"In the Russian violinist Mark Lubotsky he [Benjamin Britten] found a willing and able ally, technically adroit and expressive without heaviness. With the coupling of the Piano Concerto, recorded the same year with Lubotsky's great compatriot Sviatoslav Richter as soloist, this is and essential Britten recording."Anthony Burton, 1001 classical recordings you must hear before you die
"This recording captures the intimacy of the piece; it is as though the listener is in church hearing the monks process past and reliving the story with them. Peter Pears is remarkably moving in the difficult role of the Madwoman, ably supported by singers and instrumentalists alike."Simon Whalley, 1001 classical recordings you must hear before you die
"Britten was an outstanding (if reluctant) conductor, and his 1964 account of the with the New Philharmonia traces its course from grief and protest to acceptance with unmatched passion and conviction. And it takes only the fierce opening drumbeats to silence any possible doubts about the age of the recording: it was very good to start with, and it has been expertly remastered. The only conceivable complaint is that the next track follows too quickly, when what is really needed is about a minute of stunned silence."Anthony Burton, 1001 classical recordings you must hear before you die
"Joan Sutherland, Luciano Pavarotti, Piero Cappuccilli, and Nicolai Ghiaurov make a formidable quartet, with Pavarotti revealing himself as a Bellini stylist in a role that makes enormous demands on the tenor, including a top C when he first appears and a top F in his finale. Sutherland is meltingly beautiful in the mad scene, and her coloratura sends shivers up and down your spine."Christopher Cook, 1001 classical recordings you must hear before you die
"Alicia de Larrocha was the undisputed doyenne of the Spanish piano repertoire, and her performance brings a flexibility and richness that perfectly complements that of the work itself, striking a balance in the climaxes between power and overbearing brutality, and bringing the most delicate filigree to the work where it is called for. And Rafael Frühbeck de Burgos again provides himself to be an ideal conductor for his compatriot, conjuring a sultry palette of colors from his British players."Martin Cotton, 1001 Classical Recordings you must hear before you die
"The overriding sensation is one of eavesdropping on a great pianist improvising for her own amusement rather than for her audience, and the effects are quite magical as you luxuriate in the warmth of sound and the apparent spontaneity of the music-making. Whether in the filigree tracery of op. 21, no. 2, the perfectly poised ending of op. 9, no. 2, or the dramatic recitative that breaks in during op. 32, no. 1, Pires draws you into a world where it is all too tempting to linger"Harriet Smith, 1001 Classical Recordings you must hear before you die
I Never Loved a Man the Way I Love You is the eleventh studio album by American singer Aretha Franklin. Released on March 10, 1967 by Atlantic Records, It went to #2 on the Billboard album chart and #1 on the magazine's Black Albums chart. It was certified Gold by the RIAA in 1967. It received a #83 ranking on Rolling Stone magazine's 2003 list of the 500 greatest albums of all time and inclusion in both the 1001 Albums You Must Hear Before You Die (2005) and 1,000 Recordings to Hear Before You Die (2008). The album included two top-10 singles: "Respect" was a #1 single on Billboard's Hot 100 Pop singles chart, and "I Never Loved a Man (The Way I Love You)" peaked at #9.