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Gianni Schicchi/Salome (Reiner, Metrpolitan Opera)

Puccini/Strauss Audio CD
5.0 out of 5 stars  See all reviews (1 customer review)
Price: 14.62 & FREE Delivery in the UK. Details
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Product details

  • Audio CD (7 April 2003)
  • Number of Discs: 2
  • Label: Guild
  • ASIN: B00008KCMR
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 421,923 in Music (See Top 100 in Music)

Disc: 1
1. Broadcast Commentary
2. Porvero Buoso!
3. O Simone?
4. Ai miei cugini Zita e Simone!
5. Dunqe era vero!
6. E non c e nessun mezzo
7. Firenze E Come Un Albero Fiorito
8. Quale Aspetto Sgomento E Desolato!
9. O Mio Babbino Caro
10. Datemi Il Testamento!
See all 26 tracks on this disc
Disc: 2
1. Komm dem erwahlten des Herrn nicht nahe!
2. Jochanaan! Ich Bin Verliebt
3. Zuruck. Tochter Sodoms! Beruhre mich nicht!
4. Wird Dir Nicht Bange, Tochter Der Herodias?
5. Lass mich deinen Mund kussen, Jochanaan
6. Wo Ist Salome?
7. Es Ist Kalt Hier
8. Salome, komm, trink Wein mit mir, einen kostlichen Wein
9. Sieh, die Ziet ist gekommen
10. Wahrhaftig, herr es ware besser, ihn in unsre Hande zu geben
See all 23 tracks on this disc

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Most Helpful Customer Reviews
1 of 1 people found the following review helpful
5.0 out of 5 stars Salome & Gianni Schicci New York 1949 17 Jan 2014
Verified Purchase
The audience in the Metropolitan Opera House and those listening to the radio broadcast, certainly got excellent value with this Saturday matinee double bill. Puccini's comedy Gianni Schicci receives a good performance but the main interest is a blistering performance of Strauss's Salome, with arguably the greatest Salome in her best performance. This is also an exciting personal milestone in my collection, the 99th and 100th Met Opera performance!

Gianni Schicci. Unfortunately not an opera I'm hugely familiar with, but all the Puccini trademarks are there, sweeping melodies, memorable tunes and ample stage drama. Worth it for a lovely affecting 'O mio babbino caro' from Licia Albanese. Giuseppe di Stefano is - well - Giuseppe di Stefano, and Italo Tajo makes a generally strong impression in the title role. I would have preferred more pointing of the text when Schicci, impersonating the dying Buoso, leaves the bulk of 'his' estate to his 'dear friend... Gianni Schicci.' Couldn't see that coming. Giuseppe Antonicelli conducts reasonably well.

Salome. Ljuba Welitsch is regarded as perhaps the best ever Salome, and on the basis of this performance it's easy to see why. Welitsch has the voice to sound like a sweet innocent 16 year old girl, but with enough power and clarity to ride Richard Strauss's gargantuan orchestration. She curves and twines her voice around Salome's seductive vocal lines. Importantly, her voice remains fresh throughout the gruelling final scene. Welitsch plays Salome basically as an adolescent with awakening sexual feelings, her voice also conveys attraction, fascination, seduction, petulance as she demands, and insists on, the head of Jokanaan, culminating in a final scene of fascinating vocal colour and strength.
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Amazon.com: 5.0 out of 5 stars  1 review
3 of 3 people found the following review helpful
5.0 out of 5 stars Odd pairing... one good, one great. 4 Aug 2008
By Timothy R. Carpenter - Published on Amazon.com
Verified Purchase
This is a recording of the MET broadcast on March 12, 1949, complete with commentary by Milton Cross (but without the intermission features). What a broadcast!
The performance of Puccini's Gianni Schicchi is very good although Italo Tajo is not in the same class as Tito Gobbi or Giuseppe Taddei. Here Tajo is classified as a baritone, but his (bass) vocal quality just doesn't seem right to me for the role and his way with the text is not as pointed as either of the baritones I've mentioned. The other parts are in good hands (throats?) and it is luxury casting to have Di Stefano and Albanese as the young lovers. The conducting of Antonicelli is fine.
After Intermission we get Strauss' Salome with Welitsch in the title role, Thorborg as Herodias, Jagel as Herod, Janssen as John the Baptist and Brian Sullivan as the soldier Narraboth. The orchestra is larger for Strauss than for Puccini and with Fritz Reiner on the podium it sounds like a completely different ensemble. Everyone is at the top of his/her game and the performance is electric. Welitsch's diction and vocal acting are superb and although she may not look 16 in the publicity photo she is vocally and histrionically convincing. She is sensational, seeming to tire somewhat toward the end of the opera, but even that quality seems an outgrowth of the drama.
The broadcast sound is certainly not state of the art and so does not do justice to Strauss' orchestral writing, but the voices are clear and rarely covered. After a few minutes I was so completely drawn into the performance that the sonic limitations disappeared. Highly recommended.
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