Don't Lie [CD-single] [Import]

Don't Lie [CD-single] [Import]

Track Listings

1. Don't Lie

2. Cool Touch

3. Summer's Groove

Editorial Reviews
Product Description
The lead track 'Don't Lie' is the work of Sharam (Three 'N One/16C+) Jey and young Dutch producer Nick K. A prime piece of techy/trancey/disco-tinged house that's deep and funky. Also included, 'Cool Touch' is a chunky progressive number that builds strongly with some spacey FX and squelchy top stabs. The B2 track 'Summer Groove' is a downbeat affair and a quality track from the man who made 'Cafe Del Mar' a monster.2000 release. Slimline jewel case.

Tracks:

Hips Don't Lie - Wyclef Jean, Shakira
Dreams for Plans - Shakira

Album Description

EU 2-track pressing includes 'Hips Don't Lie' (featuring Wyclef Jean) (Clean Version) and 'Dreams for Plans (Album Version, Clean Version). Packaged in a cardboad wallet. Sony. 2006.

Customer Reviews:

The best SHAKI single YET.......2007-05-11

not only is this a great song, but it is not included in the spanish version of this double album....and the spanish version of the song is on this single as well as my favorite version of it (boom-ba) which is afro-centric! it's a must have if you like this song and shakira!

rip off!.......2007-01-09

I ordered this and figured for $14 it would be a good deal (as you would normally get on amazon). Well there are only 2 songs! It is basically a cd single with a flip side for $14! don't get it! go to best buy for the whole cd for maybe $18. This is not worth it. But with the free shipping I had, if I send it back, I pay for shipping. they basically have you there. highly recommend you get something else.

Shakira - her hips truly do not lie.......2007-01-05

This CD only contains two songs, but it is definitely worth it. Turn up the volume, and shake your car's windows out of their rails.
JEC

Just One Word: WOW!!!!!.......2006-07-24

I've always adored Shakira for the boisterousness and vociferousness that she imports into her music. Be it "Whenever Wherever" or "La Tortura",her music combined with appealing lyrics have always sent a thrill of pleasure and liveliness down my feet and her latest sensational single,"Hips Don't Lie",released from the new album "Oral Fixation Vol.2" and featuring Wyclef Jean is no exception. Shakira lets loose her vibrant music and is so charming in her tone and rhythm. Shakira has really come a long way in becoming a real Latin pop diva and the Colombian singer is surely a big thing in the pop music industry. She looks so killing and sensuous in the video of the song too. "Hips Don't Lie" is another jewel for any pop music lover's treasure closet.

Fantastic song; just learned it was remake though.......2006-07-19

I do not like pop music for the most part (rock and metal are my forte). Yet I find this song to be one of the catchiest (in a good way) I've heard since the stuff on "Thriller".
Now I just found it it's a damn remake. I really wanted to give it up to Shakira, normally reserved to a type of music I find relatively weak and emotionless, but that remake knowledge took away some of the magic of this otherwise outstanding song.

Average customer rating:

Best Hips don't lie single

Hips Don't Lie

ProductGroup: Music
Binding: Audio CD
Similar Items:

Illegal, Pt. 1
Beautiful Liar, Pt. 2
Hips Don't Lie
La Tortura
With Love

ASIN: B000FP2MYW
Release Date: 2006-10-10

Album Description

Japanese pressing single includes 4 versions of the title track. Sony. 2006.

Customer Reviews:

Best Hips don't lie single.......2007-02-22

If you are a Shakira CD single collector, then you must own all the hips don't lie singles including this one, but if you just want to get the best single version of every song, this is it for Hips Don't lie, great single, it has all the great versions made for this song, including the Spanish and Bamboo mix, plus a great remix. It is a great CD single to have even if you don't collect them.

Average customer rating:

I'm not one known for JAZZ
Superb bass-driven album.
Too smooth, but otherwise fantastic
MR. MARCUS
Thanks, Victor, for reminding me how good this CD is. . . .

The Sun Don't Lie
Marcus Miller
Manufacturer: Pra Records
ProductGroup: Music
Binding: Audio CD

General | Jazz | Styles | Music

Jazz Fusion | Jazz | Styles | Music

Smooth Jazz | Jazz | Styles | Music

Jazz Funk | Funk | R&B | Styles | Music

General | Jazz | Indie Music | Stores | Music
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M²
Silver Rain
Tales
The Ozell Tapes: The Official Bootleg
Live & More

ASIN: B00000363S
Release Date: 1993-11-18

Tracks:

Panther
Steveland
Rampage
The Sun Don't Lie
Scoop
Mr. Pastorius
Funny (All She Needs Is Love)
Moons
Teen Town
Juju
The King Is Gone (for Miles)

Customer Reviews:

I'm not one known for JAZZ.......2006-12-27

I'll be the first to admit, I have some "off the wall taste" in music and other facets in life. I listen to all genre of music and say.... I like the best of all types of music (rock, pop, r&b, alternative, UK, rap, gansta rap, bluegrass, Indian and minimal country ----- absolute fav is U2). It drives my husband absolutely crazy how I can flip from one song to another. I was recommended to Marcus Miller by a guy at a CD store..... way back when CDs first started out. "Panther" is my absolute favorite of Marcus Miller. THIS CD is a "must have". I tell everyone this is my favorite MM CD (as I have gone off the deep end in search of the "high" I received upon my first purchase of MM). I have to say, I have purchased this disc on NUMEROUS occasions. Thank goodness for internet..... as I was told a long time ago, this was out of production..... First after listening so much, to make sure I had one at home AND in my car. And, I think I lost another one or someone grabbed it up (a thief with great taste). That makes three.... and I have bought for at least one friend..... this is some serious "driving" music. I also used it for the background music of a home video a while back. It is amazing how many other songs and artist have MM in their music. Once you hear it.... it's like.... OMG, that's MM!!!! I have played MM before for friends..... I must say, not everyone "gets" MM.... but they just don't know any better!!!! What a shame! This is definitely a MUST HAVE CD.... probably not my last purchase.... yes, of the SAME CD..... If I was on a desert island and could only have three CDs for the rest of my life.... this would be one of the choices I'd take. Yes, I can say that FO SURE! There's another one for MM..... "Burning down the house!" I'm listening to The Ozell Tapes: Official Bootleg [Live]. It's an OK CD... but get this one instead!!!!!!

Superb bass-driven album........2005-04-25

"The Sun Don't Lie" is one of those albums for me-- maybe I heard it at the right time in my life, maybe it really is that good, but even in the face of what many consider better records, this is my favorite of Marcus Miller's catalog-- certainly, his playing (as superb as it is) would be better on later albums, but I think this is some of his best work.

Marcus Miller is, of course, regarded as one of the great bassists, and with good reason, this album shows that nicely-- from breathtaking plucked runs (the intro to "Panther") to just stunning slap playing ("Rampage"), delicate fretless work ("Moons") and a great solo bass piece ("Mr. Pastorius", originally recorded with Miles Davis). But its the songwriting on this one that really shines, from the delicate "The Sun Don't Lie" to the great funky jazz-rock of "Funny (All She Needs is Love)", the hard swining "Rampage", and the totally brilliant "Panther"-- but what makes Marcus so great is that when his songs are bass driven, he somehow gets away without having a concrete bassline until another solo voice joins, when he steps back into a supportive role on the instrument. And with a generous supporting cast including guest performances by Miles Davis, Kenny Garrett, Wayne Shorter, and Vernon Reid, this album is nothing short of spectacular.

Certainly, if you're a Miles fan looking to explore Marcus' music, this is a great place to start, its how I did. This album is excellent.

Too smooth, but otherwise fantastic.......2003-04-19

Marcus Miller is a fantastic bassist, though "The Sun Don't Lie" doesn't seem to showcase them as well as "M2". The drum machine rhythm tracks make the album too smooth. On the positive side, the songs are good, the solos are excellent, and Miles Davis plays on a track with Living Colour. "Juju" is a brassy version of the Shorter classic, though Marcus smooths out the edges of the original. This is a very good modern jazz disc.

MR. MARCUS.......2002-12-18

...THIS IS MARCUS MILLER. I DARE SAY THAT THE BROTHER CAN DO NO WRONG - MUSICALLY! IF YOU LIKE MARCUS COP EVERY ONE OF HIS ALBUMS FOR MAXIMUM ENJOYMENT.

Thanks, Victor, for reminding me how good this CD is. . . ........2001-10-24

After hearing MM's duet with Victor Wooten on VW's new live CD (LIVE IN AMERICA), I was reminded just how much I love this CD. Even though it is "old" in term of years (released in 1993), I never get tired of these songs. This was one of the first "solo" bass CDs I ever bought, and I was incredibly impressed with Miller's skills, not only on the electric bass, but on the many other instruments he plays, his arranging, and his use of other talents around him. If you look at the liner notes, you don't find many names missing from his list of collaborators on this disc. Even using his kids on "Juju" doesn't come off as being corny or exploitive. "Panther," "Rampage" (with help from Miles Davis), "Mr. Pastorius," "Funny," & "The King Is Gone" stand out, but it's hard to pick just three or four--they are all great songs! This is a great car CD, cranked to make the tires shake as you're doing a cool 75 mph on the highway. . . .

I don't have some vast history of bass listening experience to compare him to, but Marcus Miller is as good as I've heard, and the only electic bass player who has come along since who is even close would be Victor Wooten (whose first solo CD is more of a solo and is about as good). Since this, MM has produced a couple of great discs: TALES & LIVE AND MORE, with his new CD, M2, getting rave reviews. I have ordered it and can't wait to hear it!

Now I'm just waiting for his bass clarinet "solo" CD. . . .

Eyes Don't Lie
Average customer rating:

A little bit rock and pop

Eyes Don't Lie
Donny Osmond
Manufacturer: Capitol
ProductGroup: Music
Binding: Audio CD

General | Pop | Styles | Music
Bubblegum | Oldies | Pop | Styles | Music
General | Rock | Styles | Music
Similar Items:

Donny Osmond

Four

Love Songs of the '70s

Together

Somewhere in Time

ASIN: B000008J6L
Release Date: 1990-09-25

Tracks:

My Love Is a Fire
Eyes Don't Lie
Love Will Survive
Sure Lookin'
Private Affair
Take Another Try (At Love)
Make It Last Forever
Never Too Late for Love
Just Between You and Me
Before It's Too Late

Customer Reviews:

A little bit rock and pop.......2003-11-27

This album is a must have for any Donny Osomond fan. My Love is A Fire does sound a bit like Escapade by Janet Jackson, but who cares, both are excellent songs. I love the One Bad Apple sample in Take Another Try at Love. Love Will Survive is a great ballad in the same vein as Sacred Emotion, on Donny's comeback album. Please check out this album. Every song is a winner!

Carmen Jones (1943 Original Broadway Cast)

Average customer rating:

A Contemporary Adaptation of Carmen
Now THIS is how CARMEN JONES should sound like!

Carmen Jones (1943 Original Broadway Cast)

Manufacturer: Decca U.S.
ProductGroup: Music
Binding: Audio CD

General | Musicals | Broadway & Vocalists | Styles | Music

General | Broadway & Vocalists | Styles | Music

General | Soundtracks | Styles | Music

The Decca Records Store | Specialty Stores | Music
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Carmen Jones
Carmen Jones (1962 Studio Recording)
Allegro (1947 Original Broadway Cast)
Curtains (2007 Original Broadway Cast)
Pipe Dream (1955 Original Broadway Cast)

ASIN: B00008BNUK
Release Date: 2003-02-25

Tracks:

Prelude
Opening Scene: Lift 'Em Up And Put 'Em Down
Dat's Love
You Talk Just Like My Maw
Dere's A Cafe On De Corner
Beat Out Dat Rhythm On A Drum
Stan' Up And Fight
Whizzin' Away Along De Track
Dis Flower
De Cards Don't Lie
My Joe
Dat's Our Man
Finale
Beat Out Dat Rhythm On A Drum

Amazon.com

Carmen Jones is one of the weirdest projects to ever hit the American musical theater. In 1943, lyricist Oscar Hammerstein II adapted Georges Bizet's Carmen for Broadway. The music was pretty much left intact, but Hammerstein transferred the action to WWII America. Carmen's tobacco factory became Carmen Jones' parachute factory, bullfighter Escamillo became boxer Husky Miller, and so on. As if this weren't enough, there also was the "small" detail of casting the show only with African-Americans. All in all, this ambitious endeavor makes Baz Luhrmann's La Boheme seem timid. Hammerstein's attempt at writing "black" hasn't aged all that well, but many of the show's songs retain a surprising impact. The feverish intensity of "Beat Out dat Rhythm on a Drum," for instance, hasn't dimmed over the years, and the song's been covered by a wide variety of performers, from Pearl Bailey and Marc Almond to Mandy Patinkin. The track is reprised as a bonus track at the end of the CD in a version sung by Kitty Carlisle (who's rather stiff compared to the show's June Hawkins). --Elisabeth Vincentelli

Customer Reviews:

A Contemporary Adaptation of Carmen.......2003-12-02

You may know that the smash grunge musical RENT is based on Puccini's opera LA BOHEME. And MISS SAIGON is MADAME BUTTERFLY, and trickiest of all AIDA is AIDA, but before all of those there was CARMEN JONES.

What makes CARMEN JONES different, however, is that it uses Bizet's original music, though it changes the setting and the lyrics (they're in English, too, rather than the original French). And who would have done such a thing? Oscar Hammerstein II (as in Rodgers & Hammerstein, I know you've heard of them. If not, shame on you, go straight to OKLAHOMA, do not pass go, do not collect CD of CARMEN JONES). This is one of Hammerstein's earlier works, and it's a great show. (There's a very successful movie version available on video, if you want to see it.)

CARMEN JONES updates the story of CARMEN. The original plot took place in Spain in 1820, Carmen was a gypsy. The first performance of CARMEN was in Paris in 1875. (Wow! Over 125 years, and it still plays regularly all over the world, talk about a great run!) What Hammerstein did was akin to what our current composers are doing with shows like RENT. He updated the show for his audience. Instead of Spaniards and gypsies, he used African-American factory workers, and set the story in 1943 during the war in a Southern town.

The story makes this a darker musical than Hammerstein's later shows like OKLAHOMA, CAROUSEL, THE KING AND I and SOUTH PACIFIC, some of which had their heavier elements, but were focused more on the romance. The tone of CARMEN JONES is more akin to his first show (the first musical) SHOWBOAT. It is also unusual not just for it's time but in general that it had an entirely African-American cast. While recent shows like Disney's THE LION KING and ONCE ON THIS ISLAND have also had predominantly African/African-American casts, these shows are few and far between. Another comparable show in terms of music and style would perhaps be Gershwin's PORGY AND BESS, though it's considered an opera rather than a musical.

Now THIS is how CARMEN JONES should sound like!.......2003-02-26

Words cannot begin to sum up my joy that Decca Broadway finally deemed CARMEN JONES fit for a proper remaster. Oscar Hammerstein's lyrics set to Georges Bizet's classic score can now be heard clearly without distortion and this CD includes a complete plot synopsis and pictures. Now we no longer have to settle for that monstroscity from Pearl CD, which was an unauthorized recording, and I hope didn't take away too many sales from Decca Broadway. For musical buffs this CD is a must-have!

Average customer rating:

So so!!!
dissappointment

Hips Don't Lie
Shakira
Manufacturer: Sony/Epic
ProductGroup: Music
Binding: Audio CD

Colombia | South & Central America | International | Styles | Music

General | Latin Music | Styles | Music

Latin Pop | Latin Music | Styles | Music

General | Pop | Styles | Music

General | Adult Contemporary | Pop | Styles | Music
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Hips Don't Lie, Pt. 1
Promiscuous
Laundry Service
Oral Fixation Vol. 2
Oral Fixation vol. 2

ASIN: B000F7MKPQ
Release Date: 2006-06-13

Tracks:

Hips Don't Lie [Album Version]
Dreams for Plans [Album Version] - Shakira
Hips Don't Lie [Wyclef Mix Show Mix]
Hips Don't Lie [Multimedia Track]

Album Description

Enhanced 2006 single by this sexy Latin superstar. Features three versions of 'Hips Don't Lie' (Enhanced Video, Wyclef Mix Show Mix and Album Version) plus 'Dreams For Plans'. Epic.

Album Details

The Hit Single from the Columbian Temptress and the Once and Future Fugee from her Album "Oral Fixations Volume 2" Includes a Special Remix by Wyclef Along with the Enhanced Promotional Video and the LP Track "Dreams for Plans".

Customer Reviews:

So so!!!.......2006-07-05

I bought this CD, it took more days than the days that Amazon offers, the picture on the cover is awesome, original and cool...

Track 1 - danceable, sticky, album version
Track 2 - nice, to listen during traffic
Track 3 - bad mix, not danceable, boring, repetative, so so...!

In general, if you r a Shakira fan buy it, and if not, just buy the normal album, the single is not worth it...

dissappointment.......2006-07-02

I got the cds. the bonus video doesnt play as a video. It dont exist at all. are all videos and cds bootleg? is that why I couldnt play my video. all i could hear was the audio which is gr8 but I was looking foward to seeing the video as well. I was happy to see I got a video till I couldnt see it.

John Gay: The Beggar's Opera; Edward German: Tom Jones (Highlights)

Average customer rating:

Enjoyably 'Inauthentic,' Authentically 1950s Version

John Gay: The Beggar's Opera; Edward German: Tom Jones (Highlights)

Manufacturer: Class. for Pleas. Us
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

English | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
ASIN: B000089HAZ
Release Date: 2003-08-05

Tracks:

Overture - John Wills
Thro' All The Employments Of Life - Owen Brannigan
'Tis Woman That Seduces All Mankind - Alexander Young
If Love The Virgin's Heart Invade - Constance Shacklock
A Maid Is Like The Golden Ore - Constance Shacklock
Virgins Are Like The Fair Flower - Elsie Morison
Our Polly Is A Sad Slut - Constance Shacklock
Can Love Be Controlled By Advice? - Elsie Morison
O Polly, You Might Have Toy'd And Kiss'd - Elsie Morison
I Like A Ship In Storms Was Tossed - Elsie Morison
A Fox May Steal Your Hens, Sir - Owen Brannigan
O Ponder Well - Elsie Morison
Pretty Polly, Say - Elsie Morison
My Heart Was So Free - John Cameron
Were I Laid On Greenland's Coast - Elsie Morison
O What Pain It Is To Part - Elsie Morison
Fill Every Glass - Alexander Young
Let Us Take The Road - Alexander Young
If The Heart Of A Man - John Cameron
Youth's The Season - Dance - John Cameron
Before The Barn-Door Crowing - Dance - Anna Pollak
At The Tree I Shall Suffer - John Cameron
Man May Escape From Rope And Gun - John Cameron
App. 1. How Cruel Are The Traitors - Monica Sinclair
App. 3. When You Censure The Age - Owen Brannigan
How Happy Could I Be With Either - John Cameron
I'm Bubbled, I'm Bubbled - Monica Sinclair
Cease Your Funning - Elsie Morison
Melodrama: The Escape Of Macheath - John Wills

Tracks:

The Modes Of The Court So Common Are Grown - Alexander Young
In The Days Of My Youth - Owen Brannigan
Entrance Of Lucy - John Wills
I'm Like A Skiff On The Ocean Tost - Monica Sinclair
Come, Sweet Lass - Monica Sinclair
Hither, Dear Husband - Monica Sinclair
Which Way Shall I Turn Me? - John Cameron
The Charge Is Prepared - John Cameron
Macheath's Soliloquy - John Wills
Would I Might Be Hang'd - Monica Sinclair
Thus I Stand Like The Turk - John Cameron
Introduction - Don't You Find The Weather Charming? - Gilbert Vinter & His Orchestra
On A Januairy Morning In Zummerzetsheer - Nigel Brooks Chorus
West County Lad, What Is't Ye Lack? - Nigel Brooks Chorus
To-Day My Spinet, Closed And Idly Still - Cynthia Glover
Wisdom Says 'Festina Lente' - Shirley Minty
Madrigal: Here's A Paradox For Lovers - Shirley Minty
Dream O' Day Jill - Cynthia Glover
As All The Maids And I One Day - Shirley Minty
A Soldier's Scarlet Coat - Nigel Brooks Chorus
Love Maketh The Heart A Garden Fair - Cynthia Glover
Morris Dance - Gilbert Vinter & His Orchestra
Gavotte: Glass Of Fashion, Mould Of Form - Gilbert Vinter & His Orchestra
The Green Ribbon - Shirley Minty
If Love's Content Lie In The Spoken Word - Frederick Harvey
Recitative And Waltz Song: Which Is My Own True Self... - Cynthia Glover
Recitative And Waltz Song: For To-night Let Me Dream Out My Dream Of Delight - Cynthia Glover
Hark! The Merry Marriage Bells - Shirley Minty

Customer Reviews:

Enjoyably 'Inauthentic,' Authentically 1950s Version.......2005-05-14

By rights, this 1955 version of John Gay's much-adapted 1728 'ballad opera' should sound antiquated beyond redemption: the musical version used is Frederick Austin's well-worn, prettified (& verbally expurgated) 1920 arrangement, subjected to the indignity of being blown up from chamber ensemble to full orchestra; Sir Malcolm Sargeant's tempi are impossibly 'inauthentic' (ie. slow); there are numerous cuts even beyond Austin's omissions; & the 2 separate casts, of opera singers & actors, recorded in different months, are not always convincingly 'matched up.' Yet it's one of the most enjoyable recordings I know of.
A quick scan of the cast list(s) will tell you why: the singers include Elsie Morison, John Cameron, Monica Sinclair, Ian Wallace, Owen Brannigan & Alexander Young & the actors Zena Walker, John Neville, Rachel Roberts, Eric Porter & Paul Rogers. In other words, these are top pros & strong audio personalities who grab their every opportunity. The musical performance is sumptuous & sheer pleasure to listen to, the actors & dialogue 'production' brisk, funny & sharper than you might expect. And the sound for both music & dialogue is of demonstration quality, one of the best of the period.
Those who find this version too musically ponderous or dramatically reactionary can find antidotes in the Bare Baroque Basics one by Jeremy Barlow & The Broadside Band (Hyperion), word & note complete, & the radical & often inspired 1948 Benjamin Britten arrangement (complete on Argo, abridged with the original cast on Pearl). They'll be missing some good 50s fun, though.
They'll also be missing the only available excerpts (15 numbers) from Edward German's tuneful 1907 operetta 'Tom Jones.' This really IS 'cleaned up' 18th century, genteel beyond the call of duty, but for those who respond to musical theater of the period, highly recommended. The 1966 recording is lively & accomplished. As Miss Jean Brodie would say, For those who like that sort of thing, that is the sort of thing they like. And a good thing too.

Average customer rating:

"The death-doomed alone are destined to look on me."
Breathtaking, powerful, accessible, not just an alternative
Absolutely Breathtaking!
A powerful reading of the most moving opera in the Ring.
The power of Wagner's music drama is now fully accessible

Wagner: The Valkyrie

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
Similar Items:

Wagner: The Rhinegold
Siegfried (Goodall Ring Cycle/Chandos Opera in English)
The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)
Mozart - Don Giovanni / Garry Magee · Cullagh · Banks · Plazas · Shore · Tierny · PO · David Parry

ASIN: B00004YU6Z
Release Date: 2000-11-28

Tracks:

Act I: Prld - English Nat Opr Orch/Reginald Goodall
Act I, Scene 1: The Storm Drove Me Here - Alberto Remedios/Margaret Curphey
Act I, Scene 1: This House And This Wife - Margaret Curphey/Alberto Remedios
Act I, Scene 1: Evil Fortune's Never Far From Me - Alberto Remedios/Margaret Curphey
Act I, Scene 2: There He Lay, Feeble And Faint - Margaret Curphey/Clifford Grant/Alberto Remedios
Act I, Scene 2: Through Field And Forest - Alberto Remedios/Clifford Grant/Margaret Curphey
Act I, Scene 2: Friedmund No One Could Call Me - Alberto Remedios/Clifford Grant/Margaret Curphey
Act I, Scene 2: The Neidings Raided Again - Alberto Remedios
Act I, Scene 2: So The Norn Who Dealt You This Fate - Clifford Grant/Margaret Curphey/Alberto Remedios
Act I, Scene 2: I Know A Troublesome Race - Clifford Grant
Act I, Scene 3: A Sword Was Pledged By My Father - Alberto Remedios
Act I, Scene 3: Are You Awake? - Margaret Curphey/Alberto Remedios
Act I, Scene 3: My Husband's Kinsmen - Margaret Curphey
Act I, Scene 3: Yes, Loveliest Bride - Alberto Remedios/Margaret Curphey
Act I, Scene 3: Winter Storms Have Vanished (Siegmund's Spring Song) - Alberto Remedios
Act I, Scene 3: You Are The Spring - Margaret Curphey
Act I, Scene 3: Oh Sweetest Enchantment - Alberto Remedios/Margaret Curphey
Act I, Scene 3: The Stream Has Shown My Reflected Face - Margaret Curphey/Alberto Remedios
Act I, Scene 3: Siegmund Call Me, And Siegmund Am I! - Alberto Remedios
Act I, Scene 3: Siegmund, The Walsung, Here You See! - Alberto Remedios/Margaret Curphey

Tracks:

Act II, Scene 1: Go Bridle Your Horse, Warrior Maid! - Norman Bailey
Act II, Scene 1: Hoyotoho! Hoyotoho! (Brunnhilde's Battle Cry) - Rita Hunter
Act II, Scene 1: The Usual Storm, The Usual Strife - Norman Bailey/Ann Howard
Act II, Scene 1: Pretend That You Don't Understand! - Ann Howard/Norman Bailey
Act II, Scene 1: Now It's Come To Pass! - Norman Bailey
Act II, Scene 1: So This Is The End Of The Gods And Their Glory - Ann Howard
Act II, Scene 1: You Never Learn What I Would Teach You - Norman Bailey/Ann Howard
Act II, Scene 1: What Must I Do? - Norman Bailey/Ann Howard
Act II, Scene 1: Hiaha! Hiaha! Hoyotoho! - Rita Hunter/Ann Howard/Norman Bailey
Act II, Scene 2: Fricka Has Won The Fight - Rita Hunter/Norman Bailey
Act II, Scene 2: When Youth's Delightful Pleasures Had Waned - Norman Bailey
Act II, Scene 2: She Refused To Reveal More About It - Norman Bailey/Rita Hunter
Act II, Scene 2: There's More To Tell - Norman Bailey
Act II, Scene 2: Yet One Can Accomplish What I May Not - Norman Bailey
Act II, Scene 2: But The Walsung, Siegmund - Rita Hunter/Norman Bailey
Act II, Scene 2: Then Siegmund Must Fall In His Fight? - Rita Hunter/Norman Bailey
Act II, Scene 2: I Give You My Blessing, Nibelung Son! - Norman Bailey/Rita Hunter
Act II, Scene 2: No, Have Mercy - Rita Hunter/Norman Bailey

Tracks:

Act II, Scene 2: So I Obey His Command - Rita Hunter
Act II, Scene 3: Rest Here For A While; Stay By My Side! - Alberto Remedios/Margaret Curphey
Act II, Scene 3: Away! Away! - Margaret Curphey/Alberto Remedios
Act II, Scene 3: Where Are You, Siegmund? - Margaret Curphey/Alberto Remedios
Act II, Scene 4: Siegmund! Look At Me! (Announcement Of Death) - Rita Hunter/Alberto Remedios
Act II, Scene 4: And If I Come - Alberto Remedios/Rita Hunter
Act II, Scene 4: Then Greet For Me Walhall - Alberto Remedios/Rita Hunter
Act II, Scene 4: Woe! Woe! Sister And Bride - Alberto Remedios/Rita Hunter
Act II, Scene 4: Two Lives Now Lie In Your Power - Alberto Remedios/Rita Hunter
Act II, Scene 5: Charms Of Sleep Are Sent To Still - Alberto Remedios
Act II, Scene 5: I Hear Your Call - Alberto Remedios/Margaret Curphey
Act II, Scene 5: Wehwalt! Wehwalt! - Clifford Grant/Alberto Remedios/Margaret Curphey/Rita Hunter/Norman Bailey

Tracks:

Act III, Scene 1: Hoyotoho! Hoyotoho! (Ride Of The Valkyries) - Katie Clark/Anne Evans/Elizabeth Connell/Helen Attfield/Shelagh Squires/Anne Conoley
Act III, Scene 1: Shield Me And Help - Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne Evans/Sarah Walker...
Act III, Scene 1: Hear While I Tell You - Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne Evans/Sarah Walker...
Act III, Scene 1: Pray Suffer No Sorrow For Me - Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen Attfield/Anne...
Act III, Scene 1: Fly Him Swiftly, Away To The East! - Rita Hunter
Act III, Scene 1: O Radiant Wonder! (Parting Salute) - Margaret Curphey
Act III, Scene 1: Stay, Brunnhild! - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 2: Where Is Brunnhild? - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 2: Weak-Spirited, Womanish Brood! - Norman Bailey
Act III, Scene 2: Here I Am, Father - Rita Hunter/Norman Bailey
Act III, Scene 2: No More Will You Ride From Walhall - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 2: Did You Not Hear What I Decreed? - Norman Bailey/Margaret Curphey/Rita Hunter/Katie Clarke/Anne Conoley/Elizabeth Connell/Helen...
Act III, Scene 3: Was It So Shameful - Rita Hunter/Norman Bailey
Act III, Scene 3: I Know So Little - Rita Hunter/Norman Bailey
Act III, Scene 3: You, Who This Love Into My Heart Revealed - Rita Hunter/Norman Bailey
Act III, Scene 3: You Indulged Your Love - Norman Bailey
Act III, Scene 3: Unworthy Of You This Foolish Maid - Rita Hunter/Norman Bailey
Act III, Scene 3: You Fathered A Glorious Race - Rita Hunter/Norman Bailey
Act III, Scene 3: In Long, Deep Sleep - Norman Bailey/Rita Hunter
Act III, Scene 3: Farewell, My Valiant, Glorious Child! (Wotan's Farewell) - Norman Bailey
Act III, Scene 3: These Eyes So Warm And So Bright - Norman Bailey
Act III, Scene 3: Loge, Hear! Come At My Call! - Norman Bailey
Act III, Scene 3: Magic Fire Music - Norman Bailey

Customer Reviews:

"The death-doomed alone are destined to look on me.".......2007-06-12

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 Box Set: Wagner: The Ring Cycle (Box Set)
The Rhinegold (Part 1): Wagner: The Rhinegold
Siegfried (Part 3): Siegfried (Goodall Ring Cycle/Chandos Opera in English)
Twilight of the Gods (Part 4): The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)

Breathtaking, powerful, accessible, not just an alternative.......2005-05-03

This is one of three Walkure's in my collection: the very underrated Leinsdorf, the thrilling Boehm and this one with Goodall. I believe Goodall is right up there with the best of them. Remedios, Hunter and Bailey sing beautifully and with sufficient drama. I'll go out on a musical limb and say I believe Bailey is one of the finest Wotan's on disc. Many will disagree but I think he has the measure of the role, the power to pull it off and a burnished timber that never becomes coarse under powerful climaxes... Remedios may well be the star of the trilogy along with Hunter and Bailey. His Siegmund is beautifully sung and his Siegfried by the way, is no mean stint either. Would that we had tenors that could sing Siegfried without sounding stretched beyond their limits. I am continually puzzled by the bad reviews that the orchestra playing receives from ARG, Classics Today and a few others. The ENO is not a Concertgebouw or Vienna Philharmonic but I think they play beautifully, a few clinkers notwithstanding. For a live show, they do a pretty d..... good job. THe sound from both orchestra and singers is exceptionally fine. This set belong in your collection if you like Wagner and, Die Walkure, in particular. If I had been at the performance in the 1970's I would have come home very happy, satisfied and richer for the experience.

Absolutely Breathtaking!.......2002-09-13

I had long cringed at the thought of this magnificant masterpiece recorded in English. Even after reading several rave reviews on this cylce that I've read by authoritive Wagnerites and critics, I was still skeptical. Finally, I decided to add Goodall's 'Ring' as my third complete cycle (after Solti & Bohm) for one reason: because it was in English and I felt it would enhance my understand of 'The Ring.' In fact, after achieving that "higher understanding" I was planning on selling this set on Ebay. That was, of course, before I heard this magnificant recording.

During the course of my research on 'The Goodall Ring' most of the praised seemed to heighten around 'Siegfried,' which is my absolute favorite of the cycle. That also helped to seal the deal. As the critics said, 'Siegfried' under Goodall is excellent, but not as monumental as Solti's reading, which IMHO is the greatest recording of 'Siegfried.'

The set that stands out, to me, in 'The Goodall Ring' is this recording; The Valkyrie. It is absolutely breathtaking. Not only is it my favorite of this set, it is my favorite Valkyrie recording period (I am very familiar with Boehm's, Solti's, Karajan's, Furthwanglers, Levines, and others). Alberto Remedios (Siegmund here and Siegfried in the last two operas) is truly magnificant. It is the best Siegmund I have heard on disc (and his Siegfried rivals Windgassen). Coupled with Margaret Curphey (Sieglinde), you get the most beautiful and moving duo I have heard on record. The duet in Act I is simply glorious. You also get the bonus of Norman Bailey's triumphant Wotan (and Wanderer too). He has such command and prescene. He sounds like a God. Throw in Rita Hunter, who holds her own as Brunnhilde, Goodall's miraculous conducting, and excellent playing by the orchestra and it all adds up to a stunning recording.

I can only say that in a way it's a shame this set is in English. Were it not, I believe Goodall's 'Ring' would be one of the most talked about, popular, and sought after complete recordings of the cycle. I can only say that I am so happy that I finally opened up to opera recorded in a different language than written.

I have fallen completely in love with Goodall's entire cycle. And, I have fallen in love with 'The Ring' all over again.

A powerful reading of the most moving opera in the Ring........2001-08-30

This performance of *Die Valkure,* the second and most popular opera in Wagner's Ring Cycle, is musically splendid. Its special significance, however, is that it is sung in English. An English performance of the Ring is perhaps more important than that of any other opera(s), because Wagner's libretti are suffused with his ideas about society, fate, justice, and love. Even if (at times) you need to read along to understand what the singers are saying, *hearing* the lyrics in English is truly stirring in a way that performances in your non-native language cannot match.
A particular stand-out on this recording is the Wotan. His timbre, diction, and delivery perfectly embody the troubled god who tries desperately, and in vain, to keep the world under his control. His angst and wrath are utterly convincing.

The power of Wagner's music drama is now fully accessible.......2001-01-30

I have never been a fan of opera in translation, but I must say that Andrew Porter's rendering of The Ring in English is amazing. He uses modern, not archaic, English, and the word choice is so very earthy and Germanic that the noble yet somewhat severe atmosphere of the Teutonic myths is conveyed perfectly. The sound, in other words, is an elegantly Germanic, and totally appropriate for the music and the Story it tells. It is not true that you can't understand the English anyway, because you can understand if you care to pay any attention at all. The translation is lucid, and so it the marvelous singing that conveys it.

Goodall's sense of music drama is lush, and takes some getting used to after the crash-and-burn Solti set, but after a time or two it seems just right. Goodall is not always slower than the rest, either; for example, the famous Ride of the Valkyries that begins Act III is quicker than Solti's surprisingly slow and heavy account. It is the most exciting that I have heard--and I have heard quite a few--but it is not so fast that the power is lost in favor of urgency.

This is not an urgent Die Walkure, and it is all the better for it. Goodall takes the time to actually tell the story, and is sensitive to the drama's needs over what could be called convention. For example, Wotan's Farewell doesn't thunder out after Brunnhilde's final declamation, like in so many recordings; rather, Goodall's interpretation is more dreamy, mysterious, and appropriately trance-like, in keeping with the action on stage.

Tracks:

A) A Youth Once Loved A Maiden/B) The Tears That Night
My Son
Sea Pictures: Where Corals Lie
Lucrezia Borgia: Il Sergreto
Don Carlos: O Don Fatale
Three Fishers
The Fairy Pipers
The Leaves And The Wind
She Wore A Wreath Of Roses
A) The Lover's Curse/B) I Know My Love
Have You News Of My Boy Jack?
Deep River
Rock Of Ages
Eileen Alannah
My Ain Folk
Kathleen Mavourneen
Four Biblical Songs, Op.99: Clouds And Darknes Are Round About Him
Four Biblical Songs, Op.99: Lord, Thou Art My Refuge And My Shield
Four Biblical Songs, Op.99: Hear My Prayer. O Lord, My God
Four Biblical Songs, Op.99: God Is My Shepherd
The Holy City
Husheen
God Save The King

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ASIN: B000NROPV0

Product Description

1. Teach Your Children - Suzy Bogguss/Alison Krauss/Kathy Mattea/Crosby, Stills & Nash 2. Fire And Rain - Sammy Kershaw 3. Folsom Prison Blues - Brooks & Dunn/Johnny Cash 4. Rock Me On The Water - Kathy Mattea/Jackson Browne 5. Matchbox - Carl Perkins/Duane Eddy/The Mavericks 6. Crazy - Jimmie Dale Gilmore/Willie Nelson 7. Willie Short - Mary Chapin Carpenter 8. Forever Young - Johnny Cash 9. If These Old Walls Could Speak - Nanci Griffith/Jimmy Webb 10. Up Above My Head / Blind Bartimus - Marty Stuart/Jerry & Tammy Sullivan 11. You Gotta Be My Baby - Dolly Parton 12. Close Up The Honky Tonks - Radney Foster 13. Goodbye Comes Hard For Me - Mark Chesnutt 14. Pictures Don't Lie - Billy Ray Cyrus 15. When I Reach The Place I'm Going - Patty Loveless 16. T.B. Is Whipping Me, The - Wilco/Syd Straw 17. Keep On The Sunny Side - Randy Scruggs/Earl Scruggs/Doc Watson RED HOT + COUNTRY, in addition to supporting AIDS research, will fund a special education project which will target rural communities throughout the nation. "Teach Your Children" was nominated for Best Country Vocal Collaboration, and "Keep On The Sunny Side" was nominated for Best Country Instrumental Performance in the 37th Annual Grammy Awards. RED HOT + COUNTRY is the fourth album in the very successful RED HOT series of genre-specific recordings benefiting AIDS Awareness. This time it's country music's turn, and under the guidance of Kathy Mattea, numerous contemporary Nashville superstars chose a song or a style representing an influence on their own artistry. For the most part they chose songs of hope and healing. From the opening "Teach Your Children" featuring Mattea, Suzy Bogguss, Alison Krauss, and Crosby Stills & Nash to the closing Carter Family tune, "Keep On The Sunnyside," featuring bluegrass greats Earl Scruggs and Doc Watson, the entire album offers a ray of light in these fearful times.

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