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| 1. In A Persian Garden |
| 2. Songs Of The River |
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Most Helpful Customer Reviews
3 of 3 people found the following review helpful:
4.0 out of 5 stars
Fine, unusual music sung w/ style & personality,
By B. (Queens, NYC) - See all my reviews
This review is from: Lehmann: In a Persian Garden/Dunhill: Songs of the River (Audio CD)
I didn't know this music before, & I'm probably not alone in that. I'm glad to know it, and I won't be alone in that among those who get this fine disk. These are stylish and committed performances, which sell the personal and intimate qualities of the music. I've listened to the disk often, and have come to like it more and more.I'm looking forward to their next selections.
1 of 1 people found the following review helpful:
1.0 out of 5 stars
Professional Musician,
By Anastasia Beaverhausen "AHE" (Louisville, KY United States) - See all my reviews
This review is from: Lehmann: In a Persian Garden/Dunhill: Songs of the River (Audio CD)
This is a terrible recording. The male voices sounding as untrained high school singers. The mezzo using an entirely produced sound and the soprano trying desperately to maintain control of the upper third of the written range. How disappointing to anyone really interested in this curious piece from the vocal repertoire. The pianist does a fine job over all but the choice of instrument is not the best. I would only recommend this recording to voice teachers as a prime example of how not to sing. Ever. Really, ever. It's simply an horrible experience.
4 of 6 people found the following review helpful:
1.0 out of 5 stars
This group is not up to it,
By A Customer
This review is from: Lehmann: In a Persian Garden/Dunhill: Songs of the River (Audio CD)
It was with great anticipation that I awaited my copy of the CD with Liza Lehmann's "In a Persian Garden," having treasured this work from the days of my youth. I was dumbfounded that Quattro Voci Records or any company would choose to present such an inept performance of this little gem. As such, it demonstrates that music of this genre is not to be approached casually. Stripped of a sonorous orchestral background, chamber pieces like this lay it all out there with any deficiencies standing out like warts. The group to a man simply lacks the vocal technique to bring forth the subtleties of the piece which require style, involvement in the material, supported mezzo forties and pianissimos and a sense of blend. I have in my possession what are perhaps the only two recordings of the work (one slightly truncated) on 78rpms from the 1920s, and on separate disks, excerpts by John McCormack and Laurence Tibbett. Perhaps not having heard the piece or any part of it done in the proper manner, one could be captivated by its quaintness and novelty. But, listening to my old recordings even with their deficiencies in sound, clearly demonstrates that there infinitely more to be drawn form this work than is presented by the Cantabile Vocal Quartet.
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