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| 1. Francesca |
| 2. That Maddening Glare |
| 3. Winter Gardens |
Editorial Reviews
Product Description
London five piece Special needs are an integral part of the scene grown from the Libertines & including bands like The Others & The Babyshambles. Special Needs bring a delicious take on skewed 60s doo wop. Like the bastard child of Bill Haley, their infectious tracks evoke a feeling of 'Happy Days' to enthralled audiences across London. The title track is b/w 'That Maddening Glare' & 'The Winter Gardens'. Poptones. 2004.
In Opera Proibita, Bartoli's repertoire not only reflects on her as a consummate vocal artist but also as the ultimate scholar. Rarely an opera singer would dig this dip and go that far to unearth great scores from total obscurity. Even more uncommonly a singer would take the challenge of singing these arias without the risk of ridiculing herself, but to the contrary establishing a new record and precedent.
Her execution of the Handel arias is truly astonishing in coloratura and melismas probably not heard for three hundred years when only the best castrati commanded the virtuosity to tackle these arias. Also surprising and refreshing was to hear works by Handel that show his wild side.
Bartoli brings this album to a high climax with the arias from Il Trionfo del Tempo e del Disinganno. This is really her realm and true medium. Her vocal runs in "Un pensiero nemico di face" sound like a first violin, and as if this was not difficult enough she ornaments the da capo melismas in tempo from allegro to presto molto vivace, and transitions into a note crescendo with great ease and certainty. Wonderful!
Alas, starting from her Vivaldi Album, I do not find her singing that beautiful any more. True, the songs picked there are technically very challenging, used to be sung by male castrato singers. The songs picked here are even more difficult.
BUT - is singing just about technique?
There are some songs in the Vivaldi Album that have the vocal musical lines broken in places. Here in Opera Proibita, almost every song has this problem, even the slow ones of Caldara. Compare her singing in the earlier part of her career, her early Mozart operas, I could not help but wonder if Ms. Bartoli has taken the correct turn in her career: her forced high notes, though squarely hit, do not sound at all pleasing; her runs and trills, though taken accurately at great tempi, is no longer truly musical. Compare her singing with the other two great baroque mezzo-sopranos Bernarda Fink and the tragically short-lived late Lorraine Hunt Lieberson, you would understand what I mean.
With the latest turn in Ms. Bartoli's singing, I am being forced to admit that this is a singer of great technical brilliance and enormous fame, but not at all pleasing to the ear.
Cecilia Bartoli just "does it" for me almost every time. She is just fantastic in my books. I love her dearly. She can give one an adrenalin rush with her bravura singing and then break one's heart with her pathos.
This is a superb collection of Baroque arias from "almost" operas! ;-))
I also liked the cheeky and none-too-subtle references to La Dolce Vita on
cover and the images inside the disc. Nice to see an opera singer with a playful sense of humour!
I am listening to this disc as I write this review and all I can say is that I love this disc and it is clearly one of the best Signorina Bartoli has released, although I like all of her recordings. Listen to track 12 and you will buy this disc.
More, please!
PS: How about DECCA getting Cecilia Bartoli and Andreas Scholl together for a musical project? I'd love to see two of my favourite singers together on the one disc.
PSPS: If you like Opera Proibita, buy Andreas Scholl's Arcadia and Arias for Senesino, too!
The best first. The vocal performances of both the title role (Cristina Gallardo-Domas) and la Zia Principessa (Bernadette Manca di Nissa) offer a great breadth of interpretation and an honest and true attention to pure vocal production. I have the very slightest of quibbles with one specific response from Gallardo-Domas' Angelica to her aunt, "La Vergine ci ascolta e Lei vi giudica!" is offered much too anglrily, where the score is marked "coldly." The wonderful choral work that supports the action and provides so much of the exposition is a well-modulated performance of Puccini's best writing for women's voices in non-starring roles. Indeed, the balance between the soloists, chorus, and orchestra is keenly maintained througout, ever allowing the orchestra and chorus to be equals to the soloists. Lastly, Pappano's pacing seems the most accomplished of all the recordings.
The worst second. The performance of the Rome Opera Orchestra & Chorus with Fedora Barbieri and Victoria de Los Angeles is frightful. The balance is muddy, and the soloists are miked so closely that they become strident. Worse yet is that the editing was inattentive, and several badly pitched tones made their way to the final recording. --And the pitch problems continue throughout, sometimes sharp, sometimes flat. The chorus members' diction is almost slurred, and a sloppy ensemble results in many nice melodies being unintelligible.
The most surprising recording is conducted by Richard Bonynge and stars Joan Sutherland and Christ Ludwig. As another reviewer noted, Dame Sutherland is past her prime, recording the role at age 52. If only we had a recording of Angelica from her at 30! As it is, I believe Richard Bonynge is the one driving a stake through the heart of this work. His readings alternate between a rush through lyric passages and tearing through the recitativo segments at a full tilt. But it seems so strange because the balance favors the women's voices, making the orchestra extraordinarily subservient. Finally, the performances in general seem less than committed. For example, Sutherland lacks both the fire and the meek submissiveness that should complicate the character.
I have this particular CD and it is recorded better than the version I had experienced. Yet the rendition I had experienced set me on the path of discovery.
Music is like that.
Eugene Ormandy And The Philadelphia Orchestra Sonic Spectaculars. One of the other L.P's had Beethoven's Wellington's Victory.
The gimmick of the set was it featured electronic cannons, which were at the time of 1970's Dynaflex record the best way to "record cannons". And In it's day was indeed the best, but on CD I believe the Cannons to be fairly tame, yet, as a performance I truly enjoy this more than any one including the excellent stereo recording by Eric Kunzel, and the Cincinatti Orchestra
Francesca da Rimini is considerably better recorded, but I wish EMI had toned down the treble a little. Giulini's reading doesn't quite match the searing ones from Mravinsky, Stokowski, and Markevitch, but it's very good, with additional intensity form the highlighted recording. The Pathetique that follows was always well rgarded, even if once again Giulini can't match the incandescence of Mravinsky, the sheer virtuosity of Reiner with the Chicago Sym., or the personal intensty of Bernstein on DG. His is an ardent, heart-on-sleeve performance that appeals to me far more than, say, Jansons or Pletnev, however. The Scherzo is dashing and vibrant, and the finale, a minute or two slower than usual, feels melancholy rather than tragic. The recorded sound is the best so far on this bargain two-fer.
finally we get Giulini's Romeo and Juliet, also widely admired in its day forty years ago. By now te listener will appreciate the conductor's overall style, which is distinctly warm but not Russian, tending toward gentleness rather than blazing excitement. All the ardor of Rome and Juliet is brought out, yet the intensity remains restrained. All in all, EMI has ignored these recordings for a long time, and it's woderufl to have them gathered together in one place.
His vision of Tchaikovsky 's Second Symphony is the most complete and integral I have ever heard previously or even later. There have been fortunate, powerful, sumptuous and perfumed versions: Markevitch and Muti have made striking performances. But anyone of them has been able to equal this unique and eloquent reading. Giulini made a true dissection, an openhearted and systematic interpretation filled with details without losing the apex of the work. He underlined literally all the ingredients that consolidate it as the most Imperial of his three First Symphonies. There is emotion, lyricism, vitality, energy, expressive elegance and visceral approach. There is not any detail you may refuse.
His Sixth Symphony deserves special mention. Absolutely idiomatic, profound and persuasive. Giulini went to the core of the score and extracted all the substance to expose before us one of the most relevant and pyramidal versions in the history of the disc. There is an admirable fact you always should take in mind every time you listen it. Go for the expressive Waltz of the second Movement and then go to the Fourth Movement and realize how the composer reintroduces the same Waltz but in a dark tonality This is the key.
Francesca de Rimini is rich in details, precise and dramatic, although the best rendition of this page comes from Munch and the Boston Symphony.
Romeo and Juliet is a magisterial version, filled of flair and panache; once more the virtuosity of the Orchestra allows us to watch those little details, such as modulation, tempi, and careful sense of expression.
This album deserves without any bit of doubt, to be placed in the coveted list of the best and more successful re mastering records of the Year. Not only due its artistic significance but besides, the sumptuous fidelity and polished sound.
Bravo for the Sound Engineers of EMI. I really hope future feats keep going like this extraordinary event.
A must-buy; it 's my most sincere recommendation.
The LSO plays competently but without enough vitality or Russian passion. Philips' recorded sound is unattractive, too, lacking in body and warmth. I must agree with Mr. Lipscomb that if you place any of these three symphonies beside their best rivals, the "Winter Dreams" sounds listless next to Tilson Thomas and the BSO (DG), the "Little Russian" lacks the spontaneity and vigor of Giulini on EMI, and the "Polish" needs the power and conviciton of the Chicago Sym. under Abbado (Sony). The best thing here is a nervy, restless Francesca da Rimini, but that's not enough reason to purchase the whole set.
Though the digital remastering fails to eliminate a low hum when played at high volume, the authenticity of the sound is worth this minor inconvenience. At one point, the listener can hear a page turn - perhaps a page of Markevitch's score. A cantankerous music lover might ask with annoyance how the hell they allowed a microphone close enough to Markevitch's podium to fall into a glitch like that. This astonished and less demanding reviewer almost pulled his truck off the road at the sheer historical thrill of becoming privy to such a human 'error' four decades after the fact.
In these three symphonies, Tchaikovsky is working out the tonalities that will appear in full flower later in his career, not least in the heart-rending struggles of the underrated but profoundly beautiful 'Pathetique'. The plausibilities available to a late Romantic composer like Tchaikovksy allowed the elasticity of tempo and tone that made possible the climb-and-descend, climb-and-descent motifs that are Tchaikovsky explores in these first three of his recognized symphonies, a modality that becomes almost a Tchaikovsky signature when his body of work is considered as a whole.
Markevitch's baton is patient with Tchaikovsky, allowing the LSO and the New Philharmonia Orchestra to work unhurriedly though some of Romantic music's most memorable passages.
A reviewer would be remiss not to underscore the value of the Philips Classics series, where almost canonical performances by legendary performers of the 1960s, 1970s, and 1980s are made available at two-for-one pricing under digital remastering that rescues valuable sounds for the ages.
This 1995 issue would serve well even as a listener's sole recording of Peter Ilyich's first three symphonic steps towards becoming the rather immortal musician we know as Tchaikovsky.
This is the perfect set for those who are largely indifferent to Tchaikowsky's symphonies --- as I must admit that I am these days --- but nonetheless would like to have them available for listening for not a lot of money. It is also a good starter set for those who are just beginning to assemble a basic collection of the standard symphonic repertoire.
As for the interpretations, however, I have some misgivings about Markevitch here. He was unquestionably one of the 20th Century's virtuoso conductors: his pointillistically detailed style and cool precision are recognizable in just about everything he recorded. And, on occasion, he conducted Tchaikovsky with real expressive fire - his French Radio Orchestra account of "Romeo & Juliet" (Angel LP) is my all-time favorite, along with Mengelberg's (Andante - see my review). And his Philharmonia readings of Ravel's "La Valse" and the Shostakovich 1st Symphony are in a class of their own (EMI).
It's only when you do some comparing with individual symphony recordings by other conductors that the shortcomings of Markevitch's cool objectivity here become all too apparent. Perhaps the LSO is partly to blame - they simply don't sound very Russian to my ears. With Markevitch at the helm, the 1st symphony is more like wintry dreams than Winter Dreams, the Little Russian only sounds a little Russian, and the 3rd Symphony has too much polish and too little that's Polish. In a nutshell, there isn't much heart or soul on display here.
My preferred alternatives in these works are mostly old mono recordings that any self-respecting audiophile wouldn't touch with a ten-foot pole: the Dante LYS CD of the Nikolai Golovanov/USSR Radio's impassioned #1 (recorded 1948) and the old Stradivari LP (re-issue needed!) of the 1st with Natan Rachlin and the Bolshoi Symphony (coupled with a wonderful #2); #2 played with warmth and insight by Beecham/RPO (Columbia LP) and an extraordinary "live" Second with Igor Stravinsky conducting the NY Phil. (available only in that orchestra's 10-CD "Historic Broadcasts" set); and the partially cut rendition of the Polish by Albert Coates on that conductor's volume in IMG's "Great Conductors" CD series. And finally - a modern recording! - there's an inspired "live" 3rd with Svetlanov (BBC Legends).
I keep this Markevitch set because 1) it's well-played and 2) it contains my only stereo accounts of #1 and #2. However, the icy chill of Markevitch's conducting in the Philips companion CD set of #4-6 was too much for me: I weeded it.
Recommended as an inexpensive collection in first-rate sound. But for genuine excitement, I listen far more frequently to the alternatives listed above.
In this pioneering set recorded in the mid-sixties he always obtained strong, often exciting, incisive playing from the London Symphony Orchestra. An intense "Francesca da Rimini" with the New Philharmonia is offered as a thrilling bonus.
The sound quality is excellent overall. Next to Dorati's set (on Mercury) this twofer is a clear first choice for Tchaikovsky's early symphonies - at any price.
This three-disc set includes all three of Rachamninoff's operas in their entirety (one per disc) and are presented in jaw-dropping performances under the baton of conductor Neeme Jarvi. The orchestra as well as the soloists and choirs truly deliver emotionally-drenched performances on all three operas.
Musically, these operas may be overwhelming to some. There is a definite darker approach heard in these works which is a drastic departure from Rachmaninoff's romantic-styled Piano Concertos and Symphonies. There is also a definite Tchaikovsky influence heard in this music as well. Depsite the darker atmosphere of these operas, the power of this music is emmense and dynamic while never losing momentum. In other words, this is some great stuff here.
While the CD booklet includes synopsises of each opera, there are no libretti included which is a shame because the opera's are sung in Russian. To have the full set of lyrics printed out both in Russian and English would have been fantastic to follow along with while listening. No so here, though.
Despite this, this set of Rachmaninoff's complete operas is essential to any diehard Rachmaninoff fan. Even though these operas weren't as successful as his other works, his genius comes through loud and clear here and are just as good as anything else he has done.
Definitely Essential Rachmaninoff Operas!!!!
Aleko: This is the story of love, deception, and sorrow between an old man, who is now a gypsy, and his unbalanced family. The ending is as tragic as the ending to "Boris Godunov" by Modest Mussorgsky.
The Miserly Knight: Albert is a man who finds himself in an inheritance crisis, while his father is a man who can't get enough of his own greed. The two confront each other, through words, and through violence.
Francesca da Rimini: The darkest of the three, it tells of how Francesca da Rimini & Paolo Malatesta were sent to hell with their atrocious love affair.
I'm giving this box set only four stars, clearly because of lack of the librettos by Vladimir Nemirovich-Danchenko and Modest Tchaikovsky. All in all, this is for those who are interested in Rachmaninov's lesser works.
I give this an A-
This Tchaikovsky Symphony Cycle by the great Antal Dorati has always been one of my favorite MLP offerings. While a two-disc set of Symphonies 1-3 and a single title of the 4th continue to be available in their original CD incarnations, the CDs of Symphonies 5 & 6 have gone out-of-print recently. However, with this box set they are now deservedly restored to the catalog. Even better is the fact that the four 5CD box sets being reissued have been so reasonably priced. This Tchaikovsky set, and the ones of Dorati conducting Bartok, Paray conducting French music, and Hanson conducting a variety of American music, including his own compositions, have a total cost cheaper than the original single issue CDs! Once again, Mercury Living Presence lives!
London five piece Special needs are an integral part of the scene grown from the Libertines & including bands like The Others & The Babyshambles. Special Needs bring a delicious take on skewed 60s doo wop. Like the bastard child of Bill Haley, their infectious tracks evoke a feeling of 'Happy Days' to enthralled audiences across London. The title track is b/w 'That Maddening Glare' & 'The Winter Gardens'. Poptones. 2004.
Francesca,Special Needs,Poptones,5-Inch CD Singles,Rock
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Cecilia Bartoli ~ Opera Proibita (Handel · Scarlatti · Caldara) / Les Musiciens du Louvre · Minkowski
Cecilia Bartoli , George Frideric Handel , Alessandro Scarlatti , Antonio Caldara , Marc Minkowski , and Les Musiciens du Louvre Manufacturer: Decca ProductGroup: Music Binding: Audio CD  Caldara, Antonio
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ASIN: B000A6T1HC Release Date: 2005-09-13 |
Tracks:
- All'arme si accesi guerrieri (Aria dell Pace)
- Mentre io godo (Aria della Speranza)
- Un pensiero nemico di pace
- Vanne pentita a piangere
- Sparga il senso lascivo veleno
- Caldo Sangue
- Come nembo che fugge col vento
- Ecco negl'orti tuoi...Che dolce simpatica
- Qui resta...L'alta Roma
- Lascia la spina cogli la rosa
- Ahi qual cordoglio...Doppio affetto
- Si piangete pupille dolente
- Ahi quanto cieca...Come foco allo splendore
- Disserratevi oh porte d'Averno
- Notte funesta...Ferma l'ali
Amazon.com
Cecilia Bartoli's new CD features a collection of music that could not be heard in her native Rome at the start of the 18th century due to Papal censorship. Theaters, the Church felt, were places of evil and corruption and operas led people to immorality. But some music-loving senior members of the priesthood asked composers to write oratorios and cantatas--indeed, operas without staging, essentially--for their own private entertainment. Call it what you will, the music is sensational--by turns virtuosic, gentle, and playful--and always expressive: just right, it seems, for Cecilia Bartoli's temperament. The opening aria on the CD, a call for peace in the name of Jesus, is, in fact, a dazzling martial air with trumpets blaring and the voice going through an amazing array of coloratura fireworks. It shows Bartoli at her most aggressive. The listener is practically hurled back from the speakers when she begins, with rapid-fire runs and trills and cascades of notes, all perfectly in place. Showy arias are offset by several tender ones ("Lascia la spina" from Handel's Il trionfo del Tempo e del Disinganno returns in the composer's Rinaldo, four years later, as the now-famous "Lascia ch'io pianga"), and Bartoli exhibits again, her many, many levels of pianissimo and sensitive phrasing. Marc Minkowski and his Musiciens are just right for this repertoire and back Bartoli up superbly. This is a fascinating project, rivetingly performed and presented. --Robert LevineAlbum Description
Limited Australian pressing. An extraordinary album of dramatic arias written in Rome at a time when opera performance was forbidden by the Church, and female singers were forbidden from singing in public. Decca. 2005.Customer Reviews:
Only one diva, only Bartoli........2007-06-19
In Opera Proibita, Bartoli's repertoire not only reflects on her as a consummate vocal artist but also as the ultimate scholar. Rarely an opera singer would dig this dip and go that far to unearth great scores from total obscurity. Even more uncommonly a singer would take the challenge of singing these arias without the risk of ridiculing herself, but to the contrary establishing a new record and precedent.
Her execution of the Handel arias is truly astonishing in coloratura and melismas probably not heard for three hundred years when only the best castrati commanded the virtuosity to tackle these arias. Also surprising and refreshing was to hear works by Handel that show his wild side.
Bartoli brings this album to a high climax with the arias from Il Trionfo del Tempo e del Disinganno. This is really her realm and true medium. Her vocal runs in "Un pensiero nemico di face" sound like a first violin, and as if this was not difficult enough she ornaments the da capo melismas in tempo from allegro to presto molto vivace, and transitions into a note crescendo with great ease and certainty. Wonderful!
Amazing disc.......2007-03-03
Beautiful Music, but vocally unmusical........2007-02-09
Alas, starting from her Vivaldi Album, I do not find her singing that beautiful any more. True, the songs picked there are technically very challenging, used to be sung by male castrato singers. The songs picked here are even more difficult.
BUT - is singing just about technique?
There are some songs in the Vivaldi Album that have the vocal musical lines broken in places. Here in Opera Proibita, almost every song has this problem, even the slow ones of Caldara. Compare her singing in the earlier part of her career, her early Mozart operas, I could not help but wonder if Ms. Bartoli has taken the correct turn in her career: her forced high notes, though squarely hit, do not sound at all pleasing; her runs and trills, though taken accurately at great tempi, is no longer truly musical. Compare her singing with the other two great baroque mezzo-sopranos Bernarda Fink and the tragically short-lived late Lorraine Hunt Lieberson, you would understand what I mean.
With the latest turn in Ms. Bartoli's singing, I am being forced to admit that this is a singer of great technical brilliance and enormous fame, but not at all pleasing to the ear.
Not to my taste.......2006-11-05
Exciting, moving, beautiful, energetic, heart-felt, fantastic..........2006-09-02
Cecilia Bartoli just "does it" for me almost every time. She is just fantastic in my books. I love her dearly. She can give one an adrenalin rush with her bravura singing and then break one's heart with her pathos.
This is a superb collection of Baroque arias from "almost" operas! ;-))
I also liked the cheeky and none-too-subtle references to La Dolce Vita on
cover and the images inside the disc. Nice to see an opera singer with a playful sense of humour!
I am listening to this disc as I write this review and all I can say is that I love this disc and it is clearly one of the best Signorina Bartoli has released, although I like all of her recordings. Listen to track 12 and you will buy this disc.
More, please!
PS: How about DECCA getting Cecilia Bartoli and Andreas Scholl together for a musical project? I'd love to see two of my favourite singers together on the one disc.
PSPS: If you like Opera Proibita, buy Andreas Scholl's Arcadia and Arias for Senesino, too!
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Puccini - Il Trittico / Alagna, Gheorghiu, Guelfi, Guleghina, Gallardo-Domás, Manca di Nissa, Palmer, Shicoff, van Dam, Pappano
Giacomo Puccini , Antonio Pappano , Roberto Alagna , Angela Gheorghiu , Bernadette Manca di Nissa , Felicity Palmer , José van Dam , Carlo Guelfi , Maria Guleghina , Cristina Gallardo-Domas , Neil Shicoff , Francesca Pedaci , Patrizia Ciofi , Roberto Scaltriti , Dorothea Röschmann , Sara Fulgoni , and Philharmonia Orchestra Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Puccini
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ASIN: B00000IFQ0 Release Date: 1999-04-06 |
Tracks:
- Il Tabarro - Orchestra
- Il Tabarro - O Michele? Michele?
- Il Tabarro - O Luigi, ancora una passata
- Il Tabarro - Dunque, che cosa credi?
- Il Tabarro - O eterni innamorati, buona sera!
- Il Tabarro - To'! guarda la mia vecchia!
- Il Tabarro - Hai ben ragione; meglio non pensare
- Il Tabarro - Segui il mio esempio; bevil!
- Il Tabarro - E ben altro il mio sogno!
- Il Tabarro - Miei vecchi, buona notte!
- Il Tabarro - O Luigi! Luigi!
- Il Tabarro - Dimmi: perche gli hai chiesto di sbarcarti a Rouen?
- Il Tabarro - Come e difficile esser felici!
- Il Tabarro - Sgualdrina!... Bocca di rosa fresca
- Il Tabarro - Nulla!... Silenzio!
- Il Tabarro - T'ho colto!... Sangue di Dio!
- Il Tabarro - Avevo ben ragione
Tracks:
- Suor Angelica - Ave Maria
- Suor Angelica - Sorelle in umilita
- Suor Angelica - Ed or, sorelle in gioia
- Suor Angelica - I desideri sono i fiori dei vivi
- Suor Angelica - Ho un desiderio anchi'io!
- Suor Angelica - Suor Angelica, sentite!
- Suor Angelica - Laudata Maria!
- Suor Angelica - Chi e venuto stasera in parlatorio?
- Suor Angelica - Suor Angelica!... Madre, madre, parlate!
- Suor Angelica - Il Principe Gualtiero vostro padre
- Suor Angelica - Nel silenzio di quei raccoglimenti
- Suor Angelica - Tutto ho offerto all Vergine
- Suor Angelica - Orchestra
- Suor Angelica - Senza mamma, bimbo, tu sei morto
- Suor Angelica - Sorella, o buona sorella
- Suor Angelica - La grazia e discesa dal cielo!... [Intermezzo]...
- Suor Angelica - Suor Angelica ha sempre una ricetta buona
- Suor Angelica - Ah! Son dannata!
Tracks:
- Gianni Schicchi - Povero, Buoso!
- Gianni Schicchi - O Simone?
- Gianni Schicchi - E aperto!
- Gianni Schicchi - Dunque era vero!
- Gianni Schicchi - C'e una persona sola che ci puo consigliare
- Gianni Schicchi - Avete torto!
- Gianni Schicchi - Firenze e come un albero fiorito
- Gianni Schicchi - Quale aspetto sgomento e desolato!
- Gianni Schicchi - Brava la vecchia
- Gianni Schicchi - O mio babbino caro
- Gianni Schicchi - Datemi il testamento!
- Gianni Schicchi - Nessuno sa che Buoso ha resto il fiato
- Gianni Schicchi - Era eguale la voce?
- Gianni Schicchi - In testa la capellina!
- Gianni Schicchi - Schicchi! Schicchi!
- Gianni Schicchi - Ecco la cappellina!
- Gianni Schicchi - Prima un avvertimento!
- Gianni Schicchi - Addio, Firenze
- Gianni Schicchi - Ecco il notaro!
- Gianni Schicchi - Basta! I testi videro
- Gianni Schicchi - Lascio a Simone I beni di Fucecchio
- Gianni Schicchi - Ladro
- Gianni Schicchi - Lauretta, mia Lauretta!
Amazon.com essential recording
Aficionados are familiar with Puccini's Il Trittico or "Triptych," his three one-act operas that premiered at New York's Metropolitan in 1918; everyday opera lovers should know them as well. Here is Puccini at his most imaginative: Il Tabarro, a shocker about the jealousy of an older man towards his deceitful younger wife on a houseboat on the Seine is dark and foreboding, and is, incidentally, probably his greatest, tightest opera. It is given a superb performance here, with Maria Guleghina and the wonderful Neil Shicoff (the true, underrecorded fourth tenor) as the faithless duo and Carlo Guelfi as the pitiable but murdering husband. Suor Angelica is set in a convent (yes, only women's voices). Until the goings turn tragic--the eponymous heroine is told by her cruel aunt that the child she had out of wedlock and gave up has died--the scoring is light, airy, and pure. Cristina Gallardo-Domas and Bernadette Manca di Nissa as the nun and her aunt, respectively, may not have the vocal glamour or depth of some of their predecessors on CD (Renata Scotto or Christa Ludwig), but their beautiful, meaningful singing carries the show. Gianni Schicchi's soundstage (the bedroom of a recently dead rich man in Florence in 1299, peopled by his greedy relatives) is rambunctious for the composer's only foray into comedy--based on a passage from Dante--and this set comes up roses. It's the best one on records. Jose Van Dam actually is funny and Angela Gheorghiu and Roberto Alagna (who also offer a cameo in Tabarro) are super as the young lovers; Gheorghiu's singing of the opera's hit, "O mio babbino caro," is glorious. This set is highly recommended. --Robert LevineCustomer Reviews:
Bravo.......2007-06-11
The best Suor Angelica is in Pappano's Trittico.......2005-08-26
The best first. The vocal performances of both the title role (Cristina Gallardo-Domas) and la Zia Principessa (Bernadette Manca di Nissa) offer a great breadth of interpretation and an honest and true attention to pure vocal production. I have the very slightest of quibbles with one specific response from Gallardo-Domas' Angelica to her aunt, "La Vergine ci ascolta e Lei vi giudica!" is offered much too anglrily, where the score is marked "coldly." The wonderful choral work that supports the action and provides so much of the exposition is a well-modulated performance of Puccini's best writing for women's voices in non-starring roles. Indeed, the balance between the soloists, chorus, and orchestra is keenly maintained througout, ever allowing the orchestra and chorus to be equals to the soloists. Lastly, Pappano's pacing seems the most accomplished of all the recordings.
The worst second. The performance of the Rome Opera Orchestra & Chorus with Fedora Barbieri and Victoria de Los Angeles is frightful. The balance is muddy, and the soloists are miked so closely that they become strident. Worse yet is that the editing was inattentive, and several badly pitched tones made their way to the final recording. --And the pitch problems continue throughout, sometimes sharp, sometimes flat. The chorus members' diction is almost slurred, and a sloppy ensemble results in many nice melodies being unintelligible.
The most surprising recording is conducted by Richard Bonynge and stars Joan Sutherland and Christ Ludwig. As another reviewer noted, Dame Sutherland is past her prime, recording the role at age 52. If only we had a recording of Angelica from her at 30! As it is, I believe Richard Bonynge is the one driving a stake through the heart of this work. His readings alternate between a rush through lyric passages and tearing through the recitativo segments at a full tilt. But it seems so strange because the balance favors the women's voices, making the orchestra extraordinarily subservient. Finally, the performances in general seem less than committed. For example, Sutherland lacks both the fire and the meek submissiveness that should complicate the character.
Just maybe the greatest recorded "Trittico" ever.......2003-10-09
Life--It hits you hard.......2002-06-16
I have this particular CD and it is recorded better than the version I had experienced. Yet the rendition I had experienced set me on the path of discovery.
Music is like that.
Long overdue..........2002-05-21
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Tchaikovsky: 1812 Overture
Manufacturer: RCA ProductGroup: Music Binding: Audio CD All Works by Tchaikovsky
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ASIN: B000003F1I Release Date: 1991-06-21 |
Tracks:
- 1812 Overture-Ouverture solennelle 1812
- Capriccio italien
- Marche slave-Slawisher Marsch-Marcia slava
- Francesca da Rimini: Andante lugubre
- Francesca da Rimini: Allegro vivo
- Francesca da Rimini: Andante cantabile
- Francesca da Rimini: Allegro vivo
Customer Reviews:
Classic Recording culled from RCA Ormandy/Sonic Spectacular .......2005-03-07
Eugene Ormandy And The Philadelphia Orchestra Sonic Spectaculars. One of the other L.P's had Beethoven's Wellington's Victory.
The gimmick of the set was it featured electronic cannons, which were at the time of 1970's Dynaflex record the best way to "record cannons". And In it's day was indeed the best, but on CD I believe the Cannons to be fairly tame, yet, as a performance I truly enjoy this more than any one including the excellent stereo recording by Eric Kunzel, and the Cincinatti Orchestra
Pure Adrenaline!.......2003-12-21
And, even though the transfer from tape to cd brought with it a fair degree of hiss/noise, this Ormandy version remains the GOLD STANDARD by which all other 1812 Overture renditions must compare. Most other renditions come up far short on the vitality and depth that Mr. Ormandy communicates to us on this recording.
Fireworks that resonate on the soul. Not bad for under 7 bucks.
Bravissimo! Bold and Majestic Sound of Ormandy.......2002-12-24
Ormandy ingeniously build up the bold majestic sound of Philadelphia like a rolling snow ball, pumping the triumph music towards the end. Personally I could never suppress my feeling of esthetic by the emotional of Tchaikovsky rendered magnificently.
The 1812 Overture has been transcribed with Church Chorus Singing "God Save Our Czar", back up by additional brass section. Especially the Sound of French horn could never bolder or richer; The sparkling note played by the Trumpets and Trombones pushing the sound of glory projecting an triumph mood of victorious with cannon blasting the unique Philadelphia Sound sky high. At the end, you'll agreed, it is 1812 all over your living room.
The Capriccio Italien is equally spicy and joyful. It began with a bold sound of Cornet played in a steady tempo, followed by mid sound of Strings projecting an memory of civilization. Woodwind could never be sweeter and harmonized. When the music turned into vivacious dancing melody. I couldn't have myself on the chair, start swing with the music to the end. One of the Best version I've ever heard.
The Slavonic March also adapted the same style from 1812 and Capriccio Italien. Here, you'll hear the perfect balanced Sound of Philadelphia Orchestra, building up the climax of this showpiece, crash of gong and high pitch Trumpets lead the music to an glorious ending.
This is the best Francesca da Rimini that I've heard, bold, exciting and full of emotion.
This CD will be perfected if its includes "Romeo and Juliet". Still it deserve 5 stars from me.
Eugene Ormandy is undisputable "the best Tchaikovsky" specialist. unfortunately, he has been always under-rated.
A safe and reliable recording.......2001-11-10
Something interesting about this recording is the use of electronic cannons, which is definitely better than an ordinary percussion section, but not as "booming" as a real cannonade found in some recordings.
Ormandy approaches the 1812 and Marche Slave in a careful manner, not interpreting the piece too much, which some may find bland. Despite this safe approach, Ormandy and the Philadelphia Orchestra achieve a nice balance of sound, and this recording is a good 1812, though not as thundrously triumphant as it could be. But hey, the 1812 is the 1812, and this is a great album to have if you want a good version of that piece.
In addition to that and Marche Slave, this recordng also has the Cappriccio Italien, which is masterfully presented here. I would say that it is the best interpretation of any piece on the whole album. So for the price, you really can't beat this recording.
Russia by America.......2000-06-30
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Rossini - La Donna del Lago
Manufacturer: Opera Rara UK ProductGroup: Music Binding: Audio CD General
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ASIN: B000OY6I2G Release Date: 2007-06-12 |
Tracks:
- Sinfonia
- 'Del Di La Messaggiera'
- 'Oh Mattutini Albori!'
- 'Qual Suon! Sull'alta Rocca'
- 'Scendi Nel Piccol Legno'
- 'Uberto! Ah! Dove T'ascondi?'
- 'E In Questo Di?'
- 'Sei Gia Nel Tetto Mio'
- 'D'Inibaca'
- 'Sei Gia Sposa? Ed E Rodrigo'
- 'Quali Accenti!'
- 'Ma Son Sorpreso'
Tracks:
- 'Mura Felici, Ove Il Mio Ben Si Aggira!'
- 'Elena! Oh Tu, Che Chiamo!'
- 'Oh Quante Lagrime Finor Versai'
- 'Signor, Giungi Opportuno'
- 'Taci, Lo Voglio, E Basti'
- 'E Nel Fatal Conflitto'
- 'Vivere Io Non Sapro'
- 'Qual Rapido Torrente'
- 'Eccomi a Voi, Miei Prodi'
- 'Ma Dov'e Colei'
- 'Premio Di Dolci Ardori'
- 'Alfin Mi E Dato'
- 'Vieni, O Stella Che Lucida E Bella'
- 'Quanto a Questa'alma Amante'
- 'La Mia Spada'
- 'Questo Amplesso a Te Fia Pegno'
- 'Crudele Sospetto'
- 'Sul Colle a Morve Opposto'
- 'Gia Un Raggio Forier'
- 'Su... Amici! Guerrieri!'
Tracks:
- 'Oh Fiamma Soave'
- 'Si, Per Te, Mio Tesoro'
- 'Alla Ragion Deh Rieda'
- 'Nume! Se a' Miei Sospiri'
- 'Qual Pena In Me Gia Desta'
- 'Parla... Chi Sei?'
- 'Quante Sciagure In Un Sol Giorno Aduna'
- 'Ah Si Pera'
- 'Douglas! Douglas! Ti Salva'
- 'E Tanto Osasti?'
- 'Attendi: Il Re Fra Poco'
- 'Che Sento!'
- 'Stelle! Sembra Egli Stesso!'
- 'Imponga Il Re'
- 'Ah! Che Vedo! Qual Fasto!'
- 'Tanti Affetti In Tal Momento'
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Tchaikovsky: Symphonies Nos. 2 & 6; Romeo and Juliet; Francesca da Rimini
Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Tchaikovsky
| Tchaikovsky, Peter Ilyich
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ASIN: B0007RO570 Release Date: 2005-05-24 |
Tracks:
- I. Andante Sostenuto - Allegro Vivo
- II. Andantino Marziale, Quasi Moderato
- III. Scherzo (Allegro Molto Vivace - L'istesso Tempo)
- IV. Moderato Assai - Allegro - Presto
- Symphonic Fantasia
Tracks:
- I. Adagio - Allegro Non Troppo
- II. Allegro Con Grazia
- III. Allegro Molto Vivace
- IV. Finale (Adagio Lamentoso - Andante)
- Fantasy Overture
Customer Reviews:
A famous "Little Russian" and more great Tchaikovsky from Giulini.......2006-09-26
Francesca da Rimini is considerably better recorded, but I wish EMI had toned down the treble a little. Giulini's reading doesn't quite match the searing ones from Mravinsky, Stokowski, and Markevitch, but it's very good, with additional intensity form the highlighted recording. The Pathetique that follows was always well rgarded, even if once again Giulini can't match the incandescence of Mravinsky, the sheer virtuosity of Reiner with the Chicago Sym., or the personal intensty of Bernstein on DG. His is an ardent, heart-on-sleeve performance that appeals to me far more than, say, Jansons or Pletnev, however. The Scherzo is dashing and vibrant, and the finale, a minute or two slower than usual, feels melancholy rather than tragic. The recorded sound is the best so far on this bargain two-fer.
finally we get Giulini's Romeo and Juliet, also widely admired in its day forty years ago. By now te listener will appreciate the conductor's overall style, which is distinctly warm but not Russian, tending toward gentleness rather than blazing excitement. All the ardor of Rome and Juliet is brought out, yet the intensity remains restrained. All in all, EMI has ignored these recordings for a long time, and it's woderufl to have them gathered together in one place.
Extraordinary performances by a master conductor!.......2005-12-13
His vision of Tchaikovsky 's Second Symphony is the most complete and integral I have ever heard previously or even later. There have been fortunate, powerful, sumptuous and perfumed versions: Markevitch and Muti have made striking performances. But anyone of them has been able to equal this unique and eloquent reading. Giulini made a true dissection, an openhearted and systematic interpretation filled with details without losing the apex of the work. He underlined literally all the ingredients that consolidate it as the most Imperial of his three First Symphonies. There is emotion, lyricism, vitality, energy, expressive elegance and visceral approach. There is not any detail you may refuse.
His Sixth Symphony deserves special mention. Absolutely idiomatic, profound and persuasive. Giulini went to the core of the score and extracted all the substance to expose before us one of the most relevant and pyramidal versions in the history of the disc. There is an admirable fact you always should take in mind every time you listen it. Go for the expressive Waltz of the second Movement and then go to the Fourth Movement and realize how the composer reintroduces the same Waltz but in a dark tonality This is the key.
Francesca de Rimini is rich in details, precise and dramatic, although the best rendition of this page comes from Munch and the Boston Symphony.
Romeo and Juliet is a magisterial version, filled of flair and panache; once more the virtuosity of the Orchestra allows us to watch those little details, such as modulation, tempi, and careful sense of expression.
This album deserves without any bit of doubt, to be placed in the coveted list of the best and more successful re mastering records of the Year. Not only due its artistic significance but besides, the sumptuous fidelity and polished sound.
Bravo for the Sound Engineers of EMI. I really hope future feats keep going like this extraordinary event.
A must-buy; it 's my most sincere recommendation.
My Favorite "Pathetique".......2005-05-25
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Tchaikovsky: Symphonies 1-3
Manufacturer: Philips ProductGroup: Music Binding: Audio CD All Works by Tchaikovsky
| Tchaikovsky, Peter Ilyich
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ASIN: B0000041BS Release Date: 1995-04-11 |
Tracks:
- Symphony No. 1 In G Minor, Op. 13 - Winter Reveries: 1. Allegro Tranquillo
- Symphony No. 1 In G Minor, Op. 13 - Winter Reveries: 2. Adagio Cantabile Ma Non Tanto
- Symphony No. 1 In G Minor, Op. 13 - Winter Reveries: 3. Scherzo. Allegro Scherzando Giocoso
- Symphony No. 1 In G Minor, Op. 13 - Winter Reveries: 4. Finale. Andante Lugubre - Allegro Maestoso
- Symphony No. 2 In C Minor, Op. 17 - Little Russian: 1. Andante Sostenuto - Allegro Vivo
- Symphony No. 2 In C Minor, Op. 17 - Little Russian: 2. Anantino Marziale Quasi Moderato
- Symphony No. 2 In C Minor, Op. 17 - Little Russian: 3. Scherzo. Allegro Molto Vivace
- Symphony No. 2 In C Minor, Op. 17 - Little Russian: 4. Finale. Moderato Assai
Tracks:
- Symphony No. 3 In D, Op. 29 - Polish: 1. Introduzione E Allegro
- Symphony No. 3 In D, Op. 29 - Polish: 2. Alla Tedesca. Allegro Moderato
- Symphony No. 3 In D, Op. 29 - Polish: 3. Andante Elegiaco
- Symphony No. 3 In D, Op. 29 - Polish: 4. Scherzo. Allegro Vivo
- Symphony No. 3 In D, Op. 29 - Polish: 5. Finale. Allegro Con Fuoco
- Francesca Da Rimini, Op. 32
Amazon.com
Igor Markevitch's Tchaikovsky performances have been among the best since the early '60s. He turned the unruly London Symphony Orchestra into a first-rate Tchaikovsky ensemble, in which a finely disciplined approach to rhythm provides the perfect foundation for some highly expressive music-making. The neglected Third Symphony is particularly cogent and exciting in Markevitch's hands. No lover of this composer should miss hearing these terrific discs. --David HurwitzCustomer Reviews:
A disappointment from a declining Markevitch.......2007-03-18
The LSO plays competently but without enough vitality or Russian passion. Philips' recorded sound is unattractive, too, lacking in body and warmth. I must agree with Mr. Lipscomb that if you place any of these three symphonies beside their best rivals, the "Winter Dreams" sounds listless next to Tilson Thomas and the BSO (DG), the "Little Russian" lacks the spontaneity and vigor of Giulini on EMI, and the "Polish" needs the power and conviciton of the Chicago Sym. under Abbado (Sony). The best thing here is a nervy, restless Francesca da Rimini, but that's not enough reason to purchase the whole set.
Peter Ilyich becomes Tchaikovsky.......2006-12-25
Though the digital remastering fails to eliminate a low hum when played at high volume, the authenticity of the sound is worth this minor inconvenience. At one point, the listener can hear a page turn - perhaps a page of Markevitch's score. A cantankerous music lover might ask with annoyance how the hell they allowed a microphone close enough to Markevitch's podium to fall into a glitch like that. This astonished and less demanding reviewer almost pulled his truck off the road at the sheer historical thrill of becoming privy to such a human 'error' four decades after the fact.
In these three symphonies, Tchaikovsky is working out the tonalities that will appear in full flower later in his career, not least in the heart-rending struggles of the underrated but profoundly beautiful 'Pathetique'. The plausibilities available to a late Romantic composer like Tchaikovksy allowed the elasticity of tempo and tone that made possible the climb-and-descend, climb-and-descent motifs that are Tchaikovsky explores in these first three of his recognized symphonies, a modality that becomes almost a Tchaikovsky signature when his body of work is considered as a whole.
Markevitch's baton is patient with Tchaikovsky, allowing the LSO and the New Philharmonia Orchestra to work unhurriedly though some of Romantic music's most memorable passages.
A reviewer would be remiss not to underscore the value of the Philips Classics series, where almost canonical performances by legendary performers of the 1960s, 1970s, and 1980s are made available at two-for-one pricing under digital remastering that rescues valuable sounds for the ages.
This 1995 issue would serve well even as a listener's sole recording of Peter Ilyich's first three symphonic steps towards becoming the rather immortal musician we know as Tchaikovsky.
Decent performances, good value.......2005-08-20
This is the perfect set for those who are largely indifferent to Tchaikowsky's symphonies --- as I must admit that I am these days --- but nonetheless would like to have them available for listening for not a lot of money. It is also a good starter set for those who are just beginning to assemble a basic collection of the standard symphonic repertoire.
Very Straightlaced Readings.......2005-05-19
As for the interpretations, however, I have some misgivings about Markevitch here. He was unquestionably one of the 20th Century's virtuoso conductors: his pointillistically detailed style and cool precision are recognizable in just about everything he recorded. And, on occasion, he conducted Tchaikovsky with real expressive fire - his French Radio Orchestra account of "Romeo & Juliet" (Angel LP) is my all-time favorite, along with Mengelberg's (Andante - see my review). And his Philharmonia readings of Ravel's "La Valse" and the Shostakovich 1st Symphony are in a class of their own (EMI).
It's only when you do some comparing with individual symphony recordings by other conductors that the shortcomings of Markevitch's cool objectivity here become all too apparent. Perhaps the LSO is partly to blame - they simply don't sound very Russian to my ears. With Markevitch at the helm, the 1st symphony is more like wintry dreams than Winter Dreams, the Little Russian only sounds a little Russian, and the 3rd Symphony has too much polish and too little that's Polish. In a nutshell, there isn't much heart or soul on display here.
My preferred alternatives in these works are mostly old mono recordings that any self-respecting audiophile wouldn't touch with a ten-foot pole: the Dante LYS CD of the Nikolai Golovanov/USSR Radio's impassioned #1 (recorded 1948) and the old Stradivari LP (re-issue needed!) of the 1st with Natan Rachlin and the Bolshoi Symphony (coupled with a wonderful #2); #2 played with warmth and insight by Beecham/RPO (Columbia LP) and an extraordinary "live" Second with Igor Stravinsky conducting the NY Phil. (available only in that orchestra's 10-CD "Historic Broadcasts" set); and the partially cut rendition of the Polish by Albert Coates on that conductor's volume in IMG's "Great Conductors" CD series. And finally - a modern recording! - there's an inspired "live" 3rd with Svetlanov (BBC Legends).
I keep this Markevitch set because 1) it's well-played and 2) it contains my only stereo accounts of #1 and #2. However, the icy chill of Markevitch's conducting in the Philips companion CD set of #4-6 was too much for me: I weeded it.
Recommended as an inexpensive collection in first-rate sound. But for genuine excitement, I listen far more frequently to the alternatives listed above.
Brilliant early Tchaikovsky.......2005-05-01
In this pioneering set recorded in the mid-sixties he always obtained strong, often exciting, incisive playing from the London Symphony Orchestra. An intense "Francesca da Rimini" with the New Philharmonia is offered as a thrilling bonus.
The sound quality is excellent overall. Next to Dorati's set (on Mercury) this twofer is a clear first choice for Tchaikovsky's early symphonies - at any price.
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Rachmaninov: Complete Operas (Aleko, The Miserly Knight, Francesca di Rimini)
Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD General
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ASIN: B0001Y4JI4 Release Date: 2004-06-15 |
Customer Reviews:
A Very Different Rachamninoff!!!.......2006-06-20
This three-disc set includes all three of Rachamninoff's operas in their entirety (one per disc) and are presented in jaw-dropping performances under the baton of conductor Neeme Jarvi. The orchestra as well as the soloists and choirs truly deliver emotionally-drenched performances on all three operas.
Musically, these operas may be overwhelming to some. There is a definite darker approach heard in these works which is a drastic departure from Rachmaninoff's romantic-styled Piano Concertos and Symphonies. There is also a definite Tchaikovsky influence heard in this music as well. Depsite the darker atmosphere of these operas, the power of this music is emmense and dynamic while never losing momentum. In other words, this is some great stuff here.
While the CD booklet includes synopsises of each opera, there are no libretti included which is a shame because the opera's are sung in Russian. To have the full set of lyrics printed out both in Russian and English would have been fantastic to follow along with while listening. No so here, though.
Despite this, this set of Rachmaninoff's complete operas is essential to any diehard Rachmaninoff fan. Even though these operas weren't as successful as his other works, his genius comes through loud and clear here and are just as good as anything else he has done.
Definitely Essential Rachmaninoff Operas!!!!
Outstanding Rachmaninov operas, though a libretto would've helped.......2006-02-03
Aleko: This is the story of love, deception, and sorrow between an old man, who is now a gypsy, and his unbalanced family. The ending is as tragic as the ending to "Boris Godunov" by Modest Mussorgsky.
The Miserly Knight: Albert is a man who finds himself in an inheritance crisis, while his father is a man who can't get enough of his own greed. The two confront each other, through words, and through violence.
Francesca da Rimini: The darkest of the three, it tells of how Francesca da Rimini & Paolo Malatesta were sent to hell with their atrocious love affair.
I'm giving this box set only four stars, clearly because of lack of the librettos by Vladimir Nemirovich-Danchenko and Modest Tchaikovsky. All in all, this is for those who are interested in Rachmaninov's lesser works.
I give this an A-
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Tchaikovsky: Symphonies Nos. 1-6
Manufacturer: Philips ProductGroup: Music Binding: Audio CD All Works by Borodin
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ASIN: B00035VV7I Release Date: 2004-11-09 |
Customer Reviews:
EXCITING PERFORMANCES VINTAGE STEREO SOUND BUT NOT SACD.......2005-09-27
Dorati's MLP Tchaikovsky Gems Are Back!.......2005-05-25
This Tchaikovsky Symphony Cycle by the great Antal Dorati has always been one of my favorite MLP offerings. While a two-disc set of Symphonies 1-3 and a single title of the 4th continue to be available in their original CD incarnations, the CDs of Symphonies 5 & 6 have gone out-of-print recently. However, with this box set they are now deservedly restored to the catalog. Even better is the fact that the four 5CD box sets being reissued have been so reasonably priced. This Tchaikovsky set, and the ones of Dorati conducting Bartok, Paray conducting French music, and Hanson conducting a variety of American music, including his own compositions, have a total cost cheaper than the original single issue CDs! Once again, Mercury Living Presence lives!
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Ghost Ship (Score)
John Frizzell Manufacturer: Varese Sarabande ProductGroup: Music Binding: Audio CD Movie Soundtracks
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ASIN: B00006WL42 Release Date: 2002-11-05 |
Amazon.com
If the idea behind director John Beck's nautical frightfest isn't exactly new--long-lost ship is mysteriously found floating at sea--the filmmaker invests it with a smart sense of style and tension that lifts it above its horror-exploitation roots. The brooding orchestral score from composer John Frizzell (13 Ghosts, Beautiful, Alien Resurrection) conjures up the appropriate atmosphere of foreboding and unease, while largely steering clear of the genre's inherent cheese quotient. Indeed, the composer invokes an often surprising sense of emotional strain and weariness, injecting some welcome human dimensions amid the expected shrieking strings and rumbling brass and percussion. While certain genre clichés are paid heed, Frizzell's efforts here often as not eschew orchestral thunder for more subtle, intimate music that lifts the film from mere floating haunted-house gambit into something more emotionally gripping. --Jerry McCulleyCustomer Reviews:
Katie.......2007-04-11
SWeet movie.......2006-04-09
My Little Box Rocks.......2005-02-13
suburbanwolf got it right!.......2004-12-30
"My Little Box" is not sung by Trent Reznor.......2004-06-10
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Martinu: Fantaisies symphoniques; Fresques; Juliette
Manufacturer: Arte Nova Classics ProductGroup: Music Binding: Audio CD All Works by Martinu
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ASIN: B0007X9TSO Release Date: 2005-04-12 |
Album Description
Bohuslav Martinu (1890-1959) is among the well-known 20th century composers who developed a new musical language while still remaining in a tonal framework. His Symphony No. 6, subtitled "Fantaisies symphoniques," had a triumphal success at its premiere in Boston in 1955 under Charles Munch. The suite Les Fresques de Piero della Francesca was inspired by eight frescoes Martinu saw in the Franciscan church in Arezzo, Italy. The "Juliette" Orchestra Suite is taken from the score of his haunting 1937 opera Juliette.Founded in 1877, the Symphony Orchestra St. Gallen is one of Switzerland's oldest professional orchestras. Jiri Kout, Music Director of the St. Gallen Symphony Orchestra since 1996, is originally from Prague. He has had a distinguished career in Germany, at the Metropolitan Opera in New York, the opera houses of San Francisco, Los Angeles, Chicago, and all the major cities of Europe. He also frequently appears with the NHK Symphony in Tokyo. In 2004, Jiri Kout was given the honor of opening the Prague Spring Festival, and in 2004/05 he has been conducting the Jubilee concert for this renowned event.
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