Farwell To Salzburg

On this CD:

1. Myrthen, 26 songs for voice & piano, Op. 25 No 3, Der Nussbaum
Composed by Robert Schumann
Performed by Christa Ludwig, Charles Spencer

2. Songs (5) for voice & piano, Op. 40 No 1, Märzveilchen
Composed by Robert Schumann
Performed by Christa Ludwig, Charles Spencer

3. Myrthen, 26 songs for voice & piano, Op. 25 No 15, Aus den hebräishchen Gesängen
Composed by Robert Schumann
Performed by Christa Ludwig, Charles Spencer

4. Songs (12) from Rückert's Liebesfrühling, for voice & piano (Nos. 2,4, & 11 composed by Clara Schumann), Op. 37 No 1, Der Himmel hat eine Träne geweint
Composed by Robert Schumann
Performed by Christa Ludwig, Charles Spencer

5. Liederkreis, 12 songs for voice & piano, Op. 39 No 4, Die Stille
Composed by Robert Schumann
Performed by Christa Ludwig, Charles Spencer

6. Liederkreis, 12 songs for voice & piano, Op. 39 No 5, Mondnacht
Composed by Robert Schumann
Performed by Christa Ludwig, Charles Spencer

7. Lieder aus Des Knaben Wunderhorn, 12 songs for voice & piano (or orchestra) Rheinlegendchen
Composed by Gustav Mahler
Performed by Christa Ludwig, Charles Spencer

8. Lieder aus Des Knaben Wunderhorn, 12 songs for voice & piano (or orchestra) Das irdische Leben
Composed by Gustav Mahler
Performed by Christa Ludwig, Charles Spencer

9. Rückert Lieder (5) for voice & piano (or orchestra) Ich bin der Welt abhanden gekommen
Composed by Gustav Mahler
Performed by Christa Ludwig, Charles Spencer

10. Rückert Lieder (5) for voice & piano (or orchestra) Um Mitternacht
Composed by Gustav Mahler
Performed by Christa Ludwig, Charles Spencer

11. Songs (8) for voice & piano, Op. 59 Dein blaues Auge
Composed by Johannes Brahms
Performed by Christa Ludwig, Charles Spencer

12. An eine Äolsharfe ("Angelehnt an die Epheuwand"), song for voice & piano, Op. 19/5
Composed by Johannes Brahms
Performed by Christa Ludwig, Charles Spencer

13. Romances and songs (5) for voice(s) & piano, Op. 84
Composed by Johannes Brahms
Performed by Christa Ludwig, Charles Spencer

14. Work(s) Mädchenlied (Op unspecified)
Composed by Johannes Brahms
Performed by Christa Ludwig, Charles Spencer

15. Der Schmied ("Ich hör meinen Schatz"), song for voice & piano, Op. 19/4
Composed by Johannes Brahms
Performed by Christa Ludwig, Charles Spencer

16. Songs (5) for voice & piano, Op. 106 No 1, Ständchen
Composed by Johannes Brahms
Performed by Christa Ludwig, Charles Spencer

17. Romances and songs (5) for voice(s) & piano, Op. 84 Vergebliches Ständchen
Composed by Johannes Brahms
Performed by Christa Ludwig, Charles Spencer

18. Gefunden ("Ich ging im Walde so für mich hin"), song for voice & piano, Op. 56/1 No 1, Gefunden,
Composed by Richard Strauss
Performed by Christa Ludwig, Charles Spencer

19. Begegnung ("Die Treppe hinunter gesprungen"), song for voice & piano, AV 72
Composed by Richard Strauss
Performed by Christa Ludwig, Charles Spencer

20. Du meines Herzens Krönelein, song for voice & piano, Op. 21/2 No 2, Du meines Herzens Krönelein
Composed by Richard Strauss
Performed by Christa Ludwig, Charles Spencer

21. Die Nacht ("Aus dem Walde tritt die Nacht"), song for voice & piano, Op. 10/3 No 3, Nacht
Composed by Richard Strauss
Performed by Christa Ludwig, Charles Spencer

22. Ruhe, meine Seele ("Nicht ein Lüftchen regt sich leise"), song for voice & piano (or orchestra), Op. 27/1 No 1, Ruhe, meine Seele
Composed by Richard Strauss
Performed by Christa Ludwig, Charles Spencer

23. Morgen ("Und morgen wird die Sonne wieder scheinen"), song for voice & piano (or orchestra), Op. 27/4 No 4, Morgen!
Composed by Richard Strauss
Performed by Christa Ludwig, Charles Spencer

Farwell To Salzburg, Music, Johannes Brahms, Gustav Mahler, Robert Schumann, Richard Strauss, Charles Spencer, Classical, Classical Music, Miscellaneous, Miscellaneous Music, More than Two Solo Voices (w or w/o Keyboard or Continuo), Romantic Music for Voice and Keyboard, Song Collection for Solo Voice and Piano, Song Collection for Solo Voice with Piano or Orchestra, Song Cycle for Solo Voice and Piano, Vocal

Song Yet to Be Sung
Average customer rating:

30-something's, open your minds and ears!

Not Bad, But what the Hell Happened?

Not at all like Jane's Addiction but awesome anyways!

A really good attempt at re-definition

Best Album Ever!!!

Song Yet to Be Sung
Perry Farrell
Manufacturer: Virgin Records Us
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music
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Rev

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Ultra Payloaded

ASIN: B00005KB4W
Release Date: 2001-07-31

Tracks:

Happy Birthday Jubilee
Song Yet To Be Sung
Did You Forget
Shekina
Our Song
Say Something
Seeds
King Z
To Me
Nua Nua
Admit I
Happy Birthday Jubilee (Reprise)

Amazon.com

Perry Farrell has always been an unconventional figure in music. His band Jane's Addiction fused punk and metal aggression with tripped-out Eastern melodies, becoming influential predecessors to future legions of modern alternative rockers. As the mastermind behind the huge left-of-the-dial Lollapalooza festival, he brought together some of the coolest names in rock, rap, metal, and punk for groundbreaking arena shows across the country. Never one to sit still, Farrell continues to test out new avenues for his creative musical energy, and nowhere is this more clear than on Song Yet to Be Sung. This album is Farrell's first full-length step into the electronic world he's inhabited for years as a DJ. He's fallen in love with the idea that two turntables can unite different cultures and take them to a higher place, and Song is a celebration of that spiritual elevation from the everyday. It's also a celebration of the Hebrew Jubilee, a time of renewal in which all burdensome ties are released in the name of community forgiveness. Musically, Song swirls different styles--downtempo, drum & bass, techno, dub, world, and a little rock--around a softer version of Farrell's signature wail. It's an upbeat mix that swells with optimism while generating a deep musical groove. Overall, Song shows Farrell as a musical Midas who continues to turn each new project he embarks on into gold. --Jennifer Maerz

Customer Reviews:

30-something's, open your minds and ears!.......2005-07-23

This album confirms it for me. Farrell is a genius.

I've heard people say they didn't like this album. It was too different. Too unexpected. They wanted it to sound more like Jane's. Those old fogey's might think back to their early 20's and the first time they heard Jane's.

If they were like me, they may not have gotten it at first. Nothing Shocking? I didn't "get it" for months. The second Pornos for Pyros album--the same. Rev--what was up with those first few songs?

Now I get them and they're my 3 fave albums.

I just hope that thrity-somethings like me will have a plastic enough mind to keep up with Farrell and can come to accept something new.

Gunnar

Not Bad, But what the Hell Happened?.......2005-06-30

If you are wondering that this album may be the continuation of Porno for Pyros and Jane's addiction, than you're dead wrong. Perry Farrell comes out with a experimental sound. Something that Moby and Beck would create. This album is not flop, But I would prefer sampling it before you buy it. I heard that Perry Farrell is coming out with a new band at lollapalooza called Sattelite Party, and I believe they sound similair to this. I also heard that a new Porno for Pyros album might be released. But I don't know when.

Not at all like Jane's Addiction but awesome anyways!.......2004-10-15

I think the reason many people considered Perry's solo recording a failure is because most of those people are hard-core Jane's Addiction fans. This isn't at all like Jane's, it more of a electronica/dance/jewish genre but it great!!

A really good attempt at re-definition.......2004-08-05

First of all, I think Perry Farrell is one those flaky artists that can't be relied on to follow anything through, mainly because he's constantly jumping from one thing to another , rather than concentrating on what he's best at. He ditched Jane's Addiction just as they were hitting their peak, he lost interest in Porno for Pyros, his excursions into festivals and events never quite live up to his hype and his whole turn as a DJ isn't really taken seriously by fans of electronica. However, the man has a supremely melodic and beautiful voice and he can write great songs. When I first saw this album I was completely skeptical and hardly interested. However, I gave it a chance and on the strength of two tunes I decided to buy it. The album really grows on you. It's hard at first to wrap your head around the concept of one of rock's greatest warblers singing over sequencers, samples and drum machines, but, on closer inspection you can really pick out the guy's genius. While it won't satisfy techno fans (and some Jane's fans probably won't bother with it either), this album stands out as one of those anomalies that will be appreciated much more a few years down the line. Farrell encompasses everything into this understated but ambitious project. You hear drum n' bass, house, Middle Eastern instruments and melodies, dub, reggae, traces of rock and Farrell's usually bombastic voice. 'Happy Birthday Jubilee' is a great introduction to what the album seems to be about, basically Perry's re-introduction to his Jewish faith and roots. The reprise of the tune at the end of the album, all hectic energy and frenetic pacing, is even better. The album really kicks off with 'Did You Forget?' which starts off nicely with a thick, lonely sounding bass frequency and then kicks off into this manic drum n' bass piece accompanied by Perry howling like he used to back in the day. Surprisingly, there's a guitar in it, which will probably piss off purists, but, it works. The album maintains its quality from there on, running through 5 great songs in a row. 'Shekina' shines with all the things that make Perry's open-minded adventurousness great. There's a hint of an Arabic melody in there and the track soars with all these high pitched squeals that are both Perry's voice and the many instruments on the track. When Perry goes into 'Our Song' you can see that he's not really riding the wave of electronic music that was being hyped at the time, but rather, putting his own stamp on a music that he found innovative and fresh. 'Say Something' is probably the prettiest track on the album. Farrell sounds almost sweet while singing about 'someone meeting someone', and the accomapnying music is the mellowest on the album. 'Seeds' is a trippy, slight number with a house beat and an entrancing piano riff that gives the song a circular feeling of rebirth (haha, I don't know HOW I came up with THAT one. Damn, I sure can be pretentious sometimes, especially when trying to write like a 'real' rock critic haha.) The most infectious track is 'To Me' the semi-dub reggae like song that really can't be called reggae cuz it's not like any form of it that you've ever heard before. There's a backward steel drum loop and the piano carries the choppy riff where a guitar usually would be, but the bass line is the real connection to the Caribbean (I could see a rasta scratching his head at this though). 'King Z' is much the same, but more aggressive, it's bassline being almost Moog-like funky, and a killer harmonica that I haven't heard Perry use since the first Jane's album. There are a couple of bum tracks that I didn't really care for ('Song Yet To Be Sung' even though the tribal drums in it sound cool and 'Nua-Nua'). All in all, though, it's quite a unique offering and a display of Perry's talents. I found the one guy's comparison of this album to Madonna's 'Ray Of Light' album to be quite accurate. It's an odd diversion from his usual stuff, but it was a great attempt at trying something a little different. The album is a celebration of Perry's positive view of life. It really should be checked out again, but divorce yourself from your preconceptions and view it as a piece unto itself. Don't connect it to his past nor with what was happening at the time. The album has slipped by the wayside, but I think it will find its place in the musical pantheon one day. Unfortunately, the very thing that makes Perry great is also his greatest hindrance: his restlessness. If the guy just learned the value of patience and stuck to doing one thing amazingly, he'd be above and beyond his contemporaries. The way it seems now is that he gets bored too quickly and is already looking on to his next project before he gets the current one done. He's a victim of his own ambitions. Stop looking at the horizons Perry, and enjoy the warm glow of the sun in the here and now.

Best Album Ever!!!.......2004-02-25

I thought I had every piece of music (and video) this talented man had ever contributed to until I found out that this one had slipped by me. I haven't taken out of my CD player for months now & I am not sure I could really use words to give this album justice. It simply inspires the daylights out of me to dance, create art and be happy. It has a meditative & magical sound quality with Perry's melodies and an amazing singing guitar. "When I hear that song, does my heart good", what an understatement! Thank you Perry for this incredible album!!!

Average customer rating:

The Most Beautiful Recorded Tenor Voice?
Very, very truncated.
incomplete pleasure
Finally available on CD!

Babes in Toyland / The Red Mill
Victor Herbert , Kenny Baker , and Eileen Farrell
Manufacturer: Decca Broadway
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

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ASIN: B00006AWG2
Release Date: 2002-07-30

Tracks:

Opening - From Babes in Toyland (Herbert & MacDonough) with Kenny Baker and Karen Kemple
Toyland
Floretta
Never Mind Bo-Peep, We Will Find Your Sheep
March of the Toys
I Can't Do the Sum
Go To Sleep, Slumber Deep
Song of the Poet
The Military Ball
Hail to Christmas
Finale: He Won't Be Happy Till He Gets It and March of the Toys
When You're Pretty and the World Is Fair - From The Red Mill (Blossom & Herbert) with Wilbur Evans, Eileen Farrell, and Felix Knight
Moonbeams
In the Isle of Our Dreams
Because You're You
Every Day is Ladies' Day With me
The Streets of New York

Customer Reviews:

The Most Beautiful Recorded Tenor Voice?.......2005-06-22

Is any recorded, tenor, singing voice as lovely as Kenny Baker's? As a child, I often heard him during the 1930s on the Jack Benny show, but have scarcely thought of him since. Amazon.com offers him on four CDs: BABES IN TOYLAND, LOVE WALKED IN, THE STARLIT HOUR and WEILL FROM BERLIN TO BROADWAY. Over the years, I have heard the recorded voices of many tenors, mostly operatic. Their fine voices were excellently trained, often to a wider range and more difficult music. But note for note, their sound as recorded is not I think as sheerly beautiful as Kenny Baker's. A splendid, unspoiled, unstrained, natural gift, put to disciplined and tasteful use! His enunciation is remarkably clear, and his musical line, perfectly smooth. He makes each song a different story, as in the six pieces here from BABES IN TOYLAND.

My claim is easy to test. This website has CDs with excerpts for listening to the best tenors of the 20th century, including Enrico Caruso, John McCormack, Giovanni Martinelli, Beniamino Gigli, Tito Schipa, Richard Tauber, Richard Crooks, Jussi Bjoerling, Morton Downey, Mario Lanza, Giuseppe di Stefano, Nicolai Gedda, Jan Peerce, Leopold Simoneau, Fritz Wunderlich, Luciano Pavarotti, Placido Domingo and Jose Carreras. Of course, the earlier the career, the greater the damage to the recorded voice from primitive technology. Heard live, who knows which voice was most beautiful? But at least we have what earlier centuries could only imagine: lasting copies of live performances. Listen to Kenny Baker's voice on tracks 2 and 8 of BABES IN TOYLAND, and then compare.

The numbers from THE RED MILL will make you want to hear more. This operetta, also composed by Victor Herbert, was first produced in 1906, three years after BABES IN TOYLAND. "Moonbeams" (well sung by Eileen Farrell) is lovely; "Because You're You" (a duet between Farrell and Felix Knight) is quite simple but surprisingly affecting. The last two are the best: "Every Day Is Ladies' Day with Me," and "In Old New York." They are patter songs, perhaps inspired by, and surely as deft, as the ones that Gilbert and Sullivan were writing two decades earlier. Both are sung by Wilbur Evans, in a rich baritone, with perfect enunciation and marvelous comic flair. Great fun!

The selections on this CD were recorded in 1944 and 1945, then released in 1946 on both 78s and 10" LPs. For this CD, they were remastered from wartime lacquered-glass originals. Baker and Evans emerge in radiant form, surely much closer to live sound than reached our family radio via AM transmission 65 years ago. The orchestral and choral sound is less attractive. Poorly miked?

Very, very truncated........2002-12-09

The scores of Victor Herbert's "Babes in Toyland" and "The Red Mill" are lovely classics, but the incomplete scores represented by this Decca Broadway remastering of its antiquated 78s are not the best reprentation. My advice: wait for the John McGlinn "Babes in Toyland" to be released. As for "The Red Mill", you'd do better to pick up the Ohio Light Opera's double-CD from Albany Records.

incomplete pleasure.......2002-11-09

Two terrible mistakes keep this from 5 stars.. BABES IN TOYLAND is not complete as they are missing the delightful IN THE TOYMAKER'S WORKSHOP. Why? In THE RED MILL they use a butchered take of EVERY DAY IS LADIES DAY WITH ME. Again, why?
John McGlinn will be out with a complete BABES soon - and there is a lot of music in it - so you may want to wait.

Finally available on CD!.......2002-08-01

Decca's 1946 album of selections from Victor Herbert's celebrated musical was a welcome addition to record libraries, covering most of the major songs plus some of the delightful dance music. The album was reissued as a ten-inch Lp in 1949. A later reissue in 1957 dropped 4 songs to fit the score on one side of a twelve-inch Lp backed by six selections from Herbert's THE RED MILL. That pairing is reproduced here but the CD contains the complete BABES IN TOYLAND program! It's nice to have it back too! Nice of Decca to give us this early Christmas present this year. But BABES IN TOYLAND is a score that enchants all year round. How strange that no other complete recording exists.

Tracks:

Hildegard of Bingen: O virga ac diadema
Palestrina: Sitivit anima mea
Byrd: Justorum animae
Isaac: Sanctus
Josquin: Ave Christe
Dufay: Alma Redmptoris Mater
Byrd: Rejoice, rejoice
(chant): Kyrie eleison
Palestrina: Surge illuminare
(chant): Sanctus
Tallis: In ieiunio et fletu
Palestrina: Hodie Christus Natus Est
Byrd: Sing joyfully
Farrant: Lord, for thy tender mercy's sake
Hildegard of Bingen: Ave generosa
Byrd: Miserere mei, Deus
(anonymous): Rejoice in the Lord alway - Anonymous
(chant): Ave Verum Corpus
(chant): Agnus Dei
Lotti: Crucifixus
Ingegneri: Tenebrae factae sunt
Palestrina: Ascendo ad Patrem
Weelkes: Hosanna to the Son of David
Weelkes: Alleluia, I heard a voice

Customer Reviews:

The best early choral music recording I've heard!.......1999-07-25

This is a stunning recording, including well-known and not-so-well-known works.

I Gotta Right to Sing the Blues: The Eileen Farrell Album

Average customer rating:

This Is My Theme Song
The best female singer of the 20th century
Absolutely Stunning. A Must-Have!
Indispensable. A knockout!

I Gotta Right to Sing the Blues: The Eileen Farrell Album
Eileen Farrell
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000027JG
Release Date: 1991-07-26

Tracks:

Blues in the Night
Wrap Your Troubles in Dreams (And Dream Your Troubles Away)
Dreamy
Looking for a Boy
Supper Time
On the Sunny Side of the Street
I Got It Bad (And That Ain't Good)
Ten Cents a Dance
Somebody Loves Me
September Song
I'm Old Fashioned
Solitaire (The Game of Love)
To Be in Love
My Funny Valentine
Ev'ry Time
Foggy Day
Second Time Around
Taking a Chance on Love
Glad to Be Unhappy
He Was Too Good to Me
Old Devil Moon
Fly Me to the Moon
Man I Love
I Gotta Right to Sing the Blues

Customer Reviews:

This Is My Theme Song.......2007-01-04

When "I Gotta Right To Sing the Blues" first came out, I was already a fan. Farrell's career in radio and opera was flourishing, and this album was just right for a fledgling singer, myself. Many years and miles later I discovered that most of my precious LP collection had been lost along the way. Imagine my joy to discover Amazon's CDs. Now I can play Eileen whenever I wish - singing with her, of course. I never became a hit songstress, but my soul is very happy to have her voice in my world again. I am saving up to complete my collection of her torch songs, ballads and opera.

The best female singer of the 20th century.......2003-01-12

Forget Barbra. Forget Celine. Eileen Farrell puts them both in the shade. Her tone is gorgeous, her rhythms are spot-on, her diction is crisp, her interpretations are sly, sexy, enticing. As other reviews here have mentioned, Farrell was also a world-class opera singer who brought her enormous artistry to the American popular song. Rudolf Bing, then the general director of the Metropolitan Opera, looked down on her pop singing, but that didn't stop her. She sang well into her sixties (maybe beyond...I'm not sure), with the same style and grace you hear in these recordings. Eileen Farrell died recently, so we won't hear the likes of this voice again. Treasure this one.

Absolutely Stunning. A Must-Have!.......2003-01-10

Any fan of the late dramatic soprano's operatic artistry should also have this album to demonstrate how equally adept she was in the realm of classic pop music. You will flabbergast your friends by switching from, say, Verdi's "Ernani, Involami" to "Sunny Side of the Street" (both recorded in 1959), because there is no way someone not in-the-know can tell they are the same artist. On this album she simply sounds like a incredibly versatile big-band singer, not an opera singer who is slumming out her repertoire....

Indispensable. A knockout!.......2002-05-02

The first time you hear this CD, you'll probably be most struck by the first track - a beautiful, heartbreaking, even overwhelming rendition of "Blues in the Night" - as glorious a celebration of female pop vocal prowess as has ever been recorded by anyone, anywhere. But as you continue to listen to and live with "The Eileen Farrell Album", you'll discover that that "Blues in the Night" is merely the first among equals in what is actually an entire (generous) CD's worth of dynamite covers that function almost as reinventions of a treasury of pop and jazz standards: Basically, every track is a showstopper.
P>The care that all these artists took to make every moment count is evident throughout the album: Nothing is taken for granted; every song has been rethought, and many are given distinctive interpretations that make the often thrice-familiar numbers seem fresh and even new. Never have you heard "My Funny Valentine" (here done with unique bluesy embellishment) or "The Man I Love" (sung fast, with a bongo accompaniment) done as they are here. But nothing sounds forced or arbitrary; nearly every choice, from the most conventional to the most daring, works.

On almost any other album, any one of these performances (in superbly engineered sound, by the way) would be the high point. Here, the embarrassment of riches is such that you'll find it difficult, in the end, to choose a favorite. My preference? Probably the scintillating, uptempo version of Jerome Kern and Johnny Mercer's "I'm Old Fashioned" - the recording, by the way, used in the opening credits of the gay-mobster comedy "Friends and Family".

Tracks:

Overture - Orchestra
The ABC Song - Chorus
I Wanna Be Rich - Littlechap, Girls
Typically English - Evie, Littlechap, Girls
Lumbered - Littlechap
Susan's Birth/Lumbered (Reprise) - Chorus, Littlechap, Evie
Welcom To Sludgepool - Chorus
Gonna Build A Mountain - Littlechap, Girls
Jane's Birth - Chorus
Moscow Music/Glorious Russia - Orchestra, Anya, Chorus
Meilinka Meilchick - Littlechap, Anya, Girls
Family Fugue - Littlechap, Evie, Susan
Typische Deutsche - Ilse, Chorus
Family Fugue (Reprise)/Nag, Nag, Nag - Littlechap, Evie, Susie, Jane, Chorus
Typische Deutsche (Reprise)/Nag, Nag, Nag (Reprise) - Ilse, Littlechap, Evie, Susan, Jane, Chorus
Entr'acte - Orchestra
New York Music/All American Music - Orchestra, Ginnie
Once In A Lifetime - Littlechap, Girl
Mumbo Jumbo - Littlechap, Chorus
Once In A Lifetime (Reprise) - Littlechap, Chorus
Welcome To Sunvale - Littlechap
Someone Nice Like You - Evie, Littlechap
What Kind Of Fool Am I? - Littlechap, Chorus
March Out Music - Orchestra

Customer Reviews:

Really terrific.......2003-12-14

Clearly I'm in the minority here, but I really like this recording. Mike Holoway and Louise Gold don't equal the brilliant and authoritative performances of Newley and Quayle, but they do very, very well.

I'm puzzled by the hostility that the performances of Holoway and Gold have provoked from most of the other reviewers. And I would think that some of the Newley lovers would be pleased that that the people at JAY think highly enough of this score to have produced a complete recording of it, even if they didn't love the result. Instead, they seem affronted by the idea that anyone would dare produce a recording with someone other than Newley as Littlechap.

Holoway has a more pleasing voice than Newley, and his acting of the songs satisfied me completely. Obviously, Newley had an authority in these songs that no one else will ever have. But Holoway is excellent.

And I think that Gold is often as funny as Quayle. There are definitely places where Quayle is absolutely matchless, brilliant and beyond comparison. But Gold is very good.

This recording is well-conducted, the orchestra plays terrifically, the orchestrations sound fabulous, and the supporting cast is fine. And it contains the entire score.

I've heard almost all of the releases in the JAY Masterworks series, and I think this is one of the best. Some of the other reviewers seemed to have been upset that neither of the recordings featuring Newley and Quayle were available while this one was. Well, it seems strange to blame this recording for that. The people at JAY weren't keeping the other ones from being released.

In any case, the Broadway recording with Newley and Quayle is again available. I'm glad to have both.

Lacks magic.......2000-02-12

Newley was the magic. At the Broadway performance we saw in '63 and in the Album with Anna Quayle there was fresh energy and not a false moment. It's not entirely fair to compare but in comparison, this is stale and leaden...like the movie made of Stop The World (without Newley).

What else we might have written was already said exactly as we would have said it by Jeff Dunn in his review.

We gave three stars because it is still Newley and Bricusse and so it is still marvelous invention and worth a '...quick butcher's hook....'

NOT THE ORIGINAL VERSION, BUT BETTER THAN NOTHING.......2000-02-04

IF ANYONE IS LOOKING FOR THE ORIGINAL BWAY RECORDING ON CD,PLEASE CONTACT ME AND I WILL MAKE A COPY FOR YOU. YOU CAN REACH ME AT brubin@bigplanet.com

Not the Original Broadway Cast (as suggested by headline).......2000-01-29

Sorry to say that this release does not measure up to the 10/12/1988 Polydor 820 261 distributed by UNI and now out of print. I must heartily agree with Mr. Dunn (above). Bring back the Original Broadway cast!

BRING BACK THE ORIGINAL BROADWAY CAST ALBUM.......2000-01-13

To start off with, I am an avid Anthony Newly fan and was really sadden by his death. I did get to see the original Broadway show. Unfortunatly, this new version does not match the original. Newlys way of putting over a song is missed. The songs seem to be sung much slower so the performers can sing the songs. It was Newlys show and when you listen to the original cast album, you can tell the difference. Lets hope they will reissue the origianl cast album again. It is an important Broadway musical and should be back on cd for the people who did not get a chance to get it when it was available. I'm glad I was one of the lucky ones. Did we really need another recording of Stop The World? I don't think so.

Average customer rating:

Exciting performance
A no - brainer
Great Fun
Beautiful music, but too much narrative.

Classics for Children
Martin Hoherman , Leo Litwin , Nigel Coxe , Samuel Lipman , Eileen Farrell , Eubie Blake , Benjamin Britten , George Gershwin , Charles Gounod , Percy Grainger , Edvard Grieg , Richard Hayman , Frank Loesser , Camille Saint-Saens , Boston Pops Orchestra , and Arthur Fiedler
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Classics for Children
Stars & Stripes
Classics for Kids
Classical Music for Children: A Toddler's Introduction to Classical Music

ASIN: B000003FVT
Release Date: 1995-07-18

Tracks:

Carnival Of The Animals: Introduction and Royal March of the Lion
Carnival Of The Animals: Hens and Cocks
Carnival Of The Animals: Wild Jackasses
Carnival Of The Animals: Tortoises
Carnival Of The Animals: The Elephant
Carnival Of The Animals: Kangaroos
Carnival Of The Animals: Aquarium
Carnival Of The Animals: Personages with Long Ears
Carnival Of The Animals: The Cuckoo in the Depth of the Forest
Carnival Of The Animals: Aviary
Carnival Of The Animals: Pianists
Carnival Of The Animals: Fossils
Carnival Of The Animals: The Swan
Carnival Of The Animals: Finale
The Young Person's Guide To The Orchestra, Op. 34: Theme: Full orchestra
The Young Person's Guide To The Orchestra, Op. 34: Woodwinds Theme
The Young Person's Guide To The Orchestra, Op. 34: Brass Theme
The Young Person's Guide To The Orchestra, Op. 34: Strings Theme
The Young Person's Guide To The Orchestra, Op. 34: Percussion Theme
The Young Person's Guide To The Orchestra, Op. 34: Full orchestra Theme
The Young Person's Guide To The Orchestra, Op. 34: Variation I: Flute, Piccolo (Presto)
The Young Person's Guide To The Orchestra, Op. 34: Variation II: Oboes (Lento)
The Young Person's Guide To The Orchestra, Op. 34: Variation III: Clarinets (Moderato)
The Young Person's Guide To The Orchestra, Op. 34: Variation IV: Bassons (Allegro alla marcia)
The Young Person's Guide To The Orchestra, Op. 34: Variation V: Violins (Brillante - alla polacca)
The Young Person's Guide To The Orchestra, Op. 34: Variation VI: Violas (Meno mosso)
The Young Person's Guide To The Orchestra, Op. 34: Variation VII: Cellos
The Young Person's Guide To The Orchestra, Op. 34: Variation VIII: Doublebasses (Comminicando lento, ma poco accel.)
The Young Person's Guide To The Orchestra, Op. 34: Variation IX: Harp (Maestoso)
The Young Person's Guide To The Orchestra, Op. 34: Variation X: Horns (L'istesso tempo)
The Young Person's Guide To The Orchestra, Op. 34: Variation XI: Trumpets (Vivace)
The Young Person's Guide To The Orchestra, Op. 34: Variation XII: Trombones, Tuba (Allegre pomposo)
The Young Person's Guide To The Orchestra, Op. 34: Variation XIII: Percussion (Moderato)
The Young Person's Guide To The Orchestra, Op. 34: Fugue: Full orchestra (Allegro molto)
Peer Gynt: Suite No. 1, Op. 46: Morning
Peer Gynt: Suite No. 1, Op. 46: Ase's Death
Peer Gynt: Suite No. 1, Op. 46: Anitra's Dance
Peer Gynt: Suite No. 1, Op. 46: In the Hall of the Mountain King
Peer Gynt: Suite No. 2, Op. 55: Solveijg's Song
Funeral March of a Marionette
Hans Christian Anderson -- Medley
Kid Stuff

Customer Reviews:

Exciting performance.......2007-04-16

This was one of my favorite record albums when I was young. It was a pleasure to introduce to my grandchildren. MOST important is the narrative that starts each track. Many of the other versions do NOT include this. They were my most favorite memories, and the children still resond to them today.

A no - brainer.......2002-04-16

Simply, the best. The best performances, the best sound, the best narration. The best. 'Nuff said.

Great Fun.......2001-11-22

The other reviewer is off base. If you don't want narration get a recording without it. With narration or not, Saint-Saens chose his animals and gave his musical interpretation of their appearance. Children can enjoy the verses although Hugh Downs does not have as much fun with them as some narrators. This is a great CD if you want to develop a child's interest in classical music.

Beautiful music, but too much narrative........2000-09-03

This "unwashed" recording has the exhilarating tonality of a live performance which many modern digitals lack. Saint-Saen's "Carnival of the Animals" was my 4-year-old's favourite, followed by Grieg's "In the Hall of the Mountain King" and Gounod's "Funeral March of a Marionette".

Odgen Nash's verses, written to accompany Saint-Saen's work are too clever for young children, who will miss out on the word-play and puns. Also, they tend to interpret the experience too much, which interferes with their imaginations. If a child prefers to make-belief in dragons, for example, as opposed to lions, then there is all of Hugh Down's recitations to sit through and ignore first, since the tracks do not separate the narrative from the music.

Tracks:

Alceste, Act 1: Divinities Du Styx
Oberon, Act II: Ozean, Du Ungerheuer
Ernani, Act I: Recit: Sorta e la notte
La Gioconda, Act IV: Suicidio
Jeanne d'Arc, Act I: Adieu, forets!
Herodiade, Act I: Celui Dont La Parole...
L'Enfant Prodigue: L'annee en vain...
The Consul, Act II: To this we've come
Song Recital: Summertime-From Porgy & Bess
Song Recital: Where is dis road a-leadin' me to?
Song Recital: There shall be more joy
Song Recital: Hickory Hill
Song Recital: Sing to me, sing, Op. 28
Song Recital: Through the years
Song Recital: To the Children, Op. 26, No.7
Song Recital: A Dream, Op. 48, No. 6
Song Recital: Down by the Sally Gardens
Song Recital: Danny Boy

Customer Reviews:

A document.......2005-02-13

What a joy! A shining example of great singing. This is dramatic singing at its finest. The voice is a phenomenon - I only wish I heard her live in the opera house. A voice of breadth, power and beauty, like a doric column - even from top to bottom, a true soprano dramitica agilita. (This is a woman that sang Bach cantata arias constantly as a member of the famous Bach Aria Group as well as the great dramatic parts).

I feel there are several definitive interpretations here, 'Ozean der Ungerheur' - the cantilena and coloratura are mind boggling for a voice of this size - Nilsson cannot even compare in this regard. Also the Menotti aria, what drama, what sound, what DICTION!

This recording is a document against which every serious, professional singer should test their 'mettle'. The collaboration with Thomas Schippers is very fine.

A magnificent artist.......2005-01-10

Eileen Farrell sings amazingly on this CD. She is superb in the opera arias; I especially like her in "Suicidio!", "Adieu, forêts!", Il est doux, il est bon", and "L'année en vain-Azaël! pourquoi mas-tu quittée". In the "La Gioconda", she sings with much passion and pours out glorious torrents of sound. Her singing of the phrase "un dì leggiadre volavan l'ore" is exquisite. She shows remarkable delicacy in the French opera arias, as well as her huge sound during the climaxes. I really am not as impressed with her "Ozean, du Ungeheuer". She doesn't do it for me in this aria the way Birgit Nilsson does. Also, the engineers scale back the sound during the cabaletta. This lessens the impact of Farrell's immense voice, which is really an incredible instrument. I love her singing of the aria from "The Consul", "To this we've come". She displays extraordinary emotion and fire in this aria, all the while singing in very clear English.

In the English-language songs, she sings with emotional warmth, sincerity, and great restraint. Her voice displays a timeless beauty in the song "Down by the Sally Gardens". Her rendition of "Danny Boy" is heartfelt and very touching. Her English diction is exemplary, every word clearly enunciated with care and clarity.

One thing I admire tremendously about Eileen Farrell is her seemingly natural way with any type of music she sings. She always adapts her voice to the demands of the piece. Also, her sincerity and utter guilelessness is very refreshing to hear. She never fakes emotions, overemotes, or wallows in her own sound. Listen up, Renée Fleming!

Farrell demonstrates on this CD why she is such a legendary singer.

Stunning vocalism.......2004-02-26

This recital is a great tribute to a sadly underrated singer. Some of the less familiar items are stunningly sung (e.g. the Debussy and Massenet arias), but the highlight for me is the "Suicidio." This just might be the best recording of this area ever (with nods to Ponselle, Callas, Tebaldi, et al). I think it blows the sox off the competition, much the same way the "In questa reggia" from the Puccini album does. Hopefully, Columbia will see fit to reissue the Puccini someday.

After they revived me...........2003-08-26

Nevermind the technical merit and attention to detail that a review should have, this is purely and simply a rave review. Nothing more, nothing less. I love opera, am hard to please, and generally don't like albums of arias, preferring the complete works to the fancy bits. But, God in heaven, what a voice. I've listened to it twice in the first day, and I can still hardly believe it's true. Don't wait. For heaven's sake, buy the thing NOW! THIS MINUTE! MOVE! Now I'm going to lie down to recover... Thank you.

One of the most impressive dramatic sopranos i've heard.......2001-06-20

I heard this recording many years ago (the operatic arias only), and it was high time for it to be reissued. Farrell is one of the most impressive dramatic sopranos i've ever heard. It's also probably her best recording, in full command of (majestic) voice and style.

Average customer rating:

This SACD is very good
Interesting and good music

Celtic Spectacular
Erich Kunzel , and Cincinnati Pops
Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

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The Overlook (Harry Bosch)

ASIN: B00006771B
Release Date: 2002-04-30

Customer Reviews:

This SACD is very good.......2007-07-20

All of the music this SACD is very good. I like very much of the celtic music.

Interesting and good music.......2007-01-26

A good music ,good sonics.
I particularly enjoyed some traks such as No. 4 in which James Galway plays but also no. 6 and 9 and the others.

Average customer rating:

A difficult listen...
The Best Kept Secret

Sings Alec Wilder

Manufacturer: Reference Recordings
ProductGroup: Music
Binding: Audio CD

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It's Over
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Sings Torch Songs

ASIN: B00000158E
Release Date: 1993-03-22

Tracks:

It's A Fine Day For Walkin' Country Style
It's So Peaceful In The Country
Moon And Sand
Blackberry Winter
If Someday Comes Ever Again
Be A Child
Where Do You Go?
Lovers And Losers
The Lady Sings The Blues
The Worm Has Turned
Where's That Heartache?
'S Gonna Be A Cold, Cold Day
Who Can I Turn To?
I'll Be Around

Customer Reviews:

A difficult listen..........2003-09-25

What she recorded in the 60s is fantastic, and she's undoubtedly the one opera singer who crossed over into pop successfully, but her pitch problems are abundant here, and it makes this, and in fact, the entire Reference Recordings issues a difficult listen.

The Best Kept Secret.......2000-04-26

Alec Wilder is one of America's most unknown compser-lyricists. He is also one of the best. Even people in the know are only aware of "While We're Young", "I'll Be Around", and "It's So Peaceful in the Country". For years, I thought he only wrote ballads. This album, along with the sets by Marlene Ver Planck, Vic Juris, Marion McPartland, and Jackie and Roy Kral have opened my ears to the beauty and complex magic of Wilder's work. Loonis McGlohon is close to the tastiest accompanist in the business today and he keeps Ms. Farrell swinging. Anyone intersted in the finest American music needs to check out this set.

Average customer rating:

A beautiful collection

It's Over

Manufacturer: Reference Recordings
ProductGroup: Music
Binding: Audio CD

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This Time It's Love

ASIN: B00000158Y
Release Date: 1993-12-17

Tracks:

I Get The Blues When It Rains
How About Me?
I'm Through With Love
I'll Remember April
Easy To Remember
Whenever A Soft Rain Falls
Where Do You Start?
Gone With The Wind
The Shining Sea
I'm So Lost
Lush Life
By Myself

Customer Reviews:

A beautiful collection.......2000-12-13

Eileen Farrell was unfamiliar to me before I bought this recording, but since then I have become a dedicated fan. That an opera singer should be able to perform popular songs so convincingly is a wonder in itself, but Miss Farrell's very special style deserves more praise than that. She brings out the inherent mood of each song without a trace of artifice, exploring the emotions in the lyric to the full. Songs like "Where Do You Start", "Gone With The Wind" and "The Shining Sea" have never sounded so sincere and heartbreaking. Robert Farnon's warm strings are a superb foil for Miss Farrell's interpretations. This album may be difficult to obtain, but make the effort if you relish fine songs sung by a master interpreter.

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