Nadine

Track Listings

1. Sentimental Idealist

2. Face the World

3. I Believe in Love

4. Turn off the Lights

5. Mystic Mood

6. Baby Baby Baby

7. Not My Baby

8. Have Some Peace

9. Don't Throw Pearls

10. To My Ancestors

Nadine,Nadine,Vp / Universal,Dancehall,Pop,Reggae,Reggae Music

Nadine

Tracks:

O Soave Fanciulla
Lucia Perdona...Sulla Tomba
Giovanna, Ho Dei Rimorsi...E Il Sol Dell'anima
Va! Je T'ai Pardonne ... Nuit D'hymenee
No.8 Chanson: De Mon Amie, Fleur Endormie No.9 Duo Leila! Leila! Dieu Puissant
Toi! Vous!... Ah! Viens, Manon, Je T'aime!
Tvajo Malchan'je Nepan'atna
Callate, Corazon! Duermete Y Calla!

Amazon.com

Rolando Villazon and Anna Netrebko, opera's "golden couple" (or is it "dream team?") have just released their first CD of duets. In the duet that closes the first act of Bohème, both singers are in rapturous voice, their phrasing sensitive and sincere. The Lucia-Edgardo duet is passionate and tender by turns, with Villazon particularly good - he takes his solo softly and in a long breath. The Duke and Gilda are roles made for them: She sounds sweet and vulnerable and he sounds like he believes what he's singing at the moment, and their final high D flat together is a dazzler. A hypnotic Roméo et Juliette duet follows, with gentle singing from both, and they make the most of Leila and Nadir's scene from The Pearl Fishers, turning in a languorous, smooth performance. The big duet from the third act of Manon finds Netrebko at her most seductive and a duet from Iolanta, probably the most lyrical tenor-soprano moment in Russian opera, is a nice rarity, with Villazon very at home in the Russian idiom and the pair soaring to great emotional heights. A delicious number from Torroba's Zarzuela Luisa Fernando ends the CD on a soft, tender note. Netrebko's diction remains unfortunate and while singing with a partner whose diction is as clean and clear as Villazon's, it becomes more noticeable. But there's precious little to complain about here - it's a true pleasure to hear singing and communicating of this caliber. --Robert Levine

Customer Reviews:

five stars +.......2007-05-15

This is an exceptional album, both in content and in the artistry of the singers. Well worth the way above market price.

Wonderful duets!.......2007-05-12

One of the best collection of operistic duets in the recent times.
They both are first class singers.

Powerful and expressive singing with an amazing technique and control.......2007-04-09

Considering Netrebko's and Villazon's age- both are in their thirties- the maturity and command of their artistry is constantly moving ahead of their years. Villazon, with all the bells and whistles of his top ringing notes, has becomes the spinto/Italianate tenor extraordinaire of our time that gives us glimpses- although I hate to make comparisons- of Correlli and Di Stefano.
Netrebko, as a soprano, is in a league of her own. Her voice in any new recording sounds better than in her last one. The lyricim, color and communicating power of her singing trancends vulnerability, despair and hopelessness that are so well portayed in Mimi's duet. Some bloggers hate Netrebko's guts and claim hype for her success. That's a cop out. You cannot sell out opera houses all over the world, and CDs that have surpassed in numbers many classical recording of the past, based only on hype. There must be a substantive voice behind a beautiful face and body. I love and I know opera well, and I've seen, live, many of the great sopranos of past forty years. And if I'm flying across the U.S.A. to see Netrebko at her Carnegie Hall debut- I was lucky to find one of the last tickets- is not hype. No body fooled me and no body made me do it.
For some, the jury may be still out for these two opera superstars, but this CD is an example of extraordinary singing and is highly recommended.

Constantine A. Papas
El Paso, Texas

Another great recording.......2007-04-03

Well what can I say-I love every ringlet on his head-he is the man -the greatest-he rules. Every note is a gem that comes out of his mouth. Anna is pretty good too. She certainly is improving.

Divine Duo.......2007-04-02

Anna Netrebko and Rolando Villazon, dubbed the 'Golden Couple' pair up for an album of beautiful operatic duets. Both singers possess glorious voices and each selection/scene captures the listener, with even two unfamilar items alongside the standard repertoire. I urge people to rather purchase the limited edition package that contains a bonus DVD, which shows the making of the album, as well as the music video for the Boheme duet, directed by Vincent Patterson.

Music For The Mozart Effect, Volume 4, Focus & Clarity

Average customer rating:

Mozart effective
Mozart is #1!
must have for ADHD

Music For The Mozart Effect, Volume 4, Focus & Clarity

Manufacturer: Spring Hill
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

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Similar Items:

Music For The Mozart Effect, Volume 1, Strengthen the Mind
Music For The Mozart Effect, Volume 3, Unlock the Creative Spirit
Music For The Mozart Effect, Volume 5, Relax & Unwind
Music For The Mozart Effect, Volume 2, Heal the Body
Tune Your Brain with Mozart

ASIN: B000050GA3
Release Date: 2000-10-24

Tracks:

Focus & Activate The Mind: Vc Con No.3 in G, K 216: Allegro - Takako Nishizaki
Focus & Activate The Mind: Sym No.13 in F, K 112: Andante - Nicholas Ward
Focus & Activate The Mind: Son in F, K 376: Allegro - Takako Nishizaki
Focus & Activate The Mind: Sym No.8 in D, K 48: Andante - Nicholas Ward
Focus & Activate The Mind: Son No.11 in G, K 379: Andantino Cantabile - Takako Nishizaki
Focus & Activate The Mind: Son in B flat, K 379: Andantino Sostenuto E Cantabile - Takako Nishizaki
Focus & Activate The Mind: Sym No.4 in D, K 19: Andante - Nicholas Ward
Focus & Activate The Mind: Vn Con No.5 in A, K 219: Tempo Di Menuetto - Takako Nishizaki
Focus & Activate The Mind: Son in D, K 448: Allegro Con Spirito - Nadine Palmier

Tracks:

Clarity & Restful Attention: Cassination in B flat, K 99: Andante - Harald Nerat
Clarity & Restful Attention: Sym No.27 in G, K 199/161b: Andante Grazioso - Capella Istropolitana
Clarity & Restful Attention: Ser in D, K 250: Andante - Capella Istropolitana
Clarity & Restful Attention: Qt No.23 in F, K 590: Andante (Allegretto) - Eder Quartet
Clarity & Restful Attention: Ser in D, K 250: Andante - Takako Nishizaki/Capella Istropolitana/Johannes Wildner
Clarity & Restful Attention: Con No.20 in d, K 466: Romance - Jeno Jando/Concentus Hungaricus/Andras Ligeti
Clarity & Restful Attention: Divert in D, K 131: Allgretto - Capella Istropolitana/Harald Nerat
Clarity & Restful Attention: Vn Son No.2 in E flat, K 302: Rondeau: Andante Grazioso - Takako Nishizaki/Jeno Jando

Customer Reviews:

Mozart effective.......2007-04-07

I love classical music, bought this for my child who has attention difficulties, he enjoys hearing it in the background as he completes his homework assignments.

Mozart is #1!.......2007-02-20

I tried this cd when I studied for math and physics to improve my grades and it sounds kind of crazy but the very first time I listened to this about a week before my trigonometry exam, I made the highest grade on it than ever before. There is something truley amazing with these volumes of the mozart effect, im going to get volumes 1-5 because it really helps me with math. I actually look forward to doing my math homework now..its brilliant! One of my favorite songs out all the albums is on this one..its song #3 on the focus cd,its awesome! Preview it and you will see what I mean.

must have for ADHD.......2006-03-09

I ordered this cd set for both my son and husband who have ADHD. It absolutely has a calming effect on both. My husband has the cd on his IPOD and sleeps through the night. My son listens to the cds while doing homework and to fall asleep.
If you have a child w/ADD/ADHD, this cd set is worth a try.

Average customer rating:

Say You'll Stay
Nadine Renee
Manufacturer: Backstage Records
ProductGroup: Music
Binding: Audio CD

General | Dance & DJ | Styles | Music

General | Dance Pop | Dance & DJ | Styles | Music
ASIN: B000001Z5W
Release Date: 1993-12-04

Average customer rating:

Where's Krall??
Please, no more!
I should have read these reviews first
I agree. Would've been much better w/ the Diana Krall track
Why Not Diana?

The Score

Manufacturer: Varese Sarabande
ProductGroup: Music
Binding: Audio CD

Movie Scores | Soundtracks | Styles | Music

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The Yards (2000 Film)
The Lord of the Rings: The Two Towers - The Complete Recordings

ASIN: B00005LZSP
Release Date: 2001-07-10

Tracks:

Score
Customs
Flashback
Recon
Sapperstein
Ironclad
Files
Score Begins
Set Up
Run Late
Suspended
Bye Bye

Amazon.com

Howard Shore revisits the thriller genre's enduring '70s jazz sensibility but brings to it his own modern, authoritative sense of impressionism. Centered around a simple falling six-note phrase, Shore's score weaves in some of Thomas Newman's polyrhythmic adventure and leaves just enough room for his master session men to color the proceedings with some moody soloing. It's a score whose deceptively straightforward demeanor masks some intriguing, dark corners as it steadily builds its sense of pervasive tension: the deliciously cool, yet distinctly uneasy musical underpinnings of the film's story and characters. --Jerry McCulley

Customer Reviews:

Where's Krall??.......2006-02-09

Like many others, I purchased the soundtrack to hear Diana Krall, but without checking the track list. Dumb! None of the tracks on this CD are one's that I'd just sit down & listen to. They're all setting a mood for the scene. You know - like background movie "music." Don't buy this CD unless you're more interested in the composer's art than the songs you enjoyed while watching the movie. Should've read the reviews first. Dumb again! Ouch!!

Please, no more!.......2005-05-09

Unless I missed something, this title seems to be credited to Howard Shore. So why on earth are there thousands of you horrible, horrible "oh-so-tedious-modern-vocal-jazz" fans hanging around whining about the absence of Diana Krall.

I have a suggestion for you. If you like Diana Krall, go buy one of her CDs instead!

Good lord.

There's only one review in here talking about the merits of Howard Shore's score whatsoever. Personally, I quite like it although - as mentioned elsewhere - he's done better.

I should have read these reviews first.......2005-04-16

I went ahead and purchased the soundtrack online for one particular song ... before checking the track list. The same song that is not on the album that everyone is asking about. This has to be the DUMBEST move I have ever heard of.
Krall sould have at least had a cameo - playing in De Niro's jazz club. She would have been a welcome sight - from watching the rest of this superstar cast sleepwalk through their lines.

I agree. Would've been much better w/ the Diana Krall track.......2005-01-14

Apparently Impulse/Verve wouldn't give permission to use their artist on the official soundtrack (or probably wanted too much money for it). There is a recording of the song available on the internet that was ripped from the DVD. However, the only official version (the original studio recording without the background noise of the track culled from the movie) was sent to "members of the Academy" to promote the song for Outstanding Original Song, and it is not easy to find. It took me over a year before I came across a copy.

Why Not Diana?.......2004-04-16

I like several other reviewers am dissapointed that the Diana Krall song "I'll Make It Up As I Go" is not included on this CD. What an omission, what a great mistake!

Average customer rating:

This band is great, so why doesn't the world know it?
great job
Great album

Strange Seasons
Nadine
Manufacturer: Trampoline Records
ProductGroup: Music
Binding: Audio CD

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Dog Days
Easy Tiger
Sky Blue Sky
Icky Thump

ASIN: B0000V8GFK
Release Date: 2003-09-03

Tracks:

Friends and Lovers
Different Kind of Heartache
Bad At Goodbyes
Fools
Rocking Chair Song
Beautiful
Better Off Now
Inside Out
Got A Feeling
Cold Chill
Poor Man's Vacation
Something's Gotta Give

Album Description

Produced by Nadine and Matt Pence (Centro-matic, South San Gabriel) at Echolab Studios in Denton, TX, Strange Seasons is the band's "most consistent, expansive record of the band's six-year career." "Most of what was used to make this record was manufactured before 1970," explains multi-instrumentalist Steve Rauner. It's also more of a rock record, according to singer/guitarist Adam Reichmann. Earlier this year, he told the St. Louis Post dispatch that "there's something about Americana that sounds a little timid and we're trying to break out of that."

Customer Reviews:

This band is great, so why doesn't the world know it?.......2004-08-22

I play "Downtown Saturday" and "Lit Up from the Inside" all of the time, so Adam Reichmann's comments about wanting to go beyond Americana were a concern, but I shouldn't have been worried. This is another great CD. The new sound substitutes some retro-ish pop instrumentals for the more country flavor of the other albums, but I can't imagine fans being disappointed. The songwriting remains strong, and the overall sound, achieved by recording on older, analog equipment, works. The opening cut is a bit misleading, so please don't stop there--it'll grow on you in time, anyway. Friends, this is just a damned fine albut that you can play and play and play, thinking all the time about how privileged you are to be doing something other than listening to the over-hyped garbage being spewed by your local Clear Channel outlet.

great job.......2003-12-30

my favorite nadine record to date - -worth checking out.

Great album.......2003-12-24

This is a an awesome CD, Nadine's best yet.

Average customer rating:

A must for hard core britten fans
excellent and terrific opera
Better Than the Composer's Own Recording!

Britten: The Turn of the Screw

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Albert Herring

ASIN: B00009NJ1G
Release Date: 2004-01-20

Tracks:

The Prologue
Theme: Scene 1 - The Journey
Variation I: Scene 2 - The Welcome
Variation II: Scene 3 - The Letter
Variation III: Scene 4 - The Tower
Variation IV: Scene 5 - The Window
Variation V: Scene 6 - The Lesson
Variation VI: Scene 7 - The Lake
Variation VII: Scene 8 - At Night

Tracks:

Variation VIII: Scene 1 - Colloquy And Soliloquy
Variation IX: Scene 2 - The Bells
Variation X: Scene 3 - Miss Jessel
Variation XI: Scene 4 - The Bedroom
Variation XII: Scene 5 - Quint
Variation XIII: Scene 6 - The Piano
Variation XIV: Scene 7 - Flora
Variation XV: Scene 8 - Miles

Customer Reviews:

A must for hard core britten fans.......2005-08-02

The concept of basing each scene of this chamber opera on a set of variations is a fascinating one. But its basically an intellectual excercise. This is one of Britten's most sterile scores. He wrote it quickly and it shows. The piece, based on a famous tale, works in the theater so it has held the stage. The cast of this recording is a group of top notch professionals so it is satisfying on that level. Just don't expect to be swept up in it like one can be with "Peter Grimes."

excellent and terrific opera.......2004-07-08

This is one of the greatest operas of Britten, based on a novella, an amazing ghost story of Henry James. The librettos was written by the composer's close friend Myfanwy Piper, who the librettist of "Death in Venice". The libretto is also very impressive, as like the main story.

This recording is really excellent. Actually, this was released on Collins Classics in 1994. The cast is very succesful. Felicity Lott's Governess, Sam Pay's (treble) Miles and of course Philip Langridge's Quint are excellent. And even so, Steuart Bedford is really a champion on performance of Britten's any works.

This recording is only comparable with Britten's own mono recording made in 1950's. This was made with Peter Pears as Quint role. But this Bedford recording, may be better than Britten's recording, because the composer's record is from 50s and mono, but Bedford's is an excellent stereo record made in 1990's.

This opera scored for a small ensemble, as you know. It calls only six singers and a 13-musicians ensemble. And this opera is a really excellent example of the composer's creating how very impressive and spine-chilling atmosphere with a small ensemble.

This 2-CD set also includes full libretto and detailed synopsis. At this price this is a must have for any Britten and opera admirers.

Highly recommended.

Better Than the Composer's Own Recording!.......2004-06-01

I didn't think I'd ever say this about a Britten opera recording, but we have here a modern performance that surpasses the one Britten conducted and recorded back in the 1950s. In every respect this is superior to the earlier album, with one exception: no one can surpass Peter Pears as the evil Peter Quint. Of course the part was written for him. This is not to say Philip Langridge doesn't do a wonderful job in his own portrayal; I guess I've been so imprinted on the sound of Pears's voice that I had some trouble making the switch. But the rest of the cast is simply superior to the earlier one. And this is particularly true in the case of the little boy, Miles, sung here by Sam Pay; he is sensational and easily outclasses David Hemmings (a not-very-good boy soprano who then grew up to become an actor in movies; remember him in 'Blowup' and as Mordred in 'Camelot'?). Pay's final 'Peter Quint, you devil!' is heart-breaking. Also superior are Felicity Lott as The Governess, Eileen Hulse as Flora, Phyllis Cannan as Mrs Grose, and Nadine Secunde as Miss Jessel. Further, the modern stereo sound replaces a rather harsh monaural recorded sound from the 1950s. This is particularly welcome as regards the orchestral sound; in the original recording the chamber orchestra sounded a bit thin and distant. Here the Aldeburgh Festival Ensemble is recorded in clear and lifelike sound. As well as I thought I knew the score, I heard new things in the orchestra that I hadn't known were there.

Steuart Bedford, of course, is our reigning Britten specialist. He was a long-time colleague of Britten's, has conducted all of his operas over the years, and was entrusted by the ailing Britten with the première of 'Death in Venice.'

This is actually a reissue by Naxos of a 2CD set first published in 1994 by the now-defunct Collins Classics. I'm sorry to say I missed it when it came out but thank goodness Naxos has seen fit to put it out again, as they did Collins's excellent 'Albert Herring' a year or so ago. It, like the recently reissued 'St. Nicholas' cantata, was also conducted by Bedford. One can hope that Bedford's other Collins/Britten CDs, including 'Gloriana,' orchestral music and several song recitals, will be reissued as well.

Scott Morrison

1964: Shakin' All Over (Time Life Music Classic Rock)
Average customer rating:
1964: Shakin' All Over (Time Life Music Classic Rock)
Major Lance , Brenda Holloway , The Hondells , Jumpin' Gene Simmons , The Velvelettes , Jimmy Hughes , Bobby Bland , The Impressions , The Searchers , and Gerry and the Pacemakers
Manufacturer: Time-Life Music
ProductGroup: Music
Binding: Audio CD
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1968 Classic Rock By Time Life

Dick Bartley Presents: Classic Oldies 1965-1969

ASIN: B000FPHJBS

Product Description

Song listing: 1 Roy Orbison Oh, Pretty Woman (2:58) 2 Major Lance Um, Um, Um, Um, Um, Um (2:22) 3 Peter & Gordon I Don't Want To See You Again (2:01) 4 Chuck Berry Nadine (Is It You?) (2:34) 5 Brenda Holloway Every Little Bit Hurts (2:53) 6 Beach Boys, The Don't Worry Baby (2:49) 7 Hondells, The Little Honda (2:05) 8 Jumpin' Gene Simmons Haunted House (2:35) 9 Velvelettes, The Needle In A Haystack (2:26) 10 Dionne Warwick Walk On By (2:53) 11 Gerry & The Pacemakers Don't Let The Sun Catch You Crying (2:37) 12 Diana Ross & The Supremes Baby Love (2:39) 13 Searchers, The Don't Throw Your Love Away (2:17) 14 Ventures, The Walk, Don't Run '64 (2:25) 15 Marvelettes, The Too Many Fish In The Sea (2:30) 16 Little Anthony & The Imperials I'm On The Outside (Looking In) (3:09) 17 Jimmy Hughes Steal Away (2:28) 18 Bobby Bland Ain't Nothing You Can Do (2:31) 19 Jan & Dean Drag City (2:17) 20 Martha Reeves & The Vandellas Quicksand (2:36) 21 Impressions, The Talking About My Baby (2:32) 22 Bobby Vinton Mr. Lonely (2:39)

Average customer rating:

Unmissable

Ravel: Enfant et les sortilèges

Manufacturer: Testament UK
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Bartok: The Piano Concertos

ASIN: B000003XIQ
Release Date: 1994-11-21

Tracks:

Part One: The House: J'Ai Pas Envie De Faire Ma Page - Nadine Sautereau
Part One: The House: Bebe A Ete Sage? Il A Fini Sa Page? - Denise Scharley
Part One: The House: Ca M'Est Egal! - Nadine Sautereau
Part One: The House: Votre Serviteur Humble, Bergere - Andre Vessieres/Solange Michel/Chors Et Maitrise De La Radiodiffusion Francaise/Rene Alix/Marcel...
Part One: The House: Ding, Ding, Ding, Ding - Yvon Le Marc'Hadour/Nadine Sautereau
Part One: The House: How's Your Mug? - Joseph Peyron/Denise Scharley
Part One: The House: Oh! Ma Belle Tasse Chinoise! - Nadine Sautereau
Part One: The House: Arriere! Je Rechauffe Les Bons - Odette Turba-Rabier/Nadine Sautereau
Part One: The House: Adieu, Pastourelles! - Chor Et Maitrise De La Radiodiffusion Francaise/Rene Alix/Marcel Couraud
Part One: The House: Ah! C'Est Elle! C'Est Elle! - Nadine Sautereau/Martha Angelici
Part One: The House: Toi, Le Coeur De La Rose - Nadine Sautereau
Part One: The House: Deux Robinets Coulent Dans Un Reservoir! - Maurice Prigent/Nadine Sautereau/Chor Et Maitrise De La Radiodiffusion Francaise/Rene Alix...
Part One: The House: Oh! Ma Tete - Nadine Sautereau/Marguerite Legouhy
Part Two: The Garden: La Musique Du Jardin - Joseph Peyron/Chor Et Maitrise De La Radiodiffusion Francaise/Rene Alix/Marcel Couraud
Part Two: The Garden: Ah! Quelle Joie De Te Retrouver, Jardin! - Nadine Sautereau/Chor Et Maitrise De La Radiodiffusion Francaise/Rene Alix/Marcel Couraud
Part Two: The Garden: Ou Es-Tu? Je Te Cherche. . . - Denise Scharley/Odette Turba-Rabier/Nadine Sautereau/Jospeh Peyron/Chor Et Maitrise De La...
Part Two: The Garden: (Ronde Des Chauves-Souris) Rends-La Moi! Tsk, Tsk... - Claudine Verneuil/Nadine Sautereau
Part Two: The Garden: Danse Des Rainettes - Orch Nat De La Radiodiffusion Francaise/Ernest Bour
Part Two: The Garden: Sauve-Toi, Sotte! Et La Cage? - Solange Michel/Joseph Peyron
Part Two: The Garden: La Cage, C'Etait Pour Mieux Voir Ta Prestesse - Nadine Sautereau/Solange Michel
Part Two: The Garden: Ah! C'Est L'Enfant Au Couteau! - Denise Scharley/Solange Michel/Yvon Le Marc'Dadour/Joseph Peyron/Marguerite/Claudine Verneuil/...
Part Two: The Garden: Il A Panse La Plaie - Denise Scharley/Solange Michel/Yvon Le Marc'Dadour/Joseph Peyron/Marguerite/Claudine Verneuil/
Part Two: The Garden: Il Est Bon, L'Enfant, Il Est Sage - Denise Scharley/Solange Michel/Yvon Le Marc'Dadour/Joseph Peyron/Marguerite/Claudine Verneuil...

Customer Reviews:

Unmissable.......2000-06-14

Ravel's fantaisie lyrique is an indisputable masterpeace and this unsurpassed first performance presents the music at its greatness. The singers, although with no stars, make an outstanding team and the mono recording (1947) conveys the voices very firmly. Warning: After listening to this CD you will try to get Ravel's L'Heure espagnole. You need not bother as not just it is not as imaginative as this opera, it also has a very strong declamatory line and there are no regular arias as on L'Enfant.

Mahler - The Complete Symphonies / LPO, Tennstedt

Average customer rating:

Mostly fine but somewhat uneven
Classic Sound of Mahler from LPO
IMHO best Mahler performe.
Tennstedt's Mahler Cycle: A Best Buy
Challenging, Sensitive, Sincerely Committed Performances.

Mahler - The Complete Symphonies / LPO, Tennstedt
Lucia Popp , London Philharmonic Orchestra , Elizabeth Connell , Edith Mathis , David Hill , Jorma Hynninen , Trudeliese Schmidt, Richard Versalle, Edith Wiens Doris Soffel , Hans Sotin , Nadine Denize , and Ladies of London Philharmonic Chorus Southend Boys' Chor
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Bruckner: The Complete Symphonies
Beethoven - The Complete String Quartets / Alban Berg Quartet
Mozart: Chamber Music
Symphonies 1-3 / Piano Concerto 1-4 / Isle of Dead
Liszt: Works for Piano and Orchestra

ASIN: B00000C2KM
Release Date: 1998-11-03

Tracks:

Symphony No. 1 In D Major: 1. Langsam. Schleppend - Im Anfang Sehr Gemachlich
Symphony No. 1 In D Major: II: Kraftig bewegt, doch nicht zu schnell
Symphony No. 1 In D Major: III: Feierlich und gemessen, ohne zu schleppen
Symphony No. 1 In D Major: IV: Sturmisch bewegt
Symphony No. 2 In C Minor 'Resurection': I: Adagio maestoso

Tracks:

Symphony No. 2 In C Minor 'Resurrection': II: Andante moderato
Symphony No. 2 In C Minor 'Resurrection': III: In ruhig fliessender Bewegung
Symphony No. 2 In C Minor 'Resurrection': IV: Urlicht (Sehr feierlich aber schlicht)
Symphony No. 2 In C Minor 'Resurrection': V: Im Tempo des Scherzos (Wild herausfahrend) - Langsam - Allegro energico - Langsam

Tracks:

Symphony No. 3 In D Minor: Erste Aabteilung: I: Kraftig. Entschieden
Symphony No. 3 In D Minor: Zweite Abteilung: II: Tempo di Menuetto. Sehr massig
Symphony No. 3 In D Minor: Zweite Abteilung: III: Comodo. Scherzando. Ohne Hast
Symphony No. 3 In D Minor: Zweite Abteilung: IV: Sehr Langsam. Misterioso. Durchaus ppp
Symphony No. 3 In D Minor: Zweite Abteilung: V: Lustig im Tempo und keck im Ausdruck

Tracks:

Symphony No. 3 In D Minor: Qweite Abteilung: VI: Langsam. Ruhevoll. Empfunden.
Symphony No. 4 In G Major: I: Bedachtig. Nicht eilen
Symphony No. 4 In G Major: II: In gemachlicher Bewegung. Ohne Hast
Symphony No. 4 In G Major: III: Ruhevoll
Symphony No. 4 In G Major: IV: Sehr behaglich

Tracks:

Symphony No. 5 In C Sharp Minor: I: Trauermarsch
Symphony No. 5 In C Sharp Minor: II: Sturmisch bewegt, mit grosster Vehemenz
Symphony No. 5 In C Sharp Minor: III: Scherzo: Schattenhaft
Symphony No. 5 In C Sharp Minor: IV: Adagietto: Sehr langsam
Symphony No. 5 In C Sharp Minor: V: Rondo-Finale: Allegro

Tracks:

Symphony No. 7 In E Minor: I: Langsam - Allegro
Symphony No. 7 In E Minor: II: Nachtmusik I: Allegro moderato
Symphony No. 7 In E Minor: III: Scherzo: Schattenhaft
Symphony No. 7 In E Minor: IV: Nachtmusik II: Andante amoroso

Tracks:

Symphony No. 7 In E Minor: V: Rondo - Finale: Tempo I (Allegro ordinario) - Tempo II (Allegro moderato ma energico)
Symphony No. 6 In A Minor: I: Allegro energico, ma non troppo. Heftig aber markig
Symphony No. 6 In A Minor: II: Scherzo Wuchtig
Symphony No. 6 In A Minor: III: Andante moderato

Tracks:

Symphony No. 6 In A Minor: IV: Finale: Allegro moderato
Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': I. Teil. Hymnus: Veni, creator spiritus
Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': I. Teil. Hymnus: Allegro impetuoso: Imple superna gratia
Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': I. Teil. Hymnus: Allegro impetuoso: Infirma nostri corporis
Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': I. Teil. Hymnus: Allegro impetuoso: Accende lumen sensibus
Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': I. Teil. Hymnus: Allegro impetuoso: Veni, creator spiritus
Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': I. Teil. Hymnus: Allegro impetuoso: Gloria, Patri Domino

Tracks:

Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Poco adagio: Waldung sie schwankt heran
Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Poco adagio: Ewiger Wonnerbrand
Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Poco adagio: Wie Felsenabgrund mir zu Fussen
Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Gerettet ist das edle Glied
Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Uns bleibt ein Erdenrest
Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Hier ist die Aussicht frei
Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Hochste Herrscherin der Welt
Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Ausserst langsam. Adagissimo: Dir, der Unberuhrbaren
Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Bei der Liebe, die den Fussen
Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Neige, neige, du Ohnegleiche
Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Blicket auf zum Retterblick
Symphony No. 8 In E Flat Major 'Symphony Of A Thousand': II. Teil. Schlussszene 'Faust': Allegro deciso: Alles Vergangliche

Tracks:

Symphony No. 9 In D Minor: I: Andante comodo
Symphony No. 9 In D Minor: II: Im Tempo eines gemachlichen Landlers. Etwas tappisch und sehr derb
Symphony No. 9 In D Minor: III: Rondo-Burleske: Allegro assai. Sehr trotiz

Tracks:

Symphony No. 9 In D Minor: IV: Adagio: Sehr langsam und noch zuruckhaltend
Symphony No. 10 In F Sharp Minor: I: Adagio

Amazon.com

Hot on the heels of DG's new reissue of the Bernstein's complete Mahler symphonies and song cycles, EMI has repackaged Klaus Tennstedt's recordings of all 10 symphonies. Although he remade symphonies 5 through 7, these are his first versions, essentially the same performances that used to be available in three separate boxes at mid price. Now at budget price, and at virtually a third of the cost of DG's Bernstein set, Tennstedt's Mahler is one hell of a bargain. The performances aren't as consistent as Bernstein's. The London Philharmonic was never a great Mahler orchestra, and minor errors are fairly common, especially in the Sixth Symphony, which was the conductor's own favorite among all his recordings despite the lapses in the brass section. It's a performance of frightening intensity, and it's easy to understand his affection for it. All of Tennstedt's Mahler features such spontaneity, emotional honesty, and real human warmth that reservations about execution and sound largely fall by the wayside. Hearing it again is a deeply moving experience. --David Hurwitz

Customer Reviews:

Mostly fine but somewhat uneven.......2007-04-26

Tennstedt's interpretations emphasize the darker side of Mahler's scores; hence he is among the "hands on" Mahler conductors, such as Barbirolli. Especially successful interpretations are those of # 1-3, 5, and 9. The sound is mostly fine analogue stereo, but some of the recordings are problematic: early digital with a nasty, edgy sound.

Some comments of each recording.

Symphony 1. A very fine interpretation, in outstanding analogue sound. Especially the two final movements are memorable showcases for Tennstedt's dark emphasis. But Kubelik's recordings (DG and Audite) are more consistent.

Symphony 2. Excellent drama and tension, but the sound is not entirely satisfying (edgy early digital). Consider Metha's fine recording (Decca) for reference.

Symphony 3. Also a very fine performance, but perhaps not great. Excellent, swift account of the finale. Anyway, first choices are Kubelik (DG and Audite), Barbirolli (BBC) and Schuricht (Classical D'Oro).

Symphony 4. Not entirely successful, too fast and partly weak playing. Popp is excellent in the finale, however. Again, Kubelik is my first choice, followed by Barbirolli (BBC) and Horensten (EMI).

Symphony 5. Excellent! A classical reading of tremendous power and passion. Very fine sound too.

Symphony 6. Bad hammerblows, and a lukewarm middle of the road reading. The most problemtic interpretation in this set. Barbirolli's is my favourite recording (EMI), but Horenstein's is fine too (BBC or Unicorn).

Symphony 7. Slow and entirely unconvincing, especially in a crowded field with great recordings, such as Kubelik's (DG and Audite), Gielen's (Hänssler), Bernstein's (DG and SONY).

Symphony 8. Mahler requires two choirs, Tennstedt uses only one. Thus no "heavenly" sound. In addition, I have hard times with Lott's voice. But the recorded sound is very fine. Kubelik (Audite), Horenstein (BBC) and Mitropoulos (Orfeo) are first choices.

Symphony 9. One of the best recordings in this set, and a moving interpretation as well. Consider Ancerl (Supraphon) and Klemperer (EMI) for reference.

The Tennstedt set was for a long time the best and cheapest bargain set. But now it has been challenged by Gary Bertini's Mahler cycle on the same label. That set is more or less contemporary with Tennstedt's set, but it is generally far more arresting - virtually the interpretations and the recording quality are clearly superior. In addition, it is even cheaper. So my advice is that budget collectors grab the Bertini cycle while it is available. It is the best Mahler bargain cycle, and it is even better than many other, more expensive sets. However, Kubelik's classic cycle on DG remains my first recommendation.

Nonetheless, dedicated collectors should have the Tennstedt cycle too. Recommended, but not without reservations.

Classic Sound of Mahler from LPO.......2005-09-30

Tennstedt has his unique ways and skill of engeenering the sound of Mahler's symphonies.

Personally, I enjoy this CD set of Symphony 1, 5, 6, 8 and 9

IMHO best Mahler performe........2005-07-25

I can say, what sound quality and performe of this symphonies is on top,best i ever heard. I'm professional musician,so this is not just a mere words.

Tennstedt's Mahler Cycle: A Best Buy.......2005-03-19

Whether you are new to Mahler or just a fellow Mahler enthusiast looking for yet another way of hearing these wonderful works, this well-recorded 11-disc set strikes me as a clear "best buy." I recently acquired a brand-new, sealed copy from one of Amazon's alternative vendors for about $40, which works out to less than $4 per CD.

On 19 December 1974 I was fortunate to attend Klaus Tennstedt's American debut concert with the Boston Symphony. The sole work was Bruckner's 8th Symphony (I am amazed to discover that I still have the concert program). The East German conductor was tall, gaunt, and seemingly rather un-coordinated: he almost fell down on his way to the podium. But once he lifted his baton, egad! The BSO, which often sounded so dispirited under Ozawa, immediately caught fire and delivered one of the greatest performances in my entire concert-going experience. Sadly, Tennstedt's later studio recording (different orchestra) was just a shadow of what I heard in Boston.

My interest in Tennstedt was re-ignited a couple years ago by the purchase of an expensive ($225) box set of "live" Mahler recordings put out by the NY Philharmonic. Its main attraction was the opportunity to hear the legendary Mitropoulos 6th (superb!), the 1950 Stokowski 8th (excellent, but no match for Horenstein's), and Walter's Das Lied with Ferrier and Svanholm (preferable over-all to Walter's famed 1952 studio effort on Decca). But the set's two biggest surprises were a hypnotic 7th under Kubelik and a staggeringly brilliant Tennstedt 5th: I can't recall EVER hearing the orchestra sound quite this good in Mahler under Bernstein.

The present Tennstedt set is not at that rarefied level: these are studio readings with a fine but lesser ensemble. The 1st is fairly straightforward and beautifully played, if lacking a little in the klezmer music's inherent vulgarity. The 2nd is very satisfying if, like me, you prefer a less interventionist version than Bernstein's. Regrettably, the sound here is rather recessed - you really have to turn up the volume to achieve sonic impact. The 3rd is better played & recorded than Horenstein's, if not quite its interpretive equal. Tennstedt's 4th is excessively hasty in the first mvt. and Lucia Popp's singing is rather over-extended in the 4th mvt. Beautiful slow mvt., though. The 5th, while to my ears clearly superior to both Kubelik and Bernstein, is not as brilliant as Tennstedt's later live EMI version or the live NY Phil. account. The 6th is a bit "over the top" for my taste and has some messy brass playing, but it's an unquestionably committed account. The 7th is a little tentative in the first mvt. but fine thereafter. The 8th has, along with the 3rd, the set's best recorded sound. It's a performance of real stature, despite an under-sized chorus ("the symphony of 500?"). The 9th is somewhat heavy until the last mvt., which is gorgeously played (likewise the Adagio from the 10th).

So Tennstedt's set, like everybody else's, is a bit uneven. His main competition in the complete set sweepstakes comes primarily from Bernstein (Sony) and Kubelik (DG). Bernstein's is a highly proselytizing Mahler, with frequent dramatic underlinings and triple exclamation points: to my ears Lenny is just a little too exaggerated and inveigling. Kubelik has a rather rustic-sounding orchestra and often veers toward quickish tempos, with recorded sound that is uncomfortably bright and bass-deficient. If you are looking for a first-ever set in reasonably decent sound, this Tennstedt offering is probably the best choice (and by far the cheapest).

Ultimately, just as a meal prepared from scratch will satisfy more than a TV dinner, I feel that choosing individual readings from a variety of conductors is the most satisfying course to pursue. My suggestion: buy this cheap Tennstedt set and then garnish it with some of the best individual offerings, plus a completed version of the 10th and a Das Lied (a symphony in all but name). Here are my current preferences in addition to this Tennstedt set:

#1. The live Kubelik (Audite) is just about perfect - it's even better than his two studio versions. The mono Horenstein on Vox (great interpretation, some scrappy playing) is closer to how the music was played in Mahler's day (e.g., lots of lovely string portamento), and it's available for just $3.98 from Berkshire Record Outlet.

#2. The Scherchen (Millenium), despite some eccentric tempos, has choral entries steeped in mysticism, and Mimi Coertse's glorious soprano voice is unmatched for innocent radiance (what a shame she didn't do a 4th with Scherchen). The studio Klemperer (EMI) is excellent, but I prefer his more urgent live 1951 Amsterdam account, with Ferrier's unforgettably valiant Urlicht (recently available on a Membran CD for just $2.99 at broinc.com).

#3. Horenstein (Unicorn) is simply indispensable. Another of my favorite 3rds comes live from Jean Martinon and the Chicago Symphony. It features spot-on ensemble, a deeply-felt interpretation, and sensational recorded sound. It's available only in an expensive ($225) 10-disc set from the CSO (which includes an outstanding live Bruckner 7th with Tennstedt). I also admire the big-hearted Barbirolli 3rd (BBC) and Mahler disciple F. Charles Adler's old-fashioned account (Tahra).

#4. Horenstein (Chief CD) and Kletzki (EMI) now strike me as the finest stereo readings. Would somebody PLEASE re-issue the enchanting Otterloo (Epic LP)? Stich-Randall's ingenuous soprano was just about ideal. And, last but not least, there's the Mengelberg (on Q Disc and other labels) with the appealing soprano of Jo Vincent.

#5. Tennstedt/NY Phil. is breathtaking, even though I prefer a quicker Adagietto (i.e., Mengelberg's stand-alone reading). A more blunt and very well-played account is Barshai's (coupled with #10 on Brilliant Classics). The early Scherchen (DG Westminster) is also a classic.

#6. My favorites: Barbirolli (EMI), in spite (or perhaps because) of the slow 1st mvt., the blazing live Mitropoulos/NY Phil., and the live Rosbaud (much in need of CD re-issue).

#7. The aforementioned Kubelik/NY is magical, even though the 1st mvt. is quite slow. I also treasure the Horenstein despite its poor execution (better heard on a Descant CD than on BBC or M&A). Scherchen (Orfeo) and Rosbaud (Wergo) present Mahler in a more avant-garde guise: both are riveting performances. The Bernstein/NY Phil. (Sony) strikes me as that conductor's finest Mahler recording.

#8. Horenstein (BBC) carries the day for me. The 1950 Scherchen (Tahra) has problematic sound and some pretty awful singing: soprano Illitsch sounds like a mis-placed Brunnhilde, and mezzo Anday's wobbly vibrato reminds me of Bert Lahr singing "If I Were King of the Forest." But there are moments (the last ten minutes especially) where Scherchen achieves a Furtwanglerish intensity that is hair-raising.

#9. Two that really stand out: Ancerl (Supraphon), especially his electrifying Rondo Burleske, and the mono Horenstein on Vox.

#10. My favorites: Wyn Morris (an Adagio of heart-rending loneliness) and the Martinon/Chicago (too fast in the Adagio but brilliant otherwise; available only in another wallet-depleting 12-CD box set). The Morris (Philips LP) is WAY overdue for a CD transfer. Barshai's 10th (coupled with his 5th on budget label Brilliant Classics) is excellent.

Das Lied. Kubelik (Audite) with Baker & Kmentt is a superb all-round choice. The 1939 Schuricht (Minerva, etc.) has Ohmann's Melchior-like heldentenor (extraordinary!). The finest studio set is probably the Klemperer with Ludwig & Wunderlich (EMI). Ludwig is even better with Kmentt in a live Carlos Kleiber set on Golden Melodram (but the sound is rather poor).

This Tennstedt set is a fine and inexpensive introduction to Mahler's symphonies. After adding a completed 10th, a Das Lied, and perhaps a few supplementary readings, you can then sit back and revel in many hours of glorious music making.

Challenging, Sensitive, Sincerely Committed Performances........2004-04-05

I have the distinct feeling that, in time, Tennstedt's Mahler will grow in the affections of others as it has with me. Simply put, there is something very authentic about these accounts. The sense of commitment is unquestionable. Generally, the interpretations are thoughtful and emotionally satisfying. Tennstedt often digs deeply to ferret a wealth of detail, which provides substantial rewards, including a broader, more fulfilling connection with Mahler's musical messages. (Listen to the thoroughly captivating reading given of the first movement of the Fourth Symphony or the soulful account of the final movement of the Ninth.) The conductor's characterization of these messages tends to be vivid, yet typically free of emotional excess. This is as true of Mahler's uplifting aspects as it is of his anxiety ridden, sardonic and tragic aspects. Where other sets are concerned, I also like Bernstein in his earlier all-New York Philharmonic endeavor and Kubelik with the BRSO on DG. Any of these three compilations merits high marks. Overall, however, it is difficult to pick a clear winner. Each presents individually moving interpretations. My preferred performances in the Bernstein set are 2-3-4-6-7-9 ; in the Tennstedt set, 3-4-5-7-8-9 ; and in the Kubelik set, 1-2-3-5-7-8-9. (Incidentally, after listening to selected excerpts, I'm anxious to hear some of Kubelik's live and complete performances in his Audite set.).... Sonically, Bernstein's recordings are typically fine (but not the Fifth). Tennstedt's are often clear, detailed and ambient, though sometimes there is a touch of brightness and sharpness. Kubelik's are uniformly good except for occasionally tinny sounding trumpets.... Regarding orchestral execution, I am rarely concerned about what some others allude to as occasional inconsistency in the quality of play demonstrated by the New York Philharmonic's horns. Frankly, there are a few intermittent brass problems with Kubelik's BRSO too. As far as what some cite as the London Philharmonic's tendency toward occasional lapses in concentration, either I don't detect those lapses as much or I tune them out or don't care. Tennstedt's is a wonderful set to own. Obviously, it's not perfect, but it's the kind that augurs for solid quality and satisfaction over the long haul. I have absolutely no serious reservations about warmly recommending it.

Pelléas et Mélisande / von Stade, Stilwell, van Dam, Raimondi, Karajan

Average customer rating:

The Best Pelléas...
Sound not worthy of EMI Great Recording Series
Still for me the definitive overall view of Pelléas!!!
One of Karajan's undisputed triumphs
Karajan Attempts Debussy

Pelléas et Mélisande / von Stade, Stilwell, van Dam, Raimondi, Karajan
Claude Debussy , Berliner Philharmoniker , Herbert von Karajan , Frederica von Stade , Richard Stilwell , José van Dam , Ruggero Raimondi , Nadine Denize , and Christine Barbaux
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Similar Items:

Debussy: Pelléas et Mélisande
Strauss - Der Rosenkavalier / Schwarzkopf · Ludwig · Karajan
Wagner: Lohengrin
Great Recordings Of The Century - Mozart: Cosi Fan Tutte / Karajan, Schwarzkopf, Merriman, Otto, Simoneau, et al
R. Strauss: Elektra

ASIN: B00000K4FN
Release Date: 1999-09-21

Tracks:

Prelude - Berliner Philharmoniker
Je Ne Pourrai Plus Sortir De Cette Foret - Jose Van Dam
Qu'est-ce Qui Brille Ainsi, Au Fond De L'eau? - Jose Van Dam
Interlude - Berliner Philharmoniker
Voici Ce Qu'il Ecrit A Son Frere Pelleas: 'Un Soir, Je L'ai Trouvee' - Nadine Denize
Je N'en Dis Rien - Ruggero Raimondi
Grand-pere, J'ai Recu En Meme Temps Que La Lettre De Mon Frere - Ruggero Raimondi
Interlude - Berliner Philharmoniker
Il Fait Sombre Dans Les Jardins - Frederica Von Stade
Hoe! Hisse Hoe! Hoe! Hoe! - Chor Der Deutschen Oper Berlin
Vous Ne Savez Pas Ou Je Vous Ai Menee - Frederica Von Stade
C'est Au Bord D'une Fontaine Aussi Qu'il Vous A Trouvee? - Frederica Von Stade
Interlude - Berliner Philharmoniker
Ah! Ah! Tout Va Bien, Cela Ne Sera Rien - Jose Van Dam
Je Suis . . . Je Suis Malade Ici - Jose Van Dam
Il Est Vrai Que Ce Chateau Est Tres Vieux Et Tres Sombre - Jose Van Dam
Tiens, Ou Est L'anneau Que Je T'avis Donne? - Jose Van Dam
Interlude - Berliner Philharmoniker
Oui, C'est Ici, Nous Y Sommes - Frederica Von Stade

Tracks:

Mes Longs Cheveux Descendent - Frederica Von Stade
Oh! Oh! Mes Cheveux Descendent De La Tour! - Frederica Von Stade
Je Les Noure, Je Les Noue Aux Branches Du Saule - Jose Van Dam
Interlude - Berliner Philharmoniker
Prenez Garde; Par Ici, Par Ici - Jose Van Dam
Interlude - Berliner Philharmoniker
Ah! Je Respire Enfin! - Jose Van Dam
A Propos De Melisande - Jose Van Dam
Interlude - Berliner Philharmoniker
Viens, Nous Allons Nous Asseoir Ici, Yniold - Jose Van Dam
Ah! Ah! Petite Mere A Allume Sa Lampe - Jose Van Dam

Tracks:

Ou Vas-tu? Il Faut Que Je Te Parle Ce Soir - Frederica Von Stade
Maintenant Que Le Pere De Pelleas Est Sauve - Ruggero Raimondi
Pelleas Part Ce Soir - Ruggero Raimondi
Une Grande Innocence - Ruggero Raimondi
Interlude - Berliner Philharmoniker
Oh! Cette Pierre Est Lourde - Christine Barbaux
C'est Le Dernier Soir - Frederica Von Stade
On Dirait Que Ta Voix A Passe Sur La Mer Au Printemps! - Frederica Von Stade
Quel Est Ce Bruit? On Ferme Les Portes - Frederica Von Stade
Ce N'est Pas De Cette Petite Blessure Qu'elle Peut Mourir - Ruggero Raimondi
Attention; Je Crois Qu'ell S'eveille - Ruggero Raimondi
Etes-vous Seul Dans La Chambre, Grand-pere? - Ruggero Raimondi
Melisande, As-tu Pitie De Moi Comme J'ai Pitie De Toi? - Jose Van Dam
As-tu Aime Pelleas? - Jose Van Dam
Qu'avez-vous fait? Vous Allez La Tuer - Ruggero Raimondi
Qu'y-a-t-il? Qu'est-ce Que Toutes Ces Femmes Viennent Faire Ici? - Ruggero Raimondi
Attention . . . Attention - Ruggero Raimondi

Amazon.com essential recording

The payoff to Herbert von Karajan's relentless pursuit of ensemble perfection and beauty of sound can be heard in the playing of the Berlin Philharmonic on this recording: by 1978, when it was made, they were indisputably the most polished and flexible orchestra in Europe, and one of the few orchestras anywhere (including France) that was capable of playing French music with real authority. Fittingly, the orchestra is very much at the center of this account of Claude Debussy's uniquely beautiful opera, magnificently projecting the mysterious, darkly translucent world of its fatally entangled characters. The cast, which is led by two Americans--Richard Stilwell as Pelléas and the incomparable Frederica von Stade as Mélisande --and features a Belgian (José van Dam) as Golaud and an Italian (Ruggero Raimondi) as Arkel, is a superb one, not least because those principals who are not French are nonetheless Francophones, and sing with excellent diction and an authentic delivery. Karajan's pacing of the drama, his skill at eliciting just the right intensity from the orchestra, his surpassing gentleness with the singers (balances are superb and every word comes through clearly), and the overall beauty of the orchestral playing make this not only the finest account of Pelléas et Mélisande yet recorded, but one of the most treasurable opera recordings ever, fully worthy of EMI's Great Recordings of the Century designation. --Ted Libbey

Customer Reviews:

The Best Pelléas..........2007-07-31

.
We have a new winner in the Best Pelléas category: Karajan/BPO's studio reading from 1978. This was Karajan's third time out with Debussy's magnum opus, and the Viennese conductor with his mastery of Wagner and Schoenberg perfectly captures Debussy/Maeterlinck's Symbolist masterpiece.

Maeterlinck was and remains an unique and important poetic/literary/theatrical innovator in the categories of Symbolism and proto-Surrealism. One must appreciate just how avant-garde his work was at the Fin de Siècle. Even now his work retains its interest because of his abstraction of the human condition into a disoriented or dreamlike state. At its most basic, the interest of Pelléas et Mélisande is the human dilemma of a woman's love for a man. Maeterlinck's synthesis of connotative and denotative language distilled into elliptical phraseology continues to fascinate. He was, of course, awarded the Nobel Prize in 1911.

Till now thought Abbado/VPO's realization (sadly out of print) couldn't be surpassed Debussy - Pelléas et Mélisande / M. Ewing · Le Roux · van Dam · Courtis · Ludwig · Wiener Phil. · Abbado . And since Karajan's leave-taking, Abbado virtually ties with Boulez as Earth's greatest conductor--(even Boulez probably couldn't surpass Abbado's Wozzeck Alban Berg: Wozzeck (Opera in 3 Acts) - Franz Grundheber / Hildegard Behrens / Wiener Philharmoniker / Claudio Abbado ).

As for other critique, Ted Libby (on item site page) says it all.

In addition, Debussy enthusiasts will want to seek out his second greatest work Le Martyre de Saint Sébastien (complete version) Claude Debussy: Le Martyre de Saint Sébastien .
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Sound not worthy of EMI Great Recording Series.......2007-01-05

Perhaps the Karajan Pelleas was remastered too early in the EMI Great Recordings series. Unlike most of the other releases in this series, the sound quality is not an improvement upon the earlier CD version. If you have the 1980's release of this opera, there is no need to buy this one. The ART remastering has cleaned up the sound a little, but it represents a step backwards in overall sound quality. The natural echo of music made in a real space is diminished and the recording sounds a few steps removed from real music making.

In the late 1990's EMI issued several ART remasterings with mixed results. Some recordings like the Callas Tosca were a complete disaster with almost all sense of the acoustic space removed (yes, even mono recordings do have a sense of natural echo and depth). However, when the Tosca -- and other recordings such as the Schwarzkopf Rosenkavalier -- were reissued as part of the Great Recordings series, the sound was transformed into a CD with both the voices and the acoustics sounding fuller and more natural.

While by no means a disaster, the sound quality of the Karajan Pelleas seems closer to the failed early ART efforts than to their more recent successes.

Still for me the definitive overall view of Pelléas!!!.......2006-08-07

[Having found that I've not reviewed as yet a truly great recording of one of my two favourite operas (Shostakóvich's "Lady Macbeth Mcjénskovo Ujézda" being the other) even though having commented upon it in my writing-up of the Ansermet Decca/London recording, I'd better make amends at once!!!]

A few other reviewers have said better than what I otherwise might regarding the voices' properties, so let me here be short. Although I find Frederica von Stade somewhat too coquettish for Mélisande (somehow, it seems as if an American girl's forthrightness and assertiveness intrudes here too much for this character's otherworldly, timid, frighened good!) and José van Dam - although excellent indeed - still just a shadow less menacing and authoritative than George London (for Ansermet), the overall performance of everybody gels to overall perfection. [With such a performance in fact, it's too easy then to end up a nit-picker - e.g., the tubist (tuba-player) has a few false entries near the beginning of Act II Scene 3.] I particularly here like the way the other people play Geneviève, Yniold, Pelléas (though still a real tenor would be best!) and especially Arkël (Ruggero Raimondi here is a true stand-out!!!).

The true star of this recording (barring a few nits like the one mentioned above) is the Berlin Philharmonic: both in its overall ensemble AND in terms of its individual sections and soloists (notably the woodwinds - I could wish for the brass to be somewhat still more assertive in a few places although overall the whole orchestra opens up more than some people might feel comfortable with!), one sees how truly without peer it happens to be - and in French music to boot!!!! [When can we hope to see a French ensemble prove itself worthy of comparison even on their home terrain (perhaps the Paris Bastille - the way they played Shostakóvich's "Lady Macbeth" gives one a glimmer thereof...)?]

As to those who feel that Debussy was out to be anti-Wagner (thus requiring a non-Wagnerian viewpoint), I'll simply say that it was a question of cattiness (Debussy was simply not the best of men by a longshot!) and jealousy. [French composers were so intimidated by Wagner and "Wagnerism" accusations that they were desperately out to assert themselves at any cost in any way possible - not realising that his harmonic language (among other points) was there to stay and be most influential (e.g., César Franck's music - particularly that for organ - is heavily influenced that way even if it otherwise remains sparser in sound than what the Teutons produced).] Karajan is entirely right to see "Pelléas" NOT as an antithesis or antidote to Wagner but as the (to-date) culmination of what Wagner was aiming for (subject of course to the ideal of a French instead of a German overall æsthetic - and nobody was more Gallic than Debussy; the combination of Musórgskian vocal-lines + Wagner's integrated-opera construction doesn't take away from the music's Gallic character one bit {it's every bit as quintessentially French as Ravel's "Daphnis et Chloé"}!).

[A case in point is the way Debussy's leitmotifs are much more dynamic in usage and flexibility (even at times to the point of unrecognizability!) compared to those of Wagner (or even Richard Strauss), which remain static in terms of instrumental colour, rhythm, and often key! It's in this way that Debussy goes beyond Wagner while yet bringing the German's overall aims to perfection!]

I don't hesitate in recommending this set most highly in all regards (superb sound in recording terms too!) - though I'll also recommend Ansermet's Decca/London stereo recording (one of the cheapest around but most worth it nonetheless!!!) to give an alternative viewpoint of the work. [Those who can tolerate mono sound may well wish to investigate Ingelbrecht, Fournet, etc....]

One of Karajan's undisputed triumphs.......2006-07-14

It's a pleasure to meet one of the true Great Recordings of the Century. It's also fortunate that the Amazon reviewer so carefuly describes the virtues of this exquisite, in some ways unsurpassed reading of Pelleas et Melisande. Karajan had already displayed his gifts as a Debussy conductor before 1978, but this opera is much harder to bring off than, say, the La Mer or Prelude to the Afternoon of a Faun. Inspired by Wagner, Debussy created a unique Pelleas world that is as distinctive as the Tristan world, though perhaps its total opposite.

Karajan manages to draw us into this singular world with total involvement. The Berlin Phil. plays with more richness and sonority than any of the French orchestras to be heard in Pelleas--let's be frank, there was never a Parisian orchestra, then or now, that could hold a candle to the Berliners. The principal singers--Stilwell, von Stade, and Van Dam--have enough dramatic weight to stand up to Karajan's all-encompassing orchestral sound, which says a lot. One could argue that Van Dam and von Stade are the greatest modern exponents of Golaud and Melisande--the young von Stade's voice is blessedly free of the fast beat that came to mar it later on. This is not to take away from Stilwell's ardent Pelleas; I particularly like the fact that his baritone inclines toward the tenor range.

In sum, if you are a lover of this enigmatic and elusive opera, Karajan's EMI set, always a good-sounding recording but now even better in its latest remastering, is a must-listen.

Karajan Attempts Debussy.......2006-01-14

Read A Music Fan's review above.
I'm very syrprised EMI would even consider allowing Kraajan to record ANY Debussy, even more so the very difficult score of Pelleas.
Of course all the glowing reviewers have not heard Desormiere's 1942 nor Ingelbrecht's masterpiece recordings.
Of course not.
Yet they rate Karajan a hit.
One star for attempt.

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