Track Listing

1. Rigoletto, opera: La donna è mobile
2. Aida, opera: Se quel guerrier io fossi!...Celeste Aida
3. Il Trovatore, opera: Di quella pira
4. Un ballo in maschera, opera: Forse la soglia attinse...Ma se m'è forza perderti
5. Alzira, opera: Un Inca...ecesso orribile...Dio della guerra
6. Ernani, opera: Mercè, diletti amici...Come rugiada al cespite
7. Luisa Miller, opera: Oh! fede negar potessi...Quando le sere al placido
8. Otello, opera: Esultate! L'orgoglio musulmano
9. Otello, opera: Dio! mi potevi scagliar tutti i mali
10. I due Foscari, opera: Dal piu remoto esilio...Odio solo, ed odio atroce
11. Macbeth, opera: O figli, o figli miei!...Ah, la paterna mano
12. Don Carlo, opera: Fontainebleau! Foret immense et solitaire!
13. Rigoletto, opera: Ella mi fu rapita!...Par me veder le lagrime
14. La Traviata, opera: Lunge da lei...De' miei bollenti spiriti

Product Details

• Amazon Sales Rank: #395545 in Music
• Released on: 2001-09-25
• Number of discs: 1
• Format: Enhanced

Customer Reviews

Placido Domingo canta con claridad y encanto
Domingo es el tenor perfecto para
las operas de Verdi, es uno de los
pocos interpretes de Verdi que canta
con la claridad y el realismo que lo
requiere Verdi, y el estilo conocido
como "verissimo". Domingo es indiscutiblemente
el tenor de Verdi.

A Major Disappointment
I am both a fan of Verdi (since high school, and that's a long time ago) and Of Placido Domingo, who I first heard in Carmen, before he joined the Met. And I own every one of the operas from which materials were excerpted for this album. But what I had failed to notice over the years was that Domingo is, for the most part, a forte singer, who is less than observant of Verdi's dynamic markings. Thus, while listening to tenor aria after tenor aria, it became nearly boring, which is something that should never be said of Verdi's music. Domingo is consistantly loud, rarely reducing his volume to softer levels called for by the score. When he does diminish the volume, he tends to croon, rather than employ a good mezza voce technique. While this makes him perfect for the dramatic tenor roles of Otello and Forza, he is far less able to pull off the lighter roles of Alfredo and the Duke of Mantua. To hear what Maestro Verdi intended, I suggest the Philips set with Carlo Bergonzi or the recent Ramon Vargas disc. Bergonzi has always reflected refinement and interpretive skill of the highest order, while Vargas displays the intensity and freshness of the young tenor, combined with a surprising maturity of interpretation. Both are guaranteed to please, but the Domingo set, is a waste of (money).