Classics & Cognac

On this CD:

1. Brandenburg Concerto No. 5 in D major, BWV 1050 Allegro
Composed by Johann Sebastian Bach
Performed by Camerata Romana

2. Suite for orchestra No 2 in B minor, BWV 1067 Minuet & Badinerie
Composed by Johann Sebastian Bach
Performed by London Philharmonic Orchestra

3. Die Zauberflöte (The Magic Flute), opera, K. 620 Overture
Composed by Wolfgang Amadeus Mozart
Performed by London Philharmonic Orchestra

4. String Quintet in E major, Op.13/5, G282 Minuet
Composed by Luigi Boccherini
Performed by John Arpin Palm Court Trio

5. Suite for orchestra No 3 in D major, BWV 1068 Air
Composed by Johann Sebastian Bach
Performed by Royal Philharmonic Orchestra

6. Piano Sonata No. 14 in C sharp minor ("Moonlight"), Op. 27/2 Adagio sostenuto
Composed by Ludwig van Beethoven
Performed by London Festival Orchestra

7. Clair de lune, for piano, L. 75/3
Composed by Claude Debussy
Performed by Anna Lelkes

8. Symphony No. 9 in E minor ("From the New World," first published as No. 5), B. 178 (Op. 95) Largo
Composed by Antonin Dvorak

9. String Quartet No. 62 in C major ("Emperor"), Op. 76/3, H. 3/77 Poco Adagio
Composed by Franz Joseph Haydn

10. Piano Concerto No. 21 in C major ("Elvira Madigan") K. 467 Andante vivo assai
Composed by Wolfgang Amadeus Mozart
Performed by Mozart Festival Orchestra with Svetlana Stanceva

11. La bohème, opera Che gelida manina
Composed by Giacomo Puccini
Performed by Ljubljana Radio Orchestra with Svetlana Stanceva

12. Rigoletto, opera Questo a quella
Composed by Giuseppe Verdi
Performed by Nuremberg Symphony Orchestra

13. Piano Sonata No. 11 in A major ("Alla Turca") K. 331 (K. 300i) Rondo "alla turca"
Composed by Wolfgang Amadeus Mozart
Performed by Sylvia Capova

14. Work(s) Rustic Dance~Allegro
Composed by Antonio Vivaldi
Performed by I Musici di Zagreb

15. Concerto for 2 violins & strings in D minor ("Double"), BWV 1043 Vivace
Composed by Johann Sebastian Bach

16. Die Fledermaus (The Bat), overture to the operetta (RV 503-1)
Composed by Johann II Strauss
Performed by London Symphony Orchestra

17. Work(s) Water Music (unspec.)Alla Hornpipe
Composed by George Frideric Handel
Performed by London Festival Orchestra

18. Messiah, oratorio, HWV 56 Sinfony
Composed by George Frideric Handel
Performed by Smithsonian Concerto Grosso

19. Work(s) Oboe Concerto~Presto
Composed by Benedetto Marcello
Performed by Aureum Collegium

20. Bagatelle for piano in A minor ("Für Elise"), WoO 59
Composed by Ludwig van Beethoven
Performed by Sylvia Capova

21. Cavalleria rusticana, opera in 1 act Intermezzo
Composed by Pietro Mascagni
Performed by London Festival Orchestra

22. Adagio for strings (arr. from 2nd mvt. of String Quartet), for string quartet/string orchestra), Op. 11
Composed by Samuel Barber
Performed by Milwaukee Symphony Orchestra

23. Melody in F Op. 3/1
Composed by Anton Rubinstein
Performed by John Arpin Palm Court Trio

24. Gymnopedie for piano No.1, for piano
Composed by Erik Satie
Performed by Raymond Spasovski

Classics & Cognac, Music, Johann Sebastian Bach, Samuel Barber, Ludwig van Beethoven, Luigi Boccherini, Claude Debussy, Antonin Dvorak, George Frideric Handel, Franz Joseph Haydn, Alessandro Marcello, Pietro Mascagni, Wolfgang Amadeus Mozart, Giacomo Puccini, Anton Rubinstein, Erik Satie, Johann II Strauss, Giuseppe Verdi, Antonio Vivaldi, Camerata Romana, Collegium Aureum, German Bach Soloists, I Musici di Zagreb, John Arpin Palm Court Trio, Musici di Zagreb, Anna Lelkes, Ljubljana Radio Orchestra, London Festival Orchestra, London Philharmonic Orchestra, London Symphony Orchestra, Milwaukee Symphony Orchestra, Mozart Festival Orchestra, Nüremberg Symphony Orchestra, Royal Philharmonic Orchestra, Smithsonian Concerto Grosso, Raymond Spasovski, Svetlana Stanceva, Sylvia Capova, Bagatelle for Keyboard, Baroque Suite/Partita for Orchestra, Chamber, Choral, Classical, Classical Music, Classical Sonata/Sonatina for Keyboard, Concerto, Concerto Grosso, Concerto for Two String Instruments, German/Austrian Classical Period Opera

The Pirate Queen (2007 Original Broadway Cast)
Average customer rating:

A very good recording

The Pirate Queen

A minor effort, but it has its moments

my thoughts

Wonderful musical: Schomberg and Boublil have made it again!!

The Pirate Queen (2007 Original Broadway Cast)

Manufacturer: Sony Classics
ProductGroup: Music
Binding: Audio CD

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Legally Blonde (2007 Original Broadway Cast)

110 in the Shade (2007 Broadway Revival Cast)

Spring Awakening (2006 Original Broadway Cast)

High Fidelity (2006 Original Broadway Cast)

ASIN: B000QTCY72
Release Date: 2007-07-03

Tracks:

Prologue
Pirate Queen
Woman
My Grace
Here on This Night
Waking of the Queen
Rah-Rah, Tip-Top
Choice Is Mine
Boys'll Be Boys
Wedding
I'll Be There
Day Beyond Belclare
Sail to the Stars
Entr'acte
Enemy at Port Side
I Dismiss You
If I Said I Loved You
Role of the Queen
Christening
Let a Father Stand by His Son
Surrender
She Who Has All
Sea of Life
Woman to Woman
Finale

Amazon.com

The Pirate Queen, with a score by Alain Boublil and Claude-Michel Schönberg (Les Misérables, Miss Saigon), took a critical beating when it opened on Broadway, but as this catchy cast recording demonstrates, that reception was really unnecessarily harsh. Set in the 17th century, the show (which closed after only 85 performances) tells the story of Grace O'Malley (Stephanie J. Block), an Irish ship captain and pirate who defied Queen Elizabeth I (Linda Balgord). The combination of that setting with the fact that the producers also brought us Riverdance means an overall Celtic flavor. But fans of Boublil and Schönberg should not fear. The duo delivers plenty of the over-the-top, super-emotional power ballads they're famous for--it's hard not to wonder what Celine Dion would make of songs such as "Woman" or "I'll Be There" (the latter sung by a man, but no matter!). Special kudos to Balgord, whose deliciously campy stage portrayal of Elizabeth I comes across well on "The Waking of the Queen," "The Role of the Queen," and two harpsichord-driven, vibrato-laden duets with Block, "She Who Has All" and "Woman to Woman." Also of note to fans of traditional singing is the participation of Áine Uí Cheallaigh (known from Riverdance) on several tracks. --Elisabeth Vincentelli

Customer Reviews:

A very good recording.......2007-07-11

I really like the CD. I find it too short but it was beautifully recorded. The voices were very strong and the orchestration was done nicely. I really didn't like the electric guitar, it seems so out of place sometimes over powering the vocal especially during I'll be there.

The Pirate Queen.......2007-07-11

"The Pirate Queen" was a genious yet unique piece of musical theatre that suffered a harsh yet undeserved fate. I was very blessed to see this show twice on Broadway, including its very last performance on Broadway June 17th. Everytime I listen through the cast recording, I have to question why this show got the ratings it did. I refuse to believe that the critics that panned the show were watching and hearing the same show that I was. The cast, though, including the powerful and haunting vocals from Stephanie J. Block, were all incredibly talented and gave a thrilling and unforgetable experience every performance. I continue to feel shivers when I hear the Prologue, and can still perfectly visualize the opening scene. Some of the highlighted solos of the show include Ms. Block's "Woman" and Hadley Frasier's "I'll Be There". The conversations (duets) held between Grania and Queen Elizabeth in "She Who Has All" and "Woman to Woman" portray the strength and meeting of two historical women in such a time when powerful females were unheard of. Songs that include the chorus such as "A Day Beyond Belclare", "Sail to the Stars", and "Sea of Life" will surely leave you with the chills from the power and depth of the songs. There are so many other songs on the cast recording, and if I could I would tell you the magic behind each and every one of them, but I'll let you listen to it and experience it for yourself. Even though this show was robbed of the recognition it deserved, we are so incredibly fortunate to have a cast recording to allow us who have seen the show to re-live the magic we experienced, and also portray the beauty of such a wonderful yet short lived musical to those who did not have the chance to see it. "The Pirate Queen" may not be playing on Broadway now, but this CR will allow this enchanting show to forever live in our hearts. Long live the Queen!

A minor effort, but it has its moments.......2007-07-10

Since the ill-fated "Martin Guerre" in the 90's, I've been waiting for Boublil and Schonberg to make a comeback and recapture some of the glory they achieved with their blockbuster 80's musicals, "Les Miserables" and "Miss Saigon." Unfortunately, "The Pirate Queen" is more throwback than comeback. Despite some Irish folk stylings thrown in to fit this story about an Irish female pirate, the music is just too similar to their earlier works, never sounding sufficiently new or original. It's derivative, no question, but fortunately, it's derivative of shows I really like (well, not "Martin Guerre" so much, but I'm certainly a fan of "Les Miz" and "Saigon."). Schonberg has a talent for unabashed dramatics, and when he turns it on here in songs like "I'll Be There" and "A Day Beyond Belclare," I can't help but get lost in my nostalgia for the pop opera spectacles that introduced me to musicals and cast recordings. Unfortunately, even nostalgia can't do much about duds like "Boys'll Be Boys," a gratingly corny number that musically is sort of a cross between "Master of the House" from "Les Miz" and "What a Waste" from "Saigon." And don't even get me started on the depressingly banal lyrics throughout, which are never more than functional. But I like the performances of stars Stephanie J. Block and Hadley Fraser, who both have impressive voices that are a perfect fit for this style of musical. Overall, "The Pirate Queen" is the musical equivalent of a summer popcorn movie ("Pirates of the Carribean," perhaps?), and on that level, it works just well enough.

my thoughts.......2007-07-10

well, first off, I was shocked that the stores didn't carry more copies of this...I really had to look around for it but finally got it...This show is not great...It's not what it could be, but it has got a great cast, and some great great music...

Some songs I really enjoy are "The Pirate Queen", "Boys Will be Boys", "A Day Beyond Belcare", Sail to the Stars" One thing this Cd really has is GREAT ensemble numbers. The music really lets the cast's vocals shine, moreso than a lot of shows. I'd say that's one of the biggest highlights.

What REALLY makes this CD, and the song that I will listen to over and over and over and over again is Hadley Fraser's "I'll Be There". This is one of if not the best song for a male character B and S ever wrote. It's gorgeous and Hadley sings it brilliantly. He has the power in both the lower and higher register, he has a gorgeous tenor voice but it is so rich and powerful, yet lyric at the same time...so good.

The rest of the CD is just so so...Get it for "I'll be there" and the great Chorus numbers, but I was disappointed that Block didn't get her equivalent to "I'll be there" and The queen stuff is really annoying to listen to...

Jeff McCarthy does a great job as the dad...he has the perfect Boublil and Schonberg authoritative, legit baritone voice you'd want in a Javert or that type of character. It's not a CD or a show that's flawless, but for sure worth getting because where it's strong it's very strong.

Wonderful musical: Schomberg and Boublil have made it again!!.......2007-07-10

The first thing I must say is that after having been looking forward to the release of this recording, I was absolutely impressed the first time I played it on my Hi-Fi. No room for doubt: if you enjoyed Les Mis as well as Miss Saigon and Martin Guerre, this duo of French composers won't let you down at all once more. On the contrary The Pirate Queen sounds incredibly fresh and in my opinion succeeds admirably. We shouldn't forget that Les Miserables was not much hailed by the critics either when it first opened (probably by the same critics that today would place it among the finest achievements in recent musical history). The real pity of this recording is that it isn't a complete recording and although the synopsis of the story at the beginning is quite complete and you can fill the gaps easily, still you very much miss listening to every single word and music from this powerful musical. Let's hope this complete recording is released in the future.
I wouldn't like to finish without mentioning the incredible quality of the voices of this cast. All of them are absolutely fantastic, giving their respective roles a quality of involvement in the story very rare in musicals nowadays. You could say this is not a musical for a single singer to stand out. All of them contribute to a wonderful whole, something you can very well appreciate after the second or third listenings.
All in all a great achievement and I hope that the production finally makes it to the West End because it the recording is brilliant in itself, it must be certainly a sublime treat to watch this musical on stage. Once more bravo to this incredible pair of composers, Schomberg and Boublil!!

Average customer rating:

La Vie en Rose

La Vie en Rose: La Mome

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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General | Opera & Vocal | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

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The Voice of the Sparrow: The Very Best of Edith Piaf
Edith Piaf: 30th Anniversaire
Edith Piaf: Her Greatest Recordings 1935-1943
Eternelle: The Best Of
Once

ASIN: B000MEYIBG
Release Date: 2007-05-22

Tracks:

Heaven Have A Mercy
Milord
Rien De Rien
La Foule
Cri Du Coeur
La Vie En Rose (English version)
Padam Padam
Mon Dieu
L'Hymne A L'Amour
Mon Manege A Moi
Non, Je Ne Regrette Rien
L'Eveil
Mon Legionnaire (piano solo)
Lisieux
La Mort De Leplee ("Mon Legionnaire")
Apparition
L'ABC
L'Arrestation ("Mon Legionnaire")
L'Idylle
Derniere Nuit
Mon Homme (interpreted by Jil Aigrot)
Les Momes De La Cloche (interpreted by Jil Aigrot)
Les Hiboux (interpreted by Jil Aigrot)
Fascination (interpreted by Maya Barsoni)
Il M'a Vue Nue (interpreted by Mistinguett)
La Poupee
Vie En Rose (accordeon)

Amazon.com

As befits the soundtrack of a music biopic, most of the heavy lifting here is done by the movie's subject: iconic French singer Edith Piaf. She was the Gallic Judy Garland, a natural performer who overcame one personal tragedy after another and was never more alive than on stage, forging an uncommon bond with both material and audience. Since actress Marion Cotillard lip-synchs in the film, the first 11 tracks on the CD are by Piaf herself, and give a good overview of her biggest hits (though we get the English version of the title track) and her feverish, ultra-dramatic style. But Piaf wasn't only a tragedienne of song: Her lighter side is represented by "Rien de Rien" and "Mon Manège à Moi," which she infuses with wonderful flair. Tracks 12-20 are made up of Christopher Gunning's richly symphonic original score (check out "La Mort de Leplée"). The last third of the album offers Piaf without Piaf, with contemporary singers Jil Aigrot and Maya Barsoni performing her songs (apparently because the originals' poor sound quality meant they would have stuck out in the movie). Watch out, however, for Mistinguett's hilarious "Il m'a vu nue," a slice of French music-hall history preserved in amber. --Elisabeth Vincentelli

Album Description

Official motion picture soundtrack to the film La Vie En Rose, the dramatic real-life story of French chanteuse Edith Piaf, starring Marion Cotillard and Gerard Depardieu. This release contains 27 tracks featuring 11 of Piaf's most popular songs remastered including "La Vie En Rose", "Hymne A L'amour" "Milord" and "Non, Je Ne Regrette Rien", plus the original score by Christopher Gunning.

Customer Reviews:

La Vie en Rose.......2007-07-06

The soundtrack to the movie by the same title is excellent. The restoration was superb. The voice of Edith Piaf is masterful.

110 in the Shade (2007 Broadway Revival Cast)

Average customer rating:

It's not 110%
Beautiful music
Great music and cast, needs updated book
A Gentle Musical with an Excellent Cast!
Small show, big emotions

110 in the Shade (2007 Broadway Revival Cast)

Manufacturer: P.S. Classics
ProductGroup: Music
Binding: Audio CD

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Curtains (2007 Original Broadway Cast)
Spring Awakening (2006 Original Broadway Cast)
Grey Gardens - A New Musical (2006 Original Broadway Cast)
Company (2006 Broadway Revival Cast)
The Pirate Queen (2007 Original Broadway Cast)

ASIN: B000PMG9GW
Release Date: 2007-06-12

Tracks:

Another Hot Day
Lizzie's Comin' Home
Love, Don't Turn Away
Poker Polka
The Hungry Men
The Rain Song
You're Not Fooling Me
Cinderella
Raunchy
A Man and a Woman
"She Walked Out On Me..."
Old Maid
Evenin' Star
Everything Beautiful
"Stay and Talk..."
Melisande
Simple Little Things
Little Red Hat
Is It Really Me?
Wonderful Music
The Rain Song (reprise)

Amazon.com

More than four decades after its Broadway debut, the Roundabout Theatre's 2007 revival of 110 in the Shade is a glorious showcase for soprano Audra McDonald, and an eloquent statement for an underrated and neglected work. Based on N. Richard Nash's play The Rainmaker, 110 in the Shade tells the story of a Texas town stuck in a blistering heat wave. Lizzie (McDonald), the daughter of a local widower (Broadway veteran and TV star John Cullum), has resisted all suitors, including the sheriff (Christopher Innvar), until a potential huckster named Starbuck (Steve Kazee) arrives in town promising to bring rain ("The Rain Song"). Just like Marian the librarian, Lizzie thinks she sees right through the scam ("You're Not Fooling Me"). McDonald shines in her solos ("Love, Don't Turn Away," "Old Maid"), but Cullum, Innvar, and Kazee also get their moments either in duets with McDonald ("A Man and a Woman," "Simple Little Things," "Is It Really Me?") or by themselves. 110 in the Shade is obscure compared to Tom Jones and Harvey Schmidt's most famous work, The Fantasticks--none of its songs ever entered the popular culture like "Try to Remember"--but it's a beautiful, evocative score that is tailor-made for McDonald's rich voice. It's also much more sumptuous than The Fantasticks, even in Jonathan Tunick's pared-down, Tony-nominated orchestrations. (Also nominated were McDonald, Cullum, lighting designer Christopher Akerlind, and the show itself for Best Revival of a Musical.) P.S. Classics puts out its usual first-rate package, with color photos, introduction by Peter Filichia, synopsis, and libretto. --David Horiuchi

Customer Reviews:

It's not 110%.......2007-07-05

The CD is well produced and Audra McDonald is wonderful, but most of the music sounds dated and old fashioned. Maybe that's because the show is dated and old fashioned.

Beautiful music.......2007-07-05

I saw this recently on Broadway, and it was an incredibly compelling show. Who knew? I had never heard of it. Audra sounds absolutely magnificent on this cast recording. Her songs alone make it a worthwhile purchase. Add great supporting singers and fun orchestrations, and you have a memorable album to add to your collection.

Great music and cast, needs updated book.......2007-07-01

I've long loved the music of this show and the cast was no disappointment. It's a hidden gem like Most Happy Fella that is often overlooked. I heard online interviews with the Director of this production who mentioned that they took liberty with the original script and revised it to reflect current times. I liked the fact that Lizzie was an independent woman and spoke her mind. I cringed throughout the play when it was constantly brought up that she could face the fate of ending up an old maid. As I explained to my 10 year old daughter years ago there was a stigma for unmarried women even more than today. And it was considerable. But this is 2007 and I would have changed this. While I loved the fact that John Cullum so ably showed his love for his daughter and concern for her as a person throughout the show, I doubt it is realistic that a father would encourage someone like Starbuck to have a one day fling with her. Or that she could be so influenced by his character even though Starbuck, a con man had redeeming qualities. I would have changed the book and story and tried to show her strength of character. Maybe she would have been better off without either of them.

A Gentle Musical with an Excellent Cast!.......2007-06-17

"110 in the Shade" is just a sweet little musical that has been under the radar since its original Broadway debut but this beautifully designed revival has brought the show to new heights thanks to the wonderful and talented Audra McDonald. She not only holds her own but completely steals every scene when she starts to sing. The cast is strong and very talented. Steve Kazee is going to have a bright future on the New York Stage and Christopher Innvar is excellent. The songs are sweet and simple. The down fall is how dated the show feels as far as the social placement of women go. The show is sweet, and Audra McDonald is amazing.

Small show, big emotions.......2007-06-15

I've been a fan of Jones and Schmidt's music since the original cast recording of THE FANTASTICKS came out in 1960. All of their scores for the theatre are wonderful and 110 IN THE SHADE is one of their very best. The original production of 110 was before I lived in New York, but I did see the City Opera revival in the 1990s with Karen Ziemba, which I liked a lot. But the new production is far and away more moving. In the theatre there was not a dry eye in the house at intermission or at the final curtain. To my surprise this new recording had the same effect on me. In a perfect world there would have been a bigger cast. (I think there are five, count `em, five townspeople.) The only place the new recording suffers in comparison to the original is in the choral numbers. These songs demand a bigger chorus. But to my surprise, the streamlined orchestrations work just fine. I always felt that the orchestrations on the original cast recording at times overwhelmed the songs, but I think these new Jonathan Tunick orchestrations really support and emphasize the gorgeous Harvey Schmidt melodies. There have been a few minor lyric changes that I found jarring at first simply because I'm so used to the original ones. I understand that these were made in order to accommodate Political Correctness and to make certain high vowels easier to sing. Fortunately there are only a few of them. There's a song included in this version that was not on the original recording, "Evening Star," sung by Starbuck. It has the same melody as the beginning of "Another Hot Day." I like the song because it adds depth to Starbuck's character. Alas, the overture is not included in this version. (The overture was left off the original vinyl LP because there wasn't room for it, but was included on the CD reissue.) The voices on this recording are for the most part excellent. McDonald, of course, is just terrific. The men's voices took some getting-used-to for me. Christopher Innvar has the right quiet manly presence on stage for the reclusive sheriff and that quality comes across on the recording. I just wish his sense of pitch were more certain in his first song. He hits the notes, but rather tentatively, I think. As Starbuck, Steve Kazee has the show's most difficult role. His interpretation is more offbeat than the others I've seen and it works. His Starbuck faces an uncertain future; he's not a superman who's going nowhere but up. The voice is a little quavery for my taste, but, I don't mind it as much now that I've gotten used to it. 110 IN THE SHADE is a musical, but the emotions are big enough for opera. This recording gets five stars from me because it's extraordinarily affecting on a deep, emotional level. It's gorgeous. I'd recommend it without any hesitation at all.

Average customer rating:

Wonderful Compilation of Edith Piaf
Eternelle
Mesmerizing and enchanting...
The definitive single CD

Eternelle: The Best Of
Edith Piaf
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Nostalgia | Miscellaneous | Styles | Music

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La Vie en Rose: La Mome

ASIN: B000050ZM2
Release Date: 2002-01-29

Tracks:

La Vie En Rose
Hymne A L'amour
Padam... Padam
Johnny Tu N'es Pas Un Ange
La Goualante Du Pauvre Jean
Sous Le Ciel De Paris
L'homme A La Moto
Mon Manege A Moi (Tu Me Fais Tourner La Tete)
Non Je Ne Regrette Rien
Milord
Les Flonflons Du Bal
Les Mots D'amour
Fallait-il?
La Foule
Tiens V'la Un Marin
Le Droit D'aimer
A Quoi Ca Sert L'amour?
L'accordeoniste

Customer Reviews:

Wonderful Compilation of Edith Piaf.......2007-03-09

Such a pleasure to hear so many songs that Ms. Piaf made famous especially, "Milord", "La Vie En Rose", and "Non, Je Ne Regrette Rien". A great compilation! I only wish a word booklet had been included, but you can't have everything. Ms. Piaf's voice is more than enough!

Eternelle.......2007-02-17

The songs are wonderful, Edith Piaf has a beautiful voice. The songs are sung in French, a masterpiece.

Mesmerizing and enchanting..........2002-03-26

I love this collection. It has all of my favorite songs of Edith Piaf. This one is truly a classic. You won't be dissatisfied.

The definitive single CD.......2002-02-11

EMI did a nice job of remastering these tracks, so that they are cleaner and more dynamic than ever before. This is significant since there is so much Piaf product out there from second-generation tapes/old records/etc. Including the most well-known of Piaf's songs this, then, has become the definitive single CD of her work. Highly recommended.

Average customer rating:

Beverly Sills - The Best
Beverly Sills' highs are breathtaking!
THE 2005 OPERA CD OF THE YEAR
EMI Does It Again: Beverly Sills - A Tribute
Glad To Be The First Review- Beverly Sills Treasury Of Arias

The Very Best of Beverly Sills

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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

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ASIN: B0006VYELE
Release Date: 2005-04-26

Tracks:

Una Voce Poco Fa - Sherrill Milnes
Dunque Io Son - Sherrill Milnes
Contro Un Cor - Sherrill Milnes
Ah, Qual Colpo Inaspetatto! - Sherrill Milnes
E Il Sol Dell'anima... Addio! Speranza Ed Anima - Ambrosian Opera Chorus
Gualtier Malde... Caro Nome - Ambrosian Opera Chorus
Tutte Le Feste Al Tempio... Compiuto Pur Quanto... Si, Vendetta - Ambrosian Opera Chorus
V'ho Ingannato... Lassu In Cielo - Ambrosian Opera Chorus
Quel Guardo Il Cavaliere... So Anch'io La Virtu Magica - Ambrosian Opera Chorus
Pronta Io Son... Vado, Corro - Ambrosian Opera Chorus
Via, Caro Sposino - Ambrosian Opera Chorus
Tornami A Dir Che M'ami - Ambrosian Opera Chorus
La Morale In Tutto Questo - Ambrosian Opera Chorus

Tracks:

Vilia - Beverly Sills
Ah! Je Suis Seule... Dis-Moi Que Je Suis Belle - Beverly Sills
Cielo! Che Diverro?... Si, ferite... Dal Soggiorno... Ah! Che Spiegar - Beverly Sills
Libiamo Ne' Lieti Calici - John Alldis Choir
Un Di Felice, Eterea - John Alldis Choir
E Strano... Ah, Fors'e Lui... Follie! Follie!... Sempre Libera - John Alldis Choir
Pura Siccome Un Angelo... Ah! Dite Alla Giovine - John Alldis Choir
Che Fai? - John Alldis Choir
Addio Del Passato - John Alldis Choir
Parigi, O Cara - John Alldis Choir

Amazon.com

Beverly Sills hardly needs an introduction. She sang on the radio as a child and on the operatic stage as a teenager; her meteoric international career was launched by appearances in several virtually unknown bel canto operas at the New York City Opera. This compilation of arias and ensembles from some of her signature roles, recorded in the 1970s, with splendid partners like Nicolai Gedda, Alfredo Kraus, and Sherrill Milnes, displays her unique vocal and dramatic artistry at its peak. Her voice, effortlessly produced over an enormous range, is bright, pure, infinitely variable in color, inflection and intensity. Her intonation is impeccable even in huge leaps, and her breath is endless. The coloratura roulades are like strings of perfect, luminous pearls, clearly articulated in seamless legato. But this stunning technique (whose only flaw is a sometimes wide, wobbly vibrato) is never used for show; every note has life and expression, serving the music and the dramatic situation. Indeed, her characters are flesh-and-blood human beings, whose thoughts, emotions and interactions, from inwardness to ecstasy, from lamentation to overflowing joy, she projects with riveting concentration. Rosina in Rossini's The Barber of Seville is a charming, mischievous minx who succumbs to delighted tenderness; Pamira's great scene from his Siege of Corinth shows clearly why her Metropolitan Opera debut in that role was a sensation. In Verdi's Rigoletto, Gilda's hopeful innocence turns into hopeless despair: she dies, palpably, on a floating, celestial pianissimo. In his La traviata, Violetta's initial cool, hesitant restraint gradually melts as she opens herself (and her voice) to Alfredo's ardor and the bliss of love. The vocal balance in their final duet is uncanny; its tremulous tenderness in the shadow of death breaks the heart, as does her duet with Germont. Massenet's Thais is sensuous; Donizetti's Don Pasquale and Lehár's The Merry Widow provide comic relief. --Edith Eisler

Album Description

Details TBA. EMI. 2005.

Customer Reviews:

Beverly Sills - The Best.......2007-04-01

What a voice. No coloratura can compare, and she makes it seem so easy.

Beverly Sills' highs are breathtaking!.......2006-09-18

Adio del Passato is incredible! Beverly's high, floating coloratura is no less than ethereal which takes you to another world. Her voice has given me so much joy that it is hard to say one recording is better than another because I love her Mozart album equally with her Bellini/Donizetti. It is so wonderful to have these recordings captured on CD! Enjoy!

THE 2005 OPERA CD OF THE YEAR.......2006-08-19

THIS CD WAS THE BEST OPERA CD ISSUED LAST YEAR, AND HAS CAUGHT THE WORLD'S EAR IN NO TIME. I WAS BUSY WRITING IN SÃO PAULO, BRAZIL, WHILE THE STATEOWNED FM RADIOSTATION, DEDICATED TO CULTURE, WAS SOFTLY PLAYING OPERA ARIAS IN THE BACKGROUND. SUDDENLY I HEARD THE MOST FANTASTIC RENDERING OF "SEMPRE LIBERA" FROM "LA TRAVIATA". I GOT UP, SAT BY THE RADIO AND WAITED TO KNOW WHO WAS SINGING... THEN GOT BACK TO THE COMPUTER TO ORDER THIS CD FROM AMAZON! INCREDIBLE: ONLY 17 BUCKS FOR THIS, WHILE QUITE A BIT OF TRASH IS SOLD FOR 30.40 AND MORE...
A LADY FRIEND ONCE TOLD ME SHE COULD NOT LISTEN TO THE DUET IN "MADAMA BUTTERFLY" WITH MIRELLA FRENI AND LUCIANO PAVAROTTI (RECORDED IN 1974, BY VON KARAJAN) WITHOUT CRYING. WELL, YOU CANNOT LISTEN TO SILLS IN "LA TRAVIATA" DRY-EYED, NO MATTER WHO THE TENOR IS. SHE PROJECTS THE SAME DRAMATIC FEELING OF "LA DIVINA" CALLAS WITHOUT THOSE SHRIEKED HIGHNOTES; SHE OFFERS THE SAME COLORATURA VOCAL GYMNASTICS AS "LA STUPENDA" SUTHERLAND BUT WITH WARMTH... WHEN BEVERLY SANG, AS IN EVERYTHING ELSE SHE DID, SHE ALWAYS GAVE HER UTMOST. SHE WAS "LA GENEROSA" TO BE SURE.
DON'T JUST SIT THERE READING WHAT OTHERS THINK.
ORDER THIS CD NOW AND MARVEL AT HOW THIS GREAT AMERICAN LADY, IN SO MANY OTHER WAYS, ALSO COULD SING!

EMI Does It Again: Beverly Sills - A Tribute.......2005-07-22

EMI's "Very Best Of" series are perfect introductions to operatic singers of the 20th century. Once you hear these artist tribute albums (much like The Singers series) you will get hooked on the singer and seek out their full-length studio recordings. Beverly Sills was the first truly famous American opera star. One may argue that she was not, that she was merely a continued tradition of American divas such as Mary Garden and Lily Pons and which still continues today with Renee Fleming, Elizabeth Futral and Susan Graham. Beverly was raised in New York City, which is still her home, and which is the home of the New York City Opera and the Met, opera houses which rocketed her to fame. Her first success (not featured in this recording...UH WHY ?) was Cleopatra of Handel's Julius Caesar, a performance she sang opposite the illustrious baritone Norman Treigle. Those performances were legendary because coincidentally at the same time the Met was opening its new theatre and season with what became a disastrous Samuel Barber's Antony and Cleopatra starring Leontyne Price in an overblown, big-budget, epic fiasco. The great roles that followed the 1965 Cleopatra were Manon, Queen Elizabeth I in Roberto Deveraux, Maria Stuarda and Anna Bolena in the Donizetti Tudor Queen operas, Pamira in The Siege of Corinth (which were Sill's La Scala and belated Met debut. None of the Queens are featured in this recording, though its supposedly the Very Best Of. An aria from Rossini's Siege of Corinth is featured here however. What we are treated to however are fine lyric roles- Beverly Sills shone brightly and acted convincingly as Gilda in Rigoletto (the final scene is featured here) as Violetta in La Traviata, Thais, The Merry Widow (the beautiful Vilja is featured here)and the ingenue role of Norina in Don Pasquale is also showcased here. To each of these roles, Beverly Sills delivered an authenticity and dramatic interpretation, not ot mention beautiful, sweet tone. I love her pianissimos, her high notes, her chest register. It was the voice of Beverly Sills who first hooked me into opera. For a recording that should showcase her best work, Manon is not featured nor any of her prized French heroines- Marie in The Daughter of the Regiment and the heroines in Tales of Hoffman. Also not in here is the role that was her first success- the Broadway opera Ballad of Baby Doe. Even as such, the arias here are gorgeous. The Barber of Seville is in here and as Rosina she is playful and charming. Sills was a modern singer, with a voice that was beautiful but willing to sacrifice beauty for the sake of dramatic content. When Sills was once asked what she thought of the supposed rivalry with Joan Sutherland (which was never real and only gossip from partisan fans) Beverly said something to this effect -Joan and I are apples and oranges in our take on opera, we are Picasso and Monet. She would do anything for the effect of beauty and tone, I'd sacrifice beauty for the sake of dramatic text. Even as such, I see no ugliness to any of the roles here. All of them are beautiful to hear, full of rich floating celestial tones. It would have been nice to hear the roles that did call for Sills to step up the tense drama - Norma, will her recording ever be reissued by EMI ? Also, few people know that Beverly Sills sung role most would consider dangerous for her voice (though she sang them long before her career even took off)- Aida and Carmen!!

Glad To Be The First Review- Beverly Sills Treasury Of Arias.......2005-04-29

At last EMI's "The Very Best Of" series has issued some of the finer recorded documented arias of the incomparable soprano Beverly Sills. Fans of this down-to-earth, warm patron of music and the most unique lyric-coloratura-dramatic soprano, will be in Heaven. Sure, this is only some of the arias in only a small number of the many operas Sills performed. To be truthful, this is not what I'd personally regard as the best of Beverly Sills. Other albums of hers do use greater vocal masterpieces she sang- the best being "The Singers" Series, and another EMI edition called The Art of Beverly Sills Volume 2 and then there's the rare and brilliant "Sillsiana". Nevertheless, this album has its charm and appeal. Beverly Sills sings arias from Rossini's Barber of Seville, Verdi's Rigoletto and Traviata. This recording seems to highlight mostly her mastership of the bel canto repertoire and Verdi. Gilda and Violetta were roles she sang with supreme dramatic integrity and sweetness and purity of vocal line. Yet, it is hardly "the best of". Where are scenes from the masterful interpretations of Donizetti, truly Sills strongest suit- Lucia Di Lammermoor, Anna Bolena, Maria Stuarda and Roberto Devereaux, where is Sills' Manon, which even she hails as her best ? And when will her recorded Norma ever see the light of day ? Sills also excelled in the French repertoire- Faust, Thais, La Fille Du Regiment, The Tales of Hoffman and she was an incredible Queen Shemakha in Korsakov's Coq D'Or. True, Sills had a light, girlish, delicate voice, bright and small, but this worked in her favor in tragic roles. Dramatically, she could get into character as passionately and convincingly as Maria Callas. When she could darken her voice and use her chest voice for dramatic effect it was often thrilling. This is the latest recording in a number of recordings that are coming out, further promoting a great singer of the past. Beverly Sills. She was the working man's soprano. She worked hard to get to the top. She was the reigning singer of the NYC Opera where she starred in such great operas as Handel's Giulio Ceare Sills as Cleopatra (also not on this recording) and Tales of Hoffman singing opposite the great but underrated bass Norman Treigle. Sills is a wonderful human being and she has a beautiful voice that I cannot get out of my mind. She will always be the greatest to me. She got me hooked into opera.

Average customer rating:

Check out Company!
This recording disappoints, especially in relation to the live performance
GOOD COMPANY
Maybe I am partial to Esparza
London Cast Recording Still the Best Ever of "Company"

Company (2006 Broadway Revival Cast)

Manufacturer: Nonesuch
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Musical Theater | Vocal Non-Opera | Opera & Vocal | Styles | Music

General | Musicals | Broadway & Vocalists | Styles | Music

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A Chorus Line - The New Broadway Cast Recording (2006 Broadway Revival Cast)

ASIN: B000LV6R4G
Release Date: 2007-02-20

Tracks:

Opening
Company
The Little Things You Do Together
Sorry-Grateful
You Could Drive a Person Crazy
Have I Got a Girl for You
Someone Is Waiting
Another Hundred People
Getting Married Today
"What did I just do?"
Marry Me a Little
Side by Side by Side
What Would We Do Without You?
Poor Baby
Barcelona
The Ladies Who Lunch
"You have a good third husband, Joanne"
Being Alive

Amazon.com

There may be no original Broadway cast recording more iconic than 1970's Company, with its funky organ sound and Elaine Stritch's not-quite-there high notes, but the December 2006 Broadway revival makes its own mark. For Stephen Sondheim and George Furth's piece about a single man observing the benefits and follies of marriage, director John Doyle borrows the same controversial concept he used for his 2005 Sweeney Todd: the actors playing instruments on stage (now referred to in many circles as "Doyle-izing," and not always with affection and delight). But when you're listening to a cast recording, as Bobby would say: What do you get? For one thing, you'll have to adjust to some different sounds created by Doyle and his music supervisor, Mary-Mitchell Campbell. It's a benefit in "Side by Side by Side," which begins with a jazzy double-bass line. It's a drawback in "You Could Drive a Person Crazy," in which the trio's doo-doots are replaced by their saxophone lines. You also get "Marry Me a Little," cut from the original show but by now very familiar and welcome, as well as a lot of the contextual dialogue before, between, and even within numbers. Finally, the strong cast led by Raul Esparza makes this the best-sung Company we've ever gotten (and they play very well too), and Stephen Sondheim's score is still a landmark in musical theater. There will never be a replacement for the original Broadway cast recording, but this revival recording can stand on its own and in some respects may be more flat-out enjoyable to listen to. --David Horiuchi

Album Description

Maverick British director John Doyle, a 2006 Tony Award winner, enjoyed a surprise Broadway hit last year with his radical reworking of Sweeney Todd. He dispensed with the pit orchestra and handed all the instruments over to his on-stage performers, who doubled as musicians in between their turns acting and singing. Doyle has taken a similarly unorthodox approach to his revival of another Stephen Sondheim classic, the revered yet notoriously difficult to stage Company. As with Sweeney Todd, the results of this theatre-as-concert have entranced both critics and audiences. Linda Winer of Newsday called it "the very best revival that Broadway has ever seen of Stephen Sondheim's landmark 1970 musical."Variety described it as "striking, revelatory and thoroughly compelling." For Sondheim fans, the recorded score to Company has long been as much an object of adoration as the six-time Tony-winning play itself. Company on disc functions as a deeply moving song cycle, even apart from George Furth's libretto, about the vicissitudes of marriage and the joys and trials of the single life, seen through the eyes of the coolly dispassionate Manhattan bachelor Bobby on the occasion of his 35th birthday. This is truly the stuff of sex and the city - wry, sophisticated, painfully honest and deeply melancholy, even in a comic seducing-the-stewardess duet like "Barcelona." As with Sweeney Todd, which featured a bravura performance from lead actor Michael Cerveris, Doyle has found in rising star RaÃºl Esparza (Cabaret, Taboo, The Normal Heart) an extraordinary singer and actor who, in the words of the New York Times' Ben Brantley, gives Company "the most compelling center it has probably ever had." "Mr. Doyle and his invaluable music supervisor and orchestrator, Mary-Mitchell Campbell, have shaped Company into a sort of oratorio for the church of the lonely," says Brantley. He also praises the work of the entire ensemble - playing five married couples, three single women and one deeply ambivalent, unmarried man: "It's their work as a team that sounds new depths in Company in ways that get under your skin without your knowing it." Variety's David Rooney concurs: "Angel Desai's `Another Hundred People' nails that quintessential New York song; Heather Laws lands every laugh in the mile-a-minute `Getting Married Today' with amazing speed and clarity; and Barbara Walsh is bone-dry as brittle, world-weary Joanne. She reveals the emotional hunger beneath the character's hard shell and adds fresh nuances to `The Ladies Who Lunch,' a song indelibly associated with Elaine Stritch." As Time Out New York put it, "Sondheim's expert musical etchings, his acid craftsmanship, remain unmatched." Sondheim fans will note that this new version of Company, to be released by Nonesuch and PS Classics, restores the original act one closer, "Marry Me A Little," which was dropped from the show before its 1970 Broadway debut; the song has since taken on a life of its own as an orphaned Sondheim gem. The Company cast album is produced by PS Classics co-founder Tommy Krasker (Sondheim's The Frogs, Saturday Night, Assassins, and Sweeney Todd, among others). Along with Company, Nonesuch has also released the original cast album to Doyle's 2006 production of Sweeney Todd and the Tony-nominated A Light in the Piazza, which features a score by Nonesuch artist Adam Guettel.

Customer Reviews:

Check out Company!.......2007-07-11

I fell in love with this show when I saw it in NYC and I promptly bought the cast recording upon my return. This was one of those shows that I'm sure will resonate with me for the rest of my life. Although the show doesn't seem to make much sense by listening to the cast recording, you understand what its about and even though this show was written more than 40 years ago, its still relevant today. The theme of marriage and domestic partnership is still something that remains in the minds of all people; whether married or single. This cd airs out all of the thoughts that we all have likely heard or felt in our lifetime.
This cd is truly beautiful and by far one of my favorite Broadway cast recordings of all time.

This recording disappoints, especially in relation to the live performance.......2007-07-07

I am going to assume for a moment that anybody reading this and the other reviews is already a fan of Sondheim and Company. I am also going to assume that most people reading this are familiar with multiple recordings of this show and, hopefully, multiple performances. This is the best and truest means of judging a show, its score, and its recordings. Of course this isn't always possible, but in regards to this show, I have to say this new recording of Company is probably the weakest of the bunch ESPECIALLY after first seeing the show live. I also saw the "Doyle" Sweeney last year and think the new orchestrations were brilliant and translate well to recording. Imagine my surprise when I recently saw the new Company and found it to not only equal but SURPASS the impact of the Sweeney staging. I had purposely delayed the purchase of the new cast recording until I had first seen the show live and unfortunately the CD doesn't contain the excitement, originality, and freshness that was portrayed by the actor/musicians on stage. I think Company is nearly the ideal show for this minimalistic approach but on the recording, it just seems... empty? The listener is also drawn to shortcomings in the musical performances (instrumentally) that I didn't notice (or forgave) when I was in the theatre because the experience in and of itself was so moving and direct. I also don't want to get caught up in an argument of whether this is the best sung version or not, because it all depends on your personal preference/prejudice. The singers in this show may be the best *trained* from a technical standpoint, but the passion portrayed by the singers of the OBC will never be paralleled. All in all this is a decent recording but certainly not definitive and not the one I would recommend to someone who has never heard the show before.

GOOD COMPANY.......2007-07-01

If you're a Sondheim fan, or if you just like lyrics that challenge the listener, this version of COMPANY is a must. I saw this production on Cincinatti before it moved to Broadway, and it was perhaps the most enjoyable theater experience I've had. The soundtrack is a great listen, even if it's all familiar, much of it having been covered by other artists since the show's first soundtrack in 1970. It all builds to a powerful emotional climax when Raul Esparza sits down at the piano and sings "Being Alive". Magical. Buy it--you won't be sorry, only grateful...

Maybe I am partial to Esparza.......2007-06-29

I love the revival of this show. I think its a beautiful version of Company with lovely vocals. I might be partial to Esparza but I truly think that this was a great revival. I think its a wonderful rendition of the Sondheim classic.

London Cast Recording Still the Best Ever of "Company".......2007-06-11

Stephen Sondheim's 1970 musical, "Company", boasts one of musical theatre's greatest song scores; unfortunately, "Company" also suffers from perhaps "the worst" book ever written for a musical. George Furth's script is almost painful to watch unfold even in anticipation of hearing the wonderful Sondheim songs in between the inane, totally messy scenario which is devoid of any character development or humanity. No one could elevate Furth's convoluted script, not even Dean Jones, Larry Kert or even Elaine Stritch. So the same problem with the 1970 original still plagues all productions of "Company", including the 2006 revival from which this recording derives. Raul Esparza sings well but is not nearly as good as Larry Kert, the best Bobby ever, or even Dean Jones on the Original Cast recording and to make matters worse the new orchestrations actually detract, rather than enhance Sondheim's fabulous score. The greatest recording of "Company" remains the CBS London Original Cast Recording, which features the incomparable Larry Kert as Bobby and is, in actuality, with one exception, the Broadway Cast Recording sessions with Kert's vocals replacing Dean Jones. The same cast as the Broadway version also appeared in the London production, the exception being Julia Mackenzie as April so the song 'Barcelona" was re-recorded and is different from the Broadway Cast album to reflect this cast change. Kert took over the role on Broadway early in Company's original theatrical run, but not soon enough to be featured on the Broadway Cast Album which has Dean Jones, who opened the show. The London Cast Recording has not been released on CD but is worth seeking out on vinyl; in the meantime you can hear Kert's definitive performance of "Being Alive" as a bonus track on the current CD of the Broadway Cast. Kert's rendition can still send chills up your spine with his still unsurpassed combination of great acting and singing, the like of which, alas, we shall not see or hear again on Broadway, if the 2006 revival of "Company" and other recent revivals of classic shows are any indication. Most of these productions seem to rely heavily on some hack director's "creative vision" rather than concentrating on the merits of what made the original show worthy of revival in the first place. In the case of any future revival of "Company", throwing out George Furth's abysmal book would be a welcome step in the right direction as it is not one of the things that made the original production memorable or great.

Average customer rating:

Sounds like a cheap plastic toy
would make you sleepy..
Kid's Music
Not soothing
Great for bedtime, but wish it were a real piano

Baby Einstein: Lullaby Classics

Manufacturer: Buena Vista
ProductGroup: Music
Binding: Audio CD

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Baby Einstein: Playtime Music Box
Baby Einstein: Traveling Melodies

ASIN: B0001IXTU4
Release Date: 2004-03-16

Tracks:

Variations (Twinkle, Twinkle), K265/300e
Minuet In G From Anna Magdalena
Piano Sonata In C, K 545, 2nd Movement
Spring Song
Piano Sonata In D, K 576, 3rd Movement
Jesu, Joy Of Man's Desiring, BWV 147
Canon
The Moldau
Preludes Book II, Clair De Lune
Sonata No.14 (Moonlight), 2nd Movement, Op.27
Symphony No.9, New World
Fur Elise, WoO 59
The Four Seasons, Winter, RV267, 2nd Movement
Orchestral Suite No.3 In D, Air, BWV 1068
Sonata No.8 (Pathetique), 2nd Movement, Op.13
Kinderscene, Op.15
Waltz No.15, Lullaby

Product Description

The Lullaby Classics A Concert for Little Ears music CD is a 17-track, 35-minute concert featuring a collection of soothing classical melodies perfect to calm little ones as they wind down for nap time, bedtime or a bit of quiet time. Each piece, re-orchestrated for little ears by the Baby Einstein Music Box Orchestra, was specially selected to lull babies into sweet, blissful dreams. Lullaby Classics opens with Twinkle, Twinkle variations by Mozart and includes calming and delightful melodies from composers such as Bach, Beethoven, Dvorak and Debussy. It ends with Brahms' Lullaby tucking baby in for a cozy, restful sleep.Musical Selections:1. Variations (Twinkle, Twinkle), K265/300e, Mozart2. Minuet In G From Anna Magdalena, Bach3. Piano Sonata In C, K 545, 2nd Movement, Mozart4. Spring Song, Mendelssohn5. Piano Sonata In D, K 576, 3rd Movement, Mozart6. Jesu, Joy Of Man's Desiring, BWV 147, Bach7. Canon, Pachelbel8. The Moldau, Smetana9. Preludes Book II, Clair De Lune, Debussy10. Sonata No. 14 (Moonlight), 2nd Movement, Op. 27, Beethoven11. Symphony No. 9, New World , Dvorak12. Fur Elise, WoO 59, Beethoven13. The Four Seasons, Winter, RV297, 2nd Movement, Vivaldi14. Orchestral Suite No. 3 In D, Air, BWV 1068, Bach15. Sonata No. 8 (Pathetique), 2nd Movement, Op. 13, Beethoven16. Kinderscene Op.15, Schumann17. Waltz No 15, Lullaby, Brahms Age: birth +Awards:* Oppenheim Toy Portfolio Gold Award (2005)* National Parenting Center Seal of Approval (2004)* National Parenting Publications Awards (2004)

Customer Reviews:

Sounds like a cheap plastic toy.......2007-06-20

I have these DVD's and I can tell you that they will not be a huge part of my baby's development. I received them as a gift from someone that thinks that all you need to do is plunk your child in front of a TV all day without giving the baby any attention. You can see why these DVD's are popular at Day Care Centers or what I like to call, "Concentration camps for baby's with lazy parents", because they know that they can sit their kid/baby in front of the TV and let them turn into a thoughtless zombie while they listen to Baby Einstein totally ruin classics by Bach and DeBussy by playing the music with very cheap midi keyboards. I can get better quality music by whistling Dixie with a mouth-full of saltine crackers.

Also, it has been proven that classical music has nothing to do with the cognitive development of young people. Now, teach them how to play piano or violin and you have yourself an actual YOUNG EINSTEIN, but listening to this kind of music does nothing for the development of the brain. It is just for lazy parents that can't sit down with their kids and play with them or read them a book.

would make you sleepy.........2007-06-15

its a good product with very fine music and my toddler realizes that it is sleep time, if I play it. he goes to bed and sleeps after a couple songs. I have trouble in some songs are some months.. dont know why.

Kid's Music.......2007-06-08

I bought this CD for my grandniece, but after listening to it, I determined that no one would ever play this for her except me. I would have kept it for myself but I have the grown-up versions of each of the classical masterpieces on this CD. So, I ended up returning it for a full refund. If you want your kids to be exposed to classicl music, it's a great buy. But if you don't think they will get to listen to it, don't waste your time.

Baby Einstein: Lullaby Classics

Not soothing.......2007-06-07

These synthesizer versions of classical songs get really old, really fast. Worse yet, the songs are sometimes not soothing at all, especially the very first song. The song seems to get particularly loud and uptempo, which is precisely what you don't expect in a lullaby. Please listen to the sample of the first song at least before you buy.

Great for bedtime, but wish it were a real piano.......2007-06-01

This CD worked great to put my daughter to sleep while I rocked her in my arms, and I enjoyed the choices of songs and the arrangements. However, I would have preferred that real instruments were used.

Rimsky-Korsakov: Scheherazade; Capriccio Espagnol; Russian Easter Overture

Average customer rating:

Stellar Performance
Nostalgia
Best Classical CD bargain on Amazon, IMHO
Cheap? Only in price
Rimsky-Korsakov: Scheherazade

Rimsky-Korsakov: Scheherazade; Capriccio Espagnol; Russian Easter Overture

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

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$6.99 and Under | Classical Music Blowout | Stores | Music

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ASIN: B000000UW0
Release Date: 1995-10-17

Tracks:

Scheherazade - Symphonic Suite, Op. 35: The Sea And Sinbad's Ship
Scherherazade - Symphonic Suite, Op. 35: The Story Of The Kalandar Prince
Scheherazade - Symphonic Suite, Op. 35: The Young Prince And The Young Princess
Scheherazade - Symphonic Suite, Op. 35: Festival At Bagdad - The Sea - The Ship Goes To Pieces On A Rock Surmounted By A Bronze Warrior - Conclusion
Russian Easter Overture, Op. 36
Capriccio espagnol: Capriccio Espagnol, Op. 34

Customer Reviews:

Stellar Performance.......2007-06-27

Having been a professional violinist and pianist for thirty years, I have developed a special appreciation for classical music. Scheherezade is one of the great orchestral pieces. This version clearly highlights the great skill of the composer and the orchestra. All the pieces on this cd are performed at a high skill level and the recording quality is excellent. It is on a par with the great performances by other orchestras, and I highly recommend it.

Nostalgia.......2007-06-27

My father was a classical musician in the days when every major theater had a pit orchestra of concert-level musicians. Boris Morros, a Russian born impresario paid tribute to them, saying: "the impact of these luxurious film theaters on the culture of America has never been properly emphasized. In one of our marble movie temples every tired scrub-lady could feel like a queen--for fifty cents--and every bootblack like a king as they lounged back in more comfortable chairs than monarchs ever enjoyed. I was impressed by the ever-growing popularity of the so-called good music the large symphony orchestras in these theaters played at each performance. From the day they opened they had thrilled audiences of ordinary people (who were supposed to have appreciation only for ragtime and sentimental ballads) with first-rate renditions...." Anyway, when those theaters and orchestras went, the substitute was a cult of mediocrity, so I was just indulging myself listening to all the horn work in Korsakov and remembering all those 'good ol days.'

Best Classical CD bargain on Amazon, IMHO.......2007-03-29

I'm surprised this CD isn't displayed on the Classical Blowout store. Perhaps it's *too* good a bargain? I purchased this CD for one piece: The Story Of The Kalandar Prince. My children and I love this work, as it is orchestrated like a story ("tone poem" is the correct term I think) - insert your imagination as to how it plays out.

This a wonderful CD to play on a cold winter night, with a roaring fire and a glass of wine. If you want a fine introduction to the 'oomph' of Easter European composers, you can do no wrong with this CD. I also recommend the Edwin Elgar Pomp & Circumstance CD from this bargain Seraphim collection.

Cheap? Only in price.......2007-02-22

First - how can one go wrong buying this cd at this price? The answer is - one cannot go wrong buying this cd at this price. Not even at three times this price. It's a lush recording and is every bit as good as anything recorded yesterday in a state of the art studio. At least some people have never heard of Rimsky-Korsakov. This is a cheap way to be introduced nicely. Others have these pieces by three or four different orchestras. Add this one - you'll be glad you did if for no other reason than when it arrives you'll listen once again to music you've put away for some time.

It's truly wonderful.

Rimsky-Korsakov: Scheherazade.......2006-11-10

I love Russian composers. They have so much fire. I received the CD timely and in great condition. Thank you.

Bach: The Goldberg Variations 1955 Performance: Zenph Re-performance

Average customer rating:

I was there...and I love the CD.
The classics never die; just reborn!
sorry I am in the B. Johnson camp
Beautiful to a listener unfamiliar with original recording
Glenn Gould...without the humming!

Bach: The Goldberg Variations 1955 Performance: Zenph Re-performance

Manufacturer: Sony Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B000LE0THE
Release Date: 2007-05-29

Tracks:

Aria
Variation 1
Variation 2
Variation 3: Canon On The Unison
Variation 4
Variation 5
Variation 6: Canon On The Second
Variation 7
Variation 8
Variation 9: Canon On The Third
Variation 10: Fughetta
Variation 11
Variation 12: Canon On The Fourth
Variation 13
Variation 14
Variation 15: Canon On The Fifth
Variation 16: Ouverture
Variation 17
Variation 18: Canon On The Sixth
Variation 19
Variation 20
Variation 21: Canon On The Seventh
Variation 22: Alla Breve
Variation 23
Variation 24: Canon On The Octave
Variation 25
Variation 26
Variation 27: Canon On The Ninth
Variation 28
Variation 29
Variation 30: Quodlibet
Aria Da Capo
Aria
Variation 1
Variation 2
Variation 3: Canon On The Unison
Variation 4
Variation 5
Variation 6: Canon On The Second
Variation 7
Variation 8
Variation 9: Canon On The Third
Variation 10: Fughetta
Variation 11
Variation 12: Canon On The Fourth
Variation 13
Variation 14
Variation 15: Canon On The Fifth
Variation 16: Ouverture
Variation 17
Variation 18: Canon On The Sixth
Variation 19
Variation 20
Variation 21: Canon On The Seventh
Variation 22: Alla Breve
Variation 23
Variation 24: Canon On The Octave
Variation 25
Variation 26
Variation 27: Canon On The Ninth
Variation 28
Variation 29
Variation 30: Quodlibet
Aria Da Capo

Customer Reviews:

I was there...and I love the CD........2007-07-05

A friend of mine is a Yamaha piano technician and he got tickets for my wife and I to attend the recording of the Zenph re-issue at the Glenn Gould Theatre in Toronto. It was such a mystical and magical experience, I heard pianists say that "Gould's ghost had walked into the room". The concert was astounding. That's why I bought the CD.
I'm listening to it as I write this and rate it 5 stars.

The classics never die; just reborn!.......2007-06-28

This masterful re-edition allows the new generations may even get closer to what this recording meant in 1955 for the musical universe. It's hard to guess how many listeners became music lovers of this genre, because of Gould was if I may the first and possibly the greates artisitc achievement in the history of the music.

These Goldberg meant a true openess and at the same time the most convincing proof the classic music was far to be considered a status issue reserved just for a minory. Besides it illuminated the interpretative flame of many new pianists who understood had became an icon of the instrument and a key force in what Bach's music concerned.

The superb quality of sound is outstanding, and due the fact that 25 years ago Gould left us, we have the suspect there will be mnusch more pleasant surprises of Sonny in what concerns new releases of this genius of the keyboard.

sorry I am in the B. Johnson camp.......2007-06-26

My heart skipped and my tummy got the butterflies when I saw this in Barnes & Noble. I had not heard anything about it. Well I am not a classical music critic, but I know good recordings. Part of the reason is that I've read every one of B. Johnson's reviews. If you are reading this B. Johnson thanks for your reviews, you even got me into Murakami.

That being said I listened to it in Barnes & Noble. The sound quality was stunning. Yet I too did feel something was missing. So lo and behold I came here first chance I get and see the reviews. And of course B. Johnson stated what I felt was true.

So even me a non-expert knew something was wrong.

I am in the camp that thinks something is missing with this recording. Still it is an interesting idea. Hopefully they will continue to experiment and improve this technology.

Beautiful to a listener unfamiliar with original recording.......2007-06-13

I have read several critiques of this "re-performance" claiming that it falls short of the original. While this may be true, I am unfamiliar with the original and find this to be a truly moving and beautiful reproduction. Within minutes of my first listen, I forgot about the technology that made the album possible and found myself captivated by Gould's brilliance.

It's to be expected that music lovers will compare the Zenph performance against the original, but I think listeners should also try enjoying this CD on its own merits. It's a great way for those of us accustomed to high quality recordings to appreciate a great performance of the past.

Glenn Gould...without the humming!.......2007-06-09

Well...not exactly. When I originally heard of this recording, I was intrigued with the concept. I've been a huge fan of the Gould versions of the Goldberg Variations for quite awhile, but more so of the 1980 rendition than the 1955 version, largely because the latter's sound quality was so relatively poor (recorded in mono, lots of hiss and background noise, etc.). So the idea that I could obtain a cleaned up version of Mr. Gould's breakthrough recording, not only in stereo but in SACD was immediately appealing to me. As such I purchased a copy as soon as I could.

My biggest concern was that the "performance" would be mechanical and not sound like a human playing the piano, let alone not sound like Mr. Gould himself at the keyboard. That concern was quickly wiped away as I started to listen to it. There is not a hint of mechanical, overly systematic playing. It truly sounds like there is a person stroking the keys to Bach's magnificent composition. But is that person Glenn Gould resurrected from the dead? I checked this out by playing each movement from this recording back to back with each movement from the original 1955 recording. What I found was that, while this "re-performance" certainly captures the tempo and pacing of the original recording, and much of it's height and depth of playing, it failed to retain the energy of many of the intensely struck notes or the gentleness of many of the softly struck notes. As a result, the liveliness and tenderness of Gould's playing is significantly lost in this production, which is what I thought made his playing so unique in the first place.

As such, while I recommend this recording as an interesting experiment in technology, and definately an enjoyable rendering of the Goldberg Variations, don't think that you will be getting a true "cleaned up" version of the 1955 recording. It comes surprisingly close, but sadly no cigar. Glenn Gould unfortunately remains in his grave.

Average customer rating:

Reuniting And It Feels (and sounds) So Good
Every Breath You Take - The Police
Nostalgia
My LP records and they're all scratched
Classics, Indeed

Every Breath You Take: The Classics
The Police
Manufacturer: A&M
ProductGroup: Music
Binding: Audio CD

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ASIN: B0006VXMDU
Release Date: 2005-01-11

Tracks:

Roxanne
Can't Stand Losing You
Message In A Bottle
Walking On The Moon
Don't Stand So Close To Me
De Do Do Do, De Da Da Da
Every Little Thing She Does Is Magic
Invisible Sun
Spirits In The Material World
Every Breath You Take
King Of Pain
Wrapped Around Your Finger
Don't Stand So Close To Me '86
Message In A Bottle

Customer Reviews:

Reuniting And It Feels (and sounds) So Good.......2007-05-19

The police are nothing short of AWESOME!! This cd contains many of our most loved Police hits and is a must have for any collection. Happy listening.

Every Breath You Take - The Police.......2007-05-09

Love this album, it is so full of those wonderful songs I grew up with.

Nostalgia.......2007-05-07

I have always loved this music. It took me back to a time when I was
younger and healthier and looked forward to listening to Sting (before he
was Sting) and I was out dancing. It was good music to dance to.

My LP records and they're all scratched.......2007-02-12

This really is a five star singles collection. Only one minor hit is missing ("Synchronicity II") and the gawdawful Puffy mix of "Roxanne" is - one can only hope - been wiped from the face of the Earth. But having seen the band reunite on the 2007 Grammys, and how "Roxanne" still sounds amazing for a 30 year old song, "Every Breath You Take: The Classics" is a prefect reminder of just how much The Police commercialized "Punk rock" and made brilliant pop at the same time.

I remember buying "Outlandos D'amour" in the fall of 1978, right before starting college. I was just beginning to get into punk/new wave and "Roxanne" was such a giddy single that I had to have the album. I was enthused but also surprised. While the band played with punky brashness, there was stuff here that was way too sophisticated for punk. The tricky drumming of Stewart Copeland was a dead giveaway...The Police were more than those peroxided heads on the album cover.

When "Regatta DeBlanc" arrived, the aggressive "Message In A Bottle" served notice. Sting was a charismatic singer that could rock with the best of them, and Andy Summers' playing was really beginning to show that he was limitlessly inventive. The spacey reggae of "Walking On The Moon" pushed their experimentation to a new peak. While "Message" should have been the breakthrough single The Police deserved after "Roxanne," radio resistance to this new kind of new wave music forced the band to wait until the third album.

"De Do Do Do, De Da Da Da" changed that. Irresistibly catchy, it spotlighted Sting's ability to write crafty pop songs. Then the enigmatic and literate "Don't Stand So Close To Me" went top ten, forcing even the staunchest critics to accept "Zenyatta Mondatta" and The Police. After all, not every rock band could quote Nabokov and top the charts with it. By now, the band had also become MTV darlings and Sting a heart-throb, an image he had no problem riding to success but still took issue with on the creative level. He wanted to make sure that The Police were regarded more as musical artists than video vixens with goofy song clips.

Success emboldened Sting and The Police experimented heavily on "Ghost In The Machine." Gone were the pretty boy cover pictures and pseudo-Eurospeak titles. The stuttering time-signature of the title track and the Pink Floyd meets the Beach Boys of "Invisible Sun" were unlike anything The Police had recorded before. Still, it was the classic pop sounding "Every Little Thing She Does Is Magic" that was, well, magic. The mix of progressive and pop set the stage for The Police's finest hour.

If "Every Little Thing..." sounded like classic pop, "Every Breath You Take" sounded timeless. As everyone knows, the deceptively paranoid single cross-circuited and insta-catchy melody with lyrics that sounded like a pledge of devotion only to be undermined by the totally obsessive nature of the protagonist. The nature of the album "Synchronicity" was to allow each member to add his part as he saw fit (even though Sting was obviously the de facto leader by now). it led to the stripped down sound of "King Of Pain" and "Wrapped Around Your Finger."

But that was as far as the band could travel together. Sting's ambitions (or ego, depending on your point of view) had moved past Copeland and Stewart's. The worldwide success of "Synchronicity" and the tour put the band on a hiatus that they never really called off. That leaves the sole new items here the pointless electronic remake of "Don't Stand So Close To Me" (from the "The Singles" collection) and a remix of "Message In A Bottle" that is all but indistinguishable from the original. "Every Breath You Take: The Classics" does allow for both versions of "Don't Stand So Close To Me," which makes that earlier collection obsolete.

However, the recently reissued Police library has at least two classic albums in it (in my opinion, "Synchronicity" and "Zenyatta Mondatta"), that rate picking up a few of the individual albums for their key tracks. (For instance, it is again my opinion, but both of the "new" tracks here could have easily been dumped for the likes of "So Lonely," "Driven To Tears" or "Synchronicity II.") Still, as a collection of memorable radio and groundbreaking music, the evolution of The Police from punky white reggae to musical sophisticates makes this CD a must have if you don't want to go beyond the hits.

Classics, Indeed.......2006-09-18

The Police are a pretty good band, I think. Don't know how to describe them exactly, though. Sophisticated new wave, perhaps? They're a three piece rock group with fairly thoughtful lyrics, jangly guitar and drums, though catchy, often surprise you, even of repeated listens.

This compilation "Every Breath You Take: The Classics" has twelve of the band's most well known songs, remastered and sequenced in chronological order, with a two "bonus tracks" at the end. The most famous tracks, I think are probably "Roxanne", "Message in a Bottle" and "Every Breath You Take". I'm sure you'll have heard quite a few of these tracks on the radio.

It's a good selection of their singles, though the overall running time is rather short. They could have added a few more tracks, I reckon, like the early hit "So Lonely", or the thoughtful "Driven to Tears" and the rocking "Synchronicity II". Ah well.

Here's a rundown of what's from which album of theirs. There's:

2 tracks from "Outlandos D'Amour" (1978)
2 tracks from "Regatta De Blanc" (1979)
2 tracks from "Zenyatta Mondatta" (1980)
3 tracks from "Ghost in the Machine" (1981)
3 tracks from "Synchronicity" (1983)

The first of the two "bonus tracks" is "Don't Stand So Close To Me '86", a remake of one of my favorite songs by the Police. With synth drums, a mellow voiced Sting and a slower, lower key chorus, you kind of get an idea of what the Police would have been like if they'd continued recording together. It's quite a good track, I think. The other track here is a remix of "Message in a Bottle". When I say "remix" I mean drastic remaster, which seems to be becoming a more and more fashionable thing to do to older music. The instruments have been tweaked and sweetened, a couple of volume levels adjusted. It sounds a lot cleaner and fuller in this version, the drums and the bass, the jangle of the guitar all have a lot more depth. Plus, it keeps the character of the original mix. It's one of the few remixes of this kind that I think sounds better than the original.

The booklet is reasonable, containing all the lyrics, and a couple of pics from the band ("Synchronicity" era, I think).

All in all, it's a pretty good compilation, and the casual fan should be pretty happy with it. If you're interested in more from the Police, check out the "Message in a Box" set, which has all the album tracks, singles and B-sides, plus a couple of rarities.

Music Track:

Music Track

music track

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