Saffo, opera: Act 3. Fra queste orrende tenebre acerbo
Saffo, opera: Act 3. Ite ad Alcandro
Saffo, opera: Act 3. S'ella paventa
Saffo, opera: Act 3. Premio d'amor
Saffo, opera: Act 3. Mi lasciate... L'ama ognor
Track Listings (22) - Disc #13
Elisabetta, regina d'Inghilterra, opera: Act 1. Overture
Elisabetta, regina d'Inghilterra, opera: Act 1. Più lieta, pi'bella apparve l'ancora
Elisabetta, regina d'Inghilterra, opera: Act 1. Oh voci funeste
Elisabetta, regina d'Inghilterra, opera: Act 1. Nel giubilo comun, signor, tu solo
Elisabetta, regina d'Inghilterra, opera: Act 1. Esulta, Elisa, omai in giorno sì beato
Elisabetta, regina d'Inghilterra, opera: Act 1. Quant'è grato all'alma mia
Elisabetta, regina d'Inghilterra, opera: Act 1. Questo cor ben io comprende
Elisabetta, regina d'Inghilterra, opera: Act 1. Grandi del regno, è questo
Elisabetta, regina d'Inghilterra, opera: Act 1. Vieni, o prode, qui tergi i sudori
Elisabetta, regina d'Inghilterra, opera: Act 1. Alta Regina, invano io Scoto
Elisabetta, regina d'Inghilterra, opera: Act 1. Incauta, che festi?
Elisabetta, regina d'Inghilterra, opera: Act 1. Sconsigliata! E non sai
Elisabetta, regina d'Inghilterra, opera: Act 1. Sento un'interna voce
Elisabetta, regina d'Inghilterra, opera: Act 1. (Che intesi!) E come di Matilde
Elisabetta, regina d'Inghilterra, opera: Act 1. Colmo di duol, Regina
Elisabetta, regina d'Inghilterra, opera: Act 1. Perché mai, destin crudele
Elisabetta, regina d'Inghilterra, opera: Act 1. Misera! A quale stato
Elisabetta, regina d'Inghilterra, opera: Act 1. Regina, ormai decidi
Elisabetta, regina d'Inghilterra, opera: Act 1. Quell'alma perfide non vada altera
Elisabetta, regina d'Inghilterra, opera: Act 1. Guglielmo, ascolta
Elisabetta, regina d'Inghilterra, opera: Act 1. Matilde!... Oh cielo!
Elisabetta, regina d'Inghilterra, opera: Act 1. Se mi serbasti il soglio
Track Listings (20) - Disc #14
Elisabetta, regina d'Inghilterra, opera: Act 2. Qual colpo inaspettato
Elisabetta, regina d'Inghilterra, opera: Act 2. Duce, in tal guisa accogli
Elisabetta, regina d'Inghilterra, opera: Act 2. Sposa...
Elisabetta, regina d'Inghilterra, opera: Act 2. Dov'è Matilde?
Elisabetta, regina d'Inghilterra, opera: Act 2. T'inoltra. In me tu vedi
Elisabetta, regina d'Inghilterra, opera: Act 2. Pensa che sol per poco
Elisabetta, regina d'Inghilterra, opera: Act 2. Misero me!... La sposa dolente
Elisabetta, regina d'Inghilterra, opera: Act 2. L'avverso mio destino sì fiero
Elisabetta, regina d'Inghilterra, opera: Act 2. Sonsigliata, che facesti!
Elisabetta, regina d'Inghilterra, opera: Act 2. Qui soffermiamo il piè
Elisabetta, regina d'Inghilterra, opera: Act 2. Che intesi!... Oh annunzio!
Elisabetta, regina d'Inghilterra, opera: Act 2. Deh! Troncate, i ceppi suoi
Elisabetta, regina d'Inghilterra, opera: Act 2. Della cieca fortuna un triso esempio
Elisabetta, regina d'Inghilterra, opera: Act 2. Sposa amata... respira
Elisabetta, regina d'Inghilterra, opera: Act 2. E l'adorata sposa, e l'innocente Enrico
Elisabetta, regina d'Inghilterra, opera: Act 2. Deh! Scusa i trasporti
Elisabetta, regina d'Inghilterra, opera: Act 2. Tu, regina! Deh! Come...
Elisabetta, regina d'Inghilterra, opera: Act 2. La pena avrai
Elisabetta, regina d'Inghilterra, opera: Act 2. Bell'alme generose
Elisabetta, regina d'Inghilterra, opera: Act 2. Leicester!... Qual grida!
Seven complete operas starring the brilliant Leyla Gencer - great live opera recordings at budget price in one space-saving set!Exciting live recordings taped 1958-1970!In a world dominated by singers from the countries wi... more »th the most deep-rooted operatic cultures, Turkish soprano Leyla Gencer (b. 1928) seemed an exotic quantity to many Western audiences. Her career remained somewhat at the fringes, but a cadre of fans has always rooted for her devotedly, and their numbers have only grown as more people are exposed to her passionate artistry through recordings. Her voice was not large, nor her production absolutely even, but she compensated for these liabilities with many other talents: her voice was flexible in coloratura, she was able to float exquisitely soft high notes, she adhered closely to the score, she could vary her vocal color, her phrasing was minutely nuanced, and above all she was an intelligent and passionate interpreter of superior dramatic insights.« less
Seven complete operas starring the brilliant Leyla Gencer - great live opera recordings at budget price in one space-saving set!Exciting live recordings taped 1958-1970!In a world dominated by singers from the countries with the most deep-rooted operatic cultures, Turkish soprano Leyla Gencer (b. 1928) seemed an exotic quantity to many Western audiences. Her career remained somewhat at the fringes, but a cadre of fans has always rooted for her devotedly, and their numbers have only grown as more people are exposed to her passionate artistry through recordings. Her voice was not large, nor her production absolutely even, but she compensated for these liabilities with many other talents: her voice was flexible in coloratura, she was able to float exquisitely soft high notes, she adhered closely to the score, she could vary her vocal color, her phrasing was minutely nuanced, and above all she was an intelligent and passionate interpreter of superior dramatic insights.
CD Reviews
An incredible value!
Darby G. Fegan | 03/12/2009
(4 out of 5 stars)
"I ordered this box set of Leyla Gencer not quite knowing what to expect. I assumed it would be a collection of highlights of various live performances, perhaps a smattering of arias and scenes from operas for which Gencer was well known, but which she had never recorded comercially, as her career was not established through recorded documents. If I had heard the voice, I don't recall, but I have for some time beeen aware of Gencer's career and her cult status, as she has many devotees; therefore, I took a chance with this box set. What I did not know was that I would receive complete recordings of several operas, making this box set an incredible value! It is a remarkable document of Gencer's career, and there are performances by many other fine singers in a wide variety of bel canto operas not often heard. I was particualry interested to start with Alceste by Gluck, as I'm going to hear Christine Brewer sing it this coming summer in Santa Fe. After the Alceste, I graduated to the other operas for which Gencer was known. She was clearly well suited to bel canto repertoire, as her fioratura, pianissimi, and sense of musical style, with phrasing and attention to the text, are always impressive. Indeed, listening to Gencer is never less than compelling! It is sometimes perplexing, however, as she will somtimes push her essentially lyric instrument beyond the demands it is able to withstand, and the voice literally shatters under pressure. She was never afraid to fully employ her chest voice, and the results are often astonishing, not unlike downshifting an expensive roadster into the wrong gear at 90 miles per hour! Nevertheless, Gencer always manages to recover for some exquisitely controlled phrases, singing with the utmost conviction and nuance. There are few singers today who take the chances Gencer does, and what we get is a "safe,' homogenized vocalism and interpretation. Sopranos who come to mind that take the risks Gencer does are, of course, Callas, to whom she was contemporary and often compared, Stratas, Suliotis, Scotto, and more recently, Georghiu. I have read interviews with Caballe and she states that Gencer was a major influence in her own singing. In listening to Gencer I now know why, and it is a remarkable influence that she had on Caballe, in Caballe's choice of bel canto repertoire, the use of glottal attack that both sopranos favor, and the ability to utilize a natural pianissimo. Listening to Gencer on these CD's, I sometimes thought I was hearing Caballe, the similarities are so uncanny! I own a copy of Opera Fanatic, a compelling if not downright peculiar DVD made by Stephan Zucker, who claims to be the world's highest tenor. It is a DVD woth owning, as he interviewed legendary singers who specialized in bel canto and verismo, among them Gencer. At the time of the interview, Gencer was still a beautiful woman and a class act, especially as she had to endure the emasculated Zucker (one has to hear his speaking voice, which defies description) tell Gencer that he finds her "erotic." Gencer humors poor Zucker with the elegance and taste befitting a diva of her stature. When Zucker asks Gencer if she ever deployed chest voice, she tells him emphatically that she did, and that any of her colleagues who say they never did must have "very short memories." It's a priceless moment from one very fascinating diva!"