Kệ nhạc cổ điển ivanhoe76 [Multi]

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Kaufmann - The Age Of Puccini (2015) [Decca] {24-48}

View attachment 197941

FLAC (tracks) 24-bit/48 kHz | Time - 76:16 minutes | 827 MB | 5% recovery info
Studio Master, Official Digital Download | Artwork: Digital booklet | Decca | 2015

Spoiler

Jonas Kaufmann, the tenor of our time, takes us to The Age of Puccini. This collection showcases the unique quality of Kaufmanns award-winning recordings of best-loved Italian operatic verismo repertoire for Decca. This album contains some of Kaufmanns greatest roles recorded in resplendent Decca sound. He is joined by Renée Fleming for the duet from Puccinis La Rondine. Accolades for Kaufmanns Decca recordings include the inaugural International Opera Award for best male singer, three Gramophone Awards, a Goldene Deutschland Award, a Grammy, an ECHO Award, Artist of the Year from Musical America and the Bayerische Europamedaille.

Tenor Jonas Kaufmann issued a statement on his Facebook page, telling fans not to buy an upcoming release of a Puccini album from his former label, Decca. He wants fans to wait until the "real" Puccini album is released with Sony on September 11, stating (translated in English):

Dear friends,
Please let you from the title of the decca-CD "Jonas Kaufmann-the age of puccini" not be fooled! This compilation only contains three puccini-Title: my recordings of " che govone manina " and " E Luce van le stelle " from the year 2007 and a scene from " la rondine ", The I 2008 for the verismo cd by Renée Fleming. In other 18 titles is my album "Verismo Arias" of 2010. So all well-known recordings in new packaging. The whole, it was without my knowledge and without my consent.
The " real " Puccini-album, the I with Antonio Pappano in the autumn of last year in Rome have included, bears the title " Nessun Dorma " in mid-September and is published by Sony. It contains exclusively scenes of Puccini-operas, including highlights from "Manon lescaut", "la bohéme", "Tosca", " La Butterfly Del West " and " turandot ". --Jonas Kaufmann


Tracklist:

01 - Giacomo Puccini: La Bohème / Act 1: 'Che gelida manina'
02 - Giacomo Puccini: Tosca / Act 3: 'E lucevan le stelle'
03 - Giacomo Puccini: La Rondine / Act 2: 'Bevo al tuo fresco sorriso'
04 - Amilcare Ponchielli : I Lituani / Act 3: 'Sì...questa estrema grazia'
05 - Amilcare Ponchielli : La Gioconda / Act 2: 'Cielo e mar'
06 - Arrigo Boïto: Mefistofele / Act 1: 'Dai campi, dai prati'
07 - Arrigo BoïtoMefistofele / Act 4: 'Giunto sul passo estremo'
08 - Pietro Mascagni: Iris / Act 1: 'Apri la tua finestra!'
09 - Pietro Mascagni: Cavalleria rusticana: 'Intanto, amici, qua...Viva il vino spumeggiante'
10 - Pietro Mascagni: Cavalleria rusticana: 'Mamma, quel vino è generoso'
11 - Ruggiero Leoncavallo: Pagliacci / Act 1: 'Recitar!...Vesti la giubba'
12 - Ruggiero Leoncavallo: La bohème / Act 3: 'Musetta! O gioia della mia dimora! - Testa adorata'
13 - Francesco Cilèa: L'Arlesiana / Act 2: 'E la solita storia'
14 - Francesco Cilèa: Adriana Lecouvreur / Act 2: L'anima ho stanca
15 - Francesco Cilèa: Adriana Lecouvreur / Act 1: 'La dolcissima effigie'
16 - Riccardo Zandonai: Giulietta e Romeo / Act 3: 'Giulietta! Son io!'
17 - Riccardo Zandonai: Fedora / Act 2: 'Amor ti vieta'
18 - Riccardo Zandonai: Andrea Chénier / Act 1: 'Colpito qui m'avete … Un dì all’azzurro spazio'
19 - Riccardo Zandonai: Andrea Chénier / Act 4: 'Come un bel dì di maggio'
20 - Riccardo Zandonai: Andrea Chénier / Act 4: 'Vicino a te s'acqueta'
21 - Licinio Refice: 'Ombra di nube'

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Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Bác có vở Opera Cây Sáo Thần (The Magic Flute (German: Die Zauberflöte), K. 620) của Mozart thì cho e xin ạ. Cám ơn những đóng góp to lớn của bác.

 

Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Gửi bạn vở Cây sáo thần với nhạc trưởng Otto Klemperer năm 1964 của hãng EMI

Mozart - Die Zauberflote - Klemperer (1964) [EMI]

View attachment 197977

WOLFGANG AMADEUS MOZART - Die Zauberflöte
Nicolai Gedda (tenor)
Walter Berry (bass-baritone)
Gottlob Frick (bass)
Gundula Janowitz (soprano)
Lucia Popp (soprano)
...
Otto Klemperer (conductor)
Philharmonia Orchestra & Chorus

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Bác quả thật tuyệt vời. Cảm ơn bác vô cùng.

 

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Ottensamer - Brahms The Hungarian Connection (2015) [DG] {24-96}

View attachment 198110

FLAC (tracks) 24-bit/96 kHz | Time - 61:48 minutes | 1,1 GB | 5% recovery info
Studio Master, Official Digital Download | Artwork: Digital booklet | Deutsche Grammophon | 2015
Andreas Ottensamer - clarinet
Leonidas Kavakos - violin
Antoine Tamestit - viola
Christoph Koncz - violin, cello
Stephan Koncz - violin, cello
Ödon Rácz - double bass
Predrag Tomic - accordion
Oskar Ökrös - cimbalom

Spoiler

Andreas Ottensamer, himself half-Hungarian, naturally recognizes Brahms’ Clarinet Quintet as “genuinely one of the monuments of the entire clarinet repertoire, a piece that every clarinettist dreams of playing”. The album includes Brahms’ Clarinet Quintet, one of the most seminal works for the instrument – combined with Hungarian dances and waltzes by Brahms, all newly arranged to include additional material from Brahms’ original musical sources, with an authentic folk twist. Brahms is seen as one of the most serious composers of the German school – this bold venture reveals how closely connected his music actually is to the vibrant folk music inspired Hungarian music world.

Andreas Ottensamer, principal clarinetist of the Berlin Philharmonic, has released several innovatively programmed albums without resorting to common crossover formulas. Brahms: The Hungarian Connection is another. The title is perhaps a bit too strong in that the last part of the program does not consist of music by Brahms and, in fact, has no direct connection to Brahms. But as a recital juxtaposing Hungarian folk sounds with their ramifications in the concert repertoire, the program works well. Some may not have thought of the Clarinet Quintet in B minor, Op. 115, as a Hungarian piece, but listen again to the slow movement passage where the string quartet conjures up a cimbalom. The extremely gentle performance of the quintet is worth the price of admission in itself; for a reading by an all-star group as opposed to an established ensemble, it breathes unusually well. The quartet's cellist, Stephan Koncz, arranged the rest of the music for clarinet and string quartet, and he certainly doesn't do anything an average Viennese musician might not have attempted during Brahms' lifetime. From two lightly Hungarian waltzes (one from the Op. 39 set for piano four-hands and one from the Liebeslieder Waltzes, Op. 52), listeners move into more explicitly Hungarian material, first arranged by Brahms and then by other composers. It's an unorthodox recital structure, but it's effective, leading both to some little-known and fun pieces (the Two Movements of Hungarian composer Leó Weiner) and then to an infectious Transylvanian dance medley finale. Ottensamer's tone modulates nicely from ultra-smooth in the Brahms to peppy in the more Hungarian pieces. Recommended for Brahmsians and clarinet lovers alike.


Tracklist:

01 - Clarinet Quintet in B minor, Op.115 - I. Allegro
02 - Clarinet Quintet in B minor, Op.115 - II. Adagio
03 - Clarinet Quintet in B minor, Op.115 - III. Andantino - Presto non assai, ma con sentimento
04 - Clarinet Quintet in B minor, Op.115 - IV. Con moto
05 - Two Waltzes in A major: Waltz op. 39 no. 15 & Waltz no. 6 from Liebeslieder op. 52: “Ein kleiner, hübscher Vogel”
06 - Hungarian Dance No. 7, WoO 1
07 - Hungarian Dance No. 1 (Isteni Csárdás), WoO 1
08 - Két Tétel - Búsuló juhász (Woeful Shepherd)
09 - Két Tétel - Csurdöngölo (Barndance)
10 - Dances From Transylvania

Producer and recording engineer: Philipp Nedel.
Recorded October 2014 at Nikodemus-Kirche in Berlin, Germany.

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Karajan - Strauss Ein Heldenleben (1959) [DG] {24-88}

View attachment 198134

FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans NOT included | 876 MB | 5% recovery info
Japanese SHM-SACD / This version uses the DSD master made by Emil Berliner Studios, Germany in 2014
Richard Strauss
Berliner Philharmoniker
Herbert von Karajan

Spoiler

Say what you want about the egomaniacal Austrian conductor Herbert von Karajan, he was far & away the best postwar interpreter of German composer Richard Strauss’ megalomaniacal Ein Heldenleben. In this 1959 Deutsche Grammophon recording with the Berliner Philharmoniker, Karajan approaches the work as a portrait painted in sound of the artist as a young world conqueror. Though Karajan draws playing of tremendous fire & daring out of the Berlin musicians & though Deutsche Grammophon captures the performance in immediate stereo sound, the real hero of this Hero’s Life is Karajan himself. He has the measure of the score, knows when to apply pressure & when to pull back, when to let the brass go & when to reign them in, when to let the harmonies bloom & when to cut them off. But more importantly, Karajan believes in the music. Other postwar conductors could give convincing performances of Ein Heldenleben — one thinks, of course, of Fritz Reiner & the Chicago Symphony’s high-powered 1954 RCA recording — but Karajan isn’t performing the work: he’s living it. The sweep & swagger of the opening theme, the imperious power of the battle music, the expansive monumentality of the closing pages: this isn’t an act for Karajan; this is life itself.

Tracklist:
01. Richard Strauss: Ein Heldenleben, op.40 – Der Held
02. Richard Strauss: Ein Heldenleben, op.40 – Des Helden Widersacher
03. Richard Strauss: Ein Heldenleben, op.40 – Des Helden Gefaehrtin
04. Richard Strauss: Ein Heldenleben, op.40 – Des Helden Walstatt
05. Richard Strauss: Ein Heldenleben, op.40 – Des Helden Friedenswerke
06. Richard Strauss: Ein Heldenleben, op.40 – Des Helden Weltflucht und Vollendung

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Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Bác có bản Piano concerto No.1 của F.Chopin cho e xin nốt luôn ạ. Cảm ơn Bác nhiều.

 

Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

T6 trời mưa chưa về được, up phục vụ bác một bản thu Chopin Piano Concerto No.1 với Pollini trong bộ đĩa EMI Great Recordings of the Century:

View attachment 198159

Maurizio Pollini (piano)
Philharmonia Orchestra;
Paul Kletzki (conductor)

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Không biết nói gì ngoài cảm ơn và khâm phục bác.

 

Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Mà thực ra đã có 1 bản HD của Chopin Piano Concerto No. 1 up do Ingolf Wunder ở thớt này rồi mà không nhớ ra: ở đây

 

Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Pavarotti - Arias Songs (2013) [Decca] {24-96}

View attachment 198186

FLAC (tracks) 24-bit/96 kHz | Time - 01:19:10 minutes | 1.5 GB | 5% recovery info
Studio Master, Official Digital Download | Front Cover | Decca | 2013
Luciano Pavarotti (tenor)

Spoiler

Pavarotti 50 Greatest Tracks commemorates Luciano Pavarotti’s 50th anniversary with Decca Records, and an unforgettable legacy of recorded music from one of the greatest voices of our time. This definitive collection encompasses iconic Pavarotti selections, including ‘Nessun Dorma,’‘Caruso,’ ‘La Donna E Mobile,’and ‘Granada,’ to incredible duets with fellow superstars Frank Sinatra, Bono, Eric Clapton and Sting. Numerous milestones in the late-opera star’s unprecedented career are captured here, including the first ever recording of Pavarotti’s voice. The historic recording of the aria from La Bohème, ‘Che gelida manina’ (‘Your tiny hand is frozen’), has been lying dormant in the archives for 50 years, only now to be unearthed by Pavarotti’s widow, Nicoletta Mantovani Pavarotti, re-mastered and made commercially available for the first time. The 50 Greatest Tracks will be available October 22nd in the U.S. on Decca.

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Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Thanks bác nhiều nhé

 

Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Yepes - Francisco Tarrega (1985) [DG LP] {24-96}

View attachment 198248

Vinyl | LP Cover (1:1) | FLAC + cue | 24bit/96kHz | 860 MB | 5% recovery info
Label: Deutsche Grammophon/410 655-1 | Release: 1983 | Genre: Classical-Guitar
Narciso Yepes (guitar)

Spoiler

Yepes was born into a family of humble origin in Lorca, Region of Murcia. His father gave him his first guitar when he was four years old, and brought the boy five miles on a donkey to and from lessons three days a week. He took his first lessons from Jesus Guevara, in Lorca. Later his family moved to Valencia when the Spanish Civil War started in 1936.
When he was 13, he was accepted to study at the Conservatorio de Valencia with the pianist and composer Vicente Asencio. Here he followed courses in harmony, composition, and performance. Yepes is credited by many with developing the A-M-I technique of playing notes with the ring (Anular), middle (Medio), and index (Indice) fingers of the right hand.[1] Guitar teachers traditionally taught their students to play by alternating the index and middle fingers, or I-M. However, since Yepes studied under teachers who were not guitarists, they pushed him to expand on the traditional technique. According to Yepes, Asencio “was a pianist who loathed the guitar because a guitarist couldn’t play scales very fast and very legato, as on a piano or a violin. ‘If you can’t play like that,’ he told me, ‘you must take up another instrument.'” Through practice and improvement in his technique, Yepes could match Asencio’s piano scales on the guitar. “‘So,’ he [Asencio] said, ‘it’s possible on the guitar. Now play that fast in thirds, then in chromatic thirds.'”[2] Allan Kozinn observed that, “Thanks to Mr. Asencio’s goading, Mr. Yepes learned “to play music the way I want, not the way the guitar wants.”[3] Similarly, the composer, violinist, and pianist George Enescu would also push Yepes to improve his technique, which also allowed him to play with greater speed.[4]On 16 December 1947 he made his Madrid début, performing Joaquín Rodrigo’s Concierto de Aranjuez with Ataúlfo Argenta conducting the Spanish National Orchestra. The overwhelming success of this performance brought him renown from critics and public alike. Soon afterwards, he began to tour with Argenta, visiting Switzerland, Italy, Germany and France. During this time he was largely responsible for the growing popularity of the Concierto de Aranjuez, and made two early recordings, both with Argenta[5] – one in mono with the Madrid Chamber Orchestra (released between 1953 and 1955),[6] and the second in stereo with the Orquesta Nacional de España (recorded in 1957 and released in 1959).[7]In 1950, after performing in Paris, he spent a year studying interpretation under the violinist George Enescu, and the pianist Walter Gieseking. He also studied informally with Nadia Boulanger. This was followed by a long period in Italy where he profited from contact with artists of every kind.

wikipedia.org

Tracklist:

A1 Lágrima. Andante 2:08
A2 Estudio In Forma De Minuetto 1:57
A3 La Cartagenera 5:25
A4 Danza Mora 1:54
A5 Columpio. Lento 2:26
A6 Endecha. Andante 0:53
A7 Oremus. Lento 1:00
A8 La Mariposa. Allegro Vivace 0:57
A9 Recuerdos De La Alhambra. Andante 2:57

B1 Preludio In G Major. Allegretto (En Sol Majeur/G-dur) 1:06
B2 Adelita. Lento 1:35
B3 Sueño 4:55
B4 Minuetto 1:46
B5 Pavana. Allegretto 2:14
B6 Estudio De Velocidad. Allegro 1:15
B7 Jota. Andante – Allegro – Tempo Primo – Lento, Espressivo – Cantabile 9:17

Phonographic Copyright (p) – Polydor International GmbH
Recorded At – Zentralsaal, Bamberg
Credits
Composed By – Francisco Tárrega
Engineer – Hans-Rudolf Müller, Heinz Wildhagen
Guitar – Narciso Yepes
Producer – Steven Paul
Notes
Recording: Bamberg, Zentralsaal, 09/1982

(p) 1983 Polydor International GmbH, Hamburg – (c) 1983 Narciso Yepes

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Lisiecki - Chopin Études (2013) [DG] {24-96}

View attachment 198287

FLAC (tracks) 24 bit/96 kHz | Time – 01:00:15 minutes | 940 MB | 5% recovery info
Genre: Classical | Official Digital Download – Source: highresaudio.com | @ Deutsche Grammophon
Recorded: January 2013, The Royal Conservatory Of Music, Toronto, Canada
Jan Lisiecki, piano

Spoiler

The incredible Jan Lisiecki performs both cycles of Chopin’s virtuosic Études. This is the second Deutsche Grammophon release from the young Canadian pianist, and his first-ever studio recital album
Chopin’s Études are among the most challenging and evocative pieces of all the works in the piano repertoire. Jan Lisiecki has just finished recording the Études in the famous Koerner Hall of the Music Conservatory in Toronto. The Royal Conservatory has been involved in the training of many notable artists such as the pianists Glenn Gould and Oscar Peterson


Jan Lisiecki’s 2013 Deutsche Grammophon album of Frédéric Chopin’s two sets of Études, Opp. 10 and 25, is certainly a bold demonstration of youthful vitality and dynamic virtuosity, but it is also a highly personal interpretation that is surprisingly Romantic in character, if not idiosyncratically so. There’s never a worry that he’ll miss a note or execute a passage ineptly, for Lisiecki is a fine player who can handle any difficulty these intricate study pieces hold in store. Yet there is always a slight feeling of impending recklessness, as if Lisiecki could turn the music on its head at any moment. Nothing is staid, everything is in motion. After several decades of pianists playing Chopin close to the vest, with a rhythmic regularity and evenness of phrasing that emphasize the Classical impulse, along comes Lisiecki with his flexible dynamics, playful rhythmic teasing, and impulsive expressions, characteristics that are perhaps more suggestive of Liszt’s extroverted style than Chopin’s introversion. Lisiecki knows that his audience wants bravado and a degree of flamboyance, and these qualities come across fully in his playing here. Deutsche Grammophon’s sound is exemplary, with superb clarity and depth. –AllMusic Review by Blair Sanderson

Tracklist:
Frédéric Chopin (1810 – 1849)
12 Etudes, Op.10
1. No.1 In C 02:04
2. No.2 In A Minor 01:30
3. No.3 In E 03:54
4. No.4 In C Sharp Minor 02:11
5. No.5 In G Flat 01:41
6. No.6 In E Flat Minor 03:16
7. No.7 In C 01:37
8. No.8 In F 02:33
9. No.9 In F Minor 02:04
10. No.10 In A Flat 02:17
11. No.11 In E Flat 02:37
12. No.12 In C Minor 02:46
12 Etudes, Op.25
13. No.1 In A Flat 02:25
14. No.2 In F Minor 01:27
15. No.3 In F 01:58
16. No.4 In A Minor 01:52
17. No.5 In E Minor 03:25
18. No.6 In G Sharp Minor 02:07
19. No.7 In C Sharp Minor 05:57
20. No.8 In D Flat 01:07
21. No.9 In G Flat 00:56
22. No.10 In B Minor 03:51
23. No.11 In A Minor 03:38
24. No.12 In C Minor 02:51

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Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Bác có tổ khúc 4 mùa cho Piano từ tháng 1 đến tháng 12 của Tchaikovsky không cho e xin ạ. Cám ơn Bác nhiều.

 

Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Lisiecki - Mozart Piano Concertos 20 21 (2012) [DG] {24-96}

View attachment 198446

FLAC (tracks) 24 bit/96 kHz | Time - 59:33 minutes | 931 MB | 5% recovery info
Studio Master, Official Digital Download | Artwork: Front cover | Deutsche Grammophon | 2012
Soloist: Jan Lisiecki (piano)
Conductor: Christian Zacharias
Orchestra: Symphonieorchester des Bayerischen Rundfunks

Spoiler

Jan Lisiecki, the Canadian prodigy, makes his Deutsche Grammophon debut with a masterful interpretation of Mozart Concertos. Lisiecki performs with technical assurance in this collaboration with Christian Zacharias, who leads the Symphonieorchester des Bayerischen Rundfunks. Mozart’s Piano Concertos nos. 20 & 21 are technically challenging pieces and are well-respected in the classical repertoire. Lisiecki displays unworldly virtuosity, far beyond his years. The performances are glowing and compelling. Absolutely essential.

The Deutsche Grammophon label has offered a series of teenage prodigies, not all of whom have lived up to their billing. This release by Polish-born Canadian pianist Jan Lisiecki, just 17 and looking not entirely unlike Justin Bieber, may make a bigger splash than most. You might guess from the sheer daring of the interpretations, especially that of the Piano Concerto No. 20 in D minor, K. 466, that you were dealing with extreme youth here, but no insufficiency of technique or tone gives it away. The Piano Concerto No. 20 is really impressive. Lisiecki and conductor Christian Zacharias, leading the Bavarian Radio Symphony Orchestra, set out to create a real old-school recording of this most stormy of Mozart's concertos, and they succeed in forging something that's quite detailed and coherently worked out. It might also be called over the top, but that's something to be decided by the individual listener Lisiecki deploys a big sound, and he and Zacharias add on tempo variations, ornaments, and sudden dramatic gestures, topping the whole thing off with Beethoven's underutilized cadenza for the first movement. It's sort of as if one of the big Russian-schooled pianists of the middle part of the last century had decided to record the work with Leopold Stokowski as conductor, and Zacharias' contribution is key: he ruffles the orchestra's strings into spiky little attacks. In the Piano Concerto No. 21 in C major, K. 467, they are not quite as distinctive, but the breadth and control of Lisiecki's playing is nevertheless impressive, and in a world in which young students are disinclined to take chances he deserves all kinds of credit.

Tracklist:

01 - Piano Concerto No.20 in D minor, K.466 - 1. Allegro
02 - Piano Concerto No.20 in D minor, K.466 - 2. Romance
03 - Piano Concerto No.20 in D minor, K.466 - 3. Rondo (Allegro assai)
04 - Piano Concerto No.21 in C, K.467 - 1. Allegro maestoso
05 - Piano Concerto No.21 in C, K.467 - 2. Andante
06 - Piano Concerto No.21 in C, K.467 - 3. Allegro vivace assai

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Gửi bạn: Paley - Tchaikovsky - Grande Sonate - The Seasons (2014)

View attachment 198513

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Gửi lời cám ơn chân thành đến bác. Chúc bác và gia quyến hạnh phúc, tràn đầy niềm vui.

 

Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Rattle - Bizet Carmen (2012) [Warner] {24-44}

Kiệt tác opera Carmen của Bizet, tác phẩm luôn đứng trong top những vở opera được dàn dựng nhiều nhất trên toàn cầu!

View attachment 198619

FLAC (tracks) 24-bit/44,1 kHz | Time - 149:06 minutes | 1,39 GB | 5% recovery info
Studio Master, Official Digital Download | Artwork: Digital booklet | Warner Classics
Carmen - Magdalena Kožená: Mezzo Soprano
Don José - Jonas Kaufmann: Tenor
Micaëla - Genia Kühmeier: Soprano
Escamillo - Kostas Smoriginas: Baritone
Zuniga - Christian van Horn: Bass-baritone
Moralès - Andrè Schuen: Bass-baritone
Frasquita - Christina Landshammer: Soprano
Mercédès - Rachel Frenkel: Mezzosoprano
Remendado - Jean-Paul Fouchécourt: Tenor
Dancairo - Simone del Savio: Baritone

Chor der Deutschen Staatsoper Berlin - Chorus Master: Eberhard Friedrich
Kinderchor der Deutschen Staatsoper Berlin - Chorus Master: Vinzenz Weissenburger
Berliner Philharmoniker - Conductor: Sir Simon Rattle

Spoiler

Simon Rattle has been principal conductor of the Berlin Philharmonic Orchestra since 2002, and this recording is their 10 th anniversary present to one another. It is also timed to coincide with performances of the opera in Salzburg with Rattle and exactly the same cast of singers. At the Easter festival the Berliners joined them in the pit for their final hurrah before they controversially relocate their Easter operatic business to Baden-Baden. For performances of the Salzburg production this summer the Vienna Philharmonic take over.
Carmen isn’t a piece you might initially link Rattle with, but his much-praised work with Debussy and Ravel has shown that he is comfortable with French music and, while this recording might not bring many revelations, it is thrilling in many ways and is well worth exploring. Rattle has assembled a good cast of singers crowned by an outstanding principal pair. Magdalena Kožená, Rattle’s wife in real life, doesn’t have a voice one naturally associates with Carmen – her mezzo is lower than many famous sopranos who have taken the role for a start, and she sometimes sings at one remove from the character’s raw passion – but she brings something compelling and exciting to her portrayal of the amoral gypsy.


Tracklist:

01 - Prélude
02 - Act 1: "Sur la place, chacun passe, chacun vient, chacun va" (Moralès, Dragons)
03 - Act 1: "Regardez donc cette petite qui semble vouloir nous parler" (Moralès, Micaëla, Dragons)
04 - Act 1:"Avec la garde montante, nous arrivons, nous voilà!" (Enfants)
05 - Act 1: "La cloche a sonné; nous, des ouvrières" (Jeunes gens)
06 - Act 1: "Mais nous ne voyons pas la Carmencita!" "Quand je vous aimerai?" (Jeunes gens, Dragons, Cigarières, Carmen)
07 - Act 1: "L'amour est un oiseau rebelle" (Carmen, Cigarières, Jeunes gens, Dragons)
08 - Act 1: "Carmen! sur tes pas nous nous pressons tous!" (Jeunes gens, Cigarières)
09 - Act 1: "Que est-ce-que ca veut dire, ces façons-là? (Don José, Micaëla)
10 - Act 1:"Parle-moi de ma mère" (Don José, Micaëla)
11 - Act 1: "Attends un peu" (Don José, Micaëla)
12 - Act 1: "Au secours!" (Zuniga, Cigarières)
13 - Act 1: "Eh bien, José? Qu'est-ce qui c'est passé?" (Zuniga, Don José)
14 - Act 1: "Avez-vous quelque chose à répondre?" - "Tra la, la, la, coupe-moi" (Zuniga, Carmen)
15 - Act 1: "Laissez-moi échapper" (Carmen, Don José)
16 - Act 1: "Près des remparts de Séville" (Carmen, Don José)
17 - Act 1: "Voice l'ordre, partez" (Zuniga, Carmen)
18 - Act 2: Entreacte
19 - Act 2: "Les tringles des sistres tintaient avec un éclat métallique" (Carmen, Frasquita, Mercédès)
20 - Act 2:"Vivat! vivat le Torero!" (Amis d'Escamillo, Zuniga, Carmen, Frasquita, Mercédès, Moralès)
21 - Act 2: "Votre toast, je peux vouz le rendre"/ "Toréador, en garde!" (Escamillo, Carmen, Frasquita, Mercédès, Moralès, Zuniga)
22 - Act 2: "Dis-moi ton nom" (Escamillo, Carmen)
23 - Act 2: "Toréador, en garde" (Amis d'Escamillo)
24 - Act 2: "Eh bien monsieur, quelles nouvelles" (Frasquita, Dancairo, Mercédès, Remendado)
25 - Act 2: "Nous avons en tête une affaire" (Dancaïro, Frasquita, Mercédès, Remendado, Carmen)
26 - Act 2: "Partez sans moi, j'irai vous rejoindre demain" (Carmen, Frasquita, Mércèdes, Remendado, Dancairo, Don José)
27 - Act 2: "Enfin, te voilà!" (Carmen, Don José)
28 - Act 2: "Je vais danser en votre honneur" (Carmen)
29 - Act 2: "La-la-la-la" / "Attends un peu, Carmen" (Carmen, Don José)
30 - Act 2: "Au quartier! pour l'appel?" (Carmen, Don José)
31 - Act 2: "La fleur que tu m'avais jetée" (Don José)
32 - Act 2: "Non! tu ne m'aimes pas!" (Carmen, Don José)
33 - Act 2: "Non! Je ne veux plus t'écouter!" (Don José, Carmen)
34 - Act 2: "Holà! Carmen! holà! holà!" (Zuniga, Don José, Carmen)
35 - Act 2: "Bel officier, l'amour vous joue en ce moment un assez vilain tour!" (Carmen, Remendado, Dancaïro, Bohémiens, Zuniga)
37 - Act 3: Entr'acte
38 - Act 3: "Écoute, écoute, compagnon, écoute!" (Bohémiens)
39 - Act 3: "Notre métier est bien" (Carmen, Don José, Frasquita, Mercédès, Dancaïro, Remendado, Bohémiens et Bohémiennes)
40 - Act 3: "À quoi tu penses?" (Carmen, Don José)
41 - Act 3: "Mêlons! Coupons!" (Frasquita, Mercédès)
42 - Act 3: "Voyons que j'essaie à mon tour" (Carmen)
43 - Act 3: "En vain pour éviter" (Carmen)
44 - Act 3: "La mort" / "Parlez encor, parlez mes belles" (Carmen, Frasquita, Mercédès)
45 - Act 3: "Eh bien?" - "Eh bien, c'est plus compliqué que prévu!" (Carmen, Frasquita, Mércèdes, Dancaïro, Remendado)
46 - Act 3: "Quant au douanier" (Carmen, Frasquita, Mercédès, Dancaïro, Remendado, Bohémiens et Bohémiennes)
47 - Act 3: "Je dis que rien ne m'épouvante" (Micaëla)
48 - Act 3: "Qui êtes-vous, répondez!" (Don José, Escamillo)
49 - Act 3: "Je suis Escamillo, Torero de Grenade!" (Escamillo, Don José)
50 - Act 3: "Elle avait pour amant" (Escamillo, Don José)
51 - Act 3: "Mais pour nous enlever nos filles de Bohème" (Don José, Escamillo)
52 - Act 3: "Enfin ma colère" - "Quelle maladresse" (Don José, Escamillo)
53 - Act 3: Tout beau!" (Escamillo, Don José)
54 - Act 3: "Holá! holá! José!" (Carmen, Escamillo, Don José, Dancaïro)
55 - Act 3: "Prends garde à toi Carmen" (Don José, Dancaïro, Bohémiens et Bohémiennes, Remendado, Carmen, Micaëla, Frasquita, Mercédès)
56 - Act 3: "Moi! Je viens te chercher!" (Micaëla)
57 - Act 3: "Va-t'en" - "Tu me dis de la suivre!" (Carmen, Don José)
58 - Act 3: "Toréador, en garde!" (Escamillo)
59 - Act 4: Entr'acte
60 - Act 4: "A deux cuartos!" (Marchands, Marchandes, Zuniga, Une marchande, Un bohemien)
61 - Act 4: "Les voici! Voici la quadrille!" (Churs, Enfants)
62 - Act 4: "Si tu m'aimes, Carmen" (Escamillo, Carmen)
63 - Act 4: "Carmen, un bon conseil" (Frasquita, Carmen, Mercédès
64 - Act 4: "C'est toi" - "C'est moi" (Carmen, Don José)
65 - Act 4: "Tu m'aimes donc plus" (Don José, Carmen, Chorus)

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Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Belohlavek - Smetana. The Bartered Bride (2012) [HM] {24-48}

View attachment 198734

FLAC (tracks) 24-bit/48 kHz | Time - 136:17 minutes | 1,44 GB
Studio Master, Official Digital Download | Artwork: Digital booklet
Mařenka - Dana Burešová, soprano
Jenik - Tomáš Juhás, tenor
Kecal - Jozef Benci, bass
Vašek - Aleš Voráček, tenor
Mícha - Gustáv Beláček, bass
Háta - Lucie Hilscherová, mezzo-soprano
Krušina - Svatopluk Sem, baritone
Ludmila - Stanislava Jirků, mezzo-soprano
Ringmaster - Jaroslav Březina, tenor
Esmeralda - Kateřina Kněžiková, soprano
Indian - Ondrej Mráz, bass
First Child - Maxim Dusek, treble
Second Child - Babette Rust, soprano

BBC Singers - Chorus Master: Andrew Griffiths
BBC Symphony Orchestra - Conductor: Jiří Bělohlávek

Spoiler

After his symphonic poem Má vlast, Smetana’s The Bartered Bride, is arguably his most popular work. This recording, issued by Harmonia Mundi, is taken from a live concert performance at The Barbican in May 2011, and leaves one in no doubt as to why Jirí Belohlávek has made the Czech repertoire such a splendid calling card during his tenure as Chief Conductor of the BBC Symphony Orchestra.

Jirí Belohlávek is not a flamboyant conductor who has the audience stamping and cheering, but his musical integrity and love of his native music shines through every note and phrase. The effect on the orchestra and cast is truly palpable. He wisely surrounds himself with a Czech cast, who inhabit their native idiom with a natural fluency, adding greatly to the lively sparkle that prevails throughout. To Western ears, the Czech language may sound like emptying bathwater, but in indigenous hands it bounces along delightfully. This is never more so than in the rapid passages of Kecal, the scheming, bureaucratic marriage broker, sung by Jozsef Benci, whose rich, plummy bass, trips the light fantastic like a seasoned Gilbert & Sullivan patterer. And my, how he relishes his long, bottom notes, like a sonorous yawn down a storm drain.
All the principal singers excel. Dana Buresová’s Marenka soars into the heavens with astounding force and clarity, her top notes ablaze with intensity. She is equally matched by Tomás Juhás as Jenik her lover. He is certainly no Wagnerian heldentenor, and there may be some who find his brittle, nasal tone a bit irritating, but in vocal terms he is the perfect foil to Dana Buresová’s hard-edged brilliance. Ales Vorácek’s performance as the naïve, stuttering simpleton Vašek, is a masterpiece of characterization, giving poignancy and depth where it is so often portrayed as caricature; his stammer is beautifully executed and very touching.
However, the real accolades rest firmly on Jirí Belohlávek’s shoulders. The Bartered Bride may be a comic opera with farcical moments but it has other, darker hues as well, and getting the balance right is very tricky. Belohlávek pulls this off in spades. Much of the action occurs outside, i.e. the village green, and Belohlávek’s rhythmic drive, neither forceful nor plodding, gives everything a tangy, open-air freshness. Whilst the tender, more intimate moments are lovingly sculpted, the overall effect is one of infectious, bouncy joy. The BBC Symphony Orchestra are clearly in thrall to their outgoing Chief Conductor and play with their hearts nailed to the village May pole – never before have I heard such a penetrating, iridescent piccolo. Played in one sitting and you have a classic romantic opera-fest, performed with wit, exuberance, and great élan.

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