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Archive for May, 2013

Dvořák : Rusalka (Fleming – Heppner – Zajick – Urbanová – Hawlata) Mackerras [iTunes AAC M4A] by Bianca Castafiore

 

“Rusalka” sigue siendo uno de los títulos mas populares en la República Checa en cuanto a numero de representaciones se refiere y, a pesar de estar cantada en un idioma poco habitual, ha logrado traspasar esa barrera con al menos una joya instalada firmemente en el repertorio sopranistico de cualquier recital; La Invocación a la Luna.
Esta grabación tiene el plus de tener una orquesta familiarizada con la sonoridad de Dvořák y a un director especialista en el compositor además de un equipo de estrellas no-checas pero con voces gloriosas para dar vida a la ópera. A diferencia de la grabación referencial dirigida por Václav Neumann a principio de los 80’s, el equipo vocal de la versión de Mackerras no tiene puntos flojos. Benackova podrá ser mas idiomática que Fleming, pero carece del tono lírico y opulento que tenia la norteamericana en este momento de su carrera. Heppner es claramente superior en el aspecto heroico de su Príncipe comparado con Ochmann en la versión de Neumann y Zajick por su lado no tiene rival en la caracterización y vocalidad de su bruja Ježibaba.
El genio de Mackerras y su cercanía con la música de Dvořák es indiscutible a estas alturas, mientras que la ingeniería de Decca es claramente superior en calidez y atmósfera del sonido captado.
La grabación se realizo en el Rudolfinum de Praga entre el 28 de abril y el 9 de mayo de 1998 y apareció a la venta en octubre de ese mismo año.

Renée Fleming (Rusalka)
Ben Heppner (El Principe)
Dolora Zajick (Ježibaba)
Franz Hawlata (El Duende del Agua)
Eva Urbanová (La Princesa Extranjera)
Ivan Kusnjer (El Guardabosque/El Cazador)
Zdena Kloubová (Pinche de Cocina)
Lívia Aghová (Primera Ninfa del Bosque)
Dana Buresová (Segunda Ninfa del Bosque)
Hana Minutillo (Tercera Ninfa del Bosque)

The Kühn Mixed Choir
Czech Philharmonic Orchestra
Sir Charles Mackerras (Conductor)

Decca
256 Kbps (m4a)
CD1     CD2     CD3


Dvořák : Rusalka (Fleming – Heppner – Zajick – Urbanová – Hawlata) Mackerras [iTunes AAC M4A] by Bianca Castafiore

 

“Rusalka” sigue siendo uno de los títulos mas populares en la República Checa en cuanto a numero de representaciones se refiere y, a pesar de estar cantada en un idioma poco habitual, ha logrado traspasar esa barrera con al menos una joya instalada firmemente en el repertorio sopranistico de cualquier recital; La Invocación a la Luna.
Esta grabación tiene el plus de tener una orquesta familiarizada con la sonoridad de Dvořák y a un director especialista en el compositor además de un equipo de estrellas no-checas pero con voces gloriosas para dar vida a la ópera. A diferencia de la grabación referencial dirigida por Václav Neumann a principio de los 80’s, el equipo vocal de la versión de Mackerras no tiene puntos flojos. Benackova podrá ser mas idiomática que Fleming, pero carece del tono lírico y opulento que tenia la norteamericana en este momento de su carrera. Heppner es claramente superior en el aspecto heroico de su Príncipe comparado con Ochmann en la versión de Neumann y Zajick por su lado no tiene rival en la caracterización y vocalidad de su bruja Ježibaba.
El genio de Mackerras y su cercanía con la música de Dvořák es indiscutible a estas alturas, mientras que la ingeniería de Decca es claramente superior en calidez y atmósfera del sonido captado.
La grabación se realizo en el Rudolfinum de Praga entre el 28 de abril y el 9 de mayo de 1998 y apareció a la venta en octubre de ese mismo año.

Renée Fleming (Rusalka)
Ben Heppner (El Principe)
Dolora Zajick (Ježibaba)
Franz Hawlata (El Duende del Agua)
Eva Urbanová (La Princesa Extranjera)
Ivan Kusnjer (El Guardabosque/El Cazador)
Zdena Kloubová (Pinche de Cocina)
Lívia Aghová (Primera Ninfa del Bosque)
Dana Buresová (Segunda Ninfa del Bosque)
Hana Minutillo (Tercera Ninfa del Bosque)

The Kühn Mixed Choir
Czech Philharmonic Orchestra
Sir Charles Mackerras (Conductor)

Decca
256 Kbps (m4a)
CD1     CD2     CD3


C-o-L-o-R-a-t-u-r-a-S by The Wolf Verdi: Don Carlo (Vargas, Frittoli, Abdrazakov – Torino 2013)

 
 
Ramón Vargas (Don Carlo)…Puesta en Escena: Hugo de Ana
Teatro Regio di Torino, 2013
 
Barbara Frittoli (Elisabetta)

 
 
 
 
Daniela Barcellona (Eboli) & Sonia Ciani (Tebaldo)

Ildar Abdrazakov (Filippo II)
 
 
Giuseppe Verdi (1813-1901): Don Carlo
 
 
Filippo II – Ildar Abdrazakov
Don Carlo – Ramón Vargas
Rodrigo – Ludovic Tézier
Il grande Inquisitore – Marco Spotti
Un frate – Roberto Tagliavini
Elisabetta di Valois – Barbara Frittoli
Tebaldo – Sonia Ciani
La Principessa Eboli – Daniela Barcellona
Il Conte di Lerma – Dario Prola
L’araldo reale – Luca Casalin
Voce dal cielo – Erika Grimaldi
6 deputati fiamminghi –
Fabrizio Beggi, Scott Johnson,
Federico Sacchi, Riccardo Mattiotto,
Franco Rizzo, Marco Sportelli
 
Orchestra e coro del Teatro Regio di Torino
Maestro del coro: Claudio Fenoglio
Direttore: Gianandrea Noseda
 
Teatro Regio di Torino – 11/04/ 2013
 

 

 


Wagner: Götterdämmerung (Knappertsbusch – Bayreuth, 1951) by The Wolf

 

 
 
   Wolfgang y Wieland Wagner, con Elisabeth Schwarzkopf, Hanna Ludwig y Herta Töpper durante los ensayos. Festival de Bayreuth, 1951
 
 
Ultima parte del “anillo” de Bayreuth del 51 de la que se tiene registro. originalmente fue grabada por Decca y publicada hasta el año 2000 por Testament debido a problemas comerciales y con los artistas. es el unico testimonio del ciclo dirigido por Knappertsbusch en ese año. despues de esta funcion, se repitio el ciclo completo dirigido por Karajan, al cual corresponden las grabaciones antes publicadas. 
 
 
Richard Wagner (1813-1883): Götterdämmerung
 
Brünnhilde – Astrid Varnay
Siegfried – Bernd Aldenhoff
Hagen – Ludwig Weber
Alberich – Heinrich Pflanzl
Gunther – Hermann Uhde
Gutrune – Martha Mödl
Waltraute – Elisabeth Höngen
Woglinde – Elisabeth Schwarzkopf
Wellgunde – Hanna Ludwig
Floßhilde – Herta Töpper
First Norn – Ruth Siewert
Second Norn – Ira Malaniuk
Third Norn – Martha Mödl

 
Chor & Orchester der Bayreuther Festspiele
Conductor: Hans Knappertsbusch   
 
04/08/1951
 
 

 


Thomas Chapin – Never Let Me Go: Quartets ’95 & ’96 (2012) by exy

 

Thomas Chapin

Never Let Me Go: Quartets ’95 & ’96 is a 3-disc set featuring two late-career performances by saxophonist Thomas Chapin, including his final New York concert before succumbing to leukemia in 1998 at age 40. Discs one and two capture Chapin’s working quartet of the time, with pianist Peter Madsen, bassist Kiyoto Fujiwara and drummer Reggie Nicholson, performing at Flushing Town Hall in Queens on November 10th, 1995. The group played two selections from You Don’t Know Me (Arabesque Records), as well as a wide variety of other material, including Artie Shaw’s Moonray, Thelonious Monk’s Ugly Beauty, Charlie Parker’s Red Cross and Jimmy Webb’s Wichita Lineman. In contrast, the third disc captures the first and only..

VBR~248 kbps | 346 MB | UL | CL | MC

…concert ever played by a later quartet featuring Madsen, bassist Scott Colley and drummer Matt Wilson at The Knitting Factory on December 19th, 1996. For what turned out to be his final performance in New York, this ensemble presented extended readings of three new pieces written specifically for its all-star lineup, as well as a version of his well-known composition Sky Piece and an arrangement of Roland Kirk’s Lovellevellilloqui.

To get a handle on the musical scope of Thomas Chapin, look no further than the second CD of this three-disc set. Taken from a 1995 live performance, it begins with Thelonious Monk’s rare waltz “Ugly Beauty,” followed by Charlie Parker’s equally deep cut “Red Cross” (which lasts over 15 fun-filled minutes), into the Glen Campbell pop hit “Wichita Lineman.” The late alto saxophonist approaches each song with the same degree of seriousness, whether caressing the ballad, honking out an unaccompanied postbop intro or shedding some deserved light on what might be written off as middle-of-the-road fluff.
Jazz history has more than its fair share of gifted artists who died too young, but Chapin’s bio hits harder. A regular at the Knitting Factory club and on its companion label, Chapin, on alto and flute, dabbled in avant-garde situations but often stuck with a more aggressive version of straight-ahead jazz. Diagnosed with leukemia, he died at age 40 in 1998, well into a career that was catching fire and about to advance, as these recordings show. All three of these discs feature him with a quartet, a new setting after leading trios for many years.

The first two discs come from a 1995 performance at New York’s Flushing Town Hall. While the aforementioned second set includes unique covers, the first is no slouch either. Artie Shaw’s “Moonray” is especially captivating, with bassist Kiyoto Fujiwara thumping out some descending double-stops, over which Chapin’s alto dances softly before everyone locks into a straight 4/4 rhythm. “You Don’t Know Me” is another chestnut that might seem destined for the cocktail lounge, but the quartet distills the syrup from it. Chapin’s own writing is featured in the extended “Opuwo” and “Scratch Boogie.” The former reveals his Jackie McLean influence in terms of composition, with its move between flowing rubato and steady swing, and in alto tone, though his sound isn’t quite as tart as his predecessor.

After the three-way hit in set two, Chapin brings out his flute for the lyrical title track, which he plays with the same type of muscle he brings to his saxophone. Throughout both of these discs, Fujiwara adds subtle coloring to a variety of moods, and it’s especially noticeable here. Pianist Peter Madsen works equally well in a clean situation or stirring up a cloud of dust.

As good as the first two discs are, disc three blows them out of the water. Recorded in December 1996, a few months before Chapin became ill, he teams up with Madsen, bassist Scott Colley and drummer Matt Wilson, in a lineup Chapin envisioned as a supergroup that would help him reach a bigger audience. He couldn’t have been more accurate, at least in terms of the chemistry. Onstage at the Knitting Factory they tackle the saxophonist’s frenetic “Whirlygig” with fury.

By contrast, “Big Maybe” sounds more like a tone poem, with Colley laying down a hypnotic foundation. First on flute, then alto, Chapin rises over a wave of sounds. “Sky Piece,” which Chapin also recorded with his trio, begins with an unaccompanied Colley solo before Chapin enters on flute, recorded with the perfect amount of reverb to accent the minor melody’s haunting, lyrical qualities. They end the set with a rousing rendition of “Lovellevellilloqui,” which comes from one of Chapin’s other heroes, Rahsaan Roland Kirk.


Thomas Chapin – Never Let Me Go: Quartets ’95 & ’96 (2012) by exy

 

Thomas Chapin

Never Let Me Go: Quartets ’95 & ’96 is a 3-disc set featuring two late-career performances by saxophonist Thomas Chapin, including his final New York concert before succumbing to leukemia in 1998 at age 40. Discs one and two capture Chapin’s working quartet of the time, with pianist Peter Madsen, bassist Kiyoto Fujiwara and drummer Reggie Nicholson, performing at Flushing Town Hall in Queens on November 10th, 1995. The group played two selections from You Don’t Know Me (Arabesque Records), as well as a wide variety of other material, including Artie Shaw’s Moonray, Thelonious Monk’s Ugly Beauty, Charlie Parker’s Red Cross and Jimmy Webb’s Wichita Lineman. In contrast, the third disc captures the first and only..

VBR~248 kbps | 346 MB | UL | CL | MC

…concert ever played by a later quartet featuring Madsen, bassist Scott Colley and drummer Matt Wilson at The Knitting Factory on December 19th, 1996. For what turned out to be his final performance in New York, this ensemble presented extended readings of three new pieces written specifically for its all-star lineup, as well as a version of his well-known composition Sky Piece and an arrangement of Roland Kirk’s Lovellevellilloqui.

To get a handle on the musical scope of Thomas Chapin, look no further than the second CD of this three-disc set. Taken from a 1995 live performance, it begins with Thelonious Monk’s rare waltz “Ugly Beauty,” followed by Charlie Parker’s equally deep cut “Red Cross” (which lasts over 15 fun-filled minutes), into the Glen Campbell pop hit “Wichita Lineman.” The late alto saxophonist approaches each song with the same degree of seriousness, whether caressing the ballad, honking out an unaccompanied postbop intro or shedding some deserved light on what might be written off as middle-of-the-road fluff.
Jazz history has more than its fair share of gifted artists who died too young, but Chapin’s bio hits harder. A regular at the Knitting Factory club and on its companion label, Chapin, on alto and flute, dabbled in avant-garde situations but often stuck with a more aggressive version of straight-ahead jazz. Diagnosed with leukemia, he died at age 40 in 1998, well into a career that was catching fire and about to advance, as these recordings show. All three of these discs feature him with a quartet, a new setting after leading trios for many years.

The first two discs come from a 1995 performance at New York’s Flushing Town Hall. While the aforementioned second set includes unique covers, the first is no slouch either. Artie Shaw’s “Moonray” is especially captivating, with bassist Kiyoto Fujiwara thumping out some descending double-stops, over which Chapin’s alto dances softly before everyone locks into a straight 4/4 rhythm. “You Don’t Know Me” is another chestnut that might seem destined for the cocktail lounge, but the quartet distills the syrup from it. Chapin’s own writing is featured in the extended “Opuwo” and “Scratch Boogie.” The former reveals his Jackie McLean influence in terms of composition, with its move between flowing rubato and steady swing, and in alto tone, though his sound isn’t quite as tart as his predecessor.

After the three-way hit in set two, Chapin brings out his flute for the lyrical title track, which he plays with the same type of muscle he brings to his saxophone. Throughout both of these discs, Fujiwara adds subtle coloring to a variety of moods, and it’s especially noticeable here. Pianist Peter Madsen works equally well in a clean situation or stirring up a cloud of dust.

As good as the first two discs are, disc three blows them out of the water. Recorded in December 1996, a few months before Chapin became ill, he teams up with Madsen, bassist Scott Colley and drummer Matt Wilson, in a lineup Chapin envisioned as a supergroup that would help him reach a bigger audience. He couldn’t have been more accurate, at least in terms of the chemistry. Onstage at the Knitting Factory they tackle the saxophonist’s frenetic “Whirlygig” with fury.

By contrast, “Big Maybe” sounds more like a tone poem, with Colley laying down a hypnotic foundation. First on flute, then alto, Chapin rises over a wave of sounds. “Sky Piece,” which Chapin also recorded with his trio, begins with an unaccompanied Colley solo before Chapin enters on flute, recorded with the perfect amount of reverb to accent the minor melody’s haunting, lyrical qualities. They end the set with a rousing rendition of “Lovellevellilloqui,” which comes from one of Chapin’s other heroes, Rahsaan Roland Kirk.


Vincent Peirani – Thrill Box (2013) by exy

 

vincent-peiraniThrill Box is Vincent Peirani’s debut release on the ACT label. Its title refers to Peirani’s instrument of choice, the accordion. For many, the accordion springs most readily to mind as an East European folk instrument, for others it evokes images of Morris dancers on warm English spring evenings (although that’s more usually the concertina) or summers at a French pavement cafe, for others still it’s part of the musical culture of South America. On this mixture of original tunes, jazz classics and American traditional songs it’s all of those things — as well as a front-line jazz instrument.
Peirani started out as a classical music scholar, aged 12 and he’s played with stars including fellow ACT Music artists Ulf Wakenius and Youn Sun Nah. His technical mastery of the accordion is…

320 kbps | 122 MB | UL | CL | MC ** FLAC

…impressive enough, but he couples this with a strong sense of humor and of musicality. He opens and closesThrill Box with stunning solo performances of “Choral” and Joseph Canteloube’s “Bailero.” Both tunes demand control and precision from the performer: Peirani shows that he has both skills in abundance as well as the maturity required to maximise the tunes’ emotional impact.

Things can get a little more upbeat when the accordionist is joined by bassist Michel Benita of Trio Libero and pianist Michael Wollny of [em]. “Upbeat” mustn’t be confused with “up-tempo”: the characteristic pace of the music remains languid and relaxed, but the mood lightens and a feeling of joy emanates from the players whether they’re performing a gentle waltz (Brad Mehldau’s “Waltz For JB”) or a spiky bebop classic (Thelonious Monk’s “I Mean You”).

Benita is in masterful form throughout, never playing two notes if one will suffice—and always playing the rightone. Wollny complements Peirani’s accordion melodies with some delightful melodic phrasing of his own—his playing on “Waltz For JB” is superb—and also adds depth with his rhythmic chordal playing.

Peirani digs deep into the roots of American music with versions of “Goodnight Irene” and “Shenandoah” that bring to the fore the inherent sense of longing at the center of both songs. “Goodnight Irene” is a duet between Benita’s bass and Peirani’s accordina (a small instrument that resembles a cross between accordion and harmonica): “Shenandoah” is a laid-back trio performance that’s as spacious as the American landscape it evokes.

Joy is pretty much unconfined on “3 Temps Pour Michel P,” Peirani’s tribute to his guest Michel Portal. Portal’s bass clarinet adds a rich texture to “B&H”: his bandoneon on this tune combines with Peirani’s accordion in a duet that’s fun, funny and distinctly groovy. Throw in Peirani’s enthusiastic vocalisation and the song becomes completely irresistible.

An accordion may not be everyone’s idea of a Thrill Box but Peirani does more than enough to justify the album’s title and this description of his instrument. The thrills may be more cerebral than visceral, but there are plenty of them—and it seems clear that he’s got plenty more to come.

Personnel: Vincent Peirani: accordion, accordina (4), vocals (3, 7); Michael Wollny: piano, Fender Rhodes (6); Michel Benita: bass; Michel Portal: bass clarinet (5), bandoneon (7); Emile Parisien: soprano saxophone (6, 11).


Vincent Peirani – Thrill Box (2013) by exy

 

vincent-peiraniThrill Box is Vincent Peirani’s debut release on the ACT label. Its title refers to Peirani’s instrument of choice, the accordion. For many, the accordion springs most readily to mind as an East European folk instrument, for others it evokes images of Morris dancers on warm English spring evenings (although that’s more usually the concertina) or summers at a French pavement cafe, for others still it’s part of the musical culture of South America. On this mixture of original tunes, jazz classics and American traditional songs it’s all of those things — as well as a front-line jazz instrument.
Peirani started out as a classical music scholar, aged 12 and he’s played with stars including fellow ACT Music artists Ulf Wakenius and Youn Sun Nah. His technical mastery of the accordion is…

320 kbps | 122 MB | UL | CL | MC ** FLAC

…impressive enough, but he couples this with a strong sense of humor and of musicality. He opens and closesThrill Box with stunning solo performances of “Choral” and Joseph Canteloube’s “Bailero.” Both tunes demand control and precision from the performer: Peirani shows that he has both skills in abundance as well as the maturity required to maximise the tunes’ emotional impact.

Things can get a little more upbeat when the accordionist is joined by bassist Michel Benita of Trio Libero and pianist Michael Wollny of [em]. “Upbeat” mustn’t be confused with “up-tempo”: the characteristic pace of the music remains languid and relaxed, but the mood lightens and a feeling of joy emanates from the players whether they’re performing a gentle waltz (Brad Mehldau’s “Waltz For JB”) or a spiky bebop classic (Thelonious Monk’s “I Mean You”).

Benita is in masterful form throughout, never playing two notes if one will suffice—and always playing the rightone. Wollny complements Peirani’s accordion melodies with some delightful melodic phrasing of his own—his playing on “Waltz For JB” is superb—and also adds depth with his rhythmic chordal playing.

Peirani digs deep into the roots of American music with versions of “Goodnight Irene” and “Shenandoah” that bring to the fore the inherent sense of longing at the center of both songs. “Goodnight Irene” is a duet between Benita’s bass and Peirani’s accordina (a small instrument that resembles a cross between accordion and harmonica): “Shenandoah” is a laid-back trio performance that’s as spacious as the American landscape it evokes.

Joy is pretty much unconfined on “3 Temps Pour Michel P,” Peirani’s tribute to his guest Michel Portal. Portal’s bass clarinet adds a rich texture to “B&H”: his bandoneon on this tune combines with Peirani’s accordion in a duet that’s fun, funny and distinctly groovy. Throw in Peirani’s enthusiastic vocalisation and the song becomes completely irresistible.

An accordion may not be everyone’s idea of a Thrill Box but Peirani does more than enough to justify the album’s title and this description of his instrument. The thrills may be more cerebral than visceral, but there are plenty of them—and it seems clear that he’s got plenty more to come.

Personnel: Vincent Peirani: accordion, accordina (4), vocals (3, 7); Michael Wollny: piano, Fender Rhodes (6); Michel Benita: bass; Michel Portal: bass clarinet (5), bandoneon (7); Emile Parisien: soprano saxophone (6, 11).


Schumann & Chopin: Piano Concertos by expanium

 

“A very rewarding listen, with beautiful touch from Louis Lortie. Neeme Järvi controls a halo of whisper-soft strings in the Chopin.” –BBC Music Magazine, October 2010 – Performance **** Recording *****

“…Louis lortie captures the full measure of the Schumann Piano Concerto…” “All in all, this is a fine Schumann Concerto performance…” “The Chopin 2nd… also draws a fine performance from Lortie and Jarvi.” “The sound in both concertos is excellent. Recommended.” –classical.net – July 2010

 
 

Louis Lortie (piano)
Philharmonia Orchestra, Neeme Järvi

The popular coupling of Schumann’s Piano Concerto in A minor and Chopin’s Piano Concerto No. 2 in F minor, Op. 21, featuring Louis Lortie as the soloist, is here re-issued on Chandos Classics.

On the original release, CD Review wrote of the performance of Schumann’s Concerto: ‘…his playing is thrillingly imaginative and I cannot recall ever having heard the Finale sound so physically exciting as it does here.’ About the performance of Chopin’s F minor Concerto, the reviewer noted: ‘Lortie produces a scintillating reading which resounds in the mind long after the music has ceased.’


Wagner: Siegfried (Karajan – Bayreuth, 1951) by The Wolf

 

 
 

Tercera jornada del “anillo” de Karajan grabado en Bayreuth. Del “ocaso de los dioses” no hay registro, mas que el de Knappertsbusch que corresponde a las funciones que dirigio este ultimo.

 
 
Richard Wagner (1813-1883): Siegfried

 
Siegfried – Bernd Aldenhoff
Mime – Paul Kuen
Wanderer – Sigurd Björling
Brünhilde – Astrid Varnay
Alberich – Heinrich Pflanzl
Erda – Ruth Siewert
Fafner – Frederick (Friedrich) Dalberg
Waldvogel – Wilma Lipp
 
Orchester der Bayreuther Festspiele
conductor: Herbert von Karajan
 
13/08/1951