Classical Music Only | What You're Listening to Now, Or Very Recently | Any Mediums :
- Thread starter NorthStar
- Start date
That Blu-ray "Pina" is more like a documentary that explains her way of working through interviews with people who worked with her (dancers mostly) and parts of performances.
My wife and I like it a lot. :thumbsup:
Kuoppis
New member
- Joined
- Jan 19, 2015
- Messages
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Just so wonderful via the Pass INT-60 and the Harbeth 30.2, 40th anniversary. I am in such a good place with my summerhouse system now as well. It’s a real pleasure.
The Bajuvarian Single Malt and Cohibas might add to it a bit [emoji3], and of course the first real vacation in three years.
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Kuoppis
New member
- Joined
- Jan 19, 2015
- Messages
- 5,213
That sounds as a well deserved vacation , enjoy it
Thank you Flemming, very kind.
IMHO this is one perspective what makes audio systems worthwhile: enjoying the results of continuous enquiry when you get the chance to indulge in it.
Offenbach - Colorature
Jodie Devos, soprano
Münchner Rundfunkorchester, Laurent Campellone
Qobuz 24/96
Belgian soprano Devos scored well in the Queen Elisabeth Competition for Voice a couple of years ago.
I didn't expect much of this album, but was curious.
I have to admit, these are enjoyable pieces and Jodie Devos shines.
The elegant Jodie Devos puts her talents to work in service of a fairly unknown known side of Offenbach, taking on several somewhat-forgotten pieces which call for very specific voices, known in Offenbach’s day by names such as "chanteuse d’agilité", "chanteuse à roulade" or "première chanteuse légère". Of course, everyone knows the tune of the doll Olympia from Tales of Hoffmann, or the telling of the death of Eurydice in Orpheus in the Underworld, but the substantial repertoire of the composer's smaller pieces (which he generally referred to as "operettas" to distinguish them from his larger works, his famous opéras bouffe) contains a number of virtuoso arias for coloratura soprano. In them, we hear the vocal imitation of the jeu perlé piano technique or of Paganini's "flying staccato", in which unstinting bravura hides the real difficulty behind something apparently easy. But the difference from many bel canto composers, who merely show off vocals and melody, is that Offenbach knows how to charge these things with emotion, with textual significance, with personality, and with contrasts: simple mechanics never take precedence over diversity. This record allows us to discover a neat little collection of sadly little-known works which are well overdue a return to the French stage. © SM/Qobuz
Jodie Devos, soprano
Münchner Rundfunkorchester, Laurent Campellone
Qobuz 24/96
Belgian soprano Devos scored well in the Queen Elisabeth Competition for Voice a couple of years ago.
I didn't expect much of this album, but was curious.
I have to admit, these are enjoyable pieces and Jodie Devos shines.
The elegant Jodie Devos puts her talents to work in service of a fairly unknown known side of Offenbach, taking on several somewhat-forgotten pieces which call for very specific voices, known in Offenbach’s day by names such as "chanteuse d’agilité", "chanteuse à roulade" or "première chanteuse légère". Of course, everyone knows the tune of the doll Olympia from Tales of Hoffmann, or the telling of the death of Eurydice in Orpheus in the Underworld, but the substantial repertoire of the composer's smaller pieces (which he generally referred to as "operettas" to distinguish them from his larger works, his famous opéras bouffe) contains a number of virtuoso arias for coloratura soprano. In them, we hear the vocal imitation of the jeu perlé piano technique or of Paganini's "flying staccato", in which unstinting bravura hides the real difficulty behind something apparently easy. But the difference from many bel canto composers, who merely show off vocals and melody, is that Offenbach knows how to charge these things with emotion, with textual significance, with personality, and with contrasts: simple mechanics never take precedence over diversity. This record allows us to discover a neat little collection of sadly little-known works which are well overdue a return to the French stage. © SM/Qobuz
Jodie Devos
Caroline Meng
Quatuor Giardini - Il Était Une Fois
Qobuz 24/96
Listening to that other album of Jodie Devos earlier this evening left me wanting more.
This is another highly enjoyable album, with another great voice, Caroline Meng.
The piano quartet makes the singing very transparent.
I like it!
Caroline Meng
Quatuor Giardini - Il Était Une Fois
Qobuz 24/96
Listening to that other album of Jodie Devos earlier this evening left me wanting more.
This is another highly enjoyable album, with another great voice, Caroline Meng.
The piano quartet makes the singing very transparent.
I like it!
Jozua
New member
Love these valuable hints of music to explore. Much appreciated.
chops
Active member
Just one of a large collection (30+) of Musical Heritage Society albums I purchased a short while back. All in great shape and sound excellent to boot!
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chops
Active member
chops
Active member
Time for some harpsichord:
Anne Marie Dragosits - Le Clavecin Mythologique
Qobuz 24/88.2
Royer, Rameau, Couperin, Duphly, d'Anglebert, Forqueray: the usual suspects.
This is a fantastic recording, the sound of the instrument is to die for.
I loved this review by the musician herself:
The mythological world of antiquity has fascinated us for millennia without pause, and its densely woven tales of gods, goddesses, legendary creatures and mortals continues to entreat us to this day. It is ultimately for the reader to decide whether these myths provide explanations for the incomprehensible, offer allegories of our human experience, or are simply just fascinating tales. This recording gathers baroque program music together in which each work recounts a tale from the world of mythology.
The broad sonic spectrum able to be elicited from the marvelous harpsichord made by Pascal Taskin is commensurate with the varied abundance of mythological creations depicted in this program’s collection. Form, musical structure and narrative style are also multifaceted herein, from works that best seem to resemble landscape portraits to dramatic opera scenes in miniature.
The range of composers included begins nearly at the inception of French harpsichord artistry and ends near its swansong: from d’Anglebert’s arrangements of Jean-Baptiste Lully’s compositions (the latter is credited with having “discovered” French baroque music), to towering harpsichord greats such as François Couperin and Jean-Philippe Rameau, further still with the singer, opera composer and keyboard virtuoso Pancrace Royer, and ending with Jacques Duphly. The latter’s music represents a final culmination before the abrupt break made by the French Revolution; indeed, Duphly’s death on the day after the storming of the Bastille tragically emblemizes the loss of significance of the harpsichord, which would become recognized as a symbol of the Ancien Regime.
[…] With their special sound characteristics, historical instruments can approach an almost mystical, even mythical aura. The Taskin harpsichord in Hamburg is an unbelievably colorful and beautifully sounding example; it is in every regard a unique instrument that I found richly rewarding as a player. When deciding to record upon such an instrument, one accepts small technical or mechanical imperfections as a precondition. © Anne Marie Dragosits/L'Encelade
Anne Marie Dragosits - Le Clavecin Mythologique
Qobuz 24/88.2
Royer, Rameau, Couperin, Duphly, d'Anglebert, Forqueray: the usual suspects.
This is a fantastic recording, the sound of the instrument is to die for.
I loved this review by the musician herself:
The mythological world of antiquity has fascinated us for millennia without pause, and its densely woven tales of gods, goddesses, legendary creatures and mortals continues to entreat us to this day. It is ultimately for the reader to decide whether these myths provide explanations for the incomprehensible, offer allegories of our human experience, or are simply just fascinating tales. This recording gathers baroque program music together in which each work recounts a tale from the world of mythology.
The broad sonic spectrum able to be elicited from the marvelous harpsichord made by Pascal Taskin is commensurate with the varied abundance of mythological creations depicted in this program’s collection. Form, musical structure and narrative style are also multifaceted herein, from works that best seem to resemble landscape portraits to dramatic opera scenes in miniature.
The range of composers included begins nearly at the inception of French harpsichord artistry and ends near its swansong: from d’Anglebert’s arrangements of Jean-Baptiste Lully’s compositions (the latter is credited with having “discovered” French baroque music), to towering harpsichord greats such as François Couperin and Jean-Philippe Rameau, further still with the singer, opera composer and keyboard virtuoso Pancrace Royer, and ending with Jacques Duphly. The latter’s music represents a final culmination before the abrupt break made by the French Revolution; indeed, Duphly’s death on the day after the storming of the Bastille tragically emblemizes the loss of significance of the harpsichord, which would become recognized as a symbol of the Ancien Regime.
[…] With their special sound characteristics, historical instruments can approach an almost mystical, even mythical aura. The Taskin harpsichord in Hamburg is an unbelievably colorful and beautifully sounding example; it is in every regard a unique instrument that I found richly rewarding as a player. When deciding to record upon such an instrument, one accepts small technical or mechanical imperfections as a precondition. © Anne Marie Dragosits/L'Encelade
AJ Soundfield
Active member
I have this album as Argo ZRG5366. It was originally released on the French label Erato. Both Argo and MHS licensed it from Erato. Great album.
Larry
Larry
Just one of a large collection (30+) of Musical Heritage Society albums I purchased a short while back. All in great shape and sound excellent to boot!
We saw great Pollini perform at the Salzburg Festival in 1987, playing the Debussy Etudes. He wasn't a young man then. Not all pianists can still play well at age 77!
Larry
Larry
Chopin - Nocturnes - Mazurkas - Berceuse - Sonata
Maurizio Pollini
Qobuz 24/96
The old master still has it in his hands!
Berg - Lyric Suite
Schubert - Death And The Maiden
Novus Quartet
Qobuz 24/96
This is a very well recorded album.
Simply marvellous playing of these youngsters also.
Inspired by the black aura of Romanticism, Novus Quartet’s new disc brings together two major works from the Romantic repertoire. The finest Korean musicians put their virtuosity in the service of Schubert’s moving Death and the Maiden and Berg’s Lyrical Suite. In their own way, these works proceed to the encryption of the feeling of love. It is not a question of hiding it but of expressing it more powerfully than with words. And the intermingling of reminiscences weaves an irresistible poetic discourse – Schubert quoting one of his Lieder and Berg as homage to Zemlinsky’s Symphonie Lyrique. A record that once again allows this captivating quartet to hear the full extent of his talents in romantic music, from the dawn of the period until his last fires. They literally thrive in this repertoire! © Aparté
Schubert - Death And The Maiden
Novus Quartet
Qobuz 24/96
This is a very well recorded album.
Simply marvellous playing of these youngsters also.
Inspired by the black aura of Romanticism, Novus Quartet’s new disc brings together two major works from the Romantic repertoire. The finest Korean musicians put their virtuosity in the service of Schubert’s moving Death and the Maiden and Berg’s Lyrical Suite. In their own way, these works proceed to the encryption of the feeling of love. It is not a question of hiding it but of expressing it more powerfully than with words. And the intermingling of reminiscences weaves an irresistible poetic discourse – Schubert quoting one of his Lieder and Berg as homage to Zemlinsky’s Symphonie Lyrique. A record that once again allows this captivating quartet to hear the full extent of his talents in romantic music, from the dawn of the period until his last fires. They literally thrive in this repertoire! © Aparté