Theatre Music

Editorial Reviews
Amazon.com
This disc contains excerpts, including some vocal numbers, from six of Carl Nielsen's scores for Danish plays. Some of the items are simple songs, others large-scale orchestral interludes and overtures. In general, they show the same inventiveness and interest of Nielsen's better-known works (such as his symphonies). This isn't the ideal disc to make the acquaintance of this wonderful composer; try his major orchestral works (like the symphonies and concertos) for that. But if you already know, and like, Nielsen's music, this disc will provide some fascinating discoveries, all quite well performed. --Leslie Gerber

Theatre Music, Music, Nielsen, Veto, Classical
The Andrew Lloyd Webber Collection
Average customer rating: 4 out of 5 stars
  • The Andrew Lloyd Weber Collection
  • Andrew Lloyd Webber
  • The Andrew Lloyd Webber Collection
  • The Best You'll See from Sarah
  • The Angel of Music
 The Andrew Lloyd Webber Collection

Manufacturer: Decca Broadway
ProductGroup: Music
Binding: Audio CD

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  1. Love Changes Everything: The Andrew Lloyd Webber Collection, Vol. 2
  2. Sarah Brightman Classics
  3. Time to Say Goodbye
  4. La Luna
  5. Harem

ASIN: B00000I0XW
Release Date: 1999-06-01

Tracks:

  1. The Phantom Of The Opera: The Phantom Of The Opera
  2. Song & Dance: Unexpected Song
  3. Aspects Of Love: Chanson D'enfance
  4. The Phantom Of The Opera: All I Ask Of You
  5. Evita: Don't Cry For Me Argentina
  6. Evita: Another Suitcase In Another Hall
  7. Aspects Of Love: Love Changes Everything
  8. Friends For Life
  9. Cats: Memory
  10. Cats: Gus: The Theatre Cat
  11. Aspects Of Love: Anything But Lonely
  12. Cats: Macavity: The Mystery Cat
  13. Tell Me On A Sunday/Song & Dance: Tell Me On A Sunday
  14. The Phantom Of The Opera: Wishing You Were Somehow Here Again
  15. Requiem: Pie Jesu
  16. The Phantom Of The Opera: The Music Of The Night

Amazon.com essential recording

Sarah Brightman's career was launched by her success in Andrew Lloyd Webber's Phantom of the Opera, so it's no surprise to hear the soprano paying homage to the composer on this disc. Really a Brightman best-of, the album includes the Phantom theme (a duet with Michael Crawford), the light-opera fare of "Chanson D'enfance" from Aspects of Love, "Don't Cry for Me, Argentina" from Evita, and numerous other Lloyd Webber classics. Throughout, Brightman's diminutive voice lends a fragility to these musical theater tunes that you'll either love or despise. On Evita's "Another Suitcase, Another Hall" and Cats' "Memory," she literally chirps through the vocal lines. No matter. The growing legion of Brightman fans wouldn't have it any other way. --Jason Verlinde

Album Details

Another Compilation of Stage Favourites - Some Tracks Are Hard to Find Elsewhere.

Customer Reviews:

5 out of 5 stars The Andrew Lloyd Weber Collection.......2007-05-12

Sarah Brightman sings in good form classic songs and does a great job!!

5 out of 5 stars Andrew Lloyd Webber .......2007-02-12

Excellent Broadway music--a true master. Sing along or just listen. First heard her on PBS.

5 out of 5 stars The Andrew Lloyd Webber Collection.......2007-01-05

Sarah Brightman has always been a favorite of mine, and this CD is outstanding. The duet with Jose Carreras (Friends for Life) is especially good--worth buying the CD for that song alone.

5 out of 5 stars The Best You'll See from Sarah.......2006-09-09

This CD is - wow! I have so much to say about it and so little time! This album features three pieces from "The Phantom of the Opera" - Wishing You Were Somehow Here Again, The Music of the Night, and The Phantom of the Opera theme. They're all beautiful. The second piece on the album is "Unexpected Song". It has beautiful octaves and orchastrations. Chanson d'Efance is an amazing French piece with vibrato - and then some. I forgot to mention that there is another piece from The Phantom of the Opera - All I Ask of You - except that the song is not sung by the original cast from the musical. The next few pieces are fairly decent, until you get to Memory from Cats. WOW - is it spectacular! Then we get to two other pieces from Cats - Gus: The Theater Cat and Macavity: The Mystery Cat. Gus is a song that just tells about a cat and his history. A man speaks the lines that Gus would say in the actual musical - and it makes the song interesting. Macavity is AWESOME! I know that I said that I didn't prefer this song for Brightman on her album "Surrender". I finally listened to it more carefully, and found that it's really interesting to listen to! My favorite song on the whole entire album - however - has to be "Tell Me on a Sunday". Beautiful lyrics, orchestrations, and overall spectacular voice talent ties the whole song together. Pie Jesu is a fairly nice piece from both Brightman and Paul Miles-Kingston - the 16 year old boy soprano. His voice is pure and straight with minimal vibrato. However, Brightman's voice shows a little bit TOO much vibrato! Overally, it's a good piece from Andrew Lloyd Webber's Requium. THIS CD IS AMAZING! If you love Sarah from the Phantom of the Opera, then this collection of Lloyd Webber's work is just for you.

I also recommend Charlotte Church - (in her earlier career) - including Voice of an Angel and her self-titled album. I also recommend Love Changes Everything - The Andrew Lloyd Webber Collection Vol.2 - just another grouping of Webber's classics. I also recommend Andrea Boucelli - he's awesome!

5 out of 5 stars The Angel of Music.......2006-03-13

This is the third copy of this I've purchased. I wear them out listening to them. Awesome, Awesome music. Sarah's range and depth is so powerful!
Russian Album
Average customer rating: 5 out of 5 stars
  • Love of her home land
  • beautiful music
  • Great CD.
  • I love it when she sings in Russian!!
  • beauty and the beast
 Russian Album
Anna Netrebko , Orchestra of the Mariinsky Theatre , and Valery Gergiev
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B000IZK4YE
Release Date: 2007-01-09

Tracks:

  1. Iolanta: "Otago eto preide ne znala ni toski ya" (Iolanta)
  2. Twelve Songs op. 21: No. 7: "Zdes' khoroso" ("How beautiful it is here")
  3. Six Songs op. 4: No. 4: "Ne poy, krasavica" ("Oh, do not sing to me")
  4. The Tale of Tsar Saltan: Aria: "Tï, carevic, moy spasitel" (Swan Princess)
  5. The Snow Maiden: Scene and Aria: "A-u, a-u!" - "Akh, bednaya Sneguroaka,
  6. The Snow Maiden: Finale: "Velikiy car'! Sprosi menya sto raz" (Snow Maiden, Tsar, Misgir, Chorus)
  7. The Tsar's Bride: Scene and Aria: "Ivan Sergeyic, khoces'" (Marfa)
  8. Six Romances op. 38: No. 6: Pimpinella - Florentine Song "Yesli tï
  9. A Life for the Tsar: Cavatina and Rondo: "V pole, pole, cistoye glyazu" (Antonida)
  10. War and Peace: Aria: "Cudo, kak khorosa ona" (Natasha, Anatol, Sonya, Count Rostov)
  11. Francesca da Rimini: "O, ne riday, moy Paolo, ne nado ..." (Franceska)
  12. Eugene Onegin: Letter Scene: "Puskay pogibnu ya, no prezde" (Tatyana)

Amazon.com

This is a collection of well-to-lesser-known Russian arias by composers from Glinka to Prokofiev, with stops along the way for Tchaikovsky, Rimsky-Korsakov, and Rachmaninov. The lovely Anna Netrebko remains a glamorous singer, pure of voice, with always-musical phrasing and some exquisitely high soft singing. Particularly fine are a little-known Tchaikovsky Romance with castanets, bassoon, and piccolo adding color; the vivid, Italianate selection from Glinka's A Life for the Tsar; two lyrical Rachmaninov songs (here scored for orchestra); and the Letter Scene from Eugene Onegin, which is delivered with the drama of a true singing actress. Otherwise, many of the arias here are slow and have a certain sameness about them. Netrebko sometimes just sings instead of getting inside them. Netrebko's Italian output so far has been far more exciting, but it's great to have this Russian repertoire sung so beautifully on CD. --Robert Levine

Album Description

After astonishing debuts as an unknown young singer, Anna Netrebko is now one of the world's favorite opera heroines. Now, for the first time, she's ready to lavish her pure, powerful voice on composers from her homeland, in a program of some of the most beautiful arias and songs in the Russian repertoire. Russian Songs is a deeply personal recording, made in the opera house where she first found stardom, St. Petersburg's Mariinsky Theatre, and conducted by Anna's mentor and friend who has championed her from the start: Valery Gergiev. This collection includes Anna in her signature role, Natasha from Prokofiev's War and Peace - which launched her career at the Metropolitan Opera in 2002. In addition. Anna gives listeners a taste of roles yet to come with Tatiana's letter scene from Tchaikovsky's Eugene Onegin. Anna Netrebko has made it her mission to bring opera to a wider public. Following the huge success of her last solo recording Sempre Libera and the acclaimed Salzburg La Traviata releases, Anna will show once again that she knows how to captivate audiences.

Album Description

2006 album from this Russian Opera singer who has stunned critics and audiences alike with her good looks and heart-stopping voice. Features Netrebko tackling some of Russia's most esteemed musical works from composers such as Prokofiev, Rimsky-Korsakov, Rachmaninov and more. Universal.

Customer Reviews:

5 out of 5 stars Love of her home land.......2007-05-23

Here at last is the Anna Netrebko that has been some what missing from previous encounters on CD.This is a woman whose deep love and regard for her homeland are much in evidence from the first to the last notes .Often in reviews comments are made a the darkness of her voice ,here it is perfect and at home with the somber tones of the great land that has so much to offer the world of music .
The beautiful warmth of her vocal range gives a brilliant tapestry of sound to the album, bringing to life the various characters she portrays ,with her penultimate portrayal of Natasha in Prokofiev's War and Peace,we can only hope to see her preform it one day for western audiences.
Many feel that Anna Netrebko lacks substance ,this I feel is unfair as she has many years to go to reach her peak ,this album shows that she has the range, the talent and the intelligence to make herself one of the greatest sopranos of all time

5 out of 5 stars beautiful music.......2007-05-17

indeed beautiful music and beautiful russian songs, it's just a "must have" for every music lovers.

5 out of 5 stars Great CD........2007-05-07

This CD combines knowledgeable artists about the subject of Russian music, unsurpassed talent by the singer, and a superb sound production. This is world class stuff you can get just for a few bucks.

5 out of 5 stars I love it when she sings in Russian!!.......2007-04-30

I find myself always using food metaphors to describe voices... Netrebko is amazing in any language certainly (like perfectly oaked chardonnay), but when she sings in Russian... The thing that comes to mind is 'amuse bouche' - it's like every phrase sung is a scrumtious little morsel delicately prepared and bursting with flavour. Ahhhh.... Delicious!

5 out of 5 stars beauty and the beast.......2007-04-12

I haven't come across statistical records of how often beauty,in a women,meets talent,but surely this is the case. Anna's voice is a mirror image of her features: clean and seductive,yet powerful. She controls the beast(that's how I would rename "lirica",as we call opera music) to her pleasure,modulating softeness and power to perfection. If performing russian opera music was intended to be a further test to her capabilities, well singing in her mother language has only confirmed her as really outstanding. Anna has added a touch of russian romanticism to the execution of this beast.
Jerry Hadley - Golden Days - Tenor hits from the Golden Age of Operetta
Average customer rating: Not rated
    		Jerry Hadley - Golden Days - Tenor hits from the Golden Age of Operetta

    Manufacturer: RCA
    ProductGroup: Music
    Binding: Audio CD

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    ASIN: B000003FQQ
    Release Date: 1994-08-16

    Tracks:

    1. Song of the Vagabonds
    2. I'm Falling in Love With Someone
    3. Streets of New York
    4. Neapolitan Love Song
    5. Desert Song/One Alone
    6. Every Day Is Ladies' Day with Me
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    9. Drinking Song
    10. When You're Away
    11. I Love to Go Swimmin' With Wimmin
    12. I Might Be Your Once-In-A-While
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    Sacred Songs
    Average customer rating: 4 out of 5 stars
    • I hate to be rude, but . . .
    • Outstanding
    • Sacred Songs
    • My favorite of Fleming's CDs so far
    • Inspiring and beautiful
    		 Sacred Songs

    Manufacturer: Decca
    ProductGroup: Music
    Binding: Audio CD

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    ASIN: B000AM6OXK
    Release Date: 2005-09-27

    Tracks:

    1. Ave Maria
    2. Jesu bleibet meine Freude
    3. Dank sei dir, Herr
    4. Ave Maria, D839
    5. Laudamus te
    6. Panis Angelicus
    7. Air: "He shall feed his Flock"
    8. Simple Song
    9. Pie Jesu
    10. Domine Deus
    11. Laudate Dominum omnes gentes
    12. Air: Rejoice greatly, o daughter of Zion
    13. Abends will ich schlafen gehn
    14. L'Adieu des bergers
    15. Mariiegenlied, Op.76/52
    16. Amazing Grace

    Amazon.com

    This lovely CD features Renée Fleming singing religious music in an unaffected, lovely manner. Many favorites are here: both the Bach/Gounod and Schubert versions of "Ave Maria," each offered with long breaths and soft tone; "Rejoice Greatly" from Messiah, delivered with virtuosity and gleaming sound, and "He Shall Feed His Flock," also from Messiah, sung in a smooth, laid-back manner. Bits of the Fauré Requiem and Poulenc Gloria are welcome, as is the gorgeous "L'Adieu des Bergers" from L'Enfance du Christ. In the prayer from Humperdinck's Hansel und Gretel, Fleming is joined by the splendid Susan Graham, and a version of "Amazing Grace" features Mark O'Connor on violin. Two excerpts from Mozart's Mass in C Minor, pieces by Reger and Franck, and a few surprises round out this devotional CD. --Robert Levine

    Customer Reviews:

    3 out of 5 stars I hate to be rude, but . . ........2007-05-06

    As stated earlier, I hate to be rude. However, Renee Fleming is not one of the greatest singers that I have heard. At many times, it sounds as if she is drunk, sliding into her notes at times. She also has a habit of hitting a note, and then quickly moving up or down for "dramatic effect". I'm sorry, but I just cannot listen to this. I know that everyone has their own opinions, and this is mine.
    She is still a beautiful woman, and always will be. I have seen her concerts online, and she ISN'T bad, it's just that she doesn't have what I'm looking for in an opera singer!

    5 out of 5 stars Outstanding.......2007-03-07

    I had seen this program on PBS and wanted the CD. Wonderful selection
    of music and Renee Fleming's outstanding voice.

    4 out of 5 stars Sacred Songs.......2007-01-21

    I always look for new presentations of Christmas songs. Rene Flemming did an excellent job in this recording. She has a super voice but sometimes the words of the song get lost in her singing style

    5 out of 5 stars My favorite of Fleming's CDs so far.......2006-12-07

    There are only two cuts on this CD I tend to flip past (Amazing Grace and the Leonard Bernstein cut), but other than them, I totally love the rest! The cuts in German are divine! I could listen to this CD over and over again.

    5 out of 5 stars Inspiring and beautiful.......2006-07-20

    I've always loved Renee Fleming's singing and this most recent album is just beautiful in every way. A rich voice, beautiful singing and a devout and magnificent artist. She makes even the most notorious evergreens come to life anew. I enjoyed it very much.
    Bizet: Carmen (complete opera) with Maria Callas, Nicolai Gedda, Georges Pretre, Paris Opera Orchestra
    Average customer rating: 4.5 out of 5 stars
    • K.Teezy
    • Bizet: Carmen (Callas, Gedda, et al)
    • Imperfect? Maybe. Worthwhile? Yes!
    • Throw me into solitary confinement with this CD
    • Callas...Callas...Callas...
    		 Bizet: Carmen (complete opera) with Maria Callas, Nicolai Gedda, Georges Pretre, Paris Opera Orchestra
    Georges Bizet , Maria Callas , Nicolai Gedda , Georges Prêtre , Orchestre de Théâtre National de l'Opéra de Paris , Choeurs René Duclos , Robert Massard , Jane Berbié , Andrea Guiot , and Claude Cales
    Manufacturer: EMI Classics
    ProductGroup: Music
    Binding: Audio CD

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    3. Verdi: La Traviata (complete opera live 1955) with Maria Callas, Giuseppe di Stefano, Carlo Maria Giulini, Orchestra & Chorus of La Scala, Milan
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    ASIN: B000002RXS
    Release Date: 1997-08-19

    Tracks:

    1. Carmen: Prelude - (Orchestre)
    2. Carmen: Act One: Sur la place - (Choeur/Morales/Micaela)
    3. Carmen: Act One: Avec la garde montante - (Choeur d'enfants/Morales/Jose)
    4. Carmen: Act One: C'est bien la, n'est-ce pas
    5. Carmen: Act One: La cloche a sonne... Dans l'air, nous suivons des yeux la fumee - (Choeur)
    6. Carmen: Act One: Quand je vous aimerai ?... L'amour este un oiseau rebelle - (Carmen/Choeur)
    7. Carmen: Act One: Carmen ! sur tes pas, nous nous pressions tous ! - (Choeur/Carmen/Jose)
    8. Carmen: Act One: Quels regards ! Quelle effrontere !
    9. Carmen: Act One: Parle-moi de ma mere !
    10. Carmen: Act One: Reste la, maintenant, pendant que je lirai - (Jose/Micaela)
    11. Carmen: Act One: Que se passe-t-il donc la-bas?...Au secours! Au secours! - (Zuniga/Choeur)
    12. Carmen: Act One: Mon officer, c'etait une querelle - (Jose/Zuniga/Carmen)
    13. Carmen: Act One: Pres des remparts de Seville - (Carmen/Jose)
    14. Carmen: Act One: Voico l'ordre; partez - (Zuniga/Carmen)
    15. Carmen: Entr'acte - (Orchestre)
    16. Carmen: Act Two: Les tringles des sistres tintaient - (Carmen)
    17. Carmen: Act Two: Messieurs, Pastia me dit - (Frasquita/Zuniga/Carmen/Mercedes)
    18. Carmen: Act Two: Vivat ! vivat ! le Torero ! - (Choeur/Zuniga)
    19. Carmen: Act Two: Votre toast, je peux vous le rendre -(Escamillo/Choeur)
    20. Carmen: Act Two: La belle, un mot - (Escamillo/Carmen/Zuniga)
    21. Carmen: Act Two: Eh bien ! vite, Quelles nouvelles ?.. Nous avons en tete une affaire - (Frasquita/Le Dancaire/Mercedes/Le Remendado/Carmen)

    Tracks:

    1. Carmen: Act Two: Mais qui donc attends-tu? - (Le Dancaire/Carmen/Le Remendado)
    2. Carmen: Act Two: Halte-l- (Jose/Carmen/Frasquita/Mercedes/Le Dancaire/Le Remendado)
    3. Carmen: Act Two: Enfin c'est toi! ...Tout doux, Monsieur, tout doux
    4. Carmen: Act Two: La fleur que tu m'avais jet...Non, tu ne m'aimes pas - (Carmen/Jose)
    5. Carmen: Act Two: Holarmen! HolHol- (Zuniga/Jose/Carmen/Le Dancaire/Le Remendado)
    6. Carmen: Entr'acte - (Orchestre)
    7. Carmen: Act Three: oute, ecoute, compagnon, ecoute - (Choeur/Le Dancaire/Remendado/Jose/Carmen/Mercedes/Frasquita)
    8. Carmen: Act Three: Reposons-nous une heure ici, mes camarades - (Le Dancaire/Carmen/Jose)
    9. Carmen: Act Three: Mns! Coupons! - (Frasquita/Mercedes/Carmen)
    10. Carmen: Act Three: Eh bien? - (Carmen/Le Dancaire/Frasquita)
    11. Carmen: Act Three: Quant au douanier, c'est notre affaire - (Carmen/Mercedes/Frasquita)
    12. Carmen: Act Three: C'est des contrebandiers le refuge ordinaire...Je dis, que rien ne m'epouvante
    13. Carmen: Act Three: Je ne me trompe pas...c'est lui sur ce rocher - (Micaela)
    14. Carmen: Act Three: Quelques lignes plus bas...HolholJos (Escamillo/Jose/Carmen/Le Dancaire/Micaela/Frasquita/Mercedes/Remendado/Choeur)
    15. Carmen: Entr'acte - (Orchestre)
    16. Carmen: Act Four: A deux cuartos! A deux cuartos! - (Choeur/Zuniga)
    17. Carmen: Act Four: Les voici! voici la quadrille! - (Choeur/Escamillo/Carmen/Frasquita)
    18. Carmen: Act Four: C'est toi!...Carmen, il est temps encore ...Viva! viva! la course est belle! - (Carmen/Jose/Choeur)

    Amazon.com essential recording

    This recording was made near the end of Maria Callas's career. It is a role she never sang onstage, but it suited her almost perfectly, and she gives a deep, compelling performance on this recording. The mezzo-soprano tessitura was comfortable for her voice, and the role did not call for a pretty sound. Nor did the recording studio require the kind of huge vocal power expected in an opera house. And furthermore, the character of a strong-willed, capricious, sexually compelling woman who thinks exclusively of herself was close to the offstage personality that made Callas so famous. --Joe McLellan

    Customer Reviews:

    5 out of 5 stars K.Teezy.......2007-07-11

    Received the product in a very timely manner....I've enjoyed listening to the CD on the way into work. It helps me relax.

    5 out of 5 stars Bizet: Carmen (Callas, Gedda, et al).......2007-01-10

    Of the many recordings of Carmen that I've owned, this is the best. Callas has the perfect voice for it.

    4 out of 5 stars Imperfect? Maybe. Worthwhile? Yes!.......2006-10-11

    Maria Callas' CARMEN has had at best, a checkered history. It seems to have found a permanent home in many record collections over the years, considering it has been released as an LP, cassette, and now CD, so it's loved by many if not by all the critics. It had some foes before it was released. Callas had never performed CARMEN on stage and in 1964 when the set was first issued, it was believed that a recording should only showcase an artist's best work after years of perfection. Since Maria Callas was Maria Callas, Angel records took a chance and released it, knowing she'd probably never attempt the role on stage. As soon as it was released, there was a noticeable decline in her vocal abilities, which caught many fans off guard. Still, it's stood the test of time. Maria Callas at her not so great is still better than some at their peak, and even if the voice isn't perfect, it still has an expressive quality to it that's evident to anyone who listens to it.

    Maria Callas' performance for this set is interesting. One of the greatest strengths of her singing was her ability to portray a character through her voice and this may be why this set has a loyal following. We feel as if we are encountering the fiery, sensual woman that is Carmen in just about every note that Callas sings. It's hard not to forgive what some critics called an imperfect vocal performance when there is such a passion behind the singing. In the end, we have one of the most original interpretations of the role. Callas is joined by tenor Nicolai Gedda. Technically Gedda's performance cannot be faulted. He hits the notes and sings with ease. For Don Jose, this may not be enough, however. We want Jose to darken vocally as the opera progresses, and this does not happen. Gedda's strength is his beautiful voice that has suited him well in a great array of operas, but it doesn't have the robust quality that tenors such as Domingo or Corelli can bring to the role. For some of the opera's more tender moments, most notably the Don Jose/ Micaela duet in Act I "Parle-moi De Ma Mere," Gedda's light and lyrical voice is a perfect fit. I find the duet astounding and it could arguably be the best rendition of this work, which is due in no small part also to the beautiful voice of Andrea Guiot, who likewise gives a great solo performance in her aria "Je Dis, que rien ne `epouvante". Robert Messard as Escamillo does the job, but lacks the bravado of the confident lady-killer bullfighter he supposed to be. The orchestra and chorus under the direction of Georges Pretre perform beautifully and the smaller roles are all well cast.

    With an opera such as CARMEN, where so many great singers have performed and recorded major roles, there is stiff competition between sets. It also seems as if there isn't one perfect set. Some great Carmens have been paired with lousy casts, and some lousy Carmens have great casts. This set isn't perfect, but overall it has a certain flow to it and for me, it feels like a CARMEN should feel.

    5 out of 5 stars Throw me into solitary confinement with this CD.......2006-01-25

    My favorite singer singing my favorite opera. No other opera is so filled with fresh, innovative melodies... dramatic polar contrasts/opposites, and choir-multiple character interactions. No singer is as clean ( with accurate timing of gasps and rests) dramatic and prolific as Callas. In my mind this is the pinnacle of opera and most definitely of the non-Italian 19th century operatic landscape.

    5 out of 5 stars Callas...Callas...Callas..........2005-12-21

    Even though Callas did not play "Carmen" on stage, she really saw through Carmen. AMAZING.
    In the Real World
    Average customer rating: Not rated
      		In the Real World
      Jerry Hadley , Paul Gemignani , and American Theatre Orchestra
      Manufacturer: RCA
      ProductGroup: Music
      Binding: Audio CD

      Classical MusicClassical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
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      1. Jerry Hadley - Golden Days - Tenor hits from the Golden Age of Operetta
      2. Send in the Clowns: The Ballads of Stephen Sondheim
      3. Kurt Weill - The Rise and Fall of the City of Mahagonny / Peter Zadek · Denis Russell Davies - G. Jones · C. Malfitano · J. Hadley - Salzburg Festival 1997

      ASIN: B000003FMM
      Release Date: 1994-02-15

      Tracks:

      1. My Foolish Heart
      2. Moon Is a Harsh Mistress
      3. In the Real World
      4. Lush Life
      5. What'll I Do?
      6. I Don't Remember Christmas
      7. Here's That Rainy Day
      8. Medley: There Must Be a Way/It Had to Be You
      9. In a Sentimental Mood
      10. She's Good for Me
      11. Sonny Cried
      12. Medley: Just a Boy/Distant Melody
      13. What Would I Do?
      14. My Foolish Heart (Reprise)
      Lotte Lenya sings Kurt Weill's The Seven Deadly Sins & Berlin Theatre Songs
      Average customer rating: 5 out of 5 stars
      • One of the greats
      • I cannot live without this album.
      • Lenya and Weill at their best! Buy It.
      • "An important landmark in dancing history"
      • "An important landmark in dancing history"
      		 Lotte Lenya sings Kurt Weill's The Seven Deadly Sins & Berlin Theatre Songs

      Manufacturer: Sony
      ProductGroup: Music
      Binding: Audio CD

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      CabaretCabaret | Broadway & Vocalists | Styles | Music
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      Similar Items:
      1. Lotte Lenya Sings Kurt Weill / Levine, Lenya, Armstrong, Gilford, et al
      2. The Threepenny Opera (1954 New York Cast) (Blitzstein Adaptation)
      3. September Songs: The Music of Kurt Weill
      4. Ute Lemper Sings Kurt Weill
      5. Weill - The Threepenny Opera / Kollo · Adorf · Dernesch · Lemper · Milva · Reichmann · Tremper · Boysen · RIAS · Mauceri

      ASIN: B0000029YI
      Release Date: 1997-12-09

      Tracks:

      1. The Seven Deadly Sins: Prologue: Andante sostenuto
      2. The Seven Deadly Sins: Idleness: Allegro vivace
      3. The Seven Deadly Sins: Pride: Allegretto, quasi andantino - Schneller Walzer
      4. The Seven Deadly Sins: Anger: Molto agitato
      5. The Seven Deadly Sins: Gluttony: Largo
      6. The Seven Deadly Sins: Lust: Moderato
      7. The Seven Deadly Sins: Avarice: Allegro giusto
      8. The Seven Deadly Sins: Envy: Allegro non troppo - Alla marcia, un poco tenuto
      9. The Seven Deadly Sins: Epilogue: Andante sostenuto
      10. The Threepenny Opera: 'Moritat vom Mackie Messer'
      11. The Threepenny Opera: 'Barbara-Song'
      12. The Threepenny Opera: 'Seerauberjenny'
      13. Aufstief und Fall der Stadt mahogany: 'Havanna-Lied'
      14. Aufstief und Fall der Stadt mahogany: 'Alabama-Song'
      15. Aufstief und Fall der Stadt mahogany: 'Denn Wie Man Sich Bettet'
      16. Happy End: 'Bilbao-Song'
      17. Happy End: 'Surabaya-Johnny'
      18. Happy End: 'Was die Herren Matrosen sagen'
      19. Das Berliner Requiem: 'Ballade vom ertrunkenen Madchen'
      20. Der Silbersee, Ein Wintermarchen: 'Lied der Fennimore'
      21. Der Silbersee, Ein Wintermarchen: 'Casar Tod'

      Amazon.com essential recording

      Whether playing Anna in The Seven Deadly Sins or singing "Moritat vom Mackie Messer" ("Mack the Knife"), Lotte Lenya helped define the music of her husband, Kurt Weill. The duo literally created the soundtrack for the prewar Berlin of our fantasies--an exotic land of nicotine and nightlights--where cabaret, jazz, and the odd American instrumental influence all coexist happily. Now remastered, this collection gathers Lenya's legendary 1957 recordings of Sins and her 1955 recording Sings Berlin Theatre Songs. Forget subtlety--Lenya is all about emotion. On cuts like "Pirate Jenny," Lenya's voice sounds fluttery and frantic, and on "Surabaya-Johnny," her German sounds fragile and sweet, but mostly she's just herself--bittersweet, raw, and (most of all) human. In spirit, Marianne Faithfull, PJ Harvey, and a host of others all kept the torch of Lenya's style going. But after listening to these Berlin theater songs in classic form (and in their original tongue), you'll never hear them the same way again. --Jason Verlinde

      Customer Reviews:

      5 out of 5 stars One of the greats.......2007-04-17

      When I was a student in 1965, the turntable in my college apartment was kept busy spinning The Beatles, Bob Dylan, Broadway show cast albums, Nina Simone and Lotte Lenya. Lotte Lenya? Yes, the widow of German composer Kurt Weill and the star of the legendary 1950s off-Broadway revival of THE THREEPENNY OPERA, who also played James Bond's adversary Rosa Kleb in the movie FROM RUSSIA WITH LOVE. (Rosa Kleb was a martial arts expert with poison knives in the toes of her shoes.) But my theory is that Lotte Lenya enjoyed great cachet with the baby-boomers primarily because of the cover of Bob Dylan's 1965 "Bringing It All Back Home" album. That cover shows Dylan and a brunette woman in a rather elegant setting crammed with books and phonograph records. Prominent among the stack of recordings is Lenya's "Berlin Theatre Songs of Kurt Weill" album. Even though this was the age of "Don't trust anyone over thirty," if Bob Dylan liked Lotte Lenya, then she was okay. I loved everything about her Berlin Theatre Songs album, from the expressionistic cover portrait to all the unfamiliar songs sung in quavery German.

      Now that CDs have made phonograph records obsolete, I've wanted to replace my LP version of the Berlin Theatre Songs for some time. Well, I feel that I've hit the jackpot with this Masterworks Heritage CD reissue which is packaged with the Brecht-Weill THE SEVEN DEADLY SINS, an experimental dance-drama that Brecht and Weill created in Paris after fleeing Nazi Germany. I had never heard THE SEVEN DEADLY SINS. It is a revelation. It could have been written by no one else. The haunting melodies, the offbeat orchestrations and the unorthodox subject matter combine to form a Brecht-Weill classic. I love this music and have played it repeatedly for weeks. Lenya's voice during this period had not yet become raspy and her saucy personality shines through. My German is much better now than it was as a college student and I can at last appreciate Lenya's perfectly enunciated German. I find this recording mesmerizing. The CD is packaged as a foldout album/book, rather than a jewel box. It includes a brief essay by Teresa Stratas and helpful notes by Mario R. Mercado. Also included are more than a dozen sepia-toned photos of the recording session and four beautiful color photographs of Lenya in Hamburg in 1956. And of course, that wonderful Saul Bolasni portrait that graced the original LP is included on the inside cover of the jacket.

      I think this CD is essential. For me, it conjures up a whole era, maybe a whole century. Five stars.

      5 out of 5 stars I cannot live without this album. .......2006-06-09

      The Weill/Brecht "Seven Sins" may not be as famous as the Threepenny, and it's certainly not as long. The songs aren't "catchy"-- no Doors or Darin or David Bowie or Dresden Dolls are going to cover any of the ballet's nine pieces. But, in all its operatic beauty, it's one of my favourite musical works on this planet.

      In short: the Seven Sins is unbelievable. It's Brecht/Weill at their very best. It will latch itself onto your brain, stick its claws into your skull, surpass anything you've ever heard before. From the very start -- just three notes that will, I promise, make you shiver -- to the beautiful, melancholy ending; it's what opera should be like, and it's beyond perfect.

      Miss Lotte Lenya, who was the smartest woman in the world for marrying Kurt Weill TWICE, sings what's probably the definitive version of Anna-Anna. Yes, it's two octaves lower than what was intended (but if it's high-pitched warbling you're after, I can highly recommend the lovely Anne Sofie von Otter version), and some people seem to be slightly allergic to Lotte's voice. Which I still fail to understand. She embodies everything Weill writes -- every word out of her mouth feels just right, just exactly the way it was intended.

      One other version I'm particularly fond of is the one starring Marianne Faithfull. The differences are easy to spot: Marianne sings in English. Marianne sounds more stoic. Marianne's choir is more overwhelming, but smoother, though the pieces don't fit together quite as well. Marianne is just slightly faster, less emotional, slightly sweeter. Lotte, on the other hand, gives it everything she's got -- never holds back -- and fills the part with emotion. Lotte's choir is tinny, Berlin-y cabaret-y. Lotte's orchestra is much more solid. And Lotte toys more with the lyrics. Both versions are perfect, and I would VERY highly recommend buying both if you can afford it, if just to compare.

      Just like Marianne's CD, this album is filled up with as much other Brecht/Weill stuff as would still fit on the disc. The final notes of the Seven Sins epilogue are quickly followed with a gorgeous full Mack The Knife (yes, uncensored), an unbelievable (and definitive) Pirate Jenny, an Alabama Song... pretty much everything these people are famous for, and even some rather obsure songs. The orchestra and background singers mix perfectly with Lotte's vocals on every track. There's not a single flaw -- not in the music, not in the recording quality, nothing -- every bit of it is as perfect as these songs get.

      Whether you're just starting out collecting Berlin cabaret, or finally look to complete your collection, this album is simply something you can't NOT buy. So buy it. Buy it. Yes. Excellent. And, if you're searching for more excellent related stuff, here's some other CDs I can recommend:

      - Die Dreigroschenoper: 1999 version, starring Nina Hagen, Max Raabe, HK Gruber
      - The Threepenny Opera: 1954 Blitzstein adaptation (English softened version)
      - Jasperina de Jong - Sieben Rosen hat der Strach (Brecht tribute)
      - Cathy Berberian - The Unforgettable
      - The Tiger Lillies - Twopenny Opera (It's One Cheaper)

      And a final note: avoid the Ute Lemper version at all costs. She's a great singer, absolutely, but will never be Anna-Anna.

      5 out of 5 stars Lenya and Weill at their best! Buy It........2005-11-04

      'Lotte Lenya sings Kurt Weill's The Seven Deadly Sins and Berlin Theatre Songs' is a single CD combining two separate 1955 LPs recorded in Germany, five years after the death of husband and composer, Kurt Weill.

      As a lifelong Weill fan who has heard many different interpretations of these songs most notably from Ute Lemper and Maria Stratas, I was struck by how dramaticly better was Lenya's performance of the lyrics. I think this goes far beyond the fact that many of these works were written specifically to be performed by Lenya in Berlin between 1927 and 1933. It is obvious to my ear that even though Lemper is a great cabaret singer, Lenya trumps this with years of performing on the live stage without the aid of electronic amplification.

      Lenya does 'Die Sieben Todsunden' with the version done for a lower voice (same as Lemper) rewritten for her by Weill. As other reviewers have noted, this was originally a combination ballet / song cycle commissioned in Germany by George Balanchine where the singer and the ballerina perform two sisters, both named Anna.

      None of the individual songs are nearly as popular on their own as the following collection of songs from the German works, 'The Threepenny Opera', 'Mahagonny', and 'Happy End'.

      My first encounter with Lotty Lenya's singing was on a Columbia collection done on vinyl in the 1960s, done, probably following on her appearance in the second James Bond movie, 'From Russia, With Love' as the Russian Colonel Klebb. I think this recording is far superior to that issue or to any other recent recording where Lenya does songs she never performed on the stage.

      5 out of 5 stars "An important landmark in dancing history".......2001-06-16

      The seven Deadly Sins was commissioned as a dance piece for Les Ballets 1933 with choreography by George Balanchine, Balanchine re-staged it at the New York City Ballet with Lenya at 1958. Anna Sokolow who has difficulties to work with Bertold Brecht to close (Galileo), gave her own independent interpretation to this play as a director with Netherland Dance Theatre in 1967 and at Detroit in 1967 (Cleo Laine).

      5 out of 5 stars "An important landmark in dancing history".......2001-06-16

      The seven Deadly Sins was commissioned as a dance piece for Les Ballets in 1933 with choreography by George Balanchine. Balanchine restaged it at the New York City Ballet with Lenya in 1958. Anna Sokolow who had difficulties working with Bertold Brecht closely (Galileo), gave her own interpretation to this play as a director with Netherlands Dance Theatre in 1967 and in Detroit in 1976 (Cleo Laine, Mary Hinkson), and in Boston in 1990.
      Music for a Darkened Theatre, Vol. 1: Film & Television Music
      Average customer rating: 4.5 out of 5 stars
      • Great compilation - and that's just the first half.
      • The best of Elfman!!!
      • Great Collection, A LIttle Too Eclectic
      • What Great Music
      • super
      		 Music for a Darkened Theatre, Vol. 1: Film & Television Music

      Manufacturer: Fontana Mca
      ProductGroup: Music
      Binding: Audio CD

      Elfman, DannyElfman, Danny | ( E ) | Featured Composers, A-Z | Classical | Styles | Music
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      ASIN: B000002OEB
      Release Date: 1990-10-15

      Tracks:

      1. Excerpts From: Pee Wee's Big Adventure
      2. Excerpts From: Batman
      3. Excerpts From: Dick Tracy
      4. Excerpts From: Beetlejuice
      5. Excerpts From: Nightbreed
      6. Excerpts From: Darkman
      7. Excerpts From: Back To School
      8. Excerpts From: Midnight Run
      9. Excerpts From: Wisdom
      10. Excerpts From: Hot To Trot
      11. Excerpts From: Big Top Pee Wee
      12. Excerpts From: The Simpsons
      13. Excerpts From: Alfred Hitchcock Presents: The Jar
      14. Excerpts From: Tales From The Crypt
      15. Excerpts From: Face Like A Frog
      16. Excerpts From: Forbidden Zone
      17. Excerpts From: Scrooged

      Customer Reviews:

      4 out of 5 stars Great compilation - and that's just the first half........2005-09-14

      I first got this on cassette in the summer of '94 and listened to it every day, drawn by its thematic range and compositional depth. And that was just side-one.

      Elfman pioneered the sound that drives today's movie adaptations of comic-books and darker-themed children's stories. Side-One kicks things off with a rollicking, hyper-cartoonish theme from the first Pee-Wee movie - the one where Pee-Wee searches for his beloved bike. Elfman's theme contains layers of different rides - on tightropes, highways, in the middle of a NASCAR rally - which rudely yet melodically crash into each other.

      The Batman entry actually contains several pieces - the opening credits, the extended sequence in the cathedral and the climax - which show Batman's darkened extreme at its "Frank Miller" best. (Dir. Tim Burton couldn't sustain the mood in the next sequel, and the franchise took a turn towards the camp of the TV series with the next 2 movies.)

      The theme for "Dick Tracy" is perhaps the most romantic on this disc, a quality that surpasses the theme's comic-book origins, but ends on an ironic note that's pure Elfman.

      "Beetlejuice" (opening & closing credits) gives Elfman's childish ID a chance to stretch its legs, or in this case, slam-dance.

      "Nightbreed" is an enigma wrapped in a dark mystery, and that's just Elfman's score. Elfman's work on this movie is as good as the movie wasn't, having a more powerful narrative than the script - easily the best track on the entire disc, one likely to exceed the movie in its dose of chills.

      "Darkman" doesn't quite rise to the occasion, though the score may be hobbled by the movie itself, which seldom surpassed one of the many "Batman" clones of the early 1990's. "Darkman" (the movie, I mean) excelled as a parody of many comicbook staples (the wronged hero, the relentless villain, the scientific breakthrough with just one flaw), but not enough to escape being largely anonymous. Within those constraints, it's still a moving if scary piece.

      When is Elfman not like Elfman? When he was in the mid-late `80's and scored "Back to School" (A Rodney Dangerfield vehicle) and "Midnight Run". Horns in "School" bring it closer to Elfman's over-the-top style, while "Run" sounds like a love-theme for the run-down, out-of-the-way parts of America that seldom appear in Elfman-movies. "Run" is a fun score for a fun movie - it's nothing like Elfman's previous work but it perfectly captures the on-the-road-without-a-map craziness of the movie.

      To this day, I don't know why I never ventured to Side-two, but it's irrelevant. Even half this disc is worth it

      5 out of 5 stars The best of Elfman!!!.......2005-09-05

      I was obsessed about getting this CD right from when I heard about it. I found it at the library and was so excited about it, and it didn't let me down. In fact, it was a lot better than I expected. It's a fun and creepy (strange mix, but it really works!) collection of Danny Elfman's film and television soundtracks. The first track, Pee Wee's Big Adventure, is probably my favorite. Also, I really like Batman and Wisdom. Batman is creepy and dark, and Wisdom is just weird, in the best possible way.
      I'd recommend this to anyone who likes film music, or everyone who is even the tiniest bit an Elfman fan. It's amazing!

      4 out of 5 stars Great Collection, A LIttle Too Eclectic.......2003-08-19

      You should be able to tell from the movies and TV shows listed here whether or not you'd be interested in this collection. It's a little too eclectic for my tastes (hence only 4 stars) but better than volume 2. I think thatthe miscellaneous collected ites here along with the previously unreleased stuff should make this worth buying. Especially if you're a fan of Elfman's movie soundtrack work.

      5 out of 5 stars What Great Music.......2003-05-11

      I fell in love with the music of Danny Elfman when Beetlejuice came out. There was something different about the music that he made. When Edward Scissorhands, and then Nightmare Before Christmas - I knew this man was a musical master. Its the verbal form of surrealism.

      5 out of 5 stars super.......2003-04-17

      What a great CD. Danny's music is so original and inventive. this CD contains his pre 90's quirky, gothic music. it's all very well written and beautifully orchestrated. batman and darkman contain some really excellent long, dark, gothic cues that really take u away from reality. in my opinion no one, apart from howard shore, is as inventive and original as danny in the world of filmmusic. he far surpasses the repetitive works of williams or horner. buy this, and volume two, and keep supporting one of the greatest film composers of all time.ohh...and buy fellowship of the ring and two towers by howard shore....amazing work!
      Send in the Clowns: The Ballads of Stephen Sondheim
      Average customer rating: 4 out of 5 stars
      • Wonderful songs
      		 Send in the Clowns: The Ballads of Stephen Sondheim

      Manufacturer: RCA Victor
      ProductGroup: Music
      Binding: Audio CD

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      1. Comedy Tonight: Stephen Sondheim's Funniest Songs
      2. Sondheim - A Celebration at Carnegie Hall (1992 Concert Cast)
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      4. The Sondheim Collection (Studio Cast Re-recordings)
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      ASIN: B00006LSQJ
      Release Date: 2002-10-22

      Tracks:

      1. Send In The Clowns (From 'A Little Night Music') - Cleo Laine
      2. Losing My Mind (From 'Follies') - Barbara Cook
      3. I Remember (From 'Evening Primrose') - David Korman
      4. Liasons (From 'A Little Night Music') - Hermione Gingold
      5. With So Little To Be Sure Of (From 'Anyone Can Whistle') - Jerry Hadley
      6. Not A Day Goes By (From 'Merrily We Roll Along') - Bernadette Peters
      7. Pretty Women (From 'Sweeney Todd') - Michael Rupert
      8. In Buddy's Eyes (From 'Follies') - Barbara Cook
      9. No One Is Alone (From 'Into The Woods') - Cleo Laine
      10. Johanna (From 'Sweeney Todd') - Victor Garber
      11. So Many People (From 'Saturday Night') - Suzanne Henry
      12. Sorry-Grateful (From 'Company') - Stephen Collins
      13. Too Many Mornings (From 'Follies) - Barbara Cook
      14. Finishing The Hat (From 'Sunday In The Park With George') - Mandy Patinkin
      15. Not While I'm Around (From 'Sweeney Todd') - Angela Lansbury
      16. Like It Was (From 'Merrily We Roll Along') - Julie Andrews
      17. Unworthy Of Your Love (From 'Assassins') - Annie Golden
      18. Anyone Can Whistle (From 'Anyone Can Whistle') - Cleo Laine

      Customer Reviews:

      4 out of 5 stars Wonderful songs.......2003-02-07

      If you're a Sondheim ballad fan, this a must-have. While there are a few renditions that aren't great (Not a Day Goes By is way overdone), the selections from Follies sung by Barbara Cook are outstanding. The Cleo Laine version of "Send in the Clowns" is lovely and Stephen Collins does an amazing good job on "Sorry-Grateful" from Company. Still, it's the Follies songs that truly shine!
      Delibes - Lakmé / Mesplé, Burles, Soyer, Millet, Opéra-Comique, Lombard [highlights]
      Average customer rating: 4.5 out of 5 stars
      • Great treat for the musical omnivore
      • Delibes Lakme
      • did not order
      • Lakme
      • Classic Lakme
      		Delibes - Lakmé / Mesplé, Burles, Soyer, Millet, Opéra-Comique, Lombard [highlights]
      Léo Delibes , Choeurs et Orcestre du Théâtre National de l'Opéra-Comique , Alain Lombard , Mady Mesplé , Danielle Millet , Charles Burles , Roger Soyer , and Jean-Christophe Benoît
      Manufacturer: EMI Classics
      ProductGroup: Music
      Binding: Audio CD

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      Similar Items:
      1. The Most Famous Opera Duets
      2. Rapture: Opera's Most Heavenly Moments
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      5. Aria: A Passion for Opera

      ASIN: B000002S1Q
      Release Date: 1990-05-15

      Tracks:

      1. Lakme: Prelude
      2. Lakme: Act I: Duettino: 'Viens, Mallika...'
      3. Lakme: Act I: Air: 'Prendre Le dessin...' (Gerald)
      4. Lakme: Act I: Recit Et Strophes: 'Les Fleurs Me Paraissent Plus Belles' (Lakme)
      5. Lakme: Act I: Duo: 'D'ou Viens-Tu?' (Lakme, Gerald)
      6. Lakme: Act II: Stances: 'C'est Un Pauvre Qui Medie ... Lakme, Ton Doux Regard Se Voile' (Nilakantha)
      7. Lakme: Act II: Scene De La Legende De La Fille Du Paria (Air Des Clochettes): 'Par Les Dieux Inspires ... Ou Va La Jeune Hindoue' (Nilakantha, Lakme)
      8. Lakme: Act II: Duo: 'Lakem, Lakme, C'est Toi' (Gerald, Lakme)
      9. Lakme: Act III: Berceuse: 'Sous Le Ciel Tout Etoile' (Lakme)
      10. Lakme: Act III: Recitatif Et Cantiene: 'Quel Vague Souvenir...' (Lakme, Gerald, Frederic, Nilakantha, Choeur)
      11. Lakme: Duo et finale: 'Tu M'as Donne Le Plus Doux Reve' (Lakme, Gerald, Nilakantha)

      Customer Reviews:

      5 out of 5 stars Great treat for the musical omnivore.......2007-05-18

      'Lakme', a lesser known work by Leo Delibes is not 19th Century opera at it's zenith, but then who wants to listen to 'Tannheuser' or 'Aida' all the time. For those like me who enjoy poking around some of the less familiar corners of world music, this is a great find. It has lots of the same feel of later, 20th century stage music, and the French is a nice change from the German and Italian heaviweights. It also has a few of the very nicest operatic duets in this collection of highlights.

      5 out of 5 stars Delibes Lakme.......2007-05-13

      The music was beautiful and haunting. I am especially fond of Flower Duet and have loved it from the first time I heard it some years ago. This whole recording is great and I have much enjoyed it!

      1 out of 5 stars did not order.......2007-03-11

      I did not order anything and did not receive anything and i told my credit card company to put the charge in "debate"
      murray coe

      5 out of 5 stars Lakme.......2006-01-14

      Mady Mesple is simply the best for this role. Yes, Joan Sutherland is known for this song (and I love Sutherland), but I have to say this opera is Mady's. When I hear the Bell Song sung by Mady - chills go up my spine. Definitely a keeper!

      5 out of 5 stars Classic Lakme .......2003-07-07

      Mady Mesple in her signature role - she made her debut in 1953
      in Lakme and has been considered one of the best exponent of
      the role throughout her distinguised carreer. The archetype of
      the light french coloratura soprano - the voice is small and
      slightly tremoulous but well focused and her technical assu-
      rance (stupendous high notes) refined musicianship and idioma-
      tic phrasing make for a highly polished performance. Charles
      Burles is light and musical and blends exquisitely with Mesple
      in their duets while Roger Soyer's rich voice makes him a
      strong presence. The supporting cast is in very capable hands.
      Well recorded and conducted - a classic performance indeed.

      Track Listings:

      1. Traditional Cantoral and Concert Favorites
      2. Variations-Music for Ballet Class
      3. With Heart & Voice
      4. World's Greatest Arias
      5. Alma-Classic Choices Adagio's for Ballet Class
      6. An Eternal Harmony
      7. Au Louvre
      8. Bach: Mass in B minor [Import]
      9. Bach: Schübler Chorales, BWV 645-650
      10. Bach Sonatas and Partitas for Violin, recorded on viola (reissue)

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