Bright Field

Bright Field

Track Listings

1. Wintersuite

2. Buchanan Mist

3. Promenade

4. Dancing Boots

5. Selkie

6. Early Morn

7. Shetland Air

8. Éamonn Á Chnuic

9. Along the Western Shore

10. Pennan Den

11. Bright Field

Bright Field,Paul Machlis,Culburnie Records,Adult Alternative,Celtic/Irish,Int'l & World Music,Pop,World Music

I Met You, My Love
Average customer rating:

Top of the line - incredible!

Long-awaited follow-up to "Dark Eyes"

ANOTHER WONDERFUL ALBUM FROM DMITRI

Dmitri at his best

Hvorostovsky in his Milieu

I Met You, My Love
Hvorostovsky , Orbelian , and Moscow Chamber Orchestra
Manufacturer: Delos Records
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music
General | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music
General | Classical | Styles | Music
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Moscow Nights

Kalinka: Russian Folk Songs

Where Are You, My Brothers?

Dmitri Hvorostovsky - Passione di Napoli

Dmitri Hvorostovsky in Concert 1998

ASIN: B00006DU10
Release Date: 2002-07-30

Tracks:

I Met You, My Love
No, It's Not You I Love So Fervently
Only Once
Bright Is The Night
I Remember The Charming Sound Of The Waltz
O, If Only I Could Express In Sounds
Do Not Awaken Memories
The Coachman's Song
In The Wide Open Field
The Lonely Coach Bell Rings
Misty Morning
But I Love You, Nevertheless
The Troika Speeds, The Troika Gallops
The Autumn Wind Moans Mournfully
At The Fateful Hour
I Loved You
The Weeping Willows Slumber
You Cannot Understand
Shine, Shine, My Star

Customer Reviews:

Top of the line - incredible!.......2007-05-13

If I could give this 100 stars I would do it. Since my trip to Russia in 2006 I "discovered" Dmitri Hvorostovsky, and have since purchased much of his music on CDs and DVDs. All tracks on this particular CD are incredibly beautiful - beyond imagination. Mr. Hvorostovsky was rightfully chosen the "Best Singer of the World" when he was a young man. His lush, full baratone voice is, as the young generation says, "to die for". He has an impressive range, and one can tell he feels music deeply by the nuances in his singing. This CD is one of my favorites of his singing.

Long-awaited follow-up to "Dark Eyes".......2003-01-04

Ever since "Dark Eyes", one of the first albums of Dmitri Hvorostovsky, came out, I've been wishing for the baritone to record more Russian romances. Looks like Delos is more committed to preserving this magnificent voice on record more than Philips did. After all, "Dark Eyes" had a lot of orchestral music, though wonderfully performed by Ossipov orchestra, it effectively reduced the sang material by some about 15 minutes or so. This is certainly not the case here. Well oven an hour of excellent singing is recorded (close-miked) with no interruptions. The songs themselves are the ones most often performed as encored by Russian singers. While baritones or basses have the strongest claim to them, most likely stemming from a long Russian tradidion of low male voice solo, tenors and even mezzo-sopranos have performed some of those to great acclaim.

The absolute hardest thing about performing these songs is not to make them sound sappy, vulgar, or over-done. Of all Russian singers who dealt with this material, I most often think of bass Boris Shtokolov, who sang them with utmost care. Dmitri does just that here. His care for the texts is what strikes me first while listening to "I Met You", a reflective serenade to love long lost. While all songs are spectacularly presented, I would like to mention "Misty Morning" and "I loved you". Like the title song, they are both filled with gentle melancholy, and sang with great tenderness and feeling. Some high-energy items, such as "Troika" seem just a little out of place, but the voice is a sheer pleasure to listen to. In "Oh, Could I in Song Tell My Sorrow", there's a strange change from traditional "your heart would break" to "my heart would break". I am not sure as to why this was done, particularly since the Cyrillic texts are absent.

In liner notes, Hvorostovsky explains the dedication of this album to his father, a chemical engineer, who managed to convey his love for the classical music and Russian romances to his son. I think all fathers need to learn from this man. Wondrous results stem from right upbringing!
The only minor quibble I have is the cover picture. It seems like the producers wanted to target exclusively the female part of the audience by using lots of shades of red color and lots of subdued candlelight. Well, I am sure there are lots of Dmitri's fans among men, particularly those of us who study voice, so I wish Delos would not make the cover so extravagant.
The engineering of this album, though, is very appropriate. The voice is placed well above orchestra (conducted with perfection by Constantine Orbelian) and each word is clearly heard. Together with Verdi Arias recording this shows that Delos engineers are fully capable of capturing the voice of this size and beauty well on record, something I doubted when listening to an otherwise lovely album of Neapolitan Songs.
I am sure non-Russian speakers will enjoy this CD just as much as Russians. After all, we all feel the same, and Dmitri's exceptional talent just makes it easier to communicate across cultural barriers.

ANOTHER WONDERFUL ALBUM FROM DMITRI.......2002-10-11

Once again, Dmitri Hvorostovsky has done another beautiful album. I'm completely thrilled with his last three releases on the Delos lable--the Verdi Album, the Passione di Napoli album and this new Russian love song album. As I have previously indicated on my review of his Passione di Napoli album, I've been a fan of his since his very beginnings in opera, and I do feel that he is truly in his vocal prime.
This album is for the "romantic at heart". The songs are beautiful as is the singing. All I can say of this endeavor is Bravo!!
I'm truly grateful that Hvorostovky's recording career was extended by the Delos lable!!

Dmitri at his best.......2002-10-09

What a treat this CD is. I've been waiting years for the great Hvorostovsky to record another album of Russian folk music, and this is arguably his best collection of that genre to date. Recorded in August, 2001, Hvorostovsky has never sounded better, and the sound quality admirably complements his rich, velvety baritone. Unlike his earlier collection of Neapolitan songs for the same label (DELOS), the recording balance between singer and orchestra will please everyone this time. Furthermore, the CD benefits from stylishly idiomatic arrangements, some fine conducting from Constantine Orbelian, and the sympathetic support of both the Moscow Chamber Orchestra and the Russian folk music performers, the Style of Five.

The 19 songs on the CD are described as "Old Russian Romances", or in professional music terminology as "Russian Domestic (Household) Romances". These are passionate songs of love, "often against the background of vast, empty Russian landscapes with long roads under foggy, gray skies", as the liner notes tell us. Hvorostovsky's dark, expressive baritone is ideally suited to such music, and Dmitri aficionados will no doubt recognise two songs from his earlier CDs of this genre, the haunting title track and the wistful "O, If Only I Could Express In Sounds". The latter was featured on his best-selling 1991 "Russian Romances" CD for Philips, but here - if anything - his singing is even more poetic than in earlier days. Comparing the two versions, one is immediately aware of how much freer Hvorostovsky's top notes are on the latest CD, with his upper register showing none of the slightly constricted quality that occasionally marred the earlier CD. This is the voice of a mature artist, and it is rare indeed to hear such committed singing from the soul.

As if the above wasn't enough, the CD comes with translations, generous liner notes, and an alluring cover photo of the handsome Siberian.

Hvorostovsky in his Milieu.......2002-08-31

This is Hvorostovsky at his finest. His magnificent rich creamy baritone is not taxed. He makes you sigh at beauty of his high
mezzo-voce notes, held endlessly, and trailing off to nothingness. The songs themselves are lovely-sad ballads of lost love for the most part, with a few catchy little ditties thrown in for a change of pace.

As crossover discs go, this one is one of the best. A fabulous singer at his prime, singing the songs of his childhood memories.

Bravo Hvorostovsky!

The Warner Collection, Vol. 1: Her Bright Smile Haunts Me Still
Average customer rating:

Essential Addition To Any Collection

The Warner Collection, Vol. 1: Her Bright Smile Haunts Me Still
Various Artists
Manufacturer: Appleseed Records
ProductGroup: Music
Binding: Audio CD

General | Folk | Styles | Music
Traditional Folk | Folk | Styles | Music
General | Compilations | Folk | Styles | Music
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Warner Collection, Vol. 2: Nothing Seems Better to Me - The Music of Frank Proffitt and North Carolina

My Name Is Buddy

ASIN: B00004SBZK
Release Date: 2000-04-25

Tracks:

House Carpenter - Rebecca King Jones
I Went to See My Molly - Lee Monroe Presnell
River of Life - Buna Hicks
Babies in the Wood - Dorothy Howard
I Dropped the Baby - Dorothy Howard
Solas Market - Edith Perrin
Wakes in the Morning - Edith Perrin
Where Did You Get That Hat? - Edith Perrin
Mail Day Blues - J. B. Sutton
Nobody Knows - Sue Thomas
Gilgarrah Mountain (Whiskey in the Jar) - Lena Bourne Fish
Somebody's Waiting for Me - Charles K. "Tink" Tillett
Bony on the Isle of St. Helena - Charles K. "Tink" Tillett
Come Love Come - Eleazar Tillett
Hey, Get Along Josie - Tom Smith
Days of '49 - "Yankee" John Galusha
Springfield Mountain - "Yankee" John Galusha
Jolly Thrasher - Eleazar Tillett
Chimbly Sweep - Rebecca King Jones
Barbara Allen - R.K. Jones
Mohawk Chant, War Chant - Louis Solomon
Lowland Low - Frank Proffitt (TITLE CORRECTION)
Skin and Bones - anonymous
Two Little Blackbirds - Elda Blackwood
Uncle Ned - Elda Blackwood
Tommy - Martha Midgett
Hold My Hand Lord Jesus - Sue Thomas
Jolly Roving Tar - Lena Bourne Fish
Castle by the Sea - Lena Bourne Fish
Farewell to Old Bedford - Lee Monroe Presnell
Sometimes I'm in This Country - Lee Monroe Presnell
Top of Mount Zion - Buna Hicks
A Poor Wayfaring Pilgrim - Linzy Hicks
Been to the East - Steve Meekins
Lass of Glenshee - "Yankee" John Galusha
Irish 69th - "Yankee" John Galusha
The Cumberland & The Merrimac - "Yankee" John Galusha
Lonesome Valley - Curt Mann
Grandmama's Advice - Mrs. Wolf
Kiss Me, Oh, I Like It - Edith Perrin
When I Die - Edith Perrin
Young Beham - Roby Monroe Hicks
Poor Ellen Smith - Homer Cornett
Palms of Victory - Linzy Hicks
Her Bright Smile Haunts Me Still - Eleazar Tillett & Martha Etheridge
Let's Make a Date - Eleazar Tillett & Martha Etheridge

Amazon.com

Field recordings are an interesting concept: they are historical documents intended to preserve the folklore of their indigenous regions, but they can also be enjoyed as songs to be heard. If they are too polished or "professional" sounding, they may lose their archaic, authentic charm. On the other hand, who wants to hear amateur singers if they can't carry a tune, much less do so with any kind of emotional power? What makes this collection so rewarding is the precarious balance it finds. Amateur musicologists Anne and Frank Warner collected these field recordings across the Atlantic Coast states from 1940 through 1966. There are English, Scottish, and Irish folk songs, blues, spirituals, ballads, work songs, and chants of all types included--none of them intended for commercial release and all of them featuring singers to whom music was a family tradition or a community event or perhaps even an innate power. Many of these songs have become well known since they were recorded--some, such as "Tom Dooley," were basically discovered through the Warners' field work--but it's the lesser-known numbers that really hit home: "shudder stories" sung to scare young children, comic minstrel songs, sea chanteys, and more. The snippets of conversations prove that the Warners respected these people greatly and reveled in their genuineness. For fans of Alan Lomax's fieldwork, this set will be a treasured discovery. --Marc Greilsamer

Customer Reviews:

Essential Addition To Any Collection.......2000-06-16

This is the first time that material from the Anne and Frank Warner collection has been easily available to the listening public. The Warners collected songs and tunes from singers and players in the Carolina's, New York and New England starting in the 1930's, and the body of material that they brought to the world through their relationships with these tradition bearers forms an important basic framework of folk history. Long hidden away in the Library of Congress, it is at last available for all to enjoy and learn from. Here is where you'll find the original version of "Tom Dooley" (shared by Frank Proffitt) and pure mountain versions of "Whiskey in the Jar" and "Barbara Allen" as well as priceless interview segments with Proffitt and others. These selections were exquisitely chosen, and beautifully remastered and recorded. Whether you have a passing aquaintaince or a deep love of vernacular folk music, put this CD into your collection today.

Average customer rating:

Tenors Of The Bolshoi

Manufacturer: Pearl
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
ASIN: B000000WT6
Release Date: 1992-12-23

Tracks:

Manon: The Dream
I Pagliacci: Harlequin's Serenade
Lohengrin: Lohengrin's Narrative
Songs And Dances Of Death: Field-Marshal Death
Sadko: Indian Guest's Song
Boris Godunov: The Simpleton Upbraids Boris
Romeo et Juliette: Ange Adorable
La Traviata: Parigi, o cara
Oh, Do Not Tempt Me With Nezhdanova
Oh, The Wind Blows Across The Fields
It Is Not The Wind Howling
Sorotchintsy Fair: Gritzko's aria
Eugene Onegin: Lensky's aria
In The Forest By The Front Line

Tracks:

Prince Igor: Vladimir's cavatina
Russian And Ludmilla: The Bayan's Song
Sadko: Indian Guest's Song
Dubrovsky: Dubrovsky's aria
Eugene Onegin: Lensky's arioso
Eugene Onegin: 'Quarrel' Scene
Eugene Onegin: Lensky's aria
Dunya The Weaver
The Queen Of Spades Entry Of Hermann...I Do Not Even Know Her Name
'Storm' aria
Forgive Me, Bright, Celestial Vision
Death Of The Countess
Hermann At The Barracks
Final Scene And Death Of Hermann

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

General | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
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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.

Tracks:

Wintersuite
Buchanan Mist
The Promenade
Dancing Boots
The Selkie
The Early Morn
Shetland Air
Eamonn A Chnuic
Along The Western Shore
Pennan Den
The Bright Field

Customer Reviews:

a near flawless album of instrumental music.......1998-06-22

While the piano is hardly your typical Celtic musical instrument - fiddle, whistle, pipes or harp fill that bill better - a handful of pianists is winning over traditional enthusiasts with their supple and subtle arrangements of Irish and Scottish music.

While on the Irish side Micheal O'Suilleabhain is justly famous, it is an American composer and pianist, Paul Machlis, who has done the job for the Scottish side. In "The Bright Field" he has produced a near flawless album of instrumental music drawn from the Scottish Celtic tradition. He is backed by a trio of traditional musicians, headed by stunning Scots fiddler Alasdair Fraser. Guitarist Bill Coulter and cellist Barry Phillips complete what at times sounds more like a chamber group than a folk outfit.

Some of the tracks are arrangements of traditional folk tunes, others are Machlis' own compositions. While most sound loosely traditional, they would fit just as easily into the classy end of the film score/New Age pigeon hole. As with O'Suilleabhain, from whom he appears to have drawn inspiration, Machlis produces an almost orchestral effect with some pieces. The opening "Winter Suite" is an outstanding example. Other pieces - like the title track - have a more spare, autumnal feel to them.

Tracks:

Pour Berthe Moi Je Soupier - Ivan Ershov
Versez! Que Tout Respire - Ivan Ershov
Hoho! Ho-Hei! (Forging Scene) - Ivan Ershov
Field-Marshal Death - Ivan Ershov
The Seafarers - Ivan Ershov
I Swear Before God - Nicolaj Figner
In My Soul Winter Reigns - Nicolaj Figner
Young Agnese - Nicolaj Figner
Forgive Me, Bright Celestial Vision - Nicolaj Figner
Unwillingly To These Sad Shores - Leonid Sobinov
I Live Only For You - Leonid Sobinov
The Wind Whistles In The Hills - Leonid Sobinov
I Love You, Olga - Leonid Sobinov
Daylight Is Fading - Leonid Sobinov
La Donna E Mobile - Leonid Sobinov
(Wait! Is It Lovely Here) - Leonid Sobinov
Forgive Me, Bright Celestial Vision - Vasili Damaev
Sleep, My Beauty - Vasili Damaev
As If I Had A Chest Of Gold - Vasili Damaev
Ho, Faithful Friends - Vasili Damaev
(Ah1 Leve-Toi, Soleil) - Dmitri Smirnov
E Lucevan Le Stelle - Dmitri Smirnov
Whither, Whither Have You Gone... - Dmitri Smirnov
Je Crois Entendre Encore - Dmitri Smirnov
Sleep, My Beauty - Dmitri Smirnov

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Singers of Imperial Russia, Vol. 3
Various Artists
Manufacturer: Pearl
ProductGroup: Music
Binding: Audio CD

Russia | Far East & Asia | International | Styles | Music

General | International | Styles | Music

General | Pop | Styles | Music

General | Classical | Styles | Music

Tracks:

Sophia - Irena Bohuss
Black Skirt - Irena Bohuss
Traviata: Sempre Libera - Irena Bohuss
I Love Men - Irena Bohuss
Boh: Donde Lieta Usc Irena Bohuss
For Good Night - Irena Bohuss
Sad Song - Janina Korolewicz-Wayda
Halka: Like the Shrub in the Whirlwind - Janina Korolewicz-Wayda
Guelder-Rose - Janina Korolewicz-Wayda
Tosca: Vissi d'Arte - Janina Korolewicz-Wayda
Juive: Pour Lui, Pour Moi, Mon P Act 2 - Janina Korolewicz-Wayda
Soldiers Bride, Op. 8, N. 4 - Anna el-Tour
Zuleika, Op. 34, N. 1 - Anna el-Tour
By the Sea: Op. 46/Not a Sound from the Sea/The Wave Breaks into Spra - Anna el-Tour
Come to the Kingdom of Roses and Wine - Nadezhda Zabela-Vrubel
Sadko: Cradle Song - Nadezhda Zabela-Vrubel
Ruslan and Ljudmila: Magnificent Star of Love...O My Ratmir! - Maria Kuznetsova
Life for the Tsar: It Is Not for That That I Grieve - Maria Kuznetsova
Traviata: E' Strano...Ah, Fors' Lui - Maria Kuznetsova
Taras Bulba: Non, Je N'Ai Pas Sommeil - Maria Kuznetsova
Snow Maiden: How Painful Hre [Act 1] - Lydia Lipkowska
Snow Maiden: But What Ails Me?/Death of the Snow Maiden [Act 4] - Lydia Lipkowska
Barbiere Di Siviglia: Una Voce Poco Fa.. Io Sono Docile Act 2 - Lydia Lipkowska
Tsar's Bride: All the Livelong Day Act 2 - Lydia Lipkowska

Tracks:

Eugene Onegin: I Love You, Olga (Act 1) - Dmitrij Smirnov
Eugene Onegin: In Your House! - Dmitrij Smirnov
Eugene Onegin: Whither, Whither...Distant Echo of Youth (Act 2) - Dmitrij Smirnov
Dubrovsky: O Give Me Oblivion - Dmitrij Smirnov
Ruslan and Ljudmila: There Is a Desert Country - Dmitrij Smirnov
Rusalka: Unwillingly to These Sad Shores - Dmitrij Smirnov
Prince Igor: Daylight Is Fading, Act 2 - Dmitrij Smirnov
Dobrynja Nikitich: The Flowers Are Blooming in the Fields - Dmitrij Smirnov
Queen of Spades: Forgive Me, Bright Celestial Vision (Act 1) - Dmitrij Smirnov
Queen of Spades: What Is Our Life? - Dmitrij Smirnov
Snow Maiden: Mighty Nature, Full of Wonders Act 2 - Dmitrij Smirnov
Boris Godunov: Yet One More Page...Duet, Pimen & Gregory [Act 1] - Dmitrij Smirnov
Fair at Sorochinsk: Pourquoi, Mon Triste CUr? - Dmitrij Smirnov
Tranquillity - Dmitrij Smirnov
She Was Yours - Dmitrij Smirnov
Before My Window [Op. 26 N. 10] - Dmitrij Smirnov
Cradle Song, Op. 1 N. 5 - Dmitrij Smirnov
I Wish I Were With You - Dmitrij Smirnov
Rose and the Nightingale - Dmitrij Smirnov
O God! How Pleasant a Cool Summer Evening - Dmitrij Smirnov

Tracks:

Life for the Tsar: My Poor Horse Fell in the Field [Act 4] - Evgenija Ivanovna Zbrueva
Snow Maiden: Clouds Plotted With Thunder [Lel's 3rd Song, Act 3] - Evgenija Ivanovna Zbrueva
Dream on the Volga: Cradle Song - Evgenija Ivanovna Zbrueva
Faust: Versez Vos Chagrins (Act 4) - Evgenija Ivanovna Zbrueva
Ruslan and Ljudmila: And Blazing Heat, Pt. 1 - Evgenija Ivanovna Zbrueva
Ruslan and Ljudmila: The Wondrous Dream of Love [Ratmir's Aria, Act 5] - Evgenija Ivanovna Zbrueva
Erlk - Evgenija Ivanovna Zbrueva
Ruslan and Ljudmila: She Is My Life (Act 5) - Evgenija Ivanovna Zbrueva
Queen of Spades: Dear Friends (Pauline's Song, Act 1) - Evgenija Ivanovna Zbrueva
Doubt. -Be Still My Fears - Evgenija Ivanovna Zbrueva
Rusalka: Hark! The Trumpets Are Sounding...Days of Past Enjoyment [AC] - Evgenija Ivanovna Zbrueva
Prince Igor: Now the Daylight Dies [Konchakovna's Cavatina, Act 2] - Evgenija Ivanovna Zbrueva
Nero: Zulima's Bacchic Song - Evgenija Ivanovna Zbrueva
Carmen: C'Est Toi? C'Est Moi! ...Mais Moi, Carmen, Je T'Aime Encore - Eugene Witting, Evgenija Ivanovna Zbrueva
Life for the Tsar: My Poor Horse Fell...Open Up! [Act 4] - Evgenija Ivanovna Zbrueva
Life for the Tsar: Light the Fires! ...Saddle Your Horses! [Act 4] - Evgenija Ivanovna Zbrueva
Chant Hindou - Evgenija Ivanovna Zbrueva

Ruslan and Ludmila: Fantasia on Mikhail Glinka's opera and Alexander Pushkin's poem

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Ruslan and Ludmila: Fantasia on Mikhail Glinka's opera and Alexander Pushkin's poem

Manufacturer: Russian Compact Disc
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music
ASIN: B000004AS3
Release Date: 1995-12-12

Tracks:

Overture - excerpt
Introduction. Bayan's Song 'Affairs of days that passed away'
Ludmila's cavatina 'I am sad, my dear father!'
Chorus 'Glory to out bright Prince!'
Finn's scene and ballade
Scene of Ruslan and the Head. The Head's Tale
Scene in Naina's castle. Persian chorus 'The darkness of night is falling to the field'
Ludmila's scene and aria 'Oh, my poor fate'
Chorus 'The unexpected new-comer will die!'
Scene from the picture 4 - Ruslan, Gorislava, Ratmir, Finn
Finale of the opera - Ruslan, Ludmila, Svetozar, Farlaf, Ratmir, Gorislava
Epilogue. Bayan's song 'There to a desert country'
Overture - excerpt

Music Review:

Music Review

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