3 comments about Joan Tower: Instrumental Music.

1. The Instrumental Music of Joan Tower is a most interesting disc in terms of the diversity of music and variety of musical ensembles presented. All instrumentalists demonstrate ability and taste.



2. Joan Tower's "Island Prelude" has long been a favorite of mine. The work unfolds with an absolute mastery of control and exquisite orchestration. Choosing between its version for oboe and string orchestra and this version for oboe and string quartet is like choosing between full strings and quartet in Barber's "Adagio for Strings". When you have the Tokyo String Quartet playing, as you do here, you don't miss the warmth of a full flank of string players and you get the added bonus of hearing a lot more detail. The quartet also shines in Tower's "In Memory", one of my favorite works of hers, period. Indeed, the works on this disc are all extremely strong. The piano piece "Throbbing Still" is a stunning tour de force, and pianist Melvin Chen holds nothing back in this great performance. Despite raising their prices to now midprice level (remember the $5.98 Naxos bins?), kudos must be given to the label for generating this recording featuring amazing performers and outstanding American repertoire.



3. Dr. Tower is a well-known American composer and a performing pianist. Her thoughtful music is always filled with interesting melodies and tinged with just enough modernistic dissonance to add interest. I first discovered her music on the Sharon Isbin (classical guitarist)album Nightshade Rounds, where the composition Clocks appeared. Fascinating music, listen to it if you can.
   
   Since as of this writing Amazon has not listed the tracks, I will:
   
   1. In Memory (string quartet)
   2. Big Sky (violin, cello & piano)
   3. Wild Purple (solo viola)
   4. Holding a Daisy (solo piano)
   5. Or Like a...an Engine (solo piano)
   6. Vast Antique Cubes (solo piano)
   7. Throbbing Still (solo piano)
   8. Island Prelude (oboe & string quartet)
   
   In Memory is a poignant piece about grief and death, inspired by the loss of a close friend and the 9/11 victims. The one movement piece is string quartet writing at its finest. Big Sky, on which Ms. Tower plays piano, is every bit as deep and contemplative as In Memory as is the very beautiful Wild Purple whose themes make extended use of the viola's lowest string. The piano solos are filled with interesting sounds and vary greatly in mood. Island Prelude features an oboe weaving its way among the strings, and, like In Memory, it is performed by the famous Tokyo String Quartet. Also, like all of the string pieces on this recording, the tempo is andante or slower.
   
   With a tremendous variety of instrumental combinations, this CD is a delight and one that I will enjoy many times. My only complaint is with Naxos who skimped on the quantity of music and gave us only 58:26 minutes of pleasure.
   
   Strongly Recommended
   
   Redgecko

No comments about Telemann: Complete Overtures, Vol. 2.

No comments about Zoltán Kodály: Psalmus Hungaricus; Missa Brevis.

No comments about Stravinsky: Firebird Suite/Pulcinella Suite.

5 comments about Nicole Cabell - Soprano.

1. Nicole Cabell is an emerging soprano. This is her debut CD. She recently won the main prize in the BBC Cardiff Singer of the World competition. My own sense is that she shows great promise, and this debut disc demonstrates that. However, she is not yet a polished performer. But one would expect that to come with time and experience.
   
   Some examples of her work:
   
   "Quando me n'vo," from Puccini's "La Boheme": Cabell demonstrates a rich voice, no question about it. She sings the notes well, but not much characterization of Musetta emerges. Given that she's early in her career, this is hardly surprising. It would be interesting to hear her version of this five years from now.
   
   "Ah! Je veux vivre" from Gounod's "Romeo et Juliette": An infectious aria. She provides a spirited version. Although this is a bit raw at places, this is an animated presentation.
   
   "Les filles de Cadix" by Leo Delibes: Another up tempo and infectious piece. Again, Cabell shows off a rich voice. This is enjoyable to listen to and assess her promise for the future.
   
   "Quel guard il cavaliere. . . So anch'io la virtu magica": The cantabile is sung nicely. She demonstrates no vocal affectations that can often mar a singer's work. The cabaletta? She shows vocal agility, and she takes this at a spirited pace. There is not a great deal of ornamentation in the cabaletta. However, she produces one decent trill. Her final note is rather tamely sung.
   
   This CD shows a young soprano of considerable promise. The challenge is for this promise to turn into the ultimate polished performance that is inherent in this disc. A singer whose career will be well worth following.



2. Last month we had the opportunity to hear a singer we had never heard before, soprano Nicole Cabell, performing the role of Clara, in Gershwin's "Porgy & Bess," and we were impressed with her sound. Now comes a new, pricey ($32.99) recording under the DECCA label featuring Ms. Cabell in a debut album (due in May, 07) under her own name. The price of this CD is high, but the singer comes highly recommended, having won the BBCs Cardiff Singer of the World Competition in 2005, listing credits and reviews worthy of a talent in clear ascendancy - which she obviously is. For this debut CD she chooses some of what she likes best. "I wanted to sing not simply pieces that I love," she is quoted in her acknowledgement, "but the music that I believe fits my voice." A lyric soprano with punch, Ms. Cabell, glides effortlessly through a series of well known arias in English, French and Italian, culling some of the best from composers such as Puccini, Gounard, Gershwin, Bellini, Donizetti. With superb accompaniment from Maestro Davis and the London Philharmonic Orchestra, Ms. Cabell gives a strong accounting of herself and leaves no doubt that no matter how many times one hears "O mio babbino caro," (Gianni Schicchi) or "Quando m'en vo," (La boheme) which she will be performing in concert this month with Anna Netrebko and Rolando Villazon, there's still room for hearing and enjoying it anew from a different voice with a slightly different interpretation. Everything one reads about this voice is true: smooth legato, florid passages and delightful coloratura - and we might add with this debut CD, a nice selection of music that will satisfy most tastes with its even thematic presentation. Our personal favorite? Charpentier's soulful "Depuis le jour où je me suis donnée (Louise), but then, there are many favorites on this CD. This review appeared at OperaOnline.us.



3. A great recording, but I don't know this artist and have nothing to compare it with. I will try to get other performances by this artist to uase as comparison



4. I had written a review previously, but for some reason, I cannot find it. As I am not well versed in classical music, it is probably for this reason that I feel compelled to write a review of this CD, because Ms.Cabell has inspired me with a new passion to learn more of opera, and classical music. I was lucky enough to witness her win at the 2005 Cardiff Singer of the World competition in Wales, and have been a fan since that marvelous performance. Nicole's voice has such an astounding beauty. Chi il bel sogno di Doretta, (track #12) moves me to tears every time I listen to it. We all feel that she will be a true star, and would like to send her CD to all of our friends as well.



5. just played this for friends who have sung,taught and judged opera for all their lives.
   They were thrilled by Nicole's voice. I am now ordering more copies as gifts.

2 comments about Mozart - Requiem / Gauvin · Lemieux · Tessier · Berg · La Chappelle de Québec · Les Violons du Roy · Labadie (Revised and Completed by Robert D. Levin).

1. Of the three recordings I know of the Levin completion of Mozart's Requiem (the others being MacKerras and Pearlman) this particular one has to be the most convincing to me.

   It is understated but still appropriately weighty. A live recording commemorating the World Trade Center/Pentagon disaster of September 11th, 2001, Labadie's rendition really does pack an emotional punch than most recordings currently on market.

   Unlike the Pearlman recording, this present one is done on modern instruments although the dynamic featured Violons du Roy play in period style-- crisp, pure, without vibrato. It really makes this one unique. For example, listen to the fugue, "Quam olim Abrahe" as the violins place that stacatto on the first and third beats of their baroque-inspired ostinatos. It is not often that a recording of Mozart's Death Mass sound as new and fresh as this.

   The soloists are likewise excellent.

   The Levin completion is second my favorite (my absolute favorite being the Duncan Druce reworking). Druce's changes might be over-the-top for many listeners, but to most, Levin's is the closest to perfection as one can get. While I like Druce's completion of the Benedictus far more (it sounds like real Mozart!), Levin's is just fine. His "Amen" fugue is also the most satisfying.

   I would reccommend both this recording and the one under the baton of MacKerras. The Pearlman might sound to light and airy for many (the ending to the Kyrie is far to fast.) I would also urge you to listen to the only recording of the Druce version under Roger Norrington on the Virgin Verital label, although the tempi could use slowing in some parts, it is still a very engaging listen.




2. This Mozart Requiem revised and completed by Robert D. Levin was performed just a week after the 911 WTC attack in NYC. The feelings you get while listening to this live recording is unreal as image of the attack flash back at you. I have played this recording over and over ever since it came out.

   The music is wonderful recorded; with the support of the HDCD the sound dynamic is great. The revise version shows the possible ending that Mozart was heading during his writing of this master piece, Levin have used the material from Mozart's masses as a reference during his rescoring. With the help of authentic musical instruments, I believe this is the only recording that can compete with the long famous recording done by Christopher Hogwood.

5 comments about Heifetz in Performance [DVD + CD].

1. Heifetz is Heifetz. There's little more to say about his playing. However, the French National Orchestra did not do a very good job staying together or with Heifetz during the Scottish Fantasy. Unfortunate, since it's such a great piece.
   
   Just for reference, the pieces Heifetz played with his students (if you're curious, as I was) are the "Suite no. 7 in G minor HWV 432: Passacaglia" by Handel. In the end credits, he plays the "Terzetto op. 74 in C: Scherzo Vivace" by Dvorak.



2. The seller "Bookarama" failed to include the DVD so I only had the CD to listen to; however, it was so great I consider it the favorite violin CD in my collection. I saw him play in Salt Lake City when I was 12, and he played the Introduction and Rhondo Cappricioco (Saint Saens) that I shall never forget. I went on to study violin and have never heard his better on any recording. He was "the best", still is. Hope I get the DVD.
   
   P. Pyper, Santa Cruz CA



3. Good thing is it is in color. I wish it were longer. DVD can take 2 hours or more, but only half of the capacity is used. Come on, Heifetz must have other footages that can be included. I would rather have more performance footage than the bonus CD. (CD capacity is not fully used either.



4. The sound and video were not out of synch on my copy either. Heifetz' comments between playing were invaluable to me. His playing was spectacular. He was the best. "Unfortunately" he may have known it. Towards the end of the thing, he said in effect that the ultimate was "to do a thing well or to know you're better than someone else..." That's a close quote if not exact. I don't know how I feel about that remark. He WAS "better than someone else," he was better than everyone else (my opinion), that's just a fact, still there's a flavor of sheer conceit and arrogance in it that bothers me. The author (forget his name now) put similar words in Mozart's mouth in "Amadeus." Apocryphal, to say the least. I like to think well of my heroes. Then I think of young Keats' dying comment, "I think I shall be among the English poets after my death." Sigh. No, I don't like Heifetz' remark. But the film was perfect, albeit too short. Heifetz' (other) comments were illuminating and interesting, good clear shots of his bowing and fingering were priceless. All the music was wonderful except that dreary Prokofiev march that every violinist thinks he has to include in his recital. I loved the DVD. I thought the CD of just the music from the movie was a bit superfluous, but now that I've played it, I'm glad it was included. Though I would gladly give it up for another hour of DVD.



5. 
   I have both the DVD, and the VCD made in early 70s. I regret to say that there is indeed a split second of non-synchronization. I also regret to say that neither the sound nor the sight in the DVD has been remastered. So, for those who already have the VCD, don't bother about the DVD unless you prefer to have faster chapters selection.
   
   Having said that, it is clear that the recorded sound of this films are on the whole better than the reproductions of the earlier BMG records. That was probably because of the different time of recording and perhaps, Heifetz had stopped to insist to have the microphone very close to the violin... In any event, we have a fuller looming sound of his violin that is comparable to his last recital (CD-RCA). Camerawork is first rate too. It is, however, not a true DVD production.
   
   Even at this stage of Heifetz's career, with all my admirations for him, my verdict for his Bach and Mozart remains the same: here I prefer Milstein more. But it is completely another story for his Scottish Fantasy and the smaller pieces which are just magical. I'm afraid however there isn't much in the clips showing him giving lesson to his pupils.

No comments about A Musical Journey: Tuscany.

2 comments about Paris: A Musical Tour of Paris, Chantilly, Versailles & Chartres.

1. In addition to characteristic scenes from Paris, its buildings and
   its people, there is a glimpse of the Château at Chantilly, the
   magnificent palace of Versailles, and the Cathedral at Chartres.
   
   The beautiful music here included is largely associated with Paris,
   although not all by French composers. It includes a movement
   from a symphony that Mozart wrote in Paris in 1778 and
   excerpts from Verdi's opera La Traviata, set principally in the
   city. Other music ranges from that of the seventeenth-century
   French viol-player Marais to works by Debussy and the eccentric
   Erik Satie.



2. Bad. There is no narrator; it is a film with classical music. Doesn't worth seeing it.

5 comments about Lotte Lenya Sings American & Berlin Theater Songs of Kurt Weill.

1. Lenya--like Callas--was more than a singer. She became the characters, and poured her life of pain and joy into every note. Lenya could not have sung as she did, had she not lived in the dark 1920's Berlin.
   
   Hearing her for the first time can be startling: coarse, cigarette-stained. Bleak, heartless. Or painfully vulnerable. The bitter-sweet "It Never Was You" is true love. Practically screaming in "Trouble Man." Rollicking in "So What!"
   
   And as others have mentioned, toward the end hearing Louis Armstrong COACHING Lenya on "Mack the Knife," which she and Weill created--and Lenya taking laughing graciously along.
   
   The is required listening, just as "Seven Deadly Sins and Berlin Theatre Songs." I envy the person who meets Lenya the first time. Unique. Phenomenal. Incomparable.



2. `Lotte Lenya Sings Kurt Weill' is a CD of an older vinyl release on which Lenya, Weill's wife for about 20 years, up until his death in 1950, sings several songs from American musicals for which Weill wrote the music with various collaborators doing the lyrics. There are also a few songs from American musical plays by other German composers, Paul Dessau, Hanns Eisler, and John Kander.
   
   Lenya is the quintessential Weill interpreter, as she was a performer on the Berlin stage in the late 1920s and many of Weill's German songs were specifically written to be performed by Lenya. (Ironically, Lotte Lenya is best known today as the actress playing Rosa Klebb in the second James Bond film, `From Russia With Love'. I guess she needed some cigarette money.) So, even though these English songs may not have been written with Lenya in mind, Ms. Lenya should know better than anyone else the kind of interpretation Weill expected from his music.
   
   It is facinating to compare Lenya's singing these songs with that of other major Weill interpreters, especially our best contemporary Weill specialist, Ute Lemper. While Lemper gives us powerful readings, Lenya seems to have an inside track on some of the more gentle sentiments such as those we hear in `September Song', `Speak Low', `Lost in the Stars', and `Sing Me Not a Ballad'.
   
   If nothing else about this album gets you excited, then wait for the finale, which is a duet on Weill's most famous song, `Mack the Knife', sung in English in a duet with Lenya and Louie Armstrong, backed by Armstrong's All-Stars and his own trumpet performance. The great irony of this encounter is on the very last track, where Armstrong is giving advice to Lenya on how to perform her husband's song which she has probably been singing for 30 years.
   
   If you like Kurt Weill's songs or you simply like a wide variety of female vocalists, then this album is for you.



3. Lotte Lenya was an authentic legend of the musical theatre. Her performances in "The Threepenny Opera" and "Cabaret" are considered by those who saw them to be among the finest ever given anywhere. This CD includes her treasured numbers from both of those landmark shows - but wait, there's more. Lenya also sings most of her husband Kurt Weill's best known American theatre songs like "September Song," "Lost in the Stars," "Speak Low" and "The Saga of Jenny." Anyone who has ever heard Lenya sing knows that she has a unique voice - not pretty or always in perfect pitch. It doesn't matter. She's got "it," and that's all that matters. These recordings ring true to character. My two favorites on this CD are "Foolish Heart" and "It Never Was You." Both nearly forgotten gems. All musical theatre fans should own this CD - it's trul essential.



4. There is a popular myth that wives who sing their husbands' songs are their best interpreters (not so with Cher) and there is some truth in that. Edvard Grieg's wife Nina has a unique voice that created its own genre but the insight she imbues in Grieg's music using poets' lyrics are beyond reproach. Lenya being the wife of Weill belongs to that hallowed group. The album has some added tracks to commemorate Weill's centennial (2000). Lenya's original versions of "My Foolish Heart" and "The Saga of Jenny" are idiomatically beautiful. The year in which she sang them (1957) found her in a quavery soprano that is not bel canto or formally trained. She has this -- pardon the oxymoron-- ugly lovely voice that is engaging. And that quaver is attractive to listen to. The additional tracks found her singing songs in "Cabaret" and other songs where her late husband was associated. The year she sang them was 1962 and the vocal difference between 1957 and 1962 are interesting. Where a fluttery voice marked the 1957 recordings, the 1962 voice is an octave lower than laryngitis. But my oh my, can she sing those songs like "So What" and "Married". If advancing age is supposed to make a singer grow more instrospective then Lenya was it. The other tracks has her singing "Mack the Knife" in German and doing the same song with Louis Armstrong in English. The rehearsal take of that song is quite informative. Lenya, obviously not a jazz singer, has problems with the rhythm, but Satchmo, ever the Ambassador guides her and the result is short of magical. Get this album and play when you're in a contemplative and a bit aggressively articulate mood.



5. Yes she was the evil comrad in From Russia with Love, the best James Bond movie. It's so funny when she hits of the pretty bond girl, even before Bond himself can! Yes Lotte sings here, and yes this is the same Lotte Lenya, Bobby Daris is referring to in his song Mack The Knife(Miss Lotte Lenya... and ol' Lucy Brown.. oh the line forms on the right baby... now that Macky's back in town". OK this cd is campy and kittchy but that's it's main appaela, Lotte is sort of like a whacke dout Marlene Deitrich, GREAT!!!