Formed in 1853, the choir Orphei Drangar (OD) has constantly striven to discover and develop new directions for the male-voice choir, while not neglecting its splendid traditions. The first OD disc recorded together with the choir's new artistic director, the celebrated choral conductor Cecilia Rydinger Alin, is no exception. Described by Choir & Organ (UK) as 'a tremendous choir, with superb technique and an immense, expressive range', OD gives proof of its versatility in a highly varied program which still manages to stay within the theme of Christmas: original settings and new arrangements of Swedish folk songs and Christmas classics, English carols and Broadway songs - with Stille Nacht, a Russian hymn in praise of the Holy Virgin, and Eric Whitacre's widely admired Lux aurumque added for good measure. Supplying even more nuances to the palette is the choir's guest artist, the young Swedish soprano Ida Falk Winland, as well as a brass ensemble, supporting choir and soloist in parts of the program.

Of the hundreds of songs written by Franz Schubert, those for solo voice are best known today. He also wrote over one hundred songs for men's choir. Occasionally, they were performed by quartets in private settings and a few of them were published during Schubert's lifetime. But it was not until nearly forty years after his death that people began to realize that this music was out there. In Vienna in 1866 a volume of his choruses was published by Johann Herbeck, who was a champion of Schubert's unknown music. These songs vary in style from piano or string accompaniment to a cappella. Occasionally, there is a soloist, as in 'Standchen,' for male choir, alto solo and piano. For this recording Orphei Drangar, conducted by Robert Sund is joined by alto Malena Ernman, tenor Jonas Degerfeldt, pianist Folke Alin and the Swedish Radio Symphony Orchestra and the Royal Stockholm Philharmonic Orchestra. The always brilliant OD sings these rarely performed works with beauty and grace.

The world renowned Orphei Drangar, treats us to a variety of Christmas songs from around the world, including Scandinavia, Germany, England and France. Selections include Gustaf Nordqvist's sweet lullaby 'Jul, jul stralande jul,' 'Ave Maria' by Franz Biebl and 'Es ist ein Ros' entsprungen.' Conducted by Robert Sund, this wonderful choir is joined by soprano Christina Hogman and baritone Peter Mattei with Bengt Forsberg on organ. This is a simply beautiful recording.

The popularity of the male-voice choir has dwindled during the past century. More common in the Romantic era, repertoire written specifically for men's choruses is significantly less as well. On the CD Diamonds, Orphei Drangar, led by Robert Sund and Folke Alin, sings 20th century a cappella pieces written specifically for male choir. The pieces chosen are certainly gems in the repertoire. Many are by French composers such as Francis Poulenc, Darius Milhaud and Camille Saint-Saens, who's Saltarelle is quite fun. The group reaches far to the east in Michio Mamiya's 'Composition for Chorus No.6' which is based on Japanese folk music. The Anders Hillborg piece, was originally written for a mixed choir, but was commissioned to write a version for Eric Ericcson and the Orphei Dranger. This phenomenal group sparkles on this recording.

This disc presents an international selection of music from Orphei Drangar's concert repertoire as well as two opera choruses in collaboration with the Swedish Radio Symphony Orchestra. Folk songs from Sweden open the recording followed by many twentieth century works for men's voice chorus. From Eastern Europe there are 'Four Old Folk Songs' by Bela Bartok and two of 'The Songs of Hamlet' by Estonian composer Veijo Tormis. From America, 'A Stopwatch' by Samuel Barber captures a scene from the Spanish Civil War in which he and poet Stephen Spender volunteered. Two of the most beloved opera choruses end the program: the chorus of Gypsy's (Anvil Chorus) from Verdi's Il Trovatore and the chorus of Soldiers from Gounod's Faust. This inspired recording of Highlights comes from the choir's work with the incomparable Eric Ericson.

A fine recording from this acclaimed male choir as directed by Robert Sund. Mostly sung a cappella there are thirty traditional Swedish songs that celebrate Spring and Summer.

More silliness from Sweden's all-male choir Orphei Drangar (OD), yearly live concerts that were founded in 1962, the ones here taking place from 1987 to 1990, that featured 'Caprices,' or whims and improvisations in concerts (see review for 'Capricer Med OD, Del 1964-69'). 18 songs, some in Swedish, some in English; some favorites are 'Mozart's Pianokonsert nr 21,' 'Bluesette,' 'Teach Me Tiger,' 'Sudda, sudda,' 'Yuppie Rap,' 'At The Hop/Rock Around the Clock' and 'I Could Have Danced All Night.' OK, sometimes we wish we could understand Swedish and see what's happening when the audience cracks up, but there's still a lot to get a laugh from and enjoy here.

In the early sixties the decade was young and people were enthusiastic about anything new. Sweden's Orphei Drangar (OD), an all male choir founded in 1853 changed the formalities of concerts, talking to the audience, allowing laughter and introducing the idea of the 'Caprice' in 1962. 'Caprice' means 'whim' or idea, and it is intended to suggest what is improvised and playful in concerts. The general public longed for such entertainment. Things have changed radically since then, but the basic ideas, surprises, playfulness and high seriousness, craziness but with a requirement of musical quality. 'Certainly the lads go astray at times,' but nothing ventured, nothing gained. This CD is a 'best of' these Caprice concerts, from 1964 to 1969. Unannounced guest artists were a fundamental idea. These included Sven-Bertil Taube, a small ensemble from the choir called the Olsson Quintet made a celebrated debut. Sten-Gunnar Hellstrom presented his condensed version of Swedish musical history, composer Sten Broman was released in his purple tux, and talked for a quarter of an hour about 2 songs with a duration of 3 minutes. There are 22 songs, ending with G. Wennerberg's 'Slut Godnatt,' an amorous lover's 'Wake Up' serenade (to make sure she was not sleeping, leaving him to sing love songs uselessly to himself). All live, in Swedish and in some English, with some light accompaniment and quite a bit of audience laughter. We wish we could understand some of the jokes, but some bits, like 'Dolly,' 'Embraceable You,' 'Domardansen' and 'Beatlespassion' give us a pretty good idea of what's going on. Interesting concept, with some good music and funny stuff.

This is the fourth volume of a series of discs documenting the Caprices -- the ever popular pre-Christmas entertainments that Orphei Drangar started in 1962. By 1982, the Caprices had found the form that most people associate with them today: one or more guest artists -- singers, musicians, comedians, actors or actresses -- their names a well-kept secret until the opening night; a theme for the performance providing opportunities for musical and theatrical pranks, and alarming leaps between different moods and styles.

Not only is Orphei Drangar one of the oldest and best men's choirs in the world, but it is a true gathering of individualists, almost all of whom have amde of will make their mark in professions other than music. Given this urge to express themselves as individuals, their popular pre-CHristmas concerts, known locally as 'caprices,' are not just a collective letting down of hair,' but a much-appreciated opportunity for displaying all sorts of individual talents not usually required of choristers -- whether this be writing musical sketches, singing in some hitherto undiscovered register, representing half of a theatrical horse and etceteras. Add to this Eric Ericson, the world's greatest choral conductor -- who looked after Orphei Drangar for forty years because he enjoyed them so much -- and the mixture is potent, not to say explosive. Like all the greatest musicians Eric Ericson has that well-developed sense of humor that comes from recognizing that one has been entrusted with a very rare gift. Together, Eric Ericson and Orphei Drangar let their hair down in grand style. Indeed they elevate the very concept of 'letting one's hair down' into something like an art form.

The 1960s saw the beginning of the 'Caprice,' an annual event that soon gained great popularity. It was a wholly new concert form in Sweden: a mixture of musical styles, everything from serious classical music to jazz and folk music, and as time went on it became more and more of a scenic production with dramatizations, choreography and slapstick humor. An important ingredient was the appearance of one or more mystery guest artists. Over the years, many of Sweden's foremost artists within various genres ahve appeared to suprise the audience, and often have the opportunity to present themselves form a new angle. The development of the Caprice would hardly have been possible without the special conditions that Orphei Drangar has to offer: Eric Ericson's musical versatility and curiosity, not to mention his wide-ranging contacts within Swedish artistic circles; Robert Sund's skill as an arranger, of which this CD provides ample evidence; and his brother Hakan's artistry at the piano, or an equally high calibre in classical music and in jazz.