Beethoven: Symphony No. 9 "Choral"

Ludwig van Beethoven (Composer), André Previn (Conductor), Florence Quivar (Performer), Royal Philharmonic Orchestra (Orchestra), Roberta Alexander (Performer), Gary Lakes (Performer), Paul Plishka (Performer)

Product Details

• Performer: Florence Quivar, Roberta Alexander, Gary Lakes, Paul Plishka
• Orchestra: Royal Philharmonic Orchestra
• Conductor: André Previn
• Composer: Ludwig van Beethoven
• Audio CD (January 10, 1995)
• SPARS Code: DDD
• Number of Discs: 1
• Label: RCA
• ASIN: B000003EZG
• In-Print Editions: MP3 Download
• Average Customer Review: 3.0 out of 5 stars See all reviews (2 customer reviews)
• Amazon.com Sales Rank: #627,930 in Music (See Bestsellers in Music)

Customer Reviews

Most Helpful Customer Reviews

3 of 3 people found the following review helpful:

4.0 out of 5 stars Good, but not among the best, January 25, 2000

By	J. Buxton "cantabile" (Waltham, MA United States) - See all my reviews (TOP 1000 REVIEWER)    (REAL NAME)

Don't get me wrong, I love Andre Previn and overall I enjoy this disc. However, he is not helped by inferior sound. I found it a bit cloudy and difficult to hear at times. The playing of the RPO is surely fine and the soloists(particularly the two male soloists) do an excellent job. For better recorded sound you might try Gunter Wand on RCA, or Giuseppe Sinopoli with the Staatskapelle Dresden on Deutsche Grammophon. Bernstein's second recording of the Ninth with the Vienna Philharmonic also has outstanding sound coupled with a great performance.

2.0 out of 5 stars Everybody deserves at least one try, May 21, 2006

By	Santa Fe listener - See all my reviews (TOP 100 REVIEWER)

Every big-name conductor gets a try at the Beethoven Ninth, and some, like Charles Munch, Solti, and Andre Previn on this CD, come up very, very short. Previn is bland to the point of incredulity in the first movement, whose slackness couldn't be greater. The same holds true for the sublime Adagio, which here comes off as a limp series of phrases with no conneciton. The Scherzo proceeds proficienlty enough, and the vocal quartet, recruited from the Met despite the London locale of the recording, are fine. but the conducting remains sluggish to the end. The sonics from 1988 are resonant but otherwise natural. Anyway, why bother with details when the conductor is at such a loss?