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 Asunto: Re: Novedades en CD y DVD (II)
NotaPublicado: 17 Feb 2020 16:42 
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Me imagino que se considera a la altura de grandes sopranos que han cantado el rol de Santuzza.


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 Asunto: Re: Novedades en CD y DVD (II)
NotaPublicado: 17 Feb 2020 17:24 
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Y aunque le haya ensanchado la voz un poco no está para cantar estas cosas. El repertorio de su nuevo disco no es nada adecuado para su voz. Para muestra un botón

https://open.spotify.com/track/2dHeBfPK ... qOx4hXdcsg

La subida al signore es para llorar

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 Asunto: Re: Novedades en CD y DVD (II)
NotaPublicado: 19 Feb 2020 17:57 
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pastoso escribió:
GBe escribió:
En adición que nos brinda la oportunidad de escuchar a la Studer como contralto, a los 63 o 64 años de edad (la grabación proviene del 2018). Y tambien nos brinda la oportunidad de escuchar cómo navega las partituras la directora de orquesta. Como sabemos, las directoras de orquesta andan de moda por lo que va del siglo.


Pues otra que se une a la Studer cantando Mamma Lucia ya entrada en años... Katia Ricciarelli este verano en L'Arena:

https://www.arena.it/arena/it/shows/cav ... -2020.html


Es necesario decir que ambas criaturas son muy diferentes, noche y día. La Studer se ha dedicado con empeño y por completo a su arte, sin compromisos artísticos y con suma clase y dignidad. La Ricciarelli, por el otro lado, reinventó su carrera hace unas décadas atrás, y de mala broma. Sin voz alguna la contratan por supuesto en el circo de vulgaridad que es Verona.


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 Asunto: Re: Novedades en CD y DVD (II)
NotaPublicado: 05 Mar 2020 12:24 
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GBe escribió:
La discográfica Oehms Classics anuncia nueva grabación, disponible próximamente.

https://www.naxos.com/SharedFiles/pdf/rear/OC987r.pdf#

Cavalleria rusticana
Ezgi Kutlu - Santuzza
Aldo Di Toro - Turiddu
Cheryl Studer - Lucia
Audun Iversen - Alfio
Mareike Jankowski - Lola
Graz Opera Chorus
Graz Opera Extra Chorus
Graz Philharmonic Orchestra
Oksana Lyniv

Pagliacci
Aldo Di Toro - Canio
Aurelia Florian - Nedda
Audun Iversen - Tonio
Martin Fournier - Beppo
Neven Crnić - Silvio
Sangyeon Chae - campesino
Christian Scherler - campesino
Graz Opera Chorus
Graz Opera Extra Chorus
Graz Philharmonic Orchestra
Oksana Lyniv


Veo que han publicado una crítica de la grabación en Amazon (en Inglés), con la que quedo en acuerdo y que me parece razonable. La cito:

"This set was recorded live during performances at the Graz Opera (Austria) in 2018 and 2019. I approached it with some trepidation, not knowing the conductor or the quality of the orchestra or most of the principals. Few worries, then, because the young Ukranian at the helm, Oksana Lyniv, conducts with utmost expertise, sensitivity and in style, and the orchestra plays and the choruses sing ravishingly for her. Marvelous. It is no wonder she is a rising star in her field and this, her first commercial recording, is a testament to her top-notch musical and conductorial gifts. It takes courage to document these tried and true warhorses this late in the day (as opposed to "hiding behind" obscurities that cannot be assessed against wider competition), given the many wonderful and well-known recordings of these works that are available. The one singer familiar to us in this set is American soprano Cheryl Studer, who needs no introduction, in the supporting role of Mamma Lucia (in Cav). It is welcome to hear her again, this time as contralto, after a lengthy and illustrious career at the top echelon as one of the world's most formidable sopranos. And she does not disappoint here, the sound still discernible as her own but, of course, with her center of gravity now lower and darker. Australian tenor Aldo Di Toro takes on Canio (in Pag) and Turiddu (in Cav) in what must have been an exhausting sing but there is no evidence of tiring. While he is no Gigli (no one can be any longer), he is fully in character and sings with impressive ease, ring, virility and freedom. Wonderful and a pleasure to hear. Ditto for Norwegian baritone Audun Iversen who takes on Tonio (in Pag) and Alfio (in Cav). The other smaller roles are also wonderfully sung and also in character, the Lola (in Cav) of German mezzo Mareike Jankowski being no exception. Now to my reservations which forced me to take one star away from 5, hence the qualified success in the heading. And the demerits reside in the Nedda (in Pag) of Romanian soprano Aurelia Florian and in the Santuzza (in Cav) of Turkish mezzo Ezgi Kutlu. While there can be no qualms about their not being fully into their roles, it is their singing that is something of a letdown. The former has a heavier and driven voice, complete with a relentless spread, than is usually associated with Nedda but at least she has a top. The latter has a peculiar sound to her (which should be encouraged in an era of rampant anonymity) and she can trill, too (others may hear a quick vibrato instead) but she has a short top and often sounds constricted and at her limit so her Santuzza mostly fails to bloom when she should. No one is expecting another Bruna Rasa, for one, but I can imagine how excellent this set would have been with a better Nedda and a better Santuzza. On the other hand, their peculiar voices do lend a certain appropriate rusticity to their singing and perhaps this is why they were chosen. That said, it is refreshing and a delight to hear performances at this level of professionalism that are also sincere and direct and devoid of egocentric singers. Finally, in the era of opera on video, why was this not filmed and released on DVD, especially since the production was considered an overall success? Still, despite some misgivings, I am grateful for this audio release, a set that will continue to reward on repeated listening, as I have found out."


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 Asunto: Re: Novedades en CD y DVD (II)
NotaPublicado: 07 Mar 2020 14:35 
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Nuevos lanzamientos de Immortal Performances:

Imagen

En este otro enlace, clicando sobre las imágenes, se accede a un pdf con más detalles de cada una de grabaciones.

http://immortalperformances.org/pdfs/I. ... age-ad.pdf

A priori lo más interesante es la Iris de Olivero en Palermo, que parece ser que es la primera vez que se edita en CD. Las grabaciones de La Gioconda y La Forza del Destino están disponibles en otros sellos (Living Stage y Myto, respectivamente), con buen sonido, y pueden ser un reclamo por los extras. Echo en falta más broadcasts metropolitanos de los años 30 y 40 (hay unos cuantos que aún no se han publicado y las cintas están disponibles), que en mi opinión es lo más interesante que ofrece este sello.

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 Asunto: Re: Novedades en CD y DVD (II)
NotaPublicado: 15 Abr 2020 19:53 
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La discográfica Pentatone ha lanzado una nueva grabación de “Cavalleria rusticana”.

https://www.pentatonemusic.com/mascagni-cavalleria-rusticana-janowski-dresdner-philharmonie-leipzig-radio-choir-mdr-rundfunkchor-melody-moore-brian-jagde-lester-lynch

Melody Moore - Santuzza
Brian Jagde - Turiddu
Elisabetta Fiorillo - Lucia
Lester Lynch - Alfio
Roxana Constantinescu - Lola
MDR Leipzig Radio Choir
Dresdner Philharmonie
Marek Janowski

Cito crítica (en Inglés):

“Another live recording of Cavalleria comes our way this late in the day, this one cobbled together from concert performances. Unlike my other review of Graz Opera’s new live recording of Cav & Pag (https://www.amazon.com/Cavalleria-Rusti ... B082PRBMHS) this time around I had no apprehensions surrounding the conductor, the great Marek Janowski, better known for his work in the Germanic repertoire. He has trained his Dresden Philharmonic quite well for their playing here is polished to world class standards. And the hall’s acoustics must be superb because I found the sound engineering exceptional. In this aspect, this recording is superior to Graz’s. However, Janowski does not have the style down pat and it is here that we are let down by him. For the most part he paces well but here and there he rushes through unnecessarily (e.g. Turiddu’s brindisi) thus ruining key moments. The Leipzig Radio Choir sings quite well if a bit too politely but it’s a minor caveat. Now on to the singers and it is here that the Graz recording walks away with the honors. But not just the singers, for their conductor, Oksana Lyniv, paces the score with much more naturalness than Janowski. And the Graz Philharmonic is not far behind the level of the Dresdeners. The acoustics of the Graz Opera house, though, appear to be rather opaque and subdued in comparison , lacking the brilliance and balance of the Dresden hall. Ok. The Turiddu of Brian Jagde and the Alfio of Lester Lynch are simply no match for Graz’s Aldo Di Toro and Audun Iversen respectively. The men in Dresden sound unidiomatic and uncomfortable in their roles, strained and really out of their depth. Worse even, uninteresting. The Lucia of veteran Elisabetta Fiorillo sounds worn and wobbly but it is a supporting role after all so it’s a minor demerit. The other veteran in Graz, Cheryl Studer, sounds steadier and more pleasant to the ear. The Lola of Roxana Constantinescu sounds ok but I prefer the fresher voiced Mareike Jankowski for Graz. Now on to Santuzza. In relation to this recording and in retrospect, I think I underestimated the contribution of Ezgi Kutlu for Graz. Both she and Melody Moore share voices of similar weight and color, with short tops and rapid vibratos. But where Moore comes across as merely concertizing (which she was), Kutlu throws herself into the role. Of course the latter had the advantage of staged performances. But still. I noticed that Moore modulated downward during her heartwrenching duet with Alfio, “Turiddu mi tolse l’onore”. I have not heard this done before and it robbed us of a poignant moment in the score. Thankfully, Kutlu (in Graz) encounters no such shortcomings even when, at times, the role feels a size too large for her. No need to add that the role also seems a size too large for Moore which is surprising since she sings other dramatic roles such as Tosca. All that said, these two latter day recordings deliver different things for different people. If your thing is sound engineering, go for this one. If, on the other hand, your thing is a better sung, idiomatic and riveting operatic experience, led with the pace and care it deserves, then the Graz set is it.”


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 Asunto: Re: Novedades en CD y DVD (II)
NotaPublicado: 16 Abr 2020 23:44 
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Hay sitios en que la encontrará sin mayor costo que el acceso a la red de internet.

Muy propia de esta época.

Tanta ópera por descubrir y se empecinan en esto, por más que me encanta la Cavalleria.

Pero como fue gratis no aumento la queja. :rolling: :rolling:


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 Asunto: Re: Novedades en CD y DVD (II)
NotaPublicado: 18 Abr 2020 22:09 
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La discográfica BR Klassik ha lanzado una nueva grabación de “Die Walküre”.

https://www.br-klassik.de/orchester-und-chor/br-klassik-cds/symphonieorchester/wagner-walkure-brso-rattle-cd-100.html

Stuart Skelton - Siegmund
Eric Halfvarson - Hunding
James Rutherford - Wotan
Eva Maria Westbroek - Sieglinde
Iréne Theorin - Brünnhilde
Elisabeth Kulman - Fricka
Bavarian Radio Symphony Orchestra
Sir Simon Rattle

Cito crítica (en Inglés):

“What to make of this? The orchestra plays splendidly but they, like so many top ranked orchestras, seem to have lost their cohesion and energy. For example, as in their days with Sawallisch. Blame must then be assigned to the conductor or conductors their management engages. In this case, Rattle reminds me some of von Karajan without the genius. Karajan could lather on the sheen, sometimes to excess, but he nearly always made things gel. When singers were involved, everyone involved became part of the whole and things came together to make sense. Rattle and his singers seem to exist in different planes and nothing seems fresh or even interesting. It is not Rattle’s fault that some of his singers were past their best for these performances which were taped live. But at a minimum he could have drawn them in into his conception, whatever that may have been beyond making the orchestra play and sound excellently. Vocal honors go to Stuart Skelton as Siegmund and James Rutherford as Wotan. Both deliver solid, middle of the road, professional performances but without any individuality to make them stand apart or memorable. The role of Hunding for Eric Halfvarson, a singer I have admired, showed up much too late for the party. His is the most dispiriting performance in the set. Elisabeth Kulman is in fine (if in generic) voice as Fricka but accomplishes nothing important with the role. Then there is the Sieglinde of Eva Maria Westbroek, long in the tooth vocally with a wide vibrato and a recalcitrant and ‘spready’ top register that won’t soar as it must. The voice at its best was serviceable at best and never beautiful. She may want to consider shelving the role and moving on to dramatic character roles where vocal raggedness can pass as an asset. Finally, Iréne Theorin as Brünnhilde does some fine work of the role without improving on anyone before her and with a voice that seems a size or two too small for it. Her top register is annoyingly thin and quivery and its fragility in the face of such a daunting role steals away from any confidence. It is a miracle she still gets through it, and has been for so long. The middle voice retains its shape and sheen after a steady diet of punishing dramatic roles. However, like the others, nothing memorable emerges. To close, it is difficult to understand why this was released given vastly superior competition. But I know Rattle is in the middle of recording the Cycle with the orchestra. At the very least, then, better singers (should there be any) should have been selected and coaxed into a unifying musical and dramatic vision. Sigh.”


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 Asunto: Re: Novedades en CD y DVD (II)
NotaPublicado: 24 Abr 2020 19:28 
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La discográfica Orfeo International ha lanzado una nueva grabación de “La Mujer sin Sombra” de Richard Strauss.

https://www.amazon.com/Frau-Ohne-Schatten-Stephen-Gould/dp/B084QLBMR9

Emperor - Stephen Gould
Empress - Camilla Nylund
Nurse - Evelyn Herlitzius
Spirit Messenger - Sebastian Holecek
Barak - Wolfgang Koch
Barak’s Wife - Nina Stemme
Chorus & Orchestra of the Vienna State Opera
Christian Thielemann

Cito crítica (en Inglés):

“I am enjoying this live set more and more the more I listen to it. It is somehow different from what I am used to but I think the results are mostly satisfactory. Thielemann sets the tone for what’s to come very early on, in the opening bars, which are played in rather subdued manner. This comes as something of a shock, paradoxically. But if Thielemann hasn’t lost you this early on and you stick with him he will guide you through an estimable reading of the score. I suspect that his chamber-like treatment of his orchestral forces had to do with avoiding drowning out his singers. Thielemann does not reach for dynamic peaks and depths but instead chooses to remain firmly in the valley. That the orchestra can pleasantly go along for the ride is all the more remarkable. Make no mistake, this is no longer your grandparents or your parents or even your younger self’s Orchestra of the Vienna State Opera (aka Vienna Philharmonic) for I detected little to nothing of the fabled Vienna sound. [I revisited the old Karl Böhm set for DG, also taped live at the State Opera (1977), to hear again the amazing colors and sounds Böhm could draw out of this orchestra. As I said, little of that is present here but it is what it is.]. What we hear, rather, is another international-postmodern band. Well, almost, because very few bands can play with such finesse and precision (yes, they can also play erratically during seasonal repertory revivals). Still, one of the most rewarding aspects of this set is to hear the disciplined playing of the orchestra for Thielemann, and their capacity to stay with him end to end without as much as a hair out of place (arguably to a fault). And Thielemann’s control of his forces is superhuman. He knows what he wants without once losing focus as he threads through the score. It is really something to behold. Now on to the singers. Kudos to Evelyn Herlitzius for her Nurse and to Nina Stemme for her Dyer’s Wife, both highly demanding dramatic roles. Both sail through their parts with little apparent effort and endless stamina. This is the best and most convincing anything I have heard from Nina Stemme to date, even with a voice past its prime (which is not saying much given that I never heard a prime from her) or the fact that she can’t command the heights that even late Nilsson could. The Nurse was written for dramatic mezzo so it is interesting to hear Herlitzius, a soprano, in the role. But she does very well by it. I did miss the deeper tones others have brought to the part and in her scenes with the Empress of soprano Camilla Nylund it is difficult to distinguish between the two, as neither owns anything remotely to a signature sound of their own. The lack of distinction becomes readily apparent in relation to, for example, Schwarz/Studer, Lipovšek/Studer, Höngen/Rysanek, Hesse/Rysanek and so forth. Nylund will not erase deep-seated memories of earlier generation Empresses but she is very musical and, at least in a house the size of Vienna’s, gets through the part with some distinction, if no abandon, a quality not in her toolbox. She also lacks a sufficiently ample upper-range extension and radiance that only the most distinguished and interesting Empresses have had. But she grows from her limitations and impresses most in the final act which showcases her most beautiful, powerful and moving singing of the night. With the exception of Stephen Gould as the Emperor, the weak link here, the other men fare just as well. No complaints for Wolfgang Koch as Barak or Sebastian Holecek as the Spirit Messenger. Both acquit themselves wonderfully. I found Stephen Gould the most disappointing member of the cast, lacking the glow and inspiration in the voice to make the most of some of the sublime music Strauss wrote for the role. All in all, this one is a keeper even if it won’t replace your favorite FroSch. But at least it stands as a testament not only to Thielemann’s prowess but to how, with someone like him at the helm, this complex work can sustain a different approach, less grand and less bombastic than the norm but equally valid. Just don’t try it at home.”


Última edición por GBe el 25 Abr 2020 18:59, editado 2 veces en total

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 Asunto: Re: Novedades en CD y DVD (II)
NotaPublicado: 24 Abr 2020 19:36 
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Memorable esa Mujer sin sombra Vienesa del centenario de su estreno y 150 aniversario de la Opera de Viena.
En español una crítica de una de las funciones:

https://www.codalario.com/la-mujer-sin- ... _1_in.html

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 Asunto: Re: Novedades en CD y DVD (II)
NotaPublicado: 25 Abr 2020 22:44 
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GBe escribió:
La discográfica Orfeo International ha lanzado una nueva grabación de “La Mujer sin Sombra” de Richard Strauss.

https://www.amazon.com/Frau-Ohne-Schatten-Stephen-Gould/dp/B084QLBMR9


Ruego y ojalá, que DG o CMajor se pongan las pilas y la publiquen en dvd/blu-ray. Podría ser la versión referencial de hoy en día, ya que tan mango acontecimiento también ha quedado inmortalizado en video (la app de la Staatsoper lo programó a principios de mes) y este igual merece ser publicado.

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 Asunto: Re: Novedades en CD y DVD (II)
NotaPublicado: 08 May 2020 14:16 
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Imagen

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 Asunto: Re: Novedades en CD y DVD (II)
NotaPublicado: 09 May 2020 0:02 
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Es una pena que éstas óperas tan interesantes, encuentren intérpretes tan modestos, que dejan la sensación siempre de que algo falta.


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 Asunto: Re: Novedades en CD y DVD (II)
NotaPublicado: 09 May 2020 0:43 
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Rubini escribió:
Es una pena que éstas óperas tan interesantes, encuentren intérpretes tan modestos, que dejan la sensación siempre de que algo falta.

Al tenor Markus Schäfer, recurrente en estas grabaciones de Mayr, no hay por donde cogerlo... El resto de intérpretes se dejan escuchar al menos, y la orquesta es buena, aunque en ocasiones los tempi de Franz Hauk son bastante lentos. Menos es nada.

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