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Track Listings

1. Sextet - First movement

2. Sextet - Second movement

3. Sextet- Invocation

4. Sonatine - First movement

5. Sonatine - Second movement

6. Sonatine - Third movement

7. AmyAbilities

8. Prelude

9. Setting

10. Immobiles

Editorial Reviews
Album Description
California EAR Unit: Erika Duke-Kirkpatrick, cello; Robin Lorentz, violin; Dorothy Stone, flute; Vicki Ray, piano; Marty Walker, clarinet; Amy Knoles, percussion; Stephen L. Mosko, conductor (in Sextet)

Mel Powell (1923–1998) once wrote: "Over the centuries, the invention of a music that sounds too lovely to be thought of as ingenious has remained one of the grand deceptions manageable by the great masters. Cleverness is not necessarily lovely, nor is loveliness necessarily clever; it is when they are hand-in-hand, in fact conjoined so as to be indistinguishable from one another, that composition proclaims its supreme achievement." Nothing better describes Powell’s own music. A jazz prodigy in his youth and later one of the country’s most distinguished composers, he created a legacy of works both sonically alluring and intellectually compelling. When he died in 1998, his close friend composer Milton Babbitt wrote: "We have lost the wit, warmth and wisdom of a singular musician whose creative achievements extend from the biggest of the big bands to the smallest of that small band of distinguished contemporary composers." A consummate stylist, Powell’s music couples an Apollonian restraint and discipline with a celebration of sonority—a quick splash of castanets and drums in AmyAbilities, a delicate harmonic and whispering trill in Invocation. There is a coolness and reserve to his writing: His music is never indulgent or overwrought; it interrupts itself before it gets too carried away. Powell frequently quoted philosopher Frans Hemsterhuis’s definition of the beautiful as "the greatest number of ideas in the shortest space of time." In listening to this album, featuring seven pieces written expressly for the members of the California EAR Unit, be prepared for an hour’s worth of uncommon ideas and graceful, potent fantasy.

Sextet (1996) (for chamber ensemble), Invocation (1988) (for cello), Sonatine (1996) (for flute), AmyAbilities (1988) (for percussion), Prelude (1988) (for piano), Setting (for violin) (1972), Immobiles (1967) (for chamber ensemble with tape)

Of related interest: 80413 Mel Powell – Woodwind Quintet

Tracks:

Complete Odes And Welcome Songs Vol. 5: Welcome, Welcome Glorious Morn. Symphony And Opening Chorus
Complete Odes And Welcome Songs Vol. 3: Be Welcome Then, Great Sir
Complete Secular Solo Songs Vol.1: Oh, Fair Cedaria
The Choir Of The King's Consort: Hear My Prayer, O Lord
Great Baroque Arias: When I Am Laid In Earth ('Dido's Lament')
Complete Anthems And Services Vol.1: Let Mine Eyes Run Down With Tears (Part 1)
Complete Odes And Welcome Songs Vol.4: The Sparrow And The Gentle Dove
Complete Secular Solo Songs Vol.1: If Music Be The Food Of Love (First Setting)
Complete Anthems And Services Vol.5: Rejoice In The Lord Always ('The Bell Anthem')
Complete Anthems And Services Vol.3: Hosanna To The Highest
Complete Anthems And Services Vol.7: Thou Knowest, Lord, The Secrets Of Our Hearts
Mr. Henry Purcell's Most Admirable Composures: Fairest Isle, All Isles Excelling
Complete Odes And Welcome Songs Vol.6: Mark, How Readily Each Pliant String
Complete Odes And Welcome Songs Vol.8: Sound The Trumpet
Complete Secular Solo Songs Vol.3: She Loves And She Confesses Too
Complete Odes And Welcome Songs Vol.8: O How Blest Is The Isle
Complete Anthems And Services Vol.3: Remember Not, Lord, Our Offences
Complete Anthems And Services Vol. 11: An Evening Hymn
Complete Church Music Vol.2: Vouchsafe, O Lord, To Keep Us This Day
Complete Odes And Welcome Songs Vol.2: With Rapture Of Delight... Hail Bright Cecilia

Amazon.com essential recording

The "Essential" Purcell? Well, you could get a bunch of critics to argue about that for a few days, but in the meantime, here is a sampler of highlights from the King's Consort's three admirable Purcell series: the Complete Odes and Welcome Songs, Complete Anthems and Services, and Complete Secular Solo Songs. There are, of course, some of Purcell's most-performed pieces (which probably are "essential"): Dido's Lament from Dido and Aeneas, "Sound the trumpet" from Come, ye sons of Art, Rejoice in the Lord alway (the "Bell Anthem," named for the string figure at the opening that sounds like pealing bells), the gently patriotic "Fairest isle, all isles excelling" (sung by a miscast James Bowman), and a selection from the funeral music for Queen Mary. There are also some delightful surprises--particularly among the little-known secular songs and church music. The plaintive "O fair Cedaria" gets a lovely performance by Barbara Bonney (a singer not usually associated with Purcell); tenor Rogers Covey-Crump (possibly the ideal high tenor for Purcell) sings the enchanting "If music be the food of love"; the church anthems "Let mine eyes run down with tears" and "Remember not, O Lord, our offences" have some startling harmonies as daring as any Monteverdi ever wrote. If you're unfamiliar with Purcell, this reasonably priced disc is a good place to start exploring without a big initial investment. --Matthew Westphal

Customer Reviews:

Mad about Baroque.......2007-02-12

This is a terrific CD. The music is breathtaking. Just buy IT !!!!!

The beauty of the songs brings tears to my eyes.......2002-08-21

Absolutely beautiful baroque music! The arrangament, singing and instrumentation is superb. It is too bad that Henry Purcell is not as widely known as Bach, because he should be recognized equally well."The Sparrow and the Gentle dove" is alone worth the price of the album! I can not stop playing it!

Brilliant.......2001-10-31

Like in his renditions of Handel's oratorios, Robert King manages to bring a freshness and strenght to Purcell's music that I had seldom heard before. This CD also features some of the best performers of early music in the world. My favourite tracks are Oh, Fair Cedaria, sung by the multi-talented Barbara Bonney; Dido's Lament from Dido and Aeneas, sung by Gillian Fisher; She Loves and she Confesses too, sung by the wonderful Susan Gritton; and Welcome, Welcome Glorious Morn, sung by Rogers Covey-Crump. The only track I didn't find absolutely wonderful is Fairest Isle, sung here by James Bowman. Don't get me wrong, I generally love Mr Bowman, I think that his performance in Mr Purcell's Most Admirable Composures (also conducted by Robert King) makes it another essential Purcell recording; but I find that Fairest Isle was much better done elsewhere, particularly by Christopher Hogwood and Barbara Bonney.

These songs aren't only beautiful, they're also poignant, sweet and unpretentious. I think that it will be very clear to anyone who listens to this recording that Mr Purcell was one of the finest composers that ever lived.

Be Welcome then, great Sirs (and Mesdames)........2001-10-20

If anyone has benefitted from the reversion in the last three or so decades to period instruments and historical reconstruction, it is Henry Purcell. Before, he was merely great, the peerless word-setter in the English language, a virtuoso of boundless range, a professional composer whose offical commissions were always imbued with personality and invention. But period instrumentation has added to this a greater depth, an other-worldly texture of sound. With his intricate, multi-part vocal writing, his preference for low, rumbling instruments such as the bass viol and the strange and remarkable theorbo, as well as his often sombre and low-key subject matter and treatment, Purcell creates a round, glowing, humming sound as pregnantly full as dub reggae.

This has an extraordinary effect on the listener. Whereas Bach, with his mathematical abstractions, sounds universal and timeless, Purcell's music takes the listener back 300 years, back to different ways of thinking about, feeling about and addressing things we still think etc. about today - death, love, friendship. The emotion is timeless, but the music's beauty is alien, THEIRS, hence its preciousness.

A lot of intelligence has gone into the unity of this compilation, beginning with two Welcomes (to the dawn and to the listener, in this case a King), and ending with thoughts of evening, death and a Baroque 'Thank you for the music'. These are bright, fanfare-like works, but the predominant mood is slow, ruminative, quiet. The selection covers the wide range of Purcell's oeuvre, from opera and funeral marches to secular songs and odes, and includes his most famous vocal works - Dido's Lament from Dido and Aeneas, sung by Gillian Fisher, and never more evocative of pagan loss and death; the massive 'Bell Anthem', with its ingenious opening symphony and joyful antiphon; and a miraculously serene 'Evening Hymn', Dido's opposite, death indicating hope, the treble voice swirling over the heavy ground bass like the soul released from the inert body.

it might seem quixotic to choose highlights from an exemplary collection of highlights, but the entry of the strings washing over the serene repetition of 'Be Welcome then, great Sir' always makes my heart stop still, while the musical picture of 'Bold Honour', the 'noisy Nothing, stalking shade', blocking the poet's amorous intentions in 'She loves and confesses too', adds a chilling hint of life's transience to a bouyantly bawdy song.

Brilliant Purcell Disc .......2000-11-30

With this album director and Purcell expert Robert King provides the listener with an excellent introduction to the composer's vocal works. The pieces presented here were taken from Mr. King's recordings of 'The Complete Odes and Welcome Songs', 'The Complete Anthems and Services', 'The Complete Secular Solo Songs' and diverse anthology discs. King, his wonderful soloists and musicians do the brilliance of Purcell's music fully justice. Whether he was commissioned by royalty, the church or theatre, Purcell shone in all areas. This disc certainly demonstrates the variety and originality of his craft, not to speak of his uncanny ability of setting words to music.

An outstanding Purcell offering. With a beautiful perfomance by Barbara Bonney of 'Oh, fair Cedaria'. Susan Gritton is equally captivating in 'She loves and she confesses too'. Gillian Fisher's rendition of the famous 'Dido's Lament' is haunting and poignant. Further an intelligent and brilliant 'Hosanna to the highest' by Michael George. James Bowman and Michael Chance sparkle in the countertenor duet 'Sound the trumpet' (from 'Come Ye sons of Art away'). And I should not forget to mention the joyous, luminous performance of the beautiful 'Bell Anthem'. To name but a few favourites, only James Bowman's 'Fairest Isle' was a disappointment.

Those who are familiar with Purcell's music will get an excellent disc with some of his most beloved works. If you are new to Purcell, this is, as already said a great introduction. Which might be the incentive to further explorations of Purcell.

by stardustraven

Cecilia Bartoli - An Italian Songbook (Bellini, Donizetti, Rossini)

Average customer rating:

Lovely rendition of Italian songs
Best 'Italian' Selection yet.
Salon pieces to delight the listener
The Italian Songbook......
che bella..

Cecilia Bartoli - An Italian Songbook (Bellini, Donizetti, Rossini)

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000042H2
Release Date: 1997-09-16

Tracks:

Bel Canto Songs: Aragonese
Bel Canto Songs: Vaga luna che inargenti
Bel Canto Songs: II barcaiolo
Bel Canto Songs: Ah! rammenta, o bella Irene
Bel Canto Songs: L'abbandono
Bel Canto Songs: Or che di fiori adorno
Bel Canto Songs: Malinconia, ninfa gentile
Bel Canto Songs: Amore e morte
Bel Canto Songs: Bolero
Bel Canto Songs: La conocchia
Bel Canto Songs: II fervido desiderio
Bel Canto Songs: Torna, vezzosa Fillide
Bel Canto Songs: Vanne, o rosa fortunata
Bel Canto Songs: Dolente immagine di Fille mia
Bel Canto Songs: La farfalletta
Bel Canto Songs: A ma belle mere
Bel Canto Songs: Per pieta, bell'idol mio
Bel Canto Songs: Me voglio fa 'na casa
Bel Canto Songs: L'esule
Bel Canto Songs: La danza (tarantella napoletana)

Amazon.com

The Italian mezzo-soprano Cecilia Bartoli is one of the most charming and talented singers to appear on the scene in recent years, and this collection of Italian songs by three great opera composers--Bellini, Donizetti, and Rossini--is a most deserving bestseller. There are many small pleasures in the selections, which reflect the bel canto predilections of their authors, and Bartoli renders them artfully. Some will be familiar even to casual listeners (Rossini's La Danza, the famous tarantella); others will be new to most, but equally deserving of a hearing. The sensitive and skillful accompaniment is by conductor-pianist James Levine. --Sarah Bryan Miller

Customer Reviews:

Lovely rendition of Italian songs.......2007-03-11

The booklet coming with the CD says of Cecilia Bartoli that she "is justly famous for her coloratura mezzo-soprano voice and her interpretations of Rossini and Mozart." This CD features her lush voice taking on songs of three great Bel Canto composers--Rossini, Bellini, and Donizetti. Some might think of these as trifles, but the singing and musicality is rich and the songs evocative. The piano accompaniment is by famed conductor James Levine, and he does a splendid job.

Some sampling of the songs. . . . The CD begins with a song by Rossini, "Aragones." This is lushly sung; Bartoli has a wondrously rich and textured voice. The pace is contemplative, altogether consistent with the words of the song, the reflection of a disappointed lover. Well done.

Donizetti's "Il barcaiolo" is also well done. Bartoli shows her vocal agility in this tune. This is a spirited song, and her coloratura technique animates her rendition. There are segments sung forte, showing the power of her voice. There is a nice soft closing to the song, so she ranges from forte to piano.

Bellini is represented, too. His "Vaga luna che inargenti" is a pleasant love song. Bartoli sings this tenderly, creating a melancholy spirit, fitting the song's words.

To close, there is Rossini's wonderful tarantella, "La danza." Levine plays at a quick pace, as he must for this spirited song. Bartoli shows great vocal agility and strong breath control (this is a tough song to get right!). A wonderfully spirited version. She even takes a pass at a trill toward the close. All in all, most satisfying.

Thus, this represents a nice CD, showing Bartoli's skills with the songs of some of the great Bel Canto composers. An album that is a lot of fun to listen to!

Best 'Italian' Selection yet........2006-06-16

'An Italian Songbook' by mezzo-soprano Cecilia Bartoli and accompaniest extraordinare, James Levine is the best of the three collections of Italian material from Bartoli I have reviewed to date. Much of this may be due to Levine, but I believe it is more due to the quality of the material selected. All songs are by 'heaviweights Vincenzo Belline, Gaetano Donizetti, and Gioachino Rossini. It is certainly not due to a difference in the quality of Ms. Bartoli's singing, which is uniformly beautiful throughout.

This would be my first choice for Italian material with only piano accompaniment. For a very first Bartoli album, see her 'flagship' recording, 'Cecilia Bartoli' where she is backed by full orchestra and chorus.

Salon pieces to delight the listener.......2006-03-13

Italian art song never became the serious and high form of art that it did within Germany, and hasn't the same place in culture that the French mélodies had. Rather, Italian operatic composers wrote lighter vocal pieces with fairly simple piano accompaniment, designed to be performed in a more intimate setting. One hears immediately the Bellini line (so familiar to those who love Bellini's operas) in his songs - ditto with the Donizetti and Rossini songs.

This in no way robs the songs of immense charm. It would be easy to perform these songs without a great deal of thought, simply making them sound "pretty". But Cecilia Bartoli never does that - she always gives everything, voice, intelligence, musicality, to her performance.

That is what makes this recording so superb. I can see there are some less-than-satisfied reviewers - I am surprised by the comments. For rest assured, there is no vocal difficulty here at all. Cecilia Bartoli's voice is in superb condition throughout, and her interpretation is of course second to none. Having recorded "Vaga luna" myself, I would be the first to say if I thought anything was lacking in Ms Bartoli's performance - but there's nothing adverse I can say at all. It's simply gorgeous singing, with immaculate phrasing, an intensely personal approach, and some of the most beautiful sounds you're likely to hear.

It is hard to imagine anyone being disappointed by this recording. The comments made about squally sound are not just unfair, they're totally inaccurate. I remember purchasing this CD on the very day it was released in Australia, and it's a firm favourite of mine.

In all... delightful.

The Italian Songbook.............2005-12-09

...........sung like a string of pearls. I have never heard "Vaga luna che inargenti" sung so beautifully radiant and lucid. What a contrast when listening to her mournful "L'abbandono" where she sounds so utterly sad and full of melancholy. Brilliant vocal colouring here. "Malincolia, ninfa gentile" is sung with the appropriate pathos but without gimmicks and tricks. Utterly gorgeous Bellinian line. "II fervido desiderio" is sung with just the right amount of yearning and passion. "Per pieta, bell'idol mio" finds her beautifully charming and endearing, who could say no to her? The closing piece, "La Danza" is a tasty little song that suits her to a T. In my humble opinion every young voice student should not only study the Italian Songbook but own this in order to hear how it's done. This is still my favourite Bartoli album.

che bella.........2004-12-23

Cecilia Bartolia is such a refreshing singer in the current state of vocal affairs. For one thing, she is a serious student of the music she sings, and scorns all the 'popera' and crossover artists. She has sought out plenty of unknown/lesser known material to record (Salieri, Vivaldi, Gluck, etc). In the CD in question she does wonderful work with these Italian pezzi. Her voice is now dark, now breathy, now intense, always altered to reflect the words she is singing. Her vocal agility and control are simply remarkable. Pay no attention to the Bartoli nay-sayers, she is a first rate singer.

Sacred Treasures III: Choral Masterworks from Russia

Average customer rating:

Absolutely FANTASTIC CD !!
Sacred and a treasure!
Absolutely wonderful
More Divine Beauty and Peace!
It Doesn't Get any Better!!!

Sacred Treasures III: Choral Masterworks from Russia

Manufacturer: Hearts of Space
ProductGroup: Music
Binding: Audio CD

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Ancient Echoes
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ASIN: B00003XB5E
Release Date: 2000-02-22

Tracks:

Alleluia, Behold The Bridegroom
Sourp Sourp (Holy Holy)
Lord Have Mercy
The Mercy Of Peace (Excerpts)
Komm Susser Tod (Bach)
Serenade
Grant Us This O Lord
Our Father
Gloria (Excerpt)
Peaceful Light (Kiev Chant)
Praise The Lord O My Soul (Greek Chant)
Blessed Art Thou O Lord (Kiev Chant)
Chorale
Amen Alleluia

Amazon.com

What could be more sublime than a wall of dark, rotund Russian voices shimmering against the rising, ornate walls of a great cathedral? Not much, and this compilation of absolutely magnificent music proves it. The label Hearts of Space returns on this third choral collection to the ominous Slavic chant of their first choral album, Sacred Treasures I, which gathered together recordings of stunning Bulgarian and Russian choirs portraying the sacred works of Rachmaninov, Tchaikovsky, and other composers. Whereas Treasures I pulled from varied sections of sacred liturgies, including solo passages, Treasures III most often stays in harmonic chant with select voices occasionally rising and rolling in polyphonic heavenly calls. The collective voice draws the emotive tension taut here, as on Rimsky-Korsakov's "Our Father," which uses the absence of darkness to later juxtapose bold, rising drama. The Kiev chant "Blessed Art Thou O Lord" sends chills down the spine as the whispering consonants of the Russian language skip across the ancient repetition like sand skitters over a stormy beach. This is a collection as breathtakingly beautiful as the Cathedral of the Dormition itself. Not to be missed. --Karen K. Hugg

Customer Reviews:

Absolutely FANTASTIC CD !!.......2007-06-28

I'll keep this short: I'm not new to chant or choral music but there are SO MANY options out here that it's hard to know which ones are worth buying. I've got a few titles in my budding collection but I have to say that this particular recording is FANTASTIC. It is at once awe inspiring, meditative, and peaceful. Simply wonderful...

Sacred and a treasure!.......2007-06-11

Wow! This is as good as the first Sacred Treasures if not better. These holy and divine works are truly "the speech of angels".

Absolutely wonderful.......2006-12-28

I've really become taken with Russian choral music as of late. I've tried to get my hands on every recording I can, and amongst them all this is one of the very best. The phrasing, tonality and selection is terrific.

More Divine Beauty and Peace!.......2006-12-03

I am the producer of this CD and also of the first CD in the Sacred Treasures series called "SACRED TREASURES: Choral Masterworks From Russia" as well as of "SACRED TREASURES IV: Quiet Prayers" and "CELTIC TWILIGHT 7: Sacred Spirit". In each case, my intention was to bring together the very best performances of exceptionally beautiful, slow and peaceful sacred music. Most of the pieces on this compilation (as on the other compilations mentioned above) are filled with lush harmonies sung by large mixed choirs. All the selections are deeply nourishing to the soul.

In many cases, I chose to use excerpts from longer pieces, omitting the exultant huge crescendos and very fast sections that are typical of Russian sacred music, presenting only the slow and quiet verses. Different types of music serve different needs, and in today's stressful and fast-paced world, one of the most important and often neglected needs is for time out from that world--to "lay aside all earthly cares" (as the text to a Russian "Cherubic Hymn" prescribes) and to rest in a magical, quiet space of slow, peaceful, beauty. That peaceful beauty is available to you on all of these compilations, including this one, "SACRED TREASURES III"...

It Doesn't Get any Better!!!.......2006-10-09

Having collected a decent library of sacred music over the years I can readily attest that this is the best sacred music CD that I own, my second favorite being a requiem chant by the monks of Solesmes. Further, upon listening to this CD everyone I know seems to respond to it with the same enthusiasm. Track 10 is my personal favorite, but there are no weak pieces here. The entire production hangs together well. Can't recommend it enough to novice or seasoned liturgical music listener.

Purcell: Songs & Airs / Argenta, North, Boothby, Nicholson, Toll

Average customer rating:

Nice Collection
PERFECT!
Great singing and excellent value for money
More than two hours of beautiful 17th century 'ayres'

Purcell: Songs & Airs / Argenta, North, Boothby, Nicholson, Toll
Henry Purcell , Nancy Argenta , and Nigel North
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B000059LOH
Release Date: 2001-06-05

Tracks:

O Solitude - Nancy Argenta/Nigel North
Ah! How Sweet It Is To Love - Nancy Argenta/Richard Boothby/Paul Nicholson
Not All My Torments - Nancy Argenta/Nigel North/Paul Nicholson
Stripp'd Of Their Green - Nancy Argenta/Nigel North/Richard Boothby/Paul Nicholson
Tell Me, Some Pitying Angel - Nancy Argenta/Nigel North/Richard Boothby/Paul Nicholson
If Music Be The Food Of Love - Nancy Argenta/Richard Boothby/Paul Nicholson
Hark! Hark! The Echoing Air - Nancy Argenta/Nigel North/Richard Boothby/Paul Nicholson
The Fatal Hour Comes On Apace - Nancy Argenta/Nigel North
Incassum, Lesbia - Nancy Argenta/Nigel North/Paul Nicholson
Sweeter Than Roses - Nancy Argenta/Nigel North/Richard Boothby
Cupid, The Slyest Rogue Alive - Nancy Argenta/Nigel North/Richard Boothby/Paul Nicholson
From Silent Shades - Nancy Argenta/Nigel North/Richard Boothby/Paul Nicholson
Dear Pretty Youth - Nancy Argenta/Nigel North/Richard Boothby
From Rosy Bow'rs - Nancy Argenta/Nigel North/Richard Boothby/Paul Nicholson
Now That The Sun Hath Veil'd His Light - Nancy Argenta/Paul Nicholson
Beneath A Poplar's Shadow - Nancy Argenta/Nigel North/Richard Boothby
I Attempt From Love's Sickness To Fly - Nancy Argenta/Paul Nicholson
Let Us Dance - Nancy Argenta/Nigel North/Richard Boothby/Paul Nicholson
Fairest Isle - Nancy Argenta/Nigel North
O Solitude - Nancy Argenta/Richard Boothby

Tracks:

Nymphs And Shepherds - Nancy Argenta/Nicholas Robinson/Fiona Huggett/Trevor Jones/Richard Boothby/Nigel North/John Toll
Amidst The Shades And Cool Refreshing Streams - Nancy Argenta/Nigel North
Love In Their Little Veins Inspires - Nancy Argenta/Rachel Becket/Marion Scott/Richard Boothby/Nigel North
Fly Swift, Ye Hours - Nancy Argenta/Richard Boothby/Nigel North/John Toll
They Tell Us That Your Mighty Powers - Nancy Argenta/Nicholas Robinson/Fiona Huggett/Trevor Jones/Richard Boothby/Nigel North/John Toll
The Plaint: O Let Me Weep - Nancy Argenta/Pauline Nobes/Richard Boothby/Nigel North/John Toll
In The Black, Dismal Dungeon Of Despair - Nancy Argenta/Nigel North/John Toll
See, Even Night Herself Is Here - Nancy Argenta/Nicholas Robinson/Fiona Huggett/Trevor Jones
Why Should Men Quarrel? - Nancy Argenta/Rachel Becket/Marion Scott/Richard Boothby/John Toll
Seek Not To Know - Nancy Argenta/Paul Goodwin/Sophia McKenna/Richard Boothby/Nigel North/John Toll
Retir'd From Mortals' Sight - Nancy Argenta/Nigel North
To Arms, Heoric Prince - Nancy Argenta/Mark Bennett/Richard Boothby/Nigel North/John Toll
O Lead Me To Some Peaceful Gloom - Nancy Argenta/Richard Boothby/Nigel North/John Toll
Halcyon Days - Nancy Argenta/Paul Goodwin/Pauline Nobes/Richard Boothby/Nigel North/John Toll
Bid The Virtues - Nancy Argenta/Paul Goodwin/Richard Boothby/Nigel North/John Toll
Lord, What Is Man? (A Divine Hymn) - Nancy Argenta/Richard Boothby/Nigel North/John Toll
Music For A While - Nancy Argenta/John Toll
If Music Be The Food Of Love (1st Setting) - Nancy Argenta/Richard Boothby/John Toll
Sawney Is A Bonny Lad (A Scotch Song) - Nancy Argenta/Nigel North
When I Have Often Heard Young Maids Complaining - Nancy Argenta/Nicholas Robinson/Fiona Huggett/Richard Boothby/Nigel North/John Toll
Ah! Cruel, Bloody Fate - Nancy Argenta/Nigel North/John Toll
Thy Hand, Belinda... When I Am Laid In Earth - Nancy Argenta/Nicholas Robinson/Fiona Huggett/Trevor Jones/Richard Boothby/Nigel North

Customer Reviews:

Nice Collection.......2007-03-05

I have many collections of Purcell's Music. This collection stands up to them at half the price. Solid buy.

PERFECT!.......2006-10-26

There is only a word with which I can describe this set of discs: perfect!
The only flaw there is, is not related to the singing or playing: no text enclosed.

Great singing and excellent value for money.......2004-09-19

This is probably one of the best anthologies of Purcell songs around, and not just because it's two-for-one pricing means it contains twice as much music (CD1:74'24" & CD2: 77'41")! Nancy Argenta has an irrepressible sense of style and crystal clear diction. But unlike Emma Kirby, whose vocal purity can become tiresome, these renditions radiate warmth. She is also, I have found, more consistently involving than any one of the singers in Hyperion's three disc survey of Complete Secular Songs (recently reissued as a single set). One marvels at how she judiciously balances restraint and emotional forthrightness. The accompaniments (archlute, viola da gamba, harpsichord, and organ) are well judged and blend with the voice, all helped by an excellently defined recording acoustic. This is an absolute winner at any price!

More than two hours of beautiful 17th century 'ayres'.......2001-08-02

Two CDs, totaling more than 150 minutes of sparsely-arranged (never more than 3-5 instruments at a time), sweetly-sung, 350 year old 'ayres' (a typically English form of secular music). Nancy Argenta's soprano voice is lovely, silvery indeed as her name implies. The instruments are a discreet but friendly accompaniment to her solo voice. Perhaps the instruments are a little too discreet -- there are times when I wish they were a touch more prominent. But that is a very, very minor complaint. A beautiful collection, and quite well worth the money.

Cecilia Bartoli - Live in Italy / Jean-Yves Thibaudet

Average customer rating:

Buy two and give one to someone you love!
A joyful sample of the human voice.
A sheer delight from start to finish
Exquisite
Cecilia Live

Cecilia Bartoli - Live in Italy / Jean-Yves Thibaudet
George Frideric Handel , Antonio Vivaldi , Giulio Caccini , Wolfgang Amadeus Mozart , Franz Schubert , Pauline Viardot , Hector Berlioz , Vincenzo Bellini , Gaetano Donizetti , Gioachino Rossini , Umberto Giordano , Xavier Montsalvatge , Georges Bizet , Sonatori de la Gioiosa Marca , Cecilia Bartoli , and Jean-Yves Thibaudet
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

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

Bartoli, Cecilia | Divas | Opera & Vocal | Styles | Music

The Decca Records Store | Specialty Stores | Music
Similar Items:

Cecilia Bartoli - The Vivaldi Album / Il Giardino Armonico
Cecilia Bartoli - A Portrait
Cecilia Bartoli - An Italian Songbook (Bellini, Donizetti, Rossini)
Cecilia Bartoli - If You Love Me (Se tu m'ami ), 18th-Century Italian Songs
Cecilia Bartoli ~ Opera Proibita (Handel · Scarlatti · Caldara) / Les Musiciens du Louvre · Minkowski

ASIN: B00000DBTM
Release Date: 1998-10-20

Tracks:

Tu ch'hai le penne, Amore
Amarilli
Al fonte, al prato
Lascia la spina
Agitata da due venti
Oiseaux, si tous les ans, K. 307
La Pastorella, D 528
Havanaise
Hai luli!
Zaide
Malinconia, ninfa gentile
Ma rendi pur contento
La conocchia
Me voglio fa 'na casa
Mi lagnero tacendo
Mi lagnero tacendo (Il Risentimento)
Mi lagnero tacendo (Sorzico)
L' Orpheline du Tyrol
Riedi al soglio (Zelmira)
Le nozze di Figaro: Voi che sapete
Canzonetta Spagnuola
Caro mio ben
Cinco Canciones negras, No. 5: Canto negro
Carmen: Seguedille (Carmen)

Amazon.com essential recording

In the beginning, Cecilia Bartoli seemed to do one thing better than anybody, i.e., Rossini arias, which would not guarantee a long career even for a singer of her ebullience. This live performance from the Teatro Olympico in Vincenza, Italy, shows how much she's expanded, both linguistically and musically. The first five selections reflect her newfound specialty, early opera. The three Caccini selections from the 17th century--accompanied by small string ensemble--are deeply felt and stylistically convincing enough to make one eager for future forays. She's guilty of spinning out Handel's "Lascia la spina" excessively but hits new heights of virtuosity in Vivaldi's "Agitata da due venti." The rest of the disc is for voice and piano, in a program including both some genuine discoveries by French composer Pauline Viardot-Garcia that reveal the singer's increasing emotional depths and less consequential ones by Donizetti and Rossini. Bartoli also sings Spanish songs, most notably Montsalvatge's "Canto negro," proving that the singer doesn't venture into a new language until she can truly feel in it. Remarkably, her voice maintains its strength and body in the deeper, mezzo-ish regions as well as in the high, soprano-range areas. Might she have two voices? --David Patrick Stearns

Customer Reviews:

Buy two and give one to someone you love!.......2007-03-08

(That way, you can get free shipping!) Or, buy Opera Proibita also.

If you think you don't like listening to soprano soloists, you should buy this CD. I must say that I HATE listening to solo singing in general and soprano solo in particular! Well, this lady has stolen my heart! If you see her anywhere on the N American continent, please tell me.

The one-minute limit for listening on-line will simply not allow you to make a judgement. If I could legally allow you to hear track 5 "Griselda - Agitata da Due Venti" (Vivaldi), you would buy the CD without hearing anything else.

When I first heard Cecilia Bartoli on "Performance Today", the subject was "Opera Proibita" and I wrote to a friend who teaches voice at a local college and asked "Is she as good as I think, or am I just overreacting?" His simple response was "She's THAT good!"

This CD is of a live performance and you won't be disappointed except to realize that you COULD have been there, but weren't!

If she ever performs where I am able to see her, I'll be there. If I can talk to her, I will -- but I won't ask for my heart.

Highly recommended!

A joyful sample of the human voice........2006-06-12

'Live in Italy' by mezzo-soprano Cecilia Bartoli, accompanied by pianist Jean-Yves Thibaudet is, for those of us who do not know Italian and are not avid opera fans, a simply delightful essay in the beauty of the human voice. I am really happy this is not the first Bartoli album I have bought, as others, such as her recordings of French and Italian love songs have more substance to offer (if you don't know the operas from which these pieces are taken) but this recording, with its live ambiance, is a great pleasure all by itself, a very nice change from the somewhat frostier Fraulain Von Otter from the northern climes.

A sheer delight from start to finish.......2005-07-14

Although I rarely follow singers, even I am totally disarmed by Cecilia's magic spell of charm that criticism fails me. You will see that most of my reviews of music are about modern or Renaissance music, so for me to go out and lavish praise on her is really something totally out of the ordinary. Then again her singing is out of the ordinary in that it has an instantly recognisable warmth and captivating personality that makes her the outstanding singer of the current generation for me.

I have been impressed by Cecilia's tendency to avoid the well worn paths of 19th century Italian operas in favour of championing neglected earlier music whether that be Vivaldi, Haydn, or Salieri. She has always talked about how the centre of gravity of Western music seems to be shifting backwards in time, and in her case this means away from the Austro-German tradition to the time when the Italians dominated music. After all the musical elite of even Wagner's time could be still be heard muttering 'but he just isn't as good as those Italian...' at premiers of works such as Tannhäuser and it took a lot of convincing before the the idea of German opera became accepted. This shift backward in time here is exemplified by way the recital begins with the music of Caccini, the father of opera.

Here on this recording I particularly love the spontaneity of the live music making. Her ability to capture the declamatory nature of much older music such as with Caccini, Vivaldi and Handel suite live recording perfectly. Her manner of conveying the meaning of the words especially when singing in Italian is simply unrivalled in this situation. This is the sort of thing that all too often gets lost in studio recordings so it is a blessing that this is a live recording, where Cecilia seems to just glow. The spontaneity, the sheer magic of the moment - it is all a sheer delight from start to finish. At moments her voice seems so etheral, the hushed and rapt awe of the music making so breathtaking, that it simply beggers belief that the human voice can be so beautiful an instrument. This is what great music making should be all about.

As far as the recording itself goes I have never noticed any disturbing audience noises anywhere even on my system which tends to makes the slightest of rustling blatantly obvious. The recording engineers do an excellent job of capturing the ambience of the acoustic of the Teatro Olimpico in Vincenzo despite the presence of the audience.

A stunning recording and an absolute favourite to relax to or just to be inspired by.

Exquisite.......2003-01-31

"Her natural command of messa di voce phrasing, willingness to shade the voice away to the quietest pianissimo and acute sensitivity to the words of Caccini's love songs proved irresistible, attracting a generous mix of applause and foot stamping."

Such was the appreciation from the audience that the director had to request that the audience not stamp their feet as they would set off the alarm system.

There are hardly words to describe Cecilia Bartoli's remarkable vocal qualities, emotional range and warmth. When I listen to this CD, I am calmed completely. There is an element of comfort in her style. Maybe one could explain it as a lullaby for the soul.

She has the ability to support the longest of phrases on the back of a single breath all while varying the tone color and dynamic level. Singing seems as effortless as breathing as she becomes emotion all while capturing the drama and mood.

In this live performance from the Teatro Olympico in Vincenza, Italy, she performs each piece as if she is intimately entwined with the notes. How can music be this sensual and this comforting all at once? It just is. She can express a wide range of emotions, from profound despair to extreme joy.

The Teatro Olimpico is the worlds' oldest surviving covered theatre. It has fine acoustics, a sky-blue ceiling and marble. Cecilia Bartoli wanted to perform in one of the great treasures of Italy's cultural heritage and this led to this live performance with concert pianist Jean-Yves Thibaudet who seems to sense every emotion in Cecilia's voice. It is a sublime combination of talent which is further enhanced by violins, viola, cello, violone, archlute and harpsichord.

Tu ch'hai le penne, Amore - A song to love asking love to fly to where the heart lies and to promise that his heart and soul were ever hers.

Amarilli - Delicate and beautiful expression of true love.

Al fonte, al prato - You can feel spring approaching and this song has a certain energy Cecilia embraces as she sings away troubles and sadness to allow in merriment.

Lascia la spina - Melancholy. "Old age will creep up on you when your heart does not expect it."

Agitata da due venti - Cecilia's voice takes flight in this song about waves raging in a stormy sea. She almost becomes the force of the ocean as her voice surges and dives and wow.

Oiseaux, si tous les ans, K307 - She embodies a haunting vulnerability and the freshness of spring/summer. This song ends far too quickly.

La pastorella, D528 - Calm beauty to reflect a shepherdess in a meadow. Innocent love.

Havanaise - It seems like she has a completely different voice in this song as she reaches
to new ranges in depth. Charmed by a song? Perhaps.

Hai luli! - A seductive treatment of a song asking "where can my love be?"

"What's the point of living without a lover?"

Zaide - High energy and fast paced. A song about an orphan.

Malinconia, ninfa gentile - Gorgeous and poetic song.

Ma rendi pur contento - She really captures longing and an almost delicate purity.

La conocchia - Light and breezy.

Me voglio fa 'na casa - A song about the desire to build a house surrounded by the sea. Fantasy and happiness.

Mi langero tacendo - Poignant moment.

"I shall not complain of my bitter fate;
but, my beloved, do not hope for me not to love you."

Mi lagnero tacendo ll resentimento - the sorrow continues. The lover is said to be cruel.

Mi lagnero tacendo Sorzico - more complaints of cruelty and sorrow. She seems to capture frustration so exquisitely and is that stomping I hear? ;)

L'Orpheline du Tyrol - The Tyrolean orphan girl. Jean-Yves Thibaudet really takes the stage at first and Cecilia follows almost timidly. A song of tragedy, hunger and suffering.

Riedi al soglio from Rossini's opera Zelmira left seasoned connoisseurs dazzled. After the aria's final cadence, they broke from their awe-struck silence to add to the shouts of "encore."

Voi che sapete - Light and yet still dramatic. Desire, torment, ice. All explored fully by her voice. You can hear "torment" when she sings "martir" even if you could not see the words or follow along. Her voice really "flutters" when she sings "palpito e tremo." It is just amazing.

Canzonetta spagnuola - A muse comes to torment a painter.

Caro mio ben - A lover grows faint without love. Solitary melodies and you can almost feel the chill in the room or the feeling of despair the lover feels.

Canto negro - Is there anything she can't sing? This piece might seem completely out of place, but by now everyone is completely drunk with emotion from this performance.

Seguidille - Pleasure comes when two people are together. Definitely so when Cecilia Bartoli and Jean-Yves Thibaudet perform together. This song is almost a metaphor of the entire intoxicating experience. I just love how the audience goes absolutely wild after this song.

And too soon, it is over. I look forward to one day viewing the performance on DVD. It will be so much easier to understand the words now that I've literally studied this performance. Knowing the words definitely adds to the subtle emotions and more expressive moments.

~TheRebeccaReview.com

Cecilia Live.......2002-07-12

I have loved her low and warm voice ever since the first time I listened to her, the Italian mezzo-soprano Cecilia Bartoli. With respect and tenderness she treats the composers, whose works she performs while adding her own dimension. She transports me with her art. It is as if we become one person, and I experience her joy of music. Together we share a glimpse of eternity.

On this album which was recorded live at the Teatro Olimpico, Vicenza, Italy in 1998 Cecilia Bartoli offers her listeners a varied programme comprised of several composers: Caccini, Haendel, Vivaldi, Mozart, Rossini, Donizetti, Bellini, Viardot, Schubert, Montsalvatge and Bizet. She's accompanied in Caccini, Haendel and Vivaldi by the Sonatori de la Gioiosa Marca (Baroque string ensemble) and for the other pieces by Jean-Yves Thibaudet on piano. The accompanying booklet contains the lyrics, translations and further information.

Ms. Bartoli certainly has expanded her musical horizons here in several ways. On this disc she sings in Italian, French and Spanish. I loved her intense and heartfelt rendition of Caccini's and Haendel's arias. The passionate acrobatics of Vivaldi. And the Sonatori de la Gioiosa Marca gave her a fine support. She made a warm and lovely Cherubino in Mozart's famous 'Voi che sapete'. I also loved her sparkling interpretations of Viardot's 'Havanaise', Rossini's 'Mi lagnero tacendo' or his 'Canzonetta spagnuola'. But Montsalvatge's 'Canto negro' made me feel definitely uncomfortable and Ms. Bartoli herself didn't connect with it. Although I liked her rendition of Bizet's 'Seguedille, I still missed something there. Jean-Yves Thibaudet lends her an excellent, attentive and expressive support.

Although I would have preferred some more Baroque pieces at this concert, this live album is a keeper for me. Everytime the bundle of pure joy that is Cecilia Bartoli has the power to move me deeply!

Angels Hide Their Faces: Dawn Upshaw Sings Bach and Purcell

Average customer rating:

Beautiful, fervent Bach, but the Purcell songs are a bit prettified
Now that the Sun hath veil'd his light.....
Picky reviewers
hark ! how well the lady sings

Angels Hide Their Faces: Dawn Upshaw Sings Bach and Purcell

Manufacturer: Nonesuch
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Voices of Light
Forgotten Songs: Dawn Upshaw Sings Debussy
I Wish It So
Dawn Upshaw Sings Rodgers & Hart
Girl with Orange Lips

ASIN: B000059LXH
Release Date: 2001-03-27

Tracks:

Music For A While - Dawn Upshaw/Myron Lutzke/Arthur Haas
I Attempt From Love's Sickness To Fly - Dawn Upshaw/Myron Lutzke/Arthur Haas
Ah! How Sweet It Is To Love - Dawn Upshaw/Myron Lutzke/Arthur Haas
Lord, What Is Man - Dawn Upshaw/Myron Lutzke/Arthur Haas
Hark! How All Things - Dawn Upshaw/Myron Lutzke/Arthur Haas
Cantata BWV 199: Mein Herze Schwimmt Im Blut: Recitativo - Dawn Upshaw/Krista Bennion Feeney/Linda Quan/Lois Martin/Myron Lutzke/John Feeney/Peggy Pearson...
Cantata BWV 199: Mein Herze Schwimmt Im Blut: Aria - Dawn Upshaw/Krista Bennion Feeney/Linda Quan/Lois Martin/Myron Lutzke/John Feeney/Peggy Pearson...
Cantata BWV 199: Mein Herze Schwimmt Im Blut: Recitativo - Dawn Upshaw/Krista Bennion Feeney/Linda Quan/Lois Martin/Myron Lutzke/John Feeney/Peggy Pearson...
Cantata BWV 199: Mein Herze Schwimmt Im Blut: Aria - Dawn Upshaw/Krista Bennion Feeney/Linda Quan/Lois Martin/Myron Lutzke/John Feeney/Peggy Pearson...
Cantata BWV 199: Mein Herze Schwimmt Im Blut: Recitativo - Dawn Upshaw/Krista Bennion Feeney/Linda Quan/Lois Martin/Myron Lutzke/John Feeney/Peggy Pearson...
Cantata BWV 199: Mein Herze Schwimmt Im Blut: Chorale - Dawn Upshaw/Krista Bennion Feeney/Linda Quan/Lois Martin/Myron Lutzke/John Feeney/Peggy Pearson...
Cantata BWV 199: Mein Herze Schwimmt Im Blut: Recitativo - Dawn Upshaw/Krista Bennion Feeney/Linda Quan/Lois Martin/Myron Lutzke/John Feeney/Peggy Pearson...
Cantata BWV 199: Mein Herze Schwimmt Im Blut: Aria - Dawn Upshaw/Krista Bennion Feeney/Linda Quan/Lois Martin/Myron Lutzke/John Feeney/Peggy Pearson...
If Music Be The Food Of Love - Dawn Upshaw/Myron Lutzke/Arthur Haas
The Blessed Virgin's Expostulation - Dawn Upshaw/Myron Lutzke/Arthur Haas
An Evening Hymn - Dawn Upshaw/Myron Lutzke/Arthur Haas

Amazon.com

Soprano Dawn Upshaw's programs are always interesting, and this one's a beauty: one of Bach's most heartfelt cantatas flanked by songs and arias of Purcell. For the most part, she's in excellent voice, but with the tics that make some demur from enthusiasm: occasional swooping, thinning of the voice in the upper regions, lapses into a "Broadway" type of vocalism, and diction problems. The latter, oddly enough, are as present in Purcell's English as in Bach's German, as in the way Upshaw lands heavily on the r with a broad American accent rather than the lightly rolled r we're used to in performances of period English music. There's also some broad word-painting in the Bach, whose text, charting the soul's journey from sin to redemption, really needs no extra emoting. That said, Upshaw's fans will love this disc, and even those who prefer a different approach will enjoy it. Accompaniments are excellent: a continuo team in the Purcell, a small chamber group in the Bach. Outstanding sonics, too. --Dan Davis

Customer Reviews:

Beautiful, fervent Bach, but the Purcell songs are a bit prettified.......2006-08-24

Amazon's reviewer seems to have zoned out on how Dawn Upshaw pronounces words, missing most of the musical value here. Her singing of the Bach cantata, 'Mein Herze schwimmt in Blut,' is very moving. She is deeply involved, and her voice extracts the deep reverence and religious passion that makes this music so great. I'm not as convinced by the Purcell songs, however. Upshaw has chosen some of the most famous, and set against great singers like Battle, Baker, and Ferrier, her rendiitons seem a little shallow and prettified. She's considerably more tuned in to Bach, which is good enough to make this a memorable CD, if not her very best. Things would be much improved if the conducting by the (totally uncredited) conductor weren't so limp.

Now that the Sun hath veil'd his light............2001-08-04

Some say angels are God's messangers. When angels communicate, surely they sound like Dawn Upshaw. Upshaw's beautiful soprano voice rises to the stars and floats back again as she sings the beautiful collection of arias and cantatas by Purcell and Bach contained in ANGELS HIDE THEIR FACES.

Shaw's interpretation of Purcell's 'How sweet it is to love' reminds me of the elation I first felt on realizing love exists. 'Lord what is a man' brings one back to earth with a lamentation about human frailty and the finiteness of human existence. "Rejoice, rejoice" sings the angel in 'Hark! How all things' with lyrics from 'The Fairy Queen' -- a text by E. Settle after Shakespeare's 'A Midsummer Night's Dream.'

Bach's cantatas fill the air as Upshaw sings arias in German (interpretations are provided in the text accompanying the CD). J.S. Bach's songs are clearly and beautifully articulated by Upshaw while in the backgound various wind and string instruments accompany her vocalizations. Many of Upshaw's vocalizations by Bach in German as well as the instrumentation (including viol consort) remind me of the arias from 'The Messiah' -- majestic albeit on a very human scale. For example, Aria #9 by Bach is comparable to "He shall lead his flock.." (although the latter was written for an alto voice).

The music in English by Purcell is a bit lighter. My favorite piece is 'An evening hymn' by Purcell which I would expect to hear near dusk in an English chapel. However, ANGELS HIDE THEIR FACES contains music you can play year round at any time of day.

Picky reviewers.......2001-05-31

I've got a degree in musicology ( and am fluent in German as well), and for a while after total immersion in graduate school, found my listening enjoyment frustrated by the same pickiness that hampers your reviewer. Fortunately, that passed, and I'm now able to simply appreciate Dawn Upshaw's performance of the music we hear all too seldom. I hope that others will be able to participate in Upshaw's interpretation of the poetry behind the music, to think about the theological role of angels (not just pretty faces and feathery wings), to love this wonderful recording. We are indeed blessed that technology allows us to experience such music, such an artist.

hark ! how well the lady sings.......2001-05-31

This is one of those little gems that becomes more appealing with each hearing. The Purcell pieces are sweet and lovely, but the Bach ! This Cantata is the glory of this CD. It's verses are of the deepest sorrow and repentance, woeful utterances for God's forgiveness, until the final aria, "How joyful is my heart since God is appeased". Dawn Upshaw's interpretation is beautiful. She captures the emotion, the longing, the spirituality and heart of the piece.

Customer Reviews:

Fabulous bargain, but Berg needs texts!.......2006-02-05

This is a great set for anyone who wishes to be immersed in Alban Berg's lurid, hothouse, hallucinogenic world. Both performances and sound quality are mostly excellent: No record company has ever made as great a commitment to Berg as Deutsche Grammophon. Based on the performances alone, this deserves six stars.

But the budget price comes with a catch: No texts or librettos. (There are at least scene synopses for "Wozzeck" and "Lulu.") With some composers, this wouldn't be a serious problem, but Berg was one of the greatest control freaks in music history. Without knowing exactly where each word is placed, listeners who don't understand German will miss an important facet of this intricately multi-layered music.

Superb Berg performances ... good value!.......2006-01-05

This might be the best box set I own. First of all you get what is most likely the best available versions of the Violin Concerto,Wozzeck,Lulu (3 act ver.),Lulu suite,7 Early Songs with van Otter,Der Wein and much more. The only real sub-par performance on it is the Piano Sonata op1 with Barenboim which can be found in many other recordings for a decent price. So, if you are new to Berg and you buy this, you are getting really an outstanding set of recordings which are top of the heap with great conductors and orchestras.

Real Estate Saver.......2004-10-04

This little box is an elegant, SPACE-SAVING means of acquiring classic performances (all of them stellar) from the DG catalog of Berg's major works, including two by my adored Lasalle Quartet that I believe have recently gone OOP. The set contains eight CD's housed in somewhat hard-to-remove cardboard sleeves that clearly identify the contents therein, and includes a booklet which, despite not containing lyrics for any of the vocal works, is very informative. The lack of libretti is possibly less an issue in the case of Wozzeck; chances are that listeners already own at least one other recording and so can refer to its libretto. Lulu, however, is more problematic because more listeners probably opt to purchase this "complete/d" performance over all others and may even be purchasing this set on that basis.
Not being particularly fond of lieder in general, I feel less qualified to make an educated call as to who might own which recordings of the songs other than to remark that I already own this recording of Op. 2 (which, of course includes the lyrics). In fact, as is the case with a previous reviewer, I already own a number of recordings from this set (which I received as a gift). No matter, it's still worth owning, and I agree with yet another reviewer's suggestion to grab it while it's available. True, one might prefer different performances here or there but honestly, this affords the best way of acquiring everything in one fell swoop, and there's not a clinker in the whole set.
In that vein, I might suggest that fans of the VC seek out Szeryng's performance with Kubelik, now available remastered on DG Eloquence at budget price. It's much less emotional than Mutter's beautiful reading but I find this proves an enhancement rather than a detraction; I also feel that Kubelik, possibly due to his Austro-Hungarian upbringing, ultimately has a better grasp of this repertoire than Levine (although I love his OOP Lulu Suite/Wozzeck excerpts on Sony and Mahler 4 on RCA).

Best Set; Good Price..........2004-05-11

This is a really nice set at a good price. It features all DG's Berg recordings--which really are about the best around. This "Collectors' Edition" is certain to disappear soon and increase in value.

Excellent collection.......2004-04-06

This is a must have for any collectors, 20th Century Music admirers.

This is 8-CD set and includes the complete works of Berg on acclaimed performances.

Especially, the stars of this set (for me):
Wozzeck (Hildegard Behrens, Wiener Philharmoniker, Abbado)

Lulu, complete opera in 3 act (Teresa Stratas, Franz Mazura, Yvonne Minton, Jules Bastin, Robert Tear, Opera National de Paris, Pierre Boulez!!)

Lulu-Suite (London SO, Abbado)

Three Pieces for Orchestra (London SO, Abbado)

Piano Sonata (Daniel Barenboim)

Alban Berg's musical language is difficult to understand (at least in first listening), but when listening more times, we notice that, actually in his music, there is a very mystic or impressive and lyric atmosphere. So, I think that he is a "Romantic" modern. Just, he expressed these lyric atmospheres with realist and striking language. Still, he was used 12-tone system, but he was not forget tonality and used the both styles (even so he used jazz passages, especially in Lulu). In other words: Berg is one of the most famous and important composers and he impressed the composers came after him (ex. Shostakovich, Britten, Henze)

Tracks:

Miserere
Stabat Mater
Hodie Beata Virgo Maria
Senex puerum portabat
Magnificat a 8
Litaniae de Beata virgine Maria

Customer Reviews:

religious and content.......2004-10-06

In a brief retort to the reviewer from Bakersfield, I do rather wish that you might refrain from refering to matters of religion, litergy, and "ritual" as being "stupid." Obviously, it meant something to Allegri. I'm not angry, but I am a bit vexed that you might say such things about something that is the very center of my life. I dare say others might have been similarly hurt by your remarks.

Regarding the Misere, I've heard some say that this is one of the greatest choral pieces ever written and others say that it was only at the level of something that Mozart could have written at the age of 5, pointing to the repeating stanzas,etc. In point of fact, there is that rumor that it was he who transcribed the composition as an adolecent. As a musican, I can tell you that everything that is written is always based on what already exists. Music is a progression. I would say it is more likely that this piece stuck with Mozart as inspiration. Mozart is known for pieces with simple but beautiful melodic lines, which the Miserere's is quite gorgeous and simple in it's own right--but fantastic enough to raise the hair on the back of your neck. To those who fault the repetition, Allegri was quite right to follow it. When Psalms are sung--which the Miserere is Psalm 51--it is usual for a particular line to be chosen as a refrain of sorts and repeated intermitently every verse or every other verse. This tradition is maintained in churches of various traditions to this day--and, I'm guessing, in synagogues as well. (Psalms are understood to be songs attributed to King David.)

As for the relative simplicity of this piece, one must remember that at the time it was written, this was the cutting edge. It sounds simple to us, but that's because we live in a post Wagner and Stravinski age. Keep in mind that it wasn't so long before this piece was written that they only had the tenor and duplum lines. But really, none of that even matters. This piece was written as a sacrifice of work to God, and "God is the simplest of all." Further, I think that the piece compliments the subject matter of the Psalm beautifully. This Psalm is about sin and feeling repentence. It's a simple subject that is filled with very complex emotions and grace. I think that the grace comes through very clearly here.

As for the quality of the recording, I don't think that anybody can argue that King's College Choir isn't pretty hard to beat. I have heard of a recording that might rival this one where well trained male and female singers are used. Maybe one day, I'll know enough to comment on that recording.

I'm not religious,or anything,but this choir's AMAZING!!!.......2004-01-18

Okay I'll break it down for you.I don't believe in religion,and that mean's any of them,but it seem's like the only time you can enjoy an amazing choir like this one,that just happens to be my personal favorite,is when it has to do with religion.I mean,can't people just like choir's for the sake of liking choir's,without it having to be religious,and stuff.For example if anyone ever see's me at King's college,I'm not there for any stupid rituals or anything,keep in mind that's only if they even do that kind of stuff.I'm there for the sole purpose of hearing this choir.I mean they have so many layer's when they sing,that it's just amazing.With beautiful female high's,that are pretty much the best that I've ever heard,plus equally amazing male vocal's,singing the lower notes,but still,I'd have to say their biggest strength is when they seemingly go off in totally different direction's vocally,with both group's of males,and females,and still manage to weave it together into like a very tight quilt.I highly recommend this choir,over all the rest of them,and also,if you just like choir's without the religious stuff,then maybe you'd like something simular,but heavier,with speed,and distorted guitar's,and not to mention great musical talent,you should probably try something like Epic power metal band's,like Therion,Rhapsody,Blind Guardian,and maybe even the group's Dargaard,and Nightwish...

Definitive Recording of the Allegri Miserere.......2002-05-16

This recording of the Allegri Misere is one of the most beautiful that I've ever heard, or indeed hope to hear. It is absolutely amazing.

A brilliantly clear recording - you can hear the echos........2001-10-27

I love Palestrina, but most of all I love the Allegri Miserere.

I bought the CD to replace an earlier version (performed by the St.John's College Choir)and I was really quite delighted.

The first surprise was to hear the Allegri piece in English. It's good; very good. Not as good as it is in Latin, but still fits the music well. The quality of this recording is breathtaking. You can genuinely sense the atmosphere of the recording space ... the voices simply fade away to nothing in the heights of the building. And the voices you hear seem like the voices of angels.

Similarly, the Palestrina pieces are exceptionally well performed and produce.

However, the real gem (and it's a diamond) is the Allegri. If ever there was a piece of music that can soothe ruffled brows it's this. Let the boys' voices life you to heaven like the soft, gentle wings of angels. Come home stressed, make a cup of hot chocolate, close the curtains, dim the lights and let the sound soothe you.

likely the best recording.......2001-04-22

The story of Allegri's "Miserere" Mass has been told time and again, but warrants one more telling. Allegri was commissioned by then Pope Urban VIII to write this piece to be sung exclusively in the Sistine Shapel during Holy Week. This has been the case every year since 1638. The piece itself was written between 1630-38. On Wednesday and Good Friday during Holy Week, this Mass would be sung after 26 candles were extinguished, leaving a solitary one burning. This tradition holds true to this day.

The Mass was to be performed only in the Sistine Chapel, and up until Mozart's famous visit to the Chapel in 1770, only 3 written copies of the Mass were known to exist. Anyone else who copied it was either excommunicated, killed, or both. Mozart heard the Mass on that Wednesday, would write the Mass from momory that evening, then hear it again on Good Friday to correct a few errors. He was done at that point, and the piece was returned to Vienna, where it could be shared with the world. (This is a very abbreviated version of a fascinating story)

Thanks to Mozart, we can relish in the brilliance of Allegri's Mass, and this 1963 version is arguably the finest recording of it. The solo is maturely handled by treble Roy Goodman, and is central to the success of the recording. The re-mastering of this classic recording only enhances its beauty, wonderfully bringing out its delicate intricaces.

Tracks:

Chanson d'amour
Now Those Days Are Gone
La valse a mille temps (The Waltz In 1000-Time)
Con amores, la mia madre (With Loving, My Mother)
Who is Sylvia?
Chitarra d'amor (Guitar of Love)
I Get Along Without You Very Well
All I Ask Of You
Dein Herzlein mild (Your Gentle Heart)
My Romance
She's Like The Swallow
Quand tu dors pres de moi (When You Sleep Next To Me)
Love's Philosophy
Alice In Wonderland
Plaisir d'amour (The Pleasure Of Love)
If Music Be The Food Of Love
Le Papillon et la fleur (The Butterfly and the Flower)
Lydia
Phyllis Is My Only Joy
Wenn ich in deinen Augen seh' (When I Look Into Your Eyes)
Down With Love

Customer Reviews:

Interpretación Exquisita.......2001-12-28

Es dificil dejar de sentir admiración por este extraordinario ensamble vocal Inglés. Su capacidad interpetativa es amplísima y la forma en que sus voces se acoplan es inmaculada.En este disco interpretan arreglos de canciones de amor (y tambien de desamor) de diferentes épocas y compositores.TODO el disco es una mágnifica experiencia musical :el humor de "Chitarra d'amor",la belleza de "She's like the swallow" o el dulce desencanto de "Quand tu dors près de moi"; mencionando algunos ejemplos.
La unica objeción que tengo es que el no esten integrados todos los textos en el librillo del CD.
Yo recomendaría a cualquier amante de la música a escuchar este CD lo mas pronto posible.

You must buy this!.......2001-02-22

There's not much I can say about this album. It's perfect. Completely a cappella, it shows off everything that make the King's Singers one of the world's most masterful vocal ensembles. My two personal favorite tracks are "She's Like the Swallow" and "If Music Be the Food of Love." The solo on "She's Like the Swallow," a sad Canadian folksong, is very beautiful. Tracks such as "La valse a mille temps" and "Down With Love" add a certain amount of humor to the collection.I do not regret purchasing this album in any way. It represents some of the best work that the King's Singers have to offer. You must buy it.

Very, very, very (did I mention Very?) good!.......1999-10-22

A wonderful selection, beautifully performed! Some of these songs I have wanted to hear and own for so long!

An Silvia (Schubert) = Who is Sylvia: they sing a voice-only arrangement that is arguably an improvement of Schubert (okay, pax, you purists). As you may know, this is a setting by Schubert of a poem by Shakespeare. It is just marvellous.

In my estimation, this CD is worth getting for Sylvia alone.

Tracks:

Non T'Accostar All'Urna
Guarda Che Bianca Luna
Da Quel Sembiante Appresi
Mio Ben Ricordati
Ad Una Stella
In Solitaria Stanza
Il Tramonto
Lo Spazzacamino
Brindisi-Version 1
L'Amor Funesto
Me Voglio Fa 'Na Casa
Bella Nice, Che D'Amore
Per Pieta, Bell' Idol Mio
Ma Rendi Pur Contento
Torna, Vezzosa Fillide-Romanza
La Ricordanza
La Danza
La Lontananza
L'Esule
Arietta All'Antica Dedotta Dal 'O Salutaris Hostia'
Mi Lagnero Tacendo-II

Customer Reviews:

VERY FINE RECORDING.......2007-03-16

I bought this as a present for a friend, so I haven't unwrapped it. However, I did listen to a sample before buying it. This gentleman has a very fine voice and a learned and sensitive style of performance. Anyone who is interested in great singing will like this album. It is also very encouraging to me to find that Black men are becoming a presence in classical singing.

A VOICE OF VELVET.......2007-01-26

Lawrence Brownlee sings of love with such a voice that is so soothing and velvet you will forget it's a CD. One of the best tenor's I've heard in a long time.

C. Sheppard

Bravo.......2006-11-23

I had the pleasure to see and hear Lawrence sing the lead in Rossini's Cinderella. He stopped the show. A beautiful and powerful voice he demonstrates great talent. I rushed home to order this recording as I wanted to possess his voice at will. I love this recording and cherish the magnificent voice. He brought me to my feet at the Academy of Music in Philadelphia and when I listen to this recording I feel like standing in my study and screaming BRAVO!

A Voice of Enlightenment.......2006-04-29

From start to finish, this amazing recording is a perfect pairing of Mr. Lawrence Brownlee's voice with Mr. Martin Katz's piano, with each musical selection crafted to perfection, from the opening Franz Schubert "Vier Canzonen D688" to the heroic "L'esule" of Rossini to the affecting warmth and emotional finesse of Bellini's "La ricordanza (Sonetto di C. Pepoli)" (my personal favorite here). Just when I had succumbed to the reverent musical affectations of tenor Rolando Villazon, comes tenor Lawrence Brownlee who, I can assure you, will be tickling my cochlears for quite some time to come. This recording is a must, if you treasure the beauty of the Human Voice.

Introducing a Tenor with Intelligence to Match the Beauty of Voice.......2006-03-21

Lawrence Brownlee, with this debut recording of ITALIAN SONGS FOR TENOR AND PIANO, steps forward as a new tenor who bears watching. While there are currently some very fine young tenors (finally) on the scene who are genuinely talented and not just tenors du jour, Lawrence Brownlee is unique in his choice of introduction to the field. Instead of opting for a CD of favorite tenor arias ('Una furtiva lacrima', 'Nessun dorma', etc) with opera orchestra backup to punch up the volume and effect, Brownlee has the courage to debut with a very exposed recital with pianist Martin Katz of songs, all in Italian, but rarely heard. The result? A recording that not only allows the listener to really evaluate the tenor's vocal resources, but also appreciate his sensitivity in selecting repertoire. And that is a very welcome sign!

But of course the ultimate satisfaction of a recording must come from the voice and here Lawrence Brownlee demonstrates a rich, amber-toned tenor voice that is able to lean comfortably into legato lines as well as trip through the impossible hoops of Bel Canto repertoire. Wisely opening the recital with four 'canzone' by Schubert, a chance to demonstrate that the realm of opera is not the only path he will take in his career, Brownlee approaches these art songs with the sensitivity inherent in Schubert's marriage of music and poetry.

Then it is on to unfamiliar songs by Verdi, Donizetti, Bellini, and Rossini. His ornamentation is wholly natural and his ability to follow the patter line of, for instance, Rossini's 'La Danza' to technical perfection and excellent enunciation is truly remarkable. Martin Katz, one of our most revered piano collaborators, obviously applauds Brownlee's technique and vocal color: he provides just the right support to allow Brownlee to shine.

Lawrence Brownlee - mark the name. He steps into the spotlight with excellent preparation and uncommon communication. Highly recommended. Grady Harp, March 06

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