How to Be Found

Robert Kinsler , Orange County Register (Nov 2003)
"Layered atop driving, intelligent rock songs boasting distinctive guitar riffs and sing along choruses...."

Product Description
"How To Be Found" is comprised of previously unreleased tracks, written by dada and mixed by rock industry hearyweights Bob Clearmounton (Springsteen, Bowie) Scott Gordon and Tom Lord. The infectious collection of songs, newly mastered, is classic dada: smart, sharp lyrics, undeniable melodies and incredible musicianship by Joie Calio (vocals, bass), Michael Gurley (vocals, guitar) and Phil Leavitt (drums, vocals). Few Bands endure over a decade of work together. Fewer still, are delivering their strongest performances and material ten years down the road.

How to Be Found

How to Be Found,Dada,Blue Cave,Adult Alternative Pop/Rock,Pop,Rock,Rock/Pop

How to Be Found

Average customer rating:

Let Me Explain...
What's Left To Be Said?
Not their best album, but still great
A fan's disappointment
The Greatest Unknown Band Returns to Top Form!

How to Be Found
Dada
Manufacturer: Blue Cave
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

General | Rock | Styles | Music

Pop Rock | Pop | Styles | Music

Adult Alternative | Pop | Styles | Music
Similar Items:

Live: Official Bootleg (Vol. 1)
El Subliminoso
American Highway Flower
Napalm Springs
Puzzle

ASIN: B0001IXTEA
Release Date: 2004-03-02

Tracks:

The Next Train Out of My Mind
It's All Mine
How to Be Found
Crumble
Nothing Like You
Guitar Girl
Any Day the Wind Blows
Blue Girl
My Life Could Be Different
What's Happening to Steven
I Wish You Were Here Now
Reason
Love Is a Wierd Thing

Album Description

"How To Be Found" is comprised of previously unreleased tracks, written by dada and mixed by rock industry hearyweights Bob Clearmounton (Springsteen, Bowie) Scott Gordon and Tom Lord. The infectious collection of songs, newly mastered, is classic dada: smart, sharp lyrics, undeniable melodies and incredible musicianship by Joie Calio (vocals, bass), Michael Gurley (vocals, guitar) and Phil Leavitt (drums, vocals). Few Bands endure over a decade of work together. Fewer still, are delivering their strongest performances and material ten years down the road.

Customer Reviews:

Let Me Explain..........2007-06-12

Getting a new Dada record is like going back in time and getting a new Beatles album- life changing, confusing, entertaining, a logical development you could never have predicted.
First and foremost, they ROCK here. Real rock. The stuff that makes your feet move, makes babies, creates an impressionistic splash of words and notes that somehow captures a moment, or an emotion, or a person, or is just so freaking COOL that you join in because it feels **SO** good!

Far and away my favorite song here is "What's Happening To Steven", though my second favorite is about a 6 way tie. ("Crumble", "Nothing Like You", "Guitar Girl", "Any Day the Wind Blows", "Reason", "Love Is A Wierd Thing") How good is it? My 10 year old son loved it from the first time he heard it and we sing along with it, (just like we do with "Who You Are" from Puzzle) over and over in the car.

I am in awe of the way Dada construct and then play their songs. Great melodies, Solid drum/bass/guitar sound, a range of tempos, the interplay of the three as they sing together and, usually, a stand-out guitar solo. And they repeat this fetching combination 10-13 times on each album.

Of course, "What's Happening To Steven" NEVER DOES explain what's happening to Steven- but that's part of the charm of it isn't it?

Another helping of the good stuff!

What's Left To Be Said?.......2005-04-30

After reading all of the superlative reviews of DADA'S latest release: "How To Be Found"; I find it incredible that these guys are still so relevent musically.I've found myself listening to this CD over, and over and each time finding something in the songs that I had'nt heard before. The last song "Love Is A Weird Thing" is by itself, an example of why I never get tired of listening to these guys. It starts out slow, and then builds to an emotionally charged dynamic ending. All the other reviews are right: DADA are back, and better than ever!

Not their best album, but still great.......2005-03-27

I've seen Dada twice, once back in 94, after the release of American Highway Flower, and again about a year ago. There is no way you can possibly conceive how incredible a guitarist Mike Gurley is simply by listening to their recordings alone. He is phenomenal, and it is beyond me why they have gotten no air play whatsoever, besides Dizz Knee Land and Dim. Gurley is one of the most interesting musicians to listen to--his guitar work will captivate you, and you will be astounded by the sounds he can make with his instrument. If I had to say, "gee, I sure wish I could play guitar like him", I would say it about Gurley, he is by far one of the best. As far as How To Be Found goes, it's very good. Lots of nice rockers, "No one Like You" is an incredible song and "Love is a Weird Thing" is also very good, two of my favorite songs by Dada, and the two standout tracks on this CD. I think this follows nicely along the path Dada has started on since they began recording, and though it's not their best album, take into consideration what they've done before--how could you top albums like American Highway Flower or El Subliminoso?? Those are landmarks in modern rock. All in all, fans should not be disappointed by this album, I wasn't whatsoever. If ever Dada comes to your town, you better go see them--they put on one of the most incredible shows, and I guarantee if you like Dada now, you'll like them ten times more after you experience them live!!!

A fan's disappointment.......2005-01-02

I've been a fan & have listened to their music since the early 90's. I got all copies of their studio releases but this is the worst to crash in to my collection. It seems the magic's gone...the vocal harmony & catchy guitar lines(how i wish i could play the axe that way!). For starters, I'd recommend "Puzzle" first because for me that's where my addiction to their music started.
To the "greatest roady trio", you got yourself a filipino fan...but my heart just sank on this latest release you had but still...more power to you guys!!!

The Greatest Unknown Band Returns to Top Form!.......2004-11-21

There was another review here that was quite negative, but it was because she thought she was buying something completely different! Dada has been around since the early nineties, and after a hiatus of sorts, they reformed to produce "How To Be Found". I'll echo what many other reviews and comments here and across the Internet say: dada is the most under-rated power trio of the nineties and now. These guys are musician's musicians! And HTBF is as good as their first album, "Puzzle". If you're new to dada, pick either or both of these albums, then dive into their other releases for more goodness. And if you EVER get a chance to see them live, you MUST go! You will not be disappointed ;-)

Average customer rating:

A Rose By Any Other Name...
"Thus I salute the stronghold, safe from dread and dismay!
Free at last!
I Love This Recording
The Goodall Ring - 1975 - Restored and Remastered

Wagner: The Rhinegold
English National Opera
Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
Similar Items:

Siegfried (Goodall Ring Cycle/Chandos Opera in English)
The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)
Wagner: The Valkyrie

ASIN: B00005B550
Release Date: 2001-05-22

Customer Reviews:

A Rose By Any Other Name..........2007-07-02

The figure of speach may not be completely correct in this instance, but, well, I hope you get the point. In any case, for a Dutch speaking person, like I, to hear 'The Ring' in a language other than the original German feels - almost shockingly(?) - natural. Certainly, this modern English translation, to me, is as least immediate, and probably even more immediate, than the original (archaic) German text. And in music drama, immediacy is essential. Maybe it is also the wonderfully natural translation, I don't know, but it works for me, the Ring in English.
But most of the credit has to go to the music, the singers, and the recording as such. I believe that this (originally analogue) remastered recording has one of the best recorded sounds and acoustics of any Ring, studio or 'live'. It is wonderfully clear but warm, kind of velvety (very unlike Solti), with beautifully natural balaces between voices and orchestra. Audience noises can be heard (including a delightful little ripple of laughter) but never really obtrusively so, thankfully. And I love the thunderclap-sound effect when Donner strikes his hammer against the rocks - very tastefully done, and lending extra power to the scene.
All the time one reads in reviews everywhere of the very slow speads at which the music is conducted by Sir Reginald Goodall. Well, that may be so, but I, for one, am certainly endeared to Sir Reginald Goodalls 'caressing' of the music, as a result of which wich the Leitmotifs come out more clearly than ever. The slow - but nonetheless very concentrated, and always involved - playing has, to me, an almost mesmerizing effect. Certainly, compared to many other recordings, the music may sound stretched almost beyond breaking point. But in the end, I think it is really just that: a matter of speed, no more. The concentration never falters and the dramatic arc never saggs. There is live 'music magic' going on here, I feel, even if the English National Opera Orchestra may not be (as precise or as diciplined as) a Wiener Philharmoniker or a Bayreuther Festspielorchester. Certainly, Sir Reginald Goodall must have loved this music and these opera's: one feels a slowly beating but constant loving pulse that energizes the drama and the music.
But we also have the singers. And what a great singers! While the best may be yet to come (with Alberto Remedios as Siegmund and Siegfried, and Rita Hunter as Brunnhilde), we here, in The Rhinegold, already have one of the most commanding of Wotans (Norman Bailey, with wonderful burnished timbre). Also, Emile Belcourt stands out as a wonderfully sleek but full-voiced Loge. Derek Hammond-Stroud's Alberich may not be as black as Gunther von Kannen's (for Barenboim), for example, but there is enough anguish, frustration and anger to lend his character a convincing reality and depth. And the giants too, are a winning pair. Especially Fafner (Clifford Grant) is as imposing and powerful as one may ever wish.
With all the rave reviews, here and elsewhere I can't wait to hear The Valkyrie, (especially) Siegfried and Twilight of the Gods. This certainly is a winning 'Ring', to be kept alongside any other 'great' recorded 'Ring' out there, IMHO. To me, it can hold its own alongside any other favorite recordings.
Please, sample this Ring (try for example the Chandos website for fragments of all of the music) and decide for yourself. Highly recommended.

"Thus I salute the stronghold, safe from dread and dismay!.......2007-06-12

Okay, so we have the Solti, Bohm, Karajan, Goodall, Boulez, Janowski, Levine, Haitink, and Sawallisch Rings on the market (I haven't listened to the other Ring recordings yet, sorry to say). And all of these leave me to one conclusion: the many differences lead me to believe that all of these ring sets have their own authenticities and setbacks. And here they are:

TIMING (Estimate):
Solti's Ring: 14 hours, 30 minutes
Bohm's Ring: 13 hours, 30 minutes
Karajan's Ring: 14 hours, 50 minutes
Goodall's Ring: 16 hours, 50 minutes
Boulez's Ring: 13 hours, 40 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Haitink's Ring: 14 hours, 10 minutes
Sawallisch's Ring: 14 hours, 0 minutes

CONDUCTING:
Solti: Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His Walkure & Gotterdammerung Preludes are clear examples: they're annoyingly bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.

Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe "Wohin schleich'st du eilig und schlau"). I especially like his "Forging Scene" & "Hagen Summons the Vassals"; both are the most energetic on disc.

Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as Siegfried Act Three Scene Three) are controlled nicely. His "Funeral March" and "Immolation" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.

Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: nothing is faster than andante. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.

Boulez: Here it is, folks - the controversial Centennial Ring. To fit the Ring Cycle in the industrial age, Boulez gives it a very Schoenbergian, Bartokian atmosphere. Much of his tempi are very quick, very Bohm-like, though they're still not as fast as Bohm. Keep in mind, though, this live Ring works only if you hear AND see it (the DVD's work best).

Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Sawallisch's). Rheingold Scene Four can be best described as "sensational".

Levine: While he does stay true to the score like Bohm, this conductor makes for a somewhat dull Ring. His handling of the orchestra is nice, but the moderately slow tempi he chooses is flawed. It should be more animated. His beautiful "Funeral March" and "Erda's Warning" are two of the few flawless features.

Haitink: This might be seen as a disappointment. If you want great conducting, then this is for you. If you want a persuasive array of singers, look somewhere else. Haitink's conducting saves this work from being a total flop. There is nothing quite like his Rheingold & Gotterdammerung ("Siegfried's Rhine Journey" is a bit forced, but magnificent nonetheless).

Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.

ORCHESTRA:
Solti's Vienna Philharmonic: The woodwinds are the most beautiful in Solti's Ring (the "Forest Murmurs" is clear evidence of that). French horns and Wagner tubas make this a recommended listening. The strings in "Heda Heda Hedo" could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.

Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Erda's scenes aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tone & technique. Overall, this orchestra is the most dramatic.

Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung "Three Norns" Scene sounds very mysterious, very eerie.

Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. The Flight of the Valkyries doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act Two Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.

Boulez's Bayreuth Festival: While it doesn't really pack the same punches as Bohm's Bayreuth, it still delivers a stunning performance. Orchestral interaction between characters (Ex. Siegfried's motifs mixed in with Mime's motifs) fares better than Berlin's and English National's. Rhine maiden motifs are given more wit, while the Dragon motifs are played with less eeriness. Beauty makes up for the irritatingly quick "Wotan's Farewell".

Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Boulez's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are heard clear in this Ring. The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Solti's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.

Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.

Haitink's Bavarian Radio Symphony: This may very well be like Metropolitan, only this sounds much more poignant. The strings sound better and the percussion sound clearer. The leitmotivs are almost never screwed up. First scene of Rheingold will take one's breath away.

Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.

SINGERS:
-Wotan
Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Rheingold, in which a less stellar George London performs).

Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording, but he still doesn't disappoint.

Karajan: Dietrich Fischer-Dieskau plays Wotan in "Rheingold," while Thomas Stewart replaces Fischer-Dieskau in "Walkure" and "Siegfried". I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both "Walkure" and "Siegfried".

Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen.

Boulez: If you watch Donald McIntyre on the Centennial Ring production, then you can tell that he's a fine "industrial" Wotan. If you just hear him on CD, then you'll be disappointed. His diction is weak, his emotions are forced, and his voice sounds robotic. The DVD's will do.

Levine and Haitink: James Morris is a notch below Hotter, Adam, and Bailey, but he overpowers Fischer-Dieskau pretty much throughout the Levine's and Haitink's Ring.

Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his Wotan's Farewell wasn't enough to sadden me.

-Brunnhilde
Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her final scene in Gotterdammerung is brilliant beyond belief.

Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Gotterdammerung, sorry to say).

Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."

Boulez: How can anyone not be impressed by the Brunnhilde of Gwyneth Jones? One can almost feel her excitement during Siegfried Act Three, and her fear in Walkure Act Three. Her weakest point is probably during her Gotterdammerung Prologue (a bit too stressed).

Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.

Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin: while she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).

Haitink: Hmph. I was hoping that Eva Marton would do well here. I was seriously let down by her strained singing. She does okay in "Annunciation of Death", but she is at her worst in "Immolation".

-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm, Jon Vickers for Karajan, Alberto Remedios for Goodall, Peter Hoffman for Boulez, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, Reiner Goldberg for Haitink, and Robert Schunk for Sawallisch. For the Sieglindes, we have Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jeanine Altmeyer for Boulez, Jessye Norman for both Janowski and Levine, Cheryl Studer for Haitink, and Julia Varady for Sawallisch. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Three exceptions, though: Goldberg and Schunk don't sound heroic enough, and Norman for Levine doesn't sound young and innocent enough.

-Siegfried
Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in both renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming.

Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.

Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.

Boulez: Is Manfred Jung a good tenor? Yes. Is he a good Heldentenor? NO. He doesn't have that heroic voice like Windgassen and Remedios. Again, the DVD's are your safest bet.

Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.

Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. Levine should've chose Kollo or Jerusalem when he recorded his studio Ring.

Haitink: Have you ever seen Siegfried Jerusalem on the Levine/Metropolitan DVD? Well, here he is again, and this time, he sings with more valor and enthusiasm. Bravo!

-Alberich
Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?").

Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.

Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.

Boulez: What we have here is the weak Alberich of Hermann Becht. When he's in Nibelheim, the authority isn't there. When he's in the Neid-Hohle forest, the creepiness isn't there. And when he's near the Gibich house, the misery isn't there. Even on DVD he's unsatisfactory.

Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.

Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.

Haitink: No offense, but Theo Adam as Alberich? Come on . . .

-Mime
Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners.

Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.

Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.

Boulez and Levine: Heinz Zednik is yet another excellent Mime, VERY fun to listen to. There is much humor and eccentricity in his voice, and that's what makes his dwarf much more compelling than Dempsey's dwarf. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.

Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. He is equal to Zednik when it comes to humaneness and lyricism. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.

Haitink: Peter Haage sounds like he's entertaining young kids. His version of Mime is a bit childish, and the dark humor that the dwarf brings out sounds-over-the-top here. Nonetheless, he is still entertaining to listen to ("Wer halfe mir?" has never sounded better).

Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.

-Loge
Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere is greatly affects the entire Rheingold. But he'll soon be forgotten later on during the Trilogy.

Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Again, another Loge that's marred by lack of cunning.

Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. He has the wit, the craftiness, and the untrustworthiness that the character deserves. His scenes in Scene Three are delightful.

Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.

Boulez and Haitink: I can summon Heinz Zednik's performance in just three words: Brilliant Beyond Belief!

Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt and Zednik depend only on vengeance and deviousness, Stolze only imagination and deviousness, Windgassen and Svanholm only peril. His odd conversations with Alberich and the gods/goddesses are classic.

Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.

Sawallisch: Robert Tear is on par with Stolze and Zednik. Sometimes he takes things too low, but all is forgiven with his management of character development.

-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings. Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). Anja Silja is the most memorable Freia (Bohm), while Kurt Moll makes the most fabulous Hunding yet (Janowski, Levine, and Sawallisch). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm, Goodall, and Boulez. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.

CONCLUSION: I have yet to listen to Barenboim's Bayreuth presentation, Neuhold's Badische version, and the essential mono recordings (Furtwangler, Krauss, etc.), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the industrialized Boulez, the truthful Janowski, the unhurried Levine, the abnormal Haitink, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.

The Box Set: Wagner: The Ring Cycle (Box Set)
-The Valkyrie (Part 2): Wagner: The Valkyrie
-Siegfried (Part 3): Siegfried (Goodall Ring Cycle/Chandos Opera in English)
-Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

Free at last!.......2004-09-18

I've enjoyed listening to the Ring cycles by Solti, Bohm, and Furtwangler, but my pleasure has always been dampened by the necessity to follow the dramas with a German/English libretto. This performance freed me from that burden and allowed me to listen to the Ring with my ears alone for the first time. And what a delightful experience it was! I found I could understand about half the words the first time through. but that was enough for me to understand what the characters were saying and concentrate on Wagner's great music. Some of the characters (Loge and Alberich, for example) are almost perfectly comprehensible, while others (Fricka in particular) might as well be singing in German. The sound itself is superb, with perfect balances between orchestra and voices. Goodall's conducting is famously slow (about half an hour longer than usual), but he is never slack and he reveals a wealth of detail in the orchestration. The singers are a mixed lot, with Loge, Alberich, and Mime particularly effective. Bailey is hardly the grandest of Wotans, but he is solid and convincing. In any event, for us non-German listeners, this recording is a real treat. I would not recommend it as a first Ring (Bohm is a good choice, though some of his tempi are rather hectic), but as a supplement to a recoding in the original language, it is hard to beat. Give it a try! As for me, I'm ready to go on to "Die Walkure" (pardon me, "The Valkyrie").

I Love This Recording.......2002-04-05

I was a little suspicious when approaching this English-language version of Das Rhinegold. I was considering assembling this as my third RING set (behind Solti and Levine) and had listened to THE VALKYRIE (Die Walkure) with a little initial disappointment. Although the live sound quality was very interesting, the tempo was much slower than I was used to and thus a little disconcerting, and the English words were harder to understand than I had hoped. Nevertheless, I persevered and listended to THE RHINEGOLD (probably my favorite of the four RING operas, although I know this puts me in a minority) and was amazed. Best of all, after listening to this album I revisited the Goodall VALKYRIE and discovered a new appreciation! Now the Goodall set ranks as one of the best I've heard. It just needed to get under my skin a bit.

What's so good about it? Three things stand out for me: First, the slow tempi that were a litle rough at first actually allow, upon repeated listenings, a new discovery and understanding of Wagner's unfathomable genius. Every nuance is slowed down just enough to be fully accessible. Second, the modern English translation really does make this a different experience...my initial mistake was thinking that English lyrics could allow me to listen to this as background music, and that's not the case. However, if one devotes the same attention to this as a German recording, the time wil be richly rewarded. Finally, the smaller orchestra creates an almost chamber music-esque setting, which compliments the music in an undefinable way. Despite being in English, this is almost more Germanic than original-language recordings.

I still probably wouldn't get this as the first foray into Wagner's RING (I still think Solti or Levine are the choices for that). But for someone who already has some familiarity with the work, this will provide a lifetime's enjoyment. Cudos to Chandos for resurrecting these recordings!

The Goodall Ring - 1975 - Restored and Remastered.......2001-06-08

I have been curious about this for years. When I saw the packaging, I wondered whether this was the same Ring that has been kicking around for a couple of decades from the Sadler's Wells performances of the mid-70s. News flash: It's the same. However, the box says that it's been re-mastered with something called 24-bit digital mastering. Since I never heard the old records, I have no idea if this is better. Judged on its own, the sound is terrific. This live recording really places the listener in the theater with clarity and authentic spaciousness. So often, a live recording will capture the audience up close, then the orchestra, then the singers, cataloguing every throat being cleared and every bow being tapped. Somewhere in the distance, the singers voices follow their heavy tread over the stage. Not here. There is an intimacy to the sound here that approximates sitting in about the tenth row back in a large hall. It doesn't sound like the opera's being played in your room; it sounds as though your room has been transformed into a medium sized theater. I found it uncanny.

As to the experience of the drama in English, that too is remarkable, at least for someone like me whose home-tongue is English. The drama takes on an immediacy that I have never experienced before. This factor alone is why you should explore this Ring. I can't overemphasize the impact on me that this recording had on me because it was in English and because it was well-acted. Surely this is what Wagner meant, at least dramaturgically (obviously allowing that you can't actually see the action).

Overall, the singing is competent, and in some places, it's excellent. None of the cast really stands out musically. Norman Bailey's wobbly Wotan could have certainly benefitted from a deeper, richer tone. Still, and perhaps more importantly, he creates a god who is clearly unsure of where the moral highground is, even when he's standing on "an open space on a mountain summit." Everyone, for that matter, is dramatically convincing, especially Emile Belcourt (Loge) and Derek Hammond-Stroud (Alberich) and Robert Lloyd (Fasolt), all of whom, by the way, have excellent diction. And speaking of diction, I almost could have done without the libretto when the men were singing. Not so with the women, whose diction was uniformly wanting.

Goodall's pace is notoriously glacial. Still, it's interesting to hear it parsed in this way, and I never had the feeling that I was going to fall off the world. Which is to say that the tempos were deliberate, not affected. This was definitely a labor of love for RG and the English National Opera. The orchestra is a little thin sounding, and perhaps, not entirely up to the score. Occasionally a horn mis-blew and a cello creaked. This is unavoidable in live performances, I suppose. Still, there is a surprising sense of smallness to the ensemble, even though there's never a moment when the balance between singers and players is lost. As a result, the overall effect is a balance of clarity and urgency that is clearly the upside of Goodall's idiosyncratic "vision" of the score. Not a huge or "erotic" sound, but always committed, intelligent, and sometimes impassioned.

Tracks:

Not Mine
I Found A Million Dollar Baby
Yesterday
On The Boardwalk In Atlantic City
They Say It's Wonderful
Alfie
You'd Be So Nice To Come Home To
Getting To Know You
Send In The Clowns
I Talk To The Trees
Thirty-Nine
Gigi
Indispensable
How Are Things In Glocca Mora
I Love You, Samantha
Top Hat, White Tie, And Tails

Average customer rating:

One stop on the road to immortality
Must Stop Ordering When Drinking - Or Maybe I Got Foxed

Beggar's Opera / Polly
Gay , and Austin
Manufacturer: Symposium
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

General | Musicals | Broadway & Vocalists | Styles | Music

General | Classical | Styles | Music
Similar Items:

John Gay - The Beggar's Opera / Jonathan Miller · John Eliot Gardiner · Roger Daltrey · English Baroque Soloists

ASIN: B0000799KV
Release Date: 2003-03-25

Customer Reviews:

One stop on the road to immortality.......2006-11-19

This is a more than competent CD transfer of acoustic recordings of Sir Nigel Playfair's legendary 1920s revivals of The Beggar's Opera and its sequel Polly. Quite sufficiemt to show why the Beggar;s Opera production, meant to fill a few weeks' gap at the Lyric Theatre, Hammersmith, ran for three years. And while Gay's sequel was like most sequels, not up to the original, this recording is the only source for the second-best ballad opera.

Must Stop Ordering When Drinking - Or Maybe I Got Foxed.......2006-09-02

Right. Can't remember what state of sobriety I was in when I ordered this cd and I may have missed some key clues about its nature. But I was so excited to find anything claiming to relate to Gay's "Polly" (which otherwise seems to have completely disappeared after it was censored in the 18th century - even internet wise) that I bought this cd. Turns out it is a cd version of some music originally recorded in the early 1920's. It is moderately interesting even for someone who is not primarily interested in antigue recordings (aka "scratchy records") because the style may be closer to that of the original performance. (There is no reason to think that common tastes were better in the 18th century than in 1920.) It is certainly different than contemporaneous performances of BO.

Don't mean to be sexist - which I am - but the duets, choreses and male performances seem to be less antigue than the soprano pieces. The broads are simply squeaky. Something to do with frequency loss in early recordings, I expect. On the other hand, the bass songs are equally abrasive and archaic.

Even the notes about "Polly" in this cd are disappointing. No mention of the history of "Polly", no mention of the source for the music. Try googling for a link for Gay and Polly. If you find one, be sure to post - I would love to know.

Unless you are an academic involved with some of the most obscure corners of the history of recorded music, I would forget this one. Instead, root for someone to find and record Gay's Polly. And buy a more modern interpretation of the Beggar's Opera. I have certainly heard antique recordings restored more vibrantly than this cd - but I would think that depends to a large extent on the quality of what you have to start with.

The only reason I gave it 2 stars (for some reason, Amazon refuses to record my change from 1 to 2 stars; but that is computers for you) instead of 1 was because of I love the melodies of the songs so much. But I will also admit that it is possible that Gay have been lucky that Polly was suppressed - the melodies and lyrics are not nearly as good as BO. On the other hand, this cd is so antique that is an unfair basis for judgment, But what the H!

Average customer rating:

Verse Anthems from Bull to Boyce

Manufacturer: Deux-Elles
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Anthems | Vocal Non-Opera | Opera & Vocal | Styles | Music

Partsongs | Vocal Non-Opera | Opera & Vocal | Styles | Music

Pathways of Baroque Music - Secular Vocal Music

Average customer rating:

A wonderfully complete overview of Baroque secular music!

Pathways of Baroque Music - Secular Vocal Music

Manufacturer: Harmonia Mundi
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Renaissance (c.1450-1600) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

English | Languages | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

General | Soundtracks | Styles | Music
ASIN: B0000007HY
Release Date: 1997-12-09

Tracks:

I. The Renaissance Of The Solo Madrigal: Anchor Che Col Partire - The Hilliard Ens/Paul Hillier
I. The Renaissance Of The Solo Madrigal: Allala, Pia Calia - Ens Clement Janequin/Dominique Visse
I. The Renaissance Of The Solo Madrigal: So Ben Mi Ch'a Ben Tempo - Rene Jacobs/Konrad Junghanel
I. The Renaissance Of The Solo Madrigal: Amarilli, Mia Bella - Rene Jacobs/Konrad Junghanel
I. The Renaissance Of The Solo Madrigal: Vezzosi Augelli - Concerto Vocale/Rene Jacobs
I. The Renaissance Of The Solo Madrigal: Crudele Acerba - Concerto Vocale/Rene Jacobs
I. The Renaissance Of The Solo Madrigal: Merce Grido Piangendo - Les Arts Florissants/William Christie
I. The Renaissance Of The Solo Madrigal: Occhi Del Pianto Mio - Helena Afonso/Christina Miatello/Marinella Pennichi/Sergio Vartolo
I. The Renaissance Of The Solo Madrigal: T'amo Mia Vita - Helena Afonso/Christina Miatello/Marinella Pennichi/Sergio Vartolo
I. The Renaissance Of The Solo Madrigal: Quella Vermiglia Rosa - Judith Nelson/Konrad Junghanel
II. Monteverdi And The 'Seconda Prattica': Luci Serene A Chaire - Concerto Vocale/Rene Jacobs
II. Monteverdi And The 'Seconda Prattica': T'amo Mia Vita - Concerto Vocale/Rene Jacobs
II. Monteverdi And The 'Seconda Prattica': O Come Sei Gentile - Claire Brua/Sandrine Piau
II. Monteverdi And The 'Seconda Prattica': Il Combattimento Di Tancredi E Clorinda - Francoise Semellaz/Adrian Brand/Nicolas Rivenq
II. Monteverdi And The 'Seconda Prattica': Zefiro Torna - Helga Muller-Molinari/Rene Jacobs
II. Monteverdi And The 'Seconda Prattica': Italian Madrigals: O Dolcezze Amarissimi D'amore - Concerto Vocale/Rene Jacobs
III. The Madrigal To The Secular Cantata: Cant: Amanti, Lo Vi Disfido - Judith Nelson/Jaap Ter Linden/William Christie/Konrad Junghanel
III. The Madrigal To The Secular Cantata: Cant: Il Mio Core E Un Mar Di Pianti - Agnes Mellon/Rene Jacobs/Ageet Zweistra/Yvon Reperant/Konrad Junghanel

Tracks:

I. The Madrigal Opera, Or The Commedia Dell'arte In Music: L'amfiparnaso, Commedia Harmonica... - Ens Clement Janequin/Dominique Visse
I. The Madrigal Opera, Or The Commedia Dell'arte In Music: L'amfiparnaso, Commedia Harmonica... - Ens Clement Janequin/Dominique Visse
I. The Madrigal Opera, Or The Commedia Dell'arte In Music: L'amfiparnaso, Commedia Harmonica... - Ens Clement Janequin/Dominique Visse
II. The First Masterpieces: Orfeo: Toccata - Concerto Vocale/Rene Jacobs
II. The First Masterpieces: Orfeo: Prologo: Dal Mio Permesso Amato - Efrat Ben-Nun
II. The First Masterpieces: Orfeo: Act 1: Vieni, Imeneo - Concerto Vocale/Rene Jacobs
II. The First Masterpieces: Orfeo: Act 2: Ah Casi Acerbo! (Pastori Orfeo) - Jennifer Larmore
II. The First Masterpieces: Orfeo: Act 2: In Un Fiorito Prato (Pastori) - Jennifer Larmore
II. The First Masterpieces: Orfeo: Act 3: Possnte Spirto - Laurence Dale
II. The First Masterpieces: Orfeo: Act 3: Ritornello (Arpa) - Concerto Vocale/Rene Jacobs
II. The First Masterpieces: Lamento D'Arianna: Il Ritorno D'Ulisse In Patria - Helga Muller-Molinari
II. The First Masterpieces: Il Ritorno D'Ulisse In Patria: Sinf - Bernarda Fink/Dominique Visse/Mark Tucker/David Thomas
II. The First Masterpieces: Il Ritorno D'Ulisse In Patria: Act 4, Scene 3: Ecco L'arco D'Ulisse - Bernarda Fink/Dominique Visse/Mark Tucker/David Thomas
II. The First Masterpieces: L'Incoronazione Di Poppea: Act 2, Scene 3: Amici, E Giunta L'ora - Michael Schopper/Dominique Visse/Gerd Turk/Andreas Lebada/Danielle Borst/Guillemette Laurens
II. The First Masterpieces: L'Incoronazione Di Poppea: Pur Ti Mio - Michael Schopper/Dominique Visse/Gerd Turk/Andreas Lebada/Danielle Borst/Guillemette Laurens
III. Monteverdi's Successors: Orfeo: Lagrime, Dove Sete - Agnes Mellon
III. Monteverdi's Successors: Giasone: Act 1, Scene XIV: Medea's Magic Room - Gloria Banditeli/Michael Schopper/Dominique Visse/Guy De Mey/Bernard Deletre/Harry Van Der Kamp
III. Monteverdi's Successors: La Calisto: Act 1: Sinf - Concerto Vocale/Rene Jacobs
III. Monteverdi's Successors: La Calisto: Act 1: Piante Ombroso - Mario Bayo
III. Monteverdi's Successors: La Calisto: Act 1: Va Pur, Va' Pur, Va'seco - Mario Bayo/Marcello Lippi/Simon Keenlyside
III. Monteverdi's Successors: La Calisto: Act 1: The Ballet Of Bears - Mario Bayo/Marcello Lippi/Simon Keenlyside/Conc Voc/Rene Jacobs

Tracks:

I. Elizabethan Ballads, Madrigals And Folksongs: Oyez! Has Any Found A Lad? - Alfred Deller
I. Elizabethan Ballads, Madrigals And Folksongs: We Be Soldiers Three - Alfred Deller/Desmond Dupre
I. Elizabethan Ballads, Madrigals And Folksongs: Come To Me, Grief, Forever - Emily Van Evera
I. Elizabethan Ballads, Madrigals And Folksongs: The Three Ravens - Andreas Scholl/Andreas Martin
I. Elizabethan Ballads, Madrigals And Folksongs: Barbara Allen - Andreas Scholl/Andreas Martin
I. Elizabethan Ballads, Madrigals And Folksongs: Flow My Tears - Andreas Scholl
I. Elizabethan Ballads, Madrigals And Folksongs: Go From My Window - Andreas Scholl
I. Elizabethan Ballads, Madrigals And Folksongs: Sorrow, Stay - Andreas Scholl
I. Elizabethan Ballads, Madrigals And Folksongs: Packington's Pound - The King's Noyse/David Douglass
I. Elizabethan Ballads, Madrigals And Folksongs: The Were Three Ravens - Ravencroft
I. Elizabethan Ballads, Madrigals And Folksongs: She Weepeth Sore In The Night - The Hilliard Ens
II. The 17th Century English Musical Theatre: Venus And Adonis: Ov - London Baroque/Charles Medlam
II. The 17th Century English Musical Theatre: Venus And Adonis: Act 3. Venus: Adonis, Uncall'd... - Lynne Dawson/Stephen Varcoe
II. The 17th Century English Musical Theatre: Dido & Aeneas: Act 3: Dido's Death - Guillemette Laurens
II. The 17th Century English Musical Theatre: Timon Of Athens: Hark How The Songsters - Honor Sheppard/Jean Knibbs
II. The 17th Century English Musical Theatre: King Arthur: Act 3: What Power Art Thou/Thou Doting... - Maurice Bevan/Rosemary Hardy
II. The 17th Century English Musical Theatre: King Arthur: Act 5: Fairest Isle - Honor Sheppard
II. The 17th Century English Musical Theatre: The Fair Queen: Act 2: Prld - Les Arts Florissants/William Christie
II. The 17th Century English Musical Theatre: The Fair Queen: Act 2: May The God Of Wit - Les Arts Florissants/William Christie
II. The 17th Century English Musical Theatre: The Fair Queen: Act 4. Autumn: See, See My Many... - Les Arts Florissants/William Christie
II. The 17th Century English Musical Theatre: The Fair Queen: Act 4. Winter: Next Winter Comes... - Les Arts Florissants/William Christie
III. Epilogue/'If Music Be The Food Of Love': If Music Be The Food Of Love - Alfred Deller/William Christie/Wieland Kuijken
III. Epilogue/'If Music Be The Food Of Love': Music For A While - Alfred Deller/William Christie/Wieland Kuijken

Tracks:

I. Ov: Admirons Notre Jeune Et Charmante Deesse - Les Arts Florissants/William Christie
II. The Masters Of the Tragedie Lyrique: Atys, Sleep Scene (Act 3, Scene 4): Prld: Dormans... - Gilles Ragon/Jean-Paul Fouchecourt/Bernard Deletre/Michel Laplenie
II. The Masters Of the Tragedie Lyrique: Atys, Sleep Scene (Act 3, Scene 4): Air Of The Pleasent... - Gilles Ragon/Jean-Paul Fouchecourt/Bernard Deletre/Michel Laplenie
II. The Masters Of the Tragedie Lyrique: Armide: Ov - Guillemette Laurens/Collegium Voc/Philippe Herreweghe
II. The Masters Of the Tragedie Lyrique: Armide: Act 2, Scene 4: Ah! Quelle Erreur - Guillemette Laurens/Collegium Voc/Philippe Herreweghe
II. The Masters Of the Tragedie Lyrique: Armide: Act 2, Scene 5: Enfin, Il Est En Ma Puissance - Guillemette Laurens/Collegium Voc/Philippe Herreweghe
II. The Masters Of the Tragedie Lyrique: Medee: Scene 5: Noires Filles Du Styx - Jill Feldman/Michel Laplenie/Francois Fauche
II. The Masters Of the Tragedie Lyrique: Medee: Scene 6: Venez Meler A Mes Poisons - Jill Feldman/Michel Laplenie/Francois Fauche
II. The Masters Of the Tragedie Lyrique: Medee: Scene 7: Je Vous Le Don Fatal - Jill Feldman/Michel Laplenie/Francois Fauche
II. The Masters Of the Tragedie Lyrique: Medee: Dieu Du Cocyte Et Des Royaumes Sombres - Jill Feldman/Michel Laplenie/Francois Fauche
II. The Masters Of the Tragedie Lyrique: Idomenee: Act 4, Scenes 4 & 5: O Neptune, Recoy Nos Voeux - Bernard Deletre/Monique Zanetti/Jean-Paul Fouchecourt
II. The Masters Of the Tragedie Lyrique: Idomenee: Act 5, Scene 2: Ah! Quel Bonheur De Vous Revoir - Bernard Deletre/Monique Zanetti/Jean-Paul Fouchecourt
II. The Masters Of the Tragedie Lyrique: Idomenee: Act 5, Last Scene: Quel Pouvoir M'a Conduit... - Bernard Deletre/Monique Zanetti/Jean-Paul Fouchecourt
II. The Masters Of the Tragedie Lyrique: Castor et Pollux: Act 1, Scene 1: Que Tout Gemisse - Agnes Mellon
II. The Masters Of the Tragedie Lyrique: Castor et Pollux: Act 1, Scene 3: Tristes Apprets, Pales Fl - Agnes Mellon
II. The Masters Of the Tragedie Lyrique: Castor et Pollux: Act 1, Scene 4: D'ou Partent Ces Cris Nou - Agnes Mellon
II. The Masters Of the Tragedie Lyrique: Castor et Pollux: Act 1, Scene 5: First Air For The Athlete - Agnes Mellon
III. The Comedie With Invidental Dances: La Malade Imaginaire: Entree De Ballet - Monique Zanetti/Noemi Rime/Claire Brua/Howard Crook/Jean-Francois Gardeil
III. The Comedie With Invidental Dances: La Malade Imaginaire: De Vos Flutes Bocageres - Monique Zanetti/Neomi Rime/Claire Brua/Howard Crook/Jean-Francois Gardeil
III. The Comedie With Invidental Dances: La Malade Imaginaire: Quande La Neige Fondue - Monique Zanetti/Neomi Rime/Claire Brua/Howard Crook/Jean-Francois Gardeil
III. The Comedie With Invidental Dances: Les Indes Galantes: Dans Les Abimes - Les Arts Florissants/William Christie
III. The Comedie With Invidental Dances: Les Troqueurs: Ov: Presto-Andant-Presto - Mary Saint-Palais/Sophie Marin-Degor/Nicolas Rivenq/Jean-Marc Salzmann
III. The Comedie With Invidental Dances: Les Troqueurs: Troquons, Troquons/Eh Non C'est Lui... - Mary Saint-Palais/Sophie Marin-Degor/Nicolas Rivenq/Jean-Marc Salzmann

Tracks:

I. At The Source Of The Opera Seria: L'Incoronazione Di Dario: Ov - Ens Baroque De Nice/Gilbert Bezzina
I. At The Source Of The Opera Seria: L'Incoronazione Di Dario: Act 1, Scene 14: L'adorar Belta... - Gerard Lesne
I. At The Source Of The Opera Seria: L'Incoronazione Di Dario: Ma Chidicea Cosi - Gerard Lesne
I. At The Source Of The Opera Seria: L'Incoronazione Di Dario: - Dominique Visse
I. At The Source Of The Opera Seria: L'Incoronazione Di Dario: - Agnes Mellon/John Elwes/Isabelle Poulenard/Michel Verschaeve
I. At The Source Of The Opera Seria: L'Incoronazione Di Dario: - Agnes Mellon
II. The Italian Opera In England: Radamisto: Ombra cara Di Mia Sposa - Lorraine Hunt
II. The Italian Opera In England: Ottone, Re Di Germania: Recit: Ben A Raggion - Lorraine Hunt
II. The Italian Opera In England: Ottone, Re Di Germania: Arai: Vieni, O Figlio - Lorraine Hunt
II. The Italian Opera In England: Giulio Cesare: Ov - Concerto Koln/Rene Jacobs
II. The Italian Opera In England: Giulio Cesare: Act 1, Scene 7: Alma Del Gran Pompeo - Jennifer Larmore
II. The Italian Opera In England: Giulio Cesare: Act 1, Scene 4: Svegliatevi Nel Core - Marianne Rorholm
II. The Italian Opera In England: Giulio Cesare: Act 2, Scene 8: All Lampo Dell'Armi - Jennifer Larmore
II. The Italian Opera In England: Flavio: Act 2, Scene 1: Al tuo Cenno Reale Ubbidiente/Scene 2... - Bernarda Fink/Christina Hogman/Gianpaolo Fagotto/Jeffrey Gall
II. The Italian Opera In England: Flavio: Act 2: Fato Tiranno E Crudo - Gianpaolo Fagotto
II. The Italian Opera In England: Ariodante: Act 2: Sinf - Freiburger Barockorchester/Nicholas McGegan
II. The Italian Opera In England: Ariodante: Recitativo: Di Dalinda L'amore - Jennifer Lane/Lorraine Hunt/Rufus Muller
II. The Italian Opera In England: Ariodante: Aria: Tu Preparati A Morire - Lorraine Hunt
III. The Opera Seria In Germany: Cleopatra E Cesare: Act 1, Scene 8: Aria: Tra Le Procelle - Janet Williams
III. The Opera Seria In Germany: Cleopatra E Cesare: Act 2, Scene 20: All'armi, Al Cimento - Janet Williams/Lynne Dawson/Iris Vermillion/Robert Gambill/Jeffrey Francis/Klaus Hager

Customer Reviews:

A wonderfully complete overview of Baroque secular music!.......2002-04-22

I picked this up in a bargain bin for a song and counted my blessings! I am a Baroque music fiend, with a large collection of Harmonia Mundi discs, but up until now I hadn't purchased any HM box sets. Many of my favourite Harmonia Mundi artists are featured on the five discs: Andreas Scholl, Alfred Deller, Dominique Visse, Rene Jacobs, Bernarda Fink, and Jennifer Larmore. Each disc covers a different theme: The Madrigal (disc one), The Birth of the Opera (disc two), England in the 17th Century, featuring works by Byrd, Dowland, Blow, and Purcell (disc three), A Century of French Opera, which showcases works by Lully, Charpentier, and Rameau (disc four), and The Reign of the Opera Seria, with contributions from Vivaldi, Handel, and Graun (disc five). The only thing I would have wished for would have been more opera selections from Handel (Rodelinda or Rinaldo for example). This is an excellent, very complete overview of the rise and evolution of Baroque secular music (the liner notes are very complete and deserve an A+). Harmonia Mundi has also released two additional "Pathways of the Baroque" box sets, one of instrumental music and one of Baroque religious music. If you are a Baroque fan like myself and you have the time and money, buy all three. It is a worthy investment, and the box sets offer a wide selection of artists, styles, and composers.

Les Lumières du Baroque: Une Encyclopédie Musicale (Box Set)

Average customer rating:

Les Lumières du Baroque: Une Encyclopédie Musicale (Box Set)

Manufacturer: Harmonia Mundi
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

Trios | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Fugues | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

Toccatas | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

English | Languages | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Anthems | Vocal Non-Opera | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

Caprices | Vocal Non-Opera | Opera & Vocal | Styles | Music

Magnificats | Vocal Non-Opera | Opera & Vocal | Styles | Music

Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

Passions | Vocal Non-Opera | Opera & Vocal | Styles | Music

Psalms | Vocal Non-Opera | Opera & Vocal | Styles | Music

Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music

Te Deum | Vocal Non-Opera | Opera & Vocal | Styles | Music

General | Soundtracks | Styles | Music
ASIN: B00005REQH
Release Date: 2002-02-12

Average customer rating:

History of Baroque Music

Manufacturer: Harmonia Mundi
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

English | Languages | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

General | Soundtracks | Styles | Music

Classical | Box Sets | Stores | Music

Opera & Vocal | Box Sets | Stores | Music
ASIN: B000028TYN
Release Date: 1999-10-12

Amazon.com

Western music is often regarded as growing out of the rich heritage of Catholic and, later, Protestant church music. Yet for all the glories of early religious chant and song, secular music ran in parallel, usually having more freedom of expression and inspiring unfettered flights of musical fancy for their own sake. A History of Baroque Music: Secular Music is a companion to an equally impressive anthology of instrumental music, the two sets together exploring the development of the baroque as music broke ever further away from the previously all-pervasive control of the Church.

Over five discs and 6-1/2 hours we explore the madrigal, the birth of the opera, and its progress to a pinnacle of refinement with Handel's Giulio Cesare and Ariodante and Vivaldi's L'Incoronazione di Dario. The talents on offer are a Who's Who of Early Music, including Les Arts Florissants, La Chapelle Royal, Alfred Deller, Emilyvan Evera, the Hilliard Ensemble, Andreas Scholl, Stephen Varcoe, and many other fine performers. Twenty-two pages of notes place everything in historical context as we go from the Italy of Gesualdo and Monteverdi through the England of Dowland and Blow and the operas of Purcell (King Arthur and The Fairy Queen) to the France of Charpentier and Lully and so end in Germany with Gruan's Cleopatra e Cesare. It is a magnificent journey, wonderfully described by this impeccably assembled anthology, which is quite simply a treasure-trove of great music. --Gary S. Dalkin

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