Voices 2008

~ Release by Various Artists (see all versions of this release, 1 available)

Annotation

CD2 actually has 15 tracks, with track 9 being split into two with a short introduction and then the rest of the work; unsure if this is a mastering fault or intentional.

Annotation last modified on 2026-03-08 22:08 UTC.

Tracklist

1▶CD: Relaxing
2▼CD: Uplifting
#TitleArtistRatingLength
1La Donne E Mobile
tenor vocals and tenor vocals [Duca]:
Alfie Boe (tenor and actor)
orchestra:
Philharmonie Brünn
conductor:
Gareth Hancock (conductor)
recording of:
Rigoletto: Atto III. “La donna è mobile” (Duca) (in 2006)
composer:
Giuseppe Verdi (Italian opera composer) (until 1851-03-11)
librettist:
Francesco Maria Piave (until 1851-03-11)
part of:
Rigoletto: Atto III
Brno Philharmonic Orchestra* & Alfie Boe2:08
2Wachet Auf (‘Zion Hears the Watchman Singing’)
executive producer:
Dr. Andreas Holschneider and Charlotte Kriesch
producer:
Karl-August Naegler (balance engineer)
violin:
Shlomo Mintz (violinist, violist and conductor) (in 1990-03)
choir vocals [tenors]:
The Monteverdi Choir (English vocal Baroque ensemble) (in 1990-03)
orchestra:
English Baroque Soloists (The English Baroque Soloists) (in 1990-03)
conductor:
Gardiner (John Eliot Gardiner) (in 1990-03)
balance engineer:
Ulrich Vette (engineer)
recorded at:
St. Andrews Church (Fontmell Magna) in Dorset, England, United Kingdom (in 1990-03)
recording of:
Kantate, BWV 140 “Wachet auf, ruft uns die Stimme”: IV. Choral (Tenor) “Zion hört die Wächter singen” (in 1990-03)
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1731-11-25)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1731)
is based on:
Wachet auf, ruft uns die Stimme
part of:
Kantate, BWV 140 “Wachet auf, ruft uns die Stimme”
recording of:
Zion Hears the Watchmen's Voices (in 1992)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
translated version of:
Kantate, BWV 140 “Wachet auf, ruft uns die Stimme”: IV. Choral (Tenor) “Zion hört die Wächter singen”
Monteverdi Choir & English Baroque Soloists3:52
3‘in the Hall of the Mountain King’ From Peer Gynt Suite No.1
choir vocals:
San Francisco Symphony Chorus
orchestra:
San Francisco Symphony Orchestra
conductor:
de Waart (conductor)
recording of:
Peer Gynt Suite no. 1, op. 46: IV. I Dovregubbens hall (Peer Gynt Suite no. 1, op. 46: IV. In the Hall of the Mountain King) (in 1983)
composer:
Edvard Grieg (composer) (in 1875)
revised by:
Edvard Grieg (composer) (in 1888)
version of:
Peer Gynt, op. 23: 2. akt: I Dovregubbens hall
part of:
Peer Gynt Suite no. 1, op. 46
recording of:
Peer Gynt, op. 23: 2. akt: I Dovregubbens hall
composer:
Edvard Grieg (composer) (in 1875)
librettist:
Henrik Ibsen (in 1867)
part of:
Peer Gynt, op. 23
San Francisco Symphony Chorus & San Francisco Symphony Orchestra2:28
4Champagne Aria From Don Giovanni
producer:
Michael Woolcock (producer)
baritone vocals [Don Giovanni]:
Bryn Terfel (bass‐baritone opera singer) (from 1996-10-05 until 1996-10-07)
bass-baritone vocals:
Bryn Terfel (bass‐baritone opera singer)
orchestra:
London Philharmonic Orchestra (LPO; The Philharmonic Promenade Orchestra) (from 1996-10-05 until 1996-10-07)
conductor:
Solti (Sir Georg Solti, conductor) (from 1996-10-05 until 1996-10-07)
balance engineer:
Neil Hutchinson (sound engineer) (from 1996-10-05 until 1996-10-07) and James Lock (James Locke, engineer) (from 1996-10-05 until 1996-10-07)
recorded at:
Royal Festival Hall (Southbank Centre) in Lambeth, London (Greater London), England, United Kingdom (from 1996-10-05 until 1996-10-07)
live recording of:
Don Giovanni: Atto I. No. 11 Aria “Fin ch’han dal vino” (Don Giovanni) (from 1996-10-05 until 1996-10-07)
composer:
Wolfgang Amadeus Mozart (classical composer)
librettist:
Lorenzo Da Ponte (in 1787)
part of:
Don Giovanni: Atto I
recording of:
Don Giovanni: Atto I. No. 11 Aria “Fin ch’han dal vino” (Don Giovanni) (in 1997)
composer:
Wolfgang Amadeus Mozart (classical composer)
librettist:
Lorenzo Da Ponte (in 1787)
part of:
Don Giovanni: Atto I
London Philharmonic Orchestra & Bryn Terfel1:19
5‘Non Nobis Domine’ From Henry V
choir vocals:
Crouch End Festival Chorus
orchestra:
The City of Prague Philharmonic Orchestra
conductor:
Bateman (conductor)
chorus master:
David Temple
recording of:
Non Nobis Domine (Henry V) (in 1997)
cover recording of:
Non Nobis Domine (Henry V)
The City of Prague Philharmonic Orchestra & Crouch End Festival Chorus3:47
6‘the Heavens Are Telling the Glory of God’ From the Creation
baritone vocals:
James Morris (operatic bass-baritone)
choir vocals:
Chicago Symphony Chorus
soprano vocals:
Norma Burrowes (soprano)
tenor vocals:
Rüdiger Wohlers
orchestra:
Chicago Symphony Orchestra
conductor:
Solti (Sir Georg Solti, conductor)
recording of:
Die Schöpfung, Hob XXI:2: Part I: XIV. Chor und Terzett: Die Himmel erzählen die Ehre Gottes (in 1982)
composer:
Joseph Haydn (composer)
publisher:
Oxford University Press
part of:
Die Schöpfung, Hob. XXI:2: Part I (The Creation, Hob. XXI:2: Part I)
James Morris, Chicago Symphony Chorus, Chicago Symphony Orchestra, Norma Burrowes & Rüdiger Wohlers3:31
7Where the Bee Sucks
recording engineer:
Timothy Bull and Jonathan Stokes (engineer) (from 1991-09-23 until 1991-09-25)
producer:
Peter Wadland (producer)
creative direction:
Christopher Hogwood (conductor, harpsichordist)
soprano vocals:
Emma Kirkby (soprano) (from 1991-09-23 until 1991-09-25)
orchestra:
Academy of Ancient Music (from 1991-09-23 until 1991-09-25)
conductor:
Hogwood (conductor, harpsichordist) (from 1991-09-23 until 1991-09-25)
balance engineer:
Jonathan Stokes (engineer)
phonographic copyright (℗) by:
The Decca Record Company Limited (not a release label; for copyrights use only) (in 1993)
recorded at:
Walthamstow Assembly Hall in London (Greater London), England, United Kingdom (from 1991-09-23 until 1991-09-25)
recording of:
Where the Bee Sucks (from 1991-09-23 until 1991-09-25)
lyricist:
William Shakespeare (English poet and playwright)
composer:
Thomas Arne (composer)
recording of:
Where the Bee Sucks (in 1993)
lyricist:
William Shakespeare (English poet and playwright)
composer:
Thomas Arne (composer)
Academy of Ancient Music & Emma Kirkby2:20
8Eliza’s Aria
soprano vocals:
Jane Sheldon (Australian-American soprano) (from 2004-08-16 until 2004-08-19)
orchestra:
Tasmanian Symphony Orchestra (from 2004-08-16 until 2004-08-19)
conductor:
Ola Rudner (conductor) (from 2004-08-16 until 2004-08-19)
recorded at:
Federation Concert Hall in Hobart, Tasmania, Australia (from 2004-08-16 until 2004-08-19)
recording of:
Wild Swans Concert Suite: II. Eliza Aria (from 2004-08-16 until 2004-08-19)
composer:
Elena Kats‐Chernin (Uzbek-Australian composer) (in 2002)
part of:
Classic 100: Piano (2025) (number: 24)
part of:
Wild Swans Concert Suite
recording of:
Wild Swans: Eliza Aria (catch-all for arrangements) (in 2005)
composer:
Elena Kats‐Chernin (Uzbek-Australian composer) (in 2003)
arranger:
Elena Kats‐Chernin (Uzbek-Australian composer)
arrangement of:
Wild Swans Concert Suite: II. Eliza Aria
Tasmanian Symphony Orchestra & Jane Sheldon3:16
9Deus in Adjutorium [Introduction]
sound engineer:
Colin Moorfoot (engineer) and Kenneth Wilkinson (engineer)
producer:
James Mallinson (producer)
tenor vocals:
Robert Tear (tenor) (in 1974-01)
conductor:
John Eliot Gardiner (in 1974-01)
recorded at:
St Jude‐on‐the‐Hill in Hampstead, Camden (London Borough of Camden), London (Greater London), England, United Kingdom (in 1974-01)
partial recording of:
Vespro della Beata Vergine, SV 206: I. "Deus in adiutorium" / II. Toccata "Domine ad adiuvandum" (in 1974-01)
composer:
Claudio Monteverdi (Italian renaissance and baroque composer, choirmaster and string player)
part of:
Vespro della Beata Vergine, SV 206 (for chorus & instruments)
Robert Tear0:16
10Deus in Adjutorium
sound engineer:
Colin Moorfoot (engineer) and Kenneth Wilkinson (engineer)
producer:
James Mallinson (producer)
brass:
The Philip Jones Brass Ensemble
choir vocals:
The Monteverdi Choir (English vocal Baroque ensemble) (in 1974-01)
tenor vocals:
Robert Tear (tenor)
orchestra:
Philip Jones Brass Ensemble (in 1974-01) and The Monteverdi Orchestra (in 1974-01)
conductor:
John Eliot Gardiner (in 1974-01)
performer:
Philip Jones Brass Ensemble (in 1974-01)
recorded at:
St Jude‐on‐the‐Hill in Hampstead, Camden (London Borough of Camden), London (Greater London), England, United Kingdom (in 1974-01)
partial recording of:
Vespro della Beata Vergine, SV 206: I. "Deus in adiutorium" / II. Toccata "Domine ad adiuvandum" (in 1974-01)
composer:
Claudio Monteverdi (Italian renaissance and baroque composer, choirmaster and string player)
part of:
Vespro della Beata Vergine, SV 206 (for chorus & instruments)
recording of:
Vespro della Beata Vergine, SV 206: I. "Deus in adiutorium" / II. Toccata "Domine ad adiuvandum" (in 1975)
composer:
Claudio Monteverdi (Italian renaissance and baroque composer, choirmaster and string player)
part of:
Vespro della Beata Vergine, SV 206 (for chorus & instruments)
Monteverdi Choir, Philip Jones Brass Ensemble, Monteverdi Orchestra & Robert Tear2:10
11Mattinata
tenor vocals:
Luciano Pavarotti (tenor) (on 1993-06-26)
orchestra:
Members of the New York Philharmonic (New York Philharmonic) (on 1993-06-26)
conductor:
Magiera (conductor, pianist) (on 1993-06-26)
recorded at:
Central Park in Manhattan, New York, New York, United States (on 1993-06-26)
live recording of:
Mattinata (on 1993-06-26)
lyricist and composer:
Ruggero Leoncavallo (composer)
recording of:
Mattinata
lyricist and composer:
Ruggero Leoncavallo (composer)
Members of the New York Philharmonic & Luciano Pavarotti2:09
12‘Largo Al Factotum’ From the Barber of Seville
baritone vocals:
Sherill Milnes
baritone vocals [Figaro]:
Sherrill Milnes (baritone) (on 1972-02-03)
orchestra:
London Philharmonic Orchestra (LPO; The Philharmonic Promenade Orchestra) (on 1972-02-03)
conductor:
Varviso (conductor) (on 1972-02-03)
phonographic copyright (℗) by:
The Decca Record Company Limited (not a release label; for copyrights use only) (in 1973)
recorded at:
Kingsway Hall in London (Greater London), England, United Kingdom (on 1972-02-03)
recording of:
Il barbiere di Siviglia: Atto I, N°2. Cavatina “Largo al factotum” (Figaro) (Arie des Figaro) (on 1972-02-03)
composer:
Gioachino Rossini (composer)
librettist:
Cesare Sterbini
part of:
Il barbiere di Siviglia: Atto I
recording of:
The Barber of Seville (english lyrics)
composer:
Gioachino Rossini (composer)
translated version of:
Il barbiere di Siviglia
Sherrill Milnes & London Philharmonic Orchestra4:55
13‘Un Bel di’ From Madame Butterfly
soprano vocals:
Renée Fleming (soprano) (in 1999-07)
orchestra:
English Chamber Orchestra and London Philharmonic Orchestra (LPO; The Philharmonic Promenade Orchestra) (in 1999-07)
conductor:
Jeffrey Tate (conductor) and Mackerras (Australian conductor) (in 1999-07)
recorded at:
Watford Colosseum (fka the Watford Town Hall Assembly Rooms 1939–1994, as CTS Colosseum since 1995, and as Watford Colosseum since 2011) in Watford, Hertfordshire, England, United Kingdom (in 1999-07)
recording of:
Madama Butterfly: Atto II. “Un bel dì, vedremo” (Butterfly) (in 1999-07)
composer:
Giacomo Puccini (Italian composer)
librettist:
Giuseppe Giacosa and Luigi Illica
part of:
Madama Butterfly: Atto II (Madame Butterfly: Act II, also: Atto II, parte 1)
recording of:
Madama Butterfly: Atto II. “Un bel dì, vedremo” (Butterfly) (in 2000)
composer:
Giacomo Puccini (Italian composer)
librettist:
Giuseppe Giacosa and Luigi Illica
part of:
Madama Butterfly: Atto II (Madame Butterfly: Act II, also: Atto II, parte 1)
London Philharmonic Orchestra & Renée Fleming3.54:53
14Granada
recording engineer:
James Lock (James Locke, engineer) (on 1990-07-07), John Pellowe (audio engineer) (on 1990-07-07) and Philip Siney (sound engineer) (on 1990-07-07)
producer:
Christopher Raeburn (producer)
editor:
Nigel Gayler
tenor vocals:
José Carreras (Spanish tenor) (on 1990-07-07)
orchestra:
Orchestra del Maggio Musicale Fiorentino (on 1990-07-07) and Orchestra del Teatro dell’Opera di Roma (on 1990-07-07)
conductor:
Mehta (Zubin Mehta, conductor) (on 1990-07-07)
phonographic copyright (℗) by:
The Decca Record Company Limited, London (The Decca Record Company Limited, not a release label; for copyrights use only) (in 1990)
recorded at:
Terme di Caracalla in Roma (Rome), Roma, Lazio, Italy (on 1990-07-07)
live recording of:
Granada (original Spanish version) (on 1990-07-07)
lyricist and composer:
Agustín Lara (in 1932)
publisher:
Latin-American Music, Southern Music Co. and Peer International Corporation (BMI) (from 1932 to present)
recording of:
Granada (original Spanish version) (in 1990)
lyricist and composer:
Agustín Lara (in 1932)
publisher:
Latin-American Music, Southern Music Co. and Peer International Corporation (BMI) (from 1932 to present)
Orchestra del Teatro dell’Opera di Roma, José Carreras & Orchestra del Maggio Musicale Fiorentino3:45
15I Was Glad
producer:
Christopher Hazell
organ:
Robert Quinney (organist and choir director) (from 1996-07-01 until 1996-07-05) and James Vivian (organist) (from 1996-07-01 until 1996-07-05)
choir vocals:
The Choir of King’s College, Cambridge (from 1996-07-01 until 1996-07-05)
conductor:
Cleobury (organist, conductor) (from 1996-07-01 until 1996-07-05)
recorded at:
King’s College Chapel in Cambridge, Cambridgeshire, England, United Kingdom (from 1996-07-01 until 1996-07-05)
recording of:
I was glad (Psalm 122) (from 1996-07-01 until 1996-07-05)
lyricist:
[anonymous] (special purpose artist)
composer:
Hubert Parry (English composer) (in 1902)
recording of:
I was glad (Psalm 122) (in 1998)
lyricist:
[anonymous] (special purpose artist)
composer:
Hubert Parry (English composer) (in 1902)
Choir of King’s College, Cambridge, James Vivian & Robert Quinney7:35

Credits

Release

manufactured in:EU (Europe)
rights society:BIEM (international rights organization representing member societies from 58 countries)
SABAM (Belgium rights society; do not use this as a label or work publisher!)
copyrighted (©) by and phonographic copyright (℗) by:Classic FM plc (in 2008)
Discogs:https://www.discogs.com/release/4821479 [info]