The School Song [CD-single] [Import]

Editorial Reviews
Album Description
Taken from the 2003 album, 'Passionoia'. Three non-LP tracks, 'The School Song' (Edit), 'Passionoia Megamix', & 'Lord Lucan Is Missing' (Live). One Little Indian.

Tracks:

Grease - Fankie Valli
Summer Nights - Olivia Newton-John
Hopelessly Devoted To You - Olivia Newton-John
You're The One That I Want - Olivia Newton-John
Sandy - John Travolta
Beauty School Drop-Out - Frankie Avalon
Look At Me, I'm Sandra Dee - Stockard Channing
Greased Lightnin' - John Travolta
It's Raining On Prom Night - Cindy Bullens
Alone At The Drive-In Movie (Instrumental) - Jim Jacobs
Blue Moon - Sha-Na-Na
Rock N' Roll Is Here To Stay - Sha-Na-Na
Those Magic Changes - Sha-Na-Na
Hound Dog - Sha-Na-Na
Born To Hand-Jive - Sha-Na-Na
Tears On My Pillow - Sha-Na-Na
Mooning - Cindy Bullens
Freddy, My Love - Cindy Bullens
Rock N' Roll Party Queen - Louis St. Louis
There Are Worse Things I Could - Stockard Channing
Look At Me, I'm Sandra Dee (Reprise) - Olivia Newton-John
We Go Together - Olivia Newton-John
Love Is A Many Splendored Thing (Instrumental) - Sammy Fain
Grease (Reprise) - Frankie Valli

Tracks:

Grease (Instrumental Version) - Gary Brown
Summer Nights (Sing-A-Long Version) - Jim Jacobs
Hopelessly Devoted To You (Sing-A-Long Version) - John Farrar
You're The One That I Want (Sing-A-Long Version) - John Farrar
Sandy (Sing-A-Long Version) - Louis St. Louis
Greased Lightnin' (Single Version) - John Travolta
Rydell Fight Song (Instrumental) - Jim Jacobs
Greased Up And Ready To Go (Instrumental) - Jim Jacobs
Grease Megamix: You're The One That I Want/Greased Lightnin'/Summer Nights - Olivia Newton-John
Grease Dream Mix: Grease/Sandy/Hopelessly Devoted To You - Olivia Newton-John
Summer Nights (Martian Remix) - Olivia Newton-John
You're The One That I Want (Martian Remix) - Olivia Newton-John

Amazon.com

There's no better example of American pop culture's hall-of-mirrors ethos than producer Alan Carr's relentlessly buoyant 1978 film adaptation of the stage musical Grease. Inspired by that decade's rampant 50's nostalgia, it now paradoxically evokes the campy 70's excesses that spawned it. That sense of recycled decades in collision is underscored repeatedly on this deluxe, double-disc Grease-fest, especially on the set's second disc of bonus materials that spans vintage singles of the title track (its instrumental B-side) and "Greased Lightnin'," some sing-along karaoke tracks, and a handful of alternately slick/techo-savvy remixes (originally produced for the film's 20th anniversary) that are testament to its enduring, era-defying appeal. The original soundtrack itself has been treated to a stellar digital remastering that fills disc one, and remains a joyous monument to camp, sheer ambition, and exuberant nostalgic illusions. Includes a slip-cased, double-fold-out case and new booklet with complete song lyrics. --Jerry McCulley

Customer Reviews:

You 're The One That I Want.......2007-04-03

The complete Grease experience. This cd is a two disc-set with disc one being the complete soundtrack, while disc two is all bonus material including the popular Grease Megamix. Fans of the movie would want to make this cd an essential part of their music collection.

Prepare to be transported to Summer Nights.......2006-03-26

Well here we are with a great piece of history.

This album has not only captured the spirit of the movie but the essence of a 1970's version of the 1950's. I have seen this play live and yes some things are different. Yet I grew up on the movie. I even find myself singing some of the songs now and then. Of course you will never see me singing "Look At Me, I'm Sandra Dee." However I do keep this in my car as great driving music. This album is not you can pick apart and say things like missing songs, in the wrong order etc. It sounds and feels just right. There will be many versions yet this one is the Grease - Deluxe Edition [ORIGINAL RECORDING REMASTERED] [SOUNDTRACK] gives you more information about each of the tracks allowing you to feel that you have inside information and to feel that you know more of what went into the making of each song.

Great Soundtrack & Fun Extras from an Enduring Musical........2004-07-06

I'm enjoying listening to this great soundtrack that I loved as a child after a long hiatus. I had it on 8-track 25 years ago. So it's fitting that I should get the 25th Anniversary Edition on CD. The 24 songs from the movie are just as everyone remembers them, so I'll talk about the Bonus Disc, which contains 10 alternative versions of the songs plus 2 previously unreleased instrumentals from the film.

Track 1 on the Bonus Disc is an instrumental version of the film's theme, "Grease", written and produced by Barry Gibb. Frankie Valli's voice has been replaced by a saxophone. The chorus is vocal, but the voices are not those in the original song. You could use this as a sing-along version, as it would be easy to sing over the sax. Tracks 2-5 are officially sing-along versions. "Summer Nights" includes the chorus vocals from the film and sounds good. "You're the One That I Want" has new chorus vocals of questionable merit. "Sandy" is a new arrangement. It's not as good as the film version, but you can sing along. Track 6 is the single version of "Greased Lightning" that you may have heard on the radio back in the day. It's differs from the original in that the bad words have been replaced for radio airplay. Tracks 7-8 are previously unreleased instrumentals from the film. "Greased Up and Ready to Go" is lively. Tracks 9-10 are mixes that I occasionally hear on the radio. The "Grease Megamix" and the "Grease Dream Mix" are fun, if awkward. Tracks 11-12 are Martian Remixes of "Summer Nights" and "You're the One That I Want". They retain the original vocals, but set them to a Latin rhythm. They make pretty good dance tracks.

This 2-disc set isn't in a jewel case. The case is paperboard with 4 panels that fold out. This is inside of a clear vinyl slip case on which the tracks are written. This isn't convenient packaging. On the bright side, the case won't crack in the mail. Tucked inside one of the panels is a booklet that contains lyrics and credits.

The "Grease: 25th Anniversary Deluxe Edition" is a terrifically fun soundtrack to one of the all-time great movie musicals. And for all those preteen girls who go wild over the movie with each new generation, the bonus material is perfect for parties and horsing around.

If You Love Grease, You'll Love This - Only 1 Major Flaw.......2004-05-15

Disc 1 is like the original album, which I also own. 1 major flaw is that "Love Is A Many Splendored Thing" cuts off at the very end of it! I was upset by this, hence the 3 stars instead of 4. Disc 2 is a lot of fun w/some remixes and sing-a-longs, all in all, I'm pretty happy with it being that I'm a HUGE Grease fan. If you like Grease, you'll love this, it's fun. Too bad when they "remastered" it, they didn't catch there 1 mistake. Oh well, at least I have it on another album.

Grease CD Reveiw.......2004-04-26

This Grease CD is the best! I listen to it every week. I just love Your The One That I Want.:) Amazon.com has everything!Olivia Newton-John and the boy singer have the best voices. Now thatnks to Amazon.com I can listen to it! The Grease CD is the best!:)

Average customer rating:

Excellent teaching tool
I have only one complaint about this CD
What every kid (and parent needs!)
What's Opera Doc?
Lots of Fun Music

The Classical Child at the Opera

Manufacturer: Classical Child
ProductGroup: Music
Binding: Audio CD

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Classical Music for Children: A Toddler's Introduction to Classical Music
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Mozart's Magnificent Voyage

ASIN: B00000J29D
Release Date: 2001-05-04

Tracks:

Children's March [From Carmen]
Doll Song [From Tales of Hoffmann]
Anvil Chorus [From II Trovatore]
Bird Catcher Am I [From the Magice Flute]
Papagena! Papagena! Papagena! [From The Magic Flute]
Pa, Pa, Pa, Pa [From the Magice Flute]
Flower Duet [From Lakm
Largo Al Factotum [From the Barber of Seville]
Three Little Maids from School [From the Mikado]
Sun Whose Rays Are All Ablaze [From the Mikado]
Tit-Willow [From the Mikado]
Brother, Come Dance With Me [from Hansel and Gretel)
I Am the Little Sandman [from Hansel and Gretel)
Children's Prayer [from Hansel and Gretel)

Album Description

OPERA IS FOR EVERYONE and so, The Classical Child At the Opera was created to give children a taste of the magic, majesty and humor of this glorious art form. Well-known songs and arias have been selected that appeal to young sensibilities, while easy-to-follow English translations bring these delightful stories and characters to life. Care has been taken by the singers to present the music in a way that is light hearted and accessible sometimes gentle, sometimes raucous, but always positive and engaging.

Customer Reviews:

Excellent teaching tool.......2006-05-10

I use this CD is my classroom for a wide variety of activities including art instruction for which it is ideally suited. It is hard to recommend this CD enough! Thanks for putting it together.

I have only one complaint about this CD.......2006-04-16

My one complaint is that after I listen to this CD, the catchy tunes get stuck in my head! And then I want to keep listening to it more and more. I love the selections on this CD, the fact that the songs are in English (I always wondered what the "Figaro, Figaro, Figaro" song was about!), and that a little background is given to each piece as well.

What every kid (and parent needs!).......2004-02-06

All I can say is my family LOVES this CD! We have a blast singing along, dancing, etc. It's made opera a new discovery for all of us.

What's Opera Doc?.......2003-03-29

No, this isn't Bugs Bunny's version of opera. It is, however, an excellent introduction to opera, for young and old alike. The the translations to English are quite clever, and the singers' voices are, for the most part, excellent and clear (overly florid voices can be such a turn-off). Grant Doyle, the baritone, is a particular stand-out: rather than sing "at" you, he manages to convey humor and emotion in his parts... you can almost *see* the funny bird catcher, Papageno, in the three songs from Mozart's "Magic Flute", which happent to be my 5-year old's favorite tracks. Doyle's turn as Figaro in "Largo al Factorum" from "The Barber of Seville" is pure joy. The children's chorus in "The Children's March" from "Carmen" is also delightful, and Gabriella Santinelli's(?) voice as the doll from Offenbach's "Tales of Hoffman" is simply amazing.

As much as I enjoy this album, I question the inclusion of the last three songs, which come from "Hansel and Gretel". The voices on the songs are of the overly florid nature, and I can see my daughter lose interest. I think it would have been more interesting to include more "Carmen," or arias from other such popular operas "Rigoletto" or "Aida". Or if the album needed to end on a slower note, the overcoat song from "La Boheme."

IAC, I have caught my daughter humming bits and pieces from the operas. Even I have managed to amaze people by correctly identifying the Flower Duet from "Lakme"! I strongly recommend this album.

Lots of Fun Music.......2002-11-29

Our baby seems to enjoy this operatic CD almost as much as her parents enjoy it. Maybe she doesn't even really hear it, but she does see her parents acting silly and singing along to the catchy opera songs. I think we'll be listening to this one for many years to come. You'll probably really enjoy this CD if you have an appreciation for opera already.

Average customer rating:

great album
Love it! So does our Daughter
Soooo cute, perfect for the young Parrothead!!
What a Joy!
A Sweet CD for kids

Parakeet Album: Song of Jimmy Buffett
W. O. Smith Music School Singers
Manufacturer: Margaritaville
ProductGroup: Music
Binding: Audio CD

General | Pop | Styles | Music

Pop Rock | Pop | Styles | Music

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The Jolly Mon: Book and Musical CD
Trouble Dolls
Take the Weather With You
Floridays
Christmas Island

ASIN: B000005HSJ
Release Date: 1995-10-23

Tracks:

Christmas In The Caribbean
Volcano
La Vie Dansante
Jolly Mon Sing
Little Miss Magic
Cheeseburger In Paradise
Off To See The Lizard
Chanson Pour Les Petits Enfants
Come To The Moon
Delaney Talks To Statues

Customer Reviews:

great album.......2007-07-18

I heard this album years ago and I'm buying it today for my own child!

Love it! So does our Daughter.......2006-02-27

My husband and I are both big Buffett fans and we had this Cd before our daughter was born, I played it in my classroom and my kindergartners loved it, especially Volcano. We had to get a new one for our daughter because it went MISSING in my class ??? Now we listen to it all the time!!!1 YEAH! Fins up!

Soooo cute, perfect for the young Parrothead!!.......2005-09-12

I have this as one of the CD's in my car CD player, distracts my 1 yr old daughter whenever she gets antsy in the car- some songs are a little annoying to me, just b/c Buffett is really the only one who should sing them in my opinion, but it keeps her entertained and that's all that matters!

What a Joy!.......2005-09-03

I had this CD and lent it out to a friend and forgot who it was. I have been looking for it to buy ever since. I love Jimmy and my kids love Jimmy this CD is a blessing.

I did enjoy listening to this CD with my kids when we had it before. I can't wait to get it again!

Mama Parrothead and
her two Parakeets (4 and 6)

A Sweet CD for kids.......2004-03-20

My 3 year old daughter loves this CD and I find myself singing along with her. She puts on her Hula skirt and dances away to the songs sung by other kids. We highly reccomend this CD to all of you out there with kids or a perfect gift for a child as well. We're going to buy this CD and give it to kids at her 4th Birthday Party.

Gilbert & Sullivan - Highlights from The Mikado, The Pirates of Penzance, H.M.S. Pinafore, The Yeomen of the Guard, Trial of Jury

Average customer rating:

The Best Of Gilbert And Sullivan
Pure delight
Delicious G&S samplings abound here.
Fine Intro to G&S

Gilbert & Sullivan - Highlights from The Mikado, The Pirates of Penzance, H.M.S. Pinafore, The Yeomen of the Guard, Trial of Jury
Nicholas Folwell , Arthur Sullivan , Marie McLaughlin , Rebecca Evans , Anthony Rolfe Johnson , John Mark Ainsley , Alwyn Mellor , Anne Howells , Barry Banks , Eric Garrett , Felicity Palmer , Gareth Rhys Davies , Janice Watson , Julie Gossage , Neill Archer , Pamela Helen Stephen , Peter Savidge , Richard Stuart , Richard Suart , Richard Van Allan , Sir Thomas Allen [baritone] , Sir Charles Mackerras , and Welsh National Opera
Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

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The Gilbert and Sullivan Overtures

ASIN: B000003D1Y
Release Date: 1996-01-23

Tracks:

A Wandering Minstrel I
Behold The Lord High Executioner!
Three Little Maids From School Are We
Braid The Raven Hair
The Flowers That Bloom In The Spring
On A Tree By A River, A Little Tom-tit Sang, 'Willow, Tit-willow'
For He's Gone And Married Yum-Yum
We Sail The Ocean Blue
I'm Called Little Buttercup
My Gallant Crew
When I Was A Lad
Things Are Seldom What They Seem
Never Mind The Why And Wherefore
Climbing Over Rocky Mountain
Poor Wand'ring One
How Beautifully Blue The Sky
I Am The Very Model Of A Modern Major-General
When The Foeman Bares His Steel
Ah, Leave Me Not To Pine
With Cat-Like Tread
Is Life A Boon?
I Have A Song To Sing, O!
Were I Thy Bride
Oh, A Private Buffoon Is A Light-Hearted Loon
When A Wooer Goes A-Wooing
When I, Good Friends, Was Called To The Bar
A Nice Dilemma We Have Here
Oh, Joy Unbounded

Customer Reviews:

The Best Of Gilbert And Sullivan.......2004-03-15

At the end of the 19th century (1870's, 80's and 90's) the compatible duo of librettist and composer Gilbert and Sullivan popularized the pre-Broadway entertainment of Savoy opera. These were light operas or operettas whose content was satire and comedy, full of bouncy melodies and beautiful singing, highly entertaining theatrical works staged at London's Savoy theatre. Gilbert and Sullivan did not always get along and in fact there was a time when they ended their professional relationship because personal conflicts surfaced. But they managed to create the world's most beloved light operas, over 40 of them. Their most famous are what I call the Big Three- The H.M.S. Pinafore, The Pirates Of Penzance and The Mikado. Other works include their first hit Trial By Jury, The Yeomen Of The Guard, Princess Ida, The Gondoliers, Patience and several others. A standard signature of Gilbert and Sullivan was in the colorful cast- a comic actor with a special kind of baritone voice, a canary-like and sweet-voiced coloratura or lyric diva, a mezzo soprano with strong chest register and a lyric tenor as the romantic hero. On this album, English conductor Sir Charles Mackerras, a popular figure in the classical music scene and opera, guides the Chorus and Orchestra Of the Welsh National Opera in generally well-delivered performances of excerpts from the operas The Mikado, The H.M.S. Pinafore, The Pirates Of Penzance, Yeomen Of The Guard and Trial By Jury. Although I feel that the recordings made by the D'Oyly Carte Opera Company, with Isodore Godfrey conducting and starring the best cast of the Gilbert and Sullivan repertoire- the singers of the 60's and 70's- tenor Phillip Potter, soprano Valerie Masterson, baritone John Reed, Donald Adams and mezzo soprano Christine Palmer. Their version of the Pirates Of Penzance and the Mikado far outshine the Welsh National Opera in technical mastery and vibrant tone color.

But these are fine excerpts. Especially appealing is the famous and cheerful "Three Little Maids From School Are We", a trio that imitates Japanese style melody. Most of the Mikado does this, for it was inspired by Japanisme or the new fashion in Victorian England- everything Japanese, from prints to paintings to poetry. Gilbert and Sullivan simply "Japanized" their English operettas. The Finale "For He's Gone To Marry Yum Yum" is an ebullient and pleasant finale. Not featured here is the domineering and powerful Katisha, a figure who stands out in the Mikado.

The H.M.S. Pinafore is Gilbert and Sullivan's most popular work. The sea chanty "We Sail The Ocean Blue" opens the opera with appropriate atmosphere and it seems to fit perfectly with the other scene in which the Captain greets his crew and they sing his praises "My Gallant Crew..I am the Captain Of The Pinafore". A beautiful melody that seems to come out of a romantic Offenbach tune is "I"m Called Little Buttercup". The finale, not featured here, is also very engaging "For He Is An Englishman" which can almost resemble a British national anthem. The Yeomen Of The Guard was Gilbert and Sullivan's "serious opera" eventhough it remains very Savoyard. The plot deals with Tudor England and takes place at the London Tower. "I have a song to sing" makes use of what can be taken for an English ballad of the Renaissance. Trial By Jury, about the eccentric and hilarious activity of a court trial, has a sextet that although different in composition, has the sextet "Che Mi Frena" from Donizetti's Lucia Di Lammermoor in mind. All in all, an excellent recording sure to delight young and old.

Pure delight.......2003-08-02

--Gilbert & Sullivan--
William Gilbert and Arthur Sullivan were a match made in heaven, yet on earth their pairing seems even with hindsight a most unlikely coupling. Both were destined for other things, Gilbert in fact for decidedly non-musical careers. Introduced by a mutual friend, Fred Clay, the fledgling lyricist Gilbert met the military-band-leader's son Sullivan and together continued to conspire to inspire the delights of audiences from high Victorian times down to the present, as their work in musical theatre comedy continues to provide merriment throughout the English-speaking world and beyond.

--The Music--
This collection includes highlights from five of the most popular Gilbert & Sullivan operettas: The Mikado, HMS Pinafore, The Pirates of Penzance, The Yeoman of the Guard, and Trial by Jury. The arrangements and orchestrations are delightfully energetic and clear; the characterisation and vocal qualities of the leads are perfect for their roles. The haughty if misplaced Lord of the Admiralty has the perfect combination of insecurity and pompous officiousness. The Plaintiff and the Defendant in the Trial are perfectly cast. This is a collection of highlights - at least three but no more than seven songs each, but this gives a good flavour of the music. The recordings on this collection come from complete performances by Mackerras and the WNO.

--Sir Charles Mackerras--
Mackerras is one of the geniuses of the twentieth century musical scene. Having a conducting career that includes the Hamburg Opera, the English National Opera (formerly Sadlers Wells Opera), and the Welsh National Opera (the performers for this piece), he has also conducted major orchestras on the continent of Europe and in the United States. The holder of many major awards and honourary doctorates, he has devoted much time and energy to the preservation and performance of eighteenth and nineteenth century music, as well the restoration of historical musical venues, such as the Estates Theatre in Prague, scene of the original production of Don Giovanni (Mackerras conducted the opera there to commemorate the bicentenary of the death of Mozart).

--Welsh National Opera Orchestra and Chorus--
The seeds of the WNO were planted in Cardiff during World War II by music lovers; the first performances occurred a year after the war's end, with Cavalleria rusticana and Pagliacci on the bill, with Faust the next night. Popular appeal was so great that the WNO was established, later adding choruses in both Cardiff and Swansea. The professional chorus was established in 1973, with a strength that matches the orchestra. They continue an ambitious performance schedule for recording and live events; Mackerras remains the Conductor Emeritus, as the WNO continues under the direction of Carlo Rizzi. The list of awards the WNO has won over the years is staggering - they are a world class institution by any measure.

--Other performers--
Notable singers such as Richard Stuart, Rebecca Evans, Felicity Palmer, John Mark Ainsley and Anne Howells lead the chorus with stunning vocals and clever characterisations of the parts they play. Many (such as Stuart and Evans) play the leading roles across several of the pieces of the disc.

--Liner Notes--
The liner notes give a good introduction and biographical information about Gilbert and Sullivan, as well as synopses of the five pieces presented here. It does not, unfortunately, include any information about Mackerras, the WNO Orchestra and Chorus, or the other special performers. It also does not include the lyrics to the songs. Were the quality of the CD not so great, this might cost it a star in rating.

--Overall Impressions--
I play this CD in my car, in my home and in my office frequently. It is a great sing-along work and a great comedic relief from the stresses of the day. The music is bubbly and clear; the recording quality is excellent and crisp. I recommend this to any Gilbert & Sullivan lover, any fan of musical comedy, opera and operettas, and anyone who delights in good music.

Delicious G&S samplings abound here........2003-05-06

The first thing I should be saying is "What an infectuous G&S CD." Indeed this is, with this fine sampling of the peppy and bright Mackerras series. I know I have praised its "Mercedes-Benz quality" elsewhere on these pages, but that doesn't stop me from saying that everyone is in fine voice. This generously filled CD may only focus on five operas, but at least you can savour a reasonable choice sampling of delights from each one. Of particular interest is Richard Suart's patter-baritone parts and the soaring lyric soprano of Rebecca Evans. The selection on this disc is filled with a mixture of familiar favourites and lesser-known gems such as the female choruses in Mikado and Pirates. Mackerras is a true G&S conductor, but one who always springs rhythms crisply, and adopts peppy tempo for the fast bits. The one drawback is that this selection is far too infectuous that you'll want to shell out money to buy the full 5-CD Mackerras cycle - an incredible bargain with most of the operas fitted onto one disc each. But still, this is at least a decent G&S sampling for beginners, capped with Steven Ledbetter's copious liner notes. It will leave you wanting to say "dammit I'm going to play it again."

Fine Intro to G&S.......2000-12-30

This is the perfect CD for those who may not be familiar with G&S, or for the initiated who want a smattering but don't have the mother of all CD changers. The difficulty with any G&S Greatest Hits CD is determining which pieces to leave off; while one could easily point to any number equally good bits, it would be difficult to argue about the quality of the choices included. The only problem, such as it is, is that after listening to it I am usually induced to go back and listen to the whole opera anyway. The Mackerras recordings are uniformly excellent. I have read elsewhere the criticism that they are too 'operatic' for light opera. If by this it is meant that the singers are too good, then I leave it to the discretion of the listener when the singing becomes too good to be enjoyable.

Average customer rating:

Available at retailers for about $18
A classic compilation
A dis-service to Joplin
Unique
Great set

Scott Joplin: His Complete Works

Manufacturer: Bescol
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

General | Classical | Styles | Music

General | Jazz | Styles | Music

Vocal Jazz General | Vocal Jazz | Jazz | Styles | Music

Ragtime | Traditional Jazz & Ragtime | Jazz | Styles | Music

General | Opera & Vocal | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

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Complete Piano Music of Scott Joplin
Entertainer: Classic Ragtime from Rare Piano Rolls
Joplin: Treemonisha
King of the Ragtime Writers
Scott Joplin: Piano Rags

ASIN: B000001RR2
Release Date: 1994-07-19

Tracks:

Please Say You Will - Richard Zimmerman
A Picture Of Her Face - Richard Zimmerman
The Great Crush Collision March - Richard Zimmerman
Harmony Club Waltz - Richard Zimmerman
Combination March - Richard Zimmerman
Original Rags - Richard Zimmerman
Maple Leaf Rag - Richard Zimmerman
Swipesy - Cake Walk - Richard Zimmerman
Sunflower Slow Drag - Richard Zimmerman
Peacherine Rag - Richard Zimmerman
Augustan Club Waltz - Richard Zimmerman
The Easy Winners - Richard Zimmerman
Cleopha - Richard Zimmerman
The Strenuous Life - Richard Zimmerman
I Am Thinking Of My Pickanniny Days - Richard Zimmerman
The Ragtime Dance - Richard Zimmerman
A Breeze From Alabama - Richard Zimmerman
Elite Syncopations - Richard Zimmerman

Tracks:

March Majestic - S. Joplin
The Entertainer - S. Joplin
Something Doing - S. Joplin
Weeping Willow - S. Joplin
Little Black Baby - S. Joplin
Palm Leaf Rag - S. Joplin
The Favorite - S. Joplin
The Sycamore - S. Joplin
The Cascades - S. Joplin
The Chrysanthemum - S. Joplin
Rosebud March - S. Joplin
Bethena - S. Joplin
Leola - S. Joplin
Sarah Dear - S. Joplin
Binks Waltz - S. Joplin
Eugenia - S. Joplin
Antoinette - S. Joplin
Snoring Sampson - S. Joplin

Tracks:

Gladiolus Rag - S. Joplin
Searchlight Rag - S. Joplin
The Nonpareil (None to Equal) - S. Joplin
When Your Hair Is Like The Snow - S. Joplin
Rose Leaf Rag - S. Joplin
Heliotrope Bouquet - S. Joplin
School Of Ragtime - S. Joplin
Fig Leaf Rag - S. Joplin
Sugar Cane - S. Joplin
Pine Apple Rag - S. Joplin
Wall Street Rag - S. Joplin
Solace - S. Joplin
Pleasant Moments - S. Joplin
Country Club - S. Joplin
Paragon Rag - S. Joplin
Euphonic Sounds - S. Joplin
Stoptime Rag - S. Joplin
Felicity Rag - S. Joplin

Tracks:

Highlights From Treemonisha - Richard Zimmerman
A Real Slow Drag - Richard Zimmerman
Prelude To Act 3 - Richard Zimmerman
Frolic Of The Bears - Richard Zimmerman
Lovin' Babe - Richard Zimmerman
Scott Joplin's New Rag - Richard Zimmerman
Kismet Rag - Richard Zimmerman
Magnetic Rag - Richard Zimmerman
Reflection Rag - Richard Zimmerman
Silver Swan Rag - Richard Zimmerman
Lily Queen - Richard Zimmerman
Sensation - Richard Zimmerman

Customer Reviews:

Available at retailers for about $18.......2006-12-21

Excellent collection - but there are re-sellers listed here that are selling this for as much $50 or $60. Yikes, most major retailers are selling this complete set for $18 - so beware.

A classic compilation.......2006-10-07

This collection is one of my most treasured possessions. (My father gave me the original 5-album set in the 70's when it was originally released on vinyl.)

This is the definitive collection of Scott Joplin's work. Richard Zimmerman provides wonderful performances that accurately reflect Joplin's intentions. (As evidence beyond my personal opinion, I submit the recent releases of digital recordings made from Joplin's piano rolls.)

A few points to consider regarding negative comments you may encounter in other reviews:
* This is a digital recording from an analog master. Lack of quality in the recording does not imply a lackluster performance.
* This is a complete collection. Some similarity is due to Joplin re-exploring melodic themes. But some is due to the fact that these are "rags". One might as well complain that all 50's doo-wop (or all 70's disco) sounds the same.
* Many pieces of the period exhibit formal musical structures, such as the marches of John Phillips Sousa. (Both Sousa and Joplin performed at the 1904 World's Fair in St. Louis.) Actually, Joplin is responsible for extending the formal boundaries of ragtime to concert waltzes (Bethena) and opera (A Guest of Honor, Treemonisha)
* This is probably one of the few collections which will include selections from "Treemonisha". It is my understanding that after the initial release, one of Joplin's descendants made a copyright claim that was upheld in court. (I presume the issue was that Joplin had to finance "Treemonisha" himself, and therefore the customary performance clearances did not cover those selections.)

For ragtime students and enthusiasts, this is a "must-have" collection at a very affordable price.

A dis-service to Joplin.......2006-02-01

Sadly, the only virtue this set possesses is completeness.

The pianist does not play Joplin's pieces "as written", the piano is of poor quality, and not properly in tune.

This is emphatically NOT the set to buy. A far better set, beautifully annotated and well played on a good concert grand piano, is the complete works played by Guido Nielsen on the Basta Label.

This set is a dis-service to Joplin and his music. He deserves better, and gets it elsewhere.

Unique .......2004-10-19

I have several cd sets of Joplin's music: Rifkin, Arpo, Nielsen, and Zimmerman. All have their excellent qualities. What sets Zimmerman's set apart is the inclusion of excerpts from Joplin's opera, Treemonisha---especially "A Real Slow Drag." Why the other sets do not include excerpts from Treemonisha, I don't know---because they are some of his most beautiful and joyful pieces of music. Of course, you can hear the orchestrated version of Treemonisha in the Houston Grand Opera recording, and it is spectacular. But Zimmerman's piano version, especially of "A Real Slow Drag," is not to be missed.

Great set.......2001-10-16

I guess this will be a rather one sided review. I have been a fan of Scott Joplin since I first learned to play a piano.

I was shocked to see that one reviewer thought it all sounded the same. How silly. All of Frank Sinatra's music sounds like Frank Sinatra. All of Led Zeppelin sounds like Led Zeppelin. So, if the songs were drastically different, I would question if the same author composed them. As it is, though, each song on this set is fantastic!!

I don't know that I have heard of Richard Zimmerman, and I was a little leary as to what I would be getting, I certainly was impressed. Without a doubt the best renditions of "Weeping Willow" and "Bethena" I have heard, and at least a dozen songs I didn't know Joplin wrote.

Tracks:

Parce mihi domine
Primo tempore
Sanctus
Regnantem sempiterna
O salutaris hostia
Procedentem sponsum
Pulcherrima rosa
Parce mihi domine
Beata viscera
De spineto nata rosa
Credo
Ave maris stella
Virgo flagellatur
Oratio Ieremiae
Parce mihi domine

Amazon.com essential recording

"What is this music?" Fundamentally, it's an exploration of what happens when an improvisatory instrumental voice (saxophone) is placed into the world of early vocal music, which has elements of both improvisation and formal structure. In reality, it's an adventure in which the four male voices of the Hilliard Ensemble travel the 14th- and 15th-century territory of Morales and Dufay, visit the 12th century of Perotin, and roam even earlier ages of plainchant, accompanied by the always sensitive and tasteful, often astonishing, saxophone improvisations of jazz master Jan Garbarek. Sometimes, these new melodies simply accompany; sometimes they transform the common--a routine minor chord, for instance--into a sublime, indescribable moment. The answer to the above question is easy, but it's different for each listener. --David Vernier

Customer Reviews:

Original, Brilliant, but Flawed.......2007-03-24

I'm a big fan both of Garbarek and of "early music", so I bought this album with enthusiasm when it first came out a decade ago. I wasn't disappointed, but I do find it uneven. Garbarek was experimenting throughout the process of recording this work, and some of his ideas are better than others. I understand completely those who complain about the soprano sax not blending well with the vocals - there are tracks where it's just too up-front and edgy to fit into the mix. But the tracks where the sax is recorded from further away, particularly those where a tenor sax is used, are absolutely sublime. For those moments, it deserves more than 4 stars. For the moments where the soprano sax is too shrill, I'd take off a fraction of a point if I could, but if I've got to call it a "4" or a "5", I'd give it a 5.

Great vocals but saxophone has to go!.......2007-03-19

This cd has extremely beautiful vocals and chants that conjure up sublime images of baronial castles, knights in armore and ornately decorated fireplaces of old. This is until Jan's 20-21st century saxophone weaves its way into this otherwise heavenly image. The sound quietly fades in out of nowhere and eventually drowns out the vocals. It then seems to meander in and out thoughout the rest of the song. If you like John Dowland meets Kenny G., this is for you. Otherwise, if you're looking for "pure" early music, you might want to stick with other Hilliard Ensemble music sans Mr. Garbarek.

I Wish I Could be More Positive, but..........2007-01-06

...but I really hate the soprano sax played over these beautiful pieces. The singing is superb and the repertoire is rare (only one other recording of the Morales, for instance, and that is done quite differently, anent the sax).

I think I would have liked it better if Garbarak had played a lower horn, like an alto or tenor sax. These pieces are about something, and I don't feel that Gabarak really knew what the texts were about and what the composers were responding to in the texts.

I keep it for the exquisite "Parce mihi Domine" sung withoug the screeching sax.

((saxophonist) + (chant + polyphony + motets)) = Officium.......2004-04-22

I bought this album on a whim shortly after its release several years ago after never having listened to any of its tracks, and was completely surprised when I heard it being played as I entered the stave church model located in the Norway region of Disney's Epcot Center during my first visit to the park earlier this year, because I have never at any time heard any of its tracks played anywhere outside my home. The stave church is a strange place to play this secular work, but perhaps the layperson might discover the reasons for this if the liner notes included English translations of the Latin. In my opinion, this album is comprised of some of the best blends of music styles I have ever heard. Essentially, the blends consist of Latin lyrics from the pre-12th through 16th centuries set to jazz. According to the liner notes, the vocal quartet produces "chant, reaching back to its pre-literate forms; early polyphony, where the number of parts was a matter of experiment and the same piece could exist in many different versions; and Renaissance motets that were conceived chordally, and might provide structures over which a saxophone could improvise". The unity of these music forms were united in light of the fact that just as jazz had no name at the beginning of the 20th century, polyphony did not have a name when it began 1000 years ago. As the liner notes explain, "these two nameless historical moments were points of departure for two of the most fundamental ideas in Western music: improvisation and composition".

Absolutely Gorgeous!.......2002-01-10

This is one of the most innovative and sublime CDs in my expansive collection. I'll stay away from trying to explain what centuries the pieces were written in, blah, blah, blah. Bottom line: they were all written before the saxophone was invented. Therefore, Garbarek's "intrusions" should seem as such, interrupting the Hilliard Ensemble's vocalizing. Quite the contrary, though. Garbarek's first notes, although somewhat unexpected, seem quite appropriate and fitted. His "improvisations" around the traditional structure of the vocals are sometimes subtle, sometimes more upfront, but always in keeping with the spirit of the original pieces. He winds and weaves his way around and through the vocal arrangements like a fifth vocalist--no restraints or boundaries but with a keen ear for what will sound good where.

This CD is on my very short list of classical "desert island" discs and ranks right up there with Bobby McFerrin and Yo-Yo Ma's HUSH for improvisational yet traditional music, with ingenious wrinkles thrown in. It's hard to call it straight classical, but it isn't exactly jazz, either. The styles are merged beautifully. The best metaphor I can think of would be a braid: separate entities intertwined and working together for a common goal and a common effect.

Tracks:

'The Mikado': Behold! The Lord High Executioner - Carl Davis
'The Mikado': Overture - Carl Davis
'The Mikado': Three Little Maids From School Are We - Dorothy Atkinson/Shirley Henderson/Cathy Sara
'Princess Ida': Overture - Carl Davis
'Princess Ida': If You Give Me Your Attention - Martin Savage
'The Grand Duke': Paris Galop - Carl Davis
'The Mikado': Mi-Ya Sa-Ma/A More Humane Mikado - Louise Gold/Timothy Spall
'The Sorcerer': But Soft.../Why, Where Be Oi? - Shirley Henderson/Kevin McKidd/Martin Savage
'The Yeomen Of The Guard': Alone - Carl Davis
'The Mikado': The Criminal Cried As He Dropped Him Down - Dorothy Atkinson/Vincent Franklin/Martin Savage
'The Yeomen Of The Guard': Overture - Carl Davis
'The Mikado': A Wand'ring Minstrel I - Kevin McKidd/Michael Simkins
'The Mikado': The Sun Whose Rays Are All Ablaze - Shirley Henderson
End Titles ('The Pirates Of Penzance'/'The Grand Duke') - Carl Davis
'The Sorcerer': Incantation - Shirley Henderson/Kevin McKidd/Martin Savage
'The Gondoliers': The Fitting - Ian Balmain
The Lost Chord - Eleanor David/John Constable/Shelagh Sutherland
'The Mikado': The Mikado: Finale, Act Two - Dorothy Atkinson/Vincent Franklin/Louise Gold/Shirley Henderson/Kevin McKidd/Cathy Sara...
'The Long Day Closes': Resolutions - Carl Davis

Amazon.com

The producers of Mike Leigh's vibrant Topsy-Turvy took many big studio meetings seeking financing for their film. Word has it all went swimmingly until time for the pitch came--there are apparently no two words as unsettling to Hollywood film execs as "Gilbert & Sullivan." But the studio system's loss turned out to be the indie film's--and our--gain. Leigh's film brought the composers' late-19th-century mounting of their breakthrough The Mikado to an all-too-familiar life, filled with as many neuroses, foibles, and fragile egos as any modern Broadway musical. The film's score, an inviting pastiche adapted from Mikado (and other G&S staples) by veteran Carl Davis, may upset purists with its time-conscious liberties. But then, it might just win over a receptive yet unexposed new audience for whom this music may seem strangely familiar, as well it should: this is where modern musical theater began. --Jerry McCulley

Customer Reviews:

Here's a How-De-Do!.......2007-02-22

It's brilliant, really! I am a self-confessed Gilbert and Sullivan fanatic, and so the release of this soundtrack to accompany a truly delightful movie provided me with an "Oh, joy! Oh, rapture!" moment ... many of them, actually! To hear some of my favorite tunes from some of my favorite G & S operetti performed so well makes my heart "sing-o" - and me, too!

Topsy-Turvy is TOPS!!!.......2007-02-21

This is Gilbert and Sullivan like you will never hear again! These performances are so fresh and alive with comedy flourish that my formerly "purist" ears reveled in delight at this magnificeant rendition of these great operettas.It is wonderful to hear excerpts from PRINCESS IDA,IOLANTHE and SORCERER (as well as THE MIKADO) when so many recordings already exist of the other G&S chestnuts,PINAFORE and PIRATES OF PENZANCE.
The actual cd itself fills the speakers and is a true listener's dream.A great soundtrack of a great film.Wonderfully recorded by SONY.

Superb.......2005-02-25

This is a fantastic cd, one that I have listened to many many times without growing tired of it. The particularly nice thing about this cd for lovers of the movie is that you get to hear the entire performance for many songs which are necessarily cut short in the film, most enjoyably "A Wandring Minstrel I". As has been noted in other reviews, the vocal performances are not what you will typically find in other G & S recordings: they are far less burdened with mannered belle canto nonsense, to their immense benefit. And I must disagree with one reviewer who disparaged the staging as portrayed in the film. My wife and I saw a touring production of the Mikado which used the costumes and set from the movie, and it was fantastic. Even better, the performers seemed to take some cues from the film actors too, singing and performing in a way that was much more accessible and not a bit less pleasing.

Better than many a G&S non-sountrack.......2003-09-16

I was compelled to get this after seeing the overlong, flawed, but nonetheless all-around amazing 'Topsy Turvy'. (Seriously - almost every supporting actor in the film deserved an Oscar, and Jim Broadbent was robbed; his Gilbert is magnificent and real.)
Inspired then to hear a true G&S performance, I bought several Carte recordings. What broke my heart is that the genuine Savoy performances are not as good as those of the 'Topsy' actors! Contrary to a review here, the articulation is just dandy. And the tenor in 'Wand'ring Minstrel' alone is far, far superior to the thin, reedy, annoying versions on the several concert cds I've heard. As is the riveting soprano on the beautiful 'The Sun Whose Rays...' of 'Topsy'; again, the actual Savoy recordings are merely shrill in comparison.
I remove one star only because of the necessarily abbreviated performances here.

Put on the CD, close your eyes and..........2003-03-02

You are back in the Savoy Theater in Victorian England, watching a Gilbert and Sullivan production of the Mikado, or Yeoman of the Guard, or the Sorcerer, or Princess Ida. The qualiity of the music is superb, the voices are wonderful and I only wish I could have videos of all the G&S productions to watch along with the music.

Tracks:

Goodbye Mr. Chips [Main Titles]
In the Mountains [Goodbye, Mr. Chips]
Finale [Goodbye, Mr. Chips]
Warsaw Concerto [Dangerous Moonlight] - BBC Philharmonic, Martin Roscoe
Love on the Dole (Main Titles)/Sally Awakes
Courting Couples [Love on the Dole]
Blackpool Outing [Love on the Dole]
Love on the Dole (End Titles)
Prelude [Blithe Spirit]
Waltz [Blithe Spirit]
Black Rose (Main Titles and Opening Scene)
In Theempress's Palace [The Black Rose]
Black Rose Theme [The Black Rose]
Suite from "Scrooge"
Overture [Tom Brown's Schooldays]
Polka and Galop [The Admirable Crichton]
Waltz Sequence [The Admirable Crichton]
Flame Tango [Out of the Clouds]

Customer Reviews:

Only a couple enjoyed.......2007-01-10

I guess I expected more music from the classic SCROOGE, with Alister Syms. But, I did like the music from GOODBYE MR. CHIPS. Otherwise, not very much more on this CD.

A most pleasant journey........2003-12-09

This cd is one of a series of film music productions by Chandos. Others include the works of Vaughan Williams, Dmitri Shostakovich, Malcolm Arnold, Nino Rota etc. All are conducted by Rumon Gamba with the BBC Philharmonic. If this disc containing the music of Richard Addinsell is any indication of what to expect from the others, then, indeed, the series may constitute a very fine one. The playing is excellent---clear, dynamic, tuneful, just right (sentimentally speaking) and atmospheric in the usual motion picture soundtrack manner. The recorded sound aids significantly in sustaining the favorable overall impression. The Warsaw Concerto (from "Dangerous Moonlight") is probably the best known piece here, however melodies from a number of the other works provide a very welcome measure of enjoyment. The Suite from "Goodbye Mr. Chips" is particularly lovely and memorable. "Love on the Dole" offers a charming elegance. "The Black Rose" , which starred Tyrone Power, has an open air spirit of exoticism and adventure. The wonderful "Scrooge" music restores the vivid memories associated with Alastair Sim's outstanding and deservedly famous portrayal of the title character. There is a moving tune, which is played in the movie during a meeting between Scrooge, as a young man , and his ill fated sister. It also appears when Scrooge visits his nephew to seek forgiveness and acceptance after he has learned a lesson from the three spirits that he will never forget. Though the Suite runs for fourteen minutes, one still wishes for more...The Overture from "Tom Brown's Schooldays" is both pleasantly playful and nostalgic. (Oh how that violin sometimes brings tears to one's eyes.)..."The Admirable Crichton" , for which Addinsell refused to take credit, displays continental flair...Finally, The Flame Tango from "Out of the Clouds" and the Suite from "Blithe Spirit" also give melodic satisfaction. Clearly, Richard Addinsell stands as one of the most engaging movie score composers of a bygone generation, as this cd attests. Most satisfying and warmly recommended.

Britten: Holy Sonnets, Billy Budd, etc. / Britten, Glossop, Pears, et al

Average customer rating:

NOT SO MUCH BILLY BUDD, MORE EDWARD FAIRFAX VERE
TAKING OUR SALVATION ANY WAY IT COMES
A Great Performance By the Composer

Britten: Holy Sonnets, Billy Budd, etc. / Britten, Glossop, Pears, et al

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

English | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

The Decca Records Store | Specialty Stores | Music
Similar Items:

Britten: The Turn Of The Screw / Britten, Pears, Vyvyan, Cross, et al
A Midsummer Night's Dream / Britten, London SO
Britten - Peter Grimes / Pears · C. Watson · Pease · Brannigan · J. Watson · Elms · Studholme · Kells · R. Nilsson · Lanigan · G. Evans · D. Kelly · ROH Covent Garden · Britten
Britten: The Rape of Lucretia; Phaedra
Britten: Albert Herring

ASIN: B0000041RZ
Release Date: 1989-05-09

Tracks:

The Holy Sonnets Of John Donne, Op. 35: Oh My Blacke Soule!
The Holy Sonnets Of John Donne, Op. 35: Batter My Heart
The Holy Sonnets Of John Donne, Op. 35: Oh Might Those Sighes And Teares
The Holy Sonnets Of John Donne, Op. 35: Oh, To Vex Me
The Holy Sonnets Of John Donne, Op. 35: What If This Present
The Holy Sonnets Of John Donne, Op. 35: Since She Whom I Loved
The Holy Sonnets Of John Donne, Op. 35: At The Round Earth's Imagin'd Corners
The Holy Sonnets Of John Donne, Op. 35: Thou Hast Made Me
The Holy Sonnets Of John Donne, Op. 35: Death Be Not Proud
Songs And Proverbs Of William Blake, Op. 74: The Pride Of The Peacock...London
Songs And Proverbs Of William Blake, Op. 74: Prisons Are Built...The Chimney Sweeper
Songs And Proverbs Of William Blake, Op. 74: The Bird A Nest...A Poison Tree
Songs And Proverbs Of William Blake, Op. 74: Think In The Morning...The Tyger
Songs And Proverbs Of William Blake, Op. 74: The Tygers Of Wrath...The Fly
Songs And Proverbs Of William Blake, Op. 74: The Hours Of Folly...Ah, Sun-Flower
Songs And Proverbs Of William Blake, Op. 74: To See A World...Every Night & Every Morn
Billy Budd: Prologue: I Am An Old Man
Billy Budd: Act One - Scene 1: Pull, My Bantams!
Billy Budd: Act One - Scene 1: Guard Boat! Indomitable!
Billy Budd: Act One - Scene 1: First Man Forward!
Billy Budd: Act One - Scene 1: Your Name?
Billy Budd: Act One - Scene 1: Billy Budd, King Of The Birds!

Tracks:

Billy Budd: Act One - Scene 1: I Heard, Your Honour!
Billy Budd: Act One - Scene 1: Come Along Kid! Come Along!
Billy Budd: Act One - Scene 1: Christ! The Poor Chap
Billy Budd: Act One - Scene 1: What's That? What's Those Whistles?
Billy Budd: Act One - Scene 1: Starry Vere We Call Him
Billy Budd: Act One - Scene 2: Boy!
Billy Budd: Act One - Scene 2: Gentlemen, The King!
Billy Budd: Act One - Scene 2: Ay, At Spithead
Billy Budd: Act One - Scene 2: We Are, Sir. Claggart Is An Able One
Billy Budd: Act One - Scene 3: Blow Her Away
Billy Budd: Act One - Scene 3: We're Off To Samoa
Billy Budd: Act One - Scene 3: Hi! You...A...A...
Billy Budd: Act One - Scene 3: Over The Water
Billy Budd: Act One - Scene 3: Come Here. Remember Your Promise
Billy Budd: Act One - Scene 3: Billy!... Hist! Billy Budd!
Billy Budd: Act One - Scene 3: Dansker, Old Friend, Glad To See You

Tracks:

Billy Budd: Act Two - Scene 1: I Don't Like The Look Of The Mist
Billy Budd: Act Two - Scene 1: With Great Regret I Must Disturb Your Honour
Billy Budd: Act Two - Scene 1: Deck Ahoy!
Billy Budd: Act Two - Scene 1: Who'll Volunteer To Board 'Em
Billy Budd: Act Two - Scene 1: There You Are Again, Master-At-Arms
Billy Budd: Act Two - Scene 1: O This Cursed Mist!
Billy Budd: Act Two - Scene 2: Claggart, John Claggart, Beware!
Billy Budd: Act Two - Scene 2: Master-At-Arms And Foretopman
Billy Budd: Act Two - Scene 2: God O' Mercy!
Billy Budd: Act Two - Scene 2: Gentlemen, William Budd Here
Billy Budd: Act Two - Scene 2: William Budd, You Are Accused
Billy Budd: Act Two - Scene 2: Poor Fellow, Who Could Save Him?
Billy Budd: Act Two - Scene 2: I Accept Their Verdict
Billy Budd: Act Two - Scene 3: Look!
Billy Budd: Act Two - Scene 3: Here! Baby!
Billy Budd: Act Two - Scene 3: And Farewell To Ye, Old Rights O' Man!
Billy Budd: Act Two - Scene 3: Interlude
Billy Budd: Act Two - Scene 4: 'According To The Articles Of War'
Billy Budd: Act Two - Scene 4: Down All Hands!
Billy Budd: Epilogue: We Committed His Body To The Deep

Customer Reviews:

NOT SO MUCH BILLY BUDD, MORE EDWARD FAIRFAX VERE.......2006-08-31

When you look at all the operatic roles that Britten created for his lifelong partner in life and music (something in every opera except Noye), the first thing that becomes clear is how well he understood Peter Pears' voice and musical talents. The vocal lines fit the voice perfectly, utilising all its strengths and usually avoiding its weaknesses. When you look at the characters he asked Pears to play, however, a rather different picture emerges. As a performer, Pears comes across as rather refined, sophisticated, something of an aesthete, a bit of an intellectual. So, while he makes a good fist of Peter Grimes, it is Grimes the dreamer that tends to stay in the memory: the tough, violent, naïve fisherman is more Jon Vickers territory. The innocent Albert Herring, the impetuous Essex and the impassioned Lysander (though Flute was his original part) really don't work very well as characters with Pears. And, while no-one sings the trance-inducing melismas of Quint quite like him, do we really believe he is the incarnation of corrupting evil? The Male Chorus in Lucretia fares better because he is just an observer with little personality of his own. And Pears' roles in the Church Parables are sufficiently distanced by the Brechtian/Noh ritual of the pieces to allow him to view these characters more objectively.

The two parts that work best for Pears are Aschenbach, the composer's final gift to his lover, and Captain Vere in Billy Budd. Certainly Vere is something of an intellectual and an aesthete: he is a reader of Plutarch, a man somewhat out of touch with the rough sentiments of his subordinate officers, prone to using classical references they don't understand. And he is, like Aschenbach, highly susceptible to the Apollonian appeal of Billy's handsomeness, goodness and beauty (Claggart's words). One suspects that, like Aschenbach again, there is also a more Dionysian aspect to this attraction. Certainly the redemption Vere attributes to Billy's death on that clear, blue morning in enemy waters is not quite as clear and blue and cloudless as he would like to imagine.

Captain Vere is one of the most complex of all Britten's characters (at least before Aschenbach). That is, of course, thanks to the subtlety of E.M.Forster's libretto and of Britten's music. But it is also thanks to the force of Pears interpretation. I am inclined to think that this is his best performance in any of the operas on disc. He successfully adumbrates all the different sides of the role - the humanist and the military stickler, the charismatic leader of men and a man torn by internal moral dilemmas and indecisions, an outsider by nature of his rank and his own inclinations who is placed in the closest-knit of male communities. That the part is magnificently sung by Pears goes almost without saying. That he makes the character so fascinating, so complex and so real in the agony of the choices he faces is down to Pears' superlative vocal acting. In this performance it is Vere rather than Billy who is the hero, the focus of the whole opera.

Which is not to take away from what is a great team performance of this important opera. Britten never seemed able to cast Billy from the ranks of the Aldeburgh coterie - Theodor Uppman, the Billy at the premiere, was an American import; Peter Glossop on this recording, a North Country Verdi specialist. He sings the part well enough, is touching in Billy in the Darbies, but can be a little unimaginative. Claggart is in the hands of the underrated and under-recorded Michael Langdon (a great Ochs in his time), as black of voice and soul as any Wagnerian villain. The quarter-deck officers are a fine set of Britten regulars: the lower-decks boast some fine newcomers to those ranks in the likes of Robert Tear and Benjamin Luxon as the Novice and his Friend. The chorus are magnificent, whether in the drudgery of daily chores, the relaxation of shanty-singing or the excitement of battle. Britten, as you would expect, conducts his own music with a naturalness and a perception that allows detail to make its points without ever losing sight of the overall structure (all to do with two fiercely opposed key-centres, set out in the Prologue and only finding their eventual resolution in the Epilogue).

The two fill-ups on Disc 1 add to the value of the set if not seeming strictly relevant to the opera they accompany - the Metamorphoses for Oboe would have done that better. Nevertheless the Donne Sonnets from the end of the War and the Blake Songs and Proverbs from the 60's get definitive performances from Pears and Fischer-Dieskau respectively, both with the composer at the piano.

TAKING OUR SALVATION ANY WAY IT COMES.......2005-08-16

The strained economic situation of the classical music industry is working in many ways to our advantage as consumers. Britten's settings of Blake and Donne would never have been issued bundled together with Billy Budd in the vinyl era I'm quite sure. These days if we don't think one follows on from the other we don't have to get out of our armchair to select them as we please, and the composer's accounts of his own songs in partnership with Pears and Fischer-Dieskau would surely be a welcome supplement to more or less any classical cd release.

However I imagine the public for this set will consist mostly of enthusiasts for Britten's great masterpiece Billy Budd. This is music-drama, not opera, and the theme of the drama has a certain ambiguity of a kind that Britten was drawn to, as in the unresolved questions left at the end of The Turn of the Screw. The story is adapted by E M Forster and Eric Crozier from Melville. Melville's inspiration in turn was sparked off by the reportage on a court of enquiry into the execution of an ordinary seaman for mutiny. The captain who had so ordered had been advised that the evidence against the seaman was thin. Perceiving nonetheless a need to encourage the others by executing someone, the captain prevailed on the trial officers to take a more forward-leaning view. This they duly did, the captain explained to the man about to be hanged that this was all for the greater glory of the flag, whereupon the man blessed captain and flag.

The story of Billy Budd quite obviously had powerful resonance for Forster and Britten. It is a chamber drama basically, for all the background of war at sea between Britain and revolutionary France. There are three main actors - Billy himself, the captain, and the master-at-arms John Claggart. The action, on the face of it, seems small-scale. Claggart conceives a vicious spite against the innocent but adept and personable Billy, strong enough, it seems, for him to try to frame Billy on the capital charge of mutiny. The captain in this case recognises Claggart for the lying ratbag that he is, but goes through the formality of having Billy face his accuser. Rendered inarticulate by his stutter, Billy (whose loyalty to the captain would grace any dog) lashes out with his fist and his one punch kills Claggart. The captain knows the true score perfectly well, but hides behind formal processes again, in the full knowledge that he is thereby condemning an innocent man to death. However just listen to the music accompanying Claggart's first entrance - it would be very overblown just for some spiteful nonentity. Claggart, though unpopular and clearly unpleasant, is not a psychopath, but his hatred of Billy is unprovoked and his scheming is without any motive of personal advantage in an ordinary sense. What it all seems to amount to for Forster and Britten is firstly a parable of some cosmic evil aroused by innocence - the insignificant Claggart is given an Iago-like monologue of enormous and generalised portentousness as well as that sinister introduction from the orchestra. The drama then advances to a near-Faustian level in which the captain seems to stand outside himself and see eternal forces at work, with himself as a pawn in their strategy rather than just a human buck-passer of an all-too-familiar type. It all ends with Billy blessing the captain like the seaman in the original report, and there is an epilogue in which the captain, near the end of his life, reflects on the salvation this blessing brought him.

It must be the easiest, or at least the quickest, transition to salvation in all serious drama. A few hours and that was all done and dusted. I can't really imagine that many spectators or listeners will identify with a theme like this, but there is no mistaking the strength of the response it evokes from Britten. Add Forster to that, and maybe to some extent Melville himself, and it is time to suspend scepticism and realise that we are being given a glimpse of a very special, even elite, vision of how deity, or fate or whatever, operates. Most of us probably do not see things this way, but most of us are not Forster or Britten or Melville. As for authenticity in performance, that is self-defined here.

The foregoing is one man's interpretation of what this strange and elusive drama might be saying. We can be sure of one thing at least - whatever it all really signifies we are hearing it here. The cast are excellent - this work is a team job, not an opera with star solos, although Billy's final song (in rhyming verse and as truly an aria as anything by Britten's beloved Verdi) is done to what seems to me to be perfection by Peter Glossop. The LSO and the Ambrosian Singers do not let anyone down either, and the 1968 recording still sounds well. Such is the composer's sheer technical skill that it was only after the work had finished that I realised that this whole music-drama contains not one note for a female voice. You may understand the work differently, but you will be hard put to it to experience the power of it more than I have done, whatever it all may mean or imply.

A Great Performance By the Composer.......2001-12-08

I recently saw a terrific performance of Billy Budd and the sheer excitement of the opera led me to seek out a copy. I read reviews of the available records and came to choose this one. The reason was the dramatic tension that the composer brings to this recording. The sets by Kent Nagano and Richard Hickox are also excellent but I was won over by the fact that this is Benjamin Britten's last word on his opera.

The only disadvantage would be that this is a remastered and not a digital recording but the sound is certainly clear and the casting is superb. Peter Glossop is a perfect Billy Budd and brings out the goodness of his character wonderfully. Michael Langdon is a menacing John Claggart and Sir Peter Pears is an able Captain Vere. The entire cast sing their roles with great ability and I think no one would be disappointed in owning this set.