Mark Sullivan

Product Description
Midwestern raised Mark Sullivan is an experienced singer, song writer, and performer. He has had extensive vocal, piano, and theatrical training. He currently resides and performs in the Los Angeles Area.

Mark Sullivan,Mark Sullivan,Classical Artists

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Average customer rating: The Best Of Gilbert And Sullivan Pure delight Delicious G&S samplings abound here. Fine Intro to G&S

Gilbert & Sullivan - Highlights from The Mikado, The Pirates of Penzance, H.M.S. Pinafore, The Yeomen of the Guard, Trial of Jury Nicholas Folwell , Arthur Sullivan , Marie McLaughlin , Rebecca Evans , Anthony Rolfe Johnson , John Mark Ainsley , Alwyn Mellor , Anne Howells , Barry Banks , Eric Garrett , Felicity Palmer , Gareth Rhys Davies , Janice Watson , Julie Gossage , Neill Archer , Pamela Helen Stephen , Peter Savidge , Richard Stuart , Richard Suart , Richard Van Allan , Sir Thomas Allen [baritone] , Sir Charles Mackerras , and Welsh National Opera Manufacturer: Telarc ProductGroup: Music Binding: Audio CD All Works by Sullivan | Sullivan, Arthur | ( S ) | Featured Composers, A-Z | Classical | Styles | Music Allen, Thomas | ( A ) | Featured Performers, A-Z | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music 4-for-3 Classical | 4-for-3 Music | Stores | Music 4-for-3 All Music | 4-for-3 Music | Stores | Music Similar Items: The Ultimate Gilbert & Sullivan Collection Topsy-Turvy - The Music of Gilbert & Sullivan: From the Original Motion Picture Soundtrack The Best of Gilbert & Sullivan The Complete Annotated Gilbert & Sullivan The Gilbert and Sullivan Overtures ASIN: B000003D1Y Release Date: 1996-01-23

Tracks:

1. A Wandering Minstrel I
2. Behold The Lord High Executioner!
3. Three Little Maids From School Are We
4. Braid The Raven Hair
5. The Flowers That Bloom In The Spring
6. On A Tree By A River, A Little Tom-tit Sang, 'Willow, Tit-willow'
7. For He's Gone And Married Yum-Yum
8. We Sail The Ocean Blue
9. I'm Called Little Buttercup
10. My Gallant Crew
11. When I Was A Lad
12. Things Are Seldom What They Seem
13. Never Mind The Why And Wherefore
14. Climbing Over Rocky Mountain
15. Poor Wand'ring One
16. How Beautifully Blue The Sky
17. I Am The Very Model Of A Modern Major-General
18. When The Foeman Bares His Steel
19. Ah, Leave Me Not To Pine
20. With Cat-Like Tread
21. Is Life A Boon?
22. I Have A Song To Sing, O!
23. Were I Thy Bride
24. Oh, A Private Buffoon Is A Light-Hearted Loon
25. When A Wooer Goes A-Wooing
26. When I, Good Friends, Was Called To The Bar
27. A Nice Dilemma We Have Here
28. Oh, Joy Unbounded

Customer Reviews:

The Best Of Gilbert And Sullivan.......2004-03-15

At the end of the 19th century (1870's, 80's and 90's) the compatible duo of librettist and composer Gilbert and Sullivan popularized the pre-Broadway entertainment of Savoy opera. These were light operas or operettas whose content was satire and comedy, full of bouncy melodies and beautiful singing, highly entertaining theatrical works staged at London's Savoy theatre. Gilbert and Sullivan did not always get along and in fact there was a time when they ended their professional relationship because personal conflicts surfaced. But they managed to create the world's most beloved light operas, over 40 of them. Their most famous are what I call the Big Three- The H.M.S. Pinafore, The Pirates Of Penzance and The Mikado. Other works include their first hit Trial By Jury, The Yeomen Of The Guard, Princess Ida, The Gondoliers, Patience and several others. A standard signature of Gilbert and Sullivan was in the colorful cast- a comic actor with a special kind of baritone voice, a canary-like and sweet-voiced coloratura or lyric diva, a mezzo soprano with strong chest register and a lyric tenor as the romantic hero. On this album, English conductor Sir Charles Mackerras, a popular figure in the classical music scene and opera, guides the Chorus and Orchestra Of the Welsh National Opera in generally well-delivered performances of excerpts from the operas The Mikado, The H.M.S. Pinafore, The Pirates Of Penzance, Yeomen Of The Guard and Trial By Jury. Although I feel that the recordings made by the D'Oyly Carte Opera Company, with Isodore Godfrey conducting and starring the best cast of the Gilbert and Sullivan repertoire- the singers of the 60's and 70's- tenor Phillip Potter, soprano Valerie Masterson, baritone John Reed, Donald Adams and mezzo soprano Christine Palmer. Their version of the Pirates Of Penzance and the Mikado far outshine the Welsh National Opera in technical mastery and vibrant tone color.

But these are fine excerpts. Especially appealing is the famous and cheerful "Three Little Maids From School Are We", a trio that imitates Japanese style melody. Most of the Mikado does this, for it was inspired by Japanisme or the new fashion in Victorian England- everything Japanese, from prints to paintings to poetry. Gilbert and Sullivan simply "Japanized" their English operettas. The Finale "For He's Gone To Marry Yum Yum" is an ebullient and pleasant finale. Not featured here is the domineering and powerful Katisha, a figure who stands out in the Mikado.

The H.M.S. Pinafore is Gilbert and Sullivan's most popular work. The sea chanty "We Sail The Ocean Blue" opens the opera with appropriate atmosphere and it seems to fit perfectly with the other scene in which the Captain greets his crew and they sing his praises "My Gallant Crew..I am the Captain Of The Pinafore". A beautiful melody that seems to come out of a romantic Offenbach tune is "I"m Called Little Buttercup". The finale, not featured here, is also very engaging "For He Is An Englishman" which can almost resemble a British national anthem. The Yeomen Of The Guard was Gilbert and Sullivan's "serious opera" eventhough it remains very Savoyard. The plot deals with Tudor England and takes place at the London Tower. "I have a song to sing" makes use of what can be taken for an English ballad of the Renaissance. Trial By Jury, about the eccentric and hilarious activity of a court trial, has a sextet that although different in composition, has the sextet "Che Mi Frena" from Donizetti's Lucia Di Lammermoor in mind. All in all, an excellent recording sure to delight young and old.

Pure delight.......2003-08-02

--Gilbert & Sullivan--
William Gilbert and Arthur Sullivan were a match made in heaven, yet on earth their pairing seems even with hindsight a most unlikely coupling. Both were destined for other things, Gilbert in fact for decidedly non-musical careers. Introduced by a mutual friend, Fred Clay, the fledgling lyricist Gilbert met the military-band-leader's son Sullivan and together continued to conspire to inspire the delights of audiences from high Victorian times down to the present, as their work in musical theatre comedy continues to provide merriment throughout the English-speaking world and beyond.

--The Music--
This collection includes highlights from five of the most popular Gilbert & Sullivan operettas: The Mikado, HMS Pinafore, The Pirates of Penzance, The Yeoman of the Guard, and Trial by Jury. The arrangements and orchestrations are delightfully energetic and clear; the characterisation and vocal qualities of the leads are perfect for their roles. The haughty if misplaced Lord of the Admiralty has the perfect combination of insecurity and pompous officiousness. The Plaintiff and the Defendant in the Trial are perfectly cast. This is a collection of highlights - at least three but no more than seven songs each, but this gives a good flavour of the music. The recordings on this collection come from complete performances by Mackerras and the WNO.

--Sir Charles Mackerras--
Mackerras is one of the geniuses of the twentieth century musical scene. Having a conducting career that includes the Hamburg Opera, the English National Opera (formerly Sadlers Wells Opera), and the Welsh National Opera (the performers for this piece), he has also conducted major orchestras on the continent of Europe and in the United States. The holder of many major awards and honourary doctorates, he has devoted much time and energy to the preservation and performance of eighteenth and nineteenth century music, as well the restoration of historical musical venues, such as the Estates Theatre in Prague, scene of the original production of Don Giovanni (Mackerras conducted the opera there to commemorate the bicentenary of the death of Mozart).

--Welsh National Opera Orchestra and Chorus--
The seeds of the WNO were planted in Cardiff during World War II by music lovers; the first performances occurred a year after the war's end, with Cavalleria rusticana and Pagliacci on the bill, with Faust the next night. Popular appeal was so great that the WNO was established, later adding choruses in both Cardiff and Swansea. The professional chorus was established in 1973, with a strength that matches the orchestra. They continue an ambitious performance schedule for recording and live events; Mackerras remains the Conductor Emeritus, as the WNO continues under the direction of Carlo Rizzi. The list of awards the WNO has won over the years is staggering - they are a world class institution by any measure.

--Other performers--
Notable singers such as Richard Stuart, Rebecca Evans, Felicity Palmer, John Mark Ainsley and Anne Howells lead the chorus with stunning vocals and clever characterisations of the parts they play. Many (such as Stuart and Evans) play the leading roles across several of the pieces of the disc.

--Liner Notes--
The liner notes give a good introduction and biographical information about Gilbert and Sullivan, as well as synopses of the five pieces presented here. It does not, unfortunately, include any information about Mackerras, the WNO Orchestra and Chorus, or the other special performers. It also does not include the lyrics to the songs. Were the quality of the CD not so great, this might cost it a star in rating.

--Overall Impressions--
I play this CD in my car, in my home and in my office frequently. It is a great sing-along work and a great comedic relief from the stresses of the day. The music is bubbly and clear; the recording quality is excellent and crisp. I recommend this to any Gilbert & Sullivan lover, any fan of musical comedy, opera and operettas, and anyone who delights in good music.

Delicious G&S samplings abound here........2003-05-06

The first thing I should be saying is "What an infectuous G&S CD." Indeed this is, with this fine sampling of the peppy and bright Mackerras series. I know I have praised its "Mercedes-Benz quality" elsewhere on these pages, but that doesn't stop me from saying that everyone is in fine voice. This generously filled CD may only focus on five operas, but at least you can savour a reasonable choice sampling of delights from each one. Of particular interest is Richard Suart's patter-baritone parts and the soaring lyric soprano of Rebecca Evans. The selection on this disc is filled with a mixture of familiar favourites and lesser-known gems such as the female choruses in Mikado and Pirates. Mackerras is a true G&S conductor, but one who always springs rhythms crisply, and adopts peppy tempo for the fast bits. The one drawback is that this selection is far too infectuous that you'll want to shell out money to buy the full 5-CD Mackerras cycle - an incredible bargain with most of the operas fitted onto one disc each. But still, this is at least a decent G&S sampling for beginners, capped with Steven Ledbetter's copious liner notes. It will leave you wanting to say "dammit I'm going to play it again."

Fine Intro to G&S.......2000-12-30

This is the perfect CD for those who may not be familiar with G&S, or for the initiated who want a smattering but don't have the mother of all CD changers. The difficulty with any G&S Greatest Hits CD is determining which pieces to leave off; while one could easily point to any number equally good bits, it would be difficult to argue about the quality of the choices included. The only problem, such as it is, is that after listening to it I am usually induced to go back and listen to the whole opera anyway. The Mackerras recordings are uniformly excellent. I have read elsewhere the criticism that they are too 'operatic' for light opera. If by this it is meant that the singers are too good, then I leave it to the discretion of the listener when the singing becomes too good to be enjoyable.

Average customer rating: Ewazen Does it Again!

Music for the Soloists of the American Brass Quintet and Friends by Eric Ewazen Christopher Gekker , Eric Ewazen , Mark Gould , Michael Powell , David Krauss , Robert Sullivan , Raymond Mase , John D. Rojak , David Wakefield , and Barli Nugent Manufacturer: Well-Tempered Produc ProductGroup: Music Binding: Audio CD General | Sonatas | Forms & Genres | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Trombone | Brass | Instruments | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Similar Items: Chamber Music Of Eric Ewazen Orchestral Music & Concertos by Eric Ewazen Trumpet in our Time Winter: Music of Eric Ewazen and David Snow Shadowcatcher ASIN: B00004C4KY Release Date: 2006-08-08

Tracks:

1. Fant - Ray Mase/David Krauss/Peter Bond/Robert Sullivan/Mark Gould/Kevin Finamore/Chris Gekker
2. Son: I. Lento-Allegro Molto - Chris Gekker/Eric Ewazen
3. Son: II. Allegretto - Chris Gekker/Eric Ewazen
4. Son: III. Allegro Con Fuoco - Chris Gekker/Eric Ewazen
5. A Western Fanfare - The American Brass Qnt
6. Son: I. Allegro Maestoso - Micahel Powell/Eric Ewazen
7. Son: II. Adagio - Micahel Powell/Eric Ewazen
8. Son: III. Allegro Giocoso - Micahel Powell/Eric Ewazen
9. Ballade, Pastorale And Dance: I. Ballade - Barli Nugent/David Wakefield/Eric Ewazen
10. Ballade, Pastorale And Dance: II. Pastorale - Barli Nugent/David Wakefield/Eric Ewazen
11. Ballade, Pastorale And Dance: III. Dance - Barli Nugent/David Wakefield/Eric Ewazen

Album Description

Eric Ewazen is known as a mainstream American composer in the tradition of Aaron Copland. On the faculty of the Juilliard School, Ewazen enjoys an international reputation for his very listenable American style. His music for brass instruments is part of the repertoire of every conservatory student in the U.S. and has become part of the fabric of the American concert scene. He performs as pianist on this recording of his music with the great American Brass Quintet, augmented by other artists. The top seven trumpet players in New York City are featured in the Fantasy for Seven Trumpets. This album is already a favorite with conservatory students all over the country.

Customer Reviews:

Ewazen Does it Again!.......2000-04-26

Eric Ewazen has yet again written some wonderful new works for Brass instruments. The Fantasia for Seven Trumpets is played by Raymond Mase and his cohorts. It is full of excitement and is a clinic on precision. The Sonata for Trumpet is perhaps Ewazen's best work. The eloquent second movement is both simple and heart warming. It is premiered here by Chris Gekker who has also premiered several other of Ewazen's works for Trumpet. A Western Fanfare is Ewazen's fourth work for Brass Quintet. Although the frequent listener of these pieces my find this one a continuation of old ideas, it yields some good things. And, if nothing else, the listener is left floored by the American Brass Quintet's masterful playing. For the Brass chamber music fan, this is a must buy.

Average customer rating: A neglected cantata by Sir Arthur Sullivan. A complete Golden Legend at last! A must have for any Sullivan enthusiast Ah, the Victorian spirit.... A welcome release

Sullivan - The Golden Legend / J. Watson · Rigby · Wilde · J. Black · Corp Arthur Sullivan , Ronald Corp , Janice Watson , and Mark Wilde, Jeffrey Black, New London Orchestra, The London Chorus Jean Rigby Manufacturer: Hyperion UK ProductGroup: Music Binding: Audio CD All Works by Sullivan | Sullivan, Arthur | ( S ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Cantatas | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music Classical | Imports | Stores | Music Opera & Vocal | Imports | Stores | Music Similar Items: Arthur Sullivan: The Prodigal Son; Boer War Te Deum Arthur Sullivan: The Contrabandista, The Foresters Sullivan: The Rose of Persia Sullivan & Co.: Operas That Got Away. Meyerbeer: Semiramide ASIN: B00005NUPB Release Date: 2001-10-09

Customer Reviews:

A neglected cantata by Sir Arthur Sullivan........2003-02-10

Digital recording processes, efficient marketing, and above all the work of conductor Ronald Corp in bringing back to life late nineteenth and early twentieth century music that has lain moribund and neglected, allow music lovers like me a first opportunity to hear Sir Arthur Sullivan's "The Golden Legend".

I have listened six times to this recording. Each time I find new details or effects in the music that reinforce my admiration for Sir Arthur Sullivan. A quick perusal of the Longfellow poem on which the work is based and a look at the synopsis provided with the recording have been enough to show that its Faust-like story would have been familiar, meaningful and fascinating enough to justify this work's enormous popularity in Sullivan's time. Nowadays, at least to me, it seems preposterous

Nevertheless the music repays close attention. Within the bounds of decorum that Sullivan always preserved in his music, there is a wonderful range of inventiveness, harmonic progression and melody. The forces include five soloists, chorus, orchestra and organ.

Timed to provide a satisfying evening's music making in the 1880s, the music runs for just over 90 minutes. Hyperion have marketed the two CD set for the price of one.

The recording venue was a church in south London that I used to attend many years ago. Rarely have I heard choral singing so well caught on record. The soloists have fresh young voices. If veteran record collectors have a hazy recollection of having sampled this work before, it might derive from a stunning recording of an excerpt called "The night is calm" made by the Australian soprano Florence Austral.

A complete Golden Legend at last!.......2003-01-16

Elgar admired The Golden Legend. Indeed, it is hard to imagine The Dream of Gerontius taking shape without Sullivan's trail blazing experiments in emotional intensity and orchestral brilliance. Sullivan diverges markedly from his "English Musical Renaissance" contemporaries (Parry and Stamford) by following the Wagnerian rather than the Brahmsian path. For example, he uses the voices as extensions of the orchestra. Unfortunately, this is where the current recording is less than ideal. At times, the recording engineers give too much prominence to the vocalists at the expense of the orchestra. The brilliant brass passages on the road to Salerno and the fine trombone writing at the end of the fugue in the Epilogue are too much in the background. Fortunately, the orchestra is clearly heard in "It is the sea."
Of the soloists, Janice Watson is a radiant Elsie. In her aria, "The Night is calm" she almost equals Florence Austral's legendary 1926 performance (conducted by the young John Barbirolli). With the benefit of clear digital sound, Watson's performance is thrilling. Jean Rigby as Ursula is best in her duet with Watson. When she dreads the prospect of standing at her daughter's grave, dark clouds gather in the horns: a haunting passage that long lingers the in the listener's memory. In her two solo arias, I found her singing more restrained.
Mark Wilde is an excellent Prince Henry. His clear, rounded tenor is passionate, but never strident. His duet with Watson in scene VI is beautifully balanced. In scene I, he projects Prince Henry's mood of black despair with remarkable conviction and drama. Jeffrey Black is a wooly voiced Lucifer. His thick, darkly hued voice serves him best when the devil is in disguise as a physician or a friar. In the Prologue, Black is not at all a commanding force. Fortunately, the excellent orchestra and chorus bring this scene to life with great effect. The concluding Latin hymn for organ and male chorus is magnificent.
As befits a premiere recording, Ronald Corp avoids interpretive liberties and conducts with great precision and care. Orchestral and choral execution are at a very high level. Only in the Medical School at Salerno scene does one wish for a more subjective approach. This dramatically inconsistent scene needs to be whipped up to a state of Verdi-like hysteria to succeed.
The cantata concludes with a powerful choral Epilogue that includes an harmonically adventurous fugue. The chorus is particularly impressive here. The cantata then concludes with the organ joining the large orchestral and choral forces on a note of high Victorian confidence.
Conclusion: A fine performance of a inexplicably neglected work of genius.

A must have for any Sullivan enthusiast.......2002-11-27

We have had to wait many, many years for this recording, but Hyperion has not disappointed. The performance is splendid and the music is as wonderful as one might have imagined. Sullivan is in the top of his serious form for this magnificent composition. If you want to hear how brilliant Sullivan could be without Gilbert, look no further.

Ah, the Victorian spirit...........2001-12-18

Hyperion has always been an adventurous company, so I was pleased to see them take a plunge into music of the Victorian era. Over the years, I've found some pleasant stuff from that neglected (and sometimes, reviled) period of English music. Unfortunately, this release is Victorian to the core--in the pejorative sense.

The other reviewer compares the tale to "The Damnation of Faust" of Berlioz, and that's a good comparison to explain what exactly is wrong with this piece. Where Berlioz whips up drama, Sullivan gives us a series of dull, accompanied recitatives at moderate tempos which eventually run into each other. Berlioz gives us characters; Sullivan, a few faceless actors mouthing endless piety. (In fact, the text is so silly in places that I had to read the notes to make sure I didn't hear wrong.) Berlioz provides us with memorable music, Sullivan with some beautiful orchestral textures that are pretty much devoid of interesting melodic content. Berlioz challenges the listener to understand the conflict; Sullivan realizes that his comfortable Victorian audience doesn't want to be challenged and obliges them.

One can sense the problems with this piece almost from the beginning. The opening segment has Lucifer rallying his troops to tear down the cross at Strasbourg Cathedral during a storm at night. His "troops" turn out to be a bunch of wussy sopranos and altos who sound like they couldn't take my 86-year-old grandmother. The storm amounts to a few chromatic runs and a bit of mumbling in the bass. Beethoven's storm in the 6th symphony is far more frightening and he was just depicting nature without the supposedly extraordinary element here. Even Lucifer is given music of little heft or strength. In fact, the staccato wind figures which reappear every time he appears sound like they ought to accompany a patter song!! After Lucifer and his minions slink away with their tails between their legs, we're treated to an echt-Victorian hymn full of sugary piety.

That amounts to 9 minutes of music, there 85 more to go and it doesn't get any better. It's hard to believe that this piece was once second in popularity to only the Messiah. (Although, once the "comfortable" Victorian era passed, it's not surprising that it dropped out of sight.) It's nice to get the opportunity to hear something by Sullivan other than the operettas, but if that's what you're looking for, I recommend the Mendelssohnian "Irish" Symphony which is available from several sources.

Part of the problem with this release may also be the performance. Neither the soloists nor the conductor dig into the music as if they believe it has merit. Instead, they perform it reverently which just heightens the smug, self-absorbed piety of the music. The chorus, singing in the stiff-upper lip tradition of English choruses, further adds to the tedium. Everything is certainly beautiful (aided by good sound), but it's so inert that if you put it on softly, I guarantee it'll cure your insomnia.

Normally, I'd give this one star, but I don't like to discourage record companies from exploring lesser-known repretoire. Besides, if nothing else, this release could serve as exhibit #1 of the pejorative definition of "Victorian."

A welcome release.......2001-12-08

One of the often repeated stories about Arthur Sullivan is that he was never satisfied with his reputation resting on his works with Gilbert and that he yearned to be known as the composer of "serious music." And yet the only non-"G&S" works by the latter that many would recognize are "Onward, Christian Soldiers" and "The Lost Chord." Much of his non-vocal music is available on Marco Polo label, but his cantatas and oratorios have been under-recorded to say the very least. That is why the Hyperion release of the complete score to his "The Golden Legend" (CDA67280) will do much to set his spirit's mind at rest.

Based as it is on a very long poem by Longfellow, the libretto Sullivan set to music is little more than scenes from the original, much as Berlioz' "La Damnation de Faust" is just a relatively short string of episodes from the Goethe play. In fact, even the plots are similar. Here Prince Henry (Mark Wilde, tenor) is being stalked by Lucifer (Jeffrey Black, baritone) in many guises. Just as in the the plots of "Alceste" and "The Flying Dutchman," there is a young woman, Elsie (Janice Watson, soprano), who is willing to give up her life to save the Prince. They travel all the way to Salerno, where Henry admits he was only testing her and has no desire to lose her. Snatched from Lucifer at the last moment, she weds her Prince and they live happily ever after.

Obviously the value of this work does not rest with the plot. Nor does it with the vocal lines, which I found on this first hearing surprisingly uninspiring. They simply follow the patterns of normal English speech, while the chorus passages range from quite lovely to pedestrian. There is, by the way, surprisingly little chorus work compared with the pages of solos and duets. What made me love this piece, other than a feeling of loyalty to Sullivan, is the gorgeous music that accompanies all this through most of the score. Listen for yourself and let me know what you think.
Since this was composed in 1880, even as Sullivan was working on "Ruddigore," you might wonder if the opening chorus of demons in "Legend" and the ghost music in the second act of the G&S work influenced one another. I rather think that "The Golden Legend" as a whole influenced the serious nature of their next collaboration, "The Yeomen of the Guard."

The cast is uniformly fine, although you might want a little more of the demonic in Lucifer. Ronald Corp conducts the New London Orchestra and Chorus with the benefit of excellent sound. The back page of the booklet, which has the text for you to follow, acknowledges the "generous participation" of the Sir Arthur Sullivan Society and the D'Oyly Carte Charitable Trust.

Although the set holds two CDs, it is priced for only one with a running time of 94:47 minutes.

Average customer rating: So you thought the ocarina was only a toy!

The Classic Ocarina Manufacturer: Dorian Recordings ProductGroup: Music Binding: Audio CD All Works by Beethoven | Beethoven, Ludwig van | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Offenbach | Offenbach, Jacques | ( O ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Satie | Satie, Erik | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Schubert | Schubert, Franz | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Sullivan | Sullivan, Arthur | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General | Sonatas | Forms & Genres | Classical | Styles | Music Romantic | Symphonies | 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 Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Trumpet | Brass | Instruments | Classical | Styles | Music General | Keyboard | Instruments | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music General | Folk | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Folk Songs | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music ASIN: B0002IVTEQ Release Date: 2004-01-27

Customer Reviews:

So you thought the ocarina was only a toy!.......2004-12-04

The Chuckerbutty Ocarina Quartet proves here that good musicianship and lots of fun can co-exist sensationally. For an ear sated with the standards this CD will jog you out of the rut while it shows what can be done with an unconventional instrument. The Carnival of Venice variations is an awesome display of virtuosity, and very enjoyable as light music (between variations don't be surprised to hear a quote from some familiar classic). The Beethoven 5th will not go down as an historic interpretation, but it's fun! Overall the disk has variety, humor, and fine playing, and it's a great conversation piece. I recommend it with pleasure.

Average customer rating: Sullivan Pays Homage to Mendelssohn--and Sullivan

Arthur Sullivan: The Prodigal Son; Boer War Te Deum Manufacturer: Hyperion UK ProductGroup: Music Binding: Audio CD All Works by Sullivan | Sullivan, Arthur | ( S ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Oratorios | Opera & Vocal | Styles | Music Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music Classical | Imports | Stores | Music Opera & Vocal | Imports | Stores | Music Similar Items: Sullivan - The Golden Legend / J. Watson · Rigby · Wilde · J. Black · Corp Arthur Sullivan: The Contrabandista, The Foresters Sullivan: The Rose of Persia Sullivan & Co.: Operas That Got Away. Sullivan: Masque at Kenilworth ASIN: B0000DJENC Release Date: 2004-01-13

Tracks:

1. Introduction
2. Chorus
3. Solo (Tenor)
4. Recitative And Aria (Baritone)
5. Recitative (Soprano)
6. Solo (Tenor) And Chorus ('The Revel')
7. Recitative (Mezzo Soprano) And Chorus
8. Solo (Mezzo Soprano)
9. Recitative (Soprano)
10. Aria (Soprano)
11. Solo (Tenor)
12. Chorus
13. Recitative (Soprano) And Duet (Tenor And Baritone)
14. Recitative And Aria (Baritone)
15. Chorus
16. Recitative And Aria (Tenor)
17. Quartet (Unaccompanied)
18. Chorus
19. Boer War Te Deum

Customer Reviews:

Sullivan Pays Homage to Mendelssohn--and Sullivan.......2004-05-21

One reviewer I've read has said of Sullivan's "The Prodigal Son" that he would rather listen to it than to Mendelssohn's "Elijah." To invoke the name of Mendelssohn is to admit the obvious: Sullivan's chief, and it seems just about only, musical debt is to the German composer who hit it big in England. In fact, "The Prodigal Son" might be what Mendelssohn would have written if he had lived another 20 years, but I doubt it. The older composer seems to have turned a creative corner in the last year or so of his life, and I think he would have taken up the gauntlet thrown by Berlioz, Liszt, and Wagner (whose music mostly appalled him) in some interesting way or other if he had lived more than his allotted 39 years. At any rate, to prefer "The Prodigal Son" to "Elijah" is kind of baffling to me. Though Sullivan proved a great tunesmith in his operettas, the tunes in his sacred music fall short of his obvious model. For example, the aria "Love not the world" falls far short of "Elijah"'s very similar "O trust in the Lord," and the recitative followed by solo and chorus that describes the prodigal's alcoholic debauches is outdone by the scene in Mendelssohn in which Jezebel confronts Elijah and calls for his death. This despite the fact that the solo Sullivan wrote for the prodigal, the most memorable music in the piece, displays some interesting chromatic turns and twists--Sullivan's concession to modernity--and has a very apropos part for the side drum. On the other hand, the orchestral music in this solo is a knockoff of the fairy music from "A Midsummer Night's Dream." It's a nice knockoff, but I'll take Mendelssohn's overture and scherzo, thanks.

And so it goes, for me at least. I've been there and heard that--and have much preferred the original.

One of Sullivan's biggest misjudgments is the long and plodding chorus "O that men would praise the Lord," capped by a lame, perfunctory fugue. There's some pretty soupy, insincere-sounding stuff in Mendelssohn's choral music, but I can't think of anything that's as lame as this chorus by Sullivan (though afterward Sullivan almost redeems himself with a lovely quartet "The Lord is nigh"). But there are no such missteps in the Boer War Te Deum. This is an altogether more deeply felt work, the product of a musician who has something to say. Written in the last months of Sullivan's life, the Te Deum was to celebrate the end of the Boer War, though that dreadful conflict dragged on longer than anyone in England imagined it would. As it turned out, the first performance took place almost two years after Sullivan's death.

The work is a brassy, big-throated affair as it should be, given the projected event for which it was written. But more significant is the air of world-weariness and resignation that Sullivan manages to weave through the work. This speaks not only to the burdens of empire that his nation was suffering toward the end of Victoria's reign, but perhaps also to the burdens of the last years of Sullivan's life, dogged as he was by sickness and professional disappointments. The most immediately apparent feature of the work, however, is the inclusion of Sullivan's own great hymn "Onward Christian Soldiers," which comes in for truly majestic treatment toward the end. Hearing it, you can't believe that God will ever let us be confounded, as the chorus demands at the end of the Te Deum. This work will move you.

Conductor Ronald Corp is a Sullivan specialist, and he builds a magnificent edifice for the Te Deum. Certainly he does as much as he can for "The Prodigal Son" and is abetted by a very able vocal quartet and a fine chorus. The sound is up to Hyperion's usual high standards. I only wish I liked "The Prodigal Son" more; maybe you'll take to it better than I do. Because of the sterling performances and the presence of the Te Deum, I give this CD four stars.

Average customer rating: Pretty good compare with houston live performance Perfect - the right continuation of the series A Wonderful Performance for Half the Price

Gilbert & Sullivan; The Pirates of Penzance / Mackerras, Welsh National Opera Arthur Sullivan , Orchestra & Chorus of the Welsh National Opera , Sir Charles Mackerras , Welsh National Opera , John Mark Ainsley , Richard Van Allan , Rebecca Evans , and Gillian Knight Manufacturer: Telarc ProductGroup: Music Binding: Audio CD All Works by Sullivan | Sullivan, Arthur | ( S ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Similar Items: Gilbert & Sullivan: H.M.S. Pinafore / Mackerras, Welsh National Opera Gilbert & Sullivan - The Mikado / WNO · Mackerras Gilbert & Sullivan: The Yeomen of the Guard; Trial by Jury Gilbert & Sullivan - H.M.S. Pinafore / Trial By Jury - David Hobson, Anthony Warlow, Colette Mann, Tiffany Speight, John Bolton Wood, Richard Alexander, Opera Australia, State Theatre, The Arts Centre Melbourne Gilbert & Sullivan - The Pirates of Penzance / Kline, Ronstadt, Smith, Routledge, Delacorte Theater (Broadway Theatre Archive) ASIN: B000003CZS Release Date: 1993-10-26

Tracks:

1. Pour, Oh Pour, The Pirate Sherry
2. When Fred'ric Was A Little Lad
3. Oh, Better Far To Live And Die
4. You Have Deceived Me
5. Climbing Over Rocky Mountain
6. Stop, Ladies, Pray!
7. Oh! Is There Not One Maiden Breast
8. Poor Wand'ring One
9. What Ought We To Do? Gentle Sisters, Say!
10. How Beautifully Blue The Sky
11. Stay, We Must Not Lose Our Senses
12. Hold, Monsters!
13. I Am The Very Pattern Of A Modern Major-General
14. Oh! Men Of Dark And Dismal Fate
15. Oh! Dry The Glist'ning Tear
16. Now, Frederic, Let Your Escort Lion-Hearted
17. When The Foeman Bares His Steel
18. Now For The Pirates' Lair!
19. When You Had Left Our Pirate Fold
20. Away, Away, My Heart's On Fire!
21. All Is Prepared! Your Gallant Crew Await You!
22. Stay, Fredric, Stay!
23. No, I'll Be Brave! Oh, Family Descent
24. When A Felon's Not Engaged In His Employment
25. A Rollicking Band Of Pirates We
26. With Cat-Like Tread
27. Hush! Hush! Not A Word
28. Sighing Softly To The River

Amazon.com

This is the opera with THE patter song-"I am the very model of a modern major general." It's been quoted, parodied, rewritten, and recycled now to the point where, even if you don't know where it came from, you'll recognize the tune. And there's another tune you might find familiar: the original version of the song "Hail, hail, the gang's all here." In fact, Sullivan's gift for coming up with instantly memorable melodies was matched only by Gilbert's witty way with the lyrics. It's ironic that the two men actually disliked each other, and regarded these immortal pieces as a sideline. The Victorians weren't big on humor, which is a pity because as these operettas show, they had a lot to laugh about. --David Hurwitz

Customer Reviews:

Pretty good.......2006-11-13

I bought this, in all honesty, since I was performing my first Mabel, and wanted to get a feel for the whole show. Plus, CD's work great for general memorization purposes.

Overall, I was pleased with the CD, but thought Rebecca Evan's voice was a little too heavy in the role of Mabel for my personal tastes. Great job done by the "Major General" on his infamous patter song and the chorus and orchestra were strong.

compare with houston live performance.......2002-07-21

the houston,texas g&s society has just put out a live performance cd that was a 50th anniversary show for the society. it's beautiful sound and live excitement is rarely to be found in canned studio offerings of g&s.

Perfect - the right continuation of the series.......2001-02-02

The success of the Mackerras/Telarc MIKADO prompted Mackerras to choose PIRATES as his second entry. And he gives it a fresh, imaginative performance with his first-class team of starry singers and dedicated, alert forces. Richard Suart's Major-General shows him easily surpassing John Reed. He finds more subtle nuances in this part, and he gives a delectable performance of his pater song that rarely sounds rushed. No doubt D'Oyly Carte experience has geared him up for this. Donald Adams, despite a hiatus after recording the part of the Pirate King with D'Oyly Carte, still shows himself in glorious voice, and continually keeping touch, even despite his age. The romantic edge of the opera is perfectly brought out by John-Mark Ainsley's heady-toned and lyrical Frederic and Rebecca Evans's creamy Mabel, who inject a certain magic into the Act Two duet, Ah leave me not to pine alone. And what should also be considered special are Gillian Knight's bright-toned and shining Ruth and Richard Van Allan's bumptuous Sergeant of Police. Run for your money, Owen Brannigan! Van Allan has managed to fit the character of the Sergeant a little more with his voice-shaping. And he certainly sounds a little bit more flattered and comical than you, incereasing the freshness in his portrayal until it surpasses yours. The chorus is superbly disciplined, the orchestral playing alert and imaginative, and Mackerras gives his own inimitable touch to the overall result. Telarc's recording is perfectly faultless, with nothing to gripe about, and it caps a performance that sparkles more than D'Oyly Carte's 1968 Decca recording.

P.S. Some may gripe about the lack of dialogue. This recording only contains the music, except for the Overture, which could not be fitted onto a single disc.

A Wonderful Performance for Half the Price.......2000-06-20

While the D'Oyle Carte Production of "Pirates" (on London Records) may be the best of the bunch, the performers on this particular CD still have much to be proud of. There may not be any standout performances (like that of Owen Brannigan on the album mentioned above) but all of the singers here do a fine job. This is a fun, energetic production of one of G&S's finest operas and, best of all, it fits all the music, save the overture, onto a single CD. Recommended for both the curious and completists alike.

Average customer rating:

How Can I Keep from Singing? Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD General | Fauré, Gabriel | ( F ) | 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 Rutter | Rutter, John | ( R ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Sullivan | Sullivan, Arthur | ( S ) | Featured Composers, A-Z | Classical | Styles | Music Vaughan Williams, Ralph | ( V ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Mendelssohn | Mendelssohn, Felix | ( M ) | 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 Requiems | Forms & Genres | Early Music | Historical Periods | Classical | Styles | Music General | Vaughan Williams, Ralph | Composers | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Vocal & Song | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General Contemporary | Modern, 20th, & 21st Century | Historical Periods | 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 | Chamber Music | Classical | Styles | Music General | Opera & Vocal | Styles | Music Oratorios | Opera & Vocal | Styles | Music Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music 4-for-3 Classical | 4-for-3 Music | Stores | Music 4-for-3 All Music | 4-for-3 Music | Stores | Music Similar Items: Requiem & Magnificat/Rutter, Cambridge Singers ASIN: B000JJ4G70 Release Date: 2007-01-23

Tracks:

1. Pie Jesu
2. For The Beauty Of The Earth
3. Long Since In Egypt's Plenteous Land
4. The Call
5. The Last Chord
6. How Blest Are They
7. Like A Mighty River Flowing
8. Let The Bright Seraphim
9. The Ash Grove
10. The Lord's My Shepherd
11. Linden Lea
12. Annie Laurie
13. How Can I Keep From Singing?
14. Lift Thine Eyes
15. For The Fallen
16. A Gaelic Blessing

Average customer rating: Great!!!! BITTERLY DISAPPOINTING - NOT WORTHY OF HER

A Fine Romance: A Dorothy Fields Songbook KT Sullivan & Mark Nadler Manufacturer: Drg ProductGroup: Music Binding: Audio CD General | Jazz | Styles | Music Vocal Jazz General | Vocal Jazz | Jazz | Styles | Music General | Easy Listening | Pop | Styles | Music General | Vocal Pop | Pop | Styles | Music Cabaret | Broadway & Vocalists | Styles | Music General | Broadway & Vocalists | Styles | Music Similar Items: The Sweetest Sounds Barbara Cook at the Met with Special Guests Sing My Heart: The Songs of Harold Arlen The Lady With The Torch Opposite You ASIN: B000CC4W0A Release Date: 2006-01-24

Tracks:

1. I Can't Give You Anything But Love / I Won't Dance / Never Gonna Dance
2. Lovely To Look At / Way You Look Tonight
3. Poor Everybody Else
4. I'm In The Mood For Love / Digga Digga Doo
5. Remind Me
6. A Fine Romance
7. Don't Mention Love To Me
8. Don't Blame Me
9. Love Is The Reasons For It / There Must Be Something Better Than Love / I'd Rather Wake Up By Myself / He Had Refinement
10. I'm Way Ahead
11. I Must Have That Man
12. You Wanna Bet / Sweet Charity
13. I'll Try
14. Growing Pains / Baby Dream Your Dream
15. On The Sunny Side Of The Street
16. If My Friends Could See Me Now / Pick Yourself Up / I Can't Give You Anything But Love

Customer Reviews:

Great!!!!.......2006-04-21

I couldnt disagree more with the previous review. I loved this! I only had a vague knowledge of K T Sullivan and never heard of Nadler, but I love Dorothy Fields songs so I took a chance on this. Weather together or alone they both shine on this offering. Sullivan has a beautiful voice and does well on the ballads (Dont Blame Me is especially fine), and also does well on some of the playful ones (He Had Refinement medley). Nadler sings with more gusto and has the more bombastic numbers. Their singing styles are as different as night and day, but somehow it all works. The only bad cut is I'm In the Mood for Love, which is ruined by pairing it with Digga Digga Do by Nadler. (Who thought that up? They dont go together at all!). I find myself playing this CD often. Wonderful songs (I discovered some new favorites too!) sung by 2 fine singers who love what they are singing! You cant go wrong with Dorothy Fields.

BITTERLY DISAPPOINTING - NOT WORTHY OF HER.......2006-04-05

i heard KT Sullivan on a program in the UK and sent for this CD for which I waited a long time. It is the most disappointing Cd I have ever heard. What possessed KT Sullivan to team up with Nadler, I will never know. His arrangements are awful - do not suit her voice and the key changes are positively offensive. His piano playing is insensitive and I could not wait to put the CD in the Trash. GREAT SONGS - dreadfuly performed.

Average customer rating: great work from Jim Steinman Loved it so much I got the rights! The Confidence Man The Confidence Man

The Confidence Man Jim Steinman (Composer) , Ray Errol Fox (Lyricist) , Bobby Blume , Yancey Arias , Bruce Yeko , Jeff Olmsted , George Costacos Best , Norbert Leo Butz , Tom Christensen , Rayme Cornell , Jean Fox , Lauren Fox , Shani Glance , Andre de Shield , Mark Nadler , Terry Waldo , Julia Murney , Jamison Stern , Eric Michael Gillett , Thomas Stamet , LaChanze , Garrett Long , Chuck Cooper , Andrea Marcovicci , and K.T. Sullivan Manufacturer: Original Cast Record ProductGroup: Music Binding: Audio CD General | Musicals | Broadway & Vocalists | Styles | Music General | Broadway & Vocalists | Styles | Music General | Soundtracks | Styles | Music Similar Items: Original Sin Tanz Der Vampire Bat Out Of Hell III Tanz Der Vampire Bad for Good ASIN: B0000WN1YA Release Date: 2003-12-09

Tracks:

1. New Orleans Is Comin' to Me - Norbert Leo Butz, , , Chorus
2. Pitch Penny
3. Such Heaps of Fine Friends - Mark Nadler, , Terry Waldo
4. Edging into Darkness - Julia K. Murney,
5. Methinks - Eric Michael Gillett,
6. Confidence - Mark Nadler
7. Nocturnally Yours - LaChanze,
8. Pain Humbles - Norbert Leo Butz
9. Maiden Is Only as Maiden as She Feels - Garrett Long,
10. Give Us This Day Our Daily Flesh - Chuck Cooper
11. Sanctimonious Sambo - Terry Waldo
12. Milady
13. Soft-Handed Gentleman (It's Your Life) - Andrea Marcovicci,
14. Something of This Masquerade May Follow - Chorus

Customer Reviews:

great work from Jim Steinman.......2006-06-16

Jim Steinman, known for his operatic-style rock music (Meat Loaf, Bonnie Tyler, etc.) has shown a more classic style of him in this one-of-a-kind musical. He takes several styles from the Civil War era and twists them with modern musical treatments.

You can hear many bits and pieces of music used in this album that Steinman uses much later in some of his rock songs, such as the intro to Making Love Out of Nothing at All, chorale phrases from The Future Ain't What it Used to Be and many others.

If you are a Steinman fan, this is a must!! Ray Earl Fox does a great job with the lyrics and they compliment the music to a tee.

Loved it so much I got the rights!.......2004-05-26

Upon hearing this musical I loved it so much I went out and got the rights to direct it onstage this October in Cincinnati! I was always a fan of Jim Steinman's music, but I now also have a great respect for the lyrics of Ray Fox. Fox is a wordsmith much in the tradition of Stephen Sondheim, with intricate wordplay and quick patter. I would suspect that it was his early work with Fox on this project that led Steinman himself into developing into a world class, phrase twisting. lyricist himself. And of course you have Steinman's great ear for melody, but with a much different feel than his Rock music. A great lost treasure of American theater (come see it in October!)

The Confidence Man.......2004-04-02

One of the undiscovered classics of the century. I hope to produce the first Australian production in November 2005. This show has a long and winding history, but I'll leave all that to the liner notes. Ray Errol Fox is one of the greatest lyricists of all time. I have never seen another talent like him - expect for Rupert Holmes - and these are the men I hold among my chief inspiration. Jim Steinman, the composer, whom many of you will remember from Meat Loaf's Bat Out of Hell has actually re-used many of these tunes in his subsequent projects. If you want the original version of his closing song from Pandora's Box, listen to Track One. "Milady" and "Something of this Masquerade may Follow" were re-used for TANZ DER VAMPIRE. Thank God this was finally released. It's a beautiful, heroic and courageous, discovered-at-last masterpiece of American musical theater.

The Confidence Man.......2004-03-07

When a friend gave me "The Confidence Man" as a Christmas gift, he advised me that I would be in for a treat. I was somewhat skeptical since I had never heard of it, but since it was based on a Herman Melville novel, I was intrigued. And it had music by Jim Steinman. I liked the story, of course, and the music, but it was the lyrics (by Ray Eroll Fox) that captivated me. They are witty, literate and consistently surprising. I find something new to admire every time I listen. Anyone into American musical theater shouldn't be without this one!

Average customer rating:

Goddess Queen Visioning Journeys Manufacturer: Goddess Queen Unlimited/Enchanted Fo ProductGroup: Music Binding: Audio CD Spoken Word | Poetry, Spoken Word & Interviews | Miscellaneous | Styles | Music ASIN: B000CA2UQK Release Date: 2003-12-30

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