Wagner: Walküre [Box set]

On this CD:

1. Die Walküre (The Valkyrie), opera, WWV 86b
Composed by Richard Wagner
Performed by Polly Batic, Karen Marie Crkall, Kirsten Flagstad, Ferdinand Frantz, Elisabeth Hongen, Margherita Kenney, Hilde Konetzni, Dagmar Schmedes, Ilona Steingruber, Gunther Treptow, Sieglinde Wagner, Ludwig Weber, Walburga Wegener, Margret Weth-Falke
Conducted by Wilhelm Furtwangler

Customer Reviews:

My own life is behind these recordings.......2007-06-10

I can assure that one of the reason I love music is due to these recordings of Mr. Stokowsky. My father had the record of Scherezade and, though my father was an ignorant about cultivated music, he knew very well what to appreciate. We never argued when I played Beethoven's first symphony so loud, however, he always did when I played Rolling Stones so loud. I adore that he taught me to appreciate Rimsky-korsakov's music as well as Tchaikovsky's Capriccio Spagnolo so young. He was wise, on his way. I can't help to cry for him, listening to Borodin's Palatsovian dances, because, it is great music, and, having into account that I used to love it by Mr. Stokowsky's work, it doubles my crying and my remembrance. He loved the record so much. I love you, daddy.

Don't go for broke unless you're a die-hard Stokowski fan.......2006-09-22

When Stokowski began to make Phase 4 recordings for Decca in 1964, he was already 82, but he hadn't lost his energy or his tendency to shape music in outlandish ways. I mostly love him, but this box set duplicates recordings that can be found on the Cala label, which has been releasing everything Stokowski in the world, and on Decca single CDs if you go to the used market.

I mention this because the whole box set, Vol. 2 in the Original Masters series, continas some forgettable performances, in particular the rhythmically slack Beethoven Sym. 5 and 7, the over-highlighted Schubert 'Unfinished,' and a live Brahms First that seems manic and forced too much of the time. However, if you think of Stokowski having little to offer in the German classics, here is an exceptional Beethoven Ninth, one of the best things from his late career and wonderful in every way.

Decca knows that the crowd-pleasers are the gaudy, multi-miked Phase 4 versions of Scheherazade, as bombastic as you could imagine, and lots of Russian fare, including Stoki's signature synthesis from Boris Godunov. The 1812 Over., by the way, isn't over the top and yet needed to be. Finally, this German-Russian collection contains a thrilling disc of Wagner excerpts, much of it grossly over-miked, but at its core containing very impressive, vital interpretations.

In all, I'd select the Wagner, the Beethoven Ninth, and the legendary Scheherazade as the best things here. Buy them separately or take the plunge for this whole box, your choice.

More Sensational Stokowski.......2005-06-08

It took me a while to purchase this six-disc set in UNI's "Original Masters" series, but I finally did this past weekend. Classical music fans seem to either love or hate Leopold Stokowski (I, of course, love him), and unfortunately much of "Decca Recordings 1964-75, Volume 2" will be old news to serious devotees of the conductor. While I'm not familiar with the complete Decca back-catalog, at least three full discs worth of material have been previously available in the old "Weekend Classics" series -- Beethoven's 5th & 7th, Beethoven's 9th, and the Wagner selections. (I'm pretty sure the Rimsky-Korsakov material on disc five, and the Tchaikovsky and Mussorgsky pieces on disc six have been issued prior too.) This is good news for those who came to collecting classical CDs late (like me) because while the Wagner is still available individually, the Beethovens have been fetching absurd prices in the Amazon Marketplace. The only material receiving its first international release is contained on disc 3 -- a Schubert "Unfinished" with the London Philharmonic from 1969 and a rousing live performance of the Brahms 1st with the London Symphony on the occasion of the conductor's 60th anniversary leading that body. The original instruments crowd will surely turn up their noses at these legendary performances, but me, I'll just sit back and listen to some more sensational sounding Stokowski.

Average customer rating:

The English Ring
English lifts the fog over Wagner's Ring
"Mein Erbe nun nehm ich zu eigen."
Brilliant, well-sung and gorgeously conducted and properly Wagnerian Ring
Introspective ... NOT Lethargic!

Wagner: The Ring Cycle (Box Set)

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

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The Last King of Scotland (Widescreen Edition)

ASIN: B00005LZVY
Release Date: 2001-07-24

Customer Reviews:

The English Ring.......2007-06-20

This *was* the first Ring I was exposed to (I've since listened to the Solti and Levine recordings), and it remains my favorite. As has been mentioned, the immediacy of having it in your own language makes a difference (and the plot isn't *that* flawed; come on, look at a modern *cough* Dan Brown *cough* novel!)

Alberto Remedios is truly amazing. All other Siegfrieds sound like cardboard in comparison:). Norman Bailey (Wotan) and Rita Hunter (Brunnhilde) also do a wonderful job--I was so blown away by the end of Gotterdammerung that it was about 1:00 A.M. before it was finished, and I didn't even notice!

Granted, it's good to get the other recordings as well; it was, after all, *meant* to be listened to in German. But this Ring really is a service to English-speakers, and a beautiful and awe-inspiring one. Yes, the pace is a bit slow, but that allows you to really *focus* on the music (the most important part, in my humble opinion)and (at least in my mind) it never gets *so* slow that you want to fast forward or turn it off. Better than TV.

If you'd prefer to understand the plot, and to hear every nuance of the wonderful music, this Ring is a Wotan-send.

English lifts the fog over Wagner's Ring.......2007-05-16

Having heard this cycle on the radio in England back in the 1970s, I am thrilled to see it on CD, in brilliant sound on Chandos, at a reasonable price. Three big positives. First, Goodall's slow tempi (resulting in 5 CDs instead of the usual 4 for Gotterdammerung, for instance) make every note audible, and allows one to explore once gain the magic of Wagner's complex score. The ENO orchestra plays beautifully, with the occasional false entry of an instrument adding to the thrill of a live performance. Secondly, the English text, an excellent translation by Andrew Porter, is lucid, and in fact an improvement on Wagner's own turgid libretto. Understanding the convoluted and somewhat inane plot as it unfolds, I think, will attract new listeners, and also bring back some who gave up trying to figure out what is going on. And thirdly, the singing. Rita Hunter, Alberto Remedios and Norman Bailey, are superb, equal to their counterparts in the Boehm and Solti recordings of the Ring. The only disappointment is Aage Haugland, the Hagen in the Twilight of the Gods (Gotterdammerung). An otherwise fine actor-singer (listen, for example, to the award-winning recording of Nielsen's 'Maskarade' under Ulf Schirmer), Haugland is totally miscast here, a blemish on an otherwise perfect recording. Listening to the 16 CDs is a rediscovery of great musical theatre, no matter how silly the story.

"Mein Erbe nun nehm ich zu eigen.".......2007-05-15

Okay, so we have the Solti, Bohm, Karajan, Levine, Janowski, Goodall, and Sawallisch Rings on the market (I haven't listened to the other Ring recordings yet, sorry to say). And all of these leave me to one conclusion: the many differences lead me to believe that all of these ring sets have their own authenticities and setbacks. And here they are:

TIMING (Estimate):
Solti's Ring: 14 hours, 30 minutes
Bohm's Ring: 13 hours, 30 minutes
Karajan's Ring: 14 hours, 50 minutes
Goodall's Ring: 16 hours, 50 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Sawallisch's Ring: 14 hours, 0 minutes

CONDUCTING:
Solti: Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His Walkure & Gotterdammerung Preludes are clear examples: they're annoyingly bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.

Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe "Wohin schleich'st du eilig und schlau"). I especially like his "Forging Scene" & "Hagen Summons the Vassals"; both are the most energetic on disc.

Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as Siegfried Act Three Scene Three) are controlled nicely. His "Funeral March" and "Immolation" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.

Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: everything is slower than adagio moderato. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.

Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Sawallisch's). Rheingold Scene Four can be best described as "sensational".

Levine: While he does stay true to the score like Bohm, this conductor makes for a somewhat dull Ring. His handling of the orchestra is nice, but the moderately slow tempi he chooses is flawed. It should be more animated. His beautiful "Funeral March" and "Erda's Warning" are two of the few flawless features.

Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.

ORCHESTRA:
Solti's Vienna Philharmonic: The woodwinds are the most beautiful in Solti's Ring (the "Forest Murmurs" is clear evidence of that). French horns and Wagner tubas make this a recommended listening. The strings in "Heda Heda Hedo" could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.

Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Erda's scenes aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tone & technique. Overall, this orchestra is the most dramatic.

Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung "Three Norns" Scene sounds very mysterious, very eerie.

Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. The Flight of the Valkyries doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act One Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.

Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Bohm's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are found in this Ring. I can hear harps in Flight of the Valkyries! The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Solti's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.

Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.

Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.

SINGERS:
-Wotan
Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Rheingold, in which a less stellar George London performs).

Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording, but he still doesn't disappoint.

Karajan: Dietrich Fischer-Dieskau plays Wotan in "Rheingold," while Thomas Stewart replaces Fischer-Dieskau in "Walkure" and "Siegfried". I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both "Walkure" and "Siegfried".

Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen.

Levine: James Morris is a notch below Hotter, Adam, and Bailey, but he overpowers Fischer-Dieskau pretty much throughout the Levine's Ring.

Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his Wotan's Farewell wasn't enough to sadden me.

-Brunnhilde
Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her final scene in Gotterdammerung is brilliant beyond belief.

Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Gotterdammerung, sorry to say).

Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."

Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.

Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin: while she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).

-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm. Jon Vickers for Karajan, Alberto Remedios for Goodall, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, and Robert Schunk for Sawallisch. For the Sieglindes, we have Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jessye Norman for both Janowski and Levine, and Julia Varady for Sawallisch. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Two exceptions, though: Robert Schunk doesn't sound heroic enough, and Jessye Norman for Levine's Ring doesn't sound young and innocent enough.

-Siegfried
Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in both renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming.

Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.

Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.

Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.

Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. I don't know Levine should've chose Kollo when he recorded his Ring.

-Alberich
Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?").

Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.

Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.

Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.

Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.

-Mime
Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners.

Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.

Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.

Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.

Levine: Heinz Zednik is yet another excellent mime. He is equal to Schreier when it comes to humaneness and lyricism. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.

Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.

-Loge
Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere is greatly affects the entire Rheingold. But he'll soon be forgotten later on in the Ring.

Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Still, it's satisfactory, and his "Ihrem ende eilen sie zu" gives great foreshadowing.

Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. His scenes in Scene Three are delightful.

Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.

Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt depends only on imagination and deviousness, Stolze only vengeance and deviousness, and Windgassen only peril. His odd conversations with Alberich and the gods/goddesses are classic.

Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.

Sawallisch: Robert Tear is on par with Stolze and Schreier. Sometimes he takes things too low, but all is forgiven with his management of character development.

-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings (maybe not in Swarowsky's version). Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm and Goodall. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.

CONCLUSION: I have yet to listen to Barenboim's Bayreuth presentation and the essential mono recordings (Furtwangler, Krauss), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the calculated Janowski, the relaxed Levine, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.

Sir Georg Solti: Wagner - Der Ring des Nibelungen (Ring Cycle) / Sir Georg Solti

Karl Bohm: Wagner: Der Ring des Nibelungen

Herbert von Karajan: Der Ring des Nibelungen / Karajan / Berlin Philharmonic

Marek Janowski: Wagner: Der Ring des Nibelungen

James Levine: Der Ring Des Nibelungen

Wolfgang Sawallisch: Wagner - Der Ring des Nibelungen (Ring Cycle) / Sawallisch, Bayerischer Staatsoper

Brilliant, well-sung and gorgeously conducted and properly Wagnerian Ring.......2006-07-26

Many reviewers, whether they are the Amazon kind or the professional news-writing type, will be split about this version of the Ring.

The first thing that many a novice Wagnerite will tell you (and trust me, many of them have been quite loud about this Ring) is that the recording loses its original essence due to its transcription to the English language. It is true that the Ring is more beautiful in the original mittel-hoch Deutsche that Wagner wrote the piece in, but how fluid and beautiful Andrew Porter's translation is! Everything in the text seems to leap out from the page as if Wagner had written the opera in English. I don't find it bothersome, I find it very intricate and beautiful in fact, that the Ring was translated to English. I've heard the Ring sung in Italian too, and while the pure vowels of Italian and the translation they used were very good, it was nowhere close to the artful linguistic play of words that Porter uses for this Ring. I could almost describe it as noble and Shakespearean.

The second quibble that most reviewers would have about this Ring is Goodall's choice of tempi. If Wagnerians thought Knappertsbusch was slow, they had better listen to Goodall and see what slow really means. Goodall's Ring is spread out over 16 (!!) CD's, unlike most Rings which come in a box of 14. However slow his tempi may be though, I find that Goodall mastered the art of bringing the flowing structure of Wagner's music in such a way that no other conductor has ever done after Knappertsbusch and Furtwangler. Wagner's Leitmotifs have never been so played more distinctly and beautifully that each intricate detail is exposed. The way the composer wanted a conductor to conduct his music is to have a transparent, incandescent, yet heavy interpretation (grand). I think, of all the conductors who have done the Ring, only Furtwangler, Knappertsbusch, Clemens Krauss, and Reginald Goodall have fulfilled that request. Other great Ring conductors include of course, Karajan, Solti, Bohm, Levine, Keilberth, Janowski, and Boulez, but all of these conduct Wagner in a way that detracts slightly from what the composer wants from the music. Of course, Karajan brought a most beautiful lyrical vision to his Ring, and Solti brought a drive that no other conductor has matched since, and Bohm, while producing one of the most lyrical and organic Rings (it is my favorite), does not bring the Leitmotif structure to life the way Goodall does. This recording shows each detail of Wagner's massive score, and for that reason I would recommend this Ring for those who want to understand what Wagner truly wanted for his masterpiece. The English National Opera Orchestra plays magnificently, much more so thirty years ago when this Ring was recorded than they do now in their pedestrian playing. In short, I would say that the conducting in this Ring is very Wagnerian in the sense that it is transparent and grand, certainly an interpretation that must be examined and learned by other leading Wagnerian conductors today.

Of course, with such a great vision of the orchestra, you must not miss out on the singers. What I have to say of course about the soloists, is nothing but praise for their excellent vocalizing and dramatic rendering of Wagner's text. In my opinion, Rita Hunter is the best Brunnhilde who sings all the notes and gives us an excellent portrayal of Brunnhilde's character in all the three operas with her Valkyrie. Period. She gives us Nilsson's thrilling vocal power combined with Dernesch's sensitive and sensual lyricism and Gwyneth Jones' acute dramatic powers where needed. She has a very beautiful voice, and I think if this Brunnhilde was captured in the original German, she would have made the reference Brunnhilde. Alberto Remedios not only sings Siegfried's notes well, but beautifully too! Not even Windgassen had the gorgeous tone of his instrument. Again, if this were done in German, he would have made the best Siegfried. His tone is simply ravishing and young. His Siegmund is amazing too. Norman Bailey's Wotan is simply amazing. I have never heard a better Wotan since Hotter and Stewart. It is intense and dramatic at the same time that it is vocally beautiful. Clifford Grant as Fafner and Hunding is a must-hear, and the rest of the cast from the Norns and Valkyries (with Anne Evans singing Helmwige and the Third Norn!!!!) to the Rhinemaidens, giants, gods, Nibelung, Alberich, Mime, and Gibichungs are well-characterized and beautifully vocalized. A top cast for a top Ring.

If only this Ring were sung in German, I would think that Solti's Ring would easily be dethroned from its status as opera's definitive Ring cycle. This, I don't think should be your first Ring, but if you can make it your second, give it a listen and bask in the beauty of Goodall's interpretation.

Introspective ... NOT Lethargic!.......2006-03-22

Clearly Der Ring des Niebelungen can be many things to many people. When I lived abroad I purchased the Goodall Siegfried on EMI out of curiosity ... and was completely won over by this performance. Having always been obsessive about opera in the original language, I found myself astonished by the clarity of the sung translation and how well Andrew Porter had crafted the words so that they fit the music like a glove. Now, 33 years later, I still enjoy the Goodall Ring ... and I am sure a true Wagnerite will find the performances moving and excellent. Yes, Sir Reginald does not rush through the score, but I enjoy the nuanced detail ... and he is most emphatically moving the drama along. These ENO performances were warmly received at their initial issue and remain a fascinating documentation of a great musical event. My favorite studio recording of The Ring remains the recordings that introduced me to the work: Decca's Solti. (Second favorite: Levine, because I've seen the cycle with essentially the same cast three times when it was new.) For "live" cycles, I like the Krauss and Kielberth mono sets from Bayreuth on Archipel label the best ... although after hearing the 1955 Kielberth Siegfried in true stereo as released on Testament, I think that when the remaining 3 in the cycle are released, they may well be my all-time favorites, even beating the studio Solti. Particularly if you're trying to demonstrate the power of Wagner to non-Germanic speakers the Goodall is excellent ... not my first choice, but a performance I relish.

Incidentally, I do not care for the Böhm Bayreuth stereo set for I find it TOO rushed. I do like the Furtwängler RAI and La Scala cycles immensely. My gut reaction to Furtwängler's conducting and care with Wagner is unmitigated adoration. I'm also a great admirer of Martha Mödl and Ferdinand Frantz.

I deducted a star from the Goodall cycle because it is in English. Is this being a snob? I hope not. I do feel after years of exploring the Ring, it's best experienced in Wagner's "antiquated" German libretto.

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Opera Highlights (Box Set)

Manufacturer: Delta
ProductGroup: Music
Binding: Audio CD

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Tracks:

Overture - Budapest Philharmonic Orchestra
Pres des remparts - Krystyna Szostek-Radkowa
La garde montante - Budapest Philharmonic Orchestra
Parlez-moi de ma mere....Ma mere je ma - Andras Molnar
Habanera - Budapest Philharmonic Orchestra
Les dragons d'Alcara/Danse boheme - Budapest Philharmonic Orchestra
Votre toast - Nicolai Ghiaurov
La fleur que tu m'avais jetee - Andras Molnar
Intermezzo - Marche des contrebandiers - Budapest Philharmonic Orchestra
Je dis que rien ne - Liliana Vassileva
Aragonaise - Budapest Philharmonic Orchestra
A deux cuartos - Sofia National Opera Chorus
Ballet Music - Budapest Philharmonic Orchestra
Les voici! Voisi la Quadrille! - Sofia National Opera Chorus

Tracks:

Overture - Marcello Viotti
Hier Soll Ich Dich Denn Sehen, Konstanze - Jerrold Van Der Schaaf
Solche Hergelauf'ne Laffen - Kurt Rydl
Singt Dem Grossen Bassa Lieder - Bamberg Symphony Orchestra Chorus
Marsch, Marsch, Marsch! Trollt Euch Fort - Kurt Rydl
Durch Zartlichkeit Und Schmeicheln - Jeanine Thames
Ich Gehe, Doch Rate Ich Dir - Kurt Rydl
Martern Aller Arten - Sylvia Greenberg
Welche Wonne, Welche Lust - Jeanine Thames
Wenn Der Freuden Tranen Fliessen - Jerrold Van Der Schaaf
Ach Belmonte! Ach Mein Leben - Sylvia Greenberg
Im Mohrenland Gefangen War - Wilfried Gahmlich
O, Wie Will Ich Triumphieren, Wenn Sie Euch Zum Richtplatz Furhren - Kurt Rydl
Nie Werd' Ich Deine Huld Verkennen - Bamberg Symphony Orchestra Chorus

Tracks:

E Soffito...E Pareti - Giacomo Aragall
Dovunque Al Mondo/Quale Smania Vi Prende! - Anna Tomowa-Sintow
Viene La Sera/Bimba Dagli Occhi Pieni Di Malia - Anna Tomowa-Sintow
E Izaghi Ed Izanami - Anna Tomowa-Sintow
Un Bei Di Vedremo - Anna Tomowa-Sintow
Una Nave Da Guerra/Scuoti Quella Fronda Di Ciliegio - Anna Tomowa-Sintow
Coro A Bocca Chiusa - Sofia National Opera Chorus
Io So Che Alle Sue Pene/Addio, Fiorito Asil - Giacomo Aragall
Con Onor Muore - Anna Tomowa-Sintow

Tracks:

Overture - Chamber Orchestra Of The Hungarian State Opera
Ah, Se Intorno A Quest' Urna Funesta - Julia Hamari
Chiamo Il Mo Ben Cosi - Julia Hamari
Gli Sguardi Trattieni - Maria Zempleni
Chi Mai Dell'Erebo Fra Le Caligini/Mille Pene - Julia Hamari
Dance Of The Blessed Spirits - Ervin Lukacs
Vieni A Regni Del Riposo - Chamber Chorus Of The Hungarian State Opera
Torna, O Bella - Chamber Chorus Of The Hungarian State Opera
Vieni, Appaga Il Tuo Consorte - Veronika Kincses
Che Fiero Momento - Veronika Kincses
Che Faro Senza Euridice - Julia Hamari
Ballet Music - Ervin Lukacs
Trionfi Amore - Veronika Kincses

Tracks:

Entrance Of The Gods In Valhall - Radio Symphony Orchestra Sofia
Ride Of The Valkyries - Budapest Symphony Orchestra
Ein Schwert Verhiess Mir Der Vater - Reiner Goldberg
Der Manner Sippe - Eszter Kovacs
Wintersturme Wichem Dem Wonnemond - Reiner Goldberg
Magic Fire Music - Budapest Symphony Orchestra
Hoho! Hoho! Hohei! Schmiede Mein Hammer - Reiner Goldberg
Siegfried's Rhine Journey - Yuri Ahronovitch
Siegfried's Death And Funeral March - Radio Symphony Orchestra Sofia
Starke Scheite Schichtet Mir Auf - Eszter Kovacs

Tracks:

Long Live Boris Federovich - Warsaw National Opera Chorus
Boris's Monologue - Warsaw National Opera Chorus
Varlaam's Scene - Marek Wojciechowski
Boris's Recitative And Aria - Anatolij Kotscherga
Scene Boris/Shuisky - Kazimierz Pustelak
Boris's Mad Scene - Anatolij Kotscherga
Duet - Ryszarda Racewicz
Get Him Here - Warsaw National Chorus
Pale Moonlight - Marek Wojciechowski
Domine, Domine Salvum - Marek Wojciechowski
We, Dimitri Ivanovich - Vitalij Taraschtschenko
Flow, Flow, Hot And Bitter Tears - Krzysztof Szmyt
A Pious Servant Of The Lord - Jerzy Ostapiuk
Farewell, My Son - Anatolij Kotscherga

Tracks:

Overture - Sofia Symphony Orchestra
Se Qeul Guerriero - Celeste Aida - Jozsef Simandy
Possenthe Ftha - Bulgarian National Chorus
Ritorna Vincitor - Anna Tomowa-Sintow
Chi Mai Fra Gl'immi E I Plausi - Bulgarian National Chorus
Silenzio! Aida Verso Noi S'Avanza - Gisella Passino
O T Che Sei D'Osiride - Sofia National Opera Chorus
Qui Radames Verra - Anna Tomowa-Sintow
Gloria All' Egitto - Bulgarian National Chorus

Tracks:

Preludio - Roberto Paternostro
Libiamo Ne' Lieti Calici - Fujiwara Opera Chorus
E Strano! - Lucia Aliberti
Lunge Da Lei...../De' Miei Bollenti Spiriti - Peter Dvorsky
Annina, Donde Vieni?/O Mio Rimoroso - Peter Dvorsky
Dite Alla Giovine - Lucia Aliberti
Di Provenza Il Mar, Il Sol - Renato Bruson
Noi Siamo Zingarelle - Fujiwara Opera Chorus
Di Madride Noi Siam Mattadori - Fujiwara Opera Chorus
Di Sprezzo Degno - Fujiwara Opera Chorus
Preludio - Roberto Paternostro
Teneste La Promessa - Lucia Aliberti
Parigi, O Cara - Lucia Aliberti
Ah! Violetta!/Voi.....Signor! - Lucia Aliberti

Tracks:

Preludio - Sofia Symphony Orchestra
Che Faceste - Bulgarian National Chorus
Nel Di Della Vittoria - Sylvia Sass
Oh Noi Perduti...Schiudi, Inferno, La Bocca - Kolos Kovats
La Luce Langue - Sylvia Sass
Chi V'impose Unirvi A Noi - Bulgarian National Chorus
Studia Il Passo/Come Dal Ciel Precipita - Boris Christoff
Tre Volte Miagola La Gatta - Hungarian Radio and Television Chorus
Ballabili - Prague Festival Orchestra
Patria Oppressa! - Bulgarian National Chorus
O Figli, O Figli Miei! - Peter Kelen
Perfidi! All' Ango Contro Me - Piero Cappuccilli
Vittoria! - Peter Kelen

Tracks:

Overture - Hanns-Martin Schneidt
Gli Arredi Festivi - Manfred Schenk
Ben Io T'invenni/Anch'io Dischiuso Un Giorno - Anna Tomowa-Sintow
Vieni, O Levita/Tu Sol Labbro - Kolos Kovats
E I'Assiria Una Regina - Bulgarian National Chorus
Va Pensiero, Sull'ali Dorate - Prague National Theatre Chorus
Son Pur Queste Mie Membra!/Dio Di Giuda - Lajos Miller

Great Melodies of the Classics (Box Set)

Average customer rating:

This is a great CD, if you like classics this one's for you

Great Melodies of the Classics (Box Set)

Manufacturer: Intersound Records
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

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

Classical | Box Sets | Stores | Music
ASIN: B000000BMZ
Release Date: 1998-01-06

Tracks:

Arrival Of The Queen Of Sheba
Highlights From 'Messiah': Overture
Highlights From 'Messiah': Hallelujah!
Highlights From 'Messiah': The Trumpet Shall Sound
'Royal Fireworks Music' Suite: Overture
'Royal Fireworks Music' Suite: Bourree
'Royal Fireworks Music' Suite: 'The Peace': Largo Alla Siciliana
'Royal Fireworks Music' Suite: Lejouissance: Allegro
'Royal Fireworks Music' Suite: Minuet
'Royal Fireworks Music' Suite: Minuet
'Water Music' Suite: Overture
'Water Music' Suite: Adagio
'Water Music' Suite: Allegro; Andante; Allegro
'Water Music' Suite: Minuet
'Water Music' Suite: Air
'Water Music' Suite: Minuet
'Water Music' Suite: Bourree
'Water Music' Suite: Hornpipe
'Water Music' Suite: Allegro Moderato

Tracks:

Symphony No. 5 In C Minor, Op. 67: Allegro Con Brio - L.V. Beethoven
Symphony No. 5 In C Minor, Op. 67: Andante Con Moto - L.V. Beethoven
Symphony No. 5 In C Minor, Op. 67: Allegro - L.V. Beethoven
Symphony No. 5 In C Minor, Op. 67: Allegro - L.V. Beethoven
Piano Sonata No. 8, Op. 13, Pathetique: Grave; Allegro Di Molto E Con Brio - L.V. Beethoven
Piano Sonata No. 8, Op. 13, Pathetique: Adagio Contabile - L.V. Beethoven
Piano Sonata No. 8, Op. 13, Pathetique: Rondo: Allegro - L.V. Beethoven

Tracks:

Ride Of The Valkyries - Wagner
Bridal Chor From Lohengrin - Wagner
Overture To Die Meistersinger Von Nurnberg - Wagner
The Flying Dutchman Overture - Wagner
OvertureTo Lohengrin - Wagner
Overture To Tannhauser - Wagner
Overture To Tristan And Isolde - Wagner

Customer Reviews:

This is a great CD, if you like classics this one's for you.......1999-02-18

Great Melodies of the Classics is a great CD, especially if you like classics. It has one of my favorite songs on it, The Ride of the Valkyries. That is why I rank this CD *****

Wagner: Der Ring des Nibelungen [Box Set]

Average customer rating:

Wagner: Der Ring des Nibelungen [Box Set]

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music
ASIN: B00000E2X4
Release Date: 1990-10-25

Vienna State Opera Live Volume 9 - Wagner: Der Ring des Nibelungen Highlights (1933-1937)(Koch)(2 CD Box Set)

Average customer rating:

Vienna State Opera Live Volume 9 - Wagner: Der Ring des Nibelungen Highlights (1933-1937)(Koch)(2 CD Box Set)

Manufacturer: Koch Schwann
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music
ASIN: B000001SUW
Release Date: 1994-09-20

Tracks:

Das Rheingold; Scene 1: 'Auf aus der Traume...' - Jaro Prohaska, Nikolaus Zec, Herbert Alsen, Anny Konetzni
Das Rheingold; Scene 1: 'Wolltest du Frau in der...' - Jaro Prohaska, Nikolaus Zec, Herbert Alsen, Anny Konetzni
Das Rheingold; Scene 1: '...fliehe seit deinen Frieden...' - Jaro Prohaska, Nikolaus Zec, Herbert Alsen, Anny Konetzni
Die Walkure: Prelude
Die Walkure; Act 1: '...des Muden Last machte...'
Die Walkure; Act 1: 'Fort aus dem Saal!...'
Die Walkure; Act 1: 'Walse! Walse! Wo ist...'
Die Walkure; Act 1: '(Eine Waffe lamich...'
Die Walkure; Act 1: 'O lain Nahe...'
Die Walkure; Act 1: 'Siegmend hei ich...'
Die Walkure; Act 2: '(Wann ward es erlebt)...'
Die Walkure; Act 2: 'Laich's verlauten...'
Die Walkure; Act 2: 'Ruhe nun aus, rede...'
Die Walkure; Act 2: 'So jung und schon...'
Die Walkure; Act 2: 'Drohst du mit...'
Die Walkure; Act 3: 'Lebe, o Weib...'
Die Walkure; Act 3: '...der Mann dann fange...'
Die Walkure; Act 3: '...der Gott!...'
Die Walkure; Act 3: '...von dir...'
Die Walkure; Act 3: 'Wer meines Speeres...'

Tracks:

Siegfried; Act 1: 'Hoiho! Hau ein!...' - Richard Schubert, Gertrude Kappel, Erich Zimmermann
Siegfried; Act 1: 'Doch weh mir Armen...' - Richard Schubert, Gertrude Kappel, Erich Zimmermann
Siegfried; Act 1: '...den der Bruder...' - Richard Schubert, Gertrude Kappel, Erich Zimmermann
Siegfried; Act 3: 'Heil dir, Sonne!...' - Richard Schubert, Gertrude Kappel, Erich Zimmermann
Siegfried; Act 3: '...wie ich je dich...' - Richard Schubert, Gertrude Kappel, Erich Zimmermann
Gotterdammerung: Prelude; 'Welch' Licht...' - Gertrude Kappel, Josef Kalenberg, Emil Schipper, Wanda Achsel, Rosette Anday
Gotterdammerung; Act 1: 'Wei du, wie...' - Gertrude Kappel, Josef Kalenberg, Emil Schipper, Wanda Achsel, Rosette Anday
Gotterdammerung; Act 1: Siegfrieds Rheinfahrt - Gertrude Kappel, Josef Kalenberg, Emil Schipper, Wanda Achsel, Rosette Anday
Gotterdammerung; Act 1: 'Mehr als Walhalls...' - Gertrude Kappel, Josef Kalenberg, Emil Schipper, Wanda Achsel, Rosette Anday
Gotterdammerung; Act 3: Trauermarsche... - Gertrude Kappel, Josef Kalenberg, Emil Schipper, Wanda Achsel, Rosette Anday
Gotterdammerung; Act 3: '(Des Alben Erbe) fordert...' - Gertrude Kappel, Josef Kalenberg, Emil Schipper, Wanda Achsel, Rosette Anday
Gotterdammerung; Act 3: 'Starke Scheite schichtet...' - Gertrude Kappel, Josef Kalenberg, Emil Schipper, Wanda Achsel, Rosette Anday

Wagner: Symphonic Spectaculars (Box Set)

Average customer rating:

Wagner: Symphonic Spectaculars (Box Set)

Manufacturer: Delta
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music

Classical | Box Sets | Stores | Music

Average customer rating:

Opera Highlights (Box Set)

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

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
ASIN: B000001W1D
Release Date: 1994-03-08

Madama Butterfly: Opera Highlights (Box Set)

Average customer rating:

Madama Butterfly: Opera Highlights (Box Set)

Manufacturer: Delta
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

Russian | Languages | Opera & Vocal | Styles | Music

Environmental | New Age | Styles | Music

General | Soundtracks | Styles | Music
ASIN: B00008MH9U
Release Date: 2003-02-13

Great Pianists of the 20th Century: The Complete Edition

Average customer rating:

Wonderful set
Don't buy the whole thing
Not Insane
insane
For the real music lover

Great Pianists of the 20th Century: The Complete Edition
Great Pianists of the Twentieth Century
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Gavottes | Ballets & Dances | Classical | Styles | Music

Mazurkas | Ballets & Dances | Classical | Styles | Music

Pavanes | Ballets & Dances | Classical | Styles | Music

Polkas | Ballets & Dances | Classical | Styles | Music

Polonaises | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Nonets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Ballads | Forms & Genres | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Rondos | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

Toccatas | Forms & Genres | Classical | Styles | Music

Voluntaries | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

Lullabies & Berceuse | Vocal Non-Opera | Opera & Vocal | Styles | Music

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

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

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

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

General | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Classical | Box Sets | Stores | Music
ASIN: B00002EITP
Release Date: 1999-10-26

Customer Reviews:

Wonderful set.......2004-10-24

This set is for serious piano fans, not for the ones who just start building up a CD library. I sort of agree with one of the reviewers, that there are many repetitions. But if you love piano, you wish to hear the same piece in different interpretations. Indeed, I really like this feature of this set: I can compare the style of various performers.
If you are into piano music, I encourage you to grab this set, if you can find it used (not available anymore at Amazon). I also hope, that there will be a continuation, in which other great pianists, who were left out because of the space limitation, will be included (Prokofiev, Bartok, Dohnanyi, etc).

Don't buy the whole thing.......2001-07-08

I've put a lot of thought into constructing my own piano library, and unless you can easily afford the present set, I would recommend a different approach to collecting piano music. This set emphasizes the piano player rather than the piano composer. Of course both are important. For example, the "Barcarolle" appears in this set EIGHT times. I'm sorry, although I love the piece, if I am going to spend [the money], I would prefer more variety. Where are the Alkan, Medtner, and Szymanawski compositions represented in this set? I appreciate having so many interpretations of the same pieces, but I would also appreciate more exposure to pieces not so popular. The selection by Philips which I consider a somewhat popular selection suggests to me that when Philips constructed this set, they realized most people would be buying the disks separately, and this affected the selection. And it's not just that obscure composers are left out, but also if one spends so much money on piano recordings, you'd think you'd want to buy pieces from a composer in completeness. For example, an alternative way to construct a library would be to combine purchases of complete cycles, e.g. complete Beethoven sonatas, complete Scriabin preludes, etc., along with outstanding recordings of more particular pieces. I'm not sure why someone would want to concentrate so much on so many famous artists, instead of acquiring complete sets of compositions. For me the composer is more important, or at least, if I am going to spend [the money]on piano recordings, I'd prefer more complete, rather than snapshot, exposure to the composers.

Not Insane.......2001-01-02

I had to write this review, as I am enthralled with this set. I have been going through it in order having already purchased a few individual units from the collection earlier. I am not sure what `insane' was talking about as there is NO repetition. Sure some pianists perform the same pieces, isn't that what they did in reality? The idea is to appreciate the different nuances and approaches taken by these artists. You will then enjoy these pieces from a better vantage.

It is a large ambitious contribution to the art of great piano playing. It is a labor of love and represents a tremendous amount of research and cooperation between many record companies. Rather then representing insanity, it is a resource to treasure.

Yes experts can quibble over who was left out, and what performances were inserted. I do not think such a massive undertaking could have been accomplished without someone being able to find faults. Overall however, unless you already have a monumental collection, (it would have to be almost legendary), this incredible set will give you a rewarding look into 74 of the greatest pianist of all time. You will come away with a honed sense of appreciation for your likes and dislikes. You will undoubtedly become someone who will search out recordings and be able to enjoy them for the rest of your life with a refined ear.

The only negative is this price. I would shop around, as it is daunting to spend 2 thousand dollars on such a collection. Of course you do get 200 CD's. However, the used collections might be good to consider.

Enjoy these masterpieces. I am not ashamed of owning this music as `insane' implies. I am proud to have enriched my life.

insane.......2000-10-12

This is not a good library of piano music. The reason is, there is too much repetition. I'm not saying the series is bad. The series is wonderful. But this collection as a whole is a bad libary. For the same money you could collect together (with more effort) an incredible libary of piano music. There are so many wonderful cd's out there, this is just a waste of money. If you can actually afford to spend 2 grand on piano music, then either (1) spend the time and do some research to get a good library of piano music, which will probably include some selections from this collection, or (2) hire someone to do that for you. Personally I would be embarrassed to own this whole collection, since that shows I have put little thought into my purchases of piano music.

For the real music lover.......2000-03-12

This series attempts to present important and representative performances by most of the major pianists of the 20th century. One might quibble a bit with the choices, but the works presented are of consistently high quality, and often do represent what may be the best works of a performer. Since this covers most of the time that recorded music existed, some of the recordings are technically challenged, as there is only so much one can do to enhance an old recording. Still, these appear to have been treated with love and respect in their restorations. Since this series is so large (and expensive!) one is tempted to "cherry pick" through the series, yet by doing so one can easily overlook gems by artists one is less familiar with. This large a set must inevitably have many versions of the same pieces, and takes many hours to listen to. The true enthusiast will appreciate the differences in interpretation, whereas the less experienced listener may find the set repetitive and overwhelming. If one has the time to really dig into this set, it can provide years of exploration and discovery. It would make a wonderful gift for some special music lover in your life ... or for yourself!

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Afterlive: Live 1994-1997 [Live] [Original recording remastered]

Alfred Schnittke: Complete Violin Concertos (1-4) - Gidon Kremer / Christoph Eschenbach

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