Track Listing

1. Fortuna Imperatrix Mundi, No 1: O Fortuna
2. Fortuna Imperatrix Mundi, No 2: Fortune Plango Vulnera
3. Primo Vere, No 3: Veris Leta Facies
4. Primo Vere, No 4: Omnia Sol Temperat
5. Primo Vere, No 5: Ecce Gratum
6. Uf Dem Anger, No 6: Tanz
7. Uf Dem Anger, No 7: Floret/Silva
8. Uf Dem Anger, No 8: Chramer, Gip Die Varwe Mir
9. Uf Dem Anger, No 9: Reie/Swaz Hie Gat Umbe/Chume, Chum Geselle Min
10. Uf Dem Anger, No 10: Were Diu Werlt Alle Min
11. In Taberna, No 11: Estuans Interius
12. In Taberna, No 12: Olim Lacus Colueram
13. In Taberna, No 13: Ego Sum Abbas
14. In Taberna, No 14: In Taberna Quando Sumus
15. Cour D'Amours, No 15 : Amor Volat Undique
16. Cour D'Amours, No 16: Dies, Nox et Omnia
17. Cour D'Amours, No 17: Stetit Puella
18. Cour D'Amours, No 18: Circa Mea Pectora
19. Cour D'Amours, No 19: Si Puer cum Puellula
20. Cour D'Amours, No 20: Veni, Venim, Venias
21. Cour D'Amours, No 21: In Trutina
22. Cour D'Amours, No 22: Tempus est Iocundum
23. Cour D'Amours, No 23 Dulcissime
24. Blanziflor et Helena, No 24: Ave Formosissima
25. Cour D'Amours, No 25: O Fortuna

Product Details

• Amazon Sales Rank: #78690 in Music
• Released on: 1997-10-14
• Number of discs: 1

Customer Reviews

Incredible sound and emotion
I really think that this recording has more feeling than the Blomstedt and Previn recordings. It sounds a lot more robust than Blomstedt's, and I like that. "In taberna quando sumus" is fun at the quick tempo Dutoit chooses. Great CD!!!

The BEST Version I've Heard
First of all, let's get something straight: "Carmina" does NOT rhyme with "Christina", it rhymes with "stamina". "Carmen" is a second-declension neuter noun in Latin, as is "stamen", and in the nominative plural, the stress falls on the first syllable. It's CAR-min-a, not car-MEE-na. It makes my hair stand on end to hear someone pronounce it like they think the "-ina" is an Italian diminutive ending, like in "manina". It is NOT.

Now that I have that off my chest, let me say that I have six different recordings of this masterpiece, including the one conducted by Wolfgang Sawallisch recorded under the personal supervision of Karl Orff himself. I have Michael Tilson Thomas, Antal Dorati, Rafael Frühbeck de Burgos, and Riccardo Muti's versions as well. This one by Charles Dutoit is by far the best I've heard.

Why, you ask? Partly because he makes the most interesting use of tempi, sounding frantic and lusty at times, or languid and sensuous at others. Many recordings seem reluctant to be as flexible or creative, and just seem to be playing the score straight through.

The diction throughout is excellent, even from the children's choir. Yes, it's in Medieval German and Latin, but the lyrics do mean something, and those of us who know them well appreciate being able to hear them clearly. So many American choirs slur the unstressed syllables, and muddy the vowels to the point where you can't make out what they're singing.

Most of all, the two main soloists have magnificent voices. Mark Oswald's baritone is so beautifully rich and emotionally expressive that it brings tears to the eyes. Beverly Hoch's soprano is sweet, clear and bell-like, but never shrill. Ms. Hoch also manages the incredibly long phrase at the end of her solo in "Amor volat undique" in one confident breath, while virtually every other soprano out there breaks the last note in two, or just sings it as long as she can and then stops, while the music carries on.

"In Taberna" is always my least favourite part, but even there the rollicking tempo and hammy emoting of Stanford Olsen made it fun. In total, an excellent recording all around.

Not bad, not bad at all
Although this rendition is right under the Eugen Jochum version, it is still incredible to listen to. The swift tempi are invigorating to hear, and the soloists do a great job with their roles (but Stanford Olsen is not Gerhard Stolze, sorry to say). This is highly recommended not only for Carmina fans, but also for die-hard Dutoit fans.