[anvar]

Emil Nikolaus von Reznicek - Ritter Blaubart
Жанр: Opera
Страна-производитель диска: Germany
Год издания диска: 2003
Издатель (лейбл): CPO
Номер по каталогу: 999 899-2
Дата записи: 2002
Аудиокодек: APE
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 54'31+78'08
Источник: собственный рип
Наличие сканов в содержимом раздачи: да

Disc 1
1. Act 1. Introduction
2. Act 1. Was ist das für ein Mensch, Werner!
3. Act 1. Was willst du?
4. Act 1. Eine seltsame Gesellschaft
5. Act 1. Interludium
6. Act 1. Halt, Josua!
7. Act 1. Interludium
8. Act 1. Darf ich euch bitten, verehrte Gäste
9. Act 1. Daß ich diesen Tag erleben mußte
10. Act 1. Werner? Bist du allein?
11. Act 1. Ich habe dich beleidigt
12. Act 1. Hast du den Vater nicht gesehen, Agnes?
Disc 2
1. Act 2. Welch ein goldener Tag!
2. Act 2. Rate, wer ist das!
3. Act 2. Was bedeutet dies alles!
4. Act 2. Nachts muß ich oft dein denken
5. Act 2. Hab' ich denn niemanden und nichts
6. Act 2. Das ist ja Wahnsinn
7. Act 2. Kommt, kommt ihr Vögelchen
8. Act 2. Zu Hilfe! Was war das!
9. Act 2. Still! Still! Herz!
10. Act 2. Interludium
11. Act 3. Gott gebe dir Frieden, toter Mensch
12. Act 3. Halt' ein!
13. Act 3. Komm', Hinz!
14. Act 3. Interludium
15. Act 3. Glüh', Feuer, glüh'!
16. Act 3. Wie wird das enden, Rainer?
17. Act 3. So hetzt ihre Seele den andern nach

Исполнители:
Emil Nikolaus von Reznicek - Ritter Blaubart
Fairy Tale Opera in 3 Acts
Libretto: Herbert Eulenberg
Ritter Blaubart - David Pittman-Jennings, baritone
Count Nikolaus - Arutjun Kotchinian, bass
Werner - Robert Wörle, tenor
Judith - Celina Lindsley, soprano
Agnes - Andion Fernandez, soprano
Rundfunk-Sinfonieorchester Berlin
Michail Jurowski

Код:

Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 2. March 2015, 19:02
Reznicek / Ritter Blaubart, Jurowski CD1
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Read mode : Secure
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Make use of C2 pointers : No
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Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Used output format : Monkey's Audio Lossless Encoder
Selected bitrate : High Lossless Compression
Quality : High
Add ID3 tag : Yes
Command line compressor : C:\Program Files (x86)\Exact Audio Copy\MAC\MAC.exe
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No errors occurred
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Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 2. March 2015, 19:21
Reznicek / Ritter Blaubart, Jurowski CD2
Used drive : TS8XDVDSTRANSCEND Adapter: 1 ID: 1
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 6
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Used output format : Monkey's Audio Lossless Encoder
Selected bitrate : High Lossless Compression
Quality : High
Add ID3 tag : Yes
Command line compressor : C:\Program Files (x86)\Exact Audio Copy\MAC\MAC.exe
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
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Filename D:\EAC\Reznicek - Ritter Blaubart, Jurowski CD2.wav
Peak level 90.2 %
Extraction speed 3.5 X
Range quality 100.0 %
Test CRC 20C2C975
Copy CRC 20C2C975
Copy OK
No errors occurred
AccurateRip summary
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Код:

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REM DATE 2002
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The Austrian late Romantic composer of Czech ancestry, Emil Nikolaus Joseph, Freiherr von Reznicek, studied law and music simultaneously in Graz.
He did not finish his law degree, but continued to study music, his teacher being Wilhelm Mayer (also known as W. A. Rémy).
Subsequently, he conducted at the theater in Graz, in Berlin and a few other places.
From 1886 to 1894 he was Kapellmeister of the 88th Infantry of Prague, and it was here that he saw his greatest triumph with the premiere of Donna Diana (16 December 1894).
In the spring of 1902 he settled in Berlin, touring to Russia and England from time to time.
When the Nazi Party came to power in 1933, Reznicek tried not to become involved, but stayed in Berlin.
Reznicek was a personal friend of Richard Strauss.
However, the relation between the two seems to have been an ambivalent one.
Reznicek's symphonic poem Schlemihl http://rutracker.org/forum/viewtopic.php?t=4827994 (1912) can be seen as a direct parody of Strauss' A Hero's Life.
The use of (often sarcastic) humor is a feature of much of Reznicek's music, from the jibbering Blaubart in the opera Ritter Blaubart through the sardonic Dance around the Golden Calf from Der Sieger (1913) to the expressionist Tarantella last movement of his Dance Symphony (No. 5, 1925).
This Eulenspiegelei (a reference to the literary prankster Till Eulenspiegel http://rutracker.org/forum/viewtopic.php?t=4912048 ) frequently got him into trouble in a world that was unaccustomed to the use of humour in music and art.
In operatic terms, the Bluebeard story normally means only Bartók’s masterpiece http://rutracker.org/forum/viewtopic.php?t=4957310 .
Perhaps Dukas’s Ariane et Barbe-bleue http://rutracker.org/forum/viewtopic.php?t=4599322 or even Offenbach’s Barbe-bleue will come to mind, but probably not Grétry’s Raoul Barbe-bleue.
And almost certainly not Emil Nikolaus von Reznicek’s Ritter Blaubart, premiered in Darmstadt in 1920, just two years after the appearance of Bluebeard’s Castle.
These two late-Romantic works have had very different fates, and they have little in common.
Rather than the concentrated spareness of Bartók’s two-hander, Reznicek’s opera is a more conventional affair with a bigger cast: among the many characters, Judith gets a sister, brother and father, and there is a Götterdämmerung-like finale in which fire destroys the castle.
This is a well constructed if hardly memorable work.
The Viennese-born Reznicek (1860-1945) knew what he was doing: he held conducting posts in several important theatres and wrote over a dozen operas, of which Donna Diana http://rutracker.org/forum/viewtopic.php?t=4948832 was the most successful.
Ritter Blaubart owes some of its style to Richard Strauss, and Michail Jurowski conducts with a real feeling for the idiom.
The soprano Celina Lindsley is a fresh, focused Judith, Arutjun Kotchinian reveals a resonant bass as her father Nikolaus, and the baritone David Pittman-Jennings has commanding presence in the title role.