Gala Night

On this CD:

1. La cenerentola (Cinderella), overture
Composed by Gioachino Rossini

Conducted by Peter Falk

2. Il barbière di Siviglia (The Barber of Seville), opera Una voce poco fa
Composed by Gioachino Rossini
Performed by Vesselina Kasarova
Conducted by Peter Falk

3. Turandot, opera Nessun dorma
Composed by Giacomo Puccini

Conducted by Peter Falk

4. Overture: Russlan and Ludmilla, G. xivov
Composed by Mikhail Glinka

Conducted by Peter Falk

5. Eugene Onegin, opera, Op. 24 Ein jeder kennt die Lieb'auf Erden
Composed by Pyotr Il'yich Tchaikovsky

Conducted by Peter Falk

6. L' Arlésienne, Suite I for orchestra, from the incidental music Suite No. 2: Farandole
Composed by Georges Bizet

Conducted by Peter Falk

7. La cenerentola (Cinderella), opera Siete voi?
Composed by Gioachino Rossini
Performed by Deborah Cole, Ewa Podles, Martin Bruns
Conducted by Peter Falk

8. Rubens Overture
Composed by Theo Mackeben

Conducted by Peter Falk

9. Les Contes d'Hoffmann, opera in 4 acts Leuchte heller Spiegel mir
Composed by Jacques Offenbach
Performed by Eike Wilm Schulte
Conducted by Peter Falk

10. Die Lockende Flamme Pasodoble
Composed by Eduard Kunneke

Conducted by Peter Falk

11. Die Grosse Sünderin, opera Immerzu singt mein Herz deinem Herzen zu
Composed by Eduard Kunneke
Performed by Dagmar Schellenberger, Zoran Todorovic
Conducted by Peter Falk

12. Die Csárdásfürstin (The Gypsy Princess), operetta Overture
Composed by Imre (Emmerich) Kalman

Conducted by Peter Falk

13. Die Csárdásfürstin (The Gypsy Princess), operetta Ganz ohne Weiber geht die Chose nicht
Composed by Imre (Emmerich) Kalman

Conducted by Peter Falk

14. Orphée aux enfers (Orpheus in the Underworld), operetta Can Can
Composed by Jacques Offenbach

Conducted by Peter Falk

15. Die Csárdásfürstin (The Gypsy Princess), operetta Jaj, Mamam Bruderherz
Composed by Imre (Emmerich) Kalman
Performed by Dagmar Schellenberger
Conducted by Peter Falk

16. Unter Donner und Blitz (Thunder and Lightning), polka schnell for orchestra, Op. 324 (RV 324)
Composed by Johann II Strauss

Conducted by Peter Falk

17. Star Wars, film score Star Wars (Title Melody)
Composed by John Williams

Conducted by Peter Falk

18. Les Miserables, musical On My Own
Composed by Claude-Michel Schoenberg

Conducted by Peter Falk

19. Miss Saigon, musical Sun and Moon
Composed by Claude-Michel Schoenberg

Conducted by Peter Falk

20. Work(s) Medley: I Got Rhythm/'S Wonderful/The Man I Love/Fascinatin' Rhythm; arr. unknown
Composed by George Gershwin

Conducted by Peter Falk

21. Once Upon a Time in the West, film score Theme
Composed by Ennio Morricone

Conducted by Peter Falk

22. Cabaret, musical Cabaret
Composed by John Harold Kander

Conducted by Peter Falk

23. Jesus Christ Superstar, musical Medley
Composed by Andrew Lloyd Webber

Conducted by Peter Falk

24. Aspects of Love, musical Love changes everything
Composed by Andrew Lloyd Webber

Conducted by Peter Falk

25. A Little Night Music, musical Send in the clowns
Composed by Stephen Sondheim

Conducted by Peter Falk

26. Rififi, film score Theme
Composed by Philippe-Gerard

Conducted by Peter Falk

27. Medley: Over the Rainbow/Summertime/Maria/New York, New York/There's No Business Like Show Business
Composed by Unspecified

Conducted by Peter Falk

Tracks:

L'Elisir DAmore: Una Furtiva Lagrima
Andrea Chenier: Un Di All'Azzurro Spazio
TOSCA: E Lucevan Le Stelle
La Traviata: Parigi, O Cara
Madama Butterfly: Vogliatemi Bene, Un Bene Piccolino
La Boheme: O Soave Fanciulla
Funiculi Funicula
My Song My Love
Diane
Thine Alone
A Vuchella
Toselli's Serenade
Because You're Mine
The Loveliest Night Of The Year
O Paradiso
The Rosary
If
They Didn't Believe Me
The Lords Prayer
Be My Love

Customer Reviews:

The Young Lanza impresses.......2007-04-11

I am a singer and have been a Mario Lanza fan since becoming interested in opera in my teens. The quality of his singing varied a great deal, especially in his later years. But this Hollywood Bowl concert, at age 26, shows him with a freshness and ease of production that failed him later in life. Highlights for me were the Boheme Duet - I don't know of any of the current tenor stars who would dare to hold the High A for so long and then jump right to the High C and be able to sustain it. The Andrea Chenier demonstrates his spinto side and the beauty of his middle and lower voice. One weeps for what might have been. But I will put this recording against Mr. Alagna any day of the week.

A Rare Find!.......2002-12-19

The "Live From London" is my favorite cd and this is a close second. I usually listen to the Bowl selections only and save the Coca-Cola radio program for another time. The recording quality is not the best, but this is a wonderful sourvenir of the young singer in excellent voice and delivery at the begining of his career. The selections with soprano Frances Yeend are a wonderful addition since there are few recorded "live concert" Lanza duets available outside of this venue (there are recordings of his later Bowl appearances you may want to check out). Mario's introductions show his warmth and humor. It was at this concert that MGM took notice and his career moved to the movie studios. We are fortunate to have this recording. One of the highlights of the Coke show program is Mario's introduction to the "Our Father". Disregard the liner notes. For value delivered, this cd rates five stars!

One of the great performances of all time.......2002-05-12

The first six tracks of this CD capture Mario Lanza's legendary 1947 Hollywood Bowl debut. These recordings, by themselves, would rate 7 stars in my book. (The rest of the CD would probably merit about 2 stars, but those live tracks are worth the ridiculously low price of this collection many times over.) Renowned baritone George London, Lanza's frequent singing partner, later said he never heard Mario sing better than he did that night, and it would be hard to disagree with him. Lanza, on the eve of signing his contract with MGM, was at the peak of his vocal discipline, fresh off 15 months of training with Enrico Rosati. And while his interpretive abilities may have not reached their full potential, then or ever, the voice itself was magnificent: brilliant, rich and indescribably glorious. The concert opens with "Una furtiva lagrima," by Donizetti, which, if somewhat raw, is certainly more refined and lyrical than his later studio recording. His phrasing of "Cielo, si puo morir" can bring tears to my eyes. Next up is a thrilling rendition of "Un di all'azzuro spazio" from ANDREA CHENIER. Lanza's performance of this aria is as good as any I've ever heard, including Caruso's. He positively caresses the phrase "Su dalla terra a la mia fronte veniva una ca'rezza viva," then passionately spits out the aria's middle section: "un uom vi calunniave bestemmiando il suolo che l'erario a pena sazia e contro a Dio scagliava, e contro a li uomini le lagrime dei figli!" Lanza's vocal tone, in this performance, was more focused than it was in his later recording of this aria, and his later recordings in general, and the effect is very impressive to those who have only heard his studio recordings. Then, for an encore, he sings "E lucevan le stelle," from TOSCA by Puccini, another aria which, in my opinion, Lanza sang as well if not better than anyone. True, he does not sing the pianissimo like Gigli or Di Stefano, but then neither did Caruso or Domingo. In fact, to my way of thinking Lanza's interpretation is more in character with a man who is about to die: it is not a simple love song but a cry of desperation. Next come three gorgeous duets with Frances Yeend, a singer with limited interpretive abilities but a rich, full voice. On the duet from LA TRAVIATA, Lanza showcases a wonderful legato line, and the timing of the two singers is nearly perfect. By this time in the concert, Lanza's voice had reached its peak of richness and beauty. The love duet from MADAME BUTTERFLY that follows is a positive tour de force: I have never heard a more exciting and musical performance: neither singer allows interpretation to get in the way of the melody, which is always a good idea with Puccini. Lanza is at his most passionate here, and his high C at the end is devastating. Yeend would later say that Lanza's singing was "Always thrilling. . .he never spared the horses," and this duet is a good example. Finally, a tasteful and lovely rendition of the duet from LA BOHEME closes out the show, with the richness of each singer's voice on full display. Lanza sings the line "Dammi il braccio mia piccina" as romantically as anyone, and the interplay between the two singers is nearly perfect. This is a performance for the ages: anyone who loves Italian opera and especially great tenor singing should love this album. The rest of the album is pretty much a waste, except for an interesting version of "A Vuchella" in which Lanza does his best Gigli impression. Notably, this album contains possibly the worst version of any song I have ever heard: an English language rendition of "Funiculi funicula" that is positively dreadful, although you can't really blame that on Lanza's singing.

Buy this for the first six tracks only!.......2001-08-22

This CD contains both the very best and the very worst of the vastly underrated Mario Lanza. First things first, ignore the absurdly inaccurate liner notes. Lanza did NOT have a small voice - indeed fellow musicians who sang with him often remarked that it was a huge and powerful instrument. Lanza's voice did not "crack down" in his last years, as the liner notes writer asserts; rather it was his health that "cracked down" in the final year of his life.

These recordings, however, demonstrate the tenor in the full bloom of health. The outstanding selections are tracks 1-6, which come from his extraordinary Hollywood Bowl debut in 1947. You'll never hear a better Lanza rendition of the Madama Butterfly Love Duet (with soprano Frances Yeend) than the one included here. This is sensitive AND passionate singing of the highest order, and listening to this rendition today it is not surprising that MGM signed the tenor up for a movie career the very next day. All six selections are outstanding, and many will be surprised by the beautiful legato Lanza employs in the difficult Parigi, O Cara from La Traviata.

The six initial tracks are more than worth the price of the CD, and make up for the shortcomings of the remaining selections, all of which come from Lanza's Coca-Cola radio show of 1951-52. The latter tracks show the tenor at his commercial worst. Diane is an abomination, and there are several other selections that should never have seen the light of day. Fortunately, however, there are a few nuggets among the dross, and "If" is a most attractive and exciting performance.

The sound is not brilliant on the Coke Show selections (these are not the pristine BMG recordings, and all come with overlaid applause tracks). Ironically, the live Hollywood Bowl selections have much better sound.

Tracks:

Christmas Prologue
Deck The Halls
The Closing Of The Year
Tu scendi dalle stelle
Walking In The Air
Adeste Fideles
Away In A Manger
An Old-Fashioned Christmas
First Of May
Il Re Gesu
Froliche Weihnacht
Cantemos Rapaces
Christmas Is Here Again
Child In A Manger
Angels From The Realms Of Glory
Another Christmas Song
Santa Claus Is Coming To Town
Happy Christmas (War Is Over)
Silent Night
First Of May (Studio Version) - (Bonus Track)

Amazon.com

You don't hear many live Christmas records, but then it's seldom you get as many operatic powerhouses under one Austrian town-hall roof with a full orchestra and large children's choir. Placido Domingo (who dominates the proceedings with his commanding tenor), Britain's own Sarah Brightman, Belgian Helmut Lotti, and Italy's Richard Cocciante raise the roof on this international gala recording from 1997 under the skilled baton of Steven Mercurio and choir master Elizabeth Ziegler. Chief among the performances during this black-tie event are the Domingo-Cocciante duet of "Walking in the Air," Brightman's chilling "First of May," (the Bee Gees song) and a strange medley of European-American songs, traditional and pop, ranging from Roger Whittaker and John Lennon and Yoko Ono to Jethro Tull's Ian Anderson and a handful of traditional Welsh, German, and Spanish works, plus that Yank standard "Santa Claus Is Coming to Town." For button-down audiences only who still can appreciate pop songs in expanded and exploded arrangements. --Martin Keller

Customer Reviews:

A Gala Christmas in Vienna.......2007-01-15

Excellent Christmas music with some very good vaiety of voice and composition.

Helmut Lotti and others sing for Christmas.......2005-09-24

I am a great fan of Helmut Lotti. This particular recording is one my husband I already own and enjoy. We purchased this one for our adult daughter. Each of the performers on this disk are first rate and the recording as a whole is well worth adding to one's holiday pleasures.

Great for Christmas Time!!.......2004-02-26

Beautiful concert, with a lot of Spirit, Sarah Brightman voice is wonderful, this 4 singers give soul to the concert, is great for christmas time, I love this CD & also the DVD amazing..

Still my favorite Christmas album.......2004-01-08

I read all the other reviews and just had to add my thoughts. This is still my favorite Christmas album after listening to it for 5 seasons now. I can hardly wait for next Christmas so I can enjoy it all over. Sarah Brightman is wonderful of course - wish I could find a separate recording of - First Of May - , wow! If you like good Christmas music and the spirit of Christmas you will enjoy this album.

humorously horrible.......2002-12-24

This album is so wretched it made me laugh. In the store I looked at the artists and the songs and thought it would provide nice holiday music. I put it on when I got home and wondered if maybe Spike Jones had slipped in some joke tunes. I can't believe these people sound so bad. Sure, some of the numbers are very nice, but then you split a gut laughing at the others--or worse, cringing.

Average customer rating:

A Salute to American Music

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Country | Styles | Music

General | Opera & Vocal | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

English | Languages | Opera & Vocal | Styles | Music

Psalms | Vocal Non-Opera | Opera & Vocal | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
ASIN: B00000E6PJ
Release Date: 1992-12-01

Average customer rating:

Cerquetti's Abigaille
Good soloists, mediocre chorus, mono recording
Blistering Vocalism
Glorious Cerquetti in very good Nabucco
Verdi at the most exciting way!

Nabucco [Highlights]

Manufacturer: Gala
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

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

4-for-3 All Music | 4-for-3 Music | Stores | Music
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Cherubini: Gli Abencerragi
Verdi: La Traviata (complete opera live 1955) with Maria Callas, Giuseppe di Stefano, Carlo Maria Giulini, Orchestra & Chorus of La Scala, Milan

ASIN: B000001XMU
Release Date: 2000-06-06

Tracks:

Nabucco: Part One - Introduzione
Nabucco: Part One - Recitativo e cavatina
Nabucco: Part One - 'D'Egitto la sui lidi'
Nabucco: Part One - 'Qual rumore?'
Nabucco: Part One - 'Come notte a sol fulgente'
Nabucco: Part One - 'Guerrieri e presto il Tempio'
Nabucco: Part One - 'Io t'amava!'
Nabucco: Part One - Corco - 'Lo vedeste?'
Nabucco: Part One - 'Finale ''Viva Nabucco!'
Nabucco: Part One - 'Che tenti?'
Nabucco: Part One - 'Tremin gl'insani del mio furore'
Nabucco: Part One - O vinti'
Nabucco: Part One - 'Mio furore'
Nabucco: Part Two, Scene One - Scena ed aria
Nabucco: Part Two, Scene One - Anch'io dischiuso un giorno'
Nabucco: Part Two, Scene One - 'Chi s'avanza'
Nabucco: Part Two, Scene One - 'Salgo gia deltrono aurato'
Nabucco: Part Three, Scene One - 'Donna,chi sei?'
Nabucco: Part Three, Scene One - 'Oh,Di qual'onta aggravasi'
Nabucco: Part Three, Scene One - 'Ah, qual suon!'
Nabucco: Part Three, Scene One - 'Deh, Perdona'
Nabucco: Part Three, Scene Two - Coro e profezia (Introduczione - Introduction)
Nabucco: Part Four, Scene One - 'Dio Di Giuda'
Nabucco: Part Four, Scene One - 'Porta fatale, or t'apriral!'
Nabucco: Part Four, Scene One - 'Cadran, cadranno i perfidi'
Nabucco: Part Four, Scene Two - Finale ultimo 'Oh,dischiuso e il firmento'
Nabucco: Part Four, Scene Two - 'Ah, torna Ieraello'
Nabucco: Part Four, Scene Two - 'Immenso jeovha

Customer Reviews:

Cerquetti's Abigaille.......2003-09-06

First off, it should be known to the potential buyer that these are HIGHLIGHTS only. The mono sound is acceptable. Orchestra and chorus are average at best. The focus clearly is on Anita Cerquetti and her rendition of Abigaille. Even though in the booklet listing of tracks her name is omitted on the last cue point. I never heard this singer live. My first encounter with her voice was the studio GIOCONDA with del Monaco and Simionato and I liked it very much. As Abigaille I find her less convincing. The voice is beautiful and even. But she cannot convey Abigaille's high flying ambitions. She sounds noble most of the time. Never aggressive or infuriated or spiteful or menacing. Her repentance/dying scene is superficial. Which makes me wonder how often Miss Cerquetti may have had the chance to sing this role during her brief career and develop a feeling for it. At times she unexpectedly breaks a phrase to catch her breath, which I find somewhat irritating. And some climax seem "rushed". It's also a bit disappointing to me that the "Salgo gia" cabaletta gets no repeat. Guess such were the customs in those years, even for concert performances. I am pleased with Messrs. Dondi (in the title role) and Trama. Aside from their vocal qualities I find them very much in character. Also the singers of Fenena and Ismaele made me prick up my ears. Taken all in all, it's worthwhile to have this document. It will nicely supplement your studio NABUCCO. It's been a guilty pleasure of mine to compare Anita Cerquetti to Elena Suliotis and Dino Dondi to Tito Gobbi. And I wish that one day the Metropolitan Opera's NABUCCO with Leonie Rysanek under the baton of Thomas Schippers will appear on CD.

Good soloists, mediocre chorus, mono recording.......2002-10-24

The soloists are very good, but the chorus (key in this opera) is not on the same level. "Va Pensiero", the famous chorus piece, is very weakly done. The mono recording is only just adequate, OK for the soloists but flat and dull for stage presence and orchestration.

Blistering Vocalism.......2001-02-23

I first heard this rare pearl over 20 years ago on some faded third-generation cassette. Despite the dim sonics, I was thrilled to hear a diva who could actually negotiate the scorching roulades of Abigaille's music while still sounding like a singer and not some wounded forest creature howling in pain. Apart from Callas' live performance, we've had precious little to celebrate in recorded Abigailles. Sure, Scotto lit a few fires with her EMI pressing, but who wouldn't with a microphone clenched betweeen her teeth and the volume control nailed in place at the top of the control panel? For Heaven's sake, most of the current generation of half-wit dimpled divettes and "sound-enhanced" melody muffins could come off like an Abigaille with the right studio wizards calling the shots.

Cerquetti was the REAL thing. Like Margharita Roberti (listen to her in Christoff's ATTILA recording), Caterina Mancini and Fedora Barbieri, she came from a school of barnstormers who could shake the foundations of San Carlo or La Scala with truly schooled, crafted voices that emanated from the viscera and not the top of the larynx. Cerquetti was one of the Queens of Can Belto, and this new release in great sound is one of the treasures among re-releases of the past decade. I cast aside all conservatory terminology and call this type of performance a ripsnorter for the ages. With Callas, Cerquetti, and Dimitrova on disc, and the rare likes of Linda Roark-Strummer performing the role onstage, the other studio bunnies can turn their attention to gentler repertoire and give the rest of us a break.

Glorious Cerquetti in very good Nabucco.......2000-07-19

With the exception of the famous Hebrew's choir 'Va pensiero', the number of recordings of 'Nabucco' is notably low. One possible reason is the extraordinary vocal demand of the female leading role, King Nabucco's daughter Abigaille. Very few sopranos have succeeded with this difficult role: Maria Callas, Elena Suliotis, Renata Scotto, Ghena Dimitrova (arguably the best). Now we have a live recording of the great Italian soprano Anita Cerquetti, and she is probably so good as Dimitrova. Cerquetti was one of the greatest sopranos of the century, although she had an astonishingly short carreer (she retired at the age of 30!). Most of her (scarce) recordings are live performances, so having any single piece of recording of her extraordinary voice is a real must. This Nabucco was one of the last documents of her operatic carreer, and here she sounds so splendid that it remains a mystery why she decided to give up singing so soon afterwards. The rest of the cast is very good, especially the bass Ugo Trama as the High Priest Zaccaria. Dino Dondi is a good Nabucco, but his interpretation of the title role is not a reference. The orchestra sounds well, and the choir efficiently provides the necessary support. The quality of sound is good for the time (1960). To Summarize: This incredibly low priced recording has an adequate combination of the elements needed for a good Nabucco: A very good choir, an excellent bass (Trama), a good baritone (Dondi) and a star of stars as princess Abigail: the great soprano Anita Cerquetti. Enjoy it!

Verdi at the most exciting way!.......2000-01-05

You have to buy this recording! Cerquetti is our and Verdi's dreams Abigaille! If you really are an opera fan or have any concern about Verdi you need this recording. Go for it!

Jazz in the Night: Live from the Thelonious Monk Institute - 10th Anniversary Gala

Average customer rating:

Jazz in the Night: Live from the Thelonious Monk Institute - 10th Anniversary Gala

ProductGroup: Music
Binding: Audio CD
ASIN: B000I3ZC0C

Product Description

Rare CD features live recordings from the Thelonious Monk Institute's 10th Anniversary Gala. Tracks: Wayne Shorter / Herbie Hancock (w/ Kenny Barron & Christian McBride): Memory of Enchantment / Jimmy Greene: If you Could See me Now; Original Milestones / Jon Gordon: Sicily; Body & Soul; Giant Steps / John Wojciechowski: Chelsea Bridge; G.T. / Thelonious Monk Institute of Jazz Performance Ensemble: Capetown Ambush.

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The modern Bolshoi
A recording any fan of Russian music must have.

Bolshoi-Gala

Manufacturer: Melodiya
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music
ASIN: B000001HE6
Release Date: 1997-10-14

Tracks:

Khovanshchina: Ov 'Dawn At The Moscow River' - Orch Of The Bolshoi Theatre/Peter Feranec
Khovanshchina: Prayer - Orch Of The Bolshoi Theatre/Peter Feranec
Boris Godunov: Coronation Scene - Vladimir Ognovienko/Konstantin Tolstobrov
Boris Godunov: Varlaam's Song - Artur Eyzen
Khovanshchina: Marfa's Fortune-Telling - Tatiana Erastova
Prince Igor: Aria Of Prince Igor - Vladimir Redkin
Prince Igor: Polovtsian Dances - Orch Of The Bolshoi Theatre/Peter Feranec
A Life For The Tsar: Cavatina And Rondo Of Antonida - Larisa Rudakova
A Life For The Tsar: Aria Of Susanin - Vladimir Matorin
Pique Dame: Yeletsky's Aria - Pavel Chernykh
Pique Dame: Lisa's Aria - Maria Gavrilova
May Night: Levko's Aria - Vitali Tarashchenko
Ruslan And Lyudmila: Ov To The Opr - Orch Of The Bolshoi Theatre/Peter Feranec
A Life For The Tsar: Final Chor ('Slav'Sya!') - Orch Of The Bolshoi Theatre/Peter Feranec

Customer Reviews:

The modern Bolshoi.......2000-01-28

This recording illustrates the new period of the Bolshoi. The singers chosen represent the new and old stars of the Bolshoi opera. The veterans include Artur Eisen, and the modern stars include Vladimir Matorin (Rightly considered the best Ivan Susanin of the ninties), Tatyana Yerastova, Vitaliy Tarashenko, Larisa Rudakova (who sang the Majic Flute at the met), Pavel Chernykh, Vladimir Redkin and Maria Gavrilova. Feranec, who is now replaced by Mark Ermler as the cheif conductor of Bolshoi orchestra, seems to follow the orchestra trained by Ermler, Lazarev and Svetlanov, instead of leading it. The chorus is spectacular.

A recording any fan of Russian music must have........1999-09-20

The only negative aspect of this recordind is the conducting of Peter Feranec. He is a fine professional conductor, but he is not able to present this very unique music. Now the soloists. We have some strong basses. V. Ognovenko is of course more of a bass-bariton, than a bass but he is a fine Boris Godunov. V. Matorin, on the other hand is a very good Ivan Susanin. He may sound more convincing in a theater (I heard him as Susanin in the Bolshoi on three ocasions), but just the richness of his voice is satisfacory. Baritones V. Redkin and P. Chernykh are both good artists, if not great vocalists. Sopranos L. Rudakova and M. Gavrilova (both international stars)show the wide vibrato, so charachteristic among russian vocalists. Mezzo T. Erastova (or more correctly Yerastova), also with a wide vibrato, uses her unique voice with skill. V. Tarastchenko is a good dramatic tenor, who is singing a wrong role.

Average customer rating:

Date Night Piano Solos
Antonio Castillo de la Gala
Manufacturer: Crow Art Records
ProductGroup: Music
Binding: Audio CD

General | Easy Listening | Pop | Styles | Music
ASIN: B00015WMYQ
Release Date: 2003-03-15

Tracks:

Portland Bungalow
In The Hour When My Heart Is Weak
I Gave It All
It All Depends On You
We Used To Play
Stay So Long
Starting To Sound Like A Love Song
I'd Never Ask For A Lifetime
Lover's Ballad
Wedding Day
La Bonne Vie
Dont Write A Song For Me

Album Description

Romantic piano solos written by John - arranged for piano and performed by master virtuoso Antonio Castillo de la Gala, the Bel-Air Hotel's resident pianist for over a decade

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Tchaikovsky: Pique Dame (Abridged)

Manufacturer: Gala
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Average customer rating:

Jazz in the Night: Live from the Thelonious Monk Institute - 10th Anniversary Gala
Wayne Shorter , Herbie Hancock , Jimmy Greene , Jon Gordon , and John Wojciechowski
ProductGroup: Music
Binding: Audio CD
ASIN: B000IXKHI4

Product Description

Review by Ken Dryden This live recording originates from the Thelonious Monk Institute's Tenth Anniversary Gala, which includes excerpts from the competition among alto saxophonists. With a solid rhythm section of Kenny Barron, Christian McBride and Lewis Nash, Jimmy Greene and John Wojciechowski are impressive, but Phil Woods' protégé Jon Gordon walks off with top honors with his great renditions of "Giant Steps," "Body & Soul," and a tasty original, "Sicily." Herbie Hancock and Wayne Shorter are featured in a duo performance of "Memory of Enhancement," a prize-winning piece written by Michiel Borstlap for the Institute's composer competition. Because this CD was available only through BMG Jazz Club via mail order, it's likely to become a collectible.

Mendelssohn-Bartholdy - Symphony No. 4/ a Midsummers Night's Dream/ Return From Abroad

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Mendelssohn-Bartholdy - Symphony No. 4/ a Midsummers Night's Dream/ Return From Abroad

Manufacturer: Grande Gala
ProductGroup: Music
Binding: Audio CD
ASIN: B000MYBY4K

Product Description

Symphonie Nr. 4 A- dur Op.90 Italienishe - Symphony no. 4 in A major Op. 90, Italian ~~~1. Allegro vivace ~~ 2.Andante con moto ~~ 3. Con moto moderato ~~ 4. Saltarello: Presto ~~ 5. Ouverture Ein Sommernachtstraum Op 21 overture a midsummer nights dream Op.21 ~~~ 6. Ouverture Heimerkehr aus de Fremde Op 89 - Overture Return from abroad Op 89

Music Review:

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Music: 20th Century Masters - The Millennium Collection: The

Halloween: Original Motion Picture Soundtrack [Soundtrack]

Dance Music: 21st Century [Explicit Lyrics]

Decade [Box set]

Just Not Punk Enough [Explicit Lyrics]

Hangle Bon [Import]

I Like Your Eyes Liberty

Low

Filosofia [Import]

Hip Hop Salute Blue Note [Import]

Coastline Band

The Music of Christmas