Top Reviews Most recent Top Reviews. There was a problem filtering reviews right now. Please try again later. Verified Purchase. Available very cheaply in tolerable sound for analogue recordings over forty-year old - some hiss notwithstanding - this double CD makes an excellent introduction to two great works even if other individual recordings might be preferable. This is particularly true of the Mozart in that although the ladies are peerless vocally, Barenboim's conducting is quite heavy and neither Gedda - typically somewhat pinched and throaty at times - nor Fischer-Dieskau - too light and woolly of tone for the bass-baritone required - is ideal.
No; it's for the Verdi you would buy this. It is by no means a mainstream account in that the presence of Jon Vickers lends a very different take on the tenor part and it must be admitted that recording balances in a big, blowsy acoustic can be too diffuse and swampy. Raimondi may be heard in several other recordings, notably for Bernstein and sounding very much the same with the same advantages - noble tone, demonic inflections and a great feel for the text - and the same disadvantages: some swooping and a slight lack of dark heft in the lower reaches of the role.
Vickers is hors concours with his extraordinary range of tone colour and refusal to belt all'italiana. It's untrue that he croons in the soft passages; both his registers are cleanly separated and his mezza voce is too pure and infused with lower register to be called that. He brings new life and meaning to an old warhorse of a part with his careful grading of volume and intensity, really making you listen afresh and anew to the meaning of the text.
He often brings a hieratic, unearthly quality to his singing which must surely be worth hearing amongst renderings by so many conventional belters. His easy reserves of power also mean you can always hear the tenor line which is too often lost in the quartets and trios against a big orchestra. William Pitz's chorus is fabulous, as you'd expect.
I own over twenty recordings of this Requiem and Album) the grander, slower accounts by Reiner and de Sabata at the same time as finding room to appreciate the more driven, theatrical versions by such as Toscanini and Solti. This belongs more to the first camp but has such a splendid quartet that I think any voice aficionado should own and enjoy it, regardless of your preference in approach. At the time, Barenboim was 29 and Barbirolli in the last year of his life.
The recordings were digitally remastered in Barenboim made his conducting debut with the English Chamber Orchestra in and here they are joined by Sheila Armstrong, b. The chorus is crisp and responsive.
Overall the recording is good, better than the rather muffled sound of the Barbirolli, perhaps one reason why this performance never really blazes. Their singing together [Recordare, Agnus Dei] is amongst the most beautiful on record. If there is one reason to buy these CDs then it is to hear these two singers. However, Wolfgang Amadeus Mozart - Requiem KV 626 (Vinyl, each work is better performed and recorded elsewhere.
This Verdi requiem deserves its own individual re-issue. It's irritatiing to have it begin at track thirteen after the Mozart, which is fine, but it doesn't thrill. DFD as the bass was an odd choice, though Barenboim brings some fine balance to the piece and the singing is first rate, but this is a double CD that's all about the Barbirolli Verdi Requiem, with the unbeatable Monserrat Caballe and the great Jon Vickers.
The control of Caballe sets her apart. Vickers is such an original and his mastery of taste and refinement shines here for all to hear.
HIs mezzavoce is exquisite. Cossotto is a little heavy in places, as is Raimondi. Barbirolli is interesting in his slow Dies Irae but he garners the NPO and the wonderful NPO Chorus under Pitz to produce some thrilling performances - the opening piannissimo is so soft it sent a chill up my spine.
To be picky, there were moments when I wanted a little more punch and the trumpet call and echoes in the first Dies Irae were disappointing and muted. Nonetheless, seek it out and but it - a top contender, with the bonus of a fine Mozart requiem. See all reviews from the United Kingdom. Top international reviews. Translate all reviews to English. Thank you for your feedback.
Sorry, we failed to record your vote. Please try again. Translate review to English. I was really surprised at how good the performances on this disc were. I was really surprised by how good both performances were. I have not heard a better Mozart Requiem than the one Barenboim does with this all star cast of soloists. Herbert von Karajan 's recordings of Wolfgang Amadeus Mozart 's Requiem in D minor offer an old-fashioned, highly reverent approach to the work, and they share a common manner of interpretation that persisted with the conductor for over two decades.
Anyone familiar with Karajan 's Deutsche Grammophon LP of the Requiem from the s and '80s will not be surprised at the extremely slow tempos, heavy orchestral accompaniment, thick choral counterpoint, and nearly operatic style of the vocal soloists, which make this performance suitable only for traditionalists.
Fortunately, it's that kind of listener who will seek out this historic recording fromand who will already know of Karajan 's penchant for the grandiose. Because the live analog sound from the Salzburg Festival is still a little fuzzy and lacking in dimensions, despite Archipel's digital mastering, this recording has the added burden of sounding a bit ancient to modern ears. Even so, this is no difficulty for Karajan 's fans or students of the conductor, who are already adept at listening past the defects of LP century concert recordings.
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Verified Purchase. Tried a few different recordings of Requiem. Some seem too fast, others seem too slow, this seems about right, a good recording. This is a Requiem that, in true Marriner fashion, avoids any trace of sentimentality, one that strives to maintain strict adherence to the score. Fans of Marriner will appreciate the sensitivity of his conducting, the excellence of the ASMF orchestra and chorus, and the superb soloists featured.
Marriner has a calm, assured way with Mozart, which is apparent here. The music is allowed to be seen for what it is, with no fluff or show to get in the way. However, anyone can Wolfgang Amadeus Mozart - Requiem KV 626 (Vinyl Mozart easy to listen to, Album). And while I think Marriner knows how to do more than this, I find myself wanting a lot in this recording. Friends, this is a Requiem, written by a young genius who was facing the awful tragedy of death.
Am I alone in wanting a performance of this piece that will leave me fighting the tears as I face the reality of the mortality of the human race?
I tend to think not. But these qualities are the very ones that are lacking here. Marriner realizes to an extent that this is a Requiem, as there is always somberness in the air. But there's more than seriousness to a Requiem; there needs to be a combining of sorrow and hope. I want my Mozart Requiem to be given a performance that will make me want to turn to the piece when I've suffered the loss of a loved one.
But listening to Marriner, I never once found myself deeply moved. Part of the problem may be due to the fact that while the Academy of Saint Martin in the Fields is a first rate chamber orchestra, they lack the richness and sonority of the likes of Berlin and Vienna, which prevents the strings from diving into a dark world of remorse.
I hear technically perfect playing, but I'm not overly impressed by the actual musicality of the orchestra. Don't get me wrong: I love the orchestra, it's just that they don't seem up to par here, for some reason or another.
Perhaps Phillips deserves a share of the blame, as the recording engineers certainly could have done a better job. The soloists, all first rate, add some light to the scene, but I don't think they make up for Marriner's faults. I hope I won't be misunderstood. Marriner is a wonderful conductor, deserving the fame he's received in Mozart. But in the Requiem, he seems to be afraid of showing real emotion, as if though it would be undesirable if the music moved us to tears.
Some will like this performance, not minding the missing passion, but you should pass this by if you want an experience that will deeply move you.
Surprising as Marriner is usually very very good, but against my other dozen recordings of this work I had to give this one away as I knew I would never ever listen to it again. It's even bad against the old Naxos Slovak Phil recording, and that's saying something.
I've listened to various recordings of Mozart's Requiem and this is my favourite. It's a comparatively modest performance with great timing - some of the other recordings on sale sound exaggerated to me.
Really shines. With the Academy and Chorus of St. Martins in the Fields and Sir Neville Marriner conducting,there is no way that this could be a mediocre recording. Wonderful music and very good value for money. One person found this helpful. A great work, beautifully recorded with lovely vocalists and a great chorus - a must for anyone's collection - just buy it.
See all reviews from the United Kingdom. Top international reviews. Translate all reviews to English. Marriner is one of my favourite conductors. It reminds me of the scene in this great movie. Thank you for your feedback. Sorry, we failed to record your vote. Please try again.
This is an excellent recording both on the part of the orchestra and the wonderful choir, one that will be enjoyed many times over. La versione piu bella e forte.
Dec 31, · The Requiem Mass in D minor (K. ) by Wolfgang Amadeus Mozart was composed in Vienna in and left unfinished at the composer's death. A completion by Franz Xaver Süssmayr was delivered to. Wolfgang Amadeus Mozart, Christopher Hogwood, Emma Kirkby, Anthony Rolfe Johnson, The Academy of Ancient Music, Westminster Cathedral Choir, Carolyn Watkinson, David Thomas - Mozart - Requiem / Kirkby · Watkinson · Rolfe Johnson · D. Thomas · AAM · Hogwood - derbattmogegefilykornorolsoftcat.xyzinfo Music/5(52). Get all the lyrics to songs on Requiem in D minor, K. and join the Genius community of music scholars to learn the meaning behind the lyrics. Play full-length songs from Mozart: Requiem, K. by Wolfgang Amadeus Mozart on your phone, computer and home audio system with Napster. May 31, · Mozart Requiem (KV ) Dies - Philharmonia Orchestra (Indexed) - Vinyl LP - Duration: davidhertzberg , views. Wolfgang Amadeus Mozart: Clarinet Concerto. Herbert von Karajan's recordings of Wolfgang Amadeus Mozart's Requiem in D minor offer an old-fashioned, highly reverent approach to the work, and they share a common manner of interpretation that persisted with the conductor for over two decades. Anyone familiar with Karajan's Deutsche Grammophon recordings of the Requiem from the s and '80s will not be surprised at the . In a time when authentic Classical practices and scholarly editions of Wolfgang Amadeus Mozart's Requiem in D minor are considered de rigueur, it's instructive to hear how this work was sometimes performed in the middle of the 20th century, before the advent of historically informed performances. Helmut Koch led the Berlin Radio Symphony Orchestra and Chorus in this performance, and . wolfgang amadeus mozart iv chefs d'œuvre de l'art (livre disque n°47) requiem k pour soli hachette fabri GM b 98b DP du 1er nov au - italy - -. Label: EMI - 1C ,Die Stimme Seines Herrn - 1C • Format: Vinyl LP, Album • Country: Germany • Genre: Classical • Style: Classical Wolfgang Amadeus Mozart / Carlo Maria Giulini - Requiem KV (, Vinyl) | Discogs4/5(2). Shop 33 records for sale for album Requiem kv by Wolfgang Amadeus Mozart on CDandLP in Vinyl and CD format.
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