Music » Diva Opera & Vocal Music

This is a misnomer--not all of these duets are all that famous--but it's a fine compilation nonetheless. You'll hear selections from Bizet's The Pearl Fishers (Nicolai Gedda and Ernest Blanc at their most elegant French), Madama Butterfly (Carlo Bergonzi and Renata Scotto--an impassioned pair), Lucia di Lammermoor (a classy Alfredo Kraus and Edita Gruberova), the lovely Lakme duet, The Presentation of the Silver Rose from Der Rosenkavalier (with the earnest Christa Ludwig and the other-worldly Teresa Stich-Randall), and a fine Trovatore "Miserere" (with Leontyne Price and Franco Bonisolli singing up a storm). There are many others, too--a veritable cornucopia of couplings--and a treat for the opera lover. --Robert Levine

Yes, here it is folks--that irritatingly catchy chorus you first heard in the film Excalibur, or as the background music to the HBO Boxing Specials, and in zillions of other places. What it's not is the music from The Omen, which it clearly inspired. All pieces of music that feature choruses chanting in Latin are not the same (in fact, Stravinsky's Symphony of Psalms is much closer to The Omen than this). Orff actually wrote a lot more music, but here's a case where his reputation as a "one work" composer really is justified, for nothing else comes close in musical or popular appeal. This performance was authorized by the composer himself, and that's recommendation enough. --David Hurwitz

While many hospitals across the country send new mums and babes home equipped with discs of classical music to soothe and gently stimulate babies' tender minds, Ultrasound brings together a delightfully well-rounded set specifically chosen for those still in the womb. Expectant moms will appreciate the effects of the mellow strains of Bach's Suite No. 3, the delicate playfulness of Tchaikovsky's "Dance of the Sugar-Plum Fairy," and Mozart's proven-to-make-you-smart Sonata for Two Pianos featuring Andr? Previn. Debussy's "Clair de lune" is especially lovely as conducted and fluted by James Galway, and Leontyne Price is a warm blanket of comfort giving voice to Schubert's "Ave Maria." Indeed, these songs are aural balm to both parent and child long after birth. --Paige La GroneWhile many hospitals across the country send new mums and babes home equipped with discs of classical music to soothe and gently stimulate babies' tender minds, Ultrasound brings together a delightfully well-rounded set specifically chosen for those still in the womb. Expectant moms will appreciate the effects of the mellow strains of Bach's Suite No. 3, the delicate playfulness of Tchaikovsky's "Dance of the Sugar-Plum Fairy," and Mozart's proven-to-make-you-smart Sonata for Two Pianos featuring Andr? Previn. Debussy's "Clair de lune" is especially lovely as conducted and fluted by James Galway, and Leontyne Price is a warm blanket of comfort giving voice to Schubert's "Ave Maria." Indeed, these songs are aural balm to both parent and child long after birth. --Paige La GroneWhile many hospitals across the country send new mums and babes home equipped with discs of classical music to soothe and gently stimulate babies' tender minds, Ultrasound brings together a delightfully well-rounded set specifically chosen for those still in the womb. Expectant moms will appreciate the effects of the mellow strains of Bach's Suite No. 3, the delicate playfulness of Tchaikovsky's "Dance of the Sugar-Plum Fairy," and Mozart's proven-to-make-you-smart Sonata for Two Pianos featuring Andr? Previn. Debussy's "Clair de lune" is especially lovely as conducted and fluted by James Galway, and Leontyne Price is a warm blanket of comfort giving voice to Schubert's "Ave Maria." Indeed, these songs are aural balm to both parent and child long after birth. --Paige La Grone

Release Date: 1998-04-28, Audio CD, RCA Victor Broadway

Release Date: 1999-03-09, Audio CD, RCA

This performance is also available on Deutsche Grammophon in an earlier, mid-price incarnation, but this version is clearly the one to own, since the remastered sound is a definite improvement over previous issues. Herbert von Karajan always did a good job with this symphony, and his performances are quite consistent, even down to the very backward-balance of the chorus. By general consensus, though, this is the best of them. --David Hurwitz

Mahler considered The Song of the Earth his most personal work, and indeed it is one of his greatest and most moving. Its six sections, sung alternately by the mezzo-soprano and tenor, are set to seven poems from The Chinese Flute, a collection of Chinese lyrics translated into German by Hans Bethge, which echo Mahler's love of nature and contrast the earth's renewal each spring with the transience of human life. Composed after he lost his beloved 4-year-old daughter and was diagnosed with a serious heart ailment, the music encompasses heart-rending anguish and sublime ecstasy; conceived in the shadow of death, it is suffused with a sense of sorrowful, reluctant leave-taking finally transformed into resigned renunciation. The scoring for a large orchestra is masterful and includes many solo passages; melodic, harmonic, and instrumental devices at times create an oriental flavor. Among the work's many recordings, this is certainly one of the best. The orchestra is splendid; its wonderfully transparent sound, together with Klemperer's extremely leisurely, deliberate tempi, allows many apparently brand-new lines and details to come out and gives the second tenor solo a strikingly Chinese character. Moreover, the singers can be clearly heard, and they are incomparable: vocally glorious, musically deeply involved, sensitive to every expressive nuance and subtlety of words and music, they follow Mahler to the heights and depths of emotion, making the performance an overwhelming, unforgettable experience. --Edith Eisler

This album, which catapulted Polish composer Henryk Gorecki to into the international spotlight, takes texts born in pain and turns them into statements of affirmation through the use of music that ebbs and flows in mystic minimalism. The clear voice of soprano Dawn Upshaw, singing the Polish texts, is a large part of the success of this particular recording, but the music, contemporary without either dissonance or movie-music mawkishness, clarifies and uplifts the words. This is a moving and essential element of the modern repertoire. --Sarah Bryan Miller

You want relaxing classical music that'll soothe your soul but won't lull you into sleep? Here's a double CD for you. The Most Relaxing Classical Album in the World ... Ever! does its best to cover both well-worn classical favorites (Bach's "Air on the G String," Pachelbel's "Cannon," Debussy's "Clair de Lune") and some eclectic left-field choices (an excerpt from G?recki's Symphony No. 3, Jocelyn Pook's "Blow the Wind," and Samuel Barber's Adagio for Strings. The performances of most of these excerpts are top-notch--artists include Sir Neville Marriner, James Galway, Jacqueline du Pr? and the Philadelphia Orchestra--and there's enough variety here for everyone. --Edward GarabedianYou want relaxing classical music that'll soothe your soul but won't lull you into sleep? Here's a double CD for you. The Most Relaxing Classical Album in the World ... Ever! does its best to cover both well-worn classical favorites (Bach's "Air on the G String," Pachelbel's "Cannon," Debussy's "Clair de Lune") and some eclectic left-field choices (an excerpt from G?recki's Symphony No. 3, Jocelyn Pook's "Blow the Wind," and Samuel Barber's Adagio for Strings. The performances of most of these excerpts are top-notch--artists include Sir Neville Marriner, James Galway, Jacqueline du Pr? and the Philadelphia Orchestra--and there's enough variety here for everyone. --Edward GarabedianYou want relaxing classical music that'll soothe your soul but won't lull you into sleep? Here's a double CD for you. The Most Relaxing Classical Album in the World ... Ever! does its best to cover both well-worn classical favorites (Bach's "Air on the G String," Pachelbel's "Cannon," Debussy's "Clair de Lune") and some eclectic left-field choices (an excerpt from G?recki's Symphony No. 3, Jocelyn Pook's "Blow the Wind," and Samuel Barber's Adagio for Strings. The performances of most of these excerpts are top-notch--artists include Sir Neville Marriner, James Galway, Jacqueline du Pr? and the Philadelphia Orchestra--and there's enough variety here for everyone. --Edward Garabedian

This is the record that started the Hildegard craze back in 1982--and you need only listen to Emma Kirkby glide and soar through Columba aspexit (the opening hymn) to understand why. Gothic Voices performs the music very simply, either alternating soloists and unison choir over a drone or using a single unaccompanied voice. The singers render Hildegard's extravagant poetic imagery and melody not with the rhythmically fluid, ecstatic approach favored by Sequentia, but with equalist rhythm and a calm, meditative quality. Gothic Voices' straightforward approach is less likely to send you into a rapturous trance than is Sequentia's, but in the hands of such fine singers as Kirkby, Margaret Philpot, and Emily van Evera, Hildegard's extraordinary texts and melodies are captivating--and clear enough to linger in the memory as melodies rather than just sensations. This record is still Hyperion's bestselling title by far--try it and find out why. --Matthew Westphal