Marie Christine (1999 Broadway Cast) [Cast Recording] [Soundtrack]

Editorial Reviews
Amazon.com
A retelling of Medea transposed to 19th-century America, Marie Christine falls short of its lofty ambitions, which still makes it more audacious than most of the current Broadway fare. Composer-lyricist Michael John LaChiusa's lyrics can be cumbersomely narrative, and too often he dispatches a song without letting it develop fully, as if refusing to be overly easy on the ear. But the man's dramatic flair is undeniable, and this recording allows us to fully appreciate subtleties that got drowned in Graciela Daniele's often-dreary staging at Lincoln Center. Second-act opener "Cincinnati" shows that when he feels like it, LaChiusa can write the kind of boisterous big number that brings down a house. In the title role, Audra McDonald confirms that she is an incandescent presence. This welcome recording may help rehabilitate a misunderstood show. --Elisabeth Vincentelli

Marie Christine (1999 Broadway Cast), Music, Michael John LaChiusa, Audra McDonald, Darius de Haas, Cast Recordings, Original Cast Recordings, Pop, Show Tunes, Showtunes / B'way

Bizet: Carmen
Average customer rating:

Karajan's 2nd Carmen: His Best. Powerful!!!!

A Carmen with a double cast

Polished, propulsive, utterly charmless

A casual opera fan LOVES this version of Carmen

Stunning Carmen

Bizet: Carmen

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Tracks:

Carmen: Prelude - G. Bizet
Carmen: Act 1 - Introduction : 'Sur la place chacun passe' (Les Soldats, Morales) - G. Bizet
Carmen: Act 1: 'Que cherchez-vous, la belle?' (Morales, Micaela, Les Soldats) - G. Bizet
Carmen: Act 1: Marche et Choeur des gamins : 'Avec la garde montante' (Choeur des gamins) - G. Bizet
Carmen: Act 1: 'Halte! Repos!' - 'Une jolie fille est venue' (Zuniga, Morales, Don Jose, Le lieutenant de la garde descendante) - G. Bizet
Carmen: Act 1: 'Et la garde descendante' (Choeur des gamins) - G. Bizet
Carmen: Act 1: Dites-moi, brigadier' (Zuniga, Don Jose) - G. Bizet
Carmen: Act 1: Choeur et Scene 'La cloche a sonne' (Les jeunes gens, Les soldats) - G. Bizet
Carmen: Act 1: 'Dans l'air, nous suivons des yeux la fumee' (Les cigarieres, Les jeunes gens) - G. Bizet
Carmen: Act 1: 'Mais nous ne voyons pas la Carmencita?' (Les soldats, Les jeunes gens) - G. Bizet
Carmen: Act 1: 'Quand je vous aimerai?' - Havanaise : 'L'amour est un oiseau rebelle' (Carmen) - G. Bizet
Carmen: Act 1: Scene : 'Carmen, sur tes pas nous nous pressons tous!' Les jeunes gens, Les cigarieres) - G. Bizet
Carmen: Act 1: 'Monsieur le brigadier?' (Micaela, Don Jose) - Duo : 'Parle-moi de ma mere!' (Don Jose, Micaela) - G. Bizet
Carmen: Act 1: Votre mere avec moi sortait de la chapelle' (Micaela, Don Jose) - G. Bizet
Carmen: Act 1: 'Ma mere, je la vois! ...' (Don Jose, Micaela) - G. Bizet
Carmen: Act 1: 'Tu la verras! Eh bien!' (Don Jose, Micaela) - G. Bizet
Carmen: Act 1: Choeur : 'Au secours!' (Les cigarieres, Zuniga, Les Soldats) - G. Bizet
Carmen: Act 1: 'Ah! enfin! un peu de silence!' (Zuniga, Don Jose, Carmen) - G. Bizet
Carmen: Act 1: Chanson et Melodrame : 'Avez-vous quelque chose a repondre?' (Zuniga) - 'Tra la la la...' (Carmen, Zuniga, Choeur, Un soldat) - G. Bizet
Carmen: Act 1: 'Vous etes si jeune, seigneur officier' (Carmen, Don Jose) - G. Bizet
Carmen: Act 1: Chanson et Duo : 'Pres des remparts de Seville' (Carmen, Don Jose) - G. Bizet
Carmen: Act 1: Final : 'Le lieutenant! Prenez garde...' (Don Jose, Zuniga, Carmen) - G. Bizet

Tracks:

Carmen: Entr'acte - Georges Bizet
Carmen: Act 2: Chanson : 'Les tringles des sistres tintaient' (Carmen, Frasquita, Mercedes) - Georges Bizet
Carmen: Act 2: 'Vous avez quelque chose a nous dire...?' (Zuniga, Pastia, Andres, Frasquita, Carmen) - Georges Bizet
Carmen: Act 2: Choeur et Ensemble : 'Vivat! vivat le Torero!' (Les amis d'Escamillo, Zuniga, Mercedes, Andres, Frasquita, Pastia) - Georges Bizet
Carmen: Act 2: Couplets :' Votre toast, je peux vous le rendre' (Escamillo, Choeur) - Georges Bizet
Carmen: Act 2: 'Messieurs les officiers, je vous en supplie' (Pastia, Zuniga, Escamillo, Carmen, Choeur, Frasquita, Le Dancaire) - Georges Bizet
Carmen: Act 2: Quintette : 'Nous avons en tete une affaire!' (Le Dancaire, Frasquita, Mercedes, Le Remendado, Carmen) - Georges Bizet
Carmen: Act 2: 'En voila assez' (Le Dancaire, Carmen, Frasquita, Mercedes) - Georges Bizet
Carmen: Act 2: Chanson : 'Halte-la! Qui va la?' (Don Jose, Mercedes, Frasquita, Le dancaire, Carmen) - Georges Bizet
Carmen: Act 2: 'Enfin...Tu as mis le temps!' (Carmen, Don Jose) - Georges Bizet
Carmen: Act 2: Duo : 'Je vais danser en votre honneur' (Carmen, Don Jose) - Georges Bizet
Carmen: Act 2: 'La fleur que tu m'avais jetee' (Don Jose) - Georges Bizet
Carmen: Act 2: 'Non, tu ne m'aimes pas!' (Carmen, Don Jose) - Georges Bizet
Carmen: Act 2: Final : 'Hola! Carmen! Hola!' (Zuniga, Don Jose, Carmen, Le Remendado, Le Dancaire, Les Bohemiens) - Georges Bizet
Carmen: Act 2: 'Suis-nous a travers la campagne' (Frasquita, Mercedes, Carmen, Le Dancair, Le Remendado, Les bohemiannes, Les bohemiens) - Georges Bizet
Carmen: Act 2: Entr'acte - Georges Bizet
Carmen: Act 3: Scene 1: Introduction : 'Ecoute, compagnon, ecoute!' (Les contrabandiers, Frasquita, Mercedes, Carmen, Don Jose, Le Dancaire, Le Remendado) - Georges Bizet
Carmen: Act 3: Scene 1: 'Carmen, ne me fuis pas ...' (Don Jose, Carmen) - Georges Bizet

Tracks:

Carmen: Act 3: Scene 1: Trio : 'Melons! Coupons!' (Frasquita, Mercedes) - Georges Bizet
Carmen: Act 3: Scene 1: 'Carreau! Pique!...La Mort!' (Carmen) - Georges Bizet
Carmen: Act 3: Scene 1: 'Parlez encore, parlez' (Frasquita, Mercedes, Carmen) - Georges Bizet
Carmen: Act 3: Scene 1: 'Alerte!!!' (Le Dancaire, Carmen, Frasquita, Mercedes, Don Jose) - Morceau d'Ensemble : 'Quant au douanier, c'est notre affaire!' (Frasquita, Mercedes, Carmen, Les bohemiennes, Le Dancaire, Le Remendado, Les bohemiens) - Georges Bizet
Carmen: Act 3: Scene 1: 'Nous y sommes, petite ...' (Le Guide, Micaela) - Georges Bizet
Carmen: Act 3: Scene 1: Air : 'Je dis que rien ne m'epouvante' (Micaela) - Georges Bizet
Carmen: Act 3: Scene 1: 'Mais... je ne me trompe pas...' (Micaela, Escamillo, Don Jose) - Georges Bizet
Carmen: Act 3: Scene 1: Duo : 'Je suis Escamillo, Torero de Grenade!' (Escamillo, Don Jose) - Georges Bizet
Carmen: Act 3: Scene 1: Final : 'Hola! hola! Jose!' (Carmen, Escamillo, Le Dancaire, Les contrebandiers, Les contrebandiers) - Georges Bizet
Carmen: Act 3: Scene 1: 'Halte! quelqu'un est la qui cherche a se cacher!' (Le Remendado, Carmen, Le Dancaire, Don Jose, Micaela, Frasquita, Mercedes, Les contrebandieres, Les contrebandieres, Escamillo) - Georges Bizet
Carmen: Act 3: Scene 1: Entr'acte - Georges Bizet
Carmen: Act 3: Scene 2: Choeur : 'A dos cuartos!' (Les marchandes, Les marchands, Zuniga, Une Marchande, Andres, Un Bohemien) - Georges Bizet
Carmen: Act 3: Scene 2: 'Qu' avez-vous fait de la Carmencita?' (Zuniga, Frasquita, Andres, Mercedes) - Choeur et Scene : 'Les voici! les voici!' (Les enfants, Choeur) - Georges Bizet
Carmen: Act 3: Scene 2: 'Si tu m'aimes, Carmen ...' (Escamillo, Carmen, Quatre alquazils, Frasquita, Mercedes) - Georges Bizet
Carmen: Act 3: Scene 2: Duo Final : 'C'est toi!' - 'C'est moi!' (Carmen, Don Jose, Choeur) - Georges Bizet

Amazon.com

If you're going to start with one opera, make it Carmen. It's full of memorable melodies, fascinating situations, and gripping drama. Herbert von Karajan and his colleagues give a polished account that revels in the beauty and color of the score. --Ted Libbey

Amazon.com

This is another one of those Herbert von Karajan dissections, in which every separate scene in the opera appears to be the only scene: it's all so intensely led, with each instrument audible, every tempo change made (although for the most part, this is a very slow outing), and every dynamic notation observed. A pity, too, since with a less-obsessed conductor, Agnes Baltsa's gutsy Carmen wouldn't seem so underlined and José Carreras's Don José, recorded after his prime, wouldn't be so clearly after his prime. He's ardent--indeed, almost hysterical--but the voice is under severe pressure even without the slow-motion leadership. José van Dam seems indomitable as Escamillo, but Katia Ricciarelli forces wearily and eventually sounds bored. Bizet would be puzzled; listeners should stick to Callas. --Robert Levine

Customer Reviews:

Karajan's 2nd Carmen: His Best. Powerful!!!!.......2006-03-09

Agnes Baltsa [Carmen] ** José Carreras [Don José] ** José van Dam (baritone) [Escamillo] ** Katia Ricciarelli [Micaëla] ** Christine Barbaux (soprano) [Frasquita] ** Jane Berbié (soprano) [Mercédès] ** Alexander Malta (bass) [Zuniga] ** Mikael Melbye (baritone) [Moralès] ** Gino Quilico (baritone) [Le Dancaïr] ** Heinz Zednik (tenor) [Le Remendado] ** Michel Marinpouille (tenor) [Andrès] ** Berlin Philharmonic ** Herbert von Karajan (conductor]

There is no doubt in my mind that this studio recording is by far the most powerful Carmen I've ever heard. This 80's recording captures both the lush, beautiful musicality of this opera-comique and the intense visceral "verisimo" drama, thanks to the efforts of Karajan and his illustrious Berlin forces and the great singing from Agnes Baltsa, Jose Carreras, Katia Ricciarelli and Jose Van Dam.

Karajan had previously recorded Carmen in the 70's, in a more dramatic, overblown fashion when he conducted the Vienna Phil with the voices of Leontyne Price and Franco Corelli. Although that recording has its individual merit, it was not really his best effort. He had scored greater success with Grace Bumbry in the lead role and Jon Vickers as Don Jose, productions he conducted at the Salzburg Festival in the late 60's. In the 80's he was a white-haired old man, the image many younger music lovers remember him from after seeing videos and recording covers he was in fact experiencing the last phase of his career before his death in the late 80's. He is nevertheless a supremely gifted conductor, masterful and able to bring out the best from his orchestra. The Berlin is actually better than the Vienna Phil in his earlier recording with Leontyne Price. The Berlin forces weave great music, capturing the colorful slices of life in this steamy, sordid opera. Yes, it is of the "grand opera" and verisimo vein and not the more simplistic, opera-comique Carmen but it is absolutely powerful in its wake. Karajan has never done a better job. It is his second recorded Carmen and his best.

Each of the singers bring a vitality and nuance to their performance and sing with the freshness of their prime. It is not surprising to find Jose Carreras and Katia Ricciarelli in the same cast. Theses two worked well together and recorded and performed operas throughout the 80's, even carrying out an affair together. Ricciarelli and Carreras as Don Jose and Micaela sing with glorious harmony, making their romance all the more tragic because Don Jose rejects the purity of her love and destroys himself in his passionate relationship with the temptress Carmen. Their duet in the beginning feels prolonged but that's a great thing because their voices are so beautiful to hear together.

From the beginning, Jose Carreras sings with a darker voice. He understands that Don Jose becomes obscessed with Carmen and develops a psychosis. It is a rich, powerful and masculine voice, albeit darker and edgier than even Jon Vickers and Placido Domingo. He sings everyting with great passion, despite the fact that his voice may not have done what he may have wanted it to. He is somehow, strangely, through sheer force of will, the best Don Jose, the most dramatically satisfying. His detractors and critics claim he was in bad vocal shape, at least in regards to his age (he was past his prime, he had been operated for leukemia, etc) and worse, his Don Jose has been called "melodramatic, hysterical". I whole-heartedly disagree. Carreras sings with so much integrity to the character's essence that he single-handedly blows all other contenders away. I've heard them all- Franco Corelli (in the Leontyne Price recording) Placido Domingo (in the Berganza recording and the Obraztsova, and Migenes movies) and Jon Vickers (in the recording and film with Grace Bumbry). His tenor voice is right on target for the darker side of Don Jose. He is passionate, yet lyrical in the first part and by the climatic finale he is understandably pushed to the edge. There is definate chemistry between Carreras and Baltsa and they would also make a film of the Metropolitan Opera stage production, which is wonderful. Please give Carreras a chance. He is the best Don Jose I've ever heard.

Ricciarelli is a very nuanced, soulful Micaela, bringing passion and grandeur to the role, instead of singing the role like a shrinking violet. This Micaela is willing to fight to get her man back from Carmen. In this way, she is a lot like Mirella Freni, who also sang a feistier Micaela. Ricciarelli is in great vocal form, and her rendition of "Je Dis" is beautiful and heart-felt. Those who have criticized her for what they feel is forced singing didn't really listen to the recording. She is mannered, she is mellow and in control. She has a genuinely dramatic way of singing, but then again, I've already made the comparison to Mirella Freni, whose Micaela is also dramatic. Quite frankly, this is the way Micaela should be sung. She is still a soprano, usually the lead in an opera and Ricciarelli understands that if she doesn't impress in the few moments she has in the opera, then she is letting the mezzo-soprano take all the glory. Ricciarelli is wonderful here and Micaela is one of her greatest roles, despite the fact she moved on to sing heavier roles like Tosca, Leonora, Aida and Turandot. She is probably better in the subdued lyrical roles then the heavier roles.

Jose Van Dam's Escamillo is dark, "butch" and strongly sung. He has a sharp musical intelligence and recognizes that Escamillo is also not the star but has his moments of radiance. He sings the famous Toreador Aria with great gusto and power. Karajan's slow conducting and colorful orchestration allows his few moments in the opera to really burst with maximum energy. Upon hearing Jose Van Dam's Escamillo, one can understand why Carmen jilts the now lackluster Don Jose. Van Dam is absolutely superb.

Last but certainly not least, there is Agnes Baltsa's Carmen. She was born to sing this role. It is a Carmen of several levels- she is playful (listen to how she slides her voice in the Habanera and Seguidilla) she is feminine but wordly. If she sounds mature and not youthful this is still to her credit. Carmen is a wordly, experienced libertine. Baltsa lives the character in ever scene. She sings with great power and beauty. The Death Card Aria has a tragic quality to it and she sings with a resigned spirit, acknowledging her fate. More than any other mezzo-soprano who has sung Carmen on record, to my knowledge, she really acts the hell out of that final scene. She is singing with grand flair, dramatic to the point she is boiling over with rage. Listen to how she emotes when she declares "Libre Elle Nee e Libre elle Morra" (I was born free and I shall die free!) and "E Bien! Frappe-Moi Donc, Or Lassez Ma Passe! (Very Well Then! Kill Me! Or Let Me Pass!). Finally, she nearly cracks her voice with the high, anguished cry of "C'este Autefrois Que Tu Me Vais Donne - TIENS!!!" (This ring you once gave me - TAKE IT!!!). Both Carreras and Baltsa take the trophy when it comes to dramatically belting out this famous scene in opera.

Once upon a time I thought that Jon Vickers and Grace Bumbry were the greatest Carmen/Don Jose interpretors. I don't believe that anymore after hearing Jose Carreras and Agnes Baltsa.

A Carmen with a double cast.......2005-10-11

Accidently I hit the "5 star button" and now I'm unable to edit my error..... I really wish I could give this album 5 stars, but since someone decided to ruin this recording with the use of French actors for the spoken dialogues, I simply can't give more than 4 stars. After having watched Baltsa and Carreras in the Carmen dvd I was excited to find this recording, but listening to it was a devastating experience as I became really disappointed because of the French actors who did nothing else than annoy me. I find it extremely difficult believing that the voices in the spoken dialogues should be the same as that of the singers. The speaking Carmen sounds like a woman who has spent all her life in a "boudoir" doing little else than smoking and drinking which is a stark contrast to the singing Carmen whose voice is as clear as a bell!! And while Don José Carreras melts your heart with his sensual, lyrical voice, the speaking Don José sounds as charming as a wet dishcloth. So why did they decide to let someone else than the singers perform the spoken dialogues? It beats me. It certainly can't be because they thought the singers unable to utter a spoken word. If you watch and listen to the highly recommendable Carmen dvd with Baltsa and Carreras you'll see how well they pull off this task. I have to admit that when listening to this cd I skip the spoken dialogues wherever possible - which means I work my remote control an awful lot. Enough said of this; I just needed to get it out of my system.

The singers in this album are as perfect as you'll ever want them to be. Baltsa is the best Carmen ever in my opinion; both flirtatious and a firework. After hearing her seductive "Pres de ramparts de Seville" it's no wonder Don José is irresistibly drawn to her. Even I have the same reaction to her singing as Don José. For some unknown reason; while I'm listening to the phrase "Mon officier n'est pas un capitaine" I can't stop myself from taking a deep breath of "contentment" (you know, the way you would do if someone declared his undying love for you...) and this is something that never fails to happen whenever I listen to this aria. The strange thing though is that you'll hear Don José doing the exact same thing at the exact same time. The first time I heard this it was almost unbelievable. Listen to this aria and you'll probably understand what I'm talking about.

Ricciarelli's Michaela is the sweetest one I've ever heard. If I was Don José I would really be having a hard time deciding which one of the women to choose. (But of course, no man goes for "sweet" when he can get "steamy hot" instead...) The duets between Michaela and Don José are just as sweet and tender as the duets between Carmen and Don José are full of sensual tension.

The Don José in the voice of Carreras is from my point of view the most perfect one. He can sound like the naïve and shy young soldier falling madly in love for the first time and also like the madman Don José ends up as in the final act. And speaking of the final act; the last 10-15 minutes of this opera are worth the price of the opera alone. Don José alters between begging and threatening to get Carmen back while Carmen herself refuses everything he says or does. The tension escalates every minute and ends when Don José finally kills Carmen. And I'm getting goose-flesh all over when he's crying "Ma Carmen, adorée". His singing throughout the entire opera is outstanding. I love the duets with Ricciarelli and Baltsa in addition to the famous and wonderful rendition of "La fleur que tu m'avais jetée". This aria ends up like the most gentle and tender love song. Thank you, Carreras and Karajan for that moment!

The rest of the cast are really good as well; we have José van Dam doing a fine job as the toreador Escamillo and Frasquita and Mercédès are portrayed by Christine Barbaux and Jane Berbié. So although the French actors are horrible (with the exception of Michaela) the singers make it worthwhile.

Polished, propulsive, utterly charmless.......2005-09-24

All three principals in this glossy Karajan production were favorites of his, but Carreras strains quite a lot, Baltsa is fiery in a harsh way, not a passionate way, and van Dam is dry, withoout the slightest hint of animal magnetism. Karajan propels the whole thing along with great polish, but what's the point if you don't love Carmen or feel Don Jose's plight?

A casual opera fan LOVES this version of Carmen.......2005-06-07

I own perhaps 15 operas, mostly Verdi, and the only other Carmen I've heard is the Julia Migunes Johnson/Domingo film version.

That being said, this Carmen remains tied for first among my operas.

Maybe there's a better version out there (Abbado/Bergazon/Domingo? Plasson/Georghiu(sp?/Alagna?), but you can't go wrong with this version.

Stunning Carmen.......2004-05-28

This is one of my favourite Carmens forever. While Baltsa may not be as fluent or idiomatic in the French style as lets say de los Angeles or Beatrice Uria-Monzon, her steamy hot mezzo will thrill you incredibly. There is a sensous, exciting glow in this seductive, dark timbre and Baltsa's unique vocal colour is as thrilling as Maria Callas' version of the fiery gypsy. Baltsa once stated that, after seeing Callas as Norma, she was proud to be a Greek singer (She saw Callas as Norma in her famous Normas in Epidaurus), she won a Callas-stipendium and became one of the greatest Cherubinos ever. Her switch to more dramatic roles like Carmen and Eboli is very interesting. This Carmen is sensual, flirtatious, brutally honest and incredibly hot. José Carreras was Baltsa's favourite partner, she preferred him over all the other Don Josés she sang with. His meltingly beautiful, dark and yet honeyed timbre is made for the dreamy, passionate and besotted Don José.
I for one don't mind von Karajan's bombastic orchestration and tempi here, I think it's very appropriate. I absolutely love this recording and I'm sure you'll never regret buying it.

Average customer rating:

OUTSTANDING! NOT TO BE MISSED . . . . . .
Life embodied
Misunderstood
Beautiful... but how is it a show?
Interesting, but cold

Marie Christine (1999 Broadway Cast)

Manufacturer: RCA Victor Broadway
ProductGroup: Music
Binding: Audio CD

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Tracks:

Prelude: A Prison: Before The Morning
Prelude: A Prison: Mamzell' Marie
Prelude: A Prison: Your Grandfather Is The Sun
Act One: Beautiful
Act One: In An Instant
Act One: Way Back To Paradise
Act One: When You Look At A Man
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Act One: C'Est L'Amour/To Find A Lover
Act One: Nothing Beats Chicago/Ocean Is Different
Act One: Danced With A Girl
Act One: Tout Mi Mi/He Is My Release
Act One: Miracles And Mysteries
Act One: I Don't Hear The Ocean
Act One: Bird Inside The House
Act One: We're Gonna Go To Chicago
Act One: And You Would Lie/I Will Give
Act One: Act I Finale
Act Two: Cincinnati
Act Two: You're Looking At The Man
Act Two: The Scorpion
Act Two: Lover, Bring Me Summer
Act Two: Tell Me
Act Two: Billy Was Sweet/Paradise Is Burning Down
Act Two: Prison In A Prison
Act Two: Better And Best
Act Two: Good Looking Woman
Act Two: No Turning Back/Before The Morning (Reprise)
Act Two: Beautiful (Reprise)
Act Two: I Will Love You
Act Two: Your Name
Act Two: Finale-Innocence Dies

Amazon.com

A retelling of Medea transposed to 19th-century America, Marie Christine falls short of its lofty ambitions, which still makes it more audacious than most of the current Broadway fare. Composer-lyricist Michael John LaChiusa's lyrics can be cumbersomely narrative, and too often he dispatches a song without letting it develop fully, as if refusing to be overly easy on the ear. But the man's dramatic flair is undeniable, and this recording allows us to fully appreciate subtleties that got drowned in Graciela Daniele's often-dreary staging at Lincoln Center. Second-act opener "Cincinnati" shows that when he feels like it, LaChiusa can write the kind of boisterous big number that brings down a house. In the title role, Audra McDonald confirms that she is an incandescent presence. This welcome recording may help rehabilitate a misunderstood show. --Elisabeth Vincentelli

Customer Reviews:

OUTSTANDING! NOT TO BE MISSED . . . . . . .......2007-05-25

Boy! Heather Headley must have been unbelievably wonderful in AIDA, in view of the fact that she received the 2000 Tony and Drama Desk Awards instead of Audra McDonald who IS absolutely incredible as MARIE CHRISTINE. Did the fact that Ms. McDonald had already received three Tonys, a Theatre World Award, and a Drama Desk Award have any bearing on the voting? Or that AIDIA ran for 1852 performances, 1810 more than MARIE CHRISTINE's forty-two? Ms. McDonald received her fourth Tony & her second Drama Desk Award in 2004 for A RAISIN IN THE SUN and is in contention again this year for the revival of 110 IN THE SHADE. Another interesting tidbit: Ms. Headley and Ms. McDonald appeared respectively as Lorrell Robinson and Deena Jones in the September 24, 2001 benefit performance of DREAMGIRLS, available on the Nonesuch label.

With MARIE CHRISTINE, Michael John LaChiusa firmly establishes himself at the forefront of the "serious" composers for the American Musical Theater. Upon LaChiusa's acceptance of a residency with the Lyric Opera of Chicago in 2004, USOperaWeb Managing Editor Robert Wilder Blue wrote, "We don't imagine that musical theater composer Michael John LaChiusa woke up one morning in the later years of the 1990s and made a decision to be more controversial.

"Nonetheless, he set Broadway astir . . . with MARIE CHRISTINE and THE WILD PARTY, musicals whose subject matters (the Medea story and sexual escapades in the 1920s, respectively) were found to be unsuitable for that Disney-esque landscape, and whose music didn't set audiences to whistling upon leaving the theater. Worse yet, those works didn't conform to many critics' and theatergoers' preset ideas of categorization: were they musicals or were they operas? Finally, how were they to be judged? Were they the work of a genius or a hack? Critics and audiences have not been so divided in their impressions and opinions since Stephen Sondheim's COMPANY hit the stage in 1970."

David Finkle wrote (in "The TheaterMania Guide to Musical Theater Recordings"), "LaChiusa has a gift for ravishing melody but cuts corners by not bothering to develop the themes and motifs into rounded songs. Seemingly allergic to the thirty-two-bar ditty, he prefers to construct his scores as if they're ever-evolving fragments of music. Sometimes it works, and sometimes it can strike the listener as continual 'songus interruptus.'"

It works for me, and works incredibly well. Finkle further states, "LaChiusa's great fortune is in having Audra McDonald apply her gorgeous mezzo-soprano to his concoctions." He is also fortunate in having Anthony Crivello playing the part of Dante Keyes, Mary Testa as the Entertainer, and an outstanding cast of singers. Equally fortunate is having Jonathan Tunick supply the exciting orchestrations.

Opera or Broadway musical? Do we really have to make that distinction? All I can tell you is that MARIE CHRISTINE is the most exciting piece of music I have heard in a long, long time.

One of my fondest memories is seeing the great Dame Judith Anderson as MEDEA back in the mid-60s. I think she would be very pleased with Mr. LaChiusa's musical and especially with Audra McDonald's ravishing performance.

NOT TO BE MISSED!

Life embodied.......2006-02-13

I'll be brief by saying that I disagree with most of the posted reviews that claim LaChiusa's music to be cold or unncessarilly complicated. After speaking with Marc Kudisch (from LaChiusa's "Wild Party")after a performance of "See What I Wanna See"--an equally moving and stimulating piece--he recommended that I listen to LaChiusa's works multiple times to appreciate their subtle genius. I've listened to the recording of Marie Christine well over 50 times and am still discovering subtle patterns and recurring melodies that provide moving links to the characters' respective emotional journeys and memories at the time. More importantly, however, LaChiusa is unafraid to tackle dark subject matter and present it in an honest and raw way--seemingly unchained by the expected commercial value recquired of most Broadway shows today. Because of this, he is able to tap into some of the most primal of human emotions through his music, which is likewise butressed by the fantastic Audra and supporting cast. Perhaps its the actor/musician in me that finds this piece intriguing, but I believe that anyone who is willing to listen to this ablum without any pre-conceived notions about what it is or should be, can benefit from not only the beauty and insight of the music, but also the thoughtful presentation of the raw elements of the human experience that are, in some ways, universal to all of us. In other words, I highly recommmend this CD as one of LaChiusa's exemplary works.

Misunderstood.......2006-02-01

Let me place my view of this piece in context -- I have just come off an extensive study of Gershwin's Porgy & Bess, a show that, sadly, was viewed -- and presented -- as a Broadway vehicle until the Houston Opera restored its full operatic score in 1976. I HATED P&B as Broadway vehicle/movie, but find it interpretation as an opera breathtaking.

I say all that to say that from the first time I heard Marie Christine I could not - for the life of me -- figure out what the *&(& it was doing on Broadway. Kudos for the reviewer who noted Medea isn't a sympathetic figure -- she isn't by B'way terms.

However, she fits comfortably into the world of opera - a place filled with unsympathetic leads.

I'd like to see MC staged by an opera company. Not "sold" as a B'way musical. Look at MC compared to Hairspray, Spamalot, even Guettel's Light... then place it in context with La Traviata, Aida, Carmen...

Beautiful... but how is it a show?.......2005-05-27

The "Beautiful" motif fits this show well... the music is beautiful. And arrogant. And lonely- Except for Audra's sake, I can't see how anyone went to see this.

My biggest complaint with with music is that LaChiusa refuses to allow his melodies to develop fully, which is unfortunate, because he's written some of the most beautiful music to come to New York since Adam Guettel's Floyd Collins, or even Sondhiem's Passion. In too many songs, he allows the song to build much too quickly; "Tell Me" for example, moves in suddenly, which, while striking, fails to fully develop the rage Marie Christine feels. Also, it seems LaChiusa feels that no chord, or even rhythm can be anything less than confusing. There doesn't need to be three melodies within the chord at the end of "Finale", nor does he need to follow the one truly melodic song in the entire show, "I Will Love You", with a jarring and, frankly painful, chord that seemed to assault my ears. This certainly doesn't help the hummable factor.

On another note, Audra McDonald is astoudning. She owns every note of LaChiusa's amazingly complex score. Her presence fills up the air from the moment you hear her voice. Anyone else in this role would have resulted in a complete wreck of a musical\"chamber opera". The rest, with the possible exceptions of Mary Testa and Darius DeHaas, are adequate and have their moments.

Ultimately, LaChiusa's music leaves a powerful impression; For all it's faults, I can't stop listening to several songs from Marie Christine: "Tell Me," "Your Name," "Paradise is Burning Down," "Prison in a Prison," and of course, "Beautiful" all enter my mind and won't let go, much like Marie herself.

Interesting, but cold.......2005-04-29

To faithfully translate the story of Medea to the musical stage could never result in a simplistic production or score, and as a result, Marie Christine is not an easy listen. It has taken four years for me to properly listen to the whole CD and understand the music. Slowly, in each listening, I found something new to appreciate.

The show is by necessity very dark in tone, and the heightened passions that are expressed can only be properly explored in a chamber opera format. The result is that there are no clearly defined songs, hooks or choruses, but rather a series of tunes (some memorable, most not) which are cleverly intertwined to tell the story.

Audra McDonald is superb in the title role and LaChiusa's music gives her voice full reign. She and he co-star, Anthony Crivello, completely immerse themselves in their roles and bring a terrifying intensity to the recording. They are matched by the rest of the cast who provide support as both individual characters and as the 'Greek chorus' who comment on the action as the story progresses.

As a side note, the audio production on this CD is stunning - every nuance of voice and instrument comes across clear as a bell.

As someone else has said, this is an easy score to admire - it's very cleverly written, with an interesting density mostly lacking from musicals. However, it's the performances of the actors that give the show what little heart is has. It's very hard to actually feel anything but horror at Marie Christine's actions, and her descent into madness doesn't make her sympathetic (if that was what the authors intended). Maybe only seeing a live production would bring this clever, complex, but ultimately cold score to life.

Average customer rating:

The Greatest By Far
Absolutely the Best Carmen
No, please
L'amour est un oiseau rebelle

Bizet: Carmen [Highlights]

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001G52
Release Date: 1990-10-25

Tracks:

Carmen: Prelude
Carmen: Act 1: Sur la place (Micaela)
Carmen: Act 1: Avec la garde montante
Carmen: Act 1: L'amour est un oiseau rebelle (Carmen)
Carmen: Act 1: Parle-moi de ma mere (Don Jose, Micaela)
Carmen: Act 1: Pres des remparts de Seville (Carmen, Don Jose)
Carmen: Act 2: Les tringles des sistres tintaient (Carmen)
Carmen: Act 2: Dialogue
Carmen: Act 2: Vivat! vivat le Torero! (Carmen)
Carmen: Act 2: Votre toast, je peux vous le rendre (Escamillo, Carmen)
Carmen: Act 2: La fleur que tu m'avais jetee (Don Jose)
Carmen: Act 3: En vain, pour eviter les reponses ameres - Parlez encore, parlez, mes belles (Carmen)
Carmen: Act 3: A dos cuartos!
Carmen: Act 3: (musique de transition)
Carmen: Act 3: C'est toi! - C'est moi! (Carmen, Don Jose)

Customer Reviews:

The Greatest By Far.......2006-03-09

Absolutely the Best Carmen.......2004-12-14

This CD is not only for opera lovers, but for anyone with an appreciation of classic voice music. I have seen productions of Carmen the world over, in Paris, in Vienna, multiple times at the Met in New York and many local companies. None has come close to the perfection of the voices on this recording. The emotion and quality of L'amour est un oiseau rebelle, one of the most recognized arias in all of opera, is unsurpassed. The gypsy dance which begins act 2 (Les tringles des sistres tintaient) is rich with fevor and lust. The music leaps off the CD and provides excellent insight into the intensity of this work.

This CD is for everyone, from the novice to the expert, and will be appreciated by all. It is the best opera recording I have heard and has stood the test of time. This should be a required addition to the collection of anyone with an appreciation of fine music.

No, please.......2000-06-10

This is an surprisingly boring recording, especially when looking at the star-cast, of one of the most enjoyable operas ever. I think the greatest problem with it lies in Karajans conducting.

The kindest thing I can come up with about this highlights recording is just the fact that it's a highlights edition - you don't have to listen to the whole debacle. Karajan has done a much, much better recording for RCA (Price, Corelli & Freni), where he doesn't suffocate his singers in an unengaging search for nothing but beauty. This search makes me lose my hair, and for example disturbes much of Carmen's music. Carreras here is not even close to the vocal prime he was in ten years earlier. His voice surely is soft and beautiful in the more quite parts, but he avoids using it to full power, even when called for, and his performance therefor gets rather boring. Baltsa probably would have done much better if she'd been supported instead of opposed by Karajan. Van Dam is definately the best of the cast in the role of Escamillo.

My very favorite of Carmen is the Beecham (de los Angeles, Gedda on EMI) set. You can also try a highlight of either Karajan (RCA - Price, Corelli) or Abbado (DG - Berganza, Domingo), which both give different but very good accounts of Carmen - use the Amazon.com possibility to listen to samples of these version to find out which one you prefer.

L'amour est un oiseau rebelle.......2000-06-09

This highlights CD happilly dismisses most of the dialogues and has an hour-plus of great music. The complete version is also available on amazon.com. Maestro Von Karajan achieves his trademark perfection with the Berliners and with the cast of ideal singers for Biset's masterpiece. Greek mezzo-soprano Agnes Baltsa is simultaneously playful, witty, self-indulgent, and, for all purposes, dangerous Carmen. She has a very long vocal phrase and plenty of power; listen to fiery rendition of "Les tringles des sistres tintailent"! Jose Carreras shows Don Jose's character development extremely well, from ardent and passionate, ready-to-leave-everything young soldier to a man obsessed; gradually you begin to believe Don Jose could kill. His Flower Song is very gentle and tender, as opposed to the war-cries often displayed by others. The final scene is so vividly enacted, I had "tingles down my spine". Katia Ricciarelli is fully "at home" with a role of angel-like Micaela, her 1st Act duet with Carreras is one of the most beautiful things one could ever hear. Van Dam brings out everything we like to see in Escamillo: single-mindedness, arrogance, and swagger. Karajan uses an interesting orchestral arrangement of the Toreador Song before "Tout d'un coup, on fait silence..." making you imagine the pause just before the bull charges. He also slows it down a bit, increasing the tension throughout and the last chords of it are like wineglasses clashing triumphantly together. Supporting roles are taken by some impressive vocal powers, including Jane Barbie and Gino Quilico. Btw, there is a Carmen video featuring Baltsa and Carreras, also from DG, fantastically sang and recorded.

Hendricks & Quilico - Duos d'Operettes / Foster

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Hendricks & Quilico - Duos d'Operettes / Foster
Rudolf Friml , Sigmund Romberg , Reynaldo Hahn , Andre Messager , Maurice Yvain , Henri Christine , Jacques Offenbach , Carl Millocker , Richard Heuberger , Johann Strauss II , Franz Lehar , Lyon Opera Orchestra , Lawrence Foster , Barbara Hendricks , and Gino Quilico
Manufacturer: EMI Records [All429]
ProductGroup: Music
Binding: Audio CD

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Music of Sigmund Romberg

ASIN: B000025CSH
Release Date: 2000-06-13

Tracks:

(Rose Marie) 'Indian Love Call'
(The Desert Song) 'Desert Song'
(The New Moon) 'Wanting You'
(The Student Prince) 'Deep In My Heart
(Ciboulette) 'Nous Avons Fait Un Beau Voyage'
(Veronique) 'Dou De I'escarpolette'
(Veronique) 'Duetto De I'ane
(Ta Bouche) 'Valse'
(Phi-Phi) 'Duo Des Souvenirs'
(Barbe-Bleue) 'Duo: 'Or Depuis La Rose Nouvelle... Tous Les Deux, Amooureux'
(Gasparone) 'Scene & Duo: 'Wie Freu'ich Mich, Sie Hier Zu Seh's... Huten Sie Sich'
(Der Opernbal) 'Duettino: 'Hier Ist Die Uhr... Geh'n Wir In's Chambre Separee'
(Der Zigeunerbaron) 'Lied: 'Wer Uns Getraut?'
(Wiener Blut (Sang Viennois) 'Duo: 'Das Eine Kann Ich Verzeih'n... Wiener Blut ! Wiener Blut ! Wiene
(Das Land Des Lachelns (Le Pays Du Sourire) 'Duo: 'Ach Trinken Sie Vielleicht... Bei Einem Tee A Deu
(Die Lustige Witwe (La Veuve Joyeuse) 'Duo: 'Lippen Schweigen'

Average customer rating:

Melodies to miraculously cure the moribund!!!
FROM OFFENBACH TO LOPEZ

Le Meilleur de l'Opérette

Manufacturer: EMI Records [All429]
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

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Operettas | Opera & Vocal | Styles | Music

Musical Theater | Vocal Non-Opera | Opera & Vocal | Styles | Music

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ASIN: B000053W6K
Release Date: 2002-04-02

Customer Reviews:

Melodies to miraculously cure the moribund!!!.......2005-09-10

This 2000 3-CD set is a new edition of 2-CD set from 1990 titled "Opérette-Passion" from EMI France. By popular request, this adds to the already mirific collection a third CD containing some of the real glories of mid-XXth century French operettas: Maurice Chevalier, Tino Rossi, Fernandel, Alibert, Denise Duval, Luis Mariano, Georges Guétary, Bourvil, Mathé Altéry, Anny Cordy, Gise Mey and Armand Mestral. The selection is not exhaustive - that would be impossible* - but it does give any listener a major incentive to go ferretting for more of the same and the complete score of some of those genuine masterpieces of charm, humour and melody by Fancis Lopez or Maurice Yvain (among many others). For students of the French language and French opera, this collection is priceless as it gives a very good impression of what makes the French singing voice different from any other: something called "le phrasé", which unfortunately cannot be duplicated or improvised by international stars who simply dabble in French (except maybe the multi-talented Petula Clark). The recordings range from a restored antique of the 20's by Chevalier to full stereo scores from the 70's. The result is a package whose value will never be duplicated in discriminating choice, sound quality and sheer listening enjoyment. One very minor reservation : The dates of the recordings are not indicated as they were in the "Opérette-Passion" collection and the names of the lyricists are not given. The liner notes are composed of a 2-page essay which gives a general outlook of the evolution of French operetta (in French) but could have been a little longer, in my humble opinion. Details like this would have made the difference between a wonderful album for connoisseurs and a genuinely educational tool. * The operettas of Vincent Scotto are not represented. WARNING: These recordings are genuine treasures and are never available for long either individually of collectively, so buying this collection is an absolute no-brainer.

FROM OFFENBACH TO LOPEZ.......2002-08-16

Yesterday ,before going to sleep,you told your wife:I have nothing against FRENCH operettas,but what i want to hear is the songs ,not the dialogue that goes with the genre when you listen to complete works.Here in that collection,all the composers who created that particular form of light music are represented.It is so much more entertaining than traditional opera.Among the highlights are songs from OFFENBACH's works like LA BELLE HÉLENE and LA PÉRICHOLE;MESSENGER's VERONIQUE and MONSIEUR BEAUCAIRE;the famous LA VEUVE JOYEUSE that was successfull around the world;CHRISTINÉ's PHI PHI created the day after armistice in 1918.One of the pleasant surprize for me was hearing songs from LES MOUSQUETAIRES AU COUVENT and one from LA FILLE DE MADAME ANGOT (JADIS,LES ROIS)and another from CIBOULETTE(NOUS AVONS FAIT UN BEAU VOYAGE).MADY MESPLÉ,one of the best singers of the genre is featured on seven songs,and she is always a joy to hear in any role of the repertoire.FRANCIS LOPEZ, who is remembered as the last important composer is well honoured with eight selections with singers like BOURVIL,GEORGES GUÉTARY and LUIS MARIANO.Don't try to resist THE MERRY WIDOW ,she'll get to you one way or another.

Schoenberg - Pierrot lunaire ~ Herzgewächse ~ Ode to Napoleon / Schäfer, Pittman-Jennings, Ensemble InterContempolain, Boulez

Average customer rating:

Sprechstimme???
Lovely, but not a first choice.
One of the Best Schoenberg Discs Available...
atonal vs. twelve-tone
How the soul recovers itself in the midnight of pain

Schoenberg - Pierrot lunaire ~ Herzgewächse ~ Ode to Napoleon / Schäfer, Pittman-Jennings, Ensemble InterContempolain, Boulez
Arnold Schoenberg , Pierre Boulez , Christine Schäfer , David Pittman-Jennings , Ensemble InterContempolain , Florent Boffard , Jeannne Marie Conquer , Christophe Desjardins , Hae Sun Kang , Sophie Cherrier , and Alain Damiens
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Le Chant du Rossignol/L'Histoire du Soldat

ASIN: B00000DBV6
Release Date: 1998-10-20

Tracks:

Pierrot Lunaire - Part I: 1. Mondestrunken
Pierrot Lunaire - Part I: 2. Colombine
Pierrot Lunaire - Part I: 3. Der Dandy
Pierrot Lunaire - Part I: 4. Eine blasse Wascherin
Pierrot Lunaire - Part I: 5. Valse de Chopin
Pierrot Lunaire - Part I: 6. Madonna
Pierrot Lunaire - Part I: 7. Der kranke Mond
Pierrot Lunaire - Part II: 8. Nacht
Pierrot Lunaire - Part II: 9. Gebet an Pierrot
Pierrot Lunaire - Part II: Raub
Pierrot Lunaire - Part II: 11. Rote Messe
Pierrot Lunaire - Part II: 12. Galgenlied
Pierrot Lunaire - Part II: 13. Enthauptung
Pierrot Lunaire - Part II: 14. Die Kreuze
Pierrot Lunaire - Part III: 15. Heimweh
Pierrot Lunaire - Part III: 16. Gemeinheit!
Pierrot Lunaire - Part III: 17. Parodie
Pierrot Lunaire - Part III: 18. Der Mondfleck
Pierrot Lunaire - Part III: 19. Serenade
Pierrot Lunaire - Part III: 20. Heimfahrt
Pierrot Lunaire - Part III: 21. O alter Duft
Herzgewasche
Ode To Napoleon Buonaparte

Amazon.com essential recording

Arnold Schoenberg claimed he had never set out to be a revolutionary. Yet the song cycle he wrote in 1912 based on proto- expressionist poems and featuring a grotesque harlequin figure, Pierrot Lunaire, still reverberates with its haunting, startling originality. This work introduced the world to a hitherto unthought-of musical landscape; to call it innovative would be an absurd understatement. What's particularly exciting about the undertaking here (Boulez's third recorded take on this music) is how utterly fresh the music sounds, its novelty unblunted and yet strangely beautiful--a far cry from the forbidding Schoenberg of stereotype. Soprano Christine Schäfer negotiates the no-man's land between spoken word and sung pitch--the technique known as Sprechstimme which Schoenberg introduced here--with fascinating nuance. She brings a cabaret-savvy sensibility to bear, along with a gripping sense of pathos, alternately sweet and acrid. Boulez treats the songs as miniatures, offering coloristic and multiperspectival--almost Cubistic--portrayals of Pierrot. For all the score's nebulous atmospherics, Boulez distills a keen, sharp clarity of line and timbre. Also included is the extraordinary song "Herzgewächse" (scored for harmonium, celesta, and harp), in which Schäfer matches her voice like a "crystal sigh" to the instrumentation. The album is filled out with Schoenberg's setting, during his exile from the Nazi horror, of Byron's bitterly ironic "Ode to Napoleon Buonaparte" for a baritone reciter. --Thomas May

Customer Reviews:

Sprechstimme???.......2006-03-24

I have a Boulez recording of the Pierrot Lunaire that I recorded on tape from a friend's Lp in 1979. I don't know anything about this lp, except that it is a Boulez's direction, but I think that it is an earlier version of the 1978 recording. The "sprechstimme" is realized better than the De Gaetani recording, obviously better than the '78 Boulez recording (here the reciter sing, and the Pierrot sould absolutely not be sung) and much better than the 1997 recording with Christine Schafer, who sing and often seems, I don't know how to say, almost like a "strangled hen"!... If anybody knows if this recording (my earlier Boulez recording on tape) is available on cd please tell us!!!

Lovely, but not a first choice........2005-02-16

The Pierrot is the major work on this CD. Schafer sings it beautifully and sensitively. But is this enough? Compare (even via the audio snippets on Amazon) this performance with Jan DeGaetani's (with no Boulez). One reviewer says that Schafer "smooths out" the sprechstimme. Well yes, but I prefer it unsmoothed. Otherwise, it becomes, essentially, singing, and that is precisely not what we want to hear. At every moment in the DeGaetani performance, she is precisely between singing and speaking; at every moment, the performance has an unpredictability that I really don't think Schafer/Boulez can offer. Unlike almost every sprechstimmer (and really, I think was artistic folly for Shoenberg to focus on this technique so much), there is high drama in DeGaetani's work.

So, yes, 4 stars for the Schaefer performance. It is a fine, artistic, and honorable performance. But for the performance God and Arnold would prefer, I'd start with the DeGaetani.

One of the Best Schoenberg Discs Available..........2005-01-31

This is a superb disc in many ways: it features three of Schoenberg's great pieces, one of which (Herzgewächse) is virtually unavailable anywhere else. Since the death of von Karajan, Boulez is now the greatest conductor in the world now working; and his understanding of Second Viennese School oeuvre is as insightful as Karajan's was. Christine Schäfer--for my money and to my ear--is the greatest soprano now working: her voice is exquisite: not shrill nor brittle, but rich, moist, and pure, and oh-so-effortless: she's absolutely wonderful, and she, too, has a deep insight into Modern music: for example, she sings the part of Lulu in Berg's eponymous opera.

As for the works: Herzgewächse is an exquisite song of about 4 min duration. It contains a hair-raising Expressionistic leap of the voice at climax, which Webern called, "the summit of music." The text is by Symbolist Belgian Maeterlinck.

Byron's Ode to Napoleon is about 20 mins of excoriating sarcasm and bitter irony on the capitulation of the Corsican. Schoenberg, to whom the sentiments of sarcasm and irony came naturally--set Byron's Ode in English as a protest against Hitler, Stalin, totalitarianism, and autocracy. Set for piano quintet, it's too, too wonderful. It's a 12-tone work, but the tones chosen have tonal ambiguities which also hint at Beethoven's Eroica.

Pierrot Lunaire is of course Schoenberg's most infamous piece. Here it is made most approachable by Boulez and Schafer. The problematic "speech-song" which Schoenberg calls for is smoothed-out by Schafer.

Outstanding performances of exquisite works, well recorded.

atonal vs. twelve-tone.......2004-10-04

I would just like to point out (in contrast to what a few reviews have implied) that while Pierrot Lunaire is "atonal" (not in a conventional key) it is not twelve-tone. Schoenberg did not begin using the twelve-tone system until later in his life.

These songs are incredibly beautiful, and not particularly "hard to listen to". Even if you generally disliked Schoenberg keep in mind that Pierrot is quite different from some of his later works. And don't be put off if you think you don't understand it. Just keep an open mind and enjoy the extraordinary sound Schoenberg has created.

How the soul recovers itself in the midnight of pain.......2004-09-09

Pierrot Lunaire is not an idiosyncratic piece of music - it is absolutely classical and central to the human experience and imagination. There is something in us that simultaneously desires to forget and remember our midnights - when too much cigarette smoke fills the air and all of the coffee we drink does nothing for us yet we keep drinking it anyway. We have had too much wine in our yesterdays but all we got from it is a massive hangover in this midnight that fills us with a terrifying lucidity through which we contemplate our failed romances, (what is worse) our successful romances, the terror of being and the laughter we use to cover it, and the antics of a perfectly white clown. That is the greatness of Arnold Schoenberg, that he communicates through his music that supreme subliminity that crept into Western conciousness in the nineteenth century and reached its final, monstrous fruition in the plays of Samuel Beckett. There is something more scary than a haunted house - Pierrot Lunaire.

The Hyperion Schubert Edition - "A Voyage of Discovery", a selection from the first 27 volumes

Average customer rating:

Beware Mislabeling!
Discovering the Schubert Songs
FOUR-AND-TWENTY SINGERS

The Hyperion Schubert Edition - "A Voyage of Discovery", a selection from the first 27 volumes

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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

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ASIN: B000002ZDZ
Release Date: 1997-02-10

Tracks:

Der liebliche stern
Am See
Mein! (From Die schone Mullerin)
Auflosung
Lied eines schifers An Die Dioskuren
An Silvia
An die Sonne
Die Unterscheidung
Die Allmacht
Am Strome
An Emma
Als ich sie erroten sah
Sehnsucht
Lob der Tranen
Elkonig
Lied
Der Jungling an der Quelle
Blondel zu Marien
Trost im Tranen
Ruckweg
Alinde
Standchen
Romanze
Seufzer
An den Fruhling
Am Bach im Fruhling

Customer Reviews:

Beware Mislabeling!.......2007-04-20

I have no quibble with the excellent reviews accorded this COMPILATION OF TRACKS FROM THE FIRST 27 ALBUMS of the Hyperion Schubert Edition. HOWEVER, the labeling here is misleading. THIS IS NOT #34 of the Schubert Edition!!! I purchased it thinking it was, and then discovered it's just a teaser compilation to purchase the set. Now I have duplication.

Whoever tags items has a great responsibility to consumers to do so very carefully. I got my copy from someone listing off this site. Because the original is mislabeled, so are all the new/used offerings linked to this site.

Amazon employees, please fix the problem and remove the desgnation "34" before the next unsuspecting consumer buys something she doesn't want.

Discovering the Schubert Songs.......2005-07-02

Franz Schubert (1779 -- 1828) composed more than 600 songs beginning from the age of about 14 until days before his death. He virtually invented the art song, and he remains the greatest composer of song in any form. Schubert had astonishing lyrical gifts and the best of his songs flow with an irrestible spontaneity. If he had composed nothing else, his output of songs would be among the treasures of music and would entitle him to the highest rank as a composer. Brahms, who was also a master of the art song, once said that there was something to be learned from each of Schubert's efforts in this form. I have loved Schubert's songs for many years and know of no other music that so readily melts my heart.

There are many ways to approach Schubert's songs and a multitude of choices on CD of both historical and contemporary recordings. The CD under discussion "A Voyage of Discovery" bids fair to be the best place to start for a newcomer. This CD is part of a monumental project, consisting of 37 CDs, to record Schubert's entire song output on Hyperion, a British label. The project was conceived by pianist Graham Johnson who is the accompanist throughout the series. Each CD in the Hyperion series comes with an extensive booklet including the texts of the songs and great detail about the poetry, Schubert's life, and the music. Each CD is also performed by one of the great singers of our day, beautifully accompanied by Johnson. But each of these CDs, alas, is expensive. And all but devoted listeners might be intimidated by 37 CDs of song.

Thus, this sampler is valuable because it is culled from the first 27 CDs in the series and includes selections by 24 outstanding singers such as Peter Schrier, Lelicity Lott, Ian Bostridge, Brigette Fassbaender, Elly Ameling, and many more. The CD was obviously prepared to encourage the listener to explore the Hyperion series further, buy it also serves as an outstanding introduction to Schubert. The songs on this CD are among Schubert's masterworks, and each is performed by a different artist. Thus the listener receives a rare opportunity to hear an introductory selection of Schubert performed by many singers in different styles. (Most samplers feature the work of only a single artist or two.) And the disk is much less expensive than its companions in the Hyperion series.

The works flow and sing, and the best way to approach this CD is to sit back, listen and enjoy. The CD encourages this approach because there is little in the way of program notes and song texts are not provided -- not even the names of the poets. But the music is lyrical and of immediate appeal. My favorites pieces here include Peter Schreier singing "Der Liebiche Stern"; Dame Felicity Lott singing "Am See"; Ian Bostridge's inspired rendition of "Mein!" from Schubert's song-cycle "Die Schone Mullerein"; John Mark Ainsley's rendition of Shakspeare's "An Silvia", Adrian Thompson's "Trost im Tranen", and Elly Ameling singing " An den Fruhling". I also enjoyed Arleen Auger's singing of a Schubert "Romanze" which features a part for the clarinet and Sarah Walker singing a version of "Standchen" with an accompaning chorus. But the entire CD is moving, lovely music.

This CD is a joy in itself for those listeners who can be satisfied with a basic exposure to the Schubert songs. But it is also a good place to begin for listeners who want to hear more of Schubert -- either on the Hyperion series or on the many other CDs of the songs that are readily available to be explored and enjoyed.

Robin Friedman

FOUR-AND-TWENTY SINGERS.......2004-05-24

How the numbers have been done is a little obscure. 26 songs, sung by 24 singers, have been selected from the first 27 records in the omnibus set of Schubert Lieder from Hyperion. Bostridge features twice, and I imagine there will be no complaints about that. The other artist to appear twice is Sarah Walker, and that is more of a mixed blessing, for several reasons. The songs are not exclusively solo works. The `Staendchen' here is neither the familiar Rellstab number from the Schwanengesang nor the Shakespeare `Hark hark the lark' but a piece with solo and male chorus, and the Romance sung by Arleen Auger has a clarinet obbligato played by Thea King. The piano accompaniment is provided throughout by Graham Johnson.

A few minor quibbles apart, this is my idea of a perfectly heavenly record, outstandingly well engineered. The selection is a judicious mix of familiar and unfamiliar. Who Is Sylvia is here, as are the Erlking and Mein from the Mill songs. Special favourites of my own are Der Allmacht and Mayrhofer's Aufloesung, both superb opportunities for a big voice, and the works cover all of Schubert's short career with Deutsch numbers ranging from 113 to 920. I think I would have liked Elizabeth Connell to hit Der Allmacht just a little harder. At the start I thought that Johnson might have been using a little too much pedal, but when I felt that most in the Sailor's Song to the Dioscuri he immediately delighted me with a lively and bouncing accompaniment in the next number Who Is Sylvia. My one real reservation concerns Erlkoenig, sung by Sarah Walker. For me, this is just not a song for a woman. Three of the four parts - father, child and the Erlking himself -- are explicitly male, and I imagine one takes the narrator to be male as well. Even more, for the one and only time on the entire disc I'm not happy with the performers' concept of the song. The tempo is too fast for my liking - the father is galloping rapidly, but any suggestion of panic ought to be reserved for the end. I also like a clean drumming sound in the piano right hand with a good strong accent on each of the four beats, clearly suggesting the hoofbeats of the horse, and too much pedal spoils it for me. What is also lost is the wonderful way the tension should relax without loss of pace before the Erlking's first song, and there is no sinister quality to the Erlking's tone as there needs to be. Fischer-Dieskau and Moore are not supplanted in my affections here.

And that's about it by way of criticisms. A disc featuring Schreier, Lott, Bostridge, Fassbaender, Allen, Baker, Mathis, Rolfe Johnson, Auger, Ameling and Varcoe to name but some can be expected to be a bit of a celebration, and that's exactly what it is. The liner booklet is even more than usually inadequate with no texts. It does not tot up the playing time either, but for me this recital was over almost as soon as it began, so much did it keep me in raptures. Strongly recommended.

Average customer rating:

Great recording from live performance at Theatre Royal Brussels 1985

Mozart: Lucio Silla

Manufacturer: Brilliant Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B000850JU8
Release Date: 2005-04-26

Customer Reviews:

Great recording from live performance at Theatre Royal Brussels 1985 .......2006-05-12

This recording is a great surprise, because sometimes the quality of Brilliant Classics is uneven, and so you can't be sure of what to expect. But this one is a real winner. The three sopranos are all great, Britt-Marie Arulan as Cinna (Silla's friend) is wonderful as is Lella Cuberli as Giunia. Listen to her Aria 4. "Dalla sponda tenebrosa". And as always Ann Murray is splendid in the role of Ceclio. Snatch this one up before it becomes a collector's item. For the price I think it's an unquestionable must for any love of Mozart and there is really no other choice considering the price and quality of the other recordings of this opera presently available. Here is Mozart at not yet 17 years old (pouring out incredible musical maturity and creativity). This opera is full of inventive orchestration, beautiful coloratura arias, and manificent accompanied "recitativi", all superbly interpretated on this 3 CD recording. If you think Idomeneo is the best opera seria of Mozart you have to get to know this one too. It's full of great music which looks to future masterpieces and even at times exceeds them (consider Cecilio's Aria No.21 "Puplille amate..." and others.
Snatch this one up quickly before the word gets out, really this is a very memorable performance!