Topic: Carmina Burana by Carl Orff

[Holden]

The earlier Previn (for EMI) is excellent. He gets the tempos spot on and the work of choirmaster Arthur Oldham with his massed choral groups from the LSO (and the boys from ST Clement Dane School) is also commendable. As soloists Thomas Allen stands out as does the crystal clear tones of the underrated Sheila Armstrong. Previn also did a later version which is nowhere near as good.

The other choice I'd suggest is Ormandy/Philadelphia on Sony for many of the reasons listed above.

[Marc]

This is a clip from it, isn't it?

http://www.youtube.com/watch?v=6UVNYXOBWJA

Yup.

Beautiful comment on that page from a YouTube user: Lucia, Lucia you live forever in my heart.

I have a very old-fashioned telephone dial Internet-connection though (that's because I am very old-fashioned), so downloading the clip wasn't really worth a try. No prob of course, I have the DVD.

Other recordings of the Carmina Burana I both have and like:
Jochum, Deutsche Oper Berlin (has been mentioned before)
Kegel, RSO Leipzig [LP!] (one of the first classical LP's I bought, still a favourite)
Chailly, RSO Berlin (fresh!)

But I'm not really a Carmina collector. Sometimes I think: I should get the Kegel on CD, but then I forget about it, and buy another recording of Bach's Johannes-Passion.

[Greta]

The Previn recording was excellent and detailed, it can be balanced carefully in the studio. However, the problems live seemed to me to be a combo of the conductor being in an unfamiliar hall and not taking much trouble to establish the acustics and the seeming need to highlight the orchestra and tell the singers to produce all possible sound. One trumpet can blot out a large chorus.

The Previn I have is live, on DG from 1994, the WP with the Arnold Schoenberg Chor. I didn't realize he had recorded this twice. Yes, as M said it is pretty good, an exciting performance, but I had a few quibbles I remember, sometimes the sound is a bit harsh and the inner parts aren't always clear.

This disc has a funny story attached, I bought it because we were playing a transcription in band, I was 14, and it was the first DG disc I ever bought. I knew "The Yellow Label" was quite prestigious in classical and it was the most expensive one, so I figured it must be the "best"! 

I'm seeing this live next year and want to get another, one with more clarity. I will definitely look into the Jochum.

[Daverz]

Second vote for de Burgos, but make sure you get the latest version on the EMI budget label, earlier versions had sibilant distortion.

And welcome back, Michael!

[MDL]

I have Jochum on DG which I like...to the extent I like the piece at all. I did have the Previn on LP a long time ago and thought it was excellent.

Mike

All but one of the tam-tam strokes are inaudible on Previn/EMI, from what I can remember.

[Montpellier]

The earlier Previn (for EMI) is excellent. He gets the tempos spot on and the work of choirmaster Arthur Oldham with his massed choral groups from the LSO (and the boys from ST Clement Dane School) is also commendable. As soloists Thomas Allen stands out as does the crystal clear tones of the underrated Sheila Armstrong. Previn also did a later version which is nowhere near as good.

The other choice I'd suggest is Ormandy/Philadelphia on Sony for many of the reasons listed above.

I definitely go along with the Ormandy - surprisingly clear recording for its age.  It truly catches the sensual spirit of this work especially from Cour d'Amours to the end but it's all good - the most engaging recording I've heard.  

The Previn seemed reasonable but the sound engineers messed up the dynamics here and there...could be the system I heard it on but the choir seemed to move back and forth according to how the recordists were trying to contain the dynamic variation.  He'd lost a bit of his former energy by the time in made this recording - just my view - but one of the better ones all the same.     

[Holden]

The Previn I have is live, on DG from 1994, the WP with the Arnold Schoenberg Chor. I didn't realize he had recorded this twice. Yes, as M said it is pretty good, an exciting performance, but I had a few quibbles I remember, sometimes the sound is a bit harsh and the inner parts aren't always clear.

This disc has a funny story attached, I bought it because we were playing a transcription in band, I was 14, and it was the first DG disc I ever bought. I knew "The Yellow Label" was quite prestigious in classical and it was the most expensive one, so I figured it must be the "best"! 

I'm seeing this live next year and want to get another, one with more clarity. I will definitely look into the Jochum.

Check out the Previn EMI, It is much better than your DG recording.

[czgirb]

OK, one of the most done-to-death opening sections, but the rest of it is really rather fascinating. With such large forces though, and so many recordings, it's difficult to know which one to go for. I need to hear all the percussion (including the tam-tam), I need audible tubas, expressive soloists and a choir that sounds big and together.
I have the old Ozawa recording on RCA on vinyl which is wonderful, and the Hickox / LSO recording on CD (Regis) which I'm not struck with so I want to replace the CD.
Has anyone heard the new Marin Alsop recording on Naxos?

Since sound is a matter, I recommend that you should give yourself a try for:
* LP ... Previn (EMI).
* CD ... Shaw (Telarc).

[Brewski]

Last night's performance by Riccardo Muti and the Chicago Symphony Orchestra of Orff's Carmina Burana (opening night at Carnegie Hall) is online, below. Muti was sensational, making the piece much more than just loud and blustery, and the soloists and choruses were excellent.

http://www.npr.org/event/music/161954474/carnegie-hall-live-chicago-symphony-orchestra-performs-carmina-burana

--Bruce

[techniquest]

Holy resurrection Batman! 
Thanks for the link - I have given the Muti performance a listen but have to say I was struck from the start at the much slower pace than I'm used to (and I've listened to some of the recommendations cited on this thread over the last 5 years). It was kind of inside out with its' pacing - the 'Amor volat undique' being rather fast but beautifully delicate, as was the following song with the abnormally high part for the baritone. The kids had a nice 'urchin' sound about them in their brief sections, but the O Fortuna 'bookends' to the piece felt to me to be just a tad too sluggish.
I have bought the Alsop / Bournemouth recording on Naxos and find it to be a really nice, clear, well paced rendition; well worth the budget price! However, I have also since bought the Ozawa / Boston recording which I mentioned at the start, on CD 24/96 audiophile remastering. It just gives weight to the old adage 'if it ain't broke, don't fix it': this digitised version may be as clear as a bell, but they've ripped all the guts out of it. If you can find the un-remastered recording, I'd say give a it a try.

[Brewski]

Holy resurrection Batman! 
Thanks for the link - I have given the Muti performance a listen but have to say I was struck from the start at the much slower pace than I'm used to (and I've listened to some of the recommendations cited on this thread over the last 5 years). It was kind of inside out with its' pacing - the 'Amor volat undique' being rather fast but beautifully delicate, as was the following song with the abnormally high part for the baritone. The kids had a nice 'urchin' sound about them in their brief sections, but the O Fortuna 'bookends' to the piece felt to me to be just a tad too sluggish.
I have bought the Alsop / Bournemouth recording on Naxos and find it to be a really nice, clear, well paced rendition; well worth the budget price! However, I have also since bought the Ozawa / Boston recording which I mentioned at the start, on CD 24/96 audiophile remastering. It just gives weight to the old adage 'if it ain't broke, don't fix it': this digitised version may be as clear as a bell, but they've ripped all the guts out of it. If you can find the un-remastered recording, I'd say give a it a try.

You are absolutely right about the slower tempi (though I liked them). As a whole I thought Muti's choices made greater weight, but then, that's what I feel about some of Chailly's Mahler, which is too slow for others.

I do like Alsop, so will have to hear that - and haven't heard the Ozawa. My two favorites (to date) are Muti's with the Philharmonia (despite as I recall, some slightly hazy sound) and the wonderful Arleen Augér, and Blomstedt/San Francisco (with sound super-clear) and a really sharp chorus.

--Bruce

[Gurn Blanston]

After reading through this thread (? Don't know why, really) and then going out and finding the texts to the 24 songs and reading the background to the whole thing, I went ahead and picked this one up, as the generally accepted version:

I'm prepared to be gratified. 

[Brewski]

Gurn, I haven't heard that one in decades, but hey, it has Janowitz singing - how bad can it be? 

--Bruce

[Gurn Blanston]

Gurn, I haven't heard that one in decades, but hey, it has Janowitz singing - how bad can it be? 

--Bruce

Indeed, and F-D also. FWIW, early on in this thread M rec'd it wholeheartedly and clearly used it as a benchmark in comparing versions. Whatever else has passed under the bridge, he never steered me wrong on a recording. And Jochum; how bad could it be? 

You guys can all laugh at me and shake your heads in disbelief, but this is my first recording of this piece. Of course, I've heard it, but never got a recording of it. So there.


 

[TheGSMoeller]

You are absolutely right about the slower tempi (though I liked them). As a whole I thought Muti's choices made greater weight, but then, that's what I feel about some of Chailly's Mahler, which is too slow for others.

I do like Alsop, so will have to hear that - and haven't heard the Ozawa. My two favorites (to date) are Muti's with the Philharmonia (despite as I recall, some slightly hazy sound) and the wonderful Arleen Augér, and Blomstedt/San Francisco (with sound super-clear) and a really sharp chorus.

--Bruce

A big yes for the Blomstedt, Bruce, some others I enjoy is from Dorati (not near my collection so can't remember the ensemble) Slatkin/St Louis (excellent soloists-McNair, Hagegard and Aler) and the chamber version for percussion/pianos/vocalist.


Edit: The Dorati is with Royal Philharmonic, and here's the Chamber Version disc I own...

[Mirror Image]

After reading through this thread (? Don't know why, really) and then going out and finding the texts to the 24 songs and reading the background to the whole thing, I went ahead and picked this one up, as the generally accepted version:

I'm prepared to be gratified. 

In my estimate, the best performance of Carmina Burana on the market. It doesn't get much better than this recording. I haven't heard this work in several years, but the last recording I bought was Tilson Thomas and I enjoyed the modern sound of that one and the performance was melodically and rhythmically in line with the way I believe the work should sound.

Since visiting this thread, I've been thinking about picking up Muti's recording. This seems to be right up his alley I would think.

[mc ukrneal]

A big yes for the Blomstedt...

x2.

[TheGSMoeller]

Since visiting this thread, I've been thinking about picking up Muti's recording. This seems to be right up his alley I would think.

John, the Muti is quite intense, the Philharmonia orchestra is top notch. I'm sure you could snatch one fairly cheap.

[Mirror Image]

John, the Muti is quite intense, the Philharmonia orchestra is top notch. I'm sure you could snatch one fairly cheap.

How is the audio quality, Greg? I've read several complaints about it from Amazon reviewers.

[Gurn Blanston]

In my estimate, the best performance of Carmina Burana on the market. It doesn't get much better than this recording.

Well, you seem to be in agreement with a hell of a lot of other people on that! Of course, me being me, the consensus that the words are delivered in a clear and understandable way, and that the proper emotion is attached to them is crucial to my decision-making process. Now I know what's it's all about and have read the verses so I know the what and why. This is a vital part of my enjoyment process, and I think this recording will fit in with that nicely. It's already in the post, so I'll know soon enough.