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The Art Of Beverly Sills

4.3 out of 5 stars 11 customer reviews

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Product Details

  • Audio CD (March 17 2008)
  • SPARS Code: ADD
  • Number of Discs: 2
  • Label: Deutsche Grammophon - Universal Special Imports
  • ASIN: B000075A7K
  • Other Editions: Audio CD
  • Average Customer Review: 4.3 out of 5 stars 11 customer reviews
  • Amazon Bestsellers Rank: #107,662 in Music (See Top 100 in Music)
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Disc: 1
1. Mignon: "Oui, pour ce soir je suis reine des fees..." - Thomas
2. Manon: "Allons! Il le faut - Adieu, notre petite table" - Massenet
3. Manon: "Je marche sur tous les chemins" - Massenet
4. Louise: "Depuis le jour" - Charpentier
5. Linda di Chamounix: "Ah! Tardai troppo... O luce di quest' anima" - Donizetti
6. Lucia di Lammermoor: "Regnava nel silenzio... Quando rapito in estasi" - Donizetti
7. I Puritani: "Fini... me lassa!" - Bellini
8. I Puritani: "Vieni, vieni fra queste braccia" - Bellini
9. Roberto Devereux: "L'amor suo mi fe' beata" - Donizetti
10. Maria Stuarda: "O nube" - Donizetti
See all 11 tracks on this disc
Disc: 2
1. Les Contes d'Hoffmann: "Les oiseaux dans la charmille" - Offenbach
2. Les Contes d'Hoffmann: "Elle a fui, la tourterelle" - Offenbach
3. Zaide: "Ruhe sanft, mein holdes Leben" - Mozart
4. Der Opernball: "Im chambre separee" - Heuberger
5. Die Lustige Witwe: "Es lebt' eine Vilja" - Lehar
6. The Ballad of Baby Doe: "Gold is a fine thing" - Moore
7. Die tote Stadt: "Gluck, das mir verblieb" - Korngold
8. Daphne: "Was blendet so... Ich komme" - R. Strauss
9. Sechs Lieder op. 19 no. 2 "Breit' uber mein Haupt dein schwarzes Haar" - R. Strauss

Product Description

Beverly Sills, de son vrai nom Belle Silbermann, débuta sa carrière en 1948. La soprano coloratur américaine réussit à imposer un timbre de voix extraordinaire de souplesse et de couleurs. Cette artiste fut curieuse de tous les répertoires, y compris de la musique contemporaine. Elle a supervisé ce coffret de 2CD qui est une introduction à l'ensemble de son répertoire et notamment aux opéras de Donizetti et Bellini qui viennent d'être réédités chez Westminster et qui comptèrent parmi ses grands succès à la scène, notamment au Metropolitan Opera de New York et à La Scala de Milan. Dans ce double CD on retrouve des extraits d'opéras de Bellini, Charpentier, Donizetti, Korngold, Lehar, Massenet, Mozart, Offenbach, Richard Strauss... --Étienne Bertoli

Customer Reviews

4.3 out of 5 stars
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Top Customer Reviews

Format: Audio CD
When I was growing up in the 70's, Beverly Sills was probably America's best known opera singer, a star who not only appeared on the opera stage, but who could also be seen constantly on talk shows, non-operatic TV specials, and even on "The Muppet Show"! I developed a love for her voice, her personal charm, her keen acting ability, and her fantastic sense of humour early on and never lost it. Sadly, in the 80's and 90's she fell into something of an eclipse, largely due to the fact that very few of her recordings were available on CD. Fortunately, DG's recent aquisition of some of her finest recordings has created a real Sills renaissance, and this compilation is perfect for every opera fan who would like to get aquainted or re-aquainted with her glorious voice. Almost every aspect of her repertoire is represented here and shown off to its full extent, from her highly dramatic Donizetti "Three Queens" portrayals, to her melting reading of Mozart's exquisite "Ruhe Sanft" to her amazingly beautiful (and formerly very hard to find) recording of the final scene from Strauss' "Daphne". A must have for every opera fan, this is Sills at her best, truly America's greatest diva!
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Format: Audio CD
Let me start out by saying that for UNBIASED ears, this is an absolutely amazing collection of singing from the best coloratura soprano I have ever heard. The title of the compilation truly lives up to its name and gives a great sample of what Beverly Sills was all about in her renowned career. The selections from Mignon, Manon, Louise, The Merry Widow, and The Ballad of Baby Doe are representative from what I like to call Bev's "pre-bel canto" phase of her career. She was always noted for her excellent acting skills, vocal acting, and vocal pyrotechnics, and it all shines through in these recordings. It is no different with the repertoire she sang later on. In particular they were the Lucia, Puritani, Roberto Devereux, Maria Suarda, Anna bolena, and Hoffmann in this compilation. Every human emotion possible was portrayed touchingly, whether it's ecstasy or jubilation in the Mignon, Linda, Manon gavotte, or Merry Widow pieces, or heart-wrenching sadness in Manon's farewell table aria and Elizabeth's reminisce of Essex's devotion solely to her. In my mind there's no doubt Bev could have been an Academy Award-winning actress had she chosen acting over singing (a must see: her Roberto Devereux performance in 1975 at Wolf Trap, available on DVD. Now THAT's intense acting!). And when it came to slow, gentle, lyrical singing, Beverly was unmatchable. Check out the Die tote Stadt piece and the strauss lied. Each phrase caressed, and the pianisimi! To die for! You have to hear it to understand how great they are.
Now to talk about Bev's technique which seems to be the topic of bashing from jealous long-time Sutherland fans who can't stand the thought of new recordings from Beverly being released that show Sutherland was not the best Lucia, Elvira (Puritani), Marie (daughter of the regiment), etc.
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By A Customer on June 4 2003
Format: Audio CD
Sills was my favorite coloratura when I was a young high school opera fan. Then I heard her in person and was extremely disappointed.
Her technique was unsurpassed. The fioratura and trills were even better than Joan Sutherland. But the staccato, voice and especially high notes were not even close to Joan.
Now an aged opera lover, I still love Sills. But her edge, her shrill and very small high notes bother me.
I still agree as technique goes, she can conpete with Sutherland.
But you're comparing a piccolo(Sills) to a trumpet(Sutherland). And that's the difference.
Sill's high notes are very thin, like Roberta Peters. And her staccatos are not rapid streaks of lightning like Joan.
For these reason, I consider her not quite the match for dame Joan. I love her anyway, however. She's a wonderful gal.
But voice is voice. It is infinitely more exciting to hear a huge voice coloratura than a small voice one.
But I have to admit Sills' trill is definitive. And her runs the fastest in the world. But her voice is sheer commonplace.
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Format: Audio CD
The Art Of Beverly Sills is the greatest compilation cd of her masterful arias and performances. It is a portrait of her most memorable roles, her vocal pyrotechnics and dramatic power. It is sad that no one has reviewed this album yet. I am honored to be the first. Beverly Sills. Her name is synonymous with opera. She is the American opera star with genuine soul, warmth, personality and electric acting ability. To those who remember her live performances in the 60's and 70's, they recall her ingratiating persona, her connection with the audience, her sense of humor, her beautiful coloratura and lyric qualities, as well as engaging dramatic flair. Equally as good an actress on the opera stage as Maria Callas, and surpassing the voice of Joan Sutherland, Beverly Sills is my personal favorite soprano. I have reasons to declare her the greatest soprano of all time.
First of all, she did not come from the European elite, or the traditional foreign class. She was born in Brooklyn, New York and has worked with the New York City Opera and the Met exclusively. Her humble beginnings were in radio and television, as a child prodigy. She was educated in music, mainly piano, and was taught by the esteemed vocal coach Estelle Liebling. She was an operetta star long before she graced the bigger heroines of opera- singing as Rosalinde in Die Fledermaus. On this cd, we are fortunate enough to hear an operetta aria which must have been nostalgic for her during recitals. We hear her in the roles that made her a star- Donizetti's Anna Bolena, whose aria "Copia Iniquia " is full of demanding higher notes, as Maria Stuarda in her coloratura/lyric aria "O Nube" and as the lovesick Queen Elizabeth I in Roberto Deveraux.
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