Give Him Glory

Track Listings

1. Come and Worship

2. He's Our Victorious King

3. Medley: You Are Crowned With Many Crowns/In Him We Live/We Bring the Sa

4. Medley: Lift High the Lord Our Banner Mighty Warrior

5. Heal Our Land

6. Give Thanks

7. Joy of My Desire

8. Glory to the Lamb

9. Song for the Nations

10. Now Unto Him - Voices of Praise

Customer Reviews:

great, great!!!.......2006-12-05

This is the way ,I think, Purcell should sound. No pomp and surcomstance but only great music.

ALL THE MUSIC YOU EVER NEED!!.......2003-05-23

This boxed set is by far one of the best purchases I have ever made. As a Purcell freak, this hits every button I have. The cast of characters include the inequitable Robert King, New College Choir, Bowman, and a host of other venerable persons. Likewise the attention to period performance of these works makes it an essential addition to the library of any serious anglophile/Musicologist etc. Now if only the Britten Realizations of all Purcell's songs could be recorded alongside the originals! You will Love this set!

Average customer rating:

a voice teacher and early music fan
Dan Schutte's Here I Am, Lord
Dan Schutte's Here I Am, Lord
God is an Englishman

English Hymn 1

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

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

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Similar Items:

Jerusalem the Golden
English Hymn 3
Lead, Kindly Light: Hymns of Faith and Assurance
All Things Bright and Beautiful
A Vaughan Williams Hymnal

ASIN: B000038I68
Release Date: 1999-12-14

Tracks:

Christ Triumpant, Ever Reigning (Guiting Power)
How Shall I Sing That Majesty [Coe Fen]
Like a Mighty River Flowing (Old Yeavering)
Father, Hear the Prayer We Offer (Cypress Court)
I Vow to Thee, My Country (Thaxted)
We Sing the Praise of Him Who Died (Bow Brickhill)
I, Lord of Sea and Sky (Here I Am, Lord)
All My Hope on God If Founded (Michael)
Give Me the Wings of Faith (San Rocco)
Lord Jesus Christ (Living Lord)
For All the Saints (Sine Nomine)
My Song Is Love Unknown (Love Unknown)
Praise the Lord of Heaven (Vicars' Close)
Glorious Things of Thee Are Spoken (Abbot's Leigh)
Come Down, O Love Divine (Down Ampney)
Hark What a Sound, and Too Divine for Hearing (Highwood)
King of Glory, King of Peace (Redland)
Holy Spirti, Ever Dwelling [Salisbury]
For the Fruit of His Creation [East Acklam]
Lead, Kindly Light (Alberta)
Lord, for the Years Your Love Has Kept and Guided (Lord of the Years)
Thy Hand, O God, Has Guided (Thorbury)

Customer Reviews:

a voice teacher and early music fan.......2007-02-05

This is a really good representation of 20th century hymn tunes sung by a typical British Choir made up of boy sopranos, male altos and the usual number of tenors and basses. The choir sings very well using good diction and appropriate interpretation. The arrangements are varied, different groups of voices singing parts of a hymn usually alternating and eventually the full choir joins in; nothing unusual in the arrangements themselves. There is a nice variety of hymns, some more interesting than others. I will comment on a few of them as follows:
The opening hymn:'Christ, triumphant, ever reigning' is a good opener in that it is quick and begins with the boy sopranos and immediately gets your attention. John Barnard's majestic 'Guiting Power' tune sweeps the words up in a wide-ranging,flowing melody that creates from them a fine hymn.
'I, the Lord of sea and sky(Here I am, Lord) is a truly striking hymn! The words of this song begin with a proclamation in the verses; this is answered in the refrain by the singer's commitment to service. This is reflected in the tune. The melody for the verses has a vigorous movement to proclaim the work of God in creation, His continuing love for that creation,and His call for service. Both the words and music are by the American Jesuit musician Daniel L. Schutte, who has served both on college campuses and in parish ministry.
'All My Hope On God Is Founded' the tune of which is written by Herbert Howells and is called 'Michael'in memory of his son who died in childhood. It is a lovely melody and the words suit it very well.
The composer Ralph Vaughan Williams was the music editor of the 'English Hymnal'. The most widely used of his own tunes was the 'Monk's Gate' which he created from a folk tune. It is subtly contrived, as the rhythm of the alleluias shows. 'Sine nomine' simply means without a name.The resulting hymn is 'For All the Saints'.

The Wells Cathedral Choir under the direction of Malcolm Archer accompanied by Rupert Gough on the organ have produced an excellent disc.

Dan Schutte's Here I Am, Lord.......2001-01-08

I bought this collection because I saw the song, Here I Am, Lord written by Daniel Schutte. I grew up singing this song and many other pieces from the St. Louis Jesuits and this continues to be one that has deep meaning for me. In addition, the other pieces in this collection are very enjoyable to listen to, not only for worship but for time of reflection.

Dan Schutte's Here I Am, Lord.......2001-01-08

God is an Englishman.......2000-06-05

After the Anglican Communion, particularly the American branch, has completed its transformation from a church to a political-social club, at least it will be remembered for two things: the beautiful and influential language of its Book of Common Prayer (1662) and its wonderful music. The English Hymn, volume 1, is a promising start to another English music series by Hyperion. This series complements Hyperion's English Anthems series, its Psalms at St. Paul's (many volumes of Anglican chant), and its two-CD collection of "Mags and Nuncs" (My Soul Doth Magnify the Lord and My Spirit Hath Rejoiced). Volume 1, "Christ Triumphant," features hymns written in the 20th century. The styles of the hymns range from confident, pre-Great War, "God is an Englishman" roof-raisers to insipid, happy-clappy jingles, which inadvertently, I assume, parallel the decline of the church. The Wells Cathedral Choir sings with gusto and, typical of Hyperion, the sound quality is excellent. My only disappointment came when the CD ended - is this all there is to the 20th century? I hope Hyperion plans to include more than one volume on the 20th century in this series. If you enjoy this type of music, you will be satisfied with this CD. If you have CDs from the other series listed above, the English Hymn, vol. 1, and a programmable, carousel-CD player, now you can click your heels and transport yourself to Evensong at King's College, Cambridge, or St. Paul's, London!

Average customer rating:

"The death-doomed alone are destined to look on me."
Breathtaking, powerful, accessible, not just an alternative
Absolutely Breathtaking!
A powerful reading of the most moving opera in the Ring.
The power of Wagner's music drama is now fully accessible

Wagner: The Valkyrie

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
Similar Items:

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

ASIN: B00004YU6Z
Release Date: 2000-11-28

Tracks:

Act I: Prld - English Nat Opr Orch/Reginald Goodall
Act I, Scene 1: The Storm Drove Me Here - Alberto Remedios/Margaret Curphey
Act I, Scene 1: This House And This Wife - Margaret Curphey/Alberto Remedios
Act I, Scene 1: Evil Fortune's Never Far From Me - Alberto Remedios/Margaret Curphey
Act I, Scene 2: There He Lay, Feeble And Faint - Margaret Curphey/Clifford Grant/Alberto Remedios
Act I, Scene 2: Through Field And Forest - Alberto Remedios/Clifford Grant/Margaret Curphey
Act I, Scene 2: Friedmund No One Could Call Me - Alberto Remedios/Clifford Grant/Margaret Curphey
Act I, Scene 2: The Neidings Raided Again - Alberto Remedios
Act I, Scene 2: So The Norn Who Dealt You This Fate - Clifford Grant/Margaret Curphey/Alberto Remedios
Act I, Scene 2: I Know A Troublesome Race - Clifford Grant
Act I, Scene 3: A Sword Was Pledged By My Father - Alberto Remedios
Act I, Scene 3: Are You Awake? - Margaret Curphey/Alberto Remedios
Act I, Scene 3: My Husband's Kinsmen - Margaret Curphey
Act I, Scene 3: Yes, Loveliest Bride - Alberto Remedios/Margaret Curphey
Act I, Scene 3: Winter Storms Have Vanished (Siegmund's Spring Song) - Alberto Remedios
Act I, Scene 3: You Are The Spring - Margaret Curphey
Act I, Scene 3: Oh Sweetest Enchantment - Alberto Remedios/Margaret Curphey
Act I, Scene 3: The Stream Has Shown My Reflected Face - Margaret Curphey/Alberto Remedios
Act I, Scene 3: Siegmund Call Me, And Siegmund Am I! - Alberto Remedios
Act I, Scene 3: Siegmund, The Walsung, Here You See! - Alberto Remedios/Margaret Curphey

Tracks:

Act II, Scene 1: Go Bridle Your Horse, Warrior Maid! - Norman Bailey
Act II, Scene 1: Hoyotoho! Hoyotoho! (Brunnhilde's Battle Cry) - Rita Hunter
Act II, Scene 1: The Usual Storm, The Usual Strife - Norman Bailey/Ann Howard
Act II, Scene 1: Pretend That You Don't Understand! - Ann Howard/Norman Bailey
Act II, Scene 1: Now It's Come To Pass! - Norman Bailey
Act II, Scene 1: So This Is The End Of The Gods And Their Glory - Ann Howard
Act II, Scene 1: You Never Learn What I Would Teach You - Norman Bailey/Ann Howard
Act II, Scene 1: What Must I Do? - Norman Bailey/Ann Howard
Act II, Scene 1: Hiaha! Hiaha! Hoyotoho! - Rita Hunter/Ann Howard/Norman Bailey
Act II, Scene 2: Fricka Has Won The Fight - Rita Hunter/Norman Bailey
Act II, Scene 2: When Youth's Delightful Pleasures Had Waned - Norman Bailey
Act II, Scene 2: She Refused To Reveal More About It - Norman Bailey/Rita Hunter
Act II, Scene 2: There's More To Tell - Norman Bailey
Act II, Scene 2: Yet One Can Accomplish What I May Not - Norman Bailey
Act II, Scene 2: But The Walsung, Siegmund - Rita Hunter/Norman Bailey
Act II, Scene 2: Then Siegmund Must Fall In His Fight? - Rita Hunter/Norman Bailey
Act II, Scene 2: I Give You My Blessing, Nibelung Son! - Norman Bailey/Rita Hunter
Act II, Scene 2: No, Have Mercy - Rita Hunter/Norman Bailey

Tracks:

Act II, Scene 2: So I Obey His Command - Rita Hunter
Act II, Scene 3: Rest Here For A While; Stay By My Side! - Alberto Remedios/Margaret Curphey
Act II, Scene 3: Away! Away! - Margaret Curphey/Alberto Remedios
Act II, Scene 3: Where Are You, Siegmund? - Margaret Curphey/Alberto Remedios
Act II, Scene 4: Siegmund! Look At Me! (Announcement Of Death) - Rita Hunter/Alberto Remedios
Act II, Scene 4: And If I Come - Alberto Remedios/Rita Hunter
Act II, Scene 4: Then Greet For Me Walhall - Alberto Remedios/Rita Hunter
Act II, Scene 4: Woe! Woe! Sister And Bride - Alberto Remedios/Rita Hunter
Act II, Scene 4: Two Lives Now Lie In Your Power - Alberto Remedios/Rita Hunter
Act II, Scene 5: Charms Of Sleep Are Sent To Still - Alberto Remedios
Act II, Scene 5: I Hear Your Call - Alberto Remedios/Margaret Curphey
Act II, Scene 5: Wehwalt! Wehwalt! - Clifford Grant/Alberto Remedios/Margaret Curphey/Rita Hunter/Norman Bailey

Tracks:

Act III, Scene 1: Hoyotoho! Hoyotoho! (Ride Of The Valkyries) - Katie Clark/Anne Evans/Elizabeth Connell/Helen Attfield/Shelagh Squires/Anne Conoley
Act III, Scene 1: Shield Me And Help - Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne Evans/Sarah Walker...
Act III, Scene 1: Hear While I Tell You - Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne Evans/Sarah Walker...
Act III, Scene 1: Pray Suffer No Sorrow For Me - Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne...
Act III, Scene 1: Fly Him Swiftly, Away To The East! - Rita Hunter
Act III, Scene 1: O Radiant Wonder! (Parting Salute) - Margaret Curphey
Act III, Scene 1: Stay, Brunnhild! - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 2: Where Is Brunnhild? - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 2: Weak-Spirited, Womanish Brood! - Norman Bailey
Act III, Scene 2: Here I Am, Father - Rita Hunter/Norman Bailey
Act III, Scene 2: No More Will You Ride From Walhall - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 2: Did You Not Hear What I Decreed? - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 3: Was It So Shameful - Rita Hunter/Norman Bailey
Act III, Scene 3: I Know So Little - Rita Hunter/Norman Bailey
Act III, Scene 3: You, Who This Love Into My Heart Revealed - Rita Hunter/Norman Bailey
Act III, Scene 3: You Indulged Your Love - Norman Bailey
Act III, Scene 3: Unworthy Of You This Foolish Maid - Rita Hunter/Norman Bailey
Act III, Scene 3: You Fathered A Glorious Race - Rita Hunter/Norman Bailey
Act III, Scene 3: In Long, Deep Sleep - Norman Bailey/Rita Hunter
Act III, Scene 3: Farewell, My Valiant, Glorious Child! (Wotan's Farewell) - Norman Bailey
Act III, Scene 3: These Eyes So Warm And So Bright - Norman Bailey
Act III, Scene 3: Loge, Hear! Come At My Call! - Norman Bailey
Act III, Scene 3: Magic Fire Music - Norman Bailey

Customer Reviews:

"The death-doomed alone are destined to look on me.".......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 Rhinegold (Part 1): Wagner: The Rhinegold
-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

Breathtaking, powerful, accessible, not just an alternative.......2005-05-03

This is one of three Walkure's in my collection: the very underrated Leinsdorf, the thrilling Boehm and this one with Goodall. I believe Goodall is right up there with the best of them. Remedios, Hunter and Bailey sing beautifully and with sufficient drama. I'll go out on a musical limb and say I believe Bailey is one of the finest Wotan's on disc. Many will disagree but I think he has the measure of the role, the power to pull it off and a burnished timber that never becomes coarse under powerful climaxes... Remedios may well be the star of the trilogy along with Hunter and Bailey. His Siegmund is beautifully sung and his Siegfried by the way, is no mean stint either. Would that we had tenors that could sing Siegfried without sounding stretched beyond their limits. I am continually puzzled by the bad reviews that the orchestra playing receives from ARG, Classics Today and a few others. The ENO is not a Concertgebouw or Vienna Philharmonic but I think they play beautifully, a few clinkers notwithstanding. For a live show, they do a pretty d..... good job. THe sound from both orchestra and singers is exceptionally fine. This set belong in your collection if you like Wagner and, Die Walkure, in particular. If I had been at the performance in the 1970's I would have come home very happy, satisfied and richer for the experience.

Absolutely Breathtaking!.......2002-09-13

I had long cringed at the thought of this magnificant masterpiece recorded in English. Even after reading several rave reviews on this cylce that I've read by authoritive Wagnerites and critics, I was still skeptical. Finally, I decided to add Goodall's 'Ring' as my third complete cycle (after Solti & Bohm) for one reason: because it was in English and I felt it would enhance my understand of 'The Ring.' In fact, after achieving that "higher understanding" I was planning on selling this set on Ebay. That was, of course, before I heard this magnificant recording.

During the course of my research on 'The Goodall Ring' most of the praised seemed to heighten around 'Siegfried,' which is my absolute favorite of the cycle. That also helped to seal the deal. As the critics said, 'Siegfried' under Goodall is excellent, but not as monumental as Solti's reading, which IMHO is the greatest recording of 'Siegfried.'

The set that stands out, to me, in 'The Goodall Ring' is this recording; The Valkyrie. It is absolutely breathtaking. Not only is it my favorite of this set, it is my favorite Valkyrie recording period (I am very familiar with Boehm's, Solti's, Karajan's, Furthwanglers, Levines, and others). Alberto Remedios (Siegmund here and Siegfried in the last two operas) is truly magnificant. It is the best Siegmund I have heard on disc (and his Siegfried rivals Windgassen). Coupled with Margaret Curphey (Sieglinde), you get the most beautiful and moving duo I have heard on record. The duet in Act I is simply glorious. You also get the bonus of Norman Bailey's triumphant Wotan (and Wanderer too). He has such command and prescene. He sounds like a God. Throw in Rita Hunter, who holds her own as Brunnhilde, Goodall's miraculous conducting, and excellent playing by the orchestra and it all adds up to a stunning recording.

I can only say that in a way it's a shame this set is in English. Were it not, I believe Goodall's 'Ring' would be one of the most talked about, popular, and sought after complete recordings of the cycle. I can only say that I am so happy that I finally opened up to opera recorded in a different language than written.

I have fallen completely in love with Goodall's entire cycle. And, I have fallen in love with 'The Ring' all over again.

A powerful reading of the most moving opera in the Ring........2001-08-30

This performance of *Die Valkure,* the second and most popular opera in Wagner's Ring Cycle, is musically splendid. Its special significance, however, is that it is sung in English. An English performance of the Ring is perhaps more important than that of any other opera(s), because Wagner's libretti are suffused with his ideas about society, fate, justice, and love. Even if (at times) you need to read along to understand what the singers are saying, *hearing* the lyrics in English is truly stirring in a way that performances in your non-native language cannot match.
A particular stand-out on this recording is the Wotan. His timbre, diction, and delivery perfectly embody the troubled god who tries desperately, and in vain, to keep the world under his control. His angst and wrath are utterly convincing.

The power of Wagner's music drama is now fully accessible.......2001-01-30

I have never been a fan of opera in translation, but I must say that Andrew Porter's rendering of The Ring in English is amazing. He uses modern, not archaic, English, and the word choice is so very earthy and Germanic that the noble yet somewhat severe atmosphere of the Teutonic myths is conveyed perfectly. The sound, in other words, is an elegantly Germanic, and totally appropriate for the music and the Story it tells. It is not true that you can't understand the English anyway, because you can understand if you care to pay any attention at all. The translation is lucid, and so it the marvelous singing that conveys it.

Goodall's sense of music drama is lush, and takes some getting used to after the crash-and-burn Solti set, but after a time or two it seems just right. Goodall is not always slower than the rest, either; for example, the famous Ride of the Valkyries that begins Act III is quicker than Solti's surprisingly slow and heavy account. It is the most exciting that I have heard--and I have heard quite a few--but it is not so fast that the power is lost in favor of urgency.

This is not an urgent Die Walkure, and it is all the better for it. Goodall takes the time to actually tell the story, and is sensitive to the drama's needs over what could be called convention. For example, Wotan's Farewell doesn't thunder out after Brunnhilde's final declamation, like in so many recordings; rather, Goodall's interpretation is more dreamy, mysterious, and appropriately trance-like, in keeping with the action on stage.

I own the complete Solti Ring, but I must say I will be the first in line to get each new installment of this remarakable Ring as soon they hit the shelves. If you are new to Wagner, and are willing to make the plunge into a complete Ring, then start with this one and see if you want to continue. This recording is definitely one of the great Rings, and the superb translation will open up the work in ways that following the libretto just won't. I promise that you won't be able to put this one away easily. Get it!

Average customer rating:

Light of the World

"I'll give him my heart"

Light of the World

Manufacturer: Integrity Media
ProductGroup: Music
Binding: Audio CD

General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
General | Classical | Styles | Music
General | Christian & Gospel | Styles | Music
Gospel | Christian & Gospel | Styles | Music
Praise & Worship | Christian & Gospel | Styles | Music
General | Opera & Vocal | Styles | Music
General Christmas | Holiday | Miscellaneous | Styles | Music
General Christmas | Holiday Music | Special Features | Music
Similar Items:

Christmas at the Brooklyn Tabernacle

Live...This Is Your House

God Is Working

Songs from the Altar

Be Glad

ASIN: B0000AYLJ0
Release Date: 2002-07-01

Tracks:

It's Christmas
Christmas Carol Medley: Tell Me The Story Of Jesus/The First Noel/Angels We Have Heard On High...
Glory To God
Light Of The World
O Holy Night
I'll Give Him My Heart
Peace On Earth
The Birthday Of A King
The Worship Medley: He Came/Jesus The Son Of God
His Plan

Customer Reviews:

Light of the World.......2007-01-10

Did not like the "jazz" music on this hymn/. Would prefer a religious and harmonious arrangement.

"I'll give him my heart".......2005-11-20

I brought this CD last year after hearing the title song on the radio. After a friend listened to it I gave her the CD as a gift. Now I'm ordering me another copy. The beginning of the song is sung by a child. The voice of this child is so sweet that it just made me cry because its sung from the heart. The question that's asked is "What could I give him, poor as I am...?" After that line, just get the tissues out.

Average customer rating:

Give Him Glory
Majestic Praise
Manufacturer: Integrity Media
ProductGroup: Music
Binding: Audio CD

General | Christian & Gospel | Styles | Music

Christian Contemporary Music | Christian & Gospel | Styles | Music

Praise & Worship | Christian & Gospel | Styles | Music
ASIN: B000008N5Z
Release Date: 1994-08-30

Tracks:

Come and Worship
He's Our Victorious King
Medley: You Are Crowned With Many Crowns/In Him We Live/We Bring ...
Medley: Lift High the Lord Our Banner Mighty Warrior
Heal Our Land
Give Thanks
Joy of My Desire
Glory to the Lamb
Song for the Nations
Now Unto Him - Voices of Praise

Average customer rating:

Live! Give Him the Glory
L.A. Mass Choir
Manufacturer: Compendia
ProductGroup: Music
Binding: Audio CD

General | Christian & Gospel | Styles | Music

Gospel | Christian & Gospel | Styles | Music

Live Recordings | Christian & Gospel | Styles | Music
ASIN: B000085RSA
Release Date: 2003-01-28

Tracks:

Move Right Now
Love Lifted Me
He Lives Today
Lord Is Holy (Bless Ye the Lord)
Take Up Your Cross
Grace
Give Him the Glory
Revive Us Again
Goodness and Mercy [*]
I Must Tell Jesus [*]

Handel - Joshua / Aler · Baird · Fortunato · Ostendorf · Brewer Chamber Orchestra · Palmer

Average customer rating:

follow up
diamond in rough
An occasional Haendel.

Handel - Joshua / Aler · Baird · Fortunato · Ostendorf · Brewer Chamber Orchestra · Palmer

Manufacturer: Newport Classic
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B000003W2B
Release Date: 1993-10-01

Tracks:

Act One: Ov - Brewer CO/Rudolph Palmer
Act One: Chor: Ye Sons Of Israel, Ev'ry Tribe Attend - The Palmer Sgrs/Cynthia Richards-Hewes
Act One: Recitative: Behold, My Friends, What Vast Rewards Are Giv'n - John Aler/John Ostendorf
Act One: Recitative: Matrons And Virgins, With Unweary'd Pray'r - Julianne Baird
Act One: Recitative: Caleb, Attend To All I Now Prescribe - John Aler/The Palmer Sgrs/Cynthia Richards-Hewes
Act One: Accompanied Recitative: So Long The Memory Shall Last - John Aler
Act One: Recitative: But Who Is He? - Tremendous To Behold! - D'Anna Fortunato
Act One: Recitative: Joshua, I Come Commission'd From On High - The Palmer Sgrs/Cynthia Richards-Hewes/John Aler
Act One: Recitative: To Give Command, Prerogative Is Thine - John Aler
Act One: Chor: The Lord Commands, And Joshua Leads - The Palmer Sgrs/Cynthia Richards-Hewes
Act One: Accompanied Recitative: In These Blest Scenes - D'Anna Fortunato/Julianne Baird
Act One: Aria Da Capo: Hark! 'Tis The Linnet And The Thrush - Julianne Baird
Act One: Recitative: Oh Achsah! Form'd For Ev'ry Chaste Delight - D'Anna Fortunato/Julianne Baird
Act One: Fanfare/Recitative: The Trumpet Calls: Now Jericho Shall Know - D'Anna Fortunato/The Palmer Sgrs/Cynthia Richards-Hewes
Act Two: Recitative: 'Tis Well! Six Times The Lord Hath Been Obey'd - John Aler
Act Two: March Of The Ark: Glory To God - John Aler/The Palmer Sgrs/Cynthia Richards-Hewes
Act Two: Recitative: The Walls Are Levell'd! Pour The Chosen Bands - John Ostendorf

Tracks:

Act Two: Aria: To Vanity And Earthly Pride - Julianne Baird
Act Two: Recitative: Let All The Seed Of Abrah'm Now Prepare - John Aler/The Palmer Sgrs/Cynthia Richards-Hewes
Act Two: Recitative: Joshua, The Men, Dispatch'd By Thee To Learn - John Ostendorf/The Palmer Sgrs/Cynthia Richards-Hewes
Act Two: Recitative: Whence This Dejection? - John Aler/The Palmer Sgrs/Cynthia Richards-Hewes
Act Two: Recitative: Now Give The Army Breath - D'Anna Fortunato
Act Two: Recitative: Indulgent Heav'n Hath Heard My Virgin Pray'r - Julianne Baird
Act Two: Recitative: Surely I'm Deceiv'd! With Sorow I Behold- - John Ostendorf/D'Anna Fortunato
Act Two: Recitative: Brethren And Friends, What Joy This Scene Imparts - John Aler/John Ostendorf
Act Two: Solo And Chor: Oh! Thou, Bright Orb, Great Ruler Of The Day - John Aler/The Palmer Sgrs/Cynthia Richards-Hewes
Act Three: Chor: Hail! Mighty Joshua, Hail! - The Palmer Sgrs/Cynthia Richards-Hewes
Act Three: Aria Da Capo: Happy, Oh Thrice Happy We - Julianne Baird
Act Three: Recitative: Caleb, For Holy Eleazar Send - John Aler/John Ostendorf/The Palmer Sgrs/Cynthia Richards-Hewes
Act Three: Recitative: Oh Caleb, Fear'd By Foes, By Friends Ador'd! - D'Anna Fortunato/John Ostendorf
Act Three: Chor: Father Of Mercy, Hear The Prayer We Make - The Palmer Sgrs/Cynthia Richards-Hewes
Act Three: Recitative: In Bloom Of Youth, This Stripling Has Acheiv'd - John Aler/The Palmer Sgrs/Cynthia Richards-Hewes
Act Three: Recitative: Welcome, My Son! My Othniel Good And Great! - John Ostendorf/D'Anna Fortunato/Julianne Baird
Act Three: Recitative: While Life Shall Last, Each Moment Will Improve - D'Anna Fortunato/Julianne Baird
Act Three: Recitative: While Lawless Tyrants, With Ambition Blind - John Ostendorf/The Palmer Sgrs/Cynthia Richards-Hewes

Customer Reviews:

follow up.......2003-12-14

Oops, sorry, forgot about the soloists. John Aler has a brighter tenor sound, not as dark as Robert Tear, but the way he handles the recitative text is very similar. Both he an John Ostendorf are a little heavy on the vibrato for my taste, but their diction is not that much skewed by it. J. Ostendorf is a heavy, rich bass, which is striking when you first hear it against Aler's brighter lyric voice. It almost seems wooly, but he steers it away from any Wagnerian tendancies to create a striking bu handsome compliment. Baird is gorgeous- it's that simple. She is not my favorite, but she comes real close. With a voice reminiscent of Emma Kirkby and expression along the lines of Janet Baker, it's a refreshing treat among all these increasing Helden-Sopranos who think that baroque music gives them an excuse to through all delicacy out the window. Over all, this recording is more of a 4 1/2, and I think the most well balanced one may come across.

diamond in rough.......2003-12-14

The conductor may be no Raymond Leppard, but he's preferable by a great stretch than some of these other "new baroque" recordings out there where everything is a forte marcato allegretto. He maintains the baroque atmosphere, much like Harnoncourt's sound (is this he? I don't know who the conductor is). The chorus also has the baroque sound, but my goodness! Thank God for a chorus with proper vowels and a nice sound! Much better than some Deutsche Grammaphon choruses I've heard. If you like the Monteverdi Choir with Gardiner, you'd probably like this chorus as well (I myself am a choister and soloist specializing in oratorio and other such sacred music).

An occasional Haendel........1999-10-26

The enclosed booklet is too poor. The singers are only good (the best is the soprano). Only good also the conductor . In this way this Haendel's work seems a minor one. Is really so?

Average customer rating:

Give Him the Glory
La Mass Choir
Manufacturer: Action Music
ProductGroup: Music
Binding: Audio CD

Gospel | Christian & Gospel | Styles | Music
ASIN: B00000DV8K
Release Date: 2000-01-01

Average customer rating:

Their first, and arguably their best.

Live! Give Him the Glory
L.A. Mass Choir
Manufacturer: Platinum Ent.
ProductGroup: Music
Binding: Audio CD

General | Christian & Gospel | Styles | Music

Gospel | Christian & Gospel | Styles | Music

Live Recordings | Christian & Gospel | Styles | Music
Similar Items:

Can't Hold Back

ASIN: B0000047Y3
Release Date: 1993-09-28

Tracks:

Move Right Now
Love Lifted Me
He Lives Today
The Lord Is Holy (Bless Ye The Lord)
Take Up Your Cross
Grace
Give Him The Glory
Revive Us Again
Goodness And Mercy
I Must Tell Jesus

Customer Reviews:

Their first, and arguably their best........2001-07-17

THIS is the album you want from the LA Mass Choir, along with "Can't Hold Back." They were totally unique because of their fresh approach to gospel music, and they spawned a number of choirs that tried to duplicate their sound. Many people say that this was their finest hour; I personally feel that "Can't Hold Back" was, but each of them have so much inherent goodness that I consider both to be essentials to a truly comprehensive gospel collection!

Pray that you can find this album; and when you do, buy it. I guarantee you will enjoy it over and over again -- 'nuff said!!

Tracks:

Act I: 'Help Me, Madam' - Antonietta Stella/Giuseppe Di Stefano
Act II. Prayer: 'Eternal Father, Lord...' - Ettore Bastianini/Antonietta Stella
Act II: 'Here's To Our Good Company' - Giulietta Simionato
Act II. Aria: 'At Last I Am Here. I Give Thee Thanks, O God!' - Antonietta Stella
Act II: 'Mother, Merciful Virgin...' - Antonietta Stella/Walter Kreppel
Act II. Finale II: 'The Holy Name Of God Our Lord Be Blessed' - Walter Kreppel
Act II: 'May Our Lady Of The Angels' - Antonietta Stella
Act III. Scene And Romance: 'Life Itself Is Hell To The Sorrowful...' - Giuseppe Di Stefano
Act III: 'O You Who Dwell Among The Angels...' - Giuseppe Di Stefano
Act III. Scene And Duet: 'You Must Swear To Me' - Giuseppe Di Stefano/Ettore Bastianini
Act III. Scene And Aria: 'To Die! What A Tremendous Thing!' - Ettore Bastianini
Act III: 'Fatal Vessel Of My Destiny...' - Ettore Bastianini
Act III: 'But If I Might Find Some Other Proof?' - Ettore Bastianini
Act III. Rataplan: 'Rataplan, Rataplan, The Love Of Glory' - Giulietta Simionato
Act IV. Scene And Duet: 'It Was Useless, Alvaro, To Hide From The World...' - Ettore Bastianini/Giuseppe Di Stefano
Act IV: 'Fierce Words And Threats' - Giuseppe Di Stefano/Ettore Bastianini
Act IV. Melodia: 'Peace, Peace, O My God!' - Antonietta Stella
Act IV. Scene And Trio Finale: 'I Am Dying! Confession!' - Ettore Bastianini/Giuseppe Di Stefano/Antonietta Stella
Act IV: 'Do Not Curse, Humble Yourself Before Him Who Is Holy And Just...' - Walter Kreppel/Antonietta Stella/Giuseppe Di Stefano

Customer Reviews:

Starry-Cast Forza.......2000-08-13

Although this performance has been previously issued complete (at least on LP), this well-filled disc of excerpts is a steal at the price. Sound is excellent and natural. The sadly neglected Stella reminds us how fortunate we would be to have her for this repertoire today. Simionato and Bastianini are at their best - enough said! Only Di Stefano inevitably disappoints with the remnants of a beautiful but, by 1960, irreparably abused voice. A wonderful souvenir of a great era in Verdi singing! Mitropoulos is perhaps not at his very best, but this was done shortly before his death when he was already exhausted; still Mitropoulos and the Vienna Philharminic could never be without interest.

Music Review:

Music Review

Music Review

1. Come and Worship
2. He's Our Victorious King
3. Medley: You Are Crowned With Many Crowns/In Him We Live/We Bring the Sa
4. Medley: Lift High the Lord Our Banner Mighty Warrior
5. Heal Our Land
6. Give Thanks
7. Joy of My Desire
8. Glory to the Lamb
9. Song for the Nations
10. Now Unto Him - Voices of Praise