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See Terms & Conditions for p&p rates. | |  | Giuseppe di Stefano: Neapolitan Songs
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| |  | Vittorio Grigolo: Arrivederci
‘Arrivederci’ follows the massive success of Vittorio’s debut album ‘In The Hands of Love’. The album shot into the top 10 of the UK album chart, and the hottest new tenor was quickly snapped up to perform duets with Nicole Scherzinger and the legendary Lionel Richie. Vittorio Grigolo had sensationally arrived. A stunning collection of thirteen of the best Italian songs and opera arias personally chosen by Vittorio Grigolo, his second album for Sony Classical, proves just why his recent appearance in Faust at the Royal Opera House garnered rave reviews. Inspiring critics to proclaim Vittorio as “Irresistible” – Daily Telegraph and “Explosively dynamic” – The Independent, the performance has secured Vittorio’s place as an opera star for a brand new generation. ‘Arrivederci’ combines Grigolo’s selection of songs from the past century that are steeped in Italian tradition with a handful of beautiful arias. Recorded with Pier Giorgio Morandi conducting the Orchestra del Teatro Regio di Parma, this album is a deeply personal homage to the music with which the great tenors of the past have thrilled generations of music lovers. From incomparable arias such as Verdi’s La donna è mobile (Rigoletto) and Giordano’s Amor ti vieta to the quintessentially Neapolitan tunes of Core ‘ngrato (Cardillo) and Mattinata (Leoncavallo), ‘Arrivederci’ reflects the sounds and traditions of a period in Vittorio’s life he will never forget. Vittorio Grigolo, born in Tuscany and raised in Rome, became a soloist in the choir of the Sistine Chapel at the age of nine, sang the role of the shepherd boy in Puccini’s Tosca in the Rome Opera alongside Luciano Pavarotti at 13, and at 23 was the youngest tenor ever to debut at la Scala in Milan. So far, he has sold over 350,000 albums worldwide. “After he has handsomely done his classical duty with arias from Verdi, Puccini, Mozart and Cilea among others, Grigolo lets rip with popular Italian songs, emoting in a properly verismo manner about being lovesick and homesick for the southern sun and the Mediterranean moon...his is an attractive, light lyric voice with a pleasing top but, as yet, shallow in the lower register.” BBC Music Magazine, December 2011 *** “Grigolo's bright, forward projection and not huge voice suits this Three Tenors repertoire well and he handles it with more respect (and, dare one say, taste) and intelligent use of the words than some of his predecessors therein. The Italian pops, especially 'Arrivederci, Roma', have a refreshing simplicity...this sounds like a serious artist and he's been well recorded and produced.” Gramophone Magazine, June 2012 “Like Pavarotti, Grigolo has a forward projection of the voice which propels it smoothly along the line, thus helping legato. His lyric tenor is supple and has a pleasant sound, and he has the virtue of being able (and willing) to employ vocal dynamic, which always benefit strophic songs...Grigolo puts across each message in winning tones.” International Record Review, March 2012 “he brings the same muscular charm to "Torna a Surriento" and "Arrivederci Roma" as he does to "La donna e mobile" and "La danza". Most impressive of all, emotion courses through every syllable of Lucio Dalla's "Caruso".” The Independent, 3rd February 2012 *** | | | In stock - usually despatched within 1 working day. |
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| |  | Arrivederci
“After he has handsomely done his classical duty with arias from Verdi, Puccini, Mozart and Cilea among others, Grigolo lets rip with popular Italian songs, emoting in a properly verismo manner about being lovesick and homesick for the southern sun and the Mediterranean moon...his is an attractive, light lyric voice with a pleasing top but, as yet, shallow in the lower register.” BBC Music Magazine, December 2011 *** “Like Pavarotti, Grigolo has a forward projection of the voice which propels it smoothly along the line, thus helping legato. His lyric tenor is supple and has a pleasant sound, and he has the virtue of being able (and willing) to employ vocal dynamic, which always benefit strophic songs...Grigolo puts across each message in winning tones.” International Record Review, March 2012 “he brings the same muscular charm to "Torna a Surriento" and "Arrivederci Roma" as he does to "La donna e mobile" and "La danza". Most impressive of all, emotion courses through every syllable of Lucio Dalla's "Caruso".” The Independent, 3rd February 2012 *** “Grigolo's bright, forward projection and not huge voice suits this Three Tenors repertoire well and he handles it with more respect (and, dare one say, taste) and intelligent use of the words than some of his predecessors therein. The Italian pops, especially 'Arrivederci, Roma', have a refreshing simplicity...this sounds like a serious artist and he's been well recorded and produced.” Gramophone Magazine, June 2012 | | | In stock - usually despatched within 1 working day. |
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| |  | ArrivederciStandard Version
“After he has handsomely done his classical duty with arias from Verdi, Puccini, Mozart and Cilea among others, Grigolo lets rip with popular Italian songs, emoting in a properly verismo manner about being lovesick and homesick for the southern sun and the Mediterranean moon...his is an attractive, light lyric voice with a pleasing top but, as yet, shallow in the lower register.” BBC Music Magazine, December 2011 *** “Grigolo's bright, forward projection and not huge voice suits this Three Tenors repertoire well and he handles it with more respect (and, dare one say, taste) and intelligent use of the words than some of his predecessors therein. The Italian pops, especially 'Arrivederci, Roma', have a refreshing simplicity...this sounds like a serious artist and he's been well recorded and produced.” Gramophone Magazine, June 2012 “Like Pavarotti, Grigolo has a forward projection of the voice which propels it smoothly along the line, thus helping legato. His lyric tenor is supple and has a pleasant sound, and he has the virtue of being able (and willing) to employ vocal dynamic, which always benefit strophic songs...Grigolo puts across each message in winning tones.” International Record Review, March 2012 “he brings the same muscular charm to "Torna a Surriento" and "Arrivederci Roma" as he does to "La donna e mobile" and "La danza". Most impressive of all, emotion courses through every syllable of Lucio Dalla's "Caruso".” The Independent, 3rd February 2012 *** | | | In stock - usually despatched within 1 working day. |
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| |  | Serenade: A Mario Lanza Songbook
Mario Lanza (tenor) RCA Victor Orchestra, Orchestre Ray Sinatra, Constantin Callinicos, Ray Sinatra “A slab of unremitting tenorial seductiveness” Sunday Times, 20th December 2009 | | | In stock - usually despatched within 1 working day. |
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| |  | Royal Concerts Volume 4: Aragall & Gonzalez
A concert given in 1991 by tenor Jaume Aragall and soprano Ana Ma Gonzalez during the Torroella de Montgri Music Festival. Aria and duets by Puccini, Verdi, Massenet and Gounod. | | | In stock - usually despatched within 1 working day. |
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| |  | Enrico Caruso - Opera Arias and Songs Milan 1902-04
The ten sides the Italian tenor Enrico Caruso cut at the Grand Hotel, Milan, on 11 April 1902 are among the most historic of historical recordings. As John Steane notes in a wide-ranging essay that ideally complements this collection, these are legendary recordings by a legendary tenor. Indeed, Caruso’s fame, according to the old HMV catalogue, was perhaps the greatest ever attained by a singer. Steane sifts fact from fiction in the story of the producer Fred Gaisberg, wowed by Caruso at La Scala and determined to secure him for his company, agreeing the then huge fee of £100 for the ten arias and then receiving a cable from London that said ‘Fee exorbitant, forbid you to record’. Whatever the truth of that, the recording went ahead. Caruso came to the Grand Hotel that Friday afternoon ‘dressed like a dandy, twirling a cane’ with his accompanist Salvatore Cottone, and all was completed within two hours in the improvised studio Gaisberg had rigged up. Again, the new remastering by Abbey Road 78 expert Andrew Walter improves greatly on the recordings’ previous appearance on Références. Awards: Diapason d’Or, Timbre de Platine d’Opéra International, FFFF de Télérama | | | In stock - usually despatched within 1 working day. |
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| |  | The Young Alfredo Kraus (1958-1962)
Bellini: | A te, o cara (from I Puritani) recorded in 1958 Orquesta de Camera de Madrid, José Luis Lloret | Bizet: | Je crois entendre encore (from Les Pêcheurs de Perles) recorded in 1958; sung in Italian Orquesta de Camera de Madrid, José Luis Lloret | Cilea: | È la solita storia 'Lamento di Federico' (from L'Arlesiana) recorded in 1962 Orquesta Sinfonica de Madrid, Mario Cordone | Donizetti: | Una furtiva lagrima (from L'elisir d'amore) recorded in 1958 Orquesta de Camera de Madrid, José Luis Lloret Una vergine, un'angel di Dio (from La Favorita) recorded in 1958 Orquesta de Camera de Madrid, José Luis Lloret Spirto gentil ne' sogni miei (from La Favorita) recorded in 1958 Orquesta de Camera de Madrid, José Luis Lloret Com'é gentil…Tornami a dir (from Don Pasquale) recorded in 1958 Orquesta de Camera de Madrid, José Luis Lloret Povero Ernesto...cercherò lontano terra (from Don Pasquale) recorded in 1958 Orquesta de Camera de Madrid, José Luis Lloret Fra poco a me ricovero...Tu che a Dio spiegasti l'ali (from Lucia di Lammermoor) recorded in 1962 Orquesta Sinfonica de Madrid, Mario Cordone | Gounod: | Quel trouble inconnu me pénètre… Salut! Demeure chaste et pure (from Faust) recorded in 1958; sung in Italian Orquesta Sinfonica de Madrid, Mario Cordone | Leoncavallo: | Mattinata - 'L'aurora di bianco vestita' recorded in 1958 Orquesta de Camera de Madrid, Enrique Estela | Meyerbeer: | Plus blanche que la blanche hermine (from Les Huguenots) recorded in 1958; sung in Italian Orquesta de Camera de Madrid, José Luis Lloret Mi batte il cor … O paradiso (from L'Africana) recorded in 1958 Orquesta de Camera de Madrid, José Luis Lloret | Mozart: | Dies Bildnis ist bezaubernd schön (from Die Zauberflöte) recorded in 1958 Orquesta de Camera de Madrid, Mario Cordone | Ponce, M: | Estrellita recorded in 1958 Orquesta de Camera de Madrid, José Luis Lloret | Rossini: | Se il mio nome (from Il Barbiere di Siviglia) recorded in 1958 Orquesta de Camera de Madrid, José Luis Lloret | Serrano: | Te quiero moreno from El Trust de los Tenorios recorded in 1958 Orquesta de Camera de Madrid, José Luis Lloret | Verdi: | Questa o quella (from Rigoletto) recorded in 1958 Orquesta de Camera de Madrid, José Luis Lloret Ella mi fu rapita! (from Rigoletto) recorded in 1962 Orquesta Sinfonica de Madrid, Mario Cordone La donna è mobile (from Rigoletto) recorded in 1958 Orquesta de Camera de Madrid, José Luis Lloret |
His profound mastery of vocal technique, his awareness of his own abilities and his limitations enabled him to preserve his voice throughout a long career. The recordings on this CD are taken from Kraus’s first records. The selection of songs is taken from his two 1958 LPs. | | | This item is currently out of stock at the UK distributor. You may order it now but please be aware that it may be six weeks or more before it can be despatched. |
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| |  | Forever Domingo
| | Ay, ay, ay London Symphony Orchestra, Karl-Heinz Loges | Bizet: | La fleur que tu m'avais jetée (from Carmen) London Symphony Orchestra, Claudio Abbado | Brodszky: | Be My Love London Symphony Orchestra, Karl-Heinz Loges | Cardillo: | Core 'ngrato London Symphony Orchestra, Marcel Peeters | Curtis, E: | Non ti scordar di me London Symphony Orchestra, Karl-Heinz Loges Non ti scordar di me London Symphony Orchestra, Karl-Heinz Loges | Donizetti: | Una furtiva lagrima (from L'elisir d'amore) Los Angeles Philharmonic, Carlo Maria Giulini | Grever: | Muñequita Linda London Symphony Orchestra, Karl-Heinz Loges | Hardelot: | Because London Symphony Orchestra, Karl-Heinz Loges | LaCalle: | Amapola London Symphony Orchestra, Karl-Heinz Loges | Lara, Augustin: | Granada London Symphony Orchestra, Marcel Peeters | Lecuona: | Siboney London Symphony Orchestra, Karl-Heinz Loges | Lehár: | Dein ist mein ganzes Herz (from Das Land des Lächelns) London Symphony Orchestra, Karl-Heinz Loges | Leoncavallo: | Mattinata - 'L'aurora di bianco vestita' London Symphony Orchestra, Marcel Peeters | Puccini: | Nessun dorma (from Turandot) Wiener Philharmoniker, Wiener Sangerknaben, Herbert von Karajan Recondita armonia (from Tosca) Philharmonia Orchestra, Giuseppe Sinopoli E lucevan le stelle (from Tosca) Philharmonia Orchestra, Giuseppe Sinopoli Ch'ella mi creda libero e lontano (from La Fanciulla del West) Orchestra and Chorus of the Royal Opera House, Covent Garden, Zubin Mehta Donna non vidi mai (from Manon Lescaut) Philharmonia Orchestra, Giuseppe Sinopoli | Rossini: | Largo al factotum (from Il barbiere di Siviglia) Chamber Orchestra of Europe, Claudio Abbado | Verdi: | Se quel guerrier io fossi!…Celeste Aida (from Aida) Orchestra del Teatro alla Scala, Claudio Abbado La donna è mobile (from Rigoletto) Nicolai Ghiaurov (bass), Piero Cappuccilli (baritone) Wiener Philharmoniker, Carlo Maria Giulini Di quella pira (from Il trovatore) Rosalind Plowright (soprano) Orchestra e Coro dell'Accademia Nazionale di Santa Cecilia, Carlo Maria Giulini |
forever DOMINGO offers a tantalising and generous selection of Plácido Domingo’s greatest hits. It combines acclaimed recordings of popular tracks such as Be My Love and Granada with the greatest tenor opera arias from Puccini, Verdi, Donizetti, Bizet and Rossini. Includes Nessun Dorma, La donna è mobile, Largo al factotum and Una furtiva lagrima. The album is rounded off by one of the best-known pieces in the Viennese operetta repertoire Dein ist mein ganzes Herz. PLÁCIDO DOMINGO - Whatever he does, he does it from his heart. The son of singers who ran their own zarzuela company, Domingo grew up surrounded by music and the theatre. Today it is safe to say that in every corner of the world, everyone who has even the most passing interest in opera is familiar with the name of Plácido Domingo. He truly is a living legend. “Domingo shows his lighter side in souped-up arrangements of popular songs and a clutch of standard arias” BBC Music Magazine, May 2013 **** | | | (Sorry, download not available in your country) | Usually despatched in 2 - 3 working days. |
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| |  | Il Mito dell'Opera: Martinucci, Vol. 2
Nicola Martinucci (tenor) | | | Usually despatched in 8 - 10 working days. |
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