Hans Pfitzner: Palestrina - Otmar Suitner - Staatskapelle Berlin

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

Opera | Early 20th Century | 3CD | EACRip | APE+LOG+CUE | Covers | RS.com | 857MB
Label: Berlin Classics | Year of release: 1990 | DDD

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

Sergei Prokofiev (1891-1953): L'Amour des Trois Oranges - Kent Nagano - Opéra de Lyon
Opera | Early 20th Century | 2CD | EACRip | APE+LOG+CUE | Covers | RS.com | 462MB
Label: Virgin | Year of release: 2006 | DDD

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

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

Opera | Early 20th Century | 3CD | EACRip | APE+LOG+CUE | Covers | RS.com | 660MB
Label: Wergo | Year of release: 1994 | DDD

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

Alban Berg: Lulu - Pierre Boulez - Orchestre de l'Òpera de Paris
Opera | Early 20th Century | 3CD | EACRip | APE+LOG+CUE | Covers | RS.com | 685MB
Label: DG | Year of release: 2000 | ADD

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

Ernst Krenek: Karl V - Marc Soustrot - Orchester der Beethovenhalle Bonn
Opera | Early 20th Century | 2CD | EACRip | APE+LOG+CUE | Covers | RS.com | 546MB
Label: MDG | Year of release: 2001 | DDD

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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Ottorino Respighi : Lucrezia - Adriano - Slovak RSO

Ottorino Respighi (1879-1936): Lucrezia - Adriano - Slovak RSO
Opera | Early 20th Century | 1CD | EACRip | APE+LOG+CUE | Covers | RS.com | 237MB
Label: Marco-Polo | Year of release: 1995 | DDD

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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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

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

Archivo Log de extracciones desde 5. Mayo 2010, 13:40

Gottfried von Einem / Dantons Tod

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 | 2:47.65 | 0 | 12589
2 | 2:47.65 | 8:47.20 | 12590 | 52134
3 | 11:35.10 | 3:41.38 | 52135 | 68747
4 | 15:16.48 | 3:08.70 | 68748 | 82917
5 | 18:25.43 | 3:30.17 | 82918 | 98684
6 | 21:55.60 | 1:00.70 | 98685 | 103254
7 | 22:56.55 | 8:29.45 | 103255 | 141474
8 | 31:26.25 | 4:33.63 | 141475 | 162012
9 | 36:00.13 | 7:17.22 | 162013 | 194809
10 | 43:17.35 | 6:51.40 | 194810 | 225674


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Gama de Calidad 100.0 %
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Pista 8 no se puede verificar como preciso (confianza 1) [4ECE4DFC], AccurateRip devuelto [4D210E8C]
Pista 9 no se puede verificar como preciso (confianza 1) [6B7B14E5], AccurateRip devuelto [5260484A]
Pista 10 no se puede verificar como preciso (confianza 1) [ED38925C], AccurateRip devuelto [81D942FA]

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:

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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