Spirit in Stone

Editorial Reviews
From URB Magazine
As the latest Quannum signees, Portland's Lifesavas arrive with some extra-large Nikes to fill. Specifically, the Northwest duo will be instantly judged and compared against the output of their labelmates and mentors, Blackalicious. Not to worry, because on their debut, Jumbo the Garbageman and Vursatyl make their Quannum/Soulsides crew proud, even if their album holds a bit too close to the company blueprint—call it Blackalicious 2.0. After all, like Gab and Xcel, the Lifesavas are perpetrators of soul-baked hip-hop dotted with social/spiritual awareness, sharp battle skills, and an idealistic Left Coast outlook that appeals equally to backpack-toting heads and crunchy boho types. Rhyming stylishly and cleverly over beats that smartly balance deep-funk and post-Premier jitters, Lifesavas invoke all corners of the pan-African Diaspora, from the gospel-ized intro to "Me" to the dancehall tinge of "Fever." Even better, the duo display a sense of humor on the goofy sing-along, "Hello Hi Hey," where they skewer wannabe MCs and themselves with equal conviction.

Michael Endelman

Spirit in Stone,Lifesavas,Quannum Projects,Hip-Hop,Pop,Popular Music,Rap,Rap & Hip-Hop,Underground Rap

Spirit in Stone

Tracks:

Guide Me O Thou Great Redeemer (CWM Rhondda) - Caerphilly Make Voice Choir
Land of My Fathers - Caerphilly Make Voice Choir
Dies Irae
Men of Harlech
You'll Never Walk Alone
Cadwyn O Emyn Donau Cymreig: Joanna (Trad./Elfion Wyn)/Crugybar (Trad.
Old Folks at Home
Il Liza Jane
Faust/Soldier's Chorus - Caerphilly Make Voice Choir
Vergine Degli Angeli
Ballard of Rourke's Drift - Cwt-Y-Collen Choir
My Hero
God Bless the Prince of Wales - Caerphilly Make Voice Choir
German Mass/Gloria
German Mass/Sanctus
Misbles/Master of the House/On My Own/Drink with Me/Empty Chairs at
All Through the Night - Caerphilly Make Voice Choir
Arwelfa
Invictus
Softly as I Leave You

Tracks:

Diolch l'R L
Hine E Hine (Maori Lullaby)
Pererin Wyf (Amazing Grace)
Tribute to the USA: America the Beautiful (Ward/Bates)/God Bless ...
Memories of Martha
I Lombardi/The Crusaders' Chorus - Treorchy Male Choir
Myfanwy - Treorchy Male Choir
Tales of Hoffman/Barcarolle
Creation's Hymn
In the Spirit!
Shall We Gather at the River
Nos a Bore
Very Best Time of Year
Soon Ah Will Be Done
Thanks Be to God
Flower That Shattered the Stone
Rhys - Treorchy Male Choir
Where Shall I Be?
Bywyd y Bugail
Lord's Prayer

Tracks:

Ave Maria
Pearl Fishers/Divine Brahma
She Was Beautiful (Cavatina) - Treorchy Male Choir
Cymru Fach
Nidaros
Jacob's Ladder - Treorchy Male Choir
Watching the Wheat
Pan Ddaw y Saint (When the Saints Go Marching In)
Misbles/Stars
Rachie
Pirates of Penzance/With Cat-Like Tread - Treorchy Male Choir
There Is a Balm in Gilead
Rise Up Shepherd and Foller
My Lord, What a Mornin'
Bryn Myrddin
Jesus Christ Superstar/Medley: Jesus Christ Superstar/Hosanna/The Last
Finnish Forest (Suomen Salossa)
Nabucco/The Glory of Israel
Ride the Chariot
Tydi a Roddaist - Treorchy Male Choir

Tracks:

Y Nefoedd
Phantom of the Opera/Think of Me
Morte Christe (When I Survey the Wondrous Cross)
By Babylon's Wave
I'm Gonna Sing
Where Could I Go But to the Lord?
Holy City - Treorchy Male Choir
Mefistofele: Ave Signor, Degli Angeli
Senzenina (Zulu Chant)
That's All I Want from You
Deep Harmony - Treorchy Male Choir
Give Me Jesus
Just a Closer Walk with Thee
My Wish for You
Jeptha/Waft Her Angels
Mose in Egitto/Prayer
Be Still My Soul (Finlandia Hymn)
God's Choir in the Sky
Floral Dance - Treorchy Male Choir
Smilin' Through

Tracks:

Calon Lan
True Love
Mor Fawr Wyt Ti (How Great Thou Art)
Aberystwyth
Comrades in Arms
Cats/Memory
They Led My Lord Away
State Fair/It's a Grand Night for Singing
When I Fall in Love
Let's Face the Music and Dance
Windmills of Your Mind
How Soon
Non Nobis Domine
Rhythm of Life
Kalinka
Sound an Alarm
Neapolitan Trilogy: It's Now or Never (Di Capua/Schroeder/Gold)/Mo ...
Turandot/Nessun Dorma
Christus Redemptor
Ann Evening's Pastorale

Album Details

Choirs Include the Morriston Orpheus Choir, the Pontadrddulais Male Voice Choir, the Caerphilly Male Voice Choir, the Cwrt-y-gollen Choir, the Treorchy Male Choir and the Lucknow Male Voice Choir.

Average customer rating:

Lyricism
Impressive verbiage
3.5 stars good album could have been better
The best REAL Hip Hop album of 2003!
Criminally Slept-On - 4 Stars

Spirit in Stone
Lifesavas
Manufacturer: Quannum Projects
ProductGroup: Music
Binding: Audio CD

General | Rap & Hip-Hop | Styles | Music

Pop Rap | Rap & Hip-Hop | Styles | Music
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Album
Quannum Spectrum

ASIN: B00009WVO4
Release Date: 2003-07-01

Tracks:

Soldierfied
It's Over
What If It's True?
Livin' Time/Life: Movement 1
Fever
Hellohihey
Head Exercise
Selector/Fa' Show (Door Drama) Skit
Fa' Show
State Of The World/Apocalypse/War
Resist
5th Horseman/Thuggity Skit
Skeletons
Emerge
Me
Spirit In Stone Outro

Customer Reviews:

Lyricism.......2007-05-06

Definitely one of my number one albums ever. The best group I've ever seen perform live and lyrically....please, just listen to hellohihey, who think of something like that and put it into words??? By far the greatest track on the album is "Me," if you haven't heard this album or even heard of the group, it would be well worth the money to buy this album. If you like what plays on the radio, you won't like this album, but if you like political and positive hip hop, this is as good as it gets. Fa Show

Impressive verbiage.......2007-02-12

I found this album after hearing a remarkable song on the radio one day. Several lines lept out at me, and after googling "bittersweet is the compassion of a psychopath," I found the lyrics "Livin Times" from this album.

Over better-than-average beats, I found a mind-boggling density of concepts that makes the most of hip-hop as an artistic medium. Sure, you could just talk fast, or repeat the same thing over and over (What? Okay!). But you could really express your identity and worldview - if you have one.

The writing tickles the same fancy that makes reading a very literate book so much fun. But unlike Lolita, I can dance to this.

Overall, the album is a little hit & miss for my personal taste, which probably means that some but not all of the songs will appeal to a wide range of people. Individual tracks can be bought - they're on e music. And best of all, there's a new lifesavas album out in April so look for that!

3.5 stars good album could have been better.......2005-09-27

I had high expectations for this album maybe they were a little to high so maybe im the wrong person to review this album. I was impressed by about half of the album most of the beats were dope but where this album really excells is the lyrics. This joint has some seriously hot lyrics but only about half of the beats are what I would consider def so after about the first couple of great tracks you start to hear some really corny stuff then some great songs and then the corny songs sort of creep up on you again this pattern continues throughout the album making it an inconsistent listen but still I enjoyed this album like ive enjoyed all of quannums projects these are people who put thought time and energy into their music and are not concerned about making a quick buck but are more concerned with releasing a quality product. I hope that their next album will be a little more consistent.

The best REAL Hip Hop album of 2003!.......2005-04-07

This is what Hip Hop is all about. Lyrical Challenges, B-boyism, Political messages, and even comedy! Vursatyl and Jumbo (the garbageman) clean up the trash with the best lyrics on any coast since "Blazing Arrow" in 2002. In addition, Portland's unique and diverse style of beats are represented well on "Spirit in Stone". This album is appreciated by hip hop heads of every style because there is undeniable talent here. You have that talent, with the real life messages (Resist, reminincent of Bob Marley's Stand up for your rights"), add influences of Gospel, Reggae, blues, R&B over some tight beats and you have "Spirit in Stone"! In the end, even the Lifesavas can't save lives when the competiton is left dead!

Criminally Slept-On - 4 Stars.......2005-03-18

Upon popping "Spirit In Stone" into my system, I was immediately taken back: Hard, snappy funk with boisterous rhyme schemes and a prevailing conscious theme. I shouldn't have been surprised. After all, this is what fans have come to expect of Quannum Projects. But even as a devout fan of Blackalicoius and Latyrx, I never really bothered to check out that "other" group on the label, the rookie emcees-slash-producers from Portland, Oregon, known as the Lifesavas. Sure they dropped a dope single way back in 2001 ("Head Exercise" b/w "Clutch Moments"), but could they actually hold down an entire album? The answer is a resounding yes. The trio of Vursatyl, Jumbo the Garbageman, and Rev. SHINES bring a rock solid package of insight ("What If It's True?" "Me"), spirituality ("Livin' Time"), dance grooves ("Fever," "Fa' Show"), and battle riffs ("Selector" "Emerge") with lyrics that make you think ("the White Man didn't pull the trigger, and take it too far/And the White Man ain't going to jail, niqqa YOU are") as well as laugh ("Have ultra-sound doctors bug your fetus, believe it.") Equally satisfying is the revolutionary overtones of the three-song set "State of the World/Apocalypse-War/Resist," where Vursatyl castigates the American government ("the CIA trained the crash pilots"), and calls on listeners to fight the status quo ("Resist! Are you an actor or an activist?") As emcees, Vursatyl and Jumbo both lack the charisma that would warrant a 5-Star rating, however, there's little else to criticize about this album. Stop sleepin' on Quannum's newfound talent and cop "Spirit In Stone" today.

Strung Out: The String Quartet Tribute Series Sampler

Average customer rating:

Different Perspective
Not Much To Warrant Repeated Listenings

Strung Out: The String Quartet Tribute Series Sampler
Fred Charlton , Michael Tuttle , Tim Emmons , The Section , Jonah Rapino , Paul Tobias , Tom Tally , Tom Vos , David Davidson , Reggie Clews , and Ted Falcon
Manufacturer: Vitamin Records
ProductGroup: Music
Binding: Audio CD

General | Country | Styles | Music

General | Compilations | Country | Styles | Music

General | Rock | Styles | Music

Pop Rock | Pop | Styles | Music

General | Vocal Pop | Pop | Styles | Music

Tributes | Pop | Styles | Music

General | Chamber Music | Classical | Styles | Music

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

4-for-3 Country | 4-for-3 Music | Stores | Music

4-for-3 Pop | 4-for-3 Music | Stores | Music

4-for-3 Rock | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
Similar Items:

In the Chamber: The String Quartet Tribute to Linkin Park
String Quartet Tribute to Nirvana
Precious Things: The String Quartet Tribute to Tori Amos
String Quartet Tribute to System of a Down
The String Quartet Tribute to Queen

ASIN: B0002Y4TPG
Release Date: 2004-10-05

Tracks:

Smells Like Teen Spirit - Nirvana
Girl's Not Grey - AFI
Like A Stone - Audioslave
It's Been A While - Staind
In The End - Linkin Park
The Red - Chevelle
Here Without You - Three Doors Down
Beautiful Disasters - 311
I'll Stick Around - Foo Fighters
Freak On A Leash - Korn
Incubus - Drive
Sober - Tool

Product Description

1. Clocks (SQT to Coldplay gi8476)
2. Karma Police - (Strung out on OK Computer gi8621)
3. Everlong (SQT to Foo Fighters gi8489)
4. Here Without You (SQT to 3 Doors Down gi8755)
5. No One Knows (SQT to QOTSA gi8720)
6. Cochise (SQT to Audioslave gi8778)
7. Girl's Not Grey (SQT to AFI gi8750)
8. In The End (SQT to Linkin Park gi8719)
9. Sober (SQT to Tool gi8635)
10. Under The Bridge (SQT to RHCP gi8803)
11. Smells Like Teen Spirit (SQT to Nirvana gi8447)
12. Fight Test (SQT to The Flaming Lips gi8809)

Format: CD

Customer Reviews:

Different Perspective.......2006-07-13

Vitamin records has been releasing these cd's like wild fires, just spreading orchestral music to the lesser audience of it. This cd will give you the rock music that originally started this who phenomenon (apocalyptica).

This cd is great for anyone interested in hearing the depth of a music genre. Typically when you hear a rock song, you dont hear really how the singer is supposed to influence the musical sense of the songs, but when the singer's role is put into a more balanced/equal role with the rest of the musicians, it contributes so much more to the musicality of the song. It is great for beginner musicians to understand that the singer has to be in tune with the band because he is added depth to the music, not just vocals. College music majors might also get a kick out of this album as it widens your music perspective.

These cds from vitamin really show how rock is the next evolution to classical music, it shows that although lyrics were originally added, the artists used the basic form of classical music to write songs. They all contain a theme that is repeated in the music, and most offer a "waltz" part to the song, as well as a lyrical bridge.

Good cd for every so often to change you from the norm. really neat to switch out the lyrics every so often with some classical music. Enjoy it!

Not Much To Warrant Repeated Listenings.......2005-01-30

Over the past five years, Vitamin Records has released more than fifty of these String Quartet Tribute albums. They have run the gamut from Metallica to Clay Aiken to Alison Krauss to their most recent tribute to 2Pac. This sampler focuses primarily on alternative/heavy metal/grunge artists. So what you get is a collection of songs made famous by Staind ("It's Been Awhile"), Linkin Park ("In the End") and Korn ("Freak on a Leash").

This album (and all of the others) veers awfully close to novelty status. On first listen, it's a real charge to hear teen angst anthems like "Smells Like Teen Spirit" transformed into sedate chamber music. But it doesn't really warrant repeated listenings. The main problem is that after a few songs, they all tend to sound alike. Twenty years ago, the Grammy-winning Kronos Quartet would include a Jimi Hendrix composition in live performances and the occasional recording, but they had the sense to know that this wouldn't work over the course of an entire album.

And the idea of juxtaposing classical instruments with popular music goes back even farther. In the sixties, the Hollyridge Strings released a series of albums performing the works of the Beatles, Elvis and the Beach Boys. Bottom line? This album will force you to hear these songs in a new way and might get a laugh or two if you slip it into the CD player at your next party, but there's little here to make you come back after you've heard it once. But at $6.98, it's an inexpensive gag gift for the alternative music fan in your life. [Running Time - 50:37]

Average customer rating:

A Rose By Any Other Name...
"Thus I salute the stronghold, safe from dread and dismay!
Free at last!
I Love This Recording
The Goodall Ring - 1975 - Restored and Remastered

Wagner: The Rhinegold
English National Opera
Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
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ASIN: B00005B550
Release Date: 2001-05-22

Customer Reviews:

A Rose By Any Other Name..........2007-07-02

The figure of speach may not be completely correct in this instance, but, well, I hope you get the point. In any case, for a Dutch speaking person, like I, to hear 'The Ring' in a language other than the original German feels - almost shockingly(?) - natural. Certainly, this modern English translation, to me, is as least immediate, and probably even more immediate, than the original (archaic) German text. And in music drama, immediacy is essential. Maybe it is also the wonderfully natural translation, I don't know, but it works for me, the Ring in English.
But most of the credit has to go to the music, the singers, and the recording as such. I believe that this (originally analogue) remastered recording has one of the best recorded sounds and acoustics of any Ring, studio or 'live'. It is wonderfully clear but warm, kind of velvety (very unlike Solti), with beautifully natural balaces between voices and orchestra. Audience noises can be heard (including a delightful little ripple of laughter) but never really obtrusively so, thankfully. And I love the thunderclap-sound effect when Donner strikes his hammer against the rocks - very tastefully done, and lending extra power to the scene.
All the time one reads in reviews everywhere of the very slow speads at which the music is conducted by Sir Reginald Goodall. Well, that may be so, but I, for one, am certainly endeared to Sir Reginald Goodalls 'caressing' of the music, as a result of which wich the Leitmotifs come out more clearly than ever. The slow - but nonetheless very concentrated, and always involved - playing has, to me, an almost mesmerizing effect. Certainly, compared to many other recordings, the music may sound stretched almost beyond breaking point. But in the end, I think it is really just that: a matter of speed, no more. The concentration never falters and the dramatic arc never saggs. There is live 'music magic' going on here, I feel, even if the English National Opera Orchestra may not be (as precise or as diciplined as) a Wiener Philharmoniker or a Bayreuther Festspielorchester. Certainly, Sir Reginald Goodall must have loved this music and these opera's: one feels a slowly beating but constant loving pulse that energizes the drama and the music.
But we also have the singers. And what a great singers! While the best may be yet to come (with Alberto Remedios as Siegmund and Siegfried, and Rita Hunter as Brunnhilde), we here, in The Rhinegold, already have one of the most commanding of Wotans (Norman Bailey, with wonderful burnished timbre). Also, Emile Belcourt stands out as a wonderfully sleek but full-voiced Loge. Derek Hammond-Stroud's Alberich may not be as black as Gunther von Kannen's (for Barenboim), for example, but there is enough anguish, frustration and anger to lend his character a convincing reality and depth. And the giants too, are a winning pair. Especially Fafner (Clifford Grant) is as imposing and powerful as one may ever wish.
With all the rave reviews, here and elsewhere I can't wait to hear The Valkyrie, (especially) Siegfried and Twilight of the Gods. This certainly is a winning 'Ring', to be kept alongside any other 'great' recorded 'Ring' out there, IMHO. To me, it can hold its own alongside any other favorite recordings.
Please, sample this Ring (try for example the Chandos website for fragments of all of the music) and decide for yourself. Highly recommended.

"Thus I salute the stronghold, safe from dread and dismay!.......2007-06-12

Okay, so we have the Solti, Bohm, Karajan, Goodall, Boulez, Janowski, Levine, Haitink, and Sawallisch Rings on the market (I haven't listened to the other Ring recordings yet, sorry to say). And all of these leave me to one conclusion: the many differences lead me to believe that all of these ring sets have their own authenticities and setbacks. And here they are:

TIMING (Estimate):
Solti's Ring: 14 hours, 30 minutes
Bohm's Ring: 13 hours, 30 minutes
Karajan's Ring: 14 hours, 50 minutes
Goodall's Ring: 16 hours, 50 minutes
Boulez's Ring: 13 hours, 40 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Haitink's Ring: 14 hours, 10 minutes
Sawallisch's Ring: 14 hours, 0 minutes

CONDUCTING:
Solti: Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His Walkure & Gotterdammerung Preludes are clear examples: they're annoyingly bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.

Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe "Wohin schleich'st du eilig und schlau"). I especially like his "Forging Scene" & "Hagen Summons the Vassals"; both are the most energetic on disc.

Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as Siegfried Act Three Scene Three) are controlled nicely. His "Funeral March" and "Immolation" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.

Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: nothing is faster than andante. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.

Boulez: Here it is, folks - the controversial Centennial Ring. To fit the Ring Cycle in the industrial age, Boulez gives it a very Schoenbergian, Bartokian atmosphere. Much of his tempi are very quick, very Bohm-like, though they're still not as fast as Bohm. Keep in mind, though, this live Ring works only if you hear AND see it (the DVD's work best).

Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Sawallisch's). Rheingold Scene Four can be best described as "sensational".

Levine: While he does stay true to the score like Bohm, this conductor makes for a somewhat dull Ring. His handling of the orchestra is nice, but the moderately slow tempi he chooses is flawed. It should be more animated. His beautiful "Funeral March" and "Erda's Warning" are two of the few flawless features.

Haitink: This might be seen as a disappointment. If you want great conducting, then this is for you. If you want a persuasive array of singers, look somewhere else. Haitink's conducting saves this work from being a total flop. There is nothing quite like his Rheingold & Gotterdammerung ("Siegfried's Rhine Journey" is a bit forced, but magnificent nonetheless).

Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.

ORCHESTRA:
Solti's Vienna Philharmonic: The woodwinds are the most beautiful in Solti's Ring (the "Forest Murmurs" is clear evidence of that). French horns and Wagner tubas make this a recommended listening. The strings in "Heda Heda Hedo" could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.

Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Erda's scenes aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tone & technique. Overall, this orchestra is the most dramatic.

Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung "Three Norns" Scene sounds very mysterious, very eerie.

Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. The Flight of the Valkyries doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act Two Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.

Boulez's Bayreuth Festival: While it doesn't really pack the same punches as Bohm's Bayreuth, it still delivers a stunning performance. Orchestral interaction between characters (Ex. Siegfried's motifs mixed in with Mime's motifs) fares better than Berlin's and English National's. Rhine maiden motifs are given more wit, while the Dragon motifs are played with less eeriness. Beauty makes up for the irritatingly quick "Wotan's Farewell".

Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Boulez's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are heard clear in this Ring. The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Solti's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.

Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.

Haitink's Bavarian Radio Symphony: This may very well be like Metropolitan, only this sounds much more poignant. The strings sound better and the percussion sound clearer. The leitmotivs are almost never screwed up. First scene of Rheingold will take one's breath away.

Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.

SINGERS:
-Wotan
Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Rheingold, in which a less stellar George London performs).

Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording, but he still doesn't disappoint.

Karajan: Dietrich Fischer-Dieskau plays Wotan in "Rheingold," while Thomas Stewart replaces Fischer-Dieskau in "Walkure" and "Siegfried". I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both "Walkure" and "Siegfried".

Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen.

Boulez: If you watch Donald McIntyre on the Centennial Ring production, then you can tell that he's a fine "industrial" Wotan. If you just hear him on CD, then you'll be disappointed. His diction is weak, his emotions are forced, and his voice sounds robotic. The DVD's will do.

Levine and Haitink: James Morris is a notch below Hotter, Adam, and Bailey, but he overpowers Fischer-Dieskau pretty much throughout the Levine's and Haitink's Ring.

Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his Wotan's Farewell wasn't enough to sadden me.

-Brunnhilde
Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her final scene in Gotterdammerung is brilliant beyond belief.

Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Gotterdammerung, sorry to say).

Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."

Boulez: How can anyone not be impressed by the Brunnhilde of Gwyneth Jones? One can almost feel her excitement during Siegfried Act Three, and her fear in Walkure Act Three. Her weakest point is probably during her Gotterdammerung Prologue (a bit too stressed).

Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.

Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin: while she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).

Haitink: Hmph. I was hoping that Eva Marton would do well here. I was seriously let down by her strained singing. She does okay in "Annunciation of Death", but she is at her worst in "Immolation".

-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm, Jon Vickers for Karajan, Alberto Remedios for Goodall, Peter Hoffman for Boulez, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, Reiner Goldberg for Haitink, and Robert Schunk for Sawallisch. For the Sieglindes, we have Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jeanine Altmeyer for Boulez, Jessye Norman for both Janowski and Levine, Cheryl Studer for Haitink, and Julia Varady for Sawallisch. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Three exceptions, though: Goldberg and Schunk don't sound heroic enough, and Norman for Levine doesn't sound young and innocent enough.

-Siegfried
Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in both renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming.

Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.

Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.

Boulez: Is Manfred Jung a good tenor? Yes. Is he a good Heldentenor? NO. He doesn't have that heroic voice like Windgassen and Remedios. Again, the DVD's are your safest bet.

Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.

Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. Levine should've chose Kollo or Jerusalem when he recorded his studio Ring.

Haitink: Have you ever seen Siegfried Jerusalem on the Levine/Metropolitan DVD? Well, here he is again, and this time, he sings with more valor and enthusiasm. Bravo!

-Alberich
Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?").

Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.

Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.

Boulez: What we have here is the weak Alberich of Hermann Becht. When he's in Nibelheim, the authority isn't there. When he's in the Neid-Hohle forest, the creepiness isn't there. And when he's near the Gibich house, the misery isn't there. Even on DVD he's unsatisfactory.

Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.

Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.

Haitink: No offense, but Theo Adam as Alberich? Come on . . .

-Mime
Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners.

Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.

Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.

Boulez and Levine: Heinz Zednik is yet another excellent Mime, VERY fun to listen to. There is much humor and eccentricity in his voice, and that's what makes his dwarf much more compelling than Dempsey's dwarf. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.

Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. He is equal to Zednik when it comes to humaneness and lyricism. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.

Haitink: Peter Haage sounds like he's entertaining young kids. His version of Mime is a bit childish, and the dark humor that the dwarf brings out sounds-over-the-top here. Nonetheless, he is still entertaining to listen to ("Wer halfe mir?" has never sounded better).

Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.

-Loge
Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere is greatly affects the entire Rheingold. But he'll soon be forgotten later on during the Trilogy.

Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Again, another Loge that's marred by lack of cunning.

Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. He has the wit, the craftiness, and the untrustworthiness that the character deserves. His scenes in Scene Three are delightful.

Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.

Boulez and Haitink: I can summon Heinz Zednik's performance in just three words: Brilliant Beyond Belief!

Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt and Zednik depend only on vengeance and deviousness, Stolze only imagination and deviousness, Windgassen and Svanholm only peril. His odd conversations with Alberich and the gods/goddesses are classic.

Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.

Sawallisch: Robert Tear is on par with Stolze and Zednik. Sometimes he takes things too low, but all is forgiven with his management of character development.

-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings. Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). Anja Silja is the most memorable Freia (Bohm), while Kurt Moll makes the most fabulous Hunding yet (Janowski, Levine, and Sawallisch). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm, Goodall, and Boulez. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.

CONCLUSION: I have yet to listen to Barenboim's Bayreuth presentation, Neuhold's Badische version, and the essential mono recordings (Furtwangler, Krauss, etc.), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the industrialized Boulez, the truthful Janowski, the unhurried Levine, the abnormal Haitink, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.

The Box Set: Wagner: The Ring Cycle (Box Set)
-The Valkyrie (Part 2): Wagner: The Valkyrie
-Siegfried (Part 3): Siegfried (Goodall Ring Cycle/Chandos Opera in English)
-Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

Free at last!.......2004-09-18

I've enjoyed listening to the Ring cycles by Solti, Bohm, and Furtwangler, but my pleasure has always been dampened by the necessity to follow the dramas with a German/English libretto. This performance freed me from that burden and allowed me to listen to the Ring with my ears alone for the first time. And what a delightful experience it was! I found I could understand about half the words the first time through. but that was enough for me to understand what the characters were saying and concentrate on Wagner's great music. Some of the characters (Loge and Alberich, for example) are almost perfectly comprehensible, while others (Fricka in particular) might as well be singing in German. The sound itself is superb, with perfect balances between orchestra and voices. Goodall's conducting is famously slow (about half an hour longer than usual), but he is never slack and he reveals a wealth of detail in the orchestration. The singers are a mixed lot, with Loge, Alberich, and Mime particularly effective. Bailey is hardly the grandest of Wotans, but he is solid and convincing. In any event, for us non-German listeners, this recording is a real treat. I would not recommend it as a first Ring (Bohm is a good choice, though some of his tempi are rather hectic), but as a supplement to a recoding in the original language, it is hard to beat. Give it a try! As for me, I'm ready to go on to "Die Walkure" (pardon me, "The Valkyrie").

I Love This Recording.......2002-04-05

I was a little suspicious when approaching this English-language version of Das Rhinegold. I was considering assembling this as my third RING set (behind Solti and Levine) and had listened to THE VALKYRIE (Die Walkure) with a little initial disappointment. Although the live sound quality was very interesting, the tempo was much slower than I was used to and thus a little disconcerting, and the English words were harder to understand than I had hoped. Nevertheless, I persevered and listended to THE RHINEGOLD (probably my favorite of the four RING operas, although I know this puts me in a minority) and was amazed. Best of all, after listening to this album I revisited the Goodall VALKYRIE and discovered a new appreciation! Now the Goodall set ranks as one of the best I've heard. It just needed to get under my skin a bit.

What's so good about it? Three things stand out for me: First, the slow tempi that were a litle rough at first actually allow, upon repeated listenings, a new discovery and understanding of Wagner's unfathomable genius. Every nuance is slowed down just enough to be fully accessible. Second, the modern English translation really does make this a different experience...my initial mistake was thinking that English lyrics could allow me to listen to this as background music, and that's not the case. However, if one devotes the same attention to this as a German recording, the time wil be richly rewarded. Finally, the smaller orchestra creates an almost chamber music-esque setting, which compliments the music in an undefinable way. Despite being in English, this is almost more Germanic than original-language recordings.

I still probably wouldn't get this as the first foray into Wagner's RING (I still think Solti or Levine are the choices for that). But for someone who already has some familiarity with the work, this will provide a lifetime's enjoyment. Cudos to Chandos for resurrecting these recordings!

The Goodall Ring - 1975 - Restored and Remastered.......2001-06-08

I have been curious about this for years. When I saw the packaging, I wondered whether this was the same Ring that has been kicking around for a couple of decades from the Sadler's Wells performances of the mid-70s. News flash: It's the same. However, the box says that it's been re-mastered with something called 24-bit digital mastering. Since I never heard the old records, I have no idea if this is better. Judged on its own, the sound is terrific. This live recording really places the listener in the theater with clarity and authentic spaciousness. So often, a live recording will capture the audience up close, then the orchestra, then the singers, cataloguing every throat being cleared and every bow being tapped. Somewhere in the distance, the singers voices follow their heavy tread over the stage. Not here. There is an intimacy to the sound here that approximates sitting in about the tenth row back in a large hall. It doesn't sound like the opera's being played in your room; it sounds as though your room has been transformed into a medium sized theater. I found it uncanny.

As to the experience of the drama in English, that too is remarkable, at least for someone like me whose home-tongue is English. The drama takes on an immediacy that I have never experienced before. This factor alone is why you should explore this Ring. I can't overemphasize the impact on me that this recording had on me because it was in English and because it was well-acted. Surely this is what Wagner meant, at least dramaturgically (obviously allowing that you can't actually see the action).

Overall, the singing is competent, and in some places, it's excellent. None of the cast really stands out musically. Norman Bailey's wobbly Wotan could have certainly benefitted from a deeper, richer tone. Still, and perhaps more importantly, he creates a god who is clearly unsure of where the moral highground is, even when he's standing on "an open space on a mountain summit." Everyone, for that matter, is dramatically convincing, especially Emile Belcourt (Loge) and Derek Hammond-Stroud (Alberich) and Robert Lloyd (Fasolt), all of whom, by the way, have excellent diction. And speaking of diction, I almost could have done without the libretto when the men were singing. Not so with the women, whose diction was uniformly wanting.

Goodall's pace is notoriously glacial. Still, it's interesting to hear it parsed in this way, and I never had the feeling that I was going to fall off the world. Which is to say that the tempos were deliberate, not affected. This was definitely a labor of love for RG and the English National Opera. The orchestra is a little thin sounding, and perhaps, not entirely up to the score. Occasionally a horn mis-blew and a cello creaked. This is unavoidable in live performances, I suppose. Still, there is a surprising sense of smallness to the ensemble, even though there's never a moment when the balance between singers and players is lost. As a result, the overall effect is a balance of clarity and urgency that is clearly the upside of Goodall's idiosyncratic "vision" of the score. Not a huge or "erotic" sound, but always committed, intelligent, and sometimes impassioned.