| 1. Salambô |
| 2. So Wie Ich Bin |
| 3. Sarah |
| 4. Krumme Lanke |
| 5. Tanz |
| 6. Die Krumme Lanke |
| 7. Blinde Katharina |
| 8. Sind da Auch So Viele Steine |
| 9. Was Bleibt? |
| 10. Wenn Ein Mann Einen Mann Liebt |
| 11. Nur Mal So Sein |
| 12. Die Alten Weiberlein |
| 13. Estaminet |
| 14. Er Dachte |
| 15. Der Boxer |
| 16. Glaub an Dich |
| 17. Die Mittelmäßigkeit |
| 18. Ich Habe Dich So Gern |
| 19. Berlin |
| 20. Vielleicht Wirst du Nicht Fliegen |
Editorial Reviews
Product Description
2CD Set Covering 20 Years.
The St. Matthew Passion was composed for the Good Friday service at the St. Thomas Church in Leipzig in 1727. As time went on Bach revised and added other pieces and subsequently this Passion became the grandest and the largest of his works. He used a Double Chorus, included a third soprano group for the opening and close of Part One, two orchestras split so that they either accompanied the first or the second chorus, four soloists who carry specific parts and a number of other singers who have other roles. The Gospel of Matthew, Chapters 26 and 27 plus traditional Lutheran chorales and meditative poems (by Henrici also known as Picander) provide the text.The Evangelist narrates the action scene by scene.
Although the work as a whole is somewhat heavy and sombre there are some lighter moments to treasure, and none more delightful than the soprano aria in Part One "Ich will dir mein Herze schenken" (I will give my heart to Thee). Part two contains the best known and loved aria from the work "Erbarme dich,mein Gott" (Have mercy, my God) for alto and violin obligato and pizzicato bass. The death is terse but dramatic as is the earthquake following with the heartrending crying "Walrlich dieser ist Gottes Sohn gewesen" (Truly this was the Son of (God). It all ends with a Sarabande-like chorale bidding Jesus to rest in peace.
The packageing of this edition is outstanding; the booklet includes absolutely all the documentation that one may need to fully comprehend this monumental work of Bach's. In addition, the the 3 CD's, there is a CD-Rom that explains the entire procedure for the production of this recording (in 3 languages:French,English and German).
The performance itself is excellent and beyond reproach. Ian Bostridge is all that one would desire in a tenor Evangelist; a joy just to hear his voice. Andreas Scholl gives one of the most emotional performances I have ever heard from him; he tends to be somewhat 'laid-back' in some renditons, but not in this one. Just my opinion; all you Scholl fans, don't get excited!!!!!I suggest you allow yourself an entire day to explore this wonderful musical experience.
Herreweghe draws sumptuous playing from his Collegium Vocale Orchestra and Chorus, keeping the period sound intact while adding the contemporary trend for finding the operatic aspects of the work in the lead of all the other recordings. Of course he has an extraordinary group of soloists who give definitive performances. The leading actor is the Evangelist who guides us through the arrest and assassination the Jesus according to the Gospel of Matthew: Ian Bostridge not only has a beautiful tenor voice, rich and warm, but he also offers perfect enunciation of the text and delivers his comments with the exact amount of propelling drama. The role of Jesus is strongly delivered by Franz-Josef Selig and matches his competition (Fischer-Dieskau, Quasthoff and Goerne included!) in conveying both the agony and the transcendence of Bach's lines.
Add to this strong matrix the exquisite singing of Andreas Scholl and the solo work by Sibylla Rubens, Werner G?ra, Dietrich Henschel, Dominik Worner, Elisabeth Hermans, Susan Hamilton and Frits Vanhulle and the beauty of the drama is perfect. This is truly the most dramatic performance of Bach's most dramatic Passion and one to cherish for years. Highly Recommended. Grady Harp, April 06
Now I can just buy this excellent collection. So much music in one place! Since I confess that I am far from an expert on the rest of her records, I look forward to hearing her sing many other styles and composers.
I think it is silly to criticize her for not singing Wagner, for example, since her version of many songs, especially lieder, are nothing short of sublime. I would like to hear how many Wagnerians sing Schubert or Mozart.
I doubt if they could approach the skill and soul with which Elly Ameling sings lieder.
So many of her recordings have still to be released on CD, but this 5CD-set goes some way towards remedying the situation. The repertoire spans a wide variety - French mèlodies, Lieder, light-hearted "sentimental" songs, Bach, etc. - and in each piece, Ms Ameling shows that quality of pearl-like beauty. It is a beauty which is also extremely pretty - a beauty of voice that is never overbearing and over-ripe, but perfectly blossoming upon the tree of inspiration.
I recommend this set unequivocally. It truly is sheer delight.
Ameling was known to schedule recitals of Schubert cycles and songs and in the afterglow of her performance answer the demand for curtain calls with additional Schubert melodies: she gifted her audience with the dignity of honoring a composer's works by maintaining the focus on that composer rather than milk the audience with the usual encore applause-getting favorites. And special moments such as quietly and pensively strolling through the orchestra during the Mahler 4th symphony to arrive at front stage, unapplauded, just in time for the opening line of her singing - those simple homage to composers and collaborators made her selfless manner endearing to audiences.
Despite the fact that Ameling's voice was on the small side she was always able to muster the projection to carry her message solidly in context with an orchestra. Yes, other more famous singers have recorded Ravel's quintessentially French SHEHERAZADE, but few have the perfection of diction and aura of mystery that Ameling maintained. Whether singing with piano or orchestra, or interpreting Bach, Mozart, Handel, and Vivaldi with the same degree of involvement as Brahms and Schumann and Schubert, Elly Ameling spanned a career that engendered passionate commitment from her fans. And this boxed set is a pocket full of memories to be treasured. Buy it before this too becomes unavailable. Grady Harp, May 05
Ameling, one of the world's most beloved recitalists is captured here in a 5 CD collection offering some of her most beautiful recordings of song. While we are used to her perfection in songs of Bach, Mozart, Schubert, Schumann, Faure and Hahn, an added joy is her "pop" side, tackling - without a whiff of pretension, Porter, Kern, Gershwin, Ellington, et al.
What an absolute joy it is listening to this amazing artist sing these songs with an almost uncanny natural ease. There is no resorting to a "pop" voice and yet most of these pop standards songs sound as though they could have been written for her. Clean attacks, sometimes a bit of the pop technique of hanging on to a consonant longer than a classical artist normally would shows an appreciation and understanding of the style. Still, there is never once a compromise of her vocal beauty.
I like the way the songs have been arranged for her voice in that she sort of sings them clean, unaffected in the first half and then lets loose and kinda "swings" with it adding embellishments but never really changing her voice (Price, von Stade and other favorite singers of mine seem to have always added a breathy quality to much of their crossover material.)
Ameling doesn't resort to trying to "let her hair down" or get down and dirty, but rather the honest with which she approaches every one of these songs shows how much she enjoys singing them and her style is as refreshing as stumbling onto a cool spring on a sweltering summer's afternoon. A wonderful surprise.
Yes, it is unbelievable that of about the 150 recordings Mrs. Ameling made during her long career (for the greater part of course on the 'oldfashioned' LP's, as well as the innumerable Dutch live-recorded radio-concerts), so few CD's have been released.
Speaking of tradition: it was the page-turner of the Wigmore Hall in London who told Mrs. Ameling after her first recital in this hall, that she reminded him of Elisabeth Schumann. (And he certainly didn't mean her looks only!)
For those who are eager to hear her singing Ravel's Shéhérazade (just one example of stirring imagination combined with her Art of Singing) I can tell you that Philips released a 2-box CD of this work in 1999, combined with Debussy's La Damoiselle élue and a compilation of French mélodies, i.e. Debussy, Fauré, Duparc, Satie. One of the gems is Caplet's Le Corbeau et le Renard which even make children, who know the fables of La Fontaine, revel in the singing of the quarrelsome birds....
Her brilliant accompanyist is Rudolf Jansen. Let us cherish great artists in their art!
The two disc set includes arias from operas: Rossini's 'Il barbière di Siviglia', von Weber's 'Euryanthe', Gounod's 'Faust', Massenet's 'Hérodiade', Bizet's 'Les Pêcheurs de perles' (in duet with Placido Domingo), Thomas' 'Hamlet', Verdi's 'Don Carlo', 'Il Travatore', 'Macbeth', 'La Traviata', and 'Falstaff', Korngold's 'Die Tote Stadt', and Wagner's 'Tannhäuser'.
But the rewards of a Hampson recording must include his impeccable career as a lieder stylist and on this recording are excerpts from Schumann's 'Dichterliebe', Schubert's 'Winterreise', Mahler's 'Rückert Lieder' and 'Das Lied von der Erde', as well as songs by Meyerbeer, Rossini, Grieg, Kalman, and Lehar. And very importantly there are examples of American songs that Hampson has always emphasized in his recitals. Works by Stephen Foster, and two extraordinary works with the brilliant accompanist Armen Guzelimian - 'An Old Song Re-sung' by Griffes and 'At Dawning' by Charles Wakefield Cadman - round out this fine survey.
Not usually a collector of such 'recombinations', for this listener this album is so very fine that it deserves the attention of all those who appreciate the artistry of Thomas Hampson - then and now. Highly recommended. Grady Harp, October 05
The only names among the singers that I have stayed familiar with down the years are those of the Hansel and Gretel themselves, Elisabeth Gruemmer and Elisabeth Schwarzkopf. However the entire cast is, to my own way of thinking, something close to ideal. Shwarzkopf and Gruemmer do not attempt any childlike vocal tone, and thank goodness for that. These vocal roles are written for adult sopranos and they call for a good deal of power on occasions. It is the music itself that evokes childhood with its innocent and beautiful tunes, a number of which are songs that that would remain as songs if this opera were given as a spoken stage-play. The other singers all seem to me to understand their parts very well too. What they bring to them is what this music calls for - tact, sensitivity, beauty of tone and musicianship first last and always. Fairy tales only involve simple and schematic characterisation. The witch obviously has to sound witchy to a certain extent, and I find the effect nicely judged here and not overdone. Similarly with the jovial father after a good day's trading and a few drinks to celebrate. Perhaps Maria von Isolvay could have suggested a little more annoyance when she knocks over the milk-jug and have sounded a trifle more aghast when she becomes aware of the danger from the witch. However even if so I still prefer restraint to exaggeration. This is not grand opera, after all.
It is singularly beautiful opera. The witty and stylish, though desperately shallow, Viennese critic Hanslick quotes with rueful agreement someone's statement that Hansel and Gretel is the finest opera since Wagner. I sincerely hope that, superficial though he was, he meant German opera - Verdi's Otello was only from a few years earlier, and Falstaff must have been premiered at something like the same time as Hansel and Gretel was. Assuming this interpretation, I guess I would have to agree as well.
I like the composer's photograph, with his innocent, vulnerable features. I would have liked another, of Karajan as he was in 1953, and I'm trying to recall him as he was then with his hair brushed back from his temples as if in the slipstream of his powerboat. The years have softened a certain antipathy I used to feel towards his showman's approach, and I am coming increasingly to admire some of his earlier work. This is a reissue that I recommend cordially, but please be aware that at a budget price the full libretto is not included. However the German liner-notes on the work and the composer are translated into English, the story must be familiar to everyone and it is easy enough to follow what is happening. All these years later it is still as fresh as the strawberries that the children picked in the forest.
As for the music itself, I am not going to write about. I think it is enough to read my last sentence to realize exactly what I think about it - and it is really just a must. That's composition taken to the highest possible level.
What I do want to write is about the performances.
Arnold Ostman, not the most known figure in the musical world, (not even amongst musicians- I come from Juilliard, and that name is definitely not one everybody knows) has created in the 80's in Mozart the equivalent of what Harnoncourt and Gardiner have done in Bach performance practice, i.e. has totally changed the conecption which was assimilated into everybody's mind regarding notions about how music of that era should sound like.
Trying to create a performance experience which emulates Mozart's period performance practice he changed everything starting from tempos, through ornamentation and of course- the voices themselves.
For us, most people indoctrinated by the post-romantisicm eastablished especially by Herbert von Karajan and the ilks of him, the first initial response will be a shock. The almost imperceptible swift tempos, the small voices etc. are sure to knock over anybody who haven't heard these recordings before. It might create an intial negative response but hang-on there, as the result is so much more gratifying then of hearing a recording of Karajan, Giulini, Furtwangler or any GREAT other conductor from that era- They were obviously incredible musical figures, but in terms of style and total perception of the piece it just doesn't work on the same level, in Mozart of course. (You'd still want to keep your Furtwangler's ninth copy...)
What is so great about Ostman is the freshness of mind with which he walks into every piece. Just like a real iconoclast
it seems as if he has landed from an entire different planet, and is just coming to conduct these pieces and give their debut. I can't give a more sincere and true compliment than that, musically speaking.
The results are the most fresh interpretations up to date of Mozart most important operas which also derive from some of the best vocal performances I have ever heard.
Under Ostman's direction it seems as though all the singers bloom and give their most musical and inspired performances,
holding on under the swiftest tempos in an admirable way. There is no point in pointing out names because it is as in a rule that the performances are just stellar one by one, even though not carrying around sometimes the most famous names.
This is not to say that all of the recordings in this set are equally perfect, and that I agree to all of the interprations and the insights given by Ostman, but you can't disregard the feeling that he knew EXACTLY what he wanted and executed it almost flawlessly. (the one exception might be small part of Cosi, mainly the overture, which was recorded very early in the stages of period instruments playing- therefore not always as perfect as you would have liked to hear it, but the performance as a whole is still the most beautiful Cosi I know.)
As for the packaging itself: The price is a complete steal, (incredible especially if you order it through other sellers, got mine for about 40$). What you DON'T get are the librettos, so you'd HAVE to get them from a different source. Either a different recording you might have, (you just might want one of the standard reference recordings one usually hears about like Giulini's) or you could just buy the librettos through Amazon, would still cost you very little.
Should not be missed by any terms by anybody who cares for music.
Ran
While I was working on Winterreise, my voice teacher suggested I listen to this recording. He then went on to tell me that I shouldn't try to make any of those sounds myself, but that I should hear the commitment to the text and to the music. There are many singers that convince me through their performances of their musicality, their vocal ability, and their acting skills. Only Peter Pears actually convinces me that he's LIVED this and isn't just singing someone else's song cycle. It feels like he's telling me his own story.
As a musician, Britten had accompanied Pears in recitals for well over twenty years when this recording was made; the two of them do not come apart for a single bar the entire time. To say nothing of their personal relationship, this kind of artistic unity is extremely rare to find. They also had to decipher this cycle without the aid of the recordings that we have today; in post-WWII England, the German Lieder recordings that were around weren't easy to come by.
Britten and Pears' interpretation is therefore not directed as much by tradition as a singer like Dietrich Fischer-Dieskau or Hans Hotter. It serves the text and music and the listener. When you really get down to it, this is a creepy song cycle. It starts out with broken love and goes downhill from there, through false hope, cold comfort, utter delusion, angry denial, and finally to complete desolation. Pears' Leiermann is sung with a complete absence of emotion until the very last line, where it feels like he summons every last bit of strength in his exhausted soul to ask the organ grinder "will you turn your organ to my songs?"
This recording finds its way into your heart. This performance is what singing and music are about. Maybe you don't find Peter Pears' voice attractive, and maybe the emotions he evokes within you aren't comfortable. I cry practically every time I get to the end of it. But this isn't a comfortable piece, it's a journey (Reise) through human emotion, irrationality, insanity, and loss. At the end, you may feel like you've been dragged through it all, but THIS is what true artists can do for us.
Another reviewer points out that "The Penguin Guide gave this recording a rosette (its highest rating)". This is quite true and it goes a long way to explain why the Penguin Guide--and the good, grey Gramophone Magazine, too, for that matter--are never, never to be relied upon when they review British performances.
With all the wealth of fine performances of Schubert's lieder available from people who actually can sing, why does anyone waste valuable time, money and shelf space on the unhappy groaning of Pears? And if, for some utterly incomprehensible reason, someone might actually want "a very British 'Winterreise'", as the same reviewer put it, there is always Ian Bostridge.
He is more than aided by Britten at the piano; despite his often reticent placement, it's the composer who welds every song together. Britten is able to create unique poetic dramas out of each text--it's a miracle that Schubert's simple vocabulary makes this possible. The two performers are uncannily seamless. They follow a shattering emotional arc for their "winter journey," projecting plaintive melancholy from the start, only to move deeper into the shadows until the eerie, soul-killing bleakness of the last three songs renders the cycle's full tragic impact. But tragedy, we must remember, is transcendent, not simply depressing and self-pitying. It's the vehicle for beauty. That's really the secret of Pears and Britten, that they can elevate Winterreise to a noble experience. For that, any wincing Pears' voice may cause is negligible. Highly recommended.
(To hear Pears in much better voice, it's worth seeking out his 1959 Schone Mullerin, fully as remarkable as this performance. Britten is again the perfect accompanist, and a space of four years is enough to minimize the blemishes that vitiate the later Schubert recital.)
Britten, so well known as a composer, demonstrates his brilliance as a pianist here. From the bleak, sparse textures of "Die Krahe" to the chords of the hymnal "Das Wirtshaus," Britten shows off his extraordinary tone control and balance in every song. Meanwhile, the pacing of each song is completely unerring. Listen, for example, to the well-timed phrases - and the chilling silences - in the existential closer, "Der Leiermann." While Pears' voice is admittedly not the most naturally beautiful-sounding, he matches Britten's great performance with his superb phrasing and tragic, heartrending tone.
In summary, this recording is a supreme example of the art of lieder performance at its very finest. For those in search of a transcendent listening experience, this will mesmerize from beginning to end.
Of over 600 songs, Fischer-Dieskau and Gerald Moore realized over three-quarters: these are those. Gerald Moore was of course as important to this project as Fischer-Dieskau.
DGG's sound is excellent.
This set is a remarkable document of art.
.
2CD Set Covering 20 Years.
So Wie Ich Bin,Klaus Hoffmann,RCA,World Music
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Bach: Matthaus-Passion (St Matthew Passion) BWV 244 /Bostridge * Selig * Rubens * Scholl * Gura * Henschel * Collegium Vocale * Herreweghe (+CD-Rom)
Collegium Vocale Gent Manufacturer: Harmonia Mundi Fr. ProductGroup: Music Binding: Audio CD  All Works by J.S. Bach
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ASIN: B00002R0ZL Release Date: 1999-11-16 |
Tracks:
- Kommt, ihr Toechter, helft mir klagen
- Da Jesus diese Rede vollendet hatte
- Herzliebster Jesu, was hast du verbrochen
- Da versammleten sich die Hohenpriester / Ja nicht auf das fest / Da nun Jesus war zu Bethanien / Wozu dienet dieser Unrat / Da das Jesus merkete
- Du lieber Heiland du
- Buss und Reu
- Da ging hin der Zwoelfen einer
- Blute nur, du liebes Herz
- Aber am ersten Tage der suessen Brot / Wo willst du, dass wir dir bereiten / Er sprach: Gebet ihn in die Stadt / Un sie wurden sehr betrubt / Herr, bin ich's
- Ich bin's, ich sollte buessen
- Er antwortete und sprach:
- Wiewohl mein Herz in Traenen schwimmt
- Ich willdir mein Herze schenken
- Und da sie den Lobgesang gesprochen hatten
- Erkenne mich, mein Hueter
- Petrus aber antwortete
- Ich will hier bei dir stehen
- Da kam Jesus mit ihnen zu einem Hofe
- O Schmerz! hier zittert das gequaelte Herz
- Ich will bei meinem Jesu wachen
- Und ging hin ein wenig
- Der Heiland faellt vor seinem Vater nieder
- Gerne will ich mich bequemen
- Und er kam zu seinen Juengern
- Was mein Gott will, das g'scheh' allzeit
- Und er kam und fand sie aber schlafend
- So ist mein Jesus nun gefangen / Sind Blitze, sind Donner in Wolken verschwunden
- Und siehe, einer aus denen
- O Mensch, bewein' dein Suende gross
Tracks:
- Ach! nun ist mein Jesus hin
- Die aber Jesum gegriffen hatten
- Mir hat die Welt trueglich gericht't
- Und wiewold viel falsche Zeugen herzutraten
- Mein Jesus schweigt zu falschen Luegen stille
- Geduld, Geduld!
- Und der Hohepriester antwortete / Er ist des Todes schuldig / Da speieten sie aus in sein Angesicht / Weissage uns, Christe
- Wer hat dich so geschlagen
- Petrus aber sass draussen im Palast / Wahrlich, du bist auch einer von denen
- Erbarme dich
- Bin ich gleich von dir gewichen
- Das Morgens aber heilten alle Hohenpriester / Was gehet uns das an / Und er warf die Silberlinge in den Tempel
- Gebt mir meinen Jesum wieder
- Sie heilten aber einen Rat
- Befiehl du deine Wege
- Auf das Fest aber hatte der Landpfleger / Lass in kreuzigen!
- Wie wunderbarlich ist doch diese Strafe
- Der Landpfleger sagte
- Er hat uns allen wohlgetan
- Aus Liebe will mein Heiland sterben
- Sie schrieen aber noch mehr / Lass in kreuzigen! / Da aber Pilatus sahe / Sein Blut komme uber uns / Da gab er ihnen Barrabam los
- Erbarm es Gott
- Koennen Traenen meiner Wangen
Tracks:
- Da nahmen Kriegsknechte / Gegruesset seist du, Judenkoenig / Und speieten ihn an
- O Haupt voll Blut und Wunden
- Und da sie ihn verspottet hatten
- Ja! freilich will in uns das Fleisch und Blut
- Komm, suesses Kreuz
- Und da sie an die Staette kamen / Der du den Tempel Gottes zerbrichst / Desgleichen auch die Hohenpreister / Andern hat er geholfen / Desgleichen schmaeheten ihn
- Ach, Golgatha, unsel'ges Golgatha
- Sehet Jesus hat die hand
- Und von der sechsten Stunde / Der rufet dem Elias / Und bald lief einer unter ihnen / Halt, lass sehen / Aber Jesus schriee abermals laut
- Wenn ich einmal soll scheiden
- Und siehe da, der Vorhang im Tempel zerriss / Wahrlich, dieser ist Gottes Sohn gewesen / Und es waren viel Weiber da
- Am Abend da es kuehle war
- Mache dich, mein Herze, rein
- Und Joseph nahm den Leib / Herr, wir haben gedacht / Pilatus sprach zu ihnen
- Nun ist der Herr zu Ruh gebracht
- Wir setzen uns mit Traenen nieder
Amazon.com essential recording
The St. Matthew Passion, Bach's monumental retelling of the story of the Last Supper and the arrest and execution of Jesus, typically runs from two-and-a-half to three hours. Yet this performance makes the time... well, not exactly fly past (consider the subject matter), but it's not tedious for even a second. Much of the credit for this goes to the marvelous Evangelist, Ian Bostridge. He's an outstanding narrator: the clear tone and diction, skillful timing, and intense involvement with words that made him a famous lieder singer are all in evidence; his part consists of nothing but recitative, yet he holds your interest unfailingly. Franz-Josef Selig gives a more dramatic reading of Jesus than you usually hear these days--he may be a bit too "operatic" for some listeners, but he really communicates his character's very human anguish and sorrow. Similarly, soprano Sibylla Rubens, tenor Werner Güra, and bass Dietrich Henschel sometimes unleash a bit too much vibrato for some tastes, but their singing is full-throated and attractive and they're very sensitive to the nuances in the text and music. Superstar countertenor Andreas Scholl is the standout--he combines unearthly purity with very earthly feeling and blends beautifully with the baroque instruments. The real stars of the record, however, are Philippe Herreweghe and his remarkable choir and orchestra. This conductor and his musicians (especially his radiant choir, Collegium Vocale) have always been superb at conveying warmth, devotion, and contemplation, but intense joy, anguish, or anger have sometimes seemed beyond them. Not here: they cover the full emotional range of this work--from reverent reflection to anguished remorse to churning fury--without ever crossing the line into melodrama or sacrificing clarity.On top of all this, you get a CD-ROM chock full of interesting and well-organized information (in English, German, and French): texts as well as an overview with a timeline of Bach's life, a discussion of how the work is put together, marvelous graphics, sound clips, and an extensive interview with Herreweghe himself. A superb accompaniment to a superb release. --Matthew Westphal
Customer Reviews:
Beautiful.......2007-02-03
a voice teacher and early music fan.......2007-01-08
The St. Matthew Passion was composed for the Good Friday service at the St. Thomas Church in Leipzig in 1727. As time went on Bach revised and added other pieces and subsequently this Passion became the grandest and the largest of his works. He used a Double Chorus, included a third soprano group for the opening and close of Part One, two orchestras split so that they either accompanied the first or the second chorus, four soloists who carry specific parts and a number of other singers who have other roles. The Gospel of Matthew, Chapters 26 and 27 plus traditional Lutheran chorales and meditative poems (by Henrici also known as Picander) provide the text.The Evangelist narrates the action scene by scene.
Although the work as a whole is somewhat heavy and sombre there are some lighter moments to treasure, and none more delightful than the soprano aria in Part One "Ich will dir mein Herze schenken" (I will give my heart to Thee). Part two contains the best known and loved aria from the work "Erbarme dich,mein Gott" (Have mercy, my God) for alto and violin obligato and pizzicato bass. The death is terse but dramatic as is the earthquake following with the heartrending crying "Walrlich dieser ist Gottes Sohn gewesen" (Truly this was the Son of (God). It all ends with a Sarabande-like chorale bidding Jesus to rest in peace.
The packageing of this edition is outstanding; the booklet includes absolutely all the documentation that one may need to fully comprehend this monumental work of Bach's. In addition, the the 3 CD's, there is a CD-Rom that explains the entire procedure for the production of this recording (in 3 languages:French,English and German).
The performance itself is excellent and beyond reproach. Ian Bostridge is all that one would desire in a tenor Evangelist; a joy just to hear his voice. Andreas Scholl gives one of the most emotional performances I have ever heard from him; he tends to be somewhat 'laid-back' in some renditons, but not in this one. Just my opinion; all you Scholl fans, don't get excited!!!!!I suggest you allow yourself an entire day to explore this wonderful musical experience.
The True Drama of the St. Matthew Passion.......2006-04-11
Herreweghe draws sumptuous playing from his Collegium Vocale Orchestra and Chorus, keeping the period sound intact while adding the contemporary trend for finding the operatic aspects of the work in the lead of all the other recordings. Of course he has an extraordinary group of soloists who give definitive performances. The leading actor is the Evangelist who guides us through the arrest and assassination the Jesus according to the Gospel of Matthew: Ian Bostridge not only has a beautiful tenor voice, rich and warm, but he also offers perfect enunciation of the text and delivers his comments with the exact amount of propelling drama. The role of Jesus is strongly delivered by Franz-Josef Selig and matches his competition (Fischer-Dieskau, Quasthoff and Goerne included!) in conveying both the agony and the transcendence of Bach's lines.
Add to this strong matrix the exquisite singing of Andreas Scholl and the solo work by Sibylla Rubens, Werner G?ra, Dietrich Henschel, Dominik Worner, Elisabeth Hermans, Susan Hamilton and Frits Vanhulle and the beauty of the drama is perfect. This is truly the most dramatic performance of Bach's most dramatic Passion and one to cherish for years. Highly Recommended. Grady Harp, April 06
My favorite too!.......2005-09-17
Excellent work - but problems with sound level.......2005-05-29
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Handel: The Masterworks (Box Set)
Manufacturer: Brilliant Classics ProductGroup: Music Binding: Audio CD Trios
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ASIN: B00062FLI8 Release Date: 2004-11-30 |
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Artistry of Elly Ameling (Coll)
Elly Ameling Manufacturer: Philips ProductGroup: Music Binding: Audio CD All Works by Ellington
| Ellington, Edward Duke
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ASIN: B00007KMSJ Release Date: 2003-10-14 |
Tracks:
- Matthaus-Passion
- Johannes-Passion
- Weihnachts-Oratorium
- Juditha Triumphans
- Messiah
- Crudel Tiranno Amor
- Die Schopfung
- Orlando Paladino
- 7 Lieder
- Le Nozze Di Figaro
- Exsultate, Jubilate Ch'io Mi Scordi Di Te, K505
- Misera! Dove Son! K369
- 18 Lieder
- Frauenliebe Und- Leben
- 11 Lieder
- 20 Morike-Lieder
Customer Reviews:
Elly Ameling now more available .......2007-03-07
Now I can just buy this excellent collection. So much music in one place! Since I confess that I am far from an expert on the rest of her records, I look forward to hearing her sing many other styles and composers.
I think it is silly to criticize her for not singing Wagner, for example, since her version of many songs, especially lieder, are nothing short of sublime. I would like to hear how many Wagnerians sing Schubert or Mozart.
I doubt if they could approach the skill and soul with which Elly Ameling sings lieder.
Delight in every note.......2006-03-10
So many of her recordings have still to be released on CD, but this 5CD-set goes some way towards remedying the situation. The repertoire spans a wide variety - French mèlodies, Lieder, light-hearted "sentimental" songs, Bach, etc. - and in each piece, Ms Ameling shows that quality of pearl-like beauty. It is a beauty which is also extremely pretty - a beauty of voice that is never overbearing and over-ripe, but perfectly blossoming upon the tree of inspiration.
I recommend this set unequivocally. It truly is sheer delight.
While they last..........2005-05-17
Ameling was known to schedule recitals of Schubert cycles and songs and in the afterglow of her performance answer the demand for curtain calls with additional Schubert melodies: she gifted her audience with the dignity of honoring a composer's works by maintaining the focus on that composer rather than milk the audience with the usual encore applause-getting favorites. And special moments such as quietly and pensively strolling through the orchestra during the Mahler 4th symphony to arrive at front stage, unapplauded, just in time for the opening line of her singing - those simple homage to composers and collaborators made her selfless manner endearing to audiences.
Despite the fact that Ameling's voice was on the small side she was always able to muster the projection to carry her message solidly in context with an orchestra. Yes, other more famous singers have recorded Ravel's quintessentially French SHEHERAZADE, but few have the perfection of diction and aura of mystery that Ameling maintained. Whether singing with piano or orchestra, or interpreting Bach, Mozart, Handel, and Vivaldi with the same degree of involvement as Brahms and Schumann and Schubert, Elly Ameling spanned a career that engendered passionate commitment from her fans. And this boxed set is a pocket full of memories to be treasured. Buy it before this too becomes unavailable. Grady Harp, May 05
Treasures From a Treasure.......2004-09-25
Ameling, one of the world's most beloved recitalists is captured here in a 5 CD collection offering some of her most beautiful recordings of song. While we are used to her perfection in songs of Bach, Mozart, Schubert, Schumann, Faure and Hahn, an added joy is her "pop" side, tackling - without a whiff of pretension, Porter, Kern, Gershwin, Ellington, et al.
What an absolute joy it is listening to this amazing artist sing these songs with an almost uncanny natural ease. There is no resorting to a "pop" voice and yet most of these pop standards songs sound as though they could have been written for her. Clean attacks, sometimes a bit of the pop technique of hanging on to a consonant longer than a classical artist normally would shows an appreciation and understanding of the style. Still, there is never once a compromise of her vocal beauty.
I like the way the songs have been arranged for her voice in that she sort of sings them clean, unaffected in the first half and then lets loose and kinda "swings" with it adding embellishments but never really changing her voice (Price, von Stade and other favorite singers of mine seem to have always added a breathy quality to much of their crossover material.)
Ameling doesn't resort to trying to "let her hair down" or get down and dirty, but rather the honest with which she approaches every one of these songs shows how much she enjoys singing them and her style is as refreshing as stumbling onto a cool spring on a sweltering summer's afternoon. A wonderful surprise.
More than fully earned praise for an exceptional singer........2003-07-15
Yes, it is unbelievable that of about the 150 recordings Mrs. Ameling made during her long career (for the greater part of course on the 'oldfashioned' LP's, as well as the innumerable Dutch live-recorded radio-concerts), so few CD's have been released.
Speaking of tradition: it was the page-turner of the Wigmore Hall in London who told Mrs. Ameling after her first recital in this hall, that she reminded him of Elisabeth Schumann. (And he certainly didn't mean her looks only!)
For those who are eager to hear her singing Ravel's Shéhérazade (just one example of stirring imagination combined with her Art of Singing) I can tell you that Philips released a 2-box CD of this work in 1999, combined with Debussy's La Damoiselle élue and a compilation of French mélodies, i.e. Debussy, Fauré, Duparc, Satie. One of the gems is Caplet's Le Corbeau et le Renard which even make children, who know the fables of La Fontaine, revel in the singing of the quarrelsome birds....
Her brilliant accompanyist is Rudolf Jansen. Let us cherish great artists in their art!
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The Very Best of Thomas Hampson
Marc Barrard , Thomas Hampson , Csaba Airizer , Georges Bizet , Charles Wakefield Cadman , Stephen Foster , Charles Gounod , Edvard Grieg , Charles Tomlinson Griffes , Imre (Emmerich) Kalman , Erich Wolfgang Korngold , Franz Lehar , Gustav Mahler , Jules Massenet , Giacomo Meyerbeer , Gioachino Rossini , Franz Schubert , Robert Schumann , Johann II Strauss , Ambroise Thomas , Giuseppe Verdi , Richard Wagner , Carl Maria von Weber , Antonio de Almeida , Antonio Pappano , Eugene Kohn , and Fabio Luisi Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD Foster, Stephen
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ASIN: B0006VYEI2 Release Date: 2005-04-26 |
Tracks:
- La Ran La Lera...Largo Al Factotum
- O Sainte Medaille...Avant De Quitter Ces Lieux
- Ce Breuvage...Vision Fugitive
- C'est Toi...Au Fond Du Temple Saint - Placido Domingo
- La Fatigue Alourdit Mes Pas...Comme Une Pale Fleur
- Ecoute!...Dieu, Tu Semas Dans Nos Ames
- C'est Mon Jour Supreme
- Tout Est Desert...Son Regard
- Ove Son Io?...Vada In Fiamme
- Perfidi! All'Anglo Contro Me...Pieta, Rispetto Amore
- Di Provenza Il Mar, Il Suol
- E Sogno? O Realta?
- Komm!
- Der Garten Des Herzens
- Lied Des Venezianischen Gondoliers
- Le Lazzarone
- L'Ultimo Ricordo
Tracks:
- Mein Sehnen, Mein Wahnen
- Wo Berg' Ich Mich?...So Weih' Ich Mich Den Rachgewalten
- Wie Todesahnung...O Du Mein Holder Abendstern
- Gruss Op.48 No.1
- Im Wunderschonen Monat Mai
- Aus Meinen Tranen Spriessen
- Die Rose, Die Lilie
- Ich Will Meine Seele Tauchen
- Ich Grolle Nicht
- Gute Nacht
- Die Post
- Blicke Mir Nicht In Die Lieder
- Ich Atmet' Einen Linden Duft
- Ich Bin Der Welt Abhanden Gekommen
- Von Der Schonheit
- O Vaterland, Du Machst Bei Tag
- Als Flotter Geist
- Komm, Zigany
- An Old Song Re-Sung
- At Dawning (I Love You) Op.29 No.1 - Armen Guzelimian
- Jeanie With The Light Brown Hair
- Beautiful Dreamer
Album Description
Details TBA. EMI. 2005.Customer Reviews:
Gorgeous, Natural Sound........2007-08-04
SImply Untrue.......2006-08-16
an extra star for all the guest artists.......2006-05-08
An Homage to a Great Artist.......2005-10-30
The two disc set includes arias from operas: Rossini's 'Il barbière di Siviglia', von Weber's 'Euryanthe', Gounod's 'Faust', Massenet's 'Hérodiade', Bizet's 'Les Pêcheurs de perles' (in duet with Placido Domingo), Thomas' 'Hamlet', Verdi's 'Don Carlo', 'Il Travatore', 'Macbeth', 'La Traviata', and 'Falstaff', Korngold's 'Die Tote Stadt', and Wagner's 'Tannhäuser'.
But the rewards of a Hampson recording must include his impeccable career as a lieder stylist and on this recording are excerpts from Schumann's 'Dichterliebe', Schubert's 'Winterreise', Mahler's 'Rückert Lieder' and 'Das Lied von der Erde', as well as songs by Meyerbeer, Rossini, Grieg, Kalman, and Lehar. And very importantly there are examples of American songs that Hampson has always emphasized in his recitals. Works by Stephen Foster, and two extraordinary works with the brilliant accompanist Armen Guzelimian - 'An Old Song Re-sung' by Griffes and 'At Dawning' by Charles Wakefield Cadman - round out this fine survey.
Not usually a collector of such 'recombinations', for this listener this album is so very fine that it deserves the attention of all those who appreciate the artistry of Thomas Hampson - then and now. Highly recommended. Grady Harp, October 05
superb vocals.......2005-08-07
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Great Recordings Of The Century - Humperdinck: Hansel Und Gretel / Karajan, Schwarzkopf, Grummer, Metternich, et al
Herbert von Karajan , Loughton Girls School Chorus , Bancroft School Boys' Choir , Elisabeth Schwarzkopf , Josef Metternich , Maria von Ilosvay , Else Schurhoff , and Anny Felbermayer Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD Humperdinck, Engelbert
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ASIN: B00000K4FQ Release Date: 1999-09-21 |
Tracks:
- Overture
- Suse, Liebe Suse, Was Raschelt Im Stroh?
- So Recht! Und Willst Du Nun Nicht Mehr Klagen
- Bruderchen, Komm, Tanz Mit Mir
- Holla!...Himmel!
- Marsch! Fort In Den Wald!
- Ral La La La...Heissa, Mutter, Ich Bin Da!
- Ho Ho! Wer Spek-Spekta-Kelt Mir
- Doch Halt, Wo Bleiben Die Kinder?
- Wenn Sie Sich Verirrten Im Walde Dort
- Eine Hex', Steinalt
- Witch's Ride
- Ein Mannlein Steht Im Walde
- Mein Erbelkorbchen Ist Voll Bis Oben!
- Gretel, Ich Weiss Den Weg Nicht Mehr!
- Der Kleine Sandmann Bin Ich, S-t!
- Abends, Will Ich Schlafen Gehn
- Dream Pantomime
Tracks:
- Prelude
- Der Kleine Taumann Heiss' Ich
- Wo Bin Ich?
- Bleib Steh'n!
- Wie Duftet's Von Dorten
- Knusper, Knusper Knauschen
- Ich Bin Rosina Leckermaul
- Halt!...Hokuspokus
- Nun, Gretel, Sei Vernunftig Und Nett!
- Hurr Hopp Hopp Hopp
- Auf! Wach Auf, Mein Jungelchen
- Juchhei! Nun Ist Die Hexe Tot
- Erlost, Befreit, Fur Alle Zeit!
- Vater! Mutter!
Amazon.com
Humperdinck's supremely ingratiating opera has an astoundingly starry recorded history. Its singable, easily learned roles have become sort of a drop-in-for-divas occasion (as in the recording by Christa Ludwig and Frederica von Stade, for example), often with extremely big names singing minor roles. This pre-stereo recording starring Elisabeth Schwarzkopf and Elisabeth Grümmer in the titles roles with the youngish Herbert von Karajan would seem to be a forerunner to that, though, in fact, those starry names prove to be window dressing. All the secondary roles are sung by names not familiar to us now, but give us something the starrier casts don't: thoughtful characterizations rather than somewhat-indulgent star turns. Else Schurhoff not only sings the Witch pretty much as written but without mugging--and still manages to be funny. Anny Felbermayer's Sandman is an imaginative piece of vocal characterization that suggests what such an otherworldly creature might actually sound like. Karajan and the Philharmonia Orchestra supply all the orchestral color one could hope for in a mono recording, but without turning it into a showpiece. --David Patrick StearnsCustomer Reviews:
HANSEL GRETEL AND UNCLE HERBERT.......2007-03-06
The only names among the singers that I have stayed familiar with down the years are those of the Hansel and Gretel themselves, Elisabeth Gruemmer and Elisabeth Schwarzkopf. However the entire cast is, to my own way of thinking, something close to ideal. Shwarzkopf and Gruemmer do not attempt any childlike vocal tone, and thank goodness for that. These vocal roles are written for adult sopranos and they call for a good deal of power on occasions. It is the music itself that evokes childhood with its innocent and beautiful tunes, a number of which are songs that that would remain as songs if this opera were given as a spoken stage-play. The other singers all seem to me to understand their parts very well too. What they bring to them is what this music calls for - tact, sensitivity, beauty of tone and musicianship first last and always. Fairy tales only involve simple and schematic characterisation. The witch obviously has to sound witchy to a certain extent, and I find the effect nicely judged here and not overdone. Similarly with the jovial father after a good day's trading and a few drinks to celebrate. Perhaps Maria von Isolvay could have suggested a little more annoyance when she knocks over the milk-jug and have sounded a trifle more aghast when she becomes aware of the danger from the witch. However even if so I still prefer restraint to exaggeration. This is not grand opera, after all.
It is singularly beautiful opera. The witty and stylish, though desperately shallow, Viennese critic Hanslick quotes with rueful agreement someone's statement that Hansel and Gretel is the finest opera since Wagner. I sincerely hope that, superficial though he was, he meant German opera - Verdi's Otello was only from a few years earlier, and Falstaff must have been premiered at something like the same time as Hansel and Gretel was. Assuming this interpretation, I guess I would have to agree as well.
I like the composer's photograph, with his innocent, vulnerable features. I would have liked another, of Karajan as he was in 1953, and I'm trying to recall him as he was then with his hair brushed back from his temples as if in the slipstream of his powerboat. The years have softened a certain antipathy I used to feel towards his showman's approach, and I am coming increasingly to admire some of his earlier work. This is a reissue that I recommend cordially, but please be aware that at a budget price the full libretto is not included. However the German liner-notes on the work and the composer are translated into English, the story must be familiar to everyone and it is easy enough to follow what is happening. All these years later it is still as fresh as the strawberries that the children picked in the forest.
Great performance of a great opera........2002-02-20
Perhaps the reviewer who called the music mundane was the victim of mundane performances. I've heard pianists make the Appassionata and the F-minor ballade sound mundane.
Many years ago, and old lady very close to me, a lady who in the 1920s and early 1930s had sung Puccini, Verdi, and Mozart throughout Europe and North America opposite some of the greatest singers of the day, told me that she believed Hansel and Gretel to be a great opera indeed. In its own way, she maintained, it is quite profound, but we so often hear it sung without emotional commitment.
Is it subliminal fear of Hansel and Gretel that leads people to belittle and disparage it? Why does just a mention of the title sometimes evoke laughter? Is there a little nervousness in that laughter? How many of us divorced parents have figuratively abandoned our trusting children to the wilderness? How many other listeners find themselves identifying uncomfortably closely with the two waifs? I couldn't listen to this opera for eight years after my divorce. Traviata? Boheme? No problem. I could handle tragedy for Violetta or Mimi, but seeing the effect of divorce on my 10-year-old boy and 9-year-old girl made Hansel and Gretel too much to bear. And is the witch with the cannibalistic designs any worse than what's really out there, just released by some judge or parole board, awaiting the innocent?
I put the Karajan on recently-my first try in eight years-and the hair on the back of my neck unexpectedly stood up with the first few notes. This performance cast a magic spell from first note to last, and neither the 1953 sound nor the mono recording was the least distraction. The singers are fine, their voices beautiful, and the sound is actually quite passable, but the greatness of this performance derives from the players' total commitment: they sing Hansel and Gretel as if it were Tosca or Trovatore. Perhaps Karajan's direction was a factor. This performance isn't some matinee for the kiddies. It's serious, and deadly so.
One reviewer mentioned slow tempos in places. Yes, but they're right for this performance. Listen to the Eichhorn for a superbly sung, high-fidelity, spirited performance that's lots of fun. It really is wonderful. The Karajan? Beware.
Still the recommended version........2001-11-22
Amongst these splendid productions, this 1953 recording of "Hänsel und Gretel" has inspired great affection and received many reissues. Early reviewers, writing in the "Record Guide" thought the heroes of the occasion were Elisabeth Grümmer and Herbert von Karajan. Later reviewers have praised Schwarzkopf and Grümmer for their skill at "acting with the voice". Currently this EMI set is still the recommended version of the opera listed in the "Gramophone".
If these are some of the recommendations, are there any cautions? I offer only one. Don't expect 1953 mono recording to deliver the luscious listening experience that modern technology provides.
Listening to the long orchestral introduction to Act Two, you could be excused for thinking that the score was ghost-written by Wagner. In fact the reverse is partly true. In his younger years Humperdinck became strongly influenced and actively associated with Wagner at Bayreuth. Wagner called on his young disciple to help put the finishing touches to "Parsifal".
Exelent.......2000-10-23
High quality and captivating characterizations.......2000-02-17
Firstly, mention must be made of the exceptional cast assembled here: virtually everyone is excellent. Pride of place must go to Elisabeth Grummer's excellent Hansel. While this is a part normally assumed by mezzos, Grummer's lovely soprano has enough weight in the lower range to present no problems with the low tessitura. The higher-lying passages are, predictably, no problem for her. Her voice remains radiantly beautiful throughout, and her characterization is sweetly boyish without being cloying (a trap many interpreters of these roles fall into).
Elisabeth Schwarzkopf is a singer whose recordings continue to fascinate decades after they were made. Casting her as Gretel is an unusual choice (she normally took on slightly weightier roles -- she and Grummer, in fact, sang many of the same parts) and while she has to work to sound childlike, her way with the text is unmatched by any recorded Gretel. Her minx-like teasing of Hansel or her gauzy wonder at the appearance of the gingerbread house are just two notable examples. She also sings her Act 2 opening solo with a hushed innocence: for once, Gretel actually sounds like she's singing a folk tune to herself.
The rest of the cast is quite good, if without the obvious excellence of the two leads. Else Schurhoff's Witch is fine; she really sounds like an old crone, but manages to sound frighteningly imposing when casting her spell. Maria von Ilsovay and Josef Metternich are both good, and Anny Felbermayer's soft-grained, childlike tone is right-on for her otherworldly assignments. She is marginally better as the Dew Fairy. What really sets the entire cast apart, however, is their scrupulous attention to the text and the interplay between characters. Everyone seems to be listening to each other, and that concentration and involvement really shines through.
The sound, particularly in this remastered version, is excellent: not a digital sonic spectacular, true, but you'll probably forget you're listening to a mono recording.
I'm not crazy about Herbert von Karajan's conducting in this piece. The loftier sections are really wonderful, but the lighter moments lack the propulsion and fleetness to really sweep us along (the awakening scene seemed interminable here).
For the best recording of Hansel and Gretel, I'd recommend the Kurt Eichorn recording with Helen Donath and Anna Moffo. It also contains the best Sandman, Dew Fairy, and Witch (Christa Ludwig) on records. But if you have room for another classic recording, don't pass this one up.
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Wolfgang Amadeus Mozart: Le nozze di Figaro / Don Giovanni / Così fan tutte / Die Zauberflöte - The Drottningholm Court Theatre Orchestra & Chorus / Arnold Östman
Barbara Bonney , Arleen Auger , and The Drottningholm Court Theatre Orchestra & Chorus Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Wolfgang Amadeus Mozart
| Mozart, Wolfgang Amadeus
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ASIN: B00006IU7V Release Date: 2003-03-11 |
Album Details
These Pioneering Performances of Four of Mozart's Greatest and Most Popular Operas under the Direction of Arnold Östman were Recorded at Nacka Aula, Stockholm. They all Attracted Great Critical Acclaim at the Time of their Original Release and have Been a Part of Decca's Vast Opera Catalogue Ever Since. The Da Ponte Trilogy (One of the Greatest Librettist/Composer Collaborations in the Entire History of Music), Comprising Le Nozze Di Figaro, Don Giovanni and Così Fan Tutte, is Paired with One of Mozart's Last Operas, Dating from the Last Year of his Life, Die Zauberflöte. The Superb Casts Assembled for These Recordings Include Such Experienced Mozart Interpreters as Arleen Auger (Countess, Donna Anna), Barbara Bonney (Susanna, Zerlina, Pamina), Håkan Hagegård (Count, Don Giovanni, Speaker), Sumi Jo (Queen of the Night), Della Jones (Marcellina, Donna Elvira), Petteri Salomaa (Figaro), Kurt Streit (Tamino), Lillian Watson (Papagena), Gösta Winbergh (Ferrando), Rachel Yakar (FiordiligCustomer Reviews:
Refreshing and Surprising!.......2006-11-24
Some of the most thought-provoking recordings ever, combined with some of the most perfect performances I have ever heard........2005-09-14
As for the music itself, I am not going to write about. I think it is enough to read my last sentence to realize exactly what I think about it - and it is really just a must. That's composition taken to the highest possible level.
What I do want to write is about the performances.
Arnold Ostman, not the most known figure in the musical world, (not even amongst musicians- I come from Juilliard, and that name is definitely not one everybody knows) has created in the 80's in Mozart the equivalent of what Harnoncourt and Gardiner have done in Bach performance practice, i.e. has totally changed the conecption which was assimilated into everybody's mind regarding notions about how music of that era should sound like.
Trying to create a performance experience which emulates Mozart's period performance practice he changed everything starting from tempos, through ornamentation and of course- the voices themselves.
For us, most people indoctrinated by the post-romantisicm eastablished especially by Herbert von Karajan and the ilks of him, the first initial response will be a shock. The almost imperceptible swift tempos, the small voices etc. are sure to knock over anybody who haven't heard these recordings before. It might create an intial negative response but hang-on there, as the result is so much more gratifying then of hearing a recording of Karajan, Giulini, Furtwangler or any GREAT other conductor from that era- They were obviously incredible musical figures, but in terms of style and total perception of the piece it just doesn't work on the same level, in Mozart of course. (You'd still want to keep your Furtwangler's ninth copy...)
What is so great about Ostman is the freshness of mind with which he walks into every piece. Just like a real iconoclast
it seems as if he has landed from an entire different planet, and is just coming to conduct these pieces and give their debut. I can't give a more sincere and true compliment than that, musically speaking.
The results are the most fresh interpretations up to date of Mozart most important operas which also derive from some of the best vocal performances I have ever heard.
Under Ostman's direction it seems as though all the singers bloom and give their most musical and inspired performances,
holding on under the swiftest tempos in an admirable way. There is no point in pointing out names because it is as in a rule that the performances are just stellar one by one, even though not carrying around sometimes the most famous names.
This is not to say that all of the recordings in this set are equally perfect, and that I agree to all of the interprations and the insights given by Ostman, but you can't disregard the feeling that he knew EXACTLY what he wanted and executed it almost flawlessly. (the one exception might be small part of Cosi, mainly the overture, which was recorded very early in the stages of period instruments playing- therefore not always as perfect as you would have liked to hear it, but the performance as a whole is still the most beautiful Cosi I know.)
As for the packaging itself: The price is a complete steal, (incredible especially if you order it through other sellers, got mine for about 40$). What you DON'T get are the librettos, so you'd HAVE to get them from a different source. Either a different recording you might have, (you just might want one of the standard reference recordings one usually hears about like Giulini's) or you could just buy the librettos through Amazon, would still cost you very little.
Should not be missed by any terms by anybody who cares for music.
Ran
Best ever!!.......2004-01-12
I cannot recommend this too highly. Exciting performances now available in Decca's collectors' edition.
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Decca Legends--Schubert: Winterreise / Pears, Britten
Franz Schubert , Peter Pears , and Benjamin Britten Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Schubert
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ASIN: B00004TEUT Release Date: 2000-07-18 |
Tracks:
- Gute Nacht
- Die Wetterfahne
- Gefrorene Tranen
- Erstarrung
- Der Lindenbaum
- Wasserflut
- Auf dem Flusse
- Ruckblick
- Irrlicht
- Rast
- Fruhlingstraum
- Einsamkeit
- Die Post
- Der greise Kopf
- Die Krahe
- Letzte Hoffnung
- Im Dorfe
- Der sturmische Morgen
- Tauschung
- Der Wegweiser
- Das Wirtshaus
- Mut!
- Die Nebensonnen
- Der Leiermann
Customer Reviews:
Humanity through Schubert, Britten and Pears.......2007-07-21
While I was working on Winterreise, my voice teacher suggested I listen to this recording. He then went on to tell me that I shouldn't try to make any of those sounds myself, but that I should hear the commitment to the text and to the music. There are many singers that convince me through their performances of their musicality, their vocal ability, and their acting skills. Only Peter Pears actually convinces me that he's LIVED this and isn't just singing someone else's song cycle. It feels like he's telling me his own story.
As a musician, Britten had accompanied Pears in recitals for well over twenty years when this recording was made; the two of them do not come apart for a single bar the entire time. To say nothing of their personal relationship, this kind of artistic unity is extremely rare to find. They also had to decipher this cycle without the aid of the recordings that we have today; in post-WWII England, the German Lieder recordings that were around weren't easy to come by.
Britten and Pears' interpretation is therefore not directed as much by tradition as a singer like Dietrich Fischer-Dieskau or Hans Hotter. It serves the text and music and the listener. When you really get down to it, this is a creepy song cycle. It starts out with broken love and goes downhill from there, through false hope, cold comfort, utter delusion, angry denial, and finally to complete desolation. Pears' Leiermann is sung with a complete absence of emotion until the very last line, where it feels like he summons every last bit of strength in his exhausted soul to ask the organ grinder "will you turn your organ to my songs?"
This recording finds its way into your heart. This performance is what singing and music are about. Maybe you don't find Peter Pears' voice attractive, and maybe the emotions he evokes within you aren't comfortable. I cry practically every time I get to the end of it. But this isn't a comfortable piece, it's a journey (Reise) through human emotion, irrationality, insanity, and loss. At the end, you may feel like you've been dragged through it all, but THIS is what true artists can do for us.
Peter Bleedin' Pears . . . arrggh!.......2005-12-20
Another reviewer points out that "The Penguin Guide gave this recording a rosette (its highest rating)". This is quite true and it goes a long way to explain why the Penguin Guide--and the good, grey Gramophone Magazine, too, for that matter--are never, never to be relied upon when they review British performances.
With all the wealth of fine performances of Schubert's lieder available from people who actually can sing, why does anyone waste valuable time, money and shelf space on the unhappy groaning of Pears? And if, for some utterly incomprehensible reason, someone might actually want "a very British 'Winterreise'", as the same reviewer put it, there is always Ian Bostridge.
A curdled voice expressing great musical depth.......2005-12-19
He is more than aided by Britten at the piano; despite his often reticent placement, it's the composer who welds every song together. Britten is able to create unique poetic dramas out of each text--it's a miracle that Schubert's simple vocabulary makes this possible. The two performers are uncannily seamless. They follow a shattering emotional arc for their "winter journey," projecting plaintive melancholy from the start, only to move deeper into the shadows until the eerie, soul-killing bleakness of the last three songs renders the cycle's full tragic impact. But tragedy, we must remember, is transcendent, not simply depressing and self-pitying. It's the vehicle for beauty. That's really the secret of Pears and Britten, that they can elevate Winterreise to a noble experience. For that, any wincing Pears' voice may cause is negligible. Highly recommended.
(To hear Pears in much better voice, it's worth seeking out his 1959 Schone Mullerin, fully as remarkable as this performance. Britten is again the perfect accompanist, and a space of four years is enough to minimize the blemishes that vitiate the later Schubert recital.)
Magical interpretation.......2004-12-21
Britten, so well known as a composer, demonstrates his brilliance as a pianist here. From the bleak, sparse textures of "Die Krahe" to the chords of the hymnal "Das Wirtshaus," Britten shows off his extraordinary tone control and balance in every song. Meanwhile, the pacing of each song is completely unerring. Listen, for example, to the well-timed phrases - and the chilling silences - in the existential closer, "Der Leiermann." While Pears' voice is admittedly not the most naturally beautiful-sounding, he matches Britten's great performance with his superb phrasing and tragic, heartrending tone.
In summary, this recording is a supreme example of the art of lieder performance at its very finest. For those in search of a transcendent listening experience, this will mesmerize from beginning to end.
One of the most memorable "Winterreise" performances........2004-02-13
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Light Opera Gems
Manufacturer: Opera D'oro ProductGroup: Music Binding: Audio CD Waltzes
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ASIN: B0000A1HNZ Release Date: 2003-07-01 |
Tracks:
- Largo Al Factotum - Gino Bechi
- Udite, Udite O Rustici - Ezio Pinza
- Im Heimlichen Dammer - Maria Reining
- Mag Der Himmel Euch Vergeben - Helge Roswaenge
- Ach So Fromm - Richard Tauber
- The Last Rose Of Summer - Amelita Galli-Curci
- Non So Piu - Amelita Galli-Curci
- You Are My Heart's Delight - Lauritz Melchior
- Voices Of Spring - Ada Sari
- Drinking Song & Golden Days - Robert Merrill
- You And You - Robert Merrill
- I'll Follow My Secret Heart - Lily Pons
- The White Dove - Lawrence Tibbett
- Deep In My Heart - Lauritz Melchior
- Merry Widow Waltz - Helen Traubel
- Serenade - Lauritz Melchior
- Stout-Hearted Man - Helen Traubel
- Russian Song - Lawrence Tibbett
- Wanting You - Lawrence Tibbett
- Oh What A Beautiful Morning - Helen Traubel
- Una Voce Poco Fa - Luisa Tetrazzini
Tracks:
- Wer Uns Getraut - Jussi Bjorling
- The Blue Danube - Lily Pons
- Ich, Hab' Kein Geld, Bin Vogelfrei - Jussi Bjorling
- My Hero - Rosa Ponselle
- Kiss Me Again - Rosa Ponselle
- When You Walk In The Room - Robert Merrill
- Song Of The Vagabonds - Robert Merrill
- O Luce Di Quest'Anima - Toti Dal Monte
- Dans Le Service D'Autriche - Hyppolite Belhomme
- Tales From The Vienna Woods - Marcella Sembrich
- Per Viver Vicino - John McCormack
- Charmant Oiseau - Amelita Galli-Curci
- Cancion De La Espada - Miguel Fleta
- De Espana Vengo - Conchita Supervia
- Aimons, Il Faut Aimer - Hyppolite Belhomme
- Com'e Gentil - Chorus
- Quel Guardo Il Cavaliere - Amelita Galli-Curci
- Tornami A Dir Che M'Ami - Tito Schipa
- Im Mohrenland Gefangen War - Peter Anders
- Oh, Wie Will Ich Triumphieren - Wilhelm Hesch
- Modern Travel, An Opera Parody On Donizetti, Gounod, Verdi, Bizet & Dvorak - Lauritz Melchior
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Romantic Songs (Box Set)
Manufacturer: Brilliant Classics ProductGroup: Music Binding: Audio CD All Works by Schubert
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ASIN: B0006B969O Release Date: 2005-01-25 |
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Schubert: Lieder
Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD All Works by Schubert
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ASIN: B000AYQCIK Release Date: 2005-12-13 |
Customer Reviews:
A Major Document of an Incredible Oeuvre..........2007-03-12
Of over 600 songs, Fischer-Dieskau and Gerald Moore realized over three-quarters: these are those. Gerald Moore was of course as important to this project as Fischer-Dieskau.
DGG's sound is excellent.
This set is a remarkable document of art.
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- The Harp Key
- The Narada Collection, Vol. 1
- The Narada Collection, Vol. 2
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Music Review: 25 Ultimate Classics
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