Shinjitsu No Uta [Import]

shinjitsu no uta [import]

Track Listings

1. One Or Eight

2. One Or Eight (Instrumental)

Editorial Reviews
Product Description
The first single taken from the Japanese pop/rock act's 2003 album, 'True Song', their fourth overall. Tracks, 'Shinjitsu No Uta', 'One Or Eight', 'Shinjitsu No Uta' (Instrumental) & 'One Or Eight' (Instrumental). Avex. 2002.

Shinjitsu No Uta,Do As Infinity,Rock/Pop

Shinjitsu No Uta [Import]

Average customer rating:

hmmmm
Good Introduction but poor quality
Tchaikovsky's Greatest Pieces of Music
great music poorely performed.
Great!

25 Tchaikovsky Favorites

Manufacturer: Vox (Classical)
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000058HZ
Release Date: 1996-08-20

Tracks:

Overture
Dance Of The Sugar Plum Fairy
Dance Of The Flutes
Scene
Waltz
Dance of the Swans
Scene 2
Hungarian Dance
III. Scherzo
I. Adagio; Allegro Non Troppo
II. Allegro Con Grazia
III. Allegro Molto Vivace
II. Andante Cantabile
Capriccio Italien In A Major, Op. 45
Marche Slave In B Flat, Op. 31
June - Michael Ponti
II. Andantino Simplice - Felicja Blumental
Coronation March
Eugen Onegin: Waltz
Romeo & Juliet: Fantasy-Overture
Serenade For Strings: II. Waltz
Sleeping Beauty: Tempo Di Valse
String Quartet In D Major, Op. 11: Andante Cantabile
Violin Concerto In D Major, Op. 35: III. Allegro Vivacissimo - Aaron Rosand
1812 Overture, Op. 49: Excerpt

Customer Reviews:

hmmmm.......2005-09-14

definitely not the best rendition of the popular suite.on the other hand,try finding another one.
stuff is edited,bludgeoned,rather.
tempos verge on comical.
rather disapointing,I really needed a nice version of the sugar plum faerie dance.
will probably stick to Wendy Carlos's,cheesy,runningly cheesy,blue cheese smelly,even,as it might be,still holds the original pace and campy pomp.

...not nuch of a cheese shop is it?
-it's fairly clean.
certainly not contaminated by Cleese!

Good Introduction but poor quality.......2005-09-12

This is a good introduction to Tchaikovsky for the beginner that gives a broad sampling of his work. Considering the price, it's a good value if someone is just wanting to begin exploring classical music or Tchaikovsky in particular.
However, the sound quality on this albumn is quite poor and there are much higher quality Tchaikovsky recordings available.

Tchaikovsky's Greatest Pieces of Music.......2000-09-04

Here are some of Peter Ilych Tchaikovsky's greatest works. His Nutcraker, Swan Lake and Sleeping Beauty ballets are the most famous in the repoirtaire. The Symphony No. 5 and 6 are very excellent symphonic orchestrations. However, despite all the good stuff in here from the Russian master, the performers and conductors cannot surpass the beauty and artistry that such Tchaikovsky music masters as Dorati, Markevitch and Ormandy are. So if you want quality Tchaikovsky, get those conductor renditions. However, for a Tchaikovsky beginner, these pieces will get you hooked. This is a good cd to begin with for a Tchaikovsky listener. I am a Tchaikovsky listener ever since a friend recommended his glorious works to me. I am a Mozart fan but Tchaikovsky is undoubtedly the greatest Romantic composer of all time. He combines Russian melodies (Russian dances, mazurkas, waltzes) and gives them a definite Western romantic feel. He was friends with such noted Romantic composers as Camille Saint Saens, known to create such marvelous music of the era- Carnival of the Animals (now popular through Dysney) and Danse Macabre, to name only a small portion. Tchaikovsky also adored Mozart and although he is not exactly a Classical composer, he greatly admires the beauty of Mozart's works. Three cheers for Tchaikovsky !

great music poorely performed........1999-09-18

T. is my favourite composer but the interpretation on this CD is rather like a good effort in high shool

Great!.......1999-04-18

I think that Peter Tchaikovsky is one of the greatest composers ever. His Nutcracker suite and Capriccio Italien are wonderful pieces of music, as well as the rest of his pieces! This CD is definetly worth owning if you like classical music.

Gottschalk, Vol.2: A Night in the Tropics; Grand Tarantelle

Average customer rating:

One of the best CD's we've EVER bought
FABULOUS!

Gottschalk, Vol.2: A Night in the Tropics; Grand Tarantelle

Manufacturer: Vanguard Classics
ProductGroup: Music
Binding: Audio CD

Mazurkas | Ballets & Dances | Classical | Styles | Music

Polkas | Ballets & Dances | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

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ASIN: B0000023DB
Release Date: 1993-05-11

Tracks:

One Piano, Four Hands: La Jota Aragonese
One Piano, Four Hands: Souvenirs d'Andalousie
One Piano, Four Hands: La Gallina
One Piano, Four Hands: Orfa
One Piano, Four Hands: Marche De Nuit
One Piano, Four Hands: Printemps d'Amour
One Piano, Four Hands: Radieuse
One Piano, Four Hands: Rnds-moi
One Piano, Four Hands: Tremolo
One Piano, Four Hands: L'Etincelle
One Piano, Four Hands: Ses Yeux
Two Pianos: The Union
Two Pianos: Grande Tarentelle For Piano & Orchestra - A Night In The Tropics
Two Pianos: Andante
Two Pianos: Allegro Moderato

Customer Reviews:

One of the best CD's we've EVER bought.......2001-01-07

Talk about a mood lifter! Play this one at your next party.

FABULOUS!.......1999-10-18

An invigorating and joyful musical assortment

Kiri Te Kanawa - Songs of Inspiration / Julius Rudel, Mormon Tabernacle Choir

Average customer rating:

The golden voice of song
One of Her Best
Why forcing?
One of My Favorite Kiri Recordings

Kiri Te Kanawa - Songs of Inspiration / Julius Rudel, Mormon Tabernacle Choir
Giuseppe Verdi , Ludwig van Beethoven , Charles Gounod , Felix Mendelssohn , Johann Strauss II , Pietro Mascagni , Cesar Franck , Anonymous , Richard Rodgers , Sir Henry Rowley Bishop , Julius Rudel , Kiri Te Kanawa , Utah Symphony Orchestra , and Mormon Tabernacle Choir
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000041VM
Release Date: 1989-10-23

Tracks:

Casanova: Nonnenchor (Nuns' Chorus)
Redemption: O Divine Redeemer
Nabucco: Va, pensiero (Chorus of the Hebrew slaves)
Responsorium et Hymnus: Hear My Prayer
Christ On The Mount Of Olives: Hallelujah
Ave Maria
Cavalleria Rusticana: Regina coeli (Easter Hymn)
Psalm 150
Auf Flugeln des Gesanges (On Wings of Song)
Come, Come, Ye Saints
Carousel: You'll Never Walk Alone
Home Sweet Home (Sung in Maori)
The Sound Of Music: Climb Every Mountain

Customer Reviews:

The golden voice of song.......2007-01-09

A wonderful recording which I purchased years ago in cassette form, and wore out! So happy to be able to buy in CD form, and well worth listening to. Kiri Te Kanawa has a glorious soprano voice, full of warmth and colour, and her interpretation of song is in my opinion second to none."Songs of inspiration"
really does inspire and feed the soul. As a music lover, and singer myself I love all of the pieces on this album with a passion.

One of Her Best.......2002-05-06

This is one of the best performances of an operatic artist with the Morman Tabernacle choir in existance. Kiri's poise, music selections, and execution are flawless. The ending of "You'll Never Walk Alone" which would be forced for other artists is effortless for Kiri.

For anyone who enjoys choir music with guest artists, this recording is a "must buy".

Why forcing?.......2002-03-21

I bought the cassette (not the CD), and found one of my favorite songs there: You'll Never Walk Alone. This song was one that once encouraged me to walk with 'my head up high' during the (most) difficult time of my life.

What I don't understand from Dame Tekanawa is that at the end of the song, she forced a "show-off" ending with the unnecessary high note. I don't know what that had given impact to when doing it in front of an audience, but in the recording, it sure was not beautiful.

Other numbers were marvellous. I've always liked Dame Tekanawa.

One of My Favorite Kiri Recordings.......2000-02-27

I brought this after watching (And taping) her 1989 Mormon Tabernacle Temple concert on PBS in 1992, and I have to said, this is one of my favorite Kiri recordings ever. It's still is!

There's some great selections on there that Kiri fans will enjoy, such as the Cavalleria Easter Hymn, Auf Flugeln Des Gesanges, Home Sweet Home sung in her native Maori (Dame Kiri herself is half-Maori), as well as some that doesn't appear on PBS (Such as the rarely-heard Nuns' Chorus, the Nabucco Va Pensiero, and Hear My Prayer sung in English).

Althrough the CD is recorded live, as the booklet notes stated, portions are topped and tailed in a separated studio session, to give the CD a studio-like recording.

I do enjoy it so often. Now, only if the video of that concert is released commerically, so we can pleased it a lot.

Mahler: Symphonies Nos. 2 & 4
Average customer rating:

Two of Maurice Abravanel's greatest recordings for less than $12

Mahler with heart, refinement by Abravanel & Company

Mahler: Symphonies Nos. 2 & 4

Manufacturer: Vanguard Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000B1A1R
Release Date: 2003-09-09

Tracks:

Allegro Maestoso - Florence Kopleff
Andante Moderato - Florence Kopleff
In Ruhig Fliessender Bewegung - Florence Kopleff
'Urlicht' (Aus 'Des Knaben Wunderhorn') - Florence Kopleff
Im Tempo Des Scherzos-Langsam; Misterioso - Florence Kopleff

Tracks:

Bedachtig; Nicht Eilen - Netania Davrath
In Gemachilier Bewegung; Ohne Hast - Netania Davrath
Ruhevoll: Poco Adagio - Netania Davrath
Langsam; Ruhevoll; Empfunden - Netania Davrath

Customer Reviews:

Two of Maurice Abravanel's greatest recordings for less than $12.......2005-08-24

This set entails two of Maurice Abravanel's best performances (of Mahler or any othe composer) during his long tenure as music director of the Utah Symphony Orchestra. These performances, from 1968 (Symphony 2) and 1974 (Symphony 4) are very well recorded and oustandingly performed by combined Utah forces and famous soloists.

With Leonard Bernstein, Abravanel was the first American conductor to regularly perform and record all the Mahler symphonies. The two had very different ideas about Mahler, who was only becoming popular worldwide when each of them was recording his nine symphonies (the 10th symphony was not well known in those days.)

Unlike Bernstein -- who took a highly visceral and tempestuous approach to Mahler, italicizing his neuroticism -- Abravanel's approach is more in the mold of Mahler's friend and protege, Bruno Walter. His performances tend to be short (77 minutes in the "Resurrection") and tend to be on the moderate side of the emotional spectrum.

That should not be confused with "cool", however, for Abravanel and his forces are every bit as involved with the turbulent emotions of the "Resurrection" symphony. But instead of focusing on religiosity or the weight of temperament, Abravanel's performance is a more direct interpretation of the score abetted by two wonderful soloists and a choir with exquisite elocution.

The recordings were made in the world famous Mormon Tabernacle, a two level facility I have visited that is shaped like a loaf of bread. Having heard the Mormon Tabernacle Choir there, I can attest that the structural quality of this facility has much to do with the exceptionally honest and truthful recordings put forth here on CD. It is a wonderful place to sing, perform and record and has a lot to do with the realistic sound of these CDs.

Maurice Abravanel made many wonderful and justly famous recordings in Utah and this one is probably the greatest living testament to his Mahler legacy. No fan of Mahler, whether veteran or neophyte just starting to explore the Mahler canon, has any reason to be nervous about acquiring this two disc set. It has stood the test of time and compares well with the competition still today.

Mahler with heart, refinement by Abravanel & Company.......2004-06-10

Let me begin with full disclosure: my acquaintance with this symphony is founded on the distinguished recording made for old CBS (now Sony Classics) by Bruno Walter. He had the New York Philharmonic playing their hearts out, perhaps reaching back into their own collective orchestral unconscious for something of the actual Mahler tradition to which they were bona fide heirs through having played under the composer himself. To this orchestral heritage, Bruno Walter could bring his own authentic insight, nurtured in person over many years of having been musically mentored by Mahler himself. The alto soloist in that recording is the great Canadian contralto, Maureen Forrester, who had the chops ... and then some. The choir, the Westminster College Choir (I believe), were up the challenge.

That said, I am going to argue in this review that Abravanel and Utah earn their own special place. For starters, the refurbishing of the sound to high resolution (... I am actually reviewing the DVD-audio version just released recently by Silverline Classics... apparently missing notice by regular Amazon, but capable of being found and purchased, nonetheless, for all their oversight...)... well the high resolution sound is very well done. Particularly, the venue is vividly captured, since all the Utah recordings of the Mahler symphonies were able to be made in the rather unique acoustic of the Mormon Tablernacle. This building is legendary, built entirely by manual labor so the story goes, and containing not one bit of metal since the scarcity of physical materials meant that originally all the wood structures had to be fitted together by hand carving, and supported or reinforced by leather ties. In terms of the acoustic, the large circular space is a weird combination of reverberance ... circular reverberance .... and uncanny specificity. On the tour when I was there, we were left in a small group against one curving outer wall, while the tour guide want across the space to the opposite point on the curving wall across from us. He dropped pins on the pulpit, which could be heard distinctly hitting the lectern's top surface. He brushed his shirtsleeve, which could be heard as a series of rustling sounds, again quite distinct and not at all blurred.

In 5.1 high resolution, the DVD Audio version of this recording manages to capture and recreate a good bit of this unusual venue. It turns out to be quite a magical contribution to the Mahler Second Symphony. Once you adjust to the sound of the orchestra, you are given a floating aural display that hangs ethereally in the circular cloud-spaces of the tabernacle building. Arguably, this unusual soundstage might not be ideal for all types of orchestral music (... or is it? You may want to check out the other high resolution releases on DVD Audio from Silverline Classics, with Abravanel and Utah performing Brahms and Sibelius). Still, the music and the tabernacle acoustic seem particularly well suited for this Mahler Second.

Another part of the heart and sheer intelligence on offer here is the way Abravanel so seamlessly and invisibly makes use of the orchestra across all its instrumental departments. There is no doubt that Utah at this phase of their emergence from the shadows of US regional orchestra identity development were obviously unequal to Philadelphia, New York, Cleveland, or Boston. Indeed, Utah would seem to be a bit beneath even the Los Angeles, Dallas, and Pittsburg orchestras of their era. But Abravanel knew them so intimately, in both their strengths and their weaknesses, that he could dream up an interpretation that fit them, hand in glove, while staying true, overall, to genuine Mahler symphonic style.

There is much in Abravanel's choices of tempo, as well as of orchestral balance, that puts Mahler and Utah on best display. Although the Utah strings simply cannot yield the massed, sugary-velvety, heavy effects we often take for granted in Mahler done by Vienna, or Berlin, or Philadelphia; they manage to make almost all the points Mahler writes into the music, though they have frequent recourse to an abbreviated yet lyrical, singing line that must take the place of the expansive line and gesture you get from other, bigger orchestras. Woodwinds and brass are uncannily blended and balanced in the conductor's knowing hands. They make all their points, too, in real Mahlerian manner, and once you are caught up in this performance, Abravanel can make you forget that other way of playing Mahler, without diminishing him for a second.

Another great plus in this performance is the chorus and soloists. American contralto Florence Kopleff shows that she, too, was the real deal. Her voice bears the natural gravity and dark weight that the part requires. She entirely wins us over, and utterly triumphs (unwelcome) comparisons with the quavering, mini-alto soloist in that other recent Mahler second given us by Vienna on DGG, led by Kaplan. Beverly Sills is just her innately silver-tongued, musical self. She gives us rather a special star turn for what is, after all, a frequently under-cast soprano role. The choir does very well, too, though they are obviously a community chorus rather than a professional group. Again, the conductor balances all with self-effacing success, never for a second exposing his forces to shame or distraction, despite their acknowledged technical limitations.

Customer Reviews:

Another coup for Abravanel. Nobody cleanses the palate like Satie........2006-02-04

Let's first say that I was not predisposed to like Satie, given my love for counterpoint (from Bach to Hindemith) and my respect for the nobility of the musical enterprise, as opposed to superficial fluff. So my 2,500+ collection of classical CDs is packed with "monumental" items (tons of Bruckner & Mahler versions, complete works of Beethoven, Bach, Mozart, Hindemith, etc.), most of which tends toward the heavy, thick side (if not sonically, then in terms of musical values and aesthetics). But I listened to these two Satie disks totally enthralled, breaking out into spontaneous smiles at what Satie has achieved. The "breath of fresh air" that critics have ascribed to Satie's works isn't mere hype, at least insofar as Satie is accurately represented in this orchestral set list: this truly is some of the most gorgeously crafted music I've ever heard. Most of the movements are concise to the extreme (which makes Satie something of the Anti-Bruckner), but this formal structure works to the advantage of the music, where elegant ideas are presented without excessive hyper-rationalization. Even the humorous, parodistic parts of the ballets are well-crafted.

The performances are outstanding across the board. The surprise, sonically, is the virtual absence of tape hiss, and the crystal clarity of this dynamic recording. It sounds better than several hundred digitally-recorded CDs in my collection! Too bad more analog era recordings don't receive so excellent a transfer and re-mastering (none of which are even credited on this CD). The engineers were apparently humble as well as perfectionists. (If their humility was involuntary, oh well.)

If you have preconceptions about Satie's "lack of depth," etc. (as I once did), this recording will realign your priorities. Satie's depth is found in a different place. In their own way, the various miniatures he has crafted are actually as intensely packed as any Webern movement for string quartet. Satie has stripped the music back to what HE regarded as the essentials. The result, far from being stark or austere, comes across as embodying musical joy in an utterly unpretentious manner. This is a CD I will likely break out every other month just to cleanse the palate. You HAVE to respect a composer who can bring a smile to your face, and you have to respect a conductor who knows how to bring such elemental music to vibrant life as Abravanel has done here. Highly recommended.

Average customer rating:

Sacred Works

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

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Deutsche Grammophon: Music | Specialty Stores | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
ASIN: B00062IEHS
Release Date: 2004-10-12

Tracks:

Allelula - Leontyne Price
Miserere - Roy Goodman
Ave Verum Corpus, K. 618 - Peter White
Ave Maria - Frederico Von Stade
Sheep May Safely Graze - Stuttgart Chamber Orchestra
Jesu, Joy Of Man's Desiring - Stuttgart Chamber Orchestra
Ave Maria - Lisa Otto
Gloria In Excelsis
Et In Terra Pax
Laudamus Te
Gratias Agimus Tibi
Propter Magnam Gloriam
Domine Deus
Domine Fili Unigenite
Domine Deus, Agnus Dei
Qui Tollis
Qui Sedes Ad Dexteram
Quoniam Tu Solus Sanctus
Cum Sancto Spiritu

Tchaikovsky: Complete Symphonies, Overtures

Average customer rating:

Careful - Misprinted copies!
Do not buy it.
Bargain price, but is this a bargain?
what a bargain!!

Tchaikovsky: Complete Symphonies, Overtures
Maurice Abravanel
Manufacturer: Vox (Classical)
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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ASIN: B00005QKFQ
Release Date: 2001-10-16

Tracks:

Symphony No. 2 in C Minor, Op. 17: Andante sostenuto; Allegro vivo
Symphony No. 2 in C Minor, Op. 17: Andantino marziale
Symphony No. 2 in C Minor, Op. 17: Allegro molto vivace
Symphony No. 2 in C Minor, Op. 17: Moderato assai
Symphony No. 5 in E, Op. 64: Andante; Allegro con anima
Symphony No. 5 in E, Op. 64: Andante cantabile, con alcuna licenza
Symphony No. 5 in E, Op. 64: Valse: Allegro moderato
Symphony No. 5 in E, Op. 64: Andante maestoso; Allegro vivace

Tracks:

Manfred, Symphony in Four Tableux after the Dramatic Poem of Byron, Op. 58: Lento Lugubre: Moderato con moto: Andante
Manfred, Symphony in Four Tableux after the Dramatic Poem of Byron, Op. 58: Vivace con spirito
Manfred, Symphony in Four Tableux after the Dramatic Poem of Byron, Op. 58: andante con moto
Manfred, Symphony in Four Tableux after the Dramatic Poem of Byron, Op. 58: Allegro con fuoco
Marche Slave, Op. 31
Ouverture Solennelle, Op. 49

Tracks:

Symphony No. 6 in B Minor, Op. 74: Adagio; allegro non troppo
Symphony No. 6 in B Minor, Op. 74: Allegro con grazia
Symphony No. 6 in B Minor, Op. 74: Allegro molto vivace
Symphony No. 6 in B Minor, Op. 74: Adagio lamentoso
Symphony No. 1 in G Minor, Op. 11: Allegro tranquillo
Symphony No. 1 in G Minor, Op. 11: Adagio cantabile ma non tanto
Symphony No. 1 in G Minor, Op. 11: Allegro scherzando giocoso

Tracks:

Symphony No. 1 in G Minor, Op. 11: Andante lugubre; Allegro maestoso
Symphony No. 3 in D, Op. 29: Moderato assai; Allegro brillante
Symphony No. 3 in D, Op. 29: Allegro moderato e semplice
Symphony No. 3 in D, Op. 29: Andante elegiaco
Symphony No. 3 in D, Op. 29: Scherzo
Symphony No. 3 in D, Op. 29: Allegro con fuoco
Francesca da Rimini, Symphonic Fantasia after Dante, Op. 32

Tracks:

Symphony No. 4 in F Minor, Op. 36: Andante sostenuto; Moderato con anima
Symphony No. 4 in F Minor, Op. 36: Andantino in modo di canzona
Symphony No. 4 in F Minor, Op. 36: Scherzo: Allegro
Symphony No. 4 in F Minor, Op. 36: Finale: Allegro con fuoco
Hamlet, Overture-Fantasy after Shakespeare, Op. 67a
"Romeo & Juliet," Overture Fantasy after Shakespeare

Customer Reviews:

Careful - Misprinted copies!.......2006-03-27

As others have said in their reviews, the Utah Symphony Orchestra does a good job, but does not overwhelm the listener with passion. Overall, a good buy to get all the symphonies in one collection.

HOWEVER, it seems that at least one release of this set contains a misprint where Disc 1 is actually another artist and genre altogether! My disc 1 is some sort of Gospel CD, and even looking it up in the CCDB database didn't turn up the artist or title. Perhaps Amazon will replace your copy if you have one of the misprints, but VOXBOX will NOT. So buy with care.

Do not buy it........2006-02-03

Not Even a recording of Tchaikovsky's Symphonies. This is really music you would here at a july 4th celebration.

Bargain price, but is this a bargain?.......2005-11-19

Maurice Abravanel and the Utah Symphony made a number of fine recordings for Vox, Vanguard, and Westminster in the 1960s and 1970s, especially of Milhaud, Harris, Copland and other 20th century composers. Abravanel, who became conductor of the Utah Symphony in the late 1940s, is credited as having raised the musicians' standard of playing, and getting the orchestra increased recognition through new recordings released during the early stereo era (late 1950s on).

The Utah Symphony plays well enough, but they do not have the power of the Philadelphia Orchestra under Ormandy, the Cleveland Orchestra under Szell, the Chicago Symphony under Reiner, in other words, of the major American orchestras. They are professional and more than competant, but do not have the lush string tone for Tchaikovsky's great moments. Therefore, you may find this wanting a bit for power in climaxes, and the louder parts of slow movements. When stacked against the best recordings of the Tchaikovsky Symphonies, Abravanel comes up short, sounding bland and unexciting.

However, there are some good recordings in this collection. Abravanel's Tchaikovsky Symphonies 1 and 2 are better than many recordings of these works, but there are exposed violin parts in Symphony 1: IV which are scratchy and out of tune. These parts are HARD to play, however, but the Utah Symphony doesn't have the precision of the Boston Symphony under Michael Tilson Thomas (DG) or the Berlin Philharmonic under Karajan (DG), for example. Abravenel's Symphony 3 is also better than some, but not the best: dry acoustics make this rather lackluster sounding. Better for Symphony 3 is the Polish National Orchestra/Antoni Wit (Naxos).

Symphony 4 sounds good to me, but is a little light: it could use more power in the stormy pages of I, and the furious swirling passages of IV. For Symphonies 5 and 6, the competition is tough: lots of very fine recordings, so they suffer a little in comparison. 5 is especially dry; 6 fares better than 5, but neither can compare to Ormandy (Sony), Bernstein (Sony), or Wit (Naxos).

MANFRED is better than some, but again inferior to the best: Muti (EMI), Previn (EMI) or Markevitch/LSO (Philips). 1812 and Marche Slave are both excellent, Francesca less so - the lush string sound thing again.

So is this a bargain? For about $15.00, you get 7 major works and a bunch of discmates, but if you already have the great recordings listed above, you don't need this. I tend to go at the Tchaikovsky Symphonies disc by disc: Tilson Thomas/Boston (Symphony 1, DG); Markevitch/London Symphony (2, Philips);
Wit/Polish National (3, Naxos); Ormandy/Philadelphia(4, Sony);
Wit/Polish National (5, Naxos); Ormandy (6, Sony) are all suggested alternatives, but there are certainly many other excellent ones.

what a bargain!!.......2003-12-13

this collection is worth buying if only for the price--FIVE CDs for the price of one! for someone seeking an inexpensive way to explore the symphonic works of tchaikovsky this set is hard to beat. it is true that the perfomances are not at the same level of say bernstein and the NY philharmonic, they are admirably performed. personal favorites are symphonies 4,5 and 6. the utah symphony brings out the meaning and emotion of these masterworks of romanticism, particularly the muted sentiment of no. 6. the famous scherzo of no. 4 comes across with playful bounce you would expect. there are disappointments. the 1812 overture is okay, but lacks the punch of other performances, particularly the timeless one from nearly fifty years ago on the mercury label. the marche slave is a bit humdrum. but again, at this price for this much music, the flaws can be overlooked. highly recommended for beginning collectors on budget!

Live at Hollywood Bowl: Historical Recordings (1947 & 1951)

Average customer rating:

The Young Lanza impresses
A Rare Find!
One of the great performances of all time
Buy this for the first six tracks only!

Live at Hollywood Bowl: Historical Recordings (1947 & 1951)

Manufacturer: Gala
ProductGroup: Music
Binding: Audio CD

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Mario Lanza ~ Opera Arias & Duets, from Andréa Chenier · La Bohème · I Pagliacci · Madama Butterfly · Otello
Mario Lanza: At His Best!
The MARIO LANZA Collection
American Caruso
Mario Lanza

ASIN: B000001XM0
Release Date: 2000-06-06

Tracks:

L'Elisir DAmore: Una Furtiva Lagrima
Andrea Chenier: Un Di All'Azzurro Spazio
TOSCA: E Lucevan Le Stelle
La Traviata: Parigi, O Cara
Madama Butterfly: Vogliatemi Bene, Un Bene Piccolino
La Boheme: O Soave Fanciulla
Funiculi Funicula
My Song My Love
Diane
Thine Alone
A Vuchella
Toselli's Serenade
Because You're Mine
The Loveliest Night Of The Year
O Paradiso
The Rosary
If
They Didn't Believe Me
The Lords Prayer
Be My Love

Customer Reviews:

The Young Lanza impresses.......2007-04-11

I am a singer and have been a Mario Lanza fan since becoming interested in opera in my teens. The quality of his singing varied a great deal, especially in his later years. But this Hollywood Bowl concert, at age 26, shows him with a freshness and ease of production that failed him later in life. Highlights for me were the Boheme Duet - I don't know of any of the current tenor stars who would dare to hold the High A for so long and then jump right to the High C and be able to sustain it. The Andrea Chenier demonstrates his spinto side and the beauty of his middle and lower voice. One weeps for what might have been. But I will put this recording against Mr. Alagna any day of the week.

A Rare Find!.......2002-12-19

The "Live From London" is my favorite cd and this is a close second. I usually listen to the Bowl selections only and save the Coca-Cola radio program for another time. The recording quality is not the best, but this is a wonderful sourvenir of the young singer in excellent voice and delivery at the begining of his career. The selections with soprano Frances Yeend are a wonderful addition since there are few recorded "live concert" Lanza duets available outside of this venue (there are recordings of his later Bowl appearances you may want to check out). Mario's introductions show his warmth and humor. It was at this concert that MGM took notice and his career moved to the movie studios. We are fortunate to have this recording. One of the highlights of the Coke show program is Mario's introduction to the "Our Father". Disregard the liner notes. For value delivered, this cd rates five stars!

One of the great performances of all time.......2002-05-12

The first six tracks of this CD capture Mario Lanza's legendary 1947 Hollywood Bowl debut. These recordings, by themselves, would rate 7 stars in my book. (The rest of the CD would probably merit about 2 stars, but those live tracks are worth the ridiculously low price of this collection many times over.) Renowned baritone George London, Lanza's frequent singing partner, later said he never heard Mario sing better than he did that night, and it would be hard to disagree with him. Lanza, on the eve of signing his contract with MGM, was at the peak of his vocal discipline, fresh off 15 months of training with Enrico Rosati. And while his interpretive abilities may have not reached their full potential, then or ever, the voice itself was magnificent: brilliant, rich and indescribably glorious. The concert opens with "Una furtiva lagrima," by Donizetti, which, if somewhat raw, is certainly more refined and lyrical than his later studio recording. His phrasing of "Cielo, si puo morir" can bring tears to my eyes. Next up is a thrilling rendition of "Un di all'azzuro spazio" from ANDREA CHENIER. Lanza's performance of this aria is as good as any I've ever heard, including Caruso's. He positively caresses the phrase "Su dalla terra a la mia fronte veniva una ca'rezza viva," then passionately spits out the aria's middle section: "un uom vi calunniave bestemmiando il suolo che l'erario a pena sazia e contro a Dio scagliava, e contro a li uomini le lagrime dei figli!" Lanza's vocal tone, in this performance, was more focused than it was in his later recording of this aria, and his later recordings in general, and the effect is very impressive to those who have only heard his studio recordings. Then, for an encore, he sings "E lucevan le stelle," from TOSCA by Puccini, another aria which, in my opinion, Lanza sang as well if not better than anyone. True, he does not sing the pianissimo like Gigli or Di Stefano, but then neither did Caruso or Domingo. In fact, to my way of thinking Lanza's interpretation is more in character with a man who is about to die: it is not a simple love song but a cry of desperation. Next come three gorgeous duets with Frances Yeend, a singer with limited interpretive abilities but a rich, full voice. On the duet from LA TRAVIATA, Lanza showcases a wonderful legato line, and the timing of the two singers is nearly perfect. By this time in the concert, Lanza's voice had reached its peak of richness and beauty. The love duet from MADAME BUTTERFLY that follows is a positive tour de force: I have never heard a more exciting and musical performance: neither singer allows interpretation to get in the way of the melody, which is always a good idea with Puccini. Lanza is at his most passionate here, and his high C at the end is devastating. Yeend would later say that Lanza's singing was "Always thrilling. . .he never spared the horses," and this duet is a good example. Finally, a tasteful and lovely rendition of the duet from LA BOHEME closes out the show, with the richness of each singer's voice on full display. Lanza sings the line "Dammi il braccio mia piccina" as romantically as anyone, and the interplay between the two singers is nearly perfect. This is a performance for the ages: anyone who loves Italian opera and especially great tenor singing should love this album. The rest of the album is pretty much a waste, except for an interesting version of "A Vuchella" in which Lanza does his best Gigli impression. Notably, this album contains possibly the worst version of any song I have ever heard: an English language rendition of "Funiculi funicula" that is positively dreadful, although you can't really blame that on Lanza's singing.

Buy this for the first six tracks only!.......2001-08-22

This CD contains both the very best and the very worst of the vastly underrated Mario Lanza. First things first, ignore the absurdly inaccurate liner notes. Lanza did NOT have a small voice - indeed fellow musicians who sang with him often remarked that it was a huge and powerful instrument. Lanza's voice did not "crack down" in his last years, as the liner notes writer asserts; rather it was his health that "cracked down" in the final year of his life.

These recordings, however, demonstrate the tenor in the full bloom of health. The outstanding selections are tracks 1-6, which come from his extraordinary Hollywood Bowl debut in 1947. You'll never hear a better Lanza rendition of the Madama Butterfly Love Duet (with soprano Frances Yeend) than the one included here. This is sensitive AND passionate singing of the highest order, and listening to this rendition today it is not surprising that MGM signed the tenor up for a movie career the very next day. All six selections are outstanding, and many will be surprised by the beautiful legato Lanza employs in the difficult Parigi, O Cara from La Traviata.

The six initial tracks are more than worth the price of the CD, and make up for the shortcomings of the remaining selections, all of which come from Lanza's Coca-Cola radio show of 1951-52. The latter tracks show the tenor at his commercial worst. Diane is an abomination, and there are several other selections that should never have seen the light of day. Fortunately, however, there are a few nuggets among the dross, and "If" is a most attractive and exciting performance.

The sound is not brilliant on the Coke Show selections (these are not the pristine BMG recordings, and all come with overlaid applause tracks). Ironically, the live Hollywood Bowl selections have much better sound.

Tracks:

Symphony No. 7, "Song of the Night," I. Langsam - Allegro con fuoco
Symphony No. 7, "Song of the Night," II. Nachtmusik I: Allegro moderato
Symphony No. 7, "Song of the Night," III. Scherzo: Scattenhaft; Fliessend, aber nicht scnhell
Symphony No. 7, "Song of the Night," IV. Nachtmusik II: Andante amoroso
Symphony No. 7, "Song of the Night," V. Rondo - Finale; Allegro ordinario

Tracks:

Symphony No. 8, "Symphony of a Thousand" Part I: Hymn: Veni, Creator spiritus I. Veni, Creator spiritus
Symphony No. 8, "Symphony of a Thousand" Part I: Hymn: Veni, Creator spiritus II. Imple superna gratia
Symphony No. 8, "Symphony of a Thousand" Part I: Hymn: Veni, Creator spiritus III. Infirma nostri corporis
Symphony No. 8, "Symphony of a Thousand" Part I: Hymn: Veni, Creator spiritus IV. Accende lumen sensibus
Symphony No. 8, "Symphony of a Thousand" Part I: Hymn: Veni, Creator spiritus V. Tu septiformis munere
Symphony No. 8, "Symphony of a Thousand" Part I: Hymn: Veni, Creator spiritus VI. Gloria Patri Domino
Symphony No. 8, "Symphony of a Thousand," Part 2: Closing Scene from Goethe's Faust I. Helige Anachoreten
Symphony No. 8, "Symphony of a Thousand," Part 2: Closing Scene from Goethe's Faust II. Pater ecstaticus
Symphony No. 8, "Symphony of a Thousand," Part 2: Closing Scene from Goethe's Faust III. Pater profundud
Symphony No. 8, "Symphony of a Thousand," Part 2: Closing Scene from Goethe's Faust IV. Chor del Engel
Symphony No. 8, "Symphony of a Thousand," Part 2: Closing Scene from Goethe's Faust V. Die vollendeteren Engel
Symphony No. 8, "Symphony of a Thousand," Part 2: Closing Scene from Goethe's Faust VI. Doctor Marianus
Symphony No. 8, "Symphony of a Thousand," Part 2: Closing Scene from Goethe's Faust VII. Doctor Marianus
Symphony No. 8, "Symphony of a Thousand," Part 2: Closing Scene from Goethe's Faust VIII. Chor
Symphony No. 8, "Symphony of a Thousand," Part 2: Closing Scene from Goethe's Faust IX. Magna Peccatrix
Symphony No. 8, "Symphony of a Thousand," Part 2: Closing Scene from Goethe's Faust X. Una Poenitentium
Symphony No. 8, "Symphony of a Thousand," Part 2: Closing Scene from Goethe's Faust XI. Doctor Marianus/Chor
Symphony No. 8, "Symphony of a Thousand," Part 2: Closing Scene from Goethe's Faust XII. Chorus mysticus

Customer Reviews:

Abravanel's Mahler gems.......2004-09-09

Abravanel's exciting interpretation of Mahler's eight symphony is one of the classic takes. The recording was made in 1963, but it sounds still very fresh with a lot of details and nuances well registered. The excellent choirs sounds very large and massive, and though the soloists are not big names they perform very well. The orchestra is also very convincing, both in standard and commitment, although the string section is somewhat "thin". Indeed it is one of the best bargain buys of this symphony.

The coupling is Abravanel's account of the seventh symphony. It is not quite up to the level of the eight, but nonetheless a take that one returns to (at least occasionally). Abravanel's insights as a pre-boom Mahler interpreter cannot be overlooked. Actually he is close to Gielen (Hänssler) in emphasizing the radical, ironical character of the work. Playing is good - no serious mistakes - and engineering is not first class but certainly satisfying, presenting a vivid, detailed and realistic stereo picture.

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