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Top Customer Reviews: Jessye Norman - ...

Rating: 4 out of 5 with 2 ratings
5 / 5
... Still brilliant, able of demostrating the control adds dynamic, with first-support to breathe of the tax, before enunciation, and perfect evenness during his row.

Jessye Norman (Soprano) and James Levine (piano) offers this recital (79:57') it has registered in concert he 6 August 1991 in the Groβes Festspielhaus of Salzburg (the soprano is looked 16 times in the Festival, his last concert in 2002), when the versatile soprano found in his ‘absolute prime' in that his voice informs , opulenta and of silky legacy, of impressive row (of soprano dramatic the half) and incredible control of the respite. Any texts of hay neither translations.

The program is diverse and can that fill some spaces in his collection: especially, the “Brettl-Lieder” of a youngster Arnold Schönberg written partorisca his execution in a nightclub with a humorous swipe. So much these songs (that has a swipe of intentional vulgarity that use a Sprechstimme) like another four (sung in an excellent French) of Tchaikovsky, those delicious edges and “the disappointment” is perhaps the most interesting that rub a more intense work, partorisca see like the soprano could relieve his voice wins it and give a juvenile swipe. Already in ‘Voice fill' have some Lieder of Richard Strauss and the ‘Wesendonck Lieder' of Wagner (soberbia in the songs the shady plus and tristanescas). Hay Two 'bises' (a “Zueignung” magistral and a “Habanera” something ‘on-the-upper' and imperial) that amour to the audience, although this auditor had preferred that finalised with Strauss. The accompaniment of Levine is exemplary, the clock of audience of the moments tuberculares and the sound is of quality (practically of quality of studio, excepts that the voice remains something far in the audible scene). The applause remains reserved when finalising each section of the program, how is habit , saves in Brett Lieder in that the audience interrupts with applauses.

Has contained: Richard STRAUSS All' mein' Gedanken Op. 21/1, Nachtgang Op. 29/3, Of the meines Herzens Krönelein, Op. 21/2, Allerseelen, Op. 10/8, Ständchen, Op. 17/ 2 TCHAIKOVSKY Extracted of Six sings Op. 65 WAGNER Wesendonck Lieder SCHÖNBERG Created of the Brettl-Lieder. Bises: Richard STRAUSS Zueignung Op. 10/1 And BIZET Habanera of “Carmen”.
4 / 5
One of a more adds sopranos of a 20th century in his better. A recital in general is extraordinary and enjoyed it a lot; would have has wanted to listen more Strauss, but sometimes less is more. It did not like a lot a last still (the famous Habanera); it would have preferred it listens something different - more than agreement with a recital; but I assume that at the same time of a recital, Norman has promoted Carmen registers new with Ozawa likes manager. Levine there is showed that well it was like a accompaniest, always sustaining a singer while resupplying the a lot of insightful seen of the each piece. In my own personal opinion, a Schoenberg the songs were a point underlined of a recital. A sound is brilliant and clear; an audience has not been he a lot annoying, although you can listen from time to time far cough. Highly recommended CD.

Top Customer Reviews: 400 Jahre ...

Rating: 4 out of 5 with 2 ratings
5 / 5
Ein MUSS für jeden Opern-Liebhaber, nicht unbedingt Gives vermeintlichen Spezialisten, sondern für gives give sich für Oper interessiert und sich one gives wunderbaren Musik erfreut. Ein wunderbarer Querschnitt durch Quotes Geschichte gives Oper dipped guten Erläuterungen- auch a jemanden a data Oper heran- oder tiefer einzuführen. It marries CD-Edition
4 / 5
excellent overview of history of Work, easy to follow tracklistings, handy notes (in of the Germans) a lot of packaged, and a music is touched and sung by some of some better in a world of Work

Top Customer Reviews: Tchaikovsky : ...

Rating: 5 out of 5 with 2 ratings
5 / 5
Although so only 'Eugene Onegin' and 'A Queen of Axes' has done any serious progress in of the Western theatres, Tchaikovsky has considered his works like centres to the work of his life and the sucedido operatic likes him head office to his public success like the composer: while the symphony or quartet of the series so only could be treated occasionally, writes, the swipe in a house of work 'could be treaty forty times in a season' and work 'so only resupplies calm with an occasion partorisca communicate with some masses of some audiences'.

'Iolanta' Was his tenth and the final work has completed, although it have destroyed some bookmarks/marcadors of two of them ('A Voyevoda' and 'Undine'). In a work, is conceived and loaded partorisca be treaty in tandem with his ballet, 'A Nutcracker'. A plot can be said in brief: the young princess is blind of birth and maintained in (on)protective seclusion for his father; it develops a capacity to see when it falls almost instantly enamoured with the young knight, the one who there is opportunely stumbled to his castle; cue general rejoicing like falls of curtain. A libretto, for Tchaikovsky Modesto (the brother of the composer), tip that has been aptly appointed according to which his talents have been - a work is cushioned was his detriment for the plot of quite perfunctory dialogue among sundry the characters that explains one background and a course of chance likes progress of work.

In that said the one who, has some pieces of together appeal in a bookmark - for example, he stirring air for a king and Iolanta justly a lot of-known air, 'Reason until now I have does not afflict never known?' (That collects last on occasionally in a room jointly and on disk). Two other points have underlined to arrive in an inaugural scene - the 'flower' heart and the lullaby sung for Iolanta mates; a section of trio of a forward is particularly lovely in a way a composer combines some three female vocalists and an orchestral accompaniment is echt-Tchaikovsky. Regarding a rest of a work, a music is quite subdued and has the air to prevail of sentimental prettiness expressed in of the pastoral shadows. For me, at least, a music of some scenes among Iolanta and Vaudemont (his again discovered suitor) any really increase to a situation or to a level of the operatic works earlier of Tchaikovsky.

A main reason could wants to consider this version of a work - averts of his reasonable pricing in king emission - is a mould. Vishnevskaya Was of half age for a time this register has been dipped down and certainly his sounds of voice quite too mature to be totally convincing like the adolescent princess, but is still in form a lot here and is, of course, the consummate actora; it is in a level of like this invests some words sings with meaning and his idea to a character portrays concealed this the listened lovely of the action. A rest of a mould is strong also; in fact, it is something of the stellar line arrive - Nicolai Gedda is an ardent Vaudemont resupplying that it sings that belies his own age and Walton Groenroos frames some better of to his quite small part likes them Robert. Dimiter Petkov Portray a king with some feeling, although his is not the voice duquel am particularly fond. This surely has to that it has been one of some last complete works Vishnevskaya registered and an action is has directed sensitively for Mstislav Rostropovich: in time, felt was the little weighed-rid (in some scenes/arias for a king and Ibn Hakia, for example) but in general there is little the quibble in here. A sound of this reissue is reasonably good quality also, far better that agrees in a subject original of a mid-@@@1980s. You are registered alive but there is so only an occasional bronchial interjection of one a lot-behaved audience.

Has taken like the integer and that balances a musical quality with some actions, ossia the bit of the mixed stock exchange.

Is looking The sample more than works of Tchaikovsky after listening 'Onegin' and 'A Queen of Axes', would advise you the skip this quite pale concoction in favour of any soyazeppa', Tchaikovsky: Mazeppa, 'Cherevichki', the scarce foray the comedy - Tchaikovsky:Slippers, or 'A Oprichnik' - Tchaikovsky: Opricnik; any of these richly melodious and colourfully filler-blooded the bookmarks/marcadors will give you more idea his operatic work any to mention more passion and more like.

If, this in spite of, is after the register of this work specifically, well can be worthy of your consideration while you are happy with Vishnevskaya is slightly matronly flange. For me, like the lifelong admirer of a soprano, this king-the subject was a compraventa essential and has derived extracted adds to like to result reacquainted with him long after my elepé obsolete result.

Also would owe that remark that, although a coverage of CD declares that a neighbour contains 'texts' in English, French and Germans, these texts are simply the synopsis of an action; there is links it resupplied to the place, this in spite of, this contains a libretto in the only Russian transliterated (any translation).

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Quotes taken respectively of papers to Nadezhda von Meck - 27th November 1879 and 27th September 1885.
5 / 5
Although so only 'Eugene Onegin' and 'A Queen of Axes' has done any serious progress in of the Western theatres, Tchaikovsky has considered his works like centres to the work of his life and the sucedido operatic likes him head office to his public success like the composer: while the symphony or quartet of the series so only could be treated occasionally, writes, the swipe in a house of work 'could be treaty forty times in a season' and work 'so only resupplies calm with an occasion partorisca communicate with some masses of some audiences'.

'Iolanta' Was his tenth and the final work has completed, although it have destroyed some bookmarks/marcadors of two of them ('A Voyevoda' and 'Undine'). In a work, is conceived and loaded partorisca be treaty in tandem with his ballet, 'A Nutcracker'. A plot can be said in brief: the young princess is blind of birth and maintained in (on)protective seclusion for his father; it develops a capacity to see when it falls almost instantly enamoured with the young knight, the one who there is opportunely stumbled to his castle; cue general rejoicing like falls of curtain. A libretto, for Tchaikovsky Modesto (the brother of the composer), tip that has been aptly appointed according to which his talents have been - a work is cushioned was his detriment for the plot of quite perfunctory dialogue among sundry the characters that explains one background and a course of chance likes progress of work.

In that said the one who, has some pieces of together appeal in a bookmark - for example, he stirring air for a king and Iolanta justly a lot of-known air, 'Reason until now I have does not afflict never known?' (That collects last on occasionally in a room jointly and on disk). Two other points have underlined to arrive in an inaugural scene - the 'flower' heart and the lullaby sung for Iolanta mates; a section of trio of a forward is particularly lovely in a way a composer combines some three female vocalists and an orchestral accompaniment is echt-Tchaikovsky. Regarding a rest of a work, a music is quite subdued and has the air to prevail of sentimental prettiness expressed in of the pastoral shadows. For me, at least, a music of some scenes among Iolanta and Vaudemont (his again discovered suitor) any really increase to a situation or to a level of the operatic works earlier of Tchaikovsky.

A main reason could wants to consider this version of a work - averts of his reasonable pricing in king emission - is a mould. Vishnevskaya Was of half age for a time this register has been dipped down and certainly his sounds of voice quite too mature to be totally convincing like the adolescent princess, but is still in form a lot here and is, of course, the consummate actora; it is in a level of like this invests some words sings with meaning and his idea to a character portrays concealed this the listened lovely of the action. A rest of a mould is strong also; in fact, it is something of the stellar line arrive - Nicolai Gedda is an ardent Vaudemont resupplying that it sings that belies his own age and Walton Groenroos frames some better of to his quite small part likes them Robert. Dimiter Petkov Portray a king with some feeling, although his is not the voice duquel am particularly fond. This surely has to that it has been one of some last complete works Vishnevskaya registered and an action is has directed sensitively for Mstislav Rostropovich: in time, felt was the little weighed-rid (in some scenes/arias for a king and Ibn Hakia, for example) but in general there is little the quibble in here. A sound of this reissue is reasonably good quality also, far better that agrees in a subject original of a mid-@@@1980s. You are registered alive but there is so only an occasional bronchial interjection of one a lot-behaved audience.

Has taken like the integer and that balances a musical quality with some actions, ossia the bit of the mixed stock exchange.

Is looking The sample more than works of Tchaikovsky after listening 'Onegin' and 'A Queen of Axes', would advise you the skip this quite pale concoction in favour of any soyazeppa', Tchaikovsky: Mazeppa , 'Cherevichki', the scarce foray the comedy - Tchaikovsky:Slippers , or 'A Oprichnik' - Tchaikovsky: Opricnik ; any of these richly melodious and colourfully filler-blooded the bookmarks/marcadors will give you more idea his operatic work any to mention more passion and more like.

If, this in spite of, is after the register of this work specifically, well can be worthy of your consideration while you are happy with Vishnevskaya is slightly matronly flange. For me, like the lifelong admirer of a soprano, this king-the subject was a compraventa essential and has derived extracted adds to like to result reacquainted with him long after my elepé obsolete result.

Also would owe that remark that, although a coverage of CD declares that a neighbour contains 'texts' in English, French and Germans, these texts are simply the synopsis of an action; there is links it resupplied to the place, this in spite of, this contains a libretto in the only Russian transliterated (any translation).

-------------

Quotes taken respectively of papers to Nadezhda von Meck - 27th November 1879 and 27th September 1885.