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Ariadne auf naxos dessay - Central Hidroélectrica Sabanilla
Nobody liked it, apart from the public. Richard Wagner issued a celebrated sneer and lesser critics found fault with its sensual arias. Such acclaim as it earned would be eclipsed two decades later by Verdi’s magniloquent and politically consequential Requiem, leaving Rossini’s Stabat Mater a repertoire orphan, never wholly fulfilled on record.
Sometimes composers are best understood by what they do least. Neither Olivier Messiaen nor Kaija Saariaho wrote much for piano. Both use large orchestras and unconventional instruments to describe the world they inhabit. Messiaen (1908-1992) evokes wonderment at the idea of love and the glories of nature. Saariaho (born 1952) explores human intimacies. For both composers, the piano was a working tool rather than a means of expression.
Natalie dessay ariadne auf naxos Odessay greek
Lars Vogt is the pianist in these two concert performances, Christian Tetzlaff and Antje Weithaas the lead violins. The Norwegian’s natural reticence and the recessed position of his piano create an ideal balance with the strings. The exuberance of young Schumann is offset by Elgar’s autumnal regrets and the interplay of the two works provides fresh context. The lofty Elgarian sonorities are smeared at times into salon music but irreverence lets the music breathe more easily than most English players allow and the artists’ commitment here is altogether convincing.
It’s that time of year again and tickets are on sale at the Royal Albert Hall for John Rutter’s carol singalong with the Royal Philharmonic Orchestra. It’s a popular perennial, always a sell-out, but I was left underwhelmed by this discoid simulation, both by the atmosphere (it was recorded in the more modest Cadogan Hall) and by ever-steady speeds that leave no room for fantasy. The Welsh soprano Elin Manahan Thomas is a welcome star turn but almost all the 20 tracks are either written or arranged by the industrious Rutter and the homogeny is deadening. Of Rutter’s own compositions, Ave Maria has an off-Broadway melancholic turn and Rejoice and be Merry is quasi-Victorian in its forced festivity. The song that lingers longest in the mind is The Shepherd’s Carol by Bob Chilcott, unaccompanied and unadorned, a perfect Christmas invocation for a frugal year.
Ariadne auf Naxos (Ariadne on Naxos), Op
Nareh Arghamanyan, an Armenian pianist new to me, is deceptively more reflective than most in the two concertos, though she can compete with anyone for speed in the great crashing descents that Liszt uses to end a line of thought. The orchestra is Berlin Radio (conductor Alain Altinoglu) and the two fillers are absolute crackers – the hair-raising Totentanz and the Fantasy on Hungarian Folktunes. Fresh and effervescent, this is a soloist to watch out for.
Written for a US Occupation soldier in 1945, the Strauss oboe concerto is sickly-sweet and overly ingratiating, a kind of dessert to his morbid Metamorphosen. The Skalkottas work, written six years earlier by an orchestral violinist on a subsistence wage in Athens, is uncompromising and modern, yet gently seductive. Kalevi Aho’s piece is a duet for oboe and cello. The soloist is Yeon-Hee Kwak, former principal of Bavarian Radio, and the sound she yields is total serenity.
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Jonas Kaufmann (born 10 July 1969) is a German operatic tenor
The concluding segment of Jonathan Nott’s cycle will impress those who think Mahler should sound like Bruckner, an irony-free zone. The Bamberg playing is clean and the contralto soloist, Mihoko Fujimara, beautiful. But the approach is, to my mind, completely wrong-headed, designed for a Bavarian bourgeoisie.
Complete List Of Grammy Nominees - CBS News
Each was treated with seriousness and respect. Dialects were carefully studied, accents and emphases observed. Latin, Hebrew, Arabic, Greek, Turkish and Ladino tripped of her discs in illuminating co-existence. The process continues on this captivating release, which opens with a Sephardic rhapsody from Rhodes and ends with a Bulgarian dance and a contemporary improvisation, as if to say the cross-fertilisation has not ended.
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I think I have found a cure for my generalised Rossini aversion, my tendency to dismiss him as a master trill-maker with little to offer the intellect or the emotions. The cure is called Julia Lezhneva and the seven arias she dispenses on this modest disc have hardly been off my playing deck all week.
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The young Spanish quartet play three Hungarian masters with phenomenal flair, working from Bartók’s fourth quartet to Ligeti’s first (long suppressed by him for its Bartók similarities) and ending with Kurtag’s aphoristic Microludes. The sound could be a little warmer, but the playing dazzles throughout.
Soloist Review Digest Index - ClassicsToday
Three quartets by the British-Hungarian composer span the decades of his short working life. The first, from the 1920s, is inflected with Kodaly-style folk resonances. The second, dated 1934-5, attempts fusion between Schoenberg’s serialism and a spot of blues. The third, written for the Amadeus Quartet in 1951 and titled Quarteto Lirico, finds its compass in Alban Berg’s Lyric Suite and ends in exquisite beauty. Seiber, killed in a South African car crash in 1960, has fallen into neglect. The Edinburgh Quartet play his work with deserved passion and the wonderment of discovery.
Lebrecht CD of the Week - Classical Music, Classical …
Named after a hero of the 1848 Hungarian revolt against the Austrian Empire, it cloaks Lajos Kossuth in romantic tonality and relates his life in ten episodes of progressive futility. As the Austrians near victory (track 8), Bartok plays in Haydn’s Kaiser anthem. Hans Richter, Wagner’s house conductor, gave the work its Manchester premiere and one English newspaper healdined it ‘Strauss Out-Straussed’.
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