A Sparkling Performance
357974
I was privileged to hear Stephen Hough play Hummel's Piano Sonata in F sharp minor last year, and his performance made a deep impression on me and so led to my purchase of this CD.  Hummel is one of those composers who have been unjustly neglected after his death.  Much of the credit for the new interest in this composer is due to Mr. Hough who resurrected the A minor and B minor piano concertos in the 1980's.
Stephen Hough brilliantly plays the three piano sonatas recorded here.  They are works that contain a blending of the Classical past, reminding one of Haydn and Mozart, and  also look toward the Romantics, like Schumann. During his life, Hummel was thought of as the equal of Beethoven as a pianist and his music was an influence for Mendelssohn, Liszt, Schumann and Chopin.  Eventually, Hummel settled in Weimar where he became a close friend of Goethe and performed in the famous author's house frequently.
Hummel composed about 25 sonatas, mostly written before he became a mature composer, and the ones selected by Stephan Hough represent Hummel at the peak of his writing for the piano.  The sonatas have drama, brilliance and pathos.  The opus 81 is a quite a challenge for the player in that Hummel has the player running the span of the keyboard in a single measure.  There are dramatic surges of rapid playing and introspective moments of reflection, particularly in the beautiful Largo, but even in the slow center movement there are rumblings.  The longest of his sonatas is the opus 106 in D major and is also the only one cast in four movements.  Compared to the opus 81, this sonata is less energetic and more conservative in the writing for the instrument. Portions of the second and third movements are reminiscent of John Field, and the sonata displays the maturity of the composer in the development of the ideas.
Stephen Hough plays these sonatas with great feeling and brilliance.  This is a disc certain to please listeners who enjoy Mr. Hough's playing and love the keyboard music of the early 19th century.
1052238
I had heard about this recording for decades, but being satisfied with Argerich, Ashkenazy, Hough, and others, I had never got round to buying it until recently.  Well, it's everything that it was reputed to be -- the playing is superb, full of energy, wit, charm, and warmth (not always associated with Michelangeli), and once again, I was surprised at how much I liked the Rachmaninov Fourth, which I had tended to overlook in my explorations of this composer.  The Ravel is the more satisfying performance here, not because of any defect in the pianism but rather because it suffers less -- being less densely scored -- from the limitations of the 1957 sound.  That sound is very good for its age -- and Victor Olof ensures a fine balance and attention to the solo winds in the Ravel -- and the slow movement of the Ravel is simply beautifully presented, with the cor anglais and flute most eloquent in their music, with the piano rippling away below.  Michelangeli's playing of the long opening solo section of that movement is beyond criticism: absolutely compelling.  The playing in the outer movements is about as sheerly enjoyable as it could be, and Michelangeli seems very much at home with it all.

The Rachmaninov Fourth is more sparely scored than his earlier concertos, and while there are moments that remind you of the Romantic richness of this composer's earlier work, the effect here is altogether jazzier -- Gershwin-like climactic moments in the outer movements especially -- and propulsive in a way that resembles Prokofiev.  The orchestration is denser than Ravel's, however, and that's what the 1957 engineering can't do justice to.  Compare this recording with Leif Ove Andsnes's recording with Pappano, and you'll appreciate the orchestral work appropriately -- and Andsnes's pianism is spectacular too, very much in the Michelangeli class, with a sweetness that doesn't diminish the sense of energy.  It's good to have both, but it's the Ravel that makes this disc really special.
4788745
Outstanding performance, and the Blu-ray recording is very well done too, with excellent audio and video engineering.  Krall's jazz piano improvisations on the songs, along with with riffs by her long-time musical partners on guitar, drums and bass are technically stunning--they make the music appear almost effortless, and yet it is performed at such a high level of maturity and technical precision.  Granted, they must have these "improvisations" down pat (and so these probably should not be called improvisations), but they still toy with them, as if to entertain themselves.  Likewise, Diana's vocals have much of the same feeling of freshness--even though she has performed many of the songs thousands of times, I would imagine.

Nice twist by adding some Latin rhythms and Bossa Nova for some of Krall's prior recordings (I own almost all of her albums).  This recording includes a few new songs not recorded in previous albums at that time. In a playful way, Diana gets the audience to sing along.  Very enjoyable.
2201940
Gilbert & Sullivan purists should avoid this.  Everyone else - set sails for a great time.  This is not the film version but a gloriously live performance from the outdoor Delacorte Theatre in  Central Park.

Much hullabullo was made when this show arrived:  non-traditional singers/actors in a work almost historically bound by traditions.  The orchestrations were sacked in favor of synthesizers, marimbas and such and on its own merits the score is delightful.

Technically, the video quality is a bit on the rough side, but give yourself a couple of minutes and you won't notice it.  You'll be too busy getting caught up in the delightful high(and low!) jinx of the once-in-a-lifetime cast.

Ronstadt is ravishingly beautiful and in mostly terrific voice (a couple of incredibly high notes go a little wiry, but what the heck).  This was her stage debut and as long as she's singing (which is most of the time) she's affective and loaded with charm.  When speaking, alas, the pop diva ain't so convincing - but there's mercifully few of those moments.

Kevin Kline is a hoot and full of high camp as the Pirate King, impressively executing some tricky  choreography by Graziella Danielle.  George Rose IS the very model of a modern major general, Patricia Routledge is hilarious as Ruth and Rex Smith sounds terrific having a ball as Frederick.

Indeed the sense of live all-out-fun here is remarkable and more than a few musical moments pack some legitimate thrills.  The Act I finale with its improbable lyrics "But they give up the felicity Of unbounded domesticity, Though a doctor of divinity  Is located in this vicinity" gives

Ronstadt opportunity to let loose some legitimate soprano high notes and the sound is thrilling.

The audience is clearly relishing one whale of a good time and at times threaten to stop the show with cheers and applause.

There are many such moments and, well, heck, if you can't have a good time with this, I just give up!
4608912
I wholeheartedly agree with those recommending this lively, joyous performance.  Sesto Bruscantini's interpretation as Don Giampaolo Lasagna is wonderfully in line with the Neapolitan commedia dell'arte-like tradition - at times, the singer's recitativo comes close to approaching the comical genius of Italy's beloved silver-screen actor Toto.'
Amazingly, this live recording, taken in 1959, is so much better than many of recent vintage.  Background noise is negligible, and nothing of the music and the subtleties of the interpreters is lost:  if anything, the audience's participation (including an audible car-horn during the first act!) adds a festive freshness to this already great number.
As for the music, Cimarosa needs no introduction.  Le Astuzie has a delicate range of emotions that this great musical dramatist displays - from the diaphanous initial duet to the hearty "Russian dance" at the very end.
Oh, if only Cimarosa's music was taken more seriously in its own country of origin.  If only the Italians would awake from their perennial Verdi/Puccini/Mascagni/Leoncavallo torpor to look back upon the dynamic and rich 18th-century Buffa tradition, how many precious pages we would again be allowed to savor!
2020682
Although it remains one of Verdi's most popular operas, Un Ballo has had a spotty career on disc. Callas and Di Stefano are great on a studio performance on EMi but are let down by prosaic conDucting from Votto. Leinsdorg's wooden conducting also lets down Leontyne Price on her RCA set, but she was getting a bit old for the part of Amerlia already. The late-Eighties swansong uner Karajan is listeless and features an inferior Amelia in Josephine Barstow. for me, the reigning champ was the Solti set with Pavarotti and Margaret Price, a carefully prepared performance that shows off the whole opera in a veyr dramatic light with excellent work by the two leads.

Which brings us to this ultra-bargain live performance from La Scala in 1975. It is in good broadcast stereo, and there is no reason to complain about the sound as long as one keeps the source in mind. The great attraction here is the pairing of Carreras and Caballe, and they are superb, both in best voice and doing their all dramatically. the other cast members, especially ruson as Renato, keep things going at a high plane, and even the usually prosaic Milonari-Pradelli is having a good night.

Given the electicity in the air and the true Verdi spirit that prevails, I think this just might be the best Un Ballo I've ever heard. Certainly it's one of the most enjoyable.
3933913
as the other reviews have said, this is a remarkable performance. the ensemble playing is crisp without being rigid, and the players are recorded with the clarity of a chamber orchestra: all the instrumental soloists are distinguished and the balance with the soloist is perfect. richter creates a subtle range of moods within the overall perspective of each movement -- hard to do in a concerto role, as the orchestra must contribute to the effect -- though his dynamic contrasts are not as extreme as typical. the cumulative effect is apollonian, magisterial, and timeless. the solo pieces are marvelous technical and interpretive displays as well.
331537
First, I should mention that this is not the complete opera, "The Abduction from the Seraglio."  The program notes call it "one-third documentary and two-thirds filmed opera."

Even that just begins to describe this performance.
It is performed in a palace in Istanbul, where the beauty and color of the location and the costumes are stunningly bright and authentically Turkish.

The Scottish Chamber Orchestra, led by Charles Mackerras, and the singers, especially Paul Groves (Belmonte) and Desiree Rancatore (Blonde) do full justice to Mozart's most popular work during his lifetime.

You'll find all of the most popular scenes of "The Abduction," sung wonderfully and with the most crystal-clear photography you can imagine.

An extra treat is commentary, which helps explain Mozart and his music, AND a seat for you at the dinner table as you watch the singers eat, relax, and playfully sing bits of their favorite songs.

Though not the full opera, this is a delightful and beauty-filled presentation.  (It would be a great way to introduce newcomers to the world of opera, or to show those familiar with the work a colorful new perspective.)
844249
I downloaded the London production of Much Ado About Nothing from digital theatre and totally enjoyed watching this excellent cast. The music, and comedy and the energy of the production come through in the cast recording. The show was just delightful.  The recording captures the playful mood of the production. David Tennant and Catherine Tate have a sparkling chemistry which is evident in the recording and of course on the stage. If you enjoy Shakespeare and want to experience some of the lighthearted, joyous mood of this production, I think you will find this album an excellent sampling of the play itself. And I urge you to check out the Digital Theatre site for a number of quality productions available for download.
2398738
This is a sparkling performance of the Dvok Concerto. There have been several fairly high profile recordings in the past, but all too often they have been disappointing in one way or the other. Ji Blohlvek, the conductor on this version, has himself been the conductor on several earlier recordings, but the young Swiss-Italian pianist here, using the version prepared by Dvok for the work's original publication, plays the work generally straight and with both poetry and imagination. Of earlier recorded performances, that made in the 1970s for the work's anniversary by another Italian-named (though French) pianist with a Czech conductor, Bruno Rigutto and Zdenk Mcal, was also very successful, but the CD is quite hard to find and doesn't reproduce the sound as clearly as the original Decca LP, and includes no other work. Piemontesi is more apt to slow down in lyrical passages than Riguttto, but never so much that he loses the impetus of the music. This new Naive CD is the version to obtain for a persuasive and well-recorded modern version - and supplement with the Rigutto if you can find it! The recording was made in the BBC's Maida Vale studio.

The CD opens with a live recording (though you wouldn't know it, the sound is clear and uninterrupted by coughs and intrusive applause) of a performance in the Barbican of the Schumann Concerto. There are many alternative recodings in this case from several generations of great pianists, but Piemontesi and Blohlvek are in the top rank. A reviewer on the radio complimented the CD and commented that the tempo of the first movement was slower than in some cases - I wasn't aware of it, and, if so, it certainly is very effective.

The quality of sound in both venues is excellent. There is a particularly interesting commentary in the booklet about the Dvok concerto by an informed Czech scholar, with information about the work's history I haven't seen anywhere before.

A very strong recommendation to this CD from me!
3331701
One caveat - I have only heard the recording on a car stereo.  However,  this is a piece I love and know and I have never heard it recorded so well.  Like much of Mozart's work the composition itself represents an ideal that reality can scarcely measure up to.  But this performance seems to measure up.  First of all,  the two soloists really agree on the style and sound of the piece.  The intonation is perfect.  The tempos are lively and never slow down for technically difficult passages.  The orchestra features divisi violas that you can actually hear. The first movement, with some of Mozart's richest intellectual content,  is fun to listen to - you enjoy it,  not admire it.  The slow movement,  so tragic in its content,  is not self-indulgent or maudlin in its performance.  The third movement,  the "dessert" of this concerto,  is brilliantly performed, up to and including the risky arpeggios leading up to four high notes that end the third movement for both soloists.  Highly recommended.
21655
Not everything here deserves five stars (more on that later), but the amazing vocal offerings here keep me from rating it any lower. The best elements are Erin Wall and Elina Garanca who sound absolutely marvelous together; also, their respective arias are definite highlights. Erin Wall's soprano is silvery and shimmering--powerful at the top and surprisingly audible below the staff; the middle voice is smooth yet textured. Also, every syllable is colored with emotion. As did most of the cast, she got better dramatically and vocally as the night proceeded, but "Come scoglio" is by no means a disappointment, though her "Per piet" is better. I wish I could make it down to the Lyric Opera of Chicago this season to see her Fiordiligi there. Elina Garanca is never any less than fabulous as Dorabella. The voice is large and opulent but high-reaching and agile; she is dramatically captivating at every moment and never drains the tension. Barbara Bonney sounds kind of odd to me below her thrilling high register, but she continuously acts as saucy as Despina should, borrowing (never stealing) the show when necessary. Of all the cast, she ornamented the most, but Mozart is supposed to be ornamented. She made it work. Tenor Shawn Mathey wasn't intensely engaging as Ferrando, but he was no less enjoyable, making "Un aura amorosa" a high point. Stphane Degout inhabited Guglielmo and managed to make "Donne mie, la fate a tanti" more exciting than boring, though I suspect conductor Daniel Harding had a literal hand in this--he kept Mozart's score vibrant and dynamic as it should be (however, the cast occasionally fought him for tempi, though it can be tough to coordinate orchestra and singers in an outdoor theater; also, some delicious cadences are glossed over). Some people seemed to like him, but I couldn't stand Raimondi's Alfonso here. His physical mannerisms--hands flailing at the sides, wide eyes, spread mouth--grated and too much flatness pitchwise proved obnoxious, though, fortunately, he managed not to mar the transcendent "Soave sia il vento." Plus, most of his music isn't that beautifully written, so no huge loss if his voice isn't as fresh as it used to be--he plays an old character, after all. As for the direction, some of it really worked and allowed for opera to be sexy (and not crude, either), while some of it was hopelessly abstract and / or anachronistic if not saliently so. Also, I get the impression that not all his demands were not the most vocally compatible, yet the cast, as a whole, coped and sounded beautifully. The relatively young age of the four lovers probably helped in this department. One more item:  The recorded sound seems pretty true to the voices and orchestra, but the instruments are more closely miked (due to the theatre layout) and occasionally overwhelm the singers. All in all, I highly recommend this DVD for its musical and textual accomplishments.
3382
The first Broadway revival of "South Pacific" has been greeted with absolutely ecstatic reviews and a host of awards.  I honestly don't think I've seen or read a single negative thing about this production.  However, something must have been lost in the translation to CD, because I find this recording to be little more than mildly entertaining.

Musically, there is very little fault to be found with this CD.  The performeres all have good (and in the case of Kelli O'Hara and Paolo Szot, great) voices.  O'Hara's crystal clear tone rings like a bell on her songs, and Brazilian opera star Szot uses his expert understanding of musicality and dynamics to good effect.  Szot is particularly impressive on "Some Enchanted Evening," where his voice caresses the melody and makes this oft-sung song sound new again.

Even more impressive is the orchestra, which at nearly 30 pieces is one of the largest on Broadway.  This recording will make you long (if you don't already) for the days when such large pit orchestras were common, because they sound absolutely fabulous.  From the first sumptuous chords of the "Bali Ha'i" melody that begin the overture to the final ultimo, the musicians - under the expert baton of conductor Ted Sperling - transport you to the tropical South Pacific and find every ounce of texture in the score's orchestrations.

With so much right, why only three stars?  Well, it's almost as if the score is a little too perfect.  In taking such care with the music, the performers seem to have lost the life of the characters.  Rodgers & Hammerstein's brilliance was their ability to write beautiful melodies while serving story and character.  The people they wrote these songs for are living life to the fullest, and experiencing a plethora of emotions they can only express in song.  Many of the tracks on this CD lack that life and vigor.  When we get the occassional glimmer of true feeling (such as during O'Hara's delightfully playful take on "Honey Bun"), it makes the rest of the CD that much more disappointing in comparason.

Don't get me wrong; I'm sure the show as performed nightly at the Vivan Beaumont is excellent.  This recording does a lot of things right, and I know many people will absolutely adore listening to it again and again.  But for me, I want more conviction captured on the CD, since like many people who buy it I will probably not get the chance to see the show live.
2273401
The Celtic Women have outdone themselves!  Incredible production, beautiful music, upbeat and lively.  The setting was marvelous, the music varied, and the performers unmatched.  The happy faces in the audience said it all.  Even the Irish heavens cooperated with a perfect night for a concert.
123264
Like many of my generation, I have been indelibly imprinted with this performance as the first I encountered and still the best I know, despite the fact that it employs illegitimate orchestration and implements several cuts such that it now fits onto two CDs. Those cuts are not that damaging and were standard in that era; the only serious omission is Almaviva's last big aria, "Cessa di piu resistere"; otherwise it is only recitativo scenes which are missing and we still get Bertha's perky aria, so often cut. For the complete score in a scholarly edition with the instrumentation Rossini actually wanted, the super-bargain Naxos issue remains the best bet although there is also a nice modern one starring Elina Garanca, Nathan Gunn and Lawrence Brownlee which is beautifully sung but perhaps a little po-faced compared with this one.

This recording was made in London in 1957 following the troubled La Scala production the previous year - although you would hardly guess that there had been difficulties, as it exudes fun and high spirits. As ever, Gobbi exhibits some dryness on his top notes and Callas wobbles a bit in the stratosphere - perhaps unwisely singing a high D at one point which is true of intonation but shakes somewhat - but otherwise they give a masterclass in how to inflect comic Italian text; Gobbi's verbal dexterity is a marvel. Callas's "single word "Ma" in her first big aria and "Un biglietto - eccolo qua" are both more cases in point; I can never understand how people could accuse her of being a humourless singer. She is certainly sharp and waspish but also charming and flirtatious - and her coloratura is superb, especially when she exploits her gift for perfectly even portamento. The dialogue/recitative leaps out of the speakers, it is so animated; the exchange between Figaro and "Lindoro" just before Rosina's first appearance and the famous "Dunque io son" duet between Figaro and Rosina are both further instances of great comic pace and timing.

Alva starts off just a little waveringly but soon shows his mettle, singing in honeyed tone and his divisions become firmer and better articulated. The supporting cast has a genuinely funny Bartolo in Fritz Ollendorff, a neat, richly voiced Gabriella Carturan as Bertha and a suitably sly, saturnine and oleaginous Bartolo in Nicola Zaccaria. Galliera galvanises the Philharmonia to play beautifully; everything is perfectly gauged and never dull.

More recent re-masterings have made the sound a bit brittle and reproduced at too high a volume; by all accounts the earliest CD manifestation is the most successful but these things trouble me less than some audiophiles. I have a 1993 re-mastering and am happy with it.
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.
1341362
What separates Robbie Williams from other musical artists out there is that Robbie Williams is a born entertainer.  More than a voice, more than just talent, Robbie Williams gets on stage and stuns the audience with his charisma and charm.  At just over an hour, this concert is jam packed with remarkable ballads, stunning duets and a little playful banter along the way.

The show starts off with a bang as Robbie emerges with "Have You Met Miss Jones?" and ends with a phenomenal version of "My Way" that will take your breath away.  The orchestra does a fantastic job giving more life to his performance, and the dancers are professional, sassy and spot-on.  The various partners that appear throughout the show (Jon Lovitz, Jonathan Wilkes and Jane Horrocks) do a great job, but Robbie outshines them all.

The thing that makes this concert so great is that the stage is Robbie's home and playground.  His charm comes from the fact that he doesn't give a damn about concert etiquette.  He lights up a cigarette and steals somebody's water.  He swears and acts like a complete ham, and the audience loves him for it.  His rapport with his duet guests, especially Jonathan Wilkes, is fantastic.  When Robbie shares a quick laugh with Wilkes in the middle of a performance we get a glimpse at just how happy Robbie is to be on stage.

This is a concert that you will want to watch over and over again.  Robbie's voice is gold, his charisma is palpable, the orchestra is fantastic, the music is wonderful, the girls are beautiful and the set up is awesome.  This is an absolute gem.

The DVD holds features other than the concert as well.  We get to watch as Robbie creates the "Swing When You're Winning" CD and we get a glimpse at his `Day Job' - being a pop sensation throughout Europe.

If you are going to watch one concert this year, this is the one to watch.