A 20th Century Opera Collection: 2010

sábado, 25 de diciembre de 2010

Leos Janácek-From the House of the Dead - Bohumil Gregor

Leos Janácek: Z mrtvého domu (From the House of the Dead) - Bohumil Gregor Opera | Early 20th Century | 2CD | EACRip | APE+LOG+CUE | Covers | RS.com | 545MB Label: Supraphon | Year of release: 2008 | ADD

Z mrtvého domu --(From the House of the Dead)
Opera in 3 Acts

Alexander Petrovich Goryanchikov - Václav Bednár
Aleia - Helena Tattermuschová
Luka Kuzmich - Beno Blachut

Prague National Theatre Chorus & Orchestra
Bohumil Gregor

Rec. 1965

Review:

This is the first CD release of the legendary 1964 production of Janacek's last opera by Bohumil Gregor and soloists of the National Theater. The vinyl release was awarded the prestigious Grand Prix du disque lyrique in Paris in 1978. The cast and direction of the recording reflect the National Theater production which premiered in April, 1964, breaking new ground in the interpretation of this work. Janacek wrote his last opera towards the very end of his life, and it wasn't premiered until 1930, two years after his death. He sketched out the script and wrote the libretto himself, basing it on Dostoevsky's novel The House of the Dead, which takes place in a Siberian prison camp, describing the fates of individual prisoners. The work is full of immense compassion for human suffering in that each of the stories demonstrates that a harsh environment and poverty were the main causes of the prisoners' crimes. This well-preserved recording not only presents a period interpretation of Janacek's work and the superior quality of the National Theater ensemble, but also an extraordinary musical experience, thanks to the unforgettable vocal performances.

Tracklist:

Disk 1
1 Overture
2 Act I : Introduction "Today They?Ll Bring A Gentleman!"
3 Act I : "What?S Your Name?"
4 Act I : "Wretched Creature! It Resists!"
5 Act I : "Never Again Will My Eyes Behold My Birthplace"
6 Act I : "I, A Maiden, Went To A FÃªte"
7 Act I : "Alieia, Get Me A Thread!"
8 Act Ii : Introduction
9 Act Ii : "My Dear, Dear Alieia!"
10Act Ii : "Alexander Petrovich, There Will Be A Holiday"
11Act Ii : "Eh, I, Poor And Useless Man"
12Act Ii : "A Day Passes, Two, Three"
13Act Ii : "La, La, La..." "You Can'T White-Wash A Black Horse" The Play About Ked
14Act Ii : The Pantomime About The Miller?S Beautiful Wife
15Act Ii : "Nice Plays, Weren?T They?"

Disk 2

1 Act Iii : Introduction "Jesus, The Prophet Of God"
2 Act Iii : "O, Brothers! That Pain Is Nothing!"
3 Act Iii : "Ah, My Dear Children"
4 Act Iii : "You, Said Filka"
5 Act Iii : "And Filka Shouts"
6 Act Iii : "And I Was Drunk Right Up To The Wedding Day"
7 Act Iii : "The Next Day, Drunk As A Sod"
8 Act Iii : "Hou ? Hou! Hou ? Hou!" "Petrovich, I Have Offended You"

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martes, 2 de noviembre de 2010

Richard Strauss - Salome - Herbert von Karajan

Richrad Strauss (1864-1949): Salome - Herbert von Karajan - Wiener Philharmoniker

CD 1:

1. Wie schön ist die Prinzessin Salome heute Nacht!
2. Nach mir wird einer kommen
3. Ich will nicht bleiben
4. Siehe, der Herr ist gekommen
5. Jauchze nicht, du Land Palästina
6. Du wirst das für mich tun
7. Wo ist er, dessen Sündenbecher jetzt voll ist?
8. Jochanaan! Ich bin verliebt in deinen Leib
9. Wird dir nicht bange, Tochter der Herodias?
10. Wo ist Salome? Wo ist die Prinzessin?
11. Es ist kalt hier. Es weht ein Wind
12. Salome, komm, trink Wein mit mir
13. Sieh, die Zeit ist gekommen
14. Wahrhaftig, Herr es wäre besser
15. Siehe, der Tag is nahe, der Tag des Herrn

CD2:

1. Eine Menge Menschen wird sich gegen sie sammeln
2. Tanz für mich, Salome
3. Tanz der Sieben Schleier/Dance of the Seven Veils
4. Ah! Herrlich! Wundervoll!
5. Still, sprich nicht zu mir!
6. Salome, bedenk, was du tun willst
7. Wer hat meinen Ring genommen?
8. Es ist kein Laut zu vernehmen
9. Ah, du wolltest mich nicht deinen Mund Küssen lassen
10. Sie ist ein Ungeheuer, deine Tochter
11. Ah! Ich habe deinen Mund geküsst

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martes, 26 de octubre de 2010

Bartók - Bluebeard's Castle - Eliahu Inbal

Béla Bartók (1881-1945): Bluebeard's Castle - Eliahu Inbal - RSO Frankfurt

Opera | Early 20th Century | 1CD | EACRip | APE+LOG+CUE | Covers | RS.com | 265MB
Label:Denon | Year of release: 1994 | DDD

Judith: Katalin Szendrényi
Duke Bluebeard: Falk Struckmann

Radio Sinfonie Orchester Frankfurt
Eliahu Inbal
Rec. 1992

Amazon REVIEW:
There are more exciting, more strongly characterized recordings of this strange masterpiece. Kertesz (Decca), Dorati (Mercury) and Boulez (Sony or DGG) all present performances that absolutely brim with theatrical atmosphere; you can almost visualize how each performance would appear on stage. Inbal (like Fischer on Sony) takes a different tack. Inbal plays "Bluebeard" as interiorized mind-drama and, in a way, this is perfectly suited to the kind of theatre piece Bartok and his collaborator Bela Balasz created over 70 years ago. Like Debussy in "Pelleas and Melisande," Bartok in "Bluebeard's Castle" presents a drama that really occurs in someone's mind - Bluebeard's - or the author's - or the listener's. Sort of like theatrical chamber music ala Strindberg. Inbal's singers are not in the same league as Dorati's et al., but this is a recording that should be heard nevertheless. Wonderfully rich yet transparent sound from Denon.
T. Beers

TRACKLIST:

1. Prologue
2. Curtain - beginning theme
3. Door 1
4. Door 2
5. Door 3
6. Door 4
7. Door 5
8. Door 6
9. Door 7

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domingo, 10 de octubre de 2010

Hans Pfitzner: Palestrina - Otmar Suitner - Staatskapelle Berlin

Hans Pfitzner (1869-1949): Palestrina - Otmar Suitner - Staatskapelle Berlin

Palestrina, Musical Legend in three Acts

Palestrina - Peter Schreier
Borromeo - Siegfried Lorenz
...

Staatskapelle Berlin
Otmar Suitner
Rec. Live 1986-88

Musicweb review:

This Berlin Classics recording is up against considerable competition. The DG Kubelik version (427 417 2GC3) has been around on silver disc since 1989 having been recorded in the early 1970s. Kubelik is (and I speak from memory here) every bit the committed champion for a beloved neglected work. His starry cast is 1960s Golden Age with Karl Ridderbusch, Bernd Weikl, Dietrich Fischer-Dieskau, Hermann Prey, Helen Donath, Brigitte Fassenbaender and Nicolai Gedda as Palestrina.

Recorded nearly twenty years later the present set sounds very good while a scintilla of shrillness reportedly affects the DG set. That hint is not at all evident here. Technically and artistically this Berlin Classics box is a most satisfying set and one that although it does not supersede the glories of the DG set complements it and in some cases excels it. Both the orchestra and the loving empathy of the much undervalued Othmar Suitner are never in doubt. That is apparent from the opening bars. The singers and the performance generally benefit from the live environment and their ease, one with the other, must surely be down to their having grown together into the roles in the opera house. Peter Schreier's voice is more honeyed of tone than Fischer-Dieskau's in the earlier DG recording (which I recall from broadcast during the 1970s).

Rob Barnett

Tracklist:
CD1
1. Palestrina, opera in 3 acts: Vorspiel
2. Palestrina, opera in 3 acts: Act 1. Scene 1. Schönste, ungnäd'ge Dame
3. Palestrina, opera in 3 acts: Act 1. Scene 2. Ighino, gut, daß ich dich seh!
4. Palestrina, opera in 3 acts: Act 1. Scene 3. Schönste, ungnäd'ge Dame
5. Palestrina, opera in 3 acts: Act 1. Scene 4. Der letzte Freund
6. Palestrina, opera in 3 acts: Act 1. Scene 5. (first part) Für Ihn! Sein Wesen will's
CD2
1. Palestrina, opera in 3 acts: Act 1. Scene 5. (conclusion) Nicht ich - schwach bin ich
2. Palestrina, opera in 3 acts: Act 1. Scene 6. Allein in dunkler Tiefe
3. Palestrina, opera in 3 acts: Act 1. Scene 7. Ighino, sieh doch, komm herein
4. Palestrina, opera in 3 acts: Act 2. Vorspiel
5. Palestrina, opera in 3 acts: Act 2. Scene 1. Noch eine Bank! Und Schnell!
6. Palestrina, opera in 3 acts: Act 2. Scene 2. Morone ist von Innsbruck schon herein
7. Palestrina, opera in 3 acts: Act 2. Scene 3. Ein liebreich würd'ger Herr
8. Palestrina, opera in 3 acts: Act 2. Scene 4. Zahlreich wird heit'di heilige Versammlung
CD3
1. Palestrina, opera in 3 acts: Act 2. Scene 5. Den Heil'gen Geist
2. Palestrina, opera in 3 acts: Act 2. Scene 6. Was nun! Was nun!
3. Palestrina, opera in 3 acts: Act 2. Scene 7. habt Ihr's gesehn?
4. Palestrina, opera in 3 acts: Act 3. Vorspiel
5. Palestrina, opera in 3 acts: Act 3. Scene 1. Wie lange sie bleiben
6. Palestrina, opera in 3 acts: Act 3. Scene 2. Ist Palestrine, der Meister, hier?
7. Palestrina, opera in 3 acts: Act 3. Scene 3. Nun schmiede mich

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lunes, 27 de septiembre de 2010

Sergei Prokofiev: L'Amour des Trois Oranges - Kent Nagano - Opéra de Lyon

L'Amour des Trois Oranges, Opera in four acts

Catherine Dubosc - Ninette
Gabriel Bacquier - The King of Clubs
Jean-Luc Viala - The Prince
Georges Gautier - Truffaldino

Chorus & Orchestra of the Opéra de Lyon
Kent Nagano

Prokofiev.org review:

This CD set received the Gramophone award for best opera recording of (forgive my memory lapse) 1989 or 1990. And it's easy to see why. Though it's sung in French (Prokofiev, who wrote the libretto in Russian, did approve a French-language version for the opera's premier), the core of the work comes through here to marvelous effect: Nagano and company vigorously stir the mixture of farcical slap-stick and acid-laced joyous music to make for tasty oranges for the jaded palette. There's not a moment's inattention by the conductor to the rambunctious goings-on in Prokofiev's opera. You can practically see the action on stage: the spectators (comedians, tragedians, empty-heads, romantics, etc.) arguing vociferously at the outset over what they shall see; nasty Fata Morgana (splendidly sung by Michelle Lagrange) casting wicked spells; Truffaldino (characterfully performed by Georges Gautier) and the prince hiding from the giant cook; the mad chase near the end of Smeraldina, Clarissa and Leandro. It's all here in splendid singing, abetted by gorgeous sonics and vivid acoustical atmosphere.
The playing by the Lyon Opera Orchestra is never less than exuberant and brilliant: the well-know march and scherzo are deliciously rendered, and there's so much frothy verve to their performance in general, you could hardly expect this level of orchestral panache bettered by even some of the world-class ensembles.

Robert Cummings

Tracklist:

CD1
1 Prologue (3:44)
2 The King's palace (1. Akt) (9:40)
3 Celio and Fata Morgana (3:35)
4 The King's palace (10:09)
5 The Prince's bedroom (2. Akt) (6:48)
6 The courtyard of the palace (15:51)

CD2
1 A desert (3. Akt) (9:37)
2 The courtyard of Creonta's palace (7:55)
3 A desert (23:07)
4 Celio and Fata Morgana (4. Akt) (3:33)
5 The Throne Room of the King's palace (7:48)

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sábado, 18 de septiembre de 2010

Paul Hindemith: Mathis der Maler - Gerd Albrecht - Kölner Rundfunk

Paul Hindemith (1895-1963): Mathis der Maler - Gerd Albrecht - Kölner Rundfunk SO

Mathis der Maler, opera in seven scenes

Albrecht von Brandenburg - Josef Protschka
Mathis - Roland hermann
Lorenz von Pommerfelsden - Victor von Halem
Wolfgang Capito - Hermann Winkler

Kölner Rundfunk Sinfonieorchester
Gerd Albrecht

Ancient folksongs, battlesongs from the time of the Reformation, and Gregorian chant, these provide the fertile soil from which the music in 'Mathis' grows, which hopefully spreads at least a faint reflection of the light under whose warming rays it was able to bloom: the spirit of one of the greatest artists we have ever seen." (Paul Hindemith, 1938)
Hindemith's opera "Mathis der Maler" was written between the years 1933 and 1935. The relevance of the material, especially the problem of combining artistic activity and politics, was immediately recognized. For Hindemith - as he mentioned himself several times - the period of artistic noncommitment was over; the works to be created would have to be of a different kind, a music emphasizing more than mere virtuosity or entertainment; he became aware at this time that the artist holds a position of high responsibility toward humanity as well as for art and the defence of art. Hindemith shares this attitude towards art with Mathis, who - at the beginning of the 16th century - experienced the dawn of a new age with its inevitable destruction of the perceptions which until then had held sway, and who also chose to concentrate in his work on the unfolding of tradition. The opera "Mathis der Maler" is the first document of this new position; it is a work that seeks to cause everything personal and temporal, if not to be forgotten, at least to recede into the background.

Tracklist:

CD1

1 (Vorspiel : Engelkonzert) (8:54)
2 Sonniges Land. Mildes Drängen schon nahen Sommers (3:23)
3 Rector potens, verax Deus (2:01)
4 Aufmachen ! Helft uns ! (1:52)
5 Woher kommt ihr denn ? (5:33)
6 Was redest du da ? (5:01)
7 Staub am Himmel, Pferdetraben (1:07)
8 Raus, Schwarzröcke, aus eurem Geniste ! (2:04)
9 Dem Volk stopft man die falschen Lehren ins Maul (4:27)
10 Nach dem Lärm vieler Orte (2:51)
11 Man fühlt den Segen (6:01)
12 Rom verzieh oft (3:24)
13 Was gibt's ? (7:57)

CD2

1 In dieser Arche wird unsre Habe die Sintflut überstehn (5:18)
2 Man könnte päpstlich werden (2:16)
3 Was bin ich anderes in dieser Männerwelt (10:22)
4 Unsre Schande leuchtete in des Feuers Schein (2:51)
5 Du hast uns lange getreten (3:42)
6 Wer hieß euch den Grafen ermorden ? (2:07)
7 Das sieht euch gleich (6:01)
8 Flohen nicht alle ? (1:57)
9 Wagen wollen, was ein Wille nicht zu zwingen vermag (2:40)
10 Wollt ihr mich denn entmündigen ? (4:03)
11 Du, Ursula ! (8:18)
12 Ihr wollt das Ergebnis der Unterhaltung wissen (7:19)

CD3

1 Du wirst mich verlieren (6:13)
2 Alte Märchen woben uns fromme Bilder (6:16)
3 Du hast ihn verschleudert (3:03)
4 Gibst du noch so viel (4:11)
5 Und dich hat der Tod vergessen (1:03)
6 Du bist zu alt geworden (:53)
7 Dein ärgster Feind sitzt in dir selbst (4:13)
8 Mein Bruder, entreiße dich (7:38)
9 Das ist der Kreuzweg (8:14)
10 (Zwischenspiel : Grablegung) (3:12)
11 Du bringst es über dich (6:04)
12 Auf denn zum letzten Stück des Weges (3:12)

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domingo, 5 de septiembre de 2010

Alban Berg: Lulu - Pierre Boulez - Orchestre de l'Òpera de Paris

Lulu, Opera in three acts

Lulu - Teresa Stratas
Gräfin Geschwitz - Yvonne Minton
Dr.Schön / Jack - Franz Mazura
Alwa - Kenneth Riegel

Orchestre de l'Ópera de Paris
Pierre Boulez

Amazon Review:

This recording of Berg's posthumous opera, Lulu, is quite a thing one would take in as masterpiece or despise. That is, barring the singers themselves. Some call it unpleasant and jarring, others say it has more depthful beauty than any other opera.
I say, first, of the opera itself. I was deeply into romanticism before this point, and now I rethink my tastes. True, Lulu can have intensely romantic stretches, but also something more. Something more real, that is. The 12-tone composition can be difficult, but just listen, and it dawns. It is face-paced and exciting, and always very convincing dramatically, due to the tendancy of the format to follow patterns of speech rather than melodies that are "pleasant to the ear," Of course, through this all, Lulu manages to be very pleasant to the ear, if you have an open mind.
First, I was hooked in by the very abstract and interesting story. Lulu, I thought at first, was just one of those "chew them up and spit them out" heroines, but that is not father from the truth. She lives in an innocent world of her own, completely oblivious to the princples of right and wrong. It is the twisted desires, devious actions, character flaws and infortitudes of those surrounding her that give her the illusion of being corrupt. The libretto, writtten by the composer, is brilliant. It brings out a captivating and very risque story-- banned later in Nazi Germany for being "degenerate art."
As for the singing, I have a few comments as well. I've heard some rather harsh criticisms concerning Teresa Stratas in the title role. I think they are unwarranted. Stratas is an artist I have immense respect for, and I think her the perfect Lulu. She has a remarkable meekness in her stage-presence and voice that draws sympathy and pathos. This, in conflict with the character's actions, show what Lulu was intended to be. Her voice is glorious in this recording, and she sends a chilling stillness through her occasional coloratura that give perfect effect. Many claim she's too unsure too be Lulu, but I think that makes this recording. Of course, the other singers are top-rate as well. Kenneth Reigel as Alwa never falters on the high notes, but barrages them gracefully. Yvonne Minton plays a warm Geswitz, though not as adapted to sprechstimme as the rest of the crew. However, her final dying plea to Lulu, after Jack the Ripper leaves is intensely haunting and moving. And, lastly, we have a properly ill-tempered Dr. Schon.
If you wish to try sopmething new, grab a copy of this recording-- a great rendition of a sadly neglected opera.

Tracklist:

Disc 1:

1. Lulu / Prolog - Hereinspaziert in die Menagerie 4:30
2. Lulu / Act 1 - "Darf ich eintreten?" - "Mein Sohn!" ... "Wie ist dir?" 5:09
3. Lulu / Act 1 - "Machen Sie auf!" ... [Interlude] "Wollen Sie mir zuhaken" 9:06
4. Lulu / Act 1 - "Eva!" - "Befehlen?" - "Ich finde, du siehst heute reizend aus" R 3:34
5. Lulu / Act 1 - "Den hab' ich mir auch ganz anders vorgestellt" 4:26
6. Lulu / Act 1 - "Was tut denn Ihr Vater da?" Sonate "Wenn ich ihr Mann wäre" 7:03
7. Lulu / Act 1 - Monoritmica "Nun?" / "Du hast eine halbe Million geheiratet" 5:03
8. Lulu / Act 1 - "Ich darf mich jetzt hier nicht sehen lassen" F 3:54
9. Lulu / Act 1 - Verwandlungsmusik 3:07
10.Lulu / Act 1 - "Seit ich für die Bühne arbeite" - "Noch etwas, bitte" K 3:53
11.Lulu / Act 1 - "Über die liesse sich freilich .." ... " Das hättest du dir besser erspart" 4:29
12.Lulu / Act 1 - "Wie kannst du die Szene gegen .." ... "Sehr geehrtes Fräulein .." 7:13

Disc 2:

1. Lulu / Act 2 - "Sie glauben nicht" - "Könntest du dich für heute nachmittag" 5:27
2. Lulu / Act 2 - "Gott sei dank, dass wir endlich" ... "Hast oben abgeschlossen?" 5:40
3. Lulu / Act 2 - "Die Matinée wird, wie ich mir denke" 6:15
4. Lulu / Act 2 - "Sein Vater!" ... "Du Kreatur, die mich durch den Strassenkot" 3:45
6. Lulu / Act 2 - Filmmusik 2:49
7. Lulu / Act 2 - "Er lässt auf sich warten" 5:42
8. Lulu / Act 2 - "Sie wollten der verrückten Rakete" - "Mit wem habe ich ... Sie?" 5:34
9. Lulu / Act 2 - "Hü, kleine Lulu" - "O Freiheit! Herr Gott im Himmel!" 7:26
10.Lulu / Act 2 - "Wenn deine beiden grossen Kinderaugen" - "Durch dieses Kleid" 4:58

Disc 3:

1. Lulu / Act 3 - "Meine Herrn und Damen!" ... "Der Staatsanwalt bezahlt demjenigen" 9:20
2. Lulu / Act 3 - "Brilliant! Es geht brilliant" 2:06
3. Lulu / Act 3 - "Einen Moment! Hast du meinen Brief gelesen?" 3:12
4. Lulu / Act 3 - "Ich brauche nämlich notwendig Geld" 3:33
5. Lulu / Act 3 - "Behandeln sie mich doch wenigstens anständig" 2:41
6. Lulu / Act 3 - "Martha! Mein liebes Herz, du kannst mich heute vor "s 2:30
7. Lulu / Act 3 - "Wollen sie wohl diese Aktie akzeptieren" 2:44
8. Lulu / Act 3 - Verwandlungsmusik 2:51
9. Lulu / Act 3 - "Der Regen trommelt zur Parade" 4:39
10. Lulu / Act 3 - "Wenn ich dir ungelegen komme" - "Ihr Körper stand auf dem Höhepunkt" 6:08
11. Lulu / Act 3 - "Komm nur herein, mein Schatz" 4:16
12. Lulu / Act 3 - "Der Herr Doktor haben sich schon zur Ruhe begeben" 2:42
13. Lulu / Act 3 - "Wer ist das?" 5:17
14. Lulu / Act 3 - "Das ist der letzte Abend" - "Lulu! Mein Engel!" 3:56

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lunes, 30 de agosto de 2010

Ernst Krenek: Karl V - Marc Soustrot - Orchester der Beethovenhalle Bonn

Karl V, stage work with music in two parts

David Pittman-Jennings (Karl V)
Christoph Bantzer (Juan de Regla)
Turid Karlsen (Eleonore)
Franziska Hirzel (Isabella)
Werner Hollweg (Francisco Borgia)

Orchester der Beethovenhalle Bonn
Marc Soustrot

Classics Today review:

In 1930 when the Vienna Opera commissioned composer Ernst Krenek to write a stage work of "historical content", many composers were taking Schoenberg's theory of composition with 12 tones very seriously, and Krenek was one of its leading exponents outside of the master's immediate circle. The resulting Karl V is, according to the liner notes, the first completed full-length 12-tone opera (the better-known Lulu and Moses and Aaron lay unfinished). Unfortunately, it's a stodgy, thorny, difficult piece with a too-symbolic libretto, a good example of the things many listeners find intolerable in atonal music. Perhaps an ingenious staging could bring this work to life, but this recording, as good and true as it is, cannot.

In the collaborations Brecht did with Weill (Krenek's first use of this kind of theatre of symbols predates them) the ideas behind the theatre were the difficult part, so the music therefore was not. Krenek could write "light", jazz-influenced scores à la Kurt Weill or Hans Eisler when he desired (as in his brilliant Jonny Spielt Auf), but here he chose the most self-serious, complex, hard-on-the-ear music to relay his story. The plot centers around a mostly fictional account of King Charles V, who mediated the original battle between church and state, between the papacy and reformation. It is not a linear story, but rather a series of sequences involving a myriad of characters all representing a particular belief (even God himself shows up in the form of a chorus)--and sadly, there is no summary in the booklet to aid you in wading through the convoluted plot.

The music, as refined and carefully planned as it is, fails to move, shock, or otherwise comment on the text or further the action. Long stretches of German dialog only serve to stunt the flow, even if you speak the language. There are many beautiful musical moments, such as the ravishing intermezzo that opens Act 2, but they are more symphonic than dramatic.

The recording itself is very well done, executed with great respect for the score. As the eponymous Karl, baritone David Pittman-Jennings executes a terrifyingly complex role with ease, grace, and the appropriate magnanimity. As Francis, Werner Hollweg does great justice to his role all around, shining especially in the sad aria from his sickbed. The Orchester der Beethovenhalle Bonn, under maestro Marc Soustrot, breathes and snaps along with Krenek's technically challenging score, and the whole project is not only clearly and carefully recorded, but well packaged and presented. Even if the piece is not entirely successful, sounding dated rather than austere, it's still worth preserving, and remains an important piece of history that those who have any investment in 20th century opera will not want to miss.

--Daniel Felsenfeld

Tracklist:

Disc: 1

1. Karl V, stage work with music: Charles in San Geronimo de Yuste
2. Karl V, stage work with music: Beginning of the Confession: Charles and Juana
3. Karl V, stage work with music: Luther on a Diet of Worms
4. Karl V, stage work with music: Francis
5. Karl V, stage work with music: People of Sevilla
6. Karl V, stage work with music: Francis in Spanish Prison
7. Karl V, stage work with music: Charles - Eleonore - Francis
8. Karl V, stage work with music: Pope Clemens VII
9. Karl V, stage work with music: Four Ghosts
10. Karl V, stage work with music: Isabella - Chorus of Heretics

Disc: 2

1. Karl V, stage work with music: Intermezzo
2. Karl V, stage work with music: Juan - Francisco Borgia
3. Karl V, stage work with music: Moritz and Luther
4. Karl V, stage work with music: Eleanor confesses in the name of Charles to Francisco
5. Karl V, stage work with music: Eleanor - Charles/Karl
6. Karl V, stage work with music: Charles and Moritz from Saxonia
7. Karl V, stage work with music: Moritz attacks Charles - Chorus of Soldiers
8. Karl V, stage work with music: The imperium has gone
9. Karl V, stage work with music: Charles death

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lunes, 23 de agosto de 2010

Ottorino Respighi : Lucrezia - Adriano - Slovak RSO

Lucrezia, Opera in one Act and three Moments

Lucrezia - Michela Remor
Venilia - Adriana Kohútková
Bruto - Igor Pasek
Tarquinio - Ricgard Haan

Slovak Radio Symphony Orchestra
Adriano

Musicweb review:

Lucrezia was Respighi’s last opera, fortunately foreign influences in Respighi’s opera do not cloud its beauty and lyric power and the unmistakable personal style of the composer, There is enough musical impact to reach even symphonic dimensions and there is no moment where the tension begins to flag. In this very interesting and original short opera we can but approve Respighi’s definite return to a neo-classical form of music drama in which the singing parts become predominant and melody, whether recitativo, psalmody, arioso, or simple song, is supported by discreet and transparent accompaniment.

Tracklist:

01. Lucrezia: First Moment
02. Lucrezia: First Moment
03. Lucrezia: First Moment
04. Lucrezia: First Moment
05. Lucrezia: First Moment
06. Lucrezia: First Moment
07. Lucrezia: Second Moment
08. Lucrezia: Second Moment
09. Lucrezia: Second Moment
10. Lucrezia: Second Moment
11. Lucrezia: Second Moment
12. Lucrezia: Second Moment
13. Lucrezia: Second Moment
14. Lucrezia: Second Moment
15. Lucrezia: Second Moment
16. Lucrezia: Third Moment
17. Lucrezia: Third Moment
18. Lucrezia: Third Moment
19. Lucrezia: Third Moment
20. Lucrezia: Third Moment

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jueves, 12 de agosto de 2010

Gottfried von Einem- Dantons Tod - Ferenc Fricsay

Gottfried von Einem (1918-1996): Dantons Tod - Ferenc Fricsay - Wiener Philharmoniker
Opera | Early 20th Century | 2CD | EACRip | APE+CUE+LOG | Covers | RS.com | 340MB
Label: Cantus| Year of release: 2004 | AAD

Dantons Tod
Opera in 2 Parts
Libretto: von Einem & Boris Blacher after Georg Büchner

Danton: Paul Schöffler
Desmoulins: Julius Patzak
Lucille: Maria Cebotari
Robespierre: Josef Witt
Saint Just: Ludwig Weber

Wiener Philharmoniker
Ferenc Fricsay

Rec. Live 1947
Warning: Historical Rec. Low quality sound

Amazon Review:

It has taken me a long time to get around to von Einem's splashy, intensely theatrical Dantons Tod, even though I was aware of its high reputation in Germany. Like Pfitzner's Palestrina, the work hangs on in Germain opera houses but is totally ignored in Britain and America. This is the premiere performance from 1947 in servicable radio sound, mono of course, but with plenty of intrusive stage noises. Since the pitch isn't distorted, the sound didn't bother me, but newcomers to historical sound be warned. As for the performance itself, Fricsay leads with white-hot intensity, and it's only a pity that the big crowd scenes during the Reign of Terror, so essential to the opera's dramatic impact, sound distant and murky.

As for von Einem's musical idiom, it's moernist conservative, like Orff, "Zemlinky, and Pfitzner. The music reels and punches, with a great deal of well calculated melodrama, and since the basis was Georg Buchner's searing stage play (Buchner was the author of Woyzeck, made into Berg's opera, Wozzeck), von Einem wisely makes much of the singing declamatory, leading up to the riveting trial where Danton confronts his tormentor, the evil despot Robespierre. Any listener who has a taste for Wozzeck will find von Einem equally brutal and psychological but musically much closer to film music.

This particular staging from Salzburg launched Fricsay as a major conductor, and given the equally committed soloists, Daontons Tod couldn't have had a more auspicious launch. Every voice--Schoffler, Patzak, Cebotari, and Webber--is beyond criticism.

Santa Fe listener

Tracklist:

CD1

1. Einem: Dantons Tod: Prelude
2. Einem: Dantons Tod: Sie die hubsche Dame
3. Einem: Dantons Tod: Camille, welch trube Augen!
4. Einem: Dantons Tod: [Orchestral interlude]
5. Einem: Dantons Tod: Du Kuppelpelz! Du runzlige Sublimatpille!
6. Einem: Dantons Tod: Was gibt's da, Burger?
7. Einem: Dantons Tod: Robespierre, Du bist emporend rechtschaffen
8. Einem: Dantons Tod: He, er da im Finstern?
9. Einem: Dantons Tod: [Orchestral interlude]
10. Einem: Dantons Tod: Ich sage Euch, wenn sie nicht alles
11. Einem: Dantons Tod: Ach, Camille!
12. Einem: Dantons Tod: Das ist eine bose Zeit

CD2

1. Einem: Dantons Tod: Danton! Danton!
2. Einem: Dantons Tod: Camille, morgen sind
3. Einem: Dantons Tod: Camille, Camille! Hore Camille!
4. Einem: Dantons Tod: [Orchestral interlude]
5. Einem: Dantons Tod: Ihr Name, Burger!
6. Einem: Dantons Tod: Ich weiss nicht mehr
7. Einem: Dantons Tod: Die Verhandlung wird fortgesetzt
8. Einem: Dantons Tod: [Orchestral interlude]
9. Einem: Dantons Tod: Zerissen ist der dunkle Wahn
10. Einem: Dantons Tod: Wenn ich nach Hause geh'

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Stravinsky - The Rake's Progress - Chailly

Igor Stravinsky (1882-1971): The Rake's Progress - Riccardo Chailly - London Sinfonietta

Label: Decca | Year of release: 2005 | DDD

The Rake's Progress, Opera in three Acts

Tom Rakewell: Philip Langridge
Anne: Cathryn Pope
Trulove: Stafford Dean
Nick Shadow: Samuel Ramey
Mother Goose: Astrid Varnay

London Sinfonietta
Riccardo Chailly

Musicweb-International Review:

Stravinsky’s opera The Rake’s Progress was first performed at La Fenice, Venice, in 1951. His librettist was W.H. Auden. The idea for the project had first arisen in 1947, when the composer saw Hogarth’s series of paintings of the same name at an exhibition in Chicago. As for his detailed plan, he explained: ‘The Rake’s Progress is cast as an 18th century number opera. The dramatic progress depends on the succession of recitatives and arias, duets and trios, choruses and instrumental interludes, a story told and enacted almost entirely in song.’ He viewed this style in terms of ‘the classical practice of separate numbers that crystallise and hold the emotion of a dramatic situation at chosen moments’.

While there is relatively little opportunity for virtuosity in the orchestral writing, the London Sinfonietta do play with what can only be described as precision and panache, with a keen pacing of the drama led by the conducting of Riccardo Chailly. The recording is helpful to the orchestral players, and to the distinguished contribution of the woodwinds in particular. The orchestral sound has a classical priority allowing for clarity of texture and a closely-knit sense of ensemble. There are also moments of dramatic power as and when required.

In this new mastering of the original the sound has emerged with more clarity and depth than previously, and this has enhanced the whole performance. The cast is well balanced and there are some distinguished contributions from a talented array of singers, all suitably selected in their roles, save perhaps for Astrid Varnay, whose impeccable Wagnerian credentials do not necessarily make her an ideal artist for the role of Mother Goose. Samuel Ramey's distinctive contribution as Nick Shadow is as fine as any interpretation in the catalogue. His vocal style makes a satisfying impression, and he conveys an immediate and lasting impression as the cunning, ingratiating personification of the devil demon, to the life. As the opera proceeds he manages to intensify the characterization of the role, transforming from initial suavity towards genuine menace, while never sacrificing his musical standards.

As the naïve and vulnerable Anne Trulove, Cathryn Pope conveys a sense of charm and youthfulness. The lyricism of the part is always brought to the fore, to the extent that one might argue that this stylistic affectation is overdone. On the other hand, Stafford Dean as Trulove makes a marvellous foil to her, however, exuding fatherly experience at every turn. Then heading the cast comes Philip Langridge's performance as the Rake himself, Tom Rakewell. This is excellent: wholly sympathetic and technically assured. The most demanding aspect of the role, of course, comes when it is necessary to convey the character’s descent into madness, and this is remarkably achieved.

The set is nicely packaged in a presentation box, and there is a full libretto, albeit in tiny print. Another downside is the dearth of other documentation. There is no lack of information about this opera and it is disappointing that the booklet contains only the list of characters, the various cue points, and the libretto.
Terry Barfoot

Tracklist:

Disc: 1
1. Act I: Prelude
2. Act I, Scene 1: 'The Woods Are Green'
3. Act I, Scene 1: 'The Old Fool!'
4. Act I, Scene 1: 'I Wish I Had Money'
5. Act I, Scene 1: 'I'll Call The Coachman, Sir'
6. Act I, Scene 2: ' With A Air Commanding And Weapon Handy'
7. Act I, Scene 2: 'Come, Tom'
8. Act I, Scene 2: 'Love, Too Frequently Betrayed'
9. Act I, Scene 2: 'The Sun Is Bright, The Grass Is Green'
10. Act I, Scene 3: 'No Word From Tom'
11. Act II, Scene 1: 'Vary The Song, O London, Change!'
12. Act II, Scene 1: 'I Wish I Were Happy'/'Master, Are You Alone?'
13. Act II, Scene 2: Intro: 'How Strange! Although The Heart For Love Dare Everything'
14. Act II, Scene 2: 'Anne! Here!'
15. Act II, Scene 2: 'My Love, Am I To Remain In Here For Ever?'

Disc: 2
1. Act II, Scene 3: 'As I Was Saying, Both Brothers Wore Moustaches'
2. Act II, Scene 3: 'My Heart Is Cold, I Cannot Weep'
3. Act III, Scene 1: 'Ruin, Disaster, Shame'
4. Act III, Scene 1: 'Aha!'/'He's Here! The Auctioneer'
5. Act III, Scene 1: '...Ever-Sold! Annoyed!'
6. Act III, Scene 2: Prelude
7. Act III, Scene 2: 'How Dark And Dreadful Is This Place'
8. Act III, Scene 2: 'Very Well, Then, My Dear And Good Tom'
9. Act III, Scene 2: 'I Burn! I Burn! I Freeze!
10. Act III, Scene 3: 'Prepare Yourselves, Heroic Shades'
11. Act III, Scene 3: 'There He Is. Have No Fear'
12. Act III, Scene 3: 'Gently, Little Boat'
13. Act III, Scene 3: 'Where Art Thou Venus?'
14. Act III, Epilogue: 'Good People, Just A Moment'

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viernes, 6 de agosto de 2010

Britten - The Rape of Lucretia - Phaedra

Benjamin Britten (1913-1976): The Rape of Lucretia - Phaedra - Britten - English Chamber Orchestra

Label: Decca | Year of release: 1990 | ADD

Phaedra, dramatic Cantata, Op.93
Janet Baker, mezzosoprano
English Chamber Orchestra
Steuart Bedford

The Rape of Lucretia, Opera in two Acts, Op.37

Male Chorus - Peter Pears
Female Chorus - Heather Harper
Collatinus - John Shirley-Quirk
Tarquinius - Benjamin Luxon
Lucretia - Janet Baker

English Chamber Orchestra
Benjamin Britten

Amazon Review:

The performance on these discs, conducted by the composer, were linked to a touring English Opera Group production and so have a real feeling of the theatre about them. The singers show just how strong the `Aldeburgh Rep' was at that time. Janet Baker is unbeatable as the heroine - at least on a par with the role's creator, Kathleen Ferrier, and often better. Benjamin Luxon is all power and lust: Bryan Drake has just the right edge to his voice for the political mob-stirrer, Junius: John Shirley-Quirk saves Collatinus from being the rather pale goody-goody he can often seem by concentrating on the text as well as his customary beauty of tone. The two Greek-style Choruses have to handle some of the more awkward passages of the libretto. As I've said, the Male Chorus's part is actually designed for Pears' voice and he sings it with his familiar inimitable style, if without quite the freshness he brought to the various performances now available from the time of the opera's premiere. Heather Harper doesn't quite efface memories of Joan Cross, but she is as hauntingly beautiful as ever in Britten's music. And Britten as conductor is naturally and as always a supreme communicator of his own intentions. He elicits some wonderful playing from his small ECO group and paces the piece, dramatically as well as musically, just right.
Klingsor Tristan

EAC LOG CD1

EAC LOG CD2

Tracklist:

Disc: 1
1. Phaedra, Op. 93: 1. In May, in brilliant Athens
2. Phaedra, Op. 93: 2. Oh Gods of wrath
3. Phaedra, Op. 93: 3. My time's too short, your highnes
4. The Rape of Lucretia: Act 1. Scene 1. Rome is now ruled by the Etruscan upstart
5. The Rape of Lucretia: Act 1. Scene 1. It is an axiom among kings
6. The Rape of Lucretia: Act 1. Scene 1. Here the thirsty evening
7. The Rape of Lucretia: Act 1. Scene 1. Who reaches heaven first
8. The Rape of Lucretia: Act 1. Scene 1. Maria was unmasked at a masked ball
9. The Rape of Lucretia: Act 1. Scene 1. Collatinus is politically astute
10. The Rape of Lucretia: Act 1. Scene 1. There goes a happy man!
11. The Rape of Lucretia: Act 1. Scene 1. Tarquinius does not dare
12. The Rape of Lucretia: Act 1. Scene 1. My horse! My horse!... Tarquinius does not wait
13. The Rape of Lucretia: Act 1. Scene 2. Their spinning wheel unwinds
14. The Rape of Lucretia: Act 1. Scene 2. Listen! I heard a knock
15. The Rape of Lucretia: Act 1. Scene 2. Time treads upon the hands of women
16. The Rape of Lucretia: Act 1. Scene 2. The oatmeal slippers of sleep
Disc: 2
1. The Rape of Lucretia: Act 2. Scene 1. The prosperity of the Etruscans
2. The Rape of Lucretia: Act 2. Scene 1. She sleeps as a rose
3. The Rape of Lucretia: Act 2. Scene 1. Within this frail curcible of light
4. The Rape of Lucretia: Act 2. Scene 1. Lucretia!... What do you want?
5. The Rape of Lucretia: Act 2. Scene 1. Interlude: Here in this scene
6. The Rape of Lucretia: Act 2. Scene 2. Oh! What a lovely day!
7. The Rape of Lucretia: Act 2. Scene 2. We'll leave the orchids for Lucretia
8. The Rape of Lucretia: Act 2. Scene 2. Flowers bring to every year
9. The Rape of Lucretia: Act 2. Scene 2. You were right
10. The Rape of Lucretia: Act 2. Scene 2. Lucretia! Lucretia!
11. The Rape of Lucretia: Act 2. Scene 2. Last night Tarquinius ravished me
12. The Rape of Lucretia: Act 2. Scene 2. This dead hand lets fall
13. The Rape of Lucretia: Act 2. Scene 2. Epilogue: Is it all?

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viernes, 30 de julio de 2010

Karl Amadeus Hartmann-Simplicius Simplicissimus- Heinz Fricke

Karl Amadeus Hartmann (1905-1963): Simplicius Simplicissimus (1957 vers)- Heinz Fricke - SO des Bayerischen Rundfunks
Opera | Contemporary | 2CD | EACRip | APE+CUE+LOG | Covers + Libretto DEU | RS.com | 356MB
Label: Wergo| Year of release: 1995 | DDD

Simplicius Simplicissimus, Opera in three Scenes
Libretto: Hermann Scherchen, Wolfgang Petzet & Karl Amadeus Hartmann, after HJC Grimmelshausen

Helen Donath: soprano (Simplicius Simplicissimus)
Eberhard Büchner: tenor (Einsiedel)
Klaus König: tenor (Gouverneur)
Bodo Brinkmann: baritone (Landsknecht)
Rainer Scholze: bass (Hauptmann)

Symphonieorchester des Bayerischen Rundfunks
Heinz Fricke

It was no accident that the idea to write an opera based on material from the 30 Year's War occured to the composer Karl Amadeus Hartmann in the years 1934/35. Almost 300 years after that war which for Germany was a devastating and traumatic historical event, Hartmann saw himself living in a time also threatened by war and destruction; with this powerful material he wanted to pose an answer to the period in which he lived and to suggest an alternate and opposing position.
Because Hartmann wanted to connect "Simplicius" with a humanistic protest against war and brutality, he arranged the piece not as an opera with a plot, but as a series of tableaux with a layer of textual and musical commentary. Hartmann's musical language in "Simplicius Simplicissimus" underscores the character of the work as a parable, as epic theater in the Brechtian sense. "Simplicius Simplicissimus" is one of the most impressive testimonies of the resistance against the dictatorship of the National Socialism in Germany.

Tracklist:

Disc: 1
1. Overtüre
2. Introduktion: 'Anno Domini eintausendsechshundertundachtzehn'
3. Erster Teil: 'Du sehr verachter Bauernstand'
4. Erster Teil: 'Du sehr verachter Bauernstand'
5. Erster Teil: 'Hunger und Durst'
6. Erster Teil: Zwuschenspiel
7. Erster Teil: 'Wir sind ja nunmehr ganz, ja mehr denn ganz verheeret'
8. Zweiter Teil: 'Komm, Trost der Nacht'
9. Zweiter Teil: 'Mein treuester Vater'
10. Zweiter Teil: 'Nun, Simplici, liebes Kind'
11. Zweiter Teil: 'So geht das schnode Leben hin'
12. Zweiter Teil: 'Mein lieber und wahrer, einziger Sohn'
Disc: 2
1. Dritter Teil: (Vorspiel) Ausserst lebhaft
2. Dritter Teil: Drei Tanze der Dame: Ruhige Viertel
3. Dritter Teil: Lustig
4. Dritter Teil: Furioso
5. Dritter Teil: Couplet: 'Als Manner sind wir durchaus ehrlich'
6. Dritter Teil: 'Hochedler Herr Gubernator'
7. Dritter Teil: 'Bravo, Simplici, bravissimo!'
8. Dritter Teil: 'Gepriesen sei der Richter der Wahrheit'

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viernes, 23 de julio de 2010

Peter Maxwell Davies- Taverner - Oliver Knussen

Peter Maxwell Davies (b.1934): Taverner - Oliver Knussen - BBC Symphony Orchestra
Opera | Contemporary | 2CD | EACRip | APE+CUE+LOG | Covers + Libretto ENG | RS.com | 522MB
Label: NMC | Year of release: 2009 | DDD

Taverner
Opera in two Acts
Libretto: Peter Maxwell Davies

John Taverner: Martyn Hill
Jester: David Wilson-Johnson
White Abbot: Quentin Hayes
King: Stephen Richardson
Cardinal: Stuart Kale

BBC Symphony Orchestra
Oliver Knussen

Amazon Review:

This is a wonderful work, Maxwell Davies's finest opera, and one of the great operas of the late twentieth century. The story is a remarkable one: the Tudor composer John Taverner became caught up in the Reformation, abandoned music, and became a persecutor. It turns out that the historical record does not quite bear this out, but it does not matter: the story becomes the basis of a profound exploration of the theme of betrayal. As the composer put it: "Taverner betrays what is best in himself, and for the highest possible motives." He wrote his own libretto, constructing it out of actual historical documents, passages from the Bible and his own invention. It is a remarkable and impressive piece of work in its own right, far superior to, say, that for John Adams's Doctor Atomic which was assembled in the same way. The two acts balance each other, the first with Taverner's rise from near condemnation to his conversion, represented in an amazing dream sequence which includes cameo appearance by Antochrist and God the Father. In the second half he ends up condeming his former persecutor to death by burning. In between comes scenes between a King, unnamed but clearly based on Henry VIII, and a Cardinal, based on Wolsey but changing into Cranmer in the second half.

The music can be characterized as beginning like Stravinsky's Oedipus Rex rewritten by Schoenberg of the expressionist period. The two court scenes have 'background' music, superficially in a Renaissance idiom but in fact distorted like the pub piano in Berg's Wozzeck. The climax comes to a Mahlerian threnody. The music is haunting and many of the phrases have stayed in my mind for years (I attended the premiere in 1972).

The performance is a studio one, carefully prepared and well balanced. We must hope that one day one of Edward Downes's Covent Garden performances will also be issued, but meanwhile there is no competition for this. Some of us have waited many years for this, and its appearance is a cause for rejoicing.

Stephen J. Barber

Tracklist:

CD1
1. Act 1 Scene I: Courtroom
2. Transition
3. Act 1 Scene II: The Chapel
4. Transition
5. Act 1 Scene III: The Throne Room
6. Act 1 Scene IV: The Throne Room
7. Act 1 Scene IV: The Throne Room (Bar 243)
8. Act 1 Scene IV: The Throne Room (Bar 467)
9. Act 1 Scene IV: The Throne Room (Bar 648)

CD2
1. Act 2 Scene I: The Courtroom
2. Transition
3. Act 2 Scene II: The Throne Room
4. Transition
5. Act 2 Scene III: The Chapel
6. Transition
7. Act 2 Scene IV: The Market-Place In Boston, Lincolnshire

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viernes, 16 de julio de 2010

Hans Werner Henze- Die Bassariden - Christoph von Dohnányi

Hans Werner Henze (b.1926): Die Bassariden - Christoph von Dohnányi - Wiener Philharmoniker
Opera | Contemporary | 2CD | EACRip | APE+CUE+LOG | Covers | RS.com | 334MB
Label: Orfeo| Year of release: 2003 | ADD MONO

Die Bassariden
Opera seria with Intermezzo in One Act
Libretto: W.H. Auden & C. Kallman after Euripides's The Bacchae

Dionysos: Loren Driscoll
Pentheus: Kostas Paskalis
Kadmos: Peter Lagger
Teiresias: Helmut Melchert
Agaue: Kerstin Meyer

Wiener Philharmoniker
Christoph von Dohnányi

Rec. Live 1966

The August 6, 1966, premiere of Hans Werner Henze's opera "Die Bassariden" at the Salzburg Festival has, over time, become regarded as a justly famous event. It isn't often that you can travel back in time and take a front row seat for such a show, but in the case of Orfeo's first-time release of the recording of this event, you can. This production also proved an early triumph for its 36-year-old conductor, Christoph von Dohnányi.

"Die Bassariden" is nowhere near as difficult a listen now as it may have been in 1966. While there are occasional dramatic stings that go a little over the top, most of it is no more difficult than average current-day movie music. The operatic and dramatic components of the work are seamlessly developed, and the action is easy to follow even without an English-language libretto (an English summary is included). Also included is the intermezzo "Das Urtell der Kalliope," originally presented as a centerpiece within the opera, but since 1966 withheld from most productions of "Die Bassariden" at the request of the composer. The singing, acting, and orchestral playing are all just great -- what an amazing night this must've been at the Salzburg Festival!

The master tape plays with a somewhat shrill top, a weak bottom end, and a tiny bit of hiss. Fanciers of historic opera recordings will regard the sound as more than satisfactory; others may take exception. If you have a strong interest in opera as it developed in the turbulent scene of the 1960s, this Orfeo disc is one you can't afford to miss.

Uncle Dave Lewis, All Music Guide

Tracklist:

Disc: 1

1. The Bassarids, opera in 1 act: Movement 1. Pentheus ist unser Herr.
2. The Bassarids, opera in 1 act: Movement 1. Ayayalya! Der Gott Dionysos zieht ein in Boiotial
3. The Bassarids, opera in 1 act: Movement 1. Auch mich verlockt der Tanz
4. The Bassarids, opera in 1 act: Movement 1. Warum? - Dionysos... - Preiset Dionysos!
5. The Bassarids, opera in 1 act: Movement 1. Der König! - Zu frei war das Gesetz.
6. The Bassarids, opera in 1 act: Movement 2. Wart, Pentheus. Keine Befehle.
7. The Bassarids, opera in 1 act: Movement 2. Treue Beroe! Nur dir allein
8. The Bassarids, opera in 1 act: Movement 2. Mutter. Agaue. Sprich.
9. The Bassarids, opera in 1 act: Movement 2. Dionysos; du hast ihn gesehn?
10. The Bassarids, opera in 1 act: Movement 3. Part 1. Näher nach Delphi die Sonne sinkt
11. The Bassarids, opera in 1 act: Movement 3. Part 1. Intermezzo. Auf dem alten Waldweg, am Hang vorbei...

Disc: 2

1. The Bassarids, opera in 1 act: Movement 3. Part 1. Gebt mir den Hammer. / Das Urteil der Kalliope. Kalliope hält, von Zeus bestell
2. The Bassarids, opera in 1 act: Movement 3. Part 2. Hätte ich doch die nackte Tat gesehn
3. The Bassarids, opera in 1 act: Movement 3. Part 2. Und das ist der König?
4. The Bassarids, opera in 1 act: Movement 3. Part 2. ...Nacht öffnet weit, was Tag verschloß
5. The Bassarids, opera in 1 act: Movement 3. Part 2. Ich sah in Augen, die waren meine.
6. The Bassarids, opera in 1 act: Movement 4. Heil dem Dionysos, der gesegnet das Jagen
7. The Bassarids, opera in 1 act: Movement 4. Unaya! - Nacht und wieder Nacht.
8. The Bassarids, opera in 1 act: Movement 4. Ja, ich bin er: Ich bin Dionysos

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viernes, 9 de julio de 2010

Francis Poulenc - Dialogues des Carmélites - Kent Nagano

Francis Poulenc (1899-1963): Dialogues des Carmélites - Kent Nagano - Ópera de Lyon
Opera | Contemporary | 2CD | EACRip | APE+LOG+CUE | Covers | RS.com | 620MB
Label: Virgin | Year of release: 2006 | DDD

Dialogues des Carmélites, Opera in three acts
Libretto taken from Bernano's play Dialogues des Carmélites

Blance de la Force: Catherine Dubosc
Marquis de la Force: José van Dam
Chevalier de la Force: Jean-Luc Viala
Constance: Brigitte Fournier
The Prioress: Rita Gorr
The New Prioress: Rachel Yakar
Mother Marie: Martine Dupuy

Orchestre de L'Ópera de Lyon
Kent Nagano

Amazon review:

Poulenc's "Dialogues des Carmelites" is arguably the greatest opera written since the end of World War II. It is an affecting, wrenching experience. Poulenc uses the orchestra, especially during the interludes, to propel the opera in a manner that is reminiscent of Debussy's "Pelleas et Melisande" but with much more intense results. The music conveys a sense of doom that palpably grows through the course of the opera leading to its devastating climax. When I first heard the opera on a XM Radio Vox Channel broadcast of a live performance, one of the performers stated in an intermission interview that "one did go to "Dialogues des Carmelites" for a fun day at the opera." This is an understatement but should not put one off from the opera. Like the death of Madama Butterfly, the inexorable path to the execution of the Carmelite nuns evokes the deep emotions of opera at its greatest.

Prior to recording this CD set, Kent Nagano and the entire cast had performed "Dialogues des Carmelites" multiple times at the Lyon Opera. This experience of performing together makes the recording a stand out. The superb cast works as a well-honed team with Kent Nagano demonstrating his mastery of the score. The CD set has the spontaneity and intensity of a live performance without the sonic issues that plague many such recordings. The set also includes all of Poulenc's music unlike the abridged, first recording of the opera conducted by Pierre Dervaux. A previous reviewer gave this recording a very negative review due to the lack of a libretto with the set. Such a view overlooks a powerful, highly charged performance that results in a memorable experience. I cannot recommend this recording highly enough. This set should be in the collection of all opera lovers.

MikelMask

Tracklist:

Disc: 1
1. Act 1. Scene 1. Où est Blanche?
2. Act 1. Scene 1. Les soldats surviennent à temps pour dégager le carrosse
3. Act 1. Scene 1. Blanche, votre frère avait grand'hâte de vous revoir
4. Act 1. Scene 1. Son imagination va toujours d'un extrême à l'autre
5. Act 1. Scene 1. Je vois qu'il n'y a heureusement rien de grave
6. Act 1. Scene 1. Mon enfant chérue
7. Act 1. Scene 2. Prélude
8. Act 1. Scene 2. N'allez pas croire que ce fauteuil soit un privilège
9. Act 1. Scene 2. Je vois que les sévérités de notre Règie
10. Act 1. Scene 2. Ma fille, les bonnes gens se demandent
11. Act 1. Scene 2. Vous pleurez?
12. Act 1. Scene 3. Prélude
13. Act 1. Scene 3. Encore ces maudites fèves!
14. Act 1. Scene 3. Vous n'avez pas honte de parler ainsi
15. Act 1. Scene 3. Oh! Soeur Blanche, puisque j'ai si étourdiment parlé
16. Act 1. Scene 4. Prélude
17. Act 1. Scene 4. Ayez la bonté de relever ce coussin
18. Act 1. Scene 4. C'est moi qui ai introduit dans cette maison
19. Act 1. Scene 4. Relevez-vous, ma fille
20. Act 1. Scene 4. Dieu se glorifie dans ses saints
21. Act 1. Scene 4. Monsieur Javelinot, je vous prie de me donner
22. Act 1. Scene 4. Mère Marie de l'Incarnation!
23. Act 1. Scene 4. La Révérende Mère veut que vous approchiez
24. Act 2. Scene 1. Qui Lazarum resuscitasti a monumento foetidum
25. Act 2. Scene 1. Que faites-vous?
26. Act 2. Interlude. Soeur Blanche, je trouve notre croix
27. Act 2. Interlude. Pensez à la mort de notre chère Mère

Disc: 2
1. Act 2. Scene 2. Mes chères filles, j'ai ancore à vous dire
2. Act 2. Scene 2. Mes soeurs, Sa Révérence vient de vous dire
3. Act 2. Interlude. Que se passe-t-il?
4. Act 2. Scene 3. Prélude
5. Act 2. Scene 3. Pourquoi vous tenez-vous ainsi depuis vingt minutes
6. Act 2. Scene 3. Dans des temps comme ceux-ci
7. Act 2. Scene 3. Oh! ne me quittez pas sur un adieu de fâcherie!
8. Act 2. Scene 3. Remettez-vous, Soeur Blanche
9. Act 2. Scene 4. Prélude
10. Act 2. Scene 4. Mes chères filles, ce que j'ai à vous dire
11. Act 2. Scene 4. Qu'allez-vous devenir?
12. Act 2. Scene 4. Où sont les religieuses?
13. Act 2. Scene 4. Mes Soeurs, notre Révérende Mère
14. Act 3. Scene 1. Parlez-leur, mon Père
15. Act 3. Scene 1. Il y a une seule opposition
16. Act 3. Interlude. Citoyennes, nous vous félicitons de votre discipline
17. Act 3. Interlude. Soeur Gérald, il faut absolument prévenir ce prêtre
18. Act 3. Scene 2. Prélude
19. Act 3. Scene 2. C'est vous!... Oui, je viens vous chercher
20. Act 3. Scene 2. Soeur Blanche de l'Agonie du Christ!
21. Act 3. Interlude. M'est avis que nous ne sommes point
22. Act 3. Scene 3. Mes filles, voilà que s'achève notre première nuit de prison
23. Act 3. Scene 3. Le Tribunal révolutionnaire expose que les ex-religieuses Carmélites
24. Act 3. Scene 3. Mes filles, j'ai désiré de tout mon coeur vous sauver
25. Act 3. Interlude. Elles sont condamnées à mort
26. Act 3. Scene 4. Prélude ...Oh! Oh! Ah! Oh!
27. Act 3. Scene 4. Salve Regina mater misericordiae

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domingo, 4 de julio de 2010

Rolf Liebermann- Die Schule der Frauen (School for Women) - George Szell

Rolf Liebermann (1910-1999): Die Schule der Frauen (School for Women) - George Szell - Wiener Philharmoniker
Opera | Contemporary | 2CD | EACRip | APE+LOG+CUE | Covers | RS.com | 240MB
Label: Orfeo | Year of release: 2002 | ADD MONO Remastered

Die Schule der Frauen, Opera Buffa in three acts
Libretto: Heinrich Strobel, after Molière's "L'Ecole des Femmes"

Agnés - Anneliese Rothenberger
Poquelin - Walter Berry
Georgette - Christa Ludwig
Arnolphe - Kurt Böhme
Horace - Nicolai Gedda

Wiener Philharmoniker
George Szell
(Rec. Live, Salzburger Fest. , 1957)

Review form Opera News:

"...The score is bouncy, in the vein of Stravinsky's The Rake's Progress, and shares the latter's virtue of wit, especially in this performance from the Salzburg premiere. George Szell's incisive conducting is complemented by a flawless all-star cast. Despite the presence of Anneliese Rothenberger, Nicolai Gedda, Christa Ludwig and Kurt Bohme, it's Walter Berry who steals the show as four characters..." -Zakariasen, Opera News

Tracklist:

Disc: 1
1. I. Ouverture
2. II. Mir Scheint, Ihr Seid Ein Wenig Befremdet
3. III. In Einem Kloster Von Bestem Ruf
4. IV. Dort Kommt Horace, Der Sohn Des Oronte
5. V. Du Hergelaufenes Milchgesicht
6. VI. Hallo, Alain, Georgette!
7. VII. Was Ist Denn Los? Warum Spielt Ihr Nicht Weiter?
8. VIII. Alain, Du Lump!
9. IX. Was Bringt Ihn So Zur Raserei?
10. X. In Einem Alten Buch Fand Ich Einen Guten Rat
11. XI. Ich Danke Dir, Augustus
12. XII. Als Ich Oben An Meinem Fenster Sass
13. XIII. Die Schandliche! Sag Mir Sofort
14. XIV. Pardon, Monsieur, Das Stuck Ist Von Mir
15. XV. Er Kam Sofort, Wie Zu Erwarten
16. XVI. O Glaube Nicht Den Liebesschwuren
17. XVII. Hore Meinen Befehl
18. I. Vorspiel
19. II. Wer Nie Geliebt, Ist Armer Dran
20. III. Doch Halt, Da Ist Ein Zettel
21. IV. Hallo, Alain, Georgette!
22. V. Steh Mir Rede Und Antwort!
23. VI. Herzlos Und Grausam Handelst Du

Disc: 2
1. I. Vorspiel
2. II. Wohin Hat Mich Die Liebe Gebracht?
3. III. Ist Es Auch Tollheit, Was Ich Beschloss
4. IV. Lege Im Schutz Der Dunkelheit
5. V. Die Sache Ging Ja Wie Am Schnurchen
6. VI. Oh Gott, Was Seh' Ich!
7. VII. Amor Ist Gnadig
8. VIII. Was Seh' Ich? Horace?
9. IX. Am Ziel Meiner Reise Bin Ich
10. X. Ich Bitte Euch Um Verzeihung
11. XI. Sie Ist Seine Tochter
12. XII. Just Funfzehn Jahre Sind Es Her
13. XIII. Voulez-Vous Donner De L'Esprit

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domingo, 27 de junio de 2010

Britten - A Midsummer Night's Dream - Hickox

Benjamin Britten (1913-1976): A Midsummer Night's Dream - Richard Hickox - City of London Sinfonia

A Midsummer Night's Dream, Opera in three Acts
Libretto: From the play by Shakespeare adapted by Britten and Pears

Oberon: James Bowman
Tytania: Lillian Watson
Puck: Dexter Fletcher
Lysander: John Graham-Hall
Demetrius: Henry Herford
Hermia: Della Jones

City of London Sinfonia
Richard Hickox

Amazon review:

As soon as you hear the glissandi double basses at the opening of this opera you will enter the world of Titania and Oberon.Britten captures this other worldliness by making Oberon a counter-tenor,a vocal quality both strange and powerful in this magical world. Childrens voices add to the atmosphere of delicacy; Puck circles the world and Titania -a high lyric soprano idles away with some of the most heart moving arias.
Britten's use of a small orcheatra creates all the varied colour needed for the fairy world and that of the mechanicals.
Midsummer Night's Dream is one of the best 'stories' there is and in the hands of Britten becomes even more 'fantastic'.I can't recommend it highly enough to someone who has never tried a Britten opera...you will be amazed!

Tracklist:

Disc: 1
1. A Midsummer Night's Dream, opera, Op. 64: Act 1. Introduction: The wood, deepening twilight / Over hill, over dale
2. A Midsummer Night's Dream, opera, Op. 64: Act 1. Oberon is passing fell and wrath
3. A Midsummer Night's Dream, opera, Op. 64: Act 1. Well, go thy way
4. A Midsummer Night's Dream, opera, Op. 64: Act 1. How now my love?
5. A Midsummer Night's Dream, opera, Op. 64: Act 1. Be it on lion, bear, or wolf, or bull
6. A Midsummer Night's Dream, opera, Op. 64: Act 1. Welcome wanderer... I know a bank
7. A Midsummer Night's Dream, opera, Op. 64: Act 1. Is all our company here?
8. A Midsummer Night's Dream, opera, Op. 64: Act 1. Fair love, you faint with wand'ring in the wood
9. A Midsummer Night's Dream, opera, Op. 64: Act 1. Through the forest have I gone
10. A Midsummer Night's Dream, opera, Op. 64: Act 1. Stay, though thou kill me, sweet Demetrius
11. A Midsummer Night's Dream, opera, Op. 64: Act 1. Come, now a roundel and a fairy song
12. A Midsummer Night's Dream, opera, Op. 64: Act 1. You spotted snakes with double tongue
13. A Midsummer Night's Dream, opera, Op. 64: Act 1. What thou seest when thou dost wake
14. A Midsummer Night's Dream, opera, Op. 64: Act 2. Introduction: The wood
15. A Midsummer Night's Dream, opera, Op. 64: Act 2. Are we all met?
16. A Midsummer Night's Dream, opera, Op. 64: Act 2. I see their knavery
17. A Midsummer Night's Dream, opera, Op. 64: Act 2. Be kind and courteous to this gentlemen
18. A Midsummer Night's Dream, opera, Op. 64: Act 2. Hail, mortal, hail!
19. A Midsummer Night's Dream, opera, Op. 64: Act 2. I have a reas'nable good ear in music
20. A Midsummer Night's Dream, opera, Op. 64: Act 2. How now, mad spirit?
Disc: 2
1. A Midsummer Night's Dream, opera, Op. 64: Act 2. Flower of this purple dye
2. A Midsummer Night's Dream, opera, Op. 64: Act 2. Puppet? Why, so?
3. A Midsummer Night's Dream, opera, Op. 64: Act 2. This is thy negligence
4. A Midsummer Night's Dream, opera, Op. 64: Act 2. Up and down, up and down
5. A Midsummer Night's Dream, opera, Op. 64: Act 2. On the ground, sleep sound
6. A Midsummer Night's Dream, opera, Op. 64: Act 3. Introduction: The wood, early next morning / My gentle Robin, seest thou this
7. A Midsummer Night's Dream, opera, Op. 64: Act 3. Helena! Hermia! Demetrius! Lysander!
8. A Midsummer Night's Dream, opera, Op. 64: Act 3. When my cue comes, call me
9. A Midsummer Night's Dream, opera, Op. 64: Act 3. Have you sent to Bottom's house?
10. A Midsummer Night's Dream, opera, Op. 64: Act 3. Now, fair Hippolyta
11. A Midsummer Night's Dream, opera, Op. 64: Act 3. If we offend, it is with our good will
12. A Midsummer Night's Dream, opera, Op. 64: Act 3. Gentles, perchance you wonder at this show
13. A Midsummer Night's Dream, opera, Op. 64: Act 3. In this same interlude it doth befall
14. A Midsummer Night's Dream, opera, Op. 64: Act 3. O grim-look'd night, O night with hue so black
15. A Midsummer Night's Dream, opera, Op. 64: Act 3. O Wall, full often hast thou heard my moans
16. A Midsummer Night's Dream, opera, Op. 64: Act 3. You ladies, you whose gentle hearts do fear
17. A Midsummer Night's Dream, opera, Op. 64: Act 3. This lanthorn doth the hornèd moon present
18. A Midsummer Night's Dream, opera, Op. 64: Act 3. Sweet Moon, I thank thee for thy sunny beams
19. A Midsummer Night's Dream, opera, Op. 64: Act 3. Come, your Bergomask
20. A Midsummer Night's Dream, opera, Op. 64: Act 3. Now the hungry lion roars

Pass:inside txt.

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