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Release Date October 03, 2005
Renee sings these sacred songs with emotion. Her voice is so warm and pretty. Renee wipes the floor with the likes of Katherine Jenkins who is a disgrace to opera. Listen to a real diva sing
Release Date March 10, 1999
Any fan of Mozart who is familier with the film "Amadeus" will recall the scene after this opera was first performed; not well received because it had "too many notes". Its all nonsense of course, because this is one of Mozart's most popular operas. Its a nicely balanced opera despite certain misgivings about one or two of the singers by fans and critics alike. My own view, it works well, is nicely performed and played, and leaves a sense of satisfaction after every hearing. And why shouldnt it? The recording is nice too, and can be bought at a good price. If you want a quiet evening listening to a Mozart opera which lasts barely two hours, you cannot go wrong with this.
Release Date November 08, 1994
Any fan of Mozart who is familier with the film "Amadeus" will recall the scene after this opera was first performed; not well received because it had "too many notes". Its all nonsense of course, because this is one of Mozart's most popular operas. Its a nicely balanced opera despite certain misgivings about one or two of the singers by fans and critics alike. My own view, it works well, is nicely performed and played, and leaves a sense of satisfaction after every hearing. And why shouldnt it? The recording is nice too, and can be bought at a good price. If you want a quiet evening listening to a Mozart opera which lasts barely two hours, you cannot go wrong with this.
Release Date July 08, 2002
Though not ideal, Domingo is at least a passable Lohengrin. Hear him at his best in Act 3, as he reveals his identity with very controlled voice.
ELSA, played here by the great Jessye Norman , is heard in top form. Listen as she pronounces, in Act 1: "Des Ritters will ich wahren, er soll mein Streiter sein!"; and then in Act 3 in her agitated pleadings with Lohengrin. She can manage vocal inflections at the soprano passagio without any hint of difficulty.
Jessye Norman rises to full forte and top tessitura without any sign of strain, nor any change in the registration of her voice. A first-class heldensoprano technically - hers is a voice that responds to every whim and fancy that an artist may desire to portray. ... Read More:
Release Date June 10, 1996
Having been slightly disappointed by the live 1954 Jochum and 1953 Keilberth recordings - mainly because of deficiencies in Windassen's assumption of the eponymous hero and even in some of the deeper voices - turning to this recording was balm to my ears. In the reviews I have read, no-one has much remarked on the beauty of sound; a slight reverberance, real depth, crisp detail and a proper sense of theatre without the Bayreuth hackers who blight the quieter moments in the live recordings, especially the Jochum. The next thing to emphasise is the beauty of the voices. Several performances here are definitive; Kubelik was always so sympathetic to his artists and he gives them space to make their points without dragging. One first hears Nienstedt, ... Read More:
Release Date November 05, 2008
I remember back in the days of LP, I had a huge Philips box containing this Dutchman, Tannhauser and the Knappertsbusch Parsifal from the 1960's. I concur with other reviewers that it is a pity Universal Classics has chosen the inferior Levine Parsifal for inclusion here, but the Tannhauser and Dutchman are the same performances conducted by Sawallisch. This time around, Universal adds Mastersinger, Lohengrin, Tristan and a complete Ring! Parsifal excepted, it is still a worthwhile set to have. Overall, all the other performances are fine. The Parsifal is simply bogged down by Levine's conducting. The Sawallisch Dutchman is immediate and gripping, vividly conducted. Silja sings so much better here than she did for Klemperer in the same opera on EMI. You ... Read More:
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