Fairwell Fairbanks [Import]

1. Concrete and Clay

2. Blue Street

3. Uptown, Uptempo Woman (And the Downtown Downbeat Guy)

4. Highway Affair

5. Farewell Fairbanks

6. You

7. Let the Sailors Dance

8. Fresh Out of Love

9. Bring the Baby in With the Bacon

10. Weekend in New England

Fairwell Fairbanks,Randy Edelman,Import [Generic],Pop,Rock,Rock/Pop,Soft Rock

Average customer rating: Great party album and amazing live band! Don't think Jane's Addiction! begining of something This is a fun album.....and Nuno plays on it! Party on a commercial space flight

Ultra Payloaded Perry Farrell's Satellite Party Manufacturer: Sony ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music General | Pop | Styles | Music Pop Rock | Pop | Styles | Music General | Rock | Styles | Music Similar Items: Icky Thump Zeitgeist Libertad Carry On Year Zero ASIN: B000P46Q22 Release Date: 2007-05-29

Tracks:

1. Wish Upon A Dogstar
2. Only Love, Let's Celebrate
3. Hard Life Easy
4. Kinky
5. The Solutionists
6. Awesome
7. Mr. Sunshine
8. Insanity Rains
9. Milky Ave.
10. Ultra Payloaded
11. Woman In The Window

Amazon.com

His band Jane's Addiction helped grease the alternative-rock skids as the '80s hit the '90s, and Perry Farrell--pushing 50--now aims for a new decade and another century. The ethereal artist's revelry of contributors to his latest project includes one-named artists Flea and Fergie, Peter Hook (ex-New Order), and a creepy posthumous appearance by Jim Morrison. That's right: leave it to Farrell, creator of rock festival Lollapalooza and some of his genre's most impulsive music, to dust off the Lizard King, whose healthy vocal slinks and slides beneath the baiting, rhythmic lyric "Just try and stop us/We're going to love" (complete with a Ray Manzarek-like organ riff at the bridge). The novelty of "Woman in the Window" will undoubtedly generate the most attention. But Farrell's Satellite Party leaves plenty more on the table, channeling the punk-and-metal command of Jane ("Kinky," "Insanity Rains") with some of the pop sparkle of his Porno for Pyros ("Hard Life Easy," "The Solutionists"), while tossing in a couple of choice covers to boot: Rare Earth's "Just Wanna Celebrate" and the Bee Gees' "Lonely Days," recast as "Mr. Sunshine." --Scott Holter

Customer Reviews:

Great party album and amazing live band!.......2007-07-17

wow. I wasn't too exposed to Jane's addiction or Nuno's stuff...so my fairly unbias opinion is that this is a really good party album!

The tunes are mostly groovy and definitely grow on you. Admittedly, the thought of Jim Morrison's voice on a song sounded way weird to me, but I love that song! Ton's of other guests too.

SP is a great live act also! I am super excited to see them several times over the next three months as they are on tour with a band (that I probably like even more :-X) called MINK. Mink is another electric live band that really is great party music, but with a little more rock edge than SP. Two great bands touring for three months, do yourself a favor and see them (Mink's self titled debut comes out late August, don't miss out).

Five stars for satellite party's debut.

Don't think Jane's Addiction!.......2007-07-10

I'll start by saying I'm a huge Perry Farrell fan. I'm into his work with Jane's Addiction the most (I think the live, self-titled album is their greatest work). Satellite Party- Ultra Payloaded is definately upbeat and funky throughout- but I prefer the Perry Farrell that can be upbeat and funky as well as racy, deep and cutting edge. You don't get that side of his art in the lyrics on this album. "Wish Upon A Dog Star" is an obvious hit single attempt- all hooks, no substance. Perry is an incredibly talented writer and it saddens me to say his writing seems to have taken a step back on this album- the lyrics are under-developed and sing-song. Possibly some influence from Nuno (Extreme) may have caused the music on this album to be a lot "lighter" than what fans of Perry's music are really craving. There is some interesting guitar and bass work on the album, but nothing mind-blowing. The album is mediocre to good- better than that local band your sister raves about, not NEAR the calibur of Jane's Addiction or even Porno For Pyros. All that said, I have full faith that I will enjoy the material from this album a heck of a lot more when I see it performed live- Perry's just that great of a performer!

begining of something .......2007-06-20

i hope this marks the begining of a new avenue for perry ...this sound could provide a rich texture much like janes did for all of us years ago . this a good cd more like 3 1/2 stars but not a 3 . not a waste of money . good house party tracks on here as well as some good stuff to add to your playlist . i would recommend it , great summer music....not angry like janes was ...but that fit the time much like this does...

This is a fun album.....and Nuno plays on it!.......2007-06-14

Perry Farrell has created a fun album of funky tunes that make you want to dance. He's supported by a good group of musicians who help him bring the songs to life. Most notable of these musicians is one of the most awesome guitar players the world has ever known - Nuno Bettencourt! Nuno also helped with production duties, clearly helping to give the songs that funky groove he's well known for and adding a few great guitar riffs and solos here and there to spice things up. It's safe to say that this album is not groundbreaking in any way but it certainly offers you some good sounds and fun grooves to help liven up your next party. Favourite songs include the groovy "Wish Upon a Dogstar" and "Celebrate" which has a bit of an Extreme (Nuno's former band) influence to it and the nice mid-album ballad "Awesome". Play it loud and have some fun!

Party on a commercial space flight.......2007-06-13

What would a party be like on a commercial space flight? What would the music sound like? These are the questions Perry Farrell would like you to answer by listening to his Satellite Party. You know when you look at the night sky with all the constellations, and there's one star apart from the rest? That's where Perry claims the party is. Ultra Payloaded collectively contains elements as old as symphony and as modern as electronic programming.





Without Nuno Bettencourt (Extreme) on guitar, the music wouldn't fit the name. Nuno's style is perfect for the Satellite Party name, bringing funky riffs and radiant solos to the space flight table. As expected, Perry Farrell's voice is still unique. Featured appearances on this album which bring a poppy and alternative flavor are John Frusciante (Red Hot Chili Peppers), Flea (Red Hot Chili Peppers), Peter Hook (New Order), and Fergie (Black Eyed Peas). Nearing the end of the album, a nice surprise is "Woman In The Window," with spoken word never before released by the late Jim Morrison.





While Perry Farrell's Satellite Party won't make as big of a splash as Jane's Addiction has, it's more impressive than Porno for Pyros and certainly worth the listen for Farrell fans.

Average customer rating: good memories for me and fun "new" songs for my children memories TV Theme Songs TV themes Deja Vu

TV Land Presents: Favorite TV Theme Songs Cyndi Grecco , and Jones, Jack Manufacturer: Rhino / Wea ProductGroup: Music Binding: Audio CD Movie Soundtracks | Soundtracks | Styles | Music Star Trek | Soundtracks | Styles | Music General | Soundtracks | Styles | Music Rhino Records | Amazon.com Label Stores | Stores | Music Soundtracks | Styles | Blowout Music | Stores | Music All Blowout Music | Blowout Music | Stores | Music More Titles at Least 25% Off | Blowout Music | Stores | Music Purists | Warner Brothers Records | Stores | Music Similar Items: TV Guide: 50 All-Time Favorite TV Themes All-Time Top 100 TV Themes Classic TV Game Show Themes One Hundred Greatest TV Themes Toon Tunes: Funny Bone Favorites ASIN: B00006EXIL Release Date: 2002-08-20

Tracks:

1. I Love Lucy Theme - Wilbur Hatch
2. Dragnet - Ray Anthony
3. The Twilight Zone - Rod Open
4. Bonanza - Al Caiola & His Orchestra
5. The Andy Griffith Theme - Earle Hagen
6. The Ballad Of Jed Clampett - Earl Scruggs
7. The Addams Family (Main Theme) - Vic Mizzy
8. Munsters Theme - Jack Marshall
9. The Ballad Of Gilligan's Isle - Morton Stevens
10. Green Acres - Eddie Albert
11. Jeannie - Hugo Montenegro
12. Batman Theme - Neal Hefti
13. (Theme From) The Monkees - The Monkees
14. Star Trek (Main Title & Closing Theme) - The Royal Philharmonic Orchestra
15. Mannix - Lalo Schifrin
16. Hawaii Five-O - Mort Stevens & His Orchestra
17. Theme From The Brady Bunch - The Brady Bunch
18. Come On Get Happy - The Partridge Family
19. Those Were The Days - Carroll O'Connor
20. And Then There's Maude - Donny Hathaway
21. Good Times - Jim Gilstrap
22. Movin' On Up - Oren Waters
23. The Rockford Files - Mike Post
24. Them From S.W.A.T. - Rhythm Heritage
25. Happy Days - Pratt & McClain
26. Making Our Dreams Come True - Cyndi Grecco
27. Chico And The Man - Jose Feliciano
28. Welcome Back - John Sebastian
29. What's Happening!! - Henry Mancini
30. Barney Miller - Jack Elliott
31. Charlie's Angels - Jack Elliott
32. Love Boat Theme - Jack Jones
33. Angela (Theme From 'Taxi') - Bob James
34. It Takes Diff'rent Strokes - Gloria Loring
35. Theme From Dukes Of Hazzard (Good Ol' Boys) - Waylon
36. Theme From Magnum, P.I. - Mike Post
37. The Theme From Hill Street Blues - Mike Post
38. Theme From Dynasty - Bill Conti
39. Theme From 'Greatest American Hero' (Believe It Or Not) - Joey Scarbury
40. Thank You For Being A Friend - Cynthia Fee

Album Description

TV Land brings you 40 of your favorite evening show theme songs. Highlights include 'Happy Days', 'The Greatest American Hero', 'Dukes Of Hazzard (Good Ol' Boys)', 'Laverne & Shirley', 'I Dream Of Jeanie', 'I Love Lucy', 'Welcome Back, Kotter', 'The Love Boat', 'Hawaii Five-O', 'The Golden Girls' and many, many more. 2002. Rhino.

Customer Reviews:

good memories for me and fun "new" songs for my children.......2007-06-27

We had ordered this for "The Dukes of Hazzard" theme song for our 4yr old and our whole family has fallen in love with the cd. It makes me want to share some of the old fun and simple shows with my children. I forgot about some of those shows. It brings back good memories for my husband and me and the songs are new and exciting for our children. It's a nice change from children's cd's, but our children still think it's fun. The sound quality is good and the songs included on the cd are a great mix. I would definately recommend this one.

memories.......2007-02-22

This cd is excellent it has a lot of very good music and true to the original sound, Am getting a lot of enjoyment,highly recomended

TV Theme Songs.......2007-01-13

This is a great CD for people who watch a lot of TV -especially TV LAND and reruns of old shows when shows had actual theme songs. I took the CD to work and everyone loved trying to figure out what show the songs were from.

TV themes.......2006-07-05

Not all what I expected, not all of the tunes are the original recordings you remember as the TV themes.

Deja Vu.......2006-02-17

Listening to these familiar themes as performed by the original artists certainly brings back wonderful memories! I was particularly pleased, not only with the quality of the pieces, but with the actual performances themselves, just as we remembered them!

Average customer rating: How LUCKY We ARE to have THESE recordings! The great Beverly Sills on Cd in these masterpieces! The Most Wonderful Compilation of the Tudor Queens "3 Queens, 1 Soprano" Please give it a rest!

Donizetti - Three Queens (Anna Bolena ~ Maria Stuarda ~ Roberto Devereux) Charles Mackerras , and London Symphony Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD All Works by Donizetti | Donizetti, Gaetano | ( D ) | Featured Composers, A-Z | Classical | Styles | Music Sills, Beverly | ( S ) | Featured Performers, A-Z | Classical | Styles | Music London Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Donizetti, Gaetano | C to G | Featured Composers, A-Z | Opera & Vocal | Styles | Music 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 Opera & Vocal | Box Sets | Stores | Music Deutsche Grammophon: Music | Specialty Stores | Music Similar Items: Donizetti's Lucia di Lammermoor: Complete Opera (with full libretto and translation) Rossini: L'Assedio di Corinto Massenet: Manon The Ballad of Baby Doe Handel - Julius Caesar / Treigle · Sills · Forrester · Wolff · NYCO · Rudel ASIN: B000050I2W Release Date: 2000-11-07

Tracks:

1. Anna Bolena: Sinfonia (Overture) - Beverly Sills (Anna)
2. Anna Bolena: Act 1 - Scene 1 - Introduzione - Beverly Sills (Anna)
3. Anna Bolena: Ella di me, sollecita - Beverly Sills (Anna)
4. Anna Bolena: Si taciturna e mesta - Beverly Sills (Anna)
5. Anna Bolena: Deh! Non voler costringere - Beverly Sills (Anna)
6. Anna Bolena: Come, innocente giovane - Beverly Sills (Anna)
7. Anna Bolena: Legger potessi in me! Non v'ha sguardo - Beverly Sills (Anna)
8. Anna Bolena: O! qual parlar fu il suo! - Beverly Sills (Anna)
9. Anna Bolena: Si: l'avrete - Beverly Sills (Anna)
10. Anna Bolena: La mia fama e a' pie dell'ara - Beverly Sills (Anna)
11. Anna Bolena: Ella pure amor m'orrfia - Beverly Sills (Anna)
12. Anna Bolena: Ah! qual sia cercar non oso - Beverly Sills (Anna)
13. Anna Bolena: Act 1 - Scene 2 - Chi veggo?...in Inghilterra - Beverly Sills (Anna)
14. Anna Bolena: Da quel di che, lei perduta - Beverly Sills (Anna)
15. Anna Bolena: Ah! cosi nei di ridenti - Beverly Sills (Anna)
16. Anna Bolena: Desta si tosto - Beverly Sills (Anna)
17. Anna Bolena: Io sentii sulla mio mano - Beverly Sills (Anna)
18. Anna Bolena: Or che reso ai patri i lidi - Beverly Sills (Anna)
19. Anna Bolena: Questo di per noi spuntato - Beverly Sills (Anna)

Tracks:

1. Anna Bolena: Act 1 - Scene 3 - E'sgombro il loco... - Beverly Sills (Anna)
2. Anna Bolena: Ah! parea che per incanto - Beverly Sills (Anna)
3. Anna Bolena: Basta...basta...tropp'oltre vai... - Beverly Sills (Anna)
4. Anna Bolena: Anna! - Riccardo! - Beverly Sills (Anna)
5. Anna Bolena: S'ei t'aborre, io t'amo ancora - Beverly Sills (Anna)
6. Anna Bolena: Ah!...per pieta del mio spavento - Beverly Sills (Anna)
7. Anna Bolena: Alcun potria ascoltarti - Beverly Sills (Anna)
8. Anna Bolena: Tace ognuno - Beverly Sills (Anna)
9. Anna Bolena: In quegli sgardi impresso - Beverly Sills (Anna)
10. Anna Bolena: In separato carcere - Beverly Sills (Anna)
11. Anna Bolena: Act 2 - Scene 1 - O! Dove mai ne andarono - Beverly Sills (Anna)
12. Anna Bolena: O mie fedeli - Beverly Sills (Anna)
13. Anna Bolena: Dio, che mi vedi in core - Beverly Sills (Anna)
14. Anna Bolena: Sul suo capo aggravi un Dio - Beverly Sills (Anna)
15. Anna Bolena: Dal mio cor punita io sono - Beverly Sills (Anna)
16. Anna Bolena: Va, infelice, e teco reca - Beverly Sills (Anna)

Tracks:

1. Anna Bolena: Act 2 - Scene 2 - Ebben? dinanzi ai giudici - Beverly Sills (Anna)
2. Anna Bolena: Scostatevi...il Re giunge... - Beverly Sills (Anna)
3. Anna Bolena: Ambo morrete - Beverly Sills (Anna)
4. Anna Bolena: Al Consiglio sien tratti - Beverly Sills (Anna)
5. Anna Bolena: Sposa a Percy - Beverly Sills (Anna)
6. Anna Bolena: Per questa fiamma indomita - Beverly Sills (Anna)
7. Anna Bolena: Stolta! non sai... - Beverly Sills (Anna)
8. Anna Bolena: Ah! pensate che rivolti - Beverly Sills (Anna)
9. Anna Bolena: Act 2 - Scene 3 - Tu pur dannato a morte - Beverly Sills (Anna)
10. Anna Bolena: Vive tu, te ne scongiuro - Beverly Sills (Anna)
11. Anna Bolena: Nel veder la tua costanza - Beverly Sills (Anna)
12. Anna Bolena: Chi puo verderla - Beverly Sills (Anna)
13. Anna Bolena: Piangete voi? - Beverly Sills (Anna)
14. Anna Bolena: Al dolce giudami castel natio - Beverly Sills (Anna)
15. Anna Bolena: Qual mesto suon?... - Beverly Sills (Anna)
16. Anna Bolena: Cielo, a miei lunghi spasimi - Beverly Sills (Anna)
17. Anna Bolena: Coppia iniqua - Beverly Sills (Anna)

Tracks:

1. Maria Stuarda: Overture - Christian du Plessis (Cecil)
2. Maria Stuarda: Act 1: Preludio - Christian du Plessis (Cecil)
3. Maria Stuarda: Act 1: Qui si attende - Christian du Plessis (Cecil)
4. Maria Stuarda: Act 1: Si, vuol di Francia il Rege - Christian du Plessis (Cecil)
5. Maria Stuarda: Act 1: Ah! quando all'ara scorgemi - Christian du Plessis (Cecil)
6. Maria Stuarda: Act 1: Fra voi perche - Christian du Plessis (Cecil)
7. Maria Stuarda: Act 1: Hai nelle giostre - Christian du Plessis (Cecil)
8. Maria Stuarda: Act 1: Questa immago - Christian du Plessis (Cecil)
9. Maria Stuarda: Act 1: Sei tu confuso? - Christian du Plessis (Cecil)
10. Maria Stuarda: Act 1: Quali sensi - Christian du Plessis (Cecil)
11. Maria Stuarda: Act 2: Allenta il pie, Regina - Christian du Plessis (Cecil)
12. Maria Stuarda: Act 2: Oh nube! - Christian du Plessis (Cecil)
13. Maria Stuarda: Act 2: Ah! non m'inganna la gioia! - Christian du Plessis (Cecil)
14. Maria Stuarda: Act 2: Da tutti abbandonata - Christian du Plessis (Cecil)
15. Maria Stuarda: Act 2: Qual loco e questo? - Christian du Plessis (Cecil)
16. Maria Stuarda: Act 2: E'sempre la stessa - Christian du Plessis (Cecil)

Tracks:

1. Maria Stuarda: Act 2 - Deh! I'accorgli! - Christian du Plessis (Cecil)
2. Maria Stuarda: Va, preparati furente - Christian du Plessis (Cecil)
3. Maria Stuarda: Act 3 - E pensi? E tradi? - Christian du Plessis (Cecil)
4. Maria Stuarda: Quella vita - Christian du Plessis (Cecil)
5. Maria Stuarda: Si!...Regina! - Christian du Plessis (Cecil)
6. Maria Stuarda: D'una sorella, o barbara - Christian du Plessis (Cecil)
7. Maria Stuarda: La perfida insultarmi - Christian du Plessis (Cecil)
8. Maria Stuarda: Che vuoi? - Christian du Plessis (Cecil)
9. Maria Stuarda: Oh mio buon Talbo! - Christian du Plessis (Cecil)
10. Maria Stuarda: Quando il luce rosea - Christian du Plessis (Cecil)
11. Maria Stuarda: Vedeste? Vedemmo - Christian du Plessis (Cecil)
12. Maria Stuarda: Anna?...Qui piu sommessi favellate - Christian du Plessis (Cecil)
13. Maria Stuarda: Deh! Tu di un umile preghiera - Christian du Plessis (Cecil)
14. Maria Stuarda: Oh colpo!... - Christian du Plessis (Cecil)
15. Maria Stuarda: Giunge il Conte - Christian du Plessis (Cecil)
16. Maria Stuarda: Ah! se un giorno da queste ritorte - Christian du Plessis (Cecil)

Tracks:

1. Roberto Deveraux: Overture - Richard Val Allan (A Servant Of Nottingham)
2. Roberto Deveraux: Act 1 - Geme!...pallor funereo - Richard Val Allan (A Servant Of Nottingham)
3. Roberto Deveraux: All' afflito e dolce il pianto - Richard Val Allan (A Servant Of Nottingham)
4. Roberto Deveraux: Duchessa...Alle fervide preci - Richard Val Allan (A Servant Of Nottingham)
5. Roberto Deveraux: L'amor suo mi fe beata - Richard Val Allan (A Servant Of Nottingham)
6. Roberto Deveraux: Nunzio son del Parlamento - Richard Val Allan (A Servant Of Nottingham)
7. Roberto Deveraux: Donna reale, a' piedi tuoi... - Richard Val Allan (A Servant Of Nottingham)
8. Roberto Deveraux: Un tenero core - Richard Val Allan (A Servant Of Nottingham)
9. Roberto Deveraux: Roberto...Che?...fra le tue braccia! - Richard Val Allan (A Servant Of Nottingham)
10. Roberto Deveraux: Forse in quel cor sensibile - Richard Val Allan (A Servant Of Nottingham)
11. Roberto Deveraux: Duca, vieni... - Richard Val Allan (A Servant Of Nottingham)
12. Roberto Deveraux: Qui ribelle ognum ti chiama - Richard Val Allan (A Servant Of Nottingham)
13. Roberto Deveraux: Tutto e silenzio - Richard Val Allan (A Servant Of Nottingham)
14. Roberto Deveraux: Dacche tornasti, ahi misera! - Richard Val Allan (A Servant Of Nottingham)

Tracks:

1. Roberto Devereux: L'ore trascorrono - Beverly Sills (Elizabeth, Queen Of England)
2. Roberto Devereux: Ebben? - Beverly Sills (Elizabeth, Queen Of England)
3. Roberto Devereux: Segui!... - Beverly Sills (Elizabeth, Queen Of England)
4. Roberto Devereux: Non venni mai si mesto - Beverly Sills (Elizabeth, Queen Of England)
5. Roberto Devereux: Ecco l'indegno!... - Beverly Sills (Elizabeth, Queen Of England)
6. Roberto Devereux: Scellerato!...Malvagio!... - Beverly Sills (Elizabeth, Queen Of England)
7. Roberto Devereux: Va, la morte sul capo ti pende - Beverly Sills (Elizabeth, Queen Of England)
8. Roberto Devereux: Ne riede ancora il mio consorte! - Beverly Sills (Elizabeth, Queen Of England)
9. Roberto Devereux: Non sai che un nume vindice - Beverly Sills (Elizabeth, Queen Of England)
10. Roberto Devereux: Ed ancor la tremeda porta - Beverly Sills (Elizabeth, Queen Of England)
11. Roberto Devereux: A te diro' negli ultimi singhiozzi - Beverly Sills (Elizabeth, Queen Of England)
12. Roberto Devereux: Bagnato il sen di lagrime - Beverly Sills (Elizabeth, Queen Of England)
13. Roberto Devereux: E sara in questi orribili momenti - Beverly Sills (Elizabeth, Queen Of England)
14. Roberto Devereux: Vivi, ingrato, a lei d'accanto - Beverly Sills (Elizabeth, Queen Of England)
15. Roberto Devereux: Che m'apporti? - Beverly Sills (Elizabeth, Queen Of England)
16. Roberto Devereux: Quel sangue versato al ciel - Beverly Sills (Elizabeth, Queen Of England)

Amazon.com

Gaetano Donizetti didn't actually set out to compose a cycle based on the tragic histories of the Tudor Queens. The three works gathered here--including his breakthrough opera, Anna Bolena, Roberto Devereux, and the long-neglected Maria Stuarda--were created at various points in his maniacally prolific career, and each has its own rather complicated, haphazard genesis. But the belated reappreciation given to these works at New York City Opera during the heyday of the bel canto revival--a crucial step in the overall revival of Donizetti as well--conferred a sort of post facto sense of unity thanks to the signature contributions of Beverly Sills. These roles were, quite unpunningly, her crowning achievement. Yet despite a brief efflorescence of celebrity (even extending to a Time magazine cover) when she was considered perhaps the rival to Joan Sutherland, Sills slipped through the cracks. For all her formidable acting skill--a substantial aspect of her accomplishment in these interpretations--she never quite made it to the era of opera telecasting, and her problematic recorded catalog and relatively early retirement from the stage hindered the Sills legend from extending to a new generation.

But now, there's no excuse to overlook the Sills achievement. Coupled with the belated reissue of her early triumph in The Ballad of Baby Doe, this Donizetti box set gives a fuller portrait of the artist Sills. This is quite simply a can't-miss bonanza for Donizetti-heads and, for that matter, fans of beautiful singing. The original project started off with Roberto Devereux--recorded in London in 1969--and continued until the summer 1972 recording of Anna Bolena, but this is the first time the old LPs have been made collectively available on CD in remastered format. The box includes facsimiles of the original lengthy liner notes (with astute background, commentary, and translations--full libretti included--by William Ashbrook) and a bonus booklet of photos from the original NYC Opera productions.

Just as the musical content varies in quality from opera to opera, indeed within each opera, the level of performance is by no means seamless or at the same peak pitch throughout. Some listeners will prefer the less liberal but profoundly attentive and intuitively rich conducting of Charles Mackerras in Devereux, while others will overlook the rather surprisingly sloppy string ensemble and figuration committed by the London Symphony in Anna Bolena for the hectic energy and pacing Julius Rudel could conjure. The challenges demanded by Donizetti's heavy writing for Elisabetta in Devereux can manifest as strain, but this part also registers Sills's vocal acting with a powerful punch: just listen to the range of emotional content she sails through in the scene of her conflicted first duet with Roberto, beginning with "un tenero core" (Act I). One of the joys here is zeroing in on your own favorite passage, scena, flicker of insight: perhaps it's Anna in prison, the outburst of two queens meeting in the park outside Fotheringhay (who cares if history has been amended to suit dramatic license?), or Elisabetta's horrifying realization upon the execution of her beloved. And despite some unevenness in the casting, this set offers a number of other vocal treasures to set beside Sills's artistry: the utterly compelling Giovanna (Jane Seymour) of Shirley Verrett in Anna Bolena, Eileen Farrell's return to the studio for Maria Stuarda's imperious Elizabeth (interesting to compare with Sills's earlier slant on the queen from Devereux), Paul Plishka's imposing Henry the 8th, Peter Glossop's scheming Nottingham. If you're not already an addict, this set will bring you back for fix after fix. --Thomas May

Customer Reviews:

How LUCKY We ARE to have THESE recordings!.......2007-07-07

Well, I guess it's time I added my comments on these recordings.

First, however, I'd like to say that I do not understand "bashing". This has been going on, in my remembrance at least, since Callas/Tebaldi in the 50's. How stupid is this! Does one REALLY think that two different singers, with two different voices and/or approaches to a role can be, truthfully, compared to one another? I have never understood this kind of thinking. I LOVE Callas (in nearly everything she sang), but she had an ugly voice....do I let this bother me or lead me to compare her to others??? NO! She was, unquestionably, the greatest singing actress of our time, period! Tebaldi...was there EVER a voice as beautiful as hers?? Sills...Was there ever a voice as light and as fresh as hers??? Sutherland?? She wasn't called La Stupenda for nothing, folks. I could go on, but I think the point is made. Every one of these singers (and others) are themselves, with their own interpretations of roles. Some sing some roles better than others, but bashing??? I don't think so!!! This shows one's uncomfortable shallowness quite clearly, I believe.

The review:

Sills had a wonderously light and silvery voice, that I find quite her own. I simply love her Baby Doe, and her Traviata, as her voice is simply made for the parts. Her Lucia is, also, really good. Casting her as the three Tudor Queens was a wonderful thing, it made her a real solid star at the New York City Opera. She was the only one singing these roles at the time, and it was good for her career, and, also, good for the music world to become familiar with these three great tragic, long neglected, works of Donizetti.

But, as they were really beyond the capability of her instrument, she, eventually, damaged her voice with the parts, especially Elizabeth in Roberto Deveraux. This is, I guess, inevitable, as most singers do at some point in their careers, delve deeply into waters beyond their capability, and the downward progression begins. Repeatedly, singer after singer has done this.

That aside, let me say that we are so very fortunate to have these three recordings, even with their flaws (and there certainly are flaws), both as a remembrance of Beverly Sills, and her colleagues, but also documentation of her performances and the presentation of Donizetti's works. All three of these works are so rarely performed, much less recorded, that they are a treasure for sure.

Personally, Roberto Deveraux, I feel, hangs together the strongest in Mackerras' leadership. Sills is, admittedly, pushing the limits of her capabilities...but, by doing the role in sessions, she is really very good on the recording. Admittedly, in a live performance, straight through, there is the electricity of interaction with other characters on stage, taking the heights up a notch, and this is where she really did the damage to her voice. Her compatriots here are all really serviceable...we are so lucky to have this recording, why be objectionally picky? DG has done a remarkable job remastering this particular recording. I remember the ABC pressing on LP years ago, and am pleased with the care attended here to the remastering.

Maria Stuarda, is, again, another special recording....Eileen Farrell came out of retirement to do this recording as a favor to Beverly, and we are very lucky to have them paired together. I must admit that I wish Mackerras was again at the helm here, however. There is no doubt in my mind that the whole would have been greater with his control and "color" on the orchestra. But, with the only other exceptions the old Callas with great cuts, and the Sutherland, we have few choices, and we take this recording most gladly. It is commendable.

I feel that Anna Bolena is the weakest of the three works, but it has some extrodinary things in it, particularly the confrontation in the garden! Man, the first time I heard this, I stood right up out of my chair! Paul Plishka was a wonderful Henry, and Shirley Verrett certainly made her mark with Jane Seymour. Again, most commendable.

I, as stated above, remember the old ABC LP pressings....they were terrible, as we all know! It is so wonderful to have these recordings, again, this time in pristine, lovingly remastered editions. Thank You, DG/Universal for lavishing the care on these lovely old recordings that you have for our enjoyment.

A tremendous, and fitting, tribute to Beverly Sills.

I might add that I feel you might wish to pick up this set very soon, as lately things have been getting re-issued in budget sets without libretti and informational booklets, and this is a shame, especially with a great set like this one. Also, noting the complaints about them being so "expensive"....come on, folks, wise up!!! You're getting three operas here for $80 or less, through secondary dealers, just how expensive does one really think this is? OK, enough preaching! Enjoy this set, and be thankful that we have it! ~operabruin

The great Beverly Sills on Cd in these masterpieces!.......2007-07-03

It is July 3rd and Beverly Sills has passed away..it is very sad, but, when you listen to these cds nothing about her career as a singer was at all sad.

I treasure these and all of her other works. She was the glory of American opera.

Buy all of her cds and see how persuasive they are, how ravishing, and how generous. Her presence on the Met Live Broadcasts was so invigorating, and her wonderful praise of Anna Netrbko, and others singing her repertoire. It is hard to imagine Lincoln Center without her, a presence so positive, so high vibration...

The stars are brighter with her as our representative in the heavens!

The Most Wonderful Compilation of the Tudor Queens.......2006-12-26

Donizetti revolutionized the way dramatic opera was written when he penned the scores of Anna Bolena, Maria Stuarda, and Roberto Devereux. These were the operas that put tragedy on the map after a long history of Italian opera constantly refurbished for a comic ending to please the tastes of the public. Donizetti's magnificent music, with its complex runs and melodramma-infused composition, changed all of that, and history owes much of the great Verdi and Puccini dramas to Donizetti. Take the confrontation between Maria Stuarda and Elisabetta, for example. This scene alone was the inspiration for the several great soprano-mezzo confrontation scenes that would grace the plots of Aida and Don Carlo, to name a few of the operas that Donizetti influenced. Anna Bolena, one of my favorite operas, was the first opera that put tragedy on the operatic map, eliminating the necessity to give operas comic endings (remember that Tancredi had to be revised by Rossini to please the public). Roberto Devereux, a product of Donizetti's more mature musical skills, combines many of these great attributes that makes Donizetti so exciting and gives the prima donna a chance to display her vocal and dramatic prowess.

Of course, the very critical art lover would scrutinize the Donizetti librettos with disdain after he slashed these operas and turned fact around to give way to dramatic fireworks. But who cares if he did this especially if Mary Stuart calls Elizabeth a "vil bastarda!?" With such dramatic pyrotechnics in these operas, one would imagine that perhaps a heftier voice with the Norma metal is needed to make these roles more vivid, such as that of Maria Callas. Beverly Sills, however, makes these roles so real, regal, and dramatically powerful that one forgets all the shortcomings that come as a result of the lightness of her voice. Among these three recordings, if I had to pick any one of them, I would say that her greatest achievement is her Roberto Devereux made with Sir Charles Mackerras. Every vocal gesture, inflection, emotion, and firework is covered by Sills with a grace and technique that escapes several of today's Elizabeths. She is the queen incarnate, and if it did cut ten years out of her career, I am only glad that she sang the queen. She is partnerred by a cast that is not up to her level, but her singing alone makes her queen worthwhile. A definitive recording there.

Her Maria Stuarda is also perhaps the most satisfying account of the opera that I've heard. With Eileen Farrell as Elizabeth hurling dynamites whenever her mouth opens and Sills is superb form as Maria, I would say that this recording is my favorite Maria Stuarda on disc. The confrontation scene is simply to die for, and the last act with Sills saying her prayer is heartfelt and beautiful. Ceccato is not the most exciting conductor, but Stuart Burrows makes a very sensitive and graceful Leicester. I must add this though: if you really want to find a great Maria Stuarda, you must search very hard for a live recording of the opera from New York made in 1972 with Beverly Sills and Marisa Galvany as the colliding queens. The heat of that recording is simply out of this world and if you cannot find it, I am willing to burn you a copy. Just send me an email.

Anna Bolena is no weak link either. Some people would compare this to Maria Callas' live Scala performance, a legendary night which in my opinion would never be repeated again. Sills was no Callas in terms of voice, but she was equipped with a voice that could handle the role in her own special way. Sills had a very touching Anna Bolena with a conductor, supporting cast, and a complete score that makes her Bolena essential. Her Giovanna Seymour is Shirley Verrett, a perfect foil to Sills vocally and dramatically. Verrett also sounds younger than Simionato, which is an asset to this recording of the opera. My favorite recording though, is another pirate recording. This recording is a live performance from New York with the superb, magnificent, mind-blowing soprano Marisa Galvany as Bolena, Olivia Stapp as Seymour, and Samuel Ramey's definitive Henry. A recording that must not be missed, and one that you must hunt for.

"3 Queens, 1 Soprano".......2003-08-23

Sills was most renowned for her fiery portrayal as Elizabeth, and i believe she worked the hardest on that particular role. She researched the character, studied her personality, practiced gestures, practically slept with the books under her pillow. And here, we can hear the results (without even seeing!). Of course, Beverly already was great with voice acting to begin with, but add on top of it all the research, commitment, and unflawed singing...you get a truly astounding recording!

In Maria Stuarda, check out the confrontation scene. This is one of the most dramatic moments in opera. And there's the added bonus of having the underrecorded but extremely talented dramatic soprano Eileen Farrell as Elizabeth. Hear how they lash out at each other. Incredibly exciting! And Maria's final scene is touching. In one NYCO performance a woman cried out, "NO!" just when Maria's head was going to be chopped off (lights go out-blackout). If this isn't dramatic I don't know what is.

For me the most exciting scene in Anna Bolena is the mad scene. This is actually just as great as Lucia's mad scene, in my opinion. Anna, though being in jail, has illusions of herself being with King Henry. When reality comes crashing back on her, WOW, get ready for the intense madness. Coppa Iniqua is heartbreaking. Sills uses a weeping timbre, and outbursts of anger in her voice, all to incredible effect.

I have begun listening to opera only about 3 years ago. I feel very happy that these 3 recordings together gave me a sense of what opera can be- incredible musical theatre. Beverly Sills and the 3 Queens will always have a special place in my heart.

Please give it a rest!.......2003-08-13

This is a Callasfan speaking. I love Callas and Sills, I think this and "The art of the Primadonna" (With Joanie) is supreme. But hear me out: I think it's obvious that only the famous Callas-recs on Emi are slandered and the efforts on other labels judged fairly, even if the reviewers didn't like Callas. Lets get back to balance and fairness. I never wrote a one-star review on Beverly and I never will. Here and there I complained and fought against fanatism. Neither Callas-fanatism nor Sutherland-fanatism nor Sills-fanatism is good. Neither of them was perfect. Both had their pros and cons. Please, you guys, edit your reviews and write them fairly. Thus we'll prevent an even greater outrage. Us operafans should stick together. I'm willing to start. Please, lets be on this together!

Average customer rating: The Most Beautiful Recorded Tenor Voice? Very, very truncated. incomplete pleasure Finally available on CD!

Babes in Toyland / The Red Mill Victor Herbert , Kenny Baker , and Eileen Farrell Manufacturer: Decca Broadway ProductGroup: Music Binding: Audio CD All Works by Herbert | Herbert, Victor | ( H ) | Featured Composers, A-Z | Classical | Styles | Music General | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music General | Musicals | Broadway & Vocalists | Styles | Music Traditional Vocal Pop | Broadway & Vocalists | Styles | Music General | Broadway & Vocalists | Styles | Music General | Soundtracks | Styles | Music General | Vocal Pop | Pop | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: The Desert Song / The New Moon Roberta & Vagabond King The Student Prince (1952 Studio Cast) The Merry Widow/The Student Prince Victor Herbert: Babes in Toyland; The Red Mill ASIN: B00006AWG2 Release Date: 2002-07-30

Tracks:

1. Opening - From Babes in Toyland (Herbert & MacDonough) with Kenny Baker and Karen Kemple
2. Toyland
3. Floretta
4. Never Mind Bo-Peep, We Will Find Your Sheep
5. March of the Toys
6. I Can't Do the Sum
7. Go To Sleep, Slumber Deep
8. Song of the Poet
9. The Military Ball
10. Hail to Christmas
11. Finale: He Won't Be Happy Till He Gets It and March of the Toys
12. When You're Pretty and the World Is Fair - From The Red Mill (Blossom & Herbert) with Wilbur Evans, Eileen Farrell, and Felix Knight
13. Moonbeams
14. In the Isle of Our Dreams
15. Because You're You
16. Every Day is Ladies' Day With me
17. The Streets of New York

Customer Reviews:

The Most Beautiful Recorded Tenor Voice?.......2005-06-22

Is any recorded, tenor, singing voice as lovely as Kenny Baker's? As a child, I often heard him during the 1930s on the Jack Benny show, but have scarcely thought of him since. Amazon.com offers him on four CDs: BABES IN TOYLAND, LOVE WALKED IN, THE STARLIT HOUR and WEILL FROM BERLIN TO BROADWAY. Over the years, I have heard the recorded voices of many tenors, mostly operatic. Their fine voices were excellently trained, often to a wider range and more difficult music. But note for note, their sound as recorded is not I think as sheerly beautiful as Kenny Baker's. A splendid, unspoiled, unstrained, natural gift, put to disciplined and tasteful use! His enunciation is remarkably clear, and his musical line, perfectly smooth. He makes each song a different story, as in the six pieces here from BABES IN TOYLAND.

My claim is easy to test. This website has CDs with excerpts for listening to the best tenors of the 20th century, including Enrico Caruso, John McCormack, Giovanni Martinelli, Beniamino Gigli, Tito Schipa, Richard Tauber, Richard Crooks, Jussi Bjoerling, Morton Downey, Mario Lanza, Giuseppe di Stefano, Nicolai Gedda, Jan Peerce, Leopold Simoneau, Fritz Wunderlich, Luciano Pavarotti, Placido Domingo and Jose Carreras. Of course, the earlier the career, the greater the damage to the recorded voice from primitive technology. Heard live, who knows which voice was most beautiful? But at least we have what earlier centuries could only imagine: lasting copies of live performances. Listen to Kenny Baker's voice on tracks 2 and 8 of BABES IN TOYLAND, and then compare.

The numbers from THE RED MILL will make you want to hear more. This operetta, also composed by Victor Herbert, was first produced in 1906, three years after BABES IN TOYLAND. "Moonbeams" (well sung by Eileen Farrell) is lovely; "Because You're You" (a duet between Farrell and Felix Knight) is quite simple but surprisingly affecting. The last two are the best: "Every Day Is Ladies' Day with Me," and "In Old New York." They are patter songs, perhaps inspired by, and surely as deft, as the ones that Gilbert and Sullivan were writing two decades earlier. Both are sung by Wilbur Evans, in a rich baritone, with perfect enunciation and marvelous comic flair. Great fun!

The selections on this CD were recorded in 1944 and 1945, then released in 1946 on both 78s and 10" LPs. For this CD, they were remastered from wartime lacquered-glass originals. Baker and Evans emerge in radiant form, surely much closer to live sound than reached our family radio via AM transmission 65 years ago. The orchestral and choral sound is less attractive. Poorly miked?

Very, very truncated........2002-12-09

The scores of Victor Herbert's "Babes in Toyland" and "The Red Mill" are lovely classics, but the incomplete scores represented by this Decca Broadway remastering of its antiquated 78s are not the best reprentation. My advice: wait for the John McGlinn "Babes in Toyland" to be released. As for "The Red Mill", you'd do better to pick up the Ohio Light Opera's double-CD from Albany Records.

incomplete pleasure.......2002-11-09

Two terrible mistakes keep this from 5 stars.. BABES IN TOYLAND is not complete as they are missing the delightful IN THE TOYMAKER'S WORKSHOP. Why? In THE RED MILL they use a butchered take of EVERY DAY IS LADIES DAY WITH ME. Again, why?
John McGlinn will be out with a complete BABES soon - and there is a lot of music in it - so you may want to wait.

Finally available on CD!.......2002-08-01

Decca's 1946 album of selections from Victor Herbert's celebrated musical was a welcome addition to record libraries, covering most of the major songs plus some of the delightful dance music. The album was reissued as a ten-inch Lp in 1949. A later reissue in 1957 dropped 4 songs to fit the score on one side of a twelve-inch Lp backed by six selections from Herbert's THE RED MILL. That pairing is reproduced here but the CD contains the complete BABES IN TOYLAND program! It's nice to have it back too! Nice of Decca to give us this early Christmas present this year. But BABES IN TOYLAND is a score that enchants all year round. How strange that no other complete recording exists.

The six selections form THE RED MILL offer a nice bonus, and the selections are well sung.

Average customer rating: An Emotional Favorite Short and sweet My Favorite Recording of Handel's Messiah Worth it for Warfield alone Nostalgic, but that's about it

Handel - Messiah - Mormon Tabernacle George Frideric Handel , Eugene Ormandy , The Philadelphia Orchestra , Eileen Farrell , Martha Lipton , Davis Cunningham , William Warfield , and Mormon Tabernacle Choir Manufacturer: Sony ProductGroup: Music Binding: Audio CD All Works by Handel | Handel, George Frideric | ( H ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Mormon Tabernacle Choir | ( M ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Oratorios | Opera & Vocal | Styles | Music Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music General | Easy Listening | Pop | Styles | Music General Christmas | Holiday | Miscellaneous | Styles | Music Opera & Vocal | Holiday | Miscellaneous | Styles | Music General Christmas | Holiday Music | Special Features | Music Opera & Vocal | Holiday Music | Special Features | 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: The Joy of Christmas Jesu, Joy of Man's Desiring / Mormon Tabernacle Choir The Messiah: An Oratorio Complete Vocal Score (G. Schirmer's Editions of Oratorios and Cantatas) Handel - Messiah / Harper, Watts, Wakefield, Shirley-Quirk, LSO, C. Davis Songs of the Civil War & Stephen Foster Favorites ASIN: B0000024OE Release Date: 1991-07-16

Tracks:

1. Messiah: Overture
2. Messiah: Comfort Ye, My People
3. Messiah: Every Valley Shall Be Exalted
4. Messiah: And The Glory Of The Lord
5. Messiah: Thus Saith The Lord
6. Messiah: But Who May Abide
7. Messiah: And He Shall Purify
8. Messiah: Behold A Virgin Shall Conceive
9. Messiah: O Thou That Tellest Good Tidings To Zion
10. Messiah: For Unto Us A Child Is Born
11. Messiah: Pastoral Symphony
12. Messiah: There Were Shepherds
13. Messiah: And The Angel Said Unto Them
14. Messiah: And Suddenly There Was With The Angel
15. Messiah: Glory To God
16. Messiah: Then Shall The Eyes Of The Blind Be Opened
17. Messiah: He Shall Feed His Flock

Tracks:

1. Messiah: His yoke Is Easy
2. Messiah: Behold The Lamb Of God
3. Messiah: He Was Despised
4. Messiah: Surely He Hath Borne Our Griefs
5. Messiah: And With His Stripes We Are Healed
6. Messiah: All We Like Sheep Have Gone Astray
7. Messiah: Life Up Your Heads
8. Messiah: Why Do The Nations?
9. Messiah: He That Dwelleth In Heaven
10. Messiah: Thou Shalt Break Them
11. Messiah: Halleluja!
12. Messiah: I Know That My Redeemer Liveth
13. Messiah: Behold, I Tell You A Mystery
14. Messiah: The Trumpet Shall Sound
15. Messiah: Worthy Is The Lamb

Customer Reviews:

An Emotional Favorite.......2006-12-06

My father, a tenor vocalist, performed as a soloist in the Messiah in Tucson, AZ in 1940. He chose this recording to introduced me to the Messiah in the early 1960s. Granted, some tempos are "different", and the 1950s recording technology does not fully recreate the capabilities of the chorus. But, having spent my life listening to and attending performances of the Messiah, this is by far my favorite. If you are looking for a full choir, full orchestra version, this is it. Enjoy it as I have for decades.

Short and sweet.......2006-11-27

Very simply: For close to 50 years my Christmas season doesn't begin until I hear this wonderful recording. Christmas isn't Christmas without it! Enjoy it with your heart.

My Favorite Recording of Handel's Messiah.......2006-01-23

I am no music expert. In fact, technically speaking, music is something I know nothing about. I have purchased seven different recordings of Handel's Messiah and this is my favorite one. It just pleases me more than any of the other recordings I have listened to so far.

Worth it for Warfield alone.......2006-01-17

While the tastes of the vast classical music CD-buying public --all 7 of them-- has moved on to more lean, agile performances with smaller choirs and authentic instruments, there are still reasons for buying this collection. One of them is William Warfield, arguably one of the most wonderful Bass voices ever produced in this country.

For me, Warfield's rendering of the bass arias and recitatives of this work are the definitive ones. Diction, intonation, voice quality, emotion, all are unsurpassed. There is utter conviction.

Warfield also sings in the Bernstein recording; I have not heard that, and cannot comment. There is a selection of most popular cuts from this album; it might be better value for most customers.

Eileen Farrell does a fair job with I know that my redeemer liveth. And the Mormon Tabernacle Choir has this going for it: they do sound like a good amateur choir, rather than a professional choir, which is (to me) a plus, since Messiah choruses have the feel of participation numbers rather than things you sit back and listen to.

Arch

Nostalgic, but that's about it.......2005-12-06

I've never cared much for this recording and repeated listening still doesn't give me a clue about all the enthusiasm for it. First, Ormandy's consensus tempos just lumber along, like in Beecham's humorous comment on Gotterdammerung, "like an old cart horse." If you equate ponderous to profound, you won't be disappointed. The cuts, typical of the era, give us a Reader's Digest condensed version of the story of the redemption of humankind. I always wondered why "Rejoice greatly" was missing until I read an interview with the late Eileen Farrell a few years back. For unexplained reasons, she simply didn't want to sing it. I've always wondered why Ormandy acquiesed. As a group, the soloists are OK, but surpassed numerous times in the almost half century since this was recorded. For whatever reason, the famed MTC doesn't (to me at least) live up to its sterling reputation or the missionary fervor of the LDS. I may be in the minority on this, but they sound much more alert and attuned to the nuances of the narrative in the later recording with Willcocks. The orchestrations are the Mozart/Hiller retouchings. Rigidly insisting on historical performance practice is not my thing. I find much to enjoy in this performance's comtemporaries by Sargent and the older Thompson Stone version with the Handel and Haydn society that has never found its way onto CD. For that matter, the older tradition is also well represented by Boult and Klemperer (even Susskind) with a simpler string/woodwind orchestra sonority without the retouchings. For that matter, Beecham's kaleidoscopic and controversial version gets more to the heart of the matter than this middle of the road coziness.

Average customer rating: 30-something's, open your minds and ears! Not Bad, But what the Hell Happened? Not at all like Jane's Addiction but awesome anyways! A really good attempt at re-definition Best Album Ever!!!

Song Yet to Be Sung Perry Farrell Manufacturer: Virgin Records Us ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music General | Rock | Alternative Styles | Alternative Rock | Styles | Music General | Rock | Styles | Music Electronica | Dance & DJ | Styles | Music Pop Rock | Pop | Styles | Music Similar Items: Rev Good God's Urge Porno for Pyros Kettle Whistle Ultra Payloaded ASIN: B00005KB4W Release Date: 2001-07-31

Tracks:

1. Happy Birthday Jubilee
2. Song Yet To Be Sung
3. Did You Forget
4. Shekina
5. Our Song
6. Say Something
7. Seeds
8. King Z
9. To Me
10. Nua Nua
11. Admit I
12. Happy Birthday Jubilee (Reprise)

Amazon.com

Perry Farrell has always been an unconventional figure in music. His band Jane's Addiction fused punk and metal aggression with tripped-out Eastern melodies, becoming influential predecessors to future legions of modern alternative rockers. As the mastermind behind the huge left-of-the-dial Lollapalooza festival, he brought together some of the coolest names in rock, rap, metal, and punk for groundbreaking arena shows across the country. Never one to sit still, Farrell continues to test out new avenues for his creative musical energy, and nowhere is this more clear than on Song Yet to Be Sung. This album is Farrell's first full-length step into the electronic world he's inhabited for years as a DJ. He's fallen in love with the idea that two turntables can unite different cultures and take them to a higher place, and Song is a celebration of that spiritual elevation from the everyday. It's also a celebration of the Hebrew Jubilee, a time of renewal in which all burdensome ties are released in the name of community forgiveness. Musically, Song swirls different styles--downtempo, drum & bass, techno, dub, world, and a little rock--around a softer version of Farrell's signature wail. It's an upbeat mix that swells with optimism while generating a deep musical groove. Overall, Song shows Farrell as a musical Midas who continues to turn each new project he embarks on into gold. --Jennifer Maerz

Customer Reviews:

30-something's, open your minds and ears!.......2005-07-23

This album confirms it for me. Farrell is a genius.

I've heard people say they didn't like this album. It was too different. Too unexpected. They wanted it to sound more like Jane's. Those old fogey's might think back to their early 20's and the first time they heard Jane's.

If they were like me, they may not have gotten it at first. Nothing Shocking? I didn't "get it" for months. The second Pornos for Pyros album--the same. Rev--what was up with those first few songs?

Now I get them and they're my 3 fave albums.

I just hope that thrity-somethings like me will have a plastic enough mind to keep up with Farrell and can come to accept something new.

Gunnar

Not Bad, But what the Hell Happened?.......2005-06-30

If you are wondering that this album may be the continuation of Porno for Pyros and Jane's addiction, than you're dead wrong. Perry Farrell comes out with a experimental sound. Something that Moby and Beck would create. This album is not flop, But I would prefer sampling it before you buy it. I heard that Perry Farrell is coming out with a new band at lollapalooza called Sattelite Party, and I believe they sound similair to this. I also heard that a new Porno for Pyros album might be released. But I don't know when.

Not at all like Jane's Addiction but awesome anyways!.......2004-10-15

I think the reason many people considered Perry's solo recording a failure is because most of those people are hard-core Jane's Addiction fans. This isn't at all like Jane's, it more of a electronica/dance/jewish genre but it great!!

A really good attempt at re-definition.......2004-08-05

First of all, I think Perry Farrell is one those flaky artists that can't be relied on to follow anything through, mainly because he's constantly jumping from one thing to another , rather than concentrating on what he's best at. He ditched Jane's Addiction just as they were hitting their peak, he lost interest in Porno for Pyros, his excursions into festivals and events never quite live up to his hype and his whole turn as a DJ isn't really taken seriously by fans of electronica. However, the man has a supremely melodic and beautiful voice and he can write great songs. When I first saw this album I was completely skeptical and hardly interested. However, I gave it a chance and on the strength of two tunes I decided to buy it. The album really grows on you. It's hard at first to wrap your head around the concept of one of rock's greatest warblers singing over sequencers, samples and drum machines, but, on closer inspection you can really pick out the guy's genius. While it won't satisfy techno fans (and some Jane's fans probably won't bother with it either), this album stands out as one of those anomalies that will be appreciated much more a few years down the line. Farrell encompasses everything into this understated but ambitious project. You hear drum n' bass, house, Middle Eastern instruments and melodies, dub, reggae, traces of rock and Farrell's usually bombastic voice. 'Happy Birthday Jubilee' is a great introduction to what the album seems to be about, basically Perry's re-introduction to his Jewish faith and roots. The reprise of the tune at the end of the album, all hectic energy and frenetic pacing, is even better. The album really kicks off with 'Did You Forget?' which starts off nicely with a thick, lonely sounding bass frequency and then kicks off into this manic drum n' bass piece accompanied by Perry howling like he used to back in the day. Surprisingly, there's a guitar in it, which will probably piss off purists, but, it works. The album maintains its quality from there on, running through 5 great songs in a row. 'Shekina' shines with all the things that make Perry's open-minded adventurousness great. There's a hint of an Arabic melody in there and the track soars with all these high pitched squeals that are both Perry's voice and the many instruments on the track. When Perry goes into 'Our Song' you can see that he's not really riding the wave of electronic music that was being hyped at the time, but rather, putting his own stamp on a music that he found innovative and fresh. 'Say Something' is probably the prettiest track on the album. Farrell sounds almost sweet while singing about 'someone meeting someone', and the accomapnying music is the mellowest on the album. 'Seeds' is a trippy, slight number with a house beat and an entrancing piano riff that gives the song a circular feeling of rebirth (haha, I don't know HOW I came up with THAT one. Damn, I sure can be pretentious sometimes, especially when trying to write like a 'real' rock critic haha.) The most infectious track is 'To Me' the semi-dub reggae like song that really can't be called reggae cuz it's not like any form of it that you've ever heard before. There's a backward steel drum loop and the piano carries the choppy riff where a guitar usually would be, but the bass line is the real connection to the Caribbean (I could see a rasta scratching his head at this though). 'King Z' is much the same, but more aggressive, it's bassline being almost Moog-like funky, and a killer harmonica that I haven't heard Perry use since the first Jane's album. There are a couple of bum tracks that I didn't really care for ('Song Yet To Be Sung' even though the tribal drums in it sound cool and 'Nua-Nua'). All in all, though, it's quite a unique offering and a display of Perry's talents. I found the one guy's comparison of this album to Madonna's 'Ray Of Light' album to be quite accurate. It's an odd diversion from his usual stuff, but it was a great attempt at trying something a little different. The album is a celebration of Perry's positive view of life. It really should be checked out again, but divorce yourself from your preconceptions and view it as a piece unto itself. Don't connect it to his past nor with what was happening at the time. The album has slipped by the wayside, but I think it will find its place in the musical pantheon one day. Unfortunately, the very thing that makes Perry great is also his greatest hindrance: his restlessness. If the guy just learned the value of patience and stuck to doing one thing amazingly, he'd be above and beyond his contemporaries. The way it seems now is that he gets bored too quickly and is already looking on to his next project before he gets the current one done. He's a victim of his own ambitions. Stop looking at the horizons Perry, and enjoy the warm glow of the sun in the here and now.

Best Album Ever!!!.......2004-02-25

I thought I had every piece of music (and video) this talented man had ever contributed to until I found out that this one had slipped by me. I haven't taken out of my CD player for months now & I am not sure I could really use words to give this album justice. It simply inspires the daylights out of me to dance, create art and be happy. It has a meditative & magical sound quality with Perry's melodies and an amazing singing guitar. "When I hear that song, does my heart good", what an understatement! Thank you Perry for this incredible album!!!

Average customer rating: No Passion, Skip It! Eileen Farrell-Puccini Arias La Diva Yankee FARRELL SINGS PUCCINI Legacy Recording of USA's greatest dramatic soprano, bar none

Puccini Arias Manufacturer: Sony ProductGroup: Music Binding: Audio CD All Works by Beethoven | Beethoven, Ludwig van | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Gluck | Gluck, Christoph W. | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Weber | Weber, Carl Maria von | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Vocal & Song | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music | Cantatas | Romances Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Arias | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music | Cantatas | Romances Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | 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: Eileen Farrell Sings Verdi French Opera Arias (Dig) Eileen Farrell Sings Opera Arias & Songs Eileen Farrell in New Orleans HOMAGE: The Age of the Diva ASIN: B000F6YW62 Release Date: 2006-08-01

Tracks:

1. O mio babbino caro from Gianni Schicchi
2. Quando me'n vo' soletta per la via from La boh (Musetta's Waltz Song)
3. Smi chiamano Mimrom La boh
4. Donde lieta usci from La boh
5. Chi il bel sogno di Doretta from La rondine
6. Non la sospiri from Tosca
7. Vissi d'arte from Tosca
8. Spira sul mare from Madame Butterfly
9. Un bel di vedremo from Madama Butterfly
10. In quelle trine morbide from Manon Lescaut
11. Tu che di gel sei cinta from Turandot
12. In questa reggia from Turandot
13. Grands dieux! du destin, qui m'accable from Alceste
14. Ah perfido!, Op. 65
15. Abscheulicher, wo eilst du hin? from Fidelio
16. Leise, leise' from Der Freisch
17. Cavatina: Und ob die Wolke from Der Freisch

Customer Reviews:

No Passion, Skip It!.......2007-07-18

Skip the Puccini arias and go directly to the Gluck, Beethoven and Weber. There you will find Farrell more sympathetic to the style. She does not "get" Puccini at all and just sings the notes with not a jot of feeling, let alone the passion that these arias demand. She holds back on the voice and doesn't once let loose - her top even sounds quite unlike her. In the French and German arias she sounds more attuned to the music, though even there she is sorely lacking. Listen to the beginning of "Komm, Hoffnung," (in "Abscheulicher") in which she evinces no sign that she knows what she's singing about. The opening word of that aria, "Abscheulicher!" means "monster," and there, too, she just sings the notes - there's no revulsion, anger or fear in her voice. "Per pieta non dirmi addio," in "Ah perfido," is sung prettily where it should convey the cry of a woman begging her man to stay. All of the arias on this disc have been sung better by other sopranos of the past and present. Skip this disc, don't waste your money.

Eileen Farrell-Puccini Arias.......2007-02-21

I have been waiting for this recording to be released on CD for years. No one can sing like Ms. Farrell could. Everytime I hear her rendition of In Questa Reggia, it brings tears to my eyes. Her singing is just amazing. It's sad she is no longer with us, but having her wonderful voice preserved on CD will allow generations to come to also experience this gem. Take a listen to her blues/pop recordings as well. She could sing anything.

La Diva Yankee.......2006-11-04

In a singing competition with all the divas of her generation, Ms. Farrell would have won hands down, and this disc proves it. It is an excellent companion to her EMI recital with Thomas Schippers conducting if you want to document all the facets of her artistry. Mme. Callas once replied to Mr. Bing's wooing her to the Met with "We have all the greatest singers of the world" with "You don't have FARRELL!" If only Eileen Farrell had recorded more complete operas in the studio and had even been coaxed to sing Bellini's Norma.

FARRELL SINGS PUCCINI.......2006-09-19

To start off, I love Eileen Farrell. The voice was one in a million. Her versatility was astouding. From Bach Cantatas to Wagner's dramatic scenes, from the great symphonies and oratorios to the American songbooks of Gershwin, Arlen and Kern, this lady had it all. There's no dispute about that.

So why do I find something lacking in her singing of familiar Puccini arias? I can't put my finger on it. There's something unidiomatic in her and Max Rudolf's approach, something not lyrically italianate enough in style. Truly, Turandot should have been the right role for her, but "In questa reggia" just doesn't sound as effortless as it should have.

Far better are the Beethoven and Weber arias excerpted from the "Arias in the Great Tradition" collection.

Legacy Recording of USA's greatest dramatic soprano, bar none.......2006-08-27

Wow, it is ever good - no, great - to have Eileen Farrell back with us. Even if only via these reissued, remastered discs. One can only hope that the DSD remasterings which have been trickling out from giant Sony/BMG will soon get published in SACD versions.

It is ever too facile to look back on musicians of the past and hear a Golden Voice in a Golden Era. But, the cliché comes perilously near reality in this case.

Eileen Farrell was undoubtedly one of the most prodigiously gifted of dramatic sopranos who has ever walked the planet. Her physical vocal talents were so unfailingly there. She never had to wonder if her voice was going to show up, and neither did anybody else.

On top of these generous physical gifts, Farrell was the most dedicated of vocal musicians. She never showed up without being ready for work, and everybody knew it. In fact, her down to earth competency and Rock of Gibraltar professionalism tended to cast unwelcome shadows over some of the other divas - a category of grandstanding musician not strictly limited to singers - who might stand next to her on the opera or concert stages where she appeared.

To our very, very great loss, she eventually dropped out altogether. She loved the music - but she had little or no patience for the intrigues, the opera politics, and the over-inflated vanities of so many people whom she encountered in the music biz of her era.

To our great happiness, she did make some fine recordings, of which the current release is one. This CD actually gives us the old Puccini arias LP, plus a few added selections from another LP of famous arias for dramatic soprano.

Without affectation or strain, Eileen Farrell conquers each operatic challenge. And she does this by entering into the music, not by bending the music to her own wayward will or egotism. If Farrell had been eccentric, we surely would have forgiven her somewhat, so great was her voice. But she didn't need to pile difficult narcissistic postures or attitudes on top of her abilities. Technically, she lightens her huge voice to characterize the more youthful of the Puccini heroines on offer, starting with Gianni Schicchi, and moving on through La Boheme and La rondine, to Tosca and Madame Butterfly and Manon Lescaut. The climax of the Puccini program is Turandot, but true to Farrell's generosity and fine form, we get Liu, plus Turandot's In questa reggia.

If Birgit Nilsson could be said to have owned the role of Turandot in that past era, it probably was only because Farrell dropped out so quickly. Had Farrell stayed, we surely would have been happy to get every single note she sang. This In questa reggia is so much solid gold that one roundly curses the USA record companies for not rushing to get the whole opera down complete, with Farrell in the title role. Or, in a risible tour de force of studio recording, could she have been double cast as both Liu and Turandot? That sensationalistic oddity of a trick would have yielded nothing but the best music in Farrell's hands, if anybody had even dared go so far.

To complete the disc, we get five additional great dramatic soprano arias from Gluck, Beethoven, and Carl Maria von Weber. If anything, these leave a listener aching like a silly opera pig for more, more, more, more, more. (There is more; look for a disc of Verdi arias. Also pure gold.) She has the imperturbable facility that we have tended to associate with Nilsson, plus a certain North American cultural or interpretive directness. There is simply never a fussy moment in these great dramatic arias. The Beethoven arias especially benefit from this self-assured directness, because something true in Farrell's personality - she knew she was good, period - is echoed in Beethoven's musical personality. The Gluck and von Weber arias also benefit from this directness of utterance, because their grand operatic, dramatic soprano strength is delivered, clear and present and whole. In their examples, Romantic opera does not depend on having to use operatic character acting to cover for any vocal weaknesses or limitations whatsoever. Farrell simply lets her characters stand and deliver.

If your best sense of Verdi has gotten squishy, just go to the other Farrell disc and she will get you right back to Verdi home base, no holds barred.

Who was the Columbia Symphony Orchestra? Membership probably varied from session to session, and from east coast bands, to west coast bands. Whoever they were, they play wonderfully well for Max Rudolf. Partly, their fundamentally professional competency matches Farrell's work, and partly all concerned must have felt privileged to get the call to be a session player for this disc. No problems with the band, then. And kudos to dear old Max Rudolf. He conducts as open-heartedly and as musically involved as Farrell sings.

If you have slightly or greatly lost sight of opera as music - if opera has gotten tarnished by pretense, theatrics, diva-dom, and brand name singer marketing spin published by the remaining big record labels - well, just put this gem of a CD on the player and return to a time and place when opera was still a real musical deal. Farrell would like that, assuming we listen with a no nonsense attitude that wants nothing better than to hear the music for what it is worth.

Do not hesitate to get this disc. And if it comes out in SACD some day soon, get that too.
Farrell and the music are the point. And, looking back, we cannot take such dedication for music as a great cultural calling for granted, even for a split second, in the slightest. This and the other Farrell recordings belong on a best of all times list. Now shake your piggy bank vigorously, and click.

Average customer rating: This Truly Is "Bel Canto"! An essential Maria Stuarda...the only one, in fact Glorious Maria Stuarda - The best on records Remembrance of Things Past Awful

Donizetti: Maria Stuarda Gaetano Donizetti , Beverly Sills , Aldo Ceccato , Stuart Burrows , Eileen Farrell , and Louis Quilico Manufacturer: Decca U.S. ProductGroup: Music Binding: Audio CD All Works by Donizetti | Donizetti, Gaetano | ( D ) | Featured Composers, A-Z | Classical | Styles | Music Sills, Beverly | ( S ) | Featured Performers, A-Z | Classical | Styles | Music London Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music 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 The Decca Records Store | Specialty Stores | Music Similar Items: Donizetti: Anna Bolena Donizetti: Roberto Devereux (Elizabeth and Essex) Donizetti's Lucia di Lammermoor: Complete Opera (with full libretto and translation) Bellini: I Capuleti e i Montecchi The Ballad of Baby Doe ASIN: B00005AWIM Release Date: 2001-04-10

Tracks:

1. Maria Stuarda: Overture
2. Maria Stuarda: Act One - Preludio
3. Maria Stuarda: Act One - Qui si attende
4. Maria Stuarda: Act One - Si, vuol di Francia il Rege
5. Maria Stuarda: Act One - Ah! quando all'ara scorgemi
6. Maria Stuarda: Act One - Fra voi perche
7. Maria Stuarda: Act One - Hai nelle giostre
8. Maria Stuarda: Act One - Questa immago
9. Maria Stuarda: Act One - Sei tu confuso?
10. Maria Stuarda: Act One - Quali sensi
11. Maria Stuarda: Act Two - Allenta il pie, Regina
12. Maria Stuarda: Act Two - Oh nube!
13. Maria Stuarda: Act Two - Ah! non m'inganna la gioia!
14. Maria Stuarda: Act Two - Da tutti abbandonata
15. Maria Stuarda: Act Two - Qual loco e questo
16. Maria Stuarda: Act Two - E'sempre la stessa

Tracks:

1. Maria Stuarda: Act Two - Deh! l'accogli
2. Maria Stuarda: Act Two - Va, preparati furente
3. Maria Stuarda: Act Three - E pensi? E tradi?
4. Maria Stuarda: Act Three - Quella vita
5. Maria Stuarda: Act Three - Si!...Regina!
6. Maria Stuarda: Act Three - D'una sorella, o barbara
7. Maria Stuarda: Act Three - La perfida insultarmi
8. Maria Stuarda: Act Three - Che vuoi?
9. Maria Stuarda: Act Three - Oh mio buon Talbo!
10. Maria Stuarda: Act Three - Quando il luce rosea
11. Maria Stuarda: Act Three - Vedeste? Vedemmo
12. Maria Stuarda: Act Three - Anna?...Qui piu sommessi favellate
13. Maria Stuarda: Act Three - Deh! Tu di un umile preghiera
14. Maria Stuarda: Act Three - Oh colpo!...
15. Maria Stuarda: Act Three - Giunge il Conte
16. Maria Stuarda: Act Three - Ah! se un giorno da queste ritorte

Customer Reviews:

This Truly Is "Bel Canto"!.......2005-07-06

Beverly Sills is justifiably famous for her performances and recordings of the three Donizetti "Mad Queen" operas--"Anna Bolena", "Roberto Devereux", and this one, "Maria Stuarda". All three recordings are wonderful examples of quintessential bel canto operas performed by excellent casts, but this recording of "Maria Stuarda" must stand out. While other sopranos may be considered to have richer voices, Sills' technical mastery, incredible musicanship and acting skills make her one of the finest performers of bel canto opera in the second half of the 20th century.
And unlike in her recording of "I Puritani", here Sills is ably supported by her fellow cast members. Stuart Burrows is an elegant and refined Mozartean tenor--very different in style from Sills' fierce and somewhat "over the top" portrayal of Mary Stuart--but it works very well for his role as the ineffectual Leicester. And one of the joys of this recording is the chance to hear the sadly under-recorded American dramatic soprano Eileen Farrell in one of the very few (if not the only) full length opera roles she recorded. Her rich and powerful soprano is a joy to hear, and her duets with Sills are musically stunning--one of the major highlights of this opera. If you like bel canto opera, you'll love this recording.

An essential Maria Stuarda...the only one, in fact.......2005-05-01

One might argue that Mary Stuart (bloody Mary) should never have been represented as a heroine, but here in the opera she is regally presented as a vulnerable, innocent woman. And who would be better to represent this queen that America's queen of opera, Beverly Sills? I've heard several renditions of Mary Stuart, from Montserrat Caballe to Leyla Gencer and even Edita Gruberova, but Beverly Sills outsings them all as Elizabeth's rival to the throne. She had all the notes in her throat, plus drama in her veins that makes her in every right of the word a queen. No other recording of Maria Stuarda has caught my attention as this, and I believe it should be a part of your collection. Eileen Farrell, who sings Elizabeth in this recording, is an amazing singer who not only sang Wagnerian roles well, but also bel canto roles. Listen to her duets with Sills...simply amazing. Highly recommended recording!

Glorious Maria Stuarda - The best on records.......2005-02-03

Beverly Sills is famous for her recordings of Donizetti's Tudor-Queens, and this recordings proves how right her fans are. Her Mary has it all that some lack: Fire, dignity, vocal brilliance, touching drama, delirious passion and Bel Canto abilities that haven't been equalled since she and Montserrat Caballe sang these roles. Just listen to Maria's prayer... It'll take your breath away. Mary Queen of Scots may not have been such a heroine in real history but this recording certainly is nothing short of a miracle with an equally brilliant cast.

Remembrance of Things Past.......2004-05-30

In this recording, I am pleasantly reminded of my early exposure to opera; and still hear much to validate my early impressions of the bel canto genre. Beautifully sung and played, this performance still stands out just for its pure flowing continuity; but no less admirable are the more dramatic moments, especially featuring the late Eileen Farrell. A pity she didn't sing more in complete opera performances, both onstage and recordings. Truly, a great dramatic soprano. Beverly Sills is, as always, a delight to hear. Such gorgeous tone and floating pianissimi. Also a notable range. Perhaps not the most depth of any voice in opera, still, always a pleasure. Just plain beautiful. Textually complete, particularly in comparison to the Sutherland version. This is opera as theatre, at least as close as one can get in bel canto. I only wish I had witnessed a performance onstage of this work featuring Sills. But, alas,I was a kid at the time, and it was never brought to my city, in spite of all my hopes. So, this recording on cd is a real treat for me, especially in view of the fact that the original lp pressings on audio treasury were a bit substandard. Also quite good are Stuart Burrows, and, to a lesser degree, Louis Quilico. If only his son had been singing professionally then. Recommended for anyone that appreciates beautiful singing.

Awful.......2004-05-20

Right back at you, damn basher! If you won't leave Callas alone (You've done her enough harm!) we'll retaliate! We warned you! Sills has a thin, screechy voice and is miscast in this dramatic role! Go for Sutherland instead!

Average customer rating: A brilliant Beethoven's ninth A Gold Standard A passionate recording with the unique Toscanini stamp

Beethoven: Symphony No. 9 "Choral" Manufacturer: RCA ProductGroup: Music Binding: Audio CD All Works by Beethoven | Beethoven, Ludwig van | ( B ) | Featured Composers, A-Z | Classical | Styles | Music Romantic | Symphonies | Forms & Genres | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music Toscanini, Arturo | ( T ) | Featured Performers, A-Z | Classical | Styles | Music $7.99 and Under | Classical Music Blowout | Stores | Music All Classical Music Blowout | Classical Music Blowout | Stores | Music Beethoven, Ludwig van | ( B ) | Composers, A-Z | Classical Music Blowout | Stores | Music Toscanini, Arturo | ( T ) | Performers, A-Z | Classical Music Blowout | Stores | Music Instrumental | Classical Music Blowout | Stores | Music Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Similar Items: Beethoven: Symphonies Nos. 5-8 Beethoven: Symphony No. 9 Beethoven: Symphony No. 9 Great Recordings Of The Century - Beethoven: Symphony no 9 / Furtwangler, Schwarzkopf Beethoven: Symphonies Nos. 5 & 8/Leonore Overture No3 ASIN: B000003EWO Release Date: 1991-01-18

Tracks:

1. Symphony No. 9, Op. 125 'Choral' In D Minor: Allegro Ma Non Troppo, Un Poco Maestoso
2. Symphony No. 9, Op. 125 'Choral' In D Minor: Molto Vivace
3. Symphony No. 9, Op. 125 'Choral' In D Minor: Adagio Molto E Cantabile; Andante Moderato
4. Symphony No. 9, Op. 125 'Choral' In D Minor: Presto; Allegro Assai

Customer Reviews:

A brilliant Beethoven's ninth.......2006-01-19

Arturo Toscanini (1867-1957) spent much of his conducting career trying to give a "definitive" performance of Beethoven's ninth symphony. He conducted the symphony numerous times; it wasn't until 1952 that he was sufficiently satisfied with a recording of this major work to authorize a commercial release.

Toscanini had hated to record during the days of 78-rpm discs. Each 12-inch record side played a little under five minutes, so it was necessary for the conductor and musicians to stop periodically while the master was changed. Only in the United Kingdom, where Toscanini made recordings with the BBC Symphony Orchestra, did a record producer (Fred Gaisberg) come up with a system using two recording machines, so that Toscanini and the musicians did not have to stop.

Toscanini was very happy when RCA Victor began using magnetic sound film to record his sessions with the NBC Symphony. Then, in 1948, RCA switched to magnetic tape. With both processes, continuous performance were possible and true high fidelity was realized. Toscanini told his friends that he was often very happy with the long-playing records that RCA began issuing in 1950. By 1952, RCA was using a single full range microphone, suspended above Toscanini's head, to achieve its "New Orthophonic" process. Occasionally, an additional microphone was used to pick up soloists. The results in this recording were exceptional and very realistic.

Toscanini always felt there were problems with performances with Beethoven's ninth symphony. Something always seem to go wrong, either with the soloists, the chorus, the orchestra, or the conductor himself. It's likely other conductors and musicians recognized the challenges of this very difficult music. Just as Beethoven had done with his "Missa Solemnis," the composer challenged the musicians with his very profound and very intricate music. Both works stretch the singers to their vocal limits; having sung "Missa Solemnis" and the ninth symphony, this writer can attest to the considerable challenges of the music.

The commercial recording that Toscanini made with the NBC Symphony Orchestra in Carnegie Hall in 1952 was the culmination of years of trying to understand Beethoven's intensely complicated musical score. That Toscanini succeeded in producing a legendary recording is a real tribute to his greatness. It's particularly amazing that he made this recording the year he turned 85 years of age.

Joining Toscanini and the NBC Symphony in this recording were a group of outstanding vocal soloists, particularly American tenor Jan Peerce, whom Toscanini considered among his all-time favorite singers. Peerce first sang with Toscanini in a 1939 broadcast performance of this symphony. The Robert Shaw Chorale, which had first performed with Toscanini in a 1945 broadcast performance of the ninth, were on hand, again providing some of the best choral singing possible. Shaw would go on to become a symphony conductor himself (with the Atlanta Symphony) and some said that he was much influenced by his mentor.

It is well known that the four movements attempt to present various musical philosophies of life. Beethoven basically rejects the first three proposals, even reviewing them in the opening moments of the fourth symphony, and then has the bass soloist sing, "O friends, not these sounds." Beethoven uses Schiller's "Ode to Joy" and the recurring main theme has become one of his most famous melodies, later used as the tune for the hymn "Joyful, Joyful, We Adore Thee." The composer clearly had already recognized that one must accept fate and not be discouraged; it was such determination that enabled to live and continue composing despite increasing deafness.

This performance set the standard for all recordings of the Beethoven ninth symphony. Few conductors, singers, and musicians have succeeded as well as Toscanini did in this memorable performance.

A Gold Standard.......2004-08-27

This recording of Beethoven's 9th Symphony brings us Toscanini at the pinnacle of his career and the most mature stage of his life. It is also the only recording he ever made of this piece, even though he conducted it numerous times and was well known for it. While the recording limitations of 1952 are noticeable, the mood and impact of the piece are not affected at all.

The complex instrumental passages are clear and crisp, interpretted by a true master, leading us ever onward to the climax of the 4th movement where the piece explodes with the typical energy of the Robert Shaw Chorale. The lyrics are clear and filled with breathtaking dynamic variations, accurately depicting the boundless joy for which the piece was named.

This recording of Beethoven's 9th is a 'Gold Standard' to which all other conductors strive. No collection of great works would be complete without it.

A passionate recording with the unique Toscanini stamp.......2001-04-09

Doubtless, the ninth remains one of the best musical pieces of all time and, alas, one of the least performed in public. Indeed, such live performances were, and still are, so infrequent that George Bernard Shaw deemed them "extraordinary events separated by years". It may be that it is difficult and technically demanding (but then all Beethoven music is), but it is most likely because it's so passionate and emotionally demanding. You must have abundant personal and professional attributes to conduct a magnun opus the size of Choral Symphony and Arturo Toscanini has them both at his best in this 1952 recording. Although he was 85 years old at that time, he vigorously projects beauty, warmth and youth aplenty. It is a magnificent recording, one you cannot listen to and feel the same afterwards.

Average customer rating: The best early choral music recording I've heard!

Voices Of Ascension: From Chant To Renaissance Peter Stewart , English Anonymous , William Byrd , Gregorian Chant , Guillaume Dufay , Richard Farrant , Hildegard of Bingen , Marc' Antonio Ingegneri , Heinrich Isaac , Josquin Desprez , Antonio Lotti , Giovanni Pierluigi da Palestrina , Thomas Tallis , Thomas Weelkes , Dennis Keene , Kathy Theil , Susanne Peck , Alexandra Montano , Jeffrey Johnson , Neil Farrell , Thom Baker , and Voices Of Ascension Manufacturer: Delos Records ProductGroup: Music Binding: Audio CD Byrd, William | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Dufay | Dufay, Guillaume | ( D ) | Featured Composers, A-Z | Classical | Styles | Music Hildegard of Bingen | ( H ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Tallis | Tallis, Thomas | ( T ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Early Music | Historical Periods | Classical | Styles | Music Sacred & Religious | Early Music | Historical Periods | Classical | Styles | Music | Requiems Vocal & Song | Early Music | Historical Periods | Classical | Styles | Music | Requiems General | Sacred & Religious | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Anthems | Vocal Non-Opera | Opera & Vocal | Styles | Music Chants | Vocal Non-Opera | Opera & Vocal | Styles | Music Hymns | Vocal Non-Opera | Opera & Vocal | Styles | Music Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music Similar Items: Beyond Chant: Mysteries Of The Renaissance The Greatest Choral Music of Palestrina: Prince of Music Mysteries Beyond: Songs and Chants in Praise of Mary Duruflé: Requiem Op.9/Messe Cum Jubilo,Op.11 Voices of Angels ASIN: B0000006ZX Release Date: 2002-01-08

Tracks:

1. Hildegard of Bingen: O virga ac diadema
2. Palestrina: Sitivit anima mea
3. Byrd: Justorum animae
4. Isaac: Sanctus
5. Josquin: Ave Christe
6. Dufay: Alma Redmptoris Mater
7. Byrd: Rejoice, rejoice
8. (chant): Kyrie eleison
9. Palestrina: Surge illuminare
10. (chant): Sanctus
11. Tallis: In ieiunio et fletu
12. Palestrina: Hodie Christus Natus Est
13. Byrd: Sing joyfully
14. Farrant: Lord, for thy tender mercy's sake
15. Hildegard of Bingen: Ave generosa
16. Byrd: Miserere mei, Deus
17. (anonymous): Rejoice in the Lord alway - Anonymous
18. (chant): Ave Verum Corpus
19. (chant): Agnus Dei
20. Lotti: Crucifixus
21. Ingegneri: Tenebrae factae sunt
22. Palestrina: Ascendo ad Patrem
23. Weelkes: Hosanna to the Son of David
24. Weelkes: Alleluia, I heard a voice

Customer Reviews:

The best early choral music recording I've heard!.......1999-07-25

This is a stunning recording, including well-known and not-so-well-known works.

Rock Music:

1. For Collectors Only: Zappa Tribute [Import]
2. Future Isn't What It Used to Be [Import]
3. Glass Bead Game [Import]
4. Goodbye
5. Greetings From New York City
6. Hot Fur
7. If I Should Fall from Grace With God
8. Il Tempo Della Gioia [Import]
9. Incesticide [Import]
10. Instruments of Action

Rock Music