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Domenico Alaleona (1881-1928) - Mirra
Жанр: Opera
Страна-производитель диска: EU
Год издания диска: 2004
Издатель (лейбл): Naieve
Номер по каталогу: V 5001
Дата записи: 2003
Аудиокодек: APE
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 44'19+37'52
Источник: собственный рип
Наличие сканов в содержимом раздачи: да

1. Act I, Scene I: "Si: pienamente in calma omai tornata"
2. Act I, Scene II: "D'inaspettata gioja hammi ricolmo"
3. Act I, Scene III: "Amati figli, augurio lieto io traggo"
4. Act I, Scene IV: "Contaminato è il rito"
5. Act I, Scene V: "Mirra più presso a morte assai"
6. Act I, Scene VI: "Ecco, di nuovo ella i sensi ripiglia..."
7. Act I, Scene VII: "Uscito è il padre?.."

1. Intermezzo
2. Act II, Scene I: "Oh sventurato, oh misero Pereo!"
3. Act II, Scene II: "Eccola al fine. - Oimè!"
4. Act II, Scene III: "Al suon d'un mortal pianto"
5. Act II, Scene IV: Finale "Quand'io... tel...chiesi"

Исполнители:
Domenico Alaleona - Mirra
Mirra - Denia Mazzola-Gavazzeni, soprano
Cecri - Julia Gertseva, mezzo-soprano
Euriclea - Hanna Schaer, mezzo-soprano
Pereo - Mario Malagnini, tenor
Cintro - Franck Ferrari, baryton
Choeur de Radio France
Maîtrise de Radio France
Orchestre National de France
Juraj Valcuha (dirigent)

Код:

Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 29. December 2014, 18:04
Alaleona / Mirra, Valcuha CD1
Used drive : TSSTcorpCDDVDW SE-208AB Adapter: 1 ID: 0
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
---------------------------------------------------------
1 | 0:00.00 | 6:32.48 | 0 | 29447
2 | 6:32.48 | 8:47.19 | 29448 | 68991
3 | 15:19.67 | 14:17.22 | 68992 | 133288
4 | 29:37.14 | 0:52.62 | 133289 | 137250
5 | 30:30.01 | 4:35.55 | 137251 | 157930
6 | 35:05.56 | 0:33.25 | 157931 | 160430
7 | 35:39.06 | 8:40.07 | 160431 | 199437
Range status and errors
Selected range
Filename D:\EAC\Alaleona - Mirra, Valcuha CD1.wav
Peak level 93.0 %
Extraction speed 1.7 X
Range quality 100.0 %
Test CRC D2F91027
Copy CRC D2F91027
Copy OK
No errors occurred
AccurateRip summary
Track 1 cannot be verified as accurate (confidence 1) [9736CF6F], AccurateRip returned [60E0292B] (AR v2)
Track 2 cannot be verified as accurate (confidence 1) [1321C30F], AccurateRip returned [F0C7DA52] (AR v2)
Track 3 cannot be verified as accurate (confidence 1) [F43E1F58], AccurateRip returned [359FA8A6] (AR v2)
Track 4 cannot be verified as accurate (confidence 1) [E4C15CC6], AccurateRip returned [2A922671] (AR v2)
Track 5 cannot be verified as accurate (confidence 1) [9879DE82], AccurateRip returned [DA837B29] (AR v2)
Track 6 cannot be verified as accurate (confidence 1) [01B4131B], AccurateRip returned [9D53FE54] (AR v2)
Track 7 cannot be verified as accurate (confidence 1) [34CE1BC3], AccurateRip returned [882B3509] (AR v2)
No tracks could be verified as accurate
You may have a different pressing from the one(s) in the database
End of status report
---- CUETools DB Plugin V2.1.3
[CTDB TOCID: OsGq2TF.j2k909RUOw_6r3XuQqw-] found, Submit result: OsGq2TF.j2k909RUOw_6r3XuQqw- has been confirmed
[5604ab7a] (2/2) Accurately ripped
==== Log checksum B74D90ACBFBDB6710870267E2C150679C536BC11B1A9179E03B0790A0996B0C2 ====

Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 29. December 2014, 18:04
Alaleona / Mirra, Valcuha 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
---------------------------------------------------------
1 | 0:00.00 | 9:06.27 | 0 | 40976
2 | 9:06.27 | 3:31.24 | 40977 | 56825
3 | 12:37.51 | 21:20.68 | 56826 | 152893
4 | 33:58.44 | 1:23.32 | 152894 | 159150
5 | 35:22.01 | 2:30.60 | 159151 | 170460
Range status and errors
Selected range
Filename D:\EAC\Alaleona - Mirra, Valcuha CD2.wav
Peak level 80.0 %
Extraction speed 1.6 X
Range quality 100.0 %
Test CRC B47E3E60
Copy CRC B47E3E60
Copy OK
No errors occurred
AccurateRip summary
Track 1 cannot be verified as accurate (confidence 1) [AC29FA23], AccurateRip returned [F0B8A435] (AR v2)
Track 2 cannot be verified as accurate (confidence 1) [5737A9FE], AccurateRip returned [128F9577] (AR v2)
Track 3 cannot be verified as accurate (confidence 1) [B63C2029], AccurateRip returned [03AA15DF] (AR v2)
Track 4 cannot be verified as accurate (confidence 1) [E7ACAC13], AccurateRip returned [D0629B15] (AR v2)
Track 5 cannot be verified as accurate (confidence 1) [F1B79E3A], AccurateRip returned [5B65D986] (AR v2)
No tracks could be verified as accurate
You may have a different pressing from the one(s) in the database
End of status report
---- CUETools DB Plugin V2.1.3
[CTDB TOCID: QmxxIlaMcrmyV5ttXQDsuqLfVa4-] found, Submit result: unrecognized or virtual drive
[f209a405] (1/2) No match
[bb09e8d8] (1/2) Accurately ripped
==== Log checksum DB3647FCE21B9720D553CC0E9920C00C6EA06AFF995BAF827336C7D8D60CB518 ====

Код:

REM GENRE Opera
REM DATE 2003
REM DISCID 560A6307
REM COMMENT "ExactAudioCopy v1.0b3"
PERFORMER "Alaleona"
TITLE "Mirra, Valcuha CD1"
FILE "Alaleona - Mirra, Valcuha CD1.ape" WAVE
TRACK 01 AUDIO
TITLE "Act I, Scene I: 'Si: pienamente in calma omai tornata' "
PERFORMER "Alaleona"
ISRC FR05G0360025
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INDEX 01 00:00:00
TRACK 02 AUDIO
TITLE "Act I, Scene II: 'D'inaspettata gioja hammi ricolmo'"
PERFORMER "Alaleona"
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TITLE "Act I, Scene III: 'Amati figli, augurio lieto io traggo'"
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TRACK 04 AUDIO
TITLE "Act I, Scene IV: 'Contaminato è il rito'"
PERFORMER "Alaleona"
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INDEX 01 29:37:14
TRACK 05 AUDIO
TITLE "Act I, Scene V: 'Mirra più presso a morte assai'"
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INDEX 01 30:30:01
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TITLE "Act I, Scene VI: 'Ecco, di nuovo ella i sensi ripiglia...'"
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INDEX 01 35:05:56
TRACK 07 AUDIO
TITLE "Act I, Scene VII: 'Uscito è il padre?..'"
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INDEX 01 35:39:06

REM GENRE Opera
REM DATE 2003
REM DISCID 3708E005
REM COMMENT "ExactAudioCopy v1.0b3"
PERFORMER "Alaleona"
TITLE "Mirra, Valcuha CD2"
FILE "Alaleona - Mirra, Valcuha CD2.ape" WAVE
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ISRC FR05G0360032
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INDEX 01 00:00:00
TRACK 02 AUDIO
TITLE "Act II, Scene I: 'Oh sventurato, oh misero Pereo!'"
PERFORMER "Alaleona"
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INDEX 01 09:06:27
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Dominico Alaleona (1881–1928) is now largely remembered as a musicologist and writer on musical aesthetics rather than as a composer.
His book Studi sulla storia dell’oratorio musicale in Italia, published in 1908 and reissued in 1945 as Storia dell’oratorio musicale in Italia, has long been considered a standard work.
More’s the pity.
He was a well-schooled composer and choral director with over 600 works to his credit.
His one opera, Mirra, composed in 1912 at the encouragement of Toscanini, was finally mounted in Rome in 1920.
Praised by such cognoscenti as Mascagni and Puccini, it was a critical, alas not a public, success.
The fact that it is an interior drama—one not driven by overt stage action—left the verismo-hungering theatergoers of the time bewildered.
Its musical language and structure largely eschews traditional Italian opera set pieces.
The “story” is spun out in a Tristanesque arch of endless melody much as one finds in Bartók’s Bluebird’s Castle, composed in 1911.
Its harmonic structure, though generally euphonious, can, from time to time, be as harmonically spiky as that found in Busoni’s (another musical philosopher) Doktor Faust, composed in 1916.
Its story of unconsummated incest and its impact on the normal social demands, conventions, and rhythms of life undoubtedly also had something to do with its public rejection.
Alaleona concocted his own libretto based on the last two acts of a play of the same name by Vittorio Alfieri (1749–1803), which in turn was based on a tale from Ovid’s Metamorphoses.
As the opera opens in a richly pastoral mode, Mirra is about to wed Pereo but, torn by her secretly incestuous feelings for her father, Ciniro, King of Cypress, as weighed against her own ideals of purity, she finds that she is unable to follow through with the ceremony.
A stunned and bewildered Perero subsequently commits suicide.
Ciniro, dumbfounded by her actions, hangs a guilt trip on her by speculating as to Perero’s father’s grief over his loss caused by her shameful act.
Mirra, over and over, pleads that she desires only death.
When further pressed by her father, who declares that she has lost his love forever, she delivers a key line: “Oh happy is my mother!
She at last will be permitted to die . . . at least . . . at your side.”
She then grabs his dagger and kills herself.
The opera raises the eternal conflict that can’t fail but arise when one strives for spiritual purity from within the confines of one’s inescapable carnality.
St. Augustine immediately comes to mind.
Given Mirra’s angle of incest, the purveyors of our current psychobabel will undoubtedly have a field day with this opera.
To its credit, Ovid’s/Alfieri’s/Alaleona’s story is richly metaphorical, chronicling, on a different level, a daughter’s coming of age when she finally transfers her love of her father to her future mate.
Mirra’s inability to do so within the socially mandated timetable makes her a social pariah.
And so it goes.
Alaleona was both a trained musician and a musicologist par excellence who delved deeply into the interrelationship between words and music.
In this opera, subtleties abound.
To cite one example: in act I, Pereo sings of his love for Mirra in the key of C Major.
Mirra’s brief answer is in G flat Major—a tritone apart—harmonically signifying complete incompatibility.
One need not be a student of musical theory to sense the feeling that arises from this harmonic manipulation.
Alaleona hearkens back to Greek antiquity in his use of the chorus.
In its consonant, diatonic, music, it becomes the voice of society—in act I praising the union between Mirra and Pereo, and, as the opera progresses, becoming the voice of “reason.”
After its 1920 premiere, Mirra slipped beneath the radar until its revival at Jesi, Italy, in 2002.
This live Radio France performance was recorded on November 21, 2003.
The sound is excellent for a live pickup.
The orchestra, soloists, and choruses are more than equal to the tasks before them, and young Slovakian conductor Juraj Valcuha unerringly maintains the arch of this most challenging and subtle of scores.