Luciano Pavarotti Edition 1: The First Decade

When I received an email with the announcement of this re-issue, I thought "Here we go again. Another Pavarotti re-issue". However, when I visited the Decca website, it became clear that this was to be not just another Pavarotti re-issue. And this is not only for the beautifully crafted package, although that is certainly very impressive. The CDs are packaged in three LP-size albums with sleeves for easy removal and insertion. The booklet is complete with recording information and reproductions of the original Decca LP issues. There is also a vinyl EP record that duplicates Pavarotti's first recordings for Decca. But what matters most is what is on the discs themselves.I started with a long-time favorite:DONIZETTI: L'ELISIR D'AMORE": I consider this Pavarotti's best singing on disc ever. He is so involved and his tone is so sweet that one just wants to listen on and on. And, finally, Decca has corrected one of the most serious mistakes it ever made. When this recording was first issued on CD, Decca just transferred the first 3 LP sides to disc 1, and the last 3 LP sides to disc two, never thinking twice of what they subjected the listener to. The last 6 minutes of the Act 1 finale was put on CD 2, necessitating the listener to get out of the mood of the opera and change discs. This was totally unnecessary, since there was more than enough space on the disc to include these minutes. This is now corrected with the wonderful result that one can listen to the entire first act without interruption. As for the sound, it has been totally remastered. The sound is very clean and especially the choral passages benefit from this. There seems to be more bass as well and the clarity is wonderful.PUCCINI: "TURANDOT": This recording has been the go-to issue ever since it first appeared. The cast is just about invincible, with Sutherland, Caballé, Ghiaurov and Pavarotti all in superb voice. The recording, always considered spectacular, has also been totally remastered, with fantastic results. In the first Act, Nicolai Ghiaurov appeared to be all over the place in the opening scene. Now, with this issue, he is rock-steady in place. The sound is clear as a bell, with more definition and more natural warmth. Again, the choral passages gain the most from this treatment. Listen, for instance, to Caballé's "Signore, ascolta" with the following scene and you'll be convinced. The many choral passages jump at you and the orchestral contributions are just spectacular. When the recording was made, a friend, who was present at the sessions, told me that Kingsway Hall just about came down. The hall was barely big enough for the sound.DONIZETTI: 'LA FILLE DU REGIMENT": This recording also has benefited from the remastering. Again, the choral passages gain the most, but the overall sound of this 1967 recording has been improved. In Tonio's first Act aria "Ah, mes amis" there was a small edit glitch, which has been cleaned up somewhat. It is not completely gone, but far less audible than before. I don't think I need to report on the performance. It has been in the catalog ever since it first appeared, and most people at all interested in these performers, will be familiar with the fun that everyone seems to be having.VERDI: "MESSA DA REQUIEM" Another great recording that benefits from the longer playing-time of the new CDs. This CD is 84 minutes long, and thus this beautifully recorded performance can now be listened to without interruption, a great plus for the Requiem Mass. The sound is also much improved. The drum-whacks in the "Dies Irae" will literally wake up the dead.PUCCINI: "MADAMA BUTTERFLY": This performance, never far away from my turntable, then CD player, has been remastered to fit on 2 CDs. The sound is great, as before, but there is more clarity, as with all the previous recordings mentioned above. Mirella Freni touches the heart like no one else for me, and again, Pavarotti in superb voice. The Vienna Philharmonic play for Karajan as if they play Puccini daily.VERDI: "MACBETH": This recording was never in my collection, simply because I cannot listen to Fischer-Dieskau in Italian opera, and especially not in Verdi. Listening to this performance, I think I was right (for me). Dieskau rages through the rôle like a German stormtrooper and ruins for me any pleasure I did get from the other performers. Suliotis is actually pretty good, and the short rôle of Macduff is well served by Pavarotti. The sound of the recording is quite wonderful, but I still don't think I'll re-visit this recording any time soon.I will post my other impressions later. I consider this set more than worth the money. I for one, am glad to not have listened to my original first thoughts. Buy it, it will disappear soonenough.May 21: Finally got around to PUCCINI: "LA BOHÈME": This recording has been in the catalogue non stop since it first appeared. When it appeared, on LP, I used to listen often to the classic Serafin recording, also on Decca, with Tebaldi and Bergonzi as the lovers. This recording under von Karajan is totally different, and to my mind, just as valid. Mr. Karajan lavishes on the score attention this music deserves, but seldom gets. He may be a little slow at times, but that gives the music all the more time to spell its magic. The comparison between Bergonzi and Pavarotti is interesting, in that Bergonzi tends to portray the poetic side of Rodolfo, and Pavarotti is more the young, ardent lover. Both are absolutely wonderful amd equally valid. By the time Tebaldi recorded her second "Bohème" she was no longer in the full flush of youth, but her portrayal is movingly sung. However, there can be no more lovable Mimi than Mirella Freni. I've seen and heard her in three different productions, and every time the tears flow freely in the third and fourth acts. There just is no one like her, period. The re-mastered sound is full-bodied and clear with wonderful string sound from the Berlin Philharmonic.May 23: DONIZETTI: "LA FAVORITA": In this recording, I think it was the first time that I noticed a change in Pavarotti's singing. Like in the almost contemporaneous "Maria Stuarda", Pavarotti sounds stressed at times, something never heard before in his recordings. The bloom seems to have gone. Also, according to Richard Bonynge, the conductor in many Pavarotti/Sutherland recordings, and also in this one, Pavarotti's super-star status made him less easy to work with, and he became lazy. On occasion, the old Pavarotti magic surfaces and it is a joy to hear. There just was not and is not a voice as splendid as his, full of sunshine. Other tenors may be greater artists as such, but for vocal splendor no one can touch him. Fiorenza Cossotto delivers a very fine performance, as does Nicolai Ghiaurov. Sound-wise, there seems to be no difference with the previous CD issue. Decca could never get the same splendid results in the Bologna Opera House that it could get in London's Kingsway Hall or Walthamstow.MAY 23: "RECITAL DISCS": The Verdi/Donizetti LP was always Pavarotti at his very finest. The new edition is clear and more care has been taken than in the original CD issue. The disc also contains some titles from the next Pavarotti recital. The rest of that second recital sits on the second CD in this box, together with "Pavarotti in Concert" with lovely songs from Bellini and also some delightful baroque items. I am disappointed in that Decca did not include the complete Rossini Stabat Mater, but only the Cujus Animam. Likewise, the complete Ballo in Maschera is missing, just three items included. The third disc, labeled "bonus" has also some live performances that Decca claims have "recently surfaced". All three operas, La Bohème, Manon and I Capuleti ed i Montecchi have been available on several "private" labels for years. They have been cleaned up though, and sound better than before. It is also nice to have Pavarotti's very first Decca recordings also on CD. This way we can keep the EP sealed. Besides, many people will not have a record player anymore.All in all a very desirable box for lovers of Pavarotti, opera, and just great singing.

This is a very handsome project by Decca/London worthy of one of its most beloved artists.No need to extoll the quality of the recordings contained in the set, suffice it to say it spans Pavarotti's first decade as a Decca artist, partnered in the majority of the operas by one of Decca's other great exponent, Joan Sutherland.The set is a very beautiful package, Lp sized, with a lavish booklet, plus three inserts containing the Cds proper, plus a bonus Vinyl the size of a 45 rpm record.The main reason for purchasing the set, though, is the admirable remasterings of ALL the recordings in it.It boasts a new 96khz/24 bit processing (apparently stemming from the original master tapes), what seems to be the new trend in the industry, (cf. the upcoming Callas Remastered Edition due in a couple of weeks, which sounds fantastic even in its iTunes preview), and well worth the double dip.In one word, the music sounds absolutely STUNNING: brilliant, airy, with great presence and warm bass, bringing out the wonderful acoustics of the several great recording venues. Of special notice is Turandot's brilliant orchestration which comes glittering out of Kingsway Hall!Highly reccomended even for those who already own the prevoius Cd incarnations.

I was so amazed and delighted by this beautiful collection when it arrived, I was almost jumping up and down. I hadn’t realized that the CD set was packaged in a box that was the same dimensions as a vinyl album cover! I am not going to review the content. It would be presumptuous and unnecessary. Pavarotti at his finest. I’f you love opera and Pavarotti, you will be thrilled to own this.

I don't bother to review most of my CD purchases, but this a terrific set. The quality of the recordings was superb.

I remember when each of the operas in the set was released. Expensive. It is incredible that you can get so many operas and other music for such a low price. Sound quality is superb -- almost frighteningly so in the Dies Irae of the Verdi Requiem. I was pleased to have Beatrice di Tenda, with which I was not familiar. An amazing bargain.

Ah! the young voice of a virtuoso tenor.Fantastic Operatic segments and arias.I highly recommend it.

This collection features 27 CDs, mostly full-length opera recordings, many featuring Joan Sutherland. Comes with a beautiful large booklet with gorgeous photos. Also comes with a vinyl record (the size of a 45 vinyl) copy of Pavarotti's first album. The last CD features this album on CD as well as live recordings of his STAGE DEBUT! It is phenomenal collection for any Pavarotti lover. And the amount of music for the price is fantastic.

Iniziamo dal fondo, per una volta, cioè dalla confezione del cofanetto, peraltro arrivato intatto e avvolto in una doppia protezione di cartone e foam. Belle le dimensioni che ricordano quelle di un LP 33 giri, ma le dolenti note iniziano appena aperta la scatola. Sì perchè per una volta gli Inglesi della Decca hanno accantonato la sobria praticità anglosassone per abbracciare una "grandeur" franco-italiana, ma che si rileva totalmente inadatta ad un cofanetto di CD. Mi spiego meglio (e ho postato anche immagini esplicative per farvi capire davvero...): all'interno del boxone si trovano tre confezioni di cartoncino, grandi come LP, con sopra un bel faccione del Lucianone nazionale versione giovane, ma poi all'interno di questi cartoncini, che si aprono in due o tre pagine interne, sono "alloggiati" in maniera precaria tutti i CD.Con due fatali conseguenza: nel trasporto i CD fuoriescono dai loro alloggiamenti e si spargono per ogni dove, graffiandosi almeno un pò (i miei lo erano, niente di irreparabile, ma non è bello trovare CD rigati in un box nuovo di zecca e sigillato..). E questo accade non solo a chi acquista il cofanetto qui su Amazon, ma accade anche a chi acquista questo box in negozio (constatato di persona con una mia amica che aveva acquistato il box in un negozio del centro di Firenze..) perchè la colpa non è dei corrieri, ma proprio del modo in cui sono stati alloggiati i CD nei tre contenitori di cartone! Quindi cautela quando aprite la scatola e sollevate i tre contenitori uno a uno.Detto questo, che però è abbastanza grave per una casa discografica con quasi 100 anni di storia, c'è solo da sorridere e godersi questa splendida raccolta. Sì perchè intanto la Decca ha provveduto a rimasterizzate a 24/96 tutte le incisioni e la qualità audio finale è davvero bella e all'altezza della fama della casa inglese.In questo primo box si trovano opere ( in versione integrale ovviamente) che erano scomparse dal mercato da diversi anni ma che era nome rimangono spesso la prima e migliore scelta fra le versioni disponibili.Certo, prima di tutto per la voce davvero unica del giovane Pavarotti, che esce dagli altoparlanti o dalla cuffia con una perfezione tecnica davvero impressionante e che mette i brividi di piacere (e non è un modo di dire, giuro!!).Ma poi anche perchè accanto a Pavarotti c'è quasi sempre la grande Sutherland, che con pregi e difetti, è pur sempre stata una delle più grandi soprano del '900.E poi perchè i due, Pavarotti e la Sutherland dico, sono quasi sempre diretti dal marito di lei, il grande Richard Bonynge, che mostra una intelligenza interpretativa e una capacità di penetrare nello spartito che lo eleva molto sopra la categoria "degli accompagnatori".L'elenco delle singole opere contenute in questo cofanetto é riportato più sopra, ma sono certo che la maggior parte di voi concorderà con me che quelle qui contenute sono la più bella Lucia di Lammermoor, la più bella Fille di Regiment, i più bei Puritani, le più belle Turandot, Madama Butterfly e Bohème mai realizzate su disco.E delle altre opere qui contenute vale sempre almeno una menzione d'onore fra le migliori.....Visto che il prezzo davvero basso, e il valore artistico impareggiabile, le cinque stelle sono meritatissime, nonostante le leggerezze nel progettare la confezione.Buon ascolto a tutte e tutti voi....

Ich war gespannt, was die Decca zum 50. Jubiläum mit einem ihres herausragendsten Künstlers herausbringt. Offenkundig hat man sich dafür entschieden, den "ganzen" Pavarotti zu bringen. Angesichts der Präsenz und der Bedeutung von Pavarotti ist das natürlich nicht ganz einfach, daher hat man sich für einzelne Scheiben entschieden.Hier liegt nun die erste Dekade. - Ich muss zugeben, dass ich ohnehin alle dieser Aufnahmen habe. Trotzdem war ich gespannt auf das remastering und die neue Zusammenstellung.Optisch handelst es sich um eine aufwändige Box, welche die einzelnen Scheiben - fast wie im Plattenzeitalter - aufbereitet. Apropos Platten: Eine Single mit Pavarottis ersten Aufnahmen ist auch dabei, also können wir den Plattenspieler anwerfen!Für die Verpackung und das Booklett (welches kein Textbuch bietet, aber eine Kurzzusammenfassung und viel Hintergrund) gibt es 5 Sterne.Das Remastering konnte ich erst auf einer Mittelklasseanlage hören. Hier überzeugt es durchaus und haucht auch den alten Aufnahmen sehr viel Lebendigkeit ein. Ich hoffe, dass sich das auch auf meiner High-End-Anlage so hält und der Vergleich mit den bisherigen LP- und CD-Aufnahmen standhält.Insgesamt eine sehr gelungene Edition, Glückwunsch an Decca.Ach, ja. Fast hätte ich es vergessen zu erwähnen: Bei den Aufnahmen handelt es sich natürlich nahezu ausschließlich um die großartigsten Aufnahmen dieser Oper überhaupt (La Boheme mit Freni und Karajan, Rigoletto mit Sutherland, Butterfly mit Freni und Karajan, L'elisir d'amore, La fille du regiment, Lucia ( alle Donizetti-Opern mit Sutherland und Bonynge), Turandot mit Sutherland und Caballe, I Puritani (man höre das hohe F!) - alles Rerferenzaufnahmen und später niemals erreicht und schon gar nicht übertroffen...).Der Preis dieser Edition entspricht etwa dem, was ich ehemals für 2 dieser Opern bezahlt habe...Wer hier nicht zuschlägt, dem ist nicht zu helfen!

This Decca Luciano Pavarotti edition box set- the first decade, Pavarotti 50 years 1964-2014, is the size of a 33 and a third long playing record.(LP) The front of the box has a picture of Pavarotti, behind on a black background, the operas and concerts on the 27 CDs. Just to remind you of the old days which I remember very well, you are given a EP with Pavarotti's first recordings. Thank goodness they are included on CD 27. (Bonus). In the middle of the box is a linen tape. This is to help you lift out a LP sized cardboard sleeve, which stretches into another two; approximately, 3 foot. Inside is the picture of theater boxes and a curtain in the middle. Each CD is inserted into slits and fits into a space; they are securely held amid this 3 foot Sleeve, which folds up. The CDs are black with the CD number,composer and opera printed in white. On the back of this unique sleeve are the CD numbers, operas, singers, orchestra and conductor. So the first one is 1-10, second 11-19 and third 20-27. I already own the Bruno Walter edition, which is this LP size, so it is no problem for me. But I thought I would describe this box set in detail, for foremost in my mind is the customer, who is thinking of buying this set sight unseen. Therefore, my attitude requires a different type of review.The sound is by Decca,and that firm was renowned for it as you know already. All recordings are newly remastered 96 K (looks like it), HZ-24 Bit. I am not a tech head, but whatever the engineers did, the sound is marvellous. I use a 20 year old Sharp 3 disc holder digital player with huge speakers, and the sound allows you to hear the individual singers and orchestra. I also use a Sennheiser 170 ear phones which is useful. The booklet called the first decade, 1964-1974 has a three page essay on Pavarotti's life and upbringing, in English,Italian French and German. Then a picture of the sleeve of the opera concerned. Next page, the roles the singers are playing, and orchestra and conductor. Next page, CD and track numbers, then the arias. Synopsis in English and German. Through out the booklet, or coffee table book, are black and white,as well as colour pictures. English translations can be downloaded as a PDF file. There are details on how you do this at the front of the book. Decca is one of the few companies that has provided English translations. For example, Ashkenazy 50 years on Decca. Solti Wagner opera box set with a CD rom with translations of libretti.Now for a little historical background. Pavarotti was born in 1935 on the outskirts of Modena, N. Italy. His father had a marvellous tenor voice, and they would listen to recordings by Gigli ( Great recordings Phonographe 1921-1943). Tito Schipa (the greatest tenor Award. Recommended by the Gramophone Magazine). Martinelli. (Othello-Rethberg, Martinelli, Tibbett, cond Panizza 1940. Verdi at the Met, or Naxos) Caruso RCA recordings. and Pertile, Toscanini's favourite tenor. (Aida, Pertile. Dusolina Giannini,La Scala, Milan orch, cond Sabajno 1928. Sound is good.Phonographe-Nuova era 1994 Italy). Pavarotti was torn between being a goal keeper and a singer. Both he and Freni were childhood friends and their mothers worked together. Also, his father and he sung in the local choir. After voice training he sung his first opera in 1961, outside Modena. His real break came in 1965, when Joan Sutherland and Richard Bonynge, her conductor husband, asked Pavarotti to join the Williamson-Sutherland Company, which was going to tour Australia. He stated publicly that he learnt his breathing technique and how to pace himself from Sutherland, and that Jussi Bjorling was his inspiration. (The worldstar live on stage 10 CDs). Also,Di Stefano(partnered Callas on many of her recordings) was his mentor and friend.Sutherland learnt from her mother Muriel by imitation. She had studied with a Mathilde Marchesi(1821-1913) pupil and was a Mezzo that never sung professionally. Marchesi groomed Nellie( Mitchell-Armstrong) Melba, named herself after Melbourne. Read "I am Melba" by Ann Blainey, published by Black Ink, Australia, 2009. Marchesi trained Emma Eames(Nimbus records), Calve, Kurz, Sanderson, Mary Garden and New Zealander Frances Alda, who was the wife of Gatti-Casazza. He was director of the Met from 1908-1935. Before that director of La Scala.(Alda, Victor recordings 1909-15 Romophone 2CDs). Marchesi drew on the traditions of Bel Canto, and aimed for evenness throughout the register, precise attack, excellent intonation, brilliance and ease at the top of the voice, and vocal longevity. Sutherland after finishing training and winning singing competitions, went to London. When she first joined Covent Garden, everyone except her now husband, Bonynge, thought of her as a Spinto soprano-Aida or a Tosca. But both Joan and Bonynge appreciated Galli- Curci, a coloratura. So Sutherland's voice was moulded into a voice with a girlish quality, replete with ornaments and used as a vehicle of virtuosity rather then of emotion and meaning.Callas told Bonynge, "you have set back my work a hundred years". Sutherland knew she was a different type of Coloratura, and must do it her way. Along with Callas she contributed to the renaissance of bel canto. Her diction was criticized, so during the 1970's she strove to improve it. Natalie Dessay, the French soprano said "She had a huge voice, as large as that of a top range Wagnerian soprano. She was able to lighten suddenly and to take this quick coloratura and hold high notes like a Coloratura soprano, yet with a huge voice which is very rare". These details are important, for how will you understand this set without them. Also I write reviews not only for those who are experienced collectors, but for those who are new to Opera and Classical music.BELLINI: BEATRICE DI TENDA.( 1966) Sutherland, Pavarotti, Veasey, Ward, Ambrosian Opera chorus. London Symphony Orchestra Cond Bonynge. This was Bellini's last opera but one, coming after La Sonnambula and Norma and before I Puritani. Bellini was always going to revise the score, but died before he could. Orrey states "Bellini felt that this opera was worthy to rank beside Norma. It is in truth a most interesting score. For with the chorus, there is a much more subtler approach then any of of his other operas.They comment on the inner feelings of the main characters." The piece remains a vehicle for an exceptional prima donna with a big enough voice and brilliant enough coloratura. That is why Sutherland owns this part.There are dazzling examples of her art in this opera. Pavarotti is highly responsive. Also, Bonynge, whose powers as a Bellini conductor are most impressive. A beautiful performance. In opera Bonynge would always use the original complete score and replace the cuts.DONIZETTI: LA FILLE DU REGIMENT.(1967) Sutherland, Pavarotti, Sinclair, Malas, Orchstra and chorus of the Royal Opera House, Covent Garden cond Bonynge.Joan Sutherland has rarely, if ever, made a recording so enjoyable as this. Here she can show her vocal brilliance, her ability to convey pathos and her sense of fun. Pavarotti's brief but important solo in the final to Act 1, prompted the much advertised boast" King of the high C's". His singing is dazzling.DONIZETTI: L' ELISIR D'AMORE.( 1970) Sutherland, Pavarotti, Cossa, Malas, Ambrosian Opera chorus. English chamber orchestra. Cond Bonynge. Sutherland makes Adina, a more substantial figure than usual. In the key role of Nemorino Pavarotti proves ideal. Malas is a superb Dulcamara. Bonynge points the skipping rhythms delectably.VERDI: MACBETH.( 1970) Fischer- Dieskau, Ghiaurov, Pavarotti, Ambrosian Opera chorus. London Symphony Orchestra cond Gardelli. The reading fairly crackles with excitement. This is the original 1847 version of this opera, but Verdi made considerable changes for the Paris revival, eight years later. Pavarotti and Ghiaurov have rarely been equaled in their roles. The tenor is suave and phrases with exemplary line. This is a great performance. The Bass has a perfect voice for Banquo. Fischer-Dieskau's voice is too light for the part of Macbeth, but it is still a compelling performance. Souliotis copies Callas, but her voice is the type that Verdi wanted for this part, "a dark voice of the devil." A fine performance is the DVD of Macbeth conducted by Sinopoli, with the Orchestra of the German Opera, Berlin. Bruson, Zampieri who is a Lady Macbeth of one's dreams, James Morris and Dennis O' Neill.VERDI: RIGOLETTO.(1971) Milnes, Sutherland, Pavarotti, Talvela, Tourangeau. Ambrosian Opera chorus. London Symphony Orchestra cond Bonynge. A magnificent set. Gilda is lovingly sung by Sutherland. Pavarotti is effortlessly stylish, full of elegance. This is a fine set. Not forgetting the Callas version, with Gobbi and Di Stefano cond Serafin. A 1930 version with Stracciari, Capsir, Borgioli, La Scala, Milan Orch cond Molajoli.DONIZETTI: LUCIA DI LAMMERMOOR.(1971) Sutherland, Pavarotti, Milnes, Ghiaurov, Ryland Davies, Tourangeau. Orchestra and Chorus of the Royal Opera House, Covent Garden, cond Bonynge. No one outshines Sutherland in this opera. her voice is warmer and more open than before. The coloratura is given more meaning. The soprano makes the character more human. Pavarotti's voice is not only a tender, ardent lover but a man who carries with him the pain of his family history.His arias in the last act are most beautifully sung. Milnes is in superb voice. Ghiaurov sings with assurance. A first rate cast. Bonynge conducts this opera with dramatic flair. In the 1955 live Version with the Orch RIAS Berlin, Von Karajan conducts a white hot performance. Callas creates a more ardent Lucia than her 1953 version. She gives a performance of a lifetime.This is the best of Di Stefano's Edgardo's.PUCCINI: TURANDOT.(1972) Sutherland, Pavarotti, Caballe, Ghiaurov, Pears, London Philharmonic Orchestra, Zubin Metha. He conducts swiftly and with energy. Sutherland is good in this part, she makes Turandot more human. I sometimes wonder if Serafin was right, she would have made a good Lady Macbeth. Maybe, he saw something that Bonynge refused to. Pavarotti gives a performance beautiful in sound, strong on detail. Nessun Dorma was the aria he made famous as part of the three tenors at the 1990 World Cup. Caballe sings well as Liu. Turandot from 1938. Gina Cigna (Turandot) was trained by Calve, the great French singer. Francesco Merli,(Calaf), Magda Olivero (Liu), who retired and came back in the 1950's. She sung Tosca when she was 65 at the Met, She reduced the audience to tears. If you have never heard of her, you have missed a truely great singer. Orchestra dell EIAR dir Torino. Cond Franco Ghione. Phonographe. Nuova Era 1996.PUCCINI:LA BOHEME. (1972) Pavarotti, Freni, Panerai, Harwood, Ghiaurov, Matteo, Berliner Philharmoniker cond Von Karajan.It is a highly atmospheric reading. But there is an electric intensity which happens in a live performance. Pavarotti is an inspired Rodolfo, with expressive passion, while Freni is a seductive Mimi. Fine singing throughout the set. Beecham's Boheme cond RCA Victor orch is a classic, with de los Angeles and Jussi BjorlingBELLINI: I PURITANI. (1973) Sutherland, Pavarotti, Cappuccilli, Ghiaurov, chorus of the Royal Opera house, Covent Garden. London Symphony Orchestra, cond Bonynge who adopts a more urgently expressive style. Sutherland is fresh and bright. Son vergin vezzosa is taken dangerously fast, the extra bite is exhilarating. Pavarotti, with his most beautiful of tenor voices, shows himself a remarkable Bellini stylist. Ghiaurov and Cappuccilli make up an impressive cast.PUCCINI: MADAMA BUTTERFLY.(1974) Freni, Pavarotti, Ludwig, Kerns, Vienna Philharmonic cond Von Karajan. The singing is remarkable. Freni is an enchanting Butterfly. Pavarotti a imaginative Pinkerton, and Ludwig is a splendid Suzuki. However, the problem is Von Karajan's often slow conducting; he starts off quickly, then plods along, especially in the love duets. A very good Butterfly is Barbirolli's, who conducts the Rome opera house orchestra, with Bergonzi, Panerai, and Renata Scotto. She has been compared to Claudia Muzio. According to J.B Steane, "she was probably the most imaginative soprano to be heard in the Italian repertoire between Krusceniski and Callas; she commanded tragic dignity and the greatest depth of feeling. Lauri-Volpi writes of Muzio " singing with that unique voice of hers made of tears and sighs and restrained inner fire." Romophone the complete HMV 1911 and Edison 1920 -25 recordings.An interesting Madame Butterfly is that Conducted by Charles Rosekrans, with the Hungarian State House Orchestra. Maria Spacagna, Sharon Graham. It is the World premiere recording of the original 1904 La Scala version. Vox classics, 4 CDs. The 1904 premiere at La Scala was a failure. Then there were revisons for the next performance at Brescia, which was successful. But the changes to the Paris Butterfly, for the 1906 version,is the one we know today. You can programme the various discs if you wish. The CD Great voices at Teatro Regio in Turin, has the following, Storchio and De Luca who were in the failed Butterfly. Krusceniski in the successful Brescia version. Cesira Ferrani who was Manon in the premiere of Manon Lescaut and Mimi in La Boheme.DONIZETTI: LA FAVORITA.(1974) Bacquier, Cossotto, Pavarotti, Ghiaurov, de Palma, Cotrubas. Orchestra Teatro Communale di Bologna. Cond Bonynge. This opera has Pavarotti in freshest voice. His singing is phenomenal. Cossotto gives a magnificent performance. Cotrubas is sweetness itself. This opera shows just how deeply Donizetti influenced the development of Verdi.VERDI: REQUIEM.(1967) Sutherland, Horne, Pavarotti, Tavela, Vienna Philharmonic cond Solti. An extroverted version by Solti.Horne shows why she was a great mezzo. Pavarotti in Ingemisco gives us glimpses of the great tenor he was to become. Toscanini's version with the 1951 NBC version is brilliant. Nelli, Barbieri, Di Stefano, Siepi,Peerce. Luisi's DVD version, conducting the Sachsische Staatskapelle Dresden is good. Recorded at the reopening of the Dresden Frauenkriche 2005VERDI and DONIZETTI ARIAS Wiener Opernorchester cond Downes.(1968). Verdi :Luisa Miller: Oh! fede negar potessi. Quando le sere al placido. I due Fosari: Ah si. ch'io sento ancora. Dal piu remoto esiglio. Un ballo in Maschera: Forse la soglia attinse. Ma se m'e forze perderti. Macbeth : O figli, O gigli miei. Ah, la paterna mano. Donizetti: Lucia di Lammermoor: Tombe degl'avi miei . Fra poco a me ricvero. Il Duca d' Alba: Inosservato, penetrava in questo sacro rocesso. La Favorita: Favorita del re! Spirto gentil. "This is Pavarotti at his best.Stunningly beautiful"-T. Bonus: Rescigno conducting the Wiener opernorchester.(1969). Rossini: William Tell. Ah.. non mi Lasciar, O speme di vendetta! O muto asil del pianto. Bellini: I puritani. A te, o cara with Arleen Auger soprano. Verdi: Il trovatore. Di qual tetra luce..Ah si ben mio..Di quella pira. Cilea: L' arlesiana. E la solita storia.PAVAROTTI IN CONCERT.Bonynge Orchestra del Teatro Communale di Bologna (1973). Bononcini: Griselda. Per La gloria d' adorarvi. Handel: Atalanta. Care selve. Scarlatti: Gia il sole dal Gange. Bellini: Ma rendi pur contento. Dolente immagine di Fille mia. Malinconia, ninta gentile. Bella nice che d'amore. Vanne, o rosa fortunata. Tosti : La Serenata. Luna d' estate. Malia. Non t'amo piu. Resipighi: Nevicata. Pioggia. Nebbie. Rossini: La Danza. Leone Magiera cond New Philharmonia.(1971) Donizetti: Don Pasquale. Com'e gentil. Boito. Ogni mortal mister...Giunto sul passo estremo.Ponchielli: La Gioconda Cielo e mar. Puccini: La boheme. Che gelida manina. Pietri: maristella. lo conosco un giardino.BONUS RECORDINGS. Puccini La Boheme. Che gelida manina. Tosca. E lucevan le stelle. Verdi: Rigoletto. Questo Quella. La donna e mobile. Parmi veder le lagrime mia. Orchestra Royal opera house, Covent Garden, Cond Downes. London 1964.First recording for Decca. Includes operatic debut as Rodolfo La Boheme. 1961( Live). Bellini: I Capuleti e I Montecchi. E serbato a questo acciaro. Si, m'abbraccia..L'amo tanto e m e si cara?. Cond Abbado.(live)(1966). Massenet: Manon with Freni, La Scala, Milan cond Maag.(live) 1969. There is a CD published by Opera 72.49 mins. I own it.I hope you like this set as much as I did, with Pavarotti at his most freshest. What a wonderful lyrical tenor he was. Please read the beginning of this review before you buy this set, to stop any confusion which has arisen.REFERENCES: Blyth,A. Opera on Record.1979. Hutchinson. Booklet Luciano Pavarotti edition-the first decade. Christiansen, R. Prima Donna. A History. 1995. Pimlico. Gramophone Classical music guide 2009. Gruber,P. The Met Guide to recorded opera.1993. Thames and Hudson. Hussey, D. Verdi. 1975. Dent and sons. Orrey,L. Bellini.1973 Dent and sons. Penguin Classical guides 1993,1996 & 2008. Steane, J. The grand Tradition. 70 years of singing on record. 1900-1970. Warrack, J and West, E. The Oxford Dictionary of opera. 1992. Oxford University press.

Enfin, DECCA se décide à produire une anthologie à la hauteur du talent de l'artiste. L'emballage et le packaging sont irréprochables. Le coffret de taille imposante n'est pas sans rappeler la taille des vinyles 33T. J'ai hésité à ouvrir le carton tellement l'emballage de protection est soigné. L'intérieur renferme un magnifique livret illustré ainsi que les 27 CD des oeuvres enregistrées dans la première décade de la carrière de Pavarotti. Bien entendu, je possède déjà l'ensemble de ces enregistrements dans des coffrets individuels, mais la magie réside dans l'idée de collection. La qualité sonore des enregistrements est aussi au rendez-vous. Un vrai bonheur pour qui souhaiterait découvrir ou redécouvrir le talent de cet immense chanteur qui plus est pour un prix raisonnable. A quand la suite des autres volumes. Je suis déjà impatient. Bravo pour la livraison Amazon. Article pré-commandé pour une livraison annoncée le 7 avril 2014 et reçue en avance de 2 jours (le 5 avril).