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Great Performances - Eileen Farrell - Puccini Arias and Others in the Great Tradition


Download links and information about Great Performances - Eileen Farrell - Puccini Arias and Others in the Great Tradition by Columbia Symphony Orchestra, Eileen Farrell. This album was released in 2006 and it belongs to genres. It contains 17 tracks with total duration of 01:14:06 minutes.

Artist: Columbia Symphony Orchestra, Eileen Farrell
Release date: 2006
Tracks: 17
Duration: 01:14:06
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No. Title Length
1. O Mio Babbino Caro from Gianni Schicchi 2:20
2. Quando Me'n Vo' Soletta Per la Via from la Bohème (Musetta's Waltz Song) 2:06
3. Sì, Mi Chiamano Mimì from la Bohème 4:47
4. Donde Lieta Usci from la Bohème 3:01
5. Chi Il Bel Sogno Di Doretta from la Rondine 2:35
6. Non la Sospiri from Tosca 2:33
7. Vissi d'arte from Tosca 2:56
8. Spira Sul Mare from Madame Butterfly 2:45
9. Un Bel Di Vedremo from Madama Butterfly 4:41
10. In Quelle Trine Morbide from Manon Lescaut 2:12
11. Tu che di gel sei cinta from Turandot 2:40
12. In Questa Reggia from Turandot 5:43
13. Grands Dieux! Du Destin, Qui M'accable from Alceste 4:08
14. Ah Perfido!, Op. 65 12:12
15. Abscheulicher, Wo Eilst Du Hin? from Fidelio 6:51
16. Leise, Leise’ from Der Freischütz 7:38
17. Cavatina: Und Ob Die Wolke from Der Freischütz 4:58



The child of veteran vaudevillians, Eileen Farrell grew to become one of the greatest American sopranos of the 20th century, though one whose career centered primarily on the concert stage and radio rather than the theatrical spotlight. That discomfort with the role of traditional diva may have shortchanged her recording career over the long run, but it imparted these peformances of a dozen beloved Puccini arias and a handful of sympathetic vocal pieces by Beethoven, Gluck and von Weber with a sense of human drama too often missing in more technically focused takes by others. Whether inspired by the legacy of her show biz roots or her unpretentious persona, Farrell subtly suffuses these marvelous performances (originally recorded for Columbia in the then-new stereo process in 1958-59) with something akin to the saloon singer's dictum: find a personal emotional connection with the song and sell it passionately to your audience. That isn't to shortchange the impeccable qualities of Farrell's voice — an instrument of masterful power and rarer dynamic range — but rather to emphasize the shrewd, artistically rewarding way she uses it throughout.