Monica

This rarely-performed Puccini gem has been beautifully captured on this recording. Ms. Gheorghiu's voice is amazing. She was born to sing this role. The supporting cast is equally outstanding. Supported by the London Symphony Orchestra, it doesn't get any better than this. The engineering is outstanding. If you're a fan of Puccini, this recording is a must have for your collection. Superb!

This is in my opinion not the best opera Puccini wrote but its not att all bad. Its no Tosca, La Boheme, Turandot etc but it doesnt matter because it is a quite good one AND most importent is that performance is absolutly fantastic on this disc.

Pappano conducts FANTASTIC, GREAT AND Alagna AND Gheorghiu sings ABSOLUTLY FANTASTIC too and so do rest of the cast.

I had a lot of opera records and find a better opera record, talking about singing and conducting (and sound of this excellent record,) you need to look for Björlings best records and/or some of Pavarottis and Domingos best.

Some people dont like Alagna/Gheorghiu but in this case you should give this couple a fair chance because they sing wonderful on this disc.

Mayby everything was right, magic on this session.. their voices is probably at their peak level here? and mayby Pappano did something extra good too in his will and support.

Anyway... fact is that this performance is beutiful and this is NOT a matter of taste because ANYONE with music ear could understand that.

Buy it because of its fantastic performance. If you dont do so you def. miss something really good.

I can dispense with relating the story of La Rondine as that has been admirably done by earlier reviews. But it is difficult for me to account for the harsh criticism offered by some reviews of this set. When this recording of La Rondine appeared in 1997, it was warmly greeting by critics and was (and is still) considered to be the best of the available recordings. The opera was an attempt to emulate the operettas of Lehar and Johann Strauss, and with La Traviata holding particular influence. There was a multitude of influences on La Rondine, even to making it into a comic opera along the lines of Rosenkavalier. However, it more closely resembles Traviata in its story and musical language.

It is the singing by Angela Gheorghiu (as Magda) and Roberto Alagna (as Ruggero) that make this an idea recording. The way they approach and sing their parts convey what Puccini had in mind: Magda's role more complex and filled with emotional expression, and Ruggero an ardent young student. I don't think the singing could be better expressed than on this recording. Antonio Pappano brings out subtle shadings in the score and the recording is bright and clear. The earlier recording by Maazel has its virtues but the better characteriztion of these roles to the Pappano recording.

The fillers are of interest as well. Morire? (a first version of a song Puccini included in the Vienna performances of La Rondine) is superbly sung by Alagna with Pappano at the piano. The excerpts from La Villi, Puccini's first opera, are tantalizing with Roberto Alagna, once again, giving a great account of his abilities as Roberto. Listening to La Villi makes one wish that Pappano would record this work. I can enthusiastically recommend this recording to anyone.

The two musically and vocally sumptuous CDs under review include the enchanting La Rondine, a mature Puccini' score, plus highlights of the tragic opera Le Villi, the composer's first opera. The recording offers a glorious trail of musical discovery to the listener because performance and recording of both operas are rare. Any list of lyrical opera masterpieces does not include either of them. How wrong can people be? It is the first time I heard both operas.

Puccini's publisher Tito Ricordi thought very little of La Rondine and dismissed it as bad Lehar. This opinion is sheer nonsense. La Rondine is a delightful, inspired musical composition in the typical expansive lyricism of the great master. The score evokes the artistic sense, delicate tastes, passionate refinements and French boudoirs of La Belle Époque in Europe (1900-1914). Make no mistakes. The unsurpassable lyrical style of Puccini is there: Heartfelt recitatives, tender phrases with bold colours, ample extensions, top notes of volume, power and timbre. The music is reminiscent of the effusive delicacy mixed with passion of Madama Butterfly.

Now to the plot concisely. Ruggero meets the courtesan Magda at a Parisian ball. Thinking that love has blossomed, they flee to the coast away from city vicissitudes. Ruggero utters "Dimmi che vuoi seguirmi alla mia casa" offering his beloved a life of family affection. Magda is an art- loving, modern charm woman and cannot renounce to her ambiguous circles. They part.

Roberto Alagna as Ruggero sings warm, lirico spinto notes without a French nasal but more with a Franco-Italian pulpy sound. He cannot claim entry yet into the "espada", a group of legendary tenors including Gillion, Escalais, Fleta, Lazaro and Lauri-Volpi. They emitted steel bladed top notes. Alagna is very convincing in the role, which portrays the naïve and immature young man from the provinces. Angela Gheorghiu as Magda sings with pure and soaring notes. She is beautiful, has long black hair and a ravishing scenic personality. She is very convincing as the charming courtesan.

The highlights of Le Villi are part of the second CD and a magnificent bonus. The prelude and two symphonic intermezzi are included. They are admirable pieces of orchestral invention and workmanship. In the first intermezzo, the Abandonment, the orchestra begins quietly, female voices join in, surges to passionate chords and dies away with the chorus' distant echo. In the second, the Witches' Sabbath, the orchestra pours forth an overflowing rush of sounds and extremely talented polyphonic mixtures with great clarity, as in all Puccini's music. "Torna ai felici di' dolente il mio pensier" the protagonist Roberto laments in sorrow on his return home. He had left, fallen for an adventuress and forgotten Anna, his first love. The sweet Anna waited in vain and died heartbroken at the coming of winter. Anna' spirit appears with those of other deserted maidens, Le Villi, and in revenge draws him to a fatal dance.

Alagna sings the aria with surprisingly passionate accents as the masochistic self-tormented Roberto (Le Villi). Alagna sounds distinctly and superbly Puccinian. The conductor Pappano's tempi are magnificent and throw both operas under a new light of incredible musical beauty (listen to the intermezzo, the Abandonment, of le Villi). More stupefying is his sense of opera as musical theatre. The expressive strength, the space he concedes to the singers, the sense of arioso and a sound explosion without limits fly to the listener's ears and heart. The CD sound is resounding and faultless.

The beautiful booklet contains photos of the principal singers, secondary roles, conductor and artistic scenes. The critical review and synopsis are in English. The libretto is in both English and Italian. The CDs track numbers are usefully bolded at the margins of the libretto. BUY AND LISTEN TO LA RONDINE AND LE VILLI ON THESE CDs. YOU WILL GET A STUPENDOUS, NOVEL EXPERIENCE AND DISCOVER MORE OF PUCCINI!

I am in deep shock at some of the poor reviews regarding this magnificent recording of La Rondine. On my stereo the voices of Alagna and Gheorghiu sound absolutely divine. This recording is anything but boring--perhaps some of the other reviewers need to look into replacing their stereo systems with ones that can capture fully the ravishing voices of Alagna and Gheorghiu. While La Rondine is not one of my favorite operas, this recording is nonetheless one of the finest and most beautiful that I own. Alagna and his wife may be controversial and not well liked, yet any unbiased reviewer cannot fail to appreciate the fine singing on this CD. If you are a fan of Puccini, don't hesitate to purchase this CD. If you are unfamiliar with this opera, this is the version you want to have, as it is in a class of its own. Put aside any negative feelings towards Alagna and Gheorghiu and just listen to the singing, which is certain to win you over. Even my non-operatic friends have commented favorably on this CD upon hearing it, and that should speak volumes to anyone interested in this edition.

I don't remember my parents buying me this cassette... i was homeschooled and we owned every single one of the tapes in this collection. my mother and i knew the words to the songs and all the dialogue, and we still reference them in conversation lol. i do remember singing along with all the songs when i was little and now, I know the melody to every single aria in the opera and am trying very hard to learn the german words so i can sing along with the real thing. :)
the story is so funny, and they do a wonderful job of translating the words so that they make sense to the children.

man... i wanna be the Queen of the Night... she's kickass haha

and yes, I really did just buy the mp3 of this on iTunes. and not for the boys i nanny, either... for me!

I'm a general music teacher for grades K-2. I was a vocal major in college, and I am an opera singer. I really wanted to do an introduction to opera with my 2nd graders, and I think this CD is a great tool to do just that. The Magic Flute is one of my favorite operas, and it's a perfect story for kids. The child narrator really makes the opera more approachable for children, and the performers have very clear, expressive voices, so the story is easy to follow.

Outstanding way to introduce children to the classics in opera. Seems certain that this exposure will make them love music and expand their horizons. Album is expertly professional.

I have listen to this CD in the car during trips for the last 10 years, when my kids were 4,6 and 7. They all adore it! It is the best way to get kids into classical music and onto the magic of Mozart. Highly reccomended!

...so don't put it down because the voices annoyed you but not your child. Being 19, I can still remember how I felt about this tape, so I'd like to think this review is somewhat more useful.

It is, in my opinion, the perfect introduction to opera. Growing up, I would listen to this whenever I was poorly and off school. I found the storyline exciting, sometimes scary, romantic, and yes the little girl annoyed me the older I got, but nevertheless, I used to imagine that I was her.

In response to the reviewer who said that this does not give you an appreciation of Mozart, I disagree entirely. It is true, Beethoven Lives Upstairs is also wonderful, and probably is a big influence on why he is one of my favourite composers, but thanks to Mozart's Magic Fantasy I am now enthralled by the actual opera, and have it as one of the most listened to playlists on my computer.

The most hum-able melodies and the scariest and jolliest tunes from his opera are on here, and it is the equivalent of an abridged book.

I would also highly recommend Beethoven Lives Upstairs, Mr Bach Comes to Call, and Peter and The Wolf - A Young Person's Guide To The Orchestra.

this album is nice my favorite track are no. 9,11,12,13,14,and 16 i love those songs they are the best monica did her thing on this album it is a good one

I love this album, i think monica record this album when she was only 14 years old. This is clealy her best album, What is so shocking about this her voice sound really mature and so are the songs. The stand out tracks are Miss Thang, Don't Take It Personal(Just One Of Those Days),With You,Now I'm Gone. All the songs are good from start to finnish, I listen to the album without skipping a song.

Monica's debut came out after Brandy & Aaliyah in 1995 and I still remember the excitement I felt about the introduction of these 3 teen divas at that time. Brandy was "the sweet one" with the great voice; Aaliyah was "the mysterious one" with the powerful "it factor" and Monica was "the mature one" with the most powerful voice I'd heard from a teenager since Stacy Lattisaw. I remember being really surprised to learn that she was only 14 years old! Monica's whole demeanor was like that of a 25 year old, she was poised, calm & articulate during interviews and I was just blown away by her talent.

This debut still stands the test of time and I wore it out back in the day and still pull it out from time to time to relive my own life experiences through the songs.

My favorite tracks are to this day: LET'S STRAIGHTEN IT OUT (a fun duet with Usher); DON'T TAKE IT PERSONAL; BEFORE YOU WALK OUT OF MY LIFE; WHY I LOVE YOU SO MUCH, LIKE THIS & LIKE THAT and a very good remake of the SOS BAND'S classic, TELL ME IF YOU STILL CARE.

If you never got to experience Monica's debut, do yourself a favor and pick it up. The songs are great and don't sound dated and the album as a whole is a good representation of early '90s r&b. (It's also fun to contrast & compare the teen divas' debut albums.)

Monica's maiden voyage at a very young age. Nice CD with a couple of remakes. A good listen.

I purchased this album and brandy's self-titled debut around the same time and was playing them all the time. While I prefer brandy overall, this album was pretty good. I love monica's beautiful voice and it fit really well with the r&b tunes on here, which contained splashes of new jack swing, hip hop and funk. Before You Walk Out Of My Life and Why I Love You So Much were singles and among some of her best ones. Dont Take It Personal and Like This & Like That were big r&b hits in 1995 and were uptempo and radio friendly. A song that stood out to me was Skate, which would have made her an even bigger star, it's a feel-good dance/disco song for the dancefloor. Another highlight is tell me if you still care, which is a remake of the SOS Band hit, and it was remade way better than when janet jackson and mariah carey sampled it, I'd take monica's remake over those other two. The remaining is mostly ballads and they totally match her voice and are melodic & smooth like butter. R&B teen music ruled in the mid 90's, but now girls are all about being slutty and trying to have sex appeal instead of letting the music speak for itself the way these young stars did back in the 90's. At the time of this album, she did several other songs that are worth checking out: a song for the nutty professor soundtrack, and a beautiful ballad, For You I Will for the Space Jam soundtrack. When I first heard the latter, I thought it was a new whitney houston song and was pleasantly surprised when I learned that it was Monica. Also check out Boy Is Mine, she shows a lot of maturity on that album, but it's more pop than r&b like this debut.

I never had much interest in Messiah but I had long known about this recording. A few years ago I heard a CBC radio feature on Jon Vickers where they played Every Valley. It was one of those rare "What is THAT?" moments that I have had all to rarely in years of playing and listening to music. Finally I bought the recording and listen to it around Christmas every year, and love it more every time.

While I appreciate the scholarly concepts behind period performance, I often find it boring in practice. Small orchestra, small choir? What's the point? Give me big, bold and raucous. If you want authentic, hire a bunch of musicians who can't play in tune and hire an unheated hall. I'll take Beecham, the reorchestration, the opera singers and all the inauthenticity one can muster if it produces music-making like this. Strongly recommended.

... and there will be a winter after the Presidential election in America, whoever wins, with the usual need to play the Messiah when Uncle Harald and Aunt Lily come to visit, if only to preclude conversation, so...

Let's do a little round-robin review of Messiah performances, which will be much more fun than exchanging barbs and diatribes. In the comment thread to follow, tell me your current favorite and least favorite Messiah recordings, and/or tell me what you think makes a good performance of this so over-performed masterpiece.

I chose this ancient performance, which I have on vinyl, as a starting place because it's so very awful that I can't imagine not launching the discussion from a consensus.
What's so bad about it?
*The orchestra is badly out of tune, at least when i can discern tuning amidst all the blare and ruckus.
*The chorus is precisely what George Orwell meant when he spoke of Handel's "big bow-wow." It's thick in timbre and unwieldy in phrasing, and it just plain doesn't make an appealing noise.
*The soloists can't keep up with the baroque sixteenth notes, and each of them has her/his own noxious vibrato.
*The tempi are absurdly slow and turgid.
*The recording quality makes the music sound like an old Studebaker car radio. even on good speakers.

I have six other performances in my collection, some old and some new. By conductor: Solti, Hogwood, Pinnock, McCreesh, Harnoncourt, and Christie. Make a really good case for any other and I'll order it in time for Uncle Harald.

This is music from the angels! Perfect, perfect, perfect is all I can say - you won't be disappointed with this CD. Great to listen to all year, but especially at Christmas.

While I am not by any means an original instrument/performance purist, even I find myself balking at the leisurely swagger of so many of the tempi adopted here (although Sir Thomas scampers through "For we, like sheep" as if he cannot wait to be rid of the embarrassment of it) and the rather disconcerting woodwind twiddles, flutey noodlings, lush horns and timpani bashings with which the Goossens orchestration (or was it more the work of Beecham himself?) graces us - yet I will readily admit that I really enjoy this rendering of Handel's inexhaustible masterpiece, done con amore as only Beecham could do it. The slow tempi certainly allow a clear articulation and a grandeur of utterance which are not unbecoming to such theologically elevated music.

The soloists are very fine, especially the men; Vickers obviously has a heroic tenor very different from the rather hooty, throaty tenorino so often wheeled out these days for this music (I mention no British tenors whose weedy sound is so inexplicably prized...) and he articulates the recitative with real depth of feeling. Tozzi, likewise, is a tower of strength - you can just luxuriate in the smooth treacle of that bass. The women are stalwarts of that era; fine artists both.

It's not the only "Messiah" you will want to hear; there is room for a less reverential, more animated and generally more lightly sprung interpretation but in many ways it brings you closer to the emotional heart of this music than many an underpowered, chilly and spare "original instruments" version. (Actually, Beecham's orchestra and choir are not that big compared with the Victorian blockbuster style which preceded it; it's just the ponderous tempi and extra orchestration which create an impression of additional weight.)

So buy this - it's very reasonably priced and beautifully recorded for its 1959 provenance - and enjoy it for what it is: Beecham's tribute to a master composer.

If you want a Messiah as big as the planet, but with style, get this famous Beecham version done with romantic ornamentations. It's awesome!

This is an excellent CD to introduce children to some of the more familiar operas. I would highly recommend this CD for children and also for adults who want to become familiar with opera.

This CD is an excellent compilation of opera for children and adults alike. The operas that are represented on this disc are: Carmen, Il Barbiere di Siviglia, Faust, Il Trovatore, Madama Butterfly, Die Walkure, Les Contes d'Hoffmann, Aida, Die Zauberflote, and Hansel und Gretel. People love the Children's March, as well as the Toreador Chorus, from the opera Carmen. The well known Toreador Song is performed on this CD by great bass- baritone Jose van Dam. Children who watch Bugs Bunny will recognize "Largo al factotum" from Il Barbiere di Siviglia. Sherrill Milnes performs the role of Figaro expertly, and his falsetto is evident in Figaro's famous patter aria. Great choruses, like the Soldier's Chorus from Faust, the Anvil Chorus from Il Trovatore, the Triumphal Chorus from Aida, and the Humming Chorus from Madama Butterfly make appearences on this CD. The Doll Song from Les Contes d'Hoffmann is performed by soprano Joan Sutherland. She uses her voice to rise up and down, like a mechanical doll. My favorite German baritone, Hermann prey, performs Papageno's entrance aria from Die Zauberflote, as well was the duet with Papagena. Choruses from Hansel und Gretel round the CD.

My six year-old son enjoyed hearing this CD. We like to sing together, so we found many of the pieces quite alot. But to be honest, when we discovered the more recently released CD, The Classical Child AT the Opera, he went wild because all the pieces have been translateded into English, so it's much more enjoyable for us to sing along. So I would recommend it, but check out the other one as well -- your kids will be glad you did. All the best, Steven

I bought this CD for my then 3 year old son. He loved it then because it was the "Bugs Bunny" music he was familiar with from the cartoons. He listened to it for awhile then we put it away. After he turned 4, he said to me one day -- let's listen to opera, and now we listen to this CD every day. This music gets his blood going; he struts around his room when he listens to this. And, he is in every respect a typical boy who likes Pokemon and the Back Street Boys. So, I consider this CD successful in introducing opera to a youngster.

Pinnock and the English Concert manage to imbue these popular pieces with both originality and good taste on period instruments. Other ensembles might throw all caution to the wind in striving for a sort of punk Baroque, still others might strip them of excitement and make them appropriate dinner music, but Pinnock and company take a just-the-other-side-of-moderate approach which is both ingratiating and mostly enlivening.

I had once been put off by extended listening to the often strident tones of the period instruments here, seemingly exacerbated by the early digital recording (1982). However, a slight cut in the upper-treble and slight boost in the mid and lower-bass seems to have alleviated that problem.

If you like baroque music. If you like (or love) Bach, then seek no further! Trevor Pinnock is your man! It's difficult to believe, I know, but every single recording the man has made (at least, as far as I can see) is superb or excellent or at least very good. So, if these classics are what you're after, this classic recording of Bach's Orchestral Suites and Brandenburgs is the one to have. Excellent sound, packaging, notes, photos. Get it!

I first heard this recording when I got it out of the library and found it so incredible that I had to buy it for myself. The sound is warm, not tinny like the Academy of St. Martin in the Fields (the other recording I have, which I've never been terribly fond of), and very expressive. I cannot add any technical comments to the other reviews already written, but I can say that I agree that Trevor Pinnock and Simon Standage are a Baroque musical force to be reckoned with.

For me the only lacks in here are just for personal tastes: I find the fifth and sixth concertos a bit boring. On the other hand I've got already six different versions of these Brandenburg and this is which I like the most. The sound is (IMPRESSIVE) crystal clear and is played not only flawless, but with such devotion and passion that I almost fell on my knees the first time I listened to it.
I also recomend the version of Reinhard Goebel guiding the Música Antiqua Köln: it's awsome with its fabolous recreation of the baroque sounds.
If you like Bach and if you had the I Musici version of these Concertos, throw them away and get this Pinnock's: you won't regret a bit and you will be skyrocketed to Heaven.

These recordings are excellent. Pinnock's Brandenburg concertos remain the standard for period instruments, offering exceptional musicianship and an authentic rendition. The Overtures are also great, although I greatly prefer the readings of Reinhard Goebel and Musica Antiqua Koln to these. Still, as a low-priced compilation of Bach's most popular orchestral works, this is an excellent set, and you could do much worse. Those who are new to classical music will find this set to be a great starting point.
In spite of the fact that the Brandeburg concertos were recorded using early digital technology, the intimate setting of these small ensembles neutralizes many of the problems of tinny, hollow sound that plagued the digital format in its early years. As for the Orchestral Suites, these were recorded using analog technology and sound fantastic.
These recordings are integral for those who prefer period instrument performances, and this is one of the great pioneering period instrument ensembles out there. Recommended.

Ni que decir; Joanine hace toda una verdadera creación inigualable de la Marie!!; como si fuera escrita para ella; que manera de cantar por Dios; en 1968 en la cúspide de los años "vocalmente angeliacal"; rol trágico-cómico de "happy end" que marca el antes y depués de Joan Sutherland; que decir del magistral binomio Sutherland-Pavarotti, el más perfecto y eficaz en la historia de la ópera!; Joanine muestra una caraterización simplemente "perfecta" vocal e histriónicamente; su voz en la mejor forma, bien temperada, sin excesos, de forma, cuerpo y color perfectos; el maravilloso Tonio de Pavarotti, con una magna interpretación sin mancha y elocuente, con una voz técnicamente corregida 2 años atrás por la propia Joan, bien impostada, bien engolada, con dominio del fiatto y del registro sobreagudo, con un legato "Sutherliano"; la comicidad de Sinclair y Malas cual ninguna, complementos sin igual, cómicos a rabiar, pero vocalmente impecables, con el dominio del reino de los "graves"; momentos cúlmen desde la entrada de Marie, el hermosísimo dúo de Tonio y Marie, la espléndida aria y cabaletta de la despedida de Marie al final del primer acto, la incólume y extraordinaria escena de la clase de canto y buenos modales en un terzetone Malas, Sinclair y Sutherland por demás único, etc, etc; en fin; una obra que es oro molido, necesaria y obligada para cualquier amante de la lírica mundial; ¡de haber podido verlos en vivo!

In one recent review here by 'Kid' - 'Joan Sutherland sings the role with more beauty of tone in abundance, but to the death of any real dramatic commitment.'
This is a complete version of La Fille du Regiment. Arias of the same opera performed on other occasions by Sutherland and Pavarotti are available in other CDs - in recital albums.
In an even earlier recording (by London also), Pavarotti turned up a even more spectacular 'Ah Mes', and in her own box set, 'The Art of Joan Sutherland', Sutherland did a even better Marie, though in only one aria.
I share Kid's view that the drama here is less vividly captured than in, say, the DVD version of Ciofi and Florez (2005).
Somehow, Sutherland, and also Te Kanawa and Mattila, and more recently Netrebko, are those 'clear' voices that tend rather easily to lapse into uncommitted performances(I think I will be hacked by their respective fans for this comment, but it is my gut feeling nonetheless).
Strangely so, since all of them (or nearly all) are considered to be capable of producing great dramatic effects by their voices (sometimes they are termed 'big-voiced'). I think it is firstly a matter of emotional commitment, and secondly the ability to shade one's voice to bring out different moods in a single song or aria. Sutherland, in her early career, possessed one of the most envied soprano voices. It was so beautiful that listening to it per se will make you want to cry. It was girlish, it was silvery, it was nimble, it was expressive...Not so after she had her nasal operation. Thereafter, her singing was largely redeemed by her outstanding technique, but that great voice was simply no longer there.
Marie calls for a more girlish voice. The Sutherland here sings in full glory, but without that vital girlishness. Tonio here sounds some what less 'energetic' in this 1968 Kingway Hall recording than the earlier one made in 1967. Had Pavarotti been singing this Tonio too much during the 12 months previous to this recording?
The set contains a couple of valuable historic photos of Pav without a beard. Quite a handsome figure, by all standards!

With the lighthearted music of Donizetti's LA FILLE DU REGIMENT, you'd hardly know that it takes place in the midst of a war and tells the story of a young woman abandoned at birth and left to the benevolence of an army regiment, all the while being in close proximity to the mother who abandoned her. This opera if anything should be a tragedy, or at least a drama. Instead we have one of opera's happiest endings and an operas that is just plain magical to hear. It certainly contains some of Donizetti's best music, or at least some of his most enjoyable melodies.

Chances are LA FILLE DU REGIMENT would be performed on stage if there were casts capable of the arduous score. This set has what many consider the finest cast assembled for the opera. The lead tenor and soprano roles certainly require agile voices able to reach some high notes. The tenor aria Tonio's "Ah Mes Amis, Quel Jor de Fete" has to be one of operas most taxing works and very few perform the work as written. The soprano role of Marie is just as challenging. This set has a pair that could arguably be the best performers who have ever attempted the roles of Tonio and Marie: Luciano Pavarotti and Joan Sutherland. This recording, and early one for Pavarotti, shows us just how nimble his voice was in the early years of his career. It's a role he didn't perform when his voice got a bit darker, but when he had the ability, his interpretation of Tonio was magical. Sutherland's Marie is likewise one of her best roles and she's more than at home. Monica Sinclair performs the role of the Marquise. While I would not consider Sinclair's performance exquisite, her voice matches the role. As is so often the case in Sutherland/Pavarotti recordings, conductor Richard Bonynge pulls the various cast members, chorus, and orchestra together for an overall performance that is unsurpassed.

My guess is that anyone unfamiliar with this opera who purchases this recording will fall in love with it. I think it happens to anyone who hears this opera beginning with its sparkling overture to all the way to its ending. Fans of Sutherland, Pavarotti, or both will be reminded of why they love these performers so. French opera lovers will enjoy it because even though it's by an Italian composer, it was written for a French audience and the libretto was originally French, but it has all that makes Italian Bel canto opera such an experience. In short, it's an opera that has been loved by many for good reason and will continue to be a favorite for years to come.

I finally got around to buying this SUPERB recording a few weeks ago, and it has not been far from my CD player ever since. This has to be one of the most utterly delightful operas ever written. Sutherland is in top form here, singing a vivacious and lively Marie. In this recording, we get the chance to listen to her effortlessly take off in flights of coloratura and belt out full throated C's and D's. We also get to hear that legendary Sutherland trill several times as well. All in all, a THOROUGHLY enjoyable Marie. Pavarotti, near the beginning of his career, is nothing less than astounding. He turns every musical phrase wonderfully, and gets to show off those formidable top notes of his. By the time he gets through with his 9 high C's, I feel like standing up and applauding. Sinclair handles the role of the blue-blooded Marquise very well. The role of the marquise doesn't go too high, but it does go quite low (to a low E-flat I believe). Malas is very believable as Sulpice, portraying a rough, rugged, "salty" old army captain. Orhcestrally, the recording is flawless (at least in my opinion). Richard Bonynge's conducting, as most always, is beyond reproach. This recording always makes me smile every time I listen to it.

This is a classic performance. Sutherland is at the top of her form. A very young Pavarotti shows why he was considerd the world's greatest tenor. A must have.

Christmas music in a magnificent setting. A beautiful way to help celebrate the Christmas Holiday

You won't be disappointed by this CD from Andre Rieu. He brings new life to best-loved Christmas carols and songs while also introducing us to some less-familiar, but very beautiful, Christmas songs.

Personally, this is one of my favorite relaxing Christmas CDs, though some of the songs do have a more up-beat tempo, which is nice too. Really, this CD is what you've come to expect from Andre Rieu-taking well-known songs and causing you to experience them in a whole new way.

I thoroughly enjoyed this Christmas DVD . I want to buy more of Andre Rieu.

I was very pleased with the CD and would recommend it to everyone.

All of Andre Rieu's music is very enjoyable to listen to.

Sometimes I think the only person who is happy that Public television is financially challenged, other that certain legislators who believe that it is too liberal and the culmination of all that is evil, is Andre Rieu. Now don't get me wrong, this happy Dutch musician who models himself after Johan Straus is not a cruel or vindictive person. At least from what I can tell he's not, but let's face it. If PBS did not have financial woes, Andre Rieu, one of its favorite stars, would not have received the exposure he has, and his sales in the United States would probably be next to nothing. Of course for anyone who has ever seen one of his extravaganzas, we would be missing something enjoyable. He's musically sound and he knows how to entertain, and quiet frankly, though some classical purists may cringe at his name, I don't believe the composers whose music he uses are rolling in their graves because it's become popular once again.

Of all his concerts and CDs, I enjoy THE CHRISTMAS I LOVE the most. The jitterbug version of "Jingle Bells" shows that an old tune can produce new tricks. His arrangement of "The Holy City" (a.k.a. "Jerusalem") is almost as moving as when it is performed with a vocalist. The recording has a number of medleys that include favorites from all over Europe show how Christmas has such an international flair. For me, however, this album provides true variety. Many of the carols are not familiar to Americans, so we hear something different yet also authentic to the holiday season.

I'm surprised that there have not been other Rieu Christmas discs. He's an original musician and a consummate showman, so I'm sure there's more he could do with holiday music, but maybe he knows he has a classic with this collection and it will stand the test of time.

This is the best album of 2008 in spanish language.
Tarantula is mixture of heavy rock and techno ,yes heavy rock!!!!.but Monica N can sing whatever she wants she has the most amazing voice

my fabs songs are:

Europa.- epic song, lavish orchestation,luxury rock and amazing voice.A master piece.no words to describe the feeling that "europa" provoke in me

El descanso.-!!!!!!!!!!wow!!!!!!!!!!!,instrumental and vocals. if monica decide to record an album with the style of Enya or Sarah Brightman, Monica will be a super international success.

Todo Mentira.-the best song in the album,rock music, great musical pop-ish arrangements, the rap is faboluos.

Usted.-wow!!!! I love the texture of Monica 's voice in this song.even faking her voice to a childish voice, she still sounding great!!!!

Amor y lujo. great song ,stick to the old Pop Monica Naranjo but, with some awesome changes.

Idilio.-This is the ballad in the album,I did transport myself to other time when I heard "idilio", so relaxing music, a love poem for lyrics.

Diles que no.- Monica Naranjo was inspired by Paul Oakenfold in his album swordfish, but who cares,Monica does everything better.


I really love the album,you have to listen "Tarantula" to understand what I'm talking about.

But once more time.the labels in Usa ,don't give promotion to this cd,I'm f.... tired to watch in tv the spots of 'la banda maguey',"capaz de la sierra" etcc. I really don't know what is happenig in the USA spanish musical market, musical disaster without taste for good music.

But I have to thanks to the record label to print this cd in USA.

ESTE NO ES UN DISCO PARA TODO MUNDO ES PARA GENTE CON CULTURA Y GLAMOUR QUE PUEDAN ESCUCHAR LAS HISTORIAS QUE NOS NARRA MONICA EN CADA CANCION ES UN MANJAR ESQUISITO DESDE EL PRINCIPIO HASTA EL FINAL UNA VERDADERA JOYA QUE DESTELLA , TRAJEDIA , AMOR, TERNURA, PENA, ALEGRIA , SARCASMO , IRONIA , SENXUALIDAD , PERFECCION , CALMA , PASION , REVELDIA , Y VALOR PARA EXPRESAR LO QUE SE SIENTE Y ATREVERSE A CAMBIAR HE IR EN CONTRA DE LO QUE LA LLAMADA INDUSTRIA DEL DISCO DICTAMINA SOLO ELLA SE ATREVE PORQUE SAVE QUE SUS FANS SE LO PERMITEN Y LE RESPALDAN PUES ELLA SE LO MERESE PORQUE ENTREGA UN TRABAJO COMO NADIE LO HACE ( TARANTULA ) ES UN DISCO GRANDIOSO ME DESPERTO TANTA PASION QUE ME ATREVI A ESCRIBIR UNA CANCION CON ESE TITULO MI PROPIA VERSION ; ( TARANTULA ) ES UNA AUTENTICA OBRA DE ARTE QUE REFLEJA COMO EL SER HUMANO SE LEVANTA DE LAS CENISAS Y RESPLANDESE GRACIAS A LA ESPERANZA LA FE Y AL AMOR

PS ; CUANDO . DIOS . CREO LA .MUSICA. LE DIO A MONICA COMO ETERNA COMPAÑERA Y ESTO ES UNA UNION DE ( AMOR Y LUJO ) QUEREMOS MAS QUEREMOS MAS

I have waited several years for new material from Monica Naranjo. It was worth the wait. Tarantula is without a doubt her best album to date. It mixes wonderfully pop, rock, dance, and electronica. The result is captivating and mesmerizing. A true gem that gets better every time you listen to it.

ok i've been a fan of Ms. Naranjo for years and been waiting for this cd for 5 years now well i wasn't disapointed this album is awesome the lyrics are very interesting but must of all the voice of Ms.Naranjo is in top form the tracks are great especialy "Europa" and the new single "Amor y Lujo" which just got released in Spain few weeks ago topping the charts as #1 as was "Europe" single to me this is one of the best album of 2008 and considering that my music taste is mustly of Trance/Progressive/House. so enough said

Once Again, an Amazing Cd By one of the greatest Divas Of Spanish Pop!
Monica Naranjo's new album has all her Fans Wrapped in her new Spider web
w/ TARANTULA a must have!!! 5 stars

We love the cd's in this series. We listen to them on car drives and they have added so very much to our lives. Thanks to this series my 7 year old daughter can recognize the compositions of Bach, Mozart, Beethoven, Tchaikovsky and Vivaldi while listening to the classical station on the radio. What a fun way for a family to become familiar with classical music.

But the story line of this one is a bit too sad for small children. If the cd had a warning, something like " best for children over 9 years old", or something like that I would have appreciated it. My daughter became quite frightened listening to the story and so I put it away. Maybe in a few years.....

Handel's music is, of course, grand and beautiful. I applaud Susan Hammond's creativity and hopes to introduce children to classical music. However, the fictional storyline is just that....fictional. Your (and your child's) impression and "memories" of Handel will forever falsely be tied to this fictional storyline of Thomas, Katerina, and Handel which never occured. There are of course elements of truth in the storyline but the majority never happened. Buy some CD's of Handel's wonderful music and listen with your family! There are several good books you can read about Handel's real life and they are not boring.

My older children really enjoy "Hallelujah Handel." It's subject matter is a bit mature for my little children as it involves a boy who, as a result of abuse from his "handler," can express himself only through music. The music is moving and the boy, Thomas, is tenderly cared for afer being rescued. We rated this CD four stars as it isn't quite as wonderful as "Mr. Bach Comes to Call."

This Classical Kids story stars Katarina, from Vivaldi's Ring of Mystery. Having returned with her grandfather to London, she is attending a party when she meets the great composer George Frideric Handel. They're drawn together by a boy named Thomas, an orphan with the voice of an angel who never speaks and is rented by the cruel "Keeper" as entertainment. In trying to free Thomas from his slavery, convincing him to speak, and practicing with the orphans who will be singing Handel's Messiah, Katarina and Handel travel all over London, to operas and taverns, to orphanages and parks. It rises to a peak in the end with the joyful Hallelujah chorus. The music in this is wonderful, and I can honestly say that at 16 I love this as much as I did when I first got it (and that was probably more than 6 or 7 years ago). The plot is a nice vehicle to introduce people of all ages to the beauty that is the heart of all Handel's compositions, and I'd recommend it to everyone, regardless of age or musical tastes.

Katerina, heroine of Vivaldi's Ring of Mystery in the same Classical Kids CD series, has accompanied her grandfather, the Duke, to London. While there she meets and befriends a rather jolly composer and musician named G.F. Handel as well as a rather melancholy boy treble named Thomas. The storyline reeks of melodrama and is chock-a-block full of Dickensian coincidences critcal to the plot. All that sniffy stuff aside, however, this is another effective and enjoyable introduction for kids to a wonderful composer's work. The disc explores many aspects of Handel's output, humorously describes dealing with a difficult diva, hints at the sometimes uneasy relationship between artists and patrons; it also pokes fun at class stereotypes. While the story does not flinch at some of the uglier aspects of 18th Century London (poverty, the plight of orphans, drink and lawlessness) it does not overwhelm the sensibility of listening children. My four year old son has listened to this CD more than a dozen times; neither he nor I have tired of it despite such exposure. This disc succeeds nicely, as do all the CDs in this series, in presenting an iconic musical figure in a human and personable light. Good music, good entertainment, good value.