The Leading Classical Music Label Direct To You

Read reviews, listen to the music, and purchase the COMPACT DISC Soprano Arias

Customer Service Toll Free 866.489.4152

Flash 9 required. Click to download.

Narrow your search
with our Music Browser

Classical Music

        Ballet
        Chamber Music
        Choral
        Concertos
        Film Music
        Folk Legends
        Instrumental
        Musicals
        Opera / Operetta
        Orchestral
        Vocal

Jazz

Jazz Contemporary
Jazz Icons

New Age

Wind Band

World

        Ballad
        Bhuddist
        Chinese Music
        Classical (World)
        Early Music (World)
        Folk
        Gamelan
        Gypsy
        Hindustani
        Jazz (World)
        Klezmer
        Sufi
        Vocal (World)
        World

Special Offers:

Sale on select Chandos titles

Sale on select BBC Legends Items

Naxos Classics Clearance Sale

Sale on select Naxos American Classics

Sale on Charles Dickens DVD Box Set

Sale on select box sets

Clearance on Complete Beethoven Edition

Sale on the Jazz Icons Series

Clearance

Penguin Guide

200 Essential Recordings

Recently Released

Upcoming Releases

SACD

DVD

        Ballet DVD
        Classical Concert
        Classical Documentary
        Dance Documentary
        Opera DVD

Audio Books

        Anthologies / Collections
        Arts
        Biographies
        Children's Classics
        Classic Fiction
        Great Epics and Tales
        History
        Junior Classic Fiction
        Junior History
        Literature
        Music Biographies
        Music Education
        Non-Fiction
        Philosophy
        Plays - Others
        Plays - Shakespeare
        Poetry
        Religion
        Samplers
        Sports
        Wine Guide

NaxosDirect Podcasts

Video Librarian Reviews

Labels

Naxos Label

        Naxos American Classics
        Naxos Best Of...
        Naxos Box Sets
        Naxos Cinema Classics
        Naxos Classics
        Naxos DVD
        Naxos DVD-Audio
        Naxos International
        Naxos Jazz
        Naxos Limited Edition
        Naxos Milken Archives
        Naxos Night Music
        Naxos Opera
        Naxos Orchestral
        Naxos Special Release
        Naxos Wind Band Classics
        Naxos World

Composers

Conductors

Ensembles

Orchestras

Choirs

Artists

Instruments

Producers

Soprano Arias

Home

Classical Music

Opera / Operetta

View large image

$9.99 (COMPACT DISC)

In Stock - Usually ships within 24 hours.

Link to this COMPACT DISC Link to this page

Marina Mescheriakova - Soprano Arias Eugene Onegin Norma Don Carlo Luisa Miller Living in a global world, we rarely consider how many opera singers in the...

Read more about this recording

Marina Mescheriakova - Soprano Arias

Eugene Onegin Norma Don Carlo Luisa Miller

Living in a global world, we rarely consider how many opera singers in the last fifty years have triumphed, at least in part, because of a particular cultural background which shone through their public image. Maria Callas's blend of Greek, American and Italian culture, for instance, was an essential ingredient of her perceived persona, just as Leontyne Price's descent, with African-American memories of deportation and slavery, must have helped with the creation of her unforgettable Aida.

Nowadays we can still detect regional varieties of taste when comparing opera programmes in Italy, France, Germany, Britain, the United States and Japan, but extending comparisons over the last fifty years, a growing harmonization is undeniable almost anywhere, except in the former Soviet Union. There things only now start to respond: only in 2002, for instance, did the St Petersburg's Mariinsky stage their premi�re of Mozart's Cos� fan tutte.

Ten years ago the programme of the recital here recorded would never have been the choice of a Russian soprano. Until the final days of the Soviet era, Russian performers and opera lovers could know Luisa Miller, Maria Stuarda and La Vestale only from hearsay. Recordings of Callas or Sutherland were restricted to a tiny elite of well-connected connoisseurs, and even arias from standard operatic repertoire like Ernani or Norma were rarely, if ever, heard in their original context.

In other words Marina Mescheriakova's choice of programme here is motivated by entirely personal reasons, founded on expatriation and cross-cultural encounters. Life-stories like hers are generally squeezed into the uninspiring bio format, but become very interesting when read like an explorer's logbook. We can say, in fact, that this recital charts the exploration of the global operatic repertoire by a brave and talented young lady from Russia.

Composed in 1844 and based on the ultra-romantic stage success Hernani by Victor Hugo, Ernani is Verdi's first opera set in Spain, one of a series including Il trovatore, La forza del destino and Don Carlos. All these operas present sharp contrasts between day and night, love and duty, personal ethics and religion, young and old, contrasts on which Verdi thrived. In Ernani, Ernani, involami Leonora feels like a hostage in the castle of the old aristocrat Silva who wants to marry her. She hopes to be kidnapped by the bandit hero Ernani: his mountain cave will be heaven, compared with her gilded cage. In the closing cabaletta she bursts into an outright declaration of love.

Bellini is a supreme stylist in Italian opera, a strict observer of quintessential elegance. His melodies curl snake-like around long sustained arches, accompaniments are kept at a meaningful minimum, chorus words become pointillist syllables detached by long pauses. With a libretto again based on a French play, the lyric tragedy Norma was first staged at La Scala, Milan, in 1831. Norma is a druid priestess and Casta diva is her prayer to the Moon, as she performs a sacred rite in the woods of Celtic France. It is a glowing moment of beauty, as she tries to silence the anger of a community under Roman rule, and stifle her own sense of guilt at her association with her people's enemy.

Verdi and his wife loved the city of Genoa, where they often spent the winter at the lavish Palazzo Doria. An aural counterpart of seascapes he loved and knew so well, the aria Come in quest'ora bruna, from the revised 1881 Simon Boccanegra is an epitome of Verdi's mature style. From a terrace in Genoa Amelia looks at the sea at sunrise. She believes herself to be an orphan and has flashing memories of her dying mother. She does not know what her future will be, considering her adoptive family's strict code of honour.

Verdi's opera Don Carlos, based on a French version of Schiller's dramatic poem, had its first performance, with a French libretto, in Paris in 1867. The Italian version was first staged at La Scala in 1884. It centres on the conflict between Don Carlos and his father, Philip II of Spain, who has married Elisabeth de Valois, originally intended as a wife for Don Carlos. In Tu che le vanit� Elisabeth de Valois, in a crypt, addresses her plea for sympathy to the tomb of Charles V. She had hoped to marry Don Carlo and herald a new age, but is now the loveless wife of his father, who is ready to kill his son. All dreams have vanished. She feels ready to die. This black, pessimistic scene is central not only to Don Carlo, but to Verdi's whole idea of drama. From Oberto to the end, Falstaff included, Verdi obsessively presents people who speak to, but do not really understand each other. This failure in communication is particularly prevalent between generations, as in Rigoletto or Boccanegra, but nowhere does it appear as fatal as in this portrait of a young woman reduced to converse with the dead.

Verdi's many prayer scenes are sometimes explained as an Italian stereotype, derived from familiar Catholic ritual. Strangely, however, these prayers never seem to yield any result. In fact, in Verdi's idea they are addressed to an empty sky, and that is precisely why they are so tragic. Based on Schiller's Kabale und Liebe, the opera Luisa Miller was first staged in Naples in 1849. In Tu puniscimi, o Signore Luisa Miller prays in desperation, as Count Walter's steward, Wurm, threatens her imprisoned father, demanding that she renounce the Count's son, Rodolfo, and elope with him. She is forced to renounce Rodolfo, but in the end the lovers die together, after Rodolfo has killed Wurm.

Schiller's Maria Stuart was popular in nineteenth-century Italy in its depiction of a Catholic heroine, martyred by her Protestant rival. Donizetti's opera on the subject had a difficult early history, banned by royal command in Naples, where it was to have been first staged, and provoking censorship in Milan in 1835 in a period when the execution of monarchs was a subject better avoided. In her cavatina O nube! che lieve per l'aria ti aggiri Mary strolls in the park of Fotheringay where she is kept a prisoner. She enjoys this brief semblance of freedom: the sight of clouds moving East stirs memories of her youth. Then she realises that Queen Elisabeth is hunting nearby, and has mixed feelings at the prospect of meeting her face-to-face.

The Italian composer Spontini established himself in Napoleonic Paris in 1807 with his opera La Vestale, a work much encouraged by the Empress Josephine. The opera was revived by Arturo Toscanini in the early twentieth century and the aria O nume tutelar is taken from that Italian version, made popular by Rosa Ponselle, Anita Cerquetti and Maria Callas. A priestess of the Roman goddess Vesta, Giulia kneels before her altar to confess her guilt. Bound by a vow of chastity, she is in love with a man.

Tatiana's Letter Scene from Tchaikovsky's 1878 opera Eugene Onegin is possibly the most famous letter scene in the history of opera. Here the ingenuous young heroine writes of her love for Onegin, a careless young man of the world, who is to reject her. The scene unfolds in an impromptu form reminiscent of Chopin, ideal backdrop for a romantic 1830 debutante. With its demand for a wide palette of emotions and vocal colours, it is also above all the text of maturity for a Russian lyric soprano.

Rachmaninov's operas returned to Russian repertoire in the 1970s, when performances of his and Stravinsky's earlier, pre-Stalinist works were again allowed. Composed on a libretto by Tchaikovsky's brother Modest, based on Dante's story of the ill-fated lovers Paolo Malatesta and Francesca, his brother's wife. Francesca da Rimini, first staged at the Bolshoy in 1906, is a twisted masterpiece worth a wider reputation. Married to sadistic Lanceotto, whom she betrayed with his brother Paolo, Francesca is one of the most pathetic characters in Dante's Inferno, condemned to fly eternally in a cold, stormy wind.

Carlo Majer

[1] Rachmaninov: Francesca da Rimini, Act I:

Francesca's Aria

FRANCESCA

O, nye riday, moy Paolo, nye nado...

Pust'nye dano nam znat' lobzaniy,

puskay my zdyed razl�cheni...

Nedolog srok zemnikh skitaniy,

mel'kn�t, kak mig, zemniye sni!

Nye plach', tsenoy zemnikh mucheniy

Nas zhdyot s toboy blazhenstvo tam,

gdye nyet tenyey, gdye nyet lisheniy,

gdye u lyubvi netl enniy khram!

Tam, v visotye, za gran'yu mira,

v tvoikh ob'yatiyakh parya,

v laz�ri svyetlovo efira

ya b�du v vyechnosti tvoya!...

[2] tchaikovsky: Eugene Onegin, Act I:

Tatiana's Letter Scene

TATYANA

Puskay pogibnu ya, no pryezhde

ya v oslepitel'noy nadyezhde

blazhenstvo tomnoye zov�,

ya nyegu zhizni uznay�!

Ya p'yu volshebniy yad zhelani!

menya preslyeduyut mechti!

Vezdye, vezdye peredo mnoy

moy iskusitel' rokovoy!

Vezdye, vezdye,on predo mnoyu!

Nyet, vsyo ne to!

Nachn� snachala!

Akh, shto so mnoy, ya vsya gory�...

Ne znayu, kak nachat'!

"Ya k vam pish�,...

chevo zhe bolye?

Shto ya mog� yeshcho skazat'?

Tepyer ya znayu, v vashey volye

menya prezryenyem nakazat'!

No vi,k moyey neschastnoy dolye

khot' kaplyu zhalosti khranya,

vi ne ostavitye menya.

Snachala ya molchat' khotyela;

povyer'te, moyevo stida

vi ne uznali b nikogda, nikogda!"

O da, klyalas' ya sokhranit' v dushye

priznan'ye v strasti pilkoy i bez�mnoy!

Uvi! Ne v silakh ya vladyet'svoyey dushoy!

Pust' b�det to,shto bit' dolzhno so mnoy!

Yem� priznayus' ya! Smelyey!

On vsyo uznayet!

"Zachem,zachem vi posetili nas?

V glushi zabitovo selyen'ya

ya b nikogda ne znala vas,

ne znala b gor'kovo muchen'ya.

Dushi neopitnoy volnyen'ya

smiriv,so vryemenem,kak znat'?

Po syerdtsu ya nashla bi dr�ga,

bila bi vyernaya supr�ga

i dobrodyetel'naya mat'..."

Drugoy! Nyet, nikom� na svyete

ne otdala bi syerdtsa ya!

To v vishnem suzhdeno sovyete,

to volya nyeba:ya tvoya!

Vsya zhizn' moya bila zalogom

svidan'ya vyernovo s toboy;

ya znayu: ti mnye poslan Bogom

do groba ti khranitel' moy!

Ti v snovidyen'yakh mnye yavlyalsa,

nezrimi, ti uzh bil mnye mil,

tvoy ch�dniy vzglyad menya tomil,

v dushye tvoy golos razdavalsa.

Davno... nyet eto bil ne son!

Ti chut' voshol, ya vmig. Uznala

vsya obomlyela, zapilala,

i v mislyakh molvila:

vot on! vot on!

Ne pravda l'! Ya tebya slikhala...

Ti govoril so mnoy v tishi,

kogda ya byednim pomogala,

ili molitvoy uslazhdala tosk� dushi?

I v eto samoye mgnovyen'ye

ne ti li, miloye vidyen'ye,

v prozrachnoy temnotye mel'kn�l,

Priniknuv tikho k izgolov'yu

Ne ti l', s otradoy i lyubov'yu,

slova nadyezhdi mnye shepn�l?

"Kto ti: moy angel li khranitel'

�li kovarniy iskusitel'?

Moi somnyen'ya razreshi.

Bit' mozhet, eto vsyo pustoye,

obman neopitnoy dushi,

i suzhdeno sovsyem inoye?"

No tak i bit'! Sud'b� moy�

otnine ya tebye vruchayu,

pered toboyu slyozi l'yu,

tvoyey zashchiti umolyayu,umolyayu.

Voobrazi: ya zdyes odna!

Nikto menya nye ponimayet!

Rass�dok moy iznemogayet,

i molcha gibnut' ya dolzhna!

Ya zhdu tebya, ya zhdu tebya!

Yedinim slovom

Nadyezhdi syerdtsa ozhivi,

il' son tyazholiy perervi,

uvi, zasl�zhennim,

uvi, zasl�zhennim ukorom!

Konchayu! Strashno perechest'

stidom i strakhom zamirayu

no mnye por�koy vasha chest'.

I smyelo yey sebya vverayu!

[3] Verdi: Don Carlo, Act V:

Tu che le vanit�

ELISABETTA

Tu che le vanit� conoscesti del mondo

e godi nell'avel il riposo profondo,

se ancor si piange in cielo, piangi sul mio dolore,

e porta il pianto mio al trono del Signore.

Carlo qui verr�, s�!

Che parta e scordi omai...

A Posa di vegliar sui giorni suoi giurai.

Ei segua il suo destin, la gloria il traccier�.

Per me, la mia giornata a sera � giunta gi�!

O Francia, nobile suol, s� caro ai miei verd'anni!

Fontainebleau! ver voi schiude il pensiero, i vanni.

Eterno giuro d'amor l� Dio da me ascolt�,

e quest'eternit� un giorno solo dur�.

Tra voi, vaghi giardin di questa terra d'Ibera,

se Carlo ancor dovr� fermar i passi a sera,

che le zolle, i ruscelli, i fonti,

i boschi, i fior,

con le loro armonie cantino il nostro amor.

Addio, bei sogni d'�r, illusion perduta!

Il nodo si spezz�, la luce � fatta muta!

Addio, verd'anni, ancor! cedendo al duol crudel,

il core ha un sol desir: la pace dell'avel!

Tu che le vanit� conoscesti del mondo

e godi nell'avel il riposo profondo,

se ancor si piange in cielo, piangi sul mio dolore,

e il tuo col pianto mio al trono del Signore,

e il tuo col pianto mio reca appie del Signor.

[4] Verdi: Luisa Miller, Act II:

Tu puniscimi, O Signore

LUISA

Tu puniscimi, o Signore,

se t'offesi e paga io sono

ma de' barbari al furore

non lasciarmi in abbandono.

A scampar da fato estremo

innocente genitor

chieggon essi, a dirlo io fremo,

chieggon essi della figlia il disonor!

[5] Verdi: Simon Boccanegra, Act I:

Come in quest'ora bruna

AMELIA

Come in quest'ora bruna

sorridon gli astri e il mare!

Come s'unisce, o luna,

all'onda il tuo chiaror!

Amante amplesso pare

di due verginei cor!

Ma gli astri e la marina

che pingono alla mente

dell'orfana meschina?...

La notte atra, crudel,

quando la pia morente

sclam�: ti guardi il ciel.

O altero ostel, soggiorno

di stirpe ancor pi� altera,

il tetto disadorno

non obliai per te!...

Solo in tua pompa austera

amor sorride a me...

S'inalba il ciel, ma l'amoroso canto

non s'ode ancora!...

Ei mi terge.ogni d�, come l'aurora

la rugiada dei fior, del ciglio il pianto.

[6] Bellini: Norma, Act I:

Casta Diva

NORMA

Casta Diva, che inargenti

queste sacre antiche piante,

al noi volgi il bel sembiante,

senza nube e senza vel!

CORO

Casta Diva, che inargenti

queste sacre antiche piante,

al noi volgi il bel sembiante,

senza nube e senza vel!

NORMA

Tempra, o Diva,tempra tu de' cori ardenti,

tempra ancora lo zelo audace.

spargi in terra quella pace

che regnar tu fai nel ciel.

CORO

Diva, spargi in terra

quella pace che regnar

tu fai nel ciel.

NORMA

Fine al rito.

E il sacro bosco

sia disgombro dai profani.

Quando il Nume irato e fosco

chiegga il sangue dei Romani,

dal druidico delubro

la mia voce tuoner�.

CORO

Tuoni,e un sol del popolo empio

non isfugga al giusto scempio;

e primier da noi percosso

il Proconsole cadr�.

NORMA

Cadr�! Punirlo io posso.

(Ma punirlo il cor non sa.)

(Ah! bello a me ritorna

del fido amor primiero,

e contro il mondo intiero

difesa a te sar�.

Ah! bello a me ritorna

del raggio tuo sereno

e vita nel tuo seno

e patria e cielo avr�.)

CORO

Ma irato, s�, il Dio t'affretta

che il Tebro condann�!

NORMA

(Ah! riedi ancora qual eri allora,

quando il cor ti diedi allora,

qual eri allor, ah, riedi a me!)

[7] donizetti: Maria Stuarda, Act II:

O nube! che lieve per l'aria t'aggiri

MARIA STUARDA

O nube! che lieve per l'aria t'aggiri,

tu reca il mio affetto, tu reca i sospiri

al suolo beato che un d� mi nudr�.

Deh! scendi cortese,

m'accogli sui vanni,

mi rendi a quel suolo, m'invola agli affanni!

Ma cruda la nube pur essa fugg�

al suolo beato che un d� mi nudr�.

Nella pace del mesto riposo

vuol colpirmi di nuovo spavento.

Io la chiesi, e vederla non oso,

tal coraggio nell'alma non sento!

Resti, resti sul trono adorata,

il suo sguardo da me sia lontan,

troppo, troppo, son io disprezzata;

tace in tutti per me la piet�.

[8] spontini: La Vestale, Act II:

O nume tutelar

GIULIA

O nume tutelar degl'infelici

Latona, odi i miei prieghi;

l'ultimo voto mio ti mova, o nume,

pria che al destino io soccomba,

fa che dalla mia tomba

s'allontani l'adorato oggetto

per cui morte m'attende.

[9] verdi: Ernani, Act I:

Surta � la notte ... Ernani, involami

ELVIRA

Surta � la notte, e Silva non ritorna!

Ah, non tornasse ei pi�!

Questo odiato veglio,

che quale immondo spettro ognor m'insegue,

col favellar d'amore,

pi� sempre Ernani mi configge in core.

Ernani!... Ernani, involami

all'aborrito amplesso.

Fuggiamo... se teco vivere

mi sia d'amor concesso,

per antri e lande inospiti

ti seguir� il mio pi�.

Un Eden di delizia

saran quegli antri a me.

Tutto sprezzo, che d'Ernani

non favella a questo core.

Non v'ha gemma che in amore

possa l'odio tramutar.

Vola, o tempo, e presto reca

di mia fuga il lieto istante,

vola, o tempo, al core amante

� supplizio l'indugiar.

Disc 1

Francesca da Rimini, Op. 25

(more info)

Performed by: BBC Philharmonic Orchestra Sofia National Opera Orchestra Slovak Radio Symphony Orchestra
Composed by: Sergei Rachmaninov
Conducted by: Nayden Todorov Michael Halasz Gianandrea Noseda
Gennady Bezzubenkov, bass
Mariana Zvetkova, soprano
Boiko Zvetanov, tenor
Peter Naydenov, bass
Marina Mescheriakova, soprano
Evgeny Akimov, tenor
Sergey Murzaev, baritone
Svetla Vassileva, soprano
Misha Didyk, tenor

Francesca da Rimini, Act I: Francesca's Aria - 2:47

Eugene Onegin, Op. 24

(more info)

Performed by: Polish National Opera Orchestra Ukraine State Radio Symphony Orchestra Bolshoi Theatre Orchestra Russian Philharmonia Orchestra Estonian State Symphony Orchestra Helsinki Philharmonic Orchestra Moscow Chamber Orchestra Calgary Philharmonic Orchestra Slovak Radio Symphony Orchestra Berlin State Opera Orchestra Russian Philharmonia Metropolitan Orchestra Sofia Symphony Orchestra Tolima Conservatory Orchestra
Composed by: Pyotr Il'yich Tchaikovsky
Conducted by: Jacek Kaspszyk Eri Klas Alexander Orlov Mario Bernardi Frieder Weissmann Michael Halasz Vladimir Sirenko Ondrej Lenard Alexander Rahbari Alexander Vedernikov Constantine Orbelian Mikko Franck Michail Angelov Luis Salbide
Andrei Baturkin, baritone
Alexandrina Pendatchanska, soprano
Randall Jakobsh, bass
Hao Jiang Tian, bass
Vladimir Grishko, tenor
Elena Kruglikova, soprano
Ivan Kozlovsky, tenor
Panteleimon Nortsov, baritone
Maxim Mikhailov, bass
Elizaveta Antonova, alto
Joseph Schmidt, tenor
Marina Mescheriakova, soprano
Daniil Shtoda,
Jorma Hynninen, baritone
Marina Domashenko, mezzo-soprano
Soile Isokoski, soprano
Olga Guryakova, soprano
Elena Tsvetkova, mezzo-soprano
Alain Trudel, sackbut
Andrey Dunaev, tenor
Austin Miskell, tenor
Joanne Kolomyjec, soprano
Annamaria Popescu, mezzo-soprano
Recording date: 13 June 1932

Tatiana's Letter Scene - 10:56

Don Carlo

(more info)

Performed by: Victor Orchestra Canadian Opera Company Orchestra RCA Victor Orchestra Belgian Radio and Television Philharmonic Orchestra London Symphony Orchestra Trois-Rivieres Symphony Orchestra Tampere Philharmonic Orchestra Metropolitan Opera Orchestra Rome Opera Orchestra Hungarian State Opera Orchestra Philharmonia Orchestra Royal Philharmonic Orchestra Slovak Radio Symphony Orchestra Royal Swedish Opera Orchestra Berlin State Opera Orchestra Milan La Scala Orchestra Studio orchestra
Composed by: Enrico Caruso Giuseppe Verdi
Conducted by: Gabriele Santini Eri Klas Lawrance Collingwood Gilles Bellemare Carlo Sabajno Lorenzo Molajoli Renato Cellini Nicolas Braithwaite Frieder Weissmann Fausto Cleva Oliver Dohnanyi Michael Halasz Pier Giorgio Morandi Alexander Rahbari Charles Rosekrans Richard Bradshaw Alberto Hold-Garrido David Parry Ivan Anguelov
Antonio Scotti, baritone
Plinio Clabassi, bass
Mattia Battistini, tenor
Hao Jiang Tian, bass
Feodor Chaliapin, bass
Frida Leider, soprano
Tommi Hakala, baritone
Marian Anderson, contralto
Thomas Allen, baritone
Nazzareno de Angelis, bass
Giacomo Aragall, tenor
Miriam Gauci, soprano
Jaakko Ryhanen, bass
Ingrid Tobiasson, mezzo-soprano
Thomas Harper, tenor
Marian Vach, choirmaster
Antonietta Stella,
Philip Tebb, bass
Orietta Moscucci,
Elena Nicolai,
Loretta Di Lelio,
Marina Mescheriakova, soprano
Robert Merrill, baritone
Lado Ataneli, baritone
Lars Cleveman, tenor
Peter Mattei, baritone
Bengt Rundgren, bass
Hillevi Martinpelto, soprano
Iwa Sorenson, soprano
Klas Hedlund, tenor
Martti Wallen, bass
Hilde Leidland, soprano
Tito Gobbi, baritone
Giulio Neri, bass
Blanche Thebom, mezzo-soprano
Boris Christoff, bass
Emil Markow, bass
Ezio Pinza, bass
Gwyn Hughes Jones, tenor
Mariusz Kwiecien, baritone
Meta Seinemeyer, soprano
Jussi Bjorling, tenor
Mario Filippeschi, tenor
Paolo Caroli, tenor
Eduard Tumagian, baritone
Richard Margison, tenor
James Westman, baritone
Gretan Laperriere, baritone
Recording date: April 1925

Don Carlo, Act V: Tu che le vanit� - 10:20

Luisa Miller

(more info)

Performed by: Canadian Opera Company Orchestra London Philharmonic Orchestra Catania Teatro Massimo Bellini Orchestra Philharmonia Orchestra Slovak Radio Symphony Orchestra Europa Symphony
Composed by: Giuseppe Verdi
Conducted by: Jesus Lopez-Cobos Steven Mercurio Michael Halasz Richard Bradshaw David Parry Wolfgang Grohs
Dennis O'Neill, tenor
Clive Bayley, bass-baritone
Thomas Allen, baritone
Marina Mescheriakova, soprano
Brindley Sherratt, bass
Marcello Giordani, tenor
Louis Quilico, baritone
Alastair Miles, bass
Richard Margison, tenor
Recording date: 10-16 December 2001

Luisa Miller, Act II: Tu puniscimi, O Signore - 3:05

Simon Boccanegra

(more info)

Performed by: RCA Victor Orchestra Helsinki Philharmonic Orchestra Rome Opera Orchestra Philharmonia Orchestra Slovak Radio Symphony Orchestra Cologne Radio Orchestra Tokyo Symphony Orchestra
Composed by: Giuseppe Verdi
Conducted by: Gabriele Santini Renato Cellini Michael Halasz Alexander Rahbari Helmut Froschauer Roberto Paternostro David Parry Mikko Franck
Hao Jiang Tian, bass
Leonard Warren, baritone
Marina Mescheriakova, soprano
Stefano Rinaldi-Miliani, bass
Guiseppe Campora, tenor
Victoria de los Angeles, soprano
Tito Gobbi, baritone
Franz Hawlata, bass
Giuseppe Sabbatini, tenor
Mariana Nicolesco, soprano
Boris Christoff, bass
Roberto Scandiuzzi, bass
Renato Bruson, baritone
Soile Isokoski, soprano
Sylvia Bertona, soprano
Paolo Caroli, tenor
Walter Monachesi, bass
Paolo Dari, baritone
Giovanni de Angelis, bass
Saburo Nagasawa, vocals
John Tomlinson, bass

Simon Boccanegra, Act I: Come in quest'ora bruna - 3:48

Norma

(more info)

Performed by: Dallas Symphony Orchestra RAI Symphony Orchestra, Turin New York Metropolitan Opera Orchestra Frankfurt Brandenburg State Orchestra Philharmonia Orchestra Slovak Radio Symphony Orchestra Milan La Scala Orchestra Studio orchestra
Composed by: Vincenzo Bellini
Conducted by: Giulio Setti Carlo Sabajno Vittorio Gui Michael Halasz Tullio Serafin Heribert Beissel David Parry Andrew Litton
Feodor Chaliapin, bass
Ebe Stignani, mezzo-soprano
Francesco Merli, tenor
Gina Cigna, soprano
Vittore Veneziani, choirmaster
Marina Mescheriakova, soprano
Maria Callas, soprano
Nicola Rossi-Lemeni, bass
Tancredi Pasero, bass
Ezio Pinza, bass
Rosa Ponselle, soprano
Mario Filippeschi, tenor
Paolo Caroli, tenor
Rina Cavallari, soprano
Irene Minghini-Cattaneo, mezzo-soprano
Marion Telva, contralto
Giovanni Breviario, tenor
Alastair Miles, bass
Hyun-Ju Park, soprano
Ji-Young Michel, mezzo-soprano
Alessandra Marc, soprano
Recording date: 25 August - 7 September 1937

Norma, Act I: Casta diva - 10:03

Maria Stuarda

(more info)

Performed by: Marchigiana Philharmonic Orchestra Slovak Radio Symphony Orchestra
Composed by: Gaetano Donizetti
Conducted by: Michael Halasz Riccardo Frizza
Simone Alberghini, bass-baritone
Maria Pia Piscitelli,
Marina Mescheriakova, soprano
Laura Polverelli, mezzo-soprano
Mario Cassi, baritone
Roberto de Biasio, tenor
Giovanna Lanza, mezzo-soprano
Recording date: 03 August 2007

Maria Stuarda, Act II: O nube! che lieve per l'aria t'aggiri - 5:48

La Vestale

(more info)

Performed by: Slovak Radio Symphony Orchestra Milan La Scala Orchestra Studio orchestra
Composed by: Gaspare Spontini
Conducted by: Rosario Bourdon Michael Halasz Tullio Serafin
Marina Mescheriakova, soprano
Maria Callas, soprano
Rosa Ponselle, soprano
Recording date: 18 May 1926

La Vestale, Act II: O nume tutelar - 2:46

Ernani

(more info)

Performed by: Canadian Opera Company Orchestra Russian Philharmonia Orchestra Hungarian State Opera Orchestra Slovak Radio Symphony Orchestra Wurttemberg Philharmonic Orchestra San Francisco Symphony Orchestra Studio orchestra Orchestra Internazionale d'Italia Russian Philharmonia Russia Philharmonia Cologne Radio Orchestra
Composed by: Giuseppe Verdi
Conducted by: Lodovico Zocche Rosario Bourdon Mario Bernardi Oliver Dohnanyi Michael Halasz Pier Giorgio Morandi Richard Bradshaw Maurice Abravanel Helmut Froschauer Constantine Orbelian Giuliano Carella
Gary Relyea, bass-baritone
Marina Giorgio, soprano
Diego Cossu, tenor
Sondra Radvanovsky, soprano
Feodor Chaliapin, bass
Dmitri Hvorostovsky, baritone
Daniela Dessi, soprano
Marian Vach, choirmaster
Marina Mescheriakova, soprano
Lado Ataneli, baritone
Franz Hawlata, bass
Paolo Coni, baritone
Riccardo Ristori, baritone
Vincenzo La Scola, tenor
Rosa Ponselle, soprano
Michele Pertusi, bass-baritone
Richard Margison, tenor
Dorothy Warenskjold, soprano
Recording date: 17th January, 1928

Ernani, Act I: Surta e la notte... Ernani, involami - 6:45

Reviews

Be the first to review this title

FREE SHIPPING on orders
of 5 items or more!

Earn Naxos Rewards Points by opening an account and buying your favorite music today! Create your account here.

See all of our great site features here.

Composer(s):
Bellini, Vincenzo; Donizetti, Gaetano; Rachmaninov, Sergei; Spontini, Gaspare; Tchaikovsky, Pyotr Il'yich; Verdi, Giuseppe

Conductor(s):
Halasz, Michael

Orchestra(s):
Slovak Radio Symphony Orchestra

Artist(s):
Mescheriakova, Marina

Label: Naxos Classics
UPC: 747313210923
Item Number: 8557109
Release Date: Jul 1, 2004

Soprano Arias

Gala Concert From St. Petersburg

.................................................................

Mussorgsky, M.: Pictures at an Exhibition (Orchestrations Compiled by L. Slatkin) / Liszt, F.: Piano Concerto No. 1

.................................................................

Mascagni: Cavalleria Rusticana

.................................................................

149

Your name:
Your email:
Friend's Name:
Friend's Email:
Write a personalized message:

Your name:
Rating:
Title:
Review: