Amazon.com: 6 件のカスタマーレビュー
One of the Greats
2013年7月2日 - (Amazon.com)
Singers of this caliber are few and far between. I heard Sam Ramey early in his career at the NYC Opera in Mefistofele. He replaced Norman Treigle, a tough assignment, and he made his own mark in the part. Around 1980 I heard him in one of the Rossini operas presented in Carnegie Hall to showcase Marilyn Horne. I don't remember which one it was, but excellent was the only word suitable to describe Ramey's singing. He had that virile bass-baritone sound which also had a special kind of warmth, and he tossed off Rossini's roulades with the same skill and aplomb as his celebrated coloratura colleagues. This album gives a good idea of his capabilities, covering not only Rossini, but Handel, Mozart, Bellini, Donizetti, Verdi, Boito and Montemezzi. His response to the music and the text seems right in every style represented, and he sings with the beautiful sound I remember so well, moving with ease throughout his entire vocal range with no loss of focus or resonance. His is a voice with a true line. Bravo!
Opera arias. Samuel Ramey
2013年8月3日 - (Amazon.com)
The cd purchase was the replacement for the cassette format. One of the 20th centuries greatest basso perfundoe to baritone range. Ramey has no peer in changing ranges and is a true native Italian singer, French, English and German. Comic opera to heaviest, grande. He and Thomas Hampson have performed basso-baritone duets that are sublime NTA No Tenors Allowed is a masterpiece. From Bel Conto to Boito it or Britton flawless.
2017年3月27日 - (Amazon.com)
Very happy with product, seller, and price.
in perfect shape. Thank
2017年2月23日 - (Amazon.com)
Can't wait to play it...in perfect shape. Thank you
2015年2月19日 - (Amazon.com)
This is a very disappointing recording. Sam Ramey was at one point being touted as the Basso of his generation.Unfortunately we have recordings of Siepi, Ghiaurov and even Tozzi. Ramey does not come close. There is not the phrasing and he has this annoying pulsating vibrato. One might be able to ignore this in a live performance, but in a recording where you cannot be moved by the stage presence, it just does not work for me.