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Product Details
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Track Listings
| Disc: 1 | |||
|---|---|---|---|
| 1. The Ballad Of Baby Doe: Act One: Scene One - Opening | |||
| 2. The Ballad Of Baby Doe: Act One: Scene One - 'It's A Bang-Up Job' (Tabor) | |||
| 3. The Ballad Of Baby Doe: Act One: Scene One - 'Horace, What Is This?' (Augusta) | |||
| 4. The Ballad Of Baby Doe: Act One: Scene One - 'I Beg Your Pardon' (Baby Doe) | |||
| 5. The Ballad Of Baby Doe: Act One: Scene Two - 'What A Lovely Evening' | |||
| 6. The Ballad Of Baby Doe: Act One: Scene Two - 'Willow, Where We Met Together' (Willow Song) (Baby Doe) | |||
| 7. The Ballad Of Baby Doe: Act One: Scene Two - 'Oh, Mr. Tabor!' (Baby Doe) | |||
| 8. The Ballad Of Baby Doe: Act One: Scene Two - 'Warm As The Autumn Light' (Tabor) | |||
| 9. The Ballad Of Baby Doe: Act One: Scene Three - 'Now, Where Do You Suppose?' (Augusta) | |||
| 10. The Ballad Of Baby Doe: Act One: Scene Three - 'Have You Seen Her?' (Augusta) | |||
See all 20 tracks on this disc
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| Disc: 2 | |||
| 1. The Ballad Of Baby Doe: Opening | |||
| 2. The Ballad Of Baby Doe: 'The Fine Ladies' (Baby Doe) | |||
| 3. The Ballad Of Baby Doe: 'Mama, Go Inside!' (Baby Doe) | |||
| 4. The Ballad Of Baby Doe: 'Augusta, What Are You Doing Here?' (Tabor) | |||
| 5. The Ballad Of Baby Doe: 'I'll Raise You' | |||
| 6. The Ballad Of Baby Doe: 'Turn Tail And Run!' (Tabor) | |||
| 7. The Ballad Of Baby Doe: 'La, La, La, La' | |||
| 8. The Ballad Of Baby Doe: 'Good People Of Leadville' | |||
| 9. The Ballad Of Baby Doe: 'Extra! Extra!' | |||
| 10. The Ballad Of Baby Doe: 'Augusta! Augusta!' (Augusta) | |||
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See all 15 tracks on this disc
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Product Description
From Amazon.com
Despite its somewhat Disneyesque title, The Ballad of Baby Doe is one of the sturdiest American operas. Its riches-to-rags story of Colorado miner Horace Tabor has a great plot, excellent characters, real arias, and dynamic chorus scenes, and none of it sounds second hand in the least. The opera has an extremely inviting personality of its own. This recording by the New York City Opera is full of crackling fast tempos from conductor Emerson Buckley and great theatricality: right down to the minor characters, everybody knows what they're about. Beverly Sills, Walter Cassel, and Frances Bible all inhabit their roles completely. The one drawback is the recording quality, which is good to voices but mushy on the orchestra. To know what's really going on in the piece musically, one must hear the similarly well-sung but more relaxed 1996 recording made at the venue where the opera was premiered: Central City Opera in Colorado. --David Patrick Stearns
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