Don't let the kids have all the fun, 27 Jun 2008
I'm 37 years old and this is on my iPod. I love it.

Jolly Good Fun, 08 Mar 2004
You'll either love or hate this - personally, I think it's the best 'Young Person's Guide' and one of the best 'Peter and the Wolf' recordings available. The Poulenc I don't know so I can only say I enjoyed it too.

More importantly, the children I have played it to have also enjoyed it - although the 'Australianisms' were strange to them (We adults can enjoy them!), the sheer enthusiasm of the 'narrators' puts across a love of the underlying music. As to the orchestra - good playing serving the composers' purpose and a good clear recording.

Jolly good fun, and repeatable too.

Great. Every child should have a copy and every school too!, 06 Jan 2004
I bought this for my 3-year old son who absolutely loves the Disney mini-classic VHS of the same name. I was slightly concerned that Dame Edna was the narrator incase the comedy detracted from the 'scaryness' of the story (which is half its appeal) and the educational aspect of the Orchestra. I needn't have worried as the Dame does a great job. Although her voice is condecending (on purpose) to adults, it is friendly and almost 'cuddly' to children. My son listened to the CD whilst playing in his bed-room and ran and hid his head under the bedclothes, in mock fright, when the wolf's music came on. It was a joy to witness. I am sure this score has done a lot to encourage children to either listen to or take up classical music as a hobby. That's why every Infant school should have a copy. Failing this, get one for your child. You also get Babar the Elephant and the sections of the Orchestra. At this price, it's an absolute bargain!

A delight for all ages, 07 Jan 2002
I ordered this CD as much for Dame Edna's narration as for the musical selection, but this turns out to be a real all-round delight. Technically and musically, it is by far the most sparkling rendition of Peter and the Wolf that I've ever heard. And, although it is often grouped on recordings with Britten's Young Person's Guide, Poulenc's Babar is less well known and often overlooked. A good selection, brilliantly executed. The best tribute comes from my three-year-old son, who asks to hear it every day.

Excellent introduction to classical music for children, 03 Dec 2001
The best way to introduce children to classical music is to make it fun and interesting. This CD manages this in two ways: by narrating the story along with the music and by highlighting the sounds made by particular instruments. I'm not a great Dame Edna Everage fan, but his/her narration is most fitting. My 6 year old daughter has several of the Naxos "narrated for children" stories and this is by far her favourite.

Don't let the kids have all the fun, 27 Jun 2008
I'm 37 years old and this is on my iPod. I love it.

Jolly Good Fun, 08 Mar 2004
You'll either love or hate this - personally, I think it's the best 'Young Person's Guide' and one of the best 'Peter and the Wolf' recordings available. The Poulenc I don't know so I can only say I enjoyed it too.

More importantly, the children I have played it to have also enjoyed it - although the 'Australianisms' were strange to them (We adults can enjoy them!), the sheer enthusiasm of the 'narrators' puts across a love of the underlying music. As to the orchestra - good playing serving the composers' purpose and a good clear recording.

Jolly good fun, and repeatable too.

Great. Every child should have a copy and every school too!, 06 Jan 2004
I bought this for my 3-year old son who absolutely loves the Disney mini-classic VHS of the same name. I was slightly concerned that Dame Edna was the narrator incase the comedy detracted from the 'scaryness' of the story (which is half its appeal) and the educational aspect of the Orchestra. I needn't have worried as the Dame does a great job. Although her voice is condecending (on purpose) to adults, it is friendly and almost 'cuddly' to children. My son listened to the CD whilst playing in his bed-room and ran and hid his head under the bedclothes, in mock fright, when the wolf's music came on. It was a joy to witness. I am sure this score has done a lot to encourage children to either listen to or take up classical music as a hobby. That's why every Infant school should have a copy. Failing this, get one for your child. You also get Babar the Elephant and the sections of the Orchestra. At this price, it's an absolute bargain!

A delight for all ages, 07 Jan 2002
I ordered this CD as much for Dame Edna's narration as for the musical selection, but this turns out to be a real all-round delight. Technically and musically, it is by far the most sparkling rendition of Peter and the Wolf that I've ever heard. And, although it is often grouped on recordings with Britten's Young Person's Guide, Poulenc's Babar is less well known and often overlooked. A good selection, brilliantly executed. The best tribute comes from my three-year-old son, who asks to hear it every day.

Excellent introduction to classical music for children, 03 Dec 2001
The best way to introduce children to classical music is to make it fun and interesting. This CD manages this in two ways: by narrating the story along with the music and by highlighting the sounds made by particular instruments. I'm not a great Dame Edna Everage fan, but his/her narration is most fitting. My 6 year old daughter has several of the Naxos "narrated for children" stories and this is by far her favourite.

ONE OF THE GREAT TREASURE-HOUSES OF THE GRAMOPHONE, 18 Apr 2007
This series, produced by EMI in the days of LPs, is one of the great achievements of the gramophone - they rightfully belong up there with the Decca Ring, the EMI Callas series, and any other candidates you care to name. Together they provide a truly comprehensive survey of singing right through the age of recording up to the early days of the LP. Sadly, to the best of my knowledge, only Volumes 3 & 4 have appeared on CD - the very earliest era of recording and the period up to the introduction of electrical recording methods that were originally on Volumes 1 and 2 really deserve to be heard again.

Volume 3, the collection under discussion here, covers the period from 1926-1939. This was a veritable Golden Age of Singing - in Wagner it was the era of Leider, Schorr and Melchior; the Italian School included the likes of Gigli, Muzio and Pinza and so it goes on through a broad representative range of French, English and Slavic singers. One of the great strengths of this series is that the best-known singers tend to be represented by less familiar repertoire, so it's more unlikely that collectors will duplicate material they already know well. And, of course, there is a huge range of other singers you probably won't have heard and some you may well not even have heard of. They all have something to tell us, though, about the times in which they worked, the styles of singing that were current then and the high standards that prevailed in the inter-war years. In some ways, the most surprising thing here is the strength in depth of the less familiar Schools, the French and the Anglo-American. It is good to be reminded just how good the likes of Georges Thill, Eide Norena or Pierre Bernac were - or from the UK, Isobel Baillie, Walter Widdop and Heddle Nash. Then there are the discoveries like the delightfully named Lulu Mysz-Gmeiner in a Brahms folksong or the black American, Roland Hayes, who sings Monteverdi with piano accompaniment totally unauthentically by today's standards, but with an attractive reedy tenor voice that reminds me a lot of the underrated Wilfred Brown.

This set, now available from Testament, is a real treasure-trove. The transfers are all well-researched and of the highest quality. Anyone with an interest in how the art of singing has evolved over the last hundred years or so, or who just has a passion for glorious singing, should snap up this set of CDs - especially this volume as it displays a Golden Age of Singing at an amazingly low price.

Don't let the kids have all the fun, 27 Jun 2008
I'm 37 years old and this is on my iPod. I love it.

Jolly Good Fun, 08 Mar 2004
You'll either love or hate this - personally, I think it's the best 'Young Person's Guide' and one of the best 'Peter and the Wolf' recordings available. The Poulenc I don't know so I can only say I enjoyed it too.

More importantly, the children I have played it to have also enjoyed it - although the 'Australianisms' were strange to them (We adults can enjoy them!), the sheer enthusiasm of the 'narrators' puts across a love of the underlying music. As to the orchestra - good playing serving the composers' purpose and a good clear recording.

Jolly good fun, and repeatable too.

Great. Every child should have a copy and every school too!, 06 Jan 2004
I bought this for my 3-year old son who absolutely loves the Disney mini-classic VHS of the same name. I was slightly concerned that Dame Edna was the narrator incase the comedy detracted from the 'scaryness' of the story (which is half its appeal) and the educational aspect of the Orchestra. I needn't have worried as the Dame does a great job. Although her voice is condecending (on purpose) to adults, it is friendly and almost 'cuddly' to children. My son listened to the CD whilst playing in his bed-room and ran and hid his head under the bedclothes, in mock fright, when the wolf's music came on. It was a joy to witness. I am sure this score has done a lot to encourage children to either listen to or take up classical music as a hobby. That's why every Infant school should have a copy. Failing this, get one for your child. You also get Babar the Elephant and the sections of the Orchestra. At this price, it's an absolute bargain!

A delight for all ages, 07 Jan 2002
I ordered this CD as much for Dame Edna's narration as for the musical selection, but this turns out to be a real all-round delight. Technically and musically, it is by far the most sparkling rendition of Peter and the Wolf that I've ever heard. And, although it is often grouped on recordings with Britten's Young Person's Guide, Poulenc's Babar is less well known and often overlooked. A good selection, brilliantly executed. The best tribute comes from my three-year-old son, who asks to hear it every day.

Excellent introduction to classical music for children, 03 Dec 2001
The best way to introduce children to classical music is to make it fun and interesting. This CD manages this in two ways: by narrating the story along with the music and by highlighting the sounds made by particular instruments. I'm not a great Dame Edna Everage fan, but his/her narration is most fitting. My 6 year old daughter has several of the Naxos "narrated for children" stories and this is by far her favourite.

ONE OF THE GREAT TREASURE-HOUSES OF THE GRAMOPHONE, 18 Apr 2007
This series, produced by EMI in the days of LPs, is one of the great achievements of the gramophone - they rightfully belong up there with the Decca Ring, the EMI Callas series, and any other candidates you care to name. Together they provide a truly comprehensive survey of singing right through the age of recording up to the early days of the LP. Sadly, to the best of my knowledge, only Volumes 3 & 4 have appeared on CD - the very earliest era of recording and the period up to the introduction of electrical recording methods that were originally on Volumes 1 and 2 really deserve to be heard again.

Volume 3, the collection under discussion here, covers the period from 1926-1939. This was a veritable Golden Age of Singing - in Wagner it was the era of Leider, Schorr and Melchior; the Italian School included the likes of Gigli, Muzio and Pinza and so it goes on through a broad representative range of French, English and Slavic singers. One of the great strengths of this series is that the best-known singers tend to be represented by less familiar repertoire, so it's more unlikely that collectors will duplicate material they already know well. And, of course, there is a huge range of other singers you probably won't have heard and some you may well not even have heard of. They all have something to tell us, though, about the times in which they worked, the styles of singing that were current then and the high standards that prevailed in the inter-war years. In some ways, the most surprising thing here is the strength in depth of the less familiar Schools, the French and the Anglo-American. It is good to be reminded just how good the likes of Georges Thill, Eide Norena or Pierre Bernac were - or from the UK, Isobel Baillie, Walter Widdop and Heddle Nash. Then there are the discoveries like the delightfully named Lulu Mysz-Gmeiner in a Brahms folksong or the black American, Roland Hayes, who sings Monteverdi with piano accompaniment totally unauthentically by today's standards, but with an attractive reedy tenor voice that reminds me a lot of the underrated Wilfred Brown.

This set, now available from Testament, is a real treasure-trove. The transfers are all well-researched and of the highest quality. Anyone with an interest in how the art of singing has evolved over the last hundred years or so, or who just has a passion for glorious singing, should snap up this set of CDs - especially this volume as it displays a Golden Age of Singing at an amazingly low price.

Durufle - the best, 15 Feb 2006
The Cleobury, St John's College recording of Durufle's Requiem is a gem. Unlike other recordings it eschews the operatic and attains a yearning frailty and simplicity entirely in keeping with the work's themes. It remains, for my money, the finest and most moving recording of this composition I have heard.

Intimate and honest, 04 Feb 2005
It's not the most solid performance of these works,neither the most powerful, nor the most perfect or the better vocalised. The choir does not always enter the passeges at the right tempo, and there are some tracks where some extra energy, for adult voices would've been desireable (listen to Durufle's 'Liberame). However, the intimacy and sweetness of these performances compensate for any lack in other fields. The particular quality of the children's voices adds to the spirituality of this music. VOice solos are consistently superb. Jonathan Bond does an impressive Liberame in Faure's Requiem, and Robert King is breathtakingly unearthly in Durufle's "pie Jesu" (is he the same Robert King as the one leading the King's COnsort today?!?!) Sound quality is satisfactory, although not the most careful capture made by Decca, but this should not be an excure not to get it. Poulenc's unfrequent choral works are a most attractive bonus. Highly recommended.

Don't let the kids have all the fun, 27 Jun 2008
I'm 37 years old and this is on my iPod. I love it.

Jolly Good Fun, 08 Mar 2004
You'll either love or hate this - personally, I think it's the best 'Young Person's Guide' and one of the best 'Peter and the Wolf' recordings available. The Poulenc I don't know so I can only say I enjoyed it too.

More importantly, the children I have played it to have also enjoyed it - although the 'Australianisms' were strange to them (We adults can enjoy them!), the sheer enthusiasm of the 'narrators' puts across a love of the underlying music. As to the orchestra - good playing serving the composers' purpose and a good clear recording.

Jolly good fun, and repeatable too.

Great. Every child should have a copy and every school too!, 06 Jan 2004
I bought this for my 3-year old son who absolutely loves the Disney mini-classic VHS of the same name. I was slightly concerned that Dame Edna was the narrator incase the comedy detracted from the 'scaryness' of the story (which is half its appeal) and the educational aspect of the Orchestra. I needn't have worried as the Dame does a great job. Although her voice is condecending (on purpose) to adults, it is friendly and almost 'cuddly' to children. My son listened to the CD whilst playing in his bed-room and ran and hid his head under the bedclothes, in mock fright, when the wolf's music came on. It was a joy to witness. I am sure this score has done a lot to encourage children to either listen to or take up classical music as a hobby. That's why every Infant school should have a copy. Failing this, get one for your child. You also get Babar the Elephant and the sections of the Orchestra. At this price, it's an absolute bargain!

A delight for all ages, 07 Jan 2002
I ordered this CD as much for Dame Edna's narration as for the musical selection, but this turns out to be a real all-round delight. Technically and musically, it is by far the most sparkling rendition of Peter and the Wolf that I've ever heard. And, although it is often grouped on recordings with Britten's Young Person's Guide, Poulenc's Babar is less well known and often overlooked. A good selection, brilliantly executed. The best tribute comes from my three-year-old son, who asks to hear it every day.

Excellent introduction to classical music for children, 03 Dec 2001
The best way to introduce children to classical music is to make it fun and interesting. This CD manages this in two ways: by narrating the story along with the music and by highlighting the sounds made by particular instruments. I'm not a great Dame Edna Everage fan, but his/her narration is most fitting. My 6 year old daughter has several of the Naxos "narrated for children" stories and this is by far her favourite.

ONE OF THE GREAT TREASURE-HOUSES OF THE GRAMOPHONE, 18 Apr 2007
This series, produced by EMI in the days of LPs, is one of the great achievements of the gramophone - they rightfully belong up there with the Decca Ring, the EMI Callas series, and any other candidates you care to name. Together they provide a truly comprehensive survey of singing right through the age of recording up to the early days of the LP. Sadly, to the best of my knowledge, only Volumes 3 & 4 have appeared on CD - the very earliest era of recording and the period up to the introduction of electrical recording methods that were originally on Volumes 1 and 2 really deserve to be heard again.

Volume 3, the collection under discussion here, covers the period from 1926-1939. This was a veritable Golden Age of Singing - in Wagner it was the era of Leider, Schorr and Melchior; the Italian School included the likes of Gigli, Muzio and Pinza and so it goes on through a broad representative range of French, English and Slavic singers. One of the great strengths of this series is that the best-known singers tend to be represented by less familiar repertoire, so it's more unlikely that collectors will duplicate material they already know well. And, of course, there is a huge range of other singers you probably won't have heard and some you may well not even have heard of. They all have something to tell us, though, about the times in which they worked, the styles of singing that were current then and the high standards that prevailed in the inter-war years. In some ways, the most surprising thing here is the strength in depth of the less familiar Schools, the French and the Anglo-American. It is good to be reminded just how good the likes of Georges Thill, Eide Norena or Pierre Bernac were - or from the UK, Isobel Baillie, Walter Widdop and Heddle Nash. Then there are the discoveries like the delightfully named Lulu Mysz-Gmeiner in a Brahms folksong or the black American, Roland Hayes, who sings Monteverdi with piano accompaniment totally unauthentically by today's standards, but with an attractive reedy tenor voice that reminds me a lot of the underrated Wilfred Brown.

This set, now available from Testament, is a real treasure-trove. The transfers are all well-researched and of the highest quality. Anyone with an interest in how the art of singing has evolved over the last hundred years or so, or who just has a passion for glorious singing, should snap up this set of CDs - especially this volume as it displays a Golden Age of Singing at an amazingly low price.

Durufle - the best, 15 Feb 2006
The Cleobury, St John's College recording of Durufle's Requiem is a gem. Unlike other recordings it eschews the operatic and attains a yearning frailty and simplicity entirely in keeping with the work's themes. It remains, for my money, the finest and most moving recording of this composition I have heard.

Intimate and honest, 04 Feb 2005
It's not the most solid performance of these works,neither the most powerful, nor the most perfect or the better vocalised. The choir does not always enter the passeges at the right tempo, and there are some tracks where some extra energy, for adult voices would've been desireable (listen to Durufle's 'Liberame). However, the intimacy and sweetness of these performances compensate for any lack in other fields. The particular quality of the children's voices adds to the spirituality of this music. VOice solos are consistently superb. Jonathan Bond does an impressive Liberame in Faure's Requiem, and Robert King is breathtakingly unearthly in Durufle's "pie Jesu" (is he the same Robert King as the one leading the King's COnsort today?!?!) Sound quality is satisfactory, although not the most careful capture made by Decca, but this should not be an excure not to get it. Poulenc's unfrequent choral works are a most attractive bonus. Highly recommended.

Disappointing disk, 06 Dec 2008
Heard Renee Fleming live at the Faenol Festival some years ago and was sufficiently impressed to seek out this CD, being a fan o sacred arias. However, having listened to it a couple of times I've put in back on the rack as I didn't enjoy it - I find her voice too powerful for this kind of song - a bit of a sledgehammer to crack a nut, if you get my drift.

Don't let the kids have all the fun, 27 Jun 2008
I'm 37 years old and this is on my iPod. I love it.

Jolly Good Fun, 08 Mar 2004
You'll either love or hate this - personally, I think it's the best 'Young Person's Guide' and one of the best 'Peter and the Wolf' recordings available. The Poulenc I don't know so I can only say I enjoyed it too.

More importantly, the children I have played it to have also enjoyed it - although the 'Australianisms' were strange to them (We adults can enjoy them!), the sheer enthusiasm of the 'narrators' puts across a love of the underlying music. As to the orchestra - good playing serving the composers' purpose and a good clear recording.

Jolly good fun, and repeatable too.

Great. Every child should have a copy and every school too!, 06 Jan 2004
I bought this for my 3-year old son who absolutely loves the Disney mini-classic VHS of the same name. I was slightly concerned that Dame Edna was the narrator incase the comedy detracted from the 'scaryness' of the story (which is half its appeal) and the educational aspect of the Orchestra. I needn't have worried as the Dame does a great job. Although her voice is condecending (on purpose) to adults, it is friendly and almost 'cuddly' to children. My son listened to the CD whilst playing in his bed-room and ran and hid his head under the bedclothes, in mock fright, when the wolf's music came on. It was a joy to witness. I am sure this score has done a lot to encourage children to either listen to or take up classical music as a hobby. That's why every Infant school should have a copy. Failing this, get one for your child. You also get Babar the Elephant and the sections of the Orchestra. At this price, it's an absolute bargain!

A delight for all ages, 07 Jan 2002
I ordered this CD as much for Dame Edna's narration as for the musical selection, but this turns out to be a real all-round delight. Technically and musically, it is by far the most sparkling rendition of Peter and the Wolf that I've ever heard. And, although it is often grouped on recordings with Britten's Young Person's Guide, Poulenc's Babar is less well known and often overlooked. A good selection, brilliantly executed. The best tribute comes from my three-year-old son, who asks to hear it every day.

Excellent introduction to classical music for children, 03 Dec 2001
The best way to introduce children to classical music is to make it fun and interesting. This CD manages this in two ways: by narrating the story along with the music and by highlighting the sounds made by particular instruments. I'm not a great Dame Edna Everage fan, but his/her narration is most fitting. My 6 year old daughter has several of the Naxos "narrated for children" stories and this is by far her favourite.

ONE OF THE GREAT TREASURE-HOUSES OF THE GRAMOPHONE, 18 Apr 2007
This series, produced by EMI in the days of LPs, is one of the great achievements of the gramophone - they rightfully belong up there with the Decca Ring, the EMI Callas series, and any other candidates you care to name. Together they provide a truly comprehensive survey of singing right through the age of recording up to the early days of the LP. Sadly, to the best of my knowledge, only Volumes 3 & 4 have appeared on CD - the very earliest era of recording and the period up to the introduction of electrical recording methods that were originally on Volumes 1 and 2 really deserve to be heard again.

Volume 3, the collection under discussion here, covers the period from 1926-1939. This was a veritable Golden Age of Singing - in Wagner it was the era of Leider, Schorr and Melchior; the Italian School included the likes of Gigli, Muzio and Pinza and so it goes on through a broad representative range of French, English and Slavic singers. One of the great strengths of this series is that the best-known singers tend to be represented by less familiar repertoire, so it's more unlikely that collectors will duplicate material they already know well. And, of course, there is a huge range of other singers you probably won't have heard and some you may well not even have heard of. They all have something to tell us, though, about the times in which they worked, the styles of singing that were current then and the high standards that prevailed in the inter-war years. In some ways, the most surprising thing here is the strength in depth of the less familiar Schools, the French and the Anglo-American. It is good to be reminded just how good the likes of Georges Thill, Eide Norena or Pierre Bernac were - or from the UK, Isobel Baillie, Walter Widdop and Heddle Nash. Then there are the discoveries like the delightfully named Lulu Mysz-Gmeiner in a Brahms folksong or the black American, Roland Hayes, who sings Monteverdi with piano accompaniment totally unauthentically by today's standards, but with an attractive reedy tenor voice that reminds me a lot of the underrated Wilfred Brown.

This set, now available from Testament, is a real treasure-trove. The transfers are all well-researched and of the highest quality. Anyone with an interest in how the art of singing has evolved over the last hundred years or so, or who just has a passion for glorious singing, should snap up this set of CDs - especially this volume as it displays a Golden Age of Singing at an amazingly low price.

Durufle - the best, 15 Feb 2006
The Cleobury, St John's College recording of Durufle's Requiem is a gem. Unlike other recordings it eschews the operatic and attains a yearning frailty and simplicity entirely in keeping with the work's themes. It remains, for my money, the finest and most moving recording of this composition I have heard.

Intimate and honest, 04 Feb 2005
It's not the most solid performance of these works,neither the most powerful, nor the most perfect or the better vocalised. The choir does not always enter the passeges at the right tempo, and there are some tracks where some extra energy, for adult voices would've been desireable (listen to Durufle's 'Liberame). However, the intimacy and sweetness of these performances compensate for any lack in other fields. The particular quality of the children's voices adds to the spirituality of this music. VOice solos are consistently superb. Jonathan Bond does an impressive Liberame in Faure's Requiem, and Robert King is breathtakingly unearthly in Durufle's "pie Jesu" (is he the same Robert King as the one leading the King's COnsort today?!?!) Sound quality is satisfactory, although not the most careful capture made by Decca, but this should not be an excure not to get it. Poulenc's unfrequent choral works are a most attractive bonus. Highly recommended.

Disappointing disk, 06 Dec 2008
Heard Renee Fleming live at the Faenol Festival some years ago and was sufficiently impressed to seek out this CD, being a fan o sacred arias. However, having listened to it a couple of times I've put in back on the rack as I didn't enjoy it - I find her voice too powerful for this kind of song - a bit of a sledgehammer to crack a nut, if you get my drift.

Bargain, 30 Mar 2007
This is the finest collection of French Clarinet music, most of which is staple of the Clarinet repertoire (students and professionals alike). What makes this CD even better is the excellent interpretation and recording quality. The only thing which stopped me giving 5 stars, is that I found the playing of the Saint-Saens' sonata too laid back in large sections at the start and at the end.

Don't let the kids have all the fun, 27 Jun 2008
I'm 37 years old and this is on my iPod. I love it.

Jolly Good Fun, 08 Mar 2004
You'll either love or hate this - personally, I think it's the best 'Young Person's Guide' and one of the best 'Peter and the Wolf' recordings available. The Poulenc I don't know so I can only say I enjoyed it too.

More importantly, the children I have played it to have also enjoyed it - although the 'Australianisms' were strange to them (We adults can enjoy them!), the sheer enthusiasm of the 'narrators' puts across a love of the underlying music. As to the orchestra - good playing serving the composers' purpose and a good clear recording.

Jolly good fun, and repeatable too.

Great. Every child should have a copy and every school too!, 06 Jan 2004
I bought this for my 3-year old son who absolutely loves the Disney mini-classic VHS of the same name. I was slightly concerned that Dame Edna was the narrator incase the comedy detracted from the 'scaryness' of the story (which is half its appeal) and the educational aspect of the Orchestra. I needn't have worried as the Dame does a great job. Although her voice is condecending (on purpose) to adults, it is friendly and almost 'cuddly' to children. My son listened to the CD whilst playing in his bed-room and ran and hid his head under the bedclothes, in mock fright, when the wolf's music came on. It was a joy to witness. I am sure this score has done a lot to encourage children to either listen to or take up classical music as a hobby. That's why every Infant school should have a copy. Failing this, get one for your child. You also get Babar the Elephant and the sections of the Orchestra. At this price, it's an absolute bargain!

A delight for all ages, 07 Jan 2002
I ordered this CD as much for Dame Edna's narration as for the musical selection, but this turns out to be a real all-round delight. Technically and musically, it is by far the most sparkling rendition of Peter and the Wolf that I've ever heard. And, although it is often grouped on recordings with Britten's Young Person's Guide, Poulenc's Babar is less well known and often overlooked. A good selection, brilliantly executed. The best tribute comes from my three-year-old son, who asks to hear it every day.

Excellent introduction to classical music for children, 03 Dec 2001
The best way to introduce children to classical music is to make it fun and interesting. This CD manages this in two ways: by narrating the story along with the music and by highlighting the sounds made by particular instruments. I'm not a great Dame Edna Everage fan, but his/her narration is most fitting. My 6 year old daughter has several of the Naxos "narrated for children" stories and this is by far her favourite.

ONE OF THE GREAT TREASURE-HOUSES OF THE GRAMOPHONE, 18 Apr 2007
This series, produced by EMI in the days of LPs, is one of the great achievements of the gramophone - they rightfully belong up there with the Decca Ring, the EMI Callas series, and any other candidates you care to name. Together they provide a truly comprehensive survey of singing right through the age of recording up to the early days of the LP. Sadly, to the best of my knowledge, only Volumes 3 & 4 have appeared on CD - the very earliest era of recording and the period up to the introduction of electrical recording methods that were originally on Volumes 1 and 2 really deserve to be heard again.

Volume 3, the collection under discussion here, covers the period from 1926-1939. This was a veritable Golden Age of Singing - in Wagner it was the era of Leider, Schorr and Melchior; the Italian School included the likes of Gigli, Muzio and Pinza and so it goes on through a broad representative range of French, English and Slavic singers. One of the great strengths of this series is that the best-known singers tend to be represented by less familiar repertoire, so it's more unlikely that collectors will duplicate material they already know well. And, of course, there is a huge range of other singers you probably won't have heard and some you may well not even have heard of. They all have something to tell us, though, about the times in which they worked, the styles of singing that were current then and the high standards that prevailed in the inter-war years. In some ways, the most surprising thing here is the strength in depth of the less familiar Schools, the French and the Anglo-American. It is good to be reminded just how good the likes of Georges Thill, Eide Norena or Pierre Bernac were - or from the UK, Isobel Baillie, Walter Widdop and Heddle Nash. Then there are the discoveries like the delightfully named Lulu Mysz-Gmeiner in a Brahms folksong or the black American, Roland Hayes, who sings Monteverdi with piano accompaniment totally unauthentically by today's standards, but with an attractive reedy tenor voice that reminds me a lot of the underrated Wilfred Brown.

This set, now available from Testament, is a real treasure-trove. The transfers are all well-researched and of the highest quality. Anyone with an interest in how the art of singing has evolved over the last hundred years or so, or who just has a passion for glorious singing, should snap up this set of CDs - especially this volume as it displays a Golden Age of Singing at an amazingly low price.

Durufle - the best, 15 Feb 2006
The Cleobury, St John's College recording of Durufle's Requiem is a gem. Unlike other recordings it eschews the operatic and attains a yearning frailty and simplicity entirely in keeping with the work's themes. It remains, for my money, the finest and most moving recording of this composition I have heard.

Intimate and honest, 04 Feb 2005
It's not the most solid performance of these works,neither the most powerful, nor the most perfect or the better vocalised. The choir does not always enter the passeges at the right tempo, and there are some tracks where some extra energy, for adult voices would've been desireable (listen to Durufle's 'Liberame). However, the intimacy and sweetness of these performances compensate for any lack in other fields. The particular quality of the children's voices adds to the spirituality of this music. VOice solos are consistently superb. Jonathan Bond does an impressive Liberame in Faure's Requiem, and Robert King is breathtakingly unearthly in Durufle's "pie Jesu" (is he the same Robert King as the one leading the King's COnsort today?!?!) Sound quality is satisfactory, although not the most careful capture made by Decca, but this should not be an excure not to get it. Poulenc's unfrequent choral works are a most attractive bonus. Highly recommended.

Disappointing disk, 06 Dec 2008
Heard Renee Fleming live at the Faenol Festival some years ago and was sufficiently impressed to seek out this CD, being a fan o sacred arias. However, having listened to it a couple of times I've put in back on the rack as I didn't enjoy it - I find her voice too powerful for this kind of song - a bit of a sledgehammer to crack a nut, if you get my drift.

Bargain, 30 Mar 2007
This is the finest collection of French Clarinet music, most of which is staple of the Clarinet repertoire (students and professionals alike). What makes this CD even better is the excellent interpretation and recording quality. The only thing which stopped me giving 5 stars, is that I found the playing of the Saint-Saens' sonata too laid back in large sections at the start and at the end.

Charming and Genial, 10 Jun 2008
Julian Bliss' brilliantly charming and genial performances of these classic repertoire Clarinet & Piano works are infectiously enjoyable. The accompaniment on the piano is also excellent. This is a must have CD for anyone who's a fan of the Clarinet. You'll also become a Julian Bliss fan when you have listened to this CD! Bravo !!!

Marc-André Hamelin is a noted pianistic dazzler, but what he does in Kaleidoscope is sheer delight. Twenty piano miniatures, some never previously recorded and all relatively unknown, may sound as indigestibly rich as a concert of encores, but Hamelin has chosen and arranged them with such care that they slip down like fine champagne. There are real curiosities here, notably Offenbach's tune, which became the hymn of the American marines, and Felix Blumenfeld's study for solo left hand, which has an extraordinarily spacious grace. And there are some marvellous jokes, including one of Hamelin's own homages to Scarlatti, which comes equipped with all the Scarlatti mannerisms but stands them wickedly askew. There is also great beauty here--viz Moszkowski's Chopinesque Etude in A Flat Major and Josef Hofmann's Kaleidoscop Op. 40 No. 4, whose fistfuls of notes are brandished with pearly brilliance. Everything on this irresistible CD has wit and charm: you listen with a smile on your face.--Michael Church

Don't let the kids have all the fun, 27 Jun 2008
I'm 37 years old and this is on my iPod. I love it.

Jolly Good Fun, 08 Mar 2004
You'll either love or hate this - personally, I think it's the best 'Young Person's Guide' and one of the best 'Peter and the Wolf' recordings available. The Poulenc I don't know so I can only say I enjoyed it too.

More importantly, the children I have played it to have also enjoyed it - although the 'Australianisms' were strange to them (We adults can enjoy them!), the sheer enthusiasm of the 'narrators' puts across a love of the underlying music. As to the orchestra - good playing serving the composers' purpose and a good clear recording.

Jolly good fun, and repeatable too.

Great. Every child should have a copy and every school too!, 06 Jan 2004
I bought this for my 3-year old son who absolutely loves the Disney mini-classic VHS of the same name. I was slightly concerned that Dame Edna was the narrator incase the comedy detracted from the 'scaryness' of the story (which is half its appeal) and the educational aspect of the Orchestra. I needn't have worried as the Dame does a great job. Although her voice is condecending (on purpose) to adults, it is friendly and almost 'cuddly' to children. My son listened to the CD whilst playing in his bed-room and ran and hid his head under the bedclothes, in mock fright, when the wolf's music came on. It was a joy to witness. I am sure this score has done a lot to encourage children to either listen to or take up classical music as a hobby. That's why every Infant school should have a copy. Failing this, get one for your child. You also get Babar the Elephant and the sections of the Orchestra. At this price, it's an absolute bargain!

A delight for all ages, 07 Jan 2002
I ordered this CD as much for Dame Edna's narration as for the musical selection, but this turns out to be a real all-round delight. Technically and musically, it is by far the most sparkling rendition of Peter and the Wolf that I've ever heard. And, although it is often grouped on recordings with Britten's Young Person's Guide, Poulenc's Babar is less well known and often overlooked. A good selection, brilliantly executed. The best tribute comes from my three-year-old son, who asks to hear it every day.

Excellent introduction to classical music for children, 03 Dec 2001
The best way to introduce children to classical music is to make it fun and interesting. This CD manages this in two ways: by narrating the story along with the music and by highlighting the sounds made by particular instruments. I'm not a great Dame Edna Everage fan, but his/her narration is most fitting. My 6 year old daughter has several of the Naxos "narrated for children" stories and this is by far her favourite.

ONE OF THE GREAT TREASURE-HOUSES OF THE GRAMOPHONE, 18 Apr 2007
This series, produced by EMI in the days of LPs, is one of the great achievements of the gramophone - they rightfully belong up there with the Decca Ring, the EMI Callas series, and any other candidates you care to name. Together they provide a truly comprehensive survey of singing right through the age of recording up to the early days of the LP. Sadly, to the best of my knowledge, only Volumes 3 & 4 have appeared on CD - the very earliest era of recording and the period up to the introduction of electrical recording methods that were originally on Volumes 1 and 2 really deserve to be heard again.

Volume 3, the collection under discussion here, covers the period from 1926-1939. This was a veritable Golden Age of Singing - in Wagner it was the era of Leider, Schorr and Melchior; the Italian School included the likes of Gigli, Muzio and Pinza and so it goes on through a broad representative range of French, English and Slavic singers. One of the great strengths of this series is that the best-known singers tend to be represented by less familiar repertoire, so it's more unlikely that collectors will duplicate material they already know well. And, of course, there is a huge range of other singers you probably won't have heard and some you may well not even have heard of. They all have something to tell us, though, about the times in which they worked, the styles of singing that were current then and the high standards that prevailed in the inter-war years. In some ways, the most surprising thing here is the strength in depth of the less familiar Schools, the French and the Anglo-American. It is good to be reminded just how good the likes of Georges Thill, Eide Norena or Pierre Bernac were - or from the UK, Isobel Baillie, Walter Widdop and Heddle Nash. Then there are the discoveries like the delightfully named Lulu Mysz-Gmeiner in a Brahms folksong or the black American, Roland Hayes, who sings Monteverdi with piano accompaniment totally unauthentically by today's standards, but with an attractive reedy tenor voice that reminds me a lot of the underrated Wilfred Brown.

This set, now available from Testament, is a real treasure-trove. The transfers are all well-researched and of the highest quality. Anyone with an interest in how the art of singing has evolved over the last hundred years or so, or who just has a passion for glorious singing, should snap up this set of CDs - especially this volume as it displays a Golden Age of Singing at an amazingly low price.

Durufle - the best, 15 Feb 2006
The Cleobury, St John's College recording of Durufle's Requiem is a gem. Unlike other recordings it eschews the operatic and attains a yearning frailty and simplicity entirely in keeping with the work's themes. It remains, for my money, the finest and most moving recording of this composition I have heard.

Intimate and honest, 04 Feb 2005
It's not the most solid performance of these works,neither the most powerful, nor the most perfect or the better vocalised. The choir does not always enter the passeges at the right tempo, and there are some tracks where some extra energy, for adult voices would've been desireable (listen to Durufle's 'Liberame). However, the intimacy and sweetness of these performances compensate for any lack in other fields. The particular quality of the children's voices adds to the spirituality of this music. VOice solos are consistently superb. Jonathan Bond does an impressive Liberame in Faure's Requiem, and Robert King is breathtakingly unearthly in Durufle's "pie Jesu" (is he the same Robert King as the one leading the King's COnsort today?!?!) Sound quality is satisfactory, although not the most careful capture made by Decca, but this should not be an excure not to get it. Poulenc's unfrequent choral works are a most attractive bonus. Highly recommended.

Disappointing disk, 06 Dec 2008
Heard Renee Fleming live at the Faenol Festival some years ago and was sufficiently impressed to seek out this CD, being a fan o sacred arias. However, having listened to it a couple of times I've put in back on the rack as I didn't enjoy it - I find her voice too powerful for this kind of song - a bit of a sledgehammer to crack a nut, if you get my drift.

Bargain, 30 Mar 2007
This is the finest collection of French Clarinet music, most of which is staple of the Clarinet repertoire (students and professionals alike). What makes this CD even better is the excellent interpretation and recording quality. The only thing which stopped me giving 5 stars, is that I found the playing of the Saint-Saens' sonata too laid back in large sections at the start and at the end.

Charming and Genial, 10 Jun 2008
Julian Bliss' brilliantly charming and genial performances of these classic repertoire Clarinet & Piano works are infectiously enjoyable. The accompaniment on the piano is also excellent. This is a must have CD for anyone who's a fan of the Clarinet. You'll also become a Julian Bliss fan when you have listened to this CD! Bravo !!!



WOW!, 20 Mar 2004
I can't believe that only a month ago I didn't know Marc Andre Hamelin. I have been listening to classical music seriously for 6 years (i'm 24). I've went through most of the recordings of all the great pianists of the beginning of the century - Rubinstein, Richter, Hoffmann, Gilels, Gould... you name them - everyone. A couple of months ago I picked up a disc by Pletnev (in carnegie hall), and became convinced that Pletnev is the most serious (though boring) pianist today (well, I like Schiff too). But I was disappointed that there is no pianist of the scale of Hofmmann or Richter or Gould living today. There will never be another Gould, and never another Hofmann, but when I heard for the first time Hamelin's Kaleidoscope, I was overjoyed.

What a pianist !!!!!

I bought 4 more of his discs, and they are all my favourite discs. I admire him for his disc repertoire - not what you'd find with Perahia or Kissin, recycling all the old tunes - but fresh and exciting pieces, and boy, can this man play....

I saw that this disc had no reviews, and that amazon promises to dispatch it within 2 weeks, which means not many know of this disc, and that's why i decided to share this secret. Listen also to his performance of la campanella on the paganini etudes disc (different cd).

Enjoy!

Like his fellow countryman John Williams, Australian-born guitarist Craig Ogden is no slouch when it comes to performing new repertoire. So, for an album of "meditative" music that could have been an excuse simply to dust-off some old classical guitar warhorses, Ogden fearlessly throws in four premiere recordings of contemporary pieces to broaden the disc's appeal. Takashi Yoshimatsu's Wind Color Vector uses the guitar to evoke the elemental nature of the wind (it's one part of a three-movement work inspired by wind, water and sky) with extensive use of harmonics; while his Two Little Pieces are musical depictions of "a lonely fish" (lots of swirling right hand tremelo) and "a white view"(!). Eduardo Sainz de la Maza's Platero y yo imparts a gentle jazz sensibility to a Spanish subject; while the last of William Lovelady's Incantations is subtitled "Hommage to Stanley Myers", which links neatly to Myers's most famous composition, his Cavatina (here played in John Williams's classic solo guitar arrangement for the film The Deer Hunter). Throughout, Ogden's playing is a constant source of pleasure. Whether in evergreens like Cavatina and Tárrega's Recuerdos de la Alhambra, or the new, unfamiliar repertoire, his flawless technique and tone-production, perfectly captured by the Chandos recording, are the strongest reasons to buy this disc. --Mark Walker

Don't let the kids have all the fun, 27 Jun 2008
I'm 37 years old and this is on my iPod. I love it.

Jolly Good Fun, 08 Mar 2004
You'll either love or hate this - personally, I think it's the best 'Young Person's Guide' and one of the best 'Peter and the Wolf' recordings available. The Poulenc I don't know so I can only say I enjoyed it too.

More importantly, the children I have played it to have also enjoyed it - although the 'Australianisms' were strange to them (We adults can enjoy them!), the sheer enthusiasm of the 'narrators' puts across a love of the underlying music. As to the orchestra - good playing serving the composers' purpose and a good clear recording.

Jolly good fun, and repeatable too.

Great. Every child should have a copy and every school too!, 06 Jan 2004
I bought this for my 3-year old son who absolutely loves the Disney mini-classic VHS of the same name. I was slightly concerned that Dame Edna was the narrator incase the comedy detracted from the 'scaryness' of the story (which is half its appeal) and the educational aspect of the Orchestra. I needn't have worried as the Dame does a great job. Although her voice is condecending (on purpose) to adults, it is friendly and almost 'cuddly' to children. My son listened to the CD whilst playing in his bed-room and ran and hid his head under the bedclothes, in mock fright, when the wolf's music came on. It was a joy to witness. I am sure this score has done a lot to encourage children to either listen to or take up classical music as a hobby. That's why every Infant school should have a copy. Failing this, get one for your child. You also get Babar the Elephant and the sections of the Orchestra. At this price, it's an absolute bargain!

A delight for all ages, 07 Jan 2002
I ordered this CD as much for Dame Edna's narration as for the musical selection, but this turns out to be a real all-round delight. Technically and musically, it is by far the most sparkling rendition of Peter and the Wolf that I've ever heard. And, although it is often grouped on recordings with Britten's Young Person's Guide, Poulenc's Babar is less well known and often overlooked. A good selection, brilliantly executed. The best tribute comes from my three-year-old son, who asks to hear it every day.

Excellent introduction to classical music for children, 03 Dec 2001
The best way to introduce children to classical music is to make it fun and interesting. This CD manages this in two ways: by narrating the story along with the music and by highlighting the sounds made by particular instruments. I'm not a great Dame Edna Everage fan, but his/her narration is most fitting. My 6 year old daughter has several of the Naxos "narrated for children" stories and this is by far her favourite.

ONE OF THE GREAT TREASURE-HOUSES OF THE GRAMOPHONE, 18 Apr 2007
This series, produced by EMI in the days of LPs, is one of the great achievements of the gramophone - they rightfully belong up there with the Decca Ring, the EMI Callas series, and any other candidates you care to name. Together they provide a truly comprehensive survey of singing right through the age of recording up to the early days of the LP. Sadly, to the best of my knowledge, only Volumes 3 & 4 have appeared on CD - the very earliest era of recording and the period up to the introduction of electrical recording methods that were originally on Volumes 1 and 2 really deserve to be heard again.

Volume 3, the collection under discussion here, covers the period from 1926-1939. This was a veritable Golden Age of Singing - in Wagner it was the era of Leider, Schorr and Melchior; the Italian School included the likes of Gigli, Muzio and Pinza and so it goes on through a broad representative range of French, English and Slavic singers. One of the great strengths of this series is that the best-known singers tend to be represented by less familiar repertoire, so it's more unlikely that collectors will duplicate material they already know well. And, of course, there is a huge range of other singers you probably won't have heard and some you may well not even have heard of. They all have something to tell us, though, about the times in which they worked, the styles of singing that were current then and the high standards that prevailed in the inter-war years. In some ways, the most surprising thing here is the strength in depth of the less familiar Schools, the French and the Anglo-American. It is good to be reminded just how good the likes of Georges Thill, Eide Norena or Pierre Bernac were - or from the UK, Isobel Baillie, Walter Widdop and Heddle Nash. Then there are the discoveries like the delightfully named Lulu Mysz-Gmeiner in a Brahms folksong or the black American, Roland Hayes, who sings Monteverdi with piano accompaniment totally unauthentically by today's standards, but with an attractive reedy tenor voice that reminds me a lot of the underrated Wilfred Brown.

This set, now available from Testament, is a real treasure-trove. The transfers are all well-researched and of the highest quality. Anyone with an interest in how the art of singing has evolved over the last hundred years or so, or who just has a passion for glorious singing, should snap up this set of CDs - especially this volume as it displays a Golden Age of Singing at an amazingly low price.

Durufle - the best, 15 Feb 2006
The Cleobury, St John's College recording of Durufle's Requiem is a gem. Unlike other recordings it eschews the operatic and attains a yearning frailty and simplicity entirely in keeping with the work's themes. It remains, for my money, the finest and most moving recording of this composition I have heard.

Intimate and honest, 04 Feb 2005
It's not the most solid performance of these works,neither the most powerful, nor the most perfect or the better vocalised. The choir does not always enter the passeges at the right tempo, and there are some tracks where some extra energy, for adult voices would've been desireable (listen to Durufle's 'Liberame). However, the intimacy and sweetness of these performances compensate for any lack in other fields. The particular quality of the children's voices adds to the spirituality of this music. VOice solos are consistently superb. Jonathan Bond does an impressive Liberame in Faure's Requiem, and Robert King is breathtakingly unearthly in Durufle's "pie Jesu" (is he the same Robert King as the one leading the King's COnsort today?!?!) Sound quality is satisfactory, although not the most careful capture made by Decca, but this should not be an excure not to get it. Poulenc's unfrequent choral works are a most attractive bonus. Highly recommended.

Disappointing disk, 06 Dec 2008
Heard Renee Fleming live at the Faenol Festival some years ago and was sufficiently impressed to seek out this CD, being a fan o sacred arias. However, having listened to it a couple of times I've put in back on the rack as I didn't enjoy it - I find her voice too powerful for this kind of song - a bit of a sledgehammer to crack a nut, if you get my drift.

Bargain, 30 Mar 2007
This is the finest collection of French Clarinet music, most of which is staple of the Clarinet repertoire (students and professionals alike). What makes this CD even better is the excellent interpretation and recording quality. The only thing which stopped me giving 5 stars, is that I found the playing of the Saint-Saens' sonata too laid back in large sections at the start and at the end.

Charming and Genial, 10 Jun 2008
Julian Bliss' brilliantly charming and genial performances of these classic repertoire Clarinet & Piano works are infectiously enjoyable. The accompaniment on the piano is also excellent. This is a must have CD for anyone who's a fan of the Clarinet. You'll also become a Julian Bliss fan when you have listened to this CD! Bravo !!!



WOW!, 20 Mar 2004
I can't believe that only a month ago I didn't know Marc Andre Hamelin. I have been listening to classical music seriously for 6 years (i'm 24). I've went through most of the recordings of all the great pianists of the beginning of the century - Rubinstein, Richter, Hoffmann, Gilels, Gould... you name them - everyone. A couple of months ago I picked up a disc by Pletnev (in carnegie hall), and became convinced that Pletnev is the most serious (though boring) pianist today (well, I like Schiff too). But I was disappointed that there is no pianist of the scale of Hofmmann or Richter or Gould living today. There will never be another Gould, and never another Hofmann, but when I heard for the first time Hamelin's Kaleidoscope, I was overjoyed.

What a pianist !!!!!

I bought 4 more of his discs, and they are all my favourite discs. I admire him for his disc repertoire - not what you'd find with Perahia or Kissin, recycling all the old tunes - but fresh and exciting pieces, and boy, can this man play....

I saw that this disc had no reviews, and that amazon promises to dispatch it within 2 weeks, which means not many know of this disc, and that's why i decided to share this secret. Listen also to his performance of la campanella on the paganini etudes disc (different cd).

Enjoy!

Amazon check your recomended website links, 22 Dec 2008
Not reviewing the CD, but great english christmas music.

I have checked on the composer Robert Evans and the link goes to a get rich quick website.

Dont you check??

Lovely choral arrangements, 04 Aug 2000
This choir is based in the village where I used to live and where I was married. The songs are not traditional "FA-la-la-la", "Jingle Bells" fare, giving a spark of variety to Christmas music. This choir has a wonderful reputation and recently was named the principal choir for the Toronto Mendolsohn choir. A great addition to any choral music (or Christmas music) lover's collection.