Vernon Handley conducts Wagner selections
596969
The sound on this disc is quite good, and the performances are up to standards, but the conductor's pacing of the Rienzi overture could use some calming down, as could the interpretations of the other works. Overall, a good but not outstanding disc.
3763609
I have particular interest in the main piece on this CD, Britten's 'St. Nicolas' cantata, because a choir I sing in will be doing it later this year with our local professional chamber orchestra; interestingly, a previous performance of it by this group was so successful that a repeat has been requested. Britten, of course, wrote the work for amateur chorus and a professional tenor soloist, in this case his long-time lover, Peter Pears. Enough time has now passed that, although Pears/Britten recorded the work, it is appropriate and welcome that new forces give it a go. Philip Langridge, the tenor here, is actually a better-sounding singer than Pears, although no one would ever question Pears's musicianship. And I say that even as I am one of those who long since have found Pear's idiosyncratic voice to be more than acceptable. This performance was issued earlier (mid-1990s, I think) on the now-defunct Collins Classics label. Naxos apparently has obtained license to re-release a number of Collins Classics recordings of Britten's music; I've raved about earlier releases of 'Albert Herring' and 'The Turn of the Screw.' Steuart Bedford, the conductor on all these releases, is certainly the reigning Britten conductor, having succeeded Britten at the helm of the Aldeburgh Festival.
'St. Nicolas' tells the story of an early church saint, Nicolas, the 4th-century Bishop of Myra, not 'jolly Saint Nick' but another fellow entirely. Not much is known about him so librettist Eric Crozier had leeway to invent much, drawing on the legends surrounding him. Among the interesting episodes is the charming (and weirdly grisly) story of 'Nicolas and the Pickled Boys.' Most moving is the penultimate episode, 'His Piety and Marvellous Works.' Most immediately appealing is the jaunty 'Birth of Nicolas.' Britten asked the congregation to join in at two points when the choir is singing straightforward arrangements of the hymns, 'All people that on earth do dwell' (the 'Old 100th' doxology tune) and, at the end, 'God moves in a mysterious way.' The choir is the magnificent Tallis Scholars, accompanied by the English Chamber Orchestra under Bedford. This is a fervent, lively, moving performance, marked by sometimes catchy, sometimes solemn and always expertly crafted choral/orchestral mix. There is little choose between it and Britten's earlier recording (except Naxos's exceptional price).
The other two works are a very early work, the a cappella 'Christ's Nativity' (from 1931, when Britten was still at the Royal Conservatory) and 'Psalm 150,' an occasional piece written for Britten's old school, Lowestoft. The former is performed by the BBC Singers. The latter is a joyful work and fun to hear throughout it's four-minute length. It is sung by the New London Children's Choir accompanied by the London Schools Symphony Orchestra.
TT=66:00
Scott Morrison
2737120
Unlike Schott's editions (which Dover uses for its reprints of the other 3 operas of the cycle "Der Ring des Nibelungen" {"The Nibelung's Ring"}, the Peters version reprinted here DOES have the voice and instrumental staves mostly arranged in proper order, making things a great deal easier to follow.  [Alas, there's one exception - having the voices (though not stage instruments - that part at least is already in proper order) between the violas and the 'celli {harking back to Baroque "basso-continuo" usage} - at least they're consistent with it which helps...]  Also the fonts used by the Peters engraving are somewhat clearer than those of Schott in their first editions (their current edition of the complete works of Richard Wagner is SUPERLATIVE but no doubt fantastically expensive!!!).

This score of one of Wagner's most accessible works is not only a steal at the price, it's an excellent score, period (though I could visualise it using fewer pages if the engravings were done differently whereby the systems would have been somewhat smaller but done for a larger paper-size).  GET IT!!!!
2045585
Holst, Walton, Coates, Elgar, Vaughn Williams, Grainger, et al  a great CD with my favorite Brit composers  performed by fine ensembles. The quality of the recording is excellent.
2250883
I saw kirsten flagstad twice in tristan and melchior once in lohengrin, but this recording is amazing. Both of them had great authority singing any role and here as younger singers they are able to command well their magnificent voices to full effect. The sound is to my mind surprisingly good and the conducting of reiner a plus . If you like wagner get this it is a standard.
4101546
This is a good Meistersinger, showing off the unique and vibrant acoustic of the Festival Theater at Bayreuth.  The original Teldec issue possessed full libretto and some essays, I don't know about this latest issue as I am reviewing based upon the original.

Daniel Barenboim is a good, not great, Wagner conductor.  This is one of his better recordings in this repertory.  His cast is mostly very good, especially Andreas Schmidt's excellent Beckmesser.  Peter Seiffert's Stolzing is also quite good but I find his narrow sound to be a little tiring after awhile, and he tends to overdue parts like the Quintet, milking the line for all it's worth when it isn't necessary to do so.  The music speaks for itself when sung simply with a good legato.  He has the legato, he just tries too hard, like everyone else in this recording.

I like Emily Magee's Eva though her leading of the Quintet begins sloppily.  Birgitta Svendn, a long favorite of mine, was at the end of her distinguished career at Bayreuth.  She was more of a true contralto than a mezzo-soprano and Magdalena lies high for her, consequently the frequent high notes sound strained and elderly.  Robert Holl is a very good Sachs but I like him better on other recordings.  Again, he seems to be trying too hard for the cameras and microphones.

There are no outright duds in this recording and Barenboim leads a spirited and humorous account of this towering masterpiece of human/comedy.

I happen to have a broadcast of this production from the following year, 2000, conducted by Christian Thielemann.  The difference is, to coin an old clich, like night and day.  Thielemann also has the advantage of the greatest living exponent of Stolzing in Robert Dean Smith, and a much finer Magdalena in the young Michelle Breedt.  She is a more satisfying love in interest for Endrik Wottrich's spunky and sexy David.  But that performance is not available commercially (yet) and hopefully will be before too many years pass.  It is equal to Karajan's 1951 performance and Kubelik's 1967 recording from Munich.

I like this Barenboim/Teldec recording of my favorite Wagner opera, but it isn't one I will turn to when I want to be moved in any meaningful way.
3635137
I am thoroughly enjoying this recording! Thanks to Albany Records for taking a chance on this little-known composer. His original works are delightful and lovingly played by Vanderborgh and Bogard. Also lovely are his arrangements of the Mendelssohn Songs Without Words. I certainly hope more of his music will be performed and recorded.
4679620
This is an excellent 2 CD set that was recorded in 1961.  The music is well played and the singing is beautiful.  Nicolai Gedda is one of my all-time favorite tenors, and sings well in this recording.
2744741
Well, anyway I have not heard a finer one. Fritz Wunderlich recorded pretty much in a short period of time, and his recordings of great Lieder are among the finest there are. Totally recommendable! I'd say that his rendition of Beethoven's Adelaide alone makes this worth buying!
4398181
I have heard Gergiev lead this music so frequently in concerts halls that it's a treat to have these recordings with his essential orchestra.  He is the best conductor of this repertoire active today.
720308
This an absolute must read for wagnerians. He is gentle but firm in his criticisms of how classical music is dying and how the pit at Bayreuth has a muting  effect on the orchestra. I read this book while attending Bayreuth and could hear what he was talking about. It is also a superb cultural history and very detailed in its descriptions of the wagner experience. Also excellent recommended recordings.
1753515
Last seen on an Opera for Pleaure CD about 2000, this is easily a five star selection of music from Beethoven's only opera, which is neither convincing nor satisfying in performance because of all the spoken text the interrupts the musical messaging. This collection of highlights captures every moment of drama and includes John Vickers' wonderful portrayal of Florestan. Karajan and his Berlin orchestra are at their heroic best in this collection, which for me is the best way to hear this opera. Even people put off by Karajan's lugubriousness and smoothing over every texture shoud enjoy this hour of highlights.
470580
When naming the world's leading orchestras, the name New Haven Symphony doesn't exactly roll off the tongue.
Yet this regional orchestra produces a performance of the very difficult Symphony No 1 by Sir William Walton
that surpasses many more illustrious recordings. William Boughton has been a second level British conductor for some years
producing a few impressive recordings, none more than this. This has been a desert island work for me since I was 15,
and I even heard Sir William conduct it once in Sydney Australia. It is one of the most powerful and dramatic symphonies to come out of the UK
along with Vaughan Williams Fourth and Sixth. Written in 1935, Walton was an angry young man of 33 in a world of uncertainty. It shows!
Boughton gets it right starting with the atmospheric opening and build up through minor keys to a dramatic first movement ending,
launching into a nerve tingling scherzo (con malizia) played, as instructed, with malice. The whole performance has form and structure and even the less than satisfactory last movement comes across with conviction. Walton did have trouble writing a finale and the first performance was given without it.
There have been many recordings, not all convincing by Vernon Handley, Simon Rattle, Paul Daniel and Andrew Litton,
all with provincial British orchestras. Andre Previn has been the benchmark since 1965 in a sizzling performance by the London Symphony on RCA.
The New Haven can't quite match the power and frisson of the LSO but are very alert and rhythmically accurate.
The Violin Concerto may not match my benchmark of Francescatti/Ormandy/Philadelphia but Nikkanen is a fine soloist, needing to be a little closer miked
to avoid thinness of tone. It's a wonderful work and this release is a credit to all concerned and I look forward to more Walton from this source.
2281879
Saber como Richard Wagner tejio Tristan e Isolda y transformo cada palabra en sonido es particularmente excitante. Wagner es Wagner.
710934
This is a wonderful CD that serves as both an introduction to Heppner's  incredible Heldentenor voice and a nice excerpts disc of Lohengrin.  Heppner is known the world over for his interpretation of Wagner and once  you here his voice on this disc you'll know why.  This is very accessible  music for the non-Wagner fan as well and one that I love to listen to time  and time again.  Heppner's voice moves me like very few others!  I can't  wait for the next Heppner disc.
1862380
I wasn't really familiar with Schubert's choral music, but this has some quite lovely passages. Hickox is an excellent choral conductor -- I have his Rossini /Stabat Mater/ and I think one or two others.
3520718
I love newer DDD recordings so I ordered these "OLD"
(early 50's) mono recordings with some trepidation.

WOW. The singing is superb ... very clear ... perhaps at
the expense of the orchestra. If you want to truly UNDERSTAND
the German ... these are without equal.
I was teary-eyed many times by the power of the lovely
language and superb singing. This seems to me to prove that the DRAMA and SOUND is
meant to simply wash over you and work its way into
your psyche in  ways incomprehensible. Having listened
to so many superb stereo recordings, I haven't any idea why I was so affected
by these old mono recordings. How does one explain the inexplicable???

Get this recording, NOT for the hifi or for the orchestral sound,
but simply for the emotion and art that pours forth from the voices.
Allow yourself the luxury of listening with your heart and I believe you
will hear Wagner as he meant you to hear it ... with the MAGIC
of the Grand German text and amazing human voices ... nothing
short of miraculous to my ears. What this Ring has is pure WAGNER
and not Solti, Karajan or Barenboim.
Most reviewers give you an analysis of each voice. I refuse to get into
who is great and who is merely acceptable. How you react to a particular voice is an INDIVIDUAL thing. I happen to love George London and Jon Vickers but your ears may be different. What I found with these recordings was a revelation ... I was listening to the language and the NOT to the individual singer. The PURITY of reverence to Wagner's text is remarkable ... almost unbelievable.
If you wish to FEEL the Ring and the marvelous German language, get this recording. It will NOT replace your favorite recordings but it will be a revelation for the GERMAN text  ... if you have EARS to listen.

Hooray for conductor  Keilberth in The Rheingold, Siegfried and Gotterdammerung  but the Die Walkure of Furtwangler seems to me to be the real gem here.
PS  ...  The stage noises seem to be more evident in the Keilberth recordings, perhaps because they were from Bayreuth productions.

This shouldn't be your first Ring purchase. I would suggest Janowski and it's a tremendous bargain. If you want a phenomenal recording, buy the Leinsdorf Die Walkure with Vickers and London.

Delve into Solti, Karajan, Barenboim and Bohm  by all means. You will be wowed by the differences in voices and SOUND ... but the true magic of the GERMAN comes across better
in these early 1950's recordings.