Gods of War

Gods of War

Track Listings

1. Intro: Elders of the Apocalypse

2. Blood upon the After Blasphemous Attack

3. Gods of War

4. Intro

5. Atomic Nuclear Destruction

6. Nocturnal Slayer

7. Emperor of the Black Abyss

8. Intro

9. Blasphemy

10. Intro

11. Necrosadist

12. War Command

13. Empty Chalice

Gods of War,Blasphemy,JL America,Heavy Metal,Popular Music,Rock

Average customer rating:

The Book of Gods is writ. Shall you heed its call?

Gods Of War??

Horrrr..Horrrr..HII! Pardon!!

Kings of Metal?

An Epic opus that has fans torn - I like it!

Gods of War
Manowar
Manufacturer: Magic Circle Music
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music
General | Rock | Styles | Music
General | Hard Rock & Metal | Styles | Music
Pop Rock | Pop | Styles | Music
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ASIN: B000MQ3U5O
Release Date: 2007-04-03

Tracks:

Overture To The Hymn Of The Immortal Warriors
The Ascension
King Of Kings
Army Of The Dead, Part I
Sleipnir
Loki God Of Fire
Blood Brothers
Overture To Odin
The Blood Of Odin
The Sons Of Odin
Glory Majesty Unity
Gods Of War
Army Of The Dead, Part II
Odin
Hymn Of The Immortal Warriors
Die For Metal (bonus track)

Album Description

Manowar is a band that has set standards, broken records and won great accolades during its storied career. Known to their worldwide supporters as the "Kings Of Metal", the band has constantly redefined heavy metal by combining peerless musicianship and song writing with their undeniable commitment to true metal and their devoted fans. The band has always made the solemn pledge to create original music that is louder than hell and stronger than steel. The long standing lineup of vocalist Eric Adams, guitarist Karl Logan, drummer Scott Columbus and bassist Joey DeMaio is truly a force to be reckoned with in the studio and on stage. In addition they are the originators of the musical styles known as power metal and true metal.

As Manowar now prepares to unveil their tenth studio album, expectations from fans are higher than ever and Manowar are sure to exceed those expectations. The new album Gods Of War is Manowar's first entry in a cycle of concept albums; each a tribute to a different war god. Gods Of War brings out the greatest of Manowar's musical attributes by utilizing both epic song structures and dramatic narratives. Much like Ragnarok - the final battle at the end of the world - when listening to Manowar's epic saga, the earth will shake, the walls will crumble and only true fans of metal will remain standing, heads held high, with the triumphant glimmer of a battle well-fought in their eyes.

Gods Of War features brand new cover artwork by the world's leading fantasy artist Ken Kelly, as well as a scorching mix done by the unparalleled Ronald Prent.

Besides the normal Jewel Case version, Gods Of War will also be released as a limited edition in an embossed metal slipcase containing a high grade mediabook bound in leather.Furthermore, this limited edition will feature a bonus DVD with unreleased material about the making of this album and some special behind-the-scenes footage. A double-vinyl LP in a gatefold sleeve will also be available.

In their career Manowar has released 9 studio albums, two live albums and 5 DVDs with sales of over nine million records worldwide, as well as silver and gold records and numerous other industry awards. The last studio album Warriors Of The World was a critically-acclaimed worldwide chart topper, reaching gold status in Germany.

Album Details

Manowar's First Volume in a Cycle of Concept Albums; Each a Tribute to a Different War God. The Epic Opener, "Overture to the Hymn of the Immortal Warriors", Sets the Tone for an Album Beyond Anything the Band Has Done Before. This Volume Honors Odin, Almighty Father of the Norse Gods, Detailing the History and Exploits of this Storied Character. His Power and Wisdom were Unmatched Among the Gods and He is Paid Tribute with Human Sacrifice on the Battlefield, as Heard in "The Sons of Odin", the Stomping Title Track "Gods of War" and the Storytelling "The Blood of Odin". Cover Art is Provided by the World's Leading Fantasy Artist Ken Kelly as Well as a Scorching Mix Done by the Unparalleled Ronald Prent.

Customer Reviews:

The Book of Gods is writ. Shall you heed its call?.......2007-07-30

Hark! Open your ears, and listen. Is that the sound of distant thunder? No. That which approaches is more powerful than any storm. It is the coming of a great engine of war you hear, led by four kings: kings so mighty that their very steeds are made of steel. They are riding back out of Glory, whence they rode long ago.

Look! Open your eyes, and see. Lose the scales that obstruct your vision and perceive the world as for the first time, like the newborn babe.

Cast your gaze to the east. A new dawn is rising. And Manowar is the sun.

For is it not written in the Book of the Warriors, chapter 8, verses 18 and 20: "We said we would return, and here we are again... we are the hammer of the gods." Again the words of the prophet have been fulfilled. Amen.

For indeed, they have returned. And this time, they have brought an army with them, and it is a new thing, and a thing by their enemies not expected: an orchestral and narrative sound integrated with the metal. No longer do the hammers of the gods make war upon the unbelievers alone (though never have those hammers been found insufficient, as surely unbelievers everywhere have learned). Now they are joined by the swords of the gods. And may the gods have mercy upon us all.

Yes, this is new, and yet, not new: for was it not Manowar who first wore this Crown and this Ring, and spoke this Warrior's Prayer, so long ago? Is it not known to all that every symphonic, epic, fantasy, Viking and power metal band ever to exist owes its very life's blood to Manowar, for is not Manowar the very Fountain from which all these good things flow?

Here, then, are paradoxes to vex the philosophers: since Manowar metal is, by definition, perfect, how can it possibly be improved upon? Manowar, being archetypal, is eternal, and therefore changeless. And yet, it is written (in the Book of Hell, chapter 1, verse 26): "We are the undefeated, we're not living in the past."

And so, if Manowar has almost become a modern symphonic fantasy metal band, can it truly be said that Manowar has changed? For how could Manowar, being Manowar, be influenced by anything other than Manowar?

Are we not the Immortals (so called in the Book of England, Chapter 5)? Is it not our wont to ask these things? For there are riddles here.

Can an omnipotent god make a rock so heavy that even an omnipotent god cannot move it? If two great weapons of that god, one a great hammer made of the heaviest metal, one a great silver sword made of Wagnerian orchestral music, are struck together, shall both of them be rent asunder - and shall the force of their rending liberate the universe? (And was it not prophesied in the Book of Triumph, chapter 6, verse 26: "they will know the power of my sword"?) Can the irresistible force that is Manowar be stopped by the immovable object called...Manowar? And lastly, this, though it may seem like sacrilege: is there something, somewhere, that could possibly transcend the power of even Manowar?

Now, at last, we have learned. With Gods of War, Manowar has solved the riddle. The answer: Manowar. Manowar, and Manowar alone, can make music so powerful that it is more powerful than Manowar. Only through Manowar can a way be found to sound more like Manowar than even Manowar. And so now we know. Manowar has taught us Wisdom.

Surely, Kings of Metal is the greatest of all metal albums; the number one album in metal history. And yet, hearing Gods of War, can there be any doubt that this is, indeed, the best of all metal albums? This seems a strange geometry. Are our calculations amiss? No. For one plus one equals...Number One, when one factors in a certain common denominator. The answer: Manowar (see The Book of Hell, chapter 5, verse 14: "We were born to win, number one").

And is it not written in the Book of Kings, Chapter 2, verse 23: "We are the kings of metal". And again, chapter 4, verse 16: "High and mighty, alone we are kings." Kings, yes, but more than this. For surely these be messengers not only from the Gods of War but from the very Gods of Metal, come from some high hall to bestow their blessings upon the valiant of this, our lesser sphere. (See The Book of the Hammer, chapter 5, verses 7-8; and The Book of Hell, chapter 3, verses 9-12).

Riddles there are, indeed, for us to ponder, but remember: some things are not for us to know. The prophet shall reveal in its season all that which, for now, may surpass our understanding. Time changes all things; Manowar alone is eternal. In the meanwhile:

Look to the east. A new dawn is rising. And Manowar is the sun.

Hail thou, and kill.

Amen.

Gods Of War??.......2007-07-23

Warriors of the World
Their last album 'Warriors Of The World' was MUCH better. Production wise and sonically this album was very good, but it had no rythmic 'catches' or 'hooks' to make you want to listen to it again. The story-line of this concept album is like the book of Revelation from a Satanic point of view. I think Joey DeMaio really beleives he is a warrior for Wodin (commonly spelled Odin). I think he has lost his mind.
'METALMAN

Horrrr..Horrrr..HII! Pardon!!.......2007-07-12

I am a Manowar fan for more than a decade and this is the worst album to date. Like a Sleep medicine.

The songs are nothing new. They are sleeping, because they sound exactly like the other (last 2-3) albums. Enough!

When the start doing some good music?

This album is a shame !

Kings of Metal?.......2007-06-22

Pretty much most of the reviews here say what I was going to say...So I will save it. But I will say...King Diamond. Concept Artist..Great Albums every one(except The Eye), he doesn't need or have 9 minutes of classical nonsense. Classical is good, I like it...But not when I want to hear METAL!! The actual METAL songs on this CD (few) are good, except for that last cheesy Bonus Track...CORNEY!!. I've been a fan for a while, but ever since Louder than Hell they got less a less metal...So Less filler.......MORE METAL!!!

An Epic opus that has fans torn - I like it! .......2007-06-17

Metal has had some great concept records in its nearly 40 years existence. Seventh Son of Seventh Son, Nightfall in Middle Earth, Operation Mindcrime, Helstar's Nosferatu, Savatage's Streets, most King Diamond etc.

However when the gods (er kings) of metal decide to do the same thing, people run the other way.

Why I must ask?

In their 25 years as a band, Manowar have never been adverse to taking risks, its just that they kept these risks under a relatively stable umbrella in hopes of not alienating their fanbase. Symphonies, choirs, instrumental solos, all these elements have been featured on previous records to much aplomb.

With Manowar's 2002 opus, Warriors of the World, the band changed their sound a bit. It wasn't a far cry from their early work, MIXED with the elements of Kings of Metal. The "triplet gallop" rhythm was brought back (think Hail to England the song), the choir vocals brought back, and even a lower guitar tuning were brought in to make a more "epic" focus.

I loved Warriors of the World, in fact, with its more complex (than anything since before fighting the world) melodies and even the Elvis cover (!) I thought it was their best since Sign of the Hammer.

Now that Manowar has been very influenced by Rhapsody (though a little simpler and less ponderous), they come out with an album that leaves their modern fanbase scratching their heads. Its with this I say that it took me awhile to have Gods of War grow on me, and when it did, it grew like a fungus. The acapella parts, the symphonic parts, are just much catchier than Rhapsody (now called Rhapsody of Fire) in my eyes. They're a lot more refined and simple, and this might have something to do with it. Also, there is plenty of METAL to be found in this record, from the title track to the very cheesy "Die For Metal" bonus track (which btw, is not very musically similar to Kashmir, despite the similar rhythm. Musically on guitar its closer to the Clarivoyant by Maiden, other than the rhythm itself).

I don't think the narration is at all engaging however, and the sequel to "A Warrior's Prayer" definitely leaves me cold, as well as the usual "touching" Manowar ballad. I probably prefer Warriors, but I still love Gods of War. I think as a whole they succeeded, though I think songwriting wise its a small step down from Warriors of the World.

"Swords in the Wind" from that album is probably in my top ten Manowar songs of all time.

All I say is, give it a chance!

Triumph Of Steel seems way more ponderous than this in ways, and also way oversimplified.

I wouldn't say it belongs in the top tier of metal concept albums, but I think people have to view it as a concept record or "rock opera" to enjoy it more.

My top five Manowar (not neccesarily in order):

Into Glory Ride

Sign of the Hammer

Kings of Metal

Warriors of the World

Gods of War.

Average customer rating:

Epic, but . . .
Why?
GODS OF WAR UNITE US ALLL!!
Manowar returns and it was worth the wait.
Manowar...The Soundtrack

Manowar: Gods of War w/ Bonus DVD
Manowar
Manufacturer: Magic Circle Music
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

General | Rock | Styles | Music

General | Hard Rock & Metal | Styles | Music

Pop Rock | Pop | Styles | Music
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ASIN: B000MQ3U54
Release Date: 2007-04-03

Tracks:

Overture To The Hymn Of The Immortal Warriors
The Ascension
King Of Kings
Army Of The Dead, Part I
Sleipnir
Loki God Of Fire
Blood Brothers
Overture To Odin
The Blood Of Odin
The Sons Of Odin
Glory Majesty Unity
Gods Of War
Army Of The Dead, Part II
Odin
Hymn Of The Immortal Warriors
Die For Metal (bonus track)

Album Description

Gods Of War features brand new cover artwork by the world's leading fantasy artist Ken Kelly, as well as a scorching mix done by the unparalleled Ronald Prent.

Album Details

Manowar's First Volume in a Cycle of Concept Albums; Each a Tribute to a Different War God. This 2007 Limited Edition Issue Comes in an Embossed Metal Slipcase Containing a High Grade Mediabook Bound in Leather, also featuring a Bonus Dvd with Previously Unreleased Material About the Making of this Album and Special Behind-the-scenes Footage. The Epic Opener, "Overture to the Hymn of the Immortal Warriors", Sets the Tone for an Album Beyond Anything the Band Has Done Before. This Volume Honors Odin, Almighty Father of the Norse Gods, Detailing the History and Exploits of this Storied Character. His Power and Wisdom were Unmatched Among the Gods and He is Paid Tribute with Human Sacrifice on the Battlefield, as Heard in "The Sons of Odin", the Stomping Title Track "Gods of War" and the Storytelling "The Blood of Odin". Cover Art is Provided by the World's Leading Fantasy Artist Ken Kelly as Well as a Scorching Mix Done by the Unparalleled Ronald Prent.

Customer Reviews:

Epic, but . . . .......2007-07-04

I'll take you through this as I experienced it, starting with the purchase.

The first thing you notice - other than the nearly-thirty dollar price tag - is the metal cover. It's not shiny plastic or cardboard with a film over it; that's real metal. It's startlingly heavy, too - when you pick it up the first time, you'll heft it automatically just to get a feel for it. The metal case wraps around a black-bound book that contains the Gods of War CD on the left, the booklet in the center (bound to the book, not loose) and the DVD to the right. The artwork on the discs and the booklet are a bit more racy than the usual cover you see - there are undressed fantasy-style artwork women adorning all three, so fair warning if you're touchy about that. Not that most Manowar fans would be, I'm guessing.

The booklet is written entirely in what is known among scholars as the Elder Futhark runic alphabet. I've studied it for some time now on my own and was startled to see it used for this, but pleased. There's a definite pro-and-con to this - the runes really amp up your feel for the Viking atmosphere for this album, but there's no English translation for non-rune readers. They include a guide in the back, but you have to translate it yourself. I'm fairly accomplished at reading them and it took me a while, so the casual reader should be aware that this will take them a long time. It's mostly a bit of a history lesson about Odin and the Aesir mythology anyway.

In the interest of being thorough, I should mention that they take liberties with the runic alphabet; EF doesn't use some of the letters our alphabet does (no C, Q, V, X, or Y) and actually has three runes which represent pairings of letters - NG, TH and AE (the long E sound). Some of the substitutions they use make sense (K for C, Y for AE) but they use the NG rune for Q and the TH rune for X. So if you're a real scholar of the runes or if you're trying to really learn the runes from this, you might want to look at other sources for information so that you don't get confused.

On to the music - and here's where I got my slight sense of disappointment. I enjoy orchestral music as well as metal, and I'll be the first in line to say that having an orchestra back a metal band can really make a truly epic sound. The problem is that at times it's more like a metal band backing an orchestra. There are some great songs on here - King of Kings is amazing, and Sleipnir gets looped constantly on my CD player - but there's also a lot of, well . . . pomp and pretension. There's times when there's no doubt it's Manowar blowing you away, and then there's times when you just can't believe that it's Manowar putting you to sleep. The Army of the Dead tracks are a bit different; they're not heavy, but they set mood successfully - I get the feeling that they meant several other tracks on here to set the mood but succeeded only in sounding sad. While anyone familiar with the story of Ragnarok and Odin's destiny would say that it is indeed a sad story, you don't pick up Manowar to feel melancholy. And if you do, you get Swords in the Wind - which manages to get a truly epic feel while being sad.

Speaking of which, I can't understand why they didn't put Swords in the Wind on this album as a bonus track - and why they DID put die for metal on. While I like the song, it doesn't make any sense to put it on an Odin-themed album. It's very much out of place and frankly a poor choice by the band.

Overall, I'd give the album itself three stars, but the excellent packaging and my love of the subject matter will get it another star. For anyone looking for typical Manowar, this isn't it. For casual fans or for those who just like Viking-themed material, give it a try.

The DVD is frankly pointless. I had hoped for music videos or maybe live concert footage, but it's mainly ads. Ads for their guitars, their printing company, their photographer . . . there's a brief bit where the band talks about the Manowar philosophy of making an album. Oddly, Joey DeMaio never makes an appearance for that. Just the other three. In fact, you only see him briefly in the photography segment, and only as he poses with the other members. If you're thinking of buying this version because of the DVD, forget it - get the cheaper regular version.

Why?.......2007-06-14

Is more than half the album/CD soft metal? I realize that the songs kick in eventually but this is a bit of a dissappointment. And I don't usually put down Manowar. I still want to hear and see them live.

GODS OF WAR UNITE US ALLL!!.......2007-06-12

First off, to anyone reading this review, disregard the naysayers or opinions of other reviewers on here who give this stellar work of genius anything less than five stars...
That being said, this is in my opinion their best work to date since the timeless classic. "Into Glory Ride". Integrating elements of that record with the bombastic, Wagnerian overtones of this one, conclusively, I can say that Manowar have created the perfect balance. I LOVE the inspiration from themes of Norse Mythology (coupled with the homage to the mighty Norse Gods) juxtaposed with the narrative effects present throughout the album-I am glad to see that Manowar has incorporated and championed the pro-Viking theme with a fair amount of dedication! The use of orchestral effects that pervade the album are brilliant and help create the mood and atmosphere in terms of what the mighty Norseman stood for. Take that with the thunderous, crushing riffs, one can visualize the imagery all powerful Thor as he swings Mjollnir (the hammer of Thor) across the sky, beckoning the "sons of Odin" into battle. Buy this record no matter what..It sure beats the faceless stream of garbage oozing from the sewer pipes of MTV and of our trendy, commercialized, pop culture. To Victory or Death!! See you in Valhalla!

Manowar returns and it was worth the wait........2007-05-15

Manowar has returned after many years with a great new studio album and it was worth the wait. At first listen I wasn't blown away by it, but the more I listen the more I like it. The album is a grand concept done in a Manowar way, orchestrations, narration, choirs, and heavy metal. All hail Manowar.

Manowar...The Soundtrack.......2007-05-13

At first listen you might think have I purchased the right cd. There is no Manowar, it's all classical music. the cd has a soundtrack feel to it. There is also a narrator who has that Orson Wells touch to it.

the cd booklet is all written in Norse. They give you a guide to translate. Once you translate the 10 pages you can happily say you can read and write in Norse. I know I can.

Overall if you love Manowar, you'll grow to love this cd. Oh by the way, this is the first part of a trilogy. This is also the heaviest cd I have ever purchased.

Average customer rating:

Coates, Austral, Widdop, Melchior, Schorr, Easton
The greatest Wagner singing - bar none
An abolute must
The Best Second "Ring"

Wagner: Der Ring des Nibelungen

Manufacturer: Pearl
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

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90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
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90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood L
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood L
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
90 Motives From The Ring - LSO/Lawrance Collingwood
Siegfried: Act I: Nothung! Nothung! - Berlin State Op Orch/Karl Muck
Siegfried: Act II: Dass Der Mein Vater Nicht Ist - Berlin State Op Orch/Karl Muck
Siegfried: Act II: Forest Murmurs - Berlin State Op Orch/Karl Muck
Siegfried: Act II: Heiss Ward Mir - Berlin State Op Orch/Karl Muck
Siegfried: Act III: Heil Dir, Sonne! - Berlin State Op Orch/Karl Muck
Siegfried: Act III: Ewig War Ich - Berlin State Op Orch/Karl Muck
Siegfried: Act III: O Siegfried! Dein War Ich Von Je - Berlin State Op Orch/Karl Muck
Gotterdammerung: Prologue: Siegfried's Rhine Journey - Berlin State Op Orch/Karl Muck
Gotterdammerung: Act III: Siegfried's Funeral Music - Berlin State Op Orch/Karl Muck

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Das Rheingold: Prld - Berlin State Op Orch/Karl Muck
Das Rheingold: Spottet Nur Zu! - Louise Trenton/Elsie Suddaby/Nellie Walker/Aruthur Fear
Das Rheingold: Wotan, Gemahl - Nellie Walker/Walter Widdop/Kennedy MacKenna/Howard Fry/Arthur Fear
Das Rheingold: Zur Burg Fuhrt Die Brucke...Abendlich Strahlt - Friedrich Schorr/Waldemar Henke/Genia Guszalewicz
Die Walkure: Act I: Prld...Wes Herd Dies Auch Sei - Walter Widdop/Gota Ljungberg
Die Walkure: Act I: Ein Schwert Verhiess Mir Der Vater - Walter Widdop/Gota Ljungberg
Die Walkure: Act I: Schlafst Du, Gast? - Walter Widdop/Gota Ljungberg
Die Walkure: Act I: Der Manner Sippe - Walter Widdop/Gota Ljungberg
Die Walkure: Act I: Dich, Selige Frau - Walter Widdop/Gota Ljungberg
Die Walkure: Act I: Wintersturme Wichen Dem Wonnemond - Walter Widdop/Gota Ljungberg
Die Walkure: Act I: Du Bist Der Lenz - Walter Widdop/Gota Ljungberg
Die Walkure: Act I: Siegmund Heiss Ich - Walter Widdop/Gota Ljungberg
Die Walkure: Act II: Nun Zaume Dein Ross...Hojotoho! - Frida Leider/Emmi Leisner/Friedrich Schorr
Die Walkure: Act II: Der Alte Sturm, Die Alte Muh! - Frida Leider/Emmi Leisner/Friedrich Schorr
Die Walkure: Act II: So Ist Denn Aus Mit Den Ewigen - Frida Leider/Emmi Leisner/Friedrich Schorr
Die Walkure: Act II: Was Verlangst Du? - Frida Leider/Emmi Leisner/Friedrich Schorr
Die Walkure: Act II: O Heilige Schmach! - Frida Leider/Emmi Leisner/Friedrich Schorr

Tracks:

Die Walkure: Act II: So Nimm Meinen Segen - Frida Leider/Friedrich Schorr
Die Walkure: Act II: Raste Nur Hier - LSO/Albert Coates
Die Walkure: Act II: Hinweg! Hinweg! - LSO/Albert Coates
Die Walkure: Act II: Siegmund, SIch Auf Mich! - LSO/Albert Coates
Die Walkure: Act II: Fand'ich In Walhall - LSO/Albert Coates
Die Walkure: Act II: So Jung Und Schon - LSO/Albert Coates
Die Walkure: Act II: Zauberfest Bezahmt Ein Schlaf - LSO/Albert Coates
Die Walkure: Act II: Wehwalt! Wehwalt! - LSO/Albert Coates
Die Walkure: Act II: Geh Hin, Knecht! - LSO/Albert Coates
Die Walkure: Act III: Ride Of The Valkyries - Frida Leider/Friedrich Schorr/Gota Ljungberg/Elfriede Marherr/Genia Guszalewicz/Lydia Kindermann
Die Walkure: Act III: Rette Mich, Kuhne! - Frida Leider/Friedrich Schorr/Gota Ljungberg/Elfriede Marherr/Genia Guszalewicz/Lydia Kindermann
Die Walkure: Act III: Wo Ist Brunnhild - Frida Leider/Friedrich Schorr/Gota Ljungberg/Elfriede Marherr/Genia Guszalewicz/Lydia Kindermann
Die Walkure: Act III: War Es So Schmahlich - Frida Leider/Friedrich Schorr/Gota Ljungberg/Elfriede Marherr/Genia Guszalewicz/Lydia Kindermann
Die Walkure: Act III: Du Zeugtest Ein Edies Geschlecht - Frida Leider/Friedrich Schorr/Gota Ljungberg/Elfriede Marherr/Genia Guszalewicz/Lydia Kindermann
Die Walkure: Act III: Leb Wohl, Du Kuhnes, herrliches Kind! - Frida Leider/Friedrich Schorr/Gota Ljungberg/Elfriede Marherr/Genia Guszalewicz/Lydia Kindermann
Die Walkure: Act III: Der Augen Leuchtendes Paar - Frida Leider/Friedrich Schorr/Gota Ljungberg/Elfriede Marherr/Genia Guszalewicz/Lydia Kindermann
Die Walkure: Act III: Loge, Hor! - Frida Leider/Friedrich Schorr/Gota Ljungberg/Elfriede Marherr/Genia Guszalewicz/Lydia Kindermann

Tracks:

Siegfried: Act I: Prld - Lauritz Melchior/Heinrich Tessmer/Friedrich Schorr
Siegfried: Act I: Zwangvolle Plage! - Lauritz Melchior/Heinrich Tessmer/Friedrich Schorr
Siegfried: Act I: Hoiho! Hoiho! Hau Ein! Hau Ein! - Lauritz Melchior/Heinrich Tessmer/Friedrich Schorr
Siegfried: Act I: Als Zullendes Kind Zog Ich Dich Auf - Lauritz Melchior/Heinrich Tessmer/Friedrich Schorr
Siegfried: Act I: Soll Ich Der Kunde Glauben - Lauritz Melchior/Heinrich Tessmer/Friedrich Schorr
Siegfried: Act I: Aus Dem Wald Fort - Lauritz Melchior/Heinrich Tessmer/Friedrich Schorr
Siegfried: Act I: Heil Dir, Weiser Schmied - Lauritz Melchior/Heinrich Tessmer/Friedrich Schorr
Siegfried: Act I: Dein Haupt Pfand Ich - Lauritz Melchior/Heinrich Tessmer/Friedrich Schorr
Siegfried: Act I: Fuhltest Du Nie Im Finstren Wald - Lauritz Melchior/Albert Reiss
Siegfried: Act I: Nothung! Nothung! Neidliches Schwert! - Lauritz Melchior/Albert Reiss
Siegfried: Act I: Hoho! Hoho! Hahei!... - Lauritz Melchior/Albert Reiss
Siegfried: Act II: In Wald Und Nacht - Lauritz Melchior
Siegfried: Act II: Zur Neidhohle Fuhr Bei Nacht - Lauritz Melchior
Siegfried: Act II: Deine Hand Hieltest Du Vom Hort? - Lauritz Melchior
Siegfried: Act II: Dass Der Mein Vater Nicht Ist - Lauritz Melchior
Siegfried: Act II: Du Holdes Voglein - Lauritz Melchior
Siegfried: Act II: Haha! Da Hatte Mein Lied - Lauritz Melchior/Heinrich Tessmer/Eduard Habich
Siegfried: Act II: Wohin Schleichst Du Eilig Und Schlau - Lauritz Melchior/Heinrich Tessmer/Eduard Habich

Tracks:

Siegfried: Act II: Da Lieg Auch Du, Dunkler Wurm! - Lauritz Melchior/Nora Gruhn
Siegfried: Act II: Gonntest Du Mir Wohl Ein Gut Gesell? - Lauritz Melchior/Nora Gruhn
Siegfried: Act II: Hei! Siegfried Erschlung Nun Den Schlimmen Zwerg! - Lauritz Melchior/Nora Gruhn
Siegfried: Act III: Prld - Emil Schipper/Maria Olszewska
Siegfried: Act III: Wache, Wala - Emil Schipper/Maria Olszewska
Siegfried: Act III: Stark Ruft Das Lied - Emil Schipper/Maria Olszewska
Siegfried: Act III: Dir Unweisen Ruf Ich Ins Ohr - Emil Schipper/Maria Olszewska
Siegfried: Act III: Kenntest Du Mich, Kuhner Spross - Florence Easton/Lauritz Melchior
Siegfried: Act III: Zich Hin! - Florence Easton/Lauritz Melchior
Siegfried: Act III: Siegfried Mounts The Rocky Height - Florence Easton/Lauritz Melchior
Siegfried: Act III: Selige Ode Auf Sonniger Hoh'! - Florence Easton/Lauritz Melchior
Siegfried: Act III: Das Ist Kein Mann! - Florence Easton/Lauritz Melchior
Siegfried: Act III: Heil Dir, Sonne! - Florence Easton/Lauritz Melchior
Siegfried: Act III: O Siegfried! Siegfried! - Florence Easton/Lauritz Melchior
Siegfried: Act III: Ewig War Ich - Florence Easton/Lauritz Melchior
Siegfried: Act III: Dich Lieb Ich - Florence Easton/Lauritz Melchior
Siegfried: Act III: Ob Jetzt Ich Dein? - Florence Easton/Lauritz Melchior

Tracks:

Gotterdammerung: Prologue: Welch Licht Leuchtet Dort? - Arthur Fear/Walter Widdop/Frederic Collier/Gota Ljungberg
Gotterdammerung: Prologue: Dawn - Arthur Fear/Walter Widdop/Frederic Collier/Gota Ljungberg
Gotterdammerung: Prologue: Zu Neuen Taten - Arthur Fear/Walter Widdop/Frederic Collier/Gota Ljungberg
Gotterdammerung: Prologue: Sigfried's Rhine Journey - Arthur Fear/Walter Widdop/Frederic Collier/Gota Ljungberg
Gotterdammerung: Act I: Begrusse Froh, O Held - Arthur Fear/Walter Widdop/Frederic Collier/Gota Ljungberg
Gotterdammerung: Act I: Hier Sitz Ich Zur Wacht - Maartie Offers/Florence Austral
Gotterdammerung: Act I: Seit Er Von Geschieden - Maartie Offers/Florence Austral
Gotterdammerung: Act II (Beginning): Hoiho! Hoihohoho! - Ivar Andresen/Berlin State Chor:/Leo Blech

Tracks:

Gotterdammerung: Act II (Conclusion): Helle Wehr! - Florence Austral/Frederic Collier/Arthur Fear
Gotterdammerung: Act II (Conclusion): Welches Unholds List - Florence Austral/Frederic Collier/Arthur Fear
Gotterdammerung: Act III: Frau Sonne Sendet Lichte Strahlen - Rudolf Laubenthal/Tilly De Garmo/Lydia Kindermann/Elfriede Marherr
Gotterdammerung: Act III: Mime Hiess Ein Murrischer Zwerg - Rudolf Laubenthal/Desider Zador/Emmanuel List/Berlin State Chor/Leo Blech
Gotterdammerung: Act III: Brunnhilde, Heilige Braut! - Rudolf Laubenthal/Desider Zador/Emmanuel List/Berlin State Chor/Leo Blech
Gotterdammerung: Act III: Siegfried's Funeral Music - Florence Austral
Gotterdammerung: Act III: Schweigt Eures Jammers - Florence Austral
Gotterdammerung: Act III: Starke Scheit Schichtet Mir Dort - Florence Austral
Gotterdammerung: Act III: Sein Ross Fuhret Daher - Florence Austral
Gotterdammerung: Act III: Finale - Florence Austral

Customer Reviews:

Coates, Austral, Widdop, Melchior, Schorr, Easton.......2007-06-15

These "bleeding chunks" of Wagner's "Ring," recorded in London and Berlin between 1926 and 1932, are generally exciting and well-sung performances, but a lot of the British and German singers used were really just repiteurs of their time. The really golden voices belong to Florence Austral, young Melchior, Friedrich Schorr and Florence Easton, though Walter Widdop was much better Heldentenor than one usually finds today and certainly deserves honorable mention.

The most frustrating thing about this set, aside from its episodic nature, was the schizophrenic use of five different conductors, each of whom had an entirely different way of shaping and pacing the work. Of the two used most frequently, Albert Coates and Leo Blech, Coates was decidedly the greater conductor. Every single note of every single phrase he conducts on these records has life, drive, clarity of texture, proper weighty tone and an almost palpable excitement. Indeed, in my view Coates is the most underrated conductor who recorded in history, and deserves to be better known for ALL of his work.

The price is a little steep, but if you get the set, do yourself a favor, JUST listen to the Coates-conducted excerpts first, then go back and listen to the whole thing. You'll quickly see what I mean. My biggest frustration was that Coates was not chosen to conduct the final scene from "Siegfried" with Melchior and the greatly-underappreciated Florence Easton, who though she was not as good as Austral was certainly an outstanding singer. Mark Obert-Thorn has done a good job of transferring these old records. The original 78s had a LOT of hiss and "sandpaper" sound in them, since they were issued at a time when Victor and HMV were putting EMERY powder in the grooves to minimize needle wear. (Emery powder is the same kind of thing you file your nails with, so you can imagine how abrasive the sound is even on mint-condition discs!) In doing so, he has of necessity scraped a little of the overtones off as well, leaving a slightly "grainy" sound in soft wind and vocal passages, but that is a small price to pay for eliminating what used to be called "bacon frying" on the old records.

Recommended with the above reservations.

The greatest Wagner singing - bar none.......2005-08-16

This is the Ring that John Culshaw had so much fun with in his book, Ring Resounding, about the making of the Solti Ring. And he had a point. Yes, there is barely a third of the tetralogy recorded here (more than `bleeding chunks' but far less than the whole). Yes, we dart between London and Berlin and occasionally Vienna seemingly at will. Yes conductors (who didn't seem to be thought of as very important in those days) can change within scenes. So, on occasion, can singers - Act 2 of Walkure, for instance, has 2 Wotans, 2 Brunnhildes, 2 Sieglindes and Wotan No.2 doubles as Hunding! BUT...

But here is some of the most glorious singing you will hear on any Ring recording. Ever.

These days it seems to be the 50's that are lauded as the Golden Age of Wagner Singing - Hotter, Varnay, Nilsson, Flagstad (still), Windgassen, Vickers et al. But Hotter, magisterial and charismatic god that he could be, was prone to being hooty and woolly and even a bit wobbly, especially on an asthmatic day. Nilsson's awe-inspiring steely brilliance could leave her sounding a little cold and impersonal. At the other extreme, Flagstad's richer tones could make her sound a little maternal for my taste (Brunnhilde may be Siegfried's aunt, but she's not his mother!). Varnay was blisteringly committed in everything she did, but the voice as a voice? No cigar. Windgassen's Siegfried lacked the last ounce or two of vocal heft and he was apt to husband his resources a bit too much, especially in his eponymous opera. And so on.

But go back a generation further and wow! It's in a different class.

Let's start with Friedrich Schorr since he's the first of these greats to appear on these discs. In Wotan's `Abendlich strahlt' from Rheingold he is simply magnificent. This is a baritone bass-baritone as opposed to Hotter's bass bass-baritone (think Norman Bailey vs. John Tomlinson for modern local equivalents - on second thoughts, don't: it's not fair on two excellent Wotans!). Schorr's voice in 1927 was in prime nick (it got a bit strained at the top a decade or so later); focused, controlled, ample and with what I can only describe as a beat to it rather than any suggestion of wobble that gave it colour and character. Then there is the intelligence he brought to the character and the text. This is fully illustrated by taking practically any part of his role from Walkure - from the father issuing orders to his daughter through the crushed husband, the blind frustration of `heilige Schmach', the towering anger of Act 3 right through to what must be the definitive performance of the Farewell - certainly the one I always hear in my mind's ear. The Wanderer in Siegfried is no less wonderfully sung and the character has grown in maturity and resignation as well as gaining a sense of humour in his scenes with Mime and Alberich.

Frida Leider's Brunnhilde strikes a perfect balance between the steeliness of a Nilsson and the mumsiness of a Flagstad. John Steane described her voice as "existing at that rarely achieved point where the heroic has not become inhuman and where the human does not undermine tragic dignity". Precisely. This is amply demonstrated in bar after bar of Walkure from the teenage whoops of her war cry through the inwardness and growing confidence of her plea to her father to the crowning heroic glory of her grand idea for a fire-girt rock and a hero to brave it, singing with reckless abandon and thrilling security at the same time. Sadly she is not with us for Siegfried or Gotterdammerung, though we get her earlier set of the last (butchered) scene of Siegfried with Rudolf Laubenthal as a consolation. I wish there had been room for her nonpareil of an Immolation, even though it wasn't part of the original set.

The last of this triumvirate of unmatchable Wagner singers was, of course, Lauritz Melchior as Siegfried. His voice is simply a phenomenon - tireless, with a distinctive ring throughout its range, towering when loud (forging the sword), capable of real beauty and poetry when soft (the Forest Murmurs) and not as prone to rhythmical sloppiness as he's often made out to be. We have not heard his like before or since and probably never will.

The rest of the cast are no slouches either. Walter Widdop as Siegmund can hold his head high in this esteemed company; Gota Ljunberg is a wonderful Sieglinde, young, sexy, alive to the rising passion of Act 1, the hysteria of Act 2 and the glorious outburst of maternalism in Act 3 alike. I have to say, I've never quite got it with most people's favourite Sieglinde, Lotte Lehmann (the Fidelio Leonora, yes, that's a different matter), so for me Ljungberg is probably the best of them all. Florence Austral is the Brunnhilde of Gotterdammerung - at her best in a Dawn Duet with Widdop as Siegfried, egged on by urgent conducting from Albert Coates (far and away the most exciting conductor on these discs). Her Immolation is excellent, if not enough to erase memories of Leider. Ivar Andresen is the blackest of Hagens (enough to make Frick sound cuddly!), Emmi Leisner an implacable Fricka and Maartje Offers a Waltraute who really draws you in to her narrative.

It was122 sides on its original issue and in sound that is really staggeringly good (as it comes up on these Pearl discs produced by the ever reliable Mark Obert-Thorn), considering it was recorded just a few years after the introduction of electric recording.

If you love Wagner singing of the absolutely highest standards and already have your favourite modern-sound version sorted, don't hesitate: treat yourself to the many, many unmatched performances on these discs, all for less than the price of a pretty dodgy seat at the opera house.

An abolute must.......2005-03-08

This magnificent compilation of the greatest Wagner singers and conductors of the 20s and early 30s is an absolute MUST for everyone who is remotely interrested in how Wagner was done in the past.
The greatest attractions are the magnificent interpretations of Friedrich Schorr, Frida Leider and the young Lauritz Melchior. Schorr sings Wotan in the excerpts from Die Walkure and Leider sings Brunnhilde. Melchior sings the young Siegfried. There is so much to treasure in this set. The English tenor Walter Widdop sings Siegmund and Swedish soprano Gota Ljungberg sings Sieglinde. The Walkure and Siegfried excerpts are quite consistant in the casting. Mime is sung by different tenors in Siegfried and although Wanderer is sung by Schorr in acts 1 and 2, the role is sung by two others Emil Schippers and Rudolf Bockelmann in act 3. None of them are as noble or as magnifient sounding as Schorr. Florence Easton sings Brunnhilde with Melchior in the duet at the end of the opera.
Gotterdammerung, though, is much less consistantly cast, the only consistant casting being Florence Austral as Brunnhilde. The excerpts are much more spread and more brief than on Siegfried, which had almost all of Siegfried's scenes intact. Siegfried is sung by Walter Widdop in the prologue and acts 1 and 2 and Horst Laubenthal in act 3. These two are not as great as Melchior (who is?), but is still quite excellent. Hagen is done by Arthur Fear, Ivar Andresen, Emanuel List. Andresen sings Hagen's watch (Hier sitz ich zur Wacht) and the calling of the Vassals (Hoiho! Hoihohoho!). He is the most chilling and exciting Hagen I have ever heard. His rendition, especially the calling of the vassals, is really dominating and every time I hear it gives me shivers. No other Hagen is quite as compelling is evil sounding without overdoing it. He is, for me, the main attraction of the Gotterdammerung part of the set.
The set also includes small excerpts of Rheingold with Schorr's rendition of the entry of the Gods to Vallhalla as the main attraction. And in addition to this there is an extra recording of parts of the Siegfried with Laubenthal and Leider. This scene is a little differently done than with Melchior and Easton, but both are great.
I have not said anything about the magnificent conductors here. Main parts of act 1 of Walkure is done by the great Albert Coates and somewhat less successfully by Lawrence Collingwood. Coates and Leo Blech dominates the rest of the Ring excerpts with scenes done by John Barbirolli, Robert Heger and Carl Alwin. But the most exciting conducting of all is done by the magnificent Karl Muck in Siegfried's Rhine Journey and Funeral March. The Rhine Journey is done with so much youngfullness and describes the young hero's journey magnificently. The Funeral March is done very solemnly and very much as a tribute to the great fallen hero.

So I would highly recommend this to all who is remotely interested in historical recordings or would want to know how Wagner was done is the past. The sound is really exceptional for its time and it is as good as any release from Pearl who is highly regarded as one of the best labels who releases historical recordings.

The Best Second "Ring".......2003-02-27

After coming to know, love and perhaps becoming obsessed with the Ring through one of the modern stereo versions (e.g., Solti), you may want to hear another version. In my view, this classic version is the single best second Ring to get. It represents the fruit of a tremendous pre-War undertaking featuring many of the finest Wagnerian singers and musicians of the era giving performances that are astounding. Seventy-plus years later, the voice of Lauritz Melchior (for example) does not cease to amaze.

Customer Reviews:

Fine reissue of a classic set.......2006-05-24

Think about the stupidest, most formulaic Hollywood movies you can think of: cheesy action pictures, fluffy, unfunny comedies, big but stiff epics. Now imagine that one of the greatest living composers was working in Hollywood, turning out astonishing, hauntingly beautiful and stirring musical scores for these throwaway movies. That's what you get with this set: music Henry Purcell composed for some two dozen often utterly forgettable plays (trust me--I've read a number of them!) Occasionally, when he teams up with a playwright worthy of his stature, such as John Dryden, Aphra Behn, or William Congreve, the results are even better, but for the most part you can enjoy the music here without knowing anything about the original plays.

This set originally appeared as separate LPs in the 70s and 80s, and has been long out of print. That's a pity, since Purcell spent a good deal of his short professional life in the theatre, either writing the incidental music contained on these CDs, or the music for his larger works, the semi-operas (King Arthur, The Fairy Queen, and the like). Almost all of these works are enjoyable gems; certainly, they represent a pinnacle of English 17th century music. Purcell had a genius for spinning musical gold out of the most leaden lyrics (check out his Odes and Welcome Songs on Hyperion if you don't believe me), and he does the same with the song texts in these plays.

Hogwood and the AAM offer clean, listenable performances, and the sound on these old analog discs has been cleaned up and brightened--although they were pretty good, even in the late 70s. As with most Hogwood, emotional extremes are kept to a minimum, so the "otherworldly" nature of late 17th century music, so often emphasised in more recent Baroque performances, doesn't come across here. It would be interesting to see what a group like The King's Consort would do with this music, but this set fills the major gap in the Purcell canon quite nicely.

My only beef with the reissue, as with many reissues, is that the liner notes are rather thin for a 6-cd set--the lyrics to the songs, for example, are especially missed. Still, it's a worthwhile set, and a must for fans of Purcell, English Baroque music, or anyone who just wants to experience a taste of the last days of the Restoration stage.

Average customer rating:

ISSUE RESOLVED ON THE EUPHRATES
Enjoiyable, but lacking, too.

Handel: Belshazzar

Manufacturer: Archiv Produktion
ProductGroup: Music
Binding: Audio CD

Minuets | Ballets & Dances | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music
Similar Items:

Samson
Handel: Alexander's Feast
Handel - Joshua / Kirkby, Bowman, Oliver, Ainsley, George, The King's Consort
Handel - Deborah / Y. Kenny · Gritton · Denley · Bowman · M. George · The King's Consort · King
Handel: Solomon

ASIN: B0001ZWGHY
Release Date: 2004-06-15

Tracks:

Overture
Vain, Fluctuating State Of Human Empire!
Thou, God Most High, And Thou Alone
The Fate Of Babylon, I Fear, Is Nigh
Lament Not Thus, Oh Queen, In Vain!
Behold, By Persia's Hero Made
Well May They Laugh/Oh Memory! Still Bitter To My Soul
Opprest With Never-Ceasing Grief
Dry Thoes Unavailing Tears
Be Comforted: Safe Though The Tyrant Seem/Methought, As On The Bank Of Deep Euphrates
Now, Tell Me, Gobrias
Behold The Monstrous Human Beast
Can You Then Think It Strange
Great God! Who, Yet But Darkly Known
My Friends, Be Confident
All Empires Upon God Depend
Oh Sacred Oracles Of Truth!
Rejoyce, My Countrymen
Sing, Oh Ye Heav'ns!

Tracks:

Let Festal Joy Triumphant Reign!
For You, My Friends
The Leafy Honours Of The Field
It Is The Custom, I May Say, The Law
Recall, Oh King! Thy Rash Command
They Tell You True
Oh Dearer Than My Life, Forebear!
By Slow Degrees The Wrath Of God
See, From His Post Euphrates Flies!
You See, My Friends, A Path
Amaz'd To Find The Foe So Near
To Arms, To Arms! No More Delay!
Ye Tutelar Gods Of Our Empire
Let The Deep Bowl Thy Praise Confess
Where Is The God Of Judah's Boasted Pow'r?
Call All My Wise Men

Tracks:

A Singony (Allegro Postillions)
Ye Sages! Welcome Always To Your King/Alas! Too Hard A Task The King Imposes
Oh Misery! - Oh Terror! - Hopeless Grief!
Oh King, Live For Ever!
No! To Thyself Thy Trifles Be
Yet, To Obey His Dread Command
Oh Sentence To Severe!
Oh God Of Truth! Oh Faithful Guide!
You, Gobrias, Lead Directly To The Palace
Oh Glorious Prince!
Alternate Hopes And Fears
Fain Would I Hope
Can The Black Aethiop Change His Skin?
My Hopes Revive
Bel Boweth Down!
I Thank, Thee, Sesach
A Martial Symphony
To Pow'e Immortal My First Thanks
Be It Thy Care, Good Gobrias
Great Victor, At Your Feet I Bow
Say, Venerable Prophet
Tell It Out Among The Heathen
Yes, I Will Build Thy City
I Will Magnify Thee

Customer Reviews:

ISSUE RESOLVED ON THE EUPHRATES.......2005-06-19

One question I might find among the more difficult in my life would be - which is my favourite Handel oratorio? I suspect that my answer would generally be 'the one I heard most recently', and that, as I write this, is Belshazzar. It is a magnificent thing, a heavenly thing. It has taken me longer than it should have to come to an appreciation of what makes Handel the phenomenon - as a genius, as an artist, as a craftsman - that he is, but I am comforted to reflect that no less a genius than Haydn, at the age of nearly 70 gaining a more thorough knowledge of Handel in performance, was driven to say that he felt a mere apprentice. In his sense of how to pace a dramatic narrative, in his instinct for how to use the human voice in song and above all in chorus, in the matchless flexibility and adroitness he displays at word-setting and in the audacity of his melodic and harmonic effects I can think of nobody who can approach Handel on his own terms.

Belshazzar was not a great success at the box-office, although this may have had more to do with difficulties in the casting than because it was deemed insufficiently biblical for oratorio, which seems to have been the fate of Hercules. It seems to me to be perfectly well described as oratorio in other ways too, with (for one thing) the extensive use of the chorus that we find in, say, Samson but not in Hercules. The one passage that cries out for visual effects is of course the apparition of the moving finger itself. Even here the composer can go a long way with sheer power of suggestion, by the strange unaccompanied violin figure creeping upwards and the frightened brevity of the vocal numbers. Otherwise for me Belshazzar is as much an oratorio as Samson is. It has the same librettist too, the crusty and formidable Jennens, who had also collaborated with Handel on Saul and on Messiah itself. Jennens' full text is not provided, but I think if you read the synopsis first and then follow the work from the headlines to each number you will have no difficulty in catching the words, so clear is the enunciation by soloists and chorus alike. As usual, Handel was driven to make alterations to the score for practical reasons. He had been a little concerned about its length, roughly 2 hours and 50 minutes in this performance, but where he wishes to be expansive he gives us full measure - two arias in Act I scene 4 take well over 7 minutes each. The liner-essay (a good one, by Anthony Hicks) goes into the issue of the version of the score used here, and I personally have no problem with it.

I have no faults to find with the performance in any way. Pinnock is an established specialist, the instruments are period instruments and vocal cadenzas at the end of the arias are kept minimal. Anthony Rolfe Johnson, James Bowman and David Wilson-Johnson are tried and trusted Handel singers and at their best here, and Nicolas Robertson and Richard Wistreich in the smaller parts are every bit as good. The part of Cyrus is a soprano part, taken by Catherine Robbin, and when I thought I heard just one touch of strain in `Destructive War' in the final scene she makes up for it instantly in her superb duet with Arleen Auger in the following number. Auger as Nitocris the mother of Belshazzar has the biggest part, and she covers herself with glory all the way through.

The recording is perfect, and when I saw an aria entitled `Destructive War, thy limits know' near the end I felt a sharp sense of irony in the year 2005. Cyrus, Handel, Jennens, you should all have been living at this hour.

Enjoiyable, but lacking, too........2004-08-16

This 3CD set of George Frederic Handel's (1685-1759) "Belshazzar", from Archiv Production, a division of Universal Music, is proof again that transfer from vinyl to tape to disc brings with it improvements in listening that make the purchase a worthwhile addition to anyone's listening library. Written in 1744, "Belshazzar" is an oratorio in the operatic style that is wonderful oratorio, but lacking the true depth one expects to hear in an opera. London opera audiences of Handel's day agreed, as both "Belshazzar" and Handel's other offering of the period in the same style, "Hercules", were not terribly successful. Instead of the scheduled 24 performances only 16 were given and Handel never offered a full season of oratorio again. The Libretto by Charles Jennens (1700-1773) is, as the production notes say, meant "not only to show the fall of Babylon but to show it as a fulfillment of divine prediction and to confirm the biblical testimony by reference to classical history." There's only one problem, as good a quality as the CDs are, it is not possible to follow the full libretto and the accompanying booklet includes no text, which is a shame. I think the listening experience would have been increased immeasurably if one was able to follow the text of what is being sung. Nonetheless the dramatic narrative is fluid and even, and the English Concert and Choir provide nice balance to the less full vocal passages, as in Disc 3s "Oh Glorious prince", cut 10. There is enough of this throughout to keep one's interest, but disappointing if what one expects is another ""Messiah".

Birgit Nilsson Sings Richard Wagner & Richard Strauss

Average customer rating:

The whole career of one of the greatest singers of all time
Birgit Sings Like Sweetness
A Document In The Grand Career Of Birgit Nilsson (1918-2005)
Great

Birgit Nilsson Sings Richard Wagner & Richard Strauss

Manufacturer: Gala
ProductGroup: Music
Binding: Audio CD

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General | Opera & Vocal | Styles | Music

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Birgit Nilsson: Opera Arias
Nilsson Sings Verdi
Or sai chi l'onore: Opernarien von Mozart, Weber, Wagner, Strauss
Wagner: Opera Arias & Duets
Prima Voce: Flagstad

ASIN: B000001XNS
Release Date: 2000-06-06

Tracks:

Ariadne auf Naxos: Es Ist alles vergebens - Es gibt ein Reich
Salome: Es ist kein Laut zu vernehmen
Salome: Ah! du wolltest mich nicht deinen Mund kussen lassen, Jochanaan
Salome: Sie ist ein Ungeheuer, deine Tochter
Salome: Ah! Ich habe deinen Mund gekusst, Jochanaan
Elektra: Was willst du, Fremder Mensch?
Die Fau Ohne Schatten: Es dunkelt, dass ich nicht sehe zur Arbeit
Die Fau Ohne Schatten: Es gibt derer, Die bleiben immer gelassen Abtu ich von meinem Leibe die Kinder
Die Fau Ohne Schatten: Die Weib ist irre - Barak, ich hab es nicht getan
Tannhauser: Dich, teure Halle
Lohengrin: Euch Luften, die mein Klagen
Lohengrin: Elsa!-Wer Ruft?
Lohengrin: Ortrud, wo bist du?

Tracks:

Tristan und Isolde: Horst du sie noch?
Tristan und Isolde: Mild und leise wie er lachelt
Die Walkure: Schlafst du, Gast?
Die Walkure: Wintersturme wichen dem Wonnemond
Die Walkure: De bist der Lenz
Die Walkure: O susseste Wonne! Seligstes Weib!
Die Walkure: Siegmund heiss ich und Siegmund bin ich!
Siegfried: Ewig war ich, ewig bin ich
Gotterdammerung: Schweigt eures Jammers jauchzenden Schwall
Gotterdammerung: Starke Scheite, Schichtet mir dort

Customer Reviews:

The whole career of one of the greatest singers of all time.......2007-01-14

I could nor beleive my eyes when I saw the price of this recording. It covers the whole career of the greatest Wagner and Strauss singer in the last half of the 20th Century. I think the whole performance of Ariadne of Naxos allurs in the archives of the Swedish Broadcasting company - a release, please!
When the news arrived that La Nilsson hade died in her home, surrounded by family members and near friends, on Christmas Day 2005 (kidneys not functioning, and no more dialysis possible) - we at once underrstand her uniquiness - there was nobody there to take over the helm and shield....It is quite wonderful that this eextensive compilation was published just recently. It is a very worthy portrait of a blessed singer!

Birgit Sings Like Sweetness.......2007-01-08

This is the first time I had heard Birgit Nilsson sing. The CD was great. However, I did have to blast the music because it is the original recording on the CD. Besides the quality it is worth purchasing if you want to hear one of the best. Her voice is clear and sweet, and welcoming to the ears.

A Document In The Grand Career Of Birgit Nilsson (1918-2005).......2006-03-23

The great soprano from Sweden, Birgit Nilsson, once contemplated suicide when she met with dismal reviews in her first perfomrance as Agathe from Weber's Die Freitschutz, for she was inexperienced and fresh out of the farm she grew up in. She went on to become the greatest dramatic soprano of all time, and for me, she is an even more thrilling and masterful soprano than the overrated Maria Callas. Birgit Nilsson died of unknown causes in her hometown of Sweden on Christmas of '05 only months ago. Her huge, steely, bright, metallic voice was reportedly capable of breaking glass and stone. This album covers many years in her career. Her Ariadne is not well known and it's captured in a young voice (50's) and she is in phenomenal shape. The dramatic heft of the role is suited to her voice. Wagner was her specialty of course and here we have slices of her Elisabeth from Tannhauser. She also sang Venus. Isolde was another great role of hers (the one she debuted at the Met) and Brunhilde is of course her best role. Singing Strauss is no piece of cake but when we listen to her Salome and Elektra and Dryer's Wife from Die Frau we are hearing a woman who, despite age, is singing with strength and vigor. She gets into character each time and she sings beautifully. All fans of La Nilsson must get this one.

Great.......2003-08-20

This is a very good CD for people who follow Birgit Nilsson's development. It contains live performances from 1949 (Ariadne auf Naxos - Nilsson sang Ariadne!!) to 1977 (Dyer's Wife in Die Frau Ohne Schatten). You can see her development from young to old over close to 30 years. For someone like me who have many of Birgit Nilsson's commercial recordings, this is a great CD too because it allows me to compare her 'live' performances with the studio recordings. It also enables me to see how her voice developed over the years. For instance, her voice grew in warm as she progressed in her career. By 1977, her voice had lost some ease - you can tell that she has to sing with more effort but her top register is still amazing, the gleam is still there even if it is more effortful to produce (when I say effortful I mean by young Birgit Nilsson standards - if you compare with other singers, she still sings effortlessly). Imagine - by 1977, she was 59 and she still puts singers singers half her age at 30 to shame. A very interesting CD in very mono sound. 5 stars for Nilsson's superb performances (her vocalism never fails to amaze me), for a fantastic variety of excerpts, for very mono sound, for the historical importance of this CD and for the incredible bargain price ... for 2 CDs.

Tracks:

The Rhinegold: Lugt, Schwestern! Die Weckerin Lacht in Den Grund - Helen Donath/Edda Moser/Anna Reynolds/Zoltan Kelemen
The Rhinegold: Nur Wer Der Minne Macht Ensagt - Helen Donath/Edda Moser/Anna Reynolds
The Rhinegold: Der Welt Erbe Gewann Ich Zu Eigen Durch Dich - Zoltan Kelemen/Helen Donath/Edda Moser/Anna Reynolds
The Rhinegold: Haltet Den Rauber! - Helen Donath/Edda Moser/Anna Reynolds
The Rhinegold: Hor, Wotan, Der Harrenden Wort! - Karl Ridderbusch/Dietrich Fischer-Dieskau/Martti Talvela/Simone Mangelsdorff
The Rhinegold: Schwester! Bruder! Rettet! Helft! - Simone Mangelsdorff/Donald Grobe/Robert Kerns/Gerhard Stolze/Josephine Veasey
The Rhinegold: Wotan, Gemahl, Unselger Mann! - Josephine Veasey/Dietrich Fischer-Dieskau/Gerhard Stolze/Robert Kerns/Donald Grobe
The Rhinegold: (Transformation Music) - BPO/Herbert Von Karajan
The Rhinegold: Zur Burg Fuhrt Die Brucke - Donald Grobe
The Rhinegold: Abendlich Strahlt Der Sonne Auge - Dietrich Fischer-Dieskau
The Rhinegold: So Gruss Ich Die Burg - Dietrich Fischer-Dieskau/Josephine Veasey/Gerhard Stolze
The Rhinegold: Rheingold! Rheingold! - Helen Donath/Edda Moser/Anna Reynolds/Dietrich Fischer-Dieskau/Gerhard Stolze
The Valkyrie: Der Manner Sippe Sass Hier Im Saal - Gundula Janowitz/Jon Vickers
The Valkyrie: Wintersturme Wichen Dem Wonnemond - Jon Vickers
The Valkyrie: Du Bist Der Lenz - Gundula Janowitz
The Valkyrie: O Susseste Wonne! Seligstes Weib! - Jon Vickers/Gundula Janowitz
The Valkyrie: War Walse Dein Vater, Und Bist Du Ein Walsung - Gundula Janowitz/Jon Vickers
The Valkyrie: Siegmund, Den Walsung, Siehst Du, Weib! - Jon Vickers/Gundula Janowitz
The Valkyrie: (The Ride Of The Valkyries) - BPO/Herbert Von Karajan
The Valkyrie: Leb Wohl, Du Kuhnes, Herrliches Kind! - Thomas Stewart
The Valkyrie: Der Augen Leuchtendes Paar - Thomas Stewart
The Valkyrie: Loge, Hor! Lausche Hieher! - Thomas Stewart
The Valkyrie: (Magic Fire Music) - BPO/Herbert Von Karajan

Tracks:

Siegfried: Dass Der Mein Vater Nicht Ist - Forest Murmurs - Jess Thomas
Siegfried: Nun Sing! Ich Lausche Dem Gesang! - Jess Thomas/Catherine Gayer
Siegfried: Prld To Act III. - BPO/Herbert Von Karajan
Siegfried: Wache, Wala! Wala! Erwach! - Thomas Stewart
Siegfried: (Brunnhilde's Awakening: Intro) - BPO/Herbert Von Karajan
Siegfried: Heil Dir, Sonne! Heil Dir, Licht! - Helga Dernesch/Jess Thomas
Siegfried: Siegfried! Siegfried Seliger Held! - Helga Dernesch/Jess Thomas
Twilight Of The Gods: (Orchestral Interlude) - BPO/Herbert Von Karajan
Twilight Of The Gods: Zu Neuen Taten, Teurer Helde - Helga Dernesch
Twilight Of The Gods: Mehr Gabst Du, Wunderfrau, Als Ich Zu Wahren Weiss - Helge Brilioth/Helga Dernesch
Twilight Of The Gods: (Siegfried's Rhine Journey) - BPO/Herbert Von Karajan
Twilight Of The Gods: (Funeral Music) - BPO/Herbert Von Karajan
Twilight Of The Gods: Starke Scheite Schichtet Mir Dort - Helga Dernesch
Twilight Of The Gods: Mein Erbe Nun Nehm Ich Zu Eigen - Helga Dernesch
Twilight Of The Gods: Fliegt Heim, Ihr Raben! - Helga Dernesch
Twilight Of The Gods: Conclusion 'Zuruck Vom Ring!' - Karl Ridderbusch

Customer Reviews:

A substantial overview of Karajan's Ring.......2007-07-11

One could debate for a brief eternity which conductor should be labeled "the best." Numerous magnanimous interpreters come to mind: Gustav Mahler, Arturo Toscanini, Otto Klemperer, Carlos Kleiber, Karl Böhm, Herbert von Karajan, Sir Georg Solti, Claudio Abbado, Pierre Boulez, Daniel Barenboim, Giuseppe Sinopoli, and James Levine are just a potpourri of renowned orchestral masters. Toscanini and Karajan were probably the most influential in redefining the nature in which one should approach a piece of music; both insisted that traditional conducting, in which a piece was essentially performed in the same manner continuously, was neither healthy nor appropriate for the music in question and, they laid the foundation for conductors to develop their own characteristic conducting and interpretative styles.

One now comes to Richard Wagner, often considered the master of Romantic music and one of the definitive composers to ever set foot on the soil of this planet. If one were to painstakingly evaluate the two conductors' collective Wagnerian works, one would most likely come to the conclusion that Hungarian-born Sir Georg Solti was a "more perfect" Wagnerian conductor than the Austrian musical megalomaniac Herbert von Karajan. Solti's style of conducting, which lent itself to the works of Ludwig van Beethoven, Mahler, and Richard Strauss, was obviously within the atmosphere of Wagner, and his John Culshaw-produced rendering of Der Ring des Nibelungen can easily be considered one of the greatest achievements in modern recorded sound. Nonetheless, Karajan's brilliance came not from his ability to conduct Wagner perfectly, as one might arguably suggest for Solti, but rather from his ability to approach every composer with a certain level of comfort and singularity while simultaneously retaining his format of interpretation. Karajan was just as comfortable with the works of Johann Sebastian Bach and Wolfgang Amadeus Mozart as he was with Jean Sibelius and Arnold Schoenberg, and his expertise transcended every medium, from choral works and masses to symphonies to operas to concerti. It was also his singular smoothness, his uncanny ability to gloss and refine the roughest and most vulgar of music (which, occasionally, in a work such as Carmen, had a derogatory effect) which made his Wagnerian music so spectacular a beacon and link within the chain mail of the musical world.

This is the reason why this recording of Der Ring des Nibelungen features what critics have called a "chamber music approach" to the Wagner score; Karajan dissected the music (as he did with everything he conducted) and took every measure to present, at all times, the beauty inherent in the music, even at the most violent and explosive instances. No fault is obvious in this, and with the operas of Rossini or Donizetti, no problem would have occurred; however, with Wagner, placing too burdensome an emphasis on beauty could, possibly, have an acidic effect on the overall drama of the work. This became an almost debilitating fault near the end of his illustrious career, but here the results are stunning. Karajan's interpretation is not sluggish (by the standards set by Solti, it is actually fairly brisk) and the orchestral performance from the imperial Berliner Philharmoniker is beyond betterment.

Thus, one must wonder why this recording of the Ring Cycle, with arguably the best conductor in the world leading one of the finest groups of musicians ever assembled, is frequently dogged by critics as weak and woefully idealistic. The answer lies in Karajan's casting which is, overall, inferior to Solti's. However, jewel-bedecked performances can be found in Karajan's cast with which Solti's cannot compete. Jon Vickers and Gundula Janowitz bring new definition to the twins Siegmund and Sieglinde. Operatic roles may have existed which Vickers did not perfect, but those which he performed (Peter Grimes, Samson, Tristan, Aeneas, Otello, Don José) were forever standardized by his interpretation. Siegmund is no exception, and though James King was a golden-toned, amorous youth on the Solti Die Walküre, Vickers is mightily Zarathustran and gloriously introspective during "Winterstürme wichen dem Wonnemond." Janowitz, who could make the harshest, most brutal German phrases drip with the smoothness and creamy elegance of French, brings radiance and gleaming simplicity to her Sieglinde which no other soprano could dare attempt. Their ecstatic, and eventually orgasmic, love duet ("Du bist der Lenz" ... "O süsseste Wonne! Seligstes Weib!" ... "Siegmund, den Wälsung, siehst du, Weib!") may be the greatest moment of Karajan's entire Ring Cycle.

The character of Wotan, the ruler of the gods, should, theoretically, be performed by a commanding, sonorous bass-baritone such as George London, Hans Hotter, Theo Adam, or James Morris, the most superb modern Wagnerian baritone. However, Dietrich Fischer-Dieskau, who was so praised for his vocal delicacy and aristocratic gentility, is surprisingly successful as the ambitious god whose ageless wisdom was blinded by his opulent rapaciousness in Das Rheingold. Fischer-Dieskau was often fussy and blusterous on the operatic stage, but brief instances of vocal waywardness are often excusable through Wagner, and he will have no difficulty pleasing the most caustic critic during his wondrous musing as the gods enter the celestial fortress of Valhalla ("Abendlich strahlt der Sonne Auge...So grüss ich die Burg"). Thomas Stewart, a severely under-recorded American baritone, excels as Wotan in Die Walküre and Siegfried. Wotan's eminent farewell to Brünnhilde in Die Walküre ("Leb wohl, du kühnes, herrliches Kind!...Der Augen leuchtendes Paar") could easily buckle many baritones; Stewart, however, sings with unfettered passion and mournful abandonment as the pained father. He is less thrilling (due to the context of the music, not his voice) in his conjuring of Erda in Siegfried ("Wache, Wala! Wala! Erwach!").

Gerhard Stolze, the consummate character singer, is not featured on this set of highlights as Mime, Alberich's toiling, gnomish brother, in Siegfried; his unique caricature of Loge in Das Rheingold is inserted instead. Loge, the mischievous demigod of fire, is a part usually performed by a heldentenor, such as Wolfgang Windgassen, Set Svanholm, or Siegfried Jerusalem, and for those strictly concerned with vocal beauty, these singers would be highly appropriate. However, for those seeking a more burlesque, stupendously acted performance (merely listen as he warns the gods not to enter Valhalla ["Ihrem Ende eilen sie zu"]), Stolze is perfectly idiomatic and certainly does not "bark" his lines, though he is occasionally criticized for doing so. Hungarian bass-baritone Zoltan Kélémén's career began, for the most part, with Karajan casting him as Alberich. The most inimitable interpreter of the dwarf fiend was Gustav Neidlinger; his Alberich was explosively, thunderously vindictive, a Caligulan nemesis. Kélémén's Alberich was a twisted, grisly deuce, and though he may have lacked the vocal robustness of Neidlinger (and the malignant guffaw), his retort against the mocking of the Rheintöchter ("Der Welt Erbe gewänn ich zu eigen duch dich") is a petrifying outburst. Helen Donath, Edda Moser, and Anna Reynolds are the most perfectly tuned Rheintöchter available on disc. No other trio can compare with their beguiling chatter in the first scene ("Lugt, Schwestern! Die Weckerin lacht in den Grund") nor with their wrathful longing in the finale ("Rheingold! Rheingold! Reines Gold!"). Liselotte Rebmann, Daniza Mastilovic, Ingrid Steger, Lilo Brockhaus, Carlotta Ordassy, Barbro Ericson, Cvetka Ahlin, and Helja Jenckel are similarly victorious during the Walkürnritt ("Hojotoho!"), which is sure to conjure an image of helicopters napalming seaside Vietnamese villages vis-à-vis Francis Ford Coppola or hellish, armed and armor-bedecked maidens soaring about on flying horses.

Josephine Veasey possessed an elegant, matronly tone which was perfectly suited for Fricka, Wotan's bickering wife, the goddess of marriage. Donald Grobe, a Karajan regular, is insipid but secure as Froh in his brief monologue ("Zur Burg führt die Brücke"). Martti Talvela and Karl Ridderbusch (another Karajan regular) shared the four main bass roles in the saga: Fasolt, Fafner, Hunding, and Hagen. Talvela is noted as one of the most sympathetic Fasolts on record; one must wonder how Talvela, the gargantuan Finnish bass, could not be suitable as a giant in any opera. His performance is woefully truncated here, alas. His Hunding, which was surely brutish and bovine, is not heard at all. The iniquitous villain Fafner's greatest moment comes not in Das Rheingold as the bellowing lummox but in Siegfried as the leering, yawning dragon; this is also left out of the collection. Ridderbusch's performance as Hagen, often heralded as one of his finest, is represented here by little more than his final outburst of "Zurück vom Ring!" After Dame Joan Sutherland's "cameo" appearance as the Waldwogel in Sir Georg Solti's Siegfried, all other performances are bound to fall short. Nonetheless, Catherine Gayer is notably lovely and chirpy.

Most criticism concerning the soloists is invested in insulting Jess Thomas, Helga Dernesch, and Helge Brilioth. Thomas, a regal Lohengrin and Tannhäuser in his youth, has forever been the recipient of spiteful banter reviling his performance as Siegfried in the third opera of the cycle. It is true that Windgassen owned the role in much the same way that Birgit Nilsson was the executor of Brünnhilde (after Flagstad and Varnay); however, their performances were sublime in the locality of their vocal precision and dramatic prowess, which were sublime. In the sector of vocal attractiveness (which is, one must concede, Karajan's principal area of focus), Windgassen fell short of the golden-throated Thomas, and Nilsson's steely voice, though it possessed its own rampageous eroticism, was also inferior to Helga Dernesch's richer and milder tone. As examples, Thomas is marvelous during the darkly impressionistic, meandering Waldweben ("Dass der mein Vater nicht ist"); Dernesch is ravishing in the Awakening Scene ("Heil dir, Sonne! Heil dir, Licht! ... Siegfried! Siegfried! Seliger Held!") and in the apocalyptic finale of Götterdämmerung ("Starke Scheite schichtet mir dort...Fliegt heim, ihr Raben!"). Poor Brilioth is often criticized for simply sounding dull and inadequate as Siegfried in Götterdämmerung, and one must concede that it would have been more prudent for Karajan to cast Windgassen. [Régine Crespin, who is not featured on this collection, performed Brünnhilde in Die Walkure. This had mixed results, for most held her performance as the Valkyrie in juxtaposition to her gorgeous interpretation of Sieglinde on the Solti recording. I, personally, found her Brunnhilde delightfully witty and humane.]

Perhaps the greatest fault of this collection of highlights is that it is what it is: a collection of excerpts. Der Ring des Nibelungen is an expansive masterpiece which is not suitable for a two-disc collection of noteworthy tracks. This compilation, nevertheless, is indeed superb (as are most Deutsche Grammophon/Panorama releases), as is the set of highpoints from Karl Böhm's Ring Cycle, released through Philips. One should, by all means, disregard the hateful criticism placed upon Karajan's work here. It is not his finest, but it is Karajan, and his worst level is a pinnacle of excellence which most conductors can only hope to achieve, particularly in a Wagnerian sphere.

Where is Karajan's Ring on amazon?.......2005-09-05

I can't find any of the four Ring operas here at amazon.com. This is very peculiar, but in case you, too, are looking for them, I can say that the Rheingold and Die Walkure are superb, but the Siegfried is vocally a catastrophe, beginning with the woeful Jess Thomas in the title role, and the Gotterdammerung is hampered by an inedequate Siegfried and a not veyr inspired dernesch as Brunnhilde. DG has remastered them all at mid-price, and the mid-Sixties analog sound was good to begin with.

not an introduction to The Ring.......2005-04-18

This is absolutely the best "highlight" collection out there -- no others come close to the range and depth of material provided. But beware, this is not an "introduction to The Ring", as some claim -- the notes are skimpy, the titles of the excerpts are untranslated, there is no libretto, no description of the excerpts -- their context or meaning -- so what you have is a great summary of the works -- one that is most useful if you already know them -- something to take along with you in the car or while jogging or walking the dog to remind you of the real thing. Bear in mind that whatever the deficiencies of this collection, the others have the same faults also.

A wonderful introduction, or a new experience.......2004-02-14

Admittedly, it is a daunting task to try to "get into" opera, and even more so with Wagner's Ring. This CD is perfect for the beginner and the more experienced listener for various reasons. First of all, it spoils you somewhat in presenting you with the best pieces of the various operas. These "bleeding chunks" certainly give you a wonderful introduction to the various motifs, and most importantly, are very long pieces. The CD manages to capture several of the different flavors present in Wagner's opera.

Secondly, the CD is worth its price mainly due to Karajan's conducting. After listening to Solti's version of the Ring (also wonderful), I was suprised by the subtle hints he seems to charge through. You can literally hear the galloping of the horse, or subtle musical hints which add a great appreciation and character to the opera. Thus, if you have experienced several other conductors, but have not had the pleasure of Karajan, it would be worth the price.

Unfortunatly, some of the singing is kinda weak. Again, after Solti's Valkyries, you will have a hard time getting into the singing. And again, Karajan's Brunhilde isn't as strong as Solti's, but she still holds her own. Loge, here, sounds like a trickster (though he does sing/speak his words), and the Wotan's are alright.

In conclusion, this is perfect if you want to add flavor to your Wagner listening experience, or just want to know what the big deal is. I, of course, suggest getting one of the DVD's to get the big picture of what is going on (Levine's MET is a good start). So buy and enjoy.

good introduction.......2002-06-11

this is a good way to see why it is worth getting the full Der Ring opera--all 15 CDs! having just the highlights shows you the power and majesty of Wagner's music, but skips the depth and true emotion you get out of listening to the whole opera.

Average customer rating:

A Premiere Wagnerian Voice
The voice is great, the interpretations a bit uninspired
Superb Quality!
Birgit Nilsson's equal
One of the greatest treasures of the classical catalogue

Opera Scenes and Orchestral Songs

Manufacturer: Umvd Labels
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
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ASIN: B00009LW32
Release Date: 2003-08-12

Customer Reviews:

A Premiere Wagnerian Voice .......2006-06-28

Astrid Varnay was the equal of Nilssen and Moedl... and in this record it is clear why Wieland and Wolfgang Wagner kept inviting her back to star at Bayreuth Festival for 17 consecutive years! Not only did she have glorious voice (big, full bodied with clear top and colorful bottom), she was a consumate actress, too. Her reading of the roles are always multi-layered and utterly convincing. A dramatic soprano version of what Vesselina Kasarova is today. If you combine Nilsson and Modl and divide in two you'd probably get something close to a Varnay.

For the record, Varnay and Nilssen were practically the same age (unlike what the other reviewer said). They were born not far from each other in Sweden and just a few weeks apart (Varnay was older)... and the two were great friends. The rather popular misperception that Varnay was much older than Nilsson is because Varnay started starring in the lead hochdramatisch roles like Brunnhilde, Isolde, and Elektra in her early 20's while her contemporaries were still doing understudy and supporting works. As a matter of fact, this extraordinary singer had her Met debut the day before Pearl Harbour bombing substituting for Lotte Lehmann as Sieglinde opposite The Lauritz Melchior in the broadcast Die Walkure without having ever sung on stage before and made a grand success of it and never looked back.

Theirs were the Golden Age of Wagnerian hochdramatiche. The likes of Traubel, Nilsson, Varnay, Modl, Borg, Rysanek... all greats in their own unique ways. I wouldn't say one is better than the other or any is 'unfulfilled' just because I prefer another. They were all special and individualistic.

Varnay was The Wulkure Brunhilde after Flagstad's reign, but her voice changed (some call it 'uglified'... it got edgy and wobbly on top) and in later years she took on Wagner/Strauss mezzo roles and then the character roles like Beckbig in 'Mahoggony' instead while Nilssen continued on as the premium dramatic soprano. I don't think anyone has bettered Varnay's portrayal of Ortrud or Klytamnestra (and Elektra... if you've heard the 1953 recording with Klaus) yet.

This box set is a good highlights of Varnay's many Wagnerian roles in her good soprano voice years and beautifully conducted by her husband Herr Hermann Weigert (including arias from La Forza del Destino, Un Ballo in Maschera (in Italian and German versions), an aria by Beethoven, and Wagner's songs and opera scenes from The Ring (no Hojotoho), Tristan und Isolde (with a searing 'Narrative and Curse' and 2 versions of Liebestod).

There are 3 CDs in tight fitting paper envelopes (no case). A neat little booklet with a note of her career (and photos with Windgassen) comes with it ... no libretto given.

PS: if you haven't read it yet, her autobiography (55 years in 5 acts) is a must read.

The voice is great, the interpretations a bit uninspired.......2005-10-08

All the other reviewers here seem to agree that Astrid Varnay was the equal of Birgit Nilsson. That may have been true for a period when she was in her prime--as on these excellent CDs from 1954 and 1955, in amazingly good early stereo--but I found her interpretations somewhat disappointing. Varnay's singing isn't all that characterful; she concentrates on producing a steady stream of sound. One doesn't hear many colorings, emotional or vocal, and she tends to adopt a steady volume as well.

The result, particularly in the Ring excrepts, is too uniform. One doesn't hear Burnnhilde's grief, confusion, or vulnerability, being aware at all moments of an excellent dramatic soprano producing notes. In the Tristan disc, which has better conducting, I sitll can't tell the difference between the bitter Isolde of Act I and the rapturous one in Act II.

The same holds true for Windgassen, who is fairly wooden in his characterization, both in the Ring and Tristan excerpts. The reviewer who points out that he gained in dramatic ability in later years, even as his voice became older and frayed, is right. One is aware here that Windgassen is mostly tyring to inflate his voice to heldentenor status, which he does convincingly, but when a voice is being pushed, there isn't much room for light and shade.

Superb Quality!.......2005-09-04

First of all, it must be recognized the absoultely stunning technology of Deutsche Grammophone. The recordings from 1954 sound thirty years ahead of its time. If you don't believe me, compare this to some RCA recordings from the early 1980's. Only Decca comes close with their recordings of Aida, Otello, and Trovatore around the same period. An ever so slight static evades the loudest moments, but nothing like the Mehta Trovatore from 1970 on, you guessed it, RCA.

On to Varnay, the truly divine quality of her voice is unmatched by Nilsson, Braun, Grob-Prandl, or Modl, yet surpassed by Flagstad. However, is it not this deluxe voice and attention to drama that make us forget how tightly strained her notes are in the passagio and higher. The vowels are closed and she squeezes into the notes by opening them via the consonants. This can be very annoying. One wishes she would "just sing the note" a la Crespin, who made an art out her sublime attack.

As the premier Brunnhilde between Flagstad and Nilsson, she should be more famous, but closed and/or thin voices almost never break into the recording industry since open sounds are favored timelessly by microphones and technology especially in the acuti. I find Varnay's style of Italian singing perfectly enjoyable to someone else. In German, she at home. Varnay could and should have surpassed Nilsson as THE remembered Wagnerian, but she did not. She was younger than Nilsson, yet she started much faster. When Varnay "arrived" on the scene, she was preferred for the Hochdramtisch roles over Nilsson many times. She had EVERY opportunity and recommendation. But by 1959, the tables turned in big way. Brava Nilsson!

Windgassen sounds very fresh, if not as dramatically astute as he would become in the 1960's.

These are great performances and no criticism will ever have to power to take that away. Varnay was a star, period!

Birgit Nilsson's equal.......2003-11-29

Astrid Varnay was Birgit Nilsson's equal. She didn't have Nilsson's phenomenal top notes but she had Nilsson's huge voice and she had greater warmth than Nilsson. Bravo DG for this reissue!!

One of the greatest treasures of the classical catalogue.......2003-11-05

The hugely underrated and hugely underrecorded great dramatic soprano Astrid Varnay in one of her very few commercial recordings. Here we hear Varnay at her peak as Brunnhilde and Isolde in superb recorded sound. It's so sad that her full Isolde, Brunnhilde, Elektra and Salome were not recorded commercially. Thankfully, we have radio recordings of her full Isolde, Brunnhilde, Salome and Elektra. In the excerpts on these recordings, she is better recorded than in all her other recordings. If you love opera and Birgit Nilsson, you must have this set.

Average customer rating:

Underrated tenor in heroic roles.

Max Lorenz sings Richard Wagner

Manufacturer: Preiser Records
ProductGroup: Music
Binding: Audio CD

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Lebendige Vergangenheit: Max Lorenz

ASIN: B000056T7R
Release Date: 2001-01-30

Tracks:

Siegfried. Duett: Heil Dir, Sonne! Heil Dir, Licht
Siegfried. Duett: O Siegfried! Siegfried! Seliger Held!
Siegfried. Duett: Wie Wunder Tont, Was Wonnig Du Singst
Siegfried. Duett: Ewig War Ich, Weig Bin Ich
Siegfried. Duett: Dich Lieb' Ich: O Liebtest Mich Du!
Gotterdammerung. Duett: Zu Neuen Taten, Teurer Helde
Gotterdammerung. Duett: Lass' Ich, Liebste, Dich Hier
Gotterdammerung. Erzahlung Des Siegfried: Mime, Hiess Ein Murrischer Zwerg - Max Lorenz/Georg Hann
Gotterdammerung. Erzahlung Des Siegfried: In Leid Zu Dem Wipfel Lauscht Ich Hinauf - Max Lorenz/Georg Hann
Tristan Und Isolde. Duett: O Sink' Hernieder, Nacht Der Liebe - Max Lorenz/Christel Goltz/Elisabeth Wysor
Tristan Und Isolde. Duett: Lausch', Geliebter! - Max Lorenz/Christel Goltz/Elisabeth Wysor
Tristan Und Isolde. Duett: Soll Ich Lauschen? - Max Lorenz/Christel Goltz/Elisabeth Wysor

Customer Reviews:

Underrated tenor in heroic roles........2006-02-16

Max Lorenz ruled the stage in Europe in the heroic roles of Wagner while Lauritz Melchior sang in the U.S. and Britain. Lorenz is no less authoritative an interpreter, and many may value his brighter "ping" over the baritonal Melchior. In this CD he sings 4 scenes from three of his greatest roles. The Siegfried Duet is first rate. At the beginning Lorenz seems a little tight, but he warms up to the task quite well. Helena Braun, relatively unknown over here in America, was Mrs. Ferdinand Frantz (Furtwangler's favorite Wotan), and she appears with him as Ortrud on the Fehenberger Lohengrin. Here she is warm and winning, although she doesn't erase memories of the greatest. Her high C is a little precarious, but is still strongly there. The Dawn Duet from Gotterdammerung is much better. The Siegfried narrative ends just before the section where he dies. This leaves plenty of room for the Tristan and Isolde duet (begun, as usual, at "O sink hernieder.") Christel Goltz is soprano here, and the two, led here by Leitner, give as passionate a rendition of this challenging duet as anyone could want. It sweeps you along and does not let loose until the final dissonance. The sound is more than serviceable. It may not be digitally recorded, but it gleams with real music making. Highly recommended to all Wagner lovers.

The Y2K Album: A Doomsday Collection For The Coming Crash

Average customer rating:

DOOMSDAY CLASSICAL MUSIC !
Spectacluar!!!
Love classical this is very very good

The Y2K Album: A Doomsday Collection For The Coming Crash

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Massive Classics

ASIN: B00000JWNB
Release Date: 1999-08-10

Tracks:

Thus Spake Zarathustra: Sunrise - Y2K ALBUM
Carmina Burana: O Fortuna - Orff
The Planets: Mars, The Bringer Of War - Holst
The Firebird Suite: Infernal Dance Of King Katschei - Stravinsky
The Valkyries: The Ride Of The Valkyries - Wagner
Requiem: Dies irae/Tuba mirum (part 1 of 2) - Y2K ALBUM
Requiem: Dies irae/Tuba mirum (part 2 of 2) - Y2K ALBUM
A Night On The Bare Mountain - Mussorgsky
Symphonie Fantastique: Dream Of The Witches' Sabbath - Berlioz
The Rite of Spring (From Part I - Adoration of the Earth): Ritual Of The Rival Tribes - Procession Of The Sage - The Sage -- Dance Of The Earth (Part 1 Of 3) - Y2K ALBUM
The Rite of Spring (From Part I - Adoration of the Earth): Ritual Of The Rival Tribes - Procession Of The Sage - The Sage -- Dance Of The Earth (Part 2 Of 3) - Y2K ALBUM
The Rite of Spring (From Part I - Adoration of the Earth): Ritual Of The Rival Tribes - Procession Of The Sage - The Sage -- Dance Of The Earth (Part 3 Of 3) - Y2K ALBUM
Alexander Nevsky: The Battle On The Ice - Prokofiev
Star Wars Suite: The Battle - Y2K ALBUM
The Twilight Of The Gods: The Immolation Of The Gods - Wagner

Customer Reviews:

DOOMSDAY CLASSICAL MUSIC !.......2005-06-18

Doomsday Classics! The title and concept for this novelty album may be dated, but the music is timeless! "HEAVY" classical music to be played LOUDLY! The arrangements and sound quality on this CD are EXCELLENT! One of my favorite compilation albums of classical music. For the price, don't let this one pass you by.

Spectacluar!!!.......2002-01-04

This is by far one of my favorite cds. I purchased it originally as a joke, but I have come to love it and play it very loudly when I'm in a bad mood. Spectacularly, it always helps cheer me up, or give me encouragement. Plus this is just some quality music, some of which any person who's heard classical music will recognize. :) Unfortunately, I somehow broke my copy, and now must buy a new one...it's such a relief that Amazon still carries it. :)

Love classical this is very very good.......1999-10-14

Have looked for good classical recordings in every possible location from "record clubs" to "music outlets" and this is the best as represented I've found. Would like to know more about artist,composers,and availability of all.

Music Info:

Music Info

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