My Father's Son

Track Listings

1. My Father's Son

2. Ain't No Sunshine

3. My Strongest Weakness

Editorial Reviews
Album Description
German edition of the third single from the distinctive vocalist's 1999 release 'No Ordinary World'. Tracks 'My Father's Son', 'Ain't No Sunshine' & 'My Strongest Weakness'. 2000 release. Slimline jewel case.

Tracks:

Another Pyramid - Sting
Written In The Stars - Elton John/LeAnn Rimes
Easy As Life - Tina Turner ft. Angelique Kidjo
My Strongest Suit - Spice Girls
I Know TheTruth - Elton John/Janet Jackson
Not Me - Boyz II Men
Amneris' Letter - Shania Twain
A Step Too Far - Elton John/Heather Headley/Sherie Scott
Like Father Like Son - Lenny Kravitz
Elaborate Lives - Heather Headley
How I Know you - James Taylor
The Messenger - Elton John/Lulu
The Gods Love Nubia - Kelly Price
Enchantment Passing Through - Dru Hill
Orchestral Finale - Elton John

Amazon.com

Following hot on the heels of their enormously successful collaboration for The Lion King, Elton John and Tim Rice have once again culled their talents to create another Disney contemporary musical, based this time on Verdi's opera Aida. The album, recorded by some of the biggest talents of pop, country, and R&B, features songs from the stage show, which recounts the well-known tale of a love triangle further complicated by slavery, royalty, and the armed forces. John duets to great effect with country crooner LeAnn Rimes, the enchanting Janet Jackson, and the lovely Lulu of To Sir with Love fame. Lush and lively, the soundtrack hits a hoot of a (decidedly not highbrow) high point with the infectious pop of the Spice Girls warbling the merits of undergarments on "My Strongest Suit" ("Always wear underwear/Anytime, anywhere"). Lenny Kravitz funks things up with "Like Father Like Son." Shania Twain's husky emoting makes a fine pop ballad of the brief "Amneris' Letter." "Not Me" chronicles the goodness of love as Boyz II Men coo dreamily, their harmonies nestling into John's sumptuous score. --Paige La Grone

Customer Reviews:

I would order from you again........2007-01-27

Product arrived in a timely manner in new condition, still wrapped in plastic. Thank you.

Loved it!!!.......2006-09-07

I'm so impressed with this album for several different reasons.
3) It's Elton John
2) I loved all but two of the songs!
1) I usually hate the original broadway cast albums and movie soundtracks. They don't do the songs justice. They usually have chopped up versions of the songs and include unnecessary dialouge.

I'd love to see every musical (broadway or movie) done this way!
I appreciate the b'way versions, but I don't want to listen to them in my car...

good variety and feeling.......2004-06-24

This is a very good CD. "Written in the Stars" is an extremely emotional song, and it is my favorite on the album. I would like to see the show on Broadway, but I have to say I don't think it can be too much better than this CD

Sour Concepts.......2003-06-29

It takes so much to try to get a musical to make its way upon Broadway. Sometimes you really need to understand how to make it really happen within the passion of the storytelling music. In that case with Elton John, he nearly seemed to make it with Aida. While the music for Broadway always seems to have at least something completely mgaical and a dash of power in it. Sometimes, you really need to understand it, to make it happen, and others don't see it from the start. Although Elton John has had great music for years, at least once in a era, something goes a little flat.

The 1999 Aida, was not a studio album from Elton, but a preview from what was happen on Broadway. The various artists record contains so many different artists in the record including Tina Turner, Boyz II Men, Dru Hill, and the upcoming Heather Headley. Before Heather made it as a singer, she made it right here in Aida, on this record. The only decent song that was a hit was Written In The Stars, which Elton performed with Leann Rimes. The song was also the last song Elton cracked Billboard's Top 40. Still, there really wasn't a lot of enjoyment within most of the record, and it fell into a sleeper. Considering that Elton is already planning on making another smash musical on Broadway, hopefully he'll do better with the concept record.

When it does come to making it on Broadway, it isn't really anything exciting, unless it truly is a smash, and Aida is a smash on Broadway, just not the record. Still, if you're a die hard fan of Aida, buy this record. Otherwise, it could be a hitless miss.

Living Elaborate Lives..........2002-11-02

Aida was Elton John and Tim Rice's baby, providing a concept soundtrack album before even setting the stage on fire, the tracks are generally sweeping show ballads.
Elton teams up with several lovely and talented ladies, in LeAnn Rimes, Janet Jackson, and Lulu. "Written In The Stars" could be a vocal gladiator battle, the way LeAnn and Elton sing it. Janet and Lulu prove themselves as more mellow duet partners.
Kelly Price makes "The Gods Love Nubia" her own, the song is tied up in soul with her voice being smooth as silk. The far too short "Amneris' Letter" shows off Shania Twain's voice to perfection also. Pop culture phenomenon the Spice Girls turn "My Strongest Suit" into the most obvious pop stomper of this set. Another strong point is Heather Headley's solo "Elaborate Lives". A rich ballad, Headley recently embarked on an R&B singing career with the track "He Is". The legendary Tina Turner provides a fiery perfomance, her track being the powerful "Easy As Life" with Angelique Kidjo.
Duds are also present, Sting and Dru Hill's tracks are admitted stinkers. James Taylor, Boyz II Men, Sherie Scott, and Lenny Kravitz also deliver perfomances on the album. This album is well put together, with strong tunes and a short-list of superstars presenting them. A fun buy.

Average customer rating:

Essential listening for the guitar lover
Brilliant
For the love of a father, and of the music they shared
The greatest guitarist in the world.This CD again shows why!
His best solo CD yet!

Songs My Father Taught Me

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

Mazurkas | Ballets & Dances | Classical | Styles | Music

General | Classical | Styles | Music

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The Art of Pepe Romero: Guitar Favorites
The Royal Family of the Spanish Guitar
Flamenco!
Essential Guitar: 33 Guitar Masterpieces
Noches de España: Romantic Guitar Classics

ASIN: B00000I93V
Release Date: 1999-03-09

Tracks:

Fandanguillo
Cello Suite No. 3 In C, BWV 1009: Courante
Prelude In C Minor
Lute Suite In E, BWV 1006a: Gavotte
Album Fur Die Jugend, Op.68: Melodie
Album Fur Die Jugend, Op.68: Frohlicher Landmann
Album Fur Die Jugend, Op.68: Soldatenmarsch
Minuet No. 6
Minuet No. 7
Minuet No. 5
Estudio. La Mriposa
Madronos
Waltz, Op. 39 No. 15
Drei Deutsche Tanze
Mazurka in G Sharp Minor, Op. 33 No. 1
Danza Andaluza No. 1
Guasa (Danza)
Guajiras. Cuban Fantasy
Romanza
El Testament d'Amelia
El Noi de la Mare
Estudio XIX
Fantasia XVI
Cello Suite No. 3 In C, BWV 1009: Gavotta I & II

Customer Reviews:

Essential listening for the guitar lover.......2006-02-11

Pepe Romero's tribute to his late father Celedonio is not only a beautiful celebration of the life of one of the most important guitarists ever, but a great triumph simply on the merits of the pieces presented and the performances thereof. Of particular interest are the heartfelt renderings of transcriptions of piano works by Schumann, Brahms, Schubert and Chopin; while the Romero family has always taken pains to make sure the world has the opportunity to enjoy the riches of the Spanish guitar repetoire, Pepe's beautiful performances of the transcriptions referred to above allow him to display the full breadth of his musical understanding. Wonderful!

Brilliant.......2001-02-17

I can't add too much to what as already been said in praise of this wonderful CD. Pepe is brilliant. I recently saw him in concert and his confidence with the instrument blew me away. I have never seen such confident, fluid, beautiful movement on the classical guitar. And it comes out in the music.

Emotionally stunning, technically flawless, Pepe is the best and this is my favorite classical guitar record.

For the love of a father, and of the music they shared.......2000-01-25

This CD, a collection of songs that Pepe Romero learned from and shared with his father, is a finely, wonderfully, lovingly crafted work evoking in the listener the emotions that the music brings to Mr. Romero. They are all songs played not as displays of technical skill, though the skill is impressive, but as celebrations of the joy and love that music and relationships can bring. Ranging from pieces by Bach to Pepe's father, Celedonio, there isn't a clinker in the bunch, and much to be savored sweetly on a sunny morning with a coffee in hand.

The greatest guitarist in the world.This CD again shows why!.......1999-03-21

An inspiring, emotional tribute of repertory taught to Pepe Romero by his late father, Celedonio, who himself was an incredible guitarist and composer. Flawless technique, combined with Spanish heart and soul, set a standard for all other guitarists to emulate. Repertory ranges from beginning guitar pieces to flamenco-inspired pieces by his father. Also includes everything from Bach, Brahms, and Chopin to Spanish composer Moreno Torroba.

His best solo CD yet!.......1999-03-21

Pepe Romero is perhaps the most gifted guitarist living today, and it shows with this CD. A long time fan, I'm a little biased, but I would absolutely recommend this CD to any fan of the classic guitar. And it has a great and unusual variety of music. Great for beginning listeners.

Lay Aside All Earthly Cares: Orthodox Choral Works in English

Average customer rating:

Just heavenly

Lay Aside All Earthly Cares: Orthodox Choral Works in English

Manufacturer: Cappella Romana
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
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The Fall of Constantinople
Metropolitan Museum of Art: Music of Byzantium
When Augustus Reigned: Christmas Music from the Byzantine Tradition
A Brush With God: An Icon Workbook
The Glory Of Byzantium

ASIN: B000AXWHE4
Release Date: 2005-09-13

Tracks:

Bless the Lord, O my soul
O gladsome Light
Lord, now let Thy servant
Rejoice, Virgin Theotokos
Praise the Name of the Lord
The Great Doxology, No.1
Bless the Lord, O my soul
The Second Antiphon
Only begotten Son
Holy God, No.2
Alleluia, No.1
Cherubic Hymn (Special melody: The thief beheld)
A mercy of peace
It is truly meet
Our Father / One is holy / Praise the Lord, No.1
Praise the Lord from the heavens, No.2
I will receive the cup, No.2
Their proclamation has gone out, No.2
Rejoice in the Lord
Receive the Body of Christ, No.1,2,1
Blessed be the name of the Lord
Psalm
All of creation
Troparion for the Sunday of Orthodoxy
Let my prayer arise
Now the Powers of heaven
Taste and see
Thy bridal chamber
The wise thief, No.2
The wise thief, No.3
Let all mortal flesh
What shall we call you, Mary

Customer Reviews:

Just heavenly.......2007-01-30

An extraordinary, original collection of vocal music that defies categorization. An inspiring pleasure to own.

Average customer rating:

The victim's point of view
A Country Treasure comes home.

My Father's Son
Ricky Skaggs
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Contemporary Country | Country | Styles | Music

New Traditionalist | Contemporary Country | Country | Styles | Music

General | Country | Styles | Music

Outlaw & Progressive Country | Country | Styles | Music

General | Bluegrass | Country | Styles | Music

Contemporary | Bluegrass | Country | Styles | Music

Kentucky Thunder
Highways & Heartaches
Soldier Of The Cross
Comin' Home to Stay
Bluegrass Rules!

ASIN: B0000027KN
Release Date: 1991-09-10

Tracks:

Life's Too Long (To Live Like This)
Only Daddy That'll Walk The Line
Same Ol' Love
From The Word Love
You Don't Count The Cost
My Father's Son
Simple Life
Hold On Tight (Let It Go)
You Can't Take It With You When You Go
Father Knows Best
Give Us A Happy Home
Somebody's Prayin'

Customer Reviews:

The victim's point of view.......2002-09-28

I have not been a big Ricky Skaggs listener until several years ago when I bought this CD. The song "give us a happy home" came into my life at just the right time. It is the only song that I have ever heard that clearly demonstrates the reality of divorce from the child's (victim's) point of view. If you are a parent and are contemplating divorce, please listen to this song first!! Your child will thank you for it!

A Country Treasure comes home........1998-10-25

It is stunning to hear the most talented picker in the game regale us with his dexterity and understanding of his kind of music. Ricky Skaggs has his place in the role of country honour despite crass comments. Ricky Skaggs has taken time out to do many other things such as producing and with his latest CD it is a well overdue return to show them how Country, Western and of course Blue Grass should be played presented and sung, not from the pocket but from the heart. Keep Pickin Ricky

Average customer rating:

Another feast for Handelians
Excellent music

Handel: Saul
John Eliot Gardiner , Ruth Holton , Lynne Dawson , John Mark Ainsley , Donna Brown , Derek Lee Ragin , English Baroque Soloists , Philip Salmon , and Neil Mackie
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B00000412J
Release Date: 1991-09-12

Customer Reviews:

Another feast for Handelians.......2003-12-25

Here's another astonishing piece for all Handelians. Many of Handel's great pieces have sadly been neglected - just like many of Richard Strauss' operas which have only recently received attention from people like Botstein, Korsten and Sinopoli (deceased). Thankfully, Gardiner and his team took the trouble to record this astonishing masterpiece. I simply love this piece - Saul!! The Monteverdi choir is the best in the world - listen to their stunning virtuosity here. Thank you, Gardiner!!

Excellent music.......2003-09-14

Saul is one of those lesser known works by Handel. I certainly prefer Solomon, the Messiah or Israel in Egypt. Nevertheless, there is plenty of glorious music in Saul. The Monteverdi sings with their customary virtuosity. Casting of solo parts is superb. A bit on the pricey side but this is an investment that will yield rich dividends over a long period of time. Instead of listening to the Messiah all the time, or Solomon or Jephtha, why not be more daring and explore this lesser known work by Handel?

Average customer rating:

My Father's Only Son
Carrie's twangiest..
In my all time top 5 recordings!
My Personal Favorite
An extremely talented performer and writer.

My Father's Only Son
Carrie Newcomer
Manufacturer: Philo / Umgd
ProductGroup: Music
Binding: Audio CD

Outlaw & Progressive Country | Country | Styles | Music

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Contemporary | Bluegrass | Country | Styles | Music

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Singer-Songwriters | Pop | Styles | Music

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My True Name
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The Bird or the Wing
Visions and Dreams
The Age of Possibility

ASIN: B0000003WK
Release Date: 1996-09-17

Tracks:

Crazy In Love
Tracks
These Are The Moments
You Can Choose
My Father's Only Son
I'm Not Thinking About You
Up In The Attic
Closer To You
Bearing Witness
The Madness You Get Used To
The Rooms My Mother Made
Amelia Almost 13

Amazon.com

With her Martin guitar and long cotton-print dresses, Indiana's Carrie Newcomer would seem to be the very model of the modern folk musician. She quickly dispels that notion, however, with the very first song on My Father's Only Son. The song is "Crazy in Love," and before Newcomer even opens her mouth, her folk-rock band shatters any possible mood of introspection with a twangy electric guitar riff and soulful organ chords. "You wouldn't think a grown woman would act like a high school girl," Newcomer sings, celebrating such pop-music prejudices as action over thought and passion over prudence. Not every song on My Father's Only Son escapes the endemic carefulness of coffeehouse folk as successfully as "Crazy in Love," and Newcomer sometimes gives in to whispery quaintness. --Geoffrey Himes

Customer Reviews:

My Father's Only Son.......2005-09-10

This was a gift for my husband and he loved it.
This CD is more of a folk/ballad type of music.
She has a way of drawing you in and making you remember times of your own past.
My husband's favorite song is,"My Father's Only Son."

Carrie's twangiest.........2005-01-16

I love all of Carrie's music. This album is a great place for someone coming from country music to start with.

In my all time top 5 recordings!.......2003-01-15

Literally days after my wife and I moved to Indiana in 1993 we happened upon a concert in the city park; Carrie Newcomer opened the show and we've been fans ever since, eagerly awaiting each new album. Happily, we had the chance to meet and spend some time with her several times over the years, which has made her music even more special to us. My Father's Only Son remains my favorite of all her recordings for its strong writing, great melodies, and personal lyrics that reflect a lot of Carrie and a fair amount of midwestern life. It's a CD we've given as gifts and a copy has remained in our car for at least the last 75,000 miles we've driven. I highly recommend this disc to anyone into folk, singer-songwriters, or just plain real music that's about-- to quote Randy Travis from another context --"people and feelings." It's a desert island disc for sure!

My Personal Favorite.......2002-03-20

It's not easy to choose a favorite recording by Carrie Newcomer, since they are all excellent in different ways, but I would have to choose "My Father's Only Son" above the others. I keep coming back these songs as if they were old friends -- "My Father's Only Son" ('You don't talk much in a fishing boat/It just scares the fish away...'), "I'm Not Thinking of You", "Up In the Attic", "The Madness You Get Used To" and "The Rooms My Mother Made" are five solid reasons why this album should become part of your permanent collection. If you've never heard Carrie's voice wrap itself around your heart and mind, this just might be the best way to do it until you're able to see her in concert. She's a treasure.

An extremely talented performer and writer........1999-07-19

Carrie is a world class writer and performer. She has a voice that can carry the message in that special way it has to be done. I have yet to be disappointed in any of her works. I feel that she does not get the recognition she deserves.

Average customer rating:

Wonderfully fine performance
Not ideal, but all there is

Arthur Sullivan: Ivanhoe

Manufacturer: Pearl
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

English | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
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Arthur Sullivan: The Contrabandista, The Foresters
Sullivan: The Rose of Persia
Arthur Sullivan: The Prodigal Son; Boer War Te Deum

ASIN: B000000WWK
Release Date: 1993-01-21

Tracks:

Ivanhoe: Act One, First Scene: The Hall Of Rotherwood - Introduction; Each Day This Realm Of England Faints
Ivanhoe: Act One, First Scene: The Hall Of Rotherwood - Good Thane, Most Noble Thane
Ivanhoe: Act One, First Scene: The Hall Of Rotherwood - I See But One Thing Wanting To Our Fare
Ivanhoe: Act One, First Scene: The Hall Of Rotherwood - Drink, Drink Ye All... Then Fill The Cup, Fill High
Ivanhoe: Act One, First Scene: The Hall Of Rotherwood - The Palmer! The Holy Palmer!
Ivanhoe: Act One, Second Scene: An Ante-Chamber In Rotherwood - O Moon, Art Thou Clad
Ivanhoe: Act One, Second Scene: An Ante-Chamber In Rotherwood - Good Palmer, Thou Dids't Speak Of One
Ivanhoe: Act One, Second Scene: An Ante-Chamber In Rotherwood - Like Mountain Lark
Ivanhoe: Act One, Third Scene: The Lists At Ashby-de-la-Zouch - Will There Be No More Fighting?
Ivanhoe: Act One, Third Scene: The Lists At Ashby-de-la-Zouch - Plantagenesta!
Ivanhoe: Act One, Third Scene: The Lists At Ashby-de-la-Zouch - Isaac, My Jew, My Purse Of Gold
Ivanhoe: Act One, Third Scene: The Lists At Ashby-de-la-Zouch - What Means His Motto?

Tracks:

Ivanhoe: Act Two, First Scene: Friar Tuck's Hut At Copmanhurst - Strange Lodging This For England's King
Ivanhoe: Act Two, First Scene: Friar Tuck's Hut At Copmanhurst - There Is A Custom...I Ask Not Wealth
Ivanhoe: Act Two, First Scene: Friar Tuck's Hut At Copmanhurst - Not Bad, Say I...The Wind Blows Cold ('Ho, Jolly Jenkin!')
Ivanhoe: Act Two, First Scene: Friar Tuck's Hut At Copmanhurst - And Now For Combat!
Ivanhoe: Act Two, Second Scene: Castle Torquilstone - Will Not Our Captor Dare To Show His Face?
Ivanhoe: Act Two, Second Scene: Castle Torquilstone - Welcome, Sir Templar!...Woo Thou Thy Snowflake
Ivanhoe: Act Two, Third Scene: A Turret Chamber In Torquilstone - Whet The Keen Axes
Ivanhoe: Act Two, Third Scene: A Turret Chamber In Torquilstone - O Awful Depth...Lord Of Our Chosen Race
Ivanhoe: Act Two, Third Scene: A Turret Chamber In Torquilstone - Take Thou These Jewels
Ivanhoe: Act Two, Third Scene: A Turret Chamber In Torquilstone - What Sound Is That?

Tracks:

Ivanhoe: Act Three, First Scene: Room In Torquilstone; Assault; Burning Of The Castle - Happy With Winged Feet
Ivanhoe: Act Three, First Scene: Room In Torquilstone; Assault; Burning Of The Castle - Tend Thou The Knight Thou Lovest
Ivanhoe: Act Three, First Scene: Room In Torquilstone; Assault; Burning Of The Castle - How Cans't Thou Know?
Ivanhoe: Act Three, Second Scene: The Forest - Light Foot Upon The Dancing Green
Ivanhoe: Act Three, Second Scene: The Forest - Look, Where Thy Moody Father Walks Apart...Forgive Thy Son
Ivanhoe: Act Three, Second Scene: The Forest - How Oft Beneath The Far-Off Syrian Skies
Ivanhoe: Act Three, Third Scene: The Preceptory Of The Templars, Templestowe - Fremuere Principles
Ivanhoe: Act Three, Third Scene: The Preceptory Of The Templars, Templestowe - Thou Jewish Girl, Who Art Condemned
Ivanhoe: Act Three, Third Scene: The Preceptory Of The Templars, Templestowe - A Champion! A Champion!
Ivanhoe: Act Three, Third Scene: The Preceptory Of The Templars, Templestowe - Dead! He Is Dead!
Ivanhoe: Act Three, Third Scene: The Preceptory Of The Templars, Templestowe - See Where The Banner Of England

Customer Reviews:

Wonderfully fine performance.......2004-10-10

This is one opera I have been searching for for a very long time. I read about it in a book about Sullivan. Of course, when they wrote of the opera, they showed the scene, in drawing, where Rebecca informs Ivanhoe of the battle with the Black Knight. The drawing (based on the actual performance when it premiered) grabbed my attention completely. I just wondered what this composer could do with real opera (I loved his operettas completely, and they showed quite often Sullivan was quite capable of deep emotional pathose, even if in the end he was spoofing it more than reflecting it).

Well, all the years of searching and waiting to know were not a waste. Firstly, I have never been able to locate a score of this work (as I have done with many ancient operas or forgotten ones), so I was just as in the dark as anyone else as to what to expect. I was incredibly surprised, not to mention, thrilled with the results. No, Sullivan is no Wagner, nor is he even Verdi, but he is wonderfully beautiful in his own right. Why this work has not entered into the opera houses, I have no clue, excepting maybe because it is English opera, which never does well. Speaking of "ENGLISH OPERA", here we have a recording where for the most part we CAN understand the words (a thing I never seem to find in professional recordings of English opera, or American opera; they may as well sing in gibberish, for that is exactly what it sounds like -- perhaps the composers have no clue what works in their own language?). The performers, as we know, are not professionals, but rather semi-professionals. There are some uneven performances, and sometimes the characters are not quite as developed as one would like, there are even times the orchestra sounds like it lost the beat (but this is EXTREMELY RARE), the sound quality of the recording is OK, but nothing stellar, however, it is not bad either. Yet, in spite of these drawbacks, we CAN and DO understand the words, and for once a rather strange sounding English libretto sounds natural and unforced with stupid poetry that really leaves you laughing. These wonderfully dedicated performers, no matter their individual difficulties, give us a wonderfully vivid performance where we can finally understand the opera (like all our Italian friends do when Italian opera is sung for them). That was such a treat for me, to finally actually understand the words of opera sung in my own language.

What makes this opera such a thrill, at least for me, is the natural fall of the words and the music, especially in the recitatives. Unlike most English opera where the musical line sounds completely foreign to the natural lilt of the words, Sullivan has an uncanny way of writing lines, melodies, and recitatives that flow naturally from the language itself. That was a really exciting experience to endure. For once, I didn't wish that someone would teach the composers to listen to the flow of English to gain an insight into melody. Maybe it was all those operettas that he wrote prior to this "serios opera" that taught him what he knew, or maybe, he just had a good ear for his own language and enough sense to know that trying to graft Italian or German musical idioms onto things just wasn't the correct choice.

Is it a great work? Well, no, it will never get into the record books as a perfect opera, nor will it shove Mozart or Wagner off the stage, but it is really quite good just the same. Even with all the flaws this recording has, I am so glad it is out there so I could at last hear what music fleshed out that old drawing I saw in a book all those years ago. Though Sullivan's music is not anywhere near as dramatic as one may imagine it should be, it fits well with the scene and the over all concept of the work.

I really recommend this recording, for it, at least for now, is the only one we have (and if they make a professional one, I really hope they screen the singers well, no big names if they can't sing English so we can understand it; Sullivan, as with Wagner, you MUST understand the words or the meaning is completely lost). The entire recording is really quite enjoyable, and it doesn't disappoint.

Not ideal, but all there is.......2000-08-05

If you are interested in Arthur Sullivan's Music without Gilbert, this is one of the works you should have in your collection. Unfortunately the quality of the performance is inconsistent. The orchestra is at times good, at others sloppy. The soloists are also of varying quality. This is, after all, a recording by a semi-professional group. That said, if you are willing to accept the flaws, this is currently the only version on disc. Perhaps someday the BBC will record a version, as they did with Sullivan's "Rose of Persia". In the current recording, the most pleasing selections are: The Act 3 Scene 2 ensemble "Look where thy moody father walks apart", Friar Tuck's rollicking "Ho, Jolly Jenkin", The Templar's passionate scene "Woo thou thy snowflake", and Rebecca's evocative aria "Lord of our chosen race". Not all it could be, but it's all we've got.

Average customer rating:

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

Wagner: The Valkyrie

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
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Wagner: The Rhinegold
Siegfried (Goodall Ring Cycle/Chandos Opera in English)
The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)
Mozart - Don Giovanni / Garry Magee · Cullagh · Banks · Plazas · Shore · Tierny · PO · David Parry

ASIN: B00004YU6Z
Release Date: 2000-11-28

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Customer Reviews:

"The death-doomed alone are destined to look on me.".......2007-06-12

Okay, so we have the Solti, Bohm, Karajan, Levine, Janowski, Goodall, and Sawallisch Rings on the market (I haven't listened to the other Ring recordings yet, sorry to say). And all of these leave me to one conclusion: the many differences lead me to believe that all of these ring sets have their own authenticities and setbacks. And here they are:

TIMING (Estimate):
Solti's Ring: 14 hours, 30 minutes
Bohm's Ring: 13 hours, 30 minutes
Karajan's Ring: 14 hours, 50 minutes
Goodall's Ring: 16 hours, 50 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Sawallisch's Ring: 14 hours, 0 minutes

CONDUCTING:
Solti: Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His Walkure & Gotterdammerung Preludes are clear examples: they're annoyingly bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.

Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe "Wohin schleich'st du eilig und schlau"). I especially like his "Forging Scene" & "Hagen Summons the Vassals"; both are the most energetic on disc.

Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as Siegfried Act Three Scene Three) are controlled nicely. His "Funeral March" and "Immolation" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.

Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: everything is slower than adagio moderato. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.

Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Sawallisch's). Rheingold Scene Four can be best described as "sensational".

Levine: While he does stay true to the score like Bohm, this conductor makes for a somewhat dull Ring. His handling of the orchestra is nice, but the moderately slow tempi he chooses is flawed. It should be more animated. His beautiful "Funeral March" and "Erda's Warning" are two of the few flawless features.

Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.

ORCHESTRA:
Solti's Vienna Philharmonic: The woodwinds are the most beautiful in Solti's Ring (the "Forest Murmurs" is clear evidence of that). French horns and Wagner tubas make this a recommended listening. The strings in "Heda Heda Hedo" could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.

Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Erda's scenes aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tone & technique. Overall, this orchestra is the most dramatic.

Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung "Three Norns" Scene sounds very mysterious, very eerie.

Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. The Flight of the Valkyries doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act One Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.

Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Bohm's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are found in this Ring. I can hear harps in Flight of the Valkyries! The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Solti's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.

Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.

Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.

SINGERS:
-Wotan
Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Rheingold, in which a less stellar George London performs).

Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording, but he still doesn't disappoint.

Karajan: Dietrich Fischer-Dieskau plays Wotan in "Rheingold," while Thomas Stewart replaces Fischer-Dieskau in "Walkure" and "Siegfried". I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both "Walkure" and "Siegfried".

Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen.

Levine: James Morris is a notch below Hotter, Adam, and Bailey, but he overpowers Fischer-Dieskau pretty much throughout the Levine's Ring.

Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his Wotan's Farewell wasn't enough to sadden me.

-Brunnhilde
Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her final scene in Gotterdammerung is brilliant beyond belief.

Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Gotterdammerung, sorry to say).

Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."

Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.

Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin: while she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).

-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm. Jon Vickers for Karajan, Alberto Remedios for Goodall, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, and Robert Schunk for Sawallisch. For the Sieglindes, we have Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jessye Norman for both Janowski and Levine, and Julia Varady for Sawallisch. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Two exceptions, though: Robert Schunk doesn't sound heroic enough, and Jessye Norman for Levine's Ring doesn't sound young and innocent enough.

-Siegfried
Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in both renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming.

Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.

Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.

Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.

Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. I don't know Levine should've chose Kollo when he recorded his Ring.

-Alberich
Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?").

Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.

Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.

Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.

Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.

-Mime
Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners.

Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.

Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.

Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.

Levine: Heinz Zednik is yet another excellent mime. He is equal to Schreier when it comes to humaneness and lyricism. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.

Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.

-Loge
Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere is greatly affects the entire Rheingold. But he'll soon be forgotten later on in the Ring.

Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Still, it's satisfactory, and his "Ihrem ende eilen sie zu" gives great foreshadowing.

Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. His scenes in Scene Three are delightful.

Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.

Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt depends only on imagination and deviousness, Stolze only vengeance and deviousness, and Windgassen only peril. His odd conversations with Alberich and the gods/goddesses are classic.

Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.

Sawallisch: Robert Tear is on par with Stolze and Schreier. Sometimes he takes things too low, but all is forgiven with his management of character development.

-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings (maybe not in Swarowsky's version). Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm and Goodall. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.

CONCLUSION: I have yet to listen to Barenboim's Bayreuth presentation and the essential mono recordings (Furtwangler, Krauss), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the calculated Janowski, the relaxed Levine, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.

Sir Georg Solti: Wagner - Der Ring des Nibelungen (Ring Cycle) / Sir Georg Solti

Karl Bohm: Wagner: Der Ring des Nibelungen

Herbert von Karajan: Der Ring des Nibelungen / Karajan / Berlin Philharmonic

Goodall: Wagner: The Ring Cycle (Box Set)
-The Rhinegold (Part 1): Wagner: The Rhinegold
-Siegfried (Part 3): Siegfried (Goodall Ring Cycle/Chandos Opera in English)
-Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

Marek Janowski: Wagner: Der Ring des Nibelungen

James Levine: Der Ring Des Nibelungen

Wolfgang Sawllisch: Wagner - Der Ring des Nibelungen (Ring Cycle) / Sawallisch, Bayerischer Staatsoper

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Customer Reviews:

About this CD.......2004-01-16

Songs of the Cherubim
Chamber Choir "Lege Artis"
Boris Abalyan, director

Track listing:
1.-6. Pavel Tchernokov (1877-1944): In Days of Battle, Op. 45
7. Gretchaninov: To the Mother of God

Alexander Arkhangelsky (1846-1924)
8. Thou that look down from on high
9. Psalm 41: Blessed is he that considers the poor
10. I am mindful of the Day of Judgement

Igor Stravinsky
11. Our Father (The Lord's Prayer)
12. Hail to Thee, Mother of God

13. Penderecki: Song of the Cherubim

14.-18. Smirnov: Prayers (fromt eh Liturgy of St. John Chrysostom)

Sung in russian, polish

Music Review: