古典音樂版本比拼擂台 |
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回覆 (581): 古典音樂版本比拼擂台
On record you have two to chose from, one by Ashkenazy and Previn on Decca, other by Paik/Wit on Naxos, Yundi Li also recorded this concerto with Ozawa on DG.
CKM
12-08-29
10:13:49
回覆 (580): 古典音樂版本比拼擂台
Quote:  
The work is dedicated to the memory of Maximilian Schmidthof, a friend of Prokofiev's at the St. Petersburg Conservatory, who had committed suicide in April 1913[1] after having written a farewell letter to Prokofiev.[2] Prokofiev premiered the work that same year, performing the solo piano part, on August 23 at Pavlovsk.[3] Most of the audience reacted intensely. The concerto's wild temperament left a positive impression on some of the listeners, whereas others were opposed to the jarring and modernistic sound ("To hell with this futurist music!"/ "What is he doing, making fun of us?"/ "The cats on the roof make better music!").[4][5]  
 
When the original orchestral score was destroyed in a fire following the Russian Revolution,[6] Prokofiev reconstructed and considerably revised the concerto in 1923; in the process, he made the concerto, in his own words, "less foursquare" and "slightly more complex in its contrapuntal fabric".[6] The finished result, Prokofiev felt, was "so completely rewritten that it might almost be considered [Concerto] No. 4".[1] (The Third Concerto had premiered in 1921). He premiered this revised version of the concerto in Paris on May 8, 1924 with Serge Koussevitzky conducting.[1]  
 
It remains one of the most technically formidable piano concertos in the standard repertoire. Prokofiev biographer, David Nice, noted in 2011: "A decade ago I’d have bet you there were only a dozen pianists in the world who could play Prokofiev’s Second Piano Concerto properly. Argerich wouldn’t touch it, Kissin delayed learning it, and even Prokofiev as virtuoso had got into a terrible mess trying to perform it with Ansermet and the BBC Symphony Orchestra in the 1930s, when it had gone out of his fingers  
 
http://en.wikipedia.org/wiki/Piano_Concerto_No._2_(Prokofiev)
CKM
12-08-29
10:04:12
回覆 (579): 古典音樂版本比拼擂台
Apart from his great symphony, Prokofiev also wrote some greatest piano concerto of the century, you may heard of his piano concerto no.3 and no.5, but no. 2 is also a great pieces of music.  
 
CKM
12-08-29
09:51:38
回覆 (578): 古典音樂版本比拼擂台
 
For Prokofieff sym 7 another version worth mentioning is Jean Martinon directing Paris Conservatoire Orchestra, RCA Living Stereo LSC 2288. Except for some muddiness and boom in the lowest bass, its sonics, in the rest of the spectrum, is spectacular, with glorius golden sweet string tone typical of shade dog . Its dynamics is whooping and sometimes scary. I cannot find fault with the performance too, this is the most lyrical and vivacious seventh with wonderful playing from the PCO under Matinon.
kh33
12-08-29
00:15:22
回覆 (577): 古典音樂版本比拼擂台
 
 
Just finished tonight’s session with Prokofiev’s Visions Fugitives which left me gasping for breath while hopelessly awe struck.  
 
My taste is sometimes a little peculiar, I guess.  
 
 
limage
12-08-28
23:06:09
回覆 (576): 古典音樂版本比拼擂台
 
 
Well CKM, except perhaps the 2nd movement which I would go back once in a while. I cannot cheat myself on musical appreciation. I am honing hard though!  
 
^__^  
 
limage
12-08-28
20:41:13
回覆 (575): 古典音樂版本比拼擂台
Surprising, to me it is the best symphony by Prokofiev.
CKM
12-08-28
18:54:34
回覆 (574): 古典音樂版本比拼擂台
 
 
 
No, I never like the 5. Listened to it a half a dozen times but didn't find myself moved at all !  
 
limage
12-08-28
15:33:31
回覆 (573): 古典音樂版本比拼擂台
You may like Prokofiev's symphony no.5 as well, known as the `War" symphony.  
 
CKM
12-08-28
15:25:48
回覆 (572): 古典音樂版本比拼擂台
Glad that you like Prokofiev's music, my all time favorite composer.  
 
Have you heard of Karajan's version? But many conductors can make this symphony sound pretty good.  
 
CKM
12-08-28
15:23:40
回覆 (571): 古典音樂版本比拼擂台
 
 
Listened to two versions of the Classical Symphony by Prokofiev last evening. The Decca recording is far more appealing to me despite the fact that EMI have their trump card, Christopher Parker at the console.  
 
Walter Weller is always my favorite and his reading seems to KO Previn's easily.  
 
 
limage
12-08-28
11:40:17
回覆 (570): 古典音樂版本比拼擂台
 
limage
12-08-28
11:39:26
回覆 (569): 古典音樂版本比拼擂台
 
 
B,I, N, G, O... B,I, N, G,O... B,I,N,G,O... bingo is his name.  
 
sregnifnet
12-08-21
17:17:44
回覆 (568): 古典音樂版本比拼擂台
I think he have been to Hong Kong with St Perterburg Orchestra.
CKM
12-08-21
16:11:30
回覆 (567): 古典音樂版本比拼擂台
 
 
This is what I meant.  
 
sregnifnet
12-08-21
15:31:53
回覆 (566): 古典音樂版本比拼擂台
 
 
come on guys, this is the best Russian (still alive!!) I have heard of. Apart from his handsome looks, the performance gives the audience a feeling of sitting in a top model Lamborghini. The tempo is fast, powerful solid chords, yet come with detailed phrasing and articulation, curves and details were done perfectly. In other words, no rubbish came out from his fingers.  
 
Untitled
sregnifnet
12-08-21
15:22:41
回覆 (565): 古典音樂版本比拼擂台
Let's not forget Richter has a version with Mravinsky/Lenningrad  
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Richter on Tchaikovsky No.1 had one with the Czech Phil, Karel Ancerl. Worth trying to get one? I dont have and cant get the LP version.
bobui
12-08-21
15:11:53
回覆 (565): 古典音樂版本比拼擂台
I got that version, visit it tonight, but the sound are substandard.  
_________________________________________________________  
 
Well, I don't care that much. A trick is to tune the system to blurry and muddy, then all problem solved. And, I am not joking here. :-)  
 
Another way is to down a few shots and everything sound wonderful.  
 
BenYC
12-08-21
15:04:53
回覆 (564): 古典音樂版本比拼擂台
I got that version, visit it tonight, but the sound are substandard.
CKM
12-08-21
14:58:09
回覆 (563): 古典音樂版本比拼擂台
Let's not forget Richter has a version with Mravinsky/Lenningrad.  
 
Russian always does Tchai right. ;-)
BenYC
12-08-21
14:56:17
回覆 (562): 古典音樂版本比拼擂台
 
 
and their playing better reflect the essence of the Slavonic feeling  
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I have the opposite feeling. Richter's rendition is not as imposing as Argerich's and his tempo is obviously less indulgent. He said, after the recording with Karajan, that the conductor did "unforgivable things" in the rehearsals and there are traces of disagreement between the two.  
 
Giles' performance with Reiner is even worse. The cadenza passages are quite obviously pasted in. The entire performance lacks the tension and ferocity portraited by Argerich, not to mention the famous or infamous Horowitz/Toscanini white hot collaboration.  
 
 
cpsjj
12-08-21
13:25:42
回覆 (561): 古典音樂版本比拼擂台
Argerich take my breath away---  
 
_____________________________________________________________  
 
Argerich is good, but I like the versions by those Russians giants better, esp. Gilels/Reiner and Richter/Karajan. Their virtuosity are no less, and their playing better reflect the essence of the Slavonic feeling.  
kh33
12-08-21
12:44:32
回覆 (560): 古典音樂版本比拼擂台
Listened to Tchaikovsky piano concerto no.1 this few nights, Argerich take my breath away, the version I listened to is the one she pair up with Abbado and BPO, but this older version is as good as any.  
 
The beautiful music hall is a piece of art in itself.  
 
Quote a comment:  
 
OH MY GOD, the octaves at the end are not human........ This is really crazy!!!  
 
CKM
12-08-21
11:28:51
回覆 (559): 古典音樂版本比拼擂台
Shostakovich symphony no.9 by Solti  
_______________________________________________________  
 
Solti, despite his age , is still very energetic and this odd symphony suits his style perfectly.  
However he will not be my top pick whenever I want to listen to Shostakovich. The box set(LP) of Shostakovich symphonies by various Russian conductors, issued by EMI/Melodyia, is highly recommended. Some of the titles even have sound of demonstration qualities.  
kh33
12-08-19
00:45:41
回覆 (560): 古典音樂版本比拼擂台
Those love Prokofiev's symphony no.1 `classical' must love this symphony. As joyful as any symphony by Haydn or Mozart.
CKM
12-08-17
13:02:15
回覆 (559): 古典音樂版本比拼擂台
CKM
12-08-17
12:56:09
回覆 (558): 古典音樂版本比拼擂台
http://youtu.be/0OT8S6FNqh0  
 
Shostakovich symphony no.9 by Solti
CKM
12-08-17
12:54:36
回覆 (557): 古典音樂版本比拼擂台
Limage,  
 
Thank you for your kind words.  
 
When you think that classical music is going to extinct, I found that more and more people go into concert hall and listen to our local orchestra. In actual fact, the subscription rate of HKPO are on the rise and reach a recorded height this year, I am sure that is part of the reason kh cannot get a ticket to listen to Yundi Li.  
 
Last year, I spent more time on `live concert' by HKPO than ever, and listen to many new but enjoyable music, it boarden my horizon and hope that I can write something about it in the coming few months.  
 
All the best,  
 
CKM
CKM
12-08-17
12:51:12
回覆 (556): 古典音樂版本比拼擂台
 
 
Oh how I miss you CKM! This thread just doesn't move without you.  
 
Classical music has been fast on the wane for the last 20 years and it is meaningful if we can do whatever we can to prevent this fine form of expression from getting extinct.  
 
limage
12-08-17
11:31:15
回覆 (555): 古典音樂版本比拼擂台
Thanks kh,  
 
I have not much experience with Shostakovich's symphony no.9, but I listened to Rozhdestvensky's version with USSR orchestra, the sonic was surprising clear. Love the music too, looking back to haydn from a modern prospective, joyful and easy.  
 
For Yundi, have got his Chopin Noctune, not much surprise and not disappointing either, anyway I don't expect too much.
CKM
12-08-16
18:47:07
回覆 (554): 古典音樂版本比拼擂台
 
CKM,  
 
Good to see you here again. Finish all your exams?  
There is no experts here. Only a--------e who happens to love music.  
The Shostakovich sym 9 is the odd one amongst his symphonies as it is in a rather joyful mood, written after the end of the second world war.  
Have heard HKPO playing this symphony live before, ? under de Waart, not bad at all.  
For recording I like the ones by Bernstein/NYPO and Kondrashin/Moscow Phil.  
As for the Tchaikovsky Piano concerto 1, please don't write YundiLi off so soon. He has yet to show all his potentials.  
Unfortunately I can't get the ticket, so I'll miss his playing.  
kh33
12-08-16
18:28:22
回覆 (553): 古典音樂版本比拼擂台
I think I am brave enough to write something about music again.  
 
After all these years, I start to realize that my view are so naive and childish in front of so many music expert here, but I just want to start the ball rolling, and let some real expert share their precious experience, enlightening classical fans like me.  
 
Anyone going to the following concert? We have Yundi Li, who go out of his confort zone and play Tchaikovsky Piano Concerto no.1, and Shostakovich symphony no.9, conducted by Russian conductor.  
 
Programme  
SHOSTAKOVICH  
Festive Overture  
 
SHOSTAKOVICH  
Symphony No.9  
 
TCHAIKOVSKY  
Piano Concerto No.1  
 
http://www.hkpo.com/eng/concerts_and_ticket/concerts/concertdetail.jsp?id=306
CKM
12-08-16
17:36:54
回覆 (552): 古典音樂版本比拼擂台
 
Mahler and the Organ @ Dr Marc. Blog  
 
http://drmarcrochester.blogspot.com/2011/12/mahler-and-organ.html
george1977
12-03-16
13:46:25
回覆 (551): 古典音樂版本比拼擂台
 
Renowned music critic and mahlerian, Tony Duggan, passed away recently  
 
Tony Duggan (1954-2012) - In memoriam  
http://www.musicweb-international.com/classrev/2012/Feb12/Tony%20Duggan.htm
george1977
12-03-16
11:16:07
回覆 (553): 古典音樂版本比拼擂台
 
譚盾與香港的音緣際會 @ 香港文匯報  
 
譚盾這名字,對於熱愛他的樂迷而言,代表著熱情——對音樂發自內心的原始激情。其實音樂之於他,或許的確就像是激蕩生命的水火交融,就像他最廣為人知的一系列作品中,既有《水樂》、《火祭》,更有二者的結合。他擅長將非常規的現代音響手段與最傳統的中國元素相結合,更能在交響樂中捕捉到民族風格的靈魂。音樂劇場、拼貼、交響戲劇都是他最常使用的方式,而他與香港管弦樂團日前的錄音合作也充滿了融合的意味,我們也能藉此對這位音樂家的創作思維進行近距離的全面觀察。  ■文:香港文匯報記者 賈選凝 攝:潘達文  
 
 譚盾今次與港樂合作灌錄的三首曲目中,除去交響戲劇:《O》(樂隊版)是將上世紀90年代的作品重新演繹,另外兩首都是新作,一首是今年剛寫好的樂隊協奏曲,另一首則是去年完成的三個音的交響詩《拉西多》。作曲家與樂團的合作,本就意味著交融和重新探尋,而這其實也是港樂自2002年後再度灌錄商業唱片,因而希望邀請傑出的華人作曲家親自前來香港,指揮演奏本人創作的作品,以發揚「中國作曲」的獨到特色。  
 
 單是樂隊協奏曲便錄了六個小時,對於指揮的體力而言,是個大考驗。但譚盾顯然樂在其中,錄音之後第一時間便在微博上更新狀態,笑稱音樂讓他忘記了體能的極限,全程揮棒大約七萬多次,但在健身房內舉九十下啞鈴已是極限。連續三日的錄音過程,令他在思想與身體素質上,都被激發出了極大能量。他坦言「能和港樂這樣專業的樂團合作,是全新體驗,更是巨大信任之下的全新挑戰」。其中《拉西多》是曾為歌唱家Domingo所創作的以三個音符組成的交響詩篇——La、Si、Do,創意中盡顯他的音樂智慧:「交響樂為甚麼不能與我們的生活結連?其實是可以的。」  
 
在錄音中尋求突破  
 
 Hip Hop、流行、電子,一切音樂門類都是從最簡單的音符開始,只是更加與時俱進。譚盾常想,我們今人總在追思十八世紀、十九世紀的最偉大大師,但在廿一世紀,究竟甚麼才是最好的音樂?他認為嚴肅音樂即所謂藝術音樂,不該只停留在歷史中,而應與年輕人產生更多交集。真正的好音樂,不會讓人首先去區分它屬於哪種類型,而是源於當下生活,就像貝多芬的傳世佳作其實也來源於他那個時代。  
 
 譚盾從經典中得到的最大感受,便是今天的生活其實賦予了作曲家更完美平台去創造經典。那麼香港的生活能帶給他何種靈感?他說:「維港兩岸人們的生活,能提供笑與淚供作曲家去演繹。」這裡沒有明顯的城郊分野,而是渾然一體地融合了中國與西方的、歷史與現在的記憶。也正像他在不斷探索的音樂創作方式一樣,現代音樂甚至可以非常虛擬,像阿凡達式的宏觀壯美但又絕對超前。  
 
 而今次錄製的三首曲目,正體現出了他尋求突破自我的心態。哪怕是二十年前創作的交響戲劇《O》,重錄時也會讓他有新思考,他形容自己這次與樂團合作時,指揮的手勢便從中國京劇中獲得借鑒。既然是在香港重新演繹,那麼很東方的東西便可以糅合進去,節拍中一加入京劇鑼鼓點的味道,譚盾的風格便很清晰地浮現出來,無論中國民樂還是西方交響詩篇,他都能從中找到獨特質感。  
 
期許港樂立足香港  
 
 港樂在譚盾眼中,早已具備全世界最好樂團的素質。所以他認為,不必追隨德法頂尖樂團的風格,香港的樂團如果想追求傑出,便首先一定要立足香港。而他也在這次的錄音合作中,驗證了他對港樂的期許。他說香港不只是中國的,更是亞洲的,因而香港樂團的最大特色,便是如同這個城市的氣質一樣,以厚度結連亞洲文化。  
 
 他的音樂個性,正在於他永遠不會去複製經典,做第二個馬勒毫無意義,但做與時俱進的譚盾卻充滿意義,他對現代音樂工業的把握,更體現在對科技的運用。他認為科技是音樂的朋友,網絡、youtube、騰訊音樂,這些潮流前端的分享平台,都能拉近年輕人與音樂的距離,且能賦予作曲家全新的靈感,從而加深理解當下人們與音樂的親近程度。  
 
http://paper.wenweipo.com/2012/03/16/OT1203160001.htm
george1977
12-03-16
11:14:56
回覆 (552): 古典音樂版本比拼擂台
 
譚盾與HKPO的新錄音交由Grammy Award得獎監制Tim Handley負責錄音(最著名的代表作是Marin Aslop灌錄的Brahms交響曲全集),將交由NAXOS全球發行。  
 
Marin Alsop in discussion with Tim Handley (Right,who won the GRAMMY for Producer)  
george1977
12-03-16
11:14:08
回覆 (551): 古典音樂版本比拼擂台
 
香港:如此發達又如此地道 @ 香港文匯報  
 
譚盾對香港的城市印象中,「地道」是重要的一部分。  
 
 「地道」的字面含義是地下通道——「我對香港的地道,印象很深,無論去哪裡似乎都要經過地下這條通道,這讓我想到人的思想,如果要到達某處文學或哲學領地,一定會先經過黑暗隧道。」他最大的音樂創作力便是豐富的聯想力,而香港,也讓他聯想到了某種抽象象徵,彷彿既有不肯定的恐慌,卻又帶有宿命的意味,極其有趣。  
 
 譚盾認為,香港回歸之前常被人稱作文化沙漠,但今日再去觀察便不難發現,用國際的當代文化角度去看,香港甚至比北京上海等城市更加原汁原味——新與舊互相碰撞衝擊的表現更強,也更直接。  
 
 事實上,每次來,他都能在這座城市的繁囂之外,感受到地道的寧靜。「比如一些山間小道,一些遠離城區的離島,是上海東京都絕對沒有的安然之美。」有的地方,更保留了上世紀六十年代的建築風格,他由內心感到驚奇,如此發達的城市,卻又如此靜美的、本土的另一面。  
 
 十一年前,譚盾因奧斯卡成名,正式開啟了他身為國際一流音樂家的劃時代地位。而如今,歲月輾轉,再去回望當初那個聞名天下的轉捩點,他卻有了進一步思考。「拿奧斯卡之前,我很想挑戰學術、爭取那種成就感,成為象牙塔裡的最頂尖,但拿到那個獎之後,我反而有更迫切的願望,讓我的音樂為年輕人所喜歡。」  
 
 這就是他思想中的那份融合哲學,藝術音樂一樣能和流行結合,深刻的主題一樣能和流行生活方式、時尚需要融為一體。音樂始終是他表達自我的最準確方式,就像今時今日,每天都玩微博的他,其實非常明白年輕人的喜好,因而他也懂得可以怎樣做出更適應這個時代表達方式的樂曲,如果連人們的交往都日趨虛擬與電子,那麼音樂又怎會不可以。這或許就是人們對譚盾音樂印象中最突出的「實驗性」之體現。他始終在穿越古與今、熱鬧與平和,尋找其中音樂所能實現的最動人篇章。  
 
http://paper.wenweipo.com/2012/03/16/OT1203160002.htm
george1977
12-03-16
11:13:33
回覆 (550): 古典音樂版本比拼擂台
 
Trumpet player Maurice Andre dies aged [email protected] BBC
http://www.bbc.co.uk/news/entertainment-arts-17173246
george1977
12-03-16
11:06:10
回覆 (549): 古典音樂版本比拼擂台
Recording of March 1988: Wagner: Lohengrin  
By Richard Lehnert • Posted: Feb 22, 2012 •  
 
Published: Mar 1, 1988  
 
Wagner: Lohengrin  
Placido Domingo, Lohengrin; Jessye Norman, Elsa; Eva Randova, Ortrud; Siegmund Nimsgern, Telramund; Hans Sotin, Heinrich; Dietrich Fischer-Dieskau, Heerrufer; Vienna State Opera Chorus; Georg Solti, Vienna Philharmonic Orchestra  
DECCA London 421 053-1 (4 LPs), 421 053-2 (4 CDs). James Lock, John Pellowe, engs.; Christopher Raeburn, prod. DDD. TT: 222:54  
 
 
It's always surprised me that Lohengrin, Wagner's most awkward, transitional, and static opera, was, for its first 100 years, his most popular. It didn't help, I suppose, that I began my study of things darkly Teutonic with The Ring and Tristan, working forward and backward from there. In Lohengrin we can hear the last reluctant pullings away from operatic conventions—especially choral—of the first half of the 19th century, and the gropings toward full-blown musikdrama—especially in Act II, scene i.  
 
The pace is slow, even for Wagner, with a portentous reverence unrivalled even by Parsifal, and the character of Lohengrin, even less human than the out-and-out gods, dwarves, and dragons of The Ring, is so endlessly correct, never once succumbing to self-doubt or even second thoughts, that identification with him is difficult (although that didn't seem to stop Ludwig II, who wove an entire life's worth of expensively castled fantasies around the legend of the Swan Knight).  
 
After living for some time with the authoritative 1963 Kempe/VPO recording, with its once-in-a-lifetime cast of Jess Thomas, Elisabeth Grummer, Christa Ludwig, Fischer-Dieskau, and Gottlob Frick, it was hard to imagine a better performance. In many ways, that recording has not been bettered here—certainly not in the soloists. (With the exception of Frick, who did an excellent job but whose voice is simply too black for Heinrich. In the otherwise unnecessary Kubelik/Bayerische Rundfunk performance, Karl Ridderbusch, one of my favorite baritones, is a much better choice.) It's hard to imagine a more grippingly dramatic Act II Telramund/Ortrud scene, with two such consummate vocal actors as Fischer-Dieskau and Ludwig ripping into each other, and Thomas and Grummer are perfectly matched in nobility of purpose and purity of tone. And, of course, there's always the 1953 Keilberth/Bayreuth recording (Richmond, op), whose rough and ready vigor is unfortunately countered by poor recorded sound (see John Culshaw's Putting the Record Straight for the rather political explanation), but which preserves an indomitable Astrid Varnay as Ortrud and an oddly introspective Windgassen in the title role. (There's also a long-out-of-print Leinsdorf recording, which I remember for a rousing Act I swordfight and little else.)  
 
Such strong competition makes Georg Solti's achievement all the more welcome. There has always been an epic inevitability in his conducting of Wagner, and it is hardly lacking here, as is evident from the first bar of the perfectly built Act I Prelude. There is a wonderful, uncloying sweetness in the opening string octet, and it builds seamlessly to a stunningly prepared-for climax. Throughout, his handling of Wagner's one- and two-note string and brass punctuations in the tenser scenes are tight, dramatically perfect. Solti has been taken to task elsewhere for his slow tempi here, but if indeed they are slower (I'm not convinced), such is his intensity, drive, and analytical passion that they hardly lag.  
 
This is most evident in the long choral passages. More than any other of Wagner's operas, a Lohengrin lacking stellar soloists can stand or fall on the precision of its choruses, and Solti's (and chorus director Walter Hagen-Groll's) direction is bracingly alive, fully involved in the dramatic action, emotionally demonstrative, and musically precise in the many dense split-chorus passages. The complex counterpoint at the first sight of Lohengrin in Act I is heard with perfect clarity for the first time on record, and the same act's finale is triumphant; the entrance of the women in II.iv., too, sends chills up the spine. Of course, the Vienna State Opera Chorus is famous for the powerfully rich, dark, male tones that one seems to find only in native German-speaking choruses. In short, this most intrusive of Wagner's "Greek choruses" here enjoys a performance unequalled anywhere.  
 
Placido Domingo's is a sensual, emotional Lohengrin, quite unlike the severely spiritual Jess Thomas's. His reiteration of "Nie sollst du mich befragen" is bitingly insistent; "In fernem Land" is masterfully structured: hushed, triumphant, reverent, and proud by turns; but "Mein lieber Schwann," though achingly tender, is marred by Domingo's theatrically correct but sonically muffled turning away to address his upstage swan. Jessye Norman gives the impression of endless vocal reserves, so effortless is the power of her floating, perfectly supported tones. But she lacks emotional urgency; in this case, the emphasis is on the music, not the drama—her Elsa seems never to leave the dreamy reverie of her opening Act I narration until Act III.  
 
Hans Sotin is a strong, warm Heinrich, though not as supple as Ridderbusch; Siegmund Nimsgern's Telramund is solid, but smacks more of Alberich's strained posturing; and Eva Randova's Ortrud, though assured and considerably more than adequate, simply cannot compare with those of Ludwig or Varnay. A delightful treat, however, is Fischer-Dieskau as the Heerrufer: in reviews of his recent lieder recordings, much has been made of the inevitable deterioration of his voice; but in the opera studio, at least, his singing is unimpaired. This compulsively human singer brings life to this cardboard part as no other has, and with great force and musicality.  
 
For this, the conclusion of Solti's Wagner cycle for London/Decca, he returned to the VPO after the misguided CSO Dutchman, and that orchestra is in fine voice—the brasses and woodwinds are strong and mellow, unlike the CSO's often stentorian harshness, and the Sofiensaal's liquid acoustic serves this digital recording as it always has: extremely well. The Act III Bridal Chorus, for example, is begun far, far back in some remote side-hall, and approaches with slow, even stateliness. Solti conducts here with almost Handelian lace and grace, coaxing the fine textures of the vocal writing to match the opening strings' etherialness in the Act I Prelude.  
 
For the sheer vocal power of its cast and the resultant compelling drama, the Kempe recording remains unparalleled. But in all other ways, including exciting, gripping drama from the podium, and orchestral sound of great fullness and beauty, I heartily recommend Solti's heroic Lohengrin.  
 
—Richard Lehnert.  
http://www.stereophile.com/content/recording-march-1988-wagner-ilohengrini
george1977
12-03-12
18:06:15
回覆 (548): 古典音樂版本比拼擂台
Should you think that the actor Anthony Hopkins is the rare and only celebrity at Hollywood who likes classical music, then another actor in Hollywood also loves Classical music very much, Alec Baldwin, who casts at films like "The Departed" & "Mercury Rising".  
 
The following link is an interview transcript derived from RADIO WQXR in New York, host speaker is the famous conductor, Gilbert Kaplan, who conducts and recorded Mahler 2nd "Resurrection" Symphony as his most favourite piece.  
 
 
 
Mad About Music @ Alec Baldwin  
http://www.wqxr.org/#/programs/mam/2004/may/02/
george1977
12-03-12
18:05:13