Elsa

1. Nube Viajera

2. Por Amarte

3. Credo

4. Que Tal Si Te Compro/Tengo Miedo

5. Inocente Pobre Amiga

6. Ni Modo

7. Me Las Voy a Cobrar

8. Por Debajo de la Mesa

9. Corazón

10. You've Made Me So Very Happy

Elsa,Elsa Garcia,EMI International,Latin,Latin Music,Latin Pop,Mexican,Tejano

Glass: Einstein on the Beach (1993 Recording)

Average customer rating:

"...it could be very fresh and clean."
Hard to fault
unironic, inferior to original recording
"...and I wasn't tempted to buy one..."
Freakish

Glass: Einstein on the Beach (1993 Recording)
Robert Wilson , and Michael Riesman
Manufacturer: Nonesuch
ProductGroup: Music
Binding: Audio CD

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Glass: Akhnaten
Music in Twelve Parts
Glassworks
Satyagraha
Solo Piano

ASIN: B000005J28
Release Date: 1993-09-28

Tracks:

Einstein On The Beach: Knee 1
Einstein On The Beach: Train 1
Einstein On The Beach: Trial 1: Entrance
Einstein On The Beach: Trial 1: 'Mr. Bojangles'
Einstein On The Beach: Trial 1: 'All Men Are Equal'
Einstein On The Beach: Knee 2

Tracks:

Einstein On The Beach: Dance 1
Einstein On The Beach: Night Train
Einstein On The Beach: Knee 3
Einstein On The Beach: Trial 2 - Prison: 'Prematurely Air-Conditioned Supermarket'
Einstein On The Beach: Trial 2 - Prison: Ensemble
Einstein On The Beach: Trial 2 - Prison: 'I Feel The Earth Move'

Tracks:

Einstein On The Beach: Dance 2
Einstein On The Beach: Knee 4
Einstein On The Beach: Building
Einstein On The Beach: Bed: Cadenza
Einstein On The Beach: Bed: Prelude
Einstein On The Beach: Bed: Aria
Einstein On The Beach: Spaceship
Einstein On The Beach: Knee 5

Amazon.com essential recording

Although Einstein on the Beach is by definition an opera, Philip Glass's most famous work also transcends traditional music categories. Glass avoided all vestiges of plot in the piece and dug deep into his quiver of repetitions to create an artfully unnerving five hours of brilliance. The instrumental ensemble never exceeds five members, playing electric keyboards, saxophones, flutes, and a single violin. Furthermore, the music congregates around the upper registers, often darting through its loops at seemingly incredible paces. The chorus bears huge chops, creating a dense, if silkenly staccato, series of juts, and a powerful array of higher-register annunciations that ring with the aural power of leaping, blurring filaments. This 1993 version of Einstein truly supersedes its predecessors, stretching to around 190 minutes over three CDs. There is a strong current of postmodern collage throughout the piece, with rafts of pop culture references. But Einstein, after all, is indeed based loosely on Albert Einstein and ends with booming allusions to nuclear annihilation and mathematics. --Andrew Bartlett

Customer Reviews:

"...it could be very fresh and clean.".......2007-04-18

Einstein On The Beach was first performed in 1976 and the first recording was released in 1979. This version of Einstein was release in 1993. To date, these existing reviews span a period of 8 years - which to me, is a testament to the significance of this masterwork.

And in the same spirit as another reviewer, I too must confess that I prefer the original recording over this revised, modified and re-recorded version. I will say that this version is not at all "bad" - it is excellent. But to me the heart of the music lies with the original recording. I can understand the desire to release a "newer" version of this recording, but unfortunately in it's more polished form, it has lost a great deal of charm and, as has been mentioned, humor. Oddly the readings in this new recording sound very affected and almost pretentious. The music here played with a digital perfection has a sense of more mechanicality and a less human feel than the previous release. Between the two versions, I think there is about 20 additional minutes on this re-recording than the earlier one, but for my taste this does not really add anything of startling consequence to the piece overall.

It is said that all music is mathemetics. And since we all know about Einstein and his love for the violin, it was an incredible intelligent choice to merge the two into a singular revolutionary concept. As the reader is aware: it is now generally recognized as one of the most significant contributions to late 20th century music and performance, and simultaneously re-defined the potential of opera.

So why buy this edition over the other? Honestly, I can't give you one solid reason. Both have positives and negatives. Get both. But listen to the earlier one first!

Hard to fault.......2007-04-13

Before this, I'd only really heard Glass's solo piano music. Where I found his repetitive figures unmoving in that context, here - fleshed out with vocals and synths - they become something else, something hypnotic, beguiling and quite beautiful. Even over 3 hours, it is hard to tire of the gradually shifting rhythms, which move at break-neck speed.

It is hard to grasp the effect the music has by listening to the samples above, and you shouldn't think, 'well, this is fine - but for 3 hours?!' - as it is much more than the sum of its parts. That effect is akin to a visual illusion on an epic scale. Only musical, if you will.

This edition is hard to fault: it's very well recorded, despite the set being 14 years old and it's all very attractively packaged. The booklet is thorough, although I would have liked to see some colour photos from the performance, not just the badly reproduced black & white ones we are provided with. That aside, well worth the money.

unironic, inferior to original recording.......2006-03-01

Einstein on the Beach is one of the great works of music/theatre (as opposed to opera, or even traditional "musical theatre") of the 20th century, but the rerecording suffers from the bloated, cheap pretentiousness that characterizes almost all of Philip Glass's later work. Dilettantes criticize the original for the "artificial" timbre of the synthesizers, ignorant of the idea that the sound of the synthesizers are part of the piece as a historical text, or that the grating sound of the original recording actually emphasizes the formal qualities of Glass's minimalism. Utterly lacking in the irony and wit that made the first not only fascinating, but a pleasure to listen to, the rerecording is just dull.

"...and I wasn't tempted to buy one...".......2006-02-26

I seem to be in the minority, but I prefer the original recording. What this version gains in performance and sonics, it loses in bite and immediacy. I came to Glass from rock music. The earlier recording had attitude and human energy. This one is fine art. I guess it depends what you're in the mood to hear.

The text has been altered quite a bit. I can live with everything except the new "Mr. Bojangles"; for some reason, Glass decided that the speaker should EMOTE in an odd self-conscious way. It doesn't work. The deadpan humor is gone.

The new sax line in "Building" (formerly "Building/Train") seems to have wandered in from a different universe. We're zooming through a mathematical soundworld ... and there's Kenny G. This piece has been extensively revised. The old version suggested a train at full throttle. This version is much slower, with muted organ and a meditative vibe.

The "Bed" aria is technically flawless (a definite "improvement"), but it doesn't have the plaintive, haunting feel of the first recording. This singer has a strong, formal, "operatic" style.

Someone was wondering why the earlier version was a 4-CD set. The reason is, it was originally a 4-LP box. At the time, 4 vinyl records meant 4 shiny compact discs. CDs were still a strange new medium for rich people. It took a while for the public to demand longer discs and lower prices.

Freakish.......2006-02-12

Philip Glass will always be the finest when it comes to Classical Minimalism. Just listen to this 3-disc set of Einstein on the Beach. It's dazzling, dizzying, and menacingly addictive to hear. Definitely gets fives stars from me.

I'd also recommend Glass's film score to the movie "Koyaanisqatsi." It's as bold as Einstein on the Beach.

Universal's Classic Scores of Mystery & Horror

Average customer rating:

A Rich & Robust Score
Way over the top!
Much of this shows its classical roots

Universal's Classic Scores of Mystery & Horror

Manufacturer: Marco Polo
ProductGroup: Music
Binding: Audio CD

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House of Frankenstein
Monster Music: Film Music Classics
The Bride Of Frankenstein (1993 Rerecording Of 1935 Film Score)
Cat People
Legendary Horror Films

ASIN: B00004SYHD
Release Date: 2000-05-16

Tracks:

The Ghost Of Frankenstein: Universal Signature
The Ghost Of Frankenstein: Main Title
The Ghost Of Frankenstein: Blowing Up The Castle
The Ghost Of Frankenstein: Freeing The Monster
The Ghost Of Frankenstein: Renewed Life
The Ghost Of Frankenstein: Frankenstein's Castle
The Ghost Of Frankenstein: Arrival At Vasaria
The Ghost Of Frankenstein: Erik's Dilemma
The Ghost Of Frankenstein: Baron Frankenstein's Diary
The Ghost Of Frankenstein: The Monster's Trial
The Ghost Of Frankenstein: Elsa' s Discovery
The Ghost Of Frankenstein: Dr. Kettering's Death
The Ghost Of Frankenstein: Ygor's Scheme
The Ghost Of Frankenstein: Baron Frankenstein's Advice
The Ghost Of Frankenstein: A New Brain
The Ghost Of Frankenstein: Searching The Castle
The Ghost Of Frankenstein: Monster Kidnaps Child/Monster's Desire
The Ghost Of Frankenstein: Brain Transfer
The Ghost Of Frankenstein: Mob Psychology
The Ghost Of Frankenstein: Monster Talks
The Ghost Of Frankenstein: Death Of The Unholy Three
The Ghost Of Frankenstein: End Cast
Son Of Dracula: Main Title
Black Friday: Hypnosis
Man Made Monster: Corky
Man Made Monster: Electro-Biology
Sherlock Holmes And The Voice Of Terror: Main Title
Sherlock Holmes And The Voice Of Terror: Limehouse
Sherlock Holmes And The Voice Of Terror: Christopher Docks
Sherlock Holmes And The Voice Of Terror: Voice Of Terror
Sherlock Holmes And The Voice Of Terror: The Spider
Sherlock Holmes And The Voice Of Terror: No Time To Lose
Sherlock Holmes And The Voice Of Terror: March Of Hate
Sherlock Holmes And The Voice Of Terror: End Title

Customer Reviews:

A Rich & Robust Score.......2001-06-19

Many of you, like me, may have been wondering what the difference is between this score and the one that was released in the early 90's, also on the Marco Polo label. Well firstly, the earlier release was not complete and also included tracks from House of Frankenstein. This new release basically happened because composer, John Morgan, was unhappy with the initial release and wanted another crack at this forgotten score. The result: a fully complete and terrific score from the 1942 Universal classic, Ghost of Frankenstein. Morgan was able to pull together the resources that Hans J. Salter himself did not have to record the original and give us the score as it was originally intended. Recorded under the supervision of Salter, just before he passed away, this is hands-down the best release of the monster scores from Marco Polo to date. Do not pass up.

Way over the top!.......2000-06-08

This music is far and away beyond being exceptional! Messrs. John Morgan and William Stromberg have yet again exceed their past triumphs (I have no clue how they keep doing this!). Where to begin? Perhaps, with some numbers: five stars (out of five) for restoration, arrangement/re-arrangement, and cue selection/editing; five stars for presentation (conducting and orchestral performance); five stars for recording and mastering; and five stars for the fascinating (and huge!) CD booklet courtesy of Messrs. Bill Whitaker and John Morgan (the photo on page 33 is worth the price of admission alone!). With a new orchestral venue and technical crew, Mr. Stromberg has once again "come into his own," acoustically speaking; the technical aspects of past recordings with the Moscow Symphony Orchestra has often been ham handed and uneven to the point of distraction. But the sound on these tracks is definitely 21st Century in quality! For those new to the neighborhood, just who are these two film composer folks--Frank Skinner and Hans J. Salter? Well, among other notable achievements, they saved many a Universal programmer during the late 30's and early-to-mid 40's (and very likely the studios's bacon to boot). When you view Universal's "second wave" of horror films even today, two things instantly grab your attention: the stunning photography and the inventive, pulsating music. "(These) pictures were a great challenge, because ... before scoring they didn't seem to have much fright about them or cohesion either. They'd screen one of those pictures for us without the music, and it would be nothing. The challenge was in creating the sense of terror and suspense, and that is something music can do. All the pictures we saved for them!" Mr. Salter is quoted as saying in the CD booklet. Like many of the film scores of Erich Wolfgang Korngold, Salter and Skinner's music transcends and is enormously superior to the films for which they composed. Until Messrs. Morgan and Stromberg got the bit in their teeth, Salter and Skinner's film scores had served to elevate fair-to middling films, but, in turn, it was the poor reputation of these movies that served to suppress vastly underrated film music! NONE of this music has ever been heard like it is presented here. The Universal studio orchestra had barely 40 players; this CD uses a full symphony. Also, Mr. Morgan was able to work extensively with Mr. Salter on restorations during the final year's of the latter's long life. To quote Mr. Salter once more from the CD booklet, the executives at Universal "never knew what they had" in the way of music talent. I strongly recommend that you don't make the same mistake. Latch on to this CD while you still can!

Much of this shows its classical roots.......2000-05-17

Some music is great fun, either in itself or by personal associations or both. So when Marco Polo issued selections from the Salter/Skinner scores to "Son of Frankenstein," "The Invisible Man Returns," and "The Wolf Man" back in 1995 and followed up with the complete film score to "House of Frankenstein" by Salter and Dessau, I could not keep from grinning foolishly hearing it, all the time realizing how good some of it really was.

Now we have (8.225124) that treat us to 22 cuts from "The Ghost of Frankenstein," 8 from "Sherlock Holmes and the Voice of Terror," and a taste of three other films. The very generous program notes tell the whole story, with good lobbycard illustrations, of how this team worked together--one slept as the other worked--and I leave it to you to read all about it for yourself. As for the music itself, listen to the "Monster Theme" in the first suite and think if you will of how Wagner treated the "Dragon Leitmotif" in "Siegfried" to appreciate how classically grounded much of this music is in the tradition of Weber, Wagner, and even Richard Strauss. Not all of the selections are of high quality, but enough are to merit this offering a high rating.

Tracks:

Ariadne auf Naxos: Es Ist alles vergebens - Es gibt ein Reich
Salome: Es ist kein Laut zu vernehmen
Salome: Ah! du wolltest mich nicht deinen Mund kussen lassen, Jochanaan
Salome: Sie ist ein Ungeheuer, deine Tochter
Salome: Ah! Ich habe deinen Mund gekusst, Jochanaan
Elektra: Was willst du, Fremder Mensch?
Die Fau Ohne Schatten: Es dunkelt, dass ich nicht sehe zur Arbeit
Die Fau Ohne Schatten: Es gibt derer, Die bleiben immer gelassen Abtu ich von meinem Leibe die Kinder
Die Fau Ohne Schatten: Die Weib ist irre - Barak, ich hab es nicht getan
Tannhauser: Dich, teure Halle
Lohengrin: Euch Luften, die mein Klagen
Lohengrin: Elsa!-Wer Ruft?
Lohengrin: Ortrud, wo bist du?

Tracks:

Tristan und Isolde: Horst du sie noch?
Tristan und Isolde: Mild und leise wie er lachelt
Die Walkure: Schlafst du, Gast?
Die Walkure: Wintersturme wichen dem Wonnemond
Die Walkure: De bist der Lenz
Die Walkure: O susseste Wonne! Seligstes Weib!
Die Walkure: Siegmund heiss ich und Siegmund bin ich!
Siegfried: Ewig war ich, ewig bin ich
Gotterdammerung: Schweigt eures Jammers jauchzenden Schwall
Gotterdammerung: Starke Scheite, Schichtet mir dort

Customer Reviews:

The whole career of one of the greatest singers of all time.......2007-01-14

I could nor beleive my eyes when I saw the price of this recording. It covers the whole career of the greatest Wagner and Strauss singer in the last half of the 20th Century. I think the whole performance of Ariadne of Naxos allurs in the archives of the Swedish Broadcasting company - a release, please!
When the news arrived that La Nilsson hade died in her home, surrounded by family members and near friends, on Christmas Day 2005 (kidneys not functioning, and no more dialysis possible) - we at once underrstand her uniquiness - there was nobody there to take over the helm and shield....It is quite wonderful that this eextensive compilation was published just recently. It is a very worthy portrait of a blessed singer!

Birgit Sings Like Sweetness.......2007-01-08

This is the first time I had heard Birgit Nilsson sing. The CD was great. However, I did have to blast the music because it is the original recording on the CD. Besides the quality it is worth purchasing if you want to hear one of the best. Her voice is clear and sweet, and welcoming to the ears.

A Document In The Grand Career Of Birgit Nilsson (1918-2005).......2006-03-23

The great soprano from Sweden, Birgit Nilsson, once contemplated suicide when she met with dismal reviews in her first perfomrance as Agathe from Weber's Die Freitschutz, for she was inexperienced and fresh out of the farm she grew up in. She went on to become the greatest dramatic soprano of all time, and for me, she is an even more thrilling and masterful soprano than the overrated Maria Callas. Birgit Nilsson died of unknown causes in her hometown of Sweden on Christmas of '05 only months ago. Her huge, steely, bright, metallic voice was reportedly capable of breaking glass and stone. This album covers many years in her career. Her Ariadne is not well known and it's captured in a young voice (50's) and she is in phenomenal shape. The dramatic heft of the role is suited to her voice. Wagner was her specialty of course and here we have slices of her Elisabeth from Tannhauser. She also sang Venus. Isolde was another great role of hers (the one she debuted at the Met) and Brunhilde is of course her best role. Singing Strauss is no piece of cake but when we listen to her Salome and Elektra and Dryer's Wife from Die Frau we are hearing a woman who, despite age, is singing with strength and vigor. She gets into character each time and she sings beautifully. All fans of La Nilsson must get this one.

Great.......2003-08-20

This is a very good CD for people who follow Birgit Nilsson's development. It contains live performances from 1949 (Ariadne auf Naxos - Nilsson sang Ariadne!!) to 1977 (Dyer's Wife in Die Frau Ohne Schatten). You can see her development from young to old over close to 30 years. For someone like me who have many of Birgit Nilsson's commercial recordings, this is a great CD too because it allows me to compare her 'live' performances with the studio recordings. It also enables me to see how her voice developed over the years. For instance, her voice grew in warm as she progressed in her career. By 1977, her voice had lost some ease - you can tell that she has to sing with more effort but her top register is still amazing, the gleam is still there even if it is more effortful to produce (when I say effortful I mean by young Birgit Nilsson standards - if you compare with other singers, she still sings effortlessly). Imagine - by 1977, she was 59 and she still puts singers singers half her age at 30 to shame. A very interesting CD in very mono sound. 5 stars for Nilsson's superb performances (her vocalism never fails to amaze me), for a fantastic variety of excerpts, for very mono sound, for the historical importance of this CD and for the incredible bargain price ... for 2 CDs.

If you are a 'historical' freak, buy this. If you are a Birgit Nilsson freak, buy this. If you are an opera freak, buy this. Even if you are not a freak, buy this!!

Ti Adoro
Average customer rating:

Awesome!

Still going strong.

Some odd choices, but still he has the master's voice

Ti Adoro

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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All Works Featuring Luciano Pavarotti | Pavarotti, Luciano | ( P ) | Featured Performers, A-Z | Classical | Styles | Music
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ASIN: B0000CE7G7
Release Date: 2003-11-25

Tracks:

Canto
Neapolis
Starai Con Me
Ti Adoro
Notte
Come Aquile
Domani Verr
Buongiorno a Te
Ai Giochi Addio
Stella
Tu E il Tuo Mare
Gladiatore
Caruso - Jeff Beck, Luciano Pavarotti

Customer Reviews:

Awesome!.......2006-07-25

Luciano Pavarotti may be 70 odd, but that's no excuse for this extremely talented singer to stop one little bit. His voice is unique and warm, the songs are mostly cheery and upbeat.

1. IL CANTO (the chant)- a supreme uplifting ballad. Pavarotti is at his best throughout the song. 10/10.
2. NEAPOLIS (Naples)- not my favourite, but still well sung. 7/10
3. STARAI CON ME (You'll be with me)- another beautiful song with a lovely chorus. 9/10
4. TI ADORO (I adore you)- a somewhat strange background beat, but still the nearest thing to happy I've heard in a while. 8/10
5. NOTTE (Night)- a moving, heartfelt song. Pavarotti struggles a little bit to reach the eternal high note, but still is able to pass the test comfortably. 9/10.
6. COME AQUILE (Like Eagles)- a fantastic song, which allows Pavarotti to show off his soothing voice. 10/10.
7. DOMANI VERRA (Tomorrow will come)- well sung, nothing much more than that. 7.5/10
8. BUONGIORNO A TE (Good morning to you)- uplifting, cheerful tune with some inventive parts. 8.5/10
9. AI GIOCHI ADDIO (Farewell to your games)- a sad song with a lot of emotion from Luciano. 9/10
10. STELLA (Star)- another cheery song, slightly painful in parts. 8/10
11. TU E IL TUO MARE (It's you and your ocean)- an exquisite song which Pavarotti glides through imperially. 10/10.
12. IL GLADIATORE (The gladiator)- widely regarded to be one of the best songs on the album. Quite right. 10/10.
13. CARUSO- a very good song to finish with. Powerful and dramatic and from the depths of the heart. 9.5/10

GOOD:
Pavarotti is the only pensioner in the world to sing so well. No, probably the best person.
The songs feel like there being sung for a reason, unlike many modern singers who sing with no feeling whatsoever and hope when they release their song they might earn a bit of money.
This CD makes a good gift for everyone, because he is so famous and well-liked.
Good guidebook; lyrics in Italian and English plus a welcome note in 4 different languages.

BAD:
Pavarotti may make you cringe very occasionaly with his waring voice.

Still going strong........2004-09-11

Pavarotti's latest album is wonderful. Here's a collection of love songs that only the "Voice" can enhance. I've been a fan of Pavarotti for a few years now, and he'll always be a singer of opera to me. Still, I find it refreshing for him to explore new styles and genres at his age. The songs are beautiful, my favorites being Il Gladiatore and Come Aquile. Oh, how can one choose? They're all great.

Some odd choices, but still he has the master's voice.......2003-12-04

Pavarotti fans who only know him from the Three Tenors recordings may like this very much. There is lots of drama, and of course, the unique Pavarotti timbre, as well as phrasing by a master. On the song "Caruso" it would be nice to hear more of the renowned and accomplished guitarist Jeff Beck, rather than the teasing bits of background fare provided. That said, the collaboration is inspired, although Beck is the only one revealing the stretch of his artistic limits in this performance. Pavarotti's big risk on this album is the title song, which fails miserably. It sounds like a bizarre attempt at opera-singer-does-1960s-style-swinging-TV-jazz. Sometimes art works and sometimes it doesn't. Were no insiders brave enough to tell the producer and performer this was way off the mark? Listeners who love Pavarotti for his magnificent operatic performances may be disappointed in this endeavor, but it is still a joy for me to listen to him. The voice is worn a bit and aging, but it is still unmatched for sheer beauty of tone.

Average customer rating:

Serrat...Eres Unico, Vol. 2
Various Artists
Manufacturer: Bmg Int'l
ProductGroup: Music
Binding: Audio CD

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Serrat Eres Unico
Cuba le Canta a Serrat
24 Páginas Inolvidables
Versos En La Boca
Neruda En El Corazon - (Bonus DVD)

ASIN: B0009XFEFE
Release Date: 2005-06-27

Tracks:

Disculpe el Senor - Antonio Orozco
Cantares - David DeMaria
Nino Silvestre - Pastora
Para La Libertad - Manolo Garcia
Mediterraneo - Estopa
Hoy Puede Ser un Gran Dia - Chambao
Paraules d'Amor - Alejandro Sanz
Campesina - Montse Cort
Princesa - Los Secretos
Vagabundear - Rosendo
Pueblo Blanco - Mal
Mujer Que Yo Quiero - Carlos Chaouen
Sinceramente Tuyo - Pasiega
Que Bonito Es Badalona - La Cabra Mecca

Album Details

A Tribute to Joan Manuel Serrat with Interpretations by Alejandro Sanz, Estopa, Antonio Orozco, Pasion Vega, Manolo Garcia, Chambao and More.

Average customer rating:

One of the best sounding Lohengrins in the catalogue.
A Memento of Konya
A reminder of the wretched Leinsdorf, from sooneone who was there
Excellent, Excellent, Excellent!
A Wonderful Introduction to a Great Opera

Wagner: Lohengrin

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Wagner: Die Walküre
Richard Strauss: Salome [Remastered]

ASIN: B000009W7L
Release Date: 1998-08-11

Tracks:

Lohengrin: Act 1: Prelude
Lohengrin: Act 1: Hort! Grafen, Edle, Freie von Brabant! - (Herald)
Lohengrin: Act 1: Dank Konig, dir - (Frederick) (Herald)
Lohengrin: Act 1: Seht hin! Sie naht, die hart Beklagte! - (Elsa)
Lohengrin: Act 1: Einsam in truben Tagen - (Elsa) (Frederick)
Lohengrin: Act 1: Des Ritters will ich waren (Elsa) (Herald)
Lohengrin: Act 1: Ohn' Antwort ist der Ruf verhallt! (Frederick) (Elsa) (Herald)
Lohengrin: Act 1: Nun sei bedankt, mein lieber Schwan! - (Lohengrin) (Elsa)
Lohengrin: Act 1: Wenn ich im Kampfe fur dich siege - (Lohengrin) (Elsa)
Lohengrin: Act 1: Welch holde Wunder muss ich seh'n? - (Lohengrin) (Frederick)
Lohengrin: Act 1: Nun horet mich und achtet wohl - (Lohengrin) (Frederick) (Elsa) (Ortrud)
Lohengrin: Act 1: Durch Gottes Sieg ist jetzt dein Leben mein - (Lohengrin) (Elsa) (Ortrud) (Frederick)
Lohengrin: Act 2: Introduction
Lohengrin: Act 2: Erhebe dich, Genossin meiner Schmach! (Frederick) (Ortrud)
Lohengrin: Act 2: Was macht dich in so wilder Klage - (Ortrud) (Frederick)

Tracks:

Lohengrin: Act 2: Entsetzlich! - (Frederick) (Ortrud)
Lohengrin: Act 2: Euch Luften, die mein Klagen - (Elsa) (Ortrud) (Frederick)
Lohengrin: Act 2: Wer ruft? - (Elsa) (Ortrud)
Lohengrin: Act 2: Ortrud, wo bist du? - (Elsa) (Ortrud) (Frederick)
Lohengrin: Act 2: In Fruh'n versammelt uns der Ruf
Lohengrin: Act 2: Des Konigs Wort und Will' - (Frederick) (Herald)
Lohengrin: Act 2: Gesegnet soll sie schreiten
Lohengrin: Act 2: Zuruck, Elsa! - (Ortrud) (Elsa)
Lohengrin: Act 2: Heil! Heil dem Konig! - (Elsa) (Lohengrin)
Lohengrin: Act 2: O Konig! Trugbetorte Fursten! - (Frederick) (Lohengrin)
Lohengrin: Act 2: Welch ein Geheimnis - (Ortrud) (Frederick) (Lohengrin) (Elsa)
Lohengrin: Act 2: Mein Held, entgegne kuhn - (Lohengrin) (Frederick) (Elsa)

Tracks:

Lohengrin: Act 3: Prelude
Lohengrin: Act 3: Treulich gefuhrt ziehet dahin (Bridal Song)
Lohengrin: Act 3: Das susse Lied verhallt - (Lohengrin) (Elsa)
Lohengrin: Act 3: Wie hehr erkenn' ich - (Lohengrin) (Elsa)
Lohengrin: Act 3: Hochstes Vertraun - (Lohengrin) (Elsa)
Lohengrin: Act 3: Weh, nun ist all unser Gluck dahin! - (Lohengrin) (Elsa)
Lohengrin: Act 3: Heil, Konig Heinrich!
Lohengrin: Act 3: Was bringen die? - (Lohengrin)
Lohengrin: Act 3: In fernem Land - (Lohengrin)
Lohengrin: Act 3: Mir schwankt der Boden! - (Elsa) (Lohengrin)
Lohengrin: Act 3: Mein lieber Schwan! - (Lohengrin) (Ortrud) (Elsa)

Amazon.com

Compared to Rudolf Kempe's atmospheric Vienna EMI Lohengrin, Erich Leinsdorf's Boston version, in spite of expert orchestral playing (the first-desk soloists truly stand out) seems inert and studio bound by comparison. Sandor Kónya delivers the title role with personality and authority, but the remainder of the cast lacks the ensemble momentum that distinguishes the aforementioned Kempe recording. Leinsdorf, by the way, restores several bars of music to Lohengrin's Narrative originally cut by the composer. --Jed Distler

Customer Reviews:

One of the best sounding Lohengrins in the catalogue........2007-07-03

It took a while for this recording to make it back into the catalogue. The wait was worth it. Sandor Konya was simply the best Lohengrin (and Walther von Stolzing) around during his time. His voice always had enough heft for the role, but he always sang it with real beauty. As many other recordings attest, this is not the case with many other tenors. Lucine Amara replaced Leontyne Price for this recording, and is good. Her voice does not have quite the heft and color needed for the role, but she sings honestly. Jerome Hines is probably the best Heinrich on CD. He had a cannon of a voice, and used it well. William Dooley's Telramund was criticized at the time for being short on top (i.e. - the top is tight) but I don't find that to be the case. Rita Gorr, however, IS rather hard pressed to get through the third act. I don't notice her having trouble in the earlier acts, but the final outbursts are vehemently lunged at rather than sung powerfully.

Unlike my other favorite Lohengrin (Fehenberger/ Jochum), this is absolutely complete (including the Appendix to the Grail Narrative!) in amazingly real sound. When you have that long procession to the cathedral or the preludes you want great sound, and this set delivers. The voices are free and project easily through the orchestra. I don't understand why people berate Leinsdorf so much. His performances do not have the hyper energy injected artificially into them by other conductors (Solti comes to mind), true, but they unfold naturally. What a joy to hear such balanced textures throughout. And the drama is still there. Multiple hearings of this set will make you enjoy it more with every hearing. (4 stars for Gorr act three and Amara's valiant but smallish Elsa.)

A Memento of Konya.......2007-03-02

I'm giving this three stars on the basis of Konya's singing of the title role. We are fortunate that Konya, a tenor rather neglected in the studio, left excellent recordings of Lohengrin and the Meistersinger Walther (under Kubelik).

Leontyne Price was reportedly the first choice for Elsa. It would have been an interesting opportunity to hear her in a German role. There are a few glimpses of her singing in Richard Strauss excerpts in good vocal estate and they pique my interest for what she would have done in this role. (The complete Strauss Ariadne came a few years too late to showcase her great vocal gifts.) Lucine Amara is adequate but not much more. She no Janowitz, Norman, or especially, Grummer.

The rest of the cast is significantly outclassed, especially by Fischer-Dieskau and Christa Ludwig in the rival EMI/Kempe effort. Rita Gorr, an artist I admire, handles much of the role of Ortrud pretty well, but the final scene's squalling is a trial to the ears.

The Boston Symphony is tonally opulent and brings out much of the beauty of the orchestration, an accomplishment shared by Maestro Leinsdorf. The conducting isn't, however, on a par with Kempe.

This is an interesting recording for fans of Konya and the curious. Yes, it is absolutely complete with Lohengrin's uncut grail narrative, but for a reference recording, look elsewhere. My recommendation is EMI/Kempe.

A reminder of the wretched Leinsdorf, from sooneone who was there.......2005-09-05

I went regularly to the BSO in the Leinsdorf era, and he was a wretched conductor on the whole. Now that he's long dead, I can almost forget him, until the stiff, unyielding, utterly inert conducting on this CD set reminds me of those awful years. Lucine Amara was dragged in at the last moment as a replacement in the part of Elsa and is quite bad, completely ignorant of Wagner style, too small of voice, etc. Sandor Konya is a joy, however, the ideal Lohengrin. This is his only studio recording of the role that made him famous, but you can find the same sweet-voiced performance on off-labels from live performances.

Excellent, Excellent, Excellent!.......2005-06-06

I'll keep my words short.

It's Pure magic all the way through, full of beauty, fire, drama, and weight...plus you get the complete full Act 3 Grail narration!

It's like a book you can't put down because it's so good!

Just get it and you will fall in love with Lohengrin in a whole way you never new possible!

A Wonderful Introduction to a Great Opera.......2003-09-28

LOHENGRIN is been one of Wagner's best known works, and contains two of his best known musical pieces: The Prelude to Act III and the well known Bridal Chorus that is a staple at most weddings. In the early twentieth century it was one of the most popular operas performed at the Met. Is not all that surprising that the work is so well loved. Fans of Wagner have all the elements that make a Wagnerian opera great: powerful music and a mythic plot which tells the story of the Knight Lohengrin, son of Parsifal and Kundry. For music lovers who find Wagner a bit too off-putting or heavy, it has more of the elements of French and Italian operas than Wagner's later works such as the four operas that make up the Ring Cycle or Tristan and Isolde.

Recording Richard Wagner is a troublesome task. His works require such power that something in each recording seems to be missing. Sometimes it is the quality if the singing, at other times it is the orchestra or perhaps the conductor cannot hold the piece together. The Boston Symphony Orchestra's version of LOHENGRIN with Erich Leinsdorf seems to come pretty close to being perfect. The Boston Symphony Orchestra has a reputation for excellence and Leinsdorf was certainly one of its legendary conductors. He is able to use the full depth and abilities of the BSO to give this great work its due. Sandor Konya is Lohengrin. At one moment he can be a powerful heldentenor, at other moments he is able to sing with delicate grace and beauty. Lucine Amara's Elsa is sheer beauty. Jerome Hines is superb as the King. My only objection to the set is Rita Gorr's Ortrud. While she is a mezzo with great ability, and her character in this opera is supposed to be a bit shrilly, at time she is too brash and it comes across almost as screaming rather than singing. Once a person is used to her rendition of Ortrud, it becomes barely noticeable, but it dopes take some getting used to.

I have listened to other recordings of this work, as well as live broadcasts from the Met, (quite honestly it is difficult to judge the work from a Met broadcast a few years ago since the audience let its displeasure with the sets be known with a series of boos that seemed to have an effect on the music as well), yet this continues to be the recording I enjoy most. As another reviewer noted, there are cuts in this version, which was not uncommon for longer operas recorded in 1965 as this recording was, however the strengths of this recording still make it my favorite rendition of this work.

Goldmark: Die Königin von Saba
Average customer rating:

Outstanding

Goldmark: Die Königin von Saba

Manufacturer: Gala
ProductGroup: Music
Binding: Audio CD

All Works by Goldmark | Goldmark, Karl | ( G ) | Featured Composers, A-Z | Classical | Styles | Music
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ASIN: B0009IW9QG
Release Date: 2005-05-31

Customer Reviews:

Outstanding.......2005-06-18

My local public radio station happened to play this opera ("The Queen of Sheba") one night; I'd never heard (or even heard of) it previously. Both the music and the singing are excellent, and it is a real treat to discover this virtually unknown treasure. This is a grand opera, with strong symphonic music, great chorus work, and gorgeous arias.

This is a worthy addition to any collection of the opera afficiando.

Processional & Reflective Music for Weddings

Average customer rating:

Processional & Reflective Music for Weddings

Manufacturer: Guild
ProductGroup: Music
Binding: Audio CD

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ASIN: B000058UTO
Release Date: 2005-01-17

Frederick Fennell & the Eastman Wind Ensemble: Sullivan; Rossini-Respighi...

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Ballet for Band
Highly balanced and rich sound typical of Eastman

Frederick Fennell & the Eastman Wind Ensemble: Sullivan; Rossini-Respighi...

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000057LU
Release Date: 1992-10-13

Tracks:

Pineapple Poll Suite: Opening Number
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Customer Reviews:

Ballet for Band.......2003-12-05

These Mercury "Living Presence" recordings were a very special treat when they first appeared on vinyl.

First of all, it was an opportunity to hear music from the ballet, "Pineapple Poll," that conductor/composer Sir Charles Mackerras created from tunes in various Gilbert and Sullivan operettas. There have been subsequent recordings of the full score, including at least one by Mackerras himself, but this suite is arranged for concert band and is given a first-rate performances by Frederick Fennell and the Eastman Wind Ensemble. For those of us who love Gilbert and Sullivan, hearing some of the familiar songs in instrumental versions is a special treat. We might even be tempted to sing the words to the songs we remember. In many ways, the story of the ballet takes the best elements of the Gilbert and Sullivan operettas, which followed a definite, very successful formula in the late nineteenth century.

The master orchestrator Ottorino Resighi (1879-1936) arranged some of the late music by the master operatic composer Rossini for a special ballet, "La boutique fantastique," sometimes translated, "The fantastic toy shop." Many of these tunes were never published or performed in Rossini's lifetime; they were among the works Rossini wrote during his "retirement" in Paris, which he often referred to as "sins" of his old age. There are stories that Rossini even wrote tunes for his dog! In any case, Rossini continued to be a composer of memorable, delightful tunes and Respighi wonderfully arranged and orchestrated them. This is a very spirited, very enjoyable band arrangement of the music.

The ballet music from Charles Gounod's "Faust" was an essential ingredient of the classic opera. As with any composer writing for the Paris Opera House, Gounod HAD to include a ballet, if only to please the members of the Jockey Club, who "patronized" the ballerinas who danced in the operas. Anyway, Gounod produced a number of memorable tunes for the ballet sequence, some of which are appropriately diabolical for an opera about the devil and his tempting of Faust. The band arrangement is a real treat and the Eastman musicians give it their best.

I haven't heard the band arrangements of Wagner's music. I know that John Philip Sousa sometimes included such arrangements in his band concerts and, no doubt, Fennell has given the music its due. Wagner wrote extremely well for brass anyway, so much of his music lends itself to such arrangements.

These performances are part of the continuing series of Mercury "Living Presence" recordings in outstanding digital remasterings. The original recordings spanned the years 1951 to 1968 and the vinyl releases were much desired and valued by record collectors over the years. Having them on compact discs assures that music-lovers in years to come will continue to enjoy these legendary performances.

Highly balanced and rich sound typical of Eastman.......1999-11-08

This in a fine CD. The Wagner pieces are rich, superbly balanced in the lower brass and horn sections (most notably). Furthermore, the Respighi La Boutique Fantasque, is a sleeper. One most often thinks of the "Pines" as the only symphonic band epic here. The ensemble does a great job with dynamics/contracts, a very interesting interpretation. I do prefer the impact of a "full" symphonic band versus an ensemble however in Elsa's Procession. The only CD/recording that I would suggest as an alternative would be in the University of Illinois Symphonic Band collection.It would give Eastman a run for the money, but you have to contact UI direct. You can't find the band recordings any more and therefore Eastman, as the most prolific symphonic training institution for brasses/winds, can't be beat in most cases.

Average customer rating:

DE SABATA RULES!
this should never have been released
A warm and rhythmic Tristan!
magnificient historic document

Wagner: Tristan und Isolde

Manufacturer: Archipel
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

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ASIN: B00005YG8Q
Release Date: 2002-01-29

Customer Reviews:

DE SABATA RULES!.......2007-05-11

Yes the sound is terrible, but DeSabata's reading is how I hear Tristan, a doomed romance, not a mythological tract.

Lorenz, near the end of his career, wobbles, flats...but who cares! His 3rd act is terrific. He actually sounds like he is dying, not a tenor 'singing' like he is dying.

this should never have been released.......2005-12-18

I don't understand how anyone can possibly recommend a recording with sound as horrendous as this one. How can you know what the performance is like is the sound is, by turns and sometimes simultaneously, muffled and distorted, and so riddled with drop outs?

On the evidence of her Brunnhildes in Rudolf Moralt's 1948/49 Vienna Siegfried and Gotterdammerung (available in good sound on Myto and better sound on Gebhardt) and Robert F. Denzler's 1951 Geneva Walkure (available in slightly crackly but decent sound on Gebhardt), the never commercially recorded Gertrude Grob-Prandl was one of the great Wagnerian sopranos, with a gleaming, piercing voice, great power, but also beauty and control. Max Lorenz was one of the great Wagnerian tenors. I'm sure that a performance of Tristan und Isolde bringing the two together was a notable event. Unfortunately, from this recording one can't hear whether it was or not.

Archipel, which has put out some excellent live Wagner recordings in good sound, should be ashamed to charge money for this barely bootleg quality release.

A warm and rhythmic Tristan!.......2005-08-12

Under the leadership of de Sabata, this Tristan is refreshingly youthful and exciting. The sound quality leaves much to be desired but the combined effort of the maestro, soloists and orchestra makes for a unique output, which combines the natural Germanic linguistics with that unmatched Italian soul. There is not a dull moment in this Tristan.

Kudos to Gertrude Grob-Prandl for her masterly performance. Her voice simply inhabits the space like one turns on a light...instant illumination. There is no effort in the preparation even for the highest notes, they just come out. This makes her unique among those with giant voices. Her superb legato and excellent pitch make her sound almost like a machine. Is there any stopping this woman? Wow!!

Max Lorenz sings well, but flats often. The other voices are beautiful and quite more than good. There is something special with this Tristan. I wish I could say just what exactly. I can say that I highly recommend it for those who are new to Wagner and/or like the old school of singing!

Fantastic!

magnificient historic document.......2004-10-30

This is probably Tristan with the worst sound ever, I know other la Scala recordings from early fifties to compare them with it, and this Tristan is even inferior (occasional distorsions make sometimes orchestra inaudible). So, for those minding recording quality - forget it. But for Tristan lovers - account is magnificant. da Sabata conducting (traditional cuts have been taken)is brilliant, magnificient. The orchestra is sometimes less then precise, but overal aprouch is very dynamic, underlieing climaxies, and also very refreshing (!!) and full of ideas in somewere. The conducting, with its italianesqe spirit, cautching the human charakters of both protagonist. Gertrud Gros-Prandal is in full, secure voice, sings in a beutiful, little old-fashiond mood; and is able to sing incredible Milde und Lise at the end of the evening. Max Lorenz sings with his usual quality, with only slice of loosing strenth at the end of his long three act. The rest of the cast is redily acceptable. Magnificant dokument of the work of one of the greatest of Wagner conductors giving You possibility to hear de Sabata at opera house. Strongly recommemded for all loving Tristan with enough immagination and patience to hear such hirshing document.

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