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Zubin Mehta | |
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List Price: £15.99
Our Price: £4.09
It's not opera; it's not a pop concert; it's not Broadway. It's all of these and none of them. Once you accept the fact that this sequel to the original blockbuster concert recording is less about music and more about entertainment and the power of musical personalities, you can appreciate what you're hearing as an event--phenomenal and bizarre, momentous and frivolous. This is an occasion to celebrate the voices and egos of three huge superstars and to have fun listening as Luciano Pavarotti, Plácido Domingo and José Carreras interact, bouncing lines off each other and playing to the overwhelmingly enthusiastic audience. Much of the fun and flavour of the concert is dependent on seeing the action, though, and without the visuals you notice flaws in the singing much more. Domingo comes off as the more solid performer and his voice is in far better shape than the other two. But if you crave big, high and loud--and you don't take your opera too seriously--you'll love this disc. --David Vernier
 Better as it Progresses, 2002-11-30
Wonderful concert. The songs and singing arrangements just get better and better as the concert goes along.
The concert was attended by such well-known people as Ex Pres Bush, Bob Hope, Frank Sinatra, Arnold Schna....,Gene Kelly.
Concert was in LA and a lot of "american" favorites (such a musical from movies) were selected, some to honor the crowd such as "Singing in the Rain" and "My Way".
Received 3 curtain calls. Pavarotti's Ava Maria inspired the crowd to stand up cheer. Same for his Nessun Dorma!
Orchestra LA Philharmonic also was featured playing some pieces with just the orchestra.
Excellent, wonderful music.
List Price: £9.99
Our Price: £2.99
Decca, 430433-2, Jewel Case 17 Track 1990
Carreras, Domingo, Pavarotti in Concert, 2010-02-07
As always with these Tenors the singing is top-class. I've said it before and I will say it again, to have Voices like this is a GIFT FROM GOD. It was a great loss to the world when Pavarotti died. I highly reccommend this c.d.
List Price: £9.99
Our Price: £5.00
A superlative Emperor, 2008-08-31
I own 4 different recordings of the Piano Concerto No.5 ( The Emperor ) and have listened to many other recordings of this "King" of Piano Concerti. I personally have never heard better. Ashkenazy is masterful and in my opinion fautless. He plays with the right force at exactly the right time, with a delightful touch at all times. The power is there when required and the fluidity throughout is an absolute pleasure to listen to. The orchestra is superb on this recording as is the sound quality. I have never heard a better complete package in which the orchestra and soloist are equally magnificent. Grab this recording while it is still available before it becomes a deleted item and treasure it - its a gem.
List Price: £16.99
Our Price: £5.19
Artist:
José Carreras,
Plácido Domingo,
Luciano Pavarotti,
James Levine,
Zubin Mehta
Back in 1990, three of the world's most celebrated tenors, namely José Carreras, Plácido Domingo and Luciano Pavarotii, combined forces to create the Three Tenors, now celebrated on a "best of" CD. They gave their first concert in Rome; that event was recorded and went on to become one of the best-selling classical titles of all time. This latest release brings together tracks from that night in Rome (including "Nessun dorma" and a competitive rendition of "O sole mio") with music performed in a 1994 concert in Los Angeles as well as at the 1998 event in Paris where the Three Tenors sang to an audience of thousands with the Eiffel Tower as their spectacular backdrop. The 22 tracks which comprise The Best of the Three Tenors range from operatic standards, such as the joyful "Brindisi" from La traviata to popular songs including "Singin' in the rain" via songs from the shows ("You'll Never Walk Alone" from Carousel). There are no solos on this disc--each piece is performed by all three singers. And with plenty of applause and cheering to be heard, not to mention the sense of fun in the singers' voices, the disc truly captures the atmosphere of these extra...
The Best of the Three Tenors, 2003-12-08
I am not really a classical music buff, but with my father in law being one its an obvious choice for presents. knowing that he likes the 3 tenors is a big help seeing as i do not really know much at all about classical music apart form the odd few bits world cup and films. I bought this disc for his birthday not really relishing the thought of hearing it, however I was pleasently supprised indeed. This was very easy on the ears indeed and shock horror on the whole i enjoyed cd there was the odd one i was not that overly keen on not to sure which one it was called i think it was track 4 Sous le ciel de Paris. By comparrison you'll never walk alone i thought was very enjoyable along with nessumdora the world cup anthum from a few years back now. Untill listening to this cd i thought this to be a bit highbrow and deffinatelly not my cup off tea at all even for my (heinz 57) taste trance,rock,reggea,tamla garage etc my 19 month old daughter was bopping along to it even my wife thought it was good. What was more worrying still i purchased a copy myself to add to my collection looks a bit odd being just below deaf leppard. If you are into classical music or not this is well worth adding to your collection and hey you might find you like it and play it a lot more than you thought you would, I certainly did! if you do not its a good present for someone who does. The cover looks good to
List Price: £22.99
Our Price: £13.00
Terrific!, 2009-05-21
Whether you respond to Puccini's tale of cruelty is one thing. The fact that this recording is terrific is quite beyond doubt. This must be one of Sutherland's best performances in the title role, with Pavarotti being, well, Pavarotti - incomperable. Caballe is luxury casting as Lui and Mehta conducts with penache. The best modern recording.
List Price: £4.99
Our Price: £3.00
Artist:
London Philharmonic Orchestra
Another excellent "Carmina Burana" - at a bargain price, 2009-07-16
Dare I suggest that given a good conductor, an enthusiastic, well-trained choir and a competent orchestra, this piece is not that hard to pull off on disc? I mean no disrespect to the music or the performers by saying so, but I own three equally good recordings and know of half a dozen more which give similar pleasure. Either that, or it has been very lucky on disc; either way, this is another fine addition to the discography. The sound is clean and vivid, Mehta paces everything beautifully and the soloists are first rate - especially Sumi Jo (although her sustained lower notes are not as secure as other sopranos' - it's in the stratosphere that she excels). Bo Skhovus is in the same mould as Håken Hakegård: a virile, incisive bariton-martin with an extended upper range, although I think the older artist still has the edge in the Mata recording. I like Kowalski's alto version of the roasted swan-song, although for real vocal thrills I commend John Aler's full-voice account (again on the Mata disc): an extraordinary feat, as it never sounds strained, just pained! A third way of doing this "aria" is Gerhard Unger's method on the famous de Burgos recording: he slips into falsetto when required. I like all three ways of doing it, but admire and enjoy Aler most of all. De Burgos also employs two different baritones: one for the more robust, declamatory bits and another for the laments with the higher tessitura; that works two, especially with two such good singers as John Noble and Raymond Wolansky. That recording also has the lovely Lucia Popp, whose sustained breath is a thing of beauty, but Barabara Hendricks and Sumi Jo are equally impressive in their different ways. The best choir of all is De Burgos' New Philharmonia Chorus but there is a fair amount of tape hiss in the pre-digital 1966 recording and all three choirs on all three discs are committed and exciting. I am going round in circles here: what I am saying is that you could be happy with any of the three I mention (Mata, de Burgos or Mehta), though I would, if pushed, opt for the Mata as my favourite. A welcome libretto is provided, despite this being a budget edition - which is more than any other bargain version I know, so I won't moan about the few misprints in the Latin...
List Price: £17.99
Our Price: £29.99
Artist:
Various Artists
some of the most powerful, beautiful music on 2 discs., 2004-11-22
I initially bought this cd set to do a project on T.V. music. But it has become a favouite of mine. Some of the finest pieces of music are contained on these 2 discs. The Guiness advert is a personal favourite as is the Karl Orff tune. The music is so powerful, so inspirational. If you enjoy this sort of music you'll love these cd's, and even if you dont there are still tunes that you can relate to because of their prestige in world music.
List Price: £10.99
Our Price: £2.25
Love it!!, 2009-02-23
I'm no classical buff but this CD is sublime!! I especially like The Danse Macabre just for the name of it!
You'll recognise lots of tunes from Charlie Chaplin films, and the whole CD hasn't got one duff track on it!!
List Price: £9.99
Our Price: £5.05
Artist:
Itzhak Perlman,
Pinchas Zukerman,
Israel Philharmonic Orchestra,
Zubin Mehta
CONCERTED EFORT, 2006-08-30
Why is Mozart's great double concerto for violin and viola called `Sinfonia Concertante'? I am only assuming provisionally that Mozart himself used the term - his voluble correspondence never (so far as I know) refers to the work. This is now the second performance of it in my collection, the first being a Supraphon production from 1962 issued on a Classics for Pleasure LP with Suk and Skampa as soloists. I betook myself to the oracles of Volker Scherliess (here) and W A Chislett (CfP) for guidance regarding the work's title but came away none the wiser. Chislett plays the hoary old game of telling us something true but irrelevant, namely that the title `sinfonia concertante' was applied to works harking back to the old concerto grosso style, with a `concertino' group of soloists balanced against the main band. True enough elsewhere, completely irrelevant here, so knickers to Chislett. Scherliess takes the route of veiled hints `a symphonically constructed work (similar but not identical in form to the concerto)'. Neither symphonic in any sense say I, and neither similar nor `identical' to a concerto, but simply that -- a concerto, just like Mozart's piano concertos. Mozart himself sees to the cadenzas just as Hummel does in his own double concerto for violin and piano, and no doubt for the same reason, namely that leaving two soloists to improvise would have been courting disaster.
We have here a live performance from 1982 at the Huberman festival in Israel. The applause is suppressed and the playing is as polished as in any studio account, but there is the sense of spontaneity that nearly always gives a special feel to live music. Speeds are fairly normal: the opening allegro maestoso has the proper majesty in its marching rhythm, the andante has the right soulfulness and sadness about it. The final `presto' is not particularly fast, a good deal more measured than the way Suk and Skampa take it, but lively, spirited and elegant. This being Mozart and not Haydn, I like it well enough like this. Zukerman takes the viola part, as it is thought Mozart did at the work's premiere, and he performs it as to the instrument born, just as Nigel Kennedy does in Walton's viola concerto or as Menuhin does in the 6th Brandenburg in his Bath Festival set.
The `Concertone' is highly welcome, being as rarely performed as it is. This is really a work that retains suggestions of the concerto grosso, although unmistakably late 18th century, after Haydn had transformed the idiom of instrumental music from being purely a process of development into one in which events and contrasts take place. As well as the two violins, there is a solo oboe and a solo cello, these parts being fully as prominent as those for the fiddles. It is an early piece and not the greatest Mozart by any means, but Mozart had a star on his brow from his most juvenile efforts onwards. As in the great work that comes with it here, the contribution of everyone is top-class. I was intrigued as to how the artists would interpret the tempo indication on the last movement `Tempo di Menuetto. Vivace.' On the face of it these instructions look mutually contradictory, as `tempo di' normally indicates a slowish minuet, but it is all convincing enough as done here, and certainly I have no better suggestions.
The liner note, or at least the one that comes with the disc in England, is journeyman stuff, but one is used to that. The recorded quality is very good without being exactly spectacular, and one would not be aware of the presence of an audience in any unwelcome ways. All very recommendable indeed, not least to those previously unfamiliar with the concertone.
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