Classical Music

While others have complained about the "too-perfect" playing of the Emerson Quartet, I would point out that Bartok - and is quartets in particular - are not easy music. They require some monster musicians to pull off successfully, and Emerson does that on each and every track.

If you're looking for the complete works of a major 20th-century composer in the genre of string quartets, this and the 15-quartet Shostakovich should be your first two purchases. Well worth the money.

The five stars are for flawless performances and superb engineering.

... and that's the problem. I've tried really really hard to like these flawless, magnificently engineered performances but they whip through my head like so much [expletive deleted] through a goose. The quartet looks great, probably smells great too, and they play in magnificent venues, in front of people who also look and smell great. Among them are reviewers in fresh underwear, with Blackberrys. I doubt the Emerson ever played this music in a garage, or in a basement, or in a shabby apartment, or maybe even in a bunker with an air-raid going on overhead--which are the situations near all European composers experienced during the last century, when all this music was written.

The precision and refinement in these performances does an A-1 job of simulating terror, or strangeness, or melancholy, but this is the terror of briefly losing control of one's Infinity on an icy road outside Dartmouth, the strangeness of accidentally walking into the tattoo and piercing shop when you were headed for Starbucks, the melancholy of being on vacation and missing your purebred Weimaraner. These are feelings most modern concert-hall folks and most of the better-known reviewers can readily identify with. They are intense and completely valid. They have nothing to do with Bartok.

Five stars because this set is a stupendous achievement. My not liking it is purely a matter of taste, and perhaps part of that taste can be attributed to the fact that I'm old enough to know of Auswitch, Stalingrad, D-Day, and Hiroshima as recent history--when the millions of survivors of unfathomable miles-deep awfulness were everywhere (everywhere in my family even) and the the aura of terror, strangeness, or melancholy they carried about with them was palpable; when symphony orchestras consisted of similar gangs of survivors, conducted by yet more survivors, so that to them Beethoven's Ode to Joy meant a little bit more than just closing night at the summer music festival.

I prefer the Vegh set on Music & Arts, the Hungarian on DG, and even the old Julliard collection. This set is absolutely fine for 21st Century folk who might think 9-11 was an unparalleled catastrophe, Iraq & Afghanistan are among worst wars in history, and the "rough" playing and low-tech sound of the Vegh set is unacceptable.

The Emersons blow through Bartok's most difficult passages with masterly aplomb; their virtuosity is never in question, and if you were not already familiar with these works you might think these performances were definitive. Bartok, however had a mysterious and lyrical side to him, and the Emersons don't illuminate those remarkable moments in these performances. I constantly get the impression that the Emersons are determined not to let Bartok push them around. They manhandle him masterfully, throwing him to the ground and leaving him in the gutter. Bartok deserves more sympathy than that. With the Emersons it is the bravura playing that will give you goose bumps, not Bartok's dark visions.

One reviewer said that Emerson wasn't rough enough. When this was released, I believe it was the roughest interpretation I had ever heard! Over-all, these are very good performances (and 100% accurate). The weakness of these performances is the gentler sections which, though technically perfect, lack feeling and conviction. Béla Bartók: The Six String Quartets - Juilliard String Quartet does a very good job of the quiet sections, but lacks power on the aggressive parts.

My favorite recording of these pieces is Bartók: 6 String Quartets by the Hungarian String Quartet. Since I bought that I haven't listened to other recordings of this piece.

I've had this album for several years and have played it often, but I have come to be less than satisfied because of the lack of tone color in these performances. Bartok was, among other things, a Hungarian nationalist composer and a colorist. For me, these performances do not reflect the full color and nationalistic flavor that other performances have shown.

I can't say much about this DVD because, to me, it is perfect. Mr. Perlman plays these giant violin concertos with vigor, passion,and great expertise. His finger work is incredible. Mr. Barenboim conducts the orchestra with sensitivity and grace. The sound is excellent. Just buy it and see for yourself.

I gave this DVD to my father who plays violin and he was so excited to watch the concert. I watched some of it and it was simply amazing and the location that the concert was filmed is gorgeous! I highly reccommend anyone who loves peaceful music or loves the violin/classical to buy this and watch this amazing violinist perform magnificently!

What can I say about this DVD? I like Itzhak Perlman, the Berlin Philharmonic and Brahms. The video quality is very good as is the sound. I have had the pleasure of seeing Mr. Perlman twice live and would love to do it again. I recommend this DVD. He plays with real feeling and intensity and is not just doing his job. According to one of the other reviews, he is playing his 'Strad' and if this is so, they make a great duo. I like him anyway, but appreciated the other favorable reviews. You won't be disappointed, at least I wasn't.

This is exactly what a music DVD should be. Beautiful sound, crisp, clear images and excellent camera work. This production struck a perfect balance of going from Perlman to specific players, to specific sections, to Barenboim and beyond. The only "bad" shots were the ones shot from way above where they tried to capture the whole orchestra (which they did, but the lack of any detail at all was off putting).
I have owned this DVD for a few weeks and watched it several times and imagine watching it dozens of more time over the years.
For what it's worth, my 2 year old also loves it because it allows him to see people playing specific instruments.
I recommend this DVD for everyone- especially since it contains two great concertos. In this sense it is better than a live concert since those almost invariably include a crowd pleaser(like these) coupled with a post-modern dissonant tone poem with lots of screetching precussion.

It was wonderful to feel a part of the performance, the interplay between Perlman, Barenboim, and the Berlin Phil was beautifully recorded so that the viewer can feel the drama of this great work from the inside

I purchased this after someone told me that listening to baroque music makes you smarter and calms the mind. I've enjoyed it after a busy, stressful day. Even purchased a copy for a friend who was having a baby, you never know, he could be the next Bach.

To title the album "The Best..." is arrogant and boastfull, however, this is the best fuggin' Baroque ALBUM EVER!!!

The latest recording of Bach Cantatas of the Flemish Conductor Philippe Herreweghe underlines again that this former Doctor of Psychology helps with a deep understanding of the Bach liturgical work to open this often difficult work to all listeners.

In this case "Jesu Deine Passion" (Jesus, your Passion) he takes four Cantatas all meant for the last Sunday before Lent and puts them in a relation that is of high intellectual and psychological interest. It paints an full color Altar Piece of a Via Dolorosa before the cross, the inner fight of Christ and the Soul on the long way to the cross.

This makes sense in many directions. Namely as in Bachs Times during Lent for four weeks there were no Cantatas played on the Sundays And these four Cantatas allow the listeners either to fill these Sundays with wonderful musical reflections on stations to the cross or even - listened to them in the contents - give view on the inner world that makes Christ take the cross and us to understands its liberating power.

The first Cantata "Jesu nahm zu sich die Zwoelfe" BWV 22 ("Jesus took unto him the Twelve") starts with the Evangelist reporting the fact that Jesus goes to Jerusalem with his disciples. Immediately the Soul answers in a wonderful aria and asks Jesus to let her join ("Mein Jesu ziehe mich zu Dir" - "Jesus draw me unto thee") and later the tenor Aria ("Mein Alles in allem" - "My all in all") reflects already on the healing power of this sacrifice to "better the heart" and lead away from the easy fun in the world.

The second Cantata "Du wahrer Gott und Davids Sohn" BWV 23 - "Thou very God and David's Son" makes us meet the beggar sitting at the Via Dolorosa, the road to Jerusalem begging Jesus to help his misery. It is us sitting there, this clears Bach in the next Recitative when he let the soul pray: "Do not pass me by" - "Ach ziehe nicht vorueber".

And a big choral prayer following: "Aller Augen warten Dein o Herr" - "They eyes of all Lord wait upon thee" - the position of us being dependent on the salvation. This is followed by "Christ the Lamb of God" - a Choral Fantasy reminding on the Chorus in the Mathew Passion finalizing the first party "O Mensch bewein Dein Suende gross". The soul musically sees the cross shining at the end of this psychological way.

Here are bystanders on this way, laughing and spitting so the third Cantata "Herr Jesu Christ wahr' Mensch und Gott" BWV 127 "Lord Jesus Christ true man and God" puts Jesus already in the hands of the soldiers and gives a glimpse of the "Ecce Homo" - the Crown of thorns put on his head in front of the masses shouting for the crucifixion. Herreweghe conducts this choral with stringent hard und hurting accords by flutes and oboes who hit and spite around.

The Recitative following paints a picture of the sweat on the dead body of Christ and all of us and frightens in the next bass accompangnato with the judgment day. But this accompagnato lead in the final part to a wonderful vision of the resurrection with the powerful sound of "Though heaven and earth will perish in fire - yet shall a believer live forever".

The last Cantata leads us right under the cross. Now it is the Vox Dei, the Voice of Jesus himself announcing "Sehet, wir gehen hinauf gen Jerusalem" BWV 159 ("We go up to Jerusalem") in order to fulfill all the prophecies. This is told in a Duet with the Alto Voice (wonderful and deep felt by Mathew White" - always the Allegory of the "Daughter of Zion" in Bach's Cantatas or the Human soul that asks what will be the fate when going up to Jerusalem and if this is not more a "way to hell..."

In the following Aria "Ich folge Dir nach" - "I will follow you" the Alto stands by its words and the soul will follow to the cross accompanied by the Soprano with the Choral line "Ich will hier bei Dir stehen" - "I will stand by you" mostly dedicated to the Voice of peter who after the betrayal still stays with Jesus until his death - the same situation in this cantata like in the famous Mathew Passion.

Finally the Vox Christi fulfills with the Aria "Es ist vollbracht" - "It is finished" - his words on the Cross when dying. And the Choral "Jesus Deine Passion" - "Jesus your Passion" finalizes this remarkable and outstanding collection of Bach Cantatas on the latest recording of Philippe Herreweghe and the Collegium Vocale Ghent.

The soloist are the who is who of modern young Bach Singers of the best: Dorothea Mields, Soprano, Mathew White, Alto, Jan Kobow - in my opinion one of the most amazing Tenor Voices of our times also known from his Himmlische Cantorei - and one of the best bass voices always working with Herreweghe as well as with Massaki Suzuki, Peter Kooy.

This is far more than simply another Bach Cantatas recording. Herrwegehe and his fantastic musical team allow a Meditation for the Passion time that is deep felt and full of spirit and understanding for the fear, the pain and the liberation of the Passion Message that never grows old.

I know this recordings since 10 years but was never able to afford buying them. Now they are available for a reasonable prize. You get more than 11 hours of heavenly music. Every Trio is jewel and I cannot get enough if this delightful interpretation by the Beaux Arts Trio. There is a good reason that all reference guides (Gramophone, Penguin etc) always refer to this box! Take your chance, buy and enjoy this beautiful box!

The music in this box set is absolutely beautiful! I am a huge fan of Haydn - He really does deserve more attention then he seems to get. What hasn't Haydn written? Quartet music (check), Symphonies (104 check), Piano Trios (check), Opera music (check)... well you get my point.

I own both the Beethoven Piano Trio set by the Beaux Arts Trio and of course this one. They are both sublime - but the recording for the Haydn Trios is my favorite - seems more balanced among the three instruments to my ears.

I wanted to give this set a 5 star rating - If the music were the only factor that's what I would give it. Here's my gripe - the cheap paper sleeves the cds are stored inside-What the hell was Phillips thinking?
I mean I want to make sure my cds are pristine. Personally, I prefer the cardboard sleeves - seem more hearty to me. I know my Vinyl records (yes, I am in my 50s) are sleeved in paper. But I am more comfortable with the cardboard sleeves for the cds.

In the end, I am very, very satisfied with this 9 cd set from the Beaux Arts Trio - What a great job! Ok, I am giving this set a 5 cd sleeves be damned the music is just so beautiful! It's a 5 folks.

This recording of Haydn's Piano Trios by the Beaux Arts Trio must surely rank as one of the most outstanding recording cycles ever made. Such a statement, perhaps absurd at face value, is easily understood once you've sat down and listened to the first two or three disks in the set. The intense beauty and the powerful emotion of Haydn's piano trios simply pours forth and even oozes out right from the onset of disk 1 track 1 and doesn't stop until the last disk is played. The music is so hauntingly beautiful and superbly performed that nearly anyone - even those without a background in classical music - can almost immediately be drawn into the lyrical world inhabited that "Papa Haydn" creates for us. Look at the words chosen by some of the reviewers here: "treasure," "classic," "pick of the litter," "beautiful," "delightful," "gems," and on and on, and you'll see this is the nearly uniform judgment of an entire group of listeners.

I purchased this set at the FNAC in Paris during a trip back in 2005, and must confess that I was simply picking up the set of nine disks because I thought it a good addition to a classical library. Goodness, was I ever surprised beyond expectations when I started listening to the recording. This is music in superb form, beautifully and lovingly crafted by a master composer, and then executed with style and warmth by performers who not only are experts at their craft, but deeply understanding of what Papa Haydn himself wished to convey through these works. Astonished as I was with disk one, I knew this feeling was unlikely to be sustained through the next eight disks, and, of course, you can guess the rest of the story: I quickly found that the power and emotion of the start is held throughout the entire series.

Haydn, like Handel, is often overlooked in today's classical world. If you've ever heard someone say something to the effect of "If you've heard one Haydn piece, you've heard them all," here is a set that will dash such views. In fact, to go through these pieces over and over is to help one understand the true genius of Haydn, a person who executed his skills without pompousness or showmanship, but through sublime creativity, bursting forth like new flowers on a wet, sunny morning. The Beaux Arts Trio takes these pieces and then makes them their own, and we, the listeners, are the ones who benefit from the association.

Make no doubt about it, this is one of the most brilliant and lovely set of recordings you are likely ever to hear. This set was recorded in the 1970's, you say? You'd never know it. It sounds as good - or better - than any digital recording of the past few years. It is the rarest of occurrences to come across a recording where such superb results are achieved, but here it is, all tied up in a little package. This is a set to treasure, but also to explore and study. It will keep you busy for a long time, and you'll probably savor every minute of it.

"Delightful" is a single word to describe this recording of Haydn's Piano Trios. I was fortunate to find one of the apparently few remaining copies of the Beaux Arts Trio's performance of the complete Landon edition trios on Philips (Polygram 454 098-2). (This was before the apparent re-release.) This ten and a half hour treasure was originally very well-recorded in the 1970s on analog tape in Switzerland and the Netherlands, then first released on CD in 1991, then again in 1996.

The Beaux Arts plays wonderfully; not much more could be asked from these performances, other perhaps for a slightly more distant microphone perspective. It's amazing that F.J. Haydn had been considered largely irrelevant by his succeeding romantic generations. His compositions are, for lack of a better description, classically classical and far less "cute" than the precocious and better-known works of upstart Mozart. The Beaux Arts is able to infuse the joyful compositional beauty of Papa Haydn's trios with skillful elegance and charm.

There are some definite surprises, particularly in the later works. As others have noted, Haydn presaged the Romantic period in some of his later trios. The variety of compositions presented here are at times beautifully proportioned and balanced, elegant and refined, humorous and witty, joyous and rollicking. In short they aptly display much of the skill, talent and personality of one of my favorite composers.

I have arrived at the view that Haydn is for the musically more mature; this is after nearly sixty years of avoiding him - I have come to regret the wasting of so much time!

Like many people, I have considered Haydn principally in terms of his "thousands" of symphonies and felt the title "Papa" probably apposite. However, having spent an increasing amount of time in getting to know his chamber works, I have altered my opinions dramatically and have long since thought Schumann's judgment facile and ungrateful.

Haydn shared a few years of the middle of the 18th. century with Bach and given his following so closely upon the heels of the Barok, his music is astonishingly innovative and I think he receives far too little credit for the pioneering work he did. His string quartets truly are of the first order and given that he "invented" the genre, extraordinarily forward and musically developed. Mozart did nothing to advance the form which Haydn left as a wonderful foundation upon which Beethoven and Schubert could build.

Whilst many of the quartets have a certain cerebral aspect to them, the piano trios do not. Not because of any lack of inventiveness on the part of the composer but due to their being intended for a larger and different audience to whom Haydn's publishers might sell a lot of sheet music; it should be remembered that Haydn was widely known and popular from Italy to Sweden. There is no hint of "commercialism" in these works however.

This complete set of piano trios has a strong homogeneity; they all fit together well and balance nicely. A quirky exception here is the very individual E major Allegretto (Hob.XV:28) heralding a chorale prelude and later suggesting that we are in for a three part fugue. No chorale, no fugue. Another of Haydn's witticisms perhaps?

The Beaux Arts' readings are "safe" and I have no quibble with this. Another reviewer has found them "bland" but with this I do not agree. Frankly, I think it difficult to make a proper judgment because, as has been pointed out elsewhere, the strings are not at all well recorded and for much of the time the pieces sound like a piano sonata with occasional string accompaniment.

This situation is less annoying than it otherwise might be as the piano really has a stand-alone part and the overall nature of the works is surprisingly undiminished in the apparent absence of the strings. In any event, the violin and more particularly the 'cello whose principal function was to bolster the rather fragile bass of the early Viennese fortepiano, don't have much to say that is of great musical consequence. To a degree, this "imbalance" is characteristic of the trio form as it was employed by Mozart, Beethoven and others; it was well into the nineteenth century before Mendelssohn distributed the musical parts more evenly but a contrived imbalance of musical composition is one thing - that of shortcomings of recording quality is quite another. The "solo" nature of the piano in this instance merely serves to demonstrate what an unusually fine pianist Menahem Pressler is. In other respects the recording is very good.

These trios are immensely satisfying, partly due to their delightful nature and partly because they don't demand much in the way of intellectual involvement from the listener. I should like to have awarded five stars; generally, the set deserves them but I feel some penalty has to be imposed in respect of the poor microphone balance. Musically, this collection is a superbly performed joy and others surely will share my delight in it.

I have no idea how good this was. I bought it based on the reputation of the artists. I gave it as a gift. Nonetheless someone thinks I should review it.

This was my first set of VCs I purchased; had no other VCs by anyone at the time, although had Mozart's Syms and Piano Concertos. Now that I have owned this CD awhile, it has given me the time to compare it against other recordings. Over time I now realize this is truly one of the best recording's of Mozart's VCs. Believe me there are other recordings and violinists who do just as good of a job and I feel it's a matter of preference. But, Mozart's VCs require a fine touch and a gentle flow to make them really good. Perlman gives us that and more. Perlman's interpretations are very touching, elegant and beautiful, especially the slow mvts. A plethora of emotion; who says there is no romance in Mozart's VCs. Conceivably, Perlman may the most versatile violinist today. This is a digital recording; they always sound the best; and Perlman plays on a top-notch strat. For those seeking a newer verison of Mozart's VCs, I believe this is the one to purchase.

Mozart: 5 Violin Concertos by Wolfgang Amadeus Mozart, James Levine

Do listen to this beautiful music and enjoy it.
Let me know your feelings.

Merci et amicalement à tous

This collection, by 2 of the most brilliant musicians, a magnificent orchestra, recorded perfectly in a beautiful packaging for a great price. What more do you want? I play this CD at least once a month and every time I am enveloped in perfect beauty and joy. A must for any classical music library.

Perlman and Levine take a very relaxed approach to these masterworks. If you are in the mood, the performances are very good. But this music has much more passion than these performances exhibit. Perlman almost sounds like he is showing the world how easy this music is to play. That is fine but most of the tension is totally missing. I suspect the Perlman of the 1960's would have played these works much differently. That sense of excitement from his early years is really missing here.

I had occasion to pull this recording out and pop it into my car CD player, yesterday. I had forgotten how simply superb this is. The only negatives are some musical cuts, mentioned elsewhere, except that no one mentions that an entire number is missing from the second act. The singing is terrific, stylish and you can understand every word. Some of these performances are better than any others on record (the Pish Tush and possibly the Pooh Bah, although I hate to think anyone could outdo Kenneth Sanford in the role). But it is the conducting that drives this recording. The tempos are spirited, the transitions seemless. The orchestra plays superbly, with lots of little instrumental solos sounding better than I have ever heard (the bassoon run in Three Little Maids). This recording is great because of the brilliant conducting of Charles Mackerras. It is really too bad the funding dried up. What I wouldn't give to hear a MacKerras Iolanthe or Gondeliers.

This production gives the grand operatic treatment to operetta, inflicting seriousness and distance on what should be intimate, lighthearted and fun. This disk is disappointing and tedious whereas Mike Lee's "Topsy-Turvy" is vibrant, fun, charming, and true to light opera as experienced in a small theatre with pit orchestra.

I had a high-school teacher who suggested that the reason W.S. Gilbert never received a knighthood (unlike his collaborator) was that the establishment was less than thrilled with his satirical views on British society. Nowhere is this satire more in evidence than in the Mikado, their "comeback" and arguably greatest work. Obviously, even Gilbert, who had satirized the armed services as well as other segments of society, couldn't lampoon the British crown directly, but one assumes that various well-placed worthies at Buckingham Palace understood the principles of transferance which are at work here. A singing Japanes emperor who issues silly decrees banning flirting, coupled with an itinerant minstrel who escapes royal justice through a fluke? Not so far removed, surely, from many impulses at work in the British Isles at the time.

Regardless, the score is arguably the most brilliant and tuneful ever composed by Sullivan, and the Welsh National Opera and orchestra do it and Gilbert's lyrics proud. A happy, rollicking performance from start to finish.

The performance is spirited, the diction is good, the orchestra is on form, it's a very enjoyable recording. Other reviewers have complained about the missing overture and dialogue. We are not alone in thinking the overture "will not be missed" - it's pretty ordinary. Music for the audience to settle down by.

And since we wanted, and got, a recording of the Mikado music, we also don't miss the dialogue, a fair bit of which is really only there to set the scene for a song anyway. If we wanted a recording including all the dialogue we would have looked for one.

In summary: "the Japanese equivalent of 'hear, hear, hear!'".

While I agree with most of the other reviewers on the quality of musicianship on display here, the spirit of the piece seems to be missing. I cannot truly enjoy a Mikado where the central comedian, Ko-Ko, does not elicit a single chuckle. With the exception of the title character's traditional hyperventilation, there is none of the shading or embellishment that can bring these parts to life. I recently saw a production of The Mikado, so I know it can still generate some excitement. This seems more like a museum piece.

Althogu I like certain parts of this CD it was definitely more metal than I had anticipated however certainly well done and will rpovdie much enjoyment for the gothic metal followers.

A few months ago I got into Epica from their newest album "The Divine Conspiracy" I really loved that album so I decided to buy "Consign To Oblivion. I never got into that album, I found it really weak and generic with no songs whatsoever that stood out. That made me very wary of getting this album, but I did anyway and I was pleasantly surprised.

The songs on this are quite original and all stand out in their own way. This is a great album well worth your money. I can't fault it in any way. I'm giving it four stars because it is not a "perfect" album, but realistically, this is about as good as it gets.

Maybe Epica's Best!

This is a fantastic album and an absolutely incredible mixture of symphonic opera choir and heavy metal. It blends so well together it is impossible for mere words to do it justice. This band is incredible for people who are serious about there music

I wanted a specific Boccherini piece! I typed it into an Amazon search and this recording came up. Ordered and received just what I wanted! :) :) :) Good sound quaity. The other music on the recording is also good, but just an extra.

Karajan, by far, next to Bernstein is one of the great conductors and his style shimmers through Respighi's beautiful fountains.

This recording is the best by far.

This brilliant showpiece CD brings together two separate LPs, the Pines and Fountains of Rome from 1978, the Ancient airs and Dances, along with the Albinoni and Boccherini form 1973. The Albinoni Adagio foretells the immense success of the Karajan Adagio series, which have earned DG millions of dollars. But these fillers are simply lush show-offs for the famous Berlin string sound.

the main attraction is Karajan's sumptuous yet refined way with the Pines and Fountains. Frankly, Respighi survives largely because of Toscanini's advocacy, and it would be hard to beat his electrifying accounts of both works, despsite outdated mono sound. The Berlin Phil. is incomparably more viruosic than the NBC Sym., and Karajan's sophisticated way with this second-rate, splashy music may not please everyone. He's out to civilize it, and for many that's exactly the wrong approach. Without its vulgar energy, Respighi's music has little else to offer. (Collectors of the Pines also complain that the nightingale recording used here is too drab. Okay.)

For me, owning one version of the Pines and Fountains is more than enough, and I nominate Reiner's famous version in Living Stereo on RCA, an all-out blockbuster. But Karajan's worldly approach is certainly worth a listen for its power and musicality.

Overall a superior recording. I have to agree that the tempo in a bit sluggish on the Pines of Rome, especially the fourth section, the Via Appia. The sound was almost too well blended. I'm used to hearing a bit more of the dissonance right before the final triumphal resolution. It doesn't last long but serves to punctuate the long build up in other recordings. That brief dissonance seems to be glossed over by Karajan, which makes the resolution less compelling.

I love the Pines of Rome and find this version to be the next best after my other benchmark, Reiner's interpretation with the Chicago Symphony in the 60's. Too many conductors feel the need for excessive speed in the opening of this piece, causing it to feel hurried and rushed rather than triumphant. Karjan and Reiner are able to reign in this tendency. The playing is immaculate as well. This is an essential recording of this piece. Buy it.

I saw the first Amahl performance on TV 58 years ago. It was repeated each year for a number of years and then it disappeared. I finally discovered the existance of this DVD and was delighted to buy it for my own. It is wonderful to learn that the Mother, Rosemary Kuhlmann, is still alive. The interview with her is fun and it is great that it is included.

This is one of the best short operas I ever heard. Is fitting for the
Christmas season.

My youthful memories of Christmas are rekindled by this masterpiece written directly for television. And amazingly, in a very short span of time. As a child of the 50s & 60s, "Amahl and the Night Visitors" will always stay in my heart. This was a huge part of my childhood Christmas tradition year after year.

I couldn't quite give this recording any higher rating than four stars though, due to the reproductive quality of the old mono sound. But I would still recommend it for the most part. Probably not the program I grew up on, since this is the original from the very early 50s; I was born in 1955. But the power of this story and the superb music written as an opera, probably the best ever composed for television, will delight anyone familiar with this work. And I'm sure many others will be won over as new listeners.

There are said to be many local stage productions of this classic annually, but I've only had the pleasure of seeing it once live on stage, and that was the early 70s, put on by my high school drama and music departments. There was even a newer production shot in Israel in the late 70s, but I didn't enjoy that much higher budgeted effort anywhere near as much as the earlier version I remember, or this recording from the original cast done back in 1952. The newer version just didn't have the same emotion or magic. So much for location scenery.

At this time, I await with great anticipation, the black-and-white DVD offered here on Amazon that I recently ordered. They also offer the newer 70s version, but I wasn't interested. Be forewarned though, the very dramatic ending will bring many to tears, especially from "All That Gold" to "Oh, Woman, You Can Keep The Gold." A television classic.

Being from a more recent generation, I first read about
"Amahl and the Night Visitors" in an old book music
book by David Ewen, back in 1991, and it was not
until 2008, just last weekend that I got my hands on
a recording of this most magnificent opera. I came across
this particular recording by chance, as I was looking
at a most recent recording, by another label. I saw this
recording of the original telecast as staged by the composer,
and I realize that this recording was closer to the idea
of the composer than any other available. Yes, the sound is
not too great, but that does not matters when the fact
that this is as the composer heard it and staged it, comes to
mind. Thou here the orchestra and chorus are unknown, they
are conducted by Thomas Shippers, a great young conductor at
the time. I really do recommend this particular recording to
any other.

This was a holiday staple in our house when I was growing up, and dated though it may be, this CD sounds better than the LP we had. It's an exquisite work of art.