O Sister!

O Sister!

Track Listings

1. Hell Broke Loose in Georgia

2. I've Endured

3. Pumpkin Rock

4. Lost Indian

5. Dixie Darling'

6. Poor Liza Jane

7. Altamont

8. Down in the Willow Garden

9. Cornbread and Sweetpeas

10. Rye Straw

11. Michelle's Waltz

12. Nancy Blevins

13. Say Darlin' Say

14. Swampcat Rag

15. Sally Was a Poor Girl

Tracks:

If Wishes Were Horses - Claire Lynch
Silver Tongue and Gold Plated Lies - Suzanne Thomas
Sad Situation - Delia Bell
True Life Blues - Hazel Dickens and Alice Gerrard
Lonesome Wind Blues - Rhonda Vincent
Pardon Me - Cox Family
Old River - Hazel Dickens and Ginny Hawker
You Tried to Ruin My Name - Wilma Lee Cooper
I Can't Find Your Love Any More - Hazel Dickens
Just Like Rain - Kathy Kallick with Laurie Lewis
Mama's Hand - Lynn Morris
Every Time You Say Goodbye - Alison Krauss
Blue - The Stevens Sisters
Time is Winding Up - Ginny Hawker and Carol Elizabeth Jones
Blow, Big Wind - Laurie Lewis
Will There Be Any Stars? - The Cox Family with Alison Krauss
The Last Old Shovel - Phyllis Boyens
Comin' Down from God - Carol Elizabeth Jones
Eight More Miles - Laurie Lewis, Claire Lynch, Lynn Morris & Rhonda Vincent

Amazon.com

The bluegrass bandwagon continues to roll in 2001. This collection attempts to capitalize on the breakthrough success of the O Brother, Where Art Thou? soundtrack. Drawn from Rounder's rich catalog, the 19-cut sampler of female singing, fiddling, and picking extends from an era when women were a novelty in this male-dominated music category through the popular crossover ascendance of such contemporary artists (and O Brother favorites) as Alison Krauss and the Cox Family. Harmonies from the likes of Rhonda Vincent and the Stevens sisters soar toward the heavens, while the earthier strains of Hazel Dickens and Ginny Hawker are more reflective of the music's hardscrabble roots. Though Wilma Lee Cooper's "You Tried to Ruin My Name" has all the subtlety of a hog-calling contest, such rawness is about as real as this music gets. --Don McLeese

Customer Reviews:

Love it!.......2007-03-08

The voices are clear and you can actually hear real instruments! There isn't one processed song in the bunch. My kids and husband love it as well. We can actually all listen to it together and I don't have to worry about explaining certain things to the kids.

This Bluegrass CD is Excellent!!!!!!.......2005-07-25

There are 19 tracks on this CD and with the exception of 1-2 songs, this may well be one of the best bluegrass CDs I own. What a buy! Eight More Miles with Laurie Lewis, Claire Lynch, Lynn Morris and Rhonda Vincent steal the show here. I have been a lover of bluegrass for over 25 years and this CD is a must have for everyone.

Lacks the Cohesion of her Brother.......2003-10-12

The collection of songs on "O Brother" was made very deliberately, with a wonderful ear toward a "comprehensive" overall sound. But there was no such brilliant and strong guiding force at work for "O Sister", which is essentially a compilation of various female Rounder artistes.

Don't get me wrong - I like many of the songs included here, but they don't always blend together in the best way.

I haven't yet heard a superb compliation collection of female bluegrass artistes, but if you want to hear an excellent and cohesive collection of Rounder artists, buy the 2-CD "Hand Picked: 25 Years of Bluegrass".

wow.......2003-09-27

I was just thummin' through some free downloads when I ran into this cd and thought I would give it a try. thinking nothing of it I started playing them. after listening to the samples rour times I decied to get it for myself. the songs are equally catchy up deat and addicitve. the banjo is a beautiful insterment which the cd contains a lot of is old time sound. if you like bluegrass your collection wont be complete without this cd I imagin the frist one is just as good.

Phony Bluegrass.......2003-03-29

If this is Bluegrass then I will have to stick with greengrass.
My impression is that they failed with rock or whaterver. Music such as O'Sister will destroy real Bluegrass. The CD that I purchased went to the garbage can where it belongs!!

O Sister: The Women's Bluegrass Collection 2

Average customer rating:

Outstanding; not a dud in the bunch
True Blue
Another Fine Collection of Women in Bluegrass
An "All you can eat buffett" of Bluegrass Music
Fans of bluegrass ladies will enjoy this

O Sister: The Women's Bluegrass Collection 2
Various Artists
Manufacturer: Rounder / UMGD
ProductGroup: Music
Binding: Audio CD

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Similar Items:

O Sister! The Women's Bluegrass Collection
Angels Are Singing: Women's Bluegrass Gospel
Songcatcher: Music from and Inspired by the Motion Picture
Down from the Mountain: Live Concert Performances by the Artists & Musicians of O Brother, Where Art Thou?
Songcatcher II: The Tradition That Inspired the Movie

ASIN: B00006IK1E
Release Date: 2002-09-10

Tracks:

Tall Pines - Laurie Lewis
It Rains Everywhere I Go - Lynn Morris
I'll Stay Around - Alecia McRight
I Wonder Where You Are Tonight - Jeannie Kendall
Leaving This Land - Suzanne Thomas
Pretending I Don't Care - Rhonda Vincent
Don't Neglect the Rose - Ginny Hawker
Love Me or Leave Me Alone - Hazel Dickens, Carol Elizabeth Jones & Ginny Hawker
Hideaway - Laurie Lewis & Kathy Kallick
Who's Crying for You Now - Beth & April Stevens
Reason Enough - Tanya Savory
Hey Lonesome - Claire Lynch
Someday - Jones & Leva
Montana Cowboy - Hazel Dickens & Alice Gerrard
High on a Mountain - Ola Belle Reed
Poor Ellen Smith - Wilma Lee Cooper
Times Are Not What They Used to Be - Hazel Dickens, Carol Elizabeth Jones & Ginny Hawker
Dream of a Miner's Child - Phyllis Boyens
Memories of You - Wayfaring Strangers
Willow - Mac Benford & the Woodshed All-Stars
Jewels - Alison Krauss & the Cox Family

Customer Reviews:

Outstanding; not a dud in the bunch.......2007-04-25

If you don't love bluegrass before listening to this cd, you will once you've heard it. Every single song sounds perfect to me, and they just get better the more you listen. I'll never get tired of hearing these songs, and also love the playlist order. The cd ends with the incomparable Allison Krauss and "Jewels", such a beautiful song which will get to your heart no matter what kind of mood (or traffic!) you're in. Five stars, ten if that were possible!

True Blue.......2003-04-13

I am impressed. I grew up on Bluegrass. My Mom sang in her share of Bluegrass bands and I got to work concession at a Ralph Stanley concert once. This is a great CD. I listen to it in the car everywhere I go, since my son isn't old enough to complain yet.

Another Fine Collection of Women in Bluegrass.......2002-10-18

Once you get over the obvious marketing ploy to target a record-buying public still enamored with the "O Brother!" phenomenon, this second volume from Rounder is yet another collection of some of the brightest stars in bluegrass music today. Other than a trio of songs from the Seventies (tracks 14-16), these tracks are from the late-Nineties through the present. In fact, a couple of these have not yet been released on the artists' albums, including the Lester Flatt Standard "I'll Stay Around" by Alecia McRight which features mandolin wizard Ronnie McCoury. The other is "I Wonder Where You Are Tonight" with an angelic vocal from Jeannie Kendall.

This is a solid collection of bluegrass music--regardless of gender. Highlights include Kathy Kallick's plaintive "Hideaway," the heartfelt original "Reason Enough" by Tanya Savory, and Phyllis Boyens and Hazel Dickens' "Dream of a Miner's Child" with backup provided by the Dreadful Snakes (Jerry Douglas, Roland White, Bela Fleck, et. al.). The only track that doesn't fit a traditional bluegrass mold is Wayfaring Strangers' "Memories of You," which has a very newgrass feel to it with viola and clarinet.

What you get with this collection is 68 minutes of bluegrass bliss. And with the depth of talent on the Rounder label, they should have no problem coming up with a volume 3. HIGHLY RECOMMENDED

An "All you can eat buffett" of Bluegrass Music.......2002-10-15

This CD contains some of the the best Bluegrass music today. Every track can stand on its own as a great recording. Having 1 CD with so many great bluegrass names back-to-back gives the listener the ability to easily compare and contrast musical styles of the artists. Often, "various artists" bluegrass cd's a letdown, but this one is remarkable.

Fans of bluegrass ladies will enjoy this.......2002-10-05

For many years, bluegrass (like many other genres of music) was almost a male preserve. It took longer for the ladies to break through in bluegrass than elsewhere, but this collection and others like it prove that they are well capable of competing with the men, who continue to make great bluegrass.

This Rounder compilation is targetted at those who are new to bluegrass, but will also appeal to committed fans. Extensive liner notes give biographical summaries of the singers, also including a list of albums by the individuals for those who wish to explore further (and who wouldn't, after hearing this collection?). Actually, this list may cause problems outside America - this album is available in other countries (including the UK) where most of the listed albums are not available except through specialist dealers or Amazon.

All the great ladies of bluegrass are represented, including Claire Lynch, Rhonda Vincent, Laurie Lewis and Lynn Morris. Alison Krauss and Suzanne Cox close the set with the excellent Jewels. Hazel Dickens makes four appearances - one solo and three duets - with Alice Gerrard, Ginny Hawker and Phyllis Boyens.

The big surprise for me (and what a pleasure to hear !!!!) is the inclusion of Jeannie Kendall, on I wonder where you are tonight, from her new Rounder album (not released at the time of this review, but eagerly awaited). Jeannie used to be lead singer of the Kendalls with her father providing harmonies. Remember Heaven's just a sin away (from 1979)? Jeannie sounds as good as ever, and it's good to have her back.

Tracks:

Music Of The Morning Rite: a. Alleluia - b. Haec Dies
Music Of The Morning Rite: Easter Sequence
Dum Transisset Sabbatum
Sanctus
Exsultate Deo
a. Easter Acclamations b. Surrexit Christus Hodie
Music Of The Evening Rite: Before The Ending Of The Day
Music Of The Evening Rite: In Pace
Music Of The Evening Rite: Into Thy Hands, O Lord
Music Of The Evening Rite: Ubi Caritas
Music Of The Evening Rite: Keep Me As The Apple Of An Eye And Nunc Dimittisa
Music Of The Evening Rite: O Christ, Who Art The Light And Day
Music Of The Evening Rite: a. We Will Lay Us Down In Peace b. Libera Nos, Salva Nos

Amazon.com

A brief glance at the packaging for this recording might make you think New Age, and indeed this label normally offers recordings in that vein. The disc's cover tells nothing about the music inside--all we see are the ruins of an ancient abbey, the moon in the sky on the front, the sun on the back. But wait. If you get far enough to listen to the recording, you'll find one of the most beautiful and beautifully programmed choral recordings in the catalog. The compositions, organized into the categories "Music of the Morning Rite" and "Music of the Evening Rite," are mostly from 16th- century composers--Byrd, Taverner, Sheppard, White--with a few Gregorian chants and a gorgeous rendition of the 20th-century motet by Duruflé, "Ubi caritas." Conductor/choral music legend John Rutter has assembled a program that's both uplifting and restful; the performance is faultless. One could only complain about the short (39 and a half minutes) playing time. --David Vernier

Customer Reviews:

Choral work at it's finest........2007-06-03

I really enjoyed this work. I was first introduced to this title through American Gramophone's website and was also my first introduction in the works of John Rutter and the Cambridge Singers. You do not have be religious to enjoy this work. I find the music uplifting and very sublime. I have listened to it many times, and I find that my favorite period to play it is in the morning hours. .

I have since purchased many other Rutter titles including "Images of Christ", and more recently "Lighten our Darkness"

Love it.......2007-05-02

13 years ago, I had the tape of brother sun, sister moon and as a teenager and I would play it every night as I slept, I loved it. I dont know what happened to it and I have ever sence been looking for it, and I just baught the CD and am so excited.

Light and shadows.......2003-07-29

Recorded in the Great Hall of University College School, London, the Cambridge Singers under the direction of John Rutter produced a true masterpiece in 'Brother Sun, Sister Moon' in 1988. The title derives from a famous prayer by St. Francis of Assisi, and is inspired by liturgical music from (or derivative of) the Middle Ages and Renaissance polyphony and Gregorian chant. The music is meditative, uplifting, and elegant in simplicity and stunning vocal quality.

--Brother Sun--
The first half of the disc is largely composed of pieces from the liturgical Morning Prayer cycle, concentrating on texts from Easter, the most important of Christian days. From the Alleluia to the Acclamations and Surrexit Christus Hodie (Christ is risen today), the flow from Gregorian Chant to compositions by Byrd, Taverner and Palestrina (giants of this type of music) in increasing energy and glory, as befits both a Morning service (time to wake up!) as well as a celebration of the resurrection of Christ. Perhaps of particular note here is the cantoring of bass Gerald Finley in the Easter Acclamations.

--Sister Moon--
The second half of the disc concentrates on music of the evening; in particular, the Compline service, a service of unwinding and sombre meditation with which monastic communities conclude their days of work and worship. Many churches have reincorporated Compline into a regular cycle of services; some have even done so as a result of exposure to this recording. The music here is softer and less energetic than that of Morning prayer. This includes music from Whyte and Sheppard (also masters of the Medieval-to-Renaissance liturgical polyphony) as well as a brilliant motet by twentieth century composer Duruflé for the Ubi Caritas.

--Liner Notes--
The notes for this recording include the titles and words, in both Latin and English, for each of the pieces recorded here. It has an excerpt from a prayer by St. Francis, and a basic introduction to the music relating it historically and liturgically. One thing conspicuously missing is any biographical information about John Rutter, or any descriptive information about the Cambridge Singers apart from the basic listing of singers.

--John Rutter--
Rutter was born in London and educated at Clare College, Cambridge. This was where his career as a composer, arranger and conductor began. His early work was with groups at King's College Chapel at Cambridge as well as the Bath Choir and Philharmonic Orchestra. He has worked for the BBC providing music for educational series such as 'The Archaeology of the Bible Lands', until in 1979 he began forming the Cambridge Singers, and has continued a remarkable career of performance and recording as their director ever since.

--The Cambridge Singers--
The Cambridge Singers are a mixed choir of voices, many of whom were members of choir of Rutter's college, Clare College, Cambridge. While they specialise in English and Latin liturgical pieces, they have a wide range of recordings that span from modern compositions (including a remarkable requiem by Rutter) to English folk songs of the Middle Ages. For this particular recording, the choir consisted of eleven sopranos, six altos, six tenors, and six basses.

Cambridge Singers = Quality.......2002-05-23

I do love this cd, but tend to play certain tracks as my first love is chant. I play the Victimae Paschali Laudes in the car and sing along - it is so very beautiful that this rendition of this Easter Chant is worth purchasing this cd alone. I love that one track so much, my only criticism of the cd is that I wish they'd centered the entire cd on chant - and I hope they will do one like that in the future because the quality of the voices is stunning.

American Gramaphone, please reissue this title........2000-03-30

I originally obtained this CD through Minnesota Public Radio. The first time I listened to the Ubi Caritus, I was moved to tears. The CD became my favorite to play at Christmas and other times. I gave the CD to a friend who has moved to Oregon, deeply regret that it is no longer in production.

John Rutter trains his singers to sing without vibrato, and blends their voices with such balance that they come together as a single instrument. The selection on this CD is perfect to demonstrate the clarity and richness of this ensemble. If American Gramaphone does reissue this title, I will be first in line to purchase it.

Bold Soul Sister - The Best of the Blue Thumb Recordings
Average customer rating:

The Best Tina CD Ever!

Great Classic Tina

Tina Turner Sings the Blues (for about 50 minutes)

Doesn't get better than Tina!

Not Bad

Bold Soul Sister - The Best of the Blue Thumb Recordings
Tina Turner , and Ike Turner
Manufacturer: Hip-O Records
ProductGroup: Music
Binding: Audio CD

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Funkier Than a Mosquito's Tweeter

A Black Man's Soul

Proud Mary: The Best of Ike & Tina Turner

Every Hit Single: 1960-1974

Workin' Together

ASIN: B000005KPC
Release Date: 1997-07-15

Tracks:

Bold Soul Sister
I've Been Loving You Too Long
3 O'Clock In The Morning Blues
You Don't Love Me (Yes I Know)
I Smell Trouble
Please Love Me
Mean Old World
Dust My Broom
Early In The Morning
Crazy 'Bout You Baby
Reconsider Baby
Rock Me Baby
Five Long Years
I Am A Motherless Child
Honest I Do
The Hunter

Customer Reviews:

The Best Tina CD Ever!.......2007-07-14

This album is amazing! It is by far the best album that Tina & Ike Turner ever made! You should buy it if you can get a copy of it!

Great Classic Tina.......2007-03-12

Bought this for my wife as she has been a Tina fan from the beginning. Sound quality is good and crisp. My wife was very happy. Although she said they could have left out the photos of Ike.

Tina Turner Sings the Blues (for about 50 minutes).......2007-02-02

In 1969, after "A Fool in Love" and "It's Gonna Work Out Fine" and before "Proud Mary" and "Nutbush City Limits", Ike & Tina recorded two albums for the Blue Thumb label. The songs on this compilation are taken from those recordings.

BOLD SOUL SISTER consists of 16 songs recorded in 1969 in non-chronological order. Disc packaged in black jewel case; total running time: 50:10. Booklet includes a poorly written short essay by Amy Linden, a series b&w shots of Ike & Tina from a photo session, and songwriter credits; albums of origin, chart positions, musician personnel, and recording dates are not included. Sound quality is good.

What is most disappointing about this compilation is its brevity. It seems that at well under an hour of music, the CD could have included the remaining tracks from "Outta Season" and "The Hunter" not included here; it is very common for two LPs to be re-issued on a single disc. (In fact, those 2 LPs were released on a single disc in 2004.)

The 16 tracks included are some great Blues recordings by Tina Turner, seemingly with minimal instrumentation, sans the Ikettes and Kings of Rhythm. Songs include "Rock Me Baby", "Dust My Broom", and Otis Redding's "I've Been Loving You Too Long".

The music is good, but with a little effort this COULD have been a GREAT compilation.

Music: ***
Packaging/comprehensiveness: *
value/deal/quality: *

Doesn't get better than Tina!.......2005-01-12

The song Bold Soul Sister popped up on my iPod today. Toward the end of it I realized," Holy Smokes, that's Albert Collins playing solo guitar fills". He's unmistakable. Even though he's not credited on the CD it makes sense because I believe Albert put something out on Blue Thumb too. True story: when I was a young lad (14 maybe) I helped move equipment for an Ike and Tina show. I sat right by the side of stage. This would have been about 1970. At one point during the show somebody handed me Ike's Strat....I couldn't resist strumming a chord or two on it. He had the action set low!
On a side note, in the new Wayne Shorter bio there is a crazy story about him walking into his house to find Tina, the greatest rock singer ever, scrubbing his floors. Read the book for the details.
PS Check out the non-Phil Spector River Deep, Mountain High on the EMI Best of Ike and Tina Turner..stunning vocal track!!

Not Bad.......2002-10-26

Or should I say - the music is "BaD" - I really dig this CD - sounds to me like Led Zepplin took a few hints from Ike....

Average customer rating:

Beautiful voice and music
Modern Christian Music in Middle Eastern Style

Cantiques de l'Orient

Manufacturer: Harmonia Mundi Fr.
ProductGroup: Music
Binding: Audio CD

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Chants sacrés de l'Orient (tradition melchite)
Psaumes Pour Le 3ème Millénaire
Coptic Liturgies
Chant Byzantin
Syrian Liturgy

ASIN: B0000007AP
Release Date: 1996-03-11

Tracks:

Magnificat
Ilahi hanayta-s-sama' - Dieu! Tu as incline le ciel!
Ya sakban min nour - La Berceuse des Saints
Amamaka - Devant toi, Seigneur
Arrabou bini'amihi zayyanaki - Dieu t'a comblee de ses graces
Kama yachtaqu
Ousa'Ilu 'anka fi dhanni

Customer Reviews:

Beautiful voice and music.......2007-01-11

Anyone who loves eastern chant and the voice of Sr. Keyrouz will appreciate this CD. This music is modern and is perhaps more accessible than this artists recordings of chant but it evokes the same sounds and influences of early eastern music.

Modern Christian Music in Middle Eastern Style.......2005-12-25

'Cantiques de L'Orient' by composer and vocalist Sceur Marie Keyrouz is a real ear opener. I ran across this artist while browsing the early music bins and assumed this was a recording of 1000 year old music, especially since it was published by harmonia mundi, the house which does so many 'early music' artists and since the cover design was similar to, for example, Anonymous 4 covers.

These seven pieces are actually modern compositions based on the style of some of the very earliest Middle Eastern musical forms. The first cut entitled 'Magnificat' could easily have been the sound track for early scenes of 'The Exorcist' filmed in the middle east. It is especially interesting to see the author say that improvisation played an important role in this music. To my knowledge, this would be my first encounter with improvisation in classical liturgical forms.

If you happen to be looking for something 'really different' in music, this comes about as close to that criteria as I can name.

Highly recommended to the adventursome!

Average customer rating:

Mystical Magnificata of Spiritual Beauty
Vision ll
Where's the Hildegard?
Soaring Beauty
Among the better interpretations

Illumination

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Vision: The Music of Hildegard von Bingen
Hildegard von Bingen: Canticles of Ecstasy
Vision: The Music of Hildegard von Bingen
Luminous Spirit
Hildegard von Bingen: Voice of the Blood

ASIN: B0000029V6
Release Date: 1997-03-11

Tracks:

Hildegard Von Bingen: The Fire And The Spirit: Kyrie
Hildegard Von Bingen: The Fire And The Spirit: The Fire of the Spirit
Hildegard Von Bingen: The Fire And The Spirit: Tree of Wonders
Hildegard Von Bingen: The Fire And The Spirit: Red River Falling
Hildegard Von Bingen: The Fire And The Spirit: Solitude
Hildegard Von Bingen: The Fire And The Spirit: The Angels
Hildegard Von Bingen: The Fire And The Spirit: Illumination
Hildegard Von Bingen: The Fire And The Spirit: Fiery Spirit
Hildegard Von Bingen: The Fire And The Spirit: Spirit of God
Hildegard Von Bingen: The Fire And The Spirit: Awaken the Dawn
Hildegard Von Bingen: The Fire And The Spirit: Word of Light
Hildegard Von Bingen: The Fire And The Spirit: Worship
Hildegard Von Bingen: The Fire And The Spirit: O Virgin Church
Hildegard Von Bingen: The Fire And The Spirit: In the Sanctuary

Customer Reviews:

Mystical Magnificata of Spiritual Beauty.......2005-11-03

Richard Souther transports the listener to an ethereal realm on each and every note and instrument, with each original arrangement. While the music and words were initially composed and written by Hildegard von Bingen, a highly evolved 12th century mystic, artist, and healer, Richard Souther rekindles the flame with updated interpretations and instruments (synthesizer, keyboards) to appeal to modern ears. Nothing is lost in the transition ... the heart of the listener expands ever wider as the music of the past greets the present, giving and receiving the gift of Spirit.

Sister Germaine Fritz, OSB sings vocals on "Kyrie" (track #1) accompanied by Davey Spillane with a low whistle while the all female string quartet, Cello, accompany on their instruments. It provides a deeply spiritual peace, comfort and solace. Another track, "The Fire of Spirit," ignites a flame which burns brighter the more one hears the music. The lyrics in Latin are a soulful meditation for anyone seeking peace and joy in tumultous times. The intro is sung by Noirin Ni Rian, whose distinctive voice adds the right qualities to the sacred text. Sister Germaine and Katie McMahon provide lead vocals with other worldly adoration and praise for life and all of creation.

Occasionally acoustic drums add a down to earth natural appealing rhythm. The African djembe sounds nearly like a harp, bringing the listener closer to the angelic realm. The lyrics are in Latin, which has mystical and ethereal qualities sung by first class female vocalists. The mellow tones of the Cello quartet vibrate in harmony with each word sung in Latin. Anyone desiring to feel closer to Divinity and the Source should own this CD. The music celebrates life in all its myriad of forms and expressions ... providing Grace to all who listen.
Erika Borsos (erikab93)

Vision ll.......2003-01-29

When Richard Souther finished recording Vision in 1994 for Angel Records he was soon asked to do 'Vision II' which was no surprise considering the critical and commercial success of Vision.
At this point he chose to change record labels and signed a 7 album deal with Sony Classical. This seems to have played a major role in the shaping of Illumination. With the financial weight of Sony behind him Richard had the freedom to pick and choose his guest musicians. The line-up speaks for itself.

Where as Vision has a strong musical identity and is basically a showcase for the extraordinary talent of Richard Souther, Illumination explores new musical terratories.
Like Vision, it is not a straight cover of Hildegard's gospels but a musical impression of her works that is uniquely interpreted. There is more of a world music feel to Illumination with contributions from the likes of Davey Spillane (Riverdance) reinforcing this feel.
There are some haunting vocal passages and a wide and varied mix of tones and textures that give this album an almost cold and disconcerting edge when compared to Vision. It certainly requires a little more time to absorb than its sibling but as the music unfolds the listener is treated to an aural tapestry of beautiful atmospheres and sublime musicianship.

Another essential purchase for music lovers with vision.

Where's the Hildegard?.......2002-07-04

Overall, a worthy attempt, but having heard both Vision as well as studied Hildegard's music in its original, and the performance by Anonymous Four, I ultimately found this album somewhat lacking. First, most of the cuts do not even feature Hildegard's music. Sure, some of the plainsong modulations are picked up in the synthesizer meditations, but where is the substance of Hildegard's work? I do like the mix of multi-cultural motifs, which chant lends itself to, but it overwhelms the timeless genius of the great nun. What there is of Hildegard is re-worked to the point that it is unrecognizable. The one cut I did NOT care for was track 9 "Spirit of Fire" which could have been renamed "Spirit of Ennui" or "Spirit of 'I just got this new keyboard let me see how it works.'"

I, for one, like "Vision" much better - but then, I also prefer Enigma's Return to Innocence.

Soaring Beauty.......2001-05-23

This is my favorite cd of all time. I was browsing through the library's cd collection about 8 months ago when I caught the name "Hildegard von Bingen" out of the corner of my eye. Being a fan of all things Hildegard, I borrowed it from the library and took it home with me... Dear God, I was blown away! I've never heard anything more beautiful. It manages to reach incredible soaring heights without ever truely increasing the sound level, and it really is like a journey. Ok, that sounds pretentious, I know, but it's like a story unravelling. Anyways, enough of my raptured sighs - get this cd, listen to it, you will LOVE it!

Among the better interpretations.......2001-04-11

A wonderfull collection of songs. As a seasoned collector of von Bingen recordings, this has been a very gratifying CD to listen to. This recording surpassed my expectations.

Average customer rating:

This is an awesome cd!!

Daddy-O
Danna Banana
Manufacturer: Banana Productions
ProductGroup: Music
Binding: Audio CD

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Bananappeal

ASIN: B00015NJ3Y
Release Date: 2003-12-01

Tracks:

Daddy- O!
The Owie Song
Doohickey
Stop and Go
Dugak
My Favorite Meatball
Whatchamadingy
The Ballad of Hey and Getoffame
Jungle Gym
I hab a code
Can You Kazoo?
I Snuck Up on Daddy
Knock Knock
(I'm) Taking My Ball and Going Home
My Baby Mine

Album Description

Popular children's songwriter and performer Danna Banana (aka Dan Cohen) is entertaining children again with his new CD entitled Daddy-O! A dad himself, Danna Banana has written a collection of songs to honor that special guy in the family.

Customer Reviews:

This is an awesome cd!!.......2004-10-06

My 2 year old LOVES this cd!! So do we!
The owie song is his favorite. It is something you can play for the kids and not want to pull your hair out by the time it's over. Parents will enjoy the catchy tunes as well.
They are soo true too, like the Jungle Gym song!! We laugh at The Ballad of Hey and Getoffame everytime and my husband can never get Whatchamadingy out of his head!
I reccomend this cd to everyone with kids no matter their age. You will love it!

Preachin' the Gospel: Holy Blues { Various Artists }

Average customer rating:

Oh YEAH!
An amazing slice of Americana

Preachin' the Gospel: Holy Blues { Various Artists }

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Delta Blues | Blues | Styles | Music

General | Blues | Styles | Music

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The Complete Blind Willie Johnson
Queen of Country Blues 1929-1937
When Gospel Was Gospel
American Primitive, Vol. 1: Raw Pre-War Gospel (1926-36)
Goodbye, Babylon

ASIN: B000008G4J
Release Date: 1991-04-09

Tracks:

Mother's Children Have A Hard Time - Blind Willie Johnson
I'm Gonna Run To The City Of Refuge - Blind Willie Johnson
Denomination Blues - Washington Phillips
Denomination Blues, Pt. 2 - Washington Phillips
God's Got A Crown - Arizona Dranes
He Is My Story - Arizona Dranes
Jesus Gonna Make Up My Dying Bed - Joshua White
While The Blood Runs Warm In My Veins - Joshua White
Drinking Shine - Elder Charlie Beck
Lord, I Wish I Could See - Rev. (Blind) Gary Davis
Untitled - Jessie May Hill
Sunshine In The Shadows - Rev. (Blind) Gary Davis
You Can't Stop A Tattler - Washington Phillips
You Can't Stop A Tattler, Pt. 2 - Washington Phillips
King Of Kings - Rev. Johnny Blakey
Jesus Was Here On Business - Rev. Johnny Blakey
Cryin' Holy Unto The Lord - Blue Chips
Stay On The Right Side Of The Road - Blue Chips
Bible's Right - Sister O.M. Terrell
I'm Going To That City (To Die No More) - Sister O.M. Terrell

Customer Reviews:

Oh YEAH!.......2002-12-30

It's real! It's raw! It's gut-level! There is no slick production work. They didn't clean it up so it'll go down easy. It's down home cookin' - none o' this fancy white tablecloth eats. It's from the soil and you can taste the dirt! You ain't gonna like it at first, but it's gonna become part o' yo' soul an' then you gonna crave it.

An amazing slice of Americana.......2000-03-01

I never knew this music existed -- until I got this CD. What great stuff! I especially like the "Denomination Blues" played on the rare pianola. It has an amazingly delicate sound, with lyrics sometimes funny, sometimes quite poignant. Also great is "City of Refuge" (what a gruff voice!), the fabulous harmonies of "Stay on the Right Side" (did Take 6 study the Blue Chips?), and the calmly confident "Jesus Gonna Make up my dying Bed." This is "religious" music sung by people who really believed what they were singing - and it shows!

Martinu: Peach Blossom, The Orphan & Other Songs

Average customer rating:

Martinu: Peach Blossom, The Orphan & Other Songs

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Martinu: The Epic of Gilgamesh (Oratorio)
Martinu: Works for Violins and Orchestra
String Quartets 2
Martinu: String Quartets Volume 1
String Quartets 3

ASIN: B000B6N68G
Release Date: 2005-10-18

Tracks:

Peach Blossom
Sickly Autumn
Three Songs
Vocalise-Etude
The Minstrels Were Wandering
The Orphan
Ponies On The Fallow Field
The Lost Slipper
Religious Song
Invitation
Polka For Piano
The Rich Sweetheart
The Abandoned Lover
Yearning
The Inquisitive Girl
The Happy Girl
The Mournful Lover
Prayer
The High Tower
Waltz For Piano
II. The Chicken
III. The Little Cat
Counting Song
The Wild Dove
The Little Swallow
Children's Riddle
Love Carol, To A Folk Text
A Wish For A Mother
Christ's Nativity
Sister Pascalina

Average customer rating:

"The death-doomed alone are destined to look on me."
Breathtaking, powerful, accessible, not just an alternative
Absolutely Breathtaking!
A powerful reading of the most moving opera in the Ring.
The power of Wagner's music drama is now fully accessible

Wagner: The Valkyrie

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

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Operettas | Opera & Vocal | Styles | Music
Similar Items:

Siegfried (Goodall Ring Cycle/Chandos Opera in English)
The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)
Wagner: The Rhinegold

ASIN: B00004YU6Z
Release Date: 2000-11-28

Tracks:

Act I: Prld - English Nat Opr Orch/Reginald Goodall
Act I, Scene 1: The Storm Drove Me Here - Alberto Remedios/Margaret Curphey
Act I, Scene 1: This House And This Wife - Margaret Curphey/Alberto Remedios
Act I, Scene 1: Evil Fortune's Never Far From Me - Alberto Remedios/Margaret Curphey
Act I, Scene 2: There He Lay, Feeble And Faint - Margaret Curphey/Clifford Grant/Alberto Remedios
Act I, Scene 2: Through Field And Forest - Alberto Remedios/Clifford Grant/Margaret Curphey
Act I, Scene 2: Friedmund No One Could Call Me - Alberto Remedios/Clifford Grant/Margaret Curphey
Act I, Scene 2: The Neidings Raided Again - Alberto Remedios
Act I, Scene 2: So The Norn Who Dealt You This Fate - Clifford Grant/Margaret Curphey/Alberto Remedios
Act I, Scene 2: I Know A Troublesome Race - Clifford Grant
Act I, Scene 3: A Sword Was Pledged By My Father - Alberto Remedios
Act I, Scene 3: Are You Awake? - Margaret Curphey/Alberto Remedios
Act I, Scene 3: My Husband's Kinsmen - Margaret Curphey
Act I, Scene 3: Yes, Loveliest Bride - Alberto Remedios/Margaret Curphey
Act I, Scene 3: Winter Storms Have Vanished (Siegmund's Spring Song) - Alberto Remedios
Act I, Scene 3: You Are The Spring - Margaret Curphey
Act I, Scene 3: Oh Sweetest Enchantment - Alberto Remedios/Margaret Curphey
Act I, Scene 3: The Stream Has Shown My Reflected Face - Margaret Curphey/Alberto Remedios
Act I, Scene 3: Siegmund Call Me, And Siegmund Am I! - Alberto Remedios
Act I, Scene 3: Siegmund, The Walsung, Here You See! - Alberto Remedios/Margaret Curphey

Tracks:

Act II, Scene 1: Go Bridle Your Horse, Warrior Maid! - Norman Bailey
Act II, Scene 1: Hoyotoho! Hoyotoho! (Brunnhilde's Battle Cry) - Rita Hunter
Act II, Scene 1: The Usual Storm, The Usual Strife - Norman Bailey/Ann Howard
Act II, Scene 1: Pretend That You Don't Understand! - Ann Howard/Norman Bailey
Act II, Scene 1: Now It's Come To Pass! - Norman Bailey
Act II, Scene 1: So This Is The End Of The Gods And Their Glory - Ann Howard
Act II, Scene 1: You Never Learn What I Would Teach You - Norman Bailey/Ann Howard
Act II, Scene 1: What Must I Do? - Norman Bailey/Ann Howard
Act II, Scene 1: Hiaha! Hiaha! Hoyotoho! - Rita Hunter/Ann Howard/Norman Bailey
Act II, Scene 2: Fricka Has Won The Fight - Rita Hunter/Norman Bailey
Act II, Scene 2: When Youth's Delightful Pleasures Had Waned - Norman Bailey
Act II, Scene 2: She Refused To Reveal More About It - Norman Bailey/Rita Hunter
Act II, Scene 2: There's More To Tell - Norman Bailey
Act II, Scene 2: Yet One Can Accomplish What I May Not - Norman Bailey
Act II, Scene 2: But The Walsung, Siegmund - Rita Hunter/Norman Bailey
Act II, Scene 2: Then Siegmund Must Fall In His Fight? - Rita Hunter/Norman Bailey
Act II, Scene 2: I Give You My Blessing, Nibelung Son! - Norman Bailey/Rita Hunter
Act II, Scene 2: No, Have Mercy - Rita Hunter/Norman Bailey

Tracks:

Act II, Scene 2: So I Obey His Command - Rita Hunter
Act II, Scene 3: Rest Here For A While; Stay By My Side! - Alberto Remedios/Margaret Curphey
Act II, Scene 3: Away! Away! - Margaret Curphey/Alberto Remedios
Act II, Scene 3: Where Are You, Siegmund? - Margaret Curphey/Alberto Remedios
Act II, Scene 4: Siegmund! Look At Me! (Announcement Of Death) - Rita Hunter/Alberto Remedios
Act II, Scene 4: And If I Come - Alberto Remedios/Rita Hunter
Act II, Scene 4: Then Greet For Me Walhall - Alberto Remedios/Rita Hunter
Act II, Scene 4: Woe! Woe! Sister And Bride - Alberto Remedios/Rita Hunter
Act II, Scene 4: Two Lives Now Lie In Your Power - Alberto Remedios/Rita Hunter
Act II, Scene 5: Charms Of Sleep Are Sent To Still - Alberto Remedios
Act II, Scene 5: I Hear Your Call - Alberto Remedios/Margaret Curphey
Act II, Scene 5: Wehwalt! Wehwalt! - Clifford Grant/Alberto Remedios/Margaret Curphey/Rita Hunter/Norman Bailey

Tracks:

Act III, Scene 1: Hoyotoho! Hoyotoho! (Ride Of The Valkyries) - Katie Clark/Anne Evans/Elizabeth Connell/Helen Attfield/Shelagh Squires/Anne Conoley
Act III, Scene 1: Shield Me And Help - Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne Evans/Sarah Walker...
Act III, Scene 1: Hear While I Tell You - Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne Evans/Sarah Walker...
Act III, Scene 1: Pray Suffer No Sorrow For Me - Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne...
Act III, Scene 1: Fly Him Swiftly, Away To The East! - Rita Hunter
Act III, Scene 1: O Radiant Wonder! (Parting Salute) - Margaret Curphey
Act III, Scene 1: Stay, Brunnhild! - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 2: Where Is Brunnhild? - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 2: Weak-Spirited, Womanish Brood! - Norman Bailey
Act III, Scene 2: Here I Am, Father - Rita Hunter/Norman Bailey
Act III, Scene 2: No More Will You Ride From Walhall - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 2: Did You Not Hear What I Decreed? - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 3: Was It So Shameful - Rita Hunter/Norman Bailey
Act III, Scene 3: I Know So Little - Rita Hunter/Norman Bailey
Act III, Scene 3: You, Who This Love Into My Heart Revealed - Rita Hunter/Norman Bailey
Act III, Scene 3: You Indulged Your Love - Norman Bailey
Act III, Scene 3: Unworthy Of You This Foolish Maid - Rita Hunter/Norman Bailey
Act III, Scene 3: You Fathered A Glorious Race - Rita Hunter/Norman Bailey
Act III, Scene 3: In Long, Deep Sleep - Norman Bailey/Rita Hunter
Act III, Scene 3: Farewell, My Valiant, Glorious Child! (Wotan's Farewell) - Norman Bailey
Act III, Scene 3: These Eyes So Warm And So Bright - Norman Bailey
Act III, Scene 3: Loge, Hear! Come At My Call! - Norman Bailey
Act III, Scene 3: Magic Fire Music - Norman Bailey

Customer Reviews:

"The death-doomed alone are destined to look on me.".......2007-06-12

Okay, so we have the Solti, Bohm, Karajan, Goodall, Boulez, Janowski, Levine, Haitink, and Sawallisch Rings on the market (I haven't listened to the other Ring recordings yet, sorry to say). And all of these leave me to one conclusion: the many differences lead me to believe that all of these ring sets have their own authenticities and setbacks. And here they are:

TIMING (Estimate):
Solti's Ring: 14 hours, 30 minutes
Bohm's Ring: 13 hours, 30 minutes
Karajan's Ring: 14 hours, 50 minutes
Goodall's Ring: 16 hours, 50 minutes
Boulez's Ring: 13 hours, 40 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Haitink's Ring: 14 hours, 10 minutes
Sawallisch's Ring: 14 hours, 0 minutes

CONDUCTING:
Solti: Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His Walkure & Gotterdammerung Preludes are clear examples: they're annoyingly bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.

Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe "Wohin schleich'st du eilig und schlau"). I especially like his "Forging Scene" & "Hagen Summons the Vassals"; both are the most energetic on disc.

Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as Siegfried Act Three Scene Three) are controlled nicely. His "Funeral March" and "Immolation" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.

Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: nothing is faster than andante. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.

Boulez: Here it is, folks - the controversial Centennial Ring. To fit the Ring Cycle in the industrial age, Boulez gives it a very Schoenbergian, Bartokian atmosphere. Much of his tempi are very quick, very Bohm-like, though they're still not as fast as Bohm. Keep in mind, though, this live Ring works only if you hear AND see it (the DVD's work best).

Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Sawallisch's). Rheingold Scene Four can be best described as "sensational".

Levine: While he does stay true to the score like Bohm, this conductor makes for a somewhat dull Ring. His handling of the orchestra is nice, but the moderately slow tempi he chooses is flawed. It should be more animated. His beautiful "Funeral March" and "Erda's Warning" are two of the few flawless features.

Haitink: This might be seen as a disappointment. If you want great conducting, then this is for you. If you want a persuasive array of singers, look somewhere else. Haitink's conducting saves this work from being a total flop. There is nothing quite like his Rheingold & Gotterdammerung ("Siegfried's Rhine Journey" is a bit forced, but magnificent nonetheless).

Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.

ORCHESTRA:
Solti's Vienna Philharmonic: The woodwinds are the most beautiful in Solti's Ring (the "Forest Murmurs" is clear evidence of that). French horns and Wagner tubas make this a recommended listening. The strings in "Heda Heda Hedo" could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.

Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Erda's scenes aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tone & technique. Overall, this orchestra is the most dramatic.

Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung "Three Norns" Scene sounds very mysterious, very eerie.

Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. The Flight of the Valkyries doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act Two Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.

Boulez's Bayreuth Festival: While it doesn't really pack the same punches as Bohm's Bayreuth, it still delivers a stunning performance. Orchestral interaction between characters (Ex. Siegfried's motifs mixed in with Mime's motifs) fares better than Berlin's and English National's. Rhine maiden motifs are given more wit, while the Dragon motifs are played with less eeriness. Beauty makes up for the irritatingly quick "Wotan's Farewell".

Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Boulez's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are heard clear in this Ring. The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Solti's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.

Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.

Haitink's Bavarian Radio Symphony: This may very well be like Metropolitan, only this sounds much more poignant. The strings sound better and the percussion sound clearer. The leitmotivs are almost never screwed up. First scene of Rheingold will take one's breath away.

Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.

SINGERS:
-Wotan
Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Rheingold, in which a less stellar George London performs).

Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording, but he still doesn't disappoint.

Karajan: Dietrich Fischer-Dieskau plays Wotan in "Rheingold," while Thomas Stewart replaces Fischer-Dieskau in "Walkure" and "Siegfried". I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both "Walkure" and "Siegfried".

Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen.

Boulez: If you watch Donald McIntyre on the Centennial Ring production, then you can tell that he's a fine "industrial" Wotan. If you just hear him on CD, then you'll be disappointed. His diction is weak, his emotions are forced, and his voice sounds robotic. The DVD's will do.

Levine and Haitink: James Morris is a notch below Hotter, Adam, and Bailey, but he overpowers Fischer-Dieskau pretty much throughout the Levine's and Haitink's Ring.

Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his Wotan's Farewell wasn't enough to sadden me.

-Brunnhilde
Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her final scene in Gotterdammerung is brilliant beyond belief.

Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Gotterdammerung, sorry to say).

Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."

Boulez: How can anyone not be impressed by the Brunnhilde of Gwyneth Jones? One can almost feel her excitement during Siegfried Act Three, and her fear in Walkure Act Three. Her weakest point is probably during her Gotterdammerung Prologue (a bit too stressed).

Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.

Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin: while she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).

Haitink: Hmph. I was hoping that Eva Marton would do well here. I was seriously let down by her strained singing. She does okay in "Annunciation of Death", but she is at her worst in "Immolation".

-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm, Jon Vickers for Karajan, Alberto Remedios for Goodall, Peter Hoffman for Boulez, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, Reiner Goldberg for Haitink, and Robert Schunk for Sawallisch. For the Sieglindes, we have Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jeanine Altmeyer for Boulez, Jessye Norman for both Janowski and Levine, Cheryl Studer for Haitink, and Julia Varady for Sawallisch. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Three exceptions, though: Goldberg and Schunk don't sound heroic enough, and Norman for Levine doesn't sound young and innocent enough.

-Siegfried
Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in both renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming.

Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.

Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.

Boulez: Is Manfred Jung a good tenor? Yes. Is he a good Heldentenor? NO. He doesn't have that heroic voice like Windgassen and Remedios. Again, the DVD's are your safest bet.

Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.

Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. Levine should've chose Kollo or Jerusalem when he recorded his studio Ring.

Haitink: Have you ever seen Siegfried Jerusalem on the Levine/Metropolitan DVD? Well, here he is again, and this time, he sings with more valor and enthusiasm. Bravo!

-Alberich
Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?").

Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.

Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.

Boulez: What we have here is the weak Alberich of Hermann Becht. When he's in Nibelheim, the authority isn't there. When he's in the Neid-Hohle forest, the creepiness isn't there. And when he's near the Gibich house, the misery isn't there. Even on DVD he's unsatisfactory.

Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.

Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.

Haitink: No offense, but Theo Adam as Alberich? Come on . . .

-Mime
Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners.

Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.

Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.

Boulez and Levine: Heinz Zednik is yet another excellent Mime, VERY fun to listen to. There is much humor and eccentricity in his voice, and that's what makes his dwarf much more compelling than Dempsey's dwarf. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.

Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. He is equal to Zednik when it comes to humaneness and lyricism. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.

Haitink: Peter Haage sounds like he's entertaining young kids. His version of Mime is a bit childish, and the dark humor that the dwarf brings out sounds-over-the-top here. Nonetheless, he is still entertaining to listen to ("Wer halfe mir?" has never sounded better).

Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.

-Loge
Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere is greatly affects the entire Rheingold. But he'll soon be forgotten later on during the Trilogy.

Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Again, another Loge that's marred by lack of cunning.

Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. He has the wit, the craftiness, and the untrustworthiness that the character deserves. His scenes in Scene Three are delightful.

Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.

Boulez and Haitink: I can summon Heinz Zednik's performance in just three words: Brilliant Beyond Belief!

Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt and Zednik depend only on vengeance and deviousness, Stolze only imagination and deviousness, Windgassen and Svanholm only peril. His odd conversations with Alberich and the gods/goddesses are classic.

Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.

Sawallisch: Robert Tear is on par with Stolze and Zednik. Sometimes he takes things too low, but all is forgiven with his management of character development.

-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings. Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). Anja Silja is the most memorable Freia (Bohm), while Kurt Moll makes the most fabulous Hunding yet (Janowski, Levine, and Sawallisch). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm, Goodall, and Boulez. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.

CONCLUSION: I have yet to listen to Barenboim's Bayreuth presentation, Neuhold's Badische version, and the essential mono recordings (Furtwangler, Krauss, etc.), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the industrialized Boulez, the truthful Janowski, the unhurried Levine, the abnormal Haitink, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.

The Box Set: Wagner: The Ring Cycle (Box Set)
The Rhinegold (Part 1): Wagner: The Rhinegold
Siegfried (Part 3): Siegfried (Goodall Ring Cycle/Chandos Opera in English)
Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

Breathtaking, powerful, accessible, not just an alternative.......2005-05-03

This is one of three Walkure's in my collection: the very underrated Leinsdorf, the thrilling Boehm and this one with Goodall. I believe Goodall is right up there with the best of them. Remedios, Hunter and Bailey sing beautifully and with sufficient drama. I'll go out on a musical limb and say I believe Bailey is one of the finest Wotan's on disc. Many will disagree but I think he has the measure of the role, the power to pull it off and a burnished timber that never becomes coarse under powerful climaxes... Remedios may well be the star of the trilogy along with Hunter and Bailey. His Siegmund is beautifully sung and his Siegfried by the way, is no mean stint either. Would that we had tenors that could sing Siegfried without sounding stretched beyond their limits. I am continually puzzled by the bad reviews that the orchestra playing receives from ARG, Classics Today and a few others. The ENO is not a Concertgebouw or Vienna Philharmonic but I think they play beautifully, a few clinkers notwithstanding. For a live show, they do a pretty d..... good job. THe sound from both orchestra and singers is exceptionally fine. This set belong in your collection if you like Wagner and, Die Walkure, in particular. If I had been at the performance in the 1970's I would have come home very happy, satisfied and richer for the experience.

Absolutely Breathtaking!.......2002-09-13

I had long cringed at the thought of this magnificant masterpiece recorded in English. Even after reading several rave reviews on this cylce that I've read by authoritive Wagnerites and critics, I was still skeptical. Finally, I decided to add Goodall's 'Ring' as my third complete cycle (after Solti & Bohm) for one reason: because it was in English and I felt it would enhance my understand of 'The Ring.' In fact, after achieving that "higher understanding" I was planning on selling this set on Ebay. That was, of course, before I heard this magnificant recording.

During the course of my research on 'The Goodall Ring' most of the praised seemed to heighten around 'Siegfried,' which is my absolute favorite of the cycle. That also helped to seal the deal. As the critics said, 'Siegfried' under Goodall is excellent, but not as monumental as Solti's reading, which IMHO is the greatest recording of 'Siegfried.'

The set that stands out, to me, in 'The Goodall Ring' is this recording; The Valkyrie. It is absolutely breathtaking. Not only is it my favorite of this set, it is my favorite Valkyrie recording period (I am very familiar with Boehm's, Solti's, Karajan's, Furthwanglers, Levines, and others). Alberto Remedios (Siegmund here and Siegfried in the last two operas) is truly magnificant. It is the best Siegmund I have heard on disc (and his Siegfried rivals Windgassen). Coupled with Margaret Curphey (Sieglinde), you get the most beautiful and moving duo I have heard on record. The duet in Act I is simply glorious. You also get the bonus of Norman Bailey's triumphant Wotan (and Wanderer too). He has such command and prescene. He sounds like a God. Throw in Rita Hunter, who holds her own as Brunnhilde, Goodall's miraculous conducting, and excellent playing by the orchestra and it all adds up to a stunning recording.

I can only say that in a way it's a shame this set is in English. Were it not, I believe Goodall's 'Ring' would be one of the most talked about, popular, and sought after complete recordings of the cycle. I can only say that I am so happy that I finally opened up to opera recorded in a different language than written.

I have fallen completely in love with Goodall's entire cycle. And, I have fallen in love with 'The Ring' all over again.

A powerful reading of the most moving opera in the Ring........2001-08-30

This performance of *Die Valkure,* the second and most popular opera in Wagner's Ring Cycle, is musically splendid. Its special significance, however, is that it is sung in English. An English performance of the Ring is perhaps more important than that of any other opera(s), because Wagner's libretti are suffused with his ideas about society, fate, justice, and love. Even if (at times) you need to read along to understand what the singers are saying, *hearing* the lyrics in English is truly stirring in a way that performances in your non-native language cannot match.
A particular stand-out on this recording is the Wotan. His timbre, diction, and delivery perfectly embody the troubled god who tries desperately, and in vain, to keep the world under his control. His angst and wrath are utterly convincing.

The power of Wagner's music drama is now fully accessible.......2001-01-30

I have never been a fan of opera in translation, but I must say that Andrew Porter's rendering of The Ring in English is amazing. He uses modern, not archaic, English, and the word choice is so very earthy and Germanic that the noble yet somewhat severe atmosphere of the Teutonic myths is conveyed perfectly. The sound, in other words, is an elegantly Germanic, and totally appropriate for the music and the Story it tells. It is not true that you can't understand the English anyway, because you can understand if you care to pay any attention at all. The translation is lucid, and so it the marvelous singing that conveys it.

Goodall's sense of music drama is lush, and takes some getting used to after the crash-and-burn Solti set, but after a time or two it seems just right. Goodall is not always slower than the rest, either; for example, the famous Ride of the Valkyries that begins Act III is quicker than Solti's surprisingly slow and heavy account. It is the most exciting that I have heard--and I have heard quite a few--but it is not so fast that the power is lost in favor of urgency.

This is not an urgent Die Walkure, and it is all the better for it. Goodall takes the time to actually tell the story, and is sensitive to the drama's needs over what could be called convention. For example, Wotan's Farewell doesn't thunder out after Brunnhilde's final declamation, like in so many recordings; rather, Goodall's interpretation is more dreamy, mysterious, and appropriately trance-like, in keeping with the action on stage.

I own the complete Solti Ring, but I must say I will be the first in line to get each new installment of this remarakable Ring as soon they hit the shelves. If you are new to Wagner, and are willing to make the plunge into a complete Ring, then start with this one and see if you want to continue. This recording is definitely one of the great Rings, and the superb translation will open up the work in ways that following the libretto just won't. I promise that you won't be able to put this one away easily. Get it!

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