Light It Up [Enhanced] [Explicit Lyrics] [Soundtrack]

1. How Many Wanna - Ja Rule

2. Catz Don't Know - DMX

3. That's Real - AZ, Beanie Sigel

4. First One Hit - Amil, Sol

5. High Schoolin' [Featuring Slimm Cutta-Calhoun] - OutKast

6. Light It Up [Featuring the No Limit All Stars] - Master P

7. Waiting in Vain - Jon B.

8. Anything - 112

9. Here - Beverly

10. Burgundy - Shya

11. If Only in Heaven's Eyes - *NSYNC

12. Free to Believe - Jack Herrera

13. Ghetto's a Battlefield - Blaze, Firestarter

14. [CD-ROM Track] [Multimedia Track]

Light It Up,Original Soundtrack,Elektra / Wea,Film Music,Hip-Hop,Original Score,Pop,Pop/Rock,Soundtrack,Soundtracks & Film Scores,Urban

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

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

Tracks:

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

Tracks:

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

Customer Reviews:

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

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

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

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

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

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

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

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

Average customer rating:

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

Average customer rating: Beautiful melody but lacks variety

Being Julia Various Artists Manufacturer: Varese Sarabande ProductGroup: Music Binding: Audio CD Chamber Music | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Vocal & Song | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Movie Scores | Soundtracks | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music Traditional Vocal Pop | Broadway & Vocalists | Styles | Music General | Vocal Pop | Pop | Styles | Music Traditional Pop | Oldies | Pop | Styles | Music Similar Items: Being Julia The Queen Ladies in Lavender Memoirs of a Geisha De-Lovely ASIN: B00065U0NG Release Date: 2004-11-16

Tracks:

1. Curtain Up
2. Real World - The Mills Brothers
3. Lift
4. Bei Mir Bist du Sch
5. Farewell My Love
6. Life Is Just a Bowl of Cherries
7. Never Seen Them Shine Like That Before
8. Birthday Presents
9. It Will Only End in Tears
10. They Didn't Believe Me
11. Charades
12. I Saw the Light On
13. Am I Late
14. Not That Sort of Girl
15. Take a Break
16. Yes, Yes - Alison Jiear
17. Avice Gets the Part
18. Reunion - The Andrews Sisters
19. Play for the Other Side
20. Mad About the Boy
21. Jimmy's Magic
22. Avice Takes a Bow
23. For Old Times' Sake
24. Laird O'Drumblair
25. Stage Is Set
26. Curtain Call
27. Smoke Gets in Your Eyes
28. Quite Alone

Amazon.com

Based on Somerset Maugham's middling novel Theater, Annette Bening stars as the title character, an aging star of the London stage whose life and the melodramas she performs have come to mirror each other. Composer Mychael Danna sets those conflicts to a score that emphasizes theatrical surfaces and rigid role-playing, utilizing a finely honed classical pastiche approach with parallels to his previous period-evoking work on Vanity Fair. His cues here are rooted in the light romantic chamber music of the 19th century, though they frequently bristle with a more contemporary energy and aplomb. Offering counterpoint to Danna's dignified, oft-precious classical confections and mining the story's more sensual human dimensions are pop chestnuts from the era (The Andrews Sisters' saucy "Bei Mir Bist Du Schon" and Mills Brothers' jaunty "Life Is Just a Bowl of Cherries"), as well as fine contemporary takes of "They Didn't Believe Me" and Noel Coward's "Mad About the Boy" by Denzel Sinclair and Alison Jicar's elegant read of "Smoke Gets in Your Eyes." --Jerry McCulley

Customer Reviews:

Beautiful melody but lacks variety.......2005-04-11

Being Julia OST has a beautiful main melody which occurs over and over again throughout the tracks. I especially like "Curtain Up" and "Quite Alone". However, Being Julia OST doesn't have other strong melody to show along side with the main melody which seems a little too simple for a complete album. The movie is great too. Annette Bening's performance is outstanding.

Average customer rating: Definitely not recommended Might be more rock, but pretty awesome for an electro rock album... Couldn't stomach this one Electro-Politics For An Electronic Generation Post-industrial as it best!

Light It Up Stromkern Manufacturer: WTII Records ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music General | Dance & DJ | Styles | Music Electronica | Dance & DJ | Styles | Music General | Alternative Rock | Indie Music | Stores | Music General | Dance & DJ | Indie Music | Stores | Music Similar Items: Stand Up Armageddon Flicker Like a Candle (Millennium Edition) Dammerung im Traum Joy of Gunz ASIN: B000B5UL94 Release Date: 2005-08-23

Tracks:

1. Televised
2. Reminders
3. Slow Cascade
4. Forgiven
5. The Debate
6. Ruin
7. Sentinel
8. Stand Up
9. Hindsight
10. Delete

Product Description

Stromkern returns with a hard hitting whirlwind of electronic mutilations, intoxicating beats and an occasional driving guitar. Stromkern's latest release, Light it Up, picks up where its predecessor left off and showcases a more advanced Stromkern. Stellar tracks like Standup, Klang, Sentinel and Forgiven lead the new assault and assure Stromkern's role as one of the new pioneers of the American electro scene. Light it Up also features guest appearances from Frank Spinath of Seabound and Victoria Lloyd of HMB, Monochrome and Claire Voyant.

Customer Reviews:

Definitely not recommended.......2007-05-03

I first heard Stromkern when they toured with Front Line Assembly. Their show was horrible. The music was extremely monotonous and was played poorly. I figured they were just having an off night, so I decided to give their albums a try. I was extremely disappointed. The music did not have any electronic feel and was basically a metal album. The vocals were way too hip-hop sounding--when they weren't over zealously trying to sound tough--and reminded me of an armature-ish Linkin Park. All I can say is that this album is a long shot from good EBM...or any EBM for that matter. I suggest sticking to FLA, KMFDM, or something along those lines.

Might be more rock, but pretty awesome for an electro rock album..........2006-09-03

I'm a big fan of their older work and saw them when they were touring last year. Their new work isn't as great as the old stuff, but I still think it is a very nice produced work. I am glad they tried doing something different, but didn't really lose much of their previous sound. It is more rock, and that is how they intended it to be. A bit more political too? Anyway, it took me a while to get into this album, but after a few listens I was set. My favorites are Reminders, Ruin (really cratchy inbetween rock and electro :)), Stand Up (probably the most catchy dancey track on this album, it was also their single), and Delete (this one's so hard, but it's good). It's really a well rounded album I think, go check it out!

Couldn't stomach this one.......2006-03-26

What drew me to Stromkern was the electonics and the strings they used. This CD is more of a metal album. most of the songs all sounded the same to me. I gave it numerous tries but it just didn't click. I need electronic noodling in my music.

Electro-Politics For An Electronic Generation.......2006-01-03

Stromkern have always released strong records ever since their 1997 debut Flicker Like A Candle. Followed by the highly experimental and minimal sounding Dammerung In Traum and the critically acclaimed Armageddon in 2000, Stromkern are back with Light It Up, covering fresh ground they never have before.

Almost a decade down the road, Ned Kirby has finally given in to writing political lyrics. According to Kirby, it just became impossible to keep the political elements out of his music. And I applaud his move. Maybe it's my personal fascination with political lyrics; I count some highly political bands - Radiohead, Manic Street Preachers, Sex Pistols - as my favourite bands of all time. And lyrically, Light It Up presents Kirby's reflections on the last several years spent living in the United States, covering topics of war, terrorism, globalization, corruption and greed.

In fact, my favourite song on here is without a doubt "Reminders" - which, is probably the most political as well as one of the most terribly sad/angry tracks I've heard in a while. It begins with samples from George W. Bush's State of the Union addresses placed over repetitive synth lines and progresses into an energetic frenzy by the end of the track. It will put the listener in pure euphoria.

The first single off the album "Stand Up" (which continues to be a club favourite throughout the world) and "Hindsight" are two other outstanding tracks on Light It Up. Except for these two tracks, the rest are a great listen but fall short of being anything more than that, though they of course, are worth the spin every time I listen to the album - just not the sort of songs you'd want to put on repeat.

What has always been especially striking about Stromkern has been the staccato-like rap Kirby uses. This is hip hop meets industrial. It creates one of the most unique sounds I have ever heard. And this, of continues to be the trademark sound of Stromkern in Light It Up.

It may have been a long time coming but Light It Up was definitely worth the wait. Expanding their horizons with this release, Stromkern have solidified their position as one of the electro acts of the moment, not only from North America, but beyond as well.

Post-industrial as it best!.......2005-10-07

STROMKERN returns with a hard hitting whirlwind of electronic mutilations, intoxicating beats and an occasional driving guitar. Almost four years after the release of ''Armageddon'' comes STROMKERN's 4th studio album, ''Light It Up''. The effects of four years of touring can be heard throughout the record, but most clearly on tracks like ''Forgiven'' or ''Delete'', with pummeling acoustic drums and guitars meshing with STROMKERN's signature electronic core. The new album also marks the band's first forays into outside vocal collaborations, with Frank Spinath of SEABOUND guesting on the technoid ''Sentinel'' and Victoria Lloyd of CLAIRE VOYANT on the ballad ''Hindsight''. The first single ''Stand Up'', a classic STROMKERN track packed with dense sequences and Ned's rapid-fire vocal, peaked at #4 in the German Alternative Charts and remains in regular rotation at clubs throughout the world.

Average customer rating: SUSAN HAYWARD BELTS IT OUT

I'll Cry Tomorrow Manufacturer: Film Score Monthly ProductGroup: Music Binding: Audio CD Movie Scores | Soundtracks | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music General | Vocal Pop | Pop | Styles | Music Similar Items: With a Song In My Heart (from the 1952 film)/ Pal Joey (with 1952 cast members) I'll Cry Tomorrow My Heart Speaks I Want to Live! Valley of the Dolls (Special Edition) ASIN: B0006SSQ2K Release Date: 2005-01-11

Tracks:

1. Main Title
2. Don't Cry/Bye l'Ums
3. Sing You Sinners - Susan Hayward
4. David/How Soon/Help
5. When the Red, Red Robin Comes Bob, Bob, Bobbin' Along - Susan Hayward
6. Trance/Mama's Plea
7. Confused/Pour Me
8. Transition/Also/Tony
9. Stood Up/Shattered/Tortured
10. Happiness Is a Thing Called Joe - Susan Hayward
11. Ashamed
12. String Chord/Real Heel
13. Down Girl/Ashamed
14. Home Sweet Home/This Is It/Hold It
15. Light
16. Fight to Live/Serenity
17. Burt/End Title
18. Ashamed/Home Sweet Home [Original Version][*]
19. AA Medley [*] - Susan Hayward
20. End Title [Original Version][*]
21. I'll Cry Tomorrow [Single Version][*] - Johnny Green And His Quartette, Susan Hayward
22. Vagabond King Waltz/I'm Sitting on Top of the World [*] - Susan Hayward
23. Starlight Romance/Presently
24. Waltz Huguette/Bar Mitzvah Rhumba
25. Source Music Medley: Good Morning/Ropin'/Beautiful Girl/We'll Make Hay
26. When the Red, Red Robin Comes Bob, Bob, Bobbin' Along
27. Happiness Is a Thing Called Joe

Customer Reviews:

SUSAN HAYWARD BELTS IT OUT.......2005-03-31

This CD is a rare treat for Susan Hayward fans - a chance to hear her do her own singing in the film "I'll Cry Tomorrow" based on the story of Lillian Roth, who battled alcoholism in her life. The sound quality is EXCELLENT and the CD includes extensive notes, and even includes unused tracks, such as the vocal efforts of studio vocalist Sandy Ellis, who was originally going to dub for Hayward. Many people are not aware that the real Lillian Roth was disapointed that her own voice tracks were not used for the film. But, Hayward surprised everyone with her surprisingly goodvocal range. The background music is exceptionally fineas well, and is all included here. This CD is a must-have for Susan Hayward fans - and lovers of fine film score music as well.

Average customer rating:

The Joy of God - Great Hymns Across the Ages William P. Rowlands , Gordon Slater , John Stainer , Choir of Yorkminster Park Baptist Church , Ronald S. Jordan , Katherine Hill , Christopher Edwards , and Thomas Campbell Manufacturer: Marquis Music ProductGroup: Music Binding: Audio CD Vaughan Williams, Ralph | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Vaughan Williams, Ralph | Composers | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Sacred & Religious | Classical | Styles | Music General | Classical | Styles | Music Compilations | Classical | Styles | Music General | Christian & Gospel | Styles | Music General | Opera & Vocal | Styles | Music Hymns | Vocal Non-Opera | Opera & Vocal | Styles | Music Psalms | Vocal Non-Opera | Opera & Vocal | Styles | Music Similar Items: Hymns Triumphant 1 & 2 ASIN: B000003WHH Release Date: 2007-01-08

Tracks:

1. Great Hymns Across The Ages: Psalm 117: Plainsong, Tone I:1
2. Great Hymns Across The Ages: When Morning Gilds The Skies
3. Great Hymns Across The Ages: Jesu, The Very Thought Of Thee
4. Great Hymns Across The Ages: O Jesus, I Have Promised
5. Great Hymns Across The Ages: Fairest Lord Jesus
6. Rheinhardt Manuscripts: Worship The Lord
7. Great Hymns Across The Ages: Guide Me, O Thou Great Jehovah
8. Book Of Common Prayer: Psalm 121
9. Greek Liturgy Of St. James: Let All Mortal Flesh Keep Silence
10. Great Hymns Across The Ages: Let Us Break Bread
11. Great Hymns Across The Ages: And Can It Be
12. Great Hymns Across The Ages: When All Thy Mercies, O My God
13. Psalterium Chorale', Constance: Creator Of The Earth And Skies
14. Great Hymns Across The Ages: I Need Thee Every Hour
15. Geistliche Seelenfreud: My God, My Father, Make Me Strong
16. Great Hymns Across The Ages: Love Divine, All Loves Excelling
17. Great Hymns Across The Ages: In The Cross Of Christ I Glory
18. Great Hymns Across The Ages: Low In The Grave He Lay
19. Great Hymns Across The Ages: Crown Him With Many Crowns
20. Great Hymns Across The Ages: This Is My Father's World
21. Great Hymns Across The Ages: Lead, Kindly Light
22. Great Hymns Across The Ages: I Heard The Voice Of Jesus Say
23. Great Hymns Across The Ages: God, That Madest Earth And Heaven
24. Te Lucis, Mode VIII: Before The Ending Of The Day

Average customer rating: Finally a Messiah with fervor! Great recording! Good and Bad This is a great recording!

Handel: Messiah Manufacturer: Naxos ProductGroup: Music Binding: Audio CD All Works by Handel | Handel, George Frideric | ( H ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Oratorios | Opera & Vocal | Styles | Music Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music General Christmas | Holiday | Miscellaneous | Styles | Music General Christmas | Holiday Music | Special Features | Music Similar Items: Christmas at Trinity ASIN: B00002R16A Release Date: 1999-11-30

Tracks:

1. Messiah: No. 1 Overture
2. Messiah: No. 2 Arioso For Tenor
3. Messiah: No. 3 Air For Tenor
4. Messiah: No. 4 Chorus
5. Messiah: No. 5 Recitative For Bass
6. Messiah: No. 6 Air For Bass
7. Messiah: No. 7 Chorus
8. Messiah: No. 8 Recitative For Alto
9. Messiah: No. 9 Air For Alto And Chorus
10. Messiah: No. 10 Arioso For Bass
11. Messiah: No. 11 Air For Bass
12. Messiah: No. 12 Chorus
13. Messiah: No. 13 Pifa (Pastoral Symphony)
14. Messiah: No. 14a Recitative And No. 14b Arioso For Soprano
15. Messiah: No. 15 Recitative For Soprano
16. Messiah: No. 16 Arioso For Soprano
17. Messiah: No. 17 Chorus
18. Messiah: No. 18 Air For Soprano
19. Messiah: No. 19 Recitative For Alto
20. Messiah: No. 20 Air For Alto And Soprano
21. Messiah: No. 21 Chorus
22. Messiah: No. 22 Chorus
23. Messiah: No. 23 Air For Alto
24. Messiah: No. 24 Chorus
25. Messiah: No. 25 Chorus
26. Messiah: No. 26 Chorus

Tracks:

1. Messiah: No. 27 Arioso For Tenor
2. Messiah: No. 28 Chorus
3. Messiah: No. 29 Recitative For Tenor
4. Messiah: No. 30 Air For Tenor
5. Messiah: No. 31 Recitative For Tenor
6. Messiah: No. 32 Air For Tenor
7. Messiah: No. 33 Chorus
8. Messiah: No. 34 Recitative For Tenor
9. Messiah: No. 35 Chorus
10. Messiah: No. 36 Air For Alto
11. Messiah: No. 37 Chorus
12. Messiah: No. 38 Aria For Soprano
13. Messiah: No. 39 Chorus
14. Messiah: No. 40 Air For Bass
15. Messiah: No. 41 Chorus
16. Messiah: No. 42 Recitative For Tenor
17. Messiah: No. 43 Air For Tenor
18. Messiah: No. 44 Chorus
19. Messiah: No. 45 Air For Soprano
20. Messiah: No. 46 Chorus
21. Messiah: No. 47 Recitative For Bass
22. Messiah: No. 48 Air For Bass
23. Messiah: No. 49 Recitative For Alto
24. Messiah: No. 50 Duet For Alto And Tenor
25. Messiah: No. 51 Chorus
26. Messiah: No. 52 Air For Soprano
27. Messiah: No. 53 Chorus
28. Messiah: Amen

Customer Reviews:

Finally a Messiah with fervor!.......2005-10-20

I've hunted a thrilling performance of The Messiah through 240 versions so far. This is the best I've found. Some are self-conscious, dutifully singing as instructed. Some are almost childish in their lilt. Some are overblown with so much bombast that you can barely hear the heart of the music. Some are concentrated on faithfulness to the original instruments. If you want a performance that will make you shiver with the power and joy of the music, this is the one. The singers are singing about GLORY. They sound as if they are ecstatic. The musicians are at one with the music and they create a virtual cathedral wherever this CD is played, just close your eyes. Or, let your own imagery, be it celestial, or of great oceans...carry you away.

Great recording!.......2003-09-22

There are so many performances of the Messiah out there that it is very difficult to point to a difinative one, but I'd put this in the catagory of the "very good" ones. As other reviewers have said, every performance is different and has its own character. Each has stronger and weaker points. Here the conductor and musicians have made good, solid musical choices. There is an amazing attention to detail which is not so obvious the first listen through but which makes the piece shine. The tempos seem to be right on, and there is no frivolous over-embellishment by the soloists. There is no attempt to be showey. The dramatic dynamics in the first section of the overture are interesting, but seem to work after you hear it a few times. This performance also includes sections which are often omitted (Second half of "He shall feed his flock," "Thou art gone up on high," "Great was the company of the preachers," and "Death where is thy sting"). I prefer the more intimate quality of a small ensemble of musicians to the mega-performances by the London Philharmonic, Vienna State Opera Orchestra, etc.. As with this performance, the smaller group lends a clarity to the music, where the larger ensembles can get a little "muddy" at times. Just my personal preference. Overall, this is a very good performance, and certainly the low price (being on the Naxos lable) makes this a clear choice.

Good and Bad.......2000-04-09

I was more interested in "The Messiah" for the religious content than as a music critic, but this was too much. The strings are tinny. The orchestra is plodding. The soloists and choir are thankfully very good and seem to understand the meaning of the words. It is a shame the sound mix is uneven. The male parts come across loud and clear, but the poor women. For instance, No. 9 Oh thou that tellest..., the soloist sounded like she was singing in an echo chamber far from the mike. This is one of the most disappointing versions of "The Messiah" I have heard in a long time.

This is a great recording!.......2000-02-11

I was really surprised with the new that the Messiah's New World premiere was held at Trinity Church in October 1770, twenty-eight years after it was written. This fact only will make one proud in having this CD among his collection.

Anyhow, this is nothing more than a historic detail and would not count if this recording had not an outstanding first-rate ensemble of singers. Without doubt there is no definitive version of Messiah. Each one has its own distinctive touch and feeling and exploring it is always a pleasant journey through imagination.

As stated by the conductor: "we must concede that performing Messiah with twenty singers and an appropriately balanced instrumental ensemble represents, at best, an imperfect comprimise", it will be easy to understand that this recording does not stand among the greatest and will probably carry some imperfections. I will mention two that kind of disppointed me a little bit. The Overture and the Chorus Worthy is the Lamb, for some reason misses the habitual vigor and strenght. Everything else is great and this is definitely a worth buying.

Average customer rating:

String Quartet Tribute to the Doors Manufacturer: Vitamin Records ProductGroup: Music Binding: Audio CD General | Rock | Styles | Music General | Compilations | Rock | Styles | Music Psychedelic Rock | Classic Rock | Styles | Music Album-Oriented Rock (AOR) | Classic Rock | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music General | Vocal Pop | Pop | Styles | Music Tributes | Pop | Styles | Music Similar Items: The String Quartet Tribute to the Beatles String Quartet Tribute to Pink Floyd Opening Doors: A Jazz Tribute To The Doors Strung Out On U2 : The String Quartet Tribute The String Quartet Tribute to Jimi Hendrix ASIN: B0007ZEP6I Release Date: 2005-04-19

Tracks:

1. Hello I Love You
2. Light My Fire
3. Love Me Two Times
4. Break On Through
5. Riders On The Storm
6. People Are Strange
7. Touch Me
8. Twentieth Century Fox
9. Love Her Madly
10. Unknown Soldier
11. When The Music's Over
12. Give It Up To Me

Product Description

1. Hello, I Love You
2. Light My Fire
3. Love Me Two Times
4. Break On Through
5. Riders On The Storm
6. People Are Strange
7. Touch Me
8. Twentieth Century Fox
9. Love Her Madly
10. Unknown Soldier
11. When The Music's Over
12. Give It Up To Me

Format: CD

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

Wagner: The Rhinegold English National Opera Manufacturer: Chandos ProductGroup: Music Binding: Audio CD All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Similar Items: Siegfried (Goodall Ring Cycle/Chandos Opera in English) The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English) Wagner: The Valkyrie ASIN: B00005B550 Release Date: 2001-05-22

Customer Reviews:

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

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

"Thus I salute the stronghold, safe from dread and dismay!.......2007-06-12

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Box Set: Wagner: The Ring Cycle (Box Set)
-The Valkyrie (Part 2): Wagner: The Valkyrie
-Siegfried (Part 3): Siegfried (Goodall Ring Cycle/Chandos Opera in English)
-Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

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

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

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

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

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

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

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

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

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

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

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

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

Average customer rating: Soundtrack By Committee {3 Stars} for this movie...no! Light it Up Soundtrack There are some really good songs on here! Lightin' it up

Light It Up Various Artists - Soundtracks Manufacturer: Elektra / Wea ProductGroup: Music Binding: Audio CD General | Pop | Styles | Music Pop Rock | Pop | Styles | Music General | R&B | Styles | Music General | Rap & Hip-Hop | Styles | Music Movie Scores | Soundtracks | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music 1990s | By Decade | Soundtracks | Styles | Music Similar Items: Next Friday (2000 Film) Light it Up Set It Off: Music From The New Line Cinema Motion Picture ASIN: B000021XRH Release Date: 1999-11-09

Tracks:

1. How Many Wanna - Ja Rule
2. Catz Don't Know - DMX
3. That's Real - AZ & Beanie Sigel
4. First One Hit - Amil & Sole
5. High Schoolin' - Outkast
6. Light It Up - Master P
7. Waiting In Vain - Jon B.
8. Anything - 112
9. Here - Beverly
10. Burgundy - Shya
11. If Only In Heaven's Eyes - 'N Sync
12. Free To Believe - Jack Herrera
13. Ghetto's A Battlefield - Blaze & Firestarr

Amazon.com

Whether a movie starring Judd Nelson can claim to be an authentic tale of survival at an inner-city high school is clearly debatable. Because the soundtrack for the movie features teen heartthrobs 'N Sync harmonizing on a Kenneth "Babyface" Edmonds's ballad, poetic license--if not straight-out romanticizing--is clearly being exercised here. The 13 tracks mostly present different dimensions of hip-hop, but none approaches the real menace of gangsta rap. The textures vary from the reflective, somber synthesizer of Ja Rule's "How Many Wanna" to the schoolyard taunt of Master P's title track. Pat Benatar's "Love Is a Battlefield" gets a rewrite as "Ghetto Is a Battlefield" from Blaze and Firestarr (featuring Fredro Starr, a former member of Onyx and now an actor in this film). Bob Marley's "Waiting in Vain" is given the 1999 treatment by Jon B., who went to Kingston, Jamaica, to cut the track at Tuff Gong studios, where Marley recorded many of his classics. Now there's authenticity for you. --Rob O'Connor

Customer Reviews:

Soundtrack By Committee {3 Stars}.......2006-12-10

I'm not sure how I ended up with this CD, but I found it sitting on the shelf, so I pulled it out to be reviewed. Anyway, it's not that bad of an album (it's certainly better than the movie, but that's not saying much). Ja Rule's "How Many Wanna" is one of my favorite songs from him (hmmm...maybe that's why I got this CD) and quite possibly one of his best songs ever. There are other solid cuts like "That's Real" (Beanie Sigel & AZ), "High Schoolin' (Outkast & Slimm Calhoun), and "Light It Up" (Master P & The No Limit All Stars) and 112's "Anything" and Beverly's "Here" are nice little throw ins. After those great tracks, things take a serious nosedive.

As with most soundtracks, there are a fair number of tracks where the artists are simply going through the motions. DMX's "Catz Don't Know" is boring and Amil & Sole' drop one of the most lifeless tracks I've ever heard with the uninspired "First One Hit." And don't even get me started on Jon B's miserable cover of Bob Marley's "Waiting In Vain." The rest of the unmentioned songs, while not totally bad, are pretty forgettable.

The Light It Up soundtrack isn't all bad. Some of the tracks are generic, but that should be expected with most movie soundtracks. The gems on the album make it worth grabbing if you can find it used (I don't think I could justify buying this brand new). I recommend giving this album a listen before actually buying it though.

Standout Tracks: How Many Wanna (My Favorite), High Schoolin', Light It Up, and That's Real

for this movie...no!.......2003-11-20

THIS MOVIE IS ABOUT HIGH SCHOOL STUDENTS TAKING A STAND. SO WHY IS IT THAT MOST OF THE TRACKS ON THIS SOUNDTRACK HAVE NOTHING TO DO WITH THE THEME OF THE MOVIE. THE SONGS, EVEN THOUGH ARE GOOD ARE VERY MUCH OUT OF PLACE. EVEN SO, MY FAVORITES ARE JA RULES, MASTER P'S, EVEN THOUGH I THINK HE DOESN'T HAVE MUCH TALENT. 112 SONG IS NICE, EVEN THOUGH SLIMS VOICE IS ANNOYING. THERE ARE A FEW OTHERS THAT I CAN'T REALLY REMEMBER THE TITLES TO BUT ONE SONG THAT STICKS OUT THE MOST AND IS VERY PLEASANT TO LISTEN TO IS NSYNC THROUGH HEAVENS EYES. THOSE BOYS ARE A BIT OUT OF PLACE BUT THEY HAVE THE BEST SONG ON THE SOUNDTRACK. THEIR HARMONIES WERE OFF THE HOOK, NOT SURPRISINGLY. THOSE GUYS HAVE SOME SERIOUS TALENT ON THERE HANDS. BABY-FACE WROTE THE SONG TOO, SO YOU KNOW IT HAS SOME SERIOUS HEART TO IT.

Light it Up Soundtrack.......2003-07-02

"Light it up Soundtrack" (1999) is a nice assortment of thirteen Hiphop and R & B songs. Soundtrack starts off solid with Ja Rule's hardcore banger "How Many Wanna" from "Irv Gotti Presents The Murders" one of my favourite Ja Rule Songs. DMX drops in for the powerfull "Catz Dont Know", a dope track where X weaves a dark story about betrayal and murder. AZ and Beanie Seigel make a rare collab on "That's Real", another nice track. "High Schoolin'" Feat. Slimm Cutta-Calhoun (of Goodie Mobb) and Outkast, is a blazing funkfied track with a memorable chorus. Albums title track comes from more southern artists: Master P and the No Limit All Stars, like P's chorus to this. The next track is a relaxed soulful Jon B. song called "Waiting in Vain", where Jon B. shines. More nice R & B tracks follow: 112 delivers "Anything" a smooth love ballad and NSYNC comes through with the melodic "If Only in Heaven's Eyes" a moving song. Shya's "Burgundy", Beverly's "Here" and Jack Herrera's "Free to Believe" are all decent R & B songs, none of them really standing out for me, at same time none of them bad. I am not really into female mc's Amil's "First One Hit" though the beat keeps your attention and I can see the ladies liking this one more. Onyx's Fredro Starr who also co-stars in the movie collabs with Blaze on "Ghetto's A Battlefield" the albums closer, a deep track which has some very nice female vocals. As a soundtrack "Light it Up" is one of the better ones I have come across, short as it is, the tracks on it are memorable and have good replay value making it a soundtrack worth having in the collection.

There are some really good songs on here!.......2001-06-10

Usually hip-hop soundtracks have one big artist, and then a ton of non talented wannabes. Well, not this one. When you combine some of rap and hip-hop's biggest names such as DMX, Master P, 112, Ja Rule and of course the amazing Outkast, you are bound to get awesome results. Jon B. redid Bob Marley's hit Waiting In Vain for this soundtrack, with very good results. Then newcomer Amil got a chance to shine for her above average track First One Hit. Outkast, which are quite possibly one of my favorite groups ever, performs very well with their track, which features Slim Cutta Calhoun. Master P does the title track. The only song that just seems out of place is 'N Sync's If Only In Heaven's Eyes. Now don't get me wrong, I like 'N Sync, but they just don't sound very good on a rap/hip-hop soundtrack. But this overall is a very good CD that any fan of hip-hop should purchase.

Lightin' it up.......2000-10-24

Buy it for Ja, buy it for the allstars, even buy it for beenie and AZ. But if you buy it for the outkast, you will NOT be dissapointed. It is the best, hyper, upbeat, party song you will ever hear.

Dance Music:

1. Lillian
2. Live And Let Die [Explicit Lyrics]
3. Madd Hatta Presents Mista Madd & The Supa Thuggz [Explicit Lyrics]
4. Mil-Ticket
5. My Own [Explicit Lyrics]
6. My Own [Explicit Lyrics]
7. New York State of Rhyme V.2 [Import]
8. Next Level of Hip Hop
9. No Love, Pt. 1 [Explicit Lyrics]
10. No More Prisons [Explicit Lyrics]

Dance Music

dance music

Dance Music

Canned Heat 1967-1976: The Boogie House Tapes

Franz Schmidt: Variationen über ein Husarenlied; Konzerte Variationen über ein Thema von Beethoven

Girl Singer [Import]

Best of M People [Import]

Hemo Glow Ball [Import]

Gathering: A Holiday Celebration [Enhanced]

Espaco Rap [Import]

Fetch the Compass Kids

Escape from Rubbish Island [Import]

Dvorák: Symphony No. 6; The Wood Dove

E-Bow the Letter [CD-single]

Rock Music rock-music-46

Fania All-Stars in Japan [Live] [Import]

The Things I Say

Just Great Jazz