Recorded in 1966, Robert Shaw's Grammy Award-winning performance of Handel's Messiah marks an important turning-point in this work's interpretation, clearly moving away from the ponderous, overly reverential style of early twentieth century renditions and pointing toward the leaner versions of the 1970s onwards, which follow Baroque-period ...
Sacred Classics is a two-disc compilation of favorite religious arias and choruses selected from EMI's extensive catalog of fine performances. Covering a wide range of Baroque, Classical, and Romantic works, this collection provides representative excerpts from major oratorios, cantatas, and masses, though the arrangement of pieces is somewhat ...
In 2007, EMI finally resolved the decades-old debate among collectors as to which is the better recording of Elgar's oratorio The Dream of Gerontius -- John Barbirolli's with the Hallé Orchestra from 1964 or Adrian Boult's with the New Philharmonia from 1975. It did this by releasing Barbirolli's Gerontius coupled with Boult's 1966 recording of ...
Malcolm Sargent was at one time the musical director of the D'Oyly Carte Opera Company, so he brings real authority to this 1956 recording of The Mikado, made with the Glyndebourne Festival Chorus and the Pro Arte Orchestra. The clarity of his conducting makes the score sparkle and brings out felicities of orchestration that are too often lost. ...
Never has Mahler's symphonic song cycle Das Lied von der Erde seemed so operatic as it does in this 1959 RCA recording by Fritz Reiner and the Chicago Symphony Orchestra with tenor Richard Lewis and alto Maureen Forrester. Lewis sounds heroically defiant in the opening Das Trinklied vom Jammer der Erde and brashly amusing in Der Trunkene im Fr ...
This delightful group of recordings by the young Victoria de los Angeles ought to find listeners beyond the group of operatic collectors at whom it is primarily aimed. Made between 1950 and 1964, they remained mostly unreleased for various reasons. The 1964 group, conducted by Yehudi Menuhin, was rejected because of the obvious struggles faced by ...
Beecham was in love -- deeply, passionately, recklessly in love -- with Haydn, Mozart, and Beethoven. His recordings of the Viennese classical masters are testimonies to his love: affectionate, powerful, persuasive, and often affecting performances that love neither too wisely nor too well but with unrestrained enthusiasm and unrelenting energy. ...
Anyone who loves Tippett's The Midsummer Marriage should try to hear this two-disc set. Whether they'll make it all the way through is another matter. For those who adore the opera's joyful lyricism, its dancing rhythms, and its brilliant orchestrations, the chance to hear a live broadcast recording of the work's premiere at Covent Garden in 1955 ...
Of all the hundreds, maybe thousands of versions of Handel's Messiah on the market, ranging from full symphonic treatments with big professional choirs to sober, earnest oratorio-society readings, to the various kinds of authentic-performance recordings, this 1959 performance by the Royal Liverpool Philharmonic Orchestra and Huddersfield Choral ...
Bearing in mind that this is an uneven live performance, and that the mono recording is poorly balanced, this account of Beethoven's Symphony No. 9 may rank low on a list of recommendations. Yet this is an interesting document of one of the great Beethoven interpreters at the height of his relationship with his most responsive orchestra. ...
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