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Charles Mackerras, Orchestra del Teatro La Fenice - George Frideric Handel: Orlando (1999)

Posted By: ArlegZ
Charles Mackerras, Orchestra del Teatro La Fenice - George Frideric Handel: Orlando (1999)

Charles Mackerras, Orchestra del Teatro La Fenice - George Frideric Handel: Orlando (1999)
EAC | FLAC | Image (Cue & Log) ~ 879 Mb | Total time: 64:00+52:53+53:32 | Scans included
Classical | Label: Mondo Musica | # MFOH 10502 | Recorded: 1985

This is a fine alternative to Christopher Hogwood’s period performance on L’Oiseau-Lyre, and will be welcomed heartily by fans of Marilyn Horne. Orlando is a great role, filled with arias and scenes acrobatic, tender, and exclamatory (he goes mad in Act 2 and stays that way for much of Act 3). In l985, when this present set was taped live at Venice’s La Fenice, Marilyn Horne was still in control of her awesome powers–her breath control, fluidity, big, round tones, impeccable diction, and sheer intelligence still astound after all these years. And she’s certainly superior to the nasty-sounding, if dramatic, James Bowman for Hogwood. Lella Cuberli’s Angelica is fine but is outclassed by Arleen Auger; however, I prefer Jeffrey Gall’s countertenor Medoro to Catherine Robbins’ girly one (both for Hogwood again).

Gabriele Ferro, Orchestra del Teatro regio di Torino - Rossini: Elisabetta, Regina d'Inghilterra (2002/1985)

Posted By: Vilboa
Gabriele Ferro, Orchestra del Teatro regio di Torino - Rossini: Elisabetta, Regina d'Inghilterra (2002/1985)

Gabriele Ferro, Orchestra del Teatro regio di Torino, Lella Cuberli, Rockwell Blake - Rossini: Elisabetta, Regina d'Inghilterra (2002/1985)
NTSC 4:3 (720x480) VBR | Italiano (Dolby AC3, 2 ch) | 7.26 Gb (DVD9) | 150 min
Classical | Hardy Classics | Sub: Italiano, English, Francais

Elisabetta regina d'Inghilterra, marked Rossini's first venture into the San Carlo Theatre in Naples, the most glamorous theatre of that time. The famous impresario Domenico Barbaja, had carefully prepared the launching of the rwenty-three year old composer -with sumptuous scenery, designed by a celebrated archirect, Antonio Niccolini, and engaging a firsr-rate cast. Foremost was Isabella Colbran, who later became Rossini's wife; and tenors — Andrea Nozzari and Manuel Garcia.

Herbert von Karajan, James Levine, Rafael Kubelik - Mozart: Requiem, Great Mass in C minor, Missa brevis in C major (1998)

Posted By: ArlegZ
Herbert von Karajan, James Levine, Rafael Kubelik - Mozart: Requiem, Great Mass in C minor, Missa brevis in C major (1998)

Herbert von Karajan, James Levine, Rafael Kubelik - Mozart: Requiem, Great Mass in C minor, Missa brevis in C major (1998)
EAC | FLAC | Image (Cue & Log) ~ 571 Mb | Total time: 53:02+74:17 | Scans included
Classical | Label: Deutsche Grammophon | # 459 409-2 | Recorded: 1973, 1975, 1987

Two great recordings of two of the greatest choral works. Karajan and Levin swoops the standards of tempi, phrasing and intens music making. Karajan's finest recording of the Requiem. Levin sets the bar a milestone higher. Remastering of the Requiem is confidentional good. Sound quality of K427 is superb.

Daniel Barenboim, Berliner Philharmoniker - Mozart: Don Giovanni (1992)

Posted By: Vilboa
Daniel Barenboim, Berliner Philharmoniker - Mozart: Don Giovanni (1992)

Daniel Barenboim, Berliner Philharmoniker - Mozart: Don Giovanni (1992)
EAC (flac, image, cue, log) | TT: 2h 54 | Covers | 695 Mb
Classical | Erato | # 2292-45588-2 | Rec: 1991

For some reason, Daniel Barenboim's recordings of the Mozart-Da Ponte masterpieces have been overlooked. All three have splendid casts - and among them, this may be the least spectacular, but it is nonetheless a wonderful performance. Joan Rodgers has a gorgeous voice, and sings Zerlina with radiant and womanly warmth - no voce infantile here, thank the gods. It's a pity she hasn't recorded more. She is, fortunately, in Barenboim's two other Mozart-Da Ponte operas, singing her heart out as Susanna and Despina. Furlanetto has an interesting take on the role of the Don. He usually sings Leprello, but here he sings the part of Don Giovanni with a rather unique interpretation.

Daniel Barenboim, Berliner Philharmoniker - Mozart: Le nozze di Figaro (1991)

Posted By: Vilboa
Daniel Barenboim, Berliner Philharmoniker - Mozart: Le nozze di Figaro (1991)

Daniel Barenboim, Berliner Philharmoniker - Mozart: Le nozze di Figaro (1991)
EAC (flac, image, cue, log) | TT: 2h 54 | Covers | 717 Mb
Classical | Erato | # 2292-45501-2 | Rec: 1990

"Barenboim continues to favour a forceful, big-scale reading with often deliberate speeds for the slower numbers, a musically accomplished, thought-through account of the crucial finales to Acts 2 and 4, lively treatment of the recitative, finely-honed playing of the wind, alert rhythms and an avoidance for the most part of appoggiaturas…John Tomlinson is much better suited by Figaro than he was by Alfonso, but still wants in tonal focus…but he does at all times create a lively personality, a force to be reckoned with…" (Gramophone)

Daniel Barenboim, Berliner Philharmoniker - Mozart: Così fan tutte (1990)

Posted By: Vilboa
Daniel Barenboim, Berliner Philharmoniker - Mozart: Così fan tutte (1990)

Daniel Barenboim, Berliner Philharmoniker - Mozart: Così fan tutte (1990)
EAC (flac, image, cue, log) | TT: 2h 57 | Covers | 670 Mb
Classical | Erato | # 2292-45475-2 | Rec: 1989

In the early 1990s Daniel Barenboim recorded the three Da Ponte operas with the Berlin Philharmonic. The BPO had played "Figaro" and "Don Giovanni" many times, but this was the first time that the group had ever tackled "Cosi fan tutte." Perhaps that is why they sound so fresh and energized under the thoughtful baton of Barenboim. Mozart's operas are usually performed with a small chamber or opera house orchestra, but this time the score of "Cosi" (which has so many beautiful, subtle touches, and is almost a celebration of beauty itself) is given the full treatment of perhaps the greatest orchestra in the world. While the resulting sound is somewhat "bigger" and more "lush" than is usual, Barenboim does manage to keep things appropriately light and "classical," just as he has so successfully done in the piano concertos which he is recording with the BPO.