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Beethoven: The Piano Concertos


from: Decca


: :Each of these performances has its own profile. The orchestra plays incisively in the First Concerto, but Ashkenazy's plush lyricism doesn't make a good match either with the orchestra or with the music, and he makes one weird ritard in the first movement. The Second Concerto is uneventful, rather bland and pleasant. The Third Concerto seems to be the best performance of the lot, with dramatic playing by soloist and orchestra, but it's sabotaged by blurry recorded sound, the only serious problem with sound quality in the entire set. The Fourth ...

Scott Joplin: His Complete Works


from: Bescol


: :Each of these performances has its own profile. The orchestra plays incisively in the First Concerto, but Ashkenazy's plush lyricism doesn't make a good match either with the orchestra or with the music, and he makes one weird ritard in the first movement. The Second Concerto is uneventful, rather bland and pleasant. The Third Concerto seems to be the best performance of the lot, with dramatic playing by soloist and orchestra, but it's sabotaged by blurry recorded sound, the only serious problem with sound quality in the entire set. The Fourth ...

Schubert: 8 Symphonies


from: Deutsche Grammophon


: :Each of these performances has its own profile. The orchestra plays incisively in the First Concerto, but Ashkenazy's plush lyricism doesn't make a good match either with the orchestra or with the music, and he makes one weird ritard in the first movement. The Second Concerto is uneventful, rather bland and pleasant. The Third Concerto seems to be the best performance of the lot, with dramatic playing by soloist and orchestra, but it's sabotaged by blurry recorded sound, the only serious problem with sound quality in the entire set. The Fourth ...

Brahms: Works for Solo Piano


from: Decca


: :Each of these performances has its own profile. The orchestra plays incisively in the First Concerto, but Ashkenazy's plush lyricism doesn't make a good match either with the orchestra or with the music, and he makes one weird ritard in the first movement. The Second Concerto is uneventful, rather bland and pleasant. The Third Concerto seems to be the best performance of the lot, with dramatic playing by soloist and orchestra, but it's sabotaged by blurry recorded sound, the only serious problem with sound quality in the entire set. The Fourth ...

The Ultimate Aria Collection ~ A Passion for Opera


by: Georges Bizet, Giuseppe Verdi, Giacomo Puccini, Gaetano Donizetti, Ruggero Leoncavallo, Gioachino Rossini, Gustave Charpentier, Leo Delibes, Vincenzo Bellini, Christoph Willibald Gluck, Pietro Mascagni, Wolfgang Amadeus Mozart, Francesco Cilea, Edouard Lalo, Camille Saint-Saens, Arrigo Boito, George Frideric Handel, Alfredo Catalani, Amilcare Ponchielli, Charles Gounod, Jules Massenet, Ambroise Thomas, Fritz Wunderlich, Rome Opera Theater Orchestra & Chorus, Maria Callas, Elisabeth Schwarzkopf, Orchestra e Coro del Teatro alla Scala, Wiener Philharmoniker, Orchestre de Paris, Carlo Maria Giulini, Tullio Serafin, Sir Charles Mackerras, Francesco Molinari-Pradelli, Riccardo Muti, Leone Magiera


: :Put together in evident haste, this collection is nevertheless a surefire, appetite-whetting starter kit both for the budding operaphile and for the simply intimidated. The samplings include some of the greatest voices from EMI's vaults: here you'll find the polar opposites Callas and Caballe, the golden wonder of Wunderlich and early Carreras, and a host of other singers who've made their stamp on this century. Emphasis is on the soprano and tenor range, while the lower voices are given short shrift, and the selections cleave predictably to standard Italian and French ...

Verdi - Aida / Caballé · Domingo · Cossotto · Ghiaurov · Cappuccilli · Roni · NPO · Muti


by: Giuseppe Verdi, Riccardo Muti, Montserrat Caballe, Placido Domingo, New Philharmonia Orchestra, Choir of the Royal Opera House Covent Ga, Fiorenza Cossotto, Nicolai Ghiaurov, Piero Cappuccilli, Luigi Roni


: essential recording:Behind the pyramids and the elephants, the long lines of prisoners of war and of slaves carrying booty, the choral shouts of 'Glory to Egypt,' and the splendid brass sounding the Triumphal March, Aida is the story of a love triangle: Aida, an Ethiopian princess who has become a slave in Egypt; Amneris, an Egyptian princess; and Radamès, the Egyptian general they both love (Aida secretly). There are ironies and conflicts: How can she love a man who is the enemy of her country, but who says he has ...

Accardo Plays Paganini: Complete Recordings


from: Deutsche Grammophon


: essential recording:Behind the pyramids and the elephants, the long lines of prisoners of war and of slaves carrying booty, the choral shouts of 'Glory to Egypt,' and the splendid brass sounding the Triumphal March, Aida is the story of a love triangle: Aida, an Ethiopian princess who has become a slave in Egypt; Amneris, an Egyptian princess; and Radamès, the Egyptian general they both love (Aida secretly). There are ironies and conflicts: How can she love a man who is the enemy of her country, but who says he has ...

Mahler: The Complete Symphonies


by: Dame Janet Baker, Jennie Tourel, Lili Chookasian, Martha Lipton, Israel Philharmonic Orchestra, New York Philharmonic, Hans Vollenweider, Adele Addison, Dame Gwyneth Jones, Erna Spoorenberg, Lee Venora, Lucine Amara, Reri Grist, John Mitchinson, Richard Tucker


: :For many of us, Leonard Bernstein's first Mahler cycle for CBS (compiled here, remastered and cheaper than ever) has stood the test of time since it initially came out on LP in the late 1960s. Upon completing this traversal of nine symphonies (and the 'Adagio' movement from the unfinished 10th), Lenny and the New York Philharmonic achieved something no one else had and proved that Mahler was, simply put, worth recording in the first place. It's still a marvelous set of recordings that belongs in every record collection. Using the same ...

Beethoven: The Complete Piano Sonatas & Concertos


by: Claudio Arrau, Janos Starker, Ludwig van Beethoven, Bernard Haitink, Eliahu Inbal, Concertgebouw Orchestra Amsterdam, New Philharmonia Orchestra, Henryk Szeryng


: :Claudio Arrau played with seriousness of purpose that could make other pianists seem like dilettantes and with respect for the composer's score that bordered on veneration. He had nothing but scorn for pianists who played the opening of Beethoven's Opus 111 with two hands instead of one because there were fewer risks. If something was technically difficult, Arrau assumed that the composer had written it that way because the difficulties had an expressive value that it was the interpreter's duty to find. Arrau's devotion to Beethoven is memorialized by this budget-priced, ...

Beethoven: Complete Symphonies


from: EMI Classics


: :Claudio Arrau played with seriousness of purpose that could make other pianists seem like dilettantes and with respect for the composer's score that bordered on veneration. He had nothing but scorn for pianists who played the opening of Beethoven's Opus 111 with two hands instead of one because there were fewer risks. If something was technically difficult, Arrau assumed that the composer had written it that way because the difficulties had an expressive value that it was the interpreter's duty to find. Arrau's devotion to Beethoven is memorialized by this budget-priced, ...



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