by a much more knowledgeable reviewer than me, but sharing the same opinions.) Any admirer of José Carreras who has not heard his interpretation of this famous aria in this recording, has missed something. Amazon has it, hurry and buy! (Carmen 1982 - Agnes Baltsa, José Carreras, Katia Ricciarelli, Herbert von Karajan).

I love Carreras' "singing from the soul" (the title of his biography). He has something very special which affects me as no other singer does. No matter how high Pavarotti goes, or how complete and full and "having it all" Domingo's voice is said by so many to be - Carreras has something entirely unique. A Swedish journalist who was writing a review of one of his concerts, pondered about the difference between the three and why the seemingly less significant of them still moved him so deeply. And he finally concluded: "What is it with this little Spanyard. He does not reach as high as Pavarotti, or has the fullness and strength of Domingo, and yet, he sings as if every little tone were the last..."

This album is probably the best collection with Carreras, although many of these arias/songs are also to be found on other recordings. However, this selection is both large and varied and does indeed show Carreras at his best. It's also recorded before his illness. Many reviewers say that Carreras' voice HAS suffered from this, even if not very noticeable. I personally have not noticed any decline and I do listen a lot. Anyway, this recording is a perfect choice for people who want to be introduced to or hear more of José Carreras.

Finally, I would like to include in this review the first concert José Carreras held in Oslo Konserthus (Norway) after his illness - in April 1990. This was no large performance in a huge hall used also by rock bands etc. The kind of performance with lights in various colours, very stashed up in every way. As the newspapers wrote afterwards; it was not the regular first night audience who met in Oslo Concert Hall that night. It was the real music lovers who sat in silence and enjoyed and contemplated the sublime art they were listening to. No one got their favourite aria, this was an evening for less known material, but oh, so exquisite.

I have heard Carreras afterwards in more glamourous settings but shall never forget that evening in April 1990. A man, his voice and a piano.

I would like to recommend this recording warmly, and everything else José Carreras has sung for that matter. And for those who are not so keen on opera, there are lots to choose from, not the least film music and plenty of varied love songs. Carreras has not restricted himself to singing and recording only opera. Few tenors have made more recordings of popular non-opera music and so called crossovers. His voice is perfect for almost all kinds of popular love songs (As time goes by, You belong to my heart, The shadow of your smile, Memory) and I see this as a perfect way of inviting an even wider public to enjoy his wonderful voice.

This is a different voice than you hear on recordings of "The Three Tenors." Of course, it's his earlier years, but the light, lyrical quality of his voice is amazing. Thank goodness for recordings, and digital remastering. I love this CD.

It is a very good recording of the most famous cuban composer in the area of the classical guitar.
I recommend this issue very much.

Cobo plays the hell out of these amazing Brouwer pieces. The classical guitar has never sounded better. Brouwer's work is so distinctive and memorable. I would recommend this to anyone who wants to discover a truly genius composer. And Ricardo Cobo's virtuosity is on full display here; his musicianship is astounding!

I can't believe that I am only now discovering the music of Leo Brouwer. His music is sophisticated, yet highly accessible. He manages to mix virtuosity with lyricism in equal parts. The performer Ricardo Cabo is also a real find. He is amazing. Lastly since this is a CD put out by Naxos the quality is high and the price low.

It's a real pleasure for me to give a reference on this remarkable album. It's really an excellent music - at once modern and classical, and an excellent performance - full of both virtuosity and taste!

Born in Havana, Cuba, in 1939, Leo Brouwer has written some of the most diverse music for any instrument during the last 60 years. You can hear his Cuban background in the dynamic Afro-Cuban strains of his work. And of course, as in all guitar music, there's a rich Spanish element (in fact, one of Brouwer's guitar teachers studied under a pupil of Francisco Tárrega). But on top of that there's this interesting undercurrent of American folk music from the 1960s, which surely makes Brouwer unique among Latin guitar composers. Plus, you'll be able to hear the influence of Messiaen, Bartok, Shostakovich, and Stravinsky in works like the "Preludio" of 1956 (written when Browuer was 17), "Fuga No. 1", and "Elogio a la danza". As a young guitarist Brouwer was disappointed that few of the great composers of his day had written anything for the guitar, so he just wrote it himself. He wrote his four books of "Estudios sencillos", for example, to provide guitar students with a contemporary alternative to the classic works of men like Sor, Carcassi, and Coste.

This is a great place to begin if you've never listened to anything by Brouwer. It's also incredibly cheap. Ricardo Cobos is one of the foremost interpreters of Brouwer's work and it's good to see such a quality recording come out on the inexpensive Naxos label. All I want to know is: where are the other volumes if this one's just the first? 5 stars.

This was my first exposure to the four-movement tone poem "Church Windows," and López-Cobos's interpretation is still at the top, from the recordings I've heard. He's the only one who understands the importance and raw, naked power of the French Horn ostinato figure at the end. No other recording of this work gets it right. His lightning tempos in "Roman Festivals" should also not be missed. The ending is a whirlwind. I prefer the version of "Brazilian Impressions" on Geoffrey Simon's CD. If you can get a download of Simon's BI, and López-Cobos's CW and RF, you'll be better off.

I just wish the level of technical recording on this CD was better. There is somewhat of a lacking in the treble, as if the sound is a bit muted. This, however, is a minor complaint, especially considering the wonderful interpretation of two out of three of the works on this recording.

I will admit from the outset that Respighi is one of my top five favorite composers; but he has earned that place with works of beauty, power, creativity, feel and elegance.
Ottorino Respighi was known for his unabashed love of the classical and romance periods of classical music and these 3 compositions are unmistakably nostalgiac of those periods.
Church Windows, was composed as a tribute to the style of classical church works and thus named after stained glass windows depicting scenes from the Bible; oddly, and thus somewhat confusing to this fan of Respighi, these tone poems were written BEFORE the names were applied, which is in stark contrast to Respighi's habit of naming tone poems after that which inspired him (Roman Festivals and Brazilian Impressions on this disk being 2 examples; Fountains and Pines, the other 2 pieces from the Rome trio, are other examples). Regardless of the inspiration behind this work, all 4 pieces from Windows are marvelous, sometimes eerie, but always beautiful.
Brazilian Impressions was composed after Respighi and his wife made a trip to Rio to hear performances of his works and he found the musical styling of Latin America so intriguing that, almost as soon as he returned home, he composed these three poems as his expression of love for, and inspired by, the musical mode of the Brazilian music.
Roman Festivals, the most well known of these three compositons, completed Respighi's Rome Trilogy. Fountains of Rome (1916) and Pines of Rome (1923) preceded Festivals (1928), and the three are now what's most closely associated with Respighi. All 3 are superb and I highly recommend purchasing the other 2 to complete the trio; perhaps Respighi: Pines of Rome; Fountains of Rome; Metamorphoseon Modi XII which is a wonderful recording of the first two tone poems and also includes the Metamorphoseon Modi which are excellent, even if rarely known, as well. But I digress.
Roman Festivals seemed to be the feather in Respighi's cap; a wonderful composition that is pure chaos, controlled and perfect. I often hear Respighi described as bombastic, which may be somewhat accurate but leaves much about the music to explain. To put it simply, Respighi's work was that of a genius mad-man; the fourth movement from Festivals is sheer insanity on percussion and horns and is, in my ever so humble opinion, perhaps one of the most creative sounds in modern classical composition; certainly so, as far as finales are concerned.
The Cincinnati Symphony Orchestra, conducted by Jesus Lopez-Cobos, have played these 3 pieces marvelously and the recording and mixing is near perfect. This is a beautiful recording.
Respighi was a wonder and his entire life's work should be celebrated.

I am a fan of many of Respighi's works, but I was not impressed by Brazilian Impressions or Church Windows. Both of the works struck me as unusually sluggish, with a lack of focus.

This disc is totally fascinating on so many levels. First, there is the music itself: Respighi ranging from crystalline delicacy, to almost brutal force. Too many people discover his most famous Pines, Fountains, Ancient Airs, and Boutique Fantasque, then for some reason, stop there. For them, this disc is a must, with 3 lesser known but equally deserving suites that will touch your heart and overwhelm you with sound. Second, there is the engineering. As always with Telarc, full frequency range, full dynamic range, and a clarity that lets little details come through no matter how complex the orchestration gets, and at times, it is thick! Last, but not least, there is Lopez-Cobos and the Cincinnati Symphony. The playing is nearly all virtuoso, with only the occasional very minor weakness in evidence. More so, there is the "weight." The Berlin Philharmonic and NY Phil have always been known for this factor, not to be confused with pure volume. Something does not have to be very loud to have weight, and when Respighi calls for it, it is there in abundance. Here and there I might long for some of Muti's abandon in "Feste" [Muti/Philadelphia/EMI] or some of the muscular percussion [especially the 3 tam-tams!] playing on the Geoffrey Simon Church Windows [Chandos] but all the pieces fall into place here: Clean playing, lively, tender, brutal, exiciting... all when called for, and a properly balanced organ solo in Church Windows [at last!!] that'll leave you exhaused, and totally satisfied.

In brief, this is a very powerful recording, and a unique, passionate interpretation of all these works. Church Windows will take your breath away! Cincinnatti's best work!

What can I say? Every piece on this recording I love, and Ricardo plays them all to perfection. This CD is sure to get more play than most of my other CDs. If you like classical guitar check out all the Naxos label CDs, I own like 4-5 of them, and they are all excellent listening. This one I must say stands out to me, but mainly because of my preference for Latin guitar music.

Although I'm honestly tired of all the "Latin collection" CDs out there, this one is played by a "real" Latin and you can hear it from the first track. It is not only believable, but compelling. The poetry in Reis's two pieces (Track 2,3) is simply beautiful and Cobo's phrasing is refreshingly provocative rather than safe. This player's music is fluid, his sound silky and detailed, and his musical thinking exciting and natural. Although I have several versions of Piazzolla on guitar, these arrangements totally rock. Cobo's arrangement of "El Choclo" is dazzling, especially the last variation. Without saying more, every track on this recording is really special. Take it from a serious student of guitar and avid listener- this CD is a must-have if you like guitar.

This is my favorite CD of Latin American guitar music. Ricardo Cobo is a Columbian guitarist currently living in Las Vegas and his playing is among the best I've heard. As the liner-notes indicate, this CD features some well-known Latin American composers as well as some who are virtually unknown. (Outside of the Cuban composer Leo Brouwer, all the composers whose music is featured on this CD are South American.)

The pieces by Manuel Pujol are particularly moving (his work in homage to Piazzolla is alone worth the price of the CD!), as are the two works by the little known composer, Dilermando Reis. Also worth mentioning is Leo Brouwer's piece 'Un Dia de Noviembre,' a beautiful modal ballad (in the natural minor 'Aeolian' mode) that sounds almost like 'new age music' but that is more interesting and subtle. I don't particularly care for the two pieces by Astor Piazzolla (the 1st and last tracks on the CD), as I don't think they fit well with the rest of the CD's music, but overall this CD has enough beautiful guitar music to warrant many listenings. Some of the slower pieces are reminiscent of the music of the brilliant Paraguayan guitarist/composer Agustin Barrios, whose music was neglected for too long but is now getting serious attention (I would recommend David Russell's recording of Barrios' music for solo guitar -- simply beautiful).

And with Naxos' extremely low prices, you really can't go wrong with Cobo's CD!

I've been waiting for this CD to come out. It was worth the wait. The pieces are familiar Latin guitar music. The playing is the best I've ever heard on any Cobo recording. His Latin soul comes through in this recording. With his superior technique he gets an amazing sound out of the guitar. The richness of this music comes through more with each listening. Buy this CD! You won't regret it.

I had looked forward to Cobo's release of this collection of Latin American guitar music. There are few players on the planet who can match his technique and sound (he won the prestigious Guitar Federation of America Competition in 1987), and fewer yet with such direct ties to Latin American music (he's a native of Colombia and has received that country's highest honors for accomplishment in the arts). The CD doesn't disappoint. Much of the music is familiar to guitarists, although not all from guitar renditions (Cobo has transcribed some popular tangos from piano or other mediums). Cobo's talent is apparent and consistent throughout. If you like the tango or similar music, and/or if you like to hear the classical guitar played well, you'll like this recording.

This was a great buy for me. The power and accuracy of Placido's voice are demonstrated well. Two CD's and 34 songs--just can't beat that for the price.

If you've continously listened to this master of tenors and said "wow, I like it, I want to listen even more of him", then raise it to 5 stars, which is the rating I personally give the CD; HOWEVER, if you've only heard him once or not at all, you might want to wait a while and get to know him and other tenors better. Why? Well, disc 1 is the "classical" disc, with arias from famous operas and choral pieces by Puccini and the like, but disc 2, the "modern" or "popular" disc, contains music that will leave you a bit puzzled, since it's is not for everyone; a lot of people have never heard zarzuela or tunes by Manzanero or Lecuona. In short, this disc is better suited for fans of Placido or people who want to know him better, if not, it still is a top choice, and this way you just might fall in love with him (well, his singing, not him literally).

I agree with the previous poster that this does not contain his great dramatic stuff like otello/wagner, but the collection is a beautiful one. There are some great recordings here, and his crossover stuff(maria, Dulcinea, impossible dream) is very interesting. His opera is of course impecable and brilliant. Finally we get to hear Domingo's high C in Di Quella Pira, and its a good one. The zarzuela or spanish operetta type songs and are wonderful.

I found this to be beautiful and exhilirating to listen to.

I grew up with Placido Domingo. Not in the sense of being boyhood friends, but rather in the sense that he was part of my "Golden Age" at the Metropolitan Opera. Of the "Three Tenors" (more Marketing hype than useful grouping of three fine singers) Domingo was the most dramatic - the "heaviest" of the three. His repertoire extended well beyond the lyric - and that's why this collection is not all the "essential" Domingo, but rather offers an interesting look at the lighter, more lyric side of Placido Domingo. You won't find Lohengrin or Otello here, but you will find many of the more lyric tenor arias from Verdi, Puccini and Donizetti - to name a few.

There is an "edge" to Domingo's voice that perhaps accounts for his ability to transition successfully into the heavier repertory. I find that tonal quality particularly noticeable in this collection - and sometimes too pronounced. On the other hand, there are a few wonderful surprises. His "Una furtiva lagrima" from L'elisir d'amore is a stand out. Its rare you here a tenor with this much power sing the role. The duet "Bima dagli occhi" from Madama Butterfly with Renata Scotto, again casts Pinkerton with a quality tenor not often found in the opera house any more. I loved the selection from Gianni Schicchi - when is the last time you found Rinuccio cast with this size tenor voice - and the Italian tenor's aria from Rosenkavalier is a treasure from a recording currently out of print. And then there is one of Domingo's signature roles - Jack Rance in Puccini's La Fanciulla del West. No one sings Rance better than Domingo - and the excerpt from the complete recording finds Domingo at his very best.

Disk two is devoted to song - popular and classical. There is a fair amount of tripe - too much cross over (as in who needs to hear Domingo sing "The Impossible Dream" from Man of La Mancha - Broadway is not Mr. Domingo's genre). But there are some wonderful cuts as well - "Granada" is a Domingo encore specialty, and I was particularly struck by the song "In Pace" from the motion picture Hamlet - I never saw the film and was truly taken aback at how beautiful a song this is, and Domingo's voice soars.

I found the sound of these CD's a bit "tinny". Perhaps its the analogue to digital conversion, but I was disappointed in the overall sound. The album is badly mistitled "The Essential Placido Domingo". Certainly this is some of the essential Domingo - and some very wonderful examples of the lyric Domingo - but there is clearly a volume two to come - the dramatic Placido Domingo. But why wait - buy this fine collection, and then feast on some of the complete recordings such as Otello or Lohengrin.

Why wait to see if this reviewer enjoyed Sony's latest offering: I did, and so will you. Hats off to Sony for getting it right with this two CD, 34-song bonanza of Placido Domingo singing -- well, as the name implies -- the essentials, from opera to Broadway to Hollywood, in a mix that keeps its distance while holding it all together in a package that breeds enough familiarity to make even the most harsh tenor critic purr. The more clasical offerings are on the first CD and the more sentimental are on disc two. Interestingly, I found side two more seductive and subdued in tone, and enjoyed listening to Mr. Domingo's interpretation of such popular favorites as "Maria" from "West Side Story", "Dulcinea" from "Man From LaMancha" and a couple duets with John Denver (Perhaps Love) and Maureen McGovern (A Love Without End). The songs selected for side two actually did set a thematic tone. Readers of my reviews know that I place a high value on a CDs overall ability to present what is offered in a bundle that sets and keeps a mood. I usually ask two questions: is it consistent once the mood is set; and does it keep the listener in that mood throughout once established? Here, well, here, I break from tradition and profess some confusion. The mood on disc one is not thematic but ecclectic -- from solo's to duets, from live recordings to studio, from one orchestra to the next, from upbeat to mellow. Technically, while there is some difference in the overall sound quality while switching from one setting to another, it is something you would have to listen for to catch, and becaue of this doesn't amount to a serious flaw as presented. What saves disc one from my usual "tenor blahs" is Mr. Domingo's exceptional voice and the selection of songs chosen -- which, while altering between one mood and another, are all familiar enough that we listen with knowing ease to what we expect. This isn't the kind of CD you put on while holding a conversation with anyone, but rather one you would put on, close your eyes and listen to for its sheer technical achievement -- or more precisely for Mr. Domingo's talent. The voice is clear and strong and passinate and reflects Mr. Domingo's control of his range and interpretive skills. Listen to Verdi's "Ingemisco" with The London Symphony and Leonard Bernstein; Puccini's "Bimba Dagli Occhi" with Renata Scoto (he sings a couple meodies with Scoto) and Umberto Giordino's "Amor ti Vieta" from Fedora to get an idea of what I am referring to here. It took me a couple sessions with each side to settle down and appreciate what was offered. Hopefully this review will get you ready and you will enjoy it from the start. PJW