Opie & Anthony's Demented World

1. 100 Grand

2. Hi Mom, I'm in Jail

3. Testicular Video

4. Accordian

5. Green People

6. Dr. Smith

7. Butt Plug

8. Evil Barney Babysits

9. Girl's Bike

10. Brando & Underdog

11. Publishers Clearing House

12. Hi Mom, I'm in Porno

13. My Dog Fresca

14. Scrotum

15. Reagan

16. Hey Masterbator

17. Emphysema Call

18. Raquel Welch

19. Captain Kirk

20. Green Bay Funeral

See all 28 tracks on this disc

Opie & Anthony's Demented World,Opie & Anthony's Demented World,Restaurant Records,Pop,Spoken / Comedy / Radio Shows

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Average customer rating: Britten's lesser operas? Britten's lesser operas

Britten Conducts Britten: Operas 2 Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Britten | Britten, Sir Benjamin | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Brannigan, Owen | ( B ) | Featured Performers, A-Z | Classical | Styles | Music Bainbridge, Elisabeth | ( B ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Britten, Sir Benjamin | A to B | Featured Composers, A-Z | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music English | Languages | Opera & Vocal | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Britten Conducts Britten: Operas 1 Britten Conducts Britten Britten Conducts Britten Janácek: Operas Delius: A Village Romeo and Juliet ASIN: B000654OU6 Release Date: 2005-03-15

Customer Reviews:

Britten's lesser operas?.......2007-05-29

Of course it's all a matter of taste. I find most of Britten's operas first class with no exception. 'Gloriana' is an under-recorded jewel, full of melody and emotion. 'Turn of the Screw' a masterpiece of claustrophobic sense. 'Rape of Lucretia' full of chamber sensibility. And the performances cannot be bettered.
Need I say more? DECCA is paying an enormous service to collectors with these releases, especially those who have a real concern with storage space. They deserve 10 stars, if available.

Britten's lesser operas.......2007-05-13

I loved Britten's Operas 1. So I snatched this item up right away. It's o.k. but not as good as the first collection. Death in Venice was the only opera on these discs that I really cared for. It's every bit as good as the Hickox version so if you already have one there's really no need to buy the other. As for the other operas they're nowhere near as good as Billy Budd, Peter Grimes, or Albert Herring. For those just discovering Britten's operas start out with the first boxed set.

Average customer rating: O & A All The Way, That's What I Say! Thank You! Funniest Radio CD ever. WoW HOO HOO's fans have been busy Hoo hoo are these guys? The Mentality of Many Americans

Opie & Anthony's Demented World Opie & Anthony's Demented World Manufacturer: Restaurant Records ProductGroup: Music Binding: Audio CD General | Alternative Rock | Styles | Music General | Miscellaneous | Styles | Music General | Comedy | Miscellaneous | Styles | Music Contemporary Comedy | Comedy | Miscellaneous | Styles | Music Comedy & Spoken Word | Miscellaneous | Indie Music | Stores | Music Similar Items: One Night Stand: Jim Norton Happy Endings: The Tales of a Meaty-Breasted Zilch Joe Rogan Live Shiny Happy Jihad Lucky Louie - The Complete First Season ASIN: B0000014IL Release Date: 1997-11-11

Tracks:

1. 100 Grand
2. Hi Mom, I'm In Jail
3. Testicular Video
4. Accordian
5. Airline Pilot
6. Green Poopie
7. Marsha Brady
8. Green Bay Pizza
9. Dr. Smith
10. Butt Plug
11. Evil Barney Babysits
12. Girl's Bike
13. Brando & Underdog
14. Publishers Clearing House
15. Hi Mom, I'm In Porno
16. My Dog Fresca
17. Scrotum
18. Reagan
19. Hey Masterbator
20. Emphysema Call
21. Raquel Welch
22. Captain Kirk
23. Green Bay Funeral
24. Babes Auto Villa
25. Breasts
26. Crazy Jim
27. Tourettes Whorehouse
28. Fake-O
29. Freezer
30. Granny Christmas Song
31. Wheel Chair Fred Butt Plug

Customer Reviews:

O & A All The Way, That's What I Say! Thank You!.......2007-07-06

I picked this up back in the day when I was first getting into Opie and Anthony. At the time, it really solidified my appreciation for what O and A do; great radio. From there, I went from casual FM listener and hearing bits online to listening to 5 hours a day, every day, on XM. They're that good.

While I think the WNEW and XM versions of the show are far better than the WAAF stuff, this CD is still alot of fun to listen to, especially if you are curious about their origins. For something even funnier, check out the very first O and A show ever on WBAB, when it was still called Opie's Night Time Attitude. You can find it via a Google search for the torrent...on this show Anthony does a GREAT impression of George Burns singing an Extreme song!! Hilarious people, hilarious! He also sounds very happy to be there on the air with Opie!!

Anyway, this has long been out of print, so I'm not sure why I'm writing a review in 2007. If you cant get a copy you can find it on various O and A fan sites and also online. Just look for it on Google. If you find it for sale, pick it up! In any case you should try to find this CD just to get a good look at Opie's cornrows. Look at his hair! And Ant's! Blaaaahahahaahahah dude!

Funniest Radio CD ever........2006-06-18

This is far and away the funniest collection of radio bits ever compiled...and they aren't even the best of O&A. I own U.S Open Sores, Crucified by the FCC, Untamed Beaver, etc by the King of All Hacks. They were really funny back in '94, but if you really want to hear today's funniest radio team you need to listen to O&A. My advise is to take your Stern CD's, flush them down the toilet, renew your special relationship with your mother and turn the dial to 202.

WoW HOO HOO's fans have been busy.......2006-06-07

This cd is just plain funny. You may not like it if you are a easily offended, sniveling douche. In that case I would recomend you buy a spalding grey album and follow his example.
Stearn is a HACK

Hoo hoo are these guys?.......2006-02-25

This is funny stuff. No one on radio is even close to these guys...no one!

The Mentality of Many Americans.......2005-05-26

Listening to the highly successful Opie and Anthony is at times humorous. More importantly it provides a porthole picture into the minds of many of today's white Americans.

Often degrading to women, and nearly always extremely and blatantly racist, these two individuals have masterfully crafted a highly successful career out of behaving like 13 year olds and joking about the perceptions, fears and concerns that most White Americans publicly claim not to have. At the same time these two deceptively intelligent shock jocks point out the hypocrisies, problems and psychological pathology of the black community in order to justify the bigoted views that they espouse.

Average customer rating: a voice teacher and early music fan NOT A RIVAL BUT A COMPLEMENT TO THEN ORIGINAL A Magnificent Recording of Britten's Jewel-like 'Death in Venice'

Britten: Death in Venice Manufacturer: Chandos ProductGroup: Music Binding: Audio CD All Works by Britten | Britten, Sir Benjamin | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music English | Languages | Opera & Vocal | Styles | Music Similar Items: Chausson: Le Roi Arthus Poèmes de l'Amour Gluck: Paride ed Elena Louis Andriessen: Writing to Vermeer Wagner: Siegfried ASIN: B0007KIFUU Release Date: 2005-03-22

Tracks:

1. Death In Venice, Op.88
2. Death In Venice, Op.88
3. Death In Venice, Op.88
4. Death In Venice, Op.88
5. Death In Venice, Op.88
6. Death In Venice, Op.88
7. Death In Venice, Op.88
8. Death In Venice, Op.88
9. Death In Venice, Op.88
10. Death In Venice, Op.88
11. Death In Venice, Op.88
12. Death In Venice, Op.88
13. Death In Venice, Op.88
14. Death In Venice, Op.88
15. Death In Venice, Op.88
16. Death In Venice, Op.88
17. Death In Venice, Op.88
18. Death In Venice, Op.88
19. Death In Venice, Op.88
20. Death In Venice, Op.88
21. Death In Venice, Op.88
22. Death In Venice, Op.88
23. Death In Venice, Op.88
24. Death In Venice, Op.88
25. Death In Venice, Op.88

Tracks:

1. Chorus: 'First, The Race!'
2. Chorus: 'Try Your Skill'
3. Chorus: 'Young Discobolus'
4. Chorus: 'Up And Over'
5. Chorus: 'Measure To Fight'
6. Aschenbach: 'The Boy, Tadzio, Shall Inspire Me'
7. (Orchestral Introduction)
8. Aschenbach: 'So, It Has Come To This'
9. Hotel Barber: 'Guardate, Signore!'
10. Aschenbach Is Crossing To Venice - Aschenbach: 'Do I Detect A Scent?'
11. (Aschenbach Begins Following The Family) - Aschenbach: 'And Now I Cannot Let Them Out Of Sight'
12. Chorus: 'Kyrie Eleison'
13. Aschenbach: 'Gustav Von Aschenbach, What Is This Path You Have Taken?'
14. Hotel Porter: 'This Way For The Players, Signori!'
15. (The Leader Of The Players Comes Forward...) - Leader Of The Players: 'La Mia Nonna Always Used To Tell Me'
16. Leader Of The Players: 'Fiorir Rose In Mezo Al Giasso'
17. A Young English Clerk: 'One Moment, If You Please'
18. Aschenbach Up And Down Agitatedly - Aschenbach: 'So It Is True, True, More Fearful That I Thought'
19. Aschenbach: 'So-I Didn't Speak!'
20. Voice Of Dionysus: 'Receive The Stranger God'
21. Aschenbach Slowly Moves To His Chair On The Beach... - Aschenbach: 'Do What You Will With Me!'
22. Hotel Barber: 'Yes! A Very Wise Desicion, If I May Say So'
23. Aschenbach, With His New Appearence, Is Seen Getting Gaily Into A Gondola - Aschenbach: 'Hurrah For The Piazza'
24. Aschenbach: 'Does Beauty Lead To Wisdom, Phaedrus?'
25. Hotel Manager: 'The Wind Still Blows From The Land'
26. (The Hotel Manager Watches Aschenbach Go Out To The Deserted Beach...) - Aschenbach: 'Ah, No!'

Customer Reviews:

a voice teacher and early music fan.......2006-04-02

Britten said of this opera: "It's either the best or the worst music I've ever written." I don't know if it's the best but it is great music and certainly worth the listening time which is close to 3 hours. Although this opera portrays the passion of Aschenbach (a writer experiencing writer's block) moving thru stages of 'confusion' and the 'stripping of dignity'; it is more about the right of the individual to express himself,both artistically and in love. It should be their right to do so without censure. It provided for Britten the opportunity to create a role of a mature man for his life companion and muse,Peter Pears. I would strongly suggest that you first read the novella by Thomas Mann upon which this opera is based. Your listening pleasure and understanding will be doubled by doing so. Myfanwy Piper (the librettist) gave shape to the scenario by turning the musings of the central character (Aschenbach), into elements of a kind of psychological thriller. To focus the drama she assigned the various characters whom Aschenbach meets to one single performer. The resulting figure appearing in many guises is the bass-baritone :Alan Opie. Piper constructed 2 further roles from 2 intellectual ideas developed in Mann's text A struggle goes on in Aschenbach's mind essentially between 'purity' :the God Apollo (countertenor-Michael Chance) and 'impurity' :the God Dionysus (bsritone). There are many other voices heard thruout this opera; some mini-solos and some groups all of which are excellent and a pleasure to hear. Philip Langridge (Aschenbach tenor) is superb in his performance. I feel that I could listen to the complete work without the singing and still follow the story because of the very descriptive orchestral writing.The solo performers are all excellent and I especially liked the voice of Apollo (Michael Chance); I was convinced that I was truly in the presence of a God.Thomas Mann would have definitely approved of Britten's work!

NOT A RIVAL BUT A COMPLEMENT TO THEN ORIGINAL.......2005-10-07

This new recording of Death in Venice is not so much a rival as complementary to the original Decca discs that have had the field to themselves for nearly 30 years now. The virtues of each are different and both more than merit a place on the shelves.

The huge main role of von Aschenbach was, of course, originally written as Britten's last big gift to his lifetime lover and inspiration, Peter Pears. The part fits him like the proverbial glove: it feeds off and shows off all his strengths as a singer whether in recitative or arioso passages. There's that distinctive, slightly croony sound near the top of his range, his ability to sing through and round the passagio with no hint of a join, the variations of colour he can bring to the middle of his voice and so on. Britten understood them all intimately and exploited them as never before in this opera. And, in the Decca recording, Pears delivers the goods immaculately and movingly. Maybe that's why it's taken so long for a second recording to appear.

But Philip Langridge doesn't attempt to imitate Pears. The voice is different and he makes the character very different, very much his own. It's a bit like the contrast between Pears and Vickers in Grimes. This von Aschenbach is much more of a man of action, involved in the world and responsive to it. His fight with writer's block is a real one. One suspects his observations of the hotel guests may just titillate a little creativity back into action. His discovery that 'Eros is in the Word' comes as something of a shock to him, the realisation that 'I love you' even more so, and the nightmare battle between the Apollonian and the Dionysian sides of his nature is truly frightening - for him and for us. His descent into the abyss, from the hysterical heights of the barber's shop through to the death on the beach, is really harrowing. Pears may sing more beautifully in the exquisite Phaedrus aria, but Langridge's subtle colouring of the voice and use of the text make it a heart-breaking experience. More than anyone else who has taken the role since Pears, Langridge offers a real alternative view.

Alan Opie, in the multiple baritone roles, is also complementary to the original, John Shirley-Quirk. Shirley-Quirk excels in those parts that demand more purely beautiful singing - the Traveller, the Gondolier, the Hotel Manager. Opie, on the other hand, is a master at the eccentrics, the camp and the outrageous - the Fop, the Barber and the Leader of the Strolling Players. Honours even, then. And so, too, between Michael Chance and James Bowman as the austere counter-tenor Apollo. Both sing his utterances with strength and beauty of tone.

Where Hickox really scores, though, is in the large part played by the chorus in this opera. He secures from the BBC Singers much tighter, more focused, better intonated choral singing that you'll find on the original Decca discs. The chorus here seem almost like another protagonist, so strong is their contribution. Even the 'Games of the Sun' in this performance don't seem to overstay their welcome as they do in most performances - indeed seem a candidate for extraction like the Choral Dances from Gloriana. And all the soloists taken from the BBC Singers for the multitude of smaller parts match or outshine their Decca rivals.

By now, Hickox's credentials as a Britten conductor are well proven. Bedford on Decca, of course, had the composer's own advice throughout his sessions (Britten was by then too ill to conduct himself). Hickox does not slavishly follow that lead: he has his own point of view. In a recording well up to Chandos's usual high standards, he secures gorgeous sounds and spring from the strings and woodwind in the 'View' motif, a magical rocking rhythm for the many barcarolles in the gondolas and real menace from the plague-ridden tuba which insinuates its presence more and more into the orchestral fabric of the opera.

All in all, a fascinating alternative view of Britten's last opera. And in great modern sound.

A Magnificent Recording of Britten's Jewel-like 'Death in Venice'.......2005-08-24

Benjamin Britten was a composer far beyond his time, a musician with a genius for orchestration, for intellectually stimulating and emotionally profound operas, and a man who is one of the few composers who has been able to write in the English language and find the music hidden there. His final opera is a tough one, a challenging story (Thomas Mann) translated into a dignified libretto by Myfanwy Piper, and a work that is primarily a monologue for tenor set against myriad scenes that change as quickly as the wind.

When Britten composed 'Death in Venice' he was in his last days of heart disease and though he never saw the opera composed for his lover, brilliant tenor Peter Pears, he did hear the premiere at Aldeburgh on his radio. The opera was first recorded in 1974 with the original cast (Peter Pears, John Shirley-Quirk, James Bowman with Steuart Bedford conducting) and for obvious reasons subsequent recordings feared comparison. Fortunately, now some thirty-two years later there is a splendid second recording, a recording so fine that for this Britten devotee is equal to the original - and in some ways better!

Philip Langridge inherits the near impossible role of Aschenbach, the aging, brilliant, detached 'Apollonian' who through a series of recitatives and encounters with a 'traveler' decides to go to Venice to revive his spirit. Included in this recording is the original first recitative of Aschenbach, a character-defining piece Britten out of uncertainty removed from the premiere (and the subsequent recording). It is now essential. Langridge has a fine tenor voice, perfect enunciation, and he creates an Aschenbach that conveys the tortured downfall of this famous character. He is amazing.

Britten and Piper created Aschenbach's nemeses (The Traveler, The Elderly Fop, The Old Gondolier, The Hotel Manager, The Hotel Barber, The Leader of the Players, and the Voice of Dionysus) to be sung by one baritone. And it is the choice of Alan Opie for this recording that adds great dimension to these changing roles. His is a voice rich and supple and completely able to portray different characters while simultaneously reminding us that they are interrelated and each part of Aschenbach's illusionary view of his world.

Add to this the superb countertenor voice of Michael Chance who intones Apollo in the major scene that contrasts the Apollonian vs Dionysian conflict that is central to Mann's story and the 'cast' of main characters is complete. The many small roles are all well sung. Richard Hickox conducts the City of London Sinfonia with insight into all of the complexities of the score and creates a lush and languid sound that is thoroughly appropriate for 'Serenissima' - Venice. The overall momentum of this opera is devastatingly beautiful, and for one who thought that the original Pears/Shirley-Quirk/Bedford recording could never be bettered, this recording is absolutely as fine and deserves to be proudly beside the other on the shelf. Highly Recommended on every level. Grady Harp, August 05

Average customer rating: Lots of fun! A triumph

The Barber of Seville / B. Ford, D. Jones, A. Opie; G. Bellini [in English] Gioachino Rossini , Gabriele Bellini , Bruce Ford , Della Jones , English National Opera Chorus & Orchestra , and Alan Opie Manufacturer: Chandos ProductGroup: Music Binding: Audio CD General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music All Works by Rossini | Rossini, Gioacchino | ( R ) | Featured Composers, A-Z | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Similar Items: Mozart: The Marriage of Figaro Mozart - Don Giovanni / Garry Magee · Cullagh · Banks · Plazas · Shore · Tierny · PO · David Parry Mozart: The Magic Flute Carmen (Sung in English) Verdi: La Traviata ASIN: B00004GOWZ Release Date: 2000-03-28

Tracks:

1. Ov - ENO Orch/Gabriele Bellini
2. Act I (Beginning): 'Piano, Pianissimo' - Peter Snipp/ENO Chor/Stephen Harris/Bruce Ford
3. Act I (Beginning): 'See How The Smile Of Heaven' - Bruce Ford
4. Act I (Beginning): 'Hey, Fiorello!' - Bruce Ford/Peter Snipp/ENO Chor/Stephen Harris
5. Act I (Beginning): 'Thank You, Thank You' - ENO Chor/Stephen Harris/Peter Snipp/Bruce Ford
6. Act I (Beginning): 'What Common People!' - Bruce Ford/Peter Snipp
7. Act I (Beginning): 'La La La Lera' - Alan Opie
8. Act I (Beginning): 'Ah Ha! What Could Be Better?' - Alan Opie/Bruce Ford
9. Act I (Beginning): 'I Cannot See Him Anywhere' - Della Jones/Bruce Ford/Andrew Shore/Alan Opie
10. Act I (Beginning): 'Poor Little Innocent Creature!' - Bruce Ford/Alan Opie/Andrew Shore
11. Act I (Beginning): 'My Poor Heart Is So Full Of Emotion' - Bruce Ford/Della Jones/Alan Opie
12. Act I (Beginning): 'What's Happened?' - Bruce Ford/Alan Opie
13. Act I (Beginning): 'You Need Only Mention Money' - Alan Opie/Bruce Ford
14. Act I (Beginning): 'In My Heart A Gentle Voice' - Della Jones
15. Act I (Beginning): 'I Can Be So Demure' - Della Jones
16. Act I (Beginning): 'Oh Yes, I'll Win The Day' - Della Jones
17. Act I (Beginning): 'Good Morning, Signorina' - Alan Opie/Della Jones
18. Act I (Beginning): 'Where Would I Be Without Him?' - Della Jones/Andrew Shore
19. Act I (Beginning): 'Who'd Know?' - Andrew Shore/Peter Rose
20. Act I (Beginning): 'Innuendo, The Slightest Whisper' - Peter Rose
21. Act I (Beginning): 'Well, What D'You Think?' - Peter Rose/Andrew Shore
22. Act I (Beginning): 'So That's It!' - Alan Opie/Della Jones
23. Act I (Beginning): 'Then It's Me...' - Della Jones/Alan Opie
24. Act I (Beginning): 'Now I Feel So Much Better' - Della Jones/Andrew Shore
25. Act I (Beginning): 'Dare You Offer Such Excuses' - Andrew Shore

Tracks:

1. Act I (Conclusion): 'Where's The Master?' - Bruce Ford/Andrew Shore
2. Act I (Conclusion): 'Ah! How Long 'Til I Behold Her?' - Bruce Ford/Andrew Shore/Della Jones/Jennifer Rhys-Davies/Peter Rose
3. Act I (Conclusion): 'Stop This Noise!' - Alan Opie/Andrew Shore/Bruce Ford/Della Jones/Jennifer Rhys-Davies/Peter Rose
4. Act I (Conclusion): 'Someone Is At The Door' - Della Jones/Jennifer Rhys-Davies/Alan Opie/Bruce Ford/Andrew Shore/Peter Rose/ENO Chor...
5. Act I (Conclusion): 'Pay Attention! What's The Trouble?' - ENO Chor/Stephen Harris/Andrew Shore/Alan Opie/Peter Rose/Jennifer Rhys-Davies/Bruce Ford...
6. Act I (Conclusion): 'Frozen And Motionless' - Della Jones/Bruce Ford/Andrew Shore/Peter Rose/Alan Opie
7. Act I (Conclusion): 'If I May...' - Andrew Shore/Jennifer Rhys-Davies/Peter Rose/ENO Chor/Stephen Harris/Della Jones/Bruce Ford...
8. Act II: 'I've Got To Find The Answer!' - Andrew Shore
9. Act II: 'Peace And Joy Be Yours For Ever' - Bruce Ford/Andrew Shore
10. Act II: 'I Don't Think We Have Met, Sir' - Andrew Shore/Bruce Ford
11. Act II: 'Come Along, My Dear, And Listen' - Andrew Shore/Della Jones/Bruce Ford
12. Act II: 'When A Heart For Love Is Yearning' - Della Jones/Bruce Ford
13. Act II: 'What A Talent, Bravissima!' - Bruce Ford/Della Jones/Andrew Shore
14. Act II: 'Sweet Little Seventeena' - Andrew Shore
15. Act II: 'Bravo, Signor Figaro' - Andrew Shore/Alan Opie/Della Jones/Bruce Ford
16. Act II: 'Don Basilio...' - Della Jones/Bruce Ford/Alan Opie/Andrew Shore/Peter Rose
17. Act II: 'Now Then, Signor Don Bartolo' - Alan Opie/Andrew Shore/Bruce Ford/Della Jones
18. Act II: 'Things Can't Get Much Worse' - Andrew Shore
19. Act II: 'He Wouldn't Trust His Mother!' - Jennifer Rhys-Davies
20. Act II: 'First The Doctor Wants To Marry' - Jennifer Rhys-Davies
21. Act II: 'So This Pupil Alonso' - Andrew Shore/Peter Rose
22. Act II: 'By Force Or Persuasion' - Andrew Shore/Della Jones
23. Act II: Thunderstorm - ENO Orch/Gabriele Bellini
24. Act II: 'We've Made It' - Alan Opie/Bruce Ford/Della Jones
25. Act II: 'Almaviva, Not Lindoro!' - Della Jones/Alan Opie/Bruce Ford
26. Act II: 'Ah! That's All We Needed!' - Alan Opie/Bruce Ford/Della Jones
27. Act II: 'Don Bartolo' - Peter Rose/Alan Opie/Bruce Ford/Della Jones
28. Act II: 'Don't Move A Muscle!' - Andrew Shore/Alan Opie/Christopher Ross/Bruce Ford
29. Act II: 'I Love A Happy Ending' - Alan Opie/Jennifer Rhys-Davies/Andrew Shore/Peter Rose/ENO Chor/Stephen Harris/Della Jones...

Customer Reviews:

Lots of fun!.......2004-06-21

Hearing the Barber of Seville sung in English helped me realize what a comic opera this is. I would highly recommend this set for someone trying to listen to this (or any) opera for the first time.

A triumph.......2000-12-18

Even for those who usually find some reason to object to opera sung in English, this recording should prove a delight from start to finish. Apart from some occasional sluggishness in the conducting, this Barber fizzes from beginning to end. The crowning glory is the superb Rosina of Della Jones - agile in coloratura and very funny throughout. Grab it!

Average customer rating:

Naked: WBCN 104.1 (2001 Release) Manufacturer: Wicked Disc ProductGroup: Music Binding: Audio CD Similar Items: WBCN Naked Disc: A Collection of Unreleased Performances WBCN Naked Too WBCN Naked 2000 ASIN: B000FUY9H0

Product Description

Contains 15 songs performed by 15 alternative artists at the studios of WBCN 104.1.

Average customer rating: 'The harm is don, and fare-wel faldefare!'

Walton: Troilus and Cressida William Walton , Richard Hickox , Alan Opie , Arthur Davies , Brian Cookson , Yvonne Howard , Judith Howarth , James Thornton, Keith Mills, Nigel Robson Clive Bayley , and David Owen-Lewis, Stephen Dowson Peter Bodenham Manufacturer: Chandos ProductGroup: Music Binding: Audio CD All Works by Walton | Walton, Sir William | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music English | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Similar Items: Szymanowski - King Roger · Symphony No.4 / Sir Simon Rattle Strauss: Die Frau ohne Schatten / Varady, Domingo, Behrens, van Dam, Sir Georg Solti ASIN: B000000AWY Release Date: 1995-05-23

Tracks:

1. Troilus And Cressida: Calkas, Priests & Priestesses, Worshippers - Virgin Of Troas
2. Troilus And Cressida: Back To Your Hovels... (Troilus)
3. Troilus And Cressida: Is Cressida A Slave... (Troilus)
4. Troilus And Cressida: Morning And Evening I Have Felt Your Glance... (Cressida)
5. Troilus And Cressida: Forgive Me... (Pandarus)
6. Troilus And Cressida: I Haunt Her Beauty Like A Naked Soul... (Troilus)
7. Troilus And Cressida: My Father! Evadne, Follow Him! (Cressida)
8. Troilus And Cressida: Slowly It All Comes Back (Cressida)
9. Troilus And Cressida: Why Niece!...In Tears? (Pandarus)
10. Troilus And Cressida: Sweet Sir, There's Something... (Cressida)
11. Troilus And Cressida: Dear Child, You Need A Little Comfort (Pandarus)
12. Troilus And Cressida: Does Talking Put You Off? (Pandarus)
13. Troilus And Cressida: How Can I Sleep? (Cressida)
14. Troilus And Cressida: At The Haunted End Of The Day (Cressida)
15. Troilus And Cressida: Hush! Don't Be So Alarmed! (Pandarus)
16. Troilus And Cressida: If One Last Doubt, One Lurking Fear Remains... (Troilus)
17. Troilus And Cressida: New Life, New Love! (Cressida)
18. Troilus And Cressida: Now Hold Me Close... (Cressida)
19. Troilus And Cressida: The Storm

Tracks:

1. Troilus And Cressida: Act Two: Scene Two (cont.): From Isle To Isle...
2. Troilus And Cressida: Pandarus - Who Would Go Drumming...
3. Troilus And Cressida: Diomede - My Name Is Diomede...
4. Troilus And Cressida: Troilus - This Thing Shall Be Revok'd...
5. Troilus And Cressida: Act Three: Watchman - All's Well!
6. Troilus And Cressida: Troilus! No Answering Sign...
7. Troilus And Cressida: Calkas - Cressid, Daughter...
8. Troilus And Cressida: You Gods, O Deathless Gods...
9. Troilus And Cressida: Diomede - Proud, Wondrous Cressida
10. Troilus And Cressida: Take It, Take It!
11. Troilus And Cressida: Troilus And Pandarus - Evadne!
12. Troilus And Cressida: Troilus!
13. Troilus And Cressida: Troilus - What Is This Sudden Alarm?
14. Troilus And Cressida: Sextet - Diomede, Troilus, Cressida, Pandarus, Calkas And Evad
15. Troilus And Cressida: Calkas - She Has Brought Shame Upon Her Father!
16. Troilus And Cressida: Diomede!...Father!...

Customer Reviews:

'The harm is don, and fare-wel faldefare!'.......2004-11-08

The problem with Walton's Troilus and Cressida is Christopher Hassall's libretto. This may not be entirely Hassall's fault, as Walton himself and the usual quota of busybodies had an involvement in it. The idea of the opera was conceived in the immediate post-war period, and neither scribe nor composer had any previous experience in this particular area. Moreover it is probably a bit unreasonable - up to a point - to complain that the style of writing verges on the ludicrous in a post-war context when the war was not long over, but I simply can't swallow it all the same. If you were a contestant on Quote/Unquote or some such programme and asked to place the lines `Child of the wine-dark wave/Mantled in beauty,/Spirit of Immortal love' who would you guess? Elizabeth Barratt Browning, maybe? Christina Rosetti? Lady Walton in her preface gives us only a certain amount of insight into the turmoil there was over this libretto, but when she lets slip that Walton himself flung out the insult `Ivor Novello' it's easy to believe her. And there is worse to come, e.g. `Come forth a Queen/And nevermore be seen/In base captivity'. The Rev Thomas Morell turned out that sort of lingo for Handel, however it was at the least the standard poetic idiom of their time, and more importantly Morell had a sound instinct for a musico-dramatic plot-line. What Hassall has done, or allowed others to make him do, in that particular respect is a crying shame.

Troilus and Cressida is one of Shakespeare's weaker plays whereas Chaucer's Troilus and Criseyde is one of the greatest things in English literature. However it's all too easy to imagine that novices did not feel up to using it as their basis. Hoffmansthal and Strauss might have found it right up their street if they had been looking that way, but what fills me with regret is that I feel that Walton might have been up to it as well. What they all settled for among them was the wrong kind of `Let's Make an Opera'. Basing themselves roughly on Shakespeare they sweep aside all Chaucer's subtlety, clarity and diabolical originality in the characterisation. Cressida and Troilus become an assembly-line operatic soprano and tenor in reach-me-down operatic situations. Diomede is well contrasted with Troilus I suppose, but in an obvious operatic sort of way. Chaucer's contrast is every bit as simple but in a completely devastating way - Diomede does not have to be portrayed as the kind of Hollywood-standard Greek hero he is here (indeed Chaucer calls him `square'), just self-confident with women in wince-making contradistinction from the tongue-tied Troilus. Something survives of Chaucer's strange Pandarus, but only enough to make me feel all the more keenly the contrast between Chaucer's unique inspiration and the feeble shadow of a parish-magazine odester that Hassall manages to seem by comparison.

How this affects the music seems to me to be this way - Walton had an acute sense of the theatrical, as we can hear in, say, his incidental music for Hamlet. Everything is basically right in his scoring here too. It is never stodgy and always resourceful, and he is blessedly light-footed, keeping things moving and avoiding a Wagnerian andante. What can also happen with Walton's theatre-music is that he is prone to overdoing brief effects, such as the ghost in Hamlet. In Troilus and Cressida he has been left with a smoothed-out-average operatic plot lacking any real distinctiveness in the characters or their interaction. Incidents such as the moonlight flit done by Calkas (so spelled) and the prisoner exchange thus come to be significant dramatic incidents in a way they were not for Chaucer in pursuit of his psycho-drama, and either Walton overplays them or maybe he just had no option about that. There is any amount of fine music here, notably in the early stages of Act III, and that is what fills me with the unsatisfied sense that given a more adult challenge he might have made something really distinctive and unforgettable out of it.

It would not be fair to give this fine performance less than 4 stars because the executants and technicians handle it very well indeed whatever my disappointments with the work itself. I love Walton and I love Chaucer and it may be that you will find, as I do, that the intrinsic interest and beauty of the music goes a long way to bringing them closer together.

Average customer rating: A fine recording of Howell's greatest work Hickox captures Howell's grief and precarious optimism Splendid British Choral Music

Howells: Hymnus Paradisi, etc / Hickox, et al Manufacturer: Chandos ProductGroup: Music Binding: Audio CD Howells, Herbert | ( H ) | Featured Composers, A-Z | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Similar Items: Herbert Howells: Hymnus Paradisi/An English Mass Howells: Requiem; Take Him, Earth, for Cherishing ASIN: B00000K2FI Release Date: 1999-09-21

Tracks:

1. Hymnus Paradisi: I Preludio
2. Hymnus Paradisi: II Requiem aeternam
3. Hymnus Paradisi: III The Lord Is My Shepherd
4. Hymnus Paradisi: IV Sanctus: I Will Lift Up Mine Eyes
5. Hymnus Paradisi: V I Heard A Voice From Heaven
6. Hymnus Paradisi: VI Holy Is The True Light
7. A Kent Yeoman's Wooing Song: I Lento
8. A Kent Yeoman's Wooing Song: II Allegro vivo
9. A Kent Yeoman's Wooing Song: III Meno mosso, con tenerezza
10. A Kent Yeoman's Wooing Song: IV Allegro ritmico

Customer Reviews:

A fine recording of Howell's greatest work.......2001-06-02

Herbert Howells is best known for his church and organ music though he wrote some fine orchestral and chamber works too. Hymnus Paradisi had a long gestation and was completed in 1938 though the war delayed its first performance, at the Three Choirs Festival, until 1950. The chronology is rather confused but he was contemplating composing a requiem in the early 1930s and a first sketch was complete by 1932. His son, Michael, developed a fatal infection in late 1935. He was only nine years old. Howells was devastated and never really got over his loss. The Requiem became an intensely personal thing for him and he kept it in a drawer. It was not published until 1980. This piece for unaccompanied choir is very beautiful and has music in common with the Hymnus, so they are intimately connected.

Hymnus Paradisi is a work of incandescent beauty and Lux perpetua - Everlasting Light - sums up the nature of the music. Fiendishly difficult to sing, the vocal lines weave in and out of each other to produce harmonies I can only describe as intense white light as music. The orchestral writing is brilliant, underpinned by mighty organ pedals from time to time. This is one of the greatest choral works of the 20th century and one not to be missed. I was privileged to attend a performance in Hereford cathedral in the late 1970s in the presence of the composer. A diminutive but still handsome man in his eighties, he sat on the raised dias at the rear, both hands folded on top of his stick.

The performance by Richard Hickox and his forces is a very fine one and the recording is excellent. The 1970 recording under David Willcocks was transfered to CD and is still available at the time of writing (2001) and is just as good. I would hesitate to choose between them.

Hickox captures Howell's grief and precarious optimism.......2000-11-21

What a poignantly beautiful piece of music. From the very opening measures it's obvious that this is a committed performance--intense in fact. There are many delicate, and obviously intimate, moments in this music and all are caught beautifully by Hickox, soloists, and the BBC.

What does the music sound like? It's easier to say what it doesn't sound like. In mysterious sections, Howells colors material "touched by the breath of the eternal," predictably, with delicate harp filigree and rarefied chord progressions, but avoids the Holstian harp/vibraphone twos against threes sound, ("Saturn," of "The Planets" is a good example); reflective moments glow appropriately, but Howells maintains a contrapuntal rigor and forward motion even in times of repose, while Faure, Delius, and Durufle can make one feel as though time is standing still.

Vaughan Williams' is about the closest reference I could give--though only on occasion. Howells does not employ any folk-song elements as far as I can tell. The music is chromatic and the vocal writing often sounds declamatory rather than "smoothly melodic." Hymnus is a reworking of an earlier Requiem, and was written as a sort of therapy after the death of the composer's 9yr old son. It was VW who convinced Howells to offer the work for public performance.

The Chandos recording also contains a premiere recording of Howells' "A Kent Yeoman's Wooing Song." It's an extrovert piece with a very endearing love song as the 3rd mov't.

Solists include Joan Rogers, Anthony Rolfe Johnson, and Alan Opie.

Splendid British Choral Music.......2000-06-30

Although Herbert Howells might not be as popular as other British contemporaries, such as Vaughan Williams and William Walton, his music truly deserves to be widely heard. Being a fan of British music, I first got acquainted with Howells through this magnificent work. There is a great tradition of choral music among British composers. Just think of Vaughan Williams, Holst, Britten... Howells' "Hymnus Paradisi" must definitely be added to this distinguished list for it is an unquestionable masterpiece. At its core resonates a profound sense of loss. The work was composed to exteriorize deep feelings of mourning, following the death of the composer's six years old son, Michael. The feeling here is one of muted introspection. There are powerful tuttis, but the overall atmosphere is quite introspective. The orchestral prelude is arresting. It combines a sense of urgency and bitterness with a dramatic flourish of anger faced with life's cruel injustice. The "Requiem Aeternam" that immediately follows, is by contrast one of the most moving expressions of mourning I have ever heard in sacred music. Some parts bring to mind Gabriel Fauré's "Requiem"'s quiet intimacy. As with most Chandos releases, this recording is terrific with a rich, sensitive performance by the BBC Syphony orchestra and Chorus under Richard Hickox's baton. The recording is spacious. I have since acquired other Howells recordings. This is music with vision and a wide range of expressive feelings. The music is not all gloom and despair. Quite the contrary: I think it shimmers with a deep appreciation of life's beauty. Let us hope now that Chandos will bring us many more works by this most talented of composers.

Average customer rating: More Examples of the Genius of Benjamin Britten a voice teacher and early music fan

Benjamin Britten: The Five Canticles & 3 Purcell Realisations Manufacturer: Hyperion ProductGroup: Music Binding: Audio CD All Works by Britten | Britten, Sir Benjamin | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Vocal & Song | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Classical | Imports | Stores | Music ASIN: B000002ZPL Release Date: 1993-11-19

Tracks:

1. Canticle 1 Op 40: My Beloved Is Mine - Anthony Rolfe Johnson/Roger Vignoles
2. Canticle 2 Op 51: Abraham And Isaac - Anthony Rolfe Johnson/Michael Chance/Roger Vignoles
3. Canticle 3 Op 55: Still Falls The Rain - Anthony Rolfe Johnson/Roger Vignoles/Michael Thompson
4. Canticle 4 Op 86: The Journey Of The Magi - Anthony Rolfe Johnson/Michael Chance/Alan Opie/Roger Vignoles
5. Canticle 5 Op 89: The Death Of Saint Narcissus - Anthony Rolfe Johnson/Sioned Williams
6. Let the Dreadful Engines - Alan Opie/Roger Vignoles
7. In The Black Dismal Dungeon Of Despair - Anthony Rolfe Johnson/Roger Vignoles
8. An Evening Hymn - Michael Chance/Roger Vignoles

Customer Reviews:

More Examples of the Genius of Benjamin Britten.......2006-01-20

While gratefully the operas of Britten (Billy Budd, Peter Grimes, A Midsummer Night's Dream, Death in Venice, The Turn of the Screw, Albert Herring, etc) are now part of the standard repertoire, there are still portions of Britten's output that go begging for performances. Not only are some of the major orchestral pieces neglected, but also the more intimate works for chamber ensemble are scarcely known or performed. Were it not for the Aldeburgh Festival many of these would have disappeared, as sadly they have from the recorded repertoire. Among these are the deeply moving Church Parables (Burning Fiery Furnace, Prodigal Son, etc) and these Canticles here recorded. That Benjamin Britten remains the finest composer of the English language is indisputable and more is the pity that these deeply felt works are missing from public performance.

This superlative recording helps the cause immensely. Here The Five Canticles (grouped only for historic purposes as they were not conceived as a cycle) are exquisitely brought to life by Anthony Rolfe Johnson, countertenor Michael Chance, baritone Alan Opie, pianist Roger Vignoles, harpist Sioned Williams and hornist Michael Thompson. These works are deeply religious and yet sensuous in both poetry and musical line, very much in keeping with all of Britten's works. 'My Beloved is Mine' relates the poet to God in a sensual manner; 'Abraham and Isaac' distills the ultimate sacrifice in a conversation among God, Abraham and his son at the moment of trial; 'Still Falls the Rain' is set to an Edith Sitwell poem which in turn Britten set to music in the throes of grief for a pianist who committed suicide; 'The Journey of the Magi' is Britten's setting of TS Eliot's poem; 'The Death of St. Narcissus' is especially poignant as it was written while Britten was in his last year's of heart failure. The final works on this CD are three works by Henry Purcell realised by Britten (Purcell had only written the vocal line above a figured bass!).

This is one of those albums requiring a search but the search is more than worth the effort. An amazingly well-performed and recorded recital, this CD is one of the finest examples of Britten's genius. Highly Recommended. January 06

a voice teacher and early music fan.......2006-01-04

Benjamin Britten 's five canticles were not conceived as a cycle, but were written at various times for certain special occasions. The word 'canticle' is not used in the liturgical sense, but indicates works of deep religious significance as 3 of them were written for memorial services.
Canticle no 1:'My Beloved is Mine'was written in 1947 and is scored for high voice and piano. The text is an expression of divine love, shown through the metaphor of physical love. All of the canticles are longer and more involved than simple songs,and could be described an miniature cantatas.
Cantata no 2:'Abraham and Isaac'was written for the English Opera Group's Concerts in early 1952 and was first performed by Kathleen Ferrier, Peter Pears and the composer in Nottingham, January 1952. This second canticle could be called a miniature opera, such is the dramatic effect of the story. The story is in the Book of Genesis, Chapter 22 in the bible. It is scored for alto (Isaac), tenor (Abraham );for the voice of God Britten used both voices one octave apart.
Canticle no 3:'Still Falls the Rain' was written in 1955,an is scored for tenor, horn and piano; and for his text he turned to Edith Sitwell's poem 'The Canticle of the Rose'.
Canticle no 4:'The Journey of the Magi" was not composed until 1971, for which Britten chose the poem of the same title by T.S. Eliot. It is scored for countertenor,tenor, and baritone, again with piano accompaniment.
Canticle no 5:'The death of Narcissus' was written in 1974, again choosing a poem of the same name by T.S.Eliot. Britten died the following year, and at the time of the writing of his last Canticle, he was in the hospital recovering from heart surgery, so just as this canticle dealt with death, so did his final opera :"Death in Venice"
All 3 singers are outstanding in every way. I was particularly impressed with the excellent diction throughout all of the songs. This is particularly important because these are all stories and told to the intricate rhythms that Britten has employed one could not possibly get much enjoyment without word understanding. I must also mention the skillful accompanying of Roger Vignoles which adds so much to the drama; he's so great at picking up every nuance of the singer and song. Don't pass this CD up if you like Britten's music. It's marvelous!!!

Average customer rating: Grimes as song not drama A Shattering Performance

Benjamin Britten: Peter Grimes Manufacturer: Chandos ProductGroup: Music Binding: Audio CD All Works by Britten | Britten, Sir Benjamin | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music English | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music ASIN: B000000AYW Release Date: 1996-04-23

Tracks:

1. Peter Grimes: Prologue (Hobson, Peter Grimes)
2. Peter Grimes: 'You Sailed Your Boat Round The Coast' (Swallow)
3. Peter Grimes: 'Peter Grimes, I Here Advise You' (Swallow)
4. Peter Grimes: 'The Truth - The Pity - And The Truth' (Peter)
5. Peter Grimes: Interlude I
6. Peter Grimes: Act I - Scene 1 - 'Oh, Hang At Open Doors' (Chorus)
7. Peter Grimes: Act I - Scene 1 - 'Good Morning, Good Morning!' (Rector)
8. Peter Grimes: Act I - Scene 1 - 'Hi! Give Us A Hand' (Peter)
9. Peter Grimes: Act I - Scene 1 - 'I Have To Go From Pub To Pub' (Hobson)
10. Peter Grimes: Act I - Scene 1 - 'Let Her Among You Without Fault' (Ellen)
11. Peter Grimes: Act I - Scene 1 - 'Look! The Storm Cone!' (Balstrode)
12. Peter Grimes: Act I - Scene 1 - 'And Do You Prefer The Storm' (Balstrode)
13. Peter Grimes: Act I - Scene 1 - 'They Listen To Money' (Peter)
14. Peter Grimes: Act I - Scene 1 - 'What Harbour Shelters Peace' (Peter)
15. Peter Grimes: Interlude II
16. Peter Grimes: Act 1 - Scene 2 - 'Past Time To Close' (Auntie)
17. Peter Grimes: Act 1 - Scene 2 - 'Loud Man' (Auntie)
18. Peter Grimes: Act 1 - Scene 2 - 'There's Been A Landslide Up The Coast' (Fisherman)
19. Peter Grimes: Act 1 - Scene 2 - 'No, I Mean Love' (Boles)
20. Peter Grimes: Act 1 - Scene 2 - 'Pub Conversation Should Depend' (Balstrode)
21. Peter Grimes: Act 1 - Scene 2 - 'Have You Heard The Cliff Is Down' (Ned)
22. Peter Grimes: Act 1 - Scene 2 - 'Now The Great Bear And Pleiades' (Peter)
23. Peter Grimes: Act 1 - Scene 2 - 'For Peace Sake' (Balstrode)
24. Peter Grimes: Act 1 - Scene 2 - 'The Bridge Is Down' (Hobson)
25. Peter Grimes: Act II - Interlude III
26. Peter Grimes: Act II - Scene 1 - 'Glitter Of Waves' (Ellen)
27. Peter Grimes: Act II - Scene 1 - 'Now That The Daylight Fills The Sky' (Chorus)
28. Peter Grimes: Act II - Scene 1 - 'Child You're Not Too Young' (Ellen)
29. Peter Grimes: Act II - Scene 1 - 'This Unrelenting Work' (Ellen)
30. Peter Grimes: Act II - Scene 1 - 'Fool To Let It Come To This' (Auntie)
31. Peter Grimes: Act II - Scene 1 - 'People... No! I Will Speak!' (Boles)

Tracks:

1. Peter Grimes: Act II - Scene 1 - 'We Planned That Their Lives' (Ellen)
2. Peter Grimes: Act II - Scene 1 - 'Shall We Go And See Grimes In His Hut?' (Rector, Swallow)
3. Peter Grimes: Act II - Scene 1 - 'Now Is Gossip Put On Trial' (Chorus)
4. Peter Grimes: Act II - Scene 1 - 'From The Gutter' (Nieces)
5. Peter Grimes: Interlude IV
6. Peter Grimes: Act II - Scene 2 - 'Go There! (Peter)
7. Peter Grimes: Act II - Scene 2 - 'They Listen To Money' (Peter)
8. Peter Grimes: Act II - Scene 2 - 'Now! Now!' (Chorus)
9. Peter Grimes: Act II - Scene 2 - 'Peter Grimes' (Rector)
10. Peter Grimes: Interlude V
11. Peter Grimes: Act III - Scene 1 - 'Assign Your Prettiness To Me' (Swallow)
12. Peter Grimes: Act III - Scene 1 - 'Mr. Keene' (Mrs. Sedley)
13. Peter Grimes: Act III - Scene 1 - 'Murder Most Foul It Is' (Mrs. Sedley)
14. Peter Grimes: Act III - Scene 1 - 'Come Along, Doctor' (Burgess)
15. Peter Grimes: Act III - Scene 1 - 'Embroidery In Childhood Was' (Ellen)
16. Peter Grimes: Act III - Scene 1 - 'Mr. Swallow' (Mrs. Sedley)
17. Peter Grimes: Act III - Scene 1 - 'Who Holds Himself Apart' (Chorus)
18. Peter Grimes: Interlude VI
19. Peter Grimes: Act III - Scene 2 - 'Grimes!' (Voices)
20. Peter Grimes: Act III - Scene 2 - 'Peter, We've Come To Take You Home' (Ellen)
21. Peter Grimes: Act III - Scene 2 - 'To Those Who Pass The Borough' (Chorus)

Customer Reviews:

Grimes as song not drama.......2006-08-06

At first it seems inappropriate to title a review of Hickox's Grimes as "song not drama," because he is so expressly dramatic at many points in the opera. You can't find a storm interlude more ferocious -- almost terrifying -- and there are other meaningful gestures here and there. However, there are two things Hickox does consistently that work against the drama of the story and of Britten's writing: (1) he makes all musical gestures crystal clear, and (2) he gets his singers to sing almost all lines with smooth lyricism. Now, I am normally in favor of conductors that bring out the elements of compositions (I generally like what Hickox does with the War Requiem, though the sound isn't great, and I'm crazy over his DVD conducting of Turn of the Screw); and, as Hickox proves, much of Grimes is extremely lyrical, even gorgeous. But these two practices make much of the action sound extremely stilted, sometimes ludicrous. One could blame Britten himself for some of those moments, but then one could listen to Britten's own recording and hear them worked into a dynamic, realistic whole. (Admittedly, some of Ellen's music is just too precious.) Examples are too plentiful to mention, but I will note one of the more subtle cases: Grimes's "In dreams I've built myself..." Hickox and Langridge take pains to bring out the emotion of what he's singing -- by highlighting everything. For me at least, at no time am I drawn into Peter's state, perhaps because it's a dissertation not an experience. On top of the Hickox problems (and despite the lyricism he demands), the singing itself is inferior to Britten's recording, and probably to Davis's (it has been a while since I heard it); Watson's voice some across shallow, and Langridge is often reedy and unpleasant (and his lower register is not at all musical). Williams does make some nice points with Ned Keene, Opie does some nice acting as Balstrode, and Collins sounds good. All in all, I doubt I will get rid of this recording when I get another Grimes -- there is much that is rewarding to listen to. But I found it a disappointment.

A Shattering Performance.......2005-03-16

Peter Grimes is one of the most engaging operas written. It is riveting to see it staged and equally attention holding just to hear a performance. Peter Grimes is a highly dramatic story of someone slowly sinking into misfortune, shunned by the community and misunderstood. The drama of the opera is reflected in the splendid music that Benjamin Britten wrote defining the mood of his story. The many interludes that come between scenes have achieved their own fame in Britten's Four Sea Interludes from Peter Grimes. When heard in the context of the opera the show their true significance setting up the story that is unfolding.

This recording has been considered among the very best performances of Peter Grimes. Philip Langridge is superb as Grimes, conveying the frustration of an outcast and the menace of his character. This is especially true in Act 2 Scene 2 where Grimes imagines a kind of paradise with his new apprentice that disintegrates into a vision of Hell when he hears the villagers approaching his hut, and in the final scene he is excellent in expressing Grimes' collapse. Mr. Langridge is well supported by Janice Watson as Ellen Orford, Alan Opie as Captain Balstrode and Roderick Williams as Ned Keene, to name just a few. But it is Richard Hickox and the City of London Sinfonia who deserve the credit for creating a performance that is second to none. The playing by the orchestra is beautifully interwoven with the voices and the balance of the recording is outstanding. The London Symphony Chorus, who has a major role in the opera, are magnificent.

There are many great recordings of Peter Grimes, among them that of Benjamin Britten himself. It is a difficult decision to choose just one Peter Grimes but one can rest assured that the Hickox performance is certainly among the very best. Highly recommended.

Average customer rating: a voice teacher and early music fan

Benjamin Britten: The Five Canticles; Purcell: Realizations Manufacturer: Hyperion UK ProductGroup: Music Binding: Audio CD All Works by Britten | Britten, Sir Benjamin | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Vocal & Song | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Classical | Imports | Stores | Music $9.99 and Under | Classical Music Blowout | Stores | Music All Classical Music Blowout | Classical Music Blowout | Stores | Music Britten, Sir Benjamin | ( B ) | Composers, A-Z | Classical Music Blowout | Stores | Music Opera & Vocal | Classical Music Blowout | Stores | Music ASIN: B000I8OIFC Release Date: 2006-11-14

Tracks:

1. My Beloved Is Mine
2. Abraham And Isaac
3. Still Falls The Rain
4. The Journey Of The Magi
5. The Death Of Saint Narcissus
6. Let The Dreadful Engines
7. In The Black Dismal Dungeon Of Despair
8. Evening Hymn

Customer Reviews:

a voice teacher and early music fan.......2007-01-02

Benjamin Britten's Canticles were not conceived as a cycle, but were written for special occasions. The word 'canticle' is not used in the liturgical sense, but indicates works of deep religious significance as three of them were written for memorial services.
Canticle #1 'My Beloved is Mine' was written in 1947, and is scored for voice and piano. The text is an expression of divine love, shown thru the metaphor of physical love. All of the canticles are longer and more involved than simple songs, could be described as miniature cantatas.
Canticle #2 'Abraham and Isaac'was written for the English Opera Group's concerts in early 1952. This 2nd canticle could be called a miniature opera, such is the dramatic effect of the story. It was first performed by Kathleen Ferrier (alto-Isaac), Peter Pears (tenor-Abraham) and Britten, himself, on piano. The voice of God was depicted by the tenor and alto singing together one octave apart. The story, of course, is from the Book of Genesis (Ch. 52) in the Bible.
Canticle #3 'Still Falls the Rain' was written in 1955, and is scored for tenor, horn and piano; and for his text he turned to Edith Sitwell's poem 'The Canticle of the Rose'.
Canticle #4 'The Journey of the Magi' was not composed until 1971, for which Britten chose the poem of the same name by T.S. Eliot. It is scored for countertenor, tenor and baritone, again with piano accompaniment.
Canticle #5 'The Death of Narcissus' was written in 1974, again he chose a poem by T. S. Eliot of the same name. Britten died the following year, and at the time of his writing of the last canticle, he was in the hospital recovering from heart surgery, so just as this Canticle dealt with death,so did his final opera :Death in Venice.
All e singers on this disc are outstanding in every way. I was particularly impressed with the precise diction and emotional investment on their part. Combine this with the skillful accompaniment of Roger Vignoles, that adds so much to ther drama; he is so astute at picking up every nuance of the singer as well as the music. The genius of Britten is herein displayed.
The disc concludes with 3 very appealing Purcell songs;"let the Dreadful Engines Roar" sung by baritone Alan Opie- "In the black dismal dungeon of despair sung by tenor Anthony Rolfe Johnson and MY FAVORITE RENDITION of the song 'An Evening Hymn' by Michael Chance (countertenor).

Mexican Music:

1. Power & the Majesty, Vol. 1
2. Relix Bay Rock Shop #7 - Hot Tuna Special # 2
3. Relix Bay Rock Shop, Vol. 8
4. Richard Jeni's Greatest Bits [Live]
5. Scam-Busted!: Comedy Album, Vol. 6
6. Screamin' Halloween Sounds
7. Sound Effects Sampler
8. Sounds of Nature & the Great Outdoors
9. Star Trek: Sound Effects from the Original TV Soundtrack [Soundtrack]
10. Supernigger [Explicit Lyrics]

Mexican Music

mexican music

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The Rats Know Him

Brahms: Sonata No. 1 / Four Ballads / Handel Variations

Basie Big Band [Import]

Music CD: Mas Fuerte Que Nunca

Attic Thoughts [Original recording remastered] [Import]

20 Anos Bailando Con Blanco

Angels

CDCM Computer Music Series Vol. 1 - CEMI, University of North Texas

A Man Ain't Made of Stone

A Mexico... Con Amor

Anatomy [Enhanced]

Back From Reality

Barefoot in the Head [Import]

Jump5

A Song For My Daughter on Her Wedding Day