Carmina Burana, scenic cantata for soloists, choruses & orchestra: Fortuna Imperatrix Mundi, No 1: O Fortuna
Carmina Burana, scenic cantata for soloists, choruses & orchestra: Fortuna Imperatrix Mundi, No 2: Fortune Plango Vulnera
Carmina Burana, scenic cantata for soloists, choruses & orchestra: Primo Vere, No 3: Veris Leta Facies
Carmina Burana, scenic cantata for soloists, choruses & orchestra: Primo Vere, No 4: Omnia Sol Temperat
Carmina Burana, scenic cantata for soloists, choruses & orchestra: Primo Vere, No 5: Ecce Gratum
Carmina Burana, scenic cantata for soloists, choruses & orchestra: Uf Dem Anger, No 6: Tanz
Carmina Burana, scenic cantata for soloists, choruses & orchestra: Uf Dem Anger, No 7: Floret/Silva
Carmina Burana, scenic cantata for soloists, choruses & orchestra: Uf Dem Anger, No 8: Chramer, Gip Die Varwe Mir
Carmina Burana, scenic cantata for soloists, choruses & orchestra: Uf Dem Anger, No 9: Reie/Swaz Hie Gat Umbe/Chume, Chum Geselle Mi
Carmina Burana, scenic cantata for soloists, choruses & orchestra: Uf Dem Anger, No 10: Were Diu Werlt Alle Min
Carmina Burana, scenic cantata for soloists, choruses & orchestra: In Taberna, No 11: Estuans Interius
Carmina Burana, scenic cantata for soloists, choruses & orchestra: In Taberna, No 12: Olim Lacus Colueram
Carmina Burana, scenic cantata for soloists, choruses & orchestra: In Taberna, No 13: Ego Sum Abbas
Carmina Burana, scenic cantata for soloists, choruses & orchestra: In Taberna, No 14: In Taberna Quando Sumus
Carmina Burana, scenic cantata for soloists, choruses & orchestra: Cour D'Amours, No 15 : Amor Volat Undique
Carmina Burana, scenic cantata for soloists, choruses & orchestra: Cour D'Amours, No 16: Dies, Nox et Omnia
Carmina Burana, scenic cantata for soloists, choruses & orchestra: Cour D'Amours, No 17: Stetit Puella
Carmina Burana, scenic cantata for soloists, choruses & orchestra: Cour D'Amours, No 18: Circa Mea Pectora
Carmina Burana, scenic cantata for soloists, choruses & orchestra: Cour D'Amours, No 19: Si Puer cum Puellula
Carmina Burana, scenic cantata for soloists, choruses & orchestra: Cour D'Amours, No 20: Veni, Venim, Venias
Carmina Burana, scenic cantata for soloists, choruses & orchestra: Cour D'Amours, No 21: In Trutina
Carmina Burana, scenic cantata for soloists, choruses & orchestra: Cour D'Amours, No 22: Tempus est Iocundum
Carmina Burana, scenic cantata for soloists, choruses & orchestra: Cour D'Amours, No 23 Dulcissime
Carmina Burana, scenic cantata for soloists, choruses & orchestra: Blanziflor et Helena, No 24: Ave Formosissima
Carmina Burana, scenic cantata for soloists, choruses & orchestra: Cour D'Amours, No 25: O Fortuna
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 gl... more »ides 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« less
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
Donna E. from RADFORD, VA Reviewed on 8/18/2006...
Exciting, exotic music.
CD Reviews
Beyond a Doubt My Favorite!
John P. Penning | Springfield, Illinois USA | 09/05/2003
(5 out of 5 stars)
"I am not a music scholar. I am not a musician. I am not a critic. What I am is a lover of music and especially of powerful and emotive music. I listen to music not to analyze but to FEEL! I fell in love with the Carmina Burana while in college many years ago. I have searched long and hard for ANY version that captures the raw energy and powerful emotions of the bookending piece, "O, Fortuna", as well as on this recording and have found none that meet the mark. The employment and use of a thunderous gong, performed with a flair unlike any other recording that I know of is worth the price of the CD in and of itself! If you as a listener wish to buy a recording of the Carmina Burana for analytical purposes, then I haven't a clue which version to purchase. However, if your aim is to to FEEL, to EXPERIENCE, to be ABSORBED by the Carmina, then look no further. This is the one. The ONLY one!"
I've heard a lot of them and this is the BEST!
Greg McDonald | Green Bay, Wisconsin United States | 11/13/2000
(5 out of 5 stars)
"When I moved away to college I had to give up this CD which is owned by my father (an opera style bass-baritone himself). Figuring that I could just buy another one, or one like it at least, I decided to shop online. I studied each sample track of each CD closely and compared it to this recording, and, unsurprisingly, none of them were close enough to even consider. Quite frankly, the baritone is the best I've ever heard, the saprano is the best I've ever heard, and the tenor is also the best I've ever heard. And if that isn't good enough reason to buy it, then keep in mind that the conductor's impact regarding enphasis and tempo is perfect. Don't bother doubting me and just trust me; this is the best recording available."
Explosive "Carmina" From The Heartland Of America
Erik North | San Gabriel, CA USA | 09/05/2004
(5 out of 5 stars)
"Carl Orff's hour-long cantata "Carmina Burana" must rank as the single most popular choral work of the 20th century. Because of this, of course, there have also been many recordings of it--dozens in fact, from Eugen Jochum's 1968 recording with the Deutsche Opera of Berlin, to Andre Previn's 1974 London Symphony recording, and beyond.
For my money, though (and this is not to take away from the other great recordings of the piece on hand), the most explosive recording of this piece comes from the heartland of America. With superior vocalists Sylvia McNair, Hakan Hagegard, and John Aler on hand, Leonard Slatkin leads his St. Louis Symphony Orchestra and Chorus in this 1992 recording that generates much passion and violence with its mix of sacred Latin chants and sometimes politically incorrect and profane dialogue.
The recording is spectacular from start to finish, but there are moments that I think stand out especially: "Olim Lacus Colueram", done by Aler; Hagegard's solo turn on "Ego Sum Annad Cacaniensis"; McNair's on "Dulcissime"; and the St. Louis Chorus itself on "O Fortuna", which bookends this gigantic work. It is no wonder that its medieval sound and text inspired much in the way of movie music, including THE OMEN and even parts of the music for the LORD OF THE RINGS trilogy ("O Fortuna", in fact, was used in the 1981 film EXCALIBUR).
This recording is vigorously recommended, even if you already own other recordings of it. Slatkin's interpretation stands up well compared with the many other fine recordings also available."
The Best Carmina Burana
K. Andersen | Bloomington, IN | 01/24/2007
(5 out of 5 stars)
"1. The work is very similar to an opera, highly dramatic and driven by text.
2. Opera is about voices, and this recording of Carmina has bar none the best collection of soloists on record.
3. While I do not consider myself an expert in orchestral sound or conducting, in my opinion the orchestra and chorus sound very good, not perfect, but very good. It seems to me that the style of this work does not call for an overly "constructed" sound from the orchestra. If you peruse the text you might gleen a little insight, as form should follow function. IMHO the sound from the orchestra and chorus are fitting for the meaning they are trying to convey.
4. Several people have given this recording bad ratings, and yet there seem to be a lack of noted material defect. If you think Slatkin's conducting is so bad, please fill us all in on why. Neurotic posts such as:
ONE OF THE WORST PERFORMENCES OF THIS WORK THAT THERE IS.IT IS AS IF SLATKIN WERE CONDUCTING THE SAINT LOUIS SYMPHONY WITH A HORROR MOVIE IN FRONT OF THEM.GET OZOWA/BOSTON SYNPHONY 1969 CLASSIC PERFORMENCE AND CHARLES DUTIOT/MONTREAL SYNPHONY
don't do much - and perhaps you could also do us all the favor of reaching your uncoordinated left hand pinky finger to the left of the A button and turning off caps lock, along with taking some spelling lessons. That would be just super. Thanks.