Do You Love Wagner?

Track Listings

1. 2 Up 1 Down

2. First Encounter, Pt. 1

3. First Encounter, Pt. 2

4. Mix and Match, Pt. 1

5. Mix and Match, Pt. 2

6. Foreplay to T-Chord

7. Love-Drift

8. Tango Tea Parties

9. Punching Bag, Pt. 1

10. Punching Bag, Pt. 2: Secret Love

11. Wagner, Le Franco-Allemand

12. River Run

13. Overweight Baggage, Pt. 1

14. Overweight Baggage, Pt. 2

15. Overweight Baggage, Pt. 3

Tracks:

Theme From Mission Impossible - Schifrin
Theme From Gladiator - Zimmer
Hedwig's Theme - Williams
Harry's Wondrous World - Williams
Allegro Moderato - Symphony No. 8 'Unfinished' - Schubert
Suite From Shakespeare In Love - Warbeck
Out Of Africa - Barry
Requiem, Rex Tremendae - Mozart
Prelude In E Minor, Op. 28, No. 4 - Chopin
Suite No. 3 In D, Air On The G String - J.S. Bach
I Will Always Love You - Parton
Symphony No. 40, Molto Allegro - Mozart
Finlandia - Sibelius
My Heart Will Go On - Horner

Tracks:

Theme From Lord Of The Rings - Shore
Overture To All That Jazz - Kander & Ebb
'Trout' Quintet, Theme, Andantino And Variations - Schubert
Prelude No. 15 In D-Flat - Chopin
Windmills Of Your Mind - LeGrand
(Everything I Do) I Do It For You - KAMEN
Theme From Schindler's List - Williams
Also Sprach Zarathustra, Excerpt - Strauss
Symphony No. 3, Lento Cantabile - Semplice - Gorecki
Die Walkure, Ride Of The Valkyries - Wagner
Goldberg Variations, Aria Da Capo - J.S. Bach
Theme From License To Kill - KAMEN
Sonata No. 8, Op. 13, 'Pathetique,' Andante Cantabile - Beethoven
Die Another Day - Arnold
Symphony No. 9, Ode To Joy, Excerpt - Beethoven

Customer Reviews:

Movie Themes CD.......2007-03-10

Very nice CD with beautiful music from past movies. Very relaxing music to listen to.

"three decades of film composers ~ Simply The Best".......2004-03-06

Rhino Movie Music presents "Simply The Best Movie Themes", featuring the Royal Philharmonic Orchestra and other various artists ~ within the realm of the following composers David Arnold, John Barry, Alan Bergman, Marilyn Bergman, Wendy Carlos, Fred Ebb, James Horner, James Newton Howard, Michael Kamen, John Kander, Michel Legrand, Alex North, Basil Poledouris, Howard Shore, Wladyslaw Szpilman, Stephen Warbeck, John Williams and Hans Zimmer ~ each composer has created one or more of the scores in this twenty nine classic line up.

Film scores covering over three decades with "2001:SPACE ODYSSEY", "A CLOCKWORK ORANGE", "APOCALYPSE NOW", "THE BODYGUARD(I Will Always Love You)", "CHICAGO(Overture to All That Jazz), "DIE ANOTHER DAY", "EYES WIDE SHUT", "FEARLESS", "GLADIATOR(Theme)", "HANNIBAL", "HARRY POTTER AND THE SORCERER'S STONE(Hedwig's Theme)", "HARRY POTTER AND THE SORCERER'S STONE(Harry's Wondrous World)", "THE HUNT FOR RED OCTOBER", "JURASSIC PARK:THE LOST WORLD", "LICENSE TO KILL, "LIVING DAYLIGHTS", "THE LORD OF THE RINGS(Theme)", "MINORITY REPORT", "MISSION IMPOSSIBLE (Theme)", "OUT OF AFRICA", "THE PIANIST", "ROBIN HOOD, PRINCE OF THIEVES", "SCHINDLER'S LIST", "SE7EN", "SHADOWLANDS", "SHAKESPEARE IN LOVE", "THE SIXTH SENSE", "THE THOMAS CROWN AFFAIR"and "TITANIC(My Heart Will Go On)" ~ a mixture of original compositions and classics of the old masters. Loaded with not just themes, but full of orchestral arrangements that are fresh and rewarding ~ sure to bring back those special moments from the film.

The presentation is superb with every cue inclusive with spectacular performances from suspense, romance and adventure all rolled into a two disc package. Rhino must be commended on doing such a great job and doing it well. Most serious "film-score-buffs" will welcome this compilation, has many cues available all under one banner ~ Rhino Records...gotta love it!

Customer Reviews:

The best is wonderful, but there are a few duds.......2006-07-17

No portrait of a singer can satisfy all cmers, so EMI has shrugged its shoulders and tossed a bit of everything into the pot. (Without including any bonus tracks, one should note.) Hampson is without a doubt the successor to Fischer-Dieskau as the world's most famous operatic baritone. His strengths, like F-D's, are in song, especially American song. Seven of the 19 cuts here are American songs, which isn't enough. We don't really need Hampson's rather plodding and earnest Viennese operetta aria, nor his duet, "Anything You Can Do, I Can Do Better" with the shrill Kim Criswell (to tell the truth, neither does very well). Two small slivers from Schumann's Dichterlieve cycle seems rather silly, too.

But that leaves a lot that's wonderful--all the American selections, the Rossini and Liszt songs, the aria form Korngold's Die Tote Stadt, and above all Hampson's rollicking, let-'er-rip rendition of Figaro's aria form the Barber of Seville. If this omnium gatherum entices listeners to bu the complete recordings, it will serve a very good purpose.

Beautiful Voice, Bad Choices.......2003-11-25

Short and Sweet.

I love listening to this beautiful baritone's voice, but I really don't like his choice of songs on this album. Beautiful Dreamer is so hackneyed and I can't stand to listen to it (also why I didn't buy the Stephen Foster album). I did like is choice of two classic lieder by Schumann. I would have chosen more lieder for a different album, he does great things with it. The Live recording of Largo al factotum from Barber is distracting with audience claps and poor mics for the recording. You can hear him walking away from the mics (fading in and out). The absolute worst choice is "Anything You Can Do" from Annie Get Your Gun. It sounds nice but I hate this song. The rest of the songs swing from Sappy awful to beautifully sung.

Bottom Line: Inconsistent and Not worth your money. He can do much better

A Great Showcase of Hampson's Voice and Artistry.......2002-02-23

Thomas Hampson is definitely one of the greatest artists on today's musical scene. This CD displays the beauty of Hampson's voice and the intelligence and artistry that he brings to a great variety of musical styles (German, French and Italian Opera; Italian, French and German art song, and American music). Among the highlights are the first selection, the beautiful "Mein Sehnen, mein Wähnen" from DIE TOTE STADT by Korngold, sung with great control and melting pianissimos. The same can be said of the aria from TANNHAUSER. His live "Largo al Factotum" from IL BARBIERE DI SIVIGLIA is just virtuosistic, with effortless high notes (even a cadenza up to high C) and energetic vocal acting. In the art songs he is no less impressive, with total involvement in the style and mood of the songs, being particularly impressive "Oh, quand je dors" by Lizt. The American repertoire is also a delight. Hampson displays all kind of nuances for this repertoire, from the estatic quality of "Beautiful Dreamer" to the humor and bawdiness of "Where Is The Life that Late I Led". In summary, this is a delightful and eclectic souvenir from one of the most charismatic and intelligent singers of our time.

Comprehensive coverage of Hampson's range in song.......2001-11-01

This EMI disc, "Thomas Hampson, Portrait" is an excellent example of the wide range of this melliflous baritone. From the first German aria, Korngold's "Mein Sehnen, mein Wahnen" one of my personal favourites, to Jerome Kern's "The Last Time I saw Paris" you have great variety of opera, lieder and popular song offering you examples of Hampson's great talent. Buy and enjoy! Jill Whitburn

Average customer rating:

The Ultimate Wedding Collection

Manufacturer: Madacy Records
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

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General | Soundtracks | Styles | Music

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General | Vocal Pop | Pop | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 Pop | 4-for-3 Music | Stores | Music

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4-for-3 All Music | 4-for-3 Music | Stores | Music
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Clint Black - Greatest Hits, Vol. 2

ASIN: B0009K7RZM
Release Date: 2005-06-28

Tracks:

Wedding Chorus from "Lohengrin"
Matrimonial Benediction in F Major, Op. 9 - Joseph Berger
Wedding March from "A Midsummer Night's Dream" - London Philharmonic Orchestra
Beautiful Blue Danube Waltz, Op. 314 - Vienna Opera Orchestra
Wedding March, Mazurka, Op. 20a - London Festival Orchestra
Champagne Polka from "The Bat, " Op. 211 - Royal Philharmonic Orchestra
Flower Waltz: Op. 71a/8 - London Festival Orchestra
String Quartet, Op. 13, Minuet in a Major - Stuttgart Chamber Orchestra
Radetzky March, Op. 228 - Vienna Opera Orchestra
Minuet in D Major - Stuttgart Chamber Orchestra
Emperor Waltz, Op. 437 - Vienna Opera Orchestra
Ave Maria - Ernst Riedlinger

Tracks:

Moment Like This
You and I
Unbreakable
Forever and for Always
All About Loving You
Come Away With Me
Thank God I Found You
Could I Have This Kiss Forever
I Believe in a Thing Called Love
There You'll Be
When I Said I Do
If I Didn't Have You [Duet Version]

Average customer rating:

strangely disappointing in Verdi
Live wire
Contemplative performances from Karita Mattila
Mattila superb in Verdi, Puccini, and Wagner!
Interesting Recital

Karita Mattila Live in Helsinki

Manufacturer: Ondine
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

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Similar Items:

Karita Mattila - Arias & Scenes / Yutaka Sado, LPO
Excellence: The Artistry of Karita Mattila
Karita Mattila: German Romantic Arias
Bach: Cantatas BWV 82 and 199
Peter Lieberson: Neruda Songs

ASIN: B000053SLK
Release Date: 2001-01-23

Tracks:

Tannhauser: I Greet You, Dear Hall
Rusalka: Song To The Moon
Aida: Return, Victorious!
La Forza Del Destino: Peace, Grant Me Peace O Lord
Tosca: I Have Lived For Art
Die Fledermaus: I Like To Invite Guests
Die Fledermaus: My Dear Marquis
Die Fledermaus: Sounds Of My Homeland
The Tryst
You Thought I Was Watching You
Why I Sing
I Still Have A Suitcase In Berlin - Finnish RSO/Jukka-Pekka Saraste
Falling In Love Again
Diamonds Are A Girl's Best Friend
Porgy And Bess: Summertime (Encore) - Karita Mattila/Peter Lerche

Amazon.com

Any doubts that Finnish singer Karita Mattila--fresh from her triumph in the Met's new production of Fidelio in the 2000-2001 season--has moved from the top ranks of today's sopranos into the rarefied aura of full-fledged diva status are dispelled by this remarkable disc capturing her in full flight at a concert in Helsinki. She opens with an ecstatic "Dich teure Halle" from Tannhäuser, follows with a sinuous Dvorák "Song to the Moon" from Rusalka, moves on to satisfying Verdi and Puccini arias, then launches into three delectable arias from Strauss's Die Fledermaus, in which she perfectly portrays three characters of wildly different voice types: Orlofsky, Adele, and Rosalinde. As if that wasn't enough, Mattila then lavishes her gorgeous soprano on a group of Finnish songs, does a convincing version of a Marlene Dietrich classic, and finishes with an idiomatic "Diamonds are a Girl's Best Friend" and a bluesy "Summertime." It's hard to think of another soprano who could tackle a program this varied or sing it as well. Throughout, Mattila beautifully characterizes each piece and sounds as if she's having a great time. So are we. --Dan Davis

Customer Reviews:

strangely disappointing in Verdi.......2006-03-14

On the whole, this is an enjoyable live recital. Mattila opens with a very plugged-in, alive delivery of the Hall of Song aria from Tannhauser. I hope she records this in the studio, if she has not already done so.

Unfortunately, though her best roles include Amelia from Simon Boccanegra, she doesn't excel in the arias from Aida and La Forza. Ritorna Vincitor fares the worst. Her pacing is schizophrenic, her pronunciation of the vowels rather odd. Instead of choosing such a "heroic" Verdi aria, she should have turned to something more lyrical. Something from Un Ballo in Maschera, perhaps?

Pace, Pace Mio Dio fares better, though marginally. Mattila makes the most out of the lyrics, drawing much from the text, even better than some revered artists from the fifties and sixties. Her urgent singing of "fatalita" will rankle the purists. I, for one, welcome something more than mindless floating and note-spinning, a la Zinka Milanov. Karita's ability to draw even more from the text than native speakers reminds me of Edita Gruberova. However, like Gruberova, such passioned delivery comes at the expense of some covered notes and laborious approach.

Things improve dramatically with the three arias from Die Fledermaus. Most enchanting is Mein Herr Marquis. Mattila proves herself to be a ravishing coquette in this delicious interpretation. She even makes an honest-to-goodness stab at the coloratura, acquitting herself quite well, given that she is a lyric soprano.

Of the Finnish songs, the first one, The Tryst, is the best. Then, near the end, we are treated to some lighter fare. Her hommage to two other blonde sirens, Dietrich and Monroe, is spot-on. Falling in Love is my favorite of the two, with Mattila showing off a very convincing lower register.

Now, I couldn't get through Summertime with the guitar accompaniment. Still, there are enough tasty morsels in this recital to whet the appetite.

Live wire.......2005-09-26

Karita Mattila has more vocal brilliance & stamina and dramatic spunk than just about any other soprano singing today and I first became aware of that when listening to this collection.
Her technique is perfect, and she has lungs of steel- not that she cannot drop the opera hat in a second and adopt a cabaret persona, as aptly demonstrated here.
That she is drop dead gorgeous, and a great actress, doesn't hurt either, but this is an audio CD and opera recital first, and she has the goods, in spades, when it comes to hardcore opera repertoire.
And what a selection it is- soaring Wagner, full blooded Verdi, fantastic Tosca, a beautiful, lyrical Song to the Moon, the three heroines from Fliedermaus- each different and absolutely spot on- plus Finnish songs and some old fashion diva selections- Marilyn Monroe's and Marlene Dietrich's songs, and for finish, Summertime. This list is as crazy as it gets, and yet somehow everything works- and how! The word sparkling is often to use to describe singing of fluffy coloratura sopranos, but that would apply- there's a sort of electrical buzz that Mattila creates: every song is exciting, utterly absorbing. This is a recording of one fully-fledged diva in a great live performance.

Contemplative performances from Karita Mattila.......2001-11-01

I love live recordings. I first became aware of this music several months ago. I listen to this CD quite a bit at home and in the car. I really relish her performances. And then there is Wagner's music!

Mattila superb in Verdi, Puccini, and Wagner!.......2000-12-03

A friend of mine sent this CD for me, and I was stunned. There are great Verdi singers in the world after all! The opera arias are all outstanding, packed with emotion, sung in resplendent tone and perfect technique (portamento, legato line, strong chest voice). My favourites on this disc are hauntingly beautiful Rusalka's aria, "Pace, pace, mio Dio" from Forza, and Elisabeth's greeting from Tannhäuser. Operetta pieces are wonderful. I don't care that much about the lighter department, but she certainly shows her versatility. Marlene Dietrich song (from Blue Angel) is more succesful than the Marilyn one.

This is a must have for every opera lover! IMO she is the most exciting opera personality in the world today. BTW - the CD program in here looks strange, my copy does not include Elsa's dream (I wish it would) or Edith Piaf song. I became a fan of her after seeing her as Manon Lescaut (I wish she would record "Sola, perduta, abbandonata" someday).

Interesting Recital.......2000-11-27

The CD is a live recording from a concert Karita Mattila gave here in Helsinki. I did not get a ticket, but listened the concert on the radio (Mattila is accompanied by Finnish Radio Symphony Orchestra). She was almost tireless, singing for over three hours (no guest artists).

The programme was interesting. I would love to hear Mattila as Elisabeth, Leonora or Aida, because she sings their arias beautifully. Her lyric but strong voice suits Verdi and "lighter Wagner" very well, I think. Vissi d'arte was also very good; Tosca would be a perfect role for a diva like Mattila. She sang Musetta's waltz in the concert, but it has not found it's way on the recording. The Fledermaus arias show the artist's versatility and make it clear that Mattila likes to sing operetta.

Mattila is generally better suited to opera than lied, but in Finnish music she is excellent - my personal favorite is "Flickan kom ifrån sing älsklings möte" by Sibelius. The "lighter" music is not that successfull, and I wonder why trained opera singers are so enthusiastic in performing and recording music that obviously does not fit their voices. Mattila imitated Marlene Dietrich and Marilyn in the concert, which was quite fun, but not to my liking. In addition, Mattila's encore was "Summertime" (included in the recording), a song she obviously likes very much, but sings less successfully. I think she should stick to classical music.

In summary, I recommend this recital for the opera arias and the finnish songs.

Wagner: The Valkyrie
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

All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music
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, Goodall, Boulez, Janowski, Levine, Haitink, 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
Boulez's Ring: 13 hours, 40 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Haitink's Ring: 14 hours, 10 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: nothing is faster than andante. 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.

Boulez: Here it is, folks - the controversial Centennial Ring. To fit the Ring Cycle in the industrial age, Boulez gives it a very Schoenbergian, Bartokian atmosphere. Much of his tempi are very quick, very Bohm-like, though they're still not as fast as Bohm. Keep in mind, though, this live Ring works only if you hear AND see it (the DVD's work best).

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.

Haitink: This might be seen as a disappointment. If you want great conducting, then this is for you. If you want a persuasive array of singers, look somewhere else. Haitink's conducting saves this work from being a total flop. There is nothing quite like his Rheingold & Gotterdammerung ("Siegfried's Rhine Journey" is a bit forced, but magnificent nonetheless).

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 Two Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.

Boulez's Bayreuth Festival: While it doesn't really pack the same punches as Bohm's Bayreuth, it still delivers a stunning performance. Orchestral interaction between characters (Ex. Siegfried's motifs mixed in with Mime's motifs) fares better than Berlin's and English National's. Rhine maiden motifs are given more wit, while the Dragon motifs are played with less eeriness. Beauty makes up for the irritatingly quick "Wotan's Farewell".

Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Boulez's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are heard clear in this Ring. 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.

Haitink's Bavarian Radio Symphony: This may very well be like Metropolitan, only this sounds much more poignant. The strings sound better and the percussion sound clearer. The leitmotivs are almost never screwed up. First scene of Rheingold will take one's breath away.

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.

Boulez: If you watch Donald McIntyre on the Centennial Ring production, then you can tell that he's a fine "industrial" Wotan. If you just hear him on CD, then you'll be disappointed. His diction is weak, his emotions are forced, and his voice sounds robotic. The DVD's will do.

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

Boulez: How can anyone not be impressed by the Brunnhilde of Gwyneth Jones? One can almost feel her excitement during Siegfried Act Three, and her fear in Walkure Act Three. Her weakest point is probably during her Gotterdammerung Prologue (a bit too stressed).

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).

Haitink: Hmph. I was hoping that Eva Marton would do well here. I was seriously let down by her strained singing. She does okay in "Annunciation of Death", but she is at her worst in "Immolation".

-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm, Jon Vickers for Karajan, Alberto Remedios for Goodall, Peter Hoffman for Boulez, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, Reiner Goldberg for Haitink, 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, Jeanine Altmeyer for Boulez, Jessye Norman for both Janowski and Levine, Cheryl Studer for Haitink, 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. Three exceptions, though: Goldberg and Schunk don't sound heroic enough, and Norman for Levine 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.

Boulez: Is Manfred Jung a good tenor? Yes. Is he a good Heldentenor? NO. He doesn't have that heroic voice like Windgassen and Remedios. Again, the DVD's are your safest bet.

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. Levine should've chose Kollo or Jerusalem when he recorded his studio Ring.

Haitink: Have you ever seen Siegfried Jerusalem on the Levine/Metropolitan DVD? Well, here he is again, and this time, he sings with more valor and enthusiasm. Bravo!

-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.

Boulez: What we have here is the weak Alberich of Hermann Becht. When he's in Nibelheim, the authority isn't there. When he's in the Neid-Hohle forest, the creepiness isn't there. And when he's near the Gibich house, the misery isn't there. Even on DVD he's unsatisfactory.

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.

Haitink: No offense, but Theo Adam as Alberich? Come on . . .

-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.

Boulez and Levine: Heinz Zednik is yet another excellent Mime, VERY fun to listen to. There is much humor and eccentricity in his voice, and that's what makes his dwarf much more compelling than Dempsey's dwarf. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.

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. He is equal to Zednik when it comes to humaneness and lyricism. 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.

Haitink: Peter Haage sounds like he's entertaining young kids. His version of Mime is a bit childish, and the dark humor that the dwarf brings out sounds-over-the-top here. Nonetheless, he is still entertaining to listen to ("Wer halfe mir?" has never sounded better).

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 during the Trilogy.

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. Again, another Loge that's marred by lack of cunning.

Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. He has the wit, the craftiness, and the untrustworthiness that the character deserves. 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.

Boulez and Haitink: I can summon Heinz Zednik's performance in just three words: Brilliant Beyond Belief!

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 and Zednik depend only on vengeance and deviousness, Stolze only imagination and deviousness, Windgassen and Svanholm 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 Zednik. 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. Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). Anja Silja is the most memorable Freia (Bohm), while Kurt Moll makes the most fabulous Hunding yet (Janowski, Levine, and Sawallisch). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm, Goodall, and Boulez. 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, Neuhold's Badische version, and the essential mono recordings (Furtwangler, Krauss, etc.), 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 industrialized Boulez, the truthful Janowski, the unhurried Levine, the abnormal Haitink, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.

The Box Set: 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)

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:

Fire from Lindholm.......2001-11-17

This set contains four records with two abridged live performances. I have as yet only listened to the performance from 1974. This is one of the first pirated records to appear with the Swedish dramatic soprano Berit Lindholm. Let us hope that recordings from the Ring conducted by Sir Colin Davis at Covent Garden will appear soon! Meanwhile this Tristan from Amsterdam 1974 fills the gap with a truly amazing dramatic force. You can feel the amazement and tension among the public, crying out their "bravos" at the end. This is Lindholm's evening and a great one ideed. Totally involved in her part she becomes Isolde and everything catch fire... No Wagnerian or other opera lover can be without these records. The first two CD's concentrates on the part of Isolde (1974).The performance from 1979 (not with Lindholm)concentrates on the tenor, Spas Wenkoff - more comments will follow when I have listened to that. For the moment, the 5 stars are for the 1974 recording.

Average customer rating:

Jessye Norman Collection

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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Jessye Norman Classics
The Essential Jessye Norman [Includes DVD: Jessye Norman Sings Carmen]

ASIN: B00000411W
Release Date: 1990-10-25

Tracks:

All The Things You Are
Spring Is Here
Love Is Here To Stay
In The Still Of The Night
With A Song In My Heart
Ave Maria
Amazing Grace
Greensleeves (What Child Is This)
The Holy City
Panis Angelicus
Messe solennelle de Ste. Cecile: Sanctus
There Is A Man Going Round
Give Me Jesus
Couldn't Hear Nobody Pray
Do Lawd, Oh Do Lawd
Gospel Train
He's Got The Whole World In His Hands

Tracks:

'Le nozze di Figaro': Porgi, amor
'Le nozze di Figaro': Dove sono i bei momenti
Zueignung, Op.10 No.1
'Ariadne Auf Naxos': Es gibt ein reich
Fruhling
Schlechtes Wetter, Op.69 No.5
'Dido and Aeneas': Dido's Lament: When I'm laid In Earth
'Les Nuits D'Ete': Le Spectre De La Rose
Gretchen am spinnrade
L'invitation au voyage
Je te veux
Les chemins de L'amour
'Tristan und Isolde': Tristan und Isolde: Isoldes Liebestod

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The best in smooth orchestra wedding songs

Complete Wedding Album

Manufacturer: Bci / Eclipse Music
ProductGroup: Music
Binding: Audio CD

Trios | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

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

Wedding Music | Miscellaneous | Styles | Music

General | Miscellaneous | Styles | Music

General | Soundtracks | Styles | Music

General | Vocal Pop | Pop | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

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4-for-3 All Music | 4-for-3 Music | Stores | Music

4-for-3 Opera & Vocal | 4-for-3 Music | Stores | Music
ASIN: B00000IAWF
Release Date: 2002-01-01

Tracks:

Canon in d
Fanfare
Jesu Joy
Tpt Tune
Bridal Chor
Ave Maria
Wedding March
Largo
Adagio Cantabile
Winter-Four Seasons
Adagio Cantabile
I Will Always Love You (Bodyguard)
Everything I Do (Robin Hood-Adams)

Customer Reviews:

The best in smooth orchestra wedding songs.......2004-01-09

This cd is suited for people like myself who want smooth sounding orchesta wedding songs instead of loud thunderous ones. In my opinion it is one of the best wedding cd's I have heard. I paid twice as much for other cd's that did not suit all of my needs. I wish I could have found this one first.

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Do You Love Wagner?

Manufacturer: Wergo Germany
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Compilations | Classical | Styles | Music

Classical | Imports | Stores | Music
ASIN: B00064N7O6
Release Date: 2005-04-12

Tracks:

2 Up 1 Down
First Encounter, Pt. 1
First Encounter, Pt. 2
Mix and Match, Pt. 1
Mix and Match, Pt. 2
Foreplay to T-Chord
Love-Drift
Tango Tea Parties
Punching Bag, Pt. 1
Punching Bag, Pt. 2: Secret Love
Wagner, Le Franco-Allemand
River Run
Overweight Baggage, Pt. 1
Overweight Baggage, Pt. 2
Overweight Baggage, Pt. 3

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Dmitri Smirnov: Arias & Songs

Manufacturer: Pearl
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

General | Arias | Opera & Vocal | Styles | Music

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Italian | Languages | Opera & Vocal | Styles | Music

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General | Folk | Styles | Music
ASIN: B000000WRA
Release Date: 1997-02-18

Tracks:

Il Barbiere di Siviglia: Se il mio nome saper voi bramate
La Traviata Lungi: Lungi da lei per me...De' miei bollenti spiriti
Rigoletto: Questa o quella
Tosca: Recondita armonia
Tosca: E lucevan le stelle
Iris: Apri la tua finestra
Mefistofele: Giunto sul passo estremo
Werther: Pourquoi me reveiller
Romeo et Juliette: L'amour, l'amour ... Ah, leve toi soleil!
Manon: Je suis seul ... Ah! Fuyez, douce image
Lohengrin: In fernem Land
Eugene Onegin: In Your House
Eugene Onegin: Faint Echo Of My Youth
Eugene Onegin: I Love You, Olga
Dobrinya Nikitich: Flowers Were Growing In The Fields
Sadko: Song Of The Indian Guest
Sadko: Blue Is The Vast Sea
Songs Of Grusia No. 4: O Cease Thy Singing, Maiden Fair
Before My Window, Op. 26 No.10
Lilacs, Op. 21 No. 5
Non m'amate piu
Berceuse
Song Of The Volga Boatman
Ay, Ay, Ay

Track Listings:

Track Listings

track listings

Track Listings

The Law

A Celebration of the Rieger Organ of the University of South Africa in Pretoria

2nd Blues Album

Solid

Rock Music rock-music-25

4.0

1936-1950

20th Century Flute Sonatas

Zen Cappuccino

Zoot

Zen Arcade

Vuelven Chicas del Rock

Viva Mexico

Step Down from Luxury

Jazz Elegance

1. 2 Up 1 Down
2. First Encounter, Pt. 1
3. First Encounter, Pt. 2
4. Mix and Match, Pt. 1
5. Mix and Match, Pt. 2
6. Foreplay to T-Chord
7. Love-Drift
8. Tango Tea Parties
9. Punching Bag, Pt. 1
10. Punching Bag, Pt. 2: Secret Love
11. Wagner, Le Franco-Allemand
12. River Run
13. Overweight Baggage, Pt. 1
14. Overweight Baggage, Pt. 2
15. Overweight Baggage, Pt. 3