5 comments about Kiri.

1. A terrific album by a great singer. This album represents the considerable territory that Kiri Te Kanawa covers in here repertoire. She moves easily from Handel to Puccini to Jerome Kern. The insertion of classic show tunes as a part of this CD is a nice little plus. Some opera stars absolutely kill popular music by overwhelming it with operatic technique (listen to Richard Tucker singing "What now my love"; this is a pleasant little tune, but it can't stand up to Tucker's voice of steel, using all the power at his command). Te Kanawa sings these songs, for the most part, nicely and does not overpower them with operatic conventions.
   
   She does a wonderful job on Handel's "Let the bright seraphim," displaying good coloratura technique, as a matter of fact. This cut nicely illustrates the clean sound of her voice. Her version of "Dove sono" (from Mozart's Le Nozze di Figaro) is a reflective rendering of this aria. The smoothness of her vocal line is wonderful to hear. Her version of "Vissi d'arte" (from Puccini's Tosca) also illustrates the art of Dame Kiri.
   
   The popular tunes that follow are very interesting. She and Jose Carreras, at the outset, begin to overwhelm "Tonight" (from "West Side Story," with--by the way--Leonard Bernstein himself conducting this cut), making it appear that this might be one of those dismal pieces where opera singers wreck songs. However, shortly thereafter, the song becomes more Broadway than Metropolitan Opera, and that is to the good. Better still are Te Kanawa's versions of classic songs such as "Summertime" (from Gershwin's Porgy and Bess), where singing in a higher register works nicely and where she treats the song on its own terms; just so, Jerome Kern's "Smoke gets in your eyes" is sung so well. It is a poignant version of this song.
   
   All in all, for those who are curious about Dame Kiri Te Kanawa, this is one interesting entrée. Well worth acquiring and listening to.



2. I admit straightout to know nothing of opera - the cd is my first of its kind. Knowledge, however, is not required to enjoy this cd, only the ability to listen and feel.
   
   Hearing her voice used as an instrument so beautifully I cannot but fall a little in love with her whenever listening to it.
   
   The selection of tracks is varied; I probably prefer the classical tracks, but all are well performed in my opinion.



3. She looks and sounds so beautiful. The first time I ever heard the inimitable voice of Kiri Te Kanawa was on a recording of Salaambo's aria from CITIZEN KANE for the RCA film classics series on vinyl. It was one of the most haunting and beautiful pieces of music ever composed by Bernard Herrmann. It was Kiri Te Kanawa performance of this piece that was so incredible. I had seen the film several times, but to hear a high fidelity recording of Kiri Te Kanawa on this particular piece really demonstrated not only the raw talent but also a depth of intuitive emotion that she brought to Herrmann's composition. Anyone that could interpret the inner struggle behind Herrmann's music so precisely demonstrated an uncommon ability to become one with the music. Her performance of "Ave Maria" on this CD is referent and exquisite. I love Leonard Bernstein's piece from WEST SIDE STORY that Kiri performs so vibrantly with Jose Carreras. I still can't pronounce her entire name correctly but Kiri Te Kanawa is the epitome of a well-honed talent. The selections on this CD are appreciably diverse demonstrating her phenomenal range and abilities. Kiri Te Kanawa has been and still is a gift to us all. This CD is wonderful.



4. Earlier this evening, I had a unique privilege in seeing Dame Kiri Te Kanawa live here in Edinburgh at Usher Hall and truly it was a captivating experience, I booked the ticket six months ealier for I know it would be sold out.

   Dame Kiri has always been my favourite soprano (and of course Renee Fleming), and the moment she sang her first note, it was electrifying. Even the moment she walked on stage with pianist Julian Reynolds, her beauty took my breath away. She has beauty, stage presence and a captivating voice.

   I admire Dame Kiri that she has chosen songs/arias which is suitable to her voice which has darkened (but still beautiful) because of age. She's 59 but can still hold an audience with her special brand of kiri magic. i just love her.

   This cd is a good introduction to non-opera connoseurs and even to opera purist this will have a wide appeal. From her Handel's Let the Bright Seraphim which catapulted her to legendary status, Puccini's Vissi d' Arte and of course, her hugely successful song from Chants d' Auvergne, Canteloub's Bailero.This cd is worth having.

   Her Puccini's O mio babbino caro is something she made her own that when she sang it earlier as the final encore the audience stood up in rapturous applause (I am actually the first one who had the courage to stand up!)

   Dame Kiri is perhaps one of the top three greatest female voices that ever lived and I hope she continues to ignite her magical voice to audiences world wide. Rarely would we see a performer who has grace, class, serenity and vocal beauty like Dame Kiri.

   Brava Dame Kiri, Brava!!!




5. Kiri Te Kanawa has one of the most beautiful lyric voices and a solid technique to support her charming instrument. Furthermore she is a gorgeous woman and it is always a pleasure to see her performing on stage.

   This CD is not the most representative of her career but everything heard here is truly enjoyable. The Dove Sono stands out as one of the most beautiful readings of this aria. Speaking of Mozart, they should have included arias from operas like Don Giovanni or Cosi fan Tutte as well. Her Strauss heroines are also not here,pity. Kiri is at her best in Mozart and Strauss. She admits that her voice lacks the power Puccini operas require and that she had to push her voice during stage performances to become audible. Indeed, one has to listen to a spinto soprano like Renata Tebaldi to feel the glory of Puccini in arias like Vissi D'arte or In quelle trine. Not that Kiri doesn't sing these well but they sound more like Mozart than verisimo. Her Violetta is acceptable but even better is her portrait of Amelia (Simon Boccanegra) unfortunately not on this CD. I loved all the modern songs. She proves that opera singers can sing modern music superbly if they want to. Many pop stars could learn a thing or two from opera singers about breathing and sound production!

   Although I would have wanted more Mozart and a bit Strauss on this CD, it is nevertheless highly recommendable. Bravo Kiri!

5 comments about Guitar for Relaxation.

1. This is an amazing CD. I recommend it highly for reading on a rainy day, relaxing, or just reading the paper on a Sunday morning. It's one of my top 10 relaxation CDs.



2. I got this CD because I am a massage therapist,and refuse to buy
   those cheesey new agey relaxation CD's.I was finally getting a little tired of the bach cello concertos and a couple of other classical recordings that had been deemed "relaxing",and decided to try this one.It is great!I never seem to get tired of it!I have not had a client that didn't love it.Most even ask what it is because they like it so much.Based on the success of this CD,I am going to try the Cello For Relaxation CD in the same series.I hope that it is just as much of a hit!



3. This CD definitely lives up to it's name. Julian Bream's guitar playing is ethereal and leaves your mind in a state of blissful relaxation...A wonderful collection! Well worth the investment!



4. I find myself choosing this CD whenever I want to unwind. It is absolutely exquisite. I have bought quite a few different "relaxation" CD's, and this is my favorite.



5. Despite a title sure to embarrass any self-respecting music snob, this is no less than a full disc of nicely mastered solo guitar recordings by the great Julian Bream (a string quartet joins Bream on one track). If these pieces could be easily found elsewhere, on albums with more continuity, then this disc wouldn't be worth buying. But probably 40% of the material on this cd can't be found in print, to my knowledge. In particular, the Mompou, Mozart, Llobet, Aguado, Henze, and Diabelli tracks aren't readily available elsewhere as of early 2003. Several of these tracks are nice hefty 6-7 minute pieces. In particular, the beautiful Andante from Diabelli's Sonata, arranged by Bream himself, is worth the purchase price by itself. If you're a Bream fan trying to get beyond his half-dozen easily available cds, add this to your collection.

3 comments about Violette et Mister B.

1. I love the details and coaching that go into dancing ballet therefore I enjoyed this DVD.....however Violette loves to talk! The first half of the DVD is Violette talking in rapid French to dancers while they dance a little (don't worry there are English sub-titles). The second half of the DVD has a lot more ballet and less talk.
   This DVD is a good addition for someone who love Balanchine's ballet - as I do. Violette gives insights into the steps and motivations behind the steps. Also the 'grainy' videos of Violette dancing the ballets herself are wonderful......what a beautiful dancer Violette was.....not many dancers have her grace and fluidity....there is much more anxiety about technique in many of today's ballet dancers.



2. This documentary shows Violette Verdy, one of Balanchine's most talented dancers, teaching and talking about Balanchine & Jerome Robbins and their choreography with dancers of the Paris Opera Ballet. Besides Isabelle Guerin in Dances at a Gathering, and Elizabeth Maurin in Emeralds, Ms. Verdy instructs other dancers in the Tchaikovsky Pas de Deux and Brahms Liebeslieder Waltzes of Balanchine, and In the Night by Robbins. There are also short clips of Verdy dancing. When she was with NY City Ballet, the line-up at one point in the mid-60s must have included Melissa Hayden, Allegra Kent, Diana Adams, Patricia Neary, Jacques d'Amboise, Sukie Shorer, Patricia McBride and a young Suzanne Farrell. I'm not old enough to have been able to see these great dancers while their careers were going on, but I have seen as much video as is available of them, and Verdy undoubtedly has many more anecdotes than time allowed. (Has she written her memoirs ?) The introduction by Roland Petit is interesting, but too short, and I wish the producers/director would have included even more old clips of Verdy from her NY City Ballet days.
   
   Verdy's exuberance and love for the pieces and steps that she instructs the Paris dancers in is readily apparent, and her reminisces and humor make this DVD a winner. I found out it was originally released in 2001, and I wish I had known about it then, as I can never get enough of these documentaries that have anything to do with ballet history in general, and Balanchine in particular. Belongs on every ballet fan's shelf with the Ballet Russe documentary from 2005/2006.



3. This dvd is in French with English subtitles and is special to me as Violette Verdy was a teacher and artistic director of Boston Ballet when I was teaching there. Most of the footage shows her teaching Balanchine choreography, roles she had performed, to dancers at the Paris Opera Ballet, and her expression, musicality, and artistry are of a high calibre. There is footage of her dancing as well as teaching, and the dvd will be of interest to dancers as well as anyone who loves ballet and wants to see how choreography is passed on from one generation to the next.

No comments about English Music For Viols (5 CDs).

5 comments about Morten Lauridsen: Nocturnes.

1. The audience for fine choral music hopefully is growing beyond the seasonal and occasional mighty works of Handel, Mozart, Bach. Certainly with such performing arts groups as the Los Angeles Master Chorale and England's Polyphony recording and performing choral music from the recent past and from the present the appreciation for this inspiring genre will expand. And as long as there are recordings of the caliber of this collection of works by Morten Lauridsen the possibilities are evident.
   
   Best known for his 'instant classic' LUX AETERNA, the gift of Morten Lauridsen is well in evidence with this recording. And while there are other recordings of some of the works here included, this CD is the premiere recording of six pieces that merit the music lover's interest. Lauridsen's 'sound' is that of the widely spread chord that acts as the matrix for the internal development of melodies and ideas. Nowhere is this more in evidence than in the completely ethereal 'Ave, dulcissima Maria' written for male voices alone with finger cymbal accompaniment. The sweep of adoration and emotion that pulsates from this beautifully crafted work places it among the great choral compositions of any era.
   
   The NOCTURNES from which the CD takes its title consist of three mixed chorus pieces with piano accompaniment. Set to poems of Rilke ('Sa nuit d'été), Neruda ('Soneto de la noche'), and Agee ('Sure on this shining night'), these three related works bask in the glory not only of Lauridsen's choral writing but also in the variation of three languages. The performances of these works and performed with fine ensemble sound and diction by Polyphony and the direction of Stephen Layton and one the Britten Sinfonia provides the orchestral portion on the well-known 'Mid-Winter Songs'. This is one recording that belongs in every lover of fine choral music and as a superb introduction to those for whom the choral repertoire is a new discovery. Grady Harp, September 07



2. Though some of what's on this CD has appeared on his other CDs, there is new material here too and it's very nice.



3. I love his music however this CD is just a repeat of what I already have. The nocturnes are new but they are short. The rest of CD is filled up with repeat pieces. Wish he would write enough for a whole new CD.



4. The recent recording of Morten Lauridsen's choral works entitled "Nocturnes" (Hyperion label) should be nominated for a Grammy. Stephen Layton's group, Polyphony, in collaboration with the composer and the Britten Sinfonia, have produced one of the most stunning choral CDs I have ever heard. Serious music lovers, not just choral/vocalists, should add this to their library.
   
   Jim Dearing, Director of Choral Studies
   Indiana University of Pennsylvania



5. I "grew up" singing Lauridsen and am a huge fan of his earlier works (Madrigali, Mid-Winter Songs - piano version). I sang in the Los Angeles premiere of the Les chansons des roses and Nocturnes under the direction of Don Brinegar. I don't particularly care for Lux aeterna, the sound of Polyphony nor Layton's interpretations. To me, Polyphony has an unrelaxed sound and Layton takes music on the slow side like Robert Shaw [hearing that Lauridsen played on these recordings, I'm surprised he let the music go as slowly as he did. Having worked with him, he always wanted to make sure we kept up the tempo to reflect the joyous nature of the text. But he is an exceedingly kind man and even with us, I think he let things slip by like us slowing down on the Ubi caritas recording on Northwest Journey]. My lowered rating is more reflective of the performance and not the music itself. I know my feelings are quite the opposite of many out there but now you know where I'm coming from. So here's what I think:
   
   I "didn't get" Soneto de la noche when we first rehearsed it. I thought it didn't suit the remakable text. But after weeks of singing it, I began to understand the interpretation. It is also important to know exactly what is being sung at the specific time in the music. The piece starts off somber but becomes rapturous when speaking of the delights of life and love and grows when it describes the flowers blooming. It's not the direction I would have gone but in the end, I do like it. And I think Sa nuit d'été "shimmers" as it should. Sure on This Shining night is as uninteresting to me as Dirait-on and Lux aeterna.
   
   I'm glad to know that his earlier music is being unsurfaced. If you heard the Four Madrigals on Renaissance Texts, you might be surprised, disappointed, delighted, who knows?

5 comments about Great Recordings Of The Century - Brahms: Violin Sonatas nos 1 - 3 / Perlman, Ashkenazy.

1. These are good performances, but are far from the greatest. Perlman is a fantastic violinist without question; he can play anything he wants to, and do it flawlessly. Just listen to him whip through Paganini's caprices like it's a walk in the park. Ashkenazy is a fine pianist and able collaborator, even if he isn't my favorite. However, this recording is a bit over-the-top in terms of the schmaltz-factor. The music is already sufficiently heartfelt, and does not require any additional help from the performers to drive this point home. The playing style, likewise, is a bit affected and self-conscious.
   Anyways, enough negative stuff. The 3 sonatas are played remarkably well, with a great deal of virtuosity, perfect intonation and excellent collaboration throughout. I may not LIKE the way they play, but I cannot deny the technical mastery of these works from the musicians displayed on this disc. Those that enjoy the use of portamento (and slightly excessive rubato) will thoroughly enjoy these readings. For me, my personal favorite renditions of the sonatas are Suk/Katchen on Decca Originals and Schneiderhan/Seeman on DG Originals. Suk and Katchen give a relaxed reading on par with this disc in terms of tempi, but with a more straightforward reading (Suk was well-schooled in the Brahmsian school, being related to Brahms' close friend Dvorak, and features a robust, slightly rosiny tone consistent with the Czech school of violin playing). The Schneiderhan-Seeman collaboration is a relentless, intense reading featuring quicker tempos than either of the aforementioned sets, and a steely, iron-fisted and thoroughly Germanic interpretation from violinist Schneiderhan, and is my absolute favorite. In my opinion this set most closely matches the music.
   In all...a very good CD, and a fine choice, but there are better sets available. You should get all 3 discs if your budget can handle it.



2. Brahms Violin Sonatas with Perlman and Ashkenazy is totally wicked! One of the best recordings available. HIGHLY recommended!



3. I have always preferred the Suk/Katchen rendering above all others. I've always enjoyed Perlman (and Ashkenazy, for that matter) until sometime around the mid 80's, when he drastically changed his playing style. But, somehow, I had never aquired this recording. I'm very glad that I finally did because it's pretty close to Suk's equal. You can't go wrong with either one (however, I think the Suk is now out of print), so my advice is to own both.



4. I feel pity for any pianist who accompanies Mr. Perlman, regardless how famous s/he is. After one hears Mr. Perlman's violin talking, whispering, begging, pleading, crying, singing, and pouring passion and love, one wonders why any other musical instruments are really necessary. It is often said that a violin is like a human voice. Perhaps it is so. But, please tell me of any singers who can match, even remotely, the heavenly sound of Mr. Perlman's violin!
   I listened to this recording several times. After I have somewhat satisfied my hunger for Mr. Perlman's playing, I focused on the piano part. One would think that the sheer volume of the piano chords would supplement the violin part. I was mesmerized to find out that in several instances Mr. Perlman's single note can match in volume, beauty, expression and the tone color an entire chord by piano. There were, however, some really nice parts for the piano, which Mr. Ashkenazy played superbly. These Brahms sonatas are very nice and interested pieces, and I promised myself to listen to more Brahms in the future.
   I most highly recommend this recording.



5. This is music-making of the highest order - the freedom and unanimity of interpretation you hear when two great musicians who love to play together take their time to work on details of tempo changes and phrasing. The performance is elegant, unhurried, Brahmsian; expressive but not sentimental.
   It may be an artifact of older technology or maybe the recording engineer didn't get the balance right, but as another reviewer said, the violin sounds too loud. Ashkenazy plays with restraint when called for, and you can hear him - especially when he needs to be heard - but this is Brahms after all, and the gorgeous piano part is not a mere accompaniment. All in all, this is a fantastic bargain! Buy this recording!

1 comments about Tchaikovsky: Piano Concertos 1, 2 & 3 - Prokofiev: Piano Concerto 5 - Bartok: Piano Concerto 2 - Emil Gilels, Sviatoslav Richter, Lorin Maazel.

1. The reissue gods are smiling. This bargain Gemini two-fer contains four superlative concerto recordings--the Tchaikovsky Second and Third with Gilels, the Prokofiev Fifth and Bartok Second with Richter. The conductor throughout is Lorin Maazel, definitely on best behavior, and the orchestras vary between the LSO (Prokofiev), New Philharmonia (Tchaikovsky), and the Orchestre de Paris (Bartok). EMI's early Seventies analog sound is bright and forward. The perspective on the piano is natural with Gilels, but as usual, Richter asked to be miked more up close.
   
   Gilels had already made a magisterial Tchaikovsky First with Reiner in 1955 (RCA) when he first stormed West out of Russia, and he would go on to make one just as great in 1980 with Mehta (Sony). This version from 1973 is let down by Maazel's less-than-committed acompaniment, which moves too glibly and quick in the first movement especially. But the Second and Third Concertos are another story. Gilels makes the best case ever for the former work, despite the usual cuts. Maazel livens up, giving us springy rhythms and elegance, while Gilels is polished marble and power. I will be satisfied to own this one version for life, I'm sure.
   
   On CD 2, Richter returns to one of his favorites, the Prokofiev Fifth concdrto, which he had already recorded in 1959 to universal acclaim--this was his time to roar out of Russia and astonish the West. This remake offers somewhat different tempos but the same astonishing solo work. For me, the main distinction is Maazel's razor-sharp, brilliant conducting and the virtuoso playing of the London Sym., wwhich far surpasses the earlier reading on DG. The same holds true for the Bartok Second, where Richter takes a fiendishly difficult, percussive piano part and makes it speak and sing as never before. Pollini is equally riveting in this work but not nearly as approachable. Officially, Richter never recorded the two most popular concertos from these composers, the Prokofiev and Bartok Third. That's a shame, but these great recordings, along with Gilels's' contribution, make this an unmissable bargain.

3 comments about Andre Rieu - Romantic Moments.

1. Andre Rieu is one of the finest entertainers in the world. I have all of his released DVDs and many of his CDs. The CD "Romantic Moments" is my very favorite. Unfortunately, the DVD "Romantic Moments" leaves out many of the songs on the CD. Spharenkland (Music of the Spheres) my absolute favorite of all the songs Rieu has done, is minimally played in the background at the beginning. It is a quite long tune but it is played only 52 seconds as background music at the beginning of the DVD. Andre talks a lot in this one, but not in the informative way he does in "Dreaming". Still, it is a quite worth while DVD and I would recommend it to anyone. Naturally, one must love beautiful music of the Strauss era to enjoy this recording.



2. This is a compilation of probably the earliest film clips made by the Rieu and Strauss orchestra, so it shows their young faces. the more recent DVD's are much more polished affairs. it's good to see how performers improve over time, still worth the purchase but for the reason of showing the changes as time goes by



3. Fanbloodytastic -- just sensational , the blokes an absolute genius.
   
   Just fantastic entertainment.

5 comments about Horowitz Plays Scriabin.

1. Scriabin music is very dificult for interpretation,it's wery romantic and in the same time furious .Horowitz understand every second of Scriabin's passion.Thats amaising CD!...,it's like Malevich paintings,wery romantic and modern,just beautiful!



2. It's impossible not to love this recording! I have for years, and it stands the test of time. I met Scriabin's music through this classic recording, played many of these pieces across the years, and return to it again and again as to a fountainhead. Say what you will about the art of Horowitz over the years, his handling of these Preludes and Etudes is inerrant. I've not heard another pianist play Scriabin with such intimacy and understanding, Richter included. The alchemy that was Horowitz's alone is in unpartitioned play from beginning to end. His inscrutable ear lets him choose one miniature masterpiece after another, each one vital to his master plan, in the end not only revealing Scriabin's mastery of musical thought, but giving us an indelible guide to Horowitz's own genius. If you want to understand the contribution of Horowitz, walk past his others straight to THIS Scriabin disc, AND the Horowitz Plays Scarlatti disc. For me, these two recordings provide unique evidence of this pianist's most revealing gifts. The B-major Prelude is beautiful enough to melt stone. This recording reminds me of Gould's recording of Byrd and Gibbons - unexpected and perfect, and impossible to live without. In a world on overload, the music made here is witness of a great art. Don't delay the indisputable experience.



3. Vladimir Horowitz was a champion of Scriabin's music long before it became fashionable, or even semi-fashionable. Scriabin's music appeared on Horowitz's programs as early as the 1920s.
   
   Horowitz's first issued Scriabin recordings were made at his 25th Anniversary Concert in 1953 (also his last public recital until his famous comeback in 1965). The B-flat minor, and C-sharp minor Etudes are given more turbulent performances than usual. There is a great deal brewing beneath the surface. At times, it seems like Horowitz is trying to burst past his own flesh. The desperate passion of his performance lends credence to the notion that he was approaching a nervous breakdown.
   
   The sixteen Preludes were recorded in 1956. (Actually, eighteen Preludes were recorded at these sessions, but two were placed on another album.) Horowitz chose to program the Preludes in a canny sequence of contrasts and surprises building to a climax, rather than sequentially. The Preludes start in the Chopinesque mode, becoming Wagnerian and epic, before dissolving into atonality - - revealing the scope of Scriabin's development.
   
   The Sonata No. 3, also from 1956, is given a broadly phrased, brooding, Byronic performance. The relaxed pacing of the first movement allows Horowitz to move through the various "soul states" without splintering the structure. Contrast the way Horowitz plays the second movement, using the pedal to skillfully blend harmonies, to the way Askhenazy unimaginatively plunks the piece out. (In this movement, Horowitz makes a small cut in the score which actually improves structural clarity.) The transition between the third movement (truly an example of a musical "calm before the storm") is handled with exceptional skill, and Horowitz makes the last movement exciting without over stressing compositional points. Througout the Preludes and Sonata, the balance and poise of the playing speak volumes about Horowitz's post-1953 recovery.
   
   Horowitz played Scriabin's Fifth Sonata during the 1975-1976 season. In his 70s, the pianist sacrifices nothing to age in the most orgiastic performance of this sensual piece ever committed to disc. Scriabin was synesthetic (meaning that he could hear colors) and the musical colors in this piece border on the lurid. This is easily one of the finest recordings from the pianist's late period.
   
   The popular Etude in D-sharp minor, Op. 8, No. 12, played as an encore at Horowitz's 1982 London concert, is given a performance which seduces before building to an explosive climax.
   
   The sound varies, from a bit confined in the 1956 recordings (made in Horowitz's living room) to spacious in the stereo items.



4. Listening to this cd put me on a higher plane regarding beauty.
   There is no doubt that I will purchase more of "Horowitz plays...". And these preformances are relatively inexpensive. And for such quality, that is a rarity.



5. Vladimir Horowitz is not in my ten top keyboard giants from the past. But, in this case it's fair to make a sincere rendition to this album.
   Horowitz was a cosmpolitan citizen. That's is an very important detail and I 'll tell you why.
   The Scriabin's school pianists Sofronitzky, Nehaus among others saw in him a russian Chopin. And I disagree with that opinion.
   Scriabin was a sensitive artist , but also a major colorist than Chopin was and ever a convinced man opened to experience new sounds.
   The musical influences received by Scriabin were in multiple directins. Wagner , Mahler, Bruckner opened new musical spaces in the new composers.
   Besides Scriabin and its sense he links with Rachmaninov; he didn't get so far from the romantic tradition; and he dindn't join to the avant garde composers as Stravinsky, for instance.
   He liked to experience but without his roots.
   So that view in the school russian pianistic permeated this conception in pupils as Richter.
   It's fair to establish a hidden neuroses in Scriabin's music and that's not a critical judgement.
   The point to remark is that Horowitz, never considered this opinion, precisely to his countless exchange ideas with the world outside the provincial Russia.
   And that's why his Scriabin sounds less ecletic and more multidimensional than the re3st of his coleagues, including Richter and Gilels; his Scriabin is in many ways out of control and less influenced of the chopinian view. It sounds you less romantic and more universal.
   Only Richter in the seventies could escape from that view and pianist as MichAel Ponti , Mijail Rudy or Ivo Porgorelch have understood so.
   Listen to Lazar Berman and you'll feel the Nehaus approach.
   This is the great virtue of this recording.
   But a warning; be carefully with a performance given for Horowitz in Carnegie Hall May 9 1965; because in many ways he seems to return to the chopinisque atmosphere when he played Scriabin in that recital.
   A must in your collection. Don't miss it.

5 comments about Purcell: Dido and Aeneas.

1. Full of vitality - robust rhythms abound. Not the most moving version - but a strong, athletic version that should win newcomers to this masterpiece. Perhaps the sheer pace of the performance alerted me to the fact that this is a kind of 'distilled' opera - with some arias lasting around 30 seconds! Certainly in less than an hour one finds as much emotion and musical 'food' as in other composers' hours...
   
   I have no one recommendation - you just have to buy numerous versions to experience the totality. Finding them is part of the fun.



2. Baroque opera has not been one of my favorite forms of the genre, but this version of Henry Purcell's Dido and Aeneas is one that is changing my mind, and would be an excellent introduction to Baroque opera for a newcomer. The music is beautiful and interesting, and Emanuelle Haim's energetic conducting gives the production a pace and drive that is missing from much of the Baroque music I've heard in the past. The ensemble of period instruments (of which I've never been a fan) absolutely comes alive under her leadership. A particular highlight for me was the guitar dance. And the chorus sings with incredible skill and energy--in fact it almost seems as if you are listening to a live performance instead of a "studio" recording.
   The cast is uniformly superb. Ian Bostridge makes for a forceful if not particularly likeable Aeneas, (who even in Virgil comes across as a bit of a pompous twit), and Susan Graham is simply compelling as Dido. Not only is her voice absolutely luscious in tone, there is a dramatic edge to it that holds your attention. Her rendition of Dido's Lament would melt the heart of a stone--she is no longer a powerful queen but an emotional train wreck of a woman who can no longer go on living.
   There are really no weak links in the cast, which even boasts Dame Felicity Palmer in the small role of the sorceress and David Daniels in the even smaller role of the spirit who shows up to tell Aeneas that he's got other fish to fry and to stop dallying in Carthage with Dido.
   The recording quality of this version (recorded in 2003) is excellent and it comes with a very nice libretto with pictures and a fine article on the opera and its composer.
   For anyone who thinks that Baroque opera is all tinkly harpsichords and excruciatingly slow and boring music, this recording will come as a revelation.



3. This CD is part of a Journey to the roots of beautiful music. The polyphony of the voices is almost hurting. When I Am Laid In Earth is so compelling. This is a must in the CD collection of Bach , Palestrina and Pärt lovers.



4. DOESN'T DIDO EVER GET TIRED OF DYING? BUT SHE DOES IT SO WELL!!
   
   Henry Purcell's 'Dido and Aeneas' was first performed at a girl's school in 1689. The librettist, Nahum Tate, was a playwright and poet with connections at the universities and with writers of educational books and works of moral instruction.
   
   From the moment the overture begins, the opera tells of tragedy and violence. The desertion of Dido by Aeneas and her subsequent death is related in Book IV of Virgil's 'Aenid'. Aeneas's dalliance with Dido distracts him from what ought to be his purpose: the foundation of Rome. He finally sails from Carthage to fulfill his destiny, and by her own hand, Dido dies. Tate represents Aeneas' Roman objective as an illusion, his instructions to embark for Italy as a device by the Sorceress to achieve her malign objective: the destruction of Queen Dido and her Kingdom. Therefore, this is the tragedy of Dido; her feelings, not Aeneas' mechanical obedience to orders (which are false; he is as much mislead as Othello), are what signify.
   
   As to the performance on this disc, I must say that it's got some merit, that being the renditions of Ian Bostridge as Aeneas (actually a very brief part vocally speaking) and David Daniels as the Spirit (an even more brief part). They are both perfect in their performance and I would certainly have wished that they could have had more to sing. I am not endeared by the female voices in their respective roles. To say that they were poor is not true, for they are all skilled singers, but just did not convey to me,personally, what each was all about. Dido (Susan Graham) was not tragic, and Belinda (Camille Tilling) was not empathic. The minor roles were well-done; especially that of the Sorceress (Felicity Palmer) and I've already menioned Bostridge and Daniels (the real stars on this disc).
   
   My Favorite Rendition: The 1992 recording with Bott-Kirkby-Ainsley under the direction of Christopher Hogwood. Just a great listen!!!!!!!



5. "Dido and Aeneas" is one of my favorite operas. I only wish that I could see it in, preferably, a venue intimate enough to capture its beauty and passion. I own 5 different cd versions and only the one with Von Otter and the one with Hunt Lieberson come close to this one. This is a truly magnificent accomplishment: Every singer is perfect for his or her role, the chorus is wonderful and the orchestra under Haim cannot be topped. Some, I've read here, find the tempos too fast or even rushed. I find them brisk and exciting. Graham and Bostridge cannot be beaten.