The Testament [Enhanced] [Explicit Lyrics]

1. Intro

2. 62 Pickup

3. One Love

4. Interlude

5. Angel Dust - Cormega,

6. Dead Man Walking

7. Montana Diary

8. Testament

9. Testament [Original Version]

10. Every Hood - Cormega,

11. Coco Butter

12. Killaz Theme - Cormega, , Mobb Deep

13. Love Is Love

Tracks:

Albeniz: Asturias
Albeniz: Tango
Sanz: Canarios
Rodrigo: Fandango
Torroba: Nocturno
Segreras - El Colibri
Albeniz: Sonata in D
De Falla: The Corregidor's Dance
De Falla: Fisherman's Song
De Falla: The Miller's Dance
Torroba: Madronos
La Nit de Nadal
El Noy de la Mare
Granados: Ma Maja de Goya
Abeniz: Cordoba
Tarrega: Recuerdos de la Alhambra
Granados: Spanish Dance No. 5
El Testamen de Amelia
Villa-Lobos: Prelude No. 4 in E Minor
Albeniz: Sevilla
De Falla: Homanaje
Mudarra: Fantasia
Turina: Fandanguillo

Customer Reviews:

Excellent Introduction to Spanish Classical Guitar Music.......2005-09-18

As a sampler, this CD is an excellent introduction both to Spanish classical guitar music and to guitarist John Williams.
The music ranges from Renaissance composers (Sanz, Mudarra) and harmonized folk melodies to standard 20th Century works (Rodrigo, Torroba etc).

John Williams is excellent throughout. The CD is also cheap, and can be used either just for enjoyment, or further to explore other recordings by Williams, the classical guitar repertoire, or other classical guitarists.

As a marketing ploy, it is very effective.

For the collector or classical guitar enthusiast, the chief disadvantages of the CD are duplication of other recordings, and that the way at least some of the works on this CD are listed isn't helpful in telling the listener the set(s) to which these pieces belong and how to find them (e.g. "from ______, Op # "). The font listing the titles and track numbers is small and somewhat hard to read.

However, this CD should attract many listeners and enthusiasts both to the classical guitar, the repertoire, and guitarist John Williams - and I'm all for that.

Over 70 minutes playing time.

Recommended.

The guitar is an orchestra in miniature!.......2005-02-05

This admirable concept belongs to Hector Berlioz and it must not be a surprise the best guitarrists in the story have in common this trademark.

John Williams has always known the delicate equilibrium between the expresiveness and the glamouer. His impresive technique however is not exposed as his prima edonna. He goes directly to the soul of the composer, melts in his spirit and let the music sharp the qith eloquent conviction the composer's demanded atmosphere.

From Granados to Albeniz, from Rodrigo to Agustin Barrios - El indio Mangore -, from Moreno Torroba to Ponce , you will find the warmth, the passion and the Midas touch of this golden guitarrist.

GUITAR MAJESTY.......2004-12-21

John Williams is a true Guitar virtuoso. His repetoire is very extensive and I use his music in my office while I work at my daily office duties. This album is a must for all guitar enthusiasts old or young.

Sweet, sweet music, an essential addition to your collection.......2004-12-07

I originally bought this album three years ago, looking for a good introduction to Spanish guitar music. And this one fits that need perfectly. I still listen to and enjoy it today. I play this for guests at happy hour or dinner for a relaxed atmosphere. At Amazon's current price, this is a great value.

A True Classic.......2004-01-26

This album/cd is extraordinary. All the songs are gorgeous and exciting to listen to. John Williams' interpretation and technique are perfect. After 22 years of listening to it, I still enjoy and appreciate it more every time. I love giving it as a gift.

Average customer rating:

The Real Testament
Plies
Manufacturer: Atlantic / Wea
ProductGroup: Music
Binding: Audio CD

Gangsta & Hardcore | Rap & Hip-Hop | Styles | Music

General | Rap & Hip-Hop | Styles | Music

Pop Rap | Rap & Hip-Hop | Styles | Music
Similar Items:

T.I. vs T.I.P.
Underground Kingz
Epiphany
Double Up
Graduation

ASIN: B000ROA07W
Release Date: 2007-08-07

Album Description

I'm not tryin' to impress anyone on how hard my struggle was, or how messed up the conditions were where I came from,' says Plies. I feel like most of the people in my situation come from the same type of background, the same type of environment.Hailed as one of the realest n****s you will ever know, the Ft. Myers based rapper has already established a phenomenal underground and street presence on the strength of his infamous mixtapes and live show. Plies is a realest who happened to learn how to tell his story in rhyme. This is why the streets love him. And he reveals his revelations of earning stripes with the summer '07 release of his Big Gates/Slip-N-Slide/Atlantic debut, The Real Testament. Born in Ft. Myers, Florida, Plies grew up in the East Dunbar section of the city. It's a small town, but it's a town that reflects so much to me. You've got two separate sides you've got the serious side, then you've got the gutter side. I called it Pakistan because young gits were running around with choppers and s**t. Despite coming of age in the Michigan Court Projects, Plies says he wouldn't change it for the world. 'The only thing adversity does is reintroduce you to yourself. I got the most anticipated situation in the streets right now', says Plies. The streets told me that.

Average customer rating:

An AWESOME "Rheingold" from a "RING" for the Ages!
Age defying performance.
What a find!
The Bayreuth 1955 Ring Cycle by Testament
About that "hissing noise"...

Wagner: Das Rheingold

Manufacturer: Testament UK
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Classical | Imports | Stores | 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

Opera & Vocal | Classical Music Blowout | Stores | Music
Similar Items:

Wagner: Die Walküre
Wagner: Siegfried
Wagner: Götterdämmerung
Wagner: Der Fliegende Holländer
Wagner - Gotterdammerung

ASIN: B000J20D6A
Release Date: 2006-12-12

Tracks:

Prelude
Weia! Wega!
Garstig Glatter Glitsch'riger Glimmer
Wallala! Wallala! Lalaleia! Lalaleia!
Lugt, Schewestern!
Der Welt Erbe
Wotan, Gemahl, Erwache!
Sanft Schlob Schlaf Dein Aug'
Zu Mir, Freia!
Endlich Loge!
Immer Ist Undank Loges Lohn!
Eini Runezauber Zwingt Das Gold Zum Reif
Hor, Wotan, Der Harrenden Wort!
Was Sinnt Nun Wotan So Wild?
Jetzt Fand Ich's

Tracks:

Auf, Loge, Hinab Mit Mir!
Schau, Du Schelm!
Nibelheim Hier
Nehmt Euch In Acht!
Vergeh', Frevelnder Gauch!
Ohe! Ha Ha Ha!
Da, Vetter, Sitze Du Fest!
Gezahlt Hab'ich
Bin Ich Nun Frei?
Fasolt Und Fafner Nahen Von Fern
Gepflanzt Sind Die Pfahle Nach Pfandes Mab
Weiche, Wotan; Weiche!
Hort, Ihr Riesen!
Schwules Gedunst
Abendlich Strahlt Der Sonne Auge
Ihrem Ende Eilen Sie Zu
Rheingold! Rheingold! Reines Gold!

Amazon.com

This, the third installment in the first stereo Ring (once thought lost), from the stage of the Bayreuth Festival in 1955, is as impressive and crucial to any collection as the previously released Siegfried and Die Walküre. Joseph Keilberth, whose devotion to Wagner was so great that he died conducting the second act of Tristan, leads an incredibly tight performance--almost jaunty in its storytelling. The opening chord, depicting the Rhine, is not played softly as marked; it does rather plunge us into the action with more energy than usual. The singing is universally remarkable. Hans Hotter's Wotan towers in its snideness and potency, while the Fricka of Georgine von Milinkovic is more subtle and alluring than we're accustomed to. Gustav Neidlinger's Alberich is, as on so many other recordings in which he sings this role, something to reckon with--a despicable but wretched character. The giants of Ludwig Weber and Josef Greindl have probably never been bettered; Paul Kuen's Mime is articulate and creepy and Rudolf Lustig's Loge is wily and clearly, cleanly sung. The only stain on this recording is the dreadful hissing noise given off by something called a "Mixtur-Trautonium," an electronic device invented to simulate the sound of the Nibelungs' anvils in Nibelheim. It's a distraction, but it can be lived with. This set is a must-have, and the extraneous noise during that scene is small price to pay for a performance this thrilling. --Robert Levine

Customer Reviews:

An AWESOME "Rheingold" from a "RING" for the Ages!.......2007-06-19

This recording of Wagner's "Das Rheingold" recorded live at Bayreuth in 1955 is a TRUE masterpiece, a testament to the heights that can be reached when "everyone works together" for the sake of the "art" itself, not self-aggrandisement (which we have today, generally). Every aspect of this recording pales every other! It immediately, and solidly, goes to the top of the list of "Das Rheingold" choices on disc. As do the remaining three operas, also recorded at the same time, by the same cast, that make up the "Ring".

Going back over the decades of my life, I remember when you only had one choice for a "Ring"...Solti/Decca, and that was it.

Then, there came the von Karajan, and then the Bohm/Bayreuth. Then, there seemed to be a mini-explosion of "Rings" over the following years, so many that it became/becomes staggering to think about!

Two statements:
1) If you are NEW to Wagner's "Ring" do not become confused with all the choices out there. There are really only two live recordings you need consider...the Krauss/Bayreuth, and this one, Keilberth/Bayreuth, and one studio recording to think about, the Solti/Decca set. You may think this excessive, but you NEED all three of these recordings. Period.
2) If you are FAMILIAR with Wagner's "Ring", then, assumably, you want the Best recording of it. I will assume you already have the Solti set, as most people do. The Krauss set you may or may not have. It is a stunner. And, now, the Keilberth....the most awesome recording, in many ways, you will ever experience.

Think: 1955, live, Bayreuth, the Best Wagnerians of their age, assembled together at the behest of Wagner's grandsons, in Wagner's theater, and the best part....recorded in STEREO! By Decca, of all people, before the Solti studio Ring was ever thought about! Why Decca sat on these magnificent recordings just blows my mind.

Luckily for us, Testament acquired the rights to release these timeless recordings, and we now, after 52 years, can marvel at and enjoy these magnificent performances of four of the greatest musical masterpieces ever written, combining to make up the most monumental work ever written for the stage! Enjoy this (set) of Masterpiece Recordings! ~operabruin

Age defying performance........2007-05-07

Never let the age of this recording deter you. It is vibrant. It is alive. The companion Götterdämmerung is even a little harsh - it adds to the primordial nature of the people. This performance is astounding. Hotter, whose contributions to the Solti Ring and some other later recordings were tremulous and far beyond prime, is here absolutely the god he should be. His voice alone conveys that, but what he does with it shows why he was the Wotan of choice for so long. Gustav Neidlinger is his foil - Alberich. He is just as malevolent as in Solti, but he is even fresher of voice. That can be said of all singers in the entire cycle. A telling scene in this recording is the natural flow of the Nibelheim scene. It is a conversation, so natural and easy that one hardly notices that Loge is maneuvering the conversation.

To those who have no Ring, this is an excellent choice. to those who own the Solti Ring, Karajan Ring, or whomever, this is a wonderful alternative. I was amazed at the quality of the sound. Why only 4 stars? Well, in the later music dramas, Walküre and Siegfried, Keilberth takes tempi that would allow those two operas to be on three CDs each. But they spread them over four CDs. At the Testament price, that gets very expensive.

What a find!.......2007-03-22

What a find this recording is! Along with others in this "Ring" series, Keilberth's performance adds invaluably to what we know about the Bayreuth performing tradition. As a conductor, Keilberth has at times been underrated by reviewers, but this "Ring" cycle is putting his detractors to shame. Like Kempe, he has an ability to propel the score in ways that are hard to define; without projecting himself as a "personality", he brings the music marvellously alive. And it happens that, looking back, one finds him at the center of many memorable productions; a "Freischutz" from the late fifties, a "Barber of Seville" from around the same time, and, much earlier still, a "Turandot" with Maria Cebotari that is astonishing. The other main revelation, in these "Ring" recordings, is the crystalline, beautiful sound. Many of the essays in early stereo--RCA's records with Reiner in Chicago, Decca's recordings in Vienna or EMI's in England--have a propensity to be more detailed and attractive than later recordings. Ever wonder why? This is not the place to try answering, but it's clear that Keilberth's 1955 "Ring" takes its honored place among that group, and bids fair to become--at least in my experience--the most glorious-sounding set of records ever.

The Bayreuth 1955 Ring Cycle by Testament.......2007-03-08

I now have the four disc sets in this series of the Ring. Three I've bought at Amazon, after realizing the pricing was much better here than at Borders where I bought the first.
All are excellent recordings. Truly top notch, though not inexpensive.
If the Ring Cycle is music you enjoy, I highly recommend this set with it's excellent musicians and singers.

About that "hissing noise"..........2007-02-22

It begins at about 1 hour 8 minutes in, and continues for about 25 minutes. It's undoubtedly annoying - like really bad tape hiss. But at *no* point does it (even slightly) obscure the voices of Hotter & Neidlinger etc. at their absolute peak, in (otherwise) excellent sound.

Anybody who dismisses this remarkable set simply because of that is just missing the forest for the trees. But if you're in doubt, all you have to do is listen to the audio samples that Amazon has so helpfully provided: those for Disc 2, tracks 2 through 6 show off the "hissing noise" at its worst.

For whatever it's worth, I think that those who are kicking up a fuss over said "hissing nose" are being more than a bit silly. And I can't help wondering whether they could deal, even for a moment, with the much more severe audio compromises required to appreciate the incomparable recorded interpretations of Frida Leider & Lauritz Melchior & Friedrich Schorr.

Average customer rating:

Classic! One of the best of the era
Underrated Classic Thrash
Testament Legacy!
Great debut, One of the best thrash albums ever
Essential thrash metal

The Legacy
Testament
Manufacturer: Megaforce / Wea
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

General | Rock | Styles | Music

General | Hard Rock & Metal | Styles | Music

Hard Rock | Hard Rock & Metal | Styles | Music

Thrash & Speed Metal | Hard Rock & Metal | Styles | Music

Pop Rock | Pop | Styles | Music
Similar Items:

The New Order
Practice What You Preach
Souls of Black
The Ritual
Low

ASIN: B000002IKR
Release Date: 1990-10-25

Tracks:

Over The Wall
The Haunting
Burnt Offerings
Raging Waters
C.O.T.L.O.D.
First Strike Is Deadly
Do Or Die
Alone In The Dark
Apocalyptic City

Amazon.com

Shortly after Metallica became marketable, the heavy metal community began to focus on several other thrash bands from the San Francisco Bay area. Most came and went in the span of time it took to play side one of Master of Puppets, but Testament began a musical crusade that continues today. The band's debut album The Legacy (1987) still holds up as a fine example of hook-laden thrash music. Songs like "Over the Wall" and "The Haunting" balance barreling blast beats and caustic screams with tuneful guitar licks and semi-melodic vocals. Although he eventually quit the band because he didn't approve of its ultra-heavy direction, lead guitarist Alex Skolnick was a large part of Testament's early appeal. And on The Legacy, his euphoric leads and intricate bridge work makes the music enjoyable even when the rest of band sounds somewhat generic. --Jon Wiederhorn

Customer Reviews:

Classic! One of the best of the era.......2007-05-07

Their first album, this has always been a favorite of mine, its heavy and clean and the guitar work is great.

Underrated Classic Thrash.......2007-03-21

Testament often tends to get lost in the shuffle. In the midst of Slayer and Megadeth and early Metallica, it is not difficult to understand why. The Legacy is a great classic thrash album that can be easily overlooked but should not be. Fans of old school thrash will definitely love this album. Great guitar work, great vocals, and breakneck speed are everywhere in this album. The Legacy is an absolutely excellent thrash album and should not be overlooked by fans of thrash. It rocks.

Testament Legacy!.......2006-05-28

I love Thrash Metal, and Testament has to be one of the greatest bands in thrash along with Metallica, Slayer, and Megadeth. Chuck Billy's vocals kind of remind me of James Hetfield but with a more higher pitch, I dunno that's how I heard it. But this album is a thrash classic - enough said.

Great debut, One of the best thrash albums ever.......2006-05-20

Testament is one of the forgotten band of the Bay Area thrash scene of the 80's. They were technically as good as Megadeth, as agressive as Slayer and Pantera and as melodic as Metallica. The lead guitarist Alex Skolnick was only 17 when he played on this album and his style sounds like a mix of Yngwie Malmsteen, George Lynch and Kirk Hammett. The lead guitar playing is incredible, the riffs kick ass and the vocals sound great.

1.Over the Wall- 10/10 A great opener. The opening riff has a great harmony and is heavy at the same time. The song is fast and heavy and Chuck Billy's agressive vocals are excellent. A ton of great riffs in this song and the chorus is great with Chuck Billy's high pitched scream and the shouted backround vocals. The guitar solo is excellent aswell and starts off slow before going into a fast melodic epic power metal tyle section which has some great sweep picking. A classic song with great guitar work and vocals. Thrash metal at it's best.

2.The Haunting- 10/10 Another great melodic thrash song. Chuck Billy's vocals are excellent and the harmonized riff is great aswell. The shouted backround vocals kick ass too. A great shredding solo too.

3.Burnt Offerings- 10/10 An awesome melodic song. The intro is soft and has a great harmony in it and than it goes into a killer thrash section. The song is similar to Blackened by Metallica. A great chorus too and plenty of great harmonies. The solo is excellent once again and reminds me a lot of Kirk Hammett's Master Of Puppets solo.

4.Raging Waters- 8/10 Another good song. This song reminds me of early Slayer. Chuck Billy's vocals aren't quite as good as on the other songs. There are still some cool riffs though. Some good screams and the chorus is pretty good too . Alex Skolnick's solo is incredible and one of his fastest! Not as great as the classics on the album but still a good song.

5.C.O.T.L.O.D.- 8/10 Another good song. this is a very short song at only 2:30 and reminds me a lot of early Slayer. A good chorus and some excellent riffs. Another great shredding solo too.

6.First Strike Is Deadly- 10/10 Another good heavy thrash song. A great screamed chorus and some killer riffs. The backround vocals kick ass too. Another blazing solo too and it has a great melodic sweeping section that reminds me of Yngwie. The harmony part of the solo reminds me of Metallica. Chuck Billy's scream after the solo is great too.

7.Do or Die- 10/10 A classic. Yet another thrash song. The lyrics are cool and the chorus is good. Another blazing solo and some more killer riffs. this classic kicks ass. The best 2 songs on the album are the last though!

8.Alone in the Dark- 10/10 This melodic thrash masterpeice starts off with a great slow melodic guitar solo. The riff just kicks ass. The idea of playing the melody in octaves is cool too. Chuck Billy's vocals are very good and the chorus is excellent. The heavy riff and shouted backround vocals kick ass. The diminished harmony fill is great too. Some of the best lyrics on the album too. I think this is the best song on the album. The interlude is excellent and leads into another great melodic harmony line. Alex Skolnick's shredding solo is great and reminds me of Yngwie Malmsteen. The slower melodic ending to the solo is great too. This is not only my favorite song on the album but my favorite Testament song! A classic!

9.Apocalyptic City- 10/10 Another masterpeice. the creepy soft intro shreds chills down my spine and the slow melodic intro solo is great too. The first heavy riff is slower and once again the vocal melody is played in octaves on guitar. This is my second favorite song on the album. Another great harmonized riff aswell. This turns into a thrash song and Chuck Billy delivers another great performance. More awesome shoted backround vocals and a killer chorus. The guitar solo is impressive as hell and has some great sweep picking and shredding. Another great melodic section of the solo. A classic thrash song that is almost as good as Alone In The Dark. A great way to end the album. This is also the longest song on the album.

This is my favorite Testament album. The songs are like a mix of Metallica, Slayer, Pantera, Megadeth and Yngwie Malmsteen. This album is up there with such masterpeices as Ride The Lighting, Cowboys From Hell, Rust In Peace, Master Of Puppets, Vulgar Display Of Power and Show No Mercy. This album is full of great thrash riffs, thrashy drumming, melodic shredding solos, harmonies, agressive vocals, soft parts leading into thrash songs...just everything you could ask for in a thrash album. Fans of Metallica, Pantera, Slayer, Megadeth, Exodus ect. should all own this. A masterpeice!

Chuck Billy- Vocals
Alex Skolnick- Guitar
Eric Peterson- Guitar
Louie Clemente- Drums
Greg Christian- Bass

Essential thrash metal.......2006-05-09

When people think of thrash metal from the 80s, the Big Four(Metallica, Megadeth, Slayer, Anthrax) tend to come to mind. But if it had been the Big Five, Testament definitely would have been that fifth band. But even though they may not be as well-known, it doesn't take away from their music at all. And what good music it is! This lacks the polish of albums like Practice What You Preach, but I think that helps the music in this case. It is definitely raw, which always helps a band's first album in my opinion.

Over the Wall blasts this killer album off with fast-paced and somewhat melodic riffing. When Chuck starts singing, you can tell this album will kick some ass because he sings with such power. You can't help but love it when he goes "Holding the quest for freedom THAT BECKONS ME!" Chuck gives some good shrieks on this song, and the guitar solo shows us the genius of Alex Skolnick (who was still a teenager at the time, I might add.) Very melodic and breathtaking solo, it's amazing how he could play so flawlessly at such a young age! The Haunting is a killer thrasher, with some very menacing riffs at the beginning. Chuck shows us just how fast he can sing on some parts of the song, and he also gives us some evil shrieks. My favorite one is when he goes "For the haunting now BEGINS!" Gives me goosebumps every time. Alex's solo is amazing, and pretty damn fast as well. Burnt Offerings has a very peaceful and soft intro, and Alex does some emotional guitar playing. But pretty soon the song picks up and turns into a killer metal tune. The singing and the riffs are both quite catchy and Louie's drumming is pretty good on here. Chuck's shrieks on this one are particularly sickening. Raging Waters is a mean metal song with ass-kicking riffs. Alex and Eric are both riff-masters by the way. Chuck sings the verses fast (How does he keep his breath?) and the chorus in a melodic voice. He even gives us some low growls towards the end, hinting at his later style of singing. That is one of the many things I like about Chuck, he can sing in a low voice, a high voice, a melodic voice, you name it. Alex gives us another wild and fast guitar solo as well. Do or Die immediately grabs you with heavy riffs and stellar drum work. The chorus to this song is one of the catchiest choruses on the album, it may not sound like it fits, but you have to hear it because it really does work! Gotta love that shriek of "HELL IS THE PLACE YOU'LL GO!" Now that is a metal shriek, folks! Alex tops it all of with a good solo.

Alone in the Dark starts with melodic guitar playing, which soon gets heavier. The chorus is on here is really melodic and nicely sung by Chuck, it doesn't even sound like him! If you have any doubts that he can sing, then check that chorus out! Speaking of melody, you gotta hear Alex's solo. It is wondefully done and very brilliant. Even the riffs have a bit of melody in there! C.O.T.L.O.D. is a killer speed metal song, perfect for mosh pits. Alex and Eric's riffs will beat you senseless right from the start. Louie's drumming on here is some of his best on the album, fast and crushing! I love those gang vocals of "Provoke the dead!" towards the end, and Chuck's laugh is great too. Nice little solo in there too! First Strike is Deadly has a creepy intro, but it soon turns into some awesome heavy metal! Louie is all over the drums, and the riffs on this song are metal through and through. Chuck's screams are some of best here, especailly when he goes "FIRST STRIKE IS DEADLY!" that always makes my hairs stand on end. This fantastic album ends with a fantastic closer: Apocalyptic City. It has a beautiful intro with great guitar work, but soon morphs some more kick-ass metal. "Burn! Feel no shame or pity/Burn! Apocalyptic City." How can you not love those lyrics? Alex's solo is his best on the album. No contest at all. The melody is simply outstanding, you may find yourself rewinding the song just to hear that solo over and over again. Chuck gives one last shriek at the end, and it brings the album to a memorable close.

By 1987, there were many thrash bands, but I think Testament stands above many of them. Their riffs are brutal, yet catchy in a way. And I mentioned before how talented of a vocalist Chuck is. And having Alex Skolnick in your band doesn't hurt either! Trust me, if you haven't heard this guy before, then all of the praise he gets is deserved! He is not overrated in any way, his solos put him in a league of his own. This is not mainstream music, this is a raw and dirty piece of thrash metal. And if you like that mean sound in thrash (and why the hell wouldn't you?) then get The Legacy as soon as you can!

Average customer rating:

A "Die Walkure" for the AGES from a "RING for the AGES"
A Memorable Performance!
Nostalgic Pleasure
AN EPIC RING - PART II
I'm Overwhelmed!

Wagner: Die Walküre

Manufacturer: Testament UK
ProductGroup: Music
Binding: Audio CD

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

Classical | Imports | Stores | Music

Opera & Vocal | Imports | Stores | 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

Opera & Vocal | Classical Music Blowout | Stores | Music
Similar Items:

Wagner: Siegfried
Wagner: Das Rheingold
Wagner: Götterdämmerung
Wagner: Der Fliegende Holländer
Peter Lieberson: Neruda Songs

ASIN: B000FILUMY
Release Date: 2006-06-13

Tracks:

Die Walkure: Prelude (Vorspiel) (Act One)
Wes Herd dies auch sei (Act One, Scene One)
Kuhlende Labung gab mir
Mud am Herd fand ich den Mann (Act One, Scene Two)
Friedmund darf ich nicht heissen
Aus dem Wald trieb es mich fort
Ich weiss ein wildes Geschlect (Hunding)
Ein Schwert werhiess mir der Vater (Siegmund) (Act One, Scene Three)
Schlafst du, Gast? (Sieglinde/Siegmund)
Wintersturme wichen dem wonnermond (Siegmund)
Du bist der Lenz
Wehwalt heisst du furwahr? (Sielinde/Siegmund)

Tracks:

Prelude (Vorspiel) (Act Two)
Nun zaume dein Ross (Wotan/Brunnhilde) (Act Two , Scene One)
Der alte Sturm (Wotan/Frica)
So ist es denn aus mit den weigen Gottern (Frica)
Nichts lerntest du
Was verlangst du? (Wotan/Fricka/Brunnhilde)
Schlimm, furcht' ich, schloss der Streit (Brunnhilde/Wotan) (Act Two, Scene Two)
Was keinem in Worten ich kunde
Ein andres ist's (Wotan/Brunnhilde)
O sag/, kunde (Brunnhilde/Wotan)
Raste nun hier (Act Two, Scene Three)
Hinweg! Hinweg ! (Siegmund/Sieglinde)

Tracks:

Siegmund ! Sieh' auf mich! (Act Two, Scene Four)
Hehr bist du, und heilig gewaht'ich
So wenig achtest du ewige Wonne? (Brunnhilde/Siegmund)
Zauberfest bezahmt ein Schlaf(Siegmund)(Act Two, Scene Five)
Kehrte der Vater nur heim ! (Sieglinde/Hunding/Siegmund/Brunnhilde/Wotan)

Tracks:

Prelude - Hojotoho! Hojotoho! (Die acht Walkuren)
Schuzt mich und helft (Brunnhilde/Die acht Walkuren) (Act Three, Scene One)
Nicht sehre dich Sorge um mich (Sieglinde/Brunnhilde/Waltraute/ortlinde/Die acht Walkuren
Steh, Brunnhild'! (Wotan/Die acht Walkuren/Brunnhilde)
Wo is Brunnhild' (Wotan/Die acht Walkuren) (Act Three, Scene Two)
Hier bin ich, Vater (Brunnhilde/Wotan)
Wehe ! Weh'! Schwester (Die acht Walkuren/Brunnhilde/Wotan)
War es so schmahlich (Act Three, Scene Three)
Nicht weise bin ich
So tatest du
Du zeugtest ein edles Geschlect (Brunnhilde/Wotan)
Leb wohl, du kuhnes, herrliches Kind !
Denn einer nur freie die Braut
Loge, hor! Lausche hieher ! (Wotan)

Amazon.com

"Best" is an overused word, and particularly difficult to apply to performances of operas as huge and multifaceted as Wagner's. There are now dozens of Walküres available on CD, and most have much to recommend them. This one, part of a live Bayreuth Ring recorded in real stereo by the Decca recording crew in 1955 but never before released, is just about ideal: all of the singers, absolute golden-age-of-Wagner-singing performers, are in their prime. Ramon Vinay's baritonal Siegmend is both powerful and sympathetic; Gré Brouwenstijn's Sieglinde is wonderfully womanly, though occasionally troubled by a prominent vibrato; Josef Greindl's Hunding is a character to fear. Hans Hotter's Wotan is flawless---his sadness and tenderness are as vividly expressed as his rage and, thanks to the always- alert and dramatically intelligent leadership of Joseph Keilberth, his confrontation with the imperious Fricka of Georgine von Milinkovic has the ring of absolute honesty. Astrid Varnay's Brünnhilde is here caught at its best--utterly secure at all registers, girlish and impetuous but loving, a true powerhouse. The Valkyries are a noisy but accurate bunch. The Bayreuth Orchestra plays as if possessed---the trilling flutes in the "Ride," wonderfully captured by the engineers, add to the thrill. The "best"? Well, absolutely remarkable. --Robert Levine

Customer Reviews:

A "Die Walkure" for the AGES from a "RING for the AGES".......2007-06-19

This recording of Wagner's "Die Walkure" recorded live at Bayreuth in 1955 is a TRUE masterpiece, a testament to the heights that can be reached when "everyone works together" for the sake of the "art" itself, not self-aggrandisement (which we have today, generally). Every aspect of this recording pales every other! It immediately, and solidly, goes to the top of the list of "Die Walkure" choices on disc (possible exception: Leinsdorf/Nilsson/Vickers). As do the remaining three operas, also recorded at the same time, by the same cast, that make up the "Ring".

Going back over the decades of my life, I remember when you only had one choice for a "Ring"...Solti/Decca, and that was it.

Then, there came the von Karajan, and then the Bohm/Bayreuth. Then, there seemed to be a mini-explosion of "Rings" over the following years, so many that it became/becomes staggering to think about!

Two statements:
1) If you are NEW to Wagner's "Ring" do not become confused with all the choices out there. There are really only two live recordings you need consider...the Krauss/Bayreuth, and this one, Keilberth/Bayreuth, and one studio recording to think about, the Solti/Decca set. You may think this excessive, but you NEED all three of these recordings. Period.
2) If you are FAMILIAR with Wagner's "Ring", then, assumably, you want the Best recording of it. I will assume you already have the Solti set, as most people do. The Krauss set you may or may not have. It is a stunner. And, now, the Keilberth....the most awesome recording, in many ways, you will ever experience.

Think: 1955, live, Bayreuth, the Best Wagnerians of their age, assembled together at the behest of Wagner's grandsons, in Wagner's theater, and the best part....recorded in STEREO! By Decca, of all people, before the Solti studio Ring was ever thought about! Why Decca sat on these magnificent recordings just blows my mind.

Luckily for us, Testament acquired the rights to release these timeless recordings, and we now, after 52 years, can marvel at and enjoy these magnificent performances of four of the greatest musical masterpieces ever written, combining to make up the most monumental work ever written for the stage! Enjoy this (set) of Masterpiece Recordings! ~operabruin

A Memorable Performance!.......2007-02-05

Rarely does a release live up to its hype, but the Testament release of the 1955 Ring from Bayreuth is one that does. This CD is jam-packed with incredible performances from one of the best casts assembled in the post-war era. Ramon Vinay gives a magnificent performance as Siegmund--and I really like his rich baritonal timbre. (In fact, he began and ended his career as a baritone.) He sings with intelligence, sensitivity and passion. Gre Brouwenstijn gives an surprisingly (for her) ardent account of Sieglinde and Josef Griendl is a wonderfully malevolent Hunding.
The two stars of the show are clearly Hans Hotter as Wotan and Astrid Varnay as Brunnehilde. Hotter was probably the leading heldenbaritone of the 20th century, and there really is no one better as Wotan. Others may have richer and fuller voices, but few are as good singing actors as was Hotter. Varnay is a revelation. If Birgit Nilsson was said to have a voice like burnished steel, Varnay, (who was one of Nillson's closest friends in the business), has a darker, richer instrument that gives her portrayal more "humanity", if one can use that word about a god's daughter! (She's also incredible on the "Siegfried" CD and don't miss her Tristan und Isolde with Ramon Vinay.) Known to many of my generation only through her later "character" mezzo roles, she is enjoying a renaissance now through these incredible releases from the mid-50s, the height of her career.
Joseph Keilberth conducts with drive and energy, and he gets ample support from the Bayreuth orchestra. The sound quality is remarkable for that time, (and in stereo, no less), and although the price is a bit steep, if one buys it from one of the dealers that sell on Amazon one can save quite a bit.
It may not be the "best" Ring cycle, but it's right up there and a wonderful opportunity to hear some of the last 50 years' top Wagnerian artists in their prime.

Nostalgic Pleasure.......2007-01-21

It is almost a dream come true. Imagine Krauss' or Kna in stereo sound, the celebrated 53 or 56 versions, Imagine Solti but the singers all in their prime, especially Hotter. This is a dream come true. And to make things even better, everyone seems to be singing and playing their heart out. I have to admit, Krauss is a great interpreter orchestrally, as is Solti, but in terms of singing, this goes to the top of my list and I must say overalll is now at the top. Along with Siegfried, which is even better than this, this should be the greatest ring ever released, either in stereo or not. Though only issue is the price, which is absurd, how could they charge 100 dollars for three opera and 46 for a preliminary evening, that is 346 for the entire cycle which is just about out of everyone's price range-especially when you can now get Krauss at 45, Solti at 150, etc, etc, it is a hard sell to convince someone that it is that much better. I cant say it is 200 dollars better than Solti and it is not 300 better than Krauss---but for those, like me, always searching for something new in the ring, this is like discovering the holy grail.

AN EPIC RING - PART II.......2007-01-10

This WALKURE is a must just to hear Hans Hotter and Astrid Varnay in their prime and in very good early stereo. In the Solti WALKURE one must admit Hotter was past his prime. I love his sound as Wotan and especially his attention to musical as well as textual details. HE IS WOTAN and at his peak and prime here. Astrid Varnay is right there with him all the way. They make Acts Two and Three so very special and sublime. Varnay to my ears is an ideal Brunnhilde sound. In my humble opinion she is second to only Helen Traubel as a beautiful sounding and singing Brunnhilde. The rest of the cast is right there with these two TITANS. Only, Gre Brouwenstijn, the Sieglinde with her tight vibrato could be bettered. There are several other stronger Sieglindes then her (i.e. Nilsson, Crespin, Borkh, Rysanek to name a few.) Some others have expressed a little concern over the conducting. After a second and third listening I don't wholeheartedly agree. When he has to Keilberth turns up the tension especially in Acts II and III. I look forward to Gotterdammerung and Varnay's Brunnhilde.

I'm Overwhelmed!.......2006-12-22

A few days after purchasing the great "Rheingold" in this series, I bought this Walkure. I am so glad that I did! I must have been listening to this opera for over 44 years,but I have never heard a better one, perhaps not even one as good as this. Keilberth continues his glorious conducting that began in "Rheingold", sensitive at every point, energetic but always inward-looking,capturing the mystery as well as the high emotion of the score. His First Act Prelude, for example, is paced at exactly the right tempo to suggest a raging thunderstorm. The whole act is shrouded in darkness,only to have light intrude when Nothung becomes visible to Siegmund. The great Wotan monologue in Act 2 is so suspenseful that I doubt that anyone could call this section of the opera dull; on the contrary, as in any good "Walkure", this should emerge as the turning point of the whole drama, which it does here. Wotan's Farewell and the Magic Fire Music never were more deeply moving than here. Vinay's Siegmund is simply glorious, a real Heldentenor voice, sensitively sung. Brouwenstijn's Sieglinde sounds a bit like Lotte Lehmann's in its intensity. Greindl's Hunding is not just menacing,he's outright dangerous! A primitive man who could erupt in physical violence at any moment! I look forward to his Hagen. Milinkovic's Fricka is divinely outraged here, as in "Rheingold", the Valkyries are not only exhuberant,but superbly disciplined. But even above this high level lie the real stars, Varnay's Brunnhilde and Hotter's Wotan. Varnay is at her most brilliant and secure self here, and Hotter ranges from deep despair to uncontrollable wrath, with the most secure singing ever heard from him during this period of his career. The recorded sound is as superb as in the "Rheingold", but there are two instances of pitch fluctuation (end of Act 1 and in Act 3, at Wotan's (In festem Schlaf"). Curiously, Varnay's "Soll fessendem Schlaf" loses the stereo effect and is heard in mono, but quickly reverts to stereo at the beginning of the Farewell. I suppose those were to be expected in an early, live stereo recording. For me,these are minor caveats. No doubt about it, this is THE Walkure and bodes the same for this Ring as a whole. Forget the expense and just get it! I can hardly wait for the rest!
I'd like to add a few words about Astrid Varnay's performance. She delivers the most spellbinding "Todesverkuendigung" Scene ever. She begins absolutely majestically and implacably, stern and impersonal in her delivery of Siegmund's fate, then gradually undergoes the most convincing transformation to a compassionate and ultimately rebellious daughter that I have ever experienced. The same goes for Hotter, turning from optimism over his plan succeeding to utter dismay and finally despair when Fricka pulls out the rug from under him. I cannot fathom the sheer stupidity of John Culshaw in vetoing the issue of this Ring.

Strauss: Four Last Songs; Wagner" Excerpts from Tristan und Isolde & Götterdämmerung

Average customer rating:

Strauss: Four Last Songs; Wagner" Excerpts from Tristan und Isolde & Götterdämmerung

Manufacturer: Testament UK
ProductGroup: Music
Binding: Audio CD

General | Symphonies | 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

Classical | Imports | Stores | Music
Similar Items:

Richard Strauss: Four Last Songs
Songs by Mahler, Handel & Peter Lieberson
Peter Lieberson: Neruda Songs
La Nilsson: My Life in Opera
Bellini - Norma

ASIN: B000O59Z0C
Release Date: 2007-06-12

Tracks:

I. Beim Schlafengehen
II. September
III. Fruhling
IV. Im Abendrot
Prelude
Mild Und Leise Wie Er Lachelt
Dawn And Siegfried's Rhine Journey
Starke Scheite Schichtet Mir Dort

Average customer rating:

A "GOTTERDAMMERUNG" and a "RING" for the AGES!
Full Circle
Which Gotterdammerung to buy, Keilberth or Solti?
FINE ENDING TO A GOOD RING
The Climax of the Definitive Ring

Wagner: Götterdämmerung

Manufacturer: Testament UK
ProductGroup: Music
Binding: Audio CD

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

Classical | Imports | Stores | Music

Opera & Vocal | Imports | Stores | Music
Similar Items:

Wagner: Das Rheingold
Wagner: Siegfried
Wagner: Die Walküre
Wagner: Der Fliegende Holländer
Wagner - Gotterdammerung

ASIN: B000J20D6K
Release Date: 2007-02-13

Tracks:

Prelude (orchestra) PROLOGUE
Welch' Licht leuchtet dort?
Dammert der Tag? (Drei Nornen)
Dawn/Tagesgrauen/Lever du jour (Orchestra)
Zu neuen Taten, teurer Helde (Brunnhilde)
Mehr gabst du, Wunderfrau (Siegfried/Brunnhilde)
O heilige Gotter (Brunnhilde/Siegfried)
Siegfried's Rhine Journey (Orchestra)
Nun hor, Hagen (Gunther/Hagen) ACT ONE, scene one
En Weib weiss ich (Hagen/Gunther/Gutrune)
Vom Rhein her tont das Horn (Gunther/Hagen/Siegfried) scene two Heil! Siegfried, teurer Heldi!
Wer ist Gibichs Sohn? (Siegfried/Gunther/Hagen)
Bergrusse froh, o Held (Gunther/Siegfried/Hagen/Gutrune)
Vergass' ich alles (Siegfried)

Tracks:

Gunther, wie heisst deine Schwester?
Bluhenden Lebens labendes Blut (Siegfried/Gunther)
Was nahmst du am Eide nicht teil? (Siegfried/Hagen/Gunther/Gutrune)
Hier sitz' ich zur Wacht (Hagen) scene three
Altgewohntes Gerausch (Brunnhilde/Waltraute)
Hore mit Sinn, was ich dir sage !(Waltraute)
Welch banger Traume Maren (Brunnhilde/Waltraute)
Blitzend Gewolk (Brunnhilde)
Brunnhild'1 Ein Freier kam (Siegfried/Brunnhilde)
Jetzt bist du mein (Siegfried/Brunnhilde)

Tracks:

Prelude (orchestra) ACT TWO, scene one
Schlafst du, Hagen, mein Sohn? (Alberich/Hagen) scene two
Hoiho, Hagen ! (Siegfried/hagen/Gutrune) scene three
Hoiho! Hoihohoho!
Rustet euch wohl (Hagen/choir)
Gross Gluck und Heil (Choir/Hagen) scene four
Heil dir, Gunther! (Choir)
Brunnhild', die hehrste Frau (Gunther/Choir)
Gegrusst sei, teurer Held (Gunther/Choir/Siegfried/Brunnhilde/Hagen)
Einen Ring sah ich an deiner Hand (Brunnhilde/Siegfried/Gunther/Hagen)
Betrug! Betrug! (Brunnhilde/Gutrune/Choir/Gunther/Siegfried)
Helle Wehr! Heilige Waffe!(Siegfried/Brunnhilde/Choir)
Glaub', mehr zurnt es mich als dich (Siegfried) scene five
Welches Unholds List (Brunnhilde)
Vertraue mir, betrogne Frau! (Hagen/Brunnhilde)
Auf, Gunther, edler Gibichung! (Hagen/Gunther/Brunnhilde)
So soll es sein! (Gunther/Brunnhilde/Hagen)

Tracks:

Prelude (Orchestra) ACT THREE, scene one
Frau Sonne sendet lichte Strahlen (Woglinde/Wellgunde/Flosshilde)
Eine Albe fuhrte mich irr (Siegfried)
Siegfried !
Ein goldner Ring ragt dir am Finger!
Behalt ihn, Held
Weialala leia (Flosshilde/Wellgunde/Wogline/Siegfried) scene two
Hoiho! (Hagen/Choir/Siegfried)
Trink, Gunther, trink! (Siegfried/Gunther/hagen)
Mime hiess ein murrischer Zwerg (Siegfried/Hagen/Choir)
In Leid zu dem Wipfel (Siegfried/Hagen)
Was hor' ich? (Gunther/Hagen/Choir)
Brunnhilde, heilige Braut! (Siegfried)
Funeral March (Orchestra) scene three
War das sein Horn? (Gutrune)
Hoiho! Hoiho!
Siegfried - Siegfried ershlagen!(Gutrune/Gunther/Hagen)
Schweight eures Jammers jauchzenden Schwall (Brunnhilde/Gutrune)
Starke Scheite schichtet mir dort
Wie Sonne lauter strahlt mir sein Licht
O ihr, der Eide ewige Huter!
Mein Erbe nun nehm/ ich zu eigen
Fliegt heim, ihr Raben!
Grane, mein Ross, sei mir gegrusst! (Brunnhilde)

Amazon.com

Testament's 1955 Bayreuth Festival Götterdämmerung completes their release of that extraordinary Ring cycle. As in the previous operas of the tetralogy, this Götterdämmerung scores on several counts. As part of the first Ring cycle to be recorded in true stereo it has important historical interest. As an example of Joseph Keilberth's revelatory conducting, it reminds us that he was a great Wagnerian. His control of the dramatic narrative is superb, with tempos that were considered fast for his time but now are convincingly apt. And as an example of great Wagner singing, it's nothing less than spectacular. Astrid Varnay is a magnificent Brünnhilde, singing with passion, her big dramatic soprano soaring over the orchestra in the Immolation Scene. Windgassen was the Siegfried of choice in the 1950s, and he fits the bill with his virile tenor and characterization. In Joseph Greindl, Keilberth had a black-voiced Hagen who conveyed real menace.

The rest of the large cast is as close to flawless as we have a right to expect, with perhaps the best Gunther (Hermann Uhde) and Alberich (Gustav Neidlinger) on disc, and in Maria von Ilosvay, a Waltraute who is gripping in her long scene with Brünnhilde. The singers are as strong in the last act as they are in the first, remarkable for this long opera. The orchestra is uniformly excellent and the sonics, if not up to today's state-of-the-art engineering, are natural, accurately depicting the voices and projecting a good sense of space and stage spread. This is a unique Götterdämmerung (and Ring cycle), with an unbeatable combination of great performance and decent stereo sound. --Dan Davis

Album Description

The is the fourth and final release of the first stereo recording of Wagner's Ring Cycle, Gotterdammerung recorded during the 1955 Bayreuth Festival and featuring Astrid Varnay, with Joseph Keilberth, conductor.

Customer Reviews:

A "GOTTERDAMMERUNG" and a "RING" for the AGES!.......2007-06-19

This recording of Wagner's "Die Gotterdammerung" recorded live at Bayreuth in 1955 is a TRUE masterpiece, a testament to the heights that can be reached when "everyone works together" for the sake of the "art" itself, not self-aggrandisement (which we have today, generally). Every aspect of this recording pales every other! It immediately, and solidly, goes to the top of the list of "Die Gotterdammerung" choices on disc. As do the remaining three operas, also recorded at the same time, by the same cast, that make up the "Ring".

Going back over the decades of my life, I remember when you only had one choice for a "Ring"...Solti/Decca, and that was it.

Then, there came the von Karajan, and then the Bohm/Bayreuth. Then, there seemed to be a mini-explosion of "Rings" over the following years, so many that it became/becomes staggering to think about!

Two statements:
1) If you are NEW to Wagner's "Ring" do not become confused with all the choices out there. There are really only two live recordings you need consider...the Krauss/Bayreuth, and this one, Keilberth/Bayreuth, and one studio recording to think about, the Solti/Decca set. You may think this excessive, but you NEED all three of these recordings. Period.
2) If you are FAMILIAR with Wagner's "Ring", then, assumably, you want the Best recording of it. I will assume you already have the Solti set, as most people do. The Krauss set you may or may not have. It is a stunner. And, now, the Keilberth....the most awesome recording, in many ways, you will ever experience.

Think: 1955, live, Bayreuth, the Best Wagnerians of their age, assembled together at the behest of Wagner's grandsons, in Wagner's theater, and the best part....recorded in STEREO! By Decca, of all people, before the Solti studio Ring was ever thought about! Why Decca sat on these magnificent recordings just blows my mind.

Luckily for us, Testament acquired the rights to release these timeless recordings, and we now, after 52 years, can marvel at and enjoy these magnificent performances of four of the greatest musical masterpieces ever written, combining to make up the most monumental work ever written for the stage! Enjoy this (set) of Masterpiece Recordings! ~operabruin

Full Circle.......2007-05-09

The 1955 Bayreuth Ring comes full circle with this excellent GOTTERDAMMERUNG. The cycle is a superb example of music drama at its finest, with golden-age performances caught live, in sound equal to the best of its day. We hear a truly stellar cast, in their prime, with several seasons of RING performances behind them. The conductor, Joseph Keilberth, had been conducting at Bayreuth since the 1952 RING. He knew the house well, and all the singers.

I would not want to be without the Clemens Krauss RING of 1953, another great cycle from Bayreuth, but the quality of sound, good as it is, cannot match the 1955 cycle, concluded with this recording. The only real problem the Decca team encountered was with the 'infernal' smoke and fire machine that runs through the Nibelheim scene of DAS RHEINGOLD.

There is no such technical problem with GOTTERDAMMERUNG. This, and its companion dramas of the Cycle, surely must be the benchmark in terms of cast, sound quality, conducting, and orchestral execution. It may be outpointed in certain areas, but overall this GOTTERDAMMERUNG completes a RING that ought to be the first choice, if cost is not an issue.

It is expensive. The cost for the vinyl version is staggering, though I suppose purists will insist on having that incarnation. I am very happy with the CDs, which I purchased one set at a time as they emerged. It took a while, but the wait has been worth it.

Which Gotterdammerung to buy, Keilberth or Solti?.......2007-04-21

I was prepared not to find this Gotterdammerung superior to, or even equal to, the receding Siegfried, but one listening tells me that all is well. Whereas there are few impressive sets of Siegfried on disc, Solti's Gotterdammerung is one of the recordings of the century (I believe I read one poll where it was voted THE recording of the century). Yet for overall dramatic effect, Keliberth also leads an inspiring performance. Since Testament is asking a dear price for this historic set, it might be worthwhile to compare the two rivals.

Solti: The overwhelming element here has always been the Vienna Phil, recorded in sumptuous grandeur by Decca. For sweep and epic proportion, no one has ever come close to matching them. The next freat thrill comes from Nilsson, a Brunnhilde of incomparable power and gleaming penetration. Solti gives us his best effort in Wanger, and among the supporting roles Christa Ludwig (Waltraute), Gunter (Fischer-Dieskau), Alberich (Neidlinger) and Hagen (Frick) cannot be faulted. Windgassen's voice had become worn and leathery over the years, and his Siegfried, although highly experiened and musical, isn't a pleasure to listen to for beauty of voice or youthfulness. (It sounds considerably more taxed in the live Bayreuth set under Bohm on Philips.)

It must be remembered that the stereo era hadn't seen a complete Gotterdammerung before this pioneering effort, which stunned the classical music world in the early Sixties. After four decades, it remains undiminished and sells for reduced price is various reissues. ONe should seek out the latest remastering since the original ADRM version from the early Eighties sounds thin and shrill compared to the original LPs.

Keilberth: Decca also recorded this 1955 live Gotterdammerung, which would be the standard to this day if they hadn't rejected it and moved on to record Solti seven years later. The decision made sense at the time. Although the sonics are fine for a live performance, we hear considerable audience noise and the occasional fluff in the orchestra, which in any event isn't the equal of the Vienna Phil. by a long stretch. Keilberth does one of his best jobs coducting, but he is proficient rather than inspired. I like the opening of the opera, which he keeps from dawdling, but at times Keilberth is too anxious to move forward, and the great set pieces of the Rhine Journey, Funeral March, and Immolation Scene lack the grandeur of studio recordings.

In the cast the standout is Astrid Varnay as Brunnhilde, who sings with passion and commitment, and whose voice is heroic and gleaming enough to encompass the role (she doesn't get tired by the end but is even ore resplendent in the Immolation Scene). Windgassen is nearly as good--he and Varnay were frequently paird and had made DG duet recordings of Wagner). HIs voice is fresh, and he shows stamina during the Act 1 love duet. In the end he was an almost-Heldentenor, but we haven't seen his like as Siegfried since, so I can't complain. The supporting cast is nearly as strong as for Solti, with Neidlinger repeating his signature Alberich. Decca's microhones capture the voices onstage quite realistically and with minimal fade-out due to stage movements.

Overall, Keilberth's interpreatation goes for momentum and propulsion, which is fine in such a long evening, while Solti gives us richness, epic sweep, and the incomparable beauty of the VPO. I am not aobut to make recommendations between the two sets. Many of us who love Gotterdammerung have owned the Solti forever, so it's wonderful to get a second bite of the apple. We'll own both and be greateful.

FINE ENDING TO A GOOD RING.......2007-02-23

I have been more critical than most of the other parts of this Ring Cycle, frequently lauded by others not just as the first stereo Ring, but as the Ring to have over all the rest. To be fair, all 4 parts offer performances that would have been thrilling to have experienced in the theatre, certainly compared to anything you're likely to hear anywhere in the world these days. Standards in Bayreuth in the years following the reopening of the Festival in 1951 and throughout the 50's were impressively and consistently high. But there's the rub. From this one opera house and in that one decade alone there is a range of alternative performances of the Ring, often with a very similar cast, many of which can lay claim to match or even surpass this one, depending on your taste in performance style for this monumental work. Certainly Clemens Krauss from the year before Keilberth is for many people including myself the most satisfying performance of any. Knappertsbusch a couple of years later is patchy but, when he finds his focus, overwhelming - his is a Ring on the grandest scale. These were all in Wieland Wagner's groundbreaking, almost minimalist production from the reopening year of the Festival. Kempe in 1960 (in Wolfgang's first deconstructed dish production) is at the opposite end of the scale; more intimate, more subtle, very much alive to the ebb and flow of the entire cycle. Bohm a few years after that in Wieland's second, much more claustrophobic and primitive production is again a first choice Ring for many connoisseurs, intensely theatrical and with a cast similar to that of Solti's spectacular studio performances, here excelling themselves in live performances. Beyond that, you have Boulez, blowing some fresh air into the textures, cleaning the patina of age off the picture, but less than profound in the great moments, and Barenboim, following in the footsteps of his idol, Furtwangler, in his flexible approach to tempi, but not quite matching his broad architectural control. Neither has a cast to approach those of the 50's.

Having said all that, I must admit that this Gotterdammerung is the finest part of Keilberth's cycle. The urgency of his conducting carries the narrative along on a wave of inevitability to its tragic (if, indeed, it can be called tragic) and glorious end. This works to best effect in the taut, urgent and intense arch of Act 2. In the grandest moments of Act 3, however, you may feel something more is needed. For a Funeral March and an Immolation that carry the full grandeur and weight of the destruction of a whole civilisation (which is what they ultimately are), perhaps you need to turn to Kna, to Goodall or to Furtwangler.

The singers throughout the lifespan of this first Wieland Wagner production were remarkably consistent and uniformly of a far higher standard than we are forced to accept these days. Varnay never sang with less than 100% commitment, here more than ever. Hers is a white-hot performance: the voice has more warmth and darkness (if that's not oxymoronic) than a Nilsson, less mumsiness than a Flagstad and she uses it with bold abandon in the Dawn Duet and the Oathtaking of Act 2. Windgassen is truly a youthful hero (compared to his outings for Solti and Bohm) and brings real poetry to the Narration and Death. I'm inclined to think Neidlinger the definitive Alberich and here, as throughout the cycle, he gives his definitive performance. Uhde, too, is near enough the definitive Gunther, but his performance for Knappertsbusch in '51 perhaps shades this one for penetrating depth of characterisation. I've always found Greindl's voice a bit unattractive compared to the rich blackness of a Frick or an Andresen, but it certainly has the size to dominate a Wagnerian orchestra in full cry in his summoning of the vassals. Rhinemaidens, Norns and a superb Pitz-trained chorus are all worthy of their colleagues.

This is undoubtedly a very fine performance, one that does not deserve to have lain gathering dust on the shelves for so long. The finest Ring on disc, though? For my money that accolade would go to Krauss or, in Gotterdammerung alone, Knappertsbusch in 1951 - a concentrated, intense and profoundly moving performance on the grandest scale. The sound on these new `First Ever Stereo' recordings is good, too, giving an excellent impression of the unique Bayreuth acoustic, but Culshaw and Solti in Vienna are undeniably in a different class. To sum up, this is a Gotterdammerung well worth hearing, owning even, alongside other Bayreuth versions. But to say it sweeps all before it is perhaps overstating the case.

The Climax of the Definitive Ring.......2007-02-16

After having bought Rheingold, Walkure and Siegfried, I had high hopes for this last Ring opera. If anything, they were surpassed. Conductor Keilberth reveals a mastery of this richest and most complex of Ring scores in a way that boggles the mind. Every bit of pacing and phrasing is simply perfect, and it fits together so well that singling out examples won't do it justice. This is a true symphonic entity. anyone who thinks that Gotterdammerung is an overlong opera should listen to the concentration and intensity of Keilberth's interpretation. As for the cast, they really outdo themselves. Windgassen's Siegfried is if anything more secure and heroic than in Siegfried, and his Narration and Death are heartbreaking. Uhde's Gunther is perfect in its blend of heroism and cowardice. Brouwenstyn's Gutrune is perfect as an innocent seductress, von Illosvay's Waltraute is very urgent and really convincing, and Greindl's Hagen is perhaps the most polished and malevolent on recording. Neidlinger remains the classic Alberich, better than on another other cycle, because his portryal is multidimensional, embittered and downtrodden as well as spiteful. As for Varnay's Brunnhilde, well, she is the best, period! Vocally, she combines Flagstad's warmth with Nilsson's high notes, and goes through the metamorphoses of ardent lover to vengeful harpie to transfigured and resigned figure of wisdom more convincingly than any other. The sheer strength that she musters in the Immolation has to be heard to be believed. There is no question about it: GET THIS RING CYCLE AND LISTEN! BAYREUTH RULES FOREVER!
I would like to clarify something here. I fully appreciate other ring recordings in existence. I would never want to be without the Kempe or Krauss Bayreuth Rings, or the great 1951 Knappertsbusch Gotterdammerung. Each has something to contribute to our knowledge and appreciation of this, one of the greatest works of western art. But again, I must say that if I prefer this Keilberth Ring above others, it is merely because this is one Ring in which everything has gone right and fits so perfectly together. Plus, Keilberth seems to unite all the best qualities of the aforementioned conductors and makes this such a compelling experience for this listener. As for the recorded sound, I do not agree that it is behind in quality to the Solti/Decca. Wagner intended for there to be a BALANCE between singer and orchestra, not a predominance of orchestra over singer, something that happens in the Solti at times. This is not to belittle that achievement, but rather, that to my mind and ears, this is more what the composer wanted us to hear. The contrapuntal yextures are simply clearet in this recording; the Rhine Journey could almost be a Bach Brandenburg Concerto! REAL power comes from clarity, subtlety, light and shade, and tension, rather than from sheer muscle and brute force. I feel that Keilberth, like Krauss, Kempe and (at times) Knappertsbusch, offers us these qualities in greater portions than does Solti (again, not to in any way belittle his great concept). It is fortunate that, as I had said in the Rheingold review, there is a richness of great Ring recordings to offer us thought.

Average customer rating:

A "SIEGFRIED" for the AGES from a "RING for the AGES"
Part 3 of the Definitive Ring
None Better!
AN EPIC RING - PART III
Excellent Work - Limited Appeal

Wagner: Siegfried

Manufacturer: Testament UK
ProductGroup: Music
Binding: Audio CD

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

Classical | Imports | Stores | Music

Opera & Vocal | Imports | Stores | 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

Opera & Vocal | Classical Music Blowout | Stores | Music
Similar Items:

Wagner: Die Walküre
Wagner: Das Rheingold
Wagner: Götterdämmerung
Wagner: Der Fliegende Holländer
Peter Lieberson: Neruda Songs

ASIN: B000E4FI54
Release Date: 2006-04-11

Amazon.com

This live-from-Bayreuth 1955 Siegfried, in stereo, was professionally recorded by Decca's engineers as part of what was to be the first full Ring Cycle on records. Contractual disputes and producer John Culshaw's desire to produce an "ideal" Ring in the studio killed the release of this Ring, and the tapes were locked away in some dark chamber until now. The result is breathtaking: Hotter, Windgassen (playing his first Siegfried), Neidlinger (as Alberich), and Varnay at their best, with Joseph Keilberth at the helm. Keilberth was not one for "interpretation" or anything other than telling a good story with drama, fine pacing, and musical accuracy. His tempi are invariably quick without ever being rushed, and he has some of Böhm's intensity, some of Solti's visceral excitement, and some of Furtwängler's grandeur, while at the same time presenting a Siegfried that is very much its own. I'm not certain that this is the "best" performance of this opera, but if it were the only one you owned, it would be enough. --Robert Levine

Customer Reviews:

A "SIEGFRIED" for the AGES from a "RING for the AGES".......2007-06-20

This recording of Wagner's "SIEGFRIED" recorded live at Bayreuth in 1955 is a TRUE masterpiece, a testament to the heights that can be reached when "everyone works together" for the sake of the "art" itself, not self-aggrandisement (which we have today, generally). Every aspect of this recording pales every other! It immediately, and solidly, goes to the top of the list of "SIEGFRIED" choices on disc. As do the remaining three operas, also recorded at the same time, by the same cast, that make up the "Ring".

Going back over the decades of my life, I remember when you only had one choice for a "Ring"...Solti/Decca, and that was it.

Then, there came the von Karajan, and then the Bohm/Bayreuth. Then, there seemed to be a mini-explosion of "Rings" over the following years, so many that it became/becomes staggering to think about!

Two statements:
1) If you are NEW to Wagner's "Ring" do not become confused with all the choices out there. There are really only two live recordings you need consider...the Krauss/Bayreuth, and this one, Keilberth/Bayreuth, and one studio recording to think about, the Solti/Decca set. You may think this excessive, but you NEED all three of these recordings. Period.
2) If you are FAMILIAR with Wagner's "Ring", then, assumably, you want the Best recording of it. I will assume you already have the Solti set, as most people do. The Krauss set you may or may not have. It is a stunner. And, now, the Keilberth....the most awesome recording, in many ways, you will ever experience.

Think: 1955, live, Bayreuth, the Best Wagnerians of their age, assembled together at the behest of Wagner's grandsons, in Wagner's theater, and the best part....recorded in STEREO! By Decca, of all people, before the Solti studio Ring was ever thought about! Why Decca sat on these magnificent recordings just blows my mind.

Luckily for us, Testament acquired the rights to release these timeless recordings, and we now, after 52 years, can marvel at and enjoy these magnificent performances of four of the greatest musical masterpieces ever written, combining to make up the most monumental work ever written for the stage! Enjoy this (set) of Masterpiece Recordings! ~operabruin

Part 3 of the Definitive Ring.......2007-01-29

I have never understood why Siegfried is the stepchild of Ring operas. This score, despite the dark moments involving the schemings of Mime, Alberich, the menace of Fafner and the ambivalent abdication of Wotan, is a joyous, spirited work which celebrates the dawn of a new, uncorrupted world, even though that illusion is shattered in Goetterdaemmerung, largely because Siegfried's freedom from Wotan and his dealings is also illusory. But for the while, we can rejoice in the promise of youth and love. And there is humor, albeit of a rather ironic nature, in the encounters between Siegfried and his pathetically villanous foster-father Miime. Siegfried certainly earns its nickname as the Ring's Scherzo.
Conductor Joseph Keilberth delivers the most exhuberant reading I have ever heard of this score. At first, I found his jarring, as though it did not fit with the character of Rheingold and Walkure, but as he works his way to Act 3 and Wotan's resigned encounter with Erda, the underlying gloom is there, alright, just momentarily supplanted by the courageous young Volsung who has forged his father's sword, gained his identity, and is off to experience the one emotion he has never received from anyone, love. It is impossible to speak of all the great details and character of Keilberth's performance save to say that it tops every other in drive, sensitivity (the Forest Murmurs have to be heard to be believed in their extreme sensitivity)and profundity. This is for me the very peak of great Wagner conducting.
The cast is probasbly the best ever assembled for this work. Windgassen completely surpasses himself; he is more tender and vulnerable than almost any other Siegfried (Max Lorenz is his equal, but no better, and Windgassen makes Melchior sound like a noisy bellower), but in addition, HE REALLY IS A HELDENTENOR HERE! He rings with heroic might in "Nothung! Nothung! Neidliches Schwert!" in Act 1, his musings in Acts 2 and 3 are the very height of gentleness (No Nazi, this Siegfried!) and he is freah and ardent in the great Awakening Scene. For sure, he has never equalled his sheer potency in this role. I am sure he will be at least as great in Goetterdaemmerung.
Hans Hotter completes his role of Wotan, under the guise of Wanderer. He is wise, humorous, resigned in his encounter with Erda in Act 3, but then suddenly reveals Wotan's self-delusions when he reacts aggressively to Siegfried, only to be rudely dismissed when his power is shattered. No other Wotan has ever reached these heights, and Hotter remains THE Wotan of all time, even beating such immortals as Schorr, Schipper, Bockelmann, and Sigurd Bjoerling.
Paul Kuen is really deliciously maliciuos as Mime, especially in his oily, poisonous attempt to kill Siegfried in Act 2; for once, there is no reason to pity this character, he is just SO nasty and slimy. Neidlinger's Alberich, by comparison, has dignity and just grievances against his counterpart Wotan ("Licht-Alberich", after all!). Greindl is frightening as Fafner, giant-turned-dragon, but dies with regret at having murdered his brother Fasolt and now suffering the same fate. Hollweg is an enchanting Forest Bird, almost sounding like a boy treble, as specified by Wagner. Von Illosvay is even more impressive as Erda here than in Rheingold, majestically implacable and outraged at Wotan's hypocrisy.
And then, there is Astrid Varnay.
Flagstad, Nilsson, Moedl, Leider, move over! ASTRID RULES!
Has there ever been as radiant a "Heil dir, Sonne!" as Varnay's? NO! She is perfection itself. From proud goddess to a woman fearful of human emotions to ardent lover, she is right there at every moment. How she could have been so unappreicated in America is appalling to me. She is truly the great Hochdramatische!
The sound is if anything even more impressive than in the previous two operss. Culshaw should be resurrected and hung byt he you-=know-whats for keeping this from the public ofr so many years.
No doubt about it, BAYREUTH, KEILBERTH, WINDGASSEN, HOTTER AND VARNAY RULE FOREVER!

None Better!.......2007-01-20

Rarely do new releases live up to the hype, but in this case the buzz about the Testament releases of the live stereo Bayreuth recordings from the mid and early 1950s of Wagner's Ring operas was absolutely accurate. Windgassen was considered by some to be a little light-voiced for a true heldentenor, but he more than compensates for any possible lack of vocal heft with his artistry and musicality. And here he is in his prime, and unlike his later recording of Siegfried a decade later, his voice has lost none of its flexibility.
Hans Hotter is perhaps the greatest Wagnerian baritone of the 20th century. Others may have had darker or richer natural voices, but few have had voices with more character and none sang with greater artistry. And Astrid Varnay is nothing short of a revelation. She sings with a fiery richness, with almost a mezzo-soprano timbre, that makes her singing, particularly her final duet with Windgassen, simply electrifying. Interestingly enough, although all three sang at the Met, neither Windgassen nor Hotter had much of a Met career, and Varnay was essentially forced out of regular Met appearances--all because Rudolph Bing didn't like any of them. (What WAS he thinking of! This is probably the best cast for Siegfried assembled in the last 60 years!)
The smaller parts are also well sung, and the orchestra plays with a richness of tone and directness of purpose that is quite refreshing when compared to some other, more self-indulgent, performances. The sound quality is quite good--and is positively remarkable for a live stereo recording in 1955. The price is a little scary, but the recording is available for less from the other sellers on Amazon. It is worth it.

AN EPIC RING - PART III.......2007-01-14

Ten years is a long time in the life of any singer but especially a Wagnerian singer. Comparing this recording with the wonderful Solti recording proves this. Hotter is magnificent here in 1955 and is stressed to the limits for Solti in the 60s. Windgassen is wonderfully lyric and even sweet and fresh in 1955. He's leathery and a bit pushed for Solti; maybe even a bit tight and tired sounding. This wonderful Bayreuth cast owned the Ring at this theater in the 50s; a true GOLDEN ERA @ Bayreuth. Don't miss them or any of their colleagues! The sound just keeps getting better with each successive opera as well as the conducting. Varnay is simply one of the GREAT BRUNNHILDES - right up there with Leider, Flagstad and Traubel. She is Brunnhilde musically and dramatically at one with the being. She truly lives every minute. I like her warm full sound. Well I expect great things in GOTTERDAMMERUNG. Again the Bayreuth acoustics with the special orchestra pit make it so easy for the singers to be heard without forcing over the magnificent orchestrations. TRY the 1955 Bayreuth Ring. You won't regret it. If Gotterdammerung sounds this good and is sung and conducted this thrillingly, I wonder if Culshaw was afraid of the competition? This has all signs of being one of THOSE GOLDEN ERA RINGS !!!

Excellent Work - Limited Appeal.......2006-11-06

The recording is surprisingly good for its age. I needed a complete "Ring" so I purchased this recording and will purchase the others in the series from Testament. For those new to opera or those looking for some basic exposure to the popular operas, this opera is perhaps too esoteric containing both subtle and very complex themes. My limited research has labeled this performance as definative and exemplary and I agree. The voices are very good. There is some audience and stage noise, but they are appropriate for the site and time of the recording. This is an opera to study as opposed to one with memorable arias or toe-tapping rhythms.

Average customer rating:

Testament rules!
different but thrash still
Great album often overlooked.
Another great Testament disc
A Thrash Classic!!

Practice What You Preach
Testament
Manufacturer: Megaforce / Wea
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

General | Rock | Styles | Music

General | Hard Rock & Metal | Styles | Music

Hard Rock | Hard Rock & Metal | Styles | Music

Thrash & Speed Metal | Hard Rock & Metal | Styles | Music

Pop Rock | Pop | Styles | Music
Similar Items:

The New Order
Souls of Black
The Legacy
The Ritual
Low

ASIN: B000002IOJ
Release Date: 1989-08-02

Tracks:

Practice What You Preach
Perilous Nation
Envy Life
Time Is Coming
Blessed In Contempt
Greenhouse Effect
Sins Of Omission
The Ballad
Nightmare (Coming Back To You)
Confusion Fusion

Customer Reviews:

Testament rules!.......2006-07-26

This has got to be the best Testament album! This band ranks up there with Slayer. Hardcore thrash and yet the melodic subtleties blow your mind away during the slow song "The Ballad". The lead singer Chuck has an awesome voice and if you've ever seen them in concert he bangs his head NON-STOP! My personal favorites on this album are "Sins Of Omission" and "Nightmare(Coming Back To You)". There's some really cool hardcore bass goin on in "Confusion Fusion". Every single song on this album rocks. You can listen to this album from start to finish without wanting to skip any songs. In other words...go buy this album NOW!!! And then buy some of their other albums.
NOW!!!

different but thrash still.......2006-06-02

Testament's first 2 albums are typical thrash albums with great songs on it. Testament's breakthrough album is Practice What You Preach - a more polished album with more melodies and catchiness. The songs aren't as thrashy or as fast as the previous albums but it still sounds and feels like Testament. This is one of my favorites currently and I just love the music this band comes up with!! \m/

Great album often overlooked. .......2006-02-01

Testament's third release "Practice what you Preach" is a superb metal effort that is under-appreciated and often overlooked. The late 80's/early 90's was a great time for heavy metal. Classic albums from Metallica, Slayer and Pantera were pushing out the hair metal crap that for some reason carried the title of metal. It was a good time to be a fan of rock and roll. Great new bands were starting to gain notariety. One of these bands was the San Fransisco quintet Testament. Putting out a number of albums in a span of a few years Testament were set on making it big. Why they never did is a mystery to me. This album was the follow up to arguably the most popular and in my opinion best Testament album "The New Order." Perhaps this one may have been a little too rushed following the release of their masterpiece. A few of the songs on the end could be viewed by some as filler songs but I still love them. It seems that every thrash band has four main albums that really define them as a band. For Metallica it was Ride The Lightning, Master of Puppets, And Justice for All, and Metallica (Black Album), for Megadeth it was Peace Sells, Rust in Peace, Countdown to Extinction and So Far So Good So What and for Testament it is The Legacy, The New Order, Practice What you Preach and The Ritual. You wont find too many people that agree with me but Testament's work is just as impressive as the afore mentioned bands. Testament is the lost thrash band and deserve more credit then they are given.

Another great Testament disc.......2006-01-03

Testament may not have invented thrash metal, but they are still a very underrated band. The musicians in Testament are equally as talented as anybody in thrash's Big Four bands (Metallica, Megadeth, Slayer, and Anthrax), and they are more hook oriented than many speed metal bands. Lead guitarist Alex Skolnick's solos are a lot more technical than Slayer's, and are usually every bit as breathtaking as Metallica's. The guitar shredding on Testament's third studio album, "Practice What You Preach" (which was released in 1989), is, of course, no exception. Even when the rest of the band (especially the drummer) sounds somewhat generic, Skolnick soars on every track with fiery, blowtorch riffs and wonderful solos. "Time Is Coming" and the title track are both catchy numbers with chugging riffs, thumping drums, and vocals which almost echo James Hatfield (plus "Practice What You Preach" has a shout a long of "preach!" in the chorus.) These songs are also both capped off by a lengthy, wailing guitar solo. Likewise, "Perilous Nation" features up and down, classical-sounding guitar work, "Envy Life" has an ascending solo, and "Sins of Omission" is highlighted by another superb, very complex solo which has several different parts to it. Other standout tracks include "The Ballad" and the instrumental (albeit brief) album closer, "Confusion Fusion." The former track, "The Ballad," kind of sounds like Metallica's 1986 single, "Welcome Home (Sanitarium)," because it begins as a power ballad with acoustic plunking, but it gradually builds and gains momentum. Over the years, this album has taken a slight dip in sound quality, but it has aged better than some of the music from the Eighties. Testament may not be as iconic as some thrash bands, but albums like "Practice What You Preach" prove that they definitely should be. This is another great, must-own album from one of thrash's most important, most underrated, and finest bands.

A Thrash Classic!!.......2005-11-27

What can you say but Testament Rulz!! This cd is a Thrash masterpiece. "The Ballad" is one of their better slow songs ever recorded. It picks up in the end. Practice what you preach is a solid cd and only second to "The New Order". If you like Thrash and don't have this cd you're missing out!

Most Romantic Classical Music in the Universe

Average customer rating:

very romantic to make love by
Great Mood Music

Most Romantic Classical Music in the Universe
Gabriel Faure , Felix Mendelssohn , Pyotr Il'yich Tchaikovsky , Fryderyk Chopin , Franz Liszt , Erik Satie , Robert Schumann , Antonin Dvorak , Gustav Mahler , Sergey Rachmaninov , Leos Janacek , Cesar Franck , George Frideric Handel , Jules Massenet , Sergey Prokofiev , Catalan Traditional , and Various Artists
Manufacturer: Denon Records
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music