sábado, 24 de abril de 2010

Zimmermann - Die Soldaten - Kontarsky

Bernd Alois Zimmermann (1918-1970): Die Soldaten - Bernhard Kontarsky - Orchester des Staatstheater Stuttgart
Opera | Contemporary | 2CD | EasyCDRip | APE+CUE (no log) | Covers + Libretto DEU, ENG, FRA | RS.com | 532MB
Label: Teldec | Year of release: 1991 | DDD


Die Soldaten, Opera in four Acts
Libretto: after Jakob Michael Reinhold Lenz

Wesener: Mark Munkittrick
Marie: Nancy Shade
Charlotte: Milagro Vargas
Stolzius: Michael Ebbecke
Desportes: William Cochran
Haudy: Klaus Hirte

Chor und Orchester des Staatstheaters Stuttgart
Bernhard Kontarsky

Musicweb review:

The sad state of Die Soldaten as an opera more known of than known may largely be due to its composer’s ultimate refusal to face life as it is depicted in this, his magnum opus. His suicide in 1970 denied us at least a second opera, Medea, which he had gone some way to sketching. Had he determined to live he would have certainly been able, somewhat like Wagner (a comparison he would have loathed), to drive through his dreams to create ‘total theatre’.

Multimedia wasn’t even a gleam in a PR director’s eye when Zimmermann started to sketch the opera in 1957 after Lenz’s anti-capitalist play from almost two centuries earlier (1775). His aim: ‘To concentrate… all theatrical media for the purpose of communication in a place created specially for this purpose.’ The commissionees at Cologne Opera House, Oscar Schuh and Wolfgang Sawallisch, were having none of it. Having simplified its music and dramaturgy in a revision, Michael Gielen took on the premiere in Cologne in 1965. In London, ENO was the first to stage it only five years ago or so (small wonder, considering a run in Munich in 1969 required 33 orchestral rehearsals and 377 for the soloists, according to Grove) and even then they shirked many of the demands made by the score. The orchestra, including piano, harpsichord and organ, spilled into two subsidiary rooms and was broadcast from there. Director David Freeman could pay little more than lip service to the demands for split-level staging and incorporation of film and cinematic techniques on the operatic stage.

Fortunately the money was evidently around in Stuttgart in 1989, for Harry Kupfer appears to have realised at least some of Zimmermann’s theatrical fantasies with startling success. I say ‘appears’, for the stage is often so underlit that it is nigh-impossible to work out more than the movement of bodies, never mind which ones or where they are. It is offset by the brilliant clarity of sound, noticeable from the very start in the five-minute orchestral pile-up that summarises and seems to reject all the music written before it. Voices project clearly over the top of a texture almost permanently dense. The flip side of such stridency is that hardly anyone ever sings quietly; but with the complexity of what they must sing, it is a miracle that they all project both text and music with such confidence. A small example, from the first appearance of the Countess de la Roche, in Scene 4 of Act 3; with a lyrical, albeit unpredictable melody she sings of her sadness at her son’s unwillingness to trust her any more. This gives way to spoken reflection and anger in sprechstimme before returning to the lyrical vein – and all in the space of 30 seconds or so.

The work is often spoken of as an anti-war tract, which it is – if that’s all you want it to be. The central character is Marie, a nice girl who wants to better herself and, in an effort to please her father and marry above her class, accepts the sinister advances of Desportes, the first of several officer-soldiers who will toy with her and ultimately reject her. In the meanwhile she must break off her engagement to the innocent Stolzius. As Marie is reduced to a sexually complaisant plaything for Desportes, Stolzius gets his revenge by becoming the manservant of Desportes’ friend Major de Mary and poisoning his soup before committing suicide. Her own father does not recognise Marie as she begs in the street; her identity becomes lost in the work’s extraordinary close, a cinematic and sonic collage depicting military brutality.

It may come as little surprise to those who know Wozzeck that Georg Buchner admired and was influenced by Lenz. Zimmermann too took his cue from Berg by building the opera in formally archaic blocks, of Chaconnes, Ricercars, Toccatas and Nocturnes. In both music and dramaturgy, Die Soldaten winds itself around Wozzeck and Lulu like a wary serpent, entirely its own creature. Its musical eclecticism and complexity come to a head at the end of Act 2. Marie and Desportes couple in orgiastic oohs and aahs as Stolzius’s mother tells the young soldier in 12-tone leaps of disapproval that he is being played for a fool. To stage left, Marie’s grandmother sings a folk song with the prophetic line, ‘Some day your cross will come to you’; and over it all a chorale from the St Matthew Passion combines with the harmonies below in unpredictable and genuinely beautiful interaction. One of the great moments in opera of the last century.

Taking the voices one by one rather misses the point of the unorthodox demands made upon them; they make nice sounds when they are able to, but best of all, they are entirely committed to the piece and fluent in its language. Stockhausen disciple Bernhard Kontarsky somehow binds the whole together with nonchalant authority.

Peter Quantrill


Tracklist:

CD1

01 "Die Soldaten: Preludio"
02 "Die Soldaten, I Akt: Introduzione"
03 "Die Soldaten, I Akt 1. Szene"
04 "Die Soldaten, I Akt 2. Szene"
05 "Die Soldaten, I Akt Tratto I"
06 "Die Soldaten, I Akt 3. Szene"
07 "Die Soldaten, I Akt 4. Szene"
08 "Die Soldaten, I Akt 5. Szene"
09 "Die Soldaten, II Akt: Introduzione"
10 "Die Soldaten, II Akt 1. Szene"
11 "Die Soldaten, II Akt Intermezzo"
12 "Die Soldaten, II Akt 2. Szene"

CD2

01 "Die Soldaten, III Akt: Preludio"
02 "Die Soldaten, III Akt 1. Szene"
03 "Die Soldaten, III Akt 2. Szene"
04 "Die Soldaten, III Akt 3. Szene"
05 "Die Soldaten, III Akt Romanza"
06 "Die Soldaten, III Akt 4. Szene"
07 "Die Soldaten, III Akt 5. Szene"
08 "Die Soldaten, IV Akt: Preludio"
09 "Die Soldaten, IV Akt 1. Szene"
10 "Die Soldaten, IV Akt Tratto II"
11 "Die Soldaten, IV Akt 2. Szene"
12 "Die Soldaten, IV Akt 3. Szene"



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Martinu - Ariane - Neumann

Bohuslav Martinu (1890-1959): Ariane - Václav Neumann - Czech Philharmonic Orchestra
Opera | Contemporary | 1CD | EACRip | APE+LOG+CUE | Covers+Libretto ENG,DEU,FR | RS.com | 236MB
Label: Supraphon | Year of release: 2000 | DDD


Ariane, Opera in one Act
Libretto: Martinu after the play 'Le voyage de Thésée' by Georges Neveux

Ariane: Celina Lindsay
Theseus: Norman Philips
The Minotaur: Richard Novák

Czech Philharmonic Orchestra
Václav Neumann

Amaon Review:

Martinu composed Ariane as a side-project while working on The Greek Passion, and never saw the premiere (1961), and it is a relatively light, modest work (at least if compared to the Greek Passion). The libretto, by the French Surrealist Georges Neveux is an absorbing one, a retelling of the old Greek myth in a very French surrealist vein, where the sequences of actions are dreamlike in their ambiguity between the comprehensible and the absurd in manner that keeps at least this listener attentive and moved.

Martinu's music for the whole thing is strong but often sounding like a deliberate parody of his own style (as well as of Baroque opera). It all passes by in quick successions of short, austere, precise and almost short-breathed sinfonias and recitatives but always in Martinu's very personal and easily recognizable manner, littered with small surprises and twists and culminating in the exquisitely touching Ariane's lament.

And the performances? One might bicker at the French pronunciation of some of the characters - at least some reviewers do - although my French isn't quite good enough to make me notice too much. Celina Lindsley has a sweet-sounding soprano and tackles most passages admirably but lacking that last ounce of weight that would make the performance wholly convincing. Theseus is strong and muscular and generally very commendable. The other roles are relatively small, but rendered with color, skill and panache.

Orchestral playing under Vaclav Neumann is impeccable; colorful and with sweep and a strong rhythmic profile. To sum up, this is hardly Martinu's strongest work in the opera genre, but no fan of the composer would want to miss it; all the touches are here and the level of invention high; everything is given a good recording and even though the playing time is short, this release remains eminently recommendable.

G.D.


Exact Audio Copy V0.99 prebeta 5 from 4. May 2009

Archivo Log de extracciones desde 4. Abril 2010, 14:22

Martinu / Ariane - Neumann

Usar unidad : HL-DT-STDVD-RW_GSA-H11N Adapter: 5 ID: 0

Modo de Lectura : Seguro
Utilizar Corriente Exacta : Sí
Descartar Audio caché : No
Utilizar los punteros C2 : Sí

Corrección de Desplazamiento de Lectura : 667
Sobreleer tanto en Lead-In como en Lead-Out : No
Rellenar las muestras faltantes con silencios : Sí
Eliminar silencios inicial y final : No
Se han usado muestras nulas en los cálculos CRC : No
Interfaz usada : Interfaz propio de Win32 para Windowns NT y 2000

Formato de Salida utilizado : Rutinas WAV Internas
Formato de Muestreo : 44.100 Hz; 16 Bit; Estéreo


TOC del CD extraido

Pista | Inicio | Duración | Sector inicial | Sector final
-------------------------------------------------------------
1 | 0:00.32 | 4:13.55 | 32 | 19061
2 | 4:14.12 | 12:19.33 | 19062 | 74519
3 | 16:33.45 | 3:22.02 | 74520 | 89671
4 | 19:55.47 | 12:41.05 | 89672 | 146751
5 | 32:36.52 | 1:10.43 | 146752 | 152044
6 | 33:47.20 | 9:58.00 | 152045 | 196894


Gama de estados y errores

Seleccionar gama

Nombre de Archivo D:\Musica\Compartidos\CDImage.wav

Nivel Pico 85.1 %
Gama de Calidad 100.0 %
Copiar CRC EB3EC21D
Copia OK

Sin Errores


Resumen AccurateRip

Pista 1 no se puede verificar como preciso (confianza 1) [B792D59D], AccurateRip devuelto [0511E7F7]
Pista 2 no se puede verificar como preciso (confianza 1) [39FF8074], AccurateRip devuelto [B569AC32]
Pista 3 no se puede verificar como preciso (confianza 1) [F3A38044], AccurateRip devuelto [5DA54120]
Pista 4 no se puede verificar como preciso (confianza 1) [26076F41], AccurateRip devuelto [0D67992C]
Pista 5 no se puede verificar como preciso (confianza 1) [3AF06102], AccurateRip devuelto [DE96E193]
Pista 6 no se puede verificar como preciso (confianza 1) [47A09611], AccurateRip devuelto [E3710CD1]

No se verificará ninguna pista como precisa
Puede que tengas una edición diferente a la(s) de la base de datos

Final del Informe


Tracklist.

1. Ariane, opera, H. 370: Orchestra - Prologue - Orchestra
2. Ariane, opera, H. 370: Scene 1.: Théseus, Ariadna, Orchestra
3. Ariane, opera, H. 370: Orchestra
4. Ariane, opera, H. 370: Scene 2.: Théseus, Minotaur, Orchestra
5. Ariane, opera, H. 370: Orchestra
6. Ariane, opera, H. 370: Ariadne, Orchestra



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Martinu - Řecké pašije (The Greek Passion) - Jirí Belohlávek


Bohuslav Martinu (1890-1959): Řecké pašije (The Greek Passion) - Jirí Belohlávek - Prague National Theatre Orchestra
Opera | Contemporary | 2CD | EACRip | APE+LOG+CUE | Covers | RS.com | 565MB
Label: Národní divadlo | Year of release: 2006 | DDD


Řecké pašije (The Greek Passion), Opera in 4 acts after Kzantzakis' "Christ Recrucified"

Priest Grigoris: Ludek Vele
Patriarcheas: Ales Hendrych
Manolios: Tomas Cerny
Priest Fotis: Roman Janal
Katerina: Maida Hundeling

Orchestra of the National Theatre, Prague
Jiri Belohlavek

Live Rec. 2006, Premiere - 13 April 2006, the National Theatre, Prague

From Martinu.cz:

The new production of the Greek Passion will be the first time this opera has been staged in the National Theatre’s historical building. This is one of Bohuslav Martinu’s most famous and most beautiful operas. The musical study in this production has been undertaken by Jiri Belohlavek, the director is Jiri Nekvasil and the stage designer Daniel Dvorak.
The original libretto of the Greek Passion is in English and it is based on a translation of Nikos Kazantzakis’ novel Christ Recrucified, according to which Martinu wrote the opera and with whose author he carefully consulted. The National Theatre will perform the opera in a new Czech translation by the musicologist Ales Brezina. It had become apparent that the previous Czech translation by Eva Bezdekova had a number of problematic aspects and inadequacies in comparison with the composer’s original English libretto. For example, different words often appeared in places which Martinu had musically accented, leading to the entire sound of the work being distorted.

The Czechoslovak premiere of the second version of the Greek Passion took place in Brno on 3. 3. 1962. Eva Bezdekova’s translation had already met with a significantly critical response, unlike her translations of Martinu’s other operas. The repressive attitude of the communist regime towards the church was clearly the reason for the watering down of the religious context in the first translation of the Greek Passions. This self-censorship significantly impoverished the opera’s spiritual plane, in which the dominant parts are sung by two priests and the main characters identify themselves with biblical characters and their attitudes. The new translation preserves the proximity of the libretto to the biblical original and it does so not only in the scenes with the two priests, where this context is apparent at first glance, but also in the scenes from the everyday lives of the other characters where biblical scenes and situations are often paraphrased.

Exact Audio Copy V0.99 prebeta 5 from 4. May 2009

Archivo Log de extracciones desde 27. Marzo 2010, 14:54

Martinu / The Greek Passion - Belohlávek

Usar unidad : HL-DT-STDVD-RW_GSA-H11N Adapter: 5 ID: 0

Modo de Lectura : Seguro
Utilizar Corriente Exacta : Sí
Descartar Audio caché : No
Utilizar los punteros C2 : Sí

Corrección de Desplazamiento de Lectura : 667
Sobreleer tanto en Lead-In como en Lead-Out : No
Rellenar las muestras faltantes con silencios : Sí
Eliminar silencios inicial y final : No
Se han usado muestras nulas en los cálculos CRC : No
Interfaz usada : Interfaz propio de Win32 para Windowns NT y 2000

Formato de Salida utilizado : Rutinas WAV Internas
Formato de Muestreo : 44.100 Hz; 16 Bit; Estéreo


TOC del CD extraido

Pista | Inicio | Duración | Sector inicial | Sector final
-------------------------------------------------------------
1 | 0:00.00 | 6:07.30 | 0 | 27554
2 | 6:07.30 | 4:03.25 | 27555 | 45804
3 | 10:10.55 | 6:25.17 | 45805 | 74696
4 | 16:35.72 | 5:01.49 | 74697 | 97320
5 | 21:37.46 | 5:17.13 | 97321 | 121108
6 | 26:54.59 | 1:29.45 | 121109 | 127828
7 | 28:24.29 | 3:23.35 | 127829 | 143088
8 | 31:47.64 | 4:18.34 | 143089 | 162472
9 | 36:06.23 | 3:52.06 | 162473 | 179878
10 | 39:58.29 | 7:38.25 | 179879 | 214253
11 | 47:36.54 | 10:11.21 | 214254 | 260099


Gama de estados y errores

Seleccionar gama

Nombre de Archivo D:\Musica\Compartidos\CD2.wav

Nivel Pico 87.3 %
Gama de Calidad 100.0 %
Copiar CRC 76758325
Copia OK

Sin Errores


Resumen AccurateRip

Pista 1 no presente en la base de datos
Pista 2 no presente en la base de datos
Pista 3 no presente en la base de datos
Pista 4 no presente en la base de datos
Pista 5 no presente en la base de datos
Pista 6 no presente en la base de datos
Pista 7 no presente en la base de datos
Pista 8 no presente en la base de datos
Pista 9 no presente en la base de datos
Pista 10 no presente en la base de datos
Pista 11 no presente en la base de datos

Ninguna de las pistas está presente en la base de datos AccurateRip

Final del Informe


Tracklist:

CD1

1-5: Act I
6-10: Act II

CD2

1-5: Act III
6-11: Act IV



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viernes, 16 de abril de 2010

Barber - Vanessa - Mitropoulos

Samuel Barber (1910-1981): Vanessa - Dimitri Mitropoulos - Metropolitan Opera Orchestra & Chorus
Opera | Contemporary | 2CD | EACRip | APE+LOG+CUE | Covers | RS.com | 512MB
Label: RCA | Year of release: 2009 | ADD

Opera in four Acts (1958 original version)
Libretto: Gian Carlo Menotti, after Dinesen's Seven Gothic Tales


Vanessa: Eleanor Steber
Erika: Rosalind Elias
The Old Baroness: Regina Resnik
Anatol: Nicolai Gedda
The Old Doctor: Giorgio Tozzi

Metropolitan Opera Orchestra & Chorus
Dimitri Mitropoulos

Amazon Review:

This may be one of the greatest American operas of all time. It is shocking that a work of this quality isn't more widely performed. It is a vocal showcase.
Vanessa suffers perhaps from a bit overwrought libretto. Menotti is guilty of his usual excesses. But Barber more than makes up for this in the sweep of his melodies. Musically, the piece is tonal, but harmonically adventureous. Interestingly, some of the piece calls to mind composers such as Bernard Herrmann or Miklas Rosza...high praise indeed for dramatic music in my mind. The final quintet at the end of the fourth act is rapturous. I find myself listening to it again and again.

The performance is as close to perfect as a composer could wish for. Steber is brilliant as Vanessa and Rosalind Elias is a moving Ericka. Mitropoulos conducts with sweep and power.

I wish opera companies would revive this work. It really deserves it.

Christopher Forbes



Tracklist:

Vanessa, opera, Op. 32, Disc: 1
1. Act I: Potage crème aux perles
2. Act I: No, I cannot understand
3. Act I: Must the winter come so soon?
4. Act I: Listen!...They are here...
5. Act I: Do not utter a word, Anatol
6. Act I: Yes, I believe I shall love you
7. Act I: Who are you?
8. Act II: And then? - He Made me drink
9. Act II: No, you are not as good a skater
10. Act II: 'Under the willow tree...'
11. Act II: Erika, I am so happy
12. Act II: Our arms entwined
13. Act II: Did you hear her?
14. Act II: Outside this house the world has changed
15. Act II: Orchestral Interlude - Hymn

Vanessa, opera, Op. 32. Disc: 2
1. Act III: The Count and Countess d'Albany
2. Act III: I should never have been a doctor
3. Act III: Here you are!
4. Act III: At last I found you
5. Act III: Nothing to worry about
6. Act IV, Scene 1: Why did no one warn me?
7. Act IV, Scene 1: Why must the greatest sorrows
8. Act IV, Scene 1: There, look!
9. Act IV, Scene 1: Anatol, tell me the truth!
10.Act IV, Scene 1: Take me away
11.Act IV, Scene 1: Grandmother! - Yes, Erika
12.Act IV, Scene 1: Intermezzo
13.Act IV, Scene 2: By the time we arrive
14.Act IV, Scene 2: And you, my friend
15.Act IV, Scene 2: To leave, to break (Quintet)
16.Act IV, Scene 2: Goodbye, Erika



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martes, 6 de abril de 2010

Schreker - Der Ferne Klang - Gerd Albrecht

Franz Schreker: Der Ferne Klang - Gerd Albrecht - Radio-Symphonie-Orchester Berlin
Opera | Early 20th Century | 2CD | EACRip | APE+LOG+CUE | Covers | RS | 554MB
Label:Capriccio | Year of release: 1991 | DDD
Grete: Gabriele Schnaut
Fritz: Thomas Moser

Radio-Symphonie-Orchester Berlin
Gerd Albrecht


Grammophone.net REVIEW
Two current recordings of Derferne Kiang, and still we wait for one that offers a line-by-line translation of the German libretto. The new Capriccio at least goes one better than Marco Polo/Select in providing the German text as well as a synopsis. But Schreker's early operatic melodrama needs all the help it can get if listeners are to respond sympathetically to its awkwardly presented but absorbing subject matter, rather than make haste to cleanse their ears either with the reassuring conventions of Der Rosenkavalier or the brave new world of Wozzeck.
Schreker's music may appear to fall between the two formidable stools of Straussian romanticism and Second Viennese School expressionism, as well as aspiring to a grand synthesis of simplicity (shades of Humperdinck?) and up-to-the-minute radicalism. It probably fails to get a proper focus on any of these aspects, but it does so with considerable panache and an almost Puccinian pathos. Derferne Kiang, completed in 1910 when Schreker was 31, has the merits of youthful extravagance—no subtle understatements here— but it is difficult to resist the feeling that the music gradually achieves greater conviction and a more purposeful sense of direction as it proceeds. By the time you reach the Third Act's long orchestral interlude the odds are that you will either be won over or ready to put the experiment down to experience.
The differences between these two performances are fairly clear cut. The Capriccio set is 138 strongly, even weightily cast, with some excellent singers in minor roles (Claudio Otelli as Rudolf, for example). But weight is a mixed blessing. Gabriele Schnaut lacks allure as Grete, and while Thomas Moser is a plausibly impassioned Fritz, whose quest for that "distant sound" gives the opera its theme, he can sound strained in ways that go beyond vocally acting out the role of a driven, dying artist. The recording has wide perspectives, but in general the orchestra is too recessed for my taste, even though the playing has an appropriately romantic intensity under Gerd Albrecht's authoritative direction.
The Marco Polo set has fewer heroic voices in the main roles, and I came to view this as an advantage, especially in the case of Thomas Harper's ardent, youthful Fritz. The more even vocal/orchestral balance means that a greater amount of instrumental detail is audible, as well as more of the multifarious textures that enrich the first half of Act 2. The whole performance has a more theatrical atmosphere, even though some episodes sound rushed and lacking in expressive power. Marco Polo make fewer (small) Cuts than Capriccio, and the ending is blessedly without a piercingly gutteral groan from Grete at Fritz's death. In most respects, therefore, the Marco Polo version is to be preferred. A. W.

Track list:
Disc: 1
1. Der Ferne Klang, opera in 3 acts: Act One: Vorspiel Listen
2. Der Ferne Klang, opera in 3 acts: Act One: No. 1, Szene: Du Willst Wirklich Fort, Fritz
3. Der Ferne Klang, opera in 3 acts: Act One: No. 2, Szene: Frau Mama Zu hause?
4. Der Ferne Klang, opera in 3 acts: Act One: No. 3, Szene: Nur Herein, Meine Herren
5. Der Ferne Klang, opera in 3 acts: Act One: No. 4,Szene: Nur Herein, Meine Herren
6. Der Ferne Klang, opera in 3 acts: Act One: No. 5, Szene: Fräulein Sollten Sich's Überlegen
7. Der Ferne Klang, opera in 3 acts: Act One: No. 6, Szene: Ich Kann Nicht!
8. Der Ferne Klang, opera in 3 acts: Act One: No. 7, Fritz Find'ich Nicht Mehr
9. Der Ferne Klang, opera in 3 acts: Act One: No. 8, Szene: Liegt Ein Schönes Kindchen Im Moos
10. Der Ferne Klang, opera in 3 acts: Act Two: Vorspiel: Wenn Der Abend Kommt
11. Der Ferne Klang, opera in 3 acts: Act Two: No. 1, Szene: Heiah! Meine Liebste
12. Der Ferne Klang, opera in 3 acts: Act Two: No. 4, Szene: Nun, Wer Wird Denn Da Wieder Verlästert?
13. Der Ferne Klang, opera in 3 acts: Act Two: No. 6, Szene: Greta! Endlich!
14. Der Ferne Klang, opera in 3 acts: Act Two: Sagen Sie Mir Doch, Marchesa
15. Der Ferne Klang, opera in 3 acts: Act Two: Ballade: In Einem Lande Ein Bleicher König
Disc: 2
1. Der Ferne Klang, opera in 3 acts: Act Two: Eine Schauergeschichte, Graf!
2. Der Ferne Klang, opera in 3 acts: Act Two: No. 7, Szene: Ich Hab' Dich Durchschaut
3. Der Ferne Klang, opera in 3 acts: Act Two: No. 8, Szene: Hier? So Viel Menschen
4. Der Ferne Klang, opera in 3 acts: Act Two: No. 9, Szene: Ist Der Liebste Fern
5. Der Ferne Klang, opera in 3 acts: Act Three: No. 1, Szene: Du Sitzt Nun Wieder Im Trock'nen - Was?
6. Der Ferne Klang, opera in 3 acts: Act Three: No. 2, Szene: Das Theater Schon Aus?
7. Der Ferne Klang, opera in 3 acts: Act Three: No. 3, Szene: So, Da Setzen Sie Sich
8. Der Ferne Klang, opera in 3 acts: Act Three: No. 6, Szene: Mein Herr, Sie Irren Sich Wohl
9. Der Ferne Klang, opera in 3 acts: Act Three: No. 8, Szene: Ein Solcher Skandal
10. Der Ferne Klang, opera in 3 acts: Act Three: No. 9, Szene: Wie Seltsam Das Ist
11. Der Ferne Klang, opera in 3 acts: Act Three: No. 10, Szene: Du, So Früh?
12. Der Ferne Klang, opera in 3 acts: Act Three: No. 11, Szene: Mir Ist So Seltsam Zumut
13. Der Ferne Klang, opera in 3 acts: Act Three: No. 13, Szene: Verzeihen Sie Mir
14. Der Ferne Klang, opera in 3 acts: Act Three: No. 15, Szene: Hast Du Mir Verziehn?
Two current recordings of Derferne Kiang, and still we wait for one that offers a line-by-line translation of the German libretto. The new Capriccio at least goes one better than Marco Polo/Select in providing the German text as well as a synopsis. But Schreker's early operatic melodrama needs all the help it can get if listeners are to respond sympathetically to its awkwardly presented but absorbing subject matter, rather than make haste to cleanse their ears either with the reassuring conventions of Der Rosenkavalier or the brave new world of Wozzeck.
Schreker's music may appear to fall between the two formidable stools of Straussian romanticism and Second Viennese School expressionism, as well as aspiring to a grand synthesis of simplicity (shades of Humperdinck?) and up-to-the-minute radicalism. It probably fails to get a proper focus on any of these aspects, but it does so with considerable panache and an almost Puccinian pathos. Derferne Kiang, completed in 1910 when Schreker was 31, has the merits of youthful extravagance—no subtle understatements here— but it is difficult to resist the feeling that the music gradually achieves greater conviction and a more purposeful sense of direction as it proceeds. By the time you reach the Third Act's long orchestral interlude the odds are that you will either be won over or ready to put the experiment down to experience.
The differences between these two performances are fairly clear cut. The Capriccio set is 138 strongly, even weightily cast, with some excellent singers in minor roles (Claudio Otelli as Rudolf, for example). But weight is a mixed blessing. Gabriele Schnaut lacks allure as Grete, and while Thomas Moser is a plausibly impassioned Fritz, whose quest for that "distant sound" gives the opera its theme, he can sound strained in ways that go beyond vocally acting out the role of a driven, dying artist. The recording has wide perspectives, but in general the orchestra is too recessed for my taste, even though the playing has an appropriately romantic intensity under Gerd Albrecht's authoritative direction.
The Marco Polo set has fewer heroic voices in the main roles, and I came to view this as an advantage, especially in the case of Thomas Harper's ardent, youthful Fritz. The more even vocal/orchestral balance means that a greater amount of instrumental detail is audible, as well as more of the multifarious textures that enrich the first half of Act 2. The whole performance has a more theatrical atmosphere, even though some episodes sound rushed and lacking in expressive power. Marco Polo make fewer (small) Cuts than Capriccio, and the ending is blessedly without a piercingly gutteral groan from Grete at Fritz's death. In most respects, therefore, the Marco Polo version is to be preferred. A. W.

Disc: 1
1. Der Ferne Klang, opera in 3 acts: Act One: Vorspiel Listen
2. Der Ferne Klang, opera in 3 acts: Act One: No. 1, Szene: Du Willst Wirklich Fort, Fritz
3. Der Ferne Klang, opera in 3 acts: Act One: No. 2, Szene: Frau Mama Zu hause?
4. Der Ferne Klang, opera in 3 acts: Act One: No. 3, Szene: Nur Herein, Meine Herren
5. Der Ferne Klang, opera in 3 acts: Act One: No. 4,Szene: Nur Herein, Meine Herren
6. Der Ferne Klang, opera in 3 acts: Act One: No. 5, Szene: Fräulein Sollten Sich's Überlegen
7. Der Ferne Klang, opera in 3 acts: Act One: No. 6, Szene: Ich Kann Nicht!
8. Der Ferne Klang, opera in 3 acts: Act One: No. 7, Fritz Find'ich Nicht Mehr
9. Der Ferne Klang, opera in 3 acts: Act One: No. 8, Szene: Liegt Ein Schönes Kindchen Im Moos
10. Der Ferne Klang, opera in 3 acts: Act Two: Vorspiel: Wenn Der Abend Kommt
11. Der Ferne Klang, opera in 3 acts: Act Two: No. 1, Szene: Heiah! Meine Liebste
12. Der Ferne Klang, opera in 3 acts: Act Two: No. 4, Szene: Nun, Wer Wird Denn Da Wieder Verlästert?
13. Der Ferne Klang, opera in 3 acts: Act Two: No. 6, Szene: Greta! Endlich!
14. Der Ferne Klang, opera in 3 acts: Act Two: Sagen Sie Mir Doch, Marchesa
15. Der Ferne Klang, opera in 3 acts: Act Two: Ballade: In Einem Lande Ein Bleicher König
Disc: 2
1. Der Ferne Klang, opera in 3 acts: Act Two: Eine Schauergeschichte, Graf!
2. Der Ferne Klang, opera in 3 acts: Act Two: No. 7, Szene: Ich Hab' Dich Durchschaut
3. Der Ferne Klang, opera in 3 acts: Act Two: No. 8, Szene: Hier? So Viel Menschen
4. Der Ferne Klang, opera in 3 acts: Act Two: No. 9, Szene: Ist Der Liebste Fern
5. Der Ferne Klang, opera in 3 acts: Act Three: No. 1, Szene: Du Sitzt Nun Wieder Im Trock'nen - Was?
6. Der Ferne Klang, opera in 3 acts: Act Three: No. 2, Szene: Das Theater Schon Aus?
7. Der Ferne Klang, opera in 3 acts: Act Three: No. 3, Szene: So, Da Setzen Sie Sich
8. Der Ferne Klang, opera in 3 acts: Act Three: No. 6, Szene: Mein Herr, Sie Irren Sich Wohl
9. Der Ferne Klang, opera in 3 acts: Act Three: No. 8, Szene: Ein Solcher Skandal
10. Der Ferne Klang, opera in 3 acts: Act Three: No. 9, Szene: Wie Seltsam Das Ist
11. Der Ferne Klang, opera in 3 acts: Act Three: No. 10, Szene: Du, So Früh?
12. Der Ferne Klang, opera in 3 acts: Act Three: No. 11, Szene: Mir Ist So Seltsam Zumut
13. Der Ferne Klang, opera in 3 acts: Act Three: No. 13, Szene: Verzeihen Sie Mir
14. Der Ferne Klang, opera in 3 acts: Act Three: No. 15, Szene: Hast Du Mir Verziehn?



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Strauss - Elektra - Sinopoli

Richrad Strauss (1864-1949): Elektra - Giuseppe Sinopoli - Wiener Philharmoniker
Classical | Opera | Early 20th Century | 2CD | EACRip | APE+LOG+CUE | Covers | RS.com | 483MB
Label:DG | Year of release: 1997 | DDD

Klytaemnestra: Hanna Schwarz
Elektra: Alessandra Marc
Chrysothemis: Deborah Voigt
Aegisth: Siegfried Jerusalem
Orest: Samuel Ramey

Wiener Philharmoniker
Giuseppe Sinopoli

This has to be one of the most at once perplexing and fascinating recordings of a Strauss opera I have ever run across. Tim Ashley wrote allusively of a link between music and the psychology from the Klytaemnestra scene and Mahler's setting in his Third Symphony of Zarathustra's midnight lied. The mysterious colors and stillness that Giuseppe Sinopoli and the Vienna Philharmonic find for the graphic account of the queen's hallucinations in this opera are perfectly apt, that one certainly can find a hint of reminiscence in Strauss's writing. The entire scene between Elektra and her mother is of central importance on this recording, in part for understanding Sinopoli's intentions with this opera.


Comments from the same review published in the August 1997 issue of Opera about broader issues haunt me, as I write mine. "What Sinopoli finds at he hart of this most neurotic of all operas is stylistic inconsistency and a plethora of hitherto unnoticed allusions." He then goes on to extrapolate how different conductors have tended to narrow Elektra down to one prevailing stylistic tendency or another. "Sinopoli will have none of this, doesn't make any attempt to pigeon-hole the score and emphasizes the stylistic content of individual moments rather than forging them into a unity." A few have found fault with this recording for doing just that. I likewise disagree that Sinopoli seems the less experienced Strauss maestro than on his earlier Salome on DGG. Ashley, however, then goes out just a bit on a limb, and finds in the Strauss and Sinopoli's approach tonal methodology of characterization specific to each of the two sisters and Klytaemnestra in this opera, all individually. His claims, in their unique way, do convince, but we're dealing with indeed quite a unique recording of Strauss's masterpiece. Experienced writer that he is, he certainly knows his risks, in his putting so much stock in this idea.

Chrysothemis, who suffers from disturbed psyche enough, does have a lot of music in E-Flat and in triple meter at that, but under Sinopoli, it is music that the more affirmative it sounds, the more tonally it is on the verge of turning the corner to lurch or go careening off the precipice. By the same token, the queen's music distractedly yet obsessively seeks stability, usually in musical terms of one of the royalty or domestic bliss motifs, with which this very tormented character can anchor her thought. Like Ashley, I am sure of Sinopoli working with compass in hand as how to clearly direct his forces through this complex work. Otherwise, we'd probably have so much bombast and superficial underlining of so much detail - never the case here.

Sinopoli's grasp of tonality in this score is as thorough as you'll find from any conductor who has approached it. In my estimation, he joins a small list of conductors whose work with this piece I would call great - Jochum, Bohm (from Dresden on DGG - still out of print), and Mitropoulos, and all of whom take the stage cuts. My wish is that Sinopoli might have opened one or two, instead of literally taking all of them. The broad tempos, and slight tendency to block certain passages tend to remind a little of Solti, the appeal to sensuality in the score, especially in the second part of the Recognition and Aegisth scenes, to Karajan yet this set convinces you that this set pretty much, from the podium perspective, stands on its own merits. Unlike Karajan, nothing orchestrally at least, for a moment, is on autopilot, as seemed to be a little the case the last time I have heard such estimable Strauss maestri Levine and Welser-Most conduct Elektra.

One can read in any musically annotated synopsis of Elektra of the bitonality of repeated alternating, then simultaneous triads in F MInor and B Major in the Klytaemnestra scene. Sinopoli brilliantly weaves the most climactic occurrence of this polytonality into the dramatic trajectory of Klytaemnestra's 'nightmare' monologue and thereby categorically reveals that the polarity that is central to the composer's mind for the long stretch is between the key areas of B Major and C Minor, as similar to the close of Zarathustra. Making such occurence apparently happen within any normal scheme of things, as with these triads, seems even more frightening than its standing alone, as it would in a more bombastic interpretation, as with Solti or a young Levine.

There is also, in so boldly relating stylistic disparity in this piece, quite another trajectory that spells out. The central scene between Elektra and her mother takes the listener as close to as far out as Strauss would ever take us, and then following this with the second Chrysothemis scene (though quite heavily cut here) and Recognition Scene, we are already more than beginning to hear the Strauss of such intimate conversational lyricism, as found from Rosenkavalier to follow through Intermezzo and Arabella to his swansong, Capriccio. And yet, Sinopoli is always acutely aware of every potentially tonally destabilizing moment that will crop up throughout the rest of the opera. Of those heard earlier, it is hard to shake off hearing bassons and horns let off as dogs in heat, the 'stifled breath' upward appoggiaturi from solo horn early on in the first Chrysothemis scene, the hideous whelps and moans from the brass in the fearful procession that announce Klytaemenstra's entrance, the inebriated lurching around of double basses, making almost triplet figures out of one of the procession motifs, some of this all culminating in the wildly animated accompaniment to "Was bluten muss?", that almost overwhelms our attention to what is being sung.

So, what of this Elektra as an opera recording? It seems otherwise that I am reviewing a recording of Strauss's greatest tone poem. It is as opera, two vivid (supporting) tenors apart, that things fall off a bit. Alessandra Marc certainly is nowhere short of the stamina to sing this most treacherous of all parts and convincingly portrays a woman clearly near the end of her tether. Tone tends to be hooty, and diction mushy; an overall sameness tends to take over, expressively. She sings at once at her most impassioned and intimate in feeling during the Recognition Scene, and is well able to capitalize here more than anywhere else, on Sinopoli's support.

Debroah Voigt sings very well, bringing out well the innocence of the Chrysothemis, but here is an interpretation that is a little slow to open out expressively. It is hardly less tiresome, in the interest of bringing out greater hysteria with this part, to encounter a wobbly or unsteady voice here, as this so often makes cliche out of such an approach to this music. Hanna Schwarz, soloist on Sinopoli's fine and underrated Mahler Third (perhaps DGG's best recording of this piece) by the way, is the Klytaemnestra here. Low notes are not too clearly dependable here, but of the three female protagonists hereand also among Klytaemnestras, one gets unfailingly from Schwarz the most subtle and pointed verbal insights, even if a little greater stamina is called for in closing passages to be anywhere nearly as ghoulishly menacing to her daughter, as for instance Lipovsek on the complete Sawallisch (EMI). Regina Resnik (whose peerlessly mysterious reading of Zarathustra's song from Mahler 3 on the classic Martinon/Chicago broadcast eloquently bespeaks her experience as a great Klytaemnestra), Jean Madeira, and Gusta Hammer (Jochum) are at least equally formidable.

Samuel Ramey is expressive and has sufficiently dark tone as Orest, but is a little choppy, all of the above a little remindful of Tom Krause on Nilsson/Solti. He also becomes a bit unstable vocally as his part becomes more animated, toward the moment of recognition, in his crucial scene with Marc. The Overseer of Helga Termer stands out among the female supporting cast, for incisiveness, also the ruling virtue with the Young Servant of Michael Howard (the fine Mime during Sinopoli's Ring for only one summer at Bayreuth several years later). Siegfried Jerusalem is a suitably imperious and incisive Aegisth, tantalized and enticed almost most of all by Sinopoli's play with the sonorities and subtle touches with flutes and harp - what little lost love Strauss ever had for tenors.

David H. Spence
This has to be one of the most at once perplexing and fascinating recordings of a Strauss opera I have ever run across. Tim Ashley wrote allusively of a link between music and the psychology from the Klytaemnestra scene and Mahler's setting in his Third Symphony of Zarathustra's midnight lied. The mysterious colors and stillness that Giuseppe Sinopoli and the Vienna Philharmonic find for the graphic account of the queen's hallucinations in this opera are perfectly apt, that one certainly can find a hint of reminiscence in Strauss's writing. The entire scene between Elektra and her mother is of central importance on this recording, in part for understanding Sinopoli's intentions with this opera.


Comments from the same review published in the August 1997 issue of Opera about broader issues haunt me, as I write mine. "What Sinopoli finds at he hart of this most neurotic of all operas is stylistic inconsistency and a plethora of hitherto unnoticed allusions." He then goes on to extrapolate how different conductors have tended to narrow Elektra down to one prevailing stylistic tendency or another. "Sinopoli will have none of this, doesn't make any attempt to pigeon-hole the score and emphasizes the stylistic content of individual moments rather than forging them into a unity." A few have found fault with this recording for doing just that. I likewise disagree that Sinopoli seems the less experienced Strauss maestro than on his earlier Salome on DGG. Ashley, however, then goes out just a bit on a limb, and finds in the Strauss and Sinopoli's approach tonal methodology of characterization specific to each of the two sisters and Klytaemnestra in this opera, all individually. His claims, in their unique way, do convince, but we're dealing with indeed quite a unique recording of Strauss's masterpiece. Experienced writer that he is, he certainly knows his risks, in his putting so much stock in this idea.

Chrysothemis, who suffers from disturbed psyche enough, does have a lot of music in E-Flat and in triple meter at that, but under Sinopoli, it is music that the more affirmative it sounds, the more tonally it is on the verge of turning the corner to lurch or go careening off the precipice. By the same token, the queen's music distractedly yet obsessively seeks stability, usually in musical terms of one of the royalty or domestic bliss motifs, with which this very tormented character can anchor her thought. Like Ashley, I am sure of Sinopoli working with compass in hand as how to clearly direct his forces through this complex work. Otherwise, we'd probably have so much bombast and superficial underlining of so much detail - never the case here.

Sinopoli's grasp of tonality in this score is as thorough as you'll find from any conductor who has approached it. In my estimation, he joins a small list of conductors whose work with this piece I would call great - Jochum, Bohm (from Dresden on DGG - still out of print), and Mitropoulos, and all of whom take the stage cuts. My wish is that Sinopoli might have opened one or two, instead of literally taking all of them. The broad tempos, and slight tendency to block certain passages tend to remind a little of Solti, the appeal to sensuality in the score, especially in the second part of the Recognition and Aegisth scenes, to Karajan yet this set convinces you that this set pretty much, from the podium perspective, stands on its own merits. Unlike Karajan, nothing orchestrally at least, for a moment, is on autopilot, as seemed to be a little the case the last time I have heard such estimable Strauss maestri Levine and Welser-Most conduct Elektra.

One can read in any musically annotated synopsis of Elektra of the bitonality of repeated alternating, then simultaneous triads in F MInor and B Major in the Klytaemnestra scene. Sinopoli brilliantly weaves the most climactic occurrence of this polytonality into the dramatic trajectory of Klytaemnestra's 'nightmare' monologue and thereby categorically reveals that the polarity that is central to the composer's mind for the long stretch is between the key areas of B Major and C Minor, as similar to the close of Zarathustra. Making such occurence apparently happen within any normal scheme of things, as with these triads, seems even more frightening than its standing alone, as it would in a more bombastic interpretation, as with Solti or a young Levine.

There is also, in so boldly relating stylistic disparity in this piece, quite another trajectory that spells out. The central scene between Elektra and her mother takes the listener as close to as far out as Strauss would ever take us, and then following this with the second Chrysothemis scene (though quite heavily cut here) and Recognition Scene, we are already more than beginning to hear the Strauss of such intimate conversational lyricism, as found from Rosenkavalier to follow through Intermezzo and Arabella to his swansong, Capriccio. And yet, Sinopoli is always acutely aware of every potentially tonally destabilizing moment that will crop up throughout the rest of the opera. Of those heard earlier, it is hard to shake off hearing bassons and horns let off as dogs in heat, the 'stifled breath' upward appoggiaturi from solo horn early on in the first Chrysothemis scene, the hideous whelps and moans from the brass in the fearful procession that announce Klytaemenstra's entrance, the inebriated lurching around of double basses, making almost triplet figures out of one of the procession motifs, some of this all culminating in the wildly animated accompaniment to "Was bluten muss?", that almost overwhelms our attention to what is being sung.

So, what of this Elektra as an opera recording? It seems otherwise that I am reviewing a recording of Strauss's greatest tone poem. It is as opera, two vivid (supporting) tenors apart, that things fall off a bit. Alessandra Marc certainly is nowhere short of the stamina to sing this most treacherous of all parts and convincingly portrays a woman clearly near the end of her tether. Tone tends to be hooty, and diction mushy; an overall sameness tends to take over, expressively. She sings at once at her most impassioned and intimate in feeling during the Recognition Scene, and is well able to capitalize here more than anywhere else, on Sinopoli's support.

Debroah Voigt sings very well, bringing out well the innocence of the Chrysothemis, but here is an interpretation that is a little slow to open out expressively. It is hardly less tiresome, in the interest of bringing out greater hysteria with this part, to encounter a wobbly or unsteady voice here, as this so often makes cliche out of such an approach to this music. Hanna Schwarz, soloist on Sinopoli's fine and underrated Mahler Third (perhaps DGG's best recording of this piece) by the way, is the Klytaemnestra here. Low notes are not too clearly dependable here, but of the three female protagonists hereand also among Klytaemnestras, one gets unfailingly from Schwarz the most subtle and pointed verbal insights, even if a little greater stamina is called for in closing passages to be anywhere nearly as ghoulishly menacing to her daughter, as for instance Lipovsek on the complete Sawallisch (EMI). Regina Resnik (whose peerlessly mysterious reading of Zarathustra's song from Mahler 3 on the classic Martinon/Chicago broadcast eloquently bespeaks her experience as a great Klytaemnestra), Jean Madeira, and Gusta Hammer (Jochum) are at least equally formidable.

Samuel Ramey is expressive and has sufficiently dark tone as Orest, but is a little choppy, all of the above a little remindful of Tom Krause on Nilsson/Solti. He also becomes a bit unstable vocally as his part becomes more animated, toward the moment of recognition, in his crucial scene with Marc. The Overseer of Helga Termer stands out among the female supporting cast, for incisiveness, also the ruling virtue with the Young Servant of Michael Howard (the fine Mime during Sinopoli's Ring for only one summer at Bayreuth several years later). Siegfried Jerusalem is a suitably imperious and incisive Aegisth, tantalized and enticed almost most of all by Sinopoli's play with the sonorities and subtle touches with flutes and harp - what little lost love Strauss ever had for tenors.

David H. Spence


CD1

1. "Wo bleibt Elektra?"
2. "Allein! Weh, ganz allein."
3. "Ah! das Gesicht!"
4. "Was willst du? Seht doch dort!"
5. "Ich habe keine guten Nächte."

CD2

1. "Orest! Orest ist tot!"
2. "Nun denn, allein!"
3. "Orest! Orest! Es rührt sich niemand!"
4. "Es muss etwas geschehen sein"
5. "Elektra! Schwester!"


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Strauss - Salome - Sinopoli


Richrad Strauss (1864-1949): Salome - Giuseppe Sinopoli - Orchester der Deutschen Oper Berlin
Opera | Early 20th Century | 2CD | EACRip | APE+LOG+CUE | Covers | RS.com | 460MB
Label:DG | Year of release: 1991 | DDD

Herodes: Horst Hiestermann
Herodias: Leonie Rysanek
Salome: Cheryl Studer
Jochanaan: Bryn Terfel

Orchester der Deutschen Oper Berlin
Giuseppe Sinopoli

MUSICWEB REVIEW
The finest studio performance remains Sinopoli's on Deutsche Grammophon with Cheryl Studer in the title role [DG 431810-2]. Like this conductor's recording of Elektra this performance has an over-the-top majesty and decadence that makes hearing this opera such a thrilling experience. Sinopoli invests his performance with a true sweep that belies the fact it is studio made. Moments such as the incandescence of the Salome-Jokanaan dialogue, the suicide of Narraboth, the dance of the Seven Veils and the eventual kissing of Jokanaan's severed head are gloriously graphic in a way none of the live recordings are, with the possible exception of Rudolf Kempe's. The swelling, nauseous intensity of the moment Salome kisses the Baptist's lips, tasting his blood, is presented in such sonorous sound it is hard not to be repelled by this recording. The violence of Strauss' score is here unravelled in a way Karajan possibly imagined it to be, but he couldn't get the Vienna Philharmonic to play for him in such a barbarous fashion as Sinopoli does with his Berlin Opera forces. The brass fanfare that initiates the final scene is here flourished with caustic bite, the stabbing high double basses that suggest Salome's sexualised breathing during the execution are here as unwanted as a knife in the back but compelling because of it. Orchestrally, Sinopoli plumbs depths that are shockingly vivid but what a sensuous sound he produces from strings during the great climax of the final scene. This is the most clearly shaped of any interpretation I have heard, the most dramatic and the most amplified of all Salome's on disc. Add to this Studer's magnificent Salome - vibrant, fresh, thrilling in the upper registers and sensuous of tone and you have what could be the ideal recording of this work. She recalls Welitsch in many ways - her deft use of pianissimo, her conviction at dramatising Salome's crazed lust and necrophilia in singing of astonishing range and power, and her empathy in a role difficult to surmount. Terfel, as already suggested, is magnificent as the Baptist, and Rysanek, in one of her final recordings, is a colourful Herodias.

Which are the recordings to go for? Sinopoli's studio recording offers a startlingly vivid experience of this opera at it most grotesque. It has a superbly sung lead, graphic orchestral playing and superb sound. Ljuba Welitsch on her 1952 recording with Fritz Reiner and an unmatched cast is also a key - perhaps the key - recording. Leonie Rysanek's recording with an inspired Rudolf Kempe from France in 1974 is also magisterial in a way opera recordings rarely are. No library would be complete without all of these recordings in it - each offering us something uniquely revelatory about this work. Get the Reiner, however, and you will perhaps hear more glories in this work than anywhere else. It really is that special. For those intent on sacrificing themselves before the alter of savagery and obscenity - then the recording that perhaps comes nearest to recalling the tempest of outrage that first greeted the work will surely be Sinopoli's. It is also that special. Opera recordings rarely come near the perfection of these two interpretations.


Marc Bridle

CD1:

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. "Laßt den Propheten herauskommen"
7. "Wo ist er, dessen Sündenbecher jetzt voll ist?"
8. "Er ist schrecklich"
9. "Wer ist dies Weib, das mich ansieht?"
10."Zurück, Tochter Sodoms!"
11."Dein Leib ist grauenvoll"
12."Zurück, Tochter Sodoms!"
13."Niemals, Tochter Babylons, Tochter Sodoms,...Niemals"
14."Wird dir nicht bange, Tochter der Herodias?"
15."Lass mich deinen Mund küssen, Jochanaan!"
16."Du bist verflucht"
17."Wo ist Salome?"
18."Salome, komm, trink Wein mit mir"
19."Siehe, die Zeit ist gekommen"
20."Wahrhaftig, Herr, es wäre besser, ihn in unsre Hände zu geben!"
21."Siehe, der Tah ist nahe"
22."O über dieses geile Weib, die Tochter Babylons"

CD2:

1. "Tanz für Mich, Salome"
2. Salome's Dance of the Seven Veils
3. "Ah! Herrlich! Wundervoll, wundervoll!"
4. "Salome, ich beschwöre dich"
5. "Salome, bedenk, was du tun willst"
6. "Gib mir den Kopf des Jochanaan!"
7. "Es ist kein Laut zu vernehmen"
8. "Ah! Du wolltest mich nicht deinen Mund"
9. "Sie ist ein Ungeheuer, deine Tochter"
10."Ah! Ich habe deinen Mund geküsst, Jochanaan"

CD1:

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. "Laßt den Propheten herauskommen"
7. "Wo ist er, dessen Sündenbecher jetzt voll ist?"
8. "Er ist schrecklich"
9. "Wer ist dies Weib, das mich ansieht?"
10."Zurück, Tochter Sodoms!"
11."Dein Leib ist grauenvoll"
12."Zurück, Tochter Sodoms!"
13."Niemals, Tochter Babylons, Tochter Sodoms,...Niemals"
14."Wird dir nicht bange, Tochter der Herodias?"
15."Lass mich deinen Mund küssen, Jochanaan!"
16."Du bist verflucht"
17."Wo ist Salome?"
18."Salome, komm, trink Wein mit mir"
19."Siehe, die Zeit ist gekommen"
20."Wahrhaftig, Herr, es wäre besser, ihn in unsre Hände zu geben!"
21."Siehe, der Tah ist nahe"
22."O über dieses geile Weib, die Tochter Babylons"

CD2:

1. "Tanz für Mich, Salome"
2. Salome's Dance of the Seven Veils
3. "Ah! Herrlich! Wundervoll, wundervoll!"
4. "Salome, ich beschwöre dich"
5. "Salome, bedenk, was du tun willst"
6. "Gib mir den Kopf des Jochanaan!"
7. "Es ist kein Laut zu vernehmen"
8. "Ah! Du wolltest mich nicht deinen Mund"
9. "Sie ist ein Ungeheuer, deine Tochter"
10."Ah! Ich habe deinen Mund geküsst, Jochanaan"


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Erich Wolfgang Korngold - Die Tote Stadt - Leinsdorf

Erich Wolfgang Korngold (1897-1957): Die tote Stadt - Erich Leinsdorf - Münchner Rundfunkorchester
Opera | Early 20th Century | 2CD | EACRip | APE+LOG+CUE | Covers | RS.com | 638MB
Label: RCA | Year of release: 2009 | ADD

Marietta: Carol Neblett
Paul: René Kollo

Münchner Rundfunkorchester
Erich Leinsdorf

Rec. 1975

Amazon Review:

All that has remained in the repertoire of this excellent work are the duly famous 4 minutes of `Marietta's Lied`, hailed by some as one of the most beautiful things in all 20th century opera. It certainly packs an emotional punch worthy of Puccini at his peak, and its return at the very end is heart wrenching. I've seen critics regret the fact that the rest of Die Tote Stadt is 'not on the same level', but really, that's a bit like complaining the rest of Turandot is not quite like Nessun dorma... In fact, the opera was a huge success at its premiere and widely admired by contemporary composers, Puccini as well as Alban Berg among them. And rightly so, which can only make us wonder more at its subsequent neglect. Korngold is just one of those composers who never really made it into the limelight, even though he wrote much that is instantly accessible and quite exciting.
Indeed, the whole two hours of this piece are enthralling, mainly on the strength of the expert and colourful writing for the (gargantuan) orchestra. Imagine a kind of Elektra meets Gurrelieder cocktail with an added dash of Zemlinsky, Mahler and, yes, Puccini, and you may get some idea of what to expect. I was also put in mind of that other forgotten great opera, Pfitzner's Palestrina. It doesn't make for relaxed listening: the general tone is a bit too excited and even hysterical for that, as befits an opera exploring the obviously Freudian theme of mourning gone haywire. But it's anything but monotonous. One moment a boating song plunges you straight into the world of Viennese light operetta, the next this gay party is subsumed by the extraordinary and spectacular sounds of an organ and a plethora of bells, and you are in a sound world that is as modern as it is captivating.
The vocal parts are extremely agitated and rather highly strung; I cannot help but feel they occasionally overtax the lead singers. Both Neblett and Kollo produce some very strained, even shrill top notes, and there are many top notes in both parts! On the whole, however, the singing is admirable, and the orchestral playing is of an even higher order. The recording, too, though 30 years old, is quite good: it allows you to hear lots of detail, and has an ample dynamic range. We ought to be rightly grateful for having it, and as long as there is no competition other than Segerstam's live recording on Naxos, this set is very much worth acquiring. Meanwhile, there certainly is room for a high profile modern remake. Wouldn't it be a perfect way for Chailly to start his tenure at the helm of the Leipzig Opera and Gewandhausorchester? If Decca would then be so kind as to hire Renée Fleming as Marietta, something truly wonderful might come out...
MartinP

Exact Audio Copy V0.99 prebeta 5 from 4. May 2009

Archivo Log de extracciones desde 21. Diciembre 2009, 6:33

Erich Wolfgang Korngold / Die Tote Stadt

Usar unidad : HL-DT-STDVD-RW_GSA-H11N Adapter: 5 ID: 0

Modo de Lectura : Seguro
Utilizar Corriente Exacta : Sí
Descartar Audio caché : No
Utilizar los punteros C2 : Sí

Corrección de Desplazamiento de Lectura/Escritura combinadas : 667
Sobreleer tanto en Lead-In como en Lead-Out : No
Rellenar las muestras faltantes con silencios : Sí
Eliminar silencios inicial y final : No
Se han usado muestras nulas en los cálculos CRC : No
Interfaz usada : Interfaz propio de Win32 para Windowns NT y 2000

Formato de Salida utilizado : Rutinas WAV Internas
Formato de Muestreo : 44.100 Hz; 16 Bit; Estéreo


TOC del CD extraido

Pista | Inicio | Duración | Sector inicial | Sector final
-------------------------------------------------------------
1 | 0:00.33 | 11:44.52 | 33 | 52884
2 | 11:45.10 | 13:15.23 | 52885 | 112532
3 | 25:00.33 | 2:36.00 | 112533 | 124232
4 | 27:36.33 | 5:20.40 | 124233 | 148272
5 | 32:56.73 | 24:45.30 | 148273 | 259677
6 | 57:42.28 | 9:43.32 | 259678 | 303434


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Nombre de Archivo D:\Musica\Compartidos\CD2.wav

Nivel Pico 98.1 %
Gama de Calidad 100.0 %
Copiar CRC 7C5946BB
Copia OK

Sin Errores

Final del Informe


Tracklist:

CD1

1 Act I : Behutsam! Hier ist alles alt (6:12)
2 Frank! Freund! (11:13)
3 Nur deiner harr ich, niemals Verlorne! (2:02)
4 Rosen - so ists recht! (1:25)
5 Wunderbar! - Ja, wunderbar! (4:38)
6 Glück, das mir verblieb (Marietta's Lied) (12:14)
7 Marietta! - Paul... Paul... (8:24)
8 Act II : Prelude (5:37)
9 as ward aus mir? (8:04)
10 Wohin? Frank - du? (2:22)
11 Schäume, schäume (7:35)

CD2

1 Da ihr befehlet, Königin (Pierrot Lied) (11:44)
2 Du machst mir eine Szene? (13:16)
3 Act III : Prelude (2:35)
4 Dich such ich, Bild! (5:21)
5 Du hier? - Als ich erwachte (24:45)
6 Die Tote - wo - lag sie nicht hier (9:43)

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Debussy - Pelléas et Mélisande - Abbado

Claude Debussy (1862-1918): Pelléas et Mélisande - Claudio Abbado - Wiener Philharmoniker
Opera | Early 20th Century | 2CD | EACRip | APE+LOG+CUE | Covers | RS.com | 505MB
Label:DG | Year of Release: 1992 | DDD

Mélisande: Maria Ewing
Pelléas: Françoix le Roux
Golaud: José van Dam
Geneviève: Christa Ludwig

Wiener Philharmoniker
Claudio Abbado
Exact Audio Copy V0.99 prebeta 5 from 4. May 2009

Archivo Log de extracciones desde 7. Noviembre 2009, 8:44

Claude Debussy [1862-1918] / Pelléas et Mélisande

Usar unidad : HL-DT-STDVD-RW_GSA-H11N Adapter: 5 ID: 0

Modo de Lectura : Seguro
Utilizar Corriente Exacta : Sí
Descartar Audio caché : No
Utilizar los punteros C2 : Sí

Corrección de Desplazamiento de Lectura : 667
Sobreleer tanto en Lead-In como en Lead-Out : No
Rellenar las muestras faltantes con silencios : Sí
Eliminar silencios inicial y final : No
Se han usado muestras nulas en los cálculos CRC : Sí
Interfaz usada : Interfaz propio de Win32 para Windowns NT y 2000

Formato de Salida utilizado : Rutinas WAV Internas
Formato de Muestreo : 44.100 Hz; 16 Bit; Estéreo


TOC del CD extraido

Pista | Inicio | Duración | Sector inicial | Sector final
-------------------------------------------------------------
1 | 0:00.33 | 4:14.65 | 33 | 19147
2 | 4:15.23 | 1:06.62 | 19148 | 24159
3 | 5:22.10 | 5:13.33 | 24160 | 47667
4 | 10:35.43 | 4:21.15 | 47668 | 67257
5 | 14:56.58 | 2:49.22 | 67258 | 79954
6 | 17:46.05 | 5:46.65 | 79955 | 105969
7 | 23:32.70 | 2:53.40 | 105970 | 118984
8 | 26:26.35 | 3:25.08 | 118985 | 134367
9 | 29:51.43 | 3:54.40 | 134368 | 151957
10 | 33:46.08 | 4:03.62 | 151958 | 170244
11 | 37:49.70 | 3:25.35 | 170245 | 185654
12 | 41:15.30 | 1:46.10 | 185655 | 193614
13 | 43:01.40 | 3:47.53 | 193615 | 210692
14 | 46:49.18 | 4:06.65 | 210693 | 229207
15 | 50:56.08 | 2:53.52 | 229208 | 242234
16 | 53:49.60 | 5:18.28 | 242235 | 266112
17 | 59:08.13 | 2:40.25 | 266113 | 278137
18 | 61:48.38 | 1:54.42 | 278138 | 286729
19 | 63:43.05 | 2:34.08 | 286730 | 298287
20 | 66:17.13 | 2:24.07 | 298288 | 309094
21 | 68:41.20 | 6:42.00 | 309095 | 339244


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Nombre de Archivo D:\Musica\Compartidos\CD2.wav

Nivel Pico 99.8 %
Gama de Calidad 100.0 %
Copiar CRC 617063B2
Disc: 1

1. Act 1. Scene 1. Je ne pourrai plus sortir de cette forête
2. Act 1. Scene 1. Pourquoi pleures-tu?
3. Act 1. Scene 1. Je suis perdu aussi
4. Act 1. Scene 2. Voici ce qu'il écrit à son frère Pelléas
5. Act 1. Scene 2. Qu'en dites-vous?
6. Act 1. Scene 2. Interlude
7. Act 1. Scene 3. Il fait sombre dans les jardins
8. Act 1. Scene 3. Hoé! Hisse Hoé!
9. Act 2. Scene 1. Vous ne savez pas où je vous ai menée?
10. Act 2. Scene 1. C'est au bord d'une fontaine
11. Act 2. Scene 1. Interlude
12. Act 2. Scene 2. Ah! Ah! Tout va bien
13. Act 2. Scene 2. Voyons, donne-moi ta main
14. Act 2. Scene 2. Interlude
15. Act 2. Scene 3. Oui, c'est ici, nous y sommes
16. Act 3. Scene 1. Mes longs cheveux descendent jusqu'au seuil de la tour
17. Act 3. Scene 1. Je les tiens dans les mains
18. Act 3. Scene 1. Que faites-vous ici?
19. Act 3. Scene 2. Prenez garde; par ici, par ici


Disc: 2

1. Act 3. Scene 3. Interlude / Ah! Je respire enfin!
2. Act 3. Scene 3. Interlude
3. Act 3. Scene 4. Viens, nous allons nous asseoir ici, Yniold
4. Act 3. Scene 4. Qu'ils s'embrassent, petit père?
5. Act 4. Scene 1. Où vas-tu?
6. Act 4. Scene 2. Maintenant que le père de Pelléas est sauvé
7. Act 4. Scene 2. Pelléas part ce soir
8. Act 4. Scene 2. Ne mettez pas ainsi votre main à la gorge
9. Act 4. Scene 2. Interlude
10. Act 4. Scene 4. C'est le dernier soir
11. Act 4. Scene 4. Nous sommes venus ici il y a bien longtemps
12. Act 4. Scene 4. On dirait que ta voix a passé sur la mer au printemps
13. Act 4. Scene 4. Quel est ce bruit?
14. Act 5. Ce n'est pas de cette petite blessure qu'elle peut mourir
15. Act 5. Attention; je crois qu'elle s'éveille
16. Act 5. Mélisande, as-tu pitié de moi comme j'ai pitié de toi?
17. Act 5. Non, non, nous n'avons pas été coupables
18. Act 5. Qu'avez-vous fait?
19. Act 5. Attention... attention. Il faut parler à voix basse, maintenant



Disc: 1

1. Act 1. Scene 1. Je ne pourrai plus sortir de cette forête
2. Act 1. Scene 1. Pourquoi pleures-tu?
3. Act 1. Scene 1. Je suis perdu aussi
4. Act 1. Scene 2. Voici ce qu'il écrit à son frère Pelléas
5. Act 1. Scene 2. Qu'en dites-vous?
6. Act 1. Scene 2. Interlude
7. Act 1. Scene 3. Il fait sombre dans les jardins
8. Act 1. Scene 3. Hoé! Hisse Hoé!
9. Act 2. Scene 1. Vous ne savez pas où je vous ai menée?
10. Act 2. Scene 1. C'est au bord d'une fontaine
11. Act 2. Scene 1. Interlude
12. Act 2. Scene 2. Ah! Ah! Tout va bien
13. Act 2. Scene 2. Voyons, donne-moi ta main
14. Act 2. Scene 2. Interlude
15. Act 2. Scene 3. Oui, c'est ici, nous y sommes
16. Act 3. Scene 1. Mes longs cheveux descendent jusqu'au seuil de la tour
17. Act 3. Scene 1. Je les tiens dans les mains
18. Act 3. Scene 1. Que faites-vous ici?
19. Act 3. Scene 2. Prenez garde; par ici, par ici


Disc: 2

1. Act 3. Scene 3. Interlude / Ah! Je respire enfin!
2. Act 3. Scene 3. Interlude
3. Act 3. Scene 4. Viens, nous allons nous asseoir ici, Yniold
4. Act 3. Scene 4. Qu'ils s'embrassent, petit père?
5. Act 4. Scene 1. Où vas-tu?
6. Act 4. Scene 2. Maintenant que le père de Pelléas est sauvé
7. Act 4. Scene 2. Pelléas part ce soir
8. Act 4. Scene 2. Ne mettez pas ainsi votre main à la gorge
9. Act 4. Scene 2. Interlude
10. Act 4. Scene 4. C'est le dernier soir
11. Act 4. Scene 4. Nous sommes venus ici il y a bien longtemps
12. Act 4. Scene 4. On dirait que ta voix a passé sur la mer au printemps
13. Act 4. Scene 4. Quel est ce bruit?
14. Act 5. Ce n'est pas de cette petite blessure qu'elle peut mourir
15. Act 5. Attention; je crois qu'elle s'éveille
16. Act 5. Mélisande, as-tu pitié de moi comme j'ai pitié de toi?
17. Act 5. Non, non, nous n'avons pas été coupables
18. Act 5. Qu'avez-vous fait?
19. Act 5. Attention... attention. Il faut parler à voix basse, maintenant

Password inside txt.

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