| 1. Thou Art in Heaven [Radio Edit] |
| 2. Thou Art in Heaven [Pumpin' Dolls vs. Mighty Mike Club Mix Radio Edit] |
| 3. Thou Art in Heaven [Soultronik-Stethoscope Radio Edit] |
| 4. Thou Art in Heaven [Pumpin' Dolls vs. Mighty Mike Club Mix] |
| 5. Thou Art in Heaven [Soultronik-Stethoscope Mix] |
| 6. To Be Free [Spanish Version Radio Edit] |
| 7. To Be Free [French Version Radio Edit] |
| 8. To Be Free [German Version Radio Edit] |
Editorial Reviews
Product Description
Taken from the 2002 album, 'Tres Lunas', this Spanish single features eight non-LP versions of two album tracks, 'Thou Art In Heaven' (Radio Edit, Pumpin' Dolls Vs Mighty Mike Club Mix - Radio Edit, Soultronik-Stethescope-Radio Edit, Pumpin' Dolls Vs Mighty Mike Club Mix), & 'To Be Free' (Spanish Radio Edit, French Radio Edit, German Radio Edit). Warner Music.
Specifically: John Tomlinson sings like he thinks he IS God, instead of singing about Him. Heavy, cumbersome, and overblown. May I add boorish?
Arleen Auger has a very sweet voice. And??
Despite the program notes insisting that certain segments of this Messiah are given to "the contralto", Anne Sofie von Otter is NOT a contralto. Not even close.
The male alto can barely sustain a legato line - why he insists upon throwing in those complicated, badly-performed embellishments I can't figure. Well, I can, but I'd really rather not say.
Wake up, choristers!! It's 'For Unto Us A Child Is Born," not "Oy, I have to go to the grocery store today."
Boy do I regret having spent almost $40 on this one. Thank goodness I have the Colin Davis to console me.
This 1988 recording sits between the euqally English, euqally period-ifnluenced Hogwood and Garidner. Of the three, Hogwood sounds more 'authentic' because it uses boys in the chorus and singers schooled period practice. By comparison, Pinnock's soprano, Arleen Auger, and mozeeo, Von Otter, are essentially modern singers--gorgeous ones, of course, Gardiner is far more anemic in his conducting and uses a scrwny-sounding orchestra, so if that's more authentic, so be it. Of the three, Pinnock gives us more traditional music values in his emotional expression and instrumental timbres.
The competiiton is mushc stiffer now than in 1988, but Pinnock's reading has survived the test of time. He is not a genuinely inspired conductor--sadly, Messiah has become a cottage industry that excludes most big-name talents--but neither are Gardiner and Hogwood. (For sheer musicality, I tend to put my money on Andrew Parrott, Robert King, Marc Minkowski, Niklaus Harnoncourt, and Rene Jacobs.) But he's certainly good eough. The reason I haven't given five stars is that the male soloists aren't first-rate, and in particular the Wotan voice of John Tomlinson sounds cavernous in the bass arias. Add to that Pinnock's tendency toward tepidness, and what you end up with is a very good but not great performance.
This performance has been debated for 40 years as to whether it is musically adept, musically correct, an exemplar of the English choral tradition, or just a big old batch of fun at Handel's expense. I first owned this during a time when I also owned a recording Handel's "Royal Fireworks Music" featuring 40 woodwinds. The two made roughly an equal amount of noise.
There isn't much question this performance is completely out of step with the way Handel is performed in most venues today. Check out the wonderful Jon Vickers' highly operatic opening aria, "Comfort ye", then compare that to any leaned-out period group you've heard. You'll get another idea of the dimension of Beecham's project.
While not on the agenda of the Flat Earth Society, the only real interest in a performance like this -- especially having to endure it on three CDs when just about everyone else puts it on two -- is nostalgia or history, whichever happens to be the case for you.
My personal favorite version is in the 4-CD box of "Messiah" and "Israel In Egypt" where Andrew Parrott leads his Taverner Choir & Players and some of the best early music singers including Emma Kirkby, Emily van Evera, Margaret Cable, David Thomas, and Joseph Cornwall. HIs Messiah isn't perfect -- it uses a countertenor for a bass in one aria -- but it is more moderate than most PPP recordings and has a wonderful romantic edge to most of the score. It comes with a top notch recording of "Israel in Egypt" and still costs less than the Beehcham.
Beecham goes all out with an orchestration, while attributed to Sir Eugene Goosens is also probably some of Beecham's own inimitable tinkering, that adds instruments not only in numbers but also in color and depth of sound. Winds double strings, percussion includes the full battery instead of just tympani, the big cello and viola sound stand equally with the big violin sound, etc. The chorus is huge, and while this allows the big dramatic moments to be intense, the fine diction Beecham demanded remains solidly intact.
The soloists are in an operatic class of their own. Jennifer Vyvyan and Monica Sinclair were major singers when this recording was made and their singing is big and well ornamented. Jon Vickers and Giorgio Tozzi bring Verdi into the room and he is a welcome visitor to Beecham's vision of this work.
For this listener, who prefers the 'correct, authentic' performance, this recording and others even older that celebrate the BIG Messiah are a delight. And that just proves that performance standards, no matter the interpretation of the conductor, are paramount: Beecham gives a solid, convincing interpretation to the operatic Messiah. It is lush, and huge, and absolutely wonderful to hear again! Grady Harp, December 06
In the forty some recordings I own (and the many performances I've attended) there's no best and no definitive. This is one I respect but don't care to hear very often.
I'm just ending up with "Thanks to Jon!"
There are actually two versions of this live performance, the one here and the other is available on LaserDisc. I believe that they were recorded on two different performance time, for on some arias the soloists have different style in singing the cadenza. Whichever you prefer, this is a recording you must simply own - even when your music library boasts a dozen or so of Handel's Messiah!!
My personal favorites appear on the second CD. The first is the divine Drink To Me Only With Thine Eyes, the Ben Jonson poem, which is a most mystical and transcending listening experience. The buoyant Stuttering Lovers is most catchy and appealing. Both of the aforementioned are sung to the piano accompaniment of pianist Phyllis Spurr.
Backed by the London Philharmonic, Ferrier renders splendid versions of Father Of Heaven from Judas Maccabaeus and O Thou That Tellest Good Tidings To Zion from The Messiah. These are truly awesome, the first one slow and somber, the second joyous and triumphant. Other highlights on this second CD include He Was Despised from The Messiah and All Is Fulfilled from St John Passion by Bach.
The informative CD booklet contains black and white photographs, a short biography in English, French and German, plus complete information on the recording of the tracks: composers, dates, venues, conductors and musicians. Kathleen Ferrier was a unique vocalist who made a magnficent contribution to classical and folk music.
There were many great mezzos from the same era as Grace Bumbry, but for me, she always stands out, due to the unique quality of her voice. I compare the timbre of her voice to a ripple of caramel- sweet, satisfying, and substantial. Hands down, she is my favorite Amneris and Eboli, on disc. Her voice is an arresting combination of vocal beauty and dramatic flair.
Unfortunately, Bumbry was, and is, one of those artists that the critics love to pick apart. Just read the online review of this three-disc collection on Opera News online. The reviewer picks out even the most minute faults in her voice.
No, her musicianship was not spotless, but this does not matter. As the other reviewers stated, her Handel is a wonder to hear. My heart skipped a beat the first time I heard these tracks. As for the rest of disc one, it is a sampling of Italian and French arias. I have to say that I find her Carmen and Delilah a bit too forceful. She all but shouts, "You're gonna love me, dammit!" Still, she is a force that cannot be denied.
The second disc features Grace at her very best, in Verdi. This was the first occasion in which I heard her sing Ulrica's aria, Tu Che Le Vanita, Azucena's arias, and La Luce Langue. Every aria is a highlight and testament to Bumbry, but the two Trovatore arias in particular are spellbinding. To give you an idea, she outclasses several times over Fiorenza Cossotto, who gave a lazy interpretation on the classic Price/Domingo recording.
Brava, Grace.
The earliest documented recording of Grace Bumbry's voice was in 1958 in Salt Lake City, which was originally released as LP's in the Westminster label. Grace Bumbry sings the contralto parts of such Handel oratorios as Judas Maccabeus, Irael in Egypt and the more famous Messiah - absolutely majestic, noble interpretations. Following this are two arias from Gluck's Orfeo, in which she sings a moving Orfeo with pure lyric splendor and warmth. Santuzza in Cavelleria Rusticana is normally assigned to sopranos but La Bumbry shows what mezzos are made of is just as impressive in her rendition of "Voi Lo Sapete, Mama." In the role of Carmen, Grace Bumbry is perfect, perfect. I have her full-length recording of Carmen opposite Jon Vickers' Don Jose. As Carmen, she is into the character's liberal nature, flirty and wickedly playful side. Here we here the Habanera, Segudilla and the more grave-sounding Death Card Aria. As Delilah from Samson et Delilah, she is sensuous and glorious to hear. Gounod's Sappho's final scene in which she leaps from a cliff is dramatic and melancholically interpreted. As Joan of Arc from the Tchaikovsky opera she is beautifully moving and even saintly. CD 1 ends with fiery Spanish songs from Falla's El Amor Brujo which are an incredible and not to mention rare treat.
Grace Bumbry sings Ulrica's aria "Re Del Abbiso" from Un Ballo In Maschera with aplomb, with such passion and bravura that even her predecessor Marian Anderson- who opened the doors for all black sopranos that came later- applaud. As Eboli, she is highly dramatic and complex. The signature aria "O Don Fatale" was one she always sang in audition and was her "good luck" aria because she always got the part after singing it. Upon hearing it one knows exactly why. As Princess Elisabeth Valois in Don Carlo, she is regal and melancholy and the challenging aria "Tu che la vanita" proves easy for her to handle. "Stride La Vampa" is here, Azucena's famous aria and Bumbry does justice to it. She does justice to Aida as well, though Leontyne Price is forever embedded in opera lover's memory as the ultimate Aida, but Bumbry is beautiful and dramatic to hear, and especially noteworthy because she sang both Amneris and Aida so knew both parts very well. Lady Macbeth's arias "Vieni T'affreta" and Sleepwalking Scene is here, sung gloriously with flair. She was singing the heavy part of Lady Macbeth in 1964, even as she was still taking on mezzo roles like Carmen!! Further, we hear the live event of her career- the one role that began it all- Venus in Wagner's Tannhauser, hear singing opposite tenor Wolfgang Windgassen. The final cd contains gorgeous Lieder she must have graced recitals with - Brahms, Schubert, Liszt, Wolf and Strauss. Each Lieder is a bright jewel in a divine chain when sung by the incomparable Grace Bumbry.
Fans of Grace Bumbry -Buy this album!!!
The first recordings are from December of 1957, recorded in Salt Lake City, Utah, under the baton of Maurice Abravanel, originally from the Westminster LP label. The opening arias here are excerpts from Handel's oratorios - Judas Maccabeus and the more famous Messiah. Her deep, rich, warm mezzo voice perfectly embodies the Handelian contralto voice, as evidenced in "Their land brought frogs" in "Israel in Egypt" and in "He Was Despised" from the Messiah, which was conducted by Sir Adrian Boult in London. The rest includes two arias from Gluck's masterpiece Orfeo. Bumbry sings in a regal manner, with a divine voice that further re-inforced her Baroque/Gluck style at this time. I have never heard Che Faro Sensa Eurydice sang with such beauty and passion. The first cd for me, the best example and outpouring of her mezzo soprano repertoire. Here we find what I consider her greatest role- Carmen. At this time, Shirley Verrett, another successful black singer, was the most sought after Carmen in opera houses. But Grace Bumbry, for me, is and always will be Carmen. I first heard the voice of Bumbry on the EMI recording of Carmen she sang opposite Jon Vickers and Mirella Freni. Karajan conducted her in a fine Carmen in the Salzburg Festival. As Carmen, she's playful, liberated, subtle, wickedly funny, strong and dramatic and even a bit cynical and tragic. She colors her voice and character to make Carmen a character that most encompassed the originality of Bizet's intention. The Habanera, Seguidilla and the Card Song, which is Bumbry at her best mezzo voice. She sings the scene, in which Carmen reads her own impending death in the tarot card, with such gravitas and nobility and resignation to her fate with the greatest prowess of voice and acting ability. The rest of the second cd features the arias "O Ma Lyre Immortale" a brilliant vocal feat from the opera Sappho by Charles Gounod, a rarely staged opera today - and the aria Mon Coeur from Saint Saens Samson and Delilah. The role of Joan of Arc from the Tchaikovsky opera is another rare jewel and here she sings so wonderfully that one wishes this opera was revived today. The cd concludes with masterful Spanish bravura in Fallas' Amor Brujo.
The second cd documents her rise to soprano heaven. She is able to reach up from her mezzo earth to the strata of soprano dramatic power. Though even as a soprano Bumbry still sang the mezzo roles of Ulrica from Un Ballo and her prized Eboli. Her "O Don Fatale" captured here at its earliest, is simply the best without question. Tracks 7-9 is the infamous Sleepwalking Scene from Verdi's Macbeth. As Lady Macbeth, she is icy, "mad" and very dramatic without delving into the hysteria that other mezzos, most famously Fiorenza Cossotto, would do. She may be "mad" or sleepwalking but she is still the Queen. The last cd are gorgeous, elegant and virtuosic Lieder songs from Schubert, Brahms, Liszt and Strauss.
The best album of Grace Bumbry to be re-issued!! I'll cherish this album for years. Thank you Amazon.com and Deutsche Grammophone. Now please keep re-issuing lost and rare recordings and continue to amaze us the opera lovers.
Taken from the 2002 album, 'Tres Lunas', this Spanish single features eight non-LP versions of two album tracks, 'Thou Art In Heaven' (Radio Edit, Pumpin' Dolls Vs Mighty Mike Club Mix - Radio Edit, Soultronik-Stethescope-Radio Edit, Pumpin' Dolls Vs Mighty Mike Club Mix), & 'To Be Free' (Spanish Radio Edit, French Radio Edit, German Radio Edit). Warner Music.
Thou Art in Heaven,Mike Oldfield,Wea International,5"CD Singles,Pop,Prog-Rock/Art Rock,Progressive Electronic,Rock
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Handel: The Masterworks (Box Set)
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ASIN: B00062FLI8 Release Date: 2004-11-30 |
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100 Hymns & Songs of Inspiration
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ASIN: B00008GEKT Release Date: 2003-04-14 |
Tracks:
- Love Divine All Loves Excelling - Choir Of Gloucester Cathedral
- Father Hear the Prayer We Offer - Choir Of Gloucester Cathedral
- Now Thank We All Our God - Choir Of Gloucester Cathedral
- This Day, The First of Days - Choir Of Gloucester Cathedral
- Stars of the Morning So Gloriously Bright - Choir Of Gloucester Cathedral
- God Save the Queen - Choir Of Gloucester Cathedral
- Day of Resurrection - Choir Of Gloucester Cathedral
- God Rest You Merry Gentlemen - Choir Of Gloucester Cathedral
- Of the Father's Heart Begotten - Choir Of Gloucester Cathedral
- O Come All Ye Faithful - Choir Of Gloucester Cathedral
- Awake My Soul and With the Sun - Choir Of Norwich Cathedral
- Thine Arm O Lord in Days of Old - Choir Of Norwich Cathedral
- All People That on Earth Do Dwell - Choir Of Norwich Cathedral
- Good Christian Men Rejoice and Sing - Choir Of Norwich Cathedral
- There Is a Green Hill - Choir Of Norwich Cathedral
- Lord of Beauty - Choir Of Sheffield Cathedral
- Rejoice Today With One Accord - Choir Of Sheffield Cathedral
- New Every Morning - Choir Of Sheffield Cathedral
- Lead Us Heavenly Father Lead Us - Choir Of Sheffield Cathedral
- O God Our Help in Ages Past - Choir Of Sheffield Cathedral
Tracks:
- Morning Has Broken - Choir Of Marlborough College Chapel
- Happy Are They - Choir Of Marlborough College Chapel
- In Christ There Is No East or West - Choir Of Marlborough College Chapel
- Silent Night - Choir Of Marlborough College Chapel
- Be Thou My Guardian - Choir Of Marlborough College Chapel
- Ye Servants of the Lord - Choir Of Marlborough College Chapel
- At the Name of Jesus Every Knee Shall Bow - Choir Of Marlborough College Chapel
- To Thee O Lord Our Hearts We Raise - Choir Of Marlborough College Chapel
- Behold the Great Creator Makes - Choir Of Marlborough College Chapel
- Rejoice the Lord Is King - Choir Of Marlborough College Chapel
- Creator of the Stars of Night - Ely Cathedral Choir
- He Comes With Clouds Descending - Ely Cathedral Choir
- O Little Town of Bethlehem - Ely Cathedral Choir
- Alleluya Alleyluya Alleyluya - Ely Cathedral Choir
- This Is the Day the Lord Hath Made - Ely Cathedral Choir
- How Sweet the Name of Jesus Sounds - Ely Cathedral Choir
- Lord Thy Word Abideth - Ely Cathedral Choir
- Jesus Lord We Look to Thee - Ely Cathedral Choir
- O Lord Our God Arise - Ely Cathedral Choir
- Lord of All Hopefulness - Ely Cathedral Choir
Tracks:
- Soldiers of Christ Arise - Choir Of Wakefield Cathedral
- Lift Up Your Hearts - Choir Of Wakefield Cathedral
- Holy Father, Cheer Our Way - Choir Of Wakefield Cathedral
- Maker of the Sun - Choir Of Wakefield Cathedral
- O King Most High - Choir Of Wakefield Cathedral
- O Praise Our Great and Glorious Lord - Choir Of Wakefield Cathedral
- Forgive Our Sins as We Forgive - Choir Of Wakefield Cathedral
- We Love the Place O God - Choir Of Wakefield Cathedral
- Let Us With a Gladsome Mind - Choir Of Wakefield Cathedral
- Give Rest O Christ - Choir Of Wakefield Cathedral
- Come Holy Ghost Our Hearts Inspire - Choir Of Truro Cathedral
- O Thou in All Thy Might So Far - Choir Of Truro Cathedral
- O Christ, Who Art the Light and Day - Choir Of Truro Cathedral
- O God Thy Soldiers' Crown and Guard - Choir Of Truro Cathedral
- Strife Is O'er the Battle Done - Choir Of Truro Cathedral
- O Christ Our Hope, Our Hearts' Desire - Choir Of Truro Cathedral
- Jesus Shall Reign - Choir Of Truro Cathedral
- God of Love My Shepherd Is - Choir Of Truro Cathedral
- O Jesu Saviour of Mankind - Choir Of Truro Cathedral
- Immortal Invisible God Only Wise - Choir Of Truro Cathedral
Tracks:
- Ride on Ride on in Majesty - Choir Of All Saints - Margaret Street, London
- All Glory Laud and Honour - Choir Of All Saints - Margaret Street, London
- Come Rejoicing - Choir Of All Saints - Margaret Street, London
- God Is Love and Where True Love Is - Choir Of All Saints - Margaret Street, London
- Magnificat: The Great Advent Antiphons - Choir Of All Saints - Margaret Street, London
- Come, Christ's Beloved - Choir Of All Saints - Margaret Street, London
- Children of the Hebrews (Palm Procession) - Choir Of All Saints - Margaret Street, London
- Veneration of the Cross/The Reproaches (Veneratum and Reproaches) - Choir Of All Saints - Margaret Street, London
- Once in Royal David's City - Choir Of Keble College
- God Be in My Head - Choir Of Keble College
- O Thou Who Camest from Above - Choir Of Keble College
- Judge Eternal Throned in Splendour - Choir Of St Edmunsbury Cathedral
- Christ the Lord Is Risen Again - Choir Of St Edmunsbury Cathedral
- For All the Saints - Choir Of St Edmunsbury Cathedral
- Thy Hand O God Has Guided - Choir Of St Edmunsbury Cathedral
- Christ the Dawn of Our Salvation - Choir Of Eastbourne College Chapel
- I Was Glad - Choir Of Eastbourne College Chapel
- Dear Lord and Father of Mankind - Choir Of Eastbourne College Chapel
- Locus Iste - Choir Of Eastbourne College Chapel
- Praise My Soul the King of Heaven - Choir Of Eastbourne College Chapel
Tracks:
- Stand Up! Stand Up for Jesus! - The Choir of the Abbey School, Tewkesbury
- While Shepherds Watched Their Flocks - The Choir of the Abbey School, Tewkesbury
- O Worship the King - The Choir of the Abbey School, Tewkesbury
- O Heavenly Word of God on High - Choir Of The Collegiate Church Of St Mary
- Praise to the Lord, The Almighty - Choir Of The Collegiate Church Of St Mary
- Jesus Christ Is Risen Today - The Choir of York Minister
- First Nowell - The Choir of York Minister
- Abide with Me - The Choir of York Minister
- Breathe on Me Breath of God - Choir Of Keble College
- Rock of Ages - Choir Of Keble College
- On This Day, The First of Days - Choir Of Keble College
- Jesu Sweet and Mary - Choir Of Eastbourne College Chapel
- O Quam Gloriosum - Choir Of Eastbourne College Chapel
- Ye Holy Angels Bright - Choir Of Eastbourne College Chapel
- O for a Closer Walk With God - Choir Of Eastbourne College Chapel
- Prayer of St Patrick - Choir Of Eastbourne College Chapel
- Lord's Prayer - Choir Of Eastbourne College Chapel
- Blessed Be the God and Father - Choir Of Eastbourne College Chapel
- Day Thou Gavest Lord Is Ended - Choir Of Eastbourne College Chapel
- Jerusalem (And Did Those Feet in Ancient Times) - Choir Of Eastbourne College Chapel
Album Description
Full Title - 100 Hymns & Songs Of Inspiration. UK box-set featuring 100 tracks performed by Britain's finest Cathedral Choirs including, Gloucester Cathedral, Norwich Cathedral, Sheffield Cathedral, & many more. Five standard jewel cases housed in a slipbox. Castle Pulse. 2003.Customer Reviews:
The picture.......2006-12-11
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Handel - Messiah / Augér, von Otter, Chance, Crook, Tomlinson, English Concert, Pinnock
George Frideric Handel , Arleen Auger , Anne Sofie von Otter , Trevor Pinnock , The English Concert & Choir , Michael Chance , Howard Crook , and John Tomlinson Manufacturer: Archiv Produktion ProductGroup: Music Binding: Audio CD All Works by Handel
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ASIN: B0000057DB Release Date: 1990-10-25 |
Tracks:
- Messiah: Part One - 1. Sinfony (Grave - Allegro moderato)
- Messiah: Part One - 2. Accompagnato : Comfort Ye My People
- Messiah: Part One - 3. Air : Ev'ry Valley Shall Be Exalted
- Messiah: Part One - 4. Chorus : And The Glory Of The Lord Shall Be Revealed
- Messiah: Part One - 5. Accompagnato : Thus Saith The Lord Of Hosts
- Messiah: Part One - 6. Air : But Who May Abide The Day Of His Coming
- Messiah: Part One - 7. Chorus : And He Shall Purify
- Messiah: Part One - 8. Recitative : Behold, A Virgin Shall Conceive
- Messiah: Part One - 9. Air and Chorus : O Thou That Tellest Good Tidings
- Messiah: Part One - 10. Accompagnato : For Behold, Darkness Shall Cover
- Messiah: Part One - 11. Air : The People That Walked In Darkness
- Messiah: Part One - 12. Chorus : For Unto Us A Child Is Born
- Messiah: Part One - 13. Pifa (Pastoral Symphony)
- Messiah: Part One - 14. Recitative: There Were Shepherds Abiding In The Field - Accompagnato: And Lo, The Angel Of The Lord - 15. Recitative: And The Angel Said Unto Them - 16. Accompagnato: And Suddenly There Was With The Angel
- Messiah: Part One - 17. Chorus : Glory To God In The Highest
- Messiah: Part One - 18. Air : Rejoice Greatly, O Daughter Of Zion
- Messiah: Part One - 19. Recitative : Then Shall The Eyes Of The Blind
- Messiah: Part One - 20. Air : He Shall Feed His Flock
- Messiah: Part One - 21. Chorus : His Yoke Is Easy, His Burthen Is Light
- Messiah: Part Two - 22. Chorus : Behold The Lamb Of God
- Messiah: Part Two - Air : 23. He Was Despised
Tracks:
- Messiah: Part Two - 24. Chorus : Surely He Hath Borne Our Griefs
- Messiah: Part Two - 25. Chorus : And With His Stripes We Are Healed
- Messiah: Part Two - 26. Chorus : All We Like Sheep Have Gone Astray
- Messiah: Part Two - 27. Accompagnato : All They That See Him
- Messiah: Part Two - 28. Chorus : He Trusted In God
- Messiah: Part Two - 29. Accompagnato : Thy Rebuke Hath Broken His Heart
- Messiah: Part Two - 30. Arioso : Behold, And See If There Be Any Sorrow
- Messiah: Part Two - 31. Accompagnato : He Was Cut Off Out Of The Land
- Messiah: Part Two - 32. Air : But Thou Didst Not Leave His Soul
- Messiah: Part Two - 33. Chorus : Lift Up Your Heads, O Ye Gates
- Messiah: Part Two - 34. Recitative : Unto Which Of The Angels
- Messiah: Part Two - 35. Chorus : Let All The Angels Of God Worship Him
- Messiah: Part Two - 36. Air : Thou Art Gone Up On High
- Messiah: Part Two - 37. Chorus : The Lord Gave The Word
- Messiah: Part Two - 38. Air : How Beautiful Are The Feet
- Messiah: Part Two - 39. Chorus : Their Sound Is Gone Out
- Messiah: Part Two - 40. Air : Why Do The Nations So Furiously Rage
- Messiah: Part Two - 41. Chorus : Let Us Break Their Bonds Asunder
- Messiah: Part Two - 42. Recitative : He That Dwelleth In Heaven
- Messiah: Part Two - 43. Air : Thou Shalt Break Them
- Messiah: Part Two - 44. Chorus : Hallelujah
- Messiah: Part Three - 45. Air : I Know That My Redeemer Liveth
- Messiah: Part Three - 46. Chorus : Since By Man Came Death
- Messiah: Part Three - 47. Recitative : Behold, I Tell You A Mystery
- Messiah: Part Three - 48. Air : The Trumpet Shall Sound
- Messiah: Part Three - 49. Recitative : Then Shall Be Brought To Pass
- Messiah: Part Three - 50. Duet : O Death, Where Is Thy Sting?
- Messiah: Part Three - 51. Chorus : But Thanks Be To God
- Messiah: Part Three - 52. Air : If God Be For Us
- Messiah: Part Three - 53. Chorus : Worthy Is The Lamb That Was Slain --- Amen
Amazon.com essential recording
This is a terrific performance of Messiah. Not only are the soloists all superb, but Trevor Pinnock completely contradicts the image of many period instrument performances as small-scale, scrappy affairs. Indeed, he invests the choruses with as much genuine Handelian pomp as Beecham at his most extravagant. The trumpets really blaze, and the timpani thunder, and everyone simply has a great time. A joyous performance, just right for the holiday season. --David HurwitzAmazon.com
Trevor Pinnock meets with mixed success in this account of the Messiah with the English Concert & Choir and soloists Arleen Auger, Anne Sofie von Otter, Michael Chance, Howard Crook, and John Tomlinson, recorded and released in 1988. Its strengths are the strengths of the early-music movement in general. The size and distribution of the instrumental and vocal forces are optimal, which means that textures are clear and balances apt. Rhythms are nicely pointed, though often, in Pinnock's case, not quite well enough sprung. Tempos are well chosen; for example, "All we like sheep"--which turns out to be one of the set's best numbers--is a real bourré, and Pinnock animates it in just the right way. But the performance often seems workmanlike and unemotional, weighed down in too many instances by the humdrum work of the chorus. The alto section in particular, which is half male and half female, sings timidly and is constantly swallowing its entrances. Bass soloist John Tomlinson is a further drag on the effort. He has the right idea--that there's an Italian opera hiding behind all this biblical imagery--but his cottony sound is out of place, a misguided attempt to mimic Nicolai Ghiaurov. His usable range is less than a tenth (he croaks the low G's and F-sharps), and his diction is horrible. "Thus spake the Lord" is strangled, and when, in "The trumpet shall sound" Tomlinson gets to the words "we shall be changed," one can't help wishing that he had been changed too, right before the sessions started. --Ted LibbeyCustomer Reviews:
Ladies & gentleman: The Lord'n Savior, God Almighty.......2007-06-13
So Fashionable, and So Disappointing.......2007-02-01
Specifically: John Tomlinson sings like he thinks he IS God, instead of singing about Him. Heavy, cumbersome, and overblown. May I add boorish?
Arleen Auger has a very sweet voice. And??
Despite the program notes insisting that certain segments of this Messiah are given to "the contralto", Anne Sofie von Otter is NOT a contralto. Not even close.
The male alto can barely sustain a legato line - why he insists upon throwing in those complicated, badly-performed embellishments I can't figure. Well, I can, but I'd really rather not say.
Wake up, choristers!! It's 'For Unto Us A Child Is Born," not "Oy, I have to go to the grocery store today."
Boy do I regret having spent almost $40 on this one. Thank goodness I have the Colin Davis to console me.
A nice combination of period nad tradiitonal.......2006-12-17
This 1988 recording sits between the euqally English, euqally period-ifnluenced Hogwood and Garidner. Of the three, Hogwood sounds more 'authentic' because it uses boys in the chorus and singers schooled period practice. By comparison, Pinnock's soprano, Arleen Auger, and mozeeo, Von Otter, are essentially modern singers--gorgeous ones, of course, Gardiner is far more anemic in his conducting and uses a scrwny-sounding orchestra, so if that's more authentic, so be it. Of the three, Pinnock gives us more traditional music values in his emotional expression and instrumental timbres.
The competiiton is mushc stiffer now than in 1988, but Pinnock's reading has survived the test of time. He is not a genuinely inspired conductor--sadly, Messiah has become a cottage industry that excludes most big-name talents--but neither are Gardiner and Hogwood. (For sheer musicality, I tend to put my money on Andrew Parrott, Robert King, Marc Minkowski, Niklaus Harnoncourt, and Rene Jacobs.) But he's certainly good eough. The reason I haven't given five stars is that the male soloists aren't first-rate, and in particular the Wotan voice of John Tomlinson sounds cavernous in the bass arias. Add to that Pinnock's tendency toward tepidness, and what you end up with is a very good but not great performance.
Wait! Before you buy..........2006-05-28
La mas bella y fidedigna interpretacion que se pueda obtener.......2004-12-29
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Handel - Messiah / Vyvyan · Sinclair · Vickers · Tozzi · Royal PO · Beecham
George Frideric Handel , Sir Thomas Beecham , Jennifer Vyvyan , Monica Sinclair , Royal Philharmonic Orchestra , Jon Vickers , and Giorgio Tozzi Manufacturer: RCA ProductGroup: Music Binding: Audio CD All Works by Handel
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ASIN: B000003FB8 Release Date: 1992-07-14 |
Tracks:
- Messiah: Overture - Royal Philharmonic Orchestra
- Messiah: Recit: Comfort Ye, My People (Tenor) - Jon Vickers
- Messiah: Air: Every Valley Shall Be Exalted (Tenor) - Jon Vickers
- Messiah: Chorus: And The Glory Of The Lord - John McCarthy
- Messiah: Recit: Thus Saith The Lord Of Hosts (Bass) - Giorgio Tozzi
- Messiah: Air: But Who May Abide (Bass) - Giorgio Tozzi
- Messiah: Chorus: And He Shall Purify - John McCarthy
- Messiah: Recit: Behold, A Virgin Shall Conceive (Contralto) - Monica Sinclair
- Messiah: Air & Chorus: O Thou That Tellest Good Tidings (Contralto) - John McCarthy
- Messiah: Recit: For, Behold, Darkness Shall Cover (Bass) - Giorgio Tozzi
- Messiah: Air: The People That Walked In Darkness (Bass) - Giorgio Tozzi
- Messiah: Chorus: For Unto Us A Child Is Born - John McCarthy
- Messiah: Pastoral Symphony - Royal Philharmonic Chorus
- Messiah: Recit: There Were Shepherds Abiding (Soprano) - Jennifer Vyvyan
- Messiah: Recit: And The Angel Said Unto Them (Soprano) - Jennifer Vyvyan
- Messiah: Recit: And Suddenly There Was (Soprano) - Jennifer Vyvyan
- Messiah: Chorus: Glory To God In The Highest - John McCarthy
- Messiah: Air: Rejoice Greatly, O Daughter (Soprano) - Jennifer Vyvyan
- Messiah: Recit: Then Shall The Eyes (Contralto) - Monica Sinclair
- Messiah: Air: He Shall Feed His Flock; Come Unto Him (Contralto & Soprano) - Monica Sinclair
- Messiah: Chorus: His Yoke Is Easy - John McCarthy
Tracks:
- Messiah: Chorus: Behold The Lamb Of God - John McCarthy
- Messiah: Air: He Was Despised (Contralto) - Monica Sinclair
- Messiah: Chorus: Surely He Hath Borne Our Griefs - John McCarthy
- Messiah: Chorus: And With His Stripes We Are Healed - John McCarthy
- Messiah: Chorus: All We Like Sheep Have Gone Astray - John McCarthy
- Messiah: Recit: All They That See Him (Tenor) - Jon Vickers
- Messiah: Chorus: He Trusted In God - John McCarthy
- Messiah: Recit: Thy Rebuke Hath Broken His Heart (Tenor) - Jon Vickers
- Messiah: Air: Behold, And See If There Be (Tenor) - Jon Vickers
- Messiah: Recit: He Was Cut Off Out Of The Land (Tenor) - Jon Vickers
- Messiah: Air: But Thou Didst Not Leave (Tenor) - Jon Vickers
- Messiah: Chorus: Lift Up Your Heads - John McCarthy
- Messiah: Air: How Beautiful Are The Feet (Soprano) - Jennifer Vyvyan
- Messiah: Chorus: Their Sound Is Gone Out Into All Lands - John McCarthy
- Messiah: Air: Why Do The Nations So Furious Rage (Bass) - Giorgio Tozzi
- Messiah: Chorus: Lets Us Break Their Bonds Asunder - John McCarthy
- Messiah: Recit: He That Dwelleth In Heaven (Tenor) - Jon Vickers
- Messiah: Air: Thou Shalt Break Them (Tenor) - Jon Vickers
- Messiah: Chorus: Hallelujah! - John McCarthy
- Messiah: Part III - Air: I Know That My Redeemer Liveth (Soprano) - Jennifer Vyvyan
- Messiah: Chorus: Since By Man Came Death - John McCarthy
- Messiah: Recit: Behold, I Tell You A Mystery (Bass) - Giorgio Tozzi
- Messiah: Air: The Trumpet Shall Sound (Bass) - Giorgio Tozzi
- Messiah: Chorus: Worthy Is The Lamb - John McCarthy
Tracks:
- Messiah: Recit: Unto Which Of The Angels (Tenor) - Jon Vickers
- Messiah: Chorus: Let All The Angels Of God Worship Him - John McCarthy
- Messiah: Air: Thou Art Gone Up On High (Bass) - Giorgio Tozzi
- Messiah: Chorus: The Lord Gave The Word - John McCarthy
- Messiah: Recit: Then Shall Be Brought To Pass (Contralto) - Monica Sinclair
- Messiah: Duet: O Death, Where Is Thy Sting? (Contralto & Tenor) - Monica Sinclair
- Messiah: Chorus: But Thanks Be To God - John McCarthy
- Messiah: Air: If God Be For Us (Soprano) - Jennifer Vyvyan
Amazon.com essential recording
Sir Thomas Beecham's Messiah has become notorious among baroque purists (like this writer) for embodying the worst excesses of pre-1960 Handel performance: ponderous tempos, stentorian opera singers, huge lumbering choruses and orchestras, crashing cymbals, clanging triangles.... Well, we'll need a new straw man: this performance is WONDERFUL. Jon Vickers and Giorgio Tozzi negotiate Handel's writing surprisingly well; Jennifer Vyvyan takes to it naturally. The chorus and orchestra (yes, including trombones, tuba, triangle, and cymbals) may obscure the part-writing, but they fill the music with power, grandeur, and faith. If Mozart could re-orchestrate Messiah, why not Beecham? This may not be Handel's Messiah as such, it may even be a period piece itself--but it's magnificent. --Matthew WestphalCustomer Reviews:
Beecham's noisy Messiah.......2006-12-23
This performance has been debated for 40 years as to whether it is musically adept, musically correct, an exemplar of the English choral tradition, or just a big old batch of fun at Handel's expense. I first owned this during a time when I also owned a recording Handel's "Royal Fireworks Music" featuring 40 woodwinds. The two made roughly an equal amount of noise.
There isn't much question this performance is completely out of step with the way Handel is performed in most venues today. Check out the wonderful Jon Vickers' highly operatic opening aria, "Comfort ye", then compare that to any leaned-out period group you've heard. You'll get another idea of the dimension of Beecham's project.
While not on the agenda of the Flat Earth Society, the only real interest in a performance like this -- especially having to endure it on three CDs when just about everyone else puts it on two -- is nostalgia or history, whichever happens to be the case for you.
My personal favorite version is in the 4-CD box of "Messiah" and "Israel In Egypt" where Andrew Parrott leads his Taverner Choir & Players and some of the best early music singers including Emma Kirkby, Emily van Evera, Margaret Cable, David Thomas, and Joseph Cornwall. HIs Messiah isn't perfect -- it uses a countertenor for a bass in one aria -- but it is more moderate than most PPP recordings and has a wonderful romantic edge to most of the score. It comes with a top notch recording of "Israel in Egypt" and still costs less than the Beehcham.
The Big Victorian Handel 'Messiah': Indulge Yourself!.......2006-12-16
Beecham goes all out with an orchestration, while attributed to Sir Eugene Goosens is also probably some of Beecham's own inimitable tinkering, that adds instruments not only in numbers but also in color and depth of sound. Winds double strings, percussion includes the full battery instead of just tympani, the big cello and viola sound stand equally with the big violin sound, etc. The chorus is huge, and while this allows the big dramatic moments to be intense, the fine diction Beecham demanded remains solidly intact.
The soloists are in an operatic class of their own. Jennifer Vyvyan and Monica Sinclair were major singers when this recording was made and their singing is big and well ornamented. Jon Vickers and Giorgio Tozzi bring Verdi into the room and he is a welcome visitor to Beecham's vision of this work.
For this listener, who prefers the 'correct, authentic' performance, this recording and others even older that celebrate the BIG Messiah are a delight. And that just proves that performance standards, no matter the interpretation of the conductor, are paramount: Beecham gives a solid, convincing interpretation to the operatic Messiah. It is lush, and huge, and absolutely wonderful to hear again! Grady Harp, December 06
Comfort Ye!.......2006-10-30
Familiarity hasn't bred much affection.......2005-11-02
In the forty some recordings I own (and the many performances I've attended) there's no best and no definitive. This is one I respect but don't care to hear very often.
Thanks to Jon!.......2005-03-08
I'm just ending up with "Thanks to Jon!"
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Handel - Messiah / McNair · von Otter · Chance · Hadley · Lloyd · Marriner
George Frideric Handel , Neville Marriner , Anne Sofie von Otter , Michael Chance , Academy of St. Martin-in-the-Fields , Sylvia McNair , Jerry Hadley , and Robert Lloyd Manufacturer: Philips ProductGroup: Music Binding: Audio CD All Works by Handel
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ASIN: B00000414Y Release Date: 1992-11-17 |
Tracks:
- Messiah: Part I: Symphony
- Messiah: Part I - No. 1 Accompagnato: Comfort Ye, Comfort Ye, My People
- Messiah: Part I - No. 2: Air Ev'ry Valley Shall Be Exalted
- Messiah: Part I - No. 3 Chorus: And The Glory Of The Lord
- Messiah: Part I - No. 4 Accompagnato: Thus Saith The Lord
- Messiah: Part I - No. 5 Air: But Who May Abide The Day Of His Coming
- Messiah: Part I - No. 6 Chorus: And He Shall Purify The Sons Of Levi
- Messiah: Part I - No. 7 Recitative: Behold, A Virgin Shall Conceive
- Messiah: Part I - Nos. 8-9 Air And Chorus: O Thou That Tellest Good Tidings
- Messiah: Part I - No. 10 Accompagnato: For Behold, Darkness Shall Cover The Earth
- Messiah: Part I - No. 11 Air: The People That Walked In Darkness
- Messiah: Part I No. 12 Chorus: For Unto Us A Child Is Born
- Messiah: Part I No. 13 Pifa: Pastoral Symphony
- Messiah: Part I No. 14 Recitative: There Were Shepherds - And Lo, The Angel Of The Lord - And The Angel Said Unto Them - And Suddenly There Was
- Messiah: Part I No. 15 Chorus: Glory To God In The Highest
- Messiah: Part I No. 16 Air: Rejoice Greatly, O Daughter Of Zion
- Messiah: Part I No. 17a Recitative:Then Shall The Eyes Of The Blind
- Messiah: Part I No. 18a Duet: He Shall Feed His Flock
- Messiah: Part I No. 19 Chorus: His Yoke Is Easy
- Messiah: Part II No. 20 Chorus: Behold The Lamb Of God
- Messiah: Part II No. 21 Air: He Was Despised
- Messiah: Part II No. 22 Chorus: Surely He Hath Borne Our Griefs
- Messiah: Part II No. 23 Chorus: And With His Stripes We Are Healed
- Messiah: Part II No. 24 Chorus: All We Like Sheep
Tracks:
- Messiah: Part II No. 25 Accompagnato: All They That See Him
- Messiah: Part II No. 26 Chorus: He Trusted In God
- Messiah: Part II No. 27 Accompagnato: Thy Rebuke Hath Broken His Heart
- Messiah: Part II No. 28 Arioso: Behold, And See
- Messiah: Part II No. 29 Accompagnato: He Was Cut Off
- Messiah: Part II No. 30 Aria: But Thou Didst Not Leave
- Messiah: Part II No. 31 Chorus: Lift Up Your Heads
- Messiah: Part II No. 32 Recitative: Unto Which Of The Angels
- Messiah: Part II No. 33 Chorus: Let All The Angels Of God
- Messiah: Part II No. 34a Air: Thou Art Gone Up On High
- Messiah: Part II No. 35 Chorus The Lord Gave The Word
- Messiah: Part II No. 36 Air: How Beautiful Are The Feet
- Messiah: Part II No. 37a Arioso: Their Sound Is Gone Out
- Messiah: Part II No. 38 Air: Why Do The Nations
- Messiah: Part II No. 39 Chorus: Let Us Break Their Bonds Asunder Let us break their bonds asunder
- Messiah: Part II No. 40 Recitative: He That Dwelleth In Heaven
- Messiah: Part II No. 41 Air: Thou Shalt Break Them
- Messiah: Part II No. 42 Chorus: Hallelujah
- Messiah: Part III No. 43 Air: I Know That My Redeemer Liveth
- Messiah: Part III No. 44 Chorus: Since By Man Came Death
- Messiah: Part III No. Accompagnato: Behold, I Tell You A Mystery
- Messiah: Part III No. 46 Air: The Trumpet Shall Sound
- Messiah: Part III No. 47 Recitative: Then Shall Be Brought To Pass
- Messiah: Part III No. 48 Duet: O Death, Where Is Thy Sting?
- Messiah: Part III No. 49 Chorus: But Thanks Be To God
- Messiah: Part III No. 50 Air: If God Be For Us
- Messiah: Part III No. 51 Chorus: Worthy Is The Lamb - Blessing And Honour
- Messiah: Part III: Amen
Customer Reviews:
a voice teacher and early music fan.......2006-10-21
I really love this recording.......2005-03-26
Some very good parts.......2002-12-14
The best Messiah for me is still Marriner's 1976 disk, much better overall rendition.
Great mezzo and trumpet.......2002-05-17
Its world-beater aspects include mezzo Anne-Sophie von Otter, whose "He was despised" is well north of magnificent: Warmly mournful in the slow sections, snarling and spitting in the center section.
Trumpeter Mark Bennett does by far the best trumpeting on any of my 30 complete Messiahs. "Glory to God" and "Hallelujah" are as good as it gets -- no, better than any other recording gets.
Countertenor Michael Chance is quite good in "If God be for us" -- I say that as someone who doesn't like countertenors.
Some of the other choruses are also well done. But tenor Jerry Hadley seems to have thought he had more lucrative things to do with his time than to think about Messiah.
And He Shall Reign Forever and Ever, Amen........2002-01-01
There are actually two versions of this live performance, the one here and the other is available on LaserDisc. I believe that they were recorded on two different performance time, for on some arias the soloists have different style in singing the cadenza. Whichever you prefer, this is a recording you must simply own - even when your music library boasts a dozen or so of Handel's Messiah!!
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A Tribute
Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by J.S. Bach
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ASIN: B0000A9DYO Release Date: 2003-10-14 |
Tracks:
- What Is Life To Me Without Thee?
- Che Puro Ciel
- Art Thou Troubled?
- Ombra Mai Fu
- An Die Musik
- Der Musensohn
- Gretchen Am Spinnrade
- Die Junge Nonne
- Woe Unto Them
- O Rest In The Lord
- Er, Der Herrlichste Von Allen
- Geistliches Wiegenlied
- Sapphische Ode
- Botschaft
- Like As The Love-Torn Turtle
- A Soft Day
- Go Not Happy Day
- Come You Not From Newcastle
- The Keel Row
- Ma Bonny Lad
- Kitty My Love
- Blow The Wind Southernly
Tracks:
- Ye Banks And Braes
- I Have A Bonnet Trimmed With Blue
- Down By The Salley Gardens
- The Stuttering Lovers
- Drink To Me Only
- Hark! The Echoing Air
- Father Of Heaven
- O Thou That Tellest Good Tidings To Zion
- He Was Despised
- Have Mercy, Lord On Me
- Agnus Dei
- All Is Fulfilled
- Du Bist Die Ruh' - Bruno Walter
- Romance - Bruno Walter
- Ich Bin Der Welt Abhanden Gekommen
- Ich Atmet' Einen Linden Duft
- Um Mitternacht
Customer Reviews:
Awesome voice, exquisite performances.......2006-08-27
My personal favorites appear on the second CD. The first is the divine Drink To Me Only With Thine Eyes, the Ben Jonson poem, which is a most mystical and transcending listening experience. The buoyant Stuttering Lovers is most catchy and appealing. Both of the aforementioned are sung to the piano accompaniment of pianist Phyllis Spurr.
Backed by the London Philharmonic, Ferrier renders splendid versions of Father Of Heaven from Judas Maccabaeus and O Thou That Tellest Good Tidings To Zion from The Messiah. These are truly awesome, the first one slow and somber, the second joyous and triumphant. Other highlights on this second CD include He Was Despised from The Messiah and All Is Fulfilled from St John Passion by Bach.
The informative CD booklet contains black and white photographs, a short biography in English, French and German, plus complete information on the recording of the tracks: composers, dates, venues, conductors and musicians. Kathleen Ferrier was a unique vocalist who made a magnficent contribution to classical and folk music.
It may take you a little time to love her voice.......2004-08-19
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Handel: Messiah
Manufacturer: Naxos ProductGroup: Music Binding: Audio CD All Works by Handel
| Handel, George Frideric
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ASIN: B00002R16A Release Date: 1999-11-30 |
Tracks:
- Messiah: No. 1 Overture
- Messiah: No. 2 Arioso For Tenor
- Messiah: No. 3 Air For Tenor
- Messiah: No. 4 Chorus
- Messiah: No. 5 Recitative For Bass
- Messiah: No. 6 Air For Bass
- Messiah: No. 7 Chorus
- Messiah: No. 8 Recitative For Alto
- Messiah: No. 9 Air For Alto And Chorus
- Messiah: No. 10 Arioso For Bass
- Messiah: No. 11 Air For Bass
- Messiah: No. 12 Chorus
- Messiah: No. 13 Pifa (Pastoral Symphony)
- Messiah: No. 14a Recitative And No. 14b Arioso For Soprano
- Messiah: No. 15 Recitative For Soprano
- Messiah: No. 16 Arioso For Soprano
- Messiah: No. 17 Chorus
- Messiah: No. 18 Air For Soprano
- Messiah: No. 19 Recitative For Alto
- Messiah: No. 20 Air For Alto And Soprano
- Messiah: No. 21 Chorus
- Messiah: No. 22 Chorus
- Messiah: No. 23 Air For Alto
- Messiah: No. 24 Chorus
- Messiah: No. 25 Chorus
- Messiah: No. 26 Chorus
Tracks:
- Messiah: No. 27 Arioso For Tenor
- Messiah: No. 28 Chorus
- Messiah: No. 29 Recitative For Tenor
- Messiah: No. 30 Air For Tenor
- Messiah: No. 31 Recitative For Tenor
- Messiah: No. 32 Air For Tenor
- Messiah: No. 33 Chorus
- Messiah: No. 34 Recitative For Tenor
- Messiah: No. 35 Chorus
- Messiah: No. 36 Air For Alto
- Messiah: No. 37 Chorus
- Messiah: No. 38 Aria For Soprano
- Messiah: No. 39 Chorus
- Messiah: No. 40 Air For Bass
- Messiah: No. 41 Chorus
- Messiah: No. 42 Recitative For Tenor
- Messiah: No. 43 Air For Tenor
- Messiah: No. 44 Chorus
- Messiah: No. 45 Air For Soprano
- Messiah: No. 46 Chorus
- Messiah: No. 47 Recitative For Bass
- Messiah: No. 48 Air For Bass
- Messiah: No. 49 Recitative For Alto
- Messiah: No. 50 Duet For Alto And Tenor
- Messiah: No. 51 Chorus
- Messiah: No. 52 Air For Soprano
- Messiah: No. 53 Chorus
- Messiah: Amen
Customer Reviews:
Finally a Messiah with fervor!.......2005-10-20
Great recording!.......2003-09-22
Good and Bad.......2000-04-09
This is a great recording!.......2000-02-11
Anyhow, this is nothing more than a historic detail and would not count if this recording had not an outstanding first-rate ensemble of singers. Without doubt there is no definitive version of Messiah. Each one has its own distinctive touch and feeling and exploring it is always a pleasant journey through imagination.
As stated by the conductor: "we must concede that performing Messiah with twenty singers and an appropriately balanced instrumental ensemble represents, at best, an imperfect comprimise", it will be easy to understand that this recording does not stand among the greatest and will probably carry some imperfections. I will mention two that kind of disppointed me a little bit. The Overture and the Chorus Worthy is the Lamb, for some reason misses the habitual vigor and strenght. Everything else is great and this is definitely a worth buying.
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Enduring Light: 60 Inspirational Favorites
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ASIN: B00004T0N0 Release Date: 2000-05-09 |
Tracks:
- Handel's 'Messiah': Overture - The London Philharmonic Orchestra/Walter Susskind
- Handel's 'Messiah': And The Glory Of The Lord - The London Philharmonic Choir/Frederick Jackson
- Handel's 'Messiah': Behold A Virgin Shall Conceive - The London Philharmonic Choir/Frederick Jackson
- Handel's 'Messiah': For Unto Us A Child Is Born - The London Philharmonic Choir/Frederick Jackson
- Handel's 'Messiah': There Were Shepherds Abiding In The Field - The London Philharmonic Choir/Frederick Jackson
- Handel's 'Messiah': He Shall Feed His Flock Like A Shepherd - The London Philharmonic Choir/Frederick Jackson
- Handel's 'Messiah': Behold The Lamb Of God - The London Philharmonic Choir/Frederick Jackson
- Handel's 'Messiah': He Was Despised And Rejected Of Men - The London Philharmonic Choir/Frederick Jackson
- Handel's 'Messiah': Lift Up Your Heads, O Ye Gates - The London Philharmonic Choir/Frederick Jackson
- Handel's 'Messiah': Why Do The Nations So Furiously Rage - The London Philharmonic Choir/Frederick Jackson
- Handel's 'Messiah': Hallelujah - The London Philharmonic Choir/Frederick Jackson
- Handel's 'Messiah': Since By Man Came Death - The London Philharmonic Choir/Frederick Jackson
- Handel's 'Messiah': Worthy Is The Lamb That Was Slain/Amen - The London Philharmonic Choir/Frederick Jackson
Tracks:
- The Lord's Prayer
- Old Rugged Cross
- Onward Christian Soldiers
- Rock Of Ages
- How Great Thou Art
- Praise God From Whom All Blessings Flow
- I Believe
- Lord Hear Our Prayer
- Now The Day Is Over
- Amazing Grace
- Ave Maria
- Let Us Humbly Sing Our Praises
- O Holy Night
- Praise, Praise The Lord
- Praise My Soul The King Of Heaven
- Oh Lord Most Holy
- Unfold Your Portals
- Jesu Joy Of Man's Desiring
- The Lord Is My Shepherd
- All The People That On Earth Do Dwell
- A Mighty Fortress Is Our God
- Oh God Our Help In Ages Past
- Holy, Holy, Holy
- Battle Hymn Of The Republic
- Keeping Faith
Tracks:
- A Dream Of Peace
- All In This April Evening
- Our Wedding
- Bless This House
- Bridge Over Troubled Waters
- Climb Every Mountain
- Day By Day (Theme From Godspell)
- Down By The Riverside
- The Impossible Dream
- Swing Low Sweet Chariot
- The Day Is Gently Sinking To Close
- Jesus Christ Superstar
- Abide With Me
- March On
- Peace In The Valley
- Go Tell It On The Mountain
- Born Free
- American Trilogy
- Sunrise, Sunset
- I Don't Know How To Love Him
- Blessed Be The Tie That Binds
- Enduring Light
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Moussorgsky: Complete Songs
Manufacturer: Angel Records ProductGroup: Music Binding: Audio CD All Works by Mussorgsky
| Mussorgsky, Modest
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ASIN: B000002S0Q Release Date: 1989-08-16 |
Tracks:
- Tell Me, Star, Where Art Thou?
- The Joyous Hour
- Tell my why, O Maid
- The Leaves Were Sadly Rustling - Gerald Moore
- I am Rich in Palaces
- For You, the Words of Love
- King Saul - Orch National de la Radiodiffusion Francaise/Georges Tzipine
- Song of the Old Man
- We Parted Proudly
- The Wind are Howling - Orch National de la Radiodiffusion Francaise/Georges Tzipine
- Night
- Calistratus
- Balearic Song
- A Prayer
- The Cast-off Woman
- Sleep, Son of Peasants
- Mignonne
Tracks:
- Desire
- Gopak - Orch National de la Radiodiffusion Francaise/Georges Tzipine
- Savishna
- The Seminarist
- Hebrew Song
- The Magpie
- Seeking Mushrooms
- Piruchka (The Feast)
- The Street-Urchin
- The He-Goat
- By the River Don
- The Classic
- The Orphan
- A Children's Song
- With Nursey
- In the Corner
- The Beetle
- With the Doll
- Evening Prayer
- The Hobby-Horse
- The Cat 'Sailor'
- Eriomushka's Cradle Song
- The Puppet-show
- Evening Song
- The Forsaken One
Tracks:
- Within Four Walls
- Thine Eyes in the Crowd Ne'er Perceived Me
- The Useless Day is Over
- Ennui
- Elegy
- On the River
- Trepak - Orch National de la Radiodiffusion Francaise/Georges Tzipine
- Cradle Song - Orch National de la Radiodiffusion Francaise/Georges Tzipine
- Serenade - Orch National de la Radiodiffusion Francaise/Georges Tzipine
- The Warrior-Captain - Orch National de la Radiodiffusion Francaise/Georges Tzipine
- Cruel Death
- The Misunderstood One
- Misfortune
- The Spirit of Heaven
- What Fellow is Fitted for Weaving or Spinning?
- Trouble
- A Vision
- Master Haughty
- The Wanderer
- On the Dnieper
- Song of Mephistopheles - Orch National de la Radiodiffusion Francaise/Georges Tzipine
Customer Reviews:
A real piece of history from 1958 - mono but not dated.......1998-12-14
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Early Recordings: Oratorio, Opera, Lieder
Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD Ballets
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ASIN: B00067GKFQ Release Date: 2005-02-08 |
Customer Reviews:
La Venere Nera di Bayreuth.......2005-08-19
There were many great mezzos from the same era as Grace Bumbry, but for me, she always stands out, due to the unique quality of her voice. I compare the timbre of her voice to a ripple of caramel- sweet, satisfying, and substantial. Hands down, she is my favorite Amneris and Eboli, on disc. Her voice is an arresting combination of vocal beauty and dramatic flair.
Unfortunately, Bumbry was, and is, one of those artists that the critics love to pick apart. Just read the online review of this three-disc collection on Opera News online. The reviewer picks out even the most minute faults in her voice.
No, her musicianship was not spotless, but this does not matter. As the other reviewers stated, her Handel is a wonder to hear. My heart skipped a beat the first time I heard these tracks. As for the rest of disc one, it is a sampling of Italian and French arias. I have to say that I find her Carmen and Delilah a bit too forceful. She all but shouts, "You're gonna love me, dammit!" Still, she is a force that cannot be denied.
The second disc features Grace at her very best, in Verdi. This was the first occasion in which I heard her sing Ulrica's aria, Tu Che Le Vanita, Azucena's arias, and La Luce Langue. Every aria is a highlight and testament to Bumbry, but the two Trovatore arias in particular are spellbinding. To give you an idea, she outclasses several times over Fiorenza Cossotto, who gave a lazy interpretation on the classic Price/Domingo recording.
Brava, Grace.
Gorgeous And Passionate: The Art of Grace.......2005-07-23
The earliest documented recording of Grace Bumbry's voice was in 1958 in Salt Lake City, which was originally released as LP's in the Westminster label. Grace Bumbry sings the contralto parts of such Handel oratorios as Judas Maccabeus, Irael in Egypt and the more famous Messiah - absolutely majestic, noble interpretations. Following this are two arias from Gluck's Orfeo, in which she sings a moving Orfeo with pure lyric splendor and warmth. Santuzza in Cavelleria Rusticana is normally assigned to sopranos but La Bumbry shows what mezzos are made of is just as impressive in her rendition of "Voi Lo Sapete, Mama." In the role of Carmen, Grace Bumbry is perfect, perfect. I have her full-length recording of Carmen opposite Jon Vickers' Don Jose. As Carmen, she is into the character's liberal nature, flirty and wickedly playful side. Here we here the Habanera, Segudilla and the more grave-sounding Death Card Aria. As Delilah from Samson et Delilah, she is sensuous and glorious to hear. Gounod's Sappho's final scene in which she leaps from a cliff is dramatic and melancholically interpreted. As Joan of Arc from the Tchaikovsky opera she is beautifully moving and even saintly. CD 1 ends with fiery Spanish songs from Falla's El Amor Brujo which are an incredible and not to mention rare treat.
Grace Bumbry sings Ulrica's aria "Re Del Abbiso" from Un Ballo In Maschera with aplomb, with such passion and bravura that even her predecessor Marian Anderson- who opened the doors for all black sopranos that came later- applaud. As Eboli, she is highly dramatic and complex. The signature aria "O Don Fatale" was one she always sang in audition and was her "good luck" aria because she always got the part after singing it. Upon hearing it one knows exactly why. As Princess Elisabeth Valois in Don Carlo, she is regal and melancholy and the challenging aria "Tu che la vanita" proves easy for her to handle. "Stride La Vampa" is here, Azucena's famous aria and Bumbry does justice to it. She does justice to Aida as well, though Leontyne Price is forever embedded in opera lover's memory as the ultimate Aida, but Bumbry is beautiful and dramatic to hear, and especially noteworthy because she sang both Amneris and Aida so knew both parts very well. Lady Macbeth's arias "Vieni T'affreta" and Sleepwalking Scene is here, sung gloriously with flair. She was singing the heavy part of Lady Macbeth in 1964, even as she was still taking on mezzo roles like Carmen!! Further, we hear the live event of her career- the one role that began it all- Venus in Wagner's Tannhauser, hear singing opposite tenor Wolfgang Windgassen. The final cd contains gorgeous Lieder she must have graced recitals with - Brahms, Schubert, Liszt, Wolf and Strauss. Each Lieder is a bright jewel in a divine chain when sung by the incomparable Grace Bumbry.
Fans of Grace Bumbry -Buy this album!!!
Bumbry At Her Best: An Amazing Collection.......2005-06-13
The first recordings are from December of 1957, recorded in Salt Lake City, Utah, under the baton of Maurice Abravanel, originally from the Westminster LP label. The opening arias here are excerpts from Handel's oratorios - Judas Maccabeus and the more famous Messiah. Her deep, rich, warm mezzo voice perfectly embodies the Handelian contralto voice, as evidenced in "Their land brought frogs" in "Israel in Egypt" and in "He Was Despised" from the Messiah, which was conducted by Sir Adrian Boult in London. The rest includes two arias from Gluck's masterpiece Orfeo. Bumbry sings in a regal manner, with a divine voice that further re-inforced her Baroque/Gluck style at this time. I have never heard Che Faro Sensa Eurydice sang with such beauty and passion. The first cd for me, the best example and outpouring of her mezzo soprano repertoire. Here we find what I consider her greatest role- Carmen. At this time, Shirley Verrett, another successful black singer, was the most sought after Carmen in opera houses. But Grace Bumbry, for me, is and always will be Carmen. I first heard the voice of Bumbry on the EMI recording of Carmen she sang opposite Jon Vickers and Mirella Freni. Karajan conducted her in a fine Carmen in the Salzburg Festival. As Carmen, she's playful, liberated, subtle, wickedly funny, strong and dramatic and even a bit cynical and tragic. She colors her voice and character to make Carmen a character that most encompassed the originality of Bizet's intention. The Habanera, Seguidilla and the Card Song, which is Bumbry at her best mezzo voice. She sings the scene, in which Carmen reads her own impending death in the tarot card, with such gravitas and nobility and resignation to her fate with the greatest prowess of voice and acting ability. The rest of the second cd features the arias "O Ma Lyre Immortale" a brilliant vocal feat from the opera Sappho by Charles Gounod, a rarely staged opera today - and the aria Mon Coeur from Saint Saens Samson and Delilah. The role of Joan of Arc from the Tchaikovsky opera is another rare jewel and here she sings so wonderfully that one wishes this opera was revived today. The cd concludes with masterful Spanish bravura in Fallas' Amor Brujo.
The second cd documents her rise to soprano heaven. She is able to reach up from her mezzo earth to the strata of soprano dramatic power. Though even as a soprano Bumbry still sang the mezzo roles of Ulrica from Un Ballo and her prized Eboli. Her "O Don Fatale" captured here at its earliest, is simply the best without question. Tracks 7-9 is the infamous Sleepwalking Scene from Verdi's Macbeth. As Lady Macbeth, she is icy, "mad" and very dramatic without delving into the hysteria that other mezzos, most famously Fiorenza Cossotto, would do. She may be "mad" or sleepwalking but she is still the Queen. The last cd are gorgeous, elegant and virtuosic Lieder songs from Schubert, Brahms, Liszt and Strauss.
The best album of Grace Bumbry to be re-issued!! I'll cherish this album for years. Thank you Amazon.com and Deutsche Grammophone. Now please keep re-issuing lost and rare recordings and continue to amaze us the opera lovers.
Meditation Music:
- Thunder Romance
- Tom Barabas (Featuring Bill Tillman)
- Traffic D'Abstractions
- Trance Planet Box Set [Box set]
- Visionary Path: Guided Journeys for the Mind and Spirit
- Visions and Rhythms
- Wild Earth
- Yellow Magic Orchestra [Original recording remastered] [Import]
- A Salute to the Music of Yanni
- Anatidae
Meditation Music
Layla & Other Assorted Love Songs [Import]
Torke: Music on the Floor; Four Proverbs; Monday; Tuesday
Trance Girls Voices V.1 [Import]
Tunnel Trance Force, Vol. 31 [Import]
V.3: Maria Heureux Celui Qui Meurt D'aim [Import]
U Don't Have to Call [CD-single] [Import]