Search - Ileana Cotrubas :: Famous Opera Arias

Famous Opera Arias
Ileana Cotrubas
Famous Opera Arias
Genre: Classical
 
  •  Track Listings (19) - Disc #1


     
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CD Details

All Artists: Ileana Cotrubas
Title: Famous Opera Arias
Members Wishing: 0
Total Copies: 0
Label: Sony
Release Date: 11/24/1998
Genre: Classical
Styles: Opera & Classical Vocal, Historical Periods, Classical (c.1770-1830)
Number of Discs: 1
SwapaCD Credits: 1
UPC: 074646078327
 

CD Reviews

Good interpretations, lovely voice
01/14/1999
(4 out of 5 stars)

"This is a rerelease of a recital from 1976 with additional material from complete opera recordings. The first thing that struck me was the wonderful vulnerable quality of the voice. I found the interpretations to be particularly good, and the characterizations are different with each aria, so there isn't that feeling of sameness you sometimes get with varied recitals. The only quibble I have is that she really isn't a coloratura soprano, so some of the trickier passagework isn't particularly good -- like the end of "Caro Nome," or the "Abduction" aria. On the other hand, aside from the ending, "Caro Nome" is extremely well done. I also enjoyed the "Don Pasquale" aria, full of fun. The "Rondine" aria is about the best version there is, as is the "Turandot" aria (too bad she didn't record these operas). This is also an excellent version of "Depuis le Jour." I also enjoyed the selections from "L'Elisr," even though I don't particularly care for the aria."
An underrated artist
wolfgang731 | 11/30/2007
(5 out of 5 stars)

"I LOVE Cotrubas. I wouldn't be without her Rigoletto, Manon or Traviata. She possessed one of the most beautiful instruments of the 70's & 80's. Her technique was beyond reproach and her ability to sing beautifully in any language made her appeal even greater. She was an immensely intelligent singer, conveying emotion with enviable ease without resorting to histrionics or heavy handed theatrics, so prevalent in lesser talents who try to overcompensate for lack of insight into the character's psyche. And talk about a tear in the voice!! Regardless of what she was singing, Mozart, Puccini, Verdi or Massenet, there was always this underlining sense of frailty and vulnerability that worked beautifully especially in the roles of Violetta, Mimi and Gilda (in my opinion that most affecting one ever committed to disc). Unfortunately, there aren't many recitals of hers out there, so do yourself a favor and get this. I promise you will not be sorry."