Live to Die

Track Listings

1. Metal Might

2. Hell No

3. In the Dark

4. Out for Blood

5. Live to Die

6. Fire and Brimstone

7. Whiskey Seed

8. Here Comes the Bride

9. Heroes

Tracks:

To Live And Die In L.A.
Lullaby
Wake Up, Stop Dreaming
Wait
City Of The Angels
The Red Stare
Black-Blue-White
Every Big City

Amazon.com

Director William Friedkin knows a thing or two about innovative, genre-bending film scores. He commissioned edgy modern-jazz player Don Ellis for his classic The French Connection and reworked Mike Oldfield's "Tubular Bells" into the haunting soundtrack for the blockbuster The Exorcist. But even veteran film buffs were surprised when Friedkin turned the scoring chores for his taut 1985 forgery-ring thriller To Live and Die in LA over to British pop stars Wang Chung. Though they're still best known for their perennial rock-of-the-'80s hits "Dancehall Days," "Everybody Have Fun Tonight," and "Let's Go," Friedkin's early admiration for the band's often underrated musicality paid off with a tense, rhythmic soundscape that crystallized the era and locale of the film. And, though synth-pop has gained ill repute as a cheesy 1980s cliché, this album ably proves that it could rise above its stereotype in dramatic fashion. The Jack Hues-sung title track was also a minor pop hit. --Jerry McCulley

Customer Reviews:

Dupped?.......2007-02-21

This cd has not as yet arrived for me to review it. Where is it?

Even After 20 Years, This Soundtrack Is STILL Bumpin'!.......2006-12-01

i just received my copy in the mail a few days ago.....WOW!...right now "wait" is playing as i type this.i really like the flow of songs. it has been awhile since i've seen the movie but the music is still top- notch quality."city of the angels".had a good driving bass drum and high- hat thing going that's just crazy. i play air drums to it.

all in all... A TOP RATE SOUNDTRACK.

only the title track.......2006-06-14

ok the track to live and die in l.a by wang chung is the only piece worth listening but the movie itself wow!!! if a dvd is available i would recommend it as a masterpiece movie! would you believe that this was CSI mainstay william petersen starring role?

cd review.......2006-03-09

good ol' tunes from Wang Chung,
good as the flick and well sung;
Wm. P. was good in the show,
partner was/is always so-so;
tks Amazon, "feat gea kung."

Excellent.......2005-08-31

Music is top of the line in feeling and depth. Edgy lyrics support rolling melodies, and I would recommend this CD for anyone who enjoys 80's music.

Average customer rating:

Would you like ketchup with your bug?
he makes you get up and dance
Live in Dublin
Live in Dublin
Live audience is great.

Live In Dublin
Andre Rieu
Manufacturer: Denon Records
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Tuscany
Andre Rieu in Concert
The Flying Dutchman
The Vienna I Love, Waltzes From My Heart
At The Movies

ASIN: B0000CABHH
Release Date: 2003-10-07

Tracks:

Dark Eyes
Thunder & Lightning
The Merry Widow
Song of the Volga Boatman
Hor Ich Zimbalklange
Espana Cani (Bull)
O Mio Babbino Caro
The Blue Danube Waltz
Announcement Olympia Song
Song of Olympia (puppet)
My Heart Will Go On (Titanic)
All Men Shall Be Brothers - Beethoven 9th
Radetzky March
Opera Potpourri
The Red Rose Cafe
The Marino Waltz
Irish Washerwoman
The Last Rose
Chianti Song
Lullaby

Album Description

Recorded at the filming in Dublin's famous downtown train terminal, LIVE IN DUBLIN features Andre and the orchestra performing a collection of old favorites and exciting new selections. Already a smash PBS program LIVE IN DUBLIN captures Andre Rieu and his magical live performances at their most elegant best!

Customer Reviews:

Would you like ketchup with your bug?.......2007-05-05

The person who sang O Mio Babbino Caro is Carmen Monarcha. Do a search for her on YouTube; she's really fantastic!

Anyway, I saw Andre Rieu on a PBS special on television and it looked like such an awesome, high-energy concert! The CD is not so exciting, but it is worth buying just for that beautiful aria.

he makes you get up and dance.......2007-04-10

my 3 yr old enjoys this as much as us

Live in Dublin.......2007-02-17

The music is really toe tapping and excellent. Andre Rieu is a master of music.

Live in Dublin.......2006-07-05

This concert is magnificent in its energy and in the great performances by Andre Rieu and the Johann Stauss orchestra. I watch it when I need lifting up. I love the audience interaction which makes me feel as if I'm there in person.

Live audience is great........2006-05-03

This has to be one of Andre's best. The live audience adds much to the music being played. I wish I had been there for the performance.

Average customer rating:

A very fine Dame Kiri
Ahhhhhhhhhhhhh!
Listen to a real diva!
She Is the Best
Brava Kiri!

Kiri! Her Greatest Hits Live

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Kiri
Kiri Te Kanawa - Greatest Hits ~ 14 Favorites of Opera, Popular & Traditional Song
Kiri Te Kanawa Classics
Kiri Te Kanawa - Ave Maria
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ASIN: B00000424J
Release Date: 1994-07-19

Tracks:

Louise: Depuis le jour
Mariettas Lied
Porgi amor
Befreit
Si. Mi chiamano Mimi
O soave fanciulla
You'll Never Walk Alone
It Never Was You
Why Don't You Do Right?
Hine e hine
Tahi nei taru kino
Climb Ev'ry Mountain
With One Look
Salaambo's aria
O mio babbino caro
Somewhere
Art Is Calling
World In Union
Happy Birthday To You

Customer Reviews:

A very fine Dame Kiri .......2006-01-05

Dame Kiri Te Kanawa was never between my favourite singers but I have to admit that she is really a respectable artist and this lovely cd proves how versatile she is and how she managed to keep a fresh and mellow tone even in her fifties. She is really at her best in the extracts from Citizen Kane and the operetta The Enchanteress. It's a pity that no Verdi music is included in the program, Kiri Te Kanawa was a great Amelia (Simon Boccanegra) and a moving Desdemona. A very fine Dame Kiri indeed.

Ahhhhhhhhhhhhh!.......2005-04-15

OK. I'm going to go out on a limb here. This is, IMHO, Dame Kiri's finest recorded performance.

I know that's taking in a whole lot of territory, but there is something simply magical, and magisterial, about her singing here.

Yes, I know "perfection" is that illusive impossibility to be sought but never achieved. However, on this night I think Dame Kiri did achieve perfection.

Simply a glorious life affirming performance by one of the great singing artists of the last fifty years.

Dame Kiri, Happy Birthday, and thank you.

Listen to a real diva!.......2002-12-17

Kiri's exquisite voice and expansive repertoire make for an unbeatable combination which reaches its crescendo on this special evening. A full symphony orchestra, two choruses, a jazz trio, and even a tenor (!) help Kiri in celebrating her 50th birthday. (That's her chronological age, the voice is timeless.) The hall's accoustics are excellent and orchestra and audience support without intruding. One of the reasons why I love Kiri's singing is that I believe she sings the songs the way the composer wanted them to be sung without the sometimes annoying embellishments employed by others. Kiri includes songs sung in her ancestral Maori in a program that takes the listener from the opera house to Broadway and then to an intimate jazz club. I love live concerts because I feel most artists are at their best before a live audience and this cd is proof. I don't believe that there is another artist recording today that has covered such a wide range of song styles and done it with such beauty and skill. This disc is confirmation. If you only buy one Kiri cd, make it this one. But don't be surprised if you start buying many more!

She Is the Best.......2002-10-26

The first time I ever heard the voice of Kiri Te Kanawa was on a recording of Salaambo's aria from CITIZEN KANE for the RCA film classics series on vinyl. It was one of the most haunting and beautiful pieces of music ever composed by Bernard Herrmann. It was Kiri Te Kanawa performance of this piece that was so incredible. I had seen the film several times, but to hear a high fidelity recording of Kiri Te Kanawa on this particular piece really demonstrated not only the raw talent but also a depth of intuitive emotion that she brought to Herrmann's composition. Anyone that could interpret the inner struggle behind Herrmann's music so precisely demonstrated an uncommon ability to become one with the music. I still can't pronounce her name correctly but Kiri Te Kanawa is the epitome of a well-honed talent. She is a gift to us all. This CD is very welcome.

Brava Kiri!.......2002-08-26

What a truly breathtaking concert! Kiri is obviously one of the top three divas to surface over the past fifty years!

Her technique is spotless, her tonality marvelous, and her intonation superb! For those worried about Kiri's "maturing" sound; age has brought a "different" soprano, but one just as lovely as ever...

The selection of music was fabulous, such a variety brings about an interesting and lively effect...

Tracks:

Live And Let Die (Main Title)
Just A Closer Walk With Thee / New Second Line
Bond Meets Solitaire
Whisper Who Dares
Snakes Alive
Baron Samedi's Dance Of Death
San Monique
Fillet Of Soul-New Orleans / Live And Let Die
Bond Drops In
If He Finds It, Kill Him
Trespassers Will Be Eaten
Solitaire Gets Her Cards
Sacrifice
James Bond Theme
Gunbarrel / Snakebit
Bond To New York
San Monique (Alternate)
Bond And Rosie
The Lovers
New Orleans
Boat Chase
Underground Liar

Customer Reviews:

Favorite Bond Film.......2007-04-26

Music score was great. Paul McCartney and Wings. Movie well fitted for Roger Moore, a great candidate for this role.
The Solitaire melody is dreamy and romantic and often moody.
"Bond Goes to New York' is sharp yet out-witted. "Live and Let Die", a sacrament to testimony. Too good to pass up.

Finally! The complete Live and Let Die Soundtrack.......2005-09-13

I have only been waiting for this for 22 years! Granted when this was first released on LP (Vinyl record technology, pre cd, pre cassette and during the horror period of 8 track tapes!),
Only so much music could be recorded on a record. This album finally satisfies all of us who wanted all of the music. Sir George Martin does a wonderful variation to the classic 007 theme as well as great action sequences with different variations of the main title and then some original songs. Sir Martin was the first to score for Bond since Barry who had scored all of the previous movies unavailable for this one. The music was a fabulous introduction to the new Bond Roger Moore.
This Album will stand the test of time when good music was being made for the series.

Best Sound Track Ever.......2005-03-20

I just love bond movies and being able to listen to the music from them is just ausome

Live and Let Delight.......2004-08-12

The remastered release of LIVE AND LET DIE is much improved. The previous issue was no different than the track line up on the original 1973 vinyl record -- or eight track tape, depending on your antiquated stereo. Not only does this release include additional superb tracks, some of the original cuts have also been lengthened and more closely correspond the the film soundtrack. George Martin, the Beatles producer, took the helm from John Barry in scoring the eighth James Bond film soundtrack. Though no one has yet equaled Barry's compositions for Bond films, which we have not heard since 1987's THE LIVING DAYLIGHTS, Martin's soundtrack was perfect for launching Roger Moore's first outing as Bond. Let us not forget Paul McCartney's brilliant theme of the same name.

The musical chemistry between McCartney and Martin is obvious as the title theme music is blended throughout the soundtrack. As a matter of trivia the movie producers originally planned to use McCartney's title theme with a female vocalist before the former Beatle showed his mettle as a negotiator. In the end, Paul McCartney and Wings performed the title track. LIVE AND LET DIE also proved to be a hit Apple/Capitol single as well.

There are a couple things missing from the CD. When some of the James Bond soundtracks were re-released a couple years ago they included selected soundbytes and an analog movie trailer. Apparently the remastered LIVE AND LET DIE soundtrack did not rate these extra features.

Oh well, Live and Let Die. In the meantime, live and go buy.

Why weren't these tracks included in the first place?.......2003-04-16

Yes, that is my sentiment....in fact, it seems in all the other re-mastered Bond soundtracks, the best music is left out, and Live and Let Die was no exception.

George Martin took over from John Barry to write the score for Live and Let Die and he more than admirably did the job. First of all, (take note David Anrold), is that he incorporate the theme song into the score even though it wasn't written by him...thus continuing the tradition of Bond music set by John Barry. Second, he wrote another piece for Solitaire which is also used extensively throughout the score. In all, George Martin wrote a score worthy of Barry himself....

Which is what makes the original release such a disappointment because many of the best music was left out. The re-master remedied that and includes virtually the entire score: the music for the pre-title sequence (gun barrel/snakebit), other notables are Bond and Rosie, The Lovers, Bond to New York, and many of the cues for action/chase sequences. There is an alternate cue for San Monique which I think is better than the one on the original release.

Tracks:

Pirates Of Penzance: Overture
Pirates Of Penzance: Act. I - Pour, Oh Pour The Pirate Sherry
Pirates Of Penzance: Act. I - When Fred'ric Was A Little Lad
Pirates Of Penzance: Act. I - Oh, Better Far to Live and Die
Pirates Of Penzance: Act. I - Climbing Over Rocky Mountain
Pirates Of Penzance: Act. I - Oh, Is There Not One Maiden Breast
Pirates Of Penzance: Act. I - Oh, Sisters, Dear To Pity's Name, For Shame!
Pirates Of Penzance: Act. I - Poor Wand'ring One!
Pirates Of Penzance: Act. I - How Beautifully Blue The Sky
Pirates Of Penzance: Act. I - Stay, We Must Not Lose Our Senses
Pirates Of Penzance: Act. I - I Am The Very Model Of A Modern Major-General
Pirates Of Penzance: Act. II - Oh, Dry The Glist'ning Tear
Pirates Of Penzance: Act. II - Then Frederic .. When The Foeman Bares His Steel
Pirates Of Penzance: Act. II - Stay, Fred'ric, Stay!
Pirates Of Penzance: Act. II - When A Felon's Not Engaged In His Employment
Pirates Of Penzance: Act. II - With Cat-Like Tread
Pirates Of Penzance: Act. II - Hush! Hush! Not A Word
Pirates Of Penzance: Act. II - Sighing Softly To The River ... (Finale)

Customer Reviews:

full description missing.......2006-08-18

While the music that is on the CD is good, a several numbers are missing! It's not the full operetta

Fine Excerpts At An Affordable Price.......2004-02-07

Gilbert And Sullivan. Eternal names in the musical theatre scene. They were the 19th century British version of Rodgers and Hammerstein or Lerner and Loewe. And this was long before Broadway, when the Savoy was the vogue of musical comedy and the Savoyards were highly popular entertainers. William S. Gilbert provided the libretti and lyrics to the operettas, while Arthur Sullivan, who was a serious music composer in his own right, provided the music. The operettas or light operas they wrote were mostly up-beat social satires dressed up as comedy, very theatrical, historical, inventive, and very patriotic to Brittain. Their works borrowed the opera technique- choruses, arias, ensembles, but as far as plot and content their only serious work was The Yeomen Of The Guard. Other Gilbert And Sullivan hits include Trial By Jury, H.M.S. Pinafore, The Mikado, Princess Ida and The Gondoliers. Gilbert And Sullivan's manager/impresario was Richard D'Oyly Carte.

This recording is only highlights from a 1968 recording (also available on Amazon.com) with the D'Oyly Carte Opera, conductor Isidore Godfrey directs the Royal Philharmonic. In the role of Frederick, lyric tenor Phillip Potter, in the role of Mabel, soprano Valerie Masterson, John Reed as Major General Stanley, Donald Adams as The Pirate King,Owen Brannigan as the Sergeant Of Police, and mezzo soprano Christine Palmer as Nurse Ruth. These singers were at their vocal peaks, and they provide much comedic acting as well. Impressive scenes include the mezzo soprano vocals of Christine Palmer's Ruth as she describes how she mistook "Pilot" for "Pirate" when nursing Frederick (When Frederick Was A Little Lad"), Frederick's plea to the daughters of the Major General to accept him as husband (O Is There Not One Maiden Breast) Valerie Masterson, whose Mabel is the best, singing the coloratura showcase "Poor Wondering One" and her duet in "Stay Frederick Stay" John Reed singing "I Am The Very Model Of A Modern Major General" is hilarious and a display of virtuosity for this type of singing. The beautiful chorus "O Dry The Glistening Tear" the upbeat "With Cat Like Tread" and the finale are exceptional.

Excerpts And Highlights From The Pirates Of Penzance.......2004-02-04

This cd contains only highlights and excerpts from the 1968 recording by the D'Oyly Carte Opera Company. For a full recording, check it out on the Amazon.com catalog under Gilbert and Sullivan Pirates Of Penzance D'Oyl Carte Opera. This company was founded by the original impresario and manager of the Gilbert and Sullivan productions in the late 19th century, Richard D'Oyly Carte. Arthur Sullivan, who was a well-known composer, provided the music and William Gilbert wrote the libretti. Their partnership was a match made in heaven, as evident in the success of their many operettas, beginning with the smash hit "Trial By Jury" and even on to the more serious opera "The Yeomen Of The Guard". Nevertheless, Gilbert and Sullivan had different temperaments and did'nt always get along very well. They split up sometime in the 1890's. Other famous light operas of theirs include The H.M.S. Pinafore, The Mikado, Iolanthe, Princess Ida and The Gondoliers. Light opera or operetta was the vogue of the day, especially popular in the Savoy Theatre in London. Although it was not opera, it borrowed much of the opera techniques- namely arias and chorus. The entertainment of the Gilbert and Sullivan operettas were very much like Broadway musicals. In fact, one could make the argument that the Savoy was the Broadway long before American Broadway theatre and Gilbert and Sullivan were like an early British form of Rodgers and Hammersteins or Lerner and Loewe.

The Pirate Of Penzance is a beautiful work of art. The sugary and sentimental story is about the exoneration of pirates, who are noble men who have "gone astray" by such authorities as the Major General,his daughters and the Sergeant of Police. Through the course of the opera, Frederick, who was nursed by Ruth and reared by the Pirate King and his roguish band of pirates. When the daughters of Major General Stanley reject his proposals of love, only Mabel consents to love him. But there's a catch. Frederick is in the hands of the pirates until he comes of age but he was born on a leap year and not until 1940 will he be released. The ending is happy and finds the pirates forgivened by the authorities and Mabel and Frederick are happily married.

The singers really deliver a great performance. In the role of the Major General Stanley is John Reed, who by the time of this recording was a veteran singer in the company. He comes off as fatherly, authoritive but cheerful. An especially skilled type of singer is needed for the master song "I am the Very Model Of A Modern Major General". In contrast, a lyric tenderness is required in the final song "Sighing Softly To The River". As mentioned, a lot of this light opera shines with chorus. The excellent choruses include the opening chorus "Pour The Pirate Sherry", "Oh Dry The Glistening Tear"- this one in particular is set to beautiful music and the daughters of the Major General sound heavenly when they sing in chorus, expressive also in their chorus when Frederick sings "O, Is There Not One Maiden Breast ?". Frederick is sung by Phillip Potter, whose tenor voice is lyric and romantic, and it sounds gorgeous when in duet with Valerie Masterson's Mabel, as in the duet that follows "Stay Frederick Stay". Valerie Masterson was the principal soprano of the company and performed in various other lead roles such as Princess Yum-Yum in The Mikado. A well-schooled lyric and coloratura diva, Valerie Masterson extended her repertoire into Broadway and opera- she has sung Violetta Valery of Verdi's La Traviata (in both Italian and in English versions), Adele in Die Fledermaus and even a part in an English version of Wagner's Ring of the Nibelung. Valerie has recordings out in stock and available in Amazon.com.

Pirates Of Penzance Highlights At A Cheap Price !!.......2003-12-27

For a very reasonable, inexpensive price (around 8 dollars) this cd is a must have for those who have recently taken up an interest in Gilbert and Sullivan. Gilbert and Sullivan were a team of composer and librettist, both Englishmen, from the late 19th century who composed operettas written in the English language and in the spirit of popular folk song of the Victorian period (roughly 1870's, 1880's and 1890's ) The light operas were equally as light in plot and mood- they were cheery, uncomplicated stories, a lot of them set on a naval vessel out at sea. They poked fun at the Victorian way of life, in much the same vein that Offenbach satirized the French of his day during the Second Empire (1860's). Gilbert and Sullivan composed many operettas that still remain popular today, especially The Mikado, The H.M.S. Pinafore and in this case The Pirates Of Penzance. The D'Oyly Carte Opera Company specialized exclusively in the art of Gilbert and Sullivan and have long been regarded as the finest interpreters of the style. In the 50's and 60's they performed live and made a variety of recordings, employing the talents of many outstanding English singers- among them lyric soprano Valerie Masterson.

In The Pirates Of Penzance, Mabel and Frederick are temporarily seperated lovers when Frederick is accused of a crime he did not commit. The plot involves pirates, among them the bass-baritone Pirate King. Light-hearted, bouncy tunes abound in what is considered the direct ancestor to Broadway musicals. The Overture makes use of the chorus "With Cat Like Tread" a march-like, jovial piece of music. The Highlights on this cd include "Pour O Pour The Pirate Sherry", "When Frederick Was A Lad", " Poor Wondering One", "I Am The Very Model Of A Modern Major General" and the uplifting finale. Valerie Masterson plays the role of Mabel. Her voice is fresh, agile, lyric and she has excellent command of coloratura when warranted, as she sings in "Poor Wondering One". This 1968 recording is in its entirety on the same label with the same singers on a different cd recording.

A reasonably good abridgement to this ever-popular G&S opera.......2001-03-08

This budget-priced abridgement of D'Oyly Carte's incomporable 1968 PIRATES is a reasonably good way for beginners to get started on the opera itself. The D'Oyly Carte's performance is top-notch and beyond reproach and Isidore Godfrey elicits delicate playing from the Royal Philharmonic Orchestra. The 62-minute playing time gives exceptionl value for money, even though there are scenes I feel should hae been omitted such as Frederic's "Oh is there not one maiden breast" that hold up the action. It would have been ince to include the Act One finale because it reveals what is to come in the second act. To round off, some people think that this performance of PIRATES is far too operatic, but this is Sullivan's original arrangement and not others' work.

DRG 25th Anniversary Show Stopping Performances

Average customer rating:

Great compilation
A disappointment

DRG 25th Anniversary Show Stopping Performances

Manufacturer: Drg
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Similar Items:

Barbara Cook at the Met with Special Guests
Curtains (2007 Original Broadway Cast)
110 in the Shade (2007 Broadway Revival Cast)
ABC (Adler, Bock, Coleman)
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ASIN: B00005Q6IN
Release Date: 2001-10-23

Tracks:

A Day In Hollywood A Night In Ukraine: Just Go To The Movies - Priscilla Lopez/David Garrison/Frank Lazarus/Stephen James/Peggy Hewett/Kate Draper
Babes In Arms: I Wish I Were In Love Again - Christopher Fitzgerald Jessica Stone
Pal Joey: Bewitched, Bothered And Bewildered - Patti LuPone
Gentlemen Prefer Blondes: Diamonds Are A Girl's Best Friend - KT Sullivan
Nunsense: I Just Want To Be A Star - Christine Anderson
Louisiana Purchase: Wild About You - Debbie Gravitte & New York Voices
Oil City Symphony: Beaver Ball At The Bug Club - Mike Craver/Mark Hardwick/Debra Monk/Mary Murfitt
Falsettoland: The Baseball Game - Michael Rupert/Chip Zien/Faith Prince/Janet Metz/Heather MacRae/Stephen Bogardus
Very Good Eddie: Isn't It Great To Be Married? - Virginia Seidel/Spring Fairbank/Charles Repole/Nicholas Wyman
The Fantasticks: A Perfect Time To Be In Love - Harvey Schmidt
Call Me Madam: You're Just In Love - Tyne Daly/Lewis Cleale
Taking My Turn: Fine For The Shape I'm In - Margaret Whiting/Marnie Nixon/Cissy Houston
A Party With Betty Comden & Adolph Green: The French Lesson - Betty Comdon/Adolph Green
The Madwoman Of Central Park: Better - Phyllis Newman
Greenwillow: Never Will I Marry - Anthony Perkins
Song Of Singapore: I Can't Remember - Loretta Swit & Company
Tintypes: Elite Syncopation/I'm Goin' To Live Anyhow, 'Til I Die - Lynne Thigpen
I Love My Wife: Someone Wonderful I Missed - Joanna Gleason/Ilene Graff
The Good Companions: The Pleasure Of Your Company - Malcolm Rennie/Christopher Gable
Forbidden Broadway 20th Anniversary: Liza One-Note - Christine Pedi
Meet Me In St. Louis: The Trolley Song - Donna Kane & Ensemble

Tracks:

4 Guys Named Jose...And Una Mujer Named Maria!: Feel It - Philip Anthony/Henry Gainza/Allen Hidalgo/Ricardo Puente
Fame - The Musical: There She Goes!/Fame - Natasha Rennalls & Ensemble
Do Re Mi: What's New At The Zoo? - Heather Headley/The Animal Girls
High Society: Once Upon A Time/True Love - Melissa Errico/Daniel McDonald
Tenderloin: Artificial Flowers - Patrick Wilson
State Fair: Driving At Night/Our State Fair - Company
Kiss Me, Kate: Were Thine That Special Face - Brian Stokes Mitchell
Black And Blue: Black And Blue - Linda Hopkins/Ruth Brown/Carrie Smith
The Green Bird: O Foolish Heart - Company
Out Of This World: From This Moment On - Marin Mazzie/Gregg Edelman
The Boys From Syracuse: This Can't Be Love - Davis Gaines/Sarah Berry
Snoopy!!!: Poor Sweet Baby - Pamela Myers
SeesawNobody Does It Like Me - Michele Lee
March Of The Falsettos: I Never Wanted To Love You - Michael Rupert/Stephen Bogardus/Alison Fraser/Chip Zien/James Kushner
Lunch: Perfectly Alone - Carol Burnett
3hree: Foolish Dreamin'/Something Beautiful/Real Enough To Change My Mind - Jessica Molaskey/Will Gartshore/Rachel Ulanet
Lucky In The Rain: Love Me As If There Were No Tomorrow - Barbara Cook
Godspell: All Good Gifts - Sal Sabella & Company
The Act: Walking Papers - Liza Minnelli & Company

Customer Reviews:

Great compilation.......2002-05-10

I don't actually own this particular compilation, however, since I own nearly every recording represented on these discs...I think I'm qualified to comment. This is a wonderful representation of the high quality of work that DRG Records does.
The previous review is way off the mark. This is definitely not a waste of time or money. This is 25 years of preserving Broadway shows, Off-Broadway shows, studio recordings (mostly from the city center concerts), etc. So what if they "aren't as good as the original", DRG is preserving many recordings and artists that other mainstream labels don't or won't. You have wonderful recordings from Brian Stokes Mitchell, Nathan Lane, Debbie Gravitte, Tyne Daly, Anthony Perkins, Joanna Gleason, Marin Mazzie, Carol Burnett, Heather Headley, Patti LuPone, Barbara Cook, etc., and many of these are from Original Cast Recordings just as they appeared on Broadway. This is an excellent sampler of the work going on at DRG. No...I'm not an employee...just an avid listener and collector of theatre recordings.

A disappointment.......2001-12-15

There's a reason you've probably never heard of most of the songs and shows on this album, not to mention most of the artists. This is a second-rate collection of second-rate numbers performed by mostly second-rate artists. In the case of the shows that were revivals, the performances on the original cast recordings were better. Don't waste your money.

Léhar: The Land of Smiles; The Merry Widow; The Count of Luxembourg (Highlights)

Average customer rating:

Arguably "The Best" English "Merry Widow "

Léhar: The Land of Smiles; The Merry Widow; The Count of Luxembourg (Highlights)

Manufacturer: Class. for Pleas. Us
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
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Johann Strauss II: Die Fledermaus; The Gypsy Baron (Highlights)
Offenbach: La Belle Hélène; Orpheus in the Underworld; La Vie Parisienne (Highlights)
Music of Sigmund Romberg
Offenbach: Orpheus in the Underworld / Burgess, Watson, etc (Highlights)
The Best of Operetta, Vol. 3

ASIN: B00009KHY2
Release Date: 2003-09-02

Customer Reviews:

Arguably "The Best" English "Merry Widow ".......2006-09-12

This is the "Merry Widow" with English translation by Christopher Hassel sung by June Bronhill. I loved this rendition ever since I first heard it in about 1960. What's to love? First the translation is the best I've heard. The language doesn't sound "stilted" as some others. And, you can understand almost every word sung. Plus, the famous song, "Vilja" has some wording that moves me every time I hear it: The soprano sings, "Love me and I'll DIE for you!" with the word "die" somewhat emphasized. I don't know, there's just something "powerful" about someone saying they'd "die" for love! AND, at the end of "Vilja" the chorus and soprano raise to a crescendo hitting a high note together. In many renditions the chorus is heard but not the soprano on the final high note. In THIS version, the soprano, June Bronhill, can be heard rising to the final high note with an incressing crescendo and fortissimo louder than the chorus and holding the final high note---which gives a very thrilling effect as she holds that final note, I assure you!

The "problem" is that this June Bronhill, Reid, and Hassel version is hard to find on CD. For example, this CD is made in Holland and "there is one left" so it says on Amazon. But, if you can find it, I think it would be very much worth a listen. Then, after hearing it, if you think there's a "better" Merry Widow, please let ME know! Thanks. Email:boland7214@aol.

Average customer rating:

Painless and Pleasant

Opera for People Who Hate Opera

Manufacturer: Intersound Records
ProductGroup: Music
Binding: Audio CD

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Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

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Classical Music for People Who Hate Classical Music
Beethoven: Triple Concerto; Brahms: Double Concerto

ASIN: B000003QWI
Release Date: 1994-06-09

Tracks:

Ride Of The Valkyries - San Diego Symphony Orchestra
Vesti La Giubba - Jose Perez
Intermezzo - London Festival Orchestra
Overture - London Festival Orchestra
Prelude - Philharmonia Orchestra Of London
Aragonaise - Philharmonia Orchestra Of London
Seguedille - Philharmonia Orchestra Of London
Bohemian Dance - Philharmonia Orchestra Of London
The Toreador Song - Philharmonia Orchestra Of London
Polovstian Dances 8 And 17 - Ljubljana Radio Symphony Orchestra
Pace, Pace Mio Dio - Leontyne Price
Overture - London Philharmonic Orchestra
Barcarolle - Royal Philharmonic Orchestra
Gypsy Chorus - Bavarian Festival Orchestra And Chorus
Royal Hunt And Storm - Helsinki Philharmonic Orchestra
O Mio Babbino Caro - Ljiljan Molnar-Talajic

Tracks:

Overture - Utah Symphony Orchestra
Questo A Quella - Jose Perez
Un Bei Di - Vanda Gerlovic
Che Gelida Manina - Jose Perez
Overture - Utah Symphony Orchestra
Ach, So Fromm - Jose Perez
Overture And Prelude - Ljubljana Radio Symphony Orchestra
Visi D'arte - Leontyne Price
Celeste, Aida - Jose Perez
Triumphal March - Jose Perez
Ballet Music - Jose Perez
The Viennese Musical Clock - Dallas Symphony Orchestra
Overture - London Symphony Orchestra
We Sail The Ocean - Rochester Philharmonic Chorus
I'm Called Little Buttercup - Rochester Philharmonic Chorus
When I Was A Lad - Rochester Philharmonic Chorus
Never Mind The Why And Wherefore - Rochester Philharmonic Chorus

Tracks:

La Donna E Mobile - Jose Perez
Prelude - Slavonic Philharmonic Orchestra
Servantsd Chorus - Ljubljana Radio Chorus
Mon Coer S' Ouvre A Ta Voix - Marijana Radev
Waltz - Vienna Folk Opera Orchestra
A Wand'ring Minstrel, I - Rochester Philharmonic Chorus
Three Little Maids - Rochester Philharmonic Chorus
Here's A How-De-Do - Rochester Philharmonic Chorus
Beauty In The Bellow - Rochester Philharmonic Chorus
He's Gone And Married Yum-Yum - Rochester Philharmonic Chorus
Overture - Philharmonia Orchestra Of London
Waltz - Houston Symphony Orchestra
Peasants' Chorus - Nuremberg Symphony Chorus
Overture - Philharmonia Orchestra Of London
E Strano E Strano - Biserka Cvejic
Overture - Philharmonia Orchestra Of London

Tracks:

Overture - Utah Symphony Orchestra
Bridal Chorus - Ljubljana Radio Symphony Chorus
Overture - London Festival Orchestra
Pour, O Pour The Pirate Sherry - Rochester Philharmonic Chorus
Oh, Better Far To Live And Die - Rochester Philharmonic Chorus
I Am The Very Model Of A Modern Major General - Rochester Philharmonic Chorus
When The Foeman Bares His Steel - Rochester Philharmonic Chorus
With Cat-Like Tread - Rochester Philharmonic Chorus
Summertime - Leontyne Price
Overture - London Festival Orchestra
Contro Un Cor - Rita Noel
Overture - Royal Philharmonic Orchestra

Customer Reviews:

Painless and Pleasant.......2000-08-19

It's not that I hate opera, it's rather that I cannot handle and entire opera without nodding off. This 4 disc CD provides highlights from the most famous and recognizable arias, i.e., Pagliacci, Carmen, Rigoletto, Madame Butterfly, La Boheme, The Mikado, and H.M.S. Pinafore -- just to mention a few. I appreciate the ability to enjoy select arias from some of the most beautiful and and exceptional operas in the world, and played by first class orchestras, without having to sit through the entire opera.

Anne Sofie von Otter - Speak Low ~ Songs by Kurt Weill / Gardiner

Average customer rating:

Very Good
Excellent Weill Alternative to Lenya and Lemper
Everything is right but the style
Intelligent reading from both singer and conductor
Brilliant--The best of the 7 Deadly Sins recordings

Anne Sofie von Otter - Speak Low ~ Songs by Kurt Weill / Gardiner
Kurt Weill , John Eliot Gardiner , Anne Sofie von Otter , Bengt Forsberg , Hannover North German Radio Orchestra , Karl-Heinz Lampe , Frederick Martin , Christfried Biebrach , and James Sims
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

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Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

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Otter, Anne Sophie von | Divas | Opera & Vocal | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
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Sings Kurt Weill, Vol. 2
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ASIN: B000001GM3
Release Date: 1995-03-14

Tracks:

Die Sieben Tods Prologue
Die Sieben Tods No. 1 Faulheit (Sloth)
Die Sieben Tods No. 2 Stolz (Pride)
Die Sieben Tods No. 4 Zorn (Anger)
Die Sieben Tods No. 5 Vrei (Gluttony)
Die Sieben Tods No. 6 Unzucht (Lust)
Die Sieben Tods No. 6 Habsucht (Avarice)
Die Sieben Tods No. 7 Neid (Envy)
Die Sieben Tods No. 8 Epilog
My Ship
One Life To Live
Buddy On The Nightshift
Nannas Leid
Bilbao - Song
Surabaya - Johnny
Das Leid Von Der Harten Nuss
Je Ne T'amie Pas
Schickelgruber
Der Abscheidsbreief
Foolish Heart
Speak Low
I'm A Stranger Here Myself

Amazon.com

Kurt Weill's ballet with songs is one of this century's greatest theatrical works. It has all the wit and melodic appeal of The Threepenny Opera and social conscience of Mahagonny, but more warmth and musical sophistication than either. It's also all over with in about 40 minutes. Some critics believe the piece was intended as a sort of love poem to Weill's wife, Lotte Lenya; given the tenderness of much of the music, it's hard to disagree. Lenya herself recorded the piece in the 1950s (a recording recently reissued by Sony) and this very much newer performance is welcome particularly for Anne Sofie von Otter's highly intelligent and musical way with the text. The other songs, from both Weill's Berlin and Broadway periods, make the perfect filler. --David Hurwitz

Customer Reviews:

Very Good.......2006-01-03

This is a very nice selection of Weill pieces showing the full range of his output. These range from the ambitious Seven Deadly Sins to songs from Happy End to some of his Broadway work. All are very interesting. The performers, particularly Von Otter, are excellent. Recommended strongly.

Excellent Weill Alternative to Lenya and Lemper.......2005-09-29

`Speak Low Songs by Kurt Weill' is a great addition to the performances of Herr Weill's works by the prominent mezzo-soprano, Anne Sofie Von Otter. I have listened to many performances by Weill specialists from the archetype, Weill's wife, Lotte Lenys, for whom many of the songs were originally written to Ute Lemper and Gisela May, who lean heavily toward Lotte Lenya's gravel-voiced interpretation of Weill's songs.

Anne Sofie Von Otter breaks with this tradition and gives us what are easily the sweetest interpretations of Weill's songs from both his German and English works, which I have heard anywhere.

The flagship performance on this disc is `Die Sieben Todsunden' (`The Seven Deadly Sins') which was a cycle of songs to be sung on the stage, accompanied by dances done by a second performer. This takes the first nine (9) tracks and is at least as good as what I have heard from Weill specialist, Lemper. This album is the first time I have noticed that there are two versions of this work, and that Ms. Von Otter is performing the version for soprano.

But, I think the most moving performances come later, especially in von Otter's performances of the three numbers from `Happy End', `Bilbao-Song', `Surabaya-Johnny', and `Das Lied von der harten Nuss' (Song of the Big Shot). I have heard these done by many people, but never so sweetly. These numbers are so lovingly performed that I insist that you ignore the fact that the lyrics are in German. The accompanying booklet gives English translations, which I simply ignore and enjoy the musical talent with no filter. My understanding German has nothing to do with this, as I do the same with French, which I can just barely make out.

Kurt Weill may not be the most important influence on American musical theatre in the 20th century, but he is easily in the top five, along with the Gershwins, Irving Berlin, Richard Rodgers and collaborators, and Cole Porter.

Ms. Von Otter is ably accompanied on this disk by her favorite pianist, Bengt Forsberg plus the Norddeutch Rundfunk orchestra directed by John Eliot Gardiner. While I really like her selection on this disk, the collection makes me wish Ms. Von Otter would do some more Weill and spend less time hanging out with Elvis Costello, but that's a different story.

Everything is right but the style.......2005-09-24

Weill and Brecht defined a nasty age with nasty art, writing some of the grittiest satire in the history of music. In this CD von Otter misses that edge, skirts all the dangerous, sleazy implications, and ultimately sounds too much the opera singer slumming it for an hour. Her earnestness is no subtitute for the right period style, a la Lotte Lenya.

Intelligent reading from both singer and conductor.......2005-01-27

THE SEVEN DEADLY SINS is such a brilliant mini-masterpiece (and, to me, the pinnacle of the Brecht-Weill years) that it is hard to screw up. It is a testament to the staying power of this work (and to the brilliance of Weill's music in general) that it can be performed by the likes of Lotte Lenya, Julia Migenes, Ute Lemper, Judy Kaye, Marianne Faithfull, Teresa Stratas, and -- as here -- Anne Sofie von Otter, and STILL work... and EACH of these women are totally successful in the piece on their own terms.

Here, Anne Sofie von Otter gives us an intelligent (and highly musical) rendering of the text, keeping the musical line very much intact. She sings with vibrato at times, and then will turn around and use straight-tones at moments where it is dramatically appropriate to do so. She balances the performance well, shifting gears between cool detachment (which she is often criticized for) and impassioned outbursts (which her critics often fail to notice).

John Eliot Gardiner surprised me with how easily this music seemed to come to him, especially as he seems to be a man more at home with "Period-Instrument-Mozart" than highly charged 20th century works. However, his reading of "The Rake's Progress" by Stravinsky was totally staggering. For example, his choice beginning the climactic moment of the score ("Envy") as slowly as he does caught me very much off guard at first, and I didn't really care for it at all. However, with each successive listen, I find myself "getting" this choice more and more.

Finally, the "filler." As to be expected, she is more successful with the European material than she is with the songs from Weill's Broadway years. But this is the case with about 99.9% of all opera singers who try to sing Weill's Broadway scores. You will never hear any singer give "Je ne t'aime pas" a more hauntingly beautiful, passionately intense performance than Anne Sofie von Otter. Truly, the ultimate interpretation of one of my favorite Weill songs. "Nannas Lied," "Der Abschiedsbrief," and the HAPPY END selections. However, "My Ship" and "One Life to Live" seem to fail at catching fire -- the former because it is marred by an attempt to sound like a "pop singer," the latter because von Otter sings English better than native speakers (she knows where the ACTUAL emphasis in the phrase "nothing: the thing is to have fun" goes, as opposed to where Ira Gershwin placed it). I also -- surprisingly enough -- don't care for her performance of "Schickelgruber" -- she just seems totally lost to me. (I really think that this song is foreign territory to 'legit' sopranos and mezzos -- I don't even care for the Stratas rendition.) Just when I thought I would have to suffer through another bad batch of "opera-crossover," Anne Sofie turned around and surprised me by giving highly successful performances of the numbers from ONE TOUCH OF VENUS (especially on "I'm Stranger Here Myself").

All in all, a worthy purchase: highly recommended to all fans of THE SEVEN DEADLY SINS and Kurt Weill enthusiasts.

Brilliant--The best of the 7 Deadly Sins recordings.......2002-10-12

Weill, and particularly anything Brecht-Weill, has suffered for too long with interpertations based on tired ham theatrics, burlesques of Lenya's style, to the point where we have come to expect it as the only way to sing this music. Lenya herself is said, late in life, to have commented that a better singer (specifically Stratas at that time) would be more appropriate for properly interpreting Weill's music.

Here, after countless CD releases of the Seven Deadly Sins, is the first recording sung in the key the composer originally intended! The result is relevatory, sublime and magnificent.

Ms. Von Otter interprets the rest of the songs with mixed results--all are lovely, several are excellent, though several others have been handled better by singers with more "theatrical" talents. Nevertheless, this recording stands alone, head and shoulders above the others.

Music Review:

Music Review

Music Review

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