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  • Richard Wagner - Die Feen (The Fairies) - Moll, Esther Gray, J. Alexander, J. Anderson, Studer - Sawallisch, complete recording 1983

  • Музыкальная коллекция "СОНАТА" не только классика. Тысячилетняя история развития музыкальных жанров

  • Verdi - Otello - Karajan, Jon Vickers, Mirella Freni

  • Verdi: Rigoletto (Bruson, Gruberova, Shicoff, Fassbaender, Sinopoli) - 1984

  • Tchaikovsky - Grand Sonata Op.37 - Children's Album Op.39 - Pletnev (1995)

  • L.Beethoven (1770 - 1827) - Symphony No.9 with final chorus to F.Schiller's ode 'To Joy' in D Minor, op.125 (SINGING IN RUSSIAN)

  • Christoph Willibald Gluck - Orfeo Ed Euridiceo

  • Tchaikovsky - Ballet Suites (Sleeping Beauty, Nutcracker and Swan Lake) (1994)

  • Aram Khachaturian - Khachaturian Spartacus Gayaneh

Richard Wagner - Die Feen (The Fairies) - Moll, Esther Gray, J. Alexander, J. Anderson, Studer - Sawallisch, complete recording 1983

3 CDs | DDD | FLAC (no cue) | German | Cover & libretto (german, english, french) | 2h 45min | 740mb rar
Orfeo C062833F (1984/1994) | 100mb rar-archives | 4% recovery | Rapidshare


This recording is for the Wagnerian who must have everything including the master's least known opera Die Feen (the Fairies), a work so obscure that it did not see the footlights until five years after the composer's death. Ordinarily when dealing with Wagnerian juvenilia, one finds obscure artists in less than ideal recordings (pirated editions, as often as not). Orfeo performs meritorious service for the Wagnerian faithful here by providing a genuine first string cast for this work in a live performance from the 1983 Munich Opera Festival. The Weberian flavor of the score is admirably realized by the Bavarian Broadcasting Symphony under Swallisch. For those interested in the early musical style of the future genius of Bayreuth, this is likely to remain the best recording of any of these early efforts. --Christian C. Rix, Amazon

"Die Feen", WWV 32
Performed by Bavarian Radio Symphony Orchestra
Conducted by Wolfgang Sawallisch

Kurt Moll (Der Feenkönig - Baß)
Linda Esther Gray (Ada, eine Fee - Sopran)
Kari Lövaas (Farzana, eine Fee - Sopran)
Krisztina Laki (Zemina, eine Fee - Sopran)
John Alexander (Arindal, König von Tramond - Tenor)
June Anderson (Lora, Arindals Schwester - Sopran)
Roland Hermann (Morald, Loras Geliebter und Arindals Freund - Bariton)
Jan-Hendrik Rootering (Gernot, Arindals Jäger - Baß)
Cheryl Studer (Drolla, Loras Zofe - Sopran)
Norbert Orth (Gunther, Höfling Arindals in Tramond - Tenor)
Karl Helm (Harald, Arindals Feldherr - Baß)
Friedrich Lenz (Ein Bote - Tenor)
Roland Bracht (Die Stimme des Zauberers Groma - Baß)

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Музыкальная коллекция "СОНАТА" не только классика. Тысячилетняя история развития музыкальных жанров

Путеводитель по коллекции современных записей европейской и русской классики, джазовой и популярной музыки, поэтической песни, выполненных ведущими мировыми студиями, в исполнении лучших музыкантов планеты.
Год выпуска: 2004
Страна:Россия
Разработчик: ООО "Институт Новых Технологий"
Язык: русский

Коллекция избранных музыкальных произведений отражает тысячелетнюю историю развития музыкальных жанров, предоставляет материалы для работы на уроках музыки, литературы, истории, мировой художественной культуры и самообразования, а также интерактивную среду для развивающей и проектной деятельности учащихся и дистанционного обучения. Благодаря этому диску изучение музыкального искусства превращается в увлекательную интерактивную игру.
Особенности программы:
- Информация более чем о 100 композиторах
- Свыше 300 фрагментов музыкальных произведений с аннотациями
- Картинная галерея: более 200 иллюстраций по истории музыки, литературы, науки
- Терминологический словарь и комментарии
- Векторина
- Поисковая система
- Рекомендации по оснащению кабинета искусств, школьного театрального зала, музыкальной костиной
Файл:
Размер: 556 MB

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Процессор Pentium II 266 МГц
64 Мб оперативной памяти
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4-скоростное устройство для чтения компакт-дисков или DVD-дисков
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Verdi - Otello - Karajan, Jon Vickers, Mirella Freni

DVD9 | NTSC | 4:3 | All Regions | Italian | LPCM, DTS | Cover | 142min. | 6.52gb rar
Subs: italian, english, german, french, spanish, chinese
Deutsche Grammophon 1973/2005 | 100mb rar-archives | 4% recovery | Rapidshare


Jon Vickers, Mirella Freni, Peter Glossop, Stefania Malagu, Aldo Bottion

Verdi's Otello is a larger-than-life role, calling for a tenor of Wagnerian vocal power and stage presence. In the late 20th century, two singers fully met its specifications--Jon Vickers and Placido Domingo. Both were filmed in video productions of unusual quality, and a choice between them boils down, ultimately, to a question of personal taste. In this 1973 production, Vickers is given an effective context to set off his powerful, carefully considered characterization. Mirella Freni is an appealing Desdemona, Peter Glossop is a credibly vicious Iago, and the cast is solid right down to the very young future star Jose van Dam in a small supporting role. The chorus and orchestra rank with the world's best.
Herbert von Karajan's direction, musical and theatrical, is a source of both strength and shortcomings. His power and prestige allowed him to assemble stellar casts and to scoff at budget limitations. He was also able to take the production beyond the opera house's visual limitations with on-location filming, an opportunity that is exploited with powerful impact in the storm-at-sea scene that opens this Otello. His personal musical taste sometimes tended to favor polish at the expense of expressive intensity. But he does present Verdi's score intact, without the cuts made in the 1986 cinematic production directed by Franco Zeffirelli and starring Domingo. Personally, I find the Zeffirelli Otello dramatically compelling, but Von Karajan's--or Georg Solti's 1992 version with Domingo and Kiri Te Kanawa--is closer to what Verdi had in mind. --Joe McLellan, Amazon

   

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Verdi: Rigoletto (Bruson, Gruberova, Shicoff, Fassbaender, Sinopoli) - 1984

Classical | 2 CDs | MP3 192 kbps| NO BOOKS NO COVER | 186 MB
Decca B0015S3RDI | Release Date: 2002

This is a great recording of Rigoletto. Bruson is the best Rigoletto recorded, his voice is perfect for the role. He is much more believable than Milnes and I love his rich deep baritone. Gruberova is perhaps the best Gilda ever!

She has so much power to give yet can be so gentle and vulnerable, I love her Gilda!! The duets with her and Brunson are treasures. Shicoff is a good Duke, of course no one sings the role like Pavarotti but Shicoff is a close second. The only thing I miss in this recording are some of the optional high notes that are taken in the Pavarotti/Shutherland recording. But I respect Sinoppoli's descion to leave them out.

Tracklist
Disc 1
1. Preludio
2. Act 1. Della mia bella incognita borghese
3. Act 1. Questa o quella
4. Act 1. Partite?...Crudele!
5. Act 1. Gran nuova! Gran nuova! / Tutto è gioia, tutto è festa
6. Act 1. Voi congiuraste contro noi
7. Act 1. Quel vecchio maledivami!
8. Act 1. Signor?... / Va, non ho niente
9. Act 1. Pari siamo!...
10. Act 1. Figlia!... / Mio padre!
11. Act 1. Deh, non parlare al misero
12. Act 1. Quanto dolor!...
13. Act 1. Veglia, o donna, questo fiore
14. Act 1. Giovanna, ho dei rimorsi...
15. Act 1. T'amo! T'amo
16. Act 1. È il sol dell'anima
17. Act 1. Che m'ami, deh, ripetimi / Addio... speranza ed anima
18. Act 1. Gualtier Maldè...
19. Act 1. Caro nome / È là... - Miratela
20. Act 1. Riedo!... perché?
21. Act 1. Zitti, zitti
22. Act 1. Soccorso, padre mio!

Disc 2
1. Act 2. Ella mi fu rapita!
2. Act 2. Parmi veder le lagrime
3. Act 2. Duca, duca! / Scorrendo uniti
4. Act 2. Possente amor
5. Act 2. Povero, Rigoletto! / La ra, la ra
6. Act 2. Cortigiani, vil razza dannata
7. Act 2. Ebben, piango
8. Act 2. Mio padre! / Dio! Mia Gilda!
9. Act 2. Parla... siam soli / Tutte le feste al tempio
10. Act 2. Piangi, fanciulla
11. Act 2. Compiuto pur quanto / Schiudete
12. Act 2. Sì, vendetta
13. Act 3. E l'ami?
14. Act 3. La donna è mobile / È là il volstr'uomo
15. Act 3. Un dì, se ben rammentomi
16. Act 3. Bella figlia dell'amore
17. Act 3. Venti scudi hai tu detto? / La donna è mobile / È amabile invero / Ah, più non ragiono!...
18. Act 3. Della vendetta alfin / La donna è mobile
19. Act 3. Chi è mai
20. Act 3. V'ho ingannato
21. Act 3. Lassù... in cielo

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Tchaikovsky - Grand Sonata Op.37 - Children's Album Op.39 - Pletnev (1995)

EAC Rip | APE(image+.cue), log, scans - 194 Mb | MP3(320kbit/s) - 162 Mb
Genre: Classical, piano
Gramzapis Company 1995 | AAD | Playingtime - 62:22

 

CD: Mikhail Pletnev - Tchaikovsky

01. Tchaikovsky - Grand Sonata Op.37 1. Moderato e risoluto (13:25)
02. Tchaikovsky - Grand Sonata Op.37 2. Andante non troppo (9:17)
03. Tchaikovsky - Grand Sonata Op.37 3. Scherzo (2:50)
04. Tchaikovsky - Grand Sonata Op.37 4. Final (6:15)
05. Tchaikovsky - Children's Album Op.39 (30:33)

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L.Beethoven (1770 - 1827) - Symphony No.9 with final chorus to F.Schiller's ode 'To Joy' in D Minor, op.125 (SINGING IN RUSSIAN)

T.Milashkina, E.Obraztsova, A.Maslennikov, Y.Nesterenko
Bolshoi Theatre Choir and Orchestra. Conductor Y.Simonov
Recorded in the Great Hall of the Moscow Conservatory in 1976
2LP-set Conversion | APE/MP3-320kbps+cue+cover | no log | 315.4/172.8Mb | 1:13:33 | Melodija 1984

Yuri Simonov was born in Saratov, USSR, into a family of opera singers. He first took up the baton at the age of 12, conducting his school orchestra performing Mozart’s Symphony no. 40, making 2003 the 50th anniversary of his debut. He studied at Leningrad Conservatoire with Nikolai Rabinovich and was Evgeny Mravinsky’s assistant at the Leningrad Philharmonic Orchestra. In January 2003 Maestro Simonov paid tribute to his famous teacher conducting the St. Petersburg Symphony at part of a concert to celebrate the 100th anniversary of Mravinsky’s birth...
 
Allied Artists - Yuri Simonov

Contents:
L.Beethoven (1770 - 1827) - Symphony No.9 with final chorus to F.Schiller's ode 'To Joy' in D Minor, op.125 (SINGING IN RUSSIAN)
Side 1
I. Allegro, ma non troppo, un poco maestosoYuri Simonov
Side 2
II. Molto vivace
Side 3
III. Adagio molto e cantabile
Side 4
IV. Finale. Presto. Allegro assai
T.Milashkina, E.Obraztsova, A.Maslennikov, Y.Nesterenko
Bolshoi Theatre Choir and Orchestra. Conductor Y.Simonov
Recorded in the Great Hall of the Moscow Conservatory in 1976
Melodija 1984

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Christoph Willibald Gluck - Orfeo Ed Euridiceo

DbPowerAMP, FLAC (tracks, no cue) + MP3 (320@ CBR) | 560.04 Mb (FLAC) + 304.27 Mb (MP3) | 127 minutes | Full artwork and covers.
classical, opera | Erato Records, Recorded at Glyndebourne, Great Britain on June, 1982.

Orfeo ed Euridice (French version: Orphée et Eurydice; English translation: Orpheus and Eurydice; Spanish Translation: Orfeo y Eurídice) is an opera composed by Christoph Willibald Gluck based on the myth of Orpheus, set to a libretto by Ranieri de' Calzabigi. It belongs to the genre of the azione teatrale, meaning an opera on a mythological subject with choruses and dancing.[1] The piece was first performed at Vienna on October 5, 1762. Orfeo ed Euridice is the first of Gluck's "reform" operas, in which he attempted to replace the abstruse plots and overly complex music of opera seria with a "noble simplicity" in both the music and the drama.
Though originally set to an Italian libretto, Orfeo ed Euridice owes much to the genre of French opera, particularly in its use of accompanied recitative and a general absence of vocal virtuosity. Indeed, twelve years after the 1762 premiere, Gluck re-adapted the opera to suit the tastes of a Parisian audience at the Académie Royale de Musique with a libretto by Pierre-Louis Moline. This reworking was given the title Orphée et Eurydice, and several alterations were made in vocal casting and orchestration to suit French tastes. The opera is the most popular of Gluck's works.
The opera was first performed in Vienna at the Burgtheater on October 5, 1762, for the name-day celebrations of the Emperor Francis I. The production was supervised by the reformist theatre administrator, Count Giacomo Durazzo. Choreography was by Gasparo Angiolini, and set designs were by Giovanni Maria Quaglio, both leading members of their fields. The first Orfeo was the famous castrato Gaetano Guadagni. Orfeo was revived in Vienna during the following year, but then not performed until 1769. For the performances that took place in London in 1770, Guadagni sang the role of Orpheus, but little of the music bore any relation to Gluck's original, with J.C. Bach - "the English Bach" - providing most of the new music. Haydn conducted a performance of the Italian version at Eszterháza in 1776. During the early 19th century, Adolphe Nourrit became particularly well-known for his performances of Orpheus at the Paris Opera. In 1854 Franz Liszt conducted the work at Weimar, composing a symphonic poem of his own to replace Gluck's original overture. Typically during the 19th century and for most of the 20th century, the role of Orfeo was sung by a female contralto, and noted interpreters of the role from this time include Clara Butt and Kathleen Ferrier, and the mezzo-sopranos Rita Gorr, Janet Baker and Risë Stevens (at the Metropolitan Opera). Among conductors, Arturo Toscanini was a notable proponent of the opera. His radio broadcast of Act II was eventually released on both LP and CD.
In 1769 for a performance at Parma which was conducted by the composer, Gluck transposed the role of Orfeo up for the soprano castrato Giuseppe Millico, maintaining a libretto in Italian. This version has not been performed in modern times.
Gluck revised the score again for a production in Paris, which premiered on 2 August 1774. This version, named Orphée et Eurydice, had a French libretto by Pierre-Louis Moline, which was both a translation of and an expansion upon Calzabigi's original text. Gluck expanded and rewrote parts of the opera, and changed the role of Orpheus from a part for a castrato to one for high tenor or the so-called haute-contre - the usual voice in French opera for heroic characters - as the French almost never used castrati. This version of the work also had additional ballet sequences, conforming to the tastes that were prevalent at the time in Paris.
In 1859, the composer Hector Berlioz made a version of the opera - in four acts - with the singer Pauline Viardot in mind, adapting the score for a female alto. In this adaptation, Berlioz used the key scheme of the 1762 Vienna score while incorporating much of the additional music of the 1774 Paris score. He returned to the Italian version only when he considered it to be superior either in terms of music or in terms of the drama. He also changed the orchestration to take advantage of new developments in musical instruments. In Berlioz's day, Orpheus came to be generally sung by a female alto or a tenor, as the original version for castrato became increasingly neglected. Operatic castrati themselves had virtually vanished by 1825, and performances of the original version for castrato became increasingly rare. The modern practice of approximating castrati by using countertenors as replacements only dates to 1950.
Finally, an 1889 edition, published by Ricordi, combined elements of both the Italian and the French versions, using again a female alto as Orfeo. This edition proved extremely popular, and consisted largely of Berlioz's adaption condensed into three acts. It also re-incorporated much of the music of the 1774 French version that had been omitted by Berlioz. On occasion the role of Orfeo has even been transposed down an octave for a baritone to sing. Dietrich Fischer-Dieskau and Hermann Prey are two notable baritones who have performed the role in Germany. Dietrich Fischer-Dieskau recorded the opera, a recording which is still available commercially.

The London Philarmonic Orchestra
Raymond Leppard: conductor
Janet Baker: Orfeo
Elizabeth Gale: Amore
Elisabeth Speiser: Euridice
The Glyndebourne Chrus
Jane Glover: Chorus director

cd1:
01. Sinfonia (3:16)
02. Coro di Pastori e Ninfe (3:24)
03. Recitativo: Orfeo (0:39)
04. Pantomima (2:06)
05. Coro di Pastori e Ninfe (1:31)
06. Recitativo: Orfeo (0:22)
07. Ritornello (1:04)
08. Aria: Orfeo (1:21)
09. Recitativo: Orfeo (1:37)
10. Aria: Orfeo (1:25)
11. Recitativo: Orfeo (1:30)
12. Aria: Orfeo (1:26)
13. Recitativo: Orfeo & Amore (1:35)
14. Aria: Amore (0:47)
15. Recitativo: Orfeo & Amore (1:53)
16. Aria: Amore (2:09)
17. Recitativo: Orfeo (2:03)
18. Aria: Orfeo (4:37)
19. Danza delle Furie e degli Spettri (1:17)
20. Coro delle Furie e degli Spettri (0:29)
21. Le Furie Riprendono il Ballo (0:35)
22. Coro (1:21)
23. Orfeo e Coro (2:37)
24. Coro delle Furie e degli Spettri (0:50)
25. Aria: Orfeo (0:55)
26. Coro delle Furie e degli Spettri (0:52)
27. Aria: Orfeo (0:39)
28. Coro delle Furie e degli Spettri (1:14)
29. Danza delle Furie e degli Spettri (4:15)
30. Balleto (2:18)
31. Balleto (5:35)
32. Balleto (2:54)
33. Aria: Euridice e Coro (3:29)
cd2:
01. Orfeo: Che puro ciel! Che chiaro sol! (6:04)
02. Coro di Eroi ed Eroine (2:13)
03. Danza degli Eroi (2:18)
04. Orfeo: Oh voi, ombre felici (1:00)
05. Coro di Eroi ed Eroine (3:00)
06. Orfeo & Euridice: Vieni! Sequi i miei passi (3:56)
07. Orfeo & Euridice: Su! Su e mi sequi, O cara (3:40)
08. Eurydice: Qual vita e questa mai (1:30)
09. Eurydice & Orfeo: Che fiero momento! (3:03)
10. Orfeo & Euridice: Ecco novel tormento! (3:54)
11. Orfeo: Che faro senza Euridice? (4:37)
12. Orfeo, Amore, Euridice: Ah! Finisca e per sempre (2:57)
13. Gran Scena - Orfeo, Coro, Amore, Euridice (3:41)
14. Danza di Eroi ed Eroine (2:15)
15. Gavotta (2:00)
16. Balleto (3:10)
17. Minuetto (2:08)
18. Terzetto: Euridice, Orfeo, Amore (3:39)
19. Balletto (0:35)
20. Balletto (2:13)
21. Ciaccona (5:20)
22. Coro - Trionfi Amore (1:47)

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Tchaikovsky - Ballet Suites (Sleeping Beauty, Nutcracker and Swan Lake) (1994)

EAC | APE + CUE | Total time: 77:52 min | 310 MB
Genre: Classical


Tracks:
Swan Lake, OP.20 (Excerpts)
01. Scene. Moderato(Act II, No.10)
02. Waltz (Act I, No.2) Dance of the Swans (Act II, No.13):
03. IV.Allegro moderato
04. V. Pas d'action. Andante
05. Hungarian Dance (Act III, No.20)
06. Spanish Dance (Act III, No.21)
07. Neapolitan Dance (Act III, No.22)
08. Mazurka (Act III, No.23)

Suite from The Nutcracker, OP.71
09. I. Miniature Overture
II. Characteristic Dances:
10. March
11. Dance of the Suger-Plum Fairy
12. Russian Dance
13. Arab Dance
14. Chinese Dance
15. Dance of the reed Pipes
16. III. Waltz of the Flowers

Suite from Sleeping Beauty,OP.66a
17. I. Introduction and Lilac Fairy
18. II. Adagio. Pas D'action
19. III. Pas de caractere (Puss in Boots)
20. IV. Panorama
21. V. Waltz
 
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Aram Khachaturian - Khachaturian Spartacus Gayaneh
 

Composer: Aram Khachaturian  Instrumental | MP3 256Kbps | Tracks: 13 | 141 MB

Orchestra: Vienna Philharmonic [ORIGINAL RECORDING REISSUED] [ORIGINAL RECORDING REMASTERED]

Description:
Khachaturian's popular ballet scores benefit from his vigorous leadership and the surprisingly idiomatic playing of the Vienna Philharmonic. All the favorite crowd-pleasers are here, including the Sabre Dance. This pairing of ballet suites was a demonstration disc back in LP days and the engineering is still impressive. For those not on Khachaturian's wave length (he does skate perilously close to kitschy vulgarism), the generous filler is a delight--Ansermet's dynamic account of Glazunov's ballet. Its four movements depict the four seasons in an idiom flavored by Tchaikovsky and Glazunov's teacher, Rimsky-Korsakov, and the music's all the more fetching for it. Ansermet sometimes could be a bit too sedate, and his orchestra was never a world-class group, but his conducting is nothing short of vivacious here, and the orchestra, captured in vivid sound, is with him all the way

Track Listing:

1. Spartacus - Adagio of Spartacus and Phrygia Wiener Philharmoniker 9:10
2. Spartacus - Variation of Aegina & Bacchanalia Wiener Philharmoniker 3:19
3. Spartacus - Scene & Dance with Crotalums Wiener Philharmoniker 3:39
4. Spartacus - Scene of the Gaditanae Maidens & Victory of Spartacus Wiener Philharmoniker 6:55
5. Gayaneh - Sabre Dance Wiener Philharmoniker 2:32
6. Gayaneh - Ayesha's Dance Wiener Philharmoniker 5:11
7. Gayaneh - Lezghinka Wiener Philharmoniker 2:43
8. Gayaneh - Gayaneh's Adagio Wiener Philharmoniker 4:17
9. Gayaneh - Gopak Wiener Philharmoniker 2:57
10. The Seasons, Op.67 - 1. Winter 9:53
11. The Seasons, Op.67 - 2. Spring 5:28
12. The Seasons, Op.67 - 3. Summer 11:12
13. The Seasons, Op.67 - 4. Autumn 9:29

On this CD:
Spartacus, ballet in 4 acts Adagio of Spartacus and Phrygia
Composed by Aram Khachaturian
Performed by Vienna Philharmonic Orchestra
Conducted by Ernest Ansermet

Spartacus, ballet in 4 acts Variation of Aegina and Bacchanalia
Composed by Aram Khachaturian
Performed by Vienna Philharmonic Orchestra
Conducted by Ernest Ansermet

Spartacus, ballet in 4 acts Scene and dance with crotala
Composed by Aram Khachaturian
Performed by Vienna Philharmonic Orchestra
Conducted by Ernest Ansermet

Spartacus, ballet in 4 acts Dance of Gaditanae and victory of Spartacus
Composed by Aram Khachaturian
Performed by Vienna Philharmonic Orchestra
Conducted by Ernest Ansermet

Gayane, ballet in 4 acts Sabre dance
Composed by Aram Khachaturian
Performed by Vienna Philharmonic Orchestra
Conducted by Ernest Ansermet

Gayane, ballet in 4 acts Aysheh's awakening and dance
Composed by Aram Khachaturian
Performed by Vienna Philharmonic Orchestra
Conducted by Ernest Ansermet

Gayane, ballet in 4 acts Lezghinka
Composed by Aram Khachaturian
Performed by Vienna Philharmonic Orchestra
Conducted by Ernest Ansermet

Gayane, ballet in 4 acts Gayaneh's Adagio
Composed by Aram Khachaturian
Performed by Vienna Philharmonic Orchestra
Conducted by Ernest Ansermet

Gayane, ballet in 4 acts Gopak
Composed by Aram Khachaturian
Performed by Vienna Philharmonic Orchestra
Conducted by Ernest Ansermet

The Seasons, ballet, Op. 67
Composed by Alexander Konstantinovich Glazunov
Performed by L'Orchestre de la Suisse Romande
Conducted by Ernest Ansermet
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