5 comments about Dream a Dream.

1. I ordered two CDs of Charlotte Church "Dream a Dream" for Christmas gifts and was really embarassed when both people I gave them to called me and stated they could not get them to play on either their CD players or their computers. I now have them in my possession and cannot get them to play on any of my equipment, so this was acomplete loss for me. I would very much like to return them in exchange for two that will play.



2. This is one of my fave Christmas cds and I listen to it every year. Charlotte Church was only about 14 and her voice is amazing.



3. I bought this CD after watching the music video of the same name. Their performance of "dream a dream" is exquisite. The fact that they wrote the lyrics just adds icing to an already magnificent cake!



4. You know charlotte church has received so much harsh critismn about her,I find that people were jeolous of her voice, and of how a young girl can sing, she is definetly my dream ome true, (So back off johnathan flanders),this girl in the past has done some wonderful music which is inspirational and she is a wonderful person, I dont care whether she has changed, anyway her rock albumn has given me a lease on life and has given me potential in my singing,I love your voice very much, and this reviewer hasnt been written by a kid at all,if charlotte church is reading this,good on yeah girl,you definetly my dream come true,and I hope I will see you one day. your best friend JJCox



5. You know charlotte church has received so much harsh critismn about her,I find that people were jeolous of her voice, and of how a young girl can sing, she is definetly my dream ome true, (So back off johnathan flanders),this girl in the past has done some wonderful music which is inspirational and she is a wonderful person, I dont care whether she has changed, anyway her rock albumn has given me a lease on life and has given me potential in my singing,I love your voice very much, and this reviewer hasnt been written by a kid at all,if charlotte church is reading this,good on yeah girl,you definetly my dream come true,and I hope I will see you one day. your best friend JJCox

No comments about Essential Midori.

4 comments about Haydn: String Quartets, Op. 33 "Russian", No. 1, No. 2 "The Joke", No. 5 "How do you do?".

1. I ordered this CD and its mate with the other three quartets of Opus 33. My interest in these six quartets was originally their importance as models for Mozart's six late quartets dedicated to Joseph Haydn. However, I discovered that these are great works on their own, in the same class as Mozart's. The differences between them show the differences in Mozart and Haydn's temperaments, rather than any difference in genius of the composer or excellence of workmanship.
   
   The performances of the Kodaly Quartet are uniformly first-rate, and the quality of the reproduction is excellent.



2. The Naxos/Kodaly Quartet series of the complete Haydn string quartets offers a great way to acquire outstanding, historically ground-breaking music in warm, good humored and eventful performances that perfectly capture the spirit of the composer.



3. The Naxos/Kodaly Quartet series of the complete Haydn string quartets offers a great way to acquire outstanding, historically ground-breaking music in warm, good humored and eventful performances that perfectly capture the spirit of the composer.



4. These Kodaly Qt. performances of three of the six Haydn op. 33 Quartets, like most of the Kodaly performances of Hadyn in their remarkable bargain series for Naxos, are warm, funny, charming and eventful performances. I've collected nine discs in this series and plan to collect more.

5 comments about Satie: Gymnopedies Gnossiennes / Jacques Loussier Trio.

1. This is an amazing and cool rendition of Mr. Saties brilliant music. Where Jazz can often complicate melody and rhythmn, this Trio carries off one of the most astounding versions of the visual components of his work. There is something Beatlesque about Eric Satie and it was John Lennon who first brought to my attention how he had influenced his own musical forms in the Beatles and after. You might hear strains of 'Yesterday', 'Imagine', and 'The Fool on the Hill' seeping into your subconscious from a disarmed listen to these tunes. Mr. Satie's 'Gymnopoedia' was the soundtrack to the movie "My Diner with Andre". I can't give these pieces anything but my highest acclaim.



2. One can easily expect jazz interpretations of classical music to be dreadful (similarly, operatic divas singing jazz) but J. Loussier and Trio play with respect and great wit. For a true pleasure, I recommend his take on Debussy.



3. In my opinion, the Jacques Loussier Trio is best at interpreting classic Impressionist masterworks.
   "Satie: Gymnopedies/Gnossiennes" is haunting and atmospheric musical poetry and, I think, superior to their other attempts at integrating classical and jazz into one musical statement. The entire CD reminds me of the musical equivalent of J.M.W. Turner's Venetian watercolours. Stunning! Also, check out "JLT Plays Debussy".
   
   Jacques Loussier Trio's "Satie" takes the listener on a trip. Gnossienne No. 4 is especially effective in transporting the listener to a quiet "cinema noir" oasis full of intrigue. This jazz trio's technique lends itself much better to interpretations of delicate impressionist masterworks rather than to classic baroque. This is NOT smooth jazz but each piece is "fluid" or "atmospheric", just as Satie would have wanted it! The haunting sound is perfect- translucent as any mountain lake. In my opinion, this is Loussier's best disc and rates as one of the top discs in the classical-jazz hybrid genre, "Third Stream".



4. I have long considered Satie's Gnossienne to be some of the most emotionally touching and versatile pieces in music. So to pass a lazy afternoon, I went searching for as many versions of them as possible. I found everything from guitar to harp to dancefloor remixes. But there was one interpretation that stood out from all of them: the Jacques Loussier Trio interpretations.
   
   First, I disagree vehemently with what one can only describe as the dense and snobbish two star review below. Satie's music is not degraded here; it is simply reinterpreted into a new genre. But my ears (nor those of any other reviewer, it seems) detect any degredation or "dumbing down" of Satie. Rather, the Loussier Trio handle Satie's delicate pieces with all the care they deserve. They do well at playing minimalistically, using no more notes than are necessary. I can't help but think that this is the way Satie would have wanted it, as his compositions cry out for exactly that style.
   
   While there are a few question marks on the CD (for instance, trying to fit a 3/4 Gymnopedie into 4/4)even the weaker tracks (relatively speaking) are worth a good listen. The Gnossienne (particularly the first four) take the cake, though!
   
   A brief descriptive note before I leave you to buy the CD. Any lover of the "new" European (particularly Nordic) jazz, such as the Esbjorn Svensson trio, or the Tord Gustavsen trio, will UNQUESTIONABLY love the Jacques Loussier trio. Loussier has mastered the type of sparse and dark sound achieved by the said trios.
   
   You are in for a treat, indeed!



5. My introduction to the Gymnopedies was hearing Blood Sweat and Tears rendition on their 2nd album. I've been entranced by them ever since. I've collected the purist renditions of the work, and then I heard the lead track of this CD on our local Jazz/NPR station, KPLU.

   I was immediately obsessed with finding out who/what/where.

   I did, and I purchased this disc and several others. I was not disappointed. Other writers here are far more eloquent than I about the musical content; suffice it to say that Loussier remains true to the mood and emotion of the original, and his improvizations on those themes brings a new and fresh point of view to these already beautiful works.

   Last, I'll comment on a technical point. These recordings are stunning. Totally natural sounds, and a stunning mix. Everything is in its place, you hear everything. The SACD version is even better. The older recordings (like the original Bach) are not at all dated in their sound.

   I applaud this artist, this work, and this recording. Few of my recent CD purchases have been this satisfying.

3 comments about Die Dreigroschenoper: Berlin 1930.

1. You can buy lots of different versions, old and new, German and English, of The Three Penny Opera. This is the original "Dreigroschenoper," done with the cast and orchestra of Brecht and Weill. Be ready for culture shock, but--isn't that what you're looking for?



2. In quick summary:
   - If you're at all familiar with the Dreigroschenoper and all its incarnations, be sure to buy this album. It's the closest you could get to an 'original'.
   - If you're completely new to the Threepenny story, I would recommend starting with the 1999 Nina Hagen concert version instead. It's got all the songs left out here, better recording quality, and a more modern approach to the music.
   
   This is not a complete collection of original cast Dreigroschen songs. Rather, it's a selection of the best tracks from the play, often censored and cut short (in all the usual ways), and filled up with seemingly random extras in the genre.
   
   The performers are all quite brilliant, and it's refreshing to hear a 3P without all the screaming and biting from recent versions. Though the songs are by no means slow, they're much more relaxed, more saccharine I would say, than what they've later evolved into. I love both type interpretations, but I often prefer this one.
   
   One very nice bonus is the inclusion of a handful Threepenny songs in French. Otherwise pretty hard to come by. Also, the famous final lines of the movie version (Moritat reprise) are present, which I've only seen in one other recording (the 1981, also led by Miss Lotte Lenya). All in all, an essential CD for Brecht/Weill fans.



3. I've been a three-penny freak ever since I was a hanger-on at a Stanford production 40 years ago directed by a Brecht associate from Berlin. It's wonderful to get the authentic original cast records. I really like the added Berlin Chansons, too. "Don't Goggle at that Tango Dancer, Keep Your Eyes on the Guy You Came with!" Or Marlene Dietrich, with "Jonny, When it's Your Birthday, I'll Be Your Guest for a Night."

5 comments about Music Of The Crusades.

1. Out of all the cd's I own, of music varying from opera to rock, this little disc is my absolute favorite. Music is the only real Time Machine we have and this one takes you instantly to the 12th and 13th centuries, and you can still bring your toothbrush and deodorant. This is literally the top hits of the day and the performances, as close to the original musical notation as possible, are extraordinary. David Munrow and crew have given us a tremendous gift.
   
   When all else fails me, when I am discouraged by the times we live in now, I turn to this disc to transport me out of here. It may be unrealistic to believe the 12th was a fairytale era to live in, but like all ages, their music was filled with hope, longing and a yearning for happiness that transcends time and speaks to us even now.



2. For early music people, this is another great compilation of stuff you just like to put on in the background while doing your daily routine. Good times.



3. LIKE A TRIP BACK IN TIME. FROM THE FIRST NOTES, I WAS TRANSPORTED.



4. One of the problems I have with many early music CDs is an emphasis on one place in a time period. This reissue manages to avoid that flaw by including minnesinger, troubador, trouvere, and instrumental pieces, though the liner notes could easily have told us which of the pieces were troubador, and which trouvere, instead of just the tantalizing "two are troubador (written in langue d'oc)" without identifying which.
   
   As a sampler, it is excellent, though the vocal pieces tend to be somewhat slow--not all the lyrics seem consistent with that delivery, so this is probably an artist's choice. It would be interesting to hear the same pieces performed now, 30 years later, with 30 years of new scholarship. Ah well, nothing is perfect!



5. The time of the Crusades spanned several centuries, from the time Pope Urban II called upon Christendom to fight for Jerusalem until the thirteenth century (this does not include the numerous minor, unnumbered crusades, sometimes against other Christians). The Crusades became for many in the Middle Ages a romantic ideal; the appeal for those who would join the Crusades was two-fold, both riches in this world and salvation in the next.
   
   In this collection, the texts of the songs are primarily contemporary with the Crusades, although a few come from later troubadour and folk songs. Some songs here directly relate to the Crusades in content (for example, Pax in nomine Domini!), whereas others are songs contemporary with and popular among the Crusaders, but have no direct relation to the Crusades. 'Ja nus hons pris' is one such song, which has origins attributed to one of the most famous of the Crusaders, Richard the Lionhearted.
   
   One of the problems with music from this time period is that very little written material exists. What music notation there is often is reminiscent of Gregorian chant - there are markers for pitch, but nothing for rhythmic values, melodies, etc. Similarly, the types of instruments are often not listed for particular songs, so it becomes educated guesswork as to the instruments used - lutes, rebec, wind instruments, percussion, etc.
   
   The performances here are wonderful and full. The Early Music Consort of London recorded this first for vinyl in 1970; this CD is a reissue, well engineered. David Munrow was the director as well as performer on recorder, fluet, shawm, crumhorn and bagpipes. Munrow's talents are well suited to this kind of medieval music. Among the other performers are soprano Christina Clarke, counter tenors James Bowman and Charles Brett, tenor Nigel Rogers and baritone Geoffrey Shaw. Musicians include Eleanor Sloan on treble rebec, Oliver Brookes on bass rebec, James Tyler on lute and citole, Gillian Reid on the bells, Christopher Hogwood on harp, organ, nakers and tabor, and James Blades on nakers and tabor.
   
   This recording is superb, a great addition to an early music library, and a joy to have as a CD - I had the vinyl of this, but over time it warped in storage, and I was very sad to have lost such a brilliant collection of music. Here it is again, restored and full of power and life.

5 comments about Lauro: Venezuelan Waltzes for Guitar.

1. Adam Holzman's performance on this disc has made Antonio Lauro's corpse turn over in its grave!!! Technically he has a command over the material but there is not artistry or profundity in his expression. Where are some contrasts in dynamics? Tone production? Change of timbre? Not all of these pieces are meant to be played at a robotronic-fast tempo. Yuckkkk.... If you want to hear him really kill a composer's complete oevre for guitar then check out the disasters he recorded for Naxos doing all of Ponce's guitar music. This guy is pulling a real 'Goerge W. Bush' type of con-job. Arrrrrrrrgggghhhhhhheeeeeessss AWFUL!!!!!!!!!!!!!!!!!!!!!!!
   Y para los latinoamericanos que dicen que esto disco esta buen hecho... pues se encuentran en un mundo raro para creer que esto hombre toca tan bueno!!!!! Hazme el favor!!!!!!!!!!



2. This is, indeed, Venezuelan music, masterfully executed by a master guitarist. Flawlessly executed it stands as a tribute to one of Venezuela's outstanding composers. ¡Cinco estrellas!



3. Antonio Lauro pieces are very melodic, not long, repetitive but beautiful, his music speaks directly to me and nobody really introduced me to it, i am familiar with many tunes through midi songs and some recordings. i will buy this cd because he comes up time and again as influential instrumentalist to me with interesting structures
   
   i am going to pay cd and nylon string guitar soon too i feel.



4. I am a guitarist and listen to guitar sounds CD everyday. Especaily I listen to modern time guitar songs, A.York or R.Dyense etc, on the other hand, I listen to south and mid american songs. This Lauro's CD have my both wish, the unique sentimental and beautiful sounds of modern and south american.

   Their songs is not long scale songs, though they are small songs, include many unique melodies with alpegio picking style.

   It is very difficult to select his best songs because there are a lot of wondeful songs. I love Nataria and Angostuna especially. I think that he is genious in the point that make the songs with minor chords. In addition to that, his songs do not exist bad songs, all the songs is more that good.

   Thank you for reading my poor English.




5. A very nice collection of pieces from an important guitar composer. There are other fine performances of Antonio Lauro's works by John Williams and David Burgess, for instance, but this CD certainly does honor to Lauro's musical contributions.

1 comments about David Russell: Art of the Guitar.

1. Another great recording from David Russell and Telarc. Just listen Grieg pieces and Galeron by Sojo. No more words needed. Every year a new David Russell CD....... Thank you Telarc.......

5 comments about Arnold Schoenberg: Serenade/Five Pieces For Orchestra.

1. Nobody but Boulez, for "contemporain" music. In this recording, Serenata op.24, five pieces for orchestra op.16 and Ode to Napoleon, significant Schönberg works, are brought with extraordinary wealth of timbres and detail. Five stars.



2. Arnold Schoenberg: Serenade/Five Pieces For Orchestra
   
   Extraordinary subtlety of interpretetion characterizes this particular version. The timbre and deftness of the musicians is a pearl of great price. This composer still is terribly challenging. He provides the largest, most extensive bridge between 19th & 20th century classical music composition. The serenade takes the most aggressive leave of the former century and speeds ahead at lightspeed. As a previous review said, this composer's statements represent a concentration of Mahler's best offerings.
   The poetics here can only be taken in small doses...



3. Boulez ruins the Serenade with a ridiculously slow tempo for the first movement, somewhere around half-note = 80 whereas Schoenberg specified half-note = 100. With other composers, you might get away with that sort of nonsense, claiming that you slowed it down to "bring out the interesting inner voices" or whatever. But with Schoenberg you don't second guess. Yes, it goes VERY fast, but this is for a reason. Skip Boulez, try a CD where Robert Craft conducts. He respects the designated tempo and keeps it ALIVE!
   (The Five Pieces performance on this CD may be fine -- I don't know that work so well.)



4. Depth? Genius? This stuff sounds like your watching an old Bugs Bunny cartoon. Its like the background sound effects when Yosemite Sam steps on a rake or Daffy does a double-take. Imagine being Ray Charles or Andrea Bocelli and "watching" old cartoons: it's the same experience. But in this case, I'd rather be Marlee Matlin.



5. I would like to speak in regards to what some reviewers are saying about the works of Schoenberg. I will admit that the first time I heard Schoenberg, I wrote him off as weird music that I would never like and was not worth listening to. In my defense, the first work I heard was "Pierrot Lunaire" which is a very hard work to understand. But I was assigned a paper of the Second Viennese School and its influences for music history and was forced to really listen to these works among others by much more extreme composers like Boulez and Cage (who I have yet to understand, but I am still young!) Once I stopped grumbling about how much I hated serialism and let myself really HEAR the music, I started to understand it and gained a begrudging respect for Schoenberg, which became a genuine liking. So in light of this, I dare anyone who is so willing to bash Schoenberg outright to really listen to his works and the works of those he influenced with an open mind and see if you can't at least respect the music for what it is.

5 comments about Renee Fleming - The Beautiful Voice ~ Gounod, Lehar, Orff, Puccini, Rachmaninov, Strauss.

1. Once again Renee Fleming presents glorious collaborations in a compelling performance. The overall conception is one of beauty and unequivocal direction of line. Fleming begins with "Louise: Depuis le Jour." The spacious long phrases are profoundly evocative and the vocal timbre is crafted with glowing, long-breathed generosity. My most cherished performance is "Songs My Mother Taught Me",(A favorite of Joan Sutherland's) from the Gypsy Melodies Op.55, No.4. It is delighting in sweet textural clarity and brimming over with an infectious sense of inner purpose. Followed by "Martha: Last Rose of Summer," and "Doretta's Dream Song", Fleming sings with such a level of imagination which is rare enough, but once heard it never leaves you. "Carmina Burana: In Trutina", is absolutely angelic and sung with such radiant inwardness. In "Morgen" Op. 27 No.4, Fleming sings with such a special resonance and is, as ever, superb in the quality of her tone, the clarity of diction and innate comprehension of lieder. Fleming fills "The Merry Widow" with supple lyricism, elegance and singing at a pleasing lilt capturing its gentle energy. The overall performances culminate with "Chants D'Auvergene: Ballero". Fleming's phrases are conveyed with both elegance and intensity. The pacing is eager but never hectic and the accompaniments are scrupulous in their sensitivity. The nuanced dynamics are breathtaking and there is no denying the incandescence of the climaxes.
   Whatever Renee Fleming sings makes for a delightful encounter.
   
   Author: Raymond Vacchino M.Mus.(MT) A.Mus. L.R.S.M. Licentiate (honorary)



2. Renee Fleming has turned out a fine CD of arias with which not everyone is familiar. Outstanding are Depuis le Jour from Charpentier's Louise and Marietta's Lied, Glueck, das mir verblieb, from Korngold's Die Tote Stadt. The latter is one of the most haunting arias ever written. Many of us cannot get it out of our minds. She includes Chi il bel sogno di Doretta from Puccini's La Rondine and does it well. Hers is not really a Puccini voice. Perhaps Richard Strauss and Mozart are her strengths.



3. I've given away at least a dozen copies of this CD. I'm running low, so I just refilled the stash. For people who haven't discovered Renee Fleming or who think they don't care for opera, this CD is the best possible way to blow down the walls. If you think there's nothing new to be heard in these old arias, you owe it to yourself to find out how wrong you can be.



4. I like so much Ren?e Fleming and this is special cd !



5. IT'S A FINE RECORDING THAT OFFERS A VARIETY OF SELECTIONS FROM OPERA, OPERETTAS AND FOLK SONGS, ALL WITH FLEMING AT HER BEST.