Leech

Editorial Reviews
Album Description
Second single from the Green Day-ish California punk trio'sself-titled debut album. It's backed with a previouslyunreleased non-album track, 'Open Road Song' (Acoustic).Slipcase sleeve. 1998 RCA Records release.

Leech, Music, Eve 6, 5"CD Singles
Berlioz: La Marseillaise - Love Scene from Roméo & Juliet - The Damnation of Faust, Three Excerpts, etc... / McNair, Leech, Zinman
Average customer rating: 3 out of 5 stars
  • La Marseillaise
  • All This Music Is Better Served Elsewhere
  • The production of a music genius
  • Wake up music
  • A middle of the pack offering--nothing magic, nothing tragic
 Berlioz: La Marseillaise - Love Scene from Roméo & Juliet - The Damnation of Faust, Three Excerpts, etc... / McNair, Leech, Zinman
Hector Berlioz , Baltimore Symphony Orchestra & Chorus , Sylvia McNair , Richard Leech , and David Zinman
Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

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  1. Berlioz: Roméo et Juliette; Le Troyens à Carthage
  2. Brahms, Tchaikovsky: Violin Concertos [Hybrid SACD]
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  4. The Good Shepherd (Widescreen Edition)
  5. The Departed (Two-Disc Special Edition)

ASIN: B000003CUS
Release Date: 1990-10-25

Tracks:

  1. Benvenuto Cellini: Overture
  2. Love Scene
  3. Minuet Of The Will-O'-The-Wisps
  4. Dance Of The Sylphs
  5. Rakoczy March
  6. Le Corsaire Overture
  7. Les Troyens: Trojan March
  8. Royal Hunt & Storm
  9. La Marseillaise

Customer Reviews:

2 out of 5 stars La Marseillaise.......2007-07-17

This is a rather boring performance of the Berlioz version of La Marseillaise with poor recording quality. I ended up giving this CD to GoodWill. For the Hector Berlioz version of La Marseillaise, I would recommend the performance by the Chicago Symphony under the direction of Daniel Barenboim. If you are looking for a rousing performance of La Marseillaise (not the Berlioz version), look for the performance by Mireille Mathieu, which you can find on the web.

2 out of 5 stars All This Music Is Better Served Elsewhere.......2006-05-04

On paper at least, this seems like an attractive sampler. And it is, as far as the music is concerned. These bits and pieces are some of the most inspired music from Berlioz's long masterworks for voices and orchestra such as Damnation de Faust, Romeo et Juliette, Les Troyens, and Benvenuto Cellini. In sterling performances, they're really enlivening music. Here, for a variety of reasons, they don't make the impact they usually do. First of all, Zinman, whom I usually admire, doesn't seem to warm up to the music. Maybe it's not his cup of tea--more of a Beethoven-and-contemporary music man, based on the stuff I've heard that he does really well. Also, as recorded here, the Baltimore Symphony doesn't seem to have the heft for Berlioz's dazzling orchestral display. Next to, say, the Montreal Symphony, which has done a lot of this music very successfully on disc, the Baltimore is lacking.

Then, as I suggest, a large part of the problem is the recording. Telarc's legendary recording technique don't seem to translate well to the Meyerhoff Hall, at least not in this recording; there's even some distortion in thickly scored passages. Argo/Decca got the measure of the hall better in their later and far more successful recordings from Baltimore.

So I say, shop around. You'll do far better with Dutoit, Davis, Nagano, Plasson, Nelson, et al.

5 out of 5 stars The production of a music genius.......2005-08-06

Really really terrific!
I prefer to do not say more... terrific!

4 out of 5 stars Wake up music.......2001-03-18

This is a good CD but not a great one. Mr. Zinman gives a decent rendition of some of the French "classics" and the Baltimore symphony is up to the task. In the defense of Mr. Zinman one must recognize that there is probably no real good way to play Berlioz. But the real value of this CD is to introduce one to Berlioz who still today does not rate as high as one would like; not to mention its status of "only one opus composer" that the Symphonie Fantastique seems to give him sometimes. The inclusion of Berlioz transcription of the Marseillaise is a curious touch. Berlioz tried to dignify what was after all a soldiers motivational anthem to go and kill into a more respectable piece suitable for a serious country. Nice try. However it is still an interesting and hyperactive piece and if we must listen to it on occasion we might as well do it here. In sum, here we have a nice mix that can be played as background music when we need to be energized.

3 out of 5 stars A middle of the pack offering--nothing magic, nothing tragic.......2001-02-17

If you've heard Toscanini's snappy Rakozcy March, then the lumbering version on this disc will just leave you frustrated. The Marseillaise here is pretty turgid, too. Not much else leaves even that much of a lasting impression. Okay if you can get it budget-priced.
Strauss - Der Rosenkavalier / Te Kanawa, von Otter, Hendricks, Rydl, Leech, Grundheber, Haitink
Average customer rating: 4.5 out of 5 stars
  • Everything is right, but nothing sticks
  • An Elegant if Subdued Rosenkavalier
  • Almost there
  • oh so close!
  • A Classic Recording
 Strauss - Der Rosenkavalier / Te Kanawa, von Otter, Hendricks, Rydl, Leech, Grundheber, Haitink
Richard Strauss , Bernard Haitink , Kiri Te Kanawa , Anne Sofie von Otter , Barbara Hendricks , Kurt Rydl , Richard Leech , and Franz Grundheber
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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  5. Richard Strauss - Der Rosenkavalier / Solti, Te Kanawa, Bonney, Howells, Haugland, Covent Garden

ASIN: B000002RS8
Release Date: 1991-10-11

Tracks:

  1. Der Rosenkavalier: Einleitung - Introduction
  2. Der Rosenkavalier: Wie du warst! Wie du bist! (Octavian) (Marschallin)
  3. Der Rosenkavalier: Du bist mein Bub, du bist mein Schatz! (Marschallin) (Octavian)
  4. Der Rosenkavalier: Der Feldmarschall sitz im crovatischen Wald (Octavian) (Marschallin)
  5. Der Rosenkavalier: Quinquin, es ist ein Besuch (Marschallin) (Baron) (Octavian)
  6. Der Rosenkavalier: Selbstverstandlich empfangt mich Ihro Gnaden (Baron) (Marschallin)
  7. Der Rosenkavalier: Hat sie schon einmal mit einem Kavalier (Baron) (Marschallin) (Octavian)
  8. Der Rosenkavalier: Macht das einen lahmen Esel aus mir? (Baron) (Marschallin) (Baron) (Octavian)
  9. Der Rosenkavalier: Geben mir Euer Gnaden den Grasaff' da (Marschallin) (Baron) (Octavian)
  10. Der Rosenkavalier: Wollen Euer Gnaden leicht den Jungen Herren da ((Marschallin) (Baron) (Octavian)
  11. Der Rosenkavalier: I komm' glei'!...Drei arme, adelige Waisen (Marschallin)
  12. Der Rosenkavalier: Die swarze Seitung! (Marschallin)
  13. Der Rosenkavalier: Di rigori armato il seno
  14. Der Rosenkavalier: Als Morgengabe ganz separatim jedoch (Baron)
  15. Der Rosenkavalier: Ma si caro e'l mio tormento (Baron)
  16. Der Rosenkavalier: Mein lieber Hippolyte (Marschallin) (Baron)
  17. Der Rosenkavalier: Da geht er hin, der aufgeblasene schlechte Kerl (Marschallin)
  18. Der Rosenkavalier: Ach! du bist weider da? (Octavian) (Marschallin)
  19. Der Rosenkavalier: Die Zeit, die ist ein sonderbar' Ding (Marschallin)
  20. Der Rosenkavalier: Mein Schoner Schatz (Octavian) (Marschallin)
  21. Der Rosenkavalier: Ich werd' jetzt in die Kirchen geh'n (Marschallin)
  22. Der Rosenkavalier: Wie Sie befiehlt, Bichette! (Octavian) (Marschallin)
  23. Der Rosenkavalier: Es ist gut. Geht nur weider (Marschallin)

Tracks:

  1. Der Rosenkavalier: Einleitung/Introduction
  2. Der Rosenkavalier: Ein ernster Tag, ein grosser Tag (Faninal)
  3. Der Rosenkavalier: In dieser feierlichen Stunde der Prufung (Sophie)
  4. Der Rosenkavalier: Mir ist die Ehre widerfahren (Octavian) (Sophie)
  5. Der Rosenkavalier: Ick kenn' Ihn schon recht wohl (Sophie) (Octavian)
  6. Der Rosenkavalier: Jetz aber kommt mein Herr Zukunftiger (Sophie) (Faninal) (Baron) (Octavian)
  7. Der Rosenkavalier: Brav, Faninal, Er weiss, was sich gehort (Baron) (Octavian) (Sophie) (Faninal)
  8. Der Rosenkavalier: Wird kommen uber Nacht (Baron) (Octavian) (Faninal)
  9. Der Rosenkavalier: Hab' nichts dawider (Baron) (Octavian) (Sophie)
  10. Der Rosenkavalier: Was Sie ist...Mit Ihren Augen voll Tranen (Octavian) (Sophie)
  11. Der Rosenkavalier: Herr Baron von Lerchenau!
  12. Der Rosenkavalier: Eh bien, Mamsel, was hat Sie mir zu sagen? (Baron) (Sophie) (Octavian)
  13. Der Rosenkavalier: Ich hoff', Er kommt vielmehr (Baron) (Octavian) (Sophie)
  14. Der Rosenkavalier: Mord! Mord! Mein Blut! Zu Hilfe (Baron) (Sophie) (Octavian) (Faninal)
  15. Der Rosenkavalier: Er muss mich pardonieren (Octavian) (Faninal) (Sophie)
  16. Der Rosenkavalier: Sie heirat' ihn! (Faninal) (Sophie) (Octavian) (Baron)
  17. Der Rosenkavalier: Da lieg' ich! (Baron)
  18. Der Rosenkavalier: Ohne mich, ohne mich (Baron)
  19. Der Rosenkavalier: Herr Cavalier! Den morgigen Abend hatt'i frei (Baron)

Tracks:

  1. Der Rosenkavalier: Einleitung & Pantomime/Introduction & Pantomime
  2. Der Rosenkavalier: Hab'n Euer Gnaden noch weitre Befehle? (Baron)
  3. Der Rosenkavalier: Nein, nein, nein, nein! I trink' kein Wein (Octavian) (Baron)
  4. Der Rosenkavalier: Ach, lass' Sie schon einmal das fade Wort! (Baron) (Octavian)
  5. Der Rosenkavalier: Die schone Musi! (Octavian) (Baron)
  6. Der Rosenkavalier: Es ist ja eh als eins (Octavian) (Baron)
  7. Der Rosenkavalier: Wie die Stund' hingeht (Octavian) (Baron)
  8. Der Rosenkavalier: Er ist es! Es ist mein Mann! (Baron) (Octavian)
  9. Der Rosenkavalier: Halt! Keiner ruhrt sich! (Octavian) (Baron)
  10. Der Rosenkavalier: Zur Stelle. Was wird von mir gewunscht? (Faninal) (Baron) (Sophie)
  11. Der Rosenkavalier: Sind desto eher im Klaren! (Baron) (Octavian)
  12. Der Rosenkavalier: Muss jetzt partout zu ihr! (Baron) (Octavian) (Marschallin) (Sophie)
  13. Der Rosenkavalier: Bin von so viel Finesse charmeirt (Baron) (Marschallin) (Sophie)
  14. Der Rosenkavalier: Leupold, wir gangen! (Baron)
  15. Der Rosenkavalier: Mein Gott! Es war nicht mehr als eine Farce (Sophie) (Octavian) (Marschallin)
  16. Der Rosenkavalier: Hat Sie kein freundlich Wort fur mich? (Octavian) (Sophie)
  17. Der Rosenkavalier: Heut' oder morgen oder den ubernachsten Tag (Octavian) (Marschallin) (Sophie)
  18. Der Rosenkavalier: Marie Theres'!...Hab' mir's gelobt (Octavian) (Marschallin) (Sophie)
  19. Der Rosenkavalier: Ist ein Traum...Spur' nur dich (Sophie) (Octavian) (Faninal) (Marschallin)
  20. Der Rosenkavalier: Ist ein Traum...Spur' nur dich (Sophie) (Octavian)

Customer Reviews:

3 out of 5 stars Everything is right, but nothing sticks.......2005-09-18

This all-star recording was EMI's bid to modernize their classic Rosenkavalier from the Fifties with Karajan and Schwarzkopf, and all three female leads are experts in their parts. Haitink, too, is quite good at Strauss tone poems. But he is a variable opera conductor, and here his bland side comes out. This whole reading seems too careful, and Dame Kiri, not exactly a passoinate soul, lends a further air of polite correctness. None of the characters seem to feel their situaiton very deeply, so we don't, either. We keep skatig over the plished surface, and in the end prettiness can't save the day.

5 out of 5 stars An Elegant if Subdued Rosenkavalier.......2005-02-15

Recorded in 1990 when Dame Kiri Te Kanawa, Anne Sofie von Otter, and Barbara Hendricks were at the peak of their careers, this gorgeous performance of Strauss' penultimate opera is lovingly conducted by Bernard Haitink and the Staatskpelle Dresden. While few sopranos will ever match the particular beauty and sensitivity of Elizabeth Schwarzkopf as the Marschallin (with Christa Ludwig and Teresa Stich Randall - that recording remains the pinnacle of Rosenkavaliers), te Kanawa is in fine voice and interpretation here. The singing on the whole is wonderful and the monologue, duets and trios are particularly fine. The boorishly boring Baron Ochs is rather flat in the hands of Kurt Rydl, but few singers can bring this odd character to life.

While nearly everything about this recording is lovely, what is lacking is that Viennese propulsion to drive the opera written as long series of waltzes into a realm of breathless passion under the baton of Haitink. Perhaps it is the orchestra or the engineering that holds it back, but the opera just never takes off into flight the way it should. It still remains one of the better complete recordings available. Grady Harp, February 2005

4 out of 5 stars Almost there.......2004-03-17

I was looking so forward to listening to this recording. I am a big fan of Kiri and couldn't wait to hear her interpretation of Marschallin. She does it wish such ease and grace. Von Otter is an outstanding Octavian. She portrays the character so well and playfully. The only major pit and flaw in this recording is Hendricks. I have no hassles with Hendricks' voice. I have a few recordings of her, but her voice is suited to more light roles and jazzy works. Can't she rather do more Gershwin or even Previn. In this recording she is so flat and the most beautiful parts are totally ruined. Her voice is so nice and creamy, but she scoops far too much for a Sophie. If they had to choose a Barbara, why not Bonney. The rest of the recording is lovely. The male roles are fantastic, and Te Kanawa and Von Otter are first class. If you want a A class recording, go for the EMI Schwartzkopf version.

4 out of 5 stars oh so close!.......2003-02-11

This recording is so heavenly - I just adore Von Otter in this, among her most musical performances (and of course her musicality is always of the highest caliber), and Te Kanawa is as glorious as ever (albeit a bit on the light side in this recording). The Staatskapelle Dresden is so inspired and varied in its coloration throughout this performance.

BUT, the one point of contention I hold in this recording is the unfortunate inclusion of Barbara Hendricks. I am normally either way on her, but I'm afraid she has ruined one of the best scenes in all of opera with her very severely underpitch, squeezed singing. Her presentation of the rose singing is so flat on anything above the staff and incredibly tight, it hurts my ears to listen to it. Her performance is similar elsewhere in the performance, and she is often underbalanced compared to her fuller voiced colleagues. It really was an unfortunate choice.

Otherwise, if you can forgive her frequent pitch mishaps, I thoroughly enjoyed the recording as a whole.

5 out of 5 stars A Classic Recording.......2002-08-03

Since this recording was issued over ten years ago, it has been among the highly regarded recordings of Der Rosenkavalier. The casting is ideal. Kiri Te Kanawa as the Marschellin, Anne-Sophie von Otter as Octavian and Barbara Hendricks as Sophie. The voices of all three are beautifully suited to their roles, and they blend together so well in the third act trio. Richard Leech is perfect in the cameo role of the Tenor and Kurt Rydl makes a suitably boorish Baron Ochs. The orchestral playing and balance with the voices could not be better. Bernard Haitink does a fabulous job and the Staatskapelle perform with passion.

In short, this is a recording of Der Rosenkavalier that competes with the best. Lovers of this opera will not be disappointed.
Classics of the Silver Screen
Average customer rating: 5 out of 5 stars
  • Kunzel A Consistent Winner
 Classics of the Silver Screen

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

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ASIN: B000003CW7
Release Date: 1990-07-13

Tracks:

  1. Hot To Trot
  2. Ordinary People - Pachelbel
  3. The Witches Of Eastwick
  4. Eine kleine Nachtmusik Serenade In G Major, K.525: Amadeus & The Wiches Of Eastwick - Allegro
  5. Barry Lyndon
  6. My Geisha
  7. Somewhere In Time
  8. Moonstruck
  9. Raging Bull
  10. Who Framed Roger Rabbit? - Friska
  11. Driving Miss Daisy
  12. Elvira Madigan
  13. Diva
  14. Kramer Vs. Kramer
  15. Brief Encounter & More
  16. A Room With A View
  17. The Elephant Man & Platoon

Customer Reviews:

5 out of 5 stars Kunzel A Consistent Winner.......2007-07-12

I have yet to find anything that Kunzel does on CD that lacks imagination and quality. His renditions are excellent. Mastering quality is outstanding - leading to a most excellent product on just about any stereo system. I would have to say that "Kunzel" on the label is equal to the quality you would expect from RCA "Red Seal" products.
From the Heart: Italian Arias & Neapolitan Songs
Average customer rating: 5 out of 5 stars
  • A very good CD and a talented singer
  • Richard Leech Will Be One Of The Best In Operatic History!
  • Richard Leech - From the Heart - Italian Arias and Songs
  • Mr. Leech's voice is glorious - a most listenable tenor.
 From the Heart: Italian Arias & Neapolitan Songs

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

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ASIN: B000003D1Z
Release Date: 1996-09-24

Tracks:

  1. Recondita Armonia
  2. E Lucevan Le Stelle
  3. Una Furtiva Lagrima
  4. Addi, Fiorito Asil
  5. La Donna E Mobile
  6. Nessun Dorma!
  7. Lamento Di Federico
  8. Che Gelida Manina
  9. Aprile
  10. 'A Vucchella
  11. Torna A Surriento
  12. Senza Nischiuno
  13. 'O Sole Mio
  14. Non Ti Scordar Di Me
  15. La Serenata
  16. Mattinata

Customer Reviews:

4 out of 5 stars A very good CD and a talented singer.......2001-12-01

While I won't go as high as 5 stars for this one, I would put it right above 4 (at 4.2 or so if Amazon allowed me). Richard Leech has a nice, lyrical tenor sound that matches up well with the repertoire he selected for this CD. As a former student of voice, I must be frank in saying that he has somewhat of a wobble that creeps in occasionally (the other reviewers seemed to miss that); however, it doesn't detract from the overall performance or effect, and most people probably wouldn't even notice it.

Mr. Leech has an incredible top and is surely one of the rising stars of our time. He doesn't rise to the quality of Ben Heppner or Roberto Alagna, but he is light years ahead of Andrea Boccelli and the host of pseudo-singers that are now haunting the classical CD sections at most music stores. I would have given Leech 5 stars if he had corrected that wobble I referred to, but even with it, he is an excellent singer, and this CD would make a very nice addition to anyone's classical voice collection. I have a feeling we'll be hearing more from Mr. Leech in the future.

5 out of 5 stars Richard Leech Will Be One Of The Best In Operatic History!.......2000-10-09

The three tenors should not discount Richard Leech as an equal and it would be nice to see him added in as the newest fourth. I sang as a youngster with Richard Leech in Binghamton, New York's Tri-Cities Opera and never realized I would one day see him leading the tenor contingent in opera houses across the world! Mr.Leech sings with both conviction and sincerity, as was taught him by Tri-Cities Opera founders Carmen Savoca and Peyton Hibbitt, whom I'm sure to this day Leech gives due credit. His recording of "From the heart, Italian arias and Neapolitan Songs" is a top notch proof that he should be included with the other great tenors! Binghamton, New York and Tri-Cities Opera has produced some great performers, among them being baritone Jake Gardner and soprano Cynthia Clarey, both peers of Mr. Leech. I recommend that anyone in love with music and opera be sure to purchase one of Leech's recording and see what all the talk is about!

5 out of 5 stars Richard Leech - From the Heart - Italian Arias and Songs.......1999-12-11

Excellent Choice! I recall hearing Richard back in the early '80s live at the Hollywood Bowl. He was a local tenor favorite developing his career singing with clarity and passion. He sings directly from the heart, without question. Now he is a Metropolitan Opera favorite! This collection of songs shows the tremendous talent of Mr. Leech quite well. He has taken some of the most famous tenor repertoire and made it his own, singing with honesty, sincerity and genuine warmth which can often be left out in place of bravado. It is a powerful display and an excellent choice.

5 out of 5 stars Mr. Leech's voice is glorious - a most listenable tenor........1999-10-13

I first became aware of Richard Leech when his was the lead article in the Met's "Opera News" this past Spring. Mr. Leech credits his interest in singing to his boyhood idolation of Mario Lanza, whom he heard on his father's record player. Now, a renowned tenor himself, when not on the world's operatic stages, he presents concerts tracing Mr. Lanza's career, interprersed with pieces the great tenor recorded. Prior to attending such a concert last week at Carneige Hall, I purchased this CD from Amazon. Many of the selections were featured in the concert, with Skitch Henderson and the New York Pops. Skitch is now 80! Mr. Leech's voice is remarkable. No grimaces, screaming, or fancy affectations. Just wonderful music, wonderfully presented. The "Three Tenors" would do well to purchase this CD - you should also!
Order of the Leech
Average customer rating: 4.5 out of 5 stars
  • Crushing album
  • Glad they are still doing it
  • Napalm at It's BEST!
  • Beautiful piece of chaos.
  • Refreshingly Brutal
 Order of the Leech
Napalm Death
Manufacturer: Spitfire
ProductGroup: Music
Binding: Audio CD

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  1. Enemy of the Music Business
  2. Smear Campaign
  3. Fear Emptiness Despair
  4. Leaders Not Followers
  5. Leaders Not Followers, Pt. 2

ASIN: B00006YXGQ
Release Date: 2002-11-05

Tracks:

  1. Continuing War On Stupidity
  2. The Icing On The Hate
  3. Forced To Fear
  4. Narcoleptic
  5. Out Of Sight Out Of Mind
  6. To Lower Yourself (Blind Servitude)
  7. Lowest Common Denominator
  8. Forewarned Is Disarmed?
  9. Per Capita
  10. Farce And Fiction
  11. Blows To The Body
  12. The Great Capitulator

Album Description

Since 1982, the fathers of grindcore have pushed metal to new extremes, rejecting melody, subtlety and good taste to forge a brand of sonic assault almost frightening in its merciless brutality. This is their tenth studio release. Spitfire. 2002.

Customer Reviews:

5 out of 5 stars Crushing album.......2005-04-20

Fast paced, relentless, crushing album. More pent up energy than on Enemy of the Music Business, though the songs are maybe a little less memorable. Definitely another step in Napalm's progression since their recent rebirth. I had written them off but I love their recent discs.

5 out of 5 stars Glad they are still doing it.......2005-02-05

Its good to hear that the grindcore masters are still doing their thing. If you dont know, Napalm Death and Cannibal Corpse are the kings of the "cookie monster" bands. As much as i like Enemy of the Music Business, i think that this is my all time favorite. They are absolutley brutal on this ablum, and if you think, a few years back when they did the Diatribes recordings, people said they were about to "sell out and go soft". Well, if you stopped listening back then, come back into the fold, because they are back with a vengeance. Barney is a death metal legend in my opinion, and his voice brings terror into the hearts of many an Emo kid, and christian coalition memeber. So if you like brutal grindcore, go get this cd. these guys wont let you down.

5 out of 5 stars Napalm at It's BEST!.......2005-01-13

This album truly blew me away in all of my expectations! (Especially since 'Enemy of the Music Business' was not very good, considering how Napalm got better as their career went on.) All I can say is that this album was what they needed to get themselves back at the top of extreme metal. This is their heaviest album to date, so I can't wait to see what there next 1 early this year will bring! Without a doubt, 'Order of the Leech' will be tough for them to surpass!

5 out of 5 stars Beautiful piece of chaos. .......2004-08-26

The best thing about Napalm Death in my opinion is the fact that after humble beginnings 20+ years ago, this band is just now peaking. This album is a perfect follow-up to Enemy of the Music Business. If you like grinding, heavy guitars, insane drumming with off-beat tempos and blastbeats, this is your new favorite album. The vocals, like on Enemy, have continued to improve.

If you are a fan that (like many) has lost track of Napalm Death, this disc will certainly welcome you back to the fold.

5 out of 5 stars Refreshingly Brutal.......2004-07-16

This album is amazing! I lost interest in Napalm Death after Lee Dorian left. The band went terribly astray in the 90's. I recently happened upon their release prior to this, "Enemy of the Music Business." Though not thoroughly impressed, it intrigued me enough to check this one out as well--mostly because of the return of the hyperspeed grindcore drumming.

"Order of the Leech" has some awesome guitar hooks. Unlike "Enemy..", the guitar actually has bite. I immediately picked up on the Terrorizer similarity and was later surprised to see Jesse Pintado in the line-up. I never made this connection when listening to previous albums (apparently he's been with the band for 15 years now). His early British hardcore-esque riffs dominant on Terrorizer's "World Domination" album are once again present in this masterpiece. If Terrorizer were to release a second album, I would expect it to sound just like this.

Also of notable mention are the vocals--while not Dorian, they sound absolutely brutal, angry and with much conviction--and the drums CRUSH. The whirlwind grindcore holocaust is back!
Mahler: Symphony No. 8
Average customer rating: Not rated
    		Mahler: Symphony No. 8

    Manufacturer: Sony
    ProductGroup: Music
    Binding: Audio CD

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    ASIN: B0000026ZA
    Release Date: 1990-10-10
    Verdi - I Lombardi / Anderson, Leech, Pavarotti, Ramey; Levine
    Average customer rating: 4.5 out of 5 stars
    • Best studio recording of Lombardi.
    • A bel canto Lombardi
    • The best "I Lombardi alla prima crociata"
    • A terrific cast led by Levine in a memorable recording.
    • James Levine offers a new reading of I Lombardi
    		 Verdi - I Lombardi / Anderson, Leech, Pavarotti, Ramey; Levine
    Giuseppe Verdi , James Levine , Luciano Pavarotti , Samuel Ramey , Metropolitan Opera Orchestra and Chorus , June Anderson , Richard Leech , Antony Dean Griffey , Patricia Racette , Ildebrando D'Arcangelo , Jane Shaulis , and Yanni Yannissis
    Manufacturer: Decca
    ProductGroup: Music
    Binding: Audio CD

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    1. Verdi - Giovanna d'Arco (Joan of Arc)/ Caballé · Domingo · Milnes · LSO · Levine
    2. Il Corsaro
    3. Verdi: I Vespri Siciliani
    4. Verdi: Stiffelio
    5. Verdi: Attila

    ASIN: B0000042GP
    Release Date: 1997-09-16

    Tracks:

    1. Atto I La vendetta: Preludio - Oh nobile esempio!
    2. Atto I La vendetta: Qui nel luogo santo e pio (Pagano)
    3. Atto I La vendetta: T'assale un tremito! Padre, che fia? (Giselda)
    4. Atto I La vendetta: Or s'ascolti il voler cittadino!
    5. Atto I La vendetta: A te nell'ora infausta
    6. Atto I La vendetta: Sciagurata! Hai tu crduto (Pagano)
    7. Atto I La vendetta: Tutta tremante anco l'anima io sento
    8. Atto I La vendetta: Ave Maria (Giselda)
    9. Atto I La vendetta: Vieni! Gia pose Arvino
    10. Atto I La vendetta: Orror! Mostro d'averno orribile
    11. Atto I La vendetta: Parricidal (Arvino)
    12. Atto II L'uomo della caverna: E dunque vero?
    13. Atto II L'uomo della caverna: Oh madre mia, che fa colei? (Oronte)
    14. Atto II L'uomo della caverna: La mia letizia infondere (Oronte)
    15. Atto II L'uomo della caverna: Come poteva un angelo (Oronte)
    16. Atto II L'uomo della caverna: E ancor silenzio! (Eremita)
    17. Atto II L'uomo della caverna: Sei tu l'uom della caverna? (Arvino)
    18. Atto II L'uomo della caverna: La bella straniera (Coro di donne)
    19. Atto II L'uomo della caverna: Oh madre, dal cielo soccorri al mo pianto (Giselda)
    20. Atto II L'uomo della caverna: No! no! Giusta Causa non e d'lddio (Giselda)

    Tracks:

    1. Atto III La conversione: Gerusalem!... Gerusalem! (Pellegrini)
    2. Atto III La conversione: Dove sola m'inoltro? (Giselda)
    3. Atto III La conversione: Oh belle, a questa misera, tende lombarde (Giselda)
    4. Atto III La conversione: Che vid'io mai? (Arvino)
    5. Atto III La conversione: Preludio
    6. Atto III La conversione: Qui posa il fianco (Giselda)
    7. Atto III La conversione: Qual volutta trascorrere sento (Oronte)
    8. Atto IV II Santo Sepolcro: Componi, o cara vergine (Coro di spiriti celesti)
    9. Atto IV II Santo Sepolcro: In cielo benedetto (Oronte)
    10. Atto IV II Santo Sepolcro: Qual prodigio!... (Giselda)
    11. Atto IV II Santo Sepolcro: O Signore, dal tetto natio ci chiamasti (crociati e pellegrini)
    12. Atto IV II Santo Sepolcro: Al Siloe! al Siloe! (Giselda, Arvino, Eremita)
    13. Atto IV II Santo Sepolcro: Questa e mia tenda...(Arvino)
    14. Atto IV II Santo Sepolcro: Un breve istante (Pagano)
    15. Atto IV II Santo Sepolcro: Te Iodiamo, gran Dio di vittoria (Coro)

    Amazon.com

    I Lombardi, composed on the heels of the big hit Nabucco, has some earmarks of a sequel. Both operas tell a tale of sibling rivalry in the ruling class (sisters in Nabucco, brothers in Lombardi). Both are epic stories of religious-ethnic conflict in the Middle East (in this case, the First Crusade) in which Jerusalem is captured and the chorus plays a prominent role. There is even a chorus, "O Signore," that sounds like an imitation of "Va, pensiero." Like many sequels, it is not quite up to its predecessor, though it has some magnificent moments. James Levine has assembled a first-class cast, he conducts with the energy that this opera demands, and his chorus and orchestra are equal to all its challenges. --Joe McLellan

    Customer Reviews:

    5 out of 5 stars Best studio recording of Lombardi........2007-04-13

    Giuseppe Verdi's I Lombardi was a follow-up to the immense success of Nabucco; it explores similar themes, and musical forms, with a particular penchant for choral numbers. Though some are keen on finding the innovative qualities in all of Verdi's works, to this listener Lombardi remains mediocre, though it does offer more than one enjoyable number.

    To date two studio recordings tower above the relatively few other "live performances" available. The more recent Decca set under the baton of James Levine, is substantially better than the earlier Philips set led by Lamberto Gardelli.

    An opera like this one, which is lacking the musical brilliance of later Verdian works, depends on a crisp reading of the score bent on articulating all its indulgent elements which appealed to 19th century audiences and those of us who enjoy 19th century opera. Devoid of much subtlety, the music must be bombastic, and should milked for every operatic drop of bathos to be found. Gardelli's conducting often lacks clarity, allowing the music to drag, and failing to elicit rigorous playing from the orchestra. On the contrary, Levine tightens up tempos, speeds up the action, and creates a lush, full sound, without disturbing balances between the orchestra and the performers (as Gardelli does from time to time). A special note should be made of the truly fine playing of concert master Raymond Gniewek on the Decca set during the Act III Prelude.


    As far as the Giseldas are concerned, while Christina Deutekom's voice on the Philips set is agile, and pleasant, on the whole it is a bit small small and ultimately unremarkable. June Anderson offers a fine, focused, and vocally superior performance, though in exploring the beauty of her voice, she comes off as a bit cold. Moreover, there is a shrill quality to the timbre that some (not me) might find unpleasant.

    As Pagano, Ruggero Raimondi on the Philip's set seems surprisingly ill at ease. Though I generally enjoy his performances, here his voice sounds seems to be over-taxed and thin. His dramatic interpretation of this character--typical villain turned zealous repentant-- is generally understated. Samuel Ramey on the Decca set has also seen better days, and his voice sounds worn. Still, he manages to sing like a pro, and offers a very believable performance filled with evil-villain gnarl, and more than a fair share of a self-righteous preacher's histrionics.

    In the secondary tenor role of Arvino Richard Leech on the Decca set offers a very strong performance, with a clearer tone, and more virile sound that his counterpart on the Philips set, Jerome Lo Monaco. (Though the latter offers a competent performance).

    The role of Oronte was assumed in these sets, by the pre-eminent tenors of their era, Placido Domingo (Philips) and Luciano Pavarotti (Decca). Domingo was still in his thirties, and in the early part of his career; Pavarotti was at the end, and indeed this was his last studio operatic recording. Still, to this listener Pavarotti's performance is both dramatically more believable, and simply more enjoyable to the ear. Neither particularly excels in their two arias, though I found Domingo's interpretation at times plain ugly-- the diction sluggish, the tempo unbearably slow, the tone too heavy, and the top register quite strained. Pavarotti too shows some strain, though the honey-toned quality of the voice remains. He still sings transcending the tempo, and with deliciously crisp diction. Pavarotti's most important contributions occur during his duet with Anderson, and the wonderful trio with Anderson and Ramey. Here we are treated to truly spectacular singing (for a tenor of any age), garnished with a care for the text which prove that he was very capable of being an engaged performer. Domingo fares better in these pieces than in his arias, but he lacks the beauty of tone, and even the dramatic engagement one expects from him. He offers a very monochromatic, overbearing reading of the score. Though there were many other occasions on which Domingo was capable of winning points over his rival,this role goes to Pavarotti.

    If only the recording studio gods had conspired to make Pavarotti the Oronte on the Philips disc, this listener would be a lot happier. Indeed, the various "live" recordings of Pavarotti in the role in 1969 (with Scotto) is very, very good. Although the sound tends to be mediocre, any tenor-maniac without an aversion to Pavarotti, and anyone interested Scotto's typically excellent performance should find this recording and relish in what good singers can do to so-so music.

    4 out of 5 stars A bel canto Lombardi.......2005-03-13

    I had a wonderful time listening to DECCA's 1996 recording of I lombardi. Notwithstanding Levine's pedestrian conducting, this is that rarest of occurrences: a bel canto performance of a Verdi score, especially early Verdi.

    Pavarotti, well past 60, and Sam Ramey, 57, sing like angels as Oronte and Pagano. Each modulates his voice perfectly and turns phrases with a sustained grace and true feeling for Verdian expansion, without shouting.

    I purchased the set for June Anderson's Giselda. She sings here like a Marchesi pupil-getting no help from Levine-and achieves one of her best things on records. Her Act II prayer (Se vano è il pregare) is just about the best Verdi singing from a female of the post-1980 generation. (Not saying much, I know.) Richard Leech, with his crystal-clear voice, is also excellent as Arvino.

    How refreshing to hear Verdi's music performed as though it were music, not just barged through in that horrible Toscanini way. Levine tries to barge, allright, but Pavarotti's lordly legato and perfect portamento-phrasing just won't let him. (Too bad Richard Bonynge wasn't the conductor.)


    5 out of 5 stars The best "I Lombardi alla prima crociata".......2004-07-14

    Pavarotti was 61 when he did this recording, but he is lways very good, and the best tenor Verdi could have for this role. Anderson has some problems in some places of the opera, but she has a very beautiful voice and she is even very dramatic. Ramey sings very well and his voice is marvellous. Leech sings the role with an inusual strenght and with many passages to remeber.Levine conducts as only he can do, and I mean with energy and passion. The Gavazzeni set is very good too, but for a studio recording of the opera with an incredible beautiful sound go for it.

    5 out of 5 stars A terrific cast led by Levine in a memorable recording........2002-01-04

    This opera would not rank in the highest echelon of Verdi operas, but this cast, orchestra and conductor make the most of what they have been given. Ramey is magnificent, as usual. Pavarotti sounds slightly frayed around the edges, but more than justifies his somewhat misleading star-photo billing on the recording's cover. James Levine conducts with vigour, and the Met Orchestra responds in kind. At times, Levine does drive almost too hard -- this is particulary during a few of Ms. Anderson's moments, when you sense that her bel canto technique is not allowed to shine as much as it might. Nonetheless, I found her singing to be quite beautiful. A very different "Non fu sogno" than one provided by a Caballe, perhaps, but equally arresting. (More Anderson recordings, please!)

    4 out of 5 stars James Levine offers a new reading of I Lombardi.......2001-11-02

    I must admit and confess that this is a good recording of this not to much recorded opera, I Lombardi by Verdi. The recorded sound is of the best quality, the best modern digital sound for this opera. James Levine offers us a reading with drive, straightness and drama, which is his personal new achievement for this opera. But, altough I enjoyd the performance, such fast speed given to the performance does not permit a certain lyricism and elegance in Verdi's melodies,(as in the old and very good Lamberto Gardelli version in the Philips label), in such a way that we fell a certain superficiality in the whole work. The soloists are first rate: the aged Pavarotti is good, but not to expressive; June Anderson has beautifull color of voice, but could give much more of herself if the tempos were a little bit slower. However Samuel Ramey is the singer that seems not to be afected by the tempos Levine adopts, and sings with drama and deepness. Anyway, this is surely the best modern digital version of I Lombardi by Giuseppe Verdi.
    J. Strauss: Die Fledermaus / Te Kanawa, Gruberova, Previn [highlights]
    Average customer rating: Not rated
      		J. Strauss: Die Fledermaus / Te Kanawa, Gruberova, Previn [highlights]
      Johann Strauss II , André Previn , Kiri Te Kanawa , Edita Gruberova , Wiener Philharmoniker , Brigitte Fassbaender , Wolfgang Brendel , Richard Leech , Olaf Bär , and Tom Krause
      Manufacturer: Polygram Records
      ProductGroup: Music
      Binding: Audio CD

      Strauss Jr., JohannStrauss Jr., Johann | ( S ) | Featured Composers, A-Z | Classical | Styles | Music
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      ASIN: B000004172
      Release Date: 1993-12-14

      Tracks:

      1. Die Fledermaus - Highlights: Overture
      2. Die Fledermaus - Highlights: So muss allein ich bleiben
      3. Die Fledermaus - Highlights: Trinke, Liebchen, trinke schnell
      4. Die Fledermaus - Highlights: Mein Herr, was dachten Sie von mir
      5. Die Fledermaus - Highlights: Ich lade gern mir Gaste ein
      6. Die Fledermaus - Highlights: Mein Herr Marquis
      7. Die Fledermaus - Highlights: Dieser Anstand, so manierlich
      8. Die Fledermaus - Highlights: Klange der Heimat
      9. Die Fledermaus - Highlights: Im Feuerstrom der Reben
      10. Die Fledermaus - Highlights: Herr Chevalier, ich grusse sie!
      11. Die Fledermaus - Highlights: Polka: Unter Donner und Blitz op. 324
      12. Die Fledermaus - Highlights: Genug damit, genug
      13. Die Fledermaus - Highlights: Entr'acte
      14. Die Fledermaus - Highlights: Spiel' ich die Unschuld vom Lande
      15. Die Fledermaus - Highlights: O Fledermaus, o Fledermaus
      Strauss - Salome / Jessye Norman · Morris · Witt · Raffeiner · Leech · Staatskapelle Dresden · Ozawa
      Average customer rating: 4 out of 5 stars
      • A Salome For Fans Of Jessye Norman
      • Brunnhilde's trills
      • It shoots for the stars but lands in Jokanaan's pit.
      • Excellent opera, but not well cast
      • Good Salome, Bad Herod
      		 Strauss - Salome / Jessye Norman · Morris · Witt · Raffeiner · Leech · Staatskapelle Dresden · Ozawa
      Richard Strauss , Seiji Ozawa , Jessye Norman , and Walter Raffeiner, Richard Leech, James Morris Kerstin Witt
      Manufacturer: Polygram Records
      ProductGroup: Music
      Binding: Audio CD

      All Works by StraussAll Works by Strauss | Strauss, Richard | ( S ) | Featured Composers, A-Z | Classical | Styles | Music
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      Norman, JessyeNorman, Jessye | Divas | Opera & Vocal | Styles | Music
      ASIN: B00000413H
      Release Date: 1994-08-23

      Tracks:

      1. Salome: Scene One - Wie schon ist die prinzessin Salome heute nacht
      2. Salome: Scene One - Nach mir wird einer kommen
      3. Salome: Scene Two - Ich will nicht bleiben
      4. Salome: Scene Two - Siehe, der Herr ist gekommen
      5. Salome: Scene Two - Jauchze nicht, du land Palina
      6. Salome: Scene Two - Du wirst das fh tun
      7. Salome: Scene Three - Wo ist er, dessen secher jetzt voll ist?
      8. Salome: Scene Three - Er ist schrecklich
      9. Salome: Scene Three - Wer ist dies weib, das mich ansieht?
      10. Salome: Scene Three - Jochanaan! Ich bin verliebt in deinen leib
      11. Salome: Scene Three - Zurochter sodoms!
      12. Salome: Scene Three - Wird dir nicht bange, tochter der Herodias?
      13. Salome: Scene Three - Las mich deinen mund k Jochanaan!
      14. Salome: Scene Three - Du bist verflucht
      15. Salome: Scene Four - Wo ist Salome?
      16. Salome: Scene Four - Salome, komm, trink wein mit mir
      17. Salome: Scene Four - Siehe, die zeit ist gekommen
      18. Salome: Scene Four - Wahrhaftig, Herr, es w besser, ihn in unsre he zu geben!
      19. Salome: Scene Four - Siehe, der tag ist nahe
      20. Salome: Scene Four - Eine menge menschen wird sich gegen sie sammeln
      21. Salome: Scene Four - Tanz fh, Salome

      Tracks:

      1. Salome: Scene Four - Salomes Tanz der sieben schleier
      2. Salome: Scene Four - Ah! Herrlich! Wundervoll, wundervoll!
      3. Salome: Scene Four - Salome, ich beschwore dich
      4. Salome: Scene Four - Salome, bedenk, was du tun willst
      5. Salome: Scene Four - Man soll ihr geben, was sie verlangt
      6. Salome: Scene Four - Es ist kein Laut zu vernehmen
      7. Salome: Scene Four - Ah! Du wolltest mich nicht deien Mund kussen lassen
      8. Salome: Scene Four - Sie ist ein Ungeheuer, deine Tochter
      9. Salome: Scene Four - Ah! Ich habe deinen Mund gekubt, Jochanaan

      Customer Reviews:

      5 out of 5 stars A Salome For Fans Of Jessye Norman.......2005-10-12

      In order to appreciate this most rare recording of Strauss' Salome, one has to follow the career of dramatic soprano Jessye Norman and be a devoted fan. While I am myself not a hardcore fan I have enjoyed Jessye Norman in various roles - her Sieglende from Wagner's DieWalkure reigns supreme and is in the level of her worthy predecessor Leonye Rysanek, her Leonore from Fidelio is a revelation in music, and her Ariadne from Ariadne of Naxos is sensational. All these are his greatest roles but Jessye Norman was also a major recitalist (Brahms Lieder, Strauss' Four Last Songs) and exponent of Spirituals, Gospels, and 20th century music. Blessed with a superhuman and powerful voice, it must have been easy for her to take on the same roles that Birgit Nilsson sang - Isolde, Brunhilde- or the traditional Italian diva roles- Tosca, Norma, Turandot. But Jessye Norman was if anything, the anti-diva in comparison to Leontyne Price or Grace Bumbry. Jessye Norman LOVED to sing roles no one else would really sing.

      Her Salome on this recording is a perfect vehicle for her dramatic, dark voice. If you can get past the issue people have with interpreting Salome as a young girl with an equally youthful voice this is still a hair-raising and thrilling Salome. She is majestic and noble in the role, but wicked, very disturbed. Opposite her Salome is the spiritual and noble voice of James Morris' Jochanan. He is as great as ever on this recording. His German diction attests to his fine Wagner repertoire and he is every bit the tormented Prophet. Seiji Ozawa conducts the score as if it were Wagner- all drama and bombast. There is no reason why this Salome should not be added to your other Salomes. Other great Salomes include: Birgit Nilsson on the Solti recording, Hildegard Behrens on the Karajan recording, Inga Nielsen's most recent interpretation on recording and of course in WWII time the soprano considere to be the unbeatable Salome- Bjuba Wellitsch.

      5 out of 5 stars Brunnhilde's trills.......2003-09-23

      If you want to hear Brunnhilde's trills, Gwyneth Jones did it in her Ring recording.

      2 out of 5 stars It shoots for the stars but lands in Jokanaan's pit........2003-08-28

      I am a big fan of Richard Strauss's tone poems, and thus the opening bars of this recording thrilled me to bits because what I heard were the magical, authentically Straussian tones of the great Dresden Staatskapelle - the orchestra which has the most intimate associations with the composer himself. But thereafter the thrill gradually fades away. Simply having the premier Richard Strauss orchestra in a Strauss opera recording is no barometer of ultimate success when the conductor and most of the cast are not up to the task. It is wonderful to hear the magisterial voices of Ms Norman and Mr Morris in the important roles, but their efforts are seriously undermined by the poor casting in the smaller, but vital roles, and by the inappropriate direction of Ozawa. Instead of offering a superbly played music drama to rival great versions by Sinopoli and Solti, Ozawa treats this score as if it were a Tchaikovsky ballet (with a severed head instead, no doubt). The only outstanding part of this recording which overtakes its other rivals is in the passage where Salome holds up John's head. Here, the great Dresden Staatkapelle revealed the dance elements in the bars following this moment. No other CD version had revealed this insight to me before. A startling moment of orchestral playing.

      However, that is just about all. Ultimately, this is a recording which promised much on paper, but failed to deliver the goods. All fluff and no bite. However great Norman here is, she cannot do much to save this opera set when everything else is collapsing around her.

      4 out of 5 stars Excellent opera, but not well cast.......2003-07-13

      I own a few recordings of this opera. One I hate is the recording with Hildegard Berhens (though I respect her as an artist, and she is a vivid performer on stage, I find her not the most pleasing to listen to on record). One I thought was great (Caballe singing Salome). And a number that simply did nothing for me. This one, however, I loved. True, Jessye Norman doesn't sound like a young teenager (however, I doubt she ever did, even when she was one). Her voice is too grand in many ways, too majestic, too confident. Well, I guess anyone who has the ability to stand their ground against the offers of everything Herod says he will give her simply for a man's head must have some confidence. Her voice, though perhaps not "youthful" enough is not unpleasant at all. It sores, it overpowers, it gives full breath to the drama. Now that brings us to the reason I gave this recording only 4 stars. Her performance is everything one would expect, and maybe even more. It is the other singers who ruin the performance, and destroy the atmosphere. Most of the minor roles are well sung. Richard Leech is wonderful in his role, and his legato line is perfect. James Morris is also wonderful, and authoritive. In many ways he sounds more a Wotan than a prophet, but prophets are supposed to be close to God, so I guess that is fine. The draw backs are the singers who sing the parts of Herod, and Herodias. Walter Raffeiner disappoints. Yes, he is forceful, even ardent, but he doesn't sing a note of this opera. I actually had to take score in hand, go to the piano, to see if his "barking" was remotely on pitch. Odd thing, it was. There was simply no musicality to it at all. I am not sure if that is what Strauss was expecting, but for me it was not the most pleasant of performances to listen to, though it was in its way very engaging. Kerstin Witt, the Herodias, well, that is a different matter. She was shrill, strident, screechy, and weak. Salome's mother actually encourages the girl in her "misdeeds." Witt didn't sound old enough to be Jessye Norman's mother, or even baby sister. That is where we have some really bad casting happening. It seems to have happened in a lot of Norman's recording, example: Lohengin. The evil mezzo is so lightweight in sound, so shrill, there is no reason to fear her or her "evil character." To contrast Norman, one needs an extremely dark, "evil" sounding voice, one that commands, sounds adult, and with a most diabolical agenda. This lady sounds too little, too young, and more like a screaming infant than an evil hateful queen. Again her sound is not pretty, and it is not really sung. It would be nice to hear German opera, especially 20th century opera, and actually hear it sung. That horrible speak-singing that developed as a way of "making the words more noticeable" really ruins the musical aspect of the entire piece. It also makes the music sound strained. Salome is a very lirical score, in spite of its heavy orchestration. It is filled with melody. Screaming, and barking, do nothing to help a listener come to understand that truth. As for the conducting, Ozawa does breathe life into the work, and gives Salome's utterances depth. I am sure if the other singers were really singing, we would find a different depth of support to their words similar to what we find with Norman. The energy is there, the sensuousness of Salome's dance drips like rain. Yes, this recording is excellent, even considering those afore mentioned flaws. Personally, I think it is worth the money, even if you aren't a Jessye Norman fan. (and to the reviewer who asked when Norman would do Brunhilde, great question, she did record the Immolation scene, has sung Sieglinde, but never Brunhilde; I would love to see that; She can actually trill, so for once one would, maybe, hear those trills in the Walkure war cry that are never sung)

      3 out of 5 stars Good Salome, Bad Herod.......2002-08-12

      Yes, Norman produces gallons of wonderful, jaw-dropping, voluminous tone and her technique, range, and German language-familiarity are welcome also. She's the kind of listener who can command attention and one we want to listen to; nevertheless, it sounds more like Elektra than Salome to me. When is she going to undertake Brunnhilde, by the way?
      Ozawa's conducting is straightfoward with good attention to detail but somewhat neutral rhythmically.
      The cast is capable with the exception of the Herod (Walter Raffeiner) who speaks, moans, grunts, and shouts more than he does sing. If his voice were prettier, it might be more listenable, but it's ugly, strained, and imperfectly controlled. He, in fact, makes a singer like Gerhard Stoltz who is famous for sprechstimme and campy performances sound like vocal gold by comparison. (Stolz can be heard as Herod on Solti's set with Nilsson.) James Morris as Jokanaan and Richard Leech as Narraboth make vivid and pleasing additions to the cast, but the rest (Dresden regulars) are just adequate--they don't shame the performance, but they sure aren't world class either.
      The three star rating is mostly for Norman's contribution.
      Puccini - La Bohème / Te Kanawa, Leech, Titus, Gustafson, Nagano
      Average customer rating: 4 out of 5 stars
      • Lovely
      • ratings a matter of perspective
      • A refreshing alternative
      		 Puccini - La Bohème / Te Kanawa, Leech, Titus, Gustafson, Nagano
      Giacomo Puccini , Kent Nagano , Kiri Te Kanawa , Richard Leech , Alan Titus , Nancy Gustafson , Alan Ewing , Carlos Chausson , Barry Banks , Oliver Broome , Leslie Fyson , and Ambrosian Singers
      Manufacturer: Erato
      ProductGroup: Music
      Binding: Audio CD

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      ASIN: B000005E3M
      Release Date: 1995-10-03

      Tracks:

      1. La Boheme: 'Questo Mar Rosso'
      2. La Boheme: 'Gia dell Apocalisse'
      3. La Boheme: 'Legna! Sigari! Bordo!'
      4. La Boheme: 'Si puo? Chi e la?'
      5. La Boheme: 'Al Quartiere Latin'
      6. La Boheme: Non sono in vena'
      7. La Boheme: 'Oh! Sventata, sventata!'
      8. La Boheme: 'Che gelida manina'
      9. La Boheme: 'Si. Mi chiamano Mimi'
      10. La Boheme: 'O Soave fanciulla'
      11. La Boheme: 'Aranci, datteri! Caldi i marroni!'
      12. La Boheme: 'Due posti'
      13. La Boheme: 'Signorina Mimi, che dono raro'
      14. La Boheme: 'Ch'io beva del tossico'
      15. La Boheme: 'quando me'n vo soletta'
      16. La Boheme: 'Il conto?'

      Tracks:

      1. La Boheme: 'Ohe, la! Le gaurdie!'
      2. La Boheme: 'Mimi? - Speravo . . .'
      3. La Boheme: 'Marcello. Finalmente'
      4. La Boheme: 'Ebbene, no. Non lo son'
      5. La Boheme: 'E Musetta che ride'
      6. La Boheme: 'Dunque e proprio finita'
      7. La Boheme: 'Che facevi . . . Che dicevi . . .'
      8. La Boheme: 'In un coupe'
      9. La Boheme: 'O mimi, tu piu non torni'
      10. La Boheme: 'Che orsa sia?'
      11. La Boheme: 'C'e Mimi! c'e Mimi!'
      12. La Boheme: 'Ho tanto freddo'
      13. La Boheme: 'Vecchia zimarra, senti'
      14. La Boheme: 'Sono andati'
      15. La Boheme: 'Oh Dio! Mimi'
      16. La Boheme: 'Che ha detto il medico'

      Amazon.com

      This 1995 recording doesn't have an especially promising pedigree but confounds low expectations. Though Dame Kiri Te Kanawa often seems interpretively non-committal, the more mature version of her often thinks more about what she's singing now that the notes aren't so free. Thus, this is a dramatically credible Mimi while also having much of Te Kanawa's customary vocal luster. At the other end of the spectrum, Richard Leech is known for yelling but here is in gratifyingly restrained form. Kent Nagano is full of fresh responses to the music at every turn. The only thing that keeps this from being a standard setter are the secondary leads: Nancy Gustafson's Musetta sounds vocally worn while Alan Titus's Marcello is too vocally dark to be ideal. --David Patrick Stearns

      Customer Reviews:

      5 out of 5 stars Lovely.......2005-07-23

      I'm am very pleased with this purchase. The singing is very good, especially Te Kanawa and Leech. Te Kanawa sounds half her age and Leech sounds very Italian. As far as Nancy Gustafson as Musetta, there is a little bit of wear at the top of her voice but it is not distracting.

      4 out of 5 stars ratings a matter of perspective.......2001-05-09

      As a tenor, I found it refreshing to hear someone new. I found the booklet helpful. I just finished an opera gala where I had the opportunity to sing the 3rd act of La Boheme. This recording helped me to learn it and I felt that the quality of sound was great! I felt that all the voices were nicely done, with perhaps a few flaws. The drawback in the whole recording was that in spots of the music, it almost sounded like a faint male voice humming along with Kanawa. However, her voice was beautiful.

      3 out of 5 stars A refreshing alternative.......1999-11-19

      I found this recording to be a refreshing alternative to the plethora of Mirella Freni and/or Pavarotti versions. Yes, there are flaws, such as occasionally uneven performances from Rodolfo and Musetta, but Kiri Te Kanawa's Mimi more than made up for any weak spots, in my opinion. This isn't the definitive version, but for fans of Kiri Te Kanawa or La Boheme, it's well worth it.

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