| 1. Prelude |
| 2. I Come To You |
| 3. Speak The Word |
| 4. You Know My Heart |
| 5. Hero's Journey |
| 6. When I Fell |
| 7. Here Is Where You'll Find My Heart |
| 8. It's Alright, It's Okay |
| 9. Because Of Love |
| 10. Let Love Start |
| 11. One |
Editorial Reviews
About the Artist
Dear friend and co-producer, CC Thomas plays some Bass that you will want to listen for over and over again...AND sings some cool background vocals this time around. CC is a partner in Sound Vision recording studios in Harbor City. CC currently plays bass for Jeffrey Osborne.
If you are Mexican-American, as I am, or if you just want to lose it and laugh until you're crying, try the CD's by George Lopez, "Team Leader" or "Right Now, Right Now." I have listened to them over and over, and they're just as funny as the 1st time I heard them! George Lopez is the true heir to Cheech Marin.
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.
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)
Dear friend and co-producer, CC Thomas plays some Bass that you will want to listen for over and over again...AND sings some cool background vocals this time around. CC is a partner in Sound Vision recording studios in Harbor City. CC currently plays bass for Jeffrey Osborne.
Michael Sechrest, dear friend, co-producer and partner in Sound Vision recording studios plays beautiful acoustic and electric guitar. Many cool textured sounds are Michael and his guitars in disguise. Listen for Michael's velvety ad-libs and great blend with Susan Kay on all of the background tracks.
CC, Michael and Susan Kay vibed together to program the lush strings and layers of intricate sounds that will simply transport you to "Ahhhh".
Susan Kay actually plays some piano on this one, which is how she writes all of her music. And of course, it wouldn't be her without her signature, very hip, and lush background vocals. And boy did they stack 'em up on this one!
Featured again on this CD is Ming Freeman, keyboard and pianist for Yanni. "You just know you have to bring in Ming. He channel's amazing!"
A new addition is Rob Peters on Piano for track 6(When I Fell). "Rob's interpretation of this song won him a permanent spot in my heart and in this trusted circle of amazing musicians and dear friends I am so blessed with." says Susan Kay. Rob and his music therapist wife Kasi co-wrote and produced a project with Susan Kay that is a companion CD for the book "The 12 Gifts of Birth" by Charlene Costanzo. Look for that CD by the end of April 2004. It will feature Susan Kay's angelic voice with children's voices in a musical celebration that will appeal to all ages.
Product Description
This CD is a LOVE FEST!!! After her first release, "Something Sacred Here", Susan Kay finally got around to producing the Pop album she was meant to do! It wouldn't be her if it wasn't spiritual, but this is a spiritual CD for the listener who wants fun, groove and passion as a side dish. The songs on this CD are a combination of love songs about her soul-mate husband, love of God, passion for the power of our thoughts and words, compassion for our fellow man, and a celebration of oneness in the world.
Speak the Word,Susan Kay Wyatt,Susan Kay Wyatt,Spiritual Pop. Intimate ballads, funky, inspiring and fun uptempo songs, lush background vocals, sweeping strings, powerful piano, masterful bass and guitar contribute to this celebration of life and our power to connect with Love to transform our world.
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Word Of God Speak - Illuminate
Various Manufacturer: Integrity Music ProductGroup: Music Binding: Audio CD  Praise & Worship
| Christian & Gospel
| Styles
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ASIN: B000JLPM8K Release Date: 2006-08-29 |
Tracks:
- Trust In The Lord
- The Lord Will Perfect
- Heal Me O Lord
- Call To Me
- Together For Good
- For I Know The Plans
- The Way You Should Go
- The Lord Directs His Steps
- Who Teaches You To Profit
- Lead Me To The Rock
- Ask Seek Knock
- Show Me Your Ways
Product Description
In today's hectic world, we could all use an easy way to get scriptures firmly planted in our hearts. When God speaks through the Bible hearts are touched and lives are transformed. Produced by Nathan Nockels (Watermark, Passion, Phillips, Craig & Dean), Word Of God Speak is a collection of exact word-for-word scriptures perfectly coupled with new modern worship music that is extremely relevant to a wide range of consumers. The power of God's inspired word is contained in each and every song and the promises of the scriptures come alive as the Word Of God Speaks to each of us.|
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Word of God Speak - Hope
Various Manufacturer: Integrity Music ProductGroup: Music Binding: Audio CD Praise & Worship
| Christian & Gospel
| Styles
| Music
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ASIN: B000JJS5IG Release Date: 2006-08-29 |
Tracks:
- The Heavens Declare
- It Will Not Come Near You
- Do Not Be Anxious
- Cast Thy Burden
- Fear The Lord
- God Is The Strength
- The Lord Is Your Keeper
- Lift Up Your Heads
- He Will Not Leave You
- All His Benefits
- Hope Does Not Disappoint
- Wings Like Eagles
Product Description
In today's hectic world, we could all use an easy way to get scriptures firmly planted in our hearts. When God speaks through the Bible hearts are touched and lives are transformed. Produced by Nathan Nockels (Watermark, Passion, Phillips, Craig & Dean), Word Of God Speak is a collection of exact word-for-word scriptures perfectly coupled with new modern worship music that is extremely relevant to a wide range of consumers. The power of God's inspired word is contained in each and every song and the promises of the scriptures come alive as the Word Of God Speaks to each of us.Customer Reviews:
Great for those who have a hard time memorizing scripture.......2006-12-02
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The Ultimate Lotte Lenya Collection
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Eisler, Hanns
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ASIN: B0000251AF Release Date: 1999-03-22 |
Tracks:
- 'Happy End': Surabaya-Johnny (1929)
- 'Happy End': Bilbao-Song (1929)
- 'Aufstieg Und Fall Der Stadt Mahagonny': Alabama-Song (1930) - Lotte Lenya/The Three Admirals
- 'Aufstieg Und Fall Der Stadt Mahagonny': Denn Wie Man Sich Bettet (1930) - Lotte Lenya/The Three Admirals
- 'Aufstieg Und Fall Der Stadt Mahagonny': Alabama-Song (1930)
- 'Aufstieg Und Fall Der Stadt Mahagonny': Denn Wie Man Sich Bettet (1930)
- 'Die Dreigoschenoper': Ouverture/Moritat/Ballade Vom Angenehmen Leben (1931) - Kurt Gerron/Willy Trenk-Trebitsch
- 'Die Dreigoschenoper': Liebeslied/Kanonensong (1931) - Kurt Gerron/Erika Helmke/Willy Trenk-Trebitsch/Chorus
- 'Die Dreigoschenoper': Die Seerauberjenny (1931) - Kurt Gerron/Lotte Lenya
- 'Die Dreigoschenoper': Erstes Dreigroschen-Finale (1931) - Kurt Gerron/Lotte Lenya/Erika Helmke/Erich Ponto
- 'Die Dreigoschenoper': Barbarasong/Eifersuchtsduett (1931) - Kurt Gerron/Lotte Lenya/Erika Helmke
- 'Die Dreigoschenoper': Abschied/Zweites Dreigroschen-Finale (1931) - Kurt Gerron/Erika Helmke/Willy Trenk-Trebitsch/Chorus
- 'Die Dreigoschenoper': Zuhalter-Ballade/Lied Von Der Unzulanglichkeit Menschlichen Strebens (1931) - Kurt Gerron/Willy Trenk-Trebitsch/Lotte Lenya/Erich Ponto
- 'Die Dreigoschenoper': Moritat/Schlusschoral (1931) - Kurt Gerron/Lotte Lenya/Chorus
- Querschnitt, 1. Tiel: 'Aufstieg Und Fall Der Stadt Mahagonny' (1932)
- Querschnitt, 2. Tiel: 'Aufstieg Und Fall Der Stadt Mahagonny' (1932)
- 'Happy End': Surabaya-Johnny (1943) - Lotte Lenya/Kurt Weill
- 'Aufstieg Und Fall Der Stadt Mahagonny': Denn Wie Man Sich Bettet (1943) - Lotte Lenya/Kurt Weill
- Complainte De La Seine (1943) - Lotte Lenya/Kurt Weill
- J'Attends Un Navire (1943) - Lotte Lenya/Kurt Weill
- 'Lost In The Stars': Lover Man (1943) - Lotte Lenya/Kurt Weill
- 'Lost In The Stars': Lost In The Stars (1943) - Lotte Lenya/Kurt Weill
- 'I've Got The Tune': And So The Last Thing, Too (1937 Interview) - Lotte Lenya/Marc Blitzstein/Shirley Booth
Tracks:
- 'Die Dreigoschenoper': Moritat (1955)
- 'Die Dreigoschenoper': Barbara-Song (1955)
- 'Die Dreigoschenoper': Seerauberjenny (1955)
- 'Aufstieg Und Fall Der Stadt Mahagonny': Havanna-Lied (1955)
- 'Aufstieg Und Fall Der Stadt Mahagonny': Alabama-Song (1955)
- 'Aufstieg Und Fall Der Stadt Mahagonny': Denn Wie Man Sich Bettet (1955)
- 'Happy End': Bilbao-Song (1955)
- 'Happy End': Surabaya-Johnny (1955)
- 'Happy End': Was Die Herren Matrosen Sagen (Matrosen-Tango) (1955)
- 'Das Berliner Requiem': Ballade Vom Ertrunkenen Madchen (1955)
- 'Der Silbersee': Ich Bin Eine Arme Verwandte (1955)
- 'Der Silbersee': Casar-Ballade (1955)
- 'Die Sieben Todsunden': Prolog/Introduktion (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
- 'Die Sieben Todsunden': Faulheit (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
- 'Die Sieben Todsunden': Stolz (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
- 'Die Sieben Todsunden': Zorn (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
- 'Die Sieben Todsunden': Vollerei (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
- 'Die Sieben Todsunden': Unzucht (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
- 'Die Sieben Todsunden': Habsucht (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
- 'Die Sieben Todsunden': Neid (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
- 'Die Sieben Todsunden': Epilog (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
Tracks:
- 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 1 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
- 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 2 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
- 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 3 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
- 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 4 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
- 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 5 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
- 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 6 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
- 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 7 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
- 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 8 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
- 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 9 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
- 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 10 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
- 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 11 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
- 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 2, Szene 12 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
- 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 2, Szene 13 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
Tracks:
- 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 2, Szene 14 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
- 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 2, Szene 15a (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
- 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 2, Szene 15b (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
- 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 2, Szene 16 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
- 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 2, Szene 17 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
- 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 3, Szene 18 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
- 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 3, Szene 19 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
- 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 3, Finale (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
Tracks:
- 'Knickerbocker Holiday': September Song (1957)
- 'Knickerbocker Holiday': It Never Was You (1957)
- 'Lady In The Dark': Saga Of Jenny (1957)
- 'One Touch Of Venus': Foolish Heart (1957)
- 'One Touch Of Venus': Speak Low (1957)
- 'The Firebrand Of Florence': Sing Me Not A Ballad (1957)
- 'The Eternal Road': Song Of Ruth (July Version) (1957)
- 'Street Scene': Lonely House (1957)
- 'Street Scene': A Boy Like You (1957) - Lotte Lenya/Darryl Richard
- 'Love Life': Green-Up Time (1957)
- 'Lost In The Stars': Trouble Man (1957)
- 'Lost In The Stars': Stay Well (1957)
- 'Lost In The Stars': Lost In The Stars (1957)
- 'The Eternal Road': Song Of Ruth (August Version) (1957)
- 'The Threepenny Opera': Pirate Jenny (1954)
- 'The Threepenny Opera': Solomon-Song (1954)
- 'The Threepenny Opera': Tango-Ballad (1954) - Lotte Lenya/Scott Merrill
- 'The Threepenny Opera': Lenya & Blitzstein TV Interview (1954) - Lotte Lenya/Marc Blitzstein
- 'Johnny Johnson': Mon Ami, My Friend (1956)
- Young Blood (1969)
- Welcome Home (1969)
Tracks:
- 'Die Dreigoschenoper': Ouverture (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
- 'Die Dreigoschenoper': Moritat (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
- 'Die Dreigoschenoper': Morgenchoral Des Peachum (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
- 'Die Dreigoschenoper': Anstatt-Dass-Song (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
- 'Die Dreigoschenoper': Hochzeitslied Fur Armere Leute (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
- 'Die Dreigoschenoper': Kanonensong (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
- 'Die Dreigoschenoper': Liebeslied (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
- 'Die Dreigoschenoper': Barbara-Song (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
- 'Die Dreigoschenoper': Erstes Dreigroschen-Finale (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
- 'Die Dreigoschenoper': Der Pferdestall (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
- 'Die Dreigoschenoper': Abschiedslied Der Polly (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
- 'Die Dreigoschenoper': Zwischenlied (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
- 'Die Dreigoschenoper': Ballade Von Der Sexuellen Horigkeit (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
- 'Die Dreigoschenoper': Die Seerauberjenny (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
- 'Die Dreigoschenoper': Zuhalter-Ballade (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
- 'Die Dreigoschenoper': Ballade Vom Angenehmen Leben (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
- 'Die Dreigoschenoper': Eifersuchtsduett (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
- 'Die Dreigoschenoper': Arie Der Lucy (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
- 'Die Dreigoschenoper': Zweites Dreigroschen-Finale (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
- 'Die Dreigoschenoper': Lied Von Der Unzulanglichkeit Menschlichen Strebens (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
- 'Die Dreigoschenoper': Solomon-Song (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
- 'Die Dreigoschenoper': Ruf Aus Der Gruft (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
- 'Die Dreigoschenoper': Ballade In Der MacHeath Jedermann Abbitte Leistet (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
- 'Die Dreigoschenoper': Der Reitende Bote (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
- 'Die Dreigoschenoper': Drittes Driegroschen-Finale (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
- 'Die Dreigoschenoper': Schlusstrophen Der Moritat (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
Tracks:
- 'Happy End': Introduktion (Hosiannah) (1960)
- 'Happy End': Bilbao-Song (1960)
- 'Happy End': Der Kleine Leutnant Des Lieben Gottes (1960)
- 'Happy End': Geht Hinein In Die Schlacht (Heilsarmee-Lied 1) (1960)
- 'Happy End': Was Die Herren Matrosen Sagen (Matrosen-Tango) (1960)
- 'Happy End': Bruder, Gib Dir Einen Stoss (Heilsarmee-Lied 2) (1960)
- 'Happy End': Das Lied Vom Branntweinhandler (1960)
- 'Happy End': Der Song Von Mandelay (1960)
- 'Happy End': Furchte Dich Nicht (Heilsarmee-Lied 3) (1960)
- 'Happy End': Surabaya-Johnny (1960)
- 'Happy End': Das Lied Von Der Harten Nuss (1960)
- 'Happy End': In Der Jugend Gold'Nem Schimmer (Heilsarmee-Lied 4) (1960)
- 'Happy End': Die Ballade Von Der Hollen-Lili (1960)
- 'Happy End': Der Kleine Leutnant Des Lieben Gottes (1960)
- 'Cabaret': So What? (1966)
- 'Cabaret': It Couldn't Please Me More (1966) - Lotte Lenya/Jack Gilford
- 'Cabaret': Married (1966) - Lotte Lenya/Jack Gilford
- 'Cabaret': What Would You Do (1966)
- 'Cabaret': Finale (1966) - Lotte Lenya/Bert Convy/Jill Haworth/Jack Gilford/Joel Grey
Tracks:
- Unter Der Linde (1958)
- Menschlich Elende (1958)
- Das Rosenband (1958)
- Der Tod Und Das Madchen (1958)
- Abendlied (1958)
- Der Bauer (1958)
- Lebenspflichten (1958)
- Gesang Der Geister Uber Den Wassern (1958)
- Aus 'Romische Elegein' (1958)
- Gefunden (1958)
- Wo Bist Du Itzt (1958)
- Der Handschuh (1958)
- Hyperions Schicksalied/Aus 'Hymnen Der Nacht' (1958)
- Mondnacht (1958)
- Das Schloss Boncourt (1958)
- Kommen Und Scheiden (1958)
- Auf Geheimem Waldespfade (1958)
- Der Weiher (1958)
- Das Verlassene Magdlein (1958)
- Der Wirtin Tochterlein (1958)
- Mit Dummen Madchen (1958)
- Im Wunderschonen Monat Mai (1958)
- Ich Wollte Meine Lieder (1958)
- Nachtlich Am Busento (1958)
- Kehr Ein Bei Mir! (1958)
- Altassyrisch (1958)
- Die Musik Kommt (1958)
- Wer Weiss Wo (1958)
- Der Romische Brunnen (1958)
- Vereinsamt (1958)
- Der Werwolf (1958)
- Der Arbeitsmann (1958)
- Die Bieden (1958)
- Du Schlank Und Rein Wie Eine Flamme (1958)
- Spanische Tanzerin (1958)
- Ich Liebe Frauen (1958)
- An Den Leser (1958)
- Die Entwicklung Der Menschheit (1958)
- Der Vater (1958)
- Erinnerung An Die Marie A (1958)
- Von Der Freundlichkeit Der Welt (1958)
- Kinderkreuzzug (1958)
Tracks:
- A Hunger Artist (1959)
- An Imperial Message (1959)
- A Fratricide (1959)
- The Care Of A Family Man (1959)
- Up In The Gallery (1959)
- A Dream (1959)
- The Bucket Rider (1959)
- Vergnugungen: What I Enjoy (Last Song) (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
- Inscription On A China Lion (The Lion) (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
- 'Die Dreigroscheneroper': The Solomon Song (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
- 'Buckower Elegien': Changing Wheels (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
- Burning Books (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
- Written On The Wall (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
- Lied Der Courage (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
- Song Of A German Mother (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
- 'Buckower Elegien': The Dog (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
- To The Next Generation (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
- Bad Times For Poetry (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
- Und Was Bekam Des Soldaten Weib (1943) - Lotte Lenya/Kurt Weill
- Wie Lange Noch (1943) - Lotte Lenya/Kurt Weill
- Lied Einer Deutschen Mutter (1943) - Lotte Lenya/Kurt Weill
Tracks:
- 'Die Dreigroscheneroper': Moritat Von Mackie Messer (1960)
- 'Aufstieg Und Fall Der Stadt Mahagonny': Havanna-Leid (1960)
- 'Das Berliner Requiem': Ballade Vom Ertrunkenen Madchen (1960)
- 'Happy End': Was Die Herren Matrosen Sagen (Matrosen-Tango) (1960)
- 'Das Berliner Requiem': Zu Potsdam Unter Den Eichen (1960)
- 'Die Dreigroscheneroper': Die Seerauberjenny (1960)
- 'Happy End': Bilbao-Song (1960)
- Carnegie Hall Introduction (1965)
- 'Aufstieg Und Fall Der Stadt Mahagonny': Alabama-Song (1965)
- 'Aufstieg Und Fall Der Stadt Mahagonny': Havanna-Song (1965)
- 'Das Berliner Requiem': Ballade Vom Ertrunkenen Madchen (1965)
- 'Das Berliner Requiem': Zu Potsdam Unter Den Eichen (1965)
- 'One Touch Of Venus': Speak Low (1965)
- 'One Touch Of Venus': Foolish Heart (1965)
- 'One Touch Of Venus': Bilbao-Song (1965)
- 'One Touch Of Venus': Surabaya-Johnny (1965)
- 'Love Life': Love-Song (1965)
- 'Love Life': Susan's Dream (1965)
- 'Happy End': Was Die Matrosen Sagen (Matrosen-Tango) (1965)
- 'Happy End': Der Song Von Mandelay (1965)
- 'Happy End': Das Lied Von Der Harten Nuss (1965)
- 'Happy End': Lilli Of Hell (1965)
- 'Knickerbocker Holiday': September Song (1965)
- 'Die Dreigroscheneroper': Barbara Song (1965)
Tracks:
- Moritat (1965)
- Moritat (German Version) (1965) - Lotte Lenya/Turk Murphy
- Mack The Knife (1965) - Lotte Lenya/Louis Armstrong
- Mack The Knife (1965) - Lotte Lenya/Louis Armstrong
- Lied Der Courage I (1965) - Lotte Lenya/Harry Buckwitz
- Das Lied Vom Weib Und Soldaten (1965)
- Lied Von Der Grossen Kapitulation (1965)
- Lied Der Courage II (1965)
- Lied Der Courage III (1965)
- Eia Popeia, Was Ras Im Stroh (1965)
- Lied Der Courage IV (1965)
- The Dick Cavett Show (1975) - Lotte Lenya/Dick Cavett
- Start (1975) - Lotte Lenya/Dick Cavett
- American Films (1975) - Lotte Lenya/Dick Cavett
- The Opening Night Ot The Rise And Fall Of The City Of Mahagonny (1975) - Lotte Lenya/Dick Cavett
- 'One Touch Of Venus': I'm A Stranger Here Myself (1975) - Lotte Lenya/Dick Cavett
- Anita Berber (1975) - Lotte Lenya/Dick Cavett
- The Great Inflation (1975) - Lotte Lenya/Dick Cavett
- Thoughts On 'Oh, Calcutta' (1975) - Lotte Lenya/Dick Cavett
- Berlin Visit 1955 (1975) - Lotte Lenya/Dick Cavett
- Introduction To 'Bilbao-Song' (1975) - Lotte Lenya/Dick Cavett
- Bilbao-Song (1975) - Lotte Lenya/Dick Cavett
- Introduction (1966)
- 'Knickerbocker Holiday': How Can You Tell An American (1966)
- 'Knickerbocker Holiday': September Song (1966)
|
Average customer rating:
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Word Of God Speak - Shelter
Various Manufacturer: Integrity Music ProductGroup: Music Binding: Audio CD Praise & Worship
| Christian & Gospel
| Styles
| Music
Similar Items:
ASIN: B000JJS7JI Release Date: 2006-08-29 |
Tracks:
- I Have Been Crucified With Christ
- Bless The Lord At All Times
- Fear Not
- You Shall Love The Lord
- The Lord Is My Light And Salvation
- My God Shall Supply
- Blessed Are
- You Will Win Favor
- He Will Rejoice
- My Soul Waits
- Be Still And Know
- Search Me O God
Product Description
In today's hectic world, we could all use an easy way to get scriptures firmly planted in our hearts. When God speaks through the Bible hearts are touched and lives are transformed. Produced by Nathan Nockels (Watermark, Passion, Phillips, Craig & Dean), Word Of God Speak is a collection of exact word-for-word scriptures perfectly coupled with new modern worship music that is extremely relevant to a wide range of consumers. The power of God's inspired word is contained in each and every song and the promises of the scriptures come alive as the Word Of God Speaks to each of us.|
Average customer rating:
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I Can Only Imagine/Word of God Speak
MercyMe Manufacturer: Curb Records ProductGroup: Music Binding: Audio CD General
| Christian & Gospel
| Styles
| Music
Christian Contemporary Music
| Christian & Gospel
| Styles
| Music
Praise & Worship
| Christian & Gospel
| Styles
| Music
Similar Items:
ASIN: B0000D8L1N Release Date: 2003-09-23 |
Customer Reviews:
A true inspiration.......2003-11-07
Average customer rating: 
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You're in America Now Speak Spanish
Paul Rodriguez Manufacturer: Collectables ProductGroup: Music Binding: Audio CD General
| Miscellaneous
| Styles
| Music
General
| Comedy
| Miscellaneous
| Styles
| Music
Comedy Rock
| Comedic Music
| Comedy
| Miscellaneous
| Styles
| Music
Comedy & Spoken Word
| Miscellaneous
| Indie Music
| Stores
| Music
Similar Items:
ASIN: B00004T6XE Release Date: 2000-06-06 |
Tracks:
- Racial Tension
- Middle East
- Gangs
- Mexican Hobby
- I've Been Travelling
- Dating
- Makin' Whoopee
- TV Shows
- Commercials
- Singers
- Going Dancing
- Women Are Psychic
- Spanish Lesson
Customer Reviews:
Good, But Not Great.......2003-08-01
If you are Mexican-American, as I am, or if you just want to lose it and laugh until you're crying, try the CD's by George Lopez, "Team Leader" or "Right Now, Right Now." I have listened to them over and over, and they're just as funny as the 1st time I heard them! George Lopez is the true heir to Cheech Marin.
Vintage Rodriguez: Can't Get Any Funnier Than This!.......2000-06-10
Average customer rating: 
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Wagner: The Rhinegold
English National Opera Manufacturer: Chandos ProductGroup: Music Binding: Audio CD All Works by Wagner
| Wagner, Richard
| ( W )
| Featured Composers, A-Z
| Classical
| Styles
| Music
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
Similar Items:
ASIN: B00005B550 Release Date: 2001-05-22 |
Customer Reviews:
A Rose By Any Other Name..........2007-07-02
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
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 Love This Recording.......2002-04-05
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
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.
For all of its flaws, this is an astonishing and, for me, an indispensible recording because it made me listen to this opera with new ears. While it's not the most lyrically pleasing recording (Karajan) or musically authoritative (that would be Solti, IMHO), dramatically, this Rhinegold excells any recording I know of. I will definitely buy the rest of the set.
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Word Of God Speak - The Worship Session
Todd Fields Manufacturer: Integrity Music ProductGroup: Music Binding: Audio CD General
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ASIN: B000PITXSC Release Date: 2007-04-10 |
Tracks:
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Product Description
Inherently powerful and incredibly sing-able...Word of God Speak - The Worship Session is an unforgettable recording you can believe in. Based on the pure Word Of God, these newly recorded worship songs take Integrity's Word of God Speak series to new heights of worship in an easy to sing format perfect for churches, small groups and individual worship. Featuring worship artists TODD FIELDS, CHRISTY NOCKELS and CANDI PEARSON, this worshipful expression of Scripture is sure to be sung all over the world. You will not only want to join the singing but these encouraging songs will build your faith and cause you to believe in a new, vibrant way.|
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Her Infinite Variety~Irene Worth As The Women of Shakespeare
Manufacturer: Sony ProductGroup: Music Binding: Audio CD Quartets
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ASIN: B000008MGT Release Date: 1993-07-13 |
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The Elders Speak
Gourd Woman , and Eagle Heart Manufacturer: © 1999 Makoche Music / BMI ProductGroup: Music Binding: Audio CD Native American
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ASIN: B00001IVAG Release Date: 1999-09-28 |
Tracks:
- Introductory Remarks - Eagle Heart/Gourd Woman
- Sky Woman And The Great Flood - Eagle Heart
- The Powerful Lake - Gourd Woman
- The White Buffalo - Eagle Heart
- The Woman Who Turned Herself To Stone - Gourd Woman
- Holy Spring - Eagle Heart
- The Spiderman And The Giant - Gourd Woman
- Nanabosho And The Dancing Ducks - Eagle Heart
- Coyote's Den Hill - Gourd Woman
- Closing Comments & Closing Prayer - Gourd Woman
Customer Reviews:
The Elders Speak.......2000-10-29
World Music:
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- Un Solo Destino
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Bach: Complete Violin Sonatas, BWV 964, 968, 1019a, 1025, Vol. 3
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Best of Euphoric Dance: Breakdown [Limited Edition] [Import]
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Around The World Christmas: The World Rejoices