Traum Mit Mir [Import]

1. Mein Herz Braucht A Heima

2. Ich Werd' Dir Immer Treu

3. Der Alte Silbermond

4. Weit Weit Im Suden

5. Verzeih' Mein Schatz Verz

6. Mein Engel Baby Blue

7. Komm Auf Ein Bier Zu Mir

8. Du Gehst Heut' Nacht Nich

9. Komm Doch Mit Mir Nach Ta

10. Ein Schneewesses Brautkle

11. Und Dann Am Abend

12. Mein Boot Fahrt Heut' Um

13. Jeder Tag Ist Pure Liebe

14. Du Ich Mag Dich Wahnsinni

Traum Mit Mir,Hansi Hinterseer,BMG,Germany,World Music

Average customer rating: HANSEL GRETEL AND UNCLE HERBERT Great performance of a great opera. Still the recommended version. Exelent High quality and captivating characterizations

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 | ( H ) | Featured Composers, A-Z | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | 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: R. Strauss - Ariadne auf Naxos / Schwarzkopf · Seefried · Streich · Schock · Prey · PO · Karajan Humperdinck: Hänsel & Gretel J. Strauss: Die Fledermaus / Schwarzkopf, Gedda, Streich, Krebs, Kunz, Christ; Karajan Lehár - The Merry Widow / Schwarzkopf, Wächter, Steffek, Gedda, Knapp, von Matacic Richard Strauss - Capriccio / Schwarzkopf, Wächter, Gedda, Fischer-Dieskau, Hotter, Ludwig, Moffo, Philharmonia Orchestra, Sawallisch ASIN: B00000K4FQ Release Date: 1999-09-21

Tracks:

1. Overture
2. Suse, Liebe Suse, Was Raschelt Im Stroh?
3. So Recht! Und Willst Du Nun Nicht Mehr Klagen
4. Bruderchen, Komm, Tanz Mit Mir
5. Holla!...Himmel!
6. Marsch! Fort In Den Wald!
7. Ral La La La...Heissa, Mutter, Ich Bin Da!
8. Ho Ho! Wer Spek-Spekta-Kelt Mir
9. Doch Halt, Wo Bleiben Die Kinder?
10. Wenn Sie Sich Verirrten Im Walde Dort
11. Eine Hex', Steinalt
12. Witch's Ride
13. Ein Mannlein Steht Im Walde
14. Mein Erbelkorbchen Ist Voll Bis Oben!
15. Gretel, Ich Weiss Den Weg Nicht Mehr!
16. Der Kleine Sandmann Bin Ich, S-t!
17. Abends, Will Ich Schlafen Gehn
18. Dream Pantomime

Tracks:

1. Prelude
2. Der Kleine Taumann Heiss' Ich
3. Wo Bin Ich?
4. Bleib Steh'n!
5. Wie Duftet's Von Dorten
6. Knusper, Knusper Knauschen
7. Ich Bin Rosina Leckermaul
8. Halt!...Hokuspokus
9. Nun, Gretel, Sei Vernunftig Und Nett!
10. Hurr Hopp Hopp Hopp
11. Auf! Wach Auf, Mein Jungelchen
12. Juchhei! Nun Ist Die Hexe Tot
13. Erlost, Befreit, Fur Alle Zeit!
14. 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 Stearns

Customer Reviews:

HANSEL GRETEL AND UNCLE HERBERT.......2007-03-06

Can it really have been as long ago as 1953 that this famous performance was recorded? I can no longer remember how the original issue sounded, but the sound comes over very well in general on this remastered set. As often with analogue-to-digital transfers there is a slight `edge' to the effect, particularly of the voices, but that is a very minor matter when set against the flawless clarity throughout. It has been a real thrill too to be reminded of the tone of the great Philharmonia Orchestra in its heyday. The horn sound right away in the first bars is exquisite by way of getting off to a perfect start, and the engineers for their part have done a brilliant job with the echo-effects in the forest.

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

Yes, a great opera. Of course, Hansel and Gretel is an easy target, with its obvious story, highly accessible lyricism, strong appeal to six-year-olds, and composer named after a pop singer. But was there ever a lovelier and more moving little song than the evening prayer? Do the familiar tunes ever sound hackneyed? Is there anyone whose heart doesn't start to crack as the two children begin bravely to fend for themselves in the dark forest?

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

Lying in the EMI vaults are many tapes of superb opera recordings made in the 1950s. Herbert von Karajan, prior to his Berlin Philharmonic days, was often engaged to conduct them by the producer, Walter Legge. The recording venue was London's Kingsway Hall - blown to smithereens recently when a bomb that had lodged in the roof during a W W 2 air raid was dislodged.

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

I highly recomend this recording. It's greatly sang, and conducted, as It couldn't be in any other way, becouse It's sang by Schwarzkopf, that has a beautiful voice, and gives you the impression that she really is a child. Von Karajan, it's a genious, and gives the orchestra a beutiful sound. If you want to buy Hansel Und Gretel, please buy this version, It's marvelouse.

High quality and captivating characterizations.......2000-02-17

While it may be cliche, the old maxim rings true here: they just don't make them like this anymore. True, this set has its drawbacks, but a performance like this makes any such quibbles easy to forget.

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.

Average customer rating: A Major Document of an Incredible Oeuvre...

Schubert: Lieder Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD All Works by Schubert | Schubert, Franz | ( S ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Fischer-Dieskau, Dietrich | ( F ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Schubert, Franz | Q to T | Featured Composers, A-Z | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music Deutsche Grammophon: Music | Specialty Stores | Music Similar Items: Schubert: The Piano Sonatas The Schubert Song Companion Schubert: Schwanengesang; 4 Lieder Schubert: The String Quartets Arturo Benedetti Michelangeli plays Mozart, Chopin, Brahms, etc. (Box) [Germany] 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.
.

Average customer rating: A memento of a productive partnership.

Tauber & Lehar Manufacturer: Angel Records ProductGroup: Music Binding: Audio CD General | Lehár, Franz | ( L ) | Featured Composers, A-Z | Classical | Styles | Music Tauber, Richard | ( T ) | Featured Performers, A-Z | Classical | Styles | Music Berlin Philharmonic Orchestra | ( B ) | Featured Performers, A-Z | Classical | Styles | Music Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music Chamber Music | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Vocal & Song | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General Contemporary | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Lehar, Franz | H to L | Featured Composers, A-Z | Opera & Vocal | Styles | Music ASIN: B00005J7DC Release Date: 2001-10-02

Tracks:

1. Das Land Des Lachelns: Act 2: Dein Ist Mein Ganzes Herz
2. Das Land Des Lachelns: Act 1: Ich Trete Ins Zimmer - Immer Nur Lacheln
3. Das Land Des Lachelns: Act 1: Ach, Trinken Sie Vielleicht Mit Mir Ein Tasschen Tee - Bei Einem Tee E - Richard Tauber/Vera Schwarz
4. Das Land Des Lachelns: Act 1: Von Apfelbluten Einen Kranz
5. Das Land Des Lachelns: Act 2: Wer Hat Die Liebe Uns Ins Herz Gesenkt - Richard Tauber/Vera Schwarz
6. Das Land Des Lachelns: Act 2: Ihr Gotter Sagt, Was Ist Mit Mir Geschehn? - Kann Es Moglich Sein?
7. Friederike: Act 2: O Madchen, Mein Madchen
8. Friederike: Act 1: Heimlich Kling't In Meiner Seele - Sah Ein Knab' Ein Roslein Stehn
9. Friederike: Act 1: O Wie Schon, Wie Wunderschon
10. Friederike: Act 2: Liebe, Goldener Traum
11. Der Zarewitsch: Act 1: Allein, Wieder Allein - Es Steht Ein Soldat Am Wolgastrand
12. Der Zarewitsch: Act 3: Kosende Wellen - Warum Hat Jeder Fruhling, Ach Nur Einen Mai - Richard Tauber/Carlotta Vanconti
13. Der Zarewitsch: Act 3: Madel, Wonniges Madel - Willst Du? Komm, Und Mach Mich Glucklich
14. Paganini: Act 2: Gern Hab' Ich Die Frau'n Gekusst
15. Paganini: Act 1: Schones Italien
16. Paganini: Act 2: Niemand Liebt Dich So Wie Ich - Richard Tauber/Carlotta Vanconti
17. Paganini: Act 1: Was Ich Denke, Was Ich Fuhle - Richard Tauber/Carlotta Vanconti
18. Eva: Vorspiel - VPO/Franz Lehar
19. Frasquita: Ser (When The Moon Is Shining White - Farewell, My Love)
20. The Land Of Smiles: Always Keep Smiling
21. The Land Of Smiles: You Are My Heart's Delight
22. The Merry Widow: Waltz Song (Now Or Never And Forever)/Villa Song (There Once Was A Villa)...

Tracks:

1. Giuditta: Act 1: Freunde, Das Leben Ist Lebenswert
2. Giuditta: Act 2: Schon Wie Die Blaue Sommernacht - Richard Tauber/Jarmila Novotna
3. Giuditta: Act 3: Welch' Tiefes Ratsel Ist Die Liebe - Du Bist Meine Sonne
4. Giuditta: Act 4. Finale: So Wie Um Den Sonnenball
5. Giuditta: Act 5: Schonste Der Frau'n
6. Schon Ist Die Welt: Act 1: Bruder Leichtsinn, So Werd' Ich Genannt - Schon Ist Die Welt
7. Schon Ist Die Welt: Act 2: Liebste, Glaub' An Mich
8. Schon Ist Die Welt: Act 1: Frei Und Jung Dabei - Richard Tauber/Gitta Alpar
9. Schon Ist Die Welt: Act 2: Es Steht Vom Lieben - Richard Tauber/Gitta Alpar
10. Der Rastelbinder: Act 1. Walzerduett: Ein Ausflug Mit Ihnen - Wenn Zwei Sich Lieben - Richard Tauber/Carlotta Vanconti
11. Das Furstenkind: Act 1: Ich Wollt' Nichts Von Ihr Erzwingen - Schweig, Zagendes Herz
12. Das Furstenkind: Act 2: Freihet, Du Bist Unser Leben - Lange Jahre, Bange Jahre
13. Zigeunerliebe: Act 3: So Sprach Noch Niemals Ein Mann Zu Mir - Es Liegt In Blauen Fernen - Richard Tauber/Vera Schwarz
14. Frasquita: Ser: Schatz, Ich Bitt' Dich - Hab' Ein Blaues Himmelbett
15. Die Lustige Witwe: Act 3: Lippen Schweigen
16. Die Lustige Witwe: Act 2: Es Lebt' Eine Vilja
17. Die Lustige Witwe: Ov
18. Paganini: Girls Were Made To Love And Kiss
19. Paganini: Love Never Comes Too Late - Richard Tauber/Evelen Laye
20. Paganini: Nobody Could Love You More - Richard Tauber/Evelen Laye
21. Paganini: Beautiful Italy
22. Frasquita: Ser (When The Moon Is Shining White)/The Land Of Smiles: Always Keep My Smiling - Love...

Customer Reviews:

A memento of a productive partnership........2001-11-19

EMI commemorate in this double CD a remarkable partnership in the C20th world of music. It began in Berlin in 1926. It had been 20 years since Franz Lehar's "Die lustige Witwe" became the light opera that everyone wanted to see. In places like Beunos Aires it had run simultaneously in five theatres in five different languages. Lehar's subsequent productions had met with diminishing success. His latest light opera, "Paganini", which contained some of his best music, had flopped at its Vienna premiere. Nervous and dispirited as its Berlin premiere drew near, Lehar wrote to the tenor Richard Tauber, "You must sing in Berlin, a second flop is inconceivable for me. I'm suddenly afraid of everything to do with the theatre - I'm getting old".

Tauber obliged. The Berlin production was a resounding success, Tauber sometimes being required to repeat "Gern hab' ich die Frau'n gekusst" as many as five times. Lehar admitted, "Richard, during this moment I have been born again as an artist!" And so began a great final flowering of Lehar theatre productions, all featuring the Austrian tenor Richard Tauber.

Fortunately the Lehar-Tauber association resulted in an extensive series of recordings, in many of which Lehar conducts the orchestra. EMI began issuing a collection of them towards the end of the LP era, and now, in 2001, they are collected onto this double CD. I read the claim that a great many of the tracks appear on CD for the first time, but here in Australia most have already been available on CD.

I don't always find Tauber unexcelled in this repertoire, preferring other tenors sometimes and their recordings. Several of the "Paganini" recordings were made before the Berlin season opened. Tauber and his then wife Carlotta Vanconti sound as though they are sight-reading unfamiliar music. I once possessed several of the "Das Land des Lachelns" items on 78s. The 1929 sound seemed robust and full then, but seems sadly emasculated here.

Tauber, I believe, somehow had the secret of touching the hearts and minds of all who listened to his singing - composers, colleagues, chancellors and charwomen. This comprehensive and well-planned issue will ensure that his work with the Hungarian composer Franz Lehar will continue to charm and delight.

Average customer rating: Dessay rules Amor - N. Dessay Sparkling Strauss Glorious Strauss a wonderful holiday gift

Amor: Opera Scenes and Lieder by Richard Strauss Richard Strauss , Natalie Dessay , Felicity Lott , Sophie Koch , Angelika Kirchschlager , Thomas Allen , and Antonio Pappano Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Strauss | Strauss, Richard | ( S ) | Featured Composers, A-Z | Classical | Styles | Music Allen, Thomas | ( A ) | Featured Performers, 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 Similar Items: Natalie Dessay - French Opera Arias Natalie Dessay - Vocalise Natalie Dessay ~ Delirio (Handel Italian Cantatas) Mozart Heroines; Natalie Dessay Cecilia Bartoli ~ Opera Proibita (Handel · Scarlatti · Caldara) / Les Musiciens du Louvre · Minkowski ASIN: B0002ZBSN6 Release Date: 2004-11-02

Tracks:

1. Oper-Grossmachtige Prinzessin
2. Vorspiel-Kindskopf! Merkt Auf
3. An Ihre Platze... Seien Wir Wieder Gut
4. No. 2-Ich Wollt' Ein Stausslein Binden
5. No. 3-Sausle, Liebe Myrte
6. No. 4-Als Mir Dein Lied Erklang
7. No. 5-Amor
8. Act 1-Ich Danke, Fraulein... Aber Der Richtige
9. Act 2-Mir Ist Die Ehre Widerfahren
10. Act 3-Marie Theres', Wie Gut Sie Ist
11. Ist Ein Traum... Spur' Nur Dich

Amazon.com

Natalie Dessay's vocal crisis--she was operated on for nodes on her vocal cords three years ago--is clearly over. The voice has ripened somewhat but the incredible high notes are still present and easily produced. Zerbinetta is one of her signature roles, and she knows this complex, winning gal well. She can be cajoling, sarcastic, witty and sincere--and toss off high Cs, Ds and more, with impeccable staccati and trills, making them seem as natural as speech. She works magic with the four Brentano Lieder recorded here, expressing longing, sweetness and rapture as well as sheer perkiness in "Amor" with its vocal imitation of flame. In the extended scene from Ariadne, the composer sung by Sophie Koch delivers her aria with passion and seems to lack only a bottom note or two to fill the role ideally. In the act-one Arabella-Zdenka duet, Dessay is girlish and loving of her big sister, unaffectedly sung here by Felicity Lott. But the pieces de résistance on this CD are the highlights from Der Rosenkavalier: the Presentation of the Silver Rose and final trio and duet. Dessay sounds youthful and pure in the Presentation and sings with the most loving legato and tone at the opera's end. She's abetted by Angelika Kirchschlager as Octavian, who is simply perfect, and Felicity Lott, also smooth as silk. Pappano is becoming an all-purpose great opera conductor, and the Covent Garden orchestra is polished and elegant. The sound is rich and full. This CD is a gem. --Robert Levine

Customer Reviews:

Dessay rules.......2007-02-07

For an opera or a classical music admirer, Natalie Dessay is a must. This is an excellent recording. And the DER ROSENKAVALIER interprentation amazing. It's worth it!!!

Amor - N. Dessay.......2006-01-12

I'm sorry to say that I did not enjoy this CD. When I was listening to the songs from Der Rosenkavalier, all I could think of was: she doesn't have the voice for this - her high notes seem a little thin to me. I realize taste is subjective, but Lucia Popp, Theresa Stich-Randall, Kiri Te Kanawa, Renee Fleming all do much better interpretations of those songs. This is the first CD I've ever heard from her - and I don't want to judge her by this CD alone. I'd say try another CD by her if you've never listened to her before.

Sparkling Strauss.......2005-09-24

I just love this CD; Ms Dessay is radiant vocally, and she puts on a great show in each aria- you can practically see her on stage, she is so absorbing and vivid. Of the current sopranos, she is probably best Zerbinetta, and she has a great laughter. Actually, I felt that Der Rosenkavalier pieces were the best, but there are no weak links and any arias and songs that are less than spectacular on this CD. Ms Dessay has a touch of French accent when she sings in German, but I find totally charming and overall her diction is very good.
The other singers are great, especially Angelika Kirchschlage, and the sound is just perfect. This is such a sweet treat, a real Straussian desert!

Glorious Strauss.......2005-01-02

This is a major CD release of a major singer obviously very much at home with this repertoire. The disk comprises scenes from three of Strauss's most affecting operas for Soprano, with the Brentano Lieder thrown in for good measure. Dessay's voice is in wonderful shape - it is clear, well positioned, on key and agile. Yet my one reservation is her voice is too "bright" for the Marschallin and Arabella. The bright, ringing quality is very well suited for Ariadne, but I prefer a slightly darker, more mature sound, certainly in Rosenkavalier and even in Arabella. If you believe that Arabella is a younger Marschallin, then the same voice best becomes both roles. In recent times, think Te Kanawa. The voice is big enough to carry through the at times too loud and evasive orchestral playing by the Covent Garden Opera Orchestra, led by an obviously zealous Antonio Pappano. All these reservations aside, this is a wonderful disk. Dessay will never be my favorite Marschallin or Arabella, but a wonderful collection nonetheless. Certainly worth the money and worth repeated listenings.

a wonderful holiday gift.......2004-12-14

Unquestionably the reigning coloratura of our times, Natalie Dessay has the misfortune of blossoming at a time where complete opera recordings are no longer being produced at the rate they were from the 50's to the 80's. Thankfully, we have this delightful pastiche of Strauss, including her signature role, Zerbinetta. She is far and away my favorite opera singer of the current generation. First, she is to be commended for reviving the tradition of the French coloratura, which has been lacking ever since the heyday of Mady Mesple. Second, she defies the notion that all coloraturas have to stand up to Joan Sutherland (my all-time favorite). True, Sutherland's vocal legacy is truly formidable, but then again, would Sutherland have tackled roles like Zerbinetta or Zdenka? It takes a Natlie Dessay to bring these roles to life.

This is a very satisfactory recital, from start to end. What's more, complete scenes are featured, with a host of top-drawer guests, like Felicity Lott and Angelika Kirschlager. Decca is to be thanked for pulling out all the stops. Not being an expert on Strauss, I can't judge Pappano's conducting, except to say that it sounds quite fine to my ear. Furthermore, the sound quality is excellent.

Now, I'm sure everyone will listen closely for evidence of vocal distress. Natalie just had another surgery to remove a node from her vocal cords, and in a recent press release stated that she hasn't "completely healed" from her intial surgery over a year ago. The only thing I can pick up on are a few high notes sung in alt (like in the duet from Arabella) that sound like they were squeezed out. However, there isn't anything really troubling, like a wobble or ugly spread on top. Let's pray for Dessay's full recovery from her second surgery.

This is music that is absolutely sublime. Surprise someone with this recital for Christmas, especially those who stubbornly listen to Italian opera and eschew any other genre.

Average customer rating: Great opera, not just for children Wagner pour enfants!

Hansel & Gretel (Dig) Humperdinck , Fassbaender , Popp , Vpo , and Solti Manufacturer: Decca ProductGroup: Music Binding: Audio CD General | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music General | Classical | Styles | Music Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Hansel and Gretel: Vocal Score (G. Schirmer Opera Score Editions) Humperdinck - Hansel und Gretel / Edita Gruberova, Brigitte Fassbaender, Hermann Prey, Helga Dernesch, Sena Jurinac, Georg Solti, Vienna Philhamonic (1981) Beethoven: Violin Concerto; Violin Romances Puccini - La Bohème / Freni, Pavarotti, Harwood, Ghiaurov, Karajan ASIN: B00006LENJ Release Date: 2003-01-14

Tracks:

1. Vorspiel - Overature
2. Suse, Liebe Suse... Griesgram Hinaus!
3. Bruderchen, Komm, Tanz Mit Mir
4. Holla! - Himmel, Die Mutter!
5. Rallalala, Rallalala
6. Doch Halt - Wo Bleiben Die Kinder?
7. Wenn Sie Sich Weirrten Im Wald Dort... Eine Hex', Steinalt, Haust Tief Im Wald
8. Hexenritt - The Witch's Ride
9. Ein Mannlein Steht Im Walde
10. Gretel, Ich Weiss Den Weg Nicht Mehr!
11. Der Kleine Sandmann Bin Ich
12. Abends, Will Ich Schlafen Gehn
13. Pantomime - Mime

Tracks:

1. Vorspiel - Prelude
2. Der Kleine Taumann Heiss' Ich
3. Wo Bin Ich? Wach' Ich? Ist Es Ein Traum?
4. Mir Ist So Wohl, Ich Weiss Nicht Wie
5. Bleib Stehn, Bleib Stehn!... Von Kuchen Und Torten Ein Hauslein Gemacht!
6. Knusper Knusper Knauschen
7. HiHi, Hihi, Hihihi!... Kommt, Kleine Mauslein, Kommt Mein Hauslein!
8. Halt! Hokus Pokus, Hexenschuss!
9. Der Teig Ist gar.. Hurr Hopp Hopp Hopp
10. Auf, Wach Auf, Mein Jungelchen
11. Juchhei! Nun Ist Die Hexe Tot
12. Erlost - Befreit Fur Alle Zeit!
13. Rallalala, Rallalala, Waren Doch Uns're Kinder Da!

Customer Reviews:

Great opera, not just for children.......2006-10-06

Regrettably Hansel and Gretel has acquired a reputation as an opera for children. Yes, the title characters are children (sung by adult sopranos) and children often find this opera more appealing than most other operas, but Hansel and Gretel is a great opera which should appeal to people of all ages, if they will listen to it without bias. Personally, I think it's one of the half dozen or so greatest operas ever written. Humperdinck was a student and devotee of Wagner and was heavily influenced by him, but he managed to express the best elements of the Wagnerian style on a human scale. Even people who regard Wager's operas as long and tedious should find Hansel and Gretel quite beautiful and appealing. This is a very good performance, comparable to the one with Anna Moffo as Gretel and Dietrich Fischer-Dieskau as the father, which is my personal favorite. But whichever performance you choose, if you love great operas, please get Hansel and Gretel and listen to it without any preconceived notions.

Wagner pour enfants!.......2003-04-17

Il est évident que Humperdinck suivait la tradition Wagnérienne lorsqu'il composa Hänsel et Gretel. Mais Wagner n'aurait pu faire quelque chose d'aussi rafraichissant! Nous avons droit ici à un opéra pour enfant mais, excusez-moi le mot, mais mignon comme tout. Vous aurez un plaisir incroyable à l'écouter et les chanteurs et surtout chanteuses (!) qui font un travail incroyable. Lucia Popp et Brigitte Fassbaender font toutes deux un travail époustouflant! La direction de Solti est impécable et elle est empreint d'une vivacité incroyable. Chacune des scènes clés est superbement dirigée (La prière ainsi que la Pantomime sont d'une beauté subliminale) et les effets sont extrèmement réussis. Nous avons ici le droit au four qui éclate (!), un effet très amusant! Et que dire de Anny Schlemm qui interprète avec une vivante vigueur le rôle sorcière, qui sait insuffler à son personnage une touche diabolique incroyable. Offert ici dans la nouvelle série The Compact Opera Collection de Decca, le libretto n'est toutefois pas inclut en version papier. Un livret est présent pour expliquer le déroulement des diverses scènes de l'opéra et le libretto complet est inclut sur le premier CD, que vous pouvez ouvrir lorsque vous mettez votre CD dans votre ordinateur. Vous pouvez vous procurez la version avec libretto papier inclut pour quelques dollards de plus! Quoi qu'il en soit, vous ne pouvez vous passer de ce superbe petit bijou, que vous et vos enfants (!) aurez du plaisir à écouter!

Average customer rating: The Essential Coloratura Album

The Viennese Nightingale Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD Waltzes | Ballets & Dances | Classical | Styles | Music Bellini, Vincenzo | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Brahms | Brahms, Johannes | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General | Delibes, Léo | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Donizetti | Donizetti, Gaetano | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Gluck | Gluck, Christoph W. | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Lortzing | Lortzing, Albert | ( L ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Massenet | Massenet, Jules | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Meyerbeer | Meyerbeer, Giacomo | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Milhaud | Milhaud, Darius | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Offenbach | Offenbach, Jacques | ( O ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Pfitzner | Pfitzner, Hans | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Schubert | Schubert, Franz | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Robert Schumann | Schumann, Robert | ( S ) | Featured Composers, A-Z | Classical | Styles | Music Strauss Jr., Johann | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Strauss | Strauss, Richard | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Thomas | Thomas, Ambroise | ( T ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Weber | Weber, Carl Maria von | ( W ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wolf | Wolf, Hugo | ( W ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Rossini | Rossini, Gioacchino | ( R ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Vocal & Song | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Berlin Philharmonic Orchestra | ( B ) | Featured Performers, A-Z | Classical | Styles | Music Salzburg Chamber Orchestra | ( S ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Russian | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Folk Songs | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music Deutsche Grammophon: Music | Specialty Stores | Music Similar Items: Strauss, Saint-Saens / Rita Streich Rita Streich: Folksongs & Lullabies Pierre Fournier: Aristocrat of the Cello [United Kingdom] Rare Recordings 1963 -1974 Music of Peter Lieberson: Rilke Songs, The Six Realms, Horn Concerto ASIN: B0000U1NGU Release Date: 2004-02-10

Customer Reviews:

The Essential Coloratura Album.......2007-02-16

The artistry of Rita Streich presented in this multi-disc set represents an art that in all likelihood would not return: the Viennese school of coloratura and lyrical singing.
Together with Elisabeth Schwarzkopf, Rita Streich studied voice with Maria Ivogun, a great coloratura soprano of the German-Austro school. Together with her colleague, Streich excelled in the Viennese-style coloratura singing. This album presents her wide range of repertoire from Austro-German to French to Italian opera; from classical opera to romantic Strauss operetta; from lieder to folk songs.
What this album does NOT include is Streich's Russian repertoire, some thing that, owing to her maternal descent, she was most adept at.
Unlike Schwarzkopf, Streich owned a voice that is out-right lyrical. It is even lighter, even more agile, even more silvery, though not as forceful as Schwarzkopf's on demand. Listen to her delightful "Bastien und Bastienne", her Mozart concert arias and enjoy her highly articulated, musically refined delivery. It is the exemplary Viennese singing. Her soubrettes as well as lyrical heroines are nothing short of being superb.
Not being as internationalised a singer as Schwarzkopf, Streich nonetheless was a representative figure of Viennese coloratura singing. Some times I would even feel that her coloratura is even more superior to that of the great dramatic coloratura of the 20th century, Joan Sutherland, again a very much more internationalised singer than Streich.
If you are undergoing voice training, this box set is essential.

Average customer rating:

Humperdinck: Hansel und Gretel [Highlights] Manufacturer: Berlin Classics ProductGroup: Music Binding: Audio CD Humperdinck, Engelbert | ( H ) | 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 ASIN: B0000035WF Release Date: 1997-03-18

Tracks:

1. Hansel Und Gretel (zum Ersten Bild): Vorspiel
2. Hansel Und Gretel (zum Ersten Bild): Suse, liebe Suse, was raschelt im Stroh?
3. Hansel Und Gretel - Erstes Bild, 1. Szene: Bruderchen, komm tanz' mit mir (Daheim)
4. Hansel Und Gretel - Erstes Bild, 1. Szene: Holla! Himmel! Die Mutter!
5. Hansel Und Gretel - Erstes Bild, 2. Szene: Marsch! Fort in den Wald!
6. Hansel Und Gretel - Schluss der 3. Szene: Eine Hex', steinalt, haust tief im Wald
7. Hansel Und Gretel - Schluss der 3. Szene: Hexenritt (Vorspiel zum Zweiten Bild)
8. Hansel Und Gretel - Zweites Bild, 1. Szene: Ein Mannlein steht im Walde (Im Wald)
9. Hansel Und Gretel - Zweites Bild, Schluss der 1. Szene: Gretel, ich weiss den Weg nicht mehr!
10. Hansel Und Gretel - Zweites Bild, 2. Szene: Der kleine Sandmann bin ich
11. Hansel Und Gretel - Zweites Bild, 2. Szene: Abends, will ich schlafen gehn (Schluss)
12. Hansel Und Gretel - Zweites Bild, 2. Szene: Vorspiel (zum Dritten Bild)
13. Hansel Und Gretel - Drittes Bild, 1. Szene: Der kleine Taumann heiss' ich (Das Knusperhauschen)
14. Hansel Und Gretel - Drittes Bild, Schluss der 1. Szene: Wo bin ich? Wach' ich? Ist es ein Traum?
15. Hansel Und Gretel - Drittes Bild, Schluss der 1. Szene: Bleib stehn! Bleib stehn!
16. Hansel Und Gretel - Drittes Bild, 2. Szene: Wie duftet's von dorten
17. Hansel Und Gretel - Drittes Bild, 2. Szene: Halt! - Hokus pokus, Hexenschuss
18. Hansel Und Gretel - Drittes Bild, 3. Szene: Nun, Gretel, sei vernunftig und nett
19. Hansel Und Gretel - Drittes Bild, 3. Szene: Hurr hopp hopp hopp
20. Hansel Und Gretel- Dritten Bild, 3. Szene: Juchhei! Nun ist die Hexe tot - Knusperwalzer aus dem
21. Hansel Und Gretel- Drittes Bild, 4. Szene: Erlost, befreit, furr alle Zeit!
22. Hansel Und Gretel - Drittes Bild, Letzte Szene: Ei, da sind sie ja! Vater! Mutter!

Average customer rating: A justly famous first-generation "Der Rosenkavalier".

R. Strauss: Der Rosenkavalier (abridged) Manufacturer: Naxos ProductGroup: Music Binding: Audio CD All Works by Strauss | Strauss, Richard | ( S ) | Featured Composers, A-Z | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Berlin Philharmonic Orchestra | ( B ) | Featured Performers, A-Z | Classical | Styles | Music Vienna Philharmonic Orchestra | ( V ) | Featured Performers, 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: Puccini: Madama Butterfly Massenet: Werther Bach: Sonatas for Unaccompanied Violin ASIN: B00006I05G Release Date: 2002-10-22

Customer Reviews:

A justly famous first-generation "Der Rosenkavalier"........2003-01-20

As one who heard two of the principals in this famous old recording (Schumann and Olszewska at the end of their careers), I ought perhaps to lead off a discussion and review of this latest of its reissues.

By 1933 it was becoming clear that this most delectable and brilliantly scripted opera was likely to retain a permanent place in the international repertory. EMI's leading producer, Fred Gaisberg, had attended performances in London and Vienna given by a notable cast of singers usually conducted by Bruno Walter, and he commenced planning for a Vienna recording. As with most opera recording projects, however, there needed to be compromises. Firstly, the opera was too lengthy to record and issue on 78s. Secondly, the idea of having Strauss himself conduct it had to be abandoned because he demanded too high a fee. Lehmann's recording contracts allowed her to be included, but neither Bruno Walter as conductor nor Delia Reinhardt as the preferred Octavian could be engaged. Ultimately the project went ahead and an abridged version of the opera, reduced to about half its total duration, was recorded and released on thirteen 78s.

In 1951, on BBC radio, I heard Elisabeth Schumann play the recording of the final duet in this opera. She introduced it as follows: "I must let you into a little secret concerning this record. When we were making these records in Vienna Lotte Lehmann forgot two notes she had to sing. You may recall that just before the final duet Sophie's father remarks to the Marschallin how amazing young people are and the Marschallin replies, 'Ja, ja'. With the trio over, Lotte Lehmann thought her part in the recording was over and retired to her country house near Vienna. There were too many complications involved in getting Miss Lehmann back and so I sang the two words 'Ja, ja'. You must admit I did it very well." Subsequent research has revealed that the final duet was in fact the first item of the project to be recorded, on the first morning of the schedule, and that Lotte Lehmann had not yet arrived. Nevertheless Schumann did substitute for her great friend and colleague and the "take" was approved immediately.

Seventy years later, this splendid Mark Obert-Thorn reissue allows this recording to be heard with greater ease and clarity than ever before. Even so, listeners must bear in mind that recording techniques of the 1930s were barely adequate for capturing the richness of the orchestral score or the intricate vocal textures of the many trios and duets. Singing styles, moreover, differ from today's: both Richard Mayr and Elisabeth Schumann lay the portamento on very thickly. It is, nevertheless, a justly famous cast and one that became closely associated with the opera almost (but not quite) from the time of its 1911 premiere.

Lehmann's Marschallin meets all the requirements of the part. Womanly, wise, accepting of disappointment and generous in her nobility, this Marschallin commands attention throughout. Having exactly the kind of silvery voice and enchanting personality that match the role of Sophie, Elisabeth Schumann makes Sophie a more dominant character than is often the case. How well she depicts girlishness after acknowledging the presentation of the silver rose ("I am looking forward to being married? Are you looking forward too?", and how well she ticks off Baron Ochs in the final act ( "I've done and finished with you")! Happily, almost all Sophie's music was retained in this abridged recording. Maria Olszewska's Octavian is perhaps more impressive for purely vocal richness than for character insights. Richard Mayr, Viennese born and bred, created the part of Baron Ochs at the opera's Vienna premiere in 1911 and remained its most celebrated exponent until the time of his death not long after this recording was made. Much of his part of the opera is omitted in this recording but enough remains to show his fluency in the Viennese accent and some highly musical clowning.

Both Lehmann and Mayr are represented in individual extracts from this opera, which Naxos provide as an appendix to this recording.

Average customer rating:

Vienna State Opera Live Volume 8: Verdi Manufacturer: Koch Schwann (Germ.) ProductGroup: Music Binding: Audio CD All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music ASIN: B000001SUV Release Date: 1994-08-23

Tracks:

1. Un Ballo In Maschera, Act 1: O meine Freunde-Ah, welche, hohe Wonne - Max Lorenz/Alda Noni/Marjan Rus/Sigmund Roth/Chorus
2. Un Ballo In Maschera, Act 1: Fur dein Gluck und fur dein Leben - Mathieu Ahlersmeyer
3. Un Ballo In Maschera, Act 1: Wer weiB, ob dort nicht die Gelegenheit-Jeder Gram Weiche heut dem... - Max Lorenz/Alda Noni/Mathieu Ahlersmeyer/Marjan Rus/Sigmund Roth/Chorus
4. Un Ballo In Maschera, Act 1: Und wo? Ihr wollt es wagen-Dort, wo auf odem Brachfeld - Hilde Konetzni/Elena Nikolaidi/Max Lorenz
5. Un Ballo In Maschera, Act 1: O sag, wenn ich fahre auf schaumenden Wogen - Max Lorenz/Alda Noni/Sigmund Roth/Marjan Rus/Elena Nikolaidi/Chorus
6. Un Ballo In Maschera, Act 1: Nur Scherze sind's und Possen - Max Lorenz/Elena Nikolaidi/Marjan Rus/Sigmund Roth/Alda Noni/Chorus
7. Un Ballo In Maschera, Act 1: Er ist's!-Herbei, ihr Leute! - Franz Worff/Alda Noni/Elena Nikolaidi/Max Lorenz/Mathieu Ahlersmeyer/Marjan Rus/Sigmund Roth/Chorus
8. Un Ballo In Maschera, Act 2: Wenn das Kraut, wie die Seherin kundet - Hilde Konetzni
9. Un Ballo In Maschera, Act 2: WeiBt du nicht, daB, wenn Qualen der Reue-Amelia! Du liebst mich? - Max Lorenz/Hilde Konetzni
10. Un Ballo In Maschera, Act 3: Ja, nur du hast dies Herz mir entwendet - Mathieu Ahlersmeyer
11. Un Ballo In Maschera, Act 3: Hier steht mein Name-Doch heiBt mich auch mein Pflichtgebot - Max Lorenz
12. Un Ballo In Maschera, Act 3: LaBt ab mit Fragen - Alda Noni
13. Un Ballo In Maschera, Act 3: Ich kenne keine Gefahr-Lieben, ja lieben muB ich dich - Max Lorenz/Hilde Konetzni/Mathieu Ahlersmeyer
14. Un Ballo In Maschera, Act 3: Nein! Nein! O lasset ihn-Unverletzt ist deine Ehre - Max Lorenz/Hilde Konetzni/Mathieu Ahlersmeyer/Alda Noni/Marjan Rus/Sigmund Roth/Chorus
15. Aida: Prelude - Orch der Wiener Staatsoper/Gui
16. Aida, Act 1: ...und das Nilgestade-o ware ich erkoren-Holde Aida - Josef von Manowarda/Set Svanholm
17. Aida, Act 1: Legt die heil'ge Wehr an-Auf! des Niles heil'ges Ufer - Marjan Rus/Josef von Manowarda/Daniza Ilitsch/Elena Nikolaidi/Chorus
18. Aida, Act 1: (Als Sieger kehre heim)-Sei Besieger meiner Bruder - Daniza Ilitsch
19. Aida, Act 2: Heil dir, Agypten, Isis Heil - Marjan Rus/Chorus
20. Aida, Act 2: Du also bist?-Ihr Vater! Ich hab' gekampft - Marjan Rus/hans Hotter/Daniza Ilitsch/Elena Nikolaidi/Josef von Manowarda/Chorus

Tracks:

1. Aida, Act 3: ...des Niles dunkle Tiefe-O Vaterland - Daniza Ilitsch
2. Aida, Act 3: Ein Konigskind ist deine Rivalin-Wiedersehen wirst du die duft'gen Walder - Hans Hotter/Daniza Ilitsch
3. Aida, Act 3: An meiner Liebe zweifelt Aida?-Zur Ferne entfliehen-Die Schluchten bei Napata - Set Svanholm/Daniza Ilitsch/Hans Hotter
4. Aida, Act 4: Es hat der Stein sich uber mir geschlossen-Leb wohl, o Erde - Set Svanholm/Daniza Ilitsch/Elena Nikolaidi/Chorus
5. Falstaff, Act 2: Meine Ehrfurcht!-Willkommen, liebe Frau! - Mela Bugarinovic/Georg Hann
6. Falstaff, Act 2: Fur sie vertreu' ich Schatze-So traum' ich? Oder ist's wahr?-Vereinbart die Stunde - Karl Kronenberg/Georg Hann
7. Falstaff, Act 2: Ich lieb' dich-Einstens als Page - Georg Hann/Esther Rethy/Mela Bugarinovic/Elena Nikolaidi/Karl Kronenberg/William Wernigk/Marjan Rus
8. Falstaff, Act 2: LaB dich umarmen-Viktoria! - Anton Dermota/Adel Kern/Josef Witt/Karl Kronenberg/William Wernigk/Marjan Rus/Mela Bugarinovic/...
9. Falstaff, Act 3: LaB uns Gluhwein gieBen in diesem Bauch voll - Georg Hann/Mela Bugarinovic/Adele Kern/Esther Rethy
10. Falstaff, Act 4: Dem Mund entflieht ein Lied - Anton Dermota/Adele Kern/Esther Rethy
11. Falstaff, Act 4: Zeus, als du Europa liebtest - Georg Hann/Esther Rethy/Elena Nikolaidi/Adele Kern
12. Falstaff, Act 4: Auf sachten Zephyrs Welle - Adele Kern/Chorus
13. Falstaff, Act 4: Ein Chor soll die Komodie schlieBen-Alles um uns ist Narrheit - Georg Hann/Karl Kronenberg/Esther Rethy/Adele Kern/Elena Nikolaidi/Mela Bugarinovic/Anton Dermota/..

Average customer rating: A delightful performance of a delightful opera

Humperdinck: Hänsel und Gretel Manufacturer: Polygram Records ProductGroup: Music Binding: Audio CD Humperdinck, Engelbert | ( H ) | Featured Composers, A-Z | Classical | Styles | Music Humperdinck, Engelbert | H to L | Featured Composers, A-Z | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Bonney, Barbara | Divas | Opera & Vocal | Styles | Music Jones, Gwyneth | Divas | Opera & Vocal | Styles | Music Ludwig, Christa | Divas | Opera & Vocal | Styles | Music Holiday | Miscellaneous | Styles | Music | General Christmas | Today's Deals | Box Sets | Children's Music | Classical Instrumental | Halloween | Hanukkah | Kwanzaa | Opera & Vocal | Pop Instrumental & Easy Listening | Pop Vocal ASIN: B00000415O Release Date: 1993-10-12

Tracks:

1. Hansel und Gretel: Prelude - Staatskapelle Dresden/Davis
2. Hansel und Gretel: Act One: 'Suse, liebe Suse, was raschelt im Stroh?' - Gruberova/Murray
3. Hansel und Gretel: Act One: 'Bruderchen, komm tanz mit mir' - Gruberova/Murray/Jones
4. Hansel und Gretel: Act One: 'Himmel, die Mutter!' - Gruberova/Murray
5. Hansel und Gretel: Act One: 'Rallalala, rallalala' - Grundheber/Jones
6. Hansel und Gretel: Act One: 'Doch halt, wo bleigen die Kinder?' - Grundheber/Jones
7. Hansel und Gretel: Act One: 'Wenn sie sich verirrten im Walde dort' - Grundheber/Jones
8. Hansel und Gretel: Act One: Der Hexenritt - Staatskapelle Dresden/Davis
9. Hansel und Gretel: Act Two: 'Ein Mannlein steht im Walde' - Gruberova/Murray
10. Hansel und Gretel: Act Two: 'Gretel! Ich weiden Weg nicht mehr!' - Gruberova/Murray
11. Hansel und Gretel: Act Two: 'Der kleine Sandmann bin ich' - Bonney/Gruberova/Murray
12. Hansel und Gretel: Act Two: 'Abends will ich schlafen gehn' - Gruberova/Murray
13. Hansel und Gretel: Act Two: Pantomime - Staatskapelle Dresden/Davis

Tracks:

1. Hansel und Gretel: Act Two: Waldmorgen vor dem Knusperhaus - Staatskapelle Dresden/Davis
2. Hansel und Gretel: Act Three: 'Der kleine Taumann hei ich' - Oelze
3. Hansel und Gretel: Act Three: 'Wo bin ich? Wach' ich? Ist es ein Traum?' - Gruberova/Murray
4. Hansel und Gretel: Act Three: 'Mir ist so wohl, ich weinicht wie!' - Gruberova/Murray
5. Hansel und Gretel: Act Three: 'Bleib stehn, bleib stehn!' - Gruberova/Murray
6. Hansel und Gretel: Act Three: 'Knusper, knusper knauschen' - Chor/Gruberova/Murray
7. Hansel und Gretel: Act Three: 'Hi hi, hi, hi' - Chor/Gruberova/Murray
8. Hansel und Gretel: Act Three: 'Halt!' - Chor/Gruberova/Murray
9. Hansel und Gretel: Act Three: 'Der Teig ist gar, wir konnen voran machen' - Kinderchor/Damen Dresdner Opernchores
10. Hansel und Gretel: Act Three: 'Auf! Wach auf, mein Jungelchen' - Chor/Gruberova/Murray
11. Hansel und Gretel: Act Three: 'Juchhei! Nun ist die Hexe tot' - Gruberova/Murray
12. Hansel und Gretel: Act Three: 'Erlost, befreit' - Ludwig/Gruberova/Murray
13. Hansel und Gretel: Act Three: 'Rallalala, rallalala' - Grundheber/Murray/Gruberova/Jones/Chor

Customer Reviews:

A delightful performance of a delightful opera.......2000-01-26

A delightful performance of a delightful opera! It's quite evident that Sir Colin loves the score as he infuses great warmth and energy into the orchestral playing. The chosen tempi are always natural and transitional passages well managed. The Philips engineers also deserve praise in giving a spacious quality to the sound picture. While Anny Murray and Edita Gruberova may not possess the most beautiful of voices, their timbres are well contrasted and both sing intelligently. Christa Ludwig is a characterful Witch who manages to avoid the temptation of overdoing things. Franz Grundheber is a vocally secure and positive Father and Gwyneth Jones is able to control her huge voice while investing the lines of the world-weary Mother with considerable depth of feeling. Barbara Bonney's Sandman and Christiane Oelze's Dew Fairy are both exquisite. All in all, a fine performance.

World Music:

1. Trinidad Hot Times [Import]
2. Uhuru World Music Festival: Voices Voix Stimmen
3. Ulitimate Non-Stop Irish Party [Import]
4. Vo Maro Daat [Import]
5. Waldmeister Mit Beigeschmack [Import]
6. Wenn Ich Glücken Bin [Import]
7. World of Tango [Import]
8. 2117 M. Above Des Level [Import]
9. All in a Garden Green [Import]
10. Aua [Import]

World Music

world music

World Music

So You Ruined Your Life

Mozart: Clarinet Quintet; Oboe Quartet; Horn Quintet

Lucinda Williams

Tour de Flux [Live]

Pass This on [CD-single] [Enhanced] [Import]

I'm Your Handyman

Keep on Going

Limelight [Import]

Rock Music rock-music-52

Janacek: Idyll; Suite for String Orchestra; Bartok: Divertimento

Imperial Bedroom [Import]

Jongo Trio [Import]

La Epoca de Oro, Vol. 2

Wetlands

Desensitized