Birmingham

Even though I can't quite give this 5 stars, I have to admit that there are not very many low points on this CD. I did read a review about the whole concert series and it was mentioned that this might have been the best one of the tour. The sound quality is very good to excellent.

If you have come to this site, you probably know all about String Cheese Incident, but I am going to tell you my thoughts anyway. This is a group that can play in all styles and what the do is borrow from all the great jam bands. There are times they sound like Phish. Howard sounds just like Phish's Wilson. At other times, they sound a lot like the Allman Brothers, especially like Dicky Betts's piano oriented compositions like Jessica. They even play the traditional song I Know You Rider, which was a staple for the Greatful Dead.

Although this group sounds mostly derivative of other groups, they come out sounding fresh and unique in concert.

String Cheese Incident may have the curse that many other jam bands have, especially Phish and Widespread Panic. While their concerts are great, their studio albums are not. I have listened to one String Cheese Incident studio CD several times, and I still haven't been able to get into it.

Birmingham, AL........2002-08-29

The first set alone is reason enough for you to buy this show. It begins with a huge Miss Brown's and ends with a huge Howard, oh what a first set this was. One of my personal favorite SCI shows and one that I will never forget. The Rivertrance sandwich is not too bad either. A definate must have for any collection. Very spacey show at times, quality music.

Just as I expected.......2002-08-01

Although this is the only live installment my local "record store" stocked I can't be disappointed. The set list is incredible and SCI sounds GREAT! I could go through the highlights, beginning with a groovy Brown Tea->Can't Stop but I wouldn't know where to stop, all the way to an interesting and very un-Dead bluegrass version of I Know You Rider. Their cover of Paul Simons Under African Skies was surprising, likewise with the Rivertrance sandwhich. Howard is a masterpiece and deserves special mention, one of the best versions I've heard. Although I haven't been able to get my hands on any other live sets, I'm completely pleased with Birmingham 4-19.

Saint-Saëns: The Complete Works for Piano & Orchestra

Average customer rating:

Russian Nights
Renaissance Man
Critically acclaimed - and a favorite of mine, too
A Fine Set, But Not as Fine as It Might Be
An Outstanding Set

Saint-Saëns: The Complete Works for Piano & Orchestra

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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Rachmaninov: Piano Concertos / Paganini Rhapsody
Saint-Saëns: Les 5 Symphonies
Rubinstein: Piano Concerto No. 4; Scharwenka: Piano Concerto No. 1
Mendelssohn: Piano Concerti Nos. 1 & 2; Capriccio Brillant; Rondo Brillant
Scharwenka: Piano Concerto No. 4 in F minor; Sauer: Piano Concerto No. 1 in E minor

ASIN: B00005NUPA
Release Date: 2001-10-09

Amazon.com

Pianist Stephen Hough is a certified genius, recipient of a 2001 MacArthur Foundation "genius grant." Although he apparently received the award for his explorations of uncommon piano repertoire, he also deserved it for the quality of his piano tone, which is extremely beautiful, as conveyed here by Hyperion's lush recording of the Saint-Saens piano concertos. Unlike most previous volumes of Hyperion's Romantic Piano Concerto series, this one includes some familiar works, especially the Second Piano Concerto. If you listen to that first, you'll realize just how good Hough's performances are throughout this set, since he matches any of the great pianists who have recorded the work. Notice the way he zips through the incredibly fast finale without the slightest hint of effort or rush. Although the Second, Fourth, and Fifth Concertos are the only ones still heard in our concert halls, all these pieces have their attractions--especially the delightful waltz "Wedding Cake," which would make a great concert encore. Sakari Oramo, the new music director of the City of Birmingham Symphony Orchestra, provides alert accompaniment, rich in detail, and the orchestra plays beautifully. This isn't an inexpensive set, but quality like this is cheap at any price. --Leslie Gerber

Customer Reviews:

Russian Nights.......2007-05-08

Great music! And it came with a freebie trial CD of some other Classical CDs- like getting a free CD.

Renaissance Man.......2006-04-05

Saint-Saens was a Renaissance man: botany, astronomy, archeology, mathematics, natural history, and philosophy were subjects he participated in throughout his life. He wrote articles, read papers at scientific societies, contributed notes to learned journals on the eclipse of the sun, and published a volume of poetry. Saint-Saens was also a musical child prodigy; began piano lessons at age 2 ½, at 3 wrote his first composition, and memorized a recital of Mozart and Beethoven concertos, as well as music by Handel, Hummel, and Bach. This CD of piano/orchestral works is a showcase of Saint-Saens' brilliant musical mind, one which was considered old-fashioned by modern composers of the time, and fused Classicism and Romanticism together, a style today's society is happy to have, since Saint-Saens could have easily been successful in another career.

The four character pieces for piano and orchestra are all rather interesting. Wedding Cake (6')is a waltz-caprice for piano and strings alone; a dainty showpiece in a whimsical setting, sparring gentility vs. extroverted. The Allegro Appassionato (5') is also a showpiece with lightning-quick orchestral and piano work, with a lush, contrasted middle. Rhapsodie d'Auvergne (8') uses a folk-based melody Saint-Saens heard a French washer-woman singing. Fresh, captivating melody and orchestration, the music is emotionally moving, along with come snappier folk-like ideas in contrast. The last, Africa (9'), is taken from Saint-Saens' many travels abroad: Algeria, Canary Islands, Africa, Russia, South America, USA, Scandinavia, and Indonesia; Saint-Saens in fact studied the folk music of North Africa. The work, Africa, is a sort of fantasy on many tunes from North Africa, another neat orchestral/piano showpiece.

The five piano concertos show a growth in composition from Saint-Saens over a period of time. The first (26')is inspired by the Fontainebleau forest; there is fresh vitality, youthful optimism, as well as occasional Spanish harmonic inflections, a trend Saint-Saens will continue more in his lifetime. The second concerto (21'), with its gruff, minor opening, is a Romantic counterpart to his first; long sweeping lines, a fanciful scherzo, and dramatic sweep throughout show a maturing Saint-Saens. Concerto No. 3 (25')shows Saint-Saens' penchant for melody; while the opening is a bit wandering and ponderous, there is a catchy, heroic theme; an emotional second mvt., and an infectious finale theme, a heavy barcarolle/dance type feel, for an emotional and fun concerto. The fourth concerto (24'), only in two movements, begins with a sneaky theme in a sort of theme and variation form, along with a chorale reminiscent of his "Organ" Symphony, but ending with a lively scherzo, a simple melody, and a dashing finale, showing simplicity and classicism in his mature style. The last concerto (27'), often called "Egyptian", is unabashedly Romantic, including some bold and striking Spanish rhythms, some unusual modes and syncopations, some orientalism (weird voicings and multi-cultural devices that are unusually forward-looking for Saint-Saens), and an optimistic finale. The evolution of time shows Saint-Saens embracing the past, with a special hold on Romanticism, but surprises me with no lack of inventiveness in later life, not to mention a never-quelling mind for tunefulness, evident in all of these works.

These are very good performances by Stephen Hough on piano and the City of Birmingham Symphony Orchestra under Sakari Oramo. The orchestra is rich and full, all voices speak clearly and play with lightness, humor, and grandeur when asked for; all in all a terrific ensemble presentation. The pianist is remarkably at home; nothing is heavy (which is rarely called for in Saint-Saens), bringing out the classicism in his music. Instead, texture and color are Saint-Saens' best Romantic attributes, and Hough brings those out, not to mention extremely clean playing. The piano is miked close, and the sound is forward and "dry", but Hough backs off when his role requires it, and the piano and orchestra work remarkably well together, playing off one another at times. The Hyperion sound is excellent and makes the disk a success, a resonant atmosphere and crisp playing are captured on this disk well. The CD's are full as well: CD1 at 79+ minutes and CD2 at 76 minutes, is a lot of music, and the extra four character pieces on top of the concertos makes this a must-have. Excellent performances with amazing sound; recommended. TT: 155.28

Critically acclaimed - and a favorite of mine, too.......2003-09-24

This wonderful recording of the Saint-Saens concertos does a fine job of rendering the Romantic style without getting smug about it. Hough gives them an appropriately warm and colourful feel, without lapsing into the overly lush and indistinct sound I associate with other performances. The four non-concerto pieces make this a very nice set, and the flamboyant 'Africa' in particular will keep you coming back for more.

I have always been a fan of Stephen Hough, from the first time I saw his hands dissolve into an utter blur - not for one measure or passage, but for most of a fiery encore (we got three out of him that night!). These discs prove his facility with somewhat mellower fare, and have brought Saint-Saens back to my attention after years of (unintentional) neglect. If you want mighty and massive, Saint-Saens' German or Russian contemporaries will be more satisfying; but lyrical works like these should not be overlooked if you want to be acquainted with the best of the piano concerto form.

A Fine Set, But Not as Fine as It Might Be.......2003-07-29

The most remarkable feature of this recording may also be one of its chief drawbacks-namely that all of Saint-Saens' concerted music of piano is crammed onto two chock-a-block discs. I doubt, given the technical limitations of the compact disc, that Hyperion could have added a brief etude or caprice to either of these CDs. Great value, then, except that it seems this compactness came at a price. Almost all of these works seem rushed in spots, as if Hough and company knew they were working against space constraints. I can't say for a fact that this is true, but while there is no end of brio and élan in these performances, there is often a lack of the Gallic elegance that Saint-Saens also provides in works that, not surprisingly, the suave, fastidious craftsman Maurice Ravel cited as models for his concertos.

If all you know is the popular Second Concerto, which some wag once claimed as traversing music history "from Bach to Offenbach," then you only know the shallowest of Saint-Saens' concertos. If you are not familiar with the Fourth Concerto, Saint-Saens' finest orchestral work, you should be. Built on the same architectural principles as the composer's popular Organ Symphony, this is more successful still and certainly more tasteful, though, as in the Organ Symphony, the finale is the weakest bit and keeps the concerto in the realm of the near-great rather than the great. Hough and Oramo lavish their best work on this concerto, and the performance is a winner, from the mysterious opening to the resounding appearance of the motto theme in chorale treatment by the brass. (After that, it's all downhill for the concerto anyway, as Saint-Saens ends with some especially empty display work for the pianist.)

Elsewhere, I find a lack of willingness on the part of the soloist and conductor to let the music expand naturally. This is especially true in the slow movement of the Egyptian Concerto (No. 5), which here lacks the requisite exoticism and even mysticism, I think. Ditto Saint-Saens' other North Africa-inspired piece titled simply "Africa." There may be something of the slapdash about this work anyway, though I enjoy it, but the performers give this less-than-vintage Saint-Saens no time to breathe, which it sorely needs if it is to survive at all. There's a tendency to rush the charming First Concerto, too, and there, despite all the brilliance, goes some of the charm. On the other hand, the underrated Third Concerto sounds imposing and even important in Hough's performance, and if he can't do much for the commonplace music of the finale, no one else can either.

One other problem has to do with the recording. In general, Hyperion's Romantic Piano Concerto series has featured fine, natural sound, but here the sound is very close and dry, with the piano placed in an unnaturally forward and rather airless perspective.

So while I'm, as always, impressed by the brilliance of Hough's playing in these concertos, I think something important is missing. And as fine as the Fourth Concerto and parts of the other concertos are in these performances, overall I prefer Jean-Phillipe Collard and Andre Previn. The sound on their EMI discs (catalog number 73356) is more recessed and maybe a little lacking in presence but much more realistic overall. And the performances have all the Gallic elegance that Hough and Oramo's lack. Add to this EMI's two-fer price, and you can't go wrong.

So if your budget allows for two sets of Saint-Saens concertos, certainly Hough's should be one of them. Otherwise, I think Collard is your man.

An Outstanding Set.......2001-12-13

I read a comment several years ago by the pianist Phillipe Entremont that he felt the Saint Saens concerto's lacked the emotional charge of the German concertos (Beethoven, Schumann etc.) I think this comment is shortsighted in that it neglects the many concertos written for the instrument between Beethoven and Saint Saens, a tradition that the Romantic Piano Series provides insight into. It is arguable that Saint Saens (a true Renaissance man) was the most accomplished composer-performer of his day and his piano concertos represent a high point. Perhaps the awful truth is that these concertos are fun to listen to. They are virtuoso pieces that sparkle and delight. Perhaps not as profound as some concertos but works that should be heard much more frequently in the concert hall.

I have had the Roget set for several years and have the Cortot recording of the Fourth concerto, and agree without reservation that Stephan Hough plays remarkably well. He captures the brilliance of these concertos remarkably well. The only drawback of the set is that the Third concerto was recorded at a different venue and has a dryer sound. The added bonus of this set are the shorter pieces Saint Saens wrote for piano and orchestra that were included on this set. For me, this is the set of these concertos to have, and I hope listeners unfamiliar with them will buy it. They do not disappoint.

Scrooge: The Musical (1992 Birmingham Cast)
Average customer rating:

But we WANT the soundtrack from the MOVIE!!!

If You've Seen The Albert Finney Film, Don't Buy This

Not as good as the film soundtrack

Interesting

Just OK.

Scrooge: The Musical (1992 Birmingham Cast)

Manufacturer: Jay Records
ProductGroup: Music
Binding: Audio CD

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Scrooge

Scrooge (Acting Edition S.)

A Christmas Carol - The Musical (2004 TV Film)

A Christmas Carol: The Musical

A Christmas Carol - A Musical Adaptation

ASIN: B000009QV5
Release Date: 1997-10-14

Tracks:

Scrooge: A Christmas Carol
Scrooge: I Hate Christmas
Scrooge: No Better Life
Scrooge: Christmas Children
Scrooge: I Hate Christmas (Reprise)
Scrooge: Father Christmas
Scrooge: Make The Most Of This World
Scrooge: It's Not My Fault
Scrooge: December The Twenty Fifth
Scrooge: Happiness
Scrooge: You... You
Scrooge: It's Not My Fault (Reprise)
Scrooge: I Like Life
Scrooge: Entr'acte
Scrooge: Good Times
Scrooge: The Beautiful Day
Scrooge: The Minister's Cat
Scrooge: A Better Life
Scrooge: Thank You Very Much
Scrooge: I'll Begin Again
Scrooge: Finale
Scrooge: A Better Life
Scrooge: I'll Begin Again

Album Description

This wonderful score brilliantly supplements the heartwarming story of how the miserly Scrooge is shown the error of this ways! Features Anthony Newley, Stratford Johns, Tom Watt and Jon Pertwee.

Customer Reviews:

But we WANT the soundtrack from the MOVIE!!!.......2006-12-03

The reason for all the negative reviews isn't necessarilly a reflection on the Birmingham cast. It's because the FILM was so wonderful and the songs were spectacular and memorable as done by THAT cast, and everyone is looking for a recording from THAT!!!

Unfortunately, unless you get the DVD and hook it up to make your own bootleg recording, there isn't any soundtrack from the film available.

This version isn't misleading - it clearly identifies itself as the STAGE soundtrack. But most likely, it isn't what you were looking for.

Let us all know when the Albert Finney film cast version is ready! It's long overdue for release.

If You've Seen The Albert Finney Film, Don't Buy This.......2006-11-26

For all of you who carry the memories and the magic from the 1970 original musical film of Scrooge, this "production" will destroy that magic. Anthony Newly is indeed, wrongly cast, and is an absolutely horrendous, egotistical and overdone [his style] obscenity to the gorgeous songs of Leslie Bricusse and to Albert Finney's characterization of such.

Not as good as the film soundtrack.......2006-03-04

This is rather a labored effort. Anthony Newley is not well-cast. The extra songs are nothing else but extra and take away from the story.

Interesting.......2005-12-05

I have to agree with my collegues above...this is but a poor reflection of what the movie film conveys. I personally didn't like the "I hate Christmas" track either as compared to the "I hate people" track from the movie. It definately softened his hatred, which misses the mark completely. Alberty Finney plays an awesome role going from the most bitter and angry scrooge on film to the most jovial and friendly scrooge on film which is what makes the movie so great. As for the music, this disc lacks a passion that the movie disc has.

Apparently the CD of the movie musical does exist...there was someone selling it on Ebay and they claim it's not dubbed from an LP or taken from the movie. So who knows ;)

Just OK........2004-01-27

Anthony Newly is a disapointing "musical Scrooge", and is really misses the mark here. Where's the "Scroogy-ness" here? And Newly's singing isn't able to give us the transition
of cranky old miser to being filled with the Christmas Spirit. Overall, this version of "Scrooge" is OK, but I feel it pales in comparison to the movie soundtrack featuring Albert Finney.
Unfortunately, the movie soundtrack is only available on LP I believe, but it's worth it!

Rachmaninov: Rhapsody on a Theme of Paganini; Variations on a Theme of Corelli; Variations on a Theme of Chopin

Average customer rating:

Rachmaninov: Rhapsody on a Theme of Paganini; Variations on a Theme of Corelli; Variations on a Theme of Chopin

Manufacturer: Warner Classics
ProductGroup: Music
Binding: Audio CD

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Rachmaninov: Piano Concertos Nos. 2 & 4
Rachmaninov: Piano Concertos Nos. 1 & 3
Etudes Tableaux
Prokofiev: Piano Sonatas 4 & 6; Ten Pieces from Romeo and Juliet
Beethoven: Sonatas Nos. 7, 14 "Moonlight," 22, 23 "Appassionata"

ASIN: B0002W384G
Release Date: 2004-10-12

Tracks:

Introduction: Allegro Vivace
II. L'istesso Tempo/III. L'istesso Tempo/IV. Piu Vivo/V. Tempo Precedente/VI. L'istesso Tempo
VII. Meno Mosso, A Tempo Moderato
VIII. Tempo I/IX. L'istesso Tempo
X. Poco Marcato
XI. Moderato
XII. Tempo Di Minuetto
XIII. Allegro/XIV. L'istesso Tempo/XV Piu Vivo Scherzando
XVI. Allegretto
XVIII. Andante Cantabile
XIX. L'istesso Tempo/XX. Un Poco Piu Vivo/XXI. Un Poco Piu Vivo/XXII. Un Poco Piu Vivo (Alla Breve)
XXIII. L'istesso Tempo/XXIV. A Tempo Un Poco Meno Mosso
Theme: Andante
I. Poco Piu Mosso/II. L'istesso Tempo
III. Tempo Di Menuetto
IV. Andante
V. Allegro/VI. L'istesso Tempo/VII. Vivace
VIII. Adagio Misterioso
IX. Un Poco Piu Mosso/X. Allegro Scherzando/XI. Allegro Vivace/XII. L'istesso Tempo
XIII. Agitato/Intermezzo: A Tempo Rubato/XIV. Andante/XV. L'istesso Tempo
XVI. Allegro Vivace/XVII. Meno Mosso
XVIII. Allegro Con Brio/XIX. Piu Mosso - Agitato/XX. Piu Mosso Coda: Andante
Theme: Largo
I. Moderato/II. Allegro/III. L'istesso Tempo/IV. L'istesso Tempo/V. Meno Mosso/VI. Meno Mosso
VII. Allegro/VIII. L'istesso Tempo/IX. L'istesso Tempo/X. Piu Vivo
XI. Lento
XII. Moderato
XIII. Largo
XIV. ModeratoXV. Allegro Scherzando
XVI. Lento/XVII. Grave
XVIII. Piu Mosso
XIX. Allegro Vivace/XX. Presto
XXI. Andante - Piu Vivo
XXII. Maestoso - Meno Mosso - Presto

Amazon.com

Lugansky favors a nimble, supple approach rather than a flashy bombastic style, although in the climaxes of all three works there's a steely-fingered assertiveness that reminds us of his status as a Prokofiev interpreter. Here he plays all three of Rachmaninov's piano works structured as "variations on a theme," the most famous, of course, being the composer's ever-popular Rhapsody on a Theme of Paganini, where he's joined by conductor Sakari Oramo and the fine Birmingham band. Despite the recorded competition, Lugansky is worth hearing for his individual approach, at times recalling Prokofiev's piano concertos, and in slow sections like the sumptuously haunting 16th and 17th variations, adopting a leaner version of poetic Romanticism. The Corelli Variations offer similarly strong contrasts; witness the slow, stately statement of the Andante opening and the thrusting, light touch in the fleet fifth Variation. In the Chopin Variations the slow early ones are ruminative, the faster ones feature fleet-fingered buoyancy that brings remarkable clarity to the runs of the 10th variation. An interesting program, worth hearing even for those who think they're tired of the familiar Paganini piece. --Dan Davis

Average customer rating:

Second Symphony/Musica Celestis

Manufacturer: Phoenix USA
ProductGroup: Music
Binding: Audio CD

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

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Symphony in Waves
Aaron Jay Kernis - Colored Field · Musica Celestis · Air / Truls Mørk · Minnesota Orchestra · Eiji Oue
Nielsen, Aho: Clarinet Concertos [Hybrid SACD]
Valentin Silvestrov: Symphony No. 6
Alan Hovhaness: Symphony No. 60; Guitar Concerto; Khrimian Hairig

ASIN: B000BNMDLU
Release Date: 2005-09-15

Tracks:

Alarm (SYMPHONY NO.2)
Air/Ground (SYMPHONY NO.2)
Barricade (SYMPHONY NO.2)
MUSICA CELESTIS
INVISIBLE MOSAIC III

Product Description

While working on the Second Symphony, Kernis recalls the collective national fixation on images of the 1991 Persian Gulf War. For the composer, these "exerted a kind of fascination and sense of horror at what seemed to be a purely technological war, one that was heavily manipulated by the government for the media." One specific image that haunted Kernis came from the cover of The New York Post, which documented the accidental bombing of an apartment building in Iraq. "Something about the immediate annihilation without warning gave me the sonic image of pulverizing and obliteration" an image with which the Symphony reaches its climax. Kernis describes an overarching narrative structure to the three-movement work, centered on a metaphor of humanity facing the brutalizing machine: "The work is very linear, with the long line put forward in three different contexts in each movement. In the first, the line is set against an unyielding mechanical, rhythmic profile, giving the sense of a wave threatening to overtake the melody. The second movement winnows essentially to melody and accompaniment (with some areas of counterpoint), while in the third the stark line is mostly exposed alone against the wave of percussion. Equally important is the gradual stripping away of layers as the piece goes on." The String Quartet No. 1 takes its name from the subtitle of its slow second movement: "musica celestis." This is also the name Kernis applies to what has become perhaps his best-known work to date. In the tradition of Samuel Barber's similarly extracted Adagio for Strings, Musica Celestis is an arrangement of that Quartet movement for string orchestra (with double bass added), completed in 1991. Kernis ascribes his inspiration to the medieval concept of the music of the spheres, "which refers to the singing of the angels in heaven in praise of God without end." He cites his discovery of Hildegard of Bingen, yet Musica Celestis evinces a broader range of influences: from English pastoralism and the Barber Adagio to the radical simplicity of Beethoven's Heiliger Dankgesang from Op.132 all framed by a sonority reminiscent of Lohengrin's "silvery blue" A major harmonies.

Bernstein - Wonderful Town / Simon Rattle (1999 Studio Cast)

Average customer rating:

A crossover Wonderful Town far from Broadway
Kim Criswell and Audra McDonald as the Sherwood sisters!
TOPS!
An addicting recording
Absolute perfection

Bernstein - Wonderful Town / Simon Rattle (1999 Studio Cast)
Adolph Green , Betty Comden , and Audra McDonald
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Build a Bridge
Wonderful Town (Original 1953 Broadway Cast)
Bernstein - Wonderful Town / Audra McDonald, Kim Criswell, Thomas Hampson, Wayne Marshall, Simon Rattle, Berlin Philharmonic
Happy Songs
Carousel (1994 Broadway Revival Cast)

ASIN: B00000K4EL
Release Date: 1999-09-14

Tracks:

Overture - Birmingham Contemporary Music Group/Sir Simon Rattle
Christopher Street - Rodney Gilfrey/London Voices/Simon Halsey
Ohio - Audra McDonald/Kim Criswell
Conquering New York - Kim Criswell/London Voices
One Hundred Easy Ways - Kim Criswell
What A Waste - Thomas Hampson/Kim Criswell/Rodney Gilfrey/Karl Daymond
A Little Bit In Love - Audra McDonald
Pass The Football - Brent Barrett
Conversation Piece - Audra McDonald/Rodney Gilfry/Thomas Hampson/Karl Daymond
A Quiet Girl - Thomas Hampson
Conga! - Michael Dore/Kim Criswell/London Vocies/Simon Halsey
Entr'acte - Birmingham Contemporary Music Group/Sir Simon Rattle
My Darlin' Eileen - Timothy Robinson/Robert Fardell/Lynton Atkinson/Michael Dore
Swing! - Kim Criswell/Michael Dore/London Voices/Simon Halsey/Lunton Atkinson/Simone Marshall...
Quiet Incidental - Audra McDonald/Kim Criswell
Reprise: Ohio - Kim Criswell/Audra McDonald
It's Love - Audra McDonald/Thomas Hampson/London Voices/Simon Halsey
Ballet At The Village Vortex - Birmingham Contemporary Music Group/Sir Simon Rattle
Wrong Note Rag - Kim Criswell/Audra McDonald/London Voices/Simon Halsey
Reprise: It's Love - Audra McDonald/Thomas Hampson/Kim Criswell/Brent Barret/Rodney Gilfry/Karl Daymond...

Amazon.com essential recording

Leonard Bernstein's collaboration with Betty Comden and Adolph Green on Wonderful Town is one of his great Broadway triumphs, filled with memorable music and great lyrics. And the screwball tale of two fish-out-of-water small-town sisters in NYC (based on the play My Sister Eileen by Joseph Fields and Jerome Chodorov) still sounds comical and fresh, despite the fact that it was written in the '50s and set in the '30s. Up until now, the 1958 television cast recording was the disc to have: a slightly embellished version of the original cast recording starring Rosalind Russell. The strong cast on this 1999 studio recording is every bit as impressive. Audra McDonald shines as Eileen during "A Little Bit in Love," Kim Criswell is a fine Ruth (though less memorable than Russell), and Thomas Hampson--a baritone best known for his work on the opera stage--is great as Ruth's gruff editor, Bob Baker. Simon Rattle's orchestrations are grand, yet quirky, a perfect match for Bernstein's score. It's easy to recommend a disc that has so many great vocal moments: "Conga!," "My Darlin' Eileen," "Conversation Piece," and "Pass the Football" (sung by Brent Barrett), to name a few. --Jason Verlinde

Customer Reviews:

A crossover Wonderful Town far from Broadway.......2005-10-07

Maybe we need some background checks here: Have any of these other reviewers actually been to a musical? On Broadway? Or anywhere in America?

Simon Rattle startled Berlin by taking this same Wonderful Town to the Philharmonie as a gala performance. HOw in the world did they react? This performance is not much like real Broadway. Listen to just a few moments of the original cast recording with Rosalind Russell or the current NY revival with Donna Murphy, and you'll sense how many fish are out of water here.

Rattle does the best, conducting with real verve and an almost-good-enough grasp of the Boradway-swing idiom Bernstein was writing in. Eveyrone else is too obviously trying to sound like something they're not. Audra McDonald is a too-throaty Eileen, Kim Criswell an edgy, noisy Ruth, Thomas Hampson a stiffly operatic editor, Robert Baker. Altogether, this CD is an energetic but ersatz attempt to take Broadway where Broadway don't want to go.

Kim Criswell and Audra McDonald as the Sherwood sisters!.......2004-07-08

This is one of the better cast albums of WONDERFUL TOWN, though nothing tops the original '53 recording with Rosalind Russell. Still, time marches on and there have been several superb Ruth's in recent years, including the fabulous Kim Criswell.

Criswell has the perfect brassy voice to sing the scores of Broadway's golden classics (she's also luminous on the '91 studio album of ANNIE GET YOUR GUN), and she fits the material of TOWN to a tee. Her spin on Ruth is well worth your time and money, especially her fetching "100 Easy Ways" and showstopping "Conga!". And, as with the ANNIE GET YOUR GUN album, she's once again paired with Thomas Hampson, who plays Ruth's love interest Bob Baker (he played Frank opposite her Annie Oakley).

Audra McDonald is likewise the perfect Eileen, perhaps offering up the definitive "A Little Bit in Love", and proves she's a comical cutup with "My Darlin' Eileen" as well as "Wrong-Note Rag". Brent Barrett is sadly under-used in the role of football-mad Wreck.

Conductor Simon Rattle gives the album a cracking pace which never slackens or drags. A top studio album which is enlivened no end by its perfectly-realised cast.

TOPS!.......2001-06-09

If you need one reason to buy this super cd, let it be for Leonard Bernstein's brilliant music---his only score to win a Tony Award. (That's right: neither "Candide" nor "West Side Story" won a Tony.)

The lyrics of Betty Comden and Adolph Green are some of their best. The witty duo came back to Broadway for this show, their first reunion with Bernstein since the success of "On The Town" almost 10 years before. They had very recently written the wildly successful "Singin' In The Rain" in Hollywood and with "Wonderful Town" they (& the entire creative team) conquered New York City.

This CD, to my mind, is a heck of alot better in almost every way than the original cast recording which starred Rosalind Russell. Russell, of course, could not sing and although her role is heavy on comedy and light on music, Kim Criswell comes off better: she is funny & touching as well as caustic and light-handed as well as tough. Russell sounds angry and almost sullen throughout...also quite mature. Add to this, the fact that Criswell has a sensational singing voice. As her love interest,Thomas Hampson, one of our finest operatic baritones, knows exactly how to lighten his voice to sing musical comedy and does it beautifully. On the Russell CD, George Gaines merely sounds old and terribly fancy, like a serious singer who is slumming. Although Edith Adams is fine as "Eileen," Audra McDonald (a 3-time Tony winner, herself) is even better in the role of the girl that all New York City wants to woo. Brent Barrett brings his gorgeous voice, as well as comic skills to his one song as the football-playing dunce, "Wreck."

The sound on this 1999 recording is superb. The conductor, Sir Simon Rattle, throws himself into Bernstein's score with verve and shows exactly how much he loves American jazz and Broadway.

There are many comic numbers, all of which hit the mark, but I must mention that "A Little Bit In Love" and "A Quiet Girl" and "It's Love" have got to be three of the sweetest, cleverest, most charming "love" songs in any musical. HIGHLY RECOMMENDED.

An addicting recording.......2001-02-22

I was browsing through the cd selection at my library when I came across this one. I have always liked Leonard Bernstein but for some reason had never connected him with this musical. His name and Thomas Hampson's caught my eye and I decided to try it out. I'm so glad I did! The songs are marvelous, really bringing out the whole comical aspect of the story. I had never heard of any of the performers (with the exception of Thomas Hampson, whose voice I just love) but was so impressed with their renditions of their characters. Kim Criswell's throaty voice sounds just like you would think Ruth would feel about life in general; Audra McDonald has a sweet optimistic view in her songs; Brent Barrett is hilarious in "Pass the Football" (I laugh every time I hear it--he is so expressive); and Thomas Hampson's beautiful baritone is perfect in "What a Waste" and "A Quiet Girl". The supporting singers are great, too. I have listened to this cd over and over. I just can't seem to get enough of it! The recording itself is very good, clear and detailed, and I was delighted with the booklet with the full lyrics. Altogether very good; I would recommend it to anyone who enjoys musical theatre.

Absolute perfection.......2000-05-31

I had the awesome good fortune to see this program performed in London last summer with all these stars and under the baton of Simon Rattle. It was a magical evening, all of which is captured on this fantastic recording. The cast does a marvelous job of passing the terrific energy of Berstein's music along to the listener. And the lyrics are a delight. Although this particular show is not as well-known as other classics by Bernstein et al, it well deserves a place among the standards. 'What a Waste' is a delightful surprise, and 'A Quiet Girl' is quite moving. Audra McDonald sings like an angel, and her rendition of 'Little Bit in Love' is simply lovely. Despite the perfection of the voices and the lyrics, one of the highlights of the recording is Bernstein's jazzy and sensual 'Ballet at the Village Vortex.' Wow! Overall, this is just a terrific recording that brings back memories of a magical night -- imagine 200 people doing a 'Conga' line through the Royal Albert Hall -- that energy comes through on this recording.

Janacek: Sinfonietta/Glagolitic Mass - Felicity Palmer, Malcolm King, Sir Simon Rattle, Philharmonia Orchestra

Average customer rating:

A more lyrical approach to Janacek's "mass for atheists"
two masterworks
Thrilling and powerful - the best of Janacek

Janacek: Sinfonietta/Glagolitic Mass - Felicity Palmer, Malcolm King, Sir Simon Rattle, Philharmonia Orchestra
Leos Janácek , Simon Rattle , Felicity Palmer , Malcolm King , John Mitchinson , Ameral Gunson , Jane Parker-Smith , City of Birmingham Symphony Chorus & Orchestra , and Philharmonia Orchestra
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
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ASIN: B00000K4FH
Release Date: 1999-09-14

Tracks:

Sinfonietta: I: Allegretto (Fanfare) - Simon Rattle
Sinfonietta: II: Andante (The Spilberg Castle, Brno)
Sinfonietta: III: Moderato (The Queen's Monastery, Brno)
Sinfonietta: IV. Allegretto (The Street Leading To The Castle)
Sinfonietta: Andante con moto (The Town Hall, Brno)
Glagolitic Mass: I: Introduction
Glagolitic Mass: II: Kyrie
Glagolitic Mass: III: Gloria
Glagolitic Mass: IV: Credo
Glagolitic Mass: V: Sanctus
Glagolitic Mass: VI: Agnus Dei
Glagolitic Mass: VII: Organ solo
Glagolitic Mass: VIII: Intrada

Customer Reviews:

A more lyrical approach to Janacek's "mass for atheists".......2006-05-18

The Glagolitic Mass is a barbaric yawp over the roofs of the world. It still has the power to shock, but once Janacek's fierce idiom sinks in, the shouting chorus, berserk organ obligatto, and spiky Slavic flavor become addictive. To be honest, one performance sounds about the same as another--there have been many fine Czech recordings over the years. I'm not sure that Rattle is preferable to Bernstein, Kubelik, or Chailly, just to mention three big-name conductors who have given us good versions (Chailly's is the most refined, slowest, and least Czech--a Viennese perspective that works).

Rattle's reading tends toward the lyrical, providing unexpectedly tender shading in the opening movement. His tenor and soprano must negotiate high-flying lines that verge on the grotesquerie of Carmina Burana, and they do well, although it's impossible for any singer to keep perfectly in tune. I suppose one could comb through every recording to find the best soloists (many of the Czech versions feature a curdled Slavic tonality), yet the strained vocal lines are true to the rough-hewn nature of the piece. The filler to this ungenerous CD is a good, if smoothed out, reading of the popular Sinfonietta.

two masterworks.......2005-06-20

There are four Czech masters in music history: in chronological order - Smetana - Dvorak - Janacek - Weinberger. As you know, Smetana and Dvorak are romantics and masters of Czech national music. Jaromir Weinberger has a famous and one-hit-wonder opera "Svanda the Bagpiper". But third of them, Janacek is the most modern composer. He is a very succesful opera and orchestral work composer. His musical language is not similar to any composer. And his music is very amazing.

This CD is a very good choice for start to listen Janacek. It includes his landmark work "Sinfonietta". This work was dedicated to Czech army forces. It's famous opening fanfare, which written for huge brass, (including 12 trumpets, 4 trombones!) is very impressive. This work has favour of Czech national music.

Glagolitic Mass is one of the most beautiful and succesful 20th century choral music. This music is one of the latest works of Janacek. And it's not has favour of national music and not too religious, too. Rather than, it is majestic and it has the atmosphere of death, pessimism, dark colours. And it's very amazing, fantastic work which written for large ensemble, including terrific organ sound. And Czech language has a very interesting timbre at music.

The performers are excellent both conducted by Simon Rattle. Sinfonietta played by Philharmonia Orch., Mass performed by Birmingham Orch. and Chorus. This recording can compare only with Charles Mackerras (Janacek expert of our time).

Highly recommended for any Janacek admirers and other music lovers.

Thrilling and powerful - the best of Janacek.......2001-05-13

One of EMI's great recordings, this was in fact the first completely digital recording of the "Glagolitic Mass" to be made. The young Simon Rattle does it and the "Sinfonietta" full justice.

What of the music? Both these works date from the last years of Janacek's life and show his creative maturity in full bloom. His "Sinfonietta" is possibly the apex of his ethnomusical work in that it is positively dripping with Moravian folk-style motifs, projecting the heart and soul of Brno and its people as seen by the composer through his early-century collecting and absorbing of real folk music. Its five movements take us on a pictorial tour of the city of Brno, where Janacek spent most of his life living and working. The opening fanfare could almost qualify as a Janacek signature theme, just as the bassoon solo at the start of "The Rite of Spring" and the flute solo at the opening of "Prelude a l'apres midi d'une faune" are the signature tunes of Stravinsky and Debussy respectively. Beyond it lie four further movements of memorable melodies and rich orchestral harmonies: busy clarinets and strings at the start of the second movement; the curiously subdued harmonic progressions in the third movement that also seem to ache with longing at times; the lively and charming interplay between woodwind and strings (with a cameo from a rather loud bell!) in the fourth movement; and finally the beautiful final movement with its extended build-up to a reprise of the fanfare and an unforgettable climax. It is one of the great orchestral works of the last century, and in it Janacek certainly does not make it easy for the players. Simon Rattle and the Philarmonia Orchestra take the bull by the horns, however - they make it all sound effortless, and really seem to be getting down to the heart of the music. A rivetting and spellbinding performance.

If anything, the "Glagolitic Mass" is even more spellbinding. I have to admit I find it a constantly puzzling work: Janacek was an atheist, and surprised many contemporaries with this setting of the Mass in the old Slavic language. It exhibits youthful freshness in its exploration of the words: the "Kyrie" or "Ghospodi pomiluy" is by turns tender and anguished; "Slava" ("Gloria") begins with a wonderful, joyful evocation of what might be a Sunday morning scene with its opening soprano solo and fluttering accompaniment; "Veruju" is an extended Creed setting making full use of dialogue between chorus, soloists and players, punctuated by a recurring motif on the opening word ("I believe"); the "Svet" ("Sanctus") is pure bounce and playfulness, again presenting a melting dialogue between the forces. In "Agnece Bozhe" ("Agnus Dei") Janacek creates some otherworldly orchestral effects as a backdrop to a quietly passionate plea for mercy from the choir, developed into a dark and disturbing discourse by the soloists. Framing the work is a Prelude at the start and Intrada at the end, the one ushering the austereness of the work in from the opening bars whilst the other brings the work to a frantic conclusion. There is also a virtuosic movement for solo organ, reflecting Janacek's skill as an organist (he taught for many years at the Brno Organ School). The whole is a composition of symphonic power and textural poetry, and I find it fascinating and bewildering as a statement of faith from someone that did not believe in God, although he certainly believed in the strength of his native culture and did all he could to preserve it in the music. Here too, Rattle directs with energy, inspiring the City of Birmingham Symphony Orchestra and Chorus to meet the various challenges head on. It is to my mind a definitive performance, allowing the music to speak clearly for itself. Honourable mention also to the soloists: Felicity Palmer (soprano) and John Mitchinson (tenor) have the hardest parts and their interpretation is stunning, even moving in places despite the obvious strains placed on them - I cannot imagine any singer having an easy time with this piece! Jane Parker-Smith's organ playing is worth mentioning as well - she fits into the orchestral dialogues very smoothly in the "Slava" and "Veruju," and her reading of the difficult solo movement is nothing short of astounding. Strongly recommended to Janacek enthusiasts and newcomers alike.

John Foulds: Dynamic Triptych; Music-Pictures III
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Colorful and Intriguing Music

ANOTHER FIVE STAR HELPING OF FOULDS

John Foulds: Ahead of his time (and a bit of a nutjob...)

John Foulds: Dynamic Triptych; Music-Pictures III

Manufacturer: Warner Classics
ProductGroup: Music
Binding: Audio CD

General | Concertos | Forms & Genres | Classical | Styles | Music
General | Symphonies | Classical | Styles | Music
General | Classical | Styles | Music
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ASIN: B000EQHV52
Release Date: 2006-05-23