French Record

French Record

Editorial Reviews
Amazon.com
Their own lineage may tilt toward the English side of Quebec's bicultural divide, but Kate and Anna McGarrigle courted their home province's French roots from the outset. When "Complainte Pour Ste. Catherine," recorded for their 1975 debut, proved a hit in France, the McGarrigles repaid the compliment by including several traditional French songs on their second album, then reuniting with "Complainte" lyricist Philippe Tatartcheff for this lovely Francophone collection. It's of a piece with their superb English recordings, decorating its acoustic arrangements with accordion, organ, and occasional, warm gusts of brass. The songs capture the streets of Montreal and the lanes of smaller, rural Quebec villages, and, like the sisters' other songs, ponder the timeless contradictions of amour while inserting canny, modern detail. --Sam Sutherland

Tracks:

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

Tracks:

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

And so on.

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

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

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

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

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

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

In summary:

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

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

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

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

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

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

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

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

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

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

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

Average customer rating:

Outstanding
Pavarotti at his best.

Pavarotti in Hyde Park

Manufacturer: Â© 1991 The Decca Record Company Limited, London
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

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Pavarotti in Central Park
Carreras · Domingo · Pavarotti ~ the three tenors in concert / Mehta
Luciano Pavarotti in Concert

ASIN: B00000420M
Release Date: 1992-04-14

Tracks:

Overture
O Paradiso
La Mia Letizia Infondere
Quando Le Sere Al Placido
Porquoi Me Reveiller?
Recondita Armonia
E Lucevan Le Stelle
Vesti La Giubba
Mamma (Bixio)
La Mia Canzone Al Vento (Bixio)
Non Ti Scordar Di Me (De Curtis)
'O Sole Mio (Di Capua)
Torna A Surriento (De Curtis)
Tra Voi, Belle
Donna Non Vidi Mai
Nessun Dorma

Customer Reviews:

Outstanding.......2006-07-30

One of his best and the sound level does not vary one one number to the next like many of his other CD's

Pavarotti at his best........2002-02-27

This is one of the greatest performances by the greatest tenor in the world. The versions of Vesti la giubba and O sole mio are worth the price of the CD alone. The only problem with this album comes at the end of Nessun Dorma, the conductor has the orchestra playing so loud it drowns out Pavarotti. For a great version of Nessun Dorma, get the Three Tenors album. The rest of the album is great however, if it cost ten times as much it would still be worth it and still be a bargain.

Average customer rating:

Fantastic!!!!!!

Sweet Seraphic Fire

Manufacturer: New World Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Classical | Indie Music | Stores | Music
Similar Items:

Early American Choral Music, Vol. 2
Early American Choral Music, Vol. 1
American Angels

ASIN: B000AA4L8W
Release Date: 2005-08-02

Tracks:

New Canaan (Oliver Holden, 1793)
Maryland (William Billings, 1778)
Bethlehem (William Billings, 1778)
Lynn (Oliver Holden, 1793)
Funeral Hymn (Oliver Holden, 1792)
An Anthem for Easter (William Billings, 1787/1795)
Walpole (Abraham Wood, 1786)
Beauty (Jacob French, 1789)
Happiness (Jacob French, 1793)
Woburn (Jacob Kimball, 1793)
Montague (Timothy Swan, 1801)
Newport (Daniel Read, 1785)
Hatfield (Thomas Baird, 1800)
Attention (Asahel Benham [?], 1790)
Crucifixion (M. Kyes, 1798)
Mechias (James Lyon, 1774)
St. Paul's (Supply Belcher, 1794)
Transition (Supply Belcher, 1794)
Jubilant (Supply Belcher, 1794)
The Lilly (Supply Belcher, 1794)
Buckfield (Abraham Maxim, 1802)
Pennsylvania (Nehemiah Shumway, 1793)
Sounding Joy (J. P. Storm, 1795 )
Redemption (Jeremiah Ingalls, 1805)
Consolation (Lucius Chapin, c. 1812)
Liberty-Hall (Lucius Chapin, 1813)
Babe of Bethlehem (Southern Harmony, 1835)
Convoy (M. L. Swan, 1867)
Hallelujah New (Roland Hutchinson, 1996)
Nativity (Bruce Randall, 1990)
Cortona (M. R. Truelsen, 1996)
Great Divide (Stephen Marini, 1998)
Arinello (Dennis O'Brien, 1997)
Ev'ry String Awake (Glen Wright, 1996)
Ten Thousand Charms (Hal Kunkel, 1996)

Product Description

Sweet Seraphic Fire brings together two unique bodies of American sacred song: choral compositions from the New England singing-school tradition and the most popular Evangelical Protestant hymn texts in historic American use. In the late eighteenth century the New England singing-school movement produced America's first great sacred-music style, employing several genres of unaccompanied four-part choral compositions with the melody in the lead (tenor) part. The enormous popularity of singing-school music also promoted a canon of hymn texts shared across America's competing Evangelical Protestant denominations. This recording contains neglected masterworks from the New England singing school that also helped to create the American hymn canon. Marking a more recent turn in this process, we have also included some new settings of traditional Evangelical lyrics written by leaders in the revival of singing-school music that has blossomed in the Northeast since 1976. ! Selection of pieces for this recording was determined by correlating "The Norumbega Harmony"--our collection of one hundred six historic New England singing-school compositions and thirty contemporary works in traditional style--with a list of the three hundred most frequently printed hymn texts in America from 1737 to 1960. --Stephen Marini

Customer Reviews:

Fantastic!!!!!!.......2006-03-15

This is a REALLY cool album of shape-note singings, I particurlarly like EVERY STRING AWAKE and ANTHEM FOR EASTER.
Some of the songs are kind of dreary, (Hatfield) but all in all this is COOL!!!

The EMI Record of Singing, Vol. 3 1926-1939

Average customer rating:

ALL are right
ONE OF THE GREAT TREASURE-HOUSES OF THE GRAMOPHONE
Exquisite collection
The EMI Record of Singing
essential survey

The EMI Record of Singing, Vol. 3 1926-1939

Manufacturer: Testament UK
ProductGroup: Music
Binding: Audio CD

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Wagner: Das Rheingold
Wagner: Siegfried
Wagner: Die Walküre

ASIN: B000038I6K
Release Date: 1999-12-14

Customer Reviews:

ALL are right.......2007-06-07

All 4 of the customer reviews, of Vol. 3, are very right. The REAL "trick", though, is to try to find the other Volumes of the EMI, total reissue. Sometimes some of the other Volumes are available from classical sellers/auctioneers, such as Lawrence Jones/Polyphony, and others. In any case, this is one of the penultimate collections of the great EMI archives, and unmatchable .. anywhere else.

ONE OF THE GREAT TREASURE-HOUSES OF THE GRAMOPHONE.......2007-04-18

This series, produced by EMI in the days of LPs, is one of the great achievements of the gramophone - they rightfully belong up there with the Decca Ring, the EMI Callas series, and any other candidates you care to name. Together they provide a truly comprehensive survey of singing right through the age of recording up to the early days of the LP. Sadly, to the best of my knowledge, only Volumes 3 & 4 have appeared on CD - the very earliest era of recording and the period up to the introduction of electrical recording methods that were originally on Volumes 1 and 2 really deserve to be heard again.

Volume 3, the collection under discussion here, covers the period from 1926-1939. This was a veritable Golden Age of Singing - in Wagner it was the era of Leider, Schorr and Melchior; the Italian School included the likes of Gigli, Muzio and Pinza and so it goes on through a broad representative range of French, English and Slavic singers. One of the great strengths of this series is that the best-known singers tend to be represented by less familiar repertoire, so it's more unlikely that collectors will duplicate material they already know well. And, of course, there is a huge range of other singers you probably won't have heard and some you may well not even have heard of. They all have something to tell us, though, about the times in which they worked, the styles of singing that were current then and the high standards that prevailed in the inter-war years. In some ways, the most surprising thing here is the strength in depth of the less familiar Schools, the French and the Anglo-American. It is good to be reminded just how good the likes of Georges Thill, Eide Norena or Pierre Bernac were - or from the UK, Isobel Baillie, Walter Widdop and Heddle Nash. Then there are the discoveries like the delightfully named Lulu Mysz-Gmeiner in a Brahms folksong or the black American, Roland Hayes, who sings Monteverdi with piano accompaniment totally unauthentically by today's standards, but with an attractive reedy tenor voice that reminds me a lot of the underrated Wilfred Brown.

This set, now available from Testament, is a real treasure-trove. The transfers are all well-researched and of the highest quality. Anyone with an interest in how the art of singing has evolved over the last hundred years or so, or who just has a passion for glorious singing, should snap up this set of CDs - especially this volume as it displays a Golden Age of Singing.

Exquisite collection.......2006-02-14

Dozens of outstanding singers from the early 20th century ordered by school. The Italian School, the German, Eastern-European, Aglo-American, etc. It's a marvelous experience to listen to these singers and to hear the differences that existed in singing styles before these differences virtually disappeared and we ended up with one cosmopolitan style. There are some wonderful gems in this set, like a German version of Mi chiamino Mimi and Largo al factotum in English. Worth every penny.

The EMI Record of Singing.......2002-04-23

An installment in the ultimate collection of opera and concert singer recordings. If you really want to know how the great singers of the first half of the 20th century -- virtually all of them who recorded -- sang, this is the set. By 1926 (the beginning date here) the electrical (as opposed to acoustic) recording system was in general use. Unlike the recording horn, the microphone was able to capture a pretty faithful impression of the singers sound and style, including dynamic nuances and tone shadings. Many of these singers were near the end of a long career, and had studied with the great bel canto teachers. There's a huge variety of music here, and huge variety of singing styles. Makes you realize how similar everyone sounds today -- the cult of tyrannical conductors and the mass media marketing has caused today's singers to sing everything the same way: almost all the sopranos today sing "Un Bel Di" or an art song the same way, for example.

So fork out your money and buy this set while you can. Soon the mass media will have stamped out the few remaining classical music radio starions and the only way you'll be able to hear good music is by listening to your own collection.

essential survey.......2000-01-14

Well, it does seem a lot of money for one CD! In fact, although Amazon's resident typo gremlin counts it as one CD, it's really a box set of 10 CDs and as soon as I can, I'll be buying it! I have had the LP box set of this survey of world singing for many years and it, plus Volume 4 (which is on the EMI label on 7 cds) gives a fantastic summary of the greatest singers of the first half of the 20th Century. They are divided by singing category -- from soprano through to bass -- and Testament, which has done a great job in bringing from darkness some of the gems of the EMI back-catalogue, have brought us here one of the greatest singing compilations ever assembled. It's an aural history of immeasurable value -- 10 discs of this quality is a bargain! Anthony Clarke Sydney Australia

Average customer rating:

French Record
Kate & Anna McGarrigle
Manufacturer: Munich
ProductGroup: Music
Binding: Audio CD

General | Contemporary Folk | Folk | Styles | Music

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Kate & Anna McGarrigle

ASIN: B000P46MFI
Release Date: 2007-05-14

Tracks:

Entre Lajeunesse et la Sagesse
Complainte Pour Ste Catherine
Mais Quand Tu Danses
Cheminant a la Ville
Excursion a Venise
En Filant Ma Quenouille
Belle S'Est Etourdie
Naufragee du Tendre
Avant la Guerre
Boire
Prends Ton Manteau

Album Details

The Sisters Rescued this Diamond from their Recorded Catalog and Made Sure that it Remains Available to their Fans. The Set Compiles their French Songs that were Included on their Major Label Releases and Adds a Few Others for Good Measure to Round Things Out Here. With the Ladies' Unique Vocal Harmonies (Sounds that Only Sisters Could Produce) and a Stellar Cast of Backing Musicians, this is One of the Most Enchanting Records Ever Recorded. Even If You Don't Speak a Word of French, the Emotion, Intonation and Joie De Vivre Present in Each Song Defines the Maxim that Music is the Universal Language.

Ultimate Classical Christmas Album of All Time

Average customer rating:

Breathtakingly beautiful!
Pretty good, though maybe not 'ultimate'
Not ultimate, but truly classical

Ultimate Classical Christmas Album of All Time

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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The Classic Christmas Album
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Christmas Adagios
#1 Christmas Album
The Ultimate Relaxation Christmas Album 2

ASIN: B00006L3OY
Release Date: 2002-10-01

Tracks:

I Wonder As I Wander - Emily Van Evera
Villancico De Navidad - John Williams
O Little Town Of Bethlehem - Mormon Tabernacle Choir
Children's Prayer From Hansel And Gretel - Bernstein
Lo, How A Rose E'er Blooming - Andre Previn
The Coventry Carol - Eileen Farrell
Good People All, This Christmastide - Andrew Parrott
Watts's Cradle Hymn - Martin Neary
Pastoral Ad Libitum - Largo From Concerto Grosso In G Minor Op.6 No.8 'Christmas Concerto' - Richard Kapp
O Tannenbaum - Rita Ford Music Boxes
It Came Upon A Midnight Clear - Eileen Farrell
Largo From Concerto In F Minor For Violin And Orchestra, Op.8 'L'Inverno' (Winter From The Four Seasons) - Zukerman, St. Paul Chamber Orchestra
Ave Maria - Ayako Shinozaki
Pie Jesu From Requiem, Op.48 - Andrew Davis
Ich Steh' An Deiner Krippen Hier (I Stand Here By Thy Crib) (Choral) From Christmas Oratorio, BWV248 - Helmuth Rilling
Lullay My Liking - Gregg Smith
What Child Is This? (Greensleeves) - London Symphony Orchestra
O Come, O Come, Emanuel - Philadelphia Orchestra
Silent Night - Mormon Tabernacle Choir
Wiegenlied 'Guten Abend, Gut Nacht' Op.49, No.4 - Helmut Deutsch

Tracks:

Hallelujah Chorus From Messiah, HWV - Philadelphia Orchestra
Hark! The Herald Angels Sing - Philadelphia Orchestra
Cantique De Noel (O Holy Night) - Wiener Symphoniker
Jesu, Joy Of Man's Desiring - Philadelphia Orchestra
Carol Of The Drum (Little Drummer Boy) - Mormon Tabernacle Choir
Deus IN Adjutorium From Vespers Of The Blessed Virgin - Canadian Brass
Laudemus Te From Gloria In D Major, RV 589 - La Grande Ecurie Et La Chambre Du Roy
German Dance, K. 605, No.3 'The Sleigh Ride' - Bernstein
Deck The Halls With Boughs Of Holly - The Philadelphia Brass Ensemble
Hark! The HErald Angels Sing - Andrew Parrott
Gesu Bambino - Mormon Tabernacle Choir
O Come, All Ye Faithful - Mormon Tabernacle Choir
The First Noel - Philadelphia Orchestra
Ding Dong! Merrily Oh High - Anthony Newman
March From The Nutcracker Ballet, Op.71 (Act I) - Philadelphia Orchestra
I. Allegro (Exsultate) From Exsultate, Jubilate, K.165 - Mostly Mozart Festival Orchestra
Canzon Septimi Toni No.2 - Philadelphia And Cleveland Brass Ensembles
Die Menge Der Engel (The Hosts Of Angels) From Historia Der Geburt Jesu Christi/History Of The Birth Of Jesus Christ, SWV435, 435A - Barockorchester Stuttgart
Joy To The World - The Philadelphia Brass Ensemble
Once, In Royal David's City - The Chestnut Brass Company
O Sanctissima (O Du Frohliche) - Philadelphia Orchestra
Angels We Have Heard On High - Mormon Tabernacle Choir
Magnificat From Magnificat In D Major, BWV243 - Helmuth Rilling

Customer Reviews:

Breathtakingly beautiful!.......2007-01-15

Over and over we played "Die Menge der Engel" - - it is stunningly beautiful! The loftiness of the voices, wonderful.

We loved the boys/children's choruses on many of the other pieces on the album. Duets by Placido Domingo and Luciano Pavorati - - magnifico!

It is a pleasant compilation of traditional favorites and awesome classical pieces that are worth listening to again and again.

Pretty good, though maybe not 'ultimate'.......2004-10-08

If you love Christmas as much as I do, you will probably enjoy this album. It features plenty of standard favorites - especially sung by the MoTab, who seem to be a holiday staple. I probably wouldn't pay $17.95 just to hear songs like 'The Little Drummer Boy' of 'We Wish You a Merry Christmas.'

What makes this compillation interesting is the liberal sprinkling of less traditional - or, anyway, less well-known - classical pieces. Vivaldi's 'Gloria', Corelli's 'Christmas Concerto', and the opera 'Hansel and Gretel' all make an appearance. The standout, in my mind, is the ethereally beautiful 'Watt's Cradle Hymn,' which I have never seen or heard anywhere else - that one song alone makes this album worth a listen.

Not ultimate, but truly classical.......2003-11-19

Good mix of the expected ("Silent Night", "O Come All Ye Faithful", etc) and the unexpected (the Vivaldi Gloria, Gabrieli, Schutz). Kudos to the Sony team for uniform clarity & quality of sound, despite source material from 1959 through 1998. Word to the wise: the performance of "O Little Town of Bethlehem" credited to Marilyn Horne is actually by Eileen Farrell from her excellent "Carols for Christmas Eve" release. No disrespect to Ms Horne, who is well represented by two performances with the Mormon Tabernacle Choir. If you're truly a classical music fan but don't mind a traditional carol or two, this is an excellent buy.

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Silhouettes

Manufacturer: North / South Record
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B000004AHE
Release Date: 1997-09-16

Covent Garden On Record: A History, Volume IV

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Covent Garden On Record: A History, Volume IV

Manufacturer: Pearl
ProductGroup: Music
Binding: Audio CD

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

General | Broadway & Vocalists | Styles | Music
Similar Items:

Covent Garden on Record, Vol. 3

ASIN: B000000WXB
Release Date: 1993-01-20

Prima Voce - Covent Garden: An Early History on Record

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Another success of Nimbus records

Prima Voce - Covent Garden: An Early History on Record
Maria Olczewska , Elisabeth Schumann , Margherita Carosio , Feodor Chaliapin , Beniamino Gigli , Conchita Supervia , Lawrence Tibbett , and Tauber, Richard
Manufacturer: Nimbus Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

Flagstad, Kirsten | Divas | Opera & Vocal | Styles | Music
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Divas 1906-35
Great Singers, 1909-1938

ASIN: B0000037JK
Release Date: 1992-12-02

Tracks:

Faust: The Jewel Song - Nellie Melba
Rigoletto: Questa O Quella - Enrico Caruso
Lucia Di Lammermoor: Quando Rapita In Estasi - Luisa Tetrazzini
La Traviata: De' Miei Bollenti Spiriti - John McCormack
Madama Butterfly: Con Onor Muore - Emmy Destinn
Gotterdammerung: Fliegt Heim Ihr Raben - Johanna Gadski
Die Meistersinger: Was Duftet Doch Der Flieder - Friedrich Schorr
Tosca: Vissi D'arte - EVA TURNER
Otello: Ora E Per Sempre - Renato Zanelli
Der Rosenkavalier: Marie Theres' - Lotte Lehmann/Elisabeth Schumann/Maria Olczewska
Boris Godounov: Prayer And Death - Feodor Chaliapine
Andrea Chenier: Si, Fui Soldato - Beniamino Gigli
Carmen: Les Tringles Des Sistres - Conchita Supervia
Tosca: Te Deum - Lawrence Tibbett
Don Giovanni: Dalla Sua Pace - Richard Tauber
Tristan Und Isolde: The Love Duet, Act 2 - Kristen Flagstad/Lauritz Melchior

Customer Reviews:

Another success of Nimbus records.......2000-08-11

Thirty years of rich and varied repertoire in the Covent Garden since 1910 until 1940 is something too easy to say but too difficult to record. Some of the greatests voices of the century like Richard Tauber, Beniamino Gigli, Nellie Melba, John McCormack or Kirsten Flagstad are present in this splendid recording of its operistic experiences in the Royal Opera House. This is a "must have" to anyone interested in the live recordings of Chaliapine, Turner or Tibbet, Supervia or Caruso, Melchior or Gadski. Pay attention, specially, to the track nine. The "Ora e per sempre" from Otello is being performed by one of the gigantic but bad known tenors of the century: Renato Zanelli.

Average customer rating:

Will we EVER hear a more glorious sound?
Tebaldi fans, this is a "must have".
Glorious singing admist uneven sound
Tebaldi's Fonit Cetra and Decca 78s Released!!

My First Record

Manufacturer: Enterprise
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Classical | Imports | Stores | Music
ASIN: B00005MJXM
Release Date: 2001-07-24

Tracks:

Il Trovatore: Act I: Tacea La Notte Lacida
Tosca: Act II: Vissi D'arte
Faust: Act III: Come Vorrei Saper...C'era Un Re' - Canzone Del Re Di Thule
Faust: Act III: Ah, Che Strano - Canzone Dei Gioielli
Aida: Act I: Ritorna Vincitor...L'insana Parola...I Sacri Nomi
Madama Butterfly: Un Bel Di Vedremo
Manon Lescaut: Act II: In Quelle Trine Morbide
La Boheme: Act I: Si. Mi Chiamano Mimi
La Boheme: Act III: Donde Lieta Usci
Andrea Chenier, Act III: La Mamma Morta
La Wally: Act I: Ebben?...Ne Andro Lontana
Mefistofele: Act III: L'altra Notte In Fondo Al Mare
Le Nozze Di Figaro: Act IV: Giunse Alfin Il Momento/Deh Vieni, Non Tardar
La Traviata: Act III: Teneste La Promessa/Addio Del Passato
Otello: Act IV: Piangea Cantando La Canzone Del Salice
Otello: Act IV: Ave Maria
Aida: Act III: O Cieli Azzurri

Customer Reviews:

Will we EVER hear a more glorious sound?.......2004-01-05

It's been almost 55 years since the recording of the recitals included on this cd and there still hasn't appeared a more sumptuous, glorious voice than Renata Tebaldi's. Even singers blessed with gorgeous voices like Montserrat Caballe have admitted that Tebaldi's was the most perfect voice they had ever heard! One can go on using numerous superlatives to describe her instrument but nothing will please our ears more than stop talking and simply enjoy the sound of the young Renata Tebaldi.

But was Tebaldi just a wonderful voice? The arias heard on this cd are among the most famous soprano arias, yet when I listen to Tebaldi it's as if I'm hearing them for the first time. Listen how she phrases the two simple words "del mare" in Un bel di or how she communicates Marguerite's excitement and Mimmi's feelings about the first sunshine, the first kiss. Each aria is transformed through Renata's singing, enough said!

The sound is not excellent in all tracks but I expected it worse. Once she starts singing I forget about the poor sonics. This is not another great recital you should own, it's a historical testament and a tribute to the miracle of the human voice!

Tebaldi fans, this is a "must have"........2002-05-28

I gave this 5 stars in spite of the sound problems. I AM a Tebaldi fan and proud of it. This cd has selections I hadn't heard before. The Nozzi di Figaro aria I found particularly enjoyable. I had not heard Tebaldi sing this before. Her voice is so delicate in this aria it just leaves me smiling breathlessly at the end every time. Many of these arias I heard for the first time in the '60's. I was/am, for lack of a better word, gleeful at being able to hear them when the voice was young. I was unaware Tebaldi had done any 78's or recorded for Cetra. These are especially cherished. The ease with which she sings the not often heard arias only augments my already heretofor great love for this radiant voice. I've ordered more copies of this cd. My sister and a couple of friends will love it as I do. There is indeed an uneveness of sound but that can be easily ignored when you think what you're getting -- "hard to find" old recordings on one cd. Well worth the price and a valued asset to any Tebaldi collection.

Glorious singing admist uneven sound.......2001-12-19

I agree with the first reviewer about Tebaldi's singing on this disc. In fact, these early recordings from 1949-1950 show Tebaldi at her youthful best, with her lovely lyric-dramatic soprano voice in fresh, pristine condition.

For me, the plum of the pudding must be two Puccini arias she recorded for Decca in 1949 --- 'Un bel di vedremo' from Madama Butterfly and 'In quelle trine morbide' from Manon Lescaut. Has anyone ever heard a lovelier and more idiomatic account of both arias? Moreover, she displays much spirit and imaginations in terms of characterisation.

From the Cetra items, 'O patria mia' from Aida is thrillingly sung, with the horrendous high C ably managed (In her much later 1959 recording with Karajan, that note sounds simply awkward). Yet the pick from the cetra recordings has to be Desdemona's act 4 scena from Otello. In fact, I would consider this the best of all her renditions of the scena on records. In it Tebaldi provides a near ideal marriage of vocal splendor and dramatic pathos, and adumbrates much of Desdemona's desparations and plights, with the 'ave maria' presented as a fervent prayer, sublimely sung.

Now comes the caveat, which is the reason why I rate this disc with only four stars. The disc deserves better sound and remastering. From what I heard, the tracks gathered on the disc might have been reproduced from sources that are not in good conditions. The first two tracks (the Il trovatore and Tosca excerpts from the 1949 Decca session) is spoiled by audible tape hiss, while the Faust, Aida, Butterfly and Manon Lescaut exerpts have a rather 'scratchy' surface that detract from what should have been our perfect pleasure of bathing in Tebaldi's glorious, velvety sound. The problem is even more serious, almost intolerable, when it comes to the Cetra sources, with too much reverberations (as though one is hearing the diva from a long distance in an large empty hall), as well as irritating distortions on the high voice.

Despite the above serious caveat, one is presented here with a mouth-watering feast of glorious singing. Unless you are picky and fussy over the sound, the disc should give much pleasure. Tebaldi fans might consider this indispensable.

Tebaldi's Fonit Cetra and Decca 78s Released!!.......2001-11-23

This CD, with a running time of over 79 minutes, collects ALL of her 1949 London recordings, along with the elusive Fonit Cetra 78s she made in 1950.

The seven Decca arias were completed in ONE session instead of the scheduled three, and the surprised orchestra was no longer needed. Decca let Renata and her mother enjoy themselves for her perfect recording session!!

The Fonit Cetra arias are incredible, Tebaldi at her youngest, having no trouble with anything. Her "O Patria Mia" is the closest you will ever hear to her doing it live. The Boheme arias unfortunately suffer from being transferred from a damaged lp, which was not the original source, obviously. But for those who haven't heard these arias, this is well worth the money.

I don't think that BOTH the '49 Decca arias AND the Fonit Cetra have ever been put on CD before, and here they are. The AIDA arias are outstanding, with incredible sound. "La mamma morta" is a standout, a perfect example of verisimo singing, and the Mefistofele aria will let the young Tebaldi take you to all the places she will go in her career!! Despite some added reverb that should have been removed, these arias are still pure gold to those of us too young to ever have heard them. Highly recommended.

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