Song For Rita

1. Song For Rita

2. Antigua

3. I'm Glad There Is You

4. Little B's Bounce

5. I Haven't Got Anything Better To Do

6. Amazonas

7. So Tinha De Ser Com Voce

8. Wu Wei

9. Leaving

10. Vineet's Blues

11. Brigas, Nunca Mais

12. Waltz For Joanne

13. Au Contraire

Tracks:

Jitterbug
Mulholland Drive
Rita Walks/Sunset Boulevard/Aunt Ruth
Diner
Mr. Roque/Betty's Theme
The Beast
Bring It On Home
I've Told Every Little Star
Dwarfland/Love Theme
Silencio
Llorando (Crying)
Pretty 50s
Go Get Some
Diane And Camilla
Dinner Party Pool Music
Mountains Falling
Mulholland Drive/Love Theme

Amazon.com

Director David Lynch's affection for kitschy lounge music and emotionally overwrought mid-century pop has long since proven to be more than trend or irony; indeed, it's often the uneasy spiritual axis of his films. The soundtrack of Mulholland Dr. turns on the usual Lynchian motifs (the brooding atmosphere of Angelo Badalamenti's ominous synth-and-orchestra cues tossed with a dash of Lynch's own off-center compositions), yet manages to evoke a sense of foreboding that's distinctly its own. Badalamenti leads off with a curve, the nervous orchestra swing-romp "Jitterbug," before descending into a dark soundscape that becomes murkier and more avant-goth at every turn. Bubbling through that morass are pop nuggets variously cheesy (Dave Cavanaugh's lounge-ready "The Beast"), lugubriously bluesy (Sonny Boy Williamson's take on Willie Dixon's "Bring It On Home"), and alternately innocent ("I've Told Every Little Star") and liturgical ("Llorando"). Three tracks of the director's own (cowritten with John Neff) skulking Lounge Music from Hell ratchet up the tension even further; it's the perfect garnish for this darkly delicious film-music cocktail. --Jerry McCulley

Customer Reviews:

In this dream, you are Betty Elms.......2007-01-13

The reviews here simply don't do justice to the soundtrack. It's very hypnotizing and elevates you to this reality that you indeed have the same mental energy displayed by the first character of Betty Elms, who Diane Selwyn identifies with as herself in a dream she is having. The dark scenery conveyed by this music puts you in her place, where through darkness you hold to your innocence. The movie and music interplay in this way to the effect of putting you in that darkness where you are the same girl that Diane is seeing in her dream, the girl she knows herself to be without the hellish reality she is in as a sort of resolve to the hell she's in. This Naomi Watts specifically conveyed what I thought is a part of me that may also be a part of you, and you will notice it in the way you look at things and how your face expresses your innocence to a dark world. Then there is the music for Rita. I also reviewed the movie, which I also recommend. My favorite track is the 9th one in this respect. Secondly, which you may find suitable for your funeral, is the last song. The rest I almost prefer watching the movie and appreciating it all while viewing, but it's music you must have after you've seen it.

Badalamenti does it again........2006-11-17

If you're a fan of Angelo Badalamenti's scores for David Lynch, you'll want to add this to your collection as well. Haunting synth pieces lull you into the dreamlike world Lynch created with this film, and there are some other types of music to jazz it up a little. Particularly striking is Rebekah Del Rio's cover of Roy Orbison's "Crying."

Take a drive through David Lynch's musical hell and deluding darkness..........2006-06-26

To start of, I regard "Mulholland Dr." as David Lynch magnum opus, his most masterfully created cinema of deceit, lust and darkness. Compelling, totally deranged, original, sometimes hilarious funny, and three minutes later scary as hell.

David Lynch's movies are always heavy set on atmosphere, and this is partly caused by the director's long time musical collaborator Angelo Badalamenti. From the jazzy, loungy tunes for the t.v. series "Twin Peaks" to the dark overtones of "Blue Velvet", Badalamenti knows wich buttons to push to make an eerie composition, a few notes of estrangeness and give the audience an unsetteling feeling.

"Mulholland Dr." is filled with music. Most of it is purely on the soundrack with Badalamenti's score coming very close to high quality dark ambient acts like Lustmord, Raison d'Etre or Hazard, others are sung "live" in the movie, like Linda Scott's sweet bubblegumish "I've told every little star", two very hip tunes ("The beast" by Milt Buckner and Sonny Boy Williamson's "Bring it on home") and of course Rebekah Del Rio's acapella performance of "llorando", the Spanish version of Roy Orbison's evergreen.

But the greatest surprise to me were three tracks by David Lynch himself in collaboration with one John Neff. And these three pieces are to be find on a solo cd by David Lynch called "Blue Bob".
I never knew before seeing "Mulholland Dr." that David Lynch is also a guiter player and singer. Now I know and I must say that his song "Mountains falling" is the most brooding, creeping, swirling and erotic sounding piece of electric guitar music I have ever heard.

So play this album and hit the road, Jack. And pray that indeed you will come back...

dark and (often) beautiful.......2005-11-25

anyone who has seen mulholland drive knows that the soundtrack lent a very important hand to the overall vibe of the movie. so you would think that it would be hard to enjoy one without the other, but this soundtrack suceeds very well on its own. alot of film scores are fine and enhance the movie while yr watching it, but are trash when taken alone and this sndtrk is kind of above that. i'm not really big on any of the lynch/neff tracks, but they work fine in the movie. the other songs that weren't written by badalamenti are pretty good and are a nice change of pace. my favorite tracks are dwarfland/love theme (especially the latter half), mulholland drive/love theme, llorando, and diane and camilla. i dont believe that diane and camilla was in the movie, but its a very beautiful piece that i think sums up the diane/camilla relationship quite well. anyway, i really like this cd and anyone who enjoyed the film would do well to pick this up

A dark journey through the sphere of horror........2005-10-26

It may not be a horror movie, but the score for Mulholland Drive could be a journey through the ultimate graveyard or haunted house on a stormy Halloween night. I have never even seen the movie, though I love David Lynch's movies for the most part. This score is a dark and haunting musical journey that might work well for a score to a creepy vampire movie or something. Some of it, including the heavy jazzy and dark rock pieces, might be better suited for a suspense thriller, which it is. But the more ambient dark themes could work in any supernatural thriller much as Mark Snow's music could. Enjoy the tour! Ha! Ha! Ha!

Average customer rating:

Sensuality Personified!

The Very Best of Régine Crespin

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Legend: Régine Crespin [CD & DVD]
The Very Best of Lucia Popp
Very Best of
Italian Opera Arias
Berlioz: Les Nuits d'été; et al / Crespin, Ansermet

ASIN: B0006VYEJQ
Release Date: 2005-04-26

Tracks:

Ils S'Eloignent Enfin...Sombre Foret
D'Amour L'Ardente Flamme
Les Grecs Ont Disparu...Malheureux Roi!
Nous Avons Vu Finir...Chers Tyriens
Je Vais Mourir...Adieu, Fiere Cite
Ah! Salome! Dans Ce Palais...Il Est Doux, Il Est Bon
Je Souffre
Mes Cheres Filles, J'Ai Encore A Vous Dire
Soir
Le Secret
Apres Un Reve
Clair De Lune
Lo Fiolaire
Lou Coucut
Coeur En Peril
Berceuse Creole

Tracks:

Einsam In Truben Tagen
Euch Luften, Die Mein Klagen
Eine Waffe Lass Mich Dir Weisen...Der Manner Sippe
Ich Sah Das Kind
I. Der Engel
II. Stehe Still!
III. Im Treibhaus
IV. Schmerzen
V. Traume
I. In Der Fremde
II. Intermezzo
III. Waldesgesprach
Timor Di Me?...D'Amor Sull'Ali Rosee
Ecco L'Orrido Campo...Ma Dall'Arido Stelo Divulsa
Tu Che Le Vanita
D'Art Et D'Amour

Album Description

Details TBA. EMI. 2005.

Customer Reviews:

Sensuality Personified!.......2005-04-27

This is one of the best collections of Regine Crespin. Of course, her Berlioz/Ravel set with Ansermet is definitive, but the beauty and soft womanliness of her voice can be heard in all the selections on this disc. The engineers went for her vocal best and they created a fine collection aptly titled "The Best of..." One would be unduly captious to find Crespin "brittle" of tone here.

It is by now, very difficult to imagine anyone singing "Il est doux" with more apt expression of the line than La Crespin. Wagner's Wesendonk lieder is simply sublime from start to finish and the Faure takes on new meaning. That she is comical, melancholy, fun and happy by turns singles her out. This collection captures all her awesome talent. Underneath it all seems to be a very, if I may, sexual energy.

Crespin must be heard to be believed and the miracle lies in that even her softest tones are really enveloping, never thin. All tones are open and this is why there are enough colors in Regine Crespin's delicious voice to paint the world a thousand times, but it may also be why she infamous for being short and edgy on top but I remind, never here is she such. She is a relaxed singer in superb voice, comfortable in her own olive skin and makes the most out of every word those poets wrote.

The whole collection is unique in pace, style, and voice. It is Regine Crespin...in a nutshell fabulous!

Average customer rating:

Truly stunning voice, beautifully recorded
Delightful recital!
NOT SINGING BUT A SILVER HEAVEN GLITTERING WITH STARS
What angels must sound like...
One of the C20th Most Endearing Singers.

Strauss, Saint-Saens / Rita Streich

Manufacturer: Polygram Int'l
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

General | Classical | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

Czech | Languages | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Classical | Imports | Stores | Music
Similar Items:

Rita Streich: Folksongs & Lullabies
The Viennese Nightingale
HOMAGE: The Age of the Diva

ASIN: B000006143
Release Date: 2005-03-21

Tracks:

Op.410: Fruhilingsstimmen
Le Rossignol et la rose
Lo spazzacamino
Jocelyn: Wiegenlied
Parla-Walzer
Boccaccio: Hab' ich nur deine liebe
Rusalka: Lied an den Mond
Dinorah: Schattentanz
Osterreich, Op.164: Dorfschwalben
Die Nachtigall
Les Filles de Cadix
Chi sa?
La felletta
Last Rose Of Summer
Villanelle
Draussen In Sievering
Il bacio

Customer Reviews:

Truly stunning voice, beautifully recorded.......2006-04-12

A most amazing and effortless coloratura voice, handling the German (of course) and Viennese style with native ease. A stunning "Fruhilingsstimmen." Easy on the ears and still exciting after much replaying.

Especially considering the era, the recording quality is quite clear and good. Delighted to find this on CD.

Delightful recital! .......2004-08-07

Rita Streich shines in this recital! Each piece is performed with remarkable accuracy and beauty of tone. She is particularly effective in communicating the Viennese spirit of the Walzer. There aren't sopranos today who sound this good in the German repertoire. Sadly, a lost tradition. Her Italian accent is not perfect but it's not distracting and besides there aren't many Italian arias here. She nevertheless sings them beautifully. Pity that not all tracks were recorded in stereo sound. Overall, a superb memento of Streich's rare artistry.

NOT SINGING BUT A SILVER HEAVEN GLITTERING WITH STARS.......2001-07-10

I have no single vocal record more prized than this. The other reviewers above all speak more knowledgably of her technique than I can. I can say only that this record puts me adrift in the heavenly beyond. Rita isn't just artful, she's a gift of God driven into your breast. She brightens one's whole sense of existence. Her yearning youth and richness blend the blue of spring with the heart of an agonizingly green June day. Just lovely, lovely, lovely. After you hear Rita Streich: Walzer & Arien, you'll want to get her double album with the reverse title: Rita Streich: Arien & Walzer, which is just as heavenly but slightly more mature and grandly brilliant. You may think Callas singing "Casta Diva" the height of vocal art. You are in for a wonderful surprise.

What angels must sound like..........2001-04-25

I will cut this short.. Streich has the most beautiful voice and tone, I in all likelihood will ever lend an ear to... (...Save that of an Angel, should I by some strange coincidence be allowed into heaven...) This compilation magnificantly dokcuments Streich's vocal talents in the more light-hearted repetoire, and it is a gem.. Get it!

One of the C20th Most Endearing Singers........2001-02-02

Rita Streich (1920-1987) enriched the annals of recorded music more than any other coloratura soprano of the C20th. Fluent in many languages, and well-coached by several eminent singers, she had a voice with a recognisable "colour". Naturally vivacious and charming herself, she could range successfully into deeper emotional expressiveness. As she explained in an interview, "the difficulty every coloratura encounters is to be expressive with a voice of restricted size and colour". Listen to the Dvorak aria here (Track 7) to see how well she overcame this difficulty.

In this well-filled CD, produced by a son of Dietrich Fischer-Dieskau, are found recordings originally issued on three LPs in the 1950s. There are some bravura coloratura items featuring a very secure trill, some rarities, and favourites new and old. The sound quality is first-rate. Texts are not included in the liner notes, instead there is a biographical appreciation printed in German, French, English and Italian.

As a footnote, I shall reveal that this delightful artist's fluency in English lapsed slightly on one occasion when she was giving a radio interview in Australia. While discussing the many components of opera production, and intending to say something about the stage lighting, she said, "Of course, very special effects can be obtained in opera houses by lightning".

Yodeling the Classics: The Complete Collection
Average customer rating:
Yodeling the Classics: The Complete Collection

Manufacturer: Koch Int'l Classics
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music
General | Classical | Styles | Music
ASIN: B000OHZJFA
Release Date: 2007-06-12

Tracks:

Medley: Yodelling Overtures: William Tell Overture/Carmen Overture/Can Can Overture
Skater's Waltz Yodel
Medley: In a Monestery Garden/Sanctuary Of the Heart
Medley: Hungarian Dance Yodel/Czardas
Clarinet Polka Yodel
Toselli's Serenade
Medley: Yodel And Waltz: Il Baccio/A Heart That's Free/Merry Widow Waltz/Schon Rosmarin
Medley: Brahms' Lullaby Yodel/Mozart's Cradle Song
Largo Al Yodel (Largo Al Factotum)
Tritsch Tratsch Polka Yodel
Beethoven's Minuet Yodel
Medley: Yodelling Marchtime: Washington Post/Sempre Fidelis/Liberty Bell/Blaze Away

Tracks:

Medley: Yodelling Mozart: Eine Kleine Nachtmusik/Symphony No.40 In G Minor/Rondo All Turca
Yodelling Rossini (La Danza)
Melody In F
Fiddle Faddle Yodel
The Blue Danube
Medley: Yodelling Gilbert And Sullivan: When I Was a Lad/The Modern Major General/Poor Wandering One/Duke Of Plaza Toro
Post Horn Gallop Yodel
Love's Old Sweet Song
Radetzky March Yodel
Tales From the Vienna Woods
Annen-Polka Yodel
Medley: Yodelling Comedians: Comedians' Galop/Dance Of the Comedians

Average customer rating:

"The death-doomed alone are destined to look on me."
Breathtaking, powerful, accessible, not just an alternative
Absolutely Breathtaking!
A powerful reading of the most moving opera in the Ring.
The power of Wagner's music drama is now fully accessible

Wagner: The Valkyrie

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
Similar Items:

Siegfried (Goodall Ring Cycle/Chandos Opera in English)
The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)
Wagner: The Rhinegold

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

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

TIMING (Estimate):
Solti's Ring: 14 hours, 30 minutes
Bohm's Ring: 13 hours, 30 minutes
Karajan's Ring: 14 hours, 50 minutes
Goodall's Ring: 16 hours, 50 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Sawallisch's Ring: 14 hours, 0 minutes

CONDUCTING:
Solti: Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His Walkure & Gotterdammerung Preludes are clear examples: they're annoyingly bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.

Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe "Wohin schleich'st du eilig und schlau"). I especially like his "Forging Scene" & "Hagen Summons the Vassals"; both are the most energetic on disc.

Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as Siegfried Act Three Scene Three) are controlled nicely. His "Funeral March" and "Immolation" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.

Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: everything is slower than adagio moderato. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.

Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Sawallisch's). Rheingold Scene Four can be best described as "sensational".

Levine: While he does stay true to the score like Bohm, this conductor makes for a somewhat dull Ring. His handling of the orchestra is nice, but the moderately slow tempi he chooses is flawed. It should be more animated. His beautiful "Funeral March" and "Erda's Warning" are two of the few flawless features.

Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.

ORCHESTRA:
Solti's Vienna Philharmonic: The woodwinds are the most beautiful in Solti's Ring (the "Forest Murmurs" is clear evidence of that). French horns and Wagner tubas make this a recommended listening. The strings in "Heda Heda Hedo" could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.

Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Erda's scenes aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tone & technique. Overall, this orchestra is the most dramatic.

Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung "Three Norns" Scene sounds very mysterious, very eerie.

Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. The Flight of the Valkyries doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act One Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.

Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Bohm's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are found in this Ring. I can hear harps in Flight of the Valkyries! The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Solti's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.

Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.

Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.

SINGERS:
-Wotan
Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Rheingold, in which a less stellar George London performs).

Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording, but he still doesn't disappoint.

Karajan: Dietrich Fischer-Dieskau plays Wotan in "Rheingold," while Thomas Stewart replaces Fischer-Dieskau in "Walkure" and "Siegfried". I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both "Walkure" and "Siegfried".

Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen.

Levine: James Morris is a notch below Hotter, Adam, and Bailey, but he overpowers Fischer-Dieskau pretty much throughout the Levine's Ring.

Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his Wotan's Farewell wasn't enough to sadden me.

-Brunnhilde
Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her final scene in Gotterdammerung is brilliant beyond belief.

Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Gotterdammerung, sorry to say).

Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."

Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.

Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin: while she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).

-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm. Jon Vickers for Karajan, Alberto Remedios for Goodall, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, and Robert Schunk for Sawallisch. For the Sieglindes, we have Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jessye Norman for both Janowski and Levine, and Julia Varady for Sawallisch. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Two exceptions, though: Robert Schunk doesn't sound heroic enough, and Jessye Norman for Levine's Ring doesn't sound young and innocent enough.

-Siegfried
Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in both renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming.

Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.

Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.

Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.

Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. I don't know Levine should've chose Kollo when he recorded his Ring.

-Alberich
Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?").

Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.

Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.

Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.

Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.

-Mime
Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners.

Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.

Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.

Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.

Levine: Heinz Zednik is yet another excellent mime. He is equal to Schreier when it comes to humaneness and lyricism. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.

Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.

-Loge
Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere is greatly affects the entire Rheingold. But he'll soon be forgotten later on in the Ring.

Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Still, it's satisfactory, and his "Ihrem ende eilen sie zu" gives great foreshadowing.

Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. His scenes in Scene Three are delightful.

Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.

Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt depends only on imagination and deviousness, Stolze only vengeance and deviousness, and Windgassen only peril. His odd conversations with Alberich and the gods/goddesses are classic.

Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.

Sawallisch: Robert Tear is on par with Stolze and Schreier. Sometimes he takes things too low, but all is forgiven with his management of character development.

-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings (maybe not in Swarowsky's version). Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm and Goodall. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.

CONCLUSION: I have yet to listen to Barenboim's Bayreuth presentation and the essential mono recordings (Furtwangler, Krauss), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the calculated Janowski, the relaxed Levine, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.

Sir Georg Solti: Wagner - Der Ring des Nibelungen (Ring Cycle) / Sir Georg Solti

Karl Bohm: Wagner: Der Ring des Nibelungen

Herbert von Karajan: Der Ring des Nibelungen / Karajan / Berlin Philharmonic

Goodall: Wagner: The Ring Cycle (Box Set)
-The 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

This is one of three Walkure's in my collection: the very underrated Leinsdorf, the thrilling Boehm and this one with Goodall. I believe Goodall is right up there with the best of them. Remedios, Hunter and Bailey sing beautifully and with sufficient drama. I'll go out on a musical limb and say I believe Bailey is one of the finest Wotan's on disc. Many will disagree but I think he has the measure of the role, the power to pull it off and a burnished timber that never becomes coarse under powerful climaxes... Remedios may well be the star of the trilogy along with Hunter and Bailey. His Siegmund is beautifully sung and his Siegfried by the way, is no mean stint either. Would that we had tenors that could sing Siegfried without sounding stretched beyond their limits. I am continually puzzled by the bad reviews that the orchestra playing receives from ARG, Classics Today and a few others. The ENO is not a Concertgebouw or Vienna Philharmonic but I think they play beautifully, a few clinkers notwithstanding. For a live show, they do a pretty d..... good job. THe sound from both orchestra and singers is exceptionally fine. This set belong in your collection if you like Wagner and, Die Walkure, in particular. If I had been at the performance in the 1970's I would have come home very happy, satisfied and richer for the experience.

Absolutely Breathtaking!.......2002-09-13

I had long cringed at the thought of this magnificant masterpiece recorded in English. Even after reading several rave reviews on this cylce that I've read by authoritive Wagnerites and critics, I was still skeptical. Finally, I decided to add Goodall's 'Ring' as my third complete cycle (after Solti & Bohm) for one reason: because it was in English and I felt it would enhance my understand of 'The Ring.' In fact, after achieving that "higher understanding" I was planning on selling this set on Ebay. That was, of course, before I heard this magnificant recording.

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

This performance of *Die Valkure,* the second and most popular opera in Wagner's Ring Cycle, is musically splendid. Its special significance, however, is that it is sung in English. An English performance of the Ring is perhaps more important than that of any other opera(s), because Wagner's libretti are suffused with his ideas about society, fate, justice, and love. Even if (at times) you need to read along to understand what the singers are saying, *hearing* the lyrics in English is truly stirring in a way that performances in your non-native language cannot match.
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

I have never been a fan of opera in translation, but I must say that Andrew Porter's rendering of The Ring in English is amazing. He uses modern, not archaic, English, and the word choice is so very earthy and Germanic that the noble yet somewhat severe atmosphere of the Teutonic myths is conveyed perfectly. The sound, in other words, is an elegantly Germanic, and totally appropriate for the music and the Story it tells. It is not true that you can't understand the English anyway, because you can understand if you care to pay any attention at all. The translation is lucid, and so it the marvelous singing that conveys it.

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.

Tracks:

42nd Street: Lullaby Of Broadway - London Promenade Orchestra
West Side Story: Somewhere - London Promenade Orchestra
Finian's Rainbow: Look To The Rainbow - The Sunset Strings
Pal Joey: I Could Write A Book - Rosemary Squires
South Pacific: A Wonderful Guy - The Romantic Strings Orchestra
Anything Goes: Medley: You're The Top/Let's Do It, Let's Fall In Love - Rita Williams
Kismet: And This Is My Beloved - The Romantic Strings Orchestra
Cats: Memory - Roger Williams
9:15 Revue: Get Happy - Rosemary Squires
Show Boat: Can't Help Lovin' Dat Man - The Romantic Strings Orchestra
Brigadoon: Come To Me, Bend To Me - Lee Roberts And His Orchestra
Oklahoma: People Will Say We're In Love - Lee Roberts And His Orchestra

Average customer rating:

On a High!
Bel canto at its finest

Rita Streich: Folksongs & Lullabies

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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General | Folk | Styles | Music

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Strauss, Saint-Saens / Rita Streich
The Viennese Nightingale

ASIN: B000031WYO
Release Date: 2001-02-13

Tracks:

North German folk song: Du du liegst mir im Herxen - Singgenmeischaft Rudolf Lamy
Swiss folk song: O du liabs Angeli - Singgenmeischaft Rudolf Lamy
French folk song: Frere Jacques - Singgenmeischaft Rudolf Lamy
Old French folk song: L'Amour de moi - Singgenmeischaft Rudolf Lamy
Italian folk song: Canto delle risaiole - Singgenmeischaft Rudolf Lamy
German folk song: Z'Lauterbach hab i mei Strumpf verlor'n - Singgenmeischaft Rudolf Lamy
Jewish lullaby: Schlof sche mein Vogele - Singgenmeischaft Rudolf Lamy
English folk song: Drink to me only with thine eyes - Singgenmeischaft Rudolf Lamy
Negro Spiritual: Nobody knows the trouble I've seen - Singgenmeischaft Rudolf Lamy
Japanese song: Sakura-Sakura - Singgenmeischaft Rudolf Lamy
Russian dance song: Tschubtschik - Singgenmeischaft Rudolf Lamy
Russian lullaby: Spi mladenez - Singgenmeischaft Rudolf Lamy
folk song from Trieste: In mezo al mar - Singgenmeischaft Rudolf Lamy
Deutsches Volkslied: wenn ich ein Voglein war - Singgenmeischaft Rudolf Lamy
Deutsches Volkslied: Der Mond ist aufgegangen - Singgenmeischaft Rudolf Lamy
Deutsches Volkslied: Muf i denn zum Stadtele naus - Singgenmeischaft Rudolf Lamy
Deutsches Volkslied: Weibt Du wievel Sterne stehen - Mitglieder des Bayerischen - Rundfunk-Orchesters
Kanon - Canon: O wie wohl ist am Abend - Mitglieder des Bayerischen - Rundfunk-Orchesters
Swabian folk song: Wo e kleins Huttle steht - Mitglieder des Bayerischen - Rundfunk-Orchesters
German song: All mein Gadanken - Mitglieder des Bayerischen - Rundfunk-Orchesters
Deutsches Volkslied: Glockenruf - Mitglieder des Bayerischen - Rundfunk-Orchesters
Folk song from the Lower Rhineland: Der Burgermeister von Wesel - Mitglieder des Bayerischen - Rundfunk-Orchesters
Deutsches Volkslied: Der Weschel der Jahrezeiten - Mitglieder des Bayerischen - Rundfunk-Orchesters
German lullaby: Schlaf Herzenssohnchen - Mitglieder des Bayerischen - Rundfunk-Orchesters
Deutches Wiegenlied: Schlafe mein Prinzchen sclaf ein - Mitglieder des Bayerischen - Rundfunk-Orchesters
Deutches Wiegenlied: Sandmannchen - Mitglieder des Bayerischen - Rundfunk-Orchesters
Westphalian folk song: Der Kuckuck - Mitglieder des Bayerischen - Rundfunk-Orchesters
Deutsches Volkslied: Schwesterlein - Mitglieder des Bayerischen - Rundfunk-Orchesters
Folk song from the Rhineland: Ach Modr ick will en Ding han - Mitglieder des Bayerischen - Rundfunk-Orchesters
Folk song from Upper Styria: In der Fruah - Mitglieder des Bayerischen - Rundfunk-Orchesters
Deutsches Volkslied: Abendlied - Mitglieder des Bayerischen - Rundfunk-Orchesters
Kanon - Canon: Ave Maria - Mitglieder des Bayerischen - Rundfunk-Orchesters

Customer Reviews:

On a High!.......2001-04-20

What a blessing it is that technology can preserve voices like this, sounding their best! This disc, like Lucia Popp's 'Children's Songs and Lullabies', shows the diva, Rita Streich, turning to the demands and restraints of the lied, her lovely coloratura voice now gay, now poignant, in all its clear purity. The spirit of different folksongs (including German, Swiss, French, Italian, English, Russian, Japanese ..) is captured beautifully by Streich, sometimes supported, admirably, by the Singgemeinschaft Rudolf Lamy and especially the Regensburger Domspatzen, notably in 'Der Burgermeister von Wesel' and 'Der Kuckuck'. Her very soft, very high notes, held or tossed off, are thrilling throughout but especially in the Mozart canon 'Ave Maria'. While the personality of the performer is not as striking as Popp's on her disc, Streich's simple rendition of a generous 32 songs gives the listener 79 minutes of magic.

Bel canto at its finest.......2001-02-24

I was overjoyed to see this recording available on CD after many years out of the catalogue. It contains some of the finest singing we are ever likely to hear from a light soprano voice.

Each of the selections has merit; the diction is clear, the voice true and sweet to its highest reaches. Mme Streich was a much-loved singer of Strauss (Richard and Johann) and Mozart and these songs are elevated from folk status to that of great individual arias. The phrasing and musicianship displayed here should be models for many of our current warbles who inhabit the worlds opera houses and concert venues.

Tracks:

Esultate! - Mirella Freni
Gia Nella Notte Densa - Mirella Freni
Ed Ora!...Ora E Per Sempre Addio - Mirella Freni
Talor Vedeste...Si, Pel Ciel - Mirella Freni
Dio Ti Giocondi - Mirella Freni
Dio! Mi Potevi Scagliar - Mirella Freni
Niun Mi Tema - Mirella Freni
Ingemisco - Jon Vickers
Arretez, O Mes Freres! - Jon Vickers
C'est Toi Que Sa Bouche Invective - Jon Vickers
En Ces Lieux, Malgre Moi - Jon Vickers
Vois Ma Misere, Helas! - Jon Vickers
Seigneur, Inspire-Moi - Jon Vickers

Tracks:

Gott! Welch Dunkel Hier! - Jon Vickers
O Namenlose Freude! - Jon Vickers
O Sink Hernieder, Nacht Der Liebe - Christa Ludwig
O Konig - Christa Ludwig
Ha! Das Schiff!...O Diese Sonne! - Christa Ludwig
Gute Nacht - Geoffrey Parsons
Fruhlingstraum - Geoffrey Parsons
Die Post - Geoffrey Parsons
Der Leiermann - Geoffrey Parsons
Parle-Moi De Ma Mere! - Mirella Freni
La Fleur Que Tu M'avais Jetee - Mirella Freni
C'est Toi! C'est Moi! - Mirella Freni

Album Description

Details TBA. EMI. 2005.

Customer Reviews:

A sampling of a great dramatic tenor.......2006-07-06

Jon Vickers was indomitable, a tenor cut from larger-than-life materials with a huge, unique voice and rock-solid character. That could make him both demanding and difficult, but EMI caught him in a fantastic period when he matched forces with Karajan. The two drew the best from each other, and for once Vickers totally gave himself over to a great condcutor's guidance. As a result we have overwhelming accounts of Tristan and Otello, his two greatest roles. This double CD offers a generous sampling, but I can't imagine that listeners who don't know these recordings won't rush to buy the complete operas.

The Carmen sample is from an exciting recording with Grace Bumbry under Fruhbeck de Burgos. Here and in Samson and Delilah, Vickers' monumental approach sometimes crushes the delicacy of the music, but his fervent emotions more than carry the day (don't expect perfect French). The only work I am not enthusiastic about is the Winterreise. Vickers was committed to performing it, and the drak emotional range of Schubert's cycle suits his temperament, but his singing is too big-boned and operatic. Give it credit for good intentions. As for the rest, all of it is indispensable.

Average customer rating:

A truly awesome voice!
What a fabulous Tenor!!!!!

A Richard Crooks Serenade

Manufacturer: Asv Living Era
ProductGroup: Music
Binding: Audio CD

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Richard Crooks in Songs and Ballads
Only a Rose: The Art of Richard Crooks In Song
The Stanford Archive Series: Richard Crooks

ASIN: B000001HKI
Release Date: 1998-02-17

Tracks:

The Student Prince: Ser: Overhead The Moon Is Beaming - Richard Crooks/Lewis James
Ah, Sweet Mystery Of Life
The Song Of Songs
When You're Away
Rio Rita
Only A Rose
Because
I Bring A Love Song - Richard Crooks/Edna Kellogg
Vienna, City Of My Dreams
Only My Song
Gipsy Moon
Macushla
Smilin' Through
If I Should Send A Rose To You
The Holy City - Richard Crooks/Herbert Dawson
Songs My Mother Taught Me - Richard Crooks/Frederick Schauwecker
Beautiful Dreamer - Richard Crooks/Frank La Forge
Oh, Susannah! - Richard Crooks/The Balladeers Male Qt/Frank La Forge/Ralph Colicchio
Ah, May The Red Rose Live Alway - Richard Crooks/Frank La Forge
Jeanie With The Light Brown Hair - Richard Crooks/Frank La Forge
Ser - Richard Crooks/Frederick Schauwecker
Be Thou Faithful Unto Death

Customer Reviews:

A truly awesome voice!.......2000-06-02

"A Richard Crooks Serenade" is a marvelous sampling of one of the greatest singers America had produced in the 30's and 40's. One gets to witness that honey Crooks sound in such classics as Ah, "Sweet Mystery of Life" (catch that magnificent High C at the end), "Macushla", the three Stephen Foster songs, and "If I should Send a Rose to You" (sort of Crook's theme song). This entire CD is a gem, but some REAL standouts are "The Holy City", "Because", "Be Thou Faithful Unto Death" (from the seldom performed St Paul by Mendelssohn). "Be Thou Faithful" will literally tug at your heartstrings. The "Serenade" from The Student Prince is a masterpiece of fine singing (Crooks, by the way, was Romberg's original choice for the lead role in this operetta). Crooks' voice literally pours out in this recording of "Serenade", culminating in two excellently placed High C's (the only real serious competition to Crooks on this song, in my opinion, is the great Mario Lanza). Crooks was one of the primo American Tenors of the 30's/40's era, displaying a technique and style that was unmatched, and after examining this CD, one will surely understand why. By all means, treat yourself to this recording and see what truly great singing is all about.

What a fabulous Tenor!!!!!.......2000-05-24

If one has not had the oportunity of hearing the great voice of Richard Crooks, they have really missed out. Richard Crooks possessed an intense lyricism that is unmatched today. Crooks' "Serenade" from The Student Prince is sheer perfection (singing it in the original key, not lowered a whole step, like most Tenors), culminating on two very vibrant High C's. It is interesting to note that Crooks was Romberg's original choice for the role of Karl Franz (the lead) in the Student Prince, but, due to opera commitments, was unable to debut the role. This is a performance rivaled only by the great Mario Lanza. Other musical highlights on this CD are "Macushla", "Song of Songs", "The Holy City", and "Ah Sweet Mystery of Life". "Ah May the Red Rose live Alway" is sure to bring a tear to one's eye. A nuance on "Ah Sweey Mystery of Life" finds Crooks soaring up to a High C at the end (a feat one finds no other Tenor attempting on any other recording) and with Crooks, it works well. Crooks' "Because" is the standard by which all others are measured. One of the real finds on this disk is Crooks' "Be Thou Faithful unto Death" from the rarely performed "Paul" by Felix Mendelssohn. What heartfelt singing this truly is. Crooks genuinely excelled in this music and one simply MUST purchase this CD to listen to a true master. So if one is not that familiar with the incomparable voice of Richard Crooks, treat yourself and puchase this recording now! This collection is pure enjoyment from the Student Prince "Serenade" to the final selection "Be Thou Faithful unto Death". A real gem.

Average customer rating:

Ovation 1
Lawrence Cherney , and James Campbell
Manufacturer: Cbc
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Compilations | Classical | Styles | Music
ASIN: B0000667RY
Release Date: 2002-05-21

International Music:

International Music

International Music