Live in Rome

On this CD:

1. Applause
Composed by Recorded Sound

2. Surge illuminare Jerusalem, motet for 8 voices (from Motets Book III)
Composed by Giovanni Pierluigi da Palestrina

3. Missa Papae Marcelli, for 6 voices
Composed by Giovanni Pierluigi da Palestrina

4. Miserere mei Deus (Psalm 51), motet for chorus
Composed by Gregorio Allegri

5. Stabat mater, motet for 8 voices
Composed by Giovanni Pierluigi da Palestrina

6. Alma Redemptoris mater, motet for 4 voices
Composed by Giovanni Pierluigi da Palestrina

7. Magnificat, Tone 1, (all verses) for 8 voices (undated, H xxvii 235)
Composed by Giovanni Pierluigi da Palestrina

8. Nunc dimittis, motet for 8 voices
Composed by Giovanni Pierluigi da Palestrina

Tracks:

Re: Person I Know
Laurie
Very Early
Peacocks
On Green Dolphin Street
Morning Glory
Solar
My Romance
So What [*]

Album Description

One of the last European concerts by Evans, who plays some of his compositions along with tunes he seldom played, like Miles Davis's "Solar" and a poignant version of Jimmy Rowles's "The Peacocks". The bonus track is a rare trio performance recorded live during a jam session at Club Le Najadi, Pescara, the same they Evans gave a concert at the Pescara Jazz Festival. It features Eddie Gomez on bass and Marty Morell on drums. Disconforme. 2005.

Album Details

Difficult to Find Material Long Unavailable on CD. Featuring Marc Johnson on Bass and Joe Labarbera on Drums. Includes the Complete Concert Recorded by the Last Evans Trio in Italy in December, 1979. One of the Last European Concerts by Evans, who Plays Some of his Compositions Along with Tunes He Seldom Played, Like Miles Davis's "Solar" and a Poignant Version of Jimmy Rowles's "The Peacocks". The Bonus Track is a Rare Trio Performance Recorded Live During a Jam Session at Club Le Najadi, Pescara, the Same They Evans Gave a Concert at the Pescara Jazz Festival. It features Eddie Gomez on Bass and Marty Morell on Drums.

Maria Callas: Live in Rome 1952 and San Remo 1954

Average customer rating:

Great performance - terrible mastering
Amazing recital, but...
Callas does it again!!!
Striking passion and versatility but so are some problems
Two miraculous Recitals

Maria Callas: Live in Rome 1952 and San Remo 1954
Gustave Charpentier , Leo Delibes , Wolfgang Amadeus Mozart , Gioachino Rossini , Giuseppe Verdi , Alfredo Simonetto , Oliviero de Fabritiis , and Rome RAI Orchestra
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | 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
Similar Items:

Maria Callas: Live in Milan 1956 and Athens 1957

ASIN: B000069V7Q
Release Date: 2002-11-05

Tracks:

Vieni! T'affretta...Or Tutti Sorgete (Atto I)
Ben Io T'invenni...Anch'io Dischiuso Un Giorno (Atto II)
Il Dolce Suono...Ardon Gli Incensi (Atto III)
Dov'e L'indiana Bruna? (Atto II) (Bell Song)
Tutte Le Torture (Atto II)
Ahime! Che Notte Oscura...Ombra Leggera (Atto II)
Depuis Le Jour (Acte III)
D'Amore Al Dolce Impero (Atto II)

Customer Reviews:

Great performance - terrible mastering.......2006-03-28

Avoid this mastering of the famous 1952 RAI recital like the plague - terrible sound. The strange thing is that EMI already issued the 1952 RAI recital in its 1997 2-CD "Live in Concert" from a far superior source. Buy that one instead.

Amazing recital, but..........2006-01-20

I recommend you seek out a previous EMI album entitled "Maria Callas: Live in Concert", since it feautures this same recital, but in much superior sound (no doubt from a different source), thus making the experience all that more enjoyable. As to the performances themselves, they really need to be heard to be believed (and in that sense I give them 5 stars, I take 2 from this release because the source EMI chose isn't as good as the one of their previous release). This also goes for "Live in Milan/Athens". Though not all of the items featured in that disc are actually in "Live in Concert", I'd still recommend the latter for the same reasons stated above.

Callas does it again!!!.......2005-10-14

I heard this CD and i instantlly loved it. It showes Callas in her earlier days of her career. The voice is young, fresh, and full of expression. I just wish they had more film footage of her performances. This is something a Callas fan should own.

Striking passion and versatility but so are some problems.......2004-07-01

These two recitals are great examples of Callas' remarkable versatility. She was more at home with the repertoire she chose in Rome but the San Remo scenes are interesting as well.

I've little to say about her Lady Macbeth and Abigaille. No other soprano has ever equalled Callas' in these roles. She had everything these early Verdi roles needed. The penetrating high notes, the rough instrument and fierce temperament. My only complaint is that Abigaille's cabaletta was omitted. Such a loss!

She had yet to sing the part of Lucia on stage but her reading of the mad scene is already filled with her customary darkness. Technically she adds interesting variants like an acciaccatura, a turn, an extra trill and a fermate. The flute cadenza brings the first vocal mistakes to sight. According to her biographers, in the Lucia performances which exist, Callas rarely - if ever - enjoyed a total success in this cadenza. There were always badly pitched notes here and there. The most obvious example here are the awkward staccato B-flats. The Italian version of Lakme's Bell Song is quite good though Callas' singing is not as brilliant as Sutherland's for example. This is after all a very flashy scene. The final top E, however, is ringing.

The San Remo recital opens with Kostanze's big aria. Callas sounds downright furious and the result is most exciting. On the other hand I was amazed how exposed her instrument is to Mozart's demanding singing! Sudden high notes are shaky while the sustained top C sounds clumsy and uncomfortable. Listen to Gruberova or Auger for a rounder performance. The gorgeous aria from Luise is probably Callas' worst moment of the evening. This piece has so many sustained soft high notes and these were never Callas' territory. Even in 1954, almost every note sounds wobbly! Listen to Caballe's literally breathtaking reading of this aria. Her breath control is out of this world!

Dinorah's introspective music suits Callas well and the result is finer than her later studio recording. I'm not very familiar with this Meyerbeer work though. The sorceress's aria from Armida wonderfully closes the San Remo recital. Despite some ambiguous notes around the top C area, her Armida is outstanding.

Callas mixed many different styles in these two recitals which is astonishing but mixed are also the outcomes. (Despite my appreciation of this recital I don't expect much positive feedback by Callas-fanatics). Recommended as an important part of Maria's legacy!

Two miraculous Recitals.......2004-05-17

These two recitals show, without the possibilities of the studio such as re-takes etc. how miraculous Callas' voice sounded live. Just look at the choice of repertoire, WHO can sing these in ONE recital and who DID?

1. Vieni! T'affretta...Or Tutti Sorgete (Atto I)
2. Ben Io T'invenni...Anch'io Dischiuso Un Giorno (Atto II)
3. Il Dolce Suono...Ardon Gli Incensi (Atto III)
4. Dov'e L'indiana Bruna? (Atto II) (Bell Song)
5. Tutte Le Torture (Atto II) Listen Listen Listen
6. Ahime! Che Notte Oscura...Ombra Leggera (Atto II)
7. Depuis Le Jour (Acte III)
8. D'Amore Al Dolce Impero (Atto II)

The first four tracks were sung in the Rome-Recital in 1952. Verdi's highly dramatic, lunatic and dark Lady Macbeth and Abigaille paired with innocent, sad Lucia and sparkling Lakme? Who did this in one recital and succeeded? Nobody except Maria Callas. Callas had sung Abigaille in 1949 (A recording exists) and this recording of Abigaille's ornamented aria is breathtaking. Abigaille is normally sung by huge agile voices (So rare) but many dramatic sopranos avoid it because of the trills, scales and coloratura. Callas, well schooled in bel canto by Elvira de Hidalgo, has no problems here. Here the famous "vibrato" of the late years isn't even hinted, Callas takes the leaps (An octave at a point) as if it were EASY! Absolutely stunning and making me sad that she never recorded Abigaille in the studio.
The next role where sadly only a live-recording exists is Verdi's she-devil, Lady Macbeth. Callas sings the "Vieni t'afretta" passionately and the following cabaletta with all the acuti, coloratura and leaps as if it were not hard at all. The best Lady Macbeth ever.
The miracle of this concert is the sudden switch to innocent belcanto-heroines, something that seems impossible. But Callas sings Lucia's madscene (The first recording to be made of her Lucia) luminously and beautifully with a HUGE E-flat closing it. Sadly she didn't sing the cabaletta then. The Bell Song from Lakme shows her at her brightest, sparkling like the best champagne. A joy to listen to.
The later recital presents us with her take on Konstanze, a role she had sung at La Scala. (No recording survived) Absolutely breathtaking agility and power, the same goes for her flawless Armida, Shadow-Song and Louise. (The only "Depuis le jour" of hers that I like) In short, a young soprano conquering the operatic world in 1952. Sensational!

The Tallis Scholars Live in Rome Peter Phillips directs the Palestrina 400 Concert
Average customer rating:

a voice teacher and early music fan

Superb Performance of Reformation Era Catholic Masses

The Tallis Scholars Live in Rome Peter Phillips directs the Palestrina 400 Concert

Manufacturer: Gimell UK
ProductGroup: Music
Binding: Audio CD

All Works by Allegri | Allegri, Gregorio | ( A ) | Featured Composers, A-Z | Classical | Styles | Music
General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music
Vocal & Song | Early Music | Historical Periods | Classical | Styles | Music | Requiems
Sacred & Religious | Renaissance (c.1450-1600) | Historical Periods | Classical | Styles | Music
Tallis Scholars | ( T ) | Featured Performers, A-Z | Classical | Styles | Music
General | Sacred & Religious | Classical | Styles | Music
General | Classical | Styles | Music
General | Opera & Vocal | Styles | Music
Magnificats | Vocal Non-Opera | Opera & Vocal | Styles | Music
Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music
Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music
Psalms | Vocal Non-Opera | Opera & Vocal | Styles | Music
Renaissance (c.1450-1600) | Historical Periods | Opera & Vocal | Styles | Music
Classical | Imports | Stores | Music
Similar Items:

The Tallis Scholars - Renaissance Giants

Tallis Scholars sing Palestrina

ASIN: B000025YLJ
Release Date: 2002-07-09

Tracks:

Applause
Surge, Illuminare/Missa Papae Marcelli
Kyrie
Gloria
Credo
Sanctus & Benedictus
Agnus Dei I & II
Miserere
Stabat Mater
Alma Redemptoris Mater
Magnificat Primi Toni
Nunc Dimittis

Album Description

The Tallis Scholars - Live in Rome

Customer Reviews:

a voice teacher and early music fan.......2007-01-15

On February 4,1994, the 400th anniversary of Palestrina's death, the Tallis Scholars presented a concert at the church of Santa Maria Maggiore in Rome. Since Palestrina worked there, first as a chorister and later as 'masetro di cappella', no more inspiring building could be found. Certainly the excellent acoustics therein would have given the young Palestrina an idea of what could be achieved with vocal polyphony.
"MISSA PAPAE MARCELLI" was written for Pope Marcellus II in 1567 in order to prove that polyphony could be concise and musically impressive. However, he only attempted it in two of its five movements, and prefaced its publication with the words 'novo modorum genere' broadly speaking 'a new form of expression'. Music was definately moving towards a harmonically-based,word-orientated idiom, thus paving the way for the Baroque. In the four double-choir motets sung on this disc,Palestrina showed that he could put this style to good use.
"SURGE, ILLUMINARE" shows the antiphonal writing of these double-choir settings. Palestrina's setting of the "STABAT MATER" is one of the supreme achievements of the Renaissance period in music. The setting of "ALMA REDEMPTORIS" is a straightforward composition with scarcely a polyphonic phrase in it. Originally written for two choirs which never overlap, it is often sung with a single choir as it is on this recording.
Allegri's "MISERERE" is a partially harmonised setting of a plainchant psalm (no.51). Allegri composed this for the Sistine Chapel Choir and it was jealously guarded as their exclusive possession until copies of it started appearing some time during the 18th century. The 14 year old Mozart supposedly copied it from memory after hearing it one time. We know that this is probably true!!!!
The Tallis Scholars have always been an outstanding group no matter what the personnel is at the time, and it does change from year to year. Their performances are almost always outstanding. Having said that, I have to add that the "MISERERE" rendition is not nearly up to the standard that was recorded in 1980 on Gimell's 25th anniversary disc. If you have not heard this, please purchase this as it was recently reissued at half price and it is absolutely the BEST recording of not only this selection , but several others. Michael Chance is the solo countertenor and his voice is stunningly beautiful. It was also taken at a much slower tempo that allowed for a more emotional delivery.

Superb Performance of Reformation Era Catholic Masses.......2006-10-06

'the Tallis Scholars Live in Rome' is a long drink of cool water to those of us who may listen to a lot of 'old music', especially liturgical music from the late Middle Ages through the Counter-Reformation and the arrival of Telleman, Vivaldi, and Bach.

Part of the charm of the recording is certainly due to the ambiance of audience and very large space in the Basilica of Santa Maria. Oddly enough, the appreciative applause of the audience almost distracts from the ambiance of performing a work of worship in a cathedral.

But oh what a performance. I would easily trade in two 'Anonymous 4' recordings and a Palestrina trading card for this recording if I had to. It should not be lost on the listener that this work was innovative, and done in a time of much turmoil, as Western Europe was about 40 years into the Reformation when the work was done, and this upheaval was not to be resolved for another 80 years, after the conclusion of the 30 Years War. One can be grateful that the Pope / patron of the day had time to sponsor such beautiful works in between doctrinal disputes.

Average customer rating:

Needs An Orchestra
The performance of a lifetime
An Unforgettable Voice
Brilliant but erratic
Clear and powerful! Mario sings with great reverance!

Live from London

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

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

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

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

General | Pop | Styles | Music

General | Easy Listening | Pop | Styles | Music

General | Vocal Pop | Pop | Styles | Music

Traditional Pop | Oldies | Pop | Styles | Music

Traditional Vocal Pop | Broadway & Vocalists | Styles | Music

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

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Musicals | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Live at Hollywood Bowl: Historical Recordings (1947 & 1951)
Mario Lanza ~ Opera Arias & Duets, from Andréa Chenier · La Bohème · I Pagliacci · Madama Butterfly · Otello
Mario Lanza: At His Best!
American Caruso
Mario Lanza Sings Songs From The Student Prince & The Desert Song / Romberg

ASIN: B000003FLG
Release Date: 1994-01-18

Tracks:

Introduction I
L'arlesiana: Lamento di Federico
L'arlesiana: Lasciatemi morire
Gia il sole dal Gange
Pieta, Signore
Tell Me, O Blue, Blue Sky
Introduction II
Bonjour, ma Belle
The House On The Hill
TOSCA: E lucevan le stelle
Introduction III
Mamma mia che vo' sape?
Introduction IV
'A vucchella
Marechiare
The New Moon: Softly, As In A Morning Sunrise
Naughty Marietta: I'm Falling In Love With Someone
Because You're Mine
Introduction V
Seven Hills Of Rome
Introduction VI
Rigoletto: La donna e mobile

Customer Reviews:

Needs An Orchestra.......2005-03-02

The songs chosen here are fine but Mario sings with only a piano to back him up and this is the downfall of this CD.
If there was at least a small combo backing him up then this CD would be worth the money.
Instead it is too musically lacking and Mario's voice can't save it!

The performance of a lifetime.......2002-12-18

This was the golden age of music with the voice of the century in the performance of a lifetime. This disc will forever change your appreciation of the human voice. This is the singer who made opera lovers out of the bobby-soxers and movie goers out of the operaphiles. There never was an artist with such a combination of gifts in the history of recorded music-and it all came together that special night. There are operatic arias, Broadway show tunes, and even a piece that brings the audience to laughter. Mario's introductions display his warmth and humor. The piano accompanist and the hall's accoustics are excellent and the recording quality is as good as any from this era. I believe that live recordings can bring out the best in a singer and this disc proves me correct. Oh, to have been a member of that audience! While we may speculate on what would have been, let us be thankful for what we have. Number one on that list is this disc.

An Unforgettable Voice.......2002-04-11

I saw opera for the first time through Lanza's movie The Great Caruso. Since then I became a Lanza fan. As I myself a "dilettante" tenor when taking solfeo lessons in my youth I was told never to try singing like Mario Lanza because it would hurt my voice. The reason given was that Lanza voice was specially engineered in the recording studio. This record shows what I always believe. Lanza voice was not only exceptional but that recorded live does not allow for "special" effects. His voice and his films are unforgettable. Pity he died too young when he was getting ready to move into performing opera in the great theaters of the world. I advise the new generation to listen to this record and enjoy one of the most beautiful voices of the 20th Century.

Brilliant but erratic.......2000-10-14

From the opening bars of the beautiful Lamento di Federico, it's immediately apparent that Lanza was in great voice in this 1958 concert. True, Lanza's voice at this stage was too dark for the delicate lyricism of the Lamento, but it's a thrilling rendition nonetheless, complete with Lanza's interpolated high B.

This is the later Lanza voice, a much more baritonal sound than the Mario of the MGM period, but with that effortless top still firmly in place. The encore Because You're Mine displays a breathtaking B-flat finish that sends his audience into a frenzy. Other highlights include a poignant Tell Me, Oh Blue, Blue Sky and a surprisingly nimble Gia, il sole del gange, in which he lightens his tone effectively. The concert is a must-have, if only because it demonstrates Lanza's extraordinary versatility and his unique manner of "working" an audience.

Be warned, however, that this is not Lanza at his most subtle. If you're looking for the best of the later Mario, check out his masterful Mario! Lanza At His Best CD. Lanza did not want this concert released on disc, and from all accounts he gave far better performances at other concerts in this period in both Britain and Germany. Unfortunately, this is the only record we have of his final concert tour.

Having said that, the CD is still essential listening for anyone interested in a unique vocal talent. Even at his roughest,this is compelling singing of the highest order, and allowance should be made for the fact that it is a live performance. The sound quality is excellent. Warn your neighbours before putting this on - this is singing to rattle the teacups!

Clear and powerful! Mario sings with great reverance!.......1998-11-09

Maestro Lanza sang beautifully in this recital! Must have it in your Lanza disc collecton. He was still in top form even though the end was drawing to a close! Superb!

Average customer rating:

Australia Ambassador of Song

Manufacturer: Avid
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

English | Languages | 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

Oratorios | Opera & Vocal | Styles | Music

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

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

General | Folk | Styles | Music

Traditional Folk | Folk | Styles | Music

Australia & New Zealand | International | Styles | Music

General | Jazz | Styles | Music

Vocal Jazz General | Vocal Jazz | Jazz | Styles | Music

Nostalgia | Miscellaneous | Styles | Music

General | Oldies | Pop | Styles | Music

General | Easy Listening | Pop | Styles | Music

General | Vocal Pop | Pop | Styles | Music
ASIN: B0000632JZ
Release Date: 2004-06-04

Average customer rating:

Essential For Mengelberg Fans

The Live Radio Recordings (Box Set)

Manufacturer: Nm Classics
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

Modern & 20th Century | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

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

Classical | Box Sets | Stores | Music
ASIN: B00005228R
Release Date: 2000-11-21

Customer Reviews:

Essential For Mengelberg Fans.......2005-04-16

This 10-CD box set (plus a bonus 17 minute DVD) is a treasure trove of "live" performances 1938-1944 by one of the last century's greatest conductors. Unfortunately, it comes with a pretty stiff price tag of nearly $20 per CD. With excellent transfers of Mengelberg's studio recordings now available on budget labels like Naxos for around $7 each, that's a rather steep tariff. I happened to get lucky and found a copy at a discount outlet for around $60. But irregardless of price, this is a magnificent set for admirers of the Dutch conductor's unique style of music making. Many items here were never recorded by Mengelberg in the studio, and some of these are world premiere performances. I have owned most of these selections on earlier LP issues but, without exception, these transfers are the finest ever. Incidentally, two items here (the Mahler 5th Adagietto and Strauss's Death & Transfiguration) are definitely studio recordings.

Amazon has not included a listing of this set's contents. So here is a cursory digest, with recording dates and a few comments on the performances:

CD 1 has Weber's "Oberon" Overture (1940), Beethoven's Emperor Concerto with Cor de Groot (1942), Mahler's "Songs of A Wayfarer" with baritone Hermann Schey (1939), and the Adagietto from Mahler's 5th (1926). These are all classic readings: a brilliant Oberon, one of the finest-ever Emperors (de Groot also made an excellent studio recording with Otterloo on an Epic LP that deserves to be on CD), and an important Mahler conductor's only recorded accounts of the Wayfarer and the Adagietto. The latter is my all-time favorite reading (it is also available on some budget labels). I still prefer Fischer-Dieskau & Furtwangler in the Wayfarer Songs (EMI).

CD 2 has the Bach Cantata BMW 202 (1939: the CD jacket indicates this is a studio reading, but it sounds live to me), some Schubert choral items from Rosamunde, etc. (1940), and the Brahms 3rd Symphony (1944). The Bach is excellent, although its romantic styling is probably an acquired taste. The Schubert is lovely, but I still prefer Fritz Lehmann's rendering (DG - see my review). This great Brahms 3rd is similar to the 1932 studio recording, but the latter has more immediate recorded sound in Pearl's superb CD transfer (the Naxos issue is guilty of too much noise suppression).

CD 3 has three Mozart items from 1942 - the "Magic Flute" Overture, the 2nd Flute Concerto with Hubert Barwahser, and an aria K. 528 with soprano Ria Ginster - plus Bruch's 1st Violin Concerto with Guila Bustabo (1940 - greatest performance I've ever heard), Grace Moore singing "Un bel di vedremo" from Puccini's Madame Butterfly (1936 - Mengelberg's accompaniment is drenched in lovely portamento), and a Moore encore (Pestalozza's "Ciribiribin" with pianist Gibner King - a rather odd inclusion).

CD 4 has a largely uninteresting overture by Wagenaar (1940), Chopin's 2nd Piano Concerto with Theo van der Pas (no rival to the wonderful Askenase/Lehmann account on DG - see my review), and Tchaikovsky's 5th Symphony (1939 in rather poor sound).

CD 5 features Bach's 1st Harpsichord Concerto with pianist Agi Jambor (1939, identified as a studio recording), Kodaly's "Hary Janos" Suite (1940), and the Brahms Violin Concerto with the orchestra's young concertmaster Herman Krebbers (1943). The Bach is a little heavy compared to my favorites: Sviatoslav Richter & Vaclav Talich (Artia LP) and Suzanna Ruzickova with Gyorgy Lehel (Crossroads LP). The Kodaly is simply brilliant: to my taste, only Fricsay (DG) comes close. The Brahms is beautifully conducted, but Krebbers is a rather neutral soloist.

CD 6 has a dramatic Beethoven "Egmont" Overture (1943) and two must-have 1939 world premieres: Bartok's 2nd Violin Concerto with Zoltan Szekely, and Kodaly's "Peacock Variations." The Bartok is sublime (I even weeded my Menuhin/Furtwangler after hearing this one). And the Kodaly is really stupendous - it's amazing how effectively Mengelberg grasped this music right out of the gate.

CD 7 is another real winner: a staggering Wagner "Tannhauser" Overture (1940), Walter Gieseking in Debussy's Fantasy for Piano & Orchestra (THE one to have!), the 2nd Suite from Ravel's "Daphnis et Chloe" (extraordinary!), and delightfully spunky selections from "La Damnation de Faust" by Berlioz.

CD 8 has another goldmine: Grieg's 1st "Peer Gynt" Suite (1943), a profoundly beautiful reading of Bloch's Violin Concerto with Joseph Szigeti (1939), and one of the all-time great accounts of the Strauss "Death & Transfiguration" (1942 studio).

CD 9 has Beethoven's 9th (1938) in a performance of immense personality. It's quite similar to his live 1940 account (both have a gorgeous Adagio), but I think I prefer this one despite the rather noisy transcription discs. While not on the lofty plateau of Weingartner (Opus Kura) and various Furtwanglers, this 9th features some awesome playing, despite Mengelberg's utterly weird slow-down in the final measures.

CD 10 has Mengelberg's celebrated 1939 Mahler 4th in the best transfer I've heard. Some of the ritards in the first mvt. have to be heard to be believed, but otherwise this 4th is one of the greatest-ever accounts.

The bonus DVD was filmed in France in 1931, with a studio set disguised to look like the Concertgebouw. It has another Oberon Overture, the Adagietto from Bizet's "L'Arlesienne," and the Berlioz Hungarian March. Much of this can also be seen on the Teldec video "The Art of Conducting."

All in all, this set may be on the pricey side, but the performances it contains are truly priceless.

Highly recommended.

Average customer rating:

Gentle Giant - 'Live In Rome,1974' (Glasshouse) 3 1/2 stars
Not worth the money
Have to give it a 2 out of 5
The band's great, just not the quality
As everyone has already said...

Live in Rome 1974
Gentle Giant
Manufacturer: Glasshouse UK
ProductGroup: Music
Binding: Audio CD

General | Rock | Styles | Music

Progressive Rock | Progressive | Rock | Styles | Music

Progressive Rock | Live Albums | Rock | Styles | Music

General | Live Albums | Rock | Styles | Music

Pop Rock | Pop | Styles | Music

Progressive | Rock | Indie Music | Stores | Music

Rock | Imports | Stores | Music
ASIN: B00004W3XJ
Release Date: 2000-10-02

Tracks:

Introduction/Giant/Cogs In Cogs/Proclamation
Funny Ways
The Runaway/Keyboard Solo/Experience
Knots/Guitar Acoustic Duet Solo/The Advent Of Panurge/Recorder Quartet Solo
Nothing At All/Plain Truth

Album Description

Live set for the prog rock act, over 70 minutes in length, tracks include 'Cogs In Cogs', 'Funny Ways', 'The Runaway, Plain Truth and many more. 2000 release. Standard jewel case.

Album Details

This Live Album was Recorded in Rome on November 26Th, 1974. This New Officially Authorised Live Album is Digitally Mastered. Tracks: Giant, Cogs in Cogs, Funny Ways, the Runaway, the Advent of Panurge & More.

Customer Reviews:

Gentle Giant - 'Live In Rome,1974' (Glasshouse) 3 1/2 stars.......2007-02-18

Keep in mind this is the very first CD I've ever purchased of Gentle Giant. I remember catching them on late night TV like Don Kirshner way back when. Sound quality of this five track / 70 minute live archive recording is like a very good bootleg album. Which to me, it fine. Show took place on November 26, 1974 at a venue called PalaEur. A decent CD to sit back and thoroughly soak in. Best cuts are "Funny Ways" off their 1970 debut record and the twenty-seven minute progressive epic "Nothing At All/Plain Truth" (also off the 1st lp). Never realized they were putting out albums and touring from 1970-1980. Always thought they didn't come along until 1974. Might possibly appeal to fans of King Crimson, Camel, Strawbs, Yes and Focus.

Not worth the money.......2005-03-25

Being a long time Gentle Giant fan and having everything they've ever done, I was completely disappointed with this CD. The sound quality is so bad, I could barely listen to the whole thing. I play GG on my radio show quite a bit but got several complaints from GG fans on this one. If you want to hear GG playing live, I recommend Playing The Fool or King Biscuit Flower Hour instead. Just one more company trying to make a little money with an inferior quality product

Have to give it a 2 out of 5.......2003-02-21

I love GG! This is a bootleg gone public. Lousy sound quality with extra noises and stuff from the BAD recorder. GG is close to flawless though, which is why it gets a two. On spin? No comment...

The band's great, just not the quality.......2002-04-12

Apparently, this is the bootleg "Giant Steps Forward" digitally remastered and made a legal release, so why didn't they fix the SOUND??? I haven't got anything wrong towards GG's performance on the disc, they were top notch, but the lack of volume leveling and the strange ringing during Cogs In Cogs make this one unbearable at times.

Surely GlassHouse Records had some form of equipment to change the volume levels? Since only Keith Emerson was out of his mind to take a modular Moog synth on stage, Kerry Minnear's way was to put the synth solo (which was overdubbed many times, due to the synth's monophonic capability) onto tape and play the tape in the middle of a song. They also played a bit of "Giant" at the beginning off of tape as well, so the taped selections are louder, while the Giant is somewhat audible. Major lowlight to GlassHouse on that one. If you do any audio editing, it shouldn't be very hard to fix.

There should be a review system on performance and quality, not overall rating, so this fine concert by GG would have more respect.

As everyone has already said..........2002-04-08

This cd is not worth the plastic its printed on. I wish I had read these reviews before I bought it.

Don't get me wrong, the performance is solid and the music is good. The quality is just sooooo poor. I'm usually fairly forgiving when it comes to live recordings, but when I first listened to this, there was so much noise that I thought I had a defective disc. Its that bad.

Tracks:

'Rigoletto': Della mia bella incognito borghese
'La Boheme': E' il sol dell' anima
'La Boheme': Ella mi fu rapita
'La Boheme': La donna e mobile
'Rigoletto': Un di, se ben rammentoro
'Rigoletto': Libiamo ne' lieti calici
'Rigoletto': Oh qual pallor!
'Rigoletto': Un di felice
'Rigoletto': Lunge da lei
'Rigoletto': Signora!
'Rigoletto': Non sono in vena
'Rigoletto': Che gelida manina
'Rigoletto': O soave fanciulla
'Rigoletto': In un coupe?
'Rigoletto': Sono andati?

Average customer rating:

O Sole Mio Memory Mehta

Manufacturer: Decca
ProductGroup: Classical
Binding: Audio CD

The Decca Records Store | Specialty Stores | Music
ASIN: B000FWUNGE

Product Description

Carreras Domingo & Pavarotti Mehta Live In Rome: the encores. 'O Sole Mio Nessun dorma Memory

Average customer rating:

Tin can opera

Live on Stage

Manufacturer: Delta
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

Scotto, Renata | Divas | Opera & Vocal | Styles | Music

Tracks:

,,Della mia bella Incognita borghese,,,Questa o quela
,,Ah inseparabile d'amore II Dio
,,Ella mi fu rapita!
,,La donna e mobile
,,Un di', se ben rammentomi
,,Libiamo ne' lieti calici
Un di felice, eterea
Lunge da lei per me non v' ha dilletto!
Che gelida manina
O soave fanciulia
In un coupe?

Customer Reviews:

Tin can opera.......2007-02-04

What in the world?

Perhaps somebody from DELTA got the bright idea of using a cellphone to secretly capture these "live" operatic excerpts-- and not from the orchestra seats, either-- this guy had to be way up in the last row of the third balcony.

Luciano Pavarotti only recorded in the "hi-fi" music era, yet these cuts almost sound as tinny as Enrico Caruso acoustic cylinders. The only thing missing here is the surface noise-- come to think of it, that might have been an improvement.

When it comes to PAVAROTTI * LIVE ON STAGE, the fat lady sang long before the fat man ever did! A real stinker.

Music Track:

Recommended Music:

Integrale Django Reinhardt, Vol. 6: 1937

Music: Handel: Concerti Grossi, Op. 6, Nos. 1-4

Holiday Hit Mix 2005 [Import]

Independent

Grandes Exitos

Rap Music rap_music_63

Haunting Conviction [Explicit Lyrics]

George Antheil: The Complete Works for String Quartet

I'm Old Fashioned [Original recording remastered] [Import]

Main Squeeze

Latin Stars Orchestra - Ballads of Greatest Hits

Where Have You Been? Live in Montreux 1976-1994

The Best of Flanders & Swan - A Transport of Delight