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1.Mozart - Don Giovanni by: Eberhard Wächter, Elisabeth Schwarzkopf, Piero Cappuccilli, Gottlob Frick, Luigi Alva, Carlo Maria Giulini
September 02, 2002
Average Rating:  out of 5 stars

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Music : Mozart - Don Giovanni
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Don Giovanni is perhaps the greatest opera of all and has been very lucky on disc with many fine recordings. This one, however, just about tops the lot. It has Guilini and the Philamonia at the top of their game, a simply wonderful cast with Wachter as the most demonic Don on record, and Legge's superb production. The recording still sounds well though not quite up to the latest digital standards, of course. But it is one of Legge's best. Just listen to the climax with chords thundering and Frick's sepulchral bass summoning Giovanni to hell. If the hairs don't rise on your neck then you can demand your money back!
For a refreshing alternative try Jacobs (HM) but all round this one is the tops.

2.Verdi - Aida from: EMI Classics
September 03, 2001
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Music : Verdi - Aida
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There are so many good recordings of "Aida" available and I own - and play - eight of them, but I keep coming back to this one as my favourite. This might partly be for purely personal reasons: it was one of the first sets I bought when as a nineteen year old I was just discovering opera and I still recall the sense of transported wonder I first experienced listening to that magical, moonlit Nile music; then just after that I was able to hear most of the artists on this recording live at Covent Garden and that cemented my preference for this version. Even though Caballe did not much look the part of a lissom Ethiopian princess, her voice did all the work as she spun those delicate pianissimi to every corner of the auditorium. And those almost unearthly ... Read More:

3.Verdi: Macbeth from: The Originals
October 14, 1996
Average Rating:  out of 5 stars

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Music : Verdi: Macbeth
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Along with Abbaddo's recording of Simon Boccanegra, also on DG, this set stands as a fitting testament to the conductor's tenure at La Scala in the 70s. The true sense of ensemble between the principals is clearly audible, and Cappuccilli and Verrett enjoy a rare chemistry as the guilt-wracked royal couple.

The great baritone was sometimes accused of relying too much on the sheer beauty of his instrument at the expense of dramatic involvement, but there is no sign of that fault here. Listen to the way he and Abbaddo build the tension in the recitative prior to Duncan's murder, or the breathless helplessness he conveys in the subsequent duet with Verrett.

Warmer and more italianate than Nilson (Decca), more verbally alert than Cossotto ... Read More:

4.Verdi: Nabucco from: Deutsche Grammophon
December 30, 1983
Average Rating:  out of 5 stars

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Music : Verdi: Nabucco
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Without further comment on this bizarre and unsatisfying recording, it seems odd to me that the reviewer above makes such a point of its 1960's origins, when in fact it is clearly labeled as being released in 1983. Further, Dimitrova did not make her debut until 1966, and did not perform in any important venues outside Bulgaria until 1970. A bit more attention to fact would make this sort of drooling non-review a bit easier to take seriously.

5.Verdi: Simon Boccanegra from: The Originals
February 10, 1997
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Music : Verdi: Simon Boccanegra
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Simon Boccanegra is probably my favourite Verdi opera, aside from the incomparable Falstaff. The plot is convoluted, as usual, but it has many more serious overtones than Verdi's other librettos. No other great opera composer attempted to put a statesman on stage as an opera's principal character (unless you count Tito in Mozart's 'La Clemenza'), and Verdi succeeded brilliantly. The music is among the most beautiful and finely crafted that Verdi ever wrote, perhaps a little more subdued than usual. But what it lacks in overt passion it gains in intensity. Another reason for this work's greatness is the fact that Verdi revised the piece after he had become acquainted with Boito (librettist of Otello and Falstaff) and thus reworked parts of the score before embarking ... Read More:

6.Bellini: I Puritani by: Joan Sutherland, Luciano Pavarotti, Piero Cappucilli, Nicolai Ghiarov, Richard Bonynge
November 25, 1987
Average Rating:  out of 5 stars

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Music : Bellini: I Puritani
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The last reviewer describes this set as "good value for money". It is far more than that. It is an astonishingly accomplished achievement all round. The sound is stunningly immediate and the direction by Bonynge a model of elegant and rhythmic elan. The singing is incomparable: Pavarotti has done nothing better on disc (and that is saying much), while Sutherland puts all competitors in the shade with a performance of ravishing tonal beauty and, of course, technical mastery. There are no voices like this today. Buy this set and be amazed. This is truly great singing.

7.Verdi: Rigoletto from: Deutsche Grammophon
May 17, 1999
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Music : Verdi: Rigoletto
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This is one of the finest Verdi sets I have ever heard. Giulini's conducting is searching; it reveals so much about the piece that I had never noticed before. Cappuccilli's voice is naturally dark and mellow and he sings with his customary becautiful line tinged with an appropriate sense of anguish. Cotrubas is the most vulnerable, sympathetic Gilda you will hear but the revelation is Domingo. People might think that the Duke is too light a role for him but his singing is elegant, musical, beautifully shaded in places. The quartet is only one of many highlights. Probably the best all-round Rigoletto recorded (and I have heard almost all of them).

8.Verdi: I Masnadieri by: Montserrat Caballé Carlo Bergonzi Piero Cappuccilli Ruggero Raimondi New Philharmonia Orchestra Lamberto Gardelli
July 16, 2007
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Music : Verdi: I Masnadieri
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There aren't many studio recordings of Verdi's eleventh opera - just two in fact. On Decca you can hear Dame Joan Sutherland and Franco Bonisolli as Amalia and Carlo, with Matteo Manguerra as Francesco and Samuel Ramey as Massimiliano. Philips, however, have to my mind the more effective cast. Montserrat Caballe and Carlo Bergonzi are very effective as Amalia and Carlo, and Piero Cappuccilli and Ruggero Raimondi can't be bettered.

Amalia was written for the Swedish Nightingale, Jenny Lind, and as such the role has an awful lot of trills and other fioriture that Verdi didn't normally write. Caballe has a very light and agile voice, which seems to be in keeping with Lind - the role keeps to the middle and higher registers of the soprano voice. She is particularly ... Read More:

9.Catalani: La Wally from: Opera Double Decca
January 18, 1999
Average Rating:  out of 5 stars

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Music : Catalani: La Wally
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The music is excellent and is worth buying for the beautiful aria used in Jean-Jacques Beineix's film Diva. The CD comes with english and german potted versions of the plot but I think you should get the full dialogue to get the best from the music.

10.Mascagni: Cavalleria Rusticana from: Decca
February 13, 2004
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Music : Mascagni: Cavalleria Rusticana
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This set really stuns.
Julia Varady is a superb Santuzza, her voice is especially beautiful in this role. Pavarotti gives a first rate account of Turiddu, his big voice can portray the vulgar aspects of the character well. Pavarotti's rendition of "Viva il vino spumeggiante" is a real highlight of this set. The Alfio of Cappuccilli is a strong, unexaggerated potrayal and Carmen Gonzales has lots of charm as Lola.
Both the orchestra and the cast are served well by the excellent stereo. Gavazzeni is a great conductor of Mascagni (as can be heard in his brilliant recording of "L'amico Fritz" with Pavarotti and Freni) and draws nice warmth from the National Philharmonic. All in all a perfect set.

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