John Santos Music

This is a fine collection of classical songs for those that have little experience with classical music. Howver, I truly love it.

This CD is the first thing I ever returned to Amazon. It is an inferior product--selections cut off abruptly before the end, volume fades and returns in the middle of a cut...production values are pure schlock here. Maybe I should have expected as much from such a sophomoric title.

This is a nice recording for folks who don't know much about classical music, and would serve as a wonderful introduction. It covers centuries of great music in a very listener-friendly format. I am sure that I will use this CD in my music classroom. For a seasoned classical music lover, however, the CD proves a bit frustrating, including only segments of masterworks (not even the entire movement of the Holst). I bought the CD for a few recordings, which I truly enjoy and make the CD a worthwile purchase. But I found (and I think that most classical musicians will find) that I already had many of these works in their entirety.

I purchased this CD because I am new to Classical Music and thought this would be a good introduction CD. There is some wonderful music on this CD. The only problem I have with this CD is every other track is Opera of one form or another. As a new listener I found that after the Opera tracks I felt I had been yelled at and it was a distraction to the other music contained on the CD. I now know to hit the skip button on my CD player just about every other track. I only gave it 3 stars because I felt put off by the vocal tracks. I believe that when someone is new to Classical Music they do not think of Opera. If you don't mind hitting the skip button a lot or if you like Opera this CD is for you!

Many of these prior reviewers complain that the abundance of operas and vocals degrate this compilation. They don't know what they're talking about. These genres are what made Classical music popular in it's age. In that era the forum for showcasing "classical music" was operas! Hence why most of these works are lost in the shuffle. Most of us know Mozart and Beethoven's compositions by ear but there are so many other great composers that existed and these CD's will show you but a PIECE. But, fair warning, these CD's show only a small fraction of the whole movement (song). If you truly dig the genre you're in for a treat, investigate!

Oh, please! I guess it depends on your idea of dreaming.

If you enjoy dozing off with the electric blender on high, then you've gotta place this in your bedroom.

Seriously -- the musicianship is highly competent, and there is an obvious commitment to the entire production. But this CD is not dreamy.

The album title nails it: "Rhythmic FISSION -- digital revisions of classic trax."

This music is ideal accompaniment for lucid dreaming...Some of the tracks are loud,fast, and flashy ("Chasing Bartok" track #1, "Machines" track #10 come to mind) while others are fragile and soothing ("Addio Del Passato" and "Espirito"). Any one of these songs would be a superb compliment to a movie soundtrack--they all have this movie-dream-type quality to them, whether the movie/dream is creepy, beautiful, sad, or just plain experimental electronic music. Tracks 12-14 are heavy on vocals: Track 12 is very similar to the enigma song "Beyond the Invisible", while "I would Kiss You" makes me think of Loreena McKennitt with a dash of techno-renaissance flair, and finally "New World" has its good moments, but sounds a bit Disney-esque. "Addio Del Passato" and "Espirito" are the best tracks on the whole album; they sound like the ideal Anne Rice movie soundtrack selections, with "Addio" serving for any goth-vampire-opera-or-nightclub scenes, and "Espirito" for any childhood flashback scenes (hey, that's just what it sounds like!)...

If you've heard the "Verve Remixed" CDs, then I highly recommend buying this CD as well to help balance out your jazz with some classical. Plus the music is brand-spankin' new. So give this CD a chance.

Wow- is the first word that comes to mind in regards to this boxed set. This set is what made me fall in love with the Taverner Consort under the direction of Andrew Parrott. His interpretations of such hits as Gabrielli's "In eclesiis" and Vivaldi's "Four Seasons" have breathed new life into this genre. I've not heard the solo of "The Four Seasons" played with as much zeal, as much independent, stylized freedom. Oh! I almost forgot- Andrew's rendition of Vivaldi's "Gloria" is not to be missed. While not as robust as a choral setting, this version lands ever so sweetly on the ear. This is a must-have boxed set and a great introduction to Andrew Parrot and the Taverner Consort.

She wasn't called La Stupenda by the Italians for nothing. Now retired, a truly great voice. I don't think I shall hear anything like her again. Worth every penny. Magnificent recording.

I adore this woman's voice. And I love this cd. I was really happy to find an aria of "Esclarmonde" which is virtually impossible to find as well as some of the more lesser known works of hers such as Mozart's Queen of Night, although I wish she had done a recording of the revenge aria (Der Holle Roche) The whole cd was wonderful to hear but if I had to make on complaint it's that I didn't buy her Isolde's Liebestod but the woman can sing Lucia better than just about anyone so I'll forgive her for not sticking with the Wagner. In fact I am thrilled that she chose Lucia over Isolde because frankly acting and interperation was never her strong suit, it was the pure beauty of her voice. It's always a grand pleasure to listen to Joan kick butt in any coloratura arias but of course she set the bar so high that there is yet a coloratura since her that can do those arias half as well. She has spoiled me for life and that's why she is La Stupenda.

I'm not an opera expert I just enjoy it. La Stupenda has the best of Joan Sutherland in a two CD set and it's amazing. She looked like a nice, quiet housewife but an indescribalbe voice. Her aria from Norma gave me chills and her version of "I Dreamed I Dwelt in Marble Halls" is flat out one of the prettiest things I've ever heard.

Joan Sutherland was undeniably one of the greatest operatic sopranos of the 20th century. This comprehensive two-CD retrospective of her long career will delight her many fans, and serve as a fitting introduction for those unfamiliar with her artistry. The two CDs span a period of nearly thirty years, from 1959 to 1988, with the majority of the 27 tracks recorded during the 1960s and 1970s, when her voice was at its' astounding best. Sutherland was renowned first and foremost as a dramatic coloratura, and her supple technique is brilliantly illustrated in selections such as the Mad Scene from Lucia di Lammermoor; Doll Song from The Tales of Hoffmann; Queen of the Night aria from The Magic Flute; and the seldom-performed Concerto for Coloratura Soprano by Gliere. As her career progressed, her voice became larger and more powerful, as demonstrated by the Liebestod from Wagner's Tristan and Isolde, and In Questa Reggia from Puccini's Turandot. Lastly, Sutherland was a diva who was not afraid to let her hair down once in a while, and we are treated to lighter selections such as Where are the songs we sung? by Noel Coward, and Falling in love with love, by Rogers and Hart. Highly recommended for all lovers of great singing.

This 2 CD set is entitled "La Stupenda," which creates extremely high expectations. Joan Sutherland meets those expectations on this CD; she is, indeed, "La Stupenda." One of the interesting aspects of this set is Dame Joan's singing some non operatic works (such as "Home Sweet Home" or "Where Are the Songs We Sung?" or "Falling in Love with Love"). In the end, this is a wonderful compilation of the art of Joan Sutherland.

First, let's consider a sampling of the cuts on these CDs.

"O Zittre Nicht" is from Mozart's "Magic Flute" and it is a challenge to sopranos, with its series of staccato high notes. Sutherland essays this well. There are some nice trills; she hits the high notes well. The series of (treacherous) high notes toward the end is handled very nicely by Sutherland. In short, she scintillates, with a closing high note well hit.

From Donizetti's "Linda di Chamounix," she sings "O luce di questi'anima." Her voice and technique are well suited for Donizetti (and Bellini). The cantabile is smoothly sung. The cabaletta is rollicking. Her coloratura technique is on target; the ornamentation is compelling. There are trills, runs, high notes and other ornamentation well done. The close is nice (although there may be a bit of a scoop on the final high note).

From "Beatrice di Tenda" (by Bellini), we hear ""Eccomi pronta. . .Deh, se un'urna." The cantabile is sung well. She hits notes clearly. The spirited cabaletta follows. Sutherland exhibits somewhat less ornamentation than usual, but trills are well done and, overall, the piece is nicely sung. The close features clean high notes.

"Home Sweet Home." This kind of illustrates Joan Sutherland's work nicely. I can hardly make out the words (and it is sung in English). But it is an interesting version. She sings the song straight, without overpowering the song with operatic technique (an occasional trill actually works out well).

Elsewhere, I have commented on her 1959 version of the "Mad Scene" from "Lucia di Lammermoor" (from her album "The Greatest Hits").

"Falling in Love with Love" is an interesting cut. This is a classic Rodgers and Hart song. Sutherland sings it pretty well, and one can pick up the words cleanly. However, one might compare this with Anna Moffo's version, which is more musical. Sutherland's version is a bit too operatic for what the song is about.

Finally, "Ah non giunge" from Bellini's "La Sonnambula," a great coloratura tune! This is taken at a sprightly pace. Sutherland exhibits good coloratura technique. There is nice ornamentation. She precisely nails high notes. In the repeat, the florid singing ramps up. This is a compelling version, with series of staccato high notes to close the work out.

Thus, this 2 CD set is a welcome entrée to the body of work of Dame Joan Sutherland. Sometimes (as with "Home Sweet Home") one has a hard time picking out the words. But with Sutherland, the skills and techniques create a compelling oeuvre that is well worth attending to.