Los registros se mantendrán por lo que invitamos a descargar y, si es posible subir a otros blogs, que difundan la opera mas radical de toda la Hisitoria.
Fue un placer compartir.
jueves, 26 de mayo de 2011
DESPEDIDA.
sábado, 19 de febrero de 2011
Dmitri Shostakovich: Lady Macbeth of Mtsensk - Rostropovich
Dmitri Shostakovich: Lady Macbeth of Mtsensk - Rostropovich - London PO
Opera | Early 20th Century | 2CD | EACRip | APE+LOG+CUE | Covers | RS.com | 695MB Label: EMI | Year of release: 2002 | ADD
Lady Macbeth of Mtsensk, Opera in 4 acts
Katerina Ismailova - Galina Vishnevskaya
Sergey - Nicolai Gedda
Boris Ismailov - Dimiter Petkov
London Philharmonic Orchestra
Mstislav Rostropovich
Amazon Review:
Written between 1930 and 1932, Lady Macbeth of Mtsensk was one of the most brilliant achievements of Shostakovich's long career. It was also the work that got him into trouble with Stalin. When the Soviet leader attended a performance in Moscow in 1936, almost two years after the opera's acclaimed Leningrad premiere, he personally ordered the publication of a scathing article in Pravda ("Muddle Instead of Music"), unleashing a ruthless campaign to reduce the arts in Soviet Russia to a state of dogmatic subservience to the regime. Lady Macbeth would disappear from the repertory for 30 years, and Shostakovich, despite his great gifts for opera, would focus his attention on symphonic and chamber music instead.
But what an opera this one was! Notwithstanding its title, it has nothing to do with Shakespeare's Macbeth and quite a lot to do with Dostoevsky (even though it's based on a story by another 19th-century writer, Nikolai Leskov). The plot has all the elements of a Russian epic--boredom, need, irresistible sexual longing, infidelity, murder, suicide--and the music is vintage Shostakovich, swinging between farce and tragedy with astonishing sureness, magnificently intense, deeply absorbing, yet approachable. The opera's climactic scenes are driven by music of incredible power, and there are pages of haunting lyric beauty as well, such as Katarina's aria in scene 3, or the extraordinary music that begins the love scene between Katarina and Sergey--mysterious, edgy, sensuous, and vast. It's all brought home on this recording, a labor of love from two of the composer's closest friends and greatest champions. Vishnevskaya, the great exponent of the role of Katarina, sings with untrammeled splendor, while Rostropovich, the supreme interpreter of the music of Shostakovich in our time, conducts a characterful, white-hot performance by the London Philharmonic. --Ted Libbey
Tracklist:
Disc 1:
ACT 1 - Scene 1
1 Akh, nye spitsa ból'she, popróbuyu (Katerina) 2:26
2 V dyévkakh lúchshe býlo (Katerina) 2:58
3 Gribki sevódnya búdut? (Boris/Katerina) 3:52
4 Prigotóv otrávu dlya krys (Boris/Katerina) 1:34
5 Govorl! ... Plotinu-to na ... (Zinovy/Mill-hand/Boris/Chorus/Sergey/Coachman/Aksinya) 2:45
6 Proshcháy, Katerina (Zinoviy/Boris/Katerina) 2:50
7 Chevó vstal? Chevó ostanovilsa? (Aksinya/Boris) 1:39
8 Interlude (Orchestra) 2:43
ACT 1 - Scene 2
9 Ay! Ay! Ay! (Aksinya/Shabby peasant/Porter/Chorus/Steward/Sergey) 2:50
10 Bárynya!...Ay...Shto s tobóyu? (Shabby peasant/Aksinya/Katerina/Sergey) 2:24
11 A nu-s, pozvól'te rúku-s (Sergey/Katerina/Shabby peasant/Boris) 4:10
12 Interlude (Orchestra) 1:55
ACT 1 - Scene 3
13 Spat' porá. Dyen proshól (Katerina/Boris) 3:18
14 Zherebyónok k kobýlke torópitsa (Katerina) 5:46
15 Kto éto, kto, kto stuchit? (Katerina/Sergey) 3:16
16 Ya poydù...Proshcháy (Sergey/Katerina/Boris) 4:35
ACT 2 - Scene 4
17 Shto znáchit stárost' (Boris) 2:52
18 Pod óknami u chuzhikh (Boris) 2:39
19 Proshcháy, Kátya, proshcháay! (Sergey/Boris/Katerina/Chorus/Shabby peasant/Porter) 4:30
20 Ustál!....Prikázhete mnye postegát'? (Boris/Porter/Katerina) 2:39
21 V kladovúyu Sergéya záperli (Boris/Porter/Katerina) 3:50
22 Vidno, skóro uzh zaryá (Chorus/Boris/Foremen/Priest) 2:50
23 Bátya, ispovyédatsa (Boris/Priest/Foremen) 1:49
24 Akh, Boris Timoféyevich (Katerina/Priest) 2:20
25 Interlude (Orchestra) 6:43
Disc 2:
ACT 2 - Scene 5
1 Sergéy, Seryózha! (Katerina/Sergey) 1:58
2 Kátya, prikhódit konyéts lyubvi náshey (Katerina/Sergey) 2:80
3 Nye pechál'sa, Sergéy (Katerina/Sergey) 1:47
4 Opyát usnúl (Katerina/Ghost of Boris) 2:45
5 Nu? Chevó tebyé? (Sergey/Katerina) 2:43
6 Slúshay, Sergéy, Sergéy! (Katerina/Sergey) 1:13
7 Katerina!....Kto tam? (Zinoviy/Katerina/Sergey) 3:00
8 Tepyér shabásh (Sergey/Katerina) 3:40
ACT 3 - Scene 6
9 Shto ty tut stoish? (Sergey/Katerina/Shabby pesant) ... Interlude (Orchestra) 1:58
10 U menyá bylá kumá (Shabby peasant) 3:15
11 Interlude (Orchestra) 1:58
ACT 3 - Scene 7
12 Sózdan politséysky byl vo vrémya onó (Sergeant/Policemen) 4:20
13 U Izmaýlovoy seychás pir goróy (Sergeant/Policemen/Policman/Teacher) 2:40
14 Váshe blagorodie!...Chevó tebyé (Shabby peasant/Sergeant/Policemen) 1:13
15 Interlude (Orchestra) 2:23
ACT 3 - Scene 8
16 Sláva suprúgam (Chorus/Priest/Katerina) 5:10
17 Shto takóe? ..Zamók sórvan (Sergey/Chorus/Katerina/Priest/Drunken guest) 1:52
18 Shto takóe? Pózdno! (Katerina/Sergey/Policemen/Sergeant) 2:31
ACT 4 - Scene 9
19 Vyórsty odna za drugóy (Old convict/Chorus) 6:00
20 Stepánych! Propusti menyá (Katerina/Sentry/Sergey) 3:27
21 Nye lekhkó pósle pochóta da poklónov (Katerina) 2:48
22 Moyó pochtyénye! (Sergey/Sonyetka) 2:48
23 Ládno dostánu! (Sergey/Katerina) 2:59
24 Na chulki! Idyóm.Tepyér ty moyá (Sergey/Sonyetka/Katerina/Chorus/Woman convict/Sentry) 2:28
25 V lesú, v sámoy cháshche yest' ózero (Katerina) 3:37
26 Znáesh li, Sonyétka (Sergey/Sonyetka) 1:45
27 Vstaváy! Po mestám! Zh'vo (Officer/Chorus/Old convict) 2:40
28 Akh!...Bózhe moy! Shto takóe? (Sonyetka/Chorus/Officer/Old convict) 4:60
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jueves, 13 de enero de 2011
Franz Schreker- Christophorus - Ulrich Windfuhr
Franz Schreker (1878-1934): Christophorus - Ulrich Windfuhr Opera | Early 20th Century | 2CD | EACRip | APE+LOG+CUE | Covers | RS.com | 460MB Label: CPO | Year of release: 2005 | DDD
Christophorus, oder "Die Vision einer Oper"
Opera in two acts, Prelude & Postlude
Meister Johann - Hans Georg Ahrens
Lisa - Susanne Bernhard
Cristoph - Jörg Sabrowski
Anselm - Robert Chafin
Kiel Opera Chorus & Philharmonic Orchestra
Ulrich Windfuhr
Opera Today Review:
How easy it might be to overlook this lesser-known Schreker opera, composed in 1928 and dedicated to Schreker’s good friend Arnold Schoenberg, here in its recorded debut. It has a quite curious libretto, complex and multilayered, and Schreker moves between what are at times quite disparate styles. The whole thing comes off at first blush like a kind of soup made of the leftovers of earlier post-romantic and expressionist idoms, and were it not for our warming sympathies on repeated listening, we might have happily consigned it to the dustbin of history.
Repeated listenings have not been sufficient to entirely sort out the improbable libretto. The story, set in large part in a sort of composer’s atelier, concerns three principal characters, Anselm, Lisa, and Christoph. Anselm is at work upon an opera about the legend of St. Christopher, in which Anselm himself, Lisa, and Christoph, a fellow composition apprentice, are all to play roles. Christopher, Christoph, fiction, real life–the thing’s a narrative muddle, from the dramatic Prelude on. The story comes off like a befuddled Pirandello: half a dozen characters, having found a librettist, now desperately in search of a composer.
Despite the curious nature of the narrative–no let’s get this straight, indeed uninhibited by the narrative–Schreker is in close to full form here. The score is well turned, moments of Berg’s Wozzeck blended with the later Strauss–Ariadne or Arabella . The characters are probable, believable in a kind of irritating way, since they demand a better story line. Anselm’s character, in its developing anger and cynicism, is a model of modernism, and his impassioned interactions with Lisa in Act I are very good operatic duets.
The opera is in two short acts, the first act and its dramatic prelude running just shy of an hour, the second running on 40 minutes. The latter is the tighter of the two: it contains several scenes of good drama and the run away characterizations of the first act settle down here into real persona. Throughout the opera, there is an unusual amount of dialogue, much of it accompanied–a sort of modernist melodrama, where spoken lines are cushioned by a lush, often quietly dissonant orchestral pad. In the whole of Act II, in fact, there is really only one “number,” per se, Scene 3 (track 4), Rosita’s lied. This is Schreker’s portrait of jazz (worthy of comparison with jazz portraits by Weill and Stravinsky), with lisping saxophones and a limpid barrelhouse piano. The lied, in fact, is structured like a duet, and set to a divided stage, on one side Rosita, on the other Christoph in a kind of evaporated opium dream that gradually takes over the stage. Elsewhere operatic “numbers” make an initial appearance, seem to hesitate, and then morph into something else. Now this is nothing new; in German opera, it has been going on at least since Weber’s Euryanthe . But Schreker turns it to his own modernist advantage. Scenes 5 and 6 constitute a lengthy operatic conjuring with a half a dozen characters (and what sounds like a theramin [but may be only a musical saw] and a creepy mandolin obligato) that, in its intensity, harkens back to Weber’s Freischutz Wolfglen scene. And there is a tiny Kinderlied (scene 8), reminiscent of Wozzeck , as well as a lengthier song for child’s voice in the Epilogue, responding in similar fashion to a hazy lied-like passage for Christoph (tracks 14 and 15).
The orchestral writing throughout the work is nothing short of excellent. Orchestral interludes, motivated or not, crop up repeatedly, and beg symphonic treatment. One of the longest of these extends from the end of scene 8 into scene 9 and then moves smoothly into a curious orchestral recitative of a selection from Lao Tzu, before moving into the conclusion of the opera.
On the whole the performance is smooth and competent, if the voices are mostly unexceptional. Hans Georg Ahrens does a most sympathetic Anselm, Susan Bernhard an occasionally uneven Lisa, and Joerg Sabrowski a rather cardboard Christoph. Two voices stand out as very good: Roland Holz, in a speaking role as the critic Starkmann, spoken with a lovely Berliner nasal, gritty and nicely irritating; and Hans Georg Ahrens, bass, as the composition master Johann, with a deep, noble resonance. The live recording is sensitive, with a minimum of boots clumping around on stage and a good set of microphones in the pit.
The booklet is of good use here, explaining the opera’s misfortunes in terms of the years after the First World War, Schreker’s career, the stylistic turns of fortune in which the opera got caught up, and a nice excurse on the stylistic politics of the day. For good measure, the booklet reproduces an “Introduction” penned by the composer, which would seem to explain the need for this twisted narrative (sometimes in unabashedly personal terms), but instead merely adds to the confusion. Schreker’s introduction reads like an apology, but in truth the only thing to be regretted here is the storyline.
It would be a shame to make this work simply an historical artifact, a product, warted, of its day and its composer’s traumas. There is enough good writing here, however, to make the opera worthy of our admiration without recourse to history. What we need now (now that most of Schreker’s opera are available in modern scores and good recordings) is a critical overview. It would be good to compare Christophorus with the “hits,” the better known Schreker operas such as Der ferne Klang , Die Gezeichneten , and Der Schatzgräber , not merely in historical terms (a subject interesting in their own right) but as possible entries into the canon of twentieth-century opera.
This recording stems from a three-part Schrecker cycle at the Kiel Opera from 2001 to 2003, under the artistic director, Kirsten Harms, the other two operas being the premier in full score of Die Flammen , Schreker’s first opera, and Das Spielwerk und die Prinzessin from 1913, perhaps the moment at which Schreker’s career was in fullest flower. The latter two operas are also available on the CPO label.
Murray Dineen
Tracklist:
Disc: 1
1. Glocken
2. Prelude. Scene 1. Ihre Augen Listen
3. Prelude. Scene 2. Kennst du denn, Frederik
4. Prelude. Scene 3. Ein Quartett?
5. Prelude. Scene 4. Dort, dort seht hin!
6. Prelude. Scene 5. Schäm dich, du!
7. Prelude. Glocken
8. Act 1. Part 1. Scene 1. Ein Akt fügt sich ein
9. Act 1. Part 1. Scene 2. Niemand zu Hause?
10.Act 1. Part 1. Scene 3. Der zweite Akt, der formet sich klar.
11.Act 1. Part 1. Scene 4. Ah, da bist du!
12.Act 1. Part 1. Scene 5. Ich hatte stets Angst vor dir / Scene 6
13.Act 1. Part 1. Scene 7. So kam's!
14.Act 1. Part 1. Scene 8. Christoph! Christoph!
15.Act 1. Part 1. Scene 9. Da sind sie!
16.Act 1. Part 1. Scene 10. Die Versöhnung zu besiegeln
17.Act 1. Part 2. Scene 1. Ist mein Mann zu Hause!
18.Act 1. Part 2. Scene 2. Lisa, was soll dies Kostüm!
19.Act 1. Part 2. Zwischenspiel
20.Act 1. Part 2. Scene 3. Sie schläft. Noch ist sie schön
21.Act 1. Part 2. Scene 4. Ah - du sagst es?
22.Act 1. Part 2. Scene 4. Nach meinen Worten, nach meinen Klang.
23.Act 1. Part 2. Scene 4. Schönheit ist wie der blühende Baum.
24.Act 1. Part 2. Scene 4. Die Komödie ist aus.
Disc: 2
1. Glocken
2. Act 2. Scene 1. Ich bin außer mir
3. Act 2. Scene 2. Bravo etc.
4. Act 2. Scene 3. Schwer drückend des Tages Brunst
5. Act 2. Scene 4. Komm, komm - es schleichen Gespenster
6. Act 2. Scene 5. Hier sehen Sie, meine Damen und Herren
7. Act 2. Ich kann - nicht sehen - ein zweiter Wille / Scene 6.
8. Act 2. Scene 7. Verdammt, ein Licht
9. Act 2. Scene 8. Ihr lieben Leute, gebt eine Gabe
10.Act 2. Zwischenspiel
11.Postlude. Wer seine männliche Kraft erkennt
12.Postlude. Wie die Motte dem Licht
13.Postlude. Nun bin ich gewandert
14.Postlude. Aus deinen Augen, mein süßes Kind
15.Postlude. Die Welt des Teaters endet, versinkt
16.Postlude. Andante con rigore
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