Nur Das Beste [Import]

1. Ich Krieg Nie Genug Von Dir

2. Wir Tanzen Lambada

3. Du Wirst Seh'n

4. Wenn Der Himmel Es Will

5. Leibe

6. Allein In Der Nacht

7. Sommer In Avignon

8. Stark Zu Zweit

9. Morgens Vor Dem Radio

10. Stell Dir Vor

11. Nach So Einer Nacht

12. Was Ist Eine Stunde Wert

13. Heut Ist Ein Schoner Tag

14. Und Dabei Liebe Ich Euch Beide

15. Andrea Jurgens- Hitmix

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:

A great introduction to the art of Placido Domingo
This is really the best.
If you like Placido at all, you must have this CD.
Rare And Great Domingo Classics
A real Bobby Dazzler

Very Best of
Placido Domingo
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

General | Classical | Styles | Music

Placido Domingo: A Love Until The End Of Time
Bravo Domingo
The Very Best of Franco Corelli
Perhaps Love
The Domingo Songbook

ASIN: B000083GOJ
Release Date: 2003-04-22

Tracks:

Ill Mio Tesoro
Un'aura Amorosa
Dies Bildnis Ist Bezaubernd Schon
La Ci Darem La Mano
Vani Sono I Lamenti...Svegliatevi Nel Core
Pays Merveilleux...O Paradis
Quel Trouble Inconnu Me Penetre...Salut ! Demeure Chaste Et Pure (Faust, Act III)
Ah! Tout Est Bien Fini... O Souverain, O Juge, O Pere (Le Cid, Act III)
None But The Lonley Heart
Lensky's Aria
Donna, Non Vidi Mai (Manon Lescauy Act, II)
Ah, Manon, Mi Tradisce
Dammi I Colori...Recondita Armonia
E Lucevan Le Stelle (Tosca, Act III)
Ch'ella Mi Creda (La Fanciulla Del West, Act III)
Dai Campi, Dai Prati (Mefistofele, Act I)
Virgini Muse...Quando Al Soave Anelito
O Sink Hernieder, Nacht Der Liebe
Was Am Besten Er Kann...Hoho! Hohei!

Tracks:

Se Quel Guerrier Io Fossi!...Celeste Aida
Su, Profetessa...Di Tu Se Fedele
Forse La Soglia Attinse...Ma Se M'e Forza Perderti
O Tu Che In Seno Agli Angeli
Su, Cacciator...Fontainebleau!...
Niun Mi Tema
Ach, Wie So Herrlich Zu Schau'n
Sckenkt Man Sich Rosen In Tirol
Gern Hab'ich Die Frau'n Gekusst
O Vaterland...Da Geh'ich Zu Maxim
Dein Ist Mein Ganzes Herz
Mi Aldea
Cancion Del Sembrador
No Puede Ser
Serenata
Copillas De Belen
Coplas Del Pastor Enamorado
En Aranjues Con Tu Amor
Jealousy Tango
La Golondina

Amazon.com

Placido Domingo is a phenomenon, and every aspect of his artistry is on display in this 2-CD compilation, which includes arias from his signature roles in Italian, French, German, and Russian operas, and songs from Viennese and Spanish operettas. The original recordings range from the early 1970s to the present and show that though over the years his bright golden voice has taken on a darker, more burnished glow, it has retained the melting lyricism, the heroic ring, the thrilling top notes, and the focused intensity that make it instantly recognizable. (Comparing the Verdi arias included here with their counterparts of later vintage in the all-Verdi set The Tenor Arias bears this out.) The program demonstrates his stylistic and expressive versatility and his ability to instantly establish character and mood, from Lenski's sorrow (in Eugene Onegin), Cavaradossi's heart-rending despair (in Tosca), Otello's shattering agony, to Tristan's passion, Siegfried's exuberance, Faust's ardor (first in French by Gounod, then in Italian by Boito). In three Mozart arias, Domingo spins endless, perfectly shaped phrases with incredible breath control, then adds an oddity: the famous duet between Zerlina and Don Giovanni, a role he has not performed. Five Viennese operetta songs, one of which he also conducts, are delightful; there is a smile of pleasure in his voice, but not a hint of kitsch. By contrast, Tchaikovsky's "None but the Lonely Heart" is spoiled by an orchestration that is pure Hollywood. In the final Spanish group, he is on home ground and incomparable. This is a glorious record, a must for all lovers of great singing. --Edith Eisler

Customer Reviews:

A great introduction to the art of Placido Domingo.......2007-07-04

Placido Domingo, of course, is one of the finest tenors of the latter part of the 20th century. This 2 CD set well captures his talent, showing the range of his singing. We hear cuts from Puccini and Verdi to Tchaikovsky and Wagner to Strauss and Handel. And even a traditional Spanish sung and some operetta thrown in for good measure!

This is a wonderful introduction to his artistry, and shows that he can sing well across a variety of styles and eras. Let's sample some cuts:

"Il mio Tesoro" (from Mozart's Don Giovanni) is a difficult aria to sing well. And Domingo is up to the challenge. He displays a smooth and rich voice. His is one of those distinctive tenor voices, like Tucker's or Pavarotti's, that is quickly recognizable. This is, as noted, a challenging piece and Domingo handles it well, showing off considerable vocal agility in the process.

From the same opera, "La ci darem la mano," a sweet duet with, in this instance, soprano Susan Graham. This seductive work is sung well by both parties and is a ravishing version.

From Puccini's "Tosca," "Recondita armonia." At the close, his voice rises above orchestra and chorus. Overall, well and richly sung.

And now for something very different. . . The "Forging Scene" from Siegfried. One may not think of Domingo as a heldentenor, but he does a serviceable job here. His voice sometimes appears a bit light, but, overall, he does estimable work. He catches Siegfried's spirit as he forges the shattered remains of his father's sword, "Nothung." When he sings the name of his sword at the close, with the leitmotif ringing out from the orchestra, it is an affecting moment.

Then, "Celeste Aida" (from Verdi's opera). A stentorian voice well deployed to meet the challenges of this wonderful aria. Some tenors scoop as they move from those lower to the higher notes; Domingo's voice is well controlled here. The final high note is well hit.

Strauss (Junior's) "Ach, wie so herrlich zu schau'n" is a romp! A fun piece and well sung by Domingo. He demonstrates, as before, excellent vocal agility.

Lehar's "O Vaterland" is also fun. It is a sprightly tune sprightly sung.

Finally, he ends the second CD with a traditional Spanish tune--"La Golondrina." He does not overpower this work with operatic technique. He sings it well and affectingly.

So, all in all, if one wants a good introduction to Placido Domingo's vocal oeuvre, this is a very strong starting point.

This is really the best........2007-05-16

I have many of Mr. Domingo's recordings but I really love this one. He seems to get better with age. Some of the songs are on some of my other recordings but they seem new and fresh on this CD. I really think this is the best of Placido Domingo.

If you like Placido at all, you must have this CD........2005-04-06

Placido Domingo has been around for so long, it is easy to take this great artist for granted. I totally agree with the previous reviews of this album; I can also say that I had the opportunity to hear him live in concert on April 2, 2005 in Biloxi, Mississippi, and his voice is still stunning. His opening aria that night was the prayer from El Cid, "O Souverain," which he dedicated to the memory of Pope John Paul II. This piece is the 8th selection on CD 1, and is from a 1997 live recording. His thrilling finish blew me away when I listened to it the first time, and and the crowd on the recording reacts the same way the Mississippi audience did when we heard him. That aria alone is worth the price of this CD set.

Rare And Great Domingo Classics.......2005-03-08

EMI's "The Very Best Of" series is a wonderful way for the opera lover/novice or even connoisseur in training to get acquainted with the great singers of opera in the 20th century. It is possible that in a few years, the great singers of today (from the 90's up to now and further into the future) will grace the album covers of The Very Best Of...The Very Best Of Renee Fleming, The Very Best Of Salvatore Licitra, etc. This is not exactly the best of Domingo. It is more of a collection of rare and wonderfully expressive arias from operas that range all over the map- Mozart, Verdi, Puccini, Wagner, Meyerbeer, Gounod, Massenet. Now, here's the reason why so many people adore Domingo, myself included - Domingo is a Renaissance Opera Tenor. He has sung almost every tenor role in the opera universe. Even if he is, to some, the "tenor who sang with Pavoratti in the three tenors" he proves he's the strongest of the bunch, the most dedicated, the most prolific and most artistic. Domingo has a beautiful voice, with secure high register and dark, masculine middle chest voice and exciting dramatic electricity! He's sung more than 50 operas, in addition operetta and Spanish Zarzuela (the Spanish equivalent to musicals or operetta which is where he got started and his parents sung in Zarzuela) and he has also recorded Spanish mainstream love songs for Latin audiences. A winner of Grammies, an actor in movies about operas that he starred in (Tosca, La Traviata, Otello) and the most active tenor on tv broadcasts, he is just incredible and powerful.
He is a great force in opera.

Even in his old age, he does'nt seem to be slowing down or call it quits. Recent performances (2000-2005) include Eugene Onegin, the lead in Queen of Spades, Rasputin in Debra Dratell's Nicolas and Alexandra, Idomeneo and his next role Parsifal. He is the singular tenor who mastered every repertoire- Mozart (Don Ottavio, Tamino...unfortunately Domingo as Don Giovanni is a miscast because he is too noble and romantic and GOOD to be a bad guy)..to Puccini heros (Mario Cavaradossi in Tosca, Dick Johnson in Fanciualla Del West, Rodolfo in Boheme, Pinkerton in Madame Butterfly, Calaf in Turandot) Verdi heroes (Radames in Aida, Don Carlos, Stiffelio, etc) to the French repertoire...Gounod (Faust, Romeo) Meyerbeer heroes, Massenet hero (Des Grieux, Le Cid) and Saint Saens (Samson) the list goes on and on. When this man dies, an era will die with him. His legend will live on because he will leave behind dozens of albums, movies and memories......

A real Bobby Dazzler.......2004-02-19

Fans of Mr. Domingo would be lucky to find a selection of music that more profoundly explores and exhibits the diversity of his vocal ability and interpretation than is offered on these two discs. Delicious displays of Mozart, ringing renditions of the most challenging high Italian roles, powerfully rounded accounts of some of the heavy German/Russian repetoir, and some noticably nostalgic songs from the light Spannish tradition provide an impressive catalogue of the great man's rich, focussed, technically impecable and singularly beguiling vocal talent. Those who are yet to form an opinion on any particular genre of the operatic spectrum would do well to start here, so eclectic is this album. Also, you might be reassured to know that, should you become an admirer of P.D.'s talent as a result of listening to this compilation, (it is difficult to resist), you will have no trouble finding other recordings by him. A record-breaker with more than 110 roles to his repetoir (40 is a respected total for an opera singer), he is the most recorded tenor in history, leaving more than 80 complete accounts to date of operas in the Italian, French, German and Russian traditions.

Average customer rating:

Fine anthology but still prefer her "Four Last Songs" recording
RIP DAME ELIZABETH (1915-2006)
SCHWARZKOPF ----- ONE OF THE GREATS OF THE TWENTIETH CENTURY
¡PERFECT!
PERFECTA INTERPRETACIÓN

The Very Best of Elisabeth Schwarzkopf

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

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German | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

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Great Recordings Of The Century - Elisabeth Schwarzkopf Sings Operetta / Ackermann
Strauss: Four Last Songs/12 Orchestral Songs
Schubert: 24 Lieder
Mozart: Opera Arias
Mozart: Lieder & Concert Arias

ASIN: B0000AF1SC
Release Date: 2003-09-02

Tracks:

Ach War Ich Schon (Fidelio)
Non So Piu (Le Nozze Di Figaro)
Porgi, Amor (Le Nozze Di Figaro)
E Susanna Non Vien!...Dove Sono (Le Nozze Di Figaro)
Mi Tradi Quell'Alma Ingrata (Don Giovanni)
Come Scoglio (Cosi Fan Tutti)
Leise, Leise, Fromme Weise (Der Freischutz)
Dich, Teure Halle (Tannhauser)
Einsam In Truben Tagen (Lohengrin)
Wie Fremd Und Tot (Die Verkaufte Braut)
Bruderchen, Komm, Tanz Mit Mir (Hansel Und Gretel)
Da Geht Er Hin (Der Rosenkavalier)
Es Gibt Ein Reich (Ariadne Auf Naxos) - Richard Strauss
Das War Sehr Gut (Arabella)

Tracks:

Jauchzet Gott In Allen Landen
Bist Du Bei Mir
Ridente La Calma
An Die Musik
Der Musensohn
Nachtviolen
Der Musensohn
Auch Kleine Dinge
Mein Liebster Ist So Klein
Verschling' Der Abgrund
Ich Hab' In Penna
Wiegenlied Im Sommer
Mausfallenspruchlein
In Dem Schatten Meiner Locken
Mignon (Kennst Du Das Land?)
Gsatzli (Swiss Folksong)
Fruhling
Im Abendrot
Muttertandelei
Zueignung
Klange Der Heimat (Die Fledermaus)
Es Lebt'Eine Vilja (Die Lustige Witwe)
Im Chambre Separee (Der Opemball)
Wien, Du Stadt Meiner Traume

Amazon.com

Elisabeth Schwarzkopf was certainly one of the greatest singers of her own, or indeed any other time. An obsessive perfectionist, her flawless technique and intonation over a huge range, vocal flexibility, breath control, phrasing, stylistic versatility, and above all her focused, radiantly beautiful sound were matchless and incomparable. All these are on full display on this generous 2-CD set, which features over a dozen arias, songs by Schubert, Wolf and Richard Strauss, and some lighter fare. The recordings were made between 1950 and 1967, and the singing becomes better and better, the voice richer and more varied, the expression deeper and more immediate. Not surprisingly, the peaks come in the arias from her signature roles in Mozart's Figaro, Don Giovanni, and Cosi fan tutte; Richard Strauss' Ariadne, Rosenkavalier, and Arabella, which rise to real ecstasy; and arias from Weber's Freischütz and Smetana's Bartered Bride, which are wonderfully intimate and touching. She is less convincing in roles she never sang on stage, and the "childish" voice she cultivated especially for Hänsel and Gretel is unnatural and contrived. The same is true of the last two "popular" numbers, which sound condescending and artificial. The songs, however, have all her customary finesse and inwardness; the Wolf group, perhaps chosen for its gentle humor, is charming, while Strauss' "Four Last Songs" (represented by two) shimmer and soar. Schwarzkopf's singing had instantly recognizable characteristics: a tendency to hold back both vocally and emotionally, giving a sense of noble restraint, but also of cool detachment; excessive use of color and nuance, creating a fussy, calculated and somewhat artificial air. Only rarely does she "let go" with full voice and spontaneous feeling. However, as these recordings show, she invariably inspires admiration and captures ear and heart through the inimitable, glorious beauty of her voice. --Edith Eisler

Customer Reviews:

Fine anthology but still prefer her "Four Last Songs" recording.......2006-11-06

The engineering and audio quality of these 1960's performances are surprisingly good. The songs are wonderfully peformed and cover a range of periods and styles, but I find myself returning to her recording (also re-released on CD) of Strauss' "Four Last Songs", which I would give 6 stars -- my favorite recording of all time.

RIP DAME ELIZABETH (1915-2006).......2006-08-04

This set is a fine tribute to this extraordinary singer and musician. I was saddened to read about her passing. She had a long life (90 years) and inspired a whole generation of singers and music lovers throughout the world.

SCHWARZKOPF ----- ONE OF THE GREATS OF THE TWENTIETH CENTURY.......2006-01-29

Elisabeth Schwarzkopf's career is what legends are made of. She is every bit as fundamental to classical singing in the twentieth century as is Maria Callas. Schwarzkopf sang with refinement, polish, beauty of voice, and meticulous articulation. She was the greatest Mozart and Strauss soprano of her day; her ability to sing the operetta music of Lehar, Suppe', and Johann Strauss has not been equalled; she performed with distinction orchestral compositions of Mahler, Brahms, Bach, and Handel; her Schubert, Schumann, Wolf, and Mahler lieder were exemplary. She sang many operatic roles, far more than many people realize, and was certainly the definitive Marshallin in "Rosenkavalier" throughout the 1950's and 1960'. I saw her many times in recital in Chicago, and even at the time of her farewell (which I was fortunate enough to see), she was sublime. All of the superlative qualities of Schwarzkopf are generously demonstrated throughout these two wonder CD's. Virtually every item is magnificent (though obviously some will prefer some to others) and has the detailed Schwarzkopf imprint stamped right into the music. This CD, great as it is, represents only a very small part of the greatness of Schwarzkopf. I already own tons of her operas and recitals, from which many of the items here come from. But for the sake of completeness, I will probably add it. A person who loves great singing can never have too much of the art of Elisabeth Schwarzkopf. She's a vocal icon.

¡PERFECT!.......2005-02-10

I only want to say that you can hear, in this double cd, one of the great singers of all time. Elisabeth Schwarzkopf. Why? Because she sings all the arias and lieder with pure of tone, brilliance, perfect inflexion, modulation, excellent control breath, measured vibrato, and, all above, great emision of colours. She is master in this art.

PERFECTA INTERPRETACIÓN.......2005-02-09

La mejor recopilación de la discografía de Elisabeth Schwarzkopf. Su belleza de voz, la impecable hilación de frases, y, sobre todo, su expresiva interpretación son algunas de las sorpresas que se podrán escuchar en estos dos discos. Sin duda, UNA DE LAS MEJORES SOPRANOS DEL SIGLO XX.

Average customer rating:

Operetta recording lyrics
Great intro to Viennese operettas
A Great Introduction to Operetta
Terrific value!

The Best of Operetta, Vol. 1

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

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

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The Best of Operetta, Vol. 2
The Best of Operetta, Vol. 3
Lehár: Waltzes
The Only Operetta Album You'll Ever Need!
Viennese Operetta Gems

ASIN: B0000014CF
Release Date: 1997-02-04

Tracks:

Der Ziegeunerbaron (The Gypsy Baron): Overture
Giuditta: Freunde, das Leben ist lebenswert!
Giuditta: Meine Lippen, sie kussen so heiss
Freiderike: O Madchen, mein Madchen
Der Zigeunerbaron (The Gypsy Baron): Wer uns getraut
Der Zigeunerbaron (The Gypsy Baron): Als flotter Geist
Fruhlingsstimmen(Voices Of Spring), Walzer
Das Land des Lachelns (The Land Of Smiles): Dein ist mein ganzes Herz
Das Land des Lachelns (The Land Of Smiles): Wer hat die Liebe uns ins Herz gesenkt?
Das Land des Lachelns (The Land Of Smiles): Immer nur lacheln
Das Land des Lachelns (The Land Of Smiles): Von Apfelbluten einen Kranz
Die lustige Witwe (The Merry Widow): Lippen schweigen
Eine Nacht in Vendig (A Night in Venice): Komm in die Gondel
Grafin Mariza (Countess Mariza): Komm mit nach Varasdin

Customer Reviews:

Operetta recording lyrics.......2007-01-23

I need the lyrics word to the CD I purchasedGreat Operetta REcordings,Viennese operettas Gems 8.110292 , Naxos
Let me know of the purchase price so that I can receive the lyhrics now Thank you Irving Korr

Great intro to Viennese operettas.......2007-01-09

The quality of this recording is superlative, the voices are romantic and strong. This is a delightful introduction to the world of Viennese operettas.

A Great Introduction to Operetta.......2004-03-29

An analogy describing operetta music could be as follows: operetta is to serious classical music as bubble gum pop tunes are to the music of the Beatles. While many opera fans enjoy operetta, it is not seen as all that serious, yet the musicianship that is required to perform many of the showpieces of operetta is the same as that of more serious opera. For this reason, when a full orchestra with competent singers performs operetta music, it is usually worth listening to, and this disc is certainly well worth listening to over and over again.

The disc contains showpieces from many of the great operettas including Strauss' GYPSY BARON, Lehar's GUIDETTA, THE LAND OF SMILES, and MERRY WIDOW, and Kalman's GRAFIN MARIZA among others. The Hungarian Operetta Orchestra is conducted by Laszlo Kovacs and the soloists are sopranos Ingrid Kertesi, Zsuzsu Csonka and tenor Janos Berkes. Perhaps the best pieces on the recording are "Fruhlingsstimmen", "Dein ist mein ganzes Herz" and the duet from Grafin Mariza. The disc does not give credit to the individual performers, so it we do not know which soprano is performing, but in all cases the voices are strong and beautiful. Berkes' tracks are well performed, but "O Madchen mein Madchen" is not as strong as other pieces he performs, but then again, he has great competition from other tenor greats who have attempted many of these pieces. In most cases, he performs admirably.

Perhaps the greatest accomplishment of this disc is the authenticity. Many operetta recordings include excerpts from studio recordings of the entire work. This recording seems to be a studio recording where the pieces are performed individually, but the listener would not know this from the overall quality. The disc also contains liner notes that provide the lyrics of the pieces performed, which is an added benefit to this disc.

Terrific value!.......2000-01-15

I bought all three discs in this series and heartily recommend them. At the price, you can't go wrong. My favorite is the first volume--after the opening waltz and two OK numbers, you'll find one lovely tune after another. I listen to this in my car and it shortens my perception of the commute.The recording is very good and the artists are pleasing to listen to. I don't care as much for the Fledermaus songs in the third volume, as the voices don't stand up to the caliber of Kiri Te Kanawa and others on the Previn Fledermaus disc--but they are still nice renditions.

Average customer rating:

Superlative collection
Great value for the money
Great for the money and a good starter on opera....
Amazing Value

100 Best Opera Classics

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

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The Most Famous Opera Arias
Best Classics 100
The Most Famous Opera Duets
The Best of Italian Opera
The #1 Opera Album

ASIN: B0007QOERC
Release Date: 2007-05-14

Tracks:

Voi Che Sepate - Teresa Berganza
Porgi Amor - Heather Harper
Deh, Vieni Alla Finestra - Thomas Allen
Batti, Batti, O Bel Masetto - Elizabeth Gale
Der Holle Rache - Edda Moser
O Isis Und Osiris - Cornelius Hauptmann
Temerari...Come Scoglio - Elisabeth Schwarzkopf
La Calunnia E Un Venticello - Ruggero Raimondi
Nei Giardin Del Bello - Ambrosian Opera Chorus
Casta Diva - Maria Callas
Se Quel Guerrier...Celeste Aida - Franco Corelli
Tenesta La Promessa...Addio Del Passato - Beverly Sills
Niun Mi Tema - Jon Vickers
Un Bel Di Vedremo - Renata Scotto
E Lucevan Le Stelle - Placido Domingo
Si, Mi Chiamano Mimi - Mirella Freni
In Quelle Trine Morbide - Montserrat Caballe
Signore, Ascolta - Kiri Te Kanawa
Recitar...Vesti La Giubba - Jose Carreras
Amor Ti Vieta Di Non Amor - Roberto Alagna

Tracks:

Le Veau D'Or Est Toujours Debout - Boris Christoff
Ou Va La Jeune Hindoue? - Mady Mesple
L'Amour, L'Amour...Ah! Leve-Toi, Soleil - Alfredo Kraus
Allons! Le Faut...Adieu Notre Petite Table - Ileana Cotrubas
Toute Mon Ame Est La Pourquoi Me Reveiller - Nicolai Gedda
Quand La Flamme De L'Amour - Jose Van Dam
L'Amour Est Un Oiseau Rebelle - Victoria De Los Angeles
A Cette Voix...Je Crois Entendre Encore - Alain Vanzo
Une Puce Gentille - Gabriel Bacquier
Je Vais Mourir...Adieu, Fiere Cite - Regine Crespin
Mon Coeur S'Ouvre A Ta Voix - Rita Gorr
Wie Todesahnung...O Du Mein Holder Abenstern - Dietrich Fischer-Dieskau
Johohoe! Traft Ihr Das Schiff Im Meere An? - Anja Silja
In Fernem Land - Chor Der Wiener Staatsoper
Heil Dir, Sonne! - Siegfried Jerusalem
Mild Und Leise - Helga Dernesch

Tracks:

Che Faro Senza Euridice? - Agnes Baltsa
Der Vogelfanger Bin Ich Ja - Walter Berry
Finch'Han Dal Vino - Nicolai Ghiaurov
E Susanna Non Vien!...Dove Sono - Barbara Hendricks
Abscheulicher! - Christa Ludwig
Ne M'Abandonne Pas, Espoir De La Vengeance...Asile Hereditaire - Nicolai Gedda
Largo Al Factotum - Tito Gobbi
Ella Giammai M'Amo! - Ruggero Raimondi
La Donna E Mobile - Alfredo Kraus
Di Quella Pira - Franco Corelli
Esultate! - James McCracken
Dio! Mi Potevi Scagliar - Placido Domingo
Vissi D'Arte, Vissi D'Amore - Maria Callas
In Questa Reggia - Ghena Dimitrova
Tanto Amore - Janine Micheau
O Mio Babbino Caro - Montserrat Caballe
Ed Anche Beppe Amo - Luciano Pavarotti
Poveri Fiori - Maria Callas
Come Un Bel Di Di Maggio - Roberto Alagna

Tracks:

Les Grands Seigneurs...Ah! Je Ris De Me Voir Si Belle - Victoria De Los Angeles
Marie, Avec L'Enfant Jesus - Jules Bastin
Heureux Petit Berger - Janine Micheau
Connais-Tu Le Pays - Jane Rhodes
Elle Ne Croyait Pas Dans Sa Candeur - Nicolai Gedda
Votre Toast, Je Peux Vous Le Rendre...Toreador - Victoria De Los Angeles
Les Oiseaux Dans La Charmille - Mady Mesple
Maintenant, Chantons...Devant La Maison De Celui Qui D'Adore - Gerard Souzay
Depuis Le Jour - Beverly Sills
Da Geht Er Hin - Elisabeth Schwarzkopf
Einsam In Truben Tagen - Regine Crespin
Dich, Teure Halle - Hildegard Behrens
Leb Wohl, Du Kuhnes, Herrliches Kind - Dietrich Fischer-Dieskau
Hojotoho! Hojotoho! - Ute Walther

Tracks:

Non Piu Andrai - Thomas Allen
La Ci Darem La Mano - Graziella Sciutti
Duo: Pa-Pa-Pa - Andreas Schmidt
Soave Sia Il Vento - Delores Ziegler
Mira, O Norma - Maria Callas
Il Dolce Suono - Edita Gruberova
Com'e Gentil - Alfredo Kraus
Una Voce Poco Fa - Maria Callas
Libiamo Ne' Lieti Calici - Alfredo Kraus
Gualtier Malde!...Caro Nome - Michele Pertusi
Ritorna Vincitor - Birgit Nilsson
Ave Maria - Katia Ricciarelli
Nessun Dorma - Franco Corelli
Che Gelida Manina - Nicolai Gedda
Ebben? Ne Andro Lontana - Barbara Hendricks

Tracks:

Mes Amis, Ecoutez L'Histoire - Nicolai Gedda
Mieux Vaut Mourir...Amour Sacre De La Patrie - Alfredo Kraus
Ah! Je Veux Vivre Dans Ce Reve - Mady Mesple
Puisqu'on Ne Peut Flechir...Vainement, Ma Bien-Aimee - Henry Legay
Suis-Je Gentille Ainsi?...Je Marche Sur Tous Les Chemins - June Anderson
Belle Nuit, O Nuit D'Amour - Jessye Norman
La Fleur Que Tu M'Avais Jetee - Jose Carreras
C'est Toi!...Au Fond Du Temple Saint - John Aler
Werther, Werther, Qui M'Aurait Dit...Ces Lettres! - Tatiana Troyanos
Viens, Mallika - Mady Mesple
Ah! Je Suis Seule Enfin...Dis-Moi Que Je Suis Belle - Beverly Sills
Alerte, Alerte!...Anges Purs, Anges Radieux - Nicolai Ghiaurov
Boris's Farewell - Boris Christoff
Schreckensschwur! - Gary Lakes
Die 'Selige Morgentraum-Deutweise'...Selig, Wie Die Sonne - Peter Schreier
Was Am Besten er Kann...Nothung! Nothung! - Siegfried Jerusalem

Customer Reviews:

Superlative collection.......2006-10-11

A collection of 100 individual arias and ensembles from the EMI catalogue of complete works recorded between 1955 and 2003. It includes selections from operas by Italian, Austrian, German, Russian and French composers. The French composers are especially well represented unlike most such anthologies. And there are several more obscure contributions, such as an aria from Catalani's La Wally. A well-judged balance of musical periods and styles, and the very best singers of the last half of the last century. And remarkably, the whole collection of 6 CDS, over 7 hours of music, is being sold for the cost of only 1 CD !

Great value for the money.......2006-04-23

This is simply the best collection of opera arias that I have seen. It's not 100% in that there are a few well-known arias that are not here, but what is here is simply a treasure. The organization is a bit strange, but there's some logic. For example, Disk 6 is mostly from French operas. A seemingly endless amount of glorious music. Just fabulous. You won't be disappointed.

Great for the money and a good starter on opera...........2006-01-07

This cd is a splendid collection of songs, and the price is unbeatable; I have but a few minor complaints about the overall product. The cd would have been much more enjoyable if they had put the music in some sort of order, rather than jumping around from artist to artist sporatically. My only other complaint would be that they could have chosen some better vocalists to play some of the songs. For example, in CD 6, track 3: Romeo et Juliette, the singer was not nearly as strong and definative as she should have been and I've definately heard in various other versions that were way better than this. This disappointed me greatly. But even with these few small complaints, this collection is still great and the price is amazing. It includes MOST of the famous opera pieces, as well some great songs that are often overlooked such as the beautiful song from Wagner's Die Meistersinger von Nurnberg (CD 6, track 16) along with others.

Amazing Value.......2005-08-23

I am so impressed by this collection that I must share my joy at getting so many beautiful arias, duets, et al in one collection. It captures many of the great operatic voices in stellar performances spanning the last 50 years. If you are enchanted by beautiful operatic highlights, removed from their operatic storylines, this set is for you. Hours of gorgeous music for practically pennies!

Average customer rating:

Wonderful, but just SOME of the very best of Nicolai Gedda
Excellent compilation
Nicolai Gedda . . . the 4th tenor

The Very Best of Nicolai Gedda
Nicolai Gedda , Adolphe Adam , Ludwig van Beethoven , Vincenzo Bellini , Hector Berlioz , Georges Bizet , Gaetano Donizetti , Friedrich von Flotow , Mikhail Glinka , and Karl Goldmark
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

Russian | Languages | Opera & Vocal | Styles | Music

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

The Very Best of Alfredo Kraus
The Very Best of Franco Corelli
Nicolai Gedda - French and Russian Arias & Songs
The Very Best of Giuseppe di Stefano
The Very Best of Beniamino Gigli

ASIN: B0000A1WP3
Release Date: 2003-09-02

Tracks:

Pourquoi Me Reveiller
Instant Charmant...En Ferment Les Yeux
L'Amour, L'Amour!...Ah! Leve-Toi Soleil
Une Heure Encore...La Gloire Etait Ma Seule Idole
Va, Pour Kleinzach!
Zurga, Quand Tous Deux...Au Fond Du Temple Saint
A Cette Voix...Je Crois Entendre Encore
La Fluer Que Tu M'Avais Jetee
Mes Amis, Ecoutez L'Histoire
Elle Ne Croyait Pas Dans Sa Candeur Naive
Asile Hereditaire - Ambrosian Opera Chorus
Quanto E Bella
Una Furtiva Lagrima
Fra Poco A Me Ricovero
Prendi: L'Anel Ti Dono
Di' Tu Se Fedele
La Donna E Mobile
Donna Non Vidi Mai

Tracks:

Il Mio Tesoro
Dies Bildnis Ist Bezaubernd Schon
Ach, So Fromm
In Fernem Land
Magische Tone
Kuda, Kuda, Kuda Vi Udalilis (Lenski's Aria)
Dimitri! Tsaryevich! Dimitri!
Souvenir
O Moonlight Night
At The Ball
Don Juan's Serenade
O Cease Thy Singing, Maiden Fair
How Fair This Spot
Adelaide Op. 46
Heimliche Aufforderung, Op. 27, No. 3
Strandchen, Op. 17, No. 2
Als Flotter Geist...Ja, Das Alles Auf Ehr'
Gern Hab' Ich Die Frau'n Gekusst
Dein Ist Mein Ganzes Herz

Customer Reviews:

Wonderful, but just SOME of the very best of Nicolai Gedda.......2005-07-03

This is but a subset of the glorious recorded singing by Nicolai Gedda; however, it is a good sampler of the repertoire that made him legendary. And, at least a couple of the tracks ("Asile Hereditaire" and Lenski's aria) seem to be his best recordings of those particular works. Gedda is a member of a small circle of famed tenors noted for disciplined and artistic vocal production. He could find and consistently produce the "ping" we all love to hear. And, that was necessarily accompanied by flawless breath control. He holds the last note of the rousing "Hereditaire" for approximately eleven seconds! Onward! Ho! The emotion and delicate treatment he showed in Lenski's aria is a high-water mark. I can not imagine it being done better.

I first heard him in a recording of La Boheme (with Freni) in 1975 and have heard him in person both in Faust (1976) and in recital (1981). Whether on stage or in recording, Gedda is remarkable and consistent. If you are new to opera or are younger and addicted to the stars of today (and some of them are very good too), you should hear Gedda. It will raise your definition for what it takes to be a great tenor. Go find a recording of Fritz Wunderlich too.

Excellent compilation.......2005-01-30

Beautiful, easy lyric tenor; also great diction and phrasing -- a good example to any tenor on how this rep. should be sung.

Nicolai Gedda . . . the 4th tenor.......2004-06-13

Those of you who know the three tenors should look into this incredibly versatile singer. The first time I heard this remarkable tenor sing was from a recording of Mozart's Magic Flute. From then on I became an avid fan. This recording highlights how Gedda could go from singing lyric repertoire, to the bigger and more difficult French and Bel Canto and even tackling Russian and operetta. Any aspiring tenor and dedicated opera fan would do well to own this CD set.

Average customer rating:

Delightful Hungarian voices, very romantic record
A Must For Operetta Lovers
Wunderbar!

The Best of Operetta, Vol. 3

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

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4-for-3 Classical | 4-for-3 Music | Stores | Music

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The Best of Operetta, Vol. 2
The Best of Operetta, Vol. 1
Lehár: Waltzes
The Only Operetta Album You'll Ever Need!
Viennafest

ASIN: B0000014CH
Release Date: 1997-02-04

Tracks:

Overture
Auftrittslied Mariza
Wie Mein Ahn'l Zwanig Jhar'
Komm Zigany
Liebe, Du Himmel Auf Erden
Klange Der Heimat
Trinke, Liebchen! Trinke Schnell!
Gruss Mir Die SuBen
Mein Herr Marquis
Ich Liebe Dich!
Speil' Ich Die Unschuld Vom Lande
Zwei Herzen Im Dreivierteltakt
Du Sollst Der Kaiser Meiner Seele Sein
Lagunenwalzer
Adieu, Mein Kleiner Gardeoffizier

Customer Reviews:

Delightful Hungarian voices, very romantic record.......2007-01-09

I loved the romantic Hungarian voices in this record, and the quality of the recording was excellent

A Must For Operetta Lovers.......2006-11-04

This is the third volume of a trio of CDs containing songs and melodies from some of the most popular operettas from famous composers of the late 19th and early 20th centuries. The operetta had its roots in Vienna, where it was brought to popular recognition by such musical giants as Johann Strauß, Jr.; Franz Lehár; and Emerich (Imre) Kálmán. The three volumes of The Best of Operetta, available through Amazon.com, contain some of the most beloved melodies by these great composers, plus works of Robert Stolz and Carl Zeller. No operetta collection would be complete without all three of these volumes. Operetta lovers will recognize such works as Die Fledermaus, Gräfin Mariza, The Merry Widow, The Land of Smiles, The Gypsy Baron, and others which are found in the three volumes of The Best of Operetta.

Volume 3, which is the subject of this review, contains 14 beloved operetta melodies from the pens of Johann Strauß, Franz Lehár and Emerich Kálmán, interpreted by the magnificent voices of sopranos Ingrid Kertesi and Zsuzsa Csonka and tenor János Berkes and accompanied by the Hungarian Operetta Orchestra under the baton of László Kovács.

All three volumes are accompanied by a booklet with bountiful information about the operetta in general, the composers represented in these CDs, and the songs contained in each volume. You will find the English translations very helpful.

A knowledge of German is not required to appreciate the beautiful music contained in these three volumes. You will enjoy the fine operatic voices that interpret such songs as The Voices of Spring and Gern hab' ich die Frau'n geküßt, as well as the catchy melodies of Ob blond, ob braun and Komm mit nach Varasdin. And you can't help but be deeply moved by the haunting melodies of Franz Lehár's Wolgalied and Kálmán 's Komm Zigany.

If you have not yet done so, now is the time to purchase these three volumes of operatic masterpieces which you can enjoy for many long hours of relaxing entertainment. And remember: If there are music lovers on your Christmas list, this is the perfect gift for them!

Wunderbar!.......2000-02-20

A superlative collection of music & song for any lover of Viennese music. It includes the words to many songs that people hum, but these songs are even more wonderful if you know the marvelous words! They are clever, sentimental, and delicious! They're also in the original German and in good English translations. We bought our copy of Volume III in Vienna a few weeks ago and were delighted to find that Volumes I and II are available from Amazon.com for a song--so we've just ordered them! The performances by young artists and the recordings match the great content!

Average customer rating:

no texts -- shame on you EMI
Very Best of Fritz Wunderlich
Wunderlich.. ah what might have been,but glory in what was..
Elegant collection though everything...auf Deutsch!

Very Best of
Fritz Wunderlich
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
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The Very Best of Franco Corelli

ASIN: B000083GOM
Release Date: 2003-04-22

Tracks:

Nur Ihrem Frieden - Berliner Symphoniker
Folget Der Heissgeliebten (Il Mio tesoro) - Berliner Symphoniker
Konstanze, Dich Wiederzusehen - Berliner Symphoniker
Der Odem Der Liebe (Un' Aura Amorosa) - Berliner Symphoniker
Dies Bildnis Ist Bezaubernd Schon - Berliner Symphoniker
Ombra Mai Fu - Bayerisches Staatsorchester
Ach, So Fromm - Berliner Symphoniker
Mit Gewitter Und Sturm - Orchester Der Staatsoper Berlin
So Leb' Ich Noch...Vor Deinem Fenster - Bayerisches Staatsorchester
Lebe Wohl, Mein Flandrisch' Madchen - Berliner Symphoniker
Selig Sind, Die Verfolgung Leiden - Bayerisches Staatsorchester
Horch, Die Lerche Singt Im Hain - Bayerisches Staatsorchester
Fenton! Mein Madchen - Edith Mathis
Armer Narr...Es Muss Gelingen - N/A
So Find' Ich Dich...Mein Lieber Schatz, Nun Aufgepasst - Bamberger Symphoniker
Wohin Bist Du Entschwunden (Lensky's Aria) - Berliner Symphoniker

Tracks:

Leb' Wohl, Mignon (Adieu, Mignon) - Berliner Symphoniker
Ich Schloss Die Augen (En Ferment Les Yeux) - Bayerisches Staatsorchester
Komm, O Holde Dame (Viens, Gentille Dame) - Bayerisches Staatsorchester
Welche Huld Und Welche Reize (Quanto E Bella) - Bayerisches Staatsorchester
Wohl Drang Aus Ihrem Herzen (Una Furtiva Lagrima) - Bayerisches Staatsorchester
Komm In Die Gondel - N/A
Ach, Wie So Herrlich Zu Schau'n - Berliner Symphoniker
Durch Diesen Kuss Sei Unser Bund Geweiht - Berliner Symphoniker
Freunde, Das Leben Ist Lebenswert - Bayerisches Staatsorchester
Von Apfelbluten Einen Kranz - N/A
Dein Ist Mein Ganzes Herz - Symphonie - Orchester
Allein! Wieder Allein! (Wolgalied) - Bayerisches Staatsorchester
Zwei Marchenaugen - Bayerisches Staatsorchester
Wenn Es Abend Wird... Grub Mir Mein Wien - N/A
Auch Ich Was Ein Feiner Csardaskavalier...Komm, Zigany - Bayerisches Staatsorchester
Kleinen Kindern...O Frag Mich Nicht - Symphonie - Orchester Graunke
Man Sagt Uns Nach...O Rose Von Stambul - N/A
Zwei Augen - Bayerisches Staatsorchester
Der Rattenfanger - FFB Orchester

Amazon.com

Fritz Wunderlich is one of those singers whose voice, while you are listening to it, seems to eclipse all others. Ravishingly beautiful, perfectly produced, radiant, even, mellow, it flows out with effortless ease like a golden stream. His breath is endless, and there is nothing that he cannot do. On these two very generous discs he sings arias ranging from Handel to Viennese operettas and sounds equally at home in all of them, vocally and stylistically. Mozart was one of his specialties, and the five arias opening the program have a beguiling, caressing lyricism that melts the heart. The selection includes familiar arias by Wagner, Tchaikovsky, Massenet, Donizetti, Smetana (including a duet with Pilar Lorengar), as well as several by composers whose operas were popular in the 1960s, when the records were made, but have now fallen into oblivion, such as Lortzing, Flotow, Cornelius, Kienzl, Nicolai, Thomas, Boieledieu. Wunderlich sings them all with the same seriousness and commitment, making the lesser ones sound better than they are, and creating real characters with color, nuance and expression. In keeping with the European tradition of performing opera in the local language, he sings everything in German, except the famous "Ombra mai fu" from Handel's Serse, which must have escaped the translators. Choosing from the best operettas by Lehár, Johann Strauss, Millöcker, Kálmán and Fall, he captures their smiling, tongue-in-cheek lightness and never lets the catchy tunes become corny or sentimental. (Listen also to his two very different, but equally wonderful recordings of Mahler's Song of the Earth under Schmidt-Isserstedt on BellaVoce and Klemperer.) In 1966, aged 36, at the peak of his artistry and his career, Wunderlich died after a fall, a month before he was to make his debut at the Metropolitan Opera. --Edith Eisler

Customer Reviews:

no texts -- shame on you EMI.......2007-02-11

This is not a gripe about Wunderlich, one of the greatest IMHO. It is about the EMI folks, who obviously think that song texts are irrelevant. Well, how do you know if the singing does justice to the text? And if you think that these texts are easily available elsewhere, I would be most thankful if you would share with me Lehar's "Das Land des L"achelns" Kalman's "die Zirkusprinzessin" or Neuendorff's "Der Rattenf"anger".

Very Best of Fritz Wunderlich.......2007-01-09

Fritz Wunderlich is still one of the Best. This CD is very good value for money, such a variety of songs, excellent tone quality.

Wunderlich.. ah what might have been,but glory in what was.........2004-12-29

Fritz Wunderlich died at the tragically young age of 36, just weeks before his scheduled Metropolitan Opera debut. I have no doubt that he would have been THE tenor of the 1960s and 70s. This collection is a compendium of some of Wunderlich's finest stuff (although his lieder are not represented here). Among the highlights, Granada.
I know, it's a Spanish song, and as the previous reviewer said, everything here is in German, which can get a little annoying with the Italian opera.. but for sheer vocal glory, Granada will make you want to stand up and shout, what a voice!!
If you don't know Wunderlich, get this disc.

Elegant collection though everything...auf Deutsch!.......2004-05-03

Among the lyric tenors, Wunderlich had one of the most handsome voices and a strength not usually related to this type of tenors. One melancholically wonders how much his repertoire could have expanded, had he lived longer.

This new VERY BEST collection has arias of some of his trademark Mozart roles, songs and arias of less popular composers as well as some famous arias of the Italian repertoire. He sings them all with memorable style, unparalleled beauty of tone and - where needed - the right vigour. I only wish he'd escaped the tradition of those decades and recorded the Italian and French arias in their original language and not in German. Only "Ombra mai fu" is sung in Italian and it doesn't reveal any bad Italian accent. Listening for example to his lovely "Una furtiva lagrima" in German is unique for sure but I prefer the Italian version.

Tracks:

Das Rheingold: Prelude
Das Rheingold - Scene One: Weia! Waga! Woge, du Welle!
Das Rheingold - Scene One: Garstig glatter glitschriger Glimmer
Das Rheingold - Scene One: Wallala! Lalaleia! Leialei!
Das Rheingold - Scene Four: Bin ich nun frei?
Das Rheingold - Scene Four: Schwules Gedunst schwebt In der Luft
Das Rheingold - Scene Four: Zur Burg Fuhrt die Brucke
Das Rheingold - Scene Four: Rheingold! Rheingold!
Die Walkure - Act One: Prelude
Die Walkure - Act One, Scene 3: Wintersturme wichen dem Wonnemond
Die Walkure - Act One, Scene Three: Wehwalt heisst du furwahr? Siegmund heiss ich
Die Walkure - Act II: Prelude to Act II
Die Walkure - Act II, Scene Four: Siegmund! sieh auf mich!
Die Walkure - Act II, Scene Four: Du sahest der Walkure sehrenden Blick
Die Walkure - Act III, Scene One: Hojotoho! Heiaha!

Tracks:

Die Walkure - Act III, Scene Three: Leb wohl, du k herrliches Kind!
Die Walkure - Act III, Scene 3: Loge, hLausche hieher!
Siegfried - Act I, Scene 3: Hoho! Hoho! Hohei!
Siegfried - Act I, Scene 3: Den der Bruder schuf, den schimmernden Reif!
Siegfried - Act II, Scene 2: Aber, wie sah meine Mutter wohl aus?
Siegfried - Act II, Scene 2: Du holdes Vin! Dich hort' ich noch nie
Siegfried - Act II, Scene 2: Es schweigt und lauscht
Siegfried - Act II, Scene 2: Siegfrieds Horn-call
Die Walkure - Act III, Scene 3: Ewig war ich, ewig bin ich
Gotterdammerung - Prologue: Orchestral Interlude
Gotterdammerung - Act III, Scene 2: Brde, heilige Braut
Gotterdammerung - Act III, Scene 2: Orchestral Interlude: Funeral March
Gotterdammerung - Act III, Scene 3: Starke Scheite schichtet mir dort
Gotterdammerung - Act III, Scene 3: Mein Erbe nun nehm ich zu eigen
Gotterdammerung - Act III, Scene 3: Grane, mein Ross, sei mir gegr
Gotterdammerung - Act III, Scene 3: Zurm Ring

Customer Reviews:

The Best Ring Intro and Highlights Recording.......2006-03-23

CAST: DAS RHEINGOLD:
Gustav Neidlinger (baritone, Alberich) Theo Adam (baritone, Wotan) Wolfgang Windgassen (tenor, Loge) Annelies Burmeister (mezzo-soprano, Fricka) Hermin Esser (soprano Froh) Ruth Hesse (soprano Flosshilde) Helga Dernesch (soprano Wellgunde) Dorothea Siebert (soprano, Woglinde)

DIE WALKURE: James King (tenor, Siegmund) Leonie Rysanek (soprano, Sieglende) Theo Adam (Wotan) Birgit Nilsson (soprano, Brunhilde) Danica Mastilovic (soprano, Fricka) Sieglende Wagner (soprano, Schwertleite) Liane Synek (soprano, Helmwige) and the Valkyries Elisabeth Schartel (Grimgerde) and Anneliese Burmister (Siegrunde)

SIEGFRIED: Wolgang Windgassen (Siegfried) Birgit Nilsson (Brunhilde) Erwin Wohlfahrt (Mime)

GOTTERDAMMERUNG: Wolfgang Windgassen (Siegfried) Birgit Nilsson (Brunhilde) Josef Greindl (bass-baritone, Hagen)...* Conductor Karl Bohm, Bayreuth Festival Orchestra

If you're already an opera fan but have not yet discovered Wagner and wish to be introduced to his biggest most famous opera cycle- Der Ring Des Nibelungen (The Ring of the Nibelungs) then this CD is one you should definately own. From live performances at Bayreuth on July of 1967, these same operas are available on seperate CD's and on a box set from the Phillips label. With a cast of brilliant, experienced Wagnerian singers such as baritone Theo Adam (Odin) soprano Birgit Nilsson (Brunhilde) and tenor Wolfgang Windgassen (Siegfried) you can't go wrong with this set. These singers represent a style of Wagnerian singing that no singer alive today can measure up to. Powerful, invective yet lyrical, passionate voices are equally in balance with dramatic acting. They lived their roles so that everytime I hear the Ring operas, I can't think of a greater Brunhilde than the unbeatable Birgit Nilsson or a greater Odin than that of Theo Adam. Maestro Karl Bohm was a prominent Wagner conductor and a Bayreuth icon in the 60's. He allowed enough natural "fresh air" for his singers, and the orchestra never truly drowns out their voices nor becomes overpowering. Nevertheless, Bohm provides the score, layered with dozens of leitmotifs, with spirituality, grandeur, nobility and the typical Wagnerian fatalism. Bohm understood Wagner more than any other conductor of his time. Although the George Solti studio Ring set is largely considered the greatest, I think this set is possibly better. There is more of a sense of tradition in this recording, since, after all, these are Bayreuth performances. The music and singingremains true to Wagner's original concept and this is not a "conductor's Ring" it is truly Wagner's Ring. The Ring of the Nibelung can become a complex, overanalyzed work of music but beneath its many layers it is an epic panorama of heroes, gods and villains. Its theme is the folly of man in his greedy lust for power, as represented by the titular ring.

Das Rheingold: The first opera deals with the greedy, deformed dwarf Alberich, who foresaking any chance of ever finding love, steals the Gold of the Rhine River from the Rhinemaidens. Baritone Gustav Neidlinger is possibly the greatest interpretor of Albrecht. This is a baritone role that is not in any way meant to be sung beautifully. Neidlinger sounds harsh and ugly, he is in full character. The music for Alberich is equally ugly and dissonant. In contrast, the Rhinemaidens are sung by beautiful, lyric sopranos who must evoke youthfulness, playfulness and a slight sexual flirtation. Their music is at first playful and flirty but after the gold is stolen, their song becomes a lament and remains melancholy in consequent motifs even up to Gotterdammerung when they reappear to reclaim their stolen gold from "the ashes of Brunhilde's Immolation". Donner, the Bridge Keeper of Valhalla, is a high bass who must step up to the exclamations of "Heda! Heda Hedo!", one of the great scenes in this opera, in which the gods enter the newly built glittering palace called Valhalla. But Odin, king of the gods, and suposed god of oaths, has broken his own oath (he promised the spring goddess Freya to the Giants who built Valhalla but didn't keep his word) And the tragedy is set in motion......

Die Walkure: In tenor and soprano James King and Leonie Rysanek, we get the most dramatic and golden Siegmund and Sieglende. More than others who have sung this romantic pair, King and Rysanek become involved, even lost in the music of their characters and are by far the most passionate interpretors. First of all, James King was endowed with a huge, heroic voice so perfect for Wagner. He is also featured in the Solti studio Ring recording but here, he is in better shape and sings with intensity, vocal heft and dramatic prowess. Also, his Siegmund is romantically sung, as if he could just as easily be a Verdi hero. His German diction never falters and he has command of the voice and melodic line. He passed away recently and left behind numerous recordings, including a Parsifal he recorded late in his career, which is still quite amazing. Leonie Rysanek actually screams out during the Love Duet in which Siegmund shows her his great sword Nothung. She was made famous not only for that hair-raising scream but for her powerful, dramatic voice and her first-rate performances as Strauss' Salome (also under Karl Bohm) Elektra and Verdi's Lady Macbeth which she first sang as a replacement to an ill and indisposed Maria Callas. Rysanek died of cancer in the mid 90's, and she was still singing then. In Die Walkure, we are first introduced to Odin's daughter, the lead Valkyrie goddess Brunhilde (she's the gal in the winged helmet, wielding a spear and flying on a horse). Birgit Nilsson owned this role, no doubt about it. Long after she had retired, she could still belt out the Hojo-to-hos (Valkyrie War Cries). She identified with Brunhilde's Nordic roots (Nilsson was born in Sweden) and she understood Wagner and dramatic German opera. All her huge successes were in German opera- Salome, Elektra most notably. She is also the Brunhilde of Solti's ring but here she is singing a hell of a lot better and she isn't overpowered by the Vienna Phil and its gargantuan musical forces. At the end of the opera, Odin punishes Brunhilde for sympathizing with the lovers Siegmund and Sieglende and saving Sieglende (pregnant with Siegfried). She is to sleep inside a ring of fire on a mountain or rock and only a great hero can awaken her and claim her as his bride. Theo Adam as Wotan is by far the best. He has a huge voice and is able to stir our emotions as he bids his daughter farewell in that great final scene.

Siegfried and Gotterdammerung: The son of Siegmund and Sieglende, he grows up not knowing his heritage as a hero. He discovers Nothung, his father's sword, kills Mime, yet another greedy, power-hungry dwarf and slays the dragon Fafner. He is now able to communicate and bond with nature as one of his special powers. He confronts Odin himself and saves Brunhilde from her nearly eternal sleep. Wolfgang Windgassen sang in the old-school Wagnerian tenor style which meant he had the "Bayreuth bark". He could throw his voice high above the big Wagnerian orchestra but it was a voice that was in no way attractive or emotional. It was cold and at times too harsh. But he is the only tenor to truly master the difficult role of Siegfried. Nowadays, some tenors can either sing the Siegfried of Siegfried or the Siegfried in Gotterdammerung, but rarely can they sing both like Windgassen. In addition, Windgassen achieved success in other Wagner heroic roles like Tristan and Tannhauser. In Gotterdammerung (Twilight of the Gods), Wagner's music has never been more fatalistic. Siegfried bids farewell to Brunhilde and sets out on an adventure down the Rhine river. He is captured by the vindictive and evil Gibechung giants, drugged and forced to wed Gutrune. And it gets worse. The Gibechungs also kidnap Brunhilde and force her to marry one of the giants. Eventually, Siegfried is slain by the cruel giant Hagen. The last minutes of singing are left to Brunhilde (it aint over till the fat lady sings). And what great singing it is. In the Immolation Scene, Brunhilde orders for a funeral pyre to be made for Siegfried. She curses the gods for breaking their oaths, declares that the end is near and summons Grane her old Valkyrie horse. Straddling him, she leaps into the funeral pyre and brings about the Ragnarok- the end of the gods. Valhalla is consumed by a firestorm, the Rhine overfloods and the world of man is destroyed. Birgit Nilsson's high, heroic voice has never sounded better in this scene.

Affordable price, great music, great singing. Please don't hesitate to get this recording if you are interested in hearing The Ring the way it should be sung and if you wish to get only chunks and pieces from an otherwise long 4 opera cycle. Enjoy!!

Incredible, even if only highlights.......2004-12-20

I have to say, usually I HATE highlights of anything, but in this case, I will say, I am impressed. It is so hard to choose what should be included, and often the things I want in highlights are the things that are NOT there (example is the highlights of Nabucco with Sintow, the really hard arias are gone; the same with her highlights of Macbeth, no sleepwalking scene). In this case, I was gladly surprised. Most all the really telling moments of the various operas are there. It is a great introduction for those who are just coming to Wagner's Ring. I would say like the Tolken books of Lord of the Rings (stories completely not related, though elements of this are in that), one has to prepare to enjoy them to get the full affect. Wagner is the same. His operas are extremely long, and there are long moments where nothing much is actually happening at all. To come to him unprepared can prove the end of even trying to understand his works at all. This highlight version is simply great. We are introduced to the Rhinemaidens right off and the drama begins. Just enough of each opera is there to give a really good feel for the works, and unlike most highlights with an aria or two, these are full scenes that are presented to us. I have to say, the editors did a masterful job at choosing the "exciting parts" to whet our desire for Wagner. Ending the entire set with the uncut version of the Immolation Scene is simply wonderful. So often when it is recorded as a highlight we begin only on the ending pronouncements where Brunhilde addresses her horse thus bringing the end to the opera. Here we are treated to the entire scene from beginning to end so we can follow the drama (interestingly, while singing the scene, stage actions are going on, for the pyre is prepared, Siegfried's body brought in, Brunhilde removes the ring, his body is put on the pyre, Grane, Brunhilde's horse is brought in -- well, in the score he is called for, but in most performances one has to imagine him being there, and if there, the singer never rides him into the fire as Wagner wanted; I think the only time that happened was with Marjorie Lawrence --- and the entire world is destroyed, including Valhalla, the Rhine overflows and the rhinemaidens get their ring/gold back).

This is a masterful choosing of highlights and they work to present the work as a whole in a wonderful way. When one then buys the entire ring, there are going to be many wonderful parts now fully appreciated and loved that will come up and the work will not seen as long.

For those of us who love Wagner, well, there are days we don't wish to get out all the CD's of each opera to listen to the few scenes we want to hear, and this highlight set is great to hear those moments that one would find exciting to hear when not in the mood to listen to the whole. The only scene I would have added, because it is exciting and good to listen to, is the oath scene (trio between Gunther, Hoggan, and Brunhilde) that ends Act 2 of Gotterdammerung. It is quite exciting and makes a wonderful contrast to the orchestra of the Rhine Journey that begins the Gotterdammerung highlights and the death of Siegfried which on the highlights follows the Rhine Journey. I know only so much can fit on a CD, but one could have begun that trio with the words "Siegfried's Todd" sung by Gunther and then the trio would not have been so long.

However, great introduction of a massive work.

Highlights From The Classic Live Performance.......2003-12-30

In the sixties, conductor Karl Bohm found himself treading on the ground that most conductors would think twice because of the huge risk factor - conducting Richard Wagner's The Ring Of the Nibelung (Das Ring Des Nibelungen) a series of four operas dealing with the ancient Norse saga of the legendary ring of power coveted by gods, mortals and giants. The myth also tells the love story of Siegfried and Brunhilde and the end of the world. For Wagner, this would be his ultimate masterpiece. These four opera cycle goes beyond everything he had ever composed musically and for the theatre. Only Tristan and Isolde and Parsifal reach such dramatic heights and is as musically masterful.

This classic recording has value, even if it is the highlights and excerpts from the operas. There is a full recording in its entirety with Karl Bohm conducting and with the same singers- Birgit Nilsson as Brunhilde, Wolfgang Windgassen as Siegfried, Leonie Rysanek as Sieglende, James King as Siegmund and Theo Adam as Wotan, king of the gods. These singers were regarded as the best interpretors of their day. Certainly, Birgit Nilsson was born to sing Brunhilde. She has all the drama just in her voice. The inflection is dramatic, her stage presence was commanding, and a voice that even Maria Callas would kill for. Maria Callas sang Brunhilde once in the 40's, but it was never good nor became her signature role. Callas was primarily an Italian singer and she had complications singing German. In Callas' day, Kirsten Flagstad was the reigning Brunhilde interpretor. But Birgit Nilsson's voice far surpasses even Flagstad. Birgit Nilsson has all the heigh notes, the passion, the fire and the Wagnerian touch to a fine art. Theo Adam makes a superb Wotan- imperious, commanding, greedy, regial. His voice was well-trained in German and in the art of Wagner music drama. The same applies to James King, a top-notch German heldentenor who made such roles as Siegfried and Theseus (from Strauss' Ariadne) his own.

To sing Wagner is no walk in the park. Only the best heldentenors and Wagnerian soprano divas are employed in this recording. Among them the diva Leonie Rysanek, whose vocals and theatrics on stage was always to her advantage. Here she sings the role of Sieglende- Siegfried's mother and wife of Siegmund. In her dramatic duet with Siegmund, Leonie Rysanek heightens the drama of the moment by actually SCREAMING. It's brilliant. It was well known that Rysanek would always scream her lines when warranted. She has sung other heavy German repertoire- such as Strauss' Salome.

Karl Bohm has been criticized for overemphasizing the music, for directing at lightning speed and making a "sloppy", disappointing score for Wagner's Ring. Most fans of the Ring favor George Solti, who was the first to produce the first studio recording of the Ring. Still others prefer Furtwangler, who was a native German and who knew the music so well because for a long time he had been associated with Wagner's descendant family who operate the Bayreuth Festival Opera House. But Karl Bohm, despite his failure in some portions, has his moments. His strength lies in conducting Gotterdammerung's final scene- the Immolation and end of the world. Brunhilde, the last bearer of the cursed ring, has lost her beloved Siegfried to death by traitorous murderer- giants, curses the gods and commits suicide by throwing herself into Siegfrie'ds funeral pyre. The curse of the ring is lifted, the palace of the gods in Vallhalla is consumed in a devastating fire and the world is flooded by the overflowing Rhine river.

The theme of the Ring is not too complicated to understand. In much the same vein as J.R.R. Tolkien's "Lord of the Rings" novels, and the recent film adaptations, the curse of a powerful ring is that of corrupted power. Absolute power corrupts absolutely, in the words of philosopher John Locke. The ring, who entitled its beare to total power, was desired by everyone in the opera- from an ugly dwarf (Albrecht) who was willing to sacrifice sexual relations and love for possession of the ring. Albrecht is the instigator. Stealing the gold of the Rhine from the mermaid-like Rhinemaidens, he begins to build a mine and city under the earth. The gods of Valhalla have their own troubles- the giants who built Valhalla want to claim their promised reward- Wotan's wife, the goddess Freya. The powerful god Wotan will not accept the terms. This occurs in the first opera - Das Rhinegold (The Rhinegold). In the second installment, "Die Walkure (The Valkyrie) we are introduced to Siegmund and Sieglende. Because theirs is an illicit romance, Freya convinces Wotan to decree their deaths. But Brunhilde, Wotan's divine daughter opposes the decree and even saves the life of Sieglende who gives birth to the hero Siegfried. Brunhilde is the Valkyrie warrior woman (she is the stereotypical Wagner opera singer wearing a horned helmet , spear, shield, breast plate and battle costume. When Brunhilde's defiance is discovered, Wotan puts a spell over her. She is to sleep inside a ring of fire until the kiss of a demi-god hero awakens her. In this opera, the famous "Ride of the Valkyries" is featured, a dramatic music which has been used time and again in movies and television, most notably in the film "Apocalypse Now". In Siegfried, we follow the quest of Siegfried. He pulls his father's sword from a tree (like King Arthur does in Excalibur only Arthur pulls the sword from a stone and anvil). Siegfried, with the help of the mentor dwarf Mime, journeys into Albrecht's layer, defeats him and slays the vile dragon Falfner. Of course, he kisses Brunhilde and breaks the spell. In the last opera, Gotterdamerung or "Twilight of the Gods", the saga comes to an end when Siegfried is slain by the Gibechung giants. Brunhilde has her famous Immolation Scene and the world of mortals, and even the gods, die during the end of the world. The highlghts here include Siegfried's Rhine Jounrey and Siegfried's Funeral March (this March was used in John Boorman's Excalibur) and the concluding music.

Good introduction to the Ring; good value........2001-09-11

I'm recommending this 2-disc set because it's the best way I know of at the present time to get an inexpensive, manageable, accessible introduction to Wagner's masterpiece, Der Ring des Nibelungen, commonly called the Ring. The Ring is a sequential cycle of four operas, Das Rheingold, Die Walkure, Siegfried, and Gotterdammerung. With the exception of Das Rheingold, they are all of great length (Wagner was a colossal egotist who seemed to believe that no opera could be too long if he was its composer). As a result, acquiring and getting familiar with the entire Ring is an expensive and time-consuming proposition (my choice among complete Ring recordings, the landmark Solti/Vienna Philharmonic set on Decca/London, is 14 CDs costing around $145-$160). Wagner purists will object to any attempt to excerpt "highlights" from the Ring, and they do have a point: unlike the standard Italian and French operas, which are readily divisible into recitatives, arias, duets, etc., the Wagner operas do not lend themselves to excerpting, with the result that "highlights" sets like this one are a collection of "bleeding chunks" torn from the body of the whole work.

Nevertheless there is a need for a way to approach the Ring, to be introduced to it and to get its flavor, and this generously filled (2 hours 28 minutes of music) 2-disc set fills that requirement reasonably well. These are excerpts from all four Ring operas from live 1966-67 performances (the second Wieland Wagner production) at Bayreuth, the famed Wagner Festspielhaus in Bavaria; they are not studio recordings. They are not great performances, but they are good, capable, workmanlike ones. The sound is not the equal of the better studio recordings (like the Solti and von Karajan cycles), but it is good enough: clear and never objectionable. The conductor, Karl Bohm, was not a great Wagnerian; he gives a competent reading, favoring brisk tempos, generally lacking repose, keeping things moving along in a business-like manner, but the result is that he seems more interested in moving on to the next scene than in shaping the scene at hand to realize its full potential. His performance overall is characterized by persistent, even relentless, forward pressure. Sometimes this works, sometimes not; if he can be accused of insensitivity, of failing to make the most of his opportunities, he can't be accused of lingering, melting, dawdling, going slack. He is certainly not in the class of Solti or Furtwangler as a Wagner conductor. The notes all get played, but there is little magic fire coming from the pit here.

Most of the singers are able and well suited to their roles, and they are all singers who actually sang their roles on the operatic stage (not just in the recording studio). Outstanding are Birgit Nilsson and James King. Here is a chance to hear Nilsson, the greatest Wagnerian soprano of the second half of the twentieth century, "live" in her most celebrated role, Brunnhilde (who figures in the last three Ring operas), and that is an opportunity not to be sneezed at. She offers ringing vocal power, amplitude, stamina, with a brillliant, secure top, an unusual combination that is rarely found in Wagnerian sopranos, and she has no competition in any of the other complete sets except the Solti, where she is competing with herself. When it comes to unleashing her huge voice and letting it soar out over the potent Wagner orchestra, she has no peer, and reminds us of what great Wagnerian singing, heroic singing, used to be all about. James King is the Siegmund in Die Walkure (as he is in the Solti set), and his bright, attractive tenor and musicianly singing are a treat after the ersatz, makeshift Heldentenorizing we've usually had to make do with in Wagner since Melchior retired in 1950. Compare his singing here with the dry, threadbare, underpowered Siegfried of Wolfgang Windgassen--whose creditable performance is a triumph of professional skill over lack of natural resources--and you will see what I mean. Theo Adam as Wotan knows his stuff (he was a well-regarded Wotan) but his vocal endowment is not prepossessing either; he too, like so many Wagner singers of the post-Flagstad-Traubel-Melchior era (i.e., after 1950), is underpowered for the role.

This 2-CD set has direct, head-on competition from a similar (and similarly priced) Deutsche Grammophon 2-CD set of highlights from the Ring. The DG set is from the Karajan/Berlin Philharmonic studio recordings of the Ring operas (1967-1970). Here's how I stack up their pros and cons: The Bohm set has generally superior, more involved singing, including Nilsson as Brunnhilde, by singers who sing the same roles throughout (no switching horses in midstream, as in the Karajan, which has two different Wotans, two different Brunnhildes, and two different Siegfrieds), and who actually sang their roles in the opera house, not just in the recording studio (this is a problem with the more "artificial" Karajan set). Also, since the performances are "live," there is a certain sense of vividness, immediacy, and excitement missing in a studio recording. On the other hand, the Karajan set offers generally superior conducting and orchestral playing; his studio recording can be more note-perfect (with its opportunities for re-takes); and the sound of Karajan's set is better than that of Bohm's live performances (although still not as good as Solti's Ring, or the best more recent opera recordings).

So, between the Karajan and Bohm 2-CD Ring highlights sets, there is not a clearcut winner. To make choosing more difficult, both are priced the same and both offer very generously filled CDs (both have about two and a half hours of music). I marginally prefer the Bohm "live" performances, but I couldn't argue with anyone who listened to them both and preferred the Karajan.

Fire! Fire!.......2000-08-23

Taken from live performances of "Der Ring des Nibelungen" at Bayreuth in 1967, this double-disc compilation of excerpts from Wagner's epic provides a generous selection for persons who want to explore the Ring beyond the usual "highlights" albums without taking on the entire cycle. Although not necessary for those familiar with the Ring, the liner notes contain a brief history of its development, historical and social context, and a synopsis. Unfortunately (or fortunately, depending on one's attitude towards Wagner's prose style), the notes do not provide translations of the excerpts for neophytes.

Renowned for his performances of Wagner, conductor Karl Bohm evokes fiery playing from the Bayreuth Festival Orchestra. Particularly at the climaxes, his tempi may seem too brisk for those wanting a more langorous Wagner. Nevertheless, Bohm manages to evoke the same white-hot intensity that make many of his other opera recordings riveting, with piercing horns and thunderous percussion. For opera lovers who already own other versions of Wagner's epic, this compilation may whet their appetites for buying the reasonably-priced complete set of Bohm's interpretation.

The Very Best of Das EFX
Average customer rating:

Great collection, but...

fun fun fun, ...

das in full efx

The Very Best of Das EFX
Das EFX
Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

East Coast | Rap & Hip-Hop | Styles | Music
General | Rap & Hip-Hop | Styles | Music
Pop Rap | Rap & Hip-Hop | Styles | Music
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Dead Serious

ASIN: B00005LDYC
Release Date: 2001-07-03

Tracks:

Mic Checka (Remix)
Jussummen
They Want EFX
East Coast
If Only
Dum Dums
Looseys
Freakit
Baknaffek
Kaught In Da AK
No Diggedy
Real Hip Hop (Pete Rock Remix)
Microphone Master
Represent The Real
Shine
Rap Scholar (Original Version)

Customer Reviews:

Great collection, but..........2004-09-16

If you've been living under a rock and have never heard of Das EFX, please oh PLEASE don't use How We Do as an accurate representation of their work. Instead refer to this BEST OF collection.

For fans, there are a lot of songs on here that you should remember, like "Freakit", "Microphone Master" and "Baknaffek" (back in effect). The album is also rewarding in that it contains remixes of songs that are very hard to find anywhere, like the "Mic Checka" remix and the Pete Rock remix of "Real Hip Hop".

If you read my review title, you'll notice it ended with a "but". That's because I have one concern with this compilation. That is, if you already own Das EFX's first album, Dead Serious, then you really don't need to pick up this album. This is because most of the songs on here are from that album ("Mic Checka", "Jussumen", "They Want EFX", "East Coast", "If Only", "Looseys", etc.). Most of those songs weren't even released. Why didn't they include "Straight From Da Sewer"?

I was also disappointed to not find the "They Want EFX" remix on here. Instead, there's the original version (which IS still great, but I just like the remix better). Oh well, this is still a good collection. And while there's one song on here that I could do without ("Shine"), that doesn't stop The Very Best of Das EFX from being diggedy-dope.

Anthony Rupert

fun fun fun, ..........2001-10-16

this is as fun as stoopid music can get. downwright ... jams that just kills anything put out today...

das in full efx.......2001-08-05

das efx has been in the game for a minute now and they have earned they props. they did the classic with redman and others. but if you looking for some old school beats then check this out . das efx aint playin!

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