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Best Carols 100(more) »rank: 4309from: EMI Classics
:Album Description:2007 release in the Best Classics 100 series, 100 Best Carols is the perfect Christmas release-- six CDs of the most famous carols, all time for the price of one full-priced disc! Among the vocal groups found on this release are the Choir of King's College, Cambridge, the Taverner Choir, the Bach Choir, and the Wiener Sangerknaben, while star soloists include Roberto Alagna, Thomas Hampson, Barbara Hendricks, Hermann Prey, and Kiri Te Kanawa. |
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Christmas Carols(more) »rank: 125395from: Virgin Classics
:Album Description:2007 release in the Best Classics 100 series, 100 Best Carols is the perfect Christmas release-- six CDs of the most famous carols, all time for the price of one full-priced disc! Among the vocal groups found on this release are the Choir of King's College, Cambridge, the Taverner Choir, the Bach Choir, and the Wiener Sangerknaben, while star soloists include Roberto Alagna, Thomas Hampson, Barbara Hendricks, Hermann Prey, and Kiri Te Kanawa. |
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Bach: Magnificat; Easter Oratorio(more) »rank: 17411by: Johann Sebastian Bach, Andrew Parrott, Emma Kirkby, Emily van Evera, Taverner Consort and Players, Evelyn Tubb, Margaret Cable, Stephen Charlesworth, Wilfried Jochens, Howard Crook, Simon Grant, Charles Daniels, Peter Kooy, David Thomas, Caroline Trevor
: :Andrew Parrott was the first conductor to adopt Joshua Rifkin's controversial one-singer-per-part approach to Bach's 'choral' music (other than Rifkin himself, that is). This very reasonably priced reissue sees Parrott applying the approach to four of Bach's most popular sacred works. On the whole, Parrott and his ensemble make a good case for both one-per-part practice and their own performances. Once the ear adjusts, the balance is excellent: the vocal parts don't dominate the orchestra (as many listeners accustomed to a chorus expect); they are equal partners with it--which suits Bach's intricate and often dense writing for instruments and voices. In the Magnificat, ... |
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Mozart - Idomeneo / Rolfe Johnson · von Otter · Martinpelto · McNair · N. Robson · Winslade · EBS · Gardiner(more) »rank: 33371by: Wolfgang Amadeus Mozart, John Eliot Gardiner, Anthony Rolfe Johnson, Anne Sofie von Otter, English Baroque Soloists, Hillevi Martinpelto, Sylvia McNair, Nigel Robson, Glenn Winslade
: :Andrew Parrott was the first conductor to adopt Joshua Rifkin's controversial one-singer-per-part approach to Bach's 'choral' music (other than Rifkin himself, that is). This very reasonably priced reissue sees Parrott applying the approach to four of Bach's most popular sacred works. On the whole, Parrott and his ensemble make a good case for both one-per-part practice and their own performances. Once the ear adjusts, the balance is excellent: the vocal parts don't dominate the orchestra (as many listeners accustomed to a chorus expect); they are equal partners with it--which suits Bach's intricate and often dense writing for instruments and voices. In the Magnificat, ... |
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Lancaster and Valois: French & English Music, ca. 1350-1420(more) »rank: 150982from: Hyperion UK
: :Andrew Parrott was the first conductor to adopt Joshua Rifkin's controversial one-singer-per-part approach to Bach's 'choral' music (other than Rifkin himself, that is). This very reasonably priced reissue sees Parrott applying the approach to four of Bach's most popular sacred works. On the whole, Parrott and his ensemble make a good case for both one-per-part practice and their own performances. Once the ear adjusts, the balance is excellent: the vocal parts don't dominate the orchestra (as many listeners accustomed to a chorus expect); they are equal partners with it--which suits Bach's intricate and often dense writing for instruments and voices. In the Magnificat, ... |
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The Firebrand of Florence(more) »rank: 225287from: Original Cast Record
: :Andrew Parrott was the first conductor to adopt Joshua Rifkin's controversial one-singer-per-part approach to Bach's 'choral' music (other than Rifkin himself, that is). This very reasonably priced reissue sees Parrott applying the approach to four of Bach's most popular sacred works. On the whole, Parrott and his ensemble make a good case for both one-per-part practice and their own performances. Once the ear adjusts, the balance is excellent: the vocal parts don't dominate the orchestra (as many listeners accustomed to a chorus expect); they are equal partners with it--which suits Bach's intricate and often dense writing for instruments and voices. In the Magnificat, ... |
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Barber: Vanessa [Multi-Ch/Stereo](more) »rank: 27642from: Chandos
: :This new recording of Vanessa replaces even the excellent original 1958 set on RCA, let alone the not-bad, recent Naxos recording, as first choice. As fine and authentic as the RCA is (it's also of interest because it presents the opera's original version, without the 1964 revisions), here we get a recording so pristine and clear that almost every word can be understood--all the more important for an opera in which there are great subtleties in the characters' interactions. In addition, Susan Graham's performance of Erika here becomes the touchstone--conflicted, loving, angry--and tenor William Burden as Anatol is so smooth that it's easy ... |
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Britten: Death in Venice(more) »rank: 206055from: Chandos
: :This new recording of Vanessa replaces even the excellent original 1958 set on RCA, let alone the not-bad, recent Naxos recording, as first choice. As fine and authentic as the RCA is (it's also of interest because it presents the opera's original version, without the 1964 revisions), here we get a recording so pristine and clear that almost every word can be understood--all the more important for an opera in which there are great subtleties in the characters' interactions. In addition, Susan Graham's performance of Erika here becomes the touchstone--conflicted, loving, angry--and tenor William Burden as Anatol is so smooth that it's easy ... |
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The Medieval Romantics: French Songs and Motets, 1340-1440(more) »rank: 245060from: Hyperion UK
: :There are a few ensembles that you can count on consistently to deliver performances of the highest quality. Gothic Voices fit that description, and their many recordings of medieval music are invariably among the finest in the catalog. This disc, with its seemingly oxymoronic title, reveals aspects of 14th-century French music that suggest the term romantic is absolutely correct. Director Christopher Page's lucid liner notes explain,'if Romanticism implies a taste for beauty touched by strangeness, and if it is associated with a desire to expand the resources of musical language (especially harmony) . . . then the second half of the 14th century ... |
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Bach: St. John Passion; Mass in B Minor; Easter Oratorio; Ascension Oratorio(more) »rank: 36957from: EMI Classics
: :There are a few ensembles that you can count on consistently to deliver performances of the highest quality. Gothic Voices fit that description, and their many recordings of medieval music are invariably among the finest in the catalog. This disc, with its seemingly oxymoronic title, reveals aspects of 14th-century French music that suggest the term romantic is absolutely correct. Director Christopher Page's lucid liner notes explain,'if Romanticism implies a taste for beauty touched by strangeness, and if it is associated with a desire to expand the resources of musical language (especially harmony) . . . then the second half of the 14th century ... |

A book that binds readers of great literature, The English Patient garnered the Booker Prize for author Ondaatje. The poet and novelist has also written In the Skin of a Lion, Coming Through Slaughter and The Collected Works of Billy the Kid; two collections of poems, The Cinnamon Peeler and There's a Trick with a Knife I'm Learning to Do; and a memoir, Running in the Family.