Margaret [Import]

Editorial Reviews
Album Details
Japanese Version featuring a Limited LP Style Slipcase for Initial Pressing Only.

Tracks:

Cape Cod Girls - Baby Gramps
Mingulay Boat Song - Richard Thompson
My Son John - John C. Reilly
Fire Down Below - Nick Cave
Turkish Revelry - Loudon Wainwright III
Bully In The Alley - The Old Prunes
The Cruel Ship's Captain - Bryan Ferry
Dead Horse - Robin Holcomb
Spansih Ladies - Bill Frisell
High Barbary - Joseph Arthur
Haul Away Joe - Mark Anthony Thompson
Dan Dan - David Thomas
Blood Red Roses - Sting
Sally Brown - Teddy Thompson
Lowlands Away - Rufus Wainwright & Kate McGarrigle
Baltimore Whores - Gavin Friday
Rolling Sea - Eliza McCarthy
Haul On The Bowline - Bob Neuwirth
Dying Sailor to His Shipmates - Bono
Bonnie Portmore - Lucinda Williams
The Mermaid - Martin Carthy & the UK Group
Shenandoah - Richard Greene & Jack Shit
The Cry Of Man - Mary Margaret O'Hara

Tracks:

Boney - Jack Shit
Good Ship Venus - Loudon Wainwright III
Long Time Ago -White Magic
Pinery Boy - Nick Cave
Lowlands Low - Bryan Ferry w/Antony
One Spring Morning - Akron/Family
Hog Eye Man - Martin Carthy & Family
The Fiddler/A Drop Of Nelson's Blood - Ricky Jay & Richard Greene
Caroline and Her Young Sailor Bold - Andrea Corr
Fathom The Bowl - John C. Reilly
Drunken Sailor - Dave Thomas
Farewell Nancy - Ed Harcourt
Hanging Johnny - Stan Ridgway
Old Man of The Sea - Baby Gramps
Greenland Whale Fisheries - Van Dyke Parks
Shallow Brown - Sting
The Grey Funnel Line - Jolie Holland
A Drop of Nelson's Blood - Jarvis Cocker
Leave Her Johnny - Lou Reed
Little Boy Billy - Ralph Steadman

Amazon.com

Johnny Depp and director Gore Verbinski hatched the idea for Rogue's Gallery while filming "Pirates of the Caribbean: Dead Man's Chest"--that idea being to cast genteel rock superstars like Bono, Lou Reed, Bryan Ferry, Andre Corr, and Sting to reinterpret gritty seafaring standards for an exhaustive 43-track double-disc set produced by Hal Wilner. Throw in a bunch of credible folk stars (Loudon Wainwright III, Richard Thompson), their offspring (Rufus, Teddy) and a string of other curious characters (Jarvis Cocker, Antony) and what results is one of the strangest compilations in recent memory, if not exactly the most historically authentic or, well, digestible. Nick Cave embraces the role just a little too hard on "Fire Down Below," while Ferry can't help but sound like he's singing for the cast of "The Love Boat," but cut through the chaff and there is some real bootie here: Bono's "Dying Sailor to His Shipmates," Jolie Holland's "The Grey Funnel Line" and "Boney" by a mysterious tramp called Jack Sh**, which must be some kind of anagram for Johnny Depp. --Aidin Vaziri

Album Description

While working on the two "Pirates Of The Carribean" films, Johnny Depp and director Gore Verbinski became fascinated with the lore and fable of the pirates and sailors who ran the high seas. Enter legendary producer Hal Wilner, who brings his knack for matching maverick musicians with extraordinary material. Artists on this double disc set include Bono, Sting, Nick Cave, Bryan Ferry, Lou Reed, Richard Thompson, Lucinda Williams, Jarvis Cocker of Pulp, and many more. "Rogue's Gallery" offers a look at the hardships, the horrors, the lusts and lurid depths, and the crystal beauty that led men to the sea in ships for hundreds of years.

Customer Reviews:

Fun--but not great.......2007-07-03

What a concept--a pirate song co-produced by Verbinski and Depp inspired by the "Pirates of the Carribean" series. It should be great and in places, it is. The big question I came away with is--who is Jack Sh**? That one definitely has me guessing.

I won't belabor the song content or the production value. I think the most notable reviews have got that down pat, although I'm not marking down as far as they have because I'm giving points for originality being a fan of Spike Jones and some other truly demented people.

One thing to note: this is not a CD you'd buy if you were looking for something to amuse your kids. Some of the content is very bawdy and Mom and Dad would have some serious 'splaining to do to the little pirates. There's both some language and some situations that are more twisted than a Hangman's knot.

aaaaaaaaaaarrrrrrrrghhhhhhhhhhhhh!.......2007-06-09

Some of the songs are quite good(mellow)others a little odd. Its what I expected, but not what you would expect.

Disappointment would be an understatement.......2007-06-04

It is not unusual to find sea shanties performed by not the greatest musicians or singers in the world. It is not unusual to find shanties sung by people who have difficulty keeping perfect pitch, or tempo. But at least they understand what the music is about, and sing it with heart and enthusiasm and a love for the genre.

Hal Wilner should stick to whatever genre it is that made him know enough to be approached by labels, because he clearly has no understanding, and less enthusiasm for *this* genre.

If you love lively music from the maritime era, you can only be bitterly disappointed by this collection. Out of 43 tracks, I found 15 that were salvageable. Sort of.

I've already tossed this onto the pile to go to the resale shop. It wasn't worthy the cost of shipping.

Zzz..........2007-04-04

I have to admit that I have no idea what kinds of music the pirates sang aboard their ships. I know it probably wasn't "yo ho, yo ho, a pirate's life for me," but I expected something different than this. I think my expectations have been colored by groups like The Pogues, Flogging Molly, The Tossers, and the Real McKenzies. I have an annual Pirate Party and I was hoping to find some good music here to get people in the mood for a treasure hunt or pirate liar's dice, but instead, the music on this CD is something I'd put on if the party went on too long and I wanted to encourage people to leave. Some of it is actually awful and the rest is too slow and plodding to inject much energy into any situation.

I appreciate what was attempted here (contemporary artists paying homage to sea chanteys in the spirit of our romanticized version of the pirate era) but it just doesn't really work. The effect is similar to what would be achieved if the London Philharmonic Orchestra attempted to play rap "music" with Luciano Pavarotti rhymin' while flashing gang signs.

another set of hopes are smashed.......2007-03-29

the selection of titles attracted me. The quality of the arrangements, the voices, and the music---are all quite bad.

It is VERY sad that these same titles, could not have been produced for quality. They sound like a nightmare.

Average customer rating:

Say Hey-ho for Yo-yo No Disappointment Here
Super Enjoyable
Absolutely Amazing
You mouth open in Awe.
Hard to believe!

Vivaldi's Cello

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Yo-Yo Ma - Simply Baroque II ~ Bach & Boccherini / ABO, Koopman
The Essential Yo-Yo Ma
Simply Baroque
Classic Yo-Yo
Bach: The 6 Unaccompanied Cello Suites

ASIN: B0001IN11Q
Release Date: 2004-03-30

Tracks:

Allegro
Largo
Allegro
Largo
Allegro
Largo
Allegro
Cosi Sugl' Occhi Miei
Allegro
Largo
Allegro
La Gloria Del Mio Sangue
Allegro Non Molto
II. Adagio
III. Allegro Ma Non Molto
Noli, O Cara, Te Adorantis
Laudamus Te
Quanto Magis Generosa
Dite Oihme

Amazon.com

The great Yo-Yo Ma has recently (in addition to his world music explorations) moved to the baroque cello, a so-called period instrument, and his transition has been remarkably smooth. He is indeed a musical polyglot, and this CD finds him solidly in the heart of the Baroque period, with music by Vivaldi. In addition to three concerti the composer wrote for cello, there are some fascinating transcriptions. The Largo violin solo from the "Winter" concerto of the Four Seasons is here beautifully played on cello, its darker tone added substituting gravity for chill in the wintry landscape. A concerto originally for viola d'amore, lute and strings has been transformed into one for cello, organ, strings and continuo, with Baroque expert Ton Koopman as transposer and organist (and sympathetic, energetic conductor throughout). And oddest of all, Koopman has created cello solos out of arias (one of which is helped by a perky bassoon) originally composed for female voice from a couple of operas, the oratorio Juditha Triumphans, and the familiar "Laudamus te" from the famous "Gloria." Leave it to these musicians to re-invent Vivaldi with respect and a clear ear for musical values--not to mention sheer entertainment and a forward propulsion which makes it all so invigorating. --Robert Levine

Customer Reviews:

Say Hey-ho for Yo-yo No Disappointment Here.......2007-03-05

I often play European-classical music during massage treatments. My clients love hearing this CD again and again!

Super Enjoyable.......2007-01-03

Very nice. If you're a novice to classical, you'll really enjoy this CD. Perfect for a Sunday morning coffee or rainy afternoon.

Absolutely Amazing.......2006-01-27

I love this album from beginning to end. RV 531 will blow your socks off, especially the first and third movements! Yo-Yo and Ton have done it again, thank you for such a wonderful record. You will not be disappointed with this purchase.

You mouth open in Awe........2005-06-15

This album is complete. My mouth was open in Awe when I heard Allegro off this album, it's no.1 on this album. I couldn't stop picturing them all playing this. The piece was astouding! The dynamics, accents, just everything! I don't know what else to say about this album!

Hard to believe!.......2005-04-23

This album is just exquisite... At times there are no words to describe the depth and beauty -- his incredible bow control, intensity and passion, impeccable pitch, sense of dynamic movement... It's all there! The first time I heard "Largo" from Winter I had to hold my breath -- it is such a dazzling rendition! I say that this album deserves twice as many ears as there are people in the world today!

Average customer rating:

Wonderful voice!
Great Collection
Margaret Whiting
Best singer of the late forties
Glorious Whiting

Moonlight in Vermont
Margaret Whiting
Manufacturer: Asv Living Era
ProductGroup: Music
Binding: Audio CD

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Sings the Jerome Kern Song Book
I Had the Craziest Dream
Yes Indeed
Capitol Collectors Series
Columbia Hits Collection

ASIN: B00004YTYK
Release Date: 2000-11-28

Tracks:

Moonlight In Vermont
My Ideal
That Old Black Magic
Hit The Road To Dreamland
It Might As Well Be Spring
Come Rain Or Come Shine
Guilty
Oh, But I Do
I Didn't Know What Time It Was
Old Devil Moon
This Can't Be Love
You Do
Pass That Peace Pipe
But Beautiful
My Own True Love
A Tree In The Meadow
Faraway Places
While The Angelus Was Ringing
Slippin' Around
Forever And Ever
Ain't We Got Fun?
A Wonderful Guy
Younger Than Springtime
Baby, It's Cold Outside
Now Is The Hour

Customer Reviews:

Wonderful voice! .......2007-06-26

This Cd is a very nice compilation of some of Margaret's best known recordings from "days gone by". It's quite wonderful!

The re-recordings are well done. The selection of songs are perfect,--- showing the range of Margaret's voice.

Great Collection.......2007-03-25

I had forgotten how really good Margaret Whiting was. Her voice is really pure and tone is great, especially on ballads. Guilty remains my favorite, but even on some of the corny stuff, she shines.

Margaret Whiting.......2006-11-05

This CD is a bargan at any price. How did we lose good music?

Best singer of the late forties.......2004-10-14

Maggie Whiting was born for a career in music, as her father was a successful songwriter and had many friends in the business. So, all she needed to be a successful singer was a reasonably good voice. In fact, she had a wonderful voice, ideally suited to the romantic songs that provided her with her greatest hits.

With access to the finest songs available at the time Maggie recorded the original versions of several songs that have become popular classics including Moonlight in Vermont, Far away places and Baby, it's cold outside. I've heard several versions of these songs, but Maggie's originals are hard to beat.

My particular favorite song of Maggie's, A tree in the meadow, was actually her biggest hit, but there are not many covers of this song around. Could this be because meadows themselves are a rarity these days?

Maggie was also a major influence on popular music via her duets with country star Jimmy Wakely. Probably conceived as an idea to give Jimmy some pop success, these duets were not only very successful on the pop charts, but also on the country charts. And so it was that country/pop crossover was firmly established.

This compilation includes many of Maggie's hits of the forties (her best years), among them being Moonlight in Vermont, A tree in the meadow, Slipping around (with Jimmy Wakely), Baby it's cold outside (with Johnny Mercer), Guilty, Oh but I do, You do, Pass that peace pipe, Now is the hour, Forever and ever and Far away places. Of these, only Moonlight in Vermont failed to make the American top ten. Its comparative failure as a single (it peaked at fifteen) shows that over-reliance on charts is a mistake.

Maggie was at her peak commercially in the late forties, but still had a few hits in the early fifties, when she started to include more upbeat songs in her repertoire. None of her fifties hits are included here The birth of rock'n'roll killed her pop career, but she continued to record excellent music, most notably the Jerome Kern tribute album.

The strongest compilation of Maggie's hits is the double CD, Complete Capitol hits, but this is an excellent compilation at a much lower price and (it seems) more easily available. If you only want a single CD of Maggie's music, this is a good one to choose.

Glorious Whiting.......2001-08-26

This is a compilation of some of Margaret Whiting's greatest hits. The sound is beautiful. The voice is magnificent. Fans of America's best popular music should enjoy the album thoroughly.

Average customer rating:

A glorious achievement, brimming with magic and wonder
Recommendable only for the female voices
Klemperer or Bohm in the Mgic Flute?
A Magically-Sung MAGIC FLUTE
And the Queen of the Night will be defeated

Mozart: Die Zauberflote

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Beethoven: Fidelio

ASIN: B00004VVZN
Release Date: 2000-08-15

Tracks:

Ov - Philharmonia Orch/Otto Klemperer
Act One: Zu Hilfe! Zu Hilfe! - Nicolai Gedda/Elisabeth Schwarzkopf/Christa Ludwig/Marga Hoffgen
Act One: Der Vogelfanger Bin Ich Ja - Walter Berry
Act One: Dies Bildnis Ist Bezaubernd Schon - Nicolai Gedda
Act One: O Zitt're Nicht, Mein Lieber Sohn! - Lucia Popp
Act One: Hm! Hm! Hm! Hm! - Lucia Popp/Nicolai Gedda/Elisabeth Schwarzkopf/Christa Ludwig/Margo Hoffgen
Act One: Du Feines Taubchen, Nur Herein! - Gerhard Unger/Gundula Janowitz/Ruth-Margret Putz
Act One: Bei Mannern, Welche Liebe Fuhlen - Gundula Janowitz/Walter Berry
Act One: Zum Ziele Furht Dich Diese Bahn - Agnes Giebel/Anna Reynolds/Josephine Veasey/Nicolai Gedda/Philharmonia Chor/Wilhelm Pitz...
Act One: Wie Stark Ist Nicht Dein Zauberton - Nicolai Gedda
Act One: Schnelle Fusse, Rascher Mut - Gundula Janowitz/Walter Berry/Gerhard Unger/Philharmonia Chor/Wilhelm Pitz
Act One: Konnte Jeder Brave Mann - Gundula Janowitz/Walter Berry
Act One: Es Lebe Sarastro! - Philharmonia Chor/Wilhelm Pitz/Ruth-Margret Putz/Gundula Janowitz/Gottlob Frick
Act One: Nun, Stolzer Jungling; Nur Hierher! - Gerhard Unger/Gundula Janowitz/Nicolai Gedda/Philharmonia Chor/Wilhelm Pitz/Gottlob Frick

Tracks:

Act Two: Marsch Der Priester - Philharmonia Orch/Otto Klemperer
Act Two: O Isis Und Osiris - Gottlob Frick/Philharmonia Chor/Otto Klemperer
Act Two: Bewahret Euch Vor Weibertucken - Philharmonia Chor/Otto Klemperer
Act Two: Wie? Wie? Wie? - Elisabeth Schwarzkopf/Christa Ludwig/Marga Hoffgen/Walter Berry/Nicolai Gedda/Philharmonia Chor...
Act Two: Alles Fuhlt Der Liebe Freuden - Gerhard Unger
Act Two: Der Holle Rache Kocht In Meinen Herzen
Act Two: In Diesen Heil'gen Hallen - Gottlob Frick
Act Two: Seid Uns Zum Zweiten Mal Willkommen - Agnes Giebel/Anna Reynolds/Josephine Veasey
Act Two: Ach, Ich Fuhl's - Gundula Janowitz
Act Two: O Isis Und Osiris - Philharmonia Chor/Otto Klemperer
Act Two: Soll Ich Dich, Teurer - Gundula Janowitz/Gottlob Frick/Nicolai Gedda
Act Two: Ein Madchen Oder Weibchen - Walter Berry
Act Two: Bald Prangt, Den Morgen Zu Verkunden - Agnes Giebel/Anna Reynolds/Josephine Veasey/Gundula Janowitz
Act Two: Der, Welcher Wandelt Diese Strausse Voll Beschwerden - Philharmonia Orch/Otto Klemperer
Act Two: Der, Tamino Mein! O Welch Ein Gluck! - Philharmonia Chor/Wilhelm Pitz/Nicolai Gedda/Gundula Janowitz
Act Two: Papagena! - Walter Berry/Agnes Giebel/Anna Reynolds/Josephine Veasey
Act Two: Pa-pa-ge-na! ...Pa-pa-ge-no! - Walter Berry/Ruth-Margret Putz
Act Two: Nur Stille! - Gerhard Unger/Lucia Popp/Elisabeth Schwarzkopf/Christa Ludwig/Marga Hoffman
Act Two: Die Strahlen Der Sonne - Gottlob Frick/Philharmonia Chor/Wilhelm Pitz

Customer Reviews:

A glorious achievement, brimming with magic and wonder.......2007-07-11

Walter Klemperer's historic 1964 recording of Mozart's Die Zauberflöte is a genius in operatic productions. Unlike Le Nozze di Figaro or Don Giovanni, Mozart's final opera is so dramatically convoluted and ridiculous that the recitatives provide more of a source of distraction and confusion than storyline continuation. Thus, Klemperer sculpts a marvelous collection of arias and ensembles with arguably the finest Mozartian cast ever assembled. The Philharmonia Orchestra is, for the greater part, in excellent form. Only occasionally does it sound archaic under Klemperer's traditional direction. The latter is also a bit sluggish at times, but, then again, Klemperer is often praised as a "slow conductor." The Overture is a beacon on his brilliance in lovingly drawing out the music into an almost panoramic phrase of majestic delight. Conversely, the eminent Act II duet "Pa-pa-ge-no! / Pa-pa-ge-na!" is taken horridly slowly and loses much of its energetic vitality.

The soloists - particularly the women - are where the true brilliance lies, nonetheless. Lucia Popp provides a career performance as the Königin der Nacht and fully defines the character described as a "vulture with the voice of a nightingale." Her renditions of "O zitt're nicht, mein lieber Sohn!" and "Der Hölle Rache kocht in meinem Herzen" are utterly breathtaking. Hearing sublime, creamy-voiced Gundula Janowitz as Pamina is an absolute joy. Her demure duet with Berry ("Bei Männern, welche Liebe fühlen") is one of the most beautiful moments on the entire recording and her despondent aria ("Ach, ich fühl's, es ist verschwunden!") is truly heartrending. Elisabeth Schwarzkopf, Christa Ludwig, and Marga Höffgen (the superlative Erda in Solti's 1963 Siegfried) - in the dictionary definition of unmatched choice casting - are a fiendishly celestial trio as the three ladies in the service of the Königin der Nacht. They are a particular delight in the lusty Act I quartet "Stirb, Ungeheuer, durch uns're Macht!" with Gedda. Agnes Giebel, Anna Reynolds, and Josephine Veasey are another great trio as the three boys in the service of Sarastro, especially in their pleasant trio "Seid uns zum zweiten Mal willkommen." There have been greater Papagenas than Ruth-Margaret Pütz, singularly Renate Holm (for Solti), but the former is certainly competent in the small role.

Nicolai Gedda can only be seconded as Tamino by the illustrious Fritz Wunderlich. His voice - virile, gallant, daring - gives the very "un-laudable" character of Tamino the chivalrous, convincing sound he requires. His wondrous arias "Dies Bildnis ist bezaubernd schön" and "Wie stark ist nicht dein Zauberton" are excellent examples of the master Swedish tenor's lyric genius. Walter Berry is certainly the most likeable Papageno on record, especially during his two great arias ("Der Vogelfänger bin ich ja" and "Ein Mädchen oder Weibchen") and quintets ("Hm! Hm! Hm! Hm!" and "Wie? Wie? Wie?" ... "Ganz nah ist euch die Königin") with Gedda, Schwarzkopf, Ludwig, and Höffgen. Gerhard Unger fails to project a Monostatos as nasty as Gerhard Stolze, but he is no less cruel and vindictive. His sniveling aria ("Alles fühlt der Liebe Freuden") is a definite highlight.

Oddly enough, it is Gottlob Frick, one of the greatest Wagnerian basses in operatic history, who nearly sinks the boat. He sounds unsettlingly wobbly and antiquated during Sarastro's great arias ("O Isis und Osiris" and "In diesen heil'gen Hallen") but most unforgivably so during his first few moments on stage ("Steh auf, erheit're dich, o Liebe") and during the trio "Sol lich dich, Teurer" with Janowitz and Gedda. Franz Crass is imposing as the old Sprecher in his long duet with Gedda ("Wo willst du kühner Fremdling hin?"). He and Karl Liebl are sanctimonious as the two armed men in the Act II hymn "Der, welcher wandelt diese Straße voll Beschwerden"; he is also excellent with Unger as the two priests in the similar Act II duet "Bewahret euch von Weibertücken."

In short, when considering the multitude of recordings of Mozart's masterpiece, this recording would be a significant addition to any collection and an excellent point at which to begin one's Mozartian anthology.

Recommendable only for the female voices.......2007-05-25

Never have the parts of Pamina and Queen of the Night been sung more perfectly and beautifully than by Gundula Janowitz and Lucia Popp on this recording. Their performances alone make it worth purchasing this CD set. Elisabeth Schwarzkopf, Christa Ludwig and Marga Höffgen as the three ladies are also pure joy to listen to. But the male voices are - I am sad to say - just good average. Here, the still unsurpassed standard is the Böhm recording (also from the early 1960s) with Fritz Wunderlich as Tamino, Dietrich Fischer-Dieskau as Papageno and Franz Crass as Sarastro. You need both Böhm and Klemperer to get an idea of the full artistic potential of this opera.

Klemperer or Bohm in the Mgic Flute?.......2006-07-12

The recent appearance of an excellent Magic Flute from Abbado (DG) prompted me to go back to two great favorites, this Klemperer set from 1964 and one from Karl Bohm made the same year for DG. Between them they included probably the greatest Mozart singers of the time in Europe. As listeners could hear immediately, the strengths of one cast were offset by the strengths of the other. Klemperer had the best women (Janowitz, Popp, Schwarzkopf, Ludwig) while Bohm had the two best men (Wunderlich and Fischer-Dieskau). For foty years fans of the opera have had to own both. Is that sitll the case?

The new Abbado recording could represent a way out of this Solomon's choice, since it is filled with eager, accomplished singing in every part except for the well-sung but prosaic Papageno of Hanno Müller-Brachmann. Otherwise, I think I'd favor Klemperer if I had to choose only one classic set. The pluses and minuses are as follows:

Klemperer: Always a good recording, the new remastering in EMI's Great Recordings of the CEntury is nearly perfect. The Three Ladies are enchanting as led by Schwarzkopf and Ludwig. The young Lucia Popp is a scintillating Queen of the Night, and Gundula Janowitz a pure, if rather cool Pamina. Also, one cannot discount Gedda's Tamino and Berry's Papageno, which are very well sung if not the best on CD. For many listeners what tilts the balance is Klemperer's magnificent conducting--he may well have been the greatest Mozart conductor of the century. What may tilt the balance the ohter way is the absence of spoken dialogue, a regrettable older practice in Mozart opera recordings. Note that because of its many reissues, this Flute can be had in its older version for around $10 on the used market, and even the new remaastering is under $20.

Bohm: Where Bohm's set is strongest it can't be beat: the once-in-a-lifetime Tamino of Fritz Wunderlich and the masterful, humorous Papageno of Fischer-Dieskau. They, combined with Bohm's expert, if rather measured conducting, have won many listeners over. Unfortunately, Bohm's weaknesses are very weak indeed: a too-mature Pamina from Evelyn Lear that sounds unpleasantly insecure in tone and pitch, and a thin, shrieky Queen of the Night from Roberta Peters, well past her prime. If you can't overlook these two, there's no need even to consider Bohm. Lots of dialogue is included, and for once the echt Deutsch acting is funny.

I wound up owning Abbado, Klemperer, and Bohm, but if you aren't so inclined, I'd say that Klemperer is indispensable and Abbado a gratifying, balanced compromise.

A Magically-Sung MAGIC FLUTE.......2006-02-11

Certainly the best SUNG version around, if not the best CONDUCTED version - Klemperer has his moments of brillance, but some of the music drags when it should dance (parts of the overture, Papageno & Papagena's duet), and is manic when it should be lyrical or slow. Still, there are truly lovely magical muscial moments to be found, despite this. Janowitz's Pamina is a delight, as is Berry's Papageno, and Popp is probably the best Queen of the Night on CD out there, with an almost unearthly pure voice befitting the character - so if you love her two highlight arias then this is a definite for your collection.

And the Queen of the Night will be defeated.......2005-11-23

One of the first innovations Mozart imposes onto the opera genre is the use of small dialogs between the arias to set up some dramatic elements in a light way, very easy to understand and integrate. That gives lightness and speed to the opera. We can't but think of the pantomime genre the English likes so much. Mozart plunges his imagination in old Egyptian beliefs and myths, Isi and Osiris first of all, of course. But he also refers to Selene the Goddess of the night and the moon, and her three Ladies representing the triple Goddess of old who will be defeated in the end in her triple femininity trying to dominate the world. We cannot but think of the reverse use of the triple Goddess, in a christianised form, by Goethe in his Second Faust when he decides to redeem Faust and save him from damnation. Mozart is constantly speaking of love and love affairs that are crossing, entertwining in all possible knots. That should lead to tragedy and many deaths. But Mozart is a believer in peace and peaceful solutions. So he leads his strifing lovers and his ambitious kings and queens to realizing that freedom of choice is the only solution and it has to be accepted by all. The social vision Mozart carries in him is very consensual even if it is for total freedom and change. And the music dances in our ears like the stuttering of Papageno when uttering his name. Mozart associates all extremes together and remembers that his two priests are the reincarnation of Boaz and Jachin, the two pillars, the two masters, the two figures that loom behind Solomon's Temple, the background of Mozart's freemason friends. He thus defeats the Queen of the Night with nothing but notes on the lines of his score. Boaz is the stable basis and Jachin invents all kinds of innovations that destabilize the poor Queen and the establishment without crashing them to the ground, just making them step back and accept the freedom of these sorcerer's apprentices, this Papageno that can charm and tame all birds, or this Pamina that only wants love both for herself and for her tyrannical mother, or the deep voice of Sarastro that makes our souls shudder with pleasure and fear, exhilaration and awe.

Dr Jacques COULARDEAU, Université Paris Dauphine, Université Paris I Panthéon Sorbonne

September Songs: The Music of Kurt Weill

Average customer rating:

some brilliant renditions, but can't quite all mix together
Cool and Camp
September Song Music of Kurt Weill
It's a long time between January and December
Ain't we Hip?!!?

September Songs: The Music of Kurt Weill

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Lotte Lenya Sings Kurt Weill / Levine, Lenya, Armstrong, Gilford, et al
Lotte Lenya sings Kurt Weill's The Seven Deadly Sins & Berlin Theatre Songs
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Stratas Sings Weill

ASIN: B0000029WM
Release Date: 1997-08-19

Tracks:

Mack The Knife - Nick Cave
Ballad Of The Soldier's Wife - P.J. Harvey
Alabama Song - David Johansen
Youkali Tango - Teresa Stratas
Lost In The Stars - Elvis Costello
Pirate Jenny - Lotte Lenya
Speak Low - Charlie Haden
Oh, Heavenly Salvation - The Persuations
Lonely House - Betty Carter
Surabaya- Johnny - Teresa Stratas
Furchte Dich Nicht - Mary Margaret O'Hara
September Song - Lou Reed
Mack The Knife - Bertolt Brecht
What Keeps Mankind Alive? - William S. Burroughs

Customer Reviews:

some brilliant renditions, but can't quite all mix together.......2006-10-19

I like the spirit of this album, which is to let the music of Kurt Weill attach itself to the many worlds it came from. This was classical music that also used elements of popular music at the time, all with a very dark and almost mechanical tone. So it would seem fitting to have exquisite voices like Teresa Stratas rub elbows with darker elements like Nick Cave in this collection. There are also the jazz influences developed by Charlie Haden and Betty Carter.

In all, there are some brilliant interpretations of Weill here. I am a fan of Cave's "Mack the Knife" and David Johansen's "Alabama Song," and how can someone NOT like Lotte Lenya herself on "Pirate Jenny" and the drolling of the immortal William S. Burroughs talking through "What Keeps Mankind Alive?"

But other tracks feel to be just too short of brilliance. I love that Lou Reed tries to turn "September Song" into a kind of rock ballad, almost a VU "It Was a Pretty Good Year," but the rendition seems a little short of energy and falls flat after a while. Elvis Costello, though magnificent as an overall artist, just doesn't bring new life to "Lost in the Stars."

Perhaps the problem in the end that the choices were a little too much of the Top 40 Weill (if there really can be such a term). These are songs that have for a long time been regarded as the best of Weill, and it might have furthered the purpose of his music to find new gems and bring them into the sunlight.

Cool and Camp.......2006-08-24

This is a very biased review- I originally had much of Weill's work on cassette tape- way back in the olden days- before CD's- so I am already very partial to many of the tracks on this CD- I would recommend it not only to Kurt Weill fans, and the fans of the various artists featured, but I would also strongly recommend this to anyone who likes artsy, camp, fun burlesque, Bohemian European stuff. The record, even though performed by contemporary artists still retains much of it's zeitgeist, it evokes the era in which Weill was writing and it rounds out any great eclectic record collection. It's a great musical discovery for fans of all sorts of genres, and EVERYONE should own at least one recorded arrangement of "Mack The Knife". (You know, for parties and stuff!)

September Song Music of Kurt Weill.......2006-08-22

Songs from the film-documentary done by various artists. Excellent choice if you like Mr Weill's music. I saw the film and always wanted the CD. Now I have and I recommend it highly.

It's a long time between January and December.......2004-06-11

Kurt Weill is one of those composers who juggles Jewish angst with Catholic guilt: and possibly vice versa. As a collection, it is nonpareil. Each interpretation becomes a definitive reading of the "song". Lord, it is one of the best assemblies of contemporary artists going. Lou couldn't be better; Ms O'Hara, in fine form, performs her deranged puppet-dance to the X. OK. An unknown. Roping-in, such a postmodern figure as, well, you-know-who, to orate Weill's lyrics is never less than exceptional. An amazing collection. Is there a DVD?

Paul

Ain't we Hip?!!?.......2003-07-23

This is the avant version of these songs, everything done with that Downtown fingers-across-the-blackboard screech. They even got Johanson doing it, which is no less than amazing. The sole exception is the Persuasions' "O Heavenly Salvation", but one song does not an album make.

Tracks:

1. Allegro
2. Adagio
3. Allegro Assai
1. Vivace
2. Largo Ma Non Tanto
3. Allegro
1. Allegro Moderato
2. Andante
3. Allegro Assai
1. Allegro
2. Adagio
3. Allegro

Amazon.com

Hilary Hahn is certainly one of the best young violinists before the public. Now 23 years old, she has abundantly fulfilled her early promise as a radiantly talented as well as singularly earnest prodigy, and grown into a brilliant violinist and a communicative, arresting performer. On this recording, which features Bach's Violin Concertos in A minor, BWV 1041 and E major, BWV 1042, as well as the Concerto for two violins in D minor, BWV 1043 and the Concerto for violin and oboe in C minor, BWV 1060, her flawless technique and strikingly beautiful, intensely focussed tone are on full display. There is a noble, restrained quality in her playing, so that although her tone-production and vibrato are "modern," her sound has a classical, pristine purity. (By contrast, the orchestral sound, though good, is surprisingly lush - a rather odd discrepancy.) Hahn's interplay with her two excellent partners is close and unanimous in tone and style; the less familiar Concerto for violin and oboe is especially compelling. Unfortunately, Hilary Hahn, despite her serious, thoughtful approach to music, seems to have succumbed to the current trend among today's performers--perhaps symptomatic of the jet-age--to play as fast as their fingers will carry them. The fast movements are taken at such speeds that they lose all their elegance, grace and charm, become prone to false accents, and sound aggressive, hectic and breathless. A performer with less musical integrity might be suspected of just wanting to show off her effortless facility. However, Hahn's musicality, expressiveness and affinity for Bach (she has also recorded the unaccompanied solo violin works on Sony) come through in the slow movements, where the playing is calm, expansive enough for carefully shaped phrases, emotionally concentrated, and simply beautiful. --Edith Eisler

Customer Reviews:

Angelic. .......2007-04-30

When Hilary picks up her bow, the Angels fall silent and listen.

I don't know a whole lot about music, but I do know pure beauty when I hear it, and I own 5 of this delightful young ladies CDs, and this is simply the most beautifal. If you have any taste for classical music, and my collection runs from Guns an Rose to Beethoven, you will love this album. :) Brightest Blessings Hilary, BB.

Will You Hurry Up Already?.......2007-04-26

Like other reviewers, I agree this is way to fast. It's as if, she is just trying to get through these pieces as fast as she can. Like it's like hurry up this is boring, as if she would rather be doing something else. I know that's not what she intended, but to my ears that's what it sounds like. This is the 4th Hilary Hahn CD, that I have purchased. I've liked most of her CD's, but as a result of this recording am beginning to doubt her interpretation of many of these pieces. Like many other reviewers I am not an expert by any means, but I am thinking that being as young as she is affects her interpretation of the music. Maybe I will change my mind later, and maybe I am just used to hearing Bach a certain way who knows? To sum up my feelings, I will say she is an amazing violinist with huge potential, but like any fine wine needs time to mature. Time will tell for me, and maybe for her as well, but for now 3 stars is my verdict.

Addicted .......2007-01-24

I don't really know a whole lot about classical music but I came across Miss Hahn's music when I was searching for something to study by. Personally, I find her music addictive and I never get sick of listening to her. I have since experimented with the notion of why I like her so much by comparing her music with other interpretations of the same pieces from Bach and have really come to appreciate her style. Clean, crisp and fresh. A really, really, wonderful violinist!

No groove.......2007-01-20

Some of the other reviewers on this site have made the same comment: that this is too fast. However, the negative reviewers all either sounded like idiots or like snobs with lines like "she misses the poetry of the music". I don't listen to Bach for poetry (what does that even mean?). Bach has groove, and I listen to Bach cause he's got the Groove. And so I thought I'd like it peppy. I usually do. For example, I like Glenn Gould's early recording of the Goldberg Variations, which has also been criticized for being too fast.

But, I didn't like this. At all. I'm not sure if the root of the problem is that it's too fast, but the result is that it's definitely not musical. No groove at all. Even if you liked Hahn's solo Bach, skip this recording. It's really not worth it, even at $9.99. (If you're wondering, one star is for good pitch, and the other is for the slow movement of the Concerto for 2 violins.)

If you want a good recording of the same music, get the 2006 recording of Akiko Suwanai and the Chamber Orchestra of Europe. It's got groove and beauty.

Too fast? - let your own ears decide........2006-11-11

I don't mean to purposely stand in contradiction against other reviews; I just felt it was unfair for me to be almost robbed of the musical enjoyment I am having now with this recording, and I want to present another view.

I remember being really inspired when I first saw a video of Hilary Hahn playing the Bach Concerto. However, I was surprised to see so many criticisms regarding the tempo when I went to check out the CD here on amazon.com.

It made me really hesitant about buying the CD. But I found out that it proved to be a mistake for me to be held back into buying this CD because of these criticisms.

I am not a student of classical music nor do I consider myself to be an expert on music criticism; so I do not really know if there is such a thing as a "wrong" tempo in classical music.

Hilary Hahn has written in the linear notes regarding how she wanted this piece to be lively and to inspire others to dance to the fast movements. This reflects her personality and I think she has succeeded in achieving that vision. As far as her own musical vision is concerned, I don't think anyone can say she missed it or contradicted herself.

I own this CD for some time now and I have been listening to it enough to say that the tempo is not an issue for me. I think Hilary pulled it off nicely. I have gone out to listen to other interpretations, but I eventually found Hilary Hahn's and Oistrakh's interpretations to be my favorites. (Grumiaux's interpretation also comes close - do check it out!) The tone and execution really shines - Everything fits together beautifully like a well-crafted piece of furniture. There is evidence of tremendous thought into the phrasing, but when you are listening to the music, all that disappears, you just know Hilary really enjoyed herself while playing this piece. It is inspiring.

I am not discrediting the other reviews and the opinions of others - they have a valid opinion and they are entitled to it. All I'm saying is this: do listen to it before you buy this CD and make a judgment for yourself. Do not rob yourself of the joy of enjoying music that YOU like.

Average customer rating:

The Extreme End of the Minimalist Spectrum: The Purity of Bach
Simply wonderful
One-Voice-Per-Part At It's Best
One of the finest Bach recordings in the catalog

Bach: Magnificat; Easter Oratorio
Johann Sebastian Bach , Andrew Parrott , Emma Kirkby , Emily van Evera , Taverner Consort and Players , Evelyn Tubb , Margaret Cable , Stephen Charlesworth , Wilfried Jochens , Howard Crook , Simon Grant , Charles Daniels , Peter Kooy , David Thomas , and Caroline Trevor
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Oratorios | Opera & Vocal | Styles | Music

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Bach: Mass in B minor
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ASIN: B000031WJG
Release Date: 2000-04-11

Tracks:

Magnificat in D, BWV243: Chor: Magnificat - Taverner Consort & Players/Andrew Parrott
Magnificat in D, BWV243: Aria: Et Exultavit Spiritus Meus - Emily Van Evera
Magnificat in D, BWV243: Aria: Quia Respexit Humilitatem - Evelyn Tubb
Magnificat in D, BWV243: Chor: Omnes Generationes - Taverner Consort & Players/Andrew Parrott
Magnificat in D, BWV243: Aria: Quia Fecit Mihi Magna - Simon Grant
Magnificat in D, BWV243: Duetto: Et Misericordia - Caroline Trevor/Howard Crook
Magnificat in D, BWV243: Chor: Fecit Potentiam - Taverner Consort & Players/Andrew Parrott
Magnificat in D, BWV243: Aria: Deposuit Potentes - Howard Crook
Magnificat in D, BWV243: Aria: Esurientes Implevit Bonis - Caroline Trevor
Magnificat in D, BWV243: Chor: Suscepit Israel - Taverner Consort & Players/Andrew Parrott/Emily Van Evera/Evelyn Tubb/Caroline Trevor
Magnificat in D, BWV243: Chor: Sicut Locutus Est - Taverner Consort & Players/Andrew Parrott
Magnificat in D, BWV243: Chor: Gloria Patri - Taverner Consort & Players/Andrew Parrott
Lobet Gott In Seinen Reichen, BWV11/249b: Chor: Lobet Gott In Seinen Reichen - Taverner Consort & Players/Andrew Parrott
Lobet Gott In Seinen Reichen, BWV11/249b: Evangelista: Der Herr Jesus Hub Seine Hande Auf - Wilfried Jochens
Lobet Gott In Seinen Reichen, BWV11/249b: Recitativo: Ach, Jesu, Ist Dein Abschied Schon So Nah? - Stephen Charlesworth
Lobet Gott In Seinen Reichen, BWV11/249b: Aria: Ach, Bleibe Doch, Mein Liebstes Leben - Margaret Cable
Lobet Gott In Seinen Reichen, BWV11/249b: Evangelista: Und Ward Aufgehoben Zusehends - Wilfried Jochens
Lobet Gott In Seinen Reichen, BWV11/249b: Chor: Nun Lieget Alles Unter Dir - Taverner Consort & Players/Andrew Parrott
Lobet Gott In Seinen Reichen, BWV11/249b: Evangelista: Und Da Sie Ihm Nachsahen/Recitativo: Ihr... - Wilfried Jochens/Stephen Charlesworth/Margaret Cable
Lobet Gott In Seinen Reichen, BWV11/249b: Aria: Jesu, Deine Gnadenblicke - Emma Kirby
Lobet Gott In Seinen Reichen, BWV11/249b: Chor: Wenn Soll Es Doch Geschehen - Taverner Consort & Players/Andrew Parrott
Nun Ist Das Heil Und Die Kraft, BWV50: Chor - Taverner Consort & Players/Andrew Parrott

Tracks:

Christ Lag In Todes Banden, BWV4: Sinf - Taverner Consort & Players/Andrew Parrott
Christ Lag In Todes Banden, BWV4: Versus I: Christ Lag In Todes Banden - Taverner Consort & Players/Andrew Parrott
Christ Lag In Todes Banden, BWV4: Versus II: Den Tod Neimand Zwingen Kunnt - Emily Van Evera/Caroline Trevor
Christ Lag In Todes Banden, BWV4: Versus III: Jesus Christus, Gottes Sohn - Charles Daniels
Christ Lag In Todes Banden, BWV4: Versus IV: Es War Ein Wunderlicher Krieg - Taverner Consort & Players/Andrew Parrott
Christ Lag In Todes Banden, BWV4: Versus V: Hie Ist Das Rechte Osterlamm - David Thomas
Christ Lag In Todes Banden, BWV4: Versus VI: So Feiren Wir Das Hohe Fest - Emily Van Evera/Charles Daniels
Christ Lag In Todes Banden, BWV4: Versus VII: Wir Essen Und Leben Wohl - Taverner Consort & Players/Andrew Parrott
Osteroratorium, BWV249: Sinf - Taverner Consort & Players/Andrew Parrott
Osteroratorium, BWV249: Adagio - Taverner Consort & Players/Andrew Parrott
Osteroratorium, BWV249: Chor: Kommt, Eilet Und Laufet - Taverner Consort & Players/Andrew Parrott
Osteroratorium, BWV249: Recitativo: O Kalter Manner Sinn! - Emily Van Evera/Caroline Trevor/Charles Daniels/David Thomas
Osteroratorium, BWV249: Aria: Seele, Deine Spezereien - Emily Van Evera
Osteroratorium, BWV249: Recitativo: Hier Ist Die Gruft - Caroline Trevor/Charles Daniels/David Thomas
Osteroratorium, BWV249: Aria: Sanfte Soll Mein Todeskummer - Charles Daniels
Osteroratorium, BWV249: Recitativo: Indessen Seufzen Wir - Emily Van Evera/Caroline Trevor
Osteroratorium, BWV249: Aria: Saget, Saget Mir Geschwinde - Caroline Trevor
Osteroratorium, BWV249: Recitativo: Wir Sind Erfreut - David Thomas
Osteroratorium, BWV249: Chor: Preis Und Dank - Taverner Consort & Players/Andrew Parrott

Amazon.com

Andrew Parrott was the first conductor to adopt Joshua Rifkin's controversial one-singer-per-part approach to Bach's "choral" music (other than Rifkin himself, that is). This very reasonably priced reissue sees Parrott applying the approach to four of Bach's most popular sacred works. On the whole, Parrott and his ensemble make a good case for both one-per-part practice and their own performances. Once the ear adjusts, the balance is excellent: the vocal parts don't dominate the orchestra (as many listeners accustomed to a chorus expect); they are equal partners with it--which suits Bach's intricate and often dense writing for instruments and voices. In the Magnificat, however, good balance without good judgment isn't enough. Parrott rips through the piece so quickly that the singers have no time to do anything interesting with their parts. The Ascension Oratorio comes off better, with tempos that are brisk but not dizzying, as well as fine solos by Cable and Kirkby.

The Taverner Consort and Players really shine, however, in the Easter works. The opening Sinfonia of Christ lag in Todesbanden (taken surprisingly slowly) is breathtaking, as is the soprano-alto duet; the Sinfonia and opening chorus of the Easter Oratorio fairly rollick along, while Emily van Evera (sensitive and beguiling) and Caroline Trevor (athletic and almost giddy) do themselves proud in their arias, and tenor Charles Daniels, cushioned by flutes and strings, paints a magical picture of heavenly rest. If you just can't stomach the idea of Bach done by a madrigal consort (as some would have it), you'll do well with Ton Koopman or Philippe Herreweghe. But at such a reasonable price, these commendable performances are more than worth a try. --Matthew Westphal

Customer Reviews:

The Extreme End of the Minimalist Spectrum: The Purity of Bach.......2006-12-16

Andrew Parrott conducts the Taverner Consort and Players is a very affordable set of discs that allow everyone to experience the 'non-choral' choral Bach. Instead of the usual chorus (even the pared down choruses of 16 - 30 members the way most 'authentic' performances use) the works are assigned to one person per part. The result is light, airy, transparent, and very lovely Bach.

Case in point: for the Magnificat 'for 5 voices, 5-part chorus, orchestra & continuo' in D major, Parrott conducts or rather inspires Emily van Evera, Evelyn Tubb, Taverner Consort and Players, Howard Crook, Caroline Trevor, Simon Grant in a new way to hear this gracious work. That Bach can be interpreted in so many ways gives credence to his importance in musical history. This performance, as pure and gracious as it is and a wonderfully fresh way to hear the work, is not the only 'authentic' way to hear Magnificat. In a stunning recent performance with members of the Los Angeles Philharmonic conducted by Bernard Labadie and his own La Chapelle de Quebec (30 members strong) and soloists Marie-Nicole Lemieux, Brett Polegato, James Taylor, and Mary Wilson the Magnificat offered was another 'option' used in Bach's time: four German Christmas carols were inserted between pertinent movements the way Bach made the work 'German' in his Leipzig Lutheran performances of his day. Another wholly satisfying and refreshing way to enjoy this great work.

Parrott does make his case for the single voice per part in the other works on this set with exquisite readings of the Ascension Oratorio, with Wilfried Jochens, Stephen Charlesworth, Evelyn Tubb, Emma Kirkby, and Margaret Cable, the 'Cantata No. 50 and Cantata No. 4 (Christ lag in Todes Banden) with Emily van Evera, Charles Daniels, David Thomas, and Caroline Trevor, and the 'Easter Oratorio' with Emily van Evera, Charles Daniels, Caroline Trevor, and Peter Kooy.

Every Bach lover should include this set in the library. It is yet another way to hear the Master's works in as pure a state as possible! Grady Harp, December 06

Simply wonderful.......2006-06-26

All my reservations I had against Parrott in Bach are completely gone with these discs.

I did like his Mass in B, but I found it at the same time a bit too fast paced and lightweight in the sound of both orchestra and singers and the recording itself sounds a bit thin too.
Then I got Parrott's St. John which I like very, very much and which is my favorite St. John along with Gardiner's and Herreweghe's 1st recording (haven't heard his 2nd yet).
The recording has much more substance and the orchestra has more weight.

Now, these performances of Magnificat, Ascension Oratorio and Easter Oratorio are truly wonderful.
The Magnificat is rather on the fast side, I prefer Herreweghe, but the equal attention Parrott gives to his orchestra and singers, just like Herreweghe, I like very much.
The sound is solid, warm and natural.
Parrott is more expressive than Herreweghe, thanks to his one voice per part reading I suppose, it sounds more enthusiastic and spontane.

The Easter Oratorio is more sensible paced and is very similar to Herreweghe's pacing, although "Sanfte soll mein Todeskummer" is taken too fast by Parrott, Herreweghe I like better and his orchestral accompaniment too, which is unearthy sounding in its polish and repeating figures.
Solists are great and I prefer Emily van Evera for Parrott over Herreweghe's Barbara Schlick.

I don't miss a bigger force (choir) at all, the Easter Oratorio as a whole I like better the way Parrott (and his 'one voice per part' method) performs it than Herreweghe - with the exception of "Sanfte soll..."

Simply wonderful.

One-Voice-Per-Part At It's Best.......2002-07-31

I've never been a fan of Bach's works being performed One-Voice-Per-Part, until I listened to this recording.

There is much to be praised about this recording. While I'd much prefer to hear the soprano and alto lines sung by trebles and boy altos or countertenors, the female singers here are superb. Emma Kirkby shines as usual. The Taverner Consort is very clean as well.

The Magnificat is very good here. This is no quick-paced interpretation with an obviously minimalistic sound (like McCreesh's). It even has the fervor of a larger ensemble, surprisingly. I never thought an athletic movement such as the "Fecit Potentiam" could be pulled off using One Voice Per Part, but Andrew Parrot does it very well.

BWV 4 is indeed taken surprisingly slowly, and I prefer the Konrad Junganel rendition on Harmonia Mundi much better. This Andrew Parrot rendition is well-done nonetheless, as I am a big fan of his alto-soprano duo. BWV 50 is also a rare surprise (It is, without a doubt, my favorite number on these discs). As a worthy finale to this two-disk set is "Preis Und Dank" from the Easter Oratorio. Highly reccomended.

One of the finest Bach recordings in the catalog.......2000-10-10

At the moment, this is my favorite Bach recording. I am a big fan of the one-voice-per-part approach ("OVPP"), and I truly feel that, where its use is appropriate, a small consort of voices offers better results than a traditional chorus (current evidence suggests that OVPP was likely used at least in Bach's early cantatas and in Passions). If you listen to this recording with an open mind, you might be able to recognize the merits of this approach: clarity of lines, better balance between the vocalists and the instrumentalists, and a potential for a finer insight into the meaning of the text. Some tempo issues aside, this recording is nearly as good as they come (besides, tempi are, to some extent, a matter of personal preference). Andrew Parrott's direction is generally well judged, and the cast he assembled is superb. I particularly enjoyed the contributions of Charles Daniels (one of my favorite tenors) and Caroline Trevor. I have to admit to a bit of a bias in favor of male altos, but Caroline Trevor is so superb that few countertenors can compare. Her Saget, saget, mir geschwinde, for instance, is definitely the best I've heard. --gggimpy@yahoo.com

Handel: Messiah, Israel In Egypt - Andrew Parrott/Taverner Choir & Players (4 CD's)

Average customer rating:

Wonderful oratorios
Wonderful execution and extraordinary value

Handel: Messiah, Israel In Egypt - Andrew Parrott/Taverner Choir & Players (4 CD's)
Joseph Cornwall , George Frideric Handel , Andrew Parrott , and Taverner Choir & Players
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Oratorios | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

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Similar Items:

Bach: Magnificat; Easter Oratorio
Purcell: Odes for St. Cecilia's Day - Music for Queen Mary / Taverner Consort
Purcell: The Fairy Queen
Handel - Carmelite Vespers 1707 / Feldman · Kirkby · Van Evera · M. Cable · M. Nichols · Cornwell · Thomas · Parrott
Kodaly: Missa Brevis; Laudes Organi / Janacek: Mass in E Flat

ASIN: B00030FJFI
Release Date: 2004-11-16

Tracks:

Sinfony: Grave - Allegro Moderato - James Bowman
Accompagnato: Comfort Ye My People - James Bowman
Air: Ev'ry Valley Shall Be Exalted - James Bowman
Chorus: And The Glory Of The Lord Shall Be Revealed - James Bowman
Accompagnato: Thus Saith The Lord Of Hosts - James Bowman
Air: But Who May Abide The Day Of His Coming - James Bowman
Chorus: And He Shall Purify - James Bowman
Recitative: Behoold, A Virgin Shall Conceive - James Bowman
Air & Chorus: O Thou That Tellest Good Tidings To Zion - James Bowman
Accompagnato: For Behold, Darkness Shall Cover The Earth - James Bowman
Air: The People That Walked In Darkness - James Bowman
Chorus: For Unto Us A Child Is Born - James Bowman
Pifa: Larghetto E Mezzo Piano - James Bowman
Recitative & Accompagnato: There Were Shepherds/Recitative: And The Angel Said Unto Them/Accompagnato: And Suddenly There Was With The Angel - James Bowman
Chorus: Glory To God In The Highest - James Bowman
Air: Rejoice Greatly, O Daughter Of Zion - James Bowman
Recitative: Then Shall The Eyes Of The Blind Be Open'd - James Bowman
Air: He Shall Fell His Flock Like A Shepherd - James Bowman
Chorus: His Yoke Is Easy, His Burthen Is Light - James Bowman
Chorus: Behold, The Lamb Of God - James Bowman
Air: He Was Despised - James Bowman
Chorus: Surely, He Hath Borne Our Griefs - James Bowman
Chorus: And With His Stripes We Are Healed - James Bowman
Chorus: All We Like Sheep Have Gone Astray - James Bowman

Tracks:

Accompagnato: All They That See Him, Laugh Him To Scorn - James Bowman
Chorus: He Trusted In God - James Bowman
Accompagnato: Thy Rebuke Hath Broken His Heart - James Bowman
Arioso: Behold, And See If There Be Any Sorrow - James Bowman
Accompagnato: He Was Cut Off Out Of The Land Of The Living - James Bowman
Air: But Thou Didst Not Leave His Soul In Hell - James Bowman
Chorus: Lift Up Your Heads, O Ye Gates - James Bowman
Recitative: Unto Which Of The Angels - James Bowman
Chorus: Let All The Angels Of God Worship Him - James Bowman
Air: Thou Art Gone Up On High - James Bowman
Chorus: The Lord Gave The Word - James Bowman
Air: How Beautiful Are The Feet - James Bowman
Chorus: Their Sound Is Gone Out Into All Lands - James Bowman
Air: Why Do The Nations So Furiously Rage Together - James Bowman
Chorus: Let us Break Their Bonds Asunder - James Bowman
Recitative: He That Dwelleth In Heaven - James Bowman
Air: Thou Shalt Break Them - James Bowman
Chorus: Hallelujah! - James Bowman
Air: I Know That My Redeemer Liveth - James Bowman
Chorus: Since By Man Came Death - James Bowman
Accompagnato: Behold, I Tell You A Mystery - James Bowman
Air: The Trumpet Shall Sound - James Bowman
Recitative: Then Shall Be Brought To Pass The Saying - James Bowman
Duet: O Death, Where Is Thy Sting - James Bowman
Chorus: But Thanks Be To God - James Bowman
Air: If God Be For Us - James Bowman
Chorus: Worthy Is The Lamb That Was Slain...Amen - James Bowman

Tracks:

Orchestra: Largo Assai - David Thomas
The Sons Of Israel Do Mourn - David Thomas
How Is The Mighty Fall'n! - David Thomas
He Put On Righteousness - David Thomas
When The Ear Heard Him - David Thomas
How Is The Mighty Fall'n! - David Thomas
He Deliver'd The Poor That Dried! - David Thomas
How Is The Mighty Fall'n! - David Thomas
The Righteous Shall Be Had In Everlasting Remembrance - David Thomas
Their Bodies Are Buried In Peace - David Thomas
The People Will Tell Of Their Wisdom - David Thomas
They Shall Recieve A Glorious Kingdom - David Thomas
The Merciful Goodness Of The Lord Endureth For Ever - David Thomas
Recitative: Now There Arose A New King Over Egypt - David Thomas
Chorus: And The Children Os Israel Sighed - David Thomas
Recitative: Then Sent He Moses, His Servant - David Thomas
Chorus: They Loathed To Drink Of The River - David Thomas
Air: Their Land Brought Forth Frogs - David Thomas
Chorus: He Spake The Word - David Thomas
Chorus: He Gave Them Hailstones For Rain - David Thomas
Chorus: He Sent A Thick Darkness Over All The Land - David Thomas
Chorus: He Smote All The First-Born Of Egypt - David Thomas

Tracks:

Chorus: But As For His People, He Led Them Forth Like Sheep - David Thomas
Chorus: Egypt Was Glad When They Departed - David Thomas
Chorus: He Rebuked The Red Sea, And It Was Dried Up - David Thomas
He Led Through The Deep - David Thomas
But The Waters Overwhelmed Their Enemies - David Thomas
Chorus: And Israel Saw That Great Work - David Thomas
And Believed The Lord And His Servant Moses - David Thomas
Introitus (Chorus): Moses And The Children Of Israel Sung This Song - David Thomas
I Will Sing Unto The Lord - David Thomas
Duet: The Lord Is My Strengh And My Song - David Thomas
Chorus: He Is My God - David Thomas
And I Will Exalt Him - David Thomas
Duet: The Lord Is A Man Of War - David Thomas
Chorus: The Depths Have Covered Them - David Thomas
Chorus: Thy Right hand, O Lord, Is Become Glorious - David Thomas
And In The Greatness Of Thine Excellency - David Thomas
Thou Sentest Forth Thy Wrath - David Thomas
Chorus: And With The Blast Of Thy Nostrils - David Thomas
Air: The Enemy Said, I Will Pursue - David Thomas
Air: Thou Didst Blow With The Wind - David Thomas
Chorus: Who Is Like Unto Thee - David Thomas
The Earth Swallowed Them - David Thomas
Duet: Thou In Thy Mercy Hast Led Forth Thy People - David Thomas
Chorus: The People Shall Hear, And Be Afraid - David Thomas
Air: Thou Shalt Bring Them In - David Thomas
Chorus: The Lord Shall Reign For Ever And Ever - David Thomas
Recitative: For The Horse Of Pharaoh Went In - David Thomas
Chorus: The Lord Shall Reign For Ever And Ever - David Thomas
Recitative: And Miriam The Prophetess - David Thomas
Solo: Sing Ye To The Lord - David Thomas

Customer Reviews:

Wonderful oratorios.......2005-09-28

I own the two oratorios separately. I bought first Messiah because I needed a reference recording for our choir performance on Christmas 2000, and my then choir director recommended the Tavener Choir and Players. I followed his suggestion and I must say that to this day I haven't regretted it. It's very balanced in tempi, never too quick neither too slow as other recordings I have heard like the Gardiner or Sawallisch ones. Every time we schedule Messiah for a concert I keep coming back to it to get into the proper mood for singing. The cast of singers is really excellent - there is a counter-tenor sharing the mezzo/alto role with a mezzo (which is quite unusual but refreshing anyway) as well as two soprans sharing role too, which usually other recordings don't have. But everyone of them is magnificent, though I tend to have a partiality towards the bass, David Thomas, specially regarding the arias "The trumpet shall sound" and "Why do the nations". Such a booming voice, and such a homogeneous sound in all of his fach.

Having such good opinion of the ensemble, I went for the Israel in Egypt, which was a discovery. Some of the singers are the same
as in the Messiah cast, and includes Anthony Rolfe Johnson and Nancy Argenta...which are an added plus. Unfortunately, there is no mezzo/alto in this recording but a counter-tenor...sigh... There are two soprans and two basses sharing roles as well. Tenor and alto are just one singer each. I have been said that it is quite rare to find a whole recording of this score, since its excerpts are usually used to "make up" for a complete recording together with other pieces by Handel. The work in itself is very much like Handel, full of sensitivity and the exact amount of sadness - "The ways of Zion do mourn" makes my hairs stand on end, thrills me so! - and weird humor, like when telling about the 7 plagues Yahwe send to Egypt in order to make the Pharaoh free the Israelites... "Their land brought forth frogs" starts with the violins sounding like leaping frogs! And I have named just a few of the pieces. It is really an adquisition worth your money.

Wonderful execution and extraordinary value.......2005-04-20

Andrew Parrott's recordings of Handel's "Messiah" and "Israel in Egypt" are reintroduced in this budget box that has so much going for it that no version extant can really compare in terms of musical value, execution of the score and dollar value. At a list price of $17 -- and usually available for less than that -- this four-disk set presents a tremendous value to lovers of this music.

Parrott's rendition of the less often recorded "Isreal in Egypt" Passover story is still considered by most critics to sit at or near the pinnacle with Gardiner's two versions. I have owned the second Gardiner recording along with those lead by Christophers, Cleobury and Preston and none exceeds the singing and musical performance of this one.

His "Messiah" is every bit its counterpart and ranks ahead of other versions I've owned in recent years including the beautifully sung but controversial recording of Marriner, Academy & Chorus of St. Martin-in-the-Fields with Elly Ameling, Anna Reynolds, Philip Langridge, Gwynne Howell; the energetic period performance on DG with Pinnock leading the English Concert & Choir, Arleen Auger, Anne Sofie von Otter, Michael Chance, Howard Crook & John Tomlinson; and the noisy old version by Beecham that big band lovers still cling to.

Parrott's recordings include some of the best early music singers in Europe including the clarion voice of Emma Kirkby, Nancy Argenta, tenor Anthony Rolfe Johnson and bass David Thomas. The inclusion of parts for countertenor James Bowman to sing bass arias in "Messiah" is more controversial but does little to diminish the positive overall effect.

What I enjoy most about these performances is that, even though they are period performances, Parrott romanticizes the music and allows his singers to use vibrato. A complete absence of rapid fire speeds in the two performances allows the music to bloom and breathe. Indeed, his "Hallelujah" chorus in "Messiah" in a massive performance more befitting the old days of 200 member choirs than the lean and mean approach by most pedantics!

Parrott's approach remians authentic by including the original score of "Israel in Egypt" including the first part "Lamentation of the Isrealties for the Death of Joseph". Listeners that, like me, do not particularly care for this section can skip ahead to track 14 of disk 3 and begin at the more conventional "Exodus" section. In either case the performance is a stunning winner.

It's not often I come across a CD where I don't find something objectionable but this set is about as good as it gets. The performances both rank in the top drawer of currently available CDs. While the recordings, made in 1989 and 1990, are not the quality of today's best digital remakes and may take a little treble taming at the beginning of "Isreal: Exodus", they are more than adequate.

The one noticeable downside is the lack of a vocal score and only skimpy notes given in a couple languages. Complete track listings are included, however, and the English is so good throughout this set that you won't need the score to understand what's going on, whether you're listening to it at home, at work or in the car.

With extremely lucid direction by Parrott and the engineers, matched with some of the best singing I've heard in these scores, this is a set you can listen to repeatedly. I can't imagine another set that is better than this one, especially for $17 or less.

Average customer rating:

Absolutely wonderful CD
Three great women singers together on one awesome CD
A wonderful, uplifting CD!
Voices clear as a bell
Blessed By Angels

Along the Road
Susan Ashton , Margaret Becker , and Christine Dente
Manufacturer: Sparrow
ProductGroup: Music
Binding: Audio CD

General | Contemporary Folk | Folk | Styles | Music

Singer-Songwriters | Contemporary Folk | Folk | Styles | Music

General | Christian & Gospel | Styles | Music

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So Far: The Best Of Susan Ashton Volume 1
Susan Ashton
Distant Call
Closer
Wakened by the Wind

ASIN: B000005KWQ
Release Date: 1994-09-20

Tracks:

Angels
Song Of Reconciliation
No Other
Walk On
Breathe On Me
Blessing In Disguise
Taking My Time
Near To You
Oh Me Of Little Faith
What Am I
Waiting To Be Found
Along The Road

Customer Reviews:

Absolutely wonderful CD.......2006-10-23

This is one of my husband's and my favorite CDs. There is only one song we don't really care for - "Walk On", but the rest more than make up for it. I had been wishing for a sequal for a long time when I heard that 2 (Susan Ashton & Christine Dente) of the 3 had teamed up with Michelle Tumes for a CD called "Lost in Wonder". It is nice, but does not measure up to "Along the Road". I'm still hoping the original 3 will do another CD.

Three great women singers together on one awesome CD.......2004-07-09

I ordered this CD to add to my collection of Christian CDs quite a while before I had even discovered Margeret Becker, Susan Ashton or Christine Dente (from Out of the Grey). It was listening to this amazing CD that I became interested in all the three singers and have subsequently bought several of each of their albums. They are highly talented and their voices blend together like voices from heaven as they sing their way through these awesome songs. It literally sounds like music from Heaven and definitely lifts your soul and causes you to think deeply about your walk with the Lord Jesus Christ. This is why I buy Christian music... for daily inspiration and soul upliftment and all the songs featured on this CD certainly do both.

I know that Susan Ashton, Christine Dente and Point of Grace also grouped together to bring out the wonderful album "Girls of Grace"... I am not at home at the moment as I am in the States taking care of my grandsons for their Summer vacations, so I cannot refer to it to see if Margaret Becker was also on this album. However, I truly wish that they would get together again and make another album.. They are just the best!!

A wonderful, uplifting CD!.......2003-12-13

I took a chance when I bought this CD. I own a lot of Christian music, and have heard Margaret Becker and Christine Dente before, but didn't have any of their music. Let me say that you won't be sorry if you decide to buy this CD! I love every song on the album. I can't write a good enough review, and 5 stars are not enough! I can't pick a favorite song, they are all great! (Incidentally, there is another CD that I purchased which is similar and also a wonderful album. It's called "Heaven & Earth - A Tapestry of Worship".)

Voices clear as a bell.......2003-09-22

This album consistently takes me over. It is as beautiful and visceral as the voices that sing it. Of course I recommend it! I also hope the three get together to make another.

Blessed By Angels.......2003-09-21

These three talented woman created a CD that was truely greater than the sum of the parts. The harmonies grab your soul and squeeze out the tears of joy. In listening to this album, you sense the fun they were having and the reverence they give to to their creator. It is almost a guily pleasure, because you feel as though your are eavesdropping on their musical communion. Thank you ladies for allowing us this blessing.

Average customer rating:

Lovely listening
Maggie's sensational tribute to a family friend
Maggie's best recording!

Sings the Jerome Kern Song Book
Margaret Whiting
Manufacturer: Umvd Labels
ProductGroup: Music
Binding: Audio CD

General | Jazz | Styles | Music

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Moonlight in Vermont
Yes Indeed
Autumn in New York/Starring Jo Stafford
I Had the Craziest Dream
Till the Clouds Roll By: The Songs of Jerome Kern

ASIN: B00006316K
Release Date: 2002-04-23

Tracks:

Why Was I Born?
Remind Me
The Song Is You
I Won't Dance
Don't Ever Leave Me
I'm Old Fashioned
All In Fun
Why Do I Love You?
Dan't Help Lovin' Dat Man
A Fine Romance
Look For The Silver Lining
All The Things You Are
Poor Pierrot
Smoke Gets In Your Eyes
Let's Begin
Dye Love Me?
Dearly Beloved
Long Ago (And Far Away)
The Way You Look Tonight
You Couldn't Be Cuter
Yesterdays
Bill
She Didn't Say Yes
The Touch Of Your Hand

Customer Reviews:

Lovely listening.......2005-03-22

My initial impression of this album, which is a collection of some beloved (and some quite rare) Jerome Kern standards sung with impeccable good taste by Margaret Whiting, was that is was slightly bland. I know now that was an unfair estimation of this music, because the style itself is intentionally subtle and lovely and soft.. Margaret Whiting possesses one of the most magical voices ever to grace a record, and when she sings about love you know she means it. Margaret Whiting was not about sex and sizzle (Peggy Lee, Julie London). She was about love, and beautiful, tender ballads. Her music was sophisticated and gorgeous, and so was her soaring yet restrained style of singing. She has a range and tone more perfect than even Rosemary Clooney and Jo Stafford, yet her style is more restrained.

Many people of my younger generation only know about jazz singers such as Billie Holliday or Ella Fitzgerald. They don't appreciate the Doris Days, Jo Staffords, and most have never heard of the great Margaret Whiting. All I can say is they are missing out on the best singer of the 20th century!

Best reasons to buy this album? How about Maggie's beautiful interpretations of "Can't Help Lovin' Dat Man" (the definitive version), "Smoke Gets in Your Eyes," and "Look For the Silver Lining"? If that sounds good to you, as it should if you know anything about music, definitely pick up this album on CD while it is available!

Maggie's sensational tribute to a family friend.......2002-07-07

Jerome Kern was one of the great composers of the first half of the twentieth century, though not as well known as Irving Berlin, Cole Porter or George Gershwin. This is as it should be, because his overall catalog is not as strong as theirs, but it is still a very impressive catalog.

Smoke gets in your eyes is the most famous of his songs, on the strength of the Platters' rock'n'roll version, but Maggie's tribute shows that he was no one-hit wonder. Among the other songs included here are I'm old fashioned and A fine romance, but the quality of this collection is such that none of these songs stand out - and Maggie can be proud of each and every track here.

I can understand why people think this is Maggie's finest music. Certainly, Maggie recorded this in her mid-thirties, when her voice had matured just nicely, but I also love her pop hits of the forties (see Complete Capitol hits, which I've also reviewed). We don't have to choose between them, we can just play them one after the other.

So, this is an absolutely stunning collection, mostly of exquisite love songs written by a man who was a family friend of the Whitings, but who died while Magic Maggie was still in her teens.

If you are a fan of the Great American Songbook, you surely won't find a better tribute to a single composer anywhere (and that includes Ella, Rosie, et al - but they are also brilliant).

Maggie's best recording!.......2002-04-24

Margaret Whiting beat Ella at the "songbook game" in this 50's Verve release. It must have been a labor of love for Ms. Whiting, as Jerome Kern was a dear family friend. Beautiful arrangements & perfect vocals of those gorgeous songs. If you're a student of the great American popular song, this is required listening. Sum it up as "simply heavenly"!

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