Soliloquy

Soliloquy

ASIN: B00006AWFF

Editorial Reviews
Product Description
As his third album for Capitol, 1968's Soliloquy was the pure essence of Eps, Just George and his 7-string guitar. With an approach to solo guitar unlike that of any of his predecessors or contemporaries, George's performances were legendary, and Soliloquy eloquently underscores his mastery. Sundazed 2002.

Tracks:

Introduction - Gordon MacRae/William Le Massena
Main Title: The Carousel Waltz - 20th Century-Fox Orchestra/Alfred Newman
You're A Queer One, Julie Jordan - Barbara Ruick/Shirley Jones
When I Marry Mr. Snow - Barbara Ruick
If I Loved You - Shirley Jones/Gordon MacRae
June Is Bustin' Out All Over - Claramae Turner/Barbara Ruick
June Is Bustin' Out All Over Ballet - 20th Century-Fox Orchestra/Alfred Newman
Soliloquy - Gordon MacRae
Blow High, Blow Low - Cameron Mitchell
When The Children Are Asleep - Robert Rounseville/Barbara Ruick
A Real Nice Clambake - Barbara Ruick/Claramae Turner/Robert Rounseville/Cameron Mitchell
Stonecutters Cut In On Stone - Cameron Mitchell
What's The Use Of Wond'rin - Shirley Jones
You'll Never Walk Alone - Shirley Jones/Claramae Turner
Ballet - 20th Century-Fox Orchestra/Alfred Newman
If I Loved You (Reprise) - Gordon MacRae
You'll Never Walk Alone (Finale) - Shirley Jones
Carousel Waltz (LP Version) - 20th Century-Fox Orchestra/Alfred Newman

Amazon.com

Richard Rodgers always considered Carousel his favorite score, even though it didn't generate the number of popular hits of some of the other shows he produced with lyricist Oscar Hammerstein II. Their adaptation of the Ferenc Molnar play Liliom is marked by three especially sublime moments. "The Carousel Waltz," Rodgers's alternative to the traditional Broadway overture, serves as an orchestral backdrop to the opening scene and is one of the best miniatures ever written for the theater. "If I Loved You," which establishes the romance of carnival barker Billy Bigelow (Gordon MacRae, a late replacement for Frank Sinatra) and nice girl Julie Jordan (Shirley Jones), is a musical minidrama in which the pair's discussion of how they are not in love reveals just how much they are in love. "Soliloquy" is Billy's powerful solo that foreshadows the action to come in Act II. Add the inspirational anthem "You'll Never Walk Alone," and you have Rodgers and Hammerstein's most extraordinary, near-operatic score. On the soundtrack for the 1956 film, MacRae and Jones are in exceptional voice (following their success in 1955's Oklahoma) and the orchestra sounds glorious, but unfortunately some of the numbers were shortened, most notably "If I Loved You." Extensive production notes, an interview with Jones, and a synopsis are included. --David Horiuchi

Customer Reviews:

AWESOME!!.......2007-05-12

LOVE SOUND TRACTS FROM OLD MOVIES - SING ALONGS AND THE BEST ESPECIALLY WHEN YOU ARE TRAVELING AND CAN SING LOUD. IT IS A KEEPER

MacRae and Jones soar in this tragic R&H musical.......2007-02-11

This film adaptation of Carousel came shortly after the Oklahoma! film and reunited Gordon MacRae and Shirley Jones. Although the film was not well-received at the box office, the soundtrack shows MacRae, Jones and the superb cast performing their roles to their heart's content. Their performance helps bring out the pathos in this tragic R&H musical, which Rodgers himself considered his favourite of all his works.

MacRae shines vocally as Billy Bigelow, bringing an open-hearted musicality and sincerity to his stout-hearted portrayal. MacRae stands out in Billy's pivotal Soliloquy, which some reviewers have considered one of the finest vocal performances of the 20th century. He is well-partnered by Shirley Jones, who lends her tender voice and personality to her portrayal as Julie. Listen to the chemistry they exude during the pivotal If I Loved You duet, as if they're overcoming their shyness and drawing sustenance from each other with their love. The supporting cast also gives its all in performing their roles. Claramae Turner's hearty Nettie brims with sincerity, warmth and tenderness, and she leads a rousing rendition of June is Bustin' Out All Over and renders You'll Never Walk Alone touchingly. Barbara Ruick and Robert Rounseville are superb as Carrie and Mr. Snow, although I admit I would have liked a little more humour. I also admit I would have liked Cameron Mitchell as Jigger to sound more sinister, like Fisher Stevens did in the 1994 Broadway revival recording. But even as it is, everyone sings gloriously and is given sumptuous backing from Alfred Newman's superb arrangements and the 20th-Century Fox Orchestra, when it shines out in the ballets.

If I'm adding to the praise of these critic-proof performance, you'll wonder, why am I giving only 4 stars? Well, it's because the extra sound effects from the unreleased sequences tend to jar after a while. I know some of you are complaining that the dance sequences are plagued by extraneous sound effects and noise. I share the same feelings too and also wish that the producers had utilised the original studio pre-recordings for a sumptuous listening experience. However, let us at least be grateful that Didier Deutsch and his production team have made these unreleased sequences available on a soundtrack CD reissue. At least it's a step in the right direction before the entire canon of R&H film soundtracks (yes, including South Pacific and The Sound of Music) gets its due as deluxe 2-CD sets, complete with underscore.

However, don't let this gripe dissuade you from buying this soundtrack. It offers a complete musical experience that one could only dream of in the previous CD reissues of the soundtrack. And it demonstrates the element that Rodgers & Hammerstein were discovering in their musicals.

Great Music.......2007-01-04

Rogers and Hammerstein were in a different league when it came to writing musicals. Their music, lyrics and story are never alike. These two partners were exceptional and their music shows it. Carousel is a tragic story but also shows that human nature can rise above adversity. The music is wonderful and the characters believable. A great movie.

Response to David Pabian's review below.......2004-06-30

Response to David Pabian's review:

My review was not in error, as Mr. Pabian expects. The review was for the original CD release, not this expanded version. Amazon lifted it out of that spot and dropped it here, which of course makes it anachronistic. Why they did it without reading it is certainly an inept decision.

Gummed up an Original.......2003-06-10

This overblown "completeitis" has got to stop. The original soundtrack album Carousel Waltz is now relegated to Appendix status, and terrible sonics accompany dancers' footstomping in the "new" expanded musical sequences, taken directly from the soundtrack rather than from still-existing musical tracks. There was a reason soundtrack recordings were studio performances. The proportions were right, the timings were correct for an overall BALANCED listening experience. These gawdawful expanded editions, often with dialogue thrown in, completely throw off those balances. An argument might be made for expanded sequences appropriate to a CDs longer playing time than the standard L.P. 45min., but possibly only if those sequences are from their original studio-recorded, pre release-print mix -- which could have easily been done in this case. A quick word on one of the above reviews: This is not the first time the complete Carousel Waltz is heard in stereo. There were two previous CD remasterings of the original soundtrack whereon it was included. And the reprise of "If I loved You" was part of every soundtrack release, mono and stereo.

Billy Joel: Fantasies & Delusions, Op. 1-10

Average customer rating:

great CD
At best, a sincere attempt by a layperson
Lovely piece of wrting played very well
Unbelievable... unforgettable!
Richard Joo is the pianist in the world - I heard him live!!!

Billy Joel: Fantasies & Delusions, Op. 1-10
Billy Joel , and Richard Joo
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Billy Joel - Fantasies and Delusions: Music for Solo Piano, Op. 1-10
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The Bridge
Cold Spring Harbor
The Nylon Curtain

ASIN: B00005Q6KS
Release Date: 2001-10-02

Tracks:

Reverie (Villa D'Este)
Waltz # 1 (Nunley's Carousel)
Aria (Grand Canal)
Invention In C Minor
Soliloquy (On A Separation)
Innamorato
Suite For Piano (Star-Crossed)
Sorbetto
Delusion
Waltz # 2 (Steinway Hall)
Waltz # 3 (For Lola)
Fantasy (Film Noir)
Air (Dublinesque)

Amazon.com

For nearly a decade now, Billy Joel has devoted himself to writing instrumental classical music. The results heard on Fantasies & Delusions show the "Piano Man" firmly rooted in Romanticism and short, expressive works that cover a range of moods. There are hints of Schumann and Chopin throughout the 10 solo piano compositions; Joel may wear his influences on his sleeve, but at least he has great influences. Some critics may scoff, but this is a solid debut--not a "classical crossover" attempt filled with infectious pop melodies, but an impressive recording of new piano works played solidly by Richard Joo. As with his pop creations, Joel doesn't strive for the cutting-edge and he certainly doesn't traverse the depths of human emotions (though the 11-minute "Soliloquy, Op.1" sounds a little overwrought). This is still a pleasant classical album that's infinitely listenable (and head and shoulders above recent "classical" works penned by Paul McCartney and other pop stars). --Jason Verlinde

Customer Reviews:

great CD.......2007-05-09

Amazing. It is very light, not serious. A very enjoyable CD

At best, a sincere attempt by a layperson.......2007-03-01

I understand that Joel has a limited classical background. It shows in all of the pieces. They are, however, a sincere attempt at classical composition. He tries different approaches, like drama, wistfulness, and even a motoric element. But it's obvious that he needs to listen to more classical discs and brush up on his knowledge of classical repertoire.

Nice try though.

Lovely piece of wrting played very well.......2006-12-31

For all that say this is a hollow initation of past composers should remember that there has been little groundbreaking compsition for the last 50 years (maybe 100) and what is groundbreaking I can barely stand listening to. It is not Chopin .... it not supposed to be.

Listen for what it is and you will find it lovely piece of wrting played very well.

Unbelievable... unforgettable!.......2006-12-01

Wow! This is a great classical album. It's perfection. A hundred years from now, if only one recording of Billy Joel survives, I hope it's this one.

Richard Joo is the pianist in the world - I heard him live!!!.......2006-03-07

I have to say that the performance on the CD by Richard Joo is impeccable! However, I have had the fortune to hear him perform live and I must say that he is absolutely the BEST pianist that I have ever heard!!!! I have been in the classical music business for years and have heard countless pianists, but RICHARD JOO is in a league of his own. Especially when he performs "serious" classical pieces. So, if you ever get a chance to hear him live, DON'T MISS IT!!!! I have definately become his fan.

Average customer rating:

Great!
Beautiful Hawaiian Mood Music
Beautiful, Gentle, Waterborne
Gentle Island sounds

Soliloquy: Ka Leo O Loko
Keola Beamer
Manufacturer: Windham Hill Records
ProductGroup: Music
Binding: Audio CD

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Moe`uhane Kika: Tales From The Dream Guitar
Hawaiian Slack Key Guitar Masters
Black Sand
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Hawaiian Slack Key Guitar Masters Collection, Vol. 2

ASIN: B00005UK0Q
Release Date: 2002-01-08

Tracks:

Pailolo
Kapaula Bay
Kaulana Na Pua
Kolowaka
Li'i's Song
Mino'aka
Moana's Laundry Basket
Nala Hala O Nuae
Wai Ulu
Pauahi O Kalani
Kawohikukapulani
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Ka Makani 'Ula'ula
Pau Lili Lehua

Amazon.com

Of the slack-key guitarists that pianist George Winston has brought to light from Hawaii, the most eloquent and forward-looking is Keola Beamer, which is ironic given that Beamer's first album in 1973 was called Hawaiian Slack Key Guitar in the Real Old Style. There's nothing old about the music on Soliloquy. Unlike most of his brethren, Beamer rarely sings, and that seems to free him from the sometimes clichéd phrasing and melodies identified with Hawaiian music. Even without those signposts, however, Beamer's music is distinctly Hawaiian, beginning with the slack-key guitar. It's a standard acoustic guitar, but the strings are tuned lower--literally, slacker--than normal. It gives the guitar a lazy, wistful sound just shy of yearning. Soliloquy mixes Beamer's original compositions with traditional songs in unique arrangements, including some for two acoustic guitars. A bit more low key than his previous albums, and featuring more nylon than steel string, Soliloquy is a quiet meditation born from the idyllic environment of Hawaii. --John Diliberto

Customer Reviews:

Great!.......2007-04-06

I just set the player on repeat and listen to it for hours. Soothing music. Good to pay attention to or just let it be background music. This is a good CD to have.

Beautiful Hawaiian Mood Music.......2006-08-25

The playing is lovely, and will set a peaceful, relaxing Hawaiian tone wherever you listen to it.

Beautiful, Gentle, Waterborne.......2004-07-13

Infused with the islands - recreates them in sound. The perfect accompaniment to a day or evening on the water. This music gently, deeply sinks in. I'm buying another as a gift for a friend so I can get mine back!

Gentle Island sounds.......2002-12-03

Keola's latest release for George Winstons Dancing Cat Records is a wonderful, soothing, melodic trip through the Islands. There is no low point on the album, and as the songs all are of a quiet tempo with similiar feel, they flow together as a sort of Hawaiian slack guitar suite. Highly recommended! Also- if you get the chance- see Keola live. He puts on a super show.

Bryn Terfel - Something Wonderful (Bryn Terfel sings Rodgers & Hammerstein)

Average customer rating:

I have just been introduced.
Great Music + Terrific Lyrics +Decent Singing = Very Nice CD
A new meaning of throat singing.
Superb matchmaking in Terfel's R&H recital
Broadway or Opera... This CD is indeed ýSomething Wonderfulý

Bryn Terfel - Something Wonderful (Bryn Terfel sings Rodgers & Hammerstein)
Bryn Terfel , English Northern Philharmonia , Paul Daniel , Opera North Chorus , Richard Rodgers , and Oscar Hammerstein II
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001GRP
Release Date: 1996-09-10

Tracks:

OKLAHOMA: Oh, What A Beautiful Mornin'
State Fair: It Might As Well Be Spring
South Pacific: Some Enchanted Evening
OKLAHOMA: The Surrey With The Fringe On Top
South Pacific: Bali Ha'i
Carousel: June Is Bustin' Out All Over
The King And I: Something Wonderful
Allegro: So Far
Allegro: A Fellow Needs A Girl
The King And I: I Have Dreamed
Allegro: What A Lovely Day For A Wedding
Me And Juliet: No Other Love
The Sound Of Music: Edelweiss
Carousel: If I Loved You
South Pacific: There Is Nothin' Like A Dame
South Pacific: Younger Than Springtime
Allegro: Come Home
South Pacific: This Nearly Was Mine
Carousel: Soliloquy
Carousel: You'll Never Walk Alone

Amazon.com

In the opening song of "Something Wonderful," Welsh bass-baritone Bryn Terfel sings, "All the sounds of the Earth are like music." They most definitely are when Terfel surrounds them with his resonant baritone. Every phrase of Rodgers and Hammerstein's music is imbued with uncommon sensitivity, impeccable phrasing, and dazzling beauty. Terfel's rich and meaty voice shares a plate with delicate pianissimos, unabashed sentimentality, and swaggering forthrightness. He successfully tackles songs originally written for women. In "It Might as Well Be Spring," he transforms dippy into dapper. And he turns "Bali Hai" into a foreboding, demanding, and seductive call; the listener must helplessly succumb to the world of his sensitive manliness. His interpretations of the old standards--"If I Loved You," "Soliloquy," "This Nearly Was Mine," "Some Enchanted Evening"--are stellar. Despite the temporary lulls caused by the second-class songs from "Allegro," Terfel does a first-class job of bringing them to life. Undoubtedly one of the best crossover records of all time. --Barbara Eisner Bayer

Amazon.com

Customer Reviews:

I have just been introduced........2007-01-22

I came across the CD by sheer accident and am I glad I did. Wonderful music. Thanks for the music Bryn.

Great Music + Terrific Lyrics +Decent Singing = Very Nice CD.......2005-01-27

While not an expert on technical singing I really, really like this CD. I think Terfel's voice is pretty decent & he sings both male/female lead R & H songs for a total of twenty cuts. One cut I really enjoyed , but had never heard before was the song "So Far"
from R & H's "Allegro" with those Richard Roger's hooks & terrific Oscar Hammerstein lyrics. Felt that the orchestra on this session made a good move using the original orchestrations for a classic R & H feel. I concur with the reviewer regarding the miking of Terfel's voice in this session which seems too low forcing the listener to turn up the volumne.

A new meaning of throat singing........2004-06-11

I cannot believe that the critics of today can rave about such an inferior singer as Byrn Terfel. He sings so badly, I can't believe he has had the career he's had. I don't care how many roles he's sung, he hasn't any vocal technique at all. If anyone would care to hear great singing, buy the; "Thomas L. Thomas" Voice of Firestone video and listen to a great Welsh singer. This is a great artist and vocal technician. Try; "John Charles Thomas," "Lawrence Tibbett," or "Nelson Eddy." Bryn Terfel couldn't carry their music cases!

Superb matchmaking in Terfel's R&H recital.......2004-03-09

You might think that it is a very superflous mismatch for an opera singer to try his vocal cords on the Broadway songs of Rodgers & Hammerstein. However, in this R&H offering by Bryn Terfel, he proves that it is a perfect match between singer and repertoire for a classical crossover record of this pedigree. Terfel communicates the essence of each of the 20 songs to the listener, and allows them to sound fresh and new. And it helps that he has been a R&H fan for many years with the music already close to his heart. He is given superb backing from the well-conducted Opera North forces an warm, natural recording.

From the first phrase of Terfel's uplifting opening version of "Oh, what a beautiful morning" from Oklahoma!, we listeners intuitively know that this is not going to be your superflous run-of-the-mill classical crossover offering of R&H songs. Terfel uses his big voice to great effect in Billy Bigelow's two songs from Carousel, "If I loved you" and the pivotal "Soliloquy" that builds up to a devastating climax. When he does this for Emile's two big solos in South Pacific, "Some Enchanted Evening" and "This Nearly Was Mine," he also makes them sound fresh and intuitively conveys their essence. He also thrills us even when his voice is soft and tender, such as on Lietunant Cable's "Younger than Springtime" and especially on Captain von Trapp's "Edelweiss" from The Sound of Music.

Besides the obvious highlights in this R&H offering, Terfel unearths some new delights. He does this by trying his vocal cords on songs that were originally intended for women, most notably in Nettie's two big numbers in Carousel, "June is busting out all over" and "You'll never walk alone", which he pulls off convincingly in a straight-laced and serious manner without sounding cliched. (In the booklet, "You'll never walk alone" was stated as being sung by the Chorus, but then in the show, it is sung by Nettie.) He is also wistful on "It might as well be Spring" from State Fair, and philosophical on Lady Thiang's "Something Wondreful" from The King and I. He also evokes a dreamlike quality on Bloody Mary's "Bali Ha'i" in South Pacific. The other unusual thing that Terfel does is include some unknown songs and treat them ravishingly. Four of them are from Allegro, highlighted by a charming "So Far," a reflective "A Fellow needs a girl" and a powerful "Come Home", and he also sings "No Other Love" from Me and Juliet as ravishingly as "I Have Dreamed."

If I have any quibbles, there are only two minor ones. Terfel's R&H offering runs for 74 minutes, and still has six minutes of empty space on a CD. I'm sure that Terfel could have given thought to the Mother Abbess's "Climb Every Mountain" from The Sound of Music, which I consider a more universal and less-cliched song than "You'll never walk alone" from Carousel. It would have suited his full-throated, big-voiced characteristic very well. Also, this offering of R&H seems to be lopsided to emphasise more of the first part of R&H. Sixteen tracks cover R&H from Oklahoma to South Pacific, with four tracks that cover their second half from The King and I to The Sound of Music. As such I would have liked to hear him sing a more balanced repertoire of R&H songs with equal emphasis to both halves of their collaboration. Perhaps he might record a Volume 2 with songs from the latter part of their collaboration in the near future. But with 74 delightful minutes of Terfel's R&H offering, how could anybody complain about the quality of this recital, especially with a lavish booklet complete with copious notes by R&H expert Ethan Mordden and full lyrics.

Overall, though, I'm very sure that this R&H offering is both a highlight of Terfel's discography, and can ably recommended with his recording of Schubert songs to anybody who wants to get to know his work well. It can also be recommended to Rodgers & Hammerstein fans old and new.

By the way, I also recommend the Rodgers & Hammerstein Songbook for Orchestra, with another superlative Telarc offering by the Cincinnati Pops Orchestra and Erich Kunzel. This recital is just as outstanding as Terfel's R&H offering. And, there is a wealth of cast recordings that new R&H fans will want to snap up, so this Terfel disc will be an ideal stepping-stone for them.

Broadway or Opera... This CD is indeed ýSomething Wonderfulý.......2003-07-25

It becomes clearer with every disk Bryn releases... he turns whatever he touches into gold! This CD is indeed `Something Wonderful'. From the first listen I was in love with this disk and can't get enough.

To begin, Rodgers and Hammerstein couldn't be more appropriately sung. From a time before electric amplification the sweeping melodies of Richard Rodgers were intended to be sung as Bryn illustrates. As I say every time, his diction is impeccable, his musicianship is unsurpassed, and his enthusiasm is wonderful. As for Oscar Hammerstein, I'm sure he doesn't mind a little foreign accent... because every word is clear and understandable.

To compare the accent of Terfel to Pavarotti and Carreras is simply misguided. Although Pavarotti and Carreras are top-notch for what they do, neither pursues `Broadway' music seriously. Their ventures into the medium are limited to Gala concerts and the occasional snippet on a CD... not on stage depicting a role, but simply to sing a beautiful song. Mr. Terfel, on the other hand, researches the roles, coaches them, and is constantly pursued to perform them. His accent is one of slight vowel or consonant differences, which do not detract from the beautiful music. The music is well done and the story clear. Lets not nitpick diction or the French will have our hides for Les Miserables!

For the music, the recording quality is great. One reviewer mentioned poor sound quality and I do believe that person may have a bad disk or player... on my end the sound is full and robust; Bryn's voice dominates the sound. The orchestrations are full and lush. When dealing with modern houses and theatres the orchestra pits are usually quite small, and consequently the ensembles themselves. CDs like this one allow for fully orchestrated music to be heard, with a large symphony of musicians. The numbers that utilize chorus, which sings very well, are well balanced.

This disk is a great buy in my book. Bryn Terfel is a phenomenal performer and he sings this genre excellently. Check out his `If Ever I Would Leave You', `Under The Stars', `We'll Keep a Welcome', `Songs of My Welsh Home', and numerous classical recordings like `Opera Arias', `Meet Bryn Terfel', `The Vagabond', `Wagner', `Schumann Lieder', and an large collection of full opera recordings. Enjoy.

Soliloquy
Average customer rating:

That is George Van Eps

Soliloquy
George Van Eps
Manufacturer: Sundazed Music Inc.
ProductGroup: Music
Binding: Audio CD

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Keepin' Time

Solo Guitar

ASIN: B00006AWFF
Release Date: 2002-07-23

Tracks:

Cute
This Guy's In Love With You
Lover
Nice Work If You Can Get It
Scott's Lullaby
By The Time I Get To Phoenix
Dancing In The Dark
Lover Man
All Alone
The Blue Room
Love Theme For Jo
Where Is Love?

Album Description

As his third album for Capitol, 1968's Soliloquy was the pure essence of Eps, Just George and his 7-string guitar. With an approach to solo guitar unlike that of any of his predecessors or contemporaries, George's performances were legendary, and Soliloquy eloquently underscores his mastery. Sundazed 2002.

Customer Reviews:

That is George Van Eps.......2007-01-06

If you have no idea who that guy is, this is, with Solo Guitar Performance w/ Johnny Smith, the best way to dicover him. You'll hear his magic, his agility and his sound. If you like the 'old school' sound this is what you want. Great sound and great music (couple of his own songs too!).

Richard Strauss: Scenes from Salome & Elektra [Hybrid SACD]

Average customer rating:

One of the best
If You Own A SACD Player, Buy This Hybrid SACD. If You Have A Normal CD Player, Buy The Earlier Plain CD "Living Stereo" Version
Barnstorming in the Concert Hall!
Hair raising Strauss!!

Richard Strauss: Scenes from Salome & Elektra [Hybrid SACD]

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B0009U55S8
Release Date: 2005-07-26

Customer Reviews:

One of the best.......2007-05-15

Fantastic. Different as I remember foim initial release in Australia in early 80s. I think many cuts were made for political reasons.

If You Own A SACD Player, Buy This Hybrid SACD. If You Have A Normal CD Player, Buy The Earlier Plain CD "Living Stereo" Version.......2006-11-08

Hey there, fans of Strauss and Reiner, this is a phenomenal recording no doubt, but I have to warn people that this Hybrid SACD doesn't sound as good in a standard CD player as the earlier version of this recording.

Of course if you have a SACD player, you should buy this thing, but if you are like most people who have standard stereos, the original release will sound superior in your normal CD player than the Hybrid SACD. Trust me on this one, I am a perfectionist and an audiophile.

Barnstorming in the Concert Hall!.......2005-12-21

These performances are amazing! The soundstage simply disappears out both sidedoors of the auditorium. If you don't like singing the Dance of the Seven Veils is so good it justifies the cost. One of the great performances of all time!

Hair raising Strauss!!.......2005-08-05

This is a great issue in this SACD series. Borkh has just the right sound for Elektra and Salome. Reiner backs her up perfectly. The CSO is in top form. Listen to the brass and you can be in heaven or hell.(Depends on your taste for his operas.)
Absolutely outstanding. The DSD remastering is phenominal!!

Les Miserables - The Complete Symphonic Recording

Average customer rating:

Great, definitely go with this and TAC
Awesome
Bought it used - thank God!
magnificent!
Mixed Feelings

Les Miserables - The Complete Symphonic Recording
Claude-Michel Schonberg
Manufacturer: Relativity
ProductGroup: Music
Binding: Audio CD

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Modesty Blaise
Teach Yourself Counselling
Sapphire and Steel - The Complete Series
Target Costing: The Next Frontier in Strategic Cost Management
Understanding Variation: The Key to Managing Chaos (2nd Edition)

ASIN: B000003BVK
Release Date: 1990-05-22

Tracks:

Prologue
Valjean's Soliloquy (What Have I Done?)
At The End Of The Day
I Dreamed A Dream
Lovely Ladies
Fantine's Arrest
The Runaway Cart
Who Am I?-The Trial
Fantine's Death
The Confrontation
Castle On A Cloud
Master Of The House

Tracks:

The Bargain-The Waltz Of Treachery
Look Down
The Robbery-Javert's Intervention (Another Brawl)
Stars
Eponine's Errand
The ABC Cafe-Red And Black
Do You Hear The People Sing?
Rue Plumet-In My LIfe
A Heart Full Of Love
The Attack On Rue Plumet
One Day More!
At The Barricade (Upon These Stones)
On My Own
Building The Barricade
Javert's Arrival
Little People
A Little Fall Of Rain
Night Of Anguish
First Attack

Tracks:

Drink With Me
Bring Him Home
Dawn Of Anguish
The Second Attack (Death Of Gavroche)
The Final Battle
The Sewers-Dog Eats Dog
Javert's Suicide
Turning
Empty Chairs At Empty Tables
Every Day (Marius And Cosette)
Valjean's Confession
The Wedding Chorale- Beggars At The Feast
Epilogue (Finale)
Bonus Track

Customer Reviews:

Great, definitely go with this and TAC.......2005-08-31

Right now, there are four official English-language versions of Les Miserables: the Original London Cast Recording, the Original Broadway Cast Recording, the Complete Symphonic Recording, and the 10th Anniversary Concert Recording. Les Mis' addicts are best served by purchasing all recordings, as they showcase different stages (as in the OLC and the OBC) of the development of this mega-musical, as well as the interesting variations in presentation and performances by the different casts and orchestras.

If you're the average musical-theater listener who can't afford to buy all available English-language recordings, however, my advice would be to get the CSR (due to the fact that it's "complete") and the TAC recording (due to the fact that performer- and performance-wise, it's leaps and bounds better than all of the other recordings). You deserve no less.

Awesome.......2005-07-03

I can't believe all the negative comments about Gary Morris. He is so much better in the role than Colm Wilkinson. I've seen Gary perform the part three times and there is NO better Jean ValJean (seen the play 14 times). It's an international cast and some of the accents do take time getting used to. But the power of the music supercedes it all. Listen with your heart people. It's so incredible.

Bought it used - thank God!.......2005-06-17

"Les Miserables" is a marvelous musical; a stunningly faithful interpretation of Victor Hugo's masterpiece, with an inspiring storyline and unforgettable characters. There are 2 reasons for buying a Les Mis CD - (1) you've seen a performance and want ONE CD to remind you of it or (2) you've become a les Mis junkie (like me) and want multiple versions so you too can hold forth on the rival merits of Andy Warlow vs Michael Maguire, Patty LuPone vs Ruthie Henshaw, Frances Ruffelle vs Kaho Shimada vs Lea Solonga. If you are in the first category, you really want the Tenth Anniversary Concert. The TAC has the complete storyline (albeit slightly abridged), it was recorded live (so there's an unique intensity and chemistry between performers), and from top to bottom it has by far the best cast.

However, if you're a serious Les Mis fan, you should buy this CD (in addition), simply because it does have the complete score. (The trouble with THAT is that it includes practically the only misstep in the whole script - if Jean Valjean has his number branded on his chest, then how is it credible that someone else will be convicted in his place?) I bought it for that reason and to hear other interpretations of the roles (in particular Andy Warlow's). I have all 4 versions, and they have all have their pluses and minuses, but frankly, I'm glad I didn't pay full price for this one. This version has a rather weak cast in general, but that does add to the fun arguing about it. On the plus side, it has Philip Quast ( THE BEST Javert, but he's even better on the TAC), Michael Ball (THE BEST Marius, also on the OLC and TAC versions), and Andy Warlow (a stirring Enjorlas for sure, but not THAT much better than Michael Maguire on the OBC and TAC). The scenes at the barricade are the best part of the CD. Kaho Shimada is an uneven Eponine, OK sometimes, less so at others. Debbie Byrne (Fantine) is OK, but I don't find her as moving as Patty LuPone (OLC) or Ruthie Henshaw (TAC). Tracy Shayne (Cosette) is irratating, not nearly as sweet as Judy Kuhn (OLB and TAC) or even Rebecca Caine (OLC). I find Barry James and especially Gay Soper (M. and Mme. Thenardier) grating as well.

I really miss Colm Wilkinson (OLC, OBC and TAC). OK, he has a unique singing style, but such heart. Not always perfect, but so powerful and emotional. All his solos and "Confrontation" just stop me dead in my tracks. The sweetness and purity of his "Bring Him Home" and "Epilogue" move me to tears. But really, there must be someone else who can do at least an adequate job or the show wouldn't have run so long in so many venues. I am willing to listen to another interpretation, but not this one. This is the central role in the play, it really can't survive without a good performance here. Gary Morris is horrible as Jean Valjean, cringe-provoking at times, merely weak at others. He's totally overmatched by Quast in "Confrontation" and by everyone in "One Day More" and "Epilogue". I haven't tried the recommendation of one reviewer of listening while squinting and shaking my head hard, but I don't see how that will help. Morris's "What have I done?", "Bring Him Home" and "Valjean's Confession" make me cover my ears or send me running for the fast forward button, although "Who am I?" isn't so bad. (I just tried the head shaking trick, it didn't help.)

magnificent!.......2005-06-15

Ok, I admit it. I have long been a fan of musicals, but I was only exposed to Les Mis a few months ago. My roommate loaned me this recording, and I fell in love. I played nothing but this soundtrack for the next several weeks.

As this is the only recording I've heard fully, I cannot give any comparisons between the performers here and those on other versions, but I do wish to give my general impression of the cast.

*Gary Morris (Valjean) - he has a strong, clear voice with which it is hard to find fault. He sings with emotion and passion, and I cannot imagine ever tiring of hearing him as Jean Valjean. If I had to give a complaint, it would be that I could imagine a voice with a little more distinct character...something a little riskier for the part of someone so complex.

*Philip Quast (Javert) - wow, I love deep voices, and his is so rich! I love when he hits the low note near the beginning of "Confrontation" ...I've seriously replayed that part over and over again just because it sends shivers through me...haha, I think you get the idea. This guy is good.

*Debbie Byrne (Fantine) - her voice took some getting used to because at first it seemed to me a little uncontrolled, almost like she could capture the fullness of the sound but not quite hit the notes. However, the more I listen to her, the more I enjoy her. Her voice has a wonderful texture, something you totally miss when listening to the super-clear, trilling sopranos that seem to be found all over most other musicals.

*Kaho Shimada (Eponine) - her voice took a little getting used to as well. I was a little confused until I realized she was Japanese, for though I wouldn't say you hear an accent, her voice does have a very different quality to it. Still, I enjoyed her performance very much. Her voice is trembling with emotion the entire time, almost like she can hardly control it...it is quite moving.

*Tracy Shayne (Cosette) - wow. I'm sorry, is Cosette supposed to be this shrill? Turn it off! While I'm impressed at some of the notes she hits, I don't think it's supposed to make you want to cover your ears.

*Michael Ball (Marius) -Ball makes Marius, a rather annoying character if you ask me, into someone actually likable, if not lovable. He's passionate and romantic, but not vapid. Probably my favorite vocal performance.

*Gay Soper and Barry James (the Thernardiers) - their voices are rather grating, but that's the point, right? Very entertaining performances...particularly in "Master of the House" (which, it's true, somehow manages to be stuck in your head all day).

*Anthony Warlow (Enjorolas) - very appropriate voice...manly and vibrant. If he doesn't make you want to go out and fight, then there's no help for you!

Overall, the performances were wonderful. I highly recommend this CD. A great recording of a great musical!

Mixed Feelings.......2005-04-20

I bought this recently, and it was an object lesson in why I ought to research an item before purchasing it.

For me, it's truly a toss-up as to whether this is a recording worth purchasing. The main benefit-a far from insignificant one-is that it is a complete recording full of much more materiel than can be found on the London or Broadway cast recordings. Basically, I was far from satisfied. The liner notes are error ridden, and the casting was not as good as possible. Gary Morris struck me as too young for the part, and Gay Soper (Mme. Thenardier) has a voice akin to the sound of fingernails on a chalkboard. But, in the absence of a complete Broadway recording, this still may be the best version available to buy. Be sure, however, to supplement it with another version. (The Tenth Anniversary recording might be the best.)

Average customer rating:

A European modernist embraces Ives
Great Performances, but the Star of this CD is Charles Ives
works grow and transform themselves
a fresh take on sonata no. 2
It takes a Frenchman to capture an American masterpiece!

Ives: Concord Sonata; Songs
Pierre-Laurent Aimard , Susan Graham , and Charles Ives
Manufacturer: Warner Classics
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Ives: Violin Sonatas Nos. 1-4
Ives: An American Journey
Ravel: Gaspard de la nuit; Carter: Night Fantasies; Two Diversions; 90+
Charles Ives: Songs
Charles Ives: Symphony No. 2 / The Gong on the Hook & Ladder, or Firemen's Parade on Main Street / Tone Roads No. 1 / Hymn: Largo Cantabile, for String Orchestra / Hallowe'en / Central Park in the Dark / The Unanswered Question - Leonard Bernstein / New York Philharmonic

ASIN: B0001HZ6MO
Release Date: 2004-05-11

Tracks:

The Things Our Fathers Loved
The Housatonic At Stockbridge
From The Swimmers
Memories (A - Very Pleasant, B - Rather Sad
Ann Street
Serenity (A Unison Chant)
1, 2, 3
Songs My Mother Taught Me
The Circus Band
The Cage
The Indians
Like A Sick Eagle
A Sound Of A Distant Horn
September
Soliloquy (Or A Study In 7ths And Other Things)
A Farewell To Land
Thoreau
Emerson
Hawthorne
The Alcotts
Thoreau

Amazon.com

Ives' Second Sonata is one of the toughest, but it holds no fears for Aimard, a noted interpreter of Messiaen, Ligetti, and other moderns who require virtuoso technique and idiomatic expertise. Each of its four movements is titled for New England luminaries: Emerson, Hawthorne, the Alcotts, and Thoreau. The longest, "Emerson," is knotty and energetic, bristling with a minefield of cluster chords. "Hawthorne" is a genial scherzo exhibiting a wider palette, while "The Alcotts" is a lyrical paean to domestic tranquility. "Thoreau" embraces the mysteries of nature, played with intensity by Aimard. There's an abundance of power in his playing, but also ravishing effects like the startling diminuendo in "Thoreau" and the array of marches, hymns, and parlor songs Ives threw into the mix. His terrific "Concord" Sonata is matched by the survey of Ives' inventive songs, 17 of them superbly sung by Susan Graham with Aimard superb as her piano partner. Graham captures every nuance of a mind-boggling variety of idioms, from nostalgia, tenderness, and hilarious miniatures like "Ann Street" and the sendup of opera in "Memories - A," among many other highlights. This one's a must for Ivesians, fans of musical eccentricity, modern music enthusiasts, and anyone in search of musical surprises, which abound on almost every track. --Dan Davis

Customer Reviews:

A European modernist embraces Ives.......2007-01-08

Chalres Ives was 46 when he published his "Concord"Sonata, and as the liner notes tell us, its sprawling shape and diverse styles are the result of gathering a lot of music previously composed (none of it for solo piano) and needing a single dwelling. Ives always had his own ideas about how music is held together or flies apart. He wasn't afraid to have it fly apart, and often his notion of coherence was so private, rooted in personal memories, that an outside listener can't be expected to penetrate the associations.

Aimard goes a long way in erasing the ecdentricity, privacy, and quirkiness of Ives's idiom bydrawing the sonata into the mainstream of European modernism, giving it the same clean, detailed, accurate, and impressionistic style that he might give to other individualists like Ligeti and Messiaen. (It's also nice to have the viola addition to the first movement and the flute in the fourth.) The "Concord" Sonata becomes a virtuosic event in his hands, no longer a purely "American" sport. I do find that listening to this vast work is better in concert, where its appearance is always a special occasion. But one has to be grateful for Aimard's quantum leap in execution compared to earlier recordings.

Ives gathered his huge output of 114 songs into a collection two years after the sonata. Susan Graham picks 15 of them, adding two more that folowed after 1922. These songs ask for a vocal chameleon who can shift instantly from Victorian parlor style to patriotic exuberance, folk song, whimsy, rapt nostaliga, and more. No one to date has been able to encompass this enormous range of expression, but Susan Graham comes as close as any. I would rank her with Jan De Gaetani, Thomas Hampson, and William Sharp among the singers I know who excel in Ives, and above the too-classical, somewhat congested renditions by Marilyn Horne and Jennifer Lamore. Aimard's accompaniment misses the Yankee flavor of the marches and patriotic snatches, but in its modernist way his style is as effective as in the sonata. Highly recommended for lovers of this music.

Great Performances, but the Star of this CD is Charles Ives.......2005-08-10

The uniquely atypical music of Charles Ives continues to mature and embed itself in the minds of larger and larger audiences every year. Practically every major orchestra in this country (and in Europe) now includes at least his symphonies in the standard repertoire. His music is probably as 'American' as any composed, so conjoined with literature and history and folksongs and all manner of Americana. This superb recording takes us one step further in appreciating Ives' gifts: his breathtaking Concord Sonata is coupled with one of the finest selections of his many songs and both sonata and songs are performed with consummate skill by pianist Pierre-Laurent Aimard and mezzo soprano Susan Graham.

Aimard's approach to this big piano work is one of direct approach to the complexities of line and mood and in that approach he doesn't allow his own personality to blur Ives' message. Aimard can tackle the impossibly difficult passages and keep them transparent: he can also find the inner quiet beauty as well as any other pianist. The result is a Concord Sonata of majesty and honest simplicity.

Susan Graham has long included Ives' songs in her recitals and that experience shows in her approach to this varied selection. Graham is an immensely intelligent musician, one who can find the meaning of even a brief song in an instant. She is in fine vocal form here, and her collaboration with Aimard completes a presentation that will be difficult to match. This is a fine recording and an excellent entry point for music lovers who may have been wary of Ives' challenges. Relax and enjoy this recital. Grady Harp, August 05

works grow and transform themselves.......2005-04-07

First off this is an Ives cornocopia of songs, all sung here with the reserve that is needed, I've heard too many American art Songs, Copland, Rorem and Ives with that wrongheaded "sing-songin" delivery, it is arrogant if nothing else, and the "cutsy-ness" of it does reach the audience,unless you simply want to be entertained and you checked your brain with your cash at the box office. Straightforward Ives is I think to most effective way of playing his music,that's why I still prefer the Kalish, he brings a gritti-ness to the Concord. Aimard (and all of us) has had time since the Seventies to think and re-think this piece, and there something should be said for the way music grows, transforms itself for different time periods, isn't that why music develops itself it is striongly constituted in the first place, it is well thought through, et cetra, construction all the obvious, Copland's "Piano Variations" is a similar example, the music simply changes with time, well we change, the music is fixed.So I guess there are simply different readings.

Aimard does bring some nice clarity,like to "Hawthorne", the blazing quickness searching until the "forearm" clusters stop the flow, the onward rush of the imagination, words can change the meaning of themselves this quickly which I think is what Ives saw in Hawthorne the writer.

For the "Alcotts" any kind of nostalgia is OK with me,the simple Bb triad timbres capturing the informed naivtivitee of the little home with Bronson Alcott the speaker public man of speaking (there is a difference between public speaking and lecturer,someone who teaches as opposed to simply speaking something Bush II knows quite well.Better simply to speak without saying anything.) This is not here however for Ives loved the Utopian aspect of Danbury existential renderings, the reflections back and forth of the lifeworld, the richness of culture of the complexity of the word,place, song, timbre,all in forms of strength all mixed blending together. Aimard simply brings things out I;ve never heard before, but then that is his approach always to clarify,and that is not always the best approach in Ives where his music does ask questions, his music we have learned should be opaque, and unexplanable,terse yet convoluted; it should not lead you by the nose at each and every moment.And Aimard I;m afraid does want to lead here. I think he thinks the opaqueness will happen by itself, its already in the music, he lets this occur in the fast sections,making it a pure texture,like Debussy, I guess Ives was an existential impressionist with transcendental content.

a fresh take on sonata no. 2.......2004-07-28

I have a slightly different view than with the previous review, as well as the Davis review. If you are a fan of Ives (you probably are if you are interested in this cd), then you may not need to bother with half of this cd. Messo Susan Graham is quite out of touch with the character studies of these wonderful songs. When she isn't yodelling many times louder than she ought to on some high notes to demonstrate her vocal command, she becomes the epitomy of boredom and banality. I imagine Ben Stein could give a more lifelike reading of 'The Circus Band'. The jovial cheer "hear the trombones!" sounds more akin to a yawn on this version. Since when did shear vocal power and sonic richness take such high precedence over interpretive skills? Have you really forgotten Jan de Gaetani's wonderous versions? I feel Graham has done a disservice to this music, and should probably go back to singing French arias which apparently she is quite good at.

The Concord Sonata is definetly the reason you may want to own this disc. Aimard is outstanding as per usual. Emerson does really come alive here, as does Hawthorne with it's dramtic tempo shifts. My main concern lies in the 3rd movement 'the Alcotts'. It is clearly a pastorale movement with a touch of sweet nostalgia. Aimard plays a little too deliberately here- not loose enough with the tempo or lively enough with the rhythms. That really is the only disadvantage. I don't think Aimard played the folk elements strongly enough.
I guess the main question is: if I own the Kalish recording of the Sonata, do I need this one too? Probably again, you are an Ives believer and this version has great insights- why not. Like the Kalish version, this one includes the optional viola line on Emerson and the flute part of Thoreau. They appear better realised with more dramatic impact on the Kalish recording- a minor point. Movement for movement Aimard has the first and seccond, but I prefer 3 and 4 on the Kalish. The 3rd mentioned above, and the fourth seems to have more gravity with Kalish, bringing more of a closure to the tempestuous nature of the work. Aimard shows a more whispy, impressionistic take as he also does at the start of Hawthorne, reminding of Debussy. Not inappropriate stylistically speaking, but definetly a matter of taste. Aimard is a winner and I love what he does for Ligeti and Messiaen. Overall a very successful Ives sonata, and a questionably performed set of songs, well-chosen as they might be. If you are new to Ives this should be enough to get you into further explorations.

It takes a Frenchman to capture an American masterpiece!.......2004-05-19

The "Concord Sonata" of Charles Ives has been described as "the greatest work written by an American." It's a big sprawling, glorious mess of a thing, inspired by the Transcendental writers Emerson, Hawthorne, Alcott and Thoreau. I first heard the ground-breaking version by John Kirkpatrick, and have long cherished the powerful account by Gilbert Kalish (recorded in the '70s). But hearing Pierre-Laurent Aimard play this piece makes me forget all about those earlier recordings. A specialist in Messian and Ligeti, Aimard plays Ives like one to the manner born. Forget any preconceived notions of what it means to be a "French pianist," and let this astonishing performance carry you away. The Alcotts movement has never felt so tender, and the Thoreau movement is likewise exquisitely balanced. Perhaps most enthralling is how he manages to give shape and sense to Emerson, and Hawthorne, the fiendishly hard scherzo, has never had a reading like this. I'd have been content with the sonata, but the disk also holds the gorgeous mezzo Susan Graham singing 17 Ives songs, with Aimard's brilliant accompaniments. A fabulous recording no serious American music collection should be without!

The String Quartet Tribute to Rush's 2112

Average customer rating:

Intermission music
How could you "tribute" Rush with this? It's a disgrace!
wow...
my favorite RUSh tribute!!
Exploitation or not...

The String Quartet Tribute to Rush's 2112

Manufacturer: Vitamin Records
ProductGroup: Music
Binding: Audio CD

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Exit... Stage Right: String Quartet Tribute to Rush
Subdivisions: A Tribute
Chamber Maid: The Baroque Tribute to Rush
The Piano Tribute to Rush
Rush: Chemistry

ASIN: B0007PAM4C
Release Date: 2005-03-08

Tracks:

2112 Overture
The Temples Of Syrinx
Discovery
Presentation
Oracle: The Dream
Soliloquy
Grand Finale
A Passage To Bangkok
The Twilight Zone
Lessons
Tears
Something For Nothing

Product Description

1. 2112 Overture
2. The Temples Of Syrinx
3. Discovery
4. Presentation
5. Oracle: The Dream
6. Soliloquy
7. Grand Finale
8. A Passage To Bangkok
9. The Twilight Zone
10. Lessons
11. Tears
12. Something For Nothing

Format: CD

Customer Reviews:

Intermission music.......2007-06-26

Just letting you know that on the Snakes and Arrows tour, Rush is playing this music during their intermission.

How could you "tribute" Rush with this? It's a disgrace!.......2007-04-27

Three thumbs down! One from Neil, one from Alex, and one from Geddy I'm sure!!! My God, I can not wait until Vitamin Records either goes out of business or wake's up and starts doing recordings with real talent. These sound like midi files - and not just the Rush, but everything I've heard from them. The Iron Maiden disc is pathetic, as is the new Dream Theater.
Be warned, do not buy this CRAP! That's what they are putting out. If there are real players playing this, they sound like they're on the middle school level. It's quite a shame. There is some beautiful music that these great musicians in these bands wrote and vitamin records is wiping their butts with it and laughing all the way to the bank. Do NOT support them and spread the word.

wow..........2007-01-17

i honestly only bought this for comedy purposes, but i had no idea what i was in for!

this is possibly one of the worst CDs ever produced, tribute or otherwise. the orchestration is incredibly sub par, and hugely aggravating.

i was also largely disappointed to discover that it was put out in 2005. i was REALLY hoping for some late 70's/early 80's action. i should have paid more attention, i guess.

also, from the sound of things, the only song with actual violin instrumentation (beyond the first violin) is passage to bankok (which is one of the dumbest songs ever written anyway). the rest of them reek of synthesizer (i think i actually have some of the same string samples!).

and lastly, at virtually no point is the instrumentation actually a string quartet.

i would really like to hang out with the two dudes who made this. i am betting that they are supremely insane. this one is definitely getting played at parties when i want people to leave.

my favorite RUSh tribute!!.......2007-01-03

This one is the cool one! Hearing the classic RUSH tunes performed by a quartet will give you a whole new appreciation for the compositions and arrangements the wonderful trio from Canada have given to us.

Exploitation or not..........2006-11-05

Exploitaton or not, it's still an interpretation of some of my favorite, formative music. I'm one of those geeks who listened to Rush so much as a teenager that just hearing a brief melody from one of their songs causes a truly visceral reaction.

I had always said that in 200 years, people will still listen to Rush and hearing the work interpreted through a string ensemble only strengthened that belief.

Of course, I'm also a big fan of "tribute" albums. Some of my favorites being the "Ecomonium" tribute to Led Zepplin, the "Moody Bluegrass" Nashville tribute to the Moody Blues, and the "Fire on the Mountain" reggae interpretations of the Grateful Dead. Oh yeah, I'm also one of the few that really got a kick out of Rush's own tribute album, Feedback.

In summary, if you love Rush and you enjoy tributes, buy this album. If not (on either account), skip it.

Average customer rating:

A good collection
A Musician of Great Dignity and Style
Passed the "Opera in English" test with flying colors.

Great Operatic Arias

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

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

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A Treasury of English Song
Songs My Father Taught Me
More Songs My Father Taught Me
On the Idle Hill of Summer: Song Cycles & Songs by Vaughan Williams, Butterworth, Quilter, Peel
Great Baritone Arias

ASIN: B0006SGF1Y
Release Date: 2005-02-22

Tracks:

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

Customer Reviews:

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

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

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

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

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

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

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

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

Jazz Music:

Jazz Music

Jazz Music