D Angelo

D' Angelo's Brown Sugar cd came out back in the late 90's so,I don't know why Amazon is telling me that they want me to rate this joint. Anyway, from what I remember, it was a good cd. I think it had that some "Untitled" where he was naked on the video and all the women were going crazy over that joint. Anyway, it was cool and if you are a fan of D'Angelo then pick it up but in my opinion, unless you had the cd and you just want to pick it up again I would pass on it. It ain't all that in 2008. NEOSOUL06.

i like every song on this album. his voice just mellows you out. everyone should have this one in their cd collection.

It's been 12 years since I purchased this album and I finally write my review! I'm J-RE, an R&B artist out now and I honestly have to break it down for you in a simple sentence. D'angelo was my only inspiration for even wanting to break into this crazy industry. I was 14 when brown suga dropped and all I could remember was how cool this dude was. I listened to this album and studied this album and wrote and played keys and really used this album as a blue print. I am grateful for this album and honestly is the only album that I really still listen to like that (Voodoo as well)

I don't need to write a crazy long review here. Just want to tell D'angelo thank you for exposing this to the world, cause without you, there would be no J-RE and that's real. Honestly if I hadn't listened to this album I would have not really cared to make music like this. I mean I was musically inclined since I was 8 but "Brown Suga" made me think..."Man this is the best music I've ever heard. I need to do this"

This album is a hands down classic

THIS IS THE CD ,THAT GOT ME INTO LISTENING TO SOUL MUSIC AGAIN,I GOT VERY UPSET WITH THAT GENRE FOR A MINUTE,THIS BROTHER GOT THE MESSAGE AND DELIVERED THE GOODS ON THIS ONE FOLKS,I LOVE SOUL MUSIC PERIOD AND I WILL CONTINUE TO AS LONG AS WE GET IT AS GOOD AS THIS!D'ANGELO REMIND YOU OF SOME THE GREATS WHO CAME ALONG BEFORE HIM, AND MAKE YOU APPRECIATE WHAT HE BRINGS TO THE GAME NOW!THEY CALLED IT NEO-SOUL(NU-SOUL)WHEN IT CAME OUT!I CALL IT A NEW CLASSIC MASTERPIECE,THIS IS ESSENTIAL, A MUST HAVE,
IMPORTANT RECORDING TO OWN......TIMELESS,BUTTER!BUTTER!BUTTER!

D'Angelo's (A.K.A. Michaela Eugene Archer) debut album was "Brown Sugar" (1995). D'Angelo is a multi-talented musician- singer, song writer pianist, guitarist and record producer. This short ten track release is an impressive groundbreaking album full of excellent music. The album's opener is the smooth title track "Brown Sugar", a feel good love track with a great vibe to it. The laid back "Alright" follows, D'Angelo laces the track with some soulful vocals. "Jonz In My Bonz" was composed by D'Angelo and his former girlfriend Angie Stone, who is also the mother of his son. One of my early favourites is "Me and Those Dreamin' Eyes of Mine", D'Angelo croons away. D'Angelo sings about the scenario of finding his best friend with his wife on "Sh*t, D***, Motherf**ker". "Smooth" is just that, while "Cruisin" has D'Angelo doing a cover on a Smokey Robinson classic - delivering another highlight track. Soulful ballads follow in "When We Get By" & Lady". My personal favourite track on this album is the closer "Higher", D'Angelo does take his audience higher with this exceptional song. It would take D'Angelo, five years to deliver another album, with Voodoo (2000) a solid album worth checking out. D'Angelo has dealt with some battles in recent year's whether it be with drugs and rehabilitation or nearly dying in a car crash, heard hes working on a new album wish him all the best with that. "Brown Sugar" is definitely the D'Angelo album to have, full of soulful feel good music, D'Angelo took his audience on a journey to remember.

"Quando m'en vo" is not omitted from this CD; it is just called "Musetta's waltz song." It is the same aria.

This is one of the first opera CDs I ever got. It's wonderful for just about any body;from the newbies like me or the opera fanatics. I especially like 'In Questa Reggia'. Buy it now!!

The Ultimate Puccini Collection features some of Puccini's most arias and will appeal to even the most ardent operaphobes.

A great listening experience featuring some of the greatest opera performers of all time.

The music is without question, among the most beautiful ever written. But the quality of the fidelity tells me that many of the selections were recorded live in concert in outdoor venues. I wish that was clear to me before I bought the disc. So, is the music the ultimate? YES! Is the recording the ultimate? NO!

I love opera! I love Puccini! Not only is the vocalism important to me, but the quality of the recording as well. I enjoy my hi-tech sound system. I like to feel as if I am sitting in the front row of the first balcony when I listen to opera. This CD is excellent! The vocalists were well chosen. The technical performances are eloquent and emotional, as Puccini should be. However, the quality of the recording is not very good. No matter how you adjust your sound system, the recording is a bit tinny and as a result, the emotional high points of the arias are not as vibrant as they could be if the recording were of better quality. I would recommend this CD to anyone who loves Puccini and who is not as finicky as I!

this was a great follow up to brown sugar. i don't really have any favorites on this one. the whole cd is good to me. but i enjoy listening to How Does it Feel and just thinking about the video that he did to it. WOW!

This guy has so much talent it is mindboggling. Sexy, powerful, thoughtful, insightful, soulful music. I hope D'angelo is doing well in this nutty world... waiting for the next album. he always serves the best...

Man when this album finally came out,it blew people away...Theres so many reasons "why" this album is classic, but lets just look at the facts, James Poyser, Questlove,Pino Pallidino, J-Dilla, Raphael Saaqiq, Roy Hargrove,Meth & Red,Dj Premier, Angie Stone (writing/background)and the Legendary Russel Elevado recording it all track for track @the infamous Electric Lady...Come on people,

So, we dont hear a solid project from the man in years, ok. The media is plastered with news of drug addiction, rehab, personal issues, and his lable has lost faith in the man, along with countless rumors an unflattering pics on the internet...Now people want to condemn him. SHAME...

First off lets think what R&B looked and sounded like before Voodoo? ABSOLUTE GARBAGE!!! Except for R. Kelly (the king of R&B) Jaheim (thugged out R&B over classic samples) and of course Musiq SoulChild (who at the time was still trying to catch up to the lush harmonies an songwriting of Brown Sugar)...

Devils Pie comes out...Perfect timing on the pulse of what was goin' on in the "hoods" as far the street culture, supported by the Premier production, and Nas and Fat Joe samples for hip hop credibility... not to mention its basically the unofficial Belly theme (in the movie, ending credits and of course soundtrack)...

Then the Untitled video comes out and, and the R&B worlds goes crazy...Major rotation on BET, MTV, Prince gives his blessing of approval (the two collaborate, and D' appears in disguis with Prince and Angie Stone live on the Jay Leno show, playing live keys on "The Work"), and all artist focus on the "the total package" R.Kelly grows braids, and all of sudden everyones' in the gyms, concious of both the audio and visual aspects of being an artist...Come on?

The album is repetitive, thats because it seagues from one song to the next song,one groove to the next, blurring genres from soul,to funk, to straight jams,and the simplistic stripped down, groove of Africa,as always he shows his influences,hip-hop Meth & Red: Left & Right, Spanish Joint: Stevie Wonder, On The Line: Al Greene, Prince: Untitled, and Again Sly: on the brilliant Africa,

In the books this goes down the same road that Erykah Badu will later take on Worlwide Underground, (awesome artist expressions propelled by commercially acceptable and successful singles) cant wait til the new ish comes out to crush all the nay-sayers...

P.S. Them New "Neo-Soul" Cats aint SELLING NO RECORDS, GET REAL...

The CD was in great condition when I received it. It did take a little bit longer than mentioned as far as standard delivery. I've had this CD before so I knew what I was getting and of course I am very pleased with the product.

This is J-RE...I don't need to explain who I am. Read my review on Brown Suga. Anyways, I haven't read the other reviews nor do I care. This album is a Masterpiece. First album was a classic , Second album a masterpiece (and classic). D'angelo took this to another level. Im writing this review 7 years later and this CD still sounds fresh. He took it deeper on this album. More Grit, More Dirt. I felt like on this album D was like "I don't give a F***!" And that's what the fans want to hear. He definately cooked up some stew on this one. D thanks. These other catz out here is whack. Waiting for James River but whatever take your time.

My advice to anyone is to read his insert...and what he is talking about is so true. I feel the same way. YO...I still can't figure out what the HELL he's saying sometimes on some parts of his songs! Even 7 years later, and trust me I study the HELL out of this album! I'll just keep mumbling through the parts

1

Now many may have forgotten D'angelo..and probably have never listened to the brother. I have to say it..D is soul personified. I have ordered this album on the whim because i know D can never disappoint. If you have listened to 'Brown Sugar' then you will know what i mean. The lyrics and rythm are simply gorgeous. I consider Brown Sugar the best album ever.

While he doesn't have a lot of albums out there, what D'Angelo lacks in numbers, he more than makes up for in quality and his body of work is definitely of the best R & B quality you can find whether you are talking about the classics like Marvin Gaye, The Temptations, The Manhattans, Luther Vandross, Barry White or recent cats like Tony, Toni, Tone, New Edition, Jill Scott, Mary J. Blige or Chrisette Michelle.

What makes D'Angelo in the league of these men and women is that they don't have to do a lot. Their music just touches something in the soul. Once, a pastor at a church talked about how people do all these things with their music to get the congregation going when the music alone should stir the show. D'Angelo is one of those people in my view. Don't get me wrong, I love my Beyonce, Ashanti, Janet Jackson and even guys like Omarion or Jodeci from years past but these people I named didn't need to show half their skin (though D'Angelo does that quite a bit) to have a good concert.

As for the release itself, it indeed has his best works. My favorites is a three way between My Lady, Untitled (How Does It Feel) and I Found My Smile Again. Whether you are a fan of this man, of good R & B music or just good music period, this album is for you!

This was a muscial treat! D'Angelo is very sexy.... oh yes, the music PLUS the videos were fantanstic too!

Personally, I think they could have made a way better greatest hits album than this for D'. But if they were to make the perfect D'angelo greatest hits album it would probably have to be 2 discs. But the thing that really makes me happy about this release is that they added six extra songs that were not on his previous two albums, Voodoo, and Brown Sugar. Thats the main reason i bought this album, i wanted some new D'Angelo music to listen to, as alot of people do with his eight year hiatus. Now, the six songs that werent on his previous albums, have been released before, but most of them were on no name sountracks, therefore making the songs pretty much unheard of. But the biggest plus of all you get from this album, is that i believe that the record label put this collection out to kinda re-establish that D'angelo is indeed still making music, hence the title, "The Best So Far...". Which to me means that, give him a year or so and we mite actually have some new D'Angelo matireal on our hands, which is much needed rite now. There are some artists that are trying to fill the gaping hole that is now present with D'Angelo's overly long hiatus, such as Musiq, Dwele, Anthony David, and even Rahsaan Patterson. But the only one of those artists thats truly talented enough to even help the Neo Soul movement is Dwele, (See my Sketches Of A Man review). But even the amazing Dwele is no D'Angelo. So Basically if your reading this review, just know if you buy this album your basically getting all the hit D' songs, and then a couple of extra songs from his first two albums plus six extra bonus songs from other sountracks he contributed to. The first of the extra bunch is "I Found My Smile Again" which is an excellent sweet song that has a very bright feel to it as opposed to some of D's other darker, more voodooish type of work. And then there is the fairly uptempo "Girl You Need A Change of Mind" and the baby maker "Shes Always in My Hair". But honestly, unless your a die hard D'Angelo fan like me lol, you would probably be better off just buying his two albums Brown Sugar and Voodoo... Ok i lied, this album is worth picking up because its nice to have all those extra rare tracks on one cd! D's starting his comeback people look out!



Grade:
B

This is one of the best compilation CD's I have!. Love his flow and his style!. Needs to come out with more hits!. Phenominal!.

Face it, the appeal of TV theme songs is their familiarity. You know every sound in your favorites. You won't find any of that here. Some of these aren't even close to the originals. A lot are performed on cheap, lifeless digital synths. All of them sound like tired run-throughs of the music. There is no apparent interest on the part of the performers, so why should any listener be interested?

The Mission Impossible theme is performed well.
The Fireball theme is actually much improved on this version. I prefer the orchestra and the vocals over the original.

As a musician myself, I know too well that one of the most important ingredients in ANY performance (live or recorded) is passion. The recordings here generally lack the same passion and sheer drama of the originals. Much of the instrumentation has been reduced to a cheezy, thin, plastic synthesized replica. The performances are simply a watered-down lackluster version of the classic originals. If it were not for the sheer volume of tracks compiled here, I would have rated the comp only "one star".

The sound quality for this collection isn't much better than the samples offered by Amazon.

I have watched almost all the shows that are on these 4 cd's. Many were made before I started watching TV. Most I've seen once or twice before.

The set is an amazing bargain and anyone who loves Puccini and knows these artists will buy it while it's still available.

However, I feel compelled to write a brief response to the reviewer who criticized Decca for not having consistent CD data for the various CDs in this set. The record companies do not generate the tags (album name, artist, etc.) that are used by online music databases. Instead, the information is entered by a variety of independent users who employ a variety of standards or conventions when entering information about a CD. Thus, one user may enter the data for the first CD in a set, while another user enters the data for the second CD, and the two users may enter the data using different conventions. The record companies do not and cannot control the way this data is entered, and it's not a fair complaint to criticize them for a lack of standardization. In any case, it's very easy for the user to change these tags within iTunes by simply selecting multiple tracks and then renaming the disc, artist, or any other data field with the user's personal preference.

The major record labels may be guilty of any number of offenses, but this is not one that can be laid at their doorstep. Given the extremely low price of this set, it's even more unfair to complain about something that's so easily modified by the consumer.

Let me say that these Puccini operas are beautifully performed by Renata Tebaldi who I always believed had a beautiful voice with the sole of a true musician. I should always acknowledge that I don;t at all feel that way about Maria Callas who sings flat and sharp and wobbles. Terrible singer and judging from clips I've seen of her stage work, also a melodramatic over-the-top actress. My main criticism of this set (and I have the same criticism for made opera boxed sets, these days) is that it was not designed for easy transfer to I-Tunes and Ipod. Is it really brain surgery to consistently name the disc in any one opera. For instance how able calling them Tosca Disc 1 and Tosca Disc 2, instead of Tosca Disc 1 and Puccini Tosca Disc 2 or some other variation on the title. It makes for grouping them in Playlists on your Ipod difficult especially if you've got other versions of Tosca loaded on you Ipod. All in all though, the recordings hold up well considering they were all recorded about 40 years ago. And you can't beat the price.

Most of us who are of a certain age know these recordings and have lived with them, off and on, for decades.

A few things need to be cleared up, since Amazon hasn't exactly gone out of its' way to be of help: These are the stereo versions of each of the operas, not the earlier mono recordings.

The earliest are the Manon Lescaut from 1954 and the Turandot from a year or so later. They both feature the glorious Renata Tebaldi and Mario Del Monaco, respectively, in their absolute best voices. The too seldom recorded Inge Borkh is heard to thrilling effect as Turandot. The sound on the Manon Lescaut is somewhat superior than that on the Turandot, although both are certainly good enough. Fanciulla and Butterfly are from 1958 and Boheme came along a year later, along with Tosca, featuring the astounding Scarpia of George London, who, just a few years later, would find his voice silenced forever by illness. All were recorded at the Academia di Santa Cecilia, Roma, a favorite venue for Decca and other recording companies at the time.
The final three operas in the set, The Trittico, date from around 1962 and were recorded at the Maggio Musicale, Fiorenze, not, in my opinion, quite as successful a recording location. Also, of all the operas on this set, many of which are what I consider desert island musts, these three show the beginnings of the inevitable wear voices singing this repertoire can experience. Tebaldi is just off that blush of greatness that distinguishes the earlier works. Del Monaco is very powerful in the Tabarro, which is not foreign to the role. But it sounds like, by this time, he was losing the ability to scale down his voice above the staff. On the other hand, the legendary Boheme and Butterfly catch the young Carlo Bergonzi in magnificent form. If there has ever been a better recorded Butterfly Act 1 duet (and I am even including the De Los Angeles/Bjoerling effort many of us love so much), I have not heard it.

But these are, when taken as a whole, a remarkable set of operatic recordings from what must surely be thought of now as a golden age. There isn't a clinker in the lot, and several of them, Boheme and Butterfly, for example, have seldom been equaled, and never, I would suggest, surpassed.

There are other great singers sprinkled amongst the various casts: Cornell MacNeil, Robert Merrill, Giorgio Tozzi, Giulietta Simionato,Fernando Corena, Fiorenza Cossotto, and others. Of course, these recordings point out the glaring weaknesses of the contract system of the day. Many greats were excluded. No Bjoerling, of course. He was under contract to other labels. None of the other wonderful singers who were around at the time. Decca had its' coterie of exclusive artists, right down to the compremario singers (Piero di Palma must have made a fortune from Decca)and it used them over and over. A recording stock company, if you will.

And so it was, back in the day when recording companies felt their was some worth in recording great singers in their greatest roles with as much love and care as possible.

If it hadn't already been used, I would be tempted to say this set should actually be called "Gone With The Wind".

This is the quality collection that has been frustratingly absent from CD until now. There's nothing wrong with the collections featuring Carol Farley and Susan Graham; they each bring their own styles and interpretations to Rorem's music, and Farley is even accompanied by him (as is everyone on this disc).

But those later recordings feature a contemporaniety that is miles away from how the songs were originally conceived. This recording dates from 1964, and the clarity and enunciation of the singers is a revelation! Every note is clear, as is every single word. Rorem's unstudied playing is a simple, strong and pure counterpart (as his arrangements often carry on counter-melodies to the vocal lines), a series of frames for each of his distinctive and rather declarative singers.

We might prefer a more nuanced, more emotive and individualistic style today, and his songs sound fine in that mode. But they were initially conceived for this very simple and uber-competent manner, and unadorned as they are here the words of the poets that Rorem has set shine in vital clarity.

The poets include Roethke, Hopkins, Whitman, Stein, Bishop and Browning, and the songs range from less than a minute to four minutes in length. Especially memorable are the intensity of Phyllis Curtin's flexible soprano, the warm baritone of Donald Graham, while Charles Bressler verges on tenor, and Regina Safferty has a more alto range that works well for the speak-singing Rorem sometimes calls for.

These are his ideal collaborators, and this album is a definitive example of American art song. Rorem has discussed in his diaries the rise of the Beatles, and written of something approaching envy and competition with their popular success as songwriters. One can see why, because on one level (not the popular one) they were competitors; Rorem was just as modern, just as responsive to both musical history and the present. But Rorem's mode is the classical world, an alternative to rock and roll in every way. Rorem combines the French modernism of the Debussy school with an awareness of Satie's flexible non-standard structures, and the rigor of German atonal Expressionism.

The genre he writes in was once the popular mode, but that battle was lost around the time he was born. He could not have admitted those other (country and blues) sensibilities into his work and preserved the unique (if rarified) distinction he has attained.

I owned this recording as an LP when I was studying music at Performing Arts High School in New York. It was one of the first albums of Rorem's vocal works; it's been a long time coming to compact disc, but well worth the wait. During the past couple of decades I have listened to the recorded efforts of Susan Graham and Carole Farley performing many of the same pieces; while they were skilful and professional, they still qualified as efforts only. Finally we have the real deal available once again. There will never be performances in this repertoire as natural, passionate and shimmering as the ones by Phyllis Curtin, Donald Gramm, Gianna d'Angelo, Regina Sarfaty and Charles Bressler; Rorem himself is at the piano. This is 20th century music at its finest, both in composition and execution. Grab it before it disappears again!!

Wow! What a voice! This 2 CD set features 40 of Carlo Bergonzi's works. It represents a remarkable portrait of his body of work. The "liner notes" observe that he had a reputation "as a singer of rare refinement, exemplary style, and impeccable taste. . . ."

Some examples of his work:

"Che gelida manina": This exquisite work from Puccini's "La Boheme" is superbly sung. There is, to be sure, an occasional affectation, but his rich, smooth voice renders this a trifling concern. Listen to the power and richness of his voice on such words as "millionaria," "forziere," and "la speranza" (hope I came close to spelling the words right!). What a lustrous voice. . . .

"O soave fanciulla": This duet with Renata Tebaldi (talk about a "dream duo") is exquisite. Bergonzi's rendition of the powerful opening produces goose bumps; when Tebaldi begins singing, the good bump production increases further. The twin high notes at the close are done well. An excellent version. . . .

"Questa o quella": The wretched Duke of Mantua is well portrayed by Bergonzi. His singing of this aria captures the miserable spirit of the Duke. His voice adopts the "devil may care" attitude of the character.

"La donna e mobile": The follow up to "Questa o quella" finds Bergonzi again in good voice. His voice moves easily from register to register. His version of this well known work compares well with the best tenors of all time. The final high note sounds rich indeed.

"Bella figlia dell'amore": One of the great ensemble pieces in all of opera. And what a cast! Bergonzi; Renata Scotto; the legendary Dietrich Fischer-Dieskau; Fiorenza Cossotto. Their voices intertwine wonderfully.

"E lucevan le stelle": One of the two twin dramatic tenor arias from "Tosca." His tenor voice fits this work nicely, and Bergonzi essays the aria well. The final "la vita" is powerful.

"Ah, si ben mio": From "Il Trovatore". . . . Bergonzi sings this well. The "shakes" in this work? He actually appears to try to trill (maybe not so well, but I admire the effort)! A for effort. Overall, dramatically rendered.

"Di quella pira": His stentorian voice does justice to this powerful and demanding aria. He sounds great as he moves from middle to higher register. His voice is a powerful instrument. The final high note rings out over the ensemble and orchestra.

So, what to make of Carlo Bergonzi? He stands as one of the top tenors of the later part of the 20th century. Wonder what the best tenors sound like? Take a listen to Bergonzi!

No need to add to what the other reviewers say about this five-star collection. I am writing to alert readers that on April 10, 2007 Decca released the complete recording of Un Ballo in Maschera with Bergonzi, Nilsson, Stahlman, Simionato, and MacNeil, conducted by Solti. To read my detailed review of that release, bring the product up on Amazon.

I had to write the same thing for the Sony Classical recording of a Bergonzi recital of Italian songs--this is simply one of the most passionate and intelligent singers I have ever heard, and he sounds as good or better now than when I first played one of his records 25 years ago. Anyone who has the slightest shred of interest in the operatic voice should own this collection from one of the truest and most passionate tenors in recorded history.

I first came to appreciate the artistry that is Carlo Bergonzi on his magnificnt recording of Butterly with Renata Scotto. Later I got the privelege of hearing him several times in person. He was among the most intelligent of tenors. He knew his voice well and how to use that voice to convey the drama and music in a wonderful combination.

If you appreciate Bergozni, this recording will remind you why. If you are not familiar with "The Tenor's Tenor", you will find out why he has that title. However, in addition to the magnificent Bergonzi, you also get wonderful performances from partners such as Tebaldi, Birgit Nilsson, Sutherland, Scotto, Fischer-Dieskau and Cossotto.

I can only find fault with a couple of the selections. First and foremost is that Bergonzi should never have even attempted the Dio Mi Potevi from Otello. That is the only performance that is in anyway subpar. It is unlike any other performance on this recording (or any other time I heard Bergonzi) -- forced. I would have far preferred a version of Una Furtiva Lagrima, which Bergonzi could sing the sock off of. Or given the presence of E Lucevan Stelle, couldn't they have included Recondita Armonia instead? The only other very minor complaint is the pairing with Nilsson . The duet is fine until the very end. On the final high C you can't even hear Bergonzi due to the sheer size of Nilsson's voice. The music and performance of both are wonderful, but a perfect Alfredo and perfect Brunnhilde do not necessarily mesh. But that is a minor quibble. Aside from a disappearing Carlo, it is quite a wonderful performance.

On the plus side a few things particularly stand out. To me, this is simply the best recording ever of Cielo e Mar. The sections with Tebaldi (Boheme and Butterfly and Aida in particuar) are fabulous. Other standouts include the quartet from Rigoletto with Scotto, Cossotto and Fischer-Dieskau and the Cavelleria duet with Cossotto.

All in all, this is, with a few minor exceptions, a magnificent collection of the best of Carlo Bergonzi.

I have seen most of the great tenors of the past 50 years at the Met: Corelli, Tucker, Vickers, Gedda, Pavarotti, Domingo, etc.. For me, Bergonzi over all, was the superior Italian Opera tenor. His legato, agility, breath control, tasteful musicianship, diction, was superior to most of the great tenors. He was outstanding as Nemorino and Rhadames; Edgardo and Alvaro etc.. This CD shows him at his very best, which is a joy to hear. This CD is a must vocal lesson for any aspiring young tenor, as Carlo Bergonzi is a master singer.

This may not be easy to get in the USA for very long.....don't miss it.

This set gives you the opportunity to follow the entire recording career of one of the greatest singers in Operatic History. Enrico Caruso was the first superstar of the 20th century -- and this without the benefit of mass media. His person and his records were his greatest publicity.

The set begins with Caruso's Italian made recordings. They show a great raw talent. The artistry is lacking with many sobs, over acting and mistaken cues. The 1902 and 1903 clearly show a tenor with a lot to learn. But learn it he did. His 1904 sessions show a mature artist on par with any heard since. His voice matures before your very ears and by 1910, you wonder if you will ever listen to any other tenor the same way again.

The engineering used for this set is wonderful. There is no attempt at all to use the soundstream process of computer sound enhancement as heard on the RCA issued sets. These are near perfect mint conditioned discs copied by engineer extraordinary Ward Marston. They sound like natural 78s, they way Caruso himself must have heard the playbacks at the (RCA) Victor studios.

Also included are outtakes and extra takes. There is a "Celeste Aida" from 1908, complete with a broken high note, previously released by RCA in a 1973 set commemorating the tenor's centenary birthday. But there are new treasures here as well, including extra takes of two of Caruso's greatest recordings, the Italian song "L'Alba separa dalla l'uce ombra" and an aria from Rubinestine's Nerone. Listening to them, one wonders what Caruso could have possible thought inadquate in those long lost altenative takes.

Finally, there is the simple joy of hearing so many things so well sung. Caruso was the pinnacle of the tenor art. He can be compared to no other single tenor since ... he has the brilliant ring of Bjorling, the passion of Gigli, the beauty of Gedda, the youthful enthusiasm of Lanza, the warm tonal quality of Tucker, the pure strength of Corelli, the charasma of Pavarotti and the artestry of Domingo.

Whether you are an opera fan, a voice fan or just a music lover. This set is worth every penny.

Todd Kosovich