|music||:||Richard Strauss - Intermezzo, No. 10b Traumerei am Kamin|
- Paganini - Caprice No. 02 in B minor, Moderato
- Ben Heppner - Plus Blanche Que la Blanche Hermine (Meyerbeer)
- Handel - Concerto Grosso, Op. 6 No. 4
- Kiri Te Kanawa - Po Atarau
- Ben Heppner - Sing To My Heart A Song (Giannini)
- Joan Sutherland - Norma, Casta Diva (Bellini)
- Schubert - Violin Sonatina No. 2
- Placido Domingo - MacBeth, O Figli (Verdi)
- Sumi Jo - O del mio dolce ardor (Gluck)
- Bach - Cello Suite No.1, Allemande (Yo-Yo Ma)
- Ben Heppner - Seul Pour Lutter (Berlioz)
- Rossini - Il barbiere di Siviglia, Overture
- Massenet - Meditation (Nigel Kennedy)
- Bryn Terfel - Die Zauberflote, Papageno's Aria (Mozart)
- Glazunov - Mazurka-Obereque (Perlman)
- Joan Sutherland - Die Entfuhrung Aus Dem Serail (Mozart)
- Elgar - Cello Concerto in E minor, Adagio Moderato (Yo-Yo Ma)
- Ben Heppner - Danny Boy (Weatherley, trad. Irish Folk)
- Cecilia Bartoli - Sposa Son Disprezzata (Vivaldi)
- Richard Strauss - Intermezzo, No. 10b Traumerei am Kamin
And, just because that doesn't make me look stuck up enough, I have to give everyone a stuck up opinion that no one cares about, to boot =) Here's another soprano that everyone else likes and I don't.
I find Cecilia Bartoli*'s voice very breathy and weird. It doesn't have the ringing quality that I like in a female opera voice (like in Kiri Te Kanawa, Renée Fleming, my Mom, etc.).
I first heard her with Bryn Terfel in the Papageno-Papagena duet from Die Zauberflöte. I thought maybe it was for dramatic effect in that particular recording. Maybe she was doing it on purpose to try to get the dynamics right and to make sort of like a "whispering" quality to it. But I've been listening to other stuff of hers and it's the same thing. All breathy and scrapey.
* — cheh-CHEE-lee-ah BAR-toh-li (she's Italian).