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"La Bellissima" Anna Moffo: The Debut Recordings

5.0 out of 5 stars 10 customer reviews

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Audio CD, June 1, 1990
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Track Listings

Disc: 1

  1. La Boheme: Quando m'en vo' (Musetta's Waltz Song) - Anna Moffo/Rolando Panerai/Carlo Badioli/Maria Callas/Giuseppe di Stefano/Manuel Spatafora...
  2. Le Nozze di Figaro: Voi che sapete
  3. Le Nozze di Figaro: Non so piu
  4. Don Giovanni: Vedrai, carino
  5. Die Zauberflote: Ach, ich fuhl's
  6. Cosi fan tutte: In uomini, in soldati
  7. Exsultate, jubilate, K.165: Allelujah
  8. Lucia di Lammermoor: Il dolce suono... Ardon gl'incensi (Mad Scene)
  9. Il Barbiere di Siviglia: Una voce poco fa
  10. I Puritani: Qui la voce... Vien, diletto
  11. La Sonnambula: Ah! non credea mirarti... Ah! non giunge
  12. Rigoletto: Gualtier Malde... Caro nome
  13. La Traviata: E strano... Ah, fors' e lui... Sempre libera


Product Details

  • Audio CD (June 1, 1990)
  • Number of Discs: 1
  • Label: EMI Studio
  • ASIN: B000002S1P
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (10 customer reviews)
  • Amazon Best Sellers Rank: #174,388 in Music (See Top 100 in Music)

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Top Customer Reviews

By A Customer on July 24, 2003
Anna Moffo has the most beautiful voive ever heared, anywhere, ever. The arias on this CD showcase her drop-dead-gorgeous tone quality, stellar technique, and versitility. She sings everything one wants to hear, from the classic Puccini war-horses that are sure to get stuck in one's head (especcially since she sings them with perfect fluidity) to bel canto stuff on which she shocks you with coloratura ability (listen to "Una voce poce fa"). Moffo is the most underrated opera star of the golden age; voices and stage-presences like hers are nearly impossible to find today. Skip the spiffy new Renee Flemming disk - buy "La Bellissima" and go slack-jawed.
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This recording is phenomonal! Anna makes the most challenging aria sound effortless. Her voice is nothing short of spectacular!
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i can't stop listening to this cd -- over and over and over again -- for the past...four, five months -- i'm hooked -- addicted -- can't get enough -- just incredible -- sends me to the heavens -- and back again

it's her fault (because of this cd) that i'm learning the aria 'vedrai, carino'; next up, 'caro nome' -- and i'm a guy -- i just wish i could hit the high notes -- a tenth as high...as she does -- such beauty, such precision, such smoothness -- lovely...beautiful -- such words...are too little to say

the lucia...is out of this world -- sixteen minutes and sixteen seconds...of pure magic

and i haven't heard cuts nine through eleven, in full -- they're scratched, on my copy of the cd -- can't wait...to hear them, in full
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The first opera movie I ever saw was the Moffo "Traviata" with Bechi and Bonisolli, and I loved it. I bought her RCA "Traviata" on vinyl, but wasn't all that impressed by Tucker and Merrill, and so when Caballe/Bergonzi/ Milnes came along, I went with that, and was very pleased. I later got the Bergonzi/Sutherland, and thought Sutherland's singing was just stupendous indeed. Until now, the only recording of Moffo that I owned was her "Luisa Miller' with Bergonzi and Sereni, and very nice it is. The "debut recordings" I'm reviewing here I found second hand for under $4.00! They represent Moffo in her mid-twenties (she was born in 1932), and for a young singer -- for ANY singer -- they are very impressive. A few reservations first -- her line can go rhythmically slack in places, and the highest notes can sound just a bit glassy, and she doesn't yet command Callas's gift of making florid passages verbally expressive every time. These are relatively small matters, though. The strengths far outweigh them here -- the voice is all of a piece -- no awkward register shifts -- and it is extremely beautiful, by which I mean that it compares well to the young Freni. Her technique is secure, and although I doubt that she could do all the little bells and whistles that Sutherland or Sills could provide, her tone is fuller and more beautiful throughout its range than Sills's, and her diction is clearer and her voice more beautiful than Sutherland's. Why didn't Rudolf Bing, in 1958 or so, move heaven and earth to do a "Puritani" with her? Maybe with the young Kraus? Or a "Sonnambula" maybe with the young Gedda or Valletti? The selections from these operas here are just beautifully done, and the "Lucia" Mad Scene holds one's attention, even without a chorus or other singers to cover the action.Read more ›
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Verified Purchase
First, I have to confess that Anna Moffo was one of my favorite sopranos of the 1960s and early 1970s, when I first encountered opera. Thus, I do have a bias when reviewing this CD. The 5 stars that I award are for a CD that represents her early years well. You get a very good sense of the Anna Moffo of the 1950s, at the very outset of that career. And, at that level, this is a terrific CD.

Second, she was clearly a very talented lyric soprano, with a voice that was absolutely lovely. Along with this, she was a fine singing actress, able to create characters that had some believability on the opera stage.

Thirs, although she was a terrific lyric soprano, she was not a great coloratura soprano. But more on that as this review proceeds. Let's take a look at several cuts to get a sense of her art.

"Quando m'en vo": One of her first recordings was as Musetta in the Callas version of Puccini's "La Boheme" (Later on, Moffo sang Mimi, but she began here as Musetta), which is where this cut comes from. Her lovely, rich voice shows well in this aria. Her lush lyric soprano voice was a key hallmark of her singing. Liner notes refer to her, accurately from my perspective, as having a "warm, full, radiant tone." This is an animated and good version of Musetta's Waltz.

"Voi che sapete": From Mozart, she displays, again, a lovely voice that fits this piece well. She was regarded as a fine singing actress, and there are some nice hints of a character in this cut.

"Mad Scene": From "Lucia di Lammermoor," we have an early version of her singing the "Mad Scene" (later recordings suggest better coloratura singing). In "Il dolce suono" and "Ardon gl'incensi," her voice works well. Sweet, lovely singing. . . .
Read more ›
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