| 1. If You Had My Love" (Pablo Flores Remix) |
| 2. If You Had My Love" (Radio Edit) |
| 3. If You Had My Love" (Dark Child Remix #1) |
| 4. If You Had My Love" (Master Mix) |
| 5. If You Had My Love" (Dark Child Remix #2) |
Editorial Reviews
Product Description
The first single from the actress/ vocalist's 1999 debut album 'On The 6' with a mix NOT on the U.S. CD maxi, 'If You Had My Love' (Pablo Flores Remix). Also contains four more mixes of 'If You Had My Love' (Radio Edit, Dark Child Remix #1, Master Mix and
Unfortunately, the performance suffers from being sung in English. The singers declaim their parts with such proper British diction that Carmen comes across as a school marm. The spoken dialog is delivered beat for deliberate beat and is dripping with reverb. It makes the plaza, tavern and mountain pass all sound like a sewer pipe.
This is a good first Carmen for someone trying to understand the work. The libretto itself is a good investment for further listening. For an enjoyable performance with an emphasis on character and action, I recommend Regina Resnik on the London Double Decker set.
LOVE SONGS is a tastefully selected panorama of lesser-known songs by Kozená's fellow countrymen (Czech) Antonín Dvorák, Leos Janácek, and Bohuslav Martinu. And while many of the Dvorák and Janácek songs have been occasionally heard in recitals, the Martinu "Songs for a Friend of My Country", an exquisitely beautiful work written in 1940, here receives its World Premiere recording. Kozená's voice is in prime condition for these songs and she is ably accompanied by pianist Graham Johnson. The special flavor of these Slavic emotions and songs has rarely been so well captured.
But over and above the beauty of Kozená's performance of these neglected masterpieces shines the glow of her sensitive programming. Recordings such as these are rare and should be included in the libraries of those who appreciate the lieder genre. Highly recommended. Grady Harp, May 05
Kozena's voice is sheer delight. She does have resonances in her voice which are reminiscent of her compatriot, Lucia Popp, but is certainly a mezzo - although she has chosen her repertoire well so we hear no strain at the top. Her low resonances are delightful and consistent with her head voice. To compare Kozena's voice to that of the late diva (Popp), it is more pure, more consistent in tone from top to bottom, and doesn't have so much of the `squeezey' quality which Popp used to great effect in evincing the passion of her characters. Kozena can empty her voice of vibrato or let it out rich and full, and uses all her vocal resources to great effect in contrasting the individual songs. She has astoundingly mature lieder-singer's technique for such a young singer.
This recording rightly won a Gramophone award this year. Kozena deserves all the accolades she receives for this - doubtless all listeners will develop their own favourites from these delightful miniatures.
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)
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 first single from the actress/ vocalist's 1999 debut album 'On The 6' with a mix NOT on the U.S. CD maxi, 'If You Had My Love' (Pablo Flores Remix). Also contains four more mixes of 'If You Had My Love' (Radio Edit, Dark Child Remix #1, Master Mix and
If You Had My Love,Jennifer Lopez,Phantom Sound & Visi,Popular Music,Rock/Pop
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The Secular Songs of Henry Purcell, Vol. 2
Manufacturer: Hyperion UK ProductGroup: Music Binding: Audio CD  Purcell, Henry
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ASIN: B000002ZUD Release Date: 1994-06-14 |
Tracks:
- I Love And I Must ('Bell Barr'), Z382
- When Her Languishing Eyes Said 'Love'! Z432
- Not All My Torments Can Your Pity Move, Z400
- Ah! Cruel Nymph, Z352
- Sylvia, Now Your Scorn Give Over, Z420
- Since One Poor View Has Drawn My Heart, Z416
- I Resolve Against Cringing And Whining, Z386
- Gentle Shepherds, You That Know The Charms, Z464
- If Grief Has Any Pow'r To Kill, Z378
- She That Would Gain A Faithful Lover, Z414
- Fly Swift, Ye Hours, Z369
- Hears Not My Phillis How The Birds (The Knotting Song, Z371
- Phillis, Talk No More Of Passion, Z409
- Celia's Fond, Too Long I've Lov'd Her, Z364
- In Vain We Dissemble, Z385
- When My Aemelia Smiles, Z434
- Farewell, Ye Rocks, Z463
- What A Sad Fate Is Mine, Z428A
- I Take No Pleasure In The Sun's Bright Beams, Z388
- Love's Pow'r In My Heart Shall Find No Compliance, Z395
- How Delightful's The Life Of An Innocent Swain, Z373
- She, Who My Poor Heart Possesses, Z415
- Love Arms Himself In Celia's Eyes Z392
- When First My Shepherdess And I, Z431
- Through Mournful Shades, Z424
- If Music Be The Food Of Love (Second Version), Z379B
- Scarce Had The Rising Sun Appear'd, Z469
- Who But A Slave Can Well Express, Z440
- High On A Throne Of Glitt'ring Ore, Z465
- Incassum Lesbia, Incassum Rogas (The Queen's Epicedium), Z383
Amazon.com essential recording
Purcell fans will delight in this collection of 30 of his 85 secular songs. Barbara Bonney, singing with ease and controlled fervor, steals the recording with her endearing sound and impeccable musicianship. Soprano Susan Gritton brings a more dramatic perspective, singing with zest and a little edge that almost, but never quite, grates. Sometimes, however, she vibrates mildly out of control. Tenors Charles Daniels and Roger Covey-Crump sing with grace, joviality, and tenderness, but both are a little shallow throughout the bottom. Countertenor James Bowman occasionally stumbles with intonation, but always lands standing upright. This buffet of various voices captivates the listener's attention span, totally avoiding potential monotony. --Barbara Eisner BayerCustomer Reviews:
Purcell stole my heart.......2001-02-08
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Carmen (Sung in English)
Bizet , Bardon , Gavin , Plazas , Magee , and Parry Manufacturer: Chandos ProductGroup: Music Binding: Audio CD General
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ASIN: B00007JGRN Release Date: 2003-03-11 |
Tracks:
- Prelude
- In The Plaza
- Just Look At That Delicious Morsel
- Here Come Our New Soldier Boys
- Jose! There Was A Girl Here Looking For You Just Now
- Off With You Old Soldier Boys
- Corporal! Sir!
- We Have Heard The Bell Summon Us To Meet Here
- Ah, Just Look!
- But Why Hasn't She Come, Our Carmencita?
- Love's A Bird Wild As Any Rebel
- Carmen! We Will Follow You High And Low!
- The Cheek Of It!
- Give Me News Of My Mother!
- Your Dear Mother And I Were Leaving Church This Morning
- I See My Mother's Face!
- Wait A Moment - I'm Going To Read The Letter
- Come And Help
- So, Corporal: Tell Me What Happened
- Well, Carmencita: What Do You Have To Say For Yourself?
- Where Are You Taking Me?
- There's An Old Bar In The City
- Careful - It's Lieutenant!
- Entr'acte
- From Far Away Mysterious Sounds
- Bravo, Bravo! More! Keep Dancing!
- Hurrah! Hurrah! The Torero!
- Who's That? It's Escamillo, The Bullfighter From Granada
- Hurrah! Hurrah! The Torero!
- You're Most Kind
- We'll Come With You, Senor Torero
- Toreador, Be Ready!
- At Last! We Got Rid Of Them As Quickly As We Could
- There's A Little Job That We're Starting!
- Being In Love Is Not A Reason
Tracks:
- To Bid You Welcome To Our Bar
- La La La La La La La La...
- Back To Camp!... Go At Once!
- That Flow'r You Threw To Me I Treasured
- No, It's Not Love At All!
- Hello! Carmen!
- Lieutenant Fair, It's True
- The Sky Above The Open Road
- Entr'acte
- Keep Going, Dear Old Friend, Kep Going!
- Right! Let's Stop For A While
- Shuffle! Cut Them!
- In Vain You Would Avoid The Bitter Things They're Saying
- You're Back!
- As For That Man, It Should Be Easy!
- Is This The Place?
- I Say That There's Nothing To Fear
- It's Him! I'm Sure It's Him Over There!
- Escamillo Is My Name, And I Come From Granada
- She Had A Lover Here
- Hola! Hola! Jose!
- You Should Take Care, Carmen
- Alas! Jose, Your Mother Is Ill
- Entr'acte
- A Few Cuartos! A Few Cuartos!
- Here They Come! Here They Come!
- If You Love Me, Carmen
- It's You! It's Me!
- Viva! Viva! What A Corrida!
Customer Reviews:
English is an asset and a drawback.......2004-07-20
Unfortunately, the performance suffers from being sung in English. The singers declaim their parts with such proper British diction that Carmen comes across as a school marm. The spoken dialog is delivered beat for deliberate beat and is dripping with reverb. It makes the plaza, tavern and mountain pass all sound like a sewer pipe.
This is a good first Carmen for someone trying to understand the work. The libretto itself is a good investment for further listening. For an enjoyable performance with an emphasis on character and action, I recommend Regina Resnik on the London Double Decker set.
You Will Love Opera After Hearing Carmen In English.......2004-02-09
The real strength of this version is the dynamic drama. With the advantage of being sung in English, we get better insight on characters' emotions and motives, and we understand the drama a lot better. Carmen is all about great drama. Bizet drew the plot from the French writer Prosper Merimee's dark short story. Carmen is the ultimate femme fatale- a devil-may-care, sexy Gypsy living in Spain, seduces the conservatively raised soldier Don Jose, stealing him away from his fiancee, the passive Micaela, living a life of underground smuggling and rowdy taverns. "Habanera" and "The Gypsy Song and Dance" are very expressive of Carmen's extraordinarily liberal lifestyle. Don Jose, however, has fallen deeply in love- as he shows us in his song/aria "The Flower Song". But Carmen soon becomes tired of his constancy. Don Jose wants a committed, monogamous relationship with Carmen. But Carmen will not submit to love, since she is first and foremost a carnal creature. Eventually, she falls for the handsome Toreador Escamillo. Don Jose, consumed by jealousy, stabs Carmen at a bullfight after Carmen declares her love for Escamillo and rejects Don Jose's love. Don Jose's crazed, obscessive personality shines through in the English version as well. This tragedy has been done in English before so don't think this is the first time. Back in the 50's, there was a film, starring black actors "Carmen Jones" which was treated the same way as this opera- more like an English Broadway musical and with the dubbed singing voice of Marilyn Horne as Carmen. All in all, this recording is excellent.
A wholly credible "Carmen" -- finally!.......2003-09-17
I love Carmen!.......2003-08-15
And what of this recording? Carmen sits well in English, so it is good to hear in translation, although some of the detais in the text jar. Escamillo refers to Jose as "my dear", which sounds rather peculiar, and the guide's line to Micaela: "it's not exactly inviting, is it?" sounds distinctly Middle England rather than Rural Spain. Some of the performers, not least Carmen herself, make the words work, although there are long tracts, especially with the chorus, where the language is distinctly indistinct.
The soloists are, by and large, strong. Patricia Bardon's deep, Handel-friendly voice adapts well to Carmen and she colours the music with phenomenal detail, sounding sexy and provocative from the start with an edge of pride and anger that emerges as the show goes on. She is out of her depth above the stave, though, and some extra top notes in the second act don't show her off to her best advantage. I have previously said that Julian Gavin is poorly served by recordings, though here he sounds much more even and gives a thrilling and musical performance (but his wooden spoken lines let him down). Mary Plazas is a lovely Micaela, rich-voiced and sincere (and word-perfect), but Garry Magee sounds miscast as Escamillo, lacking the ballast at the bottom of the voice to do justice to this tricky role.
The supporting cast is good (Mary Hegarty seems to do nothing but Frasquita these days!) but the really treasurable thing is the conducting. Stepping out of Italian Ottocento, David Parry turns his hand to this French Comedie with an appropriate lightness of touch. His pacing and handling of the set pieces is exemplary and the enrtractes go with a real swing.
A pleasure, then, for the Carmen naive or a novelty for the Carmen-acquainted. I nearly wrote Carmen-weary - but I don't think it's possible.
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The Essential Songs of Andrew Lloyd Webber
Manufacturer: Metro Music ProductGroup: Music Binding: Audio CD Requiems
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ASIN: B000B9G6O4 Release Date: 2005-10-03 |
Tracks:
- Phantom of the Opera/All I Ask of You
- By Jeeves/Half a Moment
- Beautiful Game/All the Love I Have
- Jesus Christ Superstar/I Don't Know How to Love Him
- Phantom of the Opera/Think of Me
- Aspects of Love/The First Man You Remember
- Starlight Express B'way/Starlight Express
- Starlight Express/Only You
- Tell Me on a Sunday/Unexpected Song
- Aspects of Love/Seeing Is Believing
- Beautiful Game/Our Kind of Love
- Tell Me on a Sunday/The Last Man in My Life
- Phantom of the Opera/Wishing You Were Somehow Here Again
- Sunset Boulevard/Too Much in Love to Care
- Tell Me on a Sunday/Tell Me on a Sunday
- Aspects of Love/There Is More to Love
- Evita/Don't Cry for Me Argentina
- Aspects of Love/Love Changes Everything
Tracks:
- Sunset Boulevard/With One Look
- Evita/Another Suitcase in Another Hall
- Cats/Memory
- Jesus Christ Superstar/Could We Start Again Please?
- Requiem/Pie Jesu
- Phantom of the Opera/Angel of Music
- Joseph and the Amazing Technicolor Dreamcoat)/Close Every Door
- Jesus Christ Superstar/Gethsemane
- Whistle Down the Wind/Whistle Down the Wind
- Sunset Boulevard/As If We Had Never Said Goodbye
- Starlight Express/U-N-C-O-U-P-L-E-D
- Phantom of the Opera/The Point of No Return
- Aspects of Love/Anything But Lonely
- Joseph and the Amazing Technicolor Dreamcoat/Any Dream Will Do
- Joseph and the Amazing Technicolor Dreamcoat/There's Me
- Jesus Christ Superstar/Pilate's Dream
- Evita/High Flying Adored
- Phantom of the Opera/Music of the Night
Tracks:
- Cats/Macavity
- Jesus Christ Superstar/Heaven on Their Minds
- Evita/Rainbow High
- Starlight Express/Rolling Stock
- Phantom of the Opera/The Phantom of the Opera
- Jesus Christ Superstar/Hosanna
- Evita/Oh What a Circus
- Phantom of the Opera/Masquarade
- Starlight Express/Starlight Express
- Jesus Christ Superstar/King Herod's Song
- Evita/Buenos Aires
- Cats/Jellicle Cats
- Sunset Boulevard/Sunset Boulevard
- Jesus Christ Superstar/Everything's Alright
- Cats/Mr. Mistoffelees
- Phantom of the Opera/Prima Donna
- Cats/The Jellicle Ball
- Jesus Christ Superstar/Jesus Christ Superstar
Album Details
Lovesongs, Ballads and Show Stoppers. 54 Tracks, Including Some Brand New Titles Released Here for the First Time.
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Lil Abner/Broadway Bouquet
Manufacturer: Collectables ProductGroup: Music Binding: Audio CD All Works by Bernstein
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ASIN: B0000996GC Release Date: 2003-09-16 |
Tracks:
- It's A Typical Day
- The Way To A Man's Heart
- Love In A Home
- Medley: Jubilation T. Cornpone / (What's Good For) General Bullmoose (Is Good For The U.S.A.)
- Unnecessary Town
- The Country's In The Very Best Of Hands
- There's Room Enough For Us
- Progress Is The Root Of All Evil
- If I Had My Druthers
- Oh Happy Day
- Matrimonial Stomp
- Namely You
- Hello, Dolly!
- Once Upon A Time
- Somewhere
- Sunrise, Sunset
- Who Can I Turn To (When Nobody Needs Me)
- A Quiet Thing
- Make Someone Happy
- What Kind Of Fool Am I?
- Long Ago
- The Sweetest Sounds
- As Long As He Needs Me
- Theme From "Golden Boy"
Album Description
The jaunty Gene DePaul score for the musical play "Lil' Abner" based on the comic strip by Al Capp is heard instrumentally - and it's quite a show! "Broadway Bouquet" from 1965 is an important part of the famed Faith "string" album series - perhaps the pinnacle of his rich string sound that spanned gorgeous melodies and counterlines across sections of the large orchestra. (Bill Halvorsen)Album Description
Pianist Percy Faith, a pioneer of the Easy Listening genre, had a successful and lengthy career as the in-house conductor and arranger for Columbia Records. Faith was renowned for his musical interpretations of Broadway and motion picture music. These two reissues from Collectables on 1 CD were originally released in 1965. 24 tracks. 2003.Customer Reviews:
It's not stereo.......2005-01-10
classic arrangements by the classic gentlemen ~ Percy Faith.......2004-02-16
Let's begin with "IT'S A TYPICAL DAY" along with "LOVE IN A HOME", both from "Li'l Abner", wonderful opening counterparts and the stirring arrangements by Maestro Percy Faith ~ "JUBILATON T. CORNPONE", uplifting cue that will keep bouncing in your head for hours, maybe even days ~ "IF I HAD MY DRUTHERS", one of the forgettable tunes from the show ~ "NAMELY YOU", has to be the best and favorite song of the Johnny Mercer and Gene De Paul score ~ by the way, these two composers penned the lively screen musical "Seven Brides for Seven Brothers", both scores were sure winners from two talented songwriters, Percy Faith steps up to the podium and takes it to another level.
Now with "Broadway Bouquet", we have perfection within the realm of lush arranging, so flawless "HELLO, DOLLY!" (Jerry Herman), "ONCE UPON A TIME" (Adams/Strouse), "SOMEWHERE" (Sondheim/Bernstein), "SUNRISE, SUNSET/FIDDLER ON THE ROOF" (Harnick/Bock) (one of my all-time favorites, can't get enough of this score), "WHO CAN I TURN TO (WHEN NOBODY NEEDS ME)" (Bricusse/Newley), "A QUIET THING" (Ebb/Kander), "MAKE SOMEONE HAPPY" (Comden/Green/Styne), "WHAT KIND OF FOOL AM I?" (Bricusse/Newley) (two of the best songwriters in the business), "LONG AGO" (David Heneker), "THE SWEETEST SOUNDS" (Richard Rodgers) (his credit of compositions goes through the ceiling, will never be another like 'em), "AS LONG AS HE NEEDS ME" (Lionel Bart) (a wonderful classic that is still popular by today's standards), "THEME FROM "GOLDEN BOY" (Adams Strouse) (another team of composers that have made an impact on the Broadway scene) ~ an example of the "Percy Faith Touch", so effortless, you feel like you're floating on a cloud ~ falls into Percy's many albums of fabulous string arrangements, they grabbed the attention of the listener and wouldn't let go. Can't think of any other arranger/composer who left such a great legacy as this man!
Highly recommend to ALL fans of Percy Faith ~ thanks to Collectables for releasing this collection from the vaults of Columbia Records ~ so listeners sit back, relax and enjoy a small part of Maestro Percy Faith's fabulous career!
Total Time: 70:49 on 24 Tracks ~ Collectables 7564 ~ (9/16/2003)
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Magdalena Kozená - Love Songs (Dvorak, Janacek, Martinu)
Antonin Dvorak , Bohuslav Martinu , Leos Janacek , Magdalena Kozená , and Graham Johnson Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD General
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ASIN: B00004SDO1 Release Date: 2000-08-08 |
Tracks:
- Love Songs: Oh, Our Love Does Not Bloom
- Love Songs: Death Dwells In So Many A Heart
- Love Songs: Now I Stumble Past The House
- Love Songs: I Know That In Sweet Hope
- Love Songs: Gentle Slumber Reigns Over The Countryside
- Love Songs: Here In The Forest By A Brook
- Love Songs: In The Sweet Power Of Your Eyes
- Love Songs: Oh, Dear Matchless Soul
- New Miniatures: The Rich Sweetheart
- New Miniatures: The Forsaken Lover
- New Miniatures: Lounging
- New Miniatures: The Inquisitive Girl
- New Miniatures: The Cheerful Girl
- New Miniatures: The Unhappy Lover
- New Miniatures: The Request
- New Miniatures: The Tall Tower
- Songs For A Friend Of My Country: Ponies On The Fallow Land
- Songs For A Friend Of My Country: The Lost Little Slipper
- Songs For A Friend Of My Country: A Religious Song
- Songs For A Friend Of My Country: An Invitation
- Four Songs: You Heartfelt Songs
- Four Songs: Oh, That Was A Beautiful, Golden Dream
- Four Songs: In Pain, My Heart Often Broods
- Four Songs: Silence On The Mountains
- Lullaby
- Songs For One Page: Dew
- Songs For One Page: Unlocking With A Single Word
- Songs For One Page: Journey To The Beloved
- Songs For One Page: The Footpath
- Songs For One Page: At Mother's
- Songs For One Page: The Virgin Mary's Dream
- Songs For One Page: Rosemary
- New Slovak Songs: So Tell Me
- New Slovak Songs: I Had A Blouse
- Moravian Folk Poetry In Songs: Who Is The Posy For?
- Moravian Folk Poetry In Songs: A Lover's Picture
- Moravian Folk Poetry In Songs: Little Posy
- Moravian Folk Poetry In Songs: Constancy
- Moravian Folk Poetry In Songs: Love
- Moravian Folk Poetry In Songs: Parting
- Moravian Folk Poetry In Songs: My Lover's Horses
- Good Night, My Darling
Amazon.com
The composers Antonín Dvorák, Leos Janácek, and Bohuslav Martinu might not be the names that first spring to mind when love songs are mentioned, yet this fascinating collection gives us a taste of what delights we have been missing. They range from seven Moravian folk songs, collected by Janácek at the turn of the century, to songs written by Martinu in the U.S. in 1942. There's also early Martinu--including songs he collected in Slovakia in 1920--plus the world-premiere recording of Songs for a Friend of My Country, a cycle he wrote in France in 1940 on his way to America. All of these songs are of interest in giving us another aspect of each composer's work; most have much more to offer. Many are achingly lovely, especially those by Dvorák--including his Op. 2, a reworking of four songs from a cycle he had written almost 20 years earlier, and Love Songs, a revision of eight songs from the same cycle. "Good night, my darling," from his 1886 cycle In Folk Tone, is worth the price of this CD alone. Czech mezzo Magdalena Kozená, who put together the program, sings with pure, attractive tone. Graham Johnson is her excellent accompanist. --Richard FawkesCustomer Reviews:
On the Subject of Intelligent and Sensitive Recitals.......2005-05-19
LOVE SONGS is a tastefully selected panorama of lesser-known songs by Kozená's fellow countrymen (Czech) Antonín Dvorák, Leos Janácek, and Bohuslav Martinu. And while many of the Dvorák and Janácek songs have been occasionally heard in recitals, the Martinu "Songs for a Friend of My Country", an exquisitely beautiful work written in 1940, here receives its World Premiere recording. Kozená's voice is in prime condition for these songs and she is ably accompanied by pianist Graham Johnson. The special flavor of these Slavic emotions and songs has rarely been so well captured.
But over and above the beauty of Kozená's performance of these neglected masterpieces shines the glow of her sensitive programming. Recordings such as these are rare and should be included in the libraries of those who appreciate the lieder genre. Highly recommended. Grady Harp, May 05
Lovely.......2004-03-25
A Beautiful Disc.......2002-01-06
A stunning burst onto the world stage.......2001-12-17
Kozena's voice is sheer delight. She does have resonances in her voice which are reminiscent of her compatriot, Lucia Popp, but is certainly a mezzo - although she has chosen her repertoire well so we hear no strain at the top. Her low resonances are delightful and consistent with her head voice. To compare Kozena's voice to that of the late diva (Popp), it is more pure, more consistent in tone from top to bottom, and doesn't have so much of the `squeezey' quality which Popp used to great effect in evincing the passion of her characters. Kozena can empty her voice of vibrato or let it out rich and full, and uses all her vocal resources to great effect in contrasting the individual songs. She has astoundingly mature lieder-singer's technique for such a young singer.
This recording rightly won a Gramophone award this year. Kozena deserves all the accolades she receives for this - doubtless all listeners will develop their own favourites from these delightful miniatures.
Wonderful songs, and a singer with great potential.......2000-10-08
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Shakespeare's Songbook, Vols. 1 & 2
Manufacturer: Azica ProductGroup: Music Binding: Audio CD General
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ASIN: B0002IQL08 Release Date: 2004-07-06 |
Tracks:
- Ah Robin (Round)
- And Let Me The Cannikin Clink
- And Will He Not Come Again
- Be Merry, Be Merry
- Black Spirits
- Blow, Blow Thou Winter Wind
- Bonny Sweet Robin
- But Shall I Go Mourn
- Can'st Thou Not Hit It
- Come Away
- Come Away, Hecate
- Come Live With Me
- Come O'er The Burn
- Come Thou Monarch (Version 2)(Round)
- Come Unto These Yellow Sands
- A Cup Of Wine
- Farewell, Dear Heart
- Fathers That Wear Rags
- Fear No More
- Fie On Sinful Fantasy
- Fill The Cup (Round)
- Flout 'Em And Cout 'Em (Round)
- Fools Had Ne'er Less Grace
- For I'll Cut My Green Coat
- The Friar And The Nun
- Full Fathom Five
- The George Alow (Version 1)
- Get You Hence
- The God Of Love
- Hark, Hark The Lark
- Have I Caught My Heavenly Jewel
- Heart's Ease
- Hold Thy Peace (Version 2)(Round)
- Honor, Riches
- I Am Gone Sir
- I Loathe The I Did Love
- It Was A Lover And His Lass
- Jepha
- Jog On
- Jolly Shepherd (Round)
- King Stephen Was A Worthy Peer
- Lawn As White
- Love, Love, Nothing But Love (Version 2)
- The Master, The Swabber (Version 2)
- No More Dams
- An Old Hare Hoar (Version 1)
- O Mistress Mine (Version 1)
- Orpheus With His Lute
- O Sweet Oliver
- Pardon Goddess Of The Night
- Roses Their Sharp Spines
- Sigh No More, Ladies
- Some Men For Sudden Joy (Version 1)
- Take, O Take Those Lips
- Tell Me, Where Is Fancy Bred
- That Sir Which Serves
- There Dwelt A Man In Babylon (Version 1)
- There Was Three Fools
- Three Merry Men (Round)
- Tomorrow Is St. Valentine's Day
- Under The Greenwood Tree
- Up And Down (Round)
- Urns And Odours Bring Away
- Walsingham
- Was This Fair Face
- Wedding Is Great Juno's Crown
- What Shall He Have (Round)
- When Arthur First In Court
- When Daffodils Begin To Peer
- When Daisies Pied
- When Griping Grief
- When Icicles Hang By The Wall
- When That I Was And A Little Tyne Boy
- Where The Bee Sucks
- While You Here Do Snoring Lie
- Who Is Silvia
- Why Let The Strucken Deer
- Willow, Willow (Version 1)
- Will You Buy Any Tape
- The Woosel Cock
- You Spotted Snakes
Tracks:
- Awake, Awake
- Battle Of Agincourt
- Bride's Goodmorrow
- Broom
- Callino
- Carmen's Whitle
- Chi Passa
- Come Kiss Me, Kate (Round)
- Come Thou Monarch (Version 1)
- Cup Of Wine (Version 1)
- Damon
- Daphne
- Diana (2 Versions)
- Dulcina
- Eglamore
- Eighty-Eight
- Fortune My Foe
- George Alow (Version 2)
- Glass Doth Run
- Goddesses
- Go From My Window
- Greensleeves (2 Versions)
- Guy Of Warwick
- Hem Boys (2 Versions)
- Hey Ho for A Husband (2 Versions)
- Hobbyhorse
- Hold Thy Peace (Versions 1 & 3)
- Hunt's Up
- I Cannot Come Every Day (2 Versions)
- In Crete
- In Peascod Time
- Jack Boy (Round)
- King Cophetua
- King Lear
- King Solomon
- Light O Love
- Loath To Depart (2 Versions)
- Love, Love (Version 1)
- Master, Swabber (Version 1)
- Mounsier Mingo
- Mounsieur's Almaine
- My Mind To Me
- Nutmegs (Of All The Birds)
- Nutmegs (Wooing Of The Baker's Daughter)
- O Death (2 Versions)
- Old Hare Hoar (Version 2)
- O Mistress Mine (Version 2)
- O' The Twelfth Day Of December
- Oyster Pie
- Peg A Ramsey (2 Versions)
- Phillida (3 Versions)
- Please One
- Pyramus
- Queen Dido (2 Versions)
- Ratcatcher
- Rich Jew
- Robin Goodfellow
- Robin Hood
- Rogero
- Rowland
- Sellenger's Round
- Shore's Wife (2 Versions)
- Sick, Sick (3 Vesions)
- Some Men For Sudden Joy (Round)
- There Dwelt A Man (Version 2)
- Titus Andronicus
- Tom A Bedlam (2 Versions)
- Troilus
- Troy Town
- Wellady
- Whenas We Sat In Babylon
- Where Is The Life
- Whoop
- Why Let The Strucken (If Care Do Cause)
- Willow, Willow (Version 2)
- Will Ye Buy A Fine Dog
- With A Fading
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Wagner: The Valkyrie
Manufacturer: Chandos ProductGroup: Music Binding: Audio CD All Works by Wagner
| Wagner, Richard
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ASIN: B00004YU6Z Release Date: 2000-11-28 |
Tracks:
- Act I: Prld - English Nat Opr Orch/Reginald Goodall
- Act I, Scene 1: The Storm Drove Me Here - Alberto Remedios/Margaret Curphey
- Act I, Scene 1: This House And This Wife - Margaret Curphey/Alberto Remedios
- Act I, Scene 1: Evil Fortune's Never Far From Me - Alberto Remedios/Margaret Curphey
- Act I, Scene 2: There He Lay, Feeble And Faint - Margaret Curphey/Clifford Grant/Alberto Remedios
- Act I, Scene 2: Through Field And Forest - Alberto Remedios/Clifford Grant/Margaret Curphey
- Act I, Scene 2: Friedmund No One Could Call Me - Alberto Remedios/Clifford Grant/Margaret Curphey
- Act I, Scene 2: The Neidings Raided Again - Alberto Remedios
- Act I, Scene 2: So The Norn Who Dealt You This Fate - Clifford Grant/Margaret Curphey/Alberto Remedios
- Act I, Scene 2: I Know A Troublesome Race - Clifford Grant
- Act I, Scene 3: A Sword Was Pledged By My Father - Alberto Remedios
- Act I, Scene 3: Are You Awake? - Margaret Curphey/Alberto Remedios
- Act I, Scene 3: My Husband's Kinsmen - Margaret Curphey
- Act I, Scene 3: Yes, Loveliest Bride - Alberto Remedios/Margaret Curphey
- Act I, Scene 3: Winter Storms Have Vanished (Siegmund's Spring Song) - Alberto Remedios
- Act I, Scene 3: You Are The Spring - Margaret Curphey
- Act I, Scene 3: Oh Sweetest Enchantment - Alberto Remedios/Margaret Curphey
- Act I, Scene 3: The Stream Has Shown My Reflected Face - Margaret Curphey/Alberto Remedios
- Act I, Scene 3: Siegmund Call Me, And Siegmund Am I! - Alberto Remedios
- Act I, Scene 3: Siegmund, The Walsung, Here You See! - Alberto Remedios/Margaret Curphey
Tracks:
- Act II, Scene 1: Go Bridle Your Horse, Warrior Maid! - Norman Bailey
- Act II, Scene 1: Hoyotoho! Hoyotoho! (Brunnhilde's Battle Cry) - Rita Hunter
- Act II, Scene 1: The Usual Storm, The Usual Strife - Norman Bailey/Ann Howard
- Act II, Scene 1: Pretend That You Don't Understand! - Ann Howard/Norman Bailey
- Act II, Scene 1: Now It's Come To Pass! - Norman Bailey
- Act II, Scene 1: So This Is The End Of The Gods And Their Glory - Ann Howard
- Act II, Scene 1: You Never Learn What I Would Teach You - Norman Bailey/Ann Howard
- Act II, Scene 1: What Must I Do? - Norman Bailey/Ann Howard
- Act II, Scene 1: Hiaha! Hiaha! Hoyotoho! - Rita Hunter/Ann Howard/Norman Bailey
- Act II, Scene 2: Fricka Has Won The Fight - Rita Hunter/Norman Bailey
- Act II, Scene 2: When Youth's Delightful Pleasures Had Waned - Norman Bailey
- Act II, Scene 2: She Refused To Reveal More About It - Norman Bailey/Rita Hunter
- Act II, Scene 2: There's More To Tell - Norman Bailey
- Act II, Scene 2: Yet One Can Accomplish What I May Not - Norman Bailey
- Act II, Scene 2: But The Walsung, Siegmund - Rita Hunter/Norman Bailey
- Act II, Scene 2: Then Siegmund Must Fall In His Fight? - Rita Hunter/Norman Bailey
- Act II, Scene 2: I Give You My Blessing, Nibelung Son! - Norman Bailey/Rita Hunter
- Act II, Scene 2: No, Have Mercy - Rita Hunter/Norman Bailey
Tracks:
- Act II, Scene 2: So I Obey His Command - Rita Hunter
- Act II, Scene 3: Rest Here For A While; Stay By My Side! - Alberto Remedios/Margaret Curphey
- Act II, Scene 3: Away! Away! - Margaret Curphey/Alberto Remedios
- Act II, Scene 3: Where Are You, Siegmund? - Margaret Curphey/Alberto Remedios
- Act II, Scene 4: Siegmund! Look At Me! (Announcement Of Death) - Rita Hunter/Alberto Remedios
- Act II, Scene 4: And If I Come - Alberto Remedios/Rita Hunter
- Act II, Scene 4: Then Greet For Me Walhall - Alberto Remedios/Rita Hunter
- Act II, Scene 4: Woe! Woe! Sister And Bride - Alberto Remedios/Rita Hunter
- Act II, Scene 4: Two Lives Now Lie In Your Power - Alberto Remedios/Rita Hunter
- Act II, Scene 5: Charms Of Sleep Are Sent To Still - Alberto Remedios
- Act II, Scene 5: I Hear Your Call - Alberto Remedios/Margaret Curphey
- Act II, Scene 5: Wehwalt! Wehwalt! - Clifford Grant/Alberto Remedios/Margaret Curphey/Rita Hunter/Norman Bailey
Tracks:
- Act III, Scene 1: Hoyotoho! Hoyotoho! (Ride Of The Valkyries) - Katie Clark/Anne Evans/Elizabeth Connell/Helen Attfield/Shelagh Squires/Anne Conoley
- Act III, Scene 1: Shield Me And Help - Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne Evans/Sarah Walker...
- Act III, Scene 1: Hear While I Tell You - Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne Evans/Sarah Walker...
- Act III, Scene 1: Pray Suffer No Sorrow For Me - Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne...
- Act III, Scene 1: Fly Him Swiftly, Away To The East! - Rita Hunter
- Act III, Scene 1: O Radiant Wonder! (Parting Salute) - Margaret Curphey
- Act III, Scene 1: Stay, Brunnhild! - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
- Act III, Scene 2: Where Is Brunnhild? - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
- Act III, Scene 2: Weak-Spirited, Womanish Brood! - Norman Bailey
- Act III, Scene 2: Here I Am, Father - Rita Hunter/Norman Bailey
- Act III, Scene 2: No More Will You Ride From Walhall - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
- Act III, Scene 2: Did You Not Hear What I Decreed? - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
- Act III, Scene 3: Was It So Shameful - Rita Hunter/Norman Bailey
- Act III, Scene 3: I Know So Little - Rita Hunter/Norman Bailey
- Act III, Scene 3: You, Who This Love Into My Heart Revealed - Rita Hunter/Norman Bailey
- Act III, Scene 3: You Indulged Your Love - Norman Bailey
- Act III, Scene 3: Unworthy Of You This Foolish Maid - Rita Hunter/Norman Bailey
- Act III, Scene 3: You Fathered A Glorious Race - Rita Hunter/Norman Bailey
- Act III, Scene 3: In Long, Deep Sleep - Norman Bailey/Rita Hunter
- Act III, Scene 3: Farewell, My Valiant, Glorious Child! (Wotan's Farewell) - Norman Bailey
- Act III, Scene 3: These Eyes So Warm And So Bright - Norman Bailey
- Act III, Scene 3: Loge, Hear! Come At My Call! - Norman Bailey
- Act III, Scene 3: Magic Fire Music - Norman Bailey
Customer Reviews:
"The death-doomed alone are destined to look on me.".......2007-06-12
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
Absolutely Breathtaking!.......2002-09-13
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
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
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!
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Complete Secular Songs (3cd)
Manufacturer: Hyperion UK ProductGroup: Music Binding: Audio CD Purcell, Henry
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ASIN: B0000DJENT Release Date: 2004-01-13 |
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If You Had My Love
Jennifer Lopez Manufacturer: Sbme Import ProductGroup: Music Binding: Audio CD General
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ASIN: B00004WYGS Release Date: 1999-09-28 |
Album Description
The first single from the actress/ vocalist's 1999 debut album 'On The 6' with a mix NOT on the U.S. CD maxi, 'If You Had My Love' (Pablo Flores Remix). Also contains four more mixes of 'If You Had My Love' (Radio Edit, Dark Child Remix #1, Master Mix andAlbum Details
Aussie Five Track Single with Remixes.Customer Reviews:
Best for the ultra funky Rodney Jerkins remix version!.......2005-12-28
if you had my love.......2001-01-25
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Clearings in the Sky
Manufacturer: Arabesque ProductGroup: Music Binding: Audio CD All Works by Strauss
| Strauss, Richard
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ASIN: B00005LE69 Release Date: 2001-01-01 |
Tracks:
- Ser, Op.17 No.2
- Tomorrow, Op.27 No.4
- Cupid, Op.68 No.5
- I Would Have Bound A Nosegay, Op.37 No.2
- Mother-Talk, Op.43 No.2
- Clearings In The Sky: She Had Reached The Low-Lying Meadow
- Clearings In The Sky: She Is Solemnly Cheerful
- Clearings In The Sky: Sometimes I Am Sad
- Clearings In The Sky: A Poet Said...
- Clearings In The Sky: At The Foot Of My Bed
- Clearings In The Sky: If All This Is But A Poor Dream
- Clearings In The Sky: We'll Love Each Other As Long As
- Clearings In The Sky: You Gazed At Me With All Your Soul
- Clearings In The Sky: The Lilacs Which Had Flowered
- Clearings In The Sky: Two Columbines
- Clearings In The Sky: Through What I've Suffered
- Clearings In The Sky: I Keep A Medallion Of Her
- Clearings In The Sky: It Will Be A Year Tomorrow
- In My Garden At Night, Op.38 No.1
- To Her, Op.38 No.2
- Daisies, Op.38 No.3
- The Pied Piper, Op.38 No.4
- Sleep, Op.38 No.5
- A-oo (The Quest), Op.38 No.6
Christian Music:
- In The Stillness...Lullabies and Songs of Love
- It Is and It Isn't
- It Was Hot
- Just A Bowl - Live at the Old Town Music Hall
- Just To Be With You
- Kelly Clarkson Karaoke Top Tunes TT-210
- Kindness Counts
- Made to Praise
- Missundaztood/Can't Take Me Home [Import]
- Missundaztood [Import]
Christian Music
70s & 80s Female Country, Vol. 1 [Karaoke]
Ghetto Gospel Volume 1 [Explicit Lyrics]