Bishop, Henry Rowley

Annie Laurie ~ Folksongs of the British Isles / Barrueco · The King's Singers
Average customer rating: 5 out of 5 stars
  • Top of the line
  • The King's Singers in their element
  • Pure Artistry
  • Absolutely beautiful!
  • Wonderful
 Annie Laurie ~ Folksongs of the British Isles / Barrueco · The King's Singers
English Traditional , Scottish Traditional , Irish Traditional , Welsh Traditional , Sir Henry Rowley Bishop , Hugh Robertson , Manuel Barrueco , The King's Singers , and Nancy Hadden
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Similar Items:
  1. Watching the White Wheat: Folk Songs of the British Isles; King's Singers
  2. The King's Singers Original Debut Recording
  3. The Kings Singers - New Day
  4. The King"s Singers: English Renaissance
  5. All At Once Well Met: English Madrigals; The King's Singers

ASIN: B000002RTQ
Release Date: 1993-11-16

Tracks:

  1. Scarborough Fair
  2. Skye Boat Song
  3. What Shall We Do With The Drunken Sailor?
  4. Annie Laurie
  5. Greensleeves
  6. Danny Boy
  7. The Lincolnshire Poacher
  8. Loch Lomond
  9. The Lass Of Richmond Hill
  10. Sally Gardens
  11. The Ash Grove
  12. Aiken Drum
  13. Golden Slumbers
  14. Ar Hyd Y Nos (All Through The Night)
  15. Going To Towyn
  16. Home Sweet Home
  17. Eriskay Love Lilt
  18. Mairi's Wedding

Customer Reviews:

5 out of 5 stars Top of the line.......2003-06-17

This CD, along with Watching the White Wheat, is consistently a top seller on the group's US tours. Solid musicianship, great passion and emotion brought into the singing. There is some instrumental work done on this disc, but it doesn't overpower the singers.

To correct Mr. Beamer's statement in his review, the KS have indeed been doing pop and all genres of music since their founding in 1968. In fact, it was the inappropriateness of singing pop and light music with the Choir of King's College, Cambridge, that led a small group to branch off and sing all genres of music, including pop, on their own time ... this leading to the founding of the King's Singers.

5 out of 5 stars The King's Singers in their element.......2001-09-28

The King's Singers got started a few decades ago doing exclusively classical material, and most of that was pre-1700. Now, many years on, (and after several changes in the group's membership) they have long since branched out into pop and other genres.

This CD (along with another similar one, "Watching the White Wheat") really show off their UK roots, with English, Scottish, and Irish folksongs. The arrangements are mostly quite good, and all the performances are excellent. Deserving of special mention are: (on the slow, poignant side) "Annie Laurie", and "The Ash Grove". [Note: the arrangement of "Annie Laurie" heard here is different from, and I think inferior to, the arrangement they did on an old out-of-print LP called "Atlantic Bridge", where they did both Britsh and American folksongs -- that LP is Highly Recommended (if you can find it -- good luck!)]

Anyway, back to the review: on the up-tempo side, two very fun tunes are "Going to Towyn" and "Mairi's Wedding". For you singers out there, the score for the latter is available in a 3-part arrangement, and is rather easy to learn.

5 out of 5 stars Pure Artistry.......2000-12-09

I bought this CD after seeing the King's Singers in concert. Everytime I listen to it, it takes me back to a magical evening, and a magical place- the British Isles. These songs are beautifully arranged and sung. I never get tired of listening to these timeless folk songs that have been weaved into the cultural fabric of America and others around the world.

5 out of 5 stars Absolutely beautiful!.......2000-08-25

The cracked, maimed, and scuffed CD case that I am looking at right now is in itself testement to the addictive qualities of this recording. I have had this CD for almost a year and it has wandered the country with me (we just got back from No. Cal. ;) I listen to it almost every night before I go to sleep. The beautifully blended harmonies on this CD are gorgeous and I have fallen completly in love with the countertenor voices. All of the tacks are wonderful but my favorites are (#2)The Skye Boat Song (listen to this while reading Diana Gabaldon!) (#4) Annie Laurie (#6) Danny Boy and (#17) Eriskay Love Lilt. *Whew* that was hard, I can't pick my favorites easily. Buy this CD for it's gorgeous cover and fall in love with the music!

5 out of 5 stars Wonderful.......2000-05-18

I love this CD, the arrangements for these folk songs are superb. The songs picked are fun and beatiful representatives of English Folk songs. One of my favorite CD's.
Bryn Terfel Sings Favorites
Average customer rating: 3.5 out of 5 stars
  • Excellent Voice, Cheap Music
  • You are all idiots
  • Bryn Terfel, the Magnificent, sings 'Something for Everyone'
  • Bryn Terfel's voice is magnificent, this album superb.
  • Popular favorites sung by a fine concert baritone-bass
 Bryn Terfel Sings Favorites

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Similar Items:
  1. Bryn Terfel - Simple Gifts
  2. Bryn Terfel - If Ever I Would Leave You (Songs from My Fair Lady, On a Clear Day, Camelot, The Little Prince, Brigadoon)
  3. Bryn Terfel - Something Wonderful (Bryn Terfel sings Rodgers & Hammerstein)
  4. Silent Noon
  5. Bryn Terfel - We'll Keep a Welcome

ASIN: B0000AP6HI
Release Date: 2003-10-14

Tracks:

  1. Couplets: 'Votre Toast Je Peu Vous Le Rendre' (Toreador Song)
  2. Shenandoah
  3. Bugeillio'r Gwenith Gwyn
  4. 'C'etait Le Soir' - 'Aufondu Du Temple Saint'
  5. The Lord Is My Shepherd
  6. Danny Boy
  7. Bella Notte
  8. Goin' Home
  9. Swing Low, Sweet Chariot
  10. Home Sweet Home
  11. Ave Maria D 839
  12. Il Mio Cure Va
  13. At The River
  14. None But The Lonley Heart
  15. If I Can Help Somebody
  16. Wiegenlied
  17. Abide With Me
  18. Lazybones

Amazon.com

The title of this CD tells it all. Here is one popular classic after another, some folk or traditional, some operatic, some religious or inspirational, some pop. The result in the throat/mind/sensibility of any other singer might be soupy, sappy, or simply uninteresting, but Bryn Terfel--he of the rolling bass-baritone voice who can smoothly deliver notes and phrases at any dynamic level--turns this generous, somewhat sentimental recital into something beautiful and special. After a rousing "Toreador Song" from Carmen, sung with just the right weight (most baritones find it too low, most basses too high) comes a ravishing version of "Shenandoah"; a fine Welsh song is followed by the stunning duet from Bizet's The Pearl Fishers, with Andrea Bocelli singing the tenor part gleamingly and Terfel considerately underplaying his hand. And so it continues through Brahms' Lullaby and Schubert's Ave Maria; the "Love Theme from Titanic" sung with great restraint; renditions of "Danny Boy" and "Home Sweet Home" which are just beautiful; the spirituals "Swing Low, Sweet Chariot" and "At the River," slightly anachronistic but still effective; the gluey "If I Can Help Somebody"; and a few more. It's amazing that Terfel can bring such variety to material which is temperamentally so similar. Some of the arrangements are a bit sticky and overdone, but overall, this disc is a beauty for all seasons. It will make a lovely gift to music lovers of all types. --Robert Levine

Customer Reviews:

3 out of 5 stars Excellent Voice, Cheap Music.......2006-04-27

Bryn Terfel sings everything beautifully. The difficulty with this CD is that some of the music is extremely tawdry.
"The Lord is My Shepherd" and "Abide With Me" are very nicely sung, although the arrangements (like almost all hymn arrangements) leave a good bit to be desired.
The big surprise was to hear him sing "Lazybones" to perfection.
But on the whole it is far better to hear him sing music whose quality matches that of his voice.

1 out of 5 stars You are all idiots.......2006-04-04

Bryn is aweful. This CD is horrific. Listen to real opera you morons. Listening to Bryn is like pouring sugar down your throat until you vomit. Does anyone know what an "operatic baritone" really sounds like. Bryn is the emproer with no clothes and you all are fools.

4 out of 5 stars Bryn Terfel, the Magnificent, sings 'Something for Everyone'.......2005-06-28

Surely one of the most beautiful baritone voices on the opera stage and in the recital hall today is that of Welshman Bryn Terfel. He is one of those rare artists who has a magnificent voice, intense musicality, and magical stage presence. Terfel could sing the telephone book and make it beautiful.

And sadly that is what this album resembles: the choice of songs and the arrangements and friends with whom he elects to perform raises some concern about his artistic integrity. Having purchased this CD based on hearing 'Toreador Song' from 'Carmen' - clearly the finest, most highly nuanced performance of this famous aria ever sung! - this listener expected a concert of similar arias. Wrong! This is like a summer night at Hollywood Bowl with bits and pieces of all manner of songs, some tasteful, others less so, but whatever Terfel sings it is good to hear his voice.

Some of the more successful tracks include 'Shenandoah', 'Danny Boy', Brahms' 'Lullaby', and a Welsh tune 'Bugeilio'r Gwenith Gwyn' sung in Welsh. But then Terfel opts to sing Tchaikovsky's 'None but the lonely heart' in English rather than Russian, a Disney song (from Lady and the Tramp) in Italian, and for some reason includes duets with a soprano by the sole name of Sissel ('Ave Maria'), an awful pairing with Andrea Bocelli for The Pearl Fishers duet (terrible to compare these two polarized voices!), and some choral and jazz ditties. Whew!

If you can get past the pick and save repertoire here and just relax with Terfel's artistry you are in for a treat. Not for the purists, but definitely a find for the 'crossover crowd'. Grady Harp, June 05

5 out of 5 stars Bryn Terfel's voice is magnificent, this album superb........2005-05-05

I am hoping every possible purchaser of this album will read this review. Bryn Terfel is a singer whose voice has been touched by God. Rich, powerful, masculine, elegant, emotionally moving. His taste in music is varied and wonderful. I listen to him more often than any other vocalist in my vast vocal music collection. Therefore, I get more value out of his CD's than any other I own. If you love great vocal music sung by one of the greatest baritones of all time, buy this CD immediately. It will quickly become one of your treasured favorites. And Mr. Terfel, please know that your voice touches people all around the world. Thank you for the great music and inspiration, Sir.

5 out of 5 stars Popular favorites sung by a fine concert baritone-bass.......2005-04-20

First of all, we have to recognize that Bryn Terfel is one helluva fine concert/operatic baritone with a huge, powerful, and beautiful voice. (I think any other assessment must be based on nit-picking and misses the forest for the trees.)

In the present program we may wonder whether Terfel's particular (and enormous) talent is well matched to the popular selections chosen. Overall, I say yes: Terfel gives fine and generally convincing performances of this widely varied program--and there are precious few (if any) who could do better.

Let's take a look at what's here:

On the famous toreador song from Bizet's "Carmen" Terfel gives a very fine, operatic rendition of the bull-fighter's swaggering, macho aria. His diction in French is faultless and his singing style unreproachable. What more do you want?

In "Shenandoah" Terfel takes on an American folksong, and here is hardly in his home territory. He sings it well, as a concert artist, and perhaps a bit more dramatically than necessary. His pronunciation of American English is very good--except that he's deceived by the "ss" in Missouri and does not give us the "z" sound which every American would. The use of the pipes by Neil Martin adds a lovely, wistful touch to this sentimental bit of lovesick nostagia.

The tender Welsh lovesong is sung in a fine concertish style, but manages to be quite intimate and convincing anyway. Terfel's pronunciation of the (South Wales?) language is perfect, as far as I can detect, and should probably not be taken for granted in this day when English dominates. The harp--mainstay of Welsh folk music--is welcome here as played by the expert fingers of Catrin Finch.

Bizet's well-known Pearl Fishers' duet is operatic territory, and Terfel shines here. Bocelli offers a warm and appealing, though smaller, tenor voice to the combination and the two do a good job overall. Terfel's French is again impeccable.

The lovely setting of the 23rd psalm by Goodall is a welcome bit of church music and the soloist-with-chorus arrangement puts Terfel into a familiar idiom, which he--and the London Voices--make the most of. It's a fine performance and will remind listeners of "The Vicar of Dibley" program on PBS, for which the hymn serves as themesong.

Danny Boy was, I believe, originally in English, though it is one of the best-loved Irish folksongs, so we can't fault Terfel for not singing it in Irish. He sings it well, in spite of its demanding range, and communicates the sad and longing tenderness a father feels for his son about to go off to battle. Terfel's sweet, pianissimo ending is gorgeous, impressive, and most apt.

I don't particularly like the song "Bella Notte," so I won't say much, except that it seems well presented. "Going Home" is performed as a concert piece which owes much more to Dvorak than to the Afro-American spiritual from which it is reportedly derived. Even so, Terfel manages a quite convincing southern American dialect. In the same mood, more or less, we get the spiritual "Swing Low, Sweet Chariot," which Terfel and the London Voices bring off well, though not at all in the way a Black church choir would do it.

I won't take space to describe each of the following tracks, as I think the foregoing gives a pretty good idea of what to expect. The folksongs are not what a purist might want in the way of homespun simplicity--they are prettied up in artistic renditions. The concert pieces are very well done and leave little to be desired.

I will comment on only two more: I was not overly happy with the Brahms lullaby ("Wiegenlied"), because it is a bit too dramatic and artsy in style where it should be utterly simple. Still, we have to give T. credit for his excellent German pronunciation and his fine, if not cribside, style of singing.

In "Lazybones" Terfel gives us a thoroughly charming and delightfully bluesy performance of a Hoagy Carmichael song. Against all odds, it shows a warm understanding and affection for this idiom so alien to the hills and valleys of T's Welsh home. I defy anyone not to be charmed and delighted by this piece.

A strong commendation is in order for Chris Hazell's remarkably fine arrangements of most of these works, and the excellence of the performances by the accompanying groups. This is a musically first-class production!

The liner notes are generous, with song texts and photos of the participants in this recording. It is definitely up to Deutsche Grammophon's high standards!

If you like the pieces presented here and would like to hear them performed beautifully by first-class artists in fine arrangements, you should get this recording. With over 74 minutes of music, you'll be getting your money's worth several times over!
Galli-Curci: Prima Voce
Average customer rating: 4.5 out of 5 stars
  • Before Pons there was Galli-Curci
  • Magnificent!
  • A good Old Time recording
 Galli-Curci: Prima Voce

Manufacturer: Nimbus Records
ProductGroup: Music
Binding: Audio CD

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Similar Items:
  1. Amelita Galli-Curci: Lo! Here the Gentle Lark: 25 Songs & Arias
  2. Ponselle Prima Voce
  3. Amelita Galli-Curci Vol.2
  4. Lily Pons-Opera Arias
  5. Prima Voce: Tetrazzini

ASIN: B0000037J7
Release Date: 1992-12-02

Tracks:

  1. Romeo Et Juliette: Je Veux Vivre Dans Ce Reve
  2. Manon Lescaut: C'est L'histoire Amoureuse
  3. Il Barbiere Di Siviglia: Una Voce Poco Fa
  4. Dinorah: Ombra Leggiera
  5. I Puritani: Qui La Voce Sua Soave
  6. La Traviata: Sempre Libera
  7. La Traviata: Dite Alla Giovine/Imponete! Non Amarlo Ditegli
  8. La Traviata: Addio Del Passato
  9. Mignon: Lo Son Titania
  10. Don Pasquale: Quel Guardo Il Cavaliere
  11. La Sonnambula: Sovra Il Sen La Man Mi Posa
  12. La Sonnambula: Son Geloso Del Zefiro
  13. Villanelle
  14. Linda Di Chamounix: O Luce Di Quest' Anima
  15. Rigoletto: Tutte Le Feste Al Tempio
  16. Lucia Di Lammermoor: Verranno A Te Sull' Aure
  17. Lucia Di Lammermoor: Spargi D'amaro Pianto
  18. Pretty Mocking Bird

Customer Reviews:

4 out of 5 stars Before Pons there was Galli-Curci.......2007-02-21

Lily Pons was a reigning diva at the Metropolitan opera starting in the 1930s. She was deemed to be the natural successor to Amelita Galli-Curci. This CD does a nice job of representing the repertoire of Galli-Curci. While the recording quality is not great, it compares well with other records of the late 19 teens and 1920s.

First, a brief reaction to some of the pieces on this CD.

"Una voce poco fa" from Rossini's "Il Barbiere de Siviglia," demonstrates Galli-Curci's agile voice. The cabaletta shows Galli-Curci's coloratura technique, with good ornamentation.

She shows an agile voice, too, in Meyerbeer's "Ombra leggiera." I would rate this as a good (if not great) version. She shows an adequate trill; the trajectory of this piece is such that the close is the most satisfying component of the cut. She floated a very nice high note at the end.

Bellini's estimable I Puritani features a classic aria-cabaletta: "Qui la voce. . .Vien diletto." In the cabaletta, she shows nice technique at the start. Her approach is somewhat different from sopranos from the past several decades. The shows a nice trill at the conclusion and a very well done high note.

Verdi's "La Traviata" features many attractive pieces for sopranos. One of the real showpieces is "Sempre libera." Galli-Curci provides some nice characterization. Her version is fast paced, she shows good vocal control, her runs are well done, and her florid technique is fine. Again, an adequate trill and good final high note.

The cabaletta from the "Mad Scene" from Donizetti's "Lucia di Lammermoor," "Spargi d'amaro pianto," is more vanilla than most recent versions. The first run through is melodic and fine, with nice runs. The repeat features no trills, although the level of ornamentation is greater. A not very exciting version.

Second, this is a welcome introduction to the specialties in Amelita Galli-Curci's repertoire. Given the technology of the time, one gets a good sense of her voice. She sings well, although I think that her coloratura technique is a little spare (perhaps a matter of taste and evolving views of the proper technique for the Bel canto repertoire).

5 out of 5 stars Magnificent!.......2007-01-11

This wonderful artist has always touched my heart, and this is an exceptional recording.

5 out of 5 stars A good Old Time recording.......2003-10-08

I've borrowed this Cd from the library and I was greatly impressed by this coloratura. Her register is even. Songs are beautifully sung with impeccable taste. Her voice is clear and as beautiful as a bird (in a good way). Though these arias were record in the 1920's the hisses are minimal. I had no problem listening to it. I've listen to other coloraturas, J. Sutherland, B. Sills, Sumi Jo, N. Dessay, E. Gruberova, and yes even N. Melba, yet this is still one of my favorite CD for coloratura. Maybe it is her extremely flexibility, lightness, or freshness. Whatever the reason, I have enjoyed this CD and have just ordered it. It should an inclusion for any soprano recital collection
Lily Pons-Opera Arias
Average customer rating: 4.5 out of 5 stars
  • Good illustration of the work of Lily Pons
  • Greatest Coloratura in the 1st Half of the 20th Century
 Lily Pons-Opera Arias

Manufacturer: Pearl
ProductGroup: Music
Binding: Audio CD

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  1. The Odeon Recordings, 1928-1929
  2. Galli-Curci: Prima Voce
  3. Divas 1906-35
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  5. Ponselle Prima Voce

ASIN: B000000WV3
Release Date: 1993-01-19

Tracks:

  1. Die Zauberflote: Ach ich fuhls
  2. II Barbiere Di Siviglia: Una voce poco fa
  3. II Barbiere Di Siviglia: Dunque io son
  4. Lucia di Lammermoor: Mad Scene
  5. Rigoletto: II nome vostro ditemi
  6. Rigoletto: Caro nome
  7. Rigoletto: Tutte le feste
  8. Rigoletto: T'amo...E il sol dell' anima...Addio, addio
  9. Lakme: Bell Song
  10. Mireille: La Valse
  11. Les Contes d'Hoffman: Doll Song
  12. Le Rossignol et le Rose
  13. Air and Variations
  14. Lo! Here And The Gentle Lark
  15. Villanelle
  16. The Blue Danube

Customer Reviews:

4 out of 5 stars Good illustration of the work of Lily Pons.......2007-02-21

Lily Pons succeeded Amelita Galli-Curci as the reigning coloratura soprano at the Met. While this CD has a scratchy sound, that's par for the course for recordings from 1928-1939 (the time frame of Pons' career covered by this CD). This work shows Pons' technique very nicely. It is a different style of singing from Sutherland on to Dessay, whose work I prefer, but Pons' approach has its own virtues.

Some illustrative cuts include the following, about which I'll briefly comment.

From "The Magic Flute," Pons sings "Ach ich fuhls" (in French). She shows the listener a light and agile voice. She floats a sweet sounding high note and exhibits a very smooth line in her singing. Rossini's "Una voce poco fa" is characterized by sweet singing and, again, an agile voice. The florid singing is fine, with well done appoggiaturas. She hits the high notes well, although the final one does sound a bit strained.

Then there is the "Mad Scene" from Donizetti's "Lucia di Lammermoor," "Ardon gl'incensi" and "Spargi d'amaro pianto." The former is smoothly sung and melodic. There is some trill technique (although, overall, Pons does not seem to have a really strong trill, based on her singing on this CD). In "Spargi d'amaro pianto," we hear, again, a smooth, light, and agile voice. The first time through is well sung with standard ornamentation. The repeat features more florid singing, but not at the level of ornamentation of Sills or Sutherland (tastes in singing have probably changed over time). There is an unpleasant sound in the middle of the repeat. She hits the high notes well (for the most part).

Delibes' "Lakme" features the well known "Bell Song." She takes this at a fast pace (she seems to favor faster tempos than what we hear today in a number of the cuts on this CD, displaying the remarkable agility of her voice).

A delightful and enjoyable final cut is her version of Strauss' "Blue Danube." This is well sung, with some nice ornamentation. This is a lot of fun. There are a couple high notes well hit at the end of this waltz.

All in all, a good representation of the work of Lily Pons. It is obvious that coloratura technique was different in the early part of the century (and see CDs of Galli-Curci) than since the era of Sutherland and Sills to Dessay and Jo. Comparing the earlier techniques with those of the recent past and today is a good learning experience.

5 out of 5 stars Greatest Coloratura in the 1st Half of the 20th Century.......2005-06-11

Lily Pons is a French lyric-coloratura soprano who rose to prominence at the time when radio broadcasts came into the mainstream, being one of the first opera singers to capitalize on this new medium to forward her career. She did not have a big voice, but a uniquely distinctive one and all but charmed audiences with her very attractive figure and exotic facial features, unique among a profession of frequently plump women.

Bel Canto opera was not in great fashion during her time as it is now. Operas on complex subjects based on the precedent of Wagner had come to almost outshadow what was considered fanciful and even silly, repetitive singing of the Bel Canto era. Wagnerian operas showcased the richer voices of the lyric and dramatic soprano, which were thought superior to the canary-like, flexible voices necessary for fast,high, and ornamented passages of Bel Canto opera.

Maria Callas would however later forever change that notion in the 1950's. With her darker tone and penetrating acting ability, she demonstrated that Bel Canto could indeed be moving and powerful. Callas would also forever dispel the notion that the music of Donizetti, for example, was fanciful, portraying through voice and acting all levels of Lucia's psychological collapse in his Lucia di Lammermoor. Callas virtually created the vocal range what would become known as the "dramatic coloratura," later picked up by more recent greats such as Joan Sutherland and Edita Gruberova.

It is almost unthinkable to hear a coloratura sing the Mad Scene nowadays without comparing her to Callas or pointing out how the contemporary singer might have been influenced by her standard. Yet, Lily Pons was the reigning diva before Callas before this example was ever set. It can be argued that Pons represented the culmination of a long tradition of bel canto coloraturas starting from the age of when the operas were actually composed in the early 1800's. In her interpretation Pons built upon a century long tradition and basically perfected it. Listening to Pons sing is the closest current listeners can get to how the Bel Canto composers originally intended their arias to be sung.

Lily Pons will amaze you with her very, very secure high notes that she can sing at all volumes, not just either fortissimo or piannisimo. She has a finely developed vocal technique and can glide through two+ octave runs with perfect facility. Her vibrato is unlike that which is taught to more recent lyric coloraturas such as Beverly Sills and Natalie Dessay. Pons has a much faster one, and it gives just the right richness to her tone while not sounding too wobbly. Her voice is indeed high, but it is well supported and not shrill. There is something quite enchanting about her voice.

This recording was compiled from perfomances from the 20's and 30's, so stratchiness is quite loud. However, it does not detract too much from enjoying her voice. Additionally, the CD is a quite nice compilation with all the great arias she was known for. Some of the best tracks include "Una voce poco fa" from the Barber of Seville, the Mad Scene, all the passages from Rigoletto, and most notably the Bell Song from Lakme. (Some critics consider Pons's interpretation of Lakme considering both voice and acting on stage to be the absolute greatest of all time.) Avoid the Odeon Recordings CD since those arias were recorded while Pons was still relatively unexperienced and before she made it big. This recording is more than enough to enjoy all her splendor.
Lily Pons sings Donizetti, Verdi, Debussy, Rossini, Delibes
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    		Lily Pons sings Donizetti, Verdi, Debussy, Rossini, Delibes

    Manufacturer: RCA
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    ASIN: B000003FCS
    Release Date: 1993-03-09

    Tracks:

    1. Ardon Gl'Incensi
    2. Spargi D'Amaro Pianto
    3. Caro Nome
    4. TutteLe Feste Al Tempio
    5. Il Nome Vostro Ditemi
    6. Una Voce Poco Fa
    7. Qu Va La Jeune Hindoue?
    8. La-bas, Dans La Foret
    9. Hymn To The Sun
    10. Shadow Song
    11. Alma Mia
    12. Il Pleure Dans Mon Coeur (Ariettes Oubliees No. 2)
    13. Green (Ariettes Oubliees No. 5)
    14. Mandoline
    15. Les Roses D'Ispahan, Op. 39, No. 4
    16. Echo Song
    17. Pretty Mocking Bird
    18. The Wren
    19. Chanson De Marie Antoinette
    20. Cupid Captive
    Dame Clara Butt: Abide with me
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      		Dame Clara Butt: Abide with me

      Manufacturer: Pearl
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      Binding: Audio CD

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      ASIN: B00004RDZI
      Release Date: 2000-04-25
      Nellie Melba
      Average customer rating: 4 out of 5 stars
      • Introduction to Dame Nellie Melba
      		 Nellie Melba

      Manufacturer: Nimbus Records
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      4. Geraldine Farrar in French Opera
      5. Hempel: Prima Voce

      ASIN: B0000037L9
      Release Date: 1998-01-27

      Tracks:

      1. Le Nozze Di Figaro: Voi Che Sapete
      2. L'allegro, Il Penseroso Ed Il Moderato: Sweet Bird That Shuns't The Noise Of Folly - Nellie Melba/John Lemmone
      3. Louise: Depuis Le Jour - Nellie Rogers
      4. Don Cesar De Bazan: A Seville, Belles Senoras
      5. Faust: Alerte! Ou Vous Etes Perdus - Nellie Melba/John McCormack/Giuseppe Mario Sammarco
      6. Hamlet: A Vos Jeux, Mes Amis...Pale Et Blonde (Mad Scene)
      7. Distance Test
      8. Armino: Pur Dicesti, O Bocca, Bocca Bella
      9. Lo, Here The Gentle Lark - Nellie Melba/John Lemmone
      10. Piangea Cantando...O Salce! Salce! (Willow Song)
      11. Ave Maria
      12. La Boheme: Mi Chiamano Mimi
      13. Tosca: Vissi D'arte
      14. Les Anges Pleurent
      15. Chant Venetien
      16. Romance (From 'Deux Romances')
      17. Mandoline
      18. Le Temps Des Lilas (From Poeme De L' Amour Et De La Mer, Op.19)
      19. D'une Prison
      20. Elaine: L' Amour Est Pur Comme La Flamme - Nellie Melba/Herman Bemberg
      21. Sur Le Lac - Nellie Melba/Herman Bemberg
      22. Swing Low, Sweet Chariot - Nellie Melba/Harold Craxton

      Customer Reviews:

      4 out of 5 stars Introduction to Dame Nellie Melba.......2007-03-09

      The "liner notes" say a great deal: "She was a singer who could achieve perfection that was beyond the capability of practically every other comparable singer both in her own and later times; yet she was always spoiling things. While it is true that in most of her recordings there will come a moment. . .when the heart of anyone who with a love of singing will miss a beat, yet, within seconds of affording this glimpse of paradise, she may bring you down to earth with a kind of vocal ungraciousness that was all her own."

      Another introductory note. She was 44 on the earliest recordings and nearly 50 on later operatic recordings; there were some late recording sessions, including one mentioned below, when she was in her mid-60s.

      A sampling of her recordings on this CD. . . .

      From Mozart's "Le Nozze di Figaro," there is "Voi che sapete." Melba shows a light voice. The technology (acoustic), of course, obscures a lot of her vocal qualities. The transition from her lower to middle and upper registers is a bit rough. There is, though, a smooth line in her singing. She displays a rich voice.

      The cut that best illustrates the comments quoted from the "liner notes" might be the "Mad Scene" from Thomas' "Hamlet." Melba shows a pretty agile voice in this work. Early on, there is a middling--but not very good--trill. She hits some high notes well early on. The first segment of the scene is smoothly and even elegantly sung. The cabaletta suggests that coloratura technique has changed from the turn of the 19th to the 20th century compared with the past 40 years or so. She hits her high notes fairly well. But there are some passages that are almost beyond describing. At one point, she sounds as if she were barking rather than singing. There were other examples, as the liner notes suggest, of "vocal ungraciousness." The cabaletta is not very compelling coloratura work as I listen to things.

      On the other hand, her version of Puccini's "Si, mi chiamano Mimi" (from "La Boheme") is smoothly and well sung. Her "musicality" is good. All in all, a very nice version.

      Finally, an interesting novelty. She sings "Swing low, sweet chariot" in her mid-60s. Her voice is darker and deeper than other cuts on this CD. But she exhibits a very musical version of this work. It is affecting, in fact. She does not overpower the song with operatic technique. This is a nice change of pace on the CD and is a solid version of this tune.

      As a whole, this is up and down. There are the moments of great musicality--and some pretty ungracious singing, too. This appears to be a useful introduction to Melba's body of work.
      Opera Arias and Songs / Nellie Melba
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        		Opera Arias and Songs / Nellie Melba

        Manufacturer: EMI Classics
        ProductGroup: Music
        Binding: Audio CD

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        1. Nellie Melba
        2. Galli-Curci: Prima Voce

        ASIN: B0001O3Y80
        Release Date: 2004-04-06

        Tracks:

        1. Del Ciel Clemente - Landon Ronald
        2. Goodbye - Landon Ronald
        3. Caro Nome - Nellie Melba
        4. Sempre Libera - Nellie Melba
        5. La Serenata - Landon Ronald
        6. Ah! Je Veux Vivre - Landon Ronald
        7. Chant Hindou - Nellie Melba
        8. Nymphes Et Sylvains - Landon Ronald
        9. Lo, Here The Gentle Lark - Landon Ronald
        10. Ah! Je Ris (Jewel Song) - Landon Ronald
        11. Home, Sweet Home - Landon Ronald
        12. Ave Maria - Landon Ronald
        13. Mi Chiamano Mimi - Landon Ronald
        14. O Soave Fanciulla - Enrico Caruso
        15. Les Temps Des Lilas - Nellie Melba
        16. Ave Maria - Nellie Melba
        17. Donde Lieta Usci - Nellie Melba
        18. Addio, Dolce Svegliare - Nellie Melba
        19. Dite Alla Giovine - Nellie Melba
        20. Clair De Lune, Op.83/1 - Nellie Melba
        Amelita Galli-Curci
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          		Amelita Galli-Curci

          Manufacturer: RCA
          ProductGroup: Music
          Binding: Audio CD

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          ASIN: B000003FCT
          Release Date: 1993-09-28

          Tracks:

          1. Gaultier Malde: Caro Nome
          2. A Te Diletta: Come Per Me Sereno
          3. Sovra Il Sen La Man Mi Posa
          4. Ah, Non Credea Mirarti
          5. I Puritani: Qui La Voce - Amelita Galli-Curci/Manuel Berenguer
          6. Lucia Di Lammermoor, Mad Scene: Ardon Gl'Incensi - Amelita Galli-Curci/Clement Barone
          7. Lucia Di Lammermoor, Mad Scene: Spargi D'Amaro Pianto
          8. Don Pasquale: Quel Guardo, Il Cavaliere
          9. Il Barbiere Di Siviglia: Una Voce Poco Fa
          10. La Traviata: E'Strano, E'Strano; Ah Fors' E Lui
          11. La Traviata: Follie! Follie!; Sempri Libera
          12. Hamlet, Mad Scene: Ai Vostri Giuochi
          13. Hamlet, Mad Scene: Waltz (Partagez-Vous Mes Fleurs)
          14. Hamlet, Mad Scene: Ed Ora A Voi Cantero Una Canzone
          15. Dinorah: Shadow Song - Amelita Galli-Curci/Clement Barone
          16. The Gypsy And The Bird - Amelita Galli-Curci/Clement Barone
          17. Martha: The Last Rose Of Summer
          18. Home Sweet Home( From The Maid Of Milan)
          19. Carnations
          20. No Quiero Csarme
          21. Prison Song (From Las Hijas De Zebedeo
          22. Comin' Thro' The Rye
          Echoes from Asbury Park
          Average customer rating: 5 out of 5 stars
          • Perfect recreation of two historic band shows
          		 Echoes from Asbury Park

          Manufacturer: Archeophone Records
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          ASIN: B000FCLWNW
          Release Date: 2006-04-11

          Tracks:

          1. Felsenmuhle Overture
          2. Bohemian Girl Selection
          3. Dixie
          4. After Sunset
          5. The Victor March
          6. Sweetmeats
          7. Home Sweet Home the World Over
          8. The Fatal Stone (Duet from Aida)
          9. Rakoczy March (from The Damnation of Faust)
          10. Louisa
          11. Auld Lang Syne with variations
          12. Ye Boston Tea Party March
          13. La Forza del Destino Overture
          14. The Falcon March
          15. The Glow Worm
          16. Hawaii Ponoi and Aloha Oe
          17. Razazza Mazzazza
          18. Teddy after Africa
          19. Quartet from Rigoletto
          20. In Lovers Lane
          21. Dance of the Weasels
          22. Yankee Shuffle March
          23. Polka Fantastic
          24. O Dry Those Tears
          25. National Emblem March

          Product Description

          Arthur Pryor was one of the most important stars and recording innovators of the early industry and thus deserving a place of prominence in any discussion of the acoustic-era. Archeophone is proud to include Pryor and his band in our Pioneers Series of reissues. With 25 stirring selections, a 24-page booklet with beautiful illustrations, and scholarly notes by David Sager, Echoes from Asbury Park is another top-notch Archeophone release.

          Customer Reviews:

          5 out of 5 stars Perfect recreation of two historic band shows.......2006-04-19

          This has to be one of the best historic reissues on the market, because not only is it a beautifully packaged and remastered set of recordings by one of the greatest bandmasters of the 20th century, but is presented in such an organic and natural manner that it is a joy to listen to even in one uninterrupted sitting.

          David Sager's decision to program the disc as an afternoon concert followed by an evening concert was a stroke of genius. Not only do you get a sense of a day's entertainment in Asbury park circa 1913, but the pieces flow from one to the other as they were supposed to. Pryor was a sure hand at keeping his audience entertained, and his own mix of overtures, symphonic pieces, humourous pieces, solos and rousing showstopers guarantees your entertainment nearly 100 years later.

          The sound quality is ideal in every way, given that the recordings come from 1903-1913. All but one come from the Victor company, which made the best sounding discs of that era, and Pryor was an ace at recording his band. Excellent transfers with just the right amount of noise reduction make for surprisingly clear and detailed sound.

          The booklet is top-notch, as can be expected from Archeophone. Mr. Sager provides a short biography of Pryor, helpful notes on the indivudual selections, and all the discographical information one could want. Plus there are lots of period photos and reproductions of original documents.

          I recommend this disc without reservation to anyone who likes band music of any era, as well as to all historic recording buffs. I can't imagine how it could have been done better.

          Music Composers:

          1. Bizet, Georges
          2. Blacher, Boris
          3. Bloch, Ernest
          4. Blow, John
          5. Blumenfeld, Felix Mikhailovich
          6. Boccherini, Luigi
          7. Boeck, August De
          8. Léon Ernest Boëllmann
          9. Boieldieu, François-Adrien
          10. Boïto, Arrigo Enrico

          Music Composers

          Music Composers