[anvar]

Erich Wolfgang Korngold - Die Kathrin, Op. 28
Жанр: Opera
Страна-производитель диска: Germany
Год издания диска: 1998
Издатель (лейбл): CPO
Номер по каталогу: 999 602-2
Дата записи: 1997
Аудиокодек: APE
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 56'52+61'58+42'32
Источник: собственный рип
Наличие сканов в содержимом раздачи: да

1. Act 1, Scene 1: Mesdames, Messieurs!
2. Act 1, Scene 1: Es Ist Ja Wahr: In Meinem Herzen Bin Ich Nur Ein Sanger
3. Act 1, Scene 1: Pourquoi Me Voulez-Vous Quitter?
4. Act 1, Scene 2: ...Und Da Hat Er Mich Gekusst!
5. Act 1, Scene 2: Ich Soll Ihn Niemals, Niemals Mehr Sehn.
6. Act 1, Scene 2: Cathrine! - Was Ist? Madame?
7. Act 1, Scene 4: Entr'acte
8. Act 1, Scene 4: Kathrin! Kathrin!
9. Act 1, Scene 4: Heut' Ziehn Sie Ab, Bleibt Keiner Da!
10. Act 1, Scene 4: Mein Mann Hat Mich Vermieden

1. Act 2, Scene 1: Na, Was Soll Denn Das Kosten?
2. Act 2, Scene 1: Zu Ihm! Ich will Zu Ihm!
3. Act 2, Scene 1: Was Gibt's Denn Da?
4. Act 2, Scene 2: Monsieur Francois
5. Act 2, Scene 2: Verdienst Eigentlich Gar Nicht, Dass Ich So Nett Bin
6. Act 2, Scene 3: In Einer Viertelstund'
7. Act 2, Scene 3: Es Tut Mir Leid
8. Act 2, Scene 3: Madame, C' Est Servi
9. Act 2, Scene 4: Ich Muss Ihn Retten!
10. Act 2, Scene 4: Was Ist Geschehn

1. Act 3: Mutter, Mutter!
2. Act 3: Wo Ist Mein Heim
3. Act 3: Wach Auf, Du Schone Sunderin!
4. Act 3: Mein - Mein? Noch Immer Mein?

Исполнители:
Erich Wolfgang Korngold - Die Kathrin, Op. 28
Opera in 3 Acts
Libretto: Ernst Decsey
Kathrin - Melanie Diener (Soprano)
Francois - David Rendall (Tenor)
Malignac - Robert Hayward (Bass Baritone)
Chou-Chou - Lillian Watson (Soprano)
Monique - Della Jones (Mezzo Soprano)
Raoul - Johannes Mannov (Bass)
Captain - Richard Lloyd Morgan (Bass)
BBC Singers
BBC Concert Orchestra
Conductor: Martyn Brabbins

Код:

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Make use of C2 pointers : No
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Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
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Command line compressor : C:\Program Files (x86)\Monkey's Audio\MAC.exe
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Код:

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Erich Wolfgang Korngold was the second son of the distinguished Viennese music critic Julius Korngold, himself the son of a well-to-do wine-merchant in Briinn (Brno) and a pupil of Bruckner at the Vienna Conservatory.
Julius Korngold had won the approval of Brahms and of Hanslick, assisting and then succeeding the latter as music critic for the Neue freie Presse.
As a child Erich Korngold showed remarkable precocity and embarked on the study of composition at the age of six.
His father was on good terms with Mahler and in 1906 the boy played by heart for him his new cantata Gold, while Mahler followed the score, exclaiming "A genius" , as the music continued.
He advised Julius Korngold to avoid the Conservatory and allow his son to study with Zemlinsky, Alma Mahler's former teacher and brother-in-law of schoenberg, while Robert Fuchs was persuaded to give him lessons in counterpoint.
The connection with Mahler continued and the Korngolds visited him in succeeding summers when he was at Toblach.
In the summer of 1909 the boy played to Mahler a new Scherzo he had written and a Passacaglia on a theme of Zemlinsky.
His one-act operas Der Ring des Polykrates ( http://rutracker.org/forum/viewtopic.php?t=4535799 ) and Violanta ( http://rutracker.org/forum/viewtopic.php?t=4674392 ) won immediate success in Munich in 1916, under the direction of Bruno Walter, and he later conducted them himself at the Vienna Court Opera.
In 1920, the year of his operatic triumph with Die tote Stadt, staged in Hamburg and in Cologne, he made his debut in Vienna as an orchestra conductor, embarking on a career as conductor, pianist and composer that earned him official recognition in Vienna.
Die Kathrin is a work of splendor languished in obscurity speaks volumes about the problems of opera in the modern age.
While Strauss was thinning his orchestral textures and trying to be like Mozart, after Schreker and others had largely abandoned expressionism in favor of "zeitoper", Korngold, true to his inner voice, headed in the opposite direction and produced a work with more splendid melody than any work since Puccini, and in spirit "Die Kathrin" is Puccinian in so many ways.
Who else since Puccini (or before him for that matter) has so perfectly captured the chemistry of infatuation when young lovers meet?
It's true that it lacks the tight dramatic structure and sharp characterizations of Puccini's oeuvre, but I thought it worked.
Puccini was a very sophisticated dramatist, and the elements of his operas are, almost without exception, balanced to perfection.
But with "Kathrin", there's not an ounce of guile or calculation.
And while Puccini's stories head for heartache, "Kathrin" is an archtypal story of love, at first torn apart by the difficulties of the world, which survives through the power of steadfast devotion and optimism.
The music is through-composed in a ripe late romantic idiom, tinged with the harmonic language of expressionism, but immediate it's appeal.
The highlights are too numerous to catalogue, but Kathrin's prayer at the end of Act I "Mein Mann hat mich vermieden" ("My man has left me") is heartbreaking, with the music alone enought to bring tears to your eyes.
And the opening to Act III is equally moving, with chiming church bells, and a melody that only Korngold could have written.
This was Korngold's last opera (He was planning a new opera at the time of his premature death in 1957).