| 1. Amor |
| 2. No Podras |
| 3. Mañana |
| 4. Deseo de Oir Tu Voz (I Just Hod to Hear Your Voice) |
| 5. Nunca Voy a Olvidarte |
| 6. No Puedo Arrancarte de Mi |
| 7. Solo Dame Una Noche |
| 8. Amarte a Ti |
| 9. Vuelveme a Querer |
| 10. Es Mejor Asi |
| 11. Voy a Intentar |
| 12. Mi Querido Amor |
| 13. Con Tu Amor |
| 14. Por Amor a Ti |
| 15. Segundo |
| 16. Agua Nueva |
Editorial Reviews
Product Description
Gold Collection from Veronica Castro's Son who was Born to Be a Latin Star. He Has Been Performing on TV Roles Since the Age of Five and Singing Since. His Roster of Top Ten Singles/Albums is Ongoing.
So wonderful. So much fun.
Up here in backwash Maine, there ain't much, believe me. But these guys are great. Sincere, care about what they're doing, true artists.
Ah, to go to Ireland again. Well, not unless the price of natural gas recedes!
Well worth buying.
Isaac Chute
The great reviewer L.E. Cantrel below touched on this and his instincts were right but it isn't only the excessive ornamentation that is out of place here. The role of Pamyra is in the same group as Matilde in Gulielmo Tell and obviously Anna in Maometto. As such, the tessitura very much lies in the middle of the voice requiring anything but a high coloratura. Secondly, Assedio did not originally have a contralto but a tenor role because Rossini knew that in France, where he first presented Siege, they did not like women in male roles. The music he wrote for his tenor, unlike the trouser Calbo in Maometto, was not very ornamented.
When Schippers decided to have a contralto as Neocle in Assedio (and none other than Marilyn Horne) he also had to bring back the music from Maometto otherwise Horne would be useless. With Sills regular upward transpositions, a borrowed aria from an early Rossini opera and interpolated high notes solved the problem of Pamyra's tessitura and pleased the crowd who after all didn't know much about this obscure work.
What came out was spectacular singing by both ladies who without a doubt sieged La Scala. Rossini's intentions were of course dismissed and this ends up sounding more like most of his very florid early works without the more sophisticated style that is still preserved in Gulielmo Tell. I'm not dismissing his early works but it is nice to see a different side of him which this recording however doesn't offer us. The sound is adequate and the supporting cast good with promising beginners. For Sills, Horne and all coloratura fans it's a must but for Rossini studies you should look further as it doesn't deserve the 4 stars I gave for the singing..:-)
Sound: Not very good, no better than fair--and that is a very generous assessment. Rest assured, anyone who buys this set must do it for the performance, not for the sound reproduction.
From the applause heard so close to the microphone pick-up, it is clear that this set was recorded from the audience. Since the orchestra and voices are in fairly good balance--or at least, not in as bad balance as found on many pirate recordings--and the cheering from the audience in the cheap seats is rather distant, my guess is that the pirate-recordist was sitting on the main floor, but away from the stage, well toward the back of the house. His or her recording equipment was far from state-of-the-art for 1969.
Cast: Pamira - Beverly Sills; Neocle - Marilyn Horne; Cleomene - Franco Bonisolli; Maometto II - Justino Diaz; Jero - Paulo Washington; Omar - Gianni Foiani; Ismene - Milna Paoli; Adrasto - Piero Di Palma. Conductor: Thomas Schippers with the Orchestra and Chorus of La Scala, Milan.
Text: This is one of those operas that offers--or rather suffers from--a multiplicity of texts. In Rossini's time, the best way for a worldly young composer (of which Rossini was a sterling example) to make pots of money was to write operas. Operas were commissioned by impresarios for performance during a specific season for a specific theater. After that, any scoundrel who could get his hands on the score or a reasonable facsimile thereof, could offer the piece as he saw fit--and Rossini (or Bellini or Donizetti) could whistle for his money. Only the presence of the composer on the spot to oversee an authentic performance was likely to guarantee that any money would find its way into his pockets.
In 1820, Rossini delivered this opera as "Maometto II." It came with a tragic conclusion. Two years later, he obtained another payday, but at a less sophisticated theater whose impresario demanded a happy ending. Rossini dutifully delivered one. Some years after that, Rossini hit the jackpot by receiving an invitation to present his opera in Paris, at the richest opera house in the world. The French, of course, fancied themselves as more cultivated than the over-emotional Italians. They certainly regarded Italianate vocal fireworks as more than a bit uncouth, so they demanded more sedate and dignified vocal lines as well as translation into their own language. Since the cause of Greek independence from the Ottoman Empire had become fashionable, they also demanded a change in plot: the opera would no longer sing the tale of the overwhelming of Negroponte, an Italian military colony; now it would be about the fall of Corinth, a suitably Greek town. Rossini gave them everything they wanted with the renamed "Le siege de Corinthe," then happily counted his money.
The revised opera was a hit in Paris. Back in Italy, French success acted as good advertising for local performances, so enterprising gentlemen translated the new French libretto into Italian as "L'assedio di Corinto," and tossed in whichever snippets of Rossini's music came to hand, even as they absent-mindedly neglected to send any money in Rossini's way.
And it has now come to pass that Amazon offers "Maometto II"--in both the 1820 and the 1822 versions, "Le siege de Corinthe" and "L'assedio di Corinto," the last in versions that reflect both Rossini's Frenchified approach and the uncorseted, unabashedly Italianate form under consideration in this review.
Documentation: Typical anemic Opera d'Oro package. No libretto. A few hundred words on the background of the opera. A few hundred words summarizing the plot. Track list.
Performance: An Amazon reviewer writing back in 2003 had this to say: "This is absolutely the most spectacular coloratura singing ever done by Beverly Sills. It's her debut at La Scala and it was a triumph." I quite agree, both about the singing and the triumph. I further affirm that the singing of Marilyn Horne is equally impressive, and in no way overshadowed by Sills. On the basis of those two tremendous performances, I have no qualms about endorsing the five-star ratings assigned by eleven of the thirteen previous reviewers.
But ... I can't help remembering a story about Rossini that is so well-documented and so widely spread that it might even be true. In his old age, the grand old man lived in Paris, self-acknowledged center of all the universe. A young, up-and-coming singer of fabulous potential--she might have been Adelina Patti--was presented to him. She sang "Una voce poco fa" from "The Barber of Seville," putting into it every trill, high note and spectacular decoration of which she was capable, all in the hope of impressing the great composer. When she was finished, Rossini smiled, applauded politely and said, "That was a nice tune. Who wrote it?"
I have no close familiarity with this score. I am satisfied to take the assurance of earlier reviewers that Sills, like Patti before her, tossed in astonishing high notes, glistening coloratura passages, exquisite trills and probably a kitchen sink or two. It was perfectly proper that she do so, for opera is show biz written large, and a large part, perhaps most, of the audience comes to hear just that sort of stunt singing. They generously award their bravissimas for it, and they depart the opera house warmly content in the knowledge that they have received good value for the outrageous prices of their tickets. After they leave, only curmudgeons like me and Rossini are left to mutter, "That was nice. Who wrote it?"
The rest of the performance is all right. Justino Diaz was a good, reliable singer but not, I think, on anyone's A-list of great bass-baritones. Franco Bonisolli could sometimes be a fine, stirring tenor. Cleomene is not one of his signature roles. Schippers and the orchestra seem to be OK, but the recording quality does them no favors.
HISTORICAL NOTE: In 1453, Sultan Mehmet (Mohammed II or Maometto II) captured Constantinople to the enormous dismay of Christendom. When the torn corpse of Constantine XI was brought before him, having been found among the piled bodies of Constantinople's final defenders and identified by the golden eagles sewn upon his shoes, the great sultan gave the last of the Byzantine emperors an honorable burial. Mehmet then divided the churches of the City equally between the victorious Moslems and his new Christian subjects and, from the very throne of the Roman Caesars, returned the pastoral staff to Patriarch Gennadius.
Mehmet busied himself with restoring, improving and re-populating the former Constantinople, now Istanbul [from the ubiquitous road signs, "eis ton polis" (to the city)]. For years he disdained to take notice of the mini-"empires" established in Greece by the tag ends of old Byzantine dynasties. In 1469, however, he wearied of the endless civil wars among the Greek dynasts. Leading a small but sufficient fraction of his total forces, the Sultan simply rolled over their strongholds, one of which was Corinth. Those of the would-be emperors that he captured he pensioned off, then sent them into exile in Rumania. Those who managed to escape to Italy and elsewhere busied themselves for the remainder of their squalid lives by selling off claims to the imperial title to any western prince foolish enough to pay them.
The mighty conqueror, Mehmet, continued to scare the bejabbers out of the princes and prelates of Europe until, to their vast relief, he died in 1481.
Mora to end all, and Anthony Kearns sings murderously difficult versions
of Macushla and The Croppy Boy like an angel. And their Courtin' and Irish
Medleys, and their "Nation Once Again" trios are simply glorious glees.
With the benefit of a grand theme, this is perhaps the best, and best balanced, of all their programs.
This is a MUST-HAVE for every ABBA Fan.
Como cualquiera de las grabaciones de ABBA, ORO es simplemente divino. El mismo incluye todos sus éxitos en español desde Fernando y Chiquitita hasta Dame! Dame! Dame!, Estoy soñando y Al andar. Las quince canciones tienen una gran calidad de sonido y son perfectas para bailar en una fiesta o simplemente disfrutar una velada con buena música.
Es un disco esencial para todos los fanáticos de ABBA.
This cd contains several of my favorite ABBA songs---"Chiquitita", "Fernando", "La Reina del Baile" (Dancing Queen), "Estoy Sonando" (I Have a Dream) and "Mamma Mia" to name a few. In Spanish the songs retain all the charm and great pop sound of their English counterparts. You will not need to know Spanish (I know very little!) to enjoy the music. Good music will transend any language and it is certainly true of this set of chart topping 70s hits!
After hearing this cd, I am planning on buy "Mas Oro", another collection containing more latin music from ABBA. I definitely recommend this to ABBA fans!
While Fernando, Chiquitita, and Mamma Mia translated quite fine, their version of "Conociendome, Conociendote" or "Knowing Me, Knowing You" was a little tougher, but still sounds good. Hasta Manana and Andante, Andante are two very pleasant and personal songs that hit that nerve previous hits accomplished. Even to the untrained Spanish speaker, Agnetha and Frida still sound very well.
Instead, the record wishes to envisage a journey of mediæval pilgrims, beginning in Western Europe, and moving through the Balkans towards the Holy Land. As such, the disk contains a mixture of Western European, Balkan, and Islamic melodies.
The strength of Ensemble Unicorn and Oni Wytars is their ability to use early music as the basis for extended jam sessions. This recording is framed by two such jams, each more than twelve minutes in length, the opening -Dinaresade- and the closing -Mevlana-. Based on Middle Eastern themes, these are excellent performances, rich in atmosphere. Fans of contemporary groups who make use of similar material, from Loreena McKennitt to Dead can Dance, may find this record interesting, and well worth the Naxos price.
FWIW, Ensemble Unicorn and Oni Wytars also collaborate on the -Black Madonna- recording, another Naxos release I can highly recommend.
For many music lovers the 1941 recording, long available on 78-rpm discs and later on vinyl LPs, was the benchmark for interpretation of the Tchaikovsky concerto. It has been digitally remastered and remains an exciting, dramatic performance. Yes, there is some surface noise from the original sources (presumably 78-rpm disks since relatively few of RCA Victor's metal masters still remain from that era), but the performance more than makes up for any scratches or blemishes. This is one of the very Romantic interpretations of the concerto and it is an absolute treasure. It certainly shows how well Toscanini and Horowitz worked together.
The Brahms second piano concerto was recorded in 1940, also in Carnegie Hall, and this, too, is the epitome of Romantic performances. This is another extremely difficult work for the soloist and Horowitz was more than equal to the tasks. It is a wonderful recording of one of the longer piano concertos from the Romantic Era, a virtual symphony since it is in four movements rather than the usual three.
These are performances to enjoy over and over from two exceptional musicians, working with the top-notch orchestra that David Sarnoff assembled in 1937 for Toscanini.
"definitive" performances of these two giants of the piano
repetoire, but they are certainly the most exciting and galvanic
performances of them you will find anywhere. Okay, so the
recordings date from 1941 and the sound is somewhat scratchy and
flat. So what? This is Horowitz at his absolute peak as a performer and Toscanini, while placing his orchestra completely
at the service of his soloist, makes sure Horowitz never engages
in the eccentricities, neuroses or exhibitionism that marred some of his subsequent concerto recordings.
There may be a few minor mistakes in the orchestra here and there
but I can't hear them. Horowitz is flawless and and daring to a
degree that only he could pull off. Certainly, you will never hear anyone take these two concertoes at a faster clip, and yet,
for all their formidable technical difficulties, not a single
note is missed or out of place. Every phrase is articulated with
incredible precision, nuance and feeling. You can actually start chuckling at how IMPOSSIBLY good it all is! The Brahms
Concerto is particularly astounding. The story goes that Horowitz heard a performance of this piece once in Berlin, fell in love with it, but thought he could do it better and taught it
to himself in six weeks! I believe it! His playing here is that
masterful and that sensitive!
This is the Horowitz of legend. Thank God these performances
were recorded! Compared to these HEROIC interpretations of these
two great concertoes, everybody else (and I mean that) simply
WIMPS out!
There are a lot of great recordings of these two pieces out there
by some truly great pianists, and they may have better sound, but
nothing matches this for its combination of technical brilliance,
daring and emotional commitment. There is a FIRE to these
recordings that simply has no equal.
Pedro Infante continues to conquer our hearts with his great movies and songs broadcasted on TV and the radio
One minor quibble: Many of these songs are not boleros, but waltzes and rancheras. It doesn't matter, but the title should be something like "Canciones romanticas de oro".
I had heard lots about this recording over the years, but hadn't ever had the opportunity to hear it, or even excerpts from it.
I recently had a choice of a gratis item from a major bookseller, and I chose this recording. Upon its arrival, I opened it immediately and put "Rheingold" on my machine, and must say that I was "stunned" by it. As well, with the following entrants that make up the series.
This is such a delight, I hardly know where to start. But, first, I guess I should express my delight at the packaging. Upon opening the box, there, under the booklet, were the cd's, all picture discs, one image per opera, in individual soft plastic sleeves! Wonderful! The booklet itself, while not sporting librettos of the operas, does contain a wonderful article about Krauss' ring by Robert Levine, a page for each opera, sporting the matching cd artwork, and a complete cast list, followed by track keys, and a synopsis. It also includes a few photos, and some biographical information on John Martinez, the artist who painted the cd art illustrations. The Booklet is, itself, printed on a quality weight and grade of paper, and the pages have been varnished, which helps with keeping it looking sharp and new, and with its longevity. An only comment I would make is, I wish there was a fabric spine on the outer box, to protect and reinforce the binding at the opening, as the pasteboard will eventually break along the fold from opening and closing the set.
First, I have to tell you that I was simply blown away by the sound on these recordings! I have tried searching everywhere to find out if this remastering is ADD, or AAD, and I cannot seem to raise this information. I will keep searching and update this review later. The sound quality on these discs is so clean, clear, and crisp it is hard to believe they were recorded in 1953 Bayreuth. The next "great observation" is the cast list, and listening to the artists themselves in their individual roles. What a GRAND ACHIEVEMENT to have assembled this cast for the 1953 Ring at Bayreuth....OH, to only have been there!
This is truly one of the finest recorded achievements I have heard. It is so amazing to me that recently we have had so many great recordings surface from the past, especially Wagner from Bayreuth. The recent releases from Testament have been breathtaking, also. Hotter, Vinay, Windgassen, Varnay, Resnik, Neidlinger, Uhde, and Kuen, combined together, certainly put this Ring in a class by itself. We NOW have TWO sets of The RING that belong in everyone's collection. This, and the recent release on Testament conducted by Keilberth in 55 at Bayreuth. Hotter is certainly the blackest and most masterly Wotan ever, bar none. And, Varnay's Brunnhilde is simply awe inspiring! Neidlinger's Alberich is truly evil, Resnik and Vinay are both just knockouts as Seglinde and Siegmund, what a pairing! Uhde is exceptional as the blackest Guntherthat I believe I have ever heard. Last, Paul Kuen is an awesome, sly, little Mime...one of the very best! Holding this all together is Clemens Krauss at the head of the Bayreuth Festival Orchestra and Chorus. These "old guys" certainly had the insight, heart, and feeling to create truly "close to the bone" Wagner. Today, with modern productions, ideas, interpretations, etc., this really does not happen any more. How very thankful we should be to have these marvelous old recordings, especially this one! Do pick up a copy of this before it is out of print, again, and Enjoy it! ~operabruin
I would not, however, recommend this version as somebody's first ring. That must be Solti's, because he set the standard, which stands to this day. Then, if you're hooked, you can start with the historic performances such as this one, the Kna '56, the Furt '53 and '50. You will also want to consider some of the more modern ones such as Boehm's, and Levine's DVD (much better than his CD version). Von Karajan is to be avoided. I have not heard the Kleiberth '55 yet, although I suppose I am going to have to get it when they get finished issuing it.
CONDUCTING: Krauss had the lyricism of Bruno Walter, the fire of Toscanini, the clarity and linear tension of Reiner, the pacing of Muck, and the depth and transitional instinct of Furtwangler- plus a few qualities of his own. And within 9 months of this RING, he would be dead. (He was engaged to conduct the '53 Bayreuth RING & PARSIFAL- only because Knappertsbusch got into a spat with the Wagner grandsons and stayed away, that year.) That is to say, we are very fortunate to have him in the RING.
Now, there IS the '55 Keilberth/Bayreuth RING (taped in stereo by Decca, with most of Krauss's cast), which is being released, piecemeal, at over-the-top prices. Granted, Keilberth was unjustly underrated (or, to quote a certain Politician, "misunderestimated"). But Krauss was even greater.
SINGING: On the Krauss RING, we hear several of Solti's singers, in younger and fresher voice (Wolfgang Windgassen's Siegfried, Hans Hotter's Wotan and Gustav Neidlinger's Alberich, to name only three). Not to mention Astrid Varnay's Brunnhilde- one of the greatest performances of anything by anyone. She had an intensity and a grandeur all her own- even if her "instrument" may not have been as steely as Nilsson's or as "warm" as Flagstad's.
THE ORCHESTRA: The first post-war Bayreuth Festival was in 1951. And for the next five years (or so), the orchestral playing at Bayreuth was, overall, better than it would ever be again. Within a decade it got rather slack, for at least three reasons:
1) Increased costs led to less rehearsal time.
2) In 1961, the Berlin Wall went up and, on-again off-again, Cold War tensions escalated. This meant that during the political "cold snaps," the best (and reasonably-priced) players from Prague, Leipzig & Dresden (who had earlier been lured to Bayreuth by hard Western currency) encountered greater restrictions in crossing the Iron Curtain.
3) The better players of the West were lured away from Bayreuth by better-paying, more comfortable "gigs" with the other big Festivals- which expanded enough to time-overlap with the Bayreuth calendar.
If you think this is an exaggeration, compare the '53 RING orchestra with the '67 Bohm; and while you're at it, compare the playing on Knappertsbusch's 1951 PARSIFAL with his '62. (The '66 Bohm/Bayreuth TRISTAN is something of an exception.)
"PROBLEMS": With any live Wagner (even under "Bayreuth conditions"), you must factor-in a degree of human fallability and fatigue. So, in the course of this RING you may encounter some not-so-razor-sharp ensemble and momentary intonation "issues." Still, you will be amazed at how clean and in-tune the playing is, throughout. Yes, in the SIEGFRIED sword-forging scene, Windgassen misses a verse and rhythmically goes all over the place before "righting" himself . (But "live" , this passage is almost always a mess.) Yes, at one point, the whole trumpet section forgets to play the "sword-motiv." And yes, in the few lines of her entrance, the Guntrune leaves something to be desired; still, by the time of her little scene just before the Immolation (a passage that was often "cut" in later years- even at Bayreuth) she acquits herself honorably.
These are all fleeting problems, gone in a flash, and no more of an obstruction to the overall "vision" than the occasional pigment blemishes on the restored Sistine Ceiling.
SOUND QUALITY: For 1953 radio broadcast tapes, the sound is first-rate. Bayreuth's acoustic is faithfully captured, and (barring a few stage entrances & exits) the voices are always well-placed. In fact, it's hard to believe that microphones weren't obtrusively suspended within audience sight-lines (which the Wagner grandsons would never permit). Whatever the sonic limitations of the original tapes, the ear adjusts very quickly, and it becomes easy to lose yourself in the performance (i.e., "good enough 4 me").
"AFFORDABILITY CRISIS": Let's assume that, traveling alone, you're up for a 2007 jaunt to Bayreuth for a complete RING. Per ticket/per performance, you're looking at perhaps $3000 (a RING totalling at THAT, times 4- even with a discount for the one-act RHEINGOLD). Plus air-fare, hotels & meals...So, you've parted with the requisite $15,000 (and even THAT may be slumming it, with the US dollar's pitiful performance against the Euro), and you are really and truly THERE...What will you hear? I have never been to Bayreuth, but recent Bayreuth broadcasts are not encouraging. Safe to say, for quality of singing, conducting and playing, you wouldn't get within a wide sea-mile of the Krauss RING...Which you can now have for the price of a reasonably nice dinner for two (drinks & dessert included)- AND minus the silly-a** staging with which latter-day RINGS are often afflicted (Vahalla = Brooklyn subway toilet or stock-exchange or both: yada-yada-yada).
At this price, HOW COULD YOU LOSE?
which is not a bad thing, The sound on this latest version is quite acceptible, You also have as fine a cast of Wagnerians as could be asked for. The only drawback is no libretto. A small quibble, but then when you are paying over half the price for a set like this compared with the price of a Solti, or Karajan set, a little thing like no libretto can be overlooked. And maybe by having sets like this one and the Naxos one being released perhaps the big companies will fianlly decide to re-issue theirs at mid-price or at budget price. If you want a really good "Ring" recording as a first one or as an additonal set this is clearly a first choice. The only other complaint I have with this recording is the perfomance of Natalie Hinsch-Grondahl, her Gutrune is not one of the best performances, she tries just a little to hard I think. There are many good performances to balance hers though. Astrid Varnay gives us a Brunhilde that is a benchmark performance. Rita Strich as the Woodbird is luxury casting indeed! As I said before a "Ring" to
compete with the big ones. Allegro is starting to put an online Libretto for the "Ring" on it's web site. They for some reason have started with "Gotterdammerung"
Gold Collection from Veronica Castro's Son who was Born to Be a Latin Star. He Has Been Performing on TV Roles Since the Age of Five and Singing Since. His Roster of Top Ten Singles/Albums is Ongoing.
Oro,Cristian Castro,Universal Int'l,Latin,Latin Dance,Latin Pop,Latin Pop/Rock
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The Very Best of The Irish Tenors
The Irish Tenors Manufacturer: Music Matters ProductGroup: Music Binding: Audio CD  All Works by Moore
| Moore, Thomas
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Irish Tenors
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ASIN: B000069JJ6 Release Date: 2007-01-08 |
Tracks:
- Toora Loora Looral
- Will Ye Go Lassie Go
- Spanish Lady
- When Irish Eyes Are Smiling
- Percy French Medley: Phil The Fluther's Ball, Come Back Paddy Reilly, The Lay Of The West Clare Reailway, Are Ye Right There Michael?
- Amazing Grace
- Nearer My God To Thee
- Danny Boy
- Fields of Athenry
- Only The River Runs Free
- Molly Malone
- Last Rose of Summer
- She Moved Through the Fair
- Maggie
- New Medley (combination of the 2 medleys
Product Description
1. Toora Loora Looral
2. Will Ye Go Lassie Go
3. Spanish Lady
4. When Irish Eyes Are Smiling
5. Percy French Medley: Phil The Fluther's Ball, Come Back Paddy Reilly, The Lay Of The West Clare Railway - Are Ye Right There Michael?
6. Amazing Grace
7. Nearer My God To Thee
8. Danny Boy
9. Fields Of Athenry
10. Only The River Runs Free
11. Molly Malone
12. Last Rose Of Summer
13. She Moved Through The Fair
14. Maggie
15. New Medley (Combination of the 2 medleys)
Format: CD
Amazon.com
In the short time since they grouped together a few years ago to form their sensationally successful trio, the Irish Tenors have already put out an impressive array of recordings and DVDs, including some bona fide gooseflesh-inducing live concert performances. So, if you still have the enviable pleasure of discovering these amazing vocalists--or want to turn a friend on to their musical charms--this compilation CD will do the trick nicely. It brings together such classics as "Danny Boy," "Toora Loora Looral," "Last Rose of Summer," and "When Irish Eyes Are Smiling" (featuring John McDermott)--all rendered with the kind of passionate, heartfelt, and harmonious crooning that is their signature style, whether they're singing as an ensemble or as highlighted soloists. And even if you have the complete Irish Tenors, this anthology includes several numbers not found on their previously released CDs. Hard to think of a sweeter treat for a fan of singing too good to ever go out of fashion. --Sarah ChinCustomer Reviews:
Irish at it's best........2007-05-07
Irish Magic.......2006-08-21
Just got your Kleenex.......2005-12-25
Wonderful!.......2005-12-12
So wonderful. So much fun.
Up here in backwash Maine, there ain't much, believe me. But these guys are great. Sincere, care about what they're doing, true artists.
Ah, to go to Ireland again. Well, not unless the price of natural gas recedes!
The Very Best of the Irish Tenors is just that!.......2005-01-22
Well worth buying.
Isaac Chute
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Rossini: L'Assedio di Corinto
Manufacturer: Opera D'oro ProductGroup: Music Binding: Audio CD General
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ASIN: B00005Y84R Release Date: 2001-02-27 |
Tracks:
- Sinf - Thomas Schippers
- Act One: Signor, Un Sol Tuo Cenno - Chor
- Act One: Del Vincitor Superbo... Guerrieri, A Noi S'affida - Franco Bonisolli/Marilyn Horne/Paolo Washingon/Chor
- Act One: Tua Figlia M'e Promessa.. Destin Terribile - Marilyn Horne/Franco Bonisolli/Beverly Sills/Chor
- Act One: Di Morte Il Suon Mando... La Data Fe - Chor/Beverly Sills/Franco Bonisolli/Marilyn Horne
- Act One: Dal Ferro Del Forte - Chor
- Act One: Duce Di Tanti Di Tanti Eroi - Justino Diaz
- Act One: Trionfammo, Signor - Gianni Foiani/Justino Diaz/Franco Bonisolli/Beverly Sills/Chor
- Act One: Pamira Mi Sei Resa - Justino Diaz/Beverly Sills/Franco Bonisolli/Milna Paoli/Gianni Foiani/Chor
- Act Two: Cielo! Che Diverro? - Beverly Sills
- Act Two: Sgombra Il Timor... Che Vedo? Ohime? - Justino Diaz/Beverly Sills
- Act Two: Vinci, Pamira... Imen Le Dona - Justino Diaz/Milna Paoli/Chor
Tracks:
- Act Two: Divin Profeta - Chor
- Act Two: Pamira... Questa Altar - Justino Diaz/Beverly Sills/Marilyn Horne
- Act Two: Sian Tolti A Lui Quel Ferri - Justino Diaz/Marilyn Horne/Beverly Sills/Gianni Foiani/Milna Paoli/Chor
- Act Three: Avanziam... Questo E Il Luogo - Marilyn Horne/Piero Di Palma
- Act Three: Signor, Che Tutto Puoi - Beverly Sills/Marilyn Horne
- Act Three: Signor, Ben Credo... Sei Tu, Che Stendi, O Dio - Marilyn Horne
- Act Three: O Mio Cleomene! - Marilyn Horne/Franco Bonisolli/Beverly Sills
- Act Three: Celeste Providenza - Marilyn Horne/Beverly Sills/Franco Bonisolli
- Act Three: Tutto Percorsi Il Marzial Recinto - Paolo Washington/Franco Bonisolli/Beverly Sills/Milna Paoli/Marilyn Horne/Chor
- Act Three: Nube Di Sangue Intrisa - Paolo Washington
- Act Three: Questo Nome, Che Suona Vittoria - Paolo Washington/Thomas Schippers
- Act Three: L'ora Fatal S'appressa... Giusto Ciel! In Tal Periglio - Beverly Sills/Milna Paoli/Women's Chor
- Act Three: Ma Qual Mal Suona Funebre Accento? - Beverly Sills/Milna Paoli/Justino Diaz/Chor
Customer Reviews:
A primadonna showpiece of dubious style.......2007-02-26
The great reviewer L.E. Cantrel below touched on this and his instincts were right but it isn't only the excessive ornamentation that is out of place here. The role of Pamyra is in the same group as Matilde in Gulielmo Tell and obviously Anna in Maometto. As such, the tessitura very much lies in the middle of the voice requiring anything but a high coloratura. Secondly, Assedio did not originally have a contralto but a tenor role because Rossini knew that in France, where he first presented Siege, they did not like women in male roles. The music he wrote for his tenor, unlike the trouser Calbo in Maometto, was not very ornamented.
When Schippers decided to have a contralto as Neocle in Assedio (and none other than Marilyn Horne) he also had to bring back the music from Maometto otherwise Horne would be useless. With Sills regular upward transpositions, a borrowed aria from an early Rossini opera and interpolated high notes solved the problem of Pamyra's tessitura and pleased the crowd who after all didn't know much about this obscure work.
What came out was spectacular singing by both ladies who without a doubt sieged La Scala. Rossini's intentions were of course dismissed and this ends up sounding more like most of his very florid early works without the more sophisticated style that is still preserved in Gulielmo Tell. I'm not dismissing his early works but it is nice to see a different side of him which this recording however doesn't offer us. The sound is adequate and the supporting cast good with promising beginners. For Sills, Horne and all coloratura fans it's a must but for Rossini studies you should look further as it doesn't deserve the 4 stars I gave for the singing..:-)
Sills and Horne...it should have been recorded.......2006-07-10
Famous performance offers extraordinary singing but not very good sound.......2006-01-07
Sound: Not very good, no better than fair--and that is a very generous assessment. Rest assured, anyone who buys this set must do it for the performance, not for the sound reproduction.
From the applause heard so close to the microphone pick-up, it is clear that this set was recorded from the audience. Since the orchestra and voices are in fairly good balance--or at least, not in as bad balance as found on many pirate recordings--and the cheering from the audience in the cheap seats is rather distant, my guess is that the pirate-recordist was sitting on the main floor, but away from the stage, well toward the back of the house. His or her recording equipment was far from state-of-the-art for 1969.
Cast: Pamira - Beverly Sills; Neocle - Marilyn Horne; Cleomene - Franco Bonisolli; Maometto II - Justino Diaz; Jero - Paulo Washington; Omar - Gianni Foiani; Ismene - Milna Paoli; Adrasto - Piero Di Palma. Conductor: Thomas Schippers with the Orchestra and Chorus of La Scala, Milan.
Text: This is one of those operas that offers--or rather suffers from--a multiplicity of texts. In Rossini's time, the best way for a worldly young composer (of which Rossini was a sterling example) to make pots of money was to write operas. Operas were commissioned by impresarios for performance during a specific season for a specific theater. After that, any scoundrel who could get his hands on the score or a reasonable facsimile thereof, could offer the piece as he saw fit--and Rossini (or Bellini or Donizetti) could whistle for his money. Only the presence of the composer on the spot to oversee an authentic performance was likely to guarantee that any money would find its way into his pockets.
In 1820, Rossini delivered this opera as "Maometto II." It came with a tragic conclusion. Two years later, he obtained another payday, but at a less sophisticated theater whose impresario demanded a happy ending. Rossini dutifully delivered one. Some years after that, Rossini hit the jackpot by receiving an invitation to present his opera in Paris, at the richest opera house in the world. The French, of course, fancied themselves as more cultivated than the over-emotional Italians. They certainly regarded Italianate vocal fireworks as more than a bit uncouth, so they demanded more sedate and dignified vocal lines as well as translation into their own language. Since the cause of Greek independence from the Ottoman Empire had become fashionable, they also demanded a change in plot: the opera would no longer sing the tale of the overwhelming of Negroponte, an Italian military colony; now it would be about the fall of Corinth, a suitably Greek town. Rossini gave them everything they wanted with the renamed "Le siege de Corinthe," then happily counted his money.
The revised opera was a hit in Paris. Back in Italy, French success acted as good advertising for local performances, so enterprising gentlemen translated the new French libretto into Italian as "L'assedio di Corinto," and tossed in whichever snippets of Rossini's music came to hand, even as they absent-mindedly neglected to send any money in Rossini's way.
And it has now come to pass that Amazon offers "Maometto II"--in both the 1820 and the 1822 versions, "Le siege de Corinthe" and "L'assedio di Corinto," the last in versions that reflect both Rossini's Frenchified approach and the uncorseted, unabashedly Italianate form under consideration in this review.
Documentation: Typical anemic Opera d'Oro package. No libretto. A few hundred words on the background of the opera. A few hundred words summarizing the plot. Track list.
Performance: An Amazon reviewer writing back in 2003 had this to say: "This is absolutely the most spectacular coloratura singing ever done by Beverly Sills. It's her debut at La Scala and it was a triumph." I quite agree, both about the singing and the triumph. I further affirm that the singing of Marilyn Horne is equally impressive, and in no way overshadowed by Sills. On the basis of those two tremendous performances, I have no qualms about endorsing the five-star ratings assigned by eleven of the thirteen previous reviewers.
But ... I can't help remembering a story about Rossini that is so well-documented and so widely spread that it might even be true. In his old age, the grand old man lived in Paris, self-acknowledged center of all the universe. A young, up-and-coming singer of fabulous potential--she might have been Adelina Patti--was presented to him. She sang "Una voce poco fa" from "The Barber of Seville," putting into it every trill, high note and spectacular decoration of which she was capable, all in the hope of impressing the great composer. When she was finished, Rossini smiled, applauded politely and said, "That was a nice tune. Who wrote it?"
I have no close familiarity with this score. I am satisfied to take the assurance of earlier reviewers that Sills, like Patti before her, tossed in astonishing high notes, glistening coloratura passages, exquisite trills and probably a kitchen sink or two. It was perfectly proper that she do so, for opera is show biz written large, and a large part, perhaps most, of the audience comes to hear just that sort of stunt singing. They generously award their bravissimas for it, and they depart the opera house warmly content in the knowledge that they have received good value for the outrageous prices of their tickets. After they leave, only curmudgeons like me and Rossini are left to mutter, "That was nice. Who wrote it?"
The rest of the performance is all right. Justino Diaz was a good, reliable singer but not, I think, on anyone's A-list of great bass-baritones. Franco Bonisolli could sometimes be a fine, stirring tenor. Cleomene is not one of his signature roles. Schippers and the orchestra seem to be OK, but the recording quality does them no favors.
HISTORICAL NOTE: In 1453, Sultan Mehmet (Mohammed II or Maometto II) captured Constantinople to the enormous dismay of Christendom. When the torn corpse of Constantine XI was brought before him, having been found among the piled bodies of Constantinople's final defenders and identified by the golden eagles sewn upon his shoes, the great sultan gave the last of the Byzantine emperors an honorable burial. Mehmet then divided the churches of the City equally between the victorious Moslems and his new Christian subjects and, from the very throne of the Roman Caesars, returned the pastoral staff to Patriarch Gennadius.
Mehmet busied himself with restoring, improving and re-populating the former Constantinople, now Istanbul [from the ubiquitous road signs, "eis ton polis" (to the city)]. For years he disdained to take notice of the mini-"empires" established in Greece by the tag ends of old Byzantine dynasties. In 1469, however, he wearied of the endless civil wars among the Greek dynasts. Leading a small but sufficient fraction of his total forces, the Sultan simply rolled over their strongholds, one of which was Corinth. Those of the would-be emperors that he captured he pensioned off, then sent them into exile in Rumania. Those who managed to escape to Italy and elsewhere busied themselves for the remainder of their squalid lives by selling off claims to the imperial title to any western prince foolish enough to pay them.
The mighty conqueror, Mehmet, continued to scare the bejabbers out of the princes and prelates of Europe until, to their vast relief, he died in 1481.
UNBELIEVABLE VOCAL SPLENDOUR.......2005-06-29
Believe the Hype.......2005-04-04
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Ellis Island
The Irish Tenors , Brendan Graham , Chauncey Olcott , Irish Traditional , Johnny Cash , John Francis Patterson , Dermot MacMurrough , C. Kirkham , Eric Bogle , Burton Lane , Thomas Osbourne Davis , Irving Berlin , and Frank McNamara Manufacturer: Music Matters ProductGroup: Music Binding: Audio CD Chamber Music
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ASIN: B000059TBG Release Date: 2001-03-06 |
Tracks:
- Isle of Hope, Isle of Tears
- My Wild Irish Rose
- Love Thee Dearest
- Forty Shades of Green
- Courtin' in the Kitchen
- The Stone Outside Dan Murphy's Door
- I'll Tell My Ma
- Macushla
- Slievenamon
- The Green Fields of France
- Trasna Na Dtonnta (Over The Waves)
- Oro Se Do Bheatha Bhaile (Long Life to You on Your Homecoming)
- An Poc Ar Buile (The Mad Goat)
- The Rose of Tralee
- The Old Bog Road
- How Are Things In Glocca Morra
- The Croppy Boy
- A Nation Once Again
- Let There Be Peace
- Danny Boy
- God Bless America
Product Description
1. Isle Of Hope, Isle Of Tears
2. My Wild Irish Rose
3. Love Thee Dearest
4. Forty Shades Of Green
5. The Courtin Medley
A. Courtin, In The Kitchen
B. The Stone Outside Dan Murphy s Door
C. I ll Tell My Ma
6. Macushla
7. Slievenamon
8. The Green Fields Of France
9. The Irish Medley
A. Transna Na Dtonnta (Over The Waves)
B. Oro Se Do Bheatha Bhaile (Long Life To You On Your Homecoming)
C. An Poc Ar Buile (The Mad Goat)
10. The Rose Of Tralee
11. The Old Bog Road
12. How Are Things In Glocca Morra
13. The Croppy Boy
14. A Nation Once Again
15. Let There Be Peace
16. Danny Boy
17. God Bless America
Format: CD
Amazon.com
The Irish Tenors' fourth album sees the trio of Anthony Kearns, Ronan Tynan, and Finbar Wright paying a sentimental musical tribute to Ellis Island, the hallowed landmark that met the majority of immigrants entering the United States at the beginning of the 20th century. Needless to say, the Tenors' repertoire this time around is full of reflective ballads of love, loss, and homesickness, including the original "Isle of Hope, Isle of Tears" that opens this disc. Throughout this studio recording, the Irish Tenors are in fine form and backed by a soft-hued orchestra that never interferes with their soaring vocals. Traditional tunes include "My Wild Irish Rose," "How Are Things in Glocca Mora," and, of course, "Danny Boy" (the last sung by all three tenors, with refreshingly simple solo piano accompaniment). Thankfully, the threesome didn't forget that the immigrants had fun, too, as evidenced by some lighthearted fare; "The Courtin' Medley" features the Tenors at their most upbeat and comical. Ellis Island is a moving aural portrait of the struggles and triumphs of the Irish émigrés and a must-have for fans of the threesome. Newcomers may enjoy the Tenors' debut disc even more, as the earlier live album is a slightly more upbeat and spirited affair. --Jason VerlindeCustomer Reviews:
Three Cheers for the Irish!!!.......2007-05-30
Mora to end all, and Anthony Kearns sings murderously difficult versions
of Macushla and The Croppy Boy like an angel. And their Courtin' and Irish
Medleys, and their "Nation Once Again" trios are simply glorious glees.
With the benefit of a grand theme, this is perhaps the best, and best balanced, of all their programs.
Ellis Island song brings tears to my eyes.......2006-03-17
How Are Things In Glocca Morra?.......2004-04-16
This CD has a bit more of an Irish American theme as "Isle Of Hope, Isle Of Tears" and "God Bless America" illustrate. Interspersed among these tunes are traditional Irish tunes such as "Macushla" and "Croppy Boy", along with newer songs, such as "The Green Fields Of France" and "How are Things In Glocca Morra?"
The singing is excellent, the words understandable. I appreciate the inclusion the lyrics of the songs contained on the insert of the cover. These are songs you will want to learn, whose stories you will want to research. I have. Listen again and again!
How Are Things In Glocca Morra?.......2004-04-16
This CD has a bit more of an Irish American theme as "Isle Of Hope, Isle Of Tears" and "God Bless America" illustrate. Interspersed among these tunes are traditional Irish tunes such as "Macushla" and "Croppy Boy", along with newer songs, such as "The Green Fields Of France" and "How are Things In Glocca Morra?"
The singing is excellent, the words understandable. I appreciate the inclusion the lyrics of the songs contained on the insert of the cover. These are songs you will want to learn, whose stories you will want to research. I have. Listen again and again!
The Best Historical CD Ever!.......2003-11-21
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Oro: Grandes Exitos
ABBA Manufacturer: Polygram Records ProductGroup: Music Binding: Audio CD Sweden
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ASIN: B000031XBQ Release Date: 1999-11-30 |
Tracks:
- Fernando
- Chiquitita
- Gracias Por La Musica
- La Reina Del Baile
- Al Andar
- Dame! Dame! Dame!
- Estoy Sonando
- Mamma Mia
- Hasta Manana
- Conociendome, Conociendote
- Felicidad
- Andante, Andante
- Se Me Esta Escapando
- No Hay A Quien Culpar
- Ring Ring
Customer Reviews:
Oro is pure Gold, of course!.......2007-05-07
This is a MUST-HAVE for every ABBA Fan.
Como cualquiera de las grabaciones de ABBA, ORO es simplemente divino. El mismo incluye todos sus éxitos en español desde Fernando y Chiquitita hasta Dame! Dame! Dame!, Estoy soñando y Al andar. Las quince canciones tienen una gran calidad de sonido y son perfectas para bailar en una fiesta o simplemente disfrutar una velada con buena música.
Es un disco esencial para todos los fanáticos de ABBA.
Good music in ANY language!.......2007-05-03
This cd contains several of my favorite ABBA songs---"Chiquitita", "Fernando", "La Reina del Baile" (Dancing Queen), "Estoy Sonando" (I Have a Dream) and "Mamma Mia" to name a few. In Spanish the songs retain all the charm and great pop sound of their English counterparts. You will not need to know Spanish (I know very little!) to enjoy the music. Good music will transend any language and it is certainly true of this set of chart topping 70s hits!
After hearing this cd, I am planning on buy "Mas Oro", another collection containing more latin music from ABBA. I definitely recommend this to ABBA fans!
Oro - Golden in any language.......2006-09-26
While Fernando, Chiquitita, and Mamma Mia translated quite fine, their version of "Conociendome, Conociendote" or "Knowing Me, Knowing You" was a little tougher, but still sounds good. Hasta Manana and Andante, Andante are two very pleasant and personal songs that hit that nerve previous hits accomplished. Even to the untrained Spanish speaker, Agnetha and Frida still sound very well.
As Always, Top-Notch ABBA!.......2004-07-06
This collection of ABBA's hits is one of their crowning glories that I think gets overlooked too often. The lyrics of hits like "Dancing Queen" and "Thank You For The Music" are translated beautifully into Spanish, retaining the original meaning of the song, and without awkward or incompetent rhymes.
One of my favorite tunes on this collection is "Dame! Dame! Dame! (Amor Esta Noche)," which we know as "Gimme! Gimme! Gimme! (A Man After Midnight)." Out of all the sultry & saucy ABBA tunes, I always thought this song drove home the love-hungry theme better than any other. This Spanish cover captures the same exact passionate feeling, nothing diluted here!
There was a follow up to this CD called "Mas Oro," which was not bad at all, but paled in comparison to this collection. If you are even just a casual ABBA fan, "Oro" is worth going out of your way to buy.
ABBA ORO is music to the ears !!!.......2004-04-08
I must say (being a latino) that the girls sing wonderfully in spanish. The star vocalist on this album is Agnetha, since she sings most of the songs and her vocal work is superb. I prefer the spanish versions of CHIQUITITA, FERNANDO, THANK YOU FOR THE MUSIC(Gracias por la musica) & GIMME GIMMIE GIMMIE (Dame Dame Dame) over the original english versions. Main reason being is that the vocals and harmonies are far more clearer and pristine in the spanish versions. Agnetha's voice sounds spotless in CHIQUITITA, GRACIAS POR LAS MUSICA, AL ANDAR (Move On), and DAME DAME DAME. We get to hear the delicacy and texture of her gorgeous voice more here than on ABBA's other albums. And since the songs here are not as textured and overdubbed like their english counterparts, we get to hear the delightful harmonies in all of their ABBA-esque splendour. Just listen to the chorus in CHIQUITITA and AL ANDAR and you will see what I mean. The english versions sound bigger but the spanish versions are crisper, less intense production-wise but far superior in vocal sound and texture. Frida also shines in FERNANDO, ESTOY SONANDO (I Have a Dream) and CONOCIENDOME CONOCIENDOTE (Knowing Me Knowing You).
With all of that said, I must also frankly state that the english version of DANCING QUEEN (La Reina Del Baile) is slightly better. Vocally the girls sound great but the overall production is slightly inferior. We don't get that intense and embellished musical production. LA REINA DEL BAILE sounds a bit watered down, less absorbing. However it's still a great song in any language and the girls devine voices and the timeless melody makes this one of the CD's showstoppers.
Commercial wise, the LP GRACIAS POR LA MUSICA was a world-wide hit- especially in Latin America and the first single taken off the album CHIQUITITA reached # 1 in Argentina, Mexico and my native Chile among several other countries. The CD version retitled ABBA ORO contains 5 songs not included in the album originally- FELCIDAD (Happy New Year), ANDANTE ANDANTE, SE ME ESTA ESCAPANDO (Slipping Through My Fingers), NO HAY A QUIEN CULPAR (When all is said and done) and RING RING. I must warn anyone reading this review that it's the cd with the black covering of ABBA ORO that contains the bonus tracks not the gold plated one. I happened to stumble upon both of them at a store here in TORONTO and I was able to purchase the 15 track ABBA ORO in BLACK.
And lastly, you don't need to know a word of spanish to appreciate this cd. The melodies are timeless and the girls voices are astonishing. This needs to be right next to your ABBA GOLD cd. It's simply FANTASTICO! !
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On the Way to Bethlehem (Music of the Medieval Pilgrim)
Manufacturer: Naxos ProductGroup: Music Binding: Audio CD All Works by Dufay
| Dufay, Guillaume
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ASIN: B00000144X Release Date: 1996-03-26 |
Tracks:
- Dinaresade
- Edi be thu, Heven-Queene
- Nevestinko oro
- Beata progenies
- Mari stanko
- Sei willekommen Herre Christ
- Bog se rodi va Betleme
- Koleda na Bozic
- Kod Betlehema
- Koleda na Bozic
- Angelus ad virginem
- D
- Quinte Estampie real
- Urbs Beata Ierusalem
- Mevl
Customer Reviews:
MUSIC OF THE MEDIEVAL PILGRIM.......2007-06-11
Exotic, exciting and fun!.......2002-11-29
Exotic jams.......2001-02-27
Instead, the record wishes to envisage a journey of mediæval pilgrims, beginning in Western Europe, and moving through the Balkans towards the Holy Land. As such, the disk contains a mixture of Western European, Balkan, and Islamic melodies.
The strength of Ensemble Unicorn and Oni Wytars is their ability to use early music as the basis for extended jam sessions. This recording is framed by two such jams, each more than twelve minutes in length, the opening -Dinaresade- and the closing -Mevlana-. Based on Middle Eastern themes, these are excellent performances, rich in atmosphere. Fans of contemporary groups who make use of similar material, from Loreena McKennitt to Dead can Dance, may find this record interesting, and well worth the Naxos price.
FWIW, Ensemble Unicorn and Oni Wytars also collaborate on the -Black Madonna- recording, another Naxos release I can highly recommend.
I WANT MORE!.......1999-06-08
Too cool to be considered classical and definitely not Xmas........1999-01-12
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Vladimir Horowitz plays Tchaikovsky:Piano Concerto No. 1/Brahms:Piano Concerto No. 2
Manufacturer: Classica D'oro ProductGroup: Music Binding: Audio CD All Works by Brahms
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ASIN: B000059LWO Release Date: 2001-03-06 |
Tracks:
- Pno Con No.1 in b, Op.23: Allegro Non Troppo E Molto Maestoso
- Pno Con No.1 in b, Op.23: Andantino Semplice
- Pno Con No.1 in b, Op.23: Allegro Con Fuoco
- Piano Concerto No.2 in B-flat, Op.83: Allegro Non Troppo
- Piano Concerto No.2 in B-flat, Op.83: Allegro Appassionato
- Piano Concerto No.2 in B-flat, Op.83: Andante
- Piano Concerto No.2 in B-flat, Op.83: Allegretto Grazioso
Customer Reviews:
Horowitz and Toscanini.......2005-12-31
For many music lovers the 1941 recording, long available on 78-rpm discs and later on vinyl LPs, was the benchmark for interpretation of the Tchaikovsky concerto. It has been digitally remastered and remains an exciting, dramatic performance. Yes, there is some surface noise from the original sources (presumably 78-rpm disks since relatively few of RCA Victor's metal masters still remain from that era), but the performance more than makes up for any scratches or blemishes. This is one of the very Romantic interpretations of the concerto and it is an absolute treasure. It certainly shows how well Toscanini and Horowitz worked together.
The Brahms second piano concerto was recorded in 1940, also in Carnegie Hall, and this, too, is the epitome of Romantic performances. This is another extremely difficult work for the soloist and Horowitz was more than equal to the tasks. It is a wonderful recording of one of the longer piano concertos from the Romantic Era, a virtual symphony since it is in four movements rather than the usual three.
These are performances to enjoy over and over from two exceptional musicians, working with the top-notch orchestra that David Sarnoff assembled in 1937 for Toscanini.
Get Set for an Amazing Ride!.......2003-08-16
"definitive" performances of these two giants of the piano
repetoire, but they are certainly the most exciting and galvanic
performances of them you will find anywhere. Okay, so the
recordings date from 1941 and the sound is somewhat scratchy and
flat. So what? This is Horowitz at his absolute peak as a performer and Toscanini, while placing his orchestra completely
at the service of his soloist, makes sure Horowitz never engages
in the eccentricities, neuroses or exhibitionism that marred some of his subsequent concerto recordings.
There may be a few minor mistakes in the orchestra here and there
but I can't hear them. Horowitz is flawless and and daring to a
degree that only he could pull off. Certainly, you will never hear anyone take these two concertoes at a faster clip, and yet,
for all their formidable technical difficulties, not a single
note is missed or out of place. Every phrase is articulated with
incredible precision, nuance and feeling. You can actually start chuckling at how IMPOSSIBLY good it all is! The Brahms
Concerto is particularly astounding. The story goes that Horowitz heard a performance of this piece once in Berlin, fell in love with it, but thought he could do it better and taught it
to himself in six weeks! I believe it! His playing here is that
masterful and that sensitive!
This is the Horowitz of legend. Thank God these performances
were recorded! Compared to these HEROIC interpretations of these
two great concertoes, everybody else (and I mean that) simply
WIMPS out!
There are a lot of great recordings of these two pieces out there
by some truly great pianists, and they may have better sound, but
nothing matches this for its combination of technical brilliance,
daring and emotional commitment. There is a FIRE to these
recordings that simply has no equal.
Average customer rating:
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Boleros De Oro
Pedro Infante Manufacturer: Warner Music Latina ProductGroup: Music Binding: Audio CD General
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ASIN: B00005RINW Release Date: 2001-11-20 |
Tracks:
- Amorcito Corazon
- Luna De Octubre
- A La Orilla Del Mar
- Nocturnal
- El Muneco De Cuerda
- El Plebeyo
- Angelitos Negros
- Te He De Querer
- Cien Anos
- Flor Sin Retono
- Aunque Me Cueste La Vida
- La Negra Noche
- Que Te Ha Dado Esa Mujer
- Nube Gris
- Sincero Corazon
- El Jazmin Deshojado
Customer Reviews:
The Romantic songs of Pedro Infante.......2006-09-03
Pedro Infante continues to conquer our hearts with his great movies and songs broadcasted on TV and the radio
Beautiful songs, Wonderful Voice... Pedro, donde estas?.......2006-07-24
One minor quibble: Many of these songs are not boleros, but waltzes and rancheras. It doesn't matter, but the title should be something like "Canciones romanticas de oro".
Great album.......2005-09-21
THIS SHOULD BE YOUR FIRST PEDRO INFANTE CD.......2002-10-26
Average customer rating:
|
Songs Of Spain / De Los Angeles, et al
Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Falla
| Falla, Manuel de
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ASIN: B00000I4KQ Release Date: 1999-02-23 |
Tracks:
- El rossinyol
- El testament d'Amelia
- Adios meu homino
- Mina nay por me casare
- Tengo que subir
- Ahi tienes mi corazon
- La vi llorando
- Ya se van los pastores
- Campanas de Belen
- Jaeneras que yo canto
- A dormir ahora mesmo
- Granadinas
- Hincarse de rodillas
- Cancion de trilla
- Parado de Valldemosa
- Nik baditut
- Andregaya
- Din, dan, boleran
- Mariam matrem
- Ay, triste vida corporal!
- Que es mi vida, preguntais?
- Porque es, dama, tanto quereros?
- No me llames segalaherba
- Ay, luna que reluces
- En esta larga ausencia
- Molinillo que mueles amores
- Confiado jilguerillo
- Seguidillas religiosas
- Cancion de cuna
- El jilguerillo con pico de oro
- El canape
Tracks:
- Ah, el novio no quiere dinero
- Coma la rosa en la guerta
- Estavase la mora
- Aquel rey de Francia
- Damos gracias a ti, Dios
- Sobre Baca estaba el rey
- Ay que non hay!
- Rosa das rosas
- Maravillosos e piadosos
- Tres moricas m'enamoran
- Paseabase el rey moro
- Dime a do tienes las mientes
- Si no's huviera mirado
- Dexo la venda
- Puse mis amores
- Aqui me declaro su pensamiento
- Pues que me tienes
- Gentil dama, non se gana
- Mi querer tanto vos quiere
- Una hija tiene el rey
- Una matica de ruda
- Si la noche se hace oscura
- Pastorcico, non te aduermas
- Ay triste que vengo
- No soy you quien la descrube
- Pase el agua, Julieta
- Aquel caballero, madre
- Duelete de mi, Senora
- De Antequera salio el Moro
- De los alamos vengo, madre
- Enfermo estaba Antioco
- Dame acogida en tu hato
- Morenica, dame un beso
- Senora, si te olvidare
- De donde venis, amore?
Tracks:
- La rosa enflorece
- Ven querida
- Adio, querida
- Durme, durme, hermozo hijico
- Paxaro d'hermosura
- Avrix, mi galanica
- Irme quiero, la mi madre
- Ya viene el cativo
- Yo m'enamori d'un aire
- Una matica de ruda
- Anda, jaleo
- Los cuatro muleros
- Las tres hojas
- Los mozos de Monleon
- Las morillas de Jaen
- Sevillanas del siglo 18
- El cafe de Chinitas
- Nana de Sevilla
- Los pelegrinitos
- Zorongo
- Romance de Don Boiso
- Los reyes de la baraja
- La tarara
- El combat del somni: Damunt de tu, nomes les flors
- A l'ombra del Lledoner: Canco de grumet
- Canciones negras: Cancion de cuna para dormir a un negrito
- Cuatro madrigales amatorios: De los alamos vengo, madre
- Coleccion de tonadillas: Callejeo
- Coleccion de tonadillas: El tra la la y el punteado
- Seis canciones castellanas: No quiero tus avellanas
- Seis canciones castellanas: Jota
- Panxolina
- Tu pupila es azul
- Cantos populares espanolas: Malaguena
- Cantos populares espanolas: Granadina
- Cantos populares espanolas: El Vito
- Cantos populares espanolas: Pano murciano
- Clavelitos
- Adios, Granada
- Madrigal
Tracks:
- Coleccion de tonadillas: Amor y odio
- Coleccion de tonadillas: Callejeo
- Coleccion de tonadillas: El majo discreto
- Coleccion de tonadillas: El majo olvidado
- Coleccion de tonadillas: El majo timido
- Coleccion de tonadillas: El mirar de la maja
- Coleccion de tonadillas: El tra la la y el punteado
- Coleccion de tonadillas: La maja de Goya
- Coleccion de tonadillas: Las currutacas modestas
- Tres majas dolorosas: Oh muerte cruel!
- Tres majas dolorosas: Ay majo de mi vida
- Tres majas dolorosas: De aquel majo amante
- Goyescas: La maja y el ruisenor (Rosario)
- 'La vida breve': Vivan los que rien! (Salud - Act 1)
- 'La vida breve': Alli esta! Riyendo! (Salud - Act 2)
- 'Acis y Galatea': Confiado jilguerillo
- El tripili
- Llorad, corazon
- Iban al pinar
- No lloreis, ojuelos
- Mananica era
- Mira que soy nina
- Gracia mia
- El pano moruno
- Seguidilla murciana
- Asturiana
- Jota
- Nana
- Cancion
- Polo
- 'La Tempranica': Zapateado (La tarantula e un bicho mu malo)
Customer Reviews:
The most noble voice.......2004-05-28
PURCHASE THIS JEWEL WHILE YOU CAN.......2002-01-08
luminous artistry from a genius.......2000-12-26
A special Dignity and an Unfailing Beauty of Voice........2000-09-17
Average customer rating:
|
Wagner: The Ring
Wagner , Krauss , Vinay , Windgassen , Fischer-Dieskau , and Varnay Manufacturer: Opera D'oro ProductGroup: Music Binding: Audio CD All Works by Wagner
| Wagner, Richard
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ASIN: B000E5KQL4 Release Date: 2006-02-14 |
Tracks:
- Prelude - Gerhard Stolze
- Weia! Waga! Woge, Du Welle! - Gerhard Stolze
- Lugt, Schwestern! Die Weckerin Lacht In Den Grund - Gerhard Stolze
- Der Welt Erbe Gewann' Ich Zu Eigen Durch Dich? - Gerhard Stolze
- Wotan! Gemah! Erwache! - Gerhard Stolze
- Sanft Schloss Schlaf Dein Aug' - Gerhard Stolze
- Endlich Loge! - Gerhard Stolze
- Immer Ist Undank Loges Lohn! - Gerhard Stolze
- Dir's Zu Melden Gelobt' Ich Den Madchen - Gerhard Stolze
- Uber Stock Un Stein Zu Tal - Gerhard Stolze
- Woatan, Gemahl, Unsel'ger Mann! - Gerhard Stolze
- Hehe! Hehe! Hieher! Hieher! Hieher! Tuckischer Zwerg! - Gerhard Stolze
Tracks:
- Nibelheim Hier! - Gerhard Stolze
- Wer Halfe Mir? - Gerhard Stolze
- Was Wollt Ihr Hier? - Gerhard Stolze
- Auf Wonnigen Hohn - Gerhard Stolze
- Ohe! Ohe! Schreckliche Schlange - Gerhard Stolze
- Da, Vetter, Sitze Du Fest! - Gerhard Stolze
- Gezahlt Hab, Ich: Nun Lasst Mich Ziehn! - Gerhard Stolze
- Bin Ich Nun Frei? - Gerhard Stolze
- Fasolt Un Fafner Nahen Von Fern - Gerhard Stolze
- Freia, Die Schone, Schau' Ich Nicht Mehr - Gerhard Stolze
- Weiche, Wotan, Wiche! - Gerhard Stolze
- Halt, Du Geiriger! - Gerhard Stolze
- Schwules Gedunst Schwebt In Der Luft - Gerhard Stolze
- Abendlich Strahlt Der Sonne Auge - Gerhard Stolze
- Rheingold! Rheingold! Reines Gold! - Gerhard Stolze
Tracks:
- Prelude - Hans Hotter
- Wes Herd Dies Auch Sei, Hier Muss Ich Rasten - Hans Hotter
- Einen Unseligen Labtest Du - Hans Hotter
- Mud Am Herd Fand Ich Den Mann - Hans Hotter
- Friedmund Darf Ich Nicht Heissen - Hans Hotter
- Die So Leidig Los Dir Beschied - Hans Hotter
- Ich Weiss Ein Wildes Geschlecht - Hans Hotter
- Ein Schwert Verhiess Mir Der Vater - Hans Hotter
- Schlafst Du, Gast? - Hans Hotter
- Winderstume Wichen Dem Wonnemond - Hans Hotter
- Du Bist Der Lenz, Nach Dem Ich Verlangte - Hans Hotter
- O Susseste Wonne! Seligstes Weib! - Hans Hotter
- Siegmund Heiss Ich Und Siegmund Bin Ich! - Hans Hotter
Tracks:
- Prelude - Nun Zaume Dein Ross, Reisige Maid! - Hans Hotter
- Ho-Jo-To-Ho! Ho-Jo-To-Ho! - Hans Hotter
- Der Alte Sturm, Die Alte Muh! - Hans Hotter
- So Ist Est Denn Aus Mit Den Ewigen Gottern - Hans Hotter
- Heiaha! Heiaha! Hojotoho! - Hans Hotter
- Schlimm, Furcht Ich, Schloss Der Streit - Hans Hotter
- Als Junger Liebe Lust mir Verblich - Hans Hotter
- Ein Andres Ist's: Achte Es Wohl - Hans Hotter
- So Nimmst Du Von Siegmund Den Sieg? - Hans Hotter
- So Nimm Meinen Segen, Niblungen-Sohn! - Hans Hotter
- So Sah Ich Siegvater Nie...Raste Nun Hier: Gonne Dir Ruh! - Hans Hotter
Tracks:
- Hinweg! Hinweg! Flieh Die Entweihte! - Hans Hotter
- Siegmund! Sieh Auf Mich - Hans Hotter
- Erdenluft Muss Sie Noch Atmen - Hans Hotter
- Weh! Weh! Susseste Weib - Hans Hotter
- Zwei Leben Lachen Der Hier - Hans Hotter
- Zauberfest Bezahmt Ein Schlaf - Hans Hotter
- Wehwalt! Wehwalt! - Hans Hotter
- The Ride Of The Valkyries - Hojotoho! Hojotoho! - Hans Hotter
- Schutz Mich Und Helft In Hochster Not! - Hans Hotter
- Nicht Sehre Dich Sorge Um Mich - Hans Hotter
- Steh, Brunnhild'!... Wo Die Verbrecherin? - Hans Hotter
Tracks:
- Heir Bin Ich, Vater: Gebiete Die Strafe! - Hans Hotter
- War Es So Schmahlich, Was Ich Verbrach - Hans Hotter
- Deinen Leichten Sinn Lass Dich Denn Leiten - Hans Hotter
- Du Zeugtest Ein Edles Geschlecht - Hans Hotter
- Leb Wohl, Du Kuhnes, Herrliches Kind! - Hans Hotter
- Der Augen, Leuchtendes Paar - Hans Hotter
- Loge, Hor! Lausche Hieher! - Hans Hotter
- Magic Fire Music - Hans Hotter
Tracks:
- Prelude - Rita Streich
- Zwangvolle Plage! Muh Ohne Zweck! - Rita Streich
- Hoiho! Hoiho! Hau Ein! Hau Ein! - Rita Streich
- Nun Tobst Du Wider Wie Toll - Rita Streich
- Vieles Lehrtest Du, Mime - Rita Streich
- Ans Leben Gehst Du Mir Schier! - Rita Streich
- Und Diese Stucke Sollst Du Mir Schmieden - Rita Streich
- Heil, Dir Weiser Schmied! - Rita Streich
- Auf Wolkigen Hoh'n Wohnen Die Gotter - Rita Streich
- Verfluchtest Licht! - Rita Streich
- Was Ist's Mit Dem Furchten? - Rita Streich
Tracks:
- Ist's Eine Kunst, Was Kenn, Ich Sie Nicht? - Rita Streich
- Notung! Notung! Neidliches Schwert! - Rita Streich
- Hoho! Hoho! Schmiede, Mein Hammer, Ein Hartes Schwert! - Rita Streich
- Den Der Bruder Schuf, Den Schimmernden Reif - Rita Streich
- Prelude - Rita Streich
- In Wald Und Und Nacht Vor Neidhohl Halt, Ich Wacht - Rita Streich
- Durch Vertrages Treuerunen Band Er Dich Bosen Mir Nicht - Rita Streich
- Wir Sind Zur Stelle! Bleib Hier Stehn! - Rita Streich
- Dass Der Mein Vater Nicht Ist - Rita Streich
Tracks:
- Hei, Ich Versuch's Sing' Ihm Nach - Rita Streich
- Haha! Da Hatte Mein Lied Mir Was Liebes Erblasen! - Rita Streich
- Ist Mir Doch Fast, Als Sprachen Die Voglein Zu Mir - Rita Streich
- Wohin Schleichst Du Eilig Un Schlau - Rita Streich
- Was Ihr Mir Nutzt, Weiss Ich Nicht - Rita Streich
- Neides Zoll Zahlt Notung - Rita Streich
- Nun Sing! Ich Lausche Dem Gesang - Rita Streich
- Prelude - Rita Streich
- Wache, Wala! Wala! Erwach! - Rita Streich
- Stark Ruft Das Lied - Rita Streich
- Dir Unweisen Ruf, Ich Ins Ohr - Rita Streich
- Dort Seh' Ich Siegfried Nahn - Rita Streich
Tracks:
- Mein Voglein Schwebte Mir Fort! - Rita Streich
- Bleibst Du Mir Stumm, Storrischer Wicht? - Rita Streich
- Zieh Hin! Ich Kann Nicht Halten! - Rita Streich
- Selige Ode Auf Sonniger Hoh'! - Rita Streich
- Heil Dir, Sonne! Heil Dir, Licht! - Rita Streich
- So Starb Nicht Meine Mutter? - Rita Streich
- Ewig War Ich, Ewig Bin Icht - Rita Streich
Tracks:
- Introduction - Josef Greindl
- Welch Licht Leuchtet Dort? - Josef Greindl
- Zu Neuen Taten, Teurer Helde - Josef Greindl
- Lass, Ich, Liebste, Dich Heir - Josef Greindl
- Siegfried's Rhine Journey - Josef Greindl
- Nun Hor, Hagen, Sage Mir, Held - Josef Greindl
- Hoiho! Wohin, Du Heitrer Held? - Josef Greindl
- Heil Siegfried, Teurer Held! - Josef Greindl
- Willkommen, Gast In Gibichs Haus - Josef Greindl
- Gutrune...Sind's Gute Runen - Josef Greindl
Tracks:
- Bluhenden Lebens Labendes Blut - Josef Greindl
- as Nahmst Du Am Eide Nicht Teil? - Josef Greindl
- Hier Sitz' Ich Zur Wacht, Wahre Den Hof - Josef Greindl
- Altgewohntes Gerausch - Josef Greindl
- Hore Mit Sinn, Was Ich Dir Sage! - Josef Greindl
- Welch Banger Traume Maren - Josef Greindl
- Blitzend Gewolk - Josef Greindl
- Brunnhild'! Ein Frier Kam - Josef Greindl
- Prelude - Josef Greindl
- Schlafst Du, Hagen, Mein Sohn? - Josef Greindl
Tracks:
- Hoiho, Hagen! Muder Mann! - Josef Greindl
- Hoiho! Ihr Gibischmannen, Machet Euch Auf! Heil Dir, Gunther! - Josef Greindl
- Brunnhild', Die Hehrste Frau - Josef Greindl
- Brunnhild', Huhne Frau - Josef Greindl
- Heil'ge Gotter, Himmlische Lenker! - Josef Greindl
- Helle Wehr! Heilige Waffe! - Josef Greindl
- Gunther, Wehr Deinem Weibe - Josef Greindl
- Welches Unholds List Liegt Hier Verhohlen? - Josef Greindl
- Schlafst Du, Hagen, Mein Sohn? - Josef Greindl
- Schlafst Du, Hagen, Mein Sohn? - Josef Greindl
Tracks:
- So Schon! - Gerhard Stolze
- Mein Schwert Zerschwang Einen SPeer - Gerhard Stolze
- Hoiho! - Gerhard Stolze
- Brunnhilde, Heilige Braut! - Gerhard Stolze
- Funeral Music - Gerhard Stolze
- Was Das Sein Horn? - Gerhard Stolze
- Starke Scheite Schichtet Mir Dort - Gerhard Stolze
Album Description
Unavailable for several years, this classic complete Ring recording now returns triumphantly to the catalogs at budget price! Ring groupies and enthusiasts, who are a very active and vocal subset of opera lovers, argue vigorously over which are the best complete recordings of all time. Most will agree that this is one of the finest ever, and many rate it the best of all! Wagner performances recorded in Wagner's own theater in Bayreuth, Germany always have a special appeal due to the unique acoustics, which Wagner took into account when composing. His music dramas just seem to sound better there than anywhere else. This recording caused a commotion when it came out in 1953 due to its palpable excitement in comparison to the relative sedateness of previous recorded performances. Clemens Krauss was one of the great Wagner conductors (and a personal friend of Richard Strauss), but what really sets this recording apart is the cast. Overall, it is arguably the greatest cast assembled for Der Ring at Bayreuth in the last 60 years. Although the great bass-baritone Hans Hotter sang Wotan in the Solti Ring years later, here his voice is in far better condition. Wolfgang Windgassen as Siegfried is also much more youthful. Astrid Varnay was one of the outstanding Brünnhildes of all time, and the other singers are equally fine. Even small parts are taken by major singers of the era, such as the famed coloratura Rita Streich as the Forest Bird. The sonics on this set, although monophonic and not up to modern standards, are quite acceptable and have been digitally remastered. A magnificent set including plot synopsis and track listings, absolutely essential to the serious opera lover, especially the Wagner fan and Ring aficionado! Live performance, Bayreuth Festspielhaus, 1953.Customer Reviews:
sound quality.......2007-07-12
Simply put........ASTOUNDING!....OUTSTANDING!....An AWESOME RING!.......2007-06-25
I had heard lots about this recording over the years, but hadn't ever had the opportunity to hear it, or even excerpts from it.
I recently had a choice of a gratis item from a major bookseller, and I chose this recording. Upon its arrival, I opened it immediately and put "Rheingold" on my machine, and must say that I was "stunned" by it. As well, with the following entrants that make up the series.
This is such a delight, I hardly know where to start. But, first, I guess I should express my delight at the packaging. Upon opening the box, there, under the booklet, were the cd's, all picture discs, one image per opera, in individual soft plastic sleeves! Wonderful! The booklet itself, while not sporting librettos of the operas, does contain a wonderful article about Krauss' ring by Robert Levine, a page for each opera, sporting the matching cd artwork, and a complete cast list, followed by track keys, and a synopsis. It also includes a few photos, and some biographical information on John Martinez, the artist who painted the cd art illustrations. The Booklet is, itself, printed on a quality weight and grade of paper, and the pages have been varnished, which helps with keeping it looking sharp and new, and with its longevity. An only comment I would make is, I wish there was a fabric spine on the outer box, to protect and reinforce the binding at the opening, as the pasteboard will eventually break along the fold from opening and closing the set.
First, I have to tell you that I was simply blown away by the sound on these recordings! I have tried searching everywhere to find out if this remastering is ADD, or AAD, and I cannot seem to raise this information. I will keep searching and update this review later. The sound quality on these discs is so clean, clear, and crisp it is hard to believe they were recorded in 1953 Bayreuth. The next "great observation" is the cast list, and listening to the artists themselves in their individual roles. What a GRAND ACHIEVEMENT to have assembled this cast for the 1953 Ring at Bayreuth....OH, to only have been there!
This is truly one of the finest recorded achievements I have heard. It is so amazing to me that recently we have had so many great recordings surface from the past, especially Wagner from Bayreuth. The recent releases from Testament have been breathtaking, also. Hotter, Vinay, Windgassen, Varnay, Resnik, Neidlinger, Uhde, and Kuen, combined together, certainly put this Ring in a class by itself. We NOW have TWO sets of The RING that belong in everyone's collection. This, and the recent release on Testament conducted by Keilberth in 55 at Bayreuth. Hotter is certainly the blackest and most masterly Wotan ever, bar none. And, Varnay's Brunnhilde is simply awe inspiring! Neidlinger's Alberich is truly evil, Resnik and Vinay are both just knockouts as Seglinde and Siegmund, what a pairing! Uhde is exceptional as the blackest Guntherthat I believe I have ever heard. Last, Paul Kuen is an awesome, sly, little Mime...one of the very best! Holding this all together is Clemens Krauss at the head of the Bayreuth Festival Orchestra and Chorus. These "old guys" certainly had the insight, heart, and feeling to create truly "close to the bone" Wagner. Today, with modern productions, ideas, interpretations, etc., this really does not happen any more. How very thankful we should be to have these marvelous old recordings, especially this one! Do pick up a copy of this before it is out of print, again, and Enjoy it! ~operabruin
Finally.......2006-11-29
I would not, however, recommend this version as somebody's first ring. That must be Solti's, because he set the standard, which stands to this day. Then, if you're hooked, you can start with the historic performances such as this one, the Kna '56, the Furt '53 and '50. You will also want to consider some of the more modern ones such as Boehm's, and Levine's DVD (much better than his CD version). Von Karajan is to be avoided. I have not heard the Kleiberth '55 yet, although I suppose I am going to have to get it when they get finished issuing it.
A ONCE-IN-A-LIFETIME "RING".......2006-11-22
CONDUCTING: Krauss had the lyricism of Bruno Walter, the fire of Toscanini, the clarity and linear tension of Reiner, the pacing of Muck, and the depth and transitional instinct of Furtwangler- plus a few qualities of his own. And within 9 months of this RING, he would be dead. (He was engaged to conduct the '53 Bayreuth RING & PARSIFAL- only because Knappertsbusch got into a spat with the Wagner grandsons and stayed away, that year.) That is to say, we are very fortunate to have him in the RING.
Now, there IS the '55 Keilberth/Bayreuth RING (taped in stereo by Decca, with most of Krauss's cast), which is being released, piecemeal, at over-the-top prices. Granted, Keilberth was unjustly underrated (or, to quote a certain Politician, "misunderestimated"). But Krauss was even greater.
SINGING: On the Krauss RING, we hear several of Solti's singers, in younger and fresher voice (Wolfgang Windgassen's Siegfried, Hans Hotter's Wotan and Gustav Neidlinger's Alberich, to name only three). Not to mention Astrid Varnay's Brunnhilde- one of the greatest performances of anything by anyone. She had an intensity and a grandeur all her own- even if her "instrument" may not have been as steely as Nilsson's or as "warm" as Flagstad's.
THE ORCHESTRA: The first post-war Bayreuth Festival was in 1951. And for the next five years (or so), the orchestral playing at Bayreuth was, overall, better than it would ever be again. Within a decade it got rather slack, for at least three reasons:
1) Increased costs led to less rehearsal time.
2) In 1961, the Berlin Wall went up and, on-again off-again, Cold War tensions escalated. This meant that during the political "cold snaps," the best (and reasonably-priced) players from Prague, Leipzig & Dresden (who had earlier been lured to Bayreuth by hard Western currency) encountered greater restrictions in crossing the Iron Curtain.
3) The better players of the West were lured away from Bayreuth by better-paying, more comfortable "gigs" with the other big Festivals- which expanded enough to time-overlap with the Bayreuth calendar.
If you think this is an exaggeration, compare the '53 RING orchestra with the '67 Bohm; and while you're at it, compare the playing on Knappertsbusch's 1951 PARSIFAL with his '62. (The '66 Bohm/Bayreuth TRISTAN is something of an exception.)
"PROBLEMS": With any live Wagner (even under "Bayreuth conditions"), you must factor-in a degree of human fallability and fatigue. So, in the course of this RING you may encounter some not-so-razor-sharp ensemble and momentary intonation "issues." Still, you will be amazed at how clean and in-tune the playing is, throughout. Yes, in the SIEGFRIED sword-forging scene, Windgassen misses a verse and rhythmically goes all over the place before "righting" himself . (But "live" , this passage is almost always a mess.) Yes, at one point, the whole trumpet section forgets to play the "sword-motiv." And yes, in the few lines of her entrance, the Guntrune leaves something to be desired; still, by the time of her little scene just before the Immolation (a passage that was often "cut" in later years- even at Bayreuth) she acquits herself honorably.
These are all fleeting problems, gone in a flash, and no more of an obstruction to the overall "vision" than the occasional pigment blemishes on the restored Sistine Ceiling.
SOUND QUALITY: For 1953 radio broadcast tapes, the sound is first-rate. Bayreuth's acoustic is faithfully captured, and (barring a few stage entrances & exits) the voices are always well-placed. In fact, it's hard to believe that microphones weren't obtrusively suspended within audience sight-lines (which the Wagner grandsons would never permit). Whatever the sonic limitations of the original tapes, the ear adjusts very quickly, and it becomes easy to lose yourself in the performance (i.e., "good enough 4 me").
"AFFORDABILITY CRISIS": Let's assume that, traveling alone, you're up for a 2007 jaunt to Bayreuth for a complete RING. Per ticket/per performance, you're looking at perhaps $3000 (a RING totalling at THAT, times 4- even with a discount for the one-act RHEINGOLD). Plus air-fare, hotels & meals...So, you've parted with the requisite $15,000 (and even THAT may be slumming it, with the US dollar's pitiful performance against the Euro), and you are really and truly THERE...What will you hear? I have never been to Bayreuth, but recent Bayreuth broadcasts are not encouraging. Safe to say, for quality of singing, conducting and playing, you wouldn't get within a wide sea-mile of the Krauss RING...Which you can now have for the price of a reasonably nice dinner for two (drinks & dessert included)- AND minus the silly-a** staging with which latter-day RINGS are often afflicted (Vahalla = Brooklyn subway toilet or stock-exchange or both: yada-yada-yada).
At this price, HOW COULD YOU LOSE?
Still one of the Best Ring Sets!.......2006-06-01
which is not a bad thing, The sound on this latest version is quite acceptible, You also have as fine a cast of Wagnerians as could be asked for. The only drawback is no libretto. A small quibble, but then when you are paying over half the price for a set like this compared with the price of a Solti, or Karajan set, a little thing like no libretto can be overlooked. And maybe by having sets like this one and the Naxos one being released perhaps the big companies will fianlly decide to re-issue theirs at mid-price or at budget price. If you want a really good "Ring" recording as a first one or as an additonal set this is clearly a first choice. The only other complaint I have with this recording is the perfomance of Natalie Hinsch-Grondahl, her Gutrune is not one of the best performances, she tries just a little to hard I think. There are many good performances to balance hers though. Astrid Varnay gives us a Brunhilde that is a benchmark performance. Rita Strich as the Woodbird is luxury casting indeed! As I said before a "Ring" to
compete with the big ones. Allegro is starting to put an online Libretto for the "Ring" on it's web site. They for some reason have started with "Gotterdammerung"
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Glazunov, Khachaturian, Kabalevsky: Violin Concertos
Aram Khachaturian , Dmitry Kabalevsky , A. Gauk , and Kiril Kondrashin Manufacturer: Classica D'oro ProductGroup: Music Binding: Audio CD All Works by Kabalevsky
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ASIN: B000062XA5 Release Date: 2002-03-05 |
Tracks:
- Allegro Con Fermezza
- Andante Sostenuto
- Allegro Vivace
- Moderato
- Andante
- Allegro
- Allegro Molto E Con Brio
- Andantino Cantabile
- Vivace Giocoso
Customer Reviews:
Transcendent..........2006-03-29
Excruciatingly Beautiful.......2004-04-28
Superb recordings by Oistrakh.......2002-07-15
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