Yes, Yes, Yes!, 21 Oct 2008
This is more like it. I bought the Harry Christopher/Sixteen version and was left unmoved by it. This however, was sublime - fantastic soloists, an orchestra and chorus that sounded as if they meant it, a wonderful range of emotion beautifully realised. To me this is what a performance of the Messiah should sound like. The other reviewers got this one spot-on. I can only 'rejoice greatly' for such a recording.

vigorously dramatic, and a typical recording, but not clear, 01 Jun 2008
In the same way that Naxos' New College Oxford recording of "Messiah" is an example of the English Cathedral tradition, this recording is a great sample of the choral society tradition. Although the recording includes some huge names from the world of classical music, I was not over-enthralled by the recording as a whole. The age of the recording (1966) is made obvious in the quality of sound, and the entire ensemble is too big to hear the words properly, and of course this is reflected in the acoustic. The presentation is acceptable, but there are few programme notes and no copy of the text. However, what this recording does have is drama and vigour in abundance.

Both the choir and orchestra sing well and accurately enough, and the soloists are OK too - it is probably Helen Watts who gives the best performance on this disc, especially in the aria "But who may abide", when the rich sonorities of her voice are fully demonstrated.

In many ways whichever Messiah recording one buys rests on what one is looking for. If you would like to hear a performance in the true choral society tradition - like one might hear every year in Huddersfield - then look no further, as this is the finest recording in that tradition. But if you would prefer a recording in the Cathedral tradition, look for Naxos' New College Oxford recording - a superbly accurate and precise recording with the Academy of Ancient Music, outstanding soloists, perfect acoustic, and a truly authentic Baroque performance (note, however, that this recording varies slightly from the score we know so well, as it is the composer's 1751 edition, although I found it to be even more enjoyable!)

To correct previous reviews, 07 Dec 2007
This recording was made in 1966, so is all the more remarkable, considering the plethera of recordings to date. John Wakefield is an unsual choice, with a suitable heroic ring to the voice. John Shirley-Quirk, as ever, brilliant, with Helen Watts a smooth and sonorous Contralto. The final soloist, Heather Harper is fresh and brilliant of sound. The whole direction by Sir Colin Davis, with the LSO is captivating. Do not miss this chance to own.

The best recording to date, 30 Oct 2007
Don't be put off by the fact that the original recording was made in the 1980s. It's been re-engineered and is simply top notch! This is by far the best recording I've ever come across. The fact that it's on a Phillips label doesn't hurt either. The orchestra (LSO)is just right--not too heavy, not too light, and the interpretations are superb. Can't go wrong with the label, the orchestra, or the composer.

Golden oldie, 10 Dec 2004
This is a CD version of an 80's recording which is so good I've stuck with it rather than going for a newer one. The LSO chorus are excellent, light-footed and accurate; Colin Davis takes them through some of the numbers at high speed but they make it sound easy (it isn't, as anyone who's sung Messiah will know). Helen Watts is a beautiful and moving alto soloist and John Shirley-Quirk is also outstanding.

Sacred Arias is Katherine Jenkins' last album in her deal for Universal before she moves to Warner for another six-album deal, and she has decided to go out with a bang--albeit a quiet one. While her previous outing, Rejoice, saw the Welsh mezzo-soprano striking out more than ever towards the world of pop, Sacred Arias, as the title suggests, sees her return to her religious-classical roots with comfortably familiar tunes like "Abide with Me", "Ave Maria", "Pie Jesu" and even "Silent Night". The mood on Sacred Arias is as refined and peaceful as you'd expect given the title, and though there's an abundance of well known material here, Jenkins also offers us the more obscure charms of "Missa Criolla", a dreamy version of Leonard Cohen's "Hallelujah" and a soulful take on "Down in the River to Pray". Other classical pieces include "Panis Angelicus" and Barber's haunting vocal piece "Agnus Dei", which help make this a triumphant final flourish for both her and Universal. --Danny McKenna

Yes, Yes, Yes!, 21 Oct 2008
This is more like it. I bought the Harry Christopher/Sixteen version and was left unmoved by it. This however, was sublime - fantastic soloists, an orchestra and chorus that sounded as if they meant it, a wonderful range of emotion beautifully realised. To me this is what a performance of the Messiah should sound like. The other reviewers got this one spot-on. I can only 'rejoice greatly' for such a recording.

vigorously dramatic, and a typical recording, but not clear, 01 Jun 2008
In the same way that Naxos' New College Oxford recording of "Messiah" is an example of the English Cathedral tradition, this recording is a great sample of the choral society tradition. Although the recording includes some huge names from the world of classical music, I was not over-enthralled by the recording as a whole. The age of the recording (1966) is made obvious in the quality of sound, and the entire ensemble is too big to hear the words properly, and of course this is reflected in the acoustic. The presentation is acceptable, but there are few programme notes and no copy of the text. However, what this recording does have is drama and vigour in abundance.

Both the choir and orchestra sing well and accurately enough, and the soloists are OK too - it is probably Helen Watts who gives the best performance on this disc, especially in the aria "But who may abide", when the rich sonorities of her voice are fully demonstrated.

In many ways whichever Messiah recording one buys rests on what one is looking for. If you would like to hear a performance in the true choral society tradition - like one might hear every year in Huddersfield - then look no further, as this is the finest recording in that tradition. But if you would prefer a recording in the Cathedral tradition, look for Naxos' New College Oxford recording - a superbly accurate and precise recording with the Academy of Ancient Music, outstanding soloists, perfect acoustic, and a truly authentic Baroque performance (note, however, that this recording varies slightly from the score we know so well, as it is the composer's 1751 edition, although I found it to be even more enjoyable!)

To correct previous reviews, 07 Dec 2007
This recording was made in 1966, so is all the more remarkable, considering the plethera of recordings to date. John Wakefield is an unsual choice, with a suitable heroic ring to the voice. John Shirley-Quirk, as ever, brilliant, with Helen Watts a smooth and sonorous Contralto. The final soloist, Heather Harper is fresh and brilliant of sound. The whole direction by Sir Colin Davis, with the LSO is captivating. Do not miss this chance to own.

The best recording to date, 30 Oct 2007
Don't be put off by the fact that the original recording was made in the 1980s. It's been re-engineered and is simply top notch! This is by far the best recording I've ever come across. The fact that it's on a Phillips label doesn't hurt either. The orchestra (LSO)is just right--not too heavy, not too light, and the interpretations are superb. Can't go wrong with the label, the orchestra, or the composer.

Golden oldie, 10 Dec 2004
This is a CD version of an 80's recording which is so good I've stuck with it rather than going for a newer one. The LSO chorus are excellent, light-footed and accurate; Colin Davis takes them through some of the numbers at high speed but they make it sound easy (it isn't, as anyone who's sung Messiah will know). Helen Watts is a beautiful and moving alto soloist and John Shirley-Quirk is also outstanding.

Back to her Origin's; Brilliant, 10 Nov 2008
Katherine Jenkins first impressed me when I heard her sing O Holy Night on the BBC. This new album is excellent, more in the style of her earlier albums Premiere & Second Nature then last year's Rejoice. I have listened to this brilliant album several times now.
I am glad that she has returned to songs and music that suit her voice best, a voice that is growing in richness and depth.

Yes, Yes, Yes!, 21 Oct 2008
This is more like it. I bought the Harry Christopher/Sixteen version and was left unmoved by it. This however, was sublime - fantastic soloists, an orchestra and chorus that sounded as if they meant it, a wonderful range of emotion beautifully realised. To me this is what a performance of the Messiah should sound like. The other reviewers got this one spot-on. I can only 'rejoice greatly' for such a recording.

vigorously dramatic, and a typical recording, but not clear, 01 Jun 2008
In the same way that Naxos' New College Oxford recording of "Messiah" is an example of the English Cathedral tradition, this recording is a great sample of the choral society tradition. Although the recording includes some huge names from the world of classical music, I was not over-enthralled by the recording as a whole. The age of the recording (1966) is made obvious in the quality of sound, and the entire ensemble is too big to hear the words properly, and of course this is reflected in the acoustic. The presentation is acceptable, but there are few programme notes and no copy of the text. However, what this recording does have is drama and vigour in abundance.

Both the choir and orchestra sing well and accurately enough, and the soloists are OK too - it is probably Helen Watts who gives the best performance on this disc, especially in the aria "But who may abide", when the rich sonorities of her voice are fully demonstrated.

In many ways whichever Messiah recording one buys rests on what one is looking for. If you would like to hear a performance in the true choral society tradition - like one might hear every year in Huddersfield - then look no further, as this is the finest recording in that tradition. But if you would prefer a recording in the Cathedral tradition, look for Naxos' New College Oxford recording - a superbly accurate and precise recording with the Academy of Ancient Music, outstanding soloists, perfect acoustic, and a truly authentic Baroque performance (note, however, that this recording varies slightly from the score we know so well, as it is the composer's 1751 edition, although I found it to be even more enjoyable!)

To correct previous reviews, 07 Dec 2007
This recording was made in 1966, so is all the more remarkable, considering the plethera of recordings to date. John Wakefield is an unsual choice, with a suitable heroic ring to the voice. John Shirley-Quirk, as ever, brilliant, with Helen Watts a smooth and sonorous Contralto. The final soloist, Heather Harper is fresh and brilliant of sound. The whole direction by Sir Colin Davis, with the LSO is captivating. Do not miss this chance to own.

The best recording to date, 30 Oct 2007
Don't be put off by the fact that the original recording was made in the 1980s. It's been re-engineered and is simply top notch! This is by far the best recording I've ever come across. The fact that it's on a Phillips label doesn't hurt either. The orchestra (LSO)is just right--not too heavy, not too light, and the interpretations are superb. Can't go wrong with the label, the orchestra, or the composer.

Golden oldie, 10 Dec 2004
This is a CD version of an 80's recording which is so good I've stuck with it rather than going for a newer one. The LSO chorus are excellent, light-footed and accurate; Colin Davis takes them through some of the numbers at high speed but they make it sound easy (it isn't, as anyone who's sung Messiah will know). Helen Watts is a beautiful and moving alto soloist and John Shirley-Quirk is also outstanding.

Back to her Origin's; Brilliant, 10 Nov 2008
Katherine Jenkins first impressed me when I heard her sing O Holy Night on the BBC. This new album is excellent, more in the style of her earlier albums Premiere & Second Nature then last year's Rejoice. I have listened to this brilliant album several times now.
I am glad that she has returned to songs and music that suit her voice best, a voice that is growing in richness and depth.


Great value, but certainly not the 'only one' you'll ever need, 08 Mar 2008

The budget price doesn't reflect the quality of this 2 disc collection of classical music highlights, for the soloists, orchestras, conductors and the recordings themselves ensure it is a good quality selection of mostly familiar music from the classical music repertoire.

The choices lean heavily towards the opera style, so for that reason alone will not be the only album necessary to cover everyone's taste - even the complete classical beginner will find many of their familiar favourites are absent.

The tracks are mostly single movements from the whole score, which may not please the more enthusiastic classical fan, but it's unavoidable given the short time permitted by only 2 CDs. In any case, this album really is only aimed at those wanting a brief 'best of' product rather than an in depth study, and for that purpose it does its job well.

I would recommend the album as a bargain value, well perfomed selection of classical/opera music. It's not the only one as its title claims, but it's not a bad starting point.



Great, 28 Feb 2008
Having NEVER brought a Classical music CD before I felt it was about time I did.

Now I am so pleased. This is a super CD set full of well known music which I enjoy.

For classical music followers, 14 Sep 2007
The Only Classical Album You'll Ever Need is an album well suited to satisfy musical taste for followers of classical music. The two disc set is a collection of classical musical artists to embrace and entertain listeners with beautiful music that you can admire so strongly for it poetic meanings in life and tunefulness. The two disc set features some familar artist names within the classical arena, such as Mozart, Beethoven, Puccini, Elgar,Vivaldi and son.

The album is an ideal treat for classical music followers. You have a host of songs to really satisy you to listen time and time again. Play the music whilst you are engaged in daily activities like cooking, taking a shower, cleaning the house and so on. The album should be highly praised for it beautifully and splendid display of music at its best for anyone who is really passionate about light and easy listening music. Any neighbours who listens to this music even if it blasted at high full volumn are guranteed to admire and may be even purchase this music.

The bottom line here is The Only Classical Album You'll Ever Needs is beautiful music and contains the main ingredients of refreshing and easy listening music. It is an album for inclusion if you are fan of classical music.

Where is da beats and da Bruckner D minor?, 29 Jul 2007
Whod ave fought dat there would be enuf badass classical songs to be worf fillin two WHOLE CDs? Well, there aint. Most of da songs is well borin and it dont even got Star Wars on it. Dat is my favourite classical song, except for the valedictory Adagio (langsam, feierlich) from Anton Bruckner's unfinished ninth symphony in D minor, performed by the Berlin Philharmonic Orchestra under the baton of Willhelm Furtwängler- which aint there neither. I aint never even eard arf of these songs on any decent Nokia ringtones or nuffin and most of em dont got no proper beats, innit! They should ave got my man MC Hammer to do a well-bad remix.

A brilliant job of showmanship and programming, 23 Jan 2004
"The Only. . . " album may sound like a superficial pastiche to reviewer 1, but it isn't. I'm a classical music activist and an advocate for imaginative ways to reverse classical's decline. From this standpoint this product demonstrates first-rate creative showmanship and sophistication on the part of its producers. As the second reviewer indicates, the album does more than just stimulate impulse purchase. The outrageously inspired title was obviously designed to attract newcomers to classical. Having lured the uninitiated, a wrong start on the first track could be the last heard. The inspired choice of Orff, with his primal rhythms and simple harmonic structure, probably breaks with stereotypes people may have about classical. The listener then gets an abrupt change of pace with luscious, delicate ballet melodies by Delibes, followed by all-meat-and-no-potatoes romantic masterpieces in the Dvorak 9th Symphony (appropriately performed by a Czech orchestra) and the Grieg Peer Gynt Suite. The album includes popular classic hits like the Pachelbel Canon and Albinoni Adagio but embraces diverse styles ranging from Khatchaturian and Prokofiev to Bizet's the Pearl Fishers (opera) and Satie's Gymnopedie. Toward the end come full and unchopped performances of core classical repertory like the Bach instrumental suites and Vivaldi violin concerti (in dynamic, living-tradition style, led by James Galway). Reviewer No. 2 is on target. This is a superb present for newcomers. More experienced listeners can relax and enjoy masterly programming of great classics, executed by fine performers and ensembles.

When he was growing up, Andrea Bocelli recalls finding inspiration in a favourite recording of sacred music performed by tenor legend Franco Corelli. Bocelli--who in the meantime has come to inspire millions of fiercely loyal fans himself--returns to the genre as the guiding theme of Sacred Arias, the release of which coincides with the first major English-language biography of the singer. These performances are filled with the singer's phenomenally well-known vocal signature: his flair for long, sweetly floating high notes and the gentle sense of cadence he brings to a melody. It's a mistake to compartmentalise Bocelli into a singer of "operatic" versus "popular" styles: in truth his approach is at heart the same. Lack of colour and control in his phrasing remains a drawback, but the emotional empathy Bocelli evokes is never in doubt. The arias collected here sample some of the most famous devotional pieces: Schubert's "Ave Maria" and Mozart's transporting "Ave Verum," as well as an arrangement of "Silent Night" in which Bocelli tries out his English. There's also a decidedly odd choice of bedfellows for a programme of "sacred" music, such as a song from Wagner's Wesendonck Lieder (whose "angel" is the object of an overpoweringly erotic attraction) and Handel's figurative ode to a tree, "Ombra mai fu". Still, Bocelli sings with an unfeigned directness that is sure to expand his already enormous following even further. --Thomas May

Yes, Yes, Yes!, 21 Oct 2008
This is more like it. I bought the Harry Christopher/Sixteen version and was left unmoved by it. This however, was sublime - fantastic soloists, an orchestra and chorus that sounded as if they meant it, a wonderful range of emotion beautifully realised. To me this is what a performance of the Messiah should sound like. The other reviewers got this one spot-on. I can only 'rejoice greatly' for such a recording.

vigorously dramatic, and a typical recording, but not clear, 01 Jun 2008
In the same way that Naxos' New College Oxford recording of "Messiah" is an example of the English Cathedral tradition, this recording is a great sample of the choral society tradition. Although the recording includes some huge names from the world of classical music, I was not over-enthralled by the recording as a whole. The age of the recording (1966) is made obvious in the quality of sound, and the entire ensemble is too big to hear the words properly, and of course this is reflected in the acoustic. The presentation is acceptable, but there are few programme notes and no copy of the text. However, what this recording does have is drama and vigour in abundance.

Both the choir and orchestra sing well and accurately enough, and the soloists are OK too - it is probably Helen Watts who gives the best performance on this disc, especially in the aria "But who may abide", when the rich sonorities of her voice are fully demonstrated.

In many ways whichever Messiah recording one buys rests on what one is looking for. If you would like to hear a performance in the true choral society tradition - like one might hear every year in Huddersfield - then look no further, as this is the finest recording in that tradition. But if you would prefer a recording in the Cathedral tradition, look for Naxos' New College Oxford recording - a superbly accurate and precise recording with the Academy of Ancient Music, outstanding soloists, perfect acoustic, and a truly authentic Baroque performance (note, however, that this recording varies slightly from the score we know so well, as it is the composer's 1751 edition, although I found it to be even more enjoyable!)

To correct previous reviews, 07 Dec 2007
This recording was made in 1966, so is all the more remarkable, considering the plethera of recordings to date. John Wakefield is an unsual choice, with a suitable heroic ring to the voice. John Shirley-Quirk, as ever, brilliant, with Helen Watts a smooth and sonorous Contralto. The final soloist, Heather Harper is fresh and brilliant of sound. The whole direction by Sir Colin Davis, with the LSO is captivating. Do not miss this chance to own.

The best recording to date, 30 Oct 2007
Don't be put off by the fact that the original recording was made in the 1980s. It's been re-engineered and is simply top notch! This is by far the best recording I've ever come across. The fact that it's on a Phillips label doesn't hurt either. The orchestra (LSO)is just right--not too heavy, not too light, and the interpretations are superb. Can't go wrong with the label, the orchestra, or the composer.

Golden oldie, 10 Dec 2004
This is a CD version of an 80's recording which is so good I've stuck with it rather than going for a newer one. The LSO chorus are excellent, light-footed and accurate; Colin Davis takes them through some of the numbers at high speed but they make it sound easy (it isn't, as anyone who's sung Messiah will know). Helen Watts is a beautiful and moving alto soloist and John Shirley-Quirk is also outstanding.

Back to her Origin's; Brilliant, 10 Nov 2008
Katherine Jenkins first impressed me when I heard her sing O Holy Night on the BBC. This new album is excellent, more in the style of her earlier albums Premiere & Second Nature then last year's Rejoice. I have listened to this brilliant album several times now.
I am glad that she has returned to songs and music that suit her voice best, a voice that is growing in richness and depth.


Great value, but certainly not the 'only one' you'll ever need, 08 Mar 2008

The budget price doesn't reflect the quality of this 2 disc collection of classical music highlights, for the soloists, orchestras, conductors and the recordings themselves ensure it is a good quality selection of mostly familiar music from the classical music repertoire.

The choices lean heavily towards the opera style, so for that reason alone will not be the only album necessary to cover everyone's taste - even the complete classical beginner will find many of their familiar favourites are absent.

The tracks are mostly single movements from the whole score, which may not please the more enthusiastic classical fan, but it's unavoidable given the short time permitted by only 2 CDs. In any case, this album really is only aimed at those wanting a brief 'best of' product rather than an in depth study, and for that purpose it does its job well.

I would recommend the album as a bargain value, well perfomed selection of classical/opera music. It's not the only one as its title claims, but it's not a bad starting point.



Great, 28 Feb 2008
Having NEVER brought a Classical music CD before I felt it was about time I did.

Now I am so pleased. This is a super CD set full of well known music which I enjoy.

For classical music followers, 14 Sep 2007
The Only Classical Album You'll Ever Need is an album well suited to satisfy musical taste for followers of classical music. The two disc set is a collection of classical musical artists to embrace and entertain listeners with beautiful music that you can admire so strongly for it poetic meanings in life and tunefulness. The two disc set features some familar artist names within the classical arena, such as Mozart, Beethoven, Puccini, Elgar,Vivaldi and son.

The album is an ideal treat for classical music followers. You have a host of songs to really satisy you to listen time and time again. Play the music whilst you are engaged in daily activities like cooking, taking a shower, cleaning the house and so on. The album should be highly praised for it beautifully and splendid display of music at its best for anyone who is really passionate about light and easy listening music. Any neighbours who listens to this music even if it blasted at high full volumn are guranteed to admire and may be even purchase this music.

The bottom line here is The Only Classical Album You'll Ever Needs is beautiful music and contains the main ingredients of refreshing and easy listening music. It is an album for inclusion if you are fan of classical music.

Where is da beats and da Bruckner D minor?, 29 Jul 2007
Whod ave fought dat there would be enuf badass classical songs to be worf fillin two WHOLE CDs? Well, there aint. Most of da songs is well borin and it dont even got Star Wars on it. Dat is my favourite classical song, except for the valedictory Adagio (langsam, feierlich) from Anton Bruckner's unfinished ninth symphony in D minor, performed by the Berlin Philharmonic Orchestra under the baton of Willhelm Furtwängler- which aint there neither. I aint never even eard arf of these songs on any decent Nokia ringtones or nuffin and most of em dont got no proper beats, innit! They should ave got my man MC Hammer to do a well-bad remix.

A brilliant job of showmanship and programming, 23 Jan 2004
"The Only. . . " album may sound like a superficial pastiche to reviewer 1, but it isn't. I'm a classical music activist and an advocate for imaginative ways to reverse classical's decline. From this standpoint this product demonstrates first-rate creative showmanship and sophistication on the part of its producers. As the second reviewer indicates, the album does more than just stimulate impulse purchase. The outrageously inspired title was obviously designed to attract newcomers to classical. Having lured the uninitiated, a wrong start on the first track could be the last heard. The inspired choice of Orff, with his primal rhythms and simple harmonic structure, probably breaks with stereotypes people may have about classical. The listener then gets an abrupt change of pace with luscious, delicate ballet melodies by Delibes, followed by all-meat-and-no-potatoes romantic masterpieces in the Dvorak 9th Symphony (appropriately performed by a Czech orchestra) and the Grieg Peer Gynt Suite. The album includes popular classic hits like the Pachelbel Canon and Albinoni Adagio but embraces diverse styles ranging from Khatchaturian and Prokofiev to Bizet's the Pearl Fishers (opera) and Satie's Gymnopedie. Toward the end come full and unchopped performances of core classical repertory like the Bach instrumental suites and Vivaldi violin concerti (in dynamic, living-tradition style, led by James Galway). Reviewer No. 2 is on target. This is a superb present for newcomers. More experienced listeners can relax and enjoy masterly programming of great classics, executed by fine performers and ensembles.

A Gift, 12 Dec 2007
A CD that has so much beauty it moves you from beginning to end. His voice portrays so much emotion that you don't just appreciate the sound, you feel every note that he sings.

There are some CDs that are simply labelled "mood music", and this for me is one that I file under such a category. Every time I listen it lifts me and transports me to places only I can go to. Somewhere that escapes the modern world.

The choice of arias is perfect. Many of which I was unfamiliar with. However, I have since introduced this CD to a number of people, many who listen to an entirely different genre of music; nearly all have been captivated by it.

All I can say is buy it and soak up the rich fare on offer.


And I haven't got the CD yet!, 09 May 2006
I have just listened to the concert, on ITV3, from which this recording was taken. I was almost moved to tears; the empathy that Andrea brings to pieces with which I was brought up, both musically and spiritually, was a joy.
My only regret is that they have, in order to market a 'Bocelli' CD, missed off the choral works that did not include him. They, too, were magnificent and if the whole concert becomes available on DVD I will certainly buy that also.

beautiful voice, 25 Aug 2002
Quite simply Andrea Bocellie's Sacres Arias is a stunning piece of work. Andrea has a beautiful voice. He moves me. Anybody who loves this sort of music will become totally entranced with this. I am often moved to tears when i play Andrea's voice. I would highly recemmend this cd.

Way to go, Chung! Andrea Bocelli is DA BOMB!!!!!, 26 Nov 2000
Personally, my taste leans toward Andrea's lovely pop side, but I still like this album very much for some reason. Though it lacks some elements that made "Romanza" a sensational hit, Andrea and Chung do what they can to keep this s**t together without ever letting it go. And, as a result, it works practically all around, unlike the occasional downfalls on "Verdi," a later release.

That's all, folks!

After "Romanza" I was not quite so keen on "Opera Arias", 15 Aug 2000
After "Romanza" I was not quite so keen on "Opera Arias", I dont think that the recording quite captured the fine voice of Andrea Bocelli, however I am not put off, and will go on to look for more CD's with more of his songs.

Yes, Yes, Yes!, 21 Oct 2008
This is more like it. I bought the Harry Christopher/Sixteen version and was left unmoved by it. This however, was sublime - fantastic soloists, an orchestra and chorus that sounded as if they meant it, a wonderful range of emotion beautifully realised. To me this is what a performance of the Messiah should sound like. The other reviewers got this one spot-on. I can only 'rejoice greatly' for such a recording.

vigorously dramatic, and a typical recording, but not clear, 01 Jun 2008
In the same way that Naxos' New College Oxford recording of "Messiah" is an example of the English Cathedral tradition, this recording is a great sample of the choral society tradition. Although the recording includes some huge names from the world of classical music, I was not over-enthralled by the recording as a whole. The age of the recording (1966) is made obvious in the quality of sound, and the entire ensemble is too big to hear the words properly, and of course this is reflected in the acoustic. The presentation is acceptable, but there are few programme notes and no copy of the text. However, what this recording does have is drama and vigour in abundance.

Both the choir and orchestra sing well and accurately enough, and the soloists are OK too - it is probably Helen Watts who gives the best performance on this disc, especially in the aria "But who may abide", when the rich sonorities of her voice are fully demonstrated.

In many ways whichever Messiah recording one buys rests on what one is looking for. If you would like to hear a performance in the true choral society tradition - like one might hear every year in Huddersfield - then look no further, as this is the finest recording in that tradition. But if you would prefer a recording in the Cathedral tradition, look for Naxos' New College Oxford recording - a superbly accurate and precise recording with the Academy of Ancient Music, outstanding soloists, perfect acoustic, and a truly authentic Baroque performance (note, however, that this recording varies slightly from the score we know so well, as it is the composer's 1751 edition, although I found it to be even more enjoyable!)

To correct previous reviews, 07 Dec 2007
This recording was made in 1966, so is all the more remarkable, considering the plethera of recordings to date. John Wakefield is an unsual choice, with a suitable heroic ring to the voice. John Shirley-Quirk, as ever, brilliant, with Helen Watts a smooth and sonorous Contralto. The final soloist, Heather Harper is fresh and brilliant of sound. The whole direction by Sir Colin Davis, with the LSO is captivating. Do not miss this chance to own.

The best recording to date, 30 Oct 2007
Don't be put off by the fact that the original recording was made in the 1980s. It's been re-engineered and is simply top notch! This is by far the best recording I've ever come across. The fact that it's on a Phillips label doesn't hurt either. The orchestra (LSO)is just right--not too heavy, not too light, and the interpretations are superb. Can't go wrong with the label, the orchestra, or the composer.

Golden oldie, 10 Dec 2004
This is a CD version of an 80's recording which is so good I've stuck with it rather than going for a newer one. The LSO chorus are excellent, light-footed and accurate; Colin Davis takes them through some of the numbers at high speed but they make it sound easy (it isn't, as anyone who's sung Messiah will know). Helen Watts is a beautiful and moving alto soloist and John Shirley-Quirk is also outstanding.

Back to her Origin's; Brilliant, 10 Nov 2008
Katherine Jenkins first impressed me when I heard her sing O Holy Night on the BBC. This new album is excellent, more in the style of her earlier albums Premiere & Second Nature then last year's Rejoice. I have listened to this brilliant album several times now.
I am glad that she has returned to songs and music that suit her voice best, a voice that is growing in richness and depth.


Great value, but certainly not the 'only one' you'll ever need, 08 Mar 2008

The budget price doesn't reflect the quality of this 2 disc collection of classical music highlights, for the soloists, orchestras, conductors and the recordings themselves ensure it is a good quality selection of mostly familiar music from the classical music repertoire.

The choices lean heavily towards the opera style, so for that reason alone will not be the only album necessary to cover everyone's taste - even the complete classical beginner will find many of their familiar favourites are absent.

The tracks are mostly single movements from the whole score, which may not please the more enthusiastic classical fan, but it's unavoidable given the short time permitted by only 2 CDs. In any case, this album really is only aimed at those wanting a brief 'best of' product rather than an in depth study, and for that purpose it does its job well.

I would recommend the album as a bargain value, well perfomed selection of classical/opera music. It's not the only one as its title claims, but it's not a bad starting point.



Great, 28 Feb 2008
Having NEVER brought a Classical music CD before I felt it was about time I did.

Now I am so pleased. This is a super CD set full of well known music which I enjoy.

For classical music followers, 14 Sep 2007
The Only Classical Album You'll Ever Need is an album well suited to satisfy musical taste for followers of classical music. The two disc set is a collection of classical musical artists to embrace and entertain listeners with beautiful music that you can admire so strongly for it poetic meanings in life and tunefulness. The two disc set features some familar artist names within the classical arena, such as Mozart, Beethoven, Puccini, Elgar,Vivaldi and son.

The album is an ideal treat for classical music followers. You have a host of songs to really satisy you to listen time and time again. Play the music whilst you are engaged in daily activities like cooking, taking a shower, cleaning the house and so on. The album should be highly praised for it beautifully and splendid display of music at its best for anyone who is really passionate about light and easy listening music. Any neighbours who listens to this music even if it blasted at high full volumn are guranteed to admire and may be even purchase this music.

The bottom line here is The Only Classical Album You'll Ever Needs is beautiful music and contains the main ingredients of refreshing and easy listening music. It is an album for inclusion if you are fan of classical music.

Where is da beats and da Bruckner D minor?, 29 Jul 2007
Whod ave fought dat there would be enuf badass classical songs to be worf fillin two WHOLE CDs? Well, there aint. Most of da songs is well borin and it dont even got Star Wars on it. Dat is my favourite classical song, except for the valedictory Adagio (langsam, feierlich) from Anton Bruckner's unfinished ninth symphony in D minor, performed by the Berlin Philharmonic Orchestra under the baton of Willhelm Furtwängler- which aint there neither. I aint never even eard arf of these songs on any decent Nokia ringtones or nuffin and most of em dont got no proper beats, innit! They should ave got my man MC Hammer to do a well-bad remix.

A brilliant job of showmanship and programming, 23 Jan 2004
"The Only. . . " album may sound like a superficial pastiche to reviewer 1, but it isn't. I'm a classical music activist and an advocate for imaginative ways to reverse classical's decline. From this standpoint this product demonstrates first-rate creative showmanship and sophistication on the part of its producers. As the second reviewer indicates, the album does more than just stimulate impulse purchase. The outrageously inspired title was obviously designed to attract newcomers to classical. Having lured the uninitiated, a wrong start on the first track could be the last heard. The inspired choice of Orff, with his primal rhythms and simple harmonic structure, probably breaks with stereotypes people may have about classical. The listener then gets an abrupt change of pace with luscious, delicate ballet melodies by Delibes, followed by all-meat-and-no-potatoes romantic masterpieces in the Dvorak 9th Symphony (appropriately performed by a Czech orchestra) and the Grieg Peer Gynt Suite. The album includes popular classic hits like the Pachelbel Canon and Albinoni Adagio but embraces diverse styles ranging from Khatchaturian and Prokofiev to Bizet's the Pearl Fishers (opera) and Satie's Gymnopedie. Toward the end come full and unchopped performances of core classical repertory like the Bach instrumental suites and Vivaldi violin concerti (in dynamic, living-tradition style, led by James Galway). Reviewer No. 2 is on target. This is a superb present for newcomers. More experienced listeners can relax and enjoy masterly programming of great classics, executed by fine performers and ensembles.

A Gift, 12 Dec 2007
A CD that has so much beauty it moves you from beginning to end. His voice portrays so much emotion that you don't just appreciate the sound, you feel every note that he sings.

There are some CDs that are simply labelled "mood music", and this for me is one that I file under such a category. Every time I listen it lifts me and transports me to places only I can go to. Somewhere that escapes the modern world.

The choice of arias is perfect. Many of which I was unfamiliar with. However, I have since introduced this CD to a number of people, many who listen to an entirely different genre of music; nearly all have been captivated by it.

All I can say is buy it and soak up the rich fare on offer.


And I haven't got the CD yet!, 09 May 2006
I have just listened to the concert, on ITV3, from which this recording was taken. I was almost moved to tears; the empathy that Andrea brings to pieces with which I was brought up, both musically and spiritually, was a joy.
My only regret is that they have, in order to market a 'Bocelli' CD, missed off the choral works that did not include him. They, too, were magnificent and if the whole concert becomes available on DVD I will certainly buy that also.

beautiful voice, 25 Aug 2002
Quite simply Andrea Bocellie's Sacres Arias is a stunning piece of work. Andrea has a beautiful voice. He moves me. Anybody who loves this sort of music will become totally entranced with this. I am often moved to tears when i play Andrea's voice. I would highly recemmend this cd.

Way to go, Chung! Andrea Bocelli is DA BOMB!!!!!, 26 Nov 2000
Personally, my taste leans toward Andrea's lovely pop side, but I still like this album very much for some reason. Though it lacks some elements that made "Romanza" a sensational hit, Andrea and Chung do what they can to keep this s**t together without ever letting it go. And, as a result, it works practically all around, unlike the occasional downfalls on "Verdi," a later release.

That's all, folks!

After "Romanza" I was not quite so keen on "Opera Arias", 15 Aug 2000
After "Romanza" I was not quite so keen on "Opera Arias", I dont think that the recording quite captured the fine voice of Andrea Bocelli, however I am not put off, and will go on to look for more CD's with more of his songs.

A modern interpretation by a voice born to sing Strauss, 27 Sep 2008
Many people will be surprised by the negativity of the comments by bert1761, the first and previous reviewer of this disc on Amazon.com. First, let me say that I deplore the practice of some Amazon readers who give another reviewer a negative vote simply because they do not agree with the opinion expressed. I think "bert" writes honestly, more in sorrow than in anger, and that his is a thoughtful, intelligent, sincerely held opinion that deserves careful consideration. I know what he means by the overt expressiveness of Fleming's interpretation but I do not agree that it is obtrusive or excessive. The voice is in wonderful condition and she is able to sustain the line with apparently effortless ease - except when she clearly chooses to disrupt it deliberately for emotive effect. The lower register is rich and characterful - you can hear its development just from the resonance of Renne's speaking voice in the publicity interviews on this website - and the top soars as creamily and amply as ever; I hear no strain anywhere. Her German is of course impeccable and her breath control a thing of wonder. I, too, am a great fan of Janowitz's and Te Kanawa's (earlier version with Davis) more restrained, classical interpretations, but Fleming's "Im Abendrot", for example, still works its magic for me. She is perhaps delivering here on record more of what you might hear in a live performance (indeed, I believe these are live takes - although you'd never know), when your communicative gestures can be more emphatic than in a recording - but slightly idiosyncratic instances of vocal colouring and verbal inflection can, on repeated listenings, become a little quirky and irritating. Nonetheless, this is an immediate, heartfelt interpretation of these inexhaustibly moving songs and very much a performance for the modern listener who needs and expects more individuality to distinguish one version from another. Furthermore, the recorded sound is technically marvellous; I have never heard so much detail in the orchestration.

The subsequent Strauss arias and songs are a glorious addition to her discography; Fleming was born to sing this composer - and just as she would opt to sing Strauss over any other composer for the voice, I would choose Fleming to interpret him. I cannot hear any inadequacy in her lower register in the first extended "Ariadne" excerpt and I rank this disc with her earlier selection of Strauss "bon-bons" with Susan Graham and Barbara Bonney. The bonus arias on the second disc in the Deluxe Edition are testament to her versatility and supremacy in other composers, especially Tchaikovsky's Tatyana.

So I respectfully beg to differ from the previous reviewer's judgement - but would fiercely defend and welcome his right to express it, prompting, as it does, civilised debate.

Yes, Yes, Yes!, 21 Oct 2008
This is more like it. I bought the Harry Christopher/Sixteen version and was left unmoved by it. This however, was sublime - fantastic soloists, an orchestra and chorus that sounded as if they meant it, a wonderful range of emotion beautifully realised. To me this is what a performance of the Messiah should sound like. The other reviewers got this one spot-on. I can only 'rejoice greatly' for such a recording.

vigorously dramatic, and a typical recording, but not clear, 01 Jun 2008
In the same way that Naxos' New College Oxford recording of "Messiah" is an example of the English Cathedral tradition, this recording is a great sample of the choral society tradition. Although the recording includes some huge names from the world of classical music, I was not over-enthralled by the recording as a whole. The age of the recording (1966) is made obvious in the quality of sound, and the entire ensemble is too big to hear the words properly, and of course this is reflected in the acoustic. The presentation is acceptable, but there are few programme notes and no copy of the text. However, what this recording does have is drama and vigour in abundance.

Both the choir and orchestra sing well and accurately enough, and the soloists are OK too - it is probably Helen Watts who gives the best performance on this disc, especially in the aria "But who may abide", when the rich sonorities of her voice are fully demonstrated.

In many ways whichever Messiah recording one buys rests on what one is looking for. If you would like to hear a performance in the true choral society tradition - like one might hear every year in Huddersfield - then look no further, as this is the finest recording in that tradition. But if you would prefer a recording in the Cathedral tradition, look for Naxos' New College Oxford recording - a superbly accurate and precise recording with the Academy of Ancient Music, outstanding soloists, perfect acoustic, and a truly authentic Baroque performance (note, however, that this recording varies slightly from the score we know so well, as it is the composer's 1751 edition, although I found it to be even more enjoyable!)

To correct previous reviews, 07 Dec 2007
This recording was made in 1966, so is all the more remarkable, considering the plethera of recordings to date. John Wakefield is an unsual choice, with a suitable heroic ring to the voice. John Shirley-Quirk, as ever, brilliant, with Helen Watts a smooth and sonorous Contralto. The final soloist, Heather Harper is fresh and brilliant of sound. The whole direction by Sir Colin Davis, with the LSO is captivating. Do not miss this chance to own.

The best recording to date, 30 Oct 2007
Don't be put off by the fact that the original recording was made in the 1980s. It's been re-engineered and is simply top notch! This is by far the best recording I've ever come across. The fact that it's on a Phillips label doesn't hurt either. The orchestra (LSO)is just right--not too heavy, not too light, and the interpretations are superb. Can't go wrong with the label, the orchestra, or the composer.

Golden oldie, 10 Dec 2004
This is a CD version of an 80's recording which is so good I've stuck with it rather than going for a newer one. The LSO chorus are excellent, light-footed and accurate; Colin Davis takes them through some of the numbers at high speed but they make it sound easy (it isn't, as anyone who's sung Messiah will know). Helen Watts is a beautiful and moving alto soloist and John Shirley-Quirk is also outstanding.

Back to her Origin's; Brilliant, 10 Nov 2008
Katherine Jenkins first impressed me when I heard her sing O Holy Night on the BBC. This new album is excellent, more in the style of her earlier albums Premiere & Second Nature then last year's Rejoice. I have listened to this brilliant album several times now.
I am glad that she has returned to songs and music that suit her voice best, a voice that is growing in richness and depth.


Great value, but certainly not the 'only one' you'll ever need, 08 Mar 2008

The budget price doesn't reflect the quality of this 2 disc collection of classical music highlights, for the soloists, orchestras, conductors and the recordings themselves ensure it is a good quality selection of mostly familiar music from the classical music repertoire.

The choices lean heavily towards the opera style, so for that reason alone will not be the only album necessary to cover everyone's taste - even the complete classical beginner will find many of their familiar favourites are absent.

The tracks are mostly single movements from the whole score, which may not please the more enthusiastic classical fan, but it's unavoidable given the short time permitted by only 2 CDs. In any case, this album really is only aimed at those wanting a brief 'best of' product rather than an in depth study, and for that purpose it does its job well.

I would recommend the album as a bargain value, well perfomed selection of classical/opera music. It's not the only one as its title claims, but it's not a bad starting point.



Great, 28 Feb 2008
Having NEVER brought a Classical music CD before I felt it was about time I did.

Now I am so pleased. This is a super CD set full of well known music which I enjoy.

For classical music followers, 14 Sep 2007
The Only Classical Album You'll Ever Need is an album well suited to satisfy musical taste for followers of classical music. The two disc set is a collection of classical musical artists to embrace and entertain listeners with beautiful music that you can admire so strongly for it poetic meanings in life and tunefulness. The two disc set features some familar artist names within the classical arena, such as Mozart, Beethoven, Puccini, Elgar,Vivaldi and son.

The album is an ideal treat for classical music followers. You have a host of songs to really satisy you to listen time and time again. Play the music whilst you are engaged in daily activities like cooking, taking a shower, cleaning the house and so on. The album should be highly praised for it beautifully and splendid display of music at its best for anyone who is really passionate about light and easy listening music. Any neighbours who listens to this music even if it blasted at high full volumn are guranteed to admire and may be even purchase this music.

The bottom line here is The Only Classical Album You'll Ever Needs is beautiful music and contains the main ingredients of refreshing and easy listening music. It is an album for inclusion if you are fan of classical music.

Where is da beats and da Bruckner D minor?, 29 Jul 2007
Whod ave fought dat there would be enuf badass classical songs to be worf fillin two WHOLE CDs? Well, there aint. Most of da songs is well borin and it dont even got Star Wars on it. Dat is my favourite classical song, except for the valedictory Adagio (langsam, feierlich) from Anton Bruckner's unfinished ninth symphony in D minor, performed by the Berlin Philharmonic Orchestra under the baton of Willhelm Furtwängler- which aint there neither. I aint never even eard arf of these songs on any decent Nokia ringtones or nuffin and most of em dont got no proper beats, innit! They should ave got my man MC Hammer to do a well-bad remix.

A brilliant job of showmanship and programming, 23 Jan 2004
"The Only. . . " album may sound like a superficial pastiche to reviewer 1, but it isn't. I'm a classical music activist and an advocate for imaginative ways to reverse classical's decline. From this standpoint this product demonstrates first-rate creative showmanship and sophistication on the part of its producers. As the second reviewer indicates, the album does more than just stimulate impulse purchase. The outrageously inspired title was obviously designed to attract newcomers to classical. Having lured the uninitiated, a wrong start on the first track could be the last heard. The inspired choice of Orff, with his primal rhythms and simple harmonic structure, probably breaks with stereotypes people may have about classical. The listener then gets an abrupt change of pace with luscious, delicate ballet melodies by Delibes, followed by all-meat-and-no-potatoes romantic masterpieces in the Dvorak 9th Symphony (appropriately performed by a Czech orchestra) and the Grieg Peer Gynt Suite. The album includes popular classic hits like the Pachelbel Canon and Albinoni Adagio but embraces diverse styles ranging from Khatchaturian and Prokofiev to Bizet's the Pearl Fishers (opera) and Satie's Gymnopedie. Toward the end come full and unchopped performances of core classical repertory like the Bach instrumental suites and Vivaldi violin concerti (in dynamic, living-tradition style, led by James Galway). Reviewer No. 2 is on target. This is a superb present for newcomers. More experienced listeners can relax and enjoy masterly programming of great classics, executed by fine performers and ensembles.

A Gift, 12 Dec 2007
A CD that has so much beauty it moves you from beginning to end. His voice portrays so much emotion that you don't just appreciate the sound, you feel every note that he sings.

There are some CDs that are simply labelled "mood music", and this for me is one that I file under such a category. Every time I listen it lifts me and transports me to places only I can go to. Somewhere that escapes the modern world.

The choice of arias is perfect. Many of which I was unfamiliar with. However, I have since introduced this CD to a number of people, many who listen to an entirely different genre of music; nearly all have been captivated by it.

All I can say is buy it and soak up the rich fare on offer.


And I haven't got the CD yet!, 09 May 2006
I have just listened to the concert, on ITV3, from which this recording was taken. I was almost moved to tears; the empathy that Andrea brings to pieces with which I was brought up, both musically and spiritually, was a joy.
My only regret is that they have, in order to market a 'Bocelli' CD, missed off the choral works that did not include him. They, too, were magnificent and if the whole concert becomes available on DVD I will certainly buy that also.

beautiful voice, 25 Aug 2002
Quite simply Andrea Bocellie's Sacres Arias is a stunning piece of work. Andrea has a beautiful voice. He moves me. Anybody who loves this sort of music will become totally entranced with this. I am often moved to tears when i play Andrea's voice. I would highly recemmend this cd.

Way to go, Chung! Andrea Bocelli is DA BOMB!!!!!, 26 Nov 2000
Personally, my taste leans toward Andrea's lovely pop side, but I still like this album very much for some reason. Though it lacks some elements that made "Romanza" a sensational hit, Andrea and Chung do what they can to keep this s**t together without ever letting it go. And, as a result, it works practically all around, unlike the occasional downfalls on "Verdi," a later release.

That's all, folks!

After "Romanza" I was not quite so keen on "Opera Arias", 15 Aug 2000
After "Romanza" I was not quite so keen on "Opera Arias", I dont think that the recording quite captured the fine voice of Andrea Bocelli, however I am not put off, and will go on to look for more CD's with more of his songs.

A modern interpretation by a voice born to sing Strauss, 27 Sep 2008
Many people will be surprised by the negativity of the comments by bert1761, the first and previous reviewer of this disc on Amazon.com. First, let me say that I deplore the practice of some Amazon readers who give another reviewer a negative vote simply because they do not agree with the opinion expressed. I think "bert" writes honestly, more in sorrow than in anger, and that his is a thoughtful, intelligent, sincerely held opinion that deserves careful consideration. I know what he means by the overt expressiveness of Fleming's interpretation but I do not agree that it is obtrusive or excessive. The voice is in wonderful condition and she is able to sustain the line with apparently effortless ease - except when she clearly chooses to disrupt it deliberately for emotive effect. The lower register is rich and characterful - you can hear its development just from the resonance of Renne's speaking voice in the publicity interviews on this website - and the top soars as creamily and amply as ever; I hear no strain anywhere. Her German is of course impeccable and her breath control a thing of wonder. I, too, am a great fan of Janowitz's and Te Kanawa's (earlier version with Davis) more restrained, classical interpretations, but Fleming's "Im Abendrot", for example, still works its magic for me. She is perhaps delivering here on record more of what you might hear in a live performance (indeed, I believe these are live takes - although you'd never know), when your communicative gestures can be more emphatic than in a recording - but slightly idiosyncratic instances of vocal colouring and verbal inflection can, on repeated listenings, become a little quirky and irritating. Nonetheless, this is an immediate, heartfelt interpretation of these inexhaustibly moving songs and very much a performance for the modern listener who needs and expects more individuality to distinguish one version from another. Furthermore, the recorded sound is technically marvellous; I have never heard so much detail in the orchestration.

The subsequent Strauss arias and songs are a glorious addition to her discography; Fleming was born to sing this composer - and just as she would opt to sing Strauss over any other composer for the voice, I would choose Fleming to interpret him. I cannot hear any inadequacy in her lower register in the first extended "Ariadne" excerpt and I rank this disc with her earlier selection of Strauss "bon-bons" with Susan Graham and Barbara Bonney. The bonus arias on the second disc in the Deluxe Edition are testament to her versatility and supremacy in other composers, especially Tchaikovsky's Tatyana.

So I respectfully beg to differ from the previous reviewer's judgement - but would fiercely defend and welcome his right to express it, prompting, as it does, civilised debate.

Christian music 'critique', 31 Mar 2008
This album remains one of the best, Anything but dull, real joy in worship with many favourites. I love this style of music and it does justice to the wonder of God's mighty works.
Great when you have friends round or just listening in the car or at home.
Wonderfully inspirational tracks.

Negative Feedback: Best Worship Songs... Ever Vol.1, 19 Aug 2007
Being a lifelong Christian, it is fair to say I have heard a lot of Christian music. This CD is quite simply The Worst I have heard, as a compilation it is weak; the songs are tepid and lack real depth of meaning. Ideal for the lacklustre; I believe the Lord deserves more!

One of the best compilations, if not THE best, 16 Feb 2007
I have been a born-again Christian for many years, but it is only within the past couple of years that I have begun to take an interest in modern Christian music outside of church. I purchased the sequel to this album before I had heard of this album, and I then purchased this album on the strength of More... Best Worship Songs Ever. I can honestly say that I have not been left disappointed with this offering. To some people, worship music is like church music - it can be dull and drab. However, this album lays that ghost to rest, with various lively pieces guaranteed to get you going. If you only buy one album, it is a toss-up between this album and its successor - if you buy two albums, it means you won't have to agonise over which one to buy. It will definitely be money well spent.

If you only buy one worship compilation, 16 Oct 2006
If you only buy one worship compilation then this has to be it. It has a fantastic selection of modern, meaningful and very uplifting worship songs by some of the top Christian artists: Matt Redman, Stuart Townend, Delirious? etc., and singing along to some of the tracks is its own prayer. This is fantastic value considering there are 3 CDs with 16, 17 and 16 tracks. Fab!

The best - and the worst - of modern Christian music, 27 Apr 2006
Although I am something of a traditionalist with a soft spot for the 'old' hymns that Christians have sung for generations, these three CDs have given me a new taste for worship music with a modern flavour. They contain a variety of music - old, much-loved lyrics set to inspiring new melodies, such as 'Be Still'; totally original compositions ('Here I Am to Worship'); songs to dance around the room to (See What a Morning); and songs to play quietly as you are drifting off to sleep (Colours of Day).

Unfortunately, Christian music producers don't seem to be very good at filtering enthusiastic Christians who have the talent to express their faith through music from equally enthusiastic Christians who certainly have the DESIRE to express their faith through music, but lack the talent for it. There are a few songs on here that are absolutely awful in terms of their musical value. But don't let that deter you. Overall the album is a fabulous choice, as it offers such a good variety of music and is excellent value for money.

Yes, Yes, Yes!, 21 Oct 2008
This is more like it. I bought the Harry Christopher/Sixteen version and was left unmoved by it. This however, was sublime - fantastic soloists, an orchestra and chorus that sounded as if they meant it, a wonderful range of emotion beautifully realised. To me this is what a performance of the Messiah should sound like. The other reviewers got this one spot-on. I can only 'rejoice greatly' for such a recording.

vigorously dramatic, and a typical recording, but not clear, 01 Jun 2008
In the same way that Naxos' New College Oxford recording of "Messiah" is an example of the English Cathedral tradition, this recording is a great sample of the choral society tradition. Although the recording includes some huge names from the world of classical music, I was not over-enthralled by the recording as a whole. The age of the recording (1966) is made obvious in the quality of sound, and the entire ensemble is too big to hear the words properly, and of course this is reflected in the acoustic. The presentation is acceptable, but there are few programme notes and no copy of the text. However, what this recording does have is drama and vigour in abundance.

Both the choir and orchestra sing well and accurately enough, and the soloists are OK too - it is probably Helen Watts who gives the best performance on this disc, especially in the aria "But who may abide", when the rich sonorities of her voice are fully demonstrated.

In many ways whichever Messiah recording one buys rests on what one is looking for. If you would like to hear a performance in the true choral society tradition - like one might hear every year in Huddersfield - then look no further, as this is the finest recording in that tradition. But if you would prefer a recording in the Cathedral tradition, look for Naxos' New College Oxford recording - a superbly accurate and precise recording with the Academy of Ancient Music, outstanding soloists, perfect acoustic, and a truly authentic Baroque performance (note, however, that this recording varies slightly from the score we know so well, as it is the composer's 1751 edition, although I found it to be even more enjoyable!)

To correct previous reviews, 07 Dec 2007
This recording was made in 1966, so is all the more remarkable, considering the plethera of recordings to date. John Wakefield is an unsual choice, with a suitable heroic ring to the voice. John Shirley-Quirk, as ever, brilliant, with Helen Watts a smooth and sonorous Contralto. The final soloist, Heather Harper is fresh and brilliant of sound. The whole direction by Sir Colin Davis, with the LSO is captivating. Do not miss this chance to own.

The best recording to date, 30 Oct 2007
Don't be put off by the fact that the original recording was made in the 1980s. It's been re-engineered and is simply top notch! This is by far the best recording I've ever come across. The fact that it's on a Phillips label doesn't hurt either. The orchestra (LSO)is just right--not too heavy, not too light, and the interpretations are superb. Can't go wrong with the label, the orchestra, or the composer.

Golden oldie, 10 Dec 2004
This is a CD version of an 80's recording which is so good I've stuck with it rather than going for a newer one. The LSO chorus are excellent, light-footed and accurate; Colin Davis takes them through some of the numbers at high speed but they make it sound easy (it isn't, as anyone who's sung Messiah will know). Helen Watts is a beautiful and moving alto soloist and John Shirley-Quirk is also outstanding.

Back to her Origin's; Brilliant, 10 Nov 2008
Katherine Jenkins first impressed me when I heard her sing O Holy Night on the BBC. This new album is excellent, more in the style of her earlier albums Premiere & Second Nature then last year's Rejoice. I have listened to this brilliant album several times now.
I am glad that she has returned to songs and music that suit her voice best, a voice that is growing in richness and depth.


Great value, but certainly not the 'only one' you'll ever need, 08 Mar 2008

The budget price doesn't reflect the quality of this 2 disc collection of classical music highlights, for the soloists, orchestras, conductors and the recordings themselves ensure it is a good quality selection of mostly familiar music from the classical music repertoire.

The choices lean heavily towards the opera style, so for that reason alone will not be the only album necessary to cover everyone's taste - even the complete classical beginner will find many of their familiar favourites are absent.

The tracks are mostly single movements from the whole score, which may not please the more enthusiastic classical fan, but it's unavoidable given the short time permitted by only 2 CDs. In any case, this album really is only aimed at those wanting a brief 'best of' product rather than an in depth study, and for that purpose it does its job well.

I would recommend the album as a bargain value, well perfomed selection of classical/opera music. It's not the only one as its title claims, but it's not a bad starting point.



Great, 28 Feb 2008
Having NEVER brought a Classical music CD before I felt it was about time I did.

Now I am so pleased. This is a super CD set full of well known music which I enjoy.

For classical music followers, 14 Sep 2007
The Only Classical Album You'll Ever Need is an album well suited to satisfy musical taste for followers of classical music. The two disc set is a collection of classical musical artists to embrace and entertain listeners with beautiful music that you can admire so strongly for it poetic meanings in life and tunefulness. The two disc set features some familar artist names within the classical arena, such as Mozart, Beethoven, Puccini, Elgar,Vivaldi and son.

The album is an ideal treat for classical music followers. You have a host of songs to really satisy you to listen time and time again. Play the music whilst you are engaged in daily activities like cooking, taking a shower, cleaning the house and so on. The album should be highly praised for it beautifully and splendid display of music at its best for anyone who is really passionate about light and easy listening music. Any neighbours who listens to this music even if it blasted at high full volumn are guranteed to admire and may be even purchase this music.

The bottom line here is The Only Classical Album You'll Ever Needs is beautiful music and contains the main ingredients of refreshing and easy listening music. It is an album for inclusion if you are fan of classical music.

Where is da beats and da Bruckner D minor?, 29 Jul 2007
Whod ave fought dat there would be enuf badass classical songs to be worf fillin two WHOLE CDs? Well, there aint. Most of da songs is well borin and it dont even got Star Wars on it. Dat is my favourite classical song, except for the valedictory Adagio (langsam, feierlich) from Anton Bruckner's unfinished ninth symphony in D minor, performed by the Berlin Philharmonic Orchestra under the baton of Willhelm Furtwängler- which aint there neither. I aint never even eard arf of these songs on any decent Nokia ringtones or nuffin and most of em dont got no proper beats, innit! They should ave got my man MC Hammer to do a well-bad remix.

A brilliant job of showmanship and programming, 23 Jan 2004
"The Only. . . " album may sound like a superficial pastiche to reviewer 1, but it isn't. I'm a classical music activist and an advocate for imaginative ways to reverse classical's decline. From this standpoint this product demonstrates first-rate creative showmanship and sophistication on the part of its producers. As the second reviewer indicates, the album does more than just stimulate impulse purchase. The outrageously inspired title was obviously designed to attract newcomers to classical. Having lured the uninitiated, a wrong start on the first track could be the last heard. The inspired choice of Orff, with his primal rhythms and simple harmonic structure, probably breaks with stereotypes people may have about classical. The listener then gets an abrupt change of pace with luscious, delicate ballet melodies by Delibes, followed by all-meat-and-no-potatoes romantic masterpieces in the Dvorak 9th Symphony (appropriately performed by a Czech orchestra) and the Grieg Peer Gynt Suite. The album includes popular classic hits like the Pachelbel Canon and Albinoni Adagio but embraces diverse styles ranging from Khatchaturian and Prokofiev to Bizet's the Pearl Fishers (opera) and Satie's Gymnopedie. Toward the end come full and unchopped performances of core classical repertory like the Bach instrumental suites and Vivaldi violin concerti (in dynamic, living-tradition style, led by James Galway). Reviewer No. 2 is on target. This is a superb present for newcomers. More experienced listeners can relax and enjoy masterly programming of great classics, executed by fine performers and ensembles.

A Gift, 12 Dec 2007
A CD that has so much beauty it moves you from beginning to end. His voice portrays so much emotion that you don't just appreciate the sound, you feel every note that he sings.

There are some CDs that are simply labelled "mood music", and this for me is one that I file under such a category. Every time I listen it lifts me and transports me to places only I can go to. Somewhere that escapes the modern world.

The choice of arias is perfect. Many of which I was unfamiliar with. However, I have since introduced this CD to a number of people, many who listen to an entirely different genre of music; nearly all have been captivated by it.

All I can say is buy it and soak up the rich fare on offer.


And I haven't got the CD yet!, 09 May 2006
I have just listened to the concert, on ITV3, from which this recording was taken. I was almost moved to tears; the empathy that Andrea brings to pieces with which I was brought up, both musically and spiritually, was a joy.
My only regret is that they have, in order to market a 'Bocelli' CD, missed off the choral works that did not include him. They, too, were magnificent and if the whole concert becomes available on DVD I will certainly buy that also.

beautiful voice, 25 Aug 2002
Quite simply Andrea Bocellie's Sacres Arias is a stunning piece of work. Andrea has a beautiful voice. He moves me. Anybody who loves this sort of music will become totally entranced with this. I am often moved to tears when i play Andrea's voice. I would highly recemmend this cd.

Way to go, Chung! Andrea Bocelli is DA BOMB!!!!!, 26 Nov 2000
Personally, my taste leans toward Andrea's lovely pop side, but I still like this album very much for some reason. Though it lacks some elements that made "Romanza" a sensational hit, Andrea and Chung do what they can to keep this s**t together without ever letting it go. And, as a result, it works practically all around, unlike the occasional downfalls on "Verdi," a later release.

That's all, folks!

After "Romanza" I was not quite so keen on "Opera Arias", 15 Aug 2000
After "Romanza" I was not quite so keen on "Opera Arias", I dont think that the recording quite captured the fine voice of Andrea Bocelli, however I am not put off, and will go on to look for more CD's with more of his songs.

A modern interpretation by a voice born to sing Strauss, 27 Sep 2008
Many people will be surprised by the negativity of the comments by bert1761, the first and previous reviewer of this disc on Amazon.com. First, let me say that I deplore the practice of some Amazon readers who give another reviewer a negative vote simply because they do not agree with the opinion expressed. I think "bert" writes honestly, more in sorrow than in anger, and that his is a thoughtful, intelligent, sincerely held opinion that deserves careful consideration. I know what he means by the overt expressiveness of Fleming's interpretation but I do not agree that it is obtrusive or excessive. The voice is in wonderful condition and she is able to sustain the line with apparently effortless ease - except when she clearly chooses to disrupt it deliberately for emotive effect. The lower register is rich and characterful - you can hear its development just from the resonance of Renne's speaking voice in the publicity interviews on this website - and the top soars as creamily and amply as ever; I hear no strain anywhere. Her German is of course impeccable and her breath control a thing of wonder. I, too, am a great fan of Janowitz's and Te Kanawa's (earlier version with Davis) more restrained, classical interpretations, but Fleming's "Im Abendrot", for example, still works its magic for me. She is perhaps delivering here on record more of what you might hear in a live performance (indeed, I believe these are live takes - although you'd never know), when your communicative gestures can be more emphatic than in a recording - but slightly idiosyncratic instances of vocal colouring and verbal inflection can, on repeated listenings, become a little quirky and irritating. Nonetheless, this is an immediate, heartfelt interpretation of these inexhaustibly moving songs and very much a performance for the modern listener who needs and expects more individuality to distinguish one version from another. Furthermore, the recorded sound is technically marvellous; I have never heard so much detail in the orchestration.

The subsequent Strauss arias and songs are a glorious addition to her discography; Fleming was born to sing this composer - and just as she would opt to sing Strauss over any other composer for the voice, I would choose Fleming to interpret him. I cannot hear any inadequacy in her lower register in the first extended "Ariadne" excerpt and I rank this disc with her earlier selection of Strauss "bon-bons" with Susan Graham and Barbara Bonney. The bonus arias on the second disc in the Deluxe Edition are testament to her versatility and supremacy in other composers, especially Tchaikovsky's Tatyana.

So I respectfully beg to differ from the previous reviewer's judgement - but would fiercely defend and welcome his right to express it, prompting, as it does, civilised debate.

Christian music 'critique', 31 Mar 2008
This album remains one of the best, Anything but dull, real joy in worship with many favourites. I love this style of music and it does justice to the wonder of God's mighty works.
Great when you have friends round or just listening in the car or at home.
Wonderfully inspirational tracks.

Negative Feedback: Best Worship Songs... Ever Vol.1, 19 Aug 2007
Being a lifelong Christian, it is fair to say I have heard a lot of Christian music. This CD is quite simply The Worst I have heard, as a compilation it is weak; the songs are tepid and lack real depth of meaning. Ideal for the lacklustre; I believe the Lord deserves more!

One of the best compilations, if not THE best, 16 Feb 2007
I have been a born-again Christian for many years, but it is only within the past couple of years that I have begun to take an interest in modern Christian music outside of church. I purchased the sequel to this album before I had heard of this album, and I then purchased this album on the strength of More... Best Worship Songs Ever. I can honestly say that I have not been left disappointed with this offering. To some people, worship music is like church music - it can be dull and drab. However, this album lays that ghost to rest, with various lively pieces guaranteed to get you going. If you only buy one album, it is a toss-up between this album and its successor - if you buy two albums, it means you won't have to agonise over which one to buy. It will definitely be money well spent.

If you only buy one worship compilation, 16 Oct 2006
If you only buy one worship compilation then this has to be it. It has a fantastic selection of modern, meaningful and very uplifting worship songs by some of the top Christian artists: Matt Redman, Stuart Townend, Delirious? etc., and singing along to some of the tracks is its own prayer. This is fantastic value considering there are 3 CDs with 16, 17 and 16 tracks. Fab!

The best - and the worst - of modern Christian music, 27 Apr 2006
Although I am something of a traditionalist with a soft spot for the 'old' hymns that Christians have sung for generations, these three CDs have given me a new taste for worship music with a modern flavour. They contain a variety of music - old, much-loved lyrics set to inspiring new melodies, such as 'Be Still'; totally original compositions ('Here I Am to Worship'); songs to dance around the room to (See What a Morning); and songs to play quietly as you are drifting off to sleep (Colours of Day).

Unfortunately, Christian music producers don't seem to be very good at filtering enthusiastic Christians who have the talent to express their faith through music from equally enthusiastic Christians who certainly have the DESIRE to express their faith through music, but lack the talent for it. There are a few songs on here that are absolutely awful in terms of their musical value. But don't let that deter you. Overall the album is a fabulous choice, as it offers such a good variety of music and is excellent value for money.

As good as it gets, 24 Mar 2008
Read all the other reviews for soloist analysis etc. What I wish to add is do not be put off by the age of this recording. This was recorded by Decca in their glory days.The dynamic range, frequency range, soundstaging, capture of the hall sound, can (and does) put many a modern recording to shame. The breathing sounds and creaking stage boards only cement the performance. If you want to know how good your system is, can you hear the tube trains passing underneath and the birds outside.

For many including myself this is and will always be a definitive/landmark recording/performance.

The best recording of Turandot in my experience, 21 Aug 2007
The first time that I heard "Turandot" was at a performance in the Arena de Verona some years ago and it was a life-changing event for me: the opera and its performance was simply sublime, indescribable in its intensity to convey a host of emotions. At the end of the first act, less than half an hour's worth, I turned to my wife and said "I'm happy to die now!" or words to that effect: extreme it may sound, but I still hold it true. The beauty of the music and the splendour of the performance in that fantastic arena, in front of nearly 20,000 people that, like me, went wild with excitement at the end of the act, delivered sensations and emotions that can only be expressed as divine.

Since that introduction some seven years ago I have seen live and heard on CD and DVD a large number of different productions of the opera.

On CD, my favourite version is Decca's 1972 recording with a young Luciano Pavarotti as Calaf. This is a studio recording, which I prefer for opera if listening on CD - if you can't have the theatre then you have to make up by having the best sound possible and studio wins over live recordings every time. For instance, I much prefer this recording over the Carreras/Marton/Maazel recording recorded live at the Vienna State Opera that some hold as the finest recording of the opera: Carreras neither has the power nor beauty of the young Pavarotti and Maazel's conducting is ponderous.

Pavarotti's is a brilliant performance - in 1972 he still had the power to go with the gorgeous silky timbre of his voice. Calaf's role needs the power to make the end of Act 1 the thrilling piece of music and theatre that it can be - it works wonderfully well here. The first act of Turandot really is a stunning piece of music: enjoyed best if you have seen at least one production and can replay it in your mind's eye but I suspect that it could nevertheless be very appealing to any listener.

Joan Sutherland does well in the very tricky role of Turandot: this part is pitched so high that the wrong singer can sound too shrill but Sutherland's timbre is easy to listen to even when reaching the highest notes.

The remainder of the cast is also top class. Montserrat Caballe as Liu ekes out all the sympathy the role has to offer and Nicolai Ghiaurov as Timur also delivers a fine performance; the singing at Liu's death in particular is achingly beautiful. The trio of difficult roles, particularly so in the theatre, Tom Krause, Pier Francesco Poli and Piero de Palma as Ping, Pang and Pong deliver a gorgeous rendition of Act 2 Scene 1, so much so that not only can you hear the fabulous musicality of the score, but the comedy in the scene also shines through from their vocal rendition alone - a real plus for this recording.

After all of these superlatives, it should be no surprise for you to learn that I think that Zubin Mehta's conducting of the London Philharmonic orchestra is first class: the tempo is up and he manages to deliver every subtle nuance of colour from the orchestra throughout the recording.

It's a stunning recording of a brilliant opera that I have enjoyed listening to many times over and hope to again and again...if you are going to own only one recording of Turandot then make it this one!


Turandot - Zubin Mehta and the LPO, 16 Oct 2004
This is a brilliant and, so far, unsurpassed recording of Turandot. No other version comes close despite the fact it is over 30 years old. All the principals are ideally cast and the LPO plays superbly. All the nuances of Puccini's complex score are realised to perfection through an excellent recording: just note, for example, the subtle and delicate accompaniment to Caballe's Liu in the "Tanto amore segreto" aria of Act3. You have no need to consider alternative versions of Turandot, this is outstanding.

Excellent, 12 Sep 2004
This is the best recording of this opera. Sutherland and Pavarotti prove more human, easier to relate to than the OTT performances on some other sets.
Sutherland, for example, is less icy and forceful than Birgit Nilsson singing Turandot, and for this we can see her as a person, a deeply hurt person, rather than a block of ice. Her singing proves her to be just as dramtic a Turandot as Nilsson.

Pavarotti has a light voice for Calaf, and you sometimes wish for a deeper voice, but his high notes are magical and he creates a strong characterisation nevertheless. The tenor who sings Calaf to Nilssons Turandot on the Molinari-Pradelli set is Franco Corelli. He is a different Calaf from Pavarotti. More baritonal, with equally powerful high notes, he is more powerful and proves to have a nearly superhuman voice. Sometimes he lacks warmth, however, and is less intigrated than Pavarotti, sounding somewhat aloof, grand. The supporting cast on the Mehta set proves stronger than the EMI set. Renata Scotto sings well as Liu, but Caballe is more radiant and beautiful with Mehta.
The sound in this set is truly brilliant. The scale of the stereo is magical, increadibly clear.
The playing of the LPO, and the voices of the singers are both caught well in the recording.
Mehta proves very strong, the score has never sounded so good.

Magic, 11 Sep 2004
This opera is one of my favourite recordings, now even cheaper than when I bought my copy. Pavarotti is heroic and, I feel, preferable to Franco Corelli with Francesco Molinari-Pradelli on EMI. Equally Sutherland is a more 'human' Turandot than Birgit Nilsson. The sound on the DECCA recording is fuller and more vibrant than the EMI.
I have the feeling that the EMI set may be more 'accurate' than the DECCA set, Corelli and Nilsson may be more like the singers Puccini intended to fill the roles, starker, less beautiful, more forceful than Sutherland and Pavarotti. However, because Nilsson's Turandot and Corelli's Calaf are, I feel a little too grand, I prefer the Mehta set overall. Renata Scotto is lovely as Liu, with gorgeous tone, but Caballe has a more radiant voice. The rest of the casting proves stronger on the DECCA set also.
Mehta with the LPO is stronger than Molinari-Pradelli with the Orchestra dell'Opera di Roma, with lots more character and more presence.
The set was already good value but now the Pavarotti/Sutherland Turandot is really excellent value for money, well cast, well recorded and gradually reaching mid-price.

Yes, Yes, Yes!, 21 Oct 2008
This is more like it. I bought the Harry Christopher/Sixteen version and was left unmoved by it. This however, was sublime - fantastic soloists, an orchestra and chorus that sounded as if they meant it, a wonderful range of emotion beautifully realised. To me this is what a performance of the Messiah should sound like. The other reviewers got this one spot-on. I can only 'rejoice greatly' for such a recording.

vigorously dramatic, and a typical recording, but not clear, 01 Jun 2008
In the same way that Naxos' New College Oxfor