Meyerbeer: Le Prophète [Box set]

Le prophète, grand opera in 5 acts
Composed by Giacomo Meyerbeer
Performed by Rome Orchestra Sinfonica e Coro della RAI Radiotelevisione Italiano
with Margherita Rinaldi, Boris Carmeli, Robert Amis el Hage, Nicolai Gedda, Marilyn Horne, Alfredo Giacomotti
Conducted by Henry Lewis

Meyerbeer: Le Prophète,Giacomo Meyerbeer,Henry Lewis,Orchestra Sinfonica e Coro di Roma della RAI Radiotelevisione Italiano,Alfredo Giacomotti,Boris Carmeli,Margherita Rinaldi,Marilyn Horne,Nicolai Gedda,Robert Amis el Hage,Foyer,Classical,Classical Music,French Romantic Opera,Opera,Opera / Operetta / Oratorio

Average customer rating:

Solid Basic March Collection
Bold and brassy mixes well with the rest
40 Famous Marches - a great collection!!
Classics on Parade
Too, too much Philip Jones Ensemble

40 Famous Marches

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B000040OX5
Release Date: 2000-02-08

Tracks:

Pomp And Circumstance March No. 1 In D Major - London PO; Solti, G.
Karelia Suite: Alla marcia - Philharmonia Orchestra
Jubel March - Vienna PO; Boskovsky, W.
Funeral March Of A Marionette - Orchestra Of The Royal Opera House, Covent Garden
Tannhauser: Grand March - Philip Jones Brass Ensemble; Howarth, E.
Rinaldo: March - English Chamber Orchestra
Saul: Dead March - English CO; Bonynge, R.
Aida: Grand March - Philip Jones Brass Ensemble
Radetzky March - Vienna PO; Boskovsky, W.
Marche militaire - Wiener Philharmoniker
Athalia: War March Of The Priests - Vienna PO; Dohnanyi, C.v.
The Nutcracker: March - National Philharmonic Orchestra
The Love For Three Oranges: March - London PO; Weller, W.
Le Prophete: Coronation March - London Philharmonic Orchestra
La Damnation de Faust: Hungarian March - Chicago SO; Solti, G.
Persian March - Wiener Philharmoniker
Aladdin Suite: Oriental Festive March - San Francisco SO; Blomstedt, H.
The Ruins Of Athens: Turkish March - Carlo Curley
The Occasional Oratorio: March - San Francisco SO; Blomstedt, H.
Pomp And Circumstance March No. 4 In G Major - London Philharmonic Orchestra

Tracks:

Crown Imperial (Coronation March) - London PO; Norrington, R.
Music For The Funeral Of Queen Mary: Funeral March - Baroque Brass Of London
Prince of Denmark's March (Trumpet Voluntary) - London PO; Norrington, R.
March - Philip Jones Brass Ensemble
Marche triomphale - London PO; Norrington, R.
Egyptian March - Wiener Philharmoniker
Joyeuse March - Swiss Romande Orch; Ansermet, E.
Napoleon March - Wiener Philharmoniker
A Midsummer Night's Dream: Wedding March - Montreal SO; Dutoit, C.
Russian March - Wiener Philharmoniker
Carmen, Suite No.2: Marche des contrebandiers - Montreal SO; Dutoit, C.
The Tale Of Tsar Saltan: March - London Symphony Orchestra
Mlada: Procession Of The Nobles - Kingsway Orch; Camarata, S.
Spanish March - Wiener Philharmoniker
Things To Come: March - National PO; Herrmann, B.
Washington Post - Philip Jones Brass Ensemble
Entry Of The Gladiators - National PO; Herrmann, B.
Colonel Bogey - Philip Jones Brass Ensemble
The Dam Busters - National PO; Herrmann, B.
The Stars And Stripes Forever - Philip Jones Brass Ensemble

Customer Reviews:

Solid Basic March Collection.......2006-08-07

Great solid basic collection, a real bargain with mostly outstanding performances. Having played several in bands and orchestras and sung one (the Rimsky Mlada), I have a good idea how they should go. As other other commentators say, there are better individual recordings, such as anything by Fennell and the Eastman band. The organ pieces just don't do this music justice, although a real cathedral organ can come close, but that's beyond these discs. The Nielsen Aladdin March is the new one for me. Berlioz by Solti is great! Buy it!

Bold and brassy mixes well with the rest.......2004-08-14

I am impressed most by the variety in 40 Famous Marches on 2 CDs, a Double Decca release. The performers include Philharmonic Orchestras, a Brass Ensemble, Chamber Orchestra, organ, Symphony, and for nine selections, the Wiener Philharmoniker. I am not sure if the word schmaltzy ought to be applied to any of this, but the Wiener Philharmoniker often exhibits a unique sound which is not quite the same as any of the other selections. The final five selections are all performed by the Philip Jones Brass Ensemble under Elgar Howarth in ADD/DDD format in 1983 and 1985. Two of those five are rousing marches by John Philip Sousa, another called `Entry of the Gladiators' is typical of songs played by live bands at circuses, and the remaining two are from movie soundtracks. `Colonel Bogey' is famous from the movie about British prisoners of war building a railroad bridge for the Japanese in World War Two, the Bridge over the River Kwai.

The major source of variety in these 40 selections is that many of them are taken from operas and even a ballet, Tchaikovsky's famous `The Nutcracker--March.' I originally found this collection when I was searching for `Funeral March of a Marionette' by Charles Gounod (1818-1893) which has a theme that is famous from its use by a television series hosted by Alfred Hitchcock. If you can't remember how that goes, you ought to buy this collection and listen for it early: it is selection 4 on the first CD. The main theme was fun to play and easy to learn in a book of piano lessons, but the rest is quite whimsical and worth listening to, and people who play organ with pedal notes might still be able to find music for playing the entire arrangement, difficult though it is for someone like me, who becomes confused when too many things are going on at the same time.

There was something on this CD that sounded weird, and I had to check to see what it was, and it was just someone playing the organ, but he was trying to play `The Ruins of Athens -- Turkish March' by Ludwig van Beethoven (1770-1827).

Something by Handel sounds so much like the beginning of a movie that I expect someone to start singing, `The hills are alive with The Sound Of Music,' but this CD is something else. The first CD starts and ends with marches from `Pomp and Circumstance' by Edward Elgar, so people who have been to a lot of graduation ceremonies will be expecting plenty of familiar music. The 6:32 time is slightly longer than the Wagner's `Tannhauser -- Grand March' on the first CD, but long graduation ceremonies may play it even longer, until all the diplomas are handed out.

Verdi, Strauss, Schubert, Prokofiev, Berlioz, these famous composers might be recognized by people who know music, but the `Wedding March' by Felix Mendelssohn is famous with everybody for what it is used for. If you haven't heard it lately, maybe you should hear it a few times so you won't be so nervous the next time it comes around.

40 Famous Marches - a great collection!!.......2003-11-21

This is a wonderful collection. What a wide collection of exciting pieces, all in one affordable package!! It encompasses so many composers and styles, from the majesty of Elgar and Walton, to upbeat Sousa to schmaltzy Strauss. It also includes such classic marches as Meyerbeer's Coronation, a pinnacle of the French opera style, the timeless Wedding March of Mendelssohn, and the brilliant organ piece, Marche Triomphale of Sigfrid Karg-Elert. There are also some interesting oddball selections like the mysterious Things to Come of Bliss (composed for the H.G. Wells film), the jaunty Chabrier marche, and oriental flair of Nielsen's Aladdin.
In reading some of the other criticisms, it is true that the Philip Jones Brass Ensemble perhaps is not the best or most noted ensemble. However, overall, the pieces they play are either Sousa or patriotic-sounding tunes. Their only forays into the true classical realm are the Grand Marches from Tannhauser and Aida, and they are not half bad. So don't let those pieces keep you from buying the CD - 1) because most of the songs they do play are great and 2) they only play in 1/4 of the music....

Classics on Parade.......2003-05-01

If you're looking for a collection of marches from classical music, this would be a fine one to get.
It contains recordings made from 1958 to 1996 by some of the world's great orchestras, plus several numbers by the Philip Jones Brass Ensemble, and four arranged for organ.
The first 35 marches include many of the best-known classical marches, plus three "coronation" marches, written as far back as the end of the seventeenth century (The Prince of Denmark's March) up to 1954 (The Dam Busters). The last five pieces are "popular" marches played by the Jones Ensemble.
The liner notes give a nice history of marches, including where most of the ones in this collection fit into that scenario.
A great collection of marches by classical and popular music "masters".

Too, too much Philip Jones Ensemble.......2003-04-17

A mixed bag of music, 40 FAMOUS MARCHES compiles a good many marches - some not too common.

The CD has it's high points:
1. Chicago Symphony (under Solti!) playing Berlioz's Hungarian March (love that trombone excerpt - BAM!)
2. London Philharmonic playing Prokofiev's "The Love for Three Oranges" March
3. Elgar's Pomp and Circumstance No. 1 (also London Philharmonic)

BUT... There's some real stuff on here, too. I must concur with a prior reviewer: FAR TOO MUCH Philip Jones Brass Ensemble. Case in point - Sousa's Stars and Stripes Forever, as played by PJBE is completely devoid of the energy and fire it needs. The trombone countermelody at the end is just NOT THERE (you'll strain to hear it). There's just no way this is right. PBJE is great in their setting, but this is just not it.

Tracks:

L'amour Est Un Oiseau Rebelle (Habanera)
Mon Coeur S'ouvre A Ta Voix
Eccomi Al Fine In Babilonia
Cruda Sorte!
Hence, Iris, Hence Away
Dove Sei, Amato Bene?
Che Disse! Che Ascoltai!
Addio, Addio O Miei Sospiri
O Pretres De Baal... O Toi, Qui M'abandonne
Elle Est La! Pres De Lui!
Mura Felici
Tanti Affetti

Tracks:

Superbo Di Me Stesso
Il Segreto Per Esser Felici - London Symphony Chorus
Mi Chiami, O Norma!
Deh! Con Te, Con Te Li Prendi
Mira, O Norma
Si, Fino All'ore Estreme
Soli Or Siamo... Condotta ell'era In Ceppi - Luciano Pavarotti
Non Son Tuo Figlio? - Luciano Pavarotti
Mal Reggendo - Luciano Pavarotti
E Un Anatema! - Renata Tebaldi
Nacht Und Traume, D 827
Abendlied
Traume
Jesus De Nazareth
Shenandoah
I Bought Me A Cat
The Lord's Prayer
Somewhere
At The River (Lowry)
Jeannie With The Light Brown Hair

Customer Reviews:

Marilyn Horne scintillates.......2007-05-20

This 2-CD set includes 32 separate "cuts." Thus, it provides a perspective on the broad range of works that Marilyn Horne mastered. While some pockets of work may be given somewhat short shrift (e.g., Rossini), overall this shows off her skills nicely. Born in Bradford, Pennsylvania (one of the coldest places in the nation during winter), she made her operatic debut in 1954. In liner notes copyrighted in 2003, she notes that: "Can't believe it's time for a 70th birthday celebration. . . ." And neither can I, since I recall hearing her perform at the Met (via the old Texaco opera show), and it does not seem all that long ago!

Some cuts well depict her artistry across a range of genres and composers.

The "Habanera" from Bizet's "Carmen" is, to be sure, an old chestnut by now, but she sings it with a rich and lustrous voice. She sings a seductive aria seductively.

"Eccomi al fine in Babilonia" is from Rossini's "Semiramide" and shows off her skills nicely. This piece shows off the range of her voice well. Her voice is very agile, as it would need to be to do Rossini justice. There are some nice runs; the cabaletta showcases her agility and allows her to display well sung ornamentation.

From Handel's "Semele," we hear "Hence, Iris, Hence Away." This is a sprightly piece that is characteristically well sung by Horne.

Handel's "Rosalinda" features a nice work for mezzos, "Dove sei amato bene?" If I hear correctly, Horne begins this with a trill in piano; there are a number of nicely executed trills in this work. This cut is smoothly and richly sung throughout.

"Addio, addio o miei sospiri" comes from "Orfeo ed Oridice" by Gluck. A sprightly paced work. Horne shows off excellent ornamentation; her coloratura technique is terrific.

From "Norma" (by Bellini) there are 4 cuts (from a longer scene), featuring collaboration with Joan Sutherland. The two singers worked well together in a number of operas, and this set of works illustrates that synergy beautifully. "Mi chiami, o Norma!" starts things off. The two voices meld extremely well together. "Deh! Con te, con te li prendi" features fine work all around. Both singers display good vocal dexterity. Horne hits one high note with a bit of harshness, but not an issue of any moment. "Mira, o Norma" is ravishing; Sutherland's and Horne's duet is absolutely wonderful. Finally, "Si, fino all'ore estreme." This is a fast paced duet, with both singers manifesting considerable vocal agility and sound coloratura technique. When they sing together, their voices almost sound "twinned."

Finally, "Jeannie with the Light Brown Hair." Horne sings this straight, without the ghastly "opera-tizing" that some singers cannot resist. Sung simply and powerfully. Her rich voice produces a very good vocal effect.

And so on.

Although this CD does not fully represent her repertoire, it does provide a good sense of the art of Marilyn Horne and it suggests the range of her singing. For those wanting to get a sense of Horne's oeuvre, this is one recording that provides entrée to her body of work.

One Of The Greatest Voices of All!.......2006-01-29

I am not the only one who regards Marilyn Horne's voice as exceptional. During the seventies and eighties she was regarded by The New York Times Music Critic as possessing the greatest voice of our time. One only has to sample this "golden" collection to prove how right he was. Her "mezzo" handles Handel and Rossini like no other. Brava all the way (To say nothing about Dalila's famous aria!) And I must even mention her "Jeannie With the Light Brown Hair". This is a two CD that is a MUST for those who appreciate the glories of the human voice (To say nothing about the warmth and spirit than accompany it.)

Not 100% satisfied with the selections, but what artistry!.......2004-11-03

Decca's release of this career-spanning Marilyn Horne recital contains many "golden" nuggets, but isn't the absolute best representation of her artistry, in my opinion.

There was certainly plenty of material to choose from, as Horne was one of the most recorded mezzos in the twentieth century. As advertised, Madame Horne personally approved the final recital list, and the diva undoubtedly has sentimental attachment to certain selections. Furthermore, a conscious attempt was made to represent the different genres explored during her decades-spanning career. This approach, however, leaves out some truly stunning material that would have made an even stronger case on why she was such an operatic institution.

In summary:

The first disc begins with the Habanera from Carmen. Horne was very proud of her Carmen, noting that it surpassed sales of Callas's Tosca at one point. It deserved to be included, but I don't think she was "THE" Carmen, and besides, the whole opera is so warmed-over by now, it's hard to get anyone excited about it!

From then on, we are treated to a bonanza of wonderful arie and scena. The aria from Samson et Delilah is a real gem. Horne was certainly not the most glamorous singer, but My God, the interpretation is heavenly. This is what the aria sounds like in the hands of a world-class contralto. Eccomi in Babilonia follows, and by anyone's measurement, she is the finest Arsace on record. Blessed with an extraordinary range, she is as fulminating in both the top and bottom registers. What's more, her spirited delivery magnifies the pure genius of Rossini's music. As for Cruda Sorte, "ditto," as Marilyn herself might say.

Next, we are treated to two excellent Handel arias. Iris, Hence Away gives me goosebumps everytime I hear it. This was recorded in the early sixties, for inclusion in the Age of Bel Canto recital she shared with Joan Sutherland and Richard Conrad. Now, if she had recorded this a few years later, she might have drove the coloratura harder. However, at this point, the voice had a somewhat lighter quality, thus the aria isn't sung with that all-purpose "Marilyn Horne" voice we are so used to. Speaking of lightness, Dove Sei, Amato Bene will send shivers down your spine. Again, Marilyn wasn't known for her subtlety, but she proves here that she was more than capable. Just listen to the fluttering trills and fil di voce, and dare to disagree with me! One of my major complaints is it there isn't more Handel on the recital. Sure, a whole recital of Handel arias by Horne is still available, but in this best-of disc, there was room at least for Or La Tromba, the trumpet aria from Rinaldo, and a personal favorite. Also, nothing is included from Vivaldi's Orlando Il Furioso, another travesty.

The pinnacle of the first disc is Addio, I Miei Sospiri, from Gluck's Orfeo ed Euridice. This is Horne magified to the nth power. Where to start? A scrumptiously sung recitativo, then the aria itself, with Marilyn pulling out all the stops. The bronzed tone, perfect breath control, spectacular coloratura fireworks, superlative diction, evenness and security from top to bottom, and Marilyn's own way of generating excitement will floor you. This is bravura singing at the highest level.

After a few other selections from the French reperetoire, the disc closes with two Rossini warhorses. Again, the "ultimate" Horne best-of would have saved room for more Rossini, on the second disc. But the evidence here is ample enough to proclaim her honorific as the leading interpreter of Rossini in the last century.

The second disc is less satisfactory. The first selection, Superbo Di Me Stesso sounds like it came from an inferior source, and wasn't remastered properly. Il Segreto Per Esser Felici, from Lucrezia Borgia is fine enough, but Marilyn could have ornamented more, and that snare drum is too loud! Then, we have an extended scene from Il Trovatore. Now, Marilyn herself stated that she wasn't perfect in Verdi. As she put it, she sang Verdi by not taking "both feet" out of the bel canto waters, so that she could go on singing the roles that brought her the most fame. This is understandable, but if that's the case, then we didn't need this long scene. Perhaps she wanted to highlight her collaboration with Luciano Pavarotti, and I'm sure Decca saw this as a way to lure the casual listener. For my money, though, they should have just included Stride La Vampa, and called it a day. This would have freed up lots of room for the stuff for which she's better recognized!

Now, another extended scene, from Norma, is completely justified. Equally important to Marilyn's legacy as an individual artist is her legacy as one-half of the Sutherland/Horne duo. I don't need to write more- the music speaks for itself.

The rest of the second disc throws in a bit of verismo (Horne is unrecognizeable in Ponchielli; Simionato she's not), a bit of German lieder, and some patriotic tunes. Along with Leontyne Price, Marilyn Horne was the most conciously patriotic singer out there, and to have left out her American recordings would have been a disgrace. But, again, we are given an ample serving of it, when it could have been scaled back some to make room for her operatic triumphs.

All in all, there is enough glorious material here for any fan of the legendary Marilyn Horne, and also those who want a taste of how a superlative mezzo/contralto sounds like.

Vive Madame Horne !.......2004-01-09

Je suis soufflée, et tout bonnement reconnaissante à Decca pour avoir sorti cette compil qui rend si bien honneur à une des mes interprètes préférées. Voix de velours, aisance dans le grave et médium unique au Monde, Marilyn a été, dans toutes ses incarnations, un pur produit américain, certes, mais quel produit ! Bien évidemment son timbre si particulier, que d'aucuns ont défini androgyne, peut plaire ou non... Ce qui compte c'est l'apport émotionnel qu'elle donne à tout ce qu'elle chante, et sans que cela n'enlève rien à la pure beauté de sa voix à la technique sans faille. Merci Mme Horne, pour nous avoir livré une des plus mémorables leçons de chant de l'histoire, et joyeux 70ème anniversaire (car il n'est pas déplacé que de dire votre âge, étant donné la vitalité qui vous caractérise depuis toujours).

Average customer rating:

Half the tracks are march or played like one
decent for dancing
Recommended
Wonderful selection, but not really dancing music
This Will Keep You Dancing

25 Classical Dance Favorites

Manufacturer: Vox (Classical)
ProductGroup: Music
Binding: Audio CD

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A Night at the Ballet (Box Set)
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Symphony (25) Favorites

ASIN: B0000058IQ
Release Date: 1997-07-01

Tracks:

Blue Danube Waltz
Midsummer's Night Dream: Scherzo
Sleeping Beauty: Introduction
Sleeping Beauty: Adagio pas d'action
Annen Polka
Tales From The Vienna Woods
Turkish March
Bella Bolka Polka
Les Patineurs: Pas de Duex From Les Patineurs
Les Patineurs: Finale From Les Patineurs
Dance Of the Nubian Slave Girls
Samson: Ballet Music From Samson
Entry Of The Gladiators
La Gioconda: Dance Of The Hours
Washington Post
Peaches & Cream
Polovtsian Dances (Extract)
Slavic Dance In G Minor, Op.46 No. 8
Der Rosenkavalier Waltz
Galop (La Vie Parisienne)
Orpheus: Can Can (Orpheus)
Sabre Dance
Gavotta Choro
Faust: Ballet (Extract)
Bolero

Customer Reviews:

Half the tracks are march or played like one.......2007-06-05

This disc reminded me of Leonard Bernstein's conducting: somehow many of his conducting session became marches. Many tracks on this disc is like that. I am a novice when it comes to classical music, so part of allure of this disc was that it contained many titles I didn't recognize, so it wasn't a total loss. I guess I should have read the track listing more carefully... what is Washington Post by Sousa doing on dance compilation?

decent for dancing.......2006-12-31

There are quite a few tracks on here that do well for recital music. THere's different ones from the unoriginal swan lake's and nutcracker..my students loved to hear what came next....it gets better towards the end of the cd!

Recommended.......2005-10-03

For those who would enjoy a fast, fun, and cheerful kind of classical music, I guess this cd is a very good choice. Also, if you want to make your kids a classic music lover, you could start with this fun, lighthearted music.

Wonderful selection, but not really dancing music.......2000-06-27

I agree that this is indeed absolutely beautiful light classical music. It is indeed a perfect beginning to a lifelong passion to have classical music playing in the background or to turn up the volume and immerse yourself in it. But it consists of mostly ballet music, several marches, polkas, an entrance of the gladiators, a gavotte and just to show that he can-can, a delightful little march by Beethoven of all people (Turkish March). Or can you dance to the continuous hypnotic rhythm of Ravel's Bolero? Quite tiring, I would think. Nevertheless, great music at an astounding price. Consider buying all or most of the "25 Favorites" series. You will not regret it

This Will Keep You Dancing.......2000-03-30

If you like to dance and you like classical, this cd is a must have. Who says you can't dance to classical? This CD proves those who think so wrong. Highlights include Tchaikovsky's Sleeping Beauty, Mendhelsson's Midsummer Night's Dream, Gounod's Dance of the Slave Girls and Faust, Dvorak's Slavonic Dance, Offenbach's can-can (yeah!) Katchaturian's Sabre Dance and Ravel's Bolero. All these are excellent. Sousa Marches are here too. You must get this CD if you are a serious lover of the classical. In fact, this was my first Classical CD. Make it a part of your life and dance to the great beats of the classics ! Yeah I'm serious.

Opéra Français: Le Récital Oublié (The Forgotten Arias Collection)

Average customer rating:

Opéra Français: Le Récital Oublié (The Forgotten Arias Collection)

Manufacturer: Bmg Int'l
ProductGroup: Music
Binding: Audio CD

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ASIN: B0001BFIEQ
Release Date: 2004-09-28

Average customer rating:

Authenric Music with traditional instruments.
Living history

Music of the Civil War
Americus Brass Band , B. Holmes , W.L. Hobbs , Hosea Ripley , Walter Kittridge , D.L. Downing , George Frederick Root , Gioachino Rossini , Anonymous , James P. Carrell , W.K. Batchelder , C.V. Wallace , Henry Russell , Patrick S. Gilmore , Stephen Foster , Daniel Decatur Emmett , and Giacomo Meyerbeer
Manufacturer: Summit(Classical)
ProductGroup: Music
Binding: Audio CD

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The Civil War: Its Music and Its Sounds
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ASIN: B0000038IY
Release Date: 1993-02-02

Tracks:

When The Cruel War Is Over - Hoist Up The Flag Quick Step
Americus Quick Step
Fireman's Polka
Tenting On The Old Camp Ground
Dixie's Land Medley Quick Step
Battle Cry Of Freedom - Kingdom Coming Quick Step
Excerpt From William Tell
Sumter Light Guard March
Bonnie Eloise Quick Step
Amazing Grace
Glory Hallelujah Grand March
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Kazoodie Ko Whirl Overture
Woodman, Spare That Tree
Fireman's Quick Step
When Johnny Comes Marching Home
Civil War Folk Song Medley: Oh, Suzanna, Garry Owen, Jordan Am A Hard Road, Bonnie Blue Flag, The Girl I Left Behind Me
Coronation March

Customer Reviews:

Authenric Music with traditional instruments........2000-09-17

For those of you who enjoy the music, as it was sung and played during the Civil War, this recording is a "must!" J.A. McA.

Living history.......1999-07-31

So shoot me. I like bagpipe music and I like fife and drum recordings and I like brass bands. Recently cruisin' the Internet brought me to the website of a company called Summit Records out in Arizona; and my eye was caught by the title (DCD 126) with a group calling itself The Americus Brass Band. I obtained a copy post haste and I want to all to know about it with equal rapidity. There is just short of 55 minutes of Civil War tunes played in a style that is "historically accurate, right down to the high military pitch and the clicking of the rotary valves on the original antique instruments employed" (as the notes tell us). The history of the band is available in those notes, so let me just dwell on the "music that still produces feelings of humor, joy, sadness, and patriotic pride." Well, what music does not produce at least one of those?--and I am not entirely sure there was anything about the Civil War of which we on either side should be particularly proud. But Sing a Song of Suffering seems to be an eternal way of making the best of a rotten situation during war time; and this CD is replete with such memories as "Tenting Tonight," "Amazing Grace," "Woodman, Spare That Tree," and even a little bit of the "William Tell Overture" and a Meyerbeer opera! In short, this is not the expected line up of soldier songs but selections that are "typical of that which might have been played by a group such as the Americus Brass band." I love it. Give it a try, please.

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Romantic Strings (25)

Manufacturer: Vox (Classical)
ProductGroup: Music
Binding: Audio CD

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25 Romantic Moods
25 Romantic Classics
Sentimental Favorites (25)
Symphony (25) Favorites
25 Classical Favorites

ASIN: B0000058I9
Release Date: 1996-08-20

Tracks:

Concerto In B-Flat For 2 Violins, Strings & Harpsichord, RV 524: II. Andante
Lullaby
Violin Concerto No. 4 In D, K. 218: III. Rondo-Andante grazioso
Enigma Variations, Op. 36: Beginning
Serenade for Strings in E, Op. 22: I. Moderato
Lohengrin: Prelude to Act III
Violin Concerto No. 6 In G Minor: II. Adagio
Ave Maria
Ancient Airs & Dances: Italiana
Coppelia: Waltz
Orpheus In The Underworld: Waltz
Les Patineurs: Pas de trois
Eine Kleine Nachtmusik, K. 525: III. Menuetto: Allegretto
Menuet Celebre
Vocalise, Op. 34 No. 14
Of Holberg's Days, Op. 40: I. Prelude
Traumerei, Op. 15 No. 7
Serenade For Strings, Op. 48: II. Waltz
Badinerie
Hungarian Dance No. 1
Concerto Grosso No. 6 In G Minor: II. A tempo giusto
The Four Seasons: Winter, II. Largo
Violin Concerto No. 2 In A Minor, BMV 1041: III. Allegro assai
Spanish Dance No. 6, Op. 23: Zapateado
24 Caprices For Solo Violin, Op. 1: Tema con variazioni

Tchaikovsky: Swan Lake; Adam: Giselle; Meyerbeer: The Skaters

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Remastering helps
Terrific Tchaikovsky & Some Lesser Known Gems

Tchaikovsky: Swan Lake; Adam: Giselle; Meyerbeer: The Skaters

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Tchaikovsky: Excerpts from The Sleeping Beauty, Op. 66; Rossini-Respighi: La Boutique Fantasque (The Magic Toy Shop)
Tchaikovsky: Swan Lake (Excerpts); Adam: Giselle; Meyerbeer: Les Patineurs
Adolphe Adam: Music from 'Giselle'

ASIN: B00008PXA6
Release Date: 2003-04-01

Customer Reviews:

Remastering helps.......2003-12-13

There is a difference in the remastered Sony sound and these PO gems are given more space and new life. Ormandy's version competes with any available when you compare quality of recording with these new editions and the carefully played, masterful versions of these classics. Such a bargain.

Terrific Tchaikovsky & Some Lesser Known Gems.......2003-07-19

As I have stated in many of my previous reviews, I am a huge fan of the Sony Essential Classics (SEC) budget series. Most of the recordings feature classic and often definitive performances featuring the likes of George Szell, Robert Casadesus, Isaac Stern and Rudolf Serkin among others. Here we get the great conductor Eugene Ormandy and the Philadelphia Orchestra performing excerpts from some of the greatest music ever written for ballet -- Tchaikovsky's Swan Lake, Meyerbeer's The Skaters, and Adam's Giselle. If you have come across this title in order to get a great recording of Swan Lake, then note that there are many great CD collections that feature all three of the great Tchaikovsky Ballets (the other two being the Nutcracker and Sleeping Beauty of course). If you are curious I have written reviews for classic CDs by Kurtz and Ansermet, and other great titles include those by Karajan, Bernstein, Previn and Rostropovich. With that being said, the nice thing about the three SEC Tchaikovsky Ballet titles by Ormandy is that each disc features excerpts from one Tchaikovsky Ballet, and the rest of the disc consists of music from equally great, but lesser-known ballet scores. (I have also reviewed Ormandy's other SEC Tchaikovsky Ballet performances.) With these three SEC/Ormandy discs not only do you get the great ballet music you were looking for, but you also get to discover something new that you will undoubtedly appreciate just as much as your beloved Tchaikovsky.

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More Kasarova's magic...
AN HOUR OF FRENCH DELIGHT!!!!

Love Entranced: French Opera Arias
Vesselina Kasarova
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Vesselina Kasarova - Mozart Arias / Sir Colin Davis
Vesselina Kasarova - Rossini Arias and Duets / Flórez, Fagan
Vesselina Kasarova - Schubert, Brahms, Schumann Lieder
Vesselina Kasarova - A Portrait
Donizetti - La Favorite / Kasarova, Vargas, Viotti

ASIN: B00004STY1
Release Date: 2002-04-09

Tracks:

Les Huguenots: Non, non...Vous n'avez jamais, je gage
Le Proph: Donnez, donnez
Sapho: Os-je?
Les troyens: Je vais mourir...Adieu, fi cit
Mignon: Connais-tu le pays?
Romet Juliette: Depuis hier je cherche en vain mon mae
Cinq Mars: Per quel trouble profond suis-je ici ramon
Samson et Dalila: Amour, viens aider ma faiblesse
Le Cid: Pleurez, mes yeux!
Le Roi d'Ys: De tous c j'apers dans le plaine

Amazon.com

The Bulgarian mezzo Vesselina Kasarova here exhibits some new sides to her wonderful voice and interpretive abilities. The rich, creamy sound is very impressive near the bottom of its range (rarely the case with mezzos nowadays, Ewa Podles notwithstanding), and she gets to show it off here. The program is varied: We get Urbain's playful, charming aria from Les Huguenots, followed by Fides' pitiful plea from Le Prophete. Sapho's suicidal lament changes mood again, and Dido's farewell offers more grief--all beautifully portrayed. And so on with six more selections, some quite rare and welcome (an aria from Gounod's little-heard Cinq-Mars), others familiar but well-enough done to sound newly minted (Dalila's Act II aria). This CD lets us know that there's even more to Kasarova than Mozart, Bellini, and Rossini. It's a fine release, highly recommended. --Robert Levine

Customer Reviews:

More Kasarova's magic..........2002-04-16

'This is the stuff of legends' -exclaimed Gramophone in their review of Kasarova's debut disc, released in 1997. I don't know if this new one will create the same excitement in the music press but to me it will always be 'the stuff of legends', maybe even more so than the first. It rarely happens that a singer makes me an addict of repertoire I never really cared about. The last time I was so totally captivated by a vocal recital was with Bartoli's Gluck disc. But Bartoli's task was much easier; I had been a huge Gluck fan for years before her disc appeared. Kasarova's chances of captivating me with her French recital were rather meager but her solo discs are such rarities (I hope it has something to do with her recent pregnancy and not with the caprices of the classical music industry) that I couldn't resist. And the rest is indeed 'the stuff of legends'...
Obviously I can't call myself a connoisseur of this repertoire but I also never thought of myself as a mere 'voice' addict: what mattered more was the repertoire sung, so you'd never see me buying Bartoli's Bellini or Donizetti arias disc if she suddenly decided to record such a thing. So why all of a sudden do I find myself buying a disc of French arias by composers - with the exception of Berlioz - I never really cared about? Well, that's Kasarova's magic... I can't offer you a track by track analysis of this disc - I'll leave it to those who know a bit about French opera of the period - but I can assure you that this is singing of great beauty and unsurpassed artistry (and in beautiful French). It is hard to pick absolute favorites in this collection of gems, but if I had to choose then it would be Massenet's "Pleurez, pleurez mes yeux" (track 9) from "Le Cid" with a marvellous clarinet solo, or "Nuit resplendissante" from Gounod's "Cinq-Mars". In the recitative to Stefano's aria from Gounod's "Romeo et Juliette" ("Depuis hier je cherche en vain mon maitre") I would like to hear a bit more of the arrogance that the text calls for, but this is a small detail.
The orchestral playing of the Munich Radio Orchestra under Frederic Chaslin is a true delight, and this is not one of those casual compliments that one usually adds to a review to make it 'complete'. The playing is really gorgeous and brings as much pleasure to the ear as Kasarova's singing.
Surprisingly, the booklet's essay (by Andre Tubeuf) is not devoted to an introduction to the French opera of the nineteenth century, but talks about the tradition of French singing that was often the domain of foreign singers. Kasarova is continuing this tradition. Says Tubeuf: "If her programme had included the "Tribut de Zamora", her guiding star would have been Gabrielle Krauss; if the "Roi de Lahore", then Josephine de Reszke and if Saint-Saens' "Ancetre", then Felia Litvinne". This may sound like a subtle reproach on Tubeuf's part, for the total timing of the CD is only about 54 minutes. And this is my only quibble about this wonderful release but it is not really important. Artistry of this calibre is so rare that it is well worth the price of the disc, however short. Kasarova's singing has a certain old-fashioned quality, that total dedication that characterizes the artistry of all too few singers today (Bartoli , Fleming and in her own way von Otter are the only other examples I can think of). A wonderful disc and a real treat! (Kicek)

AN HOUR OF FRENCH DELIGHT!!!!.......2002-04-11

It is always a pleasure, when you are listening to an artist singing in your country's language (I am swiss, so almost french), to be able to enjoy each word in its more intimate nature, as only music can do it. Miss Kasarova is a sublime artist and her french is just so exact, so touching, she brings the perfect FRENCH TOUCH. This album is the best collection of great romantic opera arias of the french repertoire that I have ever had in my vast collection of 3500 recordings. The orchestra under the baton of Frederic Chaslin sounds great with a perfect balance, giving both the power and subtility of this music. this is a MUST HAVE!!!!

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Excellent

Marilyn Horne Recital

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Classic Recitals: Operatic Arias
Obsessions (Wagner & Strauss: Arias and Scenes)
Include Me Out: My Life from Goldwyn to Broadway

ASIN: B000174LXY
Release Date: 2004-04-13

Tracks:

Eccomi Alfine In Babilonia... Ah! Quel Giorno Ognor Rammento
O Pretres De Baal... O Toi Qui M'Abandonne
Parto, Parto, Ma Tu, Ben Mio
Nobles Seigneurs, Salut!
Cruda Sorte! AmorTiranno!
Deciso E Dunque... Le Richezze Ed Il Grado
nacqui All'Affanno E Al Pianto... Non Piu Mesta Accanto Al Fuoco

Customer Reviews:

Excellent.......2004-09-07

Firstly, much of this music has been released in other formats, and on other recordings. However, these sellections were recorded earlier in Horne's career, and one of them was recorded only this one time, "Noble Seigneur" from Les Hugenots. As with all Horne's recordings, the musicianship is exact and incredible, the colorature is sparkling and vibrant, and well, the diction is wonderful. There is very little to say about this recording. It is simply wonderful, and it is a perfect reflection of what we are used to hearing from this great artist. It shows just how well developed artistically she was, even from the beginning.

Antonio Paoli in arias from Otello, Il Trovatore...

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A first rate Puerto Rican tenor!

Antonio Paoli in arias from Otello, Il Trovatore...

Manufacturer: Pearl
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

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ASIN: B00000DC33
Release Date: 1998-10-20

Tracks:

Robert Le Diable: Les chevaliers de ma patrie
L'Africaine: O'paradis
Le Prophete: Roi du ciel
Poliuto - Guillaume Tell: Al suon dell'arpe - Ou va - tu?...Ah! Mathilde, idole de mon ame!
Track 5
Ses jours qu'ills ont ose proscrire
Il Trovatore: Deserto sulla terra
Di geloso amor sprezzato
Ah si, ben mio
Di quella pira
Aida: Nume custode e vindice
Otello: Dio Mi potevi scagliar
I Pagliacci: Aiutalo o Signor...
I Plglaicci: Recitar...Vesti la giabba
Versa il filtro
No, Pagliaccio non son!
Bravo! Ebben! Se mi giudichi (finale)
Mlle. de Belle - Isle: Si io ty'amo
Carmen: Va - t'en! Va - t'en tu feras bien (Finale, Act III)
Samson et Dalila: Arretez, o mes freres
C'est toi que sa bouche invective...Israel! romps ta chaine
Dejanire: Viens, o toi dont le clair visage
Canzone Guerresca

Customer Reviews:

A first rate Puerto Rican tenor!.......2006-12-05

How do I begin? Well, Antonio Paoli had an enormous, vibrant, forward, sometimes hesitant, color varied, pingy, puissant bel canto heroic tenor voice. Lauri-Volpi wrote in Parallel Voices of his massive vibrations that set him, along with Bernardo de Muro apart as the largest of the dramatic voices of his time. Lauri-Volpi also sang during Del Monaco's time. In fact, one could say that Del Monaco's Otello was definitely inspired by Paoli as there are similarities in their tonal delivery - but only perhaps in Otello - (as otherwise) del Monaco recalls Galliano Masini. One could also say that de Muro must have used Paoli as the supreme example for his style of singing in that if played track to track it is difficult to distinguish them especially at the top. The difference being that Paoli used a forward bel canto tone, and de Muro was more chesty in the verismo manner, pushed.

It is exactly that uniqueness of the bel canto approach that distinguishes Antonio Paoli and what may have contributed to his loss of popularity in the height of verismo. His tone is not always beautiful but it is never pushed - ever and it is one legato line. He does not obscure consonants to obtain legato like dramatics in our time. Words have less meaning in our time, which makes sense - expressive artists are generally not employed. Musically, he has an exciting way of creating tension in the line by raising the pitch by a quarter-tone or less, and attacking the notes before the beat on which they fall. He seems gifted to find those oppurtune places in the music.

His bel canto method does not prevent any dramatic use his voice, for even though minimal breath escapes in the line, his Pagliacci scenes (on this set) possess supreme accent of dramatic timing and a full exploitation of the chest vibrations which ring more than any singer I have heard. Once again, he possesses bel canto, dramatic, and rhythmic gifts, and here in lies Paoli's contribution, uniqueness, and genius. Paoli is probably the most underrated tenor I have encountered.

Yet, a strange tentative quality abides much of the time - the same one Rosa Ponselle battled with.

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Trouble [Import]

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Medals

Pardon My Doo-Wah/Hefti, Hot, 'n Hearty