Decca, the opera company, presents a premium collection of the 100 most beautiful opera tracks on 6 CDs. Enjoy classic arias and overtures, performed by the greatest opera stars of all time. This is a fine compendium of opera's "greatest hits" by great singers including Pavarotti, Bartoli, Caballe, Horne and Sutherland from opera's latest "golden age" in the last decades of the 1900s. They're all there on six CDs, from Pavarotti's great "Nessun Dorma" to Sutherland's "Casta Diva."
Decca, the opera company, presents a premium collection of the 100 most beautiful Opera tracks on 6 CDs. Enjoy classic arias and overtures, performed by the greatest opera stars of all time. Artists include Pavarotti, Bartoli, Fischer-Dieskau, Tebaldi, Calleja, Sutherland, Bergonzi, Ghiaurov, Freni, Nilsson, del Monaco, Domingo, Horne, Te Kanawa, Solti, von Karajan, Terfel, Price, Caballe, Kaufmann, Gheorghiu and more.
Doubtless Italy's biggest rock star, Vasco Rossi is not only the most successful Italian singer since the 1980s, but he is also the most realistic and consistent incarnation of the triad of sex, drugs (or alcohol), and rock & roll. Ignored – when not hated – by the critics but adored by his fans, Rossi was the first Italian artist to tour the stadiums (at the end of the 1980s), reaching the apex of a popularity that has survived uncountable trend changes and at least two full decades. His songs, heavy riff-based rockers and romantic power ballads, and his lyrics made him a sort of a prophet for a generation of disappointed youngsters who found in them an escape, a door to an easier, reckless life: the "Vita Spericolata" described in one of his most famous hits.
Countertenor performances of 19th century opera are a historical and, ultimately, true novelty. This said, for those who love the sound of the countertenor voice and want to give it a try, there are several factors that recommend this release by countertenor Franco Fagioli, with the small orchestra Armonia Atenea under George Petrou. First is that castrati were still around in Rossini's time, although on the decline, and the composer was reportedly intrigued by their voices. Second, Fagioli, unlike the vast majority of other countertenors, studied bel canto singing rather than Baroque repertory exclusively, and a certain distance present in the work of other countertenors is absent here. And third, and most important, is Fagioli's voice itself. Of the countertenors active today, he's the one with the range, the power, the attitude to make you suspend disbelief and think for a moment that you're actually listening to a castrato. He enters into the various Rossini roles represented on this recording, several of which were mezzo-soprano "pants" roles; this adds to the layers of identity-switching happening, and the parts hit Fagioli's vocal sweet spot. A bonus is that several of these are from Rossini opere serie that are little played or recorded.