01. Sieben fruhe lieder-Nachr
02. Sieben fruhe lieder-Schilflied
03. Sieben fruhe lieder-Die nachtigall
04. Sieben fruhe lieder-Traumgekront
05. Sieben fruhe lieder-In zimmer
06. Sieben fruhe lieder-Liebesode
07. Sieben fruhe lieder-Sommertage				play
08. Funf Orch-Seele, wie bist du schoner
09. Funf Orch-Sahst du nach dem gewitterregen
10. Funf Orch-Uber die grenzen des all
11. Funf Orch-Nichts ist gekommen
12. Funf Orch-Hier ist friede					play
13. Jugendlieder-Wo der goldregen steht
14. Jugendlieder-Lied des schiffermadels
15. Jugendlieder-Schnsucht II
16. Jugendlieder-Geliebte schone
17. Jugendlieder-Vielgeliebte schone frau
18. Jugendlieder-Ferne lieder
19. Jugendlieder-Schattenleben
20. Jugendlieder-Voruber
21. Jugendlieder-Liebe
22. Jugendlieder-Mignon
23. Jugendlieder-Grabchrift
24. Jugendlieder-Schliebe mir augen beide 1907
25. Jugendlieder-Schliebe mir augen beide 1925
26. Jugendlieder-Er klagt das der fruhling so kortz

Ann Schein (piano)
London Symphonie Orchestra
Pierre Boulez - conductor, 1995

The fact that its Jessye Norman performing these songs is not the only reason why I think this is a great record. I think this record gives you a great view on the evolution of Alban Berg as a composer. The three different sets of songs belong to a different period in his life: the early songs are still truely romantic, the "Seven early songs" show a composer searching for new ways of expression and the Altenberg-lieder show him using a totally new and different soundscape. I think Jessye Norman is the perfect singer for these songs, the early 20th century repertoire suits her perfectly (she has made beautiful recordings of works of Arnold Shönberg as well). It's just a pity that these last years she seems to focus on singing Christmas carols and other easy listening music. ---frans, amazon.com

A prominent American soprano, Jessye Norman was the daughter of a schoolteacher and an insurance broker. She started singing spirituals at the age of four at Mount Calvary Baptist Church; one Saturday while doing her chores she heard an opera for the first time, broadcast on the radio. She became an instant opera fan and started listening to recordings of Marian Anderson and Leontyne Price. Nat "King" Cole was also a major inspiration for her.

When she was 16, she started studying at Howard University in Washington, where her voice teacher was Carolyn Grant. She sang in the university chorus and had a job as soloist the Lincoln Temple United Church of Christ. In 1965 she won the National Society of Arts and Letters singing competition. She continued her studies at Peabody Conservatory of Music in Baltimore, and at the University of Michigan in Ann Arbor, where her most important studies were with Elizabeth Mannion and Pierre Bernac.

In 1968 she won the Munich Competition, leading to her operatic debut as Elisabeth in Wagner's Tannhäuser in Berlin. A major European operatic career quickly developed: she appeared as Meyerbeer's L'Africaine at Maggio Musicale in Florence in 1971, Verdi's Aïda at La Scala in Milan in 1972, and as Cassandra in Berlioz's Les Troyens at London's Covent Garden the same year. These roles are all princesses and bespeak a major part of her stage persona, a commanding and noble bearing, partly due to her uncommon height and size. But this is even more a function of her unique, rich, and powerful voice. She has an uncommonly wide range, encompassing all female voice registers from contralto to high dramatic soprano.

As her operatic career developed, she also made important recital debuts, including London and New York in 1973. She made an extensive North American concert debut in 1976 and 1977, but did not appear in opera in the United States until 1982. This was with the Opera Company of Philadelphia, in a double bill as Dido in Purcell's Dido and Aeneas and Queen Jocasta in Stravinsky's Oedipus Rex. Her Metropolitan Opera debut was as Cassandra in 1983, the opening night of the Met's centennial season.

Her interpretation of Strauss's Four Last Songs is legendary. Its slowness is controversial, but the tonal qualities of her voice are ideal for these final works of the great Romantic German lieder tradition. She also sings the Gurrelieder of Arnold Schoenberg, and the same composer's Erwartung. She sang that opera on a memorable double bill at the Met with Bartók's Bluebeard's Castle, which was broadcast nationally. She has also appeared on live broadcasts of season-opening concerts of the New York Philharmonic.

In addition to the direct and emotionally expressive qualities of her singing, her performances also impress through formidable intellectual understanding of the music and its style, as well as first-rate musicianship. She studies the languages of the music she sings, and has been acclaimed in her singing of Mussorgsky songs in the original Russian, in the German Romantic lieder repertoire, and in French music from Berlioz to contemporary composers. --- Joseph Stevenson, allmusic.com

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01. Messe solennelle de Ste. Cécile - Sanctus
02. Ave Maria
03. Panis Angelicus
04. Repentir (O Divine Redeemer)
05. The Holy City
06. Amazing Grace
07. Greensleeves
08. Let Us Break Bread Together
09. I Wonder As I Wander
10. Sweet Little Jesus Boy
11. Gesù Bambino

Jessye Norman – soprano
Christopher Bowers-Broadbent – organ
Ambrosian Singers
Royal Philharmonic Orchestra
Alexander Gibson – conductor

Heaven must be missing an angel because she's here with us-singing on this disc. This is arguably one of the most beautiful recordings of sacred music ever made. Ms. Norman brings a lifetime of experience to this genre-she joined her church choir at 4! The warm acoustics make you feel like you are sitting in your favorite pew-albeit with a magnificent vocalist in the choirloft. Jessye has conquered the world's opera houses in the most demanding roles-one of which garnered her a fifty-five minute standing ovation (Salzberg). But she is most resplendent in the music of her youth. The majestic voice soars over the orchestra and chorus to deliver the full beauty of the music. Ms. Norman also performs selections with organ accompaniment-appropiate since her voice has often been compared to the king of instruments-"with all the stops pulled out"! You will hear why she is one of the most acclaimed recitalists of our time. Her expansive vocal range encompasses every nuance of the music heard here. We are taken on a journey through the entire spectrum of the category starting with a classical Mass, moving through an American spiritual and finishing with a Christmas carol that will keep you in a festive mood year 'round. Amoung the gems on this disc is an Ave Maria sung in German and arguably the most powerful solo recorded performance of "The Holy City" ever. If you want to hear what the heavenly choir sounds like before entering the pearly gates-listen to this disc. Brava Jessye! ---Billy Spargo, amazon.com

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01. Jubilate Fanfare-Jubilate Fantasy
02. Ex Exsultavit
03. Ave Maria
04. Geistliches Wiegenlied
05. Die Allmacht
06. Behold That Star
07. Star of Wonder
08. Rocking for the World
09. O Poor Little Jesus
10. Go Tell It on the Mountain
11. Repentir
12. Agnus Dei
13. Sanctus

Jessye Norman – soprano
Jean-Louis Gil – organ
Peter Csaba – violin
Karol Miczka – violin
Zoltan Toth – viola
Jean-Marie Trotereau - cello
Fabrice Pierre – harp
Glenn Wilson – harpsichord
Lyon National Opera Orchestra
Michel Piquemal – conductor

A prominent American soprano, Jessye Norman was the daughter of a schoolteacher and an insurance broker. She started singing spirituals at the age of four at Mount Calvary Baptist Church; one Saturday while doing her chores she heard an opera for the first time, broadcast on the radio. She became an instant opera fan and started listening to recordings of Marian Anderson and Leontyne Price. Nat "King" Cole was also a major inspiration for her.

When she was 16, she started studying at Howard University in Washington, where her voice teacher was Carolyn Grant. She sang in the university chorus and had a job as soloist the Lincoln Temple United Church of Christ. In 1965 she won the National Society of Arts and Letters singing competition. She continued her studies at Peabody Conservatory of Music in Baltimore, and at the University of Michigan in Ann Arbor, where her most important studies were with Elizabeth Mannion and Pierre Bernac.

In 1968 she won the Munich Competition, leading to her operatic debut as Elisabeth in Wagner's Tannhäuser in Berlin. A major European operatic career quickly developed: she appeared as Meyerbeer's L'Africaine at Maggio Musicale in Florence in 1971, Verdi's Aïda at La Scala in Milan in 1972, and as Cassandra in Berlioz's Les Troyens at London's Covent Garden the same year. These roles are all princesses and bespeak a major part of her stage persona, a commanding and noble bearing, partly due to her uncommon height and size. But this is even more a function of her unique, rich, and powerful voice. She has an uncommonly wide range, encompassing all female voice registers from contralto to high dramatic soprano.

As her operatic career developed, she also made important recital debuts, including London and New York in 1973. She made an extensive North American concert debut in 1976 and 1977, but did not appear in opera in the United States until 1982. This was with the Opera Company of Philadelphia, in a double bill as Dido in Purcell's Dido and Aeneas and Queen Jocasta in Stravinsky's Oedipus Rex. Her Metropolitan Opera debut was as Cassandra in 1983, the opening night of the Met's centennial season.

Her interpretation of Strauss's Four Last Songs is legendary. Its slowness is controversial, but the tonal qualities of her voice are ideal for these final works of the great Romantic German lieder tradition. She also sings the Gurrelieder of Arnold Schoenberg, and the same composer's Erwartung. She sang that opera on a memorable double bill at the Met with Bartók's Bluebeard's Castle, which was broadcast nationally. She has also appeared on live broadcasts of season-opening concerts of the New York Philharmonic.

In addition to the direct and emotionally expressive qualities of her singing, her performances also impress through formidable intellectual understanding of the music and its style, as well as first-rate musicianship. She studies the languages of the music she sings, and has been acclaimed in her singing of Mussorgsky songs in the original Russian, in the German Romantic lieder repertoire, and in French music from Berlioz to contemporary composers. ---Joseph Stevenson, Rovi

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01- I Couldn't Hear Nobody Pray
02- My Lord, What A Morning 
03- Do Lawd, Oh Do Lawd 
04- There's A Man Going Round 
05- Ev'ry Time I Feel De Spirit 
06- There Is Balm In Gilead 
07- Gospel Train 
08- Great Day 
09- Mary Had A Baby 
10- Live A Humble 
11- Walk Together Children
12- Were You There 
13- Hush! Somebody's Callin' My Name 
14- Soon Ah Will Be Done 
15- Give Me Jesus

Performer: 
Jessye Norman - soprano 
Dalton Baldwin - piano 
William Patterson - conductor 
Ambrosian Sigers

Much like Amazing Grace, Spirtuals is a stirring collection of gospel standards, all performed with grace and passion by Jessye Norman. She had long ago proven herself as a peerless soprano, but with Spirituals, she confirms her status as one of the finest contemporary gospel singers as well. ---Rodney Batdorf, Rovi

Jessye Norman is a Living Legend that everyone needs to see on stage at least once in their lifetime. The depth and of her voice is like none other and hearing her sing Negro Spirituals shakes my very soul. She sings from a place of experience and personal knowledge that only persons who've experienced the pangs of racism, rejection and marginalization in America can understand.

The purity of her voice on songs like "Get on Board Little Children" causes one to literally hear the Gospel Train rounding the tracks to glory. Or the sorrow in the question, "Were you There When They Crucified My Lord?" makes the listener feels as if he or she were actually standing at the foot of the cross while the soldiers nailed the Savior to the tree. Jessye Norman takes you on the journey of the Negro Spiritual and allows you to experience the pain and the hope of the slave.

Every listener should teach their children these classic spirituals, as well as introduce them to this Vocal Diva. She masterfully preserves the Negro Spiritual so we do no forget the beauty of their lyrics or their sounds. I purchased several copies and gave them away as gifts. "Lest our feet, stray from the places our God where we met thee. Lest our heart, drunk with the wine of the world we forget thee. Out of the gloomy past. May now we stand at last. True to our God. True to our native land." (from the Negro National Anthem) ---Pastor Cheryl Denise Ward, Cheryl Ward Ministries,Oakland, amazon.com

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