CD 1

Vincenzo Bellini - I Capuleti E I Montecchi

01. Ma Gia Ver Noi S'Avvia... (Capellio, Partigiani)
02. Lieto Del Dolce Incarco - Scène (Romeo-Tebaldo-Capellio-Les Capulet)
03. Se Romeo T'Uccise Un Figlio (Romeo)
04. La Tremenda Ultrice Spada - Cabaletta (Romeo-Capellio-Tebaldo-Les Capulet)
05. Ah! Mia Giulietta (Romeo, Giulietta, Lorenzo)
06. Si, Fuggire, A Noi Non Resta - Duetto début (Giulietta-Romeo)
07. Ah, Crudel, D'Onor Ragioni (Romeo, Giulietta)
08. Odi Tu?L'Altar Funesto - Duetto suite (Romeo-Giulietta)
09. Vieni, Ah, Vieni, In Me Riposa - Duetto fin (Romeo-Giulietta)
10. Lieta Notte Avventurosa - Coro (Les Capulet)
11. Deh! Per Pieta, T'Arresta - Scena (Lorenzo-Romeo-Les Capulet)
12. Tace Il Fragor - Recitativo (Giulietta)
13. Io Te Lo Chiedo (Romeo, Capuleti, Giulietta, Capellio)
14. Che Miro? - Finale I (Tebaldo-Lorenzo-Giulietta-Romeo-Capellio)
15. Soccorso, Sostegno Accordagli... - Finale I (Giulietta-Romeo-Tebaldo-Capellio-Lorenzo)
16. Accoriam...Romeo! Romeo! - Finale I (Les Montaigu-Tebaldo-Capellio-Romeo-Giulietta)
17. Se Ogni Speme E A Noi Rapita - Finale I (Giulietta-Romeo-Tebaldo-Capellio-Les Capulet-Lorenzo)

Romeo - Marilyn Horne
Giulietta - Patricia Brooks
Capellio - Saverio Barbieri
Tebaldo - Philip Cho
Lorenzo - Richard Anderson
New Jersey Symphony
Conductor: Henry Lewis
New York, Cargenie Hall, November 10, 1971


Nicola Vaccai - Giulietta E Romeo

18. Addio, Addio, Per Sempre, O Vergine (sc.2, Choeur)
19. E Questa Il Loco (sc.3, Romeo)
20. Ma Tu Non Odi (sc.3 Romeo, Giulietta)

Giulietta - Linda Zoghby
Romeo - Marilyn Horne
Orchestra and Chorus of the Civic Opera Company of Dallas
Conductor: John West
Dallas, November 22, 1977

CD 2

Gioacchino Rossini - Semiramide

01. Eccomi Alfine In Babilonia - Recitativo (Arsace)
02. Ah! Quel Giorno Ognor Rammento - Cavatina début (Arsace)
03. Oh, Come Da Quell Di Tutto Per Me Cangio! - Suite cavatine (Arsace)
04. Io T'Attendeva, Arsace - Récit (Oroe, Arsace, Assur)
05. Bella Immago Degli Dei - Duetto (Arsace-Assur)
06. D'Un Tenero Amore - Duo (Arsace, Assur)
07. Io Tremar? Di Te? - Duo (Arsace, Assur)
08. Ma Chi Vegg'Io? Mitrane! - Récit (Semiramide, Mitrane, Arsace)
09. Serbami Ognor Si Fido - Duettino début (Semiramide-Arsace)
10. Alle Piu Calde Immagini - Duettino fin (Semiramide-Arsace)
11. Ebben, Compiasi Omai - Récit. (Arsace, Oroe)
12. In Si Barbara Sciagura - Air (Arsace)
13. Su, Ti Scuoti, Rammenta Chi Sei - Airs (Choeur)
14. No, Non Ti Lascio - Récit. (Semiramide, Arsace)
15. Ebben, A Te Ferisci - Duetto début (Semiramide-Arsace)
16. Giorno D'Orror! - Duetto suite (Semiramide-Arsace)
17. Madre, Addio - Duo (Semiramide, Arsace)

Semiramide - Montserrat Caballé
Arsace - Marilyn Horne
Assur - James Morris
Oroe - Eric Halverson
San Francisco Opera Chorus and Orchestra
Conductor: Richard Bonynge
San Francisco, September 26, 1981

Another Italian opera version was Vaccai's last major operatic success, although he went on to write another nine. In an 1832 performance of Bellini's 'I Capuleti e i Montecchi' in Bologna, the penultimate scene of Vaccai's opera was substituted for the last act of the Bellini opera. This was done at the request of the mezzo-soprano Maria Malibran, and became common practice during the remainder of the 19th century. --- classicfm.com

Marilyn Horne's five-decade career in opera, concert, and recital has been celebrated throughout the world for the power and artistry of her unique and dazzling mezzo-soprano coloratura, and for her revival of many forgotten Rossini, Handel, Vivaldi, and Bellini operas.

download (mp3 @320 kbs):

yandex 4shared mega mediafire zalivalka cloudmailru oboom uplea

back

CD1

1.Harvey Worthington Loomis: Hark! Hark! The Lark
2.Roger Quiter: Come Away Death
3.Francis Poulenc: Fancy
4.Frans Joseph Haydn: She Never Told Her Love
5.Gerald Finzi: Who Is Silvia? 2:07
6.Johannes Brahms: Unbewegte, Laue Luft
7.Johannes Brahms: Sapphische Ode
8.Johannes Brahms: Salome
9.Johannes Brahms: Da Unten Im Tale
10.Johannes Brahms: Botschaft
11.Gioacchino Rossini: Il Trovatore
12.Gioacchino Rossini: La Francesca Da Rimini
13.Gioacchino Rossini: Adieux a la vie
14.Gioacchino Rossini: Canzonetta Spagnola
15.Ethelbert Nevin-F.L.Stanton: Migthy lak'a Rose
16.Hugo Wolf: Wiegenlied In Sommer
17.Alberto Ginastera: Arroró
18.Giacomo Puccini: L'uccellino
19.Tradicional japonés: Canción de cuna
20.Darius Milhaud: Berceuse
21.Tradicional de las Indias Orientales: By'm Bye & Cum Baya

CD2

1.Manuel de Falla: El paño moruno
2.Manuel de Falla: Seguidilla murciana
3.Manuel de Falla: Asturiana
4.Manuel de Falla: Jota
5.Manuel de Falla: Nana
6.Manuel de Falla: Canción
7.Manuel de Falla: Polo
8.Agradecimiento
9.Fernando Obradors: El Vito
10.Aaron Copland: I Bought A Cat
11.Padre Martini: Plaisir d'amour
12.Georges Bizet: Habanera de "Carmen"
13.Stephen Foster: Jeanne With The Light Brown Hair

Marilyn Horne - mezzo-soprano
Martin Katz - piano

Buenos Aires , 04.04.1996

download: uploaded anonfiles yandex 4shared mediafire solidfiles mega filecloudio nornar

back

Die Walküre:
1. Schläfst du, Gast?/Der Männer sippe
2. Winterstürme wichen der Wonnemond
3. Du bist der Lenz
4. O susseste Wonne!
5. Wehwalt heisst du für wahr?

Marilyn Horne, William Conrad; Donald Johanos, conductor

Wesendonck lieder:
6. Der Engel ("In der Kinkheit frühen Tagen"),
7. Stehe still! ("Sausendes, brausendes Rad der Zeit"),
8. Im Treibhaus ("Hochgewölbe Blätterkronen"),
9. Schmerzen ("Sonne, weinest jeden Abend..."),
10. Träume ("Sag, welch wunderbare Träume"),

Royal Ph. Orchestra: Henry Lewis

11. Inmolación de Brunilda - Starke Scheite schichtet mir dort

Erich Leinsdorf

New York 1970

Marilyn Horne never sang a complete Wagnerian role apart from one of the minor valkyries early in her career. But she was one of the two dominant virtuosos in singing in the second half of the twentieth century, and at least for awhile, she was capable of sustaining some soprano roles as well as the bravura mezzo roles on which her reputation rests. William Pierce, the BSO's longtime announcer, told the radio audience for this performance that Horne had recently changed from being a mezzo-soprano and was now a dramatic soprano. Horne knew better, and after a year or two of singing the Immolation Scene in concert, she dropped it. She sang it, as she invariably sang everything, very beautifully, within her means, and without forcing, but it was a stretch for her, and the whole role might have been beyond her. Nevertheless her Immolation Scene was vocally superior to that of every Brünnhilde who has sung it at the Met since Birgit Nilsson; in 1967, Nilsson was still singing this role magnificently, and Horne was too smart to set herself up against that. ---bso.org

download: uploaded filecloudio anonfiles yandex 4shared mediafire solidfiles mega nornar

back

1. Arie Di Rinaldo: Arie Di Rinaldo: 'Or la tromba' (Rinaldo, Act III, scene 9)
2. Arie Di Rinaldo: Arie Di Rinaldo: 'Cara sposa' (Rinaldo, Act I, scene 7)
3. Arie Di Rinaldo: Arie Di Rinaldo: 'Venti, turbini' (Rinaldo, Act I, scene 9)
4. Arie Di Rinaldo: Arie Di Rinaldo: 'Cor' ingrato' (Rinaldo, Act I, scene 3)
5. Aria Di Serse: Aria Di Serse: 'Frondi tenere...Ombra mai fu' ISerse, Act I, scene 1)
6. Aria Di Arsace: Aria Di Arsace: 'Furibondo spira il vento' (Partenope, Act II, scene 9)
7. Aria Di Poppea: Aria Di Poppea: 'Bel piacere' (Agrippina, Act III, scene 10)
8. Aria Di Almirena: Aria Di ?Almirena: 'Lascia ch'io pianga' (Rinaldo, Act II, scene 4)
9. Aria Di Orlando: Aria Di Orlando: 'Fammi combattere' (Orlando, Act I, scene 10)
10. Aria Di Orlando: Aria Di Orlando: 'Nel profondo' (Orlando Furioso, Act I, scene 1)
11. Aria Di Orlando: Aria Di Orlando: 'Sorge l'irato nembo' (Orlando Furioso, Act II, scene 2)
12. Aria Di Orlando: Aria Di Orlando: 'Fonti di pianto' (Orlando Furioso, Act III, scene 6) 

Marilyn Horne - mezzo-soprano
I Solisti Veneti
Claudio Scimone - conductor

In terms of bel canto and Romantic opera, Marilyn Horne is and will always be remembered as a talented and unique milestone in the history of opera, a singer who set the standard for such roles as Adalgisa in Bellini's "Norma," Carmen in Bizet's opera of the same name, and various lead Rossini roles. To many connoisseurs of the opera of the Baroque age, Horne will be remembered as a pioneer, someone who singlehandedly took the forefront in reviving the castrato roles of Baroque opera's greatest son, Georg Friedrich Haendel, and encouraged other opera singers in the mainstream to do the same. We have Marilyn Horne to thank for the first Met staging of any Baroque opera, and also such mainstream singers as Cecilia Bartoli and Renee Fleming are indebted to her whenever they take the stage (or record) in such roles as Almirena or Alcina. Before Horne's pioneering work, Vivaldi was heard only in the concert hall, or occassionally in the church. Her encouragement of the performance of "Orlando furioso" for the 300th anniversary of the birth of Vivaldi marked a new chapter in the studies of Vivaldi's operas, as well as his other works and the operas of other Italian composers of the period. This CD recording is an important testament to Horne's legacy in the field of pre-Mozartean Italian opera.

In displaying her vocal fireworks in "Or la tromba" and "Venti, turbini," and providing new shades of never heard before nuance in "Cor ingrato" and of course, "Ombra mai fu," Marilyn Horne shows her genuine appreciation for the operatic music of Haendel, which unfortunately was for a long time performed in the same fashion as, say, Baroque oratorio.

Now on to a few of the arias themselves. "Or la tromba" is magificently sung and played, and one admires both Horne's impressive command and agility of voice and her emphasis on making a castrato aria sound like a piece for a hero, thereby acquiring a manly and heroic timbre as opposed to a relatively seductive female one acquired by far too many recitalists. In "Ombra mai fu," she proves that the famous aria, formerly known as "Handel's Largo," can still have many things to offer in terms of interpretation and nuance. The opera "Serse," from which the aria is taken, is a combination of comic and romantic strains in opera, and Horne realizes that in her interpretation of the aria. In "Cor ingrato" and "Cara sposa," Horne shades and colours the arias to reveal the pain and suffering (and yet very Baroque self-conscious sentimentality) of the hero who has lost his beloved. ---Harpsichord Fan, amazon.com

download: uploaded yandex anonfiles 4shared mediafire solidfiles mega filecloudio nornar

back