Music » Voice Music

Release Date: 1999-05-04, Audio CD, Angel Records

John McDermott is known in America as one of the Irish Tenors, and is recognized as a bestselling solo artist in his native Canada. The songs on A Time to Remember were recorded for the PBS TV show of the same name, and because many of them appeared on his Canadian CDs, this collection has something of a greatest hits feel. McDermott's warm tenor and soothing manner is well-suited to sentimental favorites like "I'll Be Seeing You," "As Time Goes By," and "The War Song Medley"--which includes such chestnuts as "Lili Marlene" and "The Roses of Picardy." But as good as he is on the pop songs, he really bares his heart when he sings the old Irish melodies. On his signature tune "Danny Boy," he skips the melodramatic delivery that most singers indulge in, opting instead for a subtle--and ultimately more moving--a cappella performance. John McDermott's blend of patriotism and sentimentality may be old-fashioned, but in today's world of disposable pop, this is a virtue rather than a liability. --Michael Simmons

When Wagner set the Ring to music, he intended the orchestra to act in the fashion of a chorus from a classic Greek tragedy--setting the mood and commenting on the action. In order to allow a nonverbal musical line to reflect on the plot, Wagner developed a psychologically and musically complex symbology to communicate his thoughts to the listener. From the beginning the Ring has spawned numerous written commentaries on the relationships of the motif structure, but by using examples from the Decca Ring recording, Deryck Cooke's thoughtful spoken commentary is by far the most accessible guide for either the fledgling Ring enthusiast or the seasoned veteran. --Christian C. Rix

Forty years after the Clancy Brothers found popularity singing traditional Irish folksongs to an American audience, along comes the Irish Tenors, the trio of John McDermott, Anthony Kearns, and Ronan Tynan. Backed by plenty of coverage on public television, the three tenors perform a soothing and nostalgic mix of Emerald Isle tunes--from "Danny Boy" to "When Irish Eyes Are Smiling," along with a few surprises. Recorded live at the Royal Dublin Society Main Hall with a light orchestra, the album gives each of the three vocalists his chance in the spotlight. Fans of John McDermott should be sure to seek out the artist's solo discs such as Remembrance, which are far more intimate (and musically diverse) fare. --Jason Verlinde

1. Toora Loora Looral2. Will Ye Go Lassie Go3. Spanish Lady4. When Irish Eyes Are Smiling5. Percy French Medley: Phil The Fluther's Ball, Come Back Paddy Reilly, The Lay Of The West Clare Railway - Are Ye Right There Michael?6. Amazing Grace7. Nearer My God To Thee8. Danny Boy9. Fields Of Athenry10. Only The River Runs Free11. Molly Malone12. Last Rose Of Summer13. She Moved Through The Fair14. Maggie15. New Medley (Combination of the 2 medleys)Format: CDIn the short time since they grouped together a few years ago to form their sensationally successful trio, the Irish Tenors have already put out an impressive array of recordings and DVDs, including some bona fide gooseflesh-inducing live concert performances. So, if you still have the enviable pleasure of discovering these amazing vocalists--or want to turn a friend on to their musical charms--this compilation CD will do the trick nicely. It brings together such classics as "Danny Boy," "Toora Loora Looral," "Last Rose of Summer," and "When Irish Eyes Are Smiling" (featuring John McDermott)--all rendered with the kind of passionate, heartfelt, and harmonious crooning that is their signature style, whether they're singing as an ensemble or as highlighted soloists. And even if you have the complete Irish Tenors, this anthology includes several numbers not found on their previously released CDs. Hard to think of a sweeter treat for a fan of singing too good to ever go out of fashion. --Sarah Chin

Exclusive Australian Gold pressing released to coincide with his first public appearance in Australia. He'll be performing at the opening ceremonies and then onto to tour the land down under. His back catalogue will be released & re-packaged in slipcases with his signature on them as well as all of them pressed on gold plated CD's. This pressing includes 17 tracks, all sung in his native Italian Tongue. 1998 release. Standard jewel case.

Release Date: 1997-02-11, Audio CD, RCA

This classic performance of Haydn's greatest choral masterpiece was beloved tenor Fritz Wunderlich's last recording. He sings all of the arias, but he died before finishing the recitatives, which are here taken by Werner Krenn. The recording is, in addition, one of Herbert von Karajan's finest, vastly better than his later digital remake. His interpretation is straightforward and impressively large in scale, but never pompous or sanctimonious (which was Karajan's big problem in music of a religious character). The truth is, Haydn's consistently fresh and unpretentious invention acts as a positive anesthetic against bombast, and the composer himself once said that thinking of the Creator always made him irresistibly cheerful. With The Creation, Haydn returned the favor. --David Hurwitz

This opera becomes a battle of the divas in its great second act, with Sutherland, as Mary Stuart, pitted against the jealous, paranoid, and vengeful Elizabeth I (Tourangeau). There is an intensely dramatic confrontation in which insults are violently exchanged between the powerful monarch and her imprisoned but still regal rival to the throne. Mary wins the battle of insults, but this is a dangerous victory over one who has the power of life and death. Elizabeth orders Mary's execution and Act III becomes a spectacle of pathos and horror. Sutherland's usual style is more attuned to pathos than to the swapping of insults, but she rises splendidly to the challenges of Act II and she has a splendid supporting cast. --Joe McLellan

This most favorite of choral works is infused with life through the fluid singing of the soloists. Hagegard's everyman baritone overflows with sensitive phrasing and a deliciously appealing timbre. McNair's lovely lyric glides across the music, capturing the subtle textual nuances--she has never been more appealing. The chorus is void of feeling in the first half, hypnotically following Slatkin's joyless lead. However, once they enter "The Court of Love" in Part III, they sing blissfully and expansively, capturing all the pleasures that Orff's piece offers. The orchestra, playing at full throttle, is crisp and energetic. --Barbara Eisner Bayer