I Can Hear the Heart..+ 1

Editorial Reviews
Amazon.com essential recording
We always suspected they had it in them, but who knew Yo La Tengo would finally craft a record as wholeheartedly terrific as this? Fourteen years into their career as indie rock's low-key mainstays, the Hoboken, New Jersey, trio have arrived--and it's about time. It's as though simply by sticking around long enough and doing the same thing over and over while constantly refining and focusing Yo La have evolved from scattered, record-collecting eccentrics into the true classicists of '90s indie rock. Blending elements of what has illuminated Sonic Youth, Stereolab, Pavement, and My Bloody Valentine, they've long had a clear voice but never sounded so comfortable using it. Willfully eclectic husband-and-wife multi-instrumentalists Ira Kaplan and Georgia Hubley--with third member James McNew never sounding more permanent--have previously tended to alternate between their instincts to be a pop rock band and to serve as artsy noisemakers. On I Can Hear..., the group doesn't have to choose between songs and sounds. There's noise leaking out everywhere, but it's always under control. Even the most layered soundscapes--songs like "Autumn Sweater," "Sugarcube," or "Moby Octopad"--have unforgettable melodies, with fragile harmonies to boot. "We're an American Band" (not a Grand Funk cover) could be Simon and Garfunkel singing along to the Jesus and Mary Chain. And on tracks like "Shadows" or "My Little Corner of the World," where the melody consumes everything else, deceptively simple backdrops provide a less-is-more atmosphere. Just in time for indie rock to catch up with Yo La Tengo, Yo La Tengo has caught up with itself. --Roni Sarig --This text refers to the Audio CD edition.

Album Description
Japanese version of the East Coast indie act's critically acclaimed 1997 album release. Includes the single, 'Little Honda' and one bonus track, 'Busy With My Sorts'. 17 tracks in all.

Customer Reviews:

Robert King deserves to be famous in America, too.......2006-07-23

Robert King and his King's Consort have made dozens of recordings, establishing themselves in London as a pre-eminent Baroque group. They benefit greatly from King's unflagging energy and musical insight. Twenty years ago you couldn't say that the period movement had attracted the best musicians and conductors. That situation has changed radically, and this sampler CD from King's complete recordings exhibits first-class playing throughout. Baroque singing is at a high level, too, but you couldn't say that his singers are of Met or Royal Opera House quality--even so, they are very good.

As an indicator of the strides that period performance has made, this is an eye-opening CD, but it's also engaging for the general listener, like me, who only dips into Handel's many, many operas and oratorios occasionally.

Bargain-priced first-class overview.......2006-05-01

This is a great CD for beginners, but also for those who already have a few Handel CDs. So often samplers have all the favourites which you already have on other CDs. But this set has a few well-known tracks, such as Zadok the Priest, See the Conqu'ring Hero Comes and La Rejouissance from The Fireworks, but mostly wonderful music, superbly played which is not extremely well known.

Highly recommended.

Average customer rating:

Gilbert & Sullivan: The Gondoliers

Manufacturer: Polygram Int'l
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
Similar Items:

Sullivan: Yeomen Of The Guard/Trial By Jury

ASIN: B0000041VC
Release Date: 2003-04-08

Tracks:

Ov
Act I: List And Learn
Act I: Good Morrow, Pretty Maids
Act I: For The Merriest Fellows Are We
Act I: See, See At Last They Come To Make Their Choice
Act I: Buon Giorno, Signorine!
Act I: We're Called Gondolieri, But That's a Vagary
Act I: And Now To Choose Our Brides!
Act I: Are You Peeping?
Act I: Thank You Gallant Gondolieri
Act I: From The Sunny Spanish Shore
Act I: In Enterprise Of Martial Kind
Act I: O Rapture, When Alone Together
Act I: There Was A Time, A Time For Ever Gone
Act I: I Stole The Prince
Act I: But, Bless My Heart, Consider My Position!
Act I: Try We Life-Long We Can Never
Act I: Bride-Groom And Bride!
Act I: When A Merry Maiden Marries
Act I: Kind Sir, You Cannot Have The Heart, Our Lives To Part
Act I: Do Not Give Way To This Uncalled-For Grief
Act I: Then One Of Us Wiil Be A Queen

Tracks:

Act I: Now Pray, What Is The Cause Of This Remarkable Hilarity
Act I: Replying, We Sing As One Individual
Act I: For Ev'ryone Who Feels Inclined
Act I: Come Let's Away-Our Island Crown Awaits Me
Act I: Now, Marco Dear, My Wishes Hear
Act I: Then Away They Go To An Island Fair
Act II: Of Happiness The Very Pith
Act II: Rising Early In The Morning
Act II: Take A Pair Of Sparkling Eyes
Act II: Here We Are, At The Risk Of Our Lives
Act II: After Sailing To This Land
Act II: Dance A Cachucha, Fandango, Bolero
Act II: There Lived A King, As I've Been Told
Act II: In A Contemplative Fashion And A Tranquil Frame Of Mind
Act II: With Ducal Pomp And Ducal Pride
Act II: This Polite Attention
Act II: On The Day When I Was Wedded
Act II: To Help Unhappy Commoners
Act II: Small Titles And Orders For Mayors And Recorders
Act II: I Am A Courtier Grave And Serious
Act II: Here Is A Case Unprecedented!
Act II: Now Let The Loyal Lieges Gather Round
Act II: Speak Woman Speak, We're All Attention!
Act II: The Royal Prince Was By The King Entrusted
Act II: Luiz! Casilda
Act II: One More, Gondolieri

Average customer rating:

Poems for Piano

Manufacturer: Albany Records
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B00000A33E
Release Date: 1998-08-25

Tracks:

Pieces of China: The great wall
Pieces of China: Fable
Pieces of China: China blue
Pieces of China: Puppets
Pieces of China: Slow Dance - Lotus
Pieces of China: China chips
Poems for Piano, Vol. 1, Op. 4: Unroll the flicker's rousing drum
Poems for Piano, Vol. 1, Op. 4: Soft is the collied night
Poems for Piano, Vol. 1, Op. 4: Gather for festival bright weed and purple shell
Poems for Piano, Vol. 1, Op. 4: Wake subtler dreams, and touch me nigh to tears
Poems for Piano, Vol. 1, Op. 4: Ravished lute, sing to her virgin ears
Poems for Piano, Vol. 1, Op. 4: Whose thin fraud I wink at privily
Poems for Piano, Vol. 2, Op. 5: And warms winds spilled fragrance into her solitudes
Poems for Piano, Vol. 2, Op. 5: To whose more clear than crystal voice the frost had joined a crystal spell
Poems for Piano, Vol. 2, Op. 5: Sleep, weary mind; dream, heart's desire
Poems for Piano, Vol. 2, Op. 5: Dust in sunlight, and memory in corners
Poems for Piano, Vol. 2, Op. 5: Make me drunken with deep red torrents of joy
Poems for Piano, Vol. 3, Op 14: Rear its frondings sighing in aetherial folds
Poems for Piano, Vol. 3, Op 14: Listen! Can you hear the antic melody of fear those two anxious feet are playing?
Poems for Piano, Vol. 3, Op 14: Puffed out and marching upon a blue sky
Poems for Piano, Vol. 3, Op 14: And hunged like those top jewels of the night
Poems for Piano, Vol. 3, Op 14: Each gay dunce shall lend a hand
Sonatina No. 1: Largo assai
Sonatina No. 1: Allegretto
Sonatina No. 1: Allegro vivace
Sonatina No. 2: Andante quasi Allegretto
Sonatina No. 2: Allegro moderato
Poems of the Sea: Waves
Poems of the Sea: Chanty
Poems of the Sea: At sea

Average customer rating:

great, great!!!
ALL THE MUSIC YOU EVER NEED!!

Sacred Music Complete
Purcell , King , and Kings Consort
Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Imports | Stores | Music
Similar Items:

The Complete Odes and Welcome Songs of Henry Purcell / King's Consort
Complete Secular Songs (3cd)

ASIN: B00006RHQJ
Release Date: 2002-12-10

Customer Reviews:

great, great!!!.......2006-12-05

This is the way ,I think, Purcell should sound. No pomp and surcomstance but only great music.

ALL THE MUSIC YOU EVER NEED!!.......2003-05-23

This boxed set is by far one of the best purchases I have ever made. As a Purcell freak, this hits every button I have. The cast of characters include the inequitable Robert King, New College Choir, Bowman, and a host of other venerable persons. Likewise the attention to period performance of these works makes it an essential addition to the library of any serious anglophile/Musicologist etc. Now if only the Britten Realizations of all Purcell's songs could be recorded alongside the originals! You will Love this set!

Average customer rating:

"The death-doomed alone are destined to look on me."
Breathtaking, powerful, accessible, not just an alternative
Absolutely Breathtaking!
A powerful reading of the most moving opera in the Ring.
The power of Wagner's music drama is now fully accessible

Wagner: The Valkyrie

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
Similar Items:

Siegfried (Goodall Ring Cycle/Chandos Opera in English)
The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)
Wagner: The Rhinegold

ASIN: B00004YU6Z
Release Date: 2000-11-28

Tracks:

Act I: Prld - English Nat Opr Orch/Reginald Goodall
Act I, Scene 1: The Storm Drove Me Here - Alberto Remedios/Margaret Curphey
Act I, Scene 1: This House And This Wife - Margaret Curphey/Alberto Remedios
Act I, Scene 1: Evil Fortune's Never Far From Me - Alberto Remedios/Margaret Curphey
Act I, Scene 2: There He Lay, Feeble And Faint - Margaret Curphey/Clifford Grant/Alberto Remedios
Act I, Scene 2: Through Field And Forest - Alberto Remedios/Clifford Grant/Margaret Curphey
Act I, Scene 2: Friedmund No One Could Call Me - Alberto Remedios/Clifford Grant/Margaret Curphey
Act I, Scene 2: The Neidings Raided Again - Alberto Remedios
Act I, Scene 2: So The Norn Who Dealt You This Fate - Clifford Grant/Margaret Curphey/Alberto Remedios
Act I, Scene 2: I Know A Troublesome Race - Clifford Grant
Act I, Scene 3: A Sword Was Pledged By My Father - Alberto Remedios
Act I, Scene 3: Are You Awake? - Margaret Curphey/Alberto Remedios
Act I, Scene 3: My Husband's Kinsmen - Margaret Curphey
Act I, Scene 3: Yes, Loveliest Bride - Alberto Remedios/Margaret Curphey
Act I, Scene 3: Winter Storms Have Vanished (Siegmund's Spring Song) - Alberto Remedios
Act I, Scene 3: You Are The Spring - Margaret Curphey
Act I, Scene 3: Oh Sweetest Enchantment - Alberto Remedios/Margaret Curphey
Act I, Scene 3: The Stream Has Shown My Reflected Face - Margaret Curphey/Alberto Remedios
Act I, Scene 3: Siegmund Call Me, And Siegmund Am I! - Alberto Remedios
Act I, Scene 3: Siegmund, The Walsung, Here You See! - Alberto Remedios/Margaret Curphey

Tracks:

Act II, Scene 1: Go Bridle Your Horse, Warrior Maid! - Norman Bailey
Act II, Scene 1: Hoyotoho! Hoyotoho! (Brunnhilde's Battle Cry) - Rita Hunter
Act II, Scene 1: The Usual Storm, The Usual Strife - Norman Bailey/Ann Howard
Act II, Scene 1: Pretend That You Don't Understand! - Ann Howard/Norman Bailey
Act II, Scene 1: Now It's Come To Pass! - Norman Bailey
Act II, Scene 1: So This Is The End Of The Gods And Their Glory - Ann Howard
Act II, Scene 1: You Never Learn What I Would Teach You - Norman Bailey/Ann Howard
Act II, Scene 1: What Must I Do? - Norman Bailey/Ann Howard
Act II, Scene 1: Hiaha! Hiaha! Hoyotoho! - Rita Hunter/Ann Howard/Norman Bailey
Act II, Scene 2: Fricka Has Won The Fight - Rita Hunter/Norman Bailey
Act II, Scene 2: When Youth's Delightful Pleasures Had Waned - Norman Bailey
Act II, Scene 2: She Refused To Reveal More About It - Norman Bailey/Rita Hunter
Act II, Scene 2: There's More To Tell - Norman Bailey
Act II, Scene 2: Yet One Can Accomplish What I May Not - Norman Bailey
Act II, Scene 2: But The Walsung, Siegmund - Rita Hunter/Norman Bailey
Act II, Scene 2: Then Siegmund Must Fall In His Fight? - Rita Hunter/Norman Bailey
Act II, Scene 2: I Give You My Blessing, Nibelung Son! - Norman Bailey/Rita Hunter
Act II, Scene 2: No, Have Mercy - Rita Hunter/Norman Bailey

Tracks:

Act II, Scene 2: So I Obey His Command - Rita Hunter
Act II, Scene 3: Rest Here For A While; Stay By My Side! - Alberto Remedios/Margaret Curphey
Act II, Scene 3: Away! Away! - Margaret Curphey/Alberto Remedios
Act II, Scene 3: Where Are You, Siegmund? - Margaret Curphey/Alberto Remedios
Act II, Scene 4: Siegmund! Look At Me! (Announcement Of Death) - Rita Hunter/Alberto Remedios
Act II, Scene 4: And If I Come - Alberto Remedios/Rita Hunter
Act II, Scene 4: Then Greet For Me Walhall - Alberto Remedios/Rita Hunter
Act II, Scene 4: Woe! Woe! Sister And Bride - Alberto Remedios/Rita Hunter
Act II, Scene 4: Two Lives Now Lie In Your Power - Alberto Remedios/Rita Hunter
Act II, Scene 5: Charms Of Sleep Are Sent To Still - Alberto Remedios
Act II, Scene 5: I Hear Your Call - Alberto Remedios/Margaret Curphey
Act II, Scene 5: Wehwalt! Wehwalt! - Clifford Grant/Alberto Remedios/Margaret Curphey/Rita Hunter/Norman Bailey

Tracks:

Act III, Scene 1: Hoyotoho! Hoyotoho! (Ride Of The Valkyries) - Katie Clark/Anne Evans/Elizabeth Connell/Helen Attfield/Shelagh Squires/Anne Conoley
Act III, Scene 1: Shield Me And Help - Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne Evans/Sarah Walker...
Act III, Scene 1: Hear While I Tell You - Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne Evans/Sarah Walker...
Act III, Scene 1: Pray Suffer No Sorrow For Me - Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne...
Act III, Scene 1: Fly Him Swiftly, Away To The East! - Rita Hunter
Act III, Scene 1: O Radiant Wonder! (Parting Salute) - Margaret Curphey
Act III, Scene 1: Stay, Brunnhild! - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 2: Where Is Brunnhild? - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 2: Weak-Spirited, Womanish Brood! - Norman Bailey
Act III, Scene 2: Here I Am, Father - Rita Hunter/Norman Bailey
Act III, Scene 2: No More Will You Ride From Walhall - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 2: Did You Not Hear What I Decreed? - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 3: Was It So Shameful - Rita Hunter/Norman Bailey
Act III, Scene 3: I Know So Little - Rita Hunter/Norman Bailey
Act III, Scene 3: You, Who This Love Into My Heart Revealed - Rita Hunter/Norman Bailey
Act III, Scene 3: You Indulged Your Love - Norman Bailey
Act III, Scene 3: Unworthy Of You This Foolish Maid - Rita Hunter/Norman Bailey
Act III, Scene 3: You Fathered A Glorious Race - Rita Hunter/Norman Bailey
Act III, Scene 3: In Long, Deep Sleep - Norman Bailey/Rita Hunter
Act III, Scene 3: Farewell, My Valiant, Glorious Child! (Wotan's Farewell) - Norman Bailey
Act III, Scene 3: These Eyes So Warm And So Bright - Norman Bailey
Act III, Scene 3: Loge, Hear! Come At My Call! - Norman Bailey
Act III, Scene 3: Magic Fire Music - Norman Bailey

Customer Reviews:

"The death-doomed alone are destined to look on me.".......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 Rhinegold (Part 1): Wagner: The Rhinegold
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)

Breathtaking, powerful, accessible, not just an alternative.......2005-05-03

This is one of three Walkure's in my collection: the very underrated Leinsdorf, the thrilling Boehm and this one with Goodall. I believe Goodall is right up there with the best of them. Remedios, Hunter and Bailey sing beautifully and with sufficient drama. I'll go out on a musical limb and say I believe Bailey is one of the finest Wotan's on disc. Many will disagree but I think he has the measure of the role, the power to pull it off and a burnished timber that never becomes coarse under powerful climaxes... Remedios may well be the star of the trilogy along with Hunter and Bailey. His Siegmund is beautifully sung and his Siegfried by the way, is no mean stint either. Would that we had tenors that could sing Siegfried without sounding stretched beyond their limits. I am continually puzzled by the bad reviews that the orchestra playing receives from ARG, Classics Today and a few others. The ENO is not a Concertgebouw or Vienna Philharmonic but I think they play beautifully, a few clinkers notwithstanding. For a live show, they do a pretty d..... good job. THe sound from both orchestra and singers is exceptionally fine. This set belong in your collection if you like Wagner and, Die Walkure, in particular. If I had been at the performance in the 1970's I would have come home very happy, satisfied and richer for the experience.

Absolutely Breathtaking!.......2002-09-13

I had long cringed at the thought of this magnificant masterpiece recorded in English. Even after reading several rave reviews on this cylce that I've read by authoritive Wagnerites and critics, I was still skeptical. Finally, I decided to add Goodall's 'Ring' as my third complete cycle (after Solti & Bohm) for one reason: because it was in English and I felt it would enhance my understand of 'The Ring.' In fact, after achieving that "higher understanding" I was planning on selling this set on Ebay. That was, of course, before I heard this magnificant recording.

During the course of my research on 'The Goodall Ring' most of the praised seemed to heighten around 'Siegfried,' which is my absolute favorite of the cycle. That also helped to seal the deal. As the critics said, 'Siegfried' under Goodall is excellent, but not as monumental as Solti's reading, which IMHO is the greatest recording of 'Siegfried.'

The set that stands out, to me, in 'The Goodall Ring' is this recording; The Valkyrie. It is absolutely breathtaking. Not only is it my favorite of this set, it is my favorite Valkyrie recording period (I am very familiar with Boehm's, Solti's, Karajan's, Furthwanglers, Levines, and others). Alberto Remedios (Siegmund here and Siegfried in the last two operas) is truly magnificant. It is the best Siegmund I have heard on disc (and his Siegfried rivals Windgassen). Coupled with Margaret Curphey (Sieglinde), you get the most beautiful and moving duo I have heard on record. The duet in Act I is simply glorious. You also get the bonus of Norman Bailey's triumphant Wotan (and Wanderer too). He has such command and prescene. He sounds like a God. Throw in Rita Hunter, who holds her own as Brunnhilde, Goodall's miraculous conducting, and excellent playing by the orchestra and it all adds up to a stunning recording.

I can only say that in a way it's a shame this set is in English. Were it not, I believe Goodall's 'Ring' would be one of the most talked about, popular, and sought after complete recordings of the cycle. I can only say that I am so happy that I finally opened up to opera recorded in a different language than written.

I have fallen completely in love with Goodall's entire cycle. And, I have fallen in love with 'The Ring' all over again.

A powerful reading of the most moving opera in the Ring........2001-08-30

This performance of *Die Valkure,* the second and most popular opera in Wagner's Ring Cycle, is musically splendid. Its special significance, however, is that it is sung in English. An English performance of the Ring is perhaps more important than that of any other opera(s), because Wagner's libretti are suffused with his ideas about society, fate, justice, and love. Even if (at times) you need to read along to understand what the singers are saying, *hearing* the lyrics in English is truly stirring in a way that performances in your non-native language cannot match.
A particular stand-out on this recording is the Wotan. His timbre, diction, and delivery perfectly embody the troubled god who tries desperately, and in vain, to keep the world under his control. His angst and wrath are utterly convincing.

The power of Wagner's music drama is now fully accessible.......2001-01-30

I have never been a fan of opera in translation, but I must say that Andrew Porter's rendering of The Ring in English is amazing. He uses modern, not archaic, English, and the word choice is so very earthy and Germanic that the noble yet somewhat severe atmosphere of the Teutonic myths is conveyed perfectly. The sound, in other words, is an elegantly Germanic, and totally appropriate for the music and the Story it tells. It is not true that you can't understand the English anyway, because you can understand if you care to pay any attention at all. The translation is lucid, and so it the marvelous singing that conveys it.

Goodall's sense of music drama is lush, and takes some getting used to after the crash-and-burn Solti set, but after a time or two it seems just right. Goodall is not always slower than the rest, either; for example, the famous Ride of the Valkyries that begins Act III is quicker than Solti's surprisingly slow and heavy account. It is the most exciting that I have heard--and I have heard quite a few--but it is not so fast that the power is lost in favor of urgency.

This is not an urgent Die Walkure, and it is all the better for it. Goodall takes the time to actually tell the story, and is sensitive to the drama's needs over what could be called convention. For example, Wotan's Farewell doesn't thunder out after Brunnhilde's final declamation, like in so many recordings; rather, Goodall's interpretation is more dreamy, mysterious, and appropriately trance-like, in keeping with the action on stage.

Tracks:

Symphony: Allegro - Larghetto - Allegro - Andante Larghetto
1. Chorus: How Excellent Thy Name, O Lord
2. Air (Soprano): An Infant Raised By Thy Command - 3. Trio (Alto, Tenore, Basso): Along The Monster Atheist Strode
4. Soprano, Alto, Tenore, Basso: The Youth Inspired By Thee, O Lord - 5. Chorus: How Excellent Thy Name, O Lord
6. Recit & 7. Air (Michal): He Comes, He Comes! - O God-Like Youth! - 8. Recitative (Abner, Saul, David): Behold, O King, The Brave, Victorious Youth
9. Air (David): O King, Your Favours With Delight - 10. Recitative (Jonathan): Oh Early Piety!
11. Air (Merab): What Abject Thoughts A Prince Can Have! - 12. Recitative (Merab): Yet Think, On Whom This Honour You Bestow
13. Air (Jonathan): Birth And Fortune I Despise!
14. Recitative (High Priest): Go On, Illustrious Pair! - 15. Air (High Priest): While Yet Thy Tide Of Bood Runs High
16. Recitative (Saul, Merab): Thou, Merab, First In Birth, Be First In Honour - 17. Air (Merab): My Soul Rejects The Thought With Scorn - 18. Air (Michal): See, With What A Scornful Air - 19. Air (Michal): Ah, Lovely Youth, Wast Thou Designed
20. Symphony: Andante Allegro - 21. Recitative (Michal): Already See The Daughters Of The Land - 22. Chorus: Welcome, Welcome, Mighty King!
23. Accompagnato (Saul): What Do I Hear? - 24. Chorus: David His Ten Thousands Slew - 25. Accompagnato (Saul): To Him Ten Thousands - 26. Air (Saul): With Rage I Shall Start Burst His Praises To Hear
27. Recitative (Jonathan, Michal): Imprudent Women! - 28. Air (Michal): Fell Rage And Black Despair Possessed
29. Recitative (High Priest): This But The Smallest Part Of Harmony - 30. Accompagnato (High Priest): By Thee This Universal Frame
31. Recitative (Abner): Racked With Infernal Pains - 32. Air (David): O Lord, Whose Mercies Numberless
33. Symphony: Largo - 34. Recitative (Jonathan): 'Tis All In Vain, His Fury Still Continues
35. Air (Saul): A Serpent, In My Bosom Warmed - 36. Recitative (Saul): Has He Escaped My Rage?
37. Air (Merab): Capricious Man
38. Accompagnato (Jonathan): O Filial Piety! - 39. Air (Jonathan): No, Cruel Father, No!
40. Air (High Priest): O Lord, Whose Providence - 41. Chorus: Preserve Him For The Glory Of Thy Name
42. Chorus: Envy! Eldest Born Of Hell!
43. Recitative (Jonathan): Ah! Dearest Friend - 44. Air (Jonathan): But Sooner Jordan' Stream, I Swear
45. Recitative (David, Jonathan): Oh Strange Vicissitude! - 46. Air (David): Such Haughty Beauties Rather Move

Tracks:

47. Recitative (Jonathan): My Father Comes - 48. Recitative (Saul, Jonathan): Hast Thou Obeyed My Orders
49. Air (Jonathan): Sin Not, O King, Against The Youth - 50. Air (Saul): As Great Jehovah Lives - 51. Air (Jonathan): From Cities Stormed, And Battles Won
52. Recitative (Jonathan, Saul): Appear, My Friend - 53. Air (David): Your Words, O King, My Loyal Heart - 54. Recitative (Saul): Yes, He Shall Wed My Daughter!
55. Recitative (Michal): A Father's Will Has Authorised My Love - 56. Duet (Michal, David): O Fairest Of Ten Thousand Fair - 57. Chorus: Is There A Man
58. Symphony: Largo - Allegro
59. Recitative (David): Thy Father Is As Cruel - 60. Duet (David, Michal): At Persecution I Can Laugh
61. Recitative (Michal, Doeg): Whom Dost Thou Seek - 62. Air (Michal): No, No Let The Guilty Tremble
63. Recitative (Merab): Mean As He Was, He Is My Brother Now - 64. Air (Merab): Author Of Peace, Who Canst Controul
65. Symphony: Allegro
66. Accompagnato (Saul): The Time At Length Is Come - 67. Recitative (Saul, Jonathan): Where Is The Son Of Jesse?
68. Chorus: Oh Fatal Consequence Of Rage
69. Accompagnato (Saul): Wretch That I Am - 70. Recit - Accompagnato (Saul): 'Tis Said, Here Lives A Woman
71. Recitative (With, Saul): With Me What Would'st Thou - 72. Air (Witch Of Endor): Infernal Spirits
73. Accompagnato (Samuel, Saul): Why Hast Thou Forced Me From The Realms Of Peace
74. Symphony: Allegro
75. Recitative (David, Amalekite): Whence Comest Thou? - 76. Air (David): Impious Wretch, Of Race Accurst!
77. March: Grave
78. Chorus: Mourn, Israel
79. Air (High Priest): Oh Let It Not In Gath Be Heard
80. Air (Merab): From This Unhappy Day
81. Air (David): Brave Jonathan His Bow Never Drew - 82. Chorus: Eagles Were Not So Swift As They
83. Air (Michal): In Sweetest Harmony They Lived! - 84. Solo (David And Chorus): O Fatal Day! - 85. Recitative (Abner): Ye Men Of Judah, Weep No More!
86. Chorus: Gird On Thy Sword, Thou Man Of Might

Average customer rating:

Faust (Sung in English)
Gounod , Clarke , Miles , Plazas , Magee , and Parry
Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

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Verdi: La Traviata

ASIN: B00006NSEC
Release Date: 2002-11-26

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A Pretty Darn Good Lohengrin

Wagner: Lohengrin

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

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

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Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

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ASIN: B0000025UN
Release Date: 1990-05-17

Customer Reviews:

A Pretty Darn Good Lohengrin.......2005-04-14

I got this Lohengrin from the local library, and I tried to get a taste of what I was in for by looking it up here on Amazon.com. But to my dismay there were no reviews. And later, to even greater dismay on my part, I found that there is no reason for such a lack of reviews! For this is a solid Lohengrin. While Peter Hofmann is not the most vocally resplendent Lohengrin (he isn't a Konya or a Domingo), he turns is a good performance, and Karen Armstrong is a passionate Elsa who plays the part admirably. The rest of the cast is strong on the whole. But the real splendors of this set spring from the pit - Woldemar Nelsson (of whom I had never heard until I discovered this recording) leads the Beyreuth Festival orchestra in a burning account. They are a truly Wagnerian orchestra (it would be a shame if they weren't), and Nelsson brings out all the Master's colors. The energy of a live performance just pours out. Never have I heard the preludes and prominent sections played with such an intense timbre. It's amazing to hear.

Therefore, though this set doesn't match Kempe, Solti, or Leinsdorf overall, it is a strong alternate set that should not be ignored.

Average customer rating:

A Purcell Companion

Manufacturer: Harmonia Mundi
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

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Voluntaries | Sacred & Religious | Classical | Styles | Music

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ASIN: B0000007HP
Release Date: 1995-01-17

Tracks:

Ov-Act I, The Palace - Jill Feldman/Agnes Mellon/Barbara Borden/Sigrid Lee/Agnes Mellon/Vincent Darras/Francois Fauche..
Act II, Scene I: The Cave - Dominique Visse/Agnes Mellon/Barbara Borden/Sigrid Lee/Agnes Mellon/Vincent Darras/Francois Fauche..
Act II, Scene II: The Grove - Les Arts Florissants/Jill Feldman/Second Woman/Philippe Cantor/Guillemette Laurens/Etienne....
Act III...'Great Minds Against Themselves Conspire' - Michel Laplenie/Dominique Visse/Agnes Mellon/Barbara Borden/Jill Feldman/Sigrid Leed/Vincent....
Avt III, Monologue & Dido's Death - Guillemette Laurens

Tracks:

Rejoice In The Lord Alway, Verse Anthem Z.49 - Coll Vocale/Philippe Herreweghe
Remember Not, Lord, Our Offences, Full Anthem Z.50 - Coll Vocale/Philippe Herreweghe
Blow Up The Tpt In Sion, Full Anthem Z.10 - Coll Vocale/Philippe Herreweghe
Hear My Prayer, O Lord, Full Anthem Z.15 - Coll Vocale/Philippe Herreweghe
My Heart Is Inditing, Verse Anthem Z.30 - Coll Vocale/Philippe Herreweghe
Funeral Sentences: March: Man That Is Born Of A Woman, Full Anthem Z. 27/Canzona: In The Midst Of... - Coll Vocale/Philippe Herreweghe
Funeral Sentences: O Lord God Of Hosts, Full Anthem, Z.37 - Coll Vocale/Philippe Herreweghe
Funeral Sentences: Te Deum, Verse Anthem in D, Z.232 - Coll Vocale/Philippe Herreweghe

Tracks:

Chm Music: Three Parts Upon A Ground in D, Z.731 - London Baroque
Chm Music: Son No.VI in g, Z.807 - London Baroque
Chm Music: Pavan A 4 in g, Z.752 - London Baroque
Chm Music: Chacon A 4 in g, Z.730 - London Baroque
Chm Music: Pavan A 3 in B Flat, Z.750 - London Baroque
Chm Music: Pavan A 3 in g, Z.751 - London Baroque
Chm Music: Pavan A 3 in a, Z.749 - London Baroque
Chm Music: Pavan A 3 in A, Z.748 - London Baroque
Chm Music: Son No. VII in e, Z.796: Adagio - London Baroque
Chm Music: Son No. VII in e, Z.796: Canzona - London Baroque
Chm Music: Son No. VII in e, Z.796: Largo - London Baroque
Chm Music: Son No. VII in e, Z.796: Grave - London Baroque
Chm Music: Son No. VII in e, Z.796: Vivace - London Baroque
Chm Music: Son No.XIII in D, Z.801: Adagio - London Baroque
Chm Music: Son No.XIII in D, Z.801: Canzona - London Baroque
Chm Music: Son No.XIII in D, Z.801: Poco Largo - London Baroque
Chm Music: Son No.XIII in D, Z.801: Grave - London Baroque
Chm Music: Son No.XIII in D, Z.801: Presto - London Baroque
Chm Music: Son No.XIII in D, Z.801: Allegro - London Baroque
Chm Music: Ov A 4 in d, Z.771 - London Baroque
Chm Music: Ov A 4 in G, Z.336 - London Baroque
Chm Music: Ov A 5 in g, Z.772 - London Baroque
Chm Music: Ste A 4 in G, Z.770: Ov - London Baroque
Chm Music: Ste A 4 in G, Z.770: Sarabande - London Baroque
Chm Music: Ste A 4 in G, Z.770: Bourree - London Baroque
Chm Music: Ste A 4 in G, Z.770: Minuet - London Baroque
Chm Music: Ste A 4 in G, Z.770: Jig - London Baroque

Tracks:

King Arthur: Ov & Air - Deller Consort & Chor/The King's Musick/Alfred Deller
King Arthur: Act I, Scene 2 - Deller Consort & Chor/The King's Musick/Alfred Deller
King Arthur: Act II, Scene 2 - Deller Consort & Chor/The King's Musick/Alfred Deller
King Arthur: Act III, Scene 2. Debut - Deller Consort & Chor/The King's Musick/Alfred Deller
King Arthur: Act V, Scene 2. Air: 'Ye Blust'ring Brethren Of The Skies' - Deller Consort & Chor/The King's Musick/Alfred Deller
King Arthur: Act V, Scene 2. Sym - Deller Consort & Chor/The King's Musick/Alfred Deller
King Arthur: Act V, Scene2. Song Tune - Deller Consort & Chor/The King's Musick/Alfred Deller
King Arthur: Act V, Scene 2. Air: 'Fairest Isle' - Deller Consort & Chor/The King's Musick/Alfred Deller
King Arthur: Act V, Scene 2. Tpt Tune - Deller Consort & Chor/The King's Musick/Alfred Deller D
King Arthur: Act V, Scene2. Air & Chor: 'St. George, The Patron Of Our Isle' - Deller Consort & Chor/The King's Musick/Alfred Deller
King Arthur: Act V, Scene 2. Chaconne - Deller Consort & Chor/The King's Musick/Alfred Deller

Tracks:

Music For A While: The Plaint - Alfred Deller
Music For A While: If Music Be The Food Of Love - Alfred Deller
Music For A While: I Attempt From Love's Sickness - Alfred Deller
Music For A While: Fairest Isle - Alfred Deller
Music For A While: Sweeter Than Roses - Alfred Deller
Music For A While: Not All My Torments - Alfred Deller
Music For A While: Thrice Happy Lovers - Alfred Deller
Music For A While: An Evening Hymn - Alfred Deller
Music For A While: From Rosy Bow'rs - Alfred Deller
Music For A While: O Lead Me To Some Peaceful Gloom - Alfred Deller
Music For A While: Retired From Any Mortal's Sight - Alfred Deller
Music For A While: Music For A While - Alfred Deller
Music For A While: Since From My Dear Astrea's Sight - Alfred Deller
Music For A While: O Solitude - Alfred Deller

Tracks:

Works: Voluntary in G, Z.720 - John Butt
Works: Voluntary in d, Z.719 - John Butt
Works: Verse in F, Z.716 - John Butt
Works: Voluntary in C, Z.717 - John Butt
Works: Voluntary in d, Z.718 - John Butt
Kbd Transcriptions: A Ground in Gamut in G, Z.645 - John Butt
Kbd Transcriptions: March in C, ZT.687, From The Married Beau - John Butt
Kbd Transcriptions: Tpt Tuni in C, ZT.698, From The Indian Queen - John Butt
Kbd Transcriptions: Chaconne in g, ZT.680, From Timon Of Athens - John Butt
Kbd Transcriptions: Tpt Tune in C, Called The Cibell, ZT.678 - John Butt
Kbd Transcriptions: Ground in c, ZD.221 - John Butt
Org Works Possibly By Blow Or Purcell: Voluntary On The Old 100th, Z.721 - John Butt
Org Works Possibly By Blow Or Purcell: Tpt Voluntary in D - John Butt
Org Voluntaries: Voluntary in d - John Butt
Org Voluntaries: Voluntary in A - John Butt
Org Voluntaries: Voluntary in G - John Butt
Org Voluntaries: Voluntary in C - John Butt
Org Voluntaries: Voluntary in g - John Butt
Org Voluntaries: Double Voluntary in d - John Butt
Seven Voluntaries From 'Melothesia: No.62 in a - John Butt
Seven Voluntaries From 'Melothesia: No.63 in F - John Butt
Seven Voluntaries From 'Melothesia: No.64 in a - John Butt
Seven Voluntaries From 'Melothesia: No.65 in d - John Butt
Seven Voluntaries From 'Melothesia: No.66 in G - John Butt
Seven Voluntaries From 'Melothesia: No.67 in a - John Butt
Seven Voluntaries From 'Melothesia: No.68 in d - John Butt