| 1. Qui Veut |
| 2. Mon Adrenaline |
| 3. Dispute (Intro) |
| 4. Frederic 9enfant Du Divorce) |
| 5. Lady Ft Jango Jack |
| 6. Unite |
| 7. Smatch Ca Ft Buckshot (Black Moon) |
| 8. T'inquiete Pas |
| 9. Preliminaire (Intro) |
| 10. Bobby |
| 11. Delivrance (Outr0) |
| 12. Milieu Carceral |
| 13. African Princess |
| 14. Pulsions Meurtrieres Ft Lino (Arsenik) |
| 15. Pourquoi J'ai Tire |
| 16. Qui Veut 9remix) |
| 17. L'engrenage (Bonus) |
| 18. Miaou Ft Jango Jack (Bonus) |
Editorial Reviews
Product Description
14 Tracks of Great Rap from the Underground!
I met this singer last fall in New York. A few months later, I saw her again hosting the opera quiz at the Met. Little did I know that about five months later, she would forever rest in the peace that she deserved for so long. Rest in peace Beverly. And brava...brava for the many years of wonderful singing that you gave us.
The first CD focuses on her operatic singing. The CD begins with a selection from Thomas' "Mignon," culminating in "Je suis Titania la blonde." Her voice is light and clear. She displays great agility. In the middle of this piece, she shows a decent but not great trill; she closes the "cut" with a series of terrific trills. Her ornamentation is nicely done.
Donizetti's "Linda di Chamounix" was another of Sills' characters. "Ah! Tardai troppo. . .O luce di quest'anima" features more clean vocalization. The florid singing is nicely done, with well sung high notes and additional sound trills. A very agile voice on display! From Donizetti's "Lucia di Lammermoor," Sills sings "Regnava nel silenzio. . .Quando rapito in estasi." Her voice is smooth. In the aria, she produces a set of trill after trill, each one well done, but in their totality almost overdone (I love trills, but there were almost too many!). "Quando rapito in estasi" is well sung, with much well done florid singing, with appoggiaturas, trills, and other ornamentation.
The remainder of the CD features selections from Bellini's "I Puritani," and Donizetti's "Roberto Devereux," "Maria Stuarda," and "Anna Bolena." I can say pretty much the same about these pieces as already stated before. Excellent technique, wonderful ornamentation.
The second CD begins with the redoubtable piece, sung by "Olympia," from Offenbach's "Les Contes d'Hoffmann." Well done, with good vocal effects, catching the mechanical aspects of the music. Other pieces on this side come from Mozart, Heuberger, Moore, Korngold, and so on.
One piece worth mentioning, because it captures her approach to a lighter work, from Lehar's "The Merry Widow." She sings the song for what it is, and does not overwhelm it with her voice. Compare with what Richard Tucker did to the enjoyable but rather light song, "What Now My Love?", when he essayed singing pop tunes. Enjoyable for the thrill of his voice; pretty grisly in terms of his overwhelming the music itself. That does not happen here; there is a certain pathos in Sills' singing, as warranted by the song. It suggests the range of her singing.
All in all, a good sampling of "The Art of Beverly Sills." Hearing her voice again after many years reinforces my preexisting view that she ranks as one of the best coloratura sopranos of the past fifty years. There are terrific contemporary singers who sing the same repertoire and do it well. But Beverly Sills certainly compares very well with them. If interested in an introduction to Sillsiana, this is a good place to start.
One of the most remarkable music performances I have seen.
If you are just discovering opera, suffice it to say; Buy this album!!! It was the concert that launched the 3 Tenors phenomenon. It is full of uplifting, heart- tugging favorites, and you will find yourself listening to it over and over. Buy the dvd as well. It imparts absolute electricity! I am a young pianist and vocalist, and this concert is truly inspiring to me! You won't regret one penny you spend on this!
First of all I have to comment on the editorial review of this cd. I felt the reviewer is "belittling" José Carreras here by saying he's one step behind the big brothers and his singing isn't as captivating as that of the big boys.....?!?!? Of course I can only speak for myself, but I feel she's way out of line. And I'm starting to wonder if she's been listening to the cd at all? In my opinion you have to be dead not to be touched by his rendition of "Lamento di Federico" and "L'improvviso". If anybody can deliver a line it has to be Carreras. When it comes to his interpretation of "Granada" even conductor Zubin Mehta was gobsmacked. Watching the dvd you can see him putting down his baton and applauding. He even steps down from his podium to hug José.
I have to say I'm not too keen on the two other tenors, although I have to admit I loved Pavarotti's "Torna a Surriento" and "Rondine al nido". The thing about Pavarotti is that he has a great singing technique and he's also in possession of this "push-button" which make him sing a lot of high notes, but that alone isn't enough to stir emotion.
As for Domingo, even if he's giving it all in every song, and his "No puede ser" was great,I think he's a bit too much on the nasal side. He's okay when they all perform together, but his "E lucevan le stelle" is sending shivers down my spine - and not of delight. I'm practically unable to sit still and listen to his solos. If you really want "fire and pain" you should check out Carreras in the Tosca-recording from -80, or his recording from -76. It's really breathtaking and I promise you'll end up in tears!
At the end of this concert the three tenors perform a medley together. Their voices blend perfectly and it's powerful to listen to them giving it all. A lot of people are talking about their mis-pronounciations. I for one, think it only adds to the charm of the performers. Pavarotti has some problems with the English songs (okay, big problems..), Domingo stumbles in the words in the beginning of "Wien Wien nur du allein", and (this you'll see in the dvd) in the same song Carreras is actually reading the text from a piece of paper as he's singing and his facial expressions when getting his head around the German words are really hilarious. O sole mio as an encore is fabulous when Pavarotti pushes his button and shakes out all his high notes.... And I love it when the two other join forces and repeat his stunt to perfection.
All in all this is a wonderful album. And well worth 5 stars.... José alone gets 10 stars!!!
If you like it fast - go to Toscanini or Norrington. If you prefer slow, powerful and majestic, this is your set. Towards the end of his distinguished career, the great Otto Klemperer set down his final views of the performance of these symphonnies. The set is a coherent whole and will give great pleasure for ever. The challenging mix of the young Barenboim and the aged Klemperer worked surprisingly well and thus the concertos may also be recommended. There are odd additional items which add to the pleasure. Finally do not forget to purchase his memorable set of 'Fidelio' to complete your traversal of a great conductor giving great performances of a composer that he loved. Finally the price is ridiculously low and provides quality and quantity at a great price. Thus you should be able to buy the opera set from the savings made!
Of all these Analog sets, I most enjoy the Leibowitz Spring 1961 cycle with the Royal Philharmonic. I have this cycle on an audiophile early 90s European import Edition Phoenix label special pressing "on extra virgin vinyl." These are by far the best analog symphonic lps I have ever heard from a recording standpoint. BY FAR! And they will rock your house.
You can almost justify Karajan's 4 recorded Beethoven cycles and one video based upon improvements in recording technology. Thru Rhapsody, I have listened to his mid 50s cycle and the orchestra sounds great, but the recording quality is sub par compared to Analog's golden age. So the rational for 4 cycles would be, (1) recent great improvements in recording technology (early 60s), (2) it has been 15 years and he has grown as an artist (late 70s), (3) we now have digital! Let's do one of the first Beethoven digital cycles (80s).
Klemperer is a no-brainer. I do not have to think twice about plopping one of his lps onto my turntable or hitting the play button at Rhapsody. When the music starts, the listening pleasure begins. Don't miss his Bruckner symphony recordings!
These performances were recorded with the Philharmonia Orchestra at its peak, in the sumptuous acoustics of Kingsway Hall in London and in fine and detailed sound, and mostly in the mid-1950's during one of the brief charmed periods of Klemperer's life. EMI's impresario Walter Legge had made him permanent conductor of the Philharmonia, and when Klemperer embarked on this project in his 70's, he was in relatively good mental and physical health (Klemperer could show symptoms of manic depression and survived many health crises - brain tumor, broken bones, paralysis - which would have stopped most people).
By this time Klemperer had slowed the tempi of the fast movements of the Beethoven symphonies (listen to his early 1950's recordings of the 5th and 6th on Vox to hear by how much). This tendency is more pronounced in these studio recordings than in the live performances which were recorded during that era. The slowness is mostly saved by Klemperer's use of "sprung" rhythms, which keep the slow tempi from feeling laggardly.
Klemperer's earliest recordings in this series - symphonies 3, 5 and 7 - predate stereo and were recorded in excellent monaural sound. He rerecorded all three of these symphonies in stereo, but those recordings were made after he burned himself by falling asleep while smoking in bed. All three performances feature slower tempi than the earlier ones (whether this was the conductor's preference or the result of physical incapacity is open to conjecture). In particular, the rerecorded 7th suffered from lax phrasing, inattentiveness and perverse tempi. That is NOT the version contained in this set: fortunately, EMI had simultaneously recorded the earlier version of the 7th in "experimental" stereo, and it is that earlier version which is released here (and in remarkably good stereo). The versions of the 3rd and 5th are the rerecorded stereo ones.
You will find no finer studio versions of the 2nd, 4th, 6th, 7th or 8th. All are insightful, beautifully detailed and powerful. The 2nd clearly looks forward to the 3rd and not back toward Hayden, the 4th is boisterous and vital, the 6th bucolic and sumptuous (not a quality normally associated with Klemperer), the 7th gains in drama what it loses in swiftness and lightness, and in the 8th in particular we see the conductor's empathy to Beethoven's sense of humor. Klemperer had a deep affinity for the "Eroica", and the rerecorded version here, while slower than the 1955 recording, was dubbed by "High Fidelity"'s Harris Goldsmith (no Klemperer fan, he) as "the best Eroica going slow" and is a monumental masterpiece (the second movement is shattering). The 1st, while leisurely, is a lovingly crafted.
That leaves the 5th and 9th. There is no doubt in my mind that the earlier, mono 5th is superior to the remake in this set. We lose that sense of an inevitable onslaught, especially in the outer movements. And the 9th, while similar in conception to the live versions recorded around the same time (on Testament with the Philharmonia and on Music&Arts with the Concertgebouw), suffers from diffuse sound and occasional lack of focus. I emphasize that these recordings of both symphonies are still head and shoulders above most of the competition; we're talking about different levels of greatness here.
Are there superior Klemperer recordings of these symphonies? Yes; but all are live, and despite the relatively good reprocessed sound, they don't reveal the same level of detail that these studio recordings do. Klemperer was a very different conductor in front of an audience, and there is more vitality and drama in the live versions of the 3rd (Testament, with the Danish Symphony), 6th 7th and 8th (Music&Arts with the Concertgebouw) and the 9th (see above). Music&Arts' set of the complete symphonies, recorded live in Vienna in 1960, is long out of print and had cramped sound with poor detail - a supplement to this set, not a replacement.
As to the piano concerti: they are better than one might expect. Barenboim, although steeped in the Germanic performance tradition, is more naturally aligned with the Furtwangler and Edwin Fischer than with Klemperer. However, the two of them actually work together extremely well and this is a fine, insightful set.
Any complete cycle of Beethoven, symphonies or concerti, will have drawbacks. There will be unevenness in the performances, as there are here. But there are advantages to hearing one musician's perspective on the works, especially when (as here) the performer has depth of understanding, integrity of vision, and a structural understanding of the pieces.
The digital remastering is excellent and the sound barely shows its age. This may not be your only complete set of Beethoven's symphonies, but it should be one of them. And at a price this low, it's a bargain too.
This recording was originally issued on EMI, and I find it unusual that it should have disappeared from that label and it now appears on DG. Although it is strange, we need not worry about that; the main thing here is that the recording is again available to us.
You only really need two copies of Manon...the Victoria De Los Angeles one under Pierre Monteaux, and this one with Sills, Gedda, Bacquier, and Souzay under Julius Rudel. All participants here are simply wonderful, and all in very good voice as it happens! Usually we get a weak link, but somehow, the god's smiled on this effort, and everything came together wonderfully.
This is one of Gedda's efforts that I heartily commend! Simply a great des Griux! Souzay's Lescaut is really a wonderfully smooth, and mellow, performance that you need to hear. Gabriel Bacquier, AS ALWAYS turns in a magnificently commanding performance as Count des Griux. This of course brings us to the role of Manon. Simply stunning would be a great way to say it! Sills is just so real-life-bubbly girlish, and so lovely, that we are swept up in the swirl of mad love, right up to tragedy that comes to her, and the heart-wrenchingly sad finale.
This recording belongs in everyone's collection, right beside the Victoria De Los Angeles one! Enjoy! ~operabruin
As good an ensemble as could be assembled in the more recent past, well conducted by the seasoned Rudel, this 1970 performance stands or falls by one's perception of the two principals.
Nicolaï Gedda (né Ustinov,) b. 1925, half-Swedish, half-Russian, was a fine musician with a highly developped vocal technique. His manner was rather cold, however, and at 45 his lyric voice had lost some of its original bloom. I find his des Grieux rather grim and emphatic, lacking in romantic élan. I much prefer the poetic Henri Legay in the definitive Monteux recording (TESTAMENT.)
Beverly Sills (née Silvermann,) b. 1929, American, studied with Estelle Liebling, a pupil of the legendary Mathilde Marchesi, teacher of Melba, Eames, Kurtz, Alda and many an other French stylist.
Sills new exactly how to sing this music and had the perfect voice and technique for it. Many years of repertory singing in the provinces, often in inappropriately heavy parts (Tosca!) however, had made Sills' voice thin and unsteady by the time she made this recording at age 41. Her interpretation is intense, heartfelt and full of telling dramatic detail, but often heavy-handed and unpleasant on the ear. She is also rather short on the elegance and chimeric charm that characterises the best interpreters of this part (Vallin, Heldy, Féraldy, de los Ángeles.)
The airplane hangar ambience of the recording studio (talk about overresonant!) does not help, either.
Incidentally, the rôle of Lescaut is sung (well) by Gerard SOUZAY.
Gabriel Bacquier sings comte des Grieux--very well indeed.
Like great French opera, MANON is a work that is a bit larger than life, requires exquisite orchestral playing, and of course great singing. This set, originally released by Westminster in the 1970's and re-released by Duetsche Grammophon has it all. The vocal abilities of the three leading performers: Beverly Sills, Nicolai Gedda and Gabriel Bacquier as Manon, des Grieux, and Lescaut respectively are each in top vocal form. Sills herself states that Manon was a role she loved and one that she believed her voice was well suited for, and there can be no disputation when listening to this set. As a conductor, Julius Rudel is at his best. He has great control over the New Philharmonia Orchestra, creating lush sounds that make the recording spectacular and an added, but essential plus would be the outstanding choral performances by the Ambrosian Opera Chorus and the great performances of the smaller roles.
Just about every reviewer, from Amazon reviewers to the critics who write for OPERA NEWS have heralded the new availability of this recording. Listen to it, and you will understand why and echo the many praises of this set.
Enjoy!
Buy this album now. The music is truly exquisite. The performance is outstanding. The CD is a masterpiece. After one hearing of Lauridsen's "Lux Aeterna," I tell you the truth: I could not sleep the entire night. The music was with me all night, and it continues to resonate through my soul.
This recording displays Lauridsen at his best--the long-standing working relationship between the Los Angeles Master Chorale and the composer give these performances an authority and credibility which would be the envy of any group. The Chorale voices display a depth and maturity (particularly in the Bass and Alto sections) which I miss in college choirs, yet the control is perfect.
The works are recorded in the Sacred Heart Chapel of Loyola Marymount University--a very live acoustic, which contributes to the wonderful sense of blend and sonic depth in these pieces. This sonorous glory does have a price, however. The wonderful texts are quite frequently muddled a bit. The enunciation and diction are not as clear on this recording as one might have expected from this group. That is a small cavil, however--intonation and interpretation are flawless.
Buy this, put it in your CD player, turn it up, and enjoy it. If you love choral music, you need to own this disc.
The ambience of the recording is a wide open one, giving us the full clear sound that makes listening to a grand piano to enjoyable.
If you enjoy listening to good piano music, this is a recording that you will enjoy a great deal.
For me, Eugen Jochum's rendition of Carmina Burana is easily the best one. Approved by Orff himself that was invited to assist the premiere. Unlike several other performances, this Carmina Burana was raw, even violent at times. All the energy that Orff had put into it, all the joy and jokes of the text where lived by the performers. There was no worry on softening the sound in order to look more "polite" or classical. It was raw, it was energic, it was Orff's intention live on stage. That's why it is said Orff was so pleased with it.
However, some people criticized it. Said it was too violent, too unprofessional, too raw after all. That it was not a proper classical music interpretation. It lacked detail, politeness and "education". After all, it was just not "proper" to play classical music "like that". It is a stigma this performance has suffered for years, regardlessly of being the composer's approved one.
When I got this new DG release something sounded different. The sound was perhaps cleaner, but surely something was wrong. And it was easy to find out what. The remastering altered the original, by softening it. It was now slightly slower, more polite, there is not so much violence in the voices sometimes, nor in some of the instruments. DG tried to please everybody with this re-release, including the critics of the original 1988 release, the one faithful to the original performance.
So, that explains the title, it is the best performance, but not the best edition, as it has been remastered, and, in my humble opinion, adulterated.
For me, the best one overall: best performance and best edition is still the 1988 release of this same recording also by DG and available here at amazon called Orff: Carmina Burana.
I went through a bunch of other recordings of "Carmina Burana" until I finally found this one. This one is the best. I mean you can complain about aspects of it, but with the composer working with the conductor it's a bit hard to say anything meaninful. If you don't like the way this sounds then maybe you just don't like the full piece. For example, I've seen people praise other recordings because they sounded "less teutonic". That's quite a ridiculous comment - after all, that's what it's supposed to sound like. And it's Latin (or old German) and that's just what Latin sounds like.
So I can only recommend this recording, it's quite impressive, and it's quite heavy in the percussion - make sure to listen to it loud at least once.
And Dietrich Fischer-Dieskau? I actually winced, hearing him in his solo passages, where he's supposed to sound impassioned and suffering, to hear him warbling away like he thought he was singing lieder. Sorry, no. If you want to hear how it all SHOULD sound, buy the CD with Charles Dutoit conducting the Orchestre Symphonique de Montreal, which is the finest version I've ever heard -- the best use of tempo, the best diction, and the best soloists by far.
And PLEASE, let's get something straight: "Carmina" does NOT rhyme with "Christina", it rhymes with "stamina". "Carmen" is a second-declension neuter noun in Latin, as is "stamen", and in the nominative plural, the stress falls on the first syllable. It's CAR-min-a, not car-MEE-na. It makes my hair stand on end to hear someone pronounce it like they think the "-ina" is an Italian diminutive ending, like in "manina". It is NOT.
[ADDED LATER: How pathetic that so many people have thought my review was "not helpful". Did they expect lies and smiley faces? They probably went right ahead and wasted their money anyway. I tried to warn them. Chances are, though, they have no idea what the lyrics mean, so it won't matter to them that Dietrich F.-D. sings them like he doesn't know what they mean either.
I even hope they will also ignore my correction of the frequent mispronunciation of the title, because it can be quite hilarious to hear pseudo-sophisticates mangling pronunciations and thus announcing to the world that they really don't have a clue.]
She is still a beautiful woman, and always will be. I have seen her concerts online, and she ISN'T bad, it's just that she doesn't have what I'm looking for in an opera singer!
of music and Renee Fleming's outstanding voice.
14 Tracks of Great Rap from the Underground!
Au-Deca Des Apparances,Ol Kainry,Universal,World Music
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Art of Beverly
Beverly Sills Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD  General
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ASIN: B000075A7K Release Date: 2002-11-12 |
Tracks:
- Mignon: Oui, Pour Ce Soir Je Suis Reine Des Fees...Je Suis Titania La Blonde
- Manon: Allons! Il Le Faut-Adieu, Notre Petite Table
- Manon: Je Marche Sur Tous Les Chemins-Obeissons Quand Leur Voix Appelle
- Louise: Depuis Le Jour
- Linda Di Chamounix: Ah! Tardai Troppo...O Luce Di Quest'Anima
- Lucia Di Lammermoor: Regnava Nel Silenzio...Quando Rapito In Estasi
- I Puritani: Fini...Me Lassa!
- I Puritani: Vieni, Vieni Fra Queste Braccia
- Roberto Devereux: L'amor Suo Mi Fe' Beata
- Maria Stuarda: O Nube
- Anna Bolena: Cielo A' Miei Lunghi Spasimi-Coppia Iniqua
Tracks:
- Les Contes D'Hoffman: Les Oiseau Dans La Charmille
- Les Contes D'Hoffman: Elle A Fui, La Tourterelle
- Zaide: Ruhe Sanft, Mein Holdes Leben
- Der Opernball: Im Chambre Separee
- Die Lustige Witwe: Es Lebt' Eine Vilja
- The Ballad Of Baby Doe: Gold Is A Fine Thing
- Die Tote Stadt: Cluck, Das Mir Verblieb
- Daphen: Was Blendet So...Ich Komme...Ich Komme
- Sechs Lieder Op.19 No.2: Breit' uber Mein haupt Dein Schwarzes Haar
Customer Reviews:
WHAT CAN I SAY?.......2007-07-05
Rest in Peace Dear Bubbles (1929-July 2, 2007).......2007-07-03
I met this singer last fall in New York. A few months later, I saw her again hosting the opera quiz at the Met. Little did I know that about five months later, she would forever rest in the peace that she deserved for so long. Rest in peace Beverly. And brava...brava for the many years of wonderful singing that you gave us.
two beautiful discs!.......2007-02-18
Good example of the "Art of Beverly Sills".......2007-01-27
The first CD focuses on her operatic singing. The CD begins with a selection from Thomas' "Mignon," culminating in "Je suis Titania la blonde." Her voice is light and clear. She displays great agility. In the middle of this piece, she shows a decent but not great trill; she closes the "cut" with a series of terrific trills. Her ornamentation is nicely done.
Donizetti's "Linda di Chamounix" was another of Sills' characters. "Ah! Tardai troppo. . .O luce di quest'anima" features more clean vocalization. The florid singing is nicely done, with well sung high notes and additional sound trills. A very agile voice on display! From Donizetti's "Lucia di Lammermoor," Sills sings "Regnava nel silenzio. . .Quando rapito in estasi." Her voice is smooth. In the aria, she produces a set of trill after trill, each one well done, but in their totality almost overdone (I love trills, but there were almost too many!). "Quando rapito in estasi" is well sung, with much well done florid singing, with appoggiaturas, trills, and other ornamentation.
The remainder of the CD features selections from Bellini's "I Puritani," and Donizetti's "Roberto Devereux," "Maria Stuarda," and "Anna Bolena." I can say pretty much the same about these pieces as already stated before. Excellent technique, wonderful ornamentation.
The second CD begins with the redoubtable piece, sung by "Olympia," from Offenbach's "Les Contes d'Hoffmann." Well done, with good vocal effects, catching the mechanical aspects of the music. Other pieces on this side come from Mozart, Heuberger, Moore, Korngold, and so on.
One piece worth mentioning, because it captures her approach to a lighter work, from Lehar's "The Merry Widow." She sings the song for what it is, and does not overwhelm it with her voice. Compare with what Richard Tucker did to the enjoyable but rather light song, "What Now My Love?", when he essayed singing pop tunes. Enjoyable for the thrill of his voice; pretty grisly in terms of his overwhelming the music itself. That does not happen here; there is a certain pathos in Sills' singing, as warranted by the song. It suggests the range of her singing.
All in all, a good sampling of "The Art of Beverly Sills." Hearing her voice again after many years reinforces my preexisting view that she ranks as one of the best coloratura sopranos of the past fifty years. There are terrific contemporary singers who sing the same repertoire and do it well. But Beverly Sills certainly compares very well with them. If interested in an introduction to Sillsiana, this is a good place to start.
Claws.......2003-11-16
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ASIN: B0000058HX Release Date: 1996-08-20 |
Tracks:
- Egmont Overture - Ludwig Van Beethoven
- Symphony No. 5 In C Minor - Ludwig Van Beethoven
- Piano Sonata No. 21 In C Major - Alfred Brendel
- Piano Sonata No. 14 In C Sharp Minor - Jerome Rose
- Piano Sonata No. 8 In C Minor - Jerome Rose
- Piano Sonata No. 23 In F Minor - Jerome Rose
- Symphony No. 6 In F Major - Ludwig Van Beethoven
- Symphony No. 7 In A Major - Ludwig Van Beethoven
- 'The Creatures Of Prometheus' Ballet - Ludwig Van Beethoven
- Violin Concerto In D Major - Susanne Lautenbacher
- Sonata For Violin And Piano No. 5 In F Major - Aaron Rosand
- Piano Trio In B Flat - Mannheimer Trio
- Fse - Various Artists
- Quintet In E Flat For Piano And Winds - Abbey Simon
- 'Chorale Fantasy' In C Minor For Piano, Chorus And Orchestra - Walter Klien
- Piano Concerto No. 2 In B Flat - Alfred Brendel
- Piano Concerto No. 3 In C Minor - Ludwig Van Beethoven
- Piano Concerto No. 4 In G Major - Alfred Brendel
- Piano Concerto No. 5 In E Flat - Alfred Brendel
- Symphony No. 3 In E Flat - Ludwig Van Beethoven
- 'The Ruins Of Athens,' - Ludwig Van Beethoven
- 'Corolian,' - Ludwig Van Beethoven
- Ecossaise For Piano - Alfred Brendel
- Symphony No. 9 In D Minor - Ludwig Van Beethoven
- Symphony No. 9 In D Minor - Ludwig Van Beethoven
Customer Reviews:
Great for the road.......2007-05-11
Beethoven 25 Favorites.......2006-11-21
25 Beethoven Favorites.......2006-11-05
bEtHoVeN mAnIaC.......2005-11-03
Great Price...Not so good itself.......2005-05-19
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Carreras · Domingo · Pavarotti ~ the three tenors in concert / Mehta
Francesco Cilea , Giacomo Meyerbeer , Giacomo Puccini , Franz Lehar , Vencenzo De Crescenzo , Salvatore Cardillo , Ernesto de Curtis , Agustin Lara , Pablo Sorozabal , Umberto Giordano , Leonard Bernstein , Vincenzo d' Annibale , Anonymous , Andrew Lloyd Webber , Alexander Sergeyevich Dargomizhsky , Juan De Dios Filiberto , Louis Louiguy , Ruggiero Leoncavallo , Rudolf Sieczynski , Joseph M. Lacalle , Eduardo di Capua , Zubin Mehta , Plácido Domingo , Luciano Pavarotti , and José Carreras Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Bernstein
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ASIN: B0000041XX Release Date: 1990-09-05 |
Tracks:
- Il Lamento Di Federico
- O Paradis
- Recondita Armonia - Luciano Pavarotti
- Dein ist Mein Ganzes Herz
- Rondine Al Nido - Luciano Pavarotti
- Core 'ngrato
- Torna A Surriento - Luciano Pavarotti
- Granada
- No Puede Ser
- L'impovviso
- E Lucevan Le Stelle
- Nessun Dorma
- Finale Medley: Maria - Tonight, 'O paese d' 'o sole, Cielito lINDO
- Memory, Ochi tchorniye, Caminito
- Mattinata ; Wien, Wien, Nur Du Allein, Amapola, 'O sole mio
- Encore: 'O sole mio
- Encore: Nessun Dorma
Amazon.com
Magic was created one starlit night in July 1990, when Luciano Pavarotti, Placido Domingo and José Carreras met onstage at the Baths of Caracalla in Rome and became the Three Tenors. They eschewed competitive instincts and cooperated in the spirit of mutual admiration to create one of the greatest musical events ever. This concert is an awe-inspiring orgy of the greatest hits for the tenor voice. Domingo and Pavarotti sing perfectly. The audience wins as these vocal supermen compete to seduce the hearts of the audience. One moment Domingo brings thrilling fire and pain to "E lucevan le stelle" from Tosca; the next, Pavarotti rises to heavenly heights in an inspired rendition of "Nessun dorma" from Turandot. Carreras is the competent little brother, one step behind the greatness of the big brothers from opera's Ponderosa. His singing isn't as captivating as that of the big boys; but his enthusiasm and passion are unrivaled. Mehta exquisitely captures the largeness of this bonanza through the grandiose orchestra. --Barbara Eisner BayerCustomer Reviews:
delivery went ok.......2006-11-14
A knockout performance .......2006-05-28
One of the most remarkable music performances I have seen.
The night that started it all!.......2005-11-02
If you are just discovering opera, suffice it to say; Buy this album!!! It was the concert that launched the 3 Tenors phenomenon. It is full of uplifting, heart- tugging favorites, and you will find yourself listening to it over and over. Buy the dvd as well. It imparts absolute electricity! I am a young pianist and vocalist, and this concert is truly inspiring to me! You won't regret one penny you spend on this!
Great singing from the three tenors.......2005-06-23
First of all I have to comment on the editorial review of this cd. I felt the reviewer is "belittling" José Carreras here by saying he's one step behind the big brothers and his singing isn't as captivating as that of the big boys.....?!?!? Of course I can only speak for myself, but I feel she's way out of line. And I'm starting to wonder if she's been listening to the cd at all? In my opinion you have to be dead not to be touched by his rendition of "Lamento di Federico" and "L'improvviso". If anybody can deliver a line it has to be Carreras. When it comes to his interpretation of "Granada" even conductor Zubin Mehta was gobsmacked. Watching the dvd you can see him putting down his baton and applauding. He even steps down from his podium to hug José.
I have to say I'm not too keen on the two other tenors, although I have to admit I loved Pavarotti's "Torna a Surriento" and "Rondine al nido". The thing about Pavarotti is that he has a great singing technique and he's also in possession of this "push-button" which make him sing a lot of high notes, but that alone isn't enough to stir emotion.
As for Domingo, even if he's giving it all in every song, and his "No puede ser" was great,I think he's a bit too much on the nasal side. He's okay when they all perform together, but his "E lucevan le stelle" is sending shivers down my spine - and not of delight. I'm practically unable to sit still and listen to his solos. If you really want "fire and pain" you should check out Carreras in the Tosca-recording from -80, or his recording from -76. It's really breathtaking and I promise you'll end up in tears!
At the end of this concert the three tenors perform a medley together. Their voices blend perfectly and it's powerful to listen to them giving it all. A lot of people are talking about their mis-pronounciations. I for one, think it only adds to the charm of the performers. Pavarotti has some problems with the English songs (okay, big problems..), Domingo stumbles in the words in the beginning of "Wien Wien nur du allein", and (this you'll see in the dvd) in the same song Carreras is actually reading the text from a piece of paper as he's singing and his facial expressions when getting his head around the German words are really hilarious. O sole mio as an encore is fabulous when Pavarotti pushes his button and shakes out all his high notes.... And I love it when the two other join forces and repeat his stunt to perfection.
All in all this is a wonderful album. And well worth 5 stars.... José alone gets 10 stars!!!
Excellent. Like summer sunshine. manna from heaven!.......2004-05-28
The concert was held during the World Cup in 1990 at the Baths of Caracella, which are ruins of the once great Roman baths. In this beautiful setting Luiciano Pavrotti, Jose Carreas and Placido Domingo came together for one of the best CD's ever made.
The singing is exquisite. The passion of the crowd in this live performance should equal the reaction of the listener. This is art at its highest level. It is a celebration of great music, not just of opera, but in my opinion, the soaring human spirit. What power to move the soul! You don't need to be an opera fan to enjoy this music. If you like any kind of music, you cannot help but be affected by the power of this special evening. And what an evening, those in attendance were lucky to have been there!!
The casual listener will already know some of these arias, as they are from some the great operas of all time. However, I believe even the most hardenend opera fan, unless he or she is a real stiff, cannot be helped to be but moved by this music.
It is heavenly! I recommend this CD to you, because in my humble opinion, it will bring sunshine to your heart!!! : )
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Beethoven: The Complete Symphonies and Piano Concertos
Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD Ballets
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ASIN: B00004YA0S Release Date: 2000-11-07 |
Tracks:
- I: Adagio Molto - Allegro Con Brio
- II: Andante Cantabile Con Moto
- III: Menuetto & Trio: Allegro Molto E Vivace
- IV: Adagio - Allegro Molto E Vivace
- I: Allegro Ma Non Troppo
- II: Andante Molto Mosso
- III: Allegro - In Tempo D'allegro - Tempo I
- IV: Allegro
- V: Allegretto
Tracks:
- I: Allegro Con Brio
- II: Marcia Funebre: Adagio Assai
- III: Scherzo & Trio: Allegro Vivace
- IV: Finale: Allegro Molto - Poco Andante - Presto
- Gross Fuge
Tracks:
- I: Adagio Molto - Allegro Con Brio
- II: Larghetto
- III: Scherzo & Trio: Allegro
- IV: Allegro Molto
- I: Allegro Con Brio
- II: Andante Con Moto - Piu Mosso - Tempo I
- III: Allegro -
- IV: Allegro - Presto
Tracks:
- I: Adagio - Allegro Vivace
- II: Adagio
- III: Menuetto: Allegro Vivace - Trio: Un Poco Meno Allegro
- IV: Allegro Ma Non Troppo
- I: Poco Sostenuto - Vivace
- II: Allegretto
- III: Presto - Assai Meno Presto
- IV: Allegro Con Brio
Tracks:
- I: Allegro Vivace Con Brio
- II: Allegretto Scherzando
- III: Tempo Di Menuetto
- IV: Allegro Vivace
- Overture
- Overture
- Overture
- Overture
Tracks:
- I: Allegro Non Troppo, Un Poco Maestoso - Christa Ludwig
- II: Molto Vivace - Presto - Christa Ludwig
- III: Adagio Molto E Cantabile - Andante Moderato - Christa Ludwig
- IV: Presto - Recitativo - Allegro Assai - Alla Marcia - Christa Ludwig
- Overture - Christa Ludwig
Tracks:
- I: Allegro Con Brio
- II: Largo
- III: Rondo: Allegro Scherzando
- I: Allegro Con Brio
- II: Adagio
- III: Rondo: Molto Allegro
Tracks:
- I: Allegro Con Brio
- II: Largo
- III: Rondo: Allegro
- I: Allegro Moderato
- II: Andante Con Moto
- III: Rondo: Vivace
Tracks:
- Fantasia For Piano, Chorus And Orchestra
- I: Allegro
- II: Adagio Un Poco Mosso -
- III: Rondo: Allegro
Amazon.com essential recording
Otto Klemperer's Beethoven is one of the towering achievements in the history of recordings. By today's standards, these performances are hopelessly old-fashioned: dark, heavy, and frequently very slow. But they are also the grandest, most unsentimental, most purposeful versions in the catalog. In addition, the relatively slow tempos (only in the fast movements--the slow ones are pretty swift) and forward wind balance permit more detail to be heard than in most original-instrument performances. At budget price and with the entire piano concerto cycle thrown in for good measure, this is greatness incarnate. --David HurwitzCustomer Reviews:
Great Performance.......2007-07-07
If you like it fast - go to Toscanini or Norrington. If you prefer slow, powerful and majestic, this is your set. Towards the end of his distinguished career, the great Otto Klemperer set down his final views of the performance of these symphonnies. The set is a coherent whole and will give great pleasure for ever. The challenging mix of the young Barenboim and the aged Klemperer worked surprisingly well and thus the concertos may also be recommended. There are odd additional items which add to the pleasure. Finally do not forget to purchase his memorable set of 'Fidelio' to complete your traversal of a great conductor giving great performances of a composer that he loved. Finally the price is ridiculously low and provides quality and quantity at a great price. Thus you should be able to buy the opera set from the savings made!
Great Analog Beethoven Cycle.......2007-05-07
Of all these Analog sets, I most enjoy the Leibowitz Spring 1961 cycle with the Royal Philharmonic. I have this cycle on an audiophile early 90s European import Edition Phoenix label special pressing "on extra virgin vinyl." These are by far the best analog symphonic lps I have ever heard from a recording standpoint. BY FAR! And they will rock your house.
You can almost justify Karajan's 4 recorded Beethoven cycles and one video based upon improvements in recording technology. Thru Rhapsody, I have listened to his mid 50s cycle and the orchestra sounds great, but the recording quality is sub par compared to Analog's golden age. So the rational for 4 cycles would be, (1) recent great improvements in recording technology (early 60s), (2) it has been 15 years and he has grown as an artist (late 70s), (3) we now have digital! Let's do one of the first Beethoven digital cycles (80s).
Klemperer is a no-brainer. I do not have to think twice about plopping one of his lps onto my turntable or hitting the play button at Rhapsody. When the music starts, the listening pleasure begins. Don't miss his Bruckner symphony recordings!
An essential collection.......2007-04-25
These performances were recorded with the Philharmonia Orchestra at its peak, in the sumptuous acoustics of Kingsway Hall in London and in fine and detailed sound, and mostly in the mid-1950's during one of the brief charmed periods of Klemperer's life. EMI's impresario Walter Legge had made him permanent conductor of the Philharmonia, and when Klemperer embarked on this project in his 70's, he was in relatively good mental and physical health (Klemperer could show symptoms of manic depression and survived many health crises - brain tumor, broken bones, paralysis - which would have stopped most people).
By this time Klemperer had slowed the tempi of the fast movements of the Beethoven symphonies (listen to his early 1950's recordings of the 5th and 6th on Vox to hear by how much). This tendency is more pronounced in these studio recordings than in the live performances which were recorded during that era. The slowness is mostly saved by Klemperer's use of "sprung" rhythms, which keep the slow tempi from feeling laggardly.
Klemperer's earliest recordings in this series - symphonies 3, 5 and 7 - predate stereo and were recorded in excellent monaural sound. He rerecorded all three of these symphonies in stereo, but those recordings were made after he burned himself by falling asleep while smoking in bed. All three performances feature slower tempi than the earlier ones (whether this was the conductor's preference or the result of physical incapacity is open to conjecture). In particular, the rerecorded 7th suffered from lax phrasing, inattentiveness and perverse tempi. That is NOT the version contained in this set: fortunately, EMI had simultaneously recorded the earlier version of the 7th in "experimental" stereo, and it is that earlier version which is released here (and in remarkably good stereo). The versions of the 3rd and 5th are the rerecorded stereo ones.
You will find no finer studio versions of the 2nd, 4th, 6th, 7th or 8th. All are insightful, beautifully detailed and powerful. The 2nd clearly looks forward to the 3rd and not back toward Hayden, the 4th is boisterous and vital, the 6th bucolic and sumptuous (not a quality normally associated with Klemperer), the 7th gains in drama what it loses in swiftness and lightness, and in the 8th in particular we see the conductor's empathy to Beethoven's sense of humor. Klemperer had a deep affinity for the "Eroica", and the rerecorded version here, while slower than the 1955 recording, was dubbed by "High Fidelity"'s Harris Goldsmith (no Klemperer fan, he) as "the best Eroica going slow" and is a monumental masterpiece (the second movement is shattering). The 1st, while leisurely, is a lovingly crafted.
That leaves the 5th and 9th. There is no doubt in my mind that the earlier, mono 5th is superior to the remake in this set. We lose that sense of an inevitable onslaught, especially in the outer movements. And the 9th, while similar in conception to the live versions recorded around the same time (on Testament with the Philharmonia and on Music&Arts with the Concertgebouw), suffers from diffuse sound and occasional lack of focus. I emphasize that these recordings of both symphonies are still head and shoulders above most of the competition; we're talking about different levels of greatness here.
Are there superior Klemperer recordings of these symphonies? Yes; but all are live, and despite the relatively good reprocessed sound, they don't reveal the same level of detail that these studio recordings do. Klemperer was a very different conductor in front of an audience, and there is more vitality and drama in the live versions of the 3rd (Testament, with the Danish Symphony), 6th 7th and 8th (Music&Arts with the Concertgebouw) and the 9th (see above). Music&Arts' set of the complete symphonies, recorded live in Vienna in 1960, is long out of print and had cramped sound with poor detail - a supplement to this set, not a replacement.
As to the piano concerti: they are better than one might expect. Barenboim, although steeped in the Germanic performance tradition, is more naturally aligned with the Furtwangler and Edwin Fischer than with Klemperer. However, the two of them actually work together extremely well and this is a fine, insightful set.
Any complete cycle of Beethoven, symphonies or concerti, will have drawbacks. There will be unevenness in the performances, as there are here. But there are advantages to hearing one musician's perspective on the works, especially when (as here) the performer has depth of understanding, integrity of vision, and a structural understanding of the pieces.
The digital remastering is excellent and the sound barely shows its age. This may not be your only complete set of Beethoven's symphonies, but it should be one of them. And at a price this low, it's a bargain too.
The best value in classical music on CD at the moment..........2007-01-02
Wonderful Performances.......2006-04-07
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Massenet: Manon
Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD All Works by Massenet
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ASIN: B0001Y4JGG Release Date: 2004-05-11 |
Amazon.com
This recording has been unavailable for too long. Recorded in 1970, a solid year-or-so before Beverly Sills' voice began to show the damage caused by singing Elisabetta I in Donizetti's Roberto Devereux, this is the finest all-around recording of Manon on the market. Sills, in addition to being fresh-voiced, is so thoroughly in the part that we can chart Manon's downfall step by step; her girlish singing is as right on as her sassy, showy coloratura in the thirds act, and her St Sulpice scene is truly seductive. She's the perfect Manon. And Nicolai Gedda's Des Grieux, sung, as is Sills' Manon and the rest of the cast, in impeccable French, is passionate, madly in love, and ultimately tragic. Gabriel Bacquier's Count is imperious and authoritative and Gerard Souzay's Lescaut is smooth. Julius Rudel's leadership sparkles when it should and his sense of French suavity is unfailing. The score is given more than complete - as an appendix, there's an aria for Manon that Massenet added later. This is a desert island disc. --Robert LevineCustomer Reviews:
SILLS and a Perfect MANON............2007-07-07
This recording was originally issued on EMI, and I find it unusual that it should have disappeared from that label and it now appears on DG. Although it is strange, we need not worry about that; the main thing here is that the recording is again available to us.
You only really need two copies of Manon...the Victoria De Los Angeles one under Pierre Monteaux, and this one with Sills, Gedda, Bacquier, and Souzay under Julius Rudel. All participants here are simply wonderful, and all in very good voice as it happens! Usually we get a weak link, but somehow, the god's smiled on this effort, and everything came together wonderfully.
This is one of Gedda's efforts that I heartily commend! Simply a great des Griux! Souzay's Lescaut is really a wonderfully smooth, and mellow, performance that you need to hear. Gabriel Bacquier, AS ALWAYS turns in a magnificently commanding performance as Count des Griux. This of course brings us to the role of Manon. Simply stunning would be a great way to say it! Sills is just so real-life-bubbly girlish, and so lovely, that we are swept up in the swirl of mad love, right up to tragedy that comes to her, and the heart-wrenchingly sad finale.
This recording belongs in everyone's collection, right beside the Victoria De Los Angeles one! Enjoy! ~operabruin
For Sills fans, mainly........2006-01-16
As good an ensemble as could be assembled in the more recent past, well conducted by the seasoned Rudel, this 1970 performance stands or falls by one's perception of the two principals.
Nicolaï Gedda (né Ustinov,) b. 1925, half-Swedish, half-Russian, was a fine musician with a highly developped vocal technique. His manner was rather cold, however, and at 45 his lyric voice had lost some of its original bloom. I find his des Grieux rather grim and emphatic, lacking in romantic élan. I much prefer the poetic Henri Legay in the definitive Monteux recording (TESTAMENT.)
Beverly Sills (née Silvermann,) b. 1929, American, studied with Estelle Liebling, a pupil of the legendary Mathilde Marchesi, teacher of Melba, Eames, Kurtz, Alda and many an other French stylist.
Sills new exactly how to sing this music and had the perfect voice and technique for it. Many years of repertory singing in the provinces, often in inappropriately heavy parts (Tosca!) however, had made Sills' voice thin and unsteady by the time she made this recording at age 41. Her interpretation is intense, heartfelt and full of telling dramatic detail, but often heavy-handed and unpleasant on the ear. She is also rather short on the elegance and chimeric charm that characterises the best interpreters of this part (Vallin, Heldy, Féraldy, de los Ángeles.)
The airplane hangar ambience of the recording studio (talk about overresonant!) does not help, either.
Incidentally, the rôle of Lescaut is sung (well) by Gerard SOUZAY.
Gabriel Bacquier sings comte des Grieux--very well indeed.
A Great Recording of an Opera That Should Be Performed More Often.......2005-10-08
Like great French opera, MANON is a work that is a bit larger than life, requires exquisite orchestral playing, and of course great singing. This set, originally released by Westminster in the 1970's and re-released by Duetsche Grammophon has it all. The vocal abilities of the three leading performers: Beverly Sills, Nicolai Gedda and Gabriel Bacquier as Manon, des Grieux, and Lescaut respectively are each in top vocal form. Sills herself states that Manon was a role she loved and one that she believed her voice was well suited for, and there can be no disputation when listening to this set. As a conductor, Julius Rudel is at his best. He has great control over the New Philharmonia Orchestra, creating lush sounds that make the recording spectacular and an added, but essential plus would be the outstanding choral performances by the Ambrosian Opera Chorus and the great performances of the smaller roles.
Just about every reviewer, from Amazon reviewers to the critics who write for OPERA NEWS have heralded the new availability of this recording. Listen to it, and you will understand why and echo the many praises of this set.
Enjoy!
Beverly Sills Signature Role.......2004-12-17
SILLS MANON RULES! AND DG CD REISSUE SUPERB!.......2004-05-31
I am also happy to report that the DGG reissue surpasses the EMI/Angel of a few years back in terms of overall sound quality. Collectors, your search has ended!
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Lauridsen: Lux Aeterna, etc. / Salamunovich, Los Angeles Master Chorale
M. Lauridsen Manufacturer: Rubeda Canis Musica ProductGroup: Music Binding: Audio CD All Works by Lauridsen
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ASIN: B000006OF1 Release Date: 1998-05-19 |
Tracks:
- Introitus - Lux Aeterna
- In Te, Domine, Speravi - Lux Aeterna
- O Nata Lux - Lux Aeterna
- Veni, Sancte Spiritus - Lux Aeterna
- Agnus Dei - Lus Aeterna - Lux Aeterna
- En Une Seule Fleur - Les Chansons Des Roses
- Contre Qui, Rose - Les Chansons Des Roses
- De Ton Reve Trop Plein - Les Chansons Des Roses
- La Rose Complete - Les Chansons Des Roses
- Dirait - On - Les Chansons Des Roses
- Ave Maria - Ave Maria
- MID WINTER SONGS: Lament For Pasiphae - M. LAURIDSEN
- MID WINTER SONGS: Like Snow - M. LAURIDSEN
- MID WINTER SONGS: She Tells Her Love While Half Asleep - M. LAURIDSEN
- MID WINTER SONGS: Mid-Winter Waking - M. LAURIDSEN
- MID WINTER SONGS: Intercession In Late October - M. LAURIDSEN
- O Magnum Mysterium - O Magnum Mysterium
Amazon.com
Modern choral music for amateur singers may be America's biggest musical underground. That's the only explanation of why Grammy-nominated composer Morten Lauridsen can claim that his works are some of the most often-performed new pieces in years, although few among the East Coast intelligentsia have ever heard of him. Like the similarly popular John Rutter, Lauridsen inhabits an extremely conservative style directed simply and single-mindedly at showing off the beauty of choral singing while it illustrates inspiring texts. Unlike many of his fellow neo-Romantic conservatives, Lauridsen displays a brand of conservatism that is completely convincing and sincere. His music also has range, from the spellbindingly rapturous Lux aeterna to his playful settings of Rilke's poems about the beauty and thorniness of roses in Les chansons des roses. There is, moreover, a Coplandesque streak heard in his Mid-Winter Songs, which are settings of poems by Robert Graves. Though the Los Angeles Master Chorale has a suitably red-blooded sound, the music would be better served with more precise diction. --David Patrick StearnsCustomer Reviews:
Review of Lauridsen: Lux Aeterna/Salamunovich, Los Angeles Master Chorale.......2007-05-13
So beautiful that it hurts........2007-04-27
Buy this album now. The music is truly exquisite. The performance is outstanding. The CD is a masterpiece. After one hearing of Lauridsen's "Lux Aeterna," I tell you the truth: I could not sleep the entire night. The music was with me all night, and it continues to resonate through my soul.
Excellent.......2007-04-06
Great CD.......2007-02-17
Glorious, but not Perfection.......2007-01-20
This recording displays Lauridsen at his best--the long-standing working relationship between the Los Angeles Master Chorale and the composer give these performances an authority and credibility which would be the envy of any group. The Chorale voices display a depth and maturity (particularly in the Bass and Alto sections) which I miss in college choirs, yet the control is perfect.
The works are recorded in the Sacred Heart Chapel of Loyola Marymount University--a very live acoustic, which contributes to the wonderful sense of blend and sonic depth in these pieces. This sonorous glory does have a price, however. The wonderful texts are quite frequently muddled a bit. The enunciation and diction are not as clear on this recording as one might have expected from this group. That is a small cavil, however--intonation and interpretation are flawless.
Buy this, put it in your CD player, turn it up, and enjoy it. If you love choral music, you need to own this disc.
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Beethoven for Babies
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ASIN: B000009OU6 Release Date: 1998-08-11 |
Tracks:
- Six National Airs With Variations, Op. 105: The Cottage Maid (Welsh)
- Six National Airs With Variations, Op. 105: The Last Rose Of Summer (Irish)
- Six National Airs With Variations, Op. 105: Chiling O'Guirg (Irish)
- Six National Airs With Variations, Op. 105: English Bulls (Irish)
- Ten National Airs With Variations, Op. 107: St. Patrick's Day (Irish)
- Ten National Airs With Variations, Op. 107: O Mary, At The Window Be (Scottish)
- Ten National Airs With Variations, Op. 107: Oh, Thou Are The Lad Of My Heart (Scottish)
- Ten National Airs With Variations, Op. 107: Fur Elise
- Ten National Airs With Variations, Op. 107: Piano Sonata No. 8 In C Minor ('Pathetique') - Adagio cantabile
- Ten National Airs With Variations, Op. 107: String Quartet No. 13 In B-Flat - Alla Danza Tedesca. Allegro assai
- Ten National Airs With Variations, Op. 107: Piano Sonata No. 7 In D - Menuetto (Allegro)
- Ten National Airs With Variations, Op. 107: The Creatures Of Prometheus - Finale. Allegretto
- Ten National Airs With Variations, Op. 107: Piano Sonata No. 18 In E-Flat - Menuetto (Moderato e grazioso)
- Ten National Airs With Variations, Op. 107: Piano Sonata No. 20 In G - Tempo di menuetto
- Ten National Airs With Variations, Op. 107: Symphony No. 8 In F - Allegro scherzando
- Ten National Airs With Variations, Op. 107: Symphony No. 9 In D Minor ('Choral') - Ode To Joy
- Ten National Airs With Variations, Op. 107: Piano Sonata No. 15 In D ('Pastoral') - Rondo (Allegro ma non troppo)
- Ten National Airs With Variations, Op. 107: Symphony No. 6 In F ('Pastoral') - Hymn Of Thanksgiving
Amazon.com
For the parent looking to ease their child into a familiarity with classical music, this is a very well chosen set of Beethoven works. It begins with a generous selection of airs composed late in the composer's life. The presence of the flute as the lead instrument on these selections has a soothing quality that moves the ear in an ideally subtle way, especially as it gives way to the more excited piano sonata pieces. Zoltán Kocsis's reading of "Pathétique" is followed by Claudio Arrau's take on the 7th, 15th, and 18th sonatas and Sviatoslav Richter's lyrical take on the 20th ("Pastoral"). Programmed amidst the piano pieces, which are great studies in dynamics and musical spacing, are some fine orchestral snippets, none longer than five minutes. The collection does a fine balancing act, condensing works that don't inherently lend themselves to shortened renditions and carefully managing moods, entry, and egress to each segment. This is fine anthology work. --Andrew BartlettCustomer Reviews:
Beethoven for Babies.......2007-05-21
Nicest classical CD I have found for my baby (& me).......2005-09-01
Ode To Beethoven.......2005-05-13
Pseudoscientific crap, but some of the music is good here.......2004-05-27
That having been said, if you are stupid enough to believe any of this "Mozart Effect" horse manure --- which continues to have no support in any sort of controlled test environment --- then your babies will probably inherit your limited intellectual capacities & no amount of Beethoven & Mozart will ever be able to help them.
If, on the other hand, you are introducing Junior to classical music, you could do worse --- but you could also do better. Go get Arrau's complete Beethoven sonatas & concerti, get the Berg Quartett's complete Beethoven quartet cycle, and get John Eliot Gardiner's complete Beethoven symphonies --- just for a start. Also, don't stop with Beethoven & Mozart. My 9-month old daughter gets a diverse exposure to a thousand years of music, and very little is off limits. She got acquainted with the Bartok Quartets within her first couple of months, and it doesn't look like we have created an axe murderer or anything like that.
Anyway, if you want to create a classical music lover, do it right and go the distance, rather than doing it piecemeal with CDs like this. Your baby may still be a moron, but at least will be a moron with exquisite taste.
Nicest classical music CD I've found for my baby (& me).......2003-11-23
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ASIN: B000000UVY Release Date: 1995-10-17 |
Tracks:
- Fantasie Impromptu in C-sharp minor, OP.66
- Waltz No.15 in A-flat, Op.39
- Rondo all turca from Sonata in A, K.331
- Minuet in G
- Traumerei Op.15 No.7 (from Kinderzenen)
- Un sospiro
- Etude in C-sharp minor, Op.10 No.4
- Etude in G-flat, Op.10 No.5
- Humoresque, Op.101 No.7
- 'Fur Elise' (Bagatelle Wo0.59)
- Claire de lune (Suite Bergamasque, No.3)
- Golliwog's Cakewalk (Coin des enfants, No.6)
- Prelude in C-sharp minor, Op.3 No.2
- Melody in F, Op.3 No.1
- The Cuckoo
- La fille aux cheveux de lin (from Preludes Book I)
- Waltz in C-sharp minor, Op.64 No.2
- Waltz in G-flat, Op.70 No.1
- Jeux d'eau
- Gymnopedie No.1 (Lent et douloureux)
Customer Reviews:
Elegance at the piano.......2007-06-16
The ambience of the recording is a wide open one, giving us the full clear sound that makes listening to a grand piano to enjoyable.
If you enjoy listening to good piano music, this is a recording that you will enjoy a great deal.
VALUE FOR MONEY.......2006-08-24
Good bang for the buck........2005-12-07
Really good price........2002-06-15
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Carl Orff: Carmina Burana
Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD All Works by Orff
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ASIN: B000001GQP Release Date: 1996-05-14 |
Tracks:
- Fortune, Empress Of The World: O Fortune
- Fortune, Empress Of The World: I Bemoan The Wounds Of Fortune
- I Spring: The Merry Face Of Spring
- I Spring: The Sun Warms Everything
- I Spring: Behold, The Pleasant Spring
- On The Green: Dance
- On The Green: The Noble Woods Are Burgeoning
- On The Green: Shopkeeper, Give Me Colour
- On The Green: Those Who Go Round And Round
- On The Green: If All The World Were Mine
- II In The Tavern: Burning Inside
- II In The Tavern: Once I Lived On Lakes
- II In The Tavern: I Am The Abbot
- II In The Tavern: When We Are In The Tavern
- III The Court Of Love: Cupid Flies Everywhere
- III The Court Of Love: Day, Night And Everything
- III The Court Of Love: A Girl Stood
- III The Court Of Love: In My Heart
- III The Court Of Love: If A Boy With A Girl
- III The Court Of Love: Come, Come, O Come
- III The Court Of Love: In The Balance
- III The Court Of Love: This Is The Joyful Time
- III The Court Of Love: Sweetest One
- Blanchefleur And Helen: Hail, Most Beautiful One
- Fortune, Empress Of The World: O Fortune
Amazon.com
Yes, here it is folks--that irritatingly catchy chorus you first heard in the film Excalibur, or as the background music to the HBO Boxing Specials, and in zillions of other places. What it's not is the music from The Omen, which it clearly inspired. All pieces of music that feature choruses chanting in Latin are not the same (in fact, Stravinsky's Symphony of Psalms is much closer to The Omen than this). Orff actually wrote a lot more music, but here's a case where his reputation as a "one work" composer really is justified, for nothing else comes close in musical or popular appeal. This performance was authorized by the composer himself, and that's recommendation enough. --David HurwitzCustomer Reviews:
Splendid !.......2007-06-27
It is the best... but it isn't.......2007-06-08
For me, Eugen Jochum's rendition of Carmina Burana is easily the best one. Approved by Orff himself that was invited to assist the premiere. Unlike several other performances, this Carmina Burana was raw, even violent at times. All the energy that Orff had put into it, all the joy and jokes of the text where lived by the performers. There was no worry on softening the sound in order to look more "polite" or classical. It was raw, it was energic, it was Orff's intention live on stage. That's why it is said Orff was so pleased with it.
However, some people criticized it. Said it was too violent, too unprofessional, too raw after all. That it was not a proper classical music interpretation. It lacked detail, politeness and "education". After all, it was just not "proper" to play classical music "like that". It is a stigma this performance has suffered for years, regardlessly of being the composer's approved one.
When I got this new DG release something sounded different. The sound was perhaps cleaner, but surely something was wrong. And it was easy to find out what. The remastering altered the original, by softening it. It was now slightly slower, more polite, there is not so much violence in the voices sometimes, nor in some of the instruments. DG tried to please everybody with this re-release, including the critics of the original 1988 release, the one faithful to the original performance.
So, that explains the title, it is the best performance, but not the best edition, as it has been remastered, and, in my humble opinion, adulterated.
For me, the best one overall: best performance and best edition is still the 1988 release of this same recording also by DG and available here at amazon called Orff: Carmina Burana.
This is what it was supposed to sound like.......2006-10-16
I went through a bunch of other recordings of "Carmina Burana" until I finally found this one. This one is the best. I mean you can complain about aspects of it, but with the composer working with the conductor it's a bit hard to say anything meaninful. If you don't like the way this sounds then maybe you just don't like the full piece. For example, I've seen people praise other recordings because they sounded "less teutonic". That's quite a ridiculous comment - after all, that's what it's supposed to sound like. And it's Latin (or old German) and that's just what Latin sounds like.
So I can only recommend this recording, it's quite impressive, and it's quite heavy in the percussion - make sure to listen to it loud at least once.
Music to my ears..........2006-06-25
Not the Best Version by a Longshot.......2006-05-13
And Dietrich Fischer-Dieskau? I actually winced, hearing him in his solo passages, where he's supposed to sound impassioned and suffering, to hear him warbling away like he thought he was singing lieder. Sorry, no. If you want to hear how it all SHOULD sound, buy the CD with Charles Dutoit conducting the Orchestre Symphonique de Montreal, which is the finest version I've ever heard -- the best use of tempo, the best diction, and the best soloists by far.
And PLEASE, let's get something straight: "Carmina" does NOT rhyme with "Christina", it rhymes with "stamina". "Carmen" is a second-declension neuter noun in Latin, as is "stamen", and in the nominative plural, the stress falls on the first syllable. It's CAR-min-a, not car-MEE-na. It makes my hair stand on end to hear someone pronounce it like they think the "-ina" is an Italian diminutive ending, like in "manina". It is NOT.
[ADDED LATER: How pathetic that so many people have thought my review was "not helpful". Did they expect lies and smiley faces? They probably went right ahead and wasted their money anyway. I tried to warn them. Chances are, though, they have no idea what the lyrics mean, so it won't matter to them that Dietrich F.-D. sings them like he doesn't know what they mean either.
I even hope they will also ignore my correction of the frequent mispronunciation of the title, because it can be quite hilarious to hear pseudo-sophisticates mangling pronunciations and thus announcing to the world that they really don't have a clue.]
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Sacred Songs
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ASIN: B000AM6OXK Release Date: 2005-09-27 |
Tracks:
- Ave Maria
- Jesu bleibet meine Freude
- Dank sei dir, Herr
- Ave Maria, D839
- Laudamus te
- Panis Angelicus
- Air: "He shall feed his Flock"
- Simple Song
- Pie Jesu
- Domine Deus
- Laudate Dominum omnes gentes
- Air: Rejoice greatly, o daughter of Zion
- Abends will ich schlafen gehn
- L'Adieu des bergers
- Mariiegenlied, Op.76/52
- Amazing Grace
Amazon.com
This lovely CD features Renée Fleming singing religious music in an unaffected, lovely manner. Many favorites are here: both the Bach/Gounod and Schubert versions of "Ave Maria," each offered with long breaths and soft tone; "Rejoice Greatly" from Messiah, delivered with virtuosity and gleaming sound, and "He Shall Feed His Flock," also from Messiah, sung in a smooth, laid-back manner. Bits of the Fauré Requiem and Poulenc Gloria are welcome, as is the gorgeous "L'Adieu des Bergers" from L'Enfance du Christ. In the prayer from Humperdinck's Hansel und Gretel, Fleming is joined by the splendid Susan Graham, and a version of "Amazing Grace" features Mark O'Connor on violin. Two excerpts from Mozart's Mass in C Minor, pieces by Reger and Franck, and a few surprises round out this devotional CD. --Robert LevineCustomer Reviews:
I hate to be rude, but . . ........2007-05-06
She is still a beautiful woman, and always will be. I have seen her concerts online, and she ISN'T bad, it's just that she doesn't have what I'm looking for in an opera singer!
Outstanding.......2007-03-07
of music and Renee Fleming's outstanding voice.
Sacred Songs.......2007-01-21
My favorite of Fleming's CDs so far.......2006-12-07
Inspiring and beautiful.......2006-07-20
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