Who Will Know

Editorial Reviews
Ectophile’s Guide to Good Music - Neal Copperman
"... a multi-instrumentalist who assembled an intriguing cast of musicians... really tough to categorize. It's carefully constructed and crafted..."

Seattle, WA - Marietta A. Szubski, freelance journalist
...Her energy comes from an open collaborative spirit and respect for the varied cultures of her fellow musicians."

Album Description
Sohre's first solo project combines ethnic folk roots with neo-classical arrangements, creating a landscape of subtle moods and impressions. Besides composing and arranging, she also provided vocals, guitars, piano, percussion and further visual aspects of natural sound effects. Instrumentation is diverse, yet holds a common thread throughout. Sohre had the pleasure of working with several talented musicians, mainly located in the Northwest (Seattle and San Francisco); Stephen Kent on didgeridoo, Jami Sieber on electric cello, Amy Denio on accordion, several gifted horn and string ensemble players, as well as bass (fretless 5 string and electric 6), drums and loads of cool hand percussion. The final mixdown was produced at Ironwood Studios in Seattle by John Herchenrider, former co-owner of Colorado Concert Sound. His credits include sound provision for many artists of distinct genres, such as BB King, Frank Zappa, Bonnie Raitt, Miles Davis, Leo Kottke and The New York Philharmonic.

Who Will Know

Handel: The Masterworks (Box Set)
Average customer rating: Not rated
    		Handel: The Masterworks (Box Set)

    Manufacturer: Brilliant Classics
    ProductGroup: Music
    Binding: Audio CD

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    ASIN: B00062FLI8
    Release Date: 2004-11-30
    Léhar: The Land of Smiles; The Merry Widow; The Count of Luxembourg (Highlights)
    Average customer rating: 5 out of 5 stars
    • Arguably "The Best" English "Merry Widow "
    		 Léhar: The Land of Smiles; The Merry Widow; The Count of Luxembourg (Highlights)

    Manufacturer: Class. for Pleas. Us
    ProductGroup: Music
    Binding: Audio CD

    GeneralGeneral | Lehár, Franz | ( L ) | Featured Composers, A-Z | Classical | Styles | Music
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    1. Johann Strauss II: Die Fledermaus; The Gypsy Baron (Highlights)
    2. Offenbach: La Belle Helene; Orpheus in the Underworld; La Vie Parisienne (Highlights)
    3. Offenbach: Orpheus in the Underworld / Burgess, Watson, etc (Highlights)
    4. The Best of Operetta, Vol. 3
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    ASIN: B00009KHY2
    Release Date: 2003-09-02

    Customer Reviews:

    5 out of 5 stars Arguably "The Best" English "Merry Widow ".......2006-09-12

    This is the "Merry Widow" with English translation by Christopher Hassel sung by June Bronhill. I loved this rendition ever since I first heard it in about 1960. What's to love? First the translation is the best I've heard. The language doesn't sound "stilted" as some others. And, you can understand almost every word sung. Plus, the famous song, "Vilja" has some wording that moves me every time I hear it: The soprano sings, "Love me and I'll DIE for you!" with the word "die" somewhat emphasized. I don't know, there's just something "powerful" about someone saying they'd "die" for love! AND, at the end of "Vilja" the chorus and soprano raise to a crescendo hitting a high note together. In many renditions the chorus is heard but not the soprano on the final high note. In THIS version, the soprano, June Bronhill, can be heard rising to the final high note with an incressing crescendo and fortissimo louder than the chorus and holding the final high note---which gives a very thrilling effect as she holds that final note, I assure you!

    The "problem" is that this June Bronhill, Reid, and Hassel version is hard to find on CD. For example, this CD is made in Holland and "there is one left" so it says on Amazon. But, if you can find it, I think it would be very much worth a listen. Then, after hearing it, if you think there's a "better" Merry Widow, please let ME know! Thanks. Email:boland7214@aol.
    Siegfried (Goodall Ring Cycle/Chandos Opera in English)
    Average customer rating: 4.5 out of 5 stars
    • Goodall's Siegfried
    • "Do you know what Wotan wills?"
    • Slow and steady wins the race
    • Absolutely better than you think, the best of Goodal's Ring!
    • Better than you might think....
    		 Siegfried (Goodall Ring Cycle/Chandos Opera in English)
    English National Opera
    Manufacturer: Chandos
    ProductGroup: Music
    Binding: Audio CD

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    ASIN: B000056KNC
    Release Date: 2001-02-27

    Tracks:

    1. Act I.: Prld - Barry Tuckwell
    2. Act I., Scene 1: Wearisome Labour! - Gregory Dempsey
    3. Act I., Scene 1: Hoiho! Hoiho! - Alberto Remedios/Gregory Dempsey
    4. Act I., Scene 1: Well, There Are The Pieces - Alberto Remedios/Gregory Dempsey
    5. Act I., Scene 1: A Whimpering Babe - Gregory Dempsey
    6. Act I., Scene 1: Much You've Taught To Me, Mime - Alberto Remedios/Gregory Dempsey
    7. Act I., Scene 1: I Found Once in The Wood - Gregory Dempsey/Alberto Remedios
    8. Act I., Scene 1: And Now These Fragments - Alberto Remedios/Gregory Dempsey
    9. Act I., Scene 1: He Storms Away! - Gregory Dempsey
    10. Act I., Scene 2: Hail There, Worthy Smith! - Norman Bailey/Gregory Dempsey
    11. Act I., Scene 2: I Sit By Your Hearth - Norman Bailey/Gregory Dempsey
    12. Act I., Scene 2: What You Needed To Know - Norman Bailey/Gregory Dempsey
    13. Act I., Scene 2: The Fragments! The Sword! - Gregory Dempsey/Norman Bailey

    Tracks:

    1. Act I., Scene 3: Accursed Light! - Gregory Dempsey
    2. Act I., Scene 3: Hey There! You Idler! - Alberto Remedios/Gregory Dempsey
    3. Act I., Scene 3: Have You Not Felt Within The Woods - Gregory Dempsey/Alberto Remedios
    4. Act I., Scene 3: Give Me These Pieces - Alberto Remedios/Gregory Dempsey
    5. Act I., Scene 3: Notung! Notung! Sword Of My Need! - Alberto Remedios/Gregory Dempsey
    6. Act I., Scene 3: Hoho! Hoho! Hohi! - Alberto Remedios/Gregory Dempsey
    7. Act II.: Prld - Barry Tuckwell
    8. Act II., Scene 1: In Gloomy Night By Fafner's Cave I Wait - Derek Hammond-Stroud
    9. Act II., Scene 1: To Neidhohl By Night I Have Come - Norman Bailey/Derek Hammond-Stroud
    10. Act II., Scene 1: Not My Plan! - Norman Bailey/Derek Hammond-Stroud
    11. Act II., Scene 1: Fafner! Fafner! You Dragon, Wake! - Norman Bailey/Derek Hammond-Stroud/Clifford Grant
    12. Act II., Scene 1: Now, Alberich! That Plan Failed! - Norman Bailey/Derek Hammond-Stroud
    13. Act II., Scene 2: We Go No Further! - Gregory Dempsey/Alberto Remedios
    14. Act II., Scene 2: So He's No Father Of Mine - Alberto Remedios

    Tracks:

    1. Act II., Scene 2: Could I But Know - Alberto Remedios
    2. Act II., Scene 2: See My Mother - Alberto Remedios
    3. Act II., Scene 2: Ha Ha! At Last With My Call - Alberto Remedios/Clifford Grant
    4. Act II., Scene 2: Who Are You, Youthful Hero - Clifford Grant/Alberto Remedios
    5. Act II., Scene 2: The Dead Can Tell No Tidings - Alberto Remedios/Maurine London
    6. Act II., Scene 3: Hehe! Sly And Slippery Knave - Derek Hammond-Stroud/Gregory Dempsey
    7. Act II., Scene 3: Tarnhelm And Ring, Here They Are - Alberto Remedios/Maurine London/Gregory Dempsey
    8. Act II., Scene 3: Be Welcome, Siegfried! - Gregory Dempsey/Alberto Remedios/Derek Hammond-Stroud
    9. Act II., Scene 3: You Lie There Too, Mighty Dragon - Alberto Remedios/Maurine London
    10. Act III.: Prld - Barry Tuckwell
    11. Act III., Scene 1: Waken, Wala! Wala! Awake! - Norman Bailey
    12. Act III., Scene 1: Strong Is Your Call - Anne Collins/Norman Bailey
    13. Act III., Scene 1: You Unwise One, Learn What I Will - Norman Bailey
    14. Act III., Scene 2: I See That Siegfried's Near - Norman Bailey

    Tracks:

    1. Act III., Scene 2: My Woodbird Fluttered Away - Alberto Remedios
    2. Act III., Scene 2: Young Man, Hear Me - Norman Bailey/Alberto Remedios
    3. Act III., Scene 2: Child, If You Knew Who I Am - Norman Bailey/Alberto Remedios
    4. Act III., Scene 2: With His Spear in Splinters - Alberto Remedios
    5. Act III., Scene 3: Here in The Sunlight - Alberto Remedios
    6. Act III., Scene 3: Come, My Sword! - Alberto Remedios
    7. Act III., Scene 3: Hail, Bright Sunlight! - Rita Hunter/Alberto Remedios
    8. Act III., Scene 3: Siegfried! Siegfried! Glorious Hero! - Rita Hunter/Alberto Remedios
    9. Act III., Scene 3: And There Is Grane, My Sacred Horse - Rita Hunter/Alberto Remedios
    10. Act III., Scene 3: Oh! I Cared Always - Rita Hunter/Alberto Remedios

    Customer Reviews:

    5 out of 5 stars Goodall's Siegfried.......2007-06-22

    This is completely worth it. Other reviews aptly pointed out everything good, and this *is* good--brilliant. Alberto Remedios is the best Siegfried I've ever heard, and Rita Hunter is a stunning and convincing Brunnhilde. If I could give this more than five stars, I would.

    4 out of 5 stars "Do you know what Wotan wills?".......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
    -The Valkyrie (Part 2): Wagner: The Valkyrie
    -Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

    5 out of 5 stars Slow and steady wins the race.......2007-02-07

    Yes, we all know that Reginal Goodall's Wagner is VERY deliberate (read slow) at times. When I heard the late Rita Hunter singing in Sydney in the 80s, I asked her about working with Maestro Goodall, she said he was one of the most thorough and demanding conductor's you could wish to work with.

    For me, this whole cycle is desert island material because the English translation is just superb. Fine singing and marvellous playing from the ENO orchestra.

    5 out of 5 stars Absolutely better than you think, the best of Goodal's Ring!.......2005-05-03

    As good as his die Walkure is, Goodall's Siegfried is even better. For me this is the most difficult opera of the entire Ring and Goodall pulls it off with honors indeed. Remedios is a wonder! Wish we had had him in the Met Ring Cycles of the past decade. Hunter again is a wonder with beauty and strength of tone. Once more I enjoy Bailey. I found That Alan Blyth in Gramophone 5/01 and I seem to appreciate him. It would seem that Goodall gives this opera all the wonderful performance it needs. Not an easy show to pull off. This recording absolutely belongs in any Wagnerian's collection. Had I been at this live performance, I definitely would not have fallen asleep and would have regretted its coming to its inevitable end. And the orchestra rises to the occasion splendidly. From Siegfried's climb to Brunhilde's rock until the end of the duet, the orchestral playing is rich, very moving bordering on the monumental just because it is live and thus more of a risk than a studio recording. Hunter is nothing short of stunning. The duet alone makes the recording a must have. Too bad artists are not fully appreciated until we no longer have them around to enjoy. Thank God this is on CD to be enjoyed at the listener's command.

    4 out of 5 stars Better than you might think...........2002-03-17

    I had to think more than twice before purchasing this recording, especially since it isnt at a budget price, but I dont regret having done so. Wagner's original German language opera sung in English might seem more like a novelty recording (or a horrifying experience to hardcore Wagner fans) than a serious approach to the music, but surprisingly it works (for the most part). For the listener who doesn't speak and understand German this is a great way to understand Wagner's opera, as the connection between text and drama is made clearer--though I sometimes wish the singers diction and pronunciation were a bit clearer--but hey, its still opera and a complete English only libretto is included (along with a scene by scene summary of the drama, a summary of the preceding two operas, and an essay and photos of this particular project). Overall the orchestra and conducting is up to par and the sound is clear, balanced, and spacious, the only annoying thing being the audience clapping after the end of each act--its a live 1975 recording. While this is no substitute for the original in German, think of it as a great resource ... to understanding Wagner's opera cycle for listeners without the time or inclination to learn German.
    The Tao of Cello
    Average customer rating: Not rated
      		The Tao of Cello

      Manufacturer: Valley
      ProductGroup: Music
      Binding: Audio CD

      Avant Garde & Free JazzAvant Garde & Free Jazz | Jazz | Styles | Music
      Bebop GeneralBebop General | Bebop | Jazz | Styles | Music
      GeneralGeneral | Jazz | Styles | Music
      Modern PostbebopModern Postbebop | Jazz | Styles | Music
      GeneralGeneral | New Age | Styles | Music
      MeditationMeditation | New Age | Styles | Music
      Similar Items:
      1. Dark Wood
      2. Cello
      3. Musical Massage: Balance
      4. Eight String Religion
      5. Epigraphs

      ASIN: B000088EH9
      Release Date: 2003-04-08

      Tracks:

      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 Form Those Who Have Too Much And Give To Those Who Have To Little
      5. Man Follows The Earth. Earth Follows Heaven. Heaven Follows The Tao. Tao Follows What It Natural
      6. Knowing Others Is Wisdoms
      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 Firmly Grasped 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 Life 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

      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
      Movie Romance
      Average customer rating: Not rated
        		Movie Romance
        Various Artists
        Manufacturer: Avalon
        ProductGroup: Music
        Binding: Audio CD

        GeneralGeneral | Rock | Styles | Music
        GeneralGeneral | Compilations | Rock | Styles | Music
        GeneralGeneral | Soundtracks | Styles | Music
        GeneralGeneral | Easy Listening | Pop | Styles | Music
        Easy ListeningEasy Listening | Pop | Indie Music | Stores | Music
        ASIN: B00006NSIZ
        Release Date: 2002-10-08

        Tracks:

        1. My Hear Will Go On
        2. The Godfather (Love Theme)
        3. Against All Odds (Take a Look at Me Now)
        4. Beauty and the Beast
        5. Do You Know Where You're Going To?
        6. Everything I Do I Do It For You
        7. Summer of '42
        8. The Way We Were
        9. A Time For Us
        10. I Will Always Love You
        11. Nobody Does It Better
        12. Can You Feel The Love Tonight?
        13. Save the Best For Last
        Sacred Music Complete
        Average customer rating: 5 out of 5 stars
        • great, great!!!
        • ALL THE MUSIC YOU EVER NEED!!
        		 Sacred Music Complete
        Purcell , King , and Kings Consort
        Manufacturer: Hyperion UK
        ProductGroup: Music
        Binding: Audio CD

        Chamber MusicChamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
        GeneralGeneral | Classical | Styles | Music
        GeneralGeneral | Chamber Music | Classical | Styles | Music
        GeneralGeneral | Songs & Lieder | Vocal Non-Opera | Opera & Vocal | Styles | Music
        ClassicalClassical | Imports | Stores | Music
        Similar Items:
        1. The Complete Odes and Welcome Songs of Henry Purcell / King's Consort
        2. Complete Secular Songs (3cd)

        ASIN: B00006RHQJ
        Release Date: 2002-12-10

        Customer Reviews:

        5 out of 5 stars great, great!!!.......2006-12-05

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

        5 out of 5 stars 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!
        Arthur Sullivan: Ivanhoe
        Average customer rating: 3.5 out of 5 stars
        • Wonderfully fine performance
        • Not ideal, but all there is
        		 Arthur Sullivan: Ivanhoe

        Manufacturer: Pearl
        ProductGroup: Music
        Binding: Audio CD

        All Works by SullivanAll Works by Sullivan | Sullivan, Arthur | ( S ) | Featured Composers, A-Z | Classical | Styles | Music
        GeneralGeneral | Classical | Styles | Music
        GeneralGeneral | Opera & Vocal | Styles | Music
        EnglishEnglish | Languages | Opera & Vocal | Styles | Music
        OperettasOperettas | Opera & Vocal | Styles | Music
        Similar Items:
        1. Arthur Sullivan: The Contrabandista, The Foresters
        2. Sullivan: The Rose of Persia
        3. Arthur Sullivan: The Prodigal Son; Boer War Te Deum

        ASIN: B000000WWK
        Release Date: 1993-01-21

        Tracks:

        1. Ivanhoe: Act One, First Scene: The Hall Of Rotherwood - Introduction; Each Day This Realm Of England Faints
        2. Ivanhoe: Act One, First Scene: The Hall Of Rotherwood - Good Thane, Most Noble Thane
        3. Ivanhoe: Act One, First Scene: The Hall Of Rotherwood - I See But One Thing Wanting To Our Fare
        4. Ivanhoe: Act One, First Scene: The Hall Of Rotherwood - Drink, Drink Ye All... Then Fill The Cup, Fill High
        5. Ivanhoe: Act One, First Scene: The Hall Of Rotherwood - The Palmer! The Holy Palmer!
        6. Ivanhoe: Act One, Second Scene: An Ante-Chamber In Rotherwood - O Moon, Art Thou Clad
        7. Ivanhoe: Act One, Second Scene: An Ante-Chamber In Rotherwood - Good Palmer, Thou Dids't Speak Of One
        8. Ivanhoe: Act One, Second Scene: An Ante-Chamber In Rotherwood - Like Mountain Lark
        9. Ivanhoe: Act One, Third Scene: The Lists At Ashby-de-la-Zouch - Will There Be No More Fighting?
        10. Ivanhoe: Act One, Third Scene: The Lists At Ashby-de-la-Zouch - Plantagenesta!
        11. Ivanhoe: Act One, Third Scene: The Lists At Ashby-de-la-Zouch - Isaac, My Jew, My Purse Of Gold
        12. Ivanhoe: Act One, Third Scene: The Lists At Ashby-de-la-Zouch - What Means His Motto?

        Tracks:

        1. Ivanhoe: Act Two, First Scene: Friar Tuck's Hut At Copmanhurst - Strange Lodging This For England's King
        2. Ivanhoe: Act Two, First Scene: Friar Tuck's Hut At Copmanhurst - There Is A Custom...I Ask Not Wealth
        3. Ivanhoe: Act Two, First Scene: Friar Tuck's Hut At Copmanhurst - Not Bad, Say I...The Wind Blows Cold ('Ho, Jolly Jenkin!')
        4. Ivanhoe: Act Two, First Scene: Friar Tuck's Hut At Copmanhurst - And Now For Combat!
        5. Ivanhoe: Act Two, Second Scene: Castle Torquilstone - Will Not Our Captor Dare To Show His Face?
        6. Ivanhoe: Act Two, Second Scene: Castle Torquilstone - Welcome, Sir Templar!...Woo Thou Thy Snowflake
        7. Ivanhoe: Act Two, Third Scene: A Turret Chamber In Torquilstone - Whet The Keen Axes
        8. Ivanhoe: Act Two, Third Scene: A Turret Chamber In Torquilstone - O Awful Depth...Lord Of Our Chosen Race
        9. Ivanhoe: Act Two, Third Scene: A Turret Chamber In Torquilstone - Take Thou These Jewels
        10. Ivanhoe: Act Two, Third Scene: A Turret Chamber In Torquilstone - What Sound Is That?

        Tracks:

        1. Ivanhoe: Act Three, First Scene: Room In Torquilstone; Assault; Burning Of The Castle - Happy With Winged Feet
        2. Ivanhoe: Act Three, First Scene: Room In Torquilstone; Assault; Burning Of The Castle - Tend Thou The Knight Thou Lovest
        3. Ivanhoe: Act Three, First Scene: Room In Torquilstone; Assault; Burning Of The Castle - How Cans't Thou Know?
        4. Ivanhoe: Act Three, Second Scene: The Forest - Light Foot Upon The Dancing Green
        5. Ivanhoe: Act Three, Second Scene: The Forest - Look, Where Thy Moody Father Walks Apart...Forgive Thy Son
        6. Ivanhoe: Act Three, Second Scene: The Forest - How Oft Beneath The Far-Off Syrian Skies
        7. Ivanhoe: Act Three, Third Scene: The Preceptory Of The Templars, Templestowe - Fremuere Principles
        8. Ivanhoe: Act Three, Third Scene: The Preceptory Of The Templars, Templestowe - Thou Jewish Girl, Who Art Condemned
        9. Ivanhoe: Act Three, Third Scene: The Preceptory Of The Templars, Templestowe - A Champion! A Champion!
        10. Ivanhoe: Act Three, Third Scene: The Preceptory Of The Templars, Templestowe - Dead! He Is Dead!
        11. Ivanhoe: Act Three, Third Scene: The Preceptory Of The Templars, Templestowe - See Where The Banner Of England

        Customer Reviews:

        4 out of 5 stars Wonderfully fine performance.......2004-10-10

        This is one opera I have been searching for for a very long time. I read about it in a book about Sullivan. Of course, when they wrote of the opera, they showed the scene, in drawing, where Rebecca informs Ivanhoe of the battle with the Black Knight. The drawing (based on the actual performance when it premiered) grabbed my attention completely. I just wondered what this composer could do with real opera (I loved his operettas completely, and they showed quite often Sullivan was quite capable of deep emotional pathose, even if in the end he was spoofing it more than reflecting it).

        Well, all the years of searching and waiting to know were not a waste. Firstly, I have never been able to locate a score of this work (as I have done with many ancient operas or forgotten ones), so I was just as in the dark as anyone else as to what to expect. I was incredibly surprised, not to mention, thrilled with the results. No, Sullivan is no Wagner, nor is he even Verdi, but he is wonderfully beautiful in his own right. Why this work has not entered into the opera houses, I have no clue, excepting maybe because it is English opera, which never does well. Speaking of "ENGLISH OPERA", here we have a recording where for the most part we CAN understand the words (a thing I never seem to find in professional recordings of English opera, or American opera; they may as well sing in gibberish, for that is exactly what it sounds like -- perhaps the composers have no clue what works in their own language?). The performers, as we know, are not professionals, but rather semi-professionals. There are some uneven performances, and sometimes the characters are not quite as developed as one would like, there are even times the orchestra sounds like it lost the beat (but this is EXTREMELY RARE), the sound quality of the recording is OK, but nothing stellar, however, it is not bad either. Yet, in spite of these drawbacks, we CAN and DO understand the words, and for once a rather strange sounding English libretto sounds natural and unforced with stupid poetry that really leaves you laughing. These wonderfully dedicated performers, no matter their individual difficulties, give us a wonderfully vivid performance where we can finally understand the opera (like all our Italian friends do when Italian opera is sung for them). That was such a treat for me, to finally actually understand the words of opera sung in my own language.

        What makes this opera such a thrill, at least for me, is the natural fall of the words and the music, especially in the recitatives. Unlike most English opera where the musical line sounds completely foreign to the natural lilt of the words, Sullivan has an uncanny way of writing lines, melodies, and recitatives that flow naturally from the language itself. That was a really exciting experience to endure. For once, I didn't wish that someone would teach the composers to listen to the flow of English to gain an insight into melody. Maybe it was all those operettas that he wrote prior to this "serios opera" that taught him what he knew, or maybe, he just had a good ear for his own language and enough sense to know that trying to graft Italian or German musical idioms onto things just wasn't the correct choice.

        Is it a great work? Well, no, it will never get into the record books as a perfect opera, nor will it shove Mozart or Wagner off the stage, but it is really quite good just the same. Even with all the flaws this recording has, I am so glad it is out there so I could at last hear what music fleshed out that old drawing I saw in a book all those years ago. Though Sullivan's music is not anywhere near as dramatic as one may imagine it should be, it fits well with the scene and the over all concept of the work.

        I really recommend this recording, for it, at least for now, is the only one we have (and if they make a professional one, I really hope they screen the singers well, no big names if they can't sing English so we can understand it; Sullivan, as with Wagner, you MUST understand the words or the meaning is completely lost). The entire recording is really quite enjoyable, and it doesn't disappoint.

        3 out of 5 stars Not ideal, but all there is.......2000-08-05

        If you are interested in Arthur Sullivan's Music without Gilbert, this is one of the works you should have in your collection. Unfortunately the quality of the performance is inconsistent. The orchestra is at times good, at others sloppy. The soloists are also of varying quality. This is, after all, a recording by a semi-professional group. That said, if you are willing to accept the flaws, this is currently the only version on disc. Perhaps someday the BBC will record a version, as they did with Sullivan's "Rose of Persia". In the current recording, the most pleasing selections are: The Act 3 Scene 2 ensemble "Look where thy moody father walks apart", Friar Tuck's rollicking "Ho, Jolly Jenkin", The Templar's passionate scene "Woo thou thy snowflake", and Rebecca's evocative aria "Lord of our chosen race". Not all it could be, but it's all we've got.
        Puccini - Madam Butterfly / Cheryl Barker, PO, Yves Abel [in English]
        Average customer rating: 3 out of 5 stars
        • A touching English Butterfly
        		 Puccini - Madam Butterfly / Cheryl Barker, PO, Yves Abel [in English]
        Giacomo Puccini , Yves Abel , Cheryl Barker , Paul Charles Clarke , and Simon Birchall
        Manufacturer: Chandos
        ProductGroup: Music
        Binding: Audio CD

        All Works by PucciniAll Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music
        GeneralGeneral | Classical | Styles | Music
        GeneralGeneral | Opera & Vocal | Styles | Music
        Romantic (c.1820-1910)Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music
        ItalianItalian | Languages | Opera & Vocal | Styles | Music
        OperettasOperettas | Opera & Vocal | Styles | Music
        Similar Items:
        1. Turandot (Chandos Opera in English)
        2. Puccini - La bohème / Haymon · O'Neill · Opie · McLaughlin · A. Miles · Dazeley · Shore · PO · Parry
        3. Verdi: La Traviata
        4. Tchaikovsky - Eugene Onegin / Te Kanawa · Hampson · Rosenshein · Gedda · Sir Charles Mackerras [in English]

        ASIN: B00005QF3K
        Release Date: 2001-11-20

        Tracks:

        1. Act I: Introduction - Cheryl Barker
        2. Act I: 'So The Walls And The Ceiling...' - Ann Taylor/Stuart Kale
        3. Act I: 'I Think Your Honour's Smiling' - Jean Rigby/Ann Taylor/Stuart Kale
        4. Act I: 'It Can't Be Much Further Now!' - Gregory Yurisich/Stuart Kale/Ann Taylor
        5. Act I: The Whole World Over - Ann Taylor/Gregory Yurisich
        6. Act I: 'Fate Can't Crush Him' - Ann Taylor/Gregory Yurisich
        7. Act I: 'Is The Bride Very Pretty?' - Gregory Yurisich/Stuart Kale/Ann Taylor
        8. Act I: 'True Love Or Fancy' - Ann Taylor/Gregory Yurisich
        9. Act I: 'See Them! They're Climbing The Summit Of The Hill!' - Gregory Yurisich/Cheryl Barker/Gregory Yurisich
        10. Act I: 'We Are Honoured' - Cheryl Barker/Ann Taylor/Gregory Yurisich/Stuart Kale
        11. Act I: 'The Imperial Commissioner' - Stuart Kale/Ann Taylor/Cheryl Barker/Simon Birchall
        12. Act I: 'Oh, Indeed, My Friend, You're Lucky!' - Gregory Yurisich/Cheryl Barker
        13. Act I: 'Come, My Beloved' - Ann Taylor/Cheryl Barker/Stuart Kale
        14. Act I: 'My Fate I Have To Follow' - Cheryl Barker
        15. Act I: 'Silence! Silence!' - Stuart Kale/Roland Wood/Cheryl Barker
        16. Act I: 'Congratulations' - Roland Wood/Ann Taylor/Gregory Yurisich/Frances Brett/Clive Bayley/Stuart Kale
        17. Act I: 'Dearest, My Dearest, Weep No More' - Roland Wood/Ann Taylor/Jean Rigby
        18. Act I: 'Evening Is Falling...' - Roland Wood/Ann Taylor/Jean Rigby
        19. Act I: 'Child, From Whose Eyes The Witchery Is Shining' - Ann Taylor/Cheryl Barker
        20. Act I: 'Ah, Love Me A Little' - Cheryl Barker/Ann Taylor
        21. Act II Part I: 'Izaghi Izanami' - Jean Rigby/Cheryl Barker
        22. Act II Part I: 'One Fine Day' - Cheryl Barker

        Tracks:

        1. Act II Part I: 'Come, Let's Enter' - Stuart Kale/Gregory Yurisich/Cheryl Barker
        2. Act II Part I: 'Yamadori, And Has your Unrequited Love Not Yet Released You? - Cheryl Barker/D'Arcy Bleiker/Gregory Yurisich/Stuart Kale
        3. Act II Part I: 'Now, At Last!' - Gregory Yurisich/Cheryl Barker
        4. Act II Part I: 'Just Two Things I Could Do' - Cheryl Barker/Gregory Yurisich
        5. Act II Part I: 'This Child! This Child, Then!' - Cheryl Barker/Gregory Yurisich
        6. Act II Part I: 'Do You Know, My Darling' - Cheryl Barker
        7. Act II Part I: 'I Must Be Going' - Gregory Yurisich/Cheryl Barker/Jean Rigby
        8. Act II Part I: 'Ah! Ah!' - Stuart Kale/Jean Rigby/Cheryl Barker
        9. Act II Part I: 'Look, It's A Man-of-war!' - Jean Rigby/Cheryl Barker
        10. Act II Part I: Flower Duet: 'Shake The Cherry Tree' - Cheryl Barker/Jean Rigby
        11. Act II Part I: Humming Chorus - Geoffrey Mitchell Choir
        12. Act II Part 2: Prelude - Jean Rigby/Cheryl Barker
        13. Act II Part 2: Daybreak Over Nagasaki - Jean Rigby/Cheryl Barker
        14. Act II Part 2: 'It's Morning' - Jean Rigby/Cheryl Barker
        15. Act II Part 2: 'Who Is It?...' - Jean Rigby/Ann Taylor/Gregory Yurisich
        16. Act II Part 2: 'I Know For Such Misfortune There Is No Consolation' - Gregory Yurisich/Jean Rigby/Ann Taylor
        17. Act II Part 2: 'Farewell, Oh Happy Home!' - Ann Taylor/Gregory Yurisich
        18. Act II Part 2: 'Then Will You Tell Her?' - Ann Taylor/Jean Rigby
        19. Act II Part 2: 'Suzuki, Where Are You?' - Cheryl Barker/Jean Rigby
        20. Act II Part 2: 'You, Suzuki, You're Always So Faithful' - Cheryl Barker/Jean Rigby
        21. Act II Part 2: 'Viper! I Want You To Answer' - Cheryl Barker/Jean Rigby/Gregory Yurisich/Ann Taylor
        22. Act II Part 2: 'Your Little Fluttering Heart Is Beating' - Jean Rigby/Cheryl Barker
        23. Act II Part 2: 'Death With Honour Is Better Than Life With Dishonour' - Cheryl Barker

        Amazon.com

        This performance, the only one available in English, is problematic. Best is Yves Abel's leadership of the orchestra, which sounds wonderful, imbuing Puccini's lush score with just the right exoticism and emphasis. But aside from Gregory Yurisch's fine Sharpless, the singers don't please. Paul Charles Clarke as Pinkerton is lacking stylistically and vocally, and as Butterfly, Cheryl Barker sounds under strain and never pretty. While she has the power and feeling for the big second-act climax (the sighting of the ship), she never for a moment sounds fragile or girlish, not even in the all-important early scenes. English or not, this set isn't in the running. Stick with Callas or Scotto in Italian, and follow the libretto. --Robert Levine

        Customer Reviews:

        3 out of 5 stars A touching English Butterfly.......2002-03-27

        Anyone familiar with Cheryl Barker's Butterfly will be interested in hearing this recording. I have heard her in the role twice - in Auckland and London - and her voice has filled out as the years have gone on. She hasn't a large italianate soprano; the sound is too slender somehow. Yet there is the paradox - it has great carrying power and a decent cutting edge to make itself heard above the orchestral climaxes. What really impresses is the sense of vulnerability and moral strength she imparts, making sense of the big moments of the secong act. The sound in Act one is gorgeous (and a super D flat in theentrance aria) and she differentiates impressively between the child-bride and the embittered woman of the two acts.

        She is surrounded by a mixed supporting cast. Jean Rigby is maternal, warm and affecting as Suzuki. Gregory Yurisich makes Sharpless' dilemma more understandable than usual, rather than being completely ineffectual. Paul Charles Clarke perhaps illustrates Pinkerton's arrogance with a degree of vocal swagger, but the sound is rough-hewn and unlovely save for some moments in the love duet. Stuart Kale's Goro is suitable ingratiating and oily.

        Abel's conducting is the other chief draw of this set. That he has experience of the score in the theatre means that his pacing is really superb, and the lush orchestration is given its due, the potent intermezzo during the overnight vigil sounding suitably ominous.

        This won't replace the classic Butterfly recordings, but in the absendce of any new ones recently, and for acceptable diction in an English version, it is certainly worth the (not very high) price. Recommended.
        Wagner: The Valkyrie
        Average customer rating: 4.5 out of 5 stars
        • "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

        All Works by WagnerAll Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music
        GeneralGeneral | Classical | Styles | Music
        GeneralGeneral | Opera & Vocal | Styles | Music
        Romantic (c.1820-1910)Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music
        GermanGerman | Languages | Opera & Vocal | Styles | Music
        OperettasOperettas | Opera & Vocal | Styles | Music
        Similar Items:
        1. Siegfried (Goodall Ring Cycle/Chandos Opera in English)
        2. The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)
        3. Wagner: The Rhinegold

        ASIN: B00004YU6Z
        Release Date: 2000-11-28

        Tracks:

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

        Tracks:

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

        Tracks:

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

        Tracks:

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

        Customer Reviews:

        4 out of 5 stars "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)

        5 out of 5 stars 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.

        5 out of 5 stars 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.

        5 out of 5 stars 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.

        5 out of 5 stars 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.

        I own the complete Solti Ring, but I must say I will be the first in line to get each new installment of this remarakable Ring as soon they hit the shelves. If you are new to Wagner, and are willing to make the plunge into a complete Ring, then start with this one and see if you want to continue. This recording is definitely one of the great Rings, and the superb translation will open up the work in ways that following the libretto just won't. I promise that you won't be able to put this one away easily. Get it!
        The Broadway Years: Till There Was You
        Average customer rating: 4.5 out of 5 stars
        • A real good selection
        • good overview of her broadway career
        • A Broadway legend appreciated
        		 The Broadway Years: Till There Was You

        Manufacturer: Koch Records
        ProductGroup: Music
        Binding: Audio CD

        All Works by BernsteinAll Works by Bernstein | Bernstein, Leonard | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
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        Similar Items:
        1. Barbara Cook - Bell Telephone Hour Appearances 1960-1965
        2. Barbara Cook at the Met with Special Guests
        3. Barbara Cook - Live from London
        4. All I Ask of You
        5. The Disney Album

        ASIN: B000001SLS
        Release Date: 1995-06-20

        Tracks:

        1. He's Only Wonderful
        2. Here's To Your Illusions (From Flahooley)
        3. This Is All Very New To Me (From Plain And Fancy)
        4. Glitter And Be Gay (From Candide)
        5. Till There Was You (From Music Man)
        6. Getting To Know You
        7. Hello, Young Lovers (From The King And I)
        8. Magic Moment (From The Gay Life)
        9. Will He Like Me?
        10. Dear Friend
        11. Ice Cream
        12. Where's The Mate For Me?/Make Believe
        13. You Are Love (From Showboat)
        14. Who Are You Now?
        15. He Was Too Good To Me/Time Heals Everything
        16. Wait Till You See Him

        Customer Reviews:

        5 out of 5 stars A real good selection.......2006-04-27

        Even if I don't own this CD (stuff I have on 33 rpm), I had to approve the other critics here. To know Barbara Cook is to participate to the Great Broadway Era with one of its essential star performer.
        Cook was made for the stage and, following next, her live shows are quite impressive. Her voice can be tiny at times, but who doesn't get older?
        Just listen to Glitter and be Gay: a Bernstein masterpiece, but a Cook personal creation. (Only Sumi Jo made it as good on her Carnegie Hall show).
        All B'way fan should know Barbara Cook...

        4 out of 5 stars good overview of her broadway career.......2005-02-06

        Before Barbara Cook became a cabaret performer, she was a fantastic Broadway star. This out of print cd focuses on the songs from her revivals and original productions with the omission of The Glass Harp. It goes chronologically from the beginning of her career with the shows Candide, Plain and Fancy, and Flahooley. (Sadly they were flops.) Then it reaches The Music Man where she finally became a star. Her Till There was You is marvelous. The last three songs are from her 1975 At Carnegie Hall album. I wish that this was replaced with numbers from her shows. It doesn't quite fit in with the phase. I guess this cd wanted to be an outlook on her career in general. Barbara Cook had a clear warm soprano. If only her 1958 album Songs of Perfect Propriety could be released.

        5 out of 5 stars A Broadway legend appreciated.......1999-07-02

        Just to hear her voice intentionally break with emotion on "Dear Friend" will affect you deeply. This is a fine document of a great career and a stunning voice. You will treasure it.

        Music:

        1. Zenyatta Mondatta [Enhanced] [Import] [Original recording remastered]
        2. Zip-Lock
        3. 1959
        4. 20th Century Masters - The Millennium Collection: The Best of the Jam [Import]
        5. A Weekend With Jane [EP]
        6. All-Skanadian Club, Vol.1
        7. Antipop
        8. Awful, Pt. 1 [CD-single] [Enhanced] [Import]
        9. Awful, Pt. 2 [CD-single] [Enhanced] [Import]
        10. Best of Fishbone [Import]

        Music

        music

        Music

        Voyeur

        Complete Orchestral Works (Box Set) [Box set]

        Complete Symphonies 1

        Don't You Believe It

        Cliff Bennett's Rebellion

        Götterdämmerung [Box set]

        Daddy-O Daddy! Rare Family Songs of Woody Guthrie

        French Organ Concertos

        Classic Country: Road Songs

        Come Sundown

        Black Diamond

        Ca Ne Tient Pas Debout [Import]

        Delighted [Import]

        Reger: String Quartet/Clarinet Quintet

        Amor [Spanish Version]