I have used this book for years and find it very helpful in selecting Opera recordings on CDs. These are critics who know and care about what they write, listing the many different recordings available (as of 1993 anyway!). However,MUCH has changed in the opera-CD world since then. Just as an example, all the legendary Maria Callas "live" performances of some of her greatest roles have been "officially" released by EMI after many years available only as "bootleg" versions, with a bunch more to be released this November 5th!. This is where the book shows its age and is not an acurate representation of opera on CD circa 2002. However, the selections included and reviewed are quite impressive. Until a newly up-dated edition shows it's face, this book is the one to go with.

I have been using this book for so long that it looks really bad. I can't wait for peguin to release an updated version of this book!

I purchase an average of 6-8 complete opera CDs per annum, and find this book very valuable in their selection. These authors "know their stuff" -please let them know how much we opera buffs appreciate their book and how about an update? Lots of new recordings(not to mention singers) in the last eight years!! Please keep a good reference going....

This is the fascinating and absorbing life story of a Mescalero/Chiracahua Apache man -- one who, when he was just a small child, knew Geronimo. Told in his own words, the story is annotated by a white ethnologist, Opler, who made a study of the Apache people over several decades and knew this man very well (the first section of the book explains the culture and historical context), so that all references made by the speaker can be understood by any reader. As he recalls events of his life, he draws the reader deeper into his experience: from his respect and love of the old Apache ways, to the stress and anxiety created by tribal and family disruption caused by government interference. He speaks often and at length about the uses of spiritual power as found in plants, animals, and the earth. This book was apparently written as a textbook for cultural anthropology at Stanford University, but it also deserves our attention for its humanity and for the intriguing story it tells.

Useful, easy to use and well-written.

I found the guide to contain a lot of esoteric titles listed that I did't even listen too.

Well, we have been receiving updates in the Penguin Guide a lot. This latest offering is well up to the standard, and many new releases and a considerable amount of new repertoire are covered here. However, I cannot quite give this book full recommendation because they do not quite understand what sort of playing is poor value and what is not. They think that an hour is not good value at premium price but is definitely good value at mid-price. Also, they have criticised some recordings unfairly, such as the Abbado Dvorak New World, which is actually a better performance than they say so. But overall, I find this book slightly disappointing and I cannot recommend it fully.

For any collector of classical music this book is a must have resource. Keeping ahead of, or even up with the amount of classical recordings in today's market is a near impossibility, but with some help from Penguin you can at least make an attempt to. I find some disagreement with some choices and know that I find they leave out some of what I consider to be good recordings, but it's mainly just personal taste, I have never been unhappy with a recording I purchased based in the recomendation of the Penguin staff.

As has been the case ever since I began reading these wonderful guides in the late 80s, this volume updating the complete 1999 compilation of the Penguin Guide is comprehensive, entertaining, and highly informative. It contains reviews of thousands upon thousands of new and reissued CDs, which are full of wit and insight and which are up to the authors' usual high standards. The separate alphabetical listings on invididual performers, which unfortunately were omitted from the 1999 guide because of lack of space, are incredibly valuable.

The Penguin Guide to Bargain Compact CDs, 2nd Ed. is a helpful and valued tool. I have used it alone in checking CDs and also together with the more comprehensive 1997 Penguin Guide and the Gramophone CD books. If there had to be a choice I would probably opt for the new 1999 Penguin Guide to CDs that just came out. For those seeking low price quality CDs, this guide is excellent although some of the more contemporary and obscure (lesser known)composers are scarely covered.

This is a keeper but should be supplemented by a comprehensive guide as well for those really into classical CDs. Now, if Penguin only had an Index, like Gramophone? But, Penguin justifies each of its choices rather than just reviewing one and listing others as does Gramophone.

For this alone, pushed I opt for Penguin over Gramophone. Incidentally look up almost any work and seldom is there agreement on the best works. Are music critics like economists, too? Mgmtdr@hotmail.com

This volume of the Penguin Guide focuses on mid-range, budget and super budget CDs only. It is a complement to the 1996 guide as well as the 1998 update. It is particularly interesting because it reviews many older yet famous recordings that I was not familiar with and makes collecting easier and less risk taking as it rates sound quality. It's nice to know that many great recordings are available for a fraction of the cost of their full price editions . Highly recommended.

Admittedly I am occasionally infuriated by some of the reviews in the Penguin Guide to Classical CDs; there's an unfortunate tendency to emphasize recordings by great British and European conductors, soloists and ensembles over equally memorable ones by their American counterparts (For example, why isn't Solti or Bernstein mentioned as frequently as Karajan?). Yet it remains the indisputable guide to the latest available great recordings of classical music. While Grammophon has made the dubious decision to list only its preferred recordings, Penguin's latest edition offers a wide variety of choices for the discriminating classical CD collector. Admittedly there may be too many choices for popular works such as the entire Beethoven symphony cycles, yet I greatly appreciate such generosity with respect to choices. This is easily the largest edition of the Penguin Guide I've come across, but one still worth its weight in gold. Without question this is my reference "Bible" when it comes to finding the best classical recordings currently available.

Contrary to the opinion of a previous reviewer rapid obsolesence is not one of the failings of this fine series in my opinion. In this latest incarnation it continues to live up to the indispensible reputation of it's predecessors. New recordings (or re-issues) are picked up in the year books (and it takes a special one to dislodge well regarded older recordings of well worn repetoire so you are pretty safe using this guide right up until the next one comes out in 2 years). The guide remains unashamedly opinionated but the passion (and the prose) of the reviewers makes it a pleasure to read in it's own right. In addition to the usual great depth given to well established works, the reviewers continue to champion fine recordings of little-known composers and repetoire they feel are unfairly ignored or under represented. I can remember reading in a previous edition a review of a lone CD of a composer (Jan Zelenka) whose music I had at the time never heard but who I knew was a direct contemporary of JS Bach. It was such a passionate and well argued review I went right out and ordered the CD. Zelenka is now one of my favourite Baroque composers. I'm sure such reviews have actually influenced the choice of content of some new recordings (because conductors must read the guide too). The historical and social context of composers or compositions that sometimes accompanies reviews is also an added bonus. Still the definitive guide complete with all it's quirks.

I have been an avid collector of these books since starting a classical music library over 20 years ago. The most recent edition maintains the high standard as prior issues. For the record, the "N" is used to designate a new release/recording that has not been reviewed in a prior edition. While the editors' opinions are as a rule highly reliable, they do not guarantee that what they consider to be an outstanding recording will automatically become a favourite for the potential buyer. So this book is truly a guide and no more than that. Oddly enough there are more proofreading errors in this issue than prior editions - particularly with cross-referencing - but that should not deter anybody. Considering the vast amount of material it covers, it remains very competitively priced. The use of two columns per page - which one hardly ever sees outside of the Bible (!) - adds to the depth and concentration of the book. The editors have gone to the trouble of adding expository material when evaluating recordings of obscure works, which gives the reader added motivation to try them out. The book is very strong in the area of Scandinavian music, mainstream and otherwise. These books are also quite sturdy and can take some abuse without literally coming apart. All foreign accents are used where required. Still a very fine reference. Highly recommended.

The Penguin Guide to Compact Discs is a superb guide. There are many explanatory reviews. This edition is dated vs. the later Bargain CDs and 1999 versions. The Penguin Guides lack indexes to composers, works, conductors and performers. On the other hand and in contrast to Gramophone Guides, Penguin rates each CD reviewed. Gramophone has the indexes but then takes one CD or maybe two from each work and reviews it. But then other versions are listed, some with stars indicating higher

desirability. Penguin rates each version (CD) reviewed and provides reasoning for rating some better than others.

I really rate this 4 1/2*. With indexes, this would get 5* and a Rosette. The sensitive music lover will have a current copy of Penguin and Gramophone guides, along perhaps with one smaller book that lists a few recommended works for certain popular classical works.

I have three copies of Penguin guides. I often take one into Barnes and Noble to check while looking at CDs. I use both Penguin and Gramophone in reviewing CDs on auction or for sale.

One major problem is that Gramophone and Penguin tend to pick a different version of each work as best. So, which is? There isn't too much agreement. This is an advantage for the person who has the time or inclination to experiment. Another problem is some of the more current composers, especially in the 20th century are overlooked.

These problems are insignificant. If I see a new work, there

is the gut. Also, some CD houses will permit returning versions that aren't as expected.

This is a MUST. Look for the Bargain CD guide and also the latter version though. Gramophone is also a must, especially the 1999 edition.

Busloads of classical CDs have been issued - some

would say dumped - on the market in the last decade.

No one publication can assess them all, but

these writers, all contributors to Gramophone,

Britain's oldest magazine about classical recorded

music, have a better hope than most. They are

particularly good at pointing out interesting,

underpublicised reissues or bargain releases that

the conventional press have overlooked. They are

less good on releases from really small companies,

or those aimed at non-English speaking markets.

Their overview is careful and a bit too conservative:

if a performance is eccentric but inspired, they will

sooner dismiss it as eccentric than praise it as

exciting. But you will soon get used to their critical

stance, accommodate it and learn to read between

the lines. As a source of information about new

CDs this guide is easy to use and hard to better.

Richard Bernas,