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September 15, 2004
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A special, special recording, even when it came out in standard two-channel a few years ago. This is the *best* re-release in SACD surround that I've heard from the DG back-catalog--it doesn't sound 'processed' in any way, and the Berlin strings sound even warmer than the original--which isn't ... more |
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August 21, 2004
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A milestone for me: this it the first surround SACD in which I've been able to compare to the original release, a favorite for years. Biber was the first of those "other" Baroque composers who tweaked my interest. His music is quirky, melodious and dramatic by turns, and in Missa Salisburgensis, ... more |
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July 17, 2004
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This is a knock-your-socks-off performance and recording! If the final Toccata of the Suite doesn't blow you away, you must be out of your sweet spot. I came to know this music through the Hyperion recording with John Scott playing the St. Paul's Cathedral Organ. Mr. Flamme playing the Muhleisen ... more |
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July 16, 2004
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I’ve found Chailly’s previous Mahler installments to be a little frustrating: He’s got the Concertgebouw, a great acoustic, a great recording team; he’s got a great sense of line and a keen enough ear to make the most of Mahler’s innumerable orchestral felicities. What’s the problem? Chailly’s ... more |
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July 3, 2004
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The “Poisoned Kiss,” VW’s “romantic extravaganza,” was written whilst he was working on “Sir John in Love” and the ballet “Job.” Model influences include Gilbert and Sullivan, Mozart of the “Magic Flute,” and Bizet’s Carmen. The “Poisoned Kiss” is a lightly-textured opera with an abundance of lovely ... more |
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