Igor Stravinsky: The Rake's Progress

Editorial Reviews
Amazon.com essential recording
This is the original postmodern opera: Igor Stravinsky, in an unlikely collaboration with W.H. Auden, resurrected the centuries-old formulas of opera buffa and delivered a parodistic commentary on them at the same time. Composed in 1951, and based on William Hogarth's satirical engravings A Rake's Progress (published in 1735), this virtuosic three-act comedy is one of the indisputable masterpieces of 20th-century opera, a fresh and unique fusion of familiar musical, theatrical, and scenic elements with a wild libretto and a vivacious score in Stravinsky's most scintillating neoclassical idiom. Recorded in London in 1964--with the composer conducting the Royal Philharmonic Orchestra and the chorus of Sadler's Wells (he was then 82)--this account remains the standard by which others must be judged. The performance is vital and wickedly dry, with first-class singing from a cast that includes Judith Raskin as Anne Truelove and John Reardon as Nick Shadow. --Ted Libbey

Tracks:

Wuthering Heights: I Have Dreamt
The Ballad Of Baby Doe: The Letter Song
The Medium: Monica's Waltz
Porgy And Bess: Summertime
Porgy And Bess: My Man's Gone Now
Candide: Glitter And Be Gay
Susannah: Ain't It A Pretty Night
Susannah: The Trees on the Mountains
The Rake's Progress: No Word From Tom ... I Go, I Go To Him
VANESSA: He Has Come, He Has Come
A Streetcar Named Desire: I Want Magic!

Amazon.com

Like Dawn Upshaw's The World So Wide on Nonesuch, this program is such an inviting cross section of American opera of the last 50 years, you wonder why more of it hasn't been recorded. Composers include Carlisle Floyd, Douglas Moore, Samuel Barber, and Gian Carlo Menotti, whose childlike "Monica's Waltz" from the otherwise lurid opera The Medium is a highlight. Old favorites are here, such as Gershwin's "Summertime." And new favorites, too: Andre Previn's forthcoming "A Streetcar Named Desire" graciously offers Straussian lushness and bitonal wind-instrument details suggesting Blanche DuBois's mind departing from reality, all sounding remarkably true to Previn's pre-World War II upbringing in Berlin. This dramatically alert arioso isn't so melodically memorable but makes all necessary dramatic points eloquently. Though she performs vividly throughout, Fleming often lets her vocal tone overwhelm articulation of the words--a middling drawback. And comedy is not her thing: Bernstein's "Glitter and Be Gay" is way too hammy. --David Patrick Stearns

Customer Reviews:

All-American Fun.......2007-01-01

I love this CD. It's so incredibly American. It features American lyric soprano Renee Fleming singing American opera arias. Ms. Fleming is capably accompanied by the Met orchestra, America's best opera orchestra, conducted by another distinguished American, Maestro James Levine. The only way this CD could be more American is if it were released on July 4th, with two baseball tickets included. I'm grateful that Decca made this release.

This CD starts out very strong with a gorgeous aria "I have dreamt" from "Wuthering Heights". I've never seen this opera nor heard of this opera. If the opera is half as good as the aria, I would love to see it. Renee cruises through "The Letter Song" from "The Ballad of Baby Doe" with heartfelt interpretation. "Monica's Waltz" is not one of my favorite arias in the world, but Ms. Fleming sings it beautifully.

Here's where we depart, and the reason I gave this CD only 4 stars. First, Renee sings two arias from "Porgy and Bess": "Summertime" and "My Man's Gone Now". Renee's voice is way too rich and lush for these arias. Listen to Renee sing it, then listen to the gold standard, Leontyne Price. You'll see what I mean. Renee's rendition of "My Man's Gone Now" was just way too pretty. The score calls for some extended glissandos, which are supposed to be wails of grief. Renee sang the glissandos beautifully, but no grief was in sight. Her next choice "Glitter and Be Gay" from "Candide" is just not a good choice for her. I think even Renee would tell you that a voice like hers is just not right for Cunegonde. This aria (and role) calls for a smaller voice. [...].

Then Renee reminds me of why I love her in the first place, by returning to two arias from "Susannah", a signature role for her. Her performances of "Ain't it a pretty night!" and "The trees on the mountains" are too good for words. She completely understands this role, and communicates the mood in these arias right through your speakers. Just imagine how good it must be live!

Renee closes with "No word from Tom" (The Rake's Progress), "He has come, he has come!" (Vanessa), and "I want magic! (A Streetcar Named Desire). I wish more opera companies would produce "The Rake's Progress". This is a wonderful opera by an "adopted" American composer, Igor Stravinsky. The aria from "Streetcar" is kind of an odd choice to close this CD, but Renee did premiere the role of Blanche in this Previn piece with the SF Opera. So maybe it's not so strange after all.

Highly recommended for fans of Renee Fleming, and those who need to add some good old American opera to round out their Puccini collections. This is a nice performance record by a woman surely destined to be one of the greatest lyric sopranos in history.

A great listening pleasure. Better than some other selections.......2006-04-05

'I Want Magic' sung by superstar mezzo Renee Fleming, backed by James Levine and his Metropolitan Opera Orchestra follows the same pattern of severa of Fleming's other releases, in that there is one widely known and very familiar piece (Gershwin's 'Summertime' from 'Porgy and Bess') plus many less familiar pieces.

The theme of all the pieces is that they are arias from American operas, all in English. And, I get a lot more from this selection than I do from, for example, her recording of Shubert Lieder. One thing I learn is how totally typical is Leonard Bernstein's piece from 'Candide', which sounds like it stepped right out of a production of 'The Fantasticks'. Gershwin's two great songs, on the other hand, are icons of American music and even Herrmann's movie song from Wuthering Heights makes Bernstein's song sound ordinary.

But, the album is really all about Fleming's realization of these songs, which is simply nothing less than spectacular. While I tend to prefer hearing works 'in situ', Fleming's talent is so great that hearing her do eleven pieces out of context is worth it. The album is also more interesting than the average collection of Lieder in that it has the backing of a major American dramatic orchestra.

Better than average Fleming choice.

I wish I could give more than 5 stars.......2005-09-30

This recording is truly wonderful! I really feel that American composers have written some incredible things. I think that American opera is much better than British opera, with the exception of Benjamin Britten. My favorites on this track are actually all of them, but if I had to choose, I would pick: "No word from Tom" (The Rakes Progress, Stravinsky), "Ain't it a pretty night" (Sussanah, Floyd), "Glitter and be Gay" (Candide, Bernstein), and my absolute favorite "Monica's Waltz" (The Medium, Menotti). This is such a great album. Some of Renee's diction isn't completely clear, but that's opera. In order to acheive a beautiful sound, especially in English, certain vowels need to be altered. ESPECIALLY for the soprano voice. When singing so high, certain vowels and consonants need to be altered a bit. Anyway, it's an incredible album!!

This music needs a lot less diva.......2005-09-18

Renee Fleming has a glorious voice, and there's not a note here that isn't ravishing. Decca's engineers have caught the voice very well, and Levine's conducting is all it could be. The problem? Well, having her sing Summertime and My Man's Gone NOw was a bad idea, not only because both are cliches. Felming has a hard time sounding emotionally natural. She tends to apply her incredible voice with diva-like self-consciousness and play-acted emotion far too often.

Which means that her CD recitals are hit-and-miss. Glitter and Be Gay is a disaster here because she tries to be funny and winds up being self-conscious and embarrassing. But the big aria form Susannah, a role Fleming sings at the Met, is perfect. I expected a lot more adventurousness from this American collection, since Felming is, after all, an American singer. But it's mostly overplayed, like Puccini in English, sobs and all. I enjoyed the voice, but after a while the mannerisms became tiresome.

Bringing American opera to the forefront.......2005-01-20

American opera is not as well-known to many people because it can be complex, both musically and dramatically, and requires amazing vocal technique to sing things that sound simple. Fleming's recording highlights some familiar arias (the Susannah arias, for example) as well as some that are almost unknown. If you are an opera fan, and especially if you want to learn more about American opera, this CD is a great place to start. My favorite: Glitter and Be Gay, from Bernstein's Candide. Wow.

Average customer rating:

A Fabulous Introduction to Igor Stravinsky!!

The Essential Igor Stravinsky

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B00008NGAW
Release Date: 2003-03-25

Tracks:

Fireworks, Op.4 - Columbia Symphony Orchestra
Danse Infernale De Tous Les Sujets De Kastchei - Columbia Symphony Orchestra
Berceuse (L'Oiseau De Feu) - Columbia Symphony Orchestra
Reveil De Kastchei - Columbia Symphony Orchestra
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Disparition Du Palais Et Des Sortileges De Kastchei, Animation Des Chevaliers Petrifies Allegresse Generale - Columbia Symphony Orchestra
Opening - Philharmonia Orchestra
The Shrove-tide Fair - Philharmonia Orchestra
The Charlatan's Booth - Philharmonia Orchestra
Russian Dance - Philharmonia Orchestra
Petrushka's Room - Philharmonia Orchestra
Introduction - Columbia Symphony Orchestra
Les Augures Printanieres (Danse Des Adolescentes) - Columbia Symphony Orchestra
Jeu Du Rapt - Columbia Symphony Orchestra
Rondes Printanieres - Columbia Symphony Orchestra
Jeux Des Cites Rivales - Columbia Symphony Orchestra
Cortege Du Sage - Columbia Symphony Orchestra
Adoration De La Terre (Le Sage) - Columbia Symphony Orchestra
Danse De La Terre - Columbia Symphony Orchestra
I. Andante - Members Of The CBC Symphony Orchestra
II. Napolitana - Members Of The CBC Symphony Orchestra
III. Espanola - Members Of The CBC Symphony Orchestra
IV. Balalaika - Members Of The CBC Symphony Orchestra
Ragtime For 11 Instruments - Toni Koves
Marche Royale - Columbia Chamber Ensemble
Petit Concert - Columbia Chamber Ensemble
Piano Rag Music - Igor Stravinsky
Sinfonia (Ouverture) - Columbia Symphony Orchestra
Gavotta Con Due Variazioni - Columbia Symphony Orchestra
I. Sinfonia - London Sinfonietta
III. Allegro - Philippe Entremont

Tracks:

Part I. Exaudi Orationem Meam - London Symphony Chorus
IV. Capriccio - Cho-Liang Lin
Chant Sants Paroles - Israel Baker
Premiere Donne - Cleveland Orchestra
I. Tempo Giusto - Columbia Symphony Orchestra
III. Allegretto - London Symphony Orchestra
The Star-Spangled Banner - The Festival Singers Of Toronto
I. Intrada - Columbia Symphony Orchestra
Circus Polka (For A Young Elephant) - CBC Symphony Orchestra
Scherzo A La Russe - Philharmonia Orchestra
III. Con Moto - London Symphony Orchestra
I. Allegro Moderato - Benny Goodman
Good People, Just A Moment - Colin Tilney
Tango - Columbia Jazz Combo
Greeting Prelude (For The Eightieth Birthday Of Pierre Monteux) - Columbia Symphony Orchestra
II. Ma Tu, Cagion Di Quella - Columbia Symphony Orchestra
Elegy For J.F.K. - Charles Russo
Fanfare For A New Theatre - Robert Nagel
II. Exaudi - Donald Gramm
III. Dies Irae - Donald Gramm
IV. Tuba Mirum - Donald Gramm
The Owl And The Pussycat - Robert Craft
Stravinsky In His Own Words - John McClure

Customer Reviews:

A Fabulous Introduction to Igor Stravinsky!!.......2004-05-19

Sony Music's "The Essential Igor Stravinsky" truly lives up to its title. This double-CD set includes nearly every important piece of work (either in part or in whole) by the great Russian composer. The set also presents the pieces in chronological order beginning in 1908 with "Fireworks" and ending in 1966 with his final piece, the short but simple "Owl and The Pussycat". In between, there are excerpts from Stravinsky's most famous works including the first part of "The Rite Of Spring" and highlights from the "Firebird" and "Petrushka" ballets. There are also lesser-known works included as well as his harmonically rearranged version of "The Star-Spangled Banner" (a rendition which caused a stir in the early 1940's). The entire collection concludes with a rare recorded interview with Igor Stravinsky himself in which he remembers the infamous premere of "The Rite Of Spring".
The CD booklet includes detailed liner notes as well as a written tribute by Trey Anastasio of the band Phish. The sound quality of the recordings is amazing (even on the historic 1934 recording of "Piano Rag Music"). All in all, this an excellent collection of works by the great Igor Stravinsky. In a sense, this compilation gives the composer the 'rock musician' treatment. It's a 'greatest hits' album and a career-spanning retrospective that serves as an ideal introduction to Igor's music. Even if your not a fan of Classical music, it isn't difficult to listen to the works of Stravinsky and not be stirred.
Definitely The Essential Igor Stravinsky!!!

Stravinsky - The Rake's Progress / Bostridge · York · Terfel · von Otter · Howells · LSO · Gardiner

Average customer rating:

Rises to the top of the heap
Exquisite!
An essential version
An example of great English opera!
What a fun performance!

Stravinsky - The Rake's Progress / Bostridge · York · Terfel · von Otter · Howells · LSO · Gardiner
Igor Stravinsky , John Eliot Gardiner , Ian Bostridge , Bryn Terfel , London Symphony Orchestra , Monteverdi Choir , Anne Sofie von Otter , Anne Howells , Martin Robson , and Julian Clarkson Peter Bronder
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000JSAL
Release Date: 1999-08-10

Tracks:

The Rake's Progress: Prelude
The Rake's Progress: Act I - Scene 1 - Duet And Trio
The Rake's Progress: Act I - Scene 1 - Recitative
The Rake's Progress: Act I - Scene 1 - Aria
The Rake's Progress: Act I - Scene 1 - Recitative
The Rake's Progress: Act I - Scene 1 - Recitative And Quartet
The Rake's Progress: Act I - Scene 1 - Recitative
The Rake's Progress: Act I - Scene 1 - Duettino
The Rake's Progress: Act I - Scene 1 - Recitative
The Rake's Progress: Act I - Scene 1 - Arioso And Terzettino
The Rake's Progress: Act I - Scene 2 - Chorus
The Rake's Progress: Act I - Scene 2 - Recitative And Scene
The Rake's Progress: Act I - Scene 2 - Chorus
The Rake's Progress: Act I - Scene 2 - Recitative
The Rake's Progress: Act I - Scene 2 - Cavatina
The Rake's Progress: Act I - Scene 2 - Chorus
The Rake's Progress: Act I - Scene 2 - Chorus
The Rake's Progress: Act I - Scene 3 - Recitative
The Rake's Progress: Act I - Scene 3 - Aria
The Rake's Progress: Act I - Scene 3 - Recitative
The Rake's Progress: Act I - Scene 3 - Cabaletta
The Rake's Progress: Act II - Scene 1 - Aria
The Rake's Progress: Act II - Scene 1 - Recitative
The Rake's Progress: Act II - Scene 1 - Aria
The Rake's Progress: Act II - Scene 1 - Recitative
The Rake's Progress: Act II - Scene 1 - Recitative
The Rake's Progress: Act II - Scene 1 - Aria
The Rake's Progress: Act II - Scene 1 - Duet-Finale
The Rake's Progress: Act II - Scene 2 - [Introduction]
The Rake's Progress: Act II - Scene 2 - Recitative And Arioso
The Rake's Progress: Act II - Scene 2 - Duet
The Rake's Progress: Act II - Scene 2 - Recitative
The Rake's Progress: Act II - Scene 2 - Trio
The Rake's Progress: Act II - Scene 2 - Finale

Tracks:

The Rake's Progress: Act II - Scene 3 - Aria, Baba's Song, Aria
The Rake's Progress: Act II - Scene 3 - Recitative
The Rake's Progress: Act II - Scene 3 - Pantomime
The Rake's Progress: Act II - Scene 3 - Recitative - Arioso - Recitative
The Rake's Progress: Act II - Scene 3 - Duet
The Rake's Progress: Act II - Scene 3 - Recitative
The Rake's Progress: Act III - Scene 1 - Ruin Disaster. Shame
The Rake's Progress: Act III - Scene 1 - Recitative
The Rake's Progress: Act III - Scene 1 - Aria
The Rake's Progress: Act III - Scene 1 - Aria, Recitative
The Rake's Progress: Act III - Scene 1 - Duet
The Rake's Progress: Act III - Scene 1 - Stretto-Finale
The Rake's Progress: Act III - Scene 2 - Prelude
The Rake's Progress: Act III - Scene 2 - Duet
The Rake's Progress: Act III - Scene 2 - Recitative
The Rake's Progress: Act III - Scene 2 - Duet
The Rake's Progress: Act III - Scene 2 - Duet
The Rake's Progress: Act III - Scene 2 - Duet
The Rake's Progress: Act III - Scene 3 - Arioso, Dialouge, Chorus
The Rake's Progress: Act III - Scene 3 - Recitative
The Rake's Progress: Act III - Scene 3 - Arioso
The Rake's Progress: Act III - Scene 3 - Duet
The Rake's Progress: Act III - Scene 3 - Recitative
The Rake's Progress: Act III - Scene 3 - Lullaby
The Rake's Progress: Act III - Scene 3 - Recitative
The Rake's Progress: Act III - Scene 3 - Duettino
The Rake's Progress: Act III - Scene 3 - Finale - Recitative
The Rake's Progress: Act III - Scene 3 - Finale - Mourning Chorus
The Rake's Progress: Epilogue

Amazon.com essential recording

This release makes one wonder if there is any music John Eliot Gardiner can't conduct well. Here, for what is probably the first time on CD, Gardiner goes for Stravinsky, and while a nitpicker might point out that Rake is Stravinsky's "Mozartean" opera, let's face it--it's real Stravinsky. Gardiner manages the composer's angles and strange rhythms superbly, and he concentrates on the lower instruments as well (the engineers assist nicely throughout), leading a fleet, ironic performance of this tough work while underlining the score's sweetnesses as well. It doesn't hurt that he has the finest cast available: Bryn Terfel's Nick Shadow is amazingly nuanced, and only once or twice does the great bass-baritone do his infamous "whispering act." He's positively chilling in the graveyard scene. And what can one say about Ian Bostridge as the titular rake? When he says, "I wish I had money!" in Act I, he's Everyman; he wins us over and we feel for him no matter how stupid he is. He's a bit stressed at the very top of his range in the one or two forte passages, but considering how clever this artist is, it wouldn't be a surprise if he's doing it on purpose. Deborah York is such a fine Anne--singing with clean, white, innocent tone--that she even outdoes Dawn Upshaw's splendid portrayal. Anne Sofie von Otter sings Baba's music impeccably (and in unaccented English), but, as usual, she seems more distinguished and artistic than moving. This set is now at the top of the pack; if you've been wondering about this opera and were wondering when and where to get your feet wet, go no further. --Robert Levine

Customer Reviews:

Rises to the top of the heap.......2005-09-18

I must confess that this is a revised review. I originally had a negative impression of this recording of The Rake's Progress because it seemed flimsy compared to the composer's own recording on Sony, with a callow Rake (Ian Bostridge) and a technically unperequipped Anne (Deborah York). But I overlooked some absolute positives: Terfel's definitive Nick Shadow, which really has no competition on disc, Gardiner's ultra-clear conducting of detail, which again has no equal and is greatly aided by DG's completely transparent recording. In the end thise virtues win out, and even though I like every ohter Anne on disc (Judith Rankin, Dawn Upshaw, and Sylvia McNair come to mind) better than York, she isn't enough of a reason to demote this performance. It's still rather cool and lightweight, but that's a perfeclty valid way too interpret Stravinsky's pastiche of 18th century style.

Exquisite!.......2004-07-08

THE RAKE'S PROGRESS is not only one of my favorite operas, but one of my favorite works of music. This may seem strange, as Stravinsky's neoclassical operatic morality fable is considered by many to be a cold, cerebral work. But quite on the contrary, THE RAKE is a jewel-like score full of lyricism (often of a Broadway-like accessibility), warmth, razor-sharp wit, and crystalline beauty - all of which John Eliot Gardiner and his forces bring out marvelously in this recording. Listen to the exquisite trio in Act II Scene 2 - perhaps the most beautiful number in the opera - and you'll see what I mean. Ian Bostridge's sensitively sung Tom Rakewell has just the right vocal personality - boyish, innocent, eager, and vulnerable. His and Deborah York's pure-toned voices are an extraordinary match: hear them blend seamlessly in their duets or the trio. Bryn Terfel's vivid, boisterous Nick Shadow and Anne-Sophie Von Otter's subtly witty Baba complete the cast. Conductor Gardiner uses his expertise in early music to emphasize THE RAKE's 18th-century roots and "chamber" texture. THE RAKE falls into the class of what I might call private favorites - works that are not universally "popular" but hold an extraordinary attraction for me personally. Both the Auden/Kallman libretto and Stravinsky's music are endlessly fascinating, and this CD has become the perfect means for me to enjoy them.

An essential version.......2004-05-27

The music of Stravinsky's wonderful opera THE RAKE'S PROGRESS is a surreal juxtaposition. While it is unmistakably 20th-century, it also hearkens back to 18th-century opera. But the 18th-century references and motifs are often presented in a distorted, ironic light, as if viewed through an acerbic modern lens. In this recording, John Eliot Gardiner conducts the score little differently than he would conduct Handel or Mozart. He draws crisp, clean playing from the orchestra, with livlier tempos, classical-style phrasing, and the lean, spare sound that we associate with "period" performance. The result is that the music sounds both classical and bitingly modern - the perfect combination for this quintessential work of Neoclassicism. I will not elaborate on the soloists, who are all excellent and stylistically match the orchestral playing. This is an essential version of this Stravinsky masterpiece to own.

An example of great English opera!.......2003-05-21

I have never been a fan of opera in English. However, I am a fan of Stravinsky and my favorite operas are those by Mozart. After hearing that Stravinsky used Don Giovanni, Cosi fan tutte, Le nozze di Figaro, and Die Zauberflote (four of my favorite operas) as inspiration, I couldn't resist.

The Rake's Progress is very "Mozartean", and the influences of Don Giovanni and Cosi fan tutte are plain as day. The score is light, fun, and beautifully played, sung and conducted. I have all the other available recordings of The Rake and this is hands down the best one. It's so vibrant and wonderful. The casting is exceptionally.

If you want a great recording of a great English language opera, snatch it up!

What a fun performance!.......2002-04-26

This recording receives an interesting criticism. One of the heresies of the early music / authentic performance practice crowd is that these guys take the score reading TOO LITERALLY. Now, with this recording Gardiner takes it on the chin because some of the notes are not exactly what Stravinsky wrote.

Well, I know the score, too. And I am a Stravinsky nut. But I also love to be convinced musically and this performance is full of energy, life, and singing that seems to delight in the music and the music making. The orchestra plays like they are having FUN. One example is Tom's early aria when he sings "The world is so wide" The orchestra plays a descending run purely and cleanly yet we can hear the neighing of horses. Then Tom sings, " Come,wishes be horses; This beggar shall ride!" Great stuff!

If you want to learn to love opera and are an english speaker you can really go a long way with this wonderful opera and this wonderful recording. Don't worry about those who take severe stances on this or that point. That is purity as a vice. The point is the music and the music has a lot to do with the notes, but not EVERYTHING to do with the notes. But, by the way, they hit nearly all of them and the times they make alternative choices they aren't making mistakes, they are making choices. And the funny thing is, we know Stravinsky wanted his music performed exactly the way he wrote it, but this piece is modelled on eighteenth century opera where they would expect to make choices and the music as "necessary". Well, what does that mean for this piece? But this is too arcane an argument.

Tracks:

I. Andante
II. Napolitana
III. Espanola
IV. Balalaika
I. Allegro
II. A Lament: Andante Espressivo
III. Presto
IV. Adagio
V. Allegro Assai
Pastorale
Lied Ohne Name
I. Musick To Heare
II. Full Fadom Five
III. When Dasies Pied
Fanfare For A New Theatre
Recitative & Aria: No Word From Tom/Quietly, Night
Recitative & Cabaletta: My Father! Can I Desert Hin?/I Go To Him
I. Poco Presto Ed Agitato
II. Andante Lento
III. Tarantella: Presto Vivace
I. Marche
II. Valse
III. Polka
IV. Galop

Album Description

"It is always refreshing to encounter a disc in which consideration has been given to providing a balanced and thought-provoking programme. This is the second installment in Christopher Hogwood's `Modern Classicists' series, and is built upon an eclectic group of Stravinsky's smaller-scale works, with substantial historically influenced interjections by Tippett and Britten. The result is in marked contrast to the Orpheus Chamber Orchestra's foray into the world of Stravinsky's miniatures (DG), in which the scattergun whole somehow falls short of the sum of the delightful parts. By separating the two Suites for small orchestra to form a frame, Hogwood heightens awareness of their individual features, throwing into relief the intervening works, with the vocal and small-scale items on the disc providing an intimate heart at its core...Emma Kirkby is predictably delectable, floating through the Pastorale and an ideally innocent Anne Truelove in the excerpt from The ! Rake's Progress, while the Basel Chamber Orchestra is heart-rending in the `Lament' from Tippett's Divertimento...by far the most satisfying disc as a self-contained programme." (**** rating!) BBC MUSIC MAGAZINE

Average customer rating:

Excellent Material for Ms. Upshaw.
Keeps Getting Better
The Barber alone is worth five stars
Buy this disc...twice!
Dawn Upshaw, vocal actress extraordinaire

Knoxville Summer of 1915

Manufacturer: Nonesuch
ProductGroup: Music
Binding: Audio CD

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ASIN: B000005IZ3
Release Date: 1990-10-25

Tracks:

Knoxville: Summer Of 1915
The Old Maid And the Thief: Act I, Scene 6: What A Curse For A Woman Is A Timid Man
Mirabai Songs: I. It's True, I Went To The Market
Mirabai Songs: II. All I Was Doing Was Breathing
Mirabai Songs: III. Why Mira Can't Go Back To Her Old House
Mirabai Songs: IV. Where Did You Go?
Mirabai Songs: V. The Clouds
Mirabai Songs: VI. Don't Go, Don't Go
The Rake's Progress: Act I, Scene 3: No Word From Tom

Amazon.com essential recording

Barber's Knoxville, Summer of 1915 is a setting of a lovely chunk of prose text by James Agee describing an evening from his childhood. An accomplished singer himself, Barber's vocal writing is expert, and this work must rank as one of the finest examples of the art of word-setting in any language. Barber perfectly captures the conversational quality of the text, while at the same time clothing the words in an atmosphere of gentle nostalgia. It's a masterpiece that Dawn Upshaw sings with keen insight and lovely tone. The remainder of the program is creatively chosen as well, making this one of the finest vocal recitals available by an American singer. --David Hurwitz

Customer Reviews:

Excellent Material for Ms. Upshaw........2006-04-26

'Knoxville: Summer of 1915' is a performance of a selection of operatic pieces by Americans such as Samuel Barber or Europeans transplanted to the United States, such as Igor Stravinsky. Ms. Upshaw shines with material, which is good for her, since she is just slightly out of her league with the material covered by the likes of Renee Flemming on the operatic front and Ute Lemper and Lotte Lenya on the Euro/American popular musical stage.

Like any good sampler, this recording's strongest draw is the fact that it makes one interested in tracking down the complete works by Barber, Menotti, Harbison, and Stravinsky. And, while the package includes all lyrics, everything is in perfectly clear English. A perfect addition to other American classics such as 'Porgy and Bess'.

Keeps Getting Better.......2005-03-02

I have had this disc for years, and I'm more impressed with it as the years roll by. I bought it for Barber's "Knoxville, Summer of 1915" which is a glorious piece of music caught here in a luminous performance. I didn't initially warm up to the Harbison songs, but they have grown on me over the years to the point that I listen to them far more often than the Barber now. I think it just took me a while to absorb Harbison's style and understand how deftly and ingeniously he uses it to take the listener into Mirabai's world. Not to be missed!

The Barber alone is worth five stars.......2004-01-16

People are always saying that they find a particular piece of music is "haunting." For me Barber's "Knoxville: Summer of 1915" is such a work. Dawn Upshaw's reading of this great American masterwork is the best I have yet heard. She won her first Grammy Award for this recording - and deservedly so. If you're a fan of either Upshaw or Barber you'll want to add this beautiful CD to your collection.

Buy this disc...twice!.......2002-07-20

Extraordinary!! This has got to be the definitive Knoxville--rich, touching, elegant and as close to perfect as it can probably ever be. Upshaw has the perfect voice for this work, and she gives it all the loving attention that it requires. This is a performance of Knoxville that will make you weak in the knees. For the Knoxville alone, buy this disc....twice! There is, however, just a little bit of downside here. The other works on this disc just aren't very captivating.

Dawn Upshaw, vocal actress extraordinaire.......2002-01-01

This is the CD that made me fall in love with Dawn Upshaw's singing. I had heard her before and admired her work, but this disc made me a real fan. As it's one of her early recordings, her voice is somewhat "fuller" than on later work; she later started moving the voice "forward," simplifying the sound. Either way, her immense talent for communicating the essence of the text is the outstanding aspect of all her work. It's amazing how she can sound angry, desperate, hopeful, melancholic, all while producing a beautiful sound and tackling all the vocal challenges of the music she's singing. She inhabits the characters, the narrators, of each of the pieces on this disc, and makes it more than just a collection of songs or arias.

I want to make special mention of the Harbison _Mirabai Songs_, as it seems to have been maligned somewhat in other reviews here. This was the work that most kept me coming back to this disc when I first bought it. I think it is a masterpiece, and one of Harbison's best and most important works. (Apparently I'm not alone in my admiration of the piece, because I've heard it on a number of live concerts in recent years, so it seems to be having a successful performance life.) Harbison's song cycle is by turns exciting, sensual, driving, longing, beautiful. The orchestration for the small ensemble is masterful (as Harbison's efforts at scoring always are), and Upshaw expresses all of Mirabai's complex emotions enchantingly.

The _Rake's Progress_ aria also deserves individual comment. In this engrossing example of Stravinsky's neoclassical style, Upshaw assumes Anne's air of fierce determination, and brings the disc to an absolutely thrilling climax on a concluding high C.

Tracks:

Turnadot: Nessun Dorma
Gianni Schicchi: O mio babbino caro
Les Conte d'Hoffmann: Messiers, Silence!
L'Elisir diAmore: Una fortiva lagrima
Carmen: Je Dis que rien ne m'epouvant
Les pecheurs de perles: Au fond du temple saint
L'Inganno felice: Al piu dolce
Cosi fan tutte: Soave sia il vento
Xerxes: Ombra mai fu
The Rake's Progress: Quietly, night
L'Italiana: Gia d'insolito ardore nel petto
Les Contes d'Hoffmann: Les oiseaux dans la charmille
Werther: Pourquoi me revieller
Rusalka: Song To The Moon

Tracks:

La Boheme: O soave faciulla
Samson et Dalila: Mon coeur s'ouvre a ta voix
La nozze di Figaro: Voi, che sapete che cosa e amor
Billy Budd: Look! ... Through The Port Come The Moonshine Astray!
L'Incoronazione di Poppea: Lameto di Ottavia: 'Diprezzata Regina'
Rigoletto: Gaultier Malde ... caro nome
Manon Lescant: Donna on vidi mia
Madama Butterfly: Un bel di vedreno
La Damnation de Faust: D'amour l'ardente flamme
Faust: Vous qui faites l'endormie
Dido's Lament: Thy Hand, Belinda - When I Am Laid In Earth
Yolanta: Scene & Monologue By Ibn Hakia
Carmen: Votre toast, je peaux le rendre
TOSCA: E lucevan le stelle
Tannhauser: Wie Todesahnung Damn'rung deckt die Lande ...

Customer Reviews:

"Simply a Stunner".......2006-07-21

Ideal for an opera lover, or for anyone who loves gorgeous singing. I am an opera nut and was introduced to this one by accident; "Au gond du temple saint" from Pearl Fishers (selection #6, disc one) was playing on the stereo in the Metropolitan Opera giftshop when I walked in at intermission one night. I thought it was so stunning I bought my first copy of the CD then and there; and have bought 2 other "back-up copies" since then, as well as having it on my iPod.

Good choice for opera lovers........2001-08-16

If you are in search of a cd containing various popular pieces from the greatest operas in the world, then search no more. This cd contains classic operatic pieces, sung by some of the most talented tenors and sopranos out there, including Placido Domingo. Madame Butterfly's Un Bel Di and Turandot's Nessun Dorma are, without a doubt, two of the most emotional and dramatic songs ever composed. Fortunately, this inexpensive two cd set includes those songs and many more. This cd is a delight to own, whether or not you've ever attended an opera.

Average customer rating:

Excellent

The Music of Stravinsky

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

Polkas | Ballets & Dances | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

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General | Sacred & Religious | Classical | Styles | Music

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General | Chamber Music | Classical | Styles | Music

Compilations | Classical | Styles | Music

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

English | Languages | Opera & Vocal | Styles | Music

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

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

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
ASIN: B00003XAHC
Release Date: 2000-01-18

Tracks:

Pater Noster
The Firebird Suite: Berceuse
The Firebird Suite: Finale
The Rite Of Spring: Part I - Introduction
The Rite Of Spring: Danses des adolescentes
The Rite Of Spring: Jeu du rapt
The Rite Of Spring: Rondes printanieres
The Rite Of Spring: Jeux des cites rivales
The Rite Of Spring: Cortege du sage
The Rite Of Spring: L'Adoration de la terre
The Rite Of Spring: Danse de la terre
The Rite Of Spring: Part II - Introduction
The Rite Of Spring: Cercles mysterieux des adolescentes
The Rite Of Spring: Glorification de l'elue
The Rite Of Spring: Evocation des ancetres
The Rite Of Spring: Action rituelle des ancetres
The Rite Of Spring: Danse sacrale - L'elue
Rag-Time For Eleven Instruments
Capriccio For Piano And Orchestra: III. Allegro caopriccioso ma tempo giusto
Circus Polka
Mass For Mixed Chorus And Double Wind Quintet: Sanctus
Ode For Orchestra (Elegiacal Chant In Three Parts): III. Epitaph
The Rake's Progress (Opera In Three Acts): 'No Word From Tom.'
The Rake's Progress (Opera In Three Acts): 'I Go To Him...' (Cabaletta)
Agon (Ballet For Twelve Dancers): Interlude
Agon (Ballet For Twelve Dancers): Bransle Simple
Agon (Ballet For Twelve Dancers): Bransle Gay
Agon (Ballet For Twelve Dancers): Bransle Double
Agon (Ballet For Twelve Dancers): Interlude

Customer Reviews:

Excellent.......2002-06-11

While this only has a small portion of The Firebird, it has an excellent collection of Stravinsky music. Stravinsky was one of the greatest composers and this CD has a good wide variety of selections.

Average customer rating:

Stravinsky: The Rake's Progress

Manufacturer: Mondo Musica
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

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

English | Languages | Opera & Vocal | Styles | Music
ASIN: B00000J5RH
Release Date: 1999-09-15

Tracks:

Prld - Orch Del Teatro La Fenice/Jan Latham Konig
Atto Primo, Scena I. Duet/Trio
Atto Primo, Scena I. Recitative
Atto Primo, Scena I. Recitative/Aria
Atto Primo, Scena I. Recitative
Atto Primo, Scena I. Quartet
Atto Primo, Scena I. Recitative/Duettino
Atto Primo, Scena I. Recitative
Atto Primo, Scena I. Arioso/Terzettino
Atto Primo, Scena II. Recitative/Scena
Atto Primo, Scena II. Chor
Atto Primo, Scena II. Recitative
Atto Primo, Scena II. Cavatina
Atto Primo, Scena II. Chor
Atto Primo, Scena II. Chor
Atto Primo, Scena III. Recitative/Aria
Atto Primo, Scena III. Recitative
Atto Primo, Scena III. Cabaletta - Fine Del Primo Atto
Atto Secondo, Scena I. Aria
Atto Secondo, Scena I. Recitative
Atto Secondo, Scena I. Aria
Atto Secondo, Scena I. Recitative
Atto Secondo, Scena I. Aria
Atto Secondo, Scena I. Duet - Finale
Atto Secondo, Scena II. Recitative/Arioso
Atto Secondo, Scena II. Duet
Atto Secondo, Scena II. Recitative
Atto Secondo, Scena II. Trio
Atto Secondo, Scena II. Finale

Tracks:

Atto Secondo, Scena III. Aria
Atto Secondo, Scena III. Recitative Babas Song
Atto Secondo, Scena III. Aria
Atto Secondo, Scena III. Recitative
Atto Secondo, Scena III. Pantomime
Atto Secondo, Scena III. Recitative/Arioso/Recitative
Atto Secondo, Scena III. Duet
Atto Secondo, Scena III. Recitative
Atto Terzo, Scena I. Chor
Atto Terzo, Scena I. Recitative
Atto Terzo, Scena I. Aria
Atto Terzo, Scena I: Bidding Scene
Atto Terzo, Scena I. Sellem's Aria
Atto Terzo, Scena I. Bidding Scene
Atto Terzo, Scena I. Recitative/Aria
Atto Terzo, Scena I: Final Bidding Scene
Atto Terzo, Scena I. Aria
Atto Terzo, Scena I. Recitative
Atto Terzo, Scena I. Duet
Atto Terzo, Scena I: Ballad Tune
Atto Terzo, Scena I: Stretto Finale
Atto Terzo, Scena I: Ballad Tune
Atto Terzo, Scena II: Prld - Orch Del Teatro La Fenice/Jan Latham Konig
Atto Terzo, Scena II. Duet
Atto Terzo, Scena II. Recitative
Atto Terzo, Scena II. Duet
Atto Terzo, Scena III. Arioso
Atto Terzo, Scena III. Dialogue
Atto Terzo, Scena III. Chor/Minuetto
Atto Terzo, Scena III. Recitative
Atto Terzo, Scena III. Arioso
Atto Terzo, Scena III. Duet
Atto Terzo, Scena III. Recitative
Atto Terzo, Scena III: Lullaby
Atto Terzo, Scena III. Recitative
Atto Terzo, Scena III. Duettino
Atto Terzo, Scena III: Finale
Atto Terzo, Scena III. Mouring/Chor
Atto Terzo, Scena III: Epilogue

Stravinsky - The Rake's Progress - Igor Stravinsky (2 CD Set)

Average customer rating:

Stravinsky - The Rake's Progress - Igor Stravinsky (2 CD Set)

Manufacturer: Great Opera Performances
ProductGroup: Classical
Binding: Audio CD
ASIN: B000J67XGO

Product Description

IGOR STRAVINSKY THE RAKE"S PROGRESS Favola in tre atti di Wystan Hugh Auden e Chester Kallmann Truelove - Raffaele Arie Anne - Elisabeth Schwarzkopf Tom Rakewell - Robert Rounseville Nick Shadow - Otakar Kraus Mother Goose - Nell Tangeman Baba the Turk - Jennie Tourel Sellem - Hugues Cuenod Keeper - Emanuel Menkes Orchestra & Coro Del Teatro Alla Scala Igor Stravinsky

Average customer rating:

Opera in English
4 1/2Stars...exciting voice and singing

Barry Banks Sings Bel Canto Arias

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

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

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General | Opera & Vocal | Styles | Music

English | Languages | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

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Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music
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Gitano

ASIN: B0002AAPB2
Release Date: 2004-07-27

Tracks:

'In Dreams Of Endless Pleasure'
'Through Her Soul In Endless Grieving'
'May Destiny Befriend You'
'The Blow At Last Has Fallen'
'Could I Ever Believe'/'Her Joy Is My Joy'
'Here I Stand'/'Since It Is Not By Merit'
'Poor Lost Ernesto'/'I Shall Go, No More Returning'
'Only One Teardrop'
'Palace Of Horrors!'/'Ah, How Can I Hide The Flames'
'Darling! Darling, Let Me Embrace You!'
'I Lost The Will To Action'
'Suzel, Good Morning!'
'The Night Is Calm'

Customer Reviews:

Opera in English.......2007-03-19

Barry Banks is certainly a contender for one of the best tenors around. THis is a great example of coloratura and legato line which is very well executed in a rather booming tenor voice. I just saw Mr. Banks in "The Elixer of Love" and he was stupendous. This is a large tenor voce in the theatre which alas is difficult to capture in a studio recording...you have to take my word. THe translations are often odd as they generally are, but this recording is certainly worth having. (although I prefer in the original language)

4 1/2Stars...exciting voice and singing.......2004-12-02

Mr. Banks has a "heroic lyric tenor" if there is such a category. His fast vibrato and power lend the voice excitement and attention getting presence. I was intrigued by him in his stunning appearance in the Rimsky-Korsakov "Le'Coq d'Or" DVD (a not-to-be-missed experience)-- he was a stand-out there there and I went looking for other things by him. This CD is treasurable in many ways. The repertoire is interesting and the duets add flavor to the whole. The only small complaint I have is that perhaps Mr. Banks lacks just the last bit of emotional connection in his singing. You won't go wrong getting this excellent CD.

Music Review:

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