Tracks:
1. TODOROVICH- MEURETTE- LE ROUX- MERCIER - OUVERTURE
2. TODOROVICH- MEURETTE- LE ROUX- MERCIER - CHOEUR
3. TODOROVICH- MEURETTE- LE ROUX- MERCIER - RÊVERIE D'HAROUN ET DIALOGUE
4. TODOROVICH- MEURETTE- LE ROUX- MERCIER - DUO
5. TODOROVICH- MEURETTE- LE ROUX- MERCIER - TRIO
6. TODOROVICH- MEURETTE- LE ROUX- MERCIER - GHAZEL
7. TODOROVICH- MEURETTE- LE ROUX- MERCIER - TRIO
8. TODOROVICH- MEURETTE- LE ROUX- MERCIER - SCÈNE ET CHOEUR
9. TODOROVICH- MEURETTE- LE ROUX- MERCIER - DIALOGUE
10. TODOROVICH- MEURETTE- LE ROUX- MERCIER - CHANSON ET DIALOGUE
11. TODOROVICH- MEURETTE- LE ROUX- MERCIER - LAMNETO
12. TODOROVICH- MEURETTE- LE ROUX- MERCIER - MÉLODRAME
13. TODOROVICH- MEURETTE- LE ROUX- MERCIER - DANSE DE L'ALMÉE
14. TODOROVICH- MEURETTE- LE ROUX- MERCIER - COUPLETS DE SPLENDIAMO
15. TODOROVICH- MEURETTE- LE ROUX- MERCIER - MÉLODRAME
16. TODOROVICH- MEURETTE- LE ROUX- MERCIER - DUO FINAL

Each of these little rural dramas – be it a parable of fishy hypocrisy or a tale of starvation – is newly reanimated in Waltraud Meier’s word-bright singing.

Würzburg-born Waltraud Meier doubtless has a drop or two of the waters of the Neckar and the Rhine running through her veins: it certainly sounds like it in the robust, bucolic lilt of her voice in ‘Rheinlegendchen’, one of four settings here from Mahler’s favourite folk collection, Des Knaben Wunderhorn. It’s an apparently simple song, but deceptively tricky to bring off; and Meier, vividly offset by the gently ingratiating strings of the Bavarian RSO under Lorin Maazel, does so to a nicety. Indeed, each of these little rural dramas – be it a parable of fishy hypocrisy or a tale of starvation – is newly reanimated in Meier’s word-bright singing.

It is the vigorously communicative enunciation of this Wagner mezzo turned dramatic soprano which makes her Rückert Songs and her Kindertotenlieder so powerful, too. ‘Liebst du um Schönheit’, Mahler’s most private song for his young wife, Alma, is brought impetuously into the public domain. And the BRSO’s pungent woodwind soloists work their own potent chemistry with the flaring light at the top of Meier’s voice in ‘Um Mitternacht’.

Maazel knows just when to urge his players on to support the momentum of Meier’s singing in a Kindertotenlieder which explores every register of her voice. Janet Baker’s Kindertotenlieder and Rückert Lieder with the Hallé and Barbirolli (EMI) has a unique Classical beauty and sobriety; Christa Ludwig’s pairing, with the Berlin PO and Karajan, a Central European pungency all its own. But my benchmark remains Brigitte Fassbaender’s outstandingly compelling performances, raw and instinctive, with the Deutsches SO and Chailly, which also include the Lieder eines fahrenden Gesellen.

Performance: 5 (out of 5), Sound: 5 (out of 5)

-- Hilary Finch, BBC Music Magazine

Double vinyl LP pressing in gatefold jacket. The Blues Don't Lie is the amazing 2022 album from Buddy Guy, and is the legend's 34th studio album, and the follow up to 2018's Grammy winning album The Blues Is Alive and Well. Produced by songwriter/drummer Tom Hambridge, The Blues Don't Lie features guests including Mavis Staples, Elvis Costello, James Taylor, Jason Isbell, and more. The album is released exactly 65 years to the day that Buddy Guy arrived in Chicago on a train from Baton Rouge, Louisiana in September of 1957, with just the clothes on his back and his guitar. His life would never be the same, and he was born again in the blues. The Blues Don't Lie tells the story of his lifelong journey. Reflecting on this body of work, Buddy says "I promised them all: B.B., Muddy, Sonny Boy as long as I'm alive I'm going to keep the blues alive." He has indeed proven that again, and proclaims, "I can't wait for world to hear my new album cause The Blues Don't Lie."

MUSIK IN DEUTSCHLAND 1950-2000

Claus Peter Flor presents a charming, musical, and lively account of the extended Midsummer Night's Dream music.

Claus Peter Flor is a good conductor of the German standard repertoire, Mendelssohn in particular, and he presents a charming, musical, and lively account of the extended Midsummer Night's Dream music. The overture has an evocative air of mystery in its introduction, with plenty of rustic high spirits in the main section (if a touch under tempo for my taste), and Flor doesn't italicize the "hee-haws". All of the standard numbers--the scherzo, nocturne, and wedding march--come off very well, while Lucia Popp and Marjana Lipovsek make fine soloists. It's also good to have a generous coupling in the form of the three overtures, all expertly done. The Hebrides has a real sea-breeze blowing through it, as does Calm Sea and Prosperous Voyage (at least eventually). Ruy Blas is attractive enough to make us wonder why we don't hear it more often. Very good sound and warmly up-to-snuff playing from the Bamberg orchestra make this well worth considering, even in a crowded field.
--David Hurwitz, ClassicsToday.com

MUSIK IN DEUTSCHLAND 1950-2000

MUSIK IN DEUTSCHLAND 1950-2000

Includes "Breakfast at Tiffany's," "Days of Wine & Roses," "Two for the Road," "Peter Gunn," "Mr. Lucky," "Moon River," "Baby Elephant Walk," "A Shot in the Dark" and many more classics!

One of Rogers & Hammerstein's most popular works with songs including "Happy Talk," "I'm Gonna Wash That Man Right Outa My Hair," "Bali Ha'i," "There Is Nothing Like a Dame," "Some Enchanted Evening" and more.

The 1st new compilation of Perry's Christmas music in close to 20 years includes 21 examples of his best festive recordings. The repertoire spans 1951 through 1968, a 2-decade period generally acknowledged as his best. An added bonus is the inclusion of the previously unreleased "Some Children See Him," as well as "Christmas Bells" and "Love Is a Christmas Rose," 2 songs from legendary Nashville producer Chet Atkins, both of which are heard in stereo for the 1st time.

Classical Music

The first of the great rock 'n' roll musicals, a two-time Oscar nominee with a soundtrack that charted for 55 weeks! Janet Leigh, Dick Van Dyke, Ann-Margret-this was some cast, and this release adds three unreleased bonus tracks, new liners and rare photos. A rollicking joyride through a candy-colored early-'60s landscape!

Twenty tracks including "St Louis Blues," "One O' Clock Jump," "In a Sentimental Mood," "Goody Goody," "Moon glow," "Sing Sing Sing (Pts 1 & 20)" and many more.

An eminently stylish performance, filled with joy from the first ray of light to the final thanks to the Lord, ranking with the best of period-instrument Creations.

Is there any other work that so consistently inspires its performers as Haydn’s The Creation? One hears performances by amateurs that sparkle with truth, and every professional one seems glorious. This recording is studded with little-known performer names, but that is no handicap. This is a happy, cosy Creation, a conception that might raise some eyebrows; it triumphs because it is spectacularly well performed. Thomas Hengelbrock, music director of the Vienna Volksoper, created the Balthasar-Neumann Choir in 1991 and the Ensemble in 1995, choosing performers with whom he had already enjoyed working. Their repertoire stretches from Monteverdi to the 21st century, but they sound as if they were created just to play and sing Haydn’s masterpiece. The chorus is 8/7/7/6, strings are 6/5/4/4/2 (double basses). This strikes me as just the right size, enabling a balance of power with clarity. The deep, gutsy opening chord of “Chaos” leaves no doubt that the ensemble has enough punch; attacks are Toscanini-crisp, winds are brightly colored, climaxes thunder with clamorous trumpets and hard-struck drums. The chorus is superb.

Soprano Simone Kermes is quite wonderful, her soft, warm tones making Haydn’s high coloratura sound easy and natural, while never stepping out of character or resorting to exaggeration. Her pitch is secure and reliable, her phrasing delightful, her embellishments a joy. She immediately joins my short list of favorite sopranos. In my recall, only Barbara Bonney has sung such a superb Gabriel. Bass Johannes Mannov is in the same league, his ringing voice immensely appealing, his singing impeccable; a single shaky entrance keeps him from perfection. Tenor Steve Davislim is merely excellent. This trio of happy, relaxed seraphim is angelic indeed. Adam and Eve are also fine, if not quite so heavenly. A beautiful, subtly played fortepiano supports the recitatives.

In short, this is an eminently stylish performance, filled with joy from the first ray of light to the final thanks to the Lord. Tempos are never rushed, and the 99-minute total assures that nothing ever drags. The recording is exceptionally natural, sweet and focused during quiet moments and opening up nicely for the climaxes. This ranks with the best of period-instrument Creations.

-- James H. North, FANFARE [3/2004]

The RCA Victor Jazz Greatest Hits series, designed to recreate the success of RCA's Classical Greatest Hits series, features eye-catching Hirschfeld illustrations and an unbeatable price point perfect for attracting both the beginning jazz consumer and the collector. This release features "Moonlight Serenade," "Chattanooga Choo-Choo," "That Old Black Magic," "Little Brown Jug," "When You Wish Upon a Star," "Don't Sit Under the Apple Tree (With Anyone Else But Me)" and much more.