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Salle - Schumann (2013) [Naive] {24-44}

View attachment 192934

FLAC (tracks) 24 bit/44.1 kHz | 1 CD | Digital Booklet | 500 MB | 01:00:50
Classical | Official Digital Download | Naïve
Robert Schumann
Lise de La Salle (piano)

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Abbado - Bruckner Symphony No. 9 (2014) [DG] {24-48}

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FLAC (tracks) 24 bit/48kHz | 01:03:01 minutes | 614 MB | Genre: Classical
Official Digital Download | © Deutsche Grammophon
Lucerne Festival Orchestra
Claudio Abbado (conductor)

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Nézet-Séguin - Strauss Ein Heldenleben (2011) [BIS] {24-44}

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FLAC (tracks) 24 bit/44.1kHz | 01:09:13 minutes | 571 MB | Classical
Official Digital Download – Source: eClassical | © BIS Records
Recorded: June 2010 at de Doelen Hall, Rotterdam, The Netherlands
Igor Gruppman solo violin (#1-6)
Dorothea Röschmann soprano (#7-10)
Rotterdam Philharmonic Orchestra
Yannick Nézet-Séguin (conductor)

Spoiler

The first recording by Yannick Nézet-Séguin and the Rotterdam Philharmonic Orchestra for BIS centred on Berlioz’ Symphonie Fantastique, a work which stands squarely on the threshold between Classicism and Romanticism. Nézet-Séguin’s interpretation brilliantly demonstrated this ambivalence, as the reviewer in CD Review on BBC Radio 3 remarked: ‘A Fantastic Symphony that relishes in the transparency and the delicacy of Berlioz’s scoring while remaining true to its vivid imagination and dramatic punch’. On the follow-up to that exciting release is another work that straddles a musical divide, namely Richard Strauss’ Four Last Songs. Composed in 1948, these late blooms of an unabashed Romanticism stood in the midst of a musical landscape which featured the twelve-tone serialism of the Darmstadt School, John Cage’s prepared piano and the first examples of musique concrète. In accordance with Strauss’s wish, it was the dramatic soprano Kirsten Flagstad who first performed the songs, but they also became closely associated with Elisabeth Schwarzkopf. On the present recording, it is Dorothea Röschmann, one of today’s foremost Mozart sopranos who lends her voice to what is often regarded as an expression of the composer’s acceptance of death’s inevitability, at the age of eighty-four. We meet Strauss in a completely different mood in the disc’s opening work – the large-scale symphonic poem Ein Heldenleben (A Hero’s Life) composed fifty years before the songs. By casting himself in the role of the Hero, Strauss managed to provoke generations of music-lovers for years to come. A study of aggressive egotism, the work has been called, as well as the most conceited piece of music ever written. But it is also widely regarded as one of the most brilliant, and virtuosic, orchestral scores in the history of music, displaying the possibilities of a large symphony orchestra to the fullest.

Tracklist:
Richard Strauss (1864–1949)
Ein Heldenleben, Op.40
1 Der Held 04:20
2 Des Helden Widersacher 03:03
3 Des Helden Gefährtin 14:17
4 Des Helden Walstatt 07:26
5 Des Helden Friedenswerke 06:42
6 Des Helden Weltflucht und Vollendung 11:08
Vier letzte Lieder
7 I. Frühling 03:16
8 II. September 04:34
9 III. Beim Schlafengehen 05:25
10 IV. Im Abendrot 07:49

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Davis Pike - Sibelius Violin Concerto Karelia Suite (2014) [Chandos] {24-96}

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FLAC (tracks) 24 bit/96 kHz | 1 CD | Digital Booklet | 1.28 GB | 01:18:20
Classical | Official Digital Download - Source: Chandos Records
Jean Sibelius
Jennifer Pike (violin)
Bergen Philharmonic Orchestra
Sir Andrew Davis (conductor)

Spoiler

Jean Sibelius is perhaps best known for his seven great symphonies but there is also a large body of music for the concert hall, the theatre, and the salon, some of which is explored on this release. The Violin Concerto in D minor, Sibelius’s only full-length concerto, marries brilliantly idiomatic writing for the solo instrument with the seriousness characteristic of the symphonies. Intensely virtuosic, it is both a dramatic and a deeply romantic work. The Swan of Tuonela comes from the suite of four Lemminkäinen Legends, inspired by traditional Finnish myths. In it the majestic motion of the swan is evoked by the arching phrases of the cor anglais. Also featured are two well-known shorter works indelibly linked with Finnish identity.
Finlandia became a national emblem of the Finnish struggle for independence from Russia while Andante festivo is a staple of Finnish public occasions. The Karelia Suite is another patriotic work, the rough-hewn character of its three movements intended to evoke a folk-like authenticity.

Sir Andrew Davis continues his relationship with the Bergen Philharmonic Orchestra in this their third recording together on Chandos. They are joined in the Violin Concerto by Jennifer Pike, one of the brightest young violinists performing today.
Reviews: “This is an exceptionally fine reading of a testing concerto...She catches the sinuous ethereality of Sibelius’s vision, and the loneliness as well, but there’s plenty of passion where it matters and tremendous technical skill.”
“this enjoys one of the finest ever actual recordings...giving Jennifer Pike's violin a tremendous sense of presence. And she plays it with impressive mastery. She inclines to the bittersweet Tchaikovskian view...This is a marvellously warm, flowing and passionate performance...Davis matches her with a rich-textured, powerful reading.”

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Lewin - Debussy Beau Soir Preludes Book 2 (2014) [Sono] {24-192}

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FLAC (tracks) 24 bit/192 kHz | Digital Booklet | 2.0 GB | 01:09:10
Classical | Official Digital Download - Source: HDtracks | Sono
Claude Debussy
Michael Lewin

Spoiler

Even in a catalog crowded with world-class Debussy Préludes Book II cycles, Michael Lewin has a lot to offer. The intricate fingerwork in Nos. 1, 4, 8, 11 and 12 combine muted hues and blueprint clarity, while sustained neutral tones create haunting long lines throughout Nos. 2 and 10. The disc opens with pianist/transcriber Koji Attwood’s beautiful reworking of the song “Beau Soir,” followed by myriad short works. Although Lewin’s cut and dried Valse romantique and La Plus que lente may lack charm and sentiment to certain ears, L’isle joyeux and Etude pour les octaves release their pent-up tension to impressive effect.

Reviews: Sono Luminus is proud to announce the latest project from Michael Lewin, Beau Soir - Préludes Book II and Other Works. It is a collection of popular works from one of the world’s favorite composers with his complete second book of préludes following the popular and critical success of Piano Phantoms (DSL-92168). This is the first time this music has been presented in stunning High-Resolution stereo and surround sound on Pure Audio Blu-ray (standard CD included in the package).

Michael Lewin enjoys a distinguished international reputation as one of America’s most abundantly gifted and charismatic concert pianists, performing to acclamation in 30 countries. Commanding a repertoire of 40 piano concertos, Michael Lewin has appeared as soloist with the Netherlands Philharmonic, Cairo Symphony, Bucharest ‘Enescu’ Philharmonic, Filharmónica Jalisco de Guadalajara, State Symphony of Greece, the Boston Pops, Moscow Chamber Orchestra, the Symphonies of Phoenix, Indianapolis, Miami, Colorado, Nevada, West Virginia, Puerto Rico, Illinois, North Carolina, Sinfonia da Camera, and the Youth Orchestra of the Americas. He has premiered two Concertos by David Kocsis and performed Gershwin’s Rhapsody in Blue over 50 times.

Lewin’s career was launched with top prizes in the Franz Liszt International Piano Competition in the Netherlands, the American Pianists Association Award and the William Kapell International Competition. Following his notable New York recital debut in Lincoln Center, The New York Times wrote that “his immense technique and ability qualify him eminently for success.” Since then he has concertized widely in solo recital, with orchestras, and as a chamber musician. This recording will be followed up by a recording to be done in 2014 which will have Préludes Book I and more Debussy favorites.

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Đã cập nhật lại đĩa Swan lake Rozhdestvensky nhé

 

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Zimmermann - Hindemith (2013) [BIS] {24-44}

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FLAC (tracks) 24 bit/44 kHz | Full Scans | 983 MB
Classical | Official Digital Download - Source: Qobuz | BIS Records
Paul Hindemith
Frank Peter Zimmermann (violin), Enrico Pace
Paavo Järvi (conductor)
Frankfurt Radio Symphony Orchestra

Spoiler

Frank Peter Zimmermann, who in 2010 was awarded the international Paul Hindemith Prize of the City of Hanau, makes a great case for these works. His Trio recently won the 2013 BBC Music Magazine Award for their Chamber recording of Beethoven’s Trio Op. 9. In the concerto Zimmermann teams up with Paavo Järvi, another recipient of the Paul Hindemith Prize and principal conductor of the Frankfurt Radio Symphony Orchestra.
Reviews: Hindemith’s music seems to be out of fashion these days. There was a time in the 1960s and 70s when few major violinists did not program his Violin Concerto–sort of a modern German composer’s answer to Brahms. Check out, for example, the extended passage for wind ensemble that opens the slow movement. It’s so like Brahms in concept, but so totally unlike him in sonority. David Oistrakh and Isaac Stern both made excellent recordings of this splendid work, and this one certainly stands with them. Frank Peter Zimmermann plays with a tonal purity and intonational accuracy that Hindemith would have admired. Again, that plaintive slow movement stands out for its lyrical beauty and simplicity, but Zimmermann shows no lack of virtuosity in the outer movements, and he’s both ideally balanced and compellingly accompanied by the Frankfurt Radio Symphony under Paavo Järvi.
The couplings make this a release of more than usual interest, and a very useful disc for collectors looking to round out their libraries of Hindemith’s violin music. All four sonatas belong with his best chamber works, with the charming and melodically sweet Sonata in E of 1935 retaining a strong degree of historical interest as well. It was the performance of this unassumingly pleasant piece in 1936 that led to the formal campaign against Hindemith by the Nazi regime, and his subsequent departure from Germany. The contrast between the character of the music itself and the official reaction to it could not have been more ironic. In any case, Zimmermann plays with the same conviction that he brings to the concerto, nowhere more so than in the tricky Sonata for Solo Violin, Op. 31 No. 2, with its folksy variation finale. In the three accompanied sonatas pianist Enrico Pace is Zimmermann’s sensitive and intelligent partner. A great disc, then, superbly engineered and smartly programmed.

Tracklisting:
Concerto for Violin and Orchestra: I. Mäßig bewegte Halbe
Concerto for Violin and Orchestra: II. Langsam
Concerto for Violin and Orchestra: III. Lebhaft
Sonata for Solo Violin, op. 31 no. 2: I. Leicht bewegte Viertel
Sonata for Solo Violin, op. 31 no. 2: II. Ruhig bewegte Achtel
Sonata for Solo Violin, op. 31 no. 2: III. Gemächliche Viertel
Sonata for Solo Violin, op. 31 no. 2: IV. Fünf Variationen über das Lied „Komm lieber Mai“ von Mozart
Sonata in E-flat for Violin and Piano, op. 11 no. 1: I. Erster Teil. Frisch
Sonata in E-flat for Violin and Piano, op. 11 no. 1: II. Zweiter Teil. Im Zeitmaß eines langsamen, feierlichen Tanzes
Sonata in E for Violin and Piano: I. Ruhig bewegt
Sonata in E for Violin and Piano: II. Langsam
Sonata in C for Violin and Piano: I. Lebhaft
Sonata in C for Violin and Piano: II. Langsam - Lebhaft - Langsam, wie zuerst
Sonata in C for Violin and Piano: III. Fuge. Ruhig bewegt

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Bác nên add thêm recovery cho file nén, trong trường hợp này downloader có thể tự repair ---> khỏi up lại.
PS: Em có download của bác 2 lần nhưng ko thấy có recovery.

 

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Uchida - Schumann Waldszenen (2013) [Decca] {24-96}

View attachment 193048

FLAC (tracks) 24 bit/96 kHz | Front Cover | 1.01 GB |
Genre: Classical | Official Digital Download - Source: Qobuz | Decca
Robert Schumann
Mitsuko Uchida (piano)

Spoiler

Dame Mitsuko Uchida, universally acknowledged as one of the world’s foremost Schumann interpreters, follows her last album of the composer’s music (Davidsbündlertänze and Fantasie in C) with another sublime Schumann programme. Uchida’s latest Decca recording brings together the romantic fire and intensity of the Piano Sonata No. 2 in G minor Op. 22 with two remarkable works from Schumann’s final years, Waldszenen and the Gesänge der Frühe.
Her album’s repertoire explores music created by an artist burdened by deep depression and mental illness. His Gesänge der Frühe (“Songs of Dawn”) were sketched within the space of four days in February 1854, shortly before Schumann attempted to commit suicide by throwing himself in the Rhine. The work proved to be his last complete piano composition.
Reviews: If Mitsuko Uchida’s latest foray into Schumann strikes certain listeners as micromanaged, italicized, and arch, it must be said that nearly everything she does has its basis in what the composer set down in his scores. Take, for example, Waldszenen’s first piece, Eintritt, where Uchida takes pains to differentiate slurs and staccatos. Many pianists play No. 2’s triple unison passages in the beginning too loudly, whereas Uchida’s relative understatement not only adheres to Schumann’s dynamic markings, but also makes an effective contrast to the louder, brasher repeated chords to come. In Jagdlied (No. 8) Uchida is one of the few pianists on disc to give a separate timbral character to chords with sforzando markings and those with accents, rather than assigning these a generalized quality of loudness. However, the pianist’s ritards at phrase endings throughout No. 3 somewhat diffuses the conversational continuity of the right-hand canonic lines; I prefer Wilhelm Kempff’s simpler, more direct interpretation where the few pungent harmonic clashes speak for themselves, without any underlining on the pianist’s part.

The G minor sonata’s outer movements often can sound thick and foursquare, but Uchida’s flexible yet fastidiously detailed interpretations circumvent that tendency. Although her reserve in the Scherzo doesn’t match Argerich’s animation and kinetic abandon, Uchida’s steadier rhythms and more thoughtful scaling of dynamics hold your attention. To give one example, there is a quick crescendo in bar 20 leading into the opening theme’s reiteration. In order for that crescendo to “read”, so to speak, Uchida makes an unwritten diminuendo in the previous measure, which serves to intensify the crescendo’s dramatic effect.

Uchida’s expansive and sensitively shaded performances of Schumann’s late-period Gesänge der Frühe capture the music’s reflective lyricism, although I prefer the brisker fluidity and more three-dimensional linear textures that Andras Schiff and Alexander Lonquich bring to the second piece. But while many pianists put the final piece’s steadily escalating 16th notes in the foreground, Uchida does the opposite, and focuses on the sustained chords and long melody notes, almost as if she were playing the organ instead of the piano. Clearly Uchida has processed, refined, and thought about these three Schumann works to the point where she can communicate her conceptions exactly as she wishes, and that’s no small achievement.

Tracklisting:
1. Eintritt
2. Jäger auf der Lauer
3. Einsame Blumen
4. Verrufene Stelle
5. Freundliche Landschaft
6. Herberge
7. Vogel als Prophet
8. Jagdlied
9. Abschied
10. So rasch wie möglich - Schneller - Noch schneller
11. Andantino
12. Scherzo (Sehr rasch und markiert)
13. Rondo (Presto - Etwas langsamer - Prestissimo, quasi cadenza - Immer schneller und schneller)
14. Im ruhigen Tempo
15. Belebt, nicht zu rasch
16. Lebhaft
17. Bewegt
18. Im Anfang ruhiges, im Verlauf bewegtes Tempo
19. Im Herbste

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Haselböck - Liszt Hungarian Rhapsodies Nos. 1-6 (2013) [CPO] {24-96}

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FLAC (tracks) 24 bit/96 kHz | Full Scans | 1.24 GB
Genre: Classical | Official Digital Download - Source: Qobuz | CPO
Franz Liszt
Martin Haselböck (conductor)
Vienna Academy Orchestra

Spoiler

Two years ago, on the occasion of the two hundredth anniversary of Liszt’s birth, the internationally renowned Austrian conductor Martin Haselböck began releasing his complete orchestral works in performances on original instruments of the nineteenth century. The Hungarian Rhapsodies number among Liszt’s most popular compositions.
Reviews: Forget about the period instrument aspects of this recording. The claim that some of the musicians use instruments that were actually played in orchestras of Liszt’s time is nothing but a gimmick; it’s not the instrument that makes the performance, it’s the player. The claim that this represents “The Sound of Weimar” is pure puffery, and frankly I’m very tired of it and all such similar nonsense. So let’s get that out of the way and move on. It’s not a selling point.

What is a selling point is that this is a very attractive set of the six orchestral Hungarian Rhapsodies. Martin Haselböck remains a fine organist and musician generally, and his belief in Liszt is both honest and musically persuasive. This ongoing “Sound of Weimar” Liszt series has appeared on several labels, and has been largely impressive, not because of the period instrument aspect, but because the Orchestra of the Vienna Academy plays well (mostly), and because the interpretations ask us to take Liszt as seriously as the conductor does. In other words, the musicianship is there. Haselböck paces this music very well. The First Rhapsody, for example, doesn’t really get going until it’s almost half over, but Haselböck finds a flowing tempo from the outset that makes those introductory gestures sound, well, rhapsodic rather than merely spasmodic. Rhapsody No. 4 manages to sound less repetitious than it usually can, while No. 5, the darkest of the set, really does have a nicely “Hungarian” tang that never turns merely glum.
There are only two small caveats: these tasteful performances could benefit from a touch more sparkle, a bit more sense of fun, because the music can take it without necessarily turning vulgar. In both Rhapsody No. 2 and No. 6 Haselböck sounds a touch careful, but if too much seriousness is a fault then it’s probably one in the right direction given what usually happens to these pieces. Second, those “original” trumpets could be played more confidently; they have a lot to do and the players could offer a touch more swagger.
That said, these remain very pleasing, listenable performances even at a single sitting. Textures are clean and clear, and the fact that the music was arranged by Franz Doppler, later corrected and approved by Liszt, seems to make the orchestration in general less screechy than Liszt’s norm. Toss in excellent engineering from the Liszt Concert Hall in his home town of Raiding, and the result is a very enjoyable experience that just might be more musically substantial than you thought possible.

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Heras-Casado - Mendelssohn Symphony No. 2 (2014) [HM] {24-44}

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FLAC (tracks) 24 bit/44.1kHz | Time – 01:01:48 minutes | 605 MB | Genre: Classical
Official Digital Download – Source: eClassical | © Harmonia Mundi
Felix Mendelssohn Bartholdy
Christiane Karg, soprano
Christina Landshamer, soprano
Michael Schade, tenor
Bavarian Radio Choir
Bavarian Radio Symphony Orchestra
Pablo Heras-Casado, conductor

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Haitink - Bruckner Symphony No. 4 (2011) [LSO] {24-48}

View attachment 193051

FLAC (tracks) 24 bit/48 kHz | 01:09:08 | 645 MB | Genre: Classical
Studio Master, Official Digital Download | Source: Bowers & Wilkins | Artwork: Front cover | © LSO Live
Recorded: June 2011 at Barbican, London, United Kingdom
Anton Bruckner (1824-1896)
London Symphony Orchestra
Bernard Haitink, conductor

Spoiler

Bernard Haitink is internationally renowned for his interpretations of Bruckner and is widely recognized as the world’s leading Bruckner conductor.
Bruckner’s Symphony No 4 (‘Romantic’) conjures up visions of mediaeval knights, huntsmen and enchanted woodland, particularly through the prominent use of the horn in the work. One of his most popular pieces, it was treated to many revisions by the composer and this recording features the second version of the 1877/8 Nowak edition (published 1953) with the 1880 Finale.
‘Haitink’s late, live Bruckner Fourth is not only the most sumptuously beautiful, it’s also the most satisfying … few performances capture so well the sense of mystery at the heart of this symphony’ (BBC Music Magazine)
‘I’ve been something of a stickler with preferring Günter Wand’s recordings of the Bruckner symphonies … but I think I’ve found an even better version in Haitink’s No 4, not to mention the improved sonics’ (Audiophile Audition)

Tracklist:
Symphony No. 4 in E flat major, ‘Romantic’ (1874-80)
1 Beweft, nicht zu schnell 20:33
2 Andante quasi Allegretto 15:07
3 Scherzo. Bewegt – Trio: Nicht zu schnell. Keinesfalls schleppend 11:11
4 Finale: Bewegt, doch nicht zu schnell 22:17

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Stadtfeld - Schumann (2015) [Sony] {24-48}

View attachment 193054

FLAC (tracks) 24 bit/48kHz | 00:56:27 minutes | 525 MB | Genre: Classical
Official Digital Download – Source: Qobuz | © Sony Music Entertainment
Recorded: January 9-10 2015, Hallé St. Peter’s, Manchester
Robert Schumann (1810-1856)
Martin Stadtfeld (piano)
Hallé Orchestra, Mark Elder (conductor)

Spoiler

Tracklist:
Kinderszenen, Op. 15
01. I. Von fremden Landern und Menschen (1:10)
02. II. Kuriose Geschichte (1:39)
03. III. Haschemann (0:25)
04. IV. Bittendes Kind (1:14)
05. V. Glückes genug (2:04)
06. VI. Wichtige Begebenheit (1:22)
07. VII. Träumerei (1:59)
08. VIII. Am Kamin (1:09)
09. IX. Ritter vom Steckenpferd (0:52)
10. X. Fast zu ernst (3:40)
11. XI. Fürchten machen (3:47)
12. XII. Kind im Einschlummern (2:59)
13. XIII. Der Dichter spricht (2:47)
Klavierkonzert a-Moll, Op. 54
14. I. Allegro affettuoso (15:22)
15. II. Intermezzo (4:35)
16. III. Allegro vivace (11:30)

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Mehta (Sutherland - Pavarotti - Caballe) - Puccini Turandot (2013) [Decca] {24-96}

Câu chuyện giải đố kén chồng sinh tử của nàng công chúa Turandot (Đồ Lan Đóa) được tái hiện trong vở Opera cùng tên của nhà soạn nhạc opera trường phái Verismo người Ý G. Puccini. Âm nhạc của vở kịch dồn đẩy những cảm xúc mãnh liệt thông qua sự lạnh lùng của công chúa Turandot (Joan Sutherland), sự thông minh của hoàng tử Calaf (Luciano Pavarotti), đức hy sinh của Liu (Montserrat Caballe) và tình thương của đức vua Timur (Nicolai Ghiaurov). Người nghe qua vở nhạc kịch thực sự cảm nhận được thông điệp "tình yêu chiến thắng tất cả". Năm 2014, Decca đã remastered lại bản thu âm huyền thoại năm 1972 với định dạng 24 bit / 96 kHz như một phần kỷ niệm 50 năm thu âm với Decca của tenor huyền thoại Pavarotti. Một đĩa nhạc toàn huyền thoại với tenor Pavarotti, 2 sopranos hàng đầu Sutherland và Caballe, giọng bass hay nhất thời kỳ sau thế chiến Ghiaurov và nhạc trưởng người Israel Mehta. (chưa kể sự xuất hiện của tenor trứ danh Peter Pears)

Chúc cả nhà một cuối tuần thư giãn với Turandot & Calaf, hoặc ít nhất cũng nghe lại Aria nổi tiếng nhất cho giọng tenor "Nessun Dorma" qua giọng tenor nổi tiếng nhất thế giới Pavarotti. (Lưu ý: Nhớ xem cả bản libretto song ngữ (Ý + Anh) kèm theo)

View attachment 193056

FLAC (tracks) 24 bit/96 kHz | Digital Booklet with libretto | 2.2 GB | 01:57:52
Classical Opera | Official Digital Download - Source: Decca
Giacomo Puccini (1858-1924)
Joan Sutherland (Turandot); Luciano Pavarotti (Calaf); Montserrat Caballé (Liu); Nicolai Ghiaurov (Timur); Peter Pears (L'Imperatore Atoum)
John Alldis Choi; London Philharmonic Orchestra; Zubin Mehta (conductor)

Spoiler

The world's most famous tenor performs the world's most famous tenor aria, Nessun dorma, on this 1972 recording of Giacomo Puccini's Turandot. It became Luciano Pavarotti's signature aria: he performed it at his final concert. Pavarotti even managed a hit single on the charts with this recording in 1990 when it was used on the BBC's World Cup telecasts. The aria charted again in 2007 after this version was played at his funeral. In addition to Pavarotti, the star-studded recording features Joan Sutherland, Montserrat Caballé, Nicolai Ghiaurov, conductor Zubin Mehta and the London Philharmonic Orchestra.

"... Sutherland gives an intensely revealing and appealing interpretation ... Pavarotti gives a performance equally imaginative, beautiful in sound, strong on detail. Mehta directs a gloriously rich and dramatic performance, superlatively recorded, still the best-sounding Turandot, while the reading also remains supreme." --The Penguin Guide

“Turandot is a psychologically complex work fusing appalling sadism with self-sacrificing devotion. The icy Princess of China has agreed to marry any man of royal blood who can solve three riddles she has posed. If he fails his head will roll. Calaf, the son of the exiled Tartar king Timur, answers all the questions easily and when Turandot hesitates to accept him, magnanimously offers her a riddle in return – 'What is his name?'. Liù, Calaf's faithful slave-girl, is tortured but rather than reveal his identity kills herself. Turandot finally capitulates, announcing that his name is Love. Dame Joan Sutherland's assumption of the title role is statuesque, combining regal poise with a more human warmth, while Montserrat Caballé is a touchingly sympathetic Liù, skilfully steering the character away from any hint of the mawkish. Pavarotti's Calaf is a heroic figure in splendid voice and the chorus is handled with great power, baying for blood at one minute, enraptured with Liù's nobility at the next. Mehta conducts with great passion and a natural feel for Puccini's wonderfully tempestuous drama. Well recorded.” --The Gramophone Classical Music Guide

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Tuyệt vời !!!>- Nghe nhạc hay còn được dẫn giải để hiểu nữa thì thật là ... hết ý ... !!!:-bd

 

Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Bác kiểm tra lại ngày sinh của tác giả lại cái nhỉ: "Сomposer: Ludwig van Beethoven (1770 - 1901)"

 

Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Calleja - Tenor Arias (2004) [Decca] {24-88}

View attachment 193090

FLAC 24bit/88,2kHz | 930 MB | Front Cover
Decca | 2004 | 5% Recovery Info
Classical, Opera
Joseph Calleja (tenor);
Orchestra Sinfonica e Coro di Milano Giuseppe Verdi; Riccardo Chailly (conductor)

Spoiler

Review by Allen Schrott

On this introductory recording, the young maltese tenor Joseph Calleja displays the elegant, self-possessed singing that has made him a hot prospect on European stages. With the likes of conductor Riccardo Chailly weighing in behind him, Calleja is clearly on the fast track to success. That kind of backing doesn’t come easily for a young singer. But Calleja clearly has some growing to do, and this recording is best viewed as a glimpse of an emerging talent.

The main strength of Calleja’s voice is its youthful quality. It’s a lively sound that never lapses into the labored muscling that you often hear from operatic tenors in pursuit of loudness above all else. That will never be in the cards for Calleja, who has one of the lightest tenor voices to come along in a long time. As a result, he explores a much softer range of dynamics than listeners might be accustomed to in this music, often with charming results. He never seems to go for more than is available to him, which is a refreshing quality. But he also often lapses into nasality on certain vowels, disrupting the easy flow of his sound. His musical inexperience shows in the shaping of many phrases, some of which seem clipped, rushed, or inadequately motivated. The most appealing tracks are his “Questa o quella” from Verdi’s Rigoletto, which is by far the most stylish offering on the album, and, somewhat surprisingly, his “Tombe degli avi miei…Fra poco a me ricovero” from Donizetti’s Lucia di Lammermoor. The “only try this on recordings” awards go to “Addio fiorito asil” from Puccini’s Madama Butterfly and “Lamento di Federico” from Cilea’s L’arlesiana, both of which are too heavy for Calleja. Chailly and the Giuseppe Verdi Orchestra Milan are outstanding throughout — no singer could ask for better. ~allmusicguide
1 Verdi – Lunge da lei…De’ miei bollenti spiriti… (La traviata) 4:13
2 Verdi – O mio rimorso! (La traviata) 2:58
3 Verdi – O figli, o figli miei!…Ah, la paterna mano (Macbeth) 3:49
4 Verdi – Questa o quella (Rigoletto) 1:44
5 Verdi – Ella mi fu rapita!…Parmi veder le lagrime… (Rigoletto) 4:58
6 Verdi – Duca, duca!… (Rigoletto) 2:17
7 Verdi – Possente amor mi chiama (Rigoletto) 3:08
8 Verdi – La donna è mobile (Rigoletto) 2:13
9 Donizetti – Quanto è bella (L’elisir d’amore) 2:30
10 Donizetti – Tombe degli avi miei…Fra poco a me ricovero… (Lucia di Lammermoor) 6:54
11 Donizetti – Oh meschina… (Lucia di Lammermoor) 4:12
12 Donizetti – Tu che a Dio spiegasti l’ali (Lucia di Lammermoor) 4:51
13 Cilea – La dolcissima effigie (Adriana Lecouvreur) 2:35
14 Cilea – Lamento di Federico (‘È la solita storia’) (L’arlesiana) 4:26
15 Puccini – Addio fiorito asil (Madama Butterfly) 2:08

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Wunder - Tchaikovsky Chopin Piano Concertos (2012) [DG] {24-96}

View attachment 193099

FLAC 24bit/96kHz | 1.3 GB | Booklet
Deutsche Grammophon | 2004 | 5% Recovery Info
Classical, Piano Concerto
Pyotr Ilyich Tchaikovsky; Fryderyk Chopin
Ingolf Wunder (piano)
St. Petersburg Philharmonic Orchestra; Vladimir Ashkenazy (conductor)

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Ashkenazy - Rachmaninov Piano Concertos (2014 RM) [Decca] {24-96}

Thêm một bản remastered của Decca với 4 bản Piano Concertos của Rachmaninov. Rachmaninov là một nhà soạn nhạc đồng thời là một nghệ sỹ dương cầm bậc thầy, một trong những pianist vĩ đại nhất mọi thời, vì vậy, những bản piano concertos của ông là những thách thức thực sự về kỹ thuật đối với những pianists hàng đầu. Các bản thu âm này được thực hiện bởi nghệ sỹ dương cầm huyền thoại Askhkenazy và nhạc trưởng đa tài Previn cách đây hơn 40 năm và được Decca remastered lại với định dạng lossless 24 bit - 96 kHz vào năm 2014. Grammophon nhận xét: "Bất chấp thời gian thu âm, âm thanh thật tuyệt vời, không có gì che phủ được sự vĩ đại của Ashkenazy, đây là tác phẩm của một tâm hồn âm nhạc vĩ đại". Xin được gửi đến cả nhà bộ 4 piano concertos và khúc biến tấu dựa trên giai điệu tuyệt vời của Caprice #24 cho violin của Paganini. (Phần 3 của Concerto #3 3. Finale (Alla breve) là bản nhạc yêu thích của mình

View attachment 193159

FLAC (tracks) 24 bit/96 kHz | Digital Booklet | 2.70 GB | 02:38:38
Genre: Classical | Official Digital Download - Source: HDtracks | Decca
Sergei Rachmaninov
Vladimir Ashkenazy (piano)
London Symphony Orchestra; André Previn (conductor)

Spoiler

The Rachmaninov Piano Concertos performed by Vladimir Ashkenazy and the London Symphony Orchestra, conducted by André Previn are among the most iconic recordings in the Decca Classics catalogue. For the first time in over 40 years, the recordings have been remastered in ultra-high quality 96kHz 24-bit audio at Abbey Road Studios.
A note on the remastering: To celebrate these iconic recordings, DECCA has gone back to the original tapes and used the latest techniques and extensive comparison with the first LP pressings, to make a definitive transfer. For the first time ever, all audio processing has been achieved in the 96kHz 24-bit domain.

Reviews: To celebrate these iconic recordings, DECCA has gone back to the original tapes and used the latest techniques and extensive comparison with the first LP pressings, to make a definitive transfer. For the first time ever, all audio processing has been achieved in the 96kHz 24-bit domain.
Rachmaninov’s works for piano and orchestra enjoy wide popularity with audiences and pianists. While the works are renowned for their often extreme technical demands, they are also famous for the deep poetic feeling and the typically Russian passion they evoke. These legendary interpretations bring authority and integrity to the music. “From Ashkenazy, every page declares Rachmaninov’s nationality, his indelibly Russian nature… Prévin works hand in glove with his soloist… the product of the greatest musical sympathy.” Gramophone

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Vänskä - Sibelius Lemminkäinen Suite (2014) [BIS] {24-44}

View attachment 193196

FLAC (tracks) 24 bit/44.1 kHz | Digital Booklet | 650 MB | 5% Recovery Info
Genre: Classical | Official Digital Download - Source: eClassical | BIS Records |2014
Jean Sibelius
Lahti Symphony Orchestra; Osmo Vänskä (conductor)

Spoiler

The source of the Lemminkäinen Suite is the Finnish national epic Kalevala, and its four movements – of which ‘The Swan of Tuonela’ is often performed separately - tell of the adventures of the young hero Lamminkäinen. In comparison, The Wood-Nymph only had its first complete performance in 1996. This was given by the performers on this disc, a team which has become synonymous with top-flight idiomatic Sibelius performances.

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