Astonishing Ballades.  This could be the definitive performance!
932722
I found Vanessa Perez's album of Chopin Preludes to be a bit uneven but some were sublime.  Her Barcarolle was the finest account I have heard. In the present disc, the Venezuelan pianist performs Albeniz Navarro and Iberia Book llI of Iberia, Chopin's 4 Ballades, and Suzanne Farrin's Followed by Another on the VAI label.

Perez obviously has a special affinity to Albeniz.  His works are performed astonishingly well.  Her technique, phrasing, and rounded tone are all put to the test and pass with flying colors.  Perez's performance Lavapies is simply astonishing.  This is extremely treacherous territory for a pianist, and Perez turns in a very successful performance.  Albeniz lovers will adore this disc.

The Chopin Ballades were the reason for purchasing this disc.  From the very first notes of the G minor Ballade, Perez demonstrates her talent for interpreting the exquisite piano music of Chopin.  No. 1 is performed with strength and emotion.  This is astonishing music making.  Perez has such ability to convey the overarching sense of a piece.  Her phrasing is faultless, her ability to plays such fine gradations of dynamics and tempo are enviable.  Ballade 2 is performed just as successfully.  This is a Ballade where dynamic shading in soft passages is so important, and Perez is unmatched in this regard.  The quality of her soft passage work is unparalleled.  In loud passages, she maintains her musicality just as well.  Her amazing technique is clearly evident, especially her pedal work that never obscures as Moravec so often is guilty of.

Ballade 3 demonstrates her control.  It is so tempting to let `er rip in this Ballade.  Even I am surprised that this was not Chopin's direction in more of the piece.  Perez handles the most technically treacherous passages with ease.  Just listen to the coda to see what I mean.  When power is called for, Perez has all that is needed, yet the piano and pianissimo passages are handled with exquisite grace.  The melody becomes a love song.  Her runs are heavenly.  My only quibble is that in the final chords her pedal work slightly obscures the detail.  Ballade 4 reveals once again Perez's ability to caress a melodic line.  Ballade 4 has never been played with more emotion, intimacy, or conviction. It is sublime.  The finish is absolutely incredible!

I am unfamiliar with Suzanne Farrin, but she is a remarkable American composer.  Fortunately for her world premiere, she has an equally remarkable pianist to play this music.  It is not the easiest to hear, but like so much modern atonal music, absorb it first.  Repeated listening sessions produce greater and greater appreciation.

This is an altogether phenomenally successful album with the finest set of Ballades in existence.  I am looking forward to more of her Chopin recordings.  I give the album MY ABSOLUTE HIGHEST RECOMMENDATION!!!!!
1300976
Incredible, fantastic performance. Stunning.
3788658
Nelson Freire is a formidable pianist with tremendous technique, but technique in abundance is a common quality these days.  What makes Freire's recording stand out is his unique sense of line and touch, coupled with a real sensitivity to dynamic and tempo flexibility.  His interpretation of this literature is superb.  Listen, for example, to the beginning of the largo, the third movement of Frederic Chopin's Third Piano Sonata, in B minor.  How convincing Freire makes the abrupt shift to the lovely lyric melody from the dramatic, almost angry opening chords.  In the final movement of the sonata, Freire's technique and dynamic control stand him in equally good stead.  He builds thunderous climaxes, but still manages to shape the whole convincingly.  It was not with the Sonata that Chopin made his place in music history, but with the character piece--etudes, fantasies, impromptus and the like.  Freire is equally at home in his interpretation of these pieces, with their relatively simplier structure, as in his achingly mournful beginning of the C# minor etude from Chopin's Opus 25.  Not only is the entire CD beautifully performed, but beautifully recorded as well.  The sound quality is stunningly crisp and captures Freire's articulations wonderfully well.  Although there are hundreds of recordings of these pieces (so many that one is tempted to ask why another?), Freire's rendition is certainly worth owning.
4777784
I got this CD as a gift from Dan Taylor himself and he would be happy to know that it has become one of the most cherished CD's in my vast collection.  As much as I enjoyed Paul Agnew's wonderful recordings of  English lute songs, Taylor's raw sincerity and subdued eloquence in the  rendition of these songs probably surpass even Agnew's silken polish.  The  title line for my review comes from Gramophone, I just couldn't resist  borrowing it because it is so apt!  Most of the songs on this disc (in  fact, all but one) are plaintive and sentimental.  The choice is fitting  because the pure fluid tone of Taylor's voice seems ideally suited to slow  melodic lines such as these.  I find Taylor's voice to be absolutely  remarkable.  To my ears, it combines the platinum radiance of David Cordier  with the velvety opulence of Michael Chance - a rare combination indeed.  As if the beautiful voice was not enough to spark interest, Taylor's  singing here is also technically secure and lyrically expressive, ever so  lightly adorned with tasteful ornaments.  The emphases are all the more  potent because they are sparsely used.  For example, the second repetition  of "Learn to condemn light" in Flow my tears is startling in its  sudden roughness... I will never be able to listen to this song again in  anybody's performance without expecting them to repeat that same  modulation.  To me at least, this is how these songs should be sung.  gkolomietz@yahoo.com
2978375
For weeks now I've been obsessed with two extremely different CD recitals.  I've written already about Simon Keenlyside's outstanding Wigmore Hall song recital and now it's time to rave about Jonas and his Opera Arias of Mozart, Schubert, Beethoven & Wagner.

In ''Dies Bildnis Ist Bezaubernd Schn'' I was immediately struck by a similarity to another tenor's rendition of it: Fritz Wunderlich's.  No, the two German tenors don't sound all that much the same - but Kaufmann's almost seemingly innate beauty of line felt nearly identical to Wunderlich's.  It is Mozart singing of an exquisite and unusual beauty.

The "Wunderlich Connection" continues with Schubert's too infrequently performed "Fierrabras" (of which a gorgeously sung, but bothersome regie production exists on DVD, Kaufmann gotten up as a young Schubert).  As rare as the work tends to be, Wunderlich also is featured in a live performance.  The opera has problems, but the recit and aria  ''Was Qulst du mich, o Missgeschick . . . " might make a few converts to at least selections from this rather beautiful work.

An even more persuasive case for Schubert comes in one of the most exquisitely sung (and marvelously phrased) "Schon wenn es beginnt zu tagen" from Alfonso und Estrella.  There is such delicate, almost gauzy shading in the middle of the aria, with Schubert's lied-like aria smelling strongly of Beethoven at times - and wondrously so.  This really is a breathtaking performance in every way.

In the natural progression, Beethoven DOES arrive next in Florestan's great scene "Gott!  welch Dunkel hier!" Here, Claudio Abbado's leads the Mahler Chamber Orchestra in one of the most sensitive preludes to this scene I have ever heard in a recording.  Here, also, Herr Kaufmann outdoes himself from his live performance recording in giving a sense Florestan's depth of despair.  - his opening "Gott!" - almost inaudible when he first enters - reveals a true groan of anguish as it swells to full tragic hopelessness - and from there builds into the ecstatic hymn of hope and love of life and Leonore at its end.  Unbelievable.  For a moment I searched my mind, "has there ever been a more sensitively and beautifully phrased performance of this?  Vickers sprang immediately to mind, but I left him alone for a moment to answer myself with "with singing of such beauty and passion, why compare?"

The rest of the album's contents are five Wagnerian selections which bookend the disc.  First up are Lohengrin's two famous arias and in them I think we're catching the beginning phases of one of the major Wagnerians of our very near future.  The recital opens just about perfectly with one of the most heartfelt, richly nuanced renditions of "In fernem Land" I have heard in a long, long time.  The conversational nature of the aria begins so gently, but with no loss of intensity as it builds, Kaufmann and Abbado stretching Wagner's lines with an almost gauzelike delicacy of dynamics that waver back and forth in the type of performance that has one on the edge of the seat, held rapt throughout as it explodes into the stunning climax only to again recede all of it so captured as if almost by some religious magic.  And so it goes through all five Wagnerian arias.

Among all the operas I love, perhaps none is more dear to me (for many reasons) than Parsifal and in his two selections, Kaufmann captures that perfect balance of spirituality and storytelling so necessary in this role.  The tenor's first cry of "Amfortas!" - the intensity and heartbreak inherent in his sound - almost as if built into it, reminded me (again) of Vickers in this moment.

To end this album with the entire final Grail Ceremony is an incredible touch (to me, at least) and while generally I would prefer this music not be taken out of context, Abbado leads his forces (including the Coro del Teatro Regio di Parma) in an effective reading that can only be commended and Kaufmann's
two shining moments as the Innocent Fool become the Grail King only whet
the appetite for what's to come.  It should be something special.
2211429
The main song associated, yet absolutely amazing!
2060406
If you love late 19th and early 20th century music, you owe it to yourself to acquire this album.  Monteux used to say that he found studio recording sessions confining.  These live concert performances demonstrate what he was talking about.  He was identified with both of these compositions, and his leadership here would have made Ravel proud.  The recorded sound is less than perfect, but the performances are definitive in a way that is unlikely to be equalled, much less surpassed!
2976646
This double CD set is an reissue of the former single LP of the Caecilien-Messe.
The prize is dirt cheap, and indeed, for this work alone is worth the prize. It is a real blessing that this performance, made in October 1958, was recorded in stereo.
The orchestra and the choir are both in top form, and the soloists gave stunning performances. Rarely would you find a recording of Maria Stader in stereo. Her Laudamus te is simply exemplary. Marga Hoeffgen, Richard Holm and Josef Greindl all sang like gods and goddess.
What strikes me really greatly is the diction of the singer - soloists and choir alike.
Nowadays we have been hearing ALL TOO MUCH of singers with mushy Latin in those madrigals, motets, etc. from the 'period performances'. More often than not, none of their verses are audible.
Not so here. Each word, each syllable, impeccably articulated, coupled with great phrasing and arching of the musical lines.
A real treat, and a great legacy.
3309314
I would only wish one small wishfor this recording: it would be great to have included the marvelous Johnny Mercer chesnut-TooMarvelous For Words! It is "too very very,too extraordinary to ever be in Webster's Dictionary"  Rod continues his winsome but swinging style with more grand songs,PLUS, Cher, who has always been an underated talent, and some very nice singing by the Queen, terrific studio musicians including some Jazz stars like Peter Nero, Christian McBride,Rich Koz, and finally real string sections for lush and luscious orchestrations.  No doubt the producers and Rod felt more comfortable adding real strings after the success of volume one. I hope there is a volume 3 and maybe a tour so we old music lovers can dress up and see Rod Live on stage with strings! I'll gladly buy a ticket or two.
882630
This is a wonderful collection of coloratura pieces. Dessay is tremendous technically, and, though the voice can be a bit thin at times, she is absolutely stunning in this repertoire. As a coloratura-in-training, I am listen in awe as Dessay fools her audience into thinking this is simple stuff! While it may seem to be on the verge of heresey, I much prefer Dessay to Joan Sutherland (though she is indeed La Stupenda) and even enjoy listening to her over Sills. The reviews which comment on Dessay seeming to have a less-than solid sound and comparing her to Fleming may be forgetting that this type of literature cannot afford to sound weighty, nor can the voice perform optimally with a weight up in the rafters! Though I think Fleming is a fine singer, I personally prefer listening to Dessay, and I certainly learn more from the experience. This is an incredible album and a true accomplishment. Also, if Dessay is your cup of tea, check out the recording of Lakme with Dessay in the title role-wow!
830159
Like so many devotees of this spectacular recording, I am no fan of Bartok in general, but this piece transcends any general opinion I might have of his idiom; it is one of the most complete and involving performances in the whole operatic catalogue. Unlike some operas, whereby you simply resign yourself to sitting back and enjoying the music in spite of the risible plot or lumbering libretto ("Ernani" and "Le Villi" come to mind), or whereby the words seems to take precedence over the music (some of Hofmannsthal's more abstruse efforts for Strauss?), this opera embodies the perfect fusion between words and music, between drama and beauty of form, much as Debussy's "Pelleas et Melisande" - a clear influence on Bartok - does. No problem here with "prima la musica, dopo le parole" - or vice versa!

First, as so many have already noted, the Decca sound engineers triumphed; you would never guess that this recording is well over forty years old, so full and atmospheric is the sound. The unearthly, otherworldly groans accompanying the opening of Bluebeard's doors to his secret chambers are enough to make the hairs on the back of your neck prickle and the major chord sequence accompanying the flinging wide of the door onto Bluebeard's kingdom is one of the great moments in recording history.

The performances are also superlative; Berry has just the right combination of power and mystery in his voice and Ludwig manages to make Judith shrewish and importunate without dehumanising her or making ugly sounds - quite the reverse; her voice is in prime condition. I have to smile at other English speakers passing judgement on the authenticity of their Hungarian; I speak some other languages but have absolutely no idea whether their accents are good. They certainly sound convincing and I cannot imagine that either Kertesz or the (then) husband and wife team of Ludwig and Berry would have allowed poor preparation to scupper such a great enterprise. So pronouncements such as some English speaking reviewers make seem to me to be presumptuous, otiose and self-important; one declares that their delivery is good "even if it lacks the full bite and snap of singers emoting in their native language". How does he know? They sound snappy enough to me and I will stand correction only from a native speaker. My only regret about this recording is that the decision was not taken to include the spoken prologue which, oddly enough, is included in the BBC English language version with Gwynne Howell as a memorable Bluebeard (and Sally Burgess a bit shrill). An English translation is overlaid while another narrator intones the verse in Hungarian in the background, to haunting effect. (I should also like to hear the English version with the great Jerome Hines, but have been unable to find a copy.)

So forget any pre-conceived idea you might have about the merits of Bartok's music or your taste for it, and sample one of the greatest complete operatic experiences that a mere CD can provide. This is what opera should be - and too often, sadly, isn't.
4779959
This CD with J. E. Gardiner conducting is by far the best rendition of the musical segments of Rameau's opera Dardanus I have ever listened to.  The lover of Rameau's music will be delighted listening to it.  The musical suites are arranged to create a progressive crescendo followed by slower pieces of a surprisingly beautiful harmony.  L'Entre des songes in particular is simply astonishing by its soporific tones that transports the listener in a trance-like state. The whole arrangement is a masterpiece!
1156718
As you can see, it would result unuseful any speech about the quality and historical significance of all these top songs and also about the artists (all of them stars around the world). Everyone is a must-have song in any collection of this kind of music. It is a lovely selection recorded with original sound and in a very danceable sequence. Very difficult to say what is better than other but the only song a little bit "out-of-focus" is "Lloraras" because of that it has been recorded live and the sound is not original (but excellently interpreted by Oscar de Leon, as well). Strongly recommended!!!
4207508
Right at the start I should state that I believe this to be the ideal interpretation of Bach's harpsichord (cembalo in german) concerti.
There is such a sheer enjoyment and drive in the performance, combined with translucent clarity of the polyphonic structure, that I
think it is hard to conceive its stringency to be surpassed anytime soon. I have, in particular, not heard previously a performance with such a convincingly integrated forward momentum (even the very good Alessandrini with Concerto Italiano pales in comparison). One can find that momentum also in Fasolis' recordings of the Overtures/Suites and the Brandenburgs, but here I perceive it to be realized with even better effect. Combined with this is an effortless SACD sound, which can easily deal even with the drive of the performance, which in a lesser recording could make especially make the harpsichord sound very astringent and enervating. Buy it and enjoy.
3192792
There is quite nothing to add to the exhaustive reviews by Bob Zeidler and Samuel Stephens; besides, everything is also well analyzed in the really complete booklet of this wonderful CD.

I only wish to emphasize that you rarely will listen to something more vivid, spontaneous, creative and unbridled. The twenty-year-old Berlioz, like a not yet tamed thoroughbred, let his innate musical instinct run through unexplored musical prairies.
There were and there will be dozens of wonderful Masses in music, but Berlioz managed to create something absolutely original and peculiar: he leads us outside a town crowded with well built and marvelous cathedrals to find a primitive but phantasmagorical temple, where spirit can freely spread its wings in a spontaneous and heartfelt prayer.

I do not think that the work is interesting because it anticipates unorganized fragments of many ideas Berlioz will later develop and improve. No, it is not only a collection of good,  but immature, sketches; I think the work has an autonomous and absolute value because it is actually naf, and the Author is not an amateur, but one of the most original Geniuses in the history of music.

The fact that here we have a live recording of what was an important media event adds even more vividness to the whole thing; the performance is outstanding and particularly heartfelt: don't miss it!
2862160
I heard this extraordinary recording first, last week, on the original 78.  Yes, there is a higher than normal noise-floor but this fact should not deter one from listening to Pfitzner's startling, moving performance.  Pfitzner, somehow, finds an optimistic, liquid, and lyrical voice for this pre-holocaust performance that is neither maudlin nor didactic.  It is, instead, breath-taking in its sensitivity to Beethoven's sense of orchestral color.  In his rendering of nature, Pfitzner is emotional engaging for his tempos and lyricism.
I sincerely wonder if any post-holocaust conductor would dare imbibe of the innocence why reveling in the passion Beethoven's extraordinary symphony suggests.  This performance has caused me to re-think both how this symphony might be rendered as well as how we might recover Pfitzner's sense of lyrical optimism today.
194301
" Recollection" is an impeccably perfect collection of KD Lang songs that brilliantly showcases her boundless vocal range, eclecticism and enrapturing splendor. She can master country, ballads, torch, jazz and light rock. Her vocals can be tender, upbeat, sad, inspiring, enthralling and invariably awesome. "Trail Of Broken Hearts" is a melancholic marvel. "Constant Craving" resonates with yearning and will always be a hit. KD's dynamic rendition of "The Air That I Breathe" is majestic. She transforms Neil Young's "Helpless" into a song that is equally poignant and assuaging."You're OK" is another compelling  vocal performance that literally sends pleasurable audio sensations to your psyche and soul. "In The Valley" is incredibly emotive and heavenly to listen to. "Crying" with Ray Orbison is one of the most tremendous songs in music history. Last but not least is her peerless rendition of Leonard Cohen's "Hallelujah" which is beyond amazing.

Each track on this CD is remarkable. There are a few rare tunes and covers that are also exemplary. KD Lang can frequently perform another artist's song better than the original. Ms. Lang is also a proud Lesbian, a humane vegetarian and a peaceful Buddhist. God and/or a Higher Power certainly bestowed such a pleasant person with a celestial and luminous voice that is peerlessly phenomenal.