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Donizetti - Lucia di Lammermoor - Anna Moffo - Remastered

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Gaetano Donizetti (1797-1848)

Anna Moffo, Carlo Bergonzi, Mario Sereni
Ezio Flagello, Pierre Duval, Corinna Vozza
Chorus and Orchestra of RCA Italiana Opera
dir: Georges Prêtre
Rec. RCA Italiana Studio, Rome July- August 1965.
Sony Classical Opera - RCA Read Seal - 8887573472 (2015)
ADD 2 CD Stereo - Remastered 24bit/96k Hz
[flac&cue; cover, inlays, booklet&disc scans]






Reviews:

"Back in the LP days this was my LUCIA recording. The first Callas recording was out of print and I knew who Anna Moffo was. I was also attracted to the eye candy cover. I had already heard Bergonzi live. And I was familiar with the wonderful Georges Pretre. I loved the performance. Well years later the recording still holds up.

But I can hear some of the issues others have mentioned. Moffo is a superb Lucia but the role's high tessitura exposes some edgy attacks. Be that as it may, Moffo had one of the most beautiful and lush voices of her day. The recording presents an intelligent and harrowing interpretation. Listening from cover to cover, one can follow a mind slowly getting unhinged.

The men are powerful. Wasn't Flagello one of the most underrated singers? His range was amazing in his prime. Sereni always had a beautiful voice. Bergonzi is simply a joy.

The recording was remastered in the 24 bit format. You have to find this out in the booklet. It's not on the cover. I knew something was different seconds into the recording. Great job.

This is worthy of the competition. I highly recommend it. For Moffo fans the recording is a must have." - Marc Musnick - Amazon.com

"I became familiar with this recording via its first CD incarnation which sounded harsh, distorted, and as such did no justice to the performance. While this is not the most perfect recording of Donizetti's Scottish drama it is indeed a much better recording that that original CD version made it out to be. If you own that version it will be well worth your while to replace it as this newly mastered version gives a more accurate representation of the voices which are captured in a much warmer environment.

While Anna Moffo is a bit past her prime she gives a credible interpretation the title character. She has enough substance to her voice and dramatic involvement so as not to interpret the role as the light voiced canaries of pre Callas days. As Edgardo Carlo Bergonzi gives an elegant interpretation of the jilted tenor lover. Baritone Mario Sereni and basso Nicola Flaggello round out the well balanced cast. Conductor Georges Prêtre keeps things moving at a decent pace in what is a virtually uncut performance of Donizetti's score.

Since Lucia is a prima donna based opera, this might not be an absolute first choice for everyone. Still it is definitely a contender. For many Callas is the touchstone as Lucia. However, all of her recordings are heavily cut. For others it might be Sutherland or another favorite prima donna. As such, this recording would be valid way to supplement any recording already in your collection. Moreover, for those who are fans of any of the singers featured here this is self recommending."- Marc B - Amazon.com

Harp, Glass harmonica, Violoncello

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The golden harp
Music from Handel, Bach, Dussek, Glinka, Spohr, Debussy, Durand
Anna Lelkes, harp
[58:25] Recorded 1995

L'Armonica. Music with glass harmonica
Karl Leopold Röllig (1754-1804): Rondeau A major
Johann Adolph Hasse (1699-1783): Cantata "L'Armonica"
Wolfgang Amadeus Mozart (1756-1791): Adagio and Rondeau KV 617
Joseph Haydn (1732-1809): Symphony C major "Maria Theresia" Hob. I.48
Concilium musicum Wien
Ursula Fiedler, sopran
Sascha Reckert and Philippe Marguerre, glass harmonica

[70:41] Recorded 2005

Pierre Fournier: Violoncello
Edouard Lalo (1823-1892): Concerto for Cello and Orchestra in D minor
Camille Saint-Saens (1835-1921): Concerto for Cello and Orchestra No. 1 in A minor op. 33
Max Bruch (1838-1920): Kol Nidrei op. 47
Ernst Bloch (1880-1959): Schelomo
Pierre Fournier, Violoncello
Orchestre Lamoureux, Paris - Berliner Philharmoniker
[79:14] Recorded 1961 / 1967, Republished 1999


TRACKLIST

Die goldene Harfe
The golden harp

01. G. F. Händel: Aria [03:40]
02. G. F. Händel: Passacaglia [07:01]
03. J. S. Bach: Prelude in C major [02:09]
04. J. L. Dussek: Sonata [08:00]
05. M. I. Glinka: Variations on a theme of Mozart [08:41]
06. L. Spohr: Fantasie op. 35 [10:45]
07. C. Debussy: First Arabesque [06:17]
08. C. Debussy: Clair de lune [05:46]
09. A. Durand: Valse op. 83 [06:02]

Total: 58:25
Anna Lelkes: Harfe / harp

DDD
P + C 1995
Zyx Music GmbH & Co KG www.zyx.de www.zyxmusic.com
CLS 4130

TRACKLIST

L'Armonica
Musik mit Glasharmonika

Karl Leopold Röllig (1754-1804)

01 Rondeau A-Dur für Glasharmonika und Streicher 5:02

Johann Adolph Hasse (1699-1783)

"L'Armonica", Kantate fur Sopran, Glasharmonika
und Orchester 26:40
02 Introduzione 4:09
03 Aria 6:09
04 Recitativo 5:13
05 Aria 11:09

Wolfgang Amadeus Mozart (1756-1791)

06 Adagio und Rondeau für Glasharmonika, Flöte,
Oboe, Viola und Violoncello KV 617 12:31

07 Arie der Arminda aus
"La finta giardiniera", KV 196 4:16

Joseph Haydn (1732-1809)

Sinfonie C-Dur Nr. 48 "Maria Theresia" Hob. I.48 21:47
08 Allegro 7:57
09 Adagio 6:10
10 Menuetto. Allegretto 4:26
11 Finale. Allegro 3:14

Total: 70:41
Concilium musicum Wien (auf Originalinstrumenten)
Ursula Fiedler, Sopran - Sascha Reckert und Philippe Marguerre, Glasharmonika
Konzertmeister: Christoph Angerer Leitung und Cembalo: Paul Angerer
Mitschnitt des Konzertes in der Allerheiligen-Hofkirche zu München am 21. Mai 2005
Unterstützt durch die Johann-Adolph-Hasse-Gesellschaft München e.V.

Cover: J.F.A. Tischbein: "De zusters van Sanders met glasharmonika",
Gemeente-Museum Den Haag)

(P)+(C) 2005 Cavalli-Records (Bamberg) www.cavalli-records.de
CCD 448

TRACKLIST

Pierre Fournier, Violoncello


EDOUARD LALO (1823-1892)

Konzert für Violoncello und Orchester d-moll [27'05]
Concerto for Cello and Orchestra in D minor
Concerto pour violoncelle et archestre en ré mineur

(1) 1. Prelude. Lento - Allegro maestoso - Tempo I [13'11]
(2) 2. Intermezzo. Andantino con motto - Allegro presto - [6'31]
Andantino (Tempo I) - Allegro presto
(3) 3. Introduction. Andante - Allegro vivace [7'23]

CAMILLE SAINT-SAËNS (1835-1921)

Konzert für Violoncello und Orchester No. 1 a-moll op. 33 [19'20]
in A minor - en la mineur

(4) 1. Allegro non troppo - Animato - Allegro molto - Tempo 1 [5'49]
(5) 2. Allegretto con moto [5'58]
(6) 3. Tempo I - Un peu moins vite - Più allegro comme le premier [7'33]
mouvement - Molto allegro

MAX BRUCH (1838-1920)

(7) Kol Nidrei op. 47 [10'30]
Adagio nach hebräischen Melodien für Violoncello und Orchester
Adagio on Hebrew Melodies for Cello and Orchestra
Adagio sur des mélodies hébraïques pour violoncelle et orchestre

Adagio ma non troppo - Un poco più animato

ERNST BLOCH (1880-1959)

(9) »Schelomo« [21'56]
Hebräische Rhapsodie für Violoncello und Orchester
Hebrew Rhapsodie for Cello and Orchestra
Rhapsodie hébraïque pour violoncelle et orchestre

Lento moderato - Andante moderato - Allegro moderato - Allegro -
Andante moderato

TT: [79'14]


PIERRE FOURNIER, Violol1cello

Orchestre Lamoureux, Paris - Berliner Philharmoniker (Bloch)
JEAN MARTINON - ALFRED WALLENSTEIN (Bloch)


LP released/veröffentlicht/paru 1961
Recording/Aufnahme/Enregistrement: Paris, Salle de la Mutualité, 5/1960
LP released/veröffentlicht/paru 1967 (Bloch)
Recording/Aufnahme/Enregistrement: Berlin, Ufa-Studio, 10/1966

Executive Producer: Prof. Elsa Schiller, Otto Gerdes (Bloch)
Recording Producer: Hans Ritter, Wolfgang Lohse (Bloch)
Tonmeister (Balance Engineer): Harald Baudis, Klaus Scheibe (Bloch)

(P) 1961/1967 (Bloch) Polydor International GmbH, Hamburg
© 1999 Deutsche Grammophon GmbH, Hamburg
457 761-2 GOR

Beethoven : Complete Piano Works Vol. 15 (Brautigam)

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Ludwig van Beethoven (1770-1827)
Diabelli Variations, Op. 120
Six National Airs with Variations, Op. 105
Ronald Brautigam, Fortepiano
BIS-1943 (2016)

Does anyone know if this is the last disc in this series or will there be one more? I seem to recall reading somewhere that there would be 16 volumes in this series.



[Flac & Sans]




Dussek Sonatas (Staier)

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Jan Ladslav Dussek (1760-1712)
Sonata in B-flat major, Op. 35 No. 1
Sonata in G major, Op. 35 No. 2
Sonata in C minor, Op. 35 No. 3
Sonata in D major, Op. 31 No. 2
Andreas Staier, Fortepiano
DHM 05472-77286-2 (1993)





[Flac & Scans]



Dussek Sonatas Vol. 2 (Staier)

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Jan Ladislav Dussek (1760-1812)
Fantasie and Fugue in F minor, Op. 55
Sonata in A Major, Op. 64 'Le Retour a Paris'
Elegie Harmonique in F# minor, Op.61
Andreas Staier, Fortepiano
DHM 05472 77334-2 (1995)






[Flac & Scans]




Boccherini: String Quartets Op.26 (Ensemble Symposium)

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Luigi Boccherini (1743-1805)
Six String Quartets Op.26 (1778)
Ensemble Symposium
(Period Instruments)
Brilliant Classics 95302 (2016)







[Flac & Scans]



Paavo Jarvi: Rachmaninov - Symphony No.3 & Symphonic Dances

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Erato 2564619579
Sergei Rachmaninov:

01. - 03. Symphony No. 3 in A minor, op.44* [43'01]
04. Caprice bohemien, op.12* [17'17]
05. - 07. Symphonic Dances, op.45 [36'02]
08. The Rock, op.7 [13'32]
09. Vocalise, op.34 no.14 [7'08]

Orchestre de Paris conducted by Paavo Jarvi

Erato 2564619579 (recorded in concert in October 2011 and March 2013; CD issued 2015)

(Digital download; flacs, booklet and cover scans)

Recording venue: Salle Pleyel, Paris
Recording engineers: Étienne Grossein*; Maximilien Ciup and Sylvain Morizet
Producers: Laure Casenave-Péré* and Nicolas Bartholomée

Unlike some reviewers, I was very impressed with Paavo Jarvi's recent set of recordings of the Sibelius symphonies with Orchestre de Paris which seemed very idiomatic to me; with the orchestra displaying the true sonority for Sibelius, not unlike the Gothenburg Symphony which I find to be the ideal Sibelius orchestra. That was actually the first complete recorded cycle of the Sibelius symphonies made by a French orchestra.

In the Gramophone magazine's Gramophone Collection feature in the April 2019 issue, one of their most reliable writers, Rob Cowan, selected Jarvi and the Orchestre de Paris's 2013 recording of  Rachmaninov's Symphonic Dances as his top choice. I went back to this recording to audition it again and I must say that it is certainly very fine and it is good to hear the piano for once. The wind and brass playing is gorgeous throughout.

The discs indicate that these are all live in concert recordings but there is no evidence of an audience presence so there must have been quite a lot of touching up - I can't imagine that there wasn't thunderous applause after the Symphony No.3 and the Symphonic Dances.

This is a bit of an odd Rachmaninov orchestral collection - two masterpieces, two early and fairly inconsequential works plus one of his his most popular works. Fortunately all the performances and recordings are very fine - though some may prefer the symphony to be a bit more wild at times.Commendably, Jarvi retains the exposition repeat in the first movement of the symphony. Whilst I wouldn't disagree with Cowan on his two choices of this Jarvi and Vladimir Ashkenazy's first recording with the Concertgebouw Orchestra, my personal favourite still remains Eugene Goossens and the London Symphony made for Everest in 1960 - especially in the Vanguard Omega remastering where the sound quality is amazing. However, Cowan gives short shrift to that performance and he is right about some very occasional ragged playing.

Download from MEGA.

I puritani - First recording of Maria Malibran version

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                                                                                                                 Vincenzo Bellini (1801-1835)
Katia  Ricciarelli, Chris Merritt, Juan Luque Carmona
Roberto Scandiuzzi, Eleonora Jankovic, Ambrogio Riva
Coro Ente Artistico Teatro Petruzzelli
Orchestra Sinfonica Siciliana
dir: Gabrielle Ferro
rec. live Teatro Petruzzelli di Bari, April 10 1986
Warner Fonit  8573 83514-2 (2000) ADD Stereo
[flac&cue; cover, inlays,boolet&disc scans]



, o


Bellini wrote a new I puritani version  while he was in Paris for Maria Malibran to adapt it to her mezzo-soprano voice , to take place at the San Carlo di Napoli but It never happened, Bellini died the next year and then followed Malibran, dead in 1836:

"In June 1833, Bellini was in London and was invited to hear Maria Malibran in an English translation of La sonnambula at the Drury Lane Theater. He was vexed by the performance in a language that he didn't understand and complained that his music was "torn to shreds"-that is, until Malibran sang the words “Ah! M'abbracia!. Bellini wrote to Francesco Florimo (1800-1888): 

...All that I can say is that never in my life shall I be able to feel a greater emotion. From that moment I have become very dose to Malibran. She shows me all the admiration she feels for my music, and I show the same for her immense talent. I have promised to write her an opera befitting her genius. That's a thought which electrifies me, my dear Florimo...

That would be the mezzo version of I puritan written for Naples, which neither of them lived to see. The fate of the Malibran version of I puritani was like a Greek tragedy. The outbreak of cholera prevented the score sent by Bellini from arriving before the deadline, and no amount of persuasion from Maria and her supporters could prevent the cancellation of the contract. Bellini vowed that he would never again come to Naples. The Naples version was written for a mezzo-soprano lead as noted, and Arturo was to have been sung by Gilbert-louis Duprez. The role of Riccardo, originally sung by the baritone Antonio Tamburini, was altered to be sung by a tenor. Malibran would have a splendid role. For example, the beautiful largo of the third finale ("Credeasi misera") is arranged to give her, and not the tenor, the predominant part (it starts with Elvira's words, "Qual mai funcra"). The Malibran Puritani lay undisturbed for 151 years until it was given as a world premiere in London in 1985." - The Voice Of Bel Canto,  Dan H. Marek.

Mary Ann Smart, Professor of Music at the University of
California, Berkeley interviewed by a member of the Boston Lyric Opera  staff, said in May, 2 2014 concerning the changes made by Bellini for Malibran version: 

"The less significant of these changes, which shouldn't affect our perception of Bellini's intentions 
for the opera, include the transposition down a third of Elvira's music, to suit Malibran's range, the 
reorganization of the opera into two acts instead of three, and the elimination of the duet for Giorgio and Riccardo at the end of Act 2 ("Suoni la Tromba") which was cut in anticipation of Neapolitan
censorship.   More interesting are the variations of the final scene: in the Malibran version, Bellini reassigns the main line in the final duet cantabile ("Credeasi Misera") to Elvira instead of Arturo, and concludes with a new cabaletta for Elvira conceived for Malibran ("Ah Sento, O Mio Bell'angelo").   Many listeners feel that the finale works better with the cabaletta, but we have no documentation clarifying whether Bellini made this change simply to showcase Malibran and to flatter her with a new piece conceived especially for her, or whether he also sensed some weakness in the finale.  In the absence of such indications, I would take the original Paris ending as definitive"although this philological judgment (of course!) need not be binding on performers."

Review

"A really fine performance of the 'Malibran' version of PURITANI. (Malibran=Elvira in the Mezzo range, Baritone becomes a second tenor, longer Act I trio, the Elvira becomes the lead voice in the "Credeasi misera" ensemble, a final cabaletta for the heroine, etc. ) There are certain performances of operas that capture the poetic qualities of the music, and for PURITANI, this one does just that !
Katia Ricciarelli and Chris Merritt are in top form, although the Mezzo-Soprano range places Ricciarelli a bit out of her comfort zone. Both singers bring a welcome 'slancio' to their delivery The rest of the cast is in good voice and bring wonderful attention to the words. Conductor Gabriele Ferro's concept is slow, broad and beautifully detailed. A very well recorded "live" performance, without too much stage noise. Excellent, detailed liner notes in Italian and English.." - James S. Eisenberg - Amazon.com












Wagner: Die Walküre - Sir Georg Solti (2018 Stereo Sound release)

Bertoni: Orfeo

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Ferdinando Bertoni (1725-1813)
Orfeo, Opera in three Acts (1776)
Roberto Zarpellon, Ensemble Lorenzo da Ponte
(Period Instruments)
Fra bernardo FB 1601729 (2016)







[Flac & Scans]



Beethoven: Egmont Complete (Haselböck, Wiener Akademie)

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Ludwig van Beethoven (1770-1827)
Resound Vol. 3

Incidental Music to Goethe's Egmont, Op 84
(German & English Versions)
Overture to The Consecration of the House, Op. 124
Bernarda Bobro, Soprano
Martin Haselböck, Orchester Wiener Akademie
(Period Instruments)
Alpha 472 (2016) 2-Disc set

The English version is narrated by the famous American actor, John Malkovich, known for his bizarre acting roles.
[Flac & Scans]





Soler: Fandango, Keyboard Sonatas - Maggie Cole

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 Antonio Soler (1720-1783)

Sonatas for fortepiano
01     Sonata n72 in F minor
02     Sonata n41 in E flat Major
03     Sonata n18 in C minor
04     Sonata n19 in C minor
05     Sonata n87 in G minor
06     Sonata n78 in F sharp minor
Sonatas for harpsichord
07     Fandango
08     Sonata n84 in D Major
09     Sonata n86 in D Major
10     Sonata n85 in F sharp minor
11     Sonata n90 in F sharp Major
12     Sonata n88 in D flat Major

Maggie Cole, fortepiano and harpsichord
Fortepiano: Derek Adlam 1987, after Anton Walter, Vienna c1795
Harpsichord: Robert Goble 1986, after AH Haas, Hamburg 1740

Recorded at Abbey Road Studio nº1, London November 1989
Issued 1991; first reissue (this copy) 1995 (Virgin Veritas VER 5 61220 2 PM516) out of print

(Flac image, cue, web covers, tracklist)
Download: 1fichier  zippyshare





Adrian Boult: Nixa/Westminster Recordings Vol.1

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First Hand Records FHR006
1.01. - 1.04. William Walton - Symphony No.1 in B-flat minor [43'17]
1.05 - 1.10. Edward Elgar - Falstaff. Symphonic Study, op.68 [33'48]
2.01. - 2.04. Edward Elgar - Symphony No.2 in E-flat major, op.63 [52'33]
2.05. Edward Elgar - Cockaigne. Overture, op.40 'In London Town' [14'02]
2.06. - 2.10. Benjamin Britten (from miscellaneous pieces by Rossini) - Soirees musicales, op.9 [8'59]
3.01. - 3.21. Benjamin Britten - The Young Person's Guide the Orchestra,op.34 (narrated version*) [19'38]
3.22. - 3.26. Benjamin Britten (from miscellaneous pieces by Rossini) - Matinees musicales, op.24 [13'13]
3.27. - 3.31. Benjamin Britten -  Peter Grimes. Four Sea Interludes and Passacaglia, op.33 [24'14]
3.32. Benjamin Britten - The Young Person's Guide the Orchestra 'Variations and Fugue on a theme of Purcell', op.34 [18'55]

Adrian Boult- narrator*, London Philharmonic Orchestra conducted by Adrian Boult

First Hand Records FHR006 (recorded August 1956 for Pye Nixa/Westminster; this CD/Digital release 2010)

(Digital download; stereo flacs [excepting *mono], booklet and cover scans)

Westminster WST202
Recording venue: Walthamstow Assembly Hall, London
Recording engineer: Herbert Zeithammer; Producer: Kurt List
Remastering engineer: not credited

Here's the first volume of the 1956 Nixa-Westminster stereo recordings of Adrian Boult and the London Philharmonic to supplement my earlier posting of  the second volume here on MIMIC. It's fairly amazing that they recorded six CDs worth of material in two weeks at the end of August 1956.

Again, here is an exemplary way to reissue early stereo recordings - first class digital transfers, sensibly-sized gaps between works, excellent liner notes by Colin Anderson and Peter Bromley and interesting session photos - only the very dull cover and the unavailability of a stereo master of the narrated The Young Person's Guide to the Orchestra lets it down in any way. The transfers are generally far fuller and more faithful to the original masters than any previous transfers that I have heard - from PRT, Nixa, Somm and EMI Phoenixa (even though Mike Dutton was the transfer engineer for many of them).


Westminster WST14010
Most of these items are here being issued in stereo digital form for the first time and only in the Elgar Second Symphony do the masters really show their age. Recordings were made by the Westminster team and issued on LP in the UK on the Nixa label and in the USA on Westminster's own label. Original Westminster stereo master tapes were the source for all of the recordings here excepting the mono source for The Young Person's Guide which was provided by EMI.

Sir Adrian displays his customary textural clarity and respect for spirit and letter of the scores. All of the Britten is a great success. The sound here is quite excellent with the Storm and Passacaglia from Peter Grimes being intensely fierce and I would rate all five movements among the very best recordings of the work.

Westminster WST14012
In the Elgar, Sir Adrian also points up a lot of detail in Falstaff and Cockaigne which are often not heard. The Second Symphony is very fine but here the limitations to the recorded sound do intrude. As all of these recordings were made at the same time, I don't know why this should be but for the symphony I would stick with Boult's later recording with the London Philharmonic for Lyrita (also here on MIMIC).

The Walton First Symphony is also a great success and sounds fine in these transfers with great impact. Boult explores the dark underside of the music, much as Malcolm Sargent did 10 years later with the New Philharmonia. Some prefer Andre Previn's more glittery approach to this work but I still find Sargent my first choice.

Incidentally, the orchestral parts of The Young Person's Guide appear to be exactly the same performances in both the mono and the stereo recordings. Some enterprising remastering might have married up the stereo orchestra with the mono narration.

Download from MEGA.

Puccini TURANDOT - Stokowski 1961

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Giacomo Puccini
TURANDOT

Birgit Nilsson, Franco Corelli
Anna Moffo, Bonaldo Giaiotti

Metropolitan Opera Orchestra and Chorus
dir : Leopold Stokowski

Broadcast of March 4, 1961
Pristine Classical PACO071, [P] 2012

FLAC files, scans




Fanfare Review

If one wants a souvenir of a great night at the opera, this new Pristine release will do quite nicely; it’s also superior to many of the studio recordings



Although she seems to have fought a losing battle over the issue, Rosa Raisa, Puccini’s personal choice to sing the title role at the premiere of Turandot, insisted that neither Puccini nor Toscanini, who conducted the premiere, pronounced the final “t” in the title. Given how the text is laid out, this makes sense to me. After all, one of the advantages of Italian when it comes to singing is all those words that end in vowels. Anyway, I just thought I’d bring this up before I dealt with the recording in question.


I was prepared to be disappointed by this 1961 Met broadcast, which was the next performance after the production’s acclaimed premiere. I had not heard the broadcast but I did attend several of the subsequent performances and found them sloppy and sluggish a good bit of the time. The Met’s original choice to conduct its new production of Turandot was Dimitri Mitropoulos, but his death in 1960 forced general manager Rudolf Bing to cast about for another conductor, preferably a famous one. Fortunately Leopold Stokowski was available and amenable, but several weeks before the first performance, the conductor broke his hip playing with his sons. Determined to meet his commitment, Stokowski made his way to the podium on crutches and, seated, conducted all the performances at the house; with the exception of those in Boston, tour audiences heard the opera conducted by Kurt Adler, the Met’s chorus master. Claiming that none of the orchestration of Turandot was in Puccini’s hand, Stokowski said that he had to hold down the volume as much as he could because the orchestration was too thick when accompanying the singers (but too thin when it wasn’t). He even wrote to Puccini’s publisher, Ricordi, asking for a duplicate of the original autograph score so he could “correct” all the “mistakes” in his. In any event, whatever he may have done, I heard orchestral colors and details that I did not remember hearing before, to the opera’s advantage.


Some choristers and soloists (including Nilsson) later claimed that they had difficulty following him (my impression at the performances I attended), but he and Corelli apparently got along fine and the tenor reputedly considered Stokowski, along with Herbert von Karajan and Antonino Votto, to be one of his three favorite conductors. Calaf was, more or less, Corelli’s signature role, one in which his dashing appearance and ringing high notes really counted for something. Although Stokowski praised Franco Alfano’s completion of the opera, he still makes the “authorized” (by whom?) cut in the duet because “we do not come to the final dénouement soon enough. With the cut we come straight to it, and after that there is wonderful music right to the end of the third act.” He also makes all three standard cuts in the Ping/Pang/Pong scene of act II. Some tempos might have gone a bit faster but there’s enough animation for me and some impressive, majestic moments. I wonder if he actually did make “adjustments.” In his case, there’s ample precedent for it. Some things, to be sure, would have been cleaned up if this had been a studio recording. In the love duet, for example, Corelli and Stokowski are simply not on the same page, and this could be the tenor’s congenital sloppiness—there’s ample precedent for that, too. The passage near the end of act II when Nilsson’s voice cuts through the full chorus and orchestra is impressive here, but in the house it was simply stunning, a truly great operatic thrill. Anna Moffo is an almost ideal Liù. Is it possible to have a voice that might be described as “silvery” and yet “meltingly beautiful”? Soft, floating pianissimos and smooth volume control were part of her vocal arsenal then, too. If only she could have sounded like this for another dozen years! Timur is a passive role and a good one for Bonaldo Giaiotti, the unimaginative possessor of a deep, mellow bass voice. The Ping, Pang, and Pong are ably handled by Frank Guarrera, Robert Nagy, and Charles Anthony; too bad Stokowski didn’t let them do their entire act II scene.


It was inevitable that Nilsson and Corelli would make a studio recording of the opera and they finally did, but even that one was beset by problems. The original choice to conduct the recording, John Barbirolli, refused to work with Corelli. His substitute, Francesco Molinari-Pradelli, was hardly a Corelli favorite and reputedly had disputes with other singers, including Renata Scotto, a last-minute substitute for Mirella Freni, who was ill and unable to sing Liù. Nilsson, who had been appearing at Bayreuth, showed up just as the aggravated Corelli was ready to bug out of the recording sessions early, which he, in fact, did. As a result, the final duet was recorded with Turandot and everyone else in Milan and Calaf, on headphones, in London. Nilsson later complained that “he mastered the dynamics the way he wanted. And that is why you can’t hear my big notes there, because his are way too overpowering.” Ah, singers! Nevertheless, if I had to choose between the two recordings, my choice would be the EMI because I think Nilsson and (especially) Corelli sing a bit better for Molinari-Pradelli (whether they liked him or not) than they did for Stokowski, and Scotto, if she can’t melt like Moffo, is, nevertheless, an outstanding Liù. It’s a tighter performance than Stokowski’s and there is, after all, stereo, less gain-riding, and no audience or stage noise. On the other hand, if one wants a souvenir of a great night at the opera, this new Pristine release will do quite nicely; it’s also superior to many of the studio recordings but not to those of Molinari-Pradelli, Leinsdorf, Mehta, and Serafin.
 
James Miller
This article originally appeared in Issue 35:6 (July/Aug 2012) of Fanfare Magazine.



Monteverdi VESPRO DELLA BEATA VERGINE - Parrott

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Claudio Monteverdi
VESPRO DELLA BEATA VERGINE (1610)

Taverner Consort
Taverner Choir
Taverner Players
dir : Andrew Parrott

EMI Reflexe CDS7 47078 8, two CDs, [P] 1984

FLAC image files, cuesheets, logs, scans





"... If Jürgens and Schneidt have a 1980s counterpart, it would almost certainly have to be Andrew Parrott’s 1984 recording with the Taverner Consort, which devises a complex liturgical plan involving extra instrumental pieces and the displacement of existing numbers, and, without quite going the whole one-to-a-part hog, makes a decisive move away from large choral sound. The result may have lacked splendour to the ears of those used to what had gone before but with some of Britain’s finest consort singers and instrumentalists involved, and model solo contributions from Emma Kirkby and Nigel Rogers, there is a vocal clarity and beauty here that gives the work a new humanity and intimacy.

Parrott’s is also the first recording to take note of the musicological discovery that the Magnificat should be sung a fourth lower than its notated pitch. Though this is now almost common practice, many directors were at first reluctant to follow suit, having grown accustomed to enjoying the ethereal change of plane the higher pitch brought to the work’s final 15 minutes..."

Gramophone, Lindsay Kemp, February 2015

Debussy - Pelléas et Mélisande - Karajan (1997 remastering)

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Claude Debussy (1862-1918)

Frederica von Stade, Richard Stilwell, José van Dam
Ruggero Raimondi, Nadine Denize
Berliner Philharmoniker
Herbert von Karajan
Warner Classics (2009) 50999 9 6672327
Stereo ADD 3 CDs + disc: libretto & synopsis 
Rec. XII, 1978, Philharmonie, Berlin- Digital remastering 1997 
[flac&cue; cover, inlays, booklet&disc scans]







Review:

"Debussy’s only opera has fared very well on recordings, and this set stands tall even within that framework. As you might expect, Herbert von Karajan looks backward, to Wagner, for his approach to the score, and indeed, makes a good case for it. The voices and orchestra tell the story equally, and Karajan makes the music surge forward inevitably, with never a let-up in concentration. He brings out the emotion as Boulez does not, for instance, but he also never sentimentalizes, as Abbado occasionally does. His cast is wonderful: Richard Stillwell’s handsome baritone and forthright delivery make us like him at once–if he happens to fall for his brother’s wife, well, nobody’s perfect. And Frederica von Stade’s Melisande is an ideal foil–not as insubstantial as some, she nonetheless makes us feel the character’s inherent mystery and sadness. Jose van Dam’s Golaud is towering–deeply troubled and moved to violence, but heroic. The rest of the cast is splendid, as is the sound. The Berlin Philharmonic plays the score as shiny satin; Debussy’s orchestration comes through at every turn." - - Robert Levine -www.classicstoday.com-

Carvalho - L'Angelica (Castro, Concerto Compestre)

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Joao de Sousa Carvalho (1745-1798)
L'Angelica, Serenata per musica in Two Parts (1778)
Pedro Castro, Concerto Compestre
(Period Instruments)
Naxcos 8.573554-55 (2016) 2-Disc set







[Flac & Scans]




Rossini: Il viaggio a Reims - Madrid 2004

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Gioachino Rossini
IL VIAGGIO A REIMS

Contessa de Folleville - Mariola Cantarero
Corinna - Laura Giordano
Lord Sidney - David Menéndez
Madama Cortese - María Rodríguez
Don Profondo - Simón Orfila
Belfiore - Israel Lozano
Marchesa Melibea - Lola Casariego
Conte di Libenskof - José Manuel Zapata

Orquesta Escuela de la Orquesta Sinfónica de Madrid
Josep Vicent, conductor

Broadcast recording from Radio Clásica
Teatro Real de Madrid, Spain
15.04.2004

MP3 tracked files + scans

EO 3683,01

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J. S. Bach: Brandenburg Concertos - Violin Concertos - Orchestral suites

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Johann Sebastian Bach

Brandenburg Concertos No 1 - 6 BWV 1046-1051
Fritz Reiner, Conductor
Recorded in 1949

Violin Concerto in A Minor BWV 1041
Violin Concerto in E Major BWV 1042

Yehudi Menuhin, Violin
Orchestre Symphonique de Paris
George Enescu, Conductor

Recorded in 1936 resp. 1933

2 CDs [60:57] + [74:20]

Johann Sebastian Bach

Orchestral Suites No 1 - 5 BWV 1066-1069
William Bennett, flute
Thurston Dart, cembalo
Academy of St Martin in the Fields
Sir Neville Marriner, Conductor


[78:42], Recorded 1971



TRACKLIST

JOHANN SEBASTIAN BACH

BRANDENBURGISCHE KONZERTE
VIOLINKONZERTE

CDl 60:57

Brandenburgische Konzerte
Brandenburg Concertos

Konzert Nr. 1 F-Dur, BWV 1046
Concerto No. 1 in F Major, BWV 1046

1, I. Allegro Moderato 4:28
2, II. Adagio 4:41
3, III. Allegro 4:17
4, IV. Menuetto - Trio I - Polacca - Trio II 8:53

Konzert Nr. 2 F-Dur, BWV 1047
Concerto No. 2 in F Major, BWV 1047

5, I. Allegro Moderato 5:23
6, II. Andante 4:23
7, III. Allegro Assai 3:00

Konzert Nr. 3 G-Dur, BWV 1048
Concerto No. 3 in G Major, BWV 1048

8, I. Allegro Moderato 6:55
9, II. Allegro 3:12

Konzert Nr. 4 G-Dur. BWV 1049
Concerto No. 4 in G Major. BWV 1049

10, I. Allegro 6:45
11, II. Andante 4:21
12, III. Presto 4:31

Hugo Kolberg, Violine / Violin (1-4, 10-12)
Felix Eyle, Violine / Violin (5-7) - Weldon Wilber, Horn / Horn (1-4)
Robert Bloom, Oboe / Oboe (1-4, 5-7)
William Vacchiano, Trompete / Trumpet (5, 7)
Julius Baker, Flöte / Flute (5-7, 10-12) - Leonard Rose, Cello / Cello (6)
Fernando Valenti, Cembalo / Harpsichord (6)
Ralph Eichor, Flöte / Flute (10, 12)
Frederick Wilkins, Flöte / Flute (11) u.a. / among others

Fritz Reiner, Dirigent / Conductor
Aufg, / Recorded in 1949

CD 2 74:20

Konzert Nr. 5 D-Dur. BWV 1050
Concerto No. 5 in D Major. BWV 1050

1, I. Allegro 10:24
2, II, Affettuoso 5:21
3, III, Allegro 5:35

Konzert Nr. 6 B-Dur. BWV 1051
Concerto No. 6 in B flat Major, BWV 1051
4, I. Ohne Satzbezeichnung
Without movement heading 7:11
5, II. Adagio Ma Non Tanto 6:02
6, III. Allegro 5:34

Hugo Kolberg, Violine / Violin (1-3) - William Lincer, Violine / Violin (4-6)
Nicholas Bird, Violine / Violin (4-6) - Julius Baker, Flöte / Flute (1-3)
Sylvia Marlowe, Cembalo / Harpsichord (1-3) u.a. / among others

Fritz Reiner, Dirigent / Conductor
Aufg, / Recorded in 1949

Violinkonzerte
Violin Concertos

Konzert für Violine und Streicher A-Moll, BWV 1041
Violin Concerto in A Minor BWV 1041

7. I. Allegro 4:11
8. II. Andante 7:20
9. III. Allegro Assai 4:37
Aufg. / Recorded in 1936

Konzert für Violine und Streicher E-Dur, BWV 1042
Violin Concerto in E Major BWV 1042

10. I. Allegro 8:13
11. II. Adagio 6:52
13. III. Allegro Assai 2:54
Aufg. / Recorded in 1933

Yehudi Menuhin, Violine / Violin
Orchestre Symphonique de Paris
George Enescu, Dirigent / Conductor

(P) + (C) Membran Music Ltd. www.membran.net
221533-303 Documents

TRACKLIST

Johann Sebastian Bach

Orchestersuiten (Ouvertüren) Nr. 1 - 4

Orchestersuite (Ouvertüre) Nr.1 C-dur BWV 1066
[01] 1. Ouvertüre 5:55
[02] 2. Courante 2:08
[03] 3. Gavotte I/II 2:15
[04] 4. Forlane 1:35
[05] 5. Menuett I/II 2:20
[06] 6. Bourrée I/II 2:40
[07] 7. Passepied I/II 2:24

Orchestersuite (Ouvertüre) Nr.2 h-moll BWV 1067
[08] 1. Ouvertüre 7:28
[09] 2. Rondeau 1:39
[10] 3. Sarabande 3:03
[11] 4. Bourrée I/II 1:53
[12] 5. Polonaise/Double 2:58
[13] 6. Menuett / 2:42
7. Badinerie

Orchestersuite (Ouvertüre) Nr.3 D-dur BWV 1068
[14] 1. Ouvertüre 6:38
[15] 2. Air 5:10
[16] 3. Gavotte I/II 3:47
[17] 4. Bourrée / 4:13
5. Gigue

Orchestersuite (Ouvertüre) Nr.4 D-dur BWV 1069
[18] 1. Ouvertüre 7:23
[19] 2. Bourrée I/II 2:45
[20] 3. Gavotte 2:00
[21] 4. Menuett I/II 2:59
[22] 5. Réjouissance 2:47

Gesamtspielzeit: 78:42

William Bennett, Flöte [08]-[13]
Thurston Dart, Cembalo
Academy of St Martin in the Fields
Sir Neville Marriner

® 1971 Decca Music Group Limited
eloquence
Decca 473 871-2

Handel: Music for the Royal Fireworks/Water Music -- Wenzinger

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George Frideric Handel (1685-1759)

Feuerwerksmusik (tracks 1-5)
Bläservereinigung der Archiv Produktion (Walter Holy, Helmut Finke, Ingus Schmidt, clarinos)
recorded Bielefeld DE, Rudolf-Oetker-Halle, 27.2 - 3.3.1962

Wassermusik (tracks 6-24)
Schola Cantorum Basiliensis
recorded Zürich CH, Neumünsterkirche, 20-24.9.1965

August Wenzinger, director

This release January 1989  DG 429 466-2
flac, cue, web covers (front & back; there is no booklet)
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