[anvar]

Wilhelm Kienzl - Don Quixote op. 50
Жанр: Opera
Страна-производитель диска: Germany
Год издания диска: 2002
Издатель (лейбл): CPO
Номер по каталогу: 999 873-2
Дата записи: 1998
Аудиокодек: APE
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 67'27+61'16+72'50
Источник: собственный рип
Наличие сканов в содержимом раздачи: да

1. Act I Scene 1: Introduction: Elender, das sollst du bussen!
2. Act I Scene 2: Wacht auf, wacht auf, mein guter Ohm
3. Act I Scene 3: Bei Tirante lasst sich's leben
4. Act I Scene 4: O edler Herr, nicht werd'ich mich erheben
5. Act I Scene 5: Interlude: The King's Vigil
6. Act I Scene 6: Pst! Pst! - Interlude: Don Quixotes traurige Heimkehr
7. Act I Scene 7: Was habt ihr, Herr
8. Act I Scene 8: Was steht zu Diensten Eurer Hoheit?
9. Act I Scene 9: Fahr hin, du Schurke
10. Act I Scene 10: Mit List muss es mir doch gelingen?
11. Act I Scene 11: Finale: Wie, du gehst?

1. Act II Scene 1: Introduction: Nun, wie steht es, Haushofmeister
2. Act II Scene 2: Don Quixote von der Mancha
3. Act II Scene 3: Seht hier von Tanzen die erlesne Schaar
4. Act II Scene 4: Was ist das?
5. Act II Scene 5: Seht, den edlen Ritter fortzutragen
6. Act II Scene 6: Ach, ich schwor es beim Herodes
7. Act II Scene 7: Sei gegrusst uns, Don Quixote

1. Act III Scene 1: In dieser Stunde noch muss er hier vorbei
2. Act III Scene 2: Los, Kameraden
3. Act III Scene 3: Dort in jenem oden Orte
4. Act III Scene 4: Hehrste Konigin der Schonheit
5. Act III Scene 5: Amor, denke ich der Pein
6. Act III Scene 6: Hocherhab'ner und beruhmter
7. Act III Scene 7: Zu deinem Heil
8. Act III Scene 8: Postlude: Ach, dass zu spat wir kommen sollten

Исполнители:
Wilhelm Kienzl - Don Quixote op. 50
Musical Tragicomedy in 3 Acts
Libretto: Wilhelm Kienzl
Alonzo Quixano - Thomas Mohr, baritone
Mercedes - Michelle Breedt, mezzo-soprano
Sancho Pansa - James Wagner, tenor
The Duchess - Celina Lindsley, soprano
The Duke - Hans Aschenbach, tenor
Don Clovyo - Thomas Hay, bass
Corrasco - Matthias Henneberg, baritone
Rundfunkchor Berlin
Rundfunk-Sinfonieorchester Berlin
Gustav Kuhn

Код:

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EAC extraction logfile from 1. March 2015, 16:01
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EAC extraction logfile from 1. March 2015, 16:55
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Fill up missing offset samples with silence : Yes
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Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Used output format : Monkey's Audio Lossless Encoder
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Command line compressor : C:\Program Files (x86)\Exact Audio Copy\MAC\MAC.exe
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Код:

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Wilhelm Kienzl was once very famous for his huge success Der Evangelimann, which at the moment doesn't seem to be commercially available apart from a DVD.
Enter the monstrous Don Quixote, a failure at its 1898 premiere - I guess CPO is the only record company that would even consider a project like this.
The orchestra requires almost ridiculous forces (including two harps, four guitars, eight trumpets and some less usual suspects (cow horns and castanets)).
I wish them all possible success with projects like this, however, especially when the result is as compelling as it is here.
Don Quixote is determinately anti-Wagnerian, and Kienzl appealed instead to classical elements when he eschewed such elements as leitmotifs.
Interestingly, the end result doesn't sound at all classical, but - you guessed it - arch-late-romantic, lushly, opulently scored and approximately as Mozartian as Bruckner - although there are obviously traces of Weber and Meyerbeer and Lortzing here.
Richard Strauss seems an obvious influence, were it not for the fact that Don Quixote predates all of Richard Strauss's operas with the exception of Guntram.
More importantly, it is a hugely enjoyable, atmospheric, colorful and inventive work, which mixes tragedy and comedy rather successfully to my ears, and - as you would expect from the scoring - many unusual textures, effects and touches.
The end result is in fact surprisingly cogent as well; it comes across as far less sprawling than you'd fear, with thorough, multi-dimensional character portraits and several extended, spectacular orchestral interludes, always well - even tastefully - scored, despite its voluptuous richness and opulence.
And just as importantly, it receives a very good performance.
Thomas Mohr in the title role has all the stamina and breadth of character required, but also provides some sensitive and really beautiful - radiant, even - singing.
James Wagner is a sympathetic Sancho Panza and Michelle Breedt is a more than satisfactory Mercedes; not always wielding a gorgeous tone, but overall impressive; Matthias Hennenberg as Carrasco has to go through a lot of unusual moves (including impersonation and falsetto singing) and does so admirably.
The smaller roles are also generally very good, and the Berlin Radio Orchestra and chorus provide all the lushness and vibrancy you could wish for under Gustav Kuhn's committed direction.
The sound quality is excellent, and so are the notes.
While this might not, in the end, be a masterpiece, it is thoroughly rewarding and enjoyable, and the set deserves all the success it can get.
Strongly recommended to any lover of late romantic opera.