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Composer Discussion / Re: Guillaume Dufay
« Last post by Vinbrulé on Today at 09:26:56 AM »
Lena Susanne Norin, I love your voice ! 
12 Dufay's numbers , 5 Binchois' and some other things.
Track 18 "Segnor Leon" particularly strikes me. 
 
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General Classical Music Discussion / Re: What are you listening to now?
« Last post by Que on Today at 09:21:44 AM »
.


Sonata D958, Zwei Scherzi D593, Sonata D840 Réliquie.

Q

PS £18.64 at https://www.amazon.co.uk/SCHUBERT-Franz-Peter-Works-Fortepiano/dp/B00JDZK0CQ/
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     Here’s how you run for president

     Here's how you don't give a shit about the labels pretty much like Americans generally do at the program level. IMO Rubin has a little bit too much "label atavism" in her bloodstream which leads her to think Brown is more distinct from other Dems than he really is, but she is trying, I'll give her that.

     Brown would be a good choice for the win. He's super on TV. He from Ohio for Fords sake! He understands the concept of the nest egg!
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Opera and Vocal / Re: What Opera Are You Listening to Now?
« Last post by Tsaraslondon on Today at 09:10:53 AM »
Saw the new production of Mozart's Don Giovanni in Lucerne on Saturday - fantastic experience, although some of the singers were less than perfect ... but the production was great indeed, and it created a kind of maelstrom that sucked me in. The basic idea was that you see much of it from Giovanni's perspective - a live camera filmed over his shoulder, the images (in b/w) were projected onto a screen that closed off the larger part of the stage. The other characters were seen both in front of the screen and when they interacted with Giovanni in his perspective - often a voyeur's view through undergrowth - when they went behind the screen. Leporello turned into the main chararacter, the playmaker of the entire production actually. There were bridges over the pit on both sides, and Leporello actually acted from the stalls for some parts, and then went back onto the stage etc. The continuo fortepiano was located on the other bridge (but there was still enough room for entrances by various singers). The choir and some stage music were also placed on the balconys a couple of times, the small room was thus very well played (something which director Benedikt von Peter is doing quite often and indeed very well). Vuyani Mlinde as Leporello was outstanding, and the entire production, despite a less than ideal Anna/Ottavio (Rebecca Krynski Cox/Emanuel Heitz) couple (they're weak, or rather: uninteresting anyway and have too many arias ...), the full package was outstanding and pretty much of a piece. Clemens Heil conducted with a lot of care and the orchestra was playing very well. Special props to William Kelley for his fine continuo performance. And to Abigail Lewis and Flurin Caduff who are wonderful as Zerbina/Masetto. Jason Cox was a gruff, strong Giovanni, Solenn Lavanant Linke's Elvia was a bit shrill and almost too powerful at some moments, but pretty good. And Boris Petronje, finally, was good as the rather scary Commendatore.

The reviews I read are German only:
http://www.peterhagmann.com/?p=2000
https://www.nzz.ch/feuilleton/mozart-als-ego-shooter-ld.1451725

--

Sunday I felt like digging up some of the Giovanni recordings, familiar and as of yet unfamiliar ones ... I started by listening to these two:



The Walter is maybe a bit on the mild side, but still pretty good, except for sound ... Pinza is magnificient, and it's no coincidence that it's Sayão's Zerlina that gets scene applause for both her big arias. The cast is good, and if you can deal with historic sound, this comes recommended!

The same goes for the Moralt - in good sound now (1955), and with another quite even cast. Simoneau is an outstanding Ottavio (the finest?) and his arias, sung like this, are heavenly indeed (although plotwise I'll stick with Kierkegaard's verdict on cutting Ottavio and Anna some) ... London may be a bit too much on the powerful side as Giovanni, a tad too heroic maybe. The women are well cast, with Jurinac a great Elvira, Berry is just great as Leporello, and Waechter and Weber (Masetto and Il Commendatore) are good, too. Again, Moralt is not one to engage too actively in shaping the music, but he lets it flow quite beautifully, so it all works really well. Glad I (just recently) added this to my collection!

Up next are re-listens to Krips (one of my favourite opera recordings of all times), Giulini (close) and some more recent ones (Gardiner, Jacobs - not sure I ever fully played these yet) ... maybe I'll check out Furtwängler's take (the possibly finest from 1953 I don't have, 1951 and 1954 I think?), and definitely I want to check out Böhm at the Met, 1957, with a fine cast. Maybe I'll also check out Davis and Busch for the first time, and revisit Currentzis, though maybe that'll have to wait ... Krips, Giulini and Böhm for sure though.

Coincidentally, I've been listening to one of Furtwängler's Salzburg performances, and one I hadn't heard before. (I have a 1953 performance, with a different cast, except for Schwarzkopf and Dermota.)



I haven't made a point by point comparison, but I have a feeling Furtwängler's tempi are a bit more propulsive in 1950, though this impression might have more to do with its cast (Gobbi more demonic, less suave than Siepi, Welitsch more thrillingly dramatic but less poised than Grümmer). It's certainly a very starry cast, and a very exciting performance.

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Sensational delicate ornamentation in this Zamboni CD by Simone Vallerotonda
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I'm quite fond of the performance below --- not that I've heard any other but the music is indeed wonderful.



yeah fabulous in Book 1 there, the chaconne type thing on a chitarrone on track 4 is amazing!
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As you know I'm on your team here... CT was the first review site I found back in the day, so it is still kind of my "default." It's very easy for me to read a Hurwitz review and figure out if I will like the CD or not. If he thinks it's great except for being HIP, I'll probably love it. If it's an hour long late romantic symphony with a 120-piece orchestra released by CPO and he gave it a 10/10, I'll probably fall asleep.  ;D

Lebrecht's website is a cesspit.

Glad to hear it. Now if only you were to jump onto the right side of the paywall...  ;D 8)
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General Classical Music Discussion / Re: What are you listening to now?
« Last post by Papy Oli on Today at 08:53:57 AM »
Good evening all,

First listen to Alwyn - Lyra Angelica. The other pieces on the CD (Autumn Legend, Pastoral Fantasia, Tragic Interlude got lost as background music).

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Great Recordings and Reviews / Re: Bach's Cello Suites
« Last post by aukhawk on Today at 08:53:26 AM »
Some comments from Valli’s booklet essay may be worth thinking about

Very interesting, thanks for sharing those.
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Johann Rosenmuller, Sonate a 2,3,4,5 stromenti da arco & altri.
Ensemble Masques, Oliver Fortin.


Also one of the ATMA sale that exceeds all expectations, performance wise, and also in the recording. The music is highly entertaining, and divers in it's expression.
Listened to some of this a month ago and finished today. Agreed, a splendid disc.
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