Erika

Track Listings

1. Todavia

2. Aquí Estoy

3. Demasiado Tarde

4. Necesito Que Vuelvas

5. Sin Sangre en las Venas

6. Me He Enamorado

7. Como Quieres Que Te Quiera

8. Que Bonito Es Sentir

9. Amarga Navidad

10. Eres Mi Corazon

11. No Te Vayas No Me Dejes [*]

Erika,Erika,Lideres Ent. Group,Latin,Mexican,Regional Mexican

Erika

Tracks:

The Island Awaits You
Where Do These Tubes Go?
Sector 6
Starkweather
Agnate Ukuleles
You Have A Special Purpose In Life
Mass Vehicular Carnage
Renovatio
I'm Not Ready To Die
This Tongue Thing's Amazing
Mass Winnings
The Craziest Mess I've Ever Seen
Send In The Clones
My Name Is Lincoln
Blow

Amazon.com

After supplying something known as "additional music" to many films since the late 1990s, Steve Jablonsky seems to have become the go-to composer for director-producer Michael Bay. Jablonsky's score for Bay's sci-fi thriller The Island shows the influence of its producer, Hans Zimmer. "The Island Awaits You" sets up the mood, which is oddly muted for a movie directed by explosion-master Bay. Even a track titled "Mass Vehicular Carnage" is merely ominously low-key, oddly sounding like something by dank trip-hopper Tricky. Elsewhere, the electronic number "Starkweather" successfully creates a feeling of oppressive tension before integrating elements of the main theme. Unfortunately, in his effort to avoid big ka-booms, Jablonsky can be overly subdued; while nothing is jarring, nothing makes much of an impression either. Actually, there is one jarring thing on this CD, and it's the Prom Kings' nu metal/funk hybrid "Blow," tacked on at the end like an afterthought. --Elisabeth Vincentelli

Customer Reviews:

awesome!!!!.......2007-02-18

The brooding post modern industrial feel to the songs on this soundtrack give it a feel of epic proportions. I simplely love it!!!...dark,foreboding, and eerily brilliant on every track....thank you Mr. Jablonsky!

Only one decent song.......2007-01-15

There's only one coherent actual song on this CD. The rest is just a collection of sound effects and short music bits. If you want that one song, the nice one at the very end, fine, but it's too bad there aren't more like it. I think they could have done better. I remember liking the movie soundtrack a lot - I don't think it translates very well to CD, though.

Stunningly good Score!.......2006-11-10

This is a hauntingly good score to a pretty darned good film, which for whatever whim of the masses was less than well received. I you like taiko drums, fast paced and wonderfully executed "world beat" music, this is definitely the score for you, I've played it again and again and it only gets better with each listening.

Track 14 / Worth the price of the CD.......2006-11-04

I agree with other reviewers here -- much of the music on the CD is simply supplemental to the film, is forgetable, nothing really stands out, there is a lack of melody. Only one track (# 14) "My Name is Lincoln" -- stands apart, offering a theme, melody, choir and resolution -- it is a signature bit of composing that, for me, is really worth the price of the CD.

A few standout tracks, but difficult to recommend on the whole........2006-10-27

I'm afraid to say that I find this CD somewhat difficult to recommend as a whole. Steve Jablonsky is a prodigiously talented composer with a bright future; as his score to 'Steamboy' and trailer music and additional themes for Pearl Harbor attests. And although Jablonsky has done his job well here - the Island score works splendidly in the film - on CD the persistent throbbing electronica and pervasive percussion comes off so harshly as to the point of being too abrasive for the listen to be enjoyable (and I'm a big fan of electronica!)

In comparison to something like Spy Game by Harry Gregson-Williams, which is a deep, subtle and nuanced electronic score, the Island is stark and aggressive, with much repetition, few discernable themes, and occasional sequences of outright garish and incoherent noise generated mostly by garbled electric guitars. With all this in mind, I feel the CD generally hovers around the two star mark.

However, there are a couple of BIG standout moments; namely 'The Island' theme itself; first featured on the opening track, and then later on track 10 and elsewhere, has a beautiful, haunting, ethereal quality to it, reminiscent of the opening minute of 'Injection' from the M:I-2 score. Similarly, 'This Tongue Thing's Amazing' and 'You Have a Special Purpose in Life' have long, stretches of warm orchestral music that are decidedly enjoyable and memorable.

Finally - and most importantly - the finale, 'My Name is Lincoln' is such a standout track that it deserves special attention. It's a warm, uplifting, inspiring theme which borrows heavily upon Gladiator's 'Now We Are Free', but with an epic choral backing which pushes it to even greater heights. It's incredible, probably one of my top 10 favourite film score tracks of all time, seriously.

If ever there was an album that you should consider purchasing as individual mp3 tracks, this one is it - a purchase of tracks 1, 2, 6, 10 and 14 will pretty much cover 95% of all the good bits.

Mozart: Die Zauberflote (The Magic Flute)

Average customer rating:

The Modern Star Zauberflote Album.
More Abbado Magic
A sparkling 'Magic Flute' to compete with the best
REALLY MAGICAL

Mozart: Die Zauberflote (The Magic Flute)

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Wagner: Siegfried
Wagner: Die Walküre
Wagner: Das Rheingold
Music of Peter Lieberson: Rilke Songs, The Six Realms, Horn Concerto
Peter Lieberson: Neruda Songs

ASIN: B000EGFV2C
Release Date: 2006-06-13

Tracks:

Overture
Nr.1 Introduktion: Zu Hilfe! Zu Hilfe!/Wo Bin Ich?
Nr.2 Arie: Der Vogelfanger Bin Ich Ja/He Da!!/Was Da!
Papageno!/Ah! Das Geht Mich An!
Nr.3 Arie: Dies Bildnis Ist Bezaubernd Schon
Freue Dich Und Fasse Mut, Schoner Jungling!
Nr.4 Rezitativ Und Aria: O Zittre Nicht, Mein Lieber Sohn!/Ist's Denn Auch Wirklichkeit, Was Ich Sah?
Nr.5 Quintett: Hm, Hm, Hm
Ha, Ha, Ha/Pst, Pst!/He, Sklaven!
Nr.6 Terzett: Du Feines Taubchen, Nur Herein!
Bin Ich Nicht Ein Narr
Nr.7 Duett: Bei Mannern, Welche Liebe Fuhlen
Nr.8 Finale: Zum Ziele Fhrt Dich Diese Bahn
Wie Stark Ist Nicht Dein Zauberton
Schnelle Fube, Rascher Mut
Es Lebe Sarastro! Sarastro! Soll Leben!
Nr.9 Marsch Der Priester
Ihr, In Dem Weisheitstempel
Nr.10 Arie Mit Chor: O Isis Und Osiris
Eine Schreckliche Nacht!/Ihr Fremdlinge!
Nr.11 Duett: Bewahret Euch Vor Weibertucken

Tracks:

Nr.12 Quintett: Wie? Wie? Wie? Ihr An Diesem Schreckensort?
Heil Dir, Jungling! Dein Standhaft Mannliches Betragen/Ah, Da Find Ich Ja Die Sprode Schone!
Nr.13 Arie: Alles Fuhlt Der Liebe Freuden/Zuruck!/O Weh! Das Ist Die Gottin Der Nacht
Nr.14 Arie: Der Holle Rache Kocht In Meinem herzen
Morden Soll Ich?/Herr, Strafe Meine Mutter Nicht
Nr.15 Arie: In Diesen Heil'gen Hallen
Hier Seid Ihr Euch Beside Allein Uberlassen/Tamino!/Pst!/Ah! Was? Ist Das Fur Mich?
Nr.16 Terzett: Seid Uns Zum Zweitenmal Wilkommen
Tamino, Wollen Wir Nicht Speisen?/Tamino! Du Hier?
Nr.17 Arie: Ach, Ich Fuhl's Es Ist Verschwunden
Nicht Wahr, Tamino, Ich Kann Auch Schwigen
Nr.18 Chor Der Priester: O Isis Und Osiris
Prinz, Dein Betragen War Bis Hieher Mannlich Und Gelassen
Nr.19 Terzett: Soll Ich Dich, Teurer, Nich Mehr Sehn?
Tamino! Tamino! Willst Du Much Denn Ganzlich Verlassen?/Mensch!/Du Hattest Verdient
Nor.20 Arie: Ein Madchen Oder Weibchen Wunscht Papageno Sich!
Da Bin Ich Schon, Mein Engel!/Fort Mit Dir, Junges Weib!
Nr.21: Finale: Bald Prangt, Den Morgen Zu Verkunden
Der Wlecher Wandert Diese Strabe Voll Beschwerden/Tamino Mein! O Welch Ein Gluck!
Papagena! Papagena! Papagena! Weibchen! Taubchen!
Nur Stille, Stille, Stille, Stille!/Die Strahlen Der Sonne Vertreiben Die Nacht

Amazon.com

This live Magic Flute is delightfully, lightly led by Claudio Abbado. Even the opera's darker moments---the scenes at the Temple, etc.---are treated nimbly; there's no hint of Otto Klemperer's approach to be found here. The Papageno is somewhat faceless, and while the Queen of the Night sings accurately and delivers her recitatives with real drama, she, too, is not up to the best on discs. But the recording sports the finest Tamino since Stuart Burrows and Fritz Wunderlich in Christophe Strehl, a tenor with both lyricism and plangency built in to his voice. Dorothea Röschmann is a simply glorious Pamina, strong of voice but sensitive and girlish as well, and René Pape's Sarastro sets a new standard. The Three Ladies don't always sing on key. Orchestra and Chorus are superb. Despite these criticisms, the three leads and Abbado are enough to make this a fine recommendation. --Robert Levine

Customer Reviews:

The Modern Star Zauberflote Album........2007-02-08

The classical recording of The Magic Flute dated back to Boehm/Wunderlich's time. That was almost half a century ago.
Some treacherously difficult arias in this opera made first-rate performance of it difficult.
Claudio Abbado, on the other hand, used a batch of relatively young soloists in this production, and to very good end judging from the overall performance.
I don't want to compare Strehl with Wunderlich, or Mueller-Brachmann with his teacher Dietrich Fischer-Dieskau. That's not being fair.
Despite this, the evenness of the soloists' performance outshined that even of Boehm's star-studded cast, especially in the two leading female roles of Pamina and the Queen of Night. Roeschmann and Miklosa are both more secure in tone and more pleasing to the ears.
Rene Pape's Sarastro also shines.
If ever you want to pick some weaknesses in this recording, they come in a couple of ensembles, mainly between the Three Ladies and the Two Armoured Men. However, the quartet between Pamina and the Three Boys are very effective, and Roeschmann gave a very outstanding account with the three youngsters in that ensemble.
I have heard some Taminos since Wunderlich's time, and would not go to the length of comparing Christoph Strehl with Fritz, suffice it that among contemporary Taminos, Strehl's portrayal really stands out. He may not be as lyrical as Fritz, but he does handle the role with apparent vocal ease, some thing clearly could not be taken for granted.
I do not find Roeschmann's tone too mature. This soprano is really coming of age vocally. It is time she consider taking on some even more taxing roles for operatic sopranos. Miklosa hasn't recorded much apart from this role of Queen of Night. I hope she is not those 'one-role' singers.

More Abbado Magic.......2006-07-17

This is a stellar Zauberflote in essentially all respects. The recorded sound is immediate, live and convincing. The orchestral playing is superb, and the vocalists in the aggregate are first rate, with momentary exception. The only recent, competetive Zauberflote of modern instrument variety is Solti's with Sumi Jo as the Queen of the Night. That performance also has a special place in my heart, but this newcomer sits on the shelf next to the Solti recording. There are many other great Zauberflotes, but this one is for the 21st Century.

A sparkling 'Magic Flute' to compete with the best.......2006-06-14

Claudio Abbado may be aging, but he has devoted his new 'Magic Flute' to youth--the leads are mostly rising opera stars, and the pit orchestra is the Mahler Chamber Orch., which is for up-and-coming orchestral players. The fact that Abbado favors period practices makes the score sound fresh and light--there is a marked absence of vibrato in the strings, a prominence of woodwinds, and faster-than-usual tempos (often near the speeds that real period recordings from Norrington, Gardiner, and Christie employ). However, the singers use the same amount of expressive vibrato that we are used to in the opera house. You'll hear some stage noises from these live (and lively) performances from Modena, Italy in Sept. 2005.

For me, the most exciting discovery here is the Tamino, tenor Christoph Strehl, who sounds as ardent as Fritz Wunderlich. Like Wunderlich, Strehl has a melting tone, robust delivery, and an elegant line. His 'Die Bildnis' aria comes off with ease--you'd never guess how treacherous it is for other tenors. Frankly, I haven't heard as good a Tamino since Wunderlich's death in the late Sixties.

The Three Ladies aren't always perfectly in tune, but this is a live performance, and one has to make allowances for how difficult Mozart's vocal writing is. Most German productions treat Papageno as a caricature, but Abbado is rather a sober sides, and Hanno Müller-Brachmann (a standout in Haydn's Creation on Naxos) doesn't go for laughs. I wish he had--Papageno is a fantastic character, after all--and not every aria goes as smoothly as it could, but Müller-Brachmann is certainly quite good.

The two best-known singers in the cast are Dorothea Roschmann as Pamina and Rene Pape as Sarastro. Some listeners may not take immediately to Roschmann's darker, more mature tone. Pamina is usually sung by a light lyric soprano, and Roschmann's voice is hardly girlish. I wish she showed more longing and tenderness, but she is never less than good. Pape may be the greatest non-Russian basso alive and potentially a great artist. His arias are totally secure and sung with affecting emotion. As with Strehl, you'd never guess that other basses have to struggle with Sarastro's music.

My second favorite singer here is Erika Mikósa, who owns the role of the Queen of the Night in Europe (this spring she was great at the Met, too). She is amazing in her ability to let us unerstand the words--usually a major failing among coloraturas--but also for beauty of tone and high-flying agility. Not since Lucia Popp in the Sixties has a voice fit the part so wel.

Despite the live setting, the voices are as perfectly recorded as in a studio, and DG gives the production lovely, natural sonics. The spoken dialogue is just enough to follow the story, which is good for us non-German speakers. I think most listeners will be delighted with Abbado's efforts. He had never conducted the work before this recording, saving it for his maturity. That was a wise decision. Although rather low-key throughout, his conducting is full of refinement and affection--on disc, his only rivals are Klemperer and Bohm in their classic sets. We've waited a long time for Die Zauberflote to return at this level of excellence.

REALLY MAGICAL.......2006-06-14

I live in Modena, Italy, and I was lucky to see this "Zauberflote" live, at the Teatro Comunale, when it was on stage, last september. During those evenings, the album was recorded. It was an extraordinary experience, really a big show, and I'm happy to re-live again and again, in this album. Don't miss it, especially if you love Claudio Abbado and his magical touch.

Stanley Kubrick's Clockwork Orange (1971 Film)

Average customer rating:

Prisoner 6 double-five 3-2-1
Kubrick At His Best
Good soundtrack
Easier to experience than the movie!
Horrorshow Lomticks of Music to do the old Ultra-Violence By.

Stanley Kubrick's Clockwork Orange (1971 Film)
Various Artists , Ludwig van Beethoven , Edward Elgar , Terry Tucker , Erika Eigen , Nacio Herb Brown , and Gene Kelly
Manufacturer: Warner Bros / Wea
ProductGroup: Music
Binding: Audio CD

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A Clockwork Orange: Wendy Carlos's Complete Original Score
2001: A Space Odyssey - Original Motion Picture Soundtrack (1996 Reissue)
A Clockwork Orange
Switched-On Boxed Set
Switched-On Bach

ASIN: B000002KDU
Release Date: 1990-10-25

Tracks:

Title Music From A Clockwork Orange - Walter Carlos
The Thieving Magpie (Abridged) - A Clockwork Orange ST
Theme from A Clockwork Orange (Beethoviana) - Walter Carlos
Ninth Symphony, Second Movement (Abridged) - A Clockwork Orange ST D
March From A Clockwork Orange (Ninth Symphony, Fourth Movement, Abridged) - Walter Carlos
William Tell Overture (Abridged) - Walter Carlos
Pomp and Circumstance March No.1 - Stanley Kubrick
Pomp And Circumstance March No.4 (Abridged) - Stanley Kubrick
Timesteps (Excerpt) - Walter Carlos
Overture To The Sun - Terry Tucker
I Want To Marry A Lighthouse Keeper - Ericka Eigen
William Tell Overture (Abridged) - A Clockwork Orange ST
Suicide Scherzo (Ninth Symphony, Second Movement, Abridged) - Walter Carlos
Ninth Symphony, Fourth Movement (Abridged) - A Clockwork Orange ST
Singin' in the Rain - Gene Kelly

Amazon.com

Stanley Kubrick's demanding perfectionism in all aspects of the filmmaking process has led to some of the most memorable soundtracks of the modern era. Kubrick's taste for the classics led to his scrapping Alex North's original score for 2001: A Space Odyssey in lieu of the "temporary" tracks he had used for editing, turning Richard Strauss' Also Sprach Zarathustra into an unlikely 20th-century pop icon. For his 1971 adaptation of Anthony Burgess's cautionary future-shocker, Kubrick once again turned to the classics. Malcolm McDowell's protagonist Droog Alex's taste for Beethoven is given a nice tweaking by Moog pioneer Walter (now Wendy) Carlos's synthesized take on the glorious Ninth Symphony. Some have complained that the now-primitive electronics involved give it a dated feel. Disturbingly--and effectively--other-worldly is more like it. Kubrick also imbues repertory standards by Rossini and Elgar with dark, frequently hilarious irony, and makes Gene Kelly's sunny reading of "Singin' In The Rain" the underscore to an all-too-accurate prediction of societal nightmares to come. --Jerry McCulley

Customer Reviews:

Prisoner 6 double-five 3-2-1.......2007-03-16

The soundtrack album of CLOCKWORK ORANGE, even with it's simple (and supposedly) outdated Wendy Carlos recordings, holds up far better than the actual film has over these 36 years. This story takes place in the 1990s, and we all know that today's world is nothing like Anthony Burgess' dismal and nightmarish vision . . . don't we?

Most of the CLOCKWORK ORANGE soundtrack's classical selections are by Herbert Von Karajan and the Berlin Philharmonic. These spirited Beethoven and Rossini interpretations remain some of the very best ever recorded.

The excerpt of Wendy's "Timesteps" is the most compelling piece here. In the film, this stark aural collage is background to Alex's behavior modification. In order to shorten his prison sentence, the violent sociopath is made chemically ill while forced to view scenes of rapine and bloodshed. His sickness can only be arrested by replacing his natural criminal urges with passive thoughts.

It's hard to listen to "Overture To The Sun" without recalling the spotlighted naked girl who tempts an on-exhibit Alex into a state of unwellness that he likens to "wanting to snuff it." His freedom to choose brutality has been taken from him forcefully, through violent reprogramming. The subsequent events that precipitate Alex's restoration into a fully non-functional member of society beset him in a fashion ironically similar to the chaos he once left in his violent wake.

The stark images and perversities of this movie tend to stay with a person. Perhaps watching Kubrick's CLOCKWORK ORANGE has in some way "programmed" the viewer, too, by desensitizing us to the madness that is all around. Maybe this film holds up better than I thought. I must have a glass of choko moloko and reconsider . . .

Kubrick At His Best.......2007-01-11

This is a fantastic Kubrick movie. Based on a novel of equal respect, this movie details troubled youth, violence, and sex in a modern-yet-more-so world. The slang of the young men in the movie is a mixture of British and Russian slang terminology created by the book's author. A must-see for the Kubrick fan out there.

Good soundtrack.......2006-02-20

I own this on vinyl and yes an exellent soundtrack from an exellent movie

Easier to experience than the movie!.......2005-08-17

Having purchased this soundtrack along with its respective CD score (by Wendy Carlos), it is a wonderful installment to any soundtrack fan/buff. The awesome sound of classical music, contained in the CDs, in which director Stanley Kubrick chose for the picture, is so juxtaposing it is brilliant. Even if one does not know a lick of classical music, one can easily suggest this soundtrack as a useful introduction into the genre. Though the film may not be as easy to experience as the music contained inside, the soundtrack stands as a milestone for music in film perhaps only beaten by the director's previous work in '2001 A Space Odyssey'.

Horrorshow Lomticks of Music to do the old Ultra-Violence By. .......2005-07-28

Bolshi Yarblockos, my droggies. Viddy thou this incredible soundtrack from the film A Clockwork Orange. Cued from the novel by Anthony Burgess, the musical selections mainly focus on the Beethoven obsession of the main character Alex, however Carlos's deep knowledge of the classical repetoire and Kubrick's neurotic perfectionism combine to fill out this album. I love most of the tracks here, and have listened to them since 1972.

My personal favorite is the title music of the film, Henry Purcell's "Funeral Music for Queen Mary," a piece so appropriate to the film that Purcell must have been channelling the future when he wrote it in the late 17th century. Carlos's interpretation of this Purcell piece is astounding in its forboding textures and alientating timbres. Electronic tympani have never sounded better - and were never used like this before. Ring modualtions, filter sweeps, phased sawtooth angel trumpets and resonate devil trombones - oh bliss!

I also liked the strange music Kubrick chose - "I want to Marry a Lighthouse Keeper," and "Anthem to the Sun," both obscure and perfect.

Carlos's avant-garde composition "Timesteps" appears in abbreviated form here, and for most listeners this abridgement is enough.

The concluding ironic use of "Singing in the Rain," is wonderful, and after an album (and film) full of electronics, classical music, and weirdness, a standard is shocking enough.

There is a new version of the soundtrack put out by Carlos herself, which includes only her work. Some tracks composed but not used in the film appear here, as do some track used, but not appearing on the OST as well. Timesteps in its 13:37 form is also on this album.

For those fans of Prog rock: Viddy the film when Alex visits a record store: Notice the Vertigo swirl above the main desk, also in the wrecked foyer of Alex's highrise, one of the figures on the vandalised mural has "Suck it and see" written on it, also the name of a Vertigo music sampler of the same era.

Average customer rating:

Wonderful original recording, plenty extras.
This one is really fine.

Die Dreigroschenoper: Berlin 1930

Manufacturer: Teldec
ProductGroup: Music
Binding: Audio CD

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The Threepenny Opera (1954 New York Cast) (Blitzstein Adaptation)
The Collector's The Threepenny Opera
Lotte Lenya sings Kurt Weill's The Seven Deadly Sins & Berlin Theatre Songs
Weill: Aufstieg und Fall der Stadt Mahagonny
The Threepenny Opera

ASIN: B00005Y34P
Release Date: 2003-02-18

Tracks:

Ouvertd Moritat Von Mackie Messer
Seererjenny
Kanonensong [Cannon Song]
Liebeslied
Barbara Song
Erstes Dreigroschen-Finale
Abschied
Zuherbassatle
Ballade Von Angenehmen Leben
Eifersuchtsduett - Lotte Lenya, Theo Mackeben & his Jazz Orchestra
Zweites Dreigroschen-Finale - Lotte Lenya, Theo Mackeben & his Jazz Orchestra
Lied Von Der Unzullichkeit des Menschlichen Strebens
Moritat und Schlusschoral - Marlene Dietrich
Wie Man Sich Bettet - Curt Bois
Alabama Song - Marlene Dietrich
Nachtgespenst
Peter - Lotte Lenya, Theo Mackeben & his Jazz Orchestra
Guck Doch Nicht Immer Nach Dem Tangogeiger Hin
Jonny
Vom Seemann Kuttel Daddeldu
Chant des Canons
Chant d'Amour
Tangoballade
Ballade de la Vie Agrle
Die Seererjenny
Barbara Song
Die Moritat Von Mackie-Messer
Lied Von Der Unzullichkeit des Menschlichen Strebens
Alabama Song [Alternate Take]

Amazon.com

Performed in 1930 by the cast and orchestra of the 1928 Berlin premiere (except for Willi Trenk-Trebitsch, the Mackie of the 1929 Prague premiere), this extraordinary recording must be the last word in genuine, unvarnished "authenticity." Even the remastered sound is amazingly good and life-like. The half-spoken, half-sung delivery captures the biting sarcasm of Brecht's text as well as the abrasive bitterness and sinuous lyricism of Weill's melodies, underlined by the punchy, swinging rhythms and indigenously jazzy sound of the orchestra. The result is an uncanny evocation of a historical period and its atmosphere. One can smell the smoky nightclub air, see the garish colors, and feel the unbridled sensuousness. This "abridged" version offers 13 familiar numbers, with most strophic repeats omitted, but includes alternate versions of several songs--four in French, two sung by Brecht himself. There are also two songs from Mahagonny, a long "scene" by Wilhelm Grosz, and two songs each by Rudolf Nelson and Friedrich Hollaender (who wrote the music for the film "The Blue Angel), two of them sung by Marlene Dietrich with her inimitable lascivious sensuality. --Edith Eisler

Customer Reviews:

Wonderful original recording, plenty extras. .......2006-09-11

In quick summary:
- If you're at all familiar with the Dreigroschenoper and all its incarnations, be sure to buy this album. It's the closest you could get to an 'original'.
- If you're completely new to the Threepenny story, I would recommend starting with the 1999 Nina Hagen concert version instead. It's got all the songs left out here, better recording quality, and a more modern approach to the music.

This is not a complete collection of original cast Dreigroschen songs. Rather, it's a selection of the best tracks from the play, often censored and cut short (in all the usual ways), and filled up with seemingly random extras in the genre.

The performers are all quite brilliant, and it's refreshing to hear a 3P without all the screaming and biting from recent versions. Though the songs are by no means slow, they're much more relaxed, more saccharine I would say, than what they've later evolved into. I love both type interpretations, but I often prefer this one.

One very nice bonus is the inclusion of a handful Threepenny songs in French. Otherwise pretty hard to come by. Also, the famous final lines of the movie version (Moritat reprise) are present, which I've only seen in one other recording (the 1981, also led by Miss Lotte Lenya). All in all, an essential CD for Brecht/Weill fans.

This one is really fine. .......2006-03-03

I've been a three-penny freak ever since I was a hanger-on at a Stanford production 40 years ago directed by a Brecht associate from Berlin. It's wonderful to get the authentic original cast records. I really like the added Berlin Chansons, too. "Don't Goggle at that Tango Dancer, Keep Your Eyes on the Guy You Came with!" Or Marlene Dietrich, with "Jonny, When it's Your Birthday, I'll Be Your Guest for a Night."

Average customer rating:

"Schau, Mime, du Schmied! So schneidet Siegfried's Schwert!"
The best Ring in the market

Wagner: Der Ring des Nibelungen

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Wagner: Der Ring des Nibelungen
Wagner: Die Walküre
Wagner: Götterdämmerung
Tristan Und Isolde
Wagner: Siegfried

ASIN: B000025ESY
Release Date: 2006-09-12

Tracks:

Prelude
Scene One: 'Weia! Waga! Woge, Du Welle!'
Scene One: 'Garstig Glatter Glitschriger Glimmer!'
Scene One: 'Wallala! Lalaleia! Leialalei!'
Scene One: 'Lugt, Schwestern! Die Weckerin Lacht In Den Grund'
Scene One: 'Der Welt Erbe Gewann' Ich Zu Eigen Durch Dich'
Scene One: Orchestral Interlude
Scene Two: 'Wotan! Gemahl! Erwache!'
Scene Two: 'Nur Wonne Schafft Dir, Was Mich Erschreckt'
Scene Two: 'Sanft Schloss Schlaf Dein Aug'
Scene Two: 'Zu Mir, Freia!'
Scene Two: 'Endlich Loge!'
Scene Two: 'Immer Ist Undank Loges Lohn'
Scene Two: 'Taugte Wohl Des Goldnen Tandes'
Scene Two: 'Hor', Wotan, Der Harrenden Wort!'
Scene Two: 'Jetzt Fand Ich's: Hort, Was Euch Fehlt'
Scene Two: Orchestral Interlude: Descent Into Nibelheim
Scene Three: 'Hehe! Hehe! Hieher! Hieher!'

Tracks:

Scene Three: 'Wer Halfe Mir?'
Scene Three: 'Mit Eurem Gefrage'
Scene Three: 'Was Wollt Ihr Hier?'
Scene Three: 'Habt Acht'
Scene Three: 'Riesen-Wurm Winde Sich Ringelnd'
Scene Three: Orchestral Interlude: Return From Nibelheim
Scene Four: 'Da, Vetter, Sitze Du Fest!'
Scene Four: 'Wohlan, Die Nibelungen Rief Ich Mir Nah'
Scene Four: 'Zu Deiner Losung Musst Du Ihn Lassen'
Scene Four: 'Bin Ich Nun Frei?' - Alberich's Curse
Scene Four: 'Lauschtest Du Seinem Liebesgruss?'
Scene Four: 'Halt! Nicht Sie Beruhrt!'
Scene Four: 'Nicht So Leicht Und Locker Gefugt'
Scene Four: 'Freia, Die Schone, Schau' Ich Nicht Mehr'
Scene Four: 'Weiche, Wotan, Weiche!'
Scene Four: 'Hort, Ihr Riesen! Zuruck Und Harret'
Scene Four: 'Furchtbar Nun Erfind' Ich Des Fluches Kraft'
Scene Four: 'Schwules Gedunst Schwebt In Der Luft'
Scene Four: 'Zur Burg Fuhrt Die Brucke'
Scene Four: 'Rheingold! Rheingold!'

Tracks:

Act One: Prelude
Act One: Scene One - 'Wes Herd Dies Auch Sei, Hier Muss Ich Rasten'
Act One: Scene One - 'Kuhlende Labung Gab Mir Der Quell'
Act One: Scene Two - 'Mud Am Herd Fand Ich Den Mann'
Act One: Scene Two - 'Friedmund Darf Ich Nicht Heissen'
Act One: Scene Two - 'Aus Dem Wald Trieb Es Mich Fort'
Act One: Scene Two - 'Ich Weiss Ein Wildes Geschlecht'
Act One: Scene Three - 'Ein Schwert Verhiess Mir Der Vater'
Act One: Scene Three - 'Der Manner Sippe Sass Hier Im Saal'
Act One: Scene Three - 'Wintersturme Wichen Dem Wonnemond' - 'Du Bist Der Lenz'
Act One: Scene Three - 'Wehwalt Heisst Du Furwahr?' - 'Siegmund Heiss Ich'

Tracks:

Act Two: Prelude
Act Two: Scene One - 'Nun Zaume Dein Ross' - 'Hojotoho' - 'Der Alte Sturm, Die Alte Muh'!'
Act Two: Scene One - 'Heut Has Du's Erlebt' - 'So Ist Es Denn Aus'
Act Two: Scene One - 'Was Verlangst Du?' - 'Dort Kommt Deine Kuhne Maid'
Act Two: Scene Two - 'Schlimm, Furcht Ich, Schloss Der Streit'
Act Two: Scene Two - 'Lass Ich's Verlauten' - 'Was Keinem In Worten Ich Kunde'
Act Two: Scene Two - 'Ein Andres Ist's: Achte Es Wohl'
Act Two: Scene Two - 'So Sah Ich Siegvater Nie'
Act Two: Scene Three - 'Raste Nun Hier; Gonne Dir Ruh!' - 'Hinweg! Hinweg! Flieh Die Entweihte'

Tracks:

Act Two: Scene Four - 'Siegmund, Sieh Auf Mich!' - 'Hehr Bist Du'
Act Two: Scene Four - 'Du Sahest Der Walkure Sehrenden Blick'
Act Two: Scene Five - 'Zauberfest Bezahmt' - 'Kehrte Der Vater Nun Heim'
Act Three: Scene One - 'Hojotoho! Heiaha!' - 'Wart Ihr Kuhnen Zu Zweit?'
Act Three: Scene One - 'Schutzt Mich Und Helft Mir In Hochster Not'
Act Three: Scene One - 'Nicht Sehre Dich' - 'Fort Denn Eile' - Scene Two - 'Wo Ist Brunnhild', Wo Die Verbrecherin?'

Tracks:

Act Three: Scene Two - 'Hier Bin Ich, Vater' - 'Nicht Straf Ich Dich Erst'
Act Three: Scene Three - 'War Es So Schmahlich?' - 'Nicht Weise Bin Ich'
Act Three: Scene Three - 'Deinen Leichten Sinn' - 'Wohl Taugte Dir Nicht'
Act Three: Scene Three - 'Du Zeugtest Ein Edles Geschlecht' - 'In Festen Schlaf'
Act Three: Scene Three - 'Leb Wohl, Du Kuhnes, Herrliches Kind!'
Act Three: Scene Three - 'Loge, Hor! Lausche Hieher!'

Tracks:

Act One: Prelude
Act One: Scene One - 'Zwangvolle Plage! Muh Ohne Zweck!'
Act One: Scene One - 'Nun Tobst Du Wieder Wie Toll'
Act One: Scene One - 'Vieles Lehrtest Du, Mime'
Act One: Scene One - 'Wo Hast Du Nun, Mime, Dein Minniges Weibchen'
Act One: Scene One - 'So Starb Meine Mutter An Mir?'
Act One: Scene One - 'Das Gab Mir Deine Mutter'
Act One: Scene Two - 'Heil Dir, Weiser Schmied!'
Act One: Scene Two - 'Hier Sitz' Ich Am Herd'
Act One: Scene Two - 'Viel, Wanderer, Weisst Du Mir'
Act One: Scene Two - 'Was Zu Wissen Dir Frommt, Solltest Du Fragen'
Act One: Scene Two - 'Notung Heisst Ein Neidliches Schwert'

Tracks:

Act One: Scene Three - 'Nach Eitlen Fernen Forchtest Du'
Act One: Scene Three - 'Verfluchtes Licht! Was Flammt Dort Die Luft?'
Act One: Scene Three - 'Fuhltest Du Nie Im Finstren Wald'
Act One: Scene Three - 'Her Mit Den Stucken, Fort Mit Dem Stumper!'
Act One: Scene Three - 'Notung! Notung! Neidliches Schwert!'
Act One: Scene Three - 'Hoho! Hoho! Hohei! Hohei!'
Act One: Scene Three - 'Den Der Bruder Schuf, Den Schimmernden Reif!'
Act Two: Prelude
Act Two: Scene One - 'In Wald Und Nacht Vor Neidhohl' Halt' Ich Wacht'
Act Two: Scene One - 'Durch Vertrages Treuerunen'
Act Two: Scene One - 'Fafner, Fafner! Erwache Wurm'
Act Two: Scene One - 'Ich Lieg' Und Besitz', Lasst Mich Schlafen!'
Act Two: Scene Two - 'Wir Sind Zur Stelle! Bleib Hier Stehn!'
Act Two: Scene Two - 'He, Du Alter! Ist Das Alles'
Act Two: Scene Two - 'Dass Der Mein Vater Nicht Ist'

Tracks:

Act Two: Scene Two - 'Aber, Wie Sah Meine Mutter Wohl Aus?'
Act Two: Scene Two - 'Du Holdes Voglein! Dich Hort' Ich Noch Nie'
Act Two: Scene Two - 'Es Schweigt Und Lauscht'
Act Two: Scene Two - Siegfried's Horn-call
Act Two: Scene Two - 'Haha! Da Hatte Mein Lied Mir Was Liebes Erblasen!'
Act Two: Scene Two - 'Da Lieg, Neidischer Kerl'
Act Two: Scene Two - 'Zur Kunde Taugt Kein Toter'
Act Two: Scene Three - 'Wohin Schleichst Du So Eilig Und Schlau'
Act Two: Scene Three - 'Willkommen, Siegfried!'
Act Two: Scene Three - 'Das Sagt' Ich Doch Nicht?'
Act Two: Scene Three - 'Neides Zoll Zahlt Notung'
Act Two: Scene Three - 'Hei! Siegfried Erschlug Nun Den Schlimmen Zwerg!'
Act Three: Prelude
Act Three: Scene One - 'Wache, Wala! Wala! Erwach!'
Act Three: Scene One - 'Stark Ruft Das Lied'
Act Three: Scene One - 'Dir Unweisen Ruf' Ich Ins Ohr'
Act Three: Scene Two - 'Dort Seh' Ich Siegfried Nahn'

Tracks:

Act Three: Scene Two - 'Mein Voglein Schwebte Mir Fort!'
Act Three: Scene Two - 'Kenntest Du Mich, Kuhner Spross'
Act Three: Scene Two - Orchestral Interlude
Act Three: Scene Three - Introduction
Act Three: Scene Three - 'Selige Ode Auf Sonniger Hoh'!'
Act Three: Scene Three - 'Das Ist Kein Mann'
Act Three: Scene Three - 'Heil Dir, Sonne! Heil Dir, Licht'
Act Three: Scene Three - 'O Siegfried! Siegfried! Seliger Held!'
Act Three: Scene Three - 'Dort Seh' Ich Grane, Mein Selig Ross'
Act Three: Scene Three - 'Ewig War Ich, Ewig Bin Ich'

Tracks:

Prologue: 'Welch Licht Leuchtet Dort?'
Prologue: 'Wisset Ihr Noch, So Windet Von Neuem Das Seil'
Prologue: Orchestral Interlude (Dawn)
Prologue: 'Zu Neuen Taten, Teurer Helde'
Prologue: 'O Heilige Gotter! Hehre Geschlechter!'
Prologue: Orchestral Interlude (Siegfried's Journey To The Rhine)
Act One: Scene One - 'Nun Hor, Hagen, Sage Mir, Held'
Act One: Scene One - 'Brachte Siegfried Die Braut Dir Heim'
Act One: Scene Two - 'Heil! Siegfried, Teurer Held'
Act One: Scene Two - 'Willkommen, Gast, In Gibichs Haus'

Tracks:

Act One: Scene Two - 'Deinem Bruder Bot Ich Mich Zum Mann'
Act One: Scene Two - 'Bluhenden Lebens Labendes Blut'
Act One: Scene Two - 'Hier Sitz Ich Zur Wacht'
Act One: Scene Two - Orchestral Interlude
Act One: Scene Three - 'Altgewohntes Gerausch Raunt Meinem Ohr Die Ferne'
Act One: Scene Three - 'Hore Mit Sinn, Was Ich Dir Sage'
Act One: Scene Three - 'Welch Banger Traume Maren'
Act One: Scene Three - 'Brunnhild'! Ein Freier Kam'

Tracks:

Act Two: Prelude
Act Two: Scene One - 'Schlafst Du, Hagen, Mein Sohn?'
Act Two: Scene One - Orchestral Interlude
Act Two: Scene Two - 'Hoiho, Hagen! Muder Mann!'
Act Two: Scene Three - 'Hoiho! Ihr Gibichsmannen'
Act Two: Scene Four - 'Heil Dir, Gunther'
Act Two: Scene Four - 'Brunnhild', Die Hehrste Frau'
Act Two: Scene Four - 'Was Muht Brunnhildes Blick?'
Act Two: Scene Four - 'Ha! Dieser War Es, Der Mir Den Ring Entriss'
Act Two: Scene Four - 'Helle Wehr! Heilige Waffe!'
Act Two: Scene Five - 'Welches Unhods List Liegt Hier Verhohlen?'
Act Two: Scene Five - 'Dir Hilft Kein Hirn'
Act Three: Prelude - Scene One - 'Frau Sonne Sendet Lichte Strahlen'

Tracks:

Act Three: Scene One - 'Siegfried!'
Act Three: Scene One - 'Ihr Listigen Frauen, Lasst Das Sein!'
Act Three: Scene Two - 'Hoiho!'
Act Three: Scene Two - 'Trink, Gunther, Trink!'
Act Three: Scene Two - 'Mime Hiess Ein Murrischer Zwerg'
Act Three: Scene Two - 'Brunnhilde, Heilige Braut!'
Act Three: Scene Two - Orchestral Interlude: Funeral March
Act Three: Scene Three - 'War Das Sein Horn?'
Act Three: Scene Three - 'Schweigt Eures Jammers Jauchzenden Schwall'
Act Three: Scene Three - 'Starke Scheite Schichtet Mir Dort'
Act Three: Scene Three - 'Mein Erbe Nun Nehm' Ich Zu Eigen'
Act Three: Scene Three - 'Grane, Mein Ross, Sei Mir Gegrusst!'
Act Three: Scene Three - 'Zuruck Vom Ring!'

Album Details

14 CD Box Set, Including the Complete Recording of Wagner's 'ring Des Nibelungen'.

Customer Reviews:

"Schau, Mime, du Schmied! So schneidet Siegfried's Schwert!".......2007-05-15

Okay, so we have the Solti, Bohm, Karajan, Goodall, Boulez, Janowski, Levine, Haitink, 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
Boulez's Ring: 13 hours, 40 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Haitink's Ring: 14 hours, 10 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: nothing is faster than andante. 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.

Boulez: Here it is, folks - the controversial Centennial Ring. To fit the Ring Cycle in the industrial age, Boulez gives it a very Schoenbergian, Bartokian atmosphere. Much of his tempi are very quick, very Bohm-like, though they're still not as fast as Bohm. Keep in mind, though, this live Ring works only if you hear AND see it (the DVD's work best).

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.

Haitink: This might be seen as a disappointment. If you want great conducting, then this is for you. If you want a persuasive array of singers, look somewhere else. Haitink's conducting saves this work from being a total flop. There is nothing quite like his Rheingold & Gotterdammerung ("Siegfried's Rhine Journey" is a bit forced, but magnificent nonetheless).

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

Boulez's Bayreuth Festival: While it doesn't really pack the same punches as Bohm's Bayreuth, it still delivers a stunning performance. Orchestral interaction between characters (Ex. Siegfried's motifs mixed in with Mime's motifs) fares better than Berlin's and English National's. Rhine maiden motifs are given more wit, while the Dragon motifs are played with less eeriness. Beauty makes up for the irritatingly quick "Wotan's Farewell".

Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Boulez's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are heard clear in this Ring. 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.

Haitink's Bavarian Radio Symphony: This may very well be like Metropolitan, only this sounds much more poignant. The strings sound better and the percussion sound clearer. The leitmotivs are almost never screwed up. First scene of Rheingold will take one's breath away.

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.

Boulez: If you watch Donald McIntyre on the Centennial Ring production, then you can tell that he's a fine "industrial" Wotan. If you just hear him on CD, then you'll be disappointed. His diction is weak, his emotions are forced, and his voice sounds robotic. The DVD's will do.

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

Boulez: How can anyone not be impressed by the Brunnhilde of Gwyneth Jones? One can almost feel her excitement during Siegfried Act Three, and her fear in Walkure Act Three. Her weakest point is probably during her Gotterdammerung Prologue (a bit too stressed).

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).

Haitink: Hmph. I was hoping that Eva Marton would do well here. I was seriously let down by her strained singing. She does okay in "Annunciation of Death", but she is at her worst in "Immolation".

-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm, Jon Vickers for Karajan, Alberto Remedios for Goodall, Peter Hoffman for Boulez, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, Reiner Goldberg for Haitink, 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, Jeanine Altmeyer for Boulez, Jessye Norman for both Janowski and Levine, Cheryl Studer for Haitink, 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. Three exceptions, though: Goldberg and Schunk don't sound heroic enough, and Norman for Levine 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.

Boulez: Is Manfred Jung a good tenor? Yes. Is he a good Heldentenor? NO. He doesn't have that heroic voice like Windgassen and Remedios. Again, the DVD's are your safest bet.

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. Levine should've chose Kollo or Jerusalem when he recorded his studio Ring.

Haitink: Have you ever seen Siegfried Jerusalem on the Levine/Metropolitan DVD? Well, here he is again, and this time, he sings with more valor and enthusiasm. Bravo!

-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.

Boulez: What we have here is the weak Alberich of Hermann Becht. When he's in Nibelheim, the authority isn't there. When he's in the Neid-Hohle forest, the creepiness isn't there. And when he's near the Gibich house, the misery isn't there. Even on DVD he's unsatisfactory.

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.

Haitink: No offense, but Theo Adam as Alberich? Come on . . .

-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.

Boulez and Levine: Heinz Zednik is yet another excellent Mime, VERY fun to listen to. There is much humor and eccentricity in his voice, and that's what makes his dwarf much more compelling than Dempsey's dwarf. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.

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. He is equal to Zednik when it comes to humaneness and lyricism. 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.

Haitink: Peter Haage sounds like he's entertaining young kids. His version of Mime is a bit childish, and the dark humor that the dwarf brings out sounds-over-the-top here. Nonetheless, he is still entertaining to listen to ("Wer halfe mir?" has never sounded better).

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 during the Trilogy.

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. Again, another Loge that's marred by lack of cunning.

Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. He has the wit, the craftiness, and the untrustworthiness that the character deserves. 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.

Boulez and Haitink: I can summon Heinz Zednik's performance in just three words: Brilliant Beyond Belief!

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 and Zednik depend only on vengeance and deviousness, Stolze only imagination and deviousness, Windgassen and Svanholm 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 Zednik. 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. Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). Anja Silja is the most memorable Freia (Bohm), while Kurt Moll makes the most fabulous Hunding yet (Janowski, Levine, and Sawallisch). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm, Goodall, and Boulez. 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, Neuhold's Badische version, and the essential mono recordings (Furtwangler, Krauss, etc.), 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 industrialized Boulez, the truthful Janowski, the unhurried Levine, the abnormal Haitink, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.

The best Ring in the market.......2006-07-05

Most people would say that Solti's ring is the best recording of Wagner's monumental work, and while I say that it is the best studio recording in terms of authenticity (hint: Culshaw's use of steerhorns, tuned anvils, and ignots and other sound devices plus his alteration of Windgassen's voice in Gotterdammerung) and vocal performance, Bohm's ring surpasses Solti's with respect to the score's dramatic aspects. I say this because the singers in this recording are deeply involved in Wagner's complex drama, which is very essential to the composer's Gesamtkunswerks. The cast is almost similar, with some better or lesser singers in this and that role. I would say that the Valkyries, Norns, and Rhinemaidens are particularly ravishing in this Ring, more so than Solti's. You also have a much more involved Walsung pair, and while Bohm's Wotan is nowhere near as great as Hotter, he does give a most intense, heroic, and outstanding reading. Birgit Nilsson is a more convincing Brunnhilde here, and Windgassen's Siegfried is thrilling. Erwin Wolfhart is probably the best Mime on record, and Martha Modl's Waltraute has the most powerfully dramatic reading of the role I have heard. The bass roles are taken by greats such as Talvela, Bohme, Nienstiedt, and Greindl (whose Hagen is still amazing after all these years), and Anja Silja sings one of the strongest Freias on disc. Dvorakova brings a fresh insight to the role of Gutrune that I couldn't help but notice this character after it has been mangled by indifferent sopranos in the past (except Janowitz, who makes magic with the role).

This Ring is the first Bayreuth Ring officially recorded and the sound is excellent and well-balanced compared to other Rings of the era. He is also an outstanding Ring conductor in that his use of fast tempi, passion, lyricism, and phrasing that sings and sometimes almost dances creates a very theatrical atmosphere and offers amazing musical richness. Listen to the opening bars of Rheingold and his Gotterdammerung Prelude, and you will know what I mean. He and Wieland Wagner have created a stage drama that is unsurpassed in dramatic value. His Ring displays wonderful humanity and the rendering of each character's feelings has never been so alive, not even in Solti or Karajan's readings. Highly recommended.

Average customer rating:

A FINE SOUNDTRACK.
Great
Better as Background Music
surprising score from a multitalented man
Captures the Times

Flags of Our Fathers

Manufacturer: Milan Records
ProductGroup: Music
Binding: Audio CD

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Letters from Iwo Jima
Flyboys
The Prestige
Flags of Our Fathers (Widescreen Edition)
Blood Diamond

ASIN: B000IOM1TG
Release Date: 2006-10-17

Tracks:

The Photograph
I'll Walk Alone - performed by Dinah Shore
Knock Knock - (Kyle Eastwood, Michael Stevens, Andrew McCormack, Graeme Flowers)
Wounded Marines
The Thunderer - (John Philip Sousa)
Armada Arrives
Goodbye Ira
Symphony In G Minor, 3rd Movement - (Wolfgang Amadeus Mozart)
String Quartet Opus #6, 2nd Movement - (Joseph Haydn)
Inland Battle
Flag Raising
Any Bonds Today? -(Irving Berlin)
Summit Ridge Drive - performed by Artie Shaw and His Gramercy Five
Vic'try Polka - (Sammy Cahn and Jule Styne)
The Medals
Platoon Swims
Washington Post March - (John Philip Sousa)
Flags Theme
End Titles Guitar
End Titles

Amazon.com

As if delivering Oscar-winning films were not enough, Clint Eastwood is one of the few directors to also compose much of his movies' soundtracks; even more impressive is that he's able to work within distinct genres, from jazz to country to Hollywood-style neoclassical. With help from orchestrator Lennie Niehaus, Eastwood creates a compelling soundtrack to the WWII drama Flags of Our Fathers, combining Eastwood originals (including son Kyle's contribution on "Knock Knock") with Philip Sousa marches; classical pieces by Mozart and Haydn; and period-defining pieces by the likes of Dinah Shore ("I'll Walk Alone"), Irving Berlin (a new recording of "Any Bonds Today?"), and Artie Shaw ("Summit Ridge Drive"). These are fairly minimal but it's nice to see them eschew the usual war-movie tropes--like the movie itself. --Elisabeth Vincentelli

Album Description

Flags of Our Fathers tells the life stories of the six men who raised the American flag at the Battle of Iwo Jima, a turning point in WWII. The film is based on the bestselling book of the same name, written by James Bradley and Ron Powers, which chronicled the battle of Iwo Jima and the fates of the flag raisers and some of their brothers in Easy Company.

Customer Reviews:

A FINE SOUNDTRACK........2007-02-12

The soundtrack to "Flags of our Fathers" is a fine recording of music from the Oscar-nominated film. The strength of the album lies in the period songs, which are arranged beautifully by the artists who perform them. Clint Eastwood's orchestral score is another matter. It's got some fine moments (Like in "Wounded Marines," "Inland Battle," and the theme), but is a let-down overall. It's hard to know who to recommend this to. If you've enjoyed Clint's soundtracks before, then you'll probably like it.
Grade: B+

Great.......2007-02-01

I don't see how this album could possibly get lower than a 4. It's melody is haunting and emotional. Sure, there is a lot of era-filler music, but those pieces are good too. Clint's actual score is great, especially "wounded marines" and "end titles."
My mother almost comes to tears every time she hears the music, and I've often heard her humming it when she thinks no one is around.
All in all, it is a magnificent cd, keep up the good work Clint.

Better as Background Music.......2006-11-22

While this is an interesting mix, it works better as part of the film experience. To listen to the music, without the film accompanying, causes it to lose much of the impact. One thing film makers almost never get right is the spirit of the vocals in movies about the 1930s and 1940s. The female trio, in the war bond drive scenes, sounds like a contemporary imitation of the vocalists from that era. They don't sound authentic and I have heard many vocalists (solo or mixed voices) from the 1930s and 1940s on compact disc. This happens with orchestras attempting to recreate that era even when playing those arrangements. One orchestra that gets it absolutely right is the Dutch orchestra The Beau Hunks. So it can be done. Check them out on Amazon.

surprising score from a multitalented man.......2006-11-01

In addition to being a talented filmmaker,Clint Eastwood is an accomplished musician,and this score shows it.There have been several other posters here lambasting Mr.Eastwood for scoring his own pictures and screaming "He's no(insert composer name here)".Don't pay any attention to them.While he may not be in the class of John Williams or others as a composer,this is a melodic and highly effective score that fits the film and is well-performed under the brilliant baton of Lennie Niehaus.The main piano theme is memorable.This is a great companion to
his "Mystic River" and "Million Dollar Baby".

Captures the Times.......2006-10-26

This soundtrack is a very good integration of director Eastwood's music with traditional patriotic music and music of the WWII era. Overall, this soundtrack captures the time and place and the lives affected by events. As a soundtrack album of the film, this CD works effectively.

Average customer rating:

You fools!
Missing Theme Song - but otherwise not bad
Fine score, but a consumer warning for the CD
Thomas Newman is a Genius!
Almost perfect for the film, loses points as a cd

Jarhead

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Syriana
Jarhead (Widescreen Edition)
Jarhead
The New World
Munich

ASIN: B000BVRM1S
Release Date: 2005-12-06

Tracks:

Welcome To The Suck
Raining Oil
Battery Run
Mirage Bedouin
Don't Worry Be Happy - Bobby McFerrin
No Standard Solution
8 Men 5 Camels
Full Chemical Gear
Unsick Most Ricky-Tick
Morning Glory
Bang A Gong (Get It On) - T-Rex
Desert Storm
Desert Sunrise
Zoomies
Horse
Pink Mist
Jarhead For Life - Naughty By Nature
O.P.P. - Naughty By Nature
Dickskinner
Permission To Fire
Dead Anyway
Scuds
Listen Up - Public Enemy
Fight The Power - Public Enemy
Soldier's Things - Tom Waits

Amazon.com

For his third collaboration with director Sam Mendes (after American Beauty and The Shawshank Redemption), composer Thomas Newman has come up with one of his finest scores. The music mixes modern atmospheric quasi-rock touches with Middle Eastern influences (with particularly great success on the tracks "Welcome to the Suck" and "Zoomies."). The latter manifest themselves in both the beats and the instrumentation--the credits include soloists on exotic instruments such as the bowed cumbus (a type of banjo-like lute) and the processed xaphoons (a sax made of bamboo). All the more jarring, then, when the CD's handful of songs pop up. (It's quite a jolt to hear Bobby McFerrin's "Don't Worry Be Happy" after four eerie instrumental tracks.) The other song picks are obvious but well chosen: T-Rex's "Bang a Gong (Get It On)," "Naughty by Nature's "O.P.P.," Public Enemy's "Fight the Power," and Tom Waits's "Soldier's Things." Still, it's Newman's work that propels this CD, not the pick-up songs. Surprisingly, Wagner's "Ride of the Valkyries," which figures in one of the movie's most memorable scenes (when soldiers watch Apocalypse Now), isn't included here. --Elisabeth Vincentelli

Customer Reviews:

You fools!.......2006-10-27

I am reading all the negative reviews of this soundtrack, and most of them mention the absence of Kanye West's "Jesus Walks." One reviewer gives the album one star because he was "misled" into buying the album.

Um, hello? This is an instrumental score for the film! NOT a Various Artists soundtrack! This is, you may have noticed, an album that falls under the name of Thomas Newman! If anyone bought this expecting other music, then it's entirely their own fault. It even says on the front: "MUSIC BY THOMAS NEWMAN."

That said, I'd also like to correct Amazon on something - they said this is Newman's third outing with Mendes, the other two being "Shawshank Redemption" and "American Beauty."

Shawshank was directed by Frank Darabont, NOT Sam Mendes.

Mendes' other pairing with Newman was actually on 2002's "Road to Perdition," which is another great soundtrack I'd heartily recommend purchasing.

Missing Theme Song - but otherwise not bad.......2006-03-01

If you've watched the previews for this film, you're likely expecting a song called Jesus Walks by Kanye West to be on the soundtrack but it's not there - very annoying. But otherwise it's a pretty good CD of music to listen to while you work out or drive fast.

Fine score, but a consumer warning for the CD.......2006-01-20

Thomas Newman's original music for JARHEAD is not only typically daring with many unconventional sounds (utilizing samples, electronic treatments and exotic percussion), but one of his most stirring, rock-influenced efforts as well (as with the opening track, "Welcome to the Suck"). At first I thought there were no melodies as memorable as "Dead Already" from AMERICAN BEAUTY or "Road to Chicago" from ROAD TO PERDITION, but the 3/4-time march used in both "Raining Oil" and "Desert Storm" has grown on me. Of course the CD is recommendable for Newman's score alone. But...

...while one doesn't buy a CD of this nature primarily for the extra songs, one does expect the extras to be competently presented when they appear. So I was taken aback to hear Public Enemy's "Fight the Power" at a faster tempo and higher pitch than usual, as though mastered from a sped-up tape. I can't think of any intentional reason for this, so I'm assuming it was a mistake, but either way I found it not only annoying in itself but because of "Fight the Power"'s thematic significance, with its reference to the Bobby McFerrin tune heard earlier in the movie. ("'Don't Worry Be Happy' was a number one jam/Damn if I say it you can slap me right here".)

So then, while I like the Thomas Newman score a lot, I'm docking the CD a star for the sped-up "Fight the Power". Caveat emptor.

Thomas Newman is a Genius!.......2006-01-07

Thomas Newman is brilliant as always and delivers beautifully. Having read the book prior to the motion picture, Thomas Newman truly brings Swofford's tale to life. If you enjoyed The Horse Whisperer or the Shawshank Redemption score, then you'll thoroughly enjoy Jarhead.

Almost perfect for the film, loses points as a cd.......2005-12-23

Make no mistake - Jarhead proves Thomas Newman's abillity to write music for film. He is not making the music in order to show off his amazing talents, he is making the music so it is perfect for the film. Whereas some composers might score depressing scenes with grand sweeping movements trying to make themselves look like complex composers, Newman knows what will enhance the scene and what won't, and what can convey the message required.

Ultimately, this describes Jarhead perfectly. I have seen the movie and music is seamless and perfect for it. For the most part, there is a sonic texture created, with guitars and drums to represent the bravado of the characters. If you are a fan of Newman's stirring orchestral works this is definitely not something you would like. Newer fans of "American Beauty" and the like will find things to enjoy here, but not in as vibrant or pleasing a way as in that album. The score on it's own is just not as exciting or involving as it could be. It is interesting in it's own right, but not very pleasing to hear. However, there are many good tracks interspersed throughout the score to take you to the good spot.

Overall, Jarhead warrants a 4.5/5 for the film, but on a cd, it's score drops to 3/5. It is pleasant at times, and mostly an interesting CD, but there are too many Newman masterpieces to consider this one high on your buying list. Then agan, if you are a Newman fan, this CD should satisfy you're urge to see what the guy is up to. Final score? Three out of five.

Average customer rating:

A Pleasant Surprise
Lush, Netrebko-Dominated Tribute to Mozart's Operas Contains Several Strong Performances
Brilliant!!
Mozart Leftovers?
Netrebko spits fire with her maddening voice

The Mozart Album

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Russian Album
Sempre Libera
Anna Netrebko: Opera Arias
HOMAGE: The Age of the Diva
Violetta: Arias and Duets from Verdi's La Traviata [Includes DVD]

ASIN: B000FIGXGC
Release Date: 2006-08-08

Tracks:

Giunse alfin il momento - "Deh vieni non tardar"
Hai giinta la causa - "Vedrntr'io sospiro"
Parto, ma tu ben mio
Madamina, il catalogo uesto
Oh smanie! - "D'Oreste, d'Aiace"
In diesen heil'gen Hallen
Fuggi, crudele, fuggi!
Li darem la mano
Der H Rache kocht in meinem Herzen
Der Vogelfer bin ich ja
Ah perdona al primo affetto
Zefiretti lusinghieri
Soave sia il vento

Amazon.com

This compendium of Mozart arias, duets and a trio, some of which have been released before (two of the Magic Flute arias, by Pape and Miklosa, come from the new, complete DG recording under Abbado), seems to have been built around the spectacular new superstar, Anna Netrebko. She sings on six of the 13 tracks. Her Susanna is unaffected but sensual; Elettra's final rage-aria from Idomeneo is a bit large for her, but she sings it with real passion. The first act Anna-Ottavio duet from Don Giovanni with tenor Christian Strehl is exciting, with both singers giving their all. "La ci darem" with baritone Thomas Quasthoff is alluring. A little duet from Clemenza, with mezzo Elina Garanca (who also sings a fine "Parto, parto" from the same opera) is lovely, and "Zeffiretti lusinghieri" is as smooth as silk. Quasthoff also offer a fine Papageno and Leporello, while Bryn Terfel's rendition of the Count's aria from Figaro is big and broad. Terfel, soprano Miah Persson and mezzo Christine Rice end the CD with the "Soave sia il vento" trio from Cosi. --Robert Levine

Customer Reviews:

A Pleasant Surprise.......2007-07-23

This has been one extended party for old Wolfgang. By now it's a wonder we haven't all been Mozarted out. And with that predisposition that's how I sat down to listen to this 2007 offering from Deutsche Grammophon - another Mozart entry into a long line of CD and DVD entry's commemorating Mozart's 251st anniversary party. What got my attention about this CD, however, was the list of singers being offered up with various orchestras, recorded at different times. Netrebko, Garanca on the female side and Quasthoff, Terfel and Pape on the male side. Now, that's a power line-up. The bottom line: I was pleasantly taken back some by the pure sound and high quality of both vocal and instrumental performances, as well as the selections - and the latter point is important. All Mozart, all the time, can wear on the listener, at least it does me. The style and era produced a certain sameness in sound and composition that can almost border on stale. Here, however, that wasn't the case at all. The vocal performances are superb and the selections, while some more well-known and common than others, did sparkle with originality in the manner of delivery. And so, this is a plus all around, making this Mozart entry worthwhile in every way and just as enjoyable, too.

Lush, Netrebko-Dominated Tribute to Mozart's Operas Contains Several Strong Performances.......2006-11-26

Deutsche Grammophon has brought out their big guns on this Mozart anniversary compendium, and the results are invariably lush and insightful. Recorded in four different sessions and backed by different orchestras at each venue, the thirteen tracks here - several recitatives and arias, three duets and one trio - have a thankfully seamless quality in spite of the variability of dramatic interpretations. The lead-off player is soprano Anna Netrebko, who sings on six tracks including a coquettish take on Susanna's recitative and aria, "Giunse alfin il momento...Deh vieni, non tardar" from "Le nozze di Figaro (The Marriage of Figaro)". A passionate singer with a voice just ripening now, she plays both sides of the coin with selections from "Idomeneo" - first in a vengeful rage as Elettra with "Oh smania! Oh furie...D'Oreste, d'Aiace" and later as the sweet Ilia on "Zeffiretti lusinghieri".

Netrebko's Italianate diction and sumptuous voice are well suited for Ilia's aria, but her relative youth works against her as Elettra since she lacks the consistent edge and intimidating persona needed. My favorite of her pieces is actually her Donna Anna in the "Don Giovanni" duet with the exceptional tenor Christoph Strehl on "Fuggi, crudele, fuggi!", in which she feverishly transitions from her character's distraught mental state to a conniving mindset as her lover Don Ottavio pleads with her. Netrebko has another noteworthy albeit brief duet with mezzo-soprano Elina Garanca as they poignantly play the lovers Annio and Servilia on "Ah, perdona al primo affetto" from "La clemenza di Tito". In another pants role, Garanca is impressively stentorian in Sesto's forlorn lament, "Parto, parto, ma tu, ben mio" from the same opera.

The singer who sounds like he is having the most fun on the disc is baritone Thomas Quasthoff, who covers arias from "Don Giovanni" - first as the devoted servant Leporello in the comic "Madamina, il catalogo è questo" and then in the title role seducing Netrebko's Zerlina on the seductively yearning duet, "Là ci darem la mano". As Papageno, Quasthoff captures the bird catcher's delicate romanticism in "Der Vogelfänger bin ich ja" from "Die Zauberflöte (The Magic Flute)". From the same opera, German bass René Pape lends a haunting, voluminous ripeness to Sarastro's aria, "In dieson heil'gen Hallen", while Hungarian soprano Erika Miklósa is a bit too showy for my taste as the Queen of the Night on the vocally ornate "Der Hölle Rache kocht in meinem Herzen".

Bass-baritone Bryn Terfel effectively conveys the Count's flamboyant jealousy on "Ho già vintò la causa!...Vedro mentr'io sospiro" from "Le nozze di Figaro", though unfortunately his contribution as Don Alfonso to the final trio, "Soave sia il vento" from "Cosi fan tutte", is strictly by-the-numbers with sopranos Christine Rice and Miah Persson equally lackluster. Regardless, the orchestral accompaniment is expert on all the tracks with the estimable Claudio Abbado conducting on six pieces (including most of Netrebko's solos), Sebastian Weigle on five pieces and Charles Mackerras on the two Terfel tracks. If not a complete success, this is a fine recording which spotlights several of the best singers around today.

Brilliant!!.......2006-10-30

Four stars for me is a top rated disc, make no mistake-there are maybe 10 five star albums I''ve heard in my life. The performances are both accurate and inspired and, in this rare instance, I enjoy the blend of music from different Mozart pieces. Newcomer (well, sort of) Elina Garanca is outstanding and, I believe, will likely be the one of this crop we are still talking about in 10 years

Mozart Leftovers?.......2006-10-05

This is a curious recording. It is a compilation of four recording sessions: Bologna in March, 2005 with Netrebko (4); Modena in September, 2005 with Pape, Miklósa (2) released before; Glasgow in April, 2006 with Terfel (2) and ending in Dresden in May, 2006 with Quasthoff, Garanca and Anna singing a duet with each (5). The recording is subtitled "Anna Netrebko & Friends" and Ms. Netrebko appears on six of the 13 tracks. It is safe to assume that this album was not conceived to turn out this way but is a patchwork, as Anna Netrebko may not have had the time to fill up 60 minutes of Mozart by herself. Still, the voices are all DG "All Stars" and the music is Mozart, all taken from his operas, and beautifully rendered without a hitch. Anna Netrebko's gorgeous soprano shines through although I am not overly fond of Electra's final rage-aria from Idomeneo that she also recently sang at the Salzburg Festival shown on a U.S. television "Great Performances" production. I have always loved Pape, Terfel and Quasthoff's rich voices. Garanca, the young, brilliant Latvian mezzo-soprano is being groomed to be a star although I am upset with her for backing out of the "Mostly Mozart" Festival at Lincoln Center this summer. New York awaits her debut. I love the duet with Garanca and Netrebko from "La Clemenza di Tito". The CD ends with a lovely trio, "Soave sia il vento" from "Cosi fan tutte" with Terfel, soprano Miah Persson and mezzo Christina Rice. Conductors include Claudio Abbado, Charles Mackerras and Sebastian Weigle. My major quibble is that this is a studio recording. I prefer live recordings with the warts.

Netrebko spits fire with her maddening voice.......2006-09-28

Some may question the artistic value of this CD. All the singers are in fine voice, but Netrebko steals the show. This CD is worthwhile just for Netrebko's rendition of Elettra's aria "Oh smania! Oh furie" from Idomeneo. Close your eyes and listen. You can see the demented expression on her face spitting fire, and her gaze turning into arrows soaked in the venom of hatred, ready to pierce your heart. Netrebko colors her voice, acts, and is consumed by the character, irrespective whether she is on stage or not, while keeping her singing focused. Her passion involves you, no matter how cool you pretent to be. That's the sign of a great singing actress, the likes of which we haven't seen for a long time!

Constantine A. Papas
El Paso, TX

Average customer rating:

Great voice; bad songs
To Be Honest, It's A Big Disappointment .
pretty good for a debut
Good Start!!
Its Almost Cruel

Erika Jo
Erika Jo
Manufacturer: Universal South
ProductGroup: Music
Binding: Audio CD

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Nashville Star 2005 Finalists
Kerosene
One Good Friend
Patient Man
Some Hearts

ASIN: B0009NCPT2
Release Date: 2005-06-14

Tracks:

I Break Things
Who You Are
There Are No Accidents
Go
Strong Tonight
Good Day for Goodbye
Wish You Back To Me
They Say Love is Blind
Going Til Your Gone
Love Is
Im Not Lisa

Customer Reviews:

Great voice; bad songs.......2006-10-15

I wanted Erika Jo to win through the whole Nashville Star season, and was excited to buy her CD. But there are only about two good songs on it. On the CD, there aren't enough fast songs. I think there should be a good mix of fast and slow songs. There's one fast song and ten slow songs. They're ok songs, but it wasn't very enjoyable to listen to. I'm very disappointed because Erika Jo had such a good voice.

To Be Honest, It's A Big Disappointment ........2006-08-03

I have listened to the whole Erika Jo album and I was very very disappointed.Erika Jo has a good voice for her age but the song choices are terrible and do not fit her.I think that this album was rushed into and if more time was taken that it would have been more sucessful.This debut album has been a total flop.I don't know if she has a future in music but I do like her and I think with the right songs she could turn out pretty sucessful.

pretty good for a debut.......2006-04-11

I really enjoy this CD. The lead track, I Break Things, is one of my favorites, and There Are No Accidents proves that Erika Jo can perform ballads just as well. In fact, the only song on the album I don't really like is I'm Not Lisa...I don't know, I just can't get into that one. I think that's more the song than the performer, though. Oh, and to reviewer Faithless Street from Austin, I'm not quite certain what you're talking about, and somehow I don't think you are, either. Evidence of this: your quote "It should be noted that every Nashville Star winner prior to Erika Jo is without a label." Um...can you say "Buddy Jewell"? You know, winner of the very first Nashville Star? You know, performer of "Help Pour Out the Rain"? Therefore, I must conclude that you have never actually seen the show and are just talking out your you-know-what.

Good Start!!.......2006-03-20

i saw her on nashville star and liked her right away. nothin's happened much since she won though. best songs: i break things, who you are, and good day for goodbye

Its Almost Cruel.......2006-02-01

But really, its just more sad. Nashville Star is a show where a bunch of label heads, including, Anastacia "What-the-he**-were-you-thinking-Tony Brown, pretend they actually have a clue about where country music is going. It should be noted that every Nashville Star winner prior to Erika Jo is without a label.
And the latest in their dregs of dreck is Erika Jo. It is almost cruel to send a woman this clueless into a world where the sort of country she makes has already become a passe joke. So much so that Erika Jo come across almost like a Saturday Night Live Parody. From the 80's. Except that neither she nor the label suits that hired her get the punchline.