![come the storm [import]](http://images.amazon.com/images/P/B000B8Q8KC.01.MZZZZZZZ.jpg)
| 1. Last New Years Eve |
| 2. Never Be The Same |
| 3. Stagger Home |
| 4. Ocean Of Fire |
| 5. Nothing But Blue |
| 6. Saffron & Ginger |
| 7. Staying In |
| 8. Compass |
| 9. White Wave |
| 10. Time To Go |
Editorial Reviews
Product Description
Eileen Rose is based in Boston, Massachusetts, USA. She recorded 2 albums for Rough Trade. Come The Storm. was mostly written over the winter of 2003/2004 on Martha's Vineyard. Eileen was renting an atmospheric house once owned by the artist Thomas Hart Benton who numbered Jackson Pollock among his students. The songs reflect the intensity of that experience. They were subsequently recorded at the famous Long View Farm studios in Massachusetts, used by the Rolling Stones, Aerosmith and Stevie Wonder among many others. Banana. 2005.
and gregorian in style (I love them!). They move on to cover spiritual
basics of the 1800s. If you like classical music, perfect harmonies
and spiritual americina, then you will be blessed!
These four ladies produce a unique and remarkable sound. I can't recommend it enough.
Also, fans can extend this CD by including Eveyln's 3 hits from her 1988 EMI/Manhattan debut 'Flirt'...1. 'Flirt', 2. 'Hold On To What You Got', and the awesome ballad, 3. 'Kisses Don't Lie'. There's enough space on a CD to include these 3 songs, but the 'Flirt' CD is becoming harder to locate as the years go by.
Peace, SD
(fr.'Chaka's World')
If you are into Smooth Jazz, Quiet Storm or just beautiful music, pick up this masterpiece! Believe me, you won't regret it
I own most of Grover's work with the exception of Mister Magic.
Inner City Blues is my favorite though, it rivals the original.
This record, The Best Is Yet To Come isn't properly titled.
"It just doesn't get any better than this," is what I said after I listened to the title track. Patti Labelle and Grover sound heavenly. This is definitly one of the jewels Grover left us.
It made me realize how great he was and how much he'll be missed.
The album sleeve is a fantastic photo of him worthy to be framed.
All the soloists have the bel canto style nailed down. The Figaro of this recording is Robert Merrill and his voice is caught in all of it's prime time state. Simply gorgeous golden tone here that is richly masculine with an easy upper register. The rest of the cast, the conducting and playing of the Met Opera orchestra and chorus are perfection.
Although there is some minor master tape related problems, and they are really minor, RCA's Living Stereo process is remarkable. This edition's sonics are an incredible improvement over RCA's original CD release.
El reparto se acerca bastantea la realidad rossiniana de los canones de hoy en dia (lo que debe sorprender, porque en 1956 eran bien diferentes) Como Almaviva tenemos al tenor CESARE VALLETTI, que combina una bella voz con un dominio de la coloratura bastante correcto para la epoca. La Rosina de ROBERTA PETERS (en version soprano ligera) derrocha una cantidad de agudos y sobreagudos con una seguridad y limpieza absolutamente pasmosa: la voz puede gustar o no, pero su dominio del agudo y del registro agudo no se le puede negar.
ROBERT MERRILL es un Figaro diferente, que quiza pueda chocar un poco, porque es el que mas alejado esta de la realidad rossiniana de hoy en dia. FERNANDO CORENA es un Don Bartolo que quiza peca de excesos de comico y GIRGIO TOZZI es un Don Basilio imponente. La lista de secundarios cumple perfectamente con sus cometidos y ERICH LEINSDORF realiza una lectura que, aunque hoy en dia puede resultar poco rossiniana, no deja de ser interesante ante unos cuerpos estables del Metropolitan de Neuva York que, como siempre, responden con calidad.
En definitiva, sin ser un Barbero de primera opcion, es una buena forma de ver cuanto ha evolucionado la historia del canto y de la conduccion rossiniana, disfrutando y sorprendiendose. Una version que, aunque a priori pueda prometer poco, ofrece bastante. Recomendable.
OTOH, the Leinsdorf recording, with a cast of Cesare Valletti, Roberta Peters, Robert Merrill, and Fernando Corena is well-sung, relatively complete, well-recorded, and most of all has a freewheeling sense of fun that I think perfectly captures the charm of this opera.
Roberta Peters was a high, light soprano. Her voice can sound a bit glassy and colorless, but her Rosina is lively, virtuostic, and properly spunky. The only caveat is that like some sopranos she transposes "Una voce poco fa' up to F, while the aria IMO is much more charming in its original key of E. Cesare Valleti's Almaviva is more caressing than dazzling (unlike Juan Diego Florez), but unlike many Almavivas he actually sings the whole part. He does not cut his final aria "Cessa di piu resistere."
Overall, I'd say none of the individual singers on this recording are necessarily the best, but together this is a great ensemble recording, and I highly recommend it as an introduction to the opera. To opera, in fact.
THIS IS PERFECTION!! THIS BORDERS ON DIVINE!! There is simply no point in looking for that all important "most enjoyable piece of opera in the world" BECAUSE THIS IS IT! Its this simple folks, if you like opera, if you like beautiful voices, if you like perfect timing, pitch and recording quality you must get this. This is the DEFINITIVE Barber of Seville. I will let the previous reviews here tell you about the story and the performers. My review is here for just one reason - to let people that are on the fence wondering if they should really get this -YES YOU SHOULD! You absolutely will not be dissappointed - I stake my brothers life on it. :)
End of rant.
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 Rhinegold (Part 1): Wagner: The Rhinegold
-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
A particular stand-out on this recording is the Wotan. His timbre, diction, and delivery perfectly embody the troubled god who tries desperately, and in vain, to keep the world under his control. His angst and wrath are utterly convincing.
Eileen Rose is based in Boston, Massachusetts, USA. She recorded 2 albums for Rough Trade. Come The Storm. was mostly written over the winter of 2003/2004 on Martha's Vineyard. Eileen was renting an atmospheric house once owned by the artist Thomas Hart Benton who numbered Jackson Pollock among his students. The songs reflect the intensity of that experience. They were subsequently recorded at the famous Long View Farm studios in Massachusetts, used by the Rolling Stones, Aerosmith and Stevie Wonder among many others. Banana. 2005.
Come the Storm,Eileen Rose,Banana,Pop,Rock/Pop
Average customer rating: 
|
American Angels
Manufacturer: Harmonia Mundi Fr. ProductGroup: Music Binding: Audio CD  General
| Baroque (c.1600-1750)
| Historical Periods
| Classical
| Styles
| Music
General
| Classical (c.1770-1830)
| Historical Periods
| Classical
| Styles
| Music
Vocal & Song
| Early Music
| Historical Periods
| Classical
| Styles
| Music
| Requiems
Anonymous 4
| ( A )
| Featured Performers, A-Z
| Classical
| Styles
| Music
General
| Classical
| Styles
| Music
General
| Folk
| Styles
| Music
General
| Opera & Vocal
| Styles
| Music
Folk Songs
| Songs & Lieder
| Vocal Non-Opera
| Opera & Vocal
| Styles
| Music
Anonymous
| A to B
| Featured Composers, A-Z
| Opera & Vocal
| Styles
| Music
Classical
| Imports
| Stores
| Music
Similar Items:
ASIN: B0001ADB4Q Release Date: 2004-02-10 |
Tracks:
- Holy Manna
- Abbeville
- Wondrous Love
- Sweet Hour Of Prayer
- Jewett
- Dunlap's Creek
- New Britain
- The Morning Trumpet
- Resignation
- Poland
- Wayfaring Stranger
- Sweet By And By
- Blooming Vale
- Idumea (I)/Idumea (II)
- Sweet Prospect
- Shall We Gather At The River
- Amanda
- Invitation
- Parting Hand
- Angel Band
Amazon.com
This, Anonymous 4's final recording, is a break from their usual "early music" periods and locations; it presents American music, religious in nature, from the 18th and 19th centuries. And it's absolutely beautiful from start to finish. Their normal, exquisite technique and purity here blend to sound the way we imagined the ladies' choir in church meetings in America past might have sounded: sweet, sincere, and with harmonies recognizable yet somehow fresh. Some of the songs begin with the women singing "fa, so la" exercises, which was called "shape note" singing because some places taught singing with notes as shapes--circle, rectangle, diamond, triangle. But it's the music that counts, and there are treasures here. They include two versions of "Amazing Grace," one familiar, one with an unusual melody and a piece called "Blooming Vale" which is as sophisticated as anything on their previous albums. "Shall We Gather at the River" is performed with a clarity and loveliness that makes us forget that it's normally sung as background to movies about the Great Depression. The foursome sometimes sing in rich harmonies and occasionally alone or in pairs or trios. This is glorious Americana and highly recommended. --Robert LevineCustomer Reviews:
spiritual americana.......2007-01-06
and gregorian in style (I love them!). They move on to cover spiritual
basics of the 1800s. If you like classical music, perfect harmonies
and spiritual americina, then you will be blessed!
Rich Heritage.......2006-10-11
Superb .......2006-08-07
Can't walk away from it!.......2006-08-07
These four ladies produce a unique and remarkable sound. I can't recommend it enough.
Mana from Heaven.......2006-05-08
Average customer rating: 
|
Love Come Down: The Best of Evelyn "Champagne" King
Evelyn "Champagne" King Manufacturer: RCA ProductGroup: Music Binding: Audio CD Disco
| Dance & DJ
| Styles
| Music
General
| Dance & DJ
| Styles
| Music
General
| Dance Pop
| Dance & DJ
| Styles
| Music
General
| R&B
| Styles
| Music
General
| Soul
| R&B
| Styles
| Music
Quiet Storm
| R&B
| Styles
| Music
CDs $7 - $10
| Disco
| Dance & DJ
| Today's Deals in Music
| Formats
| Music
All Bargain Titles
| Disco
| Dance & DJ
| Today's Deals in Music
| Formats
| Music
All Bargain Titles
| Dance Pop
| Dance & DJ
| Today's Deals in Music
| Formats
| Music
CDs $7 - $10
| R&B General
| R&B
| Today's Deals in Music
| Formats
| Music
All Bargain Titles
| R&B General
| R&B
| Today's Deals in Music
| Formats
| Music
CDs $7 - $10
| Soul General
| Soul
| R&B
| Today's Deals in Music
| Formats
| Music
All Bargain Titles
| Soul General
| Soul
| R&B
| Today's Deals in Music
| Formats
| Music
4-for-3 Dance & DJ
| 4-for-3 Music
| Stores
| Music
4-for-3 Pop
| 4-for-3 Music
| Stores
| Music
4-for-3 R&B
| 4-for-3 Music
| Stores
| Music
4-for-3 All Music
| 4-for-3 Music
| Stores
| Music
Similar Items:
ASIN: B000002WHD Release Date: 1993-03-23 |
Tracks:
- Shame
- I Don't Know If It's Right
- Music Box
- I'm In Love
- Don't Hide Our Love
- Love Come Down
- Betcha She Don't Love You
- Get Loose
- Action
- Shake Down
- Teenager
- Just For The Night
- Give Me One Reason
- High Horse
- Your Personal Touch
Customer Reviews:
Nice Collection Of Her RCA Years.......2006-04-18
Also, fans can extend this CD by including Eveyln's 3 hits from her 1988 EMI/Manhattan debut 'Flirt'...1. 'Flirt', 2. 'Hold On To What You Got', and the awesome ballad, 3. 'Kisses Don't Lie'. There's enough space on a CD to include these 3 songs, but the 'Flirt' CD is becoming harder to locate as the years go by.
Peace, SD
(fr.'Chaka's World')
on time and I'm fine.......2006-03-01
She picked up where Donna Summer left off.......2003-12-20
EVELYN KING=Great Dance Music!.......2003-04-20
before britney there was evelyn.......2002-12-05
Average customer rating:
|
Come Morning
Grover Washington Jr. Manufacturer: Elektra / Wea ProductGroup: Music Binding: Audio CD General
| Jazz
| Styles
| Music
Smooth Jazz
| Jazz
| Styles
| Music
Soul-Jazz & Boogaloo
| Jazz
| Styles
| Music
General
| R&B
| Styles
| Music
General
| Soul
| R&B
| Styles
| Music
Quiet Storm
| R&B
| Styles
| Music
CDs $7 - $10
| Jazz General
| Jazz
| Today's Deals in Music
| Formats
| Music
All Bargain Titles
| Jazz General
| Jazz
| Today's Deals in Music
| Formats
| Music
CDs $7 - $10
| R&B General
| R&B
| Today's Deals in Music
| Formats
| Music
All Bargain Titles
| R&B General
| R&B
| Today's Deals in Music
| Formats
| Music
4-for-3 Jazz
| 4-for-3 Music
| Stores
| Music
4-for-3 Pop
| 4-for-3 Music
| Stores
| Music
4-for-3 R&B
| 4-for-3 Music
| Stores
| Music
4-for-3 All Music
| 4-for-3 Music
| Stores
| Music
Similar Items:
ASIN: B000002GXC Release Date: 1990-10-25 |
Tracks:
- East River Drive
- Come Morning
- Be Mine (Tonight)
- Reaching Out
- Jamming
- Little Black Samba
- Making Love To You
- I'm All Yours
Customer Reviews:
My feedback.......2006-11-10
Smooth Jazz Heaven.......2005-07-16
If you are into Smooth Jazz, Quiet Storm or just beautiful music, pick up this masterpiece! Believe me, you won't regret it
More Wonderful Washington.......2005-02-01
Great Cd!!!.......2002-07-03
Great Cd!!!.......2002-07-03
Average customer rating:
|
The Best Is Yet to Come
Jr. Grover Washington Manufacturer: Elektra / Wea ProductGroup: Music Binding: Audio CD General
| Jazz
| Styles
| Music
Smooth Jazz
| Jazz
| Styles
| Music
Soul-Jazz & Boogaloo
| Jazz
| Styles
| Music
General
| R&B
| Styles
| Music
General
| Soul
| R&B
| Styles
| Music
Quiet Storm
| R&B
| Styles
| Music
CDs $7 - $10
| Jazz General
| Jazz
| Today's Deals in Music
| Formats
| Music
All Bargain Titles
| Jazz General
| Jazz
| Today's Deals in Music
| Formats
| Music
CDs $7 - $10
| R&B General
| R&B
| Today's Deals in Music
| Formats
| Music
All Bargain Titles
| R&B General
| R&B
| Today's Deals in Music
| Formats
| Music
4-for-3 Jazz
| 4-for-3 Music
| Stores
| Music
4-for-3 Pop
| 4-for-3 Music
| Stores
| Music
4-for-3 R&B
| 4-for-3 Music
| Stores
| Music
4-for-3 All Music
| 4-for-3 Music
| Stores
| Music
Similar Items:
ASIN: B000002H1E Release Date: 1990-10-25 |
Tracks:
- Can You Dig It
- The Best Is Yet To Come
- More Than Meets The Eye
- Things Are Getting Better
- Mixty Motions
- Brazilian Memories
- I'll Be With You
- Cassie's Theme
Customer Reviews:
Grover Grooves .......2005-05-12
I own most of Grover's work with the exception of Mister Magic.
Inner City Blues is my favorite though, it rivals the original.
This record, The Best Is Yet To Come isn't properly titled.
"It just doesn't get any better than this," is what I said after I listened to the title track. Patti Labelle and Grover sound heavenly. This is definitly one of the jewels Grover left us.
It made me realize how great he was and how much he'll be missed.
The album sleeve is a fantastic photo of him worthy to be framed.
Absolutely the Greatest!!!.......2004-02-28
Anyway, enjoy the album...and don't hesitate to get it if you haven't already!!! He's a musical genius and you must ...ABSOLUTELY MUST experience him!!!
Beetle aka Tonya :-)
Love IT.......2002-04-27
Long ago and far away.......2001-06-30
Fantastic art cover (so does Come Morning), smooth sounds and most importantly the final tune called "Cassie & Co". As a soundtrack for a tv series that I never saw, it captured what I felt about the longing of home. It was sad, chilly but also comforting that somebody out there knew exactly what I felt. The experience of smelling the autumn air, and the taste of September wind just brought back all those memories.
Most importantly out of nowhere, I dug this album yesterday and as I was laying on my bed, eyes closed, drifted in pure bliss. I thought about those school breaks and how often I played this album. I realize how beautiful it is. I also realize how I miss those days.
It's too bad when I looked up this album on Amazon, nobody wrote a review so I shared my feelings about this album. Sometimes good things will come for those who wait, because deep inside we always know that "The Best Is Yet To Come"!
Average customer rating:
|
Rossini - The Barber of Seville / Roberta Peters · Leinsdorf
Gioachino Rossini , Erich Leinsdorf , Roberta Peters , Robert Merrill , Fernando Corena , Margaret Roggero , Carlo Tomanelli , and Giorgio Tozzi Manufacturer: RCA ProductGroup: Music Binding: Audio CD General
| Opera & Vocal
| Styles
| Music
Romantic (c.1820-1910)
| Historical Periods
| Opera & Vocal
| Styles
| Music
Italian
| Languages
| Opera & Vocal
| Styles
| Music
Operettas
| Opera & Vocal
| Styles
| Music
General
| Classical
| Styles
| Music
All Works by Rossini
| Rossini, Gioacchino
| ( R )
| Featured Composers, A-Z
| Classical
| Styles
| Music
Classical Music
| The Sony BMG Masterworks Store
| Amazon.com Label Stores
| Stores
| Music
Opera & Vocal
| The Sony BMG Masterworks Store
| Amazon.com Label Stores
| Stores
| Music
Similar Items:
ASIN: B000003G4F Release Date: 1996-09-17 |
Tracks:
- The Barber Of Seville: Overture
- The Barber Of Seville: Act I: Scene 1: Piano, pianissimo (Count)
- The Barber Of Seville: Act I: Scene 1: Ecco ridente il cielo (Count)
- The Barber Of Seville: Act I: Scene 1: Ehi, Fiorello! - Mio signore! (Count)
- The Barber Of Seville: Act I: Scene 1: Mille grazie, mio signore (Count)
- The Barber Of Seville: Act I: Scene 1: Gente indiscreta! (Count, Figaro)
- The Barber Of Seville: Act I: Scene 1: La ran le lera; Largo al factotum (Figaro)
- The Barber Of Seville: Act I: Scene 1: Ah, ah! che bella vita! (Count, Figaro)
- The Barber Of Seville: Act I: Scene 1: Non e venuto ancora (Rosina, Count, Bartolo, Figaro)
- The Barber Of Seville: Act I: Scene 1: Se il nome saper voi bramate (Rosina, Count, Figaro)
- The Barber Of Seville: Act I: Scene 1: Oh, cielo! (Count, Figaro)
- The Barber Of Seville: Act I: Scene 1: All'idea di quel metallo (Count, Figaro)
Tracks:
- The Barber Of Seville: Act I: Scene 1: Evviva il mio padrone - Rossini
- The Barber Of Seville: Act I: Scene: 2: Una voce poco fa (Rosina) - Rossini
- The Barber Of Seville: Act I: Scene: 2: Si, si, la vincero! (Rosina, Figaro, Bartolo) - Rossini
- The Barber Of Seville: Act I: Scene: 2: La calunnia e un venticello (Basilio) - Rossini
- The Barber Of Seville: Act I: Scene: 2: Ah, che ne dite? (Basilio, Bartolo, Figaro, Rosina) - Rossini
- The Barber Of Seville: Act I: Scene: 2: Dunque io son... tu non m'inganni? (Rosina, Figaro) - Rossini
- The Barber Of Seville: Act I: Scene: 2: Ora mi sento meglio (Rosina, Bartolo) - Rossini
- The Barber Of Seville: Act I: Scene: 2: A un dottor della mia sorte (Bartolo) - Rossini
- The Barber Of Seville: Act I: Scene: 2: Brontola quanto vuoi (Rosina, Count) - Rossini
- The Barber Of Seville: Act I: Scene: 2: Ehi, di casa... buona gente (Count, Bartolo, Rosina, Basilio) - Rossini
- The Barber Of Seville: Act I: Scene: 2: Che cosa accadde, signori miei (Figaro, Bartolo, Count, Basilio) - Rossini
- The Barber Of Seville: Act I: Scene: 2: Fermi tutti, nessun si mova (Bartolo, Figaro, Basilio, Count, Rosina) - Rossini
- The Barber Of Seville: Act I: Scene: 2: Mi par d'esser con la testa (Rosina, Count, Basilio, Bartolo, Figaro) - Rossini
Tracks:
- The Barber Of Seville: Act II: Ma vedi il mio destino! (Bartolo)
- The Barber Of Seville: Act II: Pace e gioia sia con voi (Count, Bartolo)
- The Barber Of Seville: Act II: Insomma, mio signore (Bartolo, Count, Rosina)
- The Barber Of Seville: Act II: 'Contro un cor che accende amore...' (Rosina, Count)
- The Barber Of Seville: Act II: Bella voce! (Count, Rosina, Bartolo)
- The Barber Of Seville: Act II: 'Quando mi sei vicina...' (Count, Bartolo)
- The Barber Of Seville: Act II: Bravo,signor barbiere,ma bravo! (Figaro, Bartolo, Rosina, Count)
- The Barber Of Seville: Act II: Don Basilio! Cosa veggo! (Rosina, Count, Figaro, Bartolo, Basilio)
- The Barber Of Seville: Act II: Buona sera, mio signore (Count, Figaro, Basilio, Rosina, Figaro, Bartolo)
- The Barber Of Seville: Act II: Orsu, signor don Bartolo (Figaro, Bartolo, Count, Rosina)
- The Barber Of Seville: Act II: Ah! Disgraziato me! ma come? (Bartolo,
- The Barber Of Seville: Act II: Il vechiotto cerca moglie
- The Barber Of Seville: Act II: Dunque voi don Alonso non conoscete affatto? (Bartolo, Basilio, Rosina)
- The Barber Of Seville: Act II: Temporale - Storm
- The Barber Of Seville: Act II: Alfine eccoci qua (Figaro, Count, Rosina)
- The Barber Of Seville: Act II: Ah! qual colpo inaspettato! (Rosina, Figaro, Count)
- The Barber Of Seville: Act II: Ah,disgraziati noi! come si fa? (Figaro, Count, Rosina, Basilio)
- The Barber Of Seville: Act II: Il conte! ah che mai sento! (Bartolo, Count)
- The Barber Of Seville: Act II: Cessa di piu resistere (Count)
- The Barber Of Seville: Act II: Insomma, io ho tutti i torti! (Bartolo, Figaro, Basilio, Rosina)
- The Barber Of Seville: Act II: Di si felice innesto (Figaro, Bartolo, Basilio, Rosina, Count)
Customer Reviews:
Perfection in Seville.......2007-05-14
All the soloists have the bel canto style nailed down. The Figaro of this recording is Robert Merrill and his voice is caught in all of it's prime time state. Simply gorgeous golden tone here that is richly masculine with an easy upper register. The rest of the cast, the conducting and playing of the Met Opera orchestra and chorus are perfection.
Although there is some minor master tape related problems, and they are really minor, RCA's Living Stereo process is remarkable. This edition's sonics are an incredible improvement over RCA's original CD release.
Un 'Barbero' sorprendente.......2004-10-31
El reparto se acerca bastantea la realidad rossiniana de los canones de hoy en dia (lo que debe sorprender, porque en 1956 eran bien diferentes) Como Almaviva tenemos al tenor CESARE VALLETTI, que combina una bella voz con un dominio de la coloratura bastante correcto para la epoca. La Rosina de ROBERTA PETERS (en version soprano ligera) derrocha una cantidad de agudos y sobreagudos con una seguridad y limpieza absolutamente pasmosa: la voz puede gustar o no, pero su dominio del agudo y del registro agudo no se le puede negar.
ROBERT MERRILL es un Figaro diferente, que quiza pueda chocar un poco, porque es el que mas alejado esta de la realidad rossiniana de hoy en dia. FERNANDO CORENA es un Don Bartolo que quiza peca de excesos de comico y GIRGIO TOZZI es un Don Basilio imponente. La lista de secundarios cumple perfectamente con sus cometidos y ERICH LEINSDORF realiza una lectura que, aunque hoy en dia puede resultar poco rossiniana, no deja de ser interesante ante unos cuerpos estables del Metropolitan de Neuva York que, como siempre, responden con calidad.
En definitiva, sin ser un Barbero de primera opcion, es una buena forma de ver cuanto ha evolucionado la historia del canto y de la conduccion rossiniana, disfrutando y sorprendiendose. Una version que, aunque a priori pueda prometer poco, ofrece bastante. Recomendable.
Strange to say, but probably one of the best Barbers.......2004-10-27
OTOH, the Leinsdorf recording, with a cast of Cesare Valletti, Roberta Peters, Robert Merrill, and Fernando Corena is well-sung, relatively complete, well-recorded, and most of all has a freewheeling sense of fun that I think perfectly captures the charm of this opera.
Roberta Peters was a high, light soprano. Her voice can sound a bit glassy and colorless, but her Rosina is lively, virtuostic, and properly spunky. The only caveat is that like some sopranos she transposes "Una voce poco fa' up to F, while the aria IMO is much more charming in its original key of E. Cesare Valleti's Almaviva is more caressing than dazzling (unlike Juan Diego Florez), but unlike many Almavivas he actually sings the whole part. He does not cut his final aria "Cessa di piu resistere."
Overall, I'd say none of the individual singers on this recording are necessarily the best, but together this is a great ensemble recording, and I highly recommend it as an introduction to the opera. To opera, in fact.
Pure Bliss!!! YOU MUST GET THIS!!.......2003-07-29
THIS IS PERFECTION!! THIS BORDERS ON DIVINE!! There is simply no point in looking for that all important "most enjoyable piece of opera in the world" BECAUSE THIS IS IT! Its this simple folks, if you like opera, if you like beautiful voices, if you like perfect timing, pitch and recording quality you must get this. This is the DEFINITIVE Barber of Seville. I will let the previous reviews here tell you about the story and the performers. My review is here for just one reason - to let people that are on the fence wondering if they should really get this -YES YOU SHOULD! You absolutely will not be dissappointed - I stake my brothers life on it. :)
End of rant.
Hey! This is one of the BEST!.......2002-07-18
Then there are the not so minor roles of Bartolo and Basilio. Corena had a powerful, rich voice used here with a sense of character that's almost impossible to surpass. Has anyone ever had a better voice for Bartolo? Not in my memory! Giorgio Tozzi's Basilio is one of the glories of this performance; a rich, colorful voice with great beauty of tone... all at the service of one of opera's funniest `villains'. Leinsdorf does a fine job capturing the ambience of Barbiere, so I find it hard to go wrong with this recording...
So now it's time for a little rant and rave... One of the reviewers chided Corena and Tozzi for going over the top, speaking of them like dogs who were caught digging holes in the neighbors' gardens. (What must he think of Capecchi? I shudder to think of it!) The Barber of Seville is not a dusty old museum piece, it's a comedy about very human people going about their businesses with wacky results. This opera somewhat resembles a train wreck in the making, with boxcars full to the brim with maniac clowns. I love it when the singers get into the meat of their characters. Combining it with glorious voices and breathtaking singing only adds to the joy. Corena's performance of Doctor Bartolo IS over the top- which is what is needed- Bartolo is a very over-the-top man. Three cheers to Fernando Corena!
Average customer rating: 
|
Come the Storm
Eileen Rose Manufacturer: Wildflower ProductGroup: Music Binding: Audio CD General
| Alternative Rock
| Styles
| Music
General
| Rock
| Styles
| Music
Pop Rock
| Pop
| Styles
| Music
Singer-Songwriters
| Contemporary Folk
| Folk
| Styles
| Music
ASIN: B000OYFPDE Release Date: 2007-06-05 |
Tracks:
- Last New Year's Eve
- Never Be the Same
- Stagger Home
- Ocean Of Fire
- Nothing Buy Blue
- Saffron and Ginger
- Staying In
- Compass
- White Wave
- Time To Go
Average customer rating:
|
Storm in the Land: Music of 26th North Carolina
American Brass Quintet Brass Band Manufacturer: New World Records ProductGroup: Music Binding: Audio CD Marches
| Miscellaneous
| Styles
| Music
General
| Classical
| Styles
| Music
Similar Items:
ASIN: B0000649O1 Release Date: 2002-04-30 |
Tracks:
- Dixie/Bonnie Blue Flag
- Southern Victorial March
- Here's Your Mule
- Canary Bird Waltz
- Slow March From 'Belisario'
- Trovatore Quickstep
- Rock Me To Sleep, Mother
- 26th Regiment Quickstep
- Bettraite Polka
- Serenade
- Melange Waltz
- Col. Vance's March
- Dead March
- India Rubber Overcoat Medley: India Rubber Overcoat/Old Slave/Long, Long Ago
- Maryland! My Maryland!/Old North State
- Col. Hoke's March
- Sleepers Wake
- Covenant
- Die Ehre Gottes
- Rifle Regiment Quickstep
- Waltz
- Come Where My Love Lies Dreaming/Annie Of The Vale
- Lorena/Bright Smiles
Customer Reviews:
A 'must-have' for afficiandos of 19th Century Brass Bands.......2003-05-06
Civil war Music.......2002-07-01
Average customer rating:
|
Baby Come to Me and Other Hits
Patti Austin Manufacturer: Rhino Flashback ProductGroup: Music Binding: Audio CD Contemporary Blues
| Blues
| Styles
| Music
General
| Jazz
| Styles
| Music
General
| R&B
| Styles
| Music
General
| Soul
| R&B
| Styles
| Music
Quiet Storm
| R&B
| Styles
| Music
General
| Adult Contemporary
| Pop
| Styles
| Music
CDs Under $7
| Soul General
| Soul
| R&B
| Today's Deals in Music
| Formats
| Music
All Bargain Titles
| Soul General
| Soul
| R&B
| Today's Deals in Music
| Formats
| Music
Rhino Records
| Amazon.com Label Stores
| Stores
| Music
ASIN: B000251Y9E Release Date: 2005-06-06 |
Tracks:
- Baby Come to Me - Patti Austin, James Ingram
- It's Gonna Be Special
- Shoot the Moon
- Do You Love Me?
- I Can Cook Too
- Genie
- Stop, Look, Listen
- Rhythm of the Street
- Every Home Should Have One
- Heat of Heat
Average customer rating:
|
Wagner: The Valkyrie
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:
ASIN: B00004YU6Z Release Date: 2000-11-28 |
Tracks:
- Act I: Prld - English Nat Opr Orch/Reginald Goodall
- Act I, Scene 1: The Storm Drove Me Here - Alberto Remedios/Margaret Curphey
- Act I, Scene 1: This House And This Wife - Margaret Curphey/Alberto Remedios
- Act I, Scene 1: Evil Fortune's Never Far From Me - Alberto Remedios/Margaret Curphey
- Act I, Scene 2: There He Lay, Feeble And Faint - Margaret Curphey/Clifford Grant/Alberto Remedios
- Act I, Scene 2: Through Field And Forest - Alberto Remedios/Clifford Grant/Margaret Curphey
- Act I, Scene 2: Friedmund No One Could Call Me - Alberto Remedios/Clifford Grant/Margaret Curphey
- Act I, Scene 2: The Neidings Raided Again - Alberto Remedios
- Act I, Scene 2: So The Norn Who Dealt You This Fate - Clifford Grant/Margaret Curphey/Alberto Remedios
- Act I, Scene 2: I Know A Troublesome Race - Clifford Grant
- Act I, Scene 3: A Sword Was Pledged By My Father - Alberto Remedios
- Act I, Scene 3: Are You Awake? - Margaret Curphey/Alberto Remedios
- Act I, Scene 3: My Husband's Kinsmen - Margaret Curphey
- Act I, Scene 3: Yes, Loveliest Bride - Alberto Remedios/Margaret Curphey
- Act I, Scene 3: Winter Storms Have Vanished (Siegmund's Spring Song) - Alberto Remedios
- Act I, Scene 3: You Are The Spring - Margaret Curphey
- Act I, Scene 3: Oh Sweetest Enchantment - Alberto Remedios/Margaret Curphey
- Act I, Scene 3: The Stream Has Shown My Reflected Face - Margaret Curphey/Alberto Remedios
- Act I, Scene 3: Siegmund Call Me, And Siegmund Am I! - Alberto Remedios
- Act I, Scene 3: Siegmund, The Walsung, Here You See! - Alberto Remedios/Margaret Curphey
Tracks:
- Act II, Scene 1: Go Bridle Your Horse, Warrior Maid! - Norman Bailey
- Act II, Scene 1: Hoyotoho! Hoyotoho! (Brunnhilde's Battle Cry) - Rita Hunter
- Act II, Scene 1: The Usual Storm, The Usual Strife - Norman Bailey/Ann Howard
- Act II, Scene 1: Pretend That You Don't Understand! - Ann Howard/Norman Bailey
- Act II, Scene 1: Now It's Come To Pass! - Norman Bailey
- Act II, Scene 1: So This Is The End Of The Gods And Their Glory - Ann Howard
- Act II, Scene 1: You Never Learn What I Would Teach You - Norman Bailey/Ann Howard
- Act II, Scene 1: What Must I Do? - Norman Bailey/Ann Howard
- Act II, Scene 1: Hiaha! Hiaha! Hoyotoho! - Rita Hunter/Ann Howard/Norman Bailey
- Act II, Scene 2: Fricka Has Won The Fight - Rita Hunter/Norman Bailey
- Act II, Scene 2: When Youth's Delightful Pleasures Had Waned - Norman Bailey
- Act II, Scene 2: She Refused To Reveal More About It - Norman Bailey/Rita Hunter
- Act II, Scene 2: There's More To Tell - Norman Bailey
- Act II, Scene 2: Yet One Can Accomplish What I May Not - Norman Bailey
- Act II, Scene 2: But The Walsung, Siegmund - Rita Hunter/Norman Bailey
- Act II, Scene 2: Then Siegmund Must Fall In His Fight? - Rita Hunter/Norman Bailey
- Act II, Scene 2: I Give You My Blessing, Nibelung Son! - Norman Bailey/Rita Hunter
- Act II, Scene 2: No, Have Mercy - Rita Hunter/Norman Bailey
Tracks:
- Act II, Scene 2: So I Obey His Command - Rita Hunter
- Act II, Scene 3: Rest Here For A While; Stay By My Side! - Alberto Remedios/Margaret Curphey
- Act II, Scene 3: Away! Away! - Margaret Curphey/Alberto Remedios
- Act II, Scene 3: Where Are You, Siegmund? - Margaret Curphey/Alberto Remedios
- Act II, Scene 4: Siegmund! Look At Me! (Announcement Of Death) - Rita Hunter/Alberto Remedios
- Act II, Scene 4: And If I Come - Alberto Remedios/Rita Hunter
- Act II, Scene 4: Then Greet For Me Walhall - Alberto Remedios/Rita Hunter
- Act II, Scene 4: Woe! Woe! Sister And Bride - Alberto Remedios/Rita Hunter
- Act II, Scene 4: Two Lives Now Lie In Your Power - Alberto Remedios/Rita Hunter
- Act II, Scene 5: Charms Of Sleep Are Sent To Still - Alberto Remedios
- Act II, Scene 5: I Hear Your Call - Alberto Remedios/Margaret Curphey
- Act II, Scene 5: Wehwalt! Wehwalt! - Clifford Grant/Alberto Remedios/Margaret Curphey/Rita Hunter/Norman Bailey
Tracks:
- Act III, Scene 1: Hoyotoho! Hoyotoho! (Ride Of The Valkyries) - Katie Clark/Anne Evans/Elizabeth Connell/Helen Attfield/Shelagh Squires/Anne Conoley
- Act III, Scene 1: Shield Me And Help - Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne Evans/Sarah Walker...
- Act III, Scene 1: Hear While I Tell You - Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne Evans/Sarah Walker...
- Act III, Scene 1: Pray Suffer No Sorrow For Me - Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne...
- Act III, Scene 1: Fly Him Swiftly, Away To The East! - Rita Hunter
- Act III, Scene 1: O Radiant Wonder! (Parting Salute) - Margaret Curphey
- Act III, Scene 1: Stay, Brunnhild! - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
- Act III, Scene 2: Where Is Brunnhild? - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
- Act III, Scene 2: Weak-Spirited, Womanish Brood! - Norman Bailey
- Act III, Scene 2: Here I Am, Father - Rita Hunter/Norman Bailey
- Act III, Scene 2: No More Will You Ride From Walhall - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
- Act III, Scene 2: Did You Not Hear What I Decreed? - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
- Act III, Scene 3: Was It So Shameful - Rita Hunter/Norman Bailey
- Act III, Scene 3: I Know So Little - Rita Hunter/Norman Bailey
- Act III, Scene 3: You, Who This Love Into My Heart Revealed - Rita Hunter/Norman Bailey
- Act III, Scene 3: You Indulged Your Love - Norman Bailey
- Act III, Scene 3: Unworthy Of You This Foolish Maid - Rita Hunter/Norman Bailey
- Act III, Scene 3: You Fathered A Glorious Race - Rita Hunter/Norman Bailey
- Act III, Scene 3: In Long, Deep Sleep - Norman Bailey/Rita Hunter
- Act III, Scene 3: Farewell, My Valiant, Glorious Child! (Wotan's Farewell) - Norman Bailey
- Act III, Scene 3: These Eyes So Warm And So Bright - Norman Bailey
- Act III, Scene 3: Loge, Hear! Come At My Call! - Norman Bailey
- Act III, Scene 3: Magic Fire Music - Norman Bailey
Customer Reviews:
"The death-doomed alone are destined to look on me.".......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 Rhinegold (Part 1): Wagner: The Rhinegold
-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
Breathtaking, powerful, accessible, not just an alternative.......2005-05-03
Absolutely Breathtaking!.......2002-09-13
During the course of my research on 'The Goodall Ring' most of the praised seemed to heighten around 'Siegfried,' which is my absolute favorite of the cycle. That also helped to seal the deal. As the critics said, 'Siegfried' under Goodall is excellent, but not as monumental as Solti's reading, which IMHO is the greatest recording of 'Siegfried.'
The set that stands out, to me, in 'The Goodall Ring' is this recording; The Valkyrie. It is absolutely breathtaking. Not only is it my favorite of this set, it is my favorite Valkyrie recording period (I am very familiar with Boehm's, Solti's, Karajan's, Furthwanglers, Levines, and others). Alberto Remedios (Siegmund here and Siegfried in the last two operas) is truly magnificant. It is the best Siegmund I have heard on disc (and his Siegfried rivals Windgassen). Coupled with Margaret Curphey (Sieglinde), you get the most beautiful and moving duo I have heard on record. The duet in Act I is simply glorious. You also get the bonus of Norman Bailey's triumphant Wotan (and Wanderer too). He has such command and prescene. He sounds like a God. Throw in Rita Hunter, who holds her own as Brunnhilde, Goodall's miraculous conducting, and excellent playing by the orchestra and it all adds up to a stunning recording.
I can only say that in a way it's a shame this set is in English. Were it not, I believe Goodall's 'Ring' would be one of the most talked about, popular, and sought after complete recordings of the cycle. I can only say that I am so happy that I finally opened up to opera recorded in a different language than written.
I have fallen completely in love with Goodall's entire cycle. And, I have fallen in love with 'The Ring' all over again.
A powerful reading of the most moving opera in the Ring........2001-08-30
A particular stand-out on this recording is the Wotan. His timbre, diction, and delivery perfectly embody the troubled god who tries desperately, and in vain, to keep the world under his control. His angst and wrath are utterly convincing.
The power of Wagner's music drama is now fully accessible.......2001-01-30
Goodall's sense of music drama is lush, and takes some getting used to after the crash-and-burn Solti set, but after a time or two it seems just right. Goodall is not always slower than the rest, either; for example, the famous Ride of the Valkyries that begins Act III is quicker than Solti's surprisingly slow and heavy account. It is the most exciting that I have heard--and I have heard quite a few--but it is not so fast that the power is lost in favor of urgency.
This is not an urgent Die Walkure, and it is all the better for it. Goodall takes the time to actually tell the story, and is sensitive to the drama's needs over what could be called convention. For example, Wotan's Farewell doesn't thunder out after Brunnhilde's final declamation, like in so many recordings; rather, Goodall's interpretation is more dreamy, mysterious, and appropriately trance-like, in keeping with the action on stage.
I own the complete Solti Ring, but I must say I will be the first in line to get each new installment of this remarakable Ring as soon they hit the shelves. If you are new to Wagner, and are willing to make the plunge into a complete Ring, then start with this one and see if you want to continue. This recording is definitely one of the great Rings, and the superb translation will open up the work in ways that following the libretto just won't. I promise that you won't be able to put this one away easily. Get it!
|
Average customer rating:
|
Tribute to Peter Maag
Mozart , Beethoven , Schumann , Mendelssohn , and Maag Manufacturer: Arts Music ProductGroup: Music Binding: Audio CD All Works by Wolfgang Amadeus Mozart
| Mozart, Wolfgang Amadeus
| ( M )
| Featured Composers, A-Z
| Classical
| Styles
| Music
General
| Symphonies
| Classical
| Styles
| Music
General
| Classical
| Styles
| Music
ASIN: B00007KMRQ Release Date: 2004-02-24 |
Rock Music:
- Covered
- Date With the Devil [Import]
- Echelons
- Escape from Rubbish Island [Import]
- Font L'Enfer
- God Doesn't Care [Clean] [Enhanced]
- Good Rockin' Tonight: 25 Essential Rock & Rhythm Classics
- Go-Swami-Go
- Grinding Stone [Import]
- Guilty [CD-single] [Import]
