5 comments about Mommy and Me: 100 Songs for Kids.

1. I bought my first set used from a local ad. My daughter loves it, and I actually do to. During a kitchen remodel, we seem to have lost 2 discs, which is why I'm looking on amazon for them. There is some repetition of tunes, but that seems to have taught my daughter to make up her own words to her favorite tunes. The songs are upbeat, not overly saccharine, and pleasant even after the 50th time.



2. My toddler loves these CDs possibly because all the songs are sung by kids. It really entertains and sooths her. Great for car trips and play time. A few of the songs are nursery rhymes put to music but most are classics and there are so many that you never get bored listening to them over and over again. Definately a good investment.



3. These songs are upbeat and cheerful. Great for little kids ears. I haven't been able to find a better compilation. My kids love it.



4. This collection is quite a pretty good one that even you will enjoy hearing, it seems to definitely have a positive effect on moods. I've noticed that even other adults that happen to be around while it's being played, hum, sing and sway to these tunes. The only two drawbacks according to me are, the music that accompanies some of the songs doesn't sound good at all with those songs and the fact that after the children finish singing several of the songs they make some comment, which actually ruins the end of some of the songs.



5. Although it is a very comprehensive collection, I cannot speak very highly of the overall quality of this product. The tunes are very monotonous, it is the same bit for all the songs. I wish there were some variations to the tempo of the songs presented in this collection.

No comments about Nature's Ensemble.

5 comments about The Stan Kenton Story.

1. Excellent for those who enjoy the music of Stan Kenton. This collection clearly illustrates that 'the Kenton Sound' evolved over the years, with the help of a fantastic group of musicians!
   I remember talking with Stan Kenton at a college concert in the '50s. He said that he played 'music for the people', and he also enjoyed talking about his music as well. A unique and talented gentleman!!
   Thanks to this collection, the mellow sounds of Kenton will remain alive in my memory.



2. Stan Kenton & June Christy bring back the great memories of the 50"s and the Crystal Ballroom concerts
   wow



3. Proper records has done everything right here. The CDs are full, no 9-10 tracks per CD, but 18-20+. Better yet, the selection is excellent, and from a hard-to-get era -- 1941-1947. I find myself listening to this early Kenton more than his later recordings, and enjoying it more.
   I found the accompanying booklet quite informative, in spite of being a Kenton fan since the 1950's. Another thing -- the notes give date of recording, and personnel. So many liner notes omit these, to my irritation.



4. These Proper box sets are a bargain--competently and intelligently produced. "The Stan Kenton Story" represents Kenton's band from 1942-1952, the period during which he established a distinctive sound, then found his visionary energies leading him to the experiments of the 44-piece Innovations Orchestra and the polytonal arrangements of Bob Graetinger.

   Additionally, Kenton fans undoubtedly will wish to acquire music representing the other two chapters in Stan's career--first, the all-star, swinging, neo-bop ensemble that Kenton formed in 1952, culminating in his "Mellophonium Orchestra" and the end of his association with Capitol records; second, the traveling orchestras that he recorded on his own label, Creative World, between 1964 and 1979. If you're limiting your purchases, try "The Best of Stan Kenton" on Capitol and "Live at Redlands University" on Creative World.




5. This is a 4 Cd box set with a fantastic booklet included, carefully researched by Stan Kenton expert - Joop Visser, with some really great b/w vintage photos that i have never seen before, and i have been an avid fan of the Kenton Sound for 45 years now.

   This is a classy product, well presented in a strong carboard surround box and contains some of the "great" original Capitol records recordings from the mid 40's.

   All the great Kenton sidemen are here in this collection, Buddy Childers, Shelley Manne,Kai Winding, Edie Safranski and many, many more from that great era.

   If you are a Kenton Freak, dont miss this box set because its wonderful stuff!

1 comments about Reggae For Kids Party Box.

1. I had orginally the Reggae for kids first CD when I had my first child. Someone had given it to us as a shower gift. My daughter got peanut butter all over it and so I went online to get another copy because we had loved it so much and in my search I saw that they had a box set with even more Reggae for Kids music! I love all the new songs that we have to play - Car trips are a breeze now. There is one CD that is all movie tunes from Disney movies. For my daughters next Birthday we are going to do a Carribian Themed party so we can play this music. This is a must have for anyone who loves good old reggae and has kids.

5 comments about The Complete Works of Scott Joplin, Vol. 1-5.

1. Don't listen to all those elitists who gave Zimmerman a negative review- his playing is so unique and full of emotion. Contrary to what others have said, Zimmerman's tempo is much slower and better than many other artists' tempos. Though he doesn't play everything true to the sheet music, I feel that he wonderfully captures the spirit of ragtime. If you listen to some of Joplin's own recordings (via player piano), you will find that he himself added some jazzy improvisations. Although Zimmerman makes some mistakes, it somehow seems to add authenticity to his interpretation. The bad sound quality also adds this unique feeling of authenticity. Everything--his style, the piano, the sound quality--works together to create a truly wonderful recording. If you want a comprehensive, beautifully played, rendition of Joplin's works, then I highly recommend this box set!



2. I enjoy the chronologically arrangement of tracks. It's interesting to see the evolution of Joplin's style.
   
   I've always been a fan of ragtime, but not particularly an expert. This artist is either playing a completely faithful rendition of the music, or he stutters sometimes. This does not detract from the music at all, it's probably just the artist's playing style.
   
   The set is jam-packed with pieces I've never heard before, so it was quite an experience. The last disc in particular features an opera-style suite!



3. Adds welcome diversity to my Classic Rock collection. Understand that this isn't the last word on Joplin - it's more like a really good first. It's not a complete work-up, with quartet accompaniment, like Marvin Hamlisch's "The Sting" soundtrack. It's just Zimmerman on piano, and sometimes he doesn't play so great. I mean, if you compare "The Entertainer" between the two - you'll think you fell off a cliff.
   
   However, it is a complete Joplin - 66 songs, including every major Rag and other stuff, such as waltzes, marches, and pieces of "Treemonisha", his failed opera. What I wanted was a player piano, with a complete set of paper scrolls, you know what I'm talking about? Even if I could find one, I can't afford it. Maybe this is the next best thing?
   
   So I definitely recommend it for the Joplin novice - it's something to strongly encourage. But is this the last Joplin you'll ever buy? I doubt it - it's merely adequate, not great. Joplin for 40 cents a pop, you won't find a better value.



4. Well done, with the only drawback that Joshua Rifkind is not at the piano. Sometimes the pace is too frenetic.



5. This is a wonderful collection of Scott Joplin's music. Delightful to own, to play over and over and over.

5 comments about Warts and All, Vol. 1.

1. WOW!! Disc 2&3 show so many facets of the styles moe. has conquered. I had to get this after hearing 'Waiting for the punchline' on Sirius. Was I surprised to hear Moth/Timmy Tucker. Then to hear disc 3. Disc one is alright just not the same intensity as 2 or 3. What a diverse and talented band. If you have never heard moe. or are thinking of giving them a listen, pick this volume of warts and all up and you will hear what they are all about.



2. If you're a fan of moe. or just a casual listener, this is a great gateway into the world of live moe. Good sound and solid jams make it an easy listen from start to finish.



3. Hey everybody out there! These Warts and all discs are good live music, but they are NOTHING like the real thing. Final edits left out witty bantor, crowd sounds, and the true moe. experience. I've seen moe. over sixty times and these discs leave much to be desired. In the last 4 years I've caught three new years shows and I haven't missed a moe.lloween since the Dark Side Experiment. If you want to hear live moe, TRADE TAPES! The band would rather see bootlegs than get their 3% kickback from album sales. I'll see you at the next moe.show!



4. WOW! what a show. i've been to 11 moe. shows in counting including this one. The moth > timmy tucker is as good as it gets, one of my all time favorite jams, all time, amazing. Those 2 tracks (60 min.) is worth the 20 bones. Solid show from start to finish.



5. This is a great Moe. CD, all three sets are filled with incredible songs and jams. With a 30 minute "Timmy Tucker" what is there not to like about the CD. Some other great songs in which they go into great jams are "happy hour hero" and "Nebraska" The only problem is some songs vocals sound fuzzy, but but all in all its a great CD, filled with awsome jams. Also its a geat value...for three Discs. IF you like the sound of Moe. this is a great CD to buy!

5 comments about Dvorák: The Nine Symphonies.

1. There's little doubt that Rafael Kubelik performing the Czech repertory is a cornerstone of the recording catalog. That said, there are some problems with this box. The best sounding recording in the set is the 8th, which paradoxically is the earliest recording of all of them. It sounds virtually the same as my old cassette (original issue, no Dolby) of the recording, without the tape hiss. It also is the least representative performance in the set, being fairly straighforward and sounding like it could be the work of a number of different conductors. The rest of the interpretations are undeniably Kubelik. Compared to other counductors in this repertoire, and I have good sets by Valek and Gunzenhauser, Kubelik's readings of the symphonies sound much more lived in and reflected on than the others. Sometimes the rhythmic flow bogs down as Kubelik elicits a phrasing or balance that eludes other conductors. But after listening to this set in its entirety, it is very hard to settle for the interpretations of less personally involved conductors, even Kertesz and Rowicki. The sound on the first 6 symphonies is quite good, with much detail and fine dynamics, although they are a bit bass shy. The 7th has sound that is basically good, although it can become cloudy in tuttis. The 9th, a great performance (I heard Kubelik do this live with the N.Y. Philharmonic, and this version is representative of him in concert.), is hampered by sound that is often dry and murky. The Scherzo Capriccioso, Carnival Overture, and The Wood Dove are all given elastic and sensitively phrased readings by Kubelik's own Bavarian Radio Symphony, forming an interesting contrast with the more virtuosic Berliners. In sum, this is a set with problems, but the joy of hearing Kubelik in the lesser known pieces compensates for them. I also would recommend his Chicago Symphony New World, recorded in excellent Mercury Living Presence monaural sound.



2. Although decades old, the two analog sets of Dvorak symphonies from Kertesz and Kubelik remain front-runners. From the mid-Sixties onward Decca has been so satisfied with the groundbreaking Kertesz cycle, the first to bring Sym. 1-6 to the general listening public outisde Czechoslovakia, that the company has rarely re-recorded any but the last three, most famous symphonies. DG, on the other hand, didn't release Kubelik's Sym. 1-6 until the digital era (1988, I believe), keeping them in the vaults and out of competiiton with Kertesz.
   
   Now both sets are offered at basically the same price on 6 mid-line discs, with deep discounts on the used market. The difference between the two is quite marked musically. Kertesz communicates the thrill of discovery in the early symphhonies. He had never conducted them before, and their vibrancy and inner life lift my spirits every time I hear them. The LSO didn't know these pieces, either, but play with rousing commitment and vivacity.
   
   By comparison, Kubelik sounds rather correct and staid. He often chooses marginally slower tempos, and his enthusiasm for letting the dance rhytyms turn exciting is limited. The Berlin Phil. seems not to catch on to the Slavonic folk idiom, which gets played far too straight (Dvorak had the same problem with Greman orchestras in his lifetime and was only accepted in Vienna and Berlin at first as a kind of naive provincial Brahms). As to sonics, the Decca set holds up well, being a bit bright at times but otherwise detailed and forward. DG, unforunately, gave Kubelik's later symphonies (#7-9) harsh, glaring sound that makes his readings sound brash; there's an unpleasant sting to the sound at higher volumes. This problem seems less in the earlier symphonies (the cycle was recorded over a longer period than Kertesz's and thus has more variable engineering). I don't know if the current reissue also includes remastering.
   
   It's regrettable that in the interest of economics Decca has cut out several of Kertesz's most interesting fillers, such as the Hussite Over., though they can be found on other CDs from him. We get the Carnival Over. on both sets, after which Kertesz gives us the "My Homeland" and "In Nature's Realm" Over., while Kubelik offers the Scerzo capriccioso and The Wild Dove tone poem, both performed by his Bavarian State Orchestra rather than the Berliners.
   
   As msut be obvious by now, I don't feel the two sets are equal artistically. Kubelik was a major conductor and dedicated himself to Dvorak, but his best work isn't here. Kertesz, though not native born to the composer as Kubelik was, found a special affinity for Dvorak, and his cycle is one of the small miracles of Sixties recording. Perhaps not so minor considering that no one has bettered him in the early symphonies for forty years.



3. Rafael Kubelik was a great conductor, whom I have alot of respect for. However, I just could not sink my teeth into these performances. I found them to be brash and over the top. They were played way too heavily for Dvorak. It was as if they thought they were playing Brahms. Now, I know Dvorak was a great admirer of Brahms, and that he definitely can be considered a Brahmsian, but the the music of these two men is very different. I prefer a lighter, more rustic approach to these works, like one finds in the Istvan Kertesz set on London. This is certainly the set to stick with for these symphonies. I have long since sold my Kubelik recording, because it just didn't do it for me... the Kertesz recording is a keeper.



4. One of the problems in recording all of the symphonies of any composer is that some of the performances will fail. Just like very few sporting teams can win 9 games in a row, very few conductor/orchestra combinations can pull off 9 excellent performances. In this set there are only 2 excellent ones, 7 and 8. The New World (9) is cold and passionless, his Chicago recording was absolutely magnificent. The rest are ponderous and lacking in charm. It seems like the Berlin Philharmonic was simply not interested in the early symphonies of Dvorak. I wonder if they ever played them in concert or did they simply record them. Whatever, this set is not a bargain. One more thought: 2 of the symphonies are spread over two CDs. There is no excuse for doing something that outrageous. I checked the timings and the symphonies could have been placed on the 6 cds without spreading any of them on 2 discs. Or they could have simply put the set on 7 cds. Blank CDs don't cost much.



5. I recently, actually just before purchasing this set, received Vaclav Neumann's set with the Czech Philharmonic. A really good set to compare this one to. I also have had, over the years, different performances of the late symphonies with, Ormandy, Szell, Sawallisch, Walter and Carlo Maria Giulini. When it comes to lush sound and playing, nothing tops the Philadelphia Orchestra. It was the first time that I had a chance to listen, side by side, the 7th, 8th and 9th. But, I must say overall this set is truly magnificent. In fact Maestro Kubelik's reading of the 2nd symph. helped me to understand the work. Neumann, although wonderfully played by the Czech orchestra, somehow couldn't bring across the meaning of the work to me, along with the strings sounding like they were in another building somewhere.

   To me, all of Dvorak's sympyhonies are a set of tone poems that are molded together through a cyclic theme that pops up here and there. They are all so beautiful and magical and powerful, yet seem to weave together into a beautiful whole that can be called a symphony.

   My favorites used to be the 1st, 4th, 7th,8th and 9th. Now, because of the maestro's reading, the second and a deeper love of the fourth. Infact, I want to add that the second may be the composers best work. Very creative and spontaneous but beautiful and powerful at the same time. The slow movent of the fourth maybe one of the most beautiful slow movements of any symphony ever composed.

   His readings of the 3rd, 5th, and 6th are superior also. In a critique I wrote for the Neumann set I said that the strings were so poorly miked that it took away from his readings and the Kubelik readings magnify this tremendously.

   The Berlin Philharmonic is wonderful in this set. I wish DG would have recorded the other works with it. The recordings with the Bavarian Radio Orchestra are very good, but the viruosity of the BPO would have added even more to the performances.

   This set is an absolute must have for any basic library of classical music, and a must have for any Dvorack lover, the most underated and underplayed composer of them all. I wonder how few know that Dvorak truly amazed Brahms and Brahms even published some of the symphonies for him.

2 comments about Spohr: Complete Violin Concertos (Box Set).

1. Anyone considering this set should have no second thoughts. Although these works were composed after the deaths of Mozart and Haydn, the music here has a similar flair to these greats. Indispensible...



2. This is an excellent collection of the Spohr Concerti. Each one is interesting in it's own way, excellent collection for anyone studying the pieces as well. The Violinist is excellent!

5 comments about Wagner - Der Ring des Nibelungen (Ring Cycle) / Sawallisch, Bayerischer Staatsoper.

1. Okay, so we have the Furtwangler, Krauss, Solti, Bohm, Karajan, Goodall, Boulez, Janowski, Levine, Haitink, Sawallisch, and Barenboim Rings on the market (I haven't listened to the other Ring recordings yet, sorry to say). And all of these leave me to one conclusion: the many differences lead me to believe that all of these ring sets have their own authenticities and setbacks. And here they are:
   
   TIMING (Estimate):
   Furtwangler's Ring: 15 hours, 0 minutes
   Krauss's Ring: 14 hours, 10 minutes
   Solti's Ring: 14 hours, 30 minutes
   Bohm's Ring: 13 hours, 30 minutes
   Karajan's Ring: 14 hours, 50 minutes
   Goodall's Ring: 16 hours, 50 minutes
   Boulez's Ring: 13 hours, 40 minutes
   Janowski's Ring: 14 hours, 0 minutes
   Levine's Ring: 15 hours, 20 minutes
   Haitink's Ring: 14 hours, 10 minutes
   Sawallisch's Ring: 14 hours, 0 minutes
   Barenboim's Ring: 14 hours, 50 minutes
   
   YEAR(S) OF RECORDING
   Furtwangler: 1953
   Krauss: 1953
   Solti: 1958-1965
   Bohm: 1967
   Karajan: 1966-1970
   Goodall: 1973
   Boulez: 1980
   Janowski: 1980-1983
   Levine: 1987-1989
   Haitink: 1988-1991
   Sawallisch: 1991
   Barenboim: 1991-1992
   
   CONDUCTING:
   Furtwangler: The 1953 RAI Ring should be a must-have (even if you have another Ring on your shelf). Yes, it's true that Furtwangler favors slow tempi, but he makes even the slowest of his tempi intense and spine-tingling. Just listen to how he handles "Hagen's Night Watch" and "Descent/Ascent into/from Nibelheim". Now you can't call that atrocious, can you? I should remind you: there are two different box sets for this RAI Ring, one from EMI and one from Gebhardt. Best take the Gebhardt version because it has much better sound than EMI.
   
   Krauss: This is the first Bayreuth recording of the Ring, and it sure is one hell of an interpretation. Unlike Furtwangler, maestro Krauss goes for quicker tempi and greater suspense. Compare his "Siegfried vs. Fafner" and "Waltraute's Narrative" to later recordings and you'll see that he is a musical champion. There are about four different box sets that are out there right now, but you will only need one: the Opera D'oro release.
   
   Solti: Everyone knows that this is the first studio recording of the Ring. And everyone knows that Solti has become a famous name that's attributed to this. Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His "Donner's Song" & Gotterdammerung Preludes are clear examples: they're annoyingly loud and bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.
   
   Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe Rheingold Prelude). I especially like his "Flight of the Valkyries" & "Forging Scene"; both are the most energetic on disc.
   
   Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as "Brunnhilde's Awakening") are controlled nicely. His "Entrance to Valhalla" and "Funeral March" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.
   
   Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: nothing is faster than andante. But I did enjoy listening to the slow beauty of his "Immolation". This was recorded live and sung in English.
   
   Boulez: Here it is, folks - the controversial Centennial Ring. To fit the Ring Cycle in the industrial age, Boulez gives it a very Schoenbergian, Bartokian atmosphere. Much of his tempi are very quick, very Bohm-like, though they're still not as fast as Bohm. Keep in mind, though, this live Ring works better if you hear AND see it (the DVD's work best).
   
   Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Boulez's). Rheingold Scene Four can be best described as "sensational".
   
   Levine: This conductor has his own fair share of lyricism, too. Only, his lyricism is softer and much slower than Karajan's. Sometimes you'll be annoyed at his plodding tempi in parts such as "Wotan confronts Siegfried" or "Loge confronts Alberich", but you'll be amazed by the stunning splendor of "Annunciation of Death" and "Forest Murmurs". Be on the sharp lookout, also, for Levine's perfect "Erda's Warning".
   
   Haitink: This might be seen as a disappointment. If you want great conducting, then this is for you. If you want a persuasive array of singers, look somewhere else. Haitink's conducting saves this work from being a total flop. There is nothing quite like his Rheingold & Gotterdammerung ("Siegfried's Rhine Journey" is a bit forced, but magnificent nonetheless).
   
   Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.
   
   Barenboim: It's hard to describe Barenboim's Ring. I believe that he uses a little bit of everything: bombast, lyricism, intensity, beauty, fast tempi, slow tempi, measured phrasings, yada yada yada. And he uses all of them so well, that this Ring ranks with Furtwangler, Krauss, Bohm, and Janowski as one of the greats.
   
   ORCHESTRA:
   Furtwangler's RAI Rome: I think that much of the criticism that's been given to RAI are simply insensitive. Yes, it doesn't rank with other, more experienced orchestras, but what you get is the final result of what the great Furtwangler wanted. Woodwinds in "Wotan's Farewell" are marvelous, the brass in "Wotan Summons Erda" simply stunning. Maybe if people listened to the Gebhardt release instead of the EMI, then they would appreciate the orchestral playing a bit more.
   
   Krauss's Bayreuth Festival: Due to limited rehearsal time, the orchestra sounds robotic a few times. However, that's only a minor flaw: there's everything that you need for a 14-hour Wagner opera. From the thunderous brass to the smooth woodwinds, from the loud percussion to the saintly strings, it's [almost] everything that you need for a Bayreuth performance. "Magic Fire Music" in mono sounds even better than Barenboim's "Fire Music" in stereo.
   
   Solti's Vienna Philharmonic: The woodwinds aren't really the most beautiful in Solti's Ring, but they are still a plus. French horns and Wagner tubas make this a recommended listening. The strings could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.
   
   Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are some of the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Scenes involving Erda and Three Norns aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tension. Overall, this orchestra is the most energetic.
   
   Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung Act Two Scene One sounds very mysterious, very eerie.
   
   Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. "Forging Scene" doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act Two Prelude is the creepiest; Act Three Prelude is the dullest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.
   
   Boulez's Bayreuth Festival: Boulez turns this orchestra into an almost chamber orchestra (like Karajan's). While it doesn't really pack the same punches as Bohm's Bayreuth, it still delivers a stunning performance. Orchestral interaction between characters (Ex. Siegfried's motifs mixed in with Rhinemaidens' motifs) fares better than Berlin's, but is crushed when compared to English National's. Rhine maiden motifs are given more wit, while the Dragon motifs are played with less eeriness.
   
   Janowski's Staatskapelle Dresden: This orchestra has only half the force & flair of Solti's Vienna, but Dresden sounds much clearer due to the fantastic digital sound. All the minor details that are found nowhere else are heard in this Ring. The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Karajan's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.
   
   Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound a bit too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.
   
   Haitink's Bavarian Radio Symphony: This may very well be like Metropolitan, because it sounds just as poignant. While the woodwinds are not as good, the strings sound better and the percussion sound clearer. The leitmotivs are almost never screwed up. First scene of Rheingold will take one's breath away.
   
   Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.
   
   Barenboim's Bayreuth Festival: Do I really have to tell you that Bayreuth in the really 90's still went strong after all these years? Do I really have to tell you that the brass and percussion are kept under control, and that the strings and woodwinds outstrip Berlin and Bavarian Radio? Do I really have to tell you that almost everything is as it should be? . . . Fine.
   
   SINGERS:
   -Wotan
   Furtwangler: Ferdinand Frantz has something that other Wotans can't touch. Maybe it's that when he sings "Abendlich strahlt der Sonne Auge" he makes people swoon (back in the day, of course). Maybe it's that when he sings "In eig'ner Fessel fing ich mich" he scares the hell out of people. I think it's that when he sings "Auf wolkigen Hoh'n wohnen die Gotter" amazement spreads like . . . I can't think of a perfect simile at the moment. So anyway, Frantz is a great Wotan.
   
   Krauss and Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Solti's Rheingold, in which a less stellar George London performs). It's true that he gives an utterly heartbreaking performance during "Der Augen Leuchtendes Paar", and it's true that he was well past his prime when he did Solti's Ring (but don't let that stop you from listening to his classic "Dir unweisen ruf' ich's in's Ohr"). Makes me wish I heard Keilberth and Knappertsbusch's Ring recordings sooner.
   
   Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording ("Der Augen Leuchtendes Paar" is wobbly), but he still doesn't disappoint.
   
   Karajan: Dietrich Fischer-Dieskau plays Wotan in Rheingold, while Thomas Stewart replaces Fischer-Dieskau in Walkure and Siegfried. I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both Walkure and Siegfried.
   
   Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen. I enjoyed his singing during Siegfried Act One.
   
   Boulez: If you watch Donald McIntyre on the Centennial Ring production, then you can tell that he's a fine "industrial" Wotan. If you just hear him on CD, then you'll be disappointed. His diction is weak, his emotions are forced, and his voice sounds robotic. The DVD's will do.
   
   Levine and Haitink: James Morris is a notch below Hotter, Adam, and Bailey, but he overpowers Fischer-Dieskau and McIntyre pretty much throughout both Rings. His multi-dimensional performances are compelling in Walkure. "Nicht send ich dich mehr aus Walhall" should not be missed.
   
   Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his "Leb Wohl, du Kuhnes herrlisches Kind" wasn't enough to astound me.
   
   Barenboim: The rough, deep voice of John Tomlinson should keep people up during the night. You can tell right away after his entrance in Rheingold that he will be flawless later on in Walkure and Siegfried. No, he is not Hotter. And no, he is not horrible.
   
   -Brunnhilde
   Furtwangler: The only thing that Martha Modl's voice lacks is sensitivity. She's rough, she's sensuous, she's lyrical, and that's pretty much it. There seems to be no innocence or intelligence in the voice. But I could be wrong, since my ears are different than everyone else's.
   
   Krauss: Astrid Varnay matches Martha Modl, only that she is the one that has innocence in her voice. She gets five out of five stars from me.
   
   Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her "Soll fesselnder Schlaf fest mich binden" is brilliant beyond belief.
   
   Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Siegfried and Gotterdammerung, sorry to say).
   
   Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."
   
   Boulez: How can anyone not be impressed by the Brunnhilde of Gwyneth Jones? One can almost feel her excitement during Siegfried Act Three, and her fear in Walkure Act Three. Her weakest point is probably during her Gotterdammerung Prologue (a bit too stressed).
   
   Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.
   
   Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin. While she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).
   
   Haitink: Hmph. I was hoping that Eva Marton would do well here. I was seriously let down by her strained singing. She does okay in "Annunciation of Death", but she is at her worst in "Immolation".
   
   Barenboim: It sure feels like a cycle when Anne Evans sings as Wotan's favorite daughter. In Walkure, she sounds like a young girl, but as the story progresses, so does she. Her voice and personality changes dramatically during the Gotterdammerung Prologue and especially during the final days of the Gods. Absolutely striking.
   
   -Siegmund & Sieglinde
   Let's see. For the Siegmunds, we have Wolfgang Windgassen for Furtwangler, Ramon Vinay for Krauss, James King for Solti and Bohm, Jon Vickers for Karajan, Alberto Remedios for Goodall, Peter Hoffman for Boulez, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, Reiner Goldberg for Haitink, Robert Schunk for Sawallisch, and for Poul Elming for Barenboim. For the Sieglindes, we have Hilde Konetzi for Furtwangler, Regina Resnik for Krauss, Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jeanine Altmeyer for Boulez, Jessye Norman for both Janowski and Levine, Cheryl Studer for Haitink, Julia Varady for Sawallisch, and Nadine Secunde for Barenboim. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Two exceptions, though: Goldberg doesn't sound heroic enough, and Norman for Levine doesn't sound young and innocent enough.
   
   -Siegfried
   Furtwangler: I'll just describe the singing of Ludwig Suthaus in three words: Oh So Good!
   
   Krauss and Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in the latter renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming. Be careful, though: during Krauss's "Forging Scene" he makes tons of mistakes, but they'll get used to later on.
   
   Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.
   
   Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.
   
   Boulez: Is Manfred Jung a good tenor? Yes. Is he a good Heldentenor? NO. He doesn't have that heroic voice like Windgassen and Remedios. I like him better when he's performing as Mime in later Ring productions. Again, the DVD's are your safest bet.
   
   Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.
   
   Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. Levine should've chose Kollo or Jerusalem when he recorded his studio Ring.
   
   Haitink and Barenboim: Have you ever seen Siegfried Jerusalem on the Levine/Metropolitan DVD? Well, here he is again, and this time, he sings with more valor and enthusiasm in both renditions. Bravo!
   
   -Alberich
   Furtwangler and Krauss and Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?"). Reminder: In Furtwangler, Neidlinger is replaced by Alois Pernerstorfer in Siegfried and Gotterdammerung.
   
   Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.
   
   Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.
   
   Boulez: What we have here is the weak Alberich of Hermann Becht. When he's in Nibelheim, the authority isn't there. When he's in the Neid-Hohle forest, the creepiness isn't there. And when he's near the Gibich house, the misery isn't there. Even on DVD he's unsatisfactory.
   
   Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.
   
   Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.
   
   Haitink: No offense, but Theo Adam as Alberich? Come on . . .
   
   Barenboim: Gunther von Kannen doesn't completely eclipse Neidlinger and Wlaschiha, but he joins in with Nimsgern and Hammond-Stroud for his humane performance. "Bin ich nun frei?" was good, but not great.
   
   -Mime
   Furtwangler and Krauss: What do Julius Patzak (F) and Paul Kuen (K) have in common? Why, they both sing their parts without any caricaturing in the way. They both sound luminous and painless in every way possible. Kuen is slightly below Patzak's level, but that's okay. They're both excellent Mimes.
   
   Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners. But of course, Stolze's truly unsettling caricaturing of Alberich's brother will catch on after repeated listening.
   
   Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.
   
   Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.
   
   Boulez and Levine: Heinz Zednik is yet another excellent Mime, VERY fun to listen to. There is much humor and eccentricity in his voice, and that's what makes his dwarf much more compelling than Dempsey's dwarf. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.
   
   Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is just above average, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. He is equal to Zednik when it comes to humaneness and lyricism. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.
   
   Haitink: Peter Haage sounds like he's entertaining young kids. His version of Mime is a bit childish, and the dark humor that the dwarf brings out sounds-over-the-top here. Nonetheless, he is still entertaining to listen to ("Wer halfe mir?" has never sounded better).
   
   Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.
   
   Barenboim: Graham Clark is also like Schreier and Zednik. he's very VERY good. Again, nuff said.
   
   -Loge
   Furtwangler and Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegmund/Siegfried AND Loge? The demi-god needs to sound different from a Walsung, or a son of a Walsung. All in all, a Loge that's marred by lack of cunning.
   
   Krauss: When listening to Erich Witte's Loge, I kept thinking to myself, "why doesn't he sound like Windgassen, and not a Norse clown?" I don't know, maybe Loge (or Loki) isn't supposed to sound like a clown, but maybe he is. I guess it's all up to the conductor's casting choices.
   
   Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere greatly affects the entire Rheingold. But he'll soon be forgotten later on during the Trilogy.
   
   Karajan: Gerhard Stolze is easily one of the most entertaining Loges to listen to. He has the wit, the craftiness, and the untrustworthiness that the character deserves. His scenes in Scene Three are delightful.
   
   Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.
   
   Boulez and Haitink: I can summon Heinz Zednik's performance in just three words: Brilliant Beyond Belief! Scene Two is when he's at his finest.
   
   Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt and Zednik depend only on imagination and deviousness, Stolze only vengeance and deviousness, Windgassen and Witte only peril. His odd conversations with Alberich and the gods/goddesses are classic.
   
   Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.
   
   Sawallisch: Robert Tear is on par with Stolze and Zednik. Sometimes he takes things too low, but all is forgiven with his management of character development.
   
   Barenboim: Graham Clark? Well, he's no Gerhard Stolze, but he does stay in tune with most of the music in Rheingold. "Immer ist Undank Loge's Lohn" will certainly be somewhere in the top.
   
   -Everyone Else
   Uh-huh, what can I say? Everyone else does a good job in all Ring recordings. Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Christa Ludwig is the most brilliant Fricka (Bohm and Levine). Levine contains the most memorable Gutrune of Cheryl Studer, while the most brilliant Valkries are found in Krauss, Bohm, Boulez, and Haitink. Goodall, Boulez, Janowski, and Sawallisch contain the best Freias, Frohs, and Donners. The Norns and Rheinmaidens do a splendid job in Furtwangler, Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm, Boulez, and Barenboim. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.
   
   CONCLUSION: I have yet to listen to Neuhold's Badische presentation, Haenchen's Netherlands version, and two more mono recordings (Keilberth and Knappertsbusch), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the legendary Furtwangler, the undeniable Krauss, the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the industrialized Boulez, the truthful Janowski, the unhurried Levine, the abnormal Haitink, the serious Sawallisch, and the futuristic Barenboim Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.



2. This is the first ever ring I heard, being the second the Levine's DVD collection and the third is Böhm's. This set is very decent, sometimes Kollo's voice sounds too tired but hell, it's a LIVE recording! Not even singers like Windgassen are made of steel.
   
   Das Rhinegold.
   I liked it. The first scene is weak at some point but is decent. The storm aria on the fourth scene is the part I disliked the most. Wotan is marveolous and Fafner is outstanding. Take a second listening to Fricka.
   
   Die Walkure.
   God! What a marvelous performance! But not totally by Behrens. Siegmund and Sieglinde are romantic and distillate love on the "wintersturme" part. The Ride of the Walkyries is excelent, perfect. More beautiful even than in Solti's. And the "Lehb Wohl" aria of Wotan at the end made me get goosebumps: in one word: perfect. You can note that Behrens gets tired by the end of the Third act but with the amount of singing..... it's something normal.
   
   Siegfried.
   The weakest part is the final part of the Forging Scene. At that point, Kollo is tired... VERY tired. Mime is decent. Fafner, once again, is perfect. The Wanderer is very well sung.
   
   Gotterdammerung.
   Marvelous performance by Salminen. It's the Gotterdammerung to listen, unless you want to pay 60 bucks or more for Karajan's.
   
   Herr Sawallisch is great. Has a very particular read of the Wagnerian partiture but he's great, almost as perfect as Böhm. It's a light ring cycle... and costs the half as Karajan's or Solti's. Buy it.



3. From the German conductors I love Sawallisch most . It is the surprisingly sensitive, cultured and very original conductor. Among the executors there is no with a uninteresting vote and boring manner of performance. Robert Tear, probably, most remarkable Loge from everyone, whom I heard. Sieglinde, Siegmund and Hunding
   Are worthy of admiration. Brunnhilde - Behrens has, probably, not best soprano in a history of a global opera, but her actor's work in a combination to a very good vote makes unforgettable impression. Siegfried Rene Kollo - unique Siegfried, which image I accept certainly. Hagen is magnificent.
   Wotan amazes with humanity of an image. This record - one of my most favourite records " Der Ring des Nibelungen ".



4. Now that a lot of decent recordings of the 'Ring' are available at discount price (Levine, Janowski) this set has become nothing more than a waste of money. Truly, this is overall the second worst 'Ring' I have ever heard. Sawallisch's conducting is good, but he seems to think he is conducting music from the classical era & not the romantic. Frankly this concept doesn't work & I find myself constantly annoyed by his concept combined with the weird tempo & the orchestral balance that favours the strings & percussion over everything else. The singers are thrown well ahead of the orchestra, and even this doesn't help this mediocre cast. Kollo should have retired well before this recording, often he resorts to shouting & by the end of Siegfried & Gotterdammerung sounds as if he is going to die from sheer exhaustion, that, and being lazy about rhythm & pitch makes for an unpleasant performance. A pity, I always liked Kollo, and this recording just makes one miss the voice he used to have. Beherns never had a true Wagnerian soprano voice, and by this time all the Brunhildes & Isoldes through the years have taken their toll. Constricted in the lower passages, a hollow middle & lurching at high notes she has to fight constantly to rise above the orchestra, dramatically she is as fine as ever. Hale's Wotan, while easy on the ears, is too light to cope with all the notes, and his German diction is terrible. Fortunately, a few years ago I saw him as the Wanderer in 'Siegfried' & both problems improved considerably. The Walsung twins are vocally mis-matched. Varady's fine Siegliede is teamed up with a rather wooden & effortful Siegmund from Schunk. Only the basses in cycle have any success. Moll makes for an outstanding Hunding & Fafner; easily conveying both power & menace in these two roles. Salminen's Hagen is a good as ever, with a larger than life portrayal of pure evil. Wlaschiha's Alberich is far from disappointing, not as good as the DVD from the Met, but not chopped liver either. All in all, a rather mediocre release that you should have no qualms passing over.



5. Sawallisch's rendering flows naturally, as Boehm's, without the artificial climaxes Solti made in his widely admired set. The nuances and subtleties in music and texts are taken care of. But the cast is barely competent. The main complaint is on Behrens and Hale. I have never heard her live in opera house, but from her performance in this set and Levine's, I really cannot praise her much. Her voice is often strenuous and hard to the ears. In the middle range, the voice is hollow, which makes her sound more like a lunatic woman than a stout Bruennhilde. Hale's sweel and beautiful voice is a real pleasure, but his Germna diction can turn me off from time to time. Moreover, I feel he screws up my enjoyment in the Wotan's farewell to Bruennhilde by singing ahead of the right beat the first "Leb wohl". That mistake puts the orchestra in a mess for quite a while. Kollo's siegfried is dramatically satisfactory. Varady and Zednik are simply wonderful.
   In general, this set can rank with any other Ring set, but, in my opinion, should not be anyone's first Ring.

1 comments about The Judy Garland Show.

1. First of all these CDs claim to be original recordings from THE JUDY GARLAND SHOW (1963-1964 on CBS-TV). SOME of them are. There are also a number of studio tracks with and without applause added. Of the tracks which ARE from the show some have canned applause added to "enhance" them and many are reproduced at the wrong speed. The fidelity of the recordings is also extremely variable. Pass this one by and go out and get THE JUDY GARLAND SHOW on DVD. The sounds and images found there are fabulous and do justice to Judy's legacy.