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| There are 91 Reviews Done |
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Leos Janacek, Antonin Dvorak, Bedrich Smetana (...) - Supraphon Selections
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| Rusalka, tender topcomposition, bad rough recording. |
| By: |
Haino
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| Date: |
14 Oct 2009 |
| Rating: |
 |
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Awfull recording!
When hearing this track of Dvorak's "Rusalka",
"O moon in the deep deep sky",
i did not get that fine imagination of the ultimate
expression of female tenderness, fragility, care, beauty,
which this composition should give. A mermaid fallen in love.
Not that tender touching of the words, in the pronounciation.
Not a fluent synchronious orchestra.
Neither did i hear a quiet bright sound,
like one expects on a very lonesome quiet night.
On the edge of a romantic lake with ribbling
fullmoon-reflections in the water, and gentle soft,
allmost inaudible, warm breezing backgroundsound
of that water wind, and owls in the distance.
I prefer the recordings of Eva Urbanova,
Frederica von Stade ('Dvorak in Prague'),
and Renée Fleming.
Listening to them gives tears of tenderness,
a quiet compassion for a tender woman in need.
One can compare it via youtube, for example,
or in a shop. Rusalka is a very beautiful opera.
What i heard in this recording was a scraping sound,
and a performance of a less quality than average.
Haino.
(Relive the beauty in opera. )
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4 of 4 found this review helpful |
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Fazil Say - 1001 Nights In The Harem (Luzerner Symphony Orchestra, Patricia Kopatchinskaja)
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| Not exactly different... |
| By: |
irincou
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| Date: |
9 Oct 2009 |
| Rating: |
 |
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Never said the entire album is Greek! I truly don't believe that. The melody in this Andantino is the Greek song I mentioned! Of course the work is original and very good! I believe that the Orient culture has influenced all the people in this part of the world!
Of course it is a whole chapter in culture! There are also Greek composers who have used Orient melodies. As we (who study history) all probably know, People in this part of the world were so much blended that nobody can claim culture exclusively for one's self! You are right Horizon!
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4 of 4 found this review helpful |
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Fazil Say - 1001 Nights In The Harem (Luzerner Symphony Orchestra, Patricia Kopatchinskaja)
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| Different views |
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Lucerne Symphony Orchestra (in Switzerland ) made to order and the modernity, Turkey's culture and the influence of the subtle art of violin playing come together with the sincerity and passion in "1001 Nights in the Harem" that is completed at the beginning of 2008.
Fazil has shown success Anatolian culture of the different layers of inspiration, as the music of this land have used successfully, sometimes as atonal contemporary lines, in places, tonal, melodic capture the hearts.
It can be determine in this work Bektashi music Mevlevi Ayin, the Ottoman Turkish mode, a former folk song of Istanbul " KATIBIM" and Fazil's love of his own compositions were Ballade section.
The most interesting part of Fazıl's new composition " 1001 Nights in the Harem " is the style BALLAD. This is the song which is mentioned in İrincou's comments. It is incorrect to make generalizations for the entire work. "1001 Nights in the Harem" is a new composition.
Now, “Recently several Macedonian bloggers published the documentary Whose Is This Song ? by a Bulgarian director Adela Peeva on their blogs and started discussing the story. The documentary was filmed as an idea that the director got during a dinner in Istanbul with several friends (a Macedonian, a Serb, a Greek and a Turk), when all of them said that the song playing in the background was from their country.”
http://globalvoicesonline.org/2009/01/20/balkans-whose-is-this-song/
Please watch this video, note that the Ottoman Geography and the decision is yours! “Whose Is This Song ?”
In my opinion ; The music belongs to the time, not any country!
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12 of 12 found this review helpful |
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Giuseppe Verdi - Verdi Choruses
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| Fuoco di gioia |
| By: |
irincou
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| Date: |
23 Jun 2009 |
| Rating: |
 |
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(As the singing goes on around the fire of rejoicing, the tavern-keepers hang varicolored Venetian lanterns from the pergola, giving a festive illumination to the scene. The soldiers gather around the tables, some sitting, some standing, chattering and drinking.)
Fuoco di gioia! - l'ilare vampa
Fuga la notte - col suo splendor,
Guizza, sfavilla, - crepita, avvampa,
Fulgido incendio - che invade il cor.
Dal raggio attratti - vaghi sembianti
Movono intorno - mutando stuol.
E son fanciulle - dai lieti canti,
E son farfalle - dall'igneo vol.
Arde la palma - col sicomoro,
Canta la sposa - col suo fedel;
Sull'aurea fiamma, - sul lieto coro
Soffia l'ardente - spiro del ciel.
Fuoco di gioia - rapido brilla!
Rapido passa - fuoco d'amor!
Splende, s'oscura, - palpita, oscilla,
L'ultimo guizzo - lampeggio e muor.
(The fire slowly dies out; the storm is over.)
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1 of 1 found this review helpful |
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Ludwig van Beethoven - Beethoven: Symphony No. 2, Symphony No. 5
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| 5th Symphony |
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It is not at all that good for the 5th Symphony not to be heard from the beginning to the end all four parts. But since it is understood that it is difficult due to it's length... I think it would be better if the third part is not terminated so abruptly. Makes your breathing uneasy!
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1 of 1 found this review helpful |
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Thomas Tallis - Spem In Alium / Missa Slave Intemerata
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| Tallis: Spem in Alium |
| By: |
Bob
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| Date: |
27 Jan 2009 |
| Rating: |
 |
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One of the most beautiful works in the choral repetorie is done with very little musicallity. The piece is done so slowly that it simply does not hold together. A much better recording was done by the Tallis Society.
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2 of 2 found this review helpful |
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Bela Bartok - Bartók: Concerto for Orchestra; Music for Strings, Percussion and Celesta; Hungarian Sketches (Fritz Reiner, Chicago Symphony Orchestra)
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| Near-definitive performances of 20th century masterpieces |
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For any lover of classical music whose tastes extend beyond the 19th century, this album is part of a core library of recorded music. This recording of Reiner and the Chicago Symphony's performance of Bartok's Concerto for Orchestro is widely regarded by music critics as the performance against which all other recorded performances should be measured. I would certainly agree with that. The sheer dynamism and energy of the performance is incredible; yet, clarity of voice and articulation is never sacrificed for a single moment. This is especially true of the Finale, which is breathtaking.
Music for Strings, Percussion and Celesta is another of my favorite Bartok works and the performance here is also near-definitive.
All in all, this album is a treasure.
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3 of 3 found this review helpful |
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