RCA
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Special offer. I will breathe a mountain
Marilyn Horne (mezzo soprano) & Martin Katz (piano), Tokyo String Quartet
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The 5 Browns
The Five Brown Siblings – Desirae, Deondra, Melody, Gregory & Ryan – perform new five-piano transcriptions of classical favorites, plus a selection of solo & duo pieces that introduce each artist.
The 5 Browns
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Saint-Saëns: Samson et Dalila
James King (Samson), Christa Ludwig (Dalila), Bernd Weikl (Le Grand Prêtre de Dagon), Alexander Malta (Abimélech), Richard Kogel (Le Vieillard Hébreu)
Chor Des Bayerischen Rundfunks Münchner Rundfunk-Orchester, Giuseppe Patanè
Not the most idiomatic of recordings but there's some classy singing here, though one would have liked Ludwig to take a few more risks. Patanè presides over everything with passion. —
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Träumerei - Liebestraum - Für Elise - Clair de lune - Gymnopédie
Van Cliburn, Vladimir Horowitz, Arthur Rubinstein, Glenn Gould, Jorge Bolet, Evgeny Kissin, Philippe Entremont, Alicia de Larrocha, Alexis Weissenberg, Yefim Bronfman
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Placido Domingo: The Verdi Tenor
Placido Domingo (tenor), Leontyne Price (Leonora), Sherrill Milnes (baritone), Katia Ricciarelli (Desdemona)
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Orff: Carmina Burana
Sylvia McNair (soprano), John Aler (tenor), Hakan Hagegard (baritone)
St Louis Symphony Orchestra and Chorus, Leonard Slatkin
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Puccini: La Bohème (highlights)
Montserrat Caballé (Mimi), Plácido Domingo (Rodolfo), Sherrill Milnes (Marcello), Judith Blegen (Musetta), Ruggero Raimondi (Colline), Vincenzo Sardinero (Schaunard), Noel Mangin (Benoit), Nico Castel (Alcindoro), Alan Byers (Parpignol)
London Philharmonic Orchestra, John Alldis Choir, Wandsworth...
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Beethoven: Symphony No. 9
Margaret Price (soprano), Marilyn Horne (mezzo), Jon Vickers (tenor), Matti Salminen (bass), Emanuel Ax (piano)
New York Philharmonic Orchestra, New York Choral Artists, Zubin Mehta
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Strauss, R: Salome
Montserrat Caballé (Salome), Sherrill Milnes (Jokanaan), Regina Resnik (Herodias), Richard Lewis (Herod)
London Symphony Orchestra, Erich Leinsdorf
[Caballé's] voice sounds youthful, gleaming, opulent at the top...[the nasty stops] come later, in league with Lewis's desperate but notewise spot-on Herod. Leinsdorf's conducting has both transparency... —
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