Holla Holla [CD-single] [Explicit Lyrics]

1. Holla Holla [Street Version]

2. Holla Holla [Instrumental]

3. BJ Skit

4. It*s Murda [Street Version]

5. It*s Murda [Instrumental]

6. Kill *Em All [Street Version] - Ja Rule, Jay-Z,

Holla Holla,Ja Rule,DMX,Jay-Z,Def Jam,East Coast Rap,Pop,Rap & Hip-Hop

Average customer rating:

Holla: The Best of Trin-I-Tee 5:7 Trin-I-Tee 5:7 Manufacturer: Gospocentric ProductGroup: Music Binding: Audio CD General | Christian & Gospel | Styles | Music Gospel | Christian & Gospel | Styles | Music Christian Contemporary Music | Christian & Gospel | Styles | Music General | R&B | Styles | Music ASIN: B000QEIMDC Release Date: 2007-06-26

Tracks:

1. Put Your Hands
2. God's Grace
3. Holla
4. With a Kiss
5. There He Is
6. People Get Ready
7. Dance Like Sunday
8. My Body
9. I Promise You
10. Highway
11. God's Blessing
12. Oh Mary, Don't You Weep

Average customer rating: HANSEL GRETEL AND UNCLE HERBERT Great performance of a great opera. Still the recommended version. Exelent High quality and captivating characterizations

Great Recordings Of The Century - Humperdinck: Hansel Und Gretel / Karajan, Schwarzkopf, Grummer, Metternich, et al Herbert von Karajan , Loughton Girls School Chorus , Bancroft School Boys' Choir , Elisabeth Schwarzkopf , Josef Metternich , Maria von Ilosvay , Else Schurhoff , and Anny Felbermayer Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD Humperdinck, Engelbert | ( H ) | Featured Composers, A-Z | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Similar Items: R. Strauss - Ariadne auf Naxos / Schwarzkopf · Seefried · Streich · Schock · Prey · PO · Karajan Humperdinck: Hänsel & Gretel Lehár - The Merry Widow / Schwarzkopf, Wächter, Steffek, Gedda, Knapp, von Matacic J. Strauss: Die Fledermaus / Schwarzkopf, Gedda, Streich, Krebs, Kunz, Christ; Karajan Richard Strauss - Capriccio / Schwarzkopf, Wächter, Gedda, Fischer-Dieskau, Hotter, Ludwig, Moffo, Philharmonia Orchestra, Sawallisch ASIN: B00000K4FQ Release Date: 1999-09-21

Tracks:

1. Overture
2. Suse, Liebe Suse, Was Raschelt Im Stroh?
3. So Recht! Und Willst Du Nun Nicht Mehr Klagen
4. Bruderchen, Komm, Tanz Mit Mir
5. Holla!...Himmel!
6. Marsch! Fort In Den Wald!
7. Ral La La La...Heissa, Mutter, Ich Bin Da!
8. Ho Ho! Wer Spek-Spekta-Kelt Mir
9. Doch Halt, Wo Bleiben Die Kinder?
10. Wenn Sie Sich Verirrten Im Walde Dort
11. Eine Hex', Steinalt
12. Witch's Ride
13. Ein Mannlein Steht Im Walde
14. Mein Erbelkorbchen Ist Voll Bis Oben!
15. Gretel, Ich Weiss Den Weg Nicht Mehr!
16. Der Kleine Sandmann Bin Ich, S-t!
17. Abends, Will Ich Schlafen Gehn
18. Dream Pantomime

Tracks:

1. Prelude
2. Der Kleine Taumann Heiss' Ich
3. Wo Bin Ich?
4. Bleib Steh'n!
5. Wie Duftet's Von Dorten
6. Knusper, Knusper Knauschen
7. Ich Bin Rosina Leckermaul
8. Halt!...Hokuspokus
9. Nun, Gretel, Sei Vernunftig Und Nett!
10. Hurr Hopp Hopp Hopp
11. Auf! Wach Auf, Mein Jungelchen
12. Juchhei! Nun Ist Die Hexe Tot
13. Erlost, Befreit, Fur Alle Zeit!
14. Vater! Mutter!

Amazon.com

Humperdinck's supremely ingratiating opera has an astoundingly starry recorded history. Its singable, easily learned roles have become sort of a drop-in-for-divas occasion (as in the recording by Christa Ludwig and Frederica von Stade, for example), often with extremely big names singing minor roles. This pre-stereo recording starring Elisabeth Schwarzkopf and Elisabeth Grümmer in the titles roles with the youngish Herbert von Karajan would seem to be a forerunner to that, though, in fact, those starry names prove to be window dressing. All the secondary roles are sung by names not familiar to us now, but give us something the starrier casts don't: thoughtful characterizations rather than somewhat-indulgent star turns. Else Schurhoff not only sings the Witch pretty much as written but without mugging--and still manages to be funny. Anny Felbermayer's Sandman is an imaginative piece of vocal characterization that suggests what such an otherworldly creature might actually sound like. Karajan and the Philharmonia Orchestra supply all the orchestral color one could hope for in a mono recording, but without turning it into a showpiece. --David Patrick Stearns

Customer Reviews:

HANSEL GRETEL AND UNCLE HERBERT.......2007-03-06

Can it really have been as long ago as 1953 that this famous performance was recorded? I can no longer remember how the original issue sounded, but the sound comes over very well in general on this remastered set. As often with analogue-to-digital transfers there is a slight `edge' to the effect, particularly of the voices, but that is a very minor matter when set against the flawless clarity throughout. It has been a real thrill too to be reminded of the tone of the great Philharmonia Orchestra in its heyday. The horn sound right away in the first bars is exquisite by way of getting off to a perfect start, and the engineers for their part have done a brilliant job with the echo-effects in the forest.

The only names among the singers that I have stayed familiar with down the years are those of the Hansel and Gretel themselves, Elisabeth Gruemmer and Elisabeth Schwarzkopf. However the entire cast is, to my own way of thinking, something close to ideal. Shwarzkopf and Gruemmer do not attempt any childlike vocal tone, and thank goodness for that. These vocal roles are written for adult sopranos and they call for a good deal of power on occasions. It is the music itself that evokes childhood with its innocent and beautiful tunes, a number of which are songs that that would remain as songs if this opera were given as a spoken stage-play. The other singers all seem to me to understand their parts very well too. What they bring to them is what this music calls for - tact, sensitivity, beauty of tone and musicianship first last and always. Fairy tales only involve simple and schematic characterisation. The witch obviously has to sound witchy to a certain extent, and I find the effect nicely judged here and not overdone. Similarly with the jovial father after a good day's trading and a few drinks to celebrate. Perhaps Maria von Isolvay could have suggested a little more annoyance when she knocks over the milk-jug and have sounded a trifle more aghast when she becomes aware of the danger from the witch. However even if so I still prefer restraint to exaggeration. This is not grand opera, after all.

It is singularly beautiful opera. The witty and stylish, though desperately shallow, Viennese critic Hanslick quotes with rueful agreement someone's statement that Hansel and Gretel is the finest opera since Wagner. I sincerely hope that, superficial though he was, he meant German opera - Verdi's Otello was only from a few years earlier, and Falstaff must have been premiered at something like the same time as Hansel and Gretel was. Assuming this interpretation, I guess I would have to agree as well.

I like the composer's photograph, with his innocent, vulnerable features. I would have liked another, of Karajan as he was in 1953, and I'm trying to recall him as he was then with his hair brushed back from his temples as if in the slipstream of his powerboat. The years have softened a certain antipathy I used to feel towards his showman's approach, and I am coming increasingly to admire some of his earlier work. This is a reissue that I recommend cordially, but please be aware that at a budget price the full libretto is not included. However the German liner-notes on the work and the composer are translated into English, the story must be familiar to everyone and it is easy enough to follow what is happening. All these years later it is still as fresh as the strawberries that the children picked in the forest.

Great performance of a great opera........2002-02-20

Yes, a great opera. Of course, Hansel and Gretel is an easy target, with its obvious story, highly accessible lyricism, strong appeal to six-year-olds, and composer named after a pop singer. But was there ever a lovelier and more moving little song than the evening prayer? Do the familiar tunes ever sound hackneyed? Is there anyone whose heart doesn't start to crack as the two children begin bravely to fend for themselves in the dark forest?

Perhaps the reviewer who called the music mundane was the victim of mundane performances. I've heard pianists make the Appassionata and the F-minor ballade sound mundane.

Many years ago, and old lady very close to me, a lady who in the 1920s and early 1930s had sung Puccini, Verdi, and Mozart throughout Europe and North America opposite some of the greatest singers of the day, told me that she believed Hansel and Gretel to be a great opera indeed. In its own way, she maintained, it is quite profound, but we so often hear it sung without emotional commitment.

Is it subliminal fear of Hansel and Gretel that leads people to belittle and disparage it? Why does just a mention of the title sometimes evoke laughter? Is there a little nervousness in that laughter? How many of us divorced parents have figuratively abandoned our trusting children to the wilderness? How many other listeners find themselves identifying uncomfortably closely with the two waifs? I couldn't listen to this opera for eight years after my divorce. Traviata? Boheme? No problem. I could handle tragedy for Violetta or Mimi, but seeing the effect of divorce on my 10-year-old boy and 9-year-old girl made Hansel and Gretel too much to bear. And is the witch with the cannibalistic designs any worse than what's really out there, just released by some judge or parole board, awaiting the innocent?

I put the Karajan on recently-my first try in eight years-and the hair on the back of my neck unexpectedly stood up with the first few notes. This performance cast a magic spell from first note to last, and neither the 1953 sound nor the mono recording was the least distraction. The singers are fine, their voices beautiful, and the sound is actually quite passable, but the greatness of this performance derives from the players' total commitment: they sing Hansel and Gretel as if it were Tosca or Trovatore. Perhaps Karajan's direction was a factor. This performance isn't some matinee for the kiddies. It's serious, and deadly so.

One reviewer mentioned slow tempos in places. Yes, but they're right for this performance. Listen to the Eichhorn for a superbly sung, high-fidelity, spirited performance that's lots of fun. It really is wonderful. The Karajan? Beware.

Still the recommended version........2001-11-22

Lying in the EMI vaults are many tapes of superb opera recordings made in the 1950s. Herbert von Karajan, prior to his Berlin Philharmonic days, was often engaged to conduct them by the producer, Walter Legge. The recording venue was London's Kingsway Hall - blown to smithereens recently when a bomb that had lodged in the roof during a W W 2 air raid was dislodged.

Amongst these splendid productions, this 1953 recording of "Hänsel und Gretel" has inspired great affection and received many reissues. Early reviewers, writing in the "Record Guide" thought the heroes of the occasion were Elisabeth Grümmer and Herbert von Karajan. Later reviewers have praised Schwarzkopf and Grümmer for their skill at "acting with the voice". Currently this EMI set is still the recommended version of the opera listed in the "Gramophone".

If these are some of the recommendations, are there any cautions? I offer only one. Don't expect 1953 mono recording to deliver the luscious listening experience that modern technology provides.

Listening to the long orchestral introduction to Act Two, you could be excused for thinking that the score was ghost-written by Wagner. In fact the reverse is partly true. In his younger years Humperdinck became strongly influenced and actively associated with Wagner at Bayreuth. Wagner called on his young disciple to help put the finishing touches to "Parsifal".

Exelent.......2000-10-23

I highly recomend this recording. It's greatly sang, and conducted, as It couldn't be in any other way, becouse It's sang by Schwarzkopf, that has a beautiful voice, and gives you the impression that she really is a child. Von Karajan, it's a genious, and gives the orchestra a beutiful sound. If you want to buy Hansel Und Gretel, please buy this version, It's marvelouse.

High quality and captivating characterizations.......2000-02-17

While it may be cliche, the old maxim rings true here: they just don't make them like this anymore. True, this set has its drawbacks, but a performance like this makes any such quibbles easy to forget.

Firstly, mention must be made of the exceptional cast assembled here: virtually everyone is excellent. Pride of place must go to Elisabeth Grummer's excellent Hansel. While this is a part normally assumed by mezzos, Grummer's lovely soprano has enough weight in the lower range to present no problems with the low tessitura. The higher-lying passages are, predictably, no problem for her. Her voice remains radiantly beautiful throughout, and her characterization is sweetly boyish without being cloying (a trap many interpreters of these roles fall into).

Elisabeth Schwarzkopf is a singer whose recordings continue to fascinate decades after they were made. Casting her as Gretel is an unusual choice (she normally took on slightly weightier roles -- she and Grummer, in fact, sang many of the same parts) and while she has to work to sound childlike, her way with the text is unmatched by any recorded Gretel. Her minx-like teasing of Hansel or her gauzy wonder at the appearance of the gingerbread house are just two notable examples. She also sings her Act 2 opening solo with a hushed innocence: for once, Gretel actually sounds like she's singing a folk tune to herself.

The rest of the cast is quite good, if without the obvious excellence of the two leads. Else Schurhoff's Witch is fine; she really sounds like an old crone, but manages to sound frighteningly imposing when casting her spell. Maria von Ilsovay and Josef Metternich are both good, and Anny Felbermayer's soft-grained, childlike tone is right-on for her otherworldly assignments. She is marginally better as the Dew Fairy. What really sets the entire cast apart, however, is their scrupulous attention to the text and the interplay between characters. Everyone seems to be listening to each other, and that concentration and involvement really shines through.

The sound, particularly in this remastered version, is excellent: not a digital sonic spectacular, true, but you'll probably forget you're listening to a mono recording.

I'm not crazy about Herbert von Karajan's conducting in this piece. The loftier sections are really wonderful, but the lighter moments lack the propulsion and fleetness to really sweep us along (the awakening scene seemed interminable here).

For the best recording of Hansel and Gretel, I'd recommend the Kurt Eichorn recording with Helen Donath and Anna Moffo. It also contains the best Sandman, Dew Fairy, and Witch (Christa Ludwig) on records. But if you have room for another classic recording, don't pass this one up.

Average customer rating: Great opera, not just for children Wagner pour enfants!

Hansel & Gretel (Dig) Humperdinck , Fassbaender , Popp , Vpo , and Solti Manufacturer: Decca ProductGroup: Music Binding: Audio CD General | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music General | Classical | Styles | Music Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Hansel and Gretel Vocal Score Humperdinck - Hansel und Gretel / Edita Gruberova, Brigitte Fassbaender, Hermann Prey, Helga Dernesch, Sena Jurinac, Georg Solti, Vienna Philhamonic (1981) Beethoven: Violin Concerto; Violin Romances Puccini - La Bohème / Freni, Pavarotti, Harwood, Ghiaurov, Karajan ASIN: B00006LENJ Release Date: 2003-01-14

Tracks:

1. Vorspiel - Overature
2. Suse, Liebe Suse... Griesgram Hinaus!
3. Bruderchen, Komm, Tanz Mit Mir
4. Holla! - Himmel, Die Mutter!
5. Rallalala, Rallalala
6. Doch Halt - Wo Bleiben Die Kinder?
7. Wenn Sie Sich Weirrten Im Wald Dort... Eine Hex', Steinalt, Haust Tief Im Wald
8. Hexenritt - The Witch's Ride
9. Ein Mannlein Steht Im Walde
10. Gretel, Ich Weiss Den Weg Nicht Mehr!
11. Der Kleine Sandmann Bin Ich
12. Abends, Will Ich Schlafen Gehn
13. Pantomime - Mime

Tracks:

1. Vorspiel - Prelude
2. Der Kleine Taumann Heiss' Ich
3. Wo Bin Ich? Wach' Ich? Ist Es Ein Traum?
4. Mir Ist So Wohl, Ich Weiss Nicht Wie
5. Bleib Stehn, Bleib Stehn!... Von Kuchen Und Torten Ein Hauslein Gemacht!
6. Knusper Knusper Knauschen
7. HiHi, Hihi, Hihihi!... Kommt, Kleine Mauslein, Kommt Mein Hauslein!
8. Halt! Hokus Pokus, Hexenschuss!
9. Der Teig Ist gar.. Hurr Hopp Hopp Hopp
10. Auf, Wach Auf, Mein Jungelchen
11. Juchhei! Nun Ist Die Hexe Tot
12. Erlost - Befreit Fur Alle Zeit!
13. Rallalala, Rallalala, Waren Doch Uns're Kinder Da!

Customer Reviews:

Great opera, not just for children.......2006-10-06

Regrettably Hansel and Gretel has acquired a reputation as an opera for children. Yes, the title characters are children (sung by adult sopranos) and children often find this opera more appealing than most other operas, but Hansel and Gretel is a great opera which should appeal to people of all ages, if they will listen to it without bias. Personally, I think it's one of the half dozen or so greatest operas ever written. Humperdinck was a student and devotee of Wagner and was heavily influenced by him, but he managed to express the best elements of the Wagnerian style on a human scale. Even people who regard Wager's operas as long and tedious should find Hansel and Gretel quite beautiful and appealing. This is a very good performance, comparable to the one with Anna Moffo as Gretel and Dietrich Fischer-Dieskau as the father, which is my personal favorite. But whichever performance you choose, if you love great operas, please get Hansel and Gretel and listen to it without any preconceived notions.

Wagner pour enfants!.......2003-04-17

Il est évident que Humperdinck suivait la tradition Wagnérienne lorsqu'il composa Hänsel et Gretel. Mais Wagner n'aurait pu faire quelque chose d'aussi rafraichissant! Nous avons droit ici à un opéra pour enfant mais, excusez-moi le mot, mais mignon comme tout. Vous aurez un plaisir incroyable à l'écouter et les chanteurs et surtout chanteuses (!) qui font un travail incroyable. Lucia Popp et Brigitte Fassbaender font toutes deux un travail époustouflant! La direction de Solti est impécable et elle est empreint d'une vivacité incroyable. Chacune des scènes clés est superbement dirigée (La prière ainsi que la Pantomime sont d'une beauté subliminale) et les effets sont extrèmement réussis. Nous avons ici le droit au four qui éclate (!), un effet très amusant! Et que dire de Anny Schlemm qui interprète avec une vivante vigueur le rôle sorcière, qui sait insuffler à son personnage une touche diabolique incroyable. Offert ici dans la nouvelle série The Compact Opera Collection de Decca, le libretto n'est toutefois pas inclut en version papier. Un livret est présent pour expliquer le déroulement des diverses scènes de l'opéra et le libretto complet est inclut sur le premier CD, que vous pouvez ouvrir lorsque vous mettez votre CD dans votre ordinateur. Vous pouvez vous procurez la version avec libretto papier inclut pour quelques dollards de plus! Quoi qu'il en soit, vous ne pouvez vous passer de ce superbe petit bijou, que vous et vos enfants (!) aurez du plaisir à écouter!

Average customer rating: Holla! Success! holla back Great fusion of Junkanoo and world beats From a fan and a friend...

Holla! Baha Men Manufacturer: S-Curve Records ProductGroup: Music Binding: Audio CD General | Dance & DJ | Styles | Music General | Dance Pop | Dance & DJ | Styles | Music Bahamas | Caribbean & Cuba | International | Styles | Music General | Caribbean & Cuba | International | Styles | Music General | Rap & Hip-Hop | Styles | Music General | Rock | Styles | Music Pop Rock | Pop | Styles | Music Similar Items: Move It Like This I Like What I Like Junkanoo Who Let the Dogs Out 2 Zero 0-0 ASIN: B00022XOEU Release Date: 2004-06-01

Tracks:

1. Handle It
2. Holla!
3. Hold Ya Head
4. Big Love
5. Tempted
6. Jump
7. Music
8. Lemmeworkit
9. 69
10. Summertime Girls
11. Put'm Up

Customer Reviews:

Holla! Success!.......2005-04-04

Firstly, I am a music critic for my school paper. I was not expecting much from the Baha Men when I heard some of their earlier songs. It was not until watching The Garfield Movie, a movie of my younger sister's, that I realized that the Baha Men were capable of producing such great sounds. I was skeptical, at first, when I bought the CD. I wasn't expecting much. When I turned on my player to listen to the music, I was really impressed with the funky Carribean sounds that came out through my speakers. My favorite song on the record is Holla, it has a catchy rhythym and great sound. I would reccommend this CD to anyone who asked me for my opinion on the Baha Men!

holla back.......2005-01-06

tha bahamen have some gret song like who let tha dogs out and move it like dis. it just proves that yall like dem alot cuz this has an 5 star cd. so that means they rule.

Great fusion of Junkanoo and world beats.......2004-06-10

I like the album. I was concerned about the title track because it sounded too child like at first but I grew to like it after the 3rd listen. A lot of the other songs are tailored to a more mature audience. The Baha men version of Hold Ya Head is amazing. Great job. I have most of their albums and look forward to future CDs.

From a fan and a friend..........2004-06-03

In the Bahamas, Baha Men have been on point for 20 years or more. Until "Who Let The Dogs Out", which is not - repeat - NOT what we down in Nassau were used to hearing. That was some nickalodeon garbled stuff. I went back home quite a few months ago to work on MY project, "The Demonstration", and an old high school friend shows up at the studio door. It was Rick Carey of Baha Men. (Back in school, he was just a hip hop producer. Now he's both). We get to talking because "Move It Like This" was horrid. I actually liked their 3X platinum "Who Let The Dogs OUt", but that second album had NO redeeming qualities. It was more kid music; worse than the first. Rick tells me they just wrapped on their second album recorded at Ocean Studios (one of the best ones I've ever walked into...) He also says he wrote more on this album, and it has more of an adult feel. I was more than happy to hear that. Rick grew up with the music, his father's been in Baha Men for around 20 years, if I'm not mistaken.

With songs like "Tempted" and "Holla" and "69", this album is definitely a step in the right direction. If marketed right, it could garner new fans for the group; the likes of which you'd have never imagined. I was there before the album went off to be mastered, I was there to help out with what I could in the tour rehearsals, I was there to watch Rick do some production wizardry on some reggae remixes.

Also, realize that this album is the first for two new members of the group. Rick is the only lead vocalist to return for this third installment of Baha Men. I told rick he could do it, and on this album, they ALL managed to do the d*mn thing. This is amazing, and I recomend it to any and everyone.

Peace, and God Bless.

Average customer rating:

Holla at a Playa Jim Crow Manufacturer: Interscope Records ProductGroup: Music Binding: Audio CD General | Rap & Hip-Hop | Styles | Music Pop Rap | Rap & Hip-Hop | Styles | Music ASIN: B000068QYI Release Date: 2002-06-11

Tracks:

1. Holla At A Playa (Album Version)
2. Holla At A Playa (Album Clean)
3. Holla At A Playa (Trackmasters Remix)
4. Holla At A Playa (Polow Remix)
5. Trippin' (Snippet)
6. Do It All (Snippet)

Average customer rating: A great event well-preserved benchmark performance Benchmark performance An inspired performance! All-star athletic singing-acting cast, great teamwork

Wagner: Der Fliegende Hollander (Flying Dutchman) / Knappertsbusch, Uhde, Varnay, Windgassen, et al Hans Knappertsbusch , Hermann Uhde , Astrid Varnay , Ludwig Weber , and Wolfgang Windgassen Manufacturer: Melodram ProductGroup: Music Binding: Audio CD All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Similar Items: Wagner - Der Ring des Nibelungen (Ring Cycle) / Sir Georg Solti ASIN: B00000IMIN Release Date: 1999-04-20

Tracks:

1. Erster Aufzug: Vorspiel - Orch Der Bayreuther Festspiele/Hans Knappertsbusch
2. Erster Aufzug: Hojohe! Hallojo!... - Chor Der Bayreuther Festspiele/Wilhelm Pitz/Ludwig Weber
3. Erster Aufzug: Mit Gewitter Und Sturm Aus Fernem Meer - Josef Traxel
4. Erster Aufzug: Die Frist Ist Um,... - Hermann Uhde
5. Erster Aufzug: He! Holla! Steuermann! - Ludwig Weber/Hermann Uhde
6. Erster Aufzug: Weit Komm Ich Her - Hermann Uhde
7. Erster Aufzug: Halloho! Hohohe! - Chor Der Bayreuther Festspiele/Wilhelm Pitz
8. Zweiter Aufzug: Intro - Orch Der Bayreuther Festspiele/Hans Knappertsbusch
9. Zweiter Aufzug: Summ' Und Brumm', Du Gutes Radchen... - Chor Der Bayreuther Festspiele/Wilhelm Pitz
10. Zweiter Aufzug: Jo Ho Hoe! Traft Ihr Das Schiff In Meere An... - Astrid Varnay/Chor Der Bayreuther Festspiele/Wilhelm Pitz/Elisabeth Schartel/Wolfgang Windgassen

Tracks:

1. Zweiter Aufzug: Vor Anker Alle Sieben Jahr Ein Weib Zu Frei'n - Astrid Varnay
2. Zweiter Aufzug: Bleib', Senta! Bleib' Nur Einen Augenblick! - Wolfgang Schartel/Astrid Varnay
3. Zweiter Aufzug: Mein Kind, Du Siehst Mich Auf Der Schwelle - Ludwig Weber
4. Zweiter Aufzug: Mogst Du, Mein Kind, Den Fremden Mann Willkommen Heissen! - Ludwig Weber
5. Zweiter Aufzug: Wie Aus Der Ferne Langst Vergang' Ner Zeiten - Hermann Uhde/Astrid Varnay
6. Zweiter Aufzug: Verzeiht! Mein Volk Halt Draussen Sich Nicht Mehr;... - Ludwig Weber/Hermann Uhde/Astrid Varnay
7. Dritter Aufzug: Intro - Orch Der Bayreuther Festspiele/Hans Knappertsbusch
8. Dritter Aufzug: Steuermann, Lass' Die Wacht! - Chor Der Bayreuther Festspiele/Wilhelm Pitz/Josef Traxel
9. Dritter Aufzug: Was Musst Ich Horen! - Wolfgang Windgassen/Astrid Varnay
10. Dritter Aufzug: Willst Jenes Tag's Du Nicht Dich Mehr Entsinnen - Wolfgang Windgassen
11. Dritter Aufzug: Verloren! Ach Verloren! Ewig Verlor'nes Heil - Hermann Uhde

Customer Reviews:

A great event well-preserved.......2002-02-08

I bought this recording for Astrid Varnay's Senta and the conducting of Hans Knappertsbusch. Both lived up to my expectations. I don't know of another recording of the Dutchman conducted by Knappertsbusch, and the only other readily-available source of Varnay in this role is an issue on Teldec from the same season at Bayreuth, with similar same cast and under Josef Keilberth. Given the choice, I'd take the present recording, though it is not without its faults.

Knappertsbusch's conducting is very different from most Wagner interpreters we hear on record. During his lifetime he was sometimes considered a genius and sometimes an old-fashioned bore. Generally he takes much slower tempi than other conductors, and quite often his performances are a bit messy. In this case, he brings new and ingenious insights to the drama through his broad tempi and insightful mastery of the score. For those not used to his conducting but familiar with the opera, this recording may sound all wrong. It may seem far too slow sometimes - especially in comparison to other versions - but in my opinion what he does is wonderful. For those familiar with and appreciative of Knappertsbusch, this recording will certainly raise a smile of respect and pleasure at the greatness of his approach. It's definitely worth listening to just to see aspects of the music which are usually hidden.

Astrid Varnay was one of the great Wagner sopranos of the past century. Her prominence at Bayreuth from its first opening after the war is noteworthy: for a decade she was the star soprano of that festival, and her recordings of Brunnhilde from that period are cherished by record collectors. Her approach to the role of Senta is characteristically insightful, and she gives some of the most beautiful singing I've ever heard in this role. It is not a role with the depth of character of Brunnhilde or even Isolde, but her approach to this role is just as thorough. Some could criticise for a certain holding back vocally, but not me. She delivers shining high notes, meaningfully declaimed texts, and technical skill of an extremely high level.

Hermann Uhde is quite good dramatically in a lot of passages, and his singing is *more* in tune in this recording than elsewhere, but he is severely out of time with the orchestra for a great deal of the opera. Knappertsbusch does a good job (uncharacteristically) of pulling the divergent forces of singer and orchestra together, but Uhde gets so lost that it requires a lot of jumping around for the conductor to get control. In his duet with Senta he is all over the map and Varnay is the only thing holding it together. Altogether though, his performance is noteworthy for an impeccable dramatic intent and his fantastic voice. Now if fate had given us Hans Hotter in this role instead, THAT would have made it priceless.

Wolfgang Windgassen can be heard in particularly good voice in the role of Erik. He sings this role with beauty and real feeling - something rarely heard among Eriks (or Windgassens). Ludwig Weber is a wayward and crude Daland. He is terribly out of time with the orchestra, and is never particularly close to the note. I find nothing whatsoever to recommend in his performance on this disk. Josef Traxel - with resonant voice, accurate and charmingly youthful singing, and clear tone - is the saving grace of their scenes together in Act I.

So for those seeking to hear the Senta of one of Bayreuth's greatest singers of the past, and for those who want to hear perhaps its greatest conductor, this recording offers a glimpse of their great skill and artistry. For those who want an all-round recording of the Flying Dutchman, and who want to enjoy the whole opera from beginning to end, other recordings might be a more suitable choice. Karajan's studio recording of this opera .... or the Bayreuth recording with Thomas Stewart and Gwyneth Jones conducted by Böhm are excellent.

The sound quality of this recording is of a very high standard for a live recording from 1955. Apart from it being mono, there is nothing about the sound which should bother any listener focussed on the work. The different parts of the orchestra as well as the words and voices of the singers are heard very clearly and there is little distortion or background noise. The opera is performed as one act (i.e. three acts without a break or intermission), and takes two disks. A note for the hesitant: this is a Bayreuth recording which may be forced out of the catalogue by the greedy Bayreuth administration, so I would get it while it's available. The same fate has befallen many of Bayreuth's finest recordings over the past few years, most notably the 1953 Krauss Ring, which also featured the astonishing Astrid Varnay.

I hope you enjoy it!

benchmark performance.......2002-01-12

this is an addition to my larger view of this recording...this is not to be confused with the contemporaneous recording released by London Records, with the roster, save for Erik, who is sung instead by rudolf lustig, and the conductor, Josef Keilberth. this performance was more widely circulated on records, but is not as good as the one conducted by Kna. The principals are also sing better and the whole is more dramatic. This is still an excellent recording and was my favorite until i found out about this one.

Benchmark performance.......2002-01-12

It would be hard to find any perfect recording of a Wagner opera, but this is pretty damn close to it.
this was the premiere of the 1955 bayreuth festival, the first performance of "dutchman" at postwar bayreuth. No wonder the performance is electrifying.
Knappertsbusch was a notoriously lazy conductor, but there's nothing lackadasical about his conducting here. He gets it right from the very beginning: one can almost see the sails of the dutchman's ship going up with the ascending bass line in the beginning of the overture..absolutely thrilling in this performance.
Knappertsbusch's overall "big-boned" approach to this opera makes dutchman seem just as important and mature a work that wagner ever wrote, kna treats it as if it were as refined and as great a work as meistersinger or tristan. Fabulous.
First voices we hear are of the incomparable bayreuth chorus. They need no introduction, though some balances between choruses in the long third act choral scene aren't the greatest and sometimes the voices get lost, but it is certainly great choral singing.
Ludwig Weber was getting to be an old man, but he's still the best Daland I've ever heard. Never has there been a greater voice in this role. Hermann Uhde's dutchman and Astrid varnay's Senta are just as incredible, Uhde haunting and Varnay poised on lifting the dutchman's curse.
I haven't heard Schorr in "die frist is um," but Uhde is quite amazing here, truly sounding like someone who hadn't been on land for seven years: out of touch, wretched, and definitely rough-edged.
The smaller roles of Mary and the Steersman are taken by elisabeth schärtel and josef traxel, respectively and are sung very well.
Last, but not least, is Wolfgang windgassen as the tormented Erik. He is extremely musical here, esp. in Erik's third act ballad, an awkward piece for any tenor. I always thought Erik was a stupid character, that is, until I heard Windgassen sing it.
There are other good dutchman airas sung as well as senta's ballads, and overtures, but Knappertsbusch's performance tops them all. A must have for any admirer of this opera.

An inspired performance!.......2000-07-08

Probably the best Holländer on record...opening night of this prodution in Bayreuth, and the electricity can be felt even in decent mono sound 45 years later. Hermann Uhde is the most hauntingly unforgetable Dutchman since Hotter. Ludwig Weber sings with his usual superior musicianship, and Windgassen shines - it's refreshing to hear just how beautifully he could sing apart from The Ring and Tristan. Varnay is a bit cautious, but her final scene at the operas finale when she cuts loose from the back of the stage is absolutely hair-raising...I get goosebumbs just thinking about it! A great cast under the great Knappertbusch who leads with his typical broad but well paced conducting...anyones reaction will be the same as the enthusiastic audience that was present that glorious evening, responding with a thunderous ovation.

All-star athletic singing-acting cast, great teamwork.......1999-08-18

This is one of those fantasy recordings with perfect casting. Every singer in the cast was absolutely in his/her prime vocally (with the exception of Ludwig Weber who was in his longevity years. But they were good years for him, and what better time to sing Daland? Windgassen was in really "in the role" with a connected, full-sailed, heroic sound.) Every singer in the cast was fully comfortable with his/her role but still emotionally invested in it--Josef Traxel and Elizabeth Schartel, no less than Astrid Varnay and Hermann Uhde, let themselves go without losing control.

This is the best performance by Hermann Uhde in any role I've ever heard, although his Rheingold Wotan (Keilberth, 1952) and Telramund are almost as good. Unlike George London, who tends to overawe and unlike Fischer-Dieskau, who tends to whine, Hermann Uhde manages to be forceful without losing sympathy for his suffering. I wish someone would release one of his performances of Amfortas.

Astrid Varnay audibly had to hold back her white-hot vocal steel to keep poor fragile Senta from overwhelming everyone. She could have done anything that night.

Knappertsbusch conducted thoughtfully, with respect for the drama. Some of the choral numbers seemed slow but most of the time he remembered that it's not PARSIFAL and kept it moving. Strong, mutually-resonsive ensemble singing by the soloists makes this a standard-setting performance for me.

Average customer rating: wow...

Lil' Flip Presents Clover G's Lil' Flip Manufacturer: Holla Records ProductGroup: Music Binding: Audio CD General | Rap & Hip-Hop | Styles | Music General | Compilations | Rap & Hip-Hop | Styles | Music Similar Items: The Takeover New Beginning 3 Texas Mafia Freestyle Kings Vol. 3 The Freestyle Kings, Vol. 4 ASIN: B0001F9KMI Release Date: 2004-03-30

Customer Reviews:

wow..........2004-05-21

I feel like I have to give a review to this CD, being my first review, cause its that good. I dont know how lil flip came out with this cd so quickly following his latest cd "U gotta feel me" but this cd is DEFINATELY worth buying. He uses a lot of previous famous beats from other famous arts, but stays on target and beat all song, every song. Many guess artists featured. Im only on song 10 and every song is awsome and Im a VERY picky rap fan btw. Dont waste any more time reading reviews, go get this cd!!!!

Average customer rating:

Humperdinck: Hansel und Gretel [Highlights] Manufacturer: Berlin Classics ProductGroup: Music Binding: Audio CD Humperdinck, Engelbert | ( H ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music ASIN: B0000035WF Release Date: 1997-03-18

Tracks:

1. Hansel Und Gretel (zum Ersten Bild): Vorspiel
2. Hansel Und Gretel (zum Ersten Bild): Suse, liebe Suse, was raschelt im Stroh?
3. Hansel Und Gretel - Erstes Bild, 1. Szene: Bruderchen, komm tanz' mit mir (Daheim)
4. Hansel Und Gretel - Erstes Bild, 1. Szene: Holla! Himmel! Die Mutter!
5. Hansel Und Gretel - Erstes Bild, 2. Szene: Marsch! Fort in den Wald!
6. Hansel Und Gretel - Schluss der 3. Szene: Eine Hex', steinalt, haust tief im Wald
7. Hansel Und Gretel - Schluss der 3. Szene: Hexenritt (Vorspiel zum Zweiten Bild)
8. Hansel Und Gretel - Zweites Bild, 1. Szene: Ein Mannlein steht im Walde (Im Wald)
9. Hansel Und Gretel - Zweites Bild, Schluss der 1. Szene: Gretel, ich weiss den Weg nicht mehr!
10. Hansel Und Gretel - Zweites Bild, 2. Szene: Der kleine Sandmann bin ich
11. Hansel Und Gretel - Zweites Bild, 2. Szene: Abends, will ich schlafen gehn (Schluss)
12. Hansel Und Gretel - Zweites Bild, 2. Szene: Vorspiel (zum Dritten Bild)
13. Hansel Und Gretel - Drittes Bild, 1. Szene: Der kleine Taumann heiss' ich (Das Knusperhauschen)
14. Hansel Und Gretel - Drittes Bild, Schluss der 1. Szene: Wo bin ich? Wach' ich? Ist es ein Traum?
15. Hansel Und Gretel - Drittes Bild, Schluss der 1. Szene: Bleib stehn! Bleib stehn!
16. Hansel Und Gretel - Drittes Bild, 2. Szene: Wie duftet's von dorten
17. Hansel Und Gretel - Drittes Bild, 2. Szene: Halt! - Hokus pokus, Hexenschuss
18. Hansel Und Gretel - Drittes Bild, 3. Szene: Nun, Gretel, sei vernunftig und nett
19. Hansel Und Gretel - Drittes Bild, 3. Szene: Hurr hopp hopp hopp
20. Hansel Und Gretel- Dritten Bild, 3. Szene: Juchhei! Nun ist die Hexe tot - Knusperwalzer aus dem
21. Hansel Und Gretel- Drittes Bild, 4. Szene: Erlost, befreit, furr alle Zeit!
22. Hansel Und Gretel - Drittes Bild, Letzte Szene: Ei, da sind sie ja! Vater! Mutter!

Average customer rating:

Holla at Me I'll Put It on Ya Babygirl Manufacturer: Critique Records ProductGroup: Music Binding: Audio CD General | Soul | R&B | Styles | Music Gangsta & Hardcore | Rap & Hip-Hop | Styles | Music General | Rap & Hip-Hop | Styles | Music Pop Rap | Rap & Hip-Hop | Styles | Music Similar Items: Az Much Ass Azz U Want Livin' in a Hoe House ASIN: B000003R8A Release Date: 1997-07-15

Tracks:

1. Intro
2. Who's Playin' Who
3. It'z A Man's World
4. Holla At Me!
5. I Ain't Yo Bitch
6. To Tha Click
7. No Matter What
8. Ain't Gonna Let Nobody
9. What Dem Freaks Be Yellin'
10. I Can't Be Faded
11. High LIke An Eagle
12. Cure For This
13. Tha' Signing
14. I Can't Say No
15. No Matter What

Average customer rating: Very good introduction to Wagner's first "big" opera A Solid Recording of a Great Opera

Wagner: Der fliegende Holländer Manufacturer: Polygram Records ProductGroup: Music Binding: Audio CD All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music ASIN: B0000041QK Release Date: 1990-10-25

Tracks:

1. Ov - Chicago SO/Sir Gerog Soltii
2. Act I: Hohoje! Hojoje! Hallojo! Ho!/Kein Zweifel! Sieben Meilen fort - Chicago Sym Chor/Martti Talvela
3. Act I: Mit Gewitter und Sturm aus fernem Meer - WErner Krenn
4. Act I: Die Frist ist um/Wie oft in meeres Tiefsten Schlund/Dich frage ich, gepriesner Engel... - Norman Bailey
5. Act I: He! Holla! Steuermann! - Martti Talvera
6. Act I: Durch Sturm und bosen Wind verschlagen - Norman Bailey
7. Act I: Wie? Hort' ich recht?/Sudwind! Sudwind! - Martti Talvera
8. Act I: Mit Gewitter und Sturm aus fernem Meer - Chicago Sym Chor/Margaret Hillis
9. Act II: Summ und brumm, du gutes Radchen - Chicago Sym Chor/Margaret Hillis
10. Act II: Du boses Kind, wenn du nicht spinnst - Isola Jones
11. Act II: Johohoe! Traft ihr das Schiff im Meere an! - Janis Martin

Tracks:

1. Act II: Ach! Wo weilt sie - Chicago Sym Chor/Margaret Hillis
2. Act II: Senta! Senta! Willst du mich verderben? - Rene Kollo
3. Act II: Bleib, Senta! Bleib nur einen Augenblick!/Auf hohem Felsen lag ich traumend - Rene Kollo
4. Act II: Mein Kind, du sieht mich aif der Schwelle... - Martti Talvera
5. Act II: Mogst du, mein Kind, den fremden Mann willkommen heissen - Martti Talvera
6. Act II: Wie aus der Ferne langst vergang' ner Zeiten/Wirst du des Vaters Wahl nicht schelten?... - Norman Bailey
7. Act II: Verzeiht! Mein Volk halt draussen sich nicht mehr - Martti Talvera
8. Act II: Orch Transition - Chicago SO/Sir Georg Solti
9. Act III: Steuermann, lass die Wacht! - Chicago Sym Chor/Margaret Hillis
10. Act III: Johohohe! Johohohoe! Hoe! Hoe! - Chicago Sym Chor/Margaret Hillis
11. Act III: Was muss ich horen, Gott, was muss ich sehen! - Rene Kollo
12. Act III: Willst jenes Tags du nicht dich mehr entsinnen - Rene Kollo
13. Act III: Verloren! Ach, verloren! Ewig verlornes Heil! - Norman Bailey
14. Act III: Erfahre das Geschick, vor dem ich dich bewahr'! - Norman Bailey
15. Act III: Du kennst mich nicht, du ahnst nicht, wer ich bin! - Norman Bailey

Amazon.com

The Flying Dutchman is one of the most accessible of Wagner's works, and though it is the first of his operas that earned a permanent place in the repertory, it still possesses many aspects of conventional operatic practice, as well as a Weberian leitmotiv structure much simpler than that exhibited in Wagner's music after Tristan. Surprisingly, despite its accessibility, recordings of the work that are not deficient on technical or vocal or musical grounds seem to be in comparatively short supply. An exception is this classic CSO-Solti effort dating from the late '70s, where the sound is reasonably up to date, and the casting ranges from good to excellent. Of all recordings of this Wagnerian milestone, Solti's interpertation of this score still seems most authoritative. --Christian C. Rix

Customer Reviews:

Very good introduction to Wagner's first "big" opera.......2007-01-20

I am quite surprised by the fact that this set never got more reviews than it did on Amazon: the only one applies to the non-remastered version of the performance. I remember learning my Wagner with this performance a good twenty years ago now and I was quite worried about purchasing the set again with "the new sound" and do a trip back down memory lane...in most cases, one is disappointed by the results but hopefully not here. The second the Chicago Symphony Orchestra starts with the opening chords of the piece, you are caught in the eye of the storm: the tempest, the fear, the waves jumping at your speakers, it's all in there. The dynamics are ENORMOUS, Solti relishes in letting the sound of this beautiful orchestra spread in all the sound space. Overall the fantastic orchestral display I remembered from my youth was here ...and more, thanks to a remastering of the original tapes making the performance even clearer than it was. But Fliegende is not all about being loud. Solti has a very good sense of contrasts and can let its orchestra breathe: listen to the clarinets in the Eric-Senta duet in Act II: simply beautiful.
Was the cast up to the really good memories of my youth? Well yes and no!
Norman Bailey, brilliant British heldenbass, is not at ease as the Hollander here. His initial monologue is buried under Solti's thankless orchestra, his German is not well articulated and his high notes clearly come from the throat...His duet with Senta in Act II is nonetheless very good and his portrayal remains acceptable. Talvela is very lazy in this recording and the Finnish bass simply turns up with his marvellous voice without trying anything. His sound remains sumptuous though!
The rest of the cast is really good: Rene Kollo portrays a youthful, noble Erik, Janis Martin is simply put an amazing Senta. She inhabits the part with her beautiful, crystal-clear voice and her portrayal of Senta is still, twenty years after and a lot of Wagner down the road, one of the best I have heard. Krenn is an elegant Mozartian pilot and Isola Jones does the job as Mary, no more no less. The Chicago Symphony Chorus is a bit stale though and doesn't really hold its rank opposite such a demonic orchestra. Regardless of these minor flaws, this Fliegende represents a perfect introduction to the piece thanks to its Senta, Sir Georg and his fabulous orchestra. Recommended.

A Solid Recording of a Great Opera.......2004-07-03

In the 1950's and 60's, there were a number of books that were published about opera in general. The books were readily available at the Boston Public Library, and I found them of great value when I first began collecting recordings. One of the sources (I do not recall which) suggested HOLLANDER as a good first Wagner opera. The reason why HOLLANDER was a good beginning opera is that it is a precursor of the style Wagner would later perfect in works such as TRISTAN UN ISOLDE and The Ring. So it would serve as an introduction. It also had recognizable arias and chorus like that of Italian opera, so the novice Wagnerian would not be too frightened of the composers more serious fare. Well, I took the advice and HOLLANDER was my first official Wagnerian opera. I did not find it all that similar to Italian opera, but I did grow to love the work on its own terms and it did lead me to a love of Wagner's other masterpieces.

This particular set was a good first choice, due in no small part to its conductor Sir George Solti. Solti's contributions to both the symphonic and operatic repertoire are legendary, and in this set he is conducting his beloved Chicago Symphony Orchestra. What shines most in this recording is the orchestra. Wagner's works need a conductor who can produce a large powerful sound one moment and beautiful softer tones the next. Solti more than manages to handle the orchestra. Beginning with the powerful overture and continuing throughout the recording, Solti has full command of the orchestra. The Chicago Symphony Chorus under the direction of longtime collaborator Margaret Hillis handles the choral parts with technical skill and vocal beauty. The principal singers in the work: Norman Bailey as the Dutchman, Rene Kollo as Erik, and Janis Martin as Senta are not the greatest interpreters of these roles, yet each does a reasonably good job in their respective roles. Kollo does seem a bit weak at times, but the role of Erik is not one of Wagner's greatest tenor roles.

If you are a fan of the golden days of Wagner, this recording is probably not for you. The principals are not the quality of a George London, Kirtsen Flagstad or Lauritz Melchoir. Still, this is a solid recording of the work and one that does, serve as an excellent introduction to the works of Wagner.

Dance Music:

1. Houston Hard (Edited Version) [Clean]
2. Hustlaz Heaven [Explicit Lyrics]
3. It's All Good [Explicit Lyrics]
4. it's just da beginning [Explicit Lyrics]
5. L.Y.F.E. [Import]
6. Lesson 1 [Explicit Lyrics]
7. Life, Love and Confusion [Explicit Lyrics]
8. Lizard Lizard [Enhanced] [Explicit Lyrics]
9. Lizard Lizard [Enhanced] [Explicit Lyrics]
10. Loungin'

Dance Music

dance music

Dance Music

The New Gospels

Bartok Solo Piano Works Volume 3

Breaking It Up! [Original recording remastered]

The One That I Never Could Ride

Castle of Crime

Colorwave

Bella Italia [Import]

Blue for You [Original recording remastered] [Import]

Cold Hard Bitch [CD-single] [Import]

Beethoven: 5 Cello Sonatas [Import]

An Open Letter to NYC [CD-single] [Enhanced] [Import]

Coming Up

40 Aniversario, En Vivo, Vol. 1 [Live]

Cliches

Precious Memories