Moll

On this CD:

1. Lieder eines fahrenden Gesellen, cycle of 4 songs for voice & piano (or orchestra)
Composed by Gustav Mahler
Performed by Phillip Moll, Gabriele Schreckenbach

2. Kindertotenlieder, cycle of 5 songs for voice & piano (or orchestra)
Composed by Gustav Mahler
Performed by Phillip Moll, Gabriele Schreckenbach

3. Rückert Lieder (5) for voice & piano (or orchestra)
Composed by Gustav Mahler
Performed by Phillip Moll, Gabriele Schreckenbach

Customer Reviews:

Just Super.......2007-06-10

This a great collection, and Bernstein displays all his usual expressiveness. I'm sorry, Eroica is not at all boring. It is fantastic!

scratches easily.......2007-05-31

I don't have a problem with the quality of the recordings but has anyone else noticed if the disks scratch easily? I have about three of them now that are scratched up pretty badly. Or maybe I don't take care of my CD's like I should.

Bernstein is gone, but thankfully, his music is not.......2007-05-15

Bernstein is one of my favorite conductors and this set is another reason why! For live recordings they really sparkle (like the ghost of Walt Disney was up in the sound booth). The cellos and bass with their gritty tone come thru loud and clear and it almost seems like they are in my living room, not coming out my speakers. The same for the flutes, even the low parts.

I thought the first symphony was a bit average and dragged a little, but still very enjoyable. Beethoven's 3rd and 7th were the two symphonies I was slow in warming up to. Now I wonder what was wrong with me! Bernstein really nails the 3rd symphony! WOW! The 2nd and 5th are paired on disc two. I have always liked this pairing since the 2nd reminds me so much of number 5. I had my musical moment during symphonies 3, 2, and 5. The last movement of number five, what JOY of life! The 6th is played serenely and very beautifully.

Some Beethoven symphony performances seem to bring out the majesty of the music while others the thunder and excitement. Bernstein nails both of these features, especially in symphyony 5 and the musicians play with such warmth and joy. Don't miss the JOY in Beethoven's music. Even with his loss of hearing, Beethoven did not loose hope, nor the joy of life and this comes through with great passion in these symphonies. "The last enemy to be destroyed will be death." "katepothe ha thanatos eis nikos" Death will be swallowed up in victory.

Bedrock stuff.......2007-02-21

I couldn't live without recordings of classical music, but please, somebody shoot me if I ever get as snobbish as some of the reviewers nitpicking this box set. The sound quality is excellent. (These symphonies were all recorded live in concert, so the performances truly breathe.) The interpretations are, to my ear, deeply considered and extremely moving, especially the second movement of the Seventh. And best of all, you can't beat the price (and this is Deutsche Grammaphone we're talking about, usually the most expensive pressings). So if you know some person, young or old, who wants to know where to start with building a classical collection, get them this set as a gift. How can you not like this music?

Come on, reviewers !.......2006-08-03

...sorry, but: these lukewarm reviews are a crock. These are
the most heartfelt performances of Beethoven that money can buy.
This is the set that big bad Ludwig would buy. Don't invite these crusty old reviewers to your party ! They'll only critique it !

Average customer rating:

nice assortment
aka "apollo's Banquet" watch out!
You may not want this if . . . .
Delightful Music-making!
Buy it!!!

English Country Dances
Douglass , Lawrence-King , and O'Dette
Manufacturer: Hmf Classical Exp.
ProductGroup: Music
Binding: Audio CD

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English Country Dances

ASIN: B00006I49B
Release Date: 2002-11-12

Customer Reviews:

nice assortment.......2007-03-13

I enjoy historical music, and this cd was a good assortment of songs. I was expecting all bouncy country dances, but some tracks sound more complex and serious. I'm no expert on country dances, so I don't know if the selections are representative, but I enjoy the entire album. Perfect for an afternoon of relaxing with some good music and it won't put you to sleep.

aka "apollo's Banquet" watch out!.......2006-10-05

I can say that this was a surprise, and it's my fault for not checking the contents track by track. This is a re-issue of Apollo's banquet, and also a re-issue of the same from yet another name! I've had Apollo'w banquet for a long time. Somehow, I thought this CD would be mixed consort English music. Not so, it's mostly violin + cittern/ continuo.

Under the name "apollo's banquet" it's been a favorite of mine for years- very good division violin work, very nice improv too. This is top notch.

Nevertheless, beware! $6 for this disk is a real bargain- but it's still too pricey if you've already got it on your shelf! It seems this series is a fabulous value- I have the Italian renaissance dan ces vol 2 too, and it is also superb performace practice.

This series is a great way to buy excellent performances on the cheap- just watch out in case you already have it!

You may not want this if . . . ........2006-03-26

Personally, I found the music a bit slow and subdued. Not what one typically thinks of country dance music being like. However, the reason I rate it so low is because of the deception on the part of the producer/manufacturer/packager/whatever of this cd. This CD is actually the same - track for track, down to the timings - as "English Country Dances from Playford's Dancing Master". But this CD is deceptively attributed to the individual members of the band instead of naming the group, The Broadside Band. It is cheaper than the original cd, though. The short and sweet - if you have the Broadside Band cd, you don't want this one.

Delightful Music-making!.......2005-08-27

These selections of English Country Dances from the publications of the English music publisher John Playford are recorded and played so well as to relegate any criticism to spoiled grapes. Perhaps a musicologist might carp on some fine points, but then again probably not - musicologists actually enjoy a good tune, too. There is a nice couple pages of notes by Jack Ashworth on the historical background of the music, and a further short page by David Douglass on how he envisioned the 'nature' of several of the pieces. There is also a French translation following the English notes. Seven instruments are mixed higgledy-piggledy as the performers deem best - a copy of a 1652 Amati Violin, and copies of a Theorbo, a Cittern, a 16-string harp, an Italian Double Harp, an Irish Harp, and a Guitar. For the curious Douglass plays the violin only, but offers playing consanguineous with his name.
Among the choices cut 15 - "Long Cold Nights" - seems almost New Age in its evocation of the heavens: one might be in Big Sur looking up at the stars. The many other pieces come in divers moods and tempi, with great care given to which instruments are employed. It's difficult to imagine anyone disliking such engaging tunes, such joy in their making. The recording is of course digital so it helps to have a system capable of taming the inevitable string stridencies, but that said - if you like music from this period, or are curious, this CD offers a wonderful selection.

Buy it!!!.......2003-09-12

This is a great cd! Very lively at times; very mellow at other times - but all tracks are wonderful interpretations of traditional songs by highly talented musicians....and who can argue with the price? BUY THIS CD if you are at all into this type of music!

Average customer rating:

I love it!
Famous Beethoven slow movements
Number of discs
I Know Music, and This is Not the Best (by Beethoven Lover)
Not the Best By beethoven Lover

Beethoven for Relaxation

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Mozart for Relaxation
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Bach for Relaxation
The Most Relaxing Classical Album In the World Ever, Volume II

ASIN: B00000I9LZ
Release Date: 1999-03-09

Tracks:

Piano Sonata No. 14 In C-Sharp Minor, Op.27 No.2, 'Moonlight': Adagio sostenuto
Symphony No. 2 In D, Op.36: II. Larghetto
String Quartet No.13 In B-Flat, Op.130: V. Cavatina: Adagio molto espressivo
Violin Sonata No.5 In F, Op.24, 'Spring': II. Adagio molto espressivo
Fur Elise
Triple Concerto In C, Op.56: II. Largo
Piano Sonata No.8 In C Minor, Op.13, 'Pathetique': II. Adagio cantabile
Fidelo, Act I: Quartet 'Mir ist so wunderbar'
Piano Sonata No. 18 In E-Flat, Op.31, No.3: III. Menuetto: Moderato e grazioso
Serenade In D, Op.8: II. Adagio
Symphony No.6 In F, Op.68, 'Pastoral': II. Scene By The Brook

Tracks:

Piano Sonata No. 14 In C-Sharp Minor, Op. 27 No. 2, 'Moonlight': I Adagio sostenuto
Symphony No. 2 in D, Op. 36: II Larghetto
String Quartet No. 13 In B-Flat, Op. 130: V Cavatina: Adagio molto espressivo
Violin Sonata No. 5 In F, Op. 24, 'Spring': II Adagio molto espressivo
Fur Elise
Triple Concerto In C, Op. 56: II Largo
Piano Sonata No. 8 in C minor, Op. 13, 'Pathetique': II Adagio cantabile
Fidelio, Act I: Quartet 'Mir ist so wunderbar'
Piano Sonata No. 18 In E-Flat, Op. 31 No. 3: III Menuetto: Moderato e grazioso
Serenade In D, Op. 8: II Adagio
Symphony No. 6 In F, Op. 68, 'Pastoral': II Scene By The Brook

Customer Reviews:

I love it!.......2007-01-21

I've had this CD for about 6 years now and it never gets old. As the title suggests, it's great for relaxing with a good book and a glass of wine. I find myself reaching for this CD whenever I get a migraine. I had always heard that the complexities of Beethoven's music could ease a migraine, or I suppose any headache. I've never been able to find any substantiated proof of this but from my experience the music eases my headaches. Whether it's psychological is still a mystery to me. Fact is, I love this CD and it's never far from me.

Famous Beethoven slow movements.......2006-01-15

The real Beethoven would probably be irritated with compilation CD's like this that "cherry picks" a variety of slow movements from various works he composed. But, the average listener today will see it as a great way to get to know his music and enjoy an hour of more serene music - less Beethoven's more intense movements. The variery here is broad: solo piano, violin + piano, string quartet and full orchestra symphonies and concertos. The dreamy solo-piano pieces are some of Beethoven's most beloved and alluring slow movements that vaulted him to fame. While these and the chamber music tend to be more "relaxing," the latter orchestral pieces especially contain shifts in tempo, dynamic range and emotion that some might not find so relaxing. After all, this is Beethoven with a full orchestra and not Bach or the Baroque.

But, all is not lost if you are looking for a collection of serene, lyrical music composed by the great Beethoven. There actually is a CD that features some of Beethoven's most endearing and melodic adagios and largos: "Beethoven for Book Lovers" (Philips label). This CD is mostly comprised of the nicest slow movements from Beethoven's ten violin sonatas (violin + piano) played by the legendary David Oistrakh - a violinist with one of the most gentle and beautiful tone ever recorded. Fortunately for those wanting uninterupted peacefulness, there are only a couple of those typical "Beethoven outbursts" in this CD (very brief though). But, overall, the flow and tone of the entire CD is truly relaxing, enchanting and not distracting. All of these works reveal the gentle side of Beethoven and his surprizing ability (for such a fiery composer) to write music of such poinant and tenderhearted emotional appeal. Also, the "Chopin for Relaxation" is one of the better ones in this series and features some of Chopin's slower, more serene solo-piano music and the ever-so lovely middle movements from his two legendary piano concertos.

Number of discs.......2005-03-16

The ad above shows 2 discs with the same track names... this item has only 1 disc with 11 tracks (names as shown above).

I Know Music, and This is Not the Best (by Beethoven Lover).......2005-02-21

Ok, I'll admit, this is a pretty good album, but it lacks the feeling of Beethoven. Its songs don't sound like Beethoven is playing, and its not too relaxing. It deserves three stars because of this lack of the great Beethoven himself. Sure, the songs are pretty, but I'd buy a different album if I was you.

Not the Best By beethoven Lover.......2005-02-20

not completely a delight...shows little Beethoven in it all, deserves only about two or three stars.

Average customer rating:

Bach for Relaxation
Peaceful and Beautiful
Bach to knit up your raveled sleeve of care
My favorite...
Wonderful for baby!

Bach for Relaxation

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Mozart for Relaxation
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ASIN: B000003G7C
Release Date: 1998-01-13

Tracks:

Jesu, Joy Of Man's Desiring
Suite BWV1012: Allemande
Brandenburg Concerto No. 6: Adagio ma non tanto
The Well Tempered Clavier, Book 1: Prelude In C
Trio Sonata No. 4, BWV1079: Andante
Violino solo e Basso l'accompagnato
Sonata BWV1005: Largo
Brandenburg Concerto No. 4: Andante
Violin Concerto BWV1041: Andante
Flute Sonata BWV1034: Andante
The Goldberg Variations: Aria
Lute Suite No. 1 BWV996: Courante
Sonata No. 1 For Violin And Harpsichord BWV1014: Andante
The Well Tempered Clavier, Book 1: Prelude In E - Flat Minor (excerpt)
Concerto For Flute, Violin, And Harpsicord BMV 1044: Adagio
Brandenburg Concerto No. 2: Andante
Sonata BWV1001: Siciliano
Prelude In D Minor BWV999
Orchestral Suite No. 3 BWV1068: Air On The G-String

Customer Reviews:

Bach for Relaxation.......2007-03-09

This is a great CD of instrumental Bach music. I listen to it very often

Peaceful and Beautiful.......2002-11-01

I have purchased this CD twice, first for myself to listen to during labor and secondly for a friend who has a new, very stressful job. I love the music on this CD, it is wonderfully played and listening it to it during labor was very helpful and uplifting. Now both my daughter and I enjoy listening to it, and during fussy days it calms her down a bit, which is very nice. The music truly brings on a serene feeling without making one sleepy, which means its great for anytime you just need to relax yet stay alert. I'll be giving it to my friend for the holidays, and I'm sure she'll love it as much as we do.

Bach to knit up your raveled sleeve of care.......2001-12-19

What better way to begin 'Bach for Relaxation' than with "Jesu, Joy of Man's Desiring." This CD is not dumbed-down Johann Sebastian Bach just because it advertises itself as relaxation music (which was my initial fear before purchase). Good orchestras and soloists perform the nineteen well-chosen chamber works, ranging from the deceptively simple "Prelude in C" from "The Well-Tempered Clavier, Book 1" (Sviatoslav Richter, piano) to selections from the powerful Brandenburg Concertos.

This is Bach in his most serene, mathematically perfect form. None of his mighty organ or choral works will disturb your contemplative mood as you drift through the sixty-eight minutes of this CD.

I'm usually asleep by track fifteen, the adagio from "Concerto for Flute, Violin & Harpsichord BWV 1044."

Another very good CD in this 'relaxation' series from BMG RCAVictor is "Cello for Relaxation."

My favorite..........2000-11-21

This is one of my favorite classical CD's. It is a composition of soft, calmer Bach, and is perfect for almost any occassion. This is a great CD for first time classical listeners or long time fans ... It functions as perfect dinner background music, or to listen to alone. I highly recommend this compilation of Bach.

Wonderful for baby!.......1999-12-04

We received this as a baby gift and it has been a godsend. Our newborn relaxes to the sound of this when nothing else works. We also love it for ourselves; the CD contains the best of Bach's less fiery works, and the musical interpretation and recording quality are outstanding.

Mozart - Le nozze di Figaro / Te Kanawa, Popp, von Stade, Ramey, T. Allen, Moll, London Phil., Solti

Average customer rating:

A Cast Consists Full of Stars
unfriendly liner notes
A kinder, gentler Solti, but chilly singing
Superstar Roster a/k/a What the NY Yankees Have Taught Us
All-Star Cast Sings Mozart's Nozze Di Figaro

Mozart - Le nozze di Figaro / Te Kanawa, Popp, von Stade, Ramey, T. Allen, Moll, London Phil., Solti
Wolfgang Amadeus Mozart , Kiri Te Kanawa , Samuel Ramey , Sir Georg Solti , London Philharmonic Orchestra , Frederica von Stade , Thomas Allen , Lucia Popp , Kurt Moll , Yvonne Kenny , and London Opera Chorus
Manufacturer: Decca
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Binding: Audio CD

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Mozart - Così fan tutte / Fleming, von Otter, Scarabelli, Lopardo, Bär, Pertusi, Solti

ASIN: B0000041OU
Release Date: 1984-03-12

Tracks:

Le nozze di Figaro: Overture
Le nozze di Figaro: Act 1: Duetto - Cinque...dieci...venti - (Figaro) (Susanna)
Le nozze di Figaro: Act 1: Duetto - Se a caso madama - (Figaro) (Susanna)
Le nozze di Figaro: Act 1: Recitativo e cavatina - Bravo, signor padrone!...Se vuol ballare - (Figaro)
Le nozze di Figaro: Act 1: Aria - La vendetta - Bartolo
Le nozze di Figaro: Act 1: Duetto - Via resti servita - (Susanna)
Le nozze di Figaro: Act 1: Aria - Non so piu - (Cherubino)
Le nozze di Figaro: Act 1: Terzetto - Cosa sento! - (Susanna)
Le nozze di Figaro: Act 1: Aria - Non piu andrai - (Figaro)
Le nozze di Figaro: Act 2: Cavatina - Porgi amor - (Countess)
Le nozze di Figaro: Act 2: Canzona - Voi che sapete - (Cherubino)
Le nozze di Figaro: Act 2: Aria - Venite...inginocchiatevi... - (Susanna)

Tracks:

Le nozze di Figaro: Act 2: Recitativo - Che, Contessa - (Countess) (Count)
Le nozze di Figaro: Act 2: Terzetto - Susanna or via sortite - (Count) (Countess) (Susanna)
Le nozze di Figaro: Act 2: Duettino - Aprite, presto, aprite - (Susanna) (Cherubino)
Le nozze di Figaro: Act 2: Finale - Esci, ormai, garzon malnato - (Count)
Le nozze di Figaro: Act 2: Signori, di fuori son gia - (Figaro)
Le nozze di Figaro: Act 2: Voi signor, che giusto siete - Bartolo
Le nozze di Figaro: Act 3: Recitativo - Che imbarazzo e mai questo - (Count)
Le nozze di Figaro: Act 3: Duetto - Crudel! perche finora - (Count) (Susanna)
Le nozze di Figaro: Act 3: Recitativo ed aria - Hai gia vinta la causa - (Count)
Le nozze di Figaro: Act 3: Sestetto - Riconosci in questo amplesso - (Figaro) (Bartolo) (Count) (Susanna)

Tracks:

Le nozze di Figaro: Act 3: Recitativo ed aria - E Susanna non vien! ... Dove sono (Countess)
Le nozze di Figaro: Act 3: Recitative e duetto - Cosa mi narri!... Che soave zefiretto (Countess)
Le nozze di Figaro: Act 3: Finale - Ecco la marcia (Figaro)
Le nozze di Figaro: Act 4: Cavatina - L'ho perduta
Le nozze di Figaro: Act 4: Aria - Il capro e la capretta
Le nozze di Figaro: Act 4: Aria - In quegli anni (Basilio)
Le nozze di Figaro: Act 4: Recitativo ed aria - Tutto e disposto...Aprite un po' quegl'occhi (Figaro)
Le nozze di Figaro: Act 4: Recitativo ed aria - Giunse alfin el momento ... Deh vieni, non tardar (Susanna)
Le nozze di Figaro: Act 4: Finale - Pian pianin le andro piu presso (Cherubino)
Le nozze di Figaro: Act 4: Gente, gente, all'armi, all'armi (Count)

Amazon.com essential recording

A strong cast--with Lucia Popp a radiant Susanna and Frederica Von Stade deliciously precocious as Cherubino--makes this Figaro a delight from start to finish. Georg Solti presides masterfully, uncorking a propulsive reading with all the fizz of vintage champagne. --Ted Libbey

Customer Reviews:

A Cast Consists Full of Stars .......2007-06-28

I really love this opera, I mean the "Figaro." I never get tire of it. The music just flows endlessly, nonstop, no break. The voices and the orchestra are in complete harmony. It is like a symphony played with human voices. It can be performed in a big house having a cast lead by big named singers or in a provincial theatre by an ensemble. It will never go wrong. I collected so many recordings of it, in LP, ADD, DDD, or DVD, more than one or two versions in each format. Listen to all these records again and again, plus attending live performance in opera houses, and watching broadcast programs on television, I am on the verge of being overloaded. Some might say that I should be pretty confused about this whole thing by now. Well, probably.
There are many Figaro recordings consist all stars in the casting (of the five principal roles). Some even filled the sixth major role (Dr. Bartoro) with someone also a star. For this recording, when I put "Full of Stars" in the title of this review, I mean all the soloists (ten in all) were either big-star at the time of record making or on their way to become stars. That is really something. It is not always possible to assemble a big group of talent in one album. You don't find any other opera album has a cast like this one.
As far as a review goes, there are 41 of them ahead of this one. I agree with those positive comments they made on the conductor, and the singers. Whatever needed to be said has been said; it makes this one unnecessary. Inspired by the review of "Mr. Wellio," I just could not resist not to joining the discussion. But my assessment takes on a broader scope; it goes beyond just comparing two albums (the EMI/Giulini and the Decca/Solti).
Let it be clear that all of us have our own preference in everything. The case in point is about "Figaro," how should each character/role should sound like, among all the singers who would best suit to a certain role, etc. So, when we write a review to express our opinion, some bias is unavoidable.
Since this is a Mozart opera, naturally it should be performed in a Viennese tradition. There are two albums that are still available in the market that do just that. Both albums were done with celebrated conductors and singers of the Staatsoper Wien. All were the best of their time. Each was positioned to the role that suited his or her voice. The first album is the 1950 EMI recording, which was led by Herbert von Karajan (now digitally re-mastered, sell under the Regis label). The second one is the 1955 DECCA recording (digitally re-mastered in 1999), which was led by Erich Kleiber. The present disc, the DECCA/Solti version was made in 1981. It was a digital recording to begin with.
Now, what is my dream cast for Figaro? I would go for Giulinin for conductor. The singers names listed below are picked from all the artists that I know about their works, not necessary from any particular album. It is as if they exist in the same time frame, all in their prime.
Figaro: Giuseppe Taddei - If Cesare Siepi is the ultimate Don, I don't think any one can surpass Taddei for Figaro. He is the total Figaro, so alive, with an unlimited power. Just listen to the "Non piu andrai" in the EMI/Giulini disc, you know what I mean. I had the pleasure to watch him on stage (as Figaro). It was totally amazing.
Susanna: Lucia Popp - Susanna has to be a soubrette, or something similar. Schwarzkopf preferred Irmgard Seefried. I think Lucia Popp is the best. Besides, Popp has built her reputation on Sophie and Susanna. There is no mistake about that.
Countess: Carol Vaness (Alternate: Elisabeth Schwarzkopf) - The countess is not a soubrette, but needs to be sung by a reputable "Mozart singer."
Kiri was surely a wonderful Countess, so were Lisa della Casa and Fleming (she was a well thought-of Countess and has done the part so many times along the way to becoming the `Rene Flaming'). But if you really go for the voice, take Vaness. For perfection, it has to be Schwarzkopf.
Count: George London - Despite his fame, I always think he was too rigid, too rough. I never thought he would suit for Mozart. But the Regis/Karajan disc convinced me.
Cherubino: Frederica von Stade - This role was written for a soprano. Though not a soprano, her range, her clear tone, just makes her unique, fits the role perfectly.
A final note: All things considered, I consider this album (Decca/Solti) the best, in terms of singing, directing and sound. It should be aware that all the singers on this disc and many of those mentioned by the reviewers here and elsewhere were retired from the roles they sang, if not dead. The next generation of great or almost great Mozart singers has not yet arrived. It is interesting to note that one reviewer did mention Alison Hagley for Susanna. I think it is a very clever way to put it. How about Bryn Terfel? He is OK if he stops becoming too commercial. Angelika Kirchschlager? I never heard her sang Cherubino. Despite she received positive review on a recent Figaro recording; I still imagine that her voice might not be high enough for the role.

unfriendly liner notes.......2006-03-08

I bought this version principally becaue of Kiri Te Kanawa'a countess. Its worth it for that alone.
I agree with another reviewer who found the grouping of tracks and synopsis a little less friendly ( especially for those of us who are new to the complete work and want to follow along with the libretto in hand)

A kinder, gentler Solti, but chilly singing.......2005-09-24

British critics in genreal love this set, with its cool, unhumorous, respectful approach to Mozart. Dame Kiri sets the tone in her two arais as the Countess, both soporifically slow but sung with purity and gleaming tone. Nobody else really catches fire, either. If you want a Figaro that's warm and witty, go for Ostman or Giulini or Levine or Kleiber or....

Superstar Roster a/k/a What the NY Yankees Have Taught Us.......2005-03-06

Here it is, the Greatest Sequel Ever to that blockbuster known as The Barber of Seville. The Godfather II to Godfather I. If the first Godfather was all myth and grand gestures, the second brought it all down to a human scale yet losing none of that mythical stature. So follows Mozart/Da Ponte's adaptation of Beaumarchais' second part of his great social comedy trilogy through the eyes of a certain barber named Figaro. In the version of this opera, instead of Pacino, De Niro, Keaton, Duvall, Cazale we've got Allen, Te Kanawa, Popp, Ramey and von Stade - a superstar roster to make the stars in heaven jealous. A superstar roster that, just like the NY Yankees, most certainly guarantees victory ... right? No doubt, everything you hear about Te Kanawa is true - her performance as the Countess Rosina is glorious. So are Popp and von Stade as Susanna (the heart of the opera) and Cherubino (comic relief), respectively. Together they form a trio that is one of the treasures in all of operatic recordings. The only weak female performance here is a moany and wobbly Marcellina. As for the men, it's a bit more problematic. Technically, they are the height of professionalism - and Mozart's music is virtually foolproof - but only one, Thomas Allen as Count Almaviva, manages to dig deep and give a truly great acting performance. Ramey is an interestingly virile Figaro, but doesn't pull of a three-dimensional character. The other men, albeit secondary characters, range from very good (Moll as Bartolo) to lame (Tear as Don Basilio) who manages to kill the momentum with 'In quegli anni' in Act IV. Notwithstanding all the great talent on this team, in the end what's missing is great chemistry. In the ensembles, where some of Mozart's greatest genius shines, they fail to generate that extra spark, though they communicate the music with plenty of fervor. Perhaps too many egos prevent real chemistry? As for Solti, he's a terrific manager. After a thrilling overture which makes the heart flutter with anticipation of greatness, he makes good on that promise - until somewhere after the Countess' great aria in Act III - perhaps Solti becomes weary of handling all the egos and submits into a perfunctory professionalism. The music rendering here becomes lax and uncommitted. Mozart's opera, as great as it is, is very long and can suffer from "sameness" by the time Act IV comes around - it takes a truly great vision to keep the inspiration flowing to the end. In the end, we have a recording that is often inspired, beautifully sung, skillfully produced but shy of essential and not quite out of the ballpark.
Act I & II:***** Act III:**** Act IV:**

Other references: Top recommendation from Penguin Guide, NPR Guide and Rough Guide; High recommendation from Jim Svejda's classical guides

All-Star Cast Sings Mozart's Nozze Di Figaro.......2004-05-05

Wow. Talk about a lot of talent in a single performance. This recording of Mozart's Le Nozze Di Figaro is one of the best you'll ever find. The only other I can think of that is as good is the Claudio Abbado recording with Cecilia Bartoli as Cherubino. This recording is well-done as far as sound and the strong cast makes it very valuable. Kiri Te Kanawa, a Mozart singer of the highest calibre, makes a truly memorable and human Countess, whose situation we truly sympathize with. Te Kanawa has a rich melodic voice of angelic beauty. Not only does she truly capture the spirit of the Countess, she is a lesson for all sopranos singing the role. It was her debut role. The Countess is perhaps the most noble character other than Figaro in the opera. She has been temporarily jilted by her husband the Count because he has the hots for Figaro's fiancee Susannah. The Count, a bit of a jerk, is a dominant and blatantly male figure who did'nt even bother to realize that he desired his best friends' wife. Very ungrateful considering that in the prequel The Barber of Seville by Rossini Figaro had helped him win the hand of the Countess. The role of the philandering Count is played by Thomas Allen in a great performance.

The cast also includes Samuel Ramey as Figaro. Ramey had sung Figaro (or dubbed the voice) in the 1984 Amadeus film. He is not famous for this role. Samuel Ramey is best remembered for his villains and devilish characters- the Devil in Mephistopheles and Faust, the four villains in Tales Of Hoffman and Scarpia in Tosca. But as the noble Figaro, he is deliviring a good job. His baritone or bass voice becomes very healing rather than intense or frightening. Kurt Moll is in here too as Bartolo and is doing a funny performance. Lucia Popp sings Susanna with aplomb. Her voice is always beautiful to hear and she puts a lot of effort in her performances, plus she is well-known. Frederica Van Strade sings the trouser role of Cherubino, which was a trademark of hers. She is sensational. This is the recording to have of Mozart's comedy about human flaws, love and the crazy going-ons in a single day in the villa of a Count who learns his lesson by the end of the day. Based on Beamarchais social satire Figaro.

James Galway ~ Flute Sonatas - Franck · Prokofiev · Reinecke / with M. Argerich · P. Moll
Average customer rating:

A MUST for serious flutists

excellent CD

Don't be fooled by Gaudy Galway: This CD isn't bad.

James Galway ~ Flute Sonatas - Franck · Prokofiev · Reinecke / with M. Argerich · P. Moll

Manufacturer: Bmg Int'l
ProductGroup: Music
Binding: Audio CD

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Flute Master Pieces

Music For My Friends

Bach: Flute Sonatas

Emmanuel Pahud - Paris

Les Nouveaux Musiciens

ASIN: B000003FGA
Release Date: 1997-04-15

Tracks:

Sonata In A Major: Allegretto ben marcato
Sonata In A Major: Allegro
Sonata In A Major: Recitativo fantasia
Sonata In A Major: Allegretto con brio
Sonata In D Major: Andantino
Sonata In D Major: Allegro
Sonata In D Major: Andante
Sonata In D Major: Allegro con brio
Sonata, Op. 167 ('Undine'): Allegro
Sonata, Op. 167 ('Undine'): Intermezzo
Sonata, Op. 167 ('Undine'): Andante tranquillo
Sonata, Op. 167 ('Undine'): Fianle

Amazon.com essential recording

César Franck's ever-popular Violin Sonata exists in many different versions, including one for cello and this one for flute. None of these arrangements seems to stem from the composer himself, but that doesn't matter, since the music holds up very well regardless of the instrumental vehicle. What makes this disc so spectacular--Galway's bright, immaculate performances aside--is the presence of Martha Argerich, arguably the world's greatest living pianist and something of a specialist in this very sonata as well as in the music of Prokofiev. With the Reinecke sonata thrown in as a bonus, the result is a great chamber-music recording all-around and not just another flute disc. --David Hurwitz

Customer Reviews:

A MUST for serious flutists.......2006-01-30

James Galway truly sets the standard for flute playing. Being a flutist myself, I am always looking for any true flute literature recordings by Galway. His "pop" stuff is o.k., but we need more recordings of standard literature. If you do not have this in your audio library or if you've never heard these pieces before, you MUST get this one! Also, if you are an accompanist needing to hear these pieces, this is an excellent recording as Argerich and Moll are fabulous!

excellent CD.......2000-02-23

The sonatas are very good and they explore different possibilities that the flute has.Galway's tone specially it's color is incredible.I have never heard any flutist that has that tone it's just so beautiful I could even say it's perfect.The piano part of this sonatas is not just accompaniment it has the same importance as the flute part.Argerich is a master of the piano and in combination with Galway the results are very good. Moll does a fine job in the piano but in my opinion he is not at Argerich's level. If you like classical music and you like the flute buy this CD.

Don't be fooled by Gaudy Galway: This CD isn't bad........1999-08-27

The Franck and Prokofiev sonatas were originally released back in 1975 (RCA LRL1-5095). It had a great picture of Galway and Argerich sharing the jacket equally. Given the difficulty of the piano part (to say nothing of the more attractive countenance of Argerich), this was most fitting. And so I am very disappointed that it was replaced by a gaudy picture of James sporting his golden flute. Granted, this release also includes Reinecke's Undine Sonata, with Phillip Moll at the keyboard. In any case, this CD is worth getting, especially on account of the Franck and Prokofiev sonatas. James's flute sound does get a little tiresome after a while because he seems incapable of producing varying tonal shades. Nevertheless, Argerich's playing makes this a worthwhile CD to have.

Verdi: Rigoletto / Cappuccilli, Cotrubas, Domingo, Ghiaurov, Obraztsova, Moll; Giulini

Average customer rating:

A lovely performance, but rather sober and lacking a charismatic Rigoletto
Wonderful story, fabulous duets, marvelous singing
A Solid Recording of a Beloved Opera
Outstanding!
Top notch Rigoletto!

Verdi: Rigoletto / Cappuccilli, Cotrubas, Domingo, Ghiaurov, Obraztsova, Moll; Giulini
Giuseppe Verdi , Wiener Philharmoniker , Carlo Maria Giulini , Piero Cappuccilli , Plécido Domingo , Vienna State Opera Choir , Ileana Cotrubas , Nicolai Ghiaurov , Elena Obraztsova , Kurt Moll , and Luigi De Corato
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Verdi: La Forza del Destino
Weber: Der Freischütz
Verdi - Simon Boccanegra / Freni, Cappuccilli, Carreras, Ghiaurov, van Dam, Foiani, Teatro alla Scala, Abbado
Verdi - Falstaff / Gobbi · Schwarzkopf · Moffo · Karajan
Tristan Und Isolde

ASIN: B00000J9HF
Release Date: 1999-06-15

Tracks:

N. 1 Preludio
N. 2 Introduzione: Act One: 'Della mia bella incognita borghese'
N. 2 Introduzione: Act One: 'Questa o quella'
N. 2 Introduzione: Act One: 'Ch'io gli parli'
N. 3 Duetto: Act One: 'Quel vecchio maledivami'
N. 4 Scene e Duetto: Act One: 'Pari siamo!...io la lingua'
N. 4 Scene e Duetto: Act One: 'Figlia!...' - 'Mio padre!'
N. 4 Scene e Duetto: Act One: 'Gia da tre lune son qui venuta'
N. 5 Scene e Duetto: Act One: 'Giovanna, ho dei rimorsi!'
N. 5 Scene e Duetto: Act One: 'E il sol dell'anima'
N. 5 Scene e Duetto: Act One: 'Che m'ami, deh, ripetimi'
N. 6 Aria: Act One: 'Gualtier Malde...Caro nome che il mio cor'
N. 7 Finale Primo: Act One: 'Riedo!...perche?' - 'Silenzio..all'opra'
N. 7 Finale Primo: Act One: 'Zitti, zitti, muoviamo a vendetta'

Tracks:

N. 8 Scena ed Aria: Act Two: 'Ella mi fu rapita!'
N. 8 Scena ed Aria: Act Two: 'Parmi veder le lagrime'
N. 8 Scena ed Aria: Act Two: 'Duca, duca!' - 'Ebben?'
N. 8 Scena ed Aria: Act Two: 'Possente amor mi chiama'
N. 9 Scena ed Aria: Act Two: 'Povero Rigoletto
N. 9 Scena ed Aria: Act Two: 'Cortigiani, vil razza dannata'
N. 10 Scena e Duetto: Act Two: 'Mio padre!' - 'Dio! mia Gilda!'
N. 10 Scena e Duetto: Act Two: 'Tutte le feste al tempio'
N. 10 Scena e Duetto: Act Two: 'Ah! Solo per me l'infamia'
N. 10 Scena e Duetto: Act Two: 'Poiche fosti invano da me maledetto
N. 11 Scena e Canzone: Act Three: 'E l'ami?' - 'Sempre'
N. 11 Scena e Canzone: Act Three: 'La donna e mobile'
N. 12 Quartetto: Act Three: 'Un di, se ben rammentomi'
N. 12 Quartetto: Act Three: 'Bella figlia dell'amore'
N. 12 Quartetto: Act Three: 'M'odi! ritorna a casa'
N. 13 Scena, Terzetto e Tempesta - 'Venti scudi hai tu detto?': Act Three: 'Maddalena? - 'Aspettate'
N. 13 Scena, Terzetto e Tempesta - 'Venti scudi hai tu detto?': Act Three: 'E amabile invero cotal giovinotto'
N. 14 Scena e Duetto Finale: Act Three: 'Della vendetta alfin giunge l'istante!'
N. 14 Scena e Duetto Finale: Act Three: 'Chi e mai, chi e qui in sua vece?'
N. 14 Scena e Duetto Finale: Act Three: 'V'ho ingannato...colpevole fui'

Customer Reviews:

A lovely performance, but rather sober and lacking a charismatic Rigoletto.......2006-09-26

This Rigoletto from Vienna was a prestige recording for DG, featuring the undeniably great Giulini. In his early years at La Scala, Giulini was a riveting opera conductor, but in his later phase he became more serious and is distinctly a sober sides here. There's no birancy or lift to the music, and the avoidance of all vulgarity drains the melodrama of its fun. If there was ever a Rigoletto performed in church, this is it.

Even so, the playing and singing are lovely. Cotrubas and Domingo aren't allowed to really cut loose, but they have charisma. Unfortunately, the same can't be said for the lead, Piero Cuppuccilli, who was the standard go-to baritone at this time. Smooth-voied and reliable, Cappuccilli doesn't pass muster in the one department that counts in a great Rigoletto, the ability to stir us emotionally. Better to stick with Tito Gobbi in his classic mono set with Callas (EMI) or even Sherrill Milnes with Sutherland and Pavarotti, who isn't remotely Italian but has a great huge voice.

Wonderful story, fabulous duets, marvelous singing.......2005-09-28

Verdi based this opera on a play, "Le roi s'amuse" by Victor Hugo. It is hard to understand today, but Hugo's play ran into trouble with the censor's because of the scandalous way it presented royalty and was shut down after a single performance. In fact, Hugo had based his characters on real historical figures: King Francois I (ruled 1515 - 1547) (the Duke of Mantua in the opera) and his jester, Triboulet (who becomes Rigoletto). In the play, the king is a letch and rapes his jester's fifteen-year-old daughter, Blanche. Hugo makes Triboulet a hunchback and this makes historical sense. Verdi retains this in the opera and Rigoletto is also a hunchback. In the days of Francois I, physical deformities were sources of public humor and ridicule.

In making cuts to the five-act play for the opera, Verdi and his librettist also changed some names, but they did use some dialogue directly from the play including the words to this opera's famous aria "La donna è mobile". However, there are also real differences because operas are different things than plays.

The opera opens at the Duke's palace where he is holding a festive ball and bragging to one of his buddies about his latest amorous conquest. He has a long track record of seducing unmarried women as well as other men's wives and this creates many hard feelings. He declares that others may feel the need for fidelity, but it isn't for him. He tells Borsa about a young girl who lives in an alley that he has met at church. She does not know who he is. The Duke has also heard that she is visited every evening by an unknown man.

As the Duke makes a very public and humiliating advance on the Countess Ceprano in front of her husband, Rigoletto enters and mocks the husband. One of the courtiers tells the others that he has discovered that Rigoletto has a mistress he visits in the evenings. During all this Count Monterone enters and is furious with the Duke for having dishonored his daughter. Rigoletto mimics and insults the old man, who swears vengeance and curses the Duke and Rigoletto. The others turn on the old man for killing the fun of the party.

As Rigoletto returns to his home down an alley near Count Ceprano's house he is approached by Sparafucile who is an assassin and offers his services to Rigoletto. The murderer explains how he works his trade with the help of his sister, Maddalena. Rigoletto says he has no need of his services, but later begins thinking about it because of all the humiliations he has had to suffer because of his deformities and his status as a servant to a wealthy and powerful man. He enters his home lost in thought and is greeted by his daughter Gilda (pronounced jilda). She knows nothing of Rigoletto's life or even her own. Her father's love and attention, the housekeeper Giovanna, and attending Church are the scope of her world.

The Duke as already entered the house unnoticed through a bribe he has paid Giovanna. Gilda believes her love, the Duke, is just a student without money. After Rigoletto leaves, the Duke surprises Gilda and they exchange declarations of passion and love. They here Ceprano and others coming down the alley so the Duke leaves.

Ceprano and the others are there to kidnap Rigoletto's mistress. Rigoletto enters and believes that they are kidnapping Countess Ceprano and even holds the ladder for them. This delights those who want their revenge on Rigoletto. As they drag Gilda away, it dawns on Rigoletto what has actually happened and he remembers the curse.

The second act returns to the Duke's palace. The Duke is in despair that Gilda has been kidnapped and is surprised at his genuine affection for her. As the men brag and present Rigoletto's mistress to the Duke, he and Gilda rush to each other. Rigoletto appears and is looking for his daughter, when he learns she is with the Duke he tries to break in and demands her, turned away, he begs. Gilda is brought to him and confesses that her love affair with the Duke has cost her her honor. As Malderone is led past he notices a portrait of the Duke admitting that his curse has done nothing. Rigoletto swears vengeance on the Duke even while Gilda pleads for Mercy.

As the third act opens, Rigoletto has hired Sparafucile to kill the Duke and what follows is a tragedy for all involved. This is the act with the famous melody "La donna è mobile". It is the Duke's signature drinking song and note how it is used at different times in this act. It ranges from a rather pleasant song with an appropriately banal accompaniment through a delusional horror song. Magically done!

This opera was first performed in 1851 and was soon followed by "La Traviatta" and "Il Trovatore". What a great couple of years for opera! This great opera has many wonderful features that add so much to the work. For example, when Rigoletto and Sparafucile first meet, they are accompanied without violins to give it a strange sound and a lower, more sinister register. Note, too, that the chorus in this opera is only men (and what great music Verdi gives them to sing!). Verdi also set out to do an opera with few arias. He wanted this to be an opera of duets and they are here in beautiful abundance as are some amazing ensemble singing.

Treat yourself to this magnificent opera with this very fine recording. It is full of beauty, drama, and the full range from merriment to tragedy.

A Solid Recording of a Beloved Opera.......2005-09-10

If you wonder what you get when you take a lecherous petty noble, an insulting court jester, an angry father who is not afraid to use curses at the drop of a hat, a group of kidnappers and assassins, and add an innocent young girl who is taken advantage of by the powers that be, the result is the opera RIGOLETTO. This musical story of a curse that causes the death of a young woman and shows what comes around goes around has been a favorite since its premiere. The addicting music combined with recordings that include some of the greatest singers in history assure that it will be a favorite for years to come

This recording is a technically perfect RIGOLETTO. The conductor Carlo Maria Giulini brings Verdi's score to life exactly as it's written, but somehow this literal reading is missing something. There are no flourishes here. Gilda's "Caro Nome" sung beautifully by Ileana Cotrubas does not have the vocal acrobatics that have become the signature of other sopranos. Rigoletto does not go into convulsions when his daughter is kidnapped. There are no high notes at the end of the quartet "Bella figla dell'amore." My guess is that they are not written in the score, so Guilini excludes them. The only problem, we are so used to them something is missing, and I would argue that since Verdi had such a great instinct for what worked on stage, he'd want whatever worked in the theatre. It's not surprising that this is the case in some of Guilini's recordings of opera. While he loved opera, he hated opera houses and in later years refused to conduct live productions of opera. This probably gave him a greater appreciation of the music, but not the greatest understanding of the listener.

While this recording may be somewhat lackluster at times, it still has many merits. Giulini keeps the pace moving in this recording (which is not the case in IL TROVATORE) and the orchestra and chorus are excellent. The overall singing is good, and Domingo's interpretation of the Duke which is not buffoonish, makes him believable to the listener. Since it is now released in the mid-price category, it's a bargain as well.

Enjoy!!!

Outstanding!.......2004-07-17

Piero Cappuccilli portrays the title jester perfectly, capturing his two immense facets: the cruel, detestable clown and the vengeful, loving father. His voice contrasts between lyric beauty and dramatic ferocity. His rendition of "Cortigiani, vil razza dannata" begins with electrifying violence and soon melts into pathetic sorrow. His smooth bel canto also blends well with Cotrubas during their beautiful duet in Act I ("Gia da tre lune son qui venuta").
Placido Domingo is also perfect here as the Duke of Mantua and presents the unscrupulous noble's principle arias - "Questa o quella", "Parmi veder le lagrime", "La donne e mobile" - with ease, lust, and sensuous style and control.
Ileana Cotrubas gives an angelic performance as Gilda, both in the lyric beauty of her delicate voice and her dramatic sense of the character. Her interpretation of "Caro nome" - comparable only to that of Sutherland - contributes to making this recording the true gem it is. She is equally moving with the mournful "Tutte le feste al tempio" and during the tragic duet with Cappuccilli at the opera's finale ("V'ho ingannato...colpevole fui").
The supporting roles are handled with the same genius. Nicolai Ghiaurov is magnificent as Sparafucile; his cavernous voice suits the role of the vile assassin, one of Verdi's most malignant musical creations. Elena Obraztsova - whose deep voice I have always liked and found suitable for such roles as Maddalena, Amneris, and Dalila - excels here as the former. She is both licentious and tempting as the villainess Maddalena, especially during the trio with Ghiaurov and Cotrubas in Act III ("E amabile invero cotal giovinotto"). Hanna Schwarz shines here, too, as Gilda's maid Giovanna, a small but impressionable role, which the skilled mezzo-soprano presents the style.
Kurt Moll - in a masterful bit of casting - provides a fierce performance as the Count of Monterone. His thunderous entrance in Act I and equally wild exit during the finale of Act II ("Poiche fosti invano da me maledetto") are some of the most dazzling moments of this recording.
Carlo Maria Giulini and the Vienna Philharmonic shine here most of all in an equally gentle and thunderous recording of Rigoletto. Giulini handles the opera's tranquil moments with care and sensitivity and also excels during the thunderous moments. It is no exaggeration to consider this one of the greatest achievements of his illustrious career.

Top notch Rigoletto!.......2004-02-06

An exquisite cast and a brilliant conductor! Ileana Cotrubas is one of the most touching Gildas, listen to her tearful "Tutte le feste" or her angelic "Lassu in cielo" where she sings exquisite pianissimi! Just sublime! Young Domingo might sound a little dark as Duke but his performance is riveting, charming and very sexy sounding. Now THAT is a womanizer! Cappuccilli has much Italianita as Rigoletto, what a temperament in "Cortigiani" and what haunting pathos in the finale. One of the best Rigolettos around! Two thumbs up! A++++++++++++++++++

Average customer rating:

Ladies and Gentleman: Carlos Kleiber!!!
Very Good
Kleiber is riveting, but there are problems
By all means, snap this one up!

Wagner: Tristan und Isolde

Manufacturer: Opera D'oro
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

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Beethoven: Symphonie No. 6
Wagner: Tristan und Isolde
Schubert: Symphonies 3 & 8 / Carlos Kleiber, Wiener Philharmoniker
Arnold Schoenberg: Serenade/Five Pieces For Orchestra
Johannes Brahms: Symphony No. 4 in E minor, Op. 98 - Carlos Kleiber / Vienna Philharmonic Orchestra

ASIN: B000GH3CIO
Release Date: 2006-08-08

Tracks:

Act One: Prelude
Act One: Westwarts Schweist Der Blick
Act One: Frisch Weht Der Wind Der Heimat Zu
Act One: Hab Acht, Tristan!
Act One: Weh, Ach Wehe!
Act One: O Blinde Augen
Act One: Auf! Auf! Ihr Frauen!
Act One: Herrn Tristan Bringe Meinen Gruss
Act One: Begehrt, Herrin, Was Ihr Wunscht
Act One: War Morold Dir So Wert
Act One: Tristan!... Isolde!

Tracks:

Act Two: Prelude
Act Two: Horst Du Sie Noch?
Act Two: Isolde! Geliebte!... Tristan! Geliebter!
Act Two: O Sink, Hernieder, Nacht Der Liebe
Act Two: Lausch, Geliebter!
Act Two: Rette Dich, Tristan!
Act Two: Tates Du's Wirklich?
Act Two: O Konig, Das Kann Ich Dir Nicht Sagen

Tracks:

Act Three: Prelude
Act Three: Kurwenal! He!
Act Three: Wo Ich Erwacht, Weilt' Ich Nicht
Act Three: Noch Losch Das Licht Nicht Aus
Act Three: O Diese Sonne!
Act Three: Ha! Ich Bin's, Ich Bin's, Sussester Freund!
Act Three: Kurwenal! Hor! Ein Zweites Schiff
Act Three: Mild Und Leise Wie Er Lachelt

Album Description

"Magic happens as Kleiber conducts with fire, unearthing little nuances that others throw away, always in the interest of the piece at large. For the Kleiber-Tristan experience, this is the recording to get..." -Jens F. Laurson, Ionarts.org

As all collectors lament, recordings of the late, great conductor Carlos Kleiber are far too few. Those that exist are often among the greatest ever made. Kleiber made a studio recording of Tristan and Isolde, but this live performance from Bayreuth in 1974 is generally considered to be superior. Some of the soloists are unsurpassed in their roles, and the conducting is perhaps the best one will ever hear.

Customer Reviews:

Ladies and Gentleman: Carlos Kleiber!!!.......2007-05-31

First of all, for a budget price, you won't get a libretto. Also, in a live recording, not everything will be accounted for. But if you know the work of the junior Kleiber, you know that live is where he lets go more, where magic happens. The great pianist Sviatoslav Richter considered Carlos Kleiber the best conductor alive, and after attending a Bayreuth Tristan he wrote in his notebook that, congratulating Kleiber backstage, he answered: "Ah, wirklich gut?". To which Richter added: "Such a Titan, and so unsure of himself." (a similar case could be made of Richter himself...)
This is a musical bargain. But I would hesitate as to give it out as a reference, for a work as complex as Tristan doesn't exhaust itself in one vision. For me, aquainted with both studio recordings of Furtwangler and Karajan, I've completed my tryptic. A triumph, one which makes one wish such magical musicians could live forever.

Very Good.......2007-03-03

Furtewangler's remains the best Tristan on record, but this one is worth having, primarily for Kleiber's conducting and Helge Brilioth's singing. Everyone else is fine and you can't beat the price of this set.

Kleiber is riveting, but there are problems.......2006-11-29

NOTE: Please ignore a disproportionate number of negative reviews here. They are from an anonymous Internet stalker.

Carlos Keliber left such a sparse stdio legacy that it's an event when any live recording surfaces. This Bayreuth Tristan from 1974 is riveting so far as the podium work goes -- Kleiber is less frenetic and more profound than in his DG studio set. The cast is competitive. Catarina Ligendza is urgent and fresh-voiced as Isolde, if not always in tune. The Swesih heldentenor Helge Brilioth, whom I'd only encountered as Karajan's Siegfried in Gotterdammmerung, is far superior to Rene Kollo on the studio set . He has a very attractive voice and summons the right ssorrow and depth from his ACT III apotheosis.

Now for the drawbacks. Donald McIntyre is seriously bad as Kurvenal, singing in a loud, blustery way and trying to hog the stage vocally. He's never a pleasure here, although earlier reviewers don't seem to mind as much as I do. The Brangane and Marke are fine, and there's no doubt about the dramatic conviction behind the performance. However, the mono sound is muffled and lacks detail in the orchestra (which is buried under the Bayreuth stage, of course). Even Karajan's classic live recording from twenty years earlier sounds clearer.

So, if you don't mind a recording that sounds like a table-top AM radio, Kleiber's contribution is highly recommended. I don't own the competitive live Tristan on other bootleg lables, so unfortunately I can't offer any comparison.

By all means, snap this one up!.......2006-09-23

What happens when my favorite opera is conducted by my favorite conductor at my favorite theatre? Pure magic! Add to this a very reasonable price tag, and decent sound quality, and you have one VERY happy listener!

While it's true that people rarely think of Helge Brilioth & Catarina Ligendza as the ultimate Tristan and Isolde, they both give stirring performances, aided in no small part by the incredible Bayreuth acoustics. Their voices effortlessly glide over the sublime orchestral sound, and Kleiber lovingly teases every orchestral detail out of this musical tapestry. Also present are Bayreuth favorites of mine - Heinz Zednick and Donald McIntyre, both of whom give excellent performances.

Personally, I much prefer this recording to the recent Domingo Tristan. While Domingo is (of course) superb, the rest of the cast, and the conductor, tend to verge on mannered artificiality. You certainly won't find that here!

The only miniscule complaint I have is that the sound quality can be iffy at times, with the occasional crackle and hiss. But, on the whole, this is a very minor inconvenience when one can enjoy a performance such as this.

This is a fabulous recording of the world's greatest opera, and while you won't find a libretto, snazzy booklet, or an erudite essay included, you will be treated to a Tristan conducted by Carlos Kleiber, who was at the height of his powers at the time. By all means, enjoy!

Strauss - Intermezzo / Popp, Fischer-Dieskau, Dallapozza, Fuchs, Finke, Moll, Raimund Grumbach, Hirte, Wilsing, Bayerischen Rundfunks, Sawallisch

Average customer rating:

Superb little known comic opera from a master - Popp in resplendent form!
A little-known gem

Strauss - Intermezzo / Popp, Fischer-Dieskau, Dallapozza, Fuchs, Finke, Moll, Raimund Grumbach, Hirte, Wilsing, Bayerischen Rundfunks, Sawallisch
Richard Strauss , Wolfgang Sawallisch , Lucia Popp , Dietrich Fischer-Dieskau , and Adolf Dallapozza
Manufacturer: EMI Int'l
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
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ASIN: B000005GIH
Release Date: 2002-11-05

Tracks:

Anna! Anna! Wo Bleibt Denn Nur Die Dumme Gans?
Haben Sie Alles Fur Den Herrn?
Zwischenspiel/Interlude
Nun Wollen Wir Frisieren!
Ach! Frau Huss! Ja, Gruss Gott!
Zwischenspiel/Interlude
Bahn Frei! - Doch, Aber Sie Waren Zu Schnell!
Zwischenspiel (Walzer)/Interlude (Waltz/Valse) - Ich Kann Nicht Mehr
Zwischenspiel/Interlude
Wissen Sie, Mein Mann, Der Immer An Der Arbeit Sitzt
Zwischenspiel/Interlude
Es Ist Wirklich Ein Sehr Netter, Ungeheuer Bescheidener Mensch
Ha, Ha, Ha, Ha. Der Hauptmann Sturtz Hat Seinen Abschied Eingereicht
Ein Hubscher Mensch! - Zwischenspiel/Interlude
Frau Notar! Konnen Sie Mir Meinen Koffer Heraufschicken? - Zwischenspiel/Interlude
Tausend Mark Will Er Haben!
Zwischenspiel/Interlude - Mein Lieber, Lieber Bubi! Ich Bin So Furchtbar Unglucklich!

Tracks:

Ach, Sie Kennen Sie Nicht, Herr Justizrat!
Verfluchte Chose! Frau Christine Wird Toben! - Nachspiel/Postlude
Guten Tag, Herr Notar
Zwischenspiel/Interlude
Es Ist Einfach Zum Rasendwerden!
Nachspiel/Postlude
Scene 4, Introduction
Ah! Anna! Ich Hatte Den Baron Doch Nicht Dahin Schicken Sollen
Zwischenspiel/Interlude
Er Kommt! Herrgott, Wie Ich Mich Freue!
Da Bin Ich, Gnad'ge Frau!
Er Ist Sicher Kein Gauner

Customer Reviews:

Superb little known comic opera from a master - Popp in resplendent form!.......2007-07-10

I call myself a Strauss fan but am also aware of the many problems that surround most of his masterpieces and certainly don't go overboard on all his works or performances thereof i.e. I like Karajans cutting of Rosenkavalier - it is far too long otherwise. I don't agree Arabella needs a cut although Strauss thought it did, but refrained in memory of the librettist, Hugo von Hofmansthal. That Strauss needed a Hofmansthal and couldn't replace him following his death is a curious fact of artistic life - given his own excellent libretto for this somewhat earlier piece.
So yes the libretto is excellent and the rendition here is awesome. Firstly, musically its a real gem, frankly probably his most lyrical and has the best romantic writing for a soprano ever. Secondly its compact and tight, none of the length of Rosenkavalier, Arabella, Die Frau etc and although the earlier reviewer suggests it's a modern piece, I think it is more late 19th Century romantic than much else - it has a lightness of touch in its lyricism, but it is by no means as modern and atonal (never in fact) as parts of Ariadne are for instance. Its rather as if Strauss is not trying too hard to be artistic rather simply to be wonderfully expressive with strong romantic tendencies!

OK so its a compact 2 CD work. Now for the analysis of the singing and speech. Popp hardly ever sang a wrong note though occasionally she phrased somewhat differently (her Czech origins perhaps) even in Strauss - here however she was at her absolute best. The vocal line suits her gorgeous voice and she lets rip with all her nuances and careful placement of emphasis, so much so, I couldn't believe she could sing like this for the whole of the first disc and in fact she doesn't, it just seems that way and of course it's probably not one straight recording though it sounds like it, such is her spontaneity here.

The spoken parts are wonderfully clear and in character, none of that different recording level and awkwardness you so often get on disc - it plays like a well rehearsed operetta in fact. The cook's dialect is interesting if hard to place but adds more colour to the whole. I understand and speak some German and I have to say I understood an awful lot of this recording , both sung and spoken lines which added considerably to my enjoyment.
All parts are well sung and taken, I didn't notice Dieskau and that's usually a good thing (he is like Windgassen - once you notice him he is past his vocal if not artistic best). The orchestra is fabulous and of course Swallisch - he is perhaps one of the greatest conductors ever especially in Strauss and Wagner, and here he is his usual self, quietly in control.

An absolute gem of a work and a recording that deserves to get a wider hearing! I can't believe I haven't checked it out before now and only did so when I came across the listing of Popp Swallisch, Dallapozza etc. I know the reason, it is because some of the biographies of Strauss and his music decry the work out of ignorance and sloth (they hadn't heard a modern performance and they didn't check the score!). As Popp demonstrates it would be a very brave soprano who takes this on on the stage (originally Lehmann), unless of course she was another Popp - Strangely I can think of one local voice that would be great in the part but this is Australia and the local opera is currently somewhat reticent about too many German operas even though they sell like hot cakes! So Popp it is and get this before it becomes a rarity!

12 out of 10!

A little-known gem.......2000-06-18

This brilliant, inspired opera that Strauss wrote about himself, must easily be one of his best works. It is audacious in its subject material and altogether quite a remarkable achievement; he produced his own libretto for the opera, which is about a real-life misunderstanding which almost led to a divorce between him and his wife. The musical style, too, is novel, consisting mostly of fast recitative with occasional ventures into full operatic singing and into the spoken word. The music is some of Strauss's least accessible - deliberately mannered, dissonant, spare and post-modern. It is mostly neo-classical, but there are also strong hints of cabaret and expressionism. In addition, the orchestral interludes almost outweigh the sung passages in length, and most of the scenes are relatively fleeting. On this recording, Lucia Popp plays Strauss's wife admirably; her rendition is light and flirtatious, capturing all the shrewishness inherent in the role. Her voice reveals itself to be every bit as at home in the recitative and the spoken passages as it does in the more lyrical parts. Fischer-Dieskau is equally convincing as Strauss (the name is altered to Robert Storch in the opera). This role is a much smaller one than that of his wife, but it is no less sharply characterised. Fischer-Dieskau gives a convincing account of Strauss the calm and placid in the opening scenes, and also rises to excellent portrayals of Strauss the stormy in the scene in the Prater, and Strauss the passionate in the closing scene. The other, smaller parts are also outstandingly handled, and Sawallisch stamps his usual exacting and detailed interpretation on the work. The orchestral playing is always brilliantly clear, especially in the numerous instances of chamber music textures.

Pachelbel Canon and other Baroque Favorites

Average customer rating:

James Galway plays baroque music's greatest hits for flute.

Pachelbel Canon and other Baroque Favorites
Johann Pachelbel , George Frideric Handel , Antonio Vivaldi , Georg Philipp Telemann , Johann Sebastian Bach , Tomaso Giovanni Albinoni , Johann Joachim Quantz , Marin Marais , James Galway , John Georgiadis , Charles Gerhardt , Jorg Faeber , Malcolm Proud , Sarah Cunningham , Phillip Moll , John Birch , Sarah Cunnigham , Kyung-Wha Chung , Moray Welsh , and Maria Graf
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

Trios | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

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

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

Classical Instrumental 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
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Bach: Flute Sonatas
James Galway - Serenade
The Classical James Galway
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Music For My Friends

ASIN: B000003FMF
Release Date: 1994-03-15

Tracks:

Concerto, Op.10, No.3, in D: I. Allegro
Suite for Flute and Strings in A Minor:: V. Rejouissance
Cannon
Sonata, Op.1, No.4, in A Minor: IV. Allegro
Suite No.3, BWV 1068, in D: II. Air on the G string
Solomon: Arrival of the Queen of Sheba
Adagio
Concerto In C: III. Presto
Sonata, Op.1, No.11, in F: III. Siciliana
Sonata, Op.1, No.11, in F: IV. Allegro
Suite No.2, BWV 1067, in B Minor: VI. Menuet
Suite No.2, BWV 1067, in B Minor: VII. Badinerie
Messiah: Pastorial Symphony
Trio Sonata No.2, BWV 1039, in G: IV. Allegro moderato
Concerto, Op.10, No.3, in D: II. Cantabile
Sonata No.4, BWV 1033, in C: II. Allegro
Xerxes - Serse: Largo
Le basque
Sonata No.2, BWV 1031 in E-Flat: II. Siciliano
Suite for Flute and Strings in A Minor:: VII. Polonaise
Concerto, BWV 1059 - BWV 35, in E Minor: III. Presto
The Four Seasons: 'Spring': Allegro

Customer Reviews:

James Galway plays baroque music's greatest hits for flute........1999-05-31

Flute players and flute lovers everywhere will enjoy this collection of Galway recordings from the Baroque era. Besides the title cut, selections from the Telemann "Suite in a minor" will be appreciated by flute teachers and performers, as well as other works transcribed for flute. The Albnioni "Adagio" is particularly haunting and could be a new addition to the repertoire. Handel's "Queen of Sheba" is also nicely done. A good recording to have on hand for those performers wishing to "demonstrate" various works for perspective clients as well.

Music Review:

Music Review

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