Yield

Editorial Reviews
Amazon.com
The Seattle band once notable for its arena rock anthems is now remarkable mostly for its hushed melodies. On Pearl Jam's fifth album, the rockers seem slapdash ("Do the Evolution", "Brain of J"), and the arty experiments sound self-conscious (especially the 67-second knockoff, "-"). That leaves the ballads, especially the lovely lilt of "Low Light" and the clear-eyed lament of "Wishlist." On the latter song, Ed Vedder (as he now calls himself) yearns to be many different things, from a neutron bomb to a souvenir key chain. However, the line that sticks out is, "I wish I was as fortunate, as fortunate as me." Instead of considering himself lucky to be a rock star, Vedder sounds relieved to have moved beyond it. --Keith Moerer --This text refers to the Audio CD edition.

People
Loud, fast and percussive, Yield finds Pearl Jam veering from its usual mix of gnashing guitars and down-in-the-mouth vocals.... The band seems to have discovered both humor and harmony.... Yield sounds at moments like a bunch of musicians having fun, a pursuit the angry young men of yore seldom indulge in.... --This text refers to the Audio CD edition.

Yield

Average customer rating:

Very Solid Pearl Jam Release
"I'm not trying to make a difference. No way."
My review on Yield and why I loved the album
John L. Kowal's review says it all
NOT ALL THAT

Yield
Pearl Jam
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B000002BYD
Release Date: 1998-02-03

Tracks:

Brain Of J.
Faithfull
No Way
Given To Fly
Wishlist
Pilate
Do The Evolution
Red Dot
MFC
Low Light
In Hiding
Push Me, Pull Me
All Those Yesterdays

Amazon.com

The Seattle band once notable for its arena rock anthems is now remarkable mostly for its hushed melodies. On Pearl Jam's fifth album, the rockers seem slapdash ("Do the Evolution", "Brain of J"), and the arty experiments sound self-conscious (especially the 67-second knockoff, "-"). That leaves the ballads, especially the lovely lilt of "Low Light" and the clear-eyed lament of "Wishlist." On the latter song, Ed Vedder (as he now calls himself) yearns to be many different things, from a neutron bomb to a souvenir key chain. However, the line that sticks out is, "I wish I was as fortunate, as fortunate as me." Instead of considering himself lucky to be a rock star, Vedder sounds relieved to have moved beyond it. --Keith Moerer

Customer Reviews:

Very Solid Pearl Jam Release.......2007-06-15

Often held up to being a true fans favorite, Yield does not disappoint. Its a very strong album by a great band. Here we find the band becoming much more harder than on their last album No Code. Yield has a great vide and the band sounded like they were ready to explode with power. In songs like Brain of J and Do The Evolution the band sounds just full of energy and like they couldnt rock any harder. Then there is beautiful songs like All Those Yesterdays, In Hiding, and Low Light were the band hadnt sounded more melodic. Theres still a good amount of variety here. Sure its quite a bit less than No Code, but still isnt as straight forward as Ten, the bands first album. I believe the one thing that makes Yield so special is the bands energy here. Up until that point PJ hadnt sounded more energetic since their first release. A very good album that deserves the credit that PJ fans give it.

"I'm not trying to make a difference. No way.".......2007-06-13

Conceived at a period of détente in the band's turbulent career, Pearl Jam's fifth album is one that definitively documents exactly where the band was at that particular time (1998). Whereas Yield's predecessor No Code (1996) had been fraught with upheaval and was conversely inconsistent and experimental, Yield itself is its very antithesis.

When No Code was released Pearl Jam were still the main players in the - admittedly failing - grunge scene, yet by the time they entered the studio to record Yield Soundgarden and Screaming Trees had disbanded, Alice in Chains were in an irreversible state of coma, and The Smashing Pumpkins' Mellon Collie & the Infinite Sadness had obliterated the last remnants of grunge.

Yield however, showcases the greatness of Pearl Jam. Closing ranks impressively - the war of egos between singer Eddie Vedder and guitarist Stone Gossard having reached armistice - the band took stock, returned to Seattle and recorded their most honest, instinctual and diplomatic work to date.

Vedder's enchantment by nature and wilderness is brought prominently to the fore, and his elegant vocals belie the oft-pious bellow of earlier works. Indeed, Vedder's piety forms the basis of Yield, with the songs 'Faithfull' (marriage), 'Given to Fly' (christianity and penance), and the tiresome 'Wishlist' (contentment) - supported by bassist Jeff Ament's 'Low Light' and Gossard's 'All Those Yesterdays' - bearing witness to a more mature take on life's spiritual and secular ambiguities.

Additionally, Gossard and lead guitarist Mike McCready have never combined better than on Yield, with the former's refound gift for compositionally strong riffs perfectly complemented by the latter's uncharacteristically discreet lead playing. Pearl Jam's secret weapon on Yield however, is drummer Jack Irons in what was to prove his final outing with the band. Aside from his generally calming persona (as seen on the documentary of the album's recording, Single Video Theory) his propulsive and often eclectic approach to the drumkit ('Red Dot') suits Pearl Jam's expansive sound far more than current incumbent (ex-Soundgarden-er) Matt Cameron's.

Relaxed, inventive and adventurous, and without the merest hint of grunge cliché, Yield is the sound of a band finally at ease with both its superstar status and its loss thereof.

My review on Yield and why I loved the album .......2007-04-13

Yield is the greatest album from Pearl Jam that I used love to listen with song like " Given to fly " and " Low Light " make this album the greatest to listen instead of their recent album !
Yield by Pearl Jam made me big hug fan of their band and one the all time best album ! CHECK IT OUT FOR YOURSELF !

John L. Kowal's review says it all.......2006-10-06

This CD is horribly dull. I couldn't stop myself from constantly skipping from track to track again and again because every song had no pep to offer whatsoever, the melodies are boring and the singer; ugh, he's so raspy. I hate the singer and the video for "Life Wasted" off their new release, it's so gruesome! I hate how it got to number 1 on MTV2, Pearl Jam shouldn't get radio play or money from people buying their CDs. I haven't liked any song I've ever heard by this awful band. Everything that could have gone wrong did on this album. AAH!

NOT ALL THAT.......2006-08-15

I know it's a matter of perception, taste and expectations but I personally found this recording to be bland, generic, uninteresting and just a low point in their career.

"Given to Fly" due to it's melodic flair, was the only song that peaked my interest of this recording; other than that song, I found YIELD to be a snoozer. Definitely, does not compare to their first two monumental albums.

Average customer rating:

Spirited performance of charming work
Alexander's Feast - English version
One of Handel's great works
Handel's Great "Feast" in an Impeccable Rendition

Handel: Alexander's Feast
G. F. Handel , The Sixteen , Harry Christophers , and Symphony Of Harmony And Invention
Manufacturer: Coro
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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ASIN: B0007DBXJC
Release Date: 2005-03-15

Tracks:

Alexander's Feast: Overture
Alexander's Feast: 'Twas at the Royal Feast
Alexander's Feast: Happy, Happy, Happy Pair
Alexander's Feast: Timotheus plac'd on high
Harp Concerto Op.4, No.6 in B flat: Allegro
Harp Concerto Op.4, No.6 in B flat: Larghetto
Harp Concerto Op.4, No.6 in B flat: Allegro moderato
Alexander's Feast: The song began from Jove
Alexander's Feast: The list'ning Crowd
Alexander's Feast: With ravish'd Ears
Alexander's Feast: The praise of Bacchus
Alexander's Feast: Bacchus, ever fair and young
Alexander's Feast: Sooth'd with the sound
Alexander's Feast: He chose a Mournful Muse
Alexander's Feast: He sung Darus Great and Good
Alexander's Feast: With downcast Looks
Alexander's Feast: Behold Darius Great and Good
Alexander's Feast: The Mighty Master smil'd to see
Alexander's Feast: Softly sweet
Alexander's Feast: War, he sung, is Toil and Trouble
Alexander's Feast: The Many rend the Skies
Alexander's Feast: The Prince, unable to conceal
Alexander's Feast: The Many rend the Skies

Tracks:

Alexander's Feast: Now strike the Golden Lyre
Alexander's Feast: Revenge, Revenge, Timotheus cries
Alexander's Feast: Give the Vengeance due
Alexander's Feast: The Princes applaud with a furious joy
Alexander's Feast: Thais led the way
Alexander's Feast: Thus long ago
Alexander's Feast: At last Divine Cecilia came
Alexander's Feast: Let old Timotheus yield the Prize
Alexander's Feast: Let old Timotheus yield the Prize
Organ Concerto Op.4, No.1 in G minor: Larghetto e staccato
Organ Concerto Op.4, No.1 in G minor: Allegro
Organ Concerto Op.4, No.1 in G minor: Adagio
Organ Concerto Op.4, No.1 in G minor: Andante
Alexander's Feast (conclusion): Your Voices tune

Album Description

"A remarkable recording." - REPERTOIRE

The nature of Alexander's Feast is perhaps better summed up by its other title, The Power of Music. It is a celebratory ode for St. Cecilia's Day, written by Dryden in 1697 for the traditional celebration of the patron saint of music and set in celebratory style by Handel in 1736. At its first performance that year, he incorporated two delightful concertos, one for harp and one for organ, and these are included on this recording. Winner of the Deutschen Schallplattenkritic prize.

Customer Reviews:

Spirited performance of charming work.......2007-03-10

This performance of Alexander's Feast is, in my opinion, exactly right for the work; beautiful, clear voices singing the solos with good diction, a lovely balance in the small chorus, and superb playing of appropriate instruments for the piece and for the period. The notes on the flyer are also excellent, presenting the background and intention of the work.

Alexander's Feast - English version.......2006-02-26

This recording is a very complete version of Alexander's Feast, following the composer's practice of inserting other pieces to create a performance of appropriate length. Excellent soloists, orchestra, and chorus. A high quality recording.

One of Handel's great works.......2005-11-19

I just attended a live performance of Alexander's Feast and I saw many people who probably never heard anything else than Messiah, suddenly finding out that there is more to Handel than Hallelujah chorus. This music is exciting and original, you may know several arias like "War he said is toil and trouble" or "Revenge!" but it is great as a complete work. It was written for St. Cecilia's Day celebration, then re-written several times, but it remains as a beautiful example of Handel's mastery in choral composition and writing showcase arias. The soloists are great, especially Ian Partridge, and the chorus is outstanding. This is a wonderful performance of one of Handel's great works.

Handel's Great "Feast" in an Impeccable Rendition.......2005-08-22

"Alexander's Feast," Handel's 1736 setting of Dryden's ode in honor of St. Cecilia's Day (patron saint of music) is a masterpiece and a delight, but its odd length - too long for a mixed program, too short for a full evening - gave Handel trouble and apparently still presents a problem: this is at present the only recording of this inspired work in the catalogue, though some good ones have come and gone. Fortunately, this reissue of the Sixteen's 1990 version is first-rate, in fact the best I ever recall hearing, with chorus, orchestra, soloists and conductor all in top form. Furthermore, music director Harry Christophers has wisely chosen to include the two concerti - one for harp, the other for organ - that Handel inserted in his original performances. Not only do they lengthen the piece to a satisfactory 115', they serve a satisfactory dramatic purpose by representing respectively the power of music in its pagan form - the bard Timotheus's lyre represented by the harp - and Christian - Cecilia's (apocryphal) organ. Both receive sparkling interpretations here.
If you enjoy such Handel works as "L'Allegro..." and "Acis and Galatea," you will certainly enjoy "Alexander's Feast," which finds the composer in peak form, responding with eagerness to the high quality of the English verse before him. And it's hard to imagine a better way to get to know it than this wonderful performance.

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Classics Explained: Rite of Spring
Stravinsky , Rahbari , and Brt Po Brussels
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

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ASIN: B00007FPFN
Release Date: 2003-07-15

Average customer rating:

A Rose By Any Other Name...
"Thus I salute the stronghold, safe from dread and dismay!
Free at last!
I Love This Recording
The Goodall Ring - 1975 - Restored and Remastered

Wagner: The Rhinegold
English National Opera
Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005B550
Release Date: 2001-05-22

Customer Reviews:

A Rose By Any Other Name..........2007-07-02

The figure of speach may not be completely correct in this instance, but, well, I hope you get the point. In any case, for a Dutch speaking person, like I, to hear 'The Ring' in a language other than the original German feels - almost shockingly(?) - natural. Certainly, this modern English translation, to me, is as least immediate, and probably even more immediate, than the original (archaic) German text. And in music drama, immediacy is essential. Maybe it is also the wonderfully natural translation, I don't know, but it works for me, the Ring in English.
But most of the credit has to go to the music, the singers, and the recording as such. I believe that this (originally analogue) remastered recording has one of the best recorded sounds and acoustics of any Ring, studio or 'live'. It is wonderfully clear but warm, kind of velvety (very unlike Solti), with beautifully natural balaces between voices and orchestra. Audience noises can be heard (including a delightful little ripple of laughter) but never really obtrusively so, thankfully. And I love the thunderclap-sound effect when Donner strikes his hammer against the rocks - very tastefully done, and lending extra power to the scene.
All the time one reads in reviews everywhere of the very slow speads at which the music is conducted by Sir Reginald Goodall. Well, that may be so, but I, for one, am certainly endeared to Sir Reginald Goodalls 'caressing' of the music, as a result of which wich the Leitmotifs come out more clearly than ever. The slow - but nonetheless very concentrated, and always involved - playing has, to me, an almost mesmerizing effect. Certainly, compared to many other recordings, the music may sound stretched almost beyond breaking point. But in the end, I think it is really just that: a matter of speed, no more. The concentration never falters and the dramatic arc never saggs. There is live 'music magic' going on here, I feel, even if the English National Opera Orchestra may not be (as precise or as diciplined as) a Wiener Philharmoniker or a Bayreuther Festspielorchester. Certainly, Sir Reginald Goodall must have loved this music and these opera's: one feels a slowly beating but constant loving pulse that energizes the drama and the music.
But we also have the singers. And what a great singers! While the best may be yet to come (with Alberto Remedios as Siegmund and Siegfried, and Rita Hunter as Brunnhilde), we here, in The Rhinegold, already have one of the most commanding of Wotans (Norman Bailey, with wonderful burnished timbre). Also, Emile Belcourt stands out as a wonderfully sleek but full-voiced Loge. Derek Hammond-Stroud's Alberich may not be as black as Gunther von Kannen's (for Barenboim), for example, but there is enough anguish, frustration and anger to lend his character a convincing reality and depth. And the giants too, are a winning pair. Especially Fafner (Clifford Grant) is as imposing and powerful as one may ever wish.
With all the rave reviews, here and elsewhere I can't wait to hear The Valkyrie, (especially) Siegfried and Twilight of the Gods. This certainly is a winning 'Ring', to be kept alongside any other 'great' recorded 'Ring' out there, IMHO. To me, it can hold its own alongside any other favorite recordings.
Please, sample this Ring (try for example the Chandos website for fragments of all of the music) and decide for yourself. Highly recommended.

"Thus I salute the stronghold, safe from dread and dismay!.......2007-06-12

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

TIMING (Estimate):
Solti's Ring: 14 hours, 30 minutes
Bohm's Ring: 13 hours, 30 minutes
Karajan's Ring: 14 hours, 50 minutes
Goodall's Ring: 16 hours, 50 minutes
Boulez's Ring: 13 hours, 40 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Haitink's Ring: 14 hours, 10 minutes
Sawallisch's Ring: 14 hours, 0 minutes

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

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

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

Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: nothing is faster than andante. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.

Boulez: Here it is, folks - the controversial Centennial Ring. To fit the Ring Cycle in the industrial age, Boulez gives it a very Schoenbergian, Bartokian atmosphere. Much of his tempi are very quick, very Bohm-like, though they're still not as fast as Bohm. Keep in mind, though, this live Ring works only if you hear AND see it (the DVD's work best).

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

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

Haitink: This might be seen as a disappointment. If you want great conducting, then this is for you. If you want a persuasive array of singers, look somewhere else. Haitink's conducting saves this work from being a total flop. There is nothing quite like his Rheingold & Gotterdammerung ("Siegfried's Rhine Journey" is a bit forced, but magnificent nonetheless).

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

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

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

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

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

Boulez's Bayreuth Festival: While it doesn't really pack the same punches as Bohm's Bayreuth, it still delivers a stunning performance. Orchestral interaction between characters (Ex. Siegfried's motifs mixed in with Mime's motifs) fares better than Berlin's and English National's. Rhine maiden motifs are given more wit, while the Dragon motifs are played with less eeriness. Beauty makes up for the irritatingly quick "Wotan's Farewell".

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

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

Haitink's Bavarian Radio Symphony: This may very well be like Metropolitan, only this sounds much more poignant. The strings sound better and the percussion sound clearer. The leitmotivs are almost never screwed up. First scene of Rheingold will take one's breath away.

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

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

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

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

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

Boulez: If you watch Donald McIntyre on the Centennial Ring production, then you can tell that he's a fine "industrial" Wotan. If you just hear him on CD, then you'll be disappointed. His diction is weak, his emotions are forced, and his voice sounds robotic. The DVD's will do.

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

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

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

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

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

Boulez: How can anyone not be impressed by the Brunnhilde of Gwyneth Jones? One can almost feel her excitement during Siegfried Act Three, and her fear in Walkure Act Three. Her weakest point is probably during her Gotterdammerung Prologue (a bit too stressed).

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

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

Haitink: Hmph. I was hoping that Eva Marton would do well here. I was seriously let down by her strained singing. She does okay in "Annunciation of Death", but she is at her worst in "Immolation".

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

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

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

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

Boulez: Is Manfred Jung a good tenor? Yes. Is he a good Heldentenor? NO. He doesn't have that heroic voice like Windgassen and Remedios. Again, the DVD's are your safest bet.

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

Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. Levine should've chose Kollo or Jerusalem when he recorded his studio Ring.

Haitink: Have you ever seen Siegfried Jerusalem on the Levine/Metropolitan DVD? Well, here he is again, and this time, he sings with more valor and enthusiasm. Bravo!

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

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

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

Boulez: What we have here is the weak Alberich of Hermann Becht. When he's in Nibelheim, the authority isn't there. When he's in the Neid-Hohle forest, the creepiness isn't there. And when he's near the Gibich house, the misery isn't there. Even on DVD he's unsatisfactory.

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

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

Haitink: No offense, but Theo Adam as Alberich? Come on . . .

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

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

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

Boulez and Levine: Heinz Zednik is yet another excellent Mime, VERY fun to listen to. There is much humor and eccentricity in his voice, and that's what makes his dwarf much more compelling than Dempsey's dwarf. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.

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

Haitink: Peter Haage sounds like he's entertaining young kids. His version of Mime is a bit childish, and the dark humor that the dwarf brings out sounds-over-the-top here. Nonetheless, he is still entertaining to listen to ("Wer halfe mir?" has never sounded better).

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

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

Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Again, another Loge that's marred by lack of cunning.

Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. He has the wit, the craftiness, and the untrustworthiness that the character deserves. His scenes in Scene Three are delightful.

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

Boulez and Haitink: I can summon Heinz Zednik's performance in just three words: Brilliant Beyond Belief!

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

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

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

-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings. Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). Anja Silja is the most memorable Freia (Bohm), while Kurt Moll makes the most fabulous Hunding yet (Janowski, Levine, and Sawallisch). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm, Goodall, and Boulez. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.

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

The Box Set: Wagner: The Ring Cycle (Box Set)
-The Valkyrie (Part 2): Wagner: The Valkyrie
-Siegfried (Part 3): Siegfried (Goodall Ring Cycle/Chandos Opera in English)
-Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

Free at last!.......2004-09-18

I've enjoyed listening to the Ring cycles by Solti, Bohm, and Furtwangler, but my pleasure has always been dampened by the necessity to follow the dramas with a German/English libretto. This performance freed me from that burden and allowed me to listen to the Ring with my ears alone for the first time. And what a delightful experience it was! I found I could understand about half the words the first time through. but that was enough for me to understand what the characters were saying and concentrate on Wagner's great music. Some of the characters (Loge and Alberich, for example) are almost perfectly comprehensible, while others (Fricka in particular) might as well be singing in German. The sound itself is superb, with perfect balances between orchestra and voices. Goodall's conducting is famously slow (about half an hour longer than usual), but he is never slack and he reveals a wealth of detail in the orchestration. The singers are a mixed lot, with Loge, Alberich, and Mime particularly effective. Bailey is hardly the grandest of Wotans, but he is solid and convincing. In any event, for us non-German listeners, this recording is a real treat. I would not recommend it as a first Ring (Bohm is a good choice, though some of his tempi are rather hectic), but as a supplement to a recoding in the original language, it is hard to beat. Give it a try! As for me, I'm ready to go on to "Die Walkure" (pardon me, "The Valkyrie").

I Love This Recording.......2002-04-05

I was a little suspicious when approaching this English-language version of Das Rhinegold. I was considering assembling this as my third RING set (behind Solti and Levine) and had listened to THE VALKYRIE (Die Walkure) with a little initial disappointment. Although the live sound quality was very interesting, the tempo was much slower than I was used to and thus a little disconcerting, and the English words were harder to understand than I had hoped. Nevertheless, I persevered and listended to THE RHINEGOLD (probably my favorite of the four RING operas, although I know this puts me in a minority) and was amazed. Best of all, after listening to this album I revisited the Goodall VALKYRIE and discovered a new appreciation! Now the Goodall set ranks as one of the best I've heard. It just needed to get under my skin a bit.

What's so good about it? Three things stand out for me: First, the slow tempi that were a litle rough at first actually allow, upon repeated listenings, a new discovery and understanding of Wagner's unfathomable genius. Every nuance is slowed down just enough to be fully accessible. Second, the modern English translation really does make this a different experience...my initial mistake was thinking that English lyrics could allow me to listen to this as background music, and that's not the case. However, if one devotes the same attention to this as a German recording, the time wil be richly rewarded. Finally, the smaller orchestra creates an almost chamber music-esque setting, which compliments the music in an undefinable way. Despite being in English, this is almost more Germanic than original-language recordings.

I still probably wouldn't get this as the first foray into Wagner's RING (I still think Solti or Levine are the choices for that). But for someone who already has some familiarity with the work, this will provide a lifetime's enjoyment. Cudos to Chandos for resurrecting these recordings!

The Goodall Ring - 1975 - Restored and Remastered.......2001-06-08

I have been curious about this for years. When I saw the packaging, I wondered whether this was the same Ring that has been kicking around for a couple of decades from the Sadler's Wells performances of the mid-70s. News flash: It's the same. However, the box says that it's been re-mastered with something called 24-bit digital mastering. Since I never heard the old records, I have no idea if this is better. Judged on its own, the sound is terrific. This live recording really places the listener in the theater with clarity and authentic spaciousness. So often, a live recording will capture the audience up close, then the orchestra, then the singers, cataloguing every throat being cleared and every bow being tapped. Somewhere in the distance, the singers voices follow their heavy tread over the stage. Not here. There is an intimacy to the sound here that approximates sitting in about the tenth row back in a large hall. It doesn't sound like the opera's being played in your room; it sounds as though your room has been transformed into a medium sized theater. I found it uncanny.

As to the experience of the drama in English, that too is remarkable, at least for someone like me whose home-tongue is English. The drama takes on an immediacy that I have never experienced before. This factor alone is why you should explore this Ring. I can't overemphasize the impact on me that this recording had on me because it was in English and because it was well-acted. Surely this is what Wagner meant, at least dramaturgically (obviously allowing that you can't actually see the action).

Overall, the singing is competent, and in some places, it's excellent. None of the cast really stands out musically. Norman Bailey's wobbly Wotan could have certainly benefitted from a deeper, richer tone. Still, and perhaps more importantly, he creates a god who is clearly unsure of where the moral highground is, even when he's standing on "an open space on a mountain summit." Everyone, for that matter, is dramatically convincing, especially Emile Belcourt (Loge) and Derek Hammond-Stroud (Alberich) and Robert Lloyd (Fasolt), all of whom, by the way, have excellent diction. And speaking of diction, I almost could have done without the libretto when the men were singing. Not so with the women, whose diction was uniformly wanting.

Goodall's pace is notoriously glacial. Still, it's interesting to hear it parsed in this way, and I never had the feeling that I was going to fall off the world. Which is to say that the tempos were deliberate, not affected. This was definitely a labor of love for RG and the English National Opera. The orchestra is a little thin sounding, and perhaps, not entirely up to the score. Occasionally a horn mis-blew and a cello creaked. This is unavoidable in live performances, I suppose. Still, there is a surprising sense of smallness to the ensemble, even though there's never a moment when the balance between singers and players is lost. As a result, the overall effect is a balance of clarity and urgency that is clearly the upside of Goodall's idiosyncratic "vision" of the score. Not a huge or "erotic" sound, but always committed, intelligent, and sometimes impassioned.

For all of its flaws, this is an astonishing and, for me, an indispensible recording because it made me listen to this opera with new ears. While it's not the most lyrically pleasing recording (Karajan) or musically authoritative (that would be Solti, IMHO), dramatically, this Rhinegold excells any recording I know of. I will definitely buy the rest of the set.

The Tao of Cello
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The Tao of Cello

Manufacturer: Valley
ProductGroup: Music
Binding: Audio CD

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Musical Massage: Balance

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Epigraphs

ASIN: B000088EH9
Release Date: 2003-04-08

Tracks:

Restraint Begins With Giving Up One's Own Ideas
Man Follows The Earth
When Men Lack A Sense Of Awe, There Will Be A Disaster
The Tao Of Heaven Is To Take Form Those Who Have Too Much And Give To Those Who Have To Little
Man Follows The Earth. Earth Follows Heaven. Heaven Follows The Tao. Tao Follows What It Natural
Knowing Others Is Wisdoms
The Further You Go, The Less You Know
It Is Not Wise To Rush About
Returning Is The Motion Of The Tao
See Simplicity In The Complicated
In Dealing With Others, Be Gentle And Kind
He Who Is Filled With Virtue Is Like A Newborn Child
Yield And Overcome
What Is Firmly Grasped Cannot Slip Away
Tao Follows The Earth
Become As A Child Once More
Sometimes One Is Up And Sometimes Down
Just Do What Needs To Be Done
That Is Why A Victory Must Be Observed Life A Funeral
All Men Will Come To Him Who Keeps To The One
The Valley Spirit Never Dies
Heaven And Earth Last Forever

Product Description

1. Restraint Begins With Giving Up One's Own Ideas
2. Man Follows The Earth
3. When Men Lack A Sense Of Awe, There Will Be A Disaster
4. The Tao Of Heaven Is To Take From Those Who Have Too Much And Give To Those Who Have Too Little
5. Man Follows The Earth, Earth Follows Heaven, Heaven Follows The Tao, Tao Follows What Is Natural
6. Knowing Others Is Wisdom
7. The Further You Go, The Less You Know
8. It Is Not Wise To Rush About
9. Returning Is The Motion Of The Tao
10. See Simplicity In The Complicated
11. In Dealing With Others, Be Gentle And Kind
12. He Who Is Filled With Virtue Is Like A Newborn Child
13. Yield And Overcome
14. What Is Finally Grapsed Cannot Slip Away
15. Tao Follows The Earth
16. Become As A Child Once More
17. Sometimes One Is Up And Sometimes Down
18. Just Do What Needs To Be Done
19. That Is Why A Victory Must Be Observed Like A Funeral
20. All Men Will Come To Him Who Keeps To The One
21. The Valley Spirit Never Dies
22. Heaven And Earth Last Forever (Improvisation On Bach Suite II, Praeluium)

Format: CD

Symphony 9: Introduction to Dvorak
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Symphony 9: Introduction to Dvorak
Dvorak
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music
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ASIN: B000069HGK
Release Date: 2002-09-17

Dittersdorf: Arcifanfano, King of Fools
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A Comic-Opera Treasure!

an obscure delight!

Dittersdorf: Arcifanfano, King of Fools

Manufacturer: Video Artists Int'l
ProductGroup: Music
Binding: Audio CD

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Tracks:

Arcifanfano, King Of Fools: Act I: Overture
Arcifanfano, King Of Fools: Act I: Chorus - We've Traveled Far (Semplicina, Gloriosa, Garbata, Sordidone, Malgoverno, Furibondo)
Arcifanfano, King Of Fools: Act I: Recitative - Approach! What Is Your Name, Sir? (Furibondo)
Arcifanfano, King Of Fools: Act I: Aria - With A Sword That Is Sterner Than Moses (Furibondo)
Arcifanfano, King Of Fools: Act I: Recitative - Unhappy Oddling (Gloriosa)
Arcifanfano, King Of Fools: Act I: Aria - My Fair Skin, My Bare Chin (Gloriosa)
Arcifanfano, King Of Fools: Act I: Recitative - Was Ever There Insanity (Sordidone)
Arcifanfano, King Of Fools: Act I: Aria - Snugly Hidden Safe From Prying (Sordidone)
Arcifanfano, King Of Fools: Act I: Recitative - Madness Beyond All Measure (Malgoverno)
Arcifanfano, King Of Fools: Act I: Aria - When The Purse Is Clinking (Malgoverno)
Arcifanfano, King Of Fools: Act I: Recitative - There, Like A Vapor (Semplicina)
Arcifanfano, King Of Fools: Act I: Aria - O Look So Woeful (Semplicina)
Arcifanfano, King Of Fools: Act I: Recitative - Such As She Seems To Be Frigid (Garbata)
Arcifanfano, King Of Fools: Act I: Aria - Let's Sing, Let's All Be Jolly (Garbata)
Arcifanfano, King Of Fools: Act I: Recitative - For All Types Of Confusion
Arcifanfano, King Of Fools: Act I: Aria - The Fierce One Lives Only For The Slaughter
Arcifanfano, King Of Fools: Act II: Recitative - I Beg You To Stop (Malgoverna, Gloriosa, Garbata)
Arcifanfano, King Of Fools: Act II: Aria - We Praise The Sun For Beauty (Malgoverna)
Arcifanfano, King Of Fools: Act II: Recitative - Bumpkin, Coarse-grained (Gloriosa, Garbata)
Arcifanfano, King Of Fools: Act II: Aria - If You Will Love Me, I Will Love You (Garbata)
Arcifanfano, King Of Fools: Act II: Recitative - No, They Cannot Persuade Me! (Gloriosa)
Arcifanfano, King Of Fools: Act II: Aria - Lovely Ladies, You Enjoying (Gloriosa)
Arcifanfano, King Of Fools: Act II: Recitative - Where's My Lover, Sweetheart (Sordidone)

Tracks:

Arcifanfano, King Of Fools: Act II: Aria - Sordidone, Be A Bunny
Arcifanfano, King Of Fools: Act II: Recitative - Are You Hiding? (Sordidone, Garbata)
Arcifanfano, King Of Fools: Act II: Duet - See Comely Phyllis Wander (Garbata, Sordidone)
Arcifanfano, King Of Fools: Act II: Recitative - Don't Come Near Me (Semplicina, Furibondo)
Arcifanfano, King Of Fools: Act II: Aria - The High And Mighty Lion (Furibondo)
Arcifanfano, King Of Fools: Act II: Recitative - Quiet At Last (Semplicina)
Arcifanfano, King Of Fools: Act II: Duet - Semplicina, Do You Hear Me? (Semplicina)
Arcifanfano, King Of Fools: Act II: Quartet - Ever More Bitter Shall Be My Raging (Gloriosa, Garbata, Malgoverno, Furibondo)
Arcifanfano, King Of Fools: Act II: Recitative - What Now? What New Forms Of Madness? (Gloriosa, Sordidone, Malgoverno, Furibondo)
Arcifanfano, King Of Fools: Act II: Chorus - Long Live King Arcifanfano (Semplicina, Gloriosa, Garbata, Sordidone, Malgoverno, Furibondo)
Arcifanfano, King Of Fools: Act III: Aria - Earth, Our Dearest, Good And Nearest (Sordidone)
Arcifanfano, King Of Fools: Act III: Aria - That His Sowing Yield A Growing (Malgoverno)
Arcifanfano, King Of Fools: Act III: Recitative - What Has The Fool Committed (Malgoverna, Gloriosa)
Arcifanfano, King Of Fools: Act III: Aria - Ask Of Beauty, She Will Answer (Gloriosa)
Arcifanfano, King Of Fools: Act III: Recitative - Hop And Stop It! (Furibondo, Gloriosa)
Arcifanfano, King Of Fools: Act III: Aria - All Of This Planet, I Cry To Each Man (Furibondo)
Arcifanfano, King Of Fools: Act III: Recitative - What's Unleashed These Dreadful Roars? (Garbata, Furibondo)
Arcifanfano, King Of Fools: Act III: Aria - I'm Simple And I'm Candid (Garbata)
Arcifanfano, King Of Fools: Act III: Recitative - What Mischief And Load This Purse Is!
Arcifanfano, King Of Fools: Act III: Aria - Goddess Bright As Morning
Arcifanfano, King Of Fools: Act III: Recitative - Mother Always Used To Tell Me (Sordidone, Semplicina)
Arcifanfano, King Of Fools: Act III: Aria - What A Lot I Need What I Need Lot's Of! (Sordidone)
Arcifanfano, King Of Fools: Act III: Recitative - May He Not Come To Harm (Semplicina)
Arcifanfano, King Of Fools: Act III: Aria - There's A Devil In A Ducat (Semplicina)
Arcifanfano, King Of Fools: Act III: Recitative - Gather, O Subjects, About Us (Gloriosa, Garbata, Semplicina)
Arcifanfano, King Of Fools: Act III: Duet - If You Marry Me (Semplicina)
Arcifanfano, King Of Fools: Act III: Chorus - With Curiosity All Aflame (Semplicina, Gloriosa, Garbata, Sordidone, Malgoverno, Furibondo)
Arcifanfano, King Of Fools: Act III: Recitative - Quiet, Please, We Implore You!
Arcifanfano, King Of Fools: Act III: Chorus - The Wise And The Mad Have Got One Word For Their Dwelling