NOVEDADES DVD
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javier
carlos pareja obregon
José María
Ignorante
Ludovyk
mrjansons
gustavo
Ignacio
Robertino Bergamasco
monca
Moreno
Hades
Psanquin
Todtenfeier
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Re: NOVEDADES DVD
La Novia del Viento
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Free Download
http://www.gigasize.com/get.php/3197030160/La_Novia_del_viento_cd1.avi
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Re: NOVEDADES DVD
Bravo Todt; por fin podré ver la peli, que aunque no ha pasado a la historia del cine, para los mahlerianos tiene su morbo.
Psanquin- administrador
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Re: NOVEDADES DVD
Veo que en el último Scherzo Enrique Pérez Adrián hace una crítica del DVD de la Tercera de Abbado en Lucerna de las más entusiastas que le he leído en mucho tiempo, colocándola por encima de un amplio listado de garnbdes Terceras. Sólo a la de Horenstein la ubicaría a la misma altura. Por si fuera poco en el mismo número Pablo L. Rodríguez en su comentario a la Séptima de Gergiev da como referencia personal la Séptima de Abbado en Lucerna. No se puede quejar don Claudio y su dream team de Lucerna
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Re: NOVEDADES DVD
¿Estaremos ante el Mahler del siglo XXI, el de Abbado en Lucerna?
Por cierto, hay que pensar en la mejor grabación del 2008
Por cierto, hay que pensar en la mejor grabación del 2008
Psanquin- administrador
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Re: NOVEDADES DVD
No debe de ser mucha novedad, ya que sale comentado en el número de este mes de BBC Magazine, y no sale muy bien parada, pero ahí va:
G. Mahler/DVD
Symphony No. 5
Live recording at Dvořák Hall, Rudolfinum, February 28 / 2007
CNSO / Libor Pešek, conductor
Jan Hasenöhrl - solo trumpet
Tomáš Secký - solo horn
Director of Photography: Stanislav Vaněk
Recording Director: Sylva Smejkalová
Balance Engineer: Jan Kotzmann
Assistent Engineer: Čenda Kotzmann
Producer: Jan Hasenöhrl
Made by CNSO in cooperation with Czech Television
... por lo visto, y por el momento, sólo se puede comprar a traves de la web de la orquesta:
http://www.cnso.cz/EN/home.html
G. Mahler/DVD
Symphony No. 5
Live recording at Dvořák Hall, Rudolfinum, February 28 / 2007
CNSO / Libor Pešek, conductor
Jan Hasenöhrl - solo trumpet
Tomáš Secký - solo horn
Director of Photography: Stanislav Vaněk
Recording Director: Sylva Smejkalová
Balance Engineer: Jan Kotzmann
Assistent Engineer: Čenda Kotzmann
Producer: Jan Hasenöhrl
Made by CNSO in cooperation with Czech Television
... por lo visto, y por el momento, sólo se puede comprar a traves de la web de la orquesta:
http://www.cnso.cz/EN/home.html
Invitado- Invitado
Re: NOVEDADES DVD
Ahora sí, espero que los de MediciArts, se lo hayan currado algo más que la grabación del "Der Rosenkavalier" en Tokyo, por los mismos interpretes... que en cuanto a sonido, deja bastante que desear.
A saber, a saber...
¿Esta Primera de Fabio Luisi se convertirá en la grabación del año 2009 para la gustav-mahler.es como "vendetta" de la Cuarta de Sinopoli del año pasado?...
A saber, a saber...
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Re: NOVEDADES DVD
Yo también me lo pillaré en cuantito lo vea
Hades- Cantidad de envíos : 805
Edad : 36
Fecha de inscripción : 29/03/2008
Re: NOVEDADES DVD
He visto esto, puede que les interese.
Beethoven, Mahler:
Margarita Höhenrieder (piano); Sächsische Staatskapelle Dresden;
Fabio Luisi (conductor)
Beethoven – Piano Concerto No.1, C-major
Mahler – Symphony no.1 in D major
Mahler’s First Symphony and Beethoven’s First Piano Concerto are
separated by less time than separates us from the premiere of the
Mahler Symphony (in its final form) in Berlin. A fact that has been
true for 15 years. (Quiz: If the Beethoven concerto was premiered in
1800, when was Mahler’s work premiered?) And yet Mahler still seems
so much more current, (sometimes even modern) than Beethoven – while
Beethoven’s C-major piano concerto op.15 is instead graced with
timelessness. You would think classical music – as everything else
in life – to have changed more in the last hundred years than in any
hundred years before that. Did it – and did it cease to be
relevant at some point? Perhaps questions for a long night
with Mahler and Single Malt.
Both composers – though not the libation – were present in the
second week of April when Winderstein Concerts presented Fabio
Luisi’s at the Munich Philharmonic Hall with his orchestra, the
Staatskapelle Dresden. The Mahler performed there will soon join
the many recent issues of Mahler symphonies (on DVD presumably, as
it was filmed), but whether that performance had what it takes to
merit preservation for future generations could be doubted. While
the Dresden orchestra is one of the handful of best orchestras in
Germany, while it knows its Mahler (reiterated by recently issued
Giuseppe Sinopoli recordings from their vault on the Profil label),
while its string section never offers anything less than impressive
ensemble work, and while Luisi seemed utterly engaged in every
aspect of this performance, the result was distinctively lackluster.
The brass section had inexplicable lapses in the “Titan’s” finale
(when they had been so impressive, still, in the first movement),
the Frère Jacques round in the third movement (played by the
entire double bass section – though sometimes taken solo) was of
unfortunate accuracy and refinement, without any sense of terror,
warped frenzy, or being slightly off kilter. The Hungaro/Jewish
dance elements, rendered with delicate refinement, made me wish the
Saxon State Orchestra Dresden might play a little less
perfectly. The utmost gentility of the morning dew, though, was
superbly crafted.
On the upside, the second movement had zest and vitality – at which
the orchestra was clearly better than mystical evocation. In the
finale they were, Chicagoean brass crudeness and wobbles aside,
going at it again with verve. It was impossible not to hear
the wind, but the felt impact they made was
disproportionately small. Lagging, purposeless slow parts, and some
very unfortunate string sounds in ppp passages did not
heighten the experience – whereas watching Luisi did. The
cameras, which seemed to ignore him, should have focused on nothing
else but the little conductor who, like Mahler might have done
himself, flung his arms about with passion, made little leaps: in
short, he was the embodiment of the music as aerobic exercise.
The Mahler performance was rapturously received all the same – but
the actual excellence of this concert lay in the Beethoven
concerto No.1 in C-major. Partly because it is such a great
concerto: graceful like Mozart initially, but soon showing a little
Beethovenian muscle – surely one of the most civilized pieces
of music composed at least rom a Western point of view.
Refinement and beauty were balanced with wit, sparkle, and thunder –
and all in a very sympathetic performance by the Staatskapelle
and Margarita Höhenrieder.
Her playing was no-nonsense, clear, and secure – which could most
generously be described as in the vain of Wilhelm Backhausen (or
less generously as one of thwarted passion). It suited the exquisite
orchestral performance with the strings particularly energetic and
gripping in that way that only live performances can convey – and
then only the most precise, and cohesive ones. The third, bravura,
cadenza of the Allegro con brio was delivered with fleet
fingers by the former Leon Fleisher student from Munich, though
disjointed on one, two occasions.
The calm, even languid second movement had similar virtues, capped
by a wonderfully casual, flippant entry into the third movement
where the full power of the reduced Staatskappellen-forces
(11-11-8-6-5 plus trombone, horn, clarinet, bassoon, flute, oboe,
and timpani) was unleashed.
Stubbornly prolonged applause forced an encore out of Mme.
Höhenrieder, which was dedicated to and by Harald Genzmer who passed
away aged 98 in December 2007. A short piece – also in C-major
– of angular beauty and business – virtuosic sounding in a way one
might expect from Frederic Rzewski.
Beethoven, Mahler:
Margarita Höhenrieder (piano); Sächsische Staatskapelle Dresden;
Fabio Luisi (conductor)
Beethoven – Piano Concerto No.1, C-major
Mahler – Symphony no.1 in D major
Mahler’s First Symphony and Beethoven’s First Piano Concerto are
separated by less time than separates us from the premiere of the
Mahler Symphony (in its final form) in Berlin. A fact that has been
true for 15 years. (Quiz: If the Beethoven concerto was premiered in
1800, when was Mahler’s work premiered?) And yet Mahler still seems
so much more current, (sometimes even modern) than Beethoven – while
Beethoven’s C-major piano concerto op.15 is instead graced with
timelessness. You would think classical music – as everything else
in life – to have changed more in the last hundred years than in any
hundred years before that. Did it – and did it cease to be
relevant at some point? Perhaps questions for a long night
with Mahler and Single Malt.
Both composers – though not the libation – were present in the
second week of April when Winderstein Concerts presented Fabio
Luisi’s at the Munich Philharmonic Hall with his orchestra, the
Staatskapelle Dresden. The Mahler performed there will soon join
the many recent issues of Mahler symphonies (on DVD presumably, as
it was filmed), but whether that performance had what it takes to
merit preservation for future generations could be doubted. While
the Dresden orchestra is one of the handful of best orchestras in
Germany, while it knows its Mahler (reiterated by recently issued
Giuseppe Sinopoli recordings from their vault on the Profil label),
while its string section never offers anything less than impressive
ensemble work, and while Luisi seemed utterly engaged in every
aspect of this performance, the result was distinctively lackluster.
The brass section had inexplicable lapses in the “Titan’s” finale
(when they had been so impressive, still, in the first movement),
the Frère Jacques round in the third movement (played by the
entire double bass section – though sometimes taken solo) was of
unfortunate accuracy and refinement, without any sense of terror,
warped frenzy, or being slightly off kilter. The Hungaro/Jewish
dance elements, rendered with delicate refinement, made me wish the
Saxon State Orchestra Dresden might play a little less
perfectly. The utmost gentility of the morning dew, though, was
superbly crafted.
On the upside, the second movement had zest and vitality – at which
the orchestra was clearly better than mystical evocation. In the
finale they were, Chicagoean brass crudeness and wobbles aside,
going at it again with verve. It was impossible not to hear
the wind, but the felt impact they made was
disproportionately small. Lagging, purposeless slow parts, and some
very unfortunate string sounds in ppp passages did not
heighten the experience – whereas watching Luisi did. The
cameras, which seemed to ignore him, should have focused on nothing
else but the little conductor who, like Mahler might have done
himself, flung his arms about with passion, made little leaps: in
short, he was the embodiment of the music as aerobic exercise.
The Mahler performance was rapturously received all the same – but
the actual excellence of this concert lay in the Beethoven
concerto No.1 in C-major. Partly because it is such a great
concerto: graceful like Mozart initially, but soon showing a little
Beethovenian muscle – surely one of the most civilized pieces
of music composed at least rom a Western point of view.
Refinement and beauty were balanced with wit, sparkle, and thunder –
and all in a very sympathetic performance by the Staatskapelle
and Margarita Höhenrieder.
Her playing was no-nonsense, clear, and secure – which could most
generously be described as in the vain of Wilhelm Backhausen (or
less generously as one of thwarted passion). It suited the exquisite
orchestral performance with the strings particularly energetic and
gripping in that way that only live performances can convey – and
then only the most precise, and cohesive ones. The third, bravura,
cadenza of the Allegro con brio was delivered with fleet
fingers by the former Leon Fleisher student from Munich, though
disjointed on one, two occasions.
The calm, even languid second movement had similar virtues, capped
by a wonderfully casual, flippant entry into the third movement
where the full power of the reduced Staatskappellen-forces
(11-11-8-6-5 plus trombone, horn, clarinet, bassoon, flute, oboe,
and timpani) was unleashed.
Stubbornly prolonged applause forced an encore out of Mme.
Höhenrieder, which was dedicated to and by Harald Genzmer who passed
away aged 98 in December 2007. A short piece – also in C-major
– of angular beauty and business – virtuosic sounding in a way one
might expect from Frederic Rzewski.
Moreno- Cantidad de envíos : 1407
Fecha de inscripción : 21/02/2009
Re: NOVEDADES DVD
Sinfonía Nº1
Isabel Mundry
„Balancen"
Paul Hindemith
Konzert für Violine und Orchester
Frank Peter Zimmermann
Staatskapelle Dresden
Fabio Luisi
Semperoper Dresden, 1. IV. 2008
http://rapidshare.com/files/108751942/StkD_Luisi_1.4.08.part1.rar
http://rapidshare.com/files/108754778/StkD_Luisi_1.4.08.part2.rar
Isabel Mundry
„Balancen"
Paul Hindemith
Konzert für Violine und Orchester
Frank Peter Zimmermann
Staatskapelle Dresden
Fabio Luisi
Semperoper Dresden, 1. IV. 2008
http://rapidshare.com/files/108751942/StkD_Luisi_1.4.08.part1.rar
http://rapidshare.com/files/108754778/StkD_Luisi_1.4.08.part2.rar
Invitado- Invitado
Re: NOVEDADES DVD
Vaya, ha sido un jarro de agua fría esta crítica que nos has servido moreno ¿Quién será el autor? De lo más graciosillo.
Es la misma Primera que tengo yo -de abril del 2008 en Dresde y bastante discreta. Me llama la atención que el crítico del DVD no diga que el solo del contrabajo lo asume toda la secciónSinfonía Nº1
Isabel Mundry
„Balancen"
Paul Hindemith
Konzert für Violine und Orchester
Frank Peter Zimmermann
Staatskapelle Dresden
Fabio Luisi
Semperoper Dresden, 1. IV. 2008
Psanquin- administrador
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Re: NOVEDADES DVD
SINOPOLI
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Re: NOVEDADES DVD
Psanquin escribió:Vaya, ha sido un jarro de agua fría esta crítica que nos has servido moreno ¿Quién será el autor? De lo más graciosillo
El autor es un tal Jens F. Laurson. La crítica ha salido publicada aquí: http://www.musicweb-international.com/SandH/2008/Jan-Jun08/munich0904.htm
Saludos
Moreno- Cantidad de envíos : 1407
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Re: NOVEDADES DVD
Gracias por la información moreno. Veo que tiene un muy trabajado blog http://www.weta.org/fmblog/ con entre otras cosas un artículo sobre los ciclos mahlerianos: http://www.weta.org/fmblog/?p=168 Veo que le gusta la Novena de Levine; le voy a tirar los tejos
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Re: NOVEDADES DVD
... que bien le sientan las canas a Luisi Hasta Mahler suena mejor y todo.
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Re: NOVEDADES DVD
Estoooo.... ¡¡ya me la he comprado!! No me pude resistir.... hoy ha caído
Llevo una semana de compras compulsivas de música, que son dignas del estudio de un psiquiatra... aunque he de decir en mi descargo, que toda la culpa la tiene Psanquin
Llevo una semana de compras compulsivas de música, que son dignas del estudio de un psiquiatra... aunque he de decir en mi descargo, que toda la culpa la tiene Psanquin
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Re: NOVEDADES DVD
Ya nos contarás qué tal te ha ido con tu primera audición del DVD.
Pues nada, os cuento a modo de cotilleo: Versión que no difiere mucho de la que se colgó en audio, en intercambios de las mismas fechas; así que ya se que a Psanquin no le va a gustar, puede decirse que Luisi tiene un modo de acercarse a Mahler un tanto peculiar, sobretodo a la hora de seleccionar el tempo orgánico dentro de un movimiento, quizás sea algo arbitrario, o quiera imprimirle algo más de dramatismo que el que se requiere, por eso el III mov. arrancó de una forma muy lenta, para contrastar con las secciones centrales a toda pastilla ¿efectismos? ¿arbitrariedades? puede que sí, a mi me no desagradaron en esa parte, si me desagradó, por ejemplo el ritmo ternario del arranque del II mov. el primer compás mucho más lento, para luego correr en el tercero, forzando el segundo que queda algo cojo, vamos como si lo estuviese bailando alguien con muletas, abusa en exceso del rubato en todo el movimiento; el trio muy sugerente. Muy bueno el primer movimiento, da gusto escuchar a los músicos de Dresde, el último abrasador en las partes que lo requiere, pero demasiado "straussiano" en las partes líricas-me imagino que es por la orquesta, la orquesta straussiana por excelencia-y precisamente de eso hablabamos el otro día en La Coruña, respecto al Mahler de Karajan, hacer que Mahler suene a Strauss, es un sacrilegio, menos mal que en esta ocasión, no es en toda la obra
Como curiosidad Luisi también se apunta a hacer el tema del Fère Jacques inicial del contrabajo, con toda la sección de contrabajos en pleno, y con esta ya van tres versiones recientes que así lo hacen: esta de Luisi, Haitink CSO Resound y Gergiev LSO Live; no es una elección que me agrade, aunque Gergiev si consigue matizar lo grotesco, en directo esta opción gana mucho más, Haider la hizo el verano pasado con la Oviedo Filarmonia, pero colocó los contrabajos "a la vienesa" por detras de la orquesta, el efecto "estereo" era muy sugerente.
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Re: NOVEDADES DVD
del Río escribió:Claudio Abbado prosigue con su Mahler en DVD.
Parece que Banse le ha cogido el gusto a la Cuarta... ¿Cuantas lleva ya? ¿Boulez, Sinopoli y ésta, o alguna más?
monca- administrador
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Fecha de inscripción : 15/03/2008
Re: NOVEDADES DVD
¡¡¡Yuuuuupi!!!!
Pensé que esa Cuarta no la iban a editar, ya que este año la hará en Lucerna. Para mi es una de las mejores Cuartas de los últimos tiempos, DVD imprescindible sin duda....
Pensé que esa Cuarta no la iban a editar, ya que este año la hará en Lucerna. Para mi es una de las mejores Cuartas de los últimos tiempos, DVD imprescindible sin duda....
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