Anna Moffo, as the young and vulnerable heroine Lucia, produces a wonderfully sincere, yet highly romantic performance in this classic recording of Donizetti's Lucia Di Lammermoor. Featuring Georges Prêtre conducting the RCA Italian Opera Chorus and Orchestra, the recording features a stellar cast of singers, including the incomparable Carlo Bergonzi, Mario Sereni, and Ezio Flagello.

Italian opera in Japan got started in the mid-1950s. The series title was Lirica Italiana, and back in the early days the international stars who appeared would have had to make at least six stops when flying out from Europe. Despite this exhausting journey the productions, mounted with the help of Japanese orchestras and choruses, were often legendary, and they are now being issued on DVD by the admirable American company Video Artists International.

Renata Scotto (born 24 February 1934) is an Italian soprano and opera director.
Recognized for her sense of style, musicality and as a remarkable singer-actress, Scotto is considered one of the preeminent singers of her generation, specializing in the bel canto repertoire with excursions into the verismo and Verdi repertoires.
Since retiring from the stage as a singer in 2002, she has turned successfully to directing opera as well as teaching in Italy and America, along with academic posts at the Accademia Nazionale di Santa Cecilia in Rome and the Juilliard School in New York.

Renata Scotto shows an amazing flexibility and control. Her Caro nome is one to be heard many times. She reaches a high D and decrescendo's to an incredible ppp. I felt the aria drug a little in tempo, but the gorgeous sound more than made up for it. As Rigoletto, Dietrich Fischer-Dieskau has the vocal power demanded by the score. Too often he sounded as if he was delivering a recital of Leider. A smooth velvet sound was his mark throughout. In his duets with Gilda, this payed off handsomely. Even in his dealings with the courtiers after Gilda's abduction he showed us a rarely seen Dietrich blustery side.

The tradition of presenting operas in the Arena of Verona was inaugurated by Aida when it was performed there in 1913. The wide-open spaces of this opera-the blue skies and fragrant forests of Ethiopia, the starry nights on the Nile-and its picture of Egypt's ancient civilisation found their ideal setting in the grandeur of this centuries-old Roman amphitheatre and in the open air of Verona's summer nights.

A dream cast for a wonderful opera. Renata Scotto and Carlo Bergonzi, whose partnership in the EMI recording of Madama Butterfly made it the version of choice, can be seen as well as heard in Donizetti's delicious opera buffa. The cast is filled out with superb singing actors, including Carlo Cava, Giuseppe Taddei and others. A major discovery and a feast for opera fans.

Verdi, child of the people, king of popular opera, began life as the son of an innkeeper. He was brought up in modest circumstances. He first received lessons from the village priest, who was amazed by the young musician’s talents. Verdi’s musical education was rounded and complete: at the age of sixteen, the composer wrote fugues, masses and symphonies, which he would later destroy. As he met with reticence in Milan, he settled in Busseto where he fell victim to the pettiness of the town. However, his strong willpower enabled him to pursue his musical path without paying heed to what people said.

Joan Sutherland who, three years earlier had wowed the world with her Lucia, easily accomplishes the act 1 coloratura… She does manage to inflect emotion into Violetta’s solos in act 3 with a particularly poignant rendering of the letter scene. Bergonzi’s Alfredo in this recording is one of his best assumptions on record. His voice is at its lightest with near perfect legato and with phrasing that other tenors can only aspire to.

Imagine that ten of the world's most well-known highly regarded filmmakers were given a free hand to make real any vision. Aria is that history-making film. Sexy, violent, thought-provoking and funny, here is the movie critics raved about, audiences flocked to see, and no one could stop talking about. Includes Bridget Fonda's electrifying film debut, a revealing and breathtaking performance from Elizabeth Hurley, and Theresa Russell as the trigger-happy King Zog of Albania.

This Lucia was recorded in 1970, when Beverly Sills was at the peak of her vocal and dramatic powers. She had been singing the role of Lucia on stage for six years, and she knew the character. Here is a manic-depressive who is slightly crazy from the start, and Sills's embellishments to the vocal line (and there are tons of them; hardly a line is left as written), mostly composed especially for her, are always at the service of the drama. She is a far cry from the chirpy Pons and Peters (and even Sutherland, whose just-plain-singing of the role is unmatchable, but who was never all that interested in building character) and comes closer to Callas, but without the great Greek soprano's huge palette of colors or, for that matter, vocal limitations. Sills is gloriously fluent in the coloratura, the high notes are impeccable, and her reading of the words is truly involved and involving.