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Disc 1:

1. Preludio
2. Act 1: Posa in pace
3. Act 1: S'avanza il Conte
4. Act 1: La rivedrá nell'estasi
5. Act 1: Il cennomio di lá con essi attendi
6. Act 1: Alla Vita che t'arride
7. Act 1: Il Primo Giudice
8. Act 1: Volta la terrea
9. Act 1: Signori: oggi d'Ulrica
10. Act 1: Ogni cura si doni al diletto
11. Act 1: Zitti... - Re dell' abisso
12. Act 1: Arrivo il primo
13. Act 1: Su, fatemi largo
14. Act 1: Che v'agita così?
15. Act 1: Della città all'occaso
16. Act 1: Su, profetessa
17. Act 1: Di' tu se fedele
18. Act 1: Chi voi siate
19. Act 1: È scherzo od è follia
20. Act 1: Finisci il vaticinio

Disc 2:

1. Act 2: Preludio
2. Act 2: Ecco l'orrido campo
3. Act 2: Ma dall'arido stelo divulsa
4. Act 2: Teco io sto
5. Act 2: Non sai tu che se l'anima mia
6. Act 2: M'ami, m'ami!
7. Act 2: Ahimè! s'appressa alcun
8. Act 2: Odi tu come fremono cupi
9. Act 2: Seguitemi
10. Act 2: Ve', se di notte
11. Act 3: A tal colpa è nulla il pianto
12. Act 3: Morrò, ma prima in grazia
13. Act 3: Alzati! là tuo figlio
14. Act 3: Eri tu
15. Act 3: Siam soli. Udite
16. Act 3: Dunque l'onta di tutti sol una
17. Act 3: D'una grazia vi supplico
18. Act 3: Il messaggio entri
19. Act 3: Forse la soglia attinse
20. Act 3: Ma se m'è forza perderti
21. Act 3: Ah! dessa è là
22. Act 3: Saper vorreste di che si veste
23. Act 3: Fervono amori e danze
24. Act 3: Ah! perché qui!
25. Act 3: Ella è pura

Rating: - Great singers let down by so-so conducting
The singers rule this set of Un Ballo - in my opinion there is not one single weak link in this cast. Crider being one of my favourite sopranos sings Amelia with feeling and security in both lower and top registers. I find her much more preferable to Martina Arroyo, whose lower register is weak and she seems to glosses over the text, although she sings the role well enough. Some may find Crider's tone jarring and her technique beyond reproach, but she still scores in my books, and she does this well! Leech and Chernov are excellent in their respective parts, with both Zaremba and Bayo offering fine support. The letdown in this set is the slack conducting of Carlo Rizzi. I think the cast and orchestra would have been more inspired with a Muti or Solti. Imagine that.................! PS Having heard Crider live in AIDA a few years ago, I cannot wait to hear Crider Amelia at the MET later this year.

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Rating: - Un Ballo muy interesante
Este es un 'Ballo in maschera' en lineas generales interesante y satisfactorio. Del equipo de solistas destaca la sensacional Amelia de MICHELE CRIDER, una voz verdiana de las que da gusto escuchar: Grande y carnosa. Tambien sobresaliente la poderosa Ulrica de la contralto ELENA ZAREMBA y el Oscar delicado y lleno de intencion y picardia de MARIA BAYO. Entre los hombres RICHARD LEECH es un Riccardo interesante, en tanto que VLADIMIR CHERNOV como Renato se ve perjudicado por un molesto vibratto en algunos momentos. Los secundarios cumplen sobradamente del primero al ultimo. CARLO RIZZI plantea una direccion matizadisima, con unas intensidades muy marcadas (veanse los pianissimos con que comienza la obertura o los tres acordes en fortissimo que abren la escena de la caverna de Ulrica) al mando de los cuerpos estables de la WELSH NATIONAL OPERA, que rinden a un nivel tambien satisfactorio. El sonido es notable.

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Rating: - Crider is marvelous!
This Ballo is underrated, as is the soprano of Michele Crider. I own this recording, and heard Crider sing this role at the Met recently, and I don't agree with the reviews of the later performance. The reviews I read were negative on Crider and most complementary of Farina. My experience with Farina is not plentiful so I will not yet judge him, but I found his voice overall pleasing. My only reservation was that his high register was a little pushed and nasal on that performance. Crider has an artistic style and grace not seen and heard on the operatic stage as often today as it was thirty, fourty, fifty years ago etc. Not only were her arias deeply moving and well-sung, but so was all the ensemble singing. She actually sings the TEXT and the notes! What a concept. You get a wonderfl sense of drama, and that she IS Amelia when you listen to her sing, not that she is a pretty voice singing some pretty music. Her performance on this recording is one that can stand by itself. Luckily she is not the only high point of this recording. Leech does quite a commendable job here, and is heard in fine form. Rizzi has a powerful command over both the orchestra and the score and really keeps everything going with a sense of forward motion even in the pauses. Bayo gives a charming perfromance as Oscar. Her voice is not offensively bright, but rather fresh and well-produced. Chernov gives a great performance as Renato. One might think this role a walk in the park for him, because that is surely how it sounds. Zaremba gives a secure and insightful performance as Ulrica, better here than in that same preformance from the Met with Crider. Anyone who is looking for perfection in any artform, be it a recording or in performance, etc. is obviously not, in my opinion, a true appreciator of art. People too often forget the human qualities in any human creation i.e. ART. Beneath the surface of any great artform are a multitude of different colors waiting to be employed by the artist. The greatness of opera, and music in general is that it is a gift in which art is achieved by each performer's undertaking of the musical genius of a composer. Perfection doesn't exist, though some people come quite close. What one likes is dependant on their tastes. If this is too much for one to fathom, then I say you might find eating a bowl of oatmeal too flavorful.

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Rating: - Crider caresses the Verdi line most lovingly...
This particular set is well worth having in your collection, particularly if you're a Verdi fan. Rizzi evokes a strong reading from the orchestra of the Welsh National Opera, however some of his choice in tempi are a bit perplexing. The brief overature, lovely as it is, seems to drag on veiled by a cloak of lethargy. The soloists for the most part, make this recording and most noteworthy is tenor Richard Leech as the ill- fated king. Leech is the possessor of a lovely and rich middle with a soaring free top. His interpretation portrays our protagonist ardor and flippancy, despair and revelation. Leech can and does, deliver the goods.

Michele Crider has a gorgeous full bodied voice and lovingly caresses the Verdi line. Her dramatic soprano has no difficulties negotiating the demands of this score. Her big second act aria, 'Ecco l'orrido campo' is not only beautifully executed (listen to Crider's impeccable phrasing and the way she colors her tone) but she manages the ascending climax with total confidence and produces an anchored lower register which is thrilling. So many sopranos manage the top but wither out where the low rich chest register is required but never realized.

Maria Bayo sparkles as the page. Her bell like tones and silvery timbre are a delight. Her arias are most impressive but it is in the large ensembles where Bayo is a standout.

Vladimir Chernov as Renato is the weakest link vocally. Though there are moments where we hear a rich a warm sound, there are equal moments (too many) where the voice appears forced and his tone, tremulous. Perhaps he wants his audience to hear him 'working', but it left this listener frustrated and exhausted.

Elena Zaremba manages the difficulties of Ulrica and even has the feel for the spooky enchantress. Her tone however, is dry and void. While she has the potential for an Ulrica, one still longs for a Pia Tassinari from the old Cetra days.

Gareth Jones has success with his chorus who add to this thrilling score with aplomb.

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Rating: - Crider embraces Amelia's sorrow with shimmering beauty...
This recording of BALLO should be in every serious Verdi lovers collection. Leech, of course, dominates this version with a heart rendering pathos rarely heard nowadays. His tenor is warm and lush in the middle and secure with a thrusting top; plying out the kings desperation. Crider is a revelation. Her lovely soprano finds no difficulty tackling this role and she scores a hit with the big second act aria, "Ecco l'orrido campo". She embraces Amelia's sorrow with shimmering beauty. And how refreshing to have a dramatic soprano who gives us that lush chest voice and not a mere whisper. Bayo is sparkling as the page; her bell like soprano magical in its delivery. The only negative is Chernov, whose interpretation is adequate but the voice can't meet the demands. His sound is pushed and tremulous with an annoying forced and uneven vibrato. He should have stayed in bed for this recording. Rizzi manages his orchestra with finesse; pulling out the rich and hautingly lovely nuances of the Ballo score. Kudos for the fine chorus aptly led by Gareth Jones. Zaremba does a good turn with Ulrica, but one longs for the mezzo of another Pia Tassinari from the old Cetra days.