When You Pray

Track Listings

1. When You Pray

2. Going Home

3. We Come a Long Way Children

4. I Need Your Help Lord

5. We Come to Worship

6. Watch Out for the Devil

7. God Will Sit With You

8. Press On

9. No I'm Not Alone

10. Spread Love

Tracks:

Sanctus
Ave Maria, Op.52/6
Panis Angelicus
O Divine Redeemer
The Holy City
Amazon Grace
Greensleeves (What Child Is This)
Let Us Break Bread Together
I Wonder As I Wander
Sweet Little Jesus Boy
Gesu Bambino (When Blossoms Flowered)

Tracks:

I Couldn't Hear Nobody Pray
My Lord, What A Morning
Do Lawd, Oh Do Lawd
There's A Man Going Round - Jessye Norman
Ev'ry Time I Feel De Spirit - Dalton Baldwin
There Is A Balm In Gilead - Dalton Baldwin
Gospel Train - Dalton Baldwin
Great Day - Dalton Baldwin
Mary Had A Baby
Live A-Humble
Walk Together Children
Were You There - Jessye Norman
Hush! Somebody's Callin' My Name
Soon Ah Will Be Done
Give Me Jesus

Average customer rating:

Highly recommended

Ultimate Movie Album

Manufacturer: Polygram Int'l
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Binding: Audio CD

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Paramount 90th Anniversary Collection: Scores
Reel Chill: The Cinematic Chillout Album
Reel Love: The Cinematic Romance Album
The Incredible Film Music Box
The Greatest Hits

ASIN: B00005QC28
Release Date: 2001-11-20

Tracks:

Bridget Jones's Diary: Out Of Reach - Gabrielle
Gladiator: Now We Are Free - Gavin Greenaway
Moulin Rouge: One Day I'll Fly Away - Nicole Kidman
Notting Hill: When You Say Nothing At All - Ronan Keating
American Beauty: Dead Already - Thomas Newman
Braveheart: Main Theme - For The Love Of A Princess - London Symphony Orchestra
Four Weddings And A Funeral: You're The First, The Last, My Everything - Barry White
O Brother Where Art Thou: Down To The River To Pray - Alison Krauss
Hannibal: Vide Cor Meum - Gavin Greenaway
The Shawshank Redemption: Courtyard Theme: Che Soave Zeffiretto (Marriage Of Figaro) - Chor und Orchester der Deutschen Oper Berlin
The Thomas Crown Affair: Windmills Of Your Mind - Sting
Platoon: Adagio - Neville Marriner
Ghost: Unchained Melody - Hollywood Bowl Orchestra
Fantasia: The Sorcerer's Apprentice - Montreal Symphony Orchestra
The Big Lebowski: Just Dropped In (To See What My Condition Was In) - Kenny Rogers & The First Edition
Philadelphia: La Mamma Morta - Monserrat Caballe
Snatch: Hernando's Hideaway - The Johnstone Brothers
Lock, Stock & Two Smoking Barrels: Eighteen With A Bullet - Lewis Taylor And Carleen Anderson
A Room With A View: O Mio Babbino Caro - Sylvia McNair

Tracks:

Billy Elliot: Cosmic Dancer - Marc Bolan & T-Rex
Captain Corelli's Mandolin: Pelagia's Song - Orchestra
Four Weddings And A Funeral: Love Is All Around - Wet Wet Wet
Robin Hood Prince Of Thieves: Maid Marian At The Waterfall/Everything I Do - Michael Kamen
Dances With Wolves: John Dunbar Theme - John Mauceri
American Beauty: Any Other Name - Thomas Newman
Gladiator: The Battle (Excerpt) - Gavin Greenaway
The Silence Of The Lambs: Goldberg Variations (Aria) - Andrei Gavrilov
Notting Hill: She - Elvis Costello
Pulp Fiction: Son Of A Preacher Man - Dusty Springfield
Mission Impossible: Main Theme - Orchestra
Waking Ned: Let The Draw Begin - Orchestra
Out Of Africa: Love Theme - John Williams
Shine: Piano Concerto No.3 In D Minor, Op.30 - Concertgebouw Orchestra
The Godfather Part III: Intermezzo From Cavalleria Rusticana - Pavarotti
The Mexican: End Credits Medley - The Hollywood Film Chorale
Body Heat: Main Theme - John Williams
Apocalypse Now: The Ride Of The Valkyries - Chicago Symphony Orchestra
Star Trek: The Final Frontier - Main Theme & March Of The Klingons - John Williams

Album Description

UK compilation featuring a combination of hit songs & theme music from some great soundtracks. Tracks include, Gabrielle 'Out Of Reach' (Bridget Jones Diary), 'Now We Are Free' (Gladiator), 'Dead Already' (American Beauty), Alison Kraus 'Down To The River To Pray' (O Brother Where Art Thou), Ronan Keating 'When You Say Nothing At All' (Notting Hill) & many more. 35 tracks on 2 CDs. 2001.

Customer Reviews:

Highly recommended.......2002-08-20

This pricey UK import CD filled a lot of gaps in my music collection and is an excellent overview of notable music of (mostly) recent films. It's difficult to find consistently listenable soundtrack collections like this, by that I mean free from the obligitory Whitney Houston or Celine Dion embarrassments. Usually rights issues prevent comprehensive compilations like this in the US, too. While I enjoy a lot of soundtrack music, there aren't so many complete soundtracks that I would care to own, some examples of exceptions being Ennio Morricone scores and the About a Boy Soundtrack. While certainly most of these tracks are the actual recordings used in their respective films, I noticed that "La mamma morte" from Philadelphia is not the Maria Callas version. There might be other cases like this, I'm not sure. And "Unchained Melody" from Ghost is an orchestral version, not the pop song (but I consider this a plus). This collection seems to focus on the subtle and quirky, yet melodic music of indie films, with less emphasis on the loud sweeping orchestral scores of major Hollywood hits, but of course there are a few like Gladiator and Braveheart, which are welcome here because like I've said, I probably wouldn't listen to the whole score. I love the two Thomas Newman compositions from American Beauty, and it's good to have some music from films by the Cohen Brothers here. My only complaint would have to be the order of the songs. You would think they would avoid jumping back and forth between pop songs, orchestral scores, and quiet music, but it just seems thrown together by random. I would compare this collection to the excellent "Miramax Films Greatest Hits" but the makers of that album knew to group the two pop/rock songs at the end.

Willard White Sings: Copland; American Spirituals; Folk Songs

Average customer rating:

Willard White Sings: Copland; American Spirituals; Folk Songs

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

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WILLARD WHITE: In Concert - RLPO - Carl Davis
Wade In The Water, Vol.1:African American Spirituals:The Concert Tradition

ASIN: B000000AMX
Release Date: 1992-10-28

Tracks:

American Spirituals: Go Down, Moses
American Spirituals: I Couldn' Hear Nobody Pray
American Spirituals: Were You There When They Crucified My Lord?
American Spirituals: When I Lay My Burden Down
American Spirituals: Steal Away To Jesus
American Spirituals: In The Mornin'
American Spirituals: Gospel Train
American Spirituals: Swing Low, Sweet Chariot
American Spirituals: Deep River
American Spirituals: Ev'ry Time I Feel De Spirit
Old American Songs: The Boatmen's Dance
Old American Songs: The Dodger
Old American Songs: Long Time Ago
Old American Songs: Simple Gifts
Old American Songs: I Bought Me A Cat
Old American Songs: The Little Hourses
Zion's Walls
Old American Songs: The Golden Willow Tree
Old American Songs: At The River
Old American Songs: Ching-a-ring Chaw
Folk-songs From Barbados And Jamaica: Linstead Market
Folk-songs From Barbados And Jamaica: Cordelia Brown
Folk-songs From Barbados And Jamaica: Murder In The Market

Average customer rating:

Fine reissue of a classic set

Purcell: Theatre Music

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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The Decca Records Store | Specialty Stores | Music
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Cantatas for Solo Countertenor
Purcell: The Fairy Queen
Purcell: Songs & Airs / Argenta, North, Boothby, Nicholson, Toll
Monteverdi - Madrigali guerrieri ed amorosi / Concerto Köln, Jacobs
Lute Music, Vol. 2

ASIN: B0001Y4JHA
Release Date: 2004-10-12

Customer Reviews:

Fine reissue of a classic set.......2006-05-24

Think about the stupidest, most formulaic Hollywood movies you can think of: cheesy action pictures, fluffy, unfunny comedies, big but stiff epics. Now imagine that one of the greatest living composers was working in Hollywood, turning out astonishing, hauntingly beautiful and stirring musical scores for these throwaway movies. That's what you get with this set: music Henry Purcell composed for some two dozen often utterly forgettable plays (trust me--I've read a number of them!) Occasionally, when he teams up with a playwright worthy of his stature, such as John Dryden, Aphra Behn, or William Congreve, the results are even better, but for the most part you can enjoy the music here without knowing anything about the original plays.

This set originally appeared as separate LPs in the 70s and 80s, and has been long out of print. That's a pity, since Purcell spent a good deal of his short professional life in the theatre, either writing the incidental music contained on these CDs, or the music for his larger works, the semi-operas (King Arthur, The Fairy Queen, and the like). Almost all of these works are enjoyable gems; certainly, they represent a pinnacle of English 17th century music. Purcell had a genius for spinning musical gold out of the most leaden lyrics (check out his Odes and Welcome Songs on Hyperion if you don't believe me), and he does the same with the song texts in these plays.

Hogwood and the AAM offer clean, listenable performances, and the sound on these old analog discs has been cleaned up and brightened--although they were pretty good, even in the late 70s. As with most Hogwood, emotional extremes are kept to a minimum, so the "otherworldly" nature of late 17th century music, so often emphasised in more recent Baroque performances, doesn't come across here. It would be interesting to see what a group like The King's Consort would do with this music, but this set fills the major gap in the Purcell canon quite nicely.

My only beef with the reissue, as with many reissues, is that the liner notes are rather thin for a 6-cd set--the lyrics to the songs, for example, are especially missed. Still, it's a worthwhile set, and a must for fans of Purcell, English Baroque music, or anyone who just wants to experience a taste of the last days of the Restoration stage.

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

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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!

Gilbert & Sullivan: Patience
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The best ever version

The Golden Cast of D'Oyly Carte!

The Definitive Recording

Gilbert & Sullivan: Patience
Philip Potter , Kenneth Sandford , Mary Sansom , Jennifer Toye , and D'Oyly Carte Opera Company
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

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Gilbert & Sullivan: The Gondoliers

ASIN: B0000041VE
Release Date: 1989-07-21

Tracks:

Overture
Act One: Twenty love-sick maidens we
Act One: Still brooding on their mad infatuation
Act One: I cannot tell what this love may be
Act One: Twenty love-sick maidens we
Act One: The soldiers of our Queen
Act One: If you want a receipt for that popular mystery
Act One: In a doleful train two & two we walk all day
Act One: Twenty love-sick maidens we
Act One: When I first put this uniform on
Act One: Am I alone & unobserved?
Act One: If you're anxious for to shine
Act One: Long years ago-fourteen, maybe
Act One: Prithee, pretty maiden-prithee
Act One: Though to marry you
Act One: Let the merry cymbals sound
Act One: Now tell us, we pray you
Act One: Heart broken at my Patience's barbarity
Act One: Stay, we implore you, before our hopes are blighted
Act One: Your maidens hearts, ah, do steel

Tracks:

Act One: Come, walk up, and purchase with avidity
Act One: We've been thrown over, we're aware
Act One: And are you going a ticket to buy?
Act One: Hold! Stay your hand!
Act One: True love must single-hearted be
Act One: I hear the soft note of the echoing voice
Act One: But who is this, whose god-like grace
Act One: List Reginald, whilst I confess a love
Act Two: On such eyes as maidens cherish
Act Two: Sad is a woman's lot who, year by year
Act Two: Silvered is the raven hair
Act Two: Turn, oh turn in this direction
Act Two: A magnet hung in a hardware shop
Act Two: Love is a plaintive song
Act Two: So go to him & say to him
Act Two: It's clear that the mediaeval art
Act Two: If Saphir I choose to marry
Act Two: When I go out of the door
Act Two: I'm a Waterloo House young man
Act Two: After much debate internal, I on Lady Jane decide

Customer Reviews:

The best ever version.......2002-06-07

The wonderful cast transports you to the realms of Gilbert and Sullivan, to make you feel that you are experiencing a first night in 1881! John Reed, as Bunthorne, an aesthetic poet is superb, camp, subversive and a complete fraud. If anyone is not aware, the story of the opera is based upon the idiosyncracies of the Aesthetic movement in England of the 1880's and Gilbert used the public parodies of his friend Oscar Wilde as his major source. The rest of the cast, chorus and orchestra , under the long experienced 'Goddie' are superlative and make for one of the finest line-ups in D'Oyly Carte history. Revel and enjoy, for this is quite the best.

The Golden Cast of D'Oyly Carte!.......1999-04-13

My wish had always been to see John Reed and the D'Oyly Carte Company in a performance of Patience. My mother had done so, remarking that, 'You'd need patience to watch it', she was coloured in her opinion, since she wanted to see 'The Mikado', but had gotten the wrong tickets! The recording, made in 1961, is superb in every detail. You are with the cast, on stage, in the auditorium, it is such a 'live' performance. The dialogue is delivered exquisitely, whilst the singing is uniformerly of the highest standard. I recently portrayed 'Bunthorne' and throughout my performances, I felt that I was continuing the legacy of Gilbert and Sullivan. All the past history of performers were there. I feel that Patience is a magical Savoy Opera. Do not miss the opportunity to own such a definitive performance. Maybe the subject of the 'Art Nouveau' periodof Victorian England is dated, but as one critic has already stated, every generation 'throws up' its poseures, to be knocked. 'Ah, me! lack aday!' BUY IT!

The Definitive Recording.......1998-12-09

For those who prefer the traditional Savoyard renderings of the G&S canon, this is far and away the best recording of this parody of the cult of celebrity. John Reed leads the cast as a delightful Bunthorne, and the recording contains all of the opera's dialogue. "HMS Pinafore," "The Mikado," and "The Pirates of Penzance" may be better known, but "Patience" is deserving of a wider audience.

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Jessye Norman Collection

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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Jessye Norman Classics
The Essential Jessye Norman [Includes DVD: Jessye Norman Sings Carmen]

ASIN: B00000411W
Release Date: 1990-10-25

Tracks:

All The Things You Are
Spring Is Here
Love Is Here To Stay
In The Still Of The Night
With A Song In My Heart
Ave Maria
Amazing Grace
Greensleeves (What Child Is This)
The Holy City
Panis Angelicus
Messe solennelle de Ste. Cecile: Sanctus
There Is A Man Going Round
Give Me Jesus
Couldn't Hear Nobody Pray
Do Lawd, Oh Do Lawd
Gospel Train
He's Got The Whole World In His Hands

Tracks:

'Le nozze di Figaro': Porgi, amor
'Le nozze di Figaro': Dove sono i bei momenti
Zueignung, Op.10 No.1
'Ariadne Auf Naxos': Es gibt ein reich
Fruhling
Schlechtes Wetter, Op.69 No.5
'Dido and Aeneas': Dido's Lament: When I'm laid In Earth
'Les Nuits D'Ete': Le Spectre De La Rose
Gretchen am spinnrade
L'invitation au voyage
Je te veux
Les chemins de L'amour
'Tristan und Isolde': Tristan und Isolde: Isoldes Liebestod

Dennis O'Neill Sings More Favourite Tenor Arias

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Dennis O'Neill Sings More Favourite Tenor Arias

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music
ASIN: B0001JSS6S
Release Date: 2004-06-29

Tracks:

Go On Stage - Put On Your Costume
Heaven And Sea!
I Pray That I Be Chosen - Goddess Aida
When Holy Church Has Blessed Our Love - That Fierce Inferno, Her Cruel Sentence
Foresto, My Soul Belongs To You
Here Unobserved In This Chapel - Angel Of Love Divine
One Day, Gazing At the Splendour Of Heav'n's Blue Distance
Just Like A Day In May Time
Ah! Would That God Had Given Him A Thousand Lives! - Yes, I Swear By Skies Of Marble
Do Not Fear Me
Give Me My Palette! - How Strange A Thing Is Beauty
Let Her Believe That I Have Gained My Freedom
My Friends, Don't Go Away - Neightbours, With A Glass I Meet You - Diana Montague
Mamma, Mamma, This New Wine Really Is Powerful - Diana Montague
I Lost The Will To Action
Your Tiny Hand Is Frozen

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Gilbert & Sullivan: The Gondoliers

Manufacturer: Polygram Int'l
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
ASIN: B0000041VC
Release Date: 2003-04-08

Tracks:

Ov
Act I: List And Learn
Act I: Good Morrow, Pretty Maids
Act I: For The Merriest Fellows Are We
Act I: See, See At Last They Come To Make Their Choice
Act I: Buon Giorno, Signorine!
Act I: We're Called Gondolieri, But That's a Vagary
Act I: And Now To Choose Our Brides!
Act I: Are You Peeping?
Act I: Thank You Gallant Gondolieri
Act I: From The Sunny Spanish Shore
Act I: In Enterprise Of Martial Kind
Act I: O Rapture, When Alone Together
Act I: There Was A Time, A Time For Ever Gone
Act I: I Stole The Prince
Act I: But, Bless My Heart, Consider My Position!
Act I: Try We Life-Long We Can Never
Act I: Bride-Groom And Bride!
Act I: When A Merry Maiden Marries
Act I: Kind Sir, You Cannot Have The Heart, Our Lives To Part
Act I: Do Not Give Way To This Uncalled-For Grief
Act I: Then One Of Us Wiil Be A Queen

Tracks:

Act I: Now Pray, What Is The Cause Of This Remarkable Hilarity
Act I: Replying, We Sing As One Individual
Act I: For Ev'ryone Who Feels Inclined
Act I: Come Let's Away-Our Island Crown Awaits Me
Act I: Now, Marco Dear, My Wishes Hear
Act I: Then Away They Go To An Island Fair
Act II: Of Happiness The Very Pith
Act II: Rising Early In The Morning
Act II: Take A Pair Of Sparkling Eyes
Act II: Here We Are, At The Risk Of Our Lives
Act II: After Sailing To This Land
Act II: Dance A Cachucha, Fandango, Bolero
Act II: There Lived A King, As I've Been Told
Act II: In A Contemplative Fashion And A Tranquil Frame Of Mind
Act II: With Ducal Pomp And Ducal Pride
Act II: This Polite Attention
Act II: On The Day When I Was Wedded
Act II: To Help Unhappy Commoners
Act II: Small Titles And Orders For Mayors And Recorders
Act II: I Am A Courtier Grave And Serious
Act II: Here Is A Case Unprecedented!
Act II: Now Let The Loyal Lieges Gather Round
Act II: Speak Woman Speak, We're All Attention!
Act II: The Royal Prince Was By The King Entrusted
Act II: Luiz! Casilda
Act II: One More, Gondolieri

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When You Pray

ProductGroup: Music
Binding: Audio CD
ASIN: B000F3NDPG

Music Review:

Music Review

Music Review

1. When You Pray
2. Going Home
3. We Come a Long Way Children
4. I Need Your Help Lord
5. We Come to Worship
6. Watch Out for the Devil
7. God Will Sit With You
8. Press On
9. No I'm Not Alone
10. Spread Love