Was lucky enough to see this delightful production again at the Royal Opera House last night with Mackerras conducting gloriously.
It is pure delight from start to finish , my only quibble the cast milling around during the Count's Act 3 aria but otherwise simply superb up there with the 1994 Glyndebourne production. Pappano conducts with a very sure touch and Finaly and Persson are particularly fine.
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These performances date from the early 1970s (if I remember correctly), so I, for one, am willing to overlook the inevitable background hiss from the master tapes. As for the quality of the re-mastering, the hiss could have been reduced further, but only at the expense of the purity of the recorded music - you never get something for nothing in this life. Jack Brymer's clarinet tone had a liquid, velvety quality like nobody else's I've ever heard and for me it is more important to preserve that in this recording than to reduce the tape hiss. Brymer was one of the finest clarinetists of the 20th century and his performance of these works is characterised by a calm maturity that I find absolutely spellbinding. These are legendary performances by ... Read More:
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Everyone who has reviewed this album so far remembers where they first heard it, which says a lot for it's impact. My own awakening to Tomita's extraordinary interpretation was at Vancouver Planetarium in 1977. Some of the tracks accompanied a wonderful show, and I was so impressed that I asked the operator to tell me the name of the artist. I bought the vinyl edition in Vancouver and still have it. I am delighted to find a remastered CD available. Debussy's music is normally delicate and sparkling with sunlight. Tomita gave the themes operatic depth which, to me, swell the richer colours while preserving Debussy's magical qualities. As a frustrated film-maker i'd love to use these versions as a background to romantic scenes.
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This album showcases Julian Bream's supreme ability to interpret the spanish classical repertoire as no-one else can. His extraordinary musical sensitivity and stunning technique allow him to bring this music alive, and to evoke the land and culture from which it came in vivid colour. The tonal range he coaxes from the instrument is incredible, and the quality of these recordings is particularly high.
The pieces attempted here are a varied and rewarding selection. A highlight for me is Granados' wonderful "Danzas Españolas Op.37 No.4". The introduction is sparse and lightly phrased, with a dancing melody and chimed counter-rhythms that build into a rolling, powerful theme, and Bream plays it superbly. Albeniz's well-known "Suite española ... Read More:
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I was present at the live concert at the Barbican in August 2007 when this was recorded. It was probably the best concert ever attended, and the recording shows this in it's energy, yet passionate and sensitive qualities.Harry Christoper ,The Sixteen and the Academy of St martin's in the field have produced a superb C.D..
J. Battershill
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Don't judge this album from the first aria - the Puccini arias are the weakest here. The French repertoire finds Kaufmann on excellent form. The most encouraging thing about him is his musical intelligence - a genuine soft high note to crown his Carmen Flower Song - and elsewhere he strives to serve the music. The voice can't quite do all he asks yet, but it's full of brooding, Vinay-like darkness.
Don't judge this album from the first aria - the Puccini arias are the weakest here. The French repertoire finds Kaufmann on excellent form. The most encouraging thing about him is his musical intelligence - a genuine soft high note to crown his Carmen Flower Song - and elsewhere he strives to serve the music. The voice can't quite do all he asks yet, but it's full of brooding, Vinay-like darkness.
Don't judge this album from the first aria - the Puccini arias are the weakest here. The French repertoire finds Kaufmann on excellent form. The most encouraging thing about him is his musical intelligence - a genuine soft high note to crown his Carmen Flower Song - and elsewhere he strives to serve the music. The voice can't quite do all he asks yet, but it's full of brooding, Vinay-like darkness.
Nothing Murray Perahia does is ever bad. In this case the performance of the Schubert is magical. I heard it in the car on the way to work and was captivated - a dangerous driver for a while. If you like Schubert and Perahia this is a must-buy recording. The sound is slightly old and the audience noise is not ideal, but when the music grabs you then you no longer notice these slight snags. The Mozart is well worth having too, but not in quite the same, unmissable, class as the Schubert.
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Michael Nyman is best know for his soundtrack to Jane Campion's film The Piano, and for his unique working relationship with British filmmaker Peter Greenaway, from 1980 up until 1993. His work on The Piano remains his most iconic, still being used to this day in bank commercials and on those "new-classical" compilations; whilst his work with Greenaway stands up as some of the most beautiful and intricate pieces of neo-classical "minimalism" ever composed. His work since his last venture with Greenaway, 1992's Prospero's Books has become slightly more melodic, creating memorable and often quite haunting scores for filmmakers as varied as Michael Haneke, Neil Jordan, Andrew Niccol, Patrice Leconte and Michael Winterbottom, and even working with Britpop's favourite ... Read More:
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