Tian, Hao Jiang: Operatic Arias for Bass
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Operatic Arias sung by Hao Jiang Tian The Beijing-born bass Hao Jiang Tian has long made a habit of challenging expectations. First there is his...
Operatic Arias sung by Hao Jiang Tian
The Beijing-born bass Hao Jiang Tian has long made a habit
of challenging expectations. First there is his distinctive operatic career,
which he has carved not merely in orientalist backdrops like Puccini's Turandot
but in the squarely Eurocentric landscapes of Verdi and Rossini. Then there's
his upbringing during the Cultural Revolution, which he neither hides nor
downplays but partly credits for shaping his subsequent path.
'Growing up, I hated music', he admits, explaining that
European repertoire was inextricable from the piano lessons he endured at the
behest of his conductor father and composer mother, both musicians with the
People's Liberation Army. The sound on the street was propaganda, not art, and
when all western music became banned, the twelve-year-old Tian happily joined
in the national efforts by destroying his parents' prized record collection.
When the family was later forced to move from Beijing for political 're-education', the boy discovered a recording that had escaped his
earlier wrath. It was Beethoven's Sixth Symphony, the last piece his
father had conducted in public. 'He was silent for a minute', Tian recalls. 'Then
he said, "Let's play" -- very softly, of course, because it was
dangerous. He began to tell me for the first time what the music was all about,
and little by little I saw this severe man shine with a natural beauty in his
eyes. I thought, any music that could change my father like this must be very
powerful'.
For the next decade, however, the young convert's education
in western culture was sporadic at best. Although he subsequently learned to
improvise on the piano (a skill that would earn him money at a Denver piano bar
after moving to the United States to study in the mid-1980s), his clandestine
study of western culture was from stolen, forbidden books. Assigned to a
factory manufacturing heavy machinery, Tian held hushed, if passionate,
discussions with like-minded co-workers. 'I remember I nearly killed a man', he
says with an embarrassed smile. 'I thought the story of La Traviata was
one of the most beautiful things I'd ever read, and he called Violetta a whore'.
After the Cultural Revolution, Tian's climb onto the operatic
stage began with two fortuitous steps: first, his acceptance into the
re-inaugural class of Beijing's newly reopened Central Conservatory, and
second, his studies with the Italian baritone Gino Bechi, the first western opera
star invited to teach in China. Tian, who had never seen a western opera,
auditioned with a Schubert Lied, much to Bechi's chagrin. 'He said I had
a nice voice, but he could only help me if I wanted to sing opera. I had no idea
what that meant, but I said, "Yes, Maestro, I want to be an opera singer"'.
Now a veteran of the world's most prominent opera stages,
Tian has established a particularly close relationship with New York's
Metropolitan Opera, where he has appeared every season since 1991. From his Met
debut as Billy Jackrabbit in La fanciulla del West ('I guess they
thought I looked like an Indian', he laughs), Tian has worked his way through
the company into such major rôles as Oroveso in Norma, Walter in Luisa
Miller and Raimondo in Lucia di Lammermoor. Virtually from the start
of his career, however, Tian has been cast in major rôles in European
companies.
'There are many fine singers in China, but because it is not
our culture, singing western opera is probably the most difficult job we could
undertake', he says. It is a particular testament to Tian's success that, of
the nearly fifty rôles in his repertoire, he has often been the first Chinese
performer ever to embody a particular character. 'I have chosen the arias for
this recording because they are very meaningful to me personally and professionally',
he says. 'They are my life and blood'.
Nabucco:
Tu sul labbro dei veggenti
Singing this aria,
where Zaccaria prays for the ability to convert the Assyrians, Tian envisions
not Verdi's palatial setting but the backstage of the Met ('for young singers,
a luxurious setting of another kind', he says), where he initially learned the
rôle.
Les vêpres siciliennes:
Et toi, Palerme
Here Tian sings
Procida's patriotic Act III aria in French, paying homage to its première at
the Paris Opera as well as the composer's original melodic and dramatic conceptions.
The rôle became Tian's debut at Amsterdam's Concertgebouw.
Jerusalem:
Grace mon Dieu!
An earlier Paris
Opera première, Jerusalem never managed to channel its initial success
into momentum abroad - even in Italy, where it remains one of Verdi's least-heard
works. It did, however, serve as Tian's Italian debut at Genoa's Teatro Carlo
Felice, where the newspaper Il Secolo XIX cited the singer's 'rare
musical intelligence' and 'vocal timbre of enthralling solidity'.
Macbeth:
Come dal ciel precipita
In opera, basses
rarely get the girl, but in Verdi they do generally get fully fleshed out
supporting rôles, such as Banquo, which Tian has performed in locations as far flung
as Hong Kong and Malta. This aria from Act II, where Banquo cautions his son,
skilfully weaves a suspenseful atmosphere that mirrors the character's own secrets.
Simon Boccanegra:
Il lacerato spirito
Tian first learned
this aria, in which the patrician Fiesco grieves over the death of his
daughter, with Carlo Bergonzi in Verdi's hometown of Busseto after winning the
1988 Bel Canto Foundation Voice Competition. This auspicious immersion in the
composer's world presaged Tian's own musical future. 'We had lessons in Verdi's
study, with Verdi's own piano in the room', he recalls. 'How could I not feel
the composer watching over my shoulder?'
Don Carlos:
Ella giammai m'amo
This moment from
Act IV, when Filippo realizes his young bride's heart lies elsewhere, was the
first aria that Tian learned for Gino Bechi at the Central Conservatory. 'He warned
me it was extremely difficult, but he hoped that someday I would sing this rôle'.
Nearly twenty years later, in Genoa, Tian became the first Asian singer to
perform the rôle in Italy.
Eugene Onegin:
Lyubvi vse vozrasty pokorny
Tian's affinity for
Prince Gremin traces back to Pushkin, whose original poetic masterpiece was a prized,
if prohibited, possession during the Cultural Revolution. In preparing the rôle
some thirty years later, Tian faced a rush of memories. 'The descriptive power was
marvellous', he exclaims. 'At that time when we saw only red and green - I mean
the colour of revolution and army uniforms - Onegin opened an entirely
new world of colour'.
Il barbiere di Sivigla:
La calunnia
It is one thing to
summon vocal power; it is quite another to master comic lightness. 'Onstage I
am always old and sad, or either killing someone or being killed', says Tian. 'It's
nice to sing a comic rôle for a change'. Performing Don Basilio, a rôle
requiring both verbal and musical deftness, was particularly gratifying for him
in his debut at Florence's Teatro Comunale.
La Sonnambula:
Vi ravviso, o luoghi ameni
Explaining its
rarity on recordings, Tian cites this aria as one of the most difficult in the
repertory. Its inclusion here, however, is hardly mere bravado, having studied the
piece with both Carlo Bergonzi and Gino Bechi, Tian includes it in their
honour.
Faust:
Vous qui faites l'endormie
Gounod's
Mephistophelès, a devilish gift to bass singers everywhere, has become
predictably generous to Tian, with numerous appearances including his Latin American
debut in the rôle at Buenos Aires's Teatro Colon. 'The character is extremely
compelling', he says. 'Not being human, he stands apart and sees the world very
clearly. Playing Mephistophelès makes me feel I know human beings a little
better'.
Le Cid:
Il a fait noblement ce que l'honneur conseille
Of Tian's career
thus far, a particular highlight has been a nationally televised production of
this Massenet rarity with the Washington National Opera, featuring the
lang=PT-BR company's general
director, Placido Domingo. 'I play
Domingo's father, but in real life it has been just the opposite',
says Tian, whose Met debut featured the legendary tenor. 'In all the
productions we have sung together, he has been a most supportive colleague and mentor'.
La Gioconda:
Ombre di mia prosapia
With few live
productions of Ponchielli's opera today, this aria's rarity on recording comes
as no surprise, but Tian, largely inspired by Domingo's reputation for
championing neglected works, has cast his eye on the rôle of Alvise. 'When
people ask me what rôles I'd like to play', he says, 'I tell them I wish to
bring this to the stage'.
Ken Smith
Nabucco (more info)
Performed by:
Polish National Opera Orchestra
Canadian Opera Company Orchestra
Russian Philharmonia Orchestra
Hungarian State Opera Orchestra
Slovak Radio Symphony Orchestra
Milan La Scala Orchestra
RAI Symphony Orchestra, Rome
Europa Symphony
Linz Bruckner Orchestra
Russian Philharmonia
Cologne Radio Orchestra
Tokyo Symphony Orchestra
Composed by:
Giuseppe Verdi
Arturo Toscanini
Conducted by:
Jacek Kaspszyk
Oliviero De Fabritiis
Daniel Oren
Lorenzo Molajoli
Mario Bernardi
Oliver Dohnanyi
Pier Giorgio Morandi
Alexander Rahbari
Richard Bradshaw
Helmut Froschauer
Ivan Anguelov
Wolfgang Grohs
Bernhard Klee
Masatoshi Uehara, tenor
Taemi Kohama, soprano
Maria Guleghina, soprano
Hao Jiang Tian, bass
Carlo Striuli, bass
Ferruccio Furlanetto,
Nazzareno de Angelis, bass
Dmitri Hvorostovsky, baritone
Marian Vach, choirmaster
Lado Ataneli, baritone
Maria Callas, soprano
Franz Hawlata, bass
Fabio Armiliato, tenor
Renato Bruson, baritone
Elena Zaremba, mezzo-soprano
Recording date: 27 March - 1 April 1990
-
Nabucco, Act I Scene 3: Tu sul labbro dei veggenti - 5:07
I vespri siciliani (more info)
Performed by:
Hungarian State Opera Orchestra
Philharmonia Orchestra
Slovak Radio Symphony Orchestra
Wurttemberg Philharmonic Orchestra
Berlin State Opera Orchestra
Europa Symphony
Russia Philharmonia
Cologne Radio Orchestra
Composed by:
Giuseppe Verdi
Pietro Mascagni
Conducted by:
Lodovico Zocche
Pier Giorgio Morandi
Alexander Rahbari
Tullio Serafin
Johannes Wildner
Bruno Seidler-Winkler
Helmut Froschauer
Constantine Orbelian
David Parry
Wolfgang Grohs
Sondra Radvanovsky, soprano
Miliza Korjus, soprano
Hao Jiang Tian, bass
Igor Morozov, baritone
Lado Ataneli, baritone
Janez Lotric, tenor
Maria Callas, soprano
Franz Hawlata, bass
Rosa Ponselle, soprano
Alastair Miles, bass
Recording date: 15-24 February 1994
-
Les vepres siciliennes, Act II: Et toi, Palerme - 7:08
Jerusalem (more info)
-
Jerusalem, Act II: Grace mon Dieu! - 5:08
Macbeth (more info)
Performed by:
Victor Orchestra
Canadian Opera Company Orchestra
Marchigiana Philharmonic Orchestra
Edmonton Symphony Orchestra
Calgary Philharmonic Orchestra
Philharmonia Orchestra
Slovak Radio Symphony Orchestra
Stuttgart State Orchestra
Europa Symphony
Sofia Philharmonic Orchestra
Cologne Radio Orchestra
Composed by:
Emil Tabakov
Enrico Caruso
Giuseppe Verdi
Conducted by:
Walter B. Rogers
Mario Bernardi
Oliver Dohnanyi
Michael Halasz
Alexander Rahbari
Uri Mayer
Richard Bradshaw
Daniele Callegari
Lothar Zagrosek
Helmut Froschauer
David Parry
Ivan Anguelov
Wolfgang Grohs
Hao Jiang Tian, bass
Thomas Allen, baritone
Thomas Harper, tenor
Marian Vach, choirmaster
Lado Ataneli, baritone
Franz Hawlata, bass
Giuseppe Altomare, baritone
Rubens Pelizzari, tenor
Luca Dall'Amico, bass-baritone
Louis Quilico, baritone
Carlos Alvarez, baritone
Olha Zhuravel, soprano
Pavel Kudinov, bass
Marco Voleri, tenor
William Corro, bass
Andrea Pistolesi, bass
Michele Pertusi, bass-baritone
Allan Monk, baritone
Recording date: 2-5 August 2007
-
Macbeth, Act II: Come dal ciel precipita - 3:56
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, Prologue: Il lacerato spirito - 4:10
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 Carlos, Act IV: Ella giammai m’amo - 8:24
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
-
Eugene Onegin, Act III Scene 1: Lyubvi vse vozrasty pokorny - 5:41
Il barbiere di Siviglia (The Barber of Seville) (more info)
Performed by:
Latvian National Symphony Orchestra
Victor Orchestra
Canadian Opera Company Orchestra
Budapest Failoni Chamber Orchestra
New York Metropolitan Opera Orchestra
Frankfurt Brandenburg State Orchestra
Calgary Philharmonic Orchestra
London Philharmonic Orchestra
Rome Opera Orchestra
Hungarian State Opera Orchestra
Philharmonia Orchestra
Royal Philharmonic Orchestra
Slovak Radio Symphony Orchestra
Wurttemberg Philharmonic Orchestra
Berlin State Opera Orchestra
New York Philharmonic Symphony Orchestra
Milan La Scala Orchestra
Dresden Staatskapelle
Studio orchestra
English National Opera Orchestra
Torino Teatro Regio Orchestra
RAI Symphony Orchestra, Milan
Metropolitan Orchestra
Composed by:
Pietro Cimara
Lawrence Tibbett
Nathaniel Shilkret
Pietro Mascagni
Gioachino Rossini
Arturo Toscanini
Conducted by:
Lodovico Zocche
Josef A. Pasternack
Will Humburg
Bruno Campanella
Rudolf Kempe
Alberto Erede
Lorenzo Molajoli
Rosario Bourdon
Mario Bernardi
Gabriele Bellini
Michael Halasz
Pier Giorgio Morandi
Alexander Rahbari
Tullio Serafin
Percy Pitt
Richard Bradshaw
Heribert Beissel
Vincenzo Bellezza
David Parry
Alexandrs Vilumanis
Bruno Pola, baritone
Paolo Montarsolo, bass
Alberto Carusi, baritone
John McCormack, tenor
Nicoletta Curiel,
Aaron St. Clair Nicholson, baritone
Elina Garanca, soprano
Friedemann Rohlig, bass
Hao Jiang Tian, bass
Luciana Serra,
Arno Schellenberg, baritone
Feodor Chaliapin, bass
Richard Tauber, tenor
Luisa Tetrazzini, soprano
Thomas Allen, baritone
Nazzareno de Angelis, bass
Titta Ruffo, baritone
Maria Bayo, soprano
Tito Schipa, tenor
Benno Ziegler, baritone
Sonia Ganassi, mezzo-soprano
Franco de Grandis, bass
Jennie Tourel, mezzo-soprano
Studio pianist, piano
Alan Opie, baritone
Ingrid Kertesi, soprano
Bruce Ford, tenor
Andrew Shore, bass
Robert Merrill, baritone
Della Jones, mezzo-soprano
Lado Ataneli, baritone
Risto Lauriala, piano
Kazmer Sarkany, baritone
Laszlo Orban, baritone
Ferenc Korpas, bass
Maria Callas, soprano
Tito Gobbi, baritone
Ewa Podles, contralto
Mario Sammarco, baritone
Angelo Romero, bass
Michael Schade, tenor
Roberto Servile, baritone
Rockwell Blake, tenor
Enzo Dara, bass
Alain Trudel, sackbut
Ramon Vargas, tenor
Marion Talley, soprano
Rinaldo Alessandrini, harpsichord
Allan Monk, baritone
Aurelio Faedda, bass
Russell Braun, baritone
Recording date: 1911
-
Il barbiere di Siviglia, Act I Scene 12: La calunnia - 4:41
La sonnambula (more info)
Performed by:
Piacenza Symphony Orchestra
Slovak Radio Symphony Orchestra
Netherlands Radio Chamber Orchestra
Milan La Scala Orchestra
Studio orchestra
Sofia Symphony Orchestra
Composed by:
Vincenzo Bellini
Conducted by:
Marcello Viotti
Will Humburg
Carlo Sabajno
Rosario Bourdon
Alexander Rahbari
Alberto Zedda
Antonino Votto
Michail Angelov
Luca Canonici, tenor
Elisabetta Battaglia, soprano
Laura Musella, mezzo-soprano
Alexandrina Pendatchanska, soprano
Nicola Monti, tenor
Hao Jiang Tian, bass
Fiorenza Cossotto, mezzo-soprano
Giuseppe Riva, bass
Feodor Chaliapin, bass
Francesco Ellero d' Artegna, bass
Lina Pagliughi, soprano
Raul Gimenez, tenor
Toti Dal Monte, soprano
Tito Schipa, tenor
Alexandra Papadjiakou, mezzo-soprano
Dilber, soprano
Nanco de Vries, bass
Ioan Micu, tenor
Mariella Devia, soprano
Nicola Zaccaria, bass
Franco Ricciardi,
Amelita Galli-Curci, soprano
Maria Callas, soprano
Eugenia Ratti,
Alessandro Verducci,
Giuseppe Morresi, bass
Luba Orgonasova, soprano
Marion Talley, soprano
Alfred Lennartz, cello
-
La Sonnambula, Act I Scene 1: Vi ravviso, o luoghi ameni - 2:57
Faust (more info)
Performed by:
Victor Orchestra
Vienna Philharmonic Orchestra
Canadian Opera Company Orchestra
Laval Symphony Orchestra
Stockholm Symphony Orchestra
New Symphony Orchestra
Munich Radio Orchestra
New York Metropolitan Opera Orchestra
Helsinki Philharmonic Orchestra
Trois-Rivieres Symphony Orchestra
Tampere Philharmonic Orchestra
Georg Szell Orchestra
Berlin City Opera Orchestra
London Philharmonic Orchestra
Danish Radio Sinfonietta
Quebec Symphony Orchestra
Eugene Goossens Orchestra
Philharmonia Orchestra
Royal Philharmonic Orchestra
Slovak Radio Symphony Orchestra
Studio orchestra
Paris Opera Orchestra
Sofia Philharmonic Orchestra
Russian Philharmonia
Russia Philharmonia
Metropolitan Orchestra
Cologne West German Radio Orchestra
Sofia Symphony Orchestra
Composed by:
Eugene Goossens
Emil Tabakov
Lawrence Tibbett
Enrico Caruso
Alfred Newman
Charles-Francois Gounod
Henri Busser
Conducted by:
Josef A. Pasternack
Julius Rudel
Eri Klas
Gilles Bellemare
Felix Prohaska
Walter B. Rogers
Simon Streatfeild
Selmar Meyrowitz
Jacques Lacombe
Fausto Cleva
Nils Grevillius
Ondrej Lenard
Alexander Rahbari
Charles Rosekrans
Richard Bradshaw
Thomas Beecham
Helmut Froschauer
Constantine Orbelian
David Parry
Mikko Franck
Eugune Kohn
Michail Angelov
Manon Feubel, soprano
Andreas Post, tenor
Wilfrid Pelletier, narrator
John McCormack, tenor
Nellie Melba, soprano
Antonio Scotti, baritone
Dorothy Kirsten, soprano
Alexandrina Pendatchanska, soprano
Etienne Dupuis, baritone
Maria Cebotari, soprano
Michael Bohnen, baritone
Hao Jiang Tian, bass
Georges Nore, tenor
Roger Rico, baritone
Roger Bourdin, baritone
Beniamino Gigli, tenor
Feodor Chaliapin, bass
Elisabeth Schumann, soprano
Leonard Warren, baritone
Tommi Hakala, baritone
Marcel Journet, bass
Richard Crooks, tenor
Peter Dvorsky, tenor
Thomas Allen, baritone
Samuel Ramey, bass
Landon Ronald, piano
Richard Bonelli, baritone
Maria Zamboni, soprano
Michael Cozette, baritone
Dmitri Hvorostovsky, baritone
Helen Jepson, soprano
George Szell,
Brett Polegato, baritone
Thelma Votipka, mezzo-soprano
Franz Hawlata, bass
Ezio Pinza, bass
Lyne Fortin, soprano
Indra Thomas, soprano
Matthew Polenzani, tenor
Valerian Ruminski, bass
Mario Sammarco, baritone
Soile Isokoski, soprano
Olga Guryakova, soprano
Jussi Bjorling, tenor
Earl Covert, vocals
Zaruhi Elmassion, vocals
Renata Tebaldi, soprano
Alain Trudel, sackbut
Tatjana Dravenau, piano
Diana Montague, mezzo-soprano
Anne Bollinger, soprano
Cesare Siepi, bass
Frank Guarrera, baritone
Lawrence Davidson, baritone
Michele Pertusi, bass-baritone
Richard Margison, tenor
Garden Farara, soprano
Gabrielle Gilibert, mezzo-soprano
Geraldine Farrar, soprano
Inga Nielsen, soprano
Gretan Laperriere, baritone
Recording date: November 1947 - June 1948
-
Faust, Act III: Vous qui faites l’endormie - 2:46
Le Cid (more info)
-
Le Cid, Act IV: Il a fait noblement ce que l’honneur conseille - 5:07
La Gioconda (more info)
Performed by:
Canadian Opera Company Orchestra
Rosario Bourdon Orchestra
Stockholm Symphony Orchestra
RCA Victor Orchestra
RAI Symphony Orchestra, Turin
London Philharmonic Orchestra
Los Angeles Philharmonic Orchestra
Slovak Radio Symphony Orchestra
Milan La Scala Orchestra
Studio orchestra
Russia Philharmonia
Composed by:
Enrico Caruso
Amilcare Ponchielli
Conducted by:
Josef A. Pasternack
Pietro Cimini
Lorenzo Molajoli
Rosario Bourdon
Renato Cellini
Nils Grevillius
Michael Halasz
Ondrej Lenard
Alexander Rahbari
Percy Pitt
Richard Bradshaw
Antonino Votto
Constantine Orbelian
David Parry
Ivan Anguelov
John McCormack, tenor
Dennis O'Neill, tenor
Hao Jiang Tian, bass
Beniamino Gigli, tenor
Giannina Arangi-Lombardi, soprano
Ebe Stignani, mezzo-soprano
Camilla Rota, mezzo-soprano
Fedora Barbieri, mezzo-soprano
Titta Ruffo, baritone
Giacomo Aragall, tenor
Thomas Harper, tenor
Giuseppe de Luca, baritone
Dusolina Giannini, soprano
Elvira Casazza, mezzo-soprano
Dario Zani, baritone
Della Jones, mezzo-soprano
Lado Ataneli, baritone
Salvatore Cottone, piano
Maria Callas, soprano
Maria Amandini, contralto
Gianni Poggi, tenor
Paolo Silveri, baritone
Giulio Neri, bass
Armando Benzi, tenor
Piero Poldi, bass
Marina Domashenko, mezzo-soprano
Rosa Ponselle, soprano
Mario Sammarco, baritone
Jussi Bjorling, tenor
Eduard Tumagian, baritone
Richard Margison, tenor
Recording date: September 1931
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La Gioconda, Act III: Ombre di mia prosapia - 4:33