Homeward

1. Game

2. Archaic

3. Dance Music

4. Homeward

5. Spirits

6. Friends' Play

7. Tanyavilág

Homeward,Gábor Gadó,Budapest Music,Int'l & World Music,Jazz Music,Pop

Average customer rating: Andsnes the piano man Sensitive modern pianism Suspicious Reviewer A great pianist? A voyage to the coast of Norway!

Grieg: Lyric Pieces (Performed on Grieg's Piano) Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD Waltzes | Ballets & Dances | Classical | Styles | Music Grieg, Edvard | ( G ) | Featured Composers, A-Z | Classical | Styles | Music Canons | Forms & Genres | Classical | Styles | Music Elegies | Requiems, Elegies & Tombeau | Forms & Genres | Classical | Styles | Music Character Pieces | Short Forms | Forms & Genres | Classical | Styles | Music Nocturnes | Short Forms | Forms & Genres | Classical | Styles | Music Marches | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Keyboard | Instruments | Classical | Styles | Music Andsnes, Leif Ove | ( A ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Lullabies & Berceuse | Vocal Non-Opera | Opera & Vocal | Styles | Music Airs | Vocal Non-Opera | Opera & Vocal | Styles | Music $9.99 and Under | Classical Music Blowout | Stores | Music All Classical Music Blowout | Classical Music Blowout | Stores | Music Grieg, Edvard | ( G ) | Composers, A-Z | Classical Music Blowout | Stores | Music Andsnes, Leif Ove | ( A ) | Performers, A-Z | Classical Music Blowout | Stores | Music Opera & Vocal | Classical Music Blowout | Stores | Music Similar Items: Grieg: Lyric Pieces / Emil Gilels Schumann & Grieg: Piano Concertos; Leif Ove Andsnes Grieg: Piano Concerto - Sonata Op. 7, Lyric Pieces Opp. 43, 54 & 65 Horizons - Leif Ove Andsnes Leif Ove Andsnes ~ Haydn - Piano Sonatas ASIN: B00005UUOC Release Date: 2002-03-12

Tracks:

1. No.1 Arietta
2. No.2 Waltz
3. No.6 Norwegian Melody
4. No.5 Folk Melody
5. No.8 Canon
6. No.6 Elegy
7. No.7 Waltz
8. No.3 Melody
9. No.3 March Of The Trolls
10. No.4 Notturno
11. No.2 Gade
12. No.3 Illusion
13. No.6 Homesickness
14. No.6 Homeward
15. No.4 The Brook
16. No.5 Phantom
17. No.1 Sylph
18. No.5 Cradle Song
19. No.6 Wedding Day At Troldhaugen
20. No.4 Evening In The Mountains
21. No.3 At Your Feet
22. No.2 Summer Evening
23. No.6 Gone
24. No.7 Remembrances

Amazon.com

Grieg's 66 Lyric Pieces range from simple pretty tunes like the early "Arietta" that opens this disc to more extended pieces like the dashing "Wedding Day at Troldhaugen" to impressionistic miniature tone poems like the late "Summer Evening." Here, Andsnes plays 24 of them, well-chosen to cover a representative selection from the complete sets. He plays them beautifully, with a lovely tone, virtuoso polish when such is called for, as in the express ride of "March of the Trolls," and poetic depth of feeling, as in "The Brook," where in his interpretation you can almost smell the grass and see the light ripples of the water. Gilels's selection on DG, with minimum overlap, is still unmatched, but Andsnes's well-recorded recital is a source of endless pleasures. Of added interest, the recording was made at Grieg's home, now a museum, on his 1892 Steinway. --Dan Davis

Customer Reviews:

Andsnes the piano man.......2007-01-08

Just finished listening to the disc and very pleased - lots of light and airy works some towards the end are very *soft* with surprising CRESENDOS at the end to wake u up! Another super disc to add to the andsnes collection !

Sensitive modern pianism.......2006-01-19

Borrowing a phrase from the contemporary political philosopher Fukuyama a case can be made that the world of classical piano music has reached "the end of history". This notion is based on the often heard idea that it only takes two clicks to get superior performances of any piece worth recording at home and that this part of the universe has reached a state of completion. Add to that the ongoing decline in the appreciation of "classical" music and its economic repercussions and you end up thinking twice before advising your children to pursue a career in this field of employment.

Yet, while a catalog with Horowitz' Scarlatti, Gould's Bach, Kempff Schubert, Bolet's Liszt, Pollini's Chopin, Michelangeli's Schumann, Gieseking's Debussy, Schnabel's Beethoven, Casadesus' Ravel, Seeman's Mozart and Backhaus' Brahms has set historic standards that are hard to equal or surpass, a cd of standard regularly performed repertoire like this one refutes any fear that we have reached the day that the music died.

For starters, piano technique has significantly improved over the last 25 years. Likely due to the standards that the aforementioned pianists set, the next generation is of superior dexterity. While I grew up in times that Horowitz' performances of Liszt, his own Carmen Fantasy and Stars and Stripes transcriptions, and Gould's highly articulate light speed Bach were considered supernatural phenomena, these times are long past. And although the former's sense of tone and the latter's feel for counterpoint may not yet have found their match, most participants in any of the endless number of competitions have basic skills that are just as high and in many cases repertoires that are much wider.

Before coming to the review of this disc, one more personal side note. Since the piano is an instrument that anyone with two functional hands can master to such a degree that quite a number of masterpieces in the repertoire are within reach, I expect recordings to reflect technical mastery. As such, I do not belong to the group of those pianophiles who consider Fischer's Bach "acceptable", Cortot's Chopin "monumental" and Horowitz "live in Moscow" version of his standard Scriabin etude "earth shattering".

Thus we come to the present disc, which I consider a prime example of contemporary pianism. Playing on Grieg's own euphonic, but decidedly mellow piano, in the composer's own "piano room" that imposes significant sonic limitations on the resulting recording quality, his fellow country man Leif Ove Andsnes revisits his juxtaposition of the modern and the authentic that we encountered earlier in his superior Haydn piano concerto disc. While the orchestral part in that recording had clear "authentic" traits, the piano and its performance were truly 21st century. Especially in the light of earlier performances of these Grieg pieces by the likes of Gilels and Gavrilov, Andsnes approach is more restrained and, based on credible historic documentation that comes to use by oral history, less authentically romantic.

Is there something like "the importance of being authentic"? Based on the movement that initially tried to ban all professional musicians from performing baroque music, there certainly is. Nobody will argue that it is of importance to have a good understanding of the performance practices of a particular era. Yet, the mere fact that Bach is still performed worldwide more than 2.5 centuries after his death clearly refutes the notion that his music could only be appreciated within a certain set of parameters. Leaving aside the great dichotomy between the fervor with which the "authentics" have defended "the rules" and the clarity and precision with which they were committed to paper centuries ago, there is no convincing argument that a contemporary should not be able to enjoy Gould's Bach on the piano over Leonhardt's "authentic" performances on the harpsichord.

Released of the shackles of authenticity, aware of the historical record, and fluent in Grieg's lingo from early childhood Andsnes has made a both highly sensitive and textually very accurate reading of the Norwegian's small scale character pieces. Helped by a technique, that is at least as good as all of the luminaries that I mentioned in the second paragraph, this recording shows the virtues of the "less is more" approach. Previous reviewers have harped on the Gilels comparison. While I admire the late Russian lion's performances, I greatly prefer Andsness. Although, Gilels could play fast and slow, soft and loud I considered his technique often of the lazy kind. Especially when it came to use of the sustain pedal he often chose to correct with his right foot, that what he preferred his hands/fingers to save energy on. While some consider this over-pedaling to be an essential part of the romantic mysticism, I am glad that the new generation of pianists does no longer need it to suggest fluency.

Limiting the use of the right pedal often leads to a much better characterization of a composer's sonic signature and this recording is no exception. While it is clear that Grieg was aware of contemporaries like Schumann, Brahms, Chopin and Liszt, Andsnes like no other "nails" the Norwegian's own distinctive voice. What results is a restrained, yet highly sensitive and intimate reading. While the room limits the clarity in the louder passages, it does provide a historically correct context for these lyric pieces.

Andsnes, without a doubt, is one of the stars of the next generation. While mediocre clowns like Lang Lang may entertain the circus crowds, it is comforting to know that musicians like the young Norwegian will keep the eternal flame alive and are likely to add chapters to an as of yet never ending history.

Suspicious Reviewer.......2005-10-19

I am sure Emil Gilels' recording cannot be surpassed but why not get both? After all, there isn't much of overlap.

By the way, I can't help questioning the intention of one of the reviewers named Dag Johansen. He is proactively reviewing most of Andsnes' CDs and giving them very poor rating. In fact, all he is reviewing are Andsnes', no other.
I don't mind that if it is truly his honest opinion but there's something fishy here... why does he keep buying Andsnes' CDs if he hates his playing so much? It's as if he is trying to damage the artist's reputation... Shady....

I have not actully heard this CD or any of Andsnes'. Just felt I needed to report on this.

A great pianist?.......2005-02-27

To be called a great pianist doesn't necessarily mean you are a great pianist. What on earth is great with this pianist? I actually don't know. Neither do a lot of people with whom I've talked. Several Norwegian pianists play these lyric pieces of Grieg better than Andsnes. His playing is actually boring. He is not telling me anything. Well, he sure has tremendous technique, brilliant understanding of form, he dress correct, smile at you from behind the piano and so forth, but at the same time he totally lack the creative force that is so important in piano-playing. Yes, his playing is utterly smooth, correct and nice, but unfortunately lack the mysterious extra, this personal touch we always look for in classical music. Never the less he is called great! What kind of great is this! Some say he is a new Horowitz. Well, it must be a Horowitz without a heart and musical imagination - a perfect piano machine. Or perhaps I've missed the point. I really don't know. One thing I know for sure; Andsnes is not a great pianist. I'm sorry.

A voyage to the coast of Norway!.......2003-05-09

I never truly understood Grieg until Leif ove Andsnes revealed him. The notturno was especially touching!

Average customer rating: Fabulous! Great! Wow! Magnificient Talent!!! Children with a gift

Volume 1 Von Trapp Children Manufacturer: Rattlesby Records ProductGroup: Music Binding: Audio CD General | Musicals | Broadway & Vocalists | Styles | Music General | Broadway & Vocalists | Styles | Music General | Vocal Pop | Pop | Styles | Music Traditional & Vocal Pop | Pop | Indie Music | Stores | Music Similar Items: The Von Trapp Children, Vol. 2 Christmas With the Von Trapp Children Christmas With the Trapp Family Singers At Home with the Trapp Family Singers The Original Trapp Family Singers ASIN: B00007MB2E Release Date: 2003-01-28

Tracks:

1. Wayfaring Stranger
2. Father`s Eyes
3. Cuckoo
4. Dona Nobis
5. O Wie Wohl
6. All the Pretty Little Horses
7. Ching-a-ring-chaw
8. Edelweiss
9. Lonely Goatherd
10. Come Thou Fount
11. Scarborough Fair
12. Children`s Prayer
13. Amazing Grace
14. Danny Boy
15. Blue Cheese
16. Good News About the Chariot
17. Homeward bound

Album Description

Meet the von Trapp children: Melanie, Sofia, Justin and Amanda. They are the descendants of the famous singing family whose story captivated the world in "The Sound of Music." As the great grand children of Captain von Trapp they have inherited the family`s unique musical gift. Their beautifully blended voices bring a fresh, pure sound to a diverse variety of music in this debut recording.

Customer Reviews:

Fabulous!.......2004-12-28

The von Trapp Children are terrific singers! Their voices blend together just great. I can't wait to get the other two cds they have out!

Great!.......2004-11-27

These children are really fantastic! I loved every second of them singing. There voices are so clear and they blend together so perfectly. They are such a joy to hear and have added on to their family legacy! Buy this CD, you won't be sorry!

Wow! Magnificient Talent!!!.......2003-02-01

I am currently listening to this remarkable CD with that blissful madrigal talent passed down to these children.

My cat came and sat next to the speakers, which he has never done before, when the lovely voices sang so eloqenntly
and wonderously high.

I am so thankful this is available through Amazon!!!

Val Lee of Meridian, Idaho

Children with a gift.......2002-03-07

The Von Trapp Children Vol I is a great listening experience. Every time I hear it, I am swept away to a world of beauty and innocence. It conjures memories from the past and dreams of the future. I highly recommend this to any listener!

Average customer rating: Inspirational! A Beautiful Road Home Homeward Bound Inspiring Music-The Road Home

The Road Home BYU Choirs & Orchestra Manufacturer: Tantara Records ProductGroup: Music Binding: Audio CD Gospel | Christian & Gospel | Styles | Music General | Opera & Vocal | Styles | Music General | Classical | Styles | Music Classical | Indie Music | Stores | Music Similar Items: A Thanksgiving of American Folk Hymns Beautiful River All Creatures of Our God and King Praise Him Harvest Home ASIN: B00076GOHK Release Date: 2003-09-01

Tracks:

1. Homeward Bound
2. The West Wind
3. The Road Home
4. Home I'll Be
5. My Heavenly Father Loves Me
6. O Home Beloved
7. Wayfaring Stranger
8. My Journey Home
9. Songs My Mother Taught Me
10. A Child's Prayer
11. Goin' Home
12. None Other Lamb
13. Pilgrims' Hymn
14. O God, Our Help in Ages Past
15. Pilgrim Song
16. Abide With Me; 'Tis Eventide

Album Description

Featuring "Homeward Bound" from the tribute to the troops, "Until Then."

The legendary choral textures of the various BYU choirs are showcased in this beautiful new collection of favorite melodies centered around the idea of home. Produced by directors Ronald Staheli and Rosalind Hall, The Road Home features the Concert Choir, University Singers, Men's Chorus and Women's Chorus, and in some cases all the choirs combined into a majestic grand chorus.

Customer Reviews:

Inspirational!.......2007-02-12

I just love this CD. It is so soothing. I originally heard it on a slideshow, and had to do some research to find it. So glad I did!

A Beautiful Road Home.......2006-08-08

This CD presents a beautiful balance of women's voices, men's voices, and combined voices in various choirs supported by orchestra and other accompaniment. This road home is well worth taking.

Homeward Bound.......2005-08-06

I purchased "The Road Home" because of the 1st titled song, "Homeward Bound" by the BYU choir. It is the accompagniment to an internet collage of U.S. soldiers in
Iraq and it fits beautifully. The entire collection of songs on "The Road Home" is very soothing as well as inspiring. It
reminds me of the beauty and power of human voices singing in harmony. I recommend it to anyone with a love of rich and powerful music.

Inspiring Music-The Road Home.......2005-03-18

This contains a wonderful and inspiring group of selections and is very well done. The title number accompanies an extremely good picture montage by GCS Distributing.Com which contains pictures of the military in Iraq and is a great emotion grabber. This album is well worth buying and listening to over and over.

Stephen

Average customer rating: Pam Tillis Homeward Looking Angel Strong second Arista effort THE ALBUM STUMBLES, FALLS FLAT This is a terrific CD! Not Her Best Work

Homeward Looking Angel Pam Tillis Manufacturer: Arista ProductGroup: Music Binding: Audio CD General | Contemporary Country | Country | Styles | Music General | Country | Styles | Music Contemporary | Bluegrass | Country | Styles | Music Similar Items: Put Yourself in My Place Sweetheart's Dance All of This Love Thunder and Roses It's All Relative ASIN: B000002VLF Release Date: 1992-09-29

Tracks:

1. How Gone Is Goodbye
2. Shake The Sugar Tree
3. Do You Know Where Your Man Is
4. Cleopatra, Queen Of Denial
5. Love Is Only Human
6. Rough And Tumble Heart
7. Let That Pony Run
8. Fine, Fine, Very Fine Love
9. We've Tried Everything Else
10. Homeward Looking Angel

Customer Reviews:

Pam Tillis Homeward Looking Angel.......2006-03-08

Track Listings:

1. How Gone To Goodbye
2. Shake The Sugar Tree
3. Do You Know Where Your Man Is
4. Cleopatra, Queen Of Denial
5. Love Is Only Human
6. Rough And Tumble Heart
7. Let That Pony Run
8. Fine, Fine, Very Fine Love
9. We've Tried Everything Else
10. Homeward Looking Angel

Strong second Arista effort.......2003-04-10

During her early music career, Pam Tillis experimented with pop, rock, new wave, and even disco. Inevitably, she found her way back to her country roots (her father is country legend Mel Tillis) and created one of the best country debuts of the '90s with 1991's distinctive Put Yourself In My Place. This 1992 follow-up sounded just as confident and fresh, yet impressively offered a different sound, a rarity in the formulaic world of modern country music.

Tillis' high-pitched voice is an acquired taste worth acquiring. WIth repeated listening, her unique vocals become endearing and eventually bewitching. The quality of her songs (five of which Tillis co-wrote) is never in doubt: each of the enclosed tracks are original and entertaining. "Cleopatra, Queen Of Denial" is a clever play on words and is still about as fun as country music gets. The first single, "Shake The Sugar Tree" is almost as imaginative in its warm plea for more love. The ballads on Homeward Looking Angel may not be as infectious, put they provide quite a few poignant moments, particulary "Love Is Only Human," which effectively paired Tillis with Marty Roe of Diamond Rio, and the spinetingling "Let That Pony Run" (my all-time favorite Tillis recording).

Unstable romantic relationships are the predominant theme on this album. Yet each track offers a different take on this theme and, as in real life, provide varying resolutions.

THE ALBUM STUMBLES, FALLS FLAT.......2002-09-14

HOMEWARD LOOKING ANGEL stumbles and falls flat. There are two "great" songs on this album; "Let The Pony Run" and "How Gone is Goodbye". There are three "good" songs; "Do You Know Where Your Man Is", "Shake The Sugar Tree" and "Homeward Looking Angel". And there is one just "okay" song; the jazzy "Cleopatra, Queen Of Denial". The rest of this album is totally forgettable, especially the truly awful "Fine, Fine, Very Fine Love" which is anything but fine. Best recommendation, use your CD burner to lift the good tracks an make them part of a "favorites compilation", then toss the original.

This is a terrific CD!.......2001-10-19

Pam Tillis comes out sparkling on her second CD release on Arista. "Cleopatra, Queen of Denial" starts off sounding like a Neil Sedaka tune, then the electric guitars kick in - a grand example of fine country-pop. "Do You Know Where Your Man Is" is a fine piece of traditional country music at its best, as is "Homeward Looking Angel." "Shake the Sugar Tree" and "Let That Pony Run," two of my favorites were both top ten hits written by Chapin Hartford and Gretchen Peters respectively. As a bonus, lyrics are included on the insert.

Not Her Best Work.......2000-06-18

A few radio hits salvage an otherwise forgettable set of tunes on this release. The keepers include the spunky "Shake the Sugar Tree", the Tammy Wynette-ish ballad "Do You Know Where Your Man Is", the tongue-in-cheek "Cleopatra, Queen of Denial", & the ballad "Let That Pony Run". Most of the rest is just filler material, the worst being "Fine, Fine, Very Fine Love", & the duet with Diamond Rio's Marty Roe, "Love Is Only Human". If your looking for your first purchase, go with either "Sweetheart's Dance" or "Put Yourself in My Place".

Average customer rating: Great, obscure old Berlin!

Watch Your Step Cast Recording Manufacturer: Original Cast Record ProductGroup: Music Binding: Audio CD General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Musicals | Broadway & Vocalists | Styles | Music General | Broadway & Vocalists | Styles | Music General | Soundtracks | Styles | Music Broadway & Vocalists | Indie Music | Stores | Music General | Soundtracks | Indie Music | Stores | Music Similar Items: Curtains (2007 Original Broadway Cast) Grey Gardens - A New Musical (2006 Original Broadway Cast) The Wedding Singer (2006 Original Broadway Cast) The Drowsy Chaperone (2006 Original Broadway Cast) The Color Purple (2005 Original Broadway Cast) ASIN: B00005QZM9 Release Date: 2002-03-12

Tracks:

1. Overture
2. Watch Your Step
3. What Is Love
4. Let's Go Round The Town
5. Come To The Land Of The Argentine
6. I Gotta Go Back To Texas
7. Bird Of Paradise
8. Lock Me In Your Harem
9. They Follow Me Around
10. I Love To Have The Boys Around Me
11. When I Discovered You
12. Show Us How To Do The Fox Trot
13. I'm A Dancing Teacher Now
14. Syncopated Walk
15. Lead Me To Love
16. I Hate You
17. Metropolitan Nights
18. Opera Medley
19. Homeward Bound
20. Move Over
21. Settle Down In A One Horse Town
22. Simple Melody - Old Fashioned Wedding - Your Just In Love
23. Encore - Simple Melody
24. Bonus Track

Customer Reviews:

Great, obscure old Berlin!.......2002-08-07

As a cast member on this album, I'm a little bit biased, but it's this is really a chance to get a listen to some really fabulous Berlin. This is Berlin's first Broadway show and has some great gems like "Have the Boys Around Me" and a bunch of great catchy tunes. It's a wide mix of Berlin and if you're a big fan, it's a great chance to hear him in still somewhat developmental stages. A couple songs from this show were later re-worked and put into other shows. It's also has a great feel for the period and shows the influences around the time he was writing: opera (Opera Melody), cowboys (I Gotta Go Back to Texas) and Hawaii (Honolulu Girls). It's a keeper!

Also on this CD is a great tribute to Berlin's counterpoint tunes. It's a mix of all three of the greats: Simple Melody, Old Fashioned Wedding, and Just in Love. Sung individually and then all three together! You won't get that anywhere else.

Average customer rating: Traditional songs of the sea.

Homeward Bound Revels Manufacturer: Revels Records ProductGroup: Music Binding: Audio CD General | International | Styles | Music General | Rock | Styles | Music Pop Rock | Pop | Styles | Music General | International | Indie Music | Stores | Music ASIN: B00006JM8D Release Date: 2002-10-01

Tracks:

1. Roll Down
2. Can't You Dance The Polka?
3. Threescore And Ten
4. The Maid On The Shore
5. Ocean
6. The Leaving Of Liverpool
7. Here's A Health To The Company
8. Drake's Drum
9. Run Th eRiggin' Again
10. Noah's Ark
11. The Herring's Head
12. The Fush Of The Sea/Yea Ho, Little Fish
13. Dance Set
14. Euroclydon
15. Adieu, Sweet Lovely Nancy
16. Boston
17. Blood-Red Roses
18. Anchor Song
19. Lady Franklin's Lament
20. The Last Leviathan
21. Rolling Down To Old Maui
22. The Jamestown Homeward Bound
23. Rolling Home To Old New England

Customer Reviews:

Traditional songs of the sea........2007-07-07

If one likes traditional songs created during the days of the sail ship from the U.S. and England, then this is a good cd for that. I enjoyed it very much.

Average customer rating: The Best of Grieg's Best Piano Music

Edvard Grieg: Lyric Pieces (Selections) Einar Steen-Noekleberg Manufacturer: Naxos ProductGroup: Music Binding: Audio CD Grieg, Edvard | ( G ) | Featured Composers, A-Z | Classical | Styles | Music General | Keyboard | Instruments | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music CDs Under $7 | Classical General | Classical | Today's Deals in Music | Formats | Music CDs $7 - $10 | Classical General | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music 4-for-3 Classical | 4-for-3 Music | Stores | Music 4-for-3 All Music | 4-for-3 Music | Stores | Music Similar Items: Grieg: Lyric Pieces (Performed on Grieg's Piano) ASIN: B0000014GA Release Date: 2000-10-06

Tracks:

1. Book 1, Op.12: No.1, Arietta
2. Book 1, Op.12: No.4, Elves' Dance
3. Book 1, Op.12: No.5, Folk Song
4. Book 2, Op.38: No.1, Cradle Song
5. Book 2, Op.38: No.2, Folk Song
6. Book 2, Op.38: No.5, Folk Dance
7. Book 2, Op.38: No.7, Waltz
8. Book 3, Op.43: No.1, Butterfly
9. Book 3, Op.43: No.4, Little Bird
10. Book 3, Op.43: No.6, To The Spring
11. Book 4, Op.47: No.1, Valse Impromptu
12. Book 4, Op.47: No.2, Album Leaf
13. Book 4, Op.47: No.3, Melody
14. Book 4, Op.47: No.4, Norwegian Dance
15. Book 5, Op.54: No.1, Herd Boy
16. Book 5, Op.54: No.2, Norwegian March
17. Book 5, Op.54: No.3, March of the Trolls
18. Book 5, Op.54: No.4, Nocturne
19. Book 6, Op.57: No.5, Nostalgia
20. Book 7, Op.62: No.3, French Serenade
21. Book 7, Op.62: No.4, Brooklet
22. Book 7, Op.62: No.6, Homeward
23. Book 8, Op.65: No.5, In Ballad Style
24. Book 8, Op.65: No.6, Wedding Day at Troldhaugen
25. Book 9, Op.68: No.5, Cradle Song
26. Book 10, Op.71: No.3, Puck
27. Book 10, Op.71: No.7, Remembrances

Customer Reviews:

The Best of Grieg's Best Piano Music.......2003-05-16

I love these pieces in moderation, and what better way to approach them than through this compendium of Grieg's ten books of Lyric Pieces? The best of each book is here, including "Elves' Dance," "Butterfly," "To Spring," "Herd Boy," "Norwegian March," "March of the Trolls," "Homeward," "Wedding Day at Troldhaugen," and "Puck." (Notice that I like the up-tempo ones, where Grieg has less of a chance of falling into salon-music doggerel.)

As to the performances, Steen-Kokleberg has great technique, which helps these pieces sound as effortless as they should. (Take "Brooklet" from Book 7: not an easy piece, but Steen-Kokleberg makes it burble most attractively among the rocks.) What's more, the pianist approaches the Lyric Pieces as if it's truly important music, and that keeps Grieg's idiom from seeming overly precious.

So, with the best of Grieg's best in some of the most successful performances I've heard (plus a great price), this disc is hard to beat.

Average customer rating: A Rose By Any Other Name... "Thus I salute the stronghold, safe from dread and dismay! Free at last! I Love This Recording The Goodall Ring - 1975 - Restored and Remastered

Wagner: The Rhinegold English National Opera Manufacturer: Chandos ProductGroup: Music Binding: Audio CD All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Similar Items: Siegfried (Goodall Ring Cycle/Chandos Opera in English) Wagner: The Valkyrie The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English) ASIN: B00005B550 Release Date: 2001-05-22

Customer Reviews:

A Rose By Any Other Name..........2007-07-02

The figure of speach may not be completely correct in this instance, but, well, I hope you get the point. In any case, for a Dutch speaking person, like I, to hear 'The Ring' in a language other than the original German feels - almost shockingly(?) - natural. Certainly, this modern English translation, to me, is as least immediate, and probably even more immediate, than the original (archaic) German text. And in music drama, immediacy is essential. Maybe it is also the wonderfully natural translation, I don't know, but it works for me, the Ring in English.
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

Okay, so we have the Solti, Bohm, Karajan, Levine, Janowski, Goodall, and Sawallisch Rings on the market (I haven't listened to the other Ring recordings yet, sorry to say). And all of these leave me to one conclusion: the many differences lead me to believe that all of these ring sets have their own authenticities and setbacks. And here they are:

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've enjoyed listening to the Ring cycles by Solti, Bohm, and Furtwangler, but my pleasure has always been dampened by the necessity to follow the dramas with a German/English libretto. This performance freed me from that burden and allowed me to listen to the Ring with my ears alone for the first time. And what a delightful experience it was! I found I could understand about half the words the first time through. but that was enough for me to understand what the characters were saying and concentrate on Wagner's great music. Some of the characters (Loge and Alberich, for example) are almost perfectly comprehensible, while others (Fricka in particular) might as well be singing in German. The sound itself is superb, with perfect balances between orchestra and voices. Goodall's conducting is famously slow (about half an hour longer than usual), but he is never slack and he reveals a wealth of detail in the orchestration. The singers are a mixed lot, with Loge, Alberich, and Mime particularly effective. Bailey is hardly the grandest of Wotans, but he is solid and convincing. In any event, for us non-German listeners, this recording is a real treat. I would not recommend it as a first Ring (Bohm is a good choice, though some of his tempi are rather hectic), but as a supplement to a recoding in the original language, it is hard to beat. Give it a try! As for me, I'm ready to go on to "Die Walkure" (pardon me, "The Valkyrie").

I Love This Recording.......2002-04-05

I was a little suspicious when approaching this English-language version of Das Rhinegold. I was considering assembling this as my third RING set (behind Solti and Levine) and had listened to THE VALKYRIE (Die Walkure) with a little initial disappointment. Although the live sound quality was very interesting, the tempo was much slower than I was used to and thus a little disconcerting, and the English words were harder to understand than I had hoped. Nevertheless, I persevered and listended to THE RHINEGOLD (probably my favorite of the four RING operas, although I know this puts me in a minority) and was amazed. Best of all, after listening to this album I revisited the Goodall VALKYRIE and discovered a new appreciation! Now the Goodall set ranks as one of the best I've heard. It just needed to get under my skin a bit.

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

I have been curious about this for years. When I saw the packaging, I wondered whether this was the same Ring that has been kicking around for a couple of decades from the Sadler's Wells performances of the mid-70s. News flash: It's the same. However, the box says that it's been re-mastered with something called 24-bit digital mastering. Since I never heard the old records, I have no idea if this is better. Judged on its own, the sound is terrific. This live recording really places the listener in the theater with clarity and authentic spaciousness. So often, a live recording will capture the audience up close, then the orchestra, then the singers, cataloguing every throat being cleared and every bow being tapped. Somewhere in the distance, the singers voices follow their heavy tread over the stage. Not here. There is an intimacy to the sound here that approximates sitting in about the tenth row back in a large hall. It doesn't sound like the opera's being played in your room; it sounds as though your room has been transformed into a medium sized theater. I found it uncanny.

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.

Average customer rating: This is truly beautiful music!

Homeward Frank Mills Manufacturer: Macola Records ProductGroup: Music Binding: Audio CD General | Pop | Styles | Music General | Easy Listening | Pop | Styles | Music Orchestral Pop | Easy Listening | Pop | Styles | Music Similar Items: Transitions Over 60 Minutes with Frank Mills Music Box Dancer ASIN: B000000N45 Release Date: 1994-05-17

Tracks:

1. The Land That I Call Home (part 1)
2. Fair And Tender Ladies
3. Skye Boat Song
4. Reminiscing With You
5. Amazing Grace
6. Coming Home
7. When You And I Were Young, Maggie
8. With Someone Like You
9. The Land That I Call Home (part 11)
10. Danny Boy
11. The Mountains Of Mourne
12. Mary's Song
13. Shenandoah
14. The Land That I Call Home (Part III)
15. The Road To Home
16. Now Is The Hour

Customer Reviews:

This is truly beautiful music!.......1998-11-29

I often put this CD on as background in my first grade classroom. My students will even request it when they are working quietly. It appears to have a calming influence on one student with ADHD. I often hear him humming the songs when he is absorbed in work and no music is playing.

Average customer rating:

Stanford Songs, Vol. 2 Manufacturer: Hyperion UK ProductGroup: Music Binding: Audio CD Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music General | Easy Listening | Pop | Styles | Music Classical | Imports | Stores | Music Similar Items: Stanford Songs, Vol. 1 Locatelli's Opus 4 - The Raglan Baroque Players / Elizabeth Wallfisch ASIN: B00004TQP6 Release Date: 2000-07-11

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