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Michael Boder, Orchestra of the Gran Teatre del Liceu - Tchaikovsky: Pique Dame (2011) [Blu-Ray]

Posted By: Vilboa
Michael Boder, Orchestra of the Gran Teatre del Liceu - Tchaikovsky: Pique Dame (2011) [Blu-Ray]

Michael Boder, Orchestra of the Gran Teatre del Liceu - Tchaikovsky: Pique Dame (2011) [Blu-Ray]
BluRay | BDMV | MPEG-4 AVC Video / 24993 kbps / 1080i / 29,970 fps | 174 min | 40,9 Gb
Audio1: Русский / LPCM Audio / 2.0 / 24-bit | Audio2: DTS-HD MA / 5.1 / 48 kHz / 4115 kbps / 24-bit
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BluRay-rip | AVC | MKV 1920x1080 / 6215 kbps / 29,97 fps | 174 min | 12,2 Gb
Audio: Русский / PCM / 2ch / 48.0 KHz / 24 bits | DTS / 6ch / 48.0 KHz / 24 bits
Classical | OPUS ARTE | Sub: English, Francais, Deutsch, Espanol, Catalan

Obsessive in gambling and in love, the soldier Hermann is the protagonist of Tchaikovsky’s Pique Dame, based on a story by Pushkin. He is smitten with the aristocratic Lisa and fixated on learning the winning secret of ‘the three cards’ from her grandmother, the Countess, played by iconic contralto Ewa Podles. This opulent production from Barcelona’s Liceu captures St Petersburg in the era of Catherine the Great, while the house’s Music Director Michael Boden conducts a large and impressive cast.

Patrick Peire, Collegium Instrumentale Brugense, Brugensis Capella - Gluck: Orphée et Eurydice - 1859 Berlioz Revision (1993)

Posted By: ArlegZ
Patrick Peire, Collegium Instrumentale Brugense, Brugensis Capella - Gluck: Orphée et Eurydice - 1859 Berlioz Revision (1993)

Patrick Peire, Collegium Instrumentale Brugense, Brugensis Capella - Gluck: Orphée et Eurydice - 1859 Berlioz Revision (1993)
EAC | FLAC | Image (Cue & Log) ~ 667 Mb | Total time: 44:21+53:38 | Scans included
Classical | Label: Forlane | UCD 16720/21 | Recorded: 1992

The most striking feature of this disc is the casting of Ewa Podles as Orphée. A Polish contralto with a tessitura that comfortably spans three octaves, she has a voice that is resonant and rich in its low notes but rises easily to tackle coloratura – a combination which she uses to dazzling effect on ‘Amour viens rende à mon âme’, the last, show-stopping aria of Act I. But its remarkable versatility apart, Podles’s distinctive sound is something of a curiosity – dark, slightly guttural and peculiarly tubular. The comprimarios, Raphaëlle Farman as Eurydice and Marie-Noëlle de Callataÿ as Amour, produce a clean, attractive sound. Sung in French, this recording uses Berlioz’s 1859 revision.

Peter Maag, Orquesta Sinfónica de Galicia, Orquesta Sinfónica de Madrid - Gluck: Orfeo ed Euridice (1998)

Posted By: ArlegZ
Peter Maag, Orquesta Sinfónica de Galicia, Orquesta Sinfónica de Madrid - Gluck: Orfeo ed Euridice (1998)

Peter Maag, Orquesta Sinfónica de Galicia, Orquesta Sinfónica de Madrid - Gluck: Orfeo ed Euridice (1998)
EAC | FLAC | Image (Cue & Log) ~ 575 Mb | Total time: 103:43 | Scans included
Classical | Label: Arts | 47536-2 | Recorded: 1998

Christoph Willibald Gluck’s Orfeo ed Euridice is an opera whose historical value is as great as its musical worth. It stands as a starting point for what is often referred to as the “Gluck reform” of Italian serious opera, and the first performance of Orfeo, which took place in Vienna on the 5th of October 1762, is considered to be one of the key moments in the history of music in the eighteenth century.

Ewa Podles, Collegium Instrumentale Brugense, Patrick Peire - Recital: Airs Celebres (1990)

Posted By: ArlegZ
Ewa Podles, Collegium Instrumentale Brugense, Patrick Peire - Recital: Airs Celebres (1990)

Ewa Podles, Collegium Instrumentale Brugense, Patrick Peire - Récital: Airs Célèbres (1990)
EAC | FLAC | Image (Cue & Log) ~ 252 Mb | Total time: 59:54 | Scans included
Classical | Label: Forlane classique | # UCD 16620 | Recorded: 1990

Ewa Podles is a rarity: a true contralto with thrilling high and low notes, not to mention everything in between. Unlike Horne, whose lower register occasionally sounds baritonal, Podles is feminine throughout her estimable range. This recording of 18th-century arias exploits every aspect of this wonderful artist, including firm, beautiful tone and awesome coloratura. All of the selections, from the familiar Purcell and Gluck to the less recognizable arias from Vivaldi, Handel, and Marcello, are sung with brio and/or firm legato. Excellent period accompaniment by Patrick Peire and the Collegium Instrumental de Bruges.
–William S. Levison

Marc Minkowski, Les Musiciens du Louvre - Handel: Ariodante (1997)

Posted By: ArlegZ
Marc Minkowski, Les Musiciens du Louvre - Handel: Ariodante (1997)

Marc Minkowski, Les Musiciens du Louvre - Handel: Ariodante (1997)
EAC | FLAC | Image (Cue & Log) ~ 787 Mb | Total time: 61:15+63:22+53:49 | Scans included
Classical | Label: Archiv Produktion | # 457 271-2 | Recorded: 1997

Lynne Dawson is the star of this show. In Act 2, where Ginevra finds herself inexplicably rejected and condemned by everyone, Dawson brings real depth of tone and feeling to her E minor lament, 'Il mio crudel martoro'; in the final act she shines in the desolate miniature 'Io ti bacio' and brings much fire to the outburst 'Sì, morro'. But she never transgresses the canons of Baroque style. Von Otter, too, has much marvellous music – the aria 'Scherza infida' is one of Handel's greatest expressions of grief – and she sings it beautifully, but she isn't really at one with his idiom and seems to lack a natural feeling for the amplitude of Handel's lines. Yet there's much to enjoy here too, the beauty of the actual sound, the immaculate control, the many telling and musicianly touches of phrasing.

Alberto Zedda, Collegium Instrumentale Brugensis, Ewa Podles, Sumi Jo - Rossini: Tancredi (1995)

Posted By: ArlegZ
Alberto Zedda, Collegium Instrumentale Brugensis, Ewa Podles, Sumi Jo - Rossini: Tancredi (1995)

Alberto Zedda, Collegium Instrumentale Brugensis, Ewa Podles, Sumi Jo - Rossini: Tancredi (1995)
EAC | FLAC | Image (Cue & Log) ~ 574 Mb | Total time: 75:20+72:07 | Scans included
Classical | Label: Naxos | # 8.660037-38 | Recorded: 1994

Tancredi, which was based on Tasso’s epic poem Gerusalemme Liberata and was first heard in 1813, is most widely remembered for its overture, but this excellent Naxos set makes a strong case for the piece. It completely displaces the previous versions from Sony and RCA, and the eminent Rossini scholar and conductor, Alberto Zedda, proves a far more resilient, generally brisker and lighter Rossini interpreter than his predecessors. Sumi Jo is superb as the heroine, Amenaide, in dazzlingly clear coloratura, as well as imaginative pointing of phrase, rhythm and words. The mezzo, Ewa Podles, is less characterful, yet the voice is firm and rich as well as flexible; but it is the tenor, Standord Olsen, previously heard as Belmonte on John Eliot Gardiner’s recording of Entführung, who offers some of the freshest, most stylish and sweetly tuned singing from a Rossini tenor in recent years. The recording is a little lacking in body, but that partly reflects the use of a small orchestra, and the voices come over well. An Italian libretto is provided but no translation. Instead, a helpful synopsis is geared to the different tracks on the discs; had there been a libretto, this could well have received a Rosette.
–Penguin Guide