Word to the World

Track Listings

1. Word to the World

2. I Am Still Persuaded

3. I Am Sure

4. Count It All Joy

5. Forgiven, Forgotten, Forever

6. We Believe

7. I Offer My Life

8. Don't Let Your Heart Be Troubled

9. Lovely Lord/O Lord You're Beautiful

10. All His Benefits

Word to the World, Music, Sara Paulson, Pop, Rock

You Don't Have to Be Jewish/When You're in Love the Whole World Is Jewish
Average customer rating:

Finally able to replace our worn-out LP passed down by Baba (my bubbe)

1960s -1970's Yiddish Humor

Absolute Classic!!

Jewish

Funny and wonderful

You Don't Have to Be Jewish/When You're in Love the Whole World Is Jewish
Bob Booker , and George Foster
Manufacturer: Jmg / Jewish Music
ProductGroup: Music
Binding: Audio CD

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Now that Sounds Kosher

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The First Family: Complete by Vaughn Meader

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ASIN: B000LXHGKS
Release Date: 2007-02-06

Tracks:

A Call From Long Island - Arlene Golonka
Home From The Office - Lou Jacobi
The Reading Of The Will - Jack Gilford
The Diamond - Arlene Golonka
Quickies: A) The Astronaut B) The School - Jack Gilford
The Jury - Frank Gallop
The Presidents - Jack Gilford
The Cocktail Party - Frank Gallop
Final Discussion - Lou Jacobi
More Quickies: A) Cry For Help B:) Panic - Frank Gallop
The Convicts - Jack Gilford
The Housewarming - Jack Gilford
The Luncheon - Arlene Golonka
Still More Quickies A) The Storm B) The Newspaper Reporter C) The Home Remedy - Jack Gilford
Conversation In The Hotel Lobby - Lou Jacobi
The Agony And The Ecstacy - Arlene Golonka
My Son, The Captain - Lou Jacobi
Secret Agent, James Bondstein - Jack Gilford
Enough Already With The Quickies: A) Dinner B) The Elevator C) Classified Ad, Israeli Style - Jackie Kannon
Goldstein - Jack Gilford
Would You Believe It? - Phil Leeds
The Hobby - Phil Leeds
My Husband, The Monster - Bob McFadden
The Ballad Of Irving - Frank Gallop
The Shoe Repair Shop - Frank Gallop
Divorce, Kosher Style - Frank Gallop
Voyage To The Bottom Of The Sea - Lou Jacobi
Things Might Have Been Different - Frank Gallop
A Call Form Greenwich Village - Betty Walker
The Great Bank Robbery - Phil Leeds
Discussion In The Airplane - Phil Leeds
Miami Beach - Phil Leeds
Schtick: A) The Traveler B) The Panhandler C) The Cemetary - Frank Gallop
The Kidnapping - Lou Jacobi
The Bar Mitzvah - Phil Leeds
When You're In Love With World Is Jewish - Lou Jacobi

Album Description

One of my fondest family memories of my wonderful childhood in the 1960's was listening to record albums on the hi-fi set in the den. Real records, that you had to flip over after side one, and be careful not to leave on top of the toaster oven. This was a time where my Little Golden Books and little transistor radio were my essential bedtime companions. Not to mention the hot mug of Ovaltine that Mom would make us before hitting the sack.

"You Don't Have To Be Jewish" and it's follow up, "When You're In Love, The Whole World Is Jewish" were both staples in the Lifson home. Jewish comedy was not available to me as a kid through visits to the Catskills, so these albums, along with "Chanukah Carols" (also available on JMG) were my first exposure to a genre which would help prepare me for the Woody Allen and Albert Brooks movies I would love watching in the next decade, the '70s, and have enjoyed ever since. These very funny records were the brainchild of producer Bob Booker, who had produced a hugely successful pair of albums called "The First Family" which lampooned the Kennedy clan, with actor Vaughn Meader doing a brilliant JFK. These were essential listening for the early '60s, but after JFK's assassination, were quickly antiquated.

For "You Don't Have To Be Jewish," Producer Booker, pairing with writer George Foster, assembled a first class ensemble of comedic actors to play the jokes and blackout type sketches on this LP. Lou Jacobi was seen on countless sitcoms as the "Jewish Dad" type, and Valerie Harper, who would later star as "Rhoda" on "The Mary Tyler Moore Show." Also featured were Arlene Golonka, who played Ken Berry's girlfriend on "Mayberry R.F.D." and Bob Mc Fadden, who were the voices behind many cartoon characters including one version of "Popeye" and one of my '60s faves, "Milton The Monster." And who could forget actor Jack Gilford from the many "Crackerjack" commercials he did, where he is caught eating the kid's Crakerjack late at night?

The sketches on these two wonderfully nostalgic albums played like a prequel, maybe more Jewish version, of TV's "Laugh In" which would appear just a couple years later, in the Fall of 1968. The cast of "You Don't Have To Be Jewish" were invited to appear on the Ed Sullivan show, because of the broad appeal of the album's humor. It was clean and quaint, not biting and unsettling, like several of the "hipper" '60s comics, like Lenny Bruce and Mort Sahl. These Jewish jokes were ones that could be repeated at any office gathering or weeknight Pan and Poker games, like the ones I recall my parents having in the mid '60s. They still have the black card table with the white leather top that was used at their gatherings back then, when albums like "You Don't Have To Jewish" were such a unifying force.

Classic bits on these two albums, released for the first time as a double disc CD here, include "Secret Agent James Bondtstein" and "The Cocktail Party" which is reminiscent of "Laugh In's" party scenes with the one liners floating in and out of martini glasses. "The Plotnick Diamond" bit is funny too, where Mrs. Plotnick complains that her large diamond comes enshrouded with a curse..."What's the curse her friend asks, in a Yenta-like way, "Mr. Plotnick!" is the reply. You see, these albums showcase the qualities of Jewish life we have all come to know as "trademarks," like: guilt, marrying a nice young doctor, eating as a remedy for anxiety, worrying too much, and of course, more guilt!

Jewish people throughout the ages have relied on humor as a survival technique, and have always been noted for their sardonic and revelatory abilities to translate "agony" into "ecstasy" in the form of humorous dialogue. One can see where comics like Woody Allen got a lot of his early material from gleaning the cultural mores predominant in both these albums, that show Booker and partner Foster's true genius for defining a genre through humor. The live audience present here makes the material play even more like television, helping to create a real "visual" presence for these playets, which are both timeless and charming in their appeal.

May these hilarious records provide you and your family the same "sitting around the hi-fi" happiness that I experienced when I first listened to them, wearing my pajamas that had all the gas station signs on them (my favorite was "Gulf") and eating my strawberry "Whip 'N Chill" light meringue pudding that Mom would make in those little glass dessert cups that were so evocative of the era for me. Food and humor always go well together in Jewish culture...Enjoy!

Hal Lifson

Customer Reviews:

Finally able to replace our worn-out LP passed down by Baba (my bubbe).......2007-06-17

The title, as everyone will tell you is true: My gentile mom was just as big a fan of the 1965 album as my dad and his Ukrainian Jewish mother. "The Reading of the Will" is one favorite family classic, as is the hide-and-seek playing wife who, drawn out by her husband's offer of expensive jewelry, coyly proclaims, "I'm hiiii-ding ... IN THE FRONT CLOSET!" More than 40 years later, the jokes still hold up, though Mom did observe when we listened to the CD that more of the jokes than she remembered are slightly mean-spirited. Don't misunderstand: They are never mean-spirited toward Jewish people, only toward whichever person is the butt of the joke. The second album in this double CD was a 1966 follow-up to the Grammy-nominated original, and contains one version of "The Ballad of Irving," a song that will be familiar to any Dr. Demento fan. (Sorry to say, this version does NOT have the line, "He came from the old Bar Mitzvah spread / With a 10-gallon yarmulke on his head"!)

You don't have to be Jewish, indeed, but familiarity with the turf does help you understand some of the humor, particularly on the follow-up "When You're in Love...." On that album, there's a whole bit about a woman who can't remember her son's surname; even as an adult, I didn't get it until Mom explained that it's a reference to the tendency to choose a less "ethnic" name to get along. But the majority of the material was funny even to my little grade-school self in the 1970s, and it still holds up well today in its universal themes as well as in its culture-specific jabs.

1960s -1970's Yiddish Humor.......2007-05-14

If you grew up in a Jewish household, or in a Jewish neighborhood during the 1950s - 1970's You will appreciate the humor. It's a classic return to the Good Old Days.
Enjoy it,
Lenny

Absolute Classic!!.......2007-05-13

Grew up listening to this and it just keeps getting better as I pass it on from "generation to generation"!! Lou Jacob's is a genius and his comedy is clean and timeless!! Well worth the buy!!

Jewish.......2007-03-11

This is as good as I remember it as a kid! I sent one to my brother and sister, and they love it too.

Funny and wonderful.......2007-02-07

My review can't possibly sound as intelligent and probing as the previous reviews... so I will just have to say. I agree... this is a classic and a must own.

Enjoy

Average customer rating:

A magical masterpiece
Music of angels
Powerful
Passionate Voice
Soothing and Peaceful

Passionate Voice
Lisbeth Scott
Manufacturer: Word Entertainment
ProductGroup: Music
Binding: Audio CD

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State of Grace
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ASIN: B00065GHCO
Release Date: 2005-01-25

Tracks:

Reveal
To Love and Be Loved
Give
All of These Years
Grace
Surrender
No One But You
Stones
Passionate Voice
Reveal

Album Description

Lisbeth Scott is soloist and co-lyricist for the influential and inspiring hit film "The Passion of the Christ." With the original music she brings to her latest solo CD, Passionate Voice, Lisbeth creates styles and sentiments that both move and mesmerize. One of Hollywood's most in-demand session vocalists, Lisbeth's singing voice has been enjoyed by millions in hit films and TV shows including Touch By An Angel.

Customer Reviews:

A magical masterpiece.......2005-08-30

On this exceptional album, Lisbeth incorporates world influences, irresistible pop hooks and folk sensibility to create a masterful and achingly lovely listening experience. From the first strains to the last, these songs will open your eyes and heart to Creator's presence, the divinity within all things, and the power of believing in love. It's truly a magical, holy voyage.
The album opens and closes with "Reveal", a beautiful, mysterious and tender piece, in which Lisbeth's angelic vocals sparkle. "To Love And Be Loved" is a testament to the power of true love, with it's message that "we're all here to love and be loved." "Give" is a stunning song, with a wonderful Celtic feel, fantastic uplifting lyrics, and such sincerity! "All Of These Years" is a song about second chances; with a fabulous pop vibe and a chorus you'll sing all day! "Grace" is my favorite song from the album, showcasing Lisbeth's range, and with lyrics that will bring you to tears. It's a powerful anthem! "Surrender" is a tender piece about giving your needs over to Creator, and Lisbeth's delivery is truly superb. "No One But You" has great orchestration, a catchy chorus, and as always, wonderful lyrics. "Stones" is all about forgiveness and release, and the lyrics will take your breath away with their sheer sincere intensity. The title track, "Passionate Voice", is a magical song about how our ancestors understood the union and oneness of God and humanity. It is very thought provoking, to be certain.
Lisbeth is a fantastic singer, and a glorious lyricist. Her passion is evident in every song, as is her beautiful spirit. Join her on this awesome journey. You'll be so glad you did!!! Worth every cent. A magical masterpiece. Highly recommended!!!

Music of angels.......2005-08-13

Estas canciones es como si las hubieran escrito los ángeles y las cantara un ángel sobre la tierra Lisbeth Scott. Merece la pena comprar su música.

Powerful.......2005-03-24

My wife and I heard a cut on the radio and were immediately moved. Stunningly beautiful. Healing. Hauntingly spiritual. Lisbeth Scott's voice speaks to my soul and evoke its peace.

Passionate Voice.......2005-02-17

Lisbeth Scott, with her latest album, has created something completely sacred. Full of nature and passion, this is amazing, ethereal music.

Reveal: A haunting, lush melody. Lisbeth Scott's voice is really beautiful in this, with almost a breathy quality. 5/5

To Love and Be Loved: A very attractive song. The chorus is gorgeous. "Heaven knows, is the road to peace, heaven knows, that we're all here to love and be loved." 4/5

Give: Very nice and catchy. Echoes around in your head. "Oh love the sun is not so warm as when your soul meets mine. All darkness lifts to heaven's light and shines and shines for you." 4/5

All of These Years: This is one I constantly find stuck in my head. Although the tune can get slightly irritating, the lyrics are great. "May Queen, twirling in a pretty dress." 4.5/5

Grace: Lovely lyrics, nice instrumentals. Though Lisbeth can reach the high notes in this song, it makes my voice hurt just thinking about the strain. Other than that, beautiful and ethereal, yet powerful. "I lift my hands to catch the falling rain...I'm walking through a dream of ecstasy." 5/5

Surrender: Absolutely beautiful. Strikes a chord in my memory, brings back lovely visions. Wow. "Only darkness when I burn for the sun. All I hear is silence when I ask for song." 5/5

No One But You: Could have been trite, but the fresh tune bails it out. "Guess today's a less than perfect day. Wait it out until the fog has cleared." 4/5

Stones: A bit depressing, but the superb instrumentals reconcile it. The lyrics are wonderfully wise. "And so I can forgive these little stones. I'll put my own down." 3/5

Passionate Voice: The best here. Haunting, gorgeous soundscape, with lyrics as old as time. "In the beginning. Passionate Voice. Called from the arms of love to rejoice. One peace. One soul. One God. One home. One sound. One tear. One hand. No fear." 6/5

Reveal (Reprise): Almost Celtic in instrumentals. Completely amazing, unfolding slowly over time. Shakes you to the bone in a wonderful way. 5/5

Soothing and Peaceful.......2004-12-30

Lisbeth Scott continues her legacy of soothing, peaceful, but passionate artistry. Close your eyes and allow yourself to be gently beckoned into revealing lyrics and innocence.

Average customer rating:

GREAT! GREAT!
Jackie Mason "Jewish Humor"

The World According to Me
Jackie Mason
Manufacturer: Jmg / Jewish Music
ProductGroup: Music
Binding: Audio CD

General | Miscellaneous | Styles | Music

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ASIN: B000EOTEI6
Release Date: 2006-04-04

Tracks:

One Man Show
Beverly Hills
The World And Politics
Jews And Gentiles
Soliloquy

Album Description

Although it's been nearly twenty years since the initial release of "The World According To Me," Jackie's observations and storytelling style are as fresh as ever. Biting without ever being profane, in the age of Howard Stern, Jackie presents an irrefutable case for the ability of many Jewish comics to make incredibly revealing and hard-hitting without reaching downward to include profanity like Lenny Bruce, who obviously was an influence on Jackie. Similar to Mort Sahl, Jackie takes on all kinds of political subjects and fits them all under his 'Jew with a view' persona. When talking about Nixon's bout with phlebitis (check spelling here,) Jackie says, "You don't screw 200 million people and end up with syphilis!" Jackie tackles the Reagan era with equal deftness, "The country is going down the toilet and he's riding horses and eating jellybeans."

Customer Reviews:

GREAT! GREAT!.......2007-03-15

JACKIE TELLS IT LIKE IT IS .THIS WAS HIS FIRST TIME ON BROADWAY AND WHAT A HIT .... ..IF YOU LIKE THE REAL TRUTH ABOUT PEOPLE BUY THIS CD NOW

Jackie Mason "Jewish Humor".......2007-01-12

If your a fan of "Jackie Mason" from his period in the Borsht Circut, & There on. You will find this humor Really good & a Blast From The Past.
I'm 58 years old & really enjoyed it.
Lenny W

The Songs of Robert Burns / Songs of the Hebrides

Average customer rating:

Elegance in sound
Scottish Songs for a Lifetime
Simply exquisite!
Love and frustration

The Songs of Robert Burns / Songs of the Hebrides

Manufacturer: Dutton Labs UK
ProductGroup: Music
Binding: Audio CD

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ASIN: B0006840KC
Release Date: 2005-05-10

Customer Reviews:

Elegance in sound.......2007-05-13

McKellar has one of the finest tenor voices I have heard. There is a range that is broad, while keeping a very masculine sound. I learned that he was trained classically and gave up opera after a season or two to do concert singing. These songs have lush or spare orchestral arrangements as the occasion demands. They are dramatic, even Hollywood-like, arrangements verging on schmalt, but a second hearing convinced me that he was among the finest tenors of the 20th century and the arrangements are "just right."

Scottish Songs for a Lifetime.......2007-05-12

If I was to be only able to carry one CD with me to a desert island, this one might be my choice. The poetry of Robert Burns is entirely inspiring. The vocal performance of McKellar is adequate to Burns' work. The orchestration is rich and appropriately simple. These songs will "stick to your ribs" and leave you longing for a visit to the old sod to personaly perceive the beloved ambiance they evoke.

Simply exquisite!.......2007-05-06

Who can sing like this today? Vocalion has done it again -- two of Kenneth McKellar's wonderful Decca recordings from 1961 and 1962 brought together for a wonderful vocal treat. There are things the lover of the English art song and ballad cannot be without -- Jennifer Vyvyan's lovely renditions of Michael Head's Foxgloves and Roger Quilter's Love's philosophy; Eileen Farrell's stentorian Sing to me by Sydney Homer; John Mark Ainsley's rhapsodic performance of Quilter's Go, Lovely Rose, and Kenneth McKellar singing Land of Heart's Desire, Sleeps the Noon in the Deep Blue Sky and Robert Burns' My love is like a red, red rose. Happily, these songs are preserved on this terrific release. McKellar had a wonderful, powerful and lyric tenor voice. His operatic and oratorio singing is moving on top of being very musical -- dynamics, portamento, etc., scrupulously observed and artistic; however, his sining of art songs, folk songs and ballads is exemplary and always, underscored ALWAYS moving and right on the mark. McKellar had a real affinity for this music and it simply erupts from the grooves (oops, I'm dating myself)!

The Songs of Robert Burns is lovely -- I defy anyone to listen to McKellar's rendition of My love is like a red, red rose, and come away without a tear in the eye. In my opinion, however, the true gem is the release of McKellar's Songs of the Hebrides. Vocalion includes McKellar's spoken introductions to these songs and it is incredible. One might think that it would sound trite, but McKellar is right on the mark and the introductions make the songs that much more memorable. Marjory Kennedy-Fraser is surely smiling down from heaven as this is the most beautiful and atmospheric recording of her Songs of the Hebrides. McKellar scales down his powerful voice for Land of Heart's Desire and it is ravishing. No one comes away unmoved. Again, who can sing like this today? I tried to think of any tenor or baritone singing today that could come close to this kind of a performance -- I could not think of one. Thank you Vocalion for bringing these performances back to light. Speaking of the recording, it is lush, with that beautiful early stereophonic sound preserved. For the lover's of the art song, ballad or folk song, you MUST have these performances.

Love and frustration.......2007-03-08

This recording has some wonderful Scottish songs by a super Scottish tenor. The difficult part for me is that I need the sheet music to go with one of the songs, but I had no luck locating it anywhere. There are other versions of the song ("My heart's in the highlands") available but none like this one. Is there any chance you could help me find it??

Sincerely,
Lyndall

Mediterranea: Songs of the Mediterranean

Average customer rating:

nice
Mediterranean Music
Comment on "Gemçis Güzel Günerli" and more
Gecmis Guzel Gunleri is actually Armenian
The Meditarranean Soul Captured in One CD!

Mediterranea: Songs of the Mediterranean

Manufacturer: Sounds True Direct
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004UES8
Release Date: 2000-08-15

Tracks:

Why Little Bird Do you Not Sing
You On A Hill, I On A Hilll
Pinguli Pinguli Giuvacchinu/The Door
The Girl From Nuoro
Sardinian Dance
Gentle Hand
When The Lissome Girl Appeared
Glory To The Word Of God
The Jasmine
Smyrnaean Air
In The Beautiful Bygone Days
Dawn Has Broken
And A Mother
Lullaby
The Boatmen
La Finforletta
O, Wave
God Has Afflicted Me/Why Little Bird Do You Not Sing

Customer Reviews:

nice.......2007-05-30

She has a very beautiful voice the songs are just not strong enough. I found 3 songs that I find myself listening to over and over. She dose have a great voice but the songs just don't show that off.

Mediterranean Music.......2006-11-03

An exquisite collection of songs from the countries surrounding the Mediterranean, the White Sea, in original languauges. S Yanatou has an angelic voice. Strongly recommended.

Comment on "Gemçis Güzel Günerli" and more.......2005-05-01

First off, this is the best Savina Yannatou CD I've heard to date -- her voice is in terrific form here. (Though you'll get to hear a lot more of the band on her latest release, Sumiglia.)

Second, track 11 ("Gemçis Güzel Günerli") *is* a Turkish song, written by an Aremenian citizen of Turkey, Hrant Kenkulian, or "Udi Hrant," as he's often known -- this is mentioned in the liner notes to Mediterranea. ("Udi" is an honorific prefix meaning that he was a master player of the ud, a Middle Eastern lute.) If you're interested in exploring his music further, there are several recordings of his work (voice, ud, and violin) on the Traditional Crossroads label. (Type "Udi Hrant" into the search engine on this site and you'll find the CDs very easily.)

Turkey was -- and still is -- an ethnically mixed country, which is a legacy of the Ottoman Empire. There were Armenian Turkish composers and musicians at the courts of the Ottoman sultans, and there were those who also excelled at light classical and popular song. Hrant Kenkulian was a master of classical and popular music -- if you explore further, you'll find out that he's one of many 20th-century Armenians who were involved in the development of Turkish music.

Yannatou is an inheritor of Turkish tradition, too. Modern Greece was occupied by the Ottomans for many centuries, and there is a very strong Turkish tinge to much of the Greek music she performs. (And vice versa, as she performs Pontic Greek music from the Black Sea coast of Turkey; also songs from Smyrna -- now called Izmir -- on Turkey's western coast.)

What I love most about her work is her peerless way with all of the songs she chooses. Many people have tried to come up with pan-Mediterranean discs, but Yannatou is one of a handful of people who has succeeded at it.

Gecmis Guzel Gunleri is actually Armenian.......2004-09-22

My professional background is in ethnomusicology. I am not Greek, Turkish or Armenia so I have no axe to grind. One reviewer below, apparently of Turkish background, seems to take offense that Gecmis Guzel Gunleri is not listed as "Turkish Traditional." there is a simple reason for that, it isn't orignially a Turkish song. It is a well known Armenian song, with the same melody for hundred of years. Indeed this rendition is in Turkish, but to call it "Turkish traditional" would be innacurate.

Inded it belongs to, adn illustrates, a whole body of non Turkish music from Turkey which actually speaks to the ethnic cleansing that occured the in the 1900-1920's period.

Few people in today's Turkey, which has been purged of knowledge of the roots of its own tradional music, are aware of the multiethnic roots of its music. It was for years criminal to even suggest that many songs were orignially Greek, Kurdish or Armenian.

So I am glad that my Turkish friend likes the Armenian ballad Gecmis Guzel Gunleri ("The Beautiful Past Days") and am only sorry that he never heard the original recordings by an long dead artist now know in Turkey as Udi Hrant, but whose non stage name was Udi Hrant Kenkulian. His family was murdered in the Turkish Genocide against the Armenians, which makes his song more ever poignant - as the title suggests..

The Meditarranean Soul Captured in One CD!.......2002-04-02

Savina Yannatou has an indescribable soprano voice which captures the sounds and emotions of the Meditarranean people whether Italian, Greek, French (Corsica), Hebrew or Turkish (I may have missed a country or two present on the CD). The wedding song from the Greek island of Kalymnos and the Turkish "aman" song are my favorites. All the songs are so beautifully sung, it is hard to say that one is better than another ... I have heard these two songs before and am familiar with how they should sound: her singing is traditonal with a tenderness and sincerity that is a uniquely her own. Savina's voice is ethereal and "other worldly" - totally living up to her name, after a saint from the Meditarranean, Italy, I think.

I first heard Savina Yannatou on Mondo Greece and knew I must have one of her CDs. I discovered this one and was compelled to buy it. It is filled with the music of Primavera de Salonika, playing kanun, santouri, lyra, and other authentic intstruments that complement Savina's voice. Her voice is beyond description ... totally captivating, exceptional, without comparison. Listen and be amazed - then buy the CD!!! Erika Borsos (erikab93)

Leontyne Price (The Prima Donna Collection)

Average customer rating:

A brilliant collection from a great soprano
If I could have only one collection......
Yes this is great!
The Grandest Collection of Leontyne Price Arias
The Greatest Soprano Ever Recorded

Leontyne Price (The Prima Donna Collection)

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Manon: Act 2: Adieu, notre petite table
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Otello: Act 4: Mia madre aveva una povera ancella (Willow Song)
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Adriana Lecouvreur: Act 1: Ecco: respiro appena
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Turandot: Act 2: In questa reggia
Die tote Stadt: Act 1: Marietta's Lied
Vanessa: Act 1: He Has Come, He Has Come!
Vanessa: Act 1: Do Not Utter A Word

Tracks:

Atalanta: Act 1: Care Selve
Don Giovanni: Act 1: Don, Ottavio, son morta!
Don Giovanni: Act 1: Or sai chi l'onore
Der Freischuetz: Act 2: Wie nahte mir der Schlummer
Der Freischuetz: Act 2: Liese, leise
Tannhaeuser: Act 2: Dich, teure Halle
Macbeth: Act 2: La luce langue
Macbeth: Act 4: Vegliammo invan due notti (Sleepwalking Scene)
Macbeth: Act 4: Una macchia e qui tuttora
Mefistofele: Act 3: L'altra notte in fondo al mare
Rusalka: Act 1: Song To The Moon
L'Enfant Prodigue: Air de Lia: L'annee en vain
Andrea Chenier: Act 3: La mamma morta
Francesca da Ramini: Act 3: Paolo, datemi pace
Suor Angelica: Senza mammo, o bimbo, tu sei morto!
Amelia Goes To The Ball: While I Waste These Precious Hours

Tracks:

Alceste: Act 1: Divinites du Styx
Don Giovanni: Act 2: Crudele? Ah, no, mio bene
Don Giovanni: Act 2: Non mi dir
I lombardi: Act 2: O madre, dal cielo
I lombardi: Act 2: Se vano e il pregare
Martha: Act 2: The Last Rose Of Summer
Simon Boccanegra: Act 1: Come in quest'ora bruna
La Perichole: Act 3: Tu n'es pas beau
Die Walkuere: Act 1: Du bist der Lenz
Die Fledermaus: Act 2: Czardas: Klange der Heimat
Carmen: Act 3: Ces des contrebandiers
Carmen: Act 3: Je dis que rien ne m'epouvante
Cavalleria Rusticana: Voi lo sapete
Thais: Act 2: Ah! je suis seule
Thais: Act 2: Dis-moi que je suis belle
Gianni Schicchi: O mio babbino caro
Les dialogues des Carmelites: Act 3: Mes filles, voila s'acheve

Tracks:

Semele: Act 2: Where 'er You Walk
Idomeneo: Act 3: O smania! O Furie!
Idomeneo: Act 3: D 'Oreste, d' Ajace!
La damnation de Faust: Part 4: D'amour l'ardente flamme
Oberon: Act 2: Ozean, du Ungeheuer!
Norma: Act 1: Sediziose voci, voci di guerra
Norma: Act 1: Casta diva
Norma: Act 1: Ah! bello a me ritorna
Rigoletto: Act 1: Gualtier Malde
Rigoletto: Act 1: Caro Nome
Tristan und Isolde: Act 3: Liebestod: Mild und leise
Pagliacci: Act 1: Ballatella: Qual fiamma avea nel guardo
Adriana Lecouvreur: Act 4: Poveri fiori
Gloriana: Act 1, Scene 2: Soliloquy & Prayer: On Rivalries 'tis Safe For Kings
Gloriana: Act 1, Scene 2: Soliloquy & Prayer: O God, My King, Sole Ruler Of The World

Customer Reviews:

A brilliant collection from a great soprano.......2007-04-30

Leontyne Price was much admired and this 4CD collection shows her outstanding vocal gifts to the best advantage. Numerous reviewers have commented on the wide-ranging styles present and I can agree wholeheartedly with them. You would be hard-pressed to find a greater compilation of Ms Price, showcasing her amazing gifts as a great singer!

If I could have only one collection.............2006-11-12

....it would be this. Such fine singing in so many periods, languages, and styles. She is truley a great artist and this set helps you see just HOW GREAT she is. I won't go thru all the tracks but will say Cara Selve drives me wild. "When I am Laid in Earth..." comes across very nicely. There are some rare exerpts too like Gloriana, Menotti's Amelia goes to the Ball. Overall most tracks are inspired. The musicianship is to the highest standards. I JUST lOVE IT!

Yes this is great!.......2006-10-14

But "When I am Laid in Earth" was written by PURCELL! Handel's "Care Selve", however, is also on this set, and it is GORGEOUS!!! I love just about everything on here. A few items from the fourth CD are a bit telling of her age (D'oreste d'ajace!")- but even they are fabulous. THe price of this set is unfortunate - however, it has dropped a little! :) I originally purchased it from BMG in 1994, for next-to-nothing, then "gave" it to my best friend! Two years ago, she lost hers to Hurricane Ivan, and paid a LOT for a new set!

The Grandest Collection of Leontyne Price Arias.......2005-08-08

If you're a fan of Leontyne Price, this should be at the top of your list of her recording albums. I don't know when this was issued, but it's from the RCA Label which was her best promotional record company. It's a box set featuring dozens of arias from magnificent grand operas (some of which Leontyne Price never sang on stage in full and instead sang some bits in concert). Leontyne Price sings in fresh, beautiful and strong voice in dramatic and versatile roles, mastering each music from each composer. She masters such strikingly different masters's works as Samuel Barber (Vannessa) Webber (Der Freischutz) Wagner (Tristan and Isolde, Tannhauser) Falla (Atalanta) Mozart (Le Nozze Di Figaro). She sings the title roles of Massenet's Manon, Bizet's Carmen, Bellini's Norma, Verdi's Lady Macbeth, Amelia in Un Ballo Di Maschera, Nedda in I Pagliacci, Turandot and Suor Angelica, Flotow's Martha, and even oratorio such as Handel's Semele and Benjamin Britten's Gloriana. This is a vast repertoire, far grander in variety than I have ever known any one soprano sang. While critics will indeed compare Leontyne Price to Maria Callas (as another review critic brought up) these two sopranos could not have been any more different. It's not even a matter of their different racial backgrounds- Callas was born in Greece and became an American citizen then gave it up for French citizenship..and Price was born in Mississippi and was African-American) it's a matter of how different their approach at opera was and their vocal category. Callas was a dramatic soprano sforzando (literally "forced dramatic soprano")who would prefer to produce a choking, ugly, harsh sound merely for the dramatic effect and the integrity of the text in her lines. Leontyne Price was the definition of a soprano lyrico-spinto ("pushed" lyric-dramatic singing)which meant above all, to sound beautiful and to fill up those dramatic lines with as much vocal and tonal beauty as possible. Price had a more thrilling mezzo di voce and high soaring top register and a cleaner, smoother sound than the wobbly Callas, no offense to Callas fanatics of which there are many. It is true that Price did lose her touch in a sense in her older years (the 1970's and 80's) when her voice lacked the vibrant lyricism and attention to diction. Her 1970's Toscas and Aidas are therefore a sloppier than her 1950's and 60's Toscas and the same went for her Leonoras in both Trovatore and Forza Del Destino. Nevertheless, Price is an ageless singer. Her voice, dark, messy or bright and smooth, is still what was said of her in her debut at the Met as Leonora in Trovatore - a "bright, unfurling banner". She was goddess of the opera and paved the way for the new generation of black sopranos of today.

This collection does not showcase the more famous roles that were in fact her signature ones - Leonora from Trovatore and Forza, Aida is'nt even in here and that one even she considered her greatest role, we don't find her Madame Butterfly here. Instead we find rare pieces that she sings beautifully and dramatically, making us wish she had sung the entire operas in full on stage. She never sang a full-length Norma and that's a pity- even Grace Bumbry and Shirley Verrett did in their careers. Price seemed to enjoy singing Samuel Barber's vocal works - she opened the 1965-1966 Met season with Barber's Antony and Cleopatra (a bad production by the way but not through any fault of Miss Price but the overblown spectacle of the design of the opera itself) and here she sings his Vanessa. Benjamin Britten's Gloriana sounds lovely in her hands. Her Norma and Dona Anna in Mozart are dramatic and fiery, her Lady Macbeth darkly mysterious, her Suor Angelica peaceful with powerful inner fire and her Dialogue Des Carmelites are also sensational. Yes, many of these arias are beautiful to hear, and thank God she doesn't have any of the flaws critics keep hearing in her later recordings. Without a doubt, this is her finest album. I think you should listen via audio samples here the following to make you get this recording: the Countess aria from Nozze Di Figaro, her Manon (Adieu Petit Table) La Mamma Morta, her version of Sediziose Voce/Casta Diva from Norma, the excerpt from Carmen, "Don Ottavio son Morta...Or Sai Chi L'Onore" from Don Giovanni, Care Salve, the Dido and Aeneas excerpts, the La Traviata excerpts (Addio Del Passato) and the beautifull, mystic, haunting and well-executed Liebestod from Tristan and Isolde, which I even feel surpasses Birgit Nilsson's version. Just listen to how heart-felt that Liebestod is! I have not heard the likes of it anywhere else.

The Greatest Soprano Ever Recorded.......2005-03-20

O.K. So that is only my opinion. But Leontyne Price was one of the most dedicated singers of the 20th century. Her vast repertoire is showcased in this extensive collection of arias. While to many Maria Callas will forever be the ultimate and the greatest of them all, Leontyne Price had the same poswerful, high dramatic voice, in addition a more generous chest register and a regial presence. Moreover, she overcame so much to get to the top. In her day, African-American women in opera was new. Marian Anderson was the first to get into the mainstream opera world, with much difficulty and intervention, such as Eleanor Roosevelt's support. After Marian Anderson finally landed her first role at the Met in the 50's, a new generation of black women in opera began. The 60's and 70's would see the rise of mezzo sopranos later turned to dramatic sopranos such as Grace Bumbry, Shirley Verrett and it would follow into the 80's with Jessie Norman and Kathleen Battle. Today, black women have made opera one of their highest achievements. Leontyne Price began singing in the 50's. A televised production of Tosca was not shown in some Southern states that were racistad opposed the idea of seeing a black woman in a "white" role. Leontyne Price would master the role of Tosca as successfully as Maria Callas. I think that while she is at her best in the Puccini and Verdi operas she recorded and performed (not showcased here)- Trovatore, Aida, Forza Del Destino, Madame Butterfly, Tosca, Suor Angelica. However, there is so much that she is absolutely remarkable in. I love her as Violetta in Traviata (few black women sing the traditionally white role of Violetta), Massenet's Manon, Verdi's Lady Macbeth (which was another of Shirley Verrett's great roles)Dido from Dido and Aneas, Dona Ana and Elvira in Don Giovanni, The Countess in Figaro, Bellini's Norma (she is outstanding in that powerful druid diva role). I think if we narrow it down to a few roles that she really made her own it would be 1: Aida....2:Tosca...3Dona Ana/Dona Elvira 4 Desdemona from Otello and 5..Leonoras from Trovatore and Forza.

This collection is pretty impressive. I didn't know a soprano could be that versatile. Leontyne Price is remarkable. Her rich, lyric voice, capable of plaintive and melancholy lines as well as powerful high C's and dramatic whoops, was always clean, smooth and intense. Of course, like most sopranos, she had her bad days. Her later Toscas (in the mid or late 70's) became too melodramatic and sloppy, when she used to be more mannered and poised with the role, her Cleopatra in Samuel Barber's opera was a fiaco because the production was too bizarre and messy, etc. But for the most part, mostly in Verdi, Puccini, Mozart and as Norma, she was radiant, glorious and perfect. Her background in Church music made her incredibly suited to singing Requiems, such as Verdi's Requiem. There will never be another Leontyne Price. She was a one woman Golden Age of Opera, and sang with the best of the best- Bjussi Bjorling, Giuseppe Di Stefano, Franco Corelli, Placido Domingo.

Average customer rating:

Entertaining
An interesting mix of sounds. Musique Concrete at it's fines
If you love John Lennon's "Revolution 9", you'll love this.

Variations IV

Manufacturer: Legacy
ProductGroup: Music
Binding: Audio CD

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Indeterminacy
John Cage: Music for Prepared Piano, Vol. 2
Cage: Sonatas and Interludes for Prepared Piano
4'33"
Insomnia

ASIN: B000002NTV
Release Date: 2000-01-01

Tracks:

Performance Introduction
Excerpts - 7pm to 8pm
Excerpts - 8pm to 9pm
Excerpts - 9pm to 10pm
Excerpts - 10pm to 11pm
Excerpts - 11pm to 12am
Excerpts - 12am to 1am

Customer Reviews:

Entertaining.......2006-02-10

This is a low-fi recording of a sound collage event that took place in Los Angeles in 1965. A bunch of pre-recorded tapes were triggered and overlaid in real time using chance operations. This CD contains excerpts from the six hour performance.

Cage was sincere about process over product. He reportedly didn't listen to records (of his own music or anybody else's). I think this CD is fun, but since there's no intentionality to the sound constructions it's hard to grade. I think the last two tracks are the best blend of the source material (the same tapes keep popping up in different tracks) but if you appreciate media collage you'll enjoy the whole thing. Be warned, though, that this is not "soundboard" quality -- sounds more like somebody set a tape recorder in the middle of the room.

An interesting mix of sounds. Musique Concrete at it's fines.......2002-01-07

I purchased this CD on the sole recommendation that it was by John Cage, an artist I had read a lot about in my studies in the field of Electronic and Experimental Music. This piece was mentioned often as a great example of the chance elements of sound-work.

It was a great influence on my work. And it will be on yours, too, if you just give it a chance!

If you love John Lennon's "Revolution 9", you'll love this........1999-11-06

This type of music is an amazing trip through an audio landscape. After several plays of this disc, you'll find yourself making the most fascinating, improbable mental connections between different sound sources. A fun disc. It may even inspire you to create something similar.

Average customer rating:

A Rose By Any Other Name...
"Thus I salute the stronghold, safe from dread and dismay!
Free at last!
I Love This Recording
The Goodall Ring - 1975 - Restored and Remastered

Wagner: The Rhinegold
English National Opera
Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

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Siegfried (Goodall Ring Cycle/Chandos Opera in English)
Wagner: The Valkyrie
The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

ASIN: B00005B550
Release Date: 2001-05-22

Customer Reviews:

A Rose By Any Other Name..........2007-07-02

The figure of speach may not be completely correct in this instance, but, well, I hope you get the point. In any case, for a Dutch speaking person, like I, to hear 'The Ring' in a language other than the original German feels - almost shockingly(?) - natural. Certainly, this modern English translation, to me, is as least immediate, and probably even more immediate, than the original (archaic) German text. And in music drama, immediacy is essential. Maybe it is also the wonderfully natural translation, I don't know, but it works for me, the Ring in English.
But most of the credit has to go to the music, the singers, and the recording as such. I believe that this (originally analogue) remastered recording has one of the best recorded sounds and acoustics of any Ring, studio or 'live'. It is wonderfully clear but warm, kind of velvety (very unlike Solti), with beautifully natural balaces between voices and orchestra. Audience noises can be heard (including a delightful little ripple of laughter) but never really obtrusively so, thankfully. And I love the thunderclap-sound effect when Donner strikes his hammer against the rocks - very tastefully done, and lending extra power to the scene.
All the time one reads in reviews everywhere of the very slow speads at which the music is conducted by Sir Reginald Goodall. Well, that may be so, but I, for one, am certainly endeared to Sir Reginald Goodalls 'caressing' of the music, as a result of which wich the Leitmotifs come out more clearly than ever. The slow - but nonetheless very concentrated, and always involved - playing has, to me, an almost mesmerizing effect. Certainly, compared to many other recordings, the music may sound stretched almost beyond breaking point. But in the end, I think it is really just that: a matter of speed, no more. The concentration never falters and the dramatic arc never saggs. There is live 'music magic' going on here, I feel, even if the English National Opera Orchestra may not be (as precise or as diciplined as) a Wiener Philharmoniker or a Bayreuther Festspielorchester. Certainly, Sir Reginald Goodall must have loved this music and these opera's: one feels a slowly beating but constant loving pulse that energizes the drama and the music.
But we also have the singers. And what a great singers! While the best may be yet to come (with Alberto Remedios as Siegmund and Siegfried, and Rita Hunter as Brunnhilde), we here, in The Rhinegold, already have one of the most commanding of Wotans (Norman Bailey, with wonderful burnished timbre). Also, Emile Belcourt stands out as a wonderfully sleek but full-voiced Loge. Derek Hammond-Stroud's Alberich may not be as black as Gunther von Kannen's (for Barenboim), for example, but there is enough anguish, frustration and anger to lend his character a convincing reality and depth. And the giants too, are a winning pair. Especially Fafner (Clifford Grant) is as imposing and powerful as one may ever wish.
With all the rave reviews, here and elsewhere I can't wait to hear The Valkyrie, (especially) Siegfried and Twilight of the Gods. This certainly is a winning 'Ring', to be kept alongside any other 'great' recorded 'Ring' out there, IMHO. To me, it can hold its own alongside any other favorite recordings.
Please, sample this Ring (try for example the Chandos website for fragments of all of the music) and decide for yourself. Highly recommended.

"Thus I salute the stronghold, safe from dread and dismay!.......2007-06-12

Okay, so we have the Solti, Bohm, Karajan, Levine, Janowski, Goodall, and Sawallisch Rings on the market (I haven't listened to the other Ring recordings yet, sorry to say). And all of these leave me to one conclusion: the many differences lead me to believe that all of these ring sets have their own authenticities and setbacks. And here they are:

TIMING (Estimate):
Solti's Ring: 14 hours, 30 minutes
Bohm's Ring: 13 hours, 30 minutes
Karajan's Ring: 14 hours, 50 minutes
Goodall's Ring: 16 hours, 50 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Sawallisch's Ring: 14 hours, 0 minutes

CONDUCTING:
Solti: Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His Walkure & Gotterdammerung Preludes are clear examples: they're annoyingly bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.

Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe "Wohin schleich'st du eilig und schlau"). I especially like his "Forging Scene" & "Hagen Summons the Vassals"; both are the most energetic on disc.

Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as Siegfried Act Three Scene Three) are controlled nicely. His "Funeral March" and "Immolation" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.

Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: everything is slower than adagio moderato. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.

Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Sawallisch's). Rheingold Scene Four can be best described as "sensational".

Levine: While he does stay true to the score like Bohm, this conductor makes for a somewhat dull Ring. His handling of the orchestra is nice, but the moderately slow tempi he chooses is flawed. It should be more animated. His beautiful "Funeral March" and "Erda's Warning" are two of the few flawless features.

Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.

ORCHESTRA:
Solti's Vienna Philharmonic: The woodwinds are the most beautiful in Solti's Ring (the "Forest Murmurs" is clear evidence of that). French horns and Wagner tubas make this a recommended listening. The strings in "Heda Heda Hedo" could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.

Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Erda's scenes aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tone & technique. Overall, this orchestra is the most dramatic.

Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung "Three Norns" Scene sounds very mysterious, very eerie.

Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. The Flight of the Valkyries doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act One Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.

Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Bohm's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are found in this Ring. I can hear harps in Flight of the Valkyries! The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Solti's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.

Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.

Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.

SINGERS:
-Wotan
Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Rheingold, in which a less stellar George London performs).

Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording, but he still doesn't disappoint.

Karajan: Dietrich Fischer-Dieskau plays Wotan in "Rheingold," while Thomas Stewart replaces Fischer-Dieskau in "Walkure" and "Siegfried". I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both "Walkure" and "Siegfried".

Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen.

Levine: James Morris is a notch below Hotter, Adam, and Bailey, but he overpowers Fischer-Dieskau pretty much throughout the Levine's Ring.

Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his Wotan's Farewell wasn't enough to sadden me.

-Brunnhilde
Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her final scene in Gotterdammerung is brilliant beyond belief.

Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Gotterdammerung, sorry to say).

Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."

Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.

Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin: while she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).

-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm. Jon Vickers for Karajan, Alberto Remedios for Goodall, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, and Robert Schunk for Sawallisch. For the Sieglindes, we have Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jessye Norman for both Janowski and Levine, and Julia Varady for Sawallisch. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Two exceptions, though: Robert Schunk doesn't sound heroic enough, and Jessye Norman for Levine's Ring doesn't sound young and innocent enough.

-Siegfried
Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in both renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming.

Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.

Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.

Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.

Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. I don't know Levine should've chose Kollo when he recorded his Ring.

-Alberich
Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?").

Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.

Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.

Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.

Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.

-Mime
Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners.

Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.

Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.

Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.

Levine: Heinz Zednik is yet another excellent mime. He is equal to Schreier when it comes to humaneness and lyricism. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.

Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.

-Loge
Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere is greatly affects the entire Rheingold. But he'll soon be forgotten later on in the Ring.

Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Still, it's satisfactory, and his "Ihrem ende eilen sie zu" gives great foreshadowing.

Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. His scenes in Scene Three are delightful.

Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.

Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt depends only on imagination and deviousness, Stolze only vengeance and deviousness, and Windgassen only peril. His odd conversations with Alberich and the gods/goddesses are classic.

Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.

Sawallisch: Robert Tear is on par with Stolze and Schreier. Sometimes he takes things too low, but all is forgiven with his management of character development.

-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings (maybe not in Swarowsky's version). Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm and Goodall. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.

CONCLUSION: I have yet to listen to Barenboim's Bayreuth presentation and the essential mono recordings (Furtwangler, Krauss), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the calculated Janowski, the relaxed Levine, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.

Sir Georg Solti: Wagner - Der Ring des Nibelungen (Ring Cycle) / Sir Georg Solti

Karl Bohm: Wagner: Der Ring des Nibelungen

Herbert von Karajan: Der Ring des Nibelungen / Karajan / Berlin Philharmonic

Goodall: Wagner: The Ring Cycle (Box Set)
-The Valkyrie (Part 2): Wagner: The Valkyrie
-Siegfried (Part 3): Siegfried (Goodall Ring Cycle/Chandos Opera in English)
-Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

Marek Janowski: Wagner: Der Ring des Nibelungen

James Levine: Der Ring Des Nibelungen

-Wolfgang Sawllisch: Wagner - Der Ring des Nibelungen (Ring Cycle) / Sawallisch, Bayerischer Staatsoper

Free at last!.......2004-09-18

I've enjoyed listening to the Ring cycles by Solti, Bohm, and Furtwangler, but my pleasure has always been dampened by the necessity to follow the dramas with a German/English libretto. This performance freed me from that burden and allowed me to listen to the Ring with my ears alone for the first time. And what a delightful experience it was! I found I could understand about half the words the first time through. but that was enough for me to understand what the characters were saying and concentrate on Wagner's great music. Some of the characters (Loge and Alberich, for example) are almost perfectly comprehensible, while others (Fricka in particular) might as well be singing in German. The sound itself is superb, with perfect balances between orchestra and voices. Goodall's conducting is famously slow (about half an hour longer than usual), but he is never slack and he reveals a wealth of detail in the orchestration. The singers are a mixed lot, with Loge, Alberich, and Mime particularly effective. Bailey is hardly the grandest of Wotans, but he is solid and convincing. In any event, for us non-German listeners, this recording is a real treat. I would not recommend it as a first Ring (Bohm is a good choice, though some of his tempi are rather hectic), but as a supplement to a recoding in the original language, it is hard to beat. Give it a try! As for me, I'm ready to go on to "Die Walkure" (pardon me, "The Valkyrie").

I Love This Recording.......2002-04-05

I was a little suspicious when approaching this English-language version of Das Rhinegold. I was considering assembling this as my third RING set (behind Solti and Levine) and had listened to THE VALKYRIE (Die Walkure) with a little initial disappointment. Although the live sound quality was very interesting, the tempo was much slower than I was used to and thus a little disconcerting, and the English words were harder to understand than I had hoped. Nevertheless, I persevered and listended to THE RHINEGOLD (probably my favorite of the four RING operas, although I know this puts me in a minority) and was amazed. Best of all, after listening to this album I revisited the Goodall VALKYRIE and discovered a new appreciation! Now the Goodall set ranks as one of the best I've heard. It just needed to get under my skin a bit.

What's so good about it? Three things stand out for me: First, the slow tempi that were a litle rough at first actually allow, upon repeated listenings, a new discovery and understanding of Wagner's unfathomable genius. Every nuance is slowed down just enough to be fully accessible. Second, the modern English translation really does make this a different experience...my initial mistake was thinking that English lyrics could allow me to listen to this as background music, and that's not the case. However, if one devotes the same attention to this as a German recording, the time wil be richly rewarded. Finally, the smaller orchestra creates an almost chamber music-esque setting, which compliments the music in an undefinable way. Despite being in English, this is almost more Germanic than original-language recordings.

I still probably wouldn't get this as the first foray into Wagner's RING (I still think Solti or Levine are the choices for that). But for someone who already has some familiarity with the work, this will provide a lifetime's enjoyment. Cudos to Chandos for resurrecting these recordings!

The Goodall Ring - 1975 - Restored and Remastered.......2001-06-08

I have been curious about this for years. When I saw the packaging, I wondered whether this was the same Ring that has been kicking around for a couple of decades from the Sadler's Wells performances of the mid-70s. News flash: It's the same. However, the box says that it's been re-mastered with something called 24-bit digital mastering. Since I never heard the old records, I have no idea if this is better. Judged on its own, the sound is terrific. This live recording really places the listener in the theater with clarity and authentic spaciousness. So often, a live recording will capture the audience up close, then the orchestra, then the singers, cataloguing every throat being cleared and every bow being tapped. Somewhere in the distance, the singers voices follow their heavy tread over the stage. Not here. There is an intimacy to the sound here that approximates sitting in about the tenth row back in a large hall. It doesn't sound like the opera's being played in your room; it sounds as though your room has been transformed into a medium sized theater. I found it uncanny.

As to the experience of the drama in English, that too is remarkable, at least for someone like me whose home-tongue is English. The drama takes on an immediacy that I have never experienced before. This factor alone is why you should explore this Ring. I can't overemphasize the impact on me that this recording had on me because it was in English and because it was well-acted. Surely this is what Wagner meant, at least dramaturgically (obviously allowing that you can't actually see the action).

Overall, the singing is competent, and in some places, it's excellent. None of the cast really stands out musically. Norman Bailey's wobbly Wotan could have certainly benefitted from a deeper, richer tone. Still, and perhaps more importantly, he creates a god who is clearly unsure of where the moral highground is, even when he's standing on "an open space on a mountain summit." Everyone, for that matter, is dramatically convincing, especially Emile Belcourt (Loge) and Derek Hammond-Stroud (Alberich) and Robert Lloyd (Fasolt), all of whom, by the way, have excellent diction. And speaking of diction, I almost could have done without the libretto when the men were singing. Not so with the women, whose diction was uniformly wanting.

Goodall's pace is notoriously glacial. Still, it's interesting to hear it parsed in this way, and I never had the feeling that I was going to fall off the world. Which is to say that the tempos were deliberate, not affected. This was definitely a labor of love for RG and the English National Opera. The orchestra is a little thin sounding, and perhaps, not entirely up to the score. Occasionally a horn mis-blew and a cello creaked. This is unavoidable in live performances, I suppose. Still, there is a surprising sense of smallness to the ensemble, even though there's never a moment when the balance between singers and players is lost. As a result, the overall effect is a balance of clarity and urgency that is clearly the upside of Goodall's idiosyncratic "vision" of the score. Not a huge or "erotic" sound, but always committed, intelligent, and sometimes impassioned.

Tracks:

Away Above A Harborful
Just As I Used To Say
In Hintertime Praxiteles
In Paris In A Loud Dark Winter
Not Too Long
And The Arabs Asked Terrible Questions
Yes
Sarolla's women In Their Picture Hats
'truth Is Not The Secret Of A Few
For All I Know Maybe She Was Happier
Fourtune
And She Like A Young Year
It Was A Face Which Darkness Could Kill
So
Funny Fantasies Are Fewer Never So Real As Oldstyle romances
Three Maidens Went Over The Land
Terrible
London
With Bells For Hooves In Sounding Streets
That Fellow On The Boattrain Who Insisted
Heaven
Crazy
Dada Would Have Liked A Day Like This
Picasso's Acrobats Epitomize The World
The World Is A Beautiful Place
Reading Yeats I Do Not Think/Sweet And Various The Woodlark

Leonard Bernstein: The 1953 American Decca Recordings

Average customer rating:

It's wonderful to have Bernstein back, but the performances fall short
Come back Lennie, we need you
For Bernstein enthusiasts, it's like owning a gold mine
Bernstein's Early American Recordings

Leonard Bernstein: The 1953 American Decca Recordings

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
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ASIN: B00067GKF6
Release Date: 2005-02-08

Customer Reviews:

It's wonderful to have Bernstein back, but the performances fall short.......2006-11-26

These 1953 mono recordings catch Bernstein a decade after his famous debut with the NY Phil. and five years before he became their youngest-ever condcutor. It's great to hear that warm, comforting voice again, although his analyses--especially the longest one devoted to the Brahms Fourth--aren't as polished as they would become. He gets pedagogical at times and runs us through a rote example-and-explanation formula. Even then, howeer, colorful Bernstein touches peek out, and we are reminded of the man who taught an entire generation to venerate classical music.

For me, the performances themselves fall short. They were often recorded in a rush, sometimes late at night after a summer concert. I know that the Stadium Sym. is actually the NY Phil., but they don't sound particularly fine, and Bernstein's interpreatations, though vigorous, often border on the slapdash. Plowing through Beethoven's 3rd, Dvorak's 9th, Schumann's 2nd, Brahms' 4th and Tchaikovsky's 6th, I found few sparks of originaity, much less genius. This is a tough admission from one of LB's geat admirers, but there you are. The original recorded sound is also a bit thin and harsh.

Come back Lennie, we need you.......2006-02-22

This box is worth its price just for the five talks. Bernstein at this stage had a teaching style rather more stilted than the chatty sage of later years, but the combination of authority, insight and infectious enthusiasm is unique. Entertainingly offhand about the New World, he's at his best on the music he reveres most, i.e. Beethoven, Schumann, and Brahms, the first movement of whose Fourth Symphony gets a particularly in-depth analysis that left me yearning for more. Practically anyone could enjoy and learn from these talks - they're fascinating fun without a whiff of down-dumbing. When the classical and the popular cross over nowadays, the results are usually compromised and crass, but with Bernstein there doesn't even seem to be a gap to be crossed over - just a passion to share these wonders with as many people as possible. We need his all-embracing talent and vision today more than ever.

Then there are the performances. I'm not the biggest fan of mono symphonic recordings, but these positively leap down your ears, unmannered, committed and electric. It's hard to believe what was achieved under the hasty recording conditions described in the booklet. The sound is a little fierce, but good enough to make this set a wonderful gift for any open-minded but symphonically ignorant acquaintance. I can easily imagine it turning someone on to classical music.

For Bernstein enthusiasts, it's like owning a gold mine.......2005-06-19

This new album set is something that I had heard of, but never dared to hope would be released on CD. It consists of Leonard Bernstein's very first recordings of Beethoven's Symphony No. 3 (the "Eroica"), Dvorak's "New World Symphony", Schumann's Symphony No. 2, Brahms' Fourth Symphony, and Tchaikovsky's "Pathetique" Symphony. They are all conducted by Bernstein and played beautifully by an orchestra which bills itself as the New York Stadium Symphony Orchestra, but which is really the great New York Philharmonic, using the name that they gave themselves during summer concerts.

The performances are a revelation, because they demonstrate conclusively that Bernstein did not always "exaggerate" or "overinterpret" great music, as critics frequently claim. His performances here are very, very direct and straightforward, more like Fritz Reiner or Toscanini than like Bernstein.

If this album contained only Bernstein's early performances of these symphonies, it would be interesting, but it might not really attract that much attention, since he re-recorded all of these pieces in stereo in later years, and with the same orchestra.

What makes this set so valuable is that it contains his long out-of-print lectures on these symphonies, and far from what the previous reviewer claims, they never become boring and monotonous. No musician in our time, or maybe even in the history of music, was a better or more articulate and sensitive lecturer on music than Leonard Bernstein. His legendary appearances on the "Young People's Concerts" did more for the appreciation of classical music than all the "Beethoven's Wig" albums combined. (If you don't know what "Beethoven's Wig" is, check it out and shudder at how far music appreciation has fallen since Bernstein's death.)

Bernstein had a unique ability to make classical music accessible to everybody, without ever condescending to the listener or cheapening the music. His lectures on this album, previously only available to 1950's Book of the Month Subscribers (except for part of the Beethoven lecture, which is the only one that Bernstein did re-record in stereo), are invaluable both to music students and to those who are willing to listen. All of the lectures included cover all four movements of the symphonies discussed, except for the Brahms; that one is just as extensive as the others, but it covers only the first movement of the symphony.

However--be warned, the lectures do have a flaw that the symphonies themselves do not, and that is why I have subtracted one star.

The symphony recordings are obviously remastered from magnetic tape, but the lectures have been transferred from LP's. Thus, you will be able to hear an occasional click or pop from time to time, and there is a clearly audible "skip" on the Brahms lecture. It is NOT the CD being defective, or the laser beam on your player skipping; it is clearly the lecture recordings themselves. Deutsche Grammophon, which released this CD set, is very honest about the source of the transfers to compact disc, and is to be commended for this. (They mention it in the last page of the accompanying booklet.) But this shouldn't deter anybody from buying this enormously important Bernstein set.

Bernstein's Early American Recordings.......2005-04-02

The most recent batch of DG's "Original Masters" box sets boasts several titles that will leave classical collectors rejoicing, "Leonard Bernstein: The 1953 American Decca Recordings" foremost among them. This 5CD set features Lenny in his earliest recorded performances of some of his trademark works -- Beethoven's 3rd, Dvorak's 9th, Schumann's 2nd, Brahms' 4th and Tchaikovsky's 6th Symphonies. Bernstein would later re-record all of five these symphonies with the NYPO (btw, the Stadium Symphony Orchestra of New York IS the NYPO) to greater acclaim for Columbia, but these early accounts capture a brilliant young conductor at the threshold of greatness. Also after each performance, Bernstein offers a musical analysis, simplifying what the listener just heard as only he could, which is again something the conductor would become famous for in years to come. Well then, if this is such a great set, why the four-star rating? First, while the performances sound very good, these are 1953 mono recordings and the casual fan needs to be aware that analog and digital stereo recordings of these works by the conductor do exist, and are generally preferable. Second, the musical analysis is a nice touch, but certainly does not warrant repeated listenings, as does the music. In fact, nearly half of the contents of these five discs is LB talking, and it could have been filled with music instead, or simply sold as a less expensive 3CD set. However, these shortcomings aside, "Leonard Bernstein: The 1953 American Decca Recordings" is another outstanding release in a fine series.

Music:

Music

Music

1. Word to the World
2. I Am Still Persuaded
3. I Am Sure
4. Count It All Joy
5. Forgiven, Forgotten, Forever
6. We Believe
7. I Offer My Life
8. Don't Let Your Heart Be Troubled
9. Lovely Lord/O Lord You're Beautiful
10. All His Benefits