Elmo and The Orchestra

Editorial Reviews
Amazon.com
With all the recent consciousness-raising campaigns about the importance of music education, it's about time somebody spread the gospel at the preschool level. Enter the Sesame Street gang with Elmo and the Orchestra, Sony Wonder's companion title to its movement-of-the-moment targeted video Elmo's Musical Adventure: The Story of Peter and the Wolf. Here, Elmo fans giggle along as the furry red guy and Big Bird gab their way through a wide-ranging selection of classic compositions. The venue is Bird's nest, where the Birdapest Orchestra, confidently led by conductor Leonard Birdseed, tackles snippets of Mozart's Symphony No. 40, Paganini's 24 Caprices, Chopin's Minute Waltz, Haydn's Surprise Symphony, Tchaikovsky's The Nutcracker, and 14 famous others. During the pair's daffy, Sesame-style running dialogue, Elmo gets a grip on the four sections of an orchestra; delights in discovering that music, even the kind without words, sometimes tells a story (especially when the story is about animals, as in Rimsky-Korsakov's Flight of the Bumblebee); and, with great enthusiasm, sits in for Mr. Birdseed as conductor for a few performances. Silliness aside, the 2- to 5-year-old set stands to learn a confidence-building tidbit or two about the often stuffy-seeming classical genre from this CD. Caregivers bent on working the music into their kids' cultural repertoire can count on a less guarded approach to complicated (if masterful) compositions when they scoop up this record. And then there's the fun factor--as with most Sesame releases, it's through the roof, so the storyline's treetop setting couldn't be more suitable. --Tammy La Gorce

Tracks:

Introduction
Symphony No.40
24 Caprices Opus No.1
The Gayneh Ballet: Sabre Dance
Eine Kleine Nachtmusik
Peter Gynt Suite No.1: Morning Mood
Water Music: Alla Hornpipe
J'aime Percussion
Waltz Opus 64, No.1 (Minute Waltz)
Piano Concerto No.21
Symphony No.6: Thunderstorm
Flight Of The Bumblebee
The Carnival Of Animals: The Swan
The Nutcracker Suite: Dance Of The Sugar Plum Fairies
Orpheus In The Underworld: Can-Can
Lullaby, Op.49, No.4
Symphony No.94 (Suprise)
Ride Of The Valkyries
The Blue Danube, Waltz
Symphony No.5

Amazon.com

With all the recent consciousness-raising campaigns about the importance of music education, it's about time somebody spread the gospel at the preschool level. Enter the Sesame Street gang with Elmo and the Orchestra, Sony Wonder's companion title to its movement-of-the-moment targeted video Elmo's Musical Adventure: The Story of Peter and the Wolf. Here, Elmo fans giggle along as the furry red guy and Big Bird gab their way through a wide-ranging selection of classic compositions. The venue is Bird's nest, where the Birdapest Orchestra, confidently led by conductor Leonard Birdseed, tackles snippets of Mozart's Symphony No. 40, Paganini's 24 Caprices, Chopin's Minute Waltz, Haydn's Surprise Symphony, Tchaikovsky's The Nutcracker, and 14 famous others. During the pair's daffy, Sesame-style running dialogue, Elmo gets a grip on the four sections of an orchestra; delights in discovering that music, even the kind without words, sometimes tells a story (especially when the story is about animals, as in Rimsky-Korsakov's Flight of the Bumblebee); and, with great enthusiasm, sits in for Mr. Birdseed as conductor for a few performances. Silliness aside, the 2- to 5-year-old set stands to learn a confidence-building tidbit or two about the often stuffy-seeming classical genre from this CD. Caregivers bent on working the music into their kids' cultural repertoire can count on a less guarded approach to complicated (if masterful) compositions when they scoop up this record. And then there's the fun factor--as with most Sesame releases, it's through the roof, so the storyline's treetop setting couldn't be more suitable. --Tammy La Gorce

Customer Reviews:

we both like classical music now!.......2003-06-11

We found this at the library and my 4 year old really liked this. It's the only way we can both listen to nice classical music. If it's not in this format she is not content unless I get creative about listening to classical music. This music helped me do that. For example we imagine what we listen to like birds or clouds.

A must for your collection!.......2002-07-17

I also wish the pieces could have been longer, but I do like the way they talk about classes of instruments (like brass and percussion), and play excerpts of pieces that feature those intstruments. They also make sure to mention the composer before his piece is played. Elmo and Big Bird also find out how different classical pieces can make us think of different scenes, describe something like a bumblebee, make us feel a certain way (like Brahms' Lullaby), or get our feet moving. The music is fun and exciting, and is a wonderful way to introduce classical music if it hasn't been a part of your collection. Hey, it's great even if you DO play a lot of classical music in your house! We find it really exciting BECAUSE our daughters have heard this music before. (And mommy and daddy like it, too!) Enjoy!!

A great way to introduce kids to classical music!.......2001-05-22

If your kids love Sesame Street, but you want to introduce them to classical music, then this is the album for you. Big Bird introduces Elmo to the "Birdapest Symphony" and "Leonard Birdseed", conductor. They teach us about the different instruments part by part, and help Elmo to find the symphony he's heard once before but can't quite remember. Well, after giving us parts of some wonderful classical bits of music, Elmo finds his piece of music. And it's wonderful. The album is great fun, and my only regret is that they never play an entire piece, or even half a piece, it's only a taste, a glimpse. So it's a great introduction, but not truly satisfying. It's very educational and very enjoyable for all to listen to, especially in the car. But it's too short--I wish they would not talk over the music, and that they had included longer bits.

Arturo Toscanini, Vol 12 - Verdi: Falstaff

Average customer rating:

A bouquet to Valdengo
Brilliant performance by a true master.
Can't get past the sound quality...
Brings Back Memories
Toscanini triumphs

Arturo Toscanini, Vol 12 - Verdi: Falstaff

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Arturo Toscanini: Great Symphonies, Vol. 6
Arturo Toscanini: NBC Symphony Orchestra- Vol.XI
Verdi - Falstaff / Gobbi · Schwarzkopf · Moffo · Karajan

ASIN: B00004R8ME
Release Date: 2000-04-18

Tracks:

Falstaff: Act I, Scene 1: Falstaff!
Falstaff: Act I, Scene 1: Ssss. Sei polli: sei scellini
Falstaff: Act I, Scene 1: So che se andiam
Falstaff: Act I, Scene 1: V'e noto un tal
Falstaff: Act I, Scene 1: L'Onore! Ladri!
Falstaff: Act I, Scene 1: Ma, per tornare a voi
Falstaff: Act I, Scene 2: Alice - Meg
Falstaff: Act I, Scene 2: Fulgida Alice! Amor t'offro
Falstaff: Act I, Scene 2: Quell'otre! quel tino!
Falstaff: Act I, Scene 2: E un ribaldo, un furbo, un ladro
Falstaff: Act I, Scene 2: Pst, pst, Nannetta
Falstaff: Act I, Scene 2: Falstaff m'ha canzonetta
Falstaff: Act I, Scene 2: Torno all'assalto
Falstaff: Act I, Scene 2: Udrai quanta egli sfoggia
Falstaff: Act I, Scene 2: Del tuo barbaro diagnostico
Falstaff: Act I, Scene 2: Qui piu non si vagoli
Falstaff: Act II, Scene 1: Siam pentiti e contriti
Falstaff: Act II, Scene 1: Alice e mia!
Falstaff: Act II, Scene 1: Padron; si la c'e un certo Mastro Fontana
Falstaff: Act II, Scene 1: Signore, v'assista il cielo!
Falstaff: Act II, Scene 1: Io l'amo e lei non m'ama
Falstaff: Act II, Scene 1: Il diavolo se lo porti all'inferno
Falstaff: Act II, Scene 1: E sogno? o realta?
Falstaff: Act II, Scene 1: Eccomi qua

Tracks:

Falstaff: Act II, Scene 2: Presenteremo un bill, per una tassa
Falstaff: Act II, Scene 2: Giunta all'Albergo della Giarrettiera
Falstaff: Act II, Scene 2: Nannetta, e tu non ridi?
Falstaff: Act II, Scene 2: Gaie comari di Windsor!
Falstaff: Act II, Scene 2: Alfin t'ho colto
Falstaff: Act II, Scene 2: Quand'ero paggio
Falstaff: Act II, Scene 2: Mia signora!
Falstaff: Act II, Scene 2: Il diavolo cavalca
Falstaff: Act II, Scene 2: Vien qua
Falstaff: Act II, Scene 2: Al ladro!
Falstaff: Act II, Scene 2: Se t'agguanto!
Falstaff: Act II, Scene 2: Ned! Will! Tom! Isaac!
Falstaff: Act III, Scene 1: Ehi! Taverniere!
Falstaff: Act III, Scene 1: Reverenza
Falstaff: Act III, Scene 1: Legge
Falstaff: Act III, Scene 1: Quando il rintocco
Falstaff: Act III, Scene 1: Provvedi le lanterne
Falstaff: Act III, Scene 2: Dal labbro il canto
Falstaff: Act III, Scene 2: Nossignore!
Falstaff: Act III, Scene 2: Una, due, tre, quattro
Falstaff: Act III, Scene 2: Odo un soave passo!
Falstaff: Act III, Scene 2: Ninfe! Elfi! Silfi!
Falstaff: Act III, Scene 2: Sul fil d'un soffio etesio
Falstaff: Act III, Scene 2: Alto la! - Ci va la?
Falstaff: Act III, Scene 2: Ruzzola, ruzzola
Falstaff: Act III, Scene 2: Naso vermiglio!
Falstaff: Act III, Scene 2: Cavaliero - Reverenza
Falstaff: Act III, Scene 2: Ogni sorta di gente dozzinale
Falstaff: Act III, Scene 2: Ah! Ah! Ah! Ah!
Falstaff: Act III, Scene 2: Tutto nel mondo e burla

Amazon.com essential recording

According to Toscanini's biographer Harvey Sachs, the Maestro viewed Falstaff as the most successful marriage of words and music in the history of the lyric theater. The same can be said about his 1950 NBC broadcast performance of Verdi's final opera. Karajan's EMI traversal from the '50s has the advantage of stereo and stronger solo singers, yet Toscanini achieves a remarkable synergy among pit, stage, and text that honors the composer's ensemble values with heartfelt brilliance at every turn. The orchestra not only sings: it talks, weaving incisive yet never obtrusive commentary around the vocalists, while sailing effortlessly through a maze of mood and tempo changes. By all accounts, Toscanini coached his cast to the extreme, and it shows. The excellent mono recording is well-balanced and still vivid after all these years. If I had to choose but one recording to demonstrate Toscanini's unique artistry, it would be this. --Jed Distler

Customer Reviews:

A bouquet to Valdengo.......2005-12-05

The other revieewers have already praised the revitalized sound of this 1950 Falstaff, which brings the performance into a soft, warm, human dimension. Toscanini conducts without a trace of the hardness and hectic tempos associated with his old age. He paces the opera with utmost flexibility, bending every phrase to Verdi's mercurial imagination. We find ourselves in a world as sparkling as that of Midsummer Night's Dream.

But above eall this opera needs a great vocal actor to protray Falstaff himself. From the first words he utters, Giuseppe Valdengo makes some things abundantly clear: Sir John is fat and gross, but still proud. He is sly and degraded, hot-headed and witty. Valdengo makes us believe that the higher morality is to flout convention and sail through the world a free spirit, but always with the melancholy awareness that flights come to earth with crashing shards of self-delusion. Jack Falstaff is a world unto himself, so both Shakespeare and Verdi intended, and both see him with worldly compassion. Valdengo manages to hold the center of gravity every moment, something that Tito Gobbi, for all his artistry, had to strain to achieve, and then only partially. Togeehter, Valdengo and Toscanini inspire everyone else. For two hours the magic spell holds, from a slovenly tavern hangover to a fairy night's enchantment. Bravo!

Brilliant performance by a true master........2005-08-28

This is a magnificent performance of one of the greatest of all operas.

Regarding the previous comments on sound quality, I weep for those whose ears are acute but whose souls are deaf.

Can't get past the sound quality..........2003-08-31

It's just terrible. The vocalists sound great - up front, clear, the works. But the orchestra! It's just one big lump of sound hiding behind the vocals. And tape hiss. Can't forget that.

If you're familiar with this work, and are looking to add another copy of it to your collection - then this may not be a bad idea at all. You know the music already - so you'll be able to appreciate stylistic differences, etc. in the performance. However if you're not familiar with Falstaff, you may find yourself putting this on the shelf due to the poor sound.

I found it very difficult to approach this opera for the first time listening to this recording. As I said, the vocals were great - lots of emotion and life. But every time the orchestra plays a note it just sounds like this big lump of dull sound in the background. It's impossible to pick up on the intracacies in the music, and I find that because of this I can't concentrate on the good aspects of the recording, I only focus on the bad.

Honestly, it just sounds dated - like you're listening to it on a stereo in the 30's or something to that effect. So I'd say if you're a fan of Falstaff you may be able to fill in enough of the blanks to really enjoy this. And of course if you like historical recordings, there's no reason to avoid this - I'm not complaining about the quality of the playing. But if this is your first time around you can surely find a recording that will help you gain a greater appreciation of the music. Don't start here.

Brings Back Memories.......2002-01-29

While not a knee-jerk Toscanini fan, I am a great fan of this recording. It reminds me of my childhood, hearing Met broadcasts on a good radio -- AM, yes; mono, yes; but with a firm tone and just enough warmth to invite one to stick around for the broadcast. This recording is my benchmark for Falstaff.

Toscanini triumphs.......2001-04-27

I inserted the first CD into my player and found myself transformed into the world Verdi's greatest masterpiece of lyrics and music. Certainly the glory must go to Toscanini for making this complex work such a joy to listen to. He produces some of the most beautiful tones from the orchestra that perfectly matches with the glorious singing of Valdengo, Nelli, Merriman, Elmo, Guarrera and the others. I can't think of a single negative thing about this recording.

Giuseppe Valdengo was in such firm tone and his acting is just right on the money. All the women of the piece are also excellent. And some recognition must also go to the chorus.

Tracks:

Falstaff: Act I : Scene 1 - Falstaff!
Falstaff: Ssss. Sei polli: sei scellini
Falstaff: So che se andiam
Falstaff: V'e noto un tal
Falstaff: L'Onore! Ladri!
Falstaff: Ma, per tornare a voi
Falstaff: Act I : Scene 2 - Alice - Meg
Falstaff: Fulgida Alice! Amor t'offro
Falstaff: Quell'otre! quel tino!
Falstaff: E un ribaldo, un furbo, un ladro
Falstaff: Pst, pst, Nannetta
Falstaff: Falstaff m'ha canzonata
Falstaff: Torno all'assalto
Falstaff: Udrai quanta egli sfoggia
Falstaff: Del tuo barbaro diagnostico
Falstaff: Qui piu non si vagoli
Falstaff: Siam pentiti e contriti
Falstaff: Alice e mia!
Falstaff: Padron; di la c'e un certo Mastro Fontana
Falstaff: Signore, v'assista il cielo!
Falstaff: Io l'amo e lei non m'ama
Falstaff: Il diavolo se lo porti all'inferno
Falstaff: E sogno? o realta?
Falstaff: Eccomi qua

Tracks:

Falstaff: Presenteremo un bill, per una tassa
Falstaff: Giunta all'Albergo della Giarrettiera
Falstaff: Nannetta, e tu non ridi?
Falstaff: Gaie comari di Windsor!
Falstaff: Alfin t'ho colto
Falstaff: Quand'ero pagio
Falstaff: Mia signora!
Falstaff: Il diavolo cavalca
Falstaff: Vien qua
Falstaff: Al ladro!
Falstaff: Se t'agguanto!
Falstaff: Ned! Will! Tom! Isaac!
Falstaff: Ehi! Taverniere!
Falstaff: Reverenza
Falstaff: Legge
Falstaff: Quando il rintocco
Falstaff: Provvedi le lanterne
Falstaff: Dal labbro il canto
Falstaff: Nossignore!
Falstaff: Una, due, tre, quatro
Falstaff: Odo un soave passo!
Falstaff: Ninfe! Elfi! Silfi!
Falstaff: Sul fil d'un sofio etesio
Falstaff: Alto la! - Ci va la?
Falstaff: Ruzzola, ruzzola
Falstaff: Naso vermiglio!
Falstaff: Cavaliero - Reverenza
Falstaff: Ogni sorta di gente dozzinale
Falstaff: Ah! Ah! Ah! Ah!
Falstaff: Tutto nel mondo e burla

Amazon.com essential recording

Customer Reviews:

A bouquet to Valdengo.......2005-12-05

Brilliant performance by a true master........2005-08-28

This is a magnificent performance of one of the greatest of all operas.

Regarding the previous comments on sound quality, I weep for those whose ears are acute but whose souls are deaf.

Can't get past the sound quality..........2003-08-31

It's just terrible. The vocalists sound great - up front, clear, the works. But the orchestra! It's just one big lump of sound hiding behind the vocals. And tape hiss. Can't forget that.

Brings Back Memories.......2002-01-29

Toscanini triumphs.......2001-04-27

Giuseppe Valdengo was in such firm tone and his acting is just right on the money. All the women of the piece are also excellent. And some recognition must also go to the chorus.

Tracks:

Norma: Casta Diva
Un Ballo In Maschera: Ma Dall'arido Stelo Divulsa
un Ballo In Mashera: Morro, Ma Prima In Gazia
La Forza Del Destino: Me Pellegrina Ed Orfano
La Forza Del Destino: Madre, Pietosa Vergine
Faust: Come Vorrei Sapere...E' Strano Poter
Faust: All'erta, All'erta - Gina Cigna/Paolo Civil/Tancredi Pasero
Mefistofele: Cavaliero Illustre E Saggio - Gina Cigna/Ida Mannarini/Paolo Civil/Tancredi Pasero
La Wally: Ne Mai Dunque Avro Pace
La Gioconda: L'amo Ome Fulgor Del Creato - Gina Cigna/Cloe Elmo
Adriana Lecouvreur: Io Son L'umile Ancella
Adriana Lecouvreur: Io Son Sua Per L'amore - Gina Cigna/Cloe Elmo
Adriana Lecouvreur: Poveri Fiori
La Fanciulla Del West: Laggiu Nel Soledad

Customer Reviews:

Dynamic Singing.......2003-04-16

In the grand tradtion of the Italian dramatic soprano, Gina Cigna stands out as one of the most dominant exponents of the spinto and dramatic soprano repertoire. With Italian dramatic soprano's no longer in supply, we must listen to historic records of this rare voice type. Although Cigna was born in Paris and studied with Emma Calve, it was in Italy that she mastered the Italian style of singing. Such luminaries as Rosina Storchio, Harclea Darclee(The first Tosca) and Giannina Russ provided Cigna with great interpretive insight. This recital on Preiser with excellent transfers will give the listener an idea of what great dramatic singing constitutes. Cigna's earliest records on this disc are from 1930-1932 for Columbia. Her voice is in its most youthful and vibrant estate. The voice reveals a fullness and richness throughout its wide range and abetted by a tight fast vibrato which adds light and brilliance. The top notes are stentorian with clarion power. The Cetra's from 1941 show the voice without the earlier fast vibrato, darker in tone, but still powerful top notes. All in all, this is a great recital which I highly recommend.

Fire And Passion.......2003-04-15

Gina Cigna was one of the century's most revered and celebrated dramatic soparano's of the Italian school of singing. Although she was born in Paris and taught by Emma Calve, it was when she arrived in Italy that she was coached by such luminaries as Rosina Storchio, Harclea Darclee (The first Tosca), and Giannina Russ. Cigna remarked that she learned about interpretation from these great singers. This recital on Preiser represents a generous output of Cigna's records. The earliest recordings are her Columbia's, 1930-1932, and latter records are Cetra, 1941.
In the Columbia recordings we here the voice at its most youthful. The voice is extemely rich and full throughout the entire range, and is offset by a tight fast vibrato that adds brilliance and shine. The voice seethes with fire and passion, and yet her mezza voce and piano singing are exquisite. Her highest notes have a great clarion power and clarity. The Cetra records reveal a darker voice without the fast vibrato, but still powerful high notes. Cigna covered a huge repertoire ranging from bel canto to the more modern Italian school. Her Casta Diva from 'Norma' has wonderful legato and a mesmerizing reading, while Suicidio from 'La Gioconda' is intense and dynamic. This recital displays the essence of great dramatic singing and committment to the text. Highly recommended.

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