Pray 4 Me

Track Listings

1. Shall We Begin

2. Murda Made a Man of Me

3. Sweet Dreams

4. Siccness - Brotha Lynch Hung, , Doomsday Productions

5. Multiply

6. Respect - Doomsday Productions,

7. Pray 4 Me - Doomsday Productions,

8. Dawn 2 Dawn - Doomsday Productions,

9. 40's Callin' [Contains You Body's Callin']

10. Freak Me - Da Club, Doomsday Productions

11. Nigga in My Life - Doomsday Productions,

12. Oh Please

13. Mr. Mac

14. That's Me (Pimp or Die)

15. That's You (Sucka)

16. Meal Ticket [*]

Average customer rating:

1st half good 2nd half too mushy and boring
Tightest CD to come outta Vegas!
Some of the hardest rap on the west coast
Best hardcore rap cd ever made
Tha siccness

Pray 4 Me
Doomsday Productions
Manufacturer: Cinsity Records
ProductGroup: Music
Binding: Audio CD

Gangsta & Hardcore | Rap & Hip-Hop | Styles | Music

General | Rap & Hip-Hop | Styles | Music

Pop Rap | Rap & Hip-Hop | Styles | Music

General | Rap & Hip-Hop | Indie Music | Stores | Music

Gangsta & Hardcore | Rap & Hip-Hop | Indie Music | Stores | Music
Similar Items:

Filthy
XV
Northtown vs. Westside Vol. 1
Northtown Vs. Westside, Pt. 2
Best of Black Market

ASIN: B000005BSC
Release Date: 1997-10-14

Tracks:

Shall We Begin
Murda Made A Man Of Me
Sweet Dreams
Siccness
Multiply
Respect
Pray 4 Me
Dawn 2 Dawn
40's Callin'
Freak Me
The Ni**a In My Life
One Mo' Hit
Mr. Mac
That's Me (Pimp Or Die)
That's You (Sucka)
Mealticket

Customer Reviews:

1st half good 2nd half too mushy and boring.......2005-07-20

Loved the first half of the album, the second half got too booring and mushy. Of course I am a demented horrorcore fan. In the albums defense the first half of the album is good enough to warant buying the cd. Deffinateley worth a listen at the very least to any horrorcore fan.

Tightest CD to come outta Vegas!.......2004-05-25

Mayne this album is sooo tight I can only compare a few albums to it. I think it's their best album all together. The reason is because the beats were tight den a mug, plus the themes were universal. The first 5 songs are hardcore, then it gets into the pimpin side. That makes a good combo 4 me player. I like it much better than "Filthy" because of the beats. The lyrics are always tight and sick, but the songs on "Filthy" were all the same genre. "Pray For Me" was an excellent mix of dat sickness and pimpish. My favorite is da sickness wit Lynch and Multiply, then the last 4 pimp songs, except the bonus track. "Survival of da Sickest" is just a remix of this album, so get this first then Survival. Trust me dog, this album ranks right up there with "Season of da Sickness" and "Xorcist." A Las Vegas classic.

Some of the hardest rap on the west coast.......2003-08-11

I just love lynch mixed with dooms production. It is what real is.

Best hardcore rap cd ever made.......2002-06-06

Doomsday is the best hardcore rap group ever. They should be on MTV and BET but their lyrics are to violent for tv. I would rather listen to Doomsday than listen to most of the other people that are on tv. This is the best cd they have ever put out. All of the songs are good. They represent Las Vegas well and so everybody that we aren't little girls like everybody thinks we are.

Tha siccness.......2001-01-04

Doomsday's second album far more better than their first album it has sixteen tracks that you can just play through. Their lyrics have more variety than the first album they rap about the usual doom stuff, repesent las Vegas and There is even a few tracks for the lady's. Favorite track is Siccness with Brotha lynch hung.

Average customer rating:

Fine reissue of a classic set

Purcell: Theatre Music

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

The Decca Records Store | Specialty Stores | Music
Similar Items:

Cantatas for Solo Countertenor
Purcell: The Fairy Queen
Purcell: Songs & Airs / Argenta, North, Boothby, Nicholson, Toll
Monteverdi - Madrigali guerrieri ed amorosi / Concerto Köln, Jacobs
Lute Music, Vol. 2

ASIN: B0001Y4JHA
Release Date: 2004-10-12

Customer Reviews:

Fine reissue of a classic set.......2006-05-24

Think about the stupidest, most formulaic Hollywood movies you can think of: cheesy action pictures, fluffy, unfunny comedies, big but stiff epics. Now imagine that one of the greatest living composers was working in Hollywood, turning out astonishing, hauntingly beautiful and stirring musical scores for these throwaway movies. That's what you get with this set: music Henry Purcell composed for some two dozen often utterly forgettable plays (trust me--I've read a number of them!) Occasionally, when he teams up with a playwright worthy of his stature, such as John Dryden, Aphra Behn, or William Congreve, the results are even better, but for the most part you can enjoy the music here without knowing anything about the original plays.

This set originally appeared as separate LPs in the 70s and 80s, and has been long out of print. That's a pity, since Purcell spent a good deal of his short professional life in the theatre, either writing the incidental music contained on these CDs, or the music for his larger works, the semi-operas (King Arthur, The Fairy Queen, and the like). Almost all of these works are enjoyable gems; certainly, they represent a pinnacle of English 17th century music. Purcell had a genius for spinning musical gold out of the most leaden lyrics (check out his Odes and Welcome Songs on Hyperion if you don't believe me), and he does the same with the song texts in these plays.

Hogwood and the AAM offer clean, listenable performances, and the sound on these old analog discs has been cleaned up and brightened--although they were pretty good, even in the late 70s. As with most Hogwood, emotional extremes are kept to a minimum, so the "otherworldly" nature of late 17th century music, so often emphasised in more recent Baroque performances, doesn't come across here. It would be interesting to see what a group like The King's Consort would do with this music, but this set fills the major gap in the Purcell canon quite nicely.

My only beef with the reissue, as with many reissues, is that the liner notes are rather thin for a 6-cd set--the lyrics to the songs, for example, are especially missed. Still, it's a worthwhile set, and a must for fans of Purcell, English Baroque music, or anyone who just wants to experience a taste of the last days of the Restoration stage.

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:

Siegfried (Goodall Ring Cycle/Chandos Opera in English)
The Twilight of the Gods (Goodall Ring Cycle/Chandos Opera in English)
Wagner: The Rhinegold
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:

Whither Runneth My Sweetheart
Will you Buy A Fine Dog?
Think'st Thou To Seduce Me Then
Can She Excuse My Wrongs
Cease Mine (Thine) Eyes
Giles Farnaby's Dream; His Rest
Go to Bed, Sweet Muse
Musing My Own Self All Alone
A Toy: The Dark Is My Delight
Of All The Birds That I Do Know
I Pray You, Good Mother
Fantasia
I Go Before My Darling
The Satyr's Masque
Pined I Am And Like To Die
Peter's Pleasure-The Second Part Of Peter
If Thou Long'st So Much To Learn
Away, Call Back What You Have Said
The Carman's Whistle
A Bellman's Song (Maids To Bed, And Cover Coal)
So Quick, So Hot, So Mad
Sweet Kate

Dennis O'Neill Sings More Favourite Tenor Arias

Average customer rating:

Dennis O'Neill Sings More Favourite Tenor Arias

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music
ASIN: B0001JSS6S
Release Date: 2004-06-29

Tracks:

Go On Stage - Put On Your Costume
Heaven And Sea!
I Pray That I Be Chosen - Goddess Aida
When Holy Church Has Blessed Our Love - That Fierce Inferno, Her Cruel Sentence
Foresto, My Soul Belongs To You
Here Unobserved In This Chapel - Angel Of Love Divine
One Day, Gazing At the Splendour Of Heav'n's Blue Distance
Just Like A Day In May Time
Ah! Would That God Had Given Him A Thousand Lives! - Yes, I Swear By Skies Of Marble
Do Not Fear Me
Give Me My Palette! - How Strange A Thing Is Beauty
Let Her Believe That I Have Gained My Freedom
My Friends, Don't Go Away - Neightbours, With A Glass I Meet You - Diana Montague
Mamma, Mamma, This New Wine Really Is Powerful - Diana Montague
I Lost The Will To Action
Your Tiny Hand Is Frozen

Come Where the Aspens Quiver Bring Your Guitar

Average customer rating:

Come Where the Aspens Quiver Bring Your Guitar
Weber , Spohr , Velasco , Stucky , and Henderson
Manufacturer: Fleur De Son
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Compilations | Classical | Styles | Music
ASIN: B00007E8TO
Release Date: 2002-11-26

Tracks:

Canzonetta: Weh! Dass Geschieden, Op. 29, No. 1
Sanftes Licht, Op. 13, No. 4
Die Schaferstunde: Endlich Hatte Damon Sie Gefunden, Op. 13, No. 1
Lass Mich Schlummern, Herzlein, Schweige, Op. 25, No. 3
Canzonetta: Heitere Tage, Op. 19, No. 2
Canzonetta: In Euren Blicken, Op. 29, No. 3
Beruhigung, Op. 72, No. 4
Die Stimme Der Nacht (Caecilie V. W.), Op. 37, No. 3
Mignons Lied (Goethe), Op. 37, No. 1
An Mignon (Goethe), Op. 41, No. 2
Lied Beim Rundetanz (Salis), Op. 37, No. 6
Der Erste Kuss (Moritz Kartscher), Op. 41, No. 5
Los Reyes De La Baraja
Las Morillas De Jaen
La Tarara
Nana De Sevilla
Sevillanas Del Siglo XVIII
Long, Long Ago
When The Dew Is On The Grass
Come Where The Aspens Quiver
Little David, Play On Your Heart
Give Me Jesus
Couldn't Hear Nobody Pray
Deep River
Hard Trials

Average customer rating:

Another good one from St. Paul's!

The English Anthem, Vol. 4

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

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

Classical | Imports | Stores | Music
Similar Items:

The English Anthem, Vol. 6
The English Anthem, Vol. 2
The English Anthem, Vol. 3
The English Anthem, Vol. 7
The English Anthem, Vol. 5

ASIN: B000002ZTC
Release Date: 1994-03-01

Tracks:

Let The People Praise Thee, O God
Jesu, Grant me This, I Pray
Alleluia, Laudate Pueri Dominum
A Hynm For St. Cecilia
Bring Us, O Lord God
They That Put Their Trust In The Lord
Coelos ascendit hodie
Give Us The Wings Of Faith
I Love The Lord
Teach Me, O Lord
O Thou, The Central Orb
Let Us Invoke Christ
Hear My Words, Ye People

Customer Reviews:

Another good one from St. Paul's!.......2000-06-04

Here's another satisfying member of the "English Anthem" series, with a good blend of old favourites and more recent works, all of it making for quite an ambitious and challenging programme.

As with previous and subsequent volumes in the series, John Scott takes the opportunity to record items written specially for the St. Paul's Choir. The opening work "Let the people praise Thee, O God" is one such item, commissioned from William Mathias for the Wedding of Prince Charles and Princess Diana in 1981. Sadly, this recording was made nearly a year after Mathias' death, and one cannot help but feel that the choir is bidding farewell to him in this performance, although the opulence and joy in the music are brilliantly captured.

Of especial note is the representation, side by side, of York Minster's celebrated masters of music, Edward Bairstow and Francis Jackson, the latter of whom studied with the former. The so-called "English Renaissance" is further embodied in Herbert Howells' "Hymn to St. Cecilia" and the double choir anthem "Bring us, O Lord" by William Harris (the magic of his similar work, "Faire is the Heaven," sadly does not come through as much in this one).

More recent and very difficult offerings come in the form of "Let us invoke Christ" (commissioned from Francis Grier of Christ Church Cathedral in Oxford; this is very indicative of his interest in Eastern music) and Jonathan Harvey's "I Love the Lord," which is frankly not as well sung here as on it's original recording by Winchester Cathedral Choir. (If there's only one thing that annoys about St. Paul's Cathedral Choir, it's that the tenors and basses have a tendency to use heavy vibrato, which can absolutely ruin works like this.)

Finally, the old favourites and staples of choirs up and down the country: Stanford's choral fanfare "Coelos ascendit hodie"; the beautiful and versatile "Teach me, O Lord" by Thomas Attwood (which I have sung frequently at Selby Abbey); and Charles Wood's magnificent "O Thou, the central orb" all bring a wonderful dimension to the programme. For the conclusion, Scott and his forces take on "Hear my words, ye people," C. H. H. Parry's mammoth setting of prophetical verses from the Bible. Practically a miniature cantata, it ends with the much-loved hymn "O Praise ye the Lord" - in its original form, with a joyful alternative harmonisation of the tune and a soaring, powerful "Amen." This is a truly heroic ending to a compelling performance.

Tracks:

Farlaf's Rondo With Orchestra [Ruslan and Ljudmila] - Vladimir Kastorsky
No Sleep, No Rest [Prince Igor, Act 2] - Vladimir Kastorsky
Queen of Spades: Darling Maidens (Act 1) - Vladimir Kastorsky
O Child, Beneath Thy Window - Vladimir Kastorsky
In My Blood the Fire of Desire Burns - Andrej Labinsky
O Give Me Oblivion [Dubrovsky] - Andrej Labinsky
Eugene Onegin: Whither, Whither (Act 2) - Andrej Labinsky
Eugene Onegin: I Love You, Olga (Act 1) - Andrej Labinsky
At Every Age Sweet Love Is Master [Eugene Onegin]
Nonnes, Qui Reposez [Robert le Diable]
Voyevode
Beiden Grenadiere
They Guess the Truth [Life for the Tsar]
Holofernes' War Song [Judith] - Vasilij Sharonov
She Laughed - Vasilij Sharonov
Threatening Cloud Has Passed Away [Tsar's Bride] - Gavriil Morskoj
Wintersturme Wichen Dem Wonnemond [Die Walkure] - Gavriil Morskoj
O You Dark Forest [Sadko] - Gavriil Morskoj
Play, Dulimers! And as High as Heaven [Sadko] - Gavriil Morskoj
No Sleep, No Rest [Prince Igor, Act 2] - Oskar Kamionsky
Der Asra - Oskar Kamionsky
Vieni - Oskar Kamionsky
Occhi Di Fata - Oskar Kamionsky
O'er the Airy Ocean [Demon, Act 2] - Polikarp Orlov
Ruslan and Ljudmila: O Field, Field (Act 2) - Polikarp Orlov

Tracks:

Fra Diavolo: Young Agnes (Act 2) - David Juzhin
Donna Mobile [Rigoletto] - David Juzhin
Pagliacci: Vesti la Giubba (Act 2) - David Juzhin
Halka: The Wind Wails in the Hills (Act 4) - David Juzhin
Pour Berthe Moi Je Soupire [Proph: Act 1] - David Juzhin
Plus Blanche Que la Blanche Hermine [Les Huguenots, Act 1] - David Juzhin
Eugene Onegin: Whither, Whither (Act 2) - David Juzhin
Trovator: Di Quella Pira (Act 3) - David Juzhin
With the Sweet Scent of Lilacs - David Juzhin
Daylight Is Fading [Prince Igor, Act 2] - David Juzhin
May Night: Sleep, My Beauty, Act 3 - David Juzhin
A: Celeste A (Act 1) - David Juzhin
Gioconda: Cielo E Mar (Act 2) - David Juzhin
A: Qui RadamVerr. O Patria Mia (Act 3)
A: Pur Ti Riveggo... Fuggiam Gli Ardori (Act 3) - David Juzhin
Judith: I Shall Don My Robe of Byssus (Act 1)
Norma: Casta Diva...Ah, Bello, a Me Ritorna Act 1
Enchantress: Looking Down from Nizhni (Act 1)
Mme Butterfly: un Bel Di Vedremo (Act 2)
Derfliegende Hollander: Senta's Ballad (Act 2)
Little Nightingale [Guardsman, Act 1]
Queen of Spades: Dear Friends (Act 1) - Antonina Panina
Queen of Spades: Je Crains de Lui Parler la Nuit (Act 2) - Antonina Panina
LakmSoul le Dais de Jasmin (Act 1) - Maria Michailova, Antonina Panina

Tracks:

O Fearful Crags [Sadko] - Lev Sibirjakov
Tsar's Bride: She Lay Asleep (Act 4) - Lev Sibirjakov
LakmLakmTon Doux Regard Se Voile (Act 2) - Lev Sibirjakov
Elegie - Lev Sibirjakov
Word of Farewell - Lev Sibirjakov
Black Clouds - Lev Sibirjakov
Temptation - Lev Sibirjakov
Pray - Lev Sibirjakov
Eugene Onegin: At Every Age Sweet Love Is Master (Act 3) - Lev Sibirjakov
Si la Riguer [Act 1] - Lev Sibirjakov
O God, If I Have Sinned [Iolanta] - Lev Sibirjakov
Barbiere Di Siviglia: La Calunnia (Act 1) - Lev Sibirjakov
Couplets of His Highness [Little Slippers] - Lev Sibirjakov
Leave Me! - Lev Sibirjakov
My Lips Are Silent - Lev Sibirjakov
Rusalka: Ah, You Young Girls Are All the Same (Act 1) - Lev Sibirjakov
I Hate a Dreary Life [Prince Igor, Act 1] - Lev Sibirjakov
Robert le Diable: Nonnes Qui Reposez (Act 3) - Lev Sibirjakov
Son Lo Spirito Che Nega [Mefistofele, Act 1] - Lev Sibirjakov
Vous Qui du Dieu Vivant [La Juive, Act 3] - Lev Sibirjakov
Seigneur, Rempart et Seul Soutien [Les Huguenots, Act 1] - Lev Sibirjakov
Life for the Tsar: They Guess the Truth (Act 4) - Lev Sibirjakov
Faust: Le Veau d'Or (Act 2) - Lev Sibirjakov
Ecco Il Mondo [Mefistofele, Act 2] - Lev Sibirjakov
Faust: Vous Qui Faites l'Endormie (Act 4) - Lev Sibirjakov
Faust: Il Etait Temps (Act 3) - Lev Sibirjakov

{Club / Dance Music CONTAINS 51 SONGS ON A 4 CD Set} Pulsating Rhythms Vol. 3 / Dance Pool Vol. 1 / Dance Party Vol. 3 / Club Mix 96 Vol. 2

Average customer rating:

{Club / Dance Music CONTAINS 51 SONGS ON A 4 CD Set} Pulsating Rhythms Vol. 3 / Dance Pool Vol. 1 / Dance Party Vol. 3 / Club Mix 96 Vol. 2
INTUITION - dance with me, VISIONS OF SHIVA - perfect day, URBAN HYPE - the feeling, ERIRE - i just can't give you up CONTAINS 51 SONGS ON 4 CDs: DAYEENE - around the world , JULIETTE JAIMES - we got it all, LEE ROGERS - love is the most, RAGE - run to you, CULTURE BEAT - inside out, M.D.A. - amor DEBBIE MALONE - running from my love , KLEPH & LOCK - share your lovers - DJ COMPANY - holiday in the land of love, TEQUILA feat. TANJA MARIA - with a boy like you, CLAUDIA CHIN - stop trippin' UPLIFTERS - mr. real , D-DEL-H - move sur ce rythme, HECTOR - luv me, E-SENSUAL - you should be dancing, BLA BLA POSSE - bouguez - SHIKISHA - pretty vacant, LEA KISS - don't stop the night DEDE - party , BLACK MAGIC - freedom, TAYLOR DAYNE - say a prayer, VANESSA DAOU - sunday afternoons, SANDY B - make the world go round NUYORICAN SOUL - mind fluid , KENLOU III - what a sensation, FRESH FISH - bang da bush, SOUL SOLUTION - can't stop love, JOI CARDWELL - you got to pray, D'STILL'D - stop go GROOVE COLLECTIVE - i want you , ACE OF BASE - don't turn around, SISTER SLEDGE - we are family (live), KOOL & THE GANG - take my heart (live), COMMODORES - baby this is forever PLANET SOUL - set u free , THE JACKSON FIVE feat. MICHAEL JACKSON - under the boardwalk, JAMES BROWN - it's too funky in here, DIVINE - native love REAL THING - can't get by without you (live) , THREE DEGREES - i'm doin' fine now, SABRINA - all of me, KOOL & THE GANG - joanna (live), AL JARREAU - ain't no sunshine, LATOYA JACKSON - sexual feeling ROSE ROYCE - car wash (live) , and JAMES BROWN - sex machine, THREE DEGREES - when eill i see you again SISTER SLEDGE - he's the greatest dancer (live)
ProductGroup: Music
Binding: Audio CD
ASIN: B000QU6HCY

Rap Music:

Rap Music

rap music

Recommended Music:

Looking On [Extra tracks] [Original recording remastered] [Import]

Schubert, Beethoven: Piano Works

Shadow Bands: Music for Strings & Piano

Music CD: Balada Romantica: Serie de Oro [Box set]

Back to the Basics

Sage

The Broadway Kids at the Movies

Schobert: The Sonatas Opp 5 & 6

Rocks in the Head

Richard Strauss: Der Rosenkavalier

Ruins of Victory

Songs from the Attic: The Best of the 78 Records

Puros Corridos, Vol. 2

Bach: Das Wohltemperierte Clavier, Teil II

Giants of the Organ in Concert