Music

Classical Masterpieces of the Millennium [20 CD Set]

Average customer rating:

Mill. Classical review
classical music for the unitiated
Some little gems there that I had forgotten!
A very helpful collection
Excellent!

Classical Masterpieces of the Millennium [20 CD Set]

Manufacturer: Delta
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Mazurkas | Ballets & Dances | Classical | Styles | Music

Minuets | Ballets & Dances | Classical | Styles | Music

Polkas | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Quartets | Chamber Music | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Rondos | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

Modern & 20th Century | Symphonies | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Airs | Vocal Non-Opera | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

Choruses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music

Classical | Box Sets | Stores | Music
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ASIN: B00000K1C9
Release Date: 1999-08-24

Tracks:

Brandenbutg Concerto No.3 In G First Movement
Overture No.3 In D Second Movement
Violin Concerto In E First Movement
Prelude In C minor
Jesu Bleibet Meine Freude (Chorus From Cantata No.147)
Overture No.2 In B minor Minuet And Badinerie
Oboe Concerto In D minor Second Movement
Brandenburg Concerto No.4 In G Third Movement
Musical Offering - Fuga canonica
Easter Oratorio - Overture
Minuet In D minor
Kommst Du Nun, Jesu, Vom Himmel herunter(From Choral Prelude BWV 650
Brandenburg Concerto No.1 In F Second Movement
Art Of The Fugue - Contrapunctus 9
Concerto For Flute, Violin, Harpsichord And Strings. Triple Concerto - Third Movement
Overture No.4 In D - Réjouissance
Concerto No. 1 in E: Spring
Concerto No. 1 in E: Spring
Concerto No. 1 in E: Spring
Concerto No. 2 in G minor: Summer
Concerto No. 2 in G minor: Summer
Concerto No. 2 in G minor: Summer
Concerto No. 3 in F: Autumn
Concerto No. 3 in F: Autumn
Concerto No. 3 in F: Autumn
Concerto No. 4 in F minor: Winter
Concerto No. 4 in F minor: Winter
Concerto No. 4 in F minor: Winter
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto Grosso in A minor, Op. 3, no. 8
Concerto Grosso in A minor, Op. 3, no. 8
Concerto Grosso in A minor, Op. 3, no. 8
Water Music - Alla Hornpipe
Xerxes - Ombra Mai Fu (Largo)
Messiah - And The Glory Of The Lord
Concerto Grosso In A Minor, Op. 6, No. 4 - Larghetto Affettuoso
Organ Concerto In F, Op. 4, No. 4 Allegro
Water Music - Air
Messiah - For Unto Us A Child Is Born
Concerto Grosso In B flat, Op. 3, No. 2 - Largo
Salomon - Sinfonia, Act 3
The Choice Of Hercules - While For Thy Arms
Water Music - Allegro (Suite No. 1)
Suite No. 5 In E - Air With Variations
Jephtha - How Dark, O Lord
Organ Concerto In F, Op. 4, No. 5 Alla Siciliana - Presto
Mi Palpita Il Cor (Solo Cantata) S'un Di M'adora
Water Music - Andante Allegro Da Capo
Concerto for Trumpet & Orchestra in E-flat: First Movement
Symphony No. 94 in G: Surprise Symphony-second movement
Concerto for Violin No. 2 in D: Third Movement
Flute Trio No. 31 in G: Second Movement
Symphony No. 31 in D: Hornsignal-First Movement
String Quartet No. 17 in F, Op. 3, no. 5: Serenade Quartet-Second Movement
Sinfonia Concertante in B-flat for Violin, Cello, Oboe, Bassoon and Orchestra-Third Movement
Concerto for 2 Horns & Orchestra in E-flat: Second Movement
Symphony No. 88 in G: Fourth Movement
String Quartet No. 77 in C: Kaiser Quartet-Poco adagio cantabile
Notturno No. 1 in C: Second Movement
Symphony No. 98 in B: Londoner No. 4-Fourth Movement
Eine Kleine Nachtmusik - first movement
Piano Concerto in A - second movement
Flute Concerto in D - Rondeau
Serenade - Minuet
Violin Concerto - first movement
Symphony No. 40 in G minor - first movement
Clarinet Concerto - second movement
Turkish March
Divertimento - Minuet
Horn Concerto No. 3 in E-flat - first movement
Symphony No. 5 in C minor, Op. 67-First Movement
Piano Sonata No. 14 in C sharp minor, Op. 27, no. 2: Moonlight Sonata-First Movement
Overture
O welche Lust (Prisoners' Chorus)
Ha, welch ein Augenblick (Pizarros's Aria)
Concerto for Piano and Orchestra No. 3 in C minor, Op. 37: Second Movement
Concerto for Violin and Orchestra in D, Op. 61: Third Movement
Piano Sonata No. 8 in C minor, Op. 13: Pathétique-Second Movement
Sympony No. 6 in F, Op. 68: Pastorale-First Movement
Fantasy for Piano, Chorus and Orchestra in C minor, Op. 80: Choral Fantasy - Finale
German Dance No. 1 In C
Impromptu Op. 90, No. 3 In G-Flat
Heidenroslein
Ave Maria
Der Lindenbaum
Quintet In A 'Trout Quintet' - Andante
Mass No. 6 In E-Flat - Kyrie
Die Schone Mullerin Des Mullers Blumen
German Dance No. 2 In G
Piano Sonata In B-Flat
Nachtgesang Im Walde
Winterreise - No. 15: Die Krahe
German Mass - Zum Sanctus (Heilit, Heilig Ist Der Herr)
Symphony No. 8 In B Minor 'Unfinished' - Second Movement
Waltz No. 1 in E-flat, Op. 18 Grande Valse brillante
Nocturne in E-flat, Op. 9, no. 2
Etude in G-flat, Op. 10, no. 5
Concerto for Piano and Orchestra No. 2 in F minor, Op. 21-Second Movement
Mazurka in D minor, Op. 33, no. 2
Prelude in D-flat, Op. 28, no. 15 Raindrop
Etude in C, Op. 10, no. 1
Nocturne in D-flat, Op. 27, no. 2
Impromptu No. 4 in C-sharp minor, Op. 66 Fantasy Impromptu
Scherzo in B minor, Op. 20
Piano Sonata No. 2 in B-flat minor, Op. 35-Third Movement
Concerto for Piano and Orchestra No. 1 in E minor, Op. 11 - Third Movement
Piano Concerto No. 1 in B-flat minor - first movement 113.String Seranade - Waltz
Violin Concerto - second movement
The Sleeping Beauty - Waltz
Capriccio Italien, Op. 45
Swan Lake - Waltz
Eugene Onegin - Polonaise
The Nutcracker - Waltz of the Flowers
Orchestral Suite No. 4 - Mozartiana - Third Movement
Swan Lake - Dance of the Swans
Symphony No. 6 in B minor - Pathétique - Third Movement
Hungarian Dance No.5
Lullaby
Symphony No.1 in C minor, Op. 68 - Third Movement
Intermezzo in E-flat, Op.117, no. 1
Concerto for Violin and Orchestra in D, Op. 77 - Third Movement
Waltz, Op. 39, no. 15
Concert for Piano and Orchestra No. 2 in B-flat, Op. 83 - Second Movement
String Quintet in G, Op. 111 - Second Movement
Symphony No.4 in E minor, Op. 98 - Third Movement
Intermezzo in A minor, Op. 76, no. 7
Hungarian Dance No.1 in G minor
German Requiem Selig sind die Toten (Final Chorus)
Die Fledermaus - Overture
Kaiser Waltz, Op.437
Thunder And Lightning Polka, Op. 324
Roses From The South Waltz, Op. 388
AnnenPolka, Op. 117
Vienna Blood Waltz, Op. 354
Eljen A Magyar Polka, Op. 332
Wine, Women and Song Waltz, Op. 333
On The Beautiful Blue Danube Waltz, Op. 134
Die Meistersinger Von Nurnberg - Overture
Tannhauser - Die Pilger sind's (Pilgims' Chorus)
Tannhauser - O du mein holder Abendstern (Wolfram's Aria)
Lohengrin - Act 3 Prelude and Bridal Chorus
The Flying Dutchman - Jo-ho-he Traft ihr das Schiff (Senta's Ballad)
The Flying Dutchman - Steuermann, lass die Wacht (Sailors' Chorus)
Die Walkure - Wintersturme wichen dem Wonnemond (Siegmund's Aria)
Die Walkure - Ride of the Valkyries
Siegfried Hoho! Hoho! Hohei! Schmiede mein Hammer (Siegfried's Forging Song)
Tristan und Isolde - Liebestod
Thus sprach Zarathustra, Op. 30 (excerpt)
Don Juan, Op. 20
Eine Alpensinfonie, Op. 64, I.Nacht
Don Quixote, Op.35, first movement: Introduction
Salome, Op. 54, Dance Of The Seven Veils
Der Rosenkavalier, Op. 59, Finale: Hab' mir's gelobt ihn lieb zu haben
Piano Concerto 2 In C minor, Op. 18 - First Movement
Vocalise, Op.34, No. 14
Prelude In G Sharp minor, Op. 32, No. 12
Piano Concerto No. 4 In G minor, Op. 40 - Third Movement
Symphony No. 2 In E minor, Op. 27 - Third Movement
Piano Concerto No. 1 In F sharp minor, Op. 1 - Second Movement
Rhapsody, Op. 43 On A Theme By Paganini
Hungarian Rhapsody No.2
Liebestraum No.3 in A-flat
Piano Concerto No.1 in E-flat - third movement
Angelus
Mephisto Waltz No.1 (Dance in a Village Tavern)
Prelude and Fugue on B-A-C-H
Dante Symphony - Finale. - Purgatorio - Magnificat
Les Préludes
Boléro
Daphnis et Chloé first movement: Nocturne
Rhapsodie Espagnole
Shéhérazade - first movement: Asie
Ma Mère l'Oye - fourth movement: La Belle et la Bête
Introduction and Allegro for Harp, Flute, Clarinet, and String Quartet
La Valse
Slavic Dance No. 1 in C, Op. 46, no.1
Symphony No. 9 in E minor, Op. 95 'From the New World' - second movement
Humoresque, Op. 101
Slavic Dance No. 8 in G minor, Op. 46, no. 8
Serenade for String Orchestra, Op. 22 - second movement
Romance for Violin and Orchestra In F minor, Op. 11
Symphony No. 7 in D minor - third movement
Melodie (Songs My Mother Taught Me)
Carneval Overture, Op. 92
Concerto for Cello and Orchestra in B minor, Op. 104 - third movement
Symphony No.4 In A, Op. 90. Italian - First Movement
Frühlingslied In A, Op. 62, No. 6
Wedding March (From A Midsummer Night's Dream, Op.61)
Duetto In F, Op.30, No.6 (From Songs Without Words)
String Symphony No.9 In C. Schweitzer Symphony - Third Movement
Concerto For Violin, Piano And String Orchestra No. 1 In D minor - Second Movement
Symphony No.3 In A minor, Op.56 Scottish - Third Movement"
Notturno (From A Midsumment Night's Dream, Op. 61)
Rondo Capriccioso, Op.14
String Symphony No. 12 In G minor - First Movement
Venetian Gondola Song In F Sharp minor, Op.30, No.6
Scherzo (From A Midsumment Night's Dream, Op. 61)
Violin Concerto In E minor, Op.64 - Third Movement
Peer Gynt - Suite No. 1, Op. 46 - Morgenstimmung
Holberg Suite, Op. 40 - I. Prelude. Allegro vivace
Holberg Suite, Op. 40 - IV. Air. Andante religioso
Arietta, Op. 12, no. 1
Homage March from Sigurd Jorsalfar, Op. 56
Peer Gynt - Suite No. 2, Op. 55 - Solveig's Song
Wedding Day at Troldhauen, Op. 65, no. 6
The Last Spring, Op. 34, no. 2
Peer Gynt - Suite No. 1, Op 46 - Anitra's Dance
Nordic Melody Op. 63
Notturno, Op. 54, no. 4
Elegie, Op. 47, no. 5
Peer Gynt - Suite No. 2, Op. 55 - Arabic Dance
Piano Concerto in A minor, Op. 16 - Allegro
Symphony No. 3 in E flat, Op. 97 - Rhenish - first movement
Traumerai (from Kinderszenen, Op. 15)
Mondnacht (from Eichendorff-Liederkreis, Op. 39)
Aufschwung (from Fantasietucke, Op. 12)
Triolett, Op. 114, no. 2
Tanzlied (No. 1 from Duets, Op. 78)
Symphony No. 4 in D minor, Op. 120 - second movement
Frühlingsgruss
Abschied (from Waldszenen Op. 82)
Dichterliebe, Op. 48 - Im wunderschonen Monat Mai
Manfred Overture, Op. 115
Romance in F sharp, Op. 28, no. 2
Die Rose stand im Tau
Liebesgarten (from Four Duets, Op. 34)
Warum? (from Fantasiestucke, Op. 12)
Kennst du das Land, Op.79, no. 29 (from Lieder der Mignon, Op. 98a)
Von fremden Landern und Menschen (from Kinderszenen, Op. 15)

Album Description

An extraordinary 20-CD collection of great works by Bach, Vivaldi, Handel, Haydn, Mozart, Beethoven, Schubert, Chopin, Tchaikovsky, Brahms, Ravel, Mendelssohn, Rachmaninoff, J. Strauss, R. Strauss, Schumann, Wagner, Dvorak, Grieg and Liszt. It also features worldrenowned artists such as Sir Neville Marriner, Martha Argerich, Ivo Pogorelich, Hermann Prey, Reiner Goldberg, Sylvia Sass, Jochen Kowalski, Peter Schreler and many more. This exquisite, copper metallic, deluxe boxed set is the perfect gift for the classical music neophyte.

Customer Reviews:

Mill. Classical review.......2007-05-13

This is a great set of recordings for the money, the only problem was I've had to clean some of the CD's before they played correctly.

classical music for the unitiated.......2007-04-01

This set is a good way to start listening to classical music. It's very well produced and easy to listen to. I purchased it to use as part of my world history high school class. It would have been nice to have some bio information on the composers. However, the product is exactly as advertised and good value for the money. The students were intrigued by how many of the excerpts they had heard before.

Some little gems there that I had forgotten!.......2007-03-30

Although I studied classical music at school, I had all but forgotten it until I bought this set. I heard several tracks I haven't heard for over 30 years, and I had been humming Brahms's 'Hungarian Dance no. 5' for years without ever knowing what it was and it was on the disc, so that was nice.

I found it to be a very good selection overall, but I felt too much had already been heard on TV, which of course is what lots of newcomers to classical music might appreciate. I managed to find about 2 hours of tracks that I wanted to keep, which works out quite expensive per disc, but I did find some wonderful music I had completely forgotten about, so it was worth it. All in all, it represents good value, and I have only knocked one star off as so much of it had been used in adverts.

It is definitely a good introduction to classical music, and it has made me want to listen to more of it, so I don't regret this 'expensive' purchase one bit!

Classical Masterpieces of the Millennium [20 CD Set]

A very helpful collection.......2007-03-24

I define this set as an excellent way to find out who you like, and who you don't, among 20 of the important composers. It opens the door to purchasing more complete pieces by composers you do like, and can save a lot of time and money in the process.
To criticize the set for not containing more composers, or more than just snippets of those who are in the set, is missing the point: it is a helpful introduction to finding your way in the huge maze of classical music. It succeeds admirably in this.
Sound quality is uniformly very good on an audiophile system.
Highly recommended.

Excellent!.......2007-03-08

A great way to start a classical music collection. It's nice to have a full CD of each composer. It makes it easy to keep track of selections/composers I already have and what composers I still need to puchase to complete my collection.

Average customer rating:

Brava Bonney!
A Beautiful Blend of Passion and Poetry

Songs by Robert & Clara Schumann

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Bonney, Barbara | Divas | Opera & Vocal | Styles | Music

The Decca Records Store | Specialty Stores | Music
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Mozart: Lieder

ASIN: B0000042G4
Release Date: 1997-05-13

Tracks:

Myrthen, op.25: Widmung
Myrthen, op.25: Der Nussbaum
Myrthen, op.25: Die Lotosblume
Myrthen, op.25: Lied der Suleika
Er ist gekommen in Sturm und Regen
Liebst du um Schonheit
Das Veilchen
Lorelei
Mein Stern
Frauenliebe und -leben, op.42: Seit ich ihn gesehen
Frauenliebe und -leben, op.42: Er, der Herrlichste von allen
Frauenliebe und -leben, op.42: Ich kann's nicht fassen, nicht glauben
Frauenliebe und -leben, op.42: Du Ring an meinem Finger
Frauenliebe und -leben, op.42: Helft mir, iht Schwestern
Frauenliebe und -leben, op.42: SFreund, du blickest
Frauenliebe und -leben, op.42: An meinem Herzen, an meiner Brust
Frauenliebe und -leben, op.42: Nun hast du mir den ersten Schmerz getan
6 Lieder, op.13: Ich stand in dunklen Traumen
6 Lieder, op.13: Sie liebten sich beide
6 Lieder, op.13: Liebeszauber
6 Lieder, op.13: Der Mond kommt still gegangen
6 Lieder, op.13: Ich hab' in deinem Auge
6 Lieder, op.13: Die stille Lotosblume
Liederkreis, op.39: Waldesgesprach
Liederkreis, op.39: Mondnacht
Liederkreis, op.39: Er ist's, op. 79 no.24
Liederkreis, op.39: Sehnsucht, op. 51 no.1
Liederkreis, op.39: Mein Sch Stern!, op. 101 no.4
Liederkreis, op.39: Mignon, op 79 no. 29

Customer Reviews:

Brava Bonney!.......1999-12-04

I've listened to many recordings of "Fraunliebe", and although I still would not give up my precious disc with Lucia Popp's interpretation (now out of print), Bonney's interpretation is so moving on account of it's very convincing use of rubato. I listened to Bonney sing these songs (meaning "Fraunliebe" and some of Clara Schumann's) in Vienna. Her interpretation (especially through rubato) gave me the impression that she was not singing but speaking -- more specifically, speaking to *me*, about all the joys and sorrows of life. Of course I'm aware that she wasn't really doing so, but the effect was just magical. And now I enjoy that same impression every time I listen to this CD! Ashkenazy accompanies with utmost sensitivity, bringing out some voices which one doesn't usually hear. And yes, Clara Schumann's Lieder are beautiful in their own right. Has anyone noticed that "Er ist gekommen" resembles the D minor episode of the last movement of Robert's "Kreisleriana"? Also, Clara's "Mein Stern" resembles the chorale-like theme from the end of the penultimate movement of "Kreisleriana." Any musicologists out there who might know what to make of this? I know Clara and Robert were fond of quoting each other in their own compositions, so it's hard to imagine these cases being mere coincidences of musical invention...

A Beautiful Blend of Passion and Poetry.......1999-01-08

This CD is one of the most beautiful recordings of Schumann lieder I have heard to date. I recently wrote a paper for a music history class about Robert Schumann's use of "musical code" (imagery through musical motives) in the song cycle "Frauenliebe und Leben." During my research, I fell in love with the song cycle, which is a perfect blend of passion and poetry. I had listened to several recordings, but none paired piano and voice so well as Bonney and Ashkenazy have. "Frauenliebe und Leben" was meant to be a vocal/piano duet rather than merely a vocal solo with piano accompaniment, and they have captured the essence of the song cycle in that respect. Bonney's gorgeous, mellow voice and Ashkenazy's perfectly complementary, soulful interpretation give this album a truly "romantic" feel--both emotionally and musically. I highly recommend this album for lovers of "Frauenliebe und Leben." I plan to share this album with my accompanist as we prepare for my upcoming senior recital, in which I will perform this song cycle. Bonney and Ashkenazy's portrayal of "woman's love and life" is inspirational. Five stars, three thumbs up, and a big "WOW!" for this album.

Average customer rating:

Lustrous Singing in Cherished Songs
Lovely
Renée Fleming treats Schubert with first-rate musicality...
Could one expect anything less?
Shubert lieder sung by the Beautiful Voice

Renée Fleming - The Schubert Album
Franz Schubert , Renée Fleming , and Christoph Eschenbach
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

The Decca Records Store | Specialty Stores | Music
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Renee Fleming - The Beautiful Voice ~ Gounod, Lehaair, Orff, Puccini, Rachmaninov, Strauss
Sacred Songs

ASIN: B0000042GS
Release Date: 1997-03-11

Tracks:

Heidenroslein, D257
Die Forelle, D550
An die Nachtigall, D 497
Im Fruhling, D882
Die junge Nonne, D 828
Nacht und Traume, D827
Auf dem Wasser zu singen, D774
Ave Maria, D839
Fruhlingsglaube, D686
Gretchen am Spinnrade, D118
Du bist die Ruh', D776
Der Tod und das Madchen, D531
Viola, D786
Die Manner sind mechant!, D866

Amazon.com

This is where Renee Fleming proved herself as a voice of international importance, not just with the luster of her instrument but with her artistic integrity. Her song selection includes some rarely heard items such as the 15-minute ballad "Viola" and lots of the Schubert hits, such as "Ave Maria," "Die Forelle" and especially "Gretchen am Spinnrade," which she renders with a chillingly intense sense of drama. Throughout this disc, she eschews the usual tidy, well- mannered lieder approach of so many, giving each song a highly individualistic, even rugged profile. -- David Patrick Stearns

Customer Reviews:

Lustrous Singing in Cherished Songs.......2005-04-14

With hundreds of Schubert recitals in my collection, I impulsively buy new releases while knowing that my standards are impossibly high. How does Ms. Fleming's refulgent tone serve these songs? Very well indeed, it turns out. Perhaps the most succinct recommendation I can make is that the disk made me want to hear Fleming in more Schubert, with particular songs in mind! Let's hope this isn't merely her "obligatory Schubert album." Among big voices, her stature in this repertory is close to Jessye Norman, Leontyne Price and Margaret Price in interpretive finesse; and for sheer beauty she is unsurpassed. While Lied is a more intimate art form, Schubert himself was a connoisseur of voices, and how he would have relished the lushness in which Fleming bathes these songs.

One thing I notice the more I hear Ms. Fleming is that she's got jazz in her system - it's not constant but you do feel a tug with the accents and rhythms and phrasing, and the occasional adventurous line break. Eschenbach himself shares in that sensibility. It's not intrusive, like she's trying to make something new of well-worn material - it's part of her style. The only song where the rhythmic play takes a wrong turn is in "Auf dem Wasser zu singen," where it sounds like Fleming and Eschenbach got into different boats, and it's the one place where her big voice detracted from the mood of the song, which should be contemplative here.

She opens with "Heidenroslein" and "Die Forelle," delivering them with obvious affection and a storyteller's ease. But it was the next song, "An die Nachtigall," that got my respect. Her endearing presentation of the simple melody makes this one of the best versions on disk. "Im Fruehling" has Fleming's name all over it, and she doesn't disappoint, although a somewhat somber, steady beginning (lightening up in the third stanza) seemed to anticipate the later key change to minor a little early.

Singer and accompanist bring the drama of "Die junge Nonne" to life with impressive teamwork. "Nacht und Traume" is a case study in breath control (though she doesn't take the first line in a single breath as Felicity Lott does). Fleming was wise to milk "Ave Maria" for all its worth - to rescue this overdone song from triteness, she upped the ante as only a singer of her gifts could. She lavishes a full eight minutes on her heart-melting interpretation. However, I wasn't so thrilled when the next song, "Fruehlingsglaube" was also taken at a very deliberate tempo. Despite her intensity and admirable word-pointing, the reverie needed a little elan. "Du bist die Ruh" lagged not at all, and it is a performance of sheer magic from beginning to quietly rapturous end.

As for the remaining songs, her "Gretchen" is not among the greatest, but an arresting interpretation nonetheless. After the halt in mid-song, she quickens to a frenzied finish that is something of a mini-mad scene. In "Tod und das Madchen" she bravely attempts the low alternate on the final note but doesn't have Norman's depth. The comic piece that ends the recital is delightfully characterized, but I do miss an elusive tonal nuance that Ameling found at key moments.

To be taken seriously as a Schubertian these days, it seems, singers must add to the program one of the composer's daunting, sometimes unwieldy, ballads. Not one to back down from a challenge, Fleming gives us the 15-minute "Viola." And it is a miracle - she combines narrative control, sustained beauty, and emotional depth.

Fleming hasn't the same feel for lieder as singers who devote the better part of their career to this "homely stepsister of opera." But the handful of weaknesses on this disk are outweighed by the many moments of astonishing perfection that I wouldn't want to miss. Fleming is one of those singers, like Lott, who must be heard in person to be fully appreciated. It's nice to have recordings like this to tide us over.

Lovely.......2003-06-25

It has a lovely collection of very sweet songs. I loved 'Im Fruling', 'An die nachtigall', 'Nacht and Traume','Du Bist di Ruh', and 'Viola'. She sings them at very "twinkly" high register,sort of matching the high keys of the piano.The vibratos are very small and closed, like little flutters.
She can give her voice a delicate, silvery quality and bring her voice to faint whisper and still maintain a a full, rich sound.

Renée Fleming treats Schubert with first-rate musicality..........2001-05-21

I first heard Renée Fleming's voice through this recording during the Schubert unit of one of my music classes in college. It was her playful and carefree rendition of "Die Forelle" that really won me over to exploring Schubert lieder in my own voice lessons.

What I find to be the best attribute of the album is Fleming's choice of lieder--a difficult decision since Schubert was a very prolific song writer. She includes both well-known works ("Ave Maria," "Die Forelle" and the powerful "Gretchen am Spinnrade") along with lesser-heard works such as the 15-minute "Viola" and the humorous "Die Männer sind mechant."

Fleming's voice is consistently smooth throughout the recording. Her rendition of "Nacht und Träume" had me slightly jealous. I had never heard a singer handle that song's long phrases at such a slow tempo with ease and consistency. Another performance of note is "Der Tod und das Mädchen" in which Fleming dips into her lower register. Her take on the priestly chant in the last half of the song is breathtaking, and MUST be heard!

If you are planning to sing some Schubert lieder, or are just plainly curious about Schubert's smaller works, I highly recommend this CD. Ms. Fleming has provided one of the most sensitive and thoughtful treatments of Schubert's works that I have heard in a long time.

Could one expect anything less?.......2001-04-13

There is nothing wrong with Fleming's Schubert - it is worth all the stars in the sky for the control of phrasing and the ability to bring the voice to a faint whisper. The recording is up to Decca's standard and Eschenbach is an understanding partner as so often he has been in the past. Fleming's creamy sound can easily be taken for granted in my opinion and it is not hard to imagine stronger characterizations, but her fans will find no need for disappointment.

Shubert lieder sung by the Beautiful Voice.......2000-02-28

This Shubert album is sung by Renee Fleming, that's why I bought it. (I'm ardent Fleming fan! ) There are very famous and popular songs such as "Heidenroslein", "Die Forelle", "Ave Maria", etc; and also rare song called "Viola". (I've never heard it before.) Whenever singer sing a lieder, they wants to show their "own" interpretation. Sometimes it makes me annoyed becaouse they seems to place a special emphasis on their "own" interpretaion. And it seems to me they forget the pleasure of singing. But Renee Fleming isn't one of them. Her way of singing gave me the pleasure of singing. Shubert songs sung by the Beautiful Voice are pleasant to hear. Wow, she can sing various songs and arias!

Speaking of the pianist, Christof Eschenbach overdone it. (However, he did a great job in Renee Fleming's the latest album, "Strauss Heroines".) Sometimes Renee Fleming and he doesn't tie together. Is there any pianist instead of him?

If you are Renee Fleming fan like me, you will enjoy it very much. Or if you are looking for the Beautiful Voice, this is the one. But if you are seeking a unique interpretation, you'll be disappointed.

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Rare Piano Encores

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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ASIN: B00008JL6H
Release Date: 2004-09-14

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One of the world's greatest mezzos

A Protrait of Frederica von Stade

Manufacturer: Sony
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Frederica von Stade - French Opera Arias
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Frederica von Stade Sings Mozart & Rossini Arias [Hybrid SACD]
Frederica von Stade - Haydn, Mozart, Rossini

ASIN: B0000025ZR
Release Date: 1990-10-25

Tracks:

Le nozze di Figaro: Non so piu
Semiramide: Bel raggio lusinghier
Mignon: C'est moi...me voici
Cendrillon: Que mes soeurs sont heureuses
La Grande Duchesse de Gerolstein: Dites-lui
Duets: Botschaft, Op. 74, No. 8 - das gluck, Op. 79, No. 15
Chanson perpetuelle
Duets: Klange (II), Op. 66, No. 2 - klosterfraulein, Op. 61, No. 2 - phanomen, Op. 61, No. 3 - weg der liebe (I), Op. 20, No. 1 - weg der liebe (II), Op. 20, No. 2 - walpurgisnacht, Op. 75, No. 4

Customer Reviews:

One of the world's greatest mezzos.......2005-03-09

Von Stade has a voice made of emotion. Her Cherubino (you can hear it on Solti's recording of Le Nozze) is simply THE BEST that there is, so it's vital that they included her "Non So Piu" on this CD - a very interesting arrangement, too, with violin. Not so good as with orchestral accompaniment but still it's nice. Now, I bought this CD for the Mignon gavotte and was not dissapointed. The notes are light and airy. Her voice compliments the natural beauty of the music. Equally gorgeous was the Massinet and oh! The Offenbach is wonderful. It drips with Von Stade-ness. I've heard Anne Sofie Von Otter sing the same aria and she seemed to overdo the comic aspect of it - although I am aware that after all, it is Offenbach. But my philosophy is play it straight and the funniness will shine through. Anyway, this is an excellent CD. Every piece on it is a gem. If you want a good sampling of a great singer, try this CD!

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A masterpiece compilation of Bel Canto

The #1 Tenor Album

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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The #1 Soprano Album
The #1 Opera Album
The #1 Choral Album
The Most Famous Opera Duets
The Most Famous Opera Arias

ASIN: B00005M0NB
Release Date: 2001-07-10

Tracks:

Rigoletto: La Donna E Mobile - Luciano Pavarotti
Manon Lescaut: Donna Non Vidi Mai - Jose Carreras
Carmen: Flower Song - Placido Domingo
L'Elisir D'Amore: Una Furtiva Lagrima - Roberto Alagna
La Boheme: Che Gelida Manina - Carlo Bergonzi
Aida: Celeste Aida - Jon Vickers
Martha: M'Appari - Luciano Pavarotti
La Gioconda: Cielo E Mar - Jussi Bjorling
I Pagliacci: Vesti La Giubba - Mario Del Monaco
The Magic Flute: Dies Bildnis Ist Bezaubernd Schon - Fritz Wunderlich
Tales Of Hoffmann: O Dieu! De Quelle Ivresse - Placido Domingo
Tosca: E Lucevan Le Stelle - Franco Corelli
Manon Lescaut: Tra Voi Belle, Brune E Bionde - Jose Carreras
Rigoletto: Questa O Quella - Luciano Pavarotti
Luisa Miller: Quando Le Sere Al Placido - Carlo Bergonzi
Werther: Pourquoi Me Reveiller - Giuseppe Di Stefano
Girl Of The Golden West: Ch'ella Mi Creda - Jussi Bjorling
Il Trovatore: Di Quella Pira - Luciano Pavarotti/London Opr Chor
Andrea Chenier: Un Di All'Azzurro Spazio - Mario Del Monaco
Turandot: Non Piangere Liu - Giuseppe Di Stefano
La Traviata: Lunge Da Lei - De' Miei Bollenti Spiriti - Giacomo Aragall
Fedora: Amor Ti Vieta - Jussi Bjorling
L'Africaine: Mi Batte Il Cor... O Paradiso - Placido Domingo
L'Arlesiana: Lamento Di Federico - Jose Carreras
Madame Butterfly: Addio, Fiorito - Luciano Pavarotti

Tracks:

La Traviata: Brindisi - Placido Domingo/Dame Joan Sutherland
Tosca: Recondita Armonia - Giuseppe Di Stefano
Il Trovatore: Ah Si Ben Mio - Mario Del Monaco
La Favorita: Spirto Gentil - Luciano Pavarotti
Faust: Salut! Demeure Chaste Et Pure - Franco Corelli
Die Walkure: Wintersturme Wichen Dem Wonnemond - Jon Vickers
Die Meistersinger Von Nurnberg: Morgenlich Leuchtend - Rene Kollo/Norman Bailey
Adriana Lecouvreur: La Docissima Effigie - Carlo Bergonzi
Turandot: Nessun Dorma! - Luciano Pavarotti/John Alldis Chor
'O Sole Mio - Luciano Pavarotti
La Mia Canzone Al Vento - Luciano Pavarotti
Take Me Back To Sorrento (Torna A Surriento) - Giuseppe Di Stefano
Parlami D'Amore, Mariu - Giuseppe Di Stefano
O Surdato 'Nnamurato - Giuseppe Di Stefano
Caro Mio Ben - Luciano Pavarotti
La Danza - Luciano Pavarotti
Chitarra Romana - Giuseppe Di Stefano
Era Di Maggio Matenatta - Giuseppe Di Stefano
Santa Lucia - Luciano Pavarotti/David Romano
Mattinata - Luciano Pavarotti
Funiculi-Funicula - Luciano Pavarotti
Granada - Jose Carreras
Core 'Ngrato - Jose Carreras
La Taberna Del Puerto - Zarzuela In 3 Acts: No Puede Ser - Placido Domingo
Das Land Des Lachelns: You Are My Heart's - Placido Domingo

Customer Reviews:

A masterpiece compilation of Bel Canto.......2003-11-27

The #1 Tenor album is basically, a compilation of the most popular opera arias. But it's a must buy for two simple reasons:
For anyone who enjoys listening to classical music (specifically opera), this albums contains probably, many of the greatest male voices in opera history (we miss Enrico Caruso), such as:
Mario Del Monaco
Giusseppe Di Stefano
Jon Vickers
Plácido Domingo
Jussi Björling
José Carreras and
Luciano Pavarotti
singing arias from Il Trovatore, Rigoletto, Pagliacci, Carmen, Die Walküre, Aida, among others, plus many traditional napolitean songs as O sole mio, Torna a Sorrento and Santa Lucia.

Highlights:
La donna é mobile/ Pavarotti
Le fleur que tu m'avais jetée/ Domingo
Recitar...Vesti la giuba/ Del Monaco
Winterstürme wichem dem Wonnemond/ Vickers
'O sole mio/ Pavarotti
Das Lands des Lächelns/ Domingo
Non piangere Liú/ Di Stefano
Coren'grato/ Carreras
plus many others.

For all the people than is not familiarized with opera, this is a great oportunity to get to know bel canto with the greatest voices in history. For all the others, simply a must-buy.

The Only Operetta Album You'll Ever Need!

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The only album I need? Not really.

The Only Operetta Album You'll Ever Need!
Friedrich von Flotow , Franz Lehar , Jacques Offenbach , Robert Stolz , Johann II Strauss , Carl Zeller , Alois Melichar , Antonio de Almeida , Heinz Wallberg , Jose Collado , Nello Santi , Ray Sinatra , Richard Bonynge , Werner Eisbrenner , Werner Schmidt-Boelcke , Frederica Von Stade , Julia Migenes , Berliner Philharmoniker , Konzertvereinigung Wiener Volksopernorchester , London Symphony Orchestra , Münchner Rundfunkorchester , SWR Rundfunkorchester Kaiserslautern , Scottish Chamber Orchestra , Wiener Symphoniker , Anna Moffo , Lucia Popp , Montserrat Caballé , Mario Lanza , Plácido Domingo , Fritz Wunderlich , Jerry Hadley , Margit Schramm , and Rudolf Schock
Manufacturer: RCA
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Binding: Audio CD

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The Best of Operetta, Vol. 1
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Lehár: Waltzes
Viennese Operetta Gems

ASIN: B00004SSEO
Release Date: 2000-05-16

Customer Reviews:

The only album I need? Not really........2004-06-14

There's something a little sad about this particular marketing scheme: The ONLY operetta album you'll ever need. it implies that everything operetta offers could be contained on one disc. It cheapens the form to think it could be distilled into 74 minutes, and it invites ridicule, because nobody could pick the tracks that would please everybody. Having said that, this compilation is pretty poor even for an exercise in futility.

First there is the matter of the composers represented. Offenbach, Strauss, Lehar, Flotow. So far, we're good. The inclusion of Robert Stolz and Carl Zeller would be alright, except that there is nothing by Gilbert and Sullivan, Victor Herbert, Jerome Kern, and a couple other giants of operetta. There is also a further insult; the bizarre inclusion of two versions of 'Dein ist mein ganzes herz', one in German, and one in English. This is, to be sure, a great operetta moment, but is operetta really so bereft of great moments as to warrant the inclusion of two versions of the same tune? Or did the compilers not realize they were one and the same? Neither answer inspires confidence. It even appears that one of the tracks, "Wien wird bei Nacht erst schoen" is not actually from an operetta, which is truly inexcusable in light of the glaring omissions of entire categories of operetta. And couldn't we get a recording with Stolz conducting his own pieces? Presumably BMG had access to such recordings, seeing as he conducts three of the other tracks on the album. And surely there are more numbers to mine from Fledermaus that rank higher than some of these maudlin numbers from Viennese oddities.

The performances are admirable, particularly Domingo's 'M'appari', which is as good as one might expect from him, and 'Das Leben Ruft', a glittering number by Lucia Popp in fine form. But the tracks by Moffo and Caballe are not terribly good; the two were clearly past their primes. Rudolf Schock sounds much better in the redundant 'Dein ist mein ganzes herz' than he does in 'Komm in die Gondel', which is pretty dismal until the very end, where he pulls out a nice closing note in head voice. Wunderlich is predictably good at this material, as is von Stade. Jerry Hadley is exceptional at the 'Wolgenlied', but sounds pretty ordinary in 'Schoen ist die welt'

I think there are some people for whom this is exactly the sort of music that represents the best of operetta. Perhaps for them the album should be titled: 'Great moments from the world of operetta', or maybe: 'The best of French and German operetta'. If that were what we were shooting for, an album of syrupy Mario Lanza and Fritz Wunderlich would actually exceed some expectations. But this album sets an impossible goal for itself, and does not meet even the bare minimum expected of an indispensable opera album. Try something else.

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A Welcome Entrée into Lieder from a True Artist
True greatness!

Schumann: Frauenliebe und -leben

Manufacturer: Harmonia Mundi Fr.
ProductGroup: Music
Binding: Audio CD

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Elly Ameling ~ Schubert · Schumann - Songs
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ASIN: B0000634VO
Release Date: 2002-07-09

Tracks:

Frauenliebe und leben op. 42: Seit ich ihn geschen
Frauenliebe und leben op. 42: Er, der Herrlichste von allen
Frauenliebe und leben op. 42: Ich kann's nicht fassen
Frauenliebe und leben op. 42: Du Ring an meinem Finger
Frauenliebe und leben op. 42: Helft mir, ihr Schwestern
Frauenliebe und leben op. 42: Sufser Freund
Frauenliebe und leben op. 42: An meinem Herzen
Frauenliebe und leben op. 42: Nun hast du mir den ersten Schemrz
Mignon op. 79/29
Der NuBbaum op. 25/3
Auftrage op. 77/5
Die Lotosblume op. 25/7
Standchen op. 36/2
Nachtlied op. 96/1
Der Sandmann op. 79/13
Das verlaBne Magdlein op. 64/2
Die Kartenlegerin op. 31/2
Lieder op. 90: Lied eines Schmiedes
Lieder op. 90: Meine Rose
Lieder op. 90: Kommen und Scheiden
Lieder op. 90: Die Sennin
Lieder op. 90: Einsamkeit
Lieder op. 90: Der schwere Abend
Lieder op. 90: Requiem

Customer Reviews:

A Welcome Entrée into Lieder from a True Artist.......2002-07-29

What a surprise this disk came as! Yes, I awaited it anxiously, but from Bernarda Fink's gripping portrayal of Penelope (in the ravishing René Jacobs recording of Monteverdi's _Il Ritorno d'Ulisse in Patria_) I was expecting lieder singing of relentless intensity à la Fassbaender! Not that it would have been unwelcome, but we are treated to a performance of shimmering beauty.

One of the most arresting qualities of the disk is how closely the mezzo-soprano's voice matches the piano. The best Lieder performances are partnerships, and Schumann's emphasis of the piano part is especially rewarding, but here there is something more with a kinship of tone that really makes you feel that it is a single voice presenting the text, with the piano expressing the thoughts not verbalized! Fink is also blessed with a tight vibrato that she commands with precise nuance ("nur betrachten deinen Schein" in the second song of _Frauenliebe_; "fest und fester" in the sixth song; "Warte nur" in "Nachtlied").

The oft-trodden _Frauenliebe und -leben_ does not leave the listener hankering for any of Fink's illustrious predecessors. It is a committed, whole-hearted, and ravishing telling of the cycle. I might have wished for a slightly hushed tone in the sixth song where she hints at her expectant state ("Süsser Freund") but it expands meltingly at "Weisst du nun die Tränen". The hardest song for any singer to gage is the seventh one, to her newborn, "An meinem Herzen." Fink and Vignoles take it at the right pace, although I might have wanted a little pause, right before the third stanza, dividing the two halves of the song, for the new mother to catch her breath and renew her delight. The final song in the cycle, on the death of her husband, is ever the heartbreaker, but I missed the crushing quality most accompanists give the opening chord. Fink's coloring of the word "Schleier" ("veil") is haunting.

The rest of the disk is mostly made up of less familiar songs, with the exception of "Nussbaum," "Aufträge," and "Lotosblume." But what wonders she reveals in the familiar and neglected alike. The Schumann version of "Kennst du das Land" ("Mignon") is not quite as well-known as either Schubert or Wolff but it definitely adds to our understanding of the homesick waif portrayed. The impact of this song rests less in tonal and melodic drama, like the other versions mentioned, but with the phrasing and rhythmic shifts and minute chromatic differences between stanzas. "Der Nussbaum" can often be cloying with its incessant inner rhymes, but Fink has a directness, a bond with the meaning as well as the words, and vocal substance that get us past anything saccharine in the music. "Lotosblume" avoids the same pitfall by emphasizing the mysterious over the pathetic. These two and "Aufträge" also benefit from the more full-bodied but still sunny mezzo voice as opposed to the chirping soprano more often encountered in these songs. "Ständchen" has the direct, innocuous appeal of a Mendelssohn setting. "Nachtlied" ("Über allen Gipfeln ist Ruh'") lacks the instant indelibility of Schubert's setting, but it has a neat resolution from gloomy minor chords to a major-key resignation in the final reiterations of "Balde ruhest du auch" ("Soon too will you rest"). She taps into a more soprano-like voice for "Der Sandmann". "Das verlassne Mägdlein" is not far from Wolff's more famous setting in its pace and melodic/harmonic direction although again there is a little hopefulness in the final chord. The character piece "Kartenlegerin" is winningly portrayed ... almost an mini-epic ballad for a curious and mischievous girl.

The late Lenau set, opus 90, is completely new to me. It leans toward the instrumental quality of Brahms lieder and the harmonic opulence of Strauss. There is an undercurrent of gentle heartache but Schumann does not surrender himself or his audience to it wholesale. ("Einsamkeit" sounds on and off like the desolate song about Ophelia, "Herzeleid" from later still, but doesn't sink to her depths; and the following song "Der schwere Abend" has echos of "Ich hab' im Traum geweinet" from _Dichterliebe".) Heartfulness is the prevalent sentiment here, with splendid opportunity for Fink to unfurl her refulgent tone to the fullest. In short, these songs couldn't hope for a more convincing exponent! Brava!

The acoustic has a little church-like resonance. It's good to absorb Fink's rich voice, but in the staccato of "Ich kann's nicht fassen" (_Frauenliebe_'s third song) you lose a marginal amount of the intimacy that this cycle calls for even in excitement.

Finally, I will mention that the liner note serves up the standard modern apologia for the texts of _Frauenliebe_. I personally have never understood the aversion to these songs, just because they embody a woman's traditional experience in that era. For all her adulation and devotion, I find this woman a lot les subservient than either of the protagonists of the two great Schubert cycles -- a man who trudges through the snow for 24 songs because his girlfriend dumps him, winds up insane or drowned ... I also think that the use of the word "Herr" ("I bow to my lord") in the fifth song, in the context of marriage, is at least meant to suggest the religious and spiritual context of the vows she is about to take.

I hope this CD and these songs find an enthusiastic audience. Many thanks to the artists, and to Bernarda Fink especially, for a brilliant début in Lieder.

True greatness!.......2002-07-17

Bernarda Fink is a rare phenomenon on the current musical scene. Nobody ever called her "a hot property of classical music", she was never "the real thing", "singing sensation" or "the new darling of the industry" - and thank God for that. She maintained a low profile through many years of a very distinguished career and became a real favorite with connoisseurs. I wouldn't hesitate to call her a golden age singer and there are only very, very few who deserve this title today. In a way, it is refreshing to see that the classical music industry didn't get hold of her and of a few other magnificent singers (Isokoski, Podles, Karneus to give examples of female singers only, for here the industry is at its most damaging); on the other hand it inspires a bitter reflection: where is the industry going? what is wrong with these exquisite artists that it takes so long for big record companies to record them, but it is enough for pretty but inexperienced young singers just to turn up and get exclusive contracts with the giants? It is just beyond my comprehension why we are to get excited about singers in the making, about whom most of what can be said now is the promise of "great things to come" (as critics and record companies' PRs stubbornly try to convince us) while so much is going on right now and from singers who are in their prime. And in Fink's case what a prime it is! It's true that she certainly hasn't been neglected by record companies (she has an impressive collection of recordings to her name, most of which can be called events, often thanks to her contribution alone) but it is surprising that she has had to wait so many years to produce her first solo recital. Happily things are changing now and her collaboration with Hyperion brings another solo disc, an album of Argentinian songs, which should be an event too.

As for the present disc, it contains the most wonderful Lieder recital I've heard in years. It comes from a mature and experienced singer, which is a blessing after a series of recent recitals recorded by singers much too young (Lieder singing became a kind of fashion, a noble fashion to be sure, but often leaving me in doubt as to the sincerity of the involvement of some performers). Fink's artistry is stupendous! She approaches these songs humbly, with an almost self-effacing modesty and yet with extraordinary individuality. This is true greatness! The timbre of Fink's unique voice, with its noble ring, gives this recital a very special flavor. It is the same quality that makes her singing in oratorio so deeply touching and her operatic creations truly aristocratic. Yet this voice can also sound playful - as Fink proved in Mozart's "Cosi fan tutte" under Rene Jacobs - and it is rewarding to find this playful side of her singing so well represented on this disc ("Der Sandmann", for example).
There is little sense in comparing this recital with other recent or older recordings of Schumann Lieder or even analyzing it song by song (though I can't help not mentioning the marvellous, breathtakingly 'breathless' "Nachtlied", just to give one example of Fink's artistry). Fink gives us something unique and very much her own while still obeying all the rules of Lieder singing. Thanks should go to Harmonia Mundi, one of the very few record companies who haven't stopped producing little wonders without much regard for current marketing trends. My only complaint concerns the packaging, the now almost ubiquitous digipak. I can't hide my impatience with this new packaging practice though I have to admit that the quality of HM's digipaks is far superior to other record companies'. Still, why is the booklet permanently glued inside the cardboard case, making it difficult to follow the texts? There is an even more serious problem with the booklet that makes it quite useless for following the texts: it contains misprints, inexcusable errors and omissions, so those who don't know the poems by heart or don't read German should use some other printed source. Happily Fink's crystalline diction makes the texts beautifully clear for those who choose just to listen to her. Still, it's a shame that this wonderful disc is accompanied by such a messy booklet, but this is not the first nor the last victim of sloppy editing. And all this in the age of computers that were supposed to make our lives easier and better... If anything makes our lives better, if not necessarily easier, it is a recital like this one. In a flood of mediocrity, miracles still happen... (Kicek)

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Salon Orchestra Favourites Volume 1

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Salon Music at Schumann's Bar

ASIN: B00004T6KO
Release Date: 2000-06-13

Tracks:

Drunt' In Der Lobau
Serenade No.1 'Kubelik-Serenade'
Tango
Brise De Mer
II Bacio
Sie Horen Paul Lincke - Potpourri: Berliner Luft/Es War Einmal/Im Walzerrausch...
Serenata
Poeme
Spiel Auf Deiner Geige Das Lied Von Leid Und Lust
Mattinata
Wien, Du Stadt Meiner Traume
El Relicario
Die Millionen Des Harlekin - Serenade
Die Schlittschuhlaufer
Melodie in F

Eugène Ysaÿe: Violinist & Conductor (Complete Violin Recordings)

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Ysaye--One of the Violin Immortals

Eugène Ysaÿe: Violinist & Conductor (Complete Violin Recordings)

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music