Live For Life

Live For Life

ASIN: B0000BVGM0

Editorial Reviews
Octavio Rocca, San Francisco Chronicle
A sexy voice, impeccable taste, and rare musical instinct add up to make Opie Bellas a jazz singer to treasure.

Product Description
Lush, Sexy Chamber Orchestral arrangements done with taste and panache. Opie Bellas is a singer to treasure.

Live For Life

Tracks:

Die Sieben Tods Prologue
Die Sieben Tods No. 1 Faulheit (Sloth)
Die Sieben Tods No. 2 Stolz (Pride)
Die Sieben Tods No. 4 Zorn (Anger)
Die Sieben Tods No. 5 Vrei (Gluttony)
Die Sieben Tods No. 6 Unzucht (Lust)
Die Sieben Tods No. 6 Habsucht (Avarice)
Die Sieben Tods No. 7 Neid (Envy)
Die Sieben Tods No. 8 Epilog
My Ship
One Life To Live
Buddy On The Nightshift
Nannas Leid
Bilbao - Song
Surabaya - Johnny
Das Leid Von Der Harten Nuss
Je Ne T'amie Pas
Schickelgruber
Der Abscheidsbreief
Foolish Heart
Speak Low
I'm A Stranger Here Myself

Amazon.com

Kurt Weill's ballet with songs is one of this century's greatest theatrical works. It has all the wit and melodic appeal of The Threepenny Opera and social conscience of Mahagonny, but more warmth and musical sophistication than either. It's also all over with in about 40 minutes. Some critics believe the piece was intended as a sort of love poem to Weill's wife, Lotte Lenya; given the tenderness of much of the music, it's hard to disagree. Lenya herself recorded the piece in the 1950s (a recording recently reissued by Sony) and this very much newer performance is welcome particularly for Anne Sofie von Otter's highly intelligent and musical way with the text. The other songs, from both Weill's Berlin and Broadway periods, make the perfect filler. --David Hurwitz

Customer Reviews:

Very Good.......2006-01-03

This is a very nice selection of Weill pieces showing the full range of his output. These range from the ambitious Seven Deadly Sins to songs from Happy End to some of his Broadway work. All are very interesting. The performers, particularly Von Otter, are excellent. Recommended strongly.

Excellent Weill Alternative to Lenya and Lemper.......2005-09-29

`Speak Low Songs by Kurt Weill' is a great addition to the performances of Herr Weill's works by the prominent mezzo-soprano, Anne Sofie Von Otter. I have listened to many performances by Weill specialists from the archetype, Weill's wife, Lotte Lenys, for whom many of the songs were originally written to Ute Lemper and Gisela May, who lean heavily toward Lotte Lenya's gravel-voiced interpretation of Weill's songs.

Anne Sofie Von Otter breaks with this tradition and gives us what are easily the sweetest interpretations of Weill's songs from both his German and English works, which I have heard anywhere.

The flagship performance on this disc is `Die Sieben Todsunden' (`The Seven Deadly Sins') which was a cycle of songs to be sung on the stage, accompanied by dances done by a second performer. This takes the first nine (9) tracks and is at least as good as what I have heard from Weill specialist, Lemper. This album is the first time I have noticed that there are two versions of this work, and that Ms. Von Otter is performing the version for soprano.

But, I think the most moving performances come later, especially in von Otter's performances of the three numbers from `Happy End', `Bilbao-Song', `Surabaya-Johnny', and `Das Lied von der harten Nuss' (Song of the Big Shot). I have heard these done by many people, but never so sweetly. These numbers are so lovingly performed that I insist that you ignore the fact that the lyrics are in German. The accompanying booklet gives English translations, which I simply ignore and enjoy the musical talent with no filter. My understanding German has nothing to do with this, as I do the same with French, which I can just barely make out.

Kurt Weill may not be the most important influence on American musical theatre in the 20th century, but he is easily in the top five, along with the Gershwins, Irving Berlin, Richard Rodgers and collaborators, and Cole Porter.

Ms. Von Otter is ably accompanied on this disk by her favorite pianist, Bengt Forsberg plus the Norddeutch Rundfunk orchestra directed by John Eliot Gardiner. While I really like her selection on this disk, the collection makes me wish Ms. Von Otter would do some more Weill and spend less time hanging out with Elvis Costello, but that's a different story.

Everything is right but the style.......2005-09-24

Weill and Brecht defined a nasty age with nasty art, writing some of the grittiest satire in the history of music. In this CD von Otter misses that edge, skirts all the dangerous, sleazy implications, and ultimately sounds too much the opera singer slumming it for an hour. Her earnestness is no subtitute for the right period style, a la Lotte Lenya.

Intelligent reading from both singer and conductor.......2005-01-27

THE SEVEN DEADLY SINS is such a brilliant mini-masterpiece (and, to me, the pinnacle of the Brecht-Weill years) that it is hard to screw up. It is a testament to the staying power of this work (and to the brilliance of Weill's music in general) that it can be performed by the likes of Lotte Lenya, Julia Migenes, Ute Lemper, Judy Kaye, Marianne Faithfull, Teresa Stratas, and -- as here -- Anne Sofie von Otter, and STILL work... and EACH of these women are totally successful in the piece on their own terms.

Here, Anne Sofie von Otter gives us an intelligent (and highly musical) rendering of the text, keeping the musical line very much intact. She sings with vibrato at times, and then will turn around and use straight-tones at moments where it is dramatically appropriate to do so. She balances the performance well, shifting gears between cool detachment (which she is often criticized for) and impassioned outbursts (which her critics often fail to notice).

John Eliot Gardiner surprised me with how easily this music seemed to come to him, especially as he seems to be a man more at home with "Period-Instrument-Mozart" than highly charged 20th century works. However, his reading of "The Rake's Progress" by Stravinsky was totally staggering. For example, his choice beginning the climactic moment of the score ("Envy") as slowly as he does caught me very much off guard at first, and I didn't really care for it at all. However, with each successive listen, I find myself "getting" this choice more and more.

Finally, the "filler." As to be expected, she is more successful with the European material than she is with the songs from Weill's Broadway years. But this is the case with about 99.9% of all opera singers who try to sing Weill's Broadway scores. You will never hear any singer give "Je ne t'aime pas" a more hauntingly beautiful, passionately intense performance than Anne Sofie von Otter. Truly, the ultimate interpretation of one of my favorite Weill songs. "Nannas Lied," "Der Abschiedsbrief," and the HAPPY END selections. However, "My Ship" and "One Life to Live" seem to fail at catching fire -- the former because it is marred by an attempt to sound like a "pop singer," the latter because von Otter sings English better than native speakers (she knows where the ACTUAL emphasis in the phrase "nothing: the thing is to have fun" goes, as opposed to where Ira Gershwin placed it). I also -- surprisingly enough -- don't care for her performance of "Schickelgruber" -- she just seems totally lost to me. (I really think that this song is foreign territory to 'legit' sopranos and mezzos -- I don't even care for the Stratas rendition.) Just when I thought I would have to suffer through another bad batch of "opera-crossover," Anne Sofie turned around and surprised me by giving highly successful performances of the numbers from ONE TOUCH OF VENUS (especially on "I'm Stranger Here Myself").

All in all, a worthy purchase: highly recommended to all fans of THE SEVEN DEADLY SINS and Kurt Weill enthusiasts.

Brilliant--The best of the 7 Deadly Sins recordings.......2002-10-12

Weill, and particularly anything Brecht-Weill, has suffered for too long with interpertations based on tired ham theatrics, burlesques of Lenya's style, to the point where we have come to expect it as the only way to sing this music. Lenya herself is said, late in life, to have commented that a better singer (specifically Stratas at that time) would be more appropriate for properly interpreting Weill's music.

Here, after countless CD releases of the Seven Deadly Sins, is the first recording sung in the key the composer originally intended! The result is relevatory, sublime and magnificent.

Ms. Von Otter interprets the rest of the songs with mixed results--all are lovely, several are excellent, though several others have been handled better by singers with more "theatrical" talents. Nevertheless, this recording stands alone, head and shoulders above the others.

Average customer rating:

Her voice is every color of dream
Stratas is sublime
It is dangerous to use words like "definative," but....
Amazing
The One

Stratas Sings Weill

Manufacturer: Nonesuch
ProductGroup: Music
Binding: Audio CD

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September Songs: The Music of Kurt Weill
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Sings Kurt Weill, Vol. 2

ASIN: B000005IXU
Release Date: 1991-06-25

Tracks:

One Touch of Venus: I'm A Stranger Here Myself
Ausfstieg und Fall der Stadt Mahagonny: Havanna - Lied
Happy End: Surabaya-Johnny
One Touch of Venus: Foolish Heart
Der Silbersee: Ich bin eine arme Verwandre (Fennimore's Song)
Lady In The Dark: One Life To Live
Marie Galante: J'attends un navire
Happy End: Das Lied von der harten Nuss
Street Scene: Lonely House
Marie Galante: Le Roi d'Aquitaine
Ausfstieg und Fall der Stadt Mahagonny: Denn wie man sich bettet
Marie Galante: Le Train du ciel
Die Dreigroschenoper: Das Lied von der Untulanglichkeit menschlichen Strebens
Knickerbocker Holiday: It Never Was You
Happy End: Der kleine Leutnant des lieben Gotten

Amazon.com

Revealing an affinity for Weill, Teresa Stratas fulfills her promise to Lotte Lenya on her deathbed to "carry on the torch for Kurt Weill's music." Stratas's glorious soprano has never sounded better as she applies her operatic expertise to deliciously caress this music without losing any of the underlying subtext. Lacking the grittiness of other interpreters, she captures the emotional angles by letting her beautiful voice express the tortured heart beneath it; where others shout at you, Stratas sings at you. She casually bounces off the cheerier selections from One Touch of Venus and Happy End, letting Gerard Schwarz's brilliantly conducted orchestra display their wit. Program notes include a fascinating interview with Stratas. --Barbara Eisner Bayer

Customer Reviews:

Her voice is every color of dream.......2005-12-03

I don't care who knows it--I've been in love with Teresa Stratas since I was a senior in high school and saw her as Mimi in La Boheme one Friday night in 1961. That obsession preceded and outlasted my marriage:-). I lost a lot of years away from opera, then discovered that Stratas' recorded output is shamefully small. A difficult performer, probably, renowned for some unendearing quirks. But. What's there is gold. I have heard recordings I should not of her as Suor Angelica, Butterfly, and Melisande. I have seen her famous Zefirelli Boheme and Traviata. And Amahl. But the Weill material...it's unbelievable. When Lenya "ordained" her as her successor after seeing a performance of Mahagonny, the old lady knew what she was doing. Stratas has the perfect temperament for Weill's music. The voice coos, snarls, belts, and weeps. My favorite of all Weill songs, "Surabaya Johnny," is a mini-drama of love, hate, rage and despair. The only person who comes close to her in that song is the late Cathy Berberian.

Yes, get this. Get "The Unknown Kurt Weill." Lobby the Met to release her broadcasts, esp. The Bartered Bride. She was absolutely magnetic and the field isn't quite gone yet.

Stratas is sublime.......2005-03-27

Teresa Stratas is one of those singers whose reputation as a temperamental diva precedes her. Well, in my book, if it takes being temperamental to accomplish a collection like this, the end justifies the means. She is a singer of tremendous vocal and emotional range, and Weill's music provides what seems to be a perfect vehicle for both.

I've had this CD for at least 12 or 13 years and, no matter how many times I listen, I still notice new details in her interpretations.

It is dangerous to use words like "definative," but...........2004-04-04

Stratas's interpretations make one rush headlong into that danger.

Many singers have done beautiful Surabaya Johnnys but have any been as shattering as Stratas? Though years later she stumbled with her ill-concieved and eccentric Seven Deadly Sins, this CD is Stratas at in her prime, making bold choices about the material that blows the cobwebs off song we thought we knew. Even 15 years later, this album is fresh, uncliched, deeply affecting, and enthralling.

Stratas proves herself not only a great singer, but a great actress as well.

Amazing.......2000-06-29

Until I heard this and the Unknown Weill, I was a "stranger myself here,' as Stratas sings in the first selection. I simply did not appreciate nor understand the immediacy and importance of Weill to our musical heritage. Stratas simply transcends and reveals this music so intuitively that it is amazing.

The One.......2000-06-01

Stratas is the Weill singer, and everyone else is an also-ran. Ute Lemper is just a poser, and while Lenya was an important figure for Weill and she has her charms, but Weill wanted trained, operatic voices to sing his music, but not in the style of Verdi or Mozart. Here, Stratas delivers the composer's wish. Her voice is beautiful and cultivated in the best way, but it is her manner that is so important; straightforward, sincere, artless. From the opening "I'm a Stranger Here Myself" her affinity for this music is fully apparent. The selections span Weill's career and are delivered in many English, French and German, and regardless of the language, Stratas communicates completely. The orchestra plays the original orchestrations, and the sound is simply wonderful, nostalgic and modern all at once. This is where all Weill listeners and lovers should start.

Youkali - Cabaret and Art Songs by Satie, Poulenc, and Weill

Average customer rating:

Je Ne T'Aime Pas
Superb musicianship!
An excellent recording by a fast-rising cabaret star

Youkali - Cabaret and Art Songs by Satie, Poulenc, and Weill

Manufacturer: Marquis Music
ProductGroup: Music
Binding: Audio CD

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Francis Poulenc (1899-1963) Melodies (Songs)
Véronique Gens - Nuit d'étoiles (Mélodies Française) / Vignoles

ASIN: B0000067TU
Release Date: 2007-01-08

Tracks:

Chanson
La Diva De L'Empire
Elegie
Le Chapelier
Hotel
Violon
La Reine De Coeur
Lune D'Avril
Les Filles De Bordeaux
Le Roi D'Aquitaine
Je Ne T'Aime Pas
Youkali
Berlin Im Licht
Zu Potsdam Unter Den Eichen
Mon Manege A Moi
Non, Je Ne Regrette Rien
One Life To Live

Customer Reviews:

Je Ne T'Aime Pas .......2006-03-02

if i had to pick a favorite song on this cd, that would be the one...i heard this one more than the others. " one life to live," is superb...she did all these songs in one take ! and the passion and romance is undeniable...i had never listened to cabaret before this. i became a fan.

Superb musicianship!.......2002-01-19

This CD is thoroughly enjoyable. O'Callaghan's passionate interpretations of these cabaret/parlour style songs are never less than convincing in their colourful delivery. My particular favorite's are two of the Weill numbers: "Je ne t'aime pas", which is so full of heart-wrenching angst, and "Youkali", because it is so rarely heard. The lesser known works of Poulenc and Satie are also each sparkling little treasures. The musicians all seem to "gel" together beautifully, and one can imagine that they had a really great time recording this disc together. Fantastic artistry!

An excellent recording by a fast-rising cabaret star.......1998-11-04

This first CD by the talented soprano Patricia O'Callaghan is truly excellent. Ms. O'Callaghan has the rare ability to mesmerize the listener through her intuitive and expressive vocal instrument. Her voice and vocal style are unique..she imitates no one. This is the sign of a true artist. The selections, ranging from Poulenc to Weill to a rarely heard gem by George Gershwin, are performed with meticulous attention to detail. Nuances, articulation of the text combined with superb vocal technique are very evident. If you haven't yet purchased Youkali, put it on your definite "to do" list tomorrow!!!

Average customer rating:

Life Upon the Wicked Stage
Carole Cook , Jerome Kern , Grant Geissman , David Stout [trombone] , Dan Fornero , John Fumo , Brock Peters , James Anderson , Jane Lanier , Lauren Kennedy , Linda Michele , Marissa Jaret Winokur , Melissa Errico , Reece Holland , Robert Morse , Rod McKuen , Roger Rees , Ronnie Franklin , and Steve Orich
Manufacturer: Lml Music
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000658H9
Release Date: 2002-05-07

Tracks:

The Song Is You - Jamie Anderson
How'd You like To Spoon With Me? - Jane Lanier
The Land Where The Good Songs Go - Pamela Myers
All The Things You Are - Alan Campbell
The Folks Who Live On The Hill - Lee Lessack
She Didn't Say Yes - Marissa Jaret Winokur
Pick Yourself Up - Street Sounds
You Couldn't Be Cuter - Marsha Kramer
Shimmy With Me - Lea Thompson
They All Look Alike - Bruce Vilanch
There It Is Again - David Holladay
Remind Me - Ron Rifkin
In Love In Vain - Melissa Errico
Make Believe - Linda Michele
Ol' Man River - Brock Peters
You Are Love - Dale Kristien
I Won't Dance - Bonnie Franklin

Tracks:

The Last Time I Saw Paris - Charles Busch
Long Ago (And Far Away) - Pam Dawber
They Didn't Believe Me - Pat Marshall
Look For The Silver Lining - Rod McKuen
A Fine Romance - Jane Carr
Sure Thing - Sally Kellerman
Don't Ever Leave Me/Why Was I Born - Joely Fisher
I'm Old Fashioned - Robert Morse
Yesterdays - Joan Ryan
Smoke Gets In Your Eyes - Dorian Harewood
In The Heart Of The Dark - Dale Kristien
Can't Help Lovin' Dat Man - Valarie Pettiford
The Way You Look Tonight - Hugh Panaro
Life On The Wicked Stage - Carole Cook
I've Told Every Little Star - Carole Cook
Till The Clouds Roll By - The Company

Itzhak Perlman - Tchaikovsky Violin Concerto ~ Live in Russia / Mehta

Average customer rating:

Mediocre Tchaikovsky ...
Great performance; great recording; great occasion
Don't miss Live in Russia
If u didn't buy Itzhak Perlman's recording, start w/this one
Perlman outstanding

Itzhak Perlman - Tchaikovsky Violin Concerto ~ Live in Russia / Mehta

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Paganini: 24 Caprices
Tchaikovsky: Concerto No. 1/Rachmaninoff: Concerto No. 2

ASIN: B000002RRV
Release Date: 1991-07-01

Tracks:

Violin concerto In D, Op. 35: I. Allegro Moderato
Violin concerto In D, Op. 35: II. Canzonetta (Andante)
Violin concerto In D, Op. 35: III. Allegro Vivacissimo
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March from 'The Love For Three Oranges'
Three Pictures Of Chassidic Life: Nigun No.2
Caprice In A Minor
String Quartet Op. 11: Andante Cantabile
La Ronde Des Lutins, Op.25

Customer Reviews:

Mediocre Tchaikovsky ..........2002-01-25

This Tchaikovsky Recording is a fair one. Perlman has better recordings; namely his performance with the Philadelphia Orchestra. The first movement sounds a bit too rushed and slightly "showman-like" rather than musician like. The Bazzini is slightly scratchy and rushed!! Perlman's pizzacato is also mushed and hard to hear. Listen to Maxim Vengerov's recording of the Bazzini... It's the best I've heard to date.

Great performance; great recording; great occasion.......2001-02-09

This was one of a spate of classical recordings commemorating (or cashing in on) the end of the Cold War. _Bernstein in Berlin_ was one, celebrating the fall of the Berlin wall; a concert featuring Smetana's _Ma Vlast_ on the occasion of the liberation of Czechoslovakia was another. This disc records the first visit of the Israel Philharmonic Orchestra to Moscow, in another sign of the communist crackup of the late 80s and early 90s.

Musically, it's sensational. The Tchaikovsky Violin Concerto provides a generous showcase for Mr. Perlman's powers. IMHO it is a bit long, but that's all the more music to enjoy, I suppose. The liner notes contain the very interesting story of how this concerto came about--a famous violinist of Tchaikovsky's day, for whom the work was composed, rejected it for being "unviolinistic"!

The rest of the program features Perlman with a pianist, minus the orchestra. Some pieces, like Wieniawski's "Etudes-Caprices" are really musical bonbons. But reducing the second movement of Tchaikovsky's first string quartet to a single violin and piano is quite a feat. Every musical offering brings down the house; at the end the crowd practically carries him off the stage. The recording is crisp, with a good sense of the hall, with Perlman rightly being given acoustic center stage. A treat!

Don't miss Live in Russia.......2000-02-07

I am a Perlman Lover and I own both the CD and the video of this concert. This performance contains some of my favorite show-pieces for violin, in particular Tchaikovsky's Concerto in D, Tartini's Devil's Trill, Wieniawski's Caprice in A minor, and Bazzini's Le Ronde des Lutins. The Tchaikovsky and Tartini pieces have been favorites of mine for many years and I grew up listening to them being performed by other virtuoso violinists.

Perlman's mastery of the violin is amazing. I prefer his performances to my long-time favorites. But, while I love his performance of each of the pieces individually, the real power of the CD or video for me is knowing that all of the pieces were all performed in a single concert. Hearing (or seeing) his brilliance in performing piece after piece is awe-inspiring. I am always moved to give him a standing ovation after the Bazzini piece that ends the concert. Recently, I listened to the CD with my eight year old son (who never claps for anything). At the end of the CD, even my son was moved to spontaneous applause.

Don't miss this one.

If u didn't buy Itzhak Perlman's recording, start w/this one.......2000-01-24

The first CD of Itzhak Perlman that I bought, was this one, and I couldn't have done better. It's a wonderful CD, w/a breathtaking sound from Perlman's violin. When I first listened it, I comproved how good was him, and and after that CD, I bought other two that were avaible at the store. So, when u want to listen an excelent interpretation of Tchaikovsky's concerto for violin, this is indispensable.

Perlman outstanding.......2000-01-04

I have become a fan of Perlman over the years, and I particularly love the Tchaikovsky concerto, so of course I had to have this one. I bought this disc a few days after hearing Perlman perform this concerto live with the Boston Symphony under Ozawa. This live disc captured perfectly the feeling I had sitting in Symphony Hall hearing this concerto. Perlman was not flawless in concert, neither is he on this disc. But his knowledge and feel for the Russian flavor of the piece is uncanny, and his technique is breathtaking. The orchestra could have been captured a bit better. Perlman's encores on this disc are absolutely unbelievable. If you're buying the Tchaikovsky concerto try Perlman's earlier recording with Philadelphia Orch. under Ormandy, as I think the orchestra is heard much better.

Average customer rating:

Shakespeare's Songbook, Vols. 1 & 2

Manufacturer: Azica
ProductGroup: Music
Binding: Audio CD

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Shakespeare's Songbook
Songs and Dances from Shakespeare
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ASIN: B0002IQL08
Release Date: 2004-07-06

Tracks:

Ah Robin (Round)
And Let Me The Cannikin Clink
And Will He Not Come Again
Be Merry, Be Merry
Black Spirits
Blow, Blow Thou Winter Wind
Bonny Sweet Robin
But Shall I Go Mourn
Can'st Thou Not Hit It
Come Away
Come Away, Hecate
Come Live With Me
Come O'er The Burn
Come Thou Monarch (Version 2)(Round)
Come Unto These Yellow Sands
A Cup Of Wine
Farewell, Dear Heart
Fathers That Wear Rags
Fear No More
Fie On Sinful Fantasy
Fill The Cup (Round)
Flout 'Em And Cout 'Em (Round)
Fools Had Ne'er Less Grace
For I'll Cut My Green Coat
The Friar And The Nun
Full Fathom Five
The George Alow (Version 1)
Get You Hence
The God Of Love
Hark, Hark The Lark
Have I Caught My Heavenly Jewel
Heart's Ease
Hold Thy Peace (Version 2)(Round)
Honor, Riches
I Am Gone Sir
I Loathe The I Did Love
It Was A Lover And His Lass
Jepha
Jog On
Jolly Shepherd (Round)
King Stephen Was A Worthy Peer
Lawn As White
Love, Love, Nothing But Love (Version 2)
The Master, The Swabber (Version 2)
No More Dams
An Old Hare Hoar (Version 1)
O Mistress Mine (Version 1)
Orpheus With His Lute
O Sweet Oliver
Pardon Goddess Of The Night
Roses Their Sharp Spines
Sigh No More, Ladies
Some Men For Sudden Joy (Version 1)
Take, O Take Those Lips
Tell Me, Where Is Fancy Bred
That Sir Which Serves
There Dwelt A Man In Babylon (Version 1)
There Was Three Fools
Three Merry Men (Round)
Tomorrow Is St. Valentine's Day
Under The Greenwood Tree
Up And Down (Round)
Urns And Odours Bring Away
Walsingham
Was This Fair Face
Wedding Is Great Juno's Crown
What Shall He Have (Round)
When Arthur First In Court
When Daffodils Begin To Peer
When Daisies Pied
When Griping Grief
When Icicles Hang By The Wall
When That I Was And A Little Tyne Boy
Where The Bee Sucks
While You Here Do Snoring Lie
Who Is Silvia
Why Let The Strucken Deer
Willow, Willow (Version 1)
Will You Buy Any Tape
The Woosel Cock
You Spotted Snakes

Tracks:

Awake, Awake
Battle Of Agincourt
Bride's Goodmorrow
Broom
Callino
Carmen's Whitle
Chi Passa
Come Kiss Me, Kate (Round)
Come Thou Monarch (Version 1)
Cup Of Wine (Version 1)
Damon
Daphne
Diana (2 Versions)
Dulcina
Eglamore
Eighty-Eight
Fortune My Foe
George Alow (Version 2)
Glass Doth Run
Goddesses
Go From My Window
Greensleeves (2 Versions)
Guy Of Warwick
Hem Boys (2 Versions)
Hey Ho for A Husband (2 Versions)
Hobbyhorse
Hold Thy Peace (Versions 1 & 3)
Hunt's Up
I Cannot Come Every Day (2 Versions)
In Crete
In Peascod Time
Jack Boy (Round)
King Cophetua
King Lear
King Solomon
Light O Love
Loath To Depart (2 Versions)
Love, Love (Version 1)
Master, Swabber (Version 1)
Mounsier Mingo
Mounsieur's Almaine
My Mind To Me
Nutmegs (Of All The Birds)
Nutmegs (Wooing Of The Baker's Daughter)
O Death (2 Versions)
Old Hare Hoar (Version 2)
O Mistress Mine (Version 2)
O' The Twelfth Day Of December
Oyster Pie
Peg A Ramsey (2 Versions)
Phillida (3 Versions)
Please One
Pyramus
Queen Dido (2 Versions)
Ratcatcher
Rich Jew
Robin Goodfellow
Robin Hood
Rogero
Rowland
Sellenger's Round
Shore's Wife (2 Versions)
Sick, Sick (3 Vesions)
Some Men For Sudden Joy (Round)
There Dwelt A Man (Version 2)
Titus Andronicus
Tom A Bedlam (2 Versions)
Troilus
Troy Town
Wellady
Whenas We Sat In Babylon
Where Is The Life
Whoop
Why Let The Strucken (If Care Do Cause)
Willow, Willow (Version 2)
Will Ye Buy A Fine Dog
With A Fading

Average customer rating:

great recording
A middle-of-the-road performance graced by lovely playing
Lush and exciting

Strauss: Ein Heldenleben [Hybrid SACD]

Manufacturer: Rco Live Holland
ProductGroup: Music
Binding: Audio CD

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ASIN: B0006OR0C6
Release Date: 2005-01-11

Customer Reviews:

great recording.......2007-04-26

I thoroughly enjoy this recording. The sound is very detailed with all the voices easily heard and a very wide frequency response producing crisp highs and tight lows. Tow concerns distract however. The first is that there is nothing else on the disc. The price is steep for one piece. The second is how quiet the orchestra sounds. To really feel the climaxes I have to turn the volume way up. Highly recommended.

A middle-of-the-road performance graced by lovely playing.......2006-02-11

The Royal Concertgebouw enters the field with its own label, a tactic that has been very successful for the london Sym. This live performance of Ein Heldeleben is caught in ripe but fairly distant sonics that tone down the excitement a bit, all the more because Jansons seems satisfied with a scrupulous, detailed account that holds back on drama--I supose he doesn't want the piece to sound garish. But why not? Heldenleben isn't much unless you play the wheels off it. Compared to Simon Rattle's outstanding new version with the Berlin Phil., this one is middle-of-the-pack, despite the warm, gorgeous playing of the orchestra (and a particularly fine solo violin in the long obligatto part).

Lush and exciting.......2005-10-09

This must be the first recording of this work by Richard Strauss which had me really captivated by the music from beginning to end, and as such making me love the music and further explore and appreciate other wonderful recordings of this music. (Such as the grandiloquent, exquisitely balanced and natural-sounding Previn/Vienna Philharmonic.)
My appreciation of this specific recording from Amsterdam must certainly have to do with the fact that this recording is both lush and detailed - although maybe the orchestra is a little too 'distantly' recorded and sounding a little constricted in climaxes. Generally I like more directly recorded sound within a 'natural' sound stage, as much as possible reflecting the original acoustics of the recording venue (if they are nice, which they certainly are in this case). But all in all, this recording makes for an exciting listening-experience. Mariss Jansons here does simply what is asked of this music: to play it as beautifully as possible (without unidiomatic excentricities). The beauty of this performance as well as the recording-quality are certainly uncontested(even if it is not as clear or evenly balanced as could be - like for example the recording by Andre Previn and the Vienna Philharmionic Orchestra). We really have a wonderful orchestra here, and a magnificent, acoustically perfect, hall they can luckily call their home. And how fortunate we are to have Mariss Jansons at the helm, chief conducting 'our' greatest of orchestras. Just beautiful.

Average customer rating:

Age breeds a shining moment
Nice but dismissable.
Disappointing by Quartet West standards
If you breathe and have ears, buy this record!
A Night and a Lonely Town

The Art of the Song

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

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Haunted Heart
Now Is the Hour
Always Say Goodbye
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American Dreams

ASIN: B00000JNMR
Release Date: 1999-07-27

Tracks:

Lonely Town
Why Did I Choose You
Moment Musical Opus 16 No.3 In B Minor
In Love In Vain
Ruth's Waltz
Scenes From A Silver Screen
I'm Gonna Laugh you Right Out Of My Life
You My Love
Prelude En La Mineur
The Folks Who Live On The Hill
Easy On The Heart
Theme For Charlie
Wayfaring Stranger

Amazon.com

Bassist Charlie Haden was an integral part of Ornette Coleman's pioneering avant-garde groups in the '50s and '60s and led his own equally forward-thinking Liberation Music Orchestra. His ensemble Quartet West, with tenor saxophonist Ernie Watts, drummer Larance Marable, and pianist Alan Broadbent, revealed a sentimental side of his musical personality that surprised many. This recording, with string arrangements by Broadbent, sounds like a soundtrack to a Raymond Chandler film as Haden's sturdy bass tones make him a worthy supporting actor. But although Shirley Horn's ethereal voice sparkles on "Lonely Town," "In Love in Vain," and "I'm Gonna Laugh You Right Out of My Life," and crooner Bill Henderson's towering pipes are radiant on "Why Did I Choose You," "Ruth's Waltz," "You My Love," and "Easy on the Heart," all of the material is in pretty much the same ballad tempo, which, compounded by the time length of the CD, robs it of the romantic resonance it could truly shine on the listener. --Eugene Holley Jr.

Customer Reviews:

Age breeds a shining moment.......2003-11-20

The criticisms miss the point. This is an effort that does a rare thing - it brings together men and women who can put the experience of life to judicious use in their art. Unlike listening to the deterioration other performers have faced, in later years, at the hands of studio production teams that no longer know what to do with them, Charlie Haden has found a way to create a beautiful volume of space in which to let the years of these venerated performers shine through. It is in this space you shall hear the notes of lives lived and savored.

Nice but dismissable........2001-08-09

Haden's pleasant miscellany of neglected but deserving ballads is indeed a mixed bag, but somehow his focus, purpose, and method elude this listener. Neophyte writers are frequently enjoined to compose with a sharp, definitive, unified "thesis." Haden could have used a bit of coaching along these lines before producing this collection. Even drawing upon a common composer (as opposed to ranging from Kern to Rachmaninoff to public domain) might have provided the needed coherence to the project.

In any case, it's always a welcome experience to hear Shirley Horn; the revival of a touching ballad like "In Love in Vain" merits our appreciation; and though I was never a big fan of Bill Henderson (an acquired taste), he deserves to be recorded based on the evidence of this recording.

In sum, this album is more than anything else a "sampler" and should have been priced accordingly.

Disappointing by Quartet West standards.......2001-05-09

The outstanding Quartet West album is 'Always Say Goodbye'. On that CD, Broadbent demonstrates his skills at orchestral arrangement, and Haden deftly selects great oldies to intermingle with some of his own superb compositions. Haden also takes some historic performances -- such as Jo Stafford on vocals -- to bring a resonance to the new covers. The experiment was very successful.

You can see the logic behind this subsequent album: instead of using dusty old recordings, why don't we use today's state-of-the-art production to capture the voices of several current artists? And why don't we let Alan orchestrate the whole album?

The trouble is that the orchestration, beautiful though it is throughout, constrains the band terribly. And the vocals swamp the album. (Actually the Jo Stafford track on 'Always Say Goodbye' is one of the weakest on the album.) They say that the saxophone is the instrument closest to the human voice, and it is Ernie Watts who suffers most on this album, The sax is simply crowded out by all the singing. It is only on the stand-out track, 'Prelude en la mineur', an instrumental re-working of a Ravel piece, that Watts finally gets a chance to let rip.

Shirley Horn's vocals are fine, particularly on 'Lonely Town'. But I simply cannot listen to any of the tracks containing Bill Henderson's voice, and sadly, there are four of them.

The most touching song is the last one, where Haden himself bravely takes the vocal lead. It's a song his mother used to sing on the radio, back in the early 1940s, when the entire Haden family would appear on KWTO Springfield. It is a farewell to the dead, and also a reassurance that one day they will meet again.

If you want a quick survey of this CD, check out tracks #1, #9 and #13. It's a long way from the days of Haden's playing with Ornette Coleman and the Liberation Orchestra, and it's very mellow.

If you breathe and have ears, buy this record!.......2001-04-15

I first heard of Charlie Haden on Dublin's best radio music show - The Mystery Train presented by John Kelly on RTE Radio 1. I bought this CD and it has never been off my current play list. This is beautiful music that touches the heart. Listen to Wayfaring Stranger, Lonely Town, I'm Gonna Laugh You Right Out Of My Life, or Ruth's Walz after a tough day at the office or jammed in traffic and you will be back in touch with the good things in life. As someone who has evolved though Thin Lizzy, The Eagles, Eric Clapton, Queen, U2, Ella Fitzgerald, Louis Armstrong, BB King, Grant Green etc, Charlie Haden is proof of my graduation. After since buying other and even better Haden CD's, I am looking forward to seeing him in concert with Quartet West here in Dublin on April 29. BUY IT NOW!

A Night and a Lonely Town.......2000-05-24

Despite its problems, I think this album still deserves a five-star rating. Seemingly inspired by the music of moody classic cinema, a listener might well envision a seedy nightclub in a fog-swept black & white San Francisco of the 1940s or a tearful Ingrid Bergman about to board a twin-propellor leaving Rick and Casablanca behind her forever.

Regardless of which side of the Atlantic you envision on your moody musical journey, this is definitely a lounging type of music, perfect for lazy Sunday afternoons, after-theatre drives around town on warm summer evenings, warm candle-lit baths, or romantic dinners for two. The beautifully romantic ballads range from the longing "Lonely Town" to the mostly-resolute "I'm Going to Laugh You Right Out of My Life" to the quietly complacent "The Folks Who Live on the Hill." Interspersed with these great standards, however, are wonderful instrumental pieces which frame the remaining vocals with stunningly dramatic moods.

The only flaw is the rather unappealing voice of Bill Henderson, who seems to be suffering from a weak set of lungs, if not from lack of enthusiasm. Henderson seems to strive for the vocal capabilities of Shirley Horn, who sings on 1, 4, 7 and 10, but is incapable of achieving those same dramatic pitches of his fellow artist. Nevertheless, he does an adequate job on "Ruth's Waltz" and "Easy on the Heart" even if "Why Did I Choose You" is downright painful to listen to. Haden, who sings on 13, seems similarly incapable of reaching Horn's heights, but "Wayfaring Stranger," the traditional song he chose to render, is capable of carrying itself with the slow somber tone it evokes in the listener.

Regardless of its faults, this remains a beautiful album. I definitely recommend it to anyone who loves the kind of sit-at-home music it captures so very well in its beautifully jazzy tunes that are, at the very least, easy on the ears.

Unsung Musicals III (Studio Cast)
Average customer rating:

thoroughly enjoyable

quirky....and worth it

Unsung Musicals III (Studio Cast)
Jolie Jenkins , Judy Malloy , Kristine Fraelich , Melissa Joan Hart , Patricia Ben Peterson , Patrick Levis , Sal Viviano , Tammy Minoff , and Steve Orich
Manufacturer: Varese Sarabande
ProductGroup: Music
Binding: Audio CD

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Lost in Boston, Vol. 4

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Unsung Musicals - The Ultimate Collection

ASIN: B000001506
Release Date: 1997-05-20

Tracks:

Nothing To Do With Love: From Personals - Burstein, Hindman, Malloy, Simard, Timmerman Tisdale
At The Same Time: From Freaky Friday - Tammy Minoff, Patrick Levis
Penny By Penny: From A Christmas Carol - Sal Viviano
A Wonderful Life: From A Wonderful Life - Glory Crampton
Jenny Rebecca: From To Whom it Concern - Alet Oury
Maria's Song: From Smile - Diana Canova
Reveille Sun: From Here's Where I Belong - Glory Crampton
Don't Live Inside Of Yourself: From A Mother's Kisses - Melissa Hart
Wishes Won't Wash Dishes: From The Bone Room - Guy Haines
In A State: From A Wonderful Life - Brent Barrett
Simple Words: From Lovely Ladies, Kind Gentlemen - Patricia Ben Peterson
Didn't Leave It Here: From Brownstone - Kristine Fraelich, Jolie Jenkins
Hundreds Of Hats: From Diamonds - Jason workman
Hero: From Babe - Debbie Gravitte
Do It With Drums: From Murder At The Vanities - Harry Groener

Customer Reviews:

thoroughly enjoyable.......1999-08-12

The melodic hramonies and at times humorous themes to these songs are catchy and enjoyable; they may be unsung but once heard they will not be forgotten.....it makes you wonder why didn't this show make it and yet Cats has been around forever?

quirky....and worth it.......1999-03-07

this one will leave you humming strange dittys and will allow you to entertain even the most die hard broadway musical buffs with things they have never heard

From the Heart: Turtle Creek Chorale Live

Average customer rating:

From the Heart: Turtle Creek Chorale Live
Turtle Creek Chorale
Manufacturer: Turtle Creek Chorale
ProductGroup: Music
Binding: Audio CD

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The Power of Harmony
Family
Peace

ASIN: B00005Y8AX
Release Date: 1995-01-24

Tracks:

When I Have Sung My Songs
Not While I'm Around
Deep River
Visions
My Eternal King
To Love and to Be Loved
Esperanto
Pie Jesu
Alleluia
Psyche
Silent Noon
I Shall Miss Loving You
Bring Him Home
Majesty and Glory of Your Name
Parting Blessing

Jazz Music:

Jazz Music

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