| | Richard Strauss: Die Frau Ohne Schatten CD Domingo / Solti / Strauss / Van Dam / Varady / Vpo CDS
3cds-Vienna Phil Orch/Sir Georg Solti Richard Strauss: Die Frau Ohne Schatten Music | List Price | $50.97 (You save $12.28) | | Label | Decca | | Orig Year | 4/14/1992 | | All Time Sales Rank |  11769  | | CD Universe Part number | 1452584 | | Catalog number | 436243 | | Discs | 3 | | Release Date | Apr 14, 1992 | | Recording Time | 3 15 | | Additional Info | Box Set |
Richard Strauss: Die Frau Ohne Schatten Review
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Richard Strauss: Die Frau Ohne Schatten Songs Richard Strauss: Die Frau Ohne Schatten Music Composers on Richard Strauss: Die Frau Ohne Schatten CD : Richard Strauss Conductors on Richard Strauss: Die Frau Ohne Schatten CD : Sir Georg Solti Genres on Richard Strauss: Die Frau Ohne Schatten CD : Opera Performers on Richard Strauss: Die Frau Ohne Schatten CD : Albert Dohmen, Placido Domingo, Donna Robin, Elisabeth Lang, Elzbieta Ardam, Gerhard Eder, Gottfried Hornik, Hans Franzen, Hildegard Behrens, Sumi Jo, Jose van Dam, Karl Nebenfuhr, Eva Lind, Noriko Sasaki, Rannveig Braga, Reinhild Runkel, Robert Gambill, Ursula Targler, Julia Varady, Wilfried Gahmlich, Wolfgang Schneider Purchase Richard Strauss: Die Frau Ohne Schatten To buy, Click on price to add to cart | Abbado Verdi: Macbeth CDs (1997)
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Released in 1998, Something Wicked This Way Comes offers Iced Earth virtually replicating their previous effort, The Dark Saga, but with somewhat less inspired results. "Burning Times," "Stand Alone," and "My Own Savior" are fine slabs of the classic metal/thrash metal combination the band has become known for, but they lack the spark of yesteryear. "1776" is a humdrum instrumental in the Iron Maiden mold, and while "Watching Over Me" and "Consequences" show the band breaking new melodic ground, "Disciples of the Lie" and "Blessed Are You" are two of the few truly memorable songs. Perhaps time limits are the real problem, as the band seems most at home during the extended compositions comprising the "Something Wicked" trilogy which closes the album. ~ Eduardo Rivadavia
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With most of the album written by guitarists Glenn Tipton and K.K. Downing, the group's identity is as solid as ever. The relentless fury that is drummer Scott Travis kicks off "Machine Man," the band's own "Highway Star." Distorted guitar, reminiscent of the band's TURBO era, highlights "One on One." The passing of Tipton's father and the emptiness he felt is reflected in the ballad "Close To You." Tunes like "Hell is Home" and "Lost And Found" offer familiar metal themes; alienation, individuality, and the difficulty in overcoming adversity. "Metal Messiah" preaches the metal gospel, assuring us that THIS band won't be bringing any DJ's on tour any time soon. DEMOLITION kicks, and will satisfy the hunger of all longtime Priest fans.
After longtime vocalist Rob Halford left the band in 1992, Judas Priest recruited Tim Owens, who (ironically enough) sang in a Priest cover band. The band then released its most brutally heavy ...
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If people thought Alvin Lee was fast on "I'm Going Home" from the Woodstock movie, Joe Stump will make the leftovers from that generation wonder what Lee wrought -- the word wrought being a good one, meaning "shaped by hammering with tools. Used chiefly of metals or metalwork. Made delicately or elaborately." See if a Tony Bennett fan can figure out where the title track ends and "The Red Priest" begins. Stump gets down to business slamming and churning out metallic flakes so perfect and in such succession that it almost stops being music and sounds like the product of one of Ray Kurzweil's computers from his classic 2000 book The Age of Spiritual Machines: When Computers Exceed Human Intelligence. In that non-fiction tome Kurzweil feeds information into a computer and lets it write its own poetry -- and who's to say Stump isn't some program from the films The Matrix or The Terminator grinding out the mayhem that prevails over the eight-plus minutes of "Eastern Beast"? There is absolutely no letup from song to song, seven and a half minutes of "Reflection" melting into the nearly seven minutes of "The Killer Instinct." Certainly these sounds could find their way into a movie soundtrack for 60 seconds or so, but a steady diet could prove much even for the most ardent admirers of this improvisational journeyman. "Dragon's Den" is almost four minutes of Stump playing by and with himself. At the end of the day the proficiency becomes so extreme that Lou Reed's epic Metal Machine Music says more with its random chaos than this incessant Texas chainsaw massacre. Titles like "Retroactivity," "Psycho Shred Suite 1st Movement," ...
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Tchaikovsky / Johnterryl Plumeri / Moscow Philharmonic: TCHAIKOVSKY Symphony No. 6, "Pathetique"; PLUMERI Concerto for Bassoon and Orchestra, Moscow Philharmonic, with Kenneth Pasmanick, bassoon; Johnterryl Plumeri conductor; GMMC 735-2 (66:36) Bassoon concertos are hardly a dime-a-dozen, and this one is a beauty! Instead of adopting the conventional view of the instrument as an awkward, clownish character, the American composer Johnterryl Plumeri whose two lovely programmatic orchestral works, Pride of Baltimore and Windflower have appeared on an earlier GMMC release, has chosen to give the bassoon it's full due as an expressive musical protagonist. In his three-part but single-movement 20 minute fantasia, the element of narrative flow and lyricism very conspicuous in the previous works predominates here as well. With opening and closing Adagios bracketing a more eventful Allegro moderato, this forthrightly fashioned work gets tremendous mileage out of an ominously haunting main theme and it's germinally hypnotic accompanying figure both characterized by a note of nostalgic anxiety. These two cognate ideas gradually merge and modulate into a dramatic confrontation before quickly metamorphosing into an epiphanic apotheosis full of regretful acceptance. The emotional curve of this music has a kind of dramatic inevitability that just carries the listener along without questioning and leaves him fully gratified, very much like the best of Tchaikovsky's efforts. This is the kind of bassoon concerto one had hoped John Williams would have given us in place of the arid and episodic New Age dabblings of his Five Sacred Trees available on Sony. The pairing of an unknown new work with such a hoary chestnut as the Tchaikovsky "Pathetique" may seem somewhat perverse, but aside from the fact that a memorable scene-setting bassoon solo opens this staple of the repertoire, Plumeri approaches the piece as if it were just as newly minted as his own work. And for those of us who have taken the work for granted and not even actually "listened" to it for many years, this carefully paced and lucidly executed rendering is aurally revelatory. Rather than exaggerate or wallow in the score's pitfalls for potential excess, Plumeri just lets the music simply unveil itself without any forcing, with ...
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