Ballad of Baby Doe-Comp Opera: Douglas S. Moore, Emerson Buckley, New York City Opera Orchestra, Frances Bible, Beverly Sills, Walter Cassel: Amazon.ca: Music

Disque : 1
1. The Ballad Of Baby Doe: Act One: Scene One - Opening
2. The Ballad Of Baby Doe: Act One: Scene One - 'It's A Bang-Up Job' (Tabor)
3. The Ballad Of Baby Doe: Act One: Scene One - 'Horace, What Is This?' (Augusta)
4. The Ballad Of Baby Doe: Act One: Scene One - 'I Beg Your Pardon' (Baby Doe)
5. The Ballad Of Baby Doe: Act One: Scene Two - 'What A Lovely Evening'
6. The Ballad Of Baby Doe: Act One: Scene Two - 'Willow, Where We Met Together' (Willow Song) (Baby Doe)
7. The Ballad Of Baby Doe: Act One: Scene Two - 'Oh, Mr. Tabor!' (Baby Doe)
8. The Ballad Of Baby Doe: Act One: Scene Two - 'Warm As The Autumn Light' (Tabor)
9. The Ballad Of Baby Doe: Act One: Scene Three - 'Now, Where Do You Suppose?' (Augusta)
10. The Ballad Of Baby Doe: Act One: Scene Three - 'Have You Seen Her?' (Augusta)
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Disque : 2
1. The Ballad Of Baby Doe: Opening
2. The Ballad Of Baby Doe: 'The Fine Ladies' (Baby Doe)
3. The Ballad Of Baby Doe: 'Mama, Go Inside!' (Baby Doe)
4. The Ballad Of Baby Doe: 'Augusta, What Are You Doing Here?' (Tabor)
5. The Ballad Of Baby Doe: 'I'll Raise You'
6. The Ballad Of Baby Doe: 'Turn Tail And Run!' (Tabor)
7. The Ballad Of Baby Doe: 'La, La, La, La'
8. The Ballad Of Baby Doe: 'Good People Of Leadville'
9. The Ballad Of Baby Doe: 'Extra! Extra!'
10. The Ballad Of Baby Doe: 'Augusta! Augusta!' (Augusta)
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Sur ce CD :

The Ballad of Baby Doe, opera in 2 acts
Compos� par Douglas S. Moore
Jou� par New York City Opera Orchestra
avec Frances Bible, Beverly Sills, Walter Cassel
Dirig� par Emerson Buckley

Descriptions du produit

From Amazon.com

Despite its somewhat Disneyesque title, The Ballad of Baby Doe is one of the sturdiest American operas. Its riches-to-rags story of Colorado miner Horace Tabor has a great plot, excellent characters, real arias, and dynamic chorus scenes, and none of it sounds second hand in the least. The opera has an extremely inviting personality of its own. This recording by the New York City Opera is full of crackling fast tempos from conductor Emerson Buckley and great theatricality: right down to the minor characters, everybody knows what they're about. Beverly Sills, Walter Cassel, and Frances Bible all inhabit their roles completely. The one drawback is the recording quality, which is good to voices but mushy on the orchestra. To know what's really going on in the piece musically, one must hear the similarly well-sung but more relaxed 1996 recording made at the venue where the opera was premiered: Central City Opera in Colorado. --David Patrick Stearns

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L'avis des consommateurs

22 �valuations

5 �toiles:		(19)
4 �toiles:		(1)
3 �toiles:		(0)
2 �toiles:		(0)
1 �toiles:		(2)

�valuation du client type

4.6�toiles sur 5 (22 �valuations de client)

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Commentaires client les plus utiles

5.0�toiles sur 5 I wish I could give this recording a fifteen star rating!, Jui 15 2004

Par Un client

First of all, I must state that I have loved this recording for three plus decades.
I have LP copies of it on MGM, Heliodor, and DGG pressings.
But I am one who has been waiting for years to find it released on CD. When the CD set finally came out, I was beside myself with joy.

This is the Baby Doe to have.

Someone mentioned the 1996 CD recording of Baby Doe, which was recorded in the Central City Opera House.
That's a very good recording. The entire cast is/are wonderful.
And that recording includes a few bars(in the first act) which are cut from the Sills Baby Doe.

But as fine as the 1996 recording is; it would be impossible to top or even match Cassel, Sills, and Bible as the Tabor love triangle.

I attended one of the 1996 Central City Opera Baby Doe performances. I was elated to see/hear the opera performed in that glorious old house.
But I have to admit that the acoustic ambiance of the Central City Opera House was a bit tubby and dry (acoustically). The tubby and dry ambiance of the 1996 Baby Doe recording is one of the reasons I prefer the Sills recording.

Anyway.

I have made two pilgrimages to Leadville. The Tabor Grand Opera House (which is in desperate need of funds for restoration) is still standing and in business.
The Clarendon Hotel (which was adjacent to the Tabor Grand) was torn down decades ago (although evidence of the Tabor cat walk from the Tabor Grand to the Clarendon is still extant).

Both times I visited Leadville, standing on the stage of the Tabor Grand left me speechless.

But my two visits to Baby Doe's cabin at the Matchless Mine devastated me.

Both times I stood in the "cold and narrow house" in which Baby Doe died so emotionally overwhelmed me that I had to step outside. I didn't want the rest of the tourees to see me weeping.

I couldn't help reacting that way. As I stood in Baby's cabin, her final aria , "Always Through the Changing" (as sung by Sills) kept running through my mind.

For those who have not heard this Opera (especially the Sills recording) you all really must listen to it.
It's one of the few truly great American Operas.

Moore's score is glorious. The Latouche libretto is outstanding.
And the story of Baby Doe (upon which the opera is based) is well represented (with a few dramatic alterations) in the opera.

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5.0�toiles sur 5 From An Opera Singer, Mai 22 2004

Par Un client

This recording is absolutely fabulous. Beverly Sills sings with amazing technique and her high notes are silvery and effortless. She owns the roll of Baby Doe. I have to say, I do enjoy Sills more than Callas. And I do have a very educated opinion... I am an opera singer. I actually sing the roll of Baby Doe so I know how challanging it is. Walter Cassel is amazing on this recording as well. Any other cast recording of this opera isn't worth the money. This is by far the best out there.

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5.0�toiles sur 5 Sills in super-fresh voice in transcendental performance, F�v 20 2004

Par Un client

This opera recording is a great recording of a fantastic American opera. The entire cast is fantastic, even the chorus, which is very spirited. The diction of the performers is very clear. There is no guessing as to which language they are singing in. It's English! English as clearly as it can be sung by operatic voices. Walter Cassel does not have a particularly beautiful baritone voice, but his singing is very good and he is completely inside the character of Horace Tabor. He portrays Horace very well. Francis Bible makes a very credible Augusta. She sounds morally upright, like Augusta should be, but also shows the listener Augusta's vulnerable side. Her voice just commands respect. Beverly Sills is caught here in one of her best performances of any role. She IS Baby Doe. Her voice is super-fresh. It is all dewy sweetness with absolutely no edge to it at all. Her voice is one of those super-rare soprano voices with an instantly recognizable timbre. It's also a very human and personable instrument. Listening to it just makes you smile. Her floated pianissimo notes are heavenly, reminding one of the pianissimi of Montserrat Caballé. Her forte high notes, like the ones in the Willow Song, are spectacular in their precision and beauty. She manages to convey all of Baby Doe's feelings with exceptional skill. She transforms herself into Baby Doe. Her singing of the recitatives is delightful. Indeed, these wonderful lines of sung dialogue are not thrown away at all by any of the cast members. Back to Sills. Her English diction is crystal clear. The listener does not have to strain at all to understand the words she is singing. Her last aria, the so-called Leadville Liebestod "Always Through the Changing", is amazingly sung. Notice how she injects her voice with vocal colors that convey a woman who has been through much in life. The voice remains sweet, but has an added quality of elderliness that is very appropriate; after all, Baby Doe at the end of the opera is an old woman. Sills singing of this aria is infused with sincere feeling and will surely touch the listener's heart. Indeed, her singing throughout the opera is very sincere and free of any mannerisms. Luckily, the listener does not have to endure any mannerisms a la Fleming in "Glitter and Be Gay" or her highly overrated "Bel Canto" disc. If Sills had been born with a Wagnerian dramatic soprano voice, she would have made a great Isolde.

This recording is truly a masterpiece. Get it while you can!

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Commentaires client les plus r�cents

5.0�toiles sur 5 Merely Superb!
This is a great recording of a beautiful and touching opera. Sills totally dominates with her beautiful, rock-solid and emotional portrayal. Read more

Publi� le Nov. 15 2003 par G. Golding

5.0�toiles sur 5 An incredible opera
Firstly, before I begin, I have to admit that the voices were recorded too close in this recording, thus obscurring much of the beauty and originality of the orchestra. Read more

Publi� le Ao� 8 2003

1.0�toiles sur 5 We've given you numerous chances,yet you still bash
This is one of many waiting five paragraph review of this opera. It is not a masterpiece but a saloon piece. Read more

Publi� le Juil 25 2003 par JOJO

1.0�toiles sur 5 opera, or saloon singing?
This is not an opera. So I can only give it one star. Sills is better as Anna Bolena.