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Granados - Maria del Carmen
Жанр: Opera
Страна-производитель диска: EU
Год издания диска: 2004
Издатель (лейбл): Marco Polo
Номер по каталогу: 8.225292-93
Дата записи: 2003
Аудиокодек: APE
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 43'33 + 59'47
Источник: собственный рип
Наличие сканов в содержимом раздачи: да

1. Act I: Preludio 00:06:30
2. Act I: A la paz de Dios, caballeros 00:01:28
3. Act I: Adios hombres 00:02:28
4. Act I: Mardita sea la simiente que da la pilleria! 00:01:45
5. Act I: Pos que es eso, tio Pepuso 00:03:04
6. Act I: Jesus, la que nos aguarda! 00:01:49
7. Act I: Una limosna para una misa de salud... 00:06:59
8. Act I: Voy a ver a mi enfermo, el capellan 00:03:56
9. Act I: Mirala, aqui la tenemos 00:03:17
10. Act I: Tu sabes mi mal cruel 00:04:34
11. Act I: Ya ha empezado la misa 00:00:46
12. Act I: He hablado con el medico 00:01:26
13. Act I: Maria el Carmen, oye, no sabes 00:00:53
14. Act I: Resuelve si libre quieres que sea! 00:00:47
15. Act I: Virgen Santisima de la Fuensanta 00:02:22
16. Act I: Poco lento 00:01:30

1. Act II: Preludio 00:02:13
2. Act II: Nenicas huertanas, que tanto amais 00:04:41
3. Act II: Ya estamos aqui nosotros 00:00:52
4. Act II: Sentarse 00:00:51
5. Act II: Yo tambien guervo enseguia 00:00:35
6. Act II: Muy contenta! y aqui me tra en, como aquel que llevan al suplicio 00:03:47
7. Act II: Maria del Carmen! 00:05:06
8. Act II: Y que quiere este hombre a quien maldigo desde el fondo de mi alma 00:04:10
9. Act II: Ah!, tio Pepuso, lleveselo usted 00:00:32
10. Act II: Ya se fue. Alegrate corazon mio 00:00:55
11. Act II: Viva Maria el Carmen y su ena morao, Javier! 00:05:23
12. Act II: Pencho! Pencho! ... Vengo a delatarme para salvar a esta mujer 00:05:31
13. Act II: Dile que huya! 00:01:56
14. Act III: Preludio 00:03:06
15. Act III: Me ha llamado cobarde! ... Cuando la guitarra suena al oir su dulce son, se destierra toda pena que oprima el corazon 00:04:02
16. Act III: Pencho de mi alma, preparate a huir 00:01:56
17. Act III: Si te prenden, sola, que hara tu zagala 00:01:18
18. Act III: Vengo a lo que sabes 00:01:17
19. Act III: Y mi Javier 00:01:14
20. Act III: Buenas noches 00:00:49
21. Act III: Disponte a oirme con enterez 00:04:14
22. Act III: Ponte en sarvo, huye si quieres 00:00:29
23. Act III: Oh, ven a matarme, ven! 00:02:12
24. Act III: Vamos pues, vamos alla, vamos a prender a Pencho ya 00:02:35

Enrique Granados (1867-1916) - Maria del Carmen
Diana Veronese, soprano
Larisa Kostyuk, mezzo-soprano
Silvia Vazquez, soprano
Jesus Suaste, baritone
Dante Alcalá, tenor
Gianfranco Montresor, baritone
David Curry, tenor
Alberto Arrabal, baritone
Stewart Kempster, bass
Ricardo Mirabelli, baritone
Alex Ashworth, baritone
Nicholas Sharratt, tenor
Vicenç Esteve, tenor
Wexford Festival Opera Chorus
Lubomir Matl
Belarussian National Philharmonic Orchestra
Max Bragado-Darman

Код:

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Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 22. October 2013, 19:19
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Код:

REM GENRE Opera
REM DATE 2003
REM DISCID D40A3310
REM COMMENT "ExactAudioCopy v1.0b3"
PERFORMER "Granados"
TITLE "Maria Del Carmen, Bragado-Darman 2003 CD1"
FILE "Granados - Maria Del Carmen, Bragado-Darman 2003 CD1.ape" WAVE
TRACK 01 AUDIO
TITLE "Act I: Preludio"
PERFORMER "Granados"
ISRC HKI190340801
INDEX 01 00:00:00
TRACK 02 AUDIO
TITLE "Act I: A la Paz de Dios, Caballeros"
PERFORMER "Granados"
ISRC HKI190340802
INDEX 01 06:29:70
TRACK 03 AUDIO
TITLE "Act I: Adios Hombres"
PERFORMER "Granados"
ISRC HKI190340803
INDEX 01 07:58:21
TRACK 04 AUDIO
TITLE "Act I: Mardita Sea la Simiente Que Da la Pilleria! "
PERFORMER "Granados"
ISRC HKI190340804
INDEX 01 10:25:58
TRACK 05 AUDIO
TITLE "Act I: Pos Que Es Eso, Tio Pepuso?"
PERFORMER "Granados"
ISRC HKI190340805
INDEX 01 12:10:30
TRACK 06 AUDIO
TITLE "Act I: Jesus, la Que Nos Aguarda! "
PERFORMER "Granados"
ISRC HKI190340806
INDEX 01 15:14:34
TRACK 07 AUDIO
TITLE "Act I: Una Limosna Para una Misa de Salud... "
PERFORMER "Granados"
ISRC HKI190340807
INDEX 01 17:03:08
TRACK 08 AUDIO
TITLE "Act I: Voy a Ver a Mi Enfermo, el Capellan"
PERFORMER "Granados"
ISRC HKI190340808
INDEX 01 24:02:13
TRACK 09 AUDIO
TITLE "Act I: Mirala, Aqui la Tenemos"
PERFORMER "Granados"
ISRC HKI190340809
INDEX 01 27:57:53
TRACK 10 AUDIO
TITLE "Act I: Tu Sabes Mi Mal Cruel"
PERFORMER "Granados"
ISRC HKI190340810
INDEX 01 31:14:40
TRACK 11 AUDIO
TITLE "Act I: Ya Ha Empezado la Misa"
PERFORMER "Granados"
ISRC HKI190340811
INDEX 01 35:48:01
TRACK 12 AUDIO
TITLE "Act I: He Hablado Con el Medico"
PERFORMER "Granados"
ISRC HKI190340811
INDEX 01 36:34:26
TRACK 13 AUDIO
TITLE "Act I: Maria el Carmen, Oye, No Sabes? "
PERFORMER "Granados"
ISRC HKI190340813
INDEX 01 37:59:73
TRACK 14 AUDIO
TITLE "Act I: Resuelve Si Libre Quieres Que Sea! "
PERFORMER "Granados"
ISRC HKI190340814
INDEX 01 38:52:46
TRACK 15 AUDIO
TITLE "Act I: Virgen Santisima de la Fuensanta"
PERFORMER "Granados"
ISRC HKI190340815
INDEX 01 39:39:46
TRACK 16 AUDIO
TITLE "Act I: Poco Lento"
PERFORMER "Granados"
ISRC HKI190340816
INDEX 01 42:00:67

REM GENRE Opera
REM DATE 2003
REM DISCID 5A0E0118
REM COMMENT "ExactAudioCopy v1.0b3"
PERFORMER "Granados"
TITLE "Maria Del Carmen, Bragado-Darman 2003 CD2"
FILE "Granados - Maria Del Carmen, Bragado-Darman 2003 CD2.ape" WAVE
TRACK 01 AUDIO
TITLE "Act II: Preludio"
PERFORMER "Granados"
ISRC HKI190340901
INDEX 01 00:00:00
TRACK 02 AUDIO
TITLE "Act II: Nenicas Huertanas, Que Tanto Amais"
PERFORMER "Granados"
ISRC HKI190340902
INDEX 01 02:13:03
TRACK 03 AUDIO
TITLE "Act II: Ya Estamos Aqui Nosotros"
PERFORMER "Granados"
ISRC HKI190340903
INDEX 01 06:53:45
TRACK 04 AUDIO
TITLE "Act II: Sentarse"
PERFORMER "Granados"
ISRC HKI190340904
INDEX 01 07:45:52
TRACK 05 AUDIO
TITLE "Act II: Yo Tambien Guervo Enseguia"
PERFORMER "Granados"
ISRC HKI190340905
INDEX 01 08:36:36
TRACK 06 AUDIO
TITLE "Act II: Muy Contenta! y Aqui Me Tra En, Como Aquel Que Llevan Al Suplicio"
PERFORMER "Granados"
ISRC HKI190340906
INDEX 01 09:11:45
TRACK 07 AUDIO
TITLE "Act II: Maria del Carmen! "
PERFORMER "Granados"
ISRC HKI190340907
INDEX 01 12:57:69
TRACK 08 AUDIO
TITLE "Act II: Y Que Quiere Este Hombre a Quien Maldigo Desde el Fondo de Mi Alma?"
PERFORMER "Granados"
ISRC HKI190340908
INDEX 01 18:03:45
TRACK 09 AUDIO
TITLE "Act II: Ah!, Tio Pepuso, Lleveselo Usted "
PERFORMER "Granados"
ISRC HKI190340909
INDEX 01 22:13:43
TRACK 10 AUDIO
TITLE "Act II: Ya Se Fue. Alegrate Corazon Mio "
PERFORMER "Granados"
ISRC HKI190340910
INDEX 01 22:45:61
TRACK 11 AUDIO
TITLE "Act II: Viva Maria el Carmen y Su Ena Morao, Javier! "
PERFORMER "Granados"
ISRC HKI190340911
INDEX 01 23:40:38
TRACK 12 AUDIO
TITLE "Act II: Pencho! Pencho! ...Vengo a Delatarme Para Salvar a Esta Mujer"
PERFORMER "Granados"
ISRC HKI190340912
INDEX 01 29:03:07
TRACK 13 AUDIO
TITLE "Act II: Dile Que Huya!"
PERFORMER "Granados"
ISRC HKI190340913
INDEX 01 34:34:39
TRACK 14 AUDIO
TITLE "Act III: Preludio "
PERFORMER "Granados"
ISRC HKI190340914
INDEX 00 36:30:42
INDEX 01 36:34:41
TRACK 15 AUDIO
TITLE "Act III: Me Ha Llamado Cobarde! ...Cuando la Guitarra Suena Al Oir Su Dulce S..."
PERFORMER "Granados"
ISRC HKI190340915
INDEX 01 39:40:49
TRACK 16 AUDIO
TITLE "Act III: Pencho de Mi Alma, Preparate a Huir"
PERFORMER "Granados"
ISRC HKI190340916
INDEX 01 43:42:70
TRACK 17 AUDIO
TITLE "Act III: Si Te Prenden, Sola, Que Hara Tu Zagala?"
PERFORMER "Granados"
ISRC HKI190340917
INDEX 01 45:38:49
TRACK 18 AUDIO
TITLE "Act III: Vengo a Lo Que Sabes"
PERFORMER "Granados"
ISRC HKI190340918
INDEX 01 46:56:57
TRACK 19 AUDIO
TITLE "Act III: Y Mi Javier?"
PERFORMER "Granados"
ISRC HKI190340919
INDEX 01 48:13:43
TRACK 20 AUDIO
TITLE "Act III: Buenas Noches"
PERFORMER "Granados"
ISRC HKI190340920
INDEX 01 49:27:54
TRACK 21 AUDIO
TITLE "Act III: Disponte a Oirme Con Enterez "
PERFORMER "Granados"
ISRC HKI190340921
INDEX 01 50:16:49
TRACK 22 AUDIO
TITLE "Act III: Ponte en Sarvo, Huye Si Quieres"
PERFORMER "Granados"
ISRC HKI190340921
INDEX 01 54:30:16
TRACK 23 AUDIO
TITLE "Act III: Oh, Ven a Matarme, Ven!"
PERFORMER "Granados"
ISRC HKI190340923
INDEX 01 54:58:61
TRACK 24 AUDIO
TITLE "Act III: Vamos Pues, Vamos Alla, Vamos a Prender a Pencho Ya"
PERFORMER "Granados"
ISRC HKI190340924
INDEX 01 57:10:05

Whether Enrique Granados should be regarded as a Spanish or as a Catalan composer has been the subject of some discussion.
He was born in Lérida (Lleida in Catalan), the capital of the least Catalan province of the four that make up Catalonia, and the name of the present opera, María del Carmen, is profoundly Castilian.
This fact, and the opera’s plot to the libretto by Barcelona playwright José Feliu i Codina, were what provoked strong reproaches from the Catalanista world in which Granados was living and in which, in some ways, he actively participated.
Granados achieved his first great operatic success with María del Carmen, in which the action is set far from Catalonia in Murcia, in the south-east of Spain.
From its première in the Teatro de Parish in Madrid on 11th November 1898, conducted by the composer, the opera was very well received.
The critics emphasized its fine orchestral writing and the profound lyricism of its popular melodies.
The success of the première is demonstrated by its run of nineteen performances.
It remained in the Madrid repertoire until 9th January 1899, when Queen Maria Cristina awarded Granados the Charles III Cross in recognition of his creative work.
Its appearance in Catalonia, on 31st May 1899, in the Teatro Tivoli in Barcelona, was less of a triumph: a pro-Catalanista section of the audience demonstrated their rejection of the work by whistling and by shouts of angry protest.
They were indignant that Granados had distanced himself from Catalan culture and had used neither a Catalan plot nor Catalan music.
Hence it is not surprising that a Barcelona critic suggested that the only applause at the première came from a claque, hired for the occasion.
They also criticised Granados for his choice of libretto.
Less partial elements of the Catalan press, however, praised the orchestration and the dramatic sense of the music.
For all the petty intrigue, María del Carmen had eleven performances in the Tivoli, and there was even a brief revival at the end of 1899.
After a few performances in Valencia, probably instigated by his father-in-law, the influential impresario Francesc Gal, the opera was not performed again until December 1935, when it was revived in Barcelona with the famous soprano Conchita Badia under the baton of Joan Lamote de Grignon.
Since then the work which Granados himself considered his best opera has been largely ignored until today.
María del Carmen was created at an important time in Catalan culture.
In the Spain of the mid-1880s, modernism was a lively cultural movement that in Catalonia crystallized the ideals of the ‘Renaixença’.
Modernism completely dominated the cultural and musical life of Catalonia and Barcelona, which was then much more avant-garde than Madrid, a city dominated by zarzuela and farce, and deaf to the crisis that the decadent Kingdom of Spain was going through as its last colonies, the Philippines and Cuba, gained their independence in 1898.
People such as the architects Domènech i Montaner and Gaudi, the painters Casas, Hugué, Nonell, Picasso and Rusiñol, writers such as Maragall, Mestres and Miralles, or musicians such as Albéniz, Morera, Pedrell, and Granados (who also painted), were all main actors in this unique movement in Catalan culture.
It was defined by Federico de Onis as the Spanish form of the universal crisis and spirit that around 1885 heralded the dissolution of the nineteenth century.
Granados, however, brought up in Santa Cruz de Tenerife and married to the Valencian Amparo Gal Llobera, was one of modernism’s less radical exponents.
At this time Catalonia and its capital Barcelona were in cultural ferment.
Many modernist societies emerged whose main objective was to cultivate and promote Catalan folk-music.
Works such as the symphonic poem Catalonia (1899) by Albéniz, and the lyric trilogy Els Pirineus (1902) by Pedrell, were part of this trend.
Granados, too, would actively cultivate Catalan music in stage works such as Blancaflor, to a libretto by the poet Adrià Gual, Petrarca, Picarol, Follet and Gaçiel (all four to texts by Apelles Mestres), in songs such as Canço damor, Locell profeta, Elegia eterna and Cant de les estrelles; and above all, the stage poem Liliana, a mature work first given on 9th June 1911 and representing the culmination of his uneven relationship with the modernist movement.
Although Granados distanced himself from the political elements in Catalan nationalism, he nevertheless had strong aesthetic and social ties with his cultural environment.
These ties were integral to him not only as a musician but also as an amateur painter and a man who loved literature.
His admiration for the Wagnerian world, which had a firm following in Catalonia, inevitably brought him closer to modernism, and to collaboration with the Barcelona Wagner Society, and even inspired a piano piece Eva y Walther.
The influence of Wagner on Catalan artists and society was strong and Wagnerism underlies some of Granados’s works, contemporary criticism of María del Carmen, with the importance given to the orchestra, and the absence of the conventional divisions between arias and dialogue, familiar to the public from zarzuelas.
It was the lot of Granados to live at a time when avant-garde trends in Barcelona were extraordinarily active, probably to a much greater extent than he, with his conservative background, could assimilate.
Perhaps because of this, and despite his determined involvement in Barcelona’s developing aesthetic trends, he was always regarded by his colleagues as a conservative incapable of really understanding the renewing dynamics then at work.
At bottom, and as his teacher Felipe Pedrell observed, Granados was a composer unwilling to bow to any predetermined formula.
Like Albéniz, he wrote solely on the basis of his own judgement, free of any aesthetic compromise.
Hence it is not easy to define theoretical coordinates where his style and manner of composition are concerned.
He certainly did absorb influences during his stay in Paris, where he knew musicians associated with the Schola Cantorum, Vincent d’Indy and Camille Saint-Saëns in particular.