Wagner's Tannhäuser: Complete Opera [Box set]

Editorial Reviews
Amazon.com
This vividly recorded new Tannhäuser has much to recommend it. Daniel Barenboim's leadership not only keeps things moving so that the somewhat stilted drama actually takes wing, he elicits some of the most beautiful playing ever from the Berlin State Opera forces: lush strings; pointed, crisp brass; reedy, articulate winds. Thomas Hampson's Wolfram is sensitive and handsomely sung, if on a slightly small scale; Rene Pape is by far the most impressive Landgraf on disc; and the supporting cast is topnotch. Peter Seiffert sings the title role as well as anyone alive today could, but the natural youth and brightness of his voice do not particularly suit the character and his torment. Jane Eaglen's Elisabeth is correctly pure and simple, and equally well sung. Waltraud Meier uses her unimpressive voice well as Venus, underscoring the character's incredible sensuality with her intelligent use of the text. While this set has its excitements, better still is the one led by Sinopoli (with Domingo and Cheryl Studer) or the even older Solti recording (out of print) with Christa Ludwig as the finest Venus available and a very strong cast. --Robert Levine

Customer Reviews:

The soprano with the "scimitar glint" in her voice.......2003-11-22

Pilar Lorengar may not be as famous as her Spanish Counterparts, Victoria De Los Angeles and Montserrat Caballe. But, opera afficionados still treasure her. The reasons why are elaborately laid out on this two-disc recital. The first disc is dominated in the first half by Puccini arias. Since these are famous arias, it would be easy to sing them in a conventially pretty manner. Instead, Lorengar offers wonderful interpretations of such arias as Un Bel Di and a personal favorite, Senza Mamma. She may not be able to belt it out like some of her peers, but she invokes a true sense of artistry. The same can be said for her Mozart- just listen to the aching way she sings the first line of Dove Sono- "E Susanna non vien..." Another standout is Come Scoglio, which she sings with great flair and drama. My only gripe, which is why I gave this recital 4 stars instead of 5 is that, alas, there is nothing from one of her greatest roles, Donna Elvira. It is very baffling why the linear essay makes mention of how successful her Met debut as Donna Elvira was, but nary an aria made the cut for the first disc. However, if you want to hear her interpretation of this great role, buy the highlight disc of Don Giovanni, which is readily available, for budget-price. The disc also features Sutherland and Horne.

Two other favorites from this disc are the moon aria from Rusalka, as well as the duet from Arabella, which is heartbreakingly beautiful. Thankfully, she is paired up with Arleen Auger, an accomplished artist in her own right.

The second disc of Zarzuela is wonderful as well. Especially wonderful are the Tonadillas. Just Lorengar's lovely voice, and Alicia Dellarocha's piano. Very relaxing to listen to...

Sadly, Lorengar is no longer with us, but her artistry is her, for us to treasure.

Glorious tribute to sadly neglected singer.......2003-07-08

Although known among opera aficianados, Pilar Lorengar never reached the heights of fame and name recognition as her contemporaries Callas and Sutherland. This has lead to an unfortunate dirth of Lorengar on CD, and which makes this compilation most welcome. Although never an operatic superstar, Lorengar had a magnificent instrument: soft, creamy, dramatic when necessary, and always charming. Fortunately she had a long career with Decca and made some magnificent recordings, many of which appear on this delicious two-CD set. I think few can fail be to moved by her near-perfect Mimi, her touching Cio-Cio San (infused with just the right amounts of pathos and fortitude, her ravishing Mozart interpretations, and her silvery reading of Korngold's "Gluck, das mir verlieb". The second CD is entirely made up of her specialty repertoire of songs from her native Spain, and these, while maybe not quite as familiar, are also a delight. Hopefully this compilation will make her better known to casual opera fans who only listen to Callas or Fleming simply because they're better-known names; this has been a much-needed release!
P.S. - For those who would like an inexpensive introduction to Lorengar in a complete operatic role, it has come to my attention that Decca is re-issuing her fantastic "Cosi Fan Tutte" (conducted by Solti) in its "Compact Opera" series very soon. The cast, which also includes Berganza, is perfect and Solti's conducting right on the mark. Keep your eyes open for it!

One of the great sopranos.......2003-06-16

Pilar Lorengar is the best Spanish soprano of the last fifty years. Her silvery voice, beautiful vibrato, and clear phrasing are something to behold. Her Rossini's Stabat Mater (with Pavarotti, Minton, Sotin, Kertész cond) is the best version of this work. Her Traviata (Maazel cond.), Don Giovanni (Bonynge cond.), and Gounod's St.Cecilia Mass (Hartemann cond.) are superb. But I believe the best Lorengar is in her early zarzuela recordings, where her voice had, apart from all its other qualities, a young, sweet, candid tone that touched the listener, and her vibrato evoked a fountain of fresh, clear water. I hope some recording company produces a CD set with her zarzuela arias, and pieces with other soloists. Meanwhile, the present Decca two-disc release is very welcome.

One of the great sopranos.......2003-06-16

A Passionate and Elegant Soprano.......2003-04-29

At last, Decca has made amends for ignoring this magnificent artist by releasing a 2-disc set of some of her best recordings of the 60s and 70s. Actually I dont think Lorengar ever made a bad or even an uninteresting recording. She was a superb lyric who was the equal of Freni, and far more versatile. A star at the San Francisco and Berlin Staatsoper, Lorengar enjoyed a long and successful career. Her appearances at the Metropolitan Opera were events. I saw her as Desdemona, Elsa, and Fiordiligi, and she was wonderful (how sad that I missed hearing her there in the 60s).

There was some controversy about her singing. Terry McEwen, her great supporter at London records in the United States, loved what her called her "shimmering" top, that reminded him of the great German lyrics, Schwartzkopf, Reining, Lemnitz, Muller, Janowitz,etc. Some found that gorgeously blooming top to contain a beat, or a slight wobble. Nothing could be further from the truth. That top, coupled with her superb diction, and excellent vocal technique and outstanding breathing, made her one of the most distinctive voices of her generation. The top was pure sunshine with a throb. Nobody sounded remotely like her. I loved her singing.

I wish Decca had released all her fine recordings for that company in a multi-disc set. Perhaps they were worried that it wouldn't sell. Her first recital of Italian and French arias, the Prima Donna in Vienna album, as well as her Spanish song recital with the incomparable Alica de Larrocha, and her final Decca recital were all superb, and might have fit on three generous CDs. Here we get bits and pieces from all the LPs, plus arias from some her her complete recordings on Decca. So we're missing such treasures as her arias from THE PEARL FISHERS, DON CARLO, and other important items.

I don't care. Lorengar's superb singing of arias from MADAMA BUTTERFLY, LA BOHEME, LA RONDINE, LOUISE, RUSALKA, LOHENGRIN, DIE ZAUBERFLOTE, COSI FAN TUTTE, ARABELLA (with Arlene Auger!) and others (plus a generous selection of that famous Spanish song recital), make the point abundantly clear. No matter what language Lorengar is singing, she touches the heart.

Today's lyrics could learn a lot from listening to these superb selections. Lorengar's beautiful legato singing is married to the text of each item she sings. Here is a lyric with a strong middle to go along with the bottom and top ranges. She and her conductors never dawdle, pulling at the rubato as though it were Turkish Taffey such as Renee Fleming (who has an compellingly beautiful voice which she undermines with deadly slow tempi and and overly complicated phrasing).

Lorengar was intermittently busy in the recording studios throughout her long career. If you can find her recording of THE BARTERED BRIDE (EMI and in German, rather than the original Czech), grab it. She's a superb Pamina and Fiordiligi for Solti (Decca). On Fritz Wunderlich's Gala CD set, she partners him brilliantly in a live recording of the Act one duet from MADAMA BUTTERFLY. I'm a huge fan of her work on the Maazel-led LA TRAVIATA (also on Decca). She was still in superb voice in the mid to late 80s in a live Zarzuela concert with Placido Domingo (Sony). And near the end of her career, she still stunned in the famous LES HUGUENOTS duet at a Richard Tukcr gala with the emerging Richard Leech. Sadly, she died in her late 50s, a victim of cancer.

Lorengar's recordings got lost in the re-issue shuffle of the first wave of CD's issued around 1983. I finally snagged a collection which was re-mastered for release in Japan, spending a fortune for this import just to have some Lorengar on CD. That must have been at least 10 years ago. Decca has finally rectified this shamless omission. This 2-CD set offers the richest trove of her recordings we have so far. A must-have set, Lorengar delivers direct, heartfelt, elegant singing to set beside the best of Freni, Price, Moffo, Te Kanawa, etc.

Wagner's Tannhäuser: Complete Opera
Average customer rating:

An Excellent Digital Tannhauser

An Ultimate Tannhauser

The Best Digital Tannhäuser

An opera recording for my holidays

A superb Tannhäuser, don't let the females keep you away!

Wagner's Tannhäuser: Complete Opera
Richard Wagner , Daniel Barenboim , Jane Eaglen , Peter Seiffert , Berlin State Opera Chorus , Berlin Staatskapelle , and Thomas Hampson
Manufacturer: Teldec
ProductGroup: Music
Binding: Audio CD

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Tannhauser (Slipcase)

Wagner - Die Meistersinger von Nurnberg / Kollo · Donath · Adam · G. Evans · Schreier · Hesse· Riderbusch · Karajan

ASIN: B00005UW19
Release Date: 2002-04-02

Tracks:

Act One, Scene One: Overture - Staatskapelle Berlin
Act One, Scene One: Naht Euch Dem Strande! - Chor Der Deutschen Staatsoper Berlin
Act One, Scene Two: Geliebter, Sag Wo Weilt Dein Sinn? - Waltraud Meier
Act One, Scene Two: Dir Tone Lob - Waltraud Meier
Act One, Scene Two: Dank Deiner Huld! - Waltraud Meier
Act One, Scene Two: Geliebter, Komm! Sieh Dort Die Grotte - Waltraud Meier
Act One, Scene Two: Stets Soll Nur Dir Mein Lied Ertonen - Peter Seiffert
Act One, Scene Two: Zieh Hin, Wahnbetorter - Waltraud Meier
Act One, Scene Two: Nein! Mein Stolz Soll Dir Den Jammer Sparen - Waltraud Meier
Act One, Scene Three: Frau Holda Kam Aus Dem Berg Hervor - Dorothea Roschmann
Act One, Scene Three: Zu Dir Wall Ich, Mein Jesus Christ - Peter Seiffert
Act One, Scene Four: Wer Ist Der Dort Im Brunstigen Gebete - Thomas Hampson
Act One, Scene Four: Als Du Im Kuhnen Sange Uns Bestrittest - Thomas Hampson

Tracks:

Act Two, Scene One: Introduction: Dich, Teure Halle, Gross Ich Wieder - Jane Eaglen
Act Two, Scene Two: Dort Ist Sie; Nahe Dich Ihr Ungestort! - Thomas Hampson
Act Two, Scene Two: Den Gott Der Liebe Sollst Du Preisen - Thomas Hampson
Act Two, Scene Three: Dich Treff Ich Hier In Dieser Halle - Rene Pape
Act Two, Scene Four: (Arrival Of The Guests) - Staatskapelle Berlin
Act Two, Scene Four: Freudig Begrussen Wir Die Edle Halle - Chor Der Deutschen Staatsoper Berlin
Act Two, Scene Four: Gar Viel Und Schon Ward Hier In Dieser Halle - Thomas Hampson
Act Two, Scene Four: Blick' Ich Umher In Diesem Edlen Kreise - Thomas Hampson
Act Two, Scene Four: Auch Ich Darf Mich So Glucklich Nennen - Peter Seiffert
Act Two, Scene Four: Den Bronnen, Den Uns Wolfram Nannte - Gunnar Gudbjornsson
Act Two, Scene Four: O Walther, Der Du Also Sangest - Peter Seiffert
Act Two, Scene Four: Heraus Zum Kampfe Mit Uns Allen! - Thomas Hampson
Act Two, Scene Four: O Himmel, Lass Dich Jetzt Erflehen - Thomas Hampson
Act Two, Scene Four: Ha, Der Verruchte! - Thomas Hampson
Act Two, Scene Four: Der Unglucksel'ge, Den Gefangen - Jane Eaglen
Act Two, Scene Four: Weh! Weh Mir Unglucksel'gem - Thomas Hampson
Act Two, Scene Four: Ein Furchtbares Verbrechen Ward Begangen - Rene Pape
Act Two, Scene Four: Versammelt Sind Aus Meinen Landen - Thomas Hampson

Tracks:

Act Three: Introduction: (Tannhauser's Pilgrimage) - Staatskapelle Berlin
Act Three, Scene One: Wohl Wusst' Ich Hier Sie Im Gebet Zu Finden - Thomas Hampson
Act Three, Scene One: Begluckt Darf Nun Dich, O Heimat, Ich Schauen - Thomas Hampson
Act Three, Scene One: Allmacht'ge Jungfrau, Hor Mein Flehen! - Thomas Hampson
Act Three, Scene Two: Wie Todesahnung Dammrun Deckt Die Lande - Thomas Hampson
Act Three, Scene Two: O Du, Mein Holder Abendstern - Thomas Hampson
Act Three, Scene Three: Ich Horte Harfenschlag - Thomas Hampson
Act Three, Scene Three: Inbrunst Im Herzen - Peter Seiffert
Act Three, Scene Three: Dahin Zog's Mich, wo Ich Der Wonn Und Lust - Thomas Hampson
Act Three, Scene Three: Willkommen, Ungetreuer Mann! - Thomas Hampson
Act Three, Scene Three: Heil! Der Gnade Wunder Heil! - Thomas Hampson

Amazon.com

This vividly recorded new Tannhäuser has much to recommend it. Daniel Barenboim's leadership not only keeps things moving so that the somewhat stilted drama actually takes wing, he elicits some of the most beautiful playing ever from the Berlin State Opera forces: lush strings; pointed, crisp brass; reedy, articulate winds. Thomas Hampson's Wolfram is sensitive and handsomely sung, if on a slightly small scale; Rene Pape is by far the most impressive Landgraf on disc; and the supporting cast is topnotch. Peter Seiffert sings the title role as well as anyone alive today could, but the natural youth and brightness of his voice do not particularly suit the character and his torment. Jane Eaglen's Elisabeth is correctly pure and simple, and equally well sung. Waltraud Meier uses her unimpressive voice well as Venus, underscoring the character's incredible sensuality with her intelligent use of the text. While this set has its excitements, better still is the one led by Sinopoli (with Domingo and Cheryl Studer) or the even older Solti recording (out of print) with Christa Ludwig as the finest Venus available and a very strong cast. --Robert Levine

Customer Reviews:

An Excellent Digital Tannhauser.......2007-05-13

Peter Seiffert and Daniel Barenboim are the two main reasons to buy this recording. It's interesting to compare Seiffert's younger, brighter purely tenor interpretation with the baritonal heft of Ramon Vinay, but they are both excellent albeit very different. Seiffert is probably the best in the role as of this writing, and is making his San Francisco debut in the role in the fall of 2007. He has a purity of tone that totally eliminates the "Bayreuth bark" of some tenors while still conveying the anguish of the title character. Thomas Hampson brings great musicality and sensitivity (and a beautiful, if not particularly large voice) to the role of Wolfram, and Rene Pape is probably the finest German bass singing today.
The female leads are also fine, if not quite as good as the men. Waltraud Meier compensates for any vocal difficulties with an intense and arresting interpretation. Jane Eaglen initially seems to have too big a voice for the role of Elizabeth and seems to be holding it back which may make her slide under the pitch from time to time, but after a while her interpretation grows on you.
The real star of this performance is Daniel Barenboim, who keeps the production moving briskly without sacrificing dramatic or musical values, and gets wonderful playing from the Berlin State Opera orchestra. The chorus is also majestic. The sound quality is excellent and the accompanying booklet is very well done. While there are other excellent recordings of Tannhauser available, I'm very pleased to have acquired this one.

An Ultimate Tannhauser.......2006-07-05

Like Sinopoli and Solti, Barenboim's rendition of Wagner's 1845 opera is intriguing, attention-grabbing, and groundbreaking. The Staatskapelle Berlin does an amazing job of keeping with the tempi and the atmosphere. The choir's dictions are clear and it is much more passionate than Sinopoli's choir (at least in my opinion). And the overture . . . it sounds so melodious; I can hear it at least three times a day if I want to.

As for the cast, yes, there are some flaws. Jane Eaglen makes up for her disappointing work in Barenboim's "Der Fliegende Hollander". It sounds heavy, as if she is Brunnhilde in "Der Ring Des Nibelungen," But her expression is rock-hard and it is not entirely devoid of feeling. Waltraud Meier may not be the best Venus, but at least she tried very hard. Peter Seiffert has done an incredible job with the role of Tannhauser. It's precise, it's unique, and best of all, it sounds like what Wagner intended. The rest of the cast is solid gold, very stunning in their own way.

Despite some flaws from the cast, this Tannhauser by Barenboim ranks with the finest available. NOTE: This, along with the set by Otto Gerdes, is the Dresden Version. Sinopoli and Solti belong to the Paris Version. If you know the main differences between these two, then add Barenboim to your list. If you do not know the main differences, then I suggest that you listen to the Dresden version first, and then the Paris Version. You'll be able to figure out why Wagner made some changes in the score when showing the opera in Paris.

The Best Digital Tannhäuser.......2005-09-02

Let me tell you;just don't believe on intransigent rewiews about this outstanding recording.On the contrary,hurry yourselves to get this amazing,very inspired Tannhäuser on cd,the best digital option I heard.By listening this,it's impossible to enumerate so many proofs why Barenboim must be respected like the greater living wagnerian conductor.So,let's go to the singers;Seiffert is a victorious artist;truly,I fell many others Tannhäuser's top performers simply vexatious as soon as I heard this.Specially on act 2,his job is just to carry off in a way I can't make any descriptions here.Waltraud Meier sings that wonderful,powerful Venus,her top B-flat on "nur Helden öffnet sich mein Reich!" is just to die for!In fact,someone among reviewers bellow needs a good stereo,guys(just like Mr.Levine needs an old,woobling voice to his ideal Tannhäuser).Eaglen sings an unflinching Elisabeth.Maybe,she was confused about the character's sweetness,all in all Brünhilde wasn't in Wartburg,but her singing is in top form and perfect pitch.I'm not a Hampson's admirer,but I must say he got some really low voice to sing a deserving Wolfram.I believe his rendition is a must have to his fans.Others singers are fine,Röschmann is a luxe like the shepherd,excited,brilliant job by choir and orchestra,perfect sound recording and that exemplary Barenboim's conducting.

An opera recording for my holidays.......2005-08-02

I think this opera is very well recorded, sung, and directed. The male singers are top class, and the female singers are OK for my taste. I enjoyed particuliary the music written by R Wagner. Nothing boring, everything is renewed all along the opera, after a brilliant opening, it keeps on being captivating, through the end where you can find reminiscence from the opening

A superb Tannhäuser, don't let the females keep you away!.......2005-06-05

This is an excellent recording of one of Wagner's finest opera's (since it actually has aria's!!).

Peter Seiffert sang Tannhäuser at the met this past season, and, just as in this recording, he is absolutely wonderful. He doesn't choke on the lines, and he doesn't overplay phrasing's and dynamics to much, unlike a certain tenor whose name rhymes with Domingo. Thomas Hampson's Wolfram, especially in Act III's "Hymn to the Evening Star," can bring tears to your eyes.

The orchestra and chorus both get high marks for a wonderful, full-bodied performance. The Overture isn't rushes, has excellent dynamic contrast, and, more importantly, takes a more sober tone when playing the melodies that become the Pilgrims' Chorus, while taking an upbeat tone when playing the much happier melodies that later become the Hymn to Venus. The Chorus also does wonderfully for the Pilgrims' Chorus in Act III, taking a heavy, sober, yet still slightly optimistic tone that is appropriate for the lyrics.

As for the females: they weren't great, nor were they unbearable. Don't let them keep you from this delightful opera.

WAGNER: The Complete Overtures and Orchestral Music from the Operas

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WAGNER: The Complete Overtures and Orchestral Music from the Operas
Yuri Simonov , Francesco D'Avalos , and London Philharmonia Orchestra
Manufacturer: Brilliant Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

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

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ASIN: B00005MLXT
Release Date: 2001-06-12

Elisabeth Rethberg: The Complete HMV, Parlophone and Victor Recordings (1927-34)

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Elisabeth Rethberg: The Complete HMV, Parlophone and Victor Recordings (1927-34)

Manufacturer: Romophone
ProductGroup: Music
Binding: Audio CD

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Elisabeth Rethberg: The Complete Brunswick Recordings (1924-29)

ASIN: B000001S3H
Release Date: 1995-11-22

Tracks:

Dich Teure Halle
Einsam In Truben Tagen
Ritorna Vincitor
O Patria Mia - Giuseppe De Luca
Ciel! Mio Padre! - Giuseppe De Luca
Su, Dunque! Sorgete Egizie Coorti! - Giuseppe De Luca
Pur Ti Riveggo - Giuseppe De Luca
La Tra Foreste Vergini - Giuseppe De Luca
Ah, No! Fuggiamo! - Giuseppe De Luca
Ma, Dimmi: Per Qual Via Eviterem Le Schiere Degli Armati? - Giuseppe De Luca
L'Amero Saro Costante
Batti, Batti
Il Etait Un Roi De Thule
Ah! Je Ris De Me Voir Si Belle 'Air Des Bijoux'
Ma Dall'arido Stelo
Morro, Ma Prima In Grazia
Piangea Cantando Nell'erma Landa 'Willow Song'
Ave Maria
Qual Volutta Trascorrere - Beniamino Gigli
Qual Volutta Trascorrere - Beniamino Gigli

Tracks:

Te Sol Quest'Amina - Beniamino Gigli
Te Sol Quest'Amina - Beniamino Gigli
Sieh, Ev'chen - Friedrich Schorr
Hat Man Mit Dem Schuhwerk - Friedrich Schorr
Johohoe! Traft Ihr Das Schiff - Friedrich Schorr
Hab'ich Nur Deine Liebe
Klange Der Heimat 'Csardas'
Heil'ge Quelle
So Elend Und So Treu
Ich Sprach, Dass Ich Furchtlos Mich Fuhle 'Micaela'a Air'
Leb'wohl, Freundlich Gestade
Eines Tages Sehen Wir
Voi Lo Sapete
Wohl Kenn'ich Euren Stand
Man Sagt Mir
Wenn Du, Mein Liebster
Wie Lange Schon
Du Sagst Mir
Ich Liess Mir Sagen
Was Soll Der Zorn
Ich Esse Nun Mein Brot
Wie Soll Ich Frohlich Sein
Muhvoll Komm'ich Und Beladen
Auf Flugeln Des Gesanges
Vergebliches Standchen
Dich Teure Halle

Liszt at the Opera: Operatic Fantasies, Paraphrases, and Transcriptions, Vol. VI (Complete Music for Solo Piano, Vol. 54)

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A grand finale to the series
Some of Liszt's best opera transcriptions here

Liszt at the Opera: Operatic Fantasies, Paraphrases, and Transcriptions, Vol. VI (Complete Music for Solo Piano, Vol. 54)

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000IAE4
Release Date: 1999-03-09

Tracks:

La Fiancee: Grande Fantaisie Sur La Tyrolienne De La Fianc- First Version, S385i
Ernani: Premi Paraphrase De Concert - S431a
Les Huguenots: Rniscences Des Huguenots - 2nd Version, S412ii
La Sonnambula: Fantaisie Sur Des Motifs Favoris De L'op La Sonnambula - 1st Version, S393i
Lucia di Lammermoor: Marche Des Tchrekesses De L'op Rouslan Et Loudmila De Glinka - 1st Version, S406i

Tracks:

Lucia Di Lammermoor: Valse A Capriccio Sur Deux Motifs De Lucia Et Parisina - 1st Version, S401
Tannhauser Und Der Sangerdrieg Auf Wartburg: Ouvert R Wagners Tannher - S442
I Puritani: Rniscences Des Puritains - 2nd Version, S390i
Der Freishutz: Fantasie Uber Themen Aus Webers Der FreischS451
Il Giuramento: Rniscences De La Scala - S458

Customer Reviews:

A grand finale to the series.......2006-08-24

Leslie Howard and Hyperion have brought us a glorious plethora of Liszt's neglected operatic transcriptions/fantasies; ambrosia to the Lisztian or Romantic piano lover. While the previous volume lost some steam a bit, only able to deliver a few new pieces in the midst of numerous revisions, this final recording makes up for that. To the person familiar with the previous volumes, you'll notice more alternate versions on these CD's that were recorded in previous volumes. However, the newly recorded fantasies and transcriptions here make up for the duplicates extremely well.

First, I'll mention the "alternate versions" here that can be heard on previous volumes. The Auber Grande fantaisie (first version) is presented here, but was also found on the previous Vol. 5. However, do not be mistaken in thinking it a near duplicate. Compared to the previous (third) version at 11 minutes, this "first" version almost makes 15. Liszt tacks on an extra 4 minutes of thematic enhancements, decorations, and extended phrases. I actually prefer this first version over any other.

The famous warhorse (seems like a favorite of Howard's) the Reminiscences des Huguenots makes its third appearance, this time as the "second version." The version is a good 7 more minutes than the first version but only a few seconds more than the third version on the previous volume (sorry if that makes your head spin). In other words, it's not that different to my ears and so there's nothing new here, really.

The Bellini fantasie on La Sonnambula, the Reminiscences des Puritains, the Glinka transcription, and the Donizetti valse a capriccio are more alternate versions that don't offer much new music material or startling contrasts. Only to the astute listener or Liszt aficionado will there be any significant differences or reasons to enjoy them over the previous versions recorded.

Now for the new stuff: The Ernani Premiere paraphrase de concert is a wholly original work, quite different from the Ernani paraphrase found on Vol. 1. New thematic material from the opera is given an extended fantasy-like intro, which makes way for that recognizable haunting theme which Liszt puts through a set of variations. While I prefer the darker mood found in the other paraphrase, this one has a beautiful eloquence and extended elaboration of the main theme not heard in the first paraphrase.

The colossal transcription of the Tannhauser overture is given its flawless execution here. This is probably the most perfect delivery, beating even Moiseiwitsch's famous recording and many other contemporaries who gave it a shot. Indeed, I think Howard's interpretation and performance *the* best you can find of this titan piano work. On a concentrated listening you will not find a single mistake, nor signs of exhaustion by the final explosion of chromatic octaves. Liszt, himself, often commented how he preferred not to play it in his old age because of the immense physical requirements. I don't know - that somehow makes Howard's efforts even more amazing. It's top-notch in technique and has no hints of roboticism; instead, Howard plays with an indefinable warmth and a clear articulation of the fiery Lisztian grandeur found in the virtuosic end.

Next up is the Fantasie on Themes from Weber's Der Freischutz, not to be confused with the transcription of the overture found on Vol. 1. Liszt weaves a reflective and impassioned fantasy here, accentuated and bolstered by the wonderful Der Freischutz themes. It's not as heavy or focused on the lower bass of the piano as the overture commanded, but its delicate melodies and gradual progressions create a new mood out of the work; in simple words, it's lovely.

As Liszt was inclined to do in his days, he wrote fantasies based on many obscure operas and composers. The obscurity comes as a surprise to me when I hear this fantasy on an opera by Mercadente. It is based off of Mercadente's 'Il giuramento' opera and contains some evocative music ranging from warm beauty to passionate meditations. The fantasy, or Reminiscences de La Scala is one of Liszt's best minor operatic fantasies. Its music and romantic lyricism recalls just as much emotional power as his Liebestraumes, Consolations and romantic-inspired fantasies like the Les Adieux or the Tristan and Isolde love-death scene. It's original, fresh, seductive, gorgeously rich with great melodies, and a thrill ride of romance and passion.

Bottom line: Howard has given us a spellbinding, immaculate and much-appreciated series: Liszt at the Opera. I'm sad to realize that this is the final volume and so there won't be any more great operatic paraphrases or transcriptions to hear. But it's been a great run and truly a milestone in Liszt recording. Face it: no one else has supplied such oustanding premiere recordings or had the guts to play some of Liszt's unjustly neglected pieces. It's their loss, I say, because anyone who enjoys Liszt will find some of the most brilliant high-quality music of his oeuvre here. This should not be missed by any one who has an interest with Liszt or has heard the previous "Liszt at the Opera" series. HIGHLY RECOMMENDED.

Some of Liszt's best opera transcriptions here.......2001-07-12

Volume VI concentrates on longer pieces: Reminiscences des Huguenots (Meyerbeer), Fantaisie on La sonnambula (Bellini), Tannhauser overture (Wagner), etc. Solid final entry in the "Liszt at the Opera" series. Highly recommended.

The Complete Electrola Recordings, 1927-1942

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The Complete Electrola Recordings, 1927-1942

Manufacturer: Preiser Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
ASIN: B00000I0TT
Release Date: 1999-02-09

Tracks:

Die Meistersinger von Nurnberg: Morgenlich leuchtend
Die Walkure: Ein Schwert verhiess mir der Vater
Die Walkure: Wintersturme wichen dem Wonnemond
Tannhauser: Inbrunst im Herzen
Carmen: Hier an dem Herzen treu geborgen
Aida: O ware ich erkoren... Holde Aida
Die Judin: Recha, als Gott dich einst zur Tochter mir gegeben
Der Evangelimann: Selig sind, die Verfolgung leiden
Die Meistersinger von Nurnberg: Am stillen Herd
Die Afrikanerin: Land, so wunderbar
Die Macht Des Schicksals: Die Welt ist nur ein Traum
Bajazzo: Jetzt spielen... Hull' dich in Tand
Lohengrin: Atmest du nicht mit mir die sussen
Lohengrin: Mein lieber Schwan
Tannhauser: O Furstin!
Lohengrin: Das susse Lied verhallt
Liebesfeier

Tracks:

Trinkspruch
Der Lenz
Die Meistersinger von Nurnberg: Fanget an!
Der fliegende Hollander
Rienzi: Allmacht' ger Vater, blick' herab
Aida: Ich seh' dich wieder, meine
Tannhauser: Dir tone Lob
Siegfried: Nothung! Nothung! Neidliches Schwert
Siegfried: Schmiede, mein Hammer, ein hartes Schwert
Die Walkure: Ein Schwert verhiess mir der Vater
Die Meistersinger von Nurnberg: Am stillen Herd
Tannhauser: Inbrunst im Herzen
Rienzi: Erstehe, hoho Roma, neu!
Rienzi: Allmacht' ger Vater, blick' herab
Tannhauser: O Furstin!
Tannhauser: Hor' an, Walfram, hor' an

Elisabeth Rethberg: The Great Recordings

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Elisabeth Rethberg: The Great Recordings

Manufacturer: Pearl
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
ASIN: B000000WQG
Release Date: 1996-05-21

Tracks:

Don Giovanni - Batti, Batti, O Bel Masetto (Act 1)
II Re Pustore - L'Amero Saro Costante (Act 2) - Elisabeth Rethberg/Yacob Zayde
Faust - II Etait Un Roi De Thule (Act 3)
Faust - Ahi Je Ris De Me Voir Si Belle (Act 3)
Attila - Te Sol Quest'anima (Act 3) - Elisabeth Rethberg/Beniamino Gigli/Ezio Pinza
I Lombardi - Qual Volutta Trascorrere (Act 3) - Elisabeth Rethberg/Beniamino Gigli/Ezio Pinza
Un Ballo in Maschera - Ma Chall'arido Stelo Divulsa (Act 2)
Un Ballo in Maschera - Morro, Ma Prima in Grazia (Act 3)
Lobengrin - Einsam in Truben Tagen (Act 1)
Tannhauser - Dich Teure Halle (Act 2)
Der Fliegende Hollander - Johohoe! Traft Ihr Das Schiff (Act 2)
Aida - Ritorna Vincitor! (Act 1)
Aida - Act 3: Complete - Elisabeth Rethberg/Giacomo Lauri-Volpi/Giuseppe De Luca

Great Pianists of the 20th Century: The Complete Edition

Average customer rating:

Wonderful set
Don't buy the whole thing
Not Insane
insane
For the real music lover

Great Pianists of the 20th Century: The Complete Edition
Great Pianists of the Twentieth Century
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Gavottes | Ballets & Dances | Classical | Styles | Music

Mazurkas | Ballets & Dances | Classical | Styles | Music

Pavanes | Ballets & Dances | Classical | Styles | Music

Polkas | Ballets & Dances | Classical | Styles | Music

Polonaises | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Nonets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Ballads | Forms & Genres | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Rondos | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

Toccatas | Forms & Genres | Classical | Styles | Music

Voluntaries | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

Lullabies & Berceuse | Vocal Non-Opera | Opera & Vocal | Styles | Music

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

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

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

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

General | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Classical | Box Sets | Stores | Music
ASIN: B00002EITP
Release Date: 1999-10-26

Customer Reviews:

Wonderful set.......2004-10-24

This set is for serious piano fans, not for the ones who just start building up a CD library. I sort of agree with one of the reviewers, that there are many repetitions. But if you love piano, you wish to hear the same piece in different interpretations. Indeed, I really like this feature of this set: I can compare the style of various performers.
If you are into piano music, I encourage you to grab this set, if you can find it used (not available anymore at Amazon). I also hope, that there will be a continuation, in which other great pianists, who were left out because of the space limitation, will be included (Prokofiev, Bartok, Dohnanyi, etc).

Don't buy the whole thing.......2001-07-08

I've put a lot of thought into constructing my own piano library, and unless you can easily afford the present set, I would recommend a different approach to collecting piano music. This set emphasizes the piano player rather than the piano composer. Of course both are important. For example, the "Barcarolle" appears in this set EIGHT times. I'm sorry, although I love the piece, if I am going to spend [the money], I would prefer more variety. Where are the Alkan, Medtner, and Szymanawski compositions represented in this set? I appreciate having so many interpretations of the same pieces, but I would also appreciate more exposure to pieces not so popular. The selection by Philips which I consider a somewhat popular selection suggests to me that when Philips constructed this set, they realized most people would be buying the disks separately, and this affected the selection. And it's not just that obscure composers are left out, but also if one spends so much money on piano recordings, you'd think you'd want to buy pieces from a composer in completeness. For example, an alternative way to construct a library would be to combine purchases of complete cycles, e.g. complete Beethoven sonatas, complete Scriabin preludes, etc., along with outstanding recordings of more particular pieces. I'm not sure why someone would want to concentrate so much on so many famous artists, instead of acquiring complete sets of compositions. For me the composer is more important, or at least, if I am going to spend [the money]on piano recordings, I'd prefer more complete, rather than snapshot, exposure to the composers.

Not Insane.......2001-01-02

I had to write this review, as I am enthralled with this set. I have been going through it in order having already purchased a few individual units from the collection earlier. I am not sure what `insane' was talking about as there is NO repetition. Sure some pianists perform the same pieces, isn't that what they did in reality? The idea is to appreciate the different nuances and approaches taken by these artists. You will then enjoy these pieces from a better vantage.

It is a large ambitious contribution to the art of great piano playing. It is a labor of love and represents a tremendous amount of research and cooperation between many record companies. Rather then representing insanity, it is a resource to treasure.

Yes experts can quibble over who was left out, and what performances were inserted. I do not think such a massive undertaking could have been accomplished without someone being able to find faults. Overall however, unless you already have a monumental collection, (it would have to be almost legendary), this incredible set will give you a rewarding look into 74 of the greatest pianist of all time. You will come away with a honed sense of appreciation for your likes and dislikes. You will undoubtedly become someone who will search out recordings and be able to enjoy them for the rest of your life with a refined ear.

The only negative is this price. I would shop around, as it is daunting to spend 2 thousand dollars on such a collection. Of course you do get 200 CD's. However, the used collections might be good to consider.

Enjoy these masterpieces. I am not ashamed of owning this music as `insane' implies. I am proud to have enriched my life.

insane.......2000-10-12

This is not a good library of piano music. The reason is, there is too much repetition. I'm not saying the series is bad. The series is wonderful. But this collection as a whole is a bad libary. For the same money you could collect together (with more effort) an incredible libary of piano music. There are so many wonderful cd's out there, this is just a waste of money. If you can actually afford to spend 2 grand on piano music, then either (1) spend the time and do some research to get a good library of piano music, which will probably include some selections from this collection, or (2) hire someone to do that for you. Personally I would be embarrassed to own this whole collection, since that shows I have put little thought into my purchases of piano music.

For the real music lover.......2000-03-12

This series attempts to present important and representative performances by most of the major pianists of the 20th century. One might quibble a bit with the choices, but the works presented are of consistently high quality, and often do represent what may be the best works of a performer. Since this covers most of the time that recorded music existed, some of the recordings are technically challenged, as there is only so much one can do to enhance an old recording. Still, these appear to have been treated with love and respect in their restorations. Since this series is so large (and expensive!) one is tempted to "cherry pick" through the series, yet by doing so one can easily overlook gems by artists one is less familiar with. This large a set must inevitably have many versions of the same pieces, and takes many hours to listen to. The true enthusiast will appreciate the differences in interpretation, whereas the less experienced listener may find the set repetitive and overwhelming. If one has the time to really dig into this set, it can provide years of exploration and discovery. It would make a wonderful gift for some special music lover in your life ... or for yourself!

The Complete Gramophone Recordings 1901-1908

Average customer rating:

The Complete Gramophone Recordings 1901-1908

Manufacturer: Marston
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
ASIN: B000004BOH
Release Date: 1997-12-09

Tracks:

La Favorite: Leonor, Viens
La Damnation De Faust: Voici Des Roses
Tannhauser: Jadis Quand Tu Luttas
Guillaume Tell: Sois Immobile
Le Rondel De L'adieu
Roi De Lahore: Promesse De Mon Avenir
Le Soir
Favorite: Pour Tant D'Amour
Hamlet: Je N'Ai Rien Oublie ... Comme Une Pale Fleur
Carmen: Votre Toast Je Peux Vous Le Rendre
Damnation De Faust: Devant La Maison
Tannhauser: O Douce Etoile
Le Chemin Du Ciel
Noel Paien
Fliegende Hollander: Du Temps Passe
Le Rondel De L'adieu
Le Chemin Du Ciel
L'Africaine: Fille Des Rois
La Damnation De Faust: Vrau Dueym Nessueyrs ... Une Puce Gentille
La Damnation De Faust: Voici Des Roses
La Favorite: Pour Tant D'Amour
Hamlet: Comme Une Pale Fleur
Guillaume Tell: Sois Immobile
Tannhauser: O Douce Etoile
Favorite: Leonor, Viens

Tracks:

Carmen: Votre Toast Je Peux Vous Le Rendre
Le Roi De Lahore: Promesse De Mon Avenir
Le Soir
Noel Paien
Plaisir D'Amour
Herodiade: Vision Fugitive
Don Giovanni: Parais A Ta Fenetre & Tu Ch'Hai La Bocca Dolce
Damnation De Faust: Maintenant, Chantons A Cette Belle ... Devant La Maison
Herodiade: Vision Fugitve
La Favorite: Pour Tant D'Amour
Tannhauser: O Douce Etoile
La Damnation De Faust: Voici Des Roses
LA Favorite: Leonor, Viens
Hamlet: Comme Une Pale Fleur
Guillaume Tell: Sois Immobile
Le Roi De Lahore: Promesse De Mon Avenir
La Favorite: Pour Tant D'Amour
La Damnation De Faust: Devant La Maison
Don Giovanni: Parais A Ta Fenetre & Tu Ch'Hai La Bocca Dolce
Herodiade: Vision Fugitive
Sigurd: Et Toi Freia

Amazon.com

Born in 1869, Renaud inherited the mantle of French baritone actor/singers Jean Lassalle and Victor Maurel. He deploys his ample resources with supple restraint and tonal eloquence. Note values are often stretched beyond anything we hear today. One will scarcely recognize Mozart's Don Giovanni Serenade (in French and Italian), for instance, but the traditional ornaments are in place. Perhaps "Pour tant d'amour" and "Leonor, viens" from Donizetti's La Favorite are a tad garish, yet Renaud's ardent approach suits Massenet's Vision Fugitive to a tee, in three different versions. Conversely, the singer's attention to details of rhythm and phrasing in Berlioz's Serenade never detract from the purity of tone. Thorough annotations and splendid transfers add up to a desirable, though specialized, reissue. --Jed Distler

Music Review:

Music Review

music review

Music Review

Single [Import] [Limited Edition] [Original recording remastered]

Dvorak: No. 10 in E Flat major, OP.51 and No. 11 in C major, OP. 61

Dupre: Organ Works

Believe It [Extra tracks] [Import]

Don't Look Back Pt.2 [CD-single] [Enhanced] [Import]

Five Miles Out/Crisis/Heaven's Open [Box set] [Import]

From the Euphrates to the Danube [IMPORT]

Harvest Showdown [Import]

Rock Music rock-music-51

Preisner: Kieslowski Krzysztof [Import]

Dukes of Dixieland

El Tiburon

Divo's Dance, Vol. 1

Soler: Sonatas for Harpsichord (Complete), Vol. 3

Live in Hawaii (With Bonus DVD)