Through the Eyes of a Don [Explicit Lyrics]

1. Livin' II Die, Pt. 1 - Cap.One,

2. Thug in Your Life - Cap.One, Jazze Pha

3. They Luv Dat - Cap.One,

4. Get Up - Cap.One

5. Creep - Cap.One,

6. Pop Dem Collas - Cap.One, D'Wayne Wiggins

7. Uh Uh - Cap.One

8. Life Is Life - Cap.One

9. Uncle Jesse - Cap.One

10. Ladies & Willies - Cap.One

11. Ball - Cap.One

12. Hustlas - Cap.One

13. Chi Town's Finest - Cap.One, , Twista & the Speed Knot Mobstaz

14. Whole 9 - Cap.One

15. Ride N' Smoke - Cap.One,

16. Pure Pressure - Cap.One,

17. My Life - Cap.One,

18. Livin' II Die, Pt. 2 - Cap.One,

Through the Eyes of a Don,Cap.One,Universal,Gangsta Rap,Hardcore Rap,Pop,Rap & Hip-Hop

Average customer rating:

Tha Chi-Town's Greatest

Through The Eyes of Crac

not bad at all

Hottest Album in a long time

Tight Album

Through the Eyes of a Don
Cap.One
Manufacturer: Motown
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
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Livin' in the Scope

Theory of Life

Changing the Game

State Property Presents The Chain Gang Vol. 2

Mobstability

ASIN: B00004TGY2
Release Date: 2000-06-27

Tracks:

Livin' II Die (Part I)
Thug In Your Life
They Luv Dat
Get Up
Creep
Pop Dem Collas
Uh Uh
Life Is Life
Uncle Jesse
Ladies And Willies
Ball
Hustlas
Chi Town's Finest
The Whole 9
Ride N' Smoke
Pure Pressure
My Life
Livin' II Die (Part II)

Customer Reviews:

Tha Chi-Town's Greatest.......2003-05-15

This album is cold as a muthaf%@ka. This is one of them type albums that you got to listen to over and over again. Tha Chi's greatest come on now it's got Twista.

Through The Eyes of Crac.......2002-12-25

this album is hot, i don't ink he signed to motown no more. but i can't wait to hear his next album. I like the whole album. #1 and #2 to me are the hottest. There are like 2 tracks i don't care for they good but not as good as the rest. Cap One has talent. He can rap good, he has the speed and he has a track with 2 other Chicago rappers Twista, and Rashawna from disturbing the peace "DTP". I like this album. I think if he would come out with another album he would be come more famous. I'm out.

not bad at all.......2001-11-01

he got some fast lyrics and nice beats. it is all-around a godo album. i like a lot fot ha guest appearances. there r a lot fo standout tracks but this album is definitely worth getting

Hottest Album in a long time.......2001-06-22

I'm sure most of you heard about Cap One in the same way that i did, from reading about him as a rising star in the Source. So i thought i'd go and see whut he wuz like. And from first listen, i wuz hooked. Twista is in my eyes the hottest emcee out at the moment, and Cap has the typical Chi speed rapping flow. But i don't wanna compare him to Twista. Cos his sound is very different. This has a more r'n'b flavour and Cap keeps his lyrics deciphable even when rapping his quickest. I think this will make it please hip hop heads everywhere more so than other Chi-Town artists Twista makes an appearance on possibly the albums hottest track alongside Rashawnna, on Chi-Towns Finest. I loved the beat on this track, produced by D-Moet who duz a brilliant job producin a host of other of the album's tracks. The next stand out cut is Thug In Your Life. The production and chorus comes from Jazzy-Pha. The tracks opens with a sort of classical compostion, which made a refreshing change to find actual instruments being played on a hip-hop track. Cap's flow go so well with the instruments on Jazzy-Pha's smooth vocals. The lead off single They Luv Dat is another stand out cut on which Nokio of Dru Hill provides his own rap. The album stays consistlently tight throughout, and is without a doubt my album of the year so far! At No exaggeration, this is a must-have for all hip hop heads everywhere

Tight Album.......2001-06-05

This album resembles some of Twista's work and he is featured in a few tracks. Cap 1 can flow very well and I like the beats he drops. This album will give you stuff you've never heard before.

Average customer rating:

"The death-doomed alone are destined to look on me."
Breathtaking, powerful, accessible, not just an alternative
Absolutely Breathtaking!
A powerful reading of the most moving opera in the Ring.
The power of Wagner's music drama is now fully accessible

Wagner: The Valkyrie

Manufacturer: Chandos
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

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 Rhinegold

ASIN: B00004YU6Z
Release Date: 2000-11-28

Tracks:

Act I: Prld - English Nat Opr Orch/Reginald Goodall
Act I, Scene 1: The Storm Drove Me Here - Alberto Remedios/Margaret Curphey
Act I, Scene 1: This House And This Wife - Margaret Curphey/Alberto Remedios
Act I, Scene 1: Evil Fortune's Never Far From Me - Alberto Remedios/Margaret Curphey
Act I, Scene 2: There He Lay, Feeble And Faint - Margaret Curphey/Clifford Grant/Alberto Remedios
Act I, Scene 2: Through Field And Forest - Alberto Remedios/Clifford Grant/Margaret Curphey
Act I, Scene 2: Friedmund No One Could Call Me - Alberto Remedios/Clifford Grant/Margaret Curphey
Act I, Scene 2: The Neidings Raided Again - Alberto Remedios
Act I, Scene 2: So The Norn Who Dealt You This Fate - Clifford Grant/Margaret Curphey/Alberto Remedios
Act I, Scene 2: I Know A Troublesome Race - Clifford Grant
Act I, Scene 3: A Sword Was Pledged By My Father - Alberto Remedios
Act I, Scene 3: Are You Awake? - Margaret Curphey/Alberto Remedios
Act I, Scene 3: My Husband's Kinsmen - Margaret Curphey
Act I, Scene 3: Yes, Loveliest Bride - Alberto Remedios/Margaret Curphey
Act I, Scene 3: Winter Storms Have Vanished (Siegmund's Spring Song) - Alberto Remedios
Act I, Scene 3: You Are The Spring - Margaret Curphey
Act I, Scene 3: Oh Sweetest Enchantment - Alberto Remedios/Margaret Curphey
Act I, Scene 3: The Stream Has Shown My Reflected Face - Margaret Curphey/Alberto Remedios
Act I, Scene 3: Siegmund Call Me, And Siegmund Am I! - Alberto Remedios
Act I, Scene 3: Siegmund, The Walsung, Here You See! - Alberto Remedios/Margaret Curphey

Tracks:

Act II, Scene 1: Go Bridle Your Horse, Warrior Maid! - Norman Bailey
Act II, Scene 1: Hoyotoho! Hoyotoho! (Brunnhilde's Battle Cry) - Rita Hunter
Act II, Scene 1: The Usual Storm, The Usual Strife - Norman Bailey/Ann Howard
Act II, Scene 1: Pretend That You Don't Understand! - Ann Howard/Norman Bailey
Act II, Scene 1: Now It's Come To Pass! - Norman Bailey
Act II, Scene 1: So This Is The End Of The Gods And Their Glory - Ann Howard
Act II, Scene 1: You Never Learn What I Would Teach You - Norman Bailey/Ann Howard
Act II, Scene 1: What Must I Do? - Norman Bailey/Ann Howard
Act II, Scene 1: Hiaha! Hiaha! Hoyotoho! - Rita Hunter/Ann Howard/Norman Bailey
Act II, Scene 2: Fricka Has Won The Fight - Rita Hunter/Norman Bailey
Act II, Scene 2: When Youth's Delightful Pleasures Had Waned - Norman Bailey
Act II, Scene 2: She Refused To Reveal More About It - Norman Bailey/Rita Hunter
Act II, Scene 2: There's More To Tell - Norman Bailey
Act II, Scene 2: Yet One Can Accomplish What I May Not - Norman Bailey
Act II, Scene 2: But The Walsung, Siegmund - Rita Hunter/Norman Bailey
Act II, Scene 2: Then Siegmund Must Fall In His Fight? - Rita Hunter/Norman Bailey
Act II, Scene 2: I Give You My Blessing, Nibelung Son! - Norman Bailey/Rita Hunter
Act II, Scene 2: No, Have Mercy - Rita Hunter/Norman Bailey

Tracks:

Act II, Scene 2: So I Obey His Command - Rita Hunter
Act II, Scene 3: Rest Here For A While; Stay By My Side! - Alberto Remedios/Margaret Curphey
Act II, Scene 3: Away! Away! - Margaret Curphey/Alberto Remedios
Act II, Scene 3: Where Are You, Siegmund? - Margaret Curphey/Alberto Remedios
Act II, Scene 4: Siegmund! Look At Me! (Announcement Of Death) - Rita Hunter/Alberto Remedios
Act II, Scene 4: And If I Come - Alberto Remedios/Rita Hunter
Act II, Scene 4: Then Greet For Me Walhall - Alberto Remedios/Rita Hunter
Act II, Scene 4: Woe! Woe! Sister And Bride - Alberto Remedios/Rita Hunter
Act II, Scene 4: Two Lives Now Lie In Your Power - Alberto Remedios/Rita Hunter
Act II, Scene 5: Charms Of Sleep Are Sent To Still - Alberto Remedios
Act II, Scene 5: I Hear Your Call - Alberto Remedios/Margaret Curphey
Act II, Scene 5: Wehwalt! Wehwalt! - Clifford Grant/Alberto Remedios/Margaret Curphey/Rita Hunter/Norman Bailey

Tracks:

Act III, Scene 1: Hoyotoho! Hoyotoho! (Ride Of The Valkyries) - Katie Clark/Anne Evans/Elizabeth Connell/Helen Attfield/Shelagh Squires/Anne Conoley
Act III, Scene 1: Shield Me And Help - Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne Evans/Sarah Walker...
Act III, Scene 1: Hear While I Tell You - Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne Evans/Sarah Walker...
Act III, Scene 1: Pray Suffer No Sorrow For Me - Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne...
Act III, Scene 1: Fly Him Swiftly, Away To The East! - Rita Hunter
Act III, Scene 1: O Radiant Wonder! (Parting Salute) - Margaret Curphey
Act III, Scene 1: Stay, Brunnhild! - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 2: Where Is Brunnhild? - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 2: Weak-Spirited, Womanish Brood! - Norman Bailey
Act III, Scene 2: Here I Am, Father - Rita Hunter/Norman Bailey
Act III, Scene 2: No More Will You Ride From Walhall - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 2: Did You Not Hear What I Decreed? - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 3: Was It So Shameful - Rita Hunter/Norman Bailey
Act III, Scene 3: I Know So Little - Rita Hunter/Norman Bailey
Act III, Scene 3: You, Who This Love Into My Heart Revealed - Rita Hunter/Norman Bailey
Act III, Scene 3: You Indulged Your Love - Norman Bailey
Act III, Scene 3: Unworthy Of You This Foolish Maid - Rita Hunter/Norman Bailey
Act III, Scene 3: You Fathered A Glorious Race - Rita Hunter/Norman Bailey
Act III, Scene 3: In Long, Deep Sleep - Norman Bailey/Rita Hunter
Act III, Scene 3: Farewell, My Valiant, Glorious Child! (Wotan's Farewell) - Norman Bailey
Act III, Scene 3: These Eyes So Warm And So Bright - Norman Bailey
Act III, Scene 3: Loge, Hear! Come At My Call! - Norman Bailey
Act III, Scene 3: Magic Fire Music - Norman Bailey

Customer Reviews:

"The death-doomed alone are destined to look on me.".......2007-06-12

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 Rhinegold (Part 1): Wagner: The Rhinegold
Siegfried (Part 3): Siegfried (Goodall Ring Cycle/Chandos Opera in English)
Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

Breathtaking, powerful, accessible, not just an alternative.......2005-05-03

This is one of three Walkure's in my collection: the very underrated Leinsdorf, the thrilling Boehm and this one with Goodall. I believe Goodall is right up there with the best of them. Remedios, Hunter and Bailey sing beautifully and with sufficient drama. I'll go out on a musical limb and say I believe Bailey is one of the finest Wotan's on disc. Many will disagree but I think he has the measure of the role, the power to pull it off and a burnished timber that never becomes coarse under powerful climaxes... Remedios may well be the star of the trilogy along with Hunter and Bailey. His Siegmund is beautifully sung and his Siegfried by the way, is no mean stint either. Would that we had tenors that could sing Siegfried without sounding stretched beyond their limits. I am continually puzzled by the bad reviews that the orchestra playing receives from ARG, Classics Today and a few others. The ENO is not a Concertgebouw or Vienna Philharmonic but I think they play beautifully, a few clinkers notwithstanding. For a live show, they do a pretty d..... good job. THe sound from both orchestra and singers is exceptionally fine. This set belong in your collection if you like Wagner and, Die Walkure, in particular. If I had been at the performance in the 1970's I would have come home very happy, satisfied and richer for the experience.

Absolutely Breathtaking!.......2002-09-13

I had long cringed at the thought of this magnificant masterpiece recorded in English. Even after reading several rave reviews on this cylce that I've read by authoritive Wagnerites and critics, I was still skeptical. Finally, I decided to add Goodall's 'Ring' as my third complete cycle (after Solti & Bohm) for one reason: because it was in English and I felt it would enhance my understand of 'The Ring.' In fact, after achieving that "higher understanding" I was planning on selling this set on Ebay. That was, of course, before I heard this magnificant recording.

During the course of my research on 'The Goodall Ring' most of the praised seemed to heighten around 'Siegfried,' which is my absolute favorite of the cycle. That also helped to seal the deal. As the critics said, 'Siegfried' under Goodall is excellent, but not as monumental as Solti's reading, which IMHO is the greatest recording of 'Siegfried.'

The set that stands out, to me, in 'The Goodall Ring' is this recording; The Valkyrie. It is absolutely breathtaking. Not only is it my favorite of this set, it is my favorite Valkyrie recording period (I am very familiar with Boehm's, Solti's, Karajan's, Furthwanglers, Levines, and others). Alberto Remedios (Siegmund here and Siegfried in the last two operas) is truly magnificant. It is the best Siegmund I have heard on disc (and his Siegfried rivals Windgassen). Coupled with Margaret Curphey (Sieglinde), you get the most beautiful and moving duo I have heard on record. The duet in Act I is simply glorious. You also get the bonus of Norman Bailey's triumphant Wotan (and Wanderer too). He has such command and prescene. He sounds like a God. Throw in Rita Hunter, who holds her own as Brunnhilde, Goodall's miraculous conducting, and excellent playing by the orchestra and it all adds up to a stunning recording.

I can only say that in a way it's a shame this set is in English. Were it not, I believe Goodall's 'Ring' would be one of the most talked about, popular, and sought after complete recordings of the cycle. I can only say that I am so happy that I finally opened up to opera recorded in a different language than written.

I have fallen completely in love with Goodall's entire cycle. And, I have fallen in love with 'The Ring' all over again.

A powerful reading of the most moving opera in the Ring........2001-08-30

This performance of *Die Valkure,* the second and most popular opera in Wagner's Ring Cycle, is musically splendid. Its special significance, however, is that it is sung in English. An English performance of the Ring is perhaps more important than that of any other opera(s), because Wagner's libretti are suffused with his ideas about society, fate, justice, and love. Even if (at times) you need to read along to understand what the singers are saying, *hearing* the lyrics in English is truly stirring in a way that performances in your non-native language cannot match.
A particular stand-out on this recording is the Wotan. His timbre, diction, and delivery perfectly embody the troubled god who tries desperately, and in vain, to keep the world under his control. His angst and wrath are utterly convincing.

The power of Wagner's music drama is now fully accessible.......2001-01-30

I have never been a fan of opera in translation, but I must say that Andrew Porter's rendering of The Ring in English is amazing. He uses modern, not archaic, English, and the word choice is so very earthy and Germanic that the noble yet somewhat severe atmosphere of the Teutonic myths is conveyed perfectly. The sound, in other words, is an elegantly Germanic, and totally appropriate for the music and the Story it tells. It is not true that you can't understand the English anyway, because you can understand if you care to pay any attention at all. The translation is lucid, and so it the marvelous singing that conveys it.

Goodall's sense of music drama is lush, and takes some getting used to after the crash-and-burn Solti set, but after a time or two it seems just right. Goodall is not always slower than the rest, either; for example, the famous Ride of the Valkyries that begins Act III is quicker than Solti's surprisingly slow and heavy account. It is the most exciting that I have heard--and I have heard quite a few--but it is not so fast that the power is lost in favor of urgency.

This is not an urgent Die Walkure, and it is all the better for it. Goodall takes the time to actually tell the story, and is sensitive to the drama's needs over what could be called convention. For example, Wotan's Farewell doesn't thunder out after Brunnhilde's final declamation, like in so many recordings; rather, Goodall's interpretation is more dreamy, mysterious, and appropriately trance-like, in keeping with the action on stage.

Tracks:

Acis And Galatea: Love Sounds Th' Alarm
Acis And Galatea: Love In Her Eyes Sits Playing
Messiah: Comfort Ye, My People
Messiah: Ev'ry Valley Shall Be Exalted
Messiah: Thy Rebuke Hath Broken His Heart
Messiah: Behold, And See If There Be Any Sorrow
Messiah: He Was Cut Off Out Of The Land
Jephtha: Deeper And Deeper Still
Jephtha: Waft Her, Angels, Through The Skies
Samson: Total Eclipse
Serse: Ombra Mai Fu
Il Seraglio: Constanze, Constanze
The Magic Flute: O Loveliness Beyond Compare
Don Giovanni: Speak For Me To My Lady
Aida: Heavenly Aida
I Pagliacci: On With The Motley
The Mastersingers: The Prize Song
La Boheme: In A Coupe
Hiawatha's Wedding Feast: Onaway! Awake Beloved

Customer Reviews:

The finest British oratorio tenor.......2005-01-14

Webster Booth is remembered today for his musical association with his wife, Anne Ziegler, but he was also one of the finest oratorio tenors of the twentieth century.

On this CD he is in command of every emotional nuance of the recitative. 'Deeper and deeper still' from Jephtha is a good example of the emotional range. His diction is perfect and the Handelian runs are effortless.

He had an amazingly wide range, extending from a baritonal quality in the lower registers to the effortless high notes in the arias from 'Acis and Galatea'.

He also sings some standard operatic arias on the CD. All these are sung in English and he observes every expression mark to the letter.

I can thoroughly recommend this CD to potential buyers.

Average customer rating:

Wildwood/Through Tom's Eyes
Don Charbonneau
ProductGroup: Music
Binding: Audio CD

General | Folk | Styles | Music
ASIN: B000FTKS8U
Release Date: 2006-03-14

Tracks:

Creation
Train to Algonquin
Last Stand
Ballad of Tom Thomson
It's Snowing in Algonquin
Guide's Tale
Wildwood
Luckiest Man Alive
Northland (My Algonquin Home)
West Wind
Party at Tom's Shack

Average customer rating:

Through the Eyes of a Don
Cap.One
Manufacturer: Motown
ProductGroup: Music
Binding: Audio CD

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

General | Rap & Hip-Hop | Styles | Music
ASIN: B00004TGY3
Release Date: 2000-06-27

Tracks:

Livin' II Die, Pt. 1 - Cap.One,
Thug in Your Life - Cap.One, Jazze Pha
They Luv Dat - Cap.One,
Get Up
Creep - Cap.One,
Pop Dem Collas - Cap.One, D'Wayne Wiggins
Uh Uh
Life Is Life
Uncle Jesse
Ladies & Willies
Ball
Hustlas
Chi Town's Finest - Cap.One, Twista
Whole 9
Ride N' Smoke - Cap.One,
Pure Pressure
My Life - Cap.One,
Livin' II Die, Pt. 2

Average customer rating:

The Mastersinger

Fischer-Dieskau Edition (Box Set)

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

Passions | Vocal Non-Opera | Opera & Vocal | Styles | Music

Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music

Classical | Box Sets | Stores | Music

Opera & Vocal | Box Sets | Stores | Music

Deutsche Grammophon: Music | Specialty Stores | Music
ASIN: B00004SC5S
Release Date: 2000-06-13

Tracks:

Winterreise: Gute Nacht - Franz Schubert
Winterreise: Die Wetterfahne - Franz Schubert
Winterreise: Gefrorene Trn - Franz Schubert
Winterreise: Erstarrung - Franz Schubert
Winterreise: Der Lindenbaum - Franz Schubert
Winterreise: Wasserflut - Franz Schubert
Winterreise: Auf dem Flusse - Franz Schubert
Winterreise: Rck - Franz Schubert
Winterreise: Irrlicht - Franz Schubert
Winterreise: Rast - Franz Schubert
Winterreise: Frstraum - Franz Schubert
Winterreise: Einsamkeit - Franz Schubert
Winterreise: Die Post - Franz Schubert
Winterreise: Der greise Kopf - Franz Schubert
Winterreise: Die Kr - Franz Schubert
Winterreise: Letzte Hoffnung - Franz Schubert
Winterreise: Im Dorfe - Franz Schubert
Winterreise: Der sthe Morgen - Franz Schubert
Winterreise: Tchung - Franz Schubert
Winterreise: Der Wegweiser - Franz Schubert
Winterreise: Das Wirtshaus - Franz Schubert
Winterreise: Mut! - Franz Schubert
Winterreise: Die Nebensonnen - Franz Schubert
Winterreise: Der Leiermann - Franz Schubert

Tracks:

Die schone Mullerin: Das Wandern
Die schone Mullerin: Wohin?
Die schone Mullerin: Halt!
Die schone Mullerin: Danksagung an den Bach
Die schone Mullerin: Am Feierabend
Die schone Mullerin: Der Neugierige
Die schone Mullerin: Ungeduld
Die schone Mullerin: Morgengruss
Die schone Mullerin: Des Mullers Blumen
Die schone Mullerin: Tranenregen
Die schone Mullerin: Mein!
Die schone Mullerin: Pause
Die schone Mullerin: Mit dem grunen Lautebande
Die schone Mullerin: Der Jager
Die schone Mullerin: Eifersucht und Stolz
Die schone Mullerin: Die liebe Farbe
Die schone Mullerin: Die bose Farbe
Die schone Mullerin: Trockne Blumen
Die schone Mullerin: Der Muller und der Bach
Die schone Mullerin: Des Baches Wiegenlied
4 Lieder: Nacht und Traume D 827
4 Lieder: Standchen
4 Lieder: Du bist die Ruh
4 Lieder: Erlkonig

Tracks:

Schwanengesang: Liebesbotschaft
Schwanengesang: Kriegers Ahnung
Schwanengesang: Fruhlingssehnsucht
Schwanengesang: Standchen
Schwanengesang: Aufenthalt
Schwanengesang: In der Ferne
Schwanengesang: Abschied
Schwanengesang: Der Atlas
Schwanengesang: Ihr Bild
Schwanengesang: Das Fischermadchen
Schwanengesang: Die Stadt
Schwanengesang: Am Meer
Schwanengesang: Der Doppelganger
Schwanengesang: Die Taubenpost
9 Lieder: Vollendung
9 Lieder: Die Erde
9 Lieder: An die Musik
9 Lieder: An Silvia
9 Lieder: Heideroslein
9 Lieder: Im Abendrot
9 Lieder: Der Musensohn
9 Lieder: Die Forelle
9 Lieder: Der Tod und das Madchen

Tracks:

An die Leier
Philoktet
Memnon
Fahrt zum Hades
Lied des Orpheus, als er in die Holle ging
Orest auf Tauris
Der entsuhnte Orest
Fragment aus dem Aeschylus
Der zurnenden Diana
Lied eines Schiffers an die Dioskuren
Heliopolis I
Freiwilliges Versinken
Das Weinen
Schiffers Scheidelied
Der Kreuzzug
Vor meiner Wiege
Fruhlingslied
Jagers Liebeslied

Tracks:

Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Im wunderschonen Monat Mai
Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Aus meinen Tranen spriessen
Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Die Rose, die Lilie, die Taube, die Sonne
Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Wenn ich in deine
Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Ich will meine Seele tauchen
Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Im Rhein, im schonen Strome
Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Ich grolle nicht
Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Und wussten's die blumen die kleinen
Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Das ist ein Floten und Geigen
Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Hor ich das Liedchen kiligen
Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Ein Jungling liebt ein Madchen
Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Am leuchteden Sommermorgen
Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Ich hab im Traum geweinet
Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Allnachtilch im Traume
Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Aus alten Marchen winkt es
Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Die alten bosen Lieder
12 Gedichte Op. 35 Justinus Kerner: Lust der Sturmnacht
12 Gedichte Op. 35 Justinus Kerner: Stirb, Lieb und Freud
12 Gedichte Op. 35 Justinus Kerner: Wanderlied
12 Gedichte Op. 35 Justinus Kerner: Erstes Grun
12 Gedichte Op. 35 Justinus Kerner: Sehsucht nach der Waldgagend
12 Gedichte Op. 35 Justinus Kerner: Auf das Trinkglas einet verstorbenen Fredes
12 Gedichte Op. 35 Justinus Kerner: Wandrung
12 Gedichte Op. 35 Justinus Kerner: Stille Liebe
12 Gedichte Op. 35 Justinus Kerner: Frage
12 Gedichte Op. 35 Justinus Kerner: Stille Tranen
12 Gedichte Op. 35 Justinus Kerner: Wer machete dich so krank?
12 Gedichte Op. 35 Justinus Kerner: Alte Laute
7 Lieder: Freisinn
7 Lieder: Schneeglockchen
7 Lieder: Standchen
7 Lieder: Laute di menien
7 Lieder: Des sennen Abschied
7 Lieder: Des sennen Abschied
7 Lieder: Talismane

Tracks:

Liederkreis Op 24: Morgens steh ich auf und frage
Liederkreis Op 24: Es treibt mich hin
Liederkreis Op 24: Ich wandelte unter den baumen
Liederkreis Op 24: Lieb liebchen
Liederkreis Op 24: Schone Wiege meiner leiden
Liederkreis Op 24: Warte, warte, wilder Schiffmann
Liederkreis Op 24: Berg' undBurgen schaun herunter
Liederkreis Op 24: Anfangs wolt ich fast verzagen
Liederkreis Op 24: Mit Myrten und rosen
11 Lieder: Der Kontrabandiste
11 Lieder: Zigeunerliedchen I
11 Lieder: Zigeunerliedchen II
11 Lieder: Tief im Herzen
11 Lieder: Melancholie
11 Lieder: Sehnsucht
11 Lieder: Gestandnis
11 Lieder: O wie lieblich
11 Lieder: Weh, wie zornig
11 Lieder: Der Hidalgo
11 Lieder: Romanze
Myrten op. 25: Widmung
Myrten op. 25: Der Nussbaum
Myrten op. 25: Lied aus dem Schenkenbuch I
Myrten op. 25: Lied aus dem Schenkenbuch II
Myrten op. 25: Die Lotosblume
Myrten op. 25: Du bist wie eine Blume
Myrten op. 25: Auden hebraischen Geangen
Myrten op. 25: Du bist wie eine Blume
Myrten op. 25: Zum Schluss
5 Lieder: Die feindlichen Bruder
5 Lieder: Abends am Strand
5 Lieder: Die beiden Grenadiere
5 Lieder: Mein schoner Stern
5 Lieder: Wein Wagen

Tracks:

An die ferne Geliebte, op.98: Auf dem Huegel sitz ich, spaehend - Ludwig Van Beethoven
Wo die Berge so blau - Ludwig Van Beethoven
Beethoven: Leichte Segler in den Hoehen - Ludwig Van Beethoven
Diese Wolken in den Hoehen - Ludwig Van Beethoven
Es kehret der Maien, es bluehet die Au - Ludwig Van Beethoven
Nimm sie hin denn, diese Lieder - Ludwig Van Beethoven
Lieder: Adelaide, op.46 - Ludwig Van Beethoven
Ich liebe dich, so wie du mich, WoO 123 - Ludwig Van Beethoven
L'amante impaziente, op.82-3 - Ludwig Van Beethoven
L'amante impaziente, op.82-4 - Ludwig Van Beethoven
Ariette (Der Kuss), op.128 - Ludwig Van Beethoven
In questa tomba oscura, WoO 133 - Ludwig Van Beethoven
Die Ehre Gottes aus der Natur, op.48-4 - Ludwig Van Beethoven
Maigesang, op.52-4 - Ludwig Van Beethoven
Marmotte, op.52-7 - Ludwig Van Beethoven
Seufzer eines Ungeliebten-Gegeliebe, WoO 118 - Ludwig Van Beethoven
Andenken, WoO 136 - Ludwig Van Beethoven
Der Wachtelschlag, WoO 129 - Ludwig Van Beethoven
Aus Goethes Faust (Mephistos Flohlied), op.75-3 - Ludwig Van Beethoven
3 Gesaenge, op.83: I. Wonne der Wehmut - Ludwig Van Beethoven
II. Sehnsucht - Ludwig Van Beethoven
III. Mit einem gemalten Band - Ludwig Van Beethoven
An die Hoffnung, op.94 - Ludwig Van Beethoven
Lied aus der Ferne, WoO 137 - Ludwig Van Beethoven
Der Juengling in der Fremde, WoO 138 - Ludwig Van Beethoven
Der Liebende, WoO 139 - Ludwig Van Beethoven
Abendlied unterm gestirnten Himmel, WoO 150 - Ludwig Van Beethoven

Tracks:

Es muss ein Wunderbares sein
Benedetto sia 'l giorno
Pace non trovo
I' vidi in terra angelici costumi
Oh, quad je dors S282
die drei zigeuner
Die vatergruft
Der alpen jager
Blume und Duft
Vergiftet sind meine Lieder
Tristesse
Ihr Glocken von Marling
Hohe Liebe
O lieb, so lang du lieben kannst
Im Rhein, im schonen Strome
Ein Fichtenbaum steht einsam
Morgens steh ich auf und frage
der traurige Monch

Tracks:

Denn es gehet dem Menschen wie dem Vieh
Ich wandte mich und sahe an alle
O Tod, wie bitter bist du
Wenn ich mit Menschen - und mit Engelszungen redete
Sommerabend
Mondenschein
Es liebt sich so lieblich im Lenze
Meerfahrt
Es schauen die blumen
Der Tod, das ist die kuhle Nacht
Mit vierzig Jahren
Steig auf , geliebter Schatten
Mein Herz ist schwer
Kein Haus, keine Heimat
Herbstgefuhl
Alte Liebe
Abenddammerung
Heimweh II
Auf dem Kirchhofe
Verzagen
Regenlied
Nachklang
Fruhlingslied
Auf dem See
Feldeinsamkeit

Tracks:

Hugo Wolf: In der FrHugo Wolf
Hugo Wolf: Fussreise - Hugo Wolf
Hugo Wolf: Neue Liebe - Hugo Wolf
Hugo Wolf: Der Feuerreiter - Hugo Wolf
Hugo Wolf: Jrlied - Hugo Wolf
Hugo Wolf: Storchenbotschaft - Hugo Wolf
Hugo Wolf: Verborgenheit - Hugo Wolf
Hugo Wolf: Verborgenheit - Hugo Wolf
Hugo Wolf: Im Fr - Hugo Wolf
Hugo Wolf: Auf einer Wanderung - Hugo Wolf
Hugo Wolf: An die Geliebte - Hugo Wolf
Hugo Wolf: Peregrina I - Hugo Wolf
Hugo Wolf: Peregrina II - Hugo Wolf
Hugo Wolf: Lebewohl - Hugo Wolf
Hugo Wolf: Begegnung - Hugo Wolf
Hugo Wolf: Der Jr - Hugo Wolf
Hugo Wolf: Bei einer Trauung - Hugo Wolf
Hugo Wolf: Abschied - Hugo Wolf

Tracks:

Es war einmal ein Bock
Einst kam der Bock als Bote
Es liebte einst ein Has
Drei Masken sah ich am Himmel stehn
Hast du ein Tongedicht vollbracht
O lieber Kunstler, sei ermanhnt
Unser Feind ist, gober Gott
Von Handlern wird die Kunst bedroht
Es war mal eine Wanze
Die Kunstler sind die Schopfer
Die Handler und die Marcher
O Schropferschwarm, o Handlerkreis
Gefunden
Das Roseband
Einerlei
Winterweihe
Stiller Gang
Der Arbeitsmann
Blindenklage
Heimkehr
Wer wird von der Welt Verlangen
Hab ich euch denn je geraten
Wanderers Gemutsruhe

Tracks:

Aeolsharfe
Winterahnung
Traum durch die Dammerung
Nelken
Flieder
Minnelied
Der Himmel Hat eine Trane Geweint
Waldeinsamkeit
Schlecht Wetter
Gluckes genug
Einsamkeit
Gottes Segen
Das sterbende Kind
Ein Drangen
Trost
Heimat
Ihr, ihr Herrlichen!
Der zerrissne Grabkranz
Das Blatt im Buche
Im April
Brablied
Sie haben heut Abend Gesellschaft
In Danzig
Eingelegte Ruder
Saerspruch
Hussens Kerker
Zorn
An die Mark
Zum Abschied meiner Tochter
Tragische Geschichte
Sonett Nach Petrarca

Tracks:

Ein Tagewerk I
Ein Tagewerk II
Fruhgesicht
Reisefantasie
Das Ende des Festes
Nachruf
Jugendgedenken
Peregrina II
Auf ein Kind
Dammrung senkte sich
Ach, wie schon
Nachklang
Hore den Rat
Venezianisches Epigramm
Jetzt rede du
Auskunft
Aus zwei Talern
Kennst du das auch?
Ravenna I
Das Ziel
Keine Rast
Kindheit
Im Kreuzgang von Santo Stefano
Nachtgefuhl
Magie der Farben
Verwelkende Rosen
Abends
Mittag im September
Blauer Schmetterling
Pfeifen
Sommernacht
Fur Ninon
Verganglichkeit

Tracks:

Ballade de Villon a s'amye
Ballade que Villon feit a la requeste de sa mere pour prier nostre Dame
Ballade des femmes de Paris
Nahandove
Aoua!
II est doux
Chanson de la mariee
La-bas, vers l'eglise
Quel galant m'est comparable
Chanson des cueilleuses de lentisques
Tout gai!
Chanson romanesque
Chanson epique
Chanson a borie
At The River
Elegie
Anne Street
A Chirstmas Caro
From 'The Swimmers'
West London (A Sonnet)
A Farewell To Land
Abide With Me
Where the eagle
Disclosure
The White Gulls
The Children's Hour
Two Little Flowers (And Dedicated To Them)
Autumn
Tom Sails Away
Ich Grolle nicht
Feldeinsamkeit
Weil' auf mir
In Flanders Fields

Tracks:

Phantasie aus Don Juan
Ablosung im Sommer
Selbstgefuhl
Des Antonius von Padua Fischpredigt
Zu Strabburg auf der Schanz
Booh, Wie Ist Die Barmhezigkeit des herrn
Willst du Gottes Diener sein
Alles, was aus der Erde kommt
Tod, wie bitter bist du
Lied des Mephistopheles
Zigeunerlied
Schlechter Trost
Lied des Mephistopheles
Liederseelen
Alle
Der Gesang des Meeres
In einer Sturmanacht (Nikodemus)
Nun die Schatten dunkeln
Wonne der Wehmut
Aus den Himmelsaugen
Musikantegrub
Der juge Ehemann
Der Soldat
Uomo del mio tempo
Con una fronda di mirto

Tracks:

1. Wenn mein Schatz Hochzeit macht
2. Ging heut morgen uebers Feld
3. Ich hab ein gluehend Messer
4. Die zwei blauen Augen
1. Um Mitternacht
2. Ich atmet' einen Linden Duft
3. Blicke mir nicht in die Lieder
4. Ich bin der Welt abhanden gekommen
1. Nun will die Sonn' so hell aufgehn
2. Nun seh ich wohl, warum so dunkle Flammen
3. Wenn dein Mutterlein
4. Oft denk ich, sie sind nur ausgegangen
5. In diesem Wetter, in diesem Braus

Tracks:

Ich will den kreuzstab gerne tragen: Arie
Ich will den kreuzstab gerne tragen: Rezitativ
Ich will den kreuzstab gerne tragen: Choral
Ich will den kreuzstab gerne tragen: Arie
Ich will den kreuzstab gerne tragen: Rezitativ
Ich habe Genug: Arie
Ich habe Genug: Rezitativ
Ich habe Genug: Arie
Ich habe Genug: Rezitativ
Ich habe Genug: Arie
Ich bin eine blum zu saron: Arie
Ich bin eine blum zu saron: Arie
Ich bin eine blum zu saron: Arie
Ich suchte des nachts: Duett
Ich suchte des nachts: Duett
Ich suchte des nachts: Duett
Ich suchte des nachts: Arie
Ich suchte des nachts: Arie
Ich suchte des nachts: Duett
Ich suchte des nachts: Arie
Ich suchte des nachts: Duett

Tracks:

Hir ist sas rechte Osterlamm
Gerne will ich mich bequemen
gebt mir meine jesum wiender
Mache dich, mein herz, rein
Et in Spiritum Sanctum
Achzen und erbarmlich weinen
Duett - Wann kommst du, mein heil
O Memory! Still Bitter To My Soul-Opprest WIth Never - Casting Greif
Aus der Tiefe rufe ich
Aus tiefer Not schrei ich zu dir
Meine Hande ringen sich
Jedennoch bleib ich stets an dir
Aus der Tiefe rufe ich
Duett - Holde Gattin, dir zur Seite
Solo & Chor - Herr, lehre doch mich

Tracks:

Frondi tenere e belle - Ombra mai fu
Cara pianta
Presti omai l'Egizia terra
Non e si vago e bello
Che faro senza Euridice
Udite, tutti udite
Io deggio ad ogni patto
Finch'han dal vino
Deh, vieni alla finestra
Hai gia vinta la causa
Vedro, mentr'io sospiro
Der Vogelfanger bin ich ja
Ein Madchen oder Weibchen
Ha! Welch ein Augenblick!
Wie Todesahnung Damm'rung - O du, mein holder Abenstern
Was duftet doch der Flieder
Wahn! Wahn!
Zur Burg fuhrt die Brucke - Abendlich strahlt der Sonne Auge

Tracks:

Botre toast... je peux vous le renre
avant de quitter ces lieux
L'orage s'est calme
Resta immobile
Morir! ... Tremenda cosa!
Di Provenz il mar
Nemico della patria?!
Si puo? Signore!
Povero Rigoletto!
Cortigiani, vil razza dannata
Brav, alter Hans
Lebt wohl ihr suben studen

Tracks:

Schlafst oder wachst du?
Heimkehr
Maggy Lauder
Dort, wo durchs ried
Fileb leise, mein bachlein
Horch auf, mein liebchen
Da brava, Cantina
O kostliche Zeit
Trinklied
Der treue Johnie
Kommt, schliebt mir einen forhen Kreis
Once more I Hail Thee
Sunset
Put Round The Bright Wine
Could Ill World
Could Ill Be fate
Oh, Had My Fate
The Return Of Ulster
Ein entmutigter liebender
Ein begluckter Liebender
Bewuderug
Gluhende Liebe
Trinklied
Weine, weine, weine nur nicht

Customer Reviews:

The Mastersinger.......2000-06-24

If the second half of the 20th Century has musical signs, they must include that phenomenal German singer Dietrich Fischer-Dieskau who dominated the recital and concert halls, the opera stages and the recording studios in a way no other artist has done it, except maybe Leonard Bernstein. In celebration of this great artist's 75th birthday we have here a set which includes the gems of his lieder repertoire, starting with those great Schubert cycles in their most vivid performances. Just listen to those early renditions of the Schone Mullerin or with Jorg Demus, or to Schuman's Dichterliebe cycle (with the same pianist). And you shall not miss the artistry of this most sensitive voice in full volume of Mahler lieder with piano and orchestral songs. And what about the Morike lieder by Hugo Wolf? Well, you shall probably wonder at that special cooperation between the singer and the Russian pianist Svitoslav Richter. It is a performance of lifetime, and so it is with the Wintereise of Schubert with Barnboim at the piano. Those who know the artistry of Fischer-Dieskau and even those who have already other recordings of those great works will not regret having this special set. For the newcomers to this great artist there will be a lot to discover, The music itself, sure, but mainly the art of interpratation. In this alone Dietrich Fischer-Dieskau shine high and above all other singers.

Dance Music:

Dance Music

dance music

Dance Music

The Fifth of July

20th Century British Clarinet Music

50/50 Band

Snap!

Rock Music rock-music-19

2nd Wave

20 Beat Classics [Import]

A Handful of Pleasant Delites

Woody Guthrie's Blues [Import] [Limited Edition]

Yes Indeed!

Wherever the Five Winds Blow

With Teeth [Import]

Yo Te Avise!! [Limited Edition] [Import]

Classical Healing

Ant Farm