Classical music reviews

It's no rare event these days when great musicians from opposite sides of the planet come together in a musical merging project. The "West Meets East" concept is not new; it's been going on since Debussy heard Balinese gamelan, since Bartok recorded Morrocan "Chleuh", since Reich studied drumming in Africa. And in the modern age of studio recordings, it is certainly not a new phenomenon -- just ask the Beatles, Duke Ellington, Miles Davis, John MacLaughlin, AfroCelt Sound System, Don Cherry, and even Ry Cooder.

This record sits easily with the aforementioned as a monumental cross-cultural musical merging. It is one of the finest available. I believe it even surpasses the legendary "Meeting By the River" of V.M. Bhatt and Ry Cooder.

In this record, Bhatt teams up with legendary Bluegrass banjo player Bela Fleck and erh-hu artist Jie-Bing Chen. Just as important, though in the background, are Ronu Majumdar on bansuri, Poovalur Srinivasan on mridangam, and Sangeeta Shankar on violin.

What sets this record apart from others is that it perfectly blends the various styles and instruments brought to the table without sacrificing the ethnicity and authenticity of any. And this I believe is the crucial asset in effect here -- because how often do these cross-cultural mergings turn into really a "Western" record with some exotic sounds? Usually, one party takes a backseat role to the rest.

Not so here. Each player adds their own unique element to the mix, and nothing is sacrificed. The end result is a truly unclassifiable genre of music of the utmost quality. No player is eschewing any part of their musical heritage to "fit" into the scope of the project: if you could fade out everything except Bhatt's mohan vina, you would be hearing excellent traditional-sounding Indian folk music. Tweak the faders to isolate Fleck, and you would hear bluegrass music with all its chromaticism, inflections, etc. Pick out Jie-Bing Chen's erh-hu, and you will most likely hear pentatonic scales straight out of the Far East. And yet, the end result is a perfectly-balanced amalgamation of the disparate styles that somehow sounds like these instruments have played in the same settings for years.

The best track on this record is "Earl in Shanghai," which illustrates this perfectly. When Chen begins the tune alone, the pentatonic melody sounds distinctively Asian. Then, Fleck enters, adding a Western chromaticism to the mix. When the track takes off with the added percussion, we are left with a real bluegrass foundation, with the same pentatonic melody in the top (with one added passing tone), all over a solidly Indian mridangam beat cycle. The overall result is of the utmost quality.

That being said, I believe this record surpasses even the legendary collaboration between Bhatt and Ry Cooder. This album is decisively more composed and rehearsed than the "Meeting By the River." While the Cooder/Bhatt meeting is undoubtedly great, there are several giveaway moments in the recording that show how quickly it was thrown together. It's really a jam session -- at times one person moves through a transition while another doesn't, the endings of the songs happen abruptly...it's a monumental record, no doubt, but this one is miles above it in terms of quality and professionalism.

Well, enough blathering on. For some of the most relaxing and beautiful world music you will ever hear, pick up this record. You will not be disappointed.

It pleases me that every review for this album is 5 stars.
This is great music.

Bela Fleck has got to be one of the most talented musicians around, and this album shows some of that talent. It is in the way he can switch between styles. Especially considering his intstrument of choice is a banjo, something not usually considered too "mainstream". This album is beautiful. If you like Bela's other music, you'll love this one.

I have not been a particular advocate of Andr� Watts; I've heard him bang about in live concert too many times. And I've even heard him play the Tchaik 1 in concert and was not particularly impressed. But earlier today I heard this performance of the First Concerto on our local NPR station, having tuned in at literally bar 5 (perfect timing!) and, not knowing who it was, I listened. And listened. And listened. And kept thinking, who is this? This is good! And even more I was thinking that the aural stage was perfectly managed, with the piano sound seeming to come OUT of the orchestra rather than set way in front. Further, I could hear orchestral detail (e.g., like those two-flute arpeggios just before the final onrush of the first movement) that are almost never heard on recording. So, fool that I am, I sat in my car until the whole thing was over, really curious to find out who the performers were. I was shocked (and uneasy about my own bias) to learn that it was Andr� Watts, with Yoel Levi conducting the Atlanta Symphony. A recording from ten years ago. I was even more dismayed to remember, once I got home, that I OWN this recording--but I couldn't ever remember listening to it, frankly--and I found it, removed the shrink-wrap (sure enough, I HAD never listened to it) and sat down for a complete run through.

My initial impression lasted. Yes, there were some smudges in the last movement (as Watts sometimes does, alas) and some brief odd blurring of the overall sound, also in the last movement, but myt general assessment from the radio lasted.

And then I listened to the Saint-Sa�ns Second Concerto and, again, I had a very positive impression. No, Watts doesn't make the most of the leggierissimo aspects of the third movement, but overall it's a very creditable performance and he conveys convincingly the declamatory aspects of the piece. What Levi and his Atlantans do is electrifying in both pieces. (I even initially wondered, though I assume these concerti are not really part of his repertoire, that it could possibly be Pierre Boulez conducting because of the care taken with instrumental detail.) Some credit, of course, has to go to the recording engineers; Telarc has long been noted for its sterling sound.

So, the bottom line is that these are valuable recordings of both of these warhorses, and particularly if one wants a more natural sound--no harsh spotlight on the piano--and crystal clear orchestral sound.

But I do go on. This is an excellent release in spite of my biases.

Scott Morrison

The version of Tchaikovski's first piano concerto featured on this Telarc disc is good enough, but this recording's main attraction is undoubtedly Andr� Watts' fantastic performance of the Saint-Sa�ns second piano concerto, which is at least as good as any version that I've heard, and probably better than most. The monumental, cosmic first movement comes through very strongly here; he's no less impressive with the offbeat rhythms of the second movement, and the spectacular presto is perfectly executed. One should not forget to give Yoel Levi and the Atlanta Symphony Orchestra some well-derserved credit: in other recordings of this piece, the soloist and orchestra don't seem to be quite on the same page, but there's no such problem here. I'd be curious to hear Watts perform the four other Saint-Sa�ns piano concertos.

Andre Watts is one of my favorite pianists. I've heard him both live and on disc, and I must say he is truly a world class pianist. This is one of my favorites, especially for the intensely passionate and elegant interpretation of the Saint-Saens concerto of which there is none better out on market. Watts' has so much sensitivity toward the instrument and amazing versatility. He captures the energy of the Tchaikovsky and the grace of the Saint-Saens concertos perfectly. Highly recommended.

Simply one of the best & most original of the Windham Hill compilations, and I'm very glad Windham Hill thought to release this one. Just as close to perfect as they come, and the only way it could have been any better was to have had a contribution by the always original arrangements & compositions of Barbara Higbee, (or Fred Simon) but perhaps they were not available at the time. Of course, in a compilation like this, you need to have "We Gather Together Together..." but it is particularly touching to hear veteran Paul McCandless' arrangement to open the disc and set a thankful & comforting tone. Tim Story's consistently original & moving here as always, and the true highlight for me is "Amazing Grace" by John Doan. It is "amazing" indeed to hear someone do an original take on this classic hymn which has been recorded by so many, many fine artists over but the many decades of music-recording history. Leave it to Doan and to Dawn Atkinson's masterful production experience & background to pull this off so well. Will Ackerman's "The Gathering" is a typically original piece, very listenable year-round, and Carlos Nakai is a welcome addition with a peaceful cedar flute offering. Finally, (and really, there are so many gems here...) Lisa Lynne adds a sort of Majestic Joyfulness to "Allelujah", which certainly blows the dust off of this great hymn tune, bringing new life to such an often heard melody. Like the very best of the "Solstice" collections, this is a perfectly appropriate collection to hear year round. For example, I have listened to it on Independence Day, and found it strangely perfect for refection on our American roots that gave birth to many of these hymns, and to the spirit of creativity that our Founding Parents passed on to us in America. Simply perfect, Windham.

Thanksgiving is a time to reflect on friends, family, and blessings. At this time of year, we celebrate our families, we think of those who are less fortunate, and we reflect on the solemnity of the season and what it means to be truly thankful.

"Thanksgiving" is a compilation of that reflection in music. It celebrates the gathering together of those whom we hold dear, the solemnity and courage of the human psyche, the spirituality of the human soul, and the season when everything must change.

The CD progresses through a series of reflections, from "We Gather Together," a traditional hymn that emphasizes the gathering of friends and family, to George Winston's "Thanksgiving," moving through all the emotions of the Thanksgiving season with feelings of humility, prayer, blessedness and thankfulness.

A mood piece throughout, "Thanksgiving" will help you take your own personal journey of introspection, inspiration, peace and spirituality.

For most of us, Thanksgiving confronts us with a variety of emotions. Gratefulness should be the primary one; unfortunately getting stressed out and bent out of shape can overtake all the best intentions. Everything from complicated and hurried preparations to being cooped up with unpleasant relatives can ruin the occasion. Some of us endure Thanksgiving alone or practically alone in that those dearest are far away. For a holiday that can mean so much, a lot can go wrong.

In its own small way, this CD reminds us what its all about. The selections generally are soft and soothing as well as gently uplifting. There is nary a vocal to be heard-a plus when you need to get away from all the chatter. The artists are from Windham Hill's diverse stable and no one dominates the proceedings.

No attempt is made to hide the reality of Thanksgiving being primarily of Christian origin as sometimes happens in these affairs. But at the same time no one would mistake this CD for a contemporary Christian recording. The viewpoint encompasses not only giving thanks but memory and returning home as well. Hence, many of the pieces are colored with a hint of sadness.

If you are looking for music to "cut the rug" with this is not it. But if you are looking for music which prompts reflection and joy, this one is the one to buy.

I received this cd as a gift and I must tell you I listened to it in my truck going to work. I thought it was just some kid singing. I was wrong! This cd rocks..er doesn't. Anyway Michael sings right into your heart. I was not into this type of music but I am now. This cd is beautiful. I purchased Air Boy Choir right after listening to this and it is the same type of music.
I love them and so will you.

This is a startlingly beautiful album of classic songs, and that it was recorded by a 13-year-old Belgian boy makes it all the more remarkable. What a voice! This child has complete control over his voice. He sings softly, with an aching yearning in songs like "Ich Liebe Dich"; with power and passion in songs like "You'll Never Walk Alone" (you'll never hear this song sung more effectively than Michael Junior does); with playfulness and joy in songs like "La Spagnola". This is a wondrous achievement in one so young. "Traumland" is essentially the soundtrack of the PBS concert "Dreamland" that was aired in August and September of 2000. It contains all the songs of that concert plus two extra songs. It is sung in four languages, impeccably pronounced: English, German, Latin, and Italian with only the slightest and most charming accent. He also sings in French and Dutch (his native language.) The "Dreamland" CD is the same program except that the German lyrics here are in French on "Dreamland." If you were lucky enough to see the concert on TV you know that Michael has another quality: a natural, charismatic sense of showmanship. And he's cute as a bug's ear!

Of course Michael has considerable help on this album. He is backed by a full symphony orchestra. A protege of Helmut Lotti, Michael sings two duets with Lotti. The chorus that sings with him is large but never intrusive, with voices that blend so smoothly they sing like a single instrument of immense power and beauty. The arrangements are exciting and varied. The songs and arrangements are so well chosen and executed that the CD achieves a unity, a "wholeness" most albums do not achieve. In every way, this is a first rate, professional production with no gimmicks of editing to enhance the voice . . . It's just a fine singer with a great set of songs doing what he clearly loves to do most: Sing. AND HE'S ONLY 13 YEARS OLD!

Michael Verschuere (Michael Junior) has a child's voice, clearly. Unlike female child singers whose voices mature only by degrees, gaining in richness of tone but essentially staying the same, a boy singer faces the dangers of puberty. His voice matures into a new voice, often no longer resembling his "boy" voice at all. All too often boy singers lose their ability to sing entirely. Many fans of Michael express fear for this inevitable voice change.

But I have great news!

Michael was only 13 when this album was recorded. Since then, he has been on tour all over the world with Helmut Lotti. In April, 2001 Michael will turn 15. Recently his new single, "Anna Maria", was released in Europe. Throughout the month of January, 2001 he has been recording his new album: "Italian Classics", a mixture of Italian classical and popular songs. It is the perfect choice. (Back to "Traumland" for a moment: if I were to choose one song on Traumland that demonstrates the power of Michael's voice in all that makes a voice interesting, it would be the Italian "Il Mondo" which is such a stirring performance I get deep chills listening to it.) So "Italian Classics" seems a perfect choice for a new project. "Italian Classics" should be be released in Belgium by the end of February, 2001 and is scheduled to be released in Germany in April. On the voice change issue, one German reviewer has stated, "Michael's voice has changed over the past months, and I can assure you that it sounds still just as amazing as before . . . very matured and powerful now, but also warm and full with feeling." Those of us who are fans will be eager to buy the new CD. So keep checking Amazon. It'll show up soon . . . I hope!

Just because there is a new album on the way, do not wait. Buy this "Traumland". (And "Dreamland"?) You will love it. As Michael matures, I am sure he will become one of the great international stars. This album can never be repeated again. Imagine if we had such a document of the 13-year-old Placido Domingo or Elvis Presley or Kiri Te Kanawa or Petula Clark or ??? What a treasure that would be! You do not want to miss out on having THIS treasure in your music library. Buy it! Buy it! Buy it! Your heart will soar as you listen.

WHEN I HEARD THIS WONDERFUL VOICE FROM THE KITCHEN,IT DREW ME TO THE LIVING ROOM LIKE A MAGNET.WE ONLY SAW THE LAST HALF HOUR OF THE SHOW,BUT WE WERE IN AMAZEMENT OVER THIS CHILD.WE ORDERED THE ALBUM AND WATCHED IT SO MANY TIMES,WITH FAMILY AN FRIENDS.IN A WAY I'M SO GLAD HE IS NOT MY GRANDSON,ONLY BECAUSE EVERY TIME HE WOULD SING I'D BE CRYING WITH SOOOO MUCH PRIDE.I HAD TEARS THE FIRST TIME I SAW HIM.HE IS SUCH A WONDERFUL GIFT FROM GOD,FOR ALL OF US TO ENJOY AND ADMIRE.WE WILL BE FOLLOWING HIS CARREAR,AND LOOKING FORWARD TO IT.IF YOU READ THIS MICHAEL JR. WE ARE YOUR FANS AS LONG AS WE LIVE.SO PLEASE NEVER GIVE UP YOUR MUSIC,AND I FEEL YOU WON'T FOR WE ENJOY YOU SO MUCH.YOUR SUCH A PLEASURE,AND THANKYOU SO MUCH FOR BEING YOU.BRENDA AND DENNY

Wanted to try the "Mozart Effect" on my teenage niece who only listened to rap and teen-pop. She said the first time she heard this it was like electrical sparks lighting up her brain. She loved it.

I am already familiar with classical music. This compilation is very well chosen, edited and engineered. There are some less than common selections, so even if you already have many symphonies, there will be some different music on this CD. Nothing is too long. The tempo is both mildly relaxing and stimulating at the same time. Good for studying or thinking.

I bought this CD to play in my Kindergarten classroom. It is great for transition time - I turn it on to signal the children that it is time to clean up and meet me on the rug. They clean up, sit on the rug and close their eyes for a minute. This really works to calm them down and they seem to like the music. This CD is a must have!!!

I bought this CD just to have some classical music to listen to while driving across the deserts of the western US (classical radio stations are, alas, not too plentiful in rurual areas). It was on sale and looked like it would be reasonably good (how could one go too wrong with Mozart anyhow?). It also featured several selections I did not have on other CD's, so it would be a good addition to the Mozart section, I figured.

I had no idea a 'budget' CD could be this good. Whether or not this actually tunes your brain as the producers claim, the music is just stellar. Mozart was one of history's great composers, but the selection of works here is just astonishing in scope, composition, and variety. The performances and recording quality match the quality of the music too. This CD works as a "Mozart conoisseur's" collection.

While these are not Mozart's best known or most popular selections (The Marriage of Figaro, Ein Klein Nachtmuzik, etc. have to be located elsewhere), every song on this CD is a masterpiece -- living up to the descriptive line from "Amadeus" ('..Displace one note and you would only mar perfection...').

Even if you already have a sizaeable classical collection, this CD is a very worthwhile addition. At a bargain price, it's a real deal--almost a steal.

This piece of art is one to behold with an opened mind and a quiet room. You will be changed.

Few will anticipate the intensity with which the first track ends. Makes great listening!

I'm a big fan of Amjad Ali Khan and the first track (Rag Pilu/Kirwani) is superbly nuanced and moving. Zakir Hussain's controlled performance has all his flair without some of his flamboyance, so he complements Amjad's performance beautifully without stealing the show. I found the second track (Ragmala) somewhat disappointing, but perhaps that's because the first track is so good in comparison.

This is absolutely glorious music. The Requiem Mass of Verdi has long been a favorite for both listeners and vocalists and is now acquiring a semi-popular following. The only limitation to even more public performances is the extraordinary length. What is even more remarkable about this deeply moving piece is that Verdi himself was not a religious man though being Italian the Church must have made a deep impact on his psyche.

The synthesis of the orchestra and chorus is near perfect and the tempi are just right. Many times one hears parts of the Mass taken at near neck-break speed and other parts at a near standstill. The depths of the emotional range is astounding - from the thundersou blasts of the Dies Irae to the mournful, languid, rapturous Lacrymosa to the piercing sopranas and warm altos - it is the kind of music that comes along rarely.

The sound is sterling, the acoustics just as clear. I liked the informative accompanying pamphlet with the original (Latin) words along with a translation as opposed to a transliteration. Add this to your collection.

Verdi's mass for the dead is one of my favorite pieces in the western canon, so I've collected a few over the years. You can read the other reviews for poetic waxing on the themes and scope of this work, but I will concern this review with the musical and performance merits of two specific recordings: the best period performance (Gardiner's, albeit the only one) and arguably the best modern performance (recorded by the regrettably late Robert Shaw, and there are some other moderns in close contention).

I won't make you read the entire review to get my take: I prefer the Gardiner/ORR recording to the Shaw/ASO for the simple reason that there is more fire, drive, dynamic, or other related adjective involved in this performance than any other.

Gardiner's players are absolutely deadly - you need look no further than tracks two and three for evidence of that! The tempi, while quite brisk, do not daunt this remarkable ensemble, and they play with an astounding precision. 50 percent of that credit is due, however, to Gardiner's outstanding conducting (most/all of his recordings with just about any group are staggeringly precise - check out The Planets with the Philharmonia!).

The choir, being the Monteverdi Choir, sings an incredible performance, but using far more vibrato than is normally heard from them - consistent with the style of the work. Their technique and facility equal that of the orchestra: a combination that is difficult to beat.

The tempi, taken as literally from the score as possible, are faster than we normally hear (by lesser ensembles) so, some listeners may feel that the music is not given enough time to breathe, or that it is too fast to comprehend. Enter Dr. Shaw...

Robert Shaw's outstanding account of this requiem has an incredible asset: phrasing unparalleled in any other recording. Under the guidance of the best choral conductor of his time, the Atlanta Symphony Chorus responds to their director's brilliant musicality with aplomb. His superb vocal phrasing transfers well to the strings too. Every phrase has a top and bottom, and he exposes many textures that other conductors do not.

But, Shaw's larger, less agile, and more-distantly miked ensemble do not capture the immediacy that Gardiner's does. Compounded with a slower performance, Shaw's - while breathtakingly beautiful - does not have Gardiner's impact.

So here's my recommendation: purchase Gardiner for the recording quality, tempo, orchestra, perferable choir, and effect. Purchase Shaw for the contemplative setting, outstanding choral phrasing/conducting, and superior soloists. Really, purchase both when you can.

But to feel the true power and effect of Verdi's opera for church, Gardiner's is the one to get.

This recording has been the subject of equally passionate praise and denouncement. Some critics threw about words like 'classical' and 'unidiomatic'. They were not entirely unjustified, but after acquiring this recording of one of my favourite pieces of music, I no longer care. This is revelatory.

No other recording has such detail, such clarity, such remarkable presence. Phillips should be congratulated. Few other performances have no weak links. All the soloists are excellent, the choir & orchestra superb.

In particular, I cannot find enough superlatives for Luba Orgonasova. It is an endless mystery to me why this soprano is so scarce in the catalogue. In this role, at least, she reigns supreme. Schwarzkopf; Studer; Stader; Sutherland; Scotto - all the "S" sopranos seem to have sung this! - Price; Gheorghiu; Caballe; Freni, the list goes on, NONE of these excel Orgonasova in this part. Verdi made incredible demands on his soprano soloist and the far lesser-known Orgonasova meets those demands better than any in this illustrious company.

The key to her success is that she has a strong chest voice which is properly integrated tonally with her head voice. To understand what I mean, just listen to that crucial part in the Libera Me (Requiem Aeternam), where she floats a high B which is truly pianissimo, followed by the ferocious recapitulation of the Libera Me culminating in the word "terra", which so many sopranos either under-power, or resort to a distortion of tone. Not Orgonasova. This is one phenomenal instrument.

The other aspect of this recording where its quality has the edge over all the competition is in the remarkable integration of Orgonasova and Von Otter's voices in the Recordare & Agnus Dei. No other recording I have heard blends the two parts so perfectly - almost like one singer who can sing in harmony with herself!

For buyers who can afford a few recordings, this may be an excellent complement to a more operatic recording (I would recommend the intermittently-available live 1960 Fricsay - don't confuse with his studio recording) and/or the great Giulini with Schwarzkopf; Ludwig; Gedda; & Ghiaurov, now at mid-price on EMI Great Recordings of the Century. The present recording is full price over two discs; which may deter the budget conscious, but it is well worth it for anyone who cares to know this music intimately, to have its mastery revealed afresh.

I don't have anything to add to the excellent reviews, I just want to chime in with my vote. This was rated as the top recording of this piece when I bought it on recomendation of a tenor friend back in 1990 or so and it is probably the best sustained operatic performace I have found thus far. The power and the majesty of this piece needs to be heard to be believed. So... Buy it, make sure the neighbors are out, turn the lights out, it in your best listening spot, turn up the volume and press play.

Don't miss the final track on the second disk!

How could I possibly top the splendid review by Dominic Grant below? And his later graceful apology for a mere typo? Well, I just cannot. But I'd like to share my own thoughts, anyway.

With all the flap over the recently released Gergiev recording of the Verdi Requiem on Philips, with its unfortunate choice of Andrea Bocelli - a pop singer masquerading as an operatic singer - as tenor soloist, it is once again - and always - a pleasure to turn to a truly definitive recorded performance, that of Robert Shaw. As points of reference whenever I turn to this performance, I always have in mind earlier recordings by Giulini and Solti, among others. (I include a truly visceral one by Karel Ancerl and the Czech Philharmonic, featuring Galina Vishnevskaya with a "Libera me" to die for, and the type of Slavic excitement that Gergiev tries for but fails.)

Verdi's Requiem is, without doubt, the most operatic of such works as have become part of the liturgical canon. But it doesn't necessarily follow from this that the best recordings are the ones which utilize operatic superstars. Were that the case, Solti's recording, with Joan Sutherland, Marilyn Horne, Luciano Pavarotti and Martti Talvela, would be unchallenged (particularly when one throws in the Vienna Philharmonic, as well as the typically excellent mid-60's sound that Decca was so good at). But, true to form, Solti just couldn't find the proper sensitivity and balance to make his performance the definitive one.

Shaw does what Solti could not do. In a work that requires efforts of equal quality by orchestra, soloists and chorus, there simply is no better chorus than a Shaw chorus. Shaw's four soloists, while perhaps not of the marquee value of the ones on the Solti recording, are outstanding. A previous customer reviewer certainly got it right when he said that Susan Dunn was a Verdi soprano to be reckoned with. And Diane Curry, Jerry Hadley and Paul Plishka are equally excellent. (Plishka, as I mention later, is one of my "memories.") Moreover, in a work which demands that the cataclysms of the Dies Irae and the tenderly supplicant closing pages of the Libera me be captured in proper proportions, none are better than Telarc at this challenge.

The personal friendship between Robert Shaw and the Cleveland-based Telarc team of Bob Woods and Jack Renner goes back to the days when Shaw was George Szell's assistant at the Cleveland Orchestra. Thus it was, when Woods and Renner introduced the "all-digital" Telarc label in the late 70's, that they turned to Shaw and his Atlantans as an enduring source for the recording of choral masterpieces. With the passing of Shaw some two years ago, it is now time that someone sum up his recorded legacy, which, under the aegis of Telarc, exceeds three dozen recordings. In my humble opinion, he will be remembered for a long, long time for three works that Telarc recorded with his forces: The Bach B Minor Mass, the Brahms German Requiem, and this Verdi Requiem.

Oh! The memories! For several years, at a time when Shaw's Atlanta forces were as good as they were to get, in the early 80's, I was fortunate to live in the Atlanta area, and to attend many of his concerts. And, in the fall of 1965, when Paul Plishka had just won a "young artist" award that was to lead to his Metropolitan Opera career, I was fortunate to have been a member of an amateur chorus which performed this work with a semi-pro orchestra and four young soloists. The names of the other three soloists were long ago relegated to the dustbin of history. But the bass soloist at that 1965 performance was none other than Paul Plishka. He's still banging the boards at the Met. One durable dude!

Once again, kudos to Mr. Grant for his superb review, and for his reminding me that I had some "unfinished business" to attend to.

Bob Zeidler

Further to my review of the 18th of June below,it's just been brought to my attention by a kind reader that I have inadvertently ascribed the composition of the famous aria,"Nessun Dorma" from Turandot to Verdi himself.First of all,my sincere apologies to Puccini (probably still revolving in his grave !),and my apologies to you for grossly offending your musical sensibilities as you pass this way.That will teach me to spend a little longer editing my reviews before submitting them !

CAN ANYBODY CONDUCT(INTERPRET)THIS GREAT TCHAIKOVSKY MASTERPIECE BESIDES CHARLES DUTIOT AND THE MONTREAL SYMPHONY VERSION,THIS IS NOT ONE OF THE BETTER ONES,ONCE AGAIN DORATI IS COLD THE MELODIC PHRASING IS STIFF AND BLAND AND SO IS THE PLAYING FROM THE MINNIOPOLIS ORCHESTRA.

Antal Dorati was a ballet and symphony conductor in the 50's and 60's. He was prolific, dedicated and masterful. He had conducted ballets in Monte Carlo, Paris and other European theaters. His interpretation of Tchaikovsky music is what stands out the most. It is no wonder, then, that the musical score to Tchaikovsky's "Swan Lake" is top-notch. This cd is a classic. It has the entire score, without missing a single note or scene, finely re-issued from the old LP in the 60's. Antal Dorati takes the baton and the orchesta strikes up the ever famous Overture. Dark, majestic, exciting, it is the theme used for the swans.

Everyone who knows ballets knows the story. It is full of heartache, passion, romance and brilliant music. At the time of its premiere, it was uniquely modern. Tchaikovsky's music to this ballet was not light, sugary or merely danceable. It was complex, full of rich color and sophisticated characterization. The ballet was even considered a flop for its symphonic make-up. Nowadays, we appreciate the fine music it really is. It is rich, full of melody and drama, appropriately light in certain places (the Czardas, Mazurka and other dances) to sad (Odette's solos on violin and cello) and finally, dramatic and tragic- the finale. The world of fantasy is suddenly convincing. Based on a German fairy tale, it tells the story of an evil wizard (Rothbart) who puts a dark spell on a princess (Odette) and turns her into a swan by night. A handsome prince named Siegfried (no surprise there) is hunting and discovers the swan/princess. He falls in love wit her. In some versions, Odette and Siegfried's romance is fulfilled and the ending is happy. But in its true essence and as Tchaikovsky envisioned, the ending must be tragic. Although Rothbart the dark wizard is defeated, the lovers cannot be together and are also dead by the end of the ballet. In melodrama and tragedy it is similar to Adolphe Adam's Giselle, which Tchaikovsky had enjoyed. Tchaikovsky's first ballet began the Great Three- Swan Lake, Sleeping Beauty and The Nutcracker. He was proud of Sleeping Beauty, which musically is superior to Swan Lake. Nevertheless, Swan Lake remains a great work of art. It has the passionate drama of a great classic ballet. Every ballerina wants to play the challenging but prominent role of Odette, the swans in the ballet followed the tradition of ballet-blanc, meaning the corps de ballet dancers wore white tutus. Swan Lake is also a pleasure to watch on video or DVD, preferably by a Russian company or a good American or Canadian company. Enjoy.

This explossion of songs and dances takes you far away as soon as you hear the first note. What could be better than to hear it, but only to see it.

This must have been a great night at the opera, and thanks to the official Radio Austria tapes, one can hear it in easonable mono sound. the glory of the evening was Leontyne Price, who had already earned herself a half-hour ovation as Leonora when she debuted at the Met. Thanks to the close mike placement, you can hear her quite clearly without distortion, and Karajan does an exemplary job from the pit. Simiantato is also a excellent Azucena, avoiding the out-of-control histrionics usually inflicted on this part and actually singing the notes.

But the good news stops there. The Conte di Luna of Bastianini, well past his vocal prime, is full of hollow tones and hokey overplaying. Corelli was a shameless primo tenore who had no patience for phrasing and no intelligence for much else besides singing as loud as he could and turning his handsome profile to best advantage. He is a ludicrously vulgar Manrico, second only to Tucker, who unfortunately paired with Price on her first Trovatore in 1959 for RCA.

Given all that, I think it's worthwhile to buy the cheapest version of this Trovatore that you can find--I have the super-bargain set from Opera d'Oro--so that you can revel in Price's singing and skip very quickly past Corelli's. The recent reawakening of enthusiasm for this crude singer is beyond me.

I can appreciate all of the reviews given. I wish not so much to review the album of which I have 5 different recordings, but rather to sing the praises of the reviewers that at least acknowledged Leontyne Price. To those who took the time to focus on her performance, justice is finally meted out.

I cannot believe the reviewers who went on and on about Corelli, and the Azucena, and conveiently mentioned Miss Price only in passing or in many cases not at all.

But so much for reviews and reviewers. I can never forget what a teacher of organ, Zubin Mehta's brother, once said to me. Those who can, do. Those who cannot teach, and those with even lesser gifts review those to which they cannot hold a candle.

Thanks to all those reviewers who gave Miss Price the dignity that she deserves. I think history will eventually bear witness to the exceptional gifts of this artist. And to those in question, please read the reviews of Paul Hume circa 1960 from a Washington, DC newspaper, regarding Leontyne Price. He was a reviewer that was the exception.

This is an old and familiar live performance which has been kicking around in sundry Lp and CD versions for quite awhile. The cast list tells virtually all that anyone needs to know about the thing: Price, Corelli, Bastianini, Simionato, not to mention the Wiener Philharmoniker conducted by Karajan.

I gather this version is in considerably improved sound. Well and good, for some versions have sounded--with the best of good will--pretty awful.

I am giving this only four stars because of Price. Yes, I know that at the time this recording was made she was still a keen and willing performer, not yet immobilized in her diva-hood. Nevertheless, I am simply not willing to give her the benefit of a doubt because I had the misfortune to see her in two live performances, once in "Ballo in maschera" and once in "Il trovatore." One of those two performances was the worst I have ever seen on stage and the other was the second worst--only I am not quite sure which was which. In both cases, she mooched around the stage, ignoring all others, softly crooning to herself until her big solo numbers, then she marched down to the footlights at center stage, faced forward and sang like an angel. That done, and having exhausted the cheers of the audience, she mooched back into the opera, loftily ignoring all others until the final curtain. But forget all that as sour grapes on my part, the fact remains that I can name a half-dozen sopranos easily available on CD who offer Leonoras equal to or better than this one from Price, starting with Bianca Scacciati, way back in 1930.

The previous Amazon reviewer downgraded this recording because of the presence of Corelli, calling him "a ludicrously vulgar Manrico." I do not object to that. Everyone has a right to his or her opinion. I must point out, however, that Manrico is a ludicrously vulgar part in a gloriously, marvelously, ludicrously vulgar opera. (And also this: computers have a wonderful thing called a spell-checker. Use it!)