| 1. La Salvaora |
| 2. Lerele |
| 3. La Zarzamora |
| 4. Mi Sardinnita (Desde Santurce A Bilbao) |
| 5. O Namorico Da Rita |
| 6. Aquela Rua |
| 7. Fado Amalia |
| 8. Nao Sei Porque Te Foste Embora |
| 9. Fado Malhoa |
| 10. Maria Da Cruz |
| 11. Sardinheiras |
| 12. Saudades De Ti |
| 13. Ai, Mouraria |
| 14. Troca De Olhares |
| 15. Duas Luzes |
| 16. Passei Por Voce |
| 17. Los Piconeros |
| 18. Carmencita |
| 19. Uma Casa Portuguesa |
| 20. Fado Marujo |
Editorial Reviews
Product Description
Nice price 3-CD set on the Disky label from the legendary Amalia Rodriques. 2005.
and they serve the music so well. each piece requires a different approach--evazen's 'diamond world' is sweet and lovely with a contemporary pop feel, piazzolla's tangos are spiky and rhythmic, for example--and they get it.
as much of a treat as this cd is, the real treat would be hearing these women live. i'm sure they turn it!
For me, the true test of music is how it makes me feel while I listen to it. When I listen to this CD, it makes me feel alive!!! It makes me hunger to listen to other CDs that the Ahn Trio have made. I'll be picking those up soon.
To my ears, they provoke the listener in what seemed like too comfortable assumptions about Piazzola, infused interest and intrigue into Bernstein where little besides Broadway and Americana star excess existed before, and have taken a Pat Metheny/David Bowie piece and brought classical drama to a terrific composition. Both writers should be duly flattered and impressed by the interpretation. And as I mentioned, with Bunch, they have a writer best suited to their own dynamic.
I am sure it helps that a set of twins are playing with their sister. There is a telepathy here that indicates they know when they are going to leap off the conventional cliff, and so the others respond by catching them in mid air. This disc makes for seductive and exciting listening. Listening to the Bosendorfer ring off the sensuality of the cello and the passion of the violin and that unbridled element is a source of wonder and enchantment.
Well, all the years of searching and waiting to know were not a waste. Firstly, I have never been able to locate a score of this work (as I have done with many ancient operas or forgotten ones), so I was just as in the dark as anyone else as to what to expect. I was incredibly surprised, not to mention, thrilled with the results. No, Sullivan is no Wagner, nor is he even Verdi, but he is wonderfully beautiful in his own right. Why this work has not entered into the opera houses, I have no clue, excepting maybe because it is English opera, which never does well. Speaking of "ENGLISH OPERA", here we have a recording where for the most part we CAN understand the words (a thing I never seem to find in professional recordings of English opera, or American opera; they may as well sing in gibberish, for that is exactly what it sounds like -- perhaps the composers have no clue what works in their own language?). The performers, as we know, are not professionals, but rather semi-professionals. There are some uneven performances, and sometimes the characters are not quite as developed as one would like, there are even times the orchestra sounds like it lost the beat (but this is EXTREMELY RARE), the sound quality of the recording is OK, but nothing stellar, however, it is not bad either. Yet, in spite of these drawbacks, we CAN and DO understand the words, and for once a rather strange sounding English libretto sounds natural and unforced with stupid poetry that really leaves you laughing. These wonderfully dedicated performers, no matter their individual difficulties, give us a wonderfully vivid performance where we can finally understand the opera (like all our Italian friends do when Italian opera is sung for them). That was such a treat for me, to finally actually understand the words of opera sung in my own language.
What makes this opera such a thrill, at least for me, is the natural fall of the words and the music, especially in the recitatives. Unlike most English opera where the musical line sounds completely foreign to the natural lilt of the words, Sullivan has an uncanny way of writing lines, melodies, and recitatives that flow naturally from the language itself. That was a really exciting experience to endure. For once, I didn't wish that someone would teach the composers to listen to the flow of English to gain an insight into melody. Maybe it was all those operettas that he wrote prior to this "serios opera" that taught him what he knew, or maybe, he just had a good ear for his own language and enough sense to know that trying to graft Italian or German musical idioms onto things just wasn't the correct choice.
Is it a great work? Well, no, it will never get into the record books as a perfect opera, nor will it shove Mozart or Wagner off the stage, but it is really quite good just the same. Even with all the flaws this recording has, I am so glad it is out there so I could at last hear what music fleshed out that old drawing I saw in a book all those years ago. Though Sullivan's music is not anywhere near as dramatic as one may imagine it should be, it fits well with the scene and the over all concept of the work.
I really recommend this recording, for it, at least for now, is the only one we have (and if they make a professional one, I really hope they screen the singers well, no big names if they can't sing English so we can understand it; Sullivan, as with Wagner, you MUST understand the words or the meaning is completely lost). The entire recording is really quite enjoyable, and it doesn't disappoint.
But most of the credit has to go to the music, the singers, and the recording as such. I believe that this (originally analogue) remastered recording has one of the best recorded sounds and acoustics of any Ring, studio or 'live'. It is wonderfully clear but warm, kind of velvety (very unlike Solti), with beautifully natural balaces between voices and orchestra. Audience noises can be heard (including a delightful little ripple of laughter) but never really obtrusively so, thankfully. And I love the thunderclap-sound effect when Donner strikes his hammer against the rocks - very tastefully done, and lending extra power to the scene.
All the time one reads in reviews everywhere of the very slow speads at which the music is conducted by Sir Reginald Goodall. Well, that may be so, but I, for one, am certainly endeared to Sir Reginald Goodalls 'caressing' of the music, as a result of which wich the Leitmotifs come out more clearly than ever. The slow - but nonetheless very concentrated, and always involved - playing has, to me, an almost mesmerizing effect. Certainly, compared to many other recordings, the music may sound stretched almost beyond breaking point. But in the end, I think it is really just that: a matter of speed, no more. The concentration never falters and the dramatic arc never saggs. There is live 'music magic' going on here, I feel, even if the English National Opera Orchestra may not be (as precise or as diciplined as) a Wiener Philharmoniker or a Bayreuther Festspielorchester. Certainly, Sir Reginald Goodall must have loved this music and these opera's: one feels a slowly beating but constant loving pulse that energizes the drama and the music.
But we also have the singers. And what a great singers! While the best may be yet to come (with Alberto Remedios as Siegmund and Siegfried, and Rita Hunter as Brunnhilde), we here, in The Rhinegold, already have one of the most commanding of Wotans (Norman Bailey, with wonderful burnished timbre). Also, Emile Belcourt stands out as a wonderfully sleek but full-voiced Loge. Derek Hammond-Stroud's Alberich may not be as black as Gunther von Kannen's (for Barenboim), for example, but there is enough anguish, frustration and anger to lend his character a convincing reality and depth. And the giants too, are a winning pair. Especially Fafner (Clifford Grant) is as imposing and powerful as one may ever wish.
With all the rave reviews, here and elsewhere I can't wait to hear The Valkyrie, (especially) Siegfried and Twilight of the Gods. This certainly is a winning 'Ring', to be kept alongside any other 'great' recorded 'Ring' out there, IMHO. To me, it can hold its own alongside any other favorite recordings.
Please, sample this Ring (try for example the Chandos website for fragments of all of the music) and decide for yourself. Highly recommended.
TIMING (Estimate):
Solti's Ring: 14 hours, 30 minutes
Bohm's Ring: 13 hours, 30 minutes
Karajan's Ring: 14 hours, 50 minutes
Goodall's Ring: 16 hours, 50 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Sawallisch's Ring: 14 hours, 0 minutes
CONDUCTING:
Solti: Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His Walkure & Gotterdammerung Preludes are clear examples: they're annoyingly bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.
Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe "Wohin schleich'st du eilig und schlau"). I especially like his "Forging Scene" & "Hagen Summons the Vassals"; both are the most energetic on disc.
Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as Siegfried Act Three Scene Three) are controlled nicely. His "Funeral March" and "Immolation" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.
Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: everything is slower than adagio moderato. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.
Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Sawallisch's). Rheingold Scene Four can be best described as "sensational".
Levine: While he does stay true to the score like Bohm, this conductor makes for a somewhat dull Ring. His handling of the orchestra is nice, but the moderately slow tempi he chooses is flawed. It should be more animated. His beautiful "Funeral March" and "Erda's Warning" are two of the few flawless features.
Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.
ORCHESTRA:
Solti's Vienna Philharmonic: The woodwinds are the most beautiful in Solti's Ring (the "Forest Murmurs" is clear evidence of that). French horns and Wagner tubas make this a recommended listening. The strings in "Heda Heda Hedo" could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.
Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Erda's scenes aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tone & technique. Overall, this orchestra is the most dramatic.
Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung "Three Norns" Scene sounds very mysterious, very eerie.
Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. The Flight of the Valkyries doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act One Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.
Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Bohm's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are found in this Ring. I can hear harps in Flight of the Valkyries! The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Solti's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.
Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.
Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.
SINGERS:
-Wotan
Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Rheingold, in which a less stellar George London performs).
Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording, but he still doesn't disappoint.
Karajan: Dietrich Fischer-Dieskau plays Wotan in "Rheingold," while Thomas Stewart replaces Fischer-Dieskau in "Walkure" and "Siegfried". I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both "Walkure" and "Siegfried".
Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen.
Levine: James Morris is a notch below Hotter, Adam, and Bailey, but he overpowers Fischer-Dieskau pretty much throughout the Levine's Ring.
Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his Wotan's Farewell wasn't enough to sadden me.
-Brunnhilde
Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her final scene in Gotterdammerung is brilliant beyond belief.
Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Gotterdammerung, sorry to say).
Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."
Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.
Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin: while she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).
-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm. Jon Vickers for Karajan, Alberto Remedios for Goodall, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, and Robert Schunk for Sawallisch. For the Sieglindes, we have Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jessye Norman for both Janowski and Levine, and Julia Varady for Sawallisch. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Two exceptions, though: Robert Schunk doesn't sound heroic enough, and Jessye Norman for Levine's Ring doesn't sound young and innocent enough.
-Siegfried
Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in both renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming.
Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.
Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.
Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.
Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. I don't know Levine should've chose Kollo when he recorded his Ring.
-Alberich
Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?").
Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.
Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.
Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.
Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.
-Mime
Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners.
Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.
Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.
Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.
Levine: Heinz Zednik is yet another excellent mime. He is equal to Schreier when it comes to humaneness and lyricism. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.
Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.
-Loge
Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere is greatly affects the entire Rheingold. But he'll soon be forgotten later on in the Ring.
Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Still, it's satisfactory, and his "Ihrem ende eilen sie zu" gives great foreshadowing.
Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. His scenes in Scene Three are delightful.
Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.
Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt depends only on imagination and deviousness, Stolze only vengeance and deviousness, and Windgassen only peril. His odd conversations with Alberich and the gods/goddesses are classic.
Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.
Sawallisch: Robert Tear is on par with Stolze and Schreier. Sometimes he takes things too low, but all is forgiven with his management of character development.
-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings (maybe not in Swarowsky's version). Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm and Goodall. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.
CONCLUSION: I have yet to listen to Barenboim's Bayreuth presentation and the essential mono recordings (Furtwangler, Krauss), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the calculated Janowski, the relaxed Levine, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.
Sir Georg Solti: Wagner - Der Ring des Nibelungen (Ring Cycle) / Sir Georg Solti
Karl Bohm: Wagner: Der Ring des Nibelungen
Herbert von Karajan: Der Ring des Nibelungen / Karajan / Berlin Philharmonic
Goodall: Wagner: The Ring Cycle (Box Set)
-The Valkyrie (Part 2): Wagner: The Valkyrie
-Siegfried (Part 3): Siegfried (Goodall Ring Cycle/Chandos Opera in English)
-Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)
Marek Janowski: Wagner: Der Ring des Nibelungen
James Levine: Der Ring Des Nibelungen
-Wolfgang Sawllisch: Wagner - Der Ring des Nibelungen (Ring Cycle) / Sawallisch, Bayerischer Staatsoper
Other incentives for grabbing this up: An ultra-smooth Guy (under his real name, Al Cernik) singing with Carmen Cavallaro and His Orchestra in 1948 ("Dream Girl"), followed by two 1949 MGM sides with the Buddy Kaye Quintet ("The Love Nest," "Don't Tell My Heart"). For these three reasons alone, we can forgive Disky any faults in the engineering department. And there are four Al Grant sides from the King label, and several pre-"Roving Kind" Columbia sides, including the dreamy "Where in the World" and Bob Merrill's masterful pop adaptation of Chopin's frequently-borrowed Opus 10, No. 3 Etude, here presented in ABAC form as "To Me You're a Song." Mitchell is magnificent on these. Mitchell is magnificent on everything here, come to think of it.
Last, but not least, the single Mitchell photo used over and over throughout the package is rather nice. A cut-price comp made golden by Guy. Buy this one!
Nice price 3-CD set on the Disky label from the legendary Amalia Rodriques. 2005.
This Is Gold,Amália Rodrigues,Disky Records,Fado,Int'l & World Music,Pop,Portugal,Rock/Pop,World Music
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This Is June Christy!/June Christy Recalls Those Kenton Days
June Christy Manufacturer: EMI Gold Imports ProductGroup: Music Binding: Audio CD  Cool Jazz
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ASIN: B00005NKB6 Release Date: 2001-10-15 |
Tracks:
- My Heart Belongs To Only You
- Whee Baby
- You Took Advantage Of Me
- Get Happy
- Look Out Up There
- Great Scot
- Kicks
- Why Do You Have To Go Home
- Bei Mir Bist Du Schon
- Until The Real Thing Comes Along
- I'll Remember April 12
- I Never Look Into Those Eyes Again
- Just A-Sittin' And A-Rockin'
- A Hundred Years From Today
- The Lonesome Road
- She's Funny That Way
- It's A Pity To Say Goodnight
- Willow Weep For Me
- Easy Street
- Across The Alley From Alamo
- Come Rain Or Come Shine
- How High The Moon
Album Description
UK reissue combines two of the jazz vocalist's albums on one CD, 'This Is June Christy!' (1956) & 'June Christy Recalls Those Kenton Days' (1959), both of which are out of print domestically. 2001.Album Details
Two classic original albums compiled onto one CD. Digitally remastered.Customer Reviews:
June Explores Her Early Years.......2003-06-26
Two splendid albums.......2002-01-12
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This Is Gold: The Chordettes
The Chordettes Manufacturer: Disky ProductGroup: Music Binding: Audio CD General
| Pop
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Doo Wop
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Girl Groups
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ASIN: B0002OHYA8 Release Date: 2004-08-09 |
Tracks:
- Lollipop
- Just Between You and Me
- No Other Arms, No Other Lips
- Anniversary Waltz
- Ballin' the Jack
- For Me and My Gal
- Broken Vow
- Moonlight Bay
- In the Deep Blue Sea
- Carry Me Back to Old Virginny
- When You Were Sweet Sixteen
- My Heart Stood Still
- Lay Down Your Arms
- Shine on Harvest Moon
- Tall Paul
- Tell Me Why
- Echo of Love
- Photographs
- Candy and Cake
- Sentimental Journey
Tracks:
- Mr. Sandman
- To Know Him Is to Love Him
- I Wonder Who's Kissing Her Now
- Charlie Brown
- Love Is a Two-Way Street
- When Day Is Done
- Lonely Boy
- Runnin' Wild
- Soft Sands
- Baby Come-A Back-A
- Teenage Goodnight
- Girl's Work Is Never Done
- I Believe
- Moonlight on the Ganges
- Eddie My Love
- No Wheels
- Lonely Lips
- I'd Love to Live in Loveland (With a Girl Like You)
- World Is Waiting for the Sunrise
- Love Me and the World Is Mine
Tracks:
- Born to Be With You
- Never on Sunday
- Love's Old Sweet Song
- Kentucky Babe
- Zorro
- Humming Bird
- Let the Rest of the World Go By
- Wedding
- Alice Blue Gown
- Faraway Star
- I Cried a Tear
- I'm Drifting Back to Dreamland
- Carolina Moon
- Love Is the Reason
- Dance Me Loose
- True Love Goes on and On
- Lonesome - That's All
- S'posin'
- Pink Shoelaces
- Little Street Where Old Friends Meet
Album Description
Nice price 3-CD set on the Disky label for the legendary Chordettes. 2005.Customer Reviews:
Stepping back in time.......2007-05-12
Supreme Harmonies.......2007-04-10
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Ahn-Plugged
Kenji Bunch , Ahn Trio , Angella Ahn , Lucia Ahn , Maria Ahn , Matthew Gold , Astor Piazzolla , Leonard Bernstein , and Eric Ewazen Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD Trios
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Piazzolla, Astor
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ASIN: B00004TR18 Release Date: 2000-08-15 |
Tracks:
- Con - Matthew Gold/Brian Resnick
- Oblivion - Matthew Gold/Brian Resnick
- Trio: I. Adagio Non Troppo - Allegro Vivace
- Trio: II. Tempo Di Marcia
- Trio: III. Largo - Allegro Vivo E Molto Ritmico
- Slow Dance
- Primavera Portena - Matthew Gold/Brian Resnick
- The Diamond World - Brian Resnick
- The Heart Asks Pleasure First
- This Is Not America
Customer Reviews:
eclectic collection of chanber music.......2007-05-12
and they serve the music so well. each piece requires a different approach--evazen's 'diamond world' is sweet and lovely with a contemporary pop feel, piazzolla's tangos are spiky and rhythmic, for example--and they get it.
as much of a treat as this cd is, the real treat would be hearing these women live. i'm sure they turn it!
Excellent Music.......2004-10-02
For me, the true test of music is how it makes me feel while I listen to it. When I listen to this CD, it makes me feel alive!!! It makes me hunger to listen to other CDs that the Ahn Trio have made. I'll be picking those up soon.
Ahnbelievable!.......2002-12-18
To my ears, they provoke the listener in what seemed like too comfortable assumptions about Piazzola, infused interest and intrigue into Bernstein where little besides Broadway and Americana star excess existed before, and have taken a Pat Metheny/David Bowie piece and brought classical drama to a terrific composition. Both writers should be duly flattered and impressed by the interpretation. And as I mentioned, with Bunch, they have a writer best suited to their own dynamic.
I am sure it helps that a set of twins are playing with their sister. There is a telepathy here that indicates they know when they are going to leap off the conventional cliff, and so the others respond by catching them in mid air. This disc makes for seductive and exciting listening. Listening to the Bosendorfer ring off the sensuality of the cello and the passion of the violin and that unbridled element is a source of wonder and enchantment.
These gals just wanna have fun..........2002-07-11
These gals touch all the basses and show that there is indeed life in classical music.
AWESOME!.......2002-05-12
Average customer rating:
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This Is the Life/Here's to My Lady
Matt Monro Manufacturer: EMI Gold Imports ProductGroup: Music Binding: Audio CD General
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ASIN: B000005RRV Release Date: 1997-02-26 |
Tracks:
- I'm Glad There Is You
- This Is The Life
- You're Gonna Hear From Me
- I'll Take Romance
- Strangers In The Night
- On A Clear Day (You Can See Forever)
- Sweet Lorraine
- My Best Girl
- On A Wonderful Day Like Today
- Merci Cherie
- Honey On The Vine
- When Joanna Loved Me
- Real Live Girl
- When Sunny Gets Blue
- Laura
- People
- Here's To My Lady
- The Good Life
- You've Got Possibilities
- Rain Sometimes
- Sweet Talkin' Hannah
- Nina Never Knew
Album Description
1997 EMI Centenary release featuring the vocalist's two 1966albums for Capitol, each produced by David Cavanaugh & each digitally remastered from the original mono masters at AbbeyRoad studios: 'This Is The Life' and 'Here's To My Lady'. 22tracks total, including 'I'm Glad There Is You', 'This Is The Life', 'When Joanna Loved Me' & 'Real Live Girl'.Album Details
This is the Life' is a Collection of Timeless Love Songs under the Direction of Sid Feller. 'Here's to My Lady', again under the Direction of Sid Feller is an Album of Lush Arrangements Andclassic Songs. Re-Mastered.Customer Reviews:
Monro CD is sublime.......2000-02-11
Average customer rating: 
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This Is Gold
Frankie Laine Manufacturer: Disky Records ProductGroup: Music Binding: Audio CD General
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ASIN: B0006IGPGO Release Date: 2004-11-15 |
Tracks:
- Jezebel - Frankie Laine
- Girl in the Wood - Frankie Laine
- Rose Rose I Love You - Frankie Laine
- Hey Good Lookin' - Frankie Laine, Jo Stafford
- Jealousy - Frankie Laine
- Roses of Picardy - Frankie Laine
- Sugarbush - Doris Day, Frankie Laine
- There's a Rainbow Around My Shoulder - Frankie Laine
- Settin the Woods on Fire - Frankie Laine, Jo Stafford
- Rain, Rain, Rain - The Four Lads, Frankie Laine
- Blowing Wild - Frankie Laine
- Goin' Like Wildfire - Frankie Laine, Jo Stafford
- S'posin - Frankie Laine
- Tell Me a Story - Jimmy Boyd, , Frankie Laine
- Rollin Down the Line - Frankie Laine, Jo Stafford
Tracks:
- I Believe - Frankie Laine
- Pretty Eyed Baby - Frankie Laine, Jo Stafford
- Oh, Lady Be Good - Frankie Laine
- Hambone - Frankie Laine, Jo Stafford
- Kid's Last Fight - Frankie Laine
- How Lovely Cooks the Meat - Doris Day, Frankie Laine
- When You're in Love - Frankie Laine
- That's the One for Me - Frankie Laine, Jo Stafford
- Mermaid - Frankie Laine
- Mule Train - Frankie Laine
- Where the Wind Blows - Frankie Laine
- In the Cool Cool Cool of the Evening - Frankie Laine, Jo Stafford
- Hey Joe - Frankie Laine
- Georgia on My Mind - Frankie Laine
- Gambella, The Gamblin' Lady - Frankie Laine, Jo Stafford
Tracks:
- High Noon (Do Not Forsake Me) - Frankie Laine
- Back Where I Belong - Frankie Laine, Jo Stafford
- Answer Me - Frankie Laine
- Granada - Frankie Laine
- High Society - Frankie Laine, Jo Stafford
- Ruby & The Pearl - Frankie Laine, Jo Stafford
- That's Good! That's Bad! - Frankie Laine
- Gandy Dancer's Ball - Frankie Laine, Jo Stafford
- Chow Willy - Frankie Laine
- There Must Be a Reason - Frankie Laine
- That Lucky Old Sun (Just Rolls Around Heaven All Day) - Harry Geller & His Orchestra, Frankie Laine
- Way Down Yonder in New Orleans - Frankie Laine, Jo Stafford
- Bushel and a Peck - Frankie Laine, Jo Stafford
- Basin' Street Blues - Frankie Laine, Jo Stafford
- Piece a Puddin' - Frankie Laine, Jo Stafford
Album Description
Nice price 3-CD set on the Disky label from the legendary Frankie Laine. 2005.
Average customer rating:
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This Is Gold (Box)
Mario Lanza Manufacturer: Disky ProductGroup: Music Binding: Audio CD Lanza, Mario
| ( L )
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ASIN: B0002OHZ7A Release Date: 2004-08-09 |
Tracks:
- Donna E Mobile
- O Sole Mio
- Granada
- Valencia
- Funiculi, Funicula
- M'appari, Tutt'amor
- Stolta Paura, L'amour
- E La Solita Storia... Lamento Di Fede
- Serenade
- Lygia
- Flower Song
- Tal Gioco, Credetemi
- Brindisi
- Addio Alla Madre
- Vesti La Giubba
- Questo O Quella
- Core 'Ngrato (Catari, Catari)
- Che Gelida Manina
- Testa Adorata
- Parmi Veder Le Lagrime
- Ciribiribin
- Lady Of Spain
- Roses Of Picardy
- My Song, My Love
- Yours Is My Heart Alone
- Song Angels Sing
- Tina-Lina
- Marcheta
- Drink Drink Drink
- Lee-Ah-Loo
- Because You're Mine
- Ah! Sweet Mystery Of Life
- Call Me Fool
- They Didn't Believe Me
- One Night Of Love
- Ave Maria
- Danny Boy
- Serenade
- Somewhere A Voice Is Calling
- Gaudeamus Igitur
- Loveliest Night Of The Year
- Be My Love
- With A Song In My Heart
- Beloved
- Lolita
- Santa Lucia
- If I Loved You
- Lord's Prayer
- Because
- For You Alone
- Bayou Lullaby
- I'll Never Love You
- Wonder Why
- Boom Biddy Boom
- Deep In My Heart Dear
- If You Were Mine
- Love Is The Sweetest Thing
- Golden Days
- Temptation
- Song Of India
Album Description
Nice price 3-CD set on the Disky label from the legendary Mario Lanza. 2005.
Average customer rating:
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Incredible Christmas Album
Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by J.S. Bach
| Bach, Johann Sebastian
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ASIN: B0000D1FKB Release Date: 2003-10-14 |
Tracks:
- What Child Is This? - Vanessa Williams
- Winter Wonderland - Ella Fitzgerald
- White Christmas - Bing Crosby
- The Christmas Song - Mel Torme
- Silver And Gold - Burl Ives
- Have Yourself A Merry Little Christmas - Perry Como
- Silver Bells - The Ames Brothers
- Mary's Boy Child - Harry Belafonte
- The White Snows Of Christmas - The Kingston Trio
- Koppangen - Anne Sophie Von Otter
- Mary Did You Know - Hayley Westenra
- We Three Kings Of Orient Are - Anadian Brass
- The Homecoming - John Tesh
- Shepherd's Pipe Carol Choir - Shoir Of St John's College
- Carol Of The Drum - John Williams
- Once In Royal David - Academy Of St Martin-In-The-Fields
- Les Anges Dans Nos Campagne - Gheorghe Zamfir
- Carol Of The Bells - Musica Sacra
- I Saw Three Ships - Mantovani & His Orchestra
- Sleigh Ride - Arthur Fiedler
- The Christmas Waltz - THE LIVING STRINGS
- Christmas Bells - Mantovani & His Orchestra
- Patapan - London Symphony Orchestra
- We Wish You A Merry Christmas - The Philip Jones Brass Ensemble
- Jingle Bell Rock - Bond
Tracks:
- Adeste Fidelis (O Come All Ye Faithful) - Academy Of St Martin-In-The-Fields
- O Holy Night - Luciano Pavarotti
- O Tannebaum - Vienna Boys' Choir
- Ave Maria - Luciano Pavarotti
- Joy To The World - Joan Sutherland
- Ding Dong! Merrily On High - John Rutter
- Do You Hear What I Hear? - Anthony Way
- O Little Town Of Bethlehem - The Choir Of King's College
- Coventry Carol - London Symphony Orchestra
- Away In The Manger - The Choir Of King's College
- It Came Upon A Midnight Clear - Leontyne Price
- Hark! The Hearld Angels Sing - Academy Of St Martin-In-The-Fields
- Deck The Halls - London Symphony
- Gesu Bambino - Luciano Pavarotti
- The First Nowell - The Choir Of King's College
- Still, Still, Still - Vienna Boys' Choir
- King Jesus Hath A Garden - John Rutter
- Child In The Manger - John Rutter
- The Holly And The Ivy - The Choir Of King's College
- In Dulci Jubilo - The Choir Of Kings College
- God Rest Ye Merr yGentlemen - The Choir Of King's College
- Jesu, Joy Of Mans Desiring - Stuttgart Chamber Orchestra
- Good King Wencelas - John Tesh
- Twelve Days Of Christmas - Anthony Way
- Silent Night - David Willcocks
Average customer rating: 
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Arthur Sullivan: Ivanhoe
Manufacturer: Pearl ProductGroup: Music Binding: Audio CD All Works by Sullivan
| Sullivan, Arthur
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ASIN: B000000WWK Release Date: 1993-01-21 |
Tracks:
- Ivanhoe: Act One, First Scene: The Hall Of Rotherwood - Introduction; Each Day This Realm Of England Faints
- Ivanhoe: Act One, First Scene: The Hall Of Rotherwood - Good Thane, Most Noble Thane
- Ivanhoe: Act One, First Scene: The Hall Of Rotherwood - I See But One Thing Wanting To Our Fare
- Ivanhoe: Act One, First Scene: The Hall Of Rotherwood - Drink, Drink Ye All... Then Fill The Cup, Fill High
- Ivanhoe: Act One, First Scene: The Hall Of Rotherwood - The Palmer! The Holy Palmer!
- Ivanhoe: Act One, Second Scene: An Ante-Chamber In Rotherwood - O Moon, Art Thou Clad
- Ivanhoe: Act One, Second Scene: An Ante-Chamber In Rotherwood - Good Palmer, Thou Dids't Speak Of One
- Ivanhoe: Act One, Second Scene: An Ante-Chamber In Rotherwood - Like Mountain Lark
- Ivanhoe: Act One, Third Scene: The Lists At Ashby-de-la-Zouch - Will There Be No More Fighting?
- Ivanhoe: Act One, Third Scene: The Lists At Ashby-de-la-Zouch - Plantagenesta!
- Ivanhoe: Act One, Third Scene: The Lists At Ashby-de-la-Zouch - Isaac, My Jew, My Purse Of Gold
- Ivanhoe: Act One, Third Scene: The Lists At Ashby-de-la-Zouch - What Means His Motto?
Tracks:
- Ivanhoe: Act Two, First Scene: Friar Tuck's Hut At Copmanhurst - Strange Lodging This For England's King
- Ivanhoe: Act Two, First Scene: Friar Tuck's Hut At Copmanhurst - There Is A Custom...I Ask Not Wealth
- Ivanhoe: Act Two, First Scene: Friar Tuck's Hut At Copmanhurst - Not Bad, Say I...The Wind Blows Cold ('Ho, Jolly Jenkin!')
- Ivanhoe: Act Two, First Scene: Friar Tuck's Hut At Copmanhurst - And Now For Combat!
- Ivanhoe: Act Two, Second Scene: Castle Torquilstone - Will Not Our Captor Dare To Show His Face?
- Ivanhoe: Act Two, Second Scene: Castle Torquilstone - Welcome, Sir Templar!...Woo Thou Thy Snowflake
- Ivanhoe: Act Two, Third Scene: A Turret Chamber In Torquilstone - Whet The Keen Axes
- Ivanhoe: Act Two, Third Scene: A Turret Chamber In Torquilstone - O Awful Depth...Lord Of Our Chosen Race
- Ivanhoe: Act Two, Third Scene: A Turret Chamber In Torquilstone - Take Thou These Jewels
- Ivanhoe: Act Two, Third Scene: A Turret Chamber In Torquilstone - What Sound Is That?
Tracks:
- Ivanhoe: Act Three, First Scene: Room In Torquilstone; Assault; Burning Of The Castle - Happy With Winged Feet
- Ivanhoe: Act Three, First Scene: Room In Torquilstone; Assault; Burning Of The Castle - Tend Thou The Knight Thou Lovest
- Ivanhoe: Act Three, First Scene: Room In Torquilstone; Assault; Burning Of The Castle - How Cans't Thou Know?
- Ivanhoe: Act Three, Second Scene: The Forest - Light Foot Upon The Dancing Green
- Ivanhoe: Act Three, Second Scene: The Forest - Look, Where Thy Moody Father Walks Apart...Forgive Thy Son
- Ivanhoe: Act Three, Second Scene: The Forest - How Oft Beneath The Far-Off Syrian Skies
- Ivanhoe: Act Three, Third Scene: The Preceptory Of The Templars, Templestowe - Fremuere Principles
- Ivanhoe: Act Three, Third Scene: The Preceptory Of The Templars, Templestowe - Thou Jewish Girl, Who Art Condemned
- Ivanhoe: Act Three, Third Scene: The Preceptory Of The Templars, Templestowe - A Champion! A Champion!
- Ivanhoe: Act Three, Third Scene: The Preceptory Of The Templars, Templestowe - Dead! He Is Dead!
- Ivanhoe: Act Three, Third Scene: The Preceptory Of The Templars, Templestowe - See Where The Banner Of England
Customer Reviews:
Wonderfully fine performance.......2004-10-10
Well, all the years of searching and waiting to know were not a waste. Firstly, I have never been able to locate a score of this work (as I have done with many ancient operas or forgotten ones), so I was just as in the dark as anyone else as to what to expect. I was incredibly surprised, not to mention, thrilled with the results. No, Sullivan is no Wagner, nor is he even Verdi, but he is wonderfully beautiful in his own right. Why this work has not entered into the opera houses, I have no clue, excepting maybe because it is English opera, which never does well. Speaking of "ENGLISH OPERA", here we have a recording where for the most part we CAN understand the words (a thing I never seem to find in professional recordings of English opera, or American opera; they may as well sing in gibberish, for that is exactly what it sounds like -- perhaps the composers have no clue what works in their own language?). The performers, as we know, are not professionals, but rather semi-professionals. There are some uneven performances, and sometimes the characters are not quite as developed as one would like, there are even times the orchestra sounds like it lost the beat (but this is EXTREMELY RARE), the sound quality of the recording is OK, but nothing stellar, however, it is not bad either. Yet, in spite of these drawbacks, we CAN and DO understand the words, and for once a rather strange sounding English libretto sounds natural and unforced with stupid poetry that really leaves you laughing. These wonderfully dedicated performers, no matter their individual difficulties, give us a wonderfully vivid performance where we can finally understand the opera (like all our Italian friends do when Italian opera is sung for them). That was such a treat for me, to finally actually understand the words of opera sung in my own language.
What makes this opera such a thrill, at least for me, is the natural fall of the words and the music, especially in the recitatives. Unlike most English opera where the musical line sounds completely foreign to the natural lilt of the words, Sullivan has an uncanny way of writing lines, melodies, and recitatives that flow naturally from the language itself. That was a really exciting experience to endure. For once, I didn't wish that someone would teach the composers to listen to the flow of English to gain an insight into melody. Maybe it was all those operettas that he wrote prior to this "serios opera" that taught him what he knew, or maybe, he just had a good ear for his own language and enough sense to know that trying to graft Italian or German musical idioms onto things just wasn't the correct choice.
Is it a great work? Well, no, it will never get into the record books as a perfect opera, nor will it shove Mozart or Wagner off the stage, but it is really quite good just the same. Even with all the flaws this recording has, I am so glad it is out there so I could at last hear what music fleshed out that old drawing I saw in a book all those years ago. Though Sullivan's music is not anywhere near as dramatic as one may imagine it should be, it fits well with the scene and the over all concept of the work.
I really recommend this recording, for it, at least for now, is the only one we have (and if they make a professional one, I really hope they screen the singers well, no big names if they can't sing English so we can understand it; Sullivan, as with Wagner, you MUST understand the words or the meaning is completely lost). The entire recording is really quite enjoyable, and it doesn't disappoint.
Not ideal, but all there is.......2000-08-05
Average customer rating:
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Wagner: The Rhinegold
English National Opera Manufacturer: Chandos ProductGroup: Music Binding: Audio CD All Works by Wagner
| Wagner, Richard
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ASIN: B00005B550 Release Date: 2001-05-22 |
Customer Reviews:
A Rose By Any Other Name..........2007-07-02
But most of the credit has to go to the music, the singers, and the recording as such. I believe that this (originally analogue) remastered recording has one of the best recorded sounds and acoustics of any Ring, studio or 'live'. It is wonderfully clear but warm, kind of velvety (very unlike Solti), with beautifully natural balaces between voices and orchestra. Audience noises can be heard (including a delightful little ripple of laughter) but never really obtrusively so, thankfully. And I love the thunderclap-sound effect when Donner strikes his hammer against the rocks - very tastefully done, and lending extra power to the scene.
All the time one reads in reviews everywhere of the very slow speads at which the music is conducted by Sir Reginald Goodall. Well, that may be so, but I, for one, am certainly endeared to Sir Reginald Goodalls 'caressing' of the music, as a result of which wich the Leitmotifs come out more clearly than ever. The slow - but nonetheless very concentrated, and always involved - playing has, to me, an almost mesmerizing effect. Certainly, compared to many other recordings, the music may sound stretched almost beyond breaking point. But in the end, I think it is really just that: a matter of speed, no more. The concentration never falters and the dramatic arc never saggs. There is live 'music magic' going on here, I feel, even if the English National Opera Orchestra may not be (as precise or as diciplined as) a Wiener Philharmoniker or a Bayreuther Festspielorchester. Certainly, Sir Reginald Goodall must have loved this music and these opera's: one feels a slowly beating but constant loving pulse that energizes the drama and the music.
But we also have the singers. And what a great singers! While the best may be yet to come (with Alberto Remedios as Siegmund and Siegfried, and Rita Hunter as Brunnhilde), we here, in The Rhinegold, already have one of the most commanding of Wotans (Norman Bailey, with wonderful burnished timbre). Also, Emile Belcourt stands out as a wonderfully sleek but full-voiced Loge. Derek Hammond-Stroud's Alberich may not be as black as Gunther von Kannen's (for Barenboim), for example, but there is enough anguish, frustration and anger to lend his character a convincing reality and depth. And the giants too, are a winning pair. Especially Fafner (Clifford Grant) is as imposing and powerful as one may ever wish.
With all the rave reviews, here and elsewhere I can't wait to hear The Valkyrie, (especially) Siegfried and Twilight of the Gods. This certainly is a winning 'Ring', to be kept alongside any other 'great' recorded 'Ring' out there, IMHO. To me, it can hold its own alongside any other favorite recordings.
Please, sample this Ring (try for example the Chandos website for fragments of all of the music) and decide for yourself. Highly recommended.
"Thus I salute the stronghold, safe from dread and dismay!.......2007-06-12
TIMING (Estimate):
Solti's Ring: 14 hours, 30 minutes
Bohm's Ring: 13 hours, 30 minutes
Karajan's Ring: 14 hours, 50 minutes
Goodall's Ring: 16 hours, 50 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Sawallisch's Ring: 14 hours, 0 minutes
CONDUCTING:
Solti: Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His Walkure & Gotterdammerung Preludes are clear examples: they're annoyingly bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.
Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe "Wohin schleich'st du eilig und schlau"). I especially like his "Forging Scene" & "Hagen Summons the Vassals"; both are the most energetic on disc.
Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as Siegfried Act Three Scene Three) are controlled nicely. His "Funeral March" and "Immolation" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.
Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: everything is slower than adagio moderato. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.
Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Sawallisch's). Rheingold Scene Four can be best described as "sensational".
Levine: While he does stay true to the score like Bohm, this conductor makes for a somewhat dull Ring. His handling of the orchestra is nice, but the moderately slow tempi he chooses is flawed. It should be more animated. His beautiful "Funeral March" and "Erda's Warning" are two of the few flawless features.
Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.
ORCHESTRA:
Solti's Vienna Philharmonic: The woodwinds are the most beautiful in Solti's Ring (the "Forest Murmurs" is clear evidence of that). French horns and Wagner tubas make this a recommended listening. The strings in "Heda Heda Hedo" could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.
Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Erda's scenes aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tone & technique. Overall, this orchestra is the most dramatic.
Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung "Three Norns" Scene sounds very mysterious, very eerie.
Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. The Flight of the Valkyries doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act One Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.
Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Bohm's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are found in this Ring. I can hear harps in Flight of the Valkyries! The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Solti's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.
Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.
Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.
SINGERS:
-Wotan
Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Rheingold, in which a less stellar George London performs).
Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording, but he still doesn't disappoint.
Karajan: Dietrich Fischer-Dieskau plays Wotan in "Rheingold," while Thomas Stewart replaces Fischer-Dieskau in "Walkure" and "Siegfried". I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both "Walkure" and "Siegfried".
Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen.
Levine: James Morris is a notch below Hotter, Adam, and Bailey, but he overpowers Fischer-Dieskau pretty much throughout the Levine's Ring.
Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his Wotan's Farewell wasn't enough to sadden me.
-Brunnhilde
Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her final scene in Gotterdammerung is brilliant beyond belief.
Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Gotterdammerung, sorry to say).
Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."
Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.
Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin: while she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).
-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm. Jon Vickers for Karajan, Alberto Remedios for Goodall, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, and Robert Schunk for Sawallisch. For the Sieglindes, we have Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jessye Norman for both Janowski and Levine, and Julia Varady for Sawallisch. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Two exceptions, though: Robert Schunk doesn't sound heroic enough, and Jessye Norman for Levine's Ring doesn't sound young and innocent enough.
-Siegfried
Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in both renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming.
Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.
Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.
Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.
Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. I don't know Levine should've chose Kollo when he recorded his Ring.
-Alberich
Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?").
Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.
Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.
Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.
Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.
-Mime
Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners.
Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.
Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.
Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.
Levine: Heinz Zednik is yet another excellent mime. He is equal to Schreier when it comes to humaneness and lyricism. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.
Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.
-Loge
Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere is greatly affects the entire Rheingold. But he'll soon be forgotten later on in the Ring.
Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Still, it's satisfactory, and his "Ihrem ende eilen sie zu" gives great foreshadowing.
Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. His scenes in Scene Three are delightful.
Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.
Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt depends only on imagination and deviousness, Stolze only vengeance and deviousness, and Windgassen only peril. His odd conversations with Alberich and the gods/goddesses are classic.
Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.
Sawallisch: Robert Tear is on par with Stolze and Schreier. Sometimes he takes things too low, but all is forgiven with his management of character development.
-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings (maybe not in Swarowsky's version). Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm and Goodall. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.
CONCLUSION: I have yet to listen to Barenboim's Bayreuth presentation and the essential mono recordings (Furtwangler, Krauss), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the calculated Janowski, the relaxed Levine, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.
Sir Georg Solti: Wagner - Der Ring des Nibelungen (Ring Cycle) / Sir Georg Solti
Karl Bohm: Wagner: Der Ring des Nibelungen
Herbert von Karajan: Der Ring des Nibelungen / Karajan / Berlin Philharmonic
Goodall: Wagner: The Ring Cycle (Box Set)
-The Valkyrie (Part 2): Wagner: The Valkyrie
-Siegfried (Part 3): Siegfried (Goodall Ring Cycle/Chandos Opera in English)
-Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)
Marek Janowski: Wagner: Der Ring des Nibelungen
James Levine: Der Ring Des Nibelungen
-Wolfgang Sawllisch: Wagner - Der Ring des Nibelungen (Ring Cycle) / Sawallisch, Bayerischer Staatsoper
Free at last!.......2004-09-18
I Love This Recording.......2002-04-05
What's so good about it? Three things stand out for me: First, the slow tempi that were a litle rough at first actually allow, upon repeated listenings, a new discovery and understanding of Wagner's unfathomable genius. Every nuance is slowed down just enough to be fully accessible. Second, the modern English translation really does make this a different experience...my initial mistake was thinking that English lyrics could allow me to listen to this as background music, and that's not the case. However, if one devotes the same attention to this as a German recording, the time wil be richly rewarded. Finally, the smaller orchestra creates an almost chamber music-esque setting, which compliments the music in an undefinable way. Despite being in English, this is almost more Germanic than original-language recordings.
I still probably wouldn't get this as the first foray into Wagner's RING (I still think Solti or Levine are the choices for that). But for someone who already has some familiarity with the work, this will provide a lifetime's enjoyment. Cudos to Chandos for resurrecting these recordings!
The Goodall Ring - 1975 - Restored and Remastered.......2001-06-08
As to the experience of the drama in English, that too is remarkable, at least for someone like me whose home-tongue is English. The drama takes on an immediacy that I have never experienced before. This factor alone is why you should explore this Ring. I can't overemphasize the impact on me that this recording had on me because it was in English and because it was well-acted. Surely this is what Wagner meant, at least dramaturgically (obviously allowing that you can't actually see the action).
Overall, the singing is competent, and in some places, it's excellent. None of the cast really stands out musically. Norman Bailey's wobbly Wotan could have certainly benefitted from a deeper, richer tone. Still, and perhaps more importantly, he creates a god who is clearly unsure of where the moral highground is, even when he's standing on "an open space on a mountain summit." Everyone, for that matter, is dramatically convincing, especially Emile Belcourt (Loge) and Derek Hammond-Stroud (Alberich) and Robert Lloyd (Fasolt), all of whom, by the way, have excellent diction. And speaking of diction, I almost could have done without the libretto when the men were singing. Not so with the women, whose diction was uniformly wanting.
Goodall's pace is notoriously glacial. Still, it's interesting to hear it parsed in this way, and I never had the feeling that I was going to fall off the world. Which is to say that the tempos were deliberate, not affected. This was definitely a labor of love for RG and the English National Opera. The orchestra is a little thin sounding, and perhaps, not entirely up to the score. Occasionally a horn mis-blew and a cello creaked. This is unavoidable in live performances, I suppose. Still, there is a surprising sense of smallness to the ensemble, even though there's never a moment when the balance between singers and players is lost. As a result, the overall effect is a balance of clarity and urgency that is clearly the upside of Goodall's idiosyncratic "vision" of the score. Not a huge or "erotic" sound, but always committed, intelligent, and sometimes impassioned.
For all of its flaws, this is an astonishing and, for me, an indispensible recording because it made me listen to this opera with new ears. While it's not the most lyrically pleasing recording (Karajan) or musically authoritative (that would be Solti, IMHO), dramatically, this Rhinegold excells any recording I know of. I will definitely buy the rest of the set.
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ASIN: B0007KVEDA Release Date: 2005-03-14 |
Tracks:
- Dream Girl
- Love Nest
- Don't Tell My Heart
- Cabaret
- Forget Me Not
- I Wish I Had A Record
- I've Got A Frame Without A Picture
- Giddy Ap
- Where In The World
- To Me You're A Song
- Angels Gry (When Sweathearts Tell A Lie)
- You're Not In My Arms Tonight
- Marrying For Love
- You're Just In Love
- House Of Singing Bamboo
- My Heart Cries For You
- Roving Kind
- Sparrow In The Tree Top
- Christopher Columbus
- Beggar In Love
- Unless
- My Truly Truly Fair
- Who Knows Love
- Sweetheart Of Yesterday
- Belle Belle My Libery Belle
- I Can't Help It
- We Won't Live In A Castle
- There's Always Room At Our House
- Wimmin
- (There's A Pawnshop On The Corner In) Pittsburgh Pennsylvania
- Doll With The Sawdust Heart
- Day Of Jubilo
- Jenny Kissed Me
- You'll Never Be Mine
- Don't Rob Another Man's Castle
- Little Kiss Goodnight
- Gently Johnny
- She Wears Red Feathers
- Pretty Little Black Eyed Susie
- Feet Up (Pat Him On The Po-Po)
- (Cause I Love You)That's A Why
- Train Of Love
- Wise Man Or Fool
- Why Should I Go Home
- House Without Love
- Lost Highway
- Mail My Heart To The Dead Letter Office
- I Will Love You Forever My Love
- Build My Gallows High (The Clock Tower)
- My Dog & Me
- Green Pine Tree
- Walkin' & Won'drin'
- Chicka Boom
- Cloud Lucky Seven
- So Am I
- I Want You For A Sunbeam
- Tell Us Where The Good Times Are
- Hannah Lee
- Look At That Girl
- There's Nothing As Sweet As My Baby
- Man & Woman
- Strollin' Blues
- Sippin' Soda
- Cuff Of My Shirt
- Got A Hole In My Sweater
- Tear Down The Mountains
- What Am I Doin' In Kansas City
- Dime & A Dollar
- Meet A Happy Guy
- My Heaven & Earth
- Bob's Yer Uncle
- You've Ruined Me
- There Once Was A Man
- I Met The Cutest Little Eyefull
- Gee But You Gotta Come Home
Album Description
This 3 CD set includes the song's 'Sparrow On The Treetops', 'Pretty Little Black Eyed Susie' & 'Day Of Jubilo'. Disky. 2005.Customer Reviews:
Great sides, inspired playlist. However..........2005-04-03
Other incentives for grabbing this up: An ultra-smooth Guy (under his real name, Al Cernik) singing with Carmen Cavallaro and His Orchestra in 1948 ("Dream Girl"), followed by two 1949 MGM sides with the Buddy Kaye Quintet ("The Love Nest," "Don't Tell My Heart"). For these three reasons alone, we can forgive Disky any faults in the engineering department. And there are four Al Grant sides from the King label, and several pre-"Roving Kind" Columbia sides, including the dreamy "Where in the World" and Bob Merrill's masterful pop adaptation of Chopin's frequently-borrowed Opus 10, No. 3 Etude, here presented in ABAC form as "To Me You're a Song." Mitchell is magnificent on these. Mitchell is magnificent on everything here, come to think of it.
Last, but not least, the single Mitchell photo used over and over throughout the package is rather nice. A cut-price comp made golden by Guy. Buy this one!
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