Customer Reviews

Orff: Carmina Burana (Essential Classics)

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

 

 

This recording of the famous Carmina Burana by Orff was excellent when it was originally released I'm sure, but the sonic quality really detracts from the fine performance. Get Andre Previn with the London Symphony Orchestra or James Levine with the Chicago Symphony Orchestra, both are high calibur performances and both have great sonic quality.

This was my first stereo experience with Carmina Burana, long before the composition became a cliché, and Ormandy's recording occupies a special place in my affection. I certainly wouldn't argue with those who claim there are better interpretations and recordings, but I'm glad it remains in the catalogue. Critics were not especially kind when it was released in 1960. The composition itself had not attained the critical acceptance it has today, and the reviewer for High Fidelity ridiculed Harve Presnell for his Hollywood origins. Much more respected at the time was the early 1950s Eugene Jochum recording which had the endorsement of the composer, but which I found unlistenably clunky.

Eugene Ormandy was often criticized for "smoothing out" rhythms, which undoubtedly helped create the "creamy" sound for which the Philadelphia Orchestra was sometimes maligned. In my opinion, what Carmina Burana may have lost in Ormandy's taming of its jagged rhythms, it gained immeasurably in the sense of headlong momentum. This version moves like a juggernaut and is the better for it. This interpretation will never score high in authenticity, but as pure "Technicolor" enjoyment, it is without equal.

Despite the reservations other commentators have with the almost half-century old recorded sound, the Sony cd is much improved over the original compressed, hissy, and pre-echo plagued Columbia L.P.

This is the best recording of Carmina Burana that i have ever heard. both the symphony and the chorus do a masterful job in conveying the emotions of the music, from the grand and bombastic beginning and end to some of the most beautiful parts like "stetit Puella" and "In trutina".

Just beautiful.

Ormandy's 1960 recording of Orff's Carmina Burana has aged gracefully, though I wish there was some improvement in its sound quality. Still, the current recording sounds fine, though it might not meet the high standards of a zealous audiophile. Incidentally, it is still regarded in the latest edition of the Penguin Guide to Classical CDs as one of the best recordings ever of this work. I'm not surprised, since both the chorus and the Philadelphia Orchestra give exciting, vibrantly warm performances. An earlier reviewer thought Ormandy's tempi were a bit sluggish, but they sound just right to me. Without question, this is still an excellent acquisition, and quite literally, a steal. I strongly recommend acquiring this CD even with its slight sound quality problems.

This was the first recording I bought (on vinyl) after I was fortunate enough to perform it as an orchestra member during a "Young Artist Series" in 1967. The Philadelphia Orchestra ranked right up with the New York Philharmonic as my favorite orchestras during those years. As a little bit of trivia, the recording (according to a personal friend associated with the Philadelphia Orchestra) was supposed to feature the Mormon Tabernacle Choir; however, upon reading the translation of the libretto, the Choir refused to perform it--thus, the Rutger's University Chorus was chosen, and they did an excellent job.
The soloists (which include Harve Presnell, who has starred in several motion pictures, recently portraying General George Marshall in "Saving Private Ryan," gives a stellar performance as the baritone soloist. Now to Ormandy. All one has to do is look at the score at the first chorus, the now famous "O Fortuna." After the words "mecum omnes plangite" there is a "subito vivace"--Ormandy must have not been paying attention--it just isn't there!! Also, Ormandy leaves out the gong in the "O Fortuna," as well as the gong crash between "Blanziflor et Helena" and the recapitulation of the "O Fortuna." The gong is also missing from the "In Taberna"--and Ormandy takes quite a bit of liberties in supressing the "battering ram" Orff style which is an integral part of this work. The chorus comes off actually brilliantly in spite of Ormandy, and Gilbert Johnson (Principal trumpet) and William Kincaid (principal flute) have some fine showings. I would suggest purchase of this recording (it is rather cheap)--then listen to Blomstedt and the San Fransisco--or Rafael Frubeck de Burgos and the New Philharmonia (featuring Lucia Popp as the soprano soloist)...you will hear the difference!!

If you can somehow get used to the lacklustre sound quality, this is an excellent performance, particularly the choral parts. The chorus has a fresh sound and they sing with much attention to detail and dynamics. The playing and conducting are all vintage Ormandy/Philadelphians, but the snag is the sound. The sound doesn't jump out at you like some of the more modern, digital versions. Then again, this is at budget price. A full price option with spectacular sound and a fine performance is the San Francisco Symphony led by Blomstedt on Decca.

The CD was in great shape. This is my favorite version of Carmina Burana and it was wonderful to listen to it again after some years.

My first Carmina Burana was a record on Deutsch Gramaphone, and I loved it. Since then, I have listened to several different versions but this one comes closest to it.
I recommend this CD.

I agree with the below review for the most part, but I also must rate this CD higher simply because the music is played so well. If you want a very impactful performance of this work, look for a disc with more modern sonics, but if you just want something to listen to, this version will more than satisfy your musical appetite.

Ormandy tried, but failed on this recording. The tempos were a bit slow, and the overall sound quality of this CD makes this dynamic piece sound weak. It has its good moments, but in general, Ormandy does not make this piece sound the way it should.