Fight for Love

1. Here in My House

2. Kissfolk

3. Over My Head

4. Miss You

5. Baby Have Some Faith

6. Fight for Love

7. Laughing

8. Walk Talk Madly

9. Where Is My Heart

10. Journey

Fight for Love,54-40,Warner Bros / Wea,Alternative Pop/Rock,Jangle Pop,Jazz Music,Rock,Roots Rock

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Average customer rating: You 're The One That I Want Prepare to be transported to Summer Nights Great Soundtrack & Fun Extras from an Enduring Musical. If You Love Grease, You'll Love This - Only 1 Major Flaw Grease CD Reveiw

Grease - Deluxe Edition Olivia Newton-John , John Travolta , and Stockard Channing Manufacturer: Polydor / Umgd ProductGroup: Music Binding: Audio CD General | Opera & Vocal | Styles | Music Soft Rock | Pop | Styles | Music Pop Rock | Pop | Styles | Music General | Adult Contemporary | Pop | Styles | Music General | Vocal Pop | Pop | Styles | Music Movie Scores | Soundtracks | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music Similar Items: Grease (Rockin' Rydell Edition) Grease: A New 50's Rock 'N Roll Musical - The Original Broadway Cast Album Grease - The New Broadway Cast Recording (1994 Revival) Grease II (1982 Film) Saturday Night Fever: The Original Movie Sound Track ASIN: B0000C16OQ Release Date: 2003-09-23

Tracks:

1. Grease - Fankie Valli
2. Summer Nights - Olivia Newton-John
3. Hopelessly Devoted To You - Olivia Newton-John
4. You're The One That I Want - Olivia Newton-John
5. Sandy - John Travolta
6. Beauty School Drop-Out - Frankie Avalon
7. Look At Me, I'm Sandra Dee - Stockard Channing
8. Greased Lightnin' - John Travolta
9. It's Raining On Prom Night - Cindy Bullens
10. Alone At The Drive-In Movie (Instrumental) - Jim Jacobs
11. Blue Moon - Sha-Na-Na
12. Rock N' Roll Is Here To Stay - Sha-Na-Na
13. Those Magic Changes - Sha-Na-Na
14. Hound Dog - Sha-Na-Na
15. Born To Hand-Jive - Sha-Na-Na
16. Tears On My Pillow - Sha-Na-Na
17. Mooning - Cindy Bullens
18. Freddy, My Love - Cindy Bullens
19. Rock N' Roll Party Queen - Louis St. Louis
20. There Are Worse Things I Could - Stockard Channing
21. Look At Me, I'm Sandra Dee (Reprise) - Olivia Newton-John
22. We Go Together - Olivia Newton-John
23. Love Is A Many Splendored Thing (Instrumental) - Sammy Fain
24. Grease (Reprise) - Frankie Valli

Tracks:

1. Grease (Instrumental Version) - Gary Brown
2. Summer Nights (Sing-A-Long Version) - Jim Jacobs
3. Hopelessly Devoted To You (Sing-A-Long Version) - John Farrar
4. You're The One That I Want (Sing-A-Long Version) - John Farrar
5. Sandy (Sing-A-Long Version) - Louis St. Louis
6. Greased Lightnin' (Single Version) - John Travolta
7. Rydell Fight Song (Instrumental) - Jim Jacobs
8. Greased Up And Ready To Go (Instrumental) - Jim Jacobs
9. Grease Megamix: You're The One That I Want/Greased Lightnin'/Summer Nights - Olivia Newton-John
10. Grease Dream Mix: Grease/Sandy/Hopelessly Devoted To You - Olivia Newton-John
11. Summer Nights (Martian Remix) - Olivia Newton-John
12. You're The One That I Want (Martian Remix) - Olivia Newton-John

Amazon.com

There's no better example of American pop culture's hall-of-mirrors ethos than producer Alan Carr's relentlessly buoyant 1978 film adaptation of the stage musical Grease. Inspired by that decade's rampant 50's nostalgia, it now paradoxically evokes the campy 70's excesses that spawned it. That sense of recycled decades in collision is underscored repeatedly on this deluxe, double-disc Grease-fest, especially on the set's second disc of bonus materials that spans vintage singles of the title track (its instrumental B-side) and "Greased Lightnin'," some sing-along karaoke tracks, and a handful of alternately slick/techo-savvy remixes (originally produced for the film's 20th anniversary) that are testament to its enduring, era-defying appeal. The original soundtrack itself has been treated to a stellar digital remastering that fills disc one, and remains a joyous monument to camp, sheer ambition, and exuberant nostalgic illusions. Includes a slip-cased, double-fold-out case and new booklet with complete song lyrics. --Jerry McCulley

Customer Reviews:

You 're The One That I Want.......2007-04-03

The complete Grease experience. This cd is a two disc-set with disc one being the complete soundtrack, while disc two is all bonus material including the popular Grease Megamix. Fans of the movie would want to make this cd an essential part of their music collection.

Prepare to be transported to Summer Nights.......2006-03-26

Well here we are with a great piece of history.

This album has not only captured the spirit of the movie but the essence of a 1970's version of the 1950's. I have seen this play live and yes some things are different. Yet I grew up on the movie. I even find myself singing some of the songs now and then. Of course you will never see me singing "Look At Me, I'm Sandra Dee." However I do keep this in my car as great driving music. This album is not you can pick apart and say things like missing songs, in the wrong order etc. It sounds and feels just right. There will be many versions yet this one is the Grease - Deluxe Edition [ORIGINAL RECORDING REMASTERED] [SOUNDTRACK] gives you more information about each of the tracks allowing you to feel that you have inside information and to feel that you know more of what went into the making of each song.

Great Soundtrack & Fun Extras from an Enduring Musical........2004-07-06

I'm enjoying listening to this great soundtrack that I loved as a child after a long hiatus. I had it on 8-track 25 years ago. So it's fitting that I should get the 25th Anniversary Edition on CD. The 24 songs from the movie are just as everyone remembers them, so I'll talk about the Bonus Disc, which contains 10 alternative versions of the songs plus 2 previously unreleased instrumentals from the film.

Track 1 on the Bonus Disc is an instrumental version of the film's theme, "Grease", written and produced by Barry Gibb. Frankie Valli's voice has been replaced by a saxophone. The chorus is vocal, but the voices are not those in the original song. You could use this as a sing-along version, as it would be easy to sing over the sax. Tracks 2-5 are officially sing-along versions. "Summer Nights" includes the chorus vocals from the film and sounds good. "You're the One That I Want" has new chorus vocals of questionable merit. "Sandy" is a new arrangement. It's not as good as the film version, but you can sing along. Track 6 is the single version of "Greased Lightning" that you may have heard on the radio back in the day. It's differs from the original in that the bad words have been replaced for radio airplay. Tracks 7-8 are previously unreleased instrumentals from the film. "Greased Up and Ready to Go" is lively. Tracks 9-10 are mixes that I occasionally hear on the radio. The "Grease Megamix" and the "Grease Dream Mix" are fun, if awkward. Tracks 11-12 are Martian Remixes of "Summer Nights" and "You're the One That I Want". They retain the original vocals, but set them to a Latin rhythm. They make pretty good dance tracks.

This 2-disc set isn't in a jewel case. The case is paperboard with 4 panels that fold out. This is inside of a clear vinyl slip case on which the tracks are written. This isn't convenient packaging. On the bright side, the case won't crack in the mail. Tucked inside one of the panels is a booklet that contains lyrics and credits.

The "Grease: 25th Anniversary Deluxe Edition" is a terrifically fun soundtrack to one of the all-time great movie musicals. And for all those preteen girls who go wild over the movie with each new generation, the bonus material is perfect for parties and horsing around.

If You Love Grease, You'll Love This - Only 1 Major Flaw.......2004-05-15

Disc 1 is like the original album, which I also own. 1 major flaw is that "Love Is A Many Splendored Thing" cuts off at the very end of it! I was upset by this, hence the 3 stars instead of 4. Disc 2 is a lot of fun w/some remixes and sing-a-longs, all in all, I'm pretty happy with it being that I'm a HUGE Grease fan. If you like Grease, you'll love this, it's fun. Too bad when they "remastered" it, they didn't catch there 1 mistake. Oh well, at least I have it on another album.

Grease CD Reveiw.......2004-04-26

This Grease CD is the best! I listen to it every week. I just love Your The One That I Want.:) Amazon.com has everything!Olivia Newton-John and the boy singer have the best voices. Now thatnks to Amazon.com I can listen to it! The Grease CD is the best!:)

Average customer rating: A dream Perfection at its Best Tranquil Beauty Beautiful! Tranquility, Serenity, Beauty, and Superb Asian Movie Soundtrack

Hero Tan Dun Manufacturer: Sony ProductGroup: Music Binding: Audio CD Movie Scores | Soundtracks | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music Soundtracks | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Similar Items: House of Flying Daggers Crouching Tiger, Hidden Dragon (2000 Film) The Last Samurai Memoirs of a Geisha Hero ASIN: B0002S945W Release Date: 2004-08-24

Tracks:

1. Hero: Overture
2. For the World - Theme Music
3. Warriors
4. Gone with Leaves
5. Longing
6. At Emperor's Palace
7. In the Chess Court
8. Love in Distance
9. Spirit Fight
10. Swift Sword
11. Farewell, Hero
12. Sorrow in Desert
13. Home
14. Above Water
15. Snow
16. Yearning for the Peace

Amazon.com

Tan Dun straddles the very different worlds of concert music and film scores, winning admirers in both. He's perhaps best known for his score to Crouching Tiger, Hidden Dragon, which shares with Hero a visual poetry that transcends the sword-filled action film genre. In Crouching Tiger, Tan Dun's music was often striking. In Hero he often lapses into repetition and cliché, a failing compensated for by several appealing cues. The Overture, for example, begins with the mournful wail of ancient Chinese instruments set against pounding drums, a promising start that evokes ancient China and the struggles to come. There's a mournful soprano vocalise in "Gone With the Leaves," and the "Warriors" cue recalls Prokofiev's Alexander Nevsky. The plucking of the ancient Chinese lute in "In the Chess Court" evokes a timeless, peaceful mood, contrasting with the thrilling kodo drummers showcased in "Swift Sword." Itzhak Perlman gets cover billing for violin solos any competent studio fiddler could have handled. Tan Dun's admirers will want this, and audiophiles will love those kodo drummers. --Dan Davis

Customer Reviews:

A dream.......2007-05-29

A magistral execution... close your eyes and dream.... a perfumed atmosphere will pervade you

Perfection at its Best.......2007-01-05

I received the Hero CD in mint condition and in a timely fashion. There's a plethora of things one could complain about, and when something works how it should, sometimes it gets overlooked. Not this time! I would just like to commend Amazon.Com on a job well done...

Tranquil Beauty.......2006-08-08

After seeing Hero, one of the (many) things that stuck with me was the evocative soundtrack. It set a perfect backdrop to the artistry and beauty of the story.

After purchasing the soundtrack, I was reminded of many of the scenes I enjoy, especially the tracks for the fight in the chess house ("In the Chess Court"), and in the yellow wood ("Gone with Leaves"). "Longing" is one of the most hauntingly serene pieces of film music I have heard.

This is not, obviously, a CD to listen to while you do step aerobics.
The theme is repeated and varied often, evoking the way the film's story is repeated from different perspectives, but those with short attention spans may perceive it as merely repetitive.

Beyond its association with the film, this soundtrack is an incredibly calming work of art. To be enjoyed with a good cup of hot tea.
5 stars.

Beautiful!.......2006-03-19

Interesting way to present some Chinese history by convoluted storytelling. Jet Li provides a subtle, challenging performance. It's a visually stunning movie to look at, as well. In a way, it's a lot like some classic Westerns in that the gorgeously stark landscapes of China become just as much a "star" as the players.

One of the real draws is the music. Tan Dun's compositions are beautiful, sad and celebratory at the same time, and haunting. I think it was pure genius to pair his compositions with Perlman. I had to wait a few months for the DVD, but I went out and bought the music CD immediately after seeing this gem of a movie.

Tranquility, Serenity, Beauty, and Superb Asian Movie Soundtrack.......2006-02-25

When I want to reconnect with my inner self and take a "time out" from my rat race life, I play either this CD or the sound track from "The Last Samurai". The theme from this CD stays in your head all day. If you like soundtracks, asian style muusic, classical music, and beauty, this CD has it all. I sometimes end up watching the movie again later in the week. I collect movie soundtracks and this is in my top ten.

Average customer rating: Decent interpretation marred by terrible intonation excellent choice for Romeo & Juliet

Prokofiev: Romeo and Juliet Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD Ballets | Ballets & Dances | Classical | Styles | Music Ballets & Dances | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music All Works by Prokofiev | Prokofiev, Sergei | ( P ) | Featured Composers, A-Z | Classical | Styles | Music $7.99 and Under | Classical Music Blowout | Stores | Music All Classical Music Blowout | Classical Music Blowout | Stores | Music Prokofiev, Sergei | ( P ) | Composers, A-Z | Classical Music Blowout | Stores | Music Instrumental | Classical Music Blowout | Stores | Music Similar Items: Tchaikovsky: Swan Lake (complete ballet); Wolfgang Sawallisch; Philadelphia Orchestra Tchaikovsky: The Sleeping Beauty Prokofiev: Cinderella; 'Classical' Symphony Prokofiev: Romeo and Juliet Prokofiev: Cinderella ASIN: B0002XV310 Release Date: 2005-02-15

Tracks:

1. No.1 Introduction
2. No.2 Romeo
3. No.3 The Street Awakens
4. No.4 Morning Dance
5. No.5 The Quarrel
6. No.6 The Fight
7. No.7 The Prince Gives His Order
8. No.8 Interlude
9. No.9 Preparing For The Ball
10. No.10 Juliet As A Young Girl
11. No.11 Arrival Of The Guests
12. No.12 Masks
13. No.13 Dance Of The Knights
14. No.14 Juliet's Variation
15. No.15 Mercutio
16. No.16 Madrigal
17. No.17 Tybalt Recognises Romeo
18. No.18 Departure Of The Guests (Gavotte)
19. No.19 Balcony Scene
20. No.20 Romeo's Variation
21. No.21 Love Dance
22. No.22 Folk Dance
23. No.23 Romeo And Mercutio
24. No.24 Dance Of The Five Couples
25. No.25 Dance With The Mandolins
26. No.26 The Nurse

Tracks:

1. No.27 The Nurse Gives Romeo The Note From Juliet
2. No.28 Romeo With Friar Laurence
3. No.29 Juliet With Friar Laurence
4. No.30 The People Continue To Make Merry
5. No.31 Folk Dance
6. No.32 Tybalt Meets Mercutio
7. No.33 Tybalt And Mercutio Fight
8. No.34 Mercutio Dies
9. No.35 Romeo Decides To Avenge Mercutio's Death
10. No.36 Finale
11. No.37 Introduction
12. No.38 Romeo And Juliet (Juliet's Bedroom)
13. No.39 The Last Farewell
14. No.40 The Nurse
15. No.41 Juliet Refuses To Marry Paris
16. No.42 Juliet Alone
17. No.43 Interlude
18. No.44 At Friar Laurence's
19. No.45 Interlude
20. No.46 Juliet's Bedroom
21. No.47 Juliet Alone
22. No.48 Morning Serenade
23. No.49 Dance Of The Girls With The Lillies
24. No.50 At Juliet's Bedside
25. No.51 Juliet's Funeral
26. No.52 Death Of Juliet

Customer Reviews:

Decent interpretation marred by terrible intonation.......2007-04-06

I had great difficulty restraining myself from turning this off when listening to it for the first time, because London does such a terrible job of being anywhere near in tune for much of it. Combined with many missed notes in the brass, messy passagework in the strings, and woodwind playing that seems intent on doing anything BUT creating any sort of phrase, it's doubtful this is worth even the small price Amazon has it listed for.

For a budget recording of this that's actually decent, I'd be much more inclined to buy Naxos' release of the National Symphony Orchestra of Ukraine's version under Andrew Mogrelia.

excellent choice for Romeo & Juliet.......2006-04-14

I am writing mainly in response to Sarman (Sweden). I own the fforte edition and have played this many years on several systems. On Onkyo DR-UN7 dvd receiver driving Epos 22's, the sound is excellent, as it was using Panasonic dvd player, NAD amplifier, and Epos 11's. Previn is one of best interpreters of Prokofiev--after all, he is a Russian born in Berlin. I don't know who could call either the playing or the re-mastering "dull". The natural alternative is Gergiev, re-issued on Philips great 50 recordings at medium price. That is also quite good. I would avoid the others.

Average customer rating: Another great trip down the MFU memory lane The best of the three Double CDs ORIGINAL soundtrack release

The Man From U.N.C.L.E., Vol. 2 Manufacturer: Film Score Monthly ProductGroup: Music Binding: Audio CD All Works by Schifrin | Schifrin, Lalo | ( S ) | Featured Composers, A-Z | Classical | Styles | Music Movie Scores | Soundtracks | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music Similar Items: The Man From U.N.C.L.E. The Man from U.N.C.L.E., Vol. 3 Man from U.N.C.L.E. The Saint/Secret Agent In Like Flint / Our Man Flint: Original Motion Picture Soundtracks ASIN: B0006SSQ7U Release Date: 2005-01-04

Tracks:

1. First Season End Title
2. Vulcan Affair (Suite No. 2)
3. Iowa-Scuba Affair
4. Shark Affair
5. Deadly Games Affair (Suite No. 2)
6. Meet Mr. Solo
7. Giuoco Piano Affair
8. King of Knaves Affair: Suite No. 2
9. First Season Main Title [Revised]
10. Deadly Decoy Affair
11. Spy With My Face
12. Second Season Main Title
13. Alexander the Greater Affair
14. Ultimate Computer Affair
15. Very Important Zombie Affair
16. Dippy Blonde Affair
17. Seadly Goddess Afair
18. Moonglow Affair

Tracks:

1. One of Our Spies Is Missing
2. Third Season Main Title
3. Sort of Do-It-Youself Dreadful Affair
4. Galatea Affair
5. Pop Art Affair
6. Come With Me to the Casbah Affair
7. Off-Broadway Affair
8. Concrete Overcoat Affair
9. Napoleon's Tomb Affair
10. Alternate Fourth Season Main Title
11. Fourth Season (End Title)
12. Test Tube Killer Affair
13. Prince of Darkness Affair
14. Seven Wonders of the World Affair

Customer Reviews:

Another great trip down the MFU memory lane.......2005-10-19

Volume 2 (comprised of 2 CDs) is another first rate compilation of the series' original music and not to be missed by U.N.C.L.E. fans. The liner notes are wonderful and add a lot to ones appreciation of the music.

My only problem is that THE CDs ARE COPY PROTECTED! Considerable work is needed to get the music onto your iPod, if you really want the music in your mp3 collection. This is a major hassle and a surprise, since the first set in the series was not copy protected.

The best of the three Double CDs ORIGINAL soundtrack release.......2005-07-12

Many of us have always thought The Man From UNCLE had the best music for a TV series ever, and this three double CD release confirms this. Wow! I'd be just happy with one CD, but having SIX (three double CDs packages) is absolutely out of this world, I mean, a lifetime wait come true.

Indeed, this is an unbelievable collection of three double CDs packages with the complete series soundtrack, and I mean the complete music, not a tune is missing.

And this is the ORIGINAL Man From Uncle music. Let me stress the point: this is the four years ORIGINAL soundtrack with the original recordings as they were heard throughout the series, not a no-name orchestra doing personal versions of the stuff. The audio transfer is very, very good, the music from late episodes is even in stereo.

Each individual CD carries over 70 minutes of music. All in all there you have the four TV seasons main titles and all, absolutely all of TMFU unforgetable music.

This is not a chronological release, meaning, all CDs have a mix of music from all four TV seasons. Volume 1 is heavier on early TV seasons stuff, fans of Jerry Goldsmith will love it. Those of us who prefer what Gerald Fried and later Richard Shores did with TMFU music, then volume 2 is mandatory. If you are a fan, you can't miss any of these six CDs. However if buying all three double packages is too much for you, you must go with Volume 2, no questions asked. Volume three is the weakest of them as it brings "suites" and a whole CD with "The Girl From Uncle" soundtrack, but you have a bonus "Open Channel D" beeper.

Each package is gorgeous, each with a glossy color booklet with extensive liner notes with details on how each tune was written to a specific TV series episode and how it was used onwards. You have bios on the composers, on how the recordings were made, even an overview on how many instruments were available in each of the years the music was recorded.

So, throw away your Hugo Montenegro Man From Uncle CD, this is the REAL thing.

Average customer rating: Yes it`s grand but it helps if you have seen the film. One of Barry's best scores given a stunning re-recording. Can someone else please try doing these Barry re-recordings? Can someone else please try doing these Barry re-recordings? "Barry's haunting theme, highlights the complete score"

Robin and Marian Manufacturer: Silva America ProductGroup: Music Binding: Audio CD Movie Scores | Soundtracks | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music General | Soundtracks | Indie Music | Stores | Music Movie Soundtracks | Soundtracks | Indie Music | Stores | Music Similar Items: High Road To China (1983 Film) Robin and Marian Last Man Standing: Music Inspired By The Film The Chase (Score) Zulu (1964 Film) (Includes Other John Barry Film Score Selections) ASIN: B00005Q6NT Release Date: 2001-10-23

Tracks:

1. Main Title
2. The ride To Sherwood/The Ride To Nottingham (film version)
3. Robin And Marian Meet/Fight & Recognition/"He Was My King"
4. Dawn In Sherwood
5. Over The Wall/Escape
6. First Love Theme
7. Trapped
8. Nuns
9. In The Church/This Way
10. Second Love Theme
11. The Ride To Sherwood/The Ride To Nottingham (original version)
12. In Position/Preparation For Battle
13. Third Love Theme
14. The Fight Must Go On
15. John Bursts In/The End

Customer Reviews:

Yes it`s grand but it helps if you have seen the film........2006-07-02

Sentimental, beautifull and catchy. But scores carry reference to the film they were written for. So if you have or haven`t seen the film (or if you did or didn`t like it) it may color your perception of it. (I enjoyed the film very much.)

One of Barry's best scores given a stunning re-recording........2002-02-14

'Robin and Marian' was released in UK in early 1976 and had the dream team of actors, Sean Connery and Audrey Hepburn supported by John Barry's score. The film was initially much underrated but has started to win appreciation in recent years.

Barry was brought in at a late stage following the rejection of a soundtrack composed by Michel Legrand. In just a few weeks, Barry created a fantastic score which works wonderfully for the film. Haunting romantic music is complemented by exciting action cues.

The music from 'Robin and Marian' has not been available on CD apart from an awful sounding bootleg taken from the DVD. The original tapes are said to have been lost but Silva have done a wonderful job of recreating the whole score including alternate cues.

'Robin and Marian' is one of John Barry's finest scores and this CD is highly recommended.

Can someone else please try doing these Barry re-recordings?.......2001-11-23

I don't know what it is with Nic Raine. I keep thinking he'll get better at this, but he doesn't. It's always, to quote a John Barry song, hit and miss. Unlike the other reviewers here, I do own a recording of the LP (not the bootleg made from laser disk, but the actual LP). Why does Raine change those two, long dissonant chords at the end of The Fight Must Go On? They capture musically the cutting and slicing seen in the movie. Instead, they're replaced by short, non dissonant lines. There are also a number of places where the interval is a full step off from the original (not through poor playing, just arranging). Raine did this with the timpani flourish at the end of Zulu and The Human Torpedo from You Only Live Twice. It drives me NUTS! Also, the LP contained a version of the love theme with lyrics (no credit was given) and I sure would have liked to have heard this reprised (it was not used in the movie).

This is still the only Robin and Marion we have right now and while the CofPP often (yes, often) comes in sloppily on a downbeat, Raine manages to keep them together for the most part and the conducting and recording usually has a nice balance among the instrument sections and solos. Engineering is crisp. And now I have an idea why "Trapped" sounds like John Barry doing Lalo Schiffrin.

Even though it's not a note for note true version of Barry's original, I think those who only know the music from the film will be very pleased. For me, I'm just sort of pleased. These recordings, simply said, SHOULD be better. If Raine was Barry's occasional orchestrator, my question, why can't he use the original scores?

Can someone else please try doing these Barry re-recordings?.......2001-11-23

I don't know what it is with Nic Raine. I keep thinking he'll get better at this, but he doesn't. It's always, to quote a John Barry song, hit and miss. Unlike the other reviewers here, I do own a recording of the LP (not the bootleg made from laser disk, but the actual LP). Why does Raine change those two, long dissonant chords at the end of The Fight Must Go On? They capture musically the cutting and slicing seen in the movie. Instead, they're replaced by short, non dissonant lines. There are also a number of places where the interval is a full step off from the original (not through poor playing, just arranging). Raine did this with the timpani flourish at the end of Zulu and The Human Torpedo from You Only Live Twice. It drives me NUTS! Also, the LP contained a version of the love theme with lyrics (no credit was given) and I sure would have liked to have heard this reprised (it was not used in the movie).

This is still the only Robin and Marion we have right now and while the CofPP often (yes, often) comes in sloppily on a downbeat, Raine manages to keep them together for the most part and the conducting and recording usually has a nice balance among the instrument sections and solos. Engineering is crisp.

Even though it's not Barry's original (and not all the notes are right, sigh), as usual, it's not bad, just not all it could be. If Raine was Barry's occasional orchestrator, my question, why can't he use the original scores?

"Barry's haunting theme, highlights the complete score".......2001-11-18

Nic Raine's interpretation of John Barry's score for ~ "Robin and Marian", is complete and final...gives our composer his ray of sunshine that he so justly deserves...The City Of Prague Philharmonic known world-wide is probably the only institution that can perform this under-rated classic with the heart and soul it manifests.

Just released this year, the complete score with HDCD (new digital recording) gives the listener what they have missed since March of 1976, original music/score by our favorite composer John Barry...sending "film-score-buffs" into ecstasy with each cue...never before heard until Silva Screen and producer James Fitzpatrick was given the green light, hats off to all who had a hand in this wonderful collectible release.

Total Time: 45:06 on 15 Tracks ~ Silva Screen SSD-1133 ~ (2001)

Average customer rating: A solid score re: Carter Burwell, Perfection, Disapointment, and Noir Carter Burwell does another swell job on this one. All the flavor, none of the calories Beethoven & Billy Joel - Response to Andy Alabama

The Man Who Wasn't There (2001 film) Carter Burwell , Ludwig van Beethoven , and Wolfgang Amadeus Mozart Manufacturer: Decca U.S. ProductGroup: Music Binding: Audio CD Trios | Chamber Music | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music All Works by Beethoven | Beethoven, Ludwig van | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music Sonatinas | Sonatas | Forms & Genres | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music | Cantatas | Romances Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Movie Scores | Soundtracks | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Fargo (1996 Film)/Barton Fink (1991 Film) Adaptation (Score) Being John Malkovich: Original Motion Picture Soundtrack [ECD] Fur Miller's Crossing: Original Motion Picture Soundtrack ASIN: B00005QK53 Release Date: 2001-10-30

Tracks:

1. Beethoven: Piano Sonata No. 8 In C Minor Op. 13 / Birdy's "Pathetique"
2. Mozart: The Marriage Of Figaro: Che soave zeffiretto
3. Beethoven: Piano Sonata No. 25 in G Major Op. 79 / Bringing Doris Home
4. I Met Doris Blind
5. Ed Visits Dave
6. Beethoven: Piano Sonata No. 23 in F Minor Op. 57 / Ed Returns Home
7. I Love You Birdy Abundas!
8. Nirdlinger's Swing
9. Beethoven: Piano Sonata No. 14 in C Sharp Minor Op. 27
10. The Fight
11. The Bank
12. Beethoven: Piano Sonata No. 8 in C Minor Op. 13: Adagio Cantabile
13. The Trial Of Ed Crane
14. Beethoven: Piano Trio No. 7 in B Flat Op. 97: Andante Cantabile

Amazon.com

Twenty years after their accomplished and unsettling first feature film, Blood Simple, the brothers Coen have returned to their film noir roots with an ominous, monochromatic vengeance. As in all their films, music again plays a crucial supporting role and that means the sonic seasonings of career collaborator Carter Burwell, along with a slate of typically obtuse catalog choices. Though that latter music is hardly the sort of smoky urban jazz usually associated with the genre, its mood and composer are as brooding as they come: Ludwig van Beethoven.

New, abridged recordings of LvB's "Pathétique," "Appassionata," and "Moonlight" sonatas and Piano Sonata No. 25 set the tone, along with a Beaux Arts Trio version of Piano Trio No. 7 (and a brief excerpt of Karl Bohm's "Che soave zeffiretto" from Mozart's The Marriage of Figaro). Burwell's original music is shaded similarly, subtly different yet equally somber in mood and character. The composer occasionally reprises his compelling, autumnal string writing from The General's Daughter, progressively darkening the atmosphere to great effect here. The urgent '40s romp "Nirdlinger's Swing" offers up the score's only bowing to period conventions, a brief shaft of light flickering among the shadows. --Jerry McCulley

Customer Reviews:

A solid score.......2005-03-09

I thought Burwell's contributions to this score were outstanding, although I agree with the criticisms of the classical recordings - not of the quality we've come to expect. Still I think the CD is well worth buying for another interesting Burwell score.

re: Carter Burwell, Perfection, Disapointment, and Noir.......2003-05-05

If you can't seem to find enough merit to this soundtrack to label it impressive or at least concede that it has managed to weave film noir and classical music together in a tapestry of dark, rich, soulful bittersweetness, then you have obviously missed something. Let's not linger too long in thought on it.

Context, folks. Put it in context. Soundtracks are not composed and arranged as stand alone albums, but rather as the rhythm to which a movie is played out. Within the confines of these cinematic constraints, the album manages to wriggle and squirm enough to accomplish what other soundtracks fail to do: it becomes more than background noise, and writes itself into and becomes indispensable to the film.

I am not afraid that I must disagree with whomever contests that expecting only perfection, we are never disapointed. On the contrary, high hopes and high expectations lead mostly to disapointment, as anyone who has expected this much from anything could tell you.

The soundtrack has the flavor of noir, that mysterious, twisted edginess and allure. Burwell's contributions stand out. While acting as critic, please don't make the mistake of comparing this soundtrack to purely classical renderings. To do this would be like comparing great tea and excellent coffee and complaining that tea makes a horrible cup of joe. Classical musicians make their money by interpreting others' pieces and playing them with precision. This is not the case when arranging pieces and composing your own score. Hats off to Burwell.

If you enjoy the novelty of original and compelling music, buy this album now. Conventional classical enthusiasts beware.

Carter Burwell does another swell job on this one........2002-08-15

You might know Burwell best for his score on Fargo but 'The Man Who Wasn't There' is another solid job by one of Hollywood's best composers.

While nearly half of this cd focuses on some songs by Mozart and Beethoven, the score is solid. You will hear the main theme played four different ways on this score but they are all splendid, a melody that is somewhere between the description of relaxing, beautiful, and dark.

Another Burwell cd I highly recommend is Hamlet. Hope you enjoy either of these cd's if you pick them up in the future. I know I have. Enjoy!

All the flavor, none of the calories.......2002-05-29

This album creates an ambience that captures the film noir flavor of the film, yet lacks much of the substance that makes for a great film soundtrack. I must disagree with the opinion of Mr. Moodindigo2 when he asserts that you should not go looking for perfection in an album, rather accept it for what it's worth. Somebody once said, "If you only accept the best, you'll never be disappointed." Beyond the technical flaws discussed in other reviews, I found the choice of Beethoven's Piano Sonata No. 8, (AKA The Pathatique) so hackneyed that I almost gave up on the soundtrack before the second track played. And then they went ahead and repeated it! Aaaaaaack!

To be fair, there is some very interesting music on this CD, especially the brief pieces specifically written for the movie by Carter Burwell. I found the songs compelling and beautiful. However I was very disappointed with the classical pieces interspersed throughout the album. I'm a bit of a completist when it comes to classical music, and because I'm so familiar with them, I found the Beethoven pieces distracting when they didn't transition into the next movements. One track infuriated me because it was cut off in mid-movement! Even if it didn't play all the way through in the movie, that's no reason to cut it short on a CD!

Also, since I'm being critical: I didn't find the phrasing or playing of the piano pieces especially moving. I guess I've been spoiled by far superior versions by Brendal, Kissin and others that I own. Again, why settle for less than the best?

Five stars for the music written by Carter, but minus three stars for the sound quality, editing and performances of the classical works. Look to THE RED VIOLIN, 2001, A SPACE ODYSSEY or even AMADAUS for a lesson on how classical music should be used in a movie soundtrack.

Beethoven & Billy Joel - Response to Andy Alabama.......2002-05-28

Hi Andy,

Also noticed the similarity between This Night and Pathetique. Of course, if you read the liner notes to "An Innocent Man" by Billy Joel, you'll see he gives full credit to Ludwig Von Beethoven. Joel grew up playing classical piano...

Average customer rating: The highest quality performance

Purcell: Dioclesian (complete); Timon Of Athens /Pierand * Bowman * Ainsley * George * Collegium Musicum 90 * Hickox Henry Purcell , Richard Hickox , James Bowman , John Mark Ainsley , Michael George , Catherine Pierard , and Collegium Musicum 90 Manufacturer: Chandos ProductGroup: Music Binding: Audio CD Purcell, Henry | ( P ) | Featured Composers, A-Z | Classical | Styles | Music Incidental Music | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music General | Purcell, Henry | Composers | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music ASIN: B000000A5U Release Date: 1995-11-14

Tracks:

1. Dioclesian: First Musick
2. Dioclesian: Second Musick
3. Dioclesian: Overture
4. Dioclesian: Act I - First Act Tune (Hornpipe)
5. Dioclesian: Act II - Song (Bass): Great Diocles the Boar has kill'd -Chorus: Sing Io's
6. Dioclesian: Act II - Song (Soprano): Charon the peaceful Shade invites
7. Dioclesian: Act II - Symphony for Trumpets and Violins
8. Dioclesian: Act II - Duet (Soprano, Bass), Chorus: Let all mankind the pleasure share
9. Dioclesian: Act II - Martial Song, Trio, Retornello, Trio, Retornello
10. Dioclesian: Act II - A Symphony of Flutes, Song (Alto), Quartet
11. Dioclesian: Act II - Dance of Furies
12. Dioclesian: Act II - Second Act Tune
13. Dioclesian: Act III - Two in one upon a Ground. Chaconne for Flutes
14. Dioclesian: Act III - The Chair Dance
15. Dioclesian: Act III - Prelude for Hautboys - Song (Tenor): What shall I do?
16. Dioclesian: Act III - Third Act Tune
17. Dioclesian: Act IV - Butterfly Dance
18. Dioclesian: Act IV - Tune for Trumpets
19. Dioclesian: Act IV - Song (Tenor): Sound, Fame, thy brazen trumpet sound
20. Dioclesian: Act IV - Chorus: Let all rehearse
21. Dioclesian: Act IV - Fourth Act Tune

Tracks:

1. Dioclesian: Act V - Country Dance
2. Act V - Masque - Cupid, Chorus: Call the nymphs
3. Dioclesian: Act V - Masque - Duet (Bacchanalian, Silvan): Come, come away
4. Dioclesian: Act V - Masque - Chorus: Behold, O mighty'st of Gods
5. Dioclesian: Act V - Masque - Paspe (The first entry of heroes on the stage)
6. Dioclesian: Act V - Masque - Duet (two Wood-Gods): Oh, the sweet delights of love!
7. Dioclesian: Act V - Masque - A Fawn, Chorus: Let monarchs fight
8. Dioclesian: Act V - Masque - Two Bacchanals, Bacchus: Make room
9. Dioclesian: Act V - Masque - Dance of Bacchanals
10. Dioclesian: Act V - Masque - Follower of Cupid: Still I'm wishing
11. Dioclesian: Act V - Masque - Canaries
12. Dioclesian: Act V - Masque - Shepherd & Shepherdesses: Tell me why
13. Dioclesian: Act V - Masque - Dance
14. Dioclesian: Act V - Masque - A Pleasure & Chorus: All our days
15. Dioclesian: Act V - Masque - Let us dance
16. Dioclesian: Act V - Masque - Dance
17. Dioclesian: Act V - Masque - Trio & Chorus: Triumph, triumph victorious Love
18. Dioclesian: Act V - Appendices - Song (Soprano): Since from my dear Astrea'ssight
19. Dioclesian: Act V - Appendices - Song (Tenor): When first I saw
20. Timons Of Athens: Masque: Duet: Hark how the songsters
21. Timons Of Athens: Masque: Cupid: Love in their little veins
22. Timons Of Athens: Masque: Trio: But ah! how much are our delights
23. Timons Of Athens: Masque: Bass solo: Hence with your trifling deity
24. Timons Of Athens: Masque: Trio: But over us no griefs prevail
25. Timons Of Athens: Masque: Cupid: Come, come all to me
26. Timons Of Athens: Masque: Chorus: Who can resist such mighty charms
27. Timons Of Athens: Masque: Bacchus: Return, revolting rebels
28. Timons Of Athens: Masque: Cupid: The cares of lovers
29. Timons Of Athens: Masque: Alto solo: Love quickly is pall'd
30. Timons Of Athens: Masque: Duet (Cupid & Bacchus): Come, let us agree
31. Timons Of Athens: Masque: Chorus: Come, let us agree
32. Timons Of Athens: Masque: Curtain Tune on a ground

Customer Reviews:

The highest quality performance.......1999-03-13

The music on this recording presents a typical example of a semi-opera, popular in Britain in Purcell's time. Semi-operas were based on a dramatic spoken play, and were accompanied by "incidental" music (dances and masques). It is this incidental music that usually finds its way onto a disc. This recording follows this convention. What distinguishes this recording is its high quality. Collegium Musicum 90 and Richard Hickox are experts in baroque music. The soloists include the biggest names in English vocals. Even the two additional tenors, brought in to merely double the voices in two places, are not just anybody, but Mark Padmore and Ian Bostridge (!). That tells you something. The biggest highlights include the Wood-god duet in Act V of Dioclesian, and the soprano song "Since from my dear Astrea's sight" which is placed in an appendix because musicologists don't seem to know where exactly it originally belonged. This song, which seems to speak of a man's, rather than woman's, anguish over the lost love, concludes with the most wrenching words: "alas, with weeping eyes, And bleeding heart I lie Thinking on her whose absence 'tis That makes me wish to die." Isn't that beautiful?

Average customer rating: "The death-doomed alone are destined to look on me." Breathtaking, powerful, accessible, not just an alternative Absolutely Breathtaking! A powerful reading of the most moving opera in the Ring. The power of Wagner's music drama is now fully accessible

Wagner: The Valkyrie Manufacturer: Chandos ProductGroup: Music Binding: Audio CD All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Similar Items: Siegfried (Goodall Ring Cycle/Chandos Opera in English) The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English) Wagner: The Rhinegold ASIN: B00004YU6Z Release Date: 2000-11-28

Tracks:

1. Act I: Prld - English Nat Opr Orch/Reginald Goodall
2. Act I, Scene 1: The Storm Drove Me Here - Alberto Remedios/Margaret Curphey
3. Act I, Scene 1: This House And This Wife - Margaret Curphey/Alberto Remedios
4. Act I, Scene 1: Evil Fortune's Never Far From Me - Alberto Remedios/Margaret Curphey
5. Act I, Scene 2: There He Lay, Feeble And Faint - Margaret Curphey/Clifford Grant/Alberto Remedios
6. Act I, Scene 2: Through Field And Forest - Alberto Remedios/Clifford Grant/Margaret Curphey
7. Act I, Scene 2: Friedmund No One Could Call Me - Alberto Remedios/Clifford Grant/Margaret Curphey
8. Act I, Scene 2: The Neidings Raided Again - Alberto Remedios
9. Act I, Scene 2: So The Norn Who Dealt You This Fate - Clifford Grant/Margaret Curphey/Alberto Remedios
10. Act I, Scene 2: I Know A Troublesome Race - Clifford Grant
11. Act I, Scene 3: A Sword Was Pledged By My Father - Alberto Remedios
12. Act I, Scene 3: Are You Awake? - Margaret Curphey/Alberto Remedios
13. Act I, Scene 3: My Husband's Kinsmen - Margaret Curphey
14. Act I, Scene 3: Yes, Loveliest Bride - Alberto Remedios/Margaret Curphey
15. Act I, Scene 3: Winter Storms Have Vanished (Siegmund's Spring Song) - Alberto Remedios
16. Act I, Scene 3: You Are The Spring - Margaret Curphey
17. Act I, Scene 3: Oh Sweetest Enchantment - Alberto Remedios/Margaret Curphey
18. Act I, Scene 3: The Stream Has Shown My Reflected Face - Margaret Curphey/Alberto Remedios
19. Act I, Scene 3: Siegmund Call Me, And Siegmund Am I! - Alberto Remedios
20. Act I, Scene 3: Siegmund, The Walsung, Here You See! - Alberto Remedios/Margaret Curphey

Tracks:

1. Act II, Scene 1: Go Bridle Your Horse, Warrior Maid! - Norman Bailey
2. Act II, Scene 1: Hoyotoho! Hoyotoho! (Brunnhilde's Battle Cry) - Rita Hunter
3. Act II, Scene 1: The Usual Storm, The Usual Strife - Norman Bailey/Ann Howard
4. Act II, Scene 1: Pretend That You Don't Understand! - Ann Howard/Norman Bailey
5. Act II, Scene 1: Now It's Come To Pass! - Norman Bailey
6. Act II, Scene 1: So This Is The End Of The Gods And Their Glory - Ann Howard
7. Act II, Scene 1: You Never Learn What I Would Teach You - Norman Bailey/Ann Howard
8. Act II, Scene 1: What Must I Do? - Norman Bailey/Ann Howard
9. Act II, Scene 1: Hiaha! Hiaha! Hoyotoho! - Rita Hunter/Ann Howard/Norman Bailey
10. Act II, Scene 2: Fricka Has Won The Fight - Rita Hunter/Norman Bailey
11. Act II, Scene 2: When Youth's Delightful Pleasures Had Waned - Norman Bailey
12. Act II, Scene 2: She Refused To Reveal More About It - Norman Bailey/Rita Hunter
13. Act II, Scene 2: There's More To Tell - Norman Bailey
14. Act II, Scene 2: Yet One Can Accomplish What I May Not - Norman Bailey
15. Act II, Scene 2: But The Walsung, Siegmund - Rita Hunter/Norman Bailey
16. Act II, Scene 2: Then Siegmund Must Fall In His Fight? - Rita Hunter/Norman Bailey
17. Act II, Scene 2: I Give You My Blessing, Nibelung Son! - Norman Bailey/Rita Hunter
18. Act II, Scene 2: No, Have Mercy - Rita Hunter/Norman Bailey

Tracks:

1. Act II, Scene 2: So I Obey His Command - Rita Hunter
2. Act II, Scene 3: Rest Here For A While; Stay By My Side! - Alberto Remedios/Margaret Curphey
3. Act II, Scene 3: Away! Away! - Margaret Curphey/Alberto Remedios
4. Act II, Scene 3: Where Are You, Siegmund? - Margaret Curphey/Alberto Remedios
5. Act II, Scene 4: Siegmund! Look At Me! (Announcement Of Death) - Rita Hunter/Alberto Remedios
6. Act II, Scene 4: And If I Come - Alberto Remedios/Rita Hunter
7. Act II, Scene 4: Then Greet For Me Walhall - Alberto Remedios/Rita Hunter
8. Act II, Scene 4: Woe! Woe! Sister And Bride - Alberto Remedios/Rita Hunter
9. Act II, Scene 4: Two Lives Now Lie In Your Power - Alberto Remedios/Rita Hunter
10. Act II, Scene 5: Charms Of Sleep Are Sent To Still - Alberto Remedios
11. Act II, Scene 5: I Hear Your Call - Alberto Remedios/Margaret Curphey
12. Act II, Scene 5: Wehwalt! Wehwalt! - Clifford Grant/Alberto Remedios/Margaret Curphey/Rita Hunter/Norman Bailey

Tracks:

1. Act III, Scene 1: Hoyotoho! Hoyotoho! (Ride Of The Valkyries) - Katie Clark/Anne Evans/Elizabeth Connell/Helen Attfield/Shelagh Squires/Anne Conoley
2. Act III, Scene 1: Shield Me And Help - Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne Evans/Sarah Walker...
3. Act III, Scene 1: Hear While I Tell You - Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne Evans/Sarah Walker...
4. Act III, Scene 1: Pray Suffer No Sorrow For Me - Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne...
5. Act III, Scene 1: Fly Him Swiftly, Away To The East! - Rita Hunter
6. Act III, Scene 1: O Radiant Wonder! (Parting Salute) - Margaret Curphey
7. Act III, Scene 1: Stay, Brunnhild! - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
8. Act III, Scene 2: Where Is Brunnhild? - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
9. Act III, Scene 2: Weak-Spirited, Womanish Brood! - Norman Bailey
10. Act III, Scene 2: Here I Am, Father - Rita Hunter/Norman Bailey
11. Act III, Scene 2: No More Will You Ride From Walhall - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
12. Act III, Scene 2: Did You Not Hear What I Decreed? - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
13. Act III, Scene 3: Was It So Shameful - Rita Hunter/Norman Bailey
14. Act III, Scene 3: I Know So Little - Rita Hunter/Norman Bailey
15. Act III, Scene 3: You, Who This Love Into My Heart Revealed - Rita Hunter/Norman Bailey
16. Act III, Scene 3: You Indulged Your Love - Norman Bailey
17. Act III, Scene 3: Unworthy Of You This Foolish Maid - Rita Hunter/Norman Bailey
18. Act III, Scene 3: You Fathered A Glorious Race - Rita Hunter/Norman Bailey
19. Act III, Scene 3: In Long, Deep Sleep - Norman Bailey/Rita Hunter
20. Act III, Scene 3: Farewell, My Valiant, Glorious Child! (Wotan's Farewell) - Norman Bailey
21. Act III, Scene 3: These Eyes So Warm And So Bright - Norman Bailey
22. Act III, Scene 3: Loge, Hear! Come At My Call! - Norman Bailey
23. Act III, Scene 3: Magic Fire Music - Norman Bailey

Customer Reviews:

"The death-doomed alone are destined to look on me.".......2007-06-12

Okay, so we have the Solti, Bohm, Karajan, Goodall, Boulez, Janowski, Levine, Haitink, and Sawallisch Rings on the market (I haven't listened to the other Ring recordings yet, sorry to say). And all of these leave me to one conclusion: the many differences lead me to believe that all of these ring sets have their own authenticities and setbacks. And here they are:

TIMING (Estimate):
Solti's Ring: 14 hours, 30 minutes
Bohm's Ring: 13 hours, 30 minutes
Karajan's Ring: 14 hours, 50 minutes
Goodall's Ring: 16 hours, 50 minutes
Boulez's Ring: 13 hours, 40 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Haitink's Ring: 14 hours, 10 minutes
Sawallisch's Ring: 14 hours, 0 minutes

CONDUCTING:
Solti: Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His Walkure & Gotterdammerung Preludes are clear examples: they're annoyingly bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.

Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe "Wohin schleich'st du eilig und schlau"). I especially like his "Forging Scene" & "Hagen Summons the Vassals"; both are the most energetic on disc.

Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as Siegfried Act Three Scene Three) are controlled nicely. His "Funeral March" and "Immolation" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.

Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: nothing is faster than andante. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.

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

Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Sawallisch's). Rheingold Scene Four can be best described as "sensational".

Levine: While he does stay true to the score like Bohm, this conductor makes for a somewhat dull Ring. His handling of the orchestra is nice, but the moderately slow tempi he chooses is flawed. It should be more animated. His beautiful "Funeral March" and "Erda's Warning" are two of the few flawless features.

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

Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.

ORCHESTRA:
Solti's Vienna Philharmonic: The woodwinds are the most beautiful in Solti's Ring (the "Forest Murmurs" is clear evidence of that). French horns and Wagner tubas make this a recommended listening. The strings in "Heda Heda Hedo" could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.

Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Erda's scenes aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tone & technique. Overall, this orchestra is the most dramatic.

Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung "Three Norns" Scene sounds very mysterious, very eerie.

Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. The Flight of the Valkyries doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act Two Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.

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

Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Boulez's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are heard clear in this Ring. The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Solti's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.

Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.

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

Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.

SINGERS:
-Wotan
Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Rheingold, in which a less stellar George London performs).

Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording, but he still doesn't disappoint.

Karajan: Dietrich Fischer-Dieskau plays Wotan in "Rheingold," while Thomas Stewart replaces Fischer-Dieskau in "Walkure" and "Siegfried". I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both "Walkure" and "Siegfried".

Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen.

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

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

Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his Wotan's Farewell wasn't enough to sadden me.

-Brunnhilde
Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her final scene in Gotterdammerung is brilliant beyond belief.

Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Gotterdammerung, sorry to say).

Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."

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

Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.

Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin: while she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).

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

-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm, Jon Vickers for Karajan, Alberto Remedios for Goodall, Peter Hoffman for Boulez, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, Reiner Goldberg for Haitink, and Robert Schunk for Sawallisch. For the Sieglindes, we have Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jeanine Altmeyer for Boulez, Jessye Norman for both Janowski and Levine, Cheryl Studer for Haitink, and Julia Varady for Sawallisch. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Three exceptions, though: Goldberg and Schunk don't sound heroic enough, and Norman for Levine doesn't sound young and innocent enough.

-Siegfried
Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in both renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming.

Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.

Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.

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

Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.

Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. Levine should've chose Kollo or Jerusalem when he recorded his studio Ring.

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

-Alberich
Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?").

Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.

Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.

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

Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.

Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.

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

-Mime
Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners.

Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.

Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.

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

Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. He is equal to Zednik when it comes to humaneness and lyricism. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.

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

Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.

-Loge
Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere is greatly affects the entire Rheingold. But he'll soon be forgotten later on during the Trilogy.

Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Again, another Loge that's marred by lack of cunning.

Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. He has the wit, the craftiness, and the untrustworthiness that the character deserves. His scenes in Scene Three are delightful.

Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.

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

Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt and Zednik depend only on vengeance and deviousness, Stolze only imagination and deviousness, Windgassen and Svanholm only peril. His odd conversations with Alberich and the gods/goddesses are classic.

Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.

Sawallisch: Robert Tear is on par with Stolze and Zednik. Sometimes he takes things too low, but all is forgiven with his management of character development.

-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings. Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). Anja Silja is the most memorable Freia (Bohm), while Kurt Moll makes the most fabulous Hunding yet (Janowski, Levine, and Sawallisch). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm, Goodall, and Boulez. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.

CONCLUSION: I have yet to listen to Barenboim's Bayreuth presentation, Neuhold's Badische version, and the essential mono recordings (Furtwangler, Krauss, etc.), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the industrialized Boulez, the truthful Janowski, the unhurried Levine, the abnormal Haitink, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.

The Box Set: Wagner: The Ring Cycle (Box Set)
The Rhinegold (Part 1): Wagner: The Rhinegold
Siegfried (Part 3): Siegfried (Goodall Ring Cycle/Chandos Opera in English)
Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

Breathtaking, powerful, accessible, not just an alternative.......2005-05-03

This is one of three Walkure's in my collection: the very underrated Leinsdorf, the thrilling Boehm and this one with Goodall. I believe Goodall is right up there with the best of them. Remedios, Hunter and Bailey sing beautifully and with sufficient drama. I'll go out on a musical limb and say I believe Bailey is one of the finest Wotan's on disc. Many will disagree but I think he has the measure of the role, the power to pull it off and a burnished timber that never becomes coarse under powerful climaxes... Remedios may well be the star of the trilogy along with Hunter and Bailey. His Siegmund is beautifully sung and his Siegfried by the way, is no mean stint either. Would that we had tenors that could sing Siegfried without sounding stretched beyond their limits. I am continually puzzled by the bad reviews that the orchestra playing receives from ARG, Classics Today and a few others. The ENO is not a Concertgebouw or Vienna Philharmonic but I think they play beautifully, a few clinkers notwithstanding. For a live show, they do a pretty d..... good job. THe sound from both orchestra and singers is exceptionally fine. This set belong in your collection if you like Wagner and, Die Walkure, in particular. If I had been at the performance in the 1970's I would have come home very happy, satisfied and richer for the experience.

Absolutely Breathtaking!.......2002-09-13

I had long cringed at the thought of this magnificant masterpiece recorded in English. Even after reading several rave reviews on this cylce that I've read by authoritive Wagnerites and critics, I was still skeptical. Finally, I decided to add Goodall's 'Ring' as my third complete cycle (after Solti & Bohm) for one reason: because it was in English and I felt it would enhance my understand of 'The Ring.' In fact, after achieving that "higher understanding" I was planning on selling this set on Ebay. That was, of course, before I heard this magnificant recording.

During the course of my research on 'The Goodall Ring' most of the praised seemed to heighten around 'Siegfried,' which is my absolute favorite of the cycle. That also helped to seal the deal. As the critics said, 'Siegfried' under Goodall is excellent, but not as monumental as Solti's reading, which IMHO is the greatest recording of 'Siegfried.'

The set that stands out, to me, in 'The Goodall Ring' is this recording; The Valkyrie. It is absolutely breathtaking. Not only is it my favorite of this set, it is my favorite Valkyrie recording period (I am very familiar with Boehm's, Solti's, Karajan's, Furthwanglers, Levines, and others). Alberto Remedios (Siegmund here and Siegfried in the last two operas) is truly magnificant. It is the best Siegmund I have heard on disc (and his Siegfried rivals Windgassen). Coupled with Margaret Curphey (Sieglinde), you get the most beautiful and moving duo I have heard on record. The duet in Act I is simply glorious. You also get the bonus of Norman Bailey's triumphant Wotan (and Wanderer too). He has such command and prescene. He sounds like a God. Throw in Rita Hunter, who holds her own as Brunnhilde, Goodall's miraculous conducting, and excellent playing by the orchestra and it all adds up to a stunning recording.

I can only say that in a way it's a shame this set is in English. Were it not, I believe Goodall's 'Ring' would be one of the most talked about, popular, and sought after complete recordings of the cycle. I can only say that I am so happy that I finally opened up to opera recorded in a different language than written.

I have fallen completely in love with Goodall's entire cycle. And, I have fallen in love with 'The Ring' all over again.

A powerful reading of the most moving opera in the Ring........2001-08-30

This performance of *Die Valkure,* the second and most popular opera in Wagner's Ring Cycle, is musically splendid. Its special significance, however, is that it is sung in English. An English performance of the Ring is perhaps more important than that of any other opera(s), because Wagner's libretti are suffused with his ideas about society, fate, justice, and love. Even if (at times) you need to read along to understand what the singers are saying, *hearing* the lyrics in English is truly stirring in a way that performances in your non-native language cannot match.
A particular stand-out on this recording is the Wotan. His timbre, diction, and delivery perfectly embody the troubled god who tries desperately, and in vain, to keep the world under his control. His angst and wrath are utterly convincing.

The power of Wagner's music drama is now fully accessible.......2001-01-30

I have never been a fan of opera in translation, but I must say that Andrew Porter's rendering of The Ring in English is amazing. He uses modern, not archaic, English, and the word choice is so very earthy and Germanic that the noble yet somewhat severe atmosphere of the Teutonic myths is conveyed perfectly. The sound, in other words, is an elegantly Germanic, and totally appropriate for the music and the Story it tells. It is not true that you can't understand the English anyway, because you can understand if you care to pay any attention at all. The translation is lucid, and so it the marvelous singing that conveys it.

Goodall's sense of music drama is lush, and takes some getting used to after the crash-and-burn Solti set, but after a time or two it seems just right. Goodall is not always slower than the rest, either; for example, the famous Ride of the Valkyries that begins Act III is quicker than Solti's surprisingly slow and heavy account. It is the most exciting that I have heard--and I have heard quite a few--but it is not so fast that the power is lost in favor of urgency.

This is not an urgent Die Walkure, and it is all the better for it. Goodall takes the time to actually tell the story, and is sensitive to the drama's needs over what could be called convention. For example, Wotan's Farewell doesn't thunder out after Brunnhilde's final declamation, like in so many recordings; rather, Goodall's interpretation is more dreamy, mysterious, and appropriately trance-like, in keeping with the action on stage.

I own the complete Solti Ring, but I must say I will be the first in line to get each new installment of this remarakable Ring as soon they hit the shelves. If you are new to Wagner, and are willing to make the plunge into a complete Ring, then start with this one and see if you want to continue. This recording is definitely one of the great Rings, and the superb translation will open up the work in ways that following the libretto just won't. I promise that you won't be able to put this one away easily. Get it!

Average customer rating: A Creative Programming Idea Gone Awry

Warren M. Swenson: Battle Pieces Manufacturer: Albany Records ProductGroup: Music Binding: Audio CD Foster, Stephen | ( F ) | Featured Composers, A-Z | Classical | Styles | Music Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music ASIN: B0000C7PTD Release Date: 2003-09-30

Customer Reviews:

A Creative Programming Idea Gone Awry.......2003-10-01

The notion behind the program on this CD was a wonderful one. As a pendant to a new song cycle by Warren M. Swenson set to Civil War poems by Walt Whitmen, George Shirley, tenor, and William Bolcom, pianist, record eleven popular songs from the period surrounding the Civil War including familiar favorites as 'Oh, Dem Golden Slippers,' 'My Old Kentucky Home,' and some rare songs like the Creole folk song 'Michieu Banjo' and Henry Russell's 'The Maniac.' But there are two things wrong with the final product. First, the song cycle of twelve songs, although set to stirring, evocative poetry, is pedestrian and in a pale faux-Ives style. Second, and sad to hear, is the deterioration of the nearly 70-year-old Shirley's once glorious voice. He was, in his day, an intelligent singer with a beautiful voice that he could use to do just about anything he wished. I remember a riveting 'Salome' Herod only ten years or so ago. He still sings with immaculate musicianship and intelligence and his accompanist, the redoubtable composer/pianist William Bolcom gives him formidable support, but the voice splays and wobbles under pressure and it becomes painful to listen to it.

The booklet notes and recorded sound are exemplary.

But my advice is to avoid this issue unless you really want to hear Swenson's songs; this is likely to be their only recording.

Average customer rating: BEWARE!!! Unauthorized recording! Poorly mastered! A Unique Blend!

Carmen Jones Original Cast Manufacturer: Pearl ProductGroup: Music Binding: Audio CD All Works by Waxman | Waxman, Franz | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music General | Classical | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music General | Musicals | Broadway & Vocalists | Styles | Music ASIN: B00005AV2A Release Date: 2001-05-22

Tracks:

1. Act I: Prld - The Carmen Jones Orch/Joseph Littau
2. Act I: Opening Scene: Introducing 'Lift 'Em Up And Put 'Em Down' - Carmen Jones Chor/Robert Shaw
3. Act I: That's Love (Habanera) - Muriel Smith/Carmen Jones Chor/Robert Shaw
4. Act I: You Talk Just Like My Ma - Carlotta Franzell/Luther Saxon
5. Act I: There's A Cafe On The Corner (Seguedille) - Muriel Smith/Luther Saxon
6. Act I: Beat Out That Rhythm On A Drum (Gypsy Song) - June Hawkins/Carmen Jones Chor/Robert Shaw/Cozy Cole
7. Act I: Stand Up And Fight (Toreador Song) - Glenn Bryant/Carmen Jones Chor/Robert Shaw
8. Act I: Whizzing Away Along The Track (Qnt) - Muriel Smith/June Hawkins/Jessica Russell/Dick Montgomery/Randall Steplight
9. Act I: This Flower (Flower Song) - Luther Saxon
10. Act II: The Cards Don't Lie (Card Song) - Muriel Smith/June Hawkins/Jessica Russell
11. Act II: My Joe (Micaela's Aria) - Carlotta Franzell
12. Act II: That's Our Man - Carmen Jones Chor/Robert Shaw
13. Act II: Scene: Joe And Carmen (Finale) - Luther Saxon/Muriel Smith/Carmen Jones Chor/Robert Shaw
14. Carmen Fant - Isaac Stern

Customer Reviews:

BEWARE!!! Unauthorized recording! Poorly mastered!.......2003-02-26

I will get straight to the point: The CD is a poorly mastered, unauthorized recording of the original Carmen Jones cast recording using ancient recordings of the original 78 records. Pearl Records did not, repeat DID NOT receive Decca Broadway's permission to make this recording. However, Decca Broadway DID remaster FROM THE ORIGINAL MASTERS OF "CARMEN JONES" which sounds 100 times better than this thing and includes liner notes and pictures! Purchase the Decca Broadway recording instead. Frankly, this recording should rot!

A Unique Blend!.......2001-07-03

This soundtrack is a unique blend of vocals and brilliant instrumentals. While the songs aren't great, the performance is really wonderful!

Christian Music:

1. George and Ira Gershwin: A Musical Celebration
2. Goodbye [Australian CD1] [CD-single] [Import]
3. Goodbye [UK CD2] [CD-single] [Import]
4. Hidden Souls vol 1
5. Home for Christmas
6. How To Make A Pop Album In Ten Days
7. I Get So Caught Up
8. I Hear a Dog
9. I Just Wasn't Made for These Times
10. I'm Gettin' Excited

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christian music

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Special Love

Whirlwind

Witchcraft

Music CD: Tesoros Mexicanos

Xenogears: Original Soundtrack [Import] [Soundtrack]

Witch Dance [Import]

You Win Again

Wide Eyed Wonder

Zouk Music from the Antilles

Willaert: The Complete Works 11 /Euterpe Vocal Ensemble

Wonder of Love [Import]

Tropical Breezes

Who Put Sac on the Map

Beethoven: Symphonies Nos. 1 & 2; Fidelio Overture; Leonore Overture No. 2

Pieces of Africa