No Will Power

no will power

Track Listings

1. No Will Power

2. Miss Me

3. Go Find Her

4. We Deserve More

5. Standing Still

6. I Know It's Time

7. Mistakes

8. To Return to You

9. Remains

10. Someone to Watch Over Me

No Will Power,Kat Parsons,Cleopatra,Pop,Rock,Rock/Pop

No Will Power

Average customer rating:

Great music/stories as well as sound quality
Fabulous for Kids
Music Box Series

Music Box V. 2
Classical Kids , Johann Sebastian Bach , Wolfgang Amadeus Mozart , Christian Pezold , Pyotr Il'yich Tchaikovsky , Spiritual Traditional , Matthias Weckmann , Errol Gay , Walter Babiak , Studio Arts Orchestra , Adriana Braun , Gordon McLeod , Marjorie Sparks , Monica Whicher , and Nils Brown
Manufacturer: Children's Group
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Fugues | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

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

General | Children's Music | Styles | Music

Compilations | Children's Music | Styles | Music

General | Vocal Pop | Pop | Styles | Music
Similar Items:

Music Box, Vol. 1
Mozart's Magnificent Voyage
Song of the Unicorn
Classical Kids Christmas
Beethoven Lives Upstairs

ASIN: B00000212W
Release Date: 1997-09-30

Tracks:

Lost In The Opera House: Oh Help Me (Zu Hilfe) - The Studio Arts Orchestra/Walter Babiak
Papageno And The Birds: The Best Bird-Catcher (Der Voglefanger) - The Studio Arts Orchestra/Walter Babiak
The Queen Of The Night: You Must Journey (O Zitt're Nicht) - The Studio Arts Orchestra/Walter Babiak
Pamina Arrives, Papageno's Magic Bells: A Girlfriend (Ein Madchen) - The Studio Arts Orchestra/Walter Babiak
The Castle Of Sarastro: O Endless Night (O Ew'ge Nacht) - The Studio Arts Orchestra/Walter Babiak
The Magic Flute: O Listen, Hear The Song (Wie Stark) - The Studio Arts Orchestra/Walter Babiak
The Escape: Let Us Hurry (Schnelle Fusse)/What Twinkles So Brightly (Das Klinget)/Sarastro's ... - The Studio Arts Orchestra/Walter Babiak
Sarastro's Welcome: The Gods Above (O Isis) - The Studio Arts Orchestra/Walter Babiak
The Attack Of The Queen: The Powers Of Night (Der Holle Rache)/Tamino's Trial: This Path... - The Studio Arts Orchestra/Walter Babiak
Pamina's Lament: Oh My Heart Is Broken (Ach, Ich Fuhl's) - The Studio Arts Orchestra/Walter Babiak
In The Labyrinth: O Seekers Of The Light (Der, Welcher Wandert)/Tamino Mine/We Pass Proctected... - The Studio Arts Orchestra/Walter Babiak
Papageno And Papagena: Ring, O Bells (Klinget Glockchen)/Pa-Pa-Papagena - The Studio Arts Orchestra/Walter Babiak
Conclusion: Our Journey Is Over (Bei Mannern)/Overture - The Studio Arts Orchestra/Walter Babiak

Tracks:

Piano Concerto #1, 1st Movt/Danse Napolitaine (Swan Lake) - Studio Arts Orchestra/High Park Girls Choir/Walter Babiak
Trepac (Nutcracker) - Studio Arts Orchestra/High Park Girls Choir/Walter Babiak
Swing Low, Sweet Chariot/Turkey In The Straw/Waltzes (Serenade, And Swan Lake) - Studio Arts Orchestra/High Park Girls Choir/Walter Babiak
Tea (Nutcracker)/Coffee (Nutcracker)/Chocolate (Nutcracker) - Studio Arts Orchestra/High Park Girls Choir/Walter Babiak
Danse Des Cygnes, Allegro (Swan Lake) - Studio Arts Orchestra/High Park Girls Choir/Walter Babiak
1812 Overture (Excerpt) - Studio Arts Orchestra/High Park Girls Choir/Walter Babiak
Silver (Sleeping Beauty)/Ragtime - Studio Arts Orchestra/High Park Girls Choir/Walter Babiak
Overture Act II (Swan Lake) - Studio Arts Orchestra/High Park Girls Choir/Walter Babiak
Girls' Chorus (Eugene Onegin) - Studio Arts Orchestra/High Park Girls Choir/Walter Babiak
Coda, Act II (Nutcracker)/Rag On Tchaikovsky Theme - Studio Arts Orchestra/High Park Girls Choir/Walter Babiak
Marche Slav - Studio Arts Orchestra/High Park Girls Choir/Walter Babiak
Violente (Sleeping Beauty)/Sugar Plum Fairy (Nutcracker) - Studio Arts Orchestra/High Park Girls Choir/Walter Babiak
Le Sommeil, Panorama (Sleeping Beauty) - Studio Arts Orchestra/High Park Girls Choir/Walter Babiak
Long, Long Ago/Onegin (Girls' Chorus)/Waltz Op.20 - Studio Arts Orchestra/High Park Girls Choir/Walter Babiak
Amazing Grace - Studio Arts Orchestra/High Park Girls Choir/Walter Babiak
Serenade For Strings: Movt 1/Finale/1812 Overture: Finale - Studio Arts Orchestra/High Park Girls Choir/Walter Babiak

Tracks:

Orchestral Suite #3, Mvt. 1/Minuet In G/Gigue In G (French Suite #5) - Studio Arts Orchestra/Walter Babiak/The Toronto Boys Chor/Ned Hanson
Jesu, Joy Of Man's Desiring/Chromatic Fantasy/Prelude In B Minor - Studio Arts Orchestra/Walter Babiak/The Toronto Boys Chor/Ned Hanson
Introducing The Orchestra/Organ Chorale Prelude: 'Allein Gott' - Studio Arts Orchestra/Walter Babiak/The Toronto Boys Chor/Ned Hanson
Brandenberg Concerto #5, Movt. 3 - Studio Arts Orchestra/Walter Babiak/The Toronto Boys Chor/Ned Hanson
Flute Sonata in C, Mvt. 2/Organ: 'Es Ist Das Heil'/Orch Ste #2, Mvt. 6/Violin Sonata In E, Mvt. 2 - Studio Arts Orchestra/Walter Babiak/The Toronto Boys Chor/Ned Hanson
Prelude In C (Book 1 Of WTC)/Orchestral Suite #2, Mvt. 2 - Studio Arts Orchestra/Walter Babiak/The Toronto Boys Chor/Ned Hanson
Bist Du Bei Mir - Studio Arts Orchestra/Walter Babiak/The Toronto Boys Chor/Ned Hanson
Orchestral Suite #2, Badinerie - Studio Arts Orchestra/Walter Babiak/The Toronto Boys Chor/Ned Hanson
Orchestral Suite #3, Air For G String - Studio Arts Orchestra/Walter Babiak/The Toronto Boys Chor/Ned Hanson
Orchestral Suite #3, Gigue - Studio Arts Orchestra/Walter Babiak/The Toronto Boys Chor/Ned Hanson
'Adventure In Music' - Studio Arts Orchestra/Walter Babiak/The Toronto Boys Chor/Ned Hanson
Goldberg Variations/Art Of Fugue - Studio Arts Orchestra/Walter Babiak/The Toronto Boys Chor/Ned Hanson
'Liebster Jesu': Flute Sonata In C, Mvt. 4 - Studio Arts Orchestra/Walter Babiak/The Toronto Boys Chor/Ned Hanson
'We Hasten,' Cantata #78 - Studio Arts Orchestra/Walter Babiak/The Toronto Boys Chor/Ned Hanson

Customer Reviews:

Great music/stories as well as sound quality.......2004-02-11

The stories on CD are well written and very entertaining. I listened through all 3 CDs in one sitting when I got them! What's more, its sound quality is very good. I have other classical music CDs for kids and almost always I'm disappointed with the sound quality. (Violines sound like they have flu!)

This is a great buy for kids of all ages!!!

Fabulous for Kids.......2002-01-01

My two children, ages 7 and 5 received the Classical Kids Music Box, volumes 1 & 2 for Christmas this year and they can't seem to get enough of it! Each box contains 3 CD's, each on a different composer. Some are narrated by children and tell a story of the particular composer. Their popular compositions play in the background - this way the listener hears a partial biography of the composer as well as some music. Volume 1 contains stories of Handel, Beethoven and Vivaldi, and Volume 2 contains stories of Mozart, Bach and Tchaikovsky. I highly recommend this for all children who listed to music CD's, whether they're musically inclined or not.

Music Box Series.......2001-04-23

To say this series of music is "CAPTIVATING" is a total understatement. We have enjoyed these immensely for 2 years now and are hoping they will continue to release more composers. These well-told stories will hold the interest of everyone at any age while introducing them to these brilliant composers. My son is a 12 year old AAA travel hockey player and listens to these CD's while going to sleep, every night, without fail! Last week he asked if he could go online to find music and I thought he was looking for something along the line of latest hits. What a surprise to find him looking for more of the Music Box Series. These collections are as valuable to classical music as Harry Potter has become to children's reading! The story of Beethoven is especially poignant, when you realize what he accomplished with his gift in spite of his many challenges. I won't give away the plots of these wonderful stories told in this series, however I will say they will be listened to over and over again! And just like Harry Potter, you can't wait for the next one!

Average customer rating:

"The death-doomed alone are destined to look on me."
Breathtaking, powerful, accessible, not just an alternative
Absolutely Breathtaking!
A powerful reading of the most moving opera in the Ring.
The power of Wagner's music drama is now fully accessible

Wagner: The Valkyrie

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 Rhinegold

ASIN: B00004YU6Z
Release Date: 2000-11-28

Tracks:

Act I: Prld - English Nat Opr Orch/Reginald Goodall
Act I, Scene 1: The Storm Drove Me Here - Alberto Remedios/Margaret Curphey
Act I, Scene 1: This House And This Wife - Margaret Curphey/Alberto Remedios
Act I, Scene 1: Evil Fortune's Never Far From Me - Alberto Remedios/Margaret Curphey
Act I, Scene 2: There He Lay, Feeble And Faint - Margaret Curphey/Clifford Grant/Alberto Remedios
Act I, Scene 2: Through Field And Forest - Alberto Remedios/Clifford Grant/Margaret Curphey
Act I, Scene 2: Friedmund No One Could Call Me - Alberto Remedios/Clifford Grant/Margaret Curphey
Act I, Scene 2: The Neidings Raided Again - Alberto Remedios
Act I, Scene 2: So The Norn Who Dealt You This Fate - Clifford Grant/Margaret Curphey/Alberto Remedios
Act I, Scene 2: I Know A Troublesome Race - Clifford Grant
Act I, Scene 3: A Sword Was Pledged By My Father - Alberto Remedios
Act I, Scene 3: Are You Awake? - Margaret Curphey/Alberto Remedios
Act I, Scene 3: My Husband's Kinsmen - Margaret Curphey
Act I, Scene 3: Yes, Loveliest Bride - Alberto Remedios/Margaret Curphey
Act I, Scene 3: Winter Storms Have Vanished (Siegmund's Spring Song) - Alberto Remedios
Act I, Scene 3: You Are The Spring - Margaret Curphey
Act I, Scene 3: Oh Sweetest Enchantment - Alberto Remedios/Margaret Curphey
Act I, Scene 3: The Stream Has Shown My Reflected Face - Margaret Curphey/Alberto Remedios
Act I, Scene 3: Siegmund Call Me, And Siegmund Am I! - Alberto Remedios
Act I, Scene 3: Siegmund, The Walsung, Here You See! - Alberto Remedios/Margaret Curphey

Tracks:

Act II, Scene 1: Go Bridle Your Horse, Warrior Maid! - Norman Bailey
Act II, Scene 1: Hoyotoho! Hoyotoho! (Brunnhilde's Battle Cry) - Rita Hunter
Act II, Scene 1: The Usual Storm, The Usual Strife - Norman Bailey/Ann Howard
Act II, Scene 1: Pretend That You Don't Understand! - Ann Howard/Norman Bailey
Act II, Scene 1: Now It's Come To Pass! - Norman Bailey
Act II, Scene 1: So This Is The End Of The Gods And Their Glory - Ann Howard
Act II, Scene 1: You Never Learn What I Would Teach You - Norman Bailey/Ann Howard
Act II, Scene 1: What Must I Do? - Norman Bailey/Ann Howard
Act II, Scene 1: Hiaha! Hiaha! Hoyotoho! - Rita Hunter/Ann Howard/Norman Bailey
Act II, Scene 2: Fricka Has Won The Fight - Rita Hunter/Norman Bailey
Act II, Scene 2: When Youth's Delightful Pleasures Had Waned - Norman Bailey
Act II, Scene 2: She Refused To Reveal More About It - Norman Bailey/Rita Hunter
Act II, Scene 2: There's More To Tell - Norman Bailey
Act II, Scene 2: Yet One Can Accomplish What I May Not - Norman Bailey
Act II, Scene 2: But The Walsung, Siegmund - Rita Hunter/Norman Bailey
Act II, Scene 2: Then Siegmund Must Fall In His Fight? - Rita Hunter/Norman Bailey
Act II, Scene 2: I Give You My Blessing, Nibelung Son! - Norman Bailey/Rita Hunter
Act II, Scene 2: No, Have Mercy - Rita Hunter/Norman Bailey

Tracks:

Act II, Scene 2: So I Obey His Command - Rita Hunter
Act II, Scene 3: Rest Here For A While; Stay By My Side! - Alberto Remedios/Margaret Curphey
Act II, Scene 3: Away! Away! - Margaret Curphey/Alberto Remedios
Act II, Scene 3: Where Are You, Siegmund? - Margaret Curphey/Alberto Remedios
Act II, Scene 4: Siegmund! Look At Me! (Announcement Of Death) - Rita Hunter/Alberto Remedios
Act II, Scene 4: And If I Come - Alberto Remedios/Rita Hunter
Act II, Scene 4: Then Greet For Me Walhall - Alberto Remedios/Rita Hunter
Act II, Scene 4: Woe! Woe! Sister And Bride - Alberto Remedios/Rita Hunter
Act II, Scene 4: Two Lives Now Lie In Your Power - Alberto Remedios/Rita Hunter
Act II, Scene 5: Charms Of Sleep Are Sent To Still - Alberto Remedios
Act II, Scene 5: I Hear Your Call - Alberto Remedios/Margaret Curphey
Act II, Scene 5: Wehwalt! Wehwalt! - Clifford Grant/Alberto Remedios/Margaret Curphey/Rita Hunter/Norman Bailey

Tracks:

Act III, Scene 1: Hoyotoho! Hoyotoho! (Ride Of The Valkyries) - Katie Clark/Anne Evans/Elizabeth Connell/Helen Attfield/Shelagh Squires/Anne Conoley
Act III, Scene 1: Shield Me And Help - Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne Evans/Sarah Walker...
Act III, Scene 1: Hear While I Tell You - Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne Evans/Sarah Walker...
Act III, Scene 1: Pray Suffer No Sorrow For Me - Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne...
Act III, Scene 1: Fly Him Swiftly, Away To The East! - Rita Hunter
Act III, Scene 1: O Radiant Wonder! (Parting Salute) - Margaret Curphey
Act III, Scene 1: Stay, Brunnhild! - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 2: Where Is Brunnhild? - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 2: Weak-Spirited, Womanish Brood! - Norman Bailey
Act III, Scene 2: Here I Am, Father - Rita Hunter/Norman Bailey
Act III, Scene 2: No More Will You Ride From Walhall - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 2: Did You Not Hear What I Decreed? - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 3: Was It So Shameful - Rita Hunter/Norman Bailey
Act III, Scene 3: I Know So Little - Rita Hunter/Norman Bailey
Act III, Scene 3: You, Who This Love Into My Heart Revealed - Rita Hunter/Norman Bailey
Act III, Scene 3: You Indulged Your Love - Norman Bailey
Act III, Scene 3: Unworthy Of You This Foolish Maid - Rita Hunter/Norman Bailey
Act III, Scene 3: You Fathered A Glorious Race - Rita Hunter/Norman Bailey
Act III, Scene 3: In Long, Deep Sleep - Norman Bailey/Rita Hunter
Act III, Scene 3: Farewell, My Valiant, Glorious Child! (Wotan's Farewell) - Norman Bailey
Act III, Scene 3: These Eyes So Warm And So Bright - Norman Bailey
Act III, Scene 3: Loge, Hear! Come At My Call! - Norman Bailey
Act III, Scene 3: Magic Fire Music - Norman Bailey

Customer Reviews:

"The death-doomed alone are destined to look on me.".......2007-06-12

Okay, so we have the Solti, Bohm, Karajan, Levine, Janowski, Goodall, 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
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 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: everything is slower than adagio moderato. 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.

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.

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 One Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.

Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Bohm's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are found in this Ring. I can hear harps in Flight of the Valkyries! 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.

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.

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

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).

-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm. Jon Vickers for Karajan, Alberto Remedios for Goodall, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, 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, Jessye Norman for both Janowski and Levine, 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. Two exceptions, though: Robert Schunk doesn't sound heroic enough, and Jessye Norman for Levine's Ring 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.

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. I don't know Levine should've chose Kollo when he recorded his Ring.

-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.

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.

-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.

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. 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.

Levine: Heinz Zednik is yet another excellent mime. He is equal to Schreier when it comes to humaneness and lyricism. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.

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 in the Ring.

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. Still, it's satisfactory, and his "Ihrem ende eilen sie zu" gives great foreshadowing.

Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. 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.

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 depends only on imagination and deviousness, Stolze only vengeance and deviousness, and Windgassen 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 Schreier. 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 (maybe not in Swarowsky's version). Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm and Goodall. 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 and the essential mono recordings (Furtwangler, Krauss), 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 calculated Janowski, the relaxed Levine, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.

Sir Georg Solti: Wagner - Der Ring des Nibelungen (Ring Cycle) / Sir Georg Solti

Karl Bohm: Wagner: Der Ring des Nibelungen

Herbert von Karajan: Der Ring des Nibelungen / Karajan / Berlin Philharmonic

Goodall: Wagner: The Ring Cycle (Box Set)
-The Rhinegold (Part 1): Wagner: The Rhinegold
-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)

Marek Janowski: Wagner: Der Ring des Nibelungen

James Levine: Der Ring Des Nibelungen

Wolfgang Sawllisch: Wagner - Der Ring des Nibelungen (Ring Cycle) / Sawallisch, Bayerischer Staatsoper

Breathtaking, powerful, accessible, not just an alternative.......2005-05-03

This is one of three Walkure's in my collection: the very underrated Leinsdorf, the thrilling Boehm and this one with Goodall. I believe Goodall is right up there with the best of them. Remedios, Hunter and Bailey sing beautifully and with sufficient drama. I'll go out on a musical limb and say I believe Bailey is one of the finest Wotan's on disc. Many will disagree but I think he has the measure of the role, the power to pull it off and a burnished timber that never becomes coarse under powerful climaxes... Remedios may well be the star of the trilogy along with Hunter and Bailey. His Siegmund is beautifully sung and his Siegfried by the way, is no mean stint either. Would that we had tenors that could sing Siegfried without sounding stretched beyond their limits. I am continually puzzled by the bad reviews that the orchestra playing receives from ARG, Classics Today and a few others. The ENO is not a Concertgebouw or Vienna Philharmonic but I think they play beautifully, a few clinkers notwithstanding. For a live show, they do a pretty d..... good job. THe sound from both orchestra and singers is exceptionally fine. This set belong in your collection if you like Wagner and, Die Walkure, in particular. If I had been at the performance in the 1970's I would have come home very happy, satisfied and richer for the experience.

Absolutely Breathtaking!.......2002-09-13

I had long cringed at the thought of this magnificant masterpiece recorded in English. Even after reading several rave reviews on this cylce that I've read by authoritive Wagnerites and critics, I was still skeptical. Finally, I decided to add Goodall's 'Ring' as my third complete cycle (after Solti & Bohm) for one reason: because it was in English and I felt it would enhance my understand of 'The Ring.' In fact, after achieving that "higher understanding" I was planning on selling this set on Ebay. That was, of course, before I heard this magnificant recording.

During the course of my research on 'The Goodall Ring' most of the praised seemed to heighten around 'Siegfried,' which is my absolute favorite of the cycle. That also helped to seal the deal. As the critics said, 'Siegfried' under Goodall is excellent, but not as monumental as Solti's reading, which IMHO is the greatest recording of 'Siegfried.'

The set that stands out, to me, in 'The Goodall Ring' is this recording; The Valkyrie. It is absolutely breathtaking. Not only is it my favorite of this set, it is my favorite Valkyrie recording period (I am very familiar with Boehm's, Solti's, Karajan's, Furthwanglers, Levines, and others). Alberto Remedios (Siegmund here and Siegfried in the last two operas) is truly magnificant. It is the best Siegmund I have heard on disc (and his Siegfried rivals Windgassen). Coupled with Margaret Curphey (Sieglinde), you get the most beautiful and moving duo I have heard on record. The duet in Act I is simply glorious. You also get the bonus of Norman Bailey's triumphant Wotan (and Wanderer too). He has such command and prescene. He sounds like a God. Throw in Rita Hunter, who holds her own as Brunnhilde, Goodall's miraculous conducting, and excellent playing by the orchestra and it all adds up to a stunning recording.

I can only say that in a way it's a shame this set is in English. Were it not, I believe Goodall's 'Ring' would be one of the most talked about, popular, and sought after complete recordings of the cycle. I can only say that I am so happy that I finally opened up to opera recorded in a different language than written.

I have fallen completely in love with Goodall's entire cycle. And, I have fallen in love with 'The Ring' all over again.

A powerful reading of the most moving opera in the Ring........2001-08-30

This performance of *Die Valkure,* the second and most popular opera in Wagner's Ring Cycle, is musically splendid. Its special significance, however, is that it is sung in English. An English performance of the Ring is perhaps more important than that of any other opera(s), because Wagner's libretti are suffused with his ideas about society, fate, justice, and love. Even if (at times) you need to read along to understand what the singers are saying, *hearing* the lyrics in English is truly stirring in a way that performances in your non-native language cannot match.
A particular stand-out on this recording is the Wotan. His timbre, diction, and delivery perfectly embody the troubled god who tries desperately, and in vain, to keep the world under his control. His angst and wrath are utterly convincing.

The power of Wagner's music drama is now fully accessible.......2001-01-30

I have never been a fan of opera in translation, but I must say that Andrew Porter's rendering of The Ring in English is amazing. He uses modern, not archaic, English, and the word choice is so very earthy and Germanic that the noble yet somewhat severe atmosphere of the Teutonic myths is conveyed perfectly. The sound, in other words, is an elegantly Germanic, and totally appropriate for the music and the Story it tells. It is not true that you can't understand the English anyway, because you can understand if you care to pay any attention at all. The translation is lucid, and so it the marvelous singing that conveys it.

Goodall's sense of music drama is lush, and takes some getting used to after the crash-and-burn Solti set, but after a time or two it seems just right. Goodall is not always slower than the rest, either; for example, the famous Ride of the Valkyries that begins Act III is quicker than Solti's surprisingly slow and heavy account. It is the most exciting that I have heard--and I have heard quite a few--but it is not so fast that the power is lost in favor of urgency.

This is not an urgent Die Walkure, and it is all the better for it. Goodall takes the time to actually tell the story, and is sensitive to the drama's needs over what could be called convention. For example, Wotan's Farewell doesn't thunder out after Brunnhilde's final declamation, like in so many recordings; rather, Goodall's interpretation is more dreamy, mysterious, and appropriately trance-like, in keeping with the action on stage.

I own the complete Solti Ring, but I must say I will be the first in line to get each new installment of this remarakable Ring as soon they hit the shelves. If you are new to Wagner, and are willing to make the plunge into a complete Ring, then start with this one and see if you want to continue. This recording is definitely one of the great Rings, and the superb translation will open up the work in ways that following the libretto just won't. I promise that you won't be able to put this one away easily. Get it!

Bortnyansky: Sacred Concertos, Vol. 4
Average customer rating:
Bortnyansky: Sacred Concertos, Vol. 4

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Concertos | Forms & Genres | Classical | Styles | Music
Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
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Bortnyansky: Sacred Concertos, Vol. 5

Bortnyansky: Sacred Concertos, Vol. 3

Bortnyansky: Sacred Concertos for Double Choir, Vol. 6

Bortnyansky: Sacred Concertos, Vol.2

Bortnyansky: Sacred Concertos Vol. 1

ASIN: B00005J71E
Release Date: 2001-06-26

Tracks:

Sacred Con No.24: I. I Will Lift Up Mine Eyes Unto The Hills -
Sacred Con No.24: II. He Will Not Suffer Thy Foot To Be Moved -
Sacred Con No.24: III. The Lord Shall Preserve Thy Going Out And Thy Coming In
Sacred Con No.25: I. We, The Unworthy, Shall Not Cease -
Sacred Con No.25: II. We Shall Not Renounce You -
Sacred Con No.25: III. For You Are The Eternal Saviour Of Us
Sacred Con No.26: I. Lord God Of Israel, There Is No God Like Thee -
Sacred Con No.26: II. Lord God Of Israel! That Thine Eyes May Be Open -
Sacred Con No.26: III. ...And Forgive Thy People That Have Sinned Against Thee -
Sacred Con No.26: IV. ...That This House, Which I Have Builded
Sacred Con No.27: I. I Cried To The Lord With My Voice -
Sacred Con No.27: II. He Sent From Above, He Took Me -
Sacred Con No.27: III. According To The Cleanliness Of My Hands -
Sacred Con No.27: IV. ...And I Did Not Put Away His Statutes From Me
Sacred Con No.28: I. Blessed Is The Man That Feareth The Lord -
Sacred Con No.28: II. His Seed Shall Be Mighty Upon The Earth -
Sacred Con No.28: III. The Lord Hath Sworn In Truth Unto David -
Sacred Con No.28: IV. His Enemies Will I Clothe With Shame
Sacred Con No.29: I. I Will Praise The Name Of God With A Song -
Sacred Con No.29: II. ...And Will Magnify Him With Thanksgiving -
Sacred Con No.29: III. For His Merciful Kindness Is Great Toward Us -
Sacred Con No.29: IV. ...And The Truth Of The Lord Endureth For Ever

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How Well You Survive
Oh My God!
Getting There
Needs work
Star Shining Bright

No Will Power
Kat Parsons
Manufacturer: Cleopatra
ProductGroup: Music
Binding: Audio CD

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Framing Caroline
Taking The Long Way

ASIN: B0007UVX54
Release Date: 2005-03-29

Tracks:

No Will Power
Miss Me
Go Find Her
We Deserve More
Standing Still
I Know It's Time
Mistakes
To Return to You
Remains
Someone to Watch Over Me

Product Description

1. No Will Power
2. Miss Me
3. Go Find Her
4. We Deserve More
5. Standing Still
6. I Know It's Time
7. Mistakes
8. To Return To You
9. Remains
10. Someone To Watch Over Me

Format: CD

Customer Reviews:

How Well You Survive.......2007-07-02

In the liner notes for the CD, it thanks her fans who helped finance the project by buying advance copies before she had recorded a note. Parsons has a lovely voice that effortlessly reaches both her higher register and the strong midrange where her voice is resonant and sweet. On "Go Find Her" she sings expressively, bursting with emotion on an excellent breakup song, "Leavin' you was hard; Seein' how well you survive without me was harder. You slowly grow away from me. You should 'cause I can't keep you anymore." "To Return to You" is also excellent with a great build and Kat's vocals determined as her piano builds the emotional frenzy. She concludes the set with George & Ira Gershwin's "Someone to Watch Over Me," copyright credited from 1926. Kat shines on the standard with Dustin Morgan's upright bass giving it a classic jazz small combo feel. The second track "Miss Me" does not really appeal to me with its reference to body odor, "I want you to taste me when you breathe, to smell my scent on your sheets." Some of the other tracks also miss the mark for me like "Standing Still" & "Mistakes." So while the songwriting is uneven, the singer is well worth hearing. Some of it is excellent; and some of it is not. Enjoy!

Oh My God!.......2006-02-10

My Husband and I just saw Kat last night performing with Shannon Curfman and Lennon Murphy - my God she was wonderful. Her voice is amazing and she's a REAL musician - that's right kids a performer who writes AND plays instruments.

We bought her CD there (got her autograph too) and listened to it twice on the way home.

Excellent artist - highly highly recommended.

Come back to Philly Kat!!! And you should have been the headliner! Tisha

Getting There.......2006-02-04

I listened to Kat's Cd while I was working at her college booking agency and I fell in love with her sound. I usually prefer male artists but Kat's music was such a pleasant surprise! She's definitely on to something here! It's only a matter of time before she is completely well known!

Needs work.......2006-01-08

I was given this CD as a gift. Although her voice is pleasing at times, the songs basically are amateurish and not memorable. With some help, she has potential but for now I give it a thumbs down.

Jon

Star Shining Bright.......2005-10-30

."No Will Power" is a gem of an album. This album is a great introduction to this wonderful talent from LA that I've had the chance to see live. The production qulaity is first rate. She has a unique style all her own that stands up well alongside artists like Michelle Branch, Natalie Merchant and 70's Linda Ronstadt.

Songs by Dvorak: Biblical Songs Op. 99; Songs on Folk Tunes / Martinu: Songs on One Page for voice & piano, H. 294 / Janacek: Moravian Folk Poetry in Songs

Average customer rating:

Songs by Dvorak: Biblical Songs Op. 99; Songs on Folk Tunes / Martinu: Songs on One Page for voice & piano, H. 294 / Janacek: Moravian Folk Poetry in Songs

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
ASIN: B00000E6NA
Release Date: 1993-09-14

Average customer rating:

No Will Power

Manufacturer: Kat Parsons
ProductGroup: Music
Binding: Audio CD

Pop Rock | Pop | Styles | Music
ASIN: B000CADI48
Release Date: 2005-02-15

Tracks:

No Will Power
Miss Me
Go Find Her
We Deserve More
Standing Still
I Know It's Time
Mistakes
To Return To You
Remains
Someone To Watch Over Me

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Hung Well
Countime
Manufacturer: No Joke Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B0009FUUXI
Release Date: 2005-05-29

Tracks:

Blue Fish
Death of Flesh
Only On T.V.
Smoke
Wrong
Junkie
Story of Jed
Ig
Sustain Me
Alive I'm Not
Uncontrolled Power
Story of Bob

Average customer rating:

Just HOT

A New Beginning
Splitfaces
Manufacturer: Down Low Records, Inc.
ProductGroup: Music
Binding: Audio CD

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ASIN: B0007P6EMG
Release Date: 2005-02-15

Tracks:

Intro
America
Countdown 2 Final Curtain (feat. B.I.Z)
Get Right
Loving U (feat. Burgundi Allison)
A New Beginning Interlude
Heart
Tomorrow
Obsessed
Light Of Mine (feat. Jea Street & B.I.Z.)
Who I Am?
By Your Side (feat. Xstacey)
Monster
Because Of U
Countdown 2 Final Curtain (radio edit)
Get Right (radio edit)

Album Description

Born Samual Wilson, May 30, 1975 in Dover Delaware. Samual (aka) Splitfaces was raised by a single father in a poor situation. He dealt with lots of racism, being born from a black woman and a white man Samual fell in love with hip-hop at the early age of 7. Later he attended Delaware University and dropped out to pursue music. To date Splitfaces has written over 150 songs.

Customer Reviews:

Just HOT.......2005-02-28

I am glad to be able to tell people about the album. I think it is one of the best cd's out this year. If you don't have it GET IT cause it is hot. Just give him so time and we will be saying
50cent who.

Average customer rating:

No Future Without Us
D-Devils
Manufacturer: BeatBuzz Records
ProductGroup: Music
Binding: Audio CD
ASIN: B000M2GBW2

Product Description

Song list: 1. No Future Without Us, 2. Release the Virgins (The Ultimate Seduction), 3. Car Wars (Album Version), 4. My Prince Will Come (Fairy Tale Mix), 5. Bass Explosion (Drowning Dub Mix), 6. Interlude: Showtime, 7. Go With the Flow (Go!), 8. Surround & Pound (Power Edit), 9. Perdu Mon Espoir (Poesie Dramatique), 10. The Last Anthem (Electro Club Edit)

Average customer rating:

Historic Organs of Philadelphia, produced by OHS.

Historic Organs of Philadelphia

Manufacturer: Organ Hist. Society
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

Improvisation | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Rondos | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

Voluntaries | Sacred & Religious | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Compilations | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music

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

Marches | Miscellaneous | Styles | Music
ASIN: B00004T213
Release Date: 2000-05-30

Customer Reviews:

Historic Organs of Philadelphia, produced by OHS........2007-02-14

At first sight, this 4 Cds set is quite pale with a more than sober presentation, entirely flat green coloured. But overcoming this unusual appearance worthed the price. Lets mention for instance, the booklet: 43 pages, an anthology by itself. Well documented and full of explanations, pictures, details of all kinds, it's a must to the listening.

This project of revitalizing special historical organs, 32 here, is very interesting by the variety of pieces and styles, all put together to entertain people. Let put it that way: it's a popular approach to classical organ, not too crunchy for an unfamiliar audience. Just few theatre organ pieces which are frankly not my cup of tea.

With four Cds, the repertoire is ample (more then 50 pieces), and the variety of genre makes room for everyone's taste. The only weakness, which is not proper to this particular set, is some lack in interpretation, maybe due to the variety of the repertoire without common approach. So, what it gains in size may be lost in style. Few interpretations are fair and recording at times, quite standard.

Few good discoveries though: Sowerby's Pageant Cd 1,1 with a continuo on the pedal : an athletic performance, Roger Ducasse Cd 1,2 quite exiting. The Chopin Cd 1,3 could be better. Rapidly performed, this piece is to my view, better on piano, so the organ deep breathing is not very accurate, but for sure, it makes the effect. Pieces including quires are very interesting and easy going: Cd 2,3 for instance puts you in the mood of sing along !

On the whole, a good set for collectors, those who like organ as instrument more then repertoire, those who prefer a relaxing and pure pleasure of listening while in concert on weekdays... Nothing heavy or too much conceptual as some other organ performances are at times.

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