Tell Me What You See [Explicit Lyrics]

Track Listings

1. Visitation One

2. Tell Me What You See

3. Visitation Two

4. Killers

5. Visitation Three

6. Father, Mother, Child

7. Visitation Four

8. Lustful

9. Visitation Five

10. Decision

11. What's Your Name Son?

12. Promise Can I Kick It?

13. If I Gotta Die

14. The Bomb

15. Thanks

Editorial Reviews
MacKenzie Wilson, All Music Guide
blended urban beats and hip-hop hooks showcasing Promise's personal strifes while being involed with the Grape Street Crips.

Product Description
Although Promise has been labeled primarily as a rapper, there are those who describe him as a "prophetic psalmist". His music reflects a chaotic and violent reality that an apathetic world has become numb to.

Tell Me What You See [Explicit Lyrics]

Tell Me What You See,Promise,KalubonÃ© Records,While most refer to Promise as simply a rapper, some have described him as a "prophetic psalmist"

Tell Me What You See [Explicit Lyrics]

Tell Me What You See [Explicit Lyrics]

Average customer rating:

We Will Go Home

Good music

Want to hear Gladiator II?

King Arthur

Hans' Best

King Arthur
Hans Zimmer
Manufacturer: Hollywood Records
ProductGroup: Music
Binding: Audio CD

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Alexander

ASIN: B0002IQIWE
Release Date: 2004-07-27

Tracks:

Tell Me Now (What You See)
Woad To Ruin
Do You Think I'm Saxon?
Hold The Ice
Another Brick In Hadrian's Wall
Budget Meeting
All Of Them!

Amazon.com

What are legends if not for reinventing -- and/or hyper-inflating into Hollywood summer fare? In retooling the Arthurian legend for the goth-beguiled video game age, mega-producer Jerry Bruckheimer did away with details small (the lady in the lake, sword in the stone, etc.) and large (this Arthur is actually Eastern European, by way of Rome). Composer Hans Zimmer picks up that gauntlet, producing an orchestral score bristling with massed brass, chorus and percussion -- if little of the indigenous mysticism that made his work on Gladiator/ so rewarding. What there is of that precious commodity is frontloaded via the song "Tell Me Know (What You See)," his evocative opening collaboration with Clannad's Moya Brennan. From there, Zimmer emphasized this version's Eastern conceits with a half-dozen suites of cues that thunder in the Russian classical tradition -- and all the melodic range of "Jingle Bells." Zimmer--not to mention Poledouris--has done it better, but fans of outsized orchestral Gothic moodfests may yet take this one to heart. --Jerry McCulley

Customer Reviews:

We Will Go Home.......2007-07-13

Does this soundtrack include "We Will Go Home," the song Vorna sings to the men in the bar before they find out about their new mission?

Good music.......2007-05-16

I'm a huge Hans Zimmer fan, his scores are rich and deep. This is not his best, but it's still a great listen.

Want to hear Gladiator II?.......2007-04-12

In the end, this is the only relevant question; do you want to hear a more melodramatic version of Gladiator? More melodramatic, you ask?
And you better believe it, Hans Zimmer actually managed to blow up his sound from Gladiator even more, and I really didn't think this was possible, mainly because I thought it would sound utterly pathetic and over the top. And make no mistake, Zimmer's King Arthur is just that.

I am reviewing this score in retrospect, and it is truly fascinating to do that. When you look at other composers and make a little journey to their past, you usually find more creativity. The further back you go, the more original and fresh music you find. With Hans Zimmer, it's the opposite. With each year you go back, his scores just get more dreary, and that's saying alot because his latest works also don't really qualify as schoolbook examples for colourful scoring.

From Gladiator to Pirates Of The Caribbean 2, Hans Zimmer has yet to come forth with a truly fresh and unique score. Zimmer never, ever, not in a million years, escapes his usual box. And King Arthur is no exception whatsoever. From the get go, 20 horns are amassed and play a overly simplistic motif somewhere between a and A, the strings mush together in midrange, melodramatic chords, and dwell in the shallow realm of overbearing dullness.
I don't understand how an artist - and the art of film composing is severely underrated - can be content with repeating the same thing over and over. If I were Hans Zimmer, I would be embarassed by now to even write one more note for that droning bass.
To top it all off, Zimmer incorporates an Enyaesque voice that is easy on the ears, but in the end signifies nothing, does nothing and does all that with an amazing lack of substance.

That is, amongst others, the major difference between a serious film composer and Hans Zimmer: a good and skillful film composer takes an average film like King Arthur and makes it sound like something worthwhile. Hans Zimmer on the other hand embraces mediocrity and underlines it to create an even more average film.

King Arthur.......2007-04-09

I recently purchased this particular soundtrack, and i would have to say it is awesome. Hans Zimmer is a master at what he does. The music suits the film and since I loved the film I had to get the soundtrack. I loved the song Tell Me Now by Moya Brennan, and Another Brick in Hadrians Wall is the best song im my opinion on the soundtrack. Overall I'm so glad I bought this soundtrack and I rate it up there with the likes of Gladiator, Pirates of the Carribean. Keep up the good work Hans

Hans' Best.......2007-03-12

Hans Zimmer is a film composer with dozens and dozens of scores under his belt. Many who do not collect or even listen to film scores know his name. However, much if his film music sounds very similar and lacks a complex edge that other compose like John Williams, James Horner, and James Newton Howard deliver.

That said, King Arthur is Hans' most intriguing score to date. Backdraft and Gladiator (overrated) were very good, but this score is a departure from Hans' usual motifs. The only bad part for me(not related to the music itself) is that there are only seven tracks and each are very long. I like shorter tracks so I can pinpoint the themes or variations I want to lsiten to, but this is extremely minor. The music is great, and I reccommend you go enjoy Hans' best music yet.

Drill a Hole in That Substrate and Tell Me What You See

Average customer rating:

adventuresome alt-country/pop that should be heard.
a mysterious visitor
Holy Sh#$t!!!!
It's not that great
Future Country?

Drill a Hole in That Substrate and Tell Me What You See
Jim White
Manufacturer: Luaka Bop
ProductGroup: Music
Binding: Audio CD

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ASIN: B00026WT6A
Release Date: 2004-06-08

Tracks:

Static On The Radio
Bluebird
Combing My Hair In A Brand New Style
That Girl From Brownsville Texas
Borrowed Wings
If Jesus Drove A Motor Home
Objects In Motion
Buzzards Of Love
Alabama Chrome
Phone Booth In Heaven
Bonus Track 1

Amazon.com

It's no accident that Jim White is on David Byrne's Luaka Bop label. His odd, oblique tales from Pensacola, Fla. and beyond wouldn't be out of place in Byrne's quirky movie of smalltown Texas, True Stories. In fact, White has his own new film, Searching for the Wrong-Eyed Jesus, to capture his chosen milieu of motel rooms, truck stops, and churches, and--as described on "If Jesus Drove a Motor Home"--waffle houses: "Jesus eating eggs with ya'll." Not that the artist needs visuals to project his skewed vision: Drill a Hole in That Substrata and Tell Me What You See is dense with dreamy, wasted scenarios, each spilling into the other. His vocals, which rarely rise above a half-whisper, are those of a loser at love cursed by self-knowledge ("You can't waste the whole damn day loving what you need to cast away") and a winner at ennui who spends his drifting hours "listening to the song behind everything I think I know" and finding only static. The album, his third, is treated to offbeat textural touches that reflect the edgy ambient approach of his co-producer, Joe Henry--electronic washes, horn charts, banjo, bebop trumpet. A colorful character whose real-life exploits include stints as a professional surfer and Milan fashion model--and struggles with drugs and religion--White is supported by an expansive cast including fellow tortured Southerner Mary Gauthier, Aimee Mann, Barenaked Ladies, and guitarist Bill Frisell. --Lloyd Sachs

Customer Reviews:

adventuresome alt-country/pop that should be heard........2007-01-17

more adventuresome than your standard alt-country cd, this great recording has not a weak track on it. weirdly different in a perfectly listenable way, i have been enjoying this thing for a couple of years now, and am in no way ready to call it quits. highly, highly recommended.

a mysterious visitor.......2006-08-04

A true story... one day, I noticed a cd sitting on my computer desk. It was this Jim White album. I'd never heard of Jim White, but I figured someone must have loaned it to me and I forgot about it. So I gave it a listen, and was blown away! Moody, mysterious songs, beautiful production, the sort of postmodern-exotic sound of a Luaka Bop release... it reminded me of many things, from Tom Waits to Chris Isaak to Brian Eno's 1970s pop albums.

So I started asking my friends to find out who loaned it to me. Nobody did. Nobody claims credit, or even knew who Jim White is.

That's it. I'm convinced this album actually has magic voodoo powers, and simply willed itself onto my desk because it knew how much I needed to hear this music.

Holy Sh#$t!!!!.......2005-11-28

Great! Jim takes the cake, the hat, the everything! Go Jim, great CD!!! They're all great!

It's not that great.......2005-07-03

I liked "Static On The Radio", and "If Jesus Drove A Motor Home" when I heard them on David Byrne's internet radio feed. I didn't like anything else on the CD. That's all, over and out.

Future Country?.......2005-03-09

To classify this as country seems like an arbitrary decision but it is too lyrical and traditional for post-rock and too mellow for alt. rock so progressive country it is. Drill has a loungy tone devoid of the hootenanny factor but it does tend to go over the top in the production area from time to time. Smooth and full of effort to expand the boundaries of country in most tracks, I believe White overextends himself in the process sometimes specifically on "Combing My Hair In A Brand New Style" which is styled after the Black Crowes' "Soul Singing" mixed with the Sopranos' theme. Each song is explored to the fullest, five out of ten going well over six minutes long, and the range of musical apparatus used like keyboards, bongos, an Irish flute, all manner of percussions, and pro-tools off-set the usual country line-up completely bending traditional notions and guaranteeing his videos will never be played on CMT. His lyrics pursue an Eels led depression with more of a "Jesus, what went wrong" edge to them. The guest appearance of Aimee Mann perfectly sets the tone of the album with her typically sullen croon on the first track and the Barenaked Ladies don't seem out of place here either although the album is definitely closer to her solo work than theirs. Aside from the combing incident, this is a strong album regardless of whatever genre you think this is. The question now becomes, will Blanche, Iron & Wine, and the like continue to push the barriers of their ancient genre or rest on their profitable achievements?

Average customer rating:

Handel: The Masterworks (Box Set)

Manufacturer: Brilliant Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00062FLI8
Release Date: 2004-11-30

Purcell: Songs & Airs / Argenta, North, Boothby, Nicholson, Toll

Average customer rating:

Nice Collection
PERFECT!
Great singing and excellent value for money
More than two hours of beautiful 17th century 'ayres'

Purcell: Songs & Airs / Argenta, North, Boothby, Nicholson, Toll
Henry Purcell , Nancy Argenta , and Nigel North
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Purcell: The Fairy Queen
Purcell: Odes for St. Cecilia's Day - Music for Queen Mary / Taverner Consort
Essential Purcell
Bach: Cantatas
Gabrieli · Monteverdi · Vivaldi - Venetian Church Music / Taverner Consort, Choir & Players · Andrew Parrott

ASIN: B000059LOH
Release Date: 2001-06-05

Tracks:

O Solitude - Nancy Argenta/Nigel North
Ah! How Sweet It Is To Love - Nancy Argenta/Richard Boothby/Paul Nicholson
Not All My Torments - Nancy Argenta/Nigel North/Paul Nicholson
Stripp'd Of Their Green - Nancy Argenta/Nigel North/Richard Boothby/Paul Nicholson
Tell Me, Some Pitying Angel - Nancy Argenta/Nigel North/Richard Boothby/Paul Nicholson
If Music Be The Food Of Love - Nancy Argenta/Richard Boothby/Paul Nicholson
Hark! Hark! The Echoing Air - Nancy Argenta/Nigel North/Richard Boothby/Paul Nicholson
The Fatal Hour Comes On Apace - Nancy Argenta/Nigel North
Incassum, Lesbia - Nancy Argenta/Nigel North/Paul Nicholson
Sweeter Than Roses - Nancy Argenta/Nigel North/Richard Boothby
Cupid, The Slyest Rogue Alive - Nancy Argenta/Nigel North/Richard Boothby/Paul Nicholson
From Silent Shades - Nancy Argenta/Nigel North/Richard Boothby/Paul Nicholson
Dear Pretty Youth - Nancy Argenta/Nigel North/Richard Boothby
From Rosy Bow'rs - Nancy Argenta/Nigel North/Richard Boothby/Paul Nicholson
Now That The Sun Hath Veil'd His Light - Nancy Argenta/Paul Nicholson
Beneath A Poplar's Shadow - Nancy Argenta/Nigel North/Richard Boothby
I Attempt From Love's Sickness To Fly - Nancy Argenta/Paul Nicholson
Let Us Dance - Nancy Argenta/Nigel North/Richard Boothby/Paul Nicholson
Fairest Isle - Nancy Argenta/Nigel North
O Solitude - Nancy Argenta/Richard Boothby

Tracks:

Nymphs And Shepherds - Nancy Argenta/Nicholas Robinson/Fiona Huggett/Trevor Jones/Richard Boothby/Nigel North/John Toll
Amidst The Shades And Cool Refreshing Streams - Nancy Argenta/Nigel North
Love In Their Little Veins Inspires - Nancy Argenta/Rachel Becket/Marion Scott/Richard Boothby/Nigel North
Fly Swift, Ye Hours - Nancy Argenta/Richard Boothby/Nigel North/John Toll
They Tell Us That Your Mighty Powers - Nancy Argenta/Nicholas Robinson/Fiona Huggett/Trevor Jones/Richard Boothby/Nigel North/John Toll
The Plaint: O Let Me Weep - Nancy Argenta/Pauline Nobes/Richard Boothby/Nigel North/John Toll
In The Black, Dismal Dungeon Of Despair - Nancy Argenta/Nigel North/John Toll
See, Even Night Herself Is Here - Nancy Argenta/Nicholas Robinson/Fiona Huggett/Trevor Jones
Why Should Men Quarrel? - Nancy Argenta/Rachel Becket/Marion Scott/Richard Boothby/John Toll
Seek Not To Know - Nancy Argenta/Paul Goodwin/Sophia McKenna/Richard Boothby/Nigel North/John Toll
Retir'd From Mortals' Sight - Nancy Argenta/Nigel North
To Arms, Heoric Prince - Nancy Argenta/Mark Bennett/Richard Boothby/Nigel North/John Toll
O Lead Me To Some Peaceful Gloom - Nancy Argenta/Richard Boothby/Nigel North/John Toll
Halcyon Days - Nancy Argenta/Paul Goodwin/Pauline Nobes/Richard Boothby/Nigel North/John Toll
Bid The Virtues - Nancy Argenta/Paul Goodwin/Richard Boothby/Nigel North/John Toll
Lord, What Is Man? (A Divine Hymn) - Nancy Argenta/Richard Boothby/Nigel North/John Toll
Music For A While - Nancy Argenta/John Toll
If Music Be The Food Of Love (1st Setting) - Nancy Argenta/Richard Boothby/John Toll
Sawney Is A Bonny Lad (A Scotch Song) - Nancy Argenta/Nigel North
When I Have Often Heard Young Maids Complaining - Nancy Argenta/Nicholas Robinson/Fiona Huggett/Richard Boothby/Nigel North/John Toll
Ah! Cruel, Bloody Fate - Nancy Argenta/Nigel North/John Toll
Thy Hand, Belinda... When I Am Laid In Earth - Nancy Argenta/Nicholas Robinson/Fiona Huggett/Trevor Jones/Richard Boothby/Nigel North

Customer Reviews:

Nice Collection.......2007-03-05

I have many collections of Purcell's Music. This collection stands up to them at half the price. Solid buy.

PERFECT!.......2006-10-26

There is only a word with which I can describe this set of discs: perfect!
The only flaw there is, is not related to the singing or playing: no text enclosed.

Great singing and excellent value for money.......2004-09-19

This is probably one of the best anthologies of Purcell songs around, and not just because it's two-for-one pricing means it contains twice as much music (CD1:74'24" & CD2: 77'41")! Nancy Argenta has an irrepressible sense of style and crystal clear diction. But unlike Emma Kirby, whose vocal purity can become tiresome, these renditions radiate warmth. She is also, I have found, more consistently involving than any one of the singers in Hyperion's three disc survey of Complete Secular Songs (recently reissued as a single set). One marvels at how she judiciously balances restraint and emotional forthrightness. The accompaniments (archlute, viola da gamba, harpsichord, and organ) are well judged and blend with the voice, all helped by an excellently defined recording acoustic. This is an absolute winner at any price!

More than two hours of beautiful 17th century 'ayres'.......2001-08-02

Two CDs, totaling more than 150 minutes of sparsely-arranged (never more than 3-5 instruments at a time), sweetly-sung, 350 year old 'ayres' (a typically English form of secular music). Nancy Argenta's soprano voice is lovely, silvery indeed as her name implies. The instruments are a discreet but friendly accompaniment to her solo voice. Perhaps the instruments are a little too discreet -- there are times when I wish they were a touch more prominent. But that is a very, very minor complaint. A beautiful collection, and quite well worth the money.

Average customer rating:

I waited for this for five years
Excellent collection but BIG PUBLISHING MISTAKE!
ONE OF LLOYD WEBBER'S BEST COMPILATIONS, DESPITE A FEW FLAWS
SUCH MAGICAL MUSIC OF THE NIGHT!
A Must Have for Sir Andrew fans

Andrew Lloyd Webber: Now & Forever
Various Artists
Manufacturer: Decca Broadway
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005R5UJ
Release Date: 2001-11-20

Tracks:

Jesus Christ Superstar: Overture - Andrew Lloyd Webber
Jesus Christ Superstar: Everything's Alright - Yvonne Elliman/Murray Head/Ian Gilllan
Jesus Christ Superstar: I Don't Know How To Love Him - Yvonne Elliman
Jesus Christ Superstar: Gethsemane (I Only Want To Say) - Steve Balsamo
Jesus Christ Superstar: Superstar - Murray Head
Evita: Oh What A Circus/Sing You Fools - Antonio Banderas
Evita: I'd Be Surprisingly Good For You - Elaine Paige/Joss Ackland
Evita: Another Suitcase In Another Hall - Barbara Dickson
Evita: Don't Cry For Me Argentina - Julie Covington
Evita: High Flying, Adored - Mandy Patinkin/Patti LuPone
Cats: The Jellicle Ball - Andrew Lloyd Weber
Cats: Memory - Elaine Paige
Cats: Gus: The Theatre Cat - Susan Jane Tanner/John Mills
Cats: Mr Mistoffelees - Paul Nicholas
Song And Dance: Take That Look Off Your Face - Marti Webb
Song And Dance: Tell Me On A Sunday - Marti Webb
Song And Dance: Unexpected Song - Sarah Brightman
Song And Dance: Nothing Like You've Ever Known - Sarah Brightman
Song And Dance: Introduction - Andrew Lloyd Webber
Song And Dance: Variations 1 -4 - Andrew Lloyd Webber

Tracks:

Starlight Express: Starlight Express - El Debarge
Starlight Express: Crazy - Greg Ellis/Reva Rice/Caron Cardelle/Samantha Lane/Voyd
Starlight Express: Next Time You Fall In Love - Reva Rice/Greg Ellis
Starlight Express: I Am The Starlight - Lon Satton/Ray Shell
Starlight Express: Light At The End Of The Tunnel - The Company
Requiem: Hosanna - Placido Domingo
Requiem: Pie jesu - Sarah Brightman/Paul Miles-Kingston
The Phantom Of The Opera: The Phantom Of The Opera - Michael Crawford/Sarah Brightman
The Phantom Of The Opera: The Music Of The Night - Michael Crawford
The Phantom Of The Opera: All I Ask Of You - Sarah Brightman/Steve Barton
The Phantom Of The Opera: Entr'acte - Andrew Lloyd Webber
The Phantom Of The Opera: Masquerade - The Company
The Phantom Of The Opera: Wishing You Were Somehow Here Again - Sarah Brightman
Aspects Of Love: Aspects Of Aspects - Orchester Der Vereinigten Buehnen Wien
Aspects Of Love: Love Changes Everything - Michael Ball
Aspects Of Love: Seeing Is Believing - Michael Ball/Ann Crumb
Aspects Of Love: The First Man You Remember - Kevin Colson/Diana Morrison
Aspects Of Love: Anything But Lonely - Sarah Brightman
Aspects Of Love: Chanson D'Enfance - Sarah Brightman

Tracks:

Joseph And The Amazing Technicolor Dreamcoat: Any Dream Will Do - Jason Donovan
Joseph And The Amazing Technicolor Dreamcoat: Joseph's Coat - Maria Friedman/Richard Attenborough/Donny Osmond
Joseph And The Amazing Technicolor Dreamcoat: Close Every Door - Donny Osmond
By Jeeves: Travel Hopefully - John Scherer/Martin Jarvis/Don Stephenson
By Jeeves: When Love Arrives - Steven Pacey/Diana Morrison
By Jeeves: Half A Moment - Sarah Brightman
Sunset Boulevard: With One Look - Glenn Close
Sunset Boulevard: New Ways To Dream - Glenn Close/Alan Campbell
Sunset Boulevard: The Perfect Year - Glenn Close/Alan Campbell
Sunset Boulevard: Sunser Boulevard - Alan Campbell
Sunset Boulevard: As If We Never Said Goodbye - Glenn Close
Whistle Down The Wind: Whistle Down The Wind - James Graeme/Lottie Mayor
Whistle Down The Wind: Cold - Everly Brothers
Whistle Down The Wind: No Matter What - Children/Adult Chorus
Whistle Down The Wind: The Nature Of The Beast - Marcus Lovett/Lottie Mayor
The Beautiful Game: Overture - Andrew Lloyd Webber
The Beautiful Game: The Beautiful Game - The Company
The Beautiful Game: Our Kind Of Love - Hannah Waddingham
The Beautiful Game: Dont Like You - Josie Walker/David Shannon
The Beautiful Game: Let Us Love In Peace - Josie Walker/Omagh Youth Community Choir

Tracks:

Oh What A Circus - David Essex
Memory - Betty Buckley
The Phantom Of The Opera - Sarah Brightman/Steve Harley
All I Ask Of You - Sarah Brightman/Cliff Richard
Love Changes Everything - Michael Ball
Any Dream Will Do - Donny Osmond
Amigos Para Siempre (Friends For Life) - Sarah Brightman/Jose Carreras
As If We Never Said Goodbye - Barbra Streisand
The Perfect Year - Dina Carroll
With One Look - Petula Clark
You Must Love Me - Madonna
The Heart Is Slow To Learn - Kiri Te Kanawa
A Kiss Is A Terrible Thing To Waste - The Metal Philharmonic Orchestra
Whistle Down The Wind - Tina Arena
No Matter What - Boyzone
The Vaults Of Heaven - Tom Jones
Try Not To Be Afraid - Boy George
Pie Jesu - Charlotte Church

Tracks:

Make Believe Love - Wes Sands
Down Thru' Summer - Ross Hannaman
I'll Give All My Love To Southend - Ross Hannaman
Believe Me I Will - Sacha Distel
Joseph And The Amazing Technicolor Dreamcoat (1969 Radio Luxembourg Commercial) - Joseph Consortium/Pete Murray
Try It And See - Rita Pavone
Come Back Richard Your Country Needs You - Time Rice And The Webber Group
Goodbye Seattle - Paul Raven
John 19:41 - The Andrew Lloyd Webber Orchestra
What A Line To Go Out On - Yvonne Elliman
Disillusion Me - Gary Band
The Ballad Of Robert And Peter - Tim Rice
Christmas Dream - Maynard Williams
It's Only Your Lover Returning/All Through My Crazy And Wild Days/Don't Cry For Me Argentina - Julie Covington
It's Easy For You (1977 Jungle Room Session Version) - Elvis Presley
Magdalena - Tony Christie
Buenos Aires - The Roja Rockers
Pollicle Dogs And Jellicle Cats - Andrew Lloyd Webber
Mungojerrie And Rumpleteazer (Live At The Sydmonton Festival 1980) - Gemma Craven
I Could Have Given You More - Petula Clark
I've Been In Love Too Long - Marti Webb
Benedicite - The Stephen Hill Singers

Album Description

Disc 1: Selections from Jesus Christ Superstar, Evita, Cats, and Song and Dance

Disc 2: Selections from Starlight Express, Requiem, Phantom of the Opera, and Aspects of Love

Disc 3: Selections from Joseph nad the Amaziong Technicolor Dreamcoat, By Jeeves, Sunset Boulevard, Whistle Down the Wind, and The Beautiful Game

CD 4: 1. "Oh What a Circus" --David Essex 2. "Memory" - Betty Buckleey 3. "The Phantom of the Opera" -Sarah Brightman, Steve Harley 4. "All I Ask of You" --Sarah Brightman, Cliff Richard 5. "Love Changes Everything"--Michael Ball 6. "Any Dream Will Do"--Donny Osmond 7. "Amigos Para Siempre (Friends for Life)"--Sarah Brightman, Jose Caerras 8. "As if We Never Said Goodbye"--Barbra Streisand 9. "The Perfect Year"--Dina Carroll 10. "With One Look" --Petula Clark 11. "You Must Love Me" 12. "The Heart Is Slow To Learn" --Kiri Te Kanawa 13. "Whistle Down the Wind"--Tina Arena 14. "A Kiss Is a Terrible Thing To Waste"--The Metal Philharmonic 15. "No Matter What"--Boyzone 16. "The Vaults of Heaven"--Tom Jones and Sounds of Blackness 17. "Try Not To Be Afraid"--Boy George 18. "Pie Jesu"--Charlotte Church

Disc 5: (All tracks available for the first time) 1. "Make Believe Love"--Wes Sands 2. "Down Thru' Summer"--Ross Hannaman 3. "I'll Give All My Love to Southend"--Ross Hannaman 4. "Believe Me I Will"--Sacha Distel 5. "Joseph and the Amazing Technicolor Dreamcoat: 1969 Luxembourg Radio Commercial--The Jospeh Consortium, Pete Murray 6. "Try It and See"--Rita Pavone 7. "Come Back Richard Your Country Needs You"--Tim Rice and the Webber Group 8. "Goodbye Seattle"-- Paul Raven 9. "John 19:41"--The Andrew Lloyd Webber Orchestra 10. "What a Line To Go Out On"--Yvonne Elliman 11. "Disillusion Me" --Gary Bond 12. "The Ballad of Robert and Peter"--Tim Rice 13. "Christmas Dream" --Maynard Williams 14. "It's Only Your Lover Returning/All through My Wild and Crazy Days/Don't Cry for Me Argentina--Julie Covington 15. "It's Easy for You" (1977 Jungle Room Session version)--Elvis Presley 16. "Magdalena"--Tony Christie 17. "Buenos Aires"--The Rioja Rockers 18. "Pollicle Dogs and Jellicle Cats"--Andrew Lloyd Webber original demo 19. "Mungojerrie and Rumpleteazer" (Live at Sydmonton Festival 1980)-Gemma Craven 20. "I Could Have Given You More"--Petula Clark 21. "I've Been in Love Too Long"--Marti Webb 22. "Benedicte"-- Stephen Hill Singers

Customer Reviews:

I waited for this for five years.......2006-06-30

Between Amazone, Ebay and Napster, I don't usually buy CDs anymore, and I usually wait till I can buy them cheaper "new and used". When this set came out, I was excited, mainly by Disc 5, but wasn't going to spend $70 on it. I waited till it was cheap enough, and got it for Father's day this year.
It was worth the wait.

The concept is great. The packaging is great. The recording is great. Disc five is really cool for an ALW aficionado. There are a few real gems on it; my favorites are Petula Clark's "I Could Have Given You More" and "Benedicite."
I've always thought "Gus the Theatre Cat" made a great medley on the piano with "Unexpected Song" and "I DOn't Know How to Love Him," but wished there was an alternate lyric to match the other two songs. Now that I know there *is*, and it's a good lyric, it's a dream come true.
The melody of "Benedicite" is one of my favorites from _Sunset_ (the book mis-identifies it as "SUrrender"; it's actually "The Lady's Paying" and "Eternal Youth is Worth a Little Suffering"). The lyrics are the canticle from Daniel 3, which comes up every odd Sunday in the Divine Office, so it's nice to have cool music to sing it with.

I haven't bought _By Jeeves_ or _THe Beautiful Game_ yet, to it was great to sample them.

There are other parts of the CD taht aren't found in my collection. I like CD 4 "The Hits."

But the selections on CDs 1-3 don't make sense.

First, any self-respecting ALW fan has the Original London Cast of _Phantom_, so six tracks are totally useless. Why not draw from the Canadian cast with Colm Wilkinson? Or pull out some obscure recordings never published.

Why two different tracks with Michael Ball singing "Love Changes Everything", yet they're hardly any different?

On Disc 5 is "It's Only Your Lover Returning," sung by Julie Covington. It's an early draft of the song (Lloyd Webber and Rice went through several suggested titles) and quite nice. The very thing one expects on a Boxed Set.
So why have the Julie Covington "Don't Cry for Me" on disc 1?? The only difference is a few words, but it's otherwise identical. Why not Elaine Paige or Patti Lupone or Madonna?

The _Evita_ section is otherwise the best, choosing a sample from each major recording, though I'd have chosen slightly differently (as above).

There is a great selection of "Mungojerrie and Rumpleteazer" from the Sydmonton festival, using the original music that was changed when _Cats_ went to Broadway_. It would have been nice if they'd included more recordings from Sydmonton, like the original lyric of "All I Ask of You" shown on the second DVD to the _Phantom_ movie.

With so many great actress-singers who've played Norma Desmond, why does the collection beat us over the head with Glenn Close?

Paul Miles Kingston must be set for life in royalties, for the number of albums the original recording of "Pie Jesu" has appeared on. "Amigos Para Siempre" is nice, but it reminds me of Shari Lewis's "The Song that Doesn't End," especially when it's been used on so many compilations.

In short, this is a great collection for the obscure material, if you can get it cheap. But for a boxed set, it's a poor sampling, drawn mostly from the most familiar recordings.

Excellent collection but BIG PUBLISHING MISTAKE! .......2006-01-10

Please beware they made a mistake on this. It's actually the shortened Ray Shell version of STARLIGHT EXPRESS from the original 1984 London cast - NOT the El Debarge single from 1987 like it says on the box. I don't know how they let that goof pass. Sorry to Ray Shell. Having said that, this is an outstanding compilation of Lloyd Webber's greatest hits.

ONE OF LLOYD WEBBER'S BEST COMPILATIONS, DESPITE A FEW FLAWS.......2005-03-21

Regardless of the fact that some of his latest efforts (most notably, The Woman in White) are disappointing, there can be little doubt that Andrew Lloyd Webber is one of the greatest composers ever to work in the musical theatre. Ever since his "Jesus Christ Superstar" hit the stage in the early 70-is, it was clear that the conception and perception of musicals are never going to be the same again. Many of his songs became standards not only in the theatre history, but also as tops on the charts. Even though he's British, his influence on the shape of the modern musical theatre expanded over the West End boundaries long ago and has thus made an enormous impact on Broadway. Two of his shows ("Cats" and "The phantom of the opera") hold the record as two the longest running shows in the history of Broadway. He has also been the only composer to have three of his shows running at Broadway concurrently. Some of his awards include three Grammies, a Golden Globe, an Oscar and a bunch of Tony awards. But perhaps most of all, Lloyd Webber is responsible for bringing the musicals and the theatre appealing to the wide audiences, who in different circumstances would not consider seeing a musical. The secret of his success is probably the mixture of beautiful and catchy melodies, interesting subject matter (though some, like Starlight Express, are too thin) and grandiose staging.

Over the years many compilations of his work have emerged. In the late 80-is and early 90-is it was the "Encore" series and lately the one-disc collection called "Gold". The one in question here can be considered one of the best currently on the market. First, it includes a 3-disc selections from all of his shows, minus the latest one, i.e., "The Woman in White", which, considering the triviality of the score, is no great lost. The fourth disc covers some of his most known songs sung by the famous artists. Then, there is the fifth disc with previously unreleased material, most of which are the songs ALW wrote with Tim Rice for various artists during the 70-is. The disks are all neatly packed in a hardcover book that features 67 pages of pictures and text with information about each of ALW's shows. One of the other assets here is the perfect sound quality, since all of the tracks have been digitally remastered.

Here are my basic impressions and comments regarding the material on the discs:

* Disc #1 has the selections from "Jesus Christ Superstar", "Evita", "Cats" and "Song & Dance". The Superstar material mostly comes from the Concept Recording. Although the songs sound beautiful as always, their orchestration is a bit dated now. Only Steve Balsamo's "Gethsemane" from the 1996 revival cast has a modern rock sound. "Evita" comes with the material from all of the major recordings: London, Broadway and the movie productions, as well as the Concept album. No objections here; since this is one of ALW's most satisfying works, every song is just perfect, although Patti LuPone, the Broadway and overall the best Evita, is left with only a couple of lines. With the selections from "Cats", however, I have some doubts. A plus to the choice of the "Jellicle ball" impressive orchestral sequence from the 1998 movie version and "Mister Mistoffelees" from the 1981 London cast. One of the best known ALW's songs, "Memory", also comes from that album. It's a pretty version and Elaine Paige's rendition cannot be matched, but why include this when the definite version, featuring an 80-piece orchestra and Elaine Paige with much better interpretation, can be found in the same movie version. Thusly, one has to buy Elaine Paige's latest 2-disc compilation "Centre Stage: The very best of Elaine Paige" to get that one. And "Gus the theatre cat" is more a recital than a song, so there was not much point in including that. Marti Webb brings her vocal charm to the "Song & Dance" sequence, Sarah Brightman sings "Unexpected song" with her famous soprano, but as much as I like her version, Bernadette Peters, who was in this show on Broadway is strangely left out here.

* Disc # 2 starts with "Starlight Express". This was never one of my favorite ALW's shows; the plot is even lighter than in "Cats" and the 1984 original cast recording is terribly dated. Yet, here we have one terrific duet, "I am starlight" from the original together with three songs from the later revivals and it seems that fresh orchestrations were just the thing Starlight needed. My favorite remains a touchy ballad, "Next time you fall in love". "Requiem" is the most solemn of all ALW's compositions, written in 1985 to commemorate the death of his father. Placido Domingo's tenor rides together with the chorus all the way through the strong "Hosanna", only to be joined by Sarah Brightman in the final moments of this song. She then gives an echoing deliverance of "Pie Jesu". What can be said of ALW's next show, "The Phantom of the Opera"? A phenomenon in its own right, it's easy to see from the six numbers included here why this is one of the best and most beloved musicals of all time. The cast, the music, the story - everything is perfect. Although "Aspects of love" was never a popular hit, it does have some of the most beautiful love melodies ALW has ever written. "Love changes everything" sung by Michael Ball is probably one of the best tunes ever about love. The rest of the selected material here has a dreamy love flavor and the melodies find their way into your brain in the best Lloyd Webber way.

* ALW's first musical, "Joseph and the amazing Technicolor dreamcoat" was more successful in its revival form than the original from the 70-is. The three songs included here are sung by the show stars, Jason Donovan and Donny Osmond. Maria Friedman was not a lucky choice to play the narrator, as the track from the 1998 movie version shows. "By Jeeves" was ALW's only big flop when it came to the stage in the 70-is. The 1995 revival sounds much better though, full of funny numbers in the best manner of the musical comedy. "Travel hopefully" remains one of the show's highlights on this compilation. "Sunset Boulevard" comes next. "Sunset" remains for me one of Webber's best scores; lush and beautiful. I listen to the original cast recording with Patti LuPone all the time. However, here most of the songs are performed by Glenn Close. A big mistake. If you've ever listened the American premiere recording with her, you'll know what I am talking about. She may have a strong stage presence, but her vocal abilities are too limited, and her aggressive approach to the role lacks any subtlety. Therefore, the two big numbers from this show, "With one look" and "As if we never said goodbye" are ruined by the fact she can't sing. The same goes for the American Joe Gillis, who was played by Alan Campbell. Luckily, Patti LuPone and Kevin Anderson, the original Norma and Joe from the London production, make their brief entrance here with the "Perfect year"; enough to show how better they are. The funny thing is, on the jacket and inside of it, Glenn Close and Alan Campbell are credited as performers in this song as well. If this was a mistake on ALW's part, it was a good one. The next ALW's show, "Whistle down the wind" was never a critic's dear and yet the audiences rushed in to see it in London. The score brings back ALW to his rock and roll roots of the seventies and the story is quite interesting. But the selections here are not the happiest, since the cast recording boasts with much better songs. And finally, "The Beautiful Game". Again, we have one of those ALW's shows that is worth in its individual parts rather than as a whole. "Our kind of love" and "Let us love in peace" are two catchy ballads. The latter is a nice amalgam version not available elsewhere. The two other tracks here I could live without.

* Disc # 4 has the songs from all the above shows performed by different artists. The assembled tracks have their pros and cons. For example, we have some previously unreleased stuff, like Dame Kiri Te Kanawa's operettic rendition of "The heart is slow to learn", or a stunning and epic "A kiss is a terrible thing to waste" from "Whistle down the wind", performed by The Metal Philharmonic Orchestra. Then again, what was the point in including almost identical tracks as the ones on the previous disks? So we have Michael Ball again singing "Love changes everything" with only a bit different orchestration; Sarah Brightman comes out again with the same Phantom duets, but only with the different male singers. It would be much more appropriate to include tracks from the Toronto Cast of the Phantom, with Colm Wilkinson. Other pop deliverances (Tina Arena's "Whistle down the wind", Barbra Streisand's "As if we never said goodbye", Boyzone's "No matter what" and many more) were wisely chosen. Patti LuPone is again nowhere to be found and Petula Clark's "With one look" sounds too worn-out.

* The last disc is probably the one that will be of most interest to Lloyd Webber aficionados. It consists of entirely previously unreleased material ALW for the most part wrote for various artists during his early years, with Tim Rice. Some of these tunes, not successful as a singles, were later used in his shows. Thus "Down thru' summer" became "Buenos Aires"in Evita, "Try it and see", an unsuccessful attempt for the Eurovision was used for "King Herod's song" in "Superstar" and so on. Some of these songs are nicely made pop songs: "Make believe love", ALW's first recorded composition, for which he provided the lyrics; "Goodbye Seattle", sung by Paul Raven, who later became Gary Glitter; "Come back Richard, your country needs you", from a never made musical, sung here by Tim Rice, or Latin flavored "Magdalena", with Tony Christie singing. My all time favorite here is a song called "It's easy for you", sung by none other than Elvis Presley himself. Lloyd Webber and Rice sent him a demo recording that he accepted and recorded this live version a couple of weeks before he died. It's amazing to hear how his voice remained in the perfect shape. Also, there is a track of Andrew Lloyd Webber singing "Policle dogs and Jellicle cats" while plying the piano. His voice doesn't sound bad at all.

Taken as a whole, this compilation makes a perfect birthday or Christmas present to any fan of Andrew Lloyd Webber shows, or just anybody interested in some of the best tunes from the modern era of the musical theatre; despite the flaws I mentioned above. To the former, it may just be the final addition for the Andrew Lloyd Webber collection.

SUCH MAGICAL MUSIC OF THE NIGHT!.......2003-01-19

"Evita." "Sunset Blvd." "Starlight Express." "Jesus Christ Superstar." "Joseph and the Amazing Technicolor Dreamcoat." "Requiem." "Aspects of Love." The man who is the most recognized composer in the history of the musical theatre, the man who has won more Tonys than any other composer, the man who boasts the best-selling show of all time ("The Phantom of the
Opera") and the longest-running show of all time ("Cats"), the man whose homes are filled with three Grammys, five Oliviers, a Golden Globe, and Oscar and too many other honors and hosannas to mention, the man knighted in 1992 certainly doesn't need an introduction. Now Decca Broadway pays tribute to Sir Andrew Lloyd Webber with "Now and Forever," a spectacular 5-CD set compiled and produced by Sir Andy himself. It's cheaper than a
ticket to "The Producers" ... and more much exciting. This treasure trove contains highlights from all of Webber's shows, and a bonus disc of tunes sung by Betty Buckley, Barbara
Streisand, Jose Carreras, Boy George, Charlotte Church, Madonna, Tom Jones, Petula Clark, even Elvis! A must for lovers of theatre---and good music.

A Must Have for Sir Andrew fans.......2002-05-21

This five-CD collection of Andrew Lloyd Webber's career is fantastic. It leaves virtually no stone unturned. I have no doubt that diehard Webber fans will love this, especially for the 5th disc entitled "From the Vaults." This disc alone is worth the price as it contains tunes never before heard by the typical fan. Who knew Elvis did a Lloyd Webber tune?!? I didn't! Also the tune "Benedictine" which the composer wrote for his most recent marriage is not only pretty, but it has the same medley as "The Lady's Paying" from "Sunset Blvd." which I found highly enjoyable. Another great track is the composer himself singing a cut song from "Cats" entitled "Pollicle Dogs and Jellicle Cats" which has the same tune as "Jellicle Songs for Jellicle Cats," but to hear Sir Andrew sing is a blast...he sounds a lot like Al "Year of the Cat" Stewart.
The cuts from the musicals are great but are likely owned by ALW fans as they are on the original cast albums. And I'm glad that there were tunes included from the composers most recent efforts which have yet to make it beyond London (Whistle Down the Wind, Beautiful Game).
My only complaint is the inclusion of way too many tracks by Sarah Brightman. She must've received a great divorce settlement that included having tunes on any ALW collection until the end of time!! Her interpretations of some of the tunes were limp and uninspired. I would've much rather heard casts from around the world rather than yet another song by this disdainful soprano! How about Colm Wilkinson's version of "Music of the Night" from the original Canadian cast of "Phantom"? Or Michael Crawford's version of "Unexpected Song"? What? No Betty Buckley from "Sunset Blvd."? And of course there are songs you KNOW are going to be on the collection before you even listen to it as they have been on EVERY ALW collection for the past decade or so.
A great collection but too much Sarah Brightman!

Average customer rating:

A Comic-Opera Treasure!
an obscure delight!

Dittersdorf: Arcifanfano, King of Fools

Manufacturer: Video Artists Int'l
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
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ASIN: B000003LIK
Release Date: 1994-12-12

Tracks:

Arcifanfano, King Of Fools: Act I: Overture
Arcifanfano, King Of Fools: Act I: Chorus - We've Traveled Far (Semplicina, Gloriosa, Garbata, Sordidone, Malgoverno, Furibondo)
Arcifanfano, King Of Fools: Act I: Recitative - Approach! What Is Your Name, Sir? (Furibondo)
Arcifanfano, King Of Fools: Act I: Aria - With A Sword That Is Sterner Than Moses (Furibondo)
Arcifanfano, King Of Fools: Act I: Recitative - Unhappy Oddling (Gloriosa)
Arcifanfano, King Of Fools: Act I: Aria - My Fair Skin, My Bare Chin (Gloriosa)
Arcifanfano, King Of Fools: Act I: Recitative - Was Ever There Insanity (Sordidone)
Arcifanfano, King Of Fools: Act I: Aria - Snugly Hidden Safe From Prying (Sordidone)
Arcifanfano, King Of Fools: Act I: Recitative - Madness Beyond All Measure (Malgoverno)
Arcifanfano, King Of Fools: Act I: Aria - When The Purse Is Clinking (Malgoverno)
Arcifanfano, King Of Fools: Act I: Recitative - There, Like A Vapor (Semplicina)
Arcifanfano, King Of Fools: Act I: Aria - O Look So Woeful (Semplicina)
Arcifanfano, King Of Fools: Act I: Recitative - Such As She Seems To Be Frigid (Garbata)
Arcifanfano, King Of Fools: Act I: Aria - Let's Sing, Let's All Be Jolly (Garbata)
Arcifanfano, King Of Fools: Act I: Recitative - For All Types Of Confusion
Arcifanfano, King Of Fools: Act I: Aria - The Fierce One Lives Only For The Slaughter
Arcifanfano, King Of Fools: Act II: Recitative - I Beg You To Stop (Malgoverna, Gloriosa, Garbata)
Arcifanfano, King Of Fools: Act II: Aria - We Praise The Sun For Beauty (Malgoverna)
Arcifanfano, King Of Fools: Act II: Recitative - Bumpkin, Coarse-grained (Gloriosa, Garbata)
Arcifanfano, King Of Fools: Act II: Aria - If You Will Love Me, I Will Love You (Garbata)
Arcifanfano, King Of Fools: Act II: Recitative - No, They Cannot Persuade Me! (Gloriosa)
Arcifanfano, King Of Fools: Act II: Aria - Lovely Ladies, You Enjoying (Gloriosa)
Arcifanfano, King Of Fools: Act II: Recitative - Where's My Lover, Sweetheart (Sordidone)

Tracks:

Arcifanfano, King Of Fools: Act II: Aria - Sordidone, Be A Bunny
Arcifanfano, King Of Fools: Act II: Recitative - Are You Hiding? (Sordidone, Garbata)
Arcifanfano, King Of Fools: Act II: Duet - See Comely Phyllis Wander (Garbata, Sordidone)
Arcifanfano, King Of Fools: Act II: Recitative - Don't Come Near Me (Semplicina, Furibondo)
Arcifanfano, King Of Fools: Act II: Aria - The High And Mighty Lion (Furibondo)
Arcifanfano, King Of Fools: Act II: Recitative - Quiet At Last (Semplicina)
Arcifanfano, King Of Fools: Act II: Duet - Semplicina, Do You Hear Me? (Semplicina)
Arcifanfano, King Of Fools: Act II: Quartet - Ever More Bitter Shall Be My Raging (Gloriosa, Garbata, Malgoverno, Furibondo)
Arcifanfano, King Of Fools: Act II: Recitative - What Now? What New Forms Of Madness? (Gloriosa, Sordidone, Malgoverno, Furibondo)
Arcifanfano, King Of Fools: Act II: Chorus - Long Live King Arcifanfano (Semplicina, Gloriosa, Garbata, Sordidone, Malgoverno, Furibondo)
Arcifanfano, King Of Fools: Act III: Aria - Earth, Our Dearest, Good And Nearest (Sordidone)
Arcifanfano, King Of Fools: Act III: Aria - That His Sowing Yield A Growing (Malgoverno)
Arcifanfano, King Of Fools: Act III: Recitative - What Has The Fool Committed (Malgoverna, Gloriosa)
Arcifanfano, King Of Fools: Act III: Aria - Ask Of Beauty, She Will Answer (Gloriosa)
Arcifanfano, King Of Fools: Act III: Recitative - Hop And Stop It! (Furibondo, Gloriosa)
Arcifanfano, King Of Fools: Act III: Aria - All Of This Planet, I Cry To Each Man (Furibondo)
Arcifanfano, King Of Fools: Act III: Recitative - What's Unleashed These Dreadful Roars? (Garbata, Furibondo)
Arcifanfano, King Of Fools: Act III: Aria - I'm Simple And I'm Candid (Garbata)
Arcifanfano, King Of Fools: Act III: Recitative - What Mischief And Load This Purse Is!
Arcifanfano, King Of Fools: Act III: Aria - Goddess Bright As Morning
Arcifanfano, King Of Fools: Act III: Recitative - Mother Always Used To Tell Me (Sordidone, Semplicina)
Arcifanfano, King Of Fools: Act III: Aria - What A Lot I Need What I Need Lot's Of! (Sordidone)
Arcifanfano, King Of Fools: Act III: Recitative - May He Not Come To Harm (Semplicina)
Arcifanfano, King Of Fools: Act III: Aria - There's A Devil In A Ducat (Semplicina)
Arcifanfano, King Of Fools: Act III: Recitative - Gather, O Subjects, About Us (Gloriosa, Garbata, Semplicina)
Arcifanfano, King Of Fools: Act III: Duet - If You Marry Me (Semplicina)
Arcifanfano, King Of Fools: Act III: Chorus - With Curiosity All Aflame (Semplicina, Gloriosa, Garbata, Sordidone, Malgoverno, Furibondo)
Arcifanfano, King Of Fools: Act III: Recitative - Quiet, Please, We Implore You!
Arcifanfano, King Of Fools: Act III: Chorus - The Wise And The Mad Have Got One Word For Their Dwelling

Customer Reviews:

A Comic-Opera Treasure!.......2007-01-28

Dittersdorf is a sort of working-man's Mozart; in fact, this opera sounds similar to some of Mozart's early operas. But Mozart sought to break the rules and to explore new musical ideas; Dittersdorf is not an innovator...yet he is no less a master! This performance, too, is a materpiece of refined (not always!) comedy; the arias include some extremely difficult vocal leaps and trills, yet the primary joy is the witty verse. W.H. Auden (no less!) ramrodded this translation to English. And Anna Russell, famed for her "Analysis of Wagner's Ring Cycle" steals every scene she's in! Ad-libbing shamelessly, her introductory aria, all by itself, is worth more than the purchase price!

an obscure delight!.......2002-07-31

Eleanor Steber's image on the cover of this set caught my eye while rummaging through the cut-out bins of San Francisco on a recent opera whirlwind. What a lost treasure this performance is - recorded "LIVE" in NYC 1965! All the principles shine, their energy ebullient. Don't hesitate, buy it and smile before it disappears.

The Wizard of Oz - Vintage Recordings from the 1903 Broadway Musical

Average customer rating:

A Collection of the Original Oz Stage Productions
Ain't it a Shame!
Why the 1903 "Wizard" was forgotten
A long overdue revisit to a classic American musical
Long-Forgotten Broadway Hit Gets First Rate Revival

The Wizard of Oz - Vintage Recordings from the 1903 Broadway Musical

Manufacturer: Original Cast Record
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

General | Musicals | Broadway & Vocalists | Styles | Music

General | Broadway & Vocalists | Styles | Music

General | Soundtracks | Styles | Music

General | Vocal Pop | Pop | Styles | Music

Broadway & Vocalists | Indie Music | Stores | Music

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The Wizard Of Oz: Original Motion Picture Soundtrack - The Deluxe Edition

ASIN: B00009MPYQ

Tracks:

Wizard of OzSelection (Arthur Pryor's Band)
The Bullfrog and the Coon (Ada Jones)
Pocahontas (Edward M. Favor)
Daisy Donohue (Harry Tally)
Down on the Brandywine (Collins & Harlan)
Come Take a Skate with Me Sung (Collins & Harlan)
I Love You All the Time (Harry Macdonough)
The Moon Has His Eyes on You (Ada Jones)
When You Love, Love, Love (Thomas E. Whitbred)
When We Get Whats a-Comin to Us
Mister Dooley Sung (Edward M. Favor)
Julie Dooley (J. W. Myers)
Meet Me Down at the Corner (Jones & Spencer)
Budweisers a Friend of Mine (Billy Murray)
Theres a Lot of Things You Never Learn at School (Bob Roberts)
Under a Panama (Billy Murray)
Good Bye Fedora (Collins & Harlan)
Sitting Bull (Collins & Harlan)
I Love Only One Girl in this Wide Wide World (Harry Macdonough)
Sammy (Harry Macdonough)
The Tale of a Stroll (Morgan & Stanley)
Cant You See Im Lonely? (Ada Jones)
Are You Sincere? (Byron G. Harlan)
Hurrah for Baffins Bay (Collins & Harlan)
Football (Dan W. Quinn)
Id Like to Go Halves in That (Burt Shepard)
Rejoice!The Wizard is No Longer King
The Traveler and the Pie
Must You? (Dan W. Quinn)
Thats Where She Sits All Day (Dan W. Quinn)
The Sweetest Girl in Dixie (Henry Burr)
Scarecrow Laugh (Fred Stone)

Tracks:

Sammy Mira (Music Box Disc)
Must You? (Mira Music Box Disc)
Opening Prayer
Phantom Patrol
Just a Simple Girl from the Prairie
Poppy Song
Love is Love
When We Get What's A-Comin' to Us
The Traveler and the Pie
When You Love, Love, Love
Rejoice! The Wizard is No Longer King
Phantom Patrol (Aeolian Piano Roll)
My Little Maid of Oz Aeolian Piano Roll
The Tik-Tok Man of OzSelection (Rythmodik Piano Roll)
The Tik-Tok Man of OzSelection (Piano Roll)
Ask the Flowers to Tell You (Macdonough & Dunlap)
My Beautiful Dream Girl (John Barnes Wells)
My Pretty Little Piece of Dresden China (Bessie Wynn)
Gay Paree (Montgomery & Stone)
Travel Travel Little Star (Montgomery & Stone)
A Scotch Moriah (Montgomery & Stone)
Hurrah for Baffins Bay (Dan W. Quinn)
Daisy Donohue (Trombone Solo by Arthur Pryor)
Mr. DooleyMedley (Xylophone Solo J. Frank Hopkins)
Down on the BrandywineMedley (Edison Military Band)
The Bullfrog and the CoonMedley (Six Brown Brothers)
Ill Take You Back to Italy (Ada Jones & Billy Murray)
Father Goose Songs (Sallie Osbourne)

Album Description

The Wizard of Oz a musical with book and lyrics by L. Frank Baum and music by Paul Tietjens premiered on June 16, 1902, at the Grand Opera House in Chicago. It was an instant hit and made stars of David Montgomery (the Tin Woodman) and Fred Stone (the Scarecrow). On January 21, 1903 the show opened at the Majestic Theatre in New York. It ran for nine months and set out on the road with a second company right on its heels. The show toured, came back to New York, toured, and returned to New York again many times until finally disbanding around 1911. Stock and amateur companies continued to present it into the 1930s when it was overshadowed by the classic MGM film starring Judy Garland.

The show was legendary for its success and its impact on American culture. It was the Cats or Les Mis of the early 1900s--but the show has been swallowed by history. What made audiences of the early 1900s devour the show and return for more again and again? In this unprecedented 2-CD set—featuring over 145 minutes of vintage recordings and 64 pages of lyrics, photos, notes and synopsis—you can discover how The Wizard of Oz entertained the American public for the first two decades of the 20th century. And like the audiences of nearly a hundred years ago, you can hum along to "Budweiser," "Sammy," and "Hurrah for Baffin's Bay"—everyone's favorite songs from The Wizard of Oz! Also included in this comprehensive collection are recordings from later Oz musicals, The Woggle-Bug and The Tik-Tok Man of Oz written by Oz creator L. Frank Baum, as well as vintage non-Oz recordings by original "Wizard of Oz stars" Montgomery & Stone and Bessie Wynn

Customer Reviews:

A Collection of the Original Oz Stage Productions.......2006-12-07

This Double-Disk Collection contains music from the original and varied Oz Stage Productions: "the Wizard of Oz", "the Woggle-Bug" (based on 'Marvelous Land of Oz) and "the Tik-Tok Man of Oz" (based on 'Ozma of Oz'). There are plenty of "Wizard" songs and music, but there isn't a lot of "Woggle-Bug" and/or "Tik-Tok Man".
I often wondered how different the 1st & Original Production of 'Oz Wizard' was different to the book, and thanks to Mark Evan Schwartz's book "Oz: Before the Rainbow" I found out for myself (WORTH A READ!!). Later I got this CD to go along with the book's stage telling (more or less) and I listened in interest to the songs which, I read, were entirely different to the future Musicals of Oz. The songs are good, but not all of them are actually completely restored to perfection, so the singing may/will sound somewhat muffled. Also, due to the time it was made (for some reason), the songs don't actually fit into the story (even the stage's rewritten story) and sound distant/unrelated. But there are songs that sound similar to the original story ("Rejoice! The Wizard is No Longer King"). CD 2's Track 3 has music played during Silent Oz Film "His Majesty, Scarecrow" on the MGM 3-Disk DVD.
The best thing about this CD Collection is the two booklets packaged along with the disks: the first (entitled "The Records") has writing on "What the Wizard Was" with a synopsis of the stage production story and "About the Recordings", a listing of all the songs on CD 1 (which are helpful for "Selection" Tracks not specifically named on the back) and notes on the songs like their origins and background. Booklet 2 (entitled "The Lyrics") has the words to the songs (in case you can't make out the words/want to sing-along). BOTH CDs include b&w photos of the actors, performance (few of which can be seen in "Oz: Before the Rainbow" book) and even reprints of a few illustrations made for the stage. The pictures are the best part of this purchase.
The Entirely Different Songs may not fit with the story, original or rewritten, but there's nothing really wrong with the music when one enjoys to what they're listening to.
I know that there is also another 'Oz on Stage' CD Collection called "Before the Rainbow" . . . hmmm, I wonder if I should get that too?

Ain't it a Shame!.......2006-05-20

I think that this is a wonderful album of HISTORICAL value. Not too many people know this, but "the wizard of oz" was made into a smash hit in 1903, but because all the history was BARELY in obscurity, hungry tiger press wanted to educate the blockheads in the world about this remarkable piece of history. that being said, david maxine collected all of the old material, such as Piano rolls (my especial favorite of all of them is "the poppy song", i LOVE the bass notes: "nnn-ded-deh mmmm-ded-deh"), and music boxes, and cylinders, and records!
however, it is quite a shame that that CRAPPY movie with judy garland pushed this lovely musical into obscurity. i would have liked to see it in my day, but it was already lost in darkness, but thanks to the highly DIGNIFIED people in the world, this cd is available!! BUY IT!!!! I *ORDER* YOU!!! YOU CANNOT BE DIGNIFIED WITHOUT THIS REPLACING YOUR "RAP" GARBAGE WITH THIS JEWEL!!!!

Why the 1903 "Wizard" was forgotten.......2004-03-20

This truly remarkable 2-disc collection of old cylinders, discs, music boxes and piano rolls explains why the 1903 musical version of "The Wizard of Oz" did not survive the early thirties. It wasn't because it was before its time or even of its time, but simply because it was way behind the times. Its producers resisted composer's Paul Tietjens' attempts to write plot-driven numbers. His contribution survives only in the incidental music preserved on piano rolls (and the most interesting element on this collection) linking very disparate and even incongruous vaudeville acts by various authors and performers that graced the stage during the musical's multi-decade run. In other words, Baum was telling a story and the songs were telling another... As fascinating as they are for historical reasons, those numbers are commonplace, mostly uninspired flash-in-the-tin-pan ditties, with timid syncopation and a stong reliance on musical clichés. There is not a single standard among them and not even a decent lyric where "fine" doesn't rhyme with "mine" and "love you" doesn't rhyme with "I do"- or even "I know you know I know you do", as happens more than once. As an assemblage of shtick pieces and ephemeral sentimental or nonsensical ditties, this collection cannot be topped and it represents a monumental effort. Without it and its very generous and informative liner notes, I would not have the same appreciation for the absolute genius of Victor Herbert's operettas ("Babes in Toyland" came out the same year) where the more memorable songs are plot-driven and introduced and linked by the most luscious, inventive and varied incidental music ever heard outside an opera house. This sort of unified concept would culminate in Jerome Kern's "Show Boat" and it remains a truth today that the integration of plot and music - reminiscent of opera - is the true secret of successful and perennial musicals, whatever the current idiom. This collection also makes one appreciate the complete originality of the Hollywood film for actually going back to Baum's books, entrusting the songs, lyrics and music to Harold Arlen, Yip Harburg and Herbert Stothart and scrapping the musical's colourful but checkered history (except for casting ex-vaudevillians as the main characters, of course!). Highly recommended for its nostalgia value, its irreplaceable rarities and a better understanding of the history of American popular music.

A long overdue revisit to a classic American musical.......2003-09-30

Although it was one of the most financially successful stage musicals of the early 1900's, very little information is presently available on the 1903 production of THE WIZARD OF OZ. In what was obviously a labor of love, David Maxine has done much to correct this oversight by releasing a 2-CD set with over 145 minutes worth of extremely rare recordings of music from this and other OZ-themed musicals dating back to before World War I. Recorded materials include vintage acoustical disc and cylinder phonograph records, piano rolls, and music box discs, many of which go back almost a century. In addition, he has included two booklets worth of historical background information on the 1903 WIZARD OF OZ production, its stars, the individual musical numbers, and lyrics for the songs included on the CDs. (Lavishly illustrated with rare old black and white photos and artwork, these booklets, and the information they contain, are themselves worth the price of the set!) Several bonus CD tracks are included that offer rare recordings by Montgomery & Stone (the original Tin Woodsman and Scarecrow) and Bessie Wynn, who was also in the 1903 cast. Not just for dedicated Oz fans, this set is a "must have" for anyone interested in the history of American musical theater and American popular culture of the early 1900's.

Long-Forgotten Broadway Hit Gets First Rate Revival.......2003-09-17

One hundred and three years ago, author L. Frank Baum published the best-selling children's book of the 20th century, THE WIZARD OF OZ. Although the book was adapted several times as plays, silent motion pictures, animated cartoons, and radio shows in the next few decades, it is the 1939 MGM film that most people think of as THE WIZARD OF OZ. The success and popularity of that film completely eclipsed the memories of previous incarnations and even the book itself in popular culture. However, prior to the film's release, there was a successful stage version which premiered on Broadway in 1903 and delighted audiences for many years, making stars of Fred Stone and David Montgomery, the original Scarecrow and Tinman. As with the MGM film, chilren who saw THE WIZARD OF OZ on stage carried fond memories of the production into adulthood. Ray Bolger was so impressed with the Fred Stone's Scarecrow, that he remembered it vividly as an adult and based his own protrayal of the character in the movie on Mr. Stone's stage version.

Unfortunately, time and Judy Garland have pushed the once popular Broadway Smash into history. It has been all but forgotten...until now.

As the show moved from theater to theater and casts changed, so did the songs. Many of these were recorded on the primative equipment of the day: Wax cylinders, 78-RPM records, piano rolls, and music Boxes, and surprisingly many of these still exist. Now, thanks to those hard-working gents at HUNGRY TIGER PRESS, you can own these historic recordings on this awesome 2-CD set. THE WIZARD OF OZ: Vintage Recordings From The 1903 Broadway Musical contains over 145 minutes of terrific early 20th century music. You won't find "Over the Rainbow" or "Ding! Dong! The Witch Is Dead!" here. Instead, this WIZARD OF OZ contains tracks like "Budweiser's a Friend of Mine", "Sammy", "Hurrah for Baffin's Bay", and "Rejoice! The Wizard is No Longer King", each one a portal over the rainbow to the Broadway stage of a century ago.

Obviously the play was quite different in plot from the movie--Dorothy travelled to Oz with her cow Imogene instead of Toto, for starters--, but the songs represent the style of popular music of 100 years ago and are collected here in a beautiful compilation. The set contains two booklets of liner notes which contain credits, lyrics, a written history of the production, and are extensively illustrated with photos and illustrations. Although the sound quality of the source material is not always up to today's standards, the songs are presented in the best versions possible, and the music is highly enjoyable. With 60 tracks and the wealth of information contained here, both written and photographic, this 2-CD set is good value for the money. A must-have for all collectors of WIZARD OF OZ memorabilia, an insightful look at popular music and Broadway history from a century ago, a glimpse into ethnic and racial stereotypes that were accepted at the time, and a curiosity for fans of the 1939 film, this set is big on appeal. Kudos to the Hungry Tiger Press for rescuing this treasure trove of musical history from obscurity!

Siegfried (Goodall Ring Cycle/Chandos Opera in English)
Average customer rating:

Goodall's Siegfried

"Do you know what Wotan wills?"

Slow and steady wins the race

Absolutely better than you think, the best of Goodal's Ring!

Better than you might think....

Siegfried (Goodall Ring Cycle/Chandos Opera in English)
English National Opera
Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

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The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

Wagner: The Rhinegold

Wagner: The Valkyrie

Wagner: Siegfried

Wagner: Die Walküre

ASIN: B000056KNC
Release Date: 2001-02-27

Tracks:

Act I.: Prld - Barry Tuckwell
Act I., Scene 1: Wearisome Labour! - Gregory Dempsey
Act I., Scene 1: Hoiho! Hoiho! - Alberto Remedios/Gregory Dempsey
Act I., Scene 1: Well, There Are The Pieces - Alberto Remedios/Gregory Dempsey
Act I., Scene 1: A Whimpering Babe - Gregory Dempsey
Act I., Scene 1: Much You've Taught To Me, Mime - Alberto Remedios/Gregory Dempsey
Act I., Scene 1: I Found Once in The Wood - Gregory Dempsey/Alberto Remedios
Act I., Scene 1: And Now These Fragments - Alberto Remedios/Gregory Dempsey
Act I., Scene 1: He Storms Away! - Gregory Dempsey
Act I., Scene 2: Hail There, Worthy Smith! - Norman Bailey/Gregory Dempsey
Act I., Scene 2: I Sit By Your Hearth - Norman Bailey/Gregory Dempsey
Act I., Scene 2: What You Needed To Know - Norman Bailey/Gregory Dempsey
Act I., Scene 2: The Fragments! The Sword! - Gregory Dempsey/Norman Bailey

Tracks:

Act I., Scene 3: Accursed Light! - Gregory Dempsey
Act I., Scene 3: Hey There! You Idler! - Alberto Remedios/Gregory Dempsey
Act I., Scene 3: Have You Not Felt Within The Woods - Gregory Dempsey/Alberto Remedios
Act I., Scene 3: Give Me These Pieces - Alberto Remedios/Gregory Dempsey
Act I., Scene 3: Notung! Notung! Sword Of My Need! - Alberto Remedios/Gregory Dempsey
Act I., Scene 3: Hoho! Hoho! Hohi! - Alberto Remedios/Gregory Dempsey
Act II.: Prld - Barry Tuckwell
Act II., Scene 1: In Gloomy Night By Fafner's Cave I Wait - Derek Hammond-Stroud
Act II., Scene 1: To Neidhohl By Night I Have Come - Norman Bailey/Derek Hammond-Stroud
Act II., Scene 1: Not My Plan! - Norman Bailey/Derek Hammond-Stroud
Act II., Scene 1: Fafner! Fafner! You Dragon, Wake! - Norman Bailey/Derek Hammond-Stroud/Clifford Grant
Act II., Scene 1: Now, Alberich! That Plan Failed! - Norman Bailey/Derek Hammond-Stroud
Act II., Scene 2: We Go No Further! - Gregory Dempsey/Alberto Remedios
Act II., Scene 2: So He's No Father Of Mine - Alberto Remedios

Tracks:

Act II., Scene 2: Could I But Know - Alberto Remedios
Act II., Scene 2: See My Mother - Alberto Remedios
Act II., Scene 2: Ha Ha! At Last With My Call - Alberto Remedios/Clifford Grant
Act II., Scene 2: Who Are You, Youthful Hero - Clifford Grant/Alberto Remedios
Act II., Scene 2: The Dead Can Tell No Tidings - Alberto Remedios/Maurine London
Act II., Scene 3: Hehe! Sly And Slippery Knave - Derek Hammond-Stroud/Gregory Dempsey
Act II., Scene 3: Tarnhelm And Ring, Here They Are - Alberto Remedios/Maurine London/Gregory Dempsey
Act II., Scene 3: Be Welcome, Siegfried! - Gregory Dempsey/Alberto Remedios/Derek Hammond-Stroud
Act II., Scene 3: You Lie There Too, Mighty Dragon - Alberto Remedios/Maurine London
Act III.: Prld - Barry Tuckwell
Act III., Scene 1: Waken, Wala! Wala! Awake! - Norman Bailey
Act III., Scene 1: Strong Is Your Call - Anne Collins/Norman Bailey
Act III., Scene 1: You Unwise One, Learn What I Will - Norman Bailey
Act III., Scene 2: I See That Siegfried's Near - Norman Bailey

Tracks:

Act III., Scene 2: My Woodbird Fluttered Away - Alberto Remedios
Act III., Scene 2: Young Man, Hear Me - Norman Bailey/Alberto Remedios
Act III., Scene 2: Child, If You Knew Who I Am - Norman Bailey/Alberto Remedios
Act III., Scene 2: With His Spear in Splinters - Alberto Remedios
Act III., Scene 3: Here in The Sunlight - Alberto Remedios
Act III., Scene 3: Come, My Sword! - Alberto Remedios
Act III., Scene 3: Hail, Bright Sunlight! - Rita Hunter/Alberto Remedios
Act III., Scene 3: Siegfried! Siegfried! Glorious Hero! - Rita Hunter/Alberto Remedios
Act III., Scene 3: And There Is Grane, My Sacred Horse - Rita Hunter/Alberto Remedios
Act III., Scene 3: Oh! I Cared Always - Rita Hunter/Alberto Remedios

Customer Reviews:

Goodall's Siegfried.......2007-06-22

This is completely worth it. Other reviews aptly pointed out everything good, and this *is* good--brilliant. Alberto Remedios is the best Siegfried I've ever heard, and Rita Hunter is a stunning and convincing Brunnhilde. If I could give this more than five stars, I would.

"Do you know what Wotan wills?".......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
-The Valkyrie (Part 2): Wagner: The Valkyrie
-Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

Slow and steady wins the race.......2007-02-07

Yes, we all know that Reginal Goodall's Wagner is VERY deliberate (read slow) at times. When I heard the late Rita Hunter singing in Sydney in the 80s, I asked her about working with Maestro Goodall, she said he was one of the most thorough and demanding conductor's you could wish to work with.

For me, this whole cycle is desert island material because the English translation is just superb. Fine singing and marvellous playing from the ENO orchestra.

Absolutely better than you think, the best of Goodal's Ring!.......2005-05-03

As good as his die Walkure is, Goodall's Siegfried is even better. For me this is the most difficult opera of the entire Ring and Goodall pulls it off with honors indeed. Remedios is a wonder! Wish we had had him in the Met Ring Cycles of the past decade. Hunter again is a wonder with beauty and strength of tone. Once more I enjoy Bailey. I found That Alan Blyth in Gramophone 5/01 and I seem to appreciate him. It would seem that Goodall gives this opera all the wonderful performance it needs. Not an easy show to pull off. This recording absolutely belongs in any Wagnerian's collection. Had I been at this live performance, I definitely would not have fallen asleep and would have regretted its coming to its inevitable end. And the orchestra rises to the occasion splendidly. From Siegfried's climb to Brunhilde's rock until the end of the duet, the orchestral playing is rich, very moving bordering on the monumental just because it is live and thus more of a risk than a studio recording. Hunter is nothing short of stunning. The duet alone makes the recording a must have. Too bad artists are not fully appreciated until we no longer have them around to enjoy. Thank God this is on CD to be enjoyed at the listener's command.

Better than you might think...........2002-03-17

I had to think more than twice before purchasing this recording, especially since it isnt at a budget price, but I dont regret having done so. Wagner's original German language opera sung in English might seem more like a novelty recording (or a horrifying experience to hardcore Wagner fans) than a serious approach to the music, but surprisingly it works (for the most part). For the listener who doesn't speak and understand German this is a great way to understand Wagner's opera, as the connection between text and drama is made clearer--though I sometimes wish the singers diction and pronunciation were a bit clearer--but hey, its still opera and a complete English only libretto is included (along with a scene by scene summary of the drama, a summary of the preceding two operas, and an essay and photos of this particular project). Overall the orchestra and conducting is up to par and the sound is clear, balanced, and spacious, the only annoying thing being the audience clapping after the end of each act--its a live 1975 recording. While this is no substitute for the original in German, think of it as a great resource ... to understanding Wagner's opera cycle for listeners without the time or inclination to learn German.

Average customer rating:

English is an asset and a drawback
You Will Love Opera After Hearing Carmen In English
A wholly credible "Carmen" -- finally!
I love Carmen!

Carmen (Sung in English)
Bizet , Bardon , Gavin , Plazas , Magee , and Parry
Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

General | Classical | Styles | Music
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Mozart - Don Giovanni / Garry Magee · Cullagh · Banks · Plazas · Shore · Tierny · PO · David Parry

ASIN: B00007JGRN
Release Date: 2003-03-11

Tracks:

Prelude
In The Plaza