So Ein Mann [Import]

So Ein Mann [Import]

Track Listings

1. So Ein Mann

2. Sigfrie Ist Sexy

3. Ees Regenet Jungs

4. Halts Maul Und Schlaf Mit Mir

5. Zu Nah Am Fever

6. Dance Instuctor

7. Du Hast Die Hare Schon

8. Schooner Fremder Mann

9. Ich Will Keine Schokolade

10. Er Gehort Zur Mir

11. Ich Bin Schwul U

12. Wir Sind Die Manner Der Nacht

13. So Schwul Kann Doch

14. Das Ist Gut So

15. Mein Bester Freund

16. Hot Stuff

17. Hasso

18. Boys Aus Germany

19. Lappen In Den Arsh

Customer Reviews:

Uneven quality but great value.......2007-04-30

Brilliant Classics has found a niche with their extremely low-price multi-disc collections of the work of a single composer or performer. The Bach, Mozart and Chopin Complete Editions are legitimately considered to be artistic and economical triumphs. But the Masterworks series are more uneven. Currently available from Amazon France at about a buck per CD, they're still a bargain for those interested in quickly building a music library. But it's worth keeping a few things in mind. Unlike the Bach and Mozart Editions, these are not always historically informed performances. In this Mendelssohn set, the Hanover Band puts in a cameo (in Calm Sea and Prosperous Voyage), but most of the ensembles use modern instruments, techniques and proportions. This doesn't always work out, as in the case of the ponderously heavy recordings of the String Symphonies by an apparently full complement of Gewandhausorchester Leipzig strings (Mendelssohn likely wrote these early works for a much smaller group). The caliber of the performances varies too, ranging from good to poor, and from marquis musicians such as Dietrich Fischer-Dieskau to a few Dutch who-dats. The chamber musicians generally acquit themselves well (though the Octet recording is marred by an engineering flaw in the last movement, distortion, at least on my copy). But the symphonies suffer from some substandard performances, such as the Italian Symphony's live recording with not only audience noise but also ensemble flaws such as a distracting clarinet squeak in the first movement's recapitulation. Another strike is the lack of program notes. Brilliant's Complete Editions provide a booklet or CD-ROM with program notes, but here you'll need to do your own research.

Despite these shortcomings, this set is still good value (at least at Amazon France's current price of 31 Euros). And it's a fine way to become acquainted with Mendelssohn's music.

A superb collection of Mendelssohn.......2007-03-24

Let me preface this by saying that most of these works were not new to me - I own many other Mendelssohn CDs and have enjoyed his compositions for some time now. Also, this set is available much cheaper elsewhere, particularly from European retailers.
The symphonies are well-performed. 'Reformation' is an inspired live recording. The 12 string symphonies, written in Mendelssohn's youth, are also included. The concertos are exceptional - the violin concerto is as good as you'll find anywhere. The oratorios Elijah and Paulus are included, as well as the complete chamber works and a diverse assortment of choral works. The last few discs include the Lied ohne worte, the epic organ sonatas, and excellent renditions of A Midsummer Night's Dream and Fingal's Cave. While there are a few sketchy performances in the choral and chamber works, the performances and recordings are generally very solid, and the body of work couldn't be better.

Average customer rating:

A Major Document of an Incredible Oeuvre...

Schubert: Lieder

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Schubert: The Piano Sonatas
Beethoven: Piano Sonatas
The Schubert Song Companion
Schubert: Schwanengesang; 4 Lieder
Schubert: The String Quartets

ASIN: B000AYQCIK
Release Date: 2005-12-13

Customer Reviews:

A Major Document of an Incredible Oeuvre..........2007-03-12

.
Of over 600 songs, Fischer-Dieskau and Gerald Moore realized over three-quarters: these are those. Gerald Moore was of course as important to this project as Fischer-Dieskau.

DGG's sound is excellent.

This set is a remarkable document of art.
.

Average customer rating:

A substantial overview of Karajan's Ring
Where is Karajan's Ring on amazon?
not an introduction to The Ring
A wonderful introduction, or a new experience
good introduction

Highlights from Der Ring des Nibelungen

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Panorama (Highlights from der fliegende Hollander, Lohengrin, Tannhauser, Die Meistersinger von Nurnberg, Parsifal, Tristan und Isolde)
Wagner: The Compact Ring (Highlights from Der Ring des Nibelungen) / Levine; Metropolitan Opera Orchestra
Wagner: The Best of the Ring
Wagner's Ring: Turning the Sky Round
An Introduction to Der Ring des Nibelungen

ASIN: B00004XT2G
Release Date: 2001-02-27

Tracks:

The Rhinegold: Lugt, Schwestern! Die Weckerin Lacht in Den Grund - Helen Donath/Edda Moser/Anna Reynolds/Zoltan Kelemen
The Rhinegold: Nur Wer Der Minne Macht Ensagt - Helen Donath/Edda Moser/Anna Reynolds
The Rhinegold: Der Welt Erbe Gewann Ich Zu Eigen Durch Dich - Zoltan Kelemen/Helen Donath/Edda Moser/Anna Reynolds
The Rhinegold: Haltet Den Rauber! - Helen Donath/Edda Moser/Anna Reynolds
The Rhinegold: Hor, Wotan, Der Harrenden Wort! - Karl Ridderbusch/Dietrich Fischer-Dieskau/Martti Talvela/Simone Mangelsdorff
The Rhinegold: Schwester! Bruder! Rettet! Helft! - Simone Mangelsdorff/Donald Grobe/Robert Kerns/Gerhard Stolze/Josephine Veasey
The Rhinegold: Wotan, Gemahl, Unselger Mann! - Josephine Veasey/Dietrich Fischer-Dieskau/Gerhard Stolze/Robert Kerns/Donald Grobe
The Rhinegold: (Transformation Music) - BPO/Herbert Von Karajan
The Rhinegold: Zur Burg Fuhrt Die Brucke - Donald Grobe
The Rhinegold: Abendlich Strahlt Der Sonne Auge - Dietrich Fischer-Dieskau
The Rhinegold: So Gruss Ich Die Burg - Dietrich Fischer-Dieskau/Josephine Veasey/Gerhard Stolze
The Rhinegold: Rheingold! Rheingold! - Helen Donath/Edda Moser/Anna Reynolds/Dietrich Fischer-Dieskau/Gerhard Stolze
The Valkyrie: Der Manner Sippe Sass Hier Im Saal - Gundula Janowitz/Jon Vickers
The Valkyrie: Wintersturme Wichen Dem Wonnemond - Jon Vickers
The Valkyrie: Du Bist Der Lenz - Gundula Janowitz
The Valkyrie: O Susseste Wonne! Seligstes Weib! - Jon Vickers/Gundula Janowitz
The Valkyrie: War Walse Dein Vater, Und Bist Du Ein Walsung - Gundula Janowitz/Jon Vickers
The Valkyrie: Siegmund, Den Walsung, Siehst Du, Weib! - Jon Vickers/Gundula Janowitz
The Valkyrie: (The Ride Of The Valkyries) - BPO/Herbert Von Karajan
The Valkyrie: Leb Wohl, Du Kuhnes, Herrliches Kind! - Thomas Stewart
The Valkyrie: Der Augen Leuchtendes Paar - Thomas Stewart
The Valkyrie: Loge, Hor! Lausche Hieher! - Thomas Stewart
The Valkyrie: (Magic Fire Music) - BPO/Herbert Von Karajan

Tracks:

Siegfried: Dass Der Mein Vater Nicht Ist - Forest Murmurs - Jess Thomas
Siegfried: Nun Sing! Ich Lausche Dem Gesang! - Jess Thomas/Catherine Gayer
Siegfried: Prld To Act III. - BPO/Herbert Von Karajan
Siegfried: Wache, Wala! Wala! Erwach! - Thomas Stewart
Siegfried: (Brunnhilde's Awakening: Intro) - BPO/Herbert Von Karajan
Siegfried: Heil Dir, Sonne! Heil Dir, Licht! - Helga Dernesch/Jess Thomas
Siegfried: Siegfried! Siegfried Seliger Held! - Helga Dernesch/Jess Thomas
Twilight Of The Gods: (Orchestral Interlude) - BPO/Herbert Von Karajan
Twilight Of The Gods: Zu Neuen Taten, Teurer Helde - Helga Dernesch
Twilight Of The Gods: Mehr Gabst Du, Wunderfrau, Als Ich Zu Wahren Weiss - Helge Brilioth/Helga Dernesch
Twilight Of The Gods: (Siegfried's Rhine Journey) - BPO/Herbert Von Karajan
Twilight Of The Gods: (Funeral Music) - BPO/Herbert Von Karajan
Twilight Of The Gods: Starke Scheite Schichtet Mir Dort - Helga Dernesch
Twilight Of The Gods: Mein Erbe Nun Nehm Ich Zu Eigen - Helga Dernesch
Twilight Of The Gods: Fliegt Heim, Ihr Raben! - Helga Dernesch
Twilight Of The Gods: Conclusion 'Zuruck Vom Ring!' - Karl Ridderbusch

Customer Reviews:

A substantial overview of Karajan's Ring.......2007-07-11

One could debate for a brief eternity which conductor should be labeled "the best." Numerous magnanimous interpreters come to mind: Gustav Mahler, Arturo Toscanini, Otto Klemperer, Carlos Kleiber, Karl Böhm, Herbert von Karajan, Sir Georg Solti, Claudio Abbado, Pierre Boulez, Daniel Barenboim, Giuseppe Sinopoli, and James Levine are just a potpourri of renowned orchestral masters. Toscanini and Karajan were probably the most influential in redefining the nature in which one should approach a piece of music; both insisted that traditional conducting, in which a piece was essentially performed in the same manner continuously, was neither healthy nor appropriate for the music in question and, they laid the foundation for conductors to develop their own characteristic conducting and interpretative styles.

One now comes to Richard Wagner, often considered the master of Romantic music and one of the definitive composers to ever set foot on the soil of this planet. If one were to painstakingly evaluate the two conductors' collective Wagnerian works, one would most likely come to the conclusion that Hungarian-born Sir Georg Solti was a "more perfect" Wagnerian conductor than the Austrian musical megalomaniac Herbert von Karajan. Solti's style of conducting, which lent itself to the works of Ludwig van Beethoven, Mahler, and Richard Strauss, was obviously within the atmosphere of Wagner, and his John Culshaw-produced rendering of Der Ring des Nibelungen can easily be considered one of the greatest achievements in modern recorded sound. Nonetheless, Karajan's brilliance came not from his ability to conduct Wagner perfectly, as one might arguably suggest for Solti, but rather from his ability to approach every composer with a certain level of comfort and singularity while simultaneously retaining his format of interpretation. Karajan was just as comfortable with the works of Johann Sebastian Bach and Wolfgang Amadeus Mozart as he was with Jean Sibelius and Arnold Schoenberg, and his expertise transcended every medium, from choral works and masses to symphonies to operas to concerti. It was also his singular smoothness, his uncanny ability to gloss and refine the roughest and most vulgar of music (which, occasionally, in a work such as Carmen, had a derogatory effect) which made his Wagnerian music so spectacular a beacon and link within the chain mail of the musical world.

This is the reason why this recording of Der Ring des Nibelungen features what critics have called a "chamber music approach" to the Wagner score; Karajan dissected the music (as he did with everything he conducted) and took every measure to present, at all times, the beauty inherent in the music, even at the most violent and explosive instances. No fault is obvious in this, and with the operas of Rossini or Donizetti, no problem would have occurred; however, with Wagner, placing too burdensome an emphasis on beauty could, possibly, have an acidic effect on the overall drama of the work. This became an almost debilitating fault near the end of his illustrious career, but here the results are stunning. Karajan's interpretation is not sluggish (by the standards set by Solti, it is actually fairly brisk) and the orchestral performance from the imperial Berliner Philharmoniker is beyond betterment.

Thus, one must wonder why this recording of the Ring Cycle, with arguably the best conductor in the world leading one of the finest groups of musicians ever assembled, is frequently dogged by critics as weak and woefully idealistic. The answer lies in Karajan's casting which is, overall, inferior to Solti's. However, jewel-bedecked performances can be found in Karajan's cast with which Solti's cannot compete. Jon Vickers and Gundula Janowitz bring new definition to the twins Siegmund and Sieglinde. Operatic roles may have existed which Vickers did not perfect, but those which he performed (Peter Grimes, Samson, Tristan, Aeneas, Otello, Don José) were forever standardized by his interpretation. Siegmund is no exception, and though James King was a golden-toned, amorous youth on the Solti Die Walküre, Vickers is mightily Zarathustran and gloriously introspective during "Winterstürme wichen dem Wonnemond." Janowitz, who could make the harshest, most brutal German phrases drip with the smoothness and creamy elegance of French, brings radiance and gleaming simplicity to her Sieglinde which no other soprano could dare attempt. Their ecstatic, and eventually orgasmic, love duet ("Du bist der Lenz" ... "O süsseste Wonne! Seligstes Weib!" ... "Siegmund, den Wälsung, siehst du, Weib!") may be the greatest moment of Karajan's entire Ring Cycle.

The character of Wotan, the ruler of the gods, should, theoretically, be performed by a commanding, sonorous bass-baritone such as George London, Hans Hotter, Theo Adam, or James Morris, the most superb modern Wagnerian baritone. However, Dietrich Fischer-Dieskau, who was so praised for his vocal delicacy and aristocratic gentility, is surprisingly successful as the ambitious god whose ageless wisdom was blinded by his opulent rapaciousness in Das Rheingold. Fischer-Dieskau was often fussy and blusterous on the operatic stage, but brief instances of vocal waywardness are often excusable through Wagner, and he will have no difficulty pleasing the most caustic critic during his wondrous musing as the gods enter the celestial fortress of Valhalla ("Abendlich strahlt der Sonne Auge...So grüss ich die Burg"). Thomas Stewart, a severely under-recorded American baritone, excels as Wotan in Die Walküre and Siegfried. Wotan's eminent farewell to Brünnhilde in Die Walküre ("Leb wohl, du kühnes, herrliches Kind!...Der Augen leuchtendes Paar") could easily buckle many baritones; Stewart, however, sings with unfettered passion and mournful abandonment as the pained father. He is less thrilling (due to the context of the music, not his voice) in his conjuring of Erda in Siegfried ("Wache, Wala! Wala! Erwach!").

Gerhard Stolze, the consummate character singer, is not featured on this set of highlights as Mime, Alberich's toiling, gnomish brother, in Siegfried; his unique caricature of Loge in Das Rheingold is inserted instead. Loge, the mischievous demigod of fire, is a part usually performed by a heldentenor, such as Wolfgang Windgassen, Set Svanholm, or Siegfried Jerusalem, and for those strictly concerned with vocal beauty, these singers would be highly appropriate. However, for those seeking a more burlesque, stupendously acted performance (merely listen as he warns the gods not to enter Valhalla ["Ihrem Ende eilen sie zu"]), Stolze is perfectly idiomatic and certainly does not "bark" his lines, though he is occasionally criticized for doing so. Hungarian bass-baritone Zoltan Kélémén's career began, for the most part, with Karajan casting him as Alberich. The most inimitable interpreter of the dwarf fiend was Gustav Neidlinger; his Alberich was explosively, thunderously vindictive, a Caligulan nemesis. Kélémén's Alberich was a twisted, grisly deuce, and though he may have lacked the vocal robustness of Neidlinger (and the malignant guffaw), his retort against the mocking of the Rheintöchter ("Der Welt Erbe gewänn ich zu eigen duch dich") is a petrifying outburst. Helen Donath, Edda Moser, and Anna Reynolds are the most perfectly tuned Rheintöchter available on disc. No other trio can compare with their beguiling chatter in the first scene ("Lugt, Schwestern! Die Weckerin lacht in den Grund") nor with their wrathful longing in the finale ("Rheingold! Rheingold! Reines Gold!"). Liselotte Rebmann, Daniza Mastilovic, Ingrid Steger, Lilo Brockhaus, Carlotta Ordassy, Barbro Ericson, Cvetka Ahlin, and Helja Jenckel are similarly victorious during the Walkürnritt ("Hojotoho!"), which is sure to conjure an image of helicopters napalming seaside Vietnamese villages vis-à-vis Francis Ford Coppola or hellish, armed and armor-bedecked maidens soaring about on flying horses.

Josephine Veasey possessed an elegant, matronly tone which was perfectly suited for Fricka, Wotan's bickering wife, the goddess of marriage. Donald Grobe, a Karajan regular, is insipid but secure as Froh in his brief monologue ("Zur Burg führt die Brücke"). Martti Talvela and Karl Ridderbusch (another Karajan regular) shared the four main bass roles in the saga: Fasolt, Fafner, Hunding, and Hagen. Talvela is noted as one of the most sympathetic Fasolts on record; one must wonder how Talvela, the gargantuan Finnish bass, could not be suitable as a giant in any opera. His performance is woefully truncated here, alas. His Hunding, which was surely brutish and bovine, is not heard at all. The iniquitous villain Fafner's greatest moment comes not in Das Rheingold as the bellowing lummox but in Siegfried as the leering, yawning dragon; this is also left out of the collection. Ridderbusch's performance as Hagen, often heralded as one of his finest, is represented here by little more than his final outburst of "Zurück vom Ring!" After Dame Joan Sutherland's "cameo" appearance as the Waldwogel in Sir Georg Solti's Siegfried, all other performances are bound to fall short. Nonetheless, Catherine Gayer is notably lovely and chirpy.

Most criticism concerning the soloists is invested in insulting Jess Thomas, Helga Dernesch, and Helge Brilioth. Thomas, a regal Lohengrin and Tannhäuser in his youth, has forever been the recipient of spiteful banter reviling his performance as Siegfried in the third opera of the cycle. It is true that Windgassen owned the role in much the same way that Birgit Nilsson was the executor of Brünnhilde (after Flagstad and Varnay); however, their performances were sublime in the locality of their vocal precision and dramatic prowess, which were sublime. In the sector of vocal attractiveness (which is, one must concede, Karajan's principal area of focus), Windgassen fell short of the golden-throated Thomas, and Nilsson's steely voice, though it possessed its own rampageous eroticism, was also inferior to Helga Dernesch's richer and milder tone. As examples, Thomas is marvelous during the darkly impressionistic, meandering Waldweben ("Dass der mein Vater nicht ist"); Dernesch is ravishing in the Awakening Scene ("Heil dir, Sonne! Heil dir, Licht! ... Siegfried! Siegfried! Seliger Held!") and in the apocalyptic finale of Götterdämmerung ("Starke Scheite schichtet mir dort...Fliegt heim, ihr Raben!"). Poor Brilioth is often criticized for simply sounding dull and inadequate as Siegfried in Götterdämmerung, and one must concede that it would have been more prudent for Karajan to cast Windgassen. [Régine Crespin, who is not featured on this collection, performed Brünnhilde in Die Walkure. This had mixed results, for most held her performance as the Valkyrie in juxtaposition to her gorgeous interpretation of Sieglinde on the Solti recording. I, personally, found her Brunnhilde delightfully witty and humane.]

Perhaps the greatest fault of this collection of highlights is that it is what it is: a collection of excerpts. Der Ring des Nibelungen is an expansive masterpiece which is not suitable for a two-disc collection of noteworthy tracks. This compilation, nevertheless, is indeed superb (as are most Deutsche Grammophon/Panorama releases), as is the set of highpoints from Karl Böhm's Ring Cycle, released through Philips. One should, by all means, disregard the hateful criticism placed upon Karajan's work here. It is not his finest, but it is Karajan, and his worst level is a pinnacle of excellence which most conductors can only hope to achieve, particularly in a Wagnerian sphere.

Where is Karajan's Ring on amazon?.......2005-09-05

I can't find any of the four Ring operas here at amazon.com. This is very peculiar, but in case you, too, are looking for them, I can say that the Rheingold and Die Walkure are superb, but the Siegfried is vocally a catastrophe, beginning with the woeful Jess Thomas in the title role, and the Gotterdammerung is hampered by an inedequate Siegfried and a not veyr inspired dernesch as Brunnhilde. DG has remastered them all at mid-price, and the mid-Sixties analog sound was good to begin with.

not an introduction to The Ring.......2005-04-18

This is absolutely the best "highlight" collection out there -- no others come close to the range and depth of material provided. But beware, this is not an "introduction to The Ring", as some claim -- the notes are skimpy, the titles of the excerpts are untranslated, there is no libretto, no description of the excerpts -- their context or meaning -- so what you have is a great summary of the works -- one that is most useful if you already know them -- something to take along with you in the car or while jogging or walking the dog to remind you of the real thing. Bear in mind that whatever the deficiencies of this collection, the others have the same faults also.

A wonderful introduction, or a new experience.......2004-02-14

Admittedly, it is a daunting task to try to "get into" opera, and even more so with Wagner's Ring. This CD is perfect for the beginner and the more experienced listener for various reasons. First of all, it spoils you somewhat in presenting you with the best pieces of the various operas. These "bleeding chunks" certainly give you a wonderful introduction to the various motifs, and most importantly, are very long pieces. The CD manages to capture several of the different flavors present in Wagner's opera.

Secondly, the CD is worth its price mainly due to Karajan's conducting. After listening to Solti's version of the Ring (also wonderful), I was suprised by the subtle hints he seems to charge through. You can literally hear the galloping of the horse, or subtle musical hints which add a great appreciation and character to the opera. Thus, if you have experienced several other conductors, but have not had the pleasure of Karajan, it would be worth the price.

Unfortunatly, some of the singing is kinda weak. Again, after Solti's Valkyries, you will have a hard time getting into the singing. And again, Karajan's Brunhilde isn't as strong as Solti's, but she still holds her own. Loge, here, sounds like a trickster (though he does sing/speak his words), and the Wotan's are alright.

In conclusion, this is perfect if you want to add flavor to your Wagner listening experience, or just want to know what the big deal is. I, of course, suggest getting one of the DVD's to get the big picture of what is going on (Levine's MET is a good start). So buy and enjoy.

good introduction.......2002-06-11

this is a good way to see why it is worth getting the full Der Ring opera--all 15 CDs! having just the highlights shows you the power and majesty of Wagner's music, but skips the depth and true emotion you get out of listening to the whole opera.

Average customer rating:

Comedian Harmonists

Definitive Collection

Manufacturer: Arena Records UK
ProductGroup: Music
Binding: Audio CD

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The Comedian Harmonists
The Harmonists
Comedian Harmonists
Auf Wiederseh'n
Finest Selection of: Comedian Harmonists

ASIN: B0000648OR
Release Date: 2001-11-02

Tracks:

Wenn Ich Vergnn
Uch Wollt' Ich W Ein Huhn
Veronika, Der Lenz Ist Da
Bin Kein Hauptmann, Bin Kein Gros Tier
Ein Freund, Ein Guter Freund
Creol Love Call
Bist Nicht Die Erste
Baccarole
Der Sch Blauen Donau
Quant il Pleut
Ein Bisschen Leichtsinn Kann Nicht Schaden
Ich Hab' Fh 'Nen Blumentopf Bestellt
Jetzt Trinken Wir Noch Eins
Ist Die Liebe Der Matrosen
Liebling, Mein Herz L Dich Gr
Irgendwo Auf Der Welt
Ali Baba
Maria Marie
Auf Dem Heuboden
Liebesleid
Tout le Jour
Wir Sind Von Kopf Bis FuAuf Liebe Eingestellt
So Ein KuKommt Von Allein
Musketier Marsch
Mein Kleiner, Graktus

Tracks:

Hoppla, Jetzt Komm'ich
Kannst du Pfeifen, Johanna
Tea for Two
In Der Bar Zum Krokodil
Eine Kleine Frsweise
Eins, Zwei, Drei, Vier Glh Bin Ich Nur Mit Dir
Die Liebe Kommt, Die Liebe Geht
Heute Nacht Oder Nie
Hallo, Was Machst du Heut' Daisy
Ich Khre Hand Madame
Auf Wiedersehen Mein Frein, Auf Wiedersehen Mein Herr
Kleiner Mann, Was Nun
Hein Spielt Abends So Schuf Dem Schifferklavier
Mein Lieber Schatz Bist du Aus Spanien
Onkel Bumba Aus Kalumba
Perpetuum Mobile
Leb' Wohl Gute Reise [Farewell, Have a Good Journey]
Wenn Die Sonja Russisch Tanzt
Morgen MuIch Fort Von Hier
Wenn Der Wind Weht er das Meer
Puppenhochzeit
Was Dein Roter Mund Im Fr Sagt
Es Fein Anderer Weg Zur Seligkeit
SchLisa, Ssa
Wochenend und Sonnenschein
Auf Wiedersch'n My Dear

Customer Reviews:

Comedian Harmonists.......2003-05-23

A wonderful Selection of great Harmonies and Novelty Tunes by this Relatively Unknown Group in America , This terrific German Group is a must for anyone that enjoys Good Harmony and just Plain Vocal Fun with Sounds and Lyrics. Highly Recommended and Enjoyable.

Average customer rating:

The Past Near-Perfect
Wow
The Most Electrifying 'Walküre' Ever Recorded

Wagner: Die Walküre (Acts 1 and 2)

Manufacturer: Naxos
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Wagner: Die Walküre
Wagner: The Ring

ASIN: B0000AE7BM
Release Date: 2003-10-21

Album Description

In the early 1930s Bruno Walter planned to record the complete Die Walküre in Berlin, exploiting recent refinements in the electrical recording technique. However when the Nazis came to power, Jewish artists, including Walter, were immediately under threat. The location of the recording was shifted to Vienna. In 1935 the whole of Act 1 and parts of Act 2 were taken down. Melchior, the finest Heldentenor of that or any time, and Lehmann managed to sound astonishingly youthful, while Hotter was to become the leading Wotan of the next two decades. Logistical and budgetary problems made it difficult to complete Act 2 and only in 1938 was the rest of it undertaken in Berlin, under the vastly experienced leadership of Bruno Seidler-Winkler.

Customer Reviews:

The Past Near-Perfect.......2006-04-09

Imagine that you have access to a time machine: you set a few dials and you can be whisked to an orchestra seat for a performance by legendary artists. Now imagine that the charge for this fabulous journey is about fifteen dollars. That is what this two-CD set is tantamount to. The performers are among the most illustrious Wagnerians in the history of opera, whether caught in the prime (Lehmann and Melchior), or at the beginning (Hotter) of remarkable careers. They are joined by two equally renowned ensembles led for much of these recordings by the sterling Bruno Walter and for the rest by the distinguished Bruno Seidler-Winkler. The engineering has yielded sound so noise-free and expansive that the result might have been produced twenty years later than the actual 1930's dates. The listener doesn't have to "listen through" a veil of scratchy background and muted dynamics. All in all, this reissue superbly achieves what archival recordings strive for but all too often fall short of: it gives full reproduction of great performances so that one generation can clearly communicate with another. The only thing that keeps this recording from being perfect is the lack of a third act. As it is, even if you are a less-than-perfect Wagnerite these performances will grip you. Take the first step in your journey to a wonderful experience of the past and buy this music.

Wow.......2005-09-27

Of course this recording has been around for years. Never-the-less, for new fans of Wagnerian opera who have never heard the 1st Act sung by Lehmann and Melchior this will be a revelation!

The 2nd Act is also near-overwhelming, and both together is the reason this recording stays in the catalog: It doesn't get much better than this!

The Most Electrifying 'Walküre' Ever Recorded.......2003-10-25

This is a recording that merits its status as a legend. It has everything ... except the opera's third act. An explanation: the recording was begun in 1935 in Vienna, under conductor Bruno Walter but owing to all kinds of technical and scheduling difficulties parts of the second act had to be recorded three years later with mostly the same singers in Berlin under Bruno Seidler-Winkler, himself no mean Wagner conductor, because Walter had by then left Hitler's Germany. And the third act was simply never recorded. Even so, it has never been out of print. Many years ago I owned this performance on an LP whose dreadful sound could not hide the intensity and beauty of the performance. This transfer, done by Naxos's miracle man, Mark Obert-Thorn, is absolutely stunning. There are many passages where one simply cannot tell that the recording was made seventy years ago. The voices are generally very forward and are extremely life-like. Except for occasional and quickly forgotten slight tubbiness and limited dynamic range the orchestral sound is more than satisfactory; indeed, it is about the best I've ever heard from recordings of that era. A transfer engineering triumph.

But the best part is the musical performance, cobbled together as it is in some respects. The cast is a dream. Get this:

Sieglinde----------Lotte Lehmann
Brünnhilde---------Marta Fuchs
Fricka-------------Margarete Klose
Siegmund-----------Lauritz Melchior
Wotan--------------Han Hotter
Hunding------------Emanuel List

Further, each of these singers is in extraordinary voice. It is as if they sense they are involved in a history-making endeavor in this, one of the first attempts to record 'Walküre.' Lehmann, who could later sound a bit matronly, here sounds ardently young and feminine. Melchior sings as well as I've ever heard him, a bronze baritonal sound that is absolutely rock-solid, coupled with fidelity to the music as written, not always present elsewhere with Melchior. Marta Fuchs, who made few recordings, is a young-sounding and intensely dramatic Brünnhilde; the voice is like a laser. The young Hans Hotter, then only 26, is singing his first Wotan, a role he made his own in the years to come. There is a strong, rather than hectoring, Fricka from the mezzo, Margarete Klose. Hunding is manly and dramatically apt as sung by Emanuel List. The Vienna portion (more than 2/3 of the recording) is played by the Vienna Philharmonic who as the Vienna State Opera Orchestra had this music in their bones. The Berlin portion utilized the Berlin Philharmonic who are only marginally below the VPO's level in this era. This is Bruno Walter's only major Wagnerian recording. This conductor, often cited as the quintessentially gemütlich Germanic conductor, leads an intensely dramatic performance. What a pity we don't have more Wagner from him.

Individual passages of note in Act I: Melchior's 'Ein Schwert verhiess mir der Vater,' and then 'Winterstürme' followed by the rapturous duet (Melchior, Lehmann) 'Du bist der Lenz.' Act II: the argument in Scene One between Fricka (Fuchs) and Wotan (Hotter), which is often just sort of skated over but here is full of fire and spirit. Then the most dramatically engaging 'Wotan's Monolog' (where he tells Brünnhilde the history of the Ring) that I've ever heard; this passage is sometimes scorned because it is so long and recounts material that presumably the informed opera-goer already knows. Not so here; Hotter makes us, as well as Brünnhilde, hang on every word. Klose's alternately confused and brave Brünnhilde, especially at the beginning of Act II, Scene 4 ('Siegmund! Sieh auf mich!) where she tells Siegmund he must die, is simply stunning.

The marginally less effective part of the recording is in the last part of Scene 5 when two different singers (Ella Flesch and Alfred Jerger) perform that scene's confrontation between Wotan and Brünnhilde. It's not that they are bad--in fact, they're quite good--but their voices are so very different from Fuchs's and Hotter's that it is a bit jarring.

This, obviously, is not going to be anyone's only recording of 'Die Walküre.' And although there is a scene by scene synopsis, there is no libretto; Naxos probably recognizes that anyone buying this 2CD set will probably already have a modern recording and a libretto.

Still, I suspect I will be reaching for this performance in preference to a number of other more modern performances that I own. It's that good! Once again I want to thank Naxos for making this and other significant historical recordings available in clear sound at a budget price. They keep coming up with winners like this, the 1931 French 'Manon,' the early Karajan 'Meistersinger,' the recently released 'Louise,' and others.

Most heartily recommended.

CD1=73:41
CD2=70:22
TT=2:24:03

Scott Morrison

Average customer rating:

Lieder & Opera Scenes 1942-1973

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
ASIN: B00007BGXR
Release Date: 2003-02-11

Album Details

Original Masters serie.

Average customer rating:

The Mastersinger

Fischer-Dieskau Edition (Box Set)

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

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

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

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

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

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

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

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

Classical | Box Sets | Stores | Music

Opera & Vocal | Box Sets | Stores | Music

Deutsche Grammophon: Music | Specialty Stores | Music
ASIN: B00004SC5S
Release Date: 2000-06-13

Tracks:

Winterreise: Gute Nacht - Franz Schubert
Winterreise: Die Wetterfahne - Franz Schubert
Winterreise: Gefrorene Trn - Franz Schubert
Winterreise: Erstarrung - Franz Schubert
Winterreise: Der Lindenbaum - Franz Schubert
Winterreise: Wasserflut - Franz Schubert
Winterreise: Auf dem Flusse - Franz Schubert
Winterreise: Rck - Franz Schubert
Winterreise: Irrlicht - Franz Schubert
Winterreise: Rast - Franz Schubert
Winterreise: Frstraum - Franz Schubert
Winterreise: Einsamkeit - Franz Schubert
Winterreise: Die Post - Franz Schubert
Winterreise: Der greise Kopf - Franz Schubert
Winterreise: Die Kr - Franz Schubert
Winterreise: Letzte Hoffnung - Franz Schubert
Winterreise: Im Dorfe - Franz Schubert
Winterreise: Der sthe Morgen - Franz Schubert
Winterreise: Tchung - Franz Schubert
Winterreise: Der Wegweiser - Franz Schubert
Winterreise: Das Wirtshaus - Franz Schubert
Winterreise: Mut! - Franz Schubert
Winterreise: Die Nebensonnen - Franz Schubert
Winterreise: Der Leiermann - Franz Schubert

Tracks:

Die schone Mullerin: Das Wandern
Die schone Mullerin: Wohin?
Die schone Mullerin: Halt!
Die schone Mullerin: Danksagung an den Bach
Die schone Mullerin: Am Feierabend
Die schone Mullerin: Der Neugierige
Die schone Mullerin: Ungeduld
Die schone Mullerin: Morgengruss
Die schone Mullerin: Des Mullers Blumen
Die schone Mullerin: Tranenregen
Die schone Mullerin: Mein!
Die schone Mullerin: Pause
Die schone Mullerin: Mit dem grunen Lautebande
Die schone Mullerin: Der Jager
Die schone Mullerin: Eifersucht und Stolz
Die schone Mullerin: Die liebe Farbe
Die schone Mullerin: Die bose Farbe
Die schone Mullerin: Trockne Blumen
Die schone Mullerin: Der Muller und der Bach
Die schone Mullerin: Des Baches Wiegenlied
4 Lieder: Nacht und Traume D 827
4 Lieder: Standchen
4 Lieder: Du bist die Ruh
4 Lieder: Erlkonig

Tracks:

Schwanengesang: Liebesbotschaft
Schwanengesang: Kriegers Ahnung
Schwanengesang: Fruhlingssehnsucht
Schwanengesang: Standchen
Schwanengesang: Aufenthalt
Schwanengesang: In der Ferne
Schwanengesang: Abschied
Schwanengesang: Der Atlas
Schwanengesang: Ihr Bild
Schwanengesang: Das Fischermadchen
Schwanengesang: Die Stadt
Schwanengesang: Am Meer
Schwanengesang: Der Doppelganger
Schwanengesang: Die Taubenpost
9 Lieder: Vollendung
9 Lieder: Die Erde
9 Lieder: An die Musik
9 Lieder: An Silvia
9 Lieder: Heideroslein
9 Lieder: Im Abendrot
9 Lieder: Der Musensohn
9 Lieder: Die Forelle
9 Lieder: Der Tod und das Madchen

Tracks:

An die Leier
Philoktet
Memnon
Fahrt zum Hades
Lied des Orpheus, als er in die Holle ging
Orest auf Tauris
Der entsuhnte Orest
Fragment aus dem Aeschylus
Der zurnenden Diana
Lied eines Schiffers an die Dioskuren
Heliopolis I
Freiwilliges Versinken
Das Weinen
Schiffers Scheidelied
Der Kreuzzug
Vor meiner Wiege
Fruhlingslied
Jagers Liebeslied

Tracks:

Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Im wunderschonen Monat Mai
Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Aus meinen Tranen spriessen
Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Die Rose, die Lilie, die Taube, die Sonne
Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Wenn ich in deine
Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Ich will meine Seele tauchen
Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Im Rhein, im schonen Strome
Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Ich grolle nicht
Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Und wussten's die blumen die kleinen
Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Das ist ein Floten und Geigen
Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Hor ich das Liedchen kiligen
Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Ein Jungling liebt ein Madchen
Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Am leuchteden Sommermorgen
Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Ich hab im Traum geweinet
Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Allnachtilch im Traume
Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Aus alten Marchen winkt es
Dichterliebe Op. 48 Les Amours du poete Heinrich Heine: Die alten bosen Lieder
12 Gedichte Op. 35 Justinus Kerner: Lust der Sturmnacht
12 Gedichte Op. 35 Justinus Kerner: Stirb, Lieb und Freud
12 Gedichte Op. 35 Justinus Kerner: Wanderlied
12 Gedichte Op. 35 Justinus Kerner: Erstes Grun
12 Gedichte Op. 35 Justinus Kerner: Sehsucht nach der Waldgagend
12 Gedichte Op. 35 Justinus Kerner: Auf das Trinkglas einet verstorbenen Fredes
12 Gedichte Op. 35 Justinus Kerner: Wandrung
12 Gedichte Op. 35 Justinus Kerner: Stille Liebe
12 Gedichte Op. 35 Justinus Kerner: Frage
12 Gedichte Op. 35 Justinus Kerner: Stille Tranen
12 Gedichte Op. 35 Justinus Kerner: Wer machete dich so krank?
12 Gedichte Op. 35 Justinus Kerner: Alte Laute
7 Lieder: Freisinn
7 Lieder: Schneeglockchen
7 Lieder: Standchen
7 Lieder: Laute di menien
7 Lieder: Des sennen Abschied
7 Lieder: Des sennen Abschied
7 Lieder: Talismane

Tracks:

Liederkreis Op 24: Morgens steh ich auf und frage
Liederkreis Op 24: Es treibt mich hin
Liederkreis Op 24: Ich wandelte unter den baumen
Liederkreis Op 24: Lieb liebchen
Liederkreis Op 24: Schone Wiege meiner leiden
Liederkreis Op 24: Warte, warte, wilder Schiffmann
Liederkreis Op 24: Berg' undBurgen schaun herunter
Liederkreis Op 24: Anfangs wolt ich fast verzagen
Liederkreis Op 24: Mit Myrten und rosen
11 Lieder: Der Kontrabandiste
11 Lieder: Zigeunerliedchen I
11 Lieder: Zigeunerliedchen II
11 Lieder: Tief im Herzen
11 Lieder: Melancholie
11 Lieder: Sehnsucht
11 Lieder: Gestandnis
11 Lieder: O wie lieblich
11 Lieder: Weh, wie zornig
11 Lieder: Der Hidalgo
11 Lieder: Romanze
Myrten op. 25: Widmung
Myrten op. 25: Der Nussbaum
Myrten op. 25: Lied aus dem Schenkenbuch I
Myrten op. 25: Lied aus dem Schenkenbuch II
Myrten op. 25: Die Lotosblume
Myrten op. 25: Du bist wie eine Blume
Myrten op. 25: Auden hebraischen Geangen
Myrten op. 25: Du bist wie eine Blume
Myrten op. 25: Zum Schluss
5 Lieder: Die feindlichen Bruder
5 Lieder: Abends am Strand
5 Lieder: Die beiden Grenadiere
5 Lieder: Mein schoner Stern
5 Lieder: Wein Wagen

Tracks:

An die ferne Geliebte, op.98: Auf dem Huegel sitz ich, spaehend - Ludwig Van Beethoven
Wo die Berge so blau - Ludwig Van Beethoven
Beethoven: Leichte Segler in den Hoehen - Ludwig Van Beethoven
Diese Wolken in den Hoehen - Ludwig Van Beethoven
Es kehret der Maien, es bluehet die Au - Ludwig Van Beethoven
Nimm sie hin denn, diese Lieder - Ludwig Van Beethoven
Lieder: Adelaide, op.46 - Ludwig Van Beethoven
Ich liebe dich, so wie du mich, WoO 123 - Ludwig Van Beethoven
L'amante impaziente, op.82-3 - Ludwig Van Beethoven
L'amante impaziente, op.82-4 - Ludwig Van Beethoven
Ariette (Der Kuss), op.128 - Ludwig Van Beethoven
In questa tomba oscura, WoO 133 - Ludwig Van Beethoven
Die Ehre Gottes aus der Natur, op.48-4 - Ludwig Van Beethoven
Maigesang, op.52-4 - Ludwig Van Beethoven
Marmotte, op.52-7 - Ludwig Van Beethoven
Seufzer eines Ungeliebten-Gegeliebe, WoO 118 - Ludwig Van Beethoven
Andenken, WoO 136 - Ludwig Van Beethoven
Der Wachtelschlag, WoO 129 - Ludwig Van Beethoven
Aus Goethes Faust (Mephistos Flohlied), op.75-3 - Ludwig Van Beethoven
3 Gesaenge, op.83: I. Wonne der Wehmut - Ludwig Van Beethoven
II. Sehnsucht - Ludwig Van Beethoven
III. Mit einem gemalten Band - Ludwig Van Beethoven
An die Hoffnung, op.94 - Ludwig Van Beethoven
Lied aus der Ferne, WoO 137 - Ludwig Van Beethoven
Der Juengling in der Fremde, WoO 138 - Ludwig Van Beethoven
Der Liebende, WoO 139 - Ludwig Van Beethoven
Abendlied unterm gestirnten Himmel, WoO 150 - Ludwig Van Beethoven

Tracks:

Es muss ein Wunderbares sein
Benedetto sia 'l giorno
Pace non trovo
I' vidi in terra angelici costumi
Oh, quad je dors S282
die drei zigeuner
Die vatergruft
Der alpen jager
Blume und Duft
Vergiftet sind meine Lieder
Tristesse
Ihr Glocken von Marling
Hohe Liebe
O lieb, so lang du lieben kannst
Im Rhein, im schonen Strome
Ein Fichtenbaum steht einsam
Morgens steh ich auf und frage
der traurige Monch

Tracks:

Denn es gehet dem Menschen wie dem Vieh
Ich wandte mich und sahe an alle
O Tod, wie bitter bist du
Wenn ich mit Menschen - und mit Engelszungen redete
Sommerabend
Mondenschein
Es liebt sich so lieblich im Lenze
Meerfahrt
Es schauen die blumen
Der Tod, das ist die kuhle Nacht
Mit vierzig Jahren
Steig auf , geliebter Schatten
Mein Herz ist schwer
Kein Haus, keine Heimat
Herbstgefuhl
Alte Liebe
Abenddammerung
Heimweh II
Auf dem Kirchhofe
Verzagen
Regenlied
Nachklang
Fruhlingslied
Auf dem See
Feldeinsamkeit

Tracks:

Hugo Wolf: In der FrHugo Wolf
Hugo Wolf: Fussreise - Hugo Wolf
Hugo Wolf: Neue Liebe - Hugo Wolf
Hugo Wolf: Der Feuerreiter - Hugo Wolf
Hugo Wolf: Jrlied - Hugo Wolf
Hugo Wolf: Storchenbotschaft - Hugo Wolf
Hugo Wolf: Verborgenheit - Hugo Wolf
Hugo Wolf: Verborgenheit - Hugo Wolf
Hugo Wolf: Im Fr - Hugo Wolf
Hugo Wolf: Auf einer Wanderung - Hugo Wolf
Hugo Wolf: An die Geliebte - Hugo Wolf
Hugo Wolf: Peregrina I - Hugo Wolf
Hugo Wolf: Peregrina II - Hugo Wolf
Hugo Wolf: Lebewohl - Hugo Wolf
Hugo Wolf: Begegnung - Hugo Wolf
Hugo Wolf: Der Jr - Hugo Wolf
Hugo Wolf: Bei einer Trauung - Hugo Wolf
Hugo Wolf: Abschied - Hugo Wolf

Tracks:

Es war einmal ein Bock
Einst kam der Bock als Bote
Es liebte einst ein Has
Drei Masken sah ich am Himmel stehn
Hast du ein Tongedicht vollbracht
O lieber Kunstler, sei ermanhnt
Unser Feind ist, gober Gott
Von Handlern wird die Kunst bedroht
Es war mal eine Wanze
Die Kunstler sind die Schopfer
Die Handler und die Marcher
O Schropferschwarm, o Handlerkreis
Gefunden
Das Roseband
Einerlei
Winterweihe
Stiller Gang
Der Arbeitsmann
Blindenklage
Heimkehr
Wer wird von der Welt Verlangen
Hab ich euch denn je geraten
Wanderers Gemutsruhe

Tracks:

Aeolsharfe
Winterahnung
Traum durch die Dammerung
Nelken
Flieder
Minnelied
Der Himmel Hat eine Trane Geweint
Waldeinsamkeit
Schlecht Wetter
Gluckes genug
Einsamkeit
Gottes Segen
Das sterbende Kind
Ein Drangen
Trost
Heimat
Ihr, ihr Herrlichen!
Der zerrissne Grabkranz
Das Blatt im Buche
Im April
Brablied
Sie haben heut Abend Gesellschaft
In Danzig
Eingelegte Ruder
Saerspruch
Hussens Kerker
Zorn
An die Mark
Zum Abschied meiner Tochter
Tragische Geschichte
Sonett Nach Petrarca

Tracks:

Ein Tagewerk I
Ein Tagewerk II
Fruhgesicht
Reisefantasie
Das Ende des Festes
Nachruf
Jugendgedenken
Peregrina II
Auf ein Kind
Dammrung senkte sich
Ach, wie schon
Nachklang
Hore den Rat
Venezianisches Epigramm
Jetzt rede du
Auskunft
Aus zwei Talern
Kennst du das auch?
Ravenna I
Das Ziel
Keine Rast
Kindheit
Im Kreuzgang von Santo Stefano
Nachtgefuhl
Magie der Farben
Verwelkende Rosen
Abends
Mittag im September
Blauer Schmetterling
Pfeifen
Sommernacht
Fur Ninon
Verganglichkeit

Tracks:

Ballade de Villon a s'amye
Ballade que Villon feit a la requeste de sa mere pour prier nostre Dame
Ballade des femmes de Paris
Nahandove
Aoua!
II est doux
Chanson de la mariee
La-bas, vers l'eglise
Quel galant m'est comparable
Chanson des cueilleuses de lentisques
Tout gai!
Chanson romanesque
Chanson epique
Chanson a borie
At The River
Elegie
Anne Street
A Chirstmas Caro
From 'The Swimmers'
West London (A Sonnet)
A Farewell To Land
Abide With Me
Where the eagle
Disclosure
The White Gulls
The Children's Hour
Two Little Flowers (And Dedicated To Them)
Autumn
Tom Sails Away
Ich Grolle nicht
Feldeinsamkeit
Weil' auf mir
In Flanders Fields

Tracks:

Phantasie aus Don Juan
Ablosung im Sommer
Selbstgefuhl
Des Antonius von Padua Fischpredigt
Zu Strabburg auf der Schanz
Booh, Wie Ist Die Barmhezigkeit des herrn
Willst du Gottes Diener sein
Alles, was aus der Erde kommt
Tod, wie bitter bist du
Lied des Mephistopheles
Zigeunerlied
Schlechter Trost
Lied des Mephistopheles
Liederseelen
Alle
Der Gesang des Meeres
In einer Sturmanacht (Nikodemus)
Nun die Schatten dunkeln
Wonne der Wehmut
Aus den Himmelsaugen
Musikantegrub
Der juge Ehemann
Der Soldat
Uomo del mio tempo
Con una fronda di mirto

Tracks:

1. Wenn mein Schatz Hochzeit macht
2. Ging heut morgen uebers Feld
3. Ich hab ein gluehend Messer
4. Die zwei blauen Augen
1. Um Mitternacht
2. Ich atmet' einen Linden Duft
3. Blicke mir nicht in die Lieder
4. Ich bin der Welt abhanden gekommen
1. Nun will die Sonn' so hell aufgehn
2. Nun seh ich wohl, warum so dunkle Flammen
3. Wenn dein Mutterlein
4. Oft denk ich, sie sind nur ausgegangen
5. In diesem Wetter, in diesem Braus

Tracks:

Ich will den kreuzstab gerne tragen: Arie
Ich will den kreuzstab gerne tragen: Rezitativ
Ich will den kreuzstab gerne tragen: Choral
Ich will den kreuzstab gerne tragen: Arie
Ich will den kreuzstab gerne tragen: Rezitativ
Ich habe Genug: Arie
Ich habe Genug: Rezitativ
Ich habe Genug: Arie
Ich habe Genug: Rezitativ
Ich habe Genug: Arie
Ich bin eine blum zu saron: Arie
Ich bin eine blum zu saron: Arie
Ich bin eine blum zu saron: Arie
Ich suchte des nachts: Duett
Ich suchte des nachts: Duett
Ich suchte des nachts: Duett
Ich suchte des nachts: Arie
Ich suchte des nachts: Arie
Ich suchte des nachts: Duett
Ich suchte des nachts: Arie
Ich suchte des nachts: Duett

Tracks:

Hir ist sas rechte Osterlamm
Gerne will ich mich bequemen
gebt mir meine jesum wiender
Mache dich, mein herz, rein
Et in Spiritum Sanctum
Achzen und erbarmlich weinen
Duett - Wann kommst du, mein heil
O Memory! Still Bitter To My Soul-Opprest WIth Never - Casting Greif
Aus der Tiefe rufe ich
Aus tiefer Not schrei ich zu dir
Meine Hande ringen sich
Jedennoch bleib ich stets an dir
Aus der Tiefe rufe ich
Duett - Holde Gattin, dir zur Seite
Solo & Chor - Herr, lehre doch mich

Tracks:

Frondi tenere e belle - Ombra mai fu
Cara pianta
Presti omai l'Egizia terra
Non e si vago e bello
Che faro senza Euridice
Udite, tutti udite
Io deggio ad ogni patto
Finch'han dal vino
Deh, vieni alla finestra
Hai gia vinta la causa
Vedro, mentr'io sospiro
Der Vogelfanger bin ich ja
Ein Madchen oder Weibchen
Ha! Welch ein Augenblick!
Wie Todesahnung Damm'rung - O du, mein holder Abenstern
Was duftet doch der Flieder
Wahn! Wahn!
Zur Burg fuhrt die Brucke - Abendlich strahlt der Sonne Auge

Tracks:

Botre toast... je peux vous le renre
avant de quitter ces lieux
L'orage s'est calme
Resta immobile
Morir! ... Tremenda cosa!
Di Provenz il mar
Nemico della patria?!
Si puo? Signore!
Povero Rigoletto!
Cortigiani, vil razza dannata
Brav, alter Hans
Lebt wohl ihr suben studen

Tracks:

Schlafst oder wachst du?
Heimkehr
Maggy Lauder
Dort, wo durchs ried
Fileb leise, mein bachlein
Horch auf, mein liebchen
Da brava, Cantina
O kostliche Zeit
Trinklied
Der treue Johnie
Kommt, schliebt mir einen forhen Kreis
Once more I Hail Thee
Sunset
Put Round The Bright Wine
Could Ill World
Could Ill Be fate
Oh, Had My Fate
The Return Of Ulster
Ein entmutigter liebender
Ein begluckter Liebender
Bewuderug
Gluhende Liebe
Trinklied
Weine, weine, weine nur nicht

Customer Reviews:

The Mastersinger.......2000-06-24

If the second half of the 20th Century has musical signs, they must include that phenomenal German singer Dietrich Fischer-Dieskau who dominated the recital and concert halls, the opera stages and the recording studios in a way no other artist has done it, except maybe Leonard Bernstein. In celebration of this great artist's 75th birthday we have here a set which includes the gems of his lieder repertoire, starting with those great Schubert cycles in their most vivid performances. Just listen to those early renditions of the Schone Mullerin or with Jorg Demus, or to Schuman's Dichterliebe cycle (with the same pianist). And you shall not miss the artistry of this most sensitive voice in full volume of Mahler lieder with piano and orchestral songs. And what about the Morike lieder by Hugo Wolf? Well, you shall probably wonder at that special cooperation between the singer and the Russian pianist Svitoslav Richter. It is a performance of lifetime, and so it is with the Wintereise of Schubert with Barnboim at the piano. Those who know the artistry of Fischer-Dieskau and even those who have already other recordings of those great works will not regret having this special set. For the newcomers to this great artist there will be a lot to discover, The music itself, sure, but mainly the art of interpratation. In this alone Dietrich Fischer-Dieskau shine high and above all other singers.

Wagner: Die Walküre, Act 1 / Domingo, Polaski, Tomlinson; Barenboim

Average customer rating:

Promises kept
Probably as good as we'll get - get it for Barenboim
Fascinating
A first-rate performance
Barenboim's "Walkure"-Almost Perfect

Wagner: Die Walküre, Act 1 / Domingo, Polaski, Tomlinson; Barenboim
Richard Wagner , Daniel Barenboim , Plácido Domingo , Deborah Polaski , Staatskapelle Berlin , and John Tomlinson
Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000F1RL
Release Date: 1998-12-08

Tracks:

Die Walkure - Akt I: Vorspiel
Die Walkure - Akt I: Szene 1 - Wes Herd dies auch sei (Siegmund, Sieglinde)
Die Walkure - Akt I: Szene 1 - Kuhlende Labung gab mir der Quell (Siegmund, Sieglinde)
Die Walkure - Akt I: Szene 1 - Einen Unseligen labtest du (Siegmund, Sieglinde)
Die Walkure - Akt I: Szene 2 - Mud am Herd fand ich den Mann (Siglinde, Hunding, Siegmund)
Die Walkure - Akt I: Szene 2 - Friedmund darf ich nicht heissen (Siegmund, Hunging, Sieglinde)
Die Walkure - Akt I: Szene 2 - Aus dem Wald trieb es mich fort (Siegmund)
Die Walkure - Akt I: Szene 2 - Die so leidig Los dir beschied (Hunding, Sieglinde, Siegmund)
Die Walkure - Akt I: Szene 2 - Ich meiss ein wildes Geschlecht (Hunding)
Die Walkure - Akt I: Szene 3 - Ein Schwert verhiess mir der Vater (Siegmund)
Die Walkure - Akt I: Szene 3 - Schlafst du, Gast? (Sieglinde, Siegmund)
Die Walkure - Akt I: Szene 3 - Der Manner Sippe (Sieglinde, Siegmund)
Die Walkure - Akt I: Szene 3 - Wintersturme wichen dem Wonnemond (Siegmund)
Die Walkure - Akt I: Szene 3 - Du bist der Lenz (Sieglinde)
Die Walkure - Akt I: Szene 3 - O susseste Wonne! (Siegmund, Sieglinde)
Die Walkure - Akt I: Szene 3 - War Walse dein Vater (Sieglinde, Siegmund)
Die Walkure - Akt I: Szene 3 - Siegmund heiss' ich (Siegmund, Sieglinde)
Die Walkure - Akt I: Applaus

Amazon.com essential recording

The action of Wagner's Ring cycle begins, as singer-comedienne Anna Russell so wryly put it, in the Rhine River--"that's right, in it." But newcomers who'd like to venture beyond the standard dose of orchestral excerpts may well find that the opening act of Die Walküre (the second of the cycle's four operas) offers the most immediately appealing point of access into the world of the Ring. This is, after all, the point where the cycle's first merely human characters take the stage. The process whereby protagonists Siegmund and Sieglinde fall in love and temporarily escape their doom inspired some of the most rapturous, incandescent outpouring of music to be found in all Wagner. This live concert performance from 1993 conveys both the urgency and compassion of the score with unremitting immediacy. As with his Tristan and Lohengrin, Daniel Barenboim once again gives proof that he has matured into a formidable Wagnerian, from the taut tension of the stormy prelude and the quasi-chamber-music dimensions of the first scene to the brilliantly colored apexes of the love music. Placido Domingo is captured here in top form, portraying a convincingly youthful and passionate Siegmund. Although he throws away an occasional phrase, the stamina of his voice is downright thrilling, particularly in his desperate, sustained call to "Wälse." Domingo's multifaceted approach moreover conveys the hero's fear and vulnerability as well as the tenderly phrased lyrical warmth of "Winterstürme." Deborah Polaski matches her lover's large sound with heart-racing charisma; hers is less a beaten-down, introspective Sieglinde than a woman determined to escape an awful fate through the power of love. John Tomlinson's resounding bass etches an imposing and viscerally frightening Hunding. The engineering is excellent, with brooding, dark colors from the Staatskapelle's lower strings and woodwinds as well as brightly ringing brass. This may be all the inducement you need to discover the entire Ring; for that, you might like to turn to Georg Solti's classic recording. --Thomas May

Customer Reviews:

Promises kept.......2005-07-17

The only negative comment on this ravishingly beautiful recording is that it is not the complete 'Die Walküre': with an Act 1 of this caliber one longs for the entire opera as realized by conductor Daniel Barenboim at the helm in the Staatsoper in Berlin. The Staatkapelle plays well for him and the cast sings with gorgeous vibrancy and freshness and credible acting.

Recorded live in 1993 this served as an early sample of how Placido Domingo could and would make a fine Heldentenor. His Siegmund is young sounding, resonant, ringing, and melting in his intelligent use of his wondrous tenor voice. His Sieglinde is the superb American Wagnerian soprano Deborah Polaski at the peak of her powers and her voice is rich and comfortable throughout the range of this role. John Tomlinson sings Hunding well but one longs for a more malevolent sound.

This is the kind of recording to give to friends who need an introduction to the magical mysteries of Wagner's 'Ring': this act has more familiar and glorious melodies than practically any other of the Ring, and to the novice this is a short but exquisitely recorded aperitif. The news that Domingo's full recording of 'Tristan und Isolde' (with Nina Stimme as Isolde) is due out this fall is even more of a reason to buy this recording while you can. He has kept his promise that he would sing the big Wagnerian roles before retiring (he also sings 'Parsifal' in the next LA Opera Season!) Highly Recommended. Grady Harp, July 05

Probably as good as we'll get - get it for Barenboim.......2003-03-11

This recording is a good presentation of what Wagnerians can expect as the best these days: it contains some truly extraordinary jewels, but cannot compare to the "classics", as far as the singers are concerned.

Of course, Domingo himself is the big debate of the recording. He sings very well throughout (he never yells nor barks), and brings a lot of emotion and nobility to the part. In the first scene he is not beaten down nor suffering, but dignified in his resignation, and later becomes a warm Siegmund with a lot of heart, always at his best in the more lyrical moments (the Winterstürme in particular). However, he is not an example of earth-shattering heroism. Further, I have a hard time with his German diction. I can stand a singer with an accent, but the problem here is one of articulation: sometimes a whole sentence will literally *drop* out of his mouth as an undifferentiated string of sounds. Those of us who know the text (and care for it!) will be annoyed.

Polaski is not bad, but far from great. The problem is that, while she packs a good punch in the parts that require a projection of quasi-insanity, she just has no clue of how to sound romantic: you wouldn't know that she loved Siegmund unless you were told. Plus she can be quite shrill, and her voice is not very pleasing to my ears, in addition to having an annoyingly tight vibrato.

Tomlinson's voice is a bit light for the role, but it is also very beautiful. He expresses more anger and outrage than evil, and he is a bit lacking on the sinister side. Whether that is a good or a bad thing will depend on the listener's expectations.

The balance is more in favour of the orchestra, and here this is an excellent thing, since Barenboim and the musicians of the Staatskapelle are the true stars. They produce a truly wonderful sound, all sections being in perfect balance. The brass in particular enjoys an exceptional clarity, and does not overpower the rest of the orchestra as is too common.

Barenboim brings a lot of interesting details forward, making clear and distinct certain musical lines that are buried beyond recognition in other renditions.
The pacing is also close to perfection, bringing back memories of Walter and Furtwängler. The drama is not pushed forward, but left free to realise itself, effortlessly evolving out of its initial dramatic tension to its romantic and heroic resolution.

With better singers, this could definately have been a candidate for top recording of the Act.

Fascinating.......2002-02-17

This is really a fascinating recording: it's from 1993 and gives a hint of what in the meantime has become the "winter Bayreuth," ie Barenboim's Staatsoper in Berlin--by now (if not at the time of the recording) the best Wagner house in the world and one of the top five opera houses overall. This disc shows the Staatskapelle in its state as Barenboim found it after the wall fell--with an incredibly "Germanic" sound which has since been mellowed a bit. Domingo had just started singing Wagner, which leads to some amazing moments as well as some slightly awkward ones. Polaski, who has since matured into the leading Elektra and Bruennhilde of our time (those who prefer Eaglen or--God forbid--Schnaut for the latter really need to go to a performance with Polaski), is not quite as "girly" as most would expect in Sieglinde, but excellent all the same. I don't agree with the other reviewer about Tomlinson, although I do prefer his Gurnemanz (but who wouldn't?!). All in all this is a fascinating disc not only because of the electricity running throughout but because it shows those of us who only know the Berliner Staatsoper from its recent performances how it got to its place today.

A first-rate performance.......2000-05-30

Recently I heard the Metropolitan Opera radio broadcast of "Die Walkure," with the versatile Placido Domingo as Siegmund. If only I had a recording of this, I thought afterward. Well, I was able to find this CD, a live performance of Act 1 featuring Domingo -- which makes me happy enough, since Siegmund does most of his singing in the first act anyway. Everyone involved does an excellent job: The orchestra, conducted by Daniel Barenboim, Deborah Polaski as Sieglinde, and John Tomlinson as Hunding are all first-rate, and Domingo sounds like the best heldentenor around these days. The last part, from "Wintersturme" and "Du bist der Lenz" on, is especially thrilling.

Barenboim's "Walkure"-Almost Perfect.......2000-01-17

This CD, which features the orchestra of the Staatskapelle Berlin, would normally rate 5 stars but for a slight flaw. On the plus side we have the excellent conducting of Daniel Barenboim, the youthful Sieglinde of Deborah Polaski and the heroic,yet lyrical, Siegmund of Placido Domingo (whose "Wintersturme" is simply gorgeous). On the negative side we have John Tomlinson, which is too bad in as much as he would have made a superb Wotan. A pity that Wotan appears in the second and third acts whereas this CD is limited to Act One. Thus, Tomlinson's bass-baritone is miscast as Hunding--a role which demands a true bass voice, preferably of the so-called "black" variety.

All in all,though, this is a CD that all dedicated Wagnerians should include in their collection

Berg: Lulu / Stratas, Minton, Schwarz, Mazura, Riegel, Blankenheim, Tear, Pampuch, Boulez
Average customer rating:

UNREAL

Excellent achievement

A Travesty from start to finish

Marvelous

Berg: Lulu / Stratas, Minton, Schwarz, Mazura, Riegel, Blankenheim, Tear, Pampuch, Boulez
Alban Berg , Pierre Boulez , Teresa Stratas , Orchestre de l'Opéra de Paris , Yvonne Minton , Hanna Schwarz , Franz Mazura , Kenneth Riegel , Toni Blankenheim , Robert Tear , and Helmut Pampuch
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Alban Berg: Wozzeck (Opera in 3 Acts) - Franz Grundheber / Hildegard Behrens / Wiener Philharmoniker / Claudio Abbado

Massenet: Chérubin / von Stade, J. Anderson, Ramey, Upshaw, P. Steinberg

Strauss: Die Frau ohne Schatten / Varady, Domingo, Behrens, van Dam, Sir Georg Solti

ASIN: B000001G6N
Release Date: 1990-10-25

Tracks:

Prolog: Hereinspaziert in die Menagerie - Gerd Nienstedt
Act I: Scene 1: Darf ich eintreten?-Mein Sohn!/Intro/Canon/Coda - Kenneth Riegel/Franz Mazura/Teresa Stratas/Robert Tear
Act I: Scene 1: Melodram: Machen Sie auf!/Canzonetta: Auf einmal springt er auf/Recitativo... - Toni Blankenheim/Teresa Stratas/Robert Tear
Act I: Scene 2: Eva!-Befehlen?/Duettino: Ich finde, du siehst heute reizend aus - Teresa Stratas/Robert Tear
Act I: Scene 2: 1. Chm Music 1: Den hab' ich mir auch ganz anders vorgestellt - Teresa Stratas/Toni Blankenheim
Act I: Scene 2: 1. Chm Music 1: Was tut denn Ihr Vater da?/Sonate: Wenn ich Mann ware - Franz Mazura/Teresa Stratas
Act I: Scene 2: Monoritmica: Nun?-Du hast eine halbe Million geheiratet - Franz Mazura/Teresa Stratas/Franz Mazura
Act I: Scene 2: Monoritmica: Ich darf mich jetzi hier nicht sehen lassen - Franz Mazura/Teresa Stratas/Robert Tear
Act I: Scene 3: Interlude - Pierre Boulez/Orch de l'Opera de Paris
Act I: Scene 3: Ragtime: Seit ich fur die Buhne arbeite/(English Waltz): Noch etwas, bitte - Kenneth Riegel/Teresa Stratas
Act I: Scene 3: Uber die Lie sich Freilich eine interessante Oper schreiben/Choral... - Kenneth Riegel/Helmut Pampuch/Teresa Stratas/Frnaz Mazura/Hanna Schwarz...
Act I: Scene 3: Son Dev: Wie kannst du die Szene gegen mich ausspielen?/(Fin Son Recap)... - Franz Mazura/Teresa Stratas

Tracks:

Act I: Scene 1: Sie glauben nicht, wie ich mich darauf freue/Kavatine: Konntest du dich fur... - Franz Mazura/Teresa Stratas/Yvonne Minton
Act I: Scene 1: Gott sei Dank dawir endlich zuhause sind/(Canon): Er hat sie namlich... - Teresa Stratas/Toni Blankenhein/Hanna Schwarz/Helmut Pampuch
Act II: Scene 1: Die Matinee wird, wie ich mir dneke, bei elktrischem Licht stattfinden - Kenneth Riegel/Teresa Stratas/Robert Tear/Helmut Pampuch
Act II: Scene 1: Sein Vater!-In Paris ist Revolution ausgebrochen/Intro: Wo ist denn der hin?... - Teresa Stratas/Robert Tear/Kenneth Riegel/Gerg Nienstedt...
Act II: Scene 1: Lied der Lulu: Wenn sich die Menshen um meinetwillen umgebracht haben... - Robert Tear/Teresa Stratas/Kenneth Riegel/Hanna Schwarz...
Act II: Scene 1: Ostinato: Interlude (film music) - Pierre Boulez/Orch de l'Opera de Paris
Act II: Scene 2: Er la auf sich warten wie ein Kapellmeister - Gerd Nienstedt/Yvonne Minton/Toni Brankenheim/Kenneth Riegel
Act II: Scene 2: Largo: Sie wolten der verruckten Rakete noch Geld geben!/Chm Music... - Kenneth Riegel/Hanna Schwarz/yvonne Minton
Act II: Scene 2: (Melodram): Hu, kleine Lulu/O Freiheit! Herr Gott im Himmel! - Teresa Stratas/Gerd Nienstedt/Kenneth Riegel/Toni Blankenhiem...
Act II: Scene 2: Wenn deine beiden gron Kinderaugen nicht waren/Hymne... - Kenneth Riegel/Teresa Stratas

Tracks:

Act III: Moderato (Piano)/Scene 1: Meine Herrn und Damen! Gestatten Sie, daich trinke... - Gerd Nienstedt/Jules Bastin/Teresa Stratas/Kenneth Reigel/Helmut Pampuch...
Act III: Scene 1: II. Ensemble: Brilliant! Es geht brilliant - Teresa Stratas/Yvonne Minton
Act III: Scene 1: II. Ensemble: Einen Moment! Hast du meinen Brief gelesen? - Teresa Stratas/Jules Bastin/Gerd Nienstedt/Hanna Schwarz
Act III: Scene 1: II. Ensemble: Ich brauche namlich notwendig Geld - Toni Blankenhiem/Teresa Stratas
Act III: Scene 1: Cadenz: Behandeln Sie mich doch wenigstens anstandig - Helmut Pampuch/Teresa Stratas/Gerd Nienstedt
Act III: Scene 1: Cadenz: Marth! Mein liebes Herz, du kannst mich heute vor dem Tode retten - Helmut Pampuch/Teresa Stratas/Yvonne Minton
Act III: Scene 1: (III. Ensemble): Wollen Sie wohl diese Aktie akzeptieren - Jules Bastin/Kenneth Riegel/Claude Meloni/Jane Manning/Anna Ringart...
Act III: Scene 1: Vars I-IV: Interlude - Pierre Boulez/Orch de l'Opera de Paris
Act III: Scene 2: Der Regen trommelt zur Parade - Teresa Stratas/Kenneth Riegel/Toni Blankenheim
Act III: Scene 2: Wenn ich dir ungelegen komme/(Quartett): Ihr Korper stand out auf dem Hohepunkt - Yvonne Minton/Kenneth Riegel/Toni Blankneheim/Teresa Stratas
Act III: Scene 2: Komm nur herein, mein Schatz - Teresa Stratas/Toni Blankenheim/Robert Tear
Act III: Scene 2: Der Herr Doktor haben sich schon zur Ruhe begeben - Yvonne Minton/Toni Blankenheim
Act III: Scene 2: Wer ist das? - Franz Mazura/Teresa Stratas
Act III: Scene 2: (Nocturno): Das ist der letze Abend/Lulu! Mein Engel! - Franz Mazura/Teresa Stratas/Yvonne Minton

Amazon.com essential recording

One of the bewitchments of this performance is that Pierre Boulez leaves unreconciled the two conflicting tendencies of Berg's music--on the one hand, grand Romantic opera; on the other, dodecaphony. Their clash is the hinge of Berg's exhilarating composition, and, once perceived correctly, it's a drama of almost unbearable intensity. The dense instrumental texture is brought out in stunning detail. Yes, Teresa Stratas is occasionally unsteady in the title role; but this is the King Lear of opera roles: probably unperformable and altogether unforgettable. --Joshua Cody

Customer Reviews:

UNREAL.......2006-07-15

If you look at all my reviews , many are quite long-winded. I always have alot to say on things most important in my life.
But here I have only one word to comment on the music and the performance.
UNREAL
there thats my review. Sure I know that is not helpful in any way, and please give me a vote of "NO".
I should mention that Berg did not complete the opera but left extensive notes so that Friedrich Cercha completed it. Boulez mentions that a scholar named adorono felt satified with Cercha's work, and Boulez agrees.
but I'm not so sure. The first 2 cds are clearly from the hand of berg, from the opening of the 3rd cd, immediately I/you notice that there is a drastic change in compositional quality. Its the best Cercha could do, and its good work. Just not near on the level as Berg's completed first 2 cds of music.
Paul

Excellent achievement.......2001-08-31

When I discovered Alban Berg's opera "Lulu" it changed my life. It was a recording from the year 1965. The orchestra was conducted by Karl Böhm being Lulu the great Evelyn Lear. (That was a DG recording like this) Though Böhm's orchestra was not, precisely, inspired, Lulu's character depicted by Evelyn Lear became a myth for me. I had read before the plays "Erdgeist" and "Die Büchse der Pandora" by Wedekind on which Berg's opera is based, and always loved the complex character of Lulu beautifully depicted by Evelyn.
Teresa Stratas is very irregular in the role. Her screams are maybe better than that of Evelyn, but she seems uncomfortable with the role, apart from the lack of entonation and strength. Boulez' orchestra is wonderful but sometimes one miss the fact of bringing the main voices to the first plane.
From my humble point of view I think that this recording is an excellent one but I prefer Böhm/Lear/Fischer-Dieskau//Deutschen Oper Berlin (in DG). The listener has to take into account that the third act completed by Friedrich Cerha is not present in that recording. If the listener wishes the complete opera, Boulez/Stratas/... is then the reference.

A Travesty from start to finish.......2001-08-30

Famously, Pierre Boulez suggested that all opera houses should be blown up. There is not one bar on this recording to indicate any change of perspective ("change of heart" is evidently not an appropriate expression here). Bluntly and simply,