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Dietrich Fischer-Dieskau - Essentials (2020)

Posted By: delpotro
Dietrich Fischer-Dieskau - Essentials (2020)

Dietrich Fischer-Dieskau - Essentials (2020)
WEB FLAC (tracks) - 369 Mb | MP3 CBR 320 kbps - 189 Mb | 01:22:35
Classical, Vocal | Label: Deutsche Grammophon

Dietrich Fischer-Dieskau was a German lyric baritone and conductor of classical music, one of the most famous Lieder (art song) performers of the post-war period, best known as a singer of Franz Schubert's Lieder, particularly "Winterreise" of which his recordings with accompanist Gerald Moore and Jörg Demus are still critically acclaimed half a century after their release.

Dietrich Fischer-Dieskau & Daniel Barenboim - Franz Schubert: 'Winterreise' (1980) Reissue 2013 [Re-Up]

Posted By: Designol
Dietrich Fischer-Dieskau & Daniel Barenboim - Franz Schubert: 'Winterreise' (1980) Reissue 2013 [Re-Up]

Franz Schubert: 'Winterreise' (1980) Reissue 2013
Dietrich Fischer-Dieskau, baritone; Daniel Barenboim, piano. Recorded 1979
EAC | FLAC | Tracks (Cue&Log) ~ 248 Mb | Mp3 (CBR320) ~ 178 Mb | Scans included
Classical, Vocal | Label: Deutsche Grammophon | # 478 5186 | Time: 01:13:06

Schubert knew madness. He knew it to the depths of his soul and feared it. And out of his fear he wrote the greatest monument to love lost, to death lost, to madness found. He wrote Die Winterreise, the most hopeless art work ever conceived by the despairing mind of man. Dietrich Fischer-Dieskau is the voice of Winterreise. In small part, this is because he recorded it seven times between 1952 and 1990. In larger part, this is because he is able to transform himself into the despairing lover. Yet Fischer-Dieskau is still the most lucid and most technically controlled of madmen. As Ingmar Bergman remarked on actor Max von Sydow, "If I'd had a psychopath to present these deeply psychopathic roles, it would have been unbearable". At 55, Fischer-Dieskau returned to Winterreise in 1980, no longer the sad swain or the suicidal lover, but as a man bowed with age and burdened with an interpretive past. His voice far past freshness, Fischer-Dieskau still has something to say concerning Winterreise, indeed, about man's fate. Accompanied by the self-effacing Daniel Barenboim, Fischer-Dieskau sings of the meaninglessness of love of the pointlessness of life.

Otto Klemperer, Philharmonia Orchestra and Chorus - Bach: Matthäus-Passion (2001)

Posted By: ArlegZ
Otto Klemperer, Philharmonia Orchestra and Chorus - Bach: Matthäus-Passion (2001)

Otto Klemperer, Philharmonia Orchestra and Chorus - Bach: Matthäus-Passion (2001)
EAC | FLAC | Image (Cue & Log) ~ 0.99 Gb | Total time: 223:52 | Scans included
Classical | Label: EMI Classics | 5 67538 2 | Recorded: 1960-1961

In its scale and gravitas, Otto Klemperer’s interpretation of the St Matthew Passion draws on the Bach performance style that developed in the 19th century; but its clarity, its underlying energy, and its superb array of soloists – singers with impeccable operatic credentials – also ensure that full justice is done to the drama of Bach’s sublime retelling of the Gospel story.

Georg Solti, Wiener Philharmoniker, Jessye Norman, Plácido Domingo - Wagner: Lohengrin (1987)

Posted By: ArlegZ
Georg Solti, Wiener Philharmoniker, Jessye Norman, Plácido Domingo - Wagner: Lohengrin (1987)

Georg Solti, Wiener Philharmoniker, Jessye Norman, Plácido Domingo - Wagner: Lohengrin (1987)
EAC | FLAC | Image (Cue & Log) ~ 983 Mb | Total time: 63:49+41:30+46:06+71:21 | Scans included
Classical | Label: Decca | 421 053-2 | Recorded: 1985, 1986

Sir George Solti's renditions of Wagner's operas often defined the standard interpretation practice in the post-World War II musical world, and he is at his best in this late 1980s digitally mastered recording partnered with his long-time collaborators, the Vienna Philharmonic–perhaps the most emotionally satisfying orchestra in the world for these challenging scores. Domingo, in the title role, shows himself as a true Heldentenor (i.e. a baritone with high notes), and his earlier weakness in German diction is not apparent. Norman's Elsa is musically perfect though at times a bit chilly and distant. The mature compassion of the role of Henry the Fowler is admirably captured by Sotin.

Karl Richter, Münchener Bach-Orchester und Chor, Regensburger Domspatzen - Bach: Matthäus-Passion (1989)

Posted By: ArlegZ
Karl Richter, Münchener Bach-Orchester und Chor, Regensburger Domspatzen - Bach: Matthäus-Passion (1989)

Karl Richter, Münchener Bach-Orchester und Chor, Regensburger Domspatzen - Bach: Matthäus-Passion (1989)
EAC | FLAC | Image (Cue & Log) ~ 869 Mb | Total time: 203:48 | Scans included
Classical | Label: Archiv Produktion | # 427 704 | Recorded: 1979

The opening with the opening choir "Kommt, ihr Töchter" immediately sets the tone; not a quick-played waltz, but imposing and wide-set, like the start of a great human drama. Richter exceeds 11 minutes with this tempo. Only the version by Otto Klemperer is even slower. But unlike Klemperer, here in the rest of the MP we are not dealing with a somewhat stately approach, but with a sharply profiled and dramatic one!

Neville Marriner, Academy of St. Martin in the Fields - Bach: Coffee & Peasant Cantatas (1990)

Posted By: ArlegZ
Neville Marriner, Academy of St. Martin in the Fields - Bach: Coffee & Peasant Cantatas (1990)

Neville Marriner, Academy of St. Martin in the Fields - Bach: Coffee Cantata & Peasant Cantata / Kaffee-Kantate & Bauern-Kantate (1990)
EAC | FLAC | Image (Cue & Log) ~ 273 Mb | Total time: 57:14 | Scans included
Classical | Label: Philips | 412 882-2 | Recorded: 1981

In the early 1950s Dietrich Fischer-Dieskau began what would become a long and distinguished career as one of his generation’s foremost Bach interpreters. By 1981, when he and his wife Julia Varady made this recording for Philips, his declining vocal abilities apparently didn’t prevent him from continuing to deliver the kind of infectious, exuberant performances that established that reputation and endeared him to so many listeners. While his highly declarative, animated characterizations are impressive, in the more famous arias, such as the Coffee Cantata’s “Hat man nicht mit seinen Kindern” and the Peasant’s “Dein Wachstum sei feste”, he really lets loose, sounding as if he’s trying to prove that he’s still the Fischer-Dieskau of old!

Julia Varady, Peter Schreier, Dietrich Fischer-Dieskau - Schumann: Duette (1999)

Posted By: tirexiss
Julia Varady, Peter Schreier, Dietrich Fischer-Dieskau - Schumann: Duette (1999)

Julia Varady, Peter Schreier, Dietrich Fischer-Dieskau - Schumann: Duette (1999)
EAC | FLAC (image+.cue, log) | Covers Included | 60:38 | 258 MB
Genre: Classical, Vocal | Label: Deutsche Grammophon | Catalog: 457 915-2

…interesting, neglected material performed to perfection with texts and translations provided. Although Schumann’s duets were primarily intended for home performance around the piano, they benefit enormously from readings by such fine artists as the three taking part in this recital – recorded in 1977, but sounding as if committed to disc yesterday, so excellent is the sound, so spontaneous the singing.

Gerald Moore, Dame Janet Baker, Dietrich Fischer-Dieskau, Elly Ameling - Schubert: Duets, Trios, Quartets (2007)

Posted By: tirexiss
Gerald Moore, Dame Janet Baker, Dietrich Fischer-Dieskau, Elly Ameling - Schubert: Duets, Trios, Quartets (2007)

Gerald Moore, Dame Janet Baker, Dietrich Fischer-Dieskau, Elly Ameling - Schubert: Duets, Trios, Quartets (2007)
EAC | FLAC (image+.cue, log) | Covers Included | 02:02:34 | 596 MB
Genre: Classical, Vocal | Label: Deutsche Grammophon | Catalog: 435596

"In the typically genial 2 CD collection of Schubert duets, trios and quartets are resurrected golden age stereo analogue recordings made in 1973. These come to 25 works, all piano accompanied. The artists are the elite of the day. The only name unfamiliar to me was the tenor Horst R Laubenthal. No corners are cut with the notes which have been freshly penned by Malcolm Macdonald. On the other hand there are no texts or translations.

Wolfgang Sawallisch, Deutsche Oper Berlin - Verdi: Don Carlos (2012/1965)

Posted By: Vilboa
Wolfgang Sawallisch, Deutsche Oper Berlin - Verdi: Don Carlos (2012/1965)

Wolfgang Sawallisch, Deutsche Oper Berlin - Verdi: Don Carlos (2012/1965)
NTSC 4:3 (720x480) VBR | Deutsch (LinearPCM, 2 ch) | 7.28 Gb (DVD9) | 155 min
Classical | Arthaus Musik | Sub: Deutsch, English, Francais, Espanol, Italiano, Japanese

In 1964 Deutsche Oper Berlin still had no General Music Director. But Artistic Director Gustav Rudolf Sellner made a virtue out a necessity and – in addition to the permanent conductor Heinrich Hollreiser and the regular guest conductor Karl Böhm – brought in further conductors from home and abroad for individual productions. For “Don Carlos” he invited Wolfgang Sawallisch, who since 1957 had been making a name for himself at the Bayreuth Festival, above all with “Tannhäuser” and the “Flying Dutchman” and since 1960 had been acting General Music Director in Hamburg. He had at his disposal an ensemble of outstanding soloists. In addition to Josef Greindl and Dietrich Fischer-Dieskau, they included James King in the title role, Pilar Lorengar, Martti Talvela, Patricia Johnson and Lisa Otto as the Voice from Heaven.

Ferenc Fricsay, Deutsche Oper Berlin - Mozart: Don Giovanni (2012/1961)

Posted By: Vilboa
Ferenc Fricsay, Deutsche Oper Berlin - Mozart: Don Giovanni (2012/1961)

Ferenc Fricsay, Deutsche Oper Berlin - Mozart: Don Giovanni (2012/1961)
NTSC 4:3 (720x480) VBR | Deutsch (LinearPCM, 2 ch) | 5.86 + 5.55 Gb (2xDVD9) | 176 min
Classical | Arthaus Musik | Sub: Deutsch, English, Francais, Espanol, Italiano, Japanese, Korean

The opening of the Deutsche Oper Berlin on 24 September 1961 is always seen in the context of partition of Germany, cemented six weeks earlier, and the construction of the Berlin Wall. The coincidence of the two events did not go unnoticed in the many press reports at the time, with most citing remarks about the city’s circumstances by the then Governing Mayor of Berlin, Willy Brandt: “Having experienced more in the last few weeks than in an entire generation, a city divided by a wall of coercion and shame is once again making music, producing theatre, staging fine international exhibitions and can at last open the doors of its long-awaited new opera house.” For almost twenty years – since the destruction of the former “Deutsches Opernhaus” in November 1943 – Berlin had had to make do with a makeshift stage. Although already in the early stages of a terminal illness, Ferenc Fricsay conducted the inaugural performance.

Karl Richter, Munchener Bach-Orchester - Handel: Giulio Cesare in Egitto (2006)

Posted By: ArlegZ
Karl Richter, Munchener Bach-Orchester - Handel: Giulio Cesare in Egitto (2006)

Karl Richter, Münchener Bach-Orchester - Handel: Giulio Cesare in Egitto (2006)
EAC | FLAC | Image (Cue & Log) ~ 1,16 Gb | Total time: 57:16+36:08+81:05:69:25 | Scans included
Classical | Label: Deutsche Grammophon | # 00289 477 5647 | Recorded: 1969

The set has various virtues in its favor. Richter conducts an orchestra of modern instruments somewhat stolidly, but always with lyrical polish and sumptuous tone, and one can enjoy its lush richness, however anachronistic it may be. Nor are his tempos stereotypically sluggish; many of the sprightlier moments bounce along energetically. The soprano role of Cleopatra is sung by a young Tatiana Troyanos, who later became a celebrated mezzo-soprano (and eventually undertook the title role in stage productions, making her perhaps the first singer in history to undertake the roles of both Cleopatra and Caesar). It’s interesting to hear her in her earlier soprano incarnation. Dietrich Fischer-Dieskau makes a valiant baritone effort at Caesar’s alto arias and, while he avoids the woolly grumbling some bass-baritones make of the part, seems less than emotionally committed. His second aria, “L’empio diro, tu sei,” for example, sounds polite and cautious rather than raging and indignant.

Horst Stein, Philharmoniker der Staatsoper Hamburg - Mozart: Die Zauberflote (2008)

Posted By: ArlegZ
Horst Stein, Philharmoniker der Staatsoper Hamburg - Mozart: Die Zauberflote (2008)

Horst Stein, Philharmoniker der Staatsoper Hamburg - Mozart: Die Zauberflöte (2008)
NTSC 4:3 (720x480) | Deutsch (LinearPCM, 2 ch) | 156 min | 7,52 Gb (DVD9)
Classical | Label: Arthaus Musik | Sub: English, Deutsch, Francais, Espanol, Italiano | Recorded: 1971

This 1971 film version of Wolfgang Amadeus Mozart’s Magic Flute is based on a production at Hamburg State Opera staged by the multi-talented stage, television and film author, director and actor Sir Peter Ustinov, with decor and costumes by Jens-Denis Malclès. The cast brought together by Rolf Liebermann for this film version of the Magic Flute consists of stars with established international careers but also of singers who were just on the point of breaking through to international fame at the time.

Rafael Kubelik, Orchestra del Teatro alla Scala, D.Fischer-Dieskau, R.Scotto, C.Bergonzi - Verdi: Rigoletto (1993)

Posted By: ArlegZ
Rafael Kubelik, Orchestra del Teatro alla Scala, D.Fischer-Dieskau, R.Scotto, C.Bergonzi - Verdi: Rigoletto (1993)

Rafael Kubelik, Orchestra del Teatro alla Scala, Dietrich Fischer-Dieskau, Renata Scotto, Carlo Bergonzi - Verdi: Rigoletto (1993)
EAC | FLAC | Image (Cue & Log) ~ 578 Mb | Total time: 58:16+64:36 | Scans included
Classical | Label: Deutsche Grammophon | # 437 704-2 | Recorded: 1964

Renata Scotto shows an amazing flexibility and control. Her Caro nome is one to be heard many times. She reaches a high D and decrescendo's to an incredible ppp. I felt the aria drug a little in tempo, but the gorgeous sound more than made up for it. As Rigoletto, Dietrich Fischer-Dieskau has the vocal power demanded by the score. Too often he sounded as if he was delivering a recital of Leider. A smooth velvet sound was his mark throughout. In his duets with Gilda, this payed off handsomely. Even in his dealings with the courtiers after Gilda's abduction he showed us a rarely seen Dietrich blustery side.

Daniel Barenboim, English Chamber Orchestra, John Barbirolli, New Philharmonia Orchestra - Mozart, Verdi: Requiem (2002)

Posted By: ArlegZ
Daniel Barenboim, English Chamber Orchestra, John Barbirolli,  New Philharmonia Orchestra - Mozart, Verdi: Requiem (2002)

Daniel Barenboim, English Chamber Orchestra, John Barbirolli, New Philharmonia Orchestra - Mozart, Verdi: Requiem (2002)
EAC | FLAC | Image (Cue & Log) ~ 561 Mb | Total time: 72:04+75:56 | Scans included
Classical | Label: EMI | # 5 75383 2 | Recorded: 1969-70, 1971

This double CD makes an excellent introduction to two great works even if other individual recordings might be preferable. This is particularly true of the Mozart in that although the ladies are peerless vocally, Barenboim's conducting is quite heavy and neither Gedda - typically somewhat pinched and throaty at times - nor Fischer-Dieskau - too light and woolly of tone for the bass-baritone required - is ideal.

Nikolaus Harnoncourt - Handel: Saul, Alexander’s Feast, Ode for St Cecilia’s Day, Te Deum, Apollo e Dafne, Giulio Cesare (2008)

Posted By: ArlegZ
Nikolaus Harnoncourt - Handel: Saul, Alexander’s Feast, Ode for St Cecilia’s Day, Te Deum, Apollo e Dafne, Giulio Cesare (2008)

Nikolaus Harnoncourt, Concentus Musicus Vienna - Handel: Saul, Alexander’s Feast, Ode for St Cecilia’s Day, 'Utrecht' Te Deum, Apollo e Dafne, Giulio Cesare (highlights) [2008]
EAC | FLAC | Image (Cue & Log) ~ 1.55 Gb | Total time: 391:38 | Scans included
Classical | Label: Warner Classics | # 2564 69567-7 | Recorded: 1978, 84, 86, 88, 90

This is the sixth set in this comprehensive and excellent Handel edition from Warner. This volume deals with an important oratorio in the shape of "Saul" as well as the "Utrecht Te Deum" and the famous "Ode for St. Cecilia's Day" and "Alexander's Feast", another splendid cantata. The recordings date from the early 1970's to 1990 and come from the prolific Teldec stable under the indefatigable Nikolaus Harnoncourt who conducts in his exemplary no nonsense fashion. "Saul' is a fine interpretation although I still feel that John Eliot Gardiner comes to the core of the work better. "Ode for St. Cecilia's Day' is also given a pomp and circumstance treatment whilst the Utrecht Te Deum is winningly done. The team of soloists is also very good and the recordings are fine and well balanced in proper Teldec tradition. There are also some rarities thrown in for good measure such as the excerpts from "Giulio Cesare" and the ubiquitous cantata, "Apollo e Dafne", both which receive splendidly invigorating performances. Full texts and translations of the works are available online and the booklet is well presented with some interesting photographs. Those who are new to Handel could do far worse than collect this exemplary edition.
(Gerald Fenech)