Florian [Import]

1. Florian

2. Jaffa

3. Mago

4. Pietro Il Pescatore

5. Calipso

6. Fine Di un Viaggio

7. El Gran Senser

Tracks:

The Man-Machine
Planet Of Visions
Tour De France Etape 1
Chrono
Tour De France Etape 2
Vitamin
Tour De France
Autobahn
The Model
Neon Lights

Tracks:

Radioactivity
Trans Europe Express
Metal On Metal
Numbers
Computer World
Home Computer
Pocket Calculator
Dentaku
The Robots
Elektro Kardiogramm
Aero Dynamik
Music Non Stop

Amazon.com

The Godfathers of Glitch and the Kings of Kling-Klang come out of seclusion with a double live CD culled from various concerts on their 2004 tour. Minimum-Maximum is essentially a greatest-hits album with an audience applauding and occasionally shouting. Without them, of course, you'd never know the album was live, since Kraftwerk is the band that put the programming in pop music. Not much has changed with them since the 1980s. They're still wired to the same sonic circuitry as on Electric Café in 1986, sculpting glistening electro-soundscapes that pulse but never quite groove. And they still sing in that flat, German-accented English and French with Speak and Spell electro-voices. But rather than sound dated, this has a timeless charm, especially since Kraftwerk are among the few Kraut rock groups with a sense of humor. With only two studio albums in the last 20 years, you have to give them credit for not caving in to current electronica and techno trends--Kraftwerk remain resolutely electronic. Even their samples sound synthesized. But also give them credit for some of the most relentlessly glistening electronic music ever crafted, and a sound that remains surprisingly pure. All the hits are here, from "Autobahn" to "Tour de France," but nicely buffed to a high chrome finish. --John Diliberto

Customer Reviews:

Kraftwerk still has what it takes........2007-06-07

Punchy live recordings of Kraftwerk's best known songs.

The CDs are programed wisely and the songs flow from one to the other quite nicely. This makes the CDs easy to listen to.

Some fans have doubts if Kraftwerk are still the leaders in electronic music, this set will ease those fears. They still have what it takes to create compelling music.

They have given us vital sounding new arrangements of aging material on this set. In doing this, Kraftwerk is giving long time fans value. And showing newer fans how a legendary band is able to adapt without losing their vision. And finaly they are showing everyone how a teacher learns from the student. To be a good teacher, one must be able to adapt and progress with the changing times. This is what Kraftwerk has done on this release.

A great starter kit for those new to Kraftwerk!.......2007-04-18

A pivotal, amazing, extraordinary, pioneering electronic group such as Kraftwerk does not have a "greatest hits" collection. However, this really is not that saddening since it forces the interested buyer into purchasing their brilliant classic albums (Trans-Europe Express, Autobahn, etc.) like they should. However, for the timid person this CD is out there. The live versions of the song are studio-quality and since Kraftwerk plays everything post-Autobahn live then this functions as a "best-of". For longtime fans, this is great because it includes newer tracks from the Tour de France Soundtracks and great renditions of their older tunes.

Kraftwerk are still the masters of this genre.......2007-02-26

I have a voracious appetite for electronic music old and new, and I have to say this album proves to me that, at the end of the day, Kraftwerk are still the masters of the genre. I don't normally like live recordings all that much, particularly among electronic music, but this one was incredibly well done. The sound quality and mixing are top notch, and listening to it I really almost feel like I am part of those audiences in Moscow, Riga, and Warsaw. The majority of the recordings are from shows in Eastern Europe, which is just a perfect fit. The real standout with this album for me is that my favorite songs on it are some of the titles that I didn't give a great deal of attention to on the old studio albums. It balances the familiar sound of old with some superb new elaborations. If you're a Kraftwerk fan then you owe it to yourself to add this to your collection. You won't be disappointed.

It's More Fun To Compute.......2006-11-20

Though studio technology has caught up with the creativity of Kraftwerk, the double-live CD from the 2004 tour aptly shows the group can still pack a punch before an audience.

The first set is interesting for the updated versions of the classics The Man-Machine, Tour De France and Autobahn. But it is when Neon Lights ends that CD and the second disk kicks off with Radioactivity that the band's legendary influence in dance-music is captured.

From Radioactivity to the flow from final three cuts - Elektro-Kardiogramm, Aero Dynamik and Music Non Stop - Kraftwerk is in an absolute groove which could easily play for another hour. Also, the lyrics of Compuer World are as timely (urgent?) now than when they first appeared in the classic studio album by the same name in 1981.

The first official live release after the band first performed about 35 years ago, Kraftwerk shows that the electronic revolution they set forth in the music industry is as much about technique and style as it is about the components and gadgets.

Fun! Fun! Fun!.......2006-07-29

This live set is very impressive. The sound is excellent. When I put it on, it just makes me feel relaxed and really good. It's a thrill to hear such enthusiastic crowds cheering on this strange, bubbling, mechanical music. Some people claim Kraftwerk is old hat, but I say it's too unique to sound dated. I've never been one to care much about how current or fashionable music is anyway. In these live settings, Kraftwerk augments these songs and makes them sound fresh.

Average customer rating:

5 golden stars to Rolando
Versatility
Rolando Villazon
Villazon Shows His Range
Another winning recital

Opera Recital [Includes Bonus DVD]

Manufacturer: Virgin Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music
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Anna Netrebko & Rolando Villazón: Duets

ASIN: B000BU9988
Release Date: 2006-02-21

Tracks:

Il Etait Une Fois A La cour D'Eisenach
Allons! Courage Et Confiance
Recondita Armonia
Mamma, Quel Vino
Amor Ti Vieta
Ach So Fromm
Jungfrau Maria
Kuda...Kuda...
Di Rigori Armato Il Seno
Forse La Soglia Attinse
Com' E Gentil
Favorita Del Re
La Fleur Que Tu M'avais Jetee
A Cette Voix...Je Crois Entendre Encore
Padre, Con Essi Intrepido...Odi Il Voto...Sprezzo La Vita

Customer Reviews:

5 golden stars to Rolando.......2006-08-29

I was beginning to fear that there wouldn't be anyone to take over the throne from my favourite tenor - José Carreras, as all up-and-coming tenors I've heard lately has failed to impress me. That is, until now. I watched the concert with Domingo, Netrebko and Villazón from this years' football world championship and I immediately fell in love with Villazón. His charm as well as his extraordinary singing capabilities won me over. His tone is golden, warm and dark and - thank God - he's much less nasal than Domingo. His breath control is also outstanding and his singing seems effortless. I bet he can hold a note longer than even Pavarotti back in his heydays could......

Anyway, I bought this album which includes a bonus dvd and I haven't been able to tear myself away from the television set ever since. It's really fun watching Villazón in the studio making the cd. He's very dedicated to his singing, but the overall tone in the recording studio is jovial and he's joking and having fun with everyone while still managing to deliver some seriously wonderful singing. And the way he interrupts himself at the beginning of "La fleur" is just charming. I couldn't help but laugh when he slaps himself in the back of his head because he was interrupted and corrected when he sang something wrong in Russian. What more can I say? I'm hooked. I love all the arias on the cd, but the ones that really stand out are the Russian "Kuda.... Kuda..." and "Je crois entendre encore". They make my spine tingle - and my knees go woobly....... Really, there's only one thing to say about this cd/dvd - BUY IT AS SOON AS POSSIBLE!

Versatility.......2006-08-21

This is another stunning recital by the ever more exciting Rolando Villazon and the key to its success is his amazing versatility not only in the musical styles it emcompasses but in the elegance and directness he brings to his words. The bonus DVD shows what a charming and hard-working artist he is and allows one to see why he is so thrilling in the theatre: without exaggerating he clearly throws his whole self into the character and situation of each aria. For me, perhaps the most exciting number on the disc is `Je crois entendre encore` which perfectly illustrates his mastery of the French style; I tingle with pleasure at the seeming effortlessness and sweetness of tone when, at the climactic note, he moves up into a head-voice and seamlessly descends from it.

Rolando Villazon.......2006-07-10

As musicians ourselves, we are of the opinion than Rolando Villazon is one of the greatest, if not the greatest tenor of this time. His voice reminds of great ones of the past like Gigli and Frits Wunderlich.

Villazon Shows His Range.......2006-03-27

On his third solo CD, Rolando Villazon shows again the wonderful qualities that make him stand apart from other tenors of his generation. The sheer sound of his voice - dark and virile in the lower and middle registers, bright and glowing on top - immediately seizes the listener's attention. But beyond that, Villazon impresses by his musical sensitivity and intelligence and, above all, by his remarkable focus on expressing his texts.The energy and subtle nuances of his singing all seem to come from his response to the words. And here he engages creatively with texts in four languages, rather than a single language as in his previous disks. The two arias that especially make this disk a keeper are Bizet's "Je crois entrendre encore" ("The Pearl Fishers") and Tchaikovksky's "Kuda, kuda" ("Eugene Onegin"). The Bizet is a superb example of soft singing spun out on long breaths with gorgeous high notes, some sung in an ethereal head voice. Beautifully sung and expressed, "Kuda, kuda" is full of passion and regret - mesmerizing! Here Villazón shows with his voice alone the great actor that he is live on the stage! I highly recommend the accompanying DVD made from the recording sessions. It's absolutely delightful and shows the humor, charm, and high energy that make Villazón such an appealing performer and personality. But be warned: Rolando Villazón is absolutely habit-forming! After hearing him, all other current young tenors, with the exception of Floréz, pale by comparison.

Another winning recital.......2006-03-09

Wow! Villazon, in his 3rd recital for EMI/Virgin manages to deliver the goods yet again. Try and get this version as it comes with a 40 minute bonus DVD of the recording sessions. After watching this documentary, you will realise why Villazon is so highly sought-after

Martinu: Works for Violins and Orchestra

Average customer rating:

A solid budget-price Martinu collection

Martinu: Works for Violins and Orchestra

Manufacturer: Arte Nova Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
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Martinu: Fantaisies symphoniques; Fresques; Juliette
Christopher Hogwood Conducts Martinu, Stravinsky, Honegger
Martinu: The Epic of Gilgamesh (Oratorio)
Piano Concertos of the 1920s
String Quartets 3

ASIN: B000A2UBT8
Release Date: 2005-08-09

Tracks:

Poco Allegro
Adagio
Allegro
Andante
Andante Moderato
Poco Allegro
Poco Allegro
Moderato
Allegro Con Brio

Album Description

"Simplicity without banality, wit that avoids parody, charm that doesn't cloy, and forms that offer clarity without stiffness: these are the hallmarks of the classical style. Composers either have it or they don't, and it doesn't matter one bit if we're talking about Mozart and Haydn, or as here, Martinu. He had it in spades! Take the marvelous Concerto for Two Violins of 1950: if the slow movement doesn't crystallize all that's most appealing in a "classical style"--the tunefulness, elegance, sweetness, and sophistication--then we must reconsider the meaning of the term. There's even a delicious formal surprise, when the same movement's principal theme, speeded up, does double-duty for the finale.

The Duo Concertante for two violins and orchestra dates back to Martinu's "Paris" period (the late 1920s and 1930s), and ranks with such masterpieces as the Concerto Grosso, Sinfonietta Giocosa, Concerto for String Quartet, and Sinfonia concertante. It has the same spiky harmonies and motor rhythms, and together with the Concerto for Two Violins constitutes the most important body of work for violin duo since the double concerto of Bach. These are marvelous works, in short, finely played by both soloists and particularly well conducted Marcello Viotti, who has Martinu's syncopated rhythmic style firmly in hand...All in all, this disc must be counted one of the gems of the Arte Nova catalog." (9/8 rating!) CLASSICS TODAY

Customer Reviews:

A solid budget-price Martinu collection.......2006-01-01

Given Bohuslav Martinu's enormous output, it is hardly surprising that much of his music remains largely unknown. This bargain-price disc goes some small way towards rectifying this by offering up recordings of three of the composer's lesser-known works.

The Duo Concertant for Two Violins and Orchestra dates from 1937 and the end of the composer's Parisian period. Like most of the works of the preceding half-decade, this piece is a mixture of neo-classical rhythmic vivacity, lively melody and spiky harmony, all wrapped up in a concerto grosso-like structure. Apparently, Martinu regarded this particular composition as the most important of his Paris-era works, though to me it seems rather of a piece with many others.

Straight from its opening bars, the Second Violin Concerto of 1943 evokes a completely different world, the serious, tense and almost symphonic world of several other fine and neglected violin concerti (Hindemith, Frank Martin and Roberto Gerhard, for example). Contrasting lyricism and drama throughout, this is one of the finest of the works from Martinu's US exile, perhaps only trumped by the Third Symphony and one or two other works.

The Double Violin Concerto of 1950 breathes a more relaxed air. Though less rhapsodic in structure than much of Martinu's late work, it remains a delightful fount of lyrical melody and cheerful vivacity. Like the Second Violin Concerto, it is an underperformed gem, and hopefully this disc will bring it to the attention of new listeners.

The performances here are more than acceptable, though occasionally I found them slightly wanting in rhythmic verve (the central section of the Double Violin Concerto's slow movement being an example). It is perhaps unfair to observe that the performance of the Second Violin Concerto falls short of the classic Suk/Neumann reading, beyond observing that therein lies the difference between a great performance and a merely good one (and perhaps that only the Czech Philharmonic really gets Martinu right). Nonetheless, given the low price and the lack of competition in the two-violin pieces, this disc clearly merits a solid recommendation.

Average customer rating:

A Lovely Bit of Froth
A curious mixture of Wagner, Celtic melodies and Saint Saens

Lalo: Le Roi d'Ys

Manufacturer: Gala
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music
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Massenet: La Navarraise / Horne, Domingo, Milnes, Bacquier, Zaccaria, Davies, LSO, Lewis

ASIN: B0009IW9Q6
Release Date: 2005-05-31

Customer Reviews:

A Lovely Bit of Froth.......2007-02-11

I bought this opera because I enjoy the music of Lalo, especially the Symphonie Espagnol, I like French opera, and because it features Alain Vanzo. This is an "easy listening" sort of opera, with pleasant, accessible, not particularly memorable but very melodic music, very well performed. The choruses are interesting and there is a definite folk-music feel to some of them.
The plot is a little silly, being a story about a fabled land north of Brittany that is now underwater. Belgian bass-baritone Jules Bastin sings the title role, which is actually not all that large. The major male role, Mylio, is sung by the late Monegasque (born in Monacco) tenor, Alain Vanzo. Vanzo, who died in 2002, was perhaps the last great exponent of the traditional "French" style of tenor: which is a light, lyrical voice, very sweet with refined styling. Vanzo does not disappoint. He brings all his beauty of tone and elegance of style to his role. Vanzo can also be heard to excellent effect on recordings of Delibes' "Lakme", with Joan Sutherland, and Gounod's "Mireille", with Mirela Freni. The other singers are fine without being memorable.
The sound quality is good. GALA is a label whose CDs range from good to dreadful, and this is in the good range. And at the price you can't go wrong.

A curious mixture of Wagner, Celtic melodies and Saint Saens.......2006-07-01

I was familiar with the Hispano-French composer Edouard Lalo (1823-1892) through his justly popular Symphonie Esganole and also his beautiful Symphony in G and his cello concerto. Seeing a recording of his opera Le Roi d'Ys was available through Amazon, I decided to try it since his other compositions are quite enjoyable.

Lalo married relatively late in life to Breton mezzo-soprano Julie Besner d'Maligny and promptly proceeded to write a pair of operas for her. Le Roi d'Ys was the second opera (Fiesque was the first). Lalo had difficulty in getting either performed. Eventually he was able to get Le Roi d'Ys perfomed at the the Opera Comique in 1886. Although this opera has not become very popular, it has attracted attention from very fine singers throughout the years.

The music is a curious mixture of styles. Most of the choruses apparently are derived from the folk music of the Brittany peninsula of France. These choruses are quite lovely with their lilting celtic melodies. A few of the arias and duets also can be surmised to have origins in the Breton melodies and these are also quite lovely. Most of the arias, duets, terzettos, quartets, etc. however are definitely Wagnerian in style and contrast markedly with the Breton-type parts of the opera. As I am not overly fond of the heavy strident style of Wagner, I found these a bit hard to get through, but they are nice for the style of music and very well performed. In other places, an organ comes vividly into play with a style evoking Saint Saens. Yet other parts seem to presage Carl Orff a little bit. Throughout the opera, trumpet fanfares are common and add a touch of brightness.

The quality of the performance and the sound are quite good. This performance was recorded in 1973 by the Orchestre et Chouers Lyique conducted by Pierre Derveaux. Although I was unfamiliar with the soloists, Alain Vanzo as Mylio, Jane Rhodes as Margared, Andrea Guiot as Rozenn, Jules Bastin as the King, and Robert Massard as Karnec all sing their roles well. The rest of the cast, chorus, and orchestra also fill their roles well.

This opera is an interesting example of second-tier opera from the past. Although a session with it will bring the listener to an understanding of why it has never become part of the standard repertoire, it has its brilliant moments.I found the Breton-based choruses and arias/duets especially inviting and some of these are quite lovely. The Wagnerian elements are a bit too strident for my tastes and will keep me from listening to this on a frequent basis.

The second CD contains several "bonus tracks" of historical recordings of arias from Le Roi d'Ys that were made between 1901 and 1947. As such, this allows the listener to hear a number of singers who would otherwise remain unknown. Several soprano and tenor arias are presented. There are 5 versions of the tenor aria "Vainement, ma bien-aimee" for the character Mylio. This a particularly lovely aria with a Celtic lilt that the great John McCormack would have been quite at home with. The recordings of this aria date from 1901 to 1932 and are all, in a word, magnificent, performed variously by Leon Lafitte, Miguel Villabella, Joseph Rogatchewsky, Gaston Micheletti, and Andre d'Arkor.

If you like Wagner, you may well like this recording. If you like the lovely melodies of Brittany, you may also like this recording. This may never be destined to become anyone's favorite opera, but it is an interesting piece of operatic history. I do not regret purchasing this recording at the price Amazon offers it at. It will never be my favorite piece of music but it is an interesting listen and I do delight in the numerous versions of Vainement, ma-bien aimee. The melody from this aria is absolutely infectious and I will no doubt listen to the 5 versions offered again and again and again.

Average customer rating:

The Cd and him are Remarkable, Another Award for sure!!!!
Ahhhhhhhh...
Excellent collection
Another winning recital
Rolando Villazon Continues to Grow and Impress

Rolando Villazon: Opera Recital

Manufacturer: Virgin Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music
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Opera Recital [Includes Bonus DVD]
The Golden Voice

ASIN: B000BU996U
Release Date: 2006-02-07

Tracks:

Il Etait Une Fois A La Cour D'Eisenach
Allons! Courage Et Confiance
Recondita Armonia
Mamma, Quel Vino
Amor Ti Vieta
Ach So Fromm
Jungfrau Maria
Kuda... Kuda...
Di Rigori Armato Il Seno
Forse La Soglia Attinse
Come' E Gentil
Favorita Del Re
La Fleur Que Tu M'avais Jetee
A Cette Voix...Je Crois Entendre Encore
Padre, Con Essi Intrepido

Amazon.com

Mexican tenor Rolando Villazon has done it again. Here, on his third solo recital CD, he continues to impress; in fact, he gets better and better. He is a rarity: a subtle, intelligent tenor. Even when approaching a chestnut like "Amor ti vieta," Villazon manages something special: he gives the aria's final note a slight crescendo and diminuendo within the space of a second or two, and it adds a surge of passion that all the yelping in the world can't compare with. Similarly, there is a remarkable, berserk smile in his voice at the start of Hoffmann's "Kleinzach" ballad which becomes all the more memorable when he enters the darker, central passage of the narrative. "Recondita armonia" begins almost as a reverie; Turiddu's Farewell has an honest aura of desperation. There is spontaneity in his singing; he brings vivid personality to each character he portrays. The "Ernani" aria is little known, and the cabaletta is particularly strenuous--an ideal showcase for a spinto tenor, rather than the lyric Villazon clearly is--but with his darkish tone and strong rhythmic sense, it is impossible to fault his performance. Villazon's German is very clear but obviously newly learned and Mediterranean-tinged; his singing of the two Flotow arias, however, could not be sweeter or more right on. And the aria from Bizet's The Pearl Fishers is simply ravishing: he takes the opening phrases in one long, dolcissimo breath, sings with a dreamy legato, and switches up to the high Bs in an impeccable falsetto/voix mixte, as soft as a dove. Remarkable. --Robert Levine

Customer Reviews:

The Cd and him are Remarkable, Another Award for sure!!!!.......2006-04-28

Try and get the version with the bonus DVD, it?s shows how Villazon is in reallity, He is a really nice person!!! he is making jokes every where, and he has a really good voice and technique.
This cd for sure it?s going to win another award like the past two!!!
Rolando has done it again!!!

You must havet it in your collection, i can write a lot about of this cd, but you must heard it!!!

I?m proud to be mexican!!!!!!

Ahhhhhhhh..........2006-03-31

That's the sound of me relaxing into this third (and most successful) of the vibrant tenor, Rolando Villazon's, recital cds. Most successful because it eschews, for the most part, the usual suspects with which most tenors fill their albums. (Can we please put a moritorium on "E lucevan le stelle"?) To be fair, a number of standards are on Villazon's previous cds, but here we have some wonderful suprises, particularly Strauss' "Di rigori armato il seno" (the Act 1 tenor aria from "Der Rosenkavalier.") This is one of the most beautiful arias in all of opera, as far as I'm concerned, and Villazon sings it beautifully. But then, he sings everything beautifully. There's not a single mistep on this disc; it simply confirms that Villazon's quick ascendency in the opera world hasn't been a fluke. (Unlike a Salvatore Licitra, for instance.) With tenors out there like him, Juan Diego Florez and Jonas Kaufmann, I'm feeling a lot better about the future!

Excellent collection.......2006-03-20

This album is a collection of arias that really show off Villazon's voice, and the excellent singing is backed by excellent orchestra playing. I was especially impressed with the Russian arias, but the whole disc is of the highest quality. I have seen Villazon live and while his voice is not the biggest one around, his passionate singing really grabs you. In the recording studio he is definitely the ruling champ among all the new tenors.
Yet another winning recital from this great singer!

Another winning recital.......2006-03-10

Wow! Villazon, in his 3rd recital for EMI/Virgin manages to deliver the goods yet again. Try and get the version with the bonus DVD featuring a documentary of the recording sessions. After watching this, you will realise why Villazon is so highly sought-after.

Rolando Villazon Continues to Grow and Impress.......2006-02-21

There are times when bright young stars appear on the opera stage, especially young handsome tenors, who respond to the public noisy accolades by pushing a young voice into dangerous repertoire and over booking their roles to the detriment of their voice, becoming yesterday's lunch in record time. Such is gratefully not the case with Rolando Villazon who obviously is an intelligent musician and one aware of the pitfalls of rushing a career too quickly. He has become a solid star and with every performance and album he creates, he reassures us that he will be around for a long career.

Villazon possesses terrific stage presence, acts sensitively, and is blessed with a gloriously golden and big tenor voice that is as pliant in the bel canto roles as it is dramatic in the verismo roles. Previous recordings have suggested these qualities: this recording justifies them. In arias from Tosca, Manon Lescaut, Les Contes d'Hoffmann, Un Ballo in maschera, Martha, Eugen Onegin, Der Rosenkavalier, Don Pasquale, La Favorita, Carmen, Les Pecheurs de perles, Adriana Lecouvreur, Cavalleria Rusticana, Fedora, and Ernani he moves with requisite temperament and grace.

This is an opera aria album to treasure and promises more roles on stage than we have already come to love. He is a tenor of the first order. He is well supported by conductor Michel Plasson and the Münchner Rundfunkorchester. Highly recommended. Grady Harp, February 06

Average customer rating:

Unofficial release
Ralf&Florian (comment on Autobahn)
I say go for it!
Ralf Und Florian
R&F - an experimental record mostly for the true fan

Ralf & Florian
Kraftwerk
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

Pop Rock | Pop | Styles | Music

Progressive Rock | Progressive | Rock | Styles | Music
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Kraftwerk
Kraftwerk 1
Autobahn

ASIN: B00003OTAD
Release Date: 1999-12-07

Tracks:

Elektrisches Roulette
Tongebirge
Kristallo
Heimatklange
Tanzmusik
Ananas Symphonie

Album Description

Reissue of the third album by one of the world's most influ ential electronic acts of all-time. Originally released in 1973 on Warner Brothers. Standard jewel case.

Customer Reviews:

Unofficial release.......2006-11-23

This was never available on Warners, as stated in the product info; in the USA it was first released in 1975 by the Vertigo label, part of the PolyGram group, but has never been officially re-issued on CD anywhere.

Buyers should be aware that CD editions of this album and other pre-"Autobahn" Kraftwerk albums ("Organisation - Tone Float", "Kraftwerk", "Kraftwerk 2") are pirated copy versions, using recordings made from original vinyl albums and low-budget printing of the jewel case covers.

Just so ya know...

Ralf&Florian (comment on Autobahn).......2001-12-02

This is just a response to John F. Isham's comment about the second side of Autobahn. I, on the other hand, think that the second side of Autobahn is amazing in its subtlety. Close your eyes and let the songs take you somewhere on a journey through the night. This whole album is what really got me into Kraftwerk about 6 years ago. I do, however, appreciate the good review he gave R&F. 'Heimetklange' (from R&F)is the most beautiful song I've ever heard by the Kraftwerk bunch. Since I've never heard this cd , I can't rate it fairly so I will give it a 5 like the other guy did(and I plan to get R&F sometime).

I say go for it!.......2001-06-18

There are some Kraftwerk fans who will love this album, while there might be those who won't care for it at all. I would use the following as your gauge for determining whether "Ralf & Florian" (1973) is for you: if you enjoy the songs "Transistor" and "Ohm Sweet Ohm" (from the album "Radioactivity" (1975)) or "Franz Schubert" (from "Trans-Europe Express" (1977)), then you will in all likelihood like R&F.

I always used to think that if you could combine the first side of "Autobahn" (1974)--meaning the song "Autobahn" itself--with the last side of R&F (i.e., the songs "Tanzmusik" and "Ananas Symphonie"), you'd have a Kraftwerk album as good as any they ever made. In other words, I felt that the second side of Autobahn and the first side of R&F were best left forgotten. More and more, however, I find that R&F's first side has aged quite impressively, and that the entire album can therefore stand on its own as a formidable achievement. (Unfortunately, I still think the second side of "Autobahn" is disgracefully bad--so bad, in fact, that it's kept me from ever getting that album on CD.)

R&F's first side alternates between two frenetically quirky pieces ("Elektrisches Roulette" and "Kristallo") and two somberly brooding ones ("Tongebirge" and "Heimatklaenge"). I used to consider this first side uneven, somewhat preferring the spunky pair over the pensive one. Now, however, I find myself enjoying all four of them just about equally.

As for the second side, "Tanzmusik" and "Ananas Symphonie"are two of Kraftwerk's best kept secrets...and perhaps even two of their best songs ever. The former is a fine combination of the fun and the eerie--a repeated musicbox-like sequence that builds, expands and ultimately evaporates. As for the absolutely phenomenal Ananas Symphonie, it starts off with an early forebear of the vocoderized vocals that would later become so strongly identified with Kraftwerk, then toys with some undulatingly ukulele-like strains for a bit, and then eventually stretches out into a warmly soothing and nicely prolonged massage of gently shimmering sounds. In certain peculiar ways, the piece almost sounds like a juiced-up (and slightly sped-up) anticipation of Brian Eno's 1985 album "Thursday Afternoon."

In my opinion, between 1975 and 1986 Kraftwerk became a tad too perfectionist and ended up not releasing nearly as much as they could have. What's more, some of their output (I have in mind particularly much of "Trans-Europe Express" and just about all of "Electric Cafe") was so overworked that it almost sounded dead-on-arrival. "Ralf & Florian," on the other hand, show us a young Huetter and Schneider who are still willing to goof around a bit and share some of the results of their experimentation with us listeners. Whereas the later albums are definitive "finished products," this album comes across as a work-in-progress, a fluid process that almost seems to form into a different shape each separate time you listen to it. Try it, I think you'll find it wears exceptionally well!

(Note that the Germanofon re-release also includes some comic-strips that were apparently released with the original album. In addition to providing a sort of visual commentary to each of the songs, the comics also offer some artistic (and perhaps even psychological?) clues as to what the pre-Autobahn Kraftwerkers were like. What's more, they'll also give you a fun chance to brush up on your German!)

Ralf Und Florian.......2000-10-06

Kraftwerk's third album (as Kraftwerk). It uses synths (unlike Kraftwerk 1 & 2), but has a different feel from Autobahn and their later albums. My personal favourites on this album are Tanzmusik (Dance Music) and Krystallo (Crystals). If you like Kraftwerk this is a great album to have.

R&F - an experimental record mostly for the true fan.......2000-07-11

It's quite obvious that this is an early release from Kraftwerk, because it's more experimental than later recordings from the group that seems to have more defined framework. The whole record is entirely instrumental and the music is floating and dreamlike, very much like Tangerine Dream, the members of this group were pupils to Karlheinz Stockhausen.

"Ralf & Florian" have been hard to obtain because until the re-release on CD the record has only been available on vinyl released in 1973. If you're a Kraftwerk-fan you must have this record but if you're an average listener you should get acquainted with Kraftwerk before purchasing "Ralf & Florian".

Instrumental Gold { 2 CD Set } { Various Artists }
Average customer rating:

SONG LIST

Instrumental Gold { 2 CD Set } { Various Artists }

Manufacturer: MCA
ProductGroup: Music
Binding: Audio CD
ASIN: B0009Z0SRG

Product Description

2 Cd Set Of 40 Original Instrumental Recordings.

Customer Reviews:

SONG LIST.......2007-03-14

DISC ONE:
1. THEME FROM A SUMMER PLACE - Percy Faith
2. MOONGOLOW AND THEME FROM PICNIC - Morris Stoloff and The Columbia Pictures Orchestra
3. BLUE TANGO - Leroy Anderon
4. THE POOR PEOPLE OF PARIS (JEAN'S SONG)- Les Baxter
5. LAST DATE - Floyd Cramer
6. LOVE IS BLUE - Paul Mauriat
7. CHERRY PINK AND APPLE BLOSSOM WHITE (CEREZO ROSA) Perez Prad
8. CHARIOTS OF FIRE -Vangelis
9. LOVE'S THEME - Love Unlimited Orchestra
10. MUSIC BOX DANCER - Frank Mills
11. MARIA ELENA - Los Indiois Tabajaras
12. SAIL ALONG SILV'RY MOON - Billy Vaughn
13. JOY - Apollo 100
14. NEVER ON SUNDAY - Don Costa
15. MOON RIVER - Henry Mancini
16. SHANGRI-LA - Robert Maxwell
17. YELLOW BIRD - Arthur Lyman
18. UNCHAINED MELODY - Les Baxter
19. RUBY - Richard Hayman
20. THE STRIPPER - David Rose

DISC TWO:

1. THIRD MAN THEME -Anton Karas
2. THE HOT CANARY - Florian Zabach
3. QUIET VILLAGE - Martin Denny
4. SO RARE - Jimmy Dorsey
5. HOLIDAY FOR STRINGS - David Rose
6. EBB TIDE - Frank Chacksfield
7. CANADIAN SUNSET - Hugo Winterhalter
8. ONLY YOU - Frank Pourcel
9. AUTUMN LEAVES - Roger Williams
10. LISBON ANTIQUA - Nelson Riddle
11. LOVE THEME FROM ROMEO AND JULIET - Henry Mancini
12. STRANGER ON THE SHORE - Mr. Acker Bilk
13. MELODY OF LOVE - Billy Vaughn
14. THE ENTERTAINER - Marvin Hamlisch
15. PATRICIA - Perez Prado
16. WHITE SILVER SANDS - Bill Black's Combo
17. A WALK IN THE BLACK FOREST - Horst Jankowski
18. SONG FROM MOULIN ROUGE (WHERE IS YOUR HEART)- Percy Faith
19. SOMEWHERE MY LOVE (LARA'S THEME FROM DR. ZHIVAGO)- Ray Conniff
20. WONDERLAND BY NIGHT - Bert Kaempfert

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Die Lustigen Weiber Von Windsor

Manufacturer: Aura / Lyrica
ProductGroup: Music
Binding: Audio CD

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ASIN: B00006YXHH
Release Date: 2002-10-29

Strauss - Ariadne auf Naxos / Voigt · Dessay · von Otter · Heppner · Dohmen · Staatskapelle Dresden · Sinopoli

Average customer rating:

A Luxurious, Perfect Ariadne
Bravo, the best singing cast in decades
Technically competent but lacking any artistry
¡Decepcionante!
The Last Sinopoli's Goal

Strauss - Ariadne auf Naxos / Voigt · Dessay · von Otter · Heppner · Dohmen · Staatskapelle Dresden · Sinopoli
Richard Strauss , Giuseppe Sinopoli , Deborah Voigt , Natalie Dessay , Staatskapelle Dresden , Anne Sofie von Otter , Ben Heppner , Albert Dohmen , Romuald Pekny , Klaus Florian Vogt , Michael Howard , Christoph Genz, Stephan Genz, Eva Kirchner Matthias Henneberg , and Ian Thompson, Sami Luttinen, Angela Liebold Christiane Hossfeld
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Strauss - Salome / Studer, Rysanek, Hiestermann, Terfel, Bieber, A. Murray, Sinopoli
Strauss - Intermezzo / Popp, Fischer-Dieskau, Dallapozza, Fuchs, Finke, Moll, Raimund Grumbach, Hirte, Wilsing, Bayerischen Rundfunks, Sawallisch
Strauss - Der Rosenkavalier / Te Kanawa, von Otter, Hendricks, Rydl, Leech, Grundheber, Haitink
R. Strauss: Die Ägyptische Helena
Strauss - Der Rosenkavalier / Schwarzkopf · Ludwig · Karajan

ASIN: B00005ND47
Release Date: 2001-09-18

Tracks:

Prologue: Orch Intro - Staatskapelle Dresden/Giuseppe Sinopoli
Prologue: Mein Herr Haushofmeister! - Albert Dohmen/Romuald Pekny/Jurgen Commichau/Klaus Forian Vogt/Anne Sofie Von Otter
Prologue: Du Allmachtiger Gott! O Du Mein Zitterndes Herz! - Anne Sofie Von Otter/Ben Heppner/Matthias Henneberg/Natalie Dessay/Deborah Voigt/Albert Dohmen...
Prologue: Hast Ein Stuckerl Notenpapier? - Anne Sofie Von Otter/Natalie Dessay/Albert Dohmen/Deborah Voigt/Michael Howard/Jurgen Commichau...
Prologue: Ist Schon Geschehn. Wir Sind Bereit - Albert Dohmen/Romuald Pekny/Deborah Voigt/Michael Howard/Ben Heppner/Anne Sofie Von Otter...
Prologue: Nein, Herr, So Kommt Es Nicht - Anne Sofie Von Otter/Natalie Dessay/Albert Dohmen
Prologue: Ein Augenblick Ist Wenig - Ein Blick Ist Viel - Natalie Dessay/Anne Sofie Von Otter/Albert Dohmen/Deborah Voigt
Prologue: Seien Wir Wieder Gut - Anne Sofie Von Otter/Albert Dohmen
Ov - Staatskapelle Dresden/Giuseppe Sinopoli
Schlaft Sie? - Christaine Hossfeld/Angela Liebold/Eva Kirchner/Deborah Voigt
Wo War Ich? Tot? - Deborah Voigt/Eva Kirchner/Stephan Genz/Natalie Dessay/Ian Thompson/Sami Luttinen
Ein Schones War: Hiess Theseus - Ariadne - Deborah Voigt/Christiane Hossfeld/Eva Kirchner/Angela Liebold/Stephan Genz/Natalie Dessay/Ian...
Lieben, Hassen, Hoffen, Zagen - Stephan Genz/Eva Kirchner/Natalie Dessay
Es Gibt Ein Reich, Wo Alles Rein Ist - Deborah Voigt
Die Dame Gibt Mit Trubem Sinn - Christoph Genz/Ian Thompson/Stephan Genz/Sami Luttinen/Natalie Dessay

Tracks:

Grossmachtige Prinzessin - Natalie Dessay
Hubsch Gepredigt! Aber Tauben Ohren! - Stephan Genz/Natalie Dessay/Christoph Genz/Ian Thompson/Sami Luttinen
Ein Schones Wunder!.../Ein Reizender Knabe! - Angela Liebold/Christiane Hossfeld/Eva Kirchner
Circe, Kannst Du Mich Horen? - Ben Heppner/Deborah Voigt/Christiane Hossfeld/Eva Kirchner/Angela Liebold
Theseus! Nein, Nein! - Deborah Voigt/Ben Heppner
Das Waren Zauberworte! - Deborah Voigt/Ben Heppner
Gibt Es Kein Hinuber? - Deborah Voigt/Ben Heppner/Angela Liebold/Christiane Hossfeld/Eva Kirchner/Natalie Dessay

Amazon.com

Recorded in Dresden in December 2000, this new version of Strauss's Ariadne has become by default the last will and testament of Giuseppe Sinopoli. On April 20, 2001, the Venetian maestro collapsed in the middle of a performance in Berlin, victim of a heart attack at age 54. Since 1992, he had been principal conductor of the prestigious Dresden Staatskapell, which undertook a privileged collaboration with Richard Strauss himself in premiering nine of the composer's operas. There's no surprise, therefore, in the excellence exhibited by the orchestra on this recording, under the baton of a man who also had much experience in the works of Strauss.

Given its final version in 1916, Ariadne auf Naxos abandons the excess of Salome and Electra, orienting itself toward neoclassicism in its juxtaposition of the world of antique opera seria with that of the commedia dell'arte. The Prologue--with its theater within the theater setup--is a playful treatment of the theme of art versus reality and of sublime love versus frivolity, represented by the opposition between a young composer (Anne Sofie von Otter) and a saucy comedian, Zerbinetta (Natalie Dessay). The cast assembled here is exemplary and basically not to be surpassed today, with Deborah Voigt in her famous turn as the title character and Ben Heppner as Bacchus. --Franck Erikson

Customer Reviews:

A Luxurious, Perfect Ariadne.......2007-04-12

I don't understand why some reviewers would give this magnificent recording less than five stars, because the cast, the conductor, and the orchestra are caught at the top of their game! Even if Giuseppe Sinopoli were replaced by a lesser conductor and the orchestra had been the Bavarian Radio or the RAI Symphony, the vocal forces assembled around this Ariadne are simply sensational! Best of the lot is Deborah Voigt's Ariadne, who is in my opinion the best soprano to have ever sung the part. It lacks the self-conscious, academic interpretation of Schwarzkopf and the indulgent jazz swoops of Jessye Norman, but that is all for the better considering how Voigt gets into the part of the character. Her luscious, silvery, creamy voice works wonders for the part of the prima donna, and her Ariadne is sung with a sense of Grecian abandon unheard in sopranos before her. I would say that this perhaps is the best recording of her discography, and brava to Deborah Voigt for making a specialty out of this role!

Voigt is partnered by the likes of Ben Heppner, Dessay, Von Otter, and Dohmen, artists of a prime calibre who are able to bring an interpretive grain to their music. Ben Heppner's large, heroic timbre fits Bacchus' high-lying, difficult music perfectly, and it is wonderful to know that he has finally overcome that vocal crisis of his so that he can once again share that voice of his with us. I don't think I've ever heard Bacchus sung better by any tenor except James King. Natalie Dessay is a three-dimensional Zerbinetta with sexiness, naughtiness, and warmth, and she is also equipped with all the coloratura in the world to perform the part's difficult pyrotechnics. Her transformation in the opera is a portrayal of this great artist's skill in turning this essentially cardboard role into a character full of life, wisdom, and compassion. I would take her Zerbinetta any day over Gruberova! Von Otter is sensational as the Composer, her chiaroscuro timbre portraying the polar temperament of this character. Although she would never erase the memories of Tatiana Troyanos, von Otter is nonetheless a prime interpreter of the part with a knack for uncovering the dramatic nuances of the part. Albert Dohmen is a vocally endowed music-master, better than the dry-voiced Fischer-Dieskau in his recording with Masur.

Of course, this recording would not achieve its legendary status without Sinopoli and the Dresden forces, perhaps the greatest Straussian orchestra in the world. Sinopoli conducts the score with outstanding clarity, movement, and verve, every instrument speaking out of the pages with an Italianate passion that only he could bring to the score. Oh that we would hope that he had lived longer to conduct Die Liebe der Danae with this team!

In short, this recording is highly recommended!

Bravo, the best singing cast in decades.......2005-09-18

I think all the good reviews here are right, so I'd simply like to point out that although Voigt is not the equal of Schwarzkopf as Ariadne and Dessay is not the equal of Rita Streich as Zerbinetta--both on the classic Karajan set for EMI--Heppner towers ovre all other tenors in the role of Bacchus, and therefore, even without Sinopooli's exellent conducting, this set vaults to the top as the best-sung Ariadne in the stereo era.

Technically competent but lacking any artistry.......2005-09-09

Sinopoli is decent, the principal singers lacking in understanding and charm (Dessay is the exception), quite put into the shade by the so-called secondary characters [Dohmen, the Genzes,etc]. Bright, clean sound --- and all meaningless when the phrasing is lifeless and uncomprehending. Voigt's big aria is, indeed, 'Totenreich' --- lugubrious, rhythmically flaccid, and totally graceless. Yes, the notes ping, but so do those of a synthesizer. Gramophone is spot on to call this voice 'stainless steel'. For those who are unconvinced by this Strauss opera, this will provide ample reinforcement. For those who believe in Ariadne, this recording will test their faith. In a word: stillborn.

¡Decepcionante!.......2005-04-16

Aunque el desempeño de la orquesta es excelente, gracias a la brillante batuta de Sinooli, el importante papel de Ariadna asumido por Debora Voight es decepcionante: terrible vibrato, problemas de fiato y una colocación esforzada y tensa. Les recomiendo mejor la versión de Schwarzkopf o Norman.

The Last Sinopoli's Goal.......2005-02-21

This Ariadne deserves the most resounding applause just because it gathers one of the most beautiful Strauss' music ever,perfect singers to their parts,fine engineers at Lukas'church and an insuperable performance of this score by Sinopoli.Previous rewiews tell us enough about the conductor,Voigt,Heppner,...I would like to add up some greetings to this so sweet Harlekin singing by Stephan Genz(what a gorgeous "Lieben,Hassen"!)and his valuable understanding on Strauss' chamber music lines to this character.Likewise,three very clever nymphs standing out trumpeters "Nymphen zogen ihn auf!",that so shining Bacchus entrance(of course,fast tempo by Sinopoli providing that).I believe that comparisons must be avoided just because this recording is a really first class one.However,in spite of very qualified Dessay's singing,I still think Kathleen Battle just enlighten Zerbinetta's complexities to the world.What a pity there're her Met live performance only.

Average customer rating:

SPIRITED LIVE RECORDING OF A DELIGHTFULLY WACKY OPERA

Haydn: Orlando Paladino

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Händel: Arianna in Creta, HWV 32
Meyerbeer: Semiramide
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Tragédiennes
Handel - Giulio Cesare / Connolly · Kirchschlager · De Niese · Dumaux · Bardon · Maltman · Ben Abdeslam · Ashworth · OAE · Christie · McVicar [Glyndebourne Opera 2005]

ASIN: B000EQHSK0
Release Date: 2006-05-30

Tracks:

Orlando Paladino - Dramma eroicomico, H. 28/11; Act I; Sinfonia
Orlando Paladino - Dramma eroicomico, H. 28/11; Act I; Il lavorar l'ur la brutta cosa (Introduzione)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act I; Presto rispondi, indegno (Recitativo)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act I; Ah se dire io vi potessi (Aria)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act I; Non perdiamo pipo (Recitativo)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act I; Temerario! Senti e trema (Aria)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act I; Palpita ad ogni istante il povero mio cor (Cavatina)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act I; Poco di me mi cal, ma per Medoro (Recitativo)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act I; Sinfonia
Orlando Paladino - Dramma eroicomico, H. 28/11; Act I; Che fami dalla fata? (Recitativo)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act I; Ad un guardo (Aria)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act I; D'Alcina i detti mi concolano il cuore (Recitativo)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act I; Parto. Ma, oh Dio, non posso (Aria)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act I; Col mio Medoro accanto (Recitativo)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act I; La mia bella m'ha detto di no (Cavatina)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act I; Pasquale disgraziato (Recitativo)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act I; Ho viaggiato in Francia, in Spagna (Aria)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act I; Si regina, ho deciso (Recitativo)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act I; Non partir, mia bella face (Aria)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act I; In odio al mio bel nume (Recitativo)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act I; Angelica, mio ben (Recitativo accompagnato)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act I; D'Angelica il nome! (Aria)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act I; Ove si cela il furibundo Orlando? (Recitativo)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act I; Presto rispondi, indegna (Finale I)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act I; Sento nel seno, oh dio (Adagio)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act I; Chi mi salva o tien nascoso (Adagio)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act II; Stringi tosto quel brando (Recitativo)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act II; Mille lampi d'accese faville viberAria)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act II; In questo solitarioorrido luogo (Recitativo)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act II; Dille che un infelice (Aria)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act II; Sembra costui Pasquale (Recitativo)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act II; Vittoria, vittoria! (Cavatina)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act II; Vuvertirmi (Recitativo)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act II; Quel tuo visetto amabile (Duetto)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act II; Aure chete, verdi allori (Aria)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act II; Inutili saran del paladino (Recitativo)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act II; Fra queste selve invan (Recitativo accompagnato)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act II; Quel contento io provo in seno (Duetto)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act II; Partiam, giacch'arride (Recitativo)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act II; Oimqual tetro oggetto! (Aria) Cosa vedo! Cosa sento!
Orlando Paladino - Dramma eroicomico, H. 28/11; Act II; Madama, al vostro bellodi quel grugno (Recitativo)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act II; Ecco spiano. Ecco il mio trillo (Aria)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act II; Angelica dov'(Recitativo)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act II; Ne solitario speco
Orlando Paladino - Dramma eroicomico, H. 28/11; Act III; Ombre insepolte, di qua partite (Aria)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act III; Con l'oblivione ti commando (Recitativo)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act III; Sogno? Veglio? (Recitativo accompagnato)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act III; Miei pensieri, dove siete? (Aria)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act III; L'irremeabil onda (Recitativo accompagnato)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act III; OimGil sangue (Recitativo)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act III; Combattimento
Orlando Paladino - Dramma eroicomico, H. 28/11; Act III; Implacabili numi! (Recitativo accompagnato)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act III; Dell'estremi sue voci dolenti (Aria)
Orlando Paladino - Dramma eroicomico, H. 28/11; Act III; Il tuo Medoro fu giisanato
Orlando Paladino - Dramma eroicomico, H. 28/11; Act III; Son confuso e stupefatto (Coro)

Amazon.com

This delightful "dramma eroicomico" ("heroic-comic drama"---a made-up phrase brimming with irony) tells the story of the noble knight Orlando, who goes mad being torn between duty and love, his love, Angelica, who actually wants Medoro, and Alcina, an evil sorceress out to get Orlando, and turns it into a type of farce, with great results. There is some lovely music, mostly for Angelica and Medoro, but most of it is fun and light, with characters whistling, trying to impress people with how well they sing, etc. The scoring wittily underlines their foibles. Even for those who normally don't like comic opera, this sophisticated bauble is so impressively performed that it's irresistible. Patricia Petibon's intense and individualistic way with text and music is enchanting as Angelica; Werner Güra sings Medoro with honeyed tone; Michael Schade takes Orlando through love and lunacy with great sincerity, and the whole show is almost stolen by Markus Schäfer as Pasquale, Orlando's servant, who is busy wooing Eurillia, a local shepherdess, well sung by Malin Hartelius. Elisabeth von Magnus as Alcina and Christian Gerhaher as the enraged Berber King Rodomonte are spicy and full of character. Conductor Nikolaus Harnoncourt enchants us with this rarity entirely. Try it: Haydn's operas can be hard to take, but this one will tickle you. --Robert Levine

Customer Reviews:

SPIRITED LIVE RECORDING OF A DELIGHTFULLY WACKY OPERA.......2006-11-17

I never would have found out about this if it had not popped up on a search of CDs with Malin Hartelius. A little reading about this opera, from off the beaten track, hooked me. How could I turn down an opera based on Orlando Furioso by Ariosto the "secret" source of inspiration for sci-fi authors?

The program notes included are excellent, and you will quickly see where ideas for "The Terminator" and medieval looking computer games came from.

Long before B grade sci fi movies, Haydn saw the fun he could have with this story. I am not a fan of Haydn symphonies, but found singing his Creation (in an open sing) very rewarding. Orlando is even more creative, making it well worth following along, with the libretto which is included.

If you like comic opera and science fiction it does not get much better than this. Four excellent tenors, singing in the same performance, is so rare that this alone is reason to buy this. Hartelius is at her comic best, along with everyone else. Harnoncourt conducts in an energetic way which works perfectly with the vocal lines. The sound is a little bright, but very good.

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Mama Rose [Live]

Ode to Amadou

Revenge Of The B-Boy [Soundtrack]

And The Band Played On

California Guitar