Take Me to God

Amazon.com
Twelve vocalists, including Baaba Maal, Gavin Friday, and Chaka Demus & Pliers guest on this globehopping dance/pop confection masterminded by PIL's original bassist. The musical time-zone jumps are frequent and rather facile, but there are plenty of intriguing moments here--particularly when Dolores O'Riordan (The Cranberries) sets her Celtic wail against mbaqanga guitars on the first single, "The Sun Does Rise," and Wobble grows ecstatic on "I Love Everybody." --Jeff Bateman

Product Description
1994 album featuring guest appearances from Baaba Maal, Gavin Friday, Natacha Atlas & Najma.

Take Me to God,Jah Wobble,Polygram Records,Alternative Pop/Rock,Club/Dance,Ethnic Fusion,Experimental Rock,Pop,Popular Music,Rock,Rock/Pop,Worldbeat

Average customer rating: Wonderful, but not my first choice THE BEST recording of the BEST oratorio ever... Too bad there are so few recordings of Elijah

Mendelssohn: Elijah Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music All Works by Mendelssohn | Mendelssohn, Felix | ( M ) | Featured Composers, A-Z | Classical | Styles | Music General | Opera & Vocal | Styles | Music Oratorios | Opera & Vocal | Styles | Music Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music Similar Items: Franz Joseph Haydn: The Creation Mendelssohn - Elijah / Terfel, Fleming, Bardon, Ainsley, Fulgoni, Paul Daniel Mahler: Das Lied von der Erde Brahms - Ein Deutsches Requiem (A German Requiem) / Auger, Stilwell, Atlanta SO, Robert Shaw Brahms: Ein deutsches Requiem [A German Requiem] ASIN: B0002XV31A Release Date: 2005-02-15

Tracks:

1. Introduction: As God The Lord Of Israel Liveth
2. Overture
3. No.1 Help, Lord! Wilt Thou Quite Destroy Us?
4. No.2: Lord! Bow Thine Ear To Our Prayer!
5. No.3: Ye People, Rend Your Hearts
6. No.4: If With All Your Hearts
7. No.5: Yet Doth The Lord See It Not
8. No.6: Elijah! Get Thee Hence
9. No.7: For He Shall Give His Angels Charge Over Thee
10. Recitative: Now Cherith's Brook Is Dried Up
11. No.8: What Have I Do To Do With Thee?
12. No.9: Blessed Are The Men Who Fear Him
13. No.10: As God The Lord Of Sabaoth Liveth
14. No.11: Baal, We Cry To Thee: Hear And Answer Us!
15. No.12: Call Him Louder, For He Is A God!
16. No.13: Call Him Louder! He Heareth Not!
17. No.14: Lord God Of Abraham, Isaac And Israel!
18. No.15: Cast Thy Burden Upon The Lord
19. No.16: O Thou, Who Makest Thine Angels Spirits
20. No.17: Is Not His Word Like A Fire?
21. No.18: Woe Unto Them Who Forsake Him!
22. No.19: O Man Of God, Help Thy People!
23. No.20: Thanks Be To God!

Tracks:

1. No.21: Hear Ye, Israel; Hear What The Lord Speaketh
2. No.22: Be Not Afraid, Saith God The Lord
3. No.23: The Lord Hath Exalted Thee
4. No.24: Woe To Him, He Shall Perish
5. No.25: Man Of God, Now Let My Words Be Precious
6. No.26: It Is Enough; O Lord Now Take My Life
7. No.27: See, Now He Sleepeth
8. No.28: Lift Thine Eyes To The Mountains
9. No.29: He, Watching Over Israel, Slumbers Not
10. No.30: Arise, Elijah, For Thou Hast A Long Journey
11. No.31: O Rest In The Lord
12. No.32: He That Shall Endure To The End, Shall Be Saved
13. No.33: Night Falleth Round Me, O Lord!
14. No.34: Behold! God The Lord Passed By!
15. No.35: Above Him Stood The Seraphim
16. No.36: Go, Return Upon Thy Way
17. No.37: For The Mountains Shall Depart
18. No.38: Then Did Elijah The Prophet Break Forth
19. No.39: Then Shall The Righteous Shine Forth
20. No.40: Behold, God Hath Sent Elijah
21. No.41: But The Lord, From The North Hath Raised One
22. No.41a: O Come Everyone That Thirsteth
23. No.42: And Then Shall Your Light Break Forth

Customer Reviews:

Wonderful, but not my first choice.......2007-04-07

I believe this was the first recording of Elijah in English that used an "international" conductor and some international singers. Fruhbeck gives a good, dramatic sweep to the piece, with some wonderful dramatic moments. This is an old fashioned performance, with only a solo quartet, and if there is a semi-chorus, I can't tell the difference. This means that the soprano is the Widow, and an Angel, the mezzo the Angel and Queen Jezabel, etc. You really should have a libretto, but you don't get one at this price.
Fischer-Dieskau roughens up his voice for the role, and therein lies a problem. The voice spreads and his diction suffers because of it; that and his unidiomatic pronounciation, with far too many rolled "r"s. He does the drama well, but what works well in lieder works here less well on the large scale. Odd, given his success as on opera singer (check out his Iago), that here he frequently comes off blustery.
Dame Gwyneth Jones belies her reputation and gives a contolled, dramatic performance, using her "edge" to advantage in "Hear Ye, Israel". Gedda's diction is amazing, with exactly the right color for this literature, and projecting a little more blood than an English tenor.
Dame Janet Baker is my star in this performance. Dramatic, heart-rending when need be, and in wonderful voice. She'll chill your blood when she tells the people of Baal to "slaughter him, do what he hath done!".
And as for the people of Baal, the Philharmonia Chorus is wonderful. Incisive and dramatic, with beautiful tone. I could do without the trick of the boy choir for "Lift Thine Eyes", and I miss the small ensembles, but all in all a fine performance, and good recording, circa 1968.
First choice in English, Daniels/Terfel: better Elijah in Terfel, better recording, more authentic orchestra, small vocal ensembles (as per the score) but inferior women (including Fleming: beautiful tone, but where's her head?). In German, it's Sawallisch/Adam all the way.
But if you're singing Elijah, and have a score, this is a good choice.

THE BEST recording of the BEST oratorio ever..........2006-08-15

Okay, I'm gonna admit I'm biased- I first sung in the chorus of Elijah when I was 14 and it made a BIG impression on me!
This recording is in every way wonderful. Starting with Dietrich Fischer-Dieskau. He IS Elijah to me. His singing is perfection. He has amazing phrasing and his diction makes it possible to understand the lovely, inspired libretto to this heavenly music. There are so many pieces that are ephemeral, but a couple of my favorites are: #14, Lord God of Abraham and #37, For the Mountains shall Depart. Dieskau does a great job of what I think of as compassionate, heartfelt singing. His interpretation sounds like the voice of God himself. It has a quality of kindness and yet he sounds just as convincing reprimanding the people of Baal. He is the true highlight of this recording.

That said, the rest of the cast is wonderful as well. Gwyneth Jones has a lovely, silvery voice that has a clarion bell-like tone that rings over the large orchestra with ease. She has occasional "misfire" but is a consistent performer. Dame Janet Baker and Nicolai Gedda both perform at a consistently lovely level. The orchestra and chorus are both wonderful. #15, Cast thy Burden upon the Lord, #32 He that Shall Endure to the End, and #38 Then Did Elijah are all highlights.

All said, for me the main reason to get this recording is Dieskau's Elijah- after all, he's the main character. But don't forget the lovely music. This story is exciting and passionate and sacred all at the same time. For me, it's the best oratorio that has a moving story and great music too.

Too bad there are so few recordings of Elijah.......2006-07-03

This is a good recording of an oratorio that deserves more attention. The chorus and soloists are very good--I just wish Fischer-Diskau wouldn't slide around so much in singing the title part!

Average customer rating: REAL MUSIC White bread, well-baked in spots This is the one! A Must for the Sabbath A Must for Sabbath

Mormon Tabernacle Choir: The Sound of Glory-Battle Hymn of the Republic Manufacturer: Telarc ProductGroup: Music Binding: Audio CD General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Mormon Tabernacle Choir | ( M ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Gospel | Christian & Gospel | Styles | Music General | Opera & Vocal | Styles | Music Holiday | Miscellaneous | Styles | Music | General Christmas | Today's Deals | Box Sets | Children's Music | Classical Instrumental | Halloween | Hanukkah | Kwanzaa | Opera & Vocal | Pop Instrumental & Easy Listening | Pop Vocal Similar Items: Rock of Ages: 30 Favorite Hymns The Mormon Tabernacle Choir's Greatest Hits: 22 Best-Loved Favorites God Bless America More Greatest Hits: 18 Best Loved Favorites Songs from America's Heartland ASIN: B00005Q5LT Release Date: 2001-10-23

Tracks:

1. Praise To The Lord, The Almighty
2. Lead, Kindly Light
3. Arise, O God, And Shine
4. All Things Bright And Beautiful
5. Sweet Hour Of Prayer
6. The Lord Is My Shepherd
7. The King Of Love My Shepherd Is
8. All Creatures Of Our God And King
9. Take Time To Be Holy
10. The Spirit Of God Like A Fire Is Burning
11. Simple Gifts
12. Battle Hymn Of The Republic
13. Abide With Me; 'Tis Eventide
14. Sing Praise To Him
15. Come, Thou Fount Of Every Blessing
16. I Need Thee Every Hour
17. Love Divine, All Loves Excelling

Customer Reviews:

REAL MUSIC.......2007-01-16

THIS IS MUSIC YOU CAN LISTEN TO EVERY DAY AND ENJOY OVER AND OVER AGAIN.

White bread, well-baked in spots.......2005-08-12

The Mormon Tabernacle Choir that performs on this disc is a tightly-knit, well-conducted unit, and some of the tracks on the disc border on the ethereal. "Lead, Kindly Light," "Sweet Hour of Prayer" (in parts) and "The King of Love My Shepherd Is," for example, touch the soul and bring tears to the eyes.

However, on other arrangements the choir sounds like a group of white folks far removed from the remainder of humanity. For example, the opening track, "Praise to the Lord, the Almighty," and also "All Creatures of Our God and King" sound rote and perfunctory, like a group of elementary school students (with very fine voices, to be sure) going through the paces of a daily sing: elevator music on a grand scale. At the opposite extreme, sudden dynamic shifts in other tracks sound pretentious. The final bars of "All Creatures of Our God and King" suggest an attempt at a grand finale, but lack even a hint of majesty or passion. The choir lacks any apparent understanding of the Shaker spirit in "Simple Gifts" --- rather like Lawrence Welk playing Bob Marley. (Not that I've ever seen a Shaker in dreadlocks.) "Battle Hymn of the Republic" begins majestically, but turns into a caricature, and then reverts to a semblance of glory (except for a brief flirtation with a minor key).

The high praise lavished on this disc by other reviewers is no surprise: It is of very high quality for what it is. The choir offers a lovely sound. However, more than half the tracks are seriously flawed, and the musicianship is sufficiently peculiar on the whole as to lower the rating considerably.

This is the one!.......2002-08-24

If you want to hear the best of the best, this CD is it. These hymn arrangements are just beautiful and very touching. I highly recommend this to anyone who enjoys the choir and wants to feel a little closer to heaven. The choir seems to sing literally with one voice and you feel like they are singing just for you. Congratulations to the new conductor, Craig Jessop and all those who contributed to the quality that went into producing this CD.

A Must for the Sabbath.......2002-04-17

I LOVE IT!!! What better way to enjoy the Sabbath than to sing of the Lord's Praises with the Mormon Tabernacle Choir? This album is just the ticket! It's very powerful, and uplifting.

What? You mean I can only give this album five stars? But that doesn't even BEGIN to do it justice!

I love it. Truly a masterpiece!

A Must for Sabbath.......2002-02-05

If you only own one Mormon Tabernacle Choir CD, this is the one. It has creative arrangements of many favorite hymns, as well as the best recording of the Wilhousky Battle Hymn arrgmt that I have ever come across. The only downer: it has (another) recording of Simple Gifts, which has been beat to death by choirs in the last decade.

I especially love the 'Glory' pieces on it: Full of timpani, brass, and alleluias- one of those discs you turn all the way up and direct the stereo when noone is looking. I hope my neighbors like it too; they probably hear it quite a bit.

Average customer rating:

Handel: The Masterworks (Box Set) Manufacturer: Brilliant Classics ProductGroup: Music Binding: Audio CD Trios | Chamber Music | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music All Works by Handel | Handel, George Frideric | ( H ) | Featured Composers, A-Z | Classical | Styles | Music Concerto Grossi | Concertos | Forms & Genres | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music General | Sonatas | Forms & Genres | Classical | Styles | Music Trio Sonatas | Sonatas | Forms & Genres | Classical | Styles | Music Suites | Forms & Genres | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Flute | Reeds & Winds | Instruments | Classical | Styles | Music Oboe | Reeds & Winds | Instruments | Classical | Styles | Music Recorder | Reeds & Winds | Instruments | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music Baroque (c.1600-1750) | Symphonies | Classical | Styles | Music General | Sacred & Religious | Classical | Styles | Music General | Classical | Styles | Music Cantatas | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Oratorios | Opera & Vocal | Styles | Music Anthems | Vocal Non-Opera | Opera & Vocal | Styles | Music Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music Hymns | Vocal Non-Opera | Opera & Vocal | Styles | Music Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music Passions | Vocal Non-Opera | Opera & Vocal | Styles | Music Blowout Box Sets | Classical Music Blowout | Stores | Music More Titles at Least 20% Off | Classical Music Blowout | Stores | Music All Classical Music Blowout | Classical Music Blowout | Stores | Music Handel, George Frideric | ( H ) | Composers, A-Z | Classical Music Blowout | Stores | Music Opera & Vocal | Classical Music Blowout | Stores | Music Brilliant Classics | Amazon.com Label Stores | Stores | Music Similar Items: Vivaldi: The Masterworks (Box Set) Haydn: The Masterworks [Box Set] Mendelssohn: The Masterworks [Box Set] Dvorák: The Masterworks [Box Set] Schubert: The Masterworks [Box Set] ASIN: B00062FLI8 Release Date: 2004-11-30

Average customer rating: The best choir out there Gorgeous An Excellent CD A moving survey of American hymns a listener from North Kansas CIty

Alleluia: An American Hymnal Manufacturer: Nimbus Records ProductGroup: Music Binding: Audio CD All Works by Thompson | Thompson, Randall | ( T ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music Similar Items: Fern Hill Sergey Rachmaninov: Liturgy Of St. John Chrysostom, Op. 31 Eternal Rest - Phoenix Bach Choir, Kansas City Chorale Nativitas: American Christmas Carols O Come Let Us Sing ASIN: B00000DG26 Release Date: 1998-10-20

Tracks:

1. Southern Harmony: Hark, I Hear The Harps Eternal (Invitation) - Rebecca Lloyd
2. Southern Harmony: Come Away To The Skies (Exultation)
3. Southern Harmony: Precious Lord, Take My Hand (Maitland) - Sandra Brennan
4. Shaker Songs: I Want To Shake With Indignation - Pamela Williamson
5. Shaker Songs: I've Set My Face For Zion's Kingdom - Rebecca Lloyd
6. Shaker Songs: The Precious Way Of God
7. Shaker Songs: Encouragement
8. The Sacred Harp: Wondrous Love (Wondrous Love)
9. The Sacred Harp: Saints Bound For Heaven (Saints Bound For Heaven)
10. Sunday Morning: Come, Thou Fount Of Every Blessing (Nettleton)
11. Sunday Morning: Alleluia
12. Sunday Morning: E'en So, Lord Jesus, Quickly Come
13. Sunday Morning: All Hail The Power Of Jesus' Name
14. Sunday Morning: Sing Me To Heaven
15. Spirituals: I Wanna Be Ready - Paulette Votava Resch
16. Spirituals: We Will March Thro' The Valley - Jo Anne Taylor
17. Spirituals: I Want Two Wings
18. Spirituals: Is There Anybody Here - Barbara Meyer
19. Spirituals: My God Is A Rock - Todd Berry
20. Spirituals: Give Me Jesus

Amazon.com

Few recording producers and performers take the time and care to so intelligently exhibit a sampling of the rich and colorful American hymn repertoire. This thoughtful and varied program of hymns, Shaker songs, anthems, and spirituals shows what good things can happen when a top-rank choir and director and an accommodating record company join in such a project. The 20 selections come from a variety of sources, including The Southern Harmony (published in 1834) and The Sacred Harp (published in 1844). The Shaker tunes are from the vast collections at New Lebanon and Pleasant Hill, New York, and Sabbathday Lake, Maine. Four of the six spirituals and several of the hymns are arrangements by Alice Parker; others are arranged by James Mulholland. Among the hymns and spirituals are two American choral classics: Randall Thompson's famous and oft-performed "Alleluia" and Daniel Gawthrop's "Sing Me to Heaven." --David Vernier

Customer Reviews:

The best choir out there.......2004-03-02

The Kansas City Chorale is a SUPERIOR vocal group. I am impressed by its large and wholesome sound that is produced by such a small group. The Alleluia CD is beautiful and also very diverse. "Sing me to Heaven" is gorgeous. The harmonies are beautiful on the page, but are even more beautiful when sung by this ensemble. "Alleluia" is also wonderful, and I was impressed by their interpretation of the many shaker songs and spirituals. This cd is a MUST HAVE for any choral singer or enthusiast.

Gorgeous.......2003-03-24

My choir sang "Alleluia", and used this recording to learn the dynamics. A brilliant performance of that piece. The others are, too, excellent. Good balance, dynamic, and overall sound. But the "Alleluia" really stood out for me.

An Excellent CD.......2002-01-23

My pastor bought me this CD and I wasn't sure I'd really like it. Chorale music? You must be joking. But I popped it into my CD player at home and was immediately astonished at what I heard. The Kansas City Chorale have done an outstanding job of singing hymns of various types, most without musical accompaniment. Track 7 ("Encouragement") is my absolute favorite song on this CD. It is so beautiful to hear, especially when I crank it on my big stereo or over my headphones.

Bottom line: if you like chorale music, religious music, or even classical music, you will really enjoy this CD. The quality of the recording is very good.

A moving survey of American hymns.......2002-01-02

This is an excellent, deeply musical performance of a wide variety of hymns, Shaker tunes, and spirituals. The choices provide variety and a thumbnail sketch of a time in America when hymn-singing was a part of every week's activities. I agree with another reviewer that "Precious Lord" is a highlight. Also noteworthy is "Give Me Jesus" at the end. Both the singing and acoustics of the recording are top notch. I have already played this CD many times since receiving it two days ago. I'm ordering copies for friends! Among my many choral CDs, this one stands out as a favorite.

a listener from North Kansas CIty.......2001-06-27

What a excellent CD! I got this for Christmas after going to a couple of their concerts and it sounds just as good as it did live. If you like chorale music then this is the cd for you. I personally know a man that sings in this group and is very talented singer along with the rest!

Average customer rating: Excellent performer A unique project Gershwin historical, manic, perfect, archival Definative

Authentic George Gershwin, Vol. 1-4 Manufacturer: Asv Living Era ProductGroup: Music Binding: Audio CD All Works by Gershwin | Gershwin, George | ( G ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Preludes | Forms & Genres | Classical | Styles | Music Overtures | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music Tone Poems | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General Contemporary | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Piano | Keyboard | Instruments | Classical | Styles | Music General | Sacred & Religious | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music General | Jazz | Styles | Music Swing General | Swing Jazz | Jazz | Styles | Music General | Opera & Vocal | Styles | Music Psalms | Vocal Non-Opera | Opera & Vocal | Styles | Music Movie Scores | Soundtracks | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music Traditional Vocal Pop | Broadway & Vocalists | Styles | Music Classical | Box Sets | Stores | Music Similar Items: George Gershwin: His Life and Work ASIN: B0001Z2RSC Release Date: 2004-08-24

Tracks:

1. Swanee
2. Come To the Moon
3. I Was So Young (You Were So Beautiful)
4. Tee-Oodle-Um-bum-Bo
5. Nobody But You
6. Limehouse Nights
7. Drifting Along With The Tide
8. Rhapsody In Blue
9. Oh Lady Be Good!
10. Fascinating Rhythm
11. Hang On To Me
12. I'd Rather Charleston
13. The Man I Love
14. The Half Of It, Dearie, Blues
15. So Am I
16. Kickin' The Clouds Away
17. Concerto In F

Tracks:

1. Sweet And Low-Down (I)
2. That Certain Feeling (I)
3. Looking For A Boy
4. When Do We Dance?
5. Sweet And Low-Down (II)
6. That Certain Feeling (II)
7. Irish Waltz
8. Do, Do, Do
9. Someone To Watch Over Me
10. Clap Yo' Hands
11. Maybe
12. Three Preludes: I. No.1: Allegro Ben Ritmato E Deciso / II. No.2: Andante Con Moto / III No.3: Allegro Ben Ritmato E Deciso
13. Meadow Serenade
14. My One And Only
15. 'S Wonderful/Funny Face
16. He Loves And She Loves
17. An American In Paris
18. Liza
19. Strike Up The Band
20. Embraceable You
21. I Got Rhythm (I)
22. I Got Rhythm (II)

Tracks:

1. Of Thee I Sing
2. Jilted
3. Second Rhapsody
4. For You, For Me, For Evermore
5. Cuban Overture
6. Isn't It A Pity?
7. Variations On 'I Got Rhythm'
8. I. Catfish Row: Introduction - Jazzbo Brown - First Chorus, 'Summertime'
9. II. Porgy Sings: 'I got Plenty O' Nuthin' - 'Bess, You Is My Woman Now'
10. III. Fugue: Murder Of Crown, Act III Scene 1
11. IV. Hurricane: Introduction, Act II Scene 3 - Hurricane, Act II Scene 3
12. V. Good Morning, Brother: Occupational Humoresque, Act III Scene 3 - 'Good Morning, Brother' - Children's Song 'Sure To Go To Heaven' - 'I'm On My Way' (Finale)
13. They Can't Take That Away From Me
14. Let's Call The Whole Thing Off
15. Our Love Is Here To Stay

Tracks:

1. Girl Crazy Overture
2. French Ballet Class
3. Dance Of The Waves
4. Slap That Bass
5. Walking The Dog
6. I've Got Beginner's Luck
7. They All Laughed
8. They Can't Take That Away From Me
9. Shall We Dance
10. By Strauss
11. I Can't Be Bothered Now
12. The Jolly Tar And The Milkmaid (1st Version)
13. Put Me To The Test
14. The Jolly Tar And The Milkmaid (2nd Version)
15. Stiff Upper Lip
16. A Foggy day (In London Town)
17. Nice Work If You Can Get It
18. Things Are Looking Up
19. I Was Doing All Right
20. Love Walked In

Customer Reviews:

Excellent performer.......2007-03-09

This plates are wonderful. I was charmed, and when I close my eyes now, I see scenes with American in Paris or Porgy and Bess but my favorite piece of music is Rhapsody in Blue. It's more than excellent is fantastic. Jack Gibbons perfectly feels the unique tone Gershwin's music, the mixture rythms of jazz with influences of impressionists and clear and beauty melodies.
I'm fascinating.

A unique project.......2006-11-23

Gibbons' undertaking is unique: to reconstruct and then execute and record the note-for-note playing of Gershwin as documented on the composers' piano rolls, sound recordings and certain published arrangements. I agree with the reviewer who points out that the result is like a library and not a recital you sit back and listen to (or get up and dance to). In fact Gibbons does some editing of his "library" now and then, and clearly documents it in his liner notes: in some reconstructions he augments accompaniment effects and even the melodic line itself. I don't mind that at all, especially as Gibbons scrupulously accounts for such tampering in his liner notes; but it seems to me that it is in this area of "tampering" that Gibbons the artist is asserting himself...which of course undermines the "library", the "historical archive": you have to search and read a bit to find out when you're hearing only Gershwin and when you're hearing some added Gibbons. I don't mind; Gibbons is a remarkable artist in his own right, not merely an impeccable documentarian. For sheer generosity of production Gibbons' Gershwin must also be unique: 4 cd's, scholar-level liner notes (yes, you need a magnifying glass to read them), and rock-bottom bargain price.

Gershwin historical, manic, perfect, archival.......2006-06-12

First: this is 4 high-end produced cd's (in low-end jewel cases) for the price of 2. The liner notes of all 4 cd's are condensed in a booklet of microscopic print, so you may need to spend the savings on a magnifying glass. MONEY WELL SPENT.
Second: Jack Gibbons plays (and has recorded) the Alkan op 39 etudes (he probably plays a lot more Alkan than that). For those of you not in the know, this is to say he has world-class chops, indeed history-class (Liszt, who never played his friend Alkan, at least in public). But it's also to say that Gibbons knows how to interpret and personalize fantastically difficult piano music. For me, his Alkan op 39 is personal and passionate and real (contrast the facile and over-pedalled Hamelin and the just-the-notes-ma'me Ringeissen). An appreciation of Gibbons' Alkan is important here because while his Alkan is uniquely personal (as such music must be, no matter how hard it is to play) his Gershwin is deliberately impersonal...which is to say: no pianist, no singer would want to reproduce what Gibbons has given us in these 4 cd's, and in fact few listeners will be able to listen for long to these 4 cd's without a respite, a break , some silence, some minimal styling from somebody (anybody) else...which brings me to
Third: This is an archive, not a recital. This is a library, not a program. There is no track-by-track contrast of moods here, no track-by-track concession to easy listening, varied delight, any more than a library shelf of novels is alphabetized by authors' last names as a concession to mood or fancy or taste of the searching patron. This is the documented Gershwin in his recording mode: manic, notey, clever, "on", and never, as generations of stylists found in him, ravishing, tender, longing, sweet, glad, hopeful...person-to-person, in a word. I can listen to these cd's about half an hour at a time, max. This is Gerwhsin, not Gibbons. And this is just one side of Gershwin. He died at 38, in the summer. Brain tumor. A lot of pain.
Finally, Jack Gibbons has given the world a uniquely valuable and easily available resource. Gibbons could now do us a service by playing us some Gershwin as he feels it, as it hits him and makes him sing (as Gershwin, our American Schubert, does to all of us, and as I think Alkan has done to Gibbons). I would love to see a Gershwin stylings by Gibbons now that Gibbons himself has made sure Gershwin in his authenticity is safe and sound.

Definative.......2005-07-23

Here's the whole Gershwin catalog at a great price... Five plus hours of bliss. Definately five stars!

Gibbons, according to a family friend and biographer Edward jablonski "recreates Gershwin's style." I'll never know. I can say this is a lively recording and has the perfect balance. It's neither stuffy and plodding or cute.

Average customer rating: A WORLDBEAT TOUR-DE-FORCE Enlightened Pop Music. A triumph of many styles Get it While You Can Quite taken

Take Me to God Jah Wobble Manufacturer: Polygram Records ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music Experimental Rock | Rock | Alternative Styles | Alternative Rock | Styles | Music General | Dance & DJ | Styles | Music General | Dance Pop | Dance & DJ | Styles | Music General | International | Styles | Music General | New Age | Styles | Music General | Rock | Styles | Music Pop Rock | Pop | Styles | Music Similar Items: Umbra Sumus Rising Above Bedlam Mu Heaven and Earth I Could Have Been a Contender ASIN: B000001E79 Release Date: 1994-06-21

Tracks:

1. God In The Beginning
2. Becoming More Like God
3. Whisky Priests
4. I'm An Algerian
5. Amor
6. Amor Dub
7. Take Me To God
8. The Sun Does Rise
9. When The Storm Comes
10. I Love Everybody
11. Yoga Of The Nightclub
12. I Am The Music
13. The Bonds Of Love
14. Angels
15. No Change Is Sexy
16. Raga
17. Forever

Amazon.com

Twelve vocalists, including Baaba Maal, Gavin Friday, and Chaka Demus & Pliers guest on this globehopping dance/pop confection masterminded by PIL's original bassist. The musical time-zone jumps are frequent and rather facile, but there are plenty of intriguing moments here--particularly when Dolores O'Riordan (The Cranberries) sets her Celtic wail against mbaqanga guitars on the first single, "The Sun Does Rise," and Wobble grows ecstatic on "I Love Everybody." --Jeff Bateman

Album Description

1994 album featuring guest appearances from Baaba Maal, Gavin Friday, Natacha Atlas & Najma.

Customer Reviews:

A WORLDBEAT TOUR-DE-FORCE.......2006-11-09

Taking a leap of faith, I bought a used copy of this CD on Amazon for about three dollars. Back in the 80's I was familiar with PiL, The Police, UB40, and other dub-influenced bands, and I've always enjoyed "world music" (whatever your definition of that is!), so I said "What the heck!", and hit that "Buy With 1 Click" button. When the CD arrived, I wasn't sure what to expect....

I now realize that I have been richly rewarded for my efforts. With his guest musicians, Jah Wobble has transported me on a funky, rhythmic, and hypnotic magic carpet ride around the globe. This CD glides musically from Latin America (Whisky Priests, featuring Ximena Tascon's smoky Spanish vocals) to North Africa (I'm An Algerian, with Abdel Ali Slimani's evocative Arabic vocals) to the British Isles (with the unmistakable keening voice of Dolores O'Riordan, from The Cranberries), and beyond.

This CD will round out any music collection. And do the artists a favor: buy a brand new copy. I will, after I wear this one out. Real soon.

Enlightened Pop Music........2005-06-27

Take Me to God was a disc that Jah Wobble and his Invaders of the Heart produced during the mid-90s'. The disc even had a minor hit "The Sun Does Rise". The disc is an enlightened masterpiece from Jah Wobble. The Invaders of the Heart take you on the trip around the world showing it's listener that everywhere music is just a simple beat and we call all become more like god each in their own way. Mere words cannot do this album justice. Jah Wobble has gone through a lot of trials and tribulations over the years. It's great to see him become enlightened and continue to make great albums. I hope someday we can all become one with the world and musically intune.

Highly recommended.

A triumph of many styles.......2004-06-20

This multitextured album incorporates world, trance and dub styles into a very cohesive and enjoyable mix. A rich array of singers from different traditions and an innovative instrumental mix ensure plenty of variety.

The fist two tracks are mellow mid tempo numbers with lovely vocal arrangements. Sung partly in Spanish by Ximena Tascon, Whisky Priests has a Latin American rhythm and great guitars. North Africa is next, with the track I'm An Algerian sung by Abel Ali Slimani and then it's Latin again with Amor and then Jamaican with some ragga style vocals by Chaka Demus on Amor Dub.

The title track is a mix of soul and Middle Eastern, whilst the buoyant The Sun Does Rise is a beautiful anthemic pop ballad. If it weren't, this song should have been a hit. When The Storm Comes is a jazzy ballad and I Love Everybody is a stream of consciousness poem with a spiritual message. A highlight of the album, Yoga Of The Nightclub is an atmospheric trance number with a hypnotic beat and innovative vocal arrangements.

The interesting sonic mix of Angels includes Baaba Maal on vocals and Massamba Diop on talking drum for an African ambience whilst the next track Raga takes the listener to India, with vocals by Najma Akhtar. The album concludes with Forever, a tuneful pop ballad. The impressive stylistic scope and a high proportion of melodious songs make this album a pleasurable listening experience.

Get it While You Can.......2004-05-28

A modern masterpiece. Lush, worldly, boldly sensual and spiritual without self consciousness or guile. If you have an iota of groove in you, you must have this. Order now! I wore out my first copy and am moving through my second. Everyone I recommend it to loves it and buys other JW stuff. If you are a bass player it will shake you to your foundation in a very good way. What can I say? The guy is criminally underappreciated, but you can do your part to make him the superstar he should be. Funky? You bet. World? Absolutely. Genius? Undoubtedly. You will thank your God JW is on the same planet. You will become closer to God.

Quite taken.......2001-07-04

This is Jah Wobble's most accessible album. But that said, it's far from being mainstream, it's too complex, too beautiful. No song is like one other, the music changes, language, singers, rhythm, mood, prose, everything changes - akin to the Red Queen who runs to stay in place, JW moves about building a solid, lasting masterpiece, which yet remains elusive, fluent in all tongues, an abode of the restless. In the first sentence of "Hundred Years of Solitude" Gabriel Garcia Marquez depicts a man facing execution while remembering a certain occasion when he was a little boy. The lyrics of "I love everybody", exclaimed with a ranting and callous voice, are similarly cruel but upraising, touching life and beyond. "Becoming more like God" is one of the strangest songs I've ever heard - Pop meets/becomes God, a hymn for a church yet to be founded. If you think this seems all too weird, and who is Jah Wobble anyway? don't be put off - the music is fantastic.

Average customer rating:

English Choral Music Manufacturer: Naxos ProductGroup: Music Binding: Audio CD All Works by Britten | Britten, Sir Benjamin | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Elgar | Elgar, Sir Edward | ( E ) | Featured Composers, A-Z | Classical | Styles | Music General | Finzi, Gerald | ( F ) | Featured Composers, A-Z | Classical | Styles | Music Howells, Herbert | ( H ) | Featured Composers, A-Z | Classical | Styles | Music Rubbra, Edmund | ( R ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Tavener | Tavener, John Kenneth | ( T ) | Featured Composers, A-Z | Classical | Styles | Music Vaughan Williams, Ralph | ( V ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Walton | Walton, Sir William | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General | Vaughan Williams, Ralph | Composers | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Sacred & Religious | Classical | Styles | Music General | Classical | Styles | Music Compilations | Classical | Styles | Music General | Opera & Vocal | Styles | Music Anthems | Vocal Non-Opera | Opera & Vocal | Styles | Music Choruses | Vocal Non-Opera | Opera & Vocal | Styles | Music Hymns | Vocal Non-Opera | Opera & Vocal | Styles | Music Magnificats | Vocal Non-Opera | Opera & Vocal | Styles | Music Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music Psalms | Vocal Non-Opera | Opera & Vocal | Styles | Music Te Deum | Vocal Non-Opera | Opera & Vocal | Styles | Music A Cappella | Folk | Styles | Music Similar Items: Lo the Full Final Sacrifice & Other Choral Works Walton: Choral Music Elgar: Sacred Choral Music Stanford: Anthems and Services Kenneth Leighton: Sacred Choral Music ASIN: B0002BXO78 Release Date: 2005-03-22

Tracks:

1. Magnificat In G Major
2. Nunc Dimittis In G Major
3. Justorum Animae
4. Ave Verum
5. Give Unto The Lord
6. The Call
7. Magnificat, St. Paul's
8. Nunc Dimittis St. Paul's
9. Paean For Organ
10. Take Him, Earth, For Cherishing
11. Litany To The Holy Spirit
12. Welcome Sweet And Sacred Forest
13. I. Eram Quasi Agnus Innocens
14. II. Una Hora Non Potuistis
15. III. Seniores Populi
16. Magnificat In A Flat Major
17. God Is Gone Up, Op.27, No.2

Tracks:

1. Set Me As A Seal Upon Thine Heart
2. Coronation Te Deum
3. Gloria
4. A Hymn To The Virgin
5. Jubilate Deo
6. Hymn To St. Cecilia, Op.27
7. The Lord Is My Shepherd, Op.91, No.1
8. Crux Fidelis, Op.43, No.2
9. Look Up, Sweet Babe, Op.43, No.2
10. Magnificat And Nunc Dimittis
11. Collegium Magdalenae Oxoniense
12. An Easter Sequence-Sortie
13. The Lamb
14. The Lord's Prayer
15. Song For Athene

Average customer rating: Good coloratura work by Elizabeth Futral At Last a Solo Recital on CD An Interesting display

Great Operatic Arias Manufacturer: Chandos ProductGroup: Music Binding: Audio CD Bellini, Vincenzo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Berlioz | Berlioz, Hector | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General | Delibes, Léo | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Donizetti | Donizetti, Gaetano | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Gounod | Gounod, Charles | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Handel | Handel, George Frideric | ( H ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Offenbach | Offenbach, Jacques | ( O ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Rossini | Rossini, Gioacchino | ( R ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music General | Arias | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music English | Languages | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Oratorios | Opera & Vocal | Styles | Music Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music Similar Items: Sweethearts Diana Montague Sings Great Operatic Arias, Vol. 2 Christine Brewer: Great Operatic Arias Pasión! The Very Best of Régine Crespin ASIN: B00009AQMF Release Date: 2003-06-24

Tracks:

1. Come Take Me In Your Arms
2. My Soul Is Filled With Love For You
3. What Are These Tears And Sighs
4. How I Loved Him!
5. A Maiden Adorning
6. He Has Come Back
7. See Here, Dorabella
8. Ah! Let me Live In This Dream
9. He's The God Of Youth And Springtime
10. The Silver Moon Was Shining
11. Ain't It A Pretty Night!
12. Take Me Away To The One I Adore
13. Oh Sleep, Why Dost Thou Leave Me?

Customer Reviews:

Good coloratura work by Elizabeth Futral.......2007-05-27

This is an interesting CD from soprano Elizabeth Futral. The theme of this is a set of operatic arias sung in English, not in the original French or Italian or. . . . I'm not sure how sold I am on the concept, but, after all, it's the singing and musicality that is most important. And, by that measure, Elizabeth Futral does very nicely.

The accompanying booklet begins by noting that (page 8) "The voice of the light soprano has enchanted listeners for centuries." Futral's singing is characteristic of this type of voice.

In this era, any coloratura soprano has two challenges: first, to compare with the past generation's astonishingly talented practitioners, well exemplified by Joan Sutherland and Beverly Sill. Second, though, there are some wonderful coloratura sopranos today against whom others will be compared, with Natalie Dessay and Sumi Jo among the most adept. Thus, Futral will almost automatically be compared with such exemplars. I do not think one could say she is the equal of those four just mentioned, but she does not compare badly either.

From the Wikipedia: "In musical notation, the Italian word staccato (literally detached, plural staccatos or staccati) indicates that notes are sounded in a detached and distinctly separate manner, with silence making up the latter part of the time allocated to each note. The rhythm is not affected. Notes identified as staccato should be played or sung abruptly and short." This is worthy of comment, since the "Bell Song" from "Lakme," one of the selections on this CD, features many such notes. Futral sings them well. Her performance in this work is well done (although it is somewhat jarring, again, to hear it sung in English). She begins with a nice high note and a bang up following trill. She displays good agility and features nice technique on staccato notes. Overall, this is well done. Toward the end, which calls for great ornamentation, she seems a bit hesitant at time, but she concludes with a nicely sung high note.

Other examples of her singing. From Handel's "Alcina," she sings "Come take me in your arms." Her voice is a light, standard coloratura voice (although not all coloratura sopranos have such a voice, of course). She displays considerable agility, a decent trill, and good ornamentation. There is a bit of harshness on a high note toward the close, but hardly fatal to the overall positive effect of her singing.

From Donizetti's "Linda di Chamounix," there is "My soul is filled with love for you" (otherwise known as "O luce di quest'anima"). Her version is not too shabby when compared with such greats as Sutherland and Jo. The cabaletta shows off, again, her agile voice. Good staccato high notes. Nice trills and a well nailed final high note.

Then there is the charming "Son vergin vezzosa" from Bellini's "I Puritani," here entitled "A maiden adorning." Again, nice agility, good trills, well done florid singing technique. While there is some harshness in the penultimate high note, overall, well done.

In short, Futral adds to a currently rich supply of coloratura sopranos, and compares well with the best of them.

At Last a Solo Recital on CD.......2005-03-19

Elizabeth Futral is one of those rare sopranos who seems to put pacing of her career, care of the voice, and commitment to repertoire range ahead of the too early media blitz that can hamper a singer's career. Clearly she has it all - beauty of voice, beauty of physical presence, fine acting skills, intelligence, and interpretive insights.

Having seen her Cleopatra in LA Opera's GUILIO CESARE and in SF Opera's production of Previn's STREETCAR NAMED DESIRE put her high on the list of important new sopranos. This rather strange recording gives samples of her foray's into all styles from Handel to Previn and does a fine job in capturing the beauty of her phrasing and quality of her seamless soprano voice. It is somewhat distracting to place a first recital recording before the public being sung entirely in English, especially for those who are unfamiliar with Futral's gifts. But credit Chandos with the courage to try something different, something that may introduce new audiences to the opera field.

Surely after the recent successes of Futral performances in the opera houses more recordings will follow. Meanwhile this is a tasty sampler of just how versatile - and special - Elizabeth Futral is. Grady Harp, March 05

An Interesting display.......2003-07-23

Coloratura-soprano Elizabeth Futral is a remarkable artist with a beautiful instrument and a most impressive technique. Her appearences in record stores are mostly on lesser known and up and coming labels such as Opera Rara and CHANDOS; with a few performances on DG.

This CD has an unusual semi-personal package. Duets, trios and quartets are featured. The title of the program is called Great Operatic Arias which seems rather broad for a soprano recital disc.

Futral sings well as always, however the content seems to lack a bit of intricacy and polish. Each aria, duet etc leaves you wondering whether or not a bit more time could have been put into this. The arias range from baroque to 20th century; covering four languages.

The entire program is performed in English and this is interesting... Although some of the arias just sound plain strange in English! It is a very nice thing to actually completely and instantly understand what is being sung. I was most impressed with the CHANDOS Lucia di Lammermoor. Futral probably gave her best performance on record in that role. She is astonishingly good on that recording. Her mad scene is awesome!

Overall this is a pleasing recording and Futral dazzles her listeners with her crystal clear high notes and vibrant tone. I look forward to more recordings of her. Hopefully she'll have a chance to record some more opera in its original language. I think that its time for a new Puritani or Sonnambula. Wouldn't she be the perfect candidate?

Average customer rating: A real gem for all trombone and brass enthusiasts Another Great Trombone CD from the 4 of a Kind Guys

Four of a Kind 2 Manufacturer: Summit(Classical) ProductGroup: Music Binding: Audio CD All Works by J.S. Bach | Bach, Johann Sebastian | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Mendelssohn | Mendelssohn, Felix | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Rossini | Rossini, Gioacchino | ( R ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Noels | Vocal Non-Opera | Opera & Vocal | Styles | Music General Christmas | Holiday | Miscellaneous | Styles | Music General Christmas | Holiday Music | Special Features | Music Similar Items: Four of a Kind, Music for Trombone Quartet Trombonastics Trombonology The Virtuoso Trombone The Art of the Trombone ASIN: B00008VGLY Release Date: 2003-04-08

Tracks:

1. Overture To The 'Barber Of Seville'
2. I. Andante Con Moto
3. II. Allegro Assai
4. III. Vivace
5. From Paritita in D Minor For Solo Violin
6. From Partita in D Minor For Solo Violin
7. I. Adagio
8. II. Allegro
9. III. Largo
10. V. Allegro Molto Vivace
11. I. Andante Con Moto
12. II. Allegro Molto
13. III. Allegretto Grazio
14. IV. Adagio
15. V. Allegro Molto Vivace
16. I. Choral
17. II. Mouvement Perpetuel
18. III. Lento
19. IV. Final
20. God Bless The Child
21. It's Only A Paper Moon
22. Take Me Out To The Ballgame

Customer Reviews:

A real gem for all trombone and brass enthusiasts.......2007-05-18

This is another superb performance by Alessi, Hartman, Lawrence and Bollinger. These players are extremely gifted musicians. The musicality and technical prowess of these players is first rate. They play beautifully as an ensemble and the entire disc is very enjoyable. This should be required listening for all aspiring trombonists and brass enthusiasts.

Another Great Trombone CD from the 4 of a Kind Guys.......2004-01-06

I purchased the first 4 of a Kind CD shortly after it came out in 92. At the time there weren't many "Classical" Trombone CDs (well ok I admit it, I bought it on Cassette Tape), and the release of this item was a real find for me. I loved the tape. It was just great to hear what a trombone could sound like in the hands of a master.

As an amateur trombonist of more than 30 years, it has been very tough to develop as a player as there aren't many audio resources available to help you with things like sound and approach. At the time of the casette's release, the cassette was a real find, and I was happy to add it to my collection of trombone playing resources.

Well, it is almost 11 years later, and I am very happy to add this second great CD to my collection now. As a student and a listener, there is so much "to get out" of this CD. From a technical standpoint, the balance of playing, overall musicality of every recorded number, and the many styles presented is a wonderful resource to help you learn to play this great instrument. Of especially significant note is the absolutely beautiful sounds that can be heard, the balance between each and every part, and the perfect tuning of this ensemble (at least to this listener's ears). Things just ring in the high range, and "rattle and roll" down low. Listen for some just great Blair Bollinger Bass Trombone on this CD throughout. The playing and blend is gourgeous, and it is easy to see why these very fine players are so admired.

From a pure listener's standpoint, this album is fun listening and a musical joy to the ear. From the first track to last, this CD is full of musical gems, plenty of good musical ideas, and imaginative and very inspired music making. What becomes clear quickly as you listen is just how obviously much these guys like playing together, and the fun they are having. It comes out over and over again in every number.

There isn't a single clinker on this CD, or anyting that is disappointing or below standard in any way. The "Barber of Seville" is espcially good fun; I could see Elmer and Bugs in my mind as I listened to it (as an aside, if you haven't seen that famous Warner Brothers Cartoon featuring The Barber of Seville excerpts, try to find it, ooh, wait till I get that Wabbit!). On the other hand, I must also profess a real love for baseball, and the tune "Take me Out to The Ball Game". I just loved the arrangement, and the ensemble playing. It was just great. Including the "Crack of the Bat" and fan noise close to the end of the track just tops things off.

I really think these wonderful musicians have produced a truly great CD that obviously was put together with the listener in mind. From a techncial recording standpoint, you don't need to adjust the volume any time while listening to the CD, and the quality of the recording and editing of every tune is just great. Consequently, this CD simply flows by from beginning to end. You will want to play it again and again.

Personally, I very much recommend this CD to Student, Teacher, and music afficinado alike. This is a great CD that will make just a super addition to your musical library, regardless of the reason why you may have bought it!

Average customer rating: A Rose By Any Other Name... "Thus I salute the stronghold, safe from dread and dismay! Free at last! I Love This Recording The Goodall Ring - 1975 - Restored and Remastered

Wagner: The Rhinegold English National Opera 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 Similar Items: Siegfried (Goodall Ring Cycle/Chandos Opera in English) The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English) Wagner: The Valkyrie ASIN: B00005B550 Release Date: 2001-05-22

Customer Reviews:

A Rose By Any Other Name..........2007-07-02

The figure of speach may not be completely correct in this instance, but, well, I hope you get the point. In any case, for a Dutch speaking person, like I, to hear 'The Ring' in a language other than the original German feels - almost shockingly(?) - natural. Certainly, this modern English translation, to me, is as least immediate, and probably even more immediate, than the original (archaic) German text. And in music drama, immediacy is essential. Maybe it is also the wonderfully natural translation, I don't know, but it works for me, the Ring in English.
But most of the credit has to go to the music, the singers, and the recording as such. I believe that this (originally analogue) remastered recording has one of the best recorded sounds and acoustics of any Ring, studio or 'live'. It is wonderfully clear but warm, kind of velvety (very unlike Solti), with beautifully natural balaces between voices and orchestra. Audience noises can be heard (including a delightful little ripple of laughter) but never really obtrusively so, thankfully. And I love the thunderclap-sound effect when Donner strikes his hammer against the rocks - very tastefully done, and lending extra power to the scene.
All the time one reads in reviews everywhere of the very slow speads at which the music is conducted by Sir Reginald Goodall. Well, that may be so, but I, for one, am certainly endeared to Sir Reginald Goodalls 'caressing' of the music, as a result of which wich the Leitmotifs come out more clearly than ever. The slow - but nonetheless very concentrated, and always involved - playing has, to me, an almost mesmerizing effect. Certainly, compared to many other recordings, the music may sound stretched almost beyond breaking point. But in the end, I think it is really just that: a matter of speed, no more. The concentration never falters and the dramatic arc never saggs. There is live 'music magic' going on here, I feel, even if the English National Opera Orchestra may not be (as precise or as diciplined as) a Wiener Philharmoniker or a Bayreuther Festspielorchester. Certainly, Sir Reginald Goodall must have loved this music and these opera's: one feels a slowly beating but constant loving pulse that energizes the drama and the music.
But we also have the singers. And what a great singers! While the best may be yet to come (with Alberto Remedios as Siegmund and Siegfried, and Rita Hunter as Brunnhilde), we here, in The Rhinegold, already have one of the most commanding of Wotans (Norman Bailey, with wonderful burnished timbre). Also, Emile Belcourt stands out as a wonderfully sleek but full-voiced Loge. Derek Hammond-Stroud's Alberich may not be as black as Gunther von Kannen's (for Barenboim), for example, but there is enough anguish, frustration and anger to lend his character a convincing reality and depth. And the giants too, are a winning pair. Especially Fafner (Clifford Grant) is as imposing and powerful as one may ever wish.
With all the rave reviews, here and elsewhere I can't wait to hear The Valkyrie, (especially) Siegfried and Twilight of the Gods. This certainly is a winning 'Ring', to be kept alongside any other 'great' recorded 'Ring' out there, IMHO. To me, it can hold its own alongside any other favorite recordings.
Please, sample this Ring (try for example the Chandos website for fragments of all of the music) and decide for yourself. Highly recommended.

"Thus I salute the stronghold, safe from dread and dismay!.......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 Valkyrie (Part 2): Wagner: The Valkyrie
-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)

Free at last!.......2004-09-18

I've enjoyed listening to the Ring cycles by Solti, Bohm, and Furtwangler, but my pleasure has always been dampened by the necessity to follow the dramas with a German/English libretto. This performance freed me from that burden and allowed me to listen to the Ring with my ears alone for the first time. And what a delightful experience it was! I found I could understand about half the words the first time through. but that was enough for me to understand what the characters were saying and concentrate on Wagner's great music. Some of the characters (Loge and Alberich, for example) are almost perfectly comprehensible, while others (Fricka in particular) might as well be singing in German. The sound itself is superb, with perfect balances between orchestra and voices. Goodall's conducting is famously slow (about half an hour longer than usual), but he is never slack and he reveals a wealth of detail in the orchestration. The singers are a mixed lot, with Loge, Alberich, and Mime particularly effective. Bailey is hardly the grandest of Wotans, but he is solid and convincing. In any event, for us non-German listeners, this recording is a real treat. I would not recommend it as a first Ring (Bohm is a good choice, though some of his tempi are rather hectic), but as a supplement to a recoding in the original language, it is hard to beat. Give it a try! As for me, I'm ready to go on to "Die Walkure" (pardon me, "The Valkyrie").

I Love This Recording.......2002-04-05

I was a little suspicious when approaching this English-language version of Das Rhinegold. I was considering assembling this as my third RING set (behind Solti and Levine) and had listened to THE VALKYRIE (Die Walkure) with a little initial disappointment. Although the live sound quality was very interesting, the tempo was much slower than I was used to and thus a little disconcerting, and the English words were harder to understand than I had hoped. Nevertheless, I persevered and listended to THE RHINEGOLD (probably my favorite of the four RING operas, although I know this puts me in a minority) and was amazed. Best of all, after listening to this album I revisited the Goodall VALKYRIE and discovered a new appreciation! Now the Goodall set ranks as one of the best I've heard. It just needed to get under my skin a bit.

What's so good about it? Three things stand out for me: First, the slow tempi that were a litle rough at first actually allow, upon repeated listenings, a new discovery and understanding of Wagner's unfathomable genius. Every nuance is slowed down just enough to be fully accessible. Second, the modern English translation really does make this a different experience...my initial mistake was thinking that English lyrics could allow me to listen to this as background music, and that's not the case. However, if one devotes the same attention to this as a German recording, the time wil be richly rewarded. Finally, the smaller orchestra creates an almost chamber music-esque setting, which compliments the music in an undefinable way. Despite being in English, this is almost more Germanic than original-language recordings.

I still probably wouldn't get this as the first foray into Wagner's RING (I still think Solti or Levine are the choices for that). But for someone who already has some familiarity with the work, this will provide a lifetime's enjoyment. Cudos to Chandos for resurrecting these recordings!

The Goodall Ring - 1975 - Restored and Remastered.......2001-06-08

I have been curious about this for years. When I saw the packaging, I wondered whether this was the same Ring that has been kicking around for a couple of decades from the Sadler's Wells performances of the mid-70s. News flash: It's the same. However, the box says that it's been re-mastered with something called 24-bit digital mastering. Since I never heard the old records, I have no idea if this is better. Judged on its own, the sound is terrific. This live recording really places the listener in the theater with clarity and authentic spaciousness. So often, a live recording will capture the audience up close, then the orchestra, then the singers, cataloguing every throat being cleared and every bow being tapped. Somewhere in the distance, the singers voices follow their heavy tread over the stage. Not here. There is an intimacy to the sound here that approximates sitting in about the tenth row back in a large hall. It doesn't sound like the opera's being played in your room; it sounds as though your room has been transformed into a medium sized theater. I found it uncanny.

As to the experience of the drama in English, that too is remarkable, at least for someone like me whose home-tongue is English. The drama takes on an immediacy that I have never experienced before. This factor alone is why you should explore this Ring. I can't overemphasize the impact on me that this recording had on me because it was in English and because it was well-acted. Surely this is what Wagner meant, at least dramaturgically (obviously allowing that you can't actually see the action).

Overall, the singing is competent, and in some places, it's excellent. None of the cast really stands out musically. Norman Bailey's wobbly Wotan could have certainly benefitted from a deeper, richer tone. Still, and perhaps more importantly, he creates a god who is clearly unsure of where the moral highground is, even when he's standing on "an open space on a mountain summit." Everyone, for that matter, is dramatically convincing, especially Emile Belcourt (Loge) and Derek Hammond-Stroud (Alberich) and Robert Lloyd (Fasolt), all of whom, by the way, have excellent diction. And speaking of diction, I almost could have done without the libretto when the men were singing. Not so with the women, whose diction was uniformly wanting.

Goodall's pace is notoriously glacial. Still, it's interesting to hear it parsed in this way, and I never had the feeling that I was going to fall off the world. Which is to say that the tempos were deliberate, not affected. This was definitely a labor of love for RG and the English National Opera. The orchestra is a little thin sounding, and perhaps, not entirely up to the score. Occasionally a horn mis-blew and a cello creaked. This is unavoidable in live performances, I suppose. Still, there is a surprising sense of smallness to the ensemble, even though there's never a moment when the balance between singers and players is lost. As a result, the overall effect is a balance of clarity and urgency that is clearly the upside of Goodall's idiosyncratic "vision" of the score. Not a huge or "erotic" sound, but always committed, intelligent, and sometimes impassioned.

For all of its flaws, this is an astonishing and, for me, an indispensible recording because it made me listen to this opera with new ears. While it's not the most lyrically pleasing recording (Karajan) or musically authoritative (that would be Solti, IMHO), dramatically, this Rhinegold excells any recording I know of. I will definitely buy the rest of the set.

Album Review:

1. The Best Of Crystal Waters
2. The Circuit Party, Vol. 4-6
3. The Kings of Disco
4. The Power
5. Tourism
6. Tranceport, Vol. 2
7. Tranceport, Vol. 3
8. Trax Records: 20th Anniversary Collection [Box set] [Collector's Edition]
9. What's Come Inside You
10. Whatever You Want/Naked Without You (Remix EP) [EP]

Album Review

album review

Album Review

Ki: Theory

Little Night Music [Box set]

Sail Boat

Music: Issues [Explicit Lyrics]

Premium Gold Collection [Import]

Seed of Memory [Original recording remastered] [Import]

Sacred Harp Singing

John Field: Complete Piano Music: Rondos, Variations

Nashville at Newport [Live]

Mariana: Complices Al Rescate [Soundtrack]

Raw

Mother Africa [Import]

No Room in the City for Big Hearts Like Ours [Import]

Recital Works-Mark Sparks

Wayne Newton - Greatest Hits