Orff: Carmina Buranaby Anonymous

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February 02, 2007: Hats off to EMI Classics for re-mastering and repackaging this 1975 recording of the king of chestnuts, Carl Orff's ever-popular CARMINA BURANA, subtitled 'A scenic cantata for soloists, choruses & orchestra'. There likely is not an orchestra today that hasn't performed this work - at times for fundraisers, at times by public demand, and at times because it, well, is a terrifically exciting work. Though there are countless fine recordings of this massive piece (including some fine ones of the chamber version with reduced chorus, two pianos and percussion) by some of the biggest and smallest orchestras in the world, this recording surpasses them all. And each recording has its particular merits: varying quality of choral singing, varying children's choruses, a mixture of soloists with some being outstanding while others on the same recording being only passable, quality of orchestral sound, and quality of conductor. For this listener, owning a legion of recordings of the work, the one recording that seems to hit the bell on every count is this recording by André Previn conducting the London Symphony Orchestra and Chorus and the St. Clement Danes Grammar School Boys' Choir with tenor Gerald English, baritone Sir Thomas Allen, and soprano Sheila Armstrong. Previn's conception of the work embraces all the gaudy wildness of the original 'secular' texts and at the same time tames them into fluid lines as contrasts - the yin and yang of Carmina Burana. For example, original statements by orchestra and/or chorus are bitingly staccato and percussive while his recapitulations are more connected and smoothly melodic. It makes each of the sections of the cantata endlessly fascinating. Sheila Armstrong floats the 'In trutina' like few other better-known sopranos have recorded. Sir Thomas Allen sings his solos with perfect diction and ravishingly beautiful tone. Gerald English knows just how far to push the roasted swan piece, never making it mawkish, always keeping it musical but humorous. The chorus is exemplary - rich in sound, perfect in pronunciation, able to span the spectrum of dynamics like few others. This is a rousing performance, one that respects the quality of the work and finds the subtleties in the interplay of the forces, yet in the end is celebratory, sensuous and joyous. For this listener it is perfect! No wonder EMI has placed it in the revered Great Recordings of the Century category. Grady Harp