Knappertsbusch & the Berlin Philharmonic

On this CD:

1. Symphony No. 94 in G major ("Surprise"/"The Drumstroke"/"Mit dem Paukenschlag"), H. 1/94
Composed by Franz Joseph Haydn
Performed by Berlin Philharmonic Orchestra
Conducted by Hans Knappertsbusch

2. Symphony No. 3 in E flat major ("Eroica"), Op. 55
Composed by Ludwig van Beethoven
Performed by Berlin Philharmonic Orchestra
Conducted by Hans Knappertsbusch

3. Invitation to the Dance, rondo brillant for piano, Op. 65 (J260)
Composed by Carl Maria von Weber
Performed by Berlin Philharmonic Orchestra
Conducted by Hans Knappertsbusch

4. Symphony No. 3 in F major, Op. 90
Composed by Johannes Brahms
Performed by Berlin Philharmonic Orchestra
Conducted by Hans Knappertsbusch

5. Les Préludes, symphonic poem for orchestra, S. 97 (LW G3)
Composed by Franz Liszt
Performed by Berlin Philharmonic Orchestra
Conducted by Hans Knappertsbusch

6. Bad'ner Mad'ln Waltz for orchestra, Op 257
Composed by Karel Komzak
Performed by Berlin Philharmonic Orchestra
Conducted by Hans Knappertsbusch

7. Palestrina, opera in 3 acts Prelude, Act 1
Composed by Hans Pfitzner
Performed by Berlin Philharmonic Orchestra
Conducted by Hans Knappertsbusch

Knappertsbusch & the Berlin Philharmonic, Music, Ludwig van Beethoven, Johannes Brahms, Franz Joseph Haydn, Karel (II) Komzak, Franz Liszt, Hans Pfitzner, Carl Maria von Weber, Hans Knappertsbusch, Berliner Philharmoniker, Classical, Classical Period Symphony, German/Austrian 20th/21st Century Opera, Opera, Orchestral, Orchestral & Symphonic, Romantic Symphony, Romantic Tone Poem/Symphonic Poem for Orchestra, Symphonic, Waltz for Orchestra

Wagner: Parsifal
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The greatest Parsifal ever recorded

A Masterful Performance of Perhaps the Most Engimatic Art-Work

Wagner: Parsifal

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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ASIN: B000FVHGZG
Release Date: 2006-11-14

Album Description

"Knappertsbusch's expansive and dedicated 1962 reading is caught superbly in the Philips set, arguably the finest live recording ever made in the Festspeilhaus at Bayreuth, with outstanding singing from Jess Thomas as Parsifal and Hans Hotter as Gurnemanz...its spiritual quality and the sound has undoubtedly been further enhanced in the remastering for CD."--The Penguin Guide to Compact Discs "This is not merely one of Philips's Great Recordings but also one of the greatest sets of all time. Every time one returns to it, its inspiration and distinction seem to have been enhanced, its all-enveloping eloquence the more evident. Its overriding advantage over all other recordings of the work is Knappertsbusch's masterly traversal of the score, even more aware of dramatic impetus, long line and Wagnerian import...There have been much-admired Parsifals in more recent times but none of these studio-made sets quite catches the immediacy and inevitability of this moving and elevated version, now sounding freshened in its remastered form. At mid-price, a very special experience is in store for any newcomer to the work."--Gramophone Cast GEORGE LONDON Amfortas MARTTI TALVELA Titurel HANS HOTTER Gurnemanz JESS THOMAS Parsifal GUSTAV NEIDLINGER Klingsor IRENE DALIS Kundry Chor und Orchester der Bayreuther Festspiele Hans Knappertsbusch, conductor

Customer Reviews:

The greatest Parsifal ever recorded.......2007-01-28

In my opinion, a true Parsifal can only be realized in the Bayreuth Festspielhaus, given the fact that Wagner wrote the opera with his theater's acoustics in mind. Wagner's architecture allows the music to resound magically from the sunken orchestra pit, and this allows Parsifal's beautiful score to come to full bloom. Despite the wonderful studio recordings that one can buy in the market (such as Karajan's magical Berlin recording, Kubelik's magnificent Bavarian recording, and Solti's acclaimed Vienna production), Bayreuth Parsifals have always been more exciting. The conductor in this recording is Hans Knappertsbusch, a maestro who keeps with the holy traditions of the grail-infused score and gives the music a breadth, gravity, and clarity absent from most new conductors. His most famous recording from Bayreuth was a 1951 recording with Martha Mödl, Wolfgang Windgassen, George London, and Ludwig Weber. I think that is one of the most inspired Parsifals ever committed to disc. This recording, made eleven years later, is just as inspired and beautiful as the 1951 account, with better sound, a more magnificent cast, and in ways, much better judged tempi than the glacial 1951 recording.

In my opinion, the crowning glory of this set in Hans Hotter's Gurnemanz. Full of gravitas and wisdom, despite what people say about his voice, Hotter is my favorite Gurnemanz. His large, commanding, godlike sound is perfect for the role of the warrior-knight who keeps the traditions of the grail, and his third act is perhaps the best on disc. His qualities as a lieder singer allow the sensitivities of Wagner's complex text to emerge, and I would say that despite the fact that other Parsifals with him are better (1964, same theater, same conductor, but with Jon Vickers! as Parsifal), this recording captured him in the best conditions.

The Parsifal in this recording is Jess Thomas, who is perhaps the most youthful and beautiful heldentenor voice ever to take the part. I find that his intelligence in his interpretation, while nowhere near as grand as Vickers, is a merit to this recording. He has the most beautiful voice for the redeeming fool. He is partnered by the Kundry of Irene Dalis. My favorite Kundry is Gwyneth Jones, who in her prime recorded Parsifal with James King, Thomas Stewart, and Franz Crass, and if she were the Kundry in this recording, I would definitely throw heaps of money on this for being the best recording ever. Irene Dalis does a good job of Kundry nonetheless, and has the perfect balance of seduction and demonic ferocity to make the role credible.

Amfortas is sung by the aging George London, who in a few years, would forever lose his magnificent voice. Here, he repeats his marvelous performance from 1951, and while the voice is less than fresh, his interpretation has undoubtedly grown in depth and intensity. A reference Amfortas for any generation. The direction by Wieland Wagner is inspiring, and is perhaps the reason why this Parsifal is such a benchmark performance.

A Masterful Performance of Perhaps the Most Engimatic Art-Work.......2007-01-10

Parsifal is undoubtedly the most problematic of Wagner's works. Not in terms of performance demands, for the vocal parts are remarkably undemanding, certainly when compared to Tristan or the Ring, and the orchestral passages rarely rise to greater than mezzo-forte. The problem lies in decerning what Wagner really intended to say in this final work. Some see it as an expression of christian faith, others a glorification of celebacy and denigration of sexual love, and still others, such as Robert Gutmann, see in it the ultimate expression of Wagner's anti-Jewish feelings and the need for the Aryan Race to be regenerated through the blood of Christ. In all likelihood, all of these viewpoints have validity, as such a morally ambiguous work is like a Rorschach Inkblot Test, an ambiguous stimulus that can provoke any number of interpretations. There is indeed a dream-like quality to this work, in which Wagner amazingly anticipates, or perhaps initiates, musical impressionism.
This live performance from the 1962 Bayreuth Festival, led by Knappertsbusch, perfectly captures the misty, flickering, impressionistic light of the work. Kna, as is well known, was highly unpredictable in performance, at times sublime, at other times plodding and careless. This is one of his sublime moments, as great as his 1951 "Goetterdaemmerung." So great is his grasp of the music that there is not one passage that sounds like a longeur, but rather, that this drama moves by swiftly and with purpose at every point. Comparison with his 1951 version reveals swifter pacing in this performance, but as we all know, speed itself does not necessarily guarantee tautness. It is more a matter of maintaining tension, and Kna does this better than any other "Parsifal" conductor in this listener's experience. The cast is perfect at every point. Highilghts include Hotter's warm, committed Gurnemanz, sung with Lieder-like sensititivy and rock-steady tone; Neidlinger's commanding and frightening Klingsor (slso expressed with bitterness over his unjust rejection by the Grail Knights, one of the great moral ambiguities of the work); Thomas' gloriously-sung Parsifal (properly one-dimensional, as this character is really a "Tor" (fool), or more properly a "Trottel" (imbecile)); Dalis's tortured and yet seductive Kundry; and the tortured Amfortas of London, even more impressive than in the earlier Knappertsbusch recording. The chorus is the greatest in the world, and the Bayreuth Orchestra sounds like the equal of any orchestra, operatic or symphonic. The recorded sound is amazingly lifelike and shows why the Festspielhaus is the greatest opera house in the world. Once again, BAYREUTH RULES!

Average customer rating:

Brava
Un trouvaille!
Rare Crespin
Only for real fans!

Regine Crespin: Ses Plus Grands Rôles

Manufacturer: Delta
ProductGroup: Music
Binding: Audio CD

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Tracks:

Otello: Air Du Saule-Ave Maria
Cosi Fan Tutti: Qu'il S'eloigne Qu'il Parte Au Loin De Moi
Le Nozze De Figaro: E Susanna, Non Vien
Penelope: Justice Est Faite
Parsifal: Ich Sah Das Kind
Der Rosenkavalier: Da Geht Er Hin
Fidelio: Abscheulicher, Wo Eilst Du Hin
Un Ballo In Maschera: Teco Io Sto

Customer Reviews:

Brava.......2005-01-31

I remember a Metropolitan Opera broadcast singers roundtable in which the great Regine Crespin participated fairly late in her career. As they went around the table, the question was "When you give a performance, what do you hope the audience will go away thinking?" When it came to Crespin, her answer was "I hope they will go away thinking 'She looks like she's lost twenty pounds', because I have!" The audience was in hysterics for what seemed like half an hour.

I trust this release, the few others currently available, and the considerable amount of recorded material not currently in release which should be, will attest to the unquestioned fact this extraordinary artist should, and will, be remembered for much, much more.

May she live forever in our hearts.

Un trouvaille!.......2002-06-20

This is what the French would call "a find"!

I agree wholeheartedly with Mr Levinson's comments below. Featuring Crespin's singing of repertoire mostly unavailable elsewhere (and now that EMI's early-career studio recordings, including the Otello scene in Italian, are currently out of the catalog) with the voice fresh in its voluptuous, youthful splendor, this generous compilation is simply not to be missed!

Never mind any sonic flaws of the source material which, for live airchecks, are fairly negligible. In fact, the sound is remarkably dynamic if a shade fierce in the treble, with only one serious pitch variation due to uneven tape speed marring the Fiordiligi aria, which is nevertheless sung magnificently, as mentioned before, translated into the venacular (a practice commonplace in European opera houses of the period). With diction so pure and clear as Crespin's, a model of how French should be sung, it is not only instructional but sheer pleasure to hear the familiar Mozartean tour-de-force rendered in her native tongue rather than the usual Italian.

Perhaps of greatest significance is the Wagner selection. Considering that this is the only currently available sample of Crespin's ne-plus-ultra interpretation of the role of Kundry (a complete Bayreuth aircheck of this Parsifal is out there and urgently wanting issue on CD), which her conductor and Parsifal specialist Knappertsbusch called the greatest Kundry he had ever heard, this becomes a must-have release.

Rare Crespin.......2000-12-04

The sound is live-broadcast, but good enough to reveal the magnificent Crespin at her vocal peak in repetoire unavailable otherwise. Desdemonda's grand scene from "Otello" and the Mozart selections are sung in French, but with such feeling and sheer vocal beauty that it almost doesn't matter. The Verdi "Ballo" duet with Corelli (in Italian) is thrilling, but so is everything else on this disc. For me, the recording is an unadulterated pleasure, sound and language be damned.

Only for real fans!.......1999-05-20

I was excited by the prospect of hearing a much loved voice in her best repertoire. unfortunately the reording quality is poor, and the arias often sung in translation. her Fiordiligi is uncomfortable. Yet her Penelope (Faure) is riveting. Listen to this one first!

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Perhaps best compilation so far
Actually comes close to being the best

Best of New Year's Concert

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Polkas | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

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Best of New Year's Concert Vol. 2
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ASIN: B0000E4N55
Release Date: 2003-12-09

Tracks:

The Blue Danube Op. 314 (Waltz)
Thunder And Lightning Op. 324
Morning Papers Op. 279
Bandits' Galop Op. 378
Emperor Waltz Op. 437
Hunting Op. 373
Viennese Bonbons Op. 307
Beloved Anna Polka Op. 137
Accelerations Op. 234
Burning Love Op. 129
The Dragonfly Op. 210
Overture

Tracks:

Vienna Blood Op. 354
Celebration March For The Recovery Of Emperor Franz Joseph I Op. 126
Light Of Heart Op. 319 - Hans Knappertsbusch
Without Brake Op. 238
Music Of The Spheres Op. 235
Pizzicato-Polka Op. 449
Watercolours Op. 258
On The Wing Op. 230
Voices Of Spring Op. 410 - Johann Strauss II
Egyptian March Op. 335
Anna Polka Op. 117
Tales From The Vienna Woods Op. 325 - Karl Swoboda
On Holiday Op. 133
Carefree Op. 271
Radetzky March Op. 228

Customer Reviews:

Perhaps best compilation so far.......2006-06-07

For many years I have rejected the "lesser" music of Strauss family. But since New Year's concert is an institution in Classical music I have to admit that sometime I was to buy something. And since tradition is what matters most, far more important than the particular conducting or programme of every year, why not having a look at a sample of this history line of performances? I usually hate samples of works or concerts, but in this case I make an exception: here the whole is far greater than its parts. Here you have many conductors from Krauss to Ozawa (lacking Mehta and the more recent Harnoncourt and Janssons)plus Knapperstbusch (?) who was closely associated with WP albeit without conducting a NY concert. In all of them the orchestra plays splendidly. If I have to single out a conductor, it is Karajan but I should listen to all his recording to make a judgement. What is important here is that you have a sample of what tradition truly is, far outweighting a particular programme or conductor. And the reperoire: almost all favourite pieces are here. Almost: I think it is a valse,very well known, I think, featuring in other CD under Maazel, that is absent here. But the vast majority of famous walzes and polkas are here, and adding track durations it makes clear that they need 2 cds. Given that it is very probable not to have all of them in a single concert, so I commend you not to let pass this oportunity and grab this compilation, unless you want a complete concert in particular. There is another more recent but less complete, I think. 4 of 27 tracks are not taken in a NY concert, but in Sofiensalle, in another time, but all are alive, with the WP. The local edition of the CD has a brief but appropiate history of the concert series by the President of WP, Clemens Hellsberg. Besides, the double CD ends with Radevsky(?) March, with public clapping, as it should. In summary, a must.

Actually comes close to being the best.......2005-10-28

Over the years DG has recorded more of the traditional New Year's concerts from Vienna than any other company, and they've mined their stock fairly often. Here is one of the very best collections, not a haphazard potpourri but a select cross-section of the best conducting from 1957 (Josef Krips) to 2002 (Seiji Ozawa). As it happens those are two conductors I wouldn't necessarily turn to for Strauss waltzes, but their contributions are buoyant and lovely. The same is true for eveyr cut on both CDs--one really gets into the spirit of a live concert and a festive occasion. Very nice.

Jewel Song ~ 20 Great Soprano Arias / Crespin, Freni, Te Kanawa, Sutherland, Jo, Tebaldi, Cotrubas, Caballé, Cerquetti...

Average customer rating:

Jewel Song 20 Great Soprano Arias
Sutherland, Battle, Te Kanawa.....Need I say More?
A good selection
A few real jewels with a couple of paste ones mixed in...
Very Nice

Jewel Song ~ 20 Great Soprano Arias / Crespin, Freni, Te Kanawa, Sutherland, Jo, Tebaldi, Cotrubas, Caballé, Cerquetti...

Manufacturer: Decca
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The Most Famous Opera Duets
Ten Top Sopranos
Mad About Sopranos

ASIN: B000024581
Release Date: 2000-09-12

Tracks:

Dove Sono: Le Nozze di Figaro
Un Bel Di: Madama Butterfly
Merce, Dilette Amiche (Bolero): I Vespri Siciliani
Deh Vieni, Non Tardar: Le Nozze di Figaro
Ebben? ... Ne Andro Lontana: La Wally
Suicidio! La Gioconda
Signore, Ascolta! Turandot
Convien Partir! La Figlia del Reggimento
Chi il Sogno di Doretta (Doretta's Dream): La Rondine
Morro, Ma Prima In Grazia: Un Ballo in Maschera
O Dieu! Que de Bijoux! (Jewel Song) Faust
Vissi d'Arte: Tosca
O Mio Babbino Caro: Gianni Schicchi
Si. Mi Chiamano Mimi: La Boheme
Mesicku na Nebi Hlubokem (O Silver Moon): Rusalka
Quando m'en Vo (Musetta's Waltz Song): La Boheme
Tu Che di Gel Sei Cinta: Turandot
Welch Wonne, Welche Lust: Die Entfuhrung Aus Dem Serail
Du Bist der Lenz: Die Walkure
Der Holle Rache: Die Zauberflote

Customer Reviews:

Jewel Song 20 Great Soprano Arias.......2006-06-26

Recording quality excellent
A must for the soprano voice lover

Sutherland, Battle, Te Kanawa.....Need I say More?.......2005-12-30

This truly is a marvellous recording of the top Soprano's of our time in their prime. The Album starts with Kiri Te Kanawa singing Mozart's "Dove Sono", in which she captures the true essence of a wife questioning her marriage that has disintegrated over the years. And her phrasing in this song is heavenly. Battle's version of "Welche Wonne" is the best I've heard to date. I've listened to numerous other recordings of this aria and still havent found one that measures up to this one. Sutherland pulls off gounod's "O dieu, que di bijoux" excellently, with the greatest of ease. I could go on and on, but I'll end my review with this: These are excellent recordings of excellent singers at their very best, singing music by the masters. It would be worth your money.

A good selection.......2004-11-04

I rate this as a very valuable sampler. It gives the listener not only a reasonable introduction to various operatic works and styles (though there is a prominent Puccini verissimo presence) but a good introduction to the different artists. I like the fact that some operas feature more than one work on the CD because there's less of a chance you'll fall in love with one aria and go buy the entire opera, only to discover that the aria is nearly all that you enjoy.

As for the sopranos... I adored nearly all of them. I have listened to many of their recordings and I can vouch for these arias as good indicators of their outstanding talent....the few exceptions will follow, however.

I make special mention of some sopranos. Leontyne Price's Tosca, is the first. Her Aida has been her crown jewel but I would place her Tosca as a very strong rival. Also, the Turandot recording with Monsterrat Caballe is perhaps the finest on CD, and her Liu here shows why: she is blessed with a heart-melting upper register. Pilar Lorengar's Russalka was a very pleasant surprise...I wish I could find a complete recording of her singing the title role. I believe we will just have to contend with this however. I'd never heard of Virginia Zeani prior to this CD but I loved the secure purchase and `sanguine tinge' of her voice...I'll be on the look out for her in the future. Of course, we get a reliable performance from Mirella Freni: touching and delicate as usual, but never weak. Kathleen Battle proves why she can get away with her notoriously despicable attitude: she really was the golden voice of the Met! Sumi Jo's technically perfect and stunning aria (again a good indicator of what you can generally expect from her) is the perfect, exciting end to this compilation.

The exceptions? I found Graziella Sciutti's tone to be too `heady'... if you'll forgive the crude term. I imagined the sound to come from an old woman. This will be a matter of preference. Renata Tebaldi is a touchy subject for some people because of some petty bashing that sometimes takes place. While I'm no `basher,' I never found her voice aesthetically appealing. I find her tone metallic and hard. Here, however, is the best I've heard her (I've heard her Cavaleria Rusticana, her La Wally and her Turandot). While her La Rondine here is not bad, Angela Georghiu's interpretation is one example of a soprano who is vastly superior in my opinion. Finally, the `immortal' Kirsten Flagstad performs "Du bist der Lenz" from Die Walkure in Wagner's Ring cycle. The old sound quality aside, I would not have enjoyed her Sieglinde, `full-throated' as it was. I wrote this off immediately as an idiosyncrasy for Flagstad fans. Apologies if anyone is offended (and this is sincere) but the whole musical effect is that of some lumbering leviathan...this is the stereotypical tedium that people ascribe to Wagner. All-in-all, however, I found the experience invaluable. I certainly am more aware of recordings that I'm not likely to enjoy and so have avoided making mistakes. When saying so, however, these sopranos are truly legendary. But as in all things, preferences will vary and so I have stated mine.

A few real jewels with a couple of paste ones mixed in..........2004-11-04

Most aria/song compilations suck. That's just the nature of compilations in general - It's hard to get a good mix of singers, arias and performances that will appeal to a broad audience.

This one mostly succeeds with a few exceptions. The singers are, over-all, excellently selected. Most of the performers are excellent singers, and their respective selections show them at the highest level of their careers. This was a treat to realize, because quite often, compilations fall back on using poorer quality artists.

There are a few, however, that don't match up to the performances of some of the other soprani on the album. That's not to say that they don't have their own talent and value, but it's hard to appreciate their lesser stars when faced with the brilliance of Caballe, L. Price & other similar talents.

The selection of arias was also not to my taste. I personally could live in peace the rest of my days without hearing another "O Mio Babbino Caro," but personal taste aside, it would have been nice to hear some of the greater, but less frequently performed arias, as well as some of the commonly done but more appealing arias, too.

Out of all the music written by Mozart and Wagner, the best they could do was Welche Wonne, welche Lust & Du bist der Lenz?

This probably isn't a great album to introduce newbies to opera in general, but there is some good listening on it - particularly Caballe's Signore, Ascolte & Tebaldi's Che il bel sogno di Doretta.

Very Nice.......2002-09-01

As a big fan of the many "Top such and such sopranos" type CDs, I found this to be one of the best yet. It exemplifies the highlights of each sopranos career...and leaves you with a great impression of them all.

Tracks:

No. 1, Prelude
Act I, No. 2, "He! Ho! Waldhuter Ihr
Act I, No. 3, "Hei! Wie Fliegen Der Teufelsmahre Die Mahnen"
Act I, No. 4, "Recht So! - Habt Dank! Ein Wenig Rast"
Act I, No. 5, "Wann Alles Ratlos Steht"
Act I, No. 6, "Das Ist Ein Andres"
Act I, No. 7, "Titurel, Der Fromme Held"
Act I, No. 8, "Weh! Weh! Hoho! Auf!"
Act I, No. 9, "Unerhortes Werk!"
Act I, No. 10, "Den Vaterlosen Gebar Die Mutter"
Act I, No. 11, "So Recht! So Nach Des Grales Gnade"
Act I, No. 12a, "Vom Bade Kehrt Der Konig Heim"
Act I, No. 12b, (Transformation Scene)
Act I, No. 13, "Nun Achte Wohl... Zum Letzten Liebesmahle"
Act I, No. 14a, "Mein Sohn Amfortas, Bist Du Am Amt?"
Act I, No. 14b, "Nein! Lasst Ihn Unenthullt"
Act I, No. 14c, "Wehvolles Erbe, Dem Ich Verfallen"
Act I, No. 15, "Durch Mitleid Issend, Der Reine Tor"
Act Ii, No. 16, Prelude
Act Ii, No. 17, "Die Zeit Ist Da"
Act Ii, No. 18, "Ach! Tiefe Nacht... Furchtbare Not!"
Act Ii, No. 19, "Hier War Das Tosen!"
Act Ii, No. 20, "Komm, Holder Knabe!"
Act Ii, No. 21, "Dies Alles - Hab' Ich Nun Getraumt?"
Act Ii, No. 22, "Ich Sah Das Kind"
Act Ii, No. 23, "Wehe! Wehe! Was Tat Ich?"
Act Ii, No. 24, "Amfortas! Die Wunde!"
Act Ii, No. 25, "Grausamer! Fuhlst Du Im Herzen"
Act Ii, No. 26, "Auf Ewigkeit Warst Du Verdammt Mir Fur Eine Stunde"
Act Iii, No. 27, Prelude
Act Iii, No. 28, "Von Dorther Kam Das Stohnen"
Act Iii, No. 29, "Heil Dir, Mein Gast!"
Act Iii, No. 30, "Zu Ihm, Des Tiefe Klagen"
Act Iii, No. 31, "O Gnade! Hochstes Heil!"
Act Iii, No. 32, "Du Wuschest Mir Die Fusse
Act Iii, No. 33a, (Transformation Scene)
Act Iii, No. 33b, "Geleiten Wir Im Bergenden Schrein"
Act Iii, No. 34, "Ja, Wehe! Wehe! Weh' Uber Mich!"
Act Iii, No. 35, "Nur Eine Waffe Taugt" (Parsifal)

Customer Reviews:

Knappertsbusch and Parsifal.......2007-01-30

The world-famous conductor, especially renowned for his staging of Parsifal in Bayreuth. The names of Knappertsbusch and Parsifal are inseparable. The conductor regarded his work as a sacred act, a great homage to God. He spent each night in zealous prayers and he needed to see a soaring dove in the final scene of the triumph of the spirit even over an empty Bayreuth "saucer".
The Knight of the Grail Gurnemanz is played by Ludwig Weber - the name known mostly in the inner circles. This exclusive musician has played a lot at Bayreuth Festspiele, without him a Wagner performance would not be a success. His playing is characterized by incomparable charm and if, sometimes they say about a musician "good but without much kick", in case of Weber it is just the opposite.
Wolfgang Windgassen is a Bayreuth colossus and Wagnerian prime star. "What should have been done if Wolfgang Windgassen was not in Bayreuth?" To which Knappertsbusch retorted: "Send him an invitation as soon as possible, what else?"
Once Knappertsbusch philosophized: "Windgassen for Bayreuth is a sort of astral indisputable body, which by spiritual force is retaining here the Beauty (das Musische)». Knappertsbusch seldom made such remarks, so when he did it was after long deliberation. Windgassen comet started its flight from the role of Parsifal.
There are many recordings of Parsifal from Bayreuth Festspiele with the ever-present Hans Knappertsbusch and Windgassen as Parsifal. Philips recording of Parsifal from Bayreuth in 1962 can be considered universal for a wide range of listeners. But the real connoisseurs know that there will no such Parsifal as at the opening in 1951. No words can describe that atmosphere of incredulously quite audience in which a cough would have been a crime. Listening would be better than words.

A legendary performance: everything works!.......2006-04-28

This recording was made during the first postwar Wagner Festival in Bayreuth. It features Wolfgang Windgassen (Parsifal) and George London (Amfortas) at the beginning of their careers as Wagner singers. Martha Modl set the standard for Kundry for a generation. Conductor Hans Knappertsbusch was well known in Europe for his Wagner--especially "Parsifal".
In short the cast was wonderful, and the conducting magnificent. The sound is monaural, but made with the best equipment available in 1951. It was made during live performances of the opera in Festspielhaus. Thus it has the level of excitement possible only in live recordings and is aided by the excellent acoustics of the theatre.
Amazon allows five stars. I would give it six or seven.

Wagner: Parsifal/Die Meistersinger von Nürnberg

Average customer rating:

Invaluable musical treasures!

Wagner: Parsifal/Die Meistersinger von Nürnberg

Manufacturer: Koch Schwann (Germ.)
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001SUP
Release Date: 1994-05-31

Tracks:

Vorspiel zum 1. Auzfug - Vienna State Opera Orch, Choir, & Cast
Nun achte wohl und lass mich seh'n-Zum letzten Liebesmahle - Vienna State Opera Orch, Choir, & Cast
Vospiel zum 2. Aufzug-Die Zeit ist da - Vienna State Opera Orch, Choir, & Cast
Wie lachen ihm die Rossen der Wangan-Hier! Hier war das Tosen-Ihr schonen Kinder - Vienna State Opera Orch, Choir, & Cast
Und willst Du uns nicht schelton-Komm, komm, holder Knabe - Vienna State Opera Orch, Choir, & Cast
Sie beut dir heut' als Muttersegens letzen Gruss-Amfortas! Die Wunde - Vienna State Opera Orch, Choir, & Cast
Hilfe! Hilfe! Herbei! - Vienna State Opera Orch, Choir, & Cast
Vorspiel zum 3. Aufzug - Vienna State Opera Orch, Choir, & Cast
Du siehst, das ist nicht so - Vienna State Opera Orch, Choir, & Cast
Ich sah sie welken, die einst mir lachten - Vienna State Opera Orch, Choir, & Cast
Verwandlungsmusik-Geleiten wir im bergenden Schrein - Vienna State Opera Orch, Choir, & Cast
Hochsten Heiles Wunder - Vienna State Opera Orch, Choir, & Cast
Vospiel zum 1. Aufzug-Da zu dir der Heiland kam - Vienna State Opera Orch, Choir, & Cast
Halt, Meister! Nicht so geeilt! - Vienna State Opera Orch, Choir, & Cast

Tracks:

Was duffet Doch der Flieder - Vienna State Opera/Nurnberg Operahouse Choir & Cast
Gut'n Abend, Meister - Vienna State Opera/Nurnberg Operahouse Choir & Cast
Jerum! Jerum! Hallohallohe! - Vienna State Opera/Nurnberg Operahouse Choir & Cast
Oha! Wollt mich beim Wahne fassen - Vienna State Opera/Nurnberg Operahouse Choir & Cast
So lang als Beckmesser lebt - Vienna State Opera/Nurnberg Operahouse Choir & Cast
dass mit Vergumst-Ist das erlaubt, so spat zur Nacht - Vienna State Opera/Nurnberg Operahouse Choir & Cast
Vorspiel zum 3. Auzfug (fragment) - Vienna State Opera/Nurnberg Operahouse Choir & Cast
Wahn! Wahn! Uberall Wahn!-Gruss Gott, mein junker - Vienna State Opera/Nurnberg Operahouse Choir & Cast
Doch lasst dem Ruh'-Mein Freund, in holder Jugendzeit - Vienna State Opera/Nurnberg Operahouse Choir & Cast
O Sachs, mein Freud-Aha, da streicht die Lene schoon um's Haus-Ein Kind ward geboren - Vienna State Opera/Nurnberg Operahouse Choir & Cast
Selig, wie die Sonne-Verwandlungsmusik - Vienna State Opera/Nurnberg Operahouse Choir & Cast
Ach auf! Es nahet gen den Tag - Vienna State Opera/Nurnberg Operahouse Choir & Cast
sein Tochterlein, sein hochstes Gut-O saschs mein Freund! - Vienna State Opera/Nurnberg Operahouse Choir & Cast
Das Lied, furwahr, ist nicht von mir - Vienna State Opera/Nurnberg Operahouse Choir & Cast
Verachtet mit die Meister nicht - Vienna State Opera/Nurnberg Operahouse Choir & Cast

Customer Reviews:

Invaluable musical treasures!.......2005-12-20

The presence of these two giants of the conducting world reserve for you a journey through the time.

Die Meistersinger Von Nürnberg is dated from September 1938 and Parsifal was recorded on April 1939 at the Wiener Staatsoper. Hans Sachs is Rudolf Bockelman and Veit Pogner is Josef von Manowarda; while in Parsifal Parsifal is Hans Grahl, Gurnemanz is Herbert Alsen, Kundry is Anny Konetzi and Klingsor is Hermann Wiedemann.

Go for this admirable collection whose historical importance will increase exponentially through the years.

Average customer rating:

The best performance I know for Piano Concerto no. 4

Beethoven: Piano Concertos 4 & 5

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004XQ8N
Release Date: 2000-11-14

Tracks:

Piano Concerto No. 4 In G Major: I. Allegro moderato
Piano Concerto No. 4 In G Major: II. Andante con moto
Piano Concerto No. 4 In G Major: III. Rondo: Vivace
Piano Concerto No. 5 In E Flat Major, Op. 73 'Emperor': I. Allegro
Piano Concerto No. 5 In E Flat Major, Op. 73 'Emperor': II. Adagio un poco mosso -
Piano Concerto No. 5 In E Flat Major, Op. 73 'Emperor': III. Rondo: Allegro

Customer Reviews:

The best performance I know for Piano Concerto no. 4.......2002-01-28

Curzon and Knappertsbusch's Emperor is alright, but nothing special. It is the Piano Concerto no 4. that makes it so unique. Already in Curzon's entrance you feel the difference. The 2nd mvt is simply electricizing, as the dialogue between the piano and the orchestra takes place: Curzon is a paragon for gentle, sensitive playing while Knappertsbusch, an opera conductor, knows how to give a drama. The combination of the two makes this performance the best I know for this work, and I've heard many.

Average customer rating:

Outstanding
This isn't the best of Knappertsbusch's output
Best Bayreuth sound
Kna's famous Parsifal
...and Irene Dalis

Wagner - Parsifal / Knappertsbusch
Richard Wagner , Hans Knappertsbusch , Hans Hotter , Gustav Neidlinger, Irene Dalis Jess Thomas , and Martti Talvela George London
Manufacturer: Umvd Labels
ProductGroup: Music
Binding: Audio CD

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Richard Wagner: Parsifal
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Wagner - Die Meistersinger von Nurnberg / Kollo · Donath · Adam · G. Evans · Schreier · Hesse· Riderbusch · Karajan
Tristan Und Isolde

ASIN: B00005IB5N
Release Date: 2001-10-30

Tracks:

Erster Aufzug: Vorspiel - Orch Der Bayreuther Festspiele/Hans Knappertsbusch
Erster Aufzug: He! Ho! Waldhuter Ihr - Hans Hotter
Erster Aufzug: Seht Dort, Die Wilde Reiterin! - Sona Cervena/Ursula Boese/Gerhard Stolze/Georg Paskuda
Erster Aufzug: Recht So! - Habt Dank! - Ein Wenig Rast - George London
Erster Aufzug: Nicht Dank! - Haha! Was Wird Es Helfen? - Irene Dalis
Erster Aufzug: O Wunden-Wundervoller Heiliger Speer! - Hans Hotter
Erster Aufzug: Titurel, Der Fromme Held - Hans Hotter
Erster Aufzug: Weh! Weh! - Sona Cervena/Ursula Boese/Gerhard Stolze/Georg Paskuda
Erster Aufzug: Nun Sag'! Nichts Weisst Du, Was Ich Dich Frage - Hans Hotter

Tracks:

Erster Aufzug: Vom Bade Kehrt Der Konig Heim - Hans Hotter
Erster Aufzug: Transformation Music - Orch Der Bayreuther Festspiele/Hans Knappertsbusch
Erster Aufzug: Nun Achte Wohl Und Lass Mich Seh'n - Hans Hotter
Erster Aufzug: Mein Sohn Amfortas, Bist Du Am Amt? - Martti Talvela
Erster Aufzug: Wehvolles Erbe, Dem Ich Verfallen - George London
Erster Aufzug: Enthullet Den Gral! - Martti Talvela
Erster Aufzug: Wein Und Brot Des Letzten Mahles - Sona Cervena/Ursula Boese/Gerhard Stolze/Georg Paskuda
Erster Aufzug: Departure Of The Knights/Was Stehst Du Noch Da? - Hans Hotter
Zweiter Aufzug: Vorspiel/Die Zeit Ist Da - Gustav Neidlinger
Zweiter Aufzug: Ach! - Ach! Tiefe Nacht! - Irene Dalis
Zweiter Aufzug: Ho! Ihr Wachter! - Gustav Neidlinger
Zweiter Aufzug: Hier War Das Tosen! - Gundula Janowitz/Anja Silja/Else-Margrete Gardelli

Tracks:

Zweiter Aufzug: Komm, Komm, Holder Knabe! - Gundula Janowitz/Anja Silja/Else-Margrete Gardelli
Zweiter Aufzug: Parsifal! - Weile! - Irene Dalis
Zweiter Aufzug: Dies Alles - Hab'ich Nun Getraumt? - Jess Thomas
Zweiter Aufzug: Ich Sah Das Kind An Seiner Mutter Brust - Irene Dalis
Zweiter Aufzug: Wehe! Wehe! Was Tat Ich? - Jess Thomas
Zweiter Aufzug: Amfortas! - Die Wunde! - Jess Thomas
Zweiter Aufzug: Grausamer! Fuhlst Du Im Herzen - Irene Dalis
Zweiter Aufzug: Vergeh, Unseliges Weib! - Jess Thomas
Dritter Aufzug: Vorspiel - Orch Der Bayreuther Festspiele/Hans Knappertsbusch
Dritter Aufzug: Von Dorther Kan Das Stohnen - Hans Hotter

Tracks:

Dritter Aufzug: Heil Dir, Mein Gast! - Hans Hotter
Dritter Aufzug: Heil Mir, Dass Ich Dich Wiederfinde! - Jess Thomas
Dritter Aufzug: Zu Ihm, Des Tiefe Klagen - Jess Thomas
Dritter Aufzug: O Herr! War Es Ein Fluch - Hans Hotter
Dritter Aufzug: Nicht So! - Die Heil'ge Quelle Selbst - Hans Hotter
Dritter Aufzug: Gesegnet Sei, Du Reiner, Durch Das Reine! - Hans Hotter
Dritter Aufzug: Good Friday Music/Wie Dunkt Mich Doch Die Aue - Jess Thomas
Dritter Aufzug: Du Siehst, Das Ist Nicht So - Hans Hotter
Dritter Aufzug: Mittag - Die Stund' Ist Da/Transformation Music - Hans Hotter
Dritter Aufzug: Geleiten Wir Im Bergenden Schrein - Chor Der Bayreuther Festspiele/Wilhelm Pitz
Dritter Aufzug: Ja, Wehe! Wehe! Weh Uber Mich! - George London
Dritter Aufzug: Nur Eine Waffe Taugt - Jess Thomas
Dritter Aufzug: Hochsten Heiles Wunder! - Sona Cervena/Ursula Boese/Gerhard Stolze/Georg Paskuda

Customer Reviews:

Outstanding.......2006-07-04

I'm often skeptical of rave reviews and generally end up feeling disappointed once I have a chance to listen. This recording is an exception. The sound is excellent for an older recording and the performance is spectacular. In fact, I just can't stop listening to these four CDs of Wagner's Parsifal. Knappertsbush does a fine job conducting the Bayreuth Festival Orchestra. The cast is phenomenal. Just put the CD in your stereo, sit back and close your eyes, and you're transported to the wonderful sound of the Bayreuth opera house. I've been recommending this recording to all my Wagner-loving friends. What a find!

This isn't the best of Knappertsbusch's output.......2005-11-08

Someone will shoot me for saying this, but I think this is not the best Parsifal around. If we are merely speaking about the Bayreuth Parsifals, you can get a better one with a superior cast, once again conducted by Knappertbusch sans the plodding tempos and the added sleepiness. The last Parsifal has Jon Vickers as Parsifal with the cast featured here. I could never stand this one for the plodding tempos, despite Irene Dalis and Jess Thomas' amazing portrayal of their rolls. The 1964 Parsifal may be on mono, but it is without a doubt an excellent Parsifal, and Knappertbusch's chosen tempo for his last Parsifal transcends the earthly plain into something ethereal. But honestly, I wouldn't look to Knappertsbusch if I were to find a great Parsifal. For such a feat, I would look to Karajan or Kubelik for the greatest conducted Parsifals. I would understand the nods of assent I receive when I mention Kubelik, for his recording of Parsifal is a masterpiece that has an almost hypnotic quality to it. Add to that James King's magnificent Parsifal, Kurt Moll's superlative Gurnemanz, Yvonne Minton's superbly sung and seductive Kundry, and Matti Salminen's amazing Titurel, and you have a winner. The first act is revealing, the second act, triumphant, and the third act is transcendent...almost repentant. The sound is great too, being one of those neglected studio recordings that were vaulted due to its being overshadowed by Karajan's magnificent achievement on disc. Some people might call me controversial for praising Karajan's Parsifal, but I think that beyond the surface beauty, there is something spiritual about it. You also have the Berliner Philharmoniker playing, and their superb brass and strings enhance the beauty of the score even more. Another merit to that is the amazing cast. You have Kurt Moll as Gurnemanz, Peter Hofmann as Parsifal, Vejzovic as Kundry, and Jose Van Dam as Amfortas. Hofmann might be considered controversial due to his faulty technique, but I must say that among the great heldentenors who have sung this role, no one has a tone as beautiful as Hofmann's. The only drawback to his voice is the somewhat faulty technique he uses. Another downside that others would point out is Dunja Vejzovic's Kundry. You know what? I think she is a magnificent Kundry. Her voice has the perfect dramatic ping for it. It's seductive where it's needed, and tired...almost longing where she is too. If I were to buy a first Parsifal, I would certainly go for Karajan's, and please...don't miss out Kubelik's.

Best Bayreuth sound.......2005-08-16

How do you pick among the growing list of Knappertsbusch readings of this opera from Bayreuth?

Knappertsbusch practically owned the Grail Domain at Bayreuth through the 50s and the first half of the 60s. It was his favourite venue, where he could work, unseen by the audience, in his shirtsleeves under the unique Bayreuth hood that hid him from sight. Any or all of his performances (and more and more of them seem to pop up on disc all the time) are worth hearing.

This one from 1962 sits high on the list. There is a magnificent Gurnemanz from the great Hans Hotter, an impressive Amfortas from Thomas Stewart and a truly malign Klingsor from Neidlinger. Jess Thomas could be a very good actor on stage (I've never seen a Walther who looked more as though he was making up his Prize Song as he went along in Sachs's workshop in Act 3 of Meistersinger). The voice, though, could be a bit tight in its production for my taste. The weak link, and a crucial one, in this performance was Irene Dalis. She's just not a patch on the white-hot Marha Modl in Kna's 1951 performance.

Ah yes. There's the rub. That 1951 performance is something very special. Wagner did not call Parsifal an opera: he called it a Stage Dedication Play. And, at the festival that re-opened Bayreuth after the War, that's exactly what Kanppertsbusch gave us. Even slower speeds, even more intense concentration. And with a cast that always matches, often betters that of '62.

The one thing this recording does have over that older one is the sound, the most accurate representation you'll hear in your living room of the unique Bayreuth sound. And remember, this was the one piece that Wagner wrote with the experience of that sound in his mind. For that as well as for a great (though not the greatest) interpretation, this recording is well worth trying.

Kna's famous Parsifal.......2004-10-22

This Parsifal is natural, organic, free and doesn't attract attention to itself.

My favorite is still the Karajan, but I still give this recording its due respect for the cast, orchestra, conducting, interpretation and sound quality.

When listening to Parsifal, one should try to understand the symbolism and esoteric content in Wagner's mystery drama.

Fortunately a famous author named Samael Aun Weor has written a book entitled "Parsifal Unveiled", yet to be released by the newly founded Thelema Press. Upon the release of this book, it will clarify the speculation and confusion that has enshrouded Wagner's Parsifal since it's first performance.

...and Irene Dalis.......2004-09-11

I wholeheartedly agree with the accolades heaped on this recording. I have been trying to "love" this difficult opera for many years and through many recordings; this brilliantly conducted, magnificently sung version has done it for me. Somehow the contribution of Irene Dalis has been minimized. My main reason for this review is to call attention to her brilliant Kundry.

Average customer rating:

a voice teacher and early music fan
ILL FITTED ARIAS MAKES THIS CD INTERESTING BUT NOT AMAZING
Excellent CD, but where is Miss Norman?
The Best of the Best
beautiful!

The Ultimate Divas Album
Gioachino Rossini , Giuseppe Verdi , Alfredo Catalani , Umberto Giordano , Amilcare Ponchielli , Giacomo Puccini , Vincenzo Bellini , Georges Bizet , Wolfgang Amadeus Mozart , Richard Wagner , Modena Community Theater Orchestra , Royal Opera House Orchestra Covent Garden , Monte Carlo National Opera Orchestra , National Philharmonic Orchestra , Saint Cecilia Academy Orchestra , Wiener Philharmoniker , London Symphony Orchestra , London Philharmonic Orchestra , Riccardo Chailly , Sir Georg Solti , Henry Lewis , Fausto Cleva , Fernando Previtali , Herbert von Karajan , Richard Bonynge , Hans Knappertsbusch , Cecilia Bartoli , Renée Fleming , Angela Gheorghiu , Marilyn Horne , Renata Tebaldi , Frank Lopardo , Zinka Milanov , Joan Sutherland , London Symphony Chorus , Leontyne Price , Montserrat Caballé , and John Alldis Choir
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000AFR6
Release Date: 1998-09-15

Tracks:

Cinderella: Non Piu Mesta
L'Italiana in Algeri: Cruda Sorte!
La Traviata: Follie! Delirio Vano E Questo!...Sempre Libera
La Wally: Ebben?...Ne Andro Lontana
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La Gioconda: Suicidio!
Madame Butterfly: Un Bel Di
Norma: Casta Diva
TOSCA: Vissi D'arte
Othello: Ave Maria
Carmen: Habanera (L'amour Est Un Oiseau Rebelle)
The Marriage Of Figaro: Dove sono
The Marriage Of Figaro: Voi Che Sapeta
The Magic Flute: Queen Of The Night's Revenge Aria
The Abduction From The Seraglio: Durch Zartlichkeit Und Schmeicheln
Die Walkure: Du Bist Der Lenz
Tristan And Isolde: Isolde's Liebestod

Customer Reviews:

a voice teacher and early music fan.......2007-02-14

"Qualifications for divahood may be elusive, but there is little doubt that the 17 artists featured in this collection eminently qualify." George Jeffries. To which I heartily agree!!!!! The term 'diva' refers to the goddesses of the operatic world who are loved and endorsed by the media and audiences everywhere. The term has been in use since the early days of opera, and will no doubt continue 'ad infinitum'.
I will focus on a few that I personally like to hear:In Cecelia Bartoli's selection from 'Cinderella', a very much admired role,she exchanges her early life for a bright future with Prince Charming, and does so with expressive and great joy! I especially liked her in Handel's opera "Rinaldo" in which she stars along with David Daniels, American countertenor. She, in fact could be called the successor to Marilyn Horne,the Mezzo of an earlier generation.
In Horne's aria from Rossini's "Italian in Algiers", she unleashes her formidable 2 octave range as the brave Italian lady unfazed by a mere shipwreck and the prospects of an Algerian harem. MAGNIFICENT!!!!!!!
In my conservatory days I was priveleged to see Kirsten Flagstad 'live' in several Wagnerian operas. Not only was it a sight to hear her, but to see AND hear her was a memorable and totally unforgetable experience. Her voice was BIG and her body (especially as seen in costume)was equally so, but she sang notes that I'm not sure can really be sung anymore (no doubt,that's an exaggeration)but I'm trying to make a point here, so bear with me.
Now the consummate soprano has to be Kathleen Battle; my favorite role is Handel's "Semele" that includes a star-studded cast that also includes Marilyn Horne; just a great listen!!!!
I'm sure this album is not perfect, but I have had many many hours of listening enjoyment, so go for it!!!!!!

ILL FITTED ARIAS MAKES THIS CD INTERESTING BUT NOT AMAZING.......2004-11-22

The overall CD was a nice collection however there were several pieces that seemed ill placed with certain "divas" Both Cecilia Bartoli and Marilyn Horne show off their rich voices and passion in the selections chosen for them. But Angela Gheorghiu's "Sempre Libera" was shrill and incomplete without the usual high "C" finish. She has had so many other pieces that are so much better than what was featured including my favorite by her "Mi Chiamano Mimi" Rebata Tebaldi has never thrilled me nor Montserrat Caballe do what they do and that's about it. I do like Mirella Freni's voice in general but once again didn't feel like this was one of her better pieces. Joan Sutherland, whom I adore, does great justice to "Casta Diva" but I have always preferred her more "florid" arias such as her "Lucia" But then again I am partial to Maria Callas in the role, the one soprano who was curiously missing. Her most famous track "Vissi D'Arte" was handed over to Leontyne Price who has the voice and the spirit of Tosca but just doesn't have the passion Callas does. I would much more preferred Ms. Price style in the arias of "Il Trovatorel" that holds her as one of the all time great Leonaro. I love Fleming and Kiri Te Kanawa but would prefer them switched with Kiri voicing her sweetness into "Ave Maria" and Fleming adding her richness to "Dove Sono" I like Frederica Von Stade for her simplicity in "Voi Che Sapete" and Sumi Jo has excellent tonal quality in the aria listed as "Queen of the Night's Revenge" which is actually named "Der Holle Rache", Kathleen Battle has always bored me but she does a nice cut of "Durch Zartlichkeit und Schmeicheln" . My two Dramatic German Sopranos Kirsten Flagstad and Birgit Nilsson, are so impressive that I have yet to find anyone who can matched their beauty. The overall cd was a fun one to listen even if it lacked in proper aria placement.

Excellent CD, but where is Miss Norman?.......2003-10-10

First and foremost, I must say that Diva Battle stole the show. Her rendition of Mozart's "Durch Zarlichkeit" is absolutely astounding. Even if you are not a fan of the other singers, the CD is worth its price just to hear Miss Battle.

I must say, I was quite disappointed when I noticed that Jessye Norman was not included in this compilation. She is the Supreme Diva!! If anyone should have been included, it should have been her. Perhaps they will come out with a CD entitled "The Diva: Jessye Norman", as that is the only way they could do her justice. She's in a league of her own.

Buy the CD. You will not be disappointed.

The Best of the Best.......2002-01-26

I'm sorry I had to give this CD only 4 stars - it really deserves more. I had to subtract a star for the absence of La Divina - Maria Callas - from this disc. If she doesn't qualify as a diva, who does?

That said, this is a FANTASTIC compilation CD. It features all (well, a good sampling) of the great sopranos of past and present. All my favorites are here: Bartoli, Fleming, Battle, Kanawa, and of course, Sumi Jo.

The editors were very careful to include arias which display each soprano's strengths and predilections in repertoire - Bartoli has her bubbly Rossini, Sumi Jo her dazzling coloratura in Mozart, and Renee Fleming, with the most heartrending and beautiful version of Desdemona's "Ave Maria" from Verdi's Otello that I have ever heard. I can't help but catch my breath on the last syllable of "prega" - her tone is that innocent and pure. Kiri Te Kanawa, the consummate Countess, also makes an appearance with a very moving "Dove Sono".

This disc is also teaching me to appreciate the greats of yesteryear like Kirsten Flagstad and Birgit Nilsson - the legendary Wagnerian sopranos.

PLEASE don't listen to the previous reviewer - Kathleen Battle does not "fall flat" on Durch Zärtlichkeit. Only a beautiful soubrette like hers could pull off a challenging aria like that, and she does it marvelously (as usual ;)

BUY THIS CD!

beautiful!.......2002-01-18

This is a wonderful cd for new fans of opera. It contains a wonderful selection of songs from some of the greatest divas.

Kathleen "The Great" Battle(my personal fav) just steals the show. Her delicate vocals can carry any wary listener into the pearly gates of heaven (bravo, bravo, encore, encore).

Customer Reviews:

Curzon and Solti: Tchaikovsky's nightmare.......2007-06-26

Heavyhanded Solti and the VPO and Curzon who's tempi unsettled Solti, unorganic, affected, ridiculous are the words that come to mind! This is almost as bad as Toradze and Gergiev! Do not waste your money: Solti and Tchaikovsky do not go hand in hand and Curzon has nothing to say with this piece.
On LP the recorded sound is not bad although the piano has some very strange tone in low midrange register.
I'll take the perhaps too lively Katchen/Gamba anytime over this stale, pompous effort!

More Classic Curzon.......2006-02-14

After enjoying (and reviewing) the previous two installments of pianist Clifford Curzon's Decca Recordings in the "Original Masters" series, I was delighted to pick up Volume 3 over the holidays. The performances on this six disc set span nearly thirty-five years, from a 1937 orchestrated account of Schubert's "Wanderer" Fantasy with Sir Henry Wood and the Queen's Hall Orchestra, to a final disc of all Schubert, the majority of which was made in 1971. In between are many brilliant concerto recordings, and though some have been previously available on CD, all have been out-of-print for some time. The true gems are paired on disc four -- the 1959 stereo Grieg with Fjeldstad and the London SO (my personal favorite -- I had the old "Classic Sound" series CD), and the 1957 mono Brahms No. 2 with Knappertsbusch and Vienna. Coming in a close second is disc three's coupling of the Tchaikovsky 1st, with Solti leading Vienna in stereo from 1958, and the Rachmaninov 2nd, with Boult and the LPO in mono from 1955. The remaining two Concerto performances -- Mozart's 23rd and Brahms' 1st -- are regrettably from the 1940s and suffer from both mediocre sound and comparatively uninspired conducting (Neel and Jorda respectively). Rounding out this set are 1952 performances of the two Mozart Piano Quartets with members of the Amadeus Quartet, and an entire disc (no. 5) of stereo Liszt solo piano works. In all, this is a great collection, and here's to hoping there is enough material in the vaults to produce a Volume 4!

Music Review:

Music Review

music review

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Tribal Mix, Vol. 3 [Import]

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