Cut's You Up [Import]

Cut's You Up [Import]

Track Listings

1. Twist In My Sobriety - Dreadful Shadows

2. Sympathy For The Devil - Tiamat

3. Shout - Atrocity

4. The Sun Never Shine On TV - The Gallery

5. Sacred - Moonspell

6. Out Side - Dreadful Shadows

7. 7 Seconds - Love Like Blood

8. Mercy - Orphaned Land

9. Walk Away - Paradise Lost

10. The House Of The Rising Sun - Evereve

11. Cuts You Up - Subterranean Masquerade

12. Hollowed Be Thy Name (Shallow Be My Grave) - Cradle Of Filth

13. Painkillers - Death

14. The Final Countdown - Dispatched

15. Hymn - Ed Guy

Editorial Reviews
Product Description
Full title 'Cut's You Up The Complete Dark 80's Covers Compilation'. 15 tracks including, Cradle Of Filth-'Hollowed Be Thy Name (Shallow Be My Grave)' (originally performed by Iron Maiden), Tiamat-'Sympathy For The Devil' (Rolling Stones),Moonspell-'Sacred' (Depeche Mode), Paradise Lost-'Walk Away' (Sisters Of Mercy), Ed Guy-'Hymn' (Ultravox) and more covers by acts such as, Dreadful Shadows, Atrocity, The Gallery,Love Like Blood, etc.. 2000 release. Standard jewel case.

Tracks:

Matthaus-Passion
Johannes-Passion
Weihnachts-Oratorium
Juditha Triumphans
Messiah
Crudel Tiranno Amor
Die Schopfung
Orlando Paladino
7 Lieder
Le Nozze Di Figaro
Exsultate, Jubilate Ch'io Mi Scordi Di Te, K505
Misera! Dove Son! K369
18 Lieder
Frauenliebe Und- Leben
11 Lieder
20 Morike-Lieder

Customer Reviews:

Elly Ameling now more available .......2007-03-07

I had a 33 rpm album of Elly Ameling singing Schubert lieder accompanied by piano and clarinet at times. It was one of my all time favorite albums so I have been disappointed that I have not been able to find it anywhere on CD.

Now I can just buy this excellent collection. So much music in one place! Since I confess that I am far from an expert on the rest of her records, I look forward to hearing her sing many other styles and composers.

I think it is silly to criticize her for not singing Wagner, for example, since her version of many songs, especially lieder, are nothing short of sublime. I would like to hear how many Wagnerians sing Schubert or Mozart.

I doubt if they could approach the skill and soul with which Elly Ameling sings lieder.

Delight in every note.......2006-03-10

To speak as briefly as possible about this superb collection from an equally superb singer, what can I say but that Ms Ameling possessed a voice that shone with radiant warmth and star-like shimmer? And unlike many another light lyric soprano, Elly Ameling was possessed of a very high standard of musicianship, considerable intelligence, and a sort of immediate charm that captivates the listener.

So many of her recordings have still to be released on CD, but this 5CD-set goes some way towards remedying the situation. The repertoire spans a wide variety - French mèlodies, Lieder, light-hearted "sentimental" songs, Bach, etc. - and in each piece, Ms Ameling shows that quality of pearl-like beauty. It is a beauty which is also extremely pretty - a beauty of voice that is never overbearing and over-ripe, but perfectly blossoming upon the tree of inspiration.

I recommend this set unequivocally. It truly is sheer delight.

While they last..........2005-05-17

Elly Ameling held the quiet stage for recitals of great artistry and dignity for several decades and sadly most of the enormously successful CDs of her long career output are now unavailable. For those who have little access to the documentation of this very special artist, this box set is a must. It is a compilation of many of her recordings with differing accompanists, conductors, orchestras and composers. And while not all of the choices for inclusion here would be considered her greatest moments, there are enough works that sustain the warm memories of the little Dutch hausfrau who quietly and simply paid homage to composers with her clear and intelligent musicianship and radiant voice.

Ameling was known to schedule recitals of Schubert cycles and songs and in the afterglow of her performance answer the demand for curtain calls with additional Schubert melodies: she gifted her audience with the dignity of honoring a composer's works by maintaining the focus on that composer rather than milk the audience with the usual encore applause-getting favorites. And special moments such as quietly and pensively strolling through the orchestra during the Mahler 4th symphony to arrive at front stage, unapplauded, just in time for the opening line of her singing - those simple homage to composers and collaborators made her selfless manner endearing to audiences.

Despite the fact that Ameling's voice was on the small side she was always able to muster the projection to carry her message solidly in context with an orchestra. Yes, other more famous singers have recorded Ravel's quintessentially French SHEHERAZADE, but few have the perfection of diction and aura of mystery that Ameling maintained. Whether singing with piano or orchestra, or interpreting Bach, Mozart, Handel, and Vivaldi with the same degree of involvement as Brahms and Schumann and Schubert, Elly Ameling spanned a career that engendered passionate commitment from her fans. And this boxed set is a pocket full of memories to be treasured. Buy it before this too becomes unavailable. Grady Harp, May 05

Treasures From a Treasure.......2004-09-25

Treasures from a Treasure.

Ameling, one of the world's most beloved recitalists is captured here in a 5 CD collection offering some of her most beautiful recordings of song. While we are used to her perfection in songs of Bach, Mozart, Schubert, Schumann, Faure and Hahn, an added joy is her "pop" side, tackling - without a whiff of pretension, Porter, Kern, Gershwin, Ellington, et al.

What an absolute joy it is listening to this amazing artist sing these songs with an almost uncanny natural ease. There is no resorting to a "pop" voice and yet most of these pop standards songs sound as though they could have been written for her. Clean attacks, sometimes a bit of the pop technique of hanging on to a consonant longer than a classical artist normally would shows an appreciation and understanding of the style. Still, there is never once a compromise of her vocal beauty.

I like the way the songs have been arranged for her voice in that she sort of sings them clean, unaffected in the first half and then lets loose and kinda "swings" with it adding embellishments but never really changing her voice (Price, von Stade and other favorite singers of mine seem to have always added a breathy quality to much of their crossover material.)

Ameling doesn't resort to trying to "let her hair down" or get down and dirty, but rather the honest with which she approaches every one of these songs shows how much she enjoys singing them and her style is as refreshing as stumbling onto a cool spring on a sweltering summer's afternoon. A wonderful surprise.

More than fully earned praise for an exceptional singer........2003-07-15

As I had the privilige of hearing this outstanding Lied-singer during her long career in Holland and being the proud possessor of almost all her recordings, I cannot but fully agree with the professional and joyful review of Mr. Robert Holliston from Victoria, B.C. Canada.
Yes, it is unbelievable that of about the 150 recordings Mrs. Ameling made during her long career (for the greater part of course on the 'oldfashioned' LP's, as well as the innumerable Dutch live-recorded radio-concerts), so few CD's have been released.
Speaking of tradition: it was the page-turner of the Wigmore Hall in London who told Mrs. Ameling after her first recital in this hall, that she reminded him of Elisabeth Schumann. (And he certainly didn't mean her looks only!)
For those who are eager to hear her singing Ravel's Shéhérazade (just one example of stirring imagination combined with her Art of Singing) I can tell you that Philips released a 2-box CD of this work in 1999, combined with Debussy's La Damoiselle élue and a compilation of French mélodies, i.e. Debussy, Fauré, Duparc, Satie. One of the gems is Caplet's Le Corbeau et le Renard which even make children, who know the fables of La Fontaine, revel in the singing of the quarrelsome birds....
Her brilliant accompanyist is Rudolf Jansen. Let us cherish great artists in their art!

Handel - Messiah / Augér, von Otter, Chance, Crook, Tomlinson, English Concert, Pinnock

Average customer rating:

Ladies & gentleman: The Lord'n Savior, God Almighty
So Fashionable, and So Disappointing
A nice combination of period nad tradiitonal
Wait! Before you buy...
La mas bella y fidedigna interpretacion que se pueda obtener

Handel - Messiah / Augér, von Otter, Chance, Crook, Tomlinson, English Concert, Pinnock
George Frideric Handel , Arleen Auger , Anne Sofie von Otter , Trevor Pinnock , The English Concert & Choir , Michael Chance , Howard Crook , and John Tomlinson
Manufacturer: Archiv Produktion
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000057DB
Release Date: 1990-10-25

Tracks:

Messiah: Part One - 1. Sinfony (Grave - Allegro moderato)
Messiah: Part One - 2. Accompagnato : Comfort Ye My People
Messiah: Part One - 3. Air : Ev'ry Valley Shall Be Exalted
Messiah: Part One - 4. Chorus : And The Glory Of The Lord Shall Be Revealed
Messiah: Part One - 5. Accompagnato : Thus Saith The Lord Of Hosts
Messiah: Part One - 6. Air : But Who May Abide The Day Of His Coming
Messiah: Part One - 7. Chorus : And He Shall Purify
Messiah: Part One - 8. Recitative : Behold, A Virgin Shall Conceive
Messiah: Part One - 9. Air and Chorus : O Thou That Tellest Good Tidings
Messiah: Part One - 10. Accompagnato : For Behold, Darkness Shall Cover
Messiah: Part One - 11. Air : The People That Walked In Darkness
Messiah: Part One - 12. Chorus : For Unto Us A Child Is Born
Messiah: Part One - 13. Pifa (Pastoral Symphony)
Messiah: Part One - 14. Recitative: There Were Shepherds Abiding In The Field - Accompagnato: And Lo, The Angel Of The Lord - 15. Recitative: And The Angel Said Unto Them - 16. Accompagnato: And Suddenly There Was With The Angel
Messiah: Part One - 17. Chorus : Glory To God In The Highest
Messiah: Part One - 18. Air : Rejoice Greatly, O Daughter Of Zion
Messiah: Part One - 19. Recitative : Then Shall The Eyes Of The Blind
Messiah: Part One - 20. Air : He Shall Feed His Flock
Messiah: Part One - 21. Chorus : His Yoke Is Easy, His Burthen Is Light
Messiah: Part Two - 22. Chorus : Behold The Lamb Of God
Messiah: Part Two - Air : 23. He Was Despised

Tracks:

Messiah: Part Two - 24. Chorus : Surely He Hath Borne Our Griefs
Messiah: Part Two - 25. Chorus : And With His Stripes We Are Healed
Messiah: Part Two - 26. Chorus : All We Like Sheep Have Gone Astray
Messiah: Part Two - 27. Accompagnato : All They That See Him
Messiah: Part Two - 28. Chorus : He Trusted In God
Messiah: Part Two - 29. Accompagnato : Thy Rebuke Hath Broken His Heart
Messiah: Part Two - 30. Arioso : Behold, And See If There Be Any Sorrow
Messiah: Part Two - 31. Accompagnato : He Was Cut Off Out Of The Land
Messiah: Part Two - 32. Air : But Thou Didst Not Leave His Soul
Messiah: Part Two - 33. Chorus : Lift Up Your Heads, O Ye Gates
Messiah: Part Two - 34. Recitative : Unto Which Of The Angels
Messiah: Part Two - 35. Chorus : Let All The Angels Of God Worship Him
Messiah: Part Two - 36. Air : Thou Art Gone Up On High
Messiah: Part Two - 37. Chorus : The Lord Gave The Word
Messiah: Part Two - 38. Air : How Beautiful Are The Feet
Messiah: Part Two - 39. Chorus : Their Sound Is Gone Out
Messiah: Part Two - 40. Air : Why Do The Nations So Furiously Rage
Messiah: Part Two - 41. Chorus : Let Us Break Their Bonds Asunder
Messiah: Part Two - 42. Recitative : He That Dwelleth In Heaven
Messiah: Part Two - 43. Air : Thou Shalt Break Them
Messiah: Part Two - 44. Chorus : Hallelujah
Messiah: Part Three - 45. Air : I Know That My Redeemer Liveth
Messiah: Part Three - 46. Chorus : Since By Man Came Death
Messiah: Part Three - 47. Recitative : Behold, I Tell You A Mystery
Messiah: Part Three - 48. Air : The Trumpet Shall Sound
Messiah: Part Three - 49. Recitative : Then Shall Be Brought To Pass
Messiah: Part Three - 50. Duet : O Death, Where Is Thy Sting?
Messiah: Part Three - 51. Chorus : But Thanks Be To God
Messiah: Part Three - 52. Air : If God Be For Us
Messiah: Part Three - 53. Chorus : Worthy Is The Lamb That Was Slain --- Amen

Amazon.com essential recording

This is a terrific performance of Messiah. Not only are the soloists all superb, but Trevor Pinnock completely contradicts the image of many period instrument performances as small-scale, scrappy affairs. Indeed, he invests the choruses with as much genuine Handelian pomp as Beecham at his most extravagant. The trumpets really blaze, and the timpani thunder, and everyone simply has a great time. A joyous performance, just right for the holiday season. --David Hurwitz

Amazon.com

Trevor Pinnock meets with mixed success in this account of the Messiah with the English Concert & Choir and soloists Arleen Auger, Anne Sofie von Otter, Michael Chance, Howard Crook, and John Tomlinson, recorded and released in 1988. Its strengths are the strengths of the early-music movement in general. The size and distribution of the instrumental and vocal forces are optimal, which means that textures are clear and balances apt. Rhythms are nicely pointed, though often, in Pinnock's case, not quite well enough sprung. Tempos are well chosen; for example, "All we like sheep"--which turns out to be one of the set's best numbers--is a real bourré, and Pinnock animates it in just the right way. But the performance often seems workmanlike and unemotional, weighed down in too many instances by the humdrum work of the chorus. The alto section in particular, which is half male and half female, sings timidly and is constantly swallowing its entrances. Bass soloist John Tomlinson is a further drag on the effort. He has the right idea--that there's an Italian opera hiding behind all this biblical imagery--but his cottony sound is out of place, a misguided attempt to mimic Nicolai Ghiaurov. His usable range is less than a tenth (he croaks the low G's and F-sharps), and his diction is horrible. "Thus spake the Lord" is strangled, and when, in "The trumpet shall sound" Tomlinson gets to the words "we shall be changed," one can't help wishing that he had been changed too, right before the sessions started. --Ted Libbey

Customer Reviews:

Ladies & gentleman: The Lord'n Savior, God Almighty.......2007-06-13

Handel's Messiah is my favorite piece of classical music. Of the two versions that I had I only have left this one, and it is not the best (the other had been a cheap recording whose author's name I forgot too). This version seems to lack a little enthusiasm from the voices; too melancholic. Anyway, this is the first review of any music that I write, and probably will be the last too, so I just want to leave my impression of how I feel when I hear these solemn and heavenly sounds. One feels so raised to the heavenlies... I can almost sense the presence of the Lord Almighty up yonder among the clouds, and me being carried in solemnity to meet Him. Far away are the buzzing sounds of earthly chores. The air is fresh and clean as we are raised above the valleys, and we come to meet God's elected amid the singing, stronger and stronger. Jubilant, bathed in the glorious rays of the Savior's Light, we come together and sing: Glory to God, glory to God, praise and glory for He is coming...

So Fashionable, and So Disappointing.......2007-02-01

This would be a great 21st Century Reader's Digest version of Messiah, if such a thing existed any more. Handel did as much as he could, but really, the performers still have to do something besides posture, which, by the way, seems to me to characterize many performances these days. Fashionable, but musically deficient.

Specifically: John Tomlinson sings like he thinks he IS God, instead of singing about Him. Heavy, cumbersome, and overblown. May I add boorish?

Arleen Auger has a very sweet voice. And??

Despite the program notes insisting that certain segments of this Messiah are given to "the contralto", Anne Sofie von Otter is NOT a contralto. Not even close.

The male alto can barely sustain a legato line - why he insists upon throwing in those complicated, badly-performed embellishments I can't figure. Well, I can, but I'd really rather not say.

Wake up, choristers!! It's 'For Unto Us A Child Is Born," not "Oy, I have to go to the grocery store today."

Boy do I regret having spent almost $40 on this one. Thank goodness I have the Colin Davis to console me.

A nice combination of period nad tradiitonal.......2006-12-17

This 1988 recording sits between the euqally English, euqally period-ifnluenced Hogwood and Garidner. Of the three, Hogwood sounds more 'authentic' because it uses boys in the chorus and singers schooled period practice. By comparison, Pinnock's soprano, Arleen Auger, and mozeeo, Von Otter, are essentially modern singers--gorgeous ones, of course, Gardiner is far more anemic in his conducting and uses a scrwny-sounding orchestra, so if that's more authentic, so be it. Of the three, Pinnock gives us more traditional music values in his emotional expression and instrumental timbres.

The competiiton is mushc stiffer now than in 1988, but Pinnock's reading has survived the test of time. He is not a genuinely inspired conductor--sadly, Messiah has become a cottage industry that excludes most big-name talents--but neither are Gardiner and Hogwood. (For sheer musicality, I tend to put my money on Andrew Parrott, Robert King, Marc Minkowski, Niklaus Harnoncourt, and Rene Jacobs.) But he's certainly good eough. The reason I haven't given five stars is that the male soloists aren't first-rate, and in particular the Wotan voice of John Tomlinson sounds cavernous in the bass arias. Add to that Pinnock's tendency toward tepidness, and what you end up with is a very good but not great performance.

Wait! Before you buy..........2006-05-28

... This Messiah has recently been re-released at a much cheaper price. Go back and look for the DG "The Originals" release, which is being sold new for under $12.

La mas bella y fidedigna interpretacion que se pueda obtener.......2004-12-29

Soy uno de los mas fanaticos seguidores de Handel y de su obra El Mesias... He escuchado muchas versiones de esta genial e impresionante obra del maestro Handel y, sencillamente no me queda mas que recomendar esta interpretacion, bajo la batuta del maestro Trevor Pinnock. Se nota la exigencia con que esta version se interpreto, dentro el contexto del arte barroco y la magnificencia de la pronunciacion del ingles de la epoca. La orquesta se luce impresionantemente desde la obertura... y le da a cada movimiento, toda aquella fuerza y a la vez delicadeza requerida en el sentimiento que aplica en cada uno de los textos biblicos escogidos por el guionista Jennens. El Coro del English Concert es arrebatador y demuestra maestria en la interpretacion de cada una de las arias que le corresponde. La soprano Arleen Auger, la puedo definir como un angel cantando y resulta ser una caricia a los oidos, a la vez que es capaz de arrancarle a uno las lagrimas por lo excelso de su magia interpretativa. El tenor Crook, aunque no es un tenor con tesitura para canto barroco, es realmente habil y agil al momento de interpretar los melismas caracteristicos de este brillante periodo musical. El contratenor Michael Chance, es fenomenal y quiera Dios que yo tenga el honor de conocer a este genio del canto: "But who may abide..." interpretado por Chance en esta version, es como para caer en extasis. La contralto Anne Sophie von Otter..., tiene una voz oscura y redondeada..., tambien resulta una caricia a los oidos y su "If God be for us..." es desbordante, capaz tambien de hacerle a uno derramar lagrimas por su belleza interpretativa. El bajo Tomlinson..., es barbaro!!! (Soy bajo-baritono en el Coro de la Orquesta Sinfonica Nacional de Costa Rica...) A pesar de su voz tan oscura, es tremendamente agil cuando le toca cantar los melismas y es genial al alcanzar la tonalidad brillante en las partes de notas altas y agudas...; por ejemplo: "The people that walked in darkness..." y "Why do the nations..." Tengo seis años de experiencia, interpretando musica coral y tengo que decir que espere esos seis años, desde 1999, para felizmente cantar esta obra "El Mesias". Ha sido fantastico finalmente lograr este objetivo..., la espera valio la pena y debo admitir que mi inspiracion ha sido sin duda alguna, la version que puede usted encontrar en este disco compacto. Doy gracias a todos los que intervinieron en esta grabacion (al maestro Trevor Pinnock, al English Concert and Choir y a los solistas ya mencionados), en nombre mio y en nombre del maestro Handel.

Handel - Messiah / McNair · von Otter · Chance · Hadley · Lloyd · Marriner

Average customer rating:

a voice teacher and early music fan
I really love this recording
Some very good parts
Great mezzo and trumpet
And He Shall Reign Forever and Ever, Amen.

Handel - Messiah / McNair · von Otter · Chance · Hadley · Lloyd · Marriner
George Frideric Handel , Neville Marriner , Anne Sofie von Otter , Michael Chance , Academy of St. Martin-in-the-Fields , Sylvia McNair , Jerry Hadley , and Robert Lloyd
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Handel - Messiah - The 250th Anniversary Performance / Marriner, Academy and Chorus of St. Martin in the Fields
Handel - Messiah / Ameling · A. Reynolds · Langridge · Howell · Marriner
Bach: Goldberg Variations, BWV 988 (The Historic 1955 Debut Recording)

ASIN: B00000414Y
Release Date: 1992-11-17

Tracks:

Messiah: Part I: Symphony
Messiah: Part I - No. 1 Accompagnato: Comfort Ye, Comfort Ye, My People
Messiah: Part I - No. 2: Air Ev'ry Valley Shall Be Exalted
Messiah: Part I - No. 3 Chorus: And The Glory Of The Lord
Messiah: Part I - No. 4 Accompagnato: Thus Saith The Lord
Messiah: Part I - No. 5 Air: But Who May Abide The Day Of His Coming
Messiah: Part I - No. 6 Chorus: And He Shall Purify The Sons Of Levi
Messiah: Part I - No. 7 Recitative: Behold, A Virgin Shall Conceive
Messiah: Part I - Nos. 8-9 Air And Chorus: O Thou That Tellest Good Tidings
Messiah: Part I - No. 10 Accompagnato: For Behold, Darkness Shall Cover The Earth
Messiah: Part I - No. 11 Air: The People That Walked In Darkness
Messiah: Part I No. 12 Chorus: For Unto Us A Child Is Born
Messiah: Part I No. 13 Pifa: Pastoral Symphony
Messiah: Part I No. 14 Recitative: There Were Shepherds - And Lo, The Angel Of The Lord - And The Angel Said Unto Them - And Suddenly There Was
Messiah: Part I No. 15 Chorus: Glory To God In The Highest
Messiah: Part I No. 16 Air: Rejoice Greatly, O Daughter Of Zion
Messiah: Part I No. 17a Recitative:Then Shall The Eyes Of The Blind
Messiah: Part I No. 18a Duet: He Shall Feed His Flock
Messiah: Part I No. 19 Chorus: His Yoke Is Easy
Messiah: Part II No. 20 Chorus: Behold The Lamb Of God
Messiah: Part II No. 21 Air: He Was Despised
Messiah: Part II No. 22 Chorus: Surely He Hath Borne Our Griefs
Messiah: Part II No. 23 Chorus: And With His Stripes We Are Healed
Messiah: Part II No. 24 Chorus: All We Like Sheep

Tracks:

Messiah: Part II No. 25 Accompagnato: All They That See Him
Messiah: Part II No. 26 Chorus: He Trusted In God
Messiah: Part II No. 27 Accompagnato: Thy Rebuke Hath Broken His Heart
Messiah: Part II No. 28 Arioso: Behold, And See
Messiah: Part II No. 29 Accompagnato: He Was Cut Off
Messiah: Part II No. 30 Aria: But Thou Didst Not Leave
Messiah: Part II No. 31 Chorus: Lift Up Your Heads
Messiah: Part II No. 32 Recitative: Unto Which Of The Angels
Messiah: Part II No. 33 Chorus: Let All The Angels Of God
Messiah: Part II No. 34a Air: Thou Art Gone Up On High
Messiah: Part II No. 35 Chorus The Lord Gave The Word
Messiah: Part II No. 36 Air: How Beautiful Are The Feet
Messiah: Part II No. 37a Arioso: Their Sound Is Gone Out
Messiah: Part II No. 38 Air: Why Do The Nations
Messiah: Part II No. 39 Chorus: Let Us Break Their Bonds Asunder Let us break their bonds asunder
Messiah: Part II No. 40 Recitative: He That Dwelleth In Heaven
Messiah: Part II No. 41 Air: Thou Shalt Break Them
Messiah: Part II No. 42 Chorus: Hallelujah
Messiah: Part III No. 43 Air: I Know That My Redeemer Liveth
Messiah: Part III No. 44 Chorus: Since By Man Came Death
Messiah: Part III No. Accompagnato: Behold, I Tell You A Mystery
Messiah: Part III No. 46 Air: The Trumpet Shall Sound
Messiah: Part III No. 47 Recitative: Then Shall Be Brought To Pass
Messiah: Part III No. 48 Duet: O Death, Where Is Thy Sting?
Messiah: Part III No. 49 Chorus: But Thanks Be To God
Messiah: Part III No. 50 Air: If God Be For Us
Messiah: Part III No. 51 Chorus: Worthy Is The Lamb - Blessing And Honour
Messiah: Part III: Amen

Customer Reviews:

a voice teacher and early music fan.......2006-10-21

The "Messiah" was composed by Handel at his London home in the late summer of 1741..Charles Jennens described his libretto for the 'Messiah' as a "Scripture Collection", because it consists of a cleverly-arranged selection of biblical texts. Musically speaking, the recitatives and arias are definately in a style derived from opera, supplemented by choruses of the type Handel has developed in his English odes and oratorios-the presentation of the story was unconventional. The work is divided into three acts or parts, but the narrative is largely confined to Part Two: Part One is mainly concerned with prophecy and its fullfilment and Part Three with commentary on the importance of the previous story. This recording of the famous 1992 performance at Dublin took place at the Point Theatre on the 250th anniversary of the work's premeire which took place in Dublin on April 13th 1742. It is an outstanding performance, especially chorally and instrumentally. The soloists: Sylvia McNair(soprano)-Anne Sofie von Otter(mezzo)-Michael Chance (alto) were superb!!! Personally I was not pleased by Jerry Hadley's interpretation of Handel; I have a recording of him singing show tunes, and I think he does that best! Robert Lloyd's (bass) diction was most peculiar and annoyed me. However, the last 2 comments may not be universally accepted. All in all, it's one of the best 'Messiahs' I have heard, and is actually my favorite of many that I own.

I really love this recording.......2005-03-26

While I haven't sampled that many different recordings of the Messiah, I really like this version. I sometimes find myself singing it, and this is the version I hear. One thing I don't like about it is that it is a 2-disc set, but the Messiah has three parts. Part II is divided -- the first half on disc 1 and the second part on disc 2. It would be nice if the parts weren't divided in the middle.

Some very good parts.......2002-12-14

This is my fifth Messiah disk and I had hoped my last. Von Otter is a real draw and she is truly great. Marriner's pacing is still good. But many aspects of this CD pull it down. I have a theory that the tenor (Jerry Hadley) was mad at Marriner and sang technically perfect with zero emotion. I don't how he was allowed to get away with this. I also did not like the baritone. While I think varying the size of the chorus in this piece has merit, this choir is generally on the small side and does not have the punch when needed. Messiah choirs carry a two edged burden, either the choir is large and it gets muddy in the delicate sections or it is small and can't punch the big sections. This disk errs on the small side. The recording quality is very good, something that dodges many Messiahs. The violins are too close to the soloist microphone (or poorly mixed) and come in much too loud. So whenever there is an sprite from the violins it jumps out at you and drowns the soloists.

The best Messiah for me is still Marriner's 1976 disk, much better overall rendition.

Great mezzo and trumpet.......2002-05-17

This is one of the better Messiahs, although not quite up to Westenberg's level.

Its world-beater aspects include mezzo Anne-Sophie von Otter, whose "He was despised" is well north of magnificent: Warmly mournful in the slow sections, snarling and spitting in the center section.

Trumpeter Mark Bennett does by far the best trumpeting on any of my 30 complete Messiahs. "Glory to God" and "Hallelujah" are as good as it gets -- no, better than any other recording gets.

Countertenor Michael Chance is quite good in "If God be for us" -- I say that as someone who doesn't like countertenors.

Some of the other choruses are also well done. But tenor Jerry Hadley seems to have thought he had more lucrative things to do with his time than to think about Messiah.

And He Shall Reign Forever and Ever, Amen........2002-01-01

This recording ranks itself on the top of the greatest recordings of Handel's Messiah. Being a live recording, it surpasses every other studio recordings of this piece in terms of interpretation and drama. The soloists are superb, the chorus are crisp and vital, and the ensemble plays with great virtuoso. My special remark goes to Miss McNair, I simply cannot grow tired of her! Her lyrical voice is simply destined for this work, especially in aria no 16 `Rejoice greatly, o daughter of Zion' - rejoice indeed! It is to Marriner we should all be grateful for producing this remarkable recording in the first place. Known mainly for his stupendous recordings of Mozart, it is not surprising that he's able to interpret in a true Handelian way. It's a pity that he seldom records works by Handel - I don't know if he performs them unrecorded.
There are actually two versions of this live performance, the one here and the other is available on LaserDisc. I believe that they were recorded on two different performance time, for on some arias the soloists have different style in singing the cadenza. Whichever you prefer, this is a recording you must simply own - even when your music library boasts a dozen or so of Handel's Messiah!!

Handel - Messiah / Vyvyan · Sinclair · Vickers · Tozzi · Royal PO · Beecham

Average customer rating:

Beecham's noisy Messiah
The Big Victorian Handel 'Messiah': Indulge Yourself!
Comfort Ye!
Familiarity hasn't bred much affection
Thanks to Jon!

Handel - Messiah / Vyvyan · Sinclair · Vickers · Tozzi · Royal PO · Beecham
George Frideric Handel , Sir Thomas Beecham , Jennifer Vyvyan , Monica Sinclair , Royal Philharmonic Orchestra , Jon Vickers , and Giorgio Tozzi
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Samson

ASIN: B000003FB8
Release Date: 1992-07-14

Tracks:

Messiah: Overture - Royal Philharmonic Orchestra
Messiah: Recit: Comfort Ye, My People (Tenor) - Jon Vickers
Messiah: Air: Every Valley Shall Be Exalted (Tenor) - Jon Vickers
Messiah: Chorus: And The Glory Of The Lord - John McCarthy
Messiah: Recit: Thus Saith The Lord Of Hosts (Bass) - Giorgio Tozzi
Messiah: Air: But Who May Abide (Bass) - Giorgio Tozzi
Messiah: Chorus: And He Shall Purify - John McCarthy
Messiah: Recit: Behold, A Virgin Shall Conceive (Contralto) - Monica Sinclair
Messiah: Air & Chorus: O Thou That Tellest Good Tidings (Contralto) - John McCarthy
Messiah: Recit: For, Behold, Darkness Shall Cover (Bass) - Giorgio Tozzi
Messiah: Air: The People That Walked In Darkness (Bass) - Giorgio Tozzi
Messiah: Chorus: For Unto Us A Child Is Born - John McCarthy
Messiah: Pastoral Symphony - Royal Philharmonic Chorus
Messiah: Recit: There Were Shepherds Abiding (Soprano) - Jennifer Vyvyan
Messiah: Recit: And The Angel Said Unto Them (Soprano) - Jennifer Vyvyan
Messiah: Recit: And Suddenly There Was (Soprano) - Jennifer Vyvyan
Messiah: Chorus: Glory To God In The Highest - John McCarthy
Messiah: Air: Rejoice Greatly, O Daughter (Soprano) - Jennifer Vyvyan
Messiah: Recit: Then Shall The Eyes (Contralto) - Monica Sinclair
Messiah: Air: He Shall Feed His Flock; Come Unto Him (Contralto & Soprano) - Monica Sinclair
Messiah: Chorus: His Yoke Is Easy - John McCarthy

Tracks:

Messiah: Chorus: Behold The Lamb Of God - John McCarthy
Messiah: Air: He Was Despised (Contralto) - Monica Sinclair
Messiah: Chorus: Surely He Hath Borne Our Griefs - John McCarthy
Messiah: Chorus: And With His Stripes We Are Healed - John McCarthy
Messiah: Chorus: All We Like Sheep Have Gone Astray - John McCarthy
Messiah: Recit: All They That See Him (Tenor) - Jon Vickers
Messiah: Chorus: He Trusted In God - John McCarthy
Messiah: Recit: Thy Rebuke Hath Broken His Heart (Tenor) - Jon Vickers
Messiah: Air: Behold, And See If There Be (Tenor) - Jon Vickers
Messiah: Recit: He Was Cut Off Out Of The Land (Tenor) - Jon Vickers
Messiah: Air: But Thou Didst Not Leave (Tenor) - Jon Vickers
Messiah: Chorus: Lift Up Your Heads - John McCarthy
Messiah: Air: How Beautiful Are The Feet (Soprano) - Jennifer Vyvyan
Messiah: Chorus: Their Sound Is Gone Out Into All Lands - John McCarthy
Messiah: Air: Why Do The Nations So Furious Rage (Bass) - Giorgio Tozzi
Messiah: Chorus: Lets Us Break Their Bonds Asunder - John McCarthy
Messiah: Recit: He That Dwelleth In Heaven (Tenor) - Jon Vickers
Messiah: Air: Thou Shalt Break Them (Tenor) - Jon Vickers
Messiah: Chorus: Hallelujah! - John McCarthy
Messiah: Part III - Air: I Know That My Redeemer Liveth (Soprano) - Jennifer Vyvyan
Messiah: Chorus: Since By Man Came Death - John McCarthy
Messiah: Recit: Behold, I Tell You A Mystery (Bass) - Giorgio Tozzi
Messiah: Air: The Trumpet Shall Sound (Bass) - Giorgio Tozzi
Messiah: Chorus: Worthy Is The Lamb - John McCarthy

Tracks:

Messiah: Recit: Unto Which Of The Angels (Tenor) - Jon Vickers
Messiah: Chorus: Let All The Angels Of God Worship Him - John McCarthy
Messiah: Air: Thou Art Gone Up On High (Bass) - Giorgio Tozzi
Messiah: Chorus: The Lord Gave The Word - John McCarthy
Messiah: Recit: Then Shall Be Brought To Pass (Contralto) - Monica Sinclair
Messiah: Duet: O Death, Where Is Thy Sting? (Contralto & Tenor) - Monica Sinclair
Messiah: Chorus: But Thanks Be To God - John McCarthy
Messiah: Air: If God Be For Us (Soprano) - Jennifer Vyvyan

Amazon.com essential recording

Sir Thomas Beecham's Messiah has become notorious among baroque purists (like this writer) for embodying the worst excesses of pre-1960 Handel performance: ponderous tempos, stentorian opera singers, huge lumbering choruses and orchestras, crashing cymbals, clanging triangles.... Well, we'll need a new straw man: this performance is WONDERFUL. Jon Vickers and Giorgio Tozzi negotiate Handel's writing surprisingly well; Jennifer Vyvyan takes to it naturally. The chorus and orchestra (yes, including trombones, tuba, triangle, and cymbals) may obscure the part-writing, but they fill the music with power, grandeur, and faith. If Mozart could re-orchestrate Messiah, why not Beecham? This may not be Handel's Messiah as such, it may even be a period piece itself--but it's magnificent. --Matthew Westphal

Customer Reviews:

Beecham's noisy Messiah.......2006-12-23

Here's the famous Messiah from Thomas Beecham and forces that uses crashing cymbals, enhanced timpani and brass to make it sound like a collusion between classical forces, a rock band and Canadian Brass. Listen to second CD excerpt from "Hallelujah!" for the opening cymbal crash to get an idea of what's going on.

This performance has been debated for 40 years as to whether it is musically adept, musically correct, an exemplar of the English choral tradition, or just a big old batch of fun at Handel's expense. I first owned this during a time when I also owned a recording Handel's "Royal Fireworks Music" featuring 40 woodwinds. The two made roughly an equal amount of noise.

There isn't much question this performance is completely out of step with the way Handel is performed in most venues today. Check out the wonderful Jon Vickers' highly operatic opening aria, "Comfort ye", then compare that to any leaned-out period group you've heard. You'll get another idea of the dimension of Beecham's project.

While not on the agenda of the Flat Earth Society, the only real interest in a performance like this -- especially having to endure it on three CDs when just about everyone else puts it on two -- is nostalgia or history, whichever happens to be the case for you.

My personal favorite version is in the 4-CD box of "Messiah" and "Israel In Egypt" where Andrew Parrott leads his Taverner Choir & Players and some of the best early music singers including Emma Kirkby, Emily van Evera, Margaret Cable, David Thomas, and Joseph Cornwall. HIs Messiah isn't perfect -- it uses a countertenor for a bass in one aria -- but it is more moderate than most PPP recordings and has a wonderful romantic edge to most of the score. It comes with a top notch recording of "Israel in Egypt" and still costs less than the Beehcham.

The Big Victorian Handel 'Messiah': Indulge Yourself!.......2006-12-16

We live in an era when purity of intent and respect for composers' works is at an all time high. Not only are we blessed with superb 'authentic' performances on period instruments and with small choruses and countertenors and state of the art bel canto singers for Handel's evergreen "Messiah", there are many superlative recordings that are as polished as any one work on current recordings. Supposedly we are hearing Messiah the way Handel envisioned it. Perhaps so, but who is to say that had Handel the resources available today he wouldn't have jumped for joy at the drama of the old British Choral Societies version that Sir Thomas Beecham conducts on this anything but dusty recording from many years ago. The 'Old School' had its good points.

Beecham goes all out with an orchestration, while attributed to Sir Eugene Goosens is also probably some of Beecham's own inimitable tinkering, that adds instruments not only in numbers but also in color and depth of sound. Winds double strings, percussion includes the full battery instead of just tympani, the big cello and viola sound stand equally with the big violin sound, etc. The chorus is huge, and while this allows the big dramatic moments to be intense, the fine diction Beecham demanded remains solidly intact.

The soloists are in an operatic class of their own. Jennifer Vyvyan and Monica Sinclair were major singers when this recording was made and their singing is big and well ornamented. Jon Vickers and Giorgio Tozzi bring Verdi into the room and he is a welcome visitor to Beecham's vision of this work.

For this listener, who prefers the 'correct, authentic' performance, this recording and others even older that celebrate the BIG Messiah are a delight. And that just proves that performance standards, no matter the interpretation of the conductor, are paramount: Beecham gives a solid, convincing interpretation to the operatic Messiah. It is lush, and huge, and absolutely wonderful to hear again! Grady Harp, December 06

Comfort Ye!.......2006-10-30

If your not familiar with "Messiah" don't let the reviews scare you - this is certainly a great choice for your first or only recording. There is a lot of feeling in the playing and singing, and i feel it is quite respectful not only of the composer, but the subject matter. It includes a booklet with all the lyrics, and an essay by Beecham himself about the piece. It is a complete recording, with a "bonus cd" of extra verses not usually performed (as explained in the essay). The audio quality is great for the time it was recorded. Its much more worthy to be listened to and contemplated than to be put on as backround music at Christmastime. The price is certainly reasonable in light of the quality of the performance.

Familiarity hasn't bred much affection.......2005-11-02

I first became acquainted with this recording at the tender age of 12 when I received the original Soria edition as a Christmas gift. I remember being intensely disappointed at what seemed to me then as more circus than music. Time has mellowed that negative reaction and gives a more balanced assessment of Beecham's achievement - I bought the CD reissue after all. It still doesn't inspire much affection in yours truly although I can appreciate the soloists' contributions, particularly Tozzi. The lamented Vyvyan was in better voice with Boult. Here she has a rapid vibrato and a curious way of articulating the high notes. The orchestrations seem to maintain more of the clarity of the writing by concentrating on the bass and the top without clogging up the middle voices in the manner of the Victorians. There are three pieces where it just doesn't work at all to these ears: the brassy "All we like sheep," "Hallelujah" (which summons visions of Fucik's 'Entry of the Gladiators' every time I hear it), and the disintegration of the obbligato trumpet into flute noodlings in "The trumpet shall sound," in a lightweight performance that is at odds with the grandeur of the text. I'll also admit that the splashy brilliance of "For unto us a Child is born" and the surging drama of "Surely, He hath borne our griefs" are very satisfying.

In the forty some recordings I own (and the many performances I've attended) there's no best and no definitive. This is one I respect but don't care to hear very often.

Thanks to Jon!.......2005-03-08

This recording is worth having first of all beacause of the credible singing of Jon Vickers! Yes, he really sings on the words. The "Comfort Ye" and "Every valley..." have a knew dimension after Jons reading of the score. Of course I know that in tradition we want a very much more lyrical voice to this masterpiece. But he's not alone here, and now we are already into the problem; the choir! It's just terrible, yes terrible!
I'm just ending up with "Thanks to Jon!"

Fine and Dandy (2004 Studio Cast) (World Premiere Recording)

Average customer rating:

Dandy
WOW Simply the best reconstructed show album to date!!
More than Fine, and More than Dandy!
Not To Be Missed
fabulous discovery!

Fine and Dandy (2004 Studio Cast) (World Premiere Recording)
Kay Swift , Carolee Carmello , Gavin Creel , Andrea Burns , Mark Linn-Baker , John Pizzarelli , Ann Hampton Callaway , and Jessica Molaskey
Manufacturer: P.S. Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B0001XAQDM
Release Date: 2004-05-25

Tracks:

Overture (Orchestra)
Machine Shop Opening (Mark Linn-Baker & Ensemble)
Rich or Poor (Gavin Creel & Jennifer Laura Thompson)
Fine and Dandy (Carolee Carmello & Mario Cantone)
Sing High (Male Ensemble)
I'll Hit a New High (Andrea Burns & Male Ensemble)
Starting at the Bottom (Gavin Creel)
Can This Be Love? (Carolee Carmello)
Fordyce (Ensemble)
Let's Go Eat Worms in the Garden (Gavin Creel, Carolee Carmello & Ensemble)
Etiquette (Mark Linn-Baker & Ensemble)
The Jig-Hop (Andrea Burns & Ensemble)
Can This Be Love? (reprise) (Jennifer Laura Thompson & Gavin Creel)
Wedding Bells (Ensemble)
Nobody Breaks My Heart (Carolee Carmello)
Nature Will Provide (Deborah Tranelli)
Finale Ultimo (Carolee Carmello & Ensemble)
Up Among the Chimney Pots (Natalie Douglas)
Can't We Be Friends? (John Pizzarelli & Jessica Molaskey)
Whistling in the Dark (Jack Donahue)
Once You Find Your Guy (Ann Hampton Callaway)

Amazon.com

Mary Rodgers is usually heralded as musical theater's sole woman composer, but this new recording of a long-lost gem introduces us to another brilliant member of Broadway's thin female ranks: Kay Swift. Collaborating with her husband, lyricist James Paul Warburg (writing as Paul James), Swift penned a splendid collection of tunes-in turn touching, daffy, percolating and tender-for this 1930 show. Taking place in the unlikely setting of a tool-and-die factory, Fine and Dandy is a bubbly jazz age musical full of melodic invention and lyrical twists. Fans of the Gershwins' 1920s oeuvre will adore this world-premiere recording, and in fact George is namechecked in the wonderful title track, in which Carolee Carmello and Mario Cantone compete in spirited one-upmanship. The CD also includes four songs written by Swift between 1929 and 1950; like Plain and Fancy, they serve to remind us that Swift was one of Broadway's unsung heroes. --Elisabeth Vincentelli

Description

The classic 1930 musical comedy in its world premiere recording, featuring a 28-piece orchestra and a cast of Broadway and jazz greats. An amazing roster of talent including Carolee Carmello (Kiss Me Kate, Parade), Gavin Creel (Thoroughly Modern Millie), Mario Cantone (Assassins and TV's Sex & The City), Mark Linn-Baker (A Year With Frog and Toad and TV's Perfect Strangers) and Jennifer Laura Thompson (Urinetown, Footloose) # is joined by bestselling jazz artists Ann Hampton Callaway, John Pizzarelli and Jessica Molaskey, all in loving tribute to one of the few female composers from the first half of the 20th Century: the legendary Kay Swift. With a new biography of the composer, entitled Fine and Dandy: The Life and Work of Kay Swift, due out June 1 from Yale University Press, this new recording is sure to attract the attention of Broadway and jazz music-lovers everywhere. Overture (Orchestra), Rich or Poor (Gavin Creel & Jennifer Laura Thompson), Fine and Dandy (Carolee Carmello & Mario Cantone), Machine Shop Opening (Mark Linn-Baker & Ensemble), Starting at the Bottom (Gavin Creel), Can This Be Love? (Carolee Carmello), I'll Hit a New High (Andrea Burns & Male Ensemble), Picnic Song (Ensemble), Let's Go Eat Worms in the Garden (Gavin Creel, Carolee Carmello & Ensemble), Can't We Be Friends? (John Pizzarelli & Jessica Molaskey), Up Among the Chimney Pots (Natalie Douglas), Whistling in the Dark (Jack Donahue), Etiquette (Mark Linn-Baker & Ensemble), The Jig-Hop (Andrea Burns & Ensemble), Nobody Breaks My Heart (Carolee Carmello), Can This Be Love? (reprise) (Jennifer Laura Thompson & Gavin Creel), Wedding Bells (Ensemble), Waltz (Deborah Tranelli), Finale Ultimo (Mario Cantone, Carolee Carmello & Ensemble), Once You Find Your Guy (Ann Hampton Callaway)

Customer Reviews:

Dandy.......2005-05-06

No one will easily mistake Kay Swift for Gershwin, but it is great that she is finally getting some recognition beyond "Can't We Be Friends?" (included here on this LP as a sort of bonus) which isn't itself all that familiar except to cabaret aficionados. Writing true show music is a different kettle of fish, an art form with different skills, and listening to this LP one begins to construct a live production of FINE AND DANDY in one's head. The voices of the individual performers are immensely helpful in this journey, and some of the tracks you could listen to day and night. I understand that Donald Ogden Stewart wrote the book for this show and I would love to get my hands on it, having enjoyed some of the films he worked on so much, Dinner at Eight, Holiday, Kitty Foyle, The Philadelphia Story and Europa 51 among them. His Socialist bent had an appealing, whimsical side to it and I can see the factory for which Kay Swift wrote her enchanting opening number as the perfect laboratory for Ogden Stewart's brand of inspired nuttiness. Gavin Creel and Carolee Carmello are vivacious and even infectious on their tracks, and it sounds as though they love the songs as much as we love them. "Can This Be Love?" already sounds like a standard, and I predict many renditions of the comical complaint number "Let's Go Eat Worms."

Don't know if a revival of the show would be successful, but it sounds as though it needs one bravura comedian to put it over big. Back in the 1930s they had Joe Cook. Who is Joe Cook's equivalent today? Someone like Will Ferrell I guess--gulp.

WOW Simply the best reconstructed show album to date!!.......2005-02-23

Fine and Dandy is simply the best 30s musical to be reconstructed for CD yet, and it was a complete surprise because who knew any of the songs from this show? Well, we know them now and they are teriffic, and performed by an equally teriffic cast, especially Carolee Carmello, Gavin Cleel and Jennifer Laura Thompson. Would it be fair to say that Ms. Carmello is wildly underappreciated? I have adored her ever since seeing her as Audrey in Little Shop of Horrors many years ago in Boston. Here she is wonderful especially in Lets Go Eat Worms in the Garden and Nobody Breaks My Heart. It was so unexpected to find such a treasure trove of foot tapping songs, but here they are. BUY THIS CD if you like musicals at all, you won't be sorry.

More than Fine, and More than Dandy!.......2004-09-18

I am very selective in writing reviews for Amazon - so if you're reading this, then please know that I must really, really love this c.d. And I hope my "review" helps in your decision whether or not to buy it!
Having said that...this recording is tremendous. Kay Swift's music comes to life through the talented and spectacular voices, most notebly of Gavin Creel and Carolee Carmello. I think I listen to their duet (Track 10), at least once a day. The whole thing is just pure broadway fun, the way it used to be! The only bad thing about this c.d. is that you wished they had staged this musical, so that you could go see it live!

Not To Be Missed.......2004-05-31

Kay Swift, best-known for her close association with George Gershwin, was one of the few female composers to write for Broadway. Fine and Dandy was her first book musical, featuring lyrics by husband Paul James, and became one of the biggest hits of Broadway's 1930-31 season. However, like many musicals of the era, most of the original performance materials were lost over the years. In the mid-`80s, Swift began to reconstruct the score, assisted by orchestrator Russell Warner, who continued the work following her death in 1993. The new recording is a revelation, for the songs are, as the title says, fine and dandy--clever and romantic by turns, and always tuneful. Those who love Gershwin's "Strike Up the Band" and "Of Thee I Sing" will find a similar feel here, helped by strong performances from Carolee Carmello, Gavin Creel, Mario Cantone, Mark Linn-Baker and Jennifer Laura Thompson, bolstered by a full orchestra. The CD also includes several other songs by Swift, including the classic "Can't We Be Friends?"

fabulous discovery!.......2004-05-29

This is an amazing score: witty, clever, fantastically inventive music -- fans of Gershwin et al will be delighted to discover this delightful show. What a great contribution to the American songbook. And hats off to PS Classics for this debut nonprofit historical recording, which has impeccable production quality. Can't wait for the next one they release.

Average customer rating:

Old Fashioned Sincerity
One of the worst recordings ever made
Pete's Dad

Handel's Messiah

Manufacturer: Golden Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00013ND8M
Release Date: 2004-02-10

Tracks:

Overture
Comfort Ye My People
Ev'ry Valley Shall Be Exalted
And the Glory of the Lord
Thus Saith the Lord of Hosts
But Who May Abide the Day of His Coming?
And He Shall Purify the Sons of Levi
Behold a Virgin Shall Conceive
O Thou That Tellest Good Tidings to Zion
For Behold, Darkness Shall Cover the Earth
People That Walked in Darkness
For Unto Us a Child Is Born
Pastorale Symphony
There Were Shepherds Abiding in the Field
Glory to God in the Highest
Rejoice Greatly, O Daughter of Zion
Then Shall the Eyes of the Blind Be Open'd
He Shall Feed His Flock Like a Shepherd
His Yoke Is Easy, His Burden Is Light
Behold the Lamb of God

Tracks:

He Was Despised and Rejected of Men
Surely, He Hath Borne Our Griefs
And With His Stripes We Are Healed
All We Like Sheep Have Gone Astray
All They That See Him, Laugh Him to Scorn
He Trusted in God That He Would Deliver Him
Thy Rebuke Hath Broken His Heart
Behold, And See If There Be Any Sorrow
He Was Cut Off Out of the Land of the Living
But Thou Didst Not Leave His Soul in Hell
Lift Up Your Heads, O Ye Gates
How Beautiful Are the Feet of Them
Why Do the Nations So Furiously Rage
Let Us Break Their Bonds Asunder
He That Dwelleth in Heaven
Thou Shalt Break Them With a Rod of Iron
Hallelujah - London Philharmonic Chorus
I Know That My Redeemer Liveth
Since by Man Came Death - For as in Adam, Even So in Christ
Behold, I Tell You a Mystery
Trumpet Shall Sound
Worthy Is the Lamb That Was Slain
Amen

Customer Reviews:

Old Fashioned Sincerity.......2006-12-30

This is not the best recording of Messiah but it is by no means a disaster. Susskind was an able conductor with a valid view of this great piece. The recording from the 1950s is more than adequate (there is some roughness in the treble but it is full and clear - though some edits are very obvious indeed). The orchestra is excellent and the choir sing well. The soloists - all of them - are superb, among the very best in any version of Messiah! Susskind's tempos are slow by modern standards but there is good rhythmical bounce and a genuine sense of the greatness of the piece. If you can adjust to the broad tempos and the big scale conception then you will discover important aspects of this masterpiece in this performance - and the set costs next to nothing!

One of the worst recordings ever made.......2006-05-10

This is only my second one star review. And I am rather generous with stars. But this recording is just horrible, especially considering that all of the participants are legendary musicians. First of all, this is extremely old fashioned Handel. The textures are way too heavy for music of the baroque. But worst of all, the performance just sits there like mud on your tires that won't come off. Yes, the price is very low, but whatever you do, do not buy this recording.

Pete's Dad.......2005-12-11

I have had a CD of the London Philharmonic version of the Messiah conducted by Fredrick Jackson for several years and enjoyed listening to it. However, the quality of the recording leaves something to be desired.

Average customer rating:

Another fine addition to the series

Lost in Boston III
Various Artists - Soundtracks , Cy Coleman , Stephen Flaherty , Frank Loesser , Ralph Martin Hugh / Blane , Richard Rodgers , Harvey Schmidt , Stephen Sondheim , Charles Strouse , Jule Styne , Meredith Willson , Tom Fay , Dan Shaheen , Debbie Gravitte , Dennis Kelley , Gannon McHale , Guy Haines , Harry Groener , Jason Graae , Lindsay Ridgeway , Liz Callaway , Liz Larsen , Lynne Wintersteller , Lynnette Perry , Malcolm Gets , Michele Pawk , Patricia Ben Peterson , Paul Blankenship , Rebecca Luker , Rod Raines , Sal Viviano , Sarah Chapman , Tammy Minoff , Tim Ewing , Walter Willison , and Steve Orich
Manufacturer: Varese Sarabande
ProductGroup: Music
Binding: Audio CD

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Gypsy: Mama's Talkin' Soft - Lindsay Ridgeway/Sarah Chapman
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Seesaw: Pick Up The Pieces - Michelle Nicastro

Customer Reviews:

Another fine addition to the series.......2001-02-13

After a bit of a slip with the second, this series was back on track with this third CD of songs cut from well-known musicals. As I mentioned in a previous review, just about any successful musical has had songs cut from it, not always because the song wasn't good, but because it no longer fit the show as updated, or a character or scene was cut (the booklet explains why each song was removed from its show). Once again, the songs are all good and the performances are wonderful. My favorites are "Mama's Talking Soft" (cut from Gypsy), "Big Fat Heart" (Seesaw), "Your Own College Band" (Where's Charley?), "When I Go Out Walkin' with my Baby" (Oklahoma!), and "Pick Up the Pieces" (also Seesaw). Bruce Kimmel was smart in using show singers instead of pop singers. I recommend the entire series. This CD features some fine songs that deserve renewed appreciation.

Average customer rating:

Finally a Messiah with fervor!
Great recording!
Good and Bad
This is a great recording!

Handel: Messiah

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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ASIN: B00002R16A
Release Date: 1999-11-30

Tracks:

Messiah: No. 1 Overture
Messiah: No. 2 Arioso For Tenor
Messiah: No. 3 Air For Tenor
Messiah: No. 4 Chorus
Messiah: No. 5 Recitative For Bass
Messiah: No. 6 Air For Bass
Messiah: No. 7 Chorus
Messiah: No. 8 Recitative For Alto
Messiah: No. 9 Air For Alto And Chorus
Messiah: No. 10 Arioso For Bass
Messiah: No. 11 Air For Bass
Messiah: No. 12 Chorus
Messiah: No. 13 Pifa (Pastoral Symphony)
Messiah: No. 14a Recitative And No. 14b Arioso For Soprano
Messiah: No. 15 Recitative For Soprano
Messiah: No. 16 Arioso For Soprano
Messiah: No. 17 Chorus
Messiah: No. 18 Air For Soprano
Messiah: No. 19 Recitative For Alto
Messiah: No. 20 Air For Alto And Soprano
Messiah: No. 21 Chorus
Messiah: No. 22 Chorus
Messiah: No. 23 Air For Alto
Messiah: No. 24 Chorus
Messiah: No. 25 Chorus
Messiah: No. 26 Chorus

Tracks:

Messiah: No. 27 Arioso For Tenor
Messiah: No. 28 Chorus
Messiah: No. 29 Recitative For Tenor
Messiah: No. 30 Air For Tenor
Messiah: No. 31 Recitative For Tenor
Messiah: No. 32 Air For Tenor
Messiah: No. 33 Chorus
Messiah: No. 34 Recitative For Tenor
Messiah: No. 35 Chorus
Messiah: No. 36 Air For Alto
Messiah: No. 37 Chorus
Messiah: No. 38 Aria For Soprano
Messiah: No. 39 Chorus
Messiah: No. 40 Air For Bass
Messiah: No. 41 Chorus
Messiah: No. 42 Recitative For Tenor
Messiah: No. 43 Air For Tenor
Messiah: No. 44 Chorus
Messiah: No. 45 Air For Soprano
Messiah: No. 46 Chorus
Messiah: No. 47 Recitative For Bass
Messiah: No. 48 Air For Bass
Messiah: No. 49 Recitative For Alto
Messiah: No. 50 Duet For Alto And Tenor
Messiah: No. 51 Chorus
Messiah: No. 52 Air For Soprano
Messiah: No. 53 Chorus
Messiah: Amen

Customer Reviews:

Finally a Messiah with fervor!.......2005-10-20

I've hunted a thrilling performance of The Messiah through 240 versions so far. This is the best I've found. Some are self-conscious, dutifully singing as instructed. Some are almost childish in their lilt. Some are overblown with so much bombast that you can barely hear the heart of the music. Some are concentrated on faithfulness to the original instruments. If you want a performance that will make you shiver with the power and joy of the music, this is the one. The singers are singing about GLORY. They sound as if they are ecstatic. The musicians are at one with the music and they create a virtual cathedral wherever this CD is played, just close your eyes. Or, let your own imagery, be it celestial, or of great oceans...carry you away.

Great recording!.......2003-09-22

There are so many performances of the Messiah out there that it is very difficult to point to a difinative one, but I'd put this in the catagory of the "very good" ones. As other reviewers have said, every performance is different and has its own character. Each has stronger and weaker points. Here the conductor and musicians have made good, solid musical choices. There is an amazing attention to detail which is not so obvious the first listen through but which makes the piece shine. The tempos seem to be right on, and there is no frivolous over-embellishment by the soloists. There is no attempt to be showey. The dramatic dynamics in the first section of the overture are interesting, but seem to work after you hear it a few times. This performance also includes sections which are often omitted (Second half of "He shall feed his flock," "Thou art gone up on high," "Great was the company of the preachers," and "Death where is thy sting"). I prefer the more intimate quality of a small ensemble of musicians to the mega-performances by the London Philharmonic, Vienna State Opera Orchestra, etc.. As with this performance, the smaller group lends a clarity to the music, where the larger ensembles can get a little "muddy" at times. Just my personal preference. Overall, this is a very good performance, and certainly the low price (being on the Naxos lable) makes this a clear choice.

Good and Bad.......2000-04-09

I was more interested in "The Messiah" for the religious content than as a music critic, but this was too much. The strings are tinny. The orchestra is plodding. The soloists and choir are thankfully very good and seem to understand the meaning of the words. It is a shame the sound mix is uneven. The male parts come across loud and clear, but the poor women. For instance, No. 9 Oh thou that tellest..., the soloist sounded like she was singing in an echo chamber far from the mike. This is one of the most disappointing versions of "The Messiah" I have heard in a long time.

This is a great recording!.......2000-02-11

I was really surprised with the new that the Messiah's New World premiere was held at Trinity Church in October 1770, twenty-eight years after it was written. This fact only will make one proud in having this CD among his collection.

Anyhow, this is nothing more than a historic detail and would not count if this recording had not an outstanding first-rate ensemble of singers. Without doubt there is no definitive version of Messiah. Each one has its own distinctive touch and feeling and exploring it is always a pleasant journey through imagination.

As stated by the conductor: "we must concede that performing Messiah with twenty singers and an appropriately balanced instrumental ensemble represents, at best, an imperfect comprimise", it will be easy to understand that this recording does not stand among the greatest and will probably carry some imperfections. I will mention two that kind of disppointed me a little bit. The Overture and the Chorus Worthy is the Lamb, for some reason misses the habitual vigor and strenght. Everything else is great and this is definitely a worth buying.

If You Cut Us, We Bleed
Average customer rating:

pete waye and the SCHENK

If You Cut Us, We Bleed
Plot to Blow Up the Eiffel Tower
Manufacturer: Happy Couples Never
ProductGroup: Music
Binding: Audio CD

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ASIN: B0001AD59M
Release Date: 2004-03-09

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Customer Reviews:

pete waye and the SCHENK.......2004-04-22

To those of us that are older then most,we remember the first music by the master(lonesome crow) the man made his place in rock history, it is very SAD that he is not the god of rock in the U.S as he is in other countries! the U.S fans all though hardcore are little in numbers,us fans that have been there though all the rebirths of michiel will aways love him no matter where he wanders or how many guitars he sells.WE STILL LOVES YOU MICHAEL AND ALWAYS WILL!!!!!!!!!!the true fans of the bay area!!!!!

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