This recording evokes joy and passion rarely felt - this is almost an ...
935166
This recording evokes joy and passion rarely felt - this is almost an indecent pleasure to be savored again and again.
2158054
I can only agree with the other enthusiastic reviewers and call this recording an absolute high-point in modern popular music.  A fortunate, forward-looking piece of art that is sure to be very rewarding for those who need something a little off-kilter. It has that kind of urgency and energy to it where you feel like the people involved truly needed to make this music, yet it somehow doesn't "attack" you.  It's also worth pointing out that the Shudder to Think track from the Victoria Williams "Sweet Relief" record is in a similar vein to this material, and worth the price of that album by itself.
1691283
This is one of my favorite recordings of all time. Yulchieva's voice is beautiful and haunting. The interplay between her vocals and the instrumentalists is incredible. The passion of her singing oozes from the CD, and at times she can mimic instrumental licks so well, they are almost indiscernible from the other players. This is one of the most emotional performances of any type of music I have ever heard. Yulchieva is truly a national treasure. This is not simply a "world music" recording - she is an absolute master of her art. If you are curious, take a chance on this CD - you won't be disappointed!
3735976
Thankfully I'm one of the few who hasn't read a word of professional criticism doing injustice to this unparalleled recording. It is, by any measure, undeserving of petty remarks about Mr. Pogorelich's unorthodox  approach to these works. That is precisely what makes this CD so special:  an unconventional interpretation paired with extraordinary technique whose  result is awe-inspiring.
The B minor Scherzo is a performance of extreme  contrasts, the outer sections being incredibly fast while the slow middle  section is taken at a slow, rapturous pace. Even with the astounding  Pogorelich playing as if he were possessed, one is able to revel in the  depth of the tones brought forth. It's an experience to die for, but  thankfully it can be had for a mere $15.
You would be doing yourself a  disservice if you passed up the opportunity to own this recording. It is a  true marvel. Just remember to leave your preconceptions at the door.
3761468
This recording is absolutely phenomenal.  Pahud's playing is beautiful, effortless and musical - just flawless.  What I love about this recording in particular is that he plays in a true baroque style with very light vibrato, if any. He is not overly romantic yet is so wonderfully musical.  His gorgeous "open string" sounding long notes ring with the most beautiful sound.  He ornaments very tastefully in a few spots - never over-done.  I have been waiting for a recording of the Bach Sonatas like this for years.  Thank you Emmanuel.  I can't stop listening to this CD.  I am so inspired by it!  Please come to Southern California to perform sometime.
2993024
Since hearing Lang Lang perform in Seattle a few months ago, I've been eager to get ahold of this CD, his first recording. I was very curious to see whether his personality and uniquely emotive style of playing would come through on CD. I finally found a copy of the recording, I certainly was not disappointed! The record faithfully reproduces his spirit of his performance.
It is a joy to hear, as well. The pieces are well chosen (with the possible exception of the Rachmaninoff, in my opinion), and the recording quality is superb. I do not share the editorial reviewer's concern about the final piece, myself, and I find the Tchaikovsky Dumka to be practically worth the price of admission on its own.
If haven't heard about Lang Lang, this might be a good time to see what the buzz is about; if you have heard him play, I suspect you'll be delighted by this recording. I certainly was, and this one will definitely spend a lot of time in my CD player.
3666764
It is hard to imagine not being deeply moved by the concerto, especially the slow movement.  There is something beyond sound itself that maintains the architecture of this movement.  The consonance between conductor and  soloist is obvious.  This recording was a rare appearance at the time of a  Soviet artist in the west, perhaps this adds some emotional edge to it.  Whatever the reason, this recording (which I listened to for years on  vinyl) is beyond comparison.
4854051
Sometimes live recordings equal weak recording but not here; the performances are spirited and the recording exceptional. The audience is audible between cuts but doesn't diminish one's musical enjoyment.
164531
This is an altogether exceptional recording. Egarr plays with a brazen energy that fully captures the music's lyricism and dramatic bite. This is clearly music composed by a master of musical drama and above all a born entertainer, in the highest sense of the idea. I can think of no other way of describing the playing other than resorting to the cliche that Egarr does not so much play Handel as 'become' Handel during the duration of these two discs. His spontaneous sounding ornamentation speaks of a deep love for these pieces and helps the music breathe. The harpsichord is a superb copy of a sonorous Ruckers instrument, perfectly recorded. I have heard virtually all of the other recordings of these suites on both harpsichord and piano. Scott Ross' version is predictably masterful. Ragna Schirmer has played them delightfully on the piano.  But Egarr stands apart in capturing Handel's often quirky shifts of gear and delight in astonishing his listeners. Only Landowska in the few pieces she recorded captured a similar sense of musical generosity and grandeur.
2893142
I fell in love with this recording. These young voices soar, bringing hope and joy. From the opening of Joyful, Joyful We Adore Thee to the last chords of How Shall I Sing that Majesty I thoroughly enjoyed it. I have a feeling my favorites will vary by my mood, but I've tried to list some below.

How Can I Keep from Singing is one of my favorite songs and Libera does it justice. Morning Has Broken was one of my early voice recital performances; the song has a special place in my heart and this was beautiful. America the Beautiful was gorgeous. Wayfaring Stranger starts and ends with a beautiful solo, but the choral part is amazing. The Prayer always brings tears to my eyes as does Rest in Peace (a song I think I need more frequently as I lose friends and family over time). I love the soaring melodies of How Great Thou Art.

If you like choral music, you should buy this and add Libera to your watch list. If you enjoy religious music, you will probably enjoy this CD.
3205349
This is one of the most engrossing recordings of any piece of music I've ever heard.  The orchestra is extremely tight and crisp, and the chorus has the power and technique to match them.
Blomstedt does a good job of restraining the performers in the more lyric sections, such as "Chume, chume, geselle min" and "In trutina," to balance out the power of the many fast-and-furious movements.  There seems to have been a trend in popular music in the late 80's and 90's toward harder-hitting, more raw and powerful sounds, which I think this performance reflects.  The fact that the soloists and chorus sound slightly unrefined (though not uncontrolled) in some places only adds to the feeling of primal energy that I think this piece requires.
Sound quality - which I think is often overlooked or underappreciated - is absolutely superb in this recording.  The chorus and brass sound very present and high and low frequencies are well balanced.  You'll want to hook up a high-end sound system to enjoy this recording to its fullest.  When you do, buckle your seatbelt and brace yourself...this recording is not for the faint of heart.
651225
The duo Bernstein/Stern produced here one of the most intense recordings of the Beethoven Violin Concerto. There is an undescriptible feeling of warmth and joy in this recording. The performance is excellent and much  better than the Karajan/Ferras or the Nigel Kennedy recordings (despite the  slight bakground noise, perhaps due to the analogic source). I only gave it  four stars because of this slight noise (mostly audible when listening to  the recording with headphones)
2471069
This recording is, in my opinion, one of the most impressive performances of Renaissance choral music ever. The Voices of Ascension, directed by Dennis Keene, give performances of great beauty, with perfect blend and  expressivity. Every single number is a musical delight. The selection of  the program is a real asset. The listener has an overview of some of the  most famous motets by such masters as Palestrina, Victoria, Lassus, Desprez  and others. There is room for all kind of religious mood: from the solemn,  meditative tone of Byrd's Ave Verum Corpus and Victoria's Jesu, Dulcis  Memoria to the exultant, festive tone of Sweelinck's Hodie Christus Natus  Est. Keene makes some interesting changes in tempo. In O Magnum Mysterium,  one of the most famous motets of Toms Luis de Victoria, the final Alleluia  part is faster than the way it is normally done. The effect is haunting: a  festive chorus of praise after a solemn meditation on the Incarnation of  Christ. These interpretations are not only excellent in an musical way. The  singers and director convey the mystical and devotional aspects of these  jewels of the choral repertoire.
2382848
Despite what critics say, I enjoy this recording. The playing style of Alexander Markov is so expressive -- you can see that he is living inside the world of his music, not just mechanically reproduces the score. And this performance involves you into the musician's world. For a sentimental person like me, this recodring is a source of the beautiful emotional experience. Just listen to the Finale of the 5-th Concerto -- it's a firework of emotions!
813739
When I first encountered this Mass as a member of the Paul Madore Chorale, I questioned who is this Paine? Do I really want to spend so much time preparing a piece by an unknown composer which was unlikely to be worth much?  But by the second or third rehearsal I was hooked, as were many other members of the Chorale. This is a deeply moving work, unlike any other--uneven--a few sections seem only workmanlike--but on the whole a wonderful experience, immediately accessible, and of enduring interest.  It's a shame that it is so neglected.  This worthy recording by the St. Louis forces seems to be the only one ever made, and few people are likely to have the opportunity to hear it live.
3720245
This recording is state-of-the-art. Very natural balance, that means the piano has the volume as in the concert hall, not as most recordings where it is too loud. The resolution, dynamics, width of the orchestra, head-room and wide frequency response makes this recording a joy to listen to. It's so natural on a quality high-end hi-fi system! I refer to other comments about the musical performance itself - these are more qualified than mine.
4727502
This recording is a great pleasure, and an unexpected one, in the sense that I'd never expected to get a comprehensive recording of ROBERTA at all. SHOW BOAT is of course rightly remembered as a masterpiece, other Kern scores mentioned for their novel or experimental aspects, but ROBERTA somehow gets left out of the discussion (except that it had the good fortune to be filmed, much altered, with Irene Dunne, Fred Astaire, and Ginger Rogers). Well, here it is, musically complete down to the underscoring and an appendix of cut and added alternatives, and it's pure joy. The songs are tuneful and varied, the atmosphere (both American-collegiate and Continental-sophisticated) unique, Robert Russell Bennett's original orchestration characteristically delicate and evocative.

The production has been carried out with great care, Larry Moore's musical editing and Rob Berman's musical direction ensuring that we are denied nothing, from the onstage collegiate band and bits of onstage guitar playing to a sufficient dialogue presence to justify the underscoring and make sure the story is audible.

The casting sounds exactly right, and I'll restrict myself to naming three names: Kim Criswell and Jason Graae because they were important in the first wave of original-orchestrations recordings of classic musicals back in the 1990s and it's wonderful to have them together again, just as good as ever (she is playing a Lyda Roberti role, as on her recording of "The Lorelei"); and Diana Montague as Aunt Minnie because she gets the lovely "Yesterdays," and gives it one of its most haunting renditions ever. I've been enjoying this recording since the moment it arrived, and I give it my highest recommendation.