Amazon.com essential recording

This was the set that really got the "authentic instrument" craze going.It was a big, ambitious project that promised a fresh look at familiar music, aswell as lots of exciting new discoveries. Christopher Hogwood tailored hisforces to match what we know of the actual size and constitution of theorchestras of the period, and since Mozart wrote symphonies in every country inEurope, including England, France, Italy, Germany, Austria and Czechoslovakia,the result is practically a blueprint of 18th-century orchestral practice. Theneveryone else got into the act, and these performances sort of fell off themusical map. Listening to them again, one finds they hold up rather well.There's still the sense of discovery, and of course the music itself isglorious. At budget price, this is history in sound. --David Hurwitz ... Read more

Reviews (6)

Ok, but....
I will qualify this review by saying that I have not by any means listened to every single symphony on this recording. I listened to several of the symphonies from this set for a conducting class, and spent a considerable amount of time comparing them with other recordings for phrase structure, dynamics, etc. My conclusion:

Overall, I am personally just not impressed by Hogwood. His handling of the phrases is rough, and the music just doesn't seem polished. Occasionally the balance is questionable (for example, several clarinet passages in the first movement of the 39th stick out), and at other points I get the impression that he put little planning into the organization of strong and weak bars. Perhaps it is mostly personal preference, but other conductors really do sound better.

I think that this recording has its place, as there are few boxed sets of all of Mozart's symphonies available, and certainly there was some groundbreaking period instrument work here. I would, however, strongly recommend that anyone considering purchasing this set actually obtain a copy first from a library to decide if this is really what they want.

A milestone set, and worthy of all praise
In the 1970s, the Hungarian conductor Antal Dorati recorded all of the 104 symphonies of Franz Joseph Haydn (Amazon asin # B0000042DP). The era of "epic" integral collections was ignited. Many thought the vast majority of Haydn's symphonies would be boring, cookie-cutter works rolled out in almost assembly-line fashion. But Dorati, with excellent help from the Haydn scholar H. C. Robbins Landon, would disprove all of that, and show that there is not a dud in the whole collection. And Dorati's readings have stood the test of time.

Dorati's achievement marked the beginning of an ea that in the next 2 decades would see complete integral sets of the works of every major composer, culminating ultimately in the 1980s with Phiips complete Mozart Edition.

Shortly after Dorati finished his massive project, the Academy of Ancient Music embarked on a complete traversal of all of the "symphonies" of Mozart on period instruments, the currently reviewed item. Not just the traditional 41, but also many lesser know works. More fascinating music was unearthed. But, the milestone of this set is not the discovery of forgotten masterpieces. That had become a common daily occurence. It was the period instrument movement instead that was set free by Hogwood's achievement. With this project, Hogwood did for period instruments what Dorati did for integral cycles of lesser known works. The period instrument movement had been around for a long time. But it never quite could hit "mainstream" until Hogwood made these recordings. And ever since, period instruments have flourished.

There are better recordings of many of the works in this set, both on period instruments and conventional instruments. But the consistency that runs through the set brings an appreciation for Mozart's Symphonies that is unparallelled.

The set is competitively priced, the sound is very good throughout, there is decent documentation.

Excellent cycle, but Pinnock's is better.
4 stars for a fine performance on authentic instruments by Hogwood/AAM, but for me 5 stars goes to Pinnock/English Concert for its superior sound. Hogwood's analog recordings were made in the 80's when not quite all the sound bugs from authentic instruments had been worked out. Pinnock's digital recordings from the 90's offer a warmer, brighter sound. However, less is offerred...48 symphonies on 11 CD's, all the essential Mozart symphonies one could hope for (and at a lower cost of $80 as opposed to $150). So unless all 72 selections offerred here on 19 CD's are important to you, I would recommend going with Pinnock.

stunning sound, superb attention to detail
This box set is an extraordinary addition to a person's collection. The AAM and Hogwood make every effort to recreate these works as Mozart would have heard them. The period instruments create a balance which is frequently lost in performances by larger "modern" symphony orchestras. The sound is superb (no scratchy, harsh sound which is sometimes heard on other "period" recordings). The AAM closely follow the original scores, and what surfaces is a true 18th century interpretation of the symphony. Yes, Mozart's final symphonies were more "serious" in nature and musical complexity. But as the excellent liner notes remind us, symphonies during Mozart's lifetime had not yet reached the epic proportions (both in orchestra size and weight of material) they would shortly attain during the Romantic period. Many of the symphonies here are shorter pieces designed to open and close concerts, not the weighty compositions many listeners associate with symphonies. The AAM's approach to this music is near perfect. I give this set the highest of recommendations!

Fiery Precision
Typical for this ensemble, it doesn't get any better than this. these players clearly show their love for this music. They exhibit their hearts, souls and minds by making music that is crisp and exiting. They have a wonderful precision, yet they manage to bring out the real fire present in all of Mozart's symphonies, (even the earliest). And they manage to maintain this high quality consistently through ALL of those 40+ symphonies, (as they indeed do with all the composers I've heard them tackle, including Haydn and Beethoven). And, as if that weren't enough, they make a wondrous thing even better by taking ALL of Mozart's REPEATS!

Also--this single-box packaging and pricing is unbelievable....

One additional note: If you are generally turned off by "original instruments" groups, please know that they come in all qualities, good and bad--and that this is one of the very best, so give it a try!

Yes, I'm empassioned. I've been listeing to this set for 16 years, and, while I own and greatly enjoy other performances of these works, I always have to come back to these. ... Read more

Reviews (14)

Awesome Voice, Amazing Technical Skill
Speaking from the experience of singing along with Kathy on this album (I'm a lyric/coloratura/soubrette soprano currently under tutelage of a private teacher), I can say that these trills are incredibly fun to listen to, as well as use for my own sing-along performances. "Rejoice Greatly" is supremely gorgeous, and "O Had I Jubal's Lyre" is amazing. Not only is Kathleen's voice in top form, the intrumentation is fun and time-period appropriate. I've sung Wolf's "Schlafendes Jesuskind" and Mozart's "Laudate Dominum," and I often go back to listen to these versions because Kathleen is such "silk" and the choir on the Mozart are magnificent. The two "Ave Maria"s will be familiar, but the versions are fresh and lovely. Her "Were You There When They Crucified My Lord?" is breathtaking and the "Laudamus Te" is glorious. The "Pie Jesu" features note-bending techniqes which are fabulous. And "Flobt, Mein Heiland" has a really fun "doubling" and echoing of Kathy's voice. In short, this album causes me to stretch my usage of adjectives to the limit! Ranging from Classical to Romantic to Baroque, this disc is a treat for anyone, anytime.

My only minor complaint is with the recording process: singers need to breathe, obviously, but if you listen to this album on headphones, you will be able to hear Kathy taking deep breaths occasionally. They probably had her standing too close to a delicately tuned microphone, so you can hear quick intakes of breath every so often. I've gotten used to it, but at first it was off-putting. Just listen to it on speakers; it's better that way, anyway!

Almost Perfect
I'm a big fan of Kathleen Battle, and I love her light, honeyed voice, which is perfectly suited to many of the songs featured on this CD (e.g., Faurè's "Pie Jesu", Mozart's "Laudate Dominum" and the sublime a capella rendition of "Were You There When They Crucified My Lord?"). She also excells in the more florid, Baroque pieces of this album, such as the ones by Handel, which demand accuracy, rapidity, and a mastery of dynamics. The only fault I can find (besides occasions of slight slurring of her diction and pronunciation), is her unnerving habit of taking great ragged gasps of air in between phrases. Sometimes it's bearly audible, many times its downright distracting. I don't know if that is a technique that she was taught, or something that she never learned to correct. All in all, this is a wonderful CD, and I would unhesitatingly reccommend it to other admirers of Kathleen Battle or lovers of sacred music.

Heavenly
Kathleen Battle is one of the people whose lovely voice first turned me on to opera, a rather unaccessible art to the common American. It is true that you can hear her breathe, and that she tempers her notes so they are sometimes gentle, sometimes strong, but that is not a weakness. The racks are rife with stereotypical fat ladies with fat voices, bellowing with nothing but technique, but there records languish while Kathleen's sell.

The songs are all fairly main stream and include a dramatic range from happy to sad. Nothing outlandish here.

Ms. Battle has been called the most beautiful soprano voice and I would heartily agree. The clarity, the roundness, the beauty of her sound is pure femininity and grace. I studied opera and no one in school or anywhere else, has ever been on her level. Some are close, but she is magnificent. I recommend this to anyone, opera snob or first timer. You will be moved!

Goddess in decline
In her late forties when this CD was recorded, Kathleen Battle can't be expected to emit the meltingly beautiful sounds she made during her rise to international stardom in the 1980s. Yet, she still sometimes does. Her final ringing note in Mascagni's "Ave Maria" is nothing short of sublime, and her "Were You There..." is emotionally sung, particularly the repeat of the phrase, "Were you there when they laid him in the tomb?"

But several of the tracks on this CD have been recorded by Kathleen Battle before, and to much better effect. The opening track, "Rejoice Greatly," is impressive, but not compared to Battle's performance on her Handel album with John Nelson in which she sounds much fresher, or to her performance on the complete Messiah recording with Andrew Davis. On Grace, Battle uses the exact same ornamentation she's used on every other one of her renditions of "Rejoice," but without the accuracy and jubilation of past performances. I wonder what the point of recording a third version was, when it has nothing new to offer. The tempo feels rushed, yet the singer drags the ends of phrases ("O daughter of Zion." There's also an "h" in the first occurance of the word "Zion" - it comes out "Zi-huh-yon"). And there are some splat notes that could have been easily fixed with a bit of editing: the word "and" is dreadfully flat in the phrase, "And shout, shout!"

"Jubal's Lyre" was stunning on Kathleen's 1985 recording, "Saltzburg Recital." Grace's rendition again sounds too fast, too thin, and, dare I say, too cutesy (the ornamentation is a bit much). And the word "tuneful" is incomprehensible. Is she saying "Shhteeyoonful" or "tuneful?"

"Bist du bei mir" begins under pitch.

Battle races through Mozart's "Laudate Dominum" and annoyingly scoops many phrases. I wish you would linger, Kathleen! Let us hear you caress that ascending "Amen" instead of carelessly flitting up the scale.

There's also the issue of her gaspy, nearly shrieking breaths, which other reviewers have mentioned. Oddly, it sounds as though the microphone is pressed to her mouth when she breathes, yet that it is miles away when she sings: there is an oddly distant quality to the recording.

I love Kathleen Battle and own more than 50 of her recordings. This is a beautifully packaged disc (ignore the idiotic comment in the liner notes by the pastor at the Riverside Church: "When Kathleen Battle releases a grace note into the air, it lingers over your head..." Grace notes aren't released into air, they lead into other notes. The ridiculous assertion is printed in large type in a laughable attempt to highlight the "Grace" theme) and has some wonderful photos of the diva. As far as I'm concerned, anything Battle records is worth owning. This CD, though, does not do the singer justice. For a more satisfying (indeed, spellbinding) representation of her gorgeous voice, I recommend "Kathleen Battle Sings Mozart" with Previn, "Kathleen Battle in Concert" with Levine, or the stunning "Baroque Duet" with Wynton Marsalis.

Perfect Peace
I have instructed my children to play only one song, Kathleen Battles' "Ave Maria," at my funeral. The tribute is to the music, not me. ... Read more

Reviews (1)

Happy birthday...
This version of Happy Birthday is 100% completely over the top and an absolute MUST HAVE when you are celebrating and want to embarass your friends! Get it now! ... Read more

Reviews (2)

The Magician at work!
A lovingly produced album, worth every dime. Yes, the sound is variable, and the Toccata and Fugue in d minor can be had on a super-cheapie Magic Talent all-Stokowski program (with Stravinsky Rite) in about the same sound (but it's also one of the oldest recordings), but Pearl has done the music community a real service by providing such an anthology. The art of transcription seem to fallen out of favor and earned disrespect, but in truth, great artists can produce great transcriptions--such as these.

While one can certainly obtain great modern sounding recordings of Stokowski transcriptions (Kunzel on Telarc comes to mind), and some of Stokowski's own stereo recordings with London on (I think) RCA and various orchestras on EMI, this is by far the most complete--and with the fantastic Philadelphians.

A must-have.

bach transcriptoins
C'est un enregistrement veritablement genial. Quelle musique!! Plus jamais un disque ne pourra faire aimer la musique de Bach comme ça... A se procurer immediatement. ... Read more

Amazon.com

Possessor of one of today's most beautiful baritone voices, Matthias Goerne has been associated, on stage and disc, more with lieder than with opera. Listeners who were spellbound by the emotional impact of his performances of Schubert's great song cycles were amazed at the comic perfection of his Papageno in his Metropolitan Opera debut. This recording, on which he creates and impersonates nine vastly different characters from operas spanning three centuries, is an even bigger surprise. Using--but never abusing--an extraordinary range of vocal and expressive color and inflection, he captures Papageno's humor, Count Almaviva's malicious cunning, Don Giovanni's seductiveness, Wolfram von Eschenbach's inward, chaste devoutness, and Wozzek's yearning desperation and madness, with equally total involvement and conviction. Along the way there are also rarities: the Minstrel's heartbreaking lament from Humperdinck's Die Königskinder--unjustly neglected if the rest of the opera is indeed as beautiful as this aria--Harlekin's ironic ditty from Strauss's Ariadne; the Pierrot's sensuous dream-song from Korngold's Die tote Stadt; and the final, heroically dramatic section of Schumann's Scenes from Faust. Soprano Dorothea Röschmann, his partner in four duets, also takes on several greatly varied roles with admirable flexibility. A children's chorus and a women's chorus participate in one aria to lovely effect, and the orchestra is excellent. --Edith Eisler ... Read more

Reviews (1)

Goerne Excellent in Familiar and Unusual Repertory
Many baritones record Papegano's first aria ("Die Vogelfanger bin ich, ja"), Don Giovanni's serenade, and Wolfram's Evening Star Song. But when was the last time you saw Count Almaviva's aria ("Vedro, mentr'io sospiro") from LE NOZZE DI FIGARO, Wolfram's "Blick, ich umher," or the murder scene from WOZZECK excerpted on a recital disc? Matthias Goerne's "Arias" CD includes all of these items and more, all sung with beauty, feeling, and musicality by one of the most intelligent and charismatic male singers of today. Goerne is joined in three duets ("Bei Mannern" from DIE ZAUBERFLOTE, "Crudel, perche finora" from FIGARO, and the WOZZECK scene) by soprano Dorothea Roschmann, whose sound isn't quite to my taste (it's a bit lacking in warmth) but who is as musical and as sensitive as her partner. The conductor, Manfred Honeck, is also an ideal match both for Goerne and for the music. Matthias Goerne's "Arias" is an indispensable disc for admirers of German music, the baritone voice, or Goerne himself -- or for those who would just like to hear an interestingly-programmed aria recital. ... Read more

Reviews (3)

One of the greatest treasures
Fresh and supple voice, amazing breath control, incredible expressions, mature musicality. I have listened to some of the songs sung by real sopranos (meaning mature female), and I admit that they do have their own greatness, but this boy soprano seems to be far more exciting. He's got unbeatable, invincible energy and drive, which, I guess, only teenagers can possess, and the way he builds up the intensity is awe-striking.
He has a total control over the high notes also. You will hear the most beautiful pianissimo, soft, expressive, and floaty, in those otherwise ear-spliting pitches. His runs are also incomparable, very clear, driven, profound, and accurate. You will have to hear them at least once in your life time!

I have let my two teenage nephews, who knew nothing but rock music, listen to this CD, and lo and behold, they couldn't stop listening to it. We were on a trip to Yellow Stone at that time, a long boring drive, and they kept on asking me to play it over and over. We ended up listening to it several hours straight every day for 3 days! A different kind of excitement from rock music, every time the fast runs came, they couldn't stop dancing in the car mimicking them. The whole CD made them simply happy and jubilant. As a result, the otherwise boring long drive became a very happy, fun trip.

The only drawback is that his words are not very clear, and at times the accent is poor. But his musicality and mature expressions off-set it. Even if you don't understand the words, these songs will surely make your day. This is one of those CDs that proves that classical music can be much more exciting and fun than popular music. Good for kids, teenagers, and adults.

The perfect voice
Mr. Mehta is a countertenor now. When he was a boy soprano his voice was incomparable, in my view, one which answers to the myth of a Castrato's voice. Such gentle and even register throughout the range which surely arouses the jealousy of any soprano.

Mr. Mehta demonstrated sophisticated and precoscious techniques which made his gifted timbre even more unparalleled. His diction is not quite crisp. My conjecture that it's due to his nasal technique, not unfamiliar to a countertenor, the unique head voice suited to a boy's changing voice. Maybe, because of this, the color of Mr. Mehta's voice on this CD is especially touching - woeful but never sharp nor forced in high notes. The aria "If God Be for Us" is most sentimental and brings an aetheist to tears!

Wow - the range of this young man's voice!
I've listened to this marvel repeatedly and found a great satisfaction in the choice of music and personal stylistic of these pieces. I hope there are more young men inspired to give their voices a try as a result of Bejun's work here...I especially enjoyed the spiritual selctions, esp. "If God be for us..." Please don't cheat yourself of the opportunity to hear this! ... Read more

Reviews (2)

A Worthy Follow Up to the First Collection
This second disc is from the same performers of REJOICE: A STRING QUARTET CHRISTMAS and it basically follows the same formula. Christmas carols are arranged for a string quartet. The arrangements, which are in styles similar to the great classical composers' works, suit the music rather well. The major strength of this recording is the variety. The first disc has all the traditional holiday favorites, but this disc has a few well known carols as well as some lesser known works which makes the collection interesting. People who enjoyed the first collection will certainly enjoy the second as well.

Fresh and Vital
#2 of the Rejoice! triumvirate is equally fresh and satisfying as the first.Christmas music for all year long. John Marks proves again there is much excitement in the unfamiliar.Bravo to this masterpiece of sound and performance.I hear the angels and I Rejoice! But alas,Santa came down the chimney,left the cookies and milk and made off with my copy.I'll need another ASAP. ... Read more

Album Description

In the summer of 1999, the Zamir Chorale of Boston celebrated its thirtieth anniversary as well as the centenary of the Zamir movement with a concert tour of Eastern Europe. Performances were given in synagogues and churches, concert halls and museums, restaurants and courtyards, cemeteries and concentration camps. In Warsaw, Lodz, Auschwitz, Krakow, Prague, Terezin and Vienna we gave honor to the dead and hope to the living. Our live concert recording, The Songs Live On, is a witness to the excitement and spiritual intensity of our odyssey. Zamir is very proud to present this unique recording comprising selections from our recent European tour. Recorded during live performances in Lodz, Vienna, Prage, Krakow, and Terezin, these songs celebrate the return of Zamir to the land of its birth. Ranging from liturgical settings to popular songs, spanning four centuries, and representing composers from seven countries, our tour repertoire demonstrated the breadth and quality of Jewish music for Jewish and non-Jewish audiences alike. The Songs Live On captures the energy of these live performances and the enthusiasm of both Zamir and our audiences. If you couldn't join us in Europe, this is your chance to share in the music. ... Read more

Reviews (1)

Excellent Symphonic Christmas Album
I was looking for arrangements of many traditional Christmas carols done by orchestras. This album hits the spot. It is not uniquely orchestra carols, the Canadian Brass is mixed in as welll. The highlight of the album for me is the back to back track of "Sleigh Ride" pieces. It begins with W.A. Mozart's "Sleigh Ride," followed by Leopold Mozart's piece of the same name, and then finnished with the ever popular arangement of "Sleigh Ride" by Anderson. It is a really good mix of carols, and can be listened to for hours. ... Read more

Amazon.com

This is a collection from previous Trio Sonata recordings, but only onehas appeared on CD before: the title song, a memorable little piece that opensthe disc. This collection has just one true trio sonata (by Bach), along with alovely performance of the first of Haydn's London Trios. The remaining musiccovers a wide range, from Bach and Scarlatti through Berlioz and Satie to apiece by the ensemble's oboist, Donald Bender. The pieces are short and tendtoward the lyrical; the performances and arrangements are truly lovely,exploiting the tonal characteristics of flute, oboe, and guitar as well as theplayers' excellent musicianship. This may be Classics Lite, but it's stillexcellent. --Leslie Gerber ... Read more

Reviews (1)

Wunderschoene Stimme!
I'm not sure, if I may review this album as the first reviewer.
But I can say for sure that you won't have any regrets about buying this item. I encountered her voice when I heard 'Le nozze di Figaro', Mozart. At that time she sung as Susanna. I was really impressed, because her voice was very mellow but profound, not like any other italien singers. After that I've been concentrating on collecting her records. So far she've not disappointed me. In my opinion, it's very unsatisfactory that there are few recording. About 2 years ago I had a chance to go to her concert. At the time she also sung this Mozart's masterpiece ,Exultate, Jubilate'. I was moved to tears.
At the moment when I'm listening her voice on CD, I found myself who is in tears. I guarantee you won't regret. ... Read more

Reviews (2)

Transcendent
This is some of the most beautiful singing I have heard anywhere. Auger fuses technique, emotion, and baroque sensibility into a phenomental whole.

In particular, listen to "Come Unto Him" from Messiah. I have more than 30 complete Messiahs and this section is the best of the best of the best. Her original ornamentation is so transcendant, it's hard to imagine why anyone does it any other way.

My only regret is that she didn't record "Redeemer" on this disc.

Glorious Voice Performing Baroque Arias of Handel and Bach
This is one of the first recordings of Auger and Gerard Schwarz together...and it remains one of my all-time favorites. Auger is in fine voice...bright and luminous, but never shrill and piercing as some other noted sopranos have been in this same reperitoire.

Auger is an American artist who is first class, especially in perforamnce of the pieces contained in this recording. Gerard Schwatz is dynamic and bold in his approach, so the result is electric.

Auger displays beautiful technique throughout, especially in the Handel arias. Her stylish ornamentation is well within Baroque practice. This being said, the listener / purchaser of this recording is in for a real treat....

Augers singing of PIANGERO from Julius Caesar is perfaps the finest I have ever heard, and the simplicity and beauty of CARE SELVE is breathtaking. The selections from Messiah are handeled beautifully as well, along with selections from Alexanders Feast, Rinaldo and Samson.

I think her reading of the Handel is stronger than her interpretation of the Bach selections, however, even keen listeners will readily agrre that these too are performances of an extremely high character.

Engineering wise, most of the recording is incredible, with instruments shimmering thru and no overmiking detected. If you are a fan of Baroque Vocal Music, this recording is a must for you. ... Read more

Reviews (3)

There is two type of mezzo...
Today,it's a time of mezzo.Bartoli,Otter,etc.Larmore is
one of the most exellent,of course.
On this Hendel arias,she plays male roles.I think it is
very suitable for her.Probably these roles were played by
castratos.Castoratos need storong and radiant voice,which
Larmore has!I prefer her male roles.She will open new windows
of baroque operas.What she impresses us is not a coquetry.
She belongs to another type of mezzo.

A Mezzo for the Ages
Having heard all the great mezzos of the past 40 years, many of them (Baker, Cossotto, Horne, von Stade, Valentini-Terrani) in person, I can attest that Jennifer Larmore is one of the greatest. Though her voice is not always stunningly beautiful and her technique not completely polished, there is no question that her COMBINATION of voice, technique and interpretive nuance is unsurpassed in the modern era. Agnes Baltsa may be more honeyed of voice, for instance, but she lacks the sheer excitement and joie-de-vivre that Larmore brings to her singing. In these Baroque and Classical numbers, she also displays a deft sense of style fully apropos to the music at hand. She is truly a mezzo for the ages.

Larmore can certainly fly!
This recording albeit less colorful than her more recent stuff shows the promise that she has delivered to all of us. She is truly a blessing with her mezzo-soprano and her richness is unparalleled by few that I know of. ... Read more

Reviews (1)

What a fabulous CD!
The moment I first listened to this CD, I was hooked. The precision that Preston uses in performance is unrivaled, and you of course can't beat the price! I was very impressed. Definetely worth the investment! ... Read more

Reviews (4)

No Villa-Lobos
Since I purchased this album specifically for the recording of the Villa-Lobos, I am extremely disappointed that it was replaced by "He Shall Feed His Flock." She sings everything beautifully, but it is not the recording it pretends to be.

Be warned!
My copy did not have the works by Heitor Villa-Lobos. The first disk in the set is Delos 3026, "Bach, Handel: Arias," which includes two selections from Alexander's Feast and "He Shall Feed His Flock" from the Messiah. I am not disappointed. Ms. Auger sings wonderfully. My second disk is Delos 3029 "Love Songs," which makes it a good bargain. But there are no texts.

Unforgettable
After much auditioning and re-auditioning, Auger's "Rejoice" here has finally replaced Kathleen Battle's fine performance on "Grace" as my favorite.

Both singers are at their best in the repeat, where their technique and ornamentation will knock anyone's socks off. But where Battle does a musical and brilliant concerto-like display of Kathleen Battle, Auger instead serves Handel with overriding sincerity. She builds intensity to an incredible pitch, ending on an almost trumpet-like flourish to announce the coming of the King.

As did so much of her singing, this recording sets the all-time standard. Fortunately for the world, the damned brain cancer that killed her body could not take her music from us.

Sheer Artistry
This Delos Double has only recently appeared in Australian CD stores and, I am informed, sold immediately. I have always admired the tonal beauty of Arleen Auger's voice and the intelligent communication of her singing. Like Kathleen Ferrier, she may well attain cult status, having died so young. These discs are superbly produced and are a fitting memorial in anyone's collection to this outstanding American soprano. ... Read more

Reviews (1)

Just what I was looking for
This cd is great. It has all of the songs that I wanted to use for my wedding. The only thing that I didn't like is that the bridal chorus is played by the organ. I personally prefer the harp. ... Read more