Immer Noch [Import]

Track Listings

1. Immer Noch

2. Gott Sei Dank

3. Guten Tag

4. Flow Fett

5. Unterwegs

6. Vielleicht

7. Zeit

8. Juntos

9. Ladies

10. Respect

11. Tanzbeinpolitik

12. Auge Des Betrachters

13. Ist Es Liebe?

Immer Noch,W4c,Spv,Rap

Average customer rating:

Elly Ameling now more available
Delight in every note
While they last...
Treasures From a Treasure
More than fully earned praise for an exceptional singer.

Artistry of Elly Ameling (Coll)
Elly Ameling
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

General | Soundtracks | Styles | Music
Similar Items:

Elly Ameling ~ Schubert · Schumann - Songs
Philips and Decca Recordings, 1961-1979 (Limited Edition)
Fauré - Mélodies / Souzay · Ameling · Baldwin
Ave Maria--Lieder
The Very Best of Lucia Popp

ASIN: B00007KMSJ
Release Date: 2003-10-14

Tracks:

Matthaus-Passion
Johannes-Passion
Weihnachts-Oratorium
Juditha Triumphans
Messiah
Crudel Tiranno Amor
Die Schopfung
Orlando Paladino
7 Lieder
Le Nozze Di Figaro
Exsultate, Jubilate Ch'io Mi Scordi Di Te, K505
Misera! Dove Son! K369
18 Lieder
Frauenliebe Und- Leben
11 Lieder
20 Morike-Lieder

Customer Reviews:

Elly Ameling now more available .......2007-03-07

I had a 33 rpm album of Elly Ameling singing Schubert lieder accompanied by piano and clarinet at times. It was one of my all time favorite albums so I have been disappointed that I have not been able to find it anywhere on CD.

Now I can just buy this excellent collection. So much music in one place! Since I confess that I am far from an expert on the rest of her records, I look forward to hearing her sing many other styles and composers.

I think it is silly to criticize her for not singing Wagner, for example, since her version of many songs, especially lieder, are nothing short of sublime. I would like to hear how many Wagnerians sing Schubert or Mozart.

I doubt if they could approach the skill and soul with which Elly Ameling sings lieder.

Delight in every note.......2006-03-10

To speak as briefly as possible about this superb collection from an equally superb singer, what can I say but that Ms Ameling possessed a voice that shone with radiant warmth and star-like shimmer? And unlike many another light lyric soprano, Elly Ameling was possessed of a very high standard of musicianship, considerable intelligence, and a sort of immediate charm that captivates the listener.

So many of her recordings have still to be released on CD, but this 5CD-set goes some way towards remedying the situation. The repertoire spans a wide variety - French mèlodies, Lieder, light-hearted "sentimental" songs, Bach, etc. - and in each piece, Ms Ameling shows that quality of pearl-like beauty. It is a beauty which is also extremely pretty - a beauty of voice that is never overbearing and over-ripe, but perfectly blossoming upon the tree of inspiration.

I recommend this set unequivocally. It truly is sheer delight.

While they last..........2005-05-17

Elly Ameling held the quiet stage for recitals of great artistry and dignity for several decades and sadly most of the enormously successful CDs of her long career output are now unavailable. For those who have little access to the documentation of this very special artist, this box set is a must. It is a compilation of many of her recordings with differing accompanists, conductors, orchestras and composers. And while not all of the choices for inclusion here would be considered her greatest moments, there are enough works that sustain the warm memories of the little Dutch hausfrau who quietly and simply paid homage to composers with her clear and intelligent musicianship and radiant voice.

Ameling was known to schedule recitals of Schubert cycles and songs and in the afterglow of her performance answer the demand for curtain calls with additional Schubert melodies: she gifted her audience with the dignity of honoring a composer's works by maintaining the focus on that composer rather than milk the audience with the usual encore applause-getting favorites. And special moments such as quietly and pensively strolling through the orchestra during the Mahler 4th symphony to arrive at front stage, unapplauded, just in time for the opening line of her singing - those simple homage to composers and collaborators made her selfless manner endearing to audiences.

Despite the fact that Ameling's voice was on the small side she was always able to muster the projection to carry her message solidly in context with an orchestra. Yes, other more famous singers have recorded Ravel's quintessentially French SHEHERAZADE, but few have the perfection of diction and aura of mystery that Ameling maintained. Whether singing with piano or orchestra, or interpreting Bach, Mozart, Handel, and Vivaldi with the same degree of involvement as Brahms and Schumann and Schubert, Elly Ameling spanned a career that engendered passionate commitment from her fans. And this boxed set is a pocket full of memories to be treasured. Buy it before this too becomes unavailable. Grady Harp, May 05

Treasures From a Treasure.......2004-09-25

Treasures from a Treasure.

Ameling, one of the world's most beloved recitalists is captured here in a 5 CD collection offering some of her most beautiful recordings of song. While we are used to her perfection in songs of Bach, Mozart, Schubert, Schumann, Faure and Hahn, an added joy is her "pop" side, tackling - without a whiff of pretension, Porter, Kern, Gershwin, Ellington, et al.

What an absolute joy it is listening to this amazing artist sing these songs with an almost uncanny natural ease. There is no resorting to a "pop" voice and yet most of these pop standards songs sound as though they could have been written for her. Clean attacks, sometimes a bit of the pop technique of hanging on to a consonant longer than a classical artist normally would shows an appreciation and understanding of the style. Still, there is never once a compromise of her vocal beauty.

I like the way the songs have been arranged for her voice in that she sort of sings them clean, unaffected in the first half and then lets loose and kinda "swings" with it adding embellishments but never really changing her voice (Price, von Stade and other favorite singers of mine seem to have always added a breathy quality to much of their crossover material.)

Ameling doesn't resort to trying to "let her hair down" or get down and dirty, but rather the honest with which she approaches every one of these songs shows how much she enjoys singing them and her style is as refreshing as stumbling onto a cool spring on a sweltering summer's afternoon. A wonderful surprise.

More than fully earned praise for an exceptional singer........2003-07-15

As I had the privilige of hearing this outstanding Lied-singer during her long career in Holland and being the proud possessor of almost all her recordings, I cannot but fully agree with the professional and joyful review of Mr. Robert Holliston from Victoria, B.C. Canada.
Yes, it is unbelievable that of about the 150 recordings Mrs. Ameling made during her long career (for the greater part of course on the 'oldfashioned' LP's, as well as the innumerable Dutch live-recorded radio-concerts), so few CD's have been released.
Speaking of tradition: it was the page-turner of the Wigmore Hall in London who told Mrs. Ameling after her first recital in this hall, that she reminded him of Elisabeth Schumann. (And he certainly didn't mean her looks only!)
For those who are eager to hear her singing Ravel's Shéhérazade (just one example of stirring imagination combined with her Art of Singing) I can tell you that Philips released a 2-box CD of this work in 1999, combined with Debussy's La Damoiselle élue and a compilation of French mélodies, i.e. Debussy, Fauré, Duparc, Satie. One of the gems is Caplet's Le Corbeau et le Renard which even make children, who know the fables of La Fontaine, revel in the singing of the quarrelsome birds....
Her brilliant accompanyist is Rudolf Jansen. Let us cherish great artists in their art!

Birgit Nilsson Sings Richard Wagner & Richard Strauss

Average customer rating:

The whole career of one of the greatest singers of all time
Birgit Sings Like Sweetness
A Document In The Grand Career Of Birgit Nilsson (1918-2005)
Great

Birgit Nilsson Sings Richard Wagner & Richard Strauss

Manufacturer: Gala
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

Birgit Nilsson: Opera Arias
Nilsson Sings Verdi
Or sai chi l'onore: Opernarien von Mozart, Weber, Wagner, Strauss
Wagner: Opera Arias & Duets
Prima Voce: Flagstad

ASIN: B000001XNS
Release Date: 2000-06-06

Tracks:

Ariadne auf Naxos: Es Ist alles vergebens - Es gibt ein Reich
Salome: Es ist kein Laut zu vernehmen
Salome: Ah! du wolltest mich nicht deinen Mund kussen lassen, Jochanaan
Salome: Sie ist ein Ungeheuer, deine Tochter
Salome: Ah! Ich habe deinen Mund gekusst, Jochanaan
Elektra: Was willst du, Fremder Mensch?
Die Fau Ohne Schatten: Es dunkelt, dass ich nicht sehe zur Arbeit
Die Fau Ohne Schatten: Es gibt derer, Die bleiben immer gelassen Abtu ich von meinem Leibe die Kinder
Die Fau Ohne Schatten: Die Weib ist irre - Barak, ich hab es nicht getan
Tannhauser: Dich, teure Halle
Lohengrin: Euch Luften, die mein Klagen
Lohengrin: Elsa!-Wer Ruft?
Lohengrin: Ortrud, wo bist du?

Tracks:

Tristan und Isolde: Horst du sie noch?
Tristan und Isolde: Mild und leise wie er lachelt
Die Walkure: Schlafst du, Gast?
Die Walkure: Wintersturme wichen dem Wonnemond
Die Walkure: De bist der Lenz
Die Walkure: O susseste Wonne! Seligstes Weib!
Die Walkure: Siegmund heiss ich und Siegmund bin ich!
Siegfried: Ewig war ich, ewig bin ich
Gotterdammerung: Schweigt eures Jammers jauchzenden Schwall
Gotterdammerung: Starke Scheite, Schichtet mir dort

Customer Reviews:

The whole career of one of the greatest singers of all time.......2007-01-14

I could nor beleive my eyes when I saw the price of this recording. It covers the whole career of the greatest Wagner and Strauss singer in the last half of the 20th Century. I think the whole performance of Ariadne of Naxos allurs in the archives of the Swedish Broadcasting company - a release, please!
When the news arrived that La Nilsson hade died in her home, surrounded by family members and near friends, on Christmas Day 2005 (kidneys not functioning, and no more dialysis possible) - we at once underrstand her uniquiness - there was nobody there to take over the helm and shield....It is quite wonderful that this eextensive compilation was published just recently. It is a very worthy portrait of a blessed singer!

Birgit Sings Like Sweetness.......2007-01-08

This is the first time I had heard Birgit Nilsson sing. The CD was great. However, I did have to blast the music because it is the original recording on the CD. Besides the quality it is worth purchasing if you want to hear one of the best. Her voice is clear and sweet, and welcoming to the ears.

A Document In The Grand Career Of Birgit Nilsson (1918-2005).......2006-03-23

The great soprano from Sweden, Birgit Nilsson, once contemplated suicide when she met with dismal reviews in her first perfomrance as Agathe from Weber's Die Freitschutz, for she was inexperienced and fresh out of the farm she grew up in. She went on to become the greatest dramatic soprano of all time, and for me, she is an even more thrilling and masterful soprano than the overrated Maria Callas. Birgit Nilsson died of unknown causes in her hometown of Sweden on Christmas of '05 only months ago. Her huge, steely, bright, metallic voice was reportedly capable of breaking glass and stone. This album covers many years in her career. Her Ariadne is not well known and it's captured in a young voice (50's) and she is in phenomenal shape. The dramatic heft of the role is suited to her voice. Wagner was her specialty of course and here we have slices of her Elisabeth from Tannhauser. She also sang Venus. Isolde was another great role of hers (the one she debuted at the Met) and Brunhilde is of course her best role. Singing Strauss is no piece of cake but when we listen to her Salome and Elektra and Dryer's Wife from Die Frau we are hearing a woman who, despite age, is singing with strength and vigor. She gets into character each time and she sings beautifully. All fans of La Nilsson must get this one.

Great.......2003-08-20

This is a very good CD for people who follow Birgit Nilsson's development. It contains live performances from 1949 (Ariadne auf Naxos - Nilsson sang Ariadne!!) to 1977 (Dyer's Wife in Die Frau Ohne Schatten). You can see her development from young to old over close to 30 years. For someone like me who have many of Birgit Nilsson's commercial recordings, this is a great CD too because it allows me to compare her 'live' performances with the studio recordings. It also enables me to see how her voice developed over the years. For instance, her voice grew in warm as she progressed in her career. By 1977, her voice had lost some ease - you can tell that she has to sing with more effort but her top register is still amazing, the gleam is still there even if it is more effortful to produce (when I say effortful I mean by young Birgit Nilsson standards - if you compare with other singers, she still sings effortlessly). Imagine - by 1977, she was 59 and she still puts singers singers half her age at 30 to shame. A very interesting CD in very mono sound. 5 stars for Nilsson's superb performances (her vocalism never fails to amaze me), for a fantastic variety of excerpts, for very mono sound, for the historical importance of this CD and for the incredible bargain price ... for 2 CDs.

Tracks:

Duetto And Chorus: Kommt, Eilet Und Laufet
Aria: Sanfte Soll Mein Todeskummer
Recitative And Chorale: O Schmerz! Hier Zittert Das Gequalte Herz
Aria With Chorus: Ich Will Bei Meinem Jesu Wachen
Recitative: Mein Jesus Schweigt Zu Falschen Lugen Stille
Aria: Geduld!
Duet: Et Misericordia
Aria: Deposuit Potentes
Recitative: So Stehe Denn, Du Gottergeb'ne Seele
Aria: Adam Muss In Uns Verwesen
Chorus: Jauchzet, Frohlocket, Auf, Preiset Die Tage
Recitative: Es Begab Sich Aber Zu Der Zeit
Aria: Frohe Hirten, Eilt, Ach Eilet
Aria: Ich Will Nur Dir Zu Ehren Leben
Recitative: Und Liess Versammeln Alle Hohenpriester
Terzetto: Ach! Wann Wird Die Zeit Erscheinen
Recitative: Und Gott Befahl Ihnen Im Traum-Genug, Mein Schatz Geht Nicht Von Hier
Aria: Nun Mogt Ihr Stolzen Feinde Schrecken

Tracks:

Overture
Aria: Hier Soll Ich Dich Denn Sehen
Recitative And Aria: Konstanze, Dich Wiederzusehen, Dich!/O Wie Angstlich, O Wie Feurig
Aria: Wenn Der Freude Tranen Fliessen
Quartet: Ach! Belmonte! Ach, Mein Leben!
Aria: Ich Baue Ganz Auf Deine Starke
Recitative And Aria: Welch Ein Geschick!/Wie, Du Solltest Fur Mich Sterben!
Aria: Dies Bildnis Ist Bezaubernd Schon
Zum Ziele Fuhrt Dich Diese Bahn
Wie Stark Ist Nicht Dein Zauberton
Der Welcher Wandert Diese Strasse Vol Beschwerden
Tamino Mein! O Welch Ein Gluck!

Tracks:

Duet: Strahlt Auf Mich Der Blitz Des Goldes - Hermann Prey
Duet: Hier Nimm Den Ring Der Treue
Scene And Duet: Ich Denk Ihn Lieber Mir Von Meinem Stande/Liebe Ist Seligkeit, Ist Licht Und Leben
Toast: O Freunde, So Leeret In Vollen Zugen - Chor Des Bayerischen Rundfunks
Duet: Ich Sah Euch Lieblich Und Engelsschon - Chor Des Bayerischen Rundfunks
Duet: O, Lass Uns Fliehen Aus Diesen Mauern - Chor Des Bayerischen Rundfunks
Scene And Duet: er Ist's! Carlos! Mein PRinz!/Gott, Der Entflammte Der Liebe Heisse Glut - Hermann Prey
Duet: Infame Feder! Welch Scheusslicher Pinsel/Ach, Geliebte! Nie Kehrst Du mir Wieder! - Hermann Prey
Aria: Und Es Blitzten Die Sterne
Scene: Nicht An Mich, Geliebter, Denke
Duet: Du Sussester Engel, Wie Herrlich Hast Du Geteufelt!
Leukippos, Du?
Arioso: Ja, Ich Lieb Sie, Olga
Aria: Wohin Seid Ihr Entschwunden

Tracks:

Recitative And Arioso: Holdes Laubgezewig, Du Schones/Schattige Ruh, Nie Gab Natur Sie Mir
Aria: Der Gedanke An Die Flammen Der Liebe
Aria: Bleibt Ihr Treu Dem, Der Euch So Verachtet?
Aria: Finstre Furie, Ihr Geister Der Holle
Aria: Nur Einen wunsch, Nur Ein Verlangen - Hermann Prey
Recitative And Duet: O Unverhofftes Gluck/Das Hore Ich Von Dir, Von Meinem Freunde? - Hermann Prey
Ma Se Il Nostro Gioir/Alcun Non Sia
Perche A Lo Sdegno/Padre Cortese/Si Non Vedro
Aria: Erwacht In Meinem Herzen
Duet: Nur Weinen Lernte Ich/Nur Klagen lernte Ich
Aria: Keine Schlange Lasst Sich Toten
Romance: O Schweige Still, O Lasse Dich Erbitten
Trio: Doch Nun Zu Dir/Trenne Nicht Das Band Der Liebe - Hermann Prey
Aria: Man Wird Ja Einmal Nur Geboren
Song: Lebe Wohl, Mein Flandrisch Madchen - Chor Des Bayerischen Rundfunks
Recitative And Duet: Du Stehst Wirklich Vor Mir/Der tempel Brahmas Strahlt - Hermann Prey

Tracks:

I. Im Wunderschonen Monat Mai
II. Aus Meinen Tranen Spriessen
III. Die Rose, Die Lilie, Die Taube, Die Sonne
IV. Wenn Ich In Deine Augen Seh
V. Ich Will Meine Seele Tauchen
VI. Im Rhein, Im Heiligen Strome
VII. Ich Grolle Nicht
VIII. Und Wussten's Die Blumen, Die Kleinen
IX. Das Ist Ein Floten Und Geigen
X. Hor Ich Das Liedchen Klingen
XI. Ein Jungling Liebt Ein Madchen
XII. Am Leuchtenden Sommermorgen
XIII. Ich Hab Im Traum Geweinet
XIV. Allnachtlich Im Traume Seh Ich Dich
XV. Aus Alten Marchen Winkt Es
XVI. Die Alten Bosen Lieder
Zartliche Liebe: 'Ich Liebe Dich' WoO 123
Adelaide Op.46
Resignation WoO 149
Der Kuss Op.128
Was Ist Silvia, Saget An
Lied Eines Schiffers An Die Dioskuren D 360
Liebhaber In Allen Gestalten D 558
Der Einsame D 800
Im Abendrot Op. Post. D 799
Leise Flehen Meine Lieder
An Die Laute D 905
Der Musensohn D 764
An Die Musik D 547

Tracks:

Granada
Mattinata
Funiculi-Funicula
O Sole Mio
Vergiss Mein Nicht
Ein Lied Geht Um Die Welt
Du Bist Die Welt Fur Mich
Ich Kusse Ihre Hand, Madame
Caro Mio Ben
Ave Maria
Plaisir D'Amour
La Danza
Serenade: Fern Im Weiten Land, Dort Unten Im Suden
Be My Love
Santa Lucia
Tiritomba
Heute Nacht Oder Nie

Tracks:

Wien, Wien, Nur Du Allein
Denk Dir, Die Welt War Ein Blumenstrauss
Ich Kenn Ein Kleines Wegerl Im Helenental
In Wien Gibt's Manch Winziges Gasserl
Draussen In Sievering
Ich Weiss Auf Der Wieden Ein Kleines Hotel
Ich Muss Wieder Einmal In Grinzing Sein
Im Prater Bluhn Wieder Die Baume
Herr Hofrat, Erinnern Sie Sich Noch?
I Hab Die Schonen Maderln Net Erfunden
Es Steht Ein Alter Nussbaum Drausst In Heiligenstadt
Wien Wird Bei Nacht Erst Schon
Wenn Es Abend Wird/Gruss Mir Mein Wien
Ob Blond, Ob Braun, Ich Liebe Alle Frau'n
Weine Nicht, Bricht Eine Schone Frau Dir Das Herz
Mein Herz Ruft Immer Nur Nach Dir, O Marita
Eine Kleine Fruhlingsweise
Schlaf Ein, Mein Blond-Engelein
Annchen Von Tarau
Still Wie Die Nacht

Customer Reviews:

Correction.......2006-12-13

Now folks, both of what the two other reviewers wrote about the tragical death of Fritz Wunderlich is wrong. Wunderlich died in hospital at September 17 1966. He had broken his skull, when he fell down the stairs in the hunting-house of a friend. Late in the evening of September 16, Wunderlich, as usual when not at home, had phoned his wife in Munich. He was very tired from strolling through the forest the whole day, making out the ideal locations for the hunt, which should start early in the next morning (Wunderlich was a passionate hunter). After he had wished his wife a good night, he went to the staircase in order to go down to his bedroom at the first floor. He still wore his heavy hunting boots - with open shoestrings! As walking downstairs, Wunderlich struggled over the open shoestrings and grabbed for the banisters, which was not more than a rope, fixed to the wall. The banisters teared out, and Wunderlich fell down the whole stairs. Fritz Wunderlich died in hospital the next day. It was only short before his 36'th birthday. An exceptional singing career had come to an untimely end. Some people believe that Wunderlich was drunken at the time of accident. If this is true can't be proven any more. But still this is not what his close friends said, regarding his accident and his death. In my opinion Wunderlich was the last of the really great tenors of the last century. All the tenors which came to fame after him (sorry folks, even such maestros as Pavarotti and Domingo) lack a certain quality in singing. It's the ease of breath flow, or singing on the breath without pushing the voice, it's the overtones, the legato, the mezza voce, the messa di voce and many more things - in short: the overall beauty of the voice through both registers. Wunderlich was the last tenor who had all this. Other examples are Caruso, McCormack, Gigli (despite the sobbing in his later recordings) and of course the wonderful Jussi Björling. But these are only some few names. If you listen for example to the cd's in the box "Famous tenors of the past" you will find that there were many very good and outstanding tenors in the first half of the 20'th century and - as we can only assume - in the time before the invention of the grammophone. Take a close look at todays famous tenors (I know, there are some quite good and promising ones) but what are they in comparison to those tenors (or better to say, to their voices and singing) I just mentioned before?

Please make your own decision.

Fritz Wunderlich can do no wrong...........2006-05-05

... okay, maybe. It's just that I've never heard a recording I didn't love. And I prefer that he sing everything in German even when that means not using original language.

This is a bit strange because I'm most often bugged by Don Carlos and Vepres in Italian (just a personal quirk). Of course, I'm also bugged by dropping the "s" in Don Carlos, which is always incorrect. The man's name IS Carlos whether in Italian or French.

I tried to write Mr. Avila a personal note, but could not, so let me say that Fritz Wunderlich did not die of cancer, but a dreadful accident in Scotland (I'll not go into the whys and wherefores, I just wanted to set PART of the record straight.)

The Wonder of Wunderlich.......2005-11-22

Deutsche Grammophone does it again! This is an extensive 3-cd compilation album featuring the artistry of the great German tenor Fritz Wunderlich in a variety of vocal repertoire - Baroque cantata/oratorio, opera and Lieder. Like the other critic pointed out, I first heard Fritz sinigng a superb Tamino in the Karl Bohm Magic Flute, although I have also heard him sing Lieder opposite the mezzo soprano Christa Ludwig and baritone Dietrich Fischer Dieskau, who were his contemporaries and colleagues. Wunderlich died tragically in 1966 of cancer. He inspired a generation of purely lyric tenors or "tenors di grazie" whose charming voice would never roughen and lack grace. His Germanic style earned him popularity in World War II Europe and he was the leading exponent of Lieder in the 50's. His tenor voice is glorious, as close to a male angel as possible. On this recording, we are treated to sumptuous arias from Bach's Christmas/Easter Oratorios, and movements from 2 cantatas. Also noteworthy are the unsurpassed performances of Mozart tenor heroes- such as Belmonte from "Die Entfuhrung Aus Dem Serail" (Abduction from the Seraglio) and his unbeatable Tamino from Die Zauberflote The Magic Flute. He sings bel canto opera arias fo tenor, from master composers Rossinni, Bellini and Verdi. While I don't much like that he is singing Italian arias in German, one must remember that at this time, in the LP Era of World War II Germany and Austria, German-born opera singers sang Italian opera in German translation/revisions. While many German singers could indeed sing in Italian, they were mostly trained to sing it in German because of excessive national pride and because Germans viewed Italian opera as course and un-melodic. Still, there have been superb German singers who sang in Italian like Wagner diva Birgit Nilsson,baritone Dietrich Fischer Dieskau, tenor Peter Schreier, soprano Edda Moser, baritone Walter Berry, tenor Herman Pretty, all post-Wunderlich sensations. Wunderlich sings Lieder in one CD with great and unrivaled musicianship. Especially impressive are the Viennese pieces. Further to the cd's this album is equipped with photos of Wunderlich and his family and a detailed profile biography.

I wish I could give this release more than 5 stars: it's terrific!!!.......2005-10-28

I knew little about the German tenor Fritz Wunderlich (1930-1966), except reading the accolades given to his recordings and performances by reviewers in "American Record Guide" over the past 13 years. I knew Wunderlich recorded the role of Tamino in the famous DG recording of Mozart's "Die Zauberflote", with Karl Bohm/Berlin Philharmonic (Now on DG Originals CDs), but was not aware of what a wide range of repertoire he had until hearing this release.

This release has a wide variety of Wunderlich's discography, including Bach arias from his Christmas and Easter Oratorios, and movements from 2 cantatas; his Mozart roles in "Die Entfuhrung aus dem Serail" (Eugen Jochum/Bavarian Radio Orchestra) and "Die Zauberflote" (Karl Bohm/Berlin Philharmonic); a variety of arias and duets by Rossini, Bellini, Verdi, Richard Strauss, mostly sung in German, and with Hermann Prey, baritone and Erika Koth, soprano in many of the duets; Baroque arias by Handel, from "Xerxes" (including the famous "Ombre mai fu" sung in German) and "Julius Caesar", selections from Monteverdi's "Orfeo" (an early track from 1955 sung in Italian); Schumann's "Dichterliebe", 4 Beethoven Lieder, including "Adelaide" and "Der Kuss"; and 9 Schubert lieder, including "An der Musik," and "Der Musensohn", all with Hubert Giesen, piano; Popular songs such as "Granada" and Viennese songs, with chamber orchestra accompaniment. There are no texts for the songs, but you may have text booklets with other CD releases, so don't really need them when you hear Wunderlich's beautiful voice.

There is a booklet with articles about Wunderlich's career, including a preface by his widow, Eva Wunderlich, photos of Wunderlich as a boy and young man, with his wife Eva in 1965, and children Constanze, Wolfgang, and Barbara. I enjoy reading and looking at the booklet, even apart from listening to the beautiful recordings.

Wunderlich was a genius, and his voice sounds great in every track, mono (some, but not a majority) and stereo (most of the tracks in the 7 discs are stereo) alike. If you love great music, and opera, but like me aren't often of a mind to sit still for 3 hours to listen to one, get this. It's a great release, and reasonably priced to boot. I'm thankful to God for great music, for the ability to hear and feel, and for Fritz Wunderlich and his service to music lovers everywhere.

Average customer rating:

Doris Soffel Sings Lieder

Manufacturer: Caprice
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
ASIN: B00000C2LF
Release Date: 1998-09-15

Tracks:

Gretchen Am Spinnrade D.118
Szene Aus Faust D.126
Wiegenlied D.498
Five Songs To Poems: Abschied Von Frankreich
Five Songs To Poems: Nach Der Geburt Ihres Sohnes
Five Songs To Poems: An Die Konigin Elisabeth
Five Songs To Poems: Abschied Von Der Welt
Five Songs To Poems: Gebet
Traumlieder: Von Ewiger Liebe, Op.43:1
Traumlieder: Im Garten Am Seegestade, Op.70: 1
Traumlieder: Ach, Wende Diesen Blick, Op.57:4
Traumlieder: Immer Leiser Wird Mein Schlummer, Op.105:2
Traumlieder: Auf Dem Kirchhofe, Op.105:4
Traumlieder: Der Tot, Das Ist Die Kuhle Nacht, Op.96:1
Traumlieder: Dammrung Senkte Sich Von Oben, Op.59:1
Traumlieder: Regenlied, Op.59:3
Three Songs: Das Irdische Leben
Three Songs: Rheinlegendchen
Three Songs: Wo Die Schonen Trompeten Blasen
'A Mademoiselle Ester Sidner': Depart

Average customer rating:

Could be good...
Worst German CD I have ever bought. Poor Quality Overall
The best musical ever!!!!!!!!!!!!!!!!!!!

Songs of the Berlin Cabaret 1920 - 29

Manufacturer: Helicon Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
ASIN: B000005BIV
Release Date: 1998-09-01

Tracks:

Meine Schwester liebt den Buster (from Es kommt jeder dran)
Zwei dunkle Augen (from Bei uns um die Gedactniskirche rum)
Ich traume jede Nacht von Elisabeth! (from The Poet's Birthday)
Moccalied (from Pompeii)
Mady - Foxtrot
Melodie perverse
Deine sussen blauen Augen
Carmencita
Sag, warum?
Das bist Du! (from Das bist Du!)
Und immer noch spiel'nse Blues! (from Bitte einsteigen!)
Kinder, spielt mir doch eine weiche Tangoplatte (from Bitte einsteigen!)
Du bist mein Typ! (from Laterna Magica)
Ich tanz' Charleston (from Daruber lasst sich reden)
Tango (from Once Bourgeois, Always Bourgeois)
Ach, Anastasia!
Dame in Weiss
Sind Sie der Herr vom Funf-Uhr-Tee? (from Der! Die! Das!)

Customer Reviews:

Could be good..........1999-09-12

This CD's musical selections are good, though the artist's German delivery isn't.

Worst German CD I have ever bought. Poor Quality Overall.......1999-08-12

This CD is not typical of Caberet music of the '20's, and I really don't know where they got the songs. My wife who was raised in Berlin agrees. Artists are simply a piano and one female singer.and the qualaity of the CD is very poor but not the type of "poor" that one would expect if the recordings were reproductions of songs/music recorded in the 1920's. Poor modern recording. I'd sure pass this one if I were you.

The best musical ever!!!!!!!!!!!!!!!!!!!.......1999-02-04

I Think this musical was very good I also love the music in it!

Average customer rating:

really brilliant recording

Schönberg: Ausgewählte Lieder

Manufacturer: Capriccio
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Folk | Styles | Music

General | Opera & Vocal | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

Customer Reviews:

really brilliant recording.......2003-09-19

The musicality of the performances here is top-rate, the engagement of voice and piano is subtle and alive, and the songs are stunning-- in the autumn of tonality, with dark texts, soaked in the zeitgeist of Europe's coming descent into madness. These songs show Schoenberg's debt to Brahms, and the final folk settings show a side of Schoenberg you wouldn't expect-- aching, sad sweetness.

Average customer rating:

If singing comes first this isn't for you
The emperor's new Fidelio
Disagree about Angela Denoke.

Beethoven: Fidelio (complete opera)
Angela Denoke , Ludwig van Beethoven , Sir Simon Rattle , and Berlin Philharmonic Orchestra
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music
ASIN: B0000AHEAU
Release Date: 2003-09-02

Tracks:

Fidelio
Duett - Jetzt, Schatzchen, Jetzt Sind Wir Allein
Rezitativ - Armer Jaquino
Arie - O War Ich Schon Mit Dir Vereint
Rezitativ - Marzelline, Ist Fidelio Noch Zuruckgekommen
Quartett - Mir Ist So Wunderbar
Rezitativ - Hore, Fidelio, Ich gebe Dir Meine Tochter Zur Frau
Arie - Hat Man Nicht Auch Gold Beineben
Rezitativ - Ihr Konnt Das Leicht Sagen, Meister Rocco
Terzett - Gut, Sohnchen, Gut, Hab' Immer Mut Nur Auf Der Hut, Dann Geht Es Gut
Nur Auf Der Hut, Dann Geht Es Gut
Marsch
Rezitativ - Wo Sind Die Depeschen
Arie Mit Chor - Ha! Welch' Ein Augenblick
Rezitativ - Hauptmann! Bestigen Sie Mit Einem Trompeter
Duett - Jetzt, Alter, Jetzt Hat Es Eile
Rezitativ - Abscheulicher! Wo Eilst Du Hin
Und Arie - Komm, Hoffnung Lab Den Letzten Stern
Rezitativ - Meister Rocco, Ihr Verspacht So Oft
Finale - O Welche Lust
Nun Sprecht, Wie Ging's
Ach! Vater, Eilt
Leb Wohl, Du Warmes Sonnenlicht

Tracks:

Introduktion Und Arie - Gott! Welch' Dunkel Hier
In Des Lebens Fruhlingstagen
Melodram - Wie Kalt Ist Es Hier
Und Duett - Nur hurtig Fort, Nur Frisch Gegraben
Rezitativ - Er Erwacht
Terzett - Euch Werde Lohn In Besser'n Welten
Rezitativ - Alles Ist Bereit
Quartett - Er Sterbe/ Rezitativ - Vater Rocco
Es Schlagt Der Rache Stunde
Duett - O Namenlose Freude
Finale - Heil Sei Dem Tag
Des Besten Konigs Wink Und Wille
O Gott! Welch' Ein Augenblick
Wer Eini Holdes Weib Errungen

Amazon.com

This recording presents a "new edition" of Fidelio, one in which "there are countless differences in articulation, dynamics, timbre, orchestral scoring and even the actual notes." Indeed, some of the tempi are not what we're used to, and the wind parts are more prominent, but otherwise, it's impossible to tell the difference. The orchestra plays as smoothly as silk under Sir Simon Rattle, the chorus is glorious, and the smaller roles are beautifully taken: the Jaquino of Rainer Trost is youthful, eager and handsomely sung, while the imposing, simply beautiful Don Fernando of Thomas Quasthoff is a treat, and Juliane Banse's Marzelline is a real, flesh-and-blood character. The Rocco and Pizarro are good. But Jon Villars' Florestan, though well sung, is lightish and lacks pathos, and Angela Denoke's Leonore is, simply, poorly sung. Lovers of Beethoven's music should turn to the Otto Klemperer-led Christa Ludwig/Jon Vickers performance on EMI for a great Fidelio. --Robert Levine

Customer Reviews:

If singing comes first this isn't for you.......2006-11-23

The Rattle Fidelio is outstanding from an overall and an orchestral standpoint. Based on a new Barenreiter performing edition (although I'm not sure I could tell what differences are notational and what are performance-based), Sir Simon presents Beethoven's musical structure in an incredibly moving and dramatic way, and the Berlin Philharmonic shines. I find no fault with Sir Simon here. His grand pauses and tempi are unusual...but who says we have to hear this the same way all the time? The voices of Marzelline, Jaquino, Rocco, Pizarro, and Don Fernando (Quasthoff) are fine to excellent. The vocal leads, however, disappoint. Florestan (Villars) is clean but boring, unidiomatic, non-pathos-laden, and completely inadequate for the essential dramatic requirements of the role (Jon Vickers where are you?). Leonore (Denoke) is also less than optimal, especially in the "Abscheulicher!". With a better Florestan and a better Leonore this would have been a great recording. As it is, it is worth hearing. Whether you want to own it or not depends on how many Fidelios you want on your shelf. It's definitely not the one and only, and no recording of Fidelio that I know of even comes close to being that, but to the extent that singing matters (after all, this is an opera) there are better.

The emperor's new Fidelio.......2005-10-01

I admire Simon Rattle and was thrilled when he beat out Barenboim for leadership of the Berlin Phil. But except on rare occasoins, Rattle has never been a strong advocate of Beethoven--he went 20 years of prolific recording activity without making any Beethoven CDs, just as he recorded no Mozart or Brahms symphonies and precious little Haydn. Now he finds himself in the wrong territory fot that kind of holdout. Playing catch-up hasn't been easy.

This live Fidelio is a case in point. It would be automatically disqualified (except to slavishly devoted British critics) by the second-rate singing in every lead role, but especially the light-voiced and totally unidiomatic Leonora and Florestan. But even with better singers, Rattle can't find a style for Beethoven, other than to fuss over the line and push the pace. This great masterpiece demands a lot more--at this point Rattle doesn't have it to give.

Disagree about Angela Denoke........2005-07-16

While generally agreeing with Mr. R. Levine's evaluation, I take strong exception to his comment on Angela Denoke.
She is a wonderful heroic soprano, perfect for the role. Her passionate, emotionally charged voice blends beautifully in the ensembles and shines in her great aria "Abscheulicher!" in the first act. In any case how could she have been chosen otherwise for the Salzburg Easter Festival by Sir Simon Rattle ?
(She also has spectacular looks, should a DVD ever be considered)
This is a great new set, conducted with inspiration and wonderfully recorded with rich well rounded sound. Highly recommended!

Mozart - Die Entführung aus dem Serail / Y. Kenny · L. Watson · P. Schreier · Gamlich · Salminen · Reichman · Zürich Opera · Harnoncourt

Average customer rating:

Highly Enjoyable
A Recording that is original, authentic, and enjoyable
Singspiel as it should be done
Finally ! die Entfurung treated seriously !
Sterile conducting; some interesting singing

Mozart - Die Entführung aus dem Serail / Y. Kenny · L. Watson · P. Schreier · Gamlich · Salminen · Reichman · Zürich Opera · Harnoncourt
Wolfgang Amadeus Mozart , Nikolaus Harnoncourt , Yvonne Kenny , Lillian Watson , Chor und Mozartorchester des Opernhaus Zürich , Peter Schreier , Wilfried Gamlich , Matti Salminen , Wolfgang Reichman , "Product Details" shows harnoncourt as composer , and mozart as composer, etc. yvonne kenny as conductor
Manufacturer: Teldec
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
ASIN: B000000SB6
Release Date: 1989-05-18

Tracks:

Die Entfuhrung Aus Dem Serail: Ouverture
Die Entfuhrung Aus Dem Serail: Erster Aufzug: No. 1 Aria 'Hier soll ich dich denn sehen'
Die Entfuhrung Aus Dem Serail: Erster Aufzug: Dialog 'Aber wie soll ich in den Palast kommen'
Die Entfuhrung Aus Dem Serail: Erster Aufzug: No. 2 Lied und Duett, 'Wer ein Liebchen hat gefunden' - 'Verwunscht seist du samt deinem Liede!'
Die Entfuhrung Aus Dem Serail: Erster Aufzug: Dialog, 'Konnt' ich mir doch noch so einen Schurken'
Die Entfuhrung Aus Dem Serail: Erster Aufzug: No. 3 Aria, 'Solche hergelauf'ne Laffen'
Die Entfuhrung Aus Dem Serail: Erster Aufzug: Dialog, 'Geh nur, verwunschter Aufpasser'
Die Entfuhrung Aus Dem Serail: Erster Aufzug: No. 4. Recitativo ed Aria, 'Konstanze! dich wieder zu sehen! - O wie angstlich, o wie feurig'
Die Entfuhrung Aus Dem Serail: Erster Aufzug: Dialog, 'Geh nur, verwunschter Aufpasser'
Die Entfuhrung Aus Dem Serail: Erster Aufzug: No. 5b Chor der Janitscharen, 'Singt dem grossen Bassa Lieder'
Die Entfuhrung Aus Dem Serail: Erster Aufzug: Dialog, 'Immer noch traurig, geliebte Konstanze?'
Die Entfuhrung Aus Dem Serail: Erster Aufzug: No. 6 Aria, 'Ach ich liebte, war so glucklich!'
Die Entfuhrung Aus Dem Serail: Erster Aufzug: Dialog, 'Ihr Schmerz, ihre Tranen, ihre Standhaftigkeit'
Die Entfuhrung Aus Dem Serail: Erster Aufzug: No. 7 Terzett, 'Marsch! Marsch! Marsch! trollt euch fort'
Die Entfuhrung Aus Dem Serail: Zweiter Aufzug: No. 8 Aria, 'Durch artlichkeit und Schmeicheln'
Die Entfuhrung Aus Dem Serail: Zweiter Aufzug: Dialog, 'Zartlichkeit! Schmeicheln!'
Die Entfuhrung Aus Dem Serail: Zweiter Aufzug: No. 9 Duetto, 'Ich gehe, doch rate ich dir'
Die Entfuhrung Aus Dem Serail: Zweiter Aufzug: Dialog, 'Wie traurig das gute Madchen daherkommt'
Die Entfuhrung Aus Dem Serail: Zweiter Aufzug: No. 10 Recitativo ed Aria, 'Welcher Wechsel herrscht in meiner Seele' - 'Traurigkeit ward mir zum Lose'
Die Entfuhrung Aus Dem Serail: Zweiter Aufzug: Dialog, 'Ach mein bestes Fraulein!'
Die Entfuhrung Aus Dem Serail: Zweiter Aufzug: No. 11 Aria, 'Martern aller Arten'
Die Entfuhrung Aus Dem Serail: Zweiter Aufzug: Dialog, 'Ist das ein Traum?'

Tracks:

Die Entfuhrung Aus Dem Serail: Zweiter Aufzug: Dialog, 'Kein Bassa, keine Konstanze mehr da?'
Die Entfuhrung Aus Dem Serail: Zweiter Aufzug: No. 12 Aria, 'Welche Wonne, welche Lust'
Die Entfuhrung Aus Dem Serail: Zweiter Aufzug: Dialog 'Ah, dass es schon vorbei ware!'
Die Entfuhrung Aus Dem Serail: Zweiter Aufzug: No. 13 Aria, 'Frisch zum Kampfe! Frisch zum Streite!'
Die Entfuhrung Aus Dem Serail: Zweiter Aufzug: Dialog, 'Ha! Geht's hier so lustig zu?'
Die Entfuhrung Aus Dem Serail: Zweiter Aufzug: No. 14 Duetto, 'Vivat Bacchus! Bacchus lebe!'
Die Entfuhrung Aus Dem Serail: Zweiter Aufzug: Dialog, 'Wahrhaftig, es geht doch nichts uber den Wein!'
Die Entfuhrung Aus Dem Serail: Zweiter Aufzug: No. 15 Aria, 'Wenn der Freude Tranen fliessen'
Die Entfuhrung Aus Dem Serail: Zweiter Aufzug: Dialog, 'Ich hab' hier ein Schiff in Bereitschaft'
Die Entfuhrung Aus Dem Serail: Zweiter Aufzug: No. 16 Quartetto, 'Ach Belmonte! ach mein Leben!'
Die Entfuhrung Aus Dem Serail: Dritter Aufzug: Dialog, 'O Konstanze! Wie schlagt mir das Herz!'
Die Entfuhrung Aus Dem Serail: Dritter Aufzug: No. 17 Aria, 'Ich baue ganz auf deine Starke'
Die Entfuhrung Aus Dem Serail: Dritter Aufzug: Dialog, 'Alles liegt auf dem Ohr'
Die Entfuhrung Aus Dem Serail: Dritter Aufzug: No. 18 Romance, 'In Mohrenland gefangen war'
Die Entfuhrung Aus Dem Serail: Dritter Aufzug: Dialog, 'Sie macht auf Herr!'
Die Entfuhrung Aus Dem Serail: Dritter Aufzug: Dialog, 'Gift und Dolch! Was ist das?'
Die Entfuhrung Aus Dem Serail: Dritter Aufzug: No. 19 Aria, 'O, wie will ich triumphieren'
Die Entfuhrung Aus Dem Serail: Dritter Aufzug: Dialog, 'Was gibt's, Osmin, was gibt's?'
Die Entfuhrung Aus Dem Serail: Dritter Aufzug: No. 20 Recitativo e Duetto, 'Welch ein Geschick!' - 'Meinetwegen sollst du sterben!'
Die Entfuhrung Aus Dem Serail: Dritter Aufzug: Dialog, 'Zitterst du?'
Die Entfuhrung Aus Dem Serail: Dritter Aufzug: No. 21a Vaudeville, 'Nie werd' ich deine Huld Verkennen'

Customer Reviews:

Highly Enjoyable.......2005-12-19

Ths recording has its faults, but is still extremely enjoyable. I have have to agree with one of the previous reviewers about the conducting. It does sound quite detached and lacks all spontaneous quality, but the singers still manage very nicely. The recording sound also comes across as being far away, but it really doesn't make a difference because it isn't bad at all. The singers are all very good. Much as it pains me to say, you can tell that as far coloratura goes, this is just about Kenny's limit. She nevertheless has such an exquisite and full voice that she easily makes up for it, especially in the quartet. Highly reccomended.

A Recording that is original, authentic, and enjoyable.......2005-07-17

THE ABDUCTION FROM THE SERAGLIO (DIE ENTFUHRUNG AUS DEM SERAIL) was both a critical and popular success in Mozart's lifetime and while it is not revived as often as the three Da Ponte Operas (Marriage, Giovanni, and Cosi) or THE MAGIC FLUTE, it has never been completely out of the repertoire. Its overture is a popular work in symphonic concerts and a few of its arias find their way into the concert arena.

In some respects the opera was revolutionary as is the case in so many Mozart works. The music has what is called a "Turkish" flair which was quite popular in Mozart's day. The Arabic world was seen as mysterious and exotic and anything Arabic was all the rage. Mozart does his best to give the music of the opera what was believed to be an authentic Arabic sound and used a wide variety of instruments to achieve this effect. It was also one of the first masterful scores for the German opera form known as singspiel where the arias are separated by spoken dialogue rather than musical recitative. The music worked for the stage, was loved by the audience, and sets a higher standard for music of the stage.

Many times recordings from "period instruments" can sound strange to the modern ear because we are used to a fuller symphony orchestra than would have been the case in Mozart's day. Nikolaus Harnoncourt is able to use period instruments to make this recording sound as authentically Mozartarian (I'm not sure there is such a word but I'm using it anyway) and pleasing to the modern listener. The soloists do a great job, the spoken dialogue is not jarring as it can be in some recordings, and it is an overall appealing set.

There are a number of good solid recordings of this work available. Two of the standards are the set under the direction of Ferenc Fricsay and another set directed by Sir Geog Solti. Both are highly praised and can provide an enjoyable listening experience, but if you are a Mozart buff, or want to hear a fresh recording of a great yet often neglected work, the Harnoncourt set is just for you.

Singspiel as it should be done.......2000-07-10

Certainly Harnoncourt is a controversial director. But what do we have here? A rather outdated story which in its own time was already particularly implausible. The comic effect would not even qualify for the laughing track of our modern sitcoms. Yet the music is just too good to dismiss it. Harnoncourt found the redemption key. A rather crisp tempo over all, a choice of bright and raw sonorities allows us not to dwell too much on the unlikely story. A few excellent singers, well directed, allow us to appreciate the wonderful pyrotechnics of the Mozart arias. The result? We do not force our laughter anymore and we leave with a wonderful sense of optimism. The all is well that ends well shines thorough the performance. What is even better, we leave this performance finally realizing that technically this was the first of the great Mozart operas, that some of the arias have nothing to envy the subsequent works. Then again Mozart fans knew this secret all along. It is the merit of this performance to show this to the newcomer. And to the critic of Harnoncourt to consider that perhaps he does have a valid point, that Mozart never intended this opera to be a mellifluous work, but a dynamic romp.

Finally ! die Entfurung treated seriously !.......2000-01-11

And it is an eye opener ! For starters, Harnoncourt costum built the turkish instruments that the score calls for, and that creates such a diversity in sound, that it is as though the dust and old varnisch has been lifted of an old stuffy painting to reveal the Rembrand underneath. Very precise, and extremely exciting is the way Harnoncourt chooses his tempi, justified by years of thorough musical research and a rich understanding of performance practice of the 18th century. Excellent soloists, particularly Matti Salminen sticks out. Extreme contrats in the characters also creates an extremely HUMAN story, what Mozart is all about in the end. If you play this stuff as background music, do NOT buy this disc.

Sterile conducting; some interesting singing.......1999-11-27

To my ear, Harnencort's conducting sounds detatched, like he's not enjoying the music much, even though he tries to sound playful with fast tempi and lots of percussion in the overture. The tenors and the women sound overrehearsed, sacrificing fun for precision.

Tracks:

Mein Kleiner Graktus
Ich Hab' Fh 'Nen Blumentopf Bestelt
Wochenend und Sonnenschein
Ungarischer Tanz Nr. 5
So Ein Kub Kommt Selten Allein
Gars de la Marine (Das Ist Die Liebe Der Matrosen)
Auf Wiedersehn, My Dear
Ohne Dich: "Sturmisches Wetter" (Stormy Weather)
Perpetuum Mobile
Ali-Baba
Jetzt Trinken Wir Noch Eins
SchLisa
Mein Herz Ruft Immer Nur Nach Dir - Oh Marita
Wie Ws Mit Lissabon
Tarantella Sincera
Hein Spielt Abends So Schuf Dem Schifferklavier
Whispering
Dorfmusik

Wagner: Die Meistersinger von Nurnberg / Barenboim

Average customer rating:

Barenboim Conducts A Fine Score But The Singers Are Bland
A Fearless,Genuine Walther
Near Perfect Recording
Fantastic!
Excellent sound and tight, exciting conducting!

Wagner: Die Meistersinger von Nurnberg / Barenboim
Richard Wagner , Daniel Barenboim , Matthias Holle , Andreas Schmidt , Peter Seiffert , Bayreuth Festival Orchestra , and Robert Holl
Manufacturer: Elektra / Wea
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: Der Ring des Nibelungen

ASIN: B00004U5AG
Release Date: 2000-09-05

Tracks:

Die Meistersinger von Nurnberg: Vorspiel
Die Meistersinger von Nurnberg: Erster Aufzug - Erste Szene - Da zu dir der Heiland kam (Die Gemeinde)
Die Meistersinger von Nurnberg: Verweilt! Ein Wort - ein einzig Wort! (Walther, Eva, Magdalene)
Die Meistersinger von Nurnberg: Ach, David! David! (Magdalene, David, Walther, Eva)
Die Meistersinger von Nurnberg: Zweite Szene - David! Was stehst? (Lehrbuben, David, Walther)
Die Meistersinger von Nurnberg: Mein Herr! Der Singer Meister - Schlag (David, Walther)
Die Meistersinger von Nurnberg: Der Meister Ton' und Weisen (David, Walther, Lehrbuben)
Die Meistersinger von Nurnberg: Nur dies noch (Walther, David, Lehrbuben)
Die Meistersinger von Nurnberg: Dritte Szene - Seid meiner Treue wohl versehen (Pogner, Beckmesser, Walther)
Die Meistersinger von Nurnberg: Zu einer Freiung und Zunftberatung (Kothner, Pogner, Vogelgesang, Ortel, Zorn, Nachtigal, Moser, Ein Lehrbube, David, Sachs, Beckmesser, Eisslinger, Foltz, Schwarz)
Die Meistersinger von Nurnberg: Fur wicht'gen Antrag bitt'ich ums Wort (Pogner, Kothner)
Die Meistersinger von Nurnberg: Das heibt ein Wort, ein Wort ein Mann (Die Meister)
Die Meistersinger von Nurnberg: Wohl Meister! (Pogner, Beckmesser, Die Meister, Kothner, Nachtigal, Sachs)
Die Meistersinger von Nurnberg: Am stillen Herd in Winterszeit (Walther, Sachs, Beckmesser, Kothner, Vogelgesang)
Die Meistersinger von Nurnberg: Ein saures Amt, und hart zumal (Beckmesser, Kothner, Walther)

Tracks:

Die Meistersinger von Nurnberg: Dritte Szene - Fur dich, Geliebte, sei's getan (Walther, Kothner, Beckmesser)
Die Meistersinger von Nurnberg: Seid ihr nun fertig? (Beckmesser, Walther, Pogner, Kothner, Die Meister)
Die Meistersinger von Nurnberg: Halt, Meister! Nicht so geeilt! (Sachs, Beckmesser, Nachtigal, Kothner, Pogner)
Die Meistersinger von Nurnberg: Zweiter Aufzug - Erste Szene - Johannistag! Johannistag! (Lehrbuben, David, Magdalene, Sachs)
Die Meistersinger von Nurnberg: Sweite Szene - Lab seh'n, ob Meister Sachs zu Haus? (Pogner, Eva, Magdalene)
Die Meistersinger von Nurnberg: Dritte Szene - Zeig'her! - 's ist gut - Dort an die Tur (Sachs, David)
Die Meistersinger von Nurnberg: Was duftet doch der Flieder (Sachs)
Die Meistersinger von Nurnberg: Vierte Szene - Gut'n Abend, Meister! Noch so fleibig? (Eva, Sachs, Magdalene)
Die Meistersinger von Nurnberg: Ach ja! Hast recht; 's ist im Kopf mir kraus (Sachs, Eva)
Die Meistersinger von Nurnberg: Das dacht' ich wohl (Sachs, Magdalene, Eva)
Die Meistersinger von Nurnberg: Funfte Szene - Da ist er! (Eva, Magdalene, Walther)
Die Meistersinger von Nurnberg: Uble Dinge, die ich da merk' (Sachs, Walther, Eva)
Die Meistersinger von Nurnberg: Tu's nicht! - Doch horch! (Eva, Walther, Sachs)
Die Meistersinger von Nurnberg: Jerum! Jerum! Hallo hallohe! (Sachs, Beckmesser, Walther, Eva)
Die Meistersinger von Nurnberg: Das Fenster geht auf (Beckmesser, Eva, Walther, Sachs)
Die Meistersinger von Nurnberg: Den Tag Seh' ich erscheinen (Beckmesser, Sachs)
Die Meistersinger von Nurnberg: Seid lhr nun fertig? (Sachs, Beckmesser, David, Nachbarn)
Die Meistersinger von Nurnberg: Siebte Szene - Ach, Himmel! David! Gott, welche Not! (Magdalene, Nachmarn, Lehrbuben, Gesellen, Die Meister, Pogner, Walther, Nachtwachter)

Tracks:

Die Meistersinger von Nurnberg: Dritter Aufzug - Vorspiel
Die Meistersinger von Nurnberg: Erste Szene - Gleich, Meister! Hier! (David, Sachs)
Die Meistersinger von Nurnberg: Am Jordan Sankt Johannes stand (David, Sachs)
Die Meistersinger von Nurnberg: Wahn! Wahn! Uberall Wahn! (Sachs)
Die Meistersinger von Nurnberg: Grub Gott, mein Junker (Sachs, Walther)
Die Meistersinger von Nurnberg: Mein Freund! In holder Jugendzeit (Sachs, Walther)
Die Meistersinger von Nurnberg: Morgenlich leuchtend in rosigem Schein (Walther, Sachs)
Die Meistersinger von Nurnberg: Abendlich gluhend in himmlischer Pracht (Walther, Sachs)
Die Meistersinger von Nurnberg: Dritte Szene - Ein Werbelied! Von Sachs! (Beckmesser, Sachs)
Die Meistersinger von Nurnberg: Sieh da, Herr Schreiber? Auch am Morgen? (Sachs, Beckmesser)
Die Meistersinger von Nurnberg: Das Gedicht? Hier lieb ich's (Sachs, Beckmesser)
Die Meistersinger von Nurnberg: Vierte Szene - Sieh, Evchen! (Sachs, Eva)
Die Meistersinger von Nurnberg: Immer schstern, das ist nun mein los (Sachs, Walther)
Die Meistersinger von Nurnberg: Hat man mit dem Schuhwerk nicht seine Not? (Sachs)
Die Meistersinger von Nurnberg: O Sachs! Mein Freund! Du Teurer Mann! (Eva, Sachs)
Die Meistersinger von Nurnberg: Ein Kind ward hier geboren (Sachs)

Tracks:

Die Meistersinger von Nurnberg: Die selige Morgentraum - Deutweise (Sachs, Eva, Walther, David, Magdalene)
Die Meistersinger von Nurnberg: Funfte Szene - Sankt Krispi, lobet ihn! (Schuster, Schneider, Backer, Lehrbuben)
Die Meistersinger von Nurnberg: Wach' auf, es nahet gen den Tag (Lehrbuben, Volk)
Die Meistersinger von Nurnberg: Die Meistersinger (Gesellen, Lehrbuben, David)
Die Meistersinger von Nurnberg: Wach' auf, es nahet gen den Tag (Lehrbuben, Volk)
Die Meistersinger von Nurnberg: Euch macht ihr's leicht, mir macht ihr's schwer (Sachs, Pogner, Beckmesser, Kothner)
Die Meistersinger von Nurnberg: O Sachs, mein Freund (Pogner, Sachs, Beckmesser, Kothner, Volk)
Die Meistersinger von Nurnberg: Morgen ich leuchte in rosigem Schein (Beckmesser, Die Meister, Kothner, Volk)
Die Meistersinger von Nurnberg: Welch eig'ner Fall! (Meister, Sachs, Volk, Lehrbuben)
Die Meistersinger von Nurnberg: Morgenlich leuchtend im rosigen Schein (Walther, Volk, Die Meister, Sachs, Pogner, Eva)
Die Meistersinger von Nurnberg: Den Zeugen, denk es, wahlt ich gut (Sachs, Volk, Die Meister, Pogner, Walther)
Die Meistersinger von Nurnberg: Verachtet mir die Mesiter nicht (Sachs, Volk)

Customer Reviews:

Barenboim Conducts A Fine Score But The Singers Are Bland.......2006-03-17

This studio recording corresponds with a production of Meistersinger conducted by Daniel Barenboim at Bayreuth in the 1990's. For fans of Barenboim and his style of conducting Wagner this is a real treat. The singers are modern singers who project their voices well and have some beautiful moments but generally sound bland and uninteresting. Of course, they are up against some tough competition - singers who have scored huge success in the few recordings there are of Meistersinger include Dietrich Ficher-Dieskau, Theo Adam, Placido Domingo, Gundula Janowitz, Rene Kollo, Cheryl Studer, Kurt Moll and others. Barenboim, too, was aware that conducting the music for this opera meant he would be immediately likened to other conductors of great fame like Furtwangler, Karajan, Jochum, Sawallisch, Kubelik and Solti, all conductors who have recordings of Meistersinger.

At a length of 4 hours and 30 minutes, this extensive, highly musical comic opera is considered to be Wagner's best work prior to his more mature works like Tristan And Isolde, the Ring and Parsifal. Set in Medieval Germany, the plot centers around a huge singing contest in old Nuremberg. There is hanky-panky going on between a contestant and the wife of another contestant. Whoever sings the most beautiful and meaningful song in praise of German artistry wins the hand of the fair Elsa, a role that is probably the most taxing for a lyric soprano. The wise cobbler Hans Sachs is a principal role and calls for a lyric but powerful bass voice and very few singers master this role. The bass in this opera is rather good, and sings well, but does not put any idiom or nuance to his acting. Granted, this opera is tough to put on. It does not enjoy immense popularity in major opera houses and only a few stage it. Today, you are likely to find that only Bayreuth still stages this work. Barenboim, who was Jewish by the way, remains an active and popular conductor and his talent for conducting Wagner is extraordinary. No other conductor alive today can do this.

A Fearless,Genuine Walther.......2005-01-04

Nearly the ideal "Meistersinger" but that same problem ever;an old Hans Sachs voice just razing the performance,all in all Sachs is all but one third of this opera.In fact,Holl doesn't ruin Barenboim so severely like Van Dam did on last Solti's version.My disagreement on previous rewiew concerns the leading couple.I loved them;Emily Magee sings a cheerful Eva,just perfect to her fellow,Peter Seiffert,in my opinion,the reason because this set is an indispensable one.There aren't any,one single bar of weariness or vocal laziness by him.In his voice,Walther is a genuine happiness,a so fearless guy that he can be the Wagner's alter ego embodiment.I was bewitched by his commitment and strenght on "Prize Song" that has something special,unfamiliar even on the best Heppner's recordings.You must to listen this performance,also because Seiffert's voice improves a lot on Bayreuth acoustics.Schmidt sings a less caricatural Beckmesser than usual,Hölle'singing is decaying,something like Eva's grandfather and others singers are Ok.Barenboim is shining,from prelude until the end,hasty sometimes,to be truthful.Fine chorus but Bayreuth Orch. players are the real eminences;St Catherine's Church employed a dazzling cellist that night,and so on.Let me tell you;this is gorgeous.Forgive that old age Sachs and just buy!

Near Perfect Recording.......2001-10-24

This recording confirms my belief that Barenboim's best Wagner recordings are those made at Bayreuth. Whether that is because of the cast, the orchestra or the atmosphere of a live performance I don't know. What I do know is that any Wagnerian will be pleased with this recording. I can't find any flaws and can't seem to stop listening.

Fantastic!.......2000-11-19

After spending saturday listening, twice, to the 4 CD's I am still ready for more.

Regardless of the "problems" of a live recording, like stage noise, I belive that operas are better served in this enviroment. Recording quality, and high audio equipment, has improved to the point that is near to be there. You get the sense of the performer moving around and, thanks God, people does not cough like in the historic recordings.

Mr. Barenboim conducts in a very adequate manner this romantic opera and the performers are up to the task. The strings of the Bayreuther Festspiele are warm and the metals command perfect control.

The cast is enormous and to have a perfect sound talks marvel of this recording.

A must buy.

Excellent sound and tight, exciting conducting!.......2000-10-02

I've yet to finish listening to this set yet, but from what I've heard so far, it's a strong contender for THE version to get, alongside the Solti one.

Sound quality is superb, has to be one of the best recordings from Bayreuth.

Rap Music: