In Love In Vain

Editorial Reviews
Tony Bennett
Frank Stallone's new album is a knockout. It's the kind of singing that I love to be around.

About the Artist
While some musicians settle for a pigeonhole barely wide enough for a single bird, others happily test themselves over and over again with a flock of new challenges. Over the years, Frank has been everything from a street musician to a rock musician to a Big Band vocalist; he's enjoyed a #1 pop single, written songs for 11 films, and played to SRO crowds in arenas from Los Angeles to London. In other words, he's done it all. But Frank pays little attention to his list of accomplishments. He's... read more

Album Description
It's rare that you get to sing the songs of Cole Porter, Johnny Mercer, Jerome Kern, Harold Arlen, Rogers and Hart, Jimmy Van Heusen and all the other great writers on this album without walking away feeling totally fulfilled - that's just how I feel. With arrangements by the great Sammy Nestico and with the wonderful musician we have on this album it just doesn't get much better than that. Singing music that was born and bred in America gives us all a great insight into a musical legacy that will carry on forever. I feel very honored to have had a small part in it. This album is dedicated in loving memory to my friend and mentor, Sammy Cahn.

In Love In Vain

In Love In Vain, Music, Frank Stallone, Big Band, Big Bands, Big band swing in the classic Las Vegas tradition of Frank Sinatra & Bobby Darin, Jazz, Jazz Music, Pop, United States of America

Life Upon the Wicked Stage
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Life Upon the Wicked Stage
Carole Cook , Jerome Kern , Grant Geissman , David Stout [trombone] , Dan Fornero , John Fumo , Brock Peters , James Anderson , Jane Lanier , Lauren Kennedy , Linda Michele , Marissa Jaret Winokur , Melissa Errico , Reece Holland , Robert Morse , Rod McKuen , Roger Rees , Ronnie Franklin , and Steve Orich
Manufacturer: Lml Music
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000658H9
Release Date: 2002-05-07

Tracks:

The Song Is You - Jamie Anderson
How'd You like To Spoon With Me? - Jane Lanier
The Land Where The Good Songs Go - Pamela Myers
All The Things You Are - Alan Campbell
The Folks Who Live On The Hill - Lee Lessack
She Didn't Say Yes - Marissa Jaret Winokur
Pick Yourself Up - Street Sounds
You Couldn't Be Cuter - Marsha Kramer
Shimmy With Me - Lea Thompson
They All Look Alike - Bruce Vilanch
There It Is Again - David Holladay
Remind Me - Ron Rifkin
In Love In Vain - Melissa Errico
Make Believe - Linda Michele
Ol' Man River - Brock Peters
You Are Love - Dale Kristien
I Won't Dance - Bonnie Franklin

Tracks:

The Last Time I Saw Paris - Charles Busch
Long Ago (And Far Away) - Pam Dawber
They Didn't Believe Me - Pat Marshall
Look For The Silver Lining - Rod McKuen
A Fine Romance - Jane Carr
Sure Thing - Sally Kellerman
Don't Ever Leave Me/Why Was I Born - Joely Fisher
I'm Old Fashioned - Robert Morse
Yesterdays - Joan Ryan
Smoke Gets In Your Eyes - Dorian Harewood
In The Heart Of The Dark - Dale Kristien
Can't Help Lovin' Dat Man - Valarie Pettiford
The Way You Look Tonight - Hugh Panaro
Life On The Wicked Stage - Carole Cook
I've Told Every Little Star - Carole Cook
Till The Clouds Roll By - The Company

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Valuable compendium
Rareties available on CD at last!
Heavenly
WHO ELSE CAN SING LIKE THIS TODAY?

The Art of Joan Sutherland

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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The Decca Records Store | Specialty Stores | Music
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ASIN: B000654OUQ
Release Date: 2005-03-15

Customer Reviews:

Valuable compendium.......2007-01-24

This set is extremely valuable, not only as an overview of Dame Joans career but because it contains three complete LP sets that have been very hard to find. The sets are the 2 LP French opera (operetta) set, the Mozart album and the Wagner album. Although some of these do not show her to her best advantage (the Wagner set) they all have some very beautiful things and the French items are superb. The annotations and photos are interesting as well and there are some piano songs with Bonynge that are released here for the first time along with a scene from a live Covent Garden Norma.

Rareties available on CD at last!.......2006-03-29

While Joan Sutherland has recorded a number of impressive aria collections throughout the many years of her recording career, they tend to get lost in the shuffle of the countless reissues Decca/London has endlessly repackaged. While some of the original collections have appeared intact on CD--"The Art of the Prima Donna," "The Age of Bel Canto," "Love Live Forever" (her operetta collection that was originally titled "The Golden Age of Operetta"), to name a few--others are currently represented in the CD catalogue by only a few selections on discs that also include excerpts from complete opera recordings or duplicates of selections from other original collections. As a result, it has been impossible to assemble a CD collection of her recordings without a LOT of duplication, and some of the most interesting collections are still unavailable (e.g. "Command Performance" and "Serate Musicale").

While this newest set does include a lot of bits of this and that, ranging from her very first LPs to excerpts from complete recordings most Sutherland fans already have and a few "live" performances, what is perhaps most significant about it is that it features the complete contents of the "Sutherland Sings Wagner" LP--a real repertoire departure for her--and the double-LP album called "French Opera Gala" (in the U.S.--the British title was "Romantic French Arias"), neither of which, to the best of my knowledge, has been available on CD before. "Opera News" magazine once ran an article in which they asked various stars to name the one album that they felt best represented their artistry for future generations, and Dame Joan selected the "French Opera Gala," so for Sutherland fans, this is a long-awaited treat.

I'm not going to waste space saying how miraculous I consider Dame Joan's artistry. If you are familiar with her work already, you know whether you adore her or not; and if you aren't, this massive set is probably not the best place to start (that would be "The Art of the Prima Donna" album that introduced her to most listeners decades ago)--especially since this newest set doesn't contain the lyrics, a must for newcomers. Let's hope Decca/London gets around to releasing the rest of her recordings intact instead of endlessly scrambling and repackaging the same selections over and over.

Heavenly.......2006-01-31

I first heard of Dame Sutherland while on the internet while listening to a internet radio station. I was instantly a fan, her control, technique, and tone is perfectly executed and rivals the equally fantastic Maria Callas. She has a powerful voice and presence that will evoke every emotion from her listeners. Highly recommended to all Opera Diva fans.

WHO ELSE CAN SING LIKE THIS TODAY?.......2005-04-10

This is Decca's second multi disc evaluation of this fantastic singer's long career and many recordings. True that a lot on the first set is duplicated here, but there are a few exceptions here and there that make it a worthy addition. Of particular interest are the very early items of Handel and Italian baroque arias, some forgotten song recordings and a live performance of the duet from Norma. It can't be said too many times - who can sing like this today? For sheer vocalism it's hard to find anyone on the same wavelength. This set will give very young opera goers an idea of what they missed.

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Best CD You May Not Have Heard Of
Frank Stallone is no ..."Sly"
This swings baby!
Love, Love, LOVED it!
A great recording of the standards - and a "sleeper" of 2003

In Love In Vain
Frank Stallone
Manufacturer: Simba Records
ProductGroup: Music
Binding: Audio CD

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Frankie & Billy
Full Circle
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Michael Bublé

ASIN: B00000ILZZ
Release Date: 1999-07-13

Tracks:

Day In Day Out
Witchcraft
I wish I Were In Love Again
Beyond The Sea
One For My Baby
In Love In Vain
At long Last Love
Spring Is here
The Lonesome Road
But Beautiful
All Of You
like Someone In Love

Album Description

It's rare that you get to sing the songs of Cole Porter, Johnny Mercer, Jerome Kern, Harold Arlen, Rogers and Hart, Jimmy Van Heusen and all the other great writers on this album without walking away feeling totally fulfilled - that's just how I feel. With arrangements by the great Sammy Nestico and with the wonderful musician we have on this album it just doesn't get much better than that. Singing music that was born and bred in America gives us all a great insight into a musical legacy that will carry on forever. I feel very honored to have had a small part in it. This album is dedicated in loving memory to my friend and mentor, Sammy Cahn.

Customer Reviews:

Best CD You May Not Have Heard Of.......2005-10-03

This is a find. Big band sound, great voice, superb renditions and equally superb arrangements. Treat yourself to Mr. Stallone's upbeat, wonderful treatments on favorites such as Day In Day Out, I Wish I Was In Love Again and more. This CD should be a best seller and I became aware of it be reading reviews on Amazon.

Treat yourself to a wail of of a CD. It will get your mojo going.

Frank Stallone is no ..."Sly".......2005-09-01

Frank Stallone has taken some old standards and given them a new and graceful touch. Doe's he "mimic" a little of "Frank"... or Bobby "D" ... of course.... and what singer of any quality hasn't. But Frank does do something special. I don't know where he has been over the years.. or where he picked up his training, but he has a most pleasant voice and he treats the lyrics the way the composer intended them to be. I don't know if his "big brother" Sly had anything to do with his orchestrations or promotion but even if he did, it was a venture worth taking. It is sad that one with such talent has not had the exposure he deserves. Where has he been in recent years? Why hasn't the music world been privy to his talent on a larger scale! He deserves far more recognition than what has been available.
Keep on singin' Frank....Your audience will grow until you are more appreciated... and then you will have "Arrived"
Good luck Frank Stallone.... you deserve the very best.

Joe Folino
Turlock, CA

This swings baby!.......2005-01-30

I wrote produced and created a Modern Swing/Standards radio show which was syndicated nationally. I know the players, I will submit to you that this is one of the best examples of excellent singing, arrangements, and song selection I've seen. Anyone who claims that Stallone is any less than a highly talented singer, doesn't know a damn thing,some may call themselves jazz fans, but they wouldn't know jazz if it hit them in the butt. For the idiot who claims Frank is jumping on a fad. LISTEN UP. This album was recorded in 1990, and recently re-released. In fact my CD is titled "Day in Day Out". As the other gentlemen so well stated, there are some of you who likely have a preconceived notion or predjudice due to the name Stallone. Shut up already, if Frankie Laine, Tony Bennet, Frank Sinatra, and Billy Eckstine had great things to say about Stallone's singing, who needs your take?

Love, Love, LOVED it!.......2004-09-09

I am a musician in a band that plays vocal jazz. I buy and own thousands of CDs of vocalists singing songs from the pool of songs often called the Great American Songbook. Often I just buy a CD to hear different versions of the classics and to get ideas of "new" songs for us to perform. I was BLOWN away by this CD. What I find amazing is some of the reviews that did not like the vocals. I think they were fantastic! His voice, phrasing, attitude and style all won me over. This IS my favorite male vocalist right now. If you want an artist who sings today the way it was done "yesterday"... Frank is the man.

A great recording of the standards - and a "sleeper" of 2003.......2003-12-28

Had I not read a brief, yet positive, review of "In Love In Vain" in one of the Seattle papers earlier this year, I daresay I would never have known about this release, much less have even considered buying it. Fortunately, I did find out about it, and was pleasantly surprised by what I heard.

I'm sure that I am not in the age group where the music industry markets the standards as sung by Sinatra, Martin, et al. Or, this classic music is recorded by a "flavor of the month" pop idol and then marketed to my age group. That said, I do listen to this genre quite a bit, and so, I was eager to hear Mr. Stallone's interpretations would sound. From the first track, I was instantly hooked.

Mr. Stallone presents each of these songs the way they were intended to be sung when they were originally written. His vocals are solid and evoke all of power and energy of these songs. "One For My Baby" is my personal favorite on this CD; it is a solid, heart-tugging ballad, and Mr. Stallone's vocals surely do emphasize the emotion at the core of this song. With the combination of the outstanding arrangements by the Sammy Nestico Orchestra, he truly transports the listener back to the era of smoky showrooms, cocktails, and big band sound.

One of the mistakes that musicians make when re-recording these classics - or covering any other great song, for that matter - is to over-sing or adding those annoying vocal flourishes. I guess it is meant to "update" the sound, or make it the musician's own. Mr. Stallone doesn't do that here. One gets the sense that he does respect these songs and is not under any illusions that he needs to modernize them.

Obviously, "In Love In Vain" would draw comparisons to the two "Great American Songbook" CD's released by Rod Stewart this year. Having been one who has actually listened to all three of these discs, I can safely state that Mr. Stallone created a far better CD that easily outpaces the combined Rod Stewart efforts. In part, this statement is based on my belief that Mr. Stewart does not have the voice that translates well to these discs. Plus, the overproduction, slick packaging, and questionable duets of the Stewart discs make these standards too "sugary" and otherwise of inferior quality. By staying true to the original arrangements and minimal production, Mr. Stallone could easily make a case as the only one to carry this music to future generations. The endorsement from the great Tony Bennett only solidifies this claim.

Customer Reviews:

Fine reissue of a classic set.......2006-05-24

Think about the stupidest, most formulaic Hollywood movies you can think of: cheesy action pictures, fluffy, unfunny comedies, big but stiff epics. Now imagine that one of the greatest living composers was working in Hollywood, turning out astonishing, hauntingly beautiful and stirring musical scores for these throwaway movies. That's what you get with this set: music Henry Purcell composed for some two dozen often utterly forgettable plays (trust me--I've read a number of them!) Occasionally, when he teams up with a playwright worthy of his stature, such as John Dryden, Aphra Behn, or William Congreve, the results are even better, but for the most part you can enjoy the music here without knowing anything about the original plays.

This set originally appeared as separate LPs in the 70s and 80s, and has been long out of print. That's a pity, since Purcell spent a good deal of his short professional life in the theatre, either writing the incidental music contained on these CDs, or the music for his larger works, the semi-operas (King Arthur, The Fairy Queen, and the like). Almost all of these works are enjoyable gems; certainly, they represent a pinnacle of English 17th century music. Purcell had a genius for spinning musical gold out of the most leaden lyrics (check out his Odes and Welcome Songs on Hyperion if you don't believe me), and he does the same with the song texts in these plays.

Hogwood and the AAM offer clean, listenable performances, and the sound on these old analog discs has been cleaned up and brightened--although they were pretty good, even in the late 70s. As with most Hogwood, emotional extremes are kept to a minimum, so the "otherworldly" nature of late 17th century music, so often emphasised in more recent Baroque performances, doesn't come across here. It would be interesting to see what a group like The King's Consort would do with this music, but this set fills the major gap in the Purcell canon quite nicely.

My only beef with the reissue, as with many reissues, is that the liner notes are rather thin for a 6-cd set--the lyrics to the songs, for example, are especially missed. Still, it's a worthwhile set, and a must for fans of Purcell, English Baroque music, or anyone who just wants to experience a taste of the last days of the Restoration stage.

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Complete Secular Songs (3cd)

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000DJENT
Release Date: 2004-01-13

Average customer rating:

Age breeds a shining moment
Nice but dismissable.
Disappointing by Quartet West standards
If you breathe and have ears, buy this record!
A Night and a Lonely Town

The Art of the Song

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

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Haunted Heart
Now Is the Hour
Always Say Goodbye
Nocturne
American Dreams

ASIN: B00000JNMR
Release Date: 1999-07-27

Tracks:

Lonely Town
Why Did I Choose You
Moment Musical Opus 16 No.3 In B Minor
In Love In Vain
Ruth's Waltz
Scenes From A Silver Screen
I'm Gonna Laugh you Right Out Of My Life
You My Love
Prelude En La Mineur
The Folks Who Live On The Hill
Easy On The Heart
Theme For Charlie
Wayfaring Stranger

Amazon.com

Bassist Charlie Haden was an integral part of Ornette Coleman's pioneering avant-garde groups in the '50s and '60s and led his own equally forward-thinking Liberation Music Orchestra. His ensemble Quartet West, with tenor saxophonist Ernie Watts, drummer Larance Marable, and pianist Alan Broadbent, revealed a sentimental side of his musical personality that surprised many. This recording, with string arrangements by Broadbent, sounds like a soundtrack to a Raymond Chandler film as Haden's sturdy bass tones make him a worthy supporting actor. But although Shirley Horn's ethereal voice sparkles on "Lonely Town," "In Love in Vain," and "I'm Gonna Laugh You Right Out of My Life," and crooner Bill Henderson's towering pipes are radiant on "Why Did I Choose You," "Ruth's Waltz," "You My Love," and "Easy on the Heart," all of the material is in pretty much the same ballad tempo, which, compounded by the time length of the CD, robs it of the romantic resonance it could truly shine on the listener. --Eugene Holley Jr.

Customer Reviews:

Age breeds a shining moment.......2003-11-20

The criticisms miss the point. This is an effort that does a rare thing - it brings together men and women who can put the experience of life to judicious use in their art. Unlike listening to the deterioration other performers have faced, in later years, at the hands of studio production teams that no longer know what to do with them, Charlie Haden has found a way to create a beautiful volume of space in which to let the years of these venerated performers shine through. It is in this space you shall hear the notes of lives lived and savored.

Nice but dismissable........2001-08-09

Haden's pleasant miscellany of neglected but deserving ballads is indeed a mixed bag, but somehow his focus, purpose, and method elude this listener. Neophyte writers are frequently enjoined to compose with a sharp, definitive, unified "thesis." Haden could have used a bit of coaching along these lines before producing this collection. Even drawing upon a common composer (as opposed to ranging from Kern to Rachmaninoff to public domain) might have provided the needed coherence to the project.

In any case, it's always a welcome experience to hear Shirley Horn; the revival of a touching ballad like "In Love in Vain" merits our appreciation; and though I was never a big fan of Bill Henderson (an acquired taste), he deserves to be recorded based on the evidence of this recording.

In sum, this album is more than anything else a "sampler" and should have been priced accordingly.

Disappointing by Quartet West standards.......2001-05-09

The outstanding Quartet West album is 'Always Say Goodbye'. On that CD, Broadbent demonstrates his skills at orchestral arrangement, and Haden deftly selects great oldies to intermingle with some of his own superb compositions. Haden also takes some historic performances -- such as Jo Stafford on vocals -- to bring a resonance to the new covers. The experiment was very successful.

You can see the logic behind this subsequent album: instead of using dusty old recordings, why don't we use today's state-of-the-art production to capture the voices of several current artists? And why don't we let Alan orchestrate the whole album?

The trouble is that the orchestration, beautiful though it is throughout, constrains the band terribly. And the vocals swamp the album. (Actually the Jo Stafford track on 'Always Say Goodbye' is one of the weakest on the album.) They say that the saxophone is the instrument closest to the human voice, and it is Ernie Watts who suffers most on this album, The sax is simply crowded out by all the singing. It is only on the stand-out track, 'Prelude en la mineur', an instrumental re-working of a Ravel piece, that Watts finally gets a chance to let rip.

Shirley Horn's vocals are fine, particularly on 'Lonely Town'. But I simply cannot listen to any of the tracks containing Bill Henderson's voice, and sadly, there are four of them.

The most touching song is the last one, where Haden himself bravely takes the vocal lead. It's a song his mother used to sing on the radio, back in the early 1940s, when the entire Haden family would appear on KWTO Springfield. It is a farewell to the dead, and also a reassurance that one day they will meet again.

If you want a quick survey of this CD, check out tracks #1, #9 and #13. It's a long way from the days of Haden's playing with Ornette Coleman and the Liberation Orchestra, and it's very mellow.

If you breathe and have ears, buy this record!.......2001-04-15

I first heard of Charlie Haden on Dublin's best radio music show - The Mystery Train presented by John Kelly on RTE Radio 1. I bought this CD and it has never been off my current play list. This is beautiful music that touches the heart. Listen to Wayfaring Stranger, Lonely Town, I'm Gonna Laugh You Right Out Of My Life, or Ruth's Walz after a tough day at the office or jammed in traffic and you will be back in touch with the good things in life. As someone who has evolved though Thin Lizzy, The Eagles, Eric Clapton, Queen, U2, Ella Fitzgerald, Louis Armstrong, BB King, Grant Green etc, Charlie Haden is proof of my graduation. After since buying other and even better Haden CD's, I am looking forward to seeing him in concert with Quartet West here in Dublin on April 29. BUY IT NOW!

A Night and a Lonely Town.......2000-05-24

Despite its problems, I think this album still deserves a five-star rating. Seemingly inspired by the music of moody classic cinema, a listener might well envision a seedy nightclub in a fog-swept black & white San Francisco of the 1940s or a tearful Ingrid Bergman about to board a twin-propellor leaving Rick and Casablanca behind her forever.

Regardless of which side of the Atlantic you envision on your moody musical journey, this is definitely a lounging type of music, perfect for lazy Sunday afternoons, after-theatre drives around town on warm summer evenings, warm candle-lit baths, or romantic dinners for two. The beautifully romantic ballads range from the longing "Lonely Town" to the mostly-resolute "I'm Going to Laugh You Right Out of My Life" to the quietly complacent "The Folks Who Live on the Hill." Interspersed with these great standards, however, are wonderful instrumental pieces which frame the remaining vocals with stunningly dramatic moods.

The only flaw is the rather unappealing voice of Bill Henderson, who seems to be suffering from a weak set of lungs, if not from lack of enthusiasm. Henderson seems to strive for the vocal capabilities of Shirley Horn, who sings on 1, 4, 7 and 10, but is incapable of achieving those same dramatic pitches of his fellow artist. Nevertheless, he does an adequate job on "Ruth's Waltz" and "Easy on the Heart" even if "Why Did I Choose You" is downright painful to listen to. Haden, who sings on 13, seems similarly incapable of reaching Horn's heights, but "Wayfaring Stranger," the traditional song he chose to render, is capable of carrying itself with the slow somber tone it evokes in the listener.

Tracks:

Come Again: Sweet Love Doth Now Invite
If My Complaints Could Passions Move
Away With These Self-loving Lads
Flow My Tears
Never Weather-beaten Saile
The Sypres Curten Of The Night
It Was A Lover And His Lasse
O Lord, How Vain Are All Frail Delights
Fantasy No.9
Though Amaryllis Dance In Green
If Music Be The Food Of Love
Abdelazer: Air
Abdelazer: Air
The Plaint: O, Let Me Weep
Fairest Isle
She Loves And She Confesses Too
They Hand, Belinda...When I Am Laid In Earth

Amazon.com

Away from the clamor of grand opera and soaring symphonies, Fairest Isle takes us into the quiet, intimate world of English Elizabethan song, and you could hope for no better guide than Barbara Bonney. Her clear, beautifully rounded voice is superbly controlled, making light of a masterful technique; if you want to hear art concealing art, look no further. This is intensely private music, in a program that cleverly sidesteps any risk of listener fatigue by starting with lute accompaniment (infinitely tender playing by Jacob Heringman), moving on to a viol quartet, then finally to the richer sound of the Academy of Ancient Music under Christopher Hogwood. Leavening the mix are three instrumental interludes. The title piece is a blithe, dancelike song. Better known are some of the classics of English song: Dowland's "Come again" and "Flow, my tears," Morley's "It was a lover and his lass," and Purcell's "If music be the food of love" and "When I am laid in earth," a heart-in-mouth performance that makes time stand still. --Keith Clarke

Customer Reviews:

Fairest voice for Fairest Isle.......2006-07-27

I adore Purcell's songs, and possess many fine recordings of them. I perform them myself and enjoy the experience each and every time. When I listen to a new recording of Purcell songs, then, my expectations are both high and informed.

Barbara Bonney is simply a delight. Her voice on this album is almost incandescent with beauty. She sings with elegant simplicity that contains a great deal of art (the hardest sort of simplicity in the world to convey!). Her tone is pure, limpid as a stream, as delicately and beautifully wielded as a prism irradiating a cavern with colour.

Her vocal colour needs no introduction. Ms Bonney is widely known as "The Radiant Voice", following on from one of her album titles - and it's extremely apposite. She is radiant indeed, and her technique is beautifully sure.

Only in one track was I disappointed - the last track on the CD. "Thy hand, Belinda" seemed to me to have been approached with a more consciously dramatic style in mind, and it results in a couple of vowel distortions and a not quite convincing performance. Yet the voice itself is consistently beautiful, and I have no hesitation in giving this a 5-star rating.

Beautiful. Listen to this while you're stuck in traffic, and you are certain to feel your tension melt away at the sheer loveliness of the singing...

Exquisite taste.......2006-01-02

Barbara Bonney is one of today's most underrated singers. Her voice is always clear, true, and thrilling. She is certainly capable of vocal fireworks, yet she has the artistry and respect for musical period to know when such displays are, and are not, appropriate. In "Fairest Isle", she demonstrates her hallmark excellent taste in approach and choice of material. Too often, these lovely, gentle songs are assigned as exercises for beginning singers, and are then quickly relegated to the dust bin when the singers turn professional and are only interested in the biggest, flashiest operatic parts they can find. Ms. Bonney doesn't fall in that trap. She certainly is capable of bright vocal fire, yet she is artist enough to know gentle understatement can resonate emotionally with the listener long after the flash has faded.I must also say something about Ms. Bonney's beautifully clear diction. Her English is always understandable and perfectly presented, as opposed to Renee Fleming's, which seems to get muddier and more mannered with each successive recording. "Fairest Isle" is highly recommended!

Miraculous.......2004-10-28

I have had this CD for about 3 years, and it instantly became one of my most treasured. I never tire of listening to it.

I am now listening to it yet again, and am constantly astounded at the utter beauty, refined simplicity, and just perfect taste of Bonney's voice.
Her diction, her natural way of singing and letting the emotions melt in her mouth, her articulation always brilliant, round, glowing, 3-dimensional, her timing and instinct perfect.

And the songs... a wonderful collection of love, philosophical, and devotional pieces. All beautiful and universal.

The instrumental accompaniments are graceful, colorful (each in their own hue), and a dignified match for Bonney's musical stature.

I particularly liked "Come Again", "Never Weather-beaten Saile", "Fairest Isle", Dido's lament, and "She loves me and she confesses too". But all tracks are very good.

I own a large collection of "classical" (I hate that word) and early music, as well as opera, lied, vocal, etc.
I am very particular about what I listen to.
This CD is still one of my most cherished... intimate and very refined.

You could say that Keats was right when he wrote "Truth is beauty, beauty truth..."
Bonney's rendition of these songs is beautiful because it is honest and true... and vice-versa.

ABSOLUTELY RECOMMENDED.

Splendid Music from a Splendid Singer.......2004-01-28

Like most classical music junkies I have my share of "early music" from the 15th and 16th centuries. When I saw that Hogwood and his terrific band from the Academy of Ancient Music were coming out with an Elizabethan selection I expected something interesting, a little exotic and a good listen. (Purcell fans will know what I'm getting at.) Wrong. What struck me is how completely accessible these songs are. All were composed and published and should not be considered "folk" music in a formal sense I suppose. But as performed by the extremely talented Ms. Bonney, I couldn't shake the feeling that I was listening to early Joan Baez singing something like "Tender Maidens." These songs aren't interesting - they're beautiful. This is a terrific alblum.

Crystalline delight!.......2003-08-16

Barbara Bonney has a voice of exquisite beauty. These lovely Elizabethan love songs fit her instrument to the tee! It is too bad that another listener had to give this CD only one star because he considers these 16th century art songs to be "long hair". They were and are nothing of the sort, they are merely very "old fashioned love songs". "Come Again Sweet Love..." is a wonderful sample of this music. I could listen to it day and night.

Average customer rating:

Very Nice
Who says Anonymous wasn't a woman?

The Medieval Lady
Anonymous , Italian Anonymous , Jane Pickeringe's Lute Book Anonymous , Blanche of Castile , Anne Boleyn , Beatriz de Dia , Maroie de Dregnau de Lille , Giles Farnaby , Richard Farnaby , Hildegard of Bingen , Lady Killigrew , the Lady Dering Mary Harvey , English Traditional , and Elizabethan Conversation
Manufacturer: Leonarda Productions
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Classical | Indie Music | Stores | Music
ASIN: B000004AF3
Release Date: 1997-11-25

Tracks:

A chantar m'er de so qu'ieu nos vouria (12th C.) (Beatriz, Countess of Dia)
Mout m'abelist quant je voi revenir (13th C.) (Maroie de Dregnau de Lille)
Amours, u trop tart me sui pris (Blanche, 1188-1252, Queen of France)
Trotto (instrumental, c.1400) (Anonymous)
Estampie (instrumental, 13th C.) (Anonymous)
In Evangelium (Hildegard of Bingen, 1098-1170)
O viridissima virga (Hildegard)
O Jerusalem, aurea civitas (Hildegard)
Saltarello (instrumental, c.1400) (Anonymous)
Saltarello (instrumental, c.1400) (Anonymous)
La Manfredina (instrumental, c.1400) (Anonymous)
O Deathe rock me asleepe (attributed to Anne Boleyn, 1507-1536)
Sweetest love I do not goe (17th C.) (Lady Killigrew)
Tower Hill (instrumental) (Giles Farnaby, c.1563-1640)
Green Sleeves (instrumental, 16th C.) (Anonymous)
When first I saw Fair Dorris' eyes (Mary Harvey, The Lady Dering, 1629-1704)
And is this all, what one poor kisse? (Mary Harvey)
In vain, fair Chloris, you design (Mary Harvey)
La Rosignoll (instrumental, 17th C.) (Anonymous)
Nobody's Gigge (Richard Farnaby, b.1594)

Album Description

Medieval Songs, Dances, Chant & 16th & 17th Century Songs & Lute Duets performed by Elizabethan Conversation (Susan Sandman and Derwood Crocker, instrumentalists) with soprano Andrea Folan, guest artist. Total Time 64:21. Recorded at Alice Barler Recital Hall, Wells College, Aurora, New York, September, 1994. Recording producer/engineer, post production and graphic design: Marnie Hall. DDD.

This recording is made possible with public funds from The New York State Council on the Arts, a state agency. Additional support provided by the Mitch Miller Foundation, Wells College, Dilly Patrick, and a Special Opportunity Stipend from the New York Foundation for the Arts and the Upper Catskill Community Council of the Arts, Inc. © Leonarda Productions, Inc., 1997. CDs made in the USA. All rights reserved.

Performing artist Susan Sandman writes: "In keeping with early practices in performance, we have added our own counter-melodies, ornamentation, and, where manuscripts are ambiguous, rhythmic interpretation. The later songs appear more complete in manuscripts. Single-line melodies are replaced with multipart compositions. We perform them in the English lute song style, with voice, lute and bass viola da gamba." Cover Photo and Graphic Design: "Angel with Symphonia," c. 1360, possibly Pisan. Samuel H. Kress Collection, ©1966, Board of Trustees, National Gallery of Art, Washington, D.C.

Customer Reviews:

Very Nice.......2005-08-15

Having studied under both Ms. Sandman and Mr. Crocker in the past, I am not at all surprised by the lovliness of this recording. Their expertise is clearly audible.

Who says Anonymous wasn't a woman?.......2002-09-01

I confess, I purchased this CD to listen to one tune only. I have often run across references to "O Deathe, Rock Me Asleep", in my Renaissance readings, and thought I should finally hear a version of it. The song is attributed to Anne Boleyn, probably written in the Tower in mid May 1536, while awaiting her execution. It is not clear whether George Boleyn, Anne's brother, beheaded two days before his sister, helped with the composition. The two had often worked together on other entertainment in a happier vein.

I have read that the song in both words and composition is not really of an artistic quality, and was tempted to agree on first hearing this very doleful ditty. Despite the heartbreakingly lovely quality of the soprano singing the lyrics and the well played lute and bass accompanying the singer, the song at first hearing can seem to be quite wretched. However, I listened to it again and again, and really must disagree with those who would seek to sever all artistic merit as concerns the composition and wording of the piece.

A sense of impending doom is clearly conveyed in the mournful march of the bass. The wording, well, this is a song about Death and Dying, so the subject rather determines the word choices. (I must add that `misery', `destiny' and `remedy' are all pronounced so as to rhyme with die... die... die... die)

The beautiful soprano voice r-rolls most of the r's, giving a r-rich r-r-regal construction to the song. It was customary never to say aught but good things about the monarch who had sentenced you to death while you were on the scaffold, and this song generally follows that edict. However, a few well placed digs are evident in such phrases as, "my guiltless ghost", and "that I should taste this misery". Altogether a most interesting work.

Good antidotes for this tune can be found in the light "Tower Hill", (if one does not dwell on what often took place on the Tower grounds), and the delightful musical selection "Trotto" would please those who cut their medieval musical teeth on the New World Renaissance Band. The album insert offers thumbnail biographical sketches of all the female composers. That prolific artist, "Anonymous", naturally, does not have a bio. But, Anonymous does contribute to the album, in particularly a very different baroque rendition of "Greensleeves".

Tracks:

Symphony: Allegro - Larghetto - Allegro - Andante Larghetto
1. Chorus: How Excellent Thy Name, O Lord
2. Air (Soprano): An Infant Raised By Thy Command - 3. Trio (Alto, Tenore, Basso): Along The Monster Atheist Strode
4. Soprano, Alto, Tenore, Basso: The Youth Inspired By Thee, O Lord - 5. Chorus: How Excellent Thy Name, O Lord
6. Recit & 7. Air (Michal): He Comes, He Comes! - O God-Like Youth! - 8. Recitative (Abner, Saul, David): Behold, O King, The Brave, Victorious Youth
9. Air (David): O King, Your Favours With Delight - 10. Recitative (Jonathan): Oh Early Piety!
11. Air (Merab): What Abject Thoughts A Prince Can Have! - 12. Recitative (Merab): Yet Think, On Whom This Honour You Bestow
13. Air (Jonathan): Birth And Fortune I Despise!
14. Recitative (High Priest): Go On, Illustrious Pair! - 15. Air (High Priest): While Yet Thy Tide Of Bood Runs High
16. Recitative (Saul, Merab): Thou, Merab, First In Birth, Be First In Honour - 17. Air (Merab): My Soul Rejects The Thought With Scorn - 18. Air (Michal): See, With What A Scornful Air - 19. Air (Michal): Ah, Lovely Youth, Wast Thou Designed
20. Symphony: Andante Allegro - 21. Recitative (Michal): Already See The Daughters Of The Land - 22. Chorus: Welcome, Welcome, Mighty King!
23. Accompagnato (Saul): What Do I Hear? - 24. Chorus: David His Ten Thousands Slew - 25. Accompagnato (Saul): To Him Ten Thousands - 26. Air (Saul): With Rage I Shall Start Burst His Praises To Hear
27. Recitative (Jonathan, Michal): Imprudent Women! - 28. Air (Michal): Fell Rage And Black Despair Possessed
29. Recitative (High Priest): This But The Smallest Part Of Harmony - 30. Accompagnato (High Priest): By Thee This Universal Frame
31. Recitative (Abner): Racked With Infernal Pains - 32. Air (David): O Lord, Whose Mercies Numberless
33. Symphony: Largo - 34. Recitative (Jonathan): 'Tis All In Vain, His Fury Still Continues
35. Air (Saul): A Serpent, In My Bosom Warmed - 36. Recitative (Saul): Has He Escaped My Rage?
37. Air (Merab): Capricious Man
38. Accompagnato (Jonathan): O Filial Piety! - 39. Air (Jonathan): No, Cruel Father, No!
40. Air (High Priest): O Lord, Whose Providence - 41. Chorus: Preserve Him For The Glory Of Thy Name
42. Chorus: Envy! Eldest Born Of Hell!
43. Recitative (Jonathan): Ah! Dearest Friend - 44. Air (Jonathan): But Sooner Jordan' Stream, I Swear
45. Recitative (David, Jonathan): Oh Strange Vicissitude! - 46. Air (David): Such Haughty Beauties Rather Move

Tracks:

47. Recitative (Jonathan): My Father Comes - 48. Recitative (Saul, Jonathan): Hast Thou Obeyed My Orders
49. Air (Jonathan): Sin Not, O King, Against The Youth - 50. Air (Saul): As Great Jehovah Lives - 51. Air (Jonathan): From Cities Stormed, And Battles Won
52. Recitative (Jonathan, Saul): Appear, My Friend - 53. Air (David): Your Words, O King, My Loyal Heart - 54. Recitative (Saul): Yes, He Shall Wed My Daughter!
55. Recitative (Michal): A Father's Will Has Authorised My Love - 56. Duet (Michal, David): O Fairest Of Ten Thousand Fair - 57. Chorus: Is There A Man
58. Symphony: Largo - Allegro
59. Recitative (David): Thy Father Is As Cruel - 60. Duet (David, Michal): At Persecution I Can Laugh
61. Recitative (Michal, Doeg): Whom Dost Thou Seek - 62. Air (Michal): No, No Let The Guilty Tremble
63. Recitative (Merab): Mean As He Was, He Is My Brother Now - 64. Air (Merab): Author Of Peace, Who Canst Controul
65. Symphony: Allegro
66. Accompagnato (Saul): The Time At Length Is Come - 67. Recitative (Saul, Jonathan): Where Is The Son Of Jesse?
68. Chorus: Oh Fatal Consequence Of Rage
69. Accompagnato (Saul): Wretch That I Am - 70. Recit - Accompagnato (Saul): 'Tis Said, Here Lives A Woman
71. Recitative (With, Saul): With Me What Would'st Thou - 72. Air (Witch Of Endor): Infernal Spirits
73. Accompagnato (Samuel, Saul): Why Hast Thou Forced Me From The Realms Of Peace
74. Symphony: Allegro
75. Recitative (David, Amalekite): Whence Comest Thou? - 76. Air (David): Impious Wretch, Of Race Accurst!
77. March: Grave
78. Chorus: Mourn, Israel
79. Air (High Priest): Oh Let It Not In Gath Be Heard
80. Air (Merab): From This Unhappy Day
81. Air (David): Brave Jonathan His Bow Never Drew - 82. Chorus: Eagles Were Not So Swift As They
83. Air (Michal): In Sweetest Harmony They Lived! - 84. Solo (David And Chorus): O Fatal Day! - 85. Recitative (Abner): Ye Men Of Judah, Weep No More!
86. Chorus: Gird On Thy Sword, Thou Man Of Might

Music:

Music

Music