1. South Pacific: Some Enchanted Evening (Richard Rodgers)
2. 'Il Turco In Italia': No si da	(Richard Rodgers)
3. La ricordanza		(Vincenzo Bellini)
4. 'Andrea Chenier': Come un bel di di Maggio	(Umberto Giordano)
5. 'Aroldo': Ciel, ch' io respiri!	(Giuseppe Verdi)
6. Ave Maria	(Franz Schubert)
7. 'Germma di Vergy': Eccomi sola alfine	(Gaetano Donizetti)
8. New York Philharmoniker: Dich, teure Halle	(Richard Wagner)
9. Tosca: E lucevan le stele	(Giacomo Puccini)
10. Amor marinaro	(Gaetano Donizetti)
11. 'Aroldo': Ah, dagli scanni	(Giuseppe Verdi)
12. 'Turandot': Nessun dorma!		(Giacomo Puccini)
13. Symphony Orchestra Of The Gran Teatre del Liceu: Pel teu amor (Jose Ribas)
14. 'Poluito': Sfolgoro divino raggio	(Gaetano Donizetti)
15. 'Tristan And Isolde': Mild und leise (Isoldes Liebestod)	(Richard Wagner)
16. Guten Abend, gute Nacht		(Johannes Brahms)

Jose Carreras & Montserrat Caballe - Souvenirs (Sony) is a compilation with Carreras and Caballe as they sing a variety of songs. Hearing Carerras sing in English is terrible as his accent sounds like a beginner. The rest of the compilation is strange mix of composers and songs. It is like they decided we need a compilation album of these artists and then threw together a vast array of styles that do not go that well together. Musical and Wagnerian music is not a good mix. Still it has its moments and on the whole I give it 4 out 5. Recommended. ---Bjorn Viberg, amazon.com

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01.Piscatore e Pusilleco (2)
02.Je te veux
03.E l'uccellino
04.Terra e mare
05.Il segreto delle stelle (Blaues Stemlein)
06.Nel giardin' sotto it tiglio
07.O dolce meraviglia
08.Penso...
09.Lejana tierra mia
10.Ai marguerida
11.In the dawn
12.Chanson de la mariee
13.Serenade Napolitaine
14.Torna!

José Carreras (Tenor)
Lorenzo Bavaj (Piano)
Junge Philharmonie Wien
Michael Lessky  - conductor

At a playing time of just over 35 minutes a CD today has to be something very special to be an attractive proposal. This one isn’t! That may be the reason Sony fails to print the playing-time anywhere on the cover, let alone the timing of individual tracks. It seems to be sufficient that José Carreras is singing. So let’s start there. Carreras is 61. Presumably this disc was recorded during the last year or so – but we are not told. For the last twenty years Carreras has been a less than attractive singer – enthusiastic but coarse. Is he any better here? The surprising answer is that he is – to some degree. It is true that he has lost the steadiness he once had. He is decidedly shaky when the voice is under pressure. The tone is greyed and less pliant.

Still he is impressively nuanced and careful with phrasing and there is quite a lot of sensitive singing. By sheer coincidence I listened to this disc immediately after the 30-year-old recording of Turandot with Caballé. Of course the voice has aged but surprisingly it has retained many of its old qualities. This also, unfortunately, includes a tendency to be over-indulgent. Whenever he sings with feeling and sensitivity he more often than not mars the reading with insensitive shouting. It is very much a case of “Listen! I am still a star tenor!”. Once he was, but he isn’t any more. This recital would have been so much more attractive if he had realized his limitations and given us a disc with more restrained singing of some undoubtedly attractive songs. Quite often he is quite sensitive but too often he mars a seemingly well conceived reading by inserting some gloriously heroic fortissimo notes that are much more heroic than glorious. For a tenor of Carreras’s reputation a regrettable lack of taste is on display.

What we do get is a collection of songs from roughly the Belle Epoque period (1870–1925), some of them rare. This makes it so much more regrettable that Carreras, with all his fame, wasn’t able to be a more enticing advocate.

The Tagliaferri is a nice song, as is the Zemlinsky, neither of which I had encountered before, and Schreker, who is a known quantity as a song-writer, makes a very good impression and has me longing to hear more of him. By and large, though, Carreras manages to ruin the songs by shouting them to death; this in spite of a lot of sensitive singing in between. I just happened to have at hand Nicolai Gedda’s reading of Satie’s Je te veux, which is rarely heard sung by a man. Gedda was exactly the same age as Carreras when he recorded his version, but even though he also tends to be a bit blustery his is a reading of great sensitivity a standard that Carreras is nowhere near.

The booklet has an essay on the period but no texts and the playing time is regrettably short. Maybe we should be grateful for that since Carreras, for all his obvious engagement, is none too successful in conveying his affection for these songs.

No, dear reader, while I feel honestly happy that our hero is still in reasonably healthy voice, this is only for die-hard Carreras freaks and those who must have everything by Carreras; probably the same people. ---Göran Forsling, musicweb-international.com

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01. Solamente una vez, for voice & orchestra
02. día que me quieras (The Day When You Love Me), tango song for voice & orchestra
03. Te Quiero, Dijiste
04. Jurame, song
05. Aquellos ojos verdes (Green Eyes), bolero for voice
06. Quiéreme mucho (Love Me Greatly)
07. Amapola, for voice & orchestra
08. Mattinata (L'aurora di bianco vestita), song for voice & piano
09. Anima e Core
10. Concierto de otono

The Spanish songs recital was recorded in the late 70's with conductor Robin Stapleton (I believe). Carreras's voice back then was a true marvel - honeyed and powerful at the same time. While the title is misleading (Mattinata, if memory serves, was never a Spanish song) this CD contains many beloved classics, such as Solamente Una Vez (sometimes performed in English as "you belong to my heart"), tango El Dia Que Me Quieras, thunderous Amapola, and more. Most songs are performed like opera arias - meaning larger-than-life treatment, except, perhaps, Quireme Mucho, which is a lovely lower-key song that allows Carreras to take advantage of his burnished lower register. For app 40 minutes of spectacular singing look no further. ---Rosomax, amazon.com

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01. Balada
02. Cancion Simple
03. Todo Te Recuerda
04. Por Una Noche
05. Julia
06. Canto Porque Estoy Alegre
07. Un Ballo In Maschera ( No, no... lasciatelo!)
08. La Chanson De L'Adieu                            play
09. Il Guarany (Peri! ... Sento una forza indomita)
10. Plegaria                                         play

José Carreras (właściwie Josep Carreras i Coll; ur. 5 grudnia 1946 w Barcelonie) - hiszpański śpiewak (tenor liryczny), wylansowany przez Montserrat Caballé i Mariana Porębskiego słynnego polskiego tenora dramatycznego. Mając 8 lat wystąpił w radio śpiewając „La Donna e Mobile” z Rigoletto Verdiego. W wieku 11 lat debiutował na scenie Gran Teatre del Liceu w Barcelonie, tam również miał profesjonalny debiut w 1970 w Nabucco Verdiego. W 1971 wystąpił w Londynie z Montserrat Caballé w Marii Stuart Gaetano Donizettiego. Występuje w czołowych teatrach operowych świata i na wielu festiwalach. Wybitne kreacje w operach Giuseppe Verdiego, Giacomo Pucciniego, Ryszarda Straussa i innych. Dokonał licznych nagrań płytowych. W 1987 zachorował na białaczkę, po roku powrócił na scenę. W 1990 wystąpił w koncercie „Trzech tenorów” z Luciano Pavarottim i Plácido Domingo.

Josep Maria Carreras i Coll (born 5 December 1946), better known as José Carreras is a Catalan Spanish tenor particularly known for his performances in the operas of Verdi and Puccini. Born in Barcelona, he made his debut on the opera stage at the age of 11 as Trujamán in Manuel de Falla's El retablo de Maese Pedro and went on to a career that encompassed over 60 roles on the stages of the world's leading opera houses and in the recording studio. He gained fame with a wider audience as one of The Three Tenors along with Plácido Domingo and Luciano Pavarotti in a series of mass concerts that began in 1990 and continued until 2003. Carreras is also known for his humanitarian work as the president of the José Carreras International Leukaemia Foundation (La Fundació Internacional Josep Carreras per a la Lluita contra la Leucèmia), which he established following his own recovery from the disease in 1988.

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1. Concierto de Arajuez: En Aranjuez con tu amor: Second Movement: Adagio
2. Close To Me: Symphony No.3 Op.90 In F Major Third Movement: Poco Allegretto
3. Tristesse: Etude Op.10 No.3 In E Major
4. O Lieb: Come Take My Heart: Liebestraum No.3
5. Adagio: Amore Perduto: Adagio
6. The New World: If Tomorrow Comes: Symphony No.9 Op.95
7. Panis Angelicus
8. Love Is A Melody: Clarinet Concert K.622 In A Major Second Movement: Adagio
9. Cavalleria Rustica: Dreaming Of You: Intermezzo
10. Prince Igor: My Own Little Miracle
11. Pathetique: I Remember You: Piano Sonata No.8 In C Minor Second Mov. Adagio Cantabile
12. Back's Das Wohltemperierte Klavier: Ave Maria
13. The New World: Brave New World: Symphony No.9 Op.95 In E Minor

José Carreras - tenor
London Angel Orchestra
English Consort Singers
John Cameron - Arranger, Conductor, Vocal Arrangement, Executive Musical Director
Michael Reed - conductor

This album is a result of Carreras' wish to be able to sing some of the most beautiful instrumental music in the world. It's really a wonderful idea. I just wish he had had better lyricists.

The English lyricists, unfortunately, aren't always on target here. I feel they have varying success with the lyrics written to this wonderful music. In my opinion the song "Close to me" is one of the better attempts here while "Love is a melody" is not. I read a review of this song somewhere and the reviewer said that it reminded him of a person locked out because of the sentences "Searching in the night, I found the light I found the key" and unfortunately I have to agree with him.

The Spanish song "En Aranjuez con tu amor" (the music written by Joaquin Rodrigo) is my absolute favourite song in this album. I can't comment on the lyrics as I don't speak a single word of Spanish, but the music is really beautiful and no-one sings Spanish like Carreras. I also love the aforementioned "Close to me" where the music is written by Brahms. It's a wonderful and romantic piece of music and when you add the sensual voice of José Carreras it's an absolutely irresistible combination.

Even if I have a few reservations about the English lyrics I find this album to be very good; mostly because of Carreras' ability to make whatever he sings sound as though it comes directly from his heart. (I bet he could even sing my shopping list- which I might add, is not very exciting - with unrivalled passion). I wasn't sure whether to give the album 4 or 5 stars, but have decided to deduct one star, because of the English lyricists. José Carreras on the other hand, deserves 5 stars for doing a wonderful job with these sometimes soppy lyrics. ---PhantomOfTheOpera, amazon.com

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01 Messiah, oratorio, HWV 56- Hallelujah.
02 Panis Angelicus for tenor, organ, harp, cello & double-bass.
03 Pietà, Signore (Agnus Dei), aria di chiesa (spurious, by Niedermeyer or Fétis).
04 Pregária, for voice & piano-orchestra.
05 Deutsche Messe for mixed chorus, wind ensemble & organ, D. 872- Heilig, heilig, heilig.
06 Ave Maria (after Bach).
07 Agnus Dei, (Intermezzo from L'arlésienne Suite No. 2-6, arranged by Ernest Guirard).
08 Sacred Pieces (4), for chorus & orchestra (Quattro pezzi sacri)- Laudi alla vergine Maria.
09 Repentir for voice & piano (or orchestra or organ).
10 Cantata No. 147, 'Herz und Mund und Tat und Leben' BWV 147- Jesus bleibet meine Freude.

Jose Carreras – tenor
Michael G. Gormley – organ
Vienna Boys’Chor
Wiener Symphoniker
Uwe Christian Harrer – conductor

Religious solos and choral pieces front two centuries and at least four countries make Up the ten works on this disc. The Ave Maria of the disc title is Gounod's meditation on Bach's first Prelude from the 48, and its lyrical style is typical of the programme's content. The "Hallelujah" Chorus from Handel's Messiah is the only declamatory item, yet there is as much energy as beauty in the singing throughout by José Carreras and the Vienna Boys Choir (joined by 'old boys' of the Chorus Viennensis in two choruses). Compact Disc quality is excellent and the balance of choir and orchestra in fairly reverberant surroundings is just about right, with the tenor rather closer. -- John Borwick, Gramophone [8/1984], arkivmusic.com

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1 'Na Sera 'E Maggio 	4:15
2 Herido De Amor 	4:52
3 La Chanson Des Vieux Amants 	4:12
4 La Joia 	3:27
5 Pomba Branca 	4:02
6 Passione 	4:03
7 Mon Enfance 	5:32
8 Un Núvol Blanc 	5:05
9 Mandulinata A Napule 	5:26
10 Haja O Que Houver 	4:10
11 Amor Particular 	5:59

Jose Carreras - tenor
The Galaxy Symphonic Orchestra
Christian Kolonovits – conductor

Jose Carreras has left his mark on musical culture with his incomparable voice. On ENERGIA, he revisits his cultural roots, tapping into the music and energy that inspired the music of his Mediterranean homeland. The album-and companion DVD-features songs in languages that Carreras is especially fond of. The songs come from Portugal, Italy, France, Spain, and above all, Catalonia, where he was born.

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1.Stille Nacht - Silent Night
2.O Holy Night - Cantique De Noel
3.Guten Abend, Gute Nacht
4.Ave Verum
5.Ave Maria
6.Joy To The World - El Cant Tels Ocells - Mary's Boy Child
7.Adest Fideles
8.Mille Cherubini
9.While Christmas
10.Jingle Bells
11.It's Christmas Time This Year
12.Navidad

José Carreras – Vocals
Kiennast – Keyboards
Choir [Members Of] Vienna State Opera

It's not easy getting hold of this cd, but if you happen to find it somewhere hold on to it with your life!!! I just received the cd in the mail today after waiting for 3 months, but I can tell you it was more than worth the wait. And now I'm looking forward till Christmas when this cd no doubt will be played 24/7. I've already played it a dozen times even if Christmas is still another 3 months away and I've managed to pick some favourites.

In my opinion this is a "well balanced" Christmas album with traditional songs as well as those more popular. Of course, it is a matter of taste, but I'm just so fed up of those Christmas songs I heard another reviewer refer to as "Grandma-got-run-over-by-a-reindeer" type of songs and I was looking for an album that could bring forth that long lost Christmas spirit. And now I've found it. Thank you, Josep.

It was recorded in 1985/-86 and José's voice sounds heavenly, rich and honeyed with a wonderful ringing top. I can also add warm and sensual and spine-tingling! (The more reviews I'm writing the harder it gets describing his voice without repeating myself.) In my opinion some of the finest tracks on this disc are "Ave Maria", "Mille Cherubini", "Once again it's Christmas time" and "Navidad".

"Mille Cherubini" is sung with all the ardour and passion we're so used to coming from him and I think it's his finest rendition of this song ever. The same goes for "Ave Maria". "Navidad" is a really beautiful Spanish song. It's obvious that he feels at home in songs like this. No one sings Spanish like Carreras and it doesn't matter that I don't understand what he's singing. He's still giving me goose-flesh all over....

I suspect that this album will not be a Christmas album only. I don't think I have the willpower to let the album sit in the shelf for 11 months a year. My neighbours will probably think I've gone ga-ga when they hear "once again it's Christmas time this year" or "Jingle Bells" in September or July, but who cares? Merry Christmas Josep! ---PhantomOfTheOpera, amazon.com

download (mp3 @320 kbs):

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(01) Ernesto de Curtis - Torna A Surriento 4:28
(02) Vincenzo Bellini - Fenesta Che Lucive 3:35
(03) Giacomo Puccini - E Lucevan Le Stelle (Tosca) 3:16
(04) M. Steiner - My Own True Love (Gone With The Wind) 3:42
(05) Giacomo Puccini - Nessun Dorma (Turandot) 3:01				play
(06) Ernesto de Curtis - Non Ti Scordar Di Me 3:17
(07) Gaetano Donizetti - Una Furtiva Lagrima 4:53				play
(08) Agustin Lara - Granada 3:59
(09) Salvatore Cardillo - Core 'ngrato 3:13
(10) Giacomo Puccini - Che Gelida Manina (La Boheme) 4:49
(11) S. Fain - Love Is A Many Splendoured Thing 3:22
(12) Jules Massenet - Pourquoi Me Reveiller 2:50
(13) Andrew Lloyd Webber - Memory (Werther) 4:19
(14) Ruggero Leoncavallo - Mattinata 2:16
(15) Charles Gounod- Ave Maria 2:46
(16) Leonard Bernstein - Tonight (West Side Story) 2:34
(17) Gaetano Donizetti - Tu Che A Dio Spiegasti L'ali - Finale (Lucia Di Lammermoor) 5:10

José Carreras - tenor

Carreras was born in Barcelona, Spain, and exhibited musical talent from a young age. At age eight, he also gave his first public performance, singing La Donna e Mobile on Spanish national radio. At eleven, he appeared at the Liceu as a boy soprano in the role of the narrator in Falla’s El retablo de Maese Pedro and an urchin in the second act of La bohème.

In his teens, Carreras studied at the Conservatori Superior de Música del Liceu. He made his debut at the Liceu as Flavio in Norma, coming to the attention of the famous soprano Montserrat Caballé, who sang the title role. She invited him to sing in a production of Donizetti’s Lucrezia Borgia, his first major breakthrough.

Carreras also sang with Caballé in his 1971 London stage debut at age 24, a concert performance of Maria Stuarda. In subsequent years, the two singers sang in more than fifteen different operas together.

In 1972, he made his American debut as Pinkerton in Madame Butterfly. In 1974, he made his debut at the Vienna State Opera as the Duke of Mantua, as Alfredo in La Traviata at the Royal Opera House and as Cavaradossi in Tosca at the Metropolitan Opera. The following year, Carreras made his debut at La Scala as Riccardo in Un Ballo in Maschera. By the age of 28, Carreras had sung the lead tenor in twenty-four different operas. During the 1970s, Carreras’s collaborations with fiery Hungarian soprano Sylvia Sass - both on stage and in the recording studio - were among the highlights of his amazing career. ---last.fm

José Carreras (właściwie Josep Carreras i Coll; ur. 5 grudnia 1946 w Barcelonie ) - hiszpański śpiewak (tenor liryczny), wylansowany przez Montserrat Caballe i Mariana Porębskego słynnego polskiego tenora dramatycznego.

W jego rodzinie nie było tradycji muzycznych. Ojciec był nauczycielem języka francuskiego i – gdy musiał zrezygnować z powodów politycznych – policjantem drogowym, a matka fryzjerką. Operą zainteresowała się w wieku 6 lat, po obejrzeniu filmu Wielki Caruso z Mario Lanzą. Publicznie wystąpił po raz pierwszy w Radio National d’Espana w ósmym roku życia, śpiewając katalońską kolędę oraz arię La donna é mobile. W jedenastym roku życia zadebiutował na scenie Gran Teatre del Liceu w Barcelonie, w Kukiełkach mistrza Piotra Manuela de Falli pod dyrekcją J. Iturbi. Również wtedy rozpoczął edukację muzyczną. Właściwą naukę śpiewania zaczął w 1964 roku u Francisca Puiga (nauczyciela Jaime Aragalla) oraz u Juana Ruaxa – nauczyciela amatora, z zawodu technika dentystycznego. Jego właściwy debiut odbył się w styczniu 1970 roku (miał 23 lata) na scenie operowej w rodzinnym mieście, gdzie wystąpił w roli Flavia w Normie Belliniego. Kolejna rola była już rolą główną, śpiewał Gennara w Lukrecji Borgii G. Donizettiego, gdzie wystąpił razem z M. Caballé. Z tą wielką sopranistką pozostaje do dziś w przyjaźni i jest ona jego ulubioną partnerką w operach i koncertach.

W 1971 roku wygrał prestiżowy Festiwal G. Verdiego w Parmie. Od tej chwili jego kariera potoczyła się błyskawicznie i w krótkim czasie zadebiutował na wszystkich ważniejszych scenach operowych, które podbił do 29 roku życia swoim głosem, interpretacją i urokiem. ---last.fm

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1. With a song in my Heat
Richard Rodgers (1902 – 1979)
2. Because you’re mine
Nicholas Brodszky (1905 - 1958)
3. L'ultima canzone
Francesco Paolo Tosti (1846 – 1916)
4. Pour un baiser
Francesco Paolo Tosti (1846 – 1916)
5. Veni sul mar
Anonymous
6. Intermezzo - Cavalleria Rusticana
Ruggero Leoncavallo (1857 - 1919)
7. Marechiare
Francesco Paolo Tosti (1846 – 1916)
8. Musica Proibita
Martino Stanislao Luigi Gastaldon (1861 – 1939)
9. Una furtiva lagrima
Donizetti "L'Elisir D'Amore"
10. Mario Lanza Medley
arranger by C.Palmer
11. Serenade
Sigmund Romberg (1887 – 1951)
8. Beloved
Nicholas Brodszky (1905 - 1958)
16. Be my love
Nicholas Brodszky (1905 - 1958)
17. Core 'ngrato
Salvatore Cardillo (1874 – 1947)
18. Tu ca num chiagne!
Ernesto De Curtis (1875 - 1937)
19. Granada
Agustin Lara (1897 – 1970)
20. Because
Guy d'Hardelot (1858 – 1936)
21. Torna a Surriento
Ernesto De Curtis (1875 - 1937)

Jose Carreras - tenor
BBC Concert Orchestra
Englich Concert Chorus
Conducted by Enrique Ricci
Royal Albert Hall – London, 1994

In this 1994 concert from London's Royal Albert Hall, Jose Carreras pays tribute to tenor Mario Lanza. It was Lanza who first introduced Carreras to opera via the 1951 movie The Great Caruso, and this concert was one of a series of Lanza tributes that Carreras performed throughout 1994.

With the exception of Carreras' perennial concert favourite, Tosti's L'Ultima Canzone, all of the numbers performed here were associated with Lanza. Unfortunately for Carreras, the comparisons that his interpretations invite do not always favour him. He sounds strained at times, and the high notes in demanding pieces such as The Student Prince Serenade are a struggle. At other times, he opts out of the high notes altogether (eg Be My Love), or uses lower keys (Beloved, Granada). He also - unwisely, I feel - lets the orchestra take over at moments when he would normally be singing. In Musica Proibita, for instance, he begins the phrase "Vorrei baciar i tuoi capelli neri", but stops after "baciar", presumably to regroup his vocal resources.

And therein lies the problem. Carreras simply does not have the vocal energy to sing some of the numbers in this concert. Had he performed this concert, say, 10 years earlier (before the onset of his health and vocal problems), he could have done justice to his idol. Having said that, there is still much to enjoy in the less demanding numbers, and the superimposed images of Lanza singing the same songs (and skillfully timed to match Carreras' own singing) are a real treat. Carreras' middle register is rich and satisfying, and he is never less than committed in his singing.

There is also no doubting Carreras' sincerity in performing this tribute, as the brief interview snippets make abundantly clear.

For a vocally more secure performance from the same period, I highly recommend Carreras' video of Verdi's little-known Stiffelio, filmed at Covent Garden in 1993. ---DJ McGovern, amazon.com

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