Hamlet & Lear

On this CD:

1. Hamlet, incidental music, Op. 32 (unrelated to film score)
Composed by Dmitry Shostakovich
Performed by Birmingham Symphony Orchestra with David Wilson-Johnson, Louise Winter
Conducted by Mark Elder

2. Hamlet, incidental music, Op. 32 (unrelated to film score)
Composed by Dmitry Shostakovich
Performed by Birmingham Symphony Orchestra with David Wilson-Johnson, Louise Winter
Conducted by Mark Elder

3. King Lear, incidental music, Op. 58a
Composed by Dmitry Shostakovich
Performed by Birmingham Symphony Orchestra with David Wilson-Johnson, Louise Winter
Conducted by Mark Elder

Tracks:

1812 Overture, Op.49
Marche Slave, Op.31
Romeo And Juliet Fantasy Overture
Capriccio Italien, Op.45
Hamlet Fantasy Overture, Op.67

Customer Reviews:

Emotional and expressive Tchaikovsky without being lurid.......2006-06-16

What makes this generous (80 min.) CD welcome is that Bernstein, far from going over the top, proves himself a genuinely expressive Tchaikovsky conductor. There are no choirs or cannons in the 1812 Over.(church bells are overlaid in the finale, though), no saccharine underlining of melodies, and no faking the emotion to reach the grandstands. Bernstein was to the manner born in romantic music, so his Romeo and Juliet is exciting and heartfelt. The 1812 will feel a bit low-key to anyone who expects a circus act, but it's musically sound, in case that matters.

I'm not arguing that this CD contains any revelations, but these chestnuts are all very winning in Bernstein's hands. His Capriccio italien deserves better sound--it's a bit thin and tinny--but it dances and sings. My attraction was to the problematic tone poem, Hamlet, which Bernstein believed in eough to record a second time for DG with the Israel Phil. The classic Stokowski recording on Everest tops every critic's list, but Bernstein's sounds more natural in the lyrical sections and brings quite a few thrills in the bombastic rum-tum of this uneven work.

Once Upon a Time: The Essential Ennio Morricone

Average customer rating:

Excellence!
"his domain of film scoring is legendary ~ Ennio Morricone"

Once Upon a Time: The Essential Ennio Morricone

Manufacturer: Silva America
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Movie Scores | Soundtracks | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music
Similar Items:

The Untouchables (1987 Film)
Film Music, Vol. 2
Once Upon A Time In The West: The Original Soundtrack Recording
Very Best of Ennio Morricone
Ennio Morricone - Film Music, Vol.1

ASIN: B0002V4YTU
Release Date: 2004-10-05

Tracks:

Once Upon A Time In The West: Man With The Harmonica
A Fistful Of Dollars
For A Few Dollars More
Days Of Heaven: The Harvest
The Five Man Army
Once Upon A Time In The West: Jill's Theme
The Men From Shiloh
Guns For San Sebastian: Overture
Two Mules For Sister Sara
A Fistful Of Dynamite: Duck, You Sucker
My Name Is Nobody
The Good, The Bad And The Ugly: Main Theme
The Good, The Bad And The Ugly: The Ecstasy Of Gold
Cinema Paradiso
Once Upon A Time In America: Deborah's Theme

Tracks:

The Untouchables: Main Theme
The Red Tent
The Sicilian Clan
Exorcist & The Heretic: Regan's Theme
Moses The Lawgiver
In The Line Of Fire
The Thing
Le Professionnel: Chi Mai
Hamlet
1900: Romanza
Casualties Of War: Elegy For Brown
Marco Polo
The Mission
Gabriel's Oboe
Ave Maria (Guarini)
On Earth As It Is In Heaven
Epilogue: The Falls

Customer Reviews:

Excellence!.......2007-04-22

These recordings range back to 1994, with a number of tracks being from Silva Screen's "Music from the Films of Clint Eatwood" compilation, with Derek Wadsworth conducting the City of Prague Philharmonic.

Those tracks are: "The Good, The Bad and The Ugly", "A Fistful of DOllars", "For a Few Dollars More", and "Two Mules for Sister Sara". "In The Line Of Fire' also appeared on that CD, performed electronically by Mark Ayres.

The next bunch of tracks is from Silva Screen's 1996 compilation, "Cinema Paradise: The Classic Film Music of Ennio Morricone", which included the majority of tracks here such as the extensive The Mission Suite, The Untouchables, Casulaties of War, Once Upon a Time In America, 1900, Chi Mai, Marco Polo, Once Upon a Time In The West (two tracks), Cinema Paradise, and The Good the Bad and the Ugly - Ecstacy of Gold, mostly being conducted by Paul Bateman, with Nic Raine doing some of the conducting duties as well.

Hamlet is from Silva's 1997 "Cinema's Classic Romances" compilation, while "The Thing" is from Silva's 2001 "Essential John Carpenter".

A Fistful of Dynamite - Duck You Sucker is from 2002's Way Out West: Essential Western Film Music Collection Volume Two.

The remaing tracks were newly recorded in 2004 for this release:
Days of Heaven, Exorcist II, Guns for San Sebastian, Moses the Lawgiver, My Name is Nobody, The Five Man Army, The Red Tent, The Men From Shiloh and The Sicilian Clan.

Highly recommended.

"his domain of film scoring is legendary ~ Ennio Morricone".......2004-10-07

Silva America once again has outdone themselves with "Once Upon A Time:The Essential Ennio Morricone Film Music Collection", a double disc collection worth their weight in GOLD! ~ Morricone creates visual moods for each film he scores...action, adventure, mystery, romance, sentimental and suspense...the list could go on.

Ennio Morricone was born in Rome on October 11, 1928...attended the Santa Cecilia Conservatory...worked in various jazz bands, later a staff arranger and composer...an orchestrator in the '50s...scored films in the early '60s, then the WESTERNS and his name became a household word in the film industry ~ a new kind of western was on the horizon and Morricone was commissioned to score "A FISTFUL OF DOLLARS" [1964] for Sergio Leone featuring Clint Eastwood, spaghetti westerns were born ~ next "FOR A FEW DOLLARS MORE" [1965] ~ and a bigger budget film "THE GOOD, THE BAD AND THE UGLY" [1966], again featuring Clint Eastwood, Lee Van Cleef and a third Eli Wallach whose performance was magical to watch on the big screen ~ violence and revenge gives Morricone an opportunity to feature electric guitars, flutes and jew's harp blending with a non lyrical chorus mixed with brass, strings, percussion with full orchestration that simply took your breath away...example is "ONCE UPON A TIME IN THE WEST" [1968], featuring Henry Fonda, Claudia Cardinale, Jason Robards and our hero Charles Bronson the mysterious harmonica player, director Sergio Leone's tribute to the American Western, pulled out all the stops ~ the Western was just a small part of Maestro Morricone's career, in the next paragraph take a gander of just what our icon of film music accomplished.

Our composer didn't stop there as "ONCE UPON A TIME IN AMERICA" [1984], featuring Robert De Niro, James Woods and Elizabeth McGovern, another Sergio Leone film..."THE MISSION" [1986], featuring Robert De Niro, Jeremy Irons and Aldan Quinn, is probably one of Morricone's crowning scores receiving an Academy Award nomination, very haunting and classical genre in substance..."THE UNTOUCHABLES" [1987], featuring Kevin Costner, Sean Connery and Robert De Niro during the Al Capone '30s crime organization, Morricone conjures a powerful and dynamic arrangement of his unmistakable theme..."CINEMA PARADISO" [1988], featuring Phillippe Noiret, Antonella Attili and Pupella Maggio from director Giuseppe Tomatore as he recalls his early childhood, the score immediately captures your heart, so tender and compelling as Morricone can only deliver.

City of Prague Philharmonic Orchestra featuring conductors Kenneth Alwyn, Paul Bateman, James Fitzpatrick, Nic Raine, Derek Wadsworth ~ Crouch End Festival Chorus featuring Choir Master David Temple ~ vocals performed by Charlotte Kinder, Marie Kopecka and Jill Washington ~ guitar, percussion and keyboards performed by Gareth Williams ~ all in all did a magnicent job in bringing the music of a composer who wrote for over 250 films, receiving recognition from the industry and fans which was long over-due ~ his work is in constant demand, scoring as many as over a half dozen films as year.

This collection contains an overlay of each cue in Morricone's distinctive style of legendary scoring ~ the man who made this possible, a tremendous asset to every project he undertakes is James Fitzpatrick [producer of the album] ~ symphonic suites with full orchestra fullfilling the "film-score-buffs" cravings for more of the same, just the way we like 'em!

Total Time: 2-CD-Set ~ Silva America 1165 ~ (10/05/2004)

Average customer rating:

I am in a Box with Berlioz Box Sets
A superb set, well worth the price!
all the overtures *NOT*
A wonderful collection of Berlioz

Berlioz: Complete Orchestral Works

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

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

Classical | Box Sets | Stores | Music

Liszt: Works for Piano and Orchestra
Strauss: Orchestral Works
Debussy, Ravel: Orchestral Works
Dvorák: The Symphonies
Bruckner: The Complete Symphonies

ASIN: B0000041MZ
Release Date: 1997-09-16

Tracks:

Symphony Fantastique, Op. 14: 1. Rries, Passions (Largo - Allegro agitato ed appassinonato assai)
Symphony Fantastique, Op. 14: 2. Un bal (Valse: Allegro non troppo)
Symphony Fantastique, Op. 14: 3. Sc aux champs (Adagio)
Symphony Fantastique, Op. 14: 4. Marche au supplice (Allegretto non troppo)
Symphony Fantastique, Op. 14: 5. Songe d'une nuit du Sabbat (Larghetto - Allegro- Ronde du Sabbat: Poco menu mosso)
Tristia, Op 18 (excerpts): 3. Marche fune pour la derni sc d'Hamlet (Allegretto moderato)
La Damnation De Faust, Op. 24 (excerpts): Menuet des follets
La Damnation De Faust, Op. 24 (excerpts): Marche hongroise

Tracks:

Lo ou Le retour a vie, Op. 14b: 1. Le peur (Goethe, Duboys)
Lo ou Le retour a vie, Op. 14b: 2. Choeur d'ombres (Berlioz)
Lo ou Le retour a vie, Op. 14b: 3. Chanson de brigands (Berlioz)
Lo ou Le retour a vie, Op. 14b: 4. Chant de bonheur (Berlioz)
Lo ou Le retour a vie, Op. 14b: 5. La harpe ienne - Souvenirs
Lo ou Le retour a vie, Op. 14b: 6. Fantasie sur la Temp de Shakespeare (Berlioz)
Grande Symphonie fune et triomphale, Op. 15: 1. Marche fune (Moderato un poco lento)
Grande Symphonie fune et triomphale, Op. 15: 2. Oraison fune (Adagio non tanto - Andantino un poco lento e sostenuto)
Grande Symphonie fune et triomphale, Op. 15: 3. Apothe (Allegro non troppo e pomposo)

Tracks:

Harold en Italie, Op.16: 1a. Harold aux montagnes (Adagio)
Harold en Italie, Op.16: 1b. Harold aux montagnes (Allegro)
Harold en Italie, Op.16: 2. Marche des prins (Allegretto)
Harold en Italie, Op.16: 3. Snade (Allegro assai - Allegretto)
Harold en Italie, Op.16: 4. Orgie de brigands (Allegro frenetico - Adagio - Allegro, Tempo I)
Les Troyens arthage: Prelude From: Les Troyens arthage: Part II, Act III
Les Troyens (Act IV): No. 29: Chasse royale et orage - Pantomime
Les Troyens (Act IV): No. 32: Marche pour l'entrde la reine; No. 33: Ballets
Les Troyens (Act IV): -A: Pas des Alm
Les Troyens (Act IV): -B: Danse des esclaves
Les Troyens (Act IV): - C: Pas d'esclaves nubiennes
Rrie et Caprice, Op.8

Tracks:

Romeo et Juliette, Op. 17: Part I, Introduction
Romeo et Juliette, Op. 17: Part I, Prologue: 'D'anciennes haines endormies'
Romeo et Juliette, Op. 17: Part I, Strophe 1: 'Premiers transports que nul n' oublie'
Romeo et Juliette, Op. 17: Part I, Strophe 2: 'Heureux enfants aux coers de flamme'
Romeo et Juliette, Op. 17: Part I, Rtatif et Scherzetto: 'Bientot de Romeo' - 'Mab! la messagere' - Bientot la mort est souveraine'
Romeo et Juliette, Op. 17: Part II, Romseul - Tristesse - Concert eet bal
Romeo et Juliette, Op. 17: Part II, Grande f chez les Capulets
Romeo et Juliette, Op. 17: Part III, 'Ohe! Capulets! Bonsoir, bonsoir!'
Romeo et Juliette, Op. 17: Part III, Sc d'amour

Tracks:

Romeo et Juliette, Op. 17: Part IV, Scherzo: La reine Mab ou la fdes songes
Romeo et Juliette, Op. 17: Part IV, Convoi fune de Juliette: 'Jetez des fleurs pour la vierge expiree!'
Romeo et Juliette, Op. 17: Part IV, Romau tombeau des Capulets
Romeo et Juliette, Op. 17: Part IV, Finale. Choeurs et Rtatif du P Laurence: 'Quo! Romeo de retour!'
Romeo et Juliette, Op. 17: Part IV, Finale. Air du P Laurence: 'Pauvres enfants que je pleure' - 'Mais notre sang rougit leur glaive'
Romeo et Juliette, Op. 17: Part IV, Finale. Serment de rnciliation: 'Jurez donc'

Tracks:

Beatrice et Benedict
Benvenuto Cellini
Overtures: Le roi Lear, Op. 4
Les Francs - juges, Op. 3
Waverley, Op. 1
Le corsaire, Op. 21
Carnaval romain, Op. 9

Amazon.com

Berlioz was the first Romantic master of the orchestra. His music hasn't been surpassed in terms of sheer brilliance and accuracy of effect. This set includes all of the overtures, the Symphonie fantastique, Harold in Italy, the Royal Hunt and Storm from Les Troyens, orchestral music from The Damnation of Faust and Romeo and Juliet, and the completely insane Grande Symphonie funebre et triumphale. Davis achieved his reputation as a conductor as a Berlioz specialist, and he proves an expert advocate on behalf of this stimulating, bizarre, and totally original genius. The recording quality, so critical in such colorful music, is also very good. --David Hurwitz

Customer Reviews:

I am in a Box with Berlioz Box Sets.......2004-02-22

First I ordered Hector Berlioz Complete Orchestral Works (Box Set) in a 6-CD set by Sir Colin Davis because orchestral is what I like best. That was in 2002. Now I have ordered The Berlioz Edition (Box Set)in a 24-CD Box Set by Sir Colin Davis because I like what I have heard of Berlioz by Davis. I will put this up for sale, and if it doesn't go I will consider putting The Berlioz Edition up for sale after I have heard it. As I said I am in a Box with Berlioz Box Sets and can't afford both.

A superb set, well worth the price!.......2002-08-16

For those of us who grew up in the 1950s and '60s, the music of Berlioz means Munch and Toscanini: Munch for his incendiary performances of "Symphonie Fantastique," "Romeo et Juliette," "Damnation of Faust," the Requiem and the overtures (among others), Toscanini primarily for his gorgeous reading of "Harold in Italy" but also for his versions of the Roman Carnival Overture and (for those who could find it) the "Romeo" with Gladys Swarthout. These readings had one thing going for them, which was a rhythmic impetus that made even the slow movements exciting. Unfortunately, for those of us who read scores, when we checked these versions against the music we found that Toscanini and Munch had fiddled a bit with tempi and bowing accents in an attempt to make the music more exciting. Is this so bad? Not necessarily, because these conductors had this music in their blood, they were presenting Berlioz as they had processed him over a lifetime of love, and so their fast tempi had little in common with the rattly, jangly readings often turned out by John Eliot Gardiner.

Sir Colin Davis was, and of this reading remains, the greatest Berlioz interpreter of the stereo/digital era. This is no mean feat when one realizes that he now has several competitors in the field, among them James Levine and Charles Dutoit, but in my view only the wonderful John Nelson (whose recordings of the Te Deum and "Nuits d'Ete" with Susan Graham are so wonderful) really comes close. And what makes Davis so great is that, like those legendary conductors of old, he really gets under the skin of Berlioz and makes him exciting while maintaining score tempi. Listen, for instance, to his "Symphonie Fantastique," still the benchmark modern recording after nearly 30 years. Davis also excels in his readings of the Overtures, music from "Les Troyens," and the Symphonie Funebre et Triomphale which grabs the listener and pulls him/her into its vortex of sound.

In the other two symphonies, "Harold in Italy" and "Romeo et Juliette," I sense a lapse of sorts: the slow music is conducted not necessarily too slowly, but with a certain Romantic mushiness bordering on easy listening. This, for me, robs the "Romeo alone" and "Scene d'amour" of its passion, though of course it is wonderful to hear the score in modern stereo instead of Munch's cramped mono, and for me Toscanini's second movement of "Harold," with its peculiar yet engaging walking gait, shall never be surpassed--and, unlike Munch, Toscanini somewhat transcended his mono sound because of the wonderful clarity and transparency of his orchestra. Nevertheless, if I were forced to I would live with this Davis set over my Munch and Toscanini recordings because of their overall warmth and excellent sound.

Other highlights include excerpts from "Lelio" sung superbly by pre-leukemia Jose Carreras (listen to him ascend fearlessly to those high notes--he hasn't done that in nearly a quarter-century!), dramatically astute singing by Patricia Kerns and John Shirley-Quirk in "Romeo," and marvelous interpretations of the Overtures (oh, and you can forget "Rob Roy"...Berlioz decided after one performance that he would never publish it or even bother revising it, hence it is not here). I do question the omission of the Requiem and Te Deum (after all, they ARE "orchestral works"), but with so many riches at such a low price, who cares? Liner notes are sparse, and this is a slimline box which means paper sleeves and no jewel boxes, but so what? For this much Berlioz, so beautifully sung and conducted, the composer himself would gladly have plunked down ...

all the overtures *NOT*.......2001-05-04

This isn't a "complete" recording of Berlioz' orchestral music - what about the 'Rob Roy' overture? Granted it recycles some of Harold in Italy, but still...

A wonderful collection of Berlioz.......2000-08-15

This incredible six CD set features all of Hector Berlioz's purely orchestral music conducted by the great Sir Colin Davis, widely regarded as one of the greatest living Berlioz interpreters. In addition to favorites such as Symphonie fantastique, Harold en Italie and Romeo et Juliette, the set also includes the lesser known Lelio and several other works. The works were recorded between 1965 and 1980, and the sound is wonderful and rich. His interpretations are also lively and full of energy, especially in the overtures.

Tracks:

La Marseillaise (French National Anthem) - Placido Domingo
Dome Epais Le Jasmin (Flower Duet) - Joan Sutherland
L'amour Est Un Oiseau Rebelle - Regina Resnik
C'est Toi...Au Fond Du Temple Saint - Gregory Cross
Belle Noit, O Nuit D'amour - Joan Sutherland
Apres Un Reve - Renee Fleming
L'invitation Au Voyage - Gerard Souzay
Cantique De Jean Racine, Op.11 - Choir Of St. John's College, Cambridge
Rachel, Quand De Seigneur - Leopold Simoneau
O Vin, Dissipe La Tristesse - Sherrill Milnes
Je Suis Titania - Beverly Sills
Ah, Ou Va La Jeune Indoue - Joan Sutherland
Les Filles De Cadix - Angela Gheorghiu
Mon Coeur S'ouvre A Ta Voix - Marilyn Home
Alerte! Alerte!...Anges Pur - Nuccia Focile

Tracks:

Frere Jacques - Rita Streich
Air De Letter: Mon Chet Amant - Regine Crespin
Marthe Dieu Soit Loue...Deposons Les Armes (Soldiers' Chorus) - Robert Massard
In Paradisum - L Union Chorale de La Tour De Peliz
Villanelle - Regine Crespin
Je Veux Vivre - Joan Sutherland
Chanson A Boire - Gerard Souzay
L'Enigme Eternelle - Suzanne Danco
Sur Le Pont D'Avignon - Hilde Guden
Phidyle - Gerard Souzay
Les Gars Qui Vont A La Fete - Gerard Souzay
Notre Amour - Sylvia McNair
Beau Soir - Elly Ameling
C'est L'extase Langoureuse - Sylvia McNair
Puisqu'on Ne Peut Flechir Ces jalouses Gardiennes-Vainement Ma Bien-Aimee - Alfredo Kraus
Il Est Doux, Il Est Bon - Angela Gheorghiu
Hotel - Gilles Cachemaille
Petite Dinde, Ah! Quel Outrage - Maggie Teyte
Bailero - Kiri Te Kanawa
Brezairola - Kiri Te Kanawa
Malurous Qu'o Uno Fenno - Kiri Te Kanawa

Average customer rating:

Hamlet
Sir John Gielgud
Manufacturer: Pearl
ProductGroup: Music
Binding: Audio CD

General | Poetry, Spoken Word & Interviews | Miscellaneous | Styles | Music

Spoken Word | Poetry, Spoken Word & Interviews | Miscellaneous | Styles | Music

General | Miscellaneous | Styles | Music
Similar Items:

Richard Burton's Hamlet

ASIN: B00021LRUE
Release Date: 2004-06-29

Tracks:

Introduction
Act I, Scene I: Elsinore. A Platform Before the Castle: Francisco ...
Act I, Scene II: Elsinore. A Room of State in the Castle: Enter ...
Act I, Scene II: Hamlet, Alone-'O, That This Too Too Solid Flesh Would
Act, Scene III: A Room in Polonius' House: Enter Laertes and Ophelia
Act I, Scene IV: The Platform: Enter Hamlet, Horation and Marcellus
Act I, Scene V: A More Remote Part of the Platform: Enter Ghost ...
Act II, Scene I: A Room in Polonius' House: Enter Polonius and Ophelia
Act II, Scene II: A Room in the Castle: Enter King, Queen, Polonius
Act II, Scene II: Hamlet, Alone-'O, What a Rogue and Peasant Slave ...
Act III, Scene I: A Room in the Castle: Enter King, Queen, ...
Act III, Scene I: Hamlet, Alone-'To Be or Not Be: That Is the Question'
Act III, Scene II: A Hall in the Castle: Enter Hamlet and Certain ...
Act III, Scene IV: Another Room in the Castle: Enter Queen and ...
Act IV, Scene I/III: A Room in the Castle: Enter King, Queen, ...
Act IV, Scene V: Elsinore. A Room in the Castle: Enter Queen and ...
Act IV, Scene VII: Another Room in the Castle: Enter King and Laertes
Act V, Scene I: A Churchyard: Enter Two Gravediggers With Spades etc.
Act V, Scene II: A Hall in the Castle: Enter Hamlet and Horatio

Average customer rating:

SImply Untrue
an extra star for all the guest artists
An Homage to a Great Artist
superb vocals

The Very Best of Thomas Hampson
Marc Barrard , Thomas Hampson , Csaba Airizer , Georges Bizet , Charles Wakefield Cadman , Stephen Foster , Charles Gounod , Edvard Grieg , Charles Tomlinson Griffes , Imre (Emmerich) Kalman , Erich Wolfgang Korngold , Franz Lehar , Gustav Mahler , Jules Massenet , Giacomo Meyerbeer , Gioachino Rossini , Franz Schubert , Robert Schumann , Johann II Strauss , Ambroise Thomas , Giuseppe Verdi , Richard Wagner , Carl Maria von Weber , Antonio de Almeida , Antonio Pappano , Eugene Kohn , and Fabio Luisi
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

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

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Song of America
No Tenors Allowed: Famous Duets for Baritone and Bass
Arias - Haydn, Mozart, Beethoven, Schubert
Christmas with Thomas Hampson
Samuel Ramey - Operatic Arias

ASIN: B0006VYEI2
Release Date: 2005-04-26

Tracks:

La Ran La Lera...Largo Al Factotum
O Sainte Medaille...Avant De Quitter Ces Lieux
Ce Breuvage...Vision Fugitive
C'est Toi...Au Fond Du Temple Saint - Placido Domingo
La Fatigue Alourdit Mes Pas...Comme Une Pale Fleur
Ecoute!...Dieu, Tu Semas Dans Nos Ames
C'est Mon Jour Supreme
Tout Est Desert...Son Regard
Ove Son Io?...Vada In Fiamme
Perfidi! All'Anglo Contro Me...Pieta, Rispetto Amore
Di Provenza Il Mar, Il Suol
E Sogno? O Realta?
Komm!
Der Garten Des Herzens
Lied Des Venezianischen Gondoliers
Le Lazzarone
L'Ultimo Ricordo

Tracks:

Mein Sehnen, Mein Wahnen
Wo Berg' Ich Mich?...So Weih' Ich Mich Den Rachgewalten
Wie Todesahnung...O Du Mein Holder Abendstern
Gruss Op.48 No.1
Im Wunderschonen Monat Mai
Aus Meinen Tranen Spriessen
Die Rose, Die Lilie
Ich Will Meine Seele Tauchen
Ich Grolle Nicht
Gute Nacht
Die Post
Blicke Mir Nicht In Die Lieder
Ich Atmet' Einen Linden Duft
Ich Bin Der Welt Abhanden Gekommen
Von Der Schonheit
O Vaterland, Du Machst Bei Tag
Als Flotter Geist
Komm, Zigany
An Old Song Re-Sung
At Dawning (I Love You) Op.29 No.1 - Armen Guzelimian
Jeanie With The Light Brown Hair
Beautiful Dreamer

Album Description

Details TBA. EMI. 2005.

Customer Reviews:

SImply Untrue.......2006-08-16

The previous review is simply a gross falsification. I have been an obsessed opera fan for a long time, and Thomas Hampson is a truly special singer. He is not the possesor of the largest or most interesting voice, which he will tell you and indeed says so all the time. His commitment to text, his willingness to search out parts to fit his voice, and his dedication to art song make im invaluable to Americans as a ture Troubador. His light Baritone was ideally suited to Figaro and to Valentin and the art song he loves. He must stretch to sing Verdi, where his voice sounds dry and small but many singers have chanced Verdi at their peril, and his innate ablity to inhabit a song, here evidenced in Di Provenza overcomes fact that it is out of his fach. You misinformed opinion of Hampson is mean and strangly bitter. I love Opera, but I do not love every singer, which doesn't mean I debase their very artistic existance. I have seen Hampson live, and have loved him (in Thias) and somewhat disliked him (in Simon Boccanegra) As for him being pretentious, somwetimes I find him mannered, but always charming. SOmetimes Intellectualism can appear pretentious, but surely you wont hold an opera singer to the charge that he must be unintellectual. what a vitriolic review, please buy this Cd, it merits repeated listening to a true American SINGER,

an extra star for all the guest artists.......2006-05-08

The title of this album is an oxymoron. Or a sick joke. I can't decide. Sure he has made millions by luring the uninitiated listener into his web of deceit and conceit, but don't be fooled any longer. How fortunate Hampson has been to sing for and with great artists to shoulder his heavy load.

An Homage to a Great Artist.......2005-10-30

EMI is wisely creating a series of recordings to gather the moments of artists that showcase the very reasons they become so highly regarded. Usually these collections are produced late in careers or even posthumously, but in the case of THE VERY BEST OF THOMAS HAMPSON the artist is still one of the more active and premiere singers of our day. Yet while he doesn't still perform all of these inclusions, it is wonderful to have excerpts from various successful recordings to remind us of the artistry that Hampson represents.

The two disc set includes arias from operas: Rossini's 'Il barbière di Siviglia', von Weber's 'Euryanthe', Gounod's 'Faust', Massenet's 'Hérodiade', Bizet's 'Les Pêcheurs de perles' (in duet with Placido Domingo), Thomas' 'Hamlet', Verdi's 'Don Carlo', 'Il Travatore', 'Macbeth', 'La Traviata', and 'Falstaff', Korngold's 'Die Tote Stadt', and Wagner's 'Tannhäuser'.

But the rewards of a Hampson recording must include his impeccable career as a lieder stylist and on this recording are excerpts from Schumann's 'Dichterliebe', Schubert's 'Winterreise', Mahler's 'Rückert Lieder' and 'Das Lied von der Erde', as well as songs by Meyerbeer, Rossini, Grieg, Kalman, and Lehar. And very importantly there are examples of American songs that Hampson has always emphasized in his recitals. Works by Stephen Foster, and two extraordinary works with the brilliant accompanist Armen Guzelimian - 'An Old Song Re-sung' by Griffes and 'At Dawning' by Charles Wakefield Cadman - round out this fine survey.

Not usually a collector of such 'recombinations', for this listener this album is so very fine that it deserves the attention of all those who appreciate the artistry of Thomas Hampson - then and now. Highly recommended. Grady Harp, October 05

superb vocals.......2005-08-07

Mr.Hampson really gets the chance to showcase his wonderful baritone voice in this "Best of" collection which includes excellent selections from his various other CDs. I like the diversity of the selections featuring operatic arias,works from classical composers, and folk songs. For Thomas hampson fans, as well as fans of the baritone voice, this CD is for them.

Hamlet: Original Motion Picture Soundtrack (1996 Film)

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Hamlet sound track - Patrick Doyle
Beautiful masterpiece!!
Fantastic collaborations
Patrick Doyle's finest score
sudhir

Hamlet: Original Motion Picture Soundtrack (1996 Film)

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Movie Scores | Soundtracks | Styles | Music

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Henry V: Original Soundtrack Recording (1989 Film)
Much Ado About Nothing: Original Motion Picture Soundtrack
William Shakespeare's Hamlet (Two-Disc Special Edition)
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ASIN: B0000029V8
Release Date: 1996-12-10

Tracks:

The Original Motion Picture Soundtrack Of 'Hamlet': In Pace
The Original Motion Picture Soundtrack Of 'Hamlet': Fanfare
The Original Motion Picture Soundtrack Of 'Hamlet': 'All That Lives Must Die'
The Original Motion Picture Soundtrack Of 'Hamlet': 'To Thine Own Self Be True'
The Original Motion Picture Soundtrack Of 'Hamlet': The Ghost
The Original Motion Picture Soundtrack Of 'Hamlet': 'Give Me Up The Truth'
The Original Motion Picture Soundtrack Of 'Hamlet': 'What A Piece Of Work Is A Man'
The Original Motion Picture Soundtrack Of 'Hamlet': 'What Players Are They'
The Original Motion Picture Soundtrack Of 'Hamlet': 'Out Out Thou Strumpet Fortune'
The Original Motion Picture Soundtrack Of 'Hamlet': 'To Be Or Not To Be'
The Original Motion Picture Soundtrack Of 'Hamlet': 'I Loved You Once'
The Original Motion Picture Soundtrack Of 'Hamlet': 'Oh, What A Noble Mind'
The Original Motion Picture Soundtrack Of 'Hamlet': 'If Once A Widow'
The Original Motion Picture Soundtrack Of 'Hamlet': 'Now Could I Drink Hot Blood'
The Original Motion Picture Soundtrack Of 'Hamlet': 'A Foolish Prating Nave'
The Original Motion Picture Soundtrack Of 'Hamlet': 'Oh Heavy Deed'
The Original Motion Picture Soundtrack Of 'Hamlet': 'Oh Here They Come'
The Original Motion Picture Soundtrack Of 'Hamlet': 'My Thoughts Be Bloody'
The Original Motion Picture Soundtrack Of 'Hamlet': 'The Doors Are Broke'
The Original Motion Picture Soundtrack Of 'Hamlet': 'And Will 'A Not Come Again?'
The Original Motion Picture Soundtrack Of 'Hamlet': 'Alas Poor Yorick'
The Original Motion Picture Soundtrack Of 'Hamlet': 'Sweets To The Sweet - Farewell'
The Original Motion Picture Soundtrack Of 'Hamlet': 'Give Me Your Pardon Sir'
The Original Motion Picture Soundtrack Of 'Hamlet': 'Part Them They Are Incensed'
The Original Motion Picture Soundtrack Of 'Hamlet': 'Goodnight, Sweet Prince'
The Original Motion Picture Soundtrack Of 'Hamlet': 'Go Bid The Soldiers Shoot'

Customer Reviews:

Hamlet sound track - Patrick Doyle.......2006-03-10

I spent a lot of time trying to get hold of this CD but I must say I am mildly disappointed. I thought Patrick Doyle's music for Branagh's Henry V was brilliant and that was why I was determined to obtain this sound track as well. Henry V is not Hamlet in terms of theme and plot but I think the music here tends to be too low key and lacking in drive, unlike Henry V. It is still very good in places and clearly the work of an excellent composer, but not quite up to Doyle's previous standard.

Beautiful masterpiece!!.......2002-02-22

Patrick Doyle has truly composed an awesome piece of work. The score is so well done that you can feel the emotion coming through the music alone. This is by far my favorite soundtrack and I listen to it quite often.

Fantastic collaborations.......2001-06-12

Doyle fans are aware that he collaborates regularly with actor/director, Kenneth Brannagh. With the Hamlet score, he again writes powerful complementary music which also stands alone as worthy to be performed in concert. I would be interested to hear lengthier tracks such as accompanied the lengthy, but indeed beautiful and patient, movie. (The only mistake was Billy Crystal in the movie. I thought Robin Williams did fine work.) Although, I confess, this is my least listened to in my soundtrack collection, I do enjoy it, and believe it deserves accolades.

Patrick Doyle's finest score.......2000-06-26

This is certainly one of my top 3 Patrick Doyle scores and a towering achievement. The score unfolds like a great romantic symphony encompassing several moods from serenity and inner peace ("In Pace"), to violence and lush gothic undertones ("The Ghost", "Now, could I drink hot blood"), and a finaly sense of joyous celebration ("Fanfare", "What Players are they?"). After listening constantly to Mr. Doyle's scores for "Henry V", "Much ado about nothing" and "Frankenstein", I thought he could never top such achievements and somehow he did: "Hamlet" is a masterpiece of thematic inventiveness and dramatic power. The playing is wonderful and the engineering is very clear, taking full advantage of Air Lyndhurst's glorious acoustics. If you are a fan of british classical music or a Shakespeare fan (or even better, a fan of Patrick Doyle), don't pass up this CD. Great film music. No: great music. Period!

sudhir.......1999-12-02

the movie album is very good .and kate in the movie is very beatiful and she looks very good

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Zubin conducts Bohemian

Liszt: Symphonic Poems

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Liszt: 10 Hungarian Rhapsodies
Liszt: Faust-Symphony / Bernstein, Riegel, Boston Symphony Orchestra
Liszt: Les Preludes, Mazeppa, Ungarische Rhapsodie No.4, Smetana: Vysehrad, Die Moldau
Liszt: The Two Piano Concertos; The Piano Sonata
Mussorgsky: Pictures at an Exhibition

ASIN: B000002AY0
Release Date: 1997-03-18

Tracks:

Symphonic Poems: Les Preludes
Symphonic Poems: Orpheus
Symphonic Poems: Mazeppa
Symphonic Poems: Hamlet
Symphonic Poems: Battle Against The Huns

Customer Reviews:

Zubin conducts Bohemian.......2000-04-20

Liszt is accredited with inventing the Symphonic/Tone Poem and these are some of his big ones. Most are inspired by a literary source rather than a visual one, but Liszt paints some very drammatic pictures. This modern recording of Symphonic Poems renders a true picture of Liszt's wild imagination.

His most famous, Les Preludes, is played magnificently, featuring a quirky little melody, erupting in a glorious ending.

Hamlet and Orpheus are the quieter selections of this recording and played with stunning beauty. The harps of Orpheus bring a brilliant shine to the music, and the drama of Hamlet is wrung-out in a truly revolutionary, yet Shakespearian manner.

The two showstoppers, however, are Mazeppa and Hunnenschlacht. In both the brass takes over and blasts away the rest of the program. While both are truly exciting, it is the Battle of the Huns that features organ in a most majesterial manner, on this particular recording, it creates a gothic feeling, adding to the wild Bohemian nature of Liszt's writing.

Tracks:

'Even Bravest Heart My Swell'
'I Am The Barber Everyone Wants, I Am!
'Must I Be Made To Suffer'
'Look Down, Oh Gentle Evening Star'
'You Have My Love And My Devotion
'Oh Wine, Deliver Me From Sadness' - Geoffrey Mitchell Choir
'Marriage Is Sacred' - I Was Right To Be So Suspicious'
'Turning My Gaze Upon This Proud Assembly'
'O Nadir, Best Of Friends'
Billy In The Darbies
'Though I'm Somewhat Out Of Practice' - Janice Watson
'Hello, Here's A Soldier Bold' - Janice Watson
'I Wonder What He'll Think Of Me!'
'In Visions, Illusions'

Customer Reviews:

A good collection.......2007-05-14

Unlike the huge names, collections by Allen are not many - plenty of his opera performances are recorded, but there are only a few collections. My voice teacher recommended I listen to him to understand better how to deliver power without weight, something we've been working on. Yes, it's all in English, but that's fine, and the quality of Allen's instrument comes through very well.

A Musician of Great Dignity and Style.......2005-07-27

Sir Thomas Allen is one of the enduring baritones who has been able to move throughout the operatic repertoire and the recital stage with intelligence, informed characterization, and immaculate musicianship. To have a recording of some of the roles he has inhabited at this point in his career is a gift (this CD was recorded in 2003). To have the added challenge of retaining the stature of the roles while sung in English translations at the request of Chandos is a credit to his abilities and communicative powers.

English is a difficult language to make musical, though saying that abruptly is countered by the fact that some of the most beautiful operas in history are by Benjamin Britten, a composer who truly understood his native tongue and kept it as fluid as the soaring melodies he wrote, as Thomas Allen proves here in 'Billy in the Darbies' from Britten's 'Billy Budd'. It is the other major arias from Korngold to Wagner to Tchaikovsky to Rossini, Bizet, Mozart, Gounod, Verdi, Thomas, Strauss, and Lehar that Allen proves that English translations do not detract at all from the performances!

For those purists who prefer opera sung in the original language (and for those who don't even need supertitles in the opera house!), then this recording may provide a temporary barrier to respecting Allen's singing. But once caught up in the ease with which he moves from style to style and comedy to drama, it is hard not to relinquish old preferences and not be wholly impressed with the beauty of the voice and the warmth and dignity of this fine musician. Highly recommended. Grady Harp, July 05

Passed the "Opera in English" test with flying colors........2005-07-04

For me, the test here was Figaro's Cavatina, from Rossini's Barber of Seville - sung in English, as is this entire compilation of 14 operatic favorites, sung by baritone Sir Thomas Allen. Could he pull it off? Could Chandos pull it off? The answer is an unequivocal, unqualified yes! The secret in singing classics in English, that were written and scored in another language, is in three things: pacing, vocal agility and appreciation for "fit", and what greater test for tongue and timing than Figaro? When you listen to this one song, you will understand why Chandos and its benefactor, Sir Peter Moores have such a passion for their Opera in English series. Sir Allen's voice is a matured unmistakably settled baritone voice that contains a lifetime's worth of understanding of the music and words he imparts through his magnificent delivery. For example, when he sings, Tchaikovsky's "You have my love and devotion" from The Queen of Spades, he delivers a smooth and deeply emotional rendition that lacks nothing in translation. Wagner's "Turning my gaze upon this proud assembly", from Tannhäuser is another example of how fine, full orchestration behind a seasoned voice that waxes eloquent with every phrase, can create a mood of relaxed familiarity with word and music, that may be lacking when sung in another tongue. Great Operatic Arias, serves up a smorgasbord of tunes that are familiar, made more so by the care and attention given to creating a place for the Opera in English series in every home library. The mood here is romantic, relaxed and with few exceptions consistent throughout. If you haven't heard Opera in English, this might be a good way to start, given the fact that the listener gets to sample how different composers might sound in other than German, Italian or French. You might be surprised to discover that when done with care, as is obviously the case here, the sound is about as good as it gets. As an added bonus, the booklet that comes with the CD is full of pictures, libretto in English, and biography that gives us a good insight into history of the singer and his identifying rolls.

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Natalie Dessay in the French Repertoire: Nicely Done!
Another French Album?!
Le vrai Amour & la Grande Musique
Salut à la France!
Wonderful, but a minor quality control problem

Natalie Dessay - French Opera Arias
Natalie Dessay , Michel Plasson , Jules Massenet , and Jacques Offenbach
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

General | Arias | Opera & Vocal | Styles | Music

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French | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
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Natalie Dessay - French Opera Arias

ASIN: B0000ZOJZW
Release Date: 2004-01-13

Tracks:

Acte III - Air Du Cours La Reine: Suis-Je Gentille Ainsi?
Gavotte: Obessions Quand Leur Voix Appelle
Fabliau: Rire Toujours? Vous Vous Trompez
Acte II - Polonaise: Oui, Pour Ce Soir...Je Suis Titania La Blonde Philine
Acte III - Aubade: vive Amour Qui Reve L'Ensoleillad
Acte I - Bolero: Profitez de La Vie Mme De Ligneul
Acte II - Grande Valse: Conduisez-Moi Vers Celui Que J'Adore Edwige
Acte I: En Proie A La Tristesse La Comtesse
Acte II: C'En Est Donc Fait...Salut A La France! Marie
Acte I - Valse De Juliette: Ah ! Je Veux Vivre Juliette
Acte IV - Air De La Foile: A Vos Jeux Mes Amis Ophelie
Mort D'Ophelie: Le Voila, Je Crois L'Entendre Ophelie

Amazon.com

Yet again, the fascinating French soprano Natalie Dessay has come up with a winning recital. Canary fanciers can love her without guilt: her high notes are all in place (up to a solid E natural), her skill with fast coloratura is astonishing, her pitch is ideal, and her breath control is massive. But she's as interested in creating character as she is in pure singing. For once Ophelia's long Mad Scene from Thomas' Hamlet is a truly dramatic, heartbreaking event, for instance; similarly, Manon sounds young and sassy, as she should. Rarities by Boieldieu and Offenbach are a joy to hear; "Je suis Titania" and Juliette's Waltz Song are suitably virtuosic and show-offy--she's as good as any of the so-called "Golden Age" sopranos in this repertoire. Her tone remains full and pretty; only the very top notes have a bit of an edge, but this hardly detracts. In short, this is a remarkable recital--interesting pieces, gloriously sung. --Robert Levine

Customer Reviews:

Natalie Dessay in the French Repertoire: Nicely Done!.......2007-03-08

Here, Natalie Dessay sings French arias. All in all, a satisfying album, with a few exceptions as noted below. A few samples of the cuts on this CD.

From Massenet's "Manon," she sings nicely. "Suis-je gentile ainsi" shows off her clear, light, agile voice. She demonstrates a decent trill and nice high note. "Obeissons quand leur voix appelle" is sung at a slower pace. Well sung, with some subtle vocal effects. This closes with a nice run, but a rather harshly sung high note. Then, "Rive toujours." This begins at a slower pace, but picks up. There is some nice ornamentation. For the most part, this is sweetly sung.

Thomas' "Mignon" features a wonderful piece, "Je suis Titania la blonde." Dessay, again, displays an agile and attractive voice. She demonstrates capable coloratura technique, featuring some nicely done appoggiaturas. In the last segment, she manifests a nice trill. Her penultimate high note is a bit harsh. However, she concludes with a very well done set of trills and a good high note.

From Gounod's "Romeo et Juliette," we have "Ah! Je veux vivre." The first part is smoothly sung. Nice characterization by Dessay. There is some attractive and pleasant florid singing at the end. Finally, from Thomas' "Hamlet," she essays "A vos jeux mes amis." Nice effects and good vocal technique are displayed. Her voice is attractive in this cut. Nice ornamentation toward the end. Some good trills and some nicely hit high notes.

This is a fine CD. Natalie Dessay shows her vocal virtues to good effect. She is obviously quite at home on the French repertoire, and this CD demonstrates that statement very clearly.

Another French Album?!.......2005-12-26

Does Natalie Dessay even know how to sing Italian? Whatever. I find her boring and flat. Her middle range drives me batty 'cas it's non exsistent and too sharp for my taste. I have no clue how anyone can compare her to Lily Pons becuase Pons notes were flawless and effortless. I always hold my breath to see if Dessay hits her notes well or if it just comes out piercing and sharp. She's about 50/50. She is no Lily Pons. She's decent but utterly forgettable and frankly I'm not sure why people are so enraptured by her. I find Sumi Jo much more appealing and talented

Le vrai Amour & la Grande Musique.......2004-05-14

Elle musique est si paisible et claire. Natalie Dessaix est épousé au baryton chanteur d'opéra Laurent Naouri. Ils ont deux beaux enfants. Natalie et Laurent ont participé dans les films télévisé nombreux. Dans Orphée aux enfers (1997) elle a joué Eurydice et il a joué Jupiter. Laurent Naouri est présenté dans Rameau 'Hippolyte et Aricie'. Dans cet opéra baroque français,
Naouri dans son aria 'Puisque Pluton' il est destiné à tuer son fils.

Salut à la France!.......2004-05-10

Natalie Dessay is a delight on this CD of arias from 19th century French Opera. The listener can experience a singer who is both concerned about the vocal and interpretative values of each selection of this recital. The first two tracks of the Cours de la Reine Scene from Massenet's 'Manon' show a fresh voice that portrays easily the youth and frivolity of the title character. All the stacattos, cadenzas and high notes are on the service of the character. It is delightful to find some rarities on this recital, like the Fabliau from 'Manon' (an alternative aria that Massenet composed for sustitution of the Gavotte) and the pieces from 'Chérubin', 'La fête du village voisin' and 'Robinson Crusoe'. On the selection by Offenbach, Dessay sings a stunning trill on a Dflat and then goes to expectacular scales, finishing the dazzling waltz with an elaborate cadenza and a firm high E. Another highlight of the CD is the elaborate aria from 'Le Comte Ory' by Rossini, where the soprano's attention to the nuances of the piece bring out a lively interpretation. The aria from 'La fille du régiment' makes us wish for a complete recording of the opera. However, the best part of the CD are the last two tracks. Dessay brings all her gifts to a climax with a marvelous performance of the Ophélie's Mad and Death Scenes from 'Hamlet' by Ambroise Thomas. This version of the Mad Scene is even better than her previous rendition on her last recital of French arias. This is a highly emotional interpretation where all the brilliant scales and cadenzas reflect the changing moods of Ophelie's madness and her despair as well as her innocence. This is the definitive performance of this music on records, period. The Orchestre National du Capitole de Toulouse and the Choeur 'Les Eléments', ably conducted by Michel Plasson, complement Dessay beautifully. In summary, another wonderful CD by one of the most remarkable coloratura sopranos of our time.

Wonderful, but a minor quality control problem.......2004-04-02

Five stars for Natalie Dessay, who has an incredible instrument, and a great selection of arias. But I've listened to 4 copies of this disc and each had a very short "click" at 2:22 on track 2 (the Gavotte from Manon). Must be a quality control problem. Maybe it was just a bad batch.

Anyway, Dessay's voice is a force of nature; she must be one of the greatest coloraturas ever. I prefer her live version of Handel's "Tornami" from Alcina to Sutherland's. And she's incredible on Orphee Aux Enfers - not only a wonderful singer, but obviously a great actress and comedienne.

So, if you've not heard her before, give this album a try - ignore the "click" and listen to a truly angelic voice.

So 5 stars for Natalie Dessay and the selections, and a slap on the wrist for the record label and its quality control.

Music Review: