Customer Reviews

Carmina Burana

5 star:		(5)
4 star:		(1)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

I owned a very old recording of Carmina Burana and when I bought a high end stereo system, I found many flaws with it. So, I decided to trust my previous experience and bought the Montreal Symphony orchestra recording.

This cd is beautiful, and meets my expectations of the work. I disagree with the comment saying that the french accent of the performers changes the quality of their rendition of the work.

You can judge for yourself, but I think this is an excellent recording deserving the 5 star I gave it.

Buy it you won't regret it. Charles Dutoit is a flawless conductor. Performers are great too! Despite d cooper's ignorant comment about Canada, it still is a great recording.

This recording has a lot of power and an opulent sound. It is much richer than the Previn recording some 20 years earlier. I've heard Dutoit conduct the Philadelphia Orchestra at Saratoga for many years, and he exhibits tremendous control over the players. He conducted "Carmina Burana" last year at Saratoga and at Carnegie Hall and it was a a treat. He probably will never leave Montreal as he is Mr. Montreal, but probably should be better known and appreciated. He is spectacular in the larger works and seems to really enjoy conducting the big, powerful warhorses, maybe because a 100% Canadian effort is really only about 60% here in the States. Enjoy this recording of Carmina Burana and then go off to war.

... but unbearable for any Romance language speaker! The main fault of this edition is, in fact, the performers' pronunciation of latin lyrics which is awful to listen to. Try Deutsche Grammophon instead.

I really think that this recording has more feeling than the Blomstedt and Previn recordings. It sounds a lot more robust than Blomstedt's, and I like that. "In taberna quando sumus" is fun at the quick tempo Dutoit chooses. Great CD!!!

Some delay because it was out of stock but once in stock, it was promptly delivered in perfect condition.

First of all, let's get something straight: "Carmina" does NOT rhyme with "Christina", it rhymes with "stamina". "Carmen" is a second-declension neuter noun in Latin, as is "stamen", and in the nominative plural, the stress falls on the first syllable. It's CAR-min-a, not car-MEE-na. It makes my hair stand on end to hear someone pronounce it like they think the "-ina" is an Italian diminutive ending, like in "manina". It is NOT.

Now that I have that off my chest, let me say that I have six different recordings of this masterpiece, including the one conducted by Wolfgang Sawallisch recorded under the personal supervision of Karl Orff himself. I have Michael Tilson Thomas, Antal Dorati, Rafael Frühbeck de Burgos, and Riccardo Muti's versions as well. This one by Charles Dutoit is by far the best I've heard.

Why, you ask? Partly because he makes the most interesting use of tempi, sounding frantic and lusty at times, or languid and sensuous at others. Many recordings seem reluctant to be as flexible or creative, and just seem to be playing the score straight through.

The diction throughout is excellent, even from the children's choir. Yes, it's in Medieval German and Latin, but the lyrics do mean something, and those of us who know them well appreciate being able to hear them clearly. So many American choirs slur the unstressed syllables, and muddy the vowels to the point where you can't make out what they're singing.

Most of all, the two main soloists have magnificent voices. Mark Oswald's baritone is so beautifully rich and emotionally expressive that it brings tears to the eyes. Beverly Hoch's soprano is sweet, clear and bell-like, but never shrill. Ms. Hoch also manages the incredibly long phrase at the end of her solo in "Amor volat undique" in one confident breath, while virtually every other soprano out there breaks the last note in two, or just sings it as long as she can and then stops, while the music carries on.

"In Taberna" is always my least favourite part, but even there the rollicking tempo and hammy emoting of Stanford Olsen made it fun. In total, an excellent recording all around.