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Track Listings
| Disc: 1 | |||
|---|---|---|---|
| 1. "Lunge da lei" - "De' miei bollenti spiriti" - Plácido Domingo, Bavarian State Orchestra, Carlos Kleiber | |||
| 2. "Annina, donde vieni?" - "Oh mio rimorso!" - Plácido Domingo, Helena Jungwirth, Bavarian State Orchestra, Carlos Kleiber | |||
| 3. Se quel guerrier io fossi!..Celeste Aida - Plácido Domingo, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | |||
| 4. Io l'ho perduta... Io la vidi - Plácido Domingo, Berliner Philharmoniker, Daniel Barenboim | |||
| 5. Recit et Romance: "Fontainebleau! Forêt immense.." - Plácido Domingo, Orchestra del Teatro alla Scala di Milano, Claudio Abbado | |||
See all 22 tracks on this disc
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| Disc: 2 | |||
| 1. "Mercé, diletti amici" - Plácido Domingo, Carlo Maria Giulini, Los Angeles Philharmonic Orchestra, Roger Wagner Chorale, Rose Wagemann | |||
| 2. "Dell'esilio nel dolore" - Plácido Domingo, Los Angeles Philharmonic Orchestra, Carlo Maria Giulini, Roger Wagner Chorale, Rose Wagemann | |||
| 3. D'Ernani i fidi... Odo il voto, o grande Iddio - Plácido Domingo, Alfred Walker, James Courtney, Orchestra of the Mariinsky Theatre, Valery Gergiev, Chorus of the Mariinsky Theatre | |||
| 4. Scena: "O madre mia, che fa colei?" - Plácido Domingo, Montserrat Aparici, The Ambrosian Singers, Royal Philharmonic Orchestra, Lamberto Gardelli | |||
| 5. Cavatina: "La mia letizia infondere" - "Come poteva un angelo" - Plácido Domingo, Montserrat Aparici, Royal Philharmonic Orchestra, Lamberto Gardelli | |||
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See all 21 tracks on this disc
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| Disc: 3 | |||
| 1. Esultate! - Plácido Domingo, Orchestre de l'Opéra Bastille, Myung-Whun Chung, Choeurs de l'Opera Bastille, Denis Dubois | |||
| 2. Tu?! Indietro! fuggi! - Plácido Domingo, Orchestre de l'Opéra Bastille, Myung-Whun Chung | |||
| 3. Ora e per sempre addio - Plácido Domingo, Orchestre de l'Opéra Bastille, Myung-Whun Chung | |||
| 4. "Pace signor" - "Era la notte" - Plácido Domingo, Sergei Leiferkus, Orchestre de l'Opéra Bastille, Myung-Whun Chung | |||
| 5. Oh! mostruosa colpa! - Plácido Domingo, Sergei Leiferkus, Orchestre de l'Opéra Bastille, Myung-Whun Chung | |||
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See all 22 tracks on this disc
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| Disc: 4 | |||
| 1. Scena: "Qui ti rimani". Arioso: "Brezza del suol natio" - Plácido Domingo, Eric Cutler, Orchestra dell'Accademia Nazionale di Santa Cecilia, Myung-Whun Chung | |||
| 2. Cavatina: "Dal più remoto esilio" - Plácido Domingo, Orchestra dell'Accademia Nazionale di Santa Cecilia, Myung-Whun Chung | |||
| 3. Del consiglio... Odio solo, ed odio atroce - Plácido Domingo, Orchestra of the Mariinsky Theatre, Myung-Whun Chung | |||
| 4. Cabaletta "Si lo senti, iddio mi chiama" - Plácido Domingo, Orchestra of the Mariinsky Theatre, Valery Gergiev | |||
| 5. Scena: "Notte! perpetua notte" - Plácido Domingo, Orchestra dell'Accademia Nazionale di Santa Cecilia, Myung-Whun Chung | |||
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See all 22 tracks on this disc
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Product Description
Amazon.co.uk Review
There is only one word for this four-CD set: glorious. Released to commemorate the 100th anniversary of Verdi's death, it presents arias from every one of his 28 operas: a comprehensive overview of his work. It is also a tribute to Placido Domingo, one of his foremost present-day interpreters. An extraordinarily versatile artist, he is heard in selections from his signature roles like Otello, Radames and Don Carlo, taken from recordings made between the 1960s and the 1990s, as well as in new recordings of arias from the earliest, unfamiliar operas he has not performed on stage, and alternate arias Verdi wrote for different versions of his operas. Thus, he sings I Lombardi in Italian, Jérusalem in French, and Don Carlo and I Vespri Siciliani in Italian and French. There are also extended scenes with illustrious colleagues, including Leontyne Price, Katia Ricciarelli, Nicolai Ghiaurov and Sergei Leiferkus, whose Iago is an exquisitely insidious villain. He is accompanied by the greatest orchestras and conductors; for the new recordings, his partners are Myung-Whun Chung and Valery Gergiev, whose Mariinsky Theater musicians contribute some beautiful string solos. The matchless beauty of Domingo's voice seems untouched by the years, and he can change and vary it to suit the musical and dramatic requirements; his top notes never lose their clarion ring, yet the final B-flat of "Celeste Aida" tapers off as Verdi demands. Even more remarkable, he can create real characters. Even without the texts, the mood, emotion and meaning always come through. In this incomparable treasure-trove, all opera lovers will find their own favourites, and many new gems besides, all performed to utter perfection. --Edith Eisler
There is only one word for this four-CD set: glorious. Released to commemorate the 100th anniversary of Verdi's death, it presents arias from every one of his 28 operas: a comprehensive overview of his work. It is also a tribute to Placido Domingo, one of his foremost present-day interpreters. An extraordinarily versatile artist, he is heard in selections from his signature roles like Otello, Radames and Don Carlo, taken from recordings made between the 1960s and the 1990s, as well as in new recordings of arias from the earliest, unfamiliar operas he has not performed on stage, and alternate arias Verdi wrote for different versions of his operas. Thus, he sings I Lombardi in Italian, Jérusalem in French, and Don Carlo and I Vespri Siciliani in Italian and French. There are also extended scenes with illustrious colleagues, including Leontyne Price, Katia Ricciarelli, Nicolai Ghiaurov and Sergei Leiferkus, whose Iago is an exquisitely insidious villain. He is accompanied by the greatest orchestras and conductors; for the new recordings, his partners are Myung-Whun Chung and Valery Gergiev, whose Mariinsky Theater musicians contribute some beautiful string solos. The matchless beauty of Domingo's voice seems untouched by the years, and he can change and vary it to suit the musical and dramatic requirements; his top notes never lose their clarion ring, yet the final B-flat of "Celeste Aida" tapers off as Verdi demands. Even more remarkable, he can create real characters. Even without the texts, the mood, emotion and meaning always come through. In this incomparable treasure-trove, all opera lovers will find their own favourites, and many new gems besides, all performed to utter perfection. --Edith Eisler
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