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Release Date January 07, 1997
Dignified,lovable and instantly recognisable Marian Anderson is much beloved first afro-american singer to achieve world-wide recognition,together with Paul Robeson she represents almost biblical royal couple from whom later generations sprung and followed.True,she certainly had to fight with unjustice,prejudice and obstacles (curiously enough,she was instantly recognised as artist of highest calibre in Europe while they troubled her back home) but all those events are far now,as I am writting this in Summer 2007 and what is the most important is her musical legacy.Contrary to liner notes on this CD where they suggest her singing might be old fashioned by todays standards,I found her singing simply stunning,serious,deeply moving and sincere.In ... Read More:
Release Date October 25, 1990
I think this a a really interesting recording. Aida so often gets recorded by big sopranos (early Callas, Price, Milanov, Tebaldi) and big heavyweight tenors (del Monaco, Baum, Vickers) and these wonderful artists bring something special to their respective parts no doubt. Yet, I don't think Aida will every really be defined as an opera that requires massive voices. It does require some balance, insight and, I think lyricism otherwise it just sounds a bit loud and one-dimensional. Now, all the singers I listed above are guilty of this of course, and even then they often brought some moments of high drama and excitement to compensate, but we do need a bit of balance and light relief. So here Freni, Carreras and Baltsa offer us something different. ... Read More:
Release Date October 25, 1990
Jessye Norman took up residence in Paris and has an affinity for French music. Here we get one of the most gorgeously sung recordings of Berlioz's Nuits d'Ete imaginable, rivaled on the operatic scale only by Leontyne Price (and Norman's French is better). the amazing control of the voice, its enchanting tone and great power all come together under Colin davis's relaxed but effective conducting. (David Hurwitz has reached a new low in irresponsibility by not even coutning the number of songs--six--correclty. He's supposed to know something about music?)
Just as beautiful is Norman's account of Ravel's Scheherazade.
Economical buyers should be aware that this album is included in a budget two-fer that includes a recital of French chansons ... Read More:
Release Date January 14, 1997
These are probably some of Kreisler's best recordings. Unlikely pair with Rachmaninoff turned out to be a most happy one. Kreisler's vivacious, sunny quality blends beautifully with Rachmaninoff's robust, slavonic piano playing. Their recording of Beethoven #8 is lively and full of charm. The second movement (notoriously difficult movement to find the right tempo) is played with melting Viennese charm. The outer movements are dashing and Kreisler's magnificient trills are evident throughout. It is a performance that has never really been matched (Kreisler's later version with Franz Rupp was good, but not quite as well). Schubert is also excellent and only equalled by Arthur Grumiaux in the 1970's with Paul Crossley (yes, equalled, but NOT surpassed!) ... Read More:
Release Date October 14, 1997
These are probably some of Kreisler's best recordings. Unlikely pair with Rachmaninoff turned out to be a most happy one. Kreisler's vivacious, sunny quality blends beautifully with Rachmaninoff's robust, slavonic piano playing. Their recording of Beethoven #8 is lively and full of charm. The second movement (notoriously difficult movement to find the right tempo) is played with melting Viennese charm. The outer movements are dashing and Kreisler's magnificient trills are evident throughout. It is a performance that has never really been matched (Kreisler's later version with Franz Rupp was good, but not quite as well). Schubert is also excellent and only equalled by Arthur Grumiaux in the 1970's with Paul Crossley (yes, equalled, but NOT surpassed!) ... Read More:
Release Date January 18, 1991
These are probably some of Kreisler's best recordings. Unlikely pair with Rachmaninoff turned out to be a most happy one. Kreisler's vivacious, sunny quality blends beautifully with Rachmaninoff's robust, slavonic piano playing. Their recording of Beethoven #8 is lively and full of charm. The second movement (notoriously difficult movement to find the right tempo) is played with melting Viennese charm. The outer movements are dashing and Kreisler's magnificient trills are evident throughout. It is a performance that has never really been matched (Kreisler's later version with Franz Rupp was good, but not quite as well). Schubert is also excellent and only equalled by Arthur Grumiaux in the 1970's with Paul Crossley (yes, equalled, but NOT surpassed!) ... Read More:
Release Date March 18, 1997
These are probably some of Kreisler's best recordings. Unlikely pair with Rachmaninoff turned out to be a most happy one. Kreisler's vivacious, sunny quality blends beautifully with Rachmaninoff's robust, slavonic piano playing. Their recording of Beethoven #8 is lively and full of charm. The second movement (notoriously difficult movement to find the right tempo) is played with melting Viennese charm. The outer movements are dashing and Kreisler's magnificient trills are evident throughout. It is a performance that has never really been matched (Kreisler's later version with Franz Rupp was good, but not quite as well). Schubert is also excellent and only equalled by Arthur Grumiaux in the 1970's with Paul Crossley (yes, equalled, but NOT surpassed!) ... Read More:
Release Date September 16, 1997
I must qualify this review in that I listened to this performance on an EMI CD so the sound may be somewhat different due to differnces in CD Remastering.
The performance is unique because of Dal Monte's attempt to sound both "girlish" and "asian". She was at the end of her career when she made the recording. She sounded shrill at times, but it was a very interesting interpretation from a unique artist. Gigli was Gigli... Great! The "Sharpless" was O.K as was the orchestra, chorus and conducting. The recording was about what you would expect from a pre-war recording originally issued on 78 RPM records.
If you enjoy great voices from the so called "golden age", this might be woth a listen... Not an ... Read More:
Release Date
I must qualify this review in that I listened to this performance on an EMI CD so the sound may be somewhat different due to differnces in CD Remastering.
The performance is unique because of Dal Monte's attempt to sound both "girlish" and "asian". She was at the end of her career when she made the recording. She sounded shrill at times, but it was a very interesting interpretation from a unique artist. Gigli was Gigli... Great! The "Sharpless" was O.K as was the orchestra, chorus and conducting. The recording was about what you would expect from a pre-war recording originally issued on 78 RPM records.
If you enjoy great voices from the so called "golden age", this might be woth a listen... Not an ... Read More:
Release Date October 13, 2003
Yes, this is different from John McDermott's usual celtic/folk sound (which I love) but it showcases his fantastic ability to span all genres. "Stories of Love" is a clear gift of quality orchestation supporting Mr. McDermott's soft/lilting voice. You can sense he really enjoyed singing these songs. Of course I've always been a fan of Antonio Carlos Jobim and the many Jobim songs are done beautifully. Love to just play this cd in the background while I'm working. Great gentle music.
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