No Fear in Me

Track Listings

1. Survival

2. Glory

3. Get Out My Face

4. Angel Song

5. Interlude

6. War Clothes

7. I Will Not Bow Down

8. Callin' Me

9. Who

10. Pain

11. Get Out My Face

12. Outro

No Fear in Me, Music, Erick Matthews, CCM, Gospel, Gospel/Christian Music, Pop

Mendelssohn: Elijah
Average customer rating:

Wonderful, but not my first choice

THE BEST recording of the BEST oratorio ever...

Too bad there are so few recordings of Elijah

Mendelssohn: Elijah

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Franz Joseph Haydn: The Creation

Mendelssohn - Elijah / Terfel, Fleming, Bardon, Ainsley, Fulgoni, Paul Daniel

Mahler: Das Lied von der Erde

Brahms - Ein Deutsches Requiem (A German Requiem) / Auger, Stilwell, Atlanta SO, Robert Shaw

Brahms: Ein deutsches Requiem [A German Requiem]

ASIN: B0002XV31A
Release Date: 2005-02-15

Tracks:

Introduction: As God The Lord Of Israel Liveth
Overture
No.1 Help, Lord! Wilt Thou Quite Destroy Us?
No.2: Lord! Bow Thine Ear To Our Prayer!
No.3: Ye People, Rend Your Hearts
No.4: If With All Your Hearts
No.5: Yet Doth The Lord See It Not
No.6: Elijah! Get Thee Hence
No.7: For He Shall Give His Angels Charge Over Thee
Recitative: Now Cherith's Brook Is Dried Up
No.8: What Have I Do To Do With Thee?
No.9: Blessed Are The Men Who Fear Him
No.10: As God The Lord Of Sabaoth Liveth
No.11: Baal, We Cry To Thee: Hear And Answer Us!
No.12: Call Him Louder, For He Is A God!
No.13: Call Him Louder! He Heareth Not!
No.14: Lord God Of Abraham, Isaac And Israel!
No.15: Cast Thy Burden Upon The Lord
No.16: O Thou, Who Makest Thine Angels Spirits
No.17: Is Not His Word Like A Fire?
No.18: Woe Unto Them Who Forsake Him!
No.19: O Man Of God, Help Thy People!
No.20: Thanks Be To God!

Tracks:

No.21: Hear Ye, Israel; Hear What The Lord Speaketh
No.22: Be Not Afraid, Saith God The Lord
No.23: The Lord Hath Exalted Thee
No.24: Woe To Him, He Shall Perish
No.25: Man Of God, Now Let My Words Be Precious
No.26: It Is Enough; O Lord Now Take My Life
No.27: See, Now He Sleepeth
No.28: Lift Thine Eyes To The Mountains
No.29: He, Watching Over Israel, Slumbers Not
No.30: Arise, Elijah, For Thou Hast A Long Journey
No.31: O Rest In The Lord
No.32: He That Shall Endure To The End, Shall Be Saved
No.33: Night Falleth Round Me, O Lord!
No.34: Behold! God The Lord Passed By!
No.35: Above Him Stood The Seraphim
No.36: Go, Return Upon Thy Way
No.37: For The Mountains Shall Depart
No.38: Then Did Elijah The Prophet Break Forth
No.39: Then Shall The Righteous Shine Forth
No.40: Behold, God Hath Sent Elijah
No.41: But The Lord, From The North Hath Raised One
No.41a: O Come Everyone That Thirsteth
No.42: And Then Shall Your Light Break Forth

Customer Reviews:

Wonderful, but not my first choice.......2007-04-07

I believe this was the first recording of Elijah in English that used an "international" conductor and some international singers. Fruhbeck gives a good, dramatic sweep to the piece, with some wonderful dramatic moments. This is an old fashioned performance, with only a solo quartet, and if there is a semi-chorus, I can't tell the difference. This means that the soprano is the Widow, and an Angel, the mezzo the Angel and Queen Jezabel, etc. You really should have a libretto, but you don't get one at this price.
Fischer-Dieskau roughens up his voice for the role, and therein lies a problem. The voice spreads and his diction suffers because of it; that and his unidiomatic pronounciation, with far too many rolled "r"s. He does the drama well, but what works well in lieder works here less well on the large scale. Odd, given his success as on opera singer (check out his Iago), that here he frequently comes off blustery.
Dame Gwyneth Jones belies her reputation and gives a contolled, dramatic performance, using her "edge" to advantage in "Hear Ye, Israel". Gedda's diction is amazing, with exactly the right color for this literature, and projecting a little more blood than an English tenor.
Dame Janet Baker is my star in this performance. Dramatic, heart-rending when need be, and in wonderful voice. She'll chill your blood when she tells the people of Baal to "slaughter him, do what he hath done!".
And as for the people of Baal, the Philharmonia Chorus is wonderful. Incisive and dramatic, with beautiful tone. I could do without the trick of the boy choir for "Lift Thine Eyes", and I miss the small ensembles, but all in all a fine performance, and good recording, circa 1968.
First choice in English, Daniels/Terfel: better Elijah in Terfel, better recording, more authentic orchestra, small vocal ensembles (as per the score) but inferior women (including Fleming: beautiful tone, but where's her head?). In German, it's Sawallisch/Adam all the way.
But if you're singing Elijah, and have a score, this is a good choice.

THE BEST recording of the BEST oratorio ever..........2006-08-15

Okay, I'm gonna admit I'm biased- I first sung in the chorus of Elijah when I was 14 and it made a BIG impression on me!
This recording is in every way wonderful. Starting with Dietrich Fischer-Dieskau. He IS Elijah to me. His singing is perfection. He has amazing phrasing and his diction makes it possible to understand the lovely, inspired libretto to this heavenly music. There are so many pieces that are ephemeral, but a couple of my favorites are: #14, Lord God of Abraham and #37, For the Mountains shall Depart. Dieskau does a great job of what I think of as compassionate, heartfelt singing. His interpretation sounds like the voice of God himself. It has a quality of kindness and yet he sounds just as convincing reprimanding the people of Baal. He is the true highlight of this recording.

That said, the rest of the cast is wonderful as well. Gwyneth Jones has a lovely, silvery voice that has a clarion bell-like tone that rings over the large orchestra with ease. She has occasional "misfire" but is a consistent performer. Dame Janet Baker and Nicolai Gedda both perform at a consistently lovely level. The orchestra and chorus are both wonderful. #15, Cast thy Burden upon the Lord, #32 He that Shall Endure to the End, and #38 Then Did Elijah are all highlights.

All said, for me the main reason to get this recording is Dieskau's Elijah- after all, he's the main character. But don't forget the lovely music. This story is exciting and passionate and sacred all at the same time. For me, it's the best oratorio that has a moving story and great music too.

Too bad there are so few recordings of Elijah.......2006-07-03

This is a good recording of an oratorio that deserves more attention. The chorus and soloists are very good--I just wish Fischer-Diskau wouldn't slide around so much in singing the title part!

Average customer rating:

Handel: The Masterworks (Box Set)

Manufacturer: Brilliant Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00062FLI8
Release Date: 2004-11-30

Average customer rating:

Shakespeare's Songbook, Vols. 1 & 2

Manufacturer: Azica
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Shakespeare's Songbook
Songs and Dances from Shakespeare
Shakespeare Songs
Shakespeare's Musick (Songs & Dances from Shakespeare's Plays) / Pickett, Musicians of the Globe
William Shakespeare's Hamlet (Two-Disc Special Edition)

ASIN: B0002IQL08
Release Date: 2004-07-06

Tracks:

Ah Robin (Round)
And Let Me The Cannikin Clink
And Will He Not Come Again
Be Merry, Be Merry
Black Spirits
Blow, Blow Thou Winter Wind
Bonny Sweet Robin
But Shall I Go Mourn
Can'st Thou Not Hit It
Come Away
Come Away, Hecate
Come Live With Me
Come O'er The Burn
Come Thou Monarch (Version 2)(Round)
Come Unto These Yellow Sands
A Cup Of Wine
Farewell, Dear Heart
Fathers That Wear Rags
Fear No More
Fie On Sinful Fantasy
Fill The Cup (Round)
Flout 'Em And Cout 'Em (Round)
Fools Had Ne'er Less Grace
For I'll Cut My Green Coat
The Friar And The Nun
Full Fathom Five
The George Alow (Version 1)
Get You Hence
The God Of Love
Hark, Hark The Lark
Have I Caught My Heavenly Jewel
Heart's Ease
Hold Thy Peace (Version 2)(Round)
Honor, Riches
I Am Gone Sir
I Loathe The I Did Love
It Was A Lover And His Lass
Jepha
Jog On
Jolly Shepherd (Round)
King Stephen Was A Worthy Peer
Lawn As White
Love, Love, Nothing But Love (Version 2)
The Master, The Swabber (Version 2)
No More Dams
An Old Hare Hoar (Version 1)
O Mistress Mine (Version 1)
Orpheus With His Lute
O Sweet Oliver
Pardon Goddess Of The Night
Roses Their Sharp Spines
Sigh No More, Ladies
Some Men For Sudden Joy (Version 1)
Take, O Take Those Lips
Tell Me, Where Is Fancy Bred
That Sir Which Serves
There Dwelt A Man In Babylon (Version 1)
There Was Three Fools
Three Merry Men (Round)
Tomorrow Is St. Valentine's Day
Under The Greenwood Tree
Up And Down (Round)
Urns And Odours Bring Away
Walsingham
Was This Fair Face
Wedding Is Great Juno's Crown
What Shall He Have (Round)
When Arthur First In Court
When Daffodils Begin To Peer
When Daisies Pied
When Griping Grief
When Icicles Hang By The Wall
When That I Was And A Little Tyne Boy
Where The Bee Sucks
While You Here Do Snoring Lie
Who Is Silvia
Why Let The Strucken Deer
Willow, Willow (Version 1)
Will You Buy Any Tape
The Woosel Cock
You Spotted Snakes

Tracks:

Awake, Awake
Battle Of Agincourt
Bride's Goodmorrow
Broom
Callino
Carmen's Whitle
Chi Passa
Come Kiss Me, Kate (Round)
Come Thou Monarch (Version 1)
Cup Of Wine (Version 1)
Damon
Daphne
Diana (2 Versions)
Dulcina
Eglamore
Eighty-Eight
Fortune My Foe
George Alow (Version 2)
Glass Doth Run
Goddesses
Go From My Window
Greensleeves (2 Versions)
Guy Of Warwick
Hem Boys (2 Versions)
Hey Ho for A Husband (2 Versions)
Hobbyhorse
Hold Thy Peace (Versions 1 & 3)
Hunt's Up
I Cannot Come Every Day (2 Versions)
In Crete
In Peascod Time
Jack Boy (Round)
King Cophetua
King Lear
King Solomon
Light O Love
Loath To Depart (2 Versions)
Love, Love (Version 1)
Master, Swabber (Version 1)
Mounsier Mingo
Mounsieur's Almaine
My Mind To Me
Nutmegs (Of All The Birds)
Nutmegs (Wooing Of The Baker's Daughter)
O Death (2 Versions)
Old Hare Hoar (Version 2)
O Mistress Mine (Version 2)
O' The Twelfth Day Of December
Oyster Pie
Peg A Ramsey (2 Versions)
Phillida (3 Versions)
Please One
Pyramus
Queen Dido (2 Versions)
Ratcatcher
Rich Jew
Robin Goodfellow
Robin Hood
Rogero
Rowland
Sellenger's Round
Shore's Wife (2 Versions)
Sick, Sick (3 Vesions)
Some Men For Sudden Joy (Round)
There Dwelt A Man (Version 2)
Titus Andronicus
Tom A Bedlam (2 Versions)
Troilus
Troy Town
Wellady
Whenas We Sat In Babylon
Where Is The Life
Whoop
Why Let The Strucken (If Care Do Cause)
Willow, Willow (Version 2)
Will Ye Buy A Fine Dog
With A Fading

Average customer rating:

One of my Favorite CDs
Melodious Shakespeare

Songs to Shakespeare
John Addison , John Addison II , William Aikin , Thomas Arne , Sir Henry Rowley Bishop , Benjamin Britten , Geoffrey Bush , John Clifton , Henry Balfour Gardiner , Franz Joseph Haydn , Mervyn Horder , Herbert Howells , John Ireland , William Linley , John Major , Sir Charles H.H. Parry , Roger Quilter , John Christopher Smith , Charles Villiers Stanford , Michael Tippett , Ralph Vaughan Williams , Graham Johnson , and Anthony Rolfe Johnson
Manufacturer: Hyperion
ProductGroup: Music
Binding: Audio CD

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ASIN: B000002ZP7
Release Date: 1993-11-19

Tracks:

You Spotted Snakes
No More Dams I'll Make For Fish
On A Day, Alack The Day
She Never Told Her Love
O Mistress Mine
Lawn, As White As Driven Snow
If Love Make Me Forsworn
O Happy Fair!
If Music Be the Food Of Love
Farewell, Thou Art Too Dear For My Posessing
When In Disgrace With Fortune And Men's Eyes
Shall I Compare Thee To A Summer's Day?
The Rain It Raineth Every Day
Orpheus With His Lute
Come Away Death
Fear No More The Heat o' The Sun
Take, O Take Those Lips Away
It Was A Lover And His Lass
Winter
When Daffodils Begin To Peer
Under The Greenwood Tree
Songs For Ariel - I. Come Unto These Yellow Sands
Songs For Ariel - II. Full Fathom Five
Songs For Ariel - III. Where The Bee Sucks
Who Is Silvia?
Francie
Sigh No More Ladies

Customer Reviews:

One of my Favorite CDs.......2004-02-19

In this wonderful collection of Shakespeare settings, Mr. Rolfe-Johnson creates a magical atmosphere using his unbelievable musicality and gorgeous, gorgeous voice! The songs themselves range from the sweet and charming "No more Dams!" to the heavenly interpretation of "She Never Told Her Love", but for me the high point of the whole CD is his incredible performance of the early version of Vaughan Willams' "Orpheus with his Lute"...this song alone is worth the price of the album! Mr. Rolfe Johnson is truly one of the worlds most exquisite tenors! A must have for every fan of English Song!

Melodious Shakespeare.......2001-01-24

This CD consists of a collection of settings of Shakespearian lines by composers ranging from the 18th to the mid-20th centuries. It is an ideal vehicle for finding a new way to enjoy these writings of Shakespeare and also experience the work of a number of British composers, some well-known and some not so well-known

Average customer rating:

English is an asset and a drawback
You Will Love Opera After Hearing Carmen In English
A wholly credible "Carmen" -- finally!
I love Carmen!

Carmen (Sung in English)
Bizet , Bardon , Gavin , Plazas , Magee , and Parry
Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

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Mozart - Don Giovanni / Garry Magee · Cullagh · Banks · Plazas · Shore · Tierny · PO · David Parry

ASIN: B00007JGRN
Release Date: 2003-03-11

Tracks:

Prelude
In The Plaza
Just Look At That Delicious Morsel
Here Come Our New Soldier Boys
Jose! There Was A Girl Here Looking For You Just Now
Off With You Old Soldier Boys
Corporal! Sir!
We Have Heard The Bell Summon Us To Meet Here
Ah, Just Look!
But Why Hasn't She Come, Our Carmencita?
Love's A Bird Wild As Any Rebel
Carmen! We Will Follow You High And Low!
The Cheek Of It!
Give Me News Of My Mother!
Your Dear Mother And I Were Leaving Church This Morning
I See My Mother's Face!
Wait A Moment - I'm Going To Read The Letter
Come And Help
So, Corporal: Tell Me What Happened
Well, Carmencita: What Do You Have To Say For Yourself?
Where Are You Taking Me?
There's An Old Bar In The City
Careful - It's Lieutenant!
Entr'acte
From Far Away Mysterious Sounds
Bravo, Bravo! More! Keep Dancing!
Hurrah! Hurrah! The Torero!
Who's That? It's Escamillo, The Bullfighter From Granada
Hurrah! Hurrah! The Torero!
You're Most Kind
We'll Come With You, Senor Torero
Toreador, Be Ready!
At Last! We Got Rid Of Them As Quickly As We Could
There's A Little Job That We're Starting!
Being In Love Is Not A Reason

Tracks:

To Bid You Welcome To Our Bar
La La La La La La La La...
Back To Camp!... Go At Once!
That Flow'r You Threw To Me I Treasured
No, It's Not Love At All!
Hello! Carmen!
Lieutenant Fair, It's True
The Sky Above The Open Road
Entr'acte
Keep Going, Dear Old Friend, Kep Going!
Right! Let's Stop For A While
Shuffle! Cut Them!
In Vain You Would Avoid The Bitter Things They're Saying
You're Back!
As For That Man, It Should Be Easy!
Is This The Place?
I Say That There's Nothing To Fear
It's Him! I'm Sure It's Him Over There!
Escamillo Is My Name, And I Come From Granada
She Had A Lover Here
Hola! Hola! Jose!
You Should Take Care, Carmen
Alas! Jose, Your Mother Is Ill
Entr'acte
A Few Cuartos! A Few Cuartos!
Here They Come! Here They Come!
If You Love Me, Carmen
It's You! It's Me!
Viva! Viva! What A Corrida!

Customer Reviews:

English is an asset and a drawback.......2004-07-20

The best thing about this recording of Carmen is the libretto. Conductor David Parry penned this facile and dramatic English translation. He avoids the pitfalls of literal translation to achieve an idiomatic flow that matches the rhythm of the original lyrics. I use this as a reference libretto for any of the French Carmens.

Unfortunately, the performance suffers from being sung in English. The singers declaim their parts with such proper British diction that Carmen comes across as a school marm. The spoken dialog is delivered beat for deliberate beat and is dripping with reverb. It makes the plaza, tavern and mountain pass all sound like a sewer pipe.

This is a good first Carmen for someone trying to understand the work. The libretto itself is a good investment for further listening. For an enjoyable performance with an emphasis on character and action, I recommend Regina Resnik on the London Double Decker set.

You Will Love Opera After Hearing Carmen In English.......2004-02-09

What a perfect introduction to opera. This newly released recording will surely get you hooked into opera. Carmen, a French opera by Georges Bizet, is the most recognizable and most popular in the opera world. It's famous melodies- the overture, the Habanera, The Toreador Song have all been featured in everything from cellular phone ring tones to Superbowl Commercial (last year's Superbowl with The "Opera In English" label has been making Italian operas into English for a number of years now. Also on the market are Verdi's La Traviata in English (with soprano Valerie Masterson as Violetta) Handel's Julius Caesar with Janet Baker and even Wagner's epic Ring Of The Nibeling sung in English. This is a terrific recording and I highly recommend it if you want to get into opera. Listen to this version first and then try the real, original French version Bizet had written. Patricia Bardon is sensational, sexy and dramatic as Carmen.

The real strength of this version is the dynamic drama. With the advantage of being sung in English, we get better insight on characters' emotions and motives, and we understand the drama a lot better. Carmen is all about great drama. Bizet drew the plot from the French writer Prosper Merimee's dark short story. Carmen is the ultimate femme fatale- a devil-may-care, sexy Gypsy living in Spain, seduces the conservatively raised soldier Don Jose, stealing him away from his fiancee, the passive Micaela, living a life of underground smuggling and rowdy taverns. "Habanera" and "The Gypsy Song and Dance" are very expressive of Carmen's extraordinarily liberal lifestyle. Don Jose, however, has fallen deeply in love- as he shows us in his song/aria "The Flower Song". But Carmen soon becomes tired of his constancy. Don Jose wants a committed, monogamous relationship with Carmen. But Carmen will not submit to love, since she is first and foremost a carnal creature. Eventually, she falls for the handsome Toreador Escamillo. Don Jose, consumed by jealousy, stabs Carmen at a bullfight after Carmen declares her love for Escamillo and rejects Don Jose's love. Don Jose's crazed, obscessive personality shines through in the English version as well. This tragedy has been done in English before so don't think this is the first time. Back in the 50's, there was a film, starring black actors "Carmen Jones" which was treated the same way as this opera- more like an English Broadway musical and with the dubbed singing voice of Marilyn Horne as Carmen. All in all, this recording is excellent.

A wholly credible "Carmen" -- finally!.......2003-09-17

This recording really sells "Carmen" as a drama. Although I have two other recordings of this opera and have seen it performed several times, it never quite worked for me dramatically. But thanks to the fine performances, conducting, and translation here, I've become a "Carmen" convert. Producing a good English-language performance of a foreign opera, especially a warhorse like "Carmen," is much more difficult than it might appear. You need performers who not only can sing the parts (of course) but also can sing *English* and make it halfway intelligible and make it sound like English and make it dramatically convincing to English-speakers. The singers on this recording do an excellent job all around. Don't be put off if you don't recognize their names -- they are up to the task musically and (especially) in their acting. Admittedly, as with *all* English-language recordings, some passages are very hard to understand without reading along, but most of the time the words are clear and effective. I would recommend this recording to any opera beginner or opera lover, even those who normally turn up their noses at performances in translation.

I love Carmen!.......2003-08-15

I do. I can think of no other opera with more melodic inventiveness, and few others with so sure a dramatic pulse. Carmen is popular and it thrills me to say that it is also a very good opera - not always true of popular things.

And what of this recording? Carmen sits well in English, so it is good to hear in translation, although some of the detais in the text jar. Escamillo refers to Jose as "my dear", which sounds rather peculiar, and the guide's line to Micaela: "it's not exactly inviting, is it?" sounds distinctly Middle England rather than Rural Spain. Some of the performers, not least Carmen herself, make the words work, although there are long tracts, especially with the chorus, where the language is distinctly indistinct.

The soloists are, by and large, strong. Patricia Bardon's deep, Handel-friendly voice adapts well to Carmen and she colours the music with phenomenal detail, sounding sexy and provocative from the start with an edge of pride and anger that emerges as the show goes on. She is out of her depth above the stave, though, and some extra top notes in the second act don't show her off to her best advantage. I have previously said that Julian Gavin is poorly served by recordings, though here he sounds much more even and gives a thrilling and musical performance (but his wooden spoken lines let him down). Mary Plazas is a lovely Micaela, rich-voiced and sincere (and word-perfect), but Garry Magee sounds miscast as Escamillo, lacking the ballast at the bottom of the voice to do justice to this tricky role.

The supporting cast is good (Mary Hegarty seems to do nothing but Frasquita these days!) but the really treasurable thing is the conducting. Stepping out of Italian Ottocento, David Parry turns his hand to this French Comedie with an appropriate lightness of touch. His pacing and handling of the set pieces is exemplary and the enrtractes go with a real swing.

Tracks:

Overture Andante - Larghetito - Allegro
Recitative Habdonah/Haman: " 'Tis greater far to spare"
Aria Haman: " Pluck root and branch from out the land"
Recitative Persian Officer: "Our souls with ardour glow"
Chorus: "Shall we the God of Israel fear?"
Recitative First Israelite: " Now persecution shall lay by her iron rod"
Aria: " Tune your harps to cheerfull strains"
Chorus: " Shall we of servitude complain"
Aria Israelite Woman: " Praise the Lord with cheerful noise"
Recitative Israelite Woman: " 0 God, who from the suckling's mouth"
Aria Second Israelite: " Sing songs of praise, bow down the knee"
Chorus: " Shall we of servitude complain"
Recitative Priest of the Israelites: " How have our sins provoked the Lord!"
Chorus: "Ye sons of Israel mourn"
Aria Priest ofc The Israelites: "0 Jordan, Jordan, sacred tide"
Chorus: "Ye sons of Israel mourn"
Andante
Allegro
Adagio
Allegro

Tracks:

Recitative Esther/Mordecai: " Why sits that sorrow on thy brow?"
Aria Mordecai: " Dread not, righteous Queen, the danger"
Recitative Esther: "I go before the King to stand"
Aria Esther: " Tears assist me, pity moving"
Chorus: " Save us, O Lord"
Recitative Ahasuerus/Esther: "Who dares intrude into our presence"
Duet Esther/Ahasuerus: " Who calls my parting soul from death?"
Aria Ahasuerus: "0 beauteous Queen, unclose those eyes!"
Recitative Esther: " If I find favour in thy sight"
Aria Ahasuerus: " How can I stay when love invites?"
Recitative Third Israelite/Fourth Israelite: " With inward joy his visage glows"
Chorus: " Virtue, truth and innocence"
Arioso Priest of the Israelites: " Jehovah, Crown'd with glory bright"
Chorus: " He comes, he comes to end our woes"
Recitative Ahasuerus/Esther: " Now, a Queen, thy suit declare"
Arioso Haman: " Turn not, a Queen, thy face away"
Aria Esther: " Flatt' ring tongue, no more I hear thee!"
Recitative Ahasuerus: "Guards, seize the traitor, bear him hence!"
Aria Haman: " How art thou fall'n from thy height!"
Chorus: "The Lord Our enemy has slain"

Album Description

Handel's oratorios vary greatly in their presentation. In many ways, Esther is a rarity;it is by far the most intimate, not surprisingly as it was composed for the Duke of Chandos. The Duke's Palladian palace near the village ofEdgware had not been completed in time for the first performance so this may have taken place (as did Acis and Galatea) in the intimate surroundings of a small church, St Lawrence, Whitchurch.

We decided, therefore, that we should attempt to convey that intimacy of performance on disc; so we performed in the round with microphones in the middle, the orchestra in front of me, the choir behind and the soloists alongside. The result is everything that chamber music should be where players and singers can enjoy every aspect of Handel's masterpiece.

"The 'sound' of Esther, superbly communicated in the recorded performance here, is pure enchantment... The choral singing has an exceptional grandure, and the instrumental playing a shimmering beauty. Among the soloists, none of whom is less than accomplished, Nancy Argenta and Michael Chance dominate... Both singers affirm a new golden age of Handel interpretation".

Customer Reviews:

THE SHAPE OF THINGS TO COME.......2007-01-26

Esther is the first of Handel's oratorios by a good many years, written when he was 33 and enjoying the patronage of the Duke of Chandos. When he later became his own impresario and was running into trouble as a composer and producer of Italian operas he turned to oratorio as a strategic alternative, but at this early date his concern was to deliver staged entertainments for the Duke, and Esther, contemporary with the work that later gained the title Acis and Galatea, seems to have been just an unusually serious specimen of its type.

As often with Handel, there is no fully official version of the score, and this particular score may not even be fully complete from any point of view. The libretto seems to have been the work of someone in the frivolously named association of big literary figures called the Scriblerus Club, perhaps Dr John Arbuthnot, dedicatee of Pope's great poetic Epistle, but Pope himself may have had a hand in it too. As we have it here, the work breaks into two very asymmetrical parts. Scenes 1 and 2 start with a recitative lasting only seconds from Habdonah followed by a longer one in which Haman announces his onslaught on the Israelites, and from there on feature only anonymous participants. Esther herself and the other named characters make their appearance first in scene 4, but the change of tone occurs in scene 3. At this point the music gains gravity first in the chorus Ye sons of Israel with its extraordinary modulations and then in the striking aria O Jordan, Jordan. I myself feel that this weightier tone is maintained to the end, whether or not the writer of the liner note is correct in saying that the long final chorus with solos is out of proportion to its context.

Throughout - in the first part as well as in scenes 3-6 - the instrumental writing is vivid and varied, with an extraordinary pizzicato accompaniment to Tune your harps and then an even more extraordinary obbligato from the harp itself at Praise the Lord. The harpist is no less than Jan Walters, but sometime I would like to see the score and check out what seem some odd rhythmic interactions here between her and the soloist Nancy Argenta. There are no fewer than ten vocal soloists in a work lasting a little over an hour and a quarter, and a very distinguished bunch they are. I was particularly pleased to find Michael Chance in the countertenor role of the Priest of the Israelites as I admire the strength of his tone, but there is no real weakness among them, unless Lynda Russell as Esther has a couple of very slightly awkward high notes in Flatt'ring tongue, which must be a little nerve-wracking to sing as she has to find her note for herself unaccompanied at the start and later at the reprise. You will see some big names among the instrumentalists too, with Crispian Steele-Perkins on the trumpet making a predictably fine contribution towards the end, and of course with Jan Walters in that marvellous harp part early on. The chorus gets some wonderful work to do, and rises to it fully. I really am unable to worry about the proportionateness of the final chorus when I hear that incomparable Handelian build of tone, sung by 18 singers and sounding as if there were 100.

There is a good liner note by Graydon Beeks Jr, not perhaps the last word in lucidity (neither is the plot of the libretto come to that) but worth re-reading. Harry Christophers himself contributes a short foreword largely concerned with the recording process and highlighting the contributions of Mark Brown and Mike Hatch, his long-time technical collaborators. I was interested to see also the name of Geoff Miles in a role described as `editor'. What responsibilities this involved is not stated and perhaps I ought to know without being told, but I know the work of Geoff Miles as recording engineer from elsewhere and it gave me confidence just to see that he is involved in the proceedings, and the technical work is predictably excellent.

My collection of Handel oratorios is now almost complete, and what a wonderful musical experience they are. Each is unique in its own way, but Esther is unique in some very special ways, and I suggest that you do not wait until you are my age to get to know it.

a voice teacher and early music fan.......2006-04-04

Handel began composing the oratorio 'Esther' in 1718. There is some confusion as to who actually worte the libretto for it, but the story follows very closely the biblical story of Esther in the Book of Esther in the old testament. The story tells of a plot of Haman, the Agagite (Michael George-bass) jealous and powerful vizier of King Xerses (Ahasuerus-Tom Randle-tenor) of Persia(485-464), to destroy in a single day all the Jews living in the Roman Empire. He is moved to this out of hatred for the Jewish servant Mordecai (Mark Padmore-tenor),who for religious motives refuses to render him homage. The day of the proposed massacre is determined by lot. Meanwhile, Esther,niece and adopted daughter of Mordecai, is chosen Queen by King Xerses. She averts the pogrom planned against her people and has the royal decree of extermination reversed against Haman and the enemies of the Jews. Mordecai replaces Haman, and together with Esther, works for the welfare of their people. As you can see this makes for an interesting Oratorio, which it truly is!
This is a "small" contribution compared to many of Handel's other works. However, it is not "small" in a musical sense. There is much creativity on the part of Handel as to orchestral scoring; he exploits his small orchestra and chorus in surprising ways, introducing new vocal and instrumental colours throughout the score, adding and subtracting instruments and voices in many and varied ways. This is a listening surprise as it moves along. And what a great performance on the part of the Christophers as well as some outstanding vocal soloists. Mark Padmore's (Mordecai) aria "Tune Your Harps to Cheerful Strains" was superb as was the Duet between Lynda Russell (Esther) and Tom Randle (Ahasuerus).But the aria that really drew me into the entire drama was sung by Michael Chance (Priest) "O Jordan, Jordan, sacred Tide." It was perfection itself!!!!The Chorus was extremely good and dictionally perfect. It is a great listening experience.

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Poems for Piano

Manufacturer: Albany Records
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B00000A33E
Release Date: 1998-08-25

Tracks:

Pieces of China: The great wall
Pieces of China: Fable
Pieces of China: China blue
Pieces of China: Puppets
Pieces of China: Slow Dance - Lotus
Pieces of China: China chips
Poems for Piano, Vol. 1, Op. 4: Unroll the flicker's rousing drum
Poems for Piano, Vol. 1, Op. 4: Soft is the collied night
Poems for Piano, Vol. 1, Op. 4: Gather for festival bright weed and purple shell
Poems for Piano, Vol. 1, Op. 4: Wake subtler dreams, and touch me nigh to tears
Poems for Piano, Vol. 1, Op. 4: Ravished lute, sing to her virgin ears
Poems for Piano, Vol. 1, Op. 4: Whose thin fraud I wink at privily
Poems for Piano, Vol. 2, Op. 5: And warms winds spilled fragrance into her solitudes
Poems for Piano, Vol. 2, Op. 5: To whose more clear than crystal voice the frost had joined a crystal spell
Poems for Piano, Vol. 2, Op. 5: Sleep, weary mind; dream, heart's desire
Poems for Piano, Vol. 2, Op. 5: Dust in sunlight, and memory in corners
Poems for Piano, Vol. 2, Op. 5: Make me drunken with deep red torrents of joy
Poems for Piano, Vol. 3, Op 14: Rear its frondings sighing in aetherial folds
Poems for Piano, Vol. 3, Op 14: Listen! Can you hear the antic melody of fear those two anxious feet are playing?
Poems for Piano, Vol. 3, Op 14: Puffed out and marching upon a blue sky
Poems for Piano, Vol. 3, Op 14: And hunged like those top jewels of the night
Poems for Piano, Vol. 3, Op 14: Each gay dunce shall lend a hand
Sonatina No. 1: Largo assai
Sonatina No. 1: Allegretto
Sonatina No. 1: Allegro vivace
Sonatina No. 2: Andante quasi Allegretto
Sonatina No. 2: Allegro moderato
Poems of the Sea: Waves
Poems of the Sea: Chanty
Poems of the Sea: At sea

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O Praise the Lord of Heaven

Manufacturer: Priory
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Psalms | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B000003WJN
Release Date: 1991-02-08

Amazon.com

Part of the charm and musical value of this magnificent series is hearing the unique choral sound and varied interpretive approaches of 10 different first-rate English cathedral choirs--and the particular acoustical character of the different spaces in which they perform. Each of the 10 volumes features a different choir performing the uniquely Anglican style of harmonized plainsong--Anglican chant--in various musical settings of the Psalms. The expert Wells Cathedral Choir singers have a pleasingly bright sound that allows the chant tunes--by composers such as Boyce, Howells, Stainer, and Wesley--to soar distinctly above the accompanying harmonies. This volume covers 22 Psalms, including "O come let us sing unto the Lord," "Hear my prayer, O God," and "By the waters of Babylon." --David Vernier

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Operatic Recital

Manufacturer: Supraphon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

Czech | Languages | Opera & Vocal | Styles | Music

Classical | Imports | Stores | Music
ASIN: B0000521X0
Release Date: 2000-11-21

Average customer rating:

ANOINTED!!!!!!!!!!!!!

No Fear in Me
Erick Matthews
Manufacturer: Crystal Rose
ProductGroup: Music
Binding: Audio CD

Christian Rock | Christian & Gospel | Styles | Music

General | Christian & Gospel | Styles | Music

Gospel | Christian & Gospel | Styles | Music

Christian Contemporary Music | Christian & Gospel | Styles | Music

General | Rock | Styles | Music

Pop Rock | Pop | Styles | Music
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Friend 4 Always

ASIN: B00005LNE4
Release Date: 2001-07-03

Tracks:

Outro
Glory
Get Out My Face
Angel Song
Interlude
War Clothes (featuring Prime Minister & Chris Fa' Real)
I Will Not Bow Down
Callin' Me
Who
Pain
Get Out My Face (featuring Randie Matthews)

Customer Reviews:

ANOINTED!!!!!!!!!!!!!.......2002-02-19

I am so inspired by this album...I had the pleasure of meeting Erick when we sang on the Bobby Jones Gospel (Restine Jackson and Grace) and listening to him sing live was a double blessing. Rough lyrics against smooth tracks will remind you that no one should walk in fear....."WHO" is my song to battle against the enemy daily..."I've got the power, I've got the power yes I do now!!!!"

Music Review:

Music Review

Music Review

1. Survival
2. Glory
3. Get Out My Face
4. Angel Song
5. Interlude
6. War Clothes
7. I Will Not Bow Down
8. Callin' Me
9. Who
10. Pain
11. Get Out My Face
12. Outro