Staatskapelle Dresden & Otmar Suitner - Opera Overtures, Choruses and Duets (2019)
BAND/ARTIST: Staatskapelle Dresden & Otmar Suitner
- Title: Opera Overtures, Choruses and Duets
- Year Of Release: 2019
- Label: Brilliant Classics
- Genre: Classical
- Quality: flac lossless +booklet
- Total Time: 03:04:55
- Total Size: 860 mb
- WebSite: Album Preview
Tracklist
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01. Die lustigen Weiber von Windsor/The Merry Wives of Windsor
02. Die verkaufte Braut/The Bartered Bride, JB 1:100: Die verkaufte Braut/The Bartered Bride, JB 1:100
03. Hänsel und Gretel
04. Der fliegende Höllander/The Flying Dutchman, WWV 63
05. La traviata 3. Akt/Act 3
06. Donna Diana
07. Dichter und Bauer/Poet and Peasant
08. Leichte Kavallerie/Light Cavalry
09. Die Fledermaus/The Bat
10. Otello-Fuoco di gioia/Fire of Rejoicing
11. Carmen-Les voci la quadrille!/There She Comes, They're Dancing the Quadrille
12. Der Fliegende Höllander-Summ und brumm, du gutes Rädchen/Humm, Humm, Spin my Little Wheel. WWV 63
13. Cavalleria rusticana-Ah! Gli arancio lezzano/The Green Meadows Are Fragrant with Oranges
14. Pagliacci-Don din dan/Dong-dong Calls the Bell from Yonder
15. Lohengrin-Treulich geführt ziehet dahin/Faithfully Guided, Come to this Place, WWV 75
16. Die Zauberflöte-O Isis und Osiris, K. 260
17. Die lustigen Weiber von Windsor-O süßer Mond/Oh Lovely Moon
18. Martha-Mädchen brav und treu/Maidens Good and True
19. Aida-Gloria all'Egitto/Glory to Egypt
20. Margarete: I. Vin au bière/Wine and Beer
21. Margarete: II. Gloire immortelle/Eternal Glory
22. Der Freischütz-Was gleicht wohl auf Erden dem jägervergnügen/What Pleasure on Earth Can Compare with the Hunter's, Op. 77
23. Don Pasquale-Che interminabile andirivieni/What an Interminable Coming and Going
24. Tannhäuser-Freudig begrüßen wir die edle Halle/Joyfully We Greet the Noble Hall, WWV 70
25. Nabucco-Va, pensiero, sull' ali dorate/Fly Away, Free Thought, on the Wings of Yearning
26. Die verkaufte Braut-Komm, mein Söhnen, auf ein Wort/Wer in Lieb entbrannt, JB 1:100
27. Margarete: III. Ich bin da! Was soll das Estaunen?
28. Die Perlenfischer-Am Abend war's/Der Tempel Brahmas strahlt
29. Die Macht des Schicksals-Die Stunde is heilig
30. Die Entführung aus dem Serail-Vivat Bacchus, Bacchus lebe, K. 384
31. Undine: I. Ich war in meinen jungen Jahren/Im Wein ist Wahrheit
32. Undine: II. Was seh' ich? Ihr seid glücklich wider da/O wie köstlich ist das Reisen
33. Die Zauberföte, K. 260: I. Die Weisheitslehre dieser Knaben
34. Die Zauberföte, K. 260: II. Bewahret euch vor Weibertücken
35. Die Zauberföte, K. 260: III. Pamina, wo bist du
From Mozart to Leoncavallo: three hours of opera’s greatest hits in rhythmically buoyant, highly enjoyable East-German recordings. Taped between 1959 (Wagner’s Der fliegende Holländer) and 1993 (Die Fledermaus), a collection of overtures gets this operatic compilation off to a (literally) flying start. Suitner in particular directs deliciously sprung performances of Humperdinck (Hansel und Gretel), Smetana (The Bartered Bride) and Suppé (Dichter und Bauer / Poet and Peasant and Leichte Kavallerie / Light Cavalry). The Austro-Germanic angle of the first half of the release is widened on the second half by a selection of opera choruses that represents some of the most powerful moments of 19th-century Italian opera. There is the triumphant hymn in praise of Egypt from the second act of Aida as well as the sublime song of pride and defiance, ‘Va pensiero’, that crowns Nabucco and became before long the unofficial anthem of the Risorgimento and the struggle for Italian unification. Verismo choruses are here too, taken from that evergreen pairing of Pagliacci and Cavelleria rusticana. Favourite German operatic choruses include the Chorus of Guests in Wagner’s Tannhäuser as well as the hymn of the priests in Mozart’s Die Zauberflöte. Suitner directs all these: a compilation album made in Berlin in 1978. He also exercises a subtle guiding hand over the Staatskapelle Dresden for a compilation of tenor/baritone opera duets recorded in 1972 with the two foremost East-German male singers of their generation, Peter Schreier and Theo Adam. ‘Expectably’ commented Fanfare, ‘the results are echt Deutsch’ – even if the repertoire itself again covers Smetana, Gounod and Verdi as well as Mozart and Lortzing, with all the numbers sung in German and ‘performed with zest’.
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01. Die lustigen Weiber von Windsor/The Merry Wives of Windsor
02. Die verkaufte Braut/The Bartered Bride, JB 1:100: Die verkaufte Braut/The Bartered Bride, JB 1:100
03. Hänsel und Gretel
04. Der fliegende Höllander/The Flying Dutchman, WWV 63
05. La traviata 3. Akt/Act 3
06. Donna Diana
07. Dichter und Bauer/Poet and Peasant
08. Leichte Kavallerie/Light Cavalry
09. Die Fledermaus/The Bat
10. Otello-Fuoco di gioia/Fire of Rejoicing
11. Carmen-Les voci la quadrille!/There She Comes, They're Dancing the Quadrille
12. Der Fliegende Höllander-Summ und brumm, du gutes Rädchen/Humm, Humm, Spin my Little Wheel. WWV 63
13. Cavalleria rusticana-Ah! Gli arancio lezzano/The Green Meadows Are Fragrant with Oranges
14. Pagliacci-Don din dan/Dong-dong Calls the Bell from Yonder
15. Lohengrin-Treulich geführt ziehet dahin/Faithfully Guided, Come to this Place, WWV 75
16. Die Zauberflöte-O Isis und Osiris, K. 260
17. Die lustigen Weiber von Windsor-O süßer Mond/Oh Lovely Moon
18. Martha-Mädchen brav und treu/Maidens Good and True
19. Aida-Gloria all'Egitto/Glory to Egypt
20. Margarete: I. Vin au bière/Wine and Beer
21. Margarete: II. Gloire immortelle/Eternal Glory
22. Der Freischütz-Was gleicht wohl auf Erden dem jägervergnügen/What Pleasure on Earth Can Compare with the Hunter's, Op. 77
23. Don Pasquale-Che interminabile andirivieni/What an Interminable Coming and Going
24. Tannhäuser-Freudig begrüßen wir die edle Halle/Joyfully We Greet the Noble Hall, WWV 70
25. Nabucco-Va, pensiero, sull' ali dorate/Fly Away, Free Thought, on the Wings of Yearning
26. Die verkaufte Braut-Komm, mein Söhnen, auf ein Wort/Wer in Lieb entbrannt, JB 1:100
27. Margarete: III. Ich bin da! Was soll das Estaunen?
28. Die Perlenfischer-Am Abend war's/Der Tempel Brahmas strahlt
29. Die Macht des Schicksals-Die Stunde is heilig
30. Die Entführung aus dem Serail-Vivat Bacchus, Bacchus lebe, K. 384
31. Undine: I. Ich war in meinen jungen Jahren/Im Wein ist Wahrheit
32. Undine: II. Was seh' ich? Ihr seid glücklich wider da/O wie köstlich ist das Reisen
33. Die Zauberföte, K. 260: I. Die Weisheitslehre dieser Knaben
34. Die Zauberföte, K. 260: II. Bewahret euch vor Weibertücken
35. Die Zauberföte, K. 260: III. Pamina, wo bist du
From Mozart to Leoncavallo: three hours of opera’s greatest hits in rhythmically buoyant, highly enjoyable East-German recordings. Taped between 1959 (Wagner’s Der fliegende Holländer) and 1993 (Die Fledermaus), a collection of overtures gets this operatic compilation off to a (literally) flying start. Suitner in particular directs deliciously sprung performances of Humperdinck (Hansel und Gretel), Smetana (The Bartered Bride) and Suppé (Dichter und Bauer / Poet and Peasant and Leichte Kavallerie / Light Cavalry). The Austro-Germanic angle of the first half of the release is widened on the second half by a selection of opera choruses that represents some of the most powerful moments of 19th-century Italian opera. There is the triumphant hymn in praise of Egypt from the second act of Aida as well as the sublime song of pride and defiance, ‘Va pensiero’, that crowns Nabucco and became before long the unofficial anthem of the Risorgimento and the struggle for Italian unification. Verismo choruses are here too, taken from that evergreen pairing of Pagliacci and Cavelleria rusticana. Favourite German operatic choruses include the Chorus of Guests in Wagner’s Tannhäuser as well as the hymn of the priests in Mozart’s Die Zauberflöte. Suitner directs all these: a compilation album made in Berlin in 1978. He also exercises a subtle guiding hand over the Staatskapelle Dresden for a compilation of tenor/baritone opera duets recorded in 1972 with the two foremost East-German male singers of their generation, Peter Schreier and Theo Adam. ‘Expectably’ commented Fanfare, ‘the results are echt Deutsch’ – even if the repertoire itself again covers Smetana, Gounod and Verdi as well as Mozart and Lortzing, with all the numbers sung in German and ‘performed with zest’.
Year 2019 | Classical | FLAC / APE
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