| Handel - Julius Caesar / Treigle · Sills · Forrester · Wolff · NYCO · Rudel |  | Artists: Maureen Forrester, Eugenia Earle
Creators: George Frideric Handel, Julius Rudel, Beverly Sills, Norman Treigle, Spiro Malas, Michael Devlin, Beverly Wolff, New York City Opera Chorus and Orchestra
Label: RCA
List Price: $15.99
Buy Used: $6.00
as of 9/9/2010 08:13 MST details
You Save: $9.99 (62%)
New (10) Used (23) Collectible (1) from $6.00
Seller: jlc9701
Rating:  40 reviews
Sales Rank: 60,060
Format: Box set
Media: Audio CD
Discs: 2
Shipping Weight (lbs): 0.5
Dimensions (in): 5.5 x 5.1 x 1.1
UPC: 007863561822
EAN: 0078635618228
ASIN: B000003EOP
Release Date: October 25, 1990
Availability: Usually ships in 1-2 business days
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| Tracks:
Disc 1
| • | Giulio Cesare in Egitto, opera, HWV 17: Overture | | • | Giulio Cesare in Egitto, opera, HWV 17: Act I, Scene 1: Viva, viva il nostro Alcide! | | • | Giulio Cesare in Egitto, opera, HWV 17: Act I, Scene 1: Presti omai l'Egizia terra | | • | Giulio Cesare in Egitto, opera, HWV 17: Act I, Scene 1: Curio, Cesare venna e vide e vinse | | • | Giulio Cesare in Egitto, opera, HWV 17: Act I, Scene 1: Sua reggia Tolomeo | | • | Giulio Cesare in Egitto, opera, HWV 17: Act I, Scene 1: Giulio, che miri? | | • | Giulio Cesare in Egitto, opera, HWV 17: Act I, Scene 1: Empio, dirò, tu sei | | • | Giulio Cesare in Egitto, opera, HWV 17: Act I, Scene 1: Già torna in sè | | • | Giulio Cesare in Egitto, opera, HWV 17: Act I, Scene 1: Priva son d'ogni conforto | | • | Giulio Cesare in Egitto, opera, HWV 17: Act I, Scene 1: Vani sono i lamenti | | • | Giulio Cesare in Egitto, opera, HWV 17: Act I, Scene 2: Regni Cleopatra | | • | Giulio Cesare in Egitto, opera, HWV 17: Act I, Scene 2: Vanne, e torna omai | | • | Giulio Cesare in Egitto, opera, HWV 17: Act I, Scene 2: Sire, Signor! | | • | Giulio Cesare in Egitto, opera, HWV 17: Act I, Scene 3: Alma del gran Pompeo | | • | Giulio Cesare in Egitto, opera, HWV 17: Act I, Scene 3: Qui nobile donzella | | • | Giulio Cesare in Egitto, opera, HWV 17: Act I, Scene 3: Avanti al tuo cospetto | | • | Giulio Cesare in Egitto, opera, HWV 17: Act I, Scene 3: Sfortunata donzella | | • | Giulio Cesare in Egitto, opera, HWV 17: Act I, Scene 3: Ahimè! Vile e negletta | | • | Giulio Cesare in Egitto, opera, HWV 17: Act I, Scene 3: Cara speme | | • | Giulio Cesare in Egitto, opera, HWV 17: Act I, Scene 4: Oh, quanto bella gloria | | • | Giulio Cesare in Egitto, opera, HWV 17: Act I, Scene 4: Va tacito e nascosto | | • | Giulio Cesare in Egitto, opera, HWV 17: Act I, Scene 4: Dove, dove, inumani |
Disc 2
| • | Giulio Cesare in Egitto, opera, HWV 17: Act II, Scene 1: E seguisti, o Niren | | • | Giulio Cesare in Egitto, opera, HWV 17: Act II, Scene 1: Taci! - che fia? | | • | Giulio Cesare in Egitto, opera, HWV 17: Act II, Scene 1: V'adoro, pupille | | • | Giulio Cesare in Egitto, opera, HWV 17: Act II, Scene 1: Non ha in cielo | | • | Giulio Cesare in Egitto, opera, HWV 17: Act II, Scene 1: Più amabile beltà | | • | Giulio Cesare in Egitto, opera, HWV 17: Act II, Scene 2: Deh, piangete, o mesti lumi | | • | Giulio Cesare in Egitto, opera, HWV 17: Act II, Scene 2: Se a me non sei crudele | | • | Giulio Cesare in Egitto, opera, HWV 17: Act II, Scene 2: Sì spietata | | • | Giulio Cesare in Egitto, opera, HWV 17: Act II, Scene 2: Madre! Ferma! | | • | Giulio Cesare in Egitto, opera, HWV 17: Act II, Scene 2: Cessa omai di sospirare! | | • | Giulio Cesare in Egitto, opera, HWV 17: Act II, Scene 2: Figlio non è | | • | Giulio Cesare in Egitto, opera, HWV 17: Act II, Scene 3: Bella Lidia | | • | Giulio Cesare in Egitto, opera, HWV 17: Act II, Scene 3: Mora, mora, mora | | • | Giulio Cesare in Egitto, opera, HWV 17: Act II, Scene 3: Se pietà di me non senti | | • | Giulio Cesare in Egitto, opera, HWV 17: Act III, Scene 1: Sinfonia | | • | Giulio Cesare in Egitto, opera, HWV 17: Act III, Scene 1: Vinta cadesti al balenar | | • | Giulio Cesare in Egitto, opera, HWV 17: Act III, Scene 1: Cerco in van Tolomeo | | • | Giulio Cesare in Egitto, opera, HWV 17: Act III, Scene 1: Lascia questo sigillo! | | • | Giulio Cesare in Egitto, opera, HWV 17: Act III, Scene 2: Voi, che mie fide ancelle | | • | Giulio Cesare in Egitto, opera, HWV 17: Act III, Scene 2: Cesare, o un'ombra sei? | | • | Giulio Cesare in Egitto, opera, HWV 17: Act III, Scene 2: Da tempeste il legno infranto | | • | Giulio Cesare in Egitto, opera, HWV 17: Act III, Scene 3: Cornelia, è tempo omai | | • | Giulio Cesare in Egitto, opera, HWV 17: Act III, Scene 4: La vendetta del padre |
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| Customer Reviews:
Showing reviews 1-5 of 40
 The producion that made Sills a star April 3, 2010
D. Kraeger
The New York City Opera opened its 1966 season with "Julius Caesar". with Sills as Cleopatra. The International Press Corps was in town for the opening of the Met's new house and decided to walk accross the plaza to see "Julius Caesar". Beverly Sills describes the moment in her own words in her autobiagraphy, "Beverly":
"Well, the opera started, and I made it thru "Plangero" and then, when I began "Se Pieta", an absolute hush came over the audience. People were hanging on every note."
"When I finished the aria,... the curtain began coming down very slowly, and the death like silence continued--and then a roar went through the house the likes of which I'd never heard. I was a little stunned by it. The audience wouldn't stop applauding." "I didnt come out for a bow, but the peole wouldn't leave their sets. They just sat there applauding and applauding as if it were the end of the opera."
"I had another aria to sing in Act III, and when the final curtain came down, I just knew I'd never preformed like that before."
Four days later when she checked her mail, "The five-inch box was jammed. I had invitations to sing in literally every major opera house in the world-- except the Met. That's when the craziness of my career began."
BEVERLY AN AUTOBIOGRAPHY
 DIFFICULT HANDEL TO SWALLOW July 29, 2008
Alfredo R. Villanueva (New York, NY United States)
1 out of 8 found this review helpful
HANDEL HAS NEVER BEEN MY FAVORITE COMPOSER. I PARTICULARLY HATE THAT MUSICAL MONUMENT TO IMPERIAL ENGLAND CALLED THE MESSIAH. I BOUGHT THIS RECORDING BECAUSE I AM A LOYAL FAN OF SILLS, TREIGLE AND WOLFF, WHOM I SAW MANY TIMES DURING THE GREAT DAYS OF NEW YORK CITY OPERA. I ALSO SAW A PRODUCTION OF THIS OPERA AT THE MET THAT WAS FAR, FAR MORE EXCITING THAN THIS RECORDING, WHICH IS EXCRUCIATINGLY SLOW. THE SINGING IS SUPERB, BUT I DO PREFER A COUNTERTENOR IN THE ROLE OF SEXTUS.
forget the "purists" and enjoy! July 17, 2007
ahur111 (houston, tx USA)
3 out of 3 found this review helpful
In the last 20-30 years with all of the emphasis on "early music" and "authentic" versions that are not edited, there have been many opera fans who dismiss this performance/production somewhat condescendingly. Ignore them! Here's what caused her to become the people's prima donna, and led to her debuts at La Scala and the Royal Opera in London. Certainly there have been other sopranos in the 20th century with brilliant coloratura (Sutherland, Caballe, Callas) but few were as effective dramatically, as heartfelt, or had the Brooklyn "razzle-dazzle" that made opera fans on both side of the Atlantic fall in love with her. It may sound like a cliche, but we lost a national treasure!
Beverly Sills, American Legend: Ave Atque Vale July 3, 2007
Grady Harp (Los Angeles, CA United States)
11 out of 12 found this review helpful
The world is diminished with the news of the death of Beverly Sills. Her impact on American Opera will never be matched. She was an Original, a woman of great beauty, creative intelligence not only in her vocal production, pyrotechniques, and range, but also in her commitment to acting and drama, bringing a far larger audience to the opera houses with both her gifts as an artist and her compassion for those experiencing opera for the first time. Her performances were full of life, uncannily beautiful in singing and deportment, and aided by her own insistence on the use of supertitles above the proscenium arch, a gracious bow to her audiences to draw them into the stories of the works. La Sills had the intelligence to make her final bow on the stage when signs of vocal weakness began to show. Everything she did was form her heart and her brain and her humanity.
Finding a work to call a signature role for her wide repertoire is difficult, but for most of us her creation of Cleopatra as captured in this recording of Handel's 'Giulio Cesare' is a zenith. She sparkles and stuns with her effortless singing and embellishments and she is accompanied by her old friends Norman Treigle, Spiro Malas, Michael Devlin, Maureen Forrester, Beverly Wolff, Dominic Cossa and of course, Julius Rudel who with Sills brought the New York City Opera to importance.
Yes, the recording is old and now dated and now that Handel's jewel is a frequently performed opera in the original style (countertenors, original instrumentation, etc), the performance does sound a bit florid and thick. But Beverly Sills shines brightly and this is the great selfless star we will all remember. Grady Harp, July 07
beverly sill May 17, 2007
Sadek E. El Alfy (Redmond, Wa United States)
0 out of 1 found this review helpful
beverly is enchanting as cleopatra. i have started a beverly collection of operas which i am sure will rival my callas collection
Showing reviews 1-5 of 40
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