CD-Charts Position 1
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Here

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by: Combo Fiasco

Release Date January 01, 2000
Combo is a wonderful tight-harmony cabaret trio from Down Under, with a brilliant musical sense, as well as a great sense of humor. The "Phantom" spoof is a personal favorite, as is the Sondheim medley, but the album as a whole is a treat. At last check, Sharon Millerchip had left the trio to star in the Australian production of Chicago, but Shaun and Tony are trucking on with a replacement. Cabaret performers and performances really don't get much better than this.

CD-Charts Position 2
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Brad Paisley Top Tunes Karaoke TT-231

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from: Top Tunes

Release Date
I got this for my birthday as a joke because I love Brad Paisley and HATE karaoke. So my wife gave me this. Popped it in the CD player and I was really impressed. It's a fairly accuarate reproduction of the real thing (about 95% dead on), even the guitar-tone comes close, only no lyrics, so... it's easier to figure out licks and runs and, more importantly, the rhythm guitar, since it's not always prominently featured in the original recordings.

If you are a guitarist who likes Brad Paisley, you will really enjoy this CD as a great learning tool/ backing track.

CD-Charts Position 3
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Previn - A Streetcar Named Desire / Fleming, Futral, Gilfry, Griffey, SF Opera, Previn

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by: André Previn, Renée Fleming, Elizabeth Futral, Orchestra of the San Francisco Opera, Rodney Gilfry, Anthony Dean Griffey, Matthew Lord, Judith Forst Josepha Gayer

Release Date December 22, 1998
I'm gradually liking this opera. I've recently gotten into opera and I love 'streetcar' so I bought this. The music is great, and so is the singing. But the constant sing-talking is obnoxious, in my opinion. I know it doesn't bother some, so obviously this is a point-of-view thing, but to be honest I'd rather they just spoke or sang more of it than the sing-talk. There were moments when I would've preferred hearing just the background music. The story, though, is good, of course. If you like streetcar, check it out.

CD-Charts Position 4
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Morales: Ildegonda

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from: Forlane

Release Date April 17, 2001
I'm gradually liking this opera. I've recently gotten into opera and I love 'streetcar' so I bought this. The music is great, and so is the singing. But the constant sing-talking is obnoxious, in my opinion. I know it doesn't bother some, so obviously this is a point-of-view thing, but to be honest I'd rather they just spoke or sang more of it than the sing-talk. There were moments when I would've preferred hearing just the background music. The story, though, is good, of course. If you like streetcar, check it out.

CD-Charts Position 5
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Trinity - Seas Seize Sees

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from: Musea

Release Date August 22, 2003
I'm gradually liking this opera. I've recently gotten into opera and I love 'streetcar' so I bought this. The music is great, and so is the singing. But the constant sing-talking is obnoxious, in my opinion. I know it doesn't bother some, so obviously this is a point-of-view thing, but to be honest I'd rather they just spoke or sang more of it than the sing-talk. There were moments when I would've preferred hearing just the background music. The story, though, is good, of course. If you like streetcar, check it out.

CD-Charts Position 6
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Verdi: Aida Highlights

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from: Gala

Release Date June 06, 2000
This recording has wonderful, clear sound quality, but the performances, and especially the conducting, are not up to par. Jessye Norman sings everything beautifully with rich tone, and sounds magnificent in her two arias, but she is a lifeless Aïda. She pastes on Aïda's emotions. Her portrayal is too shallow. She sang this performance when she was still a lirico-spinto, and not yet a full-blown dramatic soprano. Her soft high notes are pretty, but hardly breathtaking and she cuts some forte high notes short, like the high B-flat on the word "Ah!" in "Ritorna vincitor". Pedro Lavirgen is a squillo-less Radamès. At least he puts a little more emotion into his singing than Norman does. His "Celeste Aïda" is surprisingly effective and well sung. ... Read More:

CD-Charts Position 7
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Leos Janácek: Osud (Fate)

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from: Supraphon

Release Date
This recording has wonderful, clear sound quality, but the performances, and especially the conducting, are not up to par. Jessye Norman sings everything beautifully with rich tone, and sounds magnificent in her two arias, but she is a lifeless Aïda. She pastes on Aïda's emotions. Her portrayal is too shallow. She sang this performance when she was still a lirico-spinto, and not yet a full-blown dramatic soprano. Her soft high notes are pretty, but hardly breathtaking and she cuts some forte high notes short, like the high B-flat on the word "Ah!" in "Ritorna vincitor". Pedro Lavirgen is a squillo-less Radamès. At least he puts a little more emotion into his singing than Norman does. His "Celeste Aïda" is surprisingly effective and well sung. ... Read More:

CD-Charts Position 8
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Handel - Alexander Balus 1748 English Oratorio in 3 Acts

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from: Newport Classic

Release Date January 27, 1998
While the King recording on Hyperion boasts a stylistically knowing cast and crew, this beautiful, unheralded recording features all Americans with splendid voices and a full-blooded approach to the dramatic (especially Act III) in an often-static plot line, which their more polished British neighbors shy from.
But far and away the best of both CDs is the superb work by soprano Julianne Baird as the hapless Cleopatra (not the Elizabeth Taylor Cleo but one by the same name from an earlier chapter in Egyptian history, it seems). Her death lament reflects some of the composer's--and the singer's--finest, most shining pages. Fine work from conductor Rudolph Palmer and D'Anna Fortunato in the title role also recommend this recording from Newport Classic.

CD-Charts Position 9
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Mussorgsky:Boris Godunov

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by: Abbado/Bpo

Release Date May 03, 1994
While the King recording on Hyperion boasts a stylistically knowing cast and crew, this beautiful, unheralded recording features all Americans with splendid voices and a full-blooded approach to the dramatic (especially Act III) in an often-static plot line, which their more polished British neighbors shy from.
But far and away the best of both CDs is the superb work by soprano Julianne Baird as the hapless Cleopatra (not the Elizabeth Taylor Cleo but one by the same name from an earlier chapter in Egyptian history, it seems). Her death lament reflects some of the composer's--and the singer's--finest, most shining pages. Fine work from conductor Rudolph Palmer and D'Anna Fortunato in the title role also recommend this recording from Newport Classic.

CD-Charts Position 10
Average Rating:

Wallace: Harvey Milk

Search: Two People
by: Stewart Wallace

Release Date March 17, 1998
While the King recording on Hyperion boasts a stylistically knowing cast and crew, this beautiful, unheralded recording features all Americans with splendid voices and a full-blooded approach to the dramatic (especially Act III) in an often-static plot line, which their more polished British neighbors shy from.
But far and away the best of both CDs is the superb work by soprano Julianne Baird as the hapless Cleopatra (not the Elizabeth Taylor Cleo but one by the same name from an earlier chapter in Egyptian history, it seems). Her death lament reflects some of the composer's--and the singer's--finest, most shining pages. Fine work from conductor Rudolph Palmer and D'Anna Fortunato in the title role also recommend this recording from Newport Classic.