Un amore così grande di mario del monaco

Un amore cosi' grande (Remastered)

'Na sera 'e maggio (Remastered)

Torna a Sorrento (Remastered)

Core 'ngrato (Remastered)

'O paeso d''o sole (Remastered)

Addio a Napoli (Remastered)

Tu ca nu chiagne (Remastered)

Dicitincello vuje (Remastered)

Parlami d'amore Mariu' (Remastered)

Top reviews from the United States

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Reviewed in the United States on September 2, 2016

I am very happy with this product

Reviewed in the United States on January 29, 2021

As another reviewer has mentioned the singing is loud, loud, loud! But as a fan of Del Monaco, I have always loved it since I was a teenager and heard it at the local Italian restaurant. I had to ask the restaurant owner what the recording was. I’ve been hooked on it since, more than thirty years!

The pop band arrangements are very much of their period. Don’t expect the luscious sounds of Mantovani or Ernesto Nicelli, the conductors of del Monaco’s earlier Italian pop song repertoire. But for what they are I think they’re quite brilliant...the chorus sounds like the chipmunks to me, but I still enjoy it. Particularly the flute and harp version which is to the fore in Leoncavallo’s “Mattinata”. My favorite song of the disk is the multi guitar accompanied version of “Dicitencello vuie”.

It’s the sort of album I listen to late at night in the car on my way home from performing somewhere myself...sort of a guilty pleasure.

Yes, the great tenor’s voice is a bit tired, but who cares? No one sings like this today...more’s the pity. How did the 1950s and 60s have so many great voices...all completely individual?!

Reviewed in the United States on December 7, 2015

Del Monaco came from the earlier and louder, now obsolete, school (Jan Peerce, Richard Tucker) of tenor belting technique, and modern listeners cannot regret that old technique's obliteration. Peerce and Tucker, American-trained, had huge instruments but used them with some discretion and tactful attention to dynamics. Del Monaco, devoid of tact or discretion, bellowed and blustered, a bull in a china shop, through every operatic assumption he undertook: The voice itself is not unattractive, but his constant fortissimo mode, unrelieved by notated or improvised dynamics (Mario Lanza also skated along with similar vocal showboating), leads directly to listener fatigue and great irritation with the artist's insensitivity. I can recall only three occasions in his official Decca opera career when Del Monaco, usually at producer's or conductor's behest, made a pretense of observing dynamics: the '61 OTELLO, the '62 ADRIANA LECOUVREUR and the '69 FEDORA/FRANCESCA double bill. In any case we bought those sets for Tebaldi, Olivero or Karajan, not for the sake of the full-throttle Mario experience.

He crossed over officially twice, first in 1955 with a restrained EP ITALIAN SONG RECITAL, then again in 1962 in a more lavish collaboration with Mantovani called A SONG FOR YOU. Those were official Deccas, in their superior ffrr sound that minimized his relentlessly harsh vocal technique. These 12 songs, to the contrary, are an integral rerelease, under this title and with identical cover art, of an album the singer (aged 60, and sounding it) made for the Italian pop imprint CSR in 1975 and engineered to AM car radio standards. It is unfit for home listening, as it was produced to be played on portable phonographs at the lidos in, say, San Remo or Venice: loud background noise for a beach volleyball playoff, but in the sanctity of the North American home the musically literate will cringe as I did.

Several of Del Monaco's core popster playlist hits are missing, including "Granada" and "Musica proibita," but the ghastly and overfamiliar remainder are simply excruciating listening, even that exquisite showstopping ballad "Core 'ngrato." Beneath the tenor's shouting there's a small Vegas-style pop band and a pathetic chorus of desperately unhappy Neapolitans pretending unsuccessfully to be cheerful. Everyone yells full voice, in the healthy Italian way, just to make themselves heard in the uncontrolled din. This is only a skimpy, needless revival of a truly vile older vinyl album, its digital download and overpriced CDs unlistenable. If you absolutely must have quality Neapolitan songs by impassioned lovelorn tenors, go directly to Bergonzi (Ensayo or Sony), Di Stefano (Decca) or Corelli (Warner), in that order, and for a more contemporary—and idiomatically Neapolitan—thrill check out Jerry Hadley's SONG OF NAPLES (RCA). Do not allow Del Monaco anywhere near your expensive stereo setup: as a crossover lido-pop shouter the man is dangerous, a certified hazard to better audio hardware and to your eardrums.

Reviewed in the United States on November 12, 2020

It’a pity to listen our greatest tenor of 20th century with a cheap pop band and unbelievable pathetic chorus behind del Monaco. Their voices were such a distraction of whole album. I’ve been a big fan of del Monaco and I felt sorry for him that he had to accept this kind of recording situation. More over, they could choose more attractive photo of him for this CD Jacket. Lastly, the arrangement of the whole music was insensitively played, the band takes time to fade out the sound after Del Monaco dramatically sang up each the song.

Chi ha scritto la musica di un amore così grande?

Come è morto Mario Del Monaco?

Come si chiama la moglie di Mario Del Monaco?

Quando è nato e quando è morto Mario Del Monaco?