Classical music reviews

I bought this CD because I already have one CD where she plays 2 of Mozart's late piano concertos. Mozart is my favorite composer and Alicia De Larrocha plays his piano music better than anyone I've ever heard.

The first CD consists of great works other than that of Mozart. In her recording of Bach's Italian Concerto, she slows down the last few notes too much in order to add drama. It sounds better when played as the composer intended. In spite of this minor criticism, she plays Bach wonderfully too. The works on CD1 by Scarlatti, Handel, and Haydn are good also, but not as good as the Bach. This is just a musical opinion though.

CD2 is the reason I bought this; to hear the great De Larrocha play Mozart piano sonatas. She is the best I've ever heard for Mozart piano. She doesn't stab at the notes in order to accentuate them, as some do, and she doesn't blur them all together. She plays it perfectly in the middle, the way it was meant to be played. I only wish I could find more of Alicia's recordings of Mozart Piano Sonatas and Concertos. She is the abolute master of his works.

This 2 CD set was worth every penny of the $23 or whatever it cost. Once you her De Larrocha play Mozart, you will start to hear flaws in other virtuosos' playing. She puts Daniel Barenboim to shame. Barenboim always sounds rushed to me; as if he is trying to show how good he is by playing faster.

This pianist is very easy to like; everything she does is done musically, so she brings out the character of the piece rather than grandstanding. I enjoy this two-CD set a great deal. I got it for the "Andante con variazioni in F minor" by Haydn, but like the Bach, Scarlatti and Handel as well on CD1, and the four Mozart sonatas on CD2.

This is also a very well-produced set: the pieces were recorded on six different occasions but give the feel of a custom-made album. As in all the sets of this series (Great Pianists of the Twentieth Century) the package is just right. It has plenty of text, easy CD access, and the 2-CD package fits into a single jewel-case slot!

This recording is without a doubt the best version of Bach's Italian Concerto I've ever heard. While remaining true tot he Baroque style, Ms. De Larrocha's performance is expressive and so very musical. The entire CD is exquisite.

Elyse O'Connor's gorgeous voice and full, operatic vocal range shine in this unique mix of originals and standards that are sure to please a wide audience of discerning listeners. Thoughtful use of guitar and flute accompaniment. Lovely!

This is a wonderful collection of songs. Mrs O'Connor has an angelic voice that we humans can enjoy.The songs come directly from Mrs O' Connors heart and are full of emotions.I fell in love with this cd from the first time I heard it. It is so soothing, so majestic, so wonderful.Honesty,love,purity are included in every song. Everyone that appreciates quality in life should own this cd.

I absolutely love Elyse O Conner's voice.Its soothing, inspiring and mature.You know I listen to Alleluia 2001 at different parts of the day because it goes very well with anything relaxing.I wake up to "A taste of honey"(track 6), study with a background of track 13, "recipe for the earth" and listen to "for Spacious Skies"(track 10)just before I go to bed.
This CD is excellent!I would highly recommend it to anybody who appreciates good and soothing music.
Elyse is a power-house and Alleluia 2001 is one of my all time favorite CD's that holds a special place in my heart.

During his musical career, Richard Stoltzman has gained a reputation not only for excellence as a clarinetist but also as a show person. His recordings are varied and demonstrate both his ability to perform difficult music as well as to provide an enjoyable listening experience. Perhaps the best example of his classical talents along with his gift for entertaining would be the collection of music from opera in his recording ARIA.

ARIA is a collection of opera's favorite arias arranged for clarinet. The clarinet is an instrument that is just as at home with high and low registers, so Stoltzman is able to select arias from the soprano, tenor, mezzo, and baritone repertoire. Each of the selections transposes nicely to the clarinet arrangements. The selections range from the Bel Canto sounds of Rossini to the music of Verdi and the verissmo sound of Puccini. The French repertoire of Bizet, Gounod, and Massanet is also represented. Gershwin and Lehar round out the collection. Stoltzman is true to the music but does more than just play. He also adds a feeling that many of the great voices of opera added to these works to give them life.

ARIA is a great collection for background music or for that time that a listener is in the mood for something different. It will be appreciated by anyone who loves good music but will have a special appeal for opera lovers, and of course those of us who played the clarinet as children. We can listen and discover what could have been if we had listened to our parents who told us over and over again to practice.

One thing that I love about Stoltzman (it's the thing many hate about him) is his stylistic flamboyance. While his bravado may be somewhat out of place in more reserved pieces (I personally don't feel this way, though I can see how one could make the argument), it seems completely at home here. After all, what's more flamboyant than opera?!?!

A diverse style is represented here, including the jazzy Gerswhin Pieces, the flashy Rossini, the sublime Bizet pieces (which sound great with Opperman's clarinet choir), and many more lyrical pieces.

Stotlzman is a true showman, and this CD presents him in all his glory. If you are a clarinet fan, an opera fan, or just a person who likes music in general, this CD will make you smile from the first time you listen to it.

i loved it. the tone was nearly perfect andi love the sound of the different clarinets and the mix of jazz and classical styles

Let's clear up some confusion among other reviewers. The writer is correct in referring to a "Heroic" by Chopin--it's the Polonaise in A flat, Op. 53, #6, which is commonly called the "Heroic" Polonaise. That, and Nocturne in A flat (Op. 9, #2), are my favorite pieces on this recording, although they are all very good. Too bad Rubinstein is no longer with us--he may have been the greatest master of them all, the way Segovia was on the guitar.

An outstanding compilation of pieces, played brilliantly by the best Chopin interpreter of the recording era. I only wish there had been room for the Scherzo No. 2.

An excellent starter kit (and keeper!) for those about to embark on the glorious world of Chopin. Overall, may not have quite as much "oomph" as a certain few others, but Rubinstein's stunning performance of the G minor ballade is more than worth the price of admission.

Ok I know this might not have the big names many opera fans are used to. And I know that many of you who are reading this review have heard horror stories about Toscanini as an opera conductor. Much as I love the Maestro, I would usually agree with you. He often drives way too hard, fails to see nuances and views the work as a kind of vocal symphony. And yes his opera sets ARE usually poorly cast.
That being said, none of it holds here. Toscanini's feel for this entire score is almost uncanny. NOTHING seems the least bit out of place or miscalculated. It really does become terrifyingly good; one thinks of the old stories that Paganini sold his soul to the devil in exchange for his superhuman artistic abilities. I think a good example is the opening. Compare this performance with the one by Tulio Serafin. In the Serafin, everything is hanging out all over the place. All sounds nice but there is really no way of telling what is happening in this scene. It is just sort of "gone through". On the other hand Toscanini makes every single note count. Everything phrase is carefully (though quickly) unified and shot out like a cannon ball. From the opening crash, the listener gets a sense of urgency and frantic activity. The effect is spine-tingling. The tension builds without pause and becomes nearly unbearable till it is all finally disipated and released in the "Esultate!" Thrilling! This holds throughout this performance but Toscanini is able to slow down and linger when he needs to (the love duet for example). Orchestra and chorus respond brilliantly to the Maestro's demands. The sound is clear but tight (another reviewer somewhere pointed out that this tightness fits the drama perfectly). That critic was right, the sound gives the chilling effect of being strangled. Shakespeare's intentions are well served by this. I wonder if it was done on purpose.
The casting is first rate. Ramon Vinay is off the charts. He is not often pretty (Otello should NEVER be pretty anyway) but listening to his voice must be experienced. There is some strain on top but who cares, as almost everything else here it fits?! His voice has nobility, splendor, insanity, brute strength. The baritonal flavor is just what Verdi wanted (I understand Vinay also sang baritone and even bass roles). Combine all of this with his amazing conviction and histrionic ability and the effect is earth-shattering. His absorption here is a key ingredient in assuring that the tragedy of this story comes off. We feel Otello's decline and fall. This is truly the voice of one who loved not wisely but too well. Why Vinay was not better served on records I don't know. His was one of the unique voices of the century.
I never liked Herva Nelli much but either this part fit her or she just had a great few nights here. The quality of the voice is quite pleasant although nothing unusual. But she makes Desdemona into a real, vital human being. One feels her youth, inexperience but also her courage, unshakable love and bafflement at what is happening to her.
Giuseppe Valdengo gets an A+++++++! Thank god someone realized that Jago cannot sound like the Devil incarnate whenever he speaks! I love Tito Gobbi but any Otello (let alone Jon Vickers) would have had to be mentally deficient not to realize his friend was a monster with the way he sounds! Valdengo actually has a beautiful, lyrical baritone. And he uses it when Jago would need to. When he talks to Otello or Cassio even the listener can be fooled. He sounds like the typical baritone "best buddy". When alone though, his snarling rage and perverse imagination breaks forth. This Jago however is no Mephistopholes. He is a very sick MAN. In the "Credo" there is even (what sounds to me) like a moment of self-doubt. A case in point is the drinking song. He sounds so friendly, so happy. But there is this undercurrent of wickedness. And his little asides are truly chilling, enough to make you doubt just about anyone! The supporting cast is great (especially Virginio Assandri's well-voiced and rakish but charming and kind-hearted Cassio) and everyone works together as a team giving a real sense of theater.
To close, this must be the reference "Otello". You need it in your collection! Forget what you may have heard from others, this is something you must hear for yourself! Toscanini's work needs no further praise. The cast may not have the most "lovely" voices ever (although Vinay's is one of the most unique) and they may not be very famous but sense when is opera, especially this one, about that kind of thing? Conviction, power, and yes beauty (if a different kind of beauty) are here. The body of Orpheus is together. This is opera as music drama. If only it were always so! Enjoy!

Many moons ago, as a youngster, I had the honour of singing at an arms lenght from Mr. Vinay. I was then a member of the PR University Chorus, along with some who went on to become some of today's great voices: Pablo Elvira and Justino Diaz, to name a few.

Not a day goes by that I do not think of the most beautiful soprano in the UPR chorus, Darysabel Isales: if angels do exist, that is what they would look like; sound like. Love makes me digress: I am quite an avid opera fan... Yet I still have to hear such power, stage appearance (please do not forget, I saw Mario Del Monaco performing Otello,) great sense of humour and camaraderie as Mr. Vinay showed us, the little people. The man was quite a Gentle Man...

Mr. Vinay, wherever you are, I thank you for great memories. Darysabel, know my heart still beats for you...

Ron

Although I do posses several fine Otello recordings, which do all have their own benefits (Serafin, Karajan, Levine, Furtw�ngler), the "old" Toscanini is my favourite recording of my favourite Verdi opera. Of course the main reason for that is Arthuro Toscanini himself. His exact tempi, his very "strict", even sometimes aggressive conducting is the backbone of this performance. But how strange; despite the way of conducting, or one must maybe say due to, suddenly the whole opera comes to live in a vivid and sparkling way. I do think this is what Verdi had in mind while composing. The result is that even after all these years (the recording is from '47) this recording is still a unique document, not surpassed by "modern" ones. Ram�n Vinay does a "honorable" Otello, quite the opposite of a Mario del Monaco. Giuseppe Valdengo is a real villain (Iago). But my personal favourite is Herva Nelli. She performs a unique Desdemona; no one after her got close, not Rysanek, not Scotto and even not Tebaldi. Nelli's Desdemona is extremely sensitive, fragile and serene. I get shivers from her listening to her willow song (Mia madre aveva una povera ancella). The sound of the recording is a good, fair mono one.

My first exposure to the Brandenburg Concertos was in college, when I heard Christopher Hogwood's interpretation of Bach's most famous concertos (1983 release, still in print). I had heard other versions since that time, but Hogwood's has always remained my favorite . . . until Sony released this 2-disc set featuring the Canadian ensemble Tafelmusik under the direction of Jeanne Lamon.

Simpy put, these two discs are great. Tafelmusik's performance is impeccable, fluid, and always graceful. I still enjoy Hogwood's version (even though the microphones tended to pick up the strings rattling on certain instruments throughout the entire recording). But there are no such distractions on the Sony release. The sound quality, like Tafelmusik's performance, is great. Overall, as much as I still like Hogwood's recording, I believe this lastest Sony version is better.

As good as this set is, it's still pretty expensive (even for a 2-disc DDD set). Since this is probably Bach's most popular set of concertos, they've been recorded countless times. There must be at lest 15 ADD/DDD versions still in print, each one with its own group of supporters and detractors. I'm only familiar with the two under discussion here, so you'll need to refer to critiques or word-of-mouth to determine which ones match (or come close to matching) this particular Sony release.

Overall, this recording is a true gem. I was fortunate enough to come across it used, and immediately snapped it up. So if you don't mind paying full price for some wonderful music, go ahead and purchase this set. But keep in mind that there are also a number of different versions still in print, and at half the price they're worth considering as well.

These performances are incredible! Lamon and Tafelmusik make the concertos come to sparkling life without inadvertently reinventing them as rock n roll (which is what some other recent recordings of Bach and Vivaldi seem to do for the sake of "originality".) The recording is also excellent, holding up very well (for 16 bit cd) to close listening on audiophile gear. They deserve to be remastered with todays technology on say, a hybrid cd/sacd release; as the sonic improvements over the last few years are significant. HINT, HINT...

Bach certainly displays not only his pre-"Well Tempered Clavier" expertise here, but showcases such instrumental diversity among the soloists.

Lamon and Tafelmusik admirably and tastefully provide us with the works in a modest set (only $16 per disk, certainly not excessive) but well recorded, expertly performed on period instruments with an orchestra known for its baroque interpretations.

The overal tempo is sensible and allow subtleties of the work to shine, especially the 2nd, and 5th. Recorder, oboe and trumpet on 2nd are clear and resiliant, as well as wonderful harpsichord work on 5th, which would have charmed the master being innovative thrust of keyboard as virtuoso.

Well worth consideration as selection of this infamous work.

Excellent. I enjoy Bach but haven't been able to get the complete Brandenburg Concertos. This is excellent listening for classical music lovers.

I would just like to tell anyone interested in this recording that it is an excellent one. The musicianship is superior, and the sound is fantastic. The listener however, should be aware of the stylistic tendencies of the recording.
If you are looking for the historical kind of recording, this probably is not the ideal choice. The tempos tend to be on the slower side, and mostly modern instruments are used. Nevertheless, if you are not primarily interested in a historically accurate recording, this is wonderful.
All of the pieces have their own distinct character. I personally enjoy Concerto number 4: the recorders give it a light, almost "adorable" kind a feel, as ridiculous as that may sound. Number 5 has a great presentation of the harpsichord. Number 6 is also a rather interesting piece because it involves no violins. Don't underestimate that concerto's poignancy and ability however; the lower strings are more than capable of expression on their own.
I could go on about this recording extensively, but, for the reader's sake as well as mine, I'll end it now. In short, it's a great recording, and I highly recommend it.

There's the slow, baroque and very medieval sounding playing and then there's the modern, faster paced playing. I think both are laudable, so I would probably recommend you look at this one and the Anthony Newman one. I personally prefer the Anthony Newman one, as it provides very strong horns and harpsichord with an upbeat tempo. Just thought I'd mention this as most of the Brandenburg stuff I hear over the radio or in 90% of CD's is the slow baroque style.

...CDs in my collection. My 11 year old son (normally into Nintendo 64, PC gaming and flag football) was tired, irritable and buried in pre-algebra homework. The first time I put this CD on he wandered into the room, sat down without a word and - as he listened - a look of weary calm came over him. Podger's playing is sublime. If you are starting a classical music collection, I commend this (& Volume 1) to you as being early contenders for your money.

I have always been a casual fan of Bach, and, particularly, of his compositions for the violin. I first heard of this recording in an article on NPR radio and even through the tinny, crappy, car speakers, in the parking lot outside of my work, I was taken aback and overwhelmed by the sheer beauty of Ms. Poger's interpretations. I immediately purchased the CD. I sometime throw it on just for "background music", but I always find myself seated in front of the stereo, eyes closed, and totally enraptured. The sound quality is superb (hauntingly clear), and that adds to the enjoyment. Truly an emotional experience. One of my favorite CDs of all time.

This will be short review. This (and Volume 1, I count the two together) is a sensational recording. So full of life and beauty, truly a wonderful wonderful performance. And I am not normally much of a violin fan, preferring the cello. Buy both recordings, you will not regret it. Forget Manze, this one you will keep for a lifetime.

Technically, an excellent recording as well, I personally find old recordings, however well performed, hard to listen to because of the lack of fidelity. But still, there are few truly well recorded modern recordings. This is one of them.

I love the Canadian Brass' recording of J.S. Bach's Art of the Fugue, however I am disappointed by their recording of the Goldberg Variations. I admit to being prejudiced by Murray Perahia's Goldberg Variations on piano. However, playing variations 26-30 side-by-side, and there is no comparision between Perahia and the Canadian Brass. The vibrant emotion expressed in Perahia's playing is absent in the brass rendition. The latter just makes me think I'm stuck in church while the former grabs me by the collar and moves me.

The Canadian Brass took on this Bach staple in 1999, some years after the peak of their popularity. The music transcribes well to brass band, which is no surprise since much of J.S. Bach's output -- the Goldberg Variations and Art of the Fugue in particular -- have been rewritten for oddlot instrumentation. I've heard the Goldbergs played on piano, clavichord, organ, harpsichord, string quintet, string orchestra, cello and orchestra and, now, brass band.

As a former cornet player, I appreciate the sounds that come from this version. I couldn't expect the counterpoint of a group including a tuba to be as precise as Glenn Gould made it in his 1981 piano version, and it wasn't. Still, this is a pleasant rendering of the music that maintains Bach's resilient temperament even though the recording substantially fails to capture Gould's exemplary dotted rhythms and note-spinning.

Part of this is attributable to the approach taken by the Canadians, who adopt a far more legato approach than the heavily accented technique of the other Canadian, Gould. This version is also more legato than versions I've heard by the high priestess of Bach, the late Rosalyn Turek.

Does it work? Yes, I think so. The music captures Bach's spirit and provides enough depth of presentation and clarity to move even the most old fashioned listener. Aside from James Galway's flute revision of Vivaldi's "Four Seasons" from the 1970s, I think this is one of the better re-orchestrations of a famous piece of music I've come across.

While I would have loved to have heard this in a more pointed, closely articulated reading, I will continue to enjoy this CD in the forseeable future. I have frankly become bored with piano versions of this music, none of which have maintained my interest for more than a half-dozen movements.

I watched the 1996 film "The English Patient" the other day and was excited when the nurse began playing the opening Aria and Variation 1 on a poorly-tuned but wonderful sounding piano in a bombed-out Italian villa. I imagine I'd have lost interest if it had gone on through Variation 3, though.

No so with this recording, which is clarity-impaired but still good enough to hear all the parts of Bach's counterpoint. I'm sure I'll enjoy this one for a while. If you sample it, you may as well.

My only criticism is that the phrasing is a bit lacking in articulation, giving the music a somewhat "breathless" quality. Yet in all other respects, the precision playing of the group and near-perfect acoustics yield a captivating and most enjoyable album. Highly recommended!

I doubt there is such a thing as a performance of the great, moving St. John Passion without some virtue. Gardiner's reading is swift, clean, and dramaatic. But the "authentic" overlay means that we also get scrawny strings and a meager chorus, scrappy winds, and rushed tempi. The vocal soloists are hardly stellar, with only Rolfe-Johnson being first-rate. To top it off, the sound is vintage nasty early digital from DG that makes voices and strings screechy in the upper registers.

I have several recordings of this Passion, one of which is the DVD of the Choir of King's College with Stephen Cleobury, and I do enjoy listening to this disc more than any other version in my music library. John Eliot Gardiner seems to have a direct communication with Bach, himself. This recording was made in 1986 and Gardiners' subsequent Bach reordings attest to this. The Monteverdi Choir is well-trained and even though I personally prefer boy sopranos in early music, I do think the sopranos in this choir are very refined in tone quality and have a lighness of sound that blends very well with the rest of the choir. The diction of this group is clear and precise as it is with the soloists. Anthony Rolfe Johnson as the Evangelist is superior to others I have heard. Argenta & Holton (sopranos) do a very creditable job in their respective solos. I was interested to note that in Michael Chance's solo "Es ist volracht!" Gardiner chose to use the Viola di gamba as opposed to the violoncello that is used in most other recordings. I prefer it because it seems to have a lighter sound than the cello and therefore is a greater accomanpanying instrument for the voice. Chance sings this solo magnificently; better than any other countertenor I have heard!!!!The entire renditon is a pleasure to hear!!!!

Bach supposedly wrote 5 passions, two of which survive complete. Of one only the libretto survives, and supposedly pieces of one passion exist in one of Bach's Cantatas. The St. John's Passion is the earliest extant passion of Bach's (composed in the 1720s), and, seeing that the enormous and overwhelming St.Matthew Passion also still exists complete, it has lived in the shadow of its grand predecessor. Not to mention that Bach revised and rummaged through the St.John Passion throughout his life, so there can be no claim to a standard or definitive version (this is not the case with the St. Matthew Passion).

This Passion is great in its own right. If the St.Matthew Passion did not exist, this work could almost take its place. Right from the opening bars it will be evident that great music is on its way, and it doesn't let up throughout the entire piece.

Structurally, the work is almost identical to the St. Matthew Passion, in that it is made up of Recitatives, choruses, and arias. A character named "Evangelist" tells the details of the story in recatitive; arias typically express the feelings of individual characters; and the choruses provide emotional and spiritual reflection on the current scenes. The piece is meant for Christian consumption, and allows the listener to identify with Jesus' suffering and sacrifice through music. Music doesn't typically get more religious than this. However, the music is so amazing that it can be enjoyed even on a non-religious level.

John Eliot Gardiner, The English Baroque Soloists, and the Monteverdi Choir are all in top form here. The performances are impeccable.

The 76-page CD booklet contains a fascinating history of the passion form. It delineates the change in christianity away from a more Augustinian passion emphasizing redemption towards a more Fransiscan direct and immediate sympathy with Christ's suffering. This is the source of the Passion Play, and this tradition evolved into the form heard on Bach's incredible Passions (and the form is still going strong, controversially, at least according to recent box office sales).

Listeners who find the St. Matthew Passion to be an "I felt the earth move" kind of experience will not be disappointed whatsoever with the St. John Passion. Though it's not as grand or as esteemed, it contains music of the same high quality. Now if we could just find those other three Passions...