| 1. Intro |
| 2. Can I Introduce Myself |
| 3. South Carolina's Finest |
| 4. Blaze Ya Squad |
| 5. Did Ya Eva |
| 6. Fucwitme |
| 7. I Got Jokes |
| 8. Can I Freek It |
| 9. I Handle Mines |
| 10. My Life Story |
| 11. Yo Mama Gotta Mustache |
| 12. Don't Make Me Laugh |
| 13. I Master This |
| 14. A Song 4 Elsie |
| 15. Outro |
Editorial Reviews
About the Artist
smooth mistic mike born michael c. williams is from santee, south carolina representin' but currently resides in suitland md. the album/label "elsie's music" named after his deceased mother was officially formed in july of 2002 but have been in works for many years. following rap music since the late 70's smooth mistic mike is guaranteed to turn heads with his debut album. this album will definitely quinch the thirst of the real hip-hop heads that's been missing the real. look out for "elsie's music" ready or not. here it is. "elsie's music" 4eva
Product Description
The best rap album ever. A must have for the hip-hop advocate. driving beats, heavy bass that's guaranteed to pound on your subs. original.
We never tired of this CD, and I will now puchase it for a young niece. If you want to purchase something you and your family will treasure, this is the one.
I am now 17 years old and listened to this when it wasn't even a CD it was a tape. Yet the music on this CD still haunts me. Vivaldi is one of my favorite composers and I think this is the CD that started it all. The story is enchanting (though perhaps a little cliche at times) and I must admit that I have listened to it again and again. In fact the last time I listened to it was driving around last sunday. I would reccomend this to anyone and unlike barney I think the parents can really enjoy it too.
Nora via. her fathers account
In our home, we don't place much value on television, computer games etc..., but we LOVE books and stories. If I can't be there reading to my child, this is DEFINITELY the next best thing.
A quick scan of the cast list(s) will tell you why: the singers include Elsie Morison, John Cameron, Monica Sinclair, Ian Wallace, Owen Brannigan & Alexander Young & the actors Zena Walker, John Neville, Rachel Roberts, Eric Porter & Paul Rogers. In other words, these are top pros & strong audio personalities who grab their every opportunity. The musical performance is sumptuous & sheer pleasure to listen to, the actors & dialogue 'production' brisk, funny & sharper than you might expect. And the sound for both music & dialogue is of demonstration quality, one of the best of the period.
Those who find this version too musically ponderous or dramatically reactionary can find antidotes in the Bare Baroque Basics one by Jeremy Barlow & The Broadside Band (Hyperion), word & note complete, & the radical & often inspired 1948 Benjamin Britten arrangement (complete on Argo, abridged with the original cast on Pearl). They'll be missing some good 50s fun, though.
They'll also be missing the only available excerpts (15 numbers) from Edward German's tuneful 1907 operetta 'Tom Jones.' This really IS 'cleaned up' 18th century, genteel beyond the call of duty, but for those who respond to musical theater of the period, highly recommended. The 1966 recording is lively & accomplished. As Miss Jean Brodie would say, For those who like that sort of thing, that is the sort of thing they like. And a good thing too.
Sound: Considering the great age of the performances, the sound is generally amazingly good. No details are provided, but it sounds to me as though a set of near-pristine (with some notable exceptions) disks have been transferred onto CD with little or no re-mastering. The effect is that of listening to the 78s on a top-of-the-line phonograph with an absolutely silent record changing mechanism. There is some low but easy-to-ignore hiss that probably appeared in the original matrices, and moments of overloading on a few of the biggest ensembles. The voices of the soloists are mostly very well captured. The choruses sound fine, if a little distant and slightly compressed. The orchestra is a bit confined by digital era standards, but its sound is nevertheless good and full of detail.
The CD tracks tend to follow the three- to four-minute takes of the original 78s. Reflecting the original sides, there is often a brief roll-off at the end of a number. In the finales, which extended over multiple 78 sides, the CDs contain brief pauses at the record breaks. Original 78s were often played out of sequence by their owners. Noticeably more wear is detectable on popular solo pieces than on the less often played choral sequences.
Documentation: Minimal. No libretto. Cast list. Short plot summaries by act. Track list. Nothing on the performers.
Text: No dialogue has been recorded. In "Pinafore," a short entr'acte, essentially an orchestral reprise of "I'm Called Little Buttercup," starts off the second CD. In "Pirates," the Sergeant's faux-churchly admonition to his men is, as usual, omitted. As the Sergeant, the beloved Leo Sheffield chose to sing, "A policeman's lot is not an 'appy one," and the chorus responded with, "'Nappy one." Since W. S. Gilbert very plainly wrote "A policeman's lot is not a happy one," he'd have launched a blazing thunderbolt along with a deduction from their weekly wages.
Format: Four discs, with two disks per opera, one for each act. Each disk is in its own plastic case and all four cases are boxed together.
These two comic operas were recorded at the transition point between the second and third generation of Savoyards. Some of the old-timers had been directed by W. S. Gilbert, himself. Sir Henry Lytton--imagine, being knighted for doing G&S!--Sir Joseph Porter in "Pinafore," was the chief comedy man of the D'Oyly Carte Opera Company. He had joined the D'Oyly Carte chorus prior to the opening of "The Mikado" and had begun taking leads with D'Oyly Carte touring companies in the 1880s. HMV engineers did not care for the way his voice recorded, so he did not perform the Major General in "Pirates." His place was taken in the studio by the articulate George Baker. Lytton's recorded voice sounds fine to me--and almost eerily like that of his D'Oyly Carte successor in the 1960s and 70s, John Reed. Fortunately, Lytton did not suffer from Reed's annoying need to mug in everything.
These performances have the virtues of all D'Oyly Carte Company recordings: excellent, rigidly disciplined choruses and soloists with superb English diction. Alas, many of the soloists suffer from the curse of English vocal training.
George Baker is good, if somewhat generic in his assumption of the Major General in "Pirates" and, unexpectedly, Captain Corcoran in "Pinafore." Being accustomed to Baker-the-elder-statesman of the stereo sets of the 1960s, I found it fascinating to hear how strong he sounded in the 1930s. (Baker was never a member of the D'Oyly Carte Company. He appeared on stage in Gilbert and Sullivan only once, after his retirement, in a benefit performance as the Learned Judge in "Trial by Jury.")
It is given wisdom among many hardcore G&S fans that Derek Oldham was the best tenor who ever recorded a Savoy opera. Don't believe them. Oldham was all right, and better overall than his D'Oyly Carte Company successors of the 1960s and later, but the finest singing actor ever to take the lead tenor parts was Oldham's immediate successor, Leonard Osborn, and the finest singer was probably Richard Lewis, who recorded in Sargent's stereo series. Oldham is passable as Frederic in "Pirates." The part of Ralph Rackstraw in "Pinafore" was assumed by Charles Goulding, a tenor with a sweet sound, but quite lacking in ping, ring or character.
Dorothy Gill, Ruth in "Pirates," and Bertha Lewis, Little Buttercup in "Pinafore," were classic English hooting contraltos. Both give stand-out performances.
The lead soprano in both comic operas was Elsie Griffin, whose rather thick voice was not very well captured on the "Pinafore" recording. Strangely, the contemporary reviewer in British magazine, The Gramophone, singled out her performance in "Pirates" above all the others. Standards in vocal sound, it seems, change over the decades.
The other soloists are very, very British--markedly more so than their counterparts in later years.
Malcolm Sargent leads the orchestra in both recordings, just as he would more than thirty years later, when he labored ponderously under the heavy weight of his knighthood. In 1929 and 1930, he was rhythmically sensitive and did a fine job keeping things moving.
This set presents two G&S comic opera masterpieces at a rock-bottom price in surprisingly good sound. All my nitpicking to the contrary, the performances of the cast are excellent. It is a must-have for a serious lover of G&S. For those who must have DDD sound or suffer the vapors, walk away, this is not for you.
This 1957 recording was the first of a series of stereo G&S recordings issued by EMI. The cast was hand-picked from the luminaries of the English operatic stage. The idea was to enhance and illuminate the comic operas with the finest native English singers. Like many brilliant schemes, it just did not work. The worst clunker of the bunch was the most famous of the lot, Geraint Evans. His problem was that he did not become Ko-Ko, he remained an opera singer who was singing Ko-Ko. (His reviews were so bad that he quickly dropped out of the series. He did not want to become identified as a Gilbert and Sullivan singer, he said. He had NOTHING to fear on that matter!) The same was true of the Pish-Tush, Pooh-Bah and the Mikado. Not one of the four managed to characterize his part. Any one was interchangeable with any other. (For that Amazon reviewer who was so taken with the Pish-Tush, I suggest that a comparison with George Baker in the earlier Sargent recording might prove a revelation.) Richard Lewis, was unquestionably the finest tenor ever to record Nanki-Poo. But he was far from being the finest performer of the rôle. That distinction belongs either to Leonard Osborn (1950) or to Derek Oldham (1928). The Three Little Maids and Katisha were all fine without being in any way extraordinary.
Much of the commentary in these Amazon reviews has been concerned with the slow tempos chosen by Sir Malcolm Sargent in this series. I am one who feels that he is too slow--not disastrously so, mind you, but still not right. For evidence in support of my position, I would call upon a gentleman of great musical knowledge and impeccable G&S credentials, Dr. Malcolm Sargent of 1928.
Beginning in 1926, HMV issued a series of G&S recordings in the very latest technological medium, electronic recordings on 78 rpm discs, roughly twenty-two sides per show. They were offered on sale in the United States for about $13, a very, very stiff price. The first two, "Trial by Jury" and "The Gondoliers" were conducted by the undistinguished Harry Norris. Thereafter, the series was given over to the much more prestigious Dr. Sargent. Although many D'Oyly Carte Company regulars appeared on the HMV sets, they were not quite D'Oyly Carte Company recordings, for HMV house singers were cast in various parts. For marketing purposes, however, they were boldly marked as being "under the supervision of Rupert D'Oyly Carte." (Rupert was the third head of the family firm created by his father, Richard D'Oyly Carte and continued by his step-mother, Helen Lenoir D'Oyly Carte. His daughter, Bridget, succeeded him and headed the company until it was murdered by the penny-pinching government of Maggie Thatcher.) A well-known tale is that D'Oyly Carte and Sargent butted heads over the 1928 "Mikado." Rupert objected to the tempos chosen by Sargent because they were simply too fast for any practical staging. Malcolm quite logically pointed out that he was conducting a recording, not a stage production. Dr. Sargent carried the day.
The 1928 "Mikado" clocks in at about 84 minutes--against 90 minutes for the 1957 version. It is a highly satisfying performance with every syllable from the fully characterized and clearly individualized principal singers precisely articulated. Almost thirty years later, Sargent seems to have labored under the burdensome weight of his knighthood. In every variant reading, the lugubrious older Sargent is wrong and the sprightly younger Sargent is right.
As for the missing dialogue, feel free to regard that as a fatal omission or as a welcome relief as you see fit.
On the whole, this is very likely the most musical rendering of "The Mikado" on CD. It is, however, far from being the best performance.
Four stars.
WARNING FOR THE EASILY SHOCKED: The 1928 version, as might be expected, contained historically accurate but distinctly non-PC epithets in both Ko-Ko's "Little List" song and the Mikado's "Punishment Fit the Crime" number. Quite to my surprise, I find that the words were still in Sargent's 1957 version.
I'm biased here in that I find many of the D-Carte recordings jokey and hide-bound. I think they are of value as theatrical documents more than anything else. And yea, if I was directing I'd speed up some tempi in a couple of places, but, hey, this is an interpretation and a damn fine one, imho.
(You'll never find a better rendering of "Our Great Mikado....")
If you want the dialogue, look elsewhere. I always find Gilbert's dialogue in recordings deadly.
One place where I differ from some of the other reviewers is my reaction to Han Hotter's Pizzaro. Hotter is in wobbly voice, and the role, which is a stock villain role, doesn't give him a chance to develop the character, Hotter's major strength (I've known and loved his Gurnemanz and Wotan/Wanderer for years-these roles do give him the chance to stretch out). Still, he is no worse than Berry in the studio recording, who consistently breaks the vocal line and is over emphatic. (For me the best Pizzaro was the young Fischer-Dieskau on the Fricsay recording-a great recording marred by the use of actors in the dialog).
I'm also not really fond of the traditional practice of playing Leonore III at the scene change in Act II - it really does interrupt the dramatic flow. On the other hand, the additional dialog in this recording allows for much more characterization-and it's well done.
Vickers and Klemperer are even better on this recording than they are in the studio - and that's saying something - get it while you can.
smooth mistic mike born michael c. williams is from santee, south carolina representin' but currently resides in suitland md. the album/label "elsie's music" named after his deceased mother was officially formed in july of 2002 but have been in works for many years. following rap music since the late 70's smooth mistic mike is guaranteed to turn heads with his debut album. this album will definitely quinch the thirst of the real hip-hop heads that's been missing the real. look out for "elsie's music" ready or not. here it is. "elsie's music" 4eva
Product Description
The best rap album ever. A must have for the hip-hop advocate. driving beats, heavy bass that's guaranteed to pound on your subs. original.
Elsie's Music,Smooth Mistic Mike,Elsie's Music,The best rap album ever. driving beats, heavy bass that's guaranteed to pound on your subs. Ruff, Rugged, & Raw. Real Hip-Hop from the unda. For the hip-hop advocate "a must have"
Average customer rating: 
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Vivaldi's Ring Of Mystery
Manufacturer: Children's Group ProductGroup: Music Binding: Audio CD  General
| Children's Music
| Styles
| Music
General
| Classical
| Styles
| Music
Similar Items:
ASIN: B00000212N Release Date: 1991-09-24 |
Tracks:
- Spring, I, RV.269
- Piccolo Concerto, II, RV.443
- Medley: Arriving At the Pieta/Autum, I, RV.293/Guitar/Flute Sonata, I, RV.52
- Violin Concerto In A Minor, I, RV 356
- Winter, II, RV 297
- Medley: Guitar Concerto, II, RV.93/Alma Del Core
- Medley: Venice By Day/Guitar Concerto, III, RV.93/Autumn, III, RV.293/Il Gardellino, RV.90/Double Trumpet Concerto, III, RV.537/Piccolo Concerto, III, RV.443/Concerto For Two Oboes, Two Clarinets, III, RV.559
- Medley: Sonata For Two Violins, II, RV.50/'Farnace', RV.711
- Violin Concerto in A Minor, II, RV.356
- Medley: Island Of The Dead/Autumn, II, RV.293/Summer, III, RV.315
- Medley: Island Of the Dead/Autumn, II, RV.293/Summer, III, RV.315
- Medley: Il Gardellino, RV.90/Beatus Vir, RV.597/Alma Del Core/Violin Sonata In F Major, I, RV.20
- Medley: Concert Preparations/Piccolo Concerto, I, RV 443/Guitar Concerto, III, RV 93/Double Trumpet Concerto, I, RV.537
- Medley: Conclusion: Double Orchestra Concerto, II, RV.585/Guitar Concerto, II, RV.93
Product Description
THE STORY: A young violinist, Katarina, arrives at the orphanage where Vivaldi was music director. Aided by Giovanni the gondolier, she searches throughout Venice for clues to her mysterious past. THE MUSIC: Over two dozen excerpts, including Vivaldi's well-loved Four Seasons (with real sound effects), and guitar, piccolo, and trumpet concertos. Also featured are many of the violin pieces played by young violinists today.Customer Reviews:
fanatastic!.......2006-06-17
the very best.......2006-05-01
Katerina- an inspiration for the last 11 years.......2005-12-29
We never tired of this CD, and I will now puchase it for a young niece. If you want to purchase something you and your family will treasure, this is the one.
WONDERFUL!!.......2005-10-27
I am now 17 years old and listened to this when it wasn't even a CD it was a tape. Yet the music on this CD still haunts me. Vivaldi is one of my favorite composers and I think this is the CD that started it all. The story is enchanting (though perhaps a little cliche at times) and I must admit that I have listened to it again and again. In fact the last time I listened to it was driving around last sunday. I would reccomend this to anyone and unlike barney I think the parents can really enjoy it too.
Nora via. her fathers account
Very well done.......2004-08-30
In our home, we don't place much value on television, computer games etc..., but we LOVE books and stories. If I can't be there reading to my child, this is DEFINITELY the next best thing.
Average customer rating:
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John Gay: The Beggar's Opera; Edward German: Tom Jones (Highlights)
Manufacturer: Class. for Pleas. Us ProductGroup: Music Binding: Audio CD General
| Baroque (c.1600-1750)
| Historical Periods
| Classical
| Styles
| Music
General Modern
| Modern, 20th, & 21st Century
| Historical Periods
| Classical
| Styles
| Music
Vocal & Song
| Romantic (c.1820-1910)
| Historical Periods
| Classical
| Styles
| Music
Brannigan, Owen
| ( B )
| Featured Performers, A-Z
| Classical
| Styles
| Music
General
| Classical
| Styles
| Music
General
| Opera & Vocal
| Styles
| Music
Romantic (c.1820-1910)
| Historical Periods
| Opera & Vocal
| Styles
| Music
English
| Languages
| Opera & Vocal
| Styles
| Music
Operettas
| Opera & Vocal
| Styles
| Music
ASIN: B000089HAZ Release Date: 2003-08-05 |
Tracks:
- Overture - John Wills
- Thro' All The Employments Of Life - Owen Brannigan
- 'Tis Woman That Seduces All Mankind - Alexander Young
- If Love The Virgin's Heart Invade - Constance Shacklock
- A Maid Is Like The Golden Ore - Constance Shacklock
- Virgins Are Like The Fair Flower - Elsie Morison
- Our Polly Is A Sad Slut - Constance Shacklock
- Can Love Be Controlled By Advice? - Elsie Morison
- O Polly, You Might Have Toy'd And Kiss'd - Elsie Morison
- I Like A Ship In Storms Was Tossed - Elsie Morison
- A Fox May Steal Your Hens, Sir - Owen Brannigan
- O Ponder Well - Elsie Morison
- Pretty Polly, Say - Elsie Morison
- My Heart Was So Free - John Cameron
- Were I Laid On Greenland's Coast - Elsie Morison
- O What Pain It Is To Part - Elsie Morison
- Fill Every Glass - Alexander Young
- Let Us Take The Road - Alexander Young
- If The Heart Of A Man - John Cameron
- Youth's The Season - Dance - John Cameron
- Before The Barn-Door Crowing - Dance - Anna Pollak
- At The Tree I Shall Suffer - John Cameron
- Man May Escape From Rope And Gun - John Cameron
- App. 1. How Cruel Are The Traitors - Monica Sinclair
- App. 3. When You Censure The Age - Owen Brannigan
- How Happy Could I Be With Either - John Cameron
- I'm Bubbled, I'm Bubbled - Monica Sinclair
- Cease Your Funning - Elsie Morison
- Melodrama: The Escape Of Macheath - John Wills
Tracks:
- The Modes Of The Court So Common Are Grown - Alexander Young
- In The Days Of My Youth - Owen Brannigan
- Entrance Of Lucy - John Wills
- I'm Like A Skiff On The Ocean Tost - Monica Sinclair
- Come, Sweet Lass - Monica Sinclair
- Hither, Dear Husband - Monica Sinclair
- Which Way Shall I Turn Me? - John Cameron
- The Charge Is Prepared - John Cameron
- Macheath's Soliloquy - John Wills
- Would I Might Be Hang'd - Monica Sinclair
- Thus I Stand Like The Turk - John Cameron
- Introduction - Don't You Find The Weather Charming? - Gilbert Vinter & His Orchestra
- On A Januairy Morning In Zummerzetsheer - Nigel Brooks Chorus
- West County Lad, What Is't Ye Lack? - Nigel Brooks Chorus
- To-Day My Spinet, Closed And Idly Still - Cynthia Glover
- Wisdom Says 'Festina Lente' - Shirley Minty
- Madrigal: Here's A Paradox For Lovers - Shirley Minty
- Dream O' Day Jill - Cynthia Glover
- As All The Maids And I One Day - Shirley Minty
- A Soldier's Scarlet Coat - Nigel Brooks Chorus
- Love Maketh The Heart A Garden Fair - Cynthia Glover
- Morris Dance - Gilbert Vinter & His Orchestra
- Gavotte: Glass Of Fashion, Mould Of Form - Gilbert Vinter & His Orchestra
- The Green Ribbon - Shirley Minty
- If Love's Content Lie In The Spoken Word - Frederick Harvey
- Recitative And Waltz Song: Which Is My Own True Self... - Cynthia Glover
- Recitative And Waltz Song: For To-night Let Me Dream Out My Dream Of Delight - Cynthia Glover
- Hark! The Merry Marriage Bells - Shirley Minty
Customer Reviews:
Enjoyably 'Inauthentic,' Authentically 1950s Version.......2005-05-14
A quick scan of the cast list(s) will tell you why: the singers include Elsie Morison, John Cameron, Monica Sinclair, Ian Wallace, Owen Brannigan & Alexander Young & the actors Zena Walker, John Neville, Rachel Roberts, Eric Porter & Paul Rogers. In other words, these are top pros & strong audio personalities who grab their every opportunity. The musical performance is sumptuous & sheer pleasure to listen to, the actors & dialogue 'production' brisk, funny & sharper than you might expect. And the sound for both music & dialogue is of demonstration quality, one of the best of the period.
Those who find this version too musically ponderous or dramatically reactionary can find antidotes in the Bare Baroque Basics one by Jeremy Barlow & The Broadside Band (Hyperion), word & note complete, & the radical & often inspired 1948 Benjamin Britten arrangement (complete on Argo, abridged with the original cast on Pearl). They'll be missing some good 50s fun, though.
They'll also be missing the only available excerpts (15 numbers) from Edward German's tuneful 1907 operetta 'Tom Jones.' This really IS 'cleaned up' 18th century, genteel beyond the call of duty, but for those who respond to musical theater of the period, highly recommended. The 1966 recording is lively & accomplished. As Miss Jean Brodie would say, For those who like that sort of thing, that is the sort of thing they like. And a good thing too.
Average customer rating:
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Pirates of Penzance/H.M.S. Pinafore
Manufacturer: Castle Pulse ProductGroup: Music Binding: Audio CD All Works by Sullivan
| Sullivan, Arthur
| ( S )
| Featured Composers, A-Z
| Classical
| Styles
| Music
General Modern
| Modern, 20th, & 21st Century
| Historical Periods
| Classical
| Styles
| Music
General
| Classical
| Styles
| Music
General
| Opera & Vocal
| Styles
| Music
Operettas
| Opera & Vocal
| Styles
| Music
General
| Musicals
| Broadway & Vocalists
| Styles
| Music
General
| Broadway & Vocalists
| Styles
| Music
General
| Soundtracks
| Styles
| Music
General
| Easy Listening
| Pop
| Styles
| Music
Classical
| Imports
| Stores
| Music
Opera & Vocal
| Imports
| Stores
| Music
Pop
| Imports
| Stores
| Music
Similar Items:
ASIN: B00008BXGL Release Date: 2003-04-07 |
Tracks:
- Pirates of Penzance: Overture: - Light Opera Orchestra
- Pirates of Penzance: Pour, O Pour, The Pirate Sherry - Male Chorus, Stuart Robertson
- Pirates of Penzance: When Fred'ric Was a Little Lad - Dorothy Gill
- Pirates of Penzance: Oh, Better Far to Live and Die - Peter Dawson, Male Chorus
- Pirates of Penzance: O, False One, You Have Deceived Me - Dorothy Gill, Derek Oldham
- Pirates of Penzance: What Shall I Do?/Climbing Over Rocky Mountain - Nellie Briercliffe, , Derek Oldham, Nellie Walker,
- Pirates of Penzance: Stop, Ladies, Pray - Nellie Briercliffe, , Derek Oldham, Nellie Walker,
- Pirates of Penzance: Oh! Is There Not One Maiden Breast - Elsie Griffin, Derek Oldham,
- Pirates of Penzance: 'Tis Mabel! - Elsie Griffin,
- Pirates of Penzance: Poor Wand'ring One - Elsie Griffin, Derek Oldham,
- Pirates of Penzance: What Ought We to Do, Gentle Sisters, Say? - Nellie Briercliffe, Nellie Walker
- Pirates of Penzance: How Beautifully Blue the Sky - Elsie Griffin, Derek Oldham,
- Pirates of Penzance: Stay, We Must Not Lose Our Senses - Derek Oldham,
- Pirates of Penzance: Hold, Monsters! - George Baker, , Elsie Griffin, Stuart Robertson, Chorus
- Pirates of Penzance: I a the Very Model of a Modern Major General - George Baker, , Chorus
- Pirates of Penzance: Oh, Men of Dark and Dismal Fate - George Baker,
- Pirates of Penzance: You May Go, For You're at Liberty
Tracks:
- Pirates of Penzance: Oh! Dry the Glist'ning Tear - Elsie Griffin
- Pirates of Penzance: Then, Fred'ric, Let Your Escort, Lion Hearted - George Baker, Derek Oldham
- Pirates of Penzance: Now for the Pirates' Lair - Peter Dawson, Dorothy Gill, Derek Oldham
- Pirates of Penzance: When You Had Left Our Pirate Fold - Peter Dawson, Dorothy Gill, Derek Oldham
- Pirates of Penzance: Away, Away! My Hearts on Fire - Peter Dawson, Dorothy Gill, Derek Oldham
- Pirates of Penzance: All Is Prepared!/Stay Fred'ric, Stay! - Elsie Griffin, Derek Oldham
- Pirates of Penzance: Ah, Leave Me Not to Pine! - Elsie Griffin, Derek Oldham
- Pirates of Penzance: No, I Am Brave! - Elsie Griffin, Male Chorus, Leo Sheffield
- Pirates of Penzance: When a Fellon's Not Engaged - Male Chorus, Leo Sheffield
- Pirates of Penzance: A Rollicking Band of Pirates We - Male Chorus, Leo Sheffield
- Pirates of Penzance: With Cat-Like Tread - Male Chorus, Stuart Robertson
- Pirates of Penzance: Hush, Hush! - George Baker, , Derek Oldham, Chorus
- Pirates of Penzance: Softly Sighing - George Baker, Male Chorus
- Pirates of Penzance: Now What Is This, And What Is That? - George Baker, , Elsie Griffin, Derek Oldham
- Pirates of Penzance: To Gain a Brief Advantage - George Baker, Peter Dawson, , Dorothy Gill, Elsie Griffin, Leo Sheffield
Tracks:
- H.M.S. Pinafore: Overture - Symphony Orchestra
- H.M.S. Pinafore: We Sail the Ocean Blue - Male Chorus
- H.M.S. Pinafore: Hail! Men-O'-Wars'-Men - Bertha Lewis
- H.M.S. Pinafore: I'm Called Little Buttercup - Bertha Lewis
- H.M.S. Pinafore: But Tell Me Who's the Youth - Sydney Grainville, Bertha Lewis
- H.M.S. Pinafore: The Nightingale Sighed - Charles Goulding, Bertha Lewis, Male Chorus
- H.M.S. Pinafore: A Maiden Fair to See - Charles Goulding, Male Chorus
- H.M.S. Pinafore: My Gallant Crew, Good Morning! - George Baker, Male Chorus
- H.M.S. Pinafore: I Am the Captain of the Pinafore - George Baker, Male Chorus
- H.M.S. Pinafore: Sir, You Are Sad - George Baker, Bertha Lewis
- H.M.S. Pinafore: Sorry Her Lot - Elsie Griffin
- H.M.S. Pinafore: Over the Bright Blue Sea
- H.M.S. Pinafore: Sir Joseph's Barge Is Seen - Mixed Chorus & Orchestra
- H.M.S. Pinafore: Now Give Three Cheers - George Baker, Nellie Briercliffe, Henry Lytton, Mixed Chorus & Orchestra
- H.M.S. Pinafore: When I Was a Lad - Henry Lytton, Mixed Chorus & Orchestra
- H.M.S. Pinafore: For I Hold That on the Seas - Nellie Briercliffe, Henry Lytton, Mixed Chorus & Orchestra
- H.M.S. Pinafore: A British Tar Is a Soaring Soul - Charles Goulding, Sydney Grainville, Male Chorus, Stuart Robertson
- H.M.S. Pinafore: Refrain, Audacious Tar - Charles Goulding, Elsie Griffin
- H.M.S. Pinafore: Can I Survive This Overbearing? - Nellie Briercliffe, Darrell Fancourt, Charles Goulding, Sydney Grainville, Elsie Griffin, Mixed Chorus & Orchestra
- H.M.S. Pinafore: This Very Night - Darrell Fancourt, Mixed Chorus & Orchestra
Tracks:
- H.M.S. Pinafore: Entr'acte - Symphony Orchestra
- H.M.S. Pinafore: Fair Moon, To Thee I Sing - George Baker
- H.M.S. Pinafore: Things Are Seldom Done - George Baker, Bertha Lewis
- H.M.S. Pinafore: The Hours Creep on Apace - Elsie Griffin
- H.M.S. Pinafore: Never Mind the Why and Wherefore - George Baker, Elsie Griffin, Henry Lytton
- H.M.S. Pinafore: Kind Captain - George Baker, Darrell Fancourt
- H.M.S. Pinafore: Carefully on Tip-Toe Stealing - George Baker, Darrell Fancourt, Charles Goulding, Elsie Griffin, Male Chorus
- H.M.S. Pinafore: He Is an Englishman! - Sydney Grainville, Male Chorus
- H.M.S. Pinafore: In Uttering a Reprobation - George Baker, Nellie Briercliffe, Darrell Fancourt, Henry Lytton, Mixed Chorus & Orchestra
- H.M.S. Pinafore: Farewell My Own - Nellie Briercliffe, Darrell Fancourt, Charles Goulding, Sydney Grainville, Elsie Griffin, Henry Lytton,
- H.M.S. Pinafore: My Pain and My Distress - Bertha Lewis, Henry Lytton, Mixed Chorus & Orchestra
- H.M.S. Pinafore: A Many Years Ago - Bertha Lewis, Mixed Chorus & Orchestra
- H.M.S. Pinafore: Oh Joy, Oh Rapture - George Baker, Nellie Briercliffe, Darrell Fancourt, Charles Goulding, Elsie Griffin, Bertha Lewis, Henry Lytton,
Album Details
Four CD Box Set with Two of the Composing Duo's Most Beloved Operettas.Customer Reviews:
Excellent historical Gilbert and Sullivan.......2005-05-08
Sound: Considering the great age of the performances, the sound is generally amazingly good. No details are provided, but it sounds to me as though a set of near-pristine (with some notable exceptions) disks have been transferred onto CD with little or no re-mastering. The effect is that of listening to the 78s on a top-of-the-line phonograph with an absolutely silent record changing mechanism. There is some low but easy-to-ignore hiss that probably appeared in the original matrices, and moments of overloading on a few of the biggest ensembles. The voices of the soloists are mostly very well captured. The choruses sound fine, if a little distant and slightly compressed. The orchestra is a bit confined by digital era standards, but its sound is nevertheless good and full of detail.
The CD tracks tend to follow the three- to four-minute takes of the original 78s. Reflecting the original sides, there is often a brief roll-off at the end of a number. In the finales, which extended over multiple 78 sides, the CDs contain brief pauses at the record breaks. Original 78s were often played out of sequence by their owners. Noticeably more wear is detectable on popular solo pieces than on the less often played choral sequences.
Documentation: Minimal. No libretto. Cast list. Short plot summaries by act. Track list. Nothing on the performers.
Text: No dialogue has been recorded. In "Pinafore," a short entr'acte, essentially an orchestral reprise of "I'm Called Little Buttercup," starts off the second CD. In "Pirates," the Sergeant's faux-churchly admonition to his men is, as usual, omitted. As the Sergeant, the beloved Leo Sheffield chose to sing, "A policeman's lot is not an 'appy one," and the chorus responded with, "'Nappy one." Since W. S. Gilbert very plainly wrote "A policeman's lot is not a happy one," he'd have launched a blazing thunderbolt along with a deduction from their weekly wages.
Format: Four discs, with two disks per opera, one for each act. Each disk is in its own plastic case and all four cases are boxed together.
These two comic operas were recorded at the transition point between the second and third generation of Savoyards. Some of the old-timers had been directed by W. S. Gilbert, himself. Sir Henry Lytton--imagine, being knighted for doing G&S!--Sir Joseph Porter in "Pinafore," was the chief comedy man of the D'Oyly Carte Opera Company. He had joined the D'Oyly Carte chorus prior to the opening of "The Mikado" and had begun taking leads with D'Oyly Carte touring companies in the 1880s. HMV engineers did not care for the way his voice recorded, so he did not perform the Major General in "Pirates." His place was taken in the studio by the articulate George Baker. Lytton's recorded voice sounds fine to me--and almost eerily like that of his D'Oyly Carte successor in the 1960s and 70s, John Reed. Fortunately, Lytton did not suffer from Reed's annoying need to mug in everything.
These performances have the virtues of all D'Oyly Carte Company recordings: excellent, rigidly disciplined choruses and soloists with superb English diction. Alas, many of the soloists suffer from the curse of English vocal training.
George Baker is good, if somewhat generic in his assumption of the Major General in "Pirates" and, unexpectedly, Captain Corcoran in "Pinafore." Being accustomed to Baker-the-elder-statesman of the stereo sets of the 1960s, I found it fascinating to hear how strong he sounded in the 1930s. (Baker was never a member of the D'Oyly Carte Company. He appeared on stage in Gilbert and Sullivan only once, after his retirement, in a benefit performance as the Learned Judge in "Trial by Jury.")
It is given wisdom among many hardcore G&S fans that Derek Oldham was the best tenor who ever recorded a Savoy opera. Don't believe them. Oldham was all right, and better overall than his D'Oyly Carte Company successors of the 1960s and later, but the finest singing actor ever to take the lead tenor parts was Oldham's immediate successor, Leonard Osborn, and the finest singer was probably Richard Lewis, who recorded in Sargent's stereo series. Oldham is passable as Frederic in "Pirates." The part of Ralph Rackstraw in "Pinafore" was assumed by Charles Goulding, a tenor with a sweet sound, but quite lacking in ping, ring or character.
Dorothy Gill, Ruth in "Pirates," and Bertha Lewis, Little Buttercup in "Pinafore," were classic English hooting contraltos. Both give stand-out performances.
The lead soprano in both comic operas was Elsie Griffin, whose rather thick voice was not very well captured on the "Pinafore" recording. Strangely, the contemporary reviewer in British magazine, The Gramophone, singled out her performance in "Pirates" above all the others. Standards in vocal sound, it seems, change over the decades.
The other soloists are very, very British--markedly more so than their counterparts in later years.
Malcolm Sargent leads the orchestra in both recordings, just as he would more than thirty years later, when he labored ponderously under the heavy weight of his knighthood. In 1929 and 1930, he was rhythmically sensitive and did a fine job keeping things moving.
This set presents two G&S comic opera masterpieces at a rock-bottom price in surprisingly good sound. All my nitpicking to the contrary, the performances of the cast are excellent. It is a must-have for a serious lover of G&S. For those who must have DDD sound or suffer the vapors, walk away, this is not for you.
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Gilbert & Sullivan: The Mikado
Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Sullivan
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ASIN: B000002S3U Release Date: 1993-02-16 |
Tracks:
- The Mikado: Overture
- The Mikado: Act One: No. 1: Chorus Of Nobles, And Recitative (Nanki-Poo)
- The Mikado: Act One: No. 1: Chorus Of Nobles, And Recitative (Nanki-Poo) (Continued)
- The Mikado: Act One: No. 2: Song (Nanki-Poo, Chorus): Nanki-Poo Declares Himself A Wandering Minstrel.
- The Mikado: Act One: No. 3. Song (Pish-Tush, Chorus): The Virtuous Mikado Had Made Flirting A Capital Crime...
- The Mikado: Act One: No. 4: Song (Pooh-Bah, Nanki-Poo, Pish-Tush): Nanki-Poo's Suite Is Hopeless, For Yum-Yum Is To Leave School And Wed Ko-Ko That Very Day.
- The Mikado: Act One: No. 4a: Recitative (Nanki-Poo, Pooh-Bah): Ko-Ko Himself Is Approaching...
- The Mikado: Act One: No. 5: Chorus, With Solo (Ko-Ko): 'Behold The Lord High Executioner!'
- The Mikado: Act One: No. 5a: Solo (Ko-Ko, Chorus): The Lord High Executioner Expounds His 'Little List' Of Potential Victims-
- The Mikado: Act One: No. 6: Chorus Of Girls: Fresh From School, They Wonder 'What The World Can Be'.
- The Mikado: Act One: No. 7: Trio (Yum-Yum, Peep-Bo, Pitti-Sing, Chorus Of Girls): Of These'Three Little Maids From School', Yum-Yum Is Already A bride...
- The Mikado: Act One: No. 8: Quartet (Yum-Yum, Peep-Bo, Patti-Sing, Pooh-Bah, Chorus Of Girls): The Girls Have More High Spiritedness Than Etiquette...
- The Mikado: Act One: No. 9: Duet (Yum-Yum, Nanki-Poo): If Yum-Yum Were Not Engaged, Then This Is What They Would Do!
- The Mikado: Act One: No. 10: Trio (Ko-Ko, Pooh-Bah, Pish-Tush): Ko-Ko Finds Good Reason For Not Beheading Himself...
- The Mikado: Act One: No. 11: Finale: The Chorus Of Men And Women Learn That Ko-Ko Has Found A Substitute.
- The Mikado: Act One: No. 11: Finale: But Suddenly An Evil-Looking Figure Enters: 'Your Revels cease!' It Is Katisha
Tracks:
- The Mikado: Act Two: No 1: Solo (Pitti-Sing)With Chorus Of Girls
- The Mikado: Act Two: No 2: Song (Yum-Yum)
- The Mikado: Act Two: No. 3 Madrigal (Yum-Yum, Pitti-Sing, Nanki-Poo And Pish -Tush)
- The Mikado: Act Two: No 4: Trio (Yum-Yum, Nanki-Poo, And Ko-Ko)
- The Mikado: Act Two: No 5: Entrance Of The Mikado And Katisha
- The Mikado: Act Two: No 6: Song (Mikado) And Chorus
- The Mikado: Act Two: No 7: Trio (Pitti-Sing, Ko-Ko, And Pooh-Bah) And Chorus
- The Mikado: Act Two: No 8: Glee(Pitti-Sing, Katisha, Ko-Ko, Poh-Bah And Mikado)
- The Mikado: Act Two: No 9: Duet (Nanki-Poo, Ko-Ko)
- The Mikado: Act Two: No 10: Recitative
- The Mikado: Act Two: No 10: And Song (Katisha)
- The Mikado: Act Two: No 11: Song (Ko-Ko)
- The Mikado: Act Two: No 12: Duet (Katisha, Ko-Ko)
- The Mikado: Act Two: No 13: Finale
Customer Reviews:
A Tale of Two Sargents.......2005-11-03
This 1957 recording was the first of a series of stereo G&S recordings issued by EMI. The cast was hand-picked from the luminaries of the English operatic stage. The idea was to enhance and illuminate the comic operas with the finest native English singers. Like many brilliant schemes, it just did not work. The worst clunker of the bunch was the most famous of the lot, Geraint Evans. His problem was that he did not become Ko-Ko, he remained an opera singer who was singing Ko-Ko. (His reviews were so bad that he quickly dropped out of the series. He did not want to become identified as a Gilbert and Sullivan singer, he said. He had NOTHING to fear on that matter!) The same was true of the Pish-Tush, Pooh-Bah and the Mikado. Not one of the four managed to characterize his part. Any one was interchangeable with any other. (For that Amazon reviewer who was so taken with the Pish-Tush, I suggest that a comparison with George Baker in the earlier Sargent recording might prove a revelation.) Richard Lewis, was unquestionably the finest tenor ever to record Nanki-Poo. But he was far from being the finest performer of the rôle. That distinction belongs either to Leonard Osborn (1950) or to Derek Oldham (1928). The Three Little Maids and Katisha were all fine without being in any way extraordinary.
Much of the commentary in these Amazon reviews has been concerned with the slow tempos chosen by Sir Malcolm Sargent in this series. I am one who feels that he is too slow--not disastrously so, mind you, but still not right. For evidence in support of my position, I would call upon a gentleman of great musical knowledge and impeccable G&S credentials, Dr. Malcolm Sargent of 1928.
Beginning in 1926, HMV issued a series of G&S recordings in the very latest technological medium, electronic recordings on 78 rpm discs, roughly twenty-two sides per show. They were offered on sale in the United States for about $13, a very, very stiff price. The first two, "Trial by Jury" and "The Gondoliers" were conducted by the undistinguished Harry Norris. Thereafter, the series was given over to the much more prestigious Dr. Sargent. Although many D'Oyly Carte Company regulars appeared on the HMV sets, they were not quite D'Oyly Carte Company recordings, for HMV house singers were cast in various parts. For marketing purposes, however, they were boldly marked as being "under the supervision of Rupert D'Oyly Carte." (Rupert was the third head of the family firm created by his father, Richard D'Oyly Carte and continued by his step-mother, Helen Lenoir D'Oyly Carte. His daughter, Bridget, succeeded him and headed the company until it was murdered by the penny-pinching government of Maggie Thatcher.) A well-known tale is that D'Oyly Carte and Sargent butted heads over the 1928 "Mikado." Rupert objected to the tempos chosen by Sargent because they were simply too fast for any practical staging. Malcolm quite logically pointed out that he was conducting a recording, not a stage production. Dr. Sargent carried the day.
The 1928 "Mikado" clocks in at about 84 minutes--against 90 minutes for the 1957 version. It is a highly satisfying performance with every syllable from the fully characterized and clearly individualized principal singers precisely articulated. Almost thirty years later, Sargent seems to have labored under the burdensome weight of his knighthood. In every variant reading, the lugubrious older Sargent is wrong and the sprightly younger Sargent is right.
As for the missing dialogue, feel free to regard that as a fatal omission or as a welcome relief as you see fit.
On the whole, this is very likely the most musical rendering of "The Mikado" on CD. It is, however, far from being the best performance.
Four stars.
WARNING FOR THE EASILY SHOCKED: The 1928 version, as might be expected, contained historically accurate but distinctly non-PC epithets in both Ko-Ko's "Little List" song and the Mikado's "Punishment Fit the Crime" number. Quite to my surprise, I find that the words were still in Sargent's 1957 version.
Sonorous, Pleasing, Theatrically Apt.......2005-03-04
I'm biased here in that I find many of the D-Carte recordings jokey and hide-bound. I think they are of value as theatrical documents more than anything else. And yea, if I was directing I'd speed up some tempi in a couple of places, but, hey, this is an interpretation and a damn fine one, imho.
(You'll never find a better rendering of "Our Great Mikado....")
If you want the dialogue, look elsewhere. I always find Gilbert's dialogue in recordings deadly.
Fun lost? I don't think so........2001-12-16
I'm sure it won't come as a surprise that I highly recommend this recording.
Great Singing, senza Dialog.......2001-07-19
Likely to please Sullivan more than Gilbert........2001-04-13
It is the first of a series of recordings of G & S operas produced in the late 1950s and early 1960s by EMI. Sir Malcolm Sargent, engaged for a similar recording venture 30 years earlier, was again engaged as conductor. The singers (two of them Australians) were selected because they could sing, not because they could act or had previous experience in G & S live productions.
The result? Well, it always pleases me, and I suspect it would please Sullivan too. Sargent's tempos tend to be slower than is customary, but are never leaden-footed. Richard Lewis, from his opening question, proclaims himself as the lyrical, mellifluous tenor you'll want to keep singing to you forever (even if he becomes the next Mikado). Owen Brannigan has a high old time as the present Mikado. Elsie Morison is especially fine at the beginning of Act 2, as is Monica Sinclair in her duet with Ko-Ko. It is a pleasure to hear even the bit parts sung rather than mouthed.
Gilbert may not have valued singers who can sing, but if you do, and you are aware that Sullivan's music repays worthy attention, then this is the "Mikado" for you.
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Kathleen Ferrier Ovation #2: J.S. Bach St Matthew Passion
Kathleen Ferrier , Johann Sebastian Bach , Dr. Reginald Jacques , Jacques Orchestra , Osborne Peasgood , Elsie Suddaby , Eric Greene , and The Bach Choir Manufacturer: Polygram Records ProductGroup: Music Binding: Audio CD All Works by J.S. Bach
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ASIN: B00000E4XE Release Date: 1992-06-16 |
Tracks:
- Arias & Choruses: No.1: Come, Ya Daughters - The Bach Chor
- Arias & Choruses: No.9: My Master And My Lord.../No.10: Grief For Sin - Eric Greene
- Arias & Choruses: No.33: Behold, My Savior Now Is Taken - Elsie Suddaby/Eric Greene/The Bach Chor
- Arias & Choruses: No.36: Ah! Now Is My Saviour Gone - Eric Greene/The Bach Chor
- Arias & Choruses: No.47: Have Mercy, Lord, On Me.../No.48: Lamb Of God, I Fall Before Thee - Eric Greene
- Arias & Choruses: No.60: Gracious God!.../No.61: If My Tears Be Availing - Eric Greene
- Arias & Choruses: No.63: O Sacred Head Surrounded - The Bach Chor
- Arias & Choruses: No.69: Ah, Golgotha!.../No.70: See Ye! See The Saviour's Outstretched Hands - Eric Greene/The Bach Chor
- Arias & Choruses: No.72: Be Near Me, Lord, When Dying - The Bach Chor
- Arias & Choruses: No.77: And Now The Lord To Rest Is Laid.../No.78: In Tears Of Grief - The Bach Chor
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Beethoven: Fidelio
Manufacturer: Testament UK ProductGroup: Music Binding: Audio CD All Works by Beethoven
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ASIN: B0000X81X0 Release Date: 2004-01-13 |
Amazon.com
This live-from-Covent Garden performance, taped in February of 1961, challenges Klemperer's 1962 studio recording on EMI, also with Vickers and Frick, but with otherwise different soloists, for the supreme position among recorded versions of Fidelio. As usual with Klemperer, tempi are broad, but there's no lack of tension, and his singers, all in superb voice (except for the somewhat wobbly bass Hans Hotter as Pizarro, who nonetheless is frightening and a major force in the role), are as involved in the message of the work as they are in their individual notes. Vickers is riveting, offering a sad, resigned, noble and, at the same time, heroic Florestan, and soprano Sena Jurinac is the picture of strength, compassion, and dignity as Leonore. Dobson and Morison are a fine pair of youngsters, and Gottlob Frick makes Rocco come vividly to life: a good man, doing a bad job. After an exciting performance of the Leonore Overture No. 3 (which should be skipped for maximum dramatic impact) between the dungeon scene and finale, the opera's last moments are as thrilling and uplifting as the Ninth Symphony can be. The broadcast sound is as good as it can be. Highly recommended, whether you already own the EMI or not. --Robert LevineCustomer Reviews:
No words to describe this..........2004-12-16
Jumping on the bandwagon.......2004-07-22
One place where I differ from some of the other reviewers is my reaction to Han Hotter's Pizzaro. Hotter is in wobbly voice, and the role, which is a stock villain role, doesn't give him a chance to develop the character, Hotter's major strength (I've known and loved his Gurnemanz and Wotan/Wanderer for years-these roles do give him the chance to stretch out). Still, he is no worse than Berry in the studio recording, who consistently breaks the vocal line and is over emphatic. (For me the best Pizzaro was the young Fischer-Dieskau on the Fricsay recording-a great recording marred by the use of actors in the dialog).
I'm also not really fond of the traditional practice of playing Leonore III at the scene change in Act II - it really does interrupt the dramatic flow. On the other hand, the additional dialog in this recording allows for much more characterization-and it's well done.
Vickers and Klemperer are even better on this recording than they are in the studio - and that's saying something - get it while you can.
I join in the praise.......2004-01-30
Long-awaited legendary performances.......2004-01-25
The ensemble is not always perfect. There are instances of the singers running ahead of the orchestra. After the trio, at the start of the Act 1 march, the audience clapped hysterically until someone shouted "Quiet! Sssssh!!" because Klemperer did not stop for the applause but continued with the performance even though he was drowned out by clapping. So there are all these warts in the performance, undoctored. But the performance is so moving and intense that it just doesn't matter.
A truly great performance. BTW, I just saw the video from the Met starring Mattila, that is also a great performance. Since Klemperer's EMI Fidelio in 1962, there has not been any truly great recordings of Fidelio coming out. Now suddenly we have 2 together. The 2000 Met production is the greatest Fidelio since Klemperer 1962.
I waited for a lifetime.......2004-01-21
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The Best of Gilbert & Sullivan
Manufacturer: Prism ProductGroup: Music Binding: Audio CD All Works by Sullivan
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ASIN: B00005J947 Release Date: 2000-01-01 |
Tracks:
- Hark The Hour Of Ten Is Sounding - Trial By Jury
- Judge's Song -Trial By Jury
- We Sail The Ocean Blue...Buttercup's Song - Hms Pinafore
- My Gallant Crew... I Am The Captain Of The Pinafore - Hms Pi
- When I Was A Lad - Hms Pinafore
- Never Mind The Why And Wherefore - Hms Pinafore
- His Is An Englishman - Hms Pinafore
- Pirate King's Song - Pirates Of Penzance
- Oh Is There Not One Maiden Breast- - Pirates Of Penzance
- How Beautifully Blue The Sky - Pirates Of Penzance
- I Am The Very Model Of A Modern Major General - Pirates Of P
- When The Foeman Bears His Steel - Pirates Of Penzance
- When You Had Left Our Pirate Fold - Pirates Of Penzance
- Ah! Leave Me Not To Pine Alone - Pirates Of Penzance
- A Poiceman's Lot Is Not A Happy One - Pirates Of Penzance
- With Catlike Tread - Pirates Of Penzance
- March And Entry Of The Peers - Iolanthe
- Law Is The True Enbodiment - Iolanthe
- When I Wenr To The Bar - Iolanthe
- When All Night Long - Iolanthe
- When Britain Really Ruled The Waves - Iolanthe
- Oh Foolish Fay - Iolanthe
- Nightmare Song - Iolanthe
- If You Go In - Iolanthe
- Finale- Soon As We May - Iolanthe
Album Details
The First of Two Magnaminous Volumes of the Best Songs from the Best Loved Composers.
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Wood Conducts Vaughan Williams
Manufacturer: Dutton Labs UK ProductGroup: Music Binding: Audio CD Vaughan Williams, Ralph
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ASIN: B00005B0HQ Release Date: 2001-08-14 |
Customer Reviews:
Historically Valuable Recording.......2004-02-11
This collection is historically important because of the eminence of Sir Henry Wood as a musician of his day as well as his collaboration and relationship with the composer. Indeed, the 'Serenade to Music' is even dedicated to him on the occasion of his fifty years as a conductor. If you enjoy historical recordings, by all means, enjoy this one. At the time, do not expect the usual audio quality that one often hears from Dutton's historical releases.
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Gustav Mahler: 10 Symphonien
Manufacturer: Polygram Records ProductGroup: Music Binding: Audio CD All Works by Mahler
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ASIN: B000001GBR Release Date: 1990-02-13 |
Tracks:
- Symphony No.1 'Titan': Langsam. Schleppend - Im Anfang sehr Gemachlich
- Symphony No.1 'Titan': Kraftig bewegt, doch nicht zu schnell - Trio. Recht gemachlich
- Symphony No.1 'Titan': Feierlich und gemessen, ohne zu schleppen
- Symphony No.1 'Titan': Sturmisch bewegt
Tracks:
- Symphony No. 2 'Resurrection': Allegro maestoso
- Symphony No. 2 'Resurrection': Andante moderto
- Symphony No. 2 'Resurrection': (Scherzo) - In ruhig fliessender Bewegung
- Symphony No. 2 'Resurrection': Urlicht. Sehr feierlich, aber schlicht
- Symphony No. 2 'Resurrection': Im Tempo des Scherzo - Wild herausfahrend
- Symphony No. 2 'Resurrection': Langsam - Misterioso
Tracks:
- Erste Abteilung - Part I - Premiere Partie: Symphony Nr. 3: Kraftig. Entschieden
- Zweite Abteilung - Part II - Second partie: Symphony Nr. 3: Tempo di Menuetto - Sehr maBig
- Zweite Abteilung - Part II - Seconde Partie: Symphony Nr. 3: Comodo - Scherzando - Ohne Hast
- Erste Abteilung - Part II - Premiere Partie: Symphony Nr. 3: Sehr langsam - Misterioso - Durchaus
- Sweite Abteilung - Part II - Seconde Partie: Symphony Nr. 3: Lustig im Tempo und keck im Ausdruck
Tracks:
- Frauenchor des Bayerischen Rundfunks: Langsam. Ruhevoll. Empfunden
- Symphonie No. 10: Andante - Adagio
Tracks:
- Symphonie No. 4: Bedachtig - Nicht eilen
- Symphonie No. 4: In gemachlicher Bewegung - Ohne Hast
- Symphonie No. 4: Ruhevoll
- Symphonie No. 4: Sehr behaglich
Tracks:
- Symphonie No. 5: Part I: Trauermarsch. In gemessenem Schritt. Streng - Wie ein Kondukt
- Symphonie No. 5: Part I: Sturmisch bewegt - Mit groesster Vehemenz
- Symphonie No. 5: Part II: Scherzo. Kraeftig, nicht zu schnell
- Symphonie No. 5: Part III. Adagietto - Sehr langsam - attacca:
- Symphonie No. 5: Part III: Rondo-Finale - Allegro - Allegro giocoso - Frisch
Tracks:
- Symphonie No. 6 'Tragic': Allegro energico, ma non troppo. Heftig, aber markig.
- Symphonie No. 6 'Tragic': Scherzo - Wuchtig
- Symphonie No. 6 'Tragic': Andante moderato
- Symphonie No. 6 'Tragic': Finale - Allegro moderato - Allegro energico
Tracks:
- Symphonie No. 7: Langsam (Adagio) - Allegro risoluto, ma non troppo
- Symphonie No. 7: Nachtmusik - Allegro moderato
- Symphonie No. 7: Scherzo - Schattenhaft
- Symphonie No. 7: Nachtmusik - Andante amoroso
- Symphonie No. 7: Rondo - Finale - Tempo I (Allegro ordinario)
Tracks:
- Symphonie No. 8 - Symponie der Tausend: Allegro impetuoso
- Symphonie No. 8 - Symponie der Tausend: Poco adagio- Piu mosso (Allegro moderato)
- Symphonie No. 8 - Symponie der Tausend: AuBerst langsam - Adagissimo
Tracks:
- Symphonie No. 9: Andante comodo
- Symphonie No. 9: Im Tempo eines gemaechlichen Laendlers - Etwas taeppisch und sehr derb
- Symphonie No. 9: Rondo-Burleske - Allegro-assai - Sehr trotzig
- Symphonie No. 9: Adagio - Sehr langsam und noch zurueckhaltend
Amazon.com
While each performance faces stiff competition, Kubelík's late sixties/early seventies Mahler cycle, taken as a whole, remains the most consistent in the catalog. He is also one of the only Mahler conductors on record to divide first and second violins left to right, as was the composer's practice. Newcomers wishing to acquire all the symphonies cheaply in one place won't be disappointed here. --Jed DistlerCustomer Reviews:
Natural-born Mahler.......2002-05-21
It's an oversimplification to say that Kubelik, as a Czech, brought out the Bohemian lineage of Mahler's music rather than its Austrian-German traditions (the village in which Mahler was born is now part of the Czech Republic), but that does go some way toward identifying the lyricism, rusticity and naturalness in these performances. You won't exactly mistake this music for that of Dvorak, but neither will it surprise you to know that the conductor was also a great Dvorak interpreter. Throughout, the Bavarian Radio Symphony renders playing of great character and warmth, even if DG's sound doesn't always do it complete justice. Tempi tend to be a little faster overall than some listeners are accustomed to, and that briskness is probably closer to the performing style of conductors in Mahler's own time. (It also means that, except for the Third Symphony, which is simply too long a piece to perform in less than 90 minutes, each symphony fits onto a single CD.)
Lyricism and naturalness don't preclude making a cumulative impact, and Kubelik brings out the mystery and angst in this music as well as its beauty. Along with the Tennstedt series, this box would be my primary recommendation for anyone looking to collect Mahler's symphonic cycle as a complete set. I should add, however, that the two sets aren't interchangeable. Kubelik's straightforwardness is almost a corrective to Tennstedt's Romanticism (or Bernstein's), and if you prefer your Mahler with a little more expressiveness, drama, and lingering over details, Tennstedt's your guy. Kubelik, you might say, tells it like it is.
Get your Mahler right here!.......2001-12-13
one of the very finest mahler cycles.......2001-01-09
Straight Mahler With No Chaser.......2000-11-23
Good but inconsistent...........2000-11-19
The interpretations in this set are fine. The vocal work in the 8th is first class as well as in the 3rd but the 7th suffers enormously from a very banal reading and terrible engineering. The 4th movement is quite dull. The 5th, 6th, 9th and 10th (adagio) though not up to snuff as far as Bernstein's or Boulez' discs, definitely stand on their own.
The real triumph of the set though is the 1st. There is so much color and vitality here and thanks to DG, one can by this disc separately from the set. The 1st is one of Kubelik's greatest recordings.
Although economical, one might fair better with sets from Solti or Bernstein in the interpretive sense.
Average customer rating:
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Vaughan Williams: Serenade To Music; Dona Nobis Pacem
Manufacturer: Pearl ProductGroup: Music Binding: Audio CD Vaughan Williams, Ralph
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ASIN: B000000WTL Release Date: 1993-01-04 |
Tracks:
- Te Deum (For The Coronation Of H.M. King George VI And Queen Elizabeth) - Coronation Chor
- Ser To Music - Styles Allen/Isobel Baillie/Eslie Suddaby/Eva Turner/Margaret Balfour/Muriel Brunskill...
- Dona Nobis Pacem: Agnus Dei/Beat! Beat! Drums/Reconciliation/Dirge For Two Veterans/The Angel Of... - Renee Flynn/Roy Henderson/BBC Chor
Customer Reviews:
Great historical recording for our time.......2002-03-31
The first two tracks, the "Te Deum" and the "Serenade to Music" are excellent, with the "Te Deum" recorded at Westminster Abbey at the coronation of King George VI and Queen Elizabeth. The "Serenade to Music" comes from a very early recording by the original performing ensemble selected for the first performance by Vaughan Williams himself.
The "Dona Nobis Pacem" is certainly the highlight of this recording. With its calls for peace in a very war-like time, perhaps it is particularly appropriate to hear anew today. This recording is conducted by the composer, one of the few Vaughan Williams recordings of any piece still available today. The depth of passion evident in the recording easily drowns out the occassional click and pop of the very old master.
All in all, a wonderful historical recording of a great piece not heard often enough by one of the great composers of the twentieth century.
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