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Puccini: Turandot Import

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Product details

  • Performer: Inge Borkh, Mario Del Monaco, Renata Tebaldi, Fernando Corena
  • Orchestra: Rome Santa Cecilia Academy Chorus, Rome Santa Cecilia Academy Orchestra
  • Conductor: Alberto Erede
  • Composer: Giacomo Puccini
  • Audio CD (1 Oct. 1999)
  • Number of Discs: 2
  • Format: Import
  • Label: Grand Opera
  • ASIN: B0000041ZV
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 430,348 in Music (See Top 100 in Music)

Disc: 1
1. Turandot: Act I - Popolo di Pedino!
2. Turandot: Act I - Gira la cote!
3. Turandot: Act I - O giovinetto! Grazia, grazia!
4. Turandot: Act I - Figlio, che fai?
5. Turandot: Act I - Fermo! Che fai? T'arresta!
6. Turandot: Act I - Signore, ascolta!
7. Turandot: Act I - Non piangere, li !
8. Turandot: Act II: Scene I - Ol , Pang! Ol , Pong!
9. Turandot: Act II: Scene I - Ho una casa nell'Honan
10. Turandot: Act II: Scene I - O mundo...
See all 14 tracks on this disc
Disc: 2
1. Turandot: Act II: Scene II - In questa Reggia
2. Turandot: Act II: Scene II - Straniero, ascolta
3. Turandot: Act II: Scene II - Gloria, gloria, o vincitore!
4. Turandot: Act II: Scene II - Tre enigmi m'hai proposto
5. Turandot: Act III: Scene I - Introduzione. Cos comanda Turandot
6. Turandot: Act III: Scene I - Nessun dorma!
7. Turandot: Act III: Scene I - Principessa divina!
8. Turandot: Act III: Scene I - Tu che di gel sei cinta
9. Turandot: Act III: Scene I - Li ! Li ! Sorgi!
10. Turandot: Act III: Scene I - Principessa di morte!
See all 14 tracks on this disc

Product Description

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Most Helpful Customer Reviews

By Viva Verdi on 14 Jan. 2014
This is a great recording. Overshadowed by the arrival of Birgit Nilsson. I have both Nilsson's studio recordings but Inge Borkh has a wonderful voice, which she modulates effectively; particularly in the final scene - the ice is melting.

Mario del Monaco gets too much bad press. Here is a couragious, ardent prince with a sound to match. His tone is utterly unique and quite astonishing - he really was a freak of nature.

Renata Tebaldi is at her prime - enough said - and she repeated the role of Liu a few years later with RCA, also a fine Turandot with Nilsson and Bjorling.

What also pleased me was the sound - immediate, and clear. Erede, who also gets bad press, does a fine job here and makes the most of Puccini's rich tapestry of gongs and bells that infuse the score.

Also available as a low budget double cd (Double Decca range) that every opera lover should own.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 5 reviews
13 of 13 people found the following review helpful
An overlooked beauty 13 Jan. 2006
By Charlus - Published on Amazon.com
Inge Borkh, a world-famous Elektra and Fidelio, was a typical Viennese-type Turandot. Her voice was not very Italianate (then again, neither is the rôle, and Italians have generally steered clear of it) but it was large and secure, and she was an expressive, highly musical artist. This is a fine performance of the kind Maria Jeritza might have given--closer perhaps to Strauss that to Puccini.

Mario Del Monaco had one of the hugest voices I have ever heard come out of a human throat, and to suggest that he was "overparted" (an ugly British Germanism to say that a rôle is too heavy for a given singer) by the rôle of Calaf, one of his most famous assumptions, as another reviewer has written, is a real howler. I heard him in this very rôle at the Roman amphitheatre in Verona, and he raised the rafters... (it's an open-air venue...) He sings with his usual macho fury, whirlwind high notes and total committment. One either loves him or one doesn't, but this is one of his most typical and successful recordings. (Because of his big, big voice, he was very hard to record.)

Renata Tebaldi, at age 33, is simply the most wonderful, most golden-throated, most silver-lined, most exquisite Liù ever. Her long, long phrasing and perfectly molded line is what Puccini singing is all about. Magic her every note. Listen to the finale of _Signore ascolta_ and MELT!

Alberto Erede was seldom given enough rehearsal time in his DECCA recordings--all money was spent on the singers--but this is one of his best accomplishments for them. He gets rich playing from the orchestra and the surprisingly slow, ecstatic tempi, again more Viennese that Italian, are very effective. The finale is something else.

I guess the Nilsson/Corelli recording on EMI is objectively the best TURANDOT, but I love this one. There is something other-wordly about it, something classic and non-routine; and Tebaldi's singing is simply supernatural! At this price, irresistible.
6 of 7 people found the following review helpful
Overlooked but great 16 Dec. 2000
By Burton Rhode - Published on Amazon.com
I warmly recommend this Turandot. The conductor and orchestra bring out wonderful details that I have missed in other recordings. Monaco is excellent, a virile, dramatic tenor with a more attractive voice than Corelli. Tebaldi is at her best here. Borkh is another Wagnerian/Straussian Turandot. She lacks Nilsson's poweer in this role, but is good. The supporting cast, including Corena, is great.
4 of 7 people found the following review helpful
My first "Turandot". 12 Aug. 2004
By B. Konowalski - Published on Amazon.com
I learned "Turandot" on this recording, and this is probably why I like it so much.

The role of Princess is taken by German soprano, Inge Borkh, who didn't record much in studio (one can find her "Elektra", Boehm conducting, DG), so this is already a good reason to buy this CDs. Borkh was associated with German repertoire, but also she was one of the best Lady Macbeth, and of course Turandot. I found her "Turandot" here less icy and more human than Nilsson's, yet powerful enough to give appropriate authority to what she sings.

Mario Del Monaco is fine, strong Calaf. What is interesting, he doesn't take high note in the final of Act II ("No, no, Principessa altera, Ti voglio ardente d'amor!") - I like it this way, it's less 'showy'.

Renata Tebaldi was a definitive Puccinian singer, and her Liu is just angelic!

Niccola Zaccaria's Timur really sounds like abandoned king, but still proud and not 'lachrymosal' (what happens sometimes on other recordings, and is awful).

Supporting cast varies, but one can find Fernando Corena as Ping - marvellous!

Many people say that Alberto Erede's conducting is sloppy. This is of course not the best conducted "Turandot" on records (the best is Zubin Mehta's for Decca), but for me the slow tempo of the Act I final is thrillingly moving!

3 of 6 people found the following review helpful
a decent Turandot at mid-price 14 Dec. 2000
By Ray Barnes - Published on Amazon.com
The two most significant shortcomings of this performance, in my view, are Mario del Monaco as Calaf, who is in my view mediocre, and the sound is a bit light in the bass, due to the very early stereo from July, 1955. The sound is much superior to the Karajan 1961 Parsifal done in Vienna, but pales by comparison to more recent CD and VHS recordings. Puccini's magnificent score deserves the most opulent and richly detailed recording possible. Apart from that, this is an enjoyable set, and Inge Borkh in the title role acquits herself very well, certainly with more even pitch than Eva Marton. Renata Tebaldi as Liu also is a highlight, and the thankless role of Ping is superbly taken by Fernando Corena. Now even Act II Scene I firmly holds your attention. The choral singing and orchestral playing are excellent, with the exotic percussion audible, and Alberto Erede's direction is brisk without pushing too hard. The moments of spectacle, particularly at the end of Act I, are very successful. There is a full libretto but no introductory essays or other commentary. My favourite recording remains the Mehta set in London with Sutherland and Pavarotti, but this one is well worth hearing too. Recommended.
Five Stars 29 Sept. 2014
By John - Published on Amazon.com
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