Great Romantic Classics

On this CD:

1. Liebesträume, notturno for piano in A-flat major No. 3 (O Lieb, so lang du lieben kannst), S. 541/3 (LW A103/3)
Composed by Franz Liszt
Performed by Donatella Failoni

2. Scheherazade, symphonic suite for orchestra, Op. 35 The Young Prince and the Princess (Andantino quasi allegretto)
Composed by Nikolay Andreyevich Rimsky-Korsakov
Performed by Hungarian State Symphony Orchestra
Conducted by Janos Sandor

3. Violin Concerto No. 2 in E major, BWV 1042 2. Largo ma non tanto
Composed by Johann Sebastian Bach
Performed by Christian Altenburger, German Bach Soloists, Ernst Mayer-Schierning
Conducted by Helmut Winschermann

4. Symphony No. 3 in F major, Op. 90 3. Poco allegretto
Composed by Johannes Brahms
Performed by Berlin Symphony Orchestra
Conducted by Kurt Sanderling

5. Des Müllers Blumen ("Am Bach viel kleine Blumen steh'n"), song for voice & piano (Die schöne Müllerin), D. 795/9 (Op. 25/9)
Composed by Franz Schubert
Performed by Helmut Deutsch, Josef Protschka

6. Piano Concerto No. 2 in C minor, Op. 18 1. Moderato
Composed by Sergey Rachmaninov
Performed by Bulgarian Radio Symphony Orchestra with Ivan Drenikov
Conducted by Jean-Pierre Wallez

7. Tristan und Isolde, opera, WWV 90 Liebestod
Composed by Richard Wagner
Performed by Budapest Symphony Orchestra
Conducted by Gyorgy Lehel

8. Tosca, opera Vissi d'Arte
Composed by Giacomo Puccini
Performed by Hungarian State Opera Orchestra with Ilona Tokody
Conducted by Andras Mihaly

9. Romeo and Juliet, fantasy-overture for orchestra in B minor (3 versions)
Composed by Pyotr Il'yich Tchaikovsky
Performed by London Philharmonic Orchestra

Tracks:

Also Sprach Zarathustra (Sunrise) - R. Strauss
Mars (The Planets) - Holst
Overture 1812 - Tchaikovsky
Entry Of The Gladiadtors - Fucik
Sabre Dance - Khachaturian
Procession Of The Sardar - Ippolitov Ivanov
Night On Bald Mountain - Mussorgsky
Anvil Chor (II Trovatore) - Verdi
The Thunderer March - Sousa
Thunder & Lightening Polka - J. Strauss
Prelude To Act III : Lohengrin - Wagner
The Ride Of The Valkryies - Wagner
Montagues & Capulets (Romeo & Juliet Ballet Suite) - Prokofiev
The Storm: Symphony No. 6 In F Major, 'Pastorale' - Beethoven
Rondeau - Edward Carroll
Overture: Fireworks Music - Handel
March To The Scaffold: Symphonie Fantastique - Berlioz
LesToreadors - Bizet
William Tell Overture: Finale - Rossini
Revolutionary Study - Abbey Simon
Fanfare For The Common Man - Copland
Sym No. 1 'Titan' IV Sturmisch Bewegt (Excerpt) - Mahler
Augurs Of Spring From Rite Of Spring - Stravinsky
Russian Dance From Petrouchka - Stravinsky
The Great Gate At Kiev From Pictures At An Exhibition - Mussorgsky

Customer Reviews:

Good selection.......2005-10-02

I bought this CD to use in my classroom as listening examples. I'm not just a super big fan of some of the performances, but they are all good and for the price you can't beat it. That's why I gave it 5 stars. It's worth more than it costs by far.

thunderous applause.......2005-08-31

This is a who's-who of great pieces of music you have heard all of your life, and never knew the names and stories! I listened to it over and over in the car and had my own concert! A friend borrowed it to add music to his Home Movies and it was perfect!

Good Music at a Great Price.......2004-03-06

I bought this CD mostly for "Entry of the Gladiators," which everyone will recognize as classic circus music. The performance on this CD (by Erich Kunzel and the Cincinnati Pops) is the best available version of Entry of the Gladiators. The rest of the CD offers mostly excerpts of classical music.

You will like this!.......2004-02-19

I had purchased an abundance of the "Favorites" collection and some were better than others.

This CD is at the top of them all. They may be short, but not that short. Wondrous music.

I can almost guarantee that you will like this music.
Well worth the price!

Good for the novice.......2002-06-08

The recordings on this disc are pretty good. However, the editors selected only the *loud* parts, as indicated by the title. I was pretty disappointed to find that the pieces are, in many cases, edited to reflect the most famous themes, etc, instead of including the whole work. In general, I would recommend this to the classical music novice, or someone who wants to expand their knowledge of classical music in general. Those who already are familiar with these pieces will probably feel gypped.

Great Recordings Of The Century - Beethoven: Symphony no 9 / Furtwangler, Schwarzkopf

Average customer rating:

Forget the coughing this emotional reading is RAW!!!!
A Moving Performance of Beethoven's 9th
A word of caution for newcomers
Very passionate
The 9th to Own!!

Great Recordings Of The Century - Beethoven: Symphony no 9 / Furtwangler, Schwarzkopf

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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ASIN: B00000GCA7
Release Date: 1999-01-12

Tracks:

Symphony No. 9 In D Minor, Op. 125 'Choral': Allegro ma non troppo, un poco maestoso
Symphony No. 9 In D Minor, Op. 125 'Choral': Molto vivace
Symphony No. 9 In D Minor, Op. 125 'Choral': Adagio molto e cantabile - Andante moderato - Adagio
Symphony No. 9 In D Minor, Op. 125 'Choral': Presto - Allegro ma non troppo - Allegro Assai - Allegro assai vivace - alla marcia - Andante maestoso - Allegro - Allegro energico, sempre ben marcato - Allegro ma non tanto - Poco adagio - Prestissimo

Amazon.com essential recording

No single performance will ever tell us everything we need to know about a masterpiece like the Beethoven Ninth, but this one comes close. The inspired intensity of everyone involved--at the postwar reopening of the Bayreuth Festival in 1951--comes across very vividly in this new transfer. Just hear the way Furtwángler evokes the atmosphere of chaos coalescing into order at the opening of the first movement and you can tell a superior musical and spiritual consciousness is at work. Except for the poor first horn, whose bloopers are the main detriment, the orchestra, soloists, and chorus (recorded clearly but at a heavenly distance) all hold up their parts extremely well. The solo singers are particularly convincing. This is a very special recording, recognized as a classic when it was first issued and still indispensable. --Leslie Gerber

Customer Reviews:

Forget the coughing this emotional reading is RAW!!!!.......2007-06-05

That's right...you will be treated to a few momentos of respiratory ailments in the crowd, and if you can look past the sometimes flat and muddled mono mix of the recording, and I highly recommend that you do, then this recording will knock you off of your feet. I am a child of modern acoustic flair, being quite fond of the capabilities of SACD recordings, and at first the mono mix left me a bit cold. But within a matter of minutes that all faded into utter inconsequence as I became possessed by this transcendent reading of the ninth. There are a few flubs here and there and a few points during the third movement momentarily dispell the magic. BUT and I stress that explicitly...I have yet to hear a ninth with as much raw power and energy as this one. I've listened to some passages from more modern, polished versions of this symphony and despite their vastly superior sonics they completely pale in comparison to the visceral impact of this reading. You would be missing out on something quite special if you were to pass this one up in favor of better sonics. Trust me the mono makes no difference whatsoever...this reading is absolutely inspired.

A Moving Performance of Beethoven's 9th.......2007-03-10

This is an historically significant performance. The re-opening of the Bayreuther Festspiele in '51 was an occasion of great joy for music lovers in Germany, for whom the Festspiele was (and still is) a beloved annual event. My own grandmother was a regular attendee of that era, so having this recording is personally very meaningful to me. Certainly there is not a more appropriate piece of music for celebrations on a grand scale than Beethoven's 9th symphony. And that's exactly what this very exuberant performance is: it's a grand celebration. It is not without flaws though, notably the problem with the first horn mentioned by another reviewer. And of course, it's no SACD studio recording, it's mono and it's live, so there is noise. But this really doesn't matter: it's a tremendously moving performance that vividly captures the joy of the occasion. And also it's Furtwängler conducting, who many consider the foremost interpreter of Beethoven's symphonies in the modern era. So this CD is really a must-have for lovers of Beethoven's symphonies. This one along with the Furtwängler Performs Beethoven cycle put out by Magic & Arts.

A word of caution for newcomers.......2007-01-29

PLEASE NOTE: I am reviewing this recording as an *audiophile* and as someone immersed in *historically informed performance*. If either or both of these things puts you in a decidedly different aesthetic camp from mine, then *disregard* the rating I have given it. I do not mean to offend those who love this recording.

I will not argue with those who think this is "magnificent" or "passionate," but I think it is misleading, and even a disservice to people browsing for a recording of this symphony, to call this "essential" and "indispensable" (Amazon) or "the 9th to own" (below). It is a remarkable recording, but I think it would be a shame if someone knew this symphony only or primarily from this recording.

As everyone mentions, this was an historic occasion: the reopening of the Bayreuth Festival, and for some a symbol of Germany's cultural rebirth after the war. It was the last time Furtwängler was at Bayreuth. If one contemplates these things while listening to this recording, it is indeed easy to be swept up by it. I respectfully suggest that knowledge of its context has prompted some to attribute to it a sort of mystical greatness that it really does not possess.

EMI has done what seems like a very respectable job remastering this recording, and it probably sounds as good as it ever will. The peculiar acoustic properties of the Bayreuth Festspielhaus and orchestra pit also give it an interesting character. But this is a live, mono recording from 1951. What makes it special is the sensation of "listening back in time." The recorded sound itself, jumbled and indistinct, cannot even be compared to what can be achieved with modern recording techniques.

As for the performance, Furtwängler may be considered by many to be without peer for his insight into this music, but this is simply not my Beethoven; nor, I believe, is it Beethoven's Beethoven. Furtwängler's "insight" borders on unlistenable in the third movement: 19'32". For me, this kills the performance all on its own. Parts of it actually sound as though they are being played in "slow motion," and sometimes it seems that Furtwängler has slipped into his own private meditation and forgotten he is leading a performance. The cringe-inducing brass section, however heartfelt their efforts, does not help matters.

Collectors and those with an historical interest in the political, social and artistic events surrounding this recording will want to own it, but I think this would be a poor choice for one's first or only recording, legendary though it is.

I highly recommend John Eliot Gardiner's version on Archiv for an articulate, driven, and, in its own way, every bit as passionate alternative to lumbering late Romantic interpretations.

Very passionate.......2007-01-29

This recording is famous beacuse of its sense of event. Musically speaking, it is out of control and very passionate. But it will sweep you away with fiery intensity. Do be aware of the horn bloopers. If you are looking for a standard Symphony No. 9, this is probably not the recording for you. I would personally recommend Fricsay and the Berlin Philharmonic as the best over all recording.

The 9th to Own!!.......2006-07-12

I would not hesitate in any way to recomend this incredible interpretation of Beethoven's final work to any listener or any musician. Aside from the wonderful job in remastering we have one of the more interesting accounts of this work ever done.

The opening movement has a very great sense of hushed intensity in the strings...and once the first thematic bits of material are introduced the whole performance never lets up. Sadly, there are some very bad horn moments throughout but what is here is all Furtwangler who outshines Szell...Karajan, and Klemperer put together...sadly too few people realize how fine Bohm was and if you need a Stereo version go to the last reading Bohm did of the 9th on DG.

Great Recordings Of The Century - Elgar: Violin Concerto, 'Enigma' Variations / Elgar, Menuhin

Average customer rating:

Historical Document
Stunning
Simply Menuhin
5 stars, but not for the casual listener.
Exceptional historical document

Great Recordings Of The Century - Elgar: Violin Concerto, 'Enigma' Variations / Elgar, Menuhin
Yehudi Menuhin
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Great Recordings Of The Century - Beethoven: Triple Concerto; Brahms: Double Concerto / Oistrakh, Rostropovich, Richter
Elgar: Pomp and Circumstance Marches Op. 39; Enigma Variations Op. 36

ASIN: B00000IOBP
Release Date: 1999-05-04

Tracks:

Violin Concerto In B minor, Op.61: I: Allegro
Violin Concerto In B minor, Op.61: II: Andante
Violin Concerto In B minor, Op.61: III: Allegro molto
Violin Concerto In B minor, Op.61: Cadenza (accompagnata: Lento) - Allegro molto
Variations On An Origianal Theme ('Enigma'), Op. 36: Theme (Andante)
Variations On An Origianal Theme ('Enigma'), Op. 36: I: L'istesso tempo
Variations On An Origianal Theme ('Enigma'), Op. 36: II: Allegro
Variations On An Origianal Theme ('Enigma'), Op. 36: III: Allegretto
Variations On An Origianal Theme ('Enigma'), Op. 36: IV: Allegro di molto
Variations On An Origianal Theme ('Enigma'), Op. 36: V: Moderato
Variations On An Origianal Theme ('Enigma'), Op. 36: VI: Andantino
Variations On An Origianal Theme ('Enigma'), Op. 36: VII: Presto
Variations On An Origianal Theme ('Enigma'), Op. 36: VIII: Allegretto
Variations On An Origianal Theme ('Enigma'), Op. 36: IX: Adagio
Variations On An Origianal Theme ('Enigma'), Op. 36: X: Allegretto
Variations On An Origianal Theme ('Enigma'), Op. 36: XI: Allegro di molto
Variations On An Origianal Theme ('Enigma'), Op. 36: XII: Andante
Variations On An Origianal Theme ('Enigma'), Op. 36: XIII: Moderato
Variations On An Origianal Theme ('Enigma'), Op. 36: XIV: Finale: Allegro

Amazon.com

In 1932, Menuhin was just 16 and at the very beginning of his international career when Elgar--then a grand old man in his 70s--asked the young virtuoso to record his Violin Concerto. Elgar himself conducted, and the rehearsals went so well that the composer reportedly canceled the last of them and took the young violinist out for a day at the races. The recording that resulted from this remarkable collaboration has remained a classic from the day it was issued. Elgar's conducting is typically direct and unfussy, while Menuhin really does play the pants off of what is without a doubt the longest and most tiring concerto in the romantic repertoire. Of course, the recorded sound is rather limited and no amount of audio restoration can change that, but fans of great violin playing will still find plenty to enthuse about. --David Hurwitz

Customer Reviews:

Historical Document.......2007-01-12

Before you buy this, be sure that you realize that this recording is absolutely ancient. When I say ancient I mean late 20s and early 30s. There are many advantages to having this recording, the most notable of which is that Sir Elgar himself directs the orchestra. There's something magical about hearing a piece conducted by the composer. The only drawback is that the recording is from the 20s and 30s. Therefore, the recording is not very high quality and some of the nuances of the music can get lost. If you're looking for historical documentation, this recording is elsewhere. Otherwise, it will behoove you to find a more modern recording if you simply want to enjoy the music.

Stunning.......2002-07-12

The solo playing has so much depth to it, I really can't believe it's a sixteen year old playing. If there's a romantic concerto in the repertoire that could really be mishandled by a young player, it would be this one - but somehow Menuhin, even at that age, has managed to express the poignancy and nostalgia of the music better than anyone ever has. Of course, the disc is not without flaws. As has been noted, you can hear the squeaking and junk from the transfer, and there are some absolutely horrendous errors in ensemble between soloist and orchestra. I've heard one of Kennedy's recordings and also Perlman's. For the most part, Perlman generally doesn't get a character that I really like, and the slow tempo in Kennedy's last movement kind of bothers me. I've also heard Shaham do this concerto live on radio with Cleveland Orchestra I believe, and it was really great. Someone should convince him to commit it to CD.

Simply Menuhin.......2002-06-29

I heard twice in my life this concert, I liked so much, specially because has serenity and peace. This Menuhin version conducted by Edward Elgar, is simply pure. I heard the last records of Menuhin, but I never heard him in his first years, simply I don't cry because ...you know, but in some cirscustance of my life if I would heard the Munuhin Solo, simply I could not resist,his natural sound, his phrasing, the solo in the third movement has a sense of nostalgy, with a beautiful vibrato, sorry for the others big masters, but this "carisma" only Sir Yehudi Menuhi. He really was a natural prodigy with a big carisma, if you don't believe me heard him. If not buy the DVD about him, and pay attention to the solo, while he stay with his "Mamina". Buy it you really enjoy. And my respects to Yehudi Menihin, a wonderful violinist of the 20th century.

5 stars, but not for the casual listener........2000-11-28

If you do not have the Elgar concerto already, do not make this your one and only choice. This is not for the casual listener who wants to sit back and enjoy a great violin concerto. If you want to do that, choose Kennedy/Rattle/CBSO on EMI which is simply fantastic. If you do decide to choose this historical document for your second or third recording of this piece for novelty and comparison, choose the Naxos label. They have the same recording for half the price so you won't be as upset just in case you can't stand the sound. Part of the notes for my Naxos copy states. " The present transfers were made from pre-war U.S. Victor sets, (the Elgar from a "Z" shellac pressing). The squeaking noises which can be heard on some portions of the Elgar are on the original masters." They are not kidding, you hear alot of junk in this recording and it is not for the sensitive listener. While Naxos does not sell direct, you may visit naxos.com for more information. From naxos.com - "How can Naxos Historical release recordings made by other record companies? Is this piracy? Internationally, sound recordings are protected for 50 years from the date of publication (worldwide, except in the USA). That means, any recording published or released to the public before 1950 is now out of copyright, i.e. in the public domain. Broadcasts are considered published the day they are re-broadcast. In the United States, the situation is more complicated. There, sound recordings were not protected by copyright until 1972, but by a variety of state laws, including the rights of the artist's personality, unfair competition, and the like. There is nothing illegitimate in releasing out-of-copyright sound recordings the same way it is not illegitimate to release Bach, Mozart, Beethoven and Mahler without paying mechanical copyright (a fee to the composer or his publisher for the use of the printed music) to their descendants or manufacturing a drug whose patent has expired.

Exceptional historical document.......1999-06-14

The Violin Concerto, with the Elgar/Mehuhin partnership in 1932, must be heard to be believed. The interpretation is without peer, and the playing by Menuhin is outstanding. The sound quality of the concerto rivals many digital recordings. A must have for all Elgar fans!!!!

The 'Enigma' Variations will suprise you with their tempo. The sound quality (from 1926) is less impressive than the concerto, but still good. A great pairing for an exceptional CD.

Buy it today!!!

Donizetti: Lucia di Lammermoor (complete opera) EMI's Great Recordings of the Century with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Tullio Serafin
Average customer rating:

An Achievement for Donizetti and Callas!

Lucia di Lammermoor - One of Callas' finest hours

Donizetti: Lucia di Lammermoor (complete opera) EMI's Great Recordings of the Century with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Tullio Serafin

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Verdi - Falstaff / Gobbi · Schwarzkopf · Moffo · Karajan

Wagner: Lohengrin

ASIN: B0001O3YB2
Release Date: 2004-04-06

Tracks:

Preludio
Percorrete Le Spiagge Vicine
Tu Sei Turbato!...E N'ho Ben Donde
Cruda, Funesta Smania
Il Tuo Dubbio E Omai Certezza
La Pietade In Suo Favore
Maestoso
Ancor Non Giunse?
Regnava Nel Silenzio
Quando Rapito In Estasi
Egil S'avanza
Sulla Tomba Che Rinserra
Qui Di Sposa Eterna Fede
Ah, Talor Del Tuo Pensiero
Verranno A Te Sull'aure

Tracks:

Moderato.../Lucia Fra Poco A Te Verra
Appressati, Lucia
Il Pallor Funesto, Orrendo...A Ragion Mi Fe' Spietato
Nobil Sposo...Cessa, Cessa!
Soffriva Nel Pianto
Che Fia?...Suonar Di Giubilo
Se Tradirmi Tu Potrai
Per Te D'immenso Giubilo...Per Poco Or La Vedrem
Dov'e Lucia?...Qui Giungere Or La Vedrem
Ecco Il Tuo Sposo
Chi Mi Frena In Tal Momento
T'allontana, Sciagurato...Rispettate In Me Di Dio
Sconsigliato! In Queste Porte Chi Ti Guida?
Esci, Fuggi, Il Che M'accende
D'immenso Giubilo
Ah!...Deh, Cessate Quel Contento!...Dalle Stanze Ove Lucia
Oh! Qual Funesto Avvenimento!
Oh Giusto Cielo!...Il Dolce Suono
Ohime! Sorge Il Tremendo
Ardon Gli Incensi; Splendon Le Sacre Faci
Spargi D'amaro Pianto
Maestoso.../Tombe Degli Avi Miei
Fra Poco A Me Ricovero
Oh, Meschina! Oh, Fato Orrendo!
Dove Corri, Sventurato?
Tu Che A Dio Spiegasti L'ali
Che Facesti?

Customer Reviews:

An Achievement for Donizetti and Callas!.......2005-01-09

From the conductors to the principal singers to the chorus, this recording of Lucia is without a doubt the must-have of all Lucias both for the reason of musicality, good taste, good music, and great singers. Donizetti himself could never have seen a better cast arranged for his tragic opera! To have an enormous voice (and please understand that this enormous voice is capable of handling coloratura passages just like any light coloratura could) sing Lucia is a phenomenon, and to have the likes of a great tragic artist such as Maria Callas singing a part which has been the playground of most coloratura lights is simply mind-blowing! Her keen sense of drama is evident in this Lucia, as she performs the madscene with a certain kind of drama never seen in any performance of Lucia before and after her career. Not even the fabled Dame Joan performances could match up with the beauty and the drama of this Lucia di Lammermoor. Lacking a good sense of drama and tragedy, Dame Joan only comes close the the accuracy of the score with her embellishments. Callas had so much more to offer to the role. The madness, the tragedy, all of it is so heartfelt in her singing. Of course, Lucia isn't simply a soprano's opera. Let us not forget the tenor who plays the part of Edgardo, who, if it were not for the high demand of a great many jealous sopranos in the past, would have shone as the star in this opera. Giuseppe di Stefano, a tenor with a great voice with an equally great dramatic capability, brought the part a human side which could not be heart from Pavarotti's belching. And Tito Gobbi, who else could have matched such a great baritone? No one!!! He was the ultimatum of the dramatic villain. Of course, we must not forget the efforts of the great Tullio Serafin, the most talented of all the known bel canto conductors during the age of recording technology. I recomment this recording to anyone who wants to hear a TRUE Lucia sung with a passion.

Lucia di Lammermoor - One of Callas' finest hours.......2004-05-17

Lucia di Lammermoor is a complex role that has been portrayed by a varity of voice-types. Canaries like Pons, Carosio, Dessay, Jo and others, dramatic sopranos d'agilita like Callas and young Sutherland and today L'ubica Vargicova, lyric coloraturas like Sills, Scotto and Kohutkova and even spintos like Caballe and Rost who sang it come scritto, lower and without the ornamentations later added. All of these have their merits, it is my opinion though that a dramatic soprano d'agilita can do it justice incredibly. I find the role to be too demanding for canaries because it demands a rich middle and dark colours also. Passionate lyric coloraturas like Sills sound fabulous as Lucia as well because of their feminity, innocence and sweetness. Maria Callas, who was singing Tosca, Gioconda, Lady Macbeth and Norma at the time added Lucia to her repertoire in 1952, singing it in Mexico City after having sung a part of the madscene in a concert ealier. (A recording exists) The enthralled audience adored her so much and wouldn't stop hailing their divine one until the entire madscene had to be repeated, a feat no other Lucia achieved before or after. What kind of a Lucia is Callas? Well, a very unique one as one might expect of La Divina. Listening to "Regnava nel silenzio" you'll hear not only maiden-like beauty but an alarming, fearful colour of angst and beginning madness. It's only hinted, not overdone. But knowing Lucia's fate it's very moving. The coloratura in the cabaletta "Quanto rapito in estasi" presents us with another voice. Where Callas had sounded dark, melancholic and deep in the aria here she was glowing, shining and glittering but never chirping. Her top-registers was as steady as her rich middle then and the high note ending the cabaletta is lush, steady and beautiful. In the love-duet with honey-voiced di Stefano as Edgardo the angst returns, mixed with her pure and passionate love for Edgardo. The unisono of these two stunning voices has not been equalled since, it was a legendary partnership. In the duet with her brother Enrico Lucia's voice has grown darker, more afraid and closer to the madness soon to follow, climaxed in the tormented outcry "La tomba, la tomba m'aspetta!" (The tomb, the tomb is awaiting me!). The stretta of the duet, Enrico's harshness and Lucia's breakdown as she begs God to let her die culminates in a fabulous note in alto.
The wedding-scene has a feel of doom I haven't heard again before or after. Callas' voice is almost white with pain and fear and when Edgardo comes she breaks down, knowing now that her brother has betrayed her. Being spurned by a grief-stricken Edgardo we hear (!) Lucia breaking into a million pieces --> Going mad. The madscene itself, with the glorious "play" (Who calls it that?) with the flute is so hauntingly beautiful and touching. Mistaking the flute for her lover's voice Lucia, who has just murdered her husband, deliriously sings of the joy awaiting her and Edgardo. One cannot help but weep for her, this pure, loving soul that was crushed by ambition and hatred of others. The fireworks, high notes, cadenzas and coloratura of the cabaletta climaxes in a huge, glorious E-flat. A fabulous recording of bel canto, not only beautiful or pretty but haunting and moving.
Di Stefano sings a passionate, ultimate Edgardo and Panerei sounds idiomatic, dramatic and properly enraged as Enrico. Serafin shows all other maestri how bel canto MUST BE conducted. True there are some cuts but nothing that I personally miss a lot. In short: It's the best studio-recording of Lucia ever.

Average customer rating:

The Whole Thing
Hauntingly Beautiful
Good-enough readings but outstanding sound
Passionate
Maybe this is THE (one disc-) Peer Gynt album to own ...

Grieg: Peer Gynt

Manufacturer: Virgin Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
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Pytor Illych Tchaikovsky: The Nutcracker - Complete Ballet

ASIN: B0007Z47JI
Release Date: 2005-06-07

Tracks:

No. 1 At The Wedding (Prelude To Act I)
No. 2 Halling
No. 4 The Abduction Of The Bride
No. 6 Peer Gynt And The Woman In Green
No. 7 Peer Gynt: 'You Can Tell Great Men By The Style Of Their Mounts!'
No. 3 Springar
No. 8 In The Hall Of The Mountain King
No. 9 Dance Of The Mountain King's Daughter
No. 12 The Death Of Ase (Prelude To Act III)
No. 13 Morning Mood (Prelude To Act IV)
No. 15 Arabian Dance
No. 16 Anitra's Dance
No.17 Peer Gynt's Serenade
No. 19 Solveig's Song
No. 20 Peer Gynt At The Statue Of Memnon
No. 21 Peer Gynt's Homecoming. Stormy Evening On The Sea (Prelude To Act V)
No. 22 The Shipwreck
No. 23 Solveig Sings In The Hut
No. 25 Whitsun Hymn: 'O Blessed Morning'
No. 26 Solveig's Cradle Song

Customer Reviews:

The Whole Thing.......2007-05-10

If there's an earlier 'Peer Gynt' recording that's complete (as opposed to just the 'suite') I've never heard of it. This is the entire incidental music to the play, not just the usual 'Dawn', 'The Hall of the Mountain King' 'Solveig's Song', etc.
Jarvi's reading is smooth and incisive and the choral parts are wonderful. I've never heard a scarier version of HOTMK. I never even knew that there was a solo vocal part for Peer himself, but here it is.

My only complaint-and it's a tiny one-is that the selections are not in the order that they would appear in Ibsen's play. But that's picking a very small nit indeed.

Hauntingly Beautiful.......2007-03-11

Conductor Paavo Jarvi does a masterful job of leading the Estonian National Symphony Orchestra. The orchestra plays with great emotion and precision creating an exciting and almost hypnotic effect. Although Beecham's version is very good, his Peer Gynt does not come close to matching the sheer beauty of Jarvi's.
The soloists on this album are outstanding. I consider baritone Peter Mattei to be the most talented baritone of his type today and his rendition of Peer Gynt's Serenade is nothing short of incredible. Soprano Camilla Tilling as Soveig has a lovely ethereal sound to her voice which is used to great effect in her songs. Tilling has the loveliest female voice I have ever heard. Mezzo Charlotte Hellekant has also grown on me as Anitra. Many of these vocal songs are not included on other versions of Peer Gynt, which is a great shame. The choir, something I don't usually enjoy, is very impressive.
I would rate this CD as by far the best version of Peer Gynt and perhaps my favorite CD of all time. The sound quality of the recording should also be mentioned because it is absolutely stunning.

Good-enough readings but outstanding sound.......2007-02-21

I don't find that Paavo Jarvi and his Estonian forces have much to say in the familiar numbers from Peer Gynt. You must turn to Beecham for sheer delight in famous numbers like In The Hall of the Moutain King, Morning, Anitra's Dance, and so on. Where this recording scores is in the unfamiliar numbers; Peter Matteo's excellent rendition of the little-known Peer Gynt's Serenade is one highlight, as is the convincingly crude folk fiddling that begins half a dozen numbers.

Secondly, there's the sound. The engineers have achieved quite exceptinally clear, open sonics that I've never heard the like of in Peer Gynt. Even when Jarvi's conducting is ordinary and his Estonian musician ae playing at far less than virtuosic level, the gorgeous sounds coming out of one's speakers remain alluring. As far as completeness goes, the Ruud 2-CD set from Bis is unchallenged.

Passionate.......2006-08-18

The story line gives the listener a guide to follow the music, but the score leaves out the connections for the listener to only imagine the performance. The music is passionate and descriptive and introduces the listener to the singing voices of parts of the presentation that are left out in the "Suite." I appreciate hearing it over and over.

Maybe this is THE (one disc-) Peer Gynt album to own ..........2006-02-15

... to keep closely beside the gorgeous, incisively intelligent and deeply concentrated performance (also on 1 CD) with Esa-Pekka Salonen conducting the Oslo Philharmonic Orchestra and Barbara Hendricks singing the role of Solveig (Sony Classical).
Together with the recordings by Neeme Jarvi (27 cues; DGG), Marriner (only 12 cues; EMI), Tate (17 cues; EMI), Blomstedt (19 cues; Decca), Dreier (the first truly complete recording of all of the original music (1978); 32 cues, including 'Bridal Procession', 'Solveig's Song' and three 'Norwegian Dances' all of them n o t originally written for the play; Unicorn UKCD + NKFCD) and Ruud (the first complete recording with 29 cues plus all of the dialogue, making a total of 51 cues, coming up on 113 minutes; BIS), these two (1-CD) albums by Paavo Jarvi and Esa-Pekka Salonen are as complete as can get concerning this so called 'incidental' music for the Henrik Ibsen play of Peer Gynt. Nowadays, Peer Gynt is Norway's No. 1 national epic, thereby giving this music extra significance and poignancy. Originally, there are in all some twenty-six numbers of incidental music for the play: almost ninety minutes of music, as can be learned from the booklet-essay. And according to the booklet, twenty of those are on this album; No. 5, 10, 11, 14, 18 and 24 are left out of this recording. 'Solveig's Song' wasn't originally written for the stage play but nonetheless included as such on this CD, so actually 19 original pieces from Peer Gynt, op. 23 are on this album, and not 20. But anyhow, such 'criticism' would amount to nitpicking ;-)
Here I would like to warn the reader that this will be a somewhat one-sided review, as I have only ever heard the Peer Gynt-recordings of Esa-Pekka Salonen, Per Dreier (freshly inspired, very natural performances) and this newest one of Paavo Jarvi. So this review is, for what it is worth, a personal and somewhat subjective approach, leaving out many other alternatives ...

Anyhow, as for the one-CD albums of Peer Gynt, op. 23, the merits of the Salonen/Oslo Philharmonic album (aside from the artistic ones, which are huge, as well as spot on as far as the 'Nordic' atmosphere of the music is concerned) lie in the fact that - up to now - it has been as near 'complete' a rendering of the music for Peer Gynt - as much as fits on one CD - as one might wish, covering the whole dramatic arc of the play from beginning to end (but without any of the spoken dialogue). I believe that this new recording with Paavo Jarvi is even more complete - as could be fitted on one disc - and gives the listener an even better feel of the drama of the play, if only because there is more singing here, namely by Peer Gynt (in the delightful 'Peer Gynt's Serenade'). Also, one hears here seldomly recorded, but wonderfully evocative pieces, such as 'Peer Gynt and the Woman in Green', 'Peer gynt: you can tell great men by the style of their mounts', 'Peer Gynt at the Statue of Memnon' (similar to 'Prelude Act III: Deep in the Coniferous Forest' on the Salonen/Oslo Philharmonic album. Actually it is the same piece, but it was never intended as the prelude to act III) and 'The Shipwreck'. Simply delightful, all this! As are all the soloists - truly, the best one could wish for! - singing in this recording. If I may steal a quote from Tim Ashley, The Guardian, May 13, 2005: "Peter Mattei is the swollen-headed Peer, Camilla Tilling a dignified, unsentimental Solveig and the incomparable Charlotte Hellekant a camp but lethally seductive Anitra." But although Camilla Tilling's Solveig is superb, IMHO she is not as completely involved-sounding or as convincing in the projecting of the troubled mind and heart of (especially the elderly) Solveig as does Barbara Hendricks for Esa-Pekka Salonen.
Even more than Esa-Pekka Salonen's performance with the Oslo Philharmonic Orchestra, this recording offers the listener a more 'true to the letter-performance', as the music is here performed as heard during the play, as witnessed by 'Solveigs vuggevise' ('Solveig's Cradle Song'), where her singing is interlaced with the 'Whitsun Hymn', which, to the ears of this listener, only heigtening the sense of drama and storytelling.
All in all a fantastic album, I believe, and one that brings into focus the drama even more than other recordings of this music. Even though the orchestral playing of the Estonian National Symphony Orchestra is maybe a (slight) nodge below that of the Oslo Philharmonic under Salonen and missing out on the deepest or finer layers of melancholy and dramatic tension (which are indeed touched upon by Salonen, I think), it is warmly sympathetic and more lush (as is the acoustics of the recording venue).
The really adventurous or Peer Gynt-completists (and once taken this step, the all too brief Suites will never be an option again!) should really go for Dreier or Ruud - this last one is said to be simply magnificent (music as well as acting) - but this generous one disc album, with some of the most gorgeous playing and singing, is warmly recommended (at least, in my opinion) to anyone who loves this wonderfully evocative music. Delightful!

Schubert: Symphonies 5, 6, 8 & 9; Rosamunde Overture

Average customer rating:

Is it real?
Karajan marches on
Sterling 9th
Unconvincing big-band performances without charm
Karajan's Schubert Cycle Reissued for Cheap!

Schubert: Symphonies 5, 6, 8 & 9; Rosamunde Overture

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Schubert: Symphonies 1-4; Rosamunde ballet music
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Mendelssohn: Symphonies 3 & 4 / Karajan, Berlin Philharmonic Orchestra

ASIN: B0002XV2YS
Release Date: 2005-02-15

Tracks:

Rosamunde Overture, D644
I. Allegro
II. Andante Con Moto
III. Menuetto E Trio: Allegro Molto
IV. Allegro Vivace
I. Adagio - Allegretto
II. Andante
III. Scherzo: Presto - Trio: Piu Lento
IV. Allegro Moderato

Tracks:

I. Allegro Moderato
II. Andante Con Moto
I. Andante - Allegro Ma Non Troppo
II. Andante Con Moto
III. Scherzo E Trio: Allegro Vivace
IV. Finale: Allegro Vivace

Customer Reviews:

Is it real?.......2007-03-20

When I saw this CD here at Amazon and noticed such a low price the first thing that came to my mind is how "Such a superb Art", how "Such fine piece of Music ever" composed by one of the "Greatest Masters" ever has such a low price while you can see mediocre people buying things like madonna and beyonce paying more than twice this price by CD. I have all this works separately in imported vinyl but I'm going to buy this one in order of listening in my car during the path to work in the morning. I love the "Symphony number Five" but the best works here are the "Number Eight", "Unfinished Symphony" and the "Great Symphony Number Nine", talking about number eight unfinished symphony I prefer to the Sinopoli's interpretation conducting the Philharmonia Orchestra from Europe It is much more passionate, One intelligent man can't die without listening to this Masterpiece, why Franz Peter Schubert wrote only two perfect movements and stopped as if he had abondoned the symphony suddenly? I don't believe in this faith, I believe he finished this masterpiece but unfortunately the others two movements were lost forever, but these two that survived are perfect as we have known and listened to them for long time. About Symphony Number Nine this interpretation of genius Herbert Von Karajan is in my opinion "definitive" mainly in the first movement, it's incisive and coherent, and strong in a way that only Karajan could do with the help of the most important musical institution of the world "Berlin Philharmonic Orchestra". Great combination "Masterpiece plus best price possible". Perfect.

Karajan marches on.......2007-02-01

It is interesting to read the comments about Karajan. Those in the Beethoven section often loose sight that he did record stuff other than Beethoven's symphonies. Or they think he slighted the piano concertos when after all he did make several runs at those including mono recordings from the 50s. Or there will be comments about the sound he gets, too pure, too pretty. "I just can't like it, it sounds too good."

Karajan recorded just about everything from the Baroque Masters to Richard Strauss. He also headed up numerous music festivals and operas. To see what I mean, do a search either here or at Ebay on Karajan and opera. He was one busy productive dude. And he delighted millions both in live performances and all those vinyl gems he left us now bing ported over to cd.

I have these recordings that were issued on vinyl by Angel records in association with the book of the month club from way back when.

Karajan's recordings span from the 1930s to the late 1980s. Kinda like the Duke and all them westerns. He led the best orchestras in Europe (Vienna, Berlin, the Philharmonia to name three) and made records with them year end and year out for over 50 years. He also pushed the technology envelope and took advantage of digital when it first came out and video. Often the arguements about Karajan have to do with which version of such and such is best! "They all sound good, but I like his mono version with the Philharmonia best."

All this activity in conducting and recording over so many years paid major dividends. Like Bohm, I have seldom heard one of Karajan's lps and thought that he laid an egg! The reason why he is soooo popular is that he consistenly put out top notch work. You may find better individual performances but chances are you will not get an ear infection from listening to his recordings.

This inexpensive set is a good way to test the non Beethoven Karajan waters if you have not done so already. Or, you may give his great Schumann or Tchaikovsky Symphony recordings a try.

Sterling 9th.......2006-06-15

You know, maybe there is just something to a composers Symphony No. 9. Beethoven, Bruckner and Schubert all had amazing 9th Symphonies, but I digress. This CD is worth the money (which isn't very much) just to hear "The Great" C Major Symphony. I haven't found a better recording of it anywhere. Once again, Karajan turns out a gem.

Unconvincing big-band performances without charm.......2005-10-07

Amazon is being pdeantic to call the Schubert 8th, the Unfinished, his Sym. #7. All four symphonies here are great ones, and Karajan runs through them with a big orchestra and a good deal of impact. But one misses any easiness, charm, or melancholy, all qualities that belong to the real Schubert. This is more Karajan than Schubert, only worthwhile if you love the Berlin Phil's massive sound and want to hear every piece run through it.

I should say that the competing sets from Abbado with the Chamber Orchestra of Europe (DG) and Colin Davis with the Dresden Staatskapelle (RCA) sound timid and dull respectively. I would hold out for the new Harnoncourt--his single performances have been excellent so far--or seek the many great performances that exist out there of each symphony.

Karajan's Schubert Cycle Reissued for Cheap!.......2005-03-14

EMI's new "Gemini" series is a breath of fresh air amidst all the smoke being put forth recently by the major classical labels. While Sony is deleting most of their classical budget discs, BMG is raising theirs to mid-price and UNI is convinced that 3CDs are always better than one, EMI decides to start a two-fer line that sells for significantly less than the competition, not to mention their own "Double Forte" series. It might not be as cheap as the old "Seraphim" series, but they could certainly be charging more for quality recordings such as these.

Herbert von Karajan's Schubert Symphony Cycle, made between 1975-78 for EMI with the Berlin Philharmonic, has been available previously on CD in the "Karajan Edition." However, those discs, released as four single titles with two Symphonies each, were twice the price of these new reissues. These performances of Symphonies 5, 6, 8 & 9 plus the Rosamunde Overture are certainly solid, but Karajan was never celebrated as a conductor of Schubert. One wonders if that is why DG had a young Lorin Maazel record the Schubert Symphonies with the Berliners instead of Herbie at the dawn of the stereo age, and that ultimately EMI had him record this Cycle because it was something he hadn't yet done for DG. In any event, I would certainly recommend the Bohm boxed set on DG or the Kertesz on London/Decca (see my review of the latter) ahead of these performances. But considering how cheap these two double discs are, maybe picking up an extra Schubert Cycle is worth it after all.

Great Recordings Of The Century - Schubert: Die Schone Mullerin / Fischer-Dieskau, Moore

Average customer rating:

Mesmerizing and Exquisite
Fischer-Dieskau and Schubert: what do you expect?
Comment on Editorial Review
Schubert - Die Schone Mullerin - Fischer-Dieskau/Moore
A truly great performance

Great Recordings Of The Century - Schubert: Die Schone Mullerin / Fischer-Dieskau, Moore
Dietrich Fischer-Dieskau , and Gerald Moore
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000I7WB
Release Date: 1999-03-09

Tracks:

Die Schone Mullerin (The Maid of the Mill): Der Dichter, Als Prolog
Die Schone Mullerin (The Maid of the Mill): Das Wandern
Die Schone Mullerin (The Maid of the Mill): Wohin?
Die Schone Mullerin (The Maid of the Mill): Halt!
Die Schone Mullerin (The Maid of the Mill): Danksagung An Den Bach
Die Schone Mullerin (The Maid of the Mill): Am Feierabend
Die Schone Mullerin (The Maid of the Mill): Der Neugierige
Die Schone Mullerin (The Maid of the Mill): Ungeduld
Die Schone Mullerin (The Maid of the Mill): Morgengruss
Die Schone Mullerin (The Maid of the Mill): Des Mullers Blumen
Die Schone Mullerin (The Maid of the Mill): Tranenregen
Die Schone Mullerin (The Maid of the Mill): Mein!
Die Schone Mullerin (The Maid of the Mill): Pause
Die Schone Mullerin (The Maid of the Mill): Mit Dem Grunen Lautenbande
Die Schone Mullerin (The Maid of the Mill): Der Jager
Die Schone Mullerin (The Maid of the Mill): Eifersucht Und Stolz
Die Schone Mullerin (The Maid of the Mill): Die Liebe Farbe
Die Schone Mullerin (The Maid of the Mill): Die Bose Farbe
Die Schone Mullerin (The Maid of the Mill): Trockne Blumen
Die Schone Mullerin (The Maid of the Mill): Der Muller Und Der Bach
Die Schone Mullerin (The Maid of the Mill): Des Baches Wiegenlied
Die Schone Mullerin (The Maid of the Mill): Epilog

Amazon.com essential recording

Dietrich Fischer-Dieskau has become an all-pervasive and increasingly mannered recording presence in the last few decades of his life. As a result, it takes an earlier, fresher recording such as this to remind you what a great singer he was. This 1961 outing with Schubert's second-greatest song cycle (the first being Winterreise) is consistently lively, straightforward, passionate, and sincere, almost completely devoid of the show-off trickery that mars many of his later efforts. Best of all, the voice has a supple richness that allows him to sound boyish at the start of this song cycle about a heartbroken youth, though he also has a vocal weight to go to the depths of tragedy as the protagonist experiences escalating devastation. Gerald Moore accompanies with his customary discreet intelligence. This recording has achieved classic status for good reason. --David Patrick Stearns

Customer Reviews:

Mesmerizing and Exquisite.......2007-03-30

I can't think of words other than those in my title to describe this recording. It's so lovely beyond words, truly. The singing and the accompaniment both perfection. The listener feels transported to the place and time, long past now, wherein the action of the story takes place. I suppose being able to understand the German may be necessary to get the full effect, but even if not, the liner notes are good. I'd say this is definitely a must-have CD for music lovers.

Fischer-Dieskau and Schubert: what do you expect?.......2004-07-05

The best, of course. And this recording is wonderful, as usual. I'm sort of getting bored writing reviews praising Fischer-Dieskau to the skies, but quite simply, any music lover needs to have this recording in his collection.

It's one of the great song-cycles, and it's Fischer-Dieskau at his best. And there's the typical Fischer-Dieskau attitude: to go with the flow of the song and the cycle.

DSM may not be as fulfilling or as incredibly moving as Die Winterreise, but it does have its Höhepunkts: the coming of the hunter, where Fischer-Dieskau, almost predictably, sounds noticeably irritated; in 'die böse Farbe', in which he sounds as weepy as we expect the miller to be; in 'Trockne Blumen', where he sounds as heartbroken as we expect the miller to sound.

As for DSM taken by itself, I have this to say to newcomers to Schubert: listen to this before you listen to Die Winterreise or Schwanengesang. It's more down to earth, more accessible. And this is by far the best baritone recording of DSM you can get out there.

Comment on Editorial Review.......2003-11-28

My view of this recording is summarised by the rating I give it.
I'm wrting to comment on the Editorial Review, which claims Fischer-Dieskau gave "mannered" accounts of the music he performed. This view is totally subjective... Some people feel that way, some people totally disagree... The performances surely have character, but don't take it for granted that this character gets in the way of the music. For me, it surely does *not*.

Schubert - Die Schone Mullerin - Fischer-Dieskau/Moore.......2002-02-11

Quite simply the perfect combination of singer and accompanist;
The greatest male singer of the 20th Century allied to the champion accompanist, recorded when Fischer-Dieskau was at his peak. I have it in every medium from plastic through cassetes and video to CD and it never disappoints. The cycle is the ultimate in contrasts, and more than any other, the separate songs stand on their own as well as part of a group. The spirit and integrity come through, even to the listener, like myself, whose knowledge of German extends little beyond "Danke Schone" and "Wunderbar", which are probably the only two phrases I need to espress my opinion of, and gratitude to, Fischer-Dieskau for the pleasure he has given down the years, always with unfailing taste.

A truly great performance.......2001-07-20

I had the pleasure of hearing Fischer-Dieskau live back in the 60s. This recording captures him at his peak. His interpretation of Schubert's masterpiece is brilliant. His enunciation is wonderful. You can really follow the lines of poetry as he sings. I caught myself unawares singing along with the CD (to the consternation of my wife). Even if you don't know German, you can easily find your place in the translation of the text. His musical technique is perfect. It's hard to praise this recording enough.

EMI Great Recordings of Century - Brahms: Symphonies Nos. 1-4/Klemperer

Average customer rating:

no kidding
Not sure what all the fuss is about.
Five stars +
Karajan or Klemperer in Brahms?
My deserted island pick

EMI Great Recordings of Century - Brahms: Symphonies Nos. 1-4/Klemperer
Johannes Brahms , Philharmonia Orchestra , Christa Ludwig , Philharmonia Chorus , and Otto Klemperer
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
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Leon Fleisher Plays Brahms

ASIN: B0001O3Y8A
Release Date: 2004-04-06

Tracks:

Thema: Chorale St. Antoni
Variation I (Poco Piu Animato)
Variation II (Piu Vivace)
Variation III (Con Moto)
Variation IV (Andante Con Moto)
Variation V (Vivace)
Variation VI (Vivace)
Variation VII ( Grazioso)
Variation VIII (Presto Non Troppo)
Finale (Andante)
I: Un Poco Sostenuto - Allegro
II: Andante Sostenuto
III: Un Poco Allegretto E Grazioso
IV: Adagio - Piu Andante - Allegro Non Troppo Ma Con Brio

Tracks:

I: Allegro Non Troppo
II: Adagio Non Troppo
III: Allegretto Grazioso (Quasi Andantino) - Presto Ma Non Assai
IV: Allegro Con Spirito
I: Allegro Con Brio - Un Poco Sostenuto
II: Andante
III: Poco Allegretto
IV: Allegro - Un Poco Sostenuto

Tracks:

Academic Festival Overture Op. 80
Tragic Overture Op. 81
Alto Rhapsody Op. 53
I: Allegro Non Troppo
II: Andante Moderato
III: Allegro Giocoso - Poco Meno Presto
IV: Allegro Energico E Passionato - Piu Allegro

Customer Reviews:

no kidding.......2007-07-06

this IS the best brahms set in the market. honesly, as much as i love klemperer, i was pretty surprised by the amount of tension he managed to retain throughout this studio recording - something the greatest conductors often couldn't do.
To me, and i do not seem to be alone in this regard, the gem of the set is the fourth symphony. It is here that Klemperer simply out does Celibidache, Toscanini, and Furtwangler. The passacaglia is imbued with a sense of inevitability - i was completely taken aback by the impact of the climax. The relationship between the variations was so perfectly thought out that after this recording every other passacaglia seems inconsequential. Furtwangler might have imbued each passage with more fire, but even his profound insight is cursory compared to what Klemperer manages to convey.
Klemperer's supreme sense of architecture and drama also churns out an inimitable Academic Overture, which is also simply the most stunning and satisfying account I have ever heard. While in the beginning the orchestra might not seem completely synchronized, such misgivings are done away with by the time the last theme, the climax, is performed.
the rest are also similarly great, although owing the Furtwangler, Klemperer's first symphony doesn't top the rest of the competition like the other symphonies do.
there are a few records out there that i would call definitive - but this brahms set is the closest ever.

Not sure what all the fuss is about........2006-09-15

For me this set of Brahms is ho-hum. It is average, but nothing special. I feel the same way about Herbert von Kajaran's interpretation of Brahms. Brahms is without a doubt my favorite composer and I have heard many versions of his symphonies. For my tastes, the London Philharmonic's sound has always been too thin for Brahms. The only time I liked the London Philharmonic performing Brahms was Antal Dorati's set on Mercury Living Presence.
I prefer the rich and warm sound of the Berlin Philharmonic. The set of symphonies that Claudio Abbado released on DG in the 1990's has taken top honors for me. Most of the previous traversals with the Berliners (i.e. von Karajan) have taken the tempos too slow for my tastes.
As far as I'm concerned you can do much better elsewhere: Abbado, Szell, and Dorati - heck even Bruno Walter's set with the Columbia Symphony Orchestra is better than this presentation.

Five stars +.......2005-11-14

Klemperer is one of my favourites, probably because I got to know Mahler through him. For me this is the best Brahms symphonies cycle yet. The tempos are well judged as always and the Philharmonia at top form as always under Klemperer. I feel that the 4th is the gem of this cycle unsurpassed in every aspect. Along with the German Requiem again with Klempeper and the Philharmonia I find these CDs the best Brahms orchestral music on the market.

Karajan or Klemperer in Brahms?.......2005-09-29

Otto Klempeerer owes his late career in London and on EMI records to von Karajan. Since its founding in 1949, the Philharmonia Orch. was closely allied with Karajan, who built it up as his own career took off after the war. But when Furtwangler died in 1954 and his arch-rvial Karajan took over the Berlin Phil., the impressario of the Philharmonia, Walter Legge, knew that he neeeded a new stellar conductor or his orchestra would fail. He chose Klemperer, then almost forgotten and already past 65 when he made his initial appearances in London in 1951.

Legge's gamble paid off. Klemperer became the darling of London critics and audiences, and his performance style--measured, serious, with impeccable integrity--became the standard in Mozart, Beethoven, Wagner, and Brahms. He cared little for beauty of osund, smooth phrasing, or stylistic refinement. Words like "granitic" and "primordial" were used regularly.

Is he the antithesis of Karajan, who valued everything that Klemperer disdained? Listening to these Brahms symphony recordings in improved sound, I think the Klemperer vs. Karajan debate isn't all that valid. These four symphonies aren't granitic or primordial, nor are they particularly slow. In fact, the first movement of the Second moves lightly, as does the finale of the Fourth. If anything, Karajan's presentation is more massive and imposing in every symphony. The main difference begins with Klemperer's steady pace, which he tends to hold without allowing the phrase to be molded as flexibly as Karajan.

Karajan made two complete Brahms cycles for DG, the latter in digital sound. He was undoubtedly a great Brahms conductor, but so was Klemperer. Here the Philharmonia sounds sharp and alert and not very big in number, while Karajan's Berlin forces sound sumptuous and huge.

These two giants had no peer in Brahms from the death of Toscanini to the present day, excepting occasional recordings by Giulini, Bernstein, and perhaps in today's market, Harnoncourt. Some would also rank bruno Walter's two Brahms cycles at this exalted level, but for me only the mono one with the NY Phil., now available on a Sony import, qualifies, and besides the inadequate sonics, the orchestra does not play as beautifully as what we hear in this set. It's great to have Klemperer's classic set, which is totally free of eccentricity, back in such good sound. Five stars without a doubt.

My deserted island pick.......2005-06-20

If I had to go to that deserted island, I would be in doubt of which of these 3 CDs to take with me. I have perhaps 500 classical CDs, but this box stands out. I am not going to write very much, however: Brahms is my favourite composer. Brahms was Klemperer's favourite composer. His conducting is perfect all the way. These are so-called slow interpretations, i.e. compared to Toscanini and Walter, but not slow compared to, say Abbado; I think these tempos are perfectly suited to bring out the richness of the texture. The result I will describe as civilized, human, warm, even hot, dramatic, strictly to the point, even sharp, although there are sharper interpretations out there, but they don't got the same lyrical intensity as Klemperer's.

Bellini: Norma (complete opera) EMI's Great Recordings of the Century with Maria Callas, Tullio Serafin, Chorus & Orchestra of La Scala, Milan

Average customer rating:

all-star cast
Portrait of an Artist
This reissue is great
Wondrous recording
The Greatest Norma On Record And Calla's Greatest Role

Bellini: Norma (complete opera) EMI's Great Recordings of the Century with Maria Callas, Tullio Serafin, Chorus & Orchestra of La Scala, Milan

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Donizetti: Lucia di Lammermoor (complete opera) EMI's Great Recordings of the Century with Maria Callas, Giuseppe di Stefano, Tito Gobbi, Tullio Serafin
Verdi: Il Trovatore (complete opera) EMI Great Recordings of the Century with Maria Callas, Giuseppe di Stefano, Herbert von Karajan, Chorus & Orchestra of La Scala, Milan
Verdi - Don Carlo / Domingo · Caballé · Raimondi · Milnes · Verrett · Estes · Giulini
Verdi - Falstaff / Gobbi · Schwarzkopf · Moffo · Karajan
Wagner: Lohengrin

ASIN: B0000CG8EK
Release Date: 2003-10-07

Tracks:

Act 1, Scene 1: Sinfonia
Introduzione (Andante Grave)...(Orchestra) Ite Sul Colle, O Druidi
Dell'aura Tua Profetica (Oroveso/Coro)
Svanir Le Voci! (Pollione/Flavio)
Meco All'altar Di Venere (Pollione)
Odi? I Suoi Riti A Compiere (Flavio/Coro/Pollione)
Me Protegge, Me Difende
Allegro Assai (Orchestra) Norma Viene (Coro)
Sediziose Voci (Norma/Oroveso/Coro)
Casta Diva
Fine Al Rito, E Il Sacro Bosco
Ah! Bello A Me Ritorna (Norma/Oroveso/Coro)
Andante...(Orchestra) Sgombra E La Sacra Selva
Deh! Proteggimi, O Dio! (Adalgisa)
Eccola- Va, Mi Lascia
Va, Crudele
Vieni In Roma (Pollione/Adalgisa)

Tracks:

Allegro Agitato (Orchestra) Vanne, E Li Cela Entrambi (Norma, Clotilde)
Adalgisa!...Alma, Costanza
Oh, Rimembranza!
Ah Si, Fa' Core, Abbracciami
Ma Di: L'amato Giovane
Oh, Di Quai Sei Tu Vittima
Perfido!...Or Basti! (Norma/Adalgisa/Pollione)
Vanne, Si, Mi Lascia, Indegno (Norma/Pollione/Adalgisa/Coro)

Tracks:

Introduzione (Allegro Assai Moderato) (Orchestra)
Dormono Entrami! (Norma)
Ola! Clotilde! (Norma/Clotilde)
Mi Chiami, O Norma?
Deh! Con Te, Con Te Li Prendi
Mira, O Norma
Cedi, Deh Cedi!
Si, Fino All'Ore Estreme (Adalgisa/Norma)
Allegro Maestoso...(Orchestra) Non Parti? (Coro)
Guerrieri! A Voi Venirne
Ah! Del Tebro Al Giogo Indegno (Oroveso/Coro)
Andante Maestoso...(Orchestra) Ei Tornera! Si! (Norma/Clotilde)
Squilla Il Bronzo Del Dio!
Guerra! Guerra! (Oroveso/Coro/Norma)
Ne Compi Il Rito, O Norma? (Oroveso/Norma/Clotilde/Coro/Pollione)
In Mia Man Alfin Tu Sei
Ah, Crudele! In Sen Del Padre (Norma/Pollione)
Dammi Quel Ferro!
Qual Cor Tradisti
Norma! Deh Norma! Scolpati
Deh! Non Volerli Vittime (Pollione/Norma/Oroveso/Coro)

Customer Reviews:

all-star cast.......2007-06-13

The recording is exactly what you would expect from an all-star cast.

Owners of the Schirmer piano score, watch out for cuts from page 44 to 48, 76 to 80, and 106 to 107. The endings of bth acts are also different.

Portrait of an Artist.......2005-05-16

No other role is more associated with Maria Callas than the role of the Druid priestess Norma. Throughout her career, what survived out of the ninety Normas that she sang showed a growth in Maria as an artist and as a vivid painter of this extremely complex role. An excerpt of her 1949 Norma from Buenos Aires shows a warrior priestess who is in complete control of her vocal resources. In that recording (Divina Records 12), Callas is in splendid vocal form, giving one of her most vocally delectable interpretations of Casta Diva. Already in 1949, we see an artist who understood the part, but still didn't offer us a feminine side to it. During that same year, a Cetra recording with the Casta Diva...Ah Bello a me ritorna excerpt was released, also finding her in splendid vocal form (akin to Ponselle's Casta Diva, only better in coloratura facilities). It was an amazing document of the young Callas' career, and I'd recommend it to anyone who would like to discover Callas' voice. A year later, we have her Norma in Mexico, and we find a more warrior-like approach to the music, but nonetheless it gave an amazing effect to the fury duets in the second act. Two years later, in London, we find Callas giving us more of the woman along with a Stignani who was in splendid vocal form. Then the Trieste excerpts (also by Divina) shows another side of Callas in which we see her development as an artist. This is very much like the Sunflowers of Vincent Van Gogh, where each successing Sunflower painting shows a more intimate and personal side of poor Vincent. The next Norma document we have of Callas is this studio recording. Once again, Serafin and Callas collaborate in this recording, and oh what a recording it was! Callas, of course, is the biggest star in this Norma, but other singers like Stignani and Rossi-Lemeni make an impact on it as well. Although Stignani well into her years (as was her voice), her great dramatic mezzo soprano timbre was amazingly so, an instrument of that served the role well. After all, she had sung the role with Gina Cigna. Stignani may have sounded matrimonly enough to be Norma, but her Adalgisa was in every respect grande and complete. It may not have Ludwig's amazing and youthful insight into the role, but what a force of nature her voice was! Rossi-Lemeni is also another dramatic force to reckon with, and he is an Oroveso I would treasure the more I listen to him. Mario Filipesschi though, is lousy. He was vocally able, but his interpretation was lacking and he sounded boring. Callas though, is beautiful sounding in this recording. She was a complete Norma vocally and dramatically, and every excerpt that showcases her abilities as a singer is simply exquisite. She was also slimmer when this recording was made, so there was a certain sensitivity to her voice when she sang this Norma. And then there is Serafin. No other conductor has approached the genius of this man. His perfect use of the bel canto tempo gives it a dimension that no other maestro would touch, and this is the reason why I would recommend this recording. Other great Normas would follow, but this was the recording that would put Callas' stamp on the role forever.

This reissue is great.......2005-04-11

I don't have to elaborate the good things about this recording most what I have to say has been said by previous reviewers. Please read the reviews especially in the original cover edition. What I would like to say that this reissue is a cheaper version than the original black cover without compromising quality and cover. So for those who have not purchased this great recording (best Norma Studio recording ever) This is you chance to get this. In its label it says "The Great Recordings of the Century" I could never disagree with that.

Wondrous recording.......2005-03-31

This is one of a number of recordings I have with Callas, including one where Joan Sutherland plays Clotilde (this is a live recording and the sound is not great, but the performance simply sizzles and again Stignani is the Adalgisa). However, to this recording. At first I was not impressed with it like I felt I would be. Of course, Callas didn't disappoint at all, but the rest of the cast sort of bothered me. Norma's father was sung in a way with virtually no legato at all and sort of shoved out note by note. There was no characterization to speak of, but the voice was full (perhaps recorded very closely miked and forward). Pollione really sort of bothered me, as he is the first really important lead we hear. Of course, this role was sung by Mario Filippschi. He sounded old, but his high C was wonderful. I had to consult the booklet that came with the recording to learn a thing about him (which was precious little) but it did give his birth and death dates. The man was OLD when he recorded the role. He may have been a wonder in his younger days, as he was considered for the longest time the only tenor who could successfully sing the role of Arnoldo in Rossini's William Tell. However, when he recorded this opera, he was, well, nearing the age most tenors gladly stop singing. That said, with repreated listenings, I started to really see what he was offering the role. He had heart, he had masculinity, he had passion. And he did sing the notes. I found his diction much better than Stignani's and he sang the correct sound for most of his vowels (Stignani has a terrible habit of singing all the "e" vowels, said in Italian as an "AY" sound to those who speak English, with all sorts of vowel sounds, and it didn't matter if the vowel occurred in the passagio or not, so covering or darkening the tone for the passagio was not the reason). I also found he did play off Callas' Norma well. He could act with his voice, but in all truth, it is one of those non-descript voices that serves the music well and drifts out of the hearer's memory. No, he is not a Corelli, but he sings with far more finesse than Corelli does, and he never had to SCOUP up to his higher notes, and he followed the timing of the music perfectly. I really learned to appreciate his contribution to the opera.

Then there was Stignani. I have many recordings of her, some made way back when (back with Gigli) and she was electrifying in them. She had better diction as well and didn't distort her vowels as she does in this recording. However, as with Filippischi, she is no spring chicken. She is a "great dame" by this point in her life. Her legato line was not as it should have been (or as it was in the live recording I have), but it was by no means bad. One could tell hers is a huge voice, and well, they never record well. There was a super strong "squillo" to the sound (incredible ring, which is what a singer wants, even Callas has it, though her production is far too forward) which in and of itself gives excitement to whatever she sings. Personally, I felt she was far too old for Adalgisa by this point in her career, even though she sings it well (though to those who don't know, the duets are sung in the lower keys used by Ponselle when she sang the opera, not in the published keys in the score). I really doubt her ability to sing higher notes was the reason for the lower keys, for at that time period, it was normal to use the lower keys.

However, Stignani does dodge the high C in the first act duet with Callas, and it is sad, but not a loss. I am not sure about the characterization of her role, for I really didn't feel for a moment I was listening to the fears and loves of a young vestle virgin wondering what to do with her first love. At times, I almost thought she should be giving Callas advice on love, she seemed old enough to be her mother.

Yet, that said, I came to really love the performance. It is said that Stignani sounds "old fashioned" and that is quite a good desciption. She sings the role as it was sung in the olden days of opera (some call the golden age) and many of her methods and approaches to singing the role were also sung by Telva when she sang the role against Ponselle's Norma. That was how the world saw the opera then. We see it differently, and partly because of Callas and her new approach to things.

Now we get to the NORMA of the opera, Callas. I have a number of recordings of Callas in this role, this and another studio recording, and two live performances, one at Covent Garden with the Clotilde of Sutherland, and the Paris opera performance near the end of her career (where she flubs a High C in the last act, stops the performance and resings the phrase getting the note, and by the way, I was at that performance in person, so I had the opportunity to witness a Callas Norma, even if it was at the end of her career).

Though I agree with everyone when they say they find more subtleties with the later recording (and you will find even more in the Paris performance), Callas' basic understanding of Norma never changes. She knows what Norma is all about right from the get go. Maybe that was her work with Serafin that did that (after all, she very openly attributes her way with a recitative directly to him, and that he taught her how to make coloratura make dramatic sense, and she certainly does make it make dramatic sense). Whatever it was, this was a role that will forever be associated with Callas, and like many say, she is the only real Norma out there. Sutherland, Sills, and Caballe may have sang the notes more beautifully, but they didn't grasp, or if they did they couldn't convey it in their voices, the depth of character, nor the emotional distress of the character. Everyone sings her "angry moments" well, but what most forget is this is a woman who has lived a life of a lie for years. She is not the virgin she pretends to be. And that personal disappointment, that knowledge of self, that inner knowing of one's own hypocrasy, is there, even when Callas opens her mouth to begin the recitative that will lead us into the Casta Diva. As when Callas sang Violetta, we knew she was sick right from the get go, we know that Norman is a tormented creature right from the first notes, which makes her caballetta after the Casta Diva meaningful, for after all, she is not wanting her lover to be destroyed.

This recording has much to offer, and much joy to give. I rated it only 4 stars because of my reservations with the cast (it seems more often than not, Callas is paired with far inferior casts in her recordings, which is such a shame; imagine if she had singers, both men and women, equal to her in presentation, coloratura, musicianship, and in dramatic interpretation). However, having seen Norma many times by various artists, I tend to agree with one reviewer who stated that we sadly see anyone get up there and sing this opera really ruining it because they have no business being up there singing it, even if they have all the notes.

Callas may have not had the most beautiful voice, but she had far more than all the notes, she had the entire soul of the character; Callas is Norma.

The Greatest Norma On Record And Calla's Greatest Role.......2005-02-02

This is the best version of Bellini's Norma on record because of the power and beauty of Maria Callas' voice which was at its prime in this recording. Maria Callas in her legendary 1954 performance as Bellini's epic character Norma..what more can you ask for ? Fans of the great late diva will be pleased. She has the best voice on this recording than all the subsequent late 50's and 60's recordings. It benefits from having conductor Tulio Serafin, who knew how to work well with Callas, as the force behind the music. Serafin made Callas a star actually, because he knew how to effectively bring out the best in her.

Maria Callas in this Norma is fresh, powerful and complex. She is plaintive and spiritual in the serene "Casta Diva" aria, dazzling in the coloratura "A Bello A Mi Ritorna" and she changes from love-struck woman to a volcano of fury and revenge in the later scenes to finally noble and resigned in the finale. Only Callas could most dramatically portray Norma. It is true that Callas's singing technique emphasized the dramatic intensity more so than the beauty. She wanted for audiences to be treated to real drama. She strained her voice so hard that it can be a gritty ugly voice. Even like this, there are moments in which Maria Callas sounds absolutely beautiful. The weak cast supporting her are indeed inferior when compared to such singers as tenors Franco Corelli, Mario Del Monaco and mezzo soprano Christina Ludwig which Callas worked with in later recordings. But this doesnt matter seeing how Maria is the real star anyways.

Other Normas of great calibre include Shirley Verrett and Montserrat Caballe. Both these sopranos once visited Callas and sought advice for how to sing a sensational Norma. Callas told them not to overdo it or to oversing it. Shirley Verrett sang a fine Norma and is indeed closer to Callas than Caballe but Caballe did the role numerous times and seemed to master the role quite well. If you are looking for the best Norma look no further.

Great Recordings Of The Century - Rimsky-Korsakov: Scheherazade; Borodin: Polovtsian Dances / Beecham, Royal Philharmonic Orchestra

Average customer rating:

Cadenza
A classic that survives because of Beecham's infectious good humor
Extraordinarily charismatic
Great performance, not-so-ideal recording technique.
Ablaze with Color

Great Recordings Of The Century - Rimsky-Korsakov: Scheherazade; Borodin: Polovtsian Dances / Beecham, Royal Philharmonic Orchestra
Sir Thomas Beecham
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Great Recordings Of The Century - Schubert: Symphonies nos. 3, 5, & 6 / Beecham, Royal Philharmonic Orchestra
Rimsky-Korsakov: Scheherazade for orchestra Op35; Stravinsky: Song of the Nightingale

ASIN: B00000IOBM
Release Date: 1999-05-04

Tracks:

Scheherazade, Op.35: The Sea and Sinbad's Ship
Scheherazade, Op.35: The Story of the Kalender Prince
Scheherazade, Op.35: The Young Prince and the Young Princess
Steven Staryk: The Festival of Bagdad - The Sea - The Ship goes to pieces on a Rock surmounted by a Bronze Warrior
Polovtsian Dances ('Prince Igor', Act ll): Introduction: Andantino
Polovtsian Dances ('Prince Igor', Act ll): Allegro vivo
Polovtsian Dances ('Prince Igor', Act ll): Allegro
Polovtsian Dances ('Prince Igor', Act ll): Presto
Polovtsian Dances ('Prince Igor', Act ll): Moderato alla breve
Polovtsian Dances ('Prince Igor', Act ll): Presto
Polovtsian Dances ('Prince Igor', Act ll): Allegro con spirito

Customer Reviews:

Cadenza.......2007-04-30

Of all the recordings of Scheherazade by Rismsky-Korsakov, the one conducted by Sir Thomas Beecham is the performance that is most generous to his musicians. Each cadenza is given such exquisite freedom, the woodwinds particularly, that the solo musician can truly explore the glorious expression of Rimsky-Korsakov. Cadenzas in the Story of the Kalander Prince, the second movement, are so beautifully syncopated, patient here, passionate there, forceful there; so beautifully dynamic, quietly reliant on a single clear note or loud enough to where the instrument is abuzz with natural harmonics. And the final movement of the piece, Shipwreck, here Sir Thomas, more than any other conductor, lets the tapestry of music unravel until there is nothing left but this one last, long golden thread of solo violin.

A classic that survives because of Beecham's infectious good humor.......2006-07-13

Beecham conducted music with a smile, a rare gift that other conductors who possess better techniques and more virtuosic orchestras must envy. This 1958 Scheherazade remains a classic because it flows so naturally and unfolds with such good humor. In the U.S. many collectors automatically reach for Reiner's ultra-polished, stupendously played Living Stereo recording on RCA, whereas in the U.K. collectors just as automatically reach for Beecham.

By comparison, the Royal Phil. isn't a virtuoso ensemble, but their feeling for the music, their supple flexibility and relaxed phrasing outstrip Reiner's cool-sounding Chicago Sym. I love both recordings--and several by Stokowski, who is more flagrantly showing off--but if it came down to a desert-island choice, I think I'd go with the more humane, less spectacular Beecham. EMI's recorded sound is quite open and natural, also, showing its age only in a bit of snarl in the loudest tutties. Woodwinds ae deightfully prominent, strings are recessed.

Extraordinarily charismatic.......2004-09-03

This review is basically the same as the one I wrote for an earlier CD
reissue of this fine recording. Now that it has been rereleased as a
Great Recording of the Century, it will get the attention it deserves.

Beecham's recording of Scheherazade has not been out of print ever since
it was first released in 1958. It is quite simply the best recording of
Rimsky-Korsakov's finest work. The sound quality of the recording is
excellent for its time, and the engineers for the CD have done a good
job. The Royal Philharmonic Orchestra plays fabulously well, and
Beecham brings out all of the mystery, sensuality and barbarism that
used to be associated with the Orient. The notes that come with the
recording describe it best: "extraordinarily charismatic". It is not an
exaggeration. No one does the violin solos better than concertmaster
Steven Staryk, and Jack Brymer's clarinet solos are also brillant.

As a bonus, this CD also has the best recording of Borodin's Polovtsian
Dances I have ever heard. Unlike most recordings of these dances,
excerpted from "Prince Igor", it includes the choral voices just as they
are in the opera (in English, rather than Russian, though).

Great performance, not-so-ideal recording technique........2003-08-25

Sir Thomas Beecham's recording was my first Scheherazade CD. In many ways it remains an outstanding performance of Rimsky's beloved masterpiece. There is a pleasing suppleness to the musical phrasing, an irresistible propulsion from start to finish, and much attention to detail. Having had access to the CD section of a music library, I have hear many other Scheherazades and few, in my opinion, manage to even equal Beecham's reading. Mackerras' and Kondrashin's modern versions are its main rivals. Get all three of these if you can, each is indispensable in its own way.

With regards to the recording acoustics, there has been an on-going tendency of lovers of Beecham's disc to proclaim its superiority over Mackerras, Kondrashin's or any other modern digital version by citing Beecham's attention to detail. In actuality that has a lot to do with the primitive closely-miked recording techniques employed by 1950s EMI engineers. As a result you get to oooh-and-ahh when you hear the delicious close-up bowing of the cellos and violas in the quieter passages of the first movement. However, when the rest of the orchestra (especially the brass) start joining in, you then realize (horrors!) the congested acoustics of this recording. Be not mistaken, this is a finely-reburbished 1950s recording, but it cannot touch the naturally distanced/proportioned, spacious acoustics of digital discs like Mackerras'. Do not be fooled, like some professional critics have been, that the wealth of close-up instrumental details available in Beecham's CD means that his performance is superior to modern CDs. (This is how we get all of this perpetuated rubbish that ALL vintage 50s CDs can never be surpassed. Hmph.)

In summary, this vintage Scheherazade is one not to be without but ideally it should also not be the single version in your music collection. A finely recorded modern version of Scheherazade is also a must.

Ablaze with Color.......2002-11-02

Years and years ago I came across Beecham's wonderful recording of Rimsky-Korsakov's most famous piece while listening to NPR. The channel has since gone to talk format, but I still greatly enjoy this classic disc.

Scheherazade is given both space and atmosphere by Beecham and the RPO. The first time I heard it was while driving around on an autumn evening--the leaves the color of gold and flame. I cannot help but feel the same colorscape whenever I hear this piece now.

This disc is loaded with excellent, colorful, wondrous music. At mid-price, this is a "must-have."

Music Review: