Price of Love [CD-single]

Price of Love [CD-single]

Track Listings

1. Price of Love

2. Client

3. Leipzig

4. Price of Love [Sie Medway-Smith Mix]

5. Client [Harder Sex Mix]

Tracks:

Turnadot: Nessun Dorma!
Gianni Schicchi: O Mio Babbino Caro
Manon Lescaut: Donna Non Vidi Mai
La Boheme: Musetta's Waltz Song
Tosca: Recondita Armonia
Madame Butterfly: Un Bel Di
TOSCA: E Lucevan Le Stelle
La rondine: Il Sogno Di Doretta
La Boheme: Che Gelida Manina
La Boheme: Si, Mi Chiamano Mini
La Boheme: O Soave Fanciulla - Love Duet, Act I
Ch'ella mi creda libero
TOSCA: Ah, Quegli Occhi...Qual'occhio Al Mondo - Love Duet, Act I
TOSCA: Vissi D'Arte
Madame Butterfly: Vogliatemi Bene - Love Duet, Act I
La Boheme: Donde Lieta Usci
Turandot: Signore, Ascolta!
Turandot: In Questa Reggia

Amazon.com essential recording

Ordinarily, it pays to be wary of collections such as these, which often promise a lot but deliver a mishmash of disconnected excerpts. This disc, however, is something of an exception: you really do get just about all of Puccini's best arias, which is possible, because he didn't write so many operas that choosing the best moments becomes a matter of the producer's personal taste. Also, Puccini's operas are so popular that every major label has excellent complete recordings of all of them, so in making this compilation it was possible to cast from strength: all the singers here are fine. In fact, the only proviso that needs to be made before you rush out and add this disc to your collection is that it's wrong to assume that all of Puccini's best tunes lie in his arias. The opening 10 minutes of any one of his operas will tell you that's not true. So by all means enjoy this disc--then start sampling the operas complete. --David Hurwitz

Customer Reviews:

Correction to the entry by "sergiocqh".......2005-11-08

"Quando m'en vo" is not omitted from this CD; it is just called "Musetta's waltz song." It is the same aria.

Fantastic!.......2003-10-14

This is one of the first opera CDs I ever got. It's wonderful for just about any body;from the newbies like me or the opera fanatics. I especially like 'In Questa Reggia'. Buy it now!!

HATE OPERA? THIS ONE WILL CHANGE YOUR MIND.......2003-09-04

The Ultimate Puccini Collection features some of Puccini's most arias and will appeal to even the most ardent operaphobes.

A great listening experience featuring some of the greatest opera performers of all time.

"Ultimate" only if you like your opera "al fresco"!.......2002-06-13

The music is without question, among the most beautiful ever written. But the quality of the fidelity tells me that many of the selections were recorded live in concert in outdoor venues. I wish that was clear to me before I bought the disc. So, is the music the ultimate? YES! Is the recording the ultimate? NO!

Wonderful Performance but Average Recording Quality.......2002-02-18

I love opera! I love Puccini! Not only is the vocalism important to me, but the quality of the recording as well. I enjoy my hi-tech sound system. I like to feel as if I am sitting in the front row of the first balcony when I listen to opera. This CD is excellent! The vocalists were well chosen. The technical performances are eloquent and emotional, as Puccini should be. However, the quality of the recording is not very good. No matter how you adjust your sound system, the recording is a bit tinny and as a result, the emotional high points of the arias are not as vibrant as they could be if the recording were of better quality. I would recommend this CD to anyone who loves Puccini and who is not as finicky as I!

Average customer rating:

STREISSAND LIVE IN CONCERT 2006

Center Stage: Broadway 1947-1958

Manufacturer: Decca Broadway
ProductGroup: Music
Binding: Audio CD

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A Time of Hope: Broadway 1935-1946
Put on a Happy Face: Broadway 1959-1967
Broadway Magic: Broadway 1968-1980
Broadway Today: Broadway 1993-2005
The British Invasion: Broadway 1981-1992

ASIN: B0007ZEO1E
Release Date: 2005-04-26

Tracks:

Shall We Dance?
Ohio
Luck Be A Lady
The Ballad Of Mack The Knife
There's A Small Hotel
Once In Love With Amy
The Yodel Blues
Lazy Afternoon
There Must Be Something Better Than Love
You're Just In Love
Now Is The Time

Customer Reviews:

STREISSAND LIVE IN CONCERT 2006.......2007-05-15

CONTENT WAS EXCELLENT BUT THE CD HAD TOO MANY GAPS IN TRANSITION FROM EACH TRACK.

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Gershwin: Fascinating Rhythm

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00009KHYL
Release Date: 2005-03-01

Tracks:

Fascinating Rhythm
Soon
Summertime
Nice Work If You Can Get It
Embraceable You
Liza (All The Clouds'll Roll By)
A Foggy Day
'S Wonderful
The Man I Love
I Got Rhythm
He Loves And She Loves
The Can't Take That Away From Me
They All Laughed
Funny Face
Love Is Here To Say
Oh, Lady Be Good

Average customer rating:

" O Paradiso!!"...LEONTYNE PRICE is a Paragon of PUCCINI in this Collection.

Puccini Heroines

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Rediscovered (Dig)

ASIN: B0001TSWMS
Release Date: 2004-04-20

Customer Reviews:

" O Paradiso!!"...LEONTYNE PRICE is a Paragon of PUCCINI in this Collection........2006-11-24

Diva assoluta American soprano LEONTYNE PRICE has enjoyed a long association and identification with the veristic and intensely passionate music of Verdi's heir, GIACOMO PUCCINI. In the recording studio Ms. Price was a supreme interpreter, able to limn his softest phrases with limpid tone (rivalled only by Caballe), ride over the heaviest of his orchestrations with a vocal amplitude given to few others (Callas,Tebaldi, Nilsson,& Freni), and not simply soar with ease to the uppermost regions of his music but sustain it also - singular to her alone!! Onstage Ms. Price performed Puccini's heroines successfully if infrequently (Minnie in FANICULLA ultimately proving to be uncongenial for her), with treasured outings as Liu (TURANDOT), Floria (TOSCA), Giorgetta (IL TABARRO), Manon (MANON LESCAUT), and Cio-Cio San (MADAMA BUTTERFLY), the Puccini role she sang onstage the most. In this recital, the great soprano sings arias not only from those operas but also includes music from LA RONDINE, EDGAR, LE VILLI, LA BOHEME, and GIANNI SCHICCI (IL TRITTICO), and a MADAMA BUTTERFLY duet with tenor Placido Domingo. WIthout question this is heavenly singing. Leontyne Price"s voice in 1972 (the year of this recording) had matured and thus displayed a darker, richer tonal panapoly. The results yielded a stronger middle, velvety in texture, and imbued with a throbbing, sensual warmth. Her lower voice, now breathier and at times, opaque nonetheless retained its unique timbre, and, as throughout her career, is deployed with dramatic relevance and impact. The soprano's upper voice -one of the true glories of Opera to this day- retains some of the liquid vibrato of her earlier career, but is largely replaced by a creamy, rounder, voluminous sound that has more thrust in dramatic moments, and yet can spin ethereal pianos, and still float soft high-lying phrases with the utmost in ease. The soprano's voice retains its appealing femininity, but is more womanly and knowing than before. Those attributes, wedded to her innate artistry produce one of the finest Puccini recitals on record today.

The BOHEME arias (Mimi) are delivered with a direct simplicity that is less characterful than some, but refreshingly uncloying either. Ms. Price builds to a glowing climax in both pieces, and we feel the bloom of love-discovered, then the anguish of love- defeated potently. She sings "Musetta's Waltz" without the overt "sexiness" and/or archness that usually makes this aria so mundane, but instead treats it as the outpourings of a genuinely confident, assured woman who knows her charms and is happy to vocally display them. The EDGAR aria is understandably rarely performed, with its wide-ranging tessitura and odd melodious flight. Here, Ms. Price sings passionately, with full-throated, ringing tone that gleams on top, but less fluidity in the lower regions. The RONDINE aria included in this collection is not the justly-famed Price specialty "Chi bel sogno", but a lilting waltz, sung wistfully with delicious spin and tonal beauty by the soprano. TOSCA's "Vissi D'arte", another Price gem from an opera she recorded twice (the aria numerous times throughout her career) is sung with a weightier, more dramatic approach than before, yet still replete with the trademark diminuendo Price fans wait for. The tessitura for MANON LESCAUT's music is considerably lower than most of his other output. Ms. Price performs the first aria with ease (she often sang it as an encore in recitals), more generalized than elsewhere in this recital, but lushly sung. However, "Sola perduta abbandonata" displays the diva's artistry as well as vocal prowess. She uses her full range to capture the desolation, terror, and despair of the hapless Manon, resulting in an intensely stirring portrayal that is indelible for this listener. The LE VILLI selection, also rarely performed, is from Puccini's first opera and is not particularly distinctive music. The soprano's approach is primarily vocal, and lushly sung. MADAMA BUTTERFLY's arias became classics in Ms. Price's career - her complete recording of this opera remains one of her finest studio operatic performances. "Un bel di vedremo" is sung here as a powerful declaration of faith, with plush vocalism aligned to the the heartbreaking narrative of the geisha. Ms. Price is joined by her most frequent tenor partner of the 70's, the great Spanish tenor Placido Domingo, for a stellar performance of the Act I duet "Bimba, bimba, non piangere" which finds both artists blending together in customary fashion. The tenor captures the youthful ardor of Pinkerton, and sings with intensity, anchored by the darkly rich, burnished sound that made him famous the world-over. Ms. Price's singing is riper here, missing the vulnerability and naivete of her earlier wondrous incantation. However, her voice is ever attenuated to the words, and her vocalism is plush throughout it. Leontyne Price deservedly had the honor of opening the MET season in 1962 - the first "Negro" artist to do so - and sang the role of Minnie, THE GIRL OF THE GOLDEN WEST. The role of Minnie has been referred to as "the Italian Brunhilde" with its reliance on a sturdy middle voice, and usually the property of dramatic sopranos (Kirsten and Steber excepted) - which Ms. Price was not. Nonetheless, the reviews after her opening were ecstatic garnering her the appellation "the Stradivarius of Singers" from the New York Times. However, the diva had been singing non-stop for the past (3) three years on the greatest stages of the world - Vienna/La Scala/Covent Garden/ Verona/San Francisco/Chicago and her glorious MET debut with (8) eight roles in that first season!! She also endured a potential Musician's strike which threatened the opening, and sang Beethoven's difficult "Abscheulicher" (FIDELIO) in between FANICULLA performances. Perhaps unsurprisingly, the diva lost her voice during the dramatic Act II "Card scene", and bravely declaimed her lines until the Act's end. Quite obviously, after some needed rest, Ms. Price regained her spectacular voice, and as demonstrated here, her ability to sing Minnie's fiendish music - capped by a stunning High C to punctuate it. GIANNI SCHICCI is perhaps best known for the aria "O mio babbino caro", a fixture for sopranos of every voice type in concerts. Like "Musetta's Waltz", this music seem to inspire banality and superficiality from most singers. Ms. Price sings the aria with glowing simplicity, tonally glorious with shimmery pianissimi in the upper voice to rival anyone in memory. To end this recital, RCA inserted (like the Butterfly duet) a previously recorded excerpt from another Price recording - PRIMA DONNA Volume 4. Ms. Price sings the role of the icy Princess Turandot in Puccini's last opera TURANDOT here with great success. One of opera's most demanding soprano arias - "In questa reggia" -usually stentorian in nature, is sung more lyrically by Ms, Price, whose overall treatment is more straightforward than most. Nevertheless, she's ultimately successful, capturing the extreme contempt that the implacable Turandot holds for men, and is able to proclaim her challenge with requisite power at the aria's climax, besting her Calaf (tenor Daniele Barioni) in their long-held high C at the aria's finale. Maestro Edward Downes conducts sensitively for Ms. Price throughout (he was one of her better conductors in her studio recital series), and the New Philharmonia Orchestra follows his guidance expertly.

This compilation, digitally re-mastered, with crisper, cleaner sonics, should be in the collection of any opera-lover, especially those who cherish the music of PUCCINI, and neophytes unfamiliar with his output and/or the splendor of LEONTYNE PRICE!! Get this one now.

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At Their Finest
tuff, snakey, old-school R&B

The Price for Love
The Loved Ones
Manufacturer: Hightone Records
ProductGroup: Music
Binding: Audio CD

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Better Do Right

ASIN: B0000005QE
Release Date: 1993-09-20

Tracks:

Pretty Baby
I Can't Take It
Cut You Lose
Love And Gone
Jaguar Blues
Lickin' Stick
I Told The Truth
Falling In Love
The Price For Love
Hightone Hop
Don't Put Your Spell On Me
None Of Your Business
She's Into Something
Devil's Moon

Customer Reviews:

At Their Finest.......2005-04-24

Tears are still shed to this day over the breakup of what should have been the biggest band to emerge from the Bay Area in the '90s. Frontman Bart Davenport (who has since fashioned a fine solo career), along with Xan McCurdy (now of Cake), Mike Therieau and John Kent hit you as soon as the bell is rung and don't let up until its called by TKO! Rollicking live shows were their strength, but make no mistake, "The Price For Love" is no secondshift. Its first rate, and bleeds with what made the R&B-Mod era one of the best man has ever known. Do yourself a favor.

tuff, snakey, old-school R&B.......2000-07-12

First off, it should be pointed out that this band's a littlemisrepresented - the group isn't an oldies act, buta (now sadly defunct) 90s band that looked at 60s rhythm-and-blues as its primary reference. Easy mistake to make, I guess, those Mod outfits are pretty convincing. This short-lived San Francisco outfit only recorded two albums, this debut and the very fine "Better Do Right" the next year, before breaking up due to some members wanting to pursue a less bluesy direction. A great pity, as this album showcases a better-than-promising group handling a variety of R&B grooves with style and attitude. What's more, the band were totally in-the-pocket, I can't recall the last blues or R&B band that I heard with a guitarist so locked-in with the rhythm section. There are latin-styled rhumbas, straight-ahead shuffles, spare slow blues, they even give a big-tone guitar version of James Brown's "Lickin' Stick". While their second release is slightly better realised, this album is recommended for fans of early-Fabulous Thunderbirds, the James Harman Band or early Rolling Stones.

Average customer rating:

Price is wonderful, but nothing else is
This is a keeper.
A Butterfly Puccini would have loved

Puccini: Madame Butterfly (Highlights)

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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The Most Famous Opera Arias
Puccini - La Bohème / Freni, Pavarotti, Harwood, Berlin Phil., Karajan [Highlights]
Puccini: Tosca (Highlights) / Freni, Pavarotti
Verdi: Rigoletto (Highlights) / Sutherland, Pavarotti
Bizet: Carmen (Highlights)

ASIN: B00000K2EZ
Release Date: 1999-09-14

Customer Reviews:

Price is wonderful, but nothing else is.......2005-09-18

This was my first Butterfly, bought in the Sixties, and so Leontyne Price is imprinted in my min for this role, one she neer sang on stage. Her voice is really too big and lush for Cio-cio San, but that hardly matters given her ravishing singing. What does matter, unfortunately, is the stiff, unyielding conducting of Leinsdorf and the trumpet-like bawling of Tucker. both are so bad that it is hard to listen to this set anymore, especially with so many fine alternatives around.

This is a keeper........2001-09-21

This recording is the best of the best doing the best in Madame Butterfly. It is difficult to find the best recording of Madame Butterfly, which from start to finish is a continuous and integrated dose of Pucinni's most beautiful music. As Madame Butterfly requires a soprano who can SING AND ACT, the best performace is any decent live performance. That's probably why a DVD version is not yet available of this opera. This CD contains the highlights of Madame Butterfly and the highlights are perfectly done by Richard Tucker, Leontyne Price, the chorus and the orchestra. Don't let the age of the recording scare you off, I and others have found that many recordings done originally in RCA's Living Stero have transfered excellently to CD.

With a good sound system or with a portable CD and earphones, you can hear the characters' voices move across the stage as they act their parts, the instruments of the orchestra have their very distintive voices and even the knife clattering on the floor is undeniable.

A friend lent me this recording with the warning that it is extremely addictive. I couldn't give it back to him until I had a copy of this CD of my own and I already had a copy of Madame Butterfly on VHS and an excellent CD version of the complete opera. Borrow this CD from a friend, you will buy it. As an introduction to the opera experience or just as a temporary opera "fix", this CD of Madame Butterfly is the best investment you can make.

A Butterfly Puccini would have loved.......2000-12-27

Many have written regarding Leontyne Price's classic portrayal on the recording. RCA has re-released the highlights again in new packaging and updated sound....and as always it is a treasure. I have lived with this recording since I was a kid and it is still and always will be my favorite of this opera. I listen of the highlights CD even a little more than the complete recording. Funny, I still have my old mono Dynagroove LPs too. If I was ever asked for a Desert Island Discs list, this would be on it.

Average customer rating:

Big Band Love Songs (Meijer)
Various Artists
Manufacturer: Fisher Price
ProductGroup: Music
Binding: Audio CD

Average customer rating:

Ray Demonstrates His Versatility
Only Better with Age
A Great Voice
Soft Rain
It's About Time!

Prisoner of Love
Ray Price
Manufacturer: Justice Records
ProductGroup: Music
Binding: Audio CD

General | Country | Styles | Music

Honky-Tonk | Country | Styles | Music

Nashville Sound | Traditional Country | Country | Styles | Music

Time
Last of the Breed
Night Life
Burning Memories/Touch My Heart
San Antonio Rose

ASIN: B00004ST51
Release Date: 2010-12-30

Tracks:

Better Class Of Losers
Prisoner Of Love
Soft Rain
Ramblin' Rose
If It's Love (Then Bet It All)
In My Life
Fly Me To The Moon
Body & Soul
I've Got A New Heartache
The Only Bridge
I Wish I Was Eighteen Again
What A Wonderful World

Amazon.com

At the age of 74, Ray Price has released an album that can be heard as both a career capper and an ambitious new chapter. After acknowledging his honky-tonk roots with the opening "Better Class of Loser," the countrypolitan crooner addresses the classic American songbook, applying his conversational phrasing to material immortalized by the likes of Louis Armstrong ("What a Wonderful World"), Frank Sinatra ("Fly Me to the Moon"), and Billie Holiday ("Body & Soul"). Only the Beatles' "In My Life" sounds like too much of an interpretive stretch for Price. Where many of his crossover hits in the '60s and early '70s suffered from saccharine production, here the string arrangements by David Campbell (father of pop star Beck) recall the bittersweet sophistication of Nelson Riddle's Sinatra sessions. File Prisoner of Love next to Willie Nelson's Stardust on the short shelf of genre-busting country classics. --Don McLeese

Customer Reviews:

Ray Demonstrates His Versatility.......2006-11-28

After buying Ray Price's "Time" CD (highly recommended) and seeing him in concert (fabulous), I went back and bought "Prisoner of Love." His voice remains excellent in his 70s. This CD expands his versatile output by doing pop standards. The best song on the CD is the gorgeous "If It's Love (Then Bet it All)." Other highlights are the poignant "I Wish I Was 18 Again", "The Only Bridge", "In My Life", "Soft Rain", and a very nice cover of "Ramblin' Rose." His pop-style re-recording of "I've Got a New Heartache" is almost a different song than this honky-tonk version of the 1950s. Which one you like better is a matter of personal taste, but I like the new version better. If you like Ray's countrypolitan sound when he did "For the Good Times" and "I'd Rather Be Sorry", you definitely should buy this CD.

Only Better with Age.......2004-01-13

I have long been a Ray Price fan and know of no other artist whose voice has only gotten better with age. It's hard to believe that at 74 (his age when this was recorded), one could have such a strong, clear voice. His recording of "I wish I was eighteen again" brings tears to my eyes. I recall when George Burns recorded this song--but his recording doesn't "hold a candle" to the "polish" added by Ray. This is a different Ray Price Album--but one that a true fan will want as it captures Ray at his very best.

A Great Voice.......2003-01-26

Ray Price as a crooner.All the album is not liked .Then after several listening,one adores the remainder.One is captive by this voice.this great voice and these great musicians.
One swingue on "better glass of loosers,"soft rain","ramblin' rose","i've got a new heartache".....
One must have this album of Ray Price.It is essential.
How not enter in the legend after that!

Soft Rain.......2000-10-18

I have listened to Ray Price for many many years and I have never found anyone that comes close to his music or his wonderful voice. I have as many albums,cassettes and CD that I can find. I played his music so much I have my children as crazy over him as I am. He has not gotten the recognizion he deserves. I saw him in Casper, Wyoming again in Sparks, Nv. and I absolutely love his music. He puts on one of the best shows I have ever seen. He is worth traveling miles to see.

It's About Time!.......2000-07-04

As Ray stated when he finally made it into the Country Music Hall of Fame in 1956 "It's About Time" - I feel the same about this CD! We've waited for 2 years to see it finally released and it is NOT a disapointment! Ray Price once again proves he can sing any song and make it sound like he was the original! There has never been a voice in country music that can compare to his. Even at age 74 his compelling renditions of such standards as "Fly Me To The Moon", "Beautiful World", "Body and Soul" and the title cut "Prisoner of Love" are simply Ray Price at his best! I personally have loved hearing Ray perform "18 Again" over the past several years & treasure the fact that I now have this "Ray Price" song in my collection. Do not call this a "country" recording, just call it a great recording by a great artist! Thanks Ray for continuing your pursuit of the best in music!

Average customer rating:

Gorgeous soaring melody and rhythm
Tempting sample for upcoming full length release
the best new order song ever
Not bad

World (The Price of Love)
New Order
Manufacturer: Warner Bros / Wea
ProductGroup: Music
Binding: Audio CD

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Regret
Spooky
Bizarre Love Triangle
World in Motion
60 Miles an Hour, Pt. 2

ASIN: B000002M3R
Release Date: 1993-08-05

Tracks:

The Radio Edit
The Perfecto Mix
Ruined In A Day (Reunited I A Day Remix)
Brothers I Rhythm Mix
World I Action Mix
Ruined I A Day (Bogle Mix)
& The Perfecto Edit

Customer Reviews:

Gorgeous soaring melody and rhythm.......2006-12-26

World (The Price of Love) is some of the most beautiful music to come into my head ever! The remixes do something to my brain almost like an addiction. I have a few copies of this CD, and the first few weeks that I got it I could not stop listening to it.This is soaring synth and melody like I never heard before. I think it's better than True Faith, maybe the most beautiful New Order has ever done. I'm trying to think of something comparable, maybe Red Letter Day, To Step Aside, or, currently, Minimal by Pet Shop Boys come close. Some of the remixes on "The Rest of New Order" might come close. Maybe.

Tempting sample for upcoming full length release.......2001-10-03

A classic New Order single-what fun to hear the sound, the voice, the electronics again! Perfect song for this time of the year-great drumming too.

the best new order song ever.......2000-09-08

What can I say? World is the best N.O. song ever written and the remixes are amazing. Especially the Perfecto Mix. Sometimes when I just want to take a nap and think about things a bit, I'll pop it into the cd player and before I know it, my world is gone....

Not bad.......2000-01-13

A pretty good single, all the mixes are good. I love the Brothers in Rhythm Mix and the Perfecto Mix is great, I hate to say it but my opinion is that the original mix is the weakest track.

Vaughan Williams, The Complete Symphonies

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BEST COMPLETE SURVEY
Still the Best
As good as anyone needs--this isn't Beethoven
Consider Supplementing This Core Set
What's the hurry to have 'em all?

Vaughan Williams, The Complete Symphonies

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Debussy, Ravel: Orchestral Works
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Strauss: Orchestral Works
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Symphonies 1-3 / Piano Concerto 1-4 / Isle of Dead

ASIN: B00004YA0V
Release Date: 2000-11-07

Tracks:

I: A Song For All Seas, All Ships - London Philharmonic Choir
II: On The Beach At Night, Alone - London Philharmonic Choir
III: Scherzo: The Waves - London Philharmonic Choir
IV: The Explorers - London Philharmonic Choir
Symphony (Symphony No.1) - London Philharmonic Choir
Symphony (Symphony No.1) - London Philharmonic Choir
Symphony (Symphony No.1) - London Philharmonic Choir
Symphony (Symphony No.1) - London Philharmonic Choir
Symphony (Symphony No.1) - London Philharmonic Choir
Symphony (Symphony No.1) - London Philharmonic Choir
Symphony (Symphony No.1) - London Philharmonic Choir
Symphony (Symphony No.1) - London Philharmonic Choir
Symphony (Symphony No.1) - London Philharmonic Choir
Symphony (Symphony No.1) - London Philharmonic Choir
Symphony (Symphony No.1) - London Philharmonic Choir

Tracks:

Fantasia On A Theme By Thomas Tallis - London Philharmonic Orchestra
I: Lento - Allegro Risoluto - London Philharmonic Orchestra
II: Lento - London Philharmonic Orchestra
III: Scherzo (Nocturne): Allegro Vivace - London Philharmonic Orchestra
IV: Andante Con Moto - Maestoso Alla Marcia - London Philharmonic Orchestra

Tracks:

I: Molto Moderato - Margaret Price
II: Lento Moderato - Margaret Price
III: Moderato Pesante - Margaret Price
IV: Lento - Margaret Price
I: Preludio: Moderato - London Philharmonic Orchestra
II: Scherzo: Presto - London Philharmonic Orchestra
III: Romanza: Lento - London Philharmonic Orchestra
IV: Passacaglia: Moderato - London Philharmonic Orchestra

Tracks:

I: Allegro - New Philharmonia Orchestra
II: Andante Moderato - New Philharmonia Orchestra
III: Scherzo: Allegro Molto - New Philharmonia Orchestra
IV: Finale Con Epilogo Fugato: Allegro Molto - New Philharmonia Orchestra
I: Allegro - New Philharmonia Orchestra
II: Moderato - New Philharmonia Orchestra
III: Scherzo: Allegro Vivace - New Philharmonia Orchestra
IV: Epilogue: Moderato - New Philharmonia Orchestra

Tracks:

I: Prelude: Andante Maestoso - London Philharmonic Choir
II: Scherzo: Moderato - London Philharmonic Choir
III: Landscape: Lento - London Philharmonic Choir
IV: Intermezzo: Andante Sostenuto - London Philharmonic Choir
V: Epilogue: Alla Marcia - London Philharmonic Choir
I: Overture - London Philharmonic Orchestra
II: Entr'acte - London Philharmonic Orchestra
III: March Past Of The Kitchen Utensils - London Philharmonic Orchestra
IV: Entr'acte - London Philharmonic Orchestra
V: Ballet And Final Tableau - London Philharmonic Orchestra

Tracks:

I: Fantasia (Variazioni Senza Tema) - London Philharmonic Orchestra
II: Scherzo Alla Marcia - London Philharmonic Orchestra
III: Cavatina - London Philharmonic Orchestra
IV: Toccata - London Philharmonic Orchestra
I: Moderato Maestoso - London Philharmonic Orchestra
II: Andante Sostenuto - London Philharmonic Orchestra
III: Scherzo: Allegro Pesante - London Philharmonic Orchestra
IV: Andante Tranquillo - London Philharmonic Orchestra

Tracks:

Serenade To Music - Norma Burrowes
In The Fen Country - New Philharmonia Orchestra
The Lark Ascending - Hugh Bean
Norfolk Rhapsody No.1 - New Philharmonia Orchestra
English Folk Song Suite - London Symphony Orchestra
Fantasia On 'Greensleeves' - London Symphony Orchestra
Untitled - London Symphony Orchestra
Untitled - London Symphony Orchestra

Tracks:

I: Toccata: Allegro Moderato - Victor Babin
II: Romanza: Lento - Victor Babin
III: Fuga Chromatica (Allegro) Con - Victor Babin
Finale Alla Tedesca - Victor Babin
Introduction - London Symphony Orchestra
Sarabande Of The Sons Of God - London Symphony Orchestra
Satan's Dance Of Triumph - London Symphony Orchestra
Minuet Of The Sons Of Job And Their Wives - London Symphony Orchestra
Job's Dream - London Symphony Orchestra
Dream Of The Three Messengers - London Symphony Orchestra
Dance Of Job's Comforters - London Symphony Orchestra
Elihu's Dance Of Youth And Beauty - London Symphony Orchestra
Pavane Of The Sons Of The Morning - London Symphony Orchestra
Galliard Of The Sons Of The Morning - London Symphony Orchestra
Altar Dance - London Symphony Orchestra
Epilogue - London Symphony Orchestra

Amazon.com

Adrian Boult's credentials in this repertoire are unassailable, and to have nearly all his stereo Vaughan Williams recordings for EMI so elegantly packaged and enticingly priced will be incentive enough for many a prospective purchaser. There's much to treasure here, not least those gently perceptive accounts of the first three symphonies, as well as the Fifth and the Ninth. All the same, the fires burned more brightly on Boult's earlier mono cycle for Decca, and there's some oddly listless orchestral playing to contend with in both the Sinfonia Antarctica and the Eighth, especially. The Fourth and Sixth, too, find the New Philharmonia in less than ideally tidy form. The disc of shorter orchestral items and the gorgeous Serenade to Music offer mostly unbridled pleasure (with Hugh Bean a memorably serene soloist in The Lark Ascending), as does Boult's fourth and final recording of Job, though here, too, tension levels are markedly lower than on either of his mono versions. No matter, for all its ups and downs, the present anthology undoubtedly offers fine value for the money. --Andrew Achenbach

Customer Reviews:

BEST COMPLETE SURVEY.......2006-07-14

The VW symphonies have done remarkably well on disc. Complete cycles by Previn, Haitink and Tod Handley all make substantial claims. Individual symphonies from Richard Hickox, Andrew Davis, Vaughan Williams himself and, of course, 'Glorious John' Barbirolli (as VW christened him) also demand attention. But, if you're looking for a complete overview of the Vaughan Williams symphonic canon (plus quite a lot of substantial extras) then this Boult set is probably still the best all-round recommendation.

Even he has a substantial rival in his earlier self on Decca, conducted under the gaze of the composer who delivers a touching speech of thanks to the players at the end of the pianissimo finale of the Sixth Symphony. This earlier Decca version probably has the edge for urgency and thrust in the quicker movements, but the sound on these later discs benefits enormously from the full warm stereo production typical of EMI in the 70's and also benefits from Sir Adrian's lifetime experience of these works.

In many ways, it is the earlier symphonies that come off best in this series. A wonderfully full-blooded Sea Symphony with a finely disciplined chorus, excellent soloists in John Carol Case and Sheila Armstrong (though she can't eclipse the magical Isobel Baillie in the older Boult set), and a rich Kingsway Hall acoustic get the set off to a fine start. The London Symphony was always special with Boult: he managed to achieve an ideal balance of symphonic thought with the touches of Edwardian period colour. The jingles of the hansom cab in the London fog and the cries of the street vendors come off particularly well here. But don't ignore Hickox's magnificent recording of the substantially longer original version. The Pastoral, too, is beautifully sustained in Boult's hands: the succession of slow, mostly quiet movements always glows with Pastoral intensity for him. Maybe his disciple, Vernon Handley, penetrates deeper into the dark echoes of the composer's experiences as an ambulance driver in the Great War.

The Fourth - "I don't know if I like it, but it's what I meant," in VW's famous quote - is full of barely restrained power, but perhaps would benefit from a bit more urgency at times. The Fifth, arguably the most symphonic of all the symphonies despite the Pilgrim's Progress origins of much of its material, gets an authentically profound performance with the LPO. Maybe we are closer to the Pilgrim origins here than to the symphonic arguments behind their transformations. There is serious competition in this symphony from Barbirolli (his 1st recording), from Haitink and from Handley. Haitink is the most 'symphonic', Barbirolli the most impassioned, Handley probably the most balanced.

The Sixth is fine, suitably violent and desolate by turns, but doesn't quite match Boult's blistering earlier recording. The Antarctica is curiously lack-lustre here - Haitink's is the revelatory performance of this symphony. The Eighth has always seemed to be the special domain of its dedicatee, Barbirolli, who had the key to unlocking its mixture of wild and wonderful orchestration (including "all the 'phones and 'spiels known to the composer") with cryptic symphonic argument. The enigmatic Ninth seems to elude most conductors, including Boult here. Handley comes closest to revealing its dark Hardyesque mysteries.

There are two additional discs of extra stuff, all beautifully played. Specially noteworthy are a Serenade to Music that comes close to matching Henry Wood's original line-up of soloists, Hugh Bean as a magically carolling Lark Ascending, a real rarity in the Double Piano Concerto and a great Job, perhaps the VW work closest to Boult's heart.

This set is excellent value for money and, for a complete collection of the symphonies, probably the best all-round recommendation - though Tod Handley runs it pretty close. Maybe the bonus items tip the balance Boult's way.

Still the Best.......2006-03-20

Done more than 30 years ago, these recordings are still the best available of Ralph Vaughan Williams' orchestral music. The sound is here and there a little dated, but usually strongly competitive with present digital recordings. And the musicianship -- the wisdom of Adrian Boult and the high level of playing and singing -- really carry the day. Teaching a Lifelong Learning Institute on 20th Century Romantic composers this winter, I not only recommended but urged the participants to buy this set.

Vaughan Williams is one of the finest symphonists ever -- a thorough-going craftsman -- whose music connects the English countryside of a hundred years ago to the agonies of war and uproar of the century just past. People will be listening to this music long after the academics have come and gone; and this recording will still be the benchmark.

As good as anyone needs--this isn't Beethoven.......2005-11-01

The British are admirable loyalists when it comes to their own composers. Symphonies by Bax, Arnold, Rubbra, Simpson, and others that are nevre played in the U.S. are daily fare to music lovers in the UK, which heated discussion about the best versions. By comparison, how much do American music lovers argue over the symphonies of William Schuman, Roy Harris, Roger Sessions, Leonard Bernstein, John Harbison, or champion of them all, with symphonies by the dozen, Alan Hovhaness?

Of the British crop, the only works that cross the Atlantic with any frequency are Elgar Sym. #1, Walton Sym. #1, and a handful of the Vaughan Williams nine. Boult's second set of the VW symphonies, in stereo for EMI as opposed to mono for Decca, is all anybody really needs. Some of the performances have been bettered individually--one thinks of Handley's VW First, Bernstein's Fourth, Barbirolli's Second, Stokowski's Fourth and Sixth--but these symphonies aren't masterpieces. Boult has a fine orchestra in the London Phil. and good analog sound from EMI; his readings are dramatic and interesting, if not always deep.

If this were a Beethoven cycle, I'd want three or four alternative sets. Here it's not necessary. You can own all of VW's symphonic output and be assured that each reading is good enough to do justice to the music. Of course, this won't stop British enthusiasts, but for Americans time might be better spent uncovering the shamefully neglected symphonic past--and present--of our native composers.

Consider Supplementing This Core Set .......2005-02-23

My first exposure to V W's symphonies happened back in the 1970's courtesy of Boult's earlier recordings (#1-8 on London and Decca LPs, and #9 on an Everest LP). Later I acquired all of Boult's stereo recordings on Angel LPs. Here we have the latter recordings in their best-ever transfers. Despite strong competition from Handley (EMI) and Previn (RCA), I feel that over-all this Boult set (Boult II) remains THE one to own in good stereo sound. However, Boult's earlier set (Boult I - now available on Decca CDs in top-notch transfers) features even better performances of Symphonies 4, 6 and 9. I own them both, along with a few individual symphony readings by other conductors. Here's a brief summary of the performances:

#1. I won't mince words here: This Sea Symphony is absolutely dazzling, the finest I have ever heard. Boult I was also pretty extraordinary, but Boult II's superb stereo sound and slightly stronger vocal line-up make it a clear first choice.

#2. Boult I is a more energetic performance than Boult II. Sonically, however, Boult II offers a far more vivid listening experience. I am also rather fond of Barbirolli's first recording (on Dutton, paired with his magnificent 8th). My favorite "live" 2nd is a superb Malcolm Sargent reading, available only in an expensive 10-disc set from the Chicago Symphony. That set is well worth owning: it also contains what I feel are the finest-ever recordings of three great Third Symphonies (Mahler's, Prokofiev's and Roussel's), in readings by (respectively) Martinon, Kondrashin and Munch.

#3. Boult II is my favorite here, just ahead of Previn (RCA).

#4. Boult II simply lacks the incredible rhythmic snap and commitment of Boult I, which is my favorite account along with the Stokowski (Cala) and the composer himself (Dutton, paired with Barbirolli's fine 5th). In V W's own reading, the influence of the composer's contemporaries (especially Honegger, Janacek and Roussel) sounds more noticeable than in any other recording.

#5. Boult I and II are both excellent. Despite II's better sound, I think I prefer I's greater exuberance (especially in the 2nd mvt.) Likewise, I am very fond of both Barbirolli readings (Dutton and EMI), but retain a slight preference for the mono Dutton (which also has V W's own hell-for-leather rendition of the 4th).

#6. Boult I is far better than the slightly soggy Boult II: the former is my favorite performance of the work, despite the mono sound. At the end is a touching little speech given by the composer, in which he thanks Boult and the orchestra for their incredible pianissimo playing in the Epilogue: Indispensable. In stereo, the inexpensive Bakels (Naxos) is excellent.

#7. It's almost a toss-up here, but Boult II ultimately wins out on the basis of sound. But Boult I is no sonic slouch, and Sir John Gielgud's stately narration is a handsome dividend.

#8. Here I feel that, while Boult II is clearly superior to Boult I, neither comes even close to matching the classic first studio recording by Barbirolli, to whom the work is dedicated. The latter is coupled on Dutton with Barbirolli's fine #2 (both in stereo). Barbirolli's studio effort is FAR better played than his live 8th on BBC Legends.

#9. Boult I, this time in clear stereo sound (licensed from Everest), is in every way superior to Boult II, which is curiously detached. Unfortunately, the excellent "Job: A Masque for Dancing" that was Everest's discmate has not been retained. That's a pity: nobody ever did it better, although the Boult II is very satisfying.

All of the smaller works included on Boult II (the Boult I set has just the 9 symphonies) receive fine performances. Especially noteworthy is the Serenade to Music: it even eclipses the classic first-ever recording by Sir Henry Wood (on Dutton). In the Tallis Variations, there are wonderful versions worth hearing from Silvestri (EMI), Stokowski (Bridge) and Barbirolli (EMI). Silvestri also recorded a superlative Wasps (EMI).

If recorded sound is your uppermost concern, then Boult II will prove the more satisfying. But if you want to hear Boult's V W interpretations at their finest, then owning both sets becomes essential.

What's the hurry to have 'em all?.......2003-09-24

This is a "bargain," sort of. But Ralph Vaughan Williams is not Beethoven; unless one is VW "completist" one doesn't really need the unifying vision of a great conductor in a recorded cycle of all nine symphonies with the same orchestra. So it's worthwhile & fun to assemble a VW cycle from a variety of sources. I recommend unreservedly the ethereal Boult #3 & #5 (the former with lovely Brit soprano Margaret Price), & his Job Masque & #9 on Everest (the latter recorded the day after VW died). Actually, any of the recordings in this set are fine. But there are others equally accomplished or even better: Hickox & Bryden Thomson on Chandos; Andre Previn on RCA (Sea Symphony with Heather Harper & John Shirley-Quirk); Kees Bakels on low-priced Naxos; Andrew Davis & the BBC Orchestra on Elektra; Bernard Haitink on Angel/Emi; Vernon Handley & the Royal Liverpool on whatever label is issuing them now; orchestra isn't great but the conductor is insightful. Plus the superb David Lloyd-Jones recording of Job for Naxos. There's a couple of stereo Barbirolli peformances out there, too. Because of his creative alliance with the composer, Boult set the base standard for these symphonies, especially in his historic mono recordings, but that doesn't mean he owns them; & in any case he was quite old by the time good stereo sound arrived. & you'll want "high fidelity," not an ancient artifact. Collect your first Mahler & Bruckner cycles the same way. What's the hurry to have 'em all? Have fun with your purchases.

Bob Rixon

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