Ten:Se [Import]

Ten:Se [Import]

Track Listings

1. Innocent

2. D2

3. Infinity

4. Naughty Forest

5. Re:

6. Make Some Noise

7. What Is Reality?

8. Earth Give Us Much Energy

9. Tense

10. Silence

Tracks:

Don Giovanni: Ouverture
Don Giovanni: Act I - Scene I -Introduzione: (Leporello) (Donna Anna) (Don Giovanni) (Commendatore)
Don Giovanni: Act I - Scene 2 - Recitaivo: Leporelli, ove sei? (Don Giovanni) (Leporelli)
Don Giovanni: Act I - Scene 3 - Recitativo: Ah! del padre in periglio (Donna Anna) (Don Ottavio)
Don Giovanni: Act I - Scene 3 - Duetto: Fuggi, crudele, fuggi! (Donna Anna) ((Don Ottavio)
Don Giovanni: Act I - Scene 4 - Recitativo: Orsu, spiccati presto (Don Giovanni) (Leporello)
Don Giovanni: Act I - Scene 5 - Terzetto: Ah! chi mi dice mai (Donna Elvira) (Don Giovanni) (Leporello)
Don Giovanni: Act I - Scene 5 - Recitativo: Chi e la? (Donna Elvira) (Don Giovanni) (Leporello)
Don Giovanni: Act I - Scene 5 - Aria: Madamina, il catalogo e questo (Leporello)
Don Giovanni: Act I - Scene 7 - Duetto & Coro: Gioveinette, che fate all'amore (Zerlina) (Masetto)
Don Giovanni: Act I - Scene 8 - Recitativo: Maco male, e partita (Don Giovanni) (Leporelli) (Zerlina) (Masetto)
Don Giovanni: Act I - Scene 8 - Aria: Ho capito, signor si! (Masetto)
Don Giovanni: Act I - Scene 9 - Recitativo: Alfin siam liberati (Don Giovanni) (Zerlina)
Don Giovanni: Act I - Scene 9 - Duettino: La ci darem la mano (Don Giovanni) (Zerlina)
Don Giovanni: Act I - Scene 10 - Recitativo: Fermati, scellerato! (Donna Elvira) (Zerlina) (Don Giovanni)
Don Giovanni: Act I - Scene 10 - Aria: Ah! fuggi il traditor (Donna Elvira)
Don Giovanni: Act I - Scene 11 - Recitativo: Mi par ch'oggi il demonio (Don Giovanni) (Don Ottavio) (Donna Anna)
Don Giovanni: Act I - Scene 12 - Recitativo: Ah, ti ritrovo ancor (Donna Elvira) Quartetto: Non ti fidar, o misera (Donna Elvira) (Donna Anna) (Don Ottavio) (Don Giovanni)
Don Giovanni: Act I - Scene 12 Recitativo: Povera sventurata! (Don Giovanni)
Don Giovanni: Act I - Scene 13 - Recitativo: Don Ottavio... son morta! (Donna Anna) (Don Ottavio)
Don Giovanni: Act I - Scene 13 - Aria: Or sai chi l'onore (Donna Anna)
Don Giovanni: Act I - Scene 14 - Recitativo: Come mai creder deggio (Don Ottavio)
Don Giovanni: Act I - Scene 14 - Aria: Dalla sua pace (Don Ottavio)

Tracks:

Don Giovanni: Act I - Scene 15 - Recitativo: Io deggio, ad ogni patto (Leporello) (Don Giovanni)
Don Giovanni: Act I - Scene 15 -Aria: Finch;han dal vino (Don Giovanni)
Don Giovanni: Act I - Scene 16 - Recitativo: Masetto...senti un po (Zerlina) (Masetto)
Don Giovanni: Act I - Scene 16 - Aria: Batti, batti, o bel Masetto (Zerlina)
Don Giovanni: Act I - Scene 16 - Recitativo: Guarda un po' come seppe (Masetto) (Don Giovanni) (Zerlina)
Don Giovanni: Act I - Scene 16 - Finale: Presto, presto, pira che venga (Masetto) (Zerlina)
Don Giovanni: Act I - Scene 17: Su svegliatevi, da bravi! (Don Giovanni)
Don Giovanni: Act I - Scene 18 - Tra quest'arbori celata (Zerlina) (Don Giovanni) (Masetto)
Don Giovanni: Act I - Scene 19 - Bisogna aver coraggio (Donna Elvira) (Don Ottavio) (Donna Anna) (Leporello)
Don Giovanni: Act I - Scene 19 - Protegga il giusto cielo (Donna Anna) (Don Ottavio) (Donna Elvira)
Don Giovanni: Act I - Scene 20 - Riposate, vezzose ragazze (Don Giovanni) (Leporello) (Masetto) (Zerlina)
Don Giovanni: Act I - Scene 20 - Venite pur avanti (Leporello) (Don Giovanni) (Donna Anna) (Donna Elvira)
Don Giovanni: Act I - Scene 20 - Ecco il birbo che t'ha offesa (Don Giovanni) (Leporello) (Don Ottavio) (Donna Anna) (Donna Elvira) (Zerlina) (Masetto)
Don Giovanni: Act I - Scene 20 - Trema, trema scellerato (Tutti)
Don Giovanni: Act 2 - Scene 1 - Duetto: Eh via, buffone, non mi seccar! (Don Giovanni) (Leporello)
Don Giovanni: Act 2 - Scene 1 - Recitativo: Leporello...Signore (Don Giovanni) (Leporello)
Don Giovanni: Act 2 - Scene 2 -Terzetto: Ah! taci, ingiusto core (Donna Elvira) (Leporello) (Don Giovanni)
Don Giovanni: Act 2 - Scene 2 -Recitativo: Amico, che tim par? (Don Giovanni) (Leporello)
Don Giovanni: Act 2 - Scene 3 - Recitativo: Eccomi a voi (Donna Elvira) (Don Giovanni) (Leporello)
Don Giovanni: Act 2 - Scene 3 - Aria: Deh! vieni alla finestra (Don Giovanni)
Don Giovanni: Act 2 - Scene 4 - Recitativo: V'e gente alla finestra (Don Giovanni) (Masetto)
Don Giovanni: Act 2 - Scene 4 - Aria: Meta di voi qua vadano (Don Giovanni)
Don Giovanni: Act 2 - Scene 5 - Recitativo: Zitto...lascia ch'io senta (Don Giovanni) (Masetto)
Don Giovanni: Act 2 - Scene 6 - Recitativo: Ahi! ahi! la testa mia! (Masetto) (Zerlina)
Don Giovanni: Act 2 - Scene 6 - Aria: Vedrai, carino (Zerlina)
Don Giovanni: Act 2 - Scene 7 - Recitativo: Di molte faci il lume (Leporello) (Donna Elvira)
Don Giovanni: Act 2 - Scene 7 - Sestetto: Sola, sola in buio loco (Donna Elvira) (Leporello) (Don Ottavio) (Donna Anna)
Don Giovanni: Act 2 - Scene 8 - Sestetto: Ferma, briccone! Dove ten vai? (Zerlina) (Masetto) (Donna Anna) (Don Ottavio) (Donna Elvira) (Leporello)
Don Giovanni: Act 2 - Scene 8 - Sestetto: Mille torbidi pensieri (Leporello) (Zerlina) (Donna Anna) (Don Ottavio) (Donna Elvira)
Don Giovanni: Act 2 - Scene 9 - Recitativo: Dunque quello sei tu (Zerlina) (Donna Elvira) (Don Ottavio) (Masetto)
Don Giovanni: Act 2 - Scene 9 - Aria: Ah! pieta, signori miei! (Leporello)
Don Giovanni: Act 2 - Scene 9 - Recitativo: Ferma, perfido; ferma (Donna Elvira) (Masetto) (Zerlina) (Don Ottavio)
Don Giovanni: Act 2 - Scene 9 - Aria: Il mio tesoro (Don Ottavio)

Tracks:

Don Giovanni: Act 2 - Scene 10 - Recitativo: In quali eccessi (Donna Elvira)
Don Giovanni: Act 2 - Scene 10 - Aria: Mi tradi quell'alma ingrata (Donna Elvira)
Don Giovanni: Act 2 - Scene 11 - Recitativo: Ah! ah! ah! questa e buona! (Don Giovanni) (Leporello) (Commendatore)
Don Giovanni: Act 2 - Scene 11 - O statua gentilissima (Leporello) (Don Giovanni)
Don Giovanni: Act 2 - Scene 12 - Recitativo: Calmatevi, idol mio (Don Ottavio) (Donna Anna)
Don Giovanni: Act 2 - Scene 12 - Recitativo: Crudele? Ah no! mio ben! (Donna Anna) Aria: Non mi dir (Donna Anna)
Don Giovanni: Act 2 - Scene 12 - Aria: Forse un giorno (Donna Anna)
Don Giovanni: Act 2 - Scene 12 - Recitativo: Ah, si segua il suo passo (Don Ottavio)
Don Giovanni: Act 2 - Scene 13 - Finale: Gia la mensa e preparata (Don Giovanni) (Leporello)
Don Giovanni: Act 2 - Scene 14 - Finale: L'ultima prova (Donna Elvira) (Don Giovanni) (Leporello) Che grido e questo mai? (Don Giovanni) (Leporello)
Don Giovanni: Act 2 - Scene 15 - Finale: Don Giovanni, a cenar teco (Commendatore) (Don Giovanni) (Leporello)
Don Giovanni: Act 2 - Scene 15 - Finale: Da qual tremore insolito (Don Giovanni) (Leporello)
Don Giovanni: Act 2 - Final Scene - Ah! dov'e il perfido? (Tutti)
Don Giovanni: Act 2 - Final Scene - Or che tutti, o mio tesoro (Don Ottavio) (Donna Anna)
Don Giovanni: Act 2 - Final Scene - Questo e il fin (Tutti)

Customer Reviews:

Excellent.......2005-05-08

I just bought this set and I am very impressed. To start off I am a very big fan of the soprano and baritone voice. In addition to this I am of the belief that Kiri Te Kanawa and Ruggiero Raimondi can do no wrong when it comes to singing, so naturally it was not very hard for me to decide which Don Giovanni to add to my collection.

This set does not dissapoint. Both the Don and Elvira are in exceptional voice. In addition to this rest of the cast is terrific. Donna Anna, sung by Edda Moser, is truly remarkable especially in her first aria. I have read other reviews about her singing of this role and it seems that the reviewers are split in half. One half seems to think her Wagnerian sounding voice is far too heavy and aggressive for this role while the other half seems to find her perfect. Although, I must admit there are others that I have listened to and enjoyed just as much as Moser, it is nice to be able to hear "Or sai che l'onore" sung as though the soprano has just deiscoverd some horrifying fact and is ready to take action against it rather than faint. True, singing anything softer than forte is an alien concept to this woman, I feel that most people will be duly impressed.

Besides, if you do not enjoy Edda Moser's voice then any buyer can be certain to have loads of fun with Teresa Berganza, who sings the role of Zerlina. To put it plainly Berganza's singing and interpretation of this role may exceed even that of Bartoli's, who is yet another singer I firmly believe does no wrong when it comes to music.

The rest of the cast is also excellent. Don Ottavio, Leporello, and Masetto are all sung and portrayed as well as any. Overall this is a fine set and is well worth the purchase

The Best Don Giovanni On Record.......2004-09-15

Everyone has their pick of their favorite Don Giovanni, and recordings which they consider to be the ultimate. For me, this 1979 studio recording, which was also the soundtrack for the Joseph Losey film, is the greatest on record. It has the right voices for the dark and witty drama that is Don Giovanni, the right orchestration and there is a certain magic to the whole thing that is going to leave you an opera fan for life. Ruggero Raimond sings the role of the Don. He is convincing both as a singer and an actor, bringing life to the dark, predatory, perverted, scheming character. Don Giovanni is a wolf disguised as a gentleman. He is charming, elegant but beneath his mantle of aristocratic nobility, he is the Devil incarnate. His music, mostly through recitatives (he gets only a toast aria "Finc al vino" and a Serenade "Vieni A La Finestra"of elegance) is full of wit, sophisticated humor and bawdy ribald perversion. He is a man whore, who delights in making love to all women of any age, shape or size (but never twice). He is anti-marriage even anti-romantic love. He was married briefly to Dona Elvira who is still demanding her rights as a wife and follows him everywhere, obscessed with him, attempting to regain his love, warning other women of his deception and betrayal. The role of Dona Elvira is sung by Kiri Te Kenawa who is in excellent late 70's voice, her dramatic inflections are perfect for the role. Actually, she makes a convincing and less cartoonish Elvira. Dona Elvira is usually played quite histerically and even comically but Kiri Te Kenawa plays her with a dignity of her own. If she is dramatic it is because she is madly in love with Don Giovanni and conflicted. She has a love/hate relationship with him.

Donna Ana is performed by Edda Moser. A German soprano of lyric dramatic coloratura, she has the perfect category of voice for Dona Ana the way she ought to be sung. Nowadays it's popular for a light lyric soprano to sing the role, as Renee Fleming has done. But I am pretty sure Mozart intended for her to be a dramatic soprano with a heavier voice that is nevertheless lyric, beautiful, full of pianissimo and high top register. There is one coloratura aria "A Forse Un Giorno Il Cielo" and dramatic lines in her recitatives. Right from the start, she is screaming in horror as she discovers her father has been killed by Don Giovanni. There are also moments in which the dramatic music compliment the dramatic outbursts such as the moment when she recognizes Don Giovanni as the man who tried to rape her. "O Dei ! O Gods!" she cries. There is an intense quality to the aria "Or Sai Che L'Onore" in which she is resolved that Don Ottavio take revenge against the Don. Edda Moser has a Wagnerian voice that is quite good for Dona Ana, especially because in this "version" she has some feelings of temptation for the Don which she is vigorously fighting to kill.

Lorin Maazel is a good conductor, even if he makes an excess of strings and conducts some moments such as the Act I finale at a faster pace. Jose Van Dam is a perfect support for Raimondi as Leporello, the faithful, clever and comic servant. His basso buffo voice is perfect for the role. Zerlina is sung by the adorable Teresa Berganza who has a sweet, lyric voice and who plays the almost seduced peasant girl with great conviction. In the end, she loves Masetto and will not betray him. Malcom King's Masetto is quite good, adorably jealous. Jon Macurdy has a terrifying voice as the Commandatore. This is the perfect Don Giovanni. What are you waiting for ? See the movie and get this soundtrack.

If only............2004-05-07

This recording is exciting no doubt but it has a serious flaw- the sound. All of Mozart's orchestral brillance reduced to mush with the exaggerrated acoustics. An engineering disaster not helped by Maazels excessive use of string. Having said that wow- the singing catches fire. This version is comes close to comparing with the legendary Guilini recording with Schwartkoft and Sutherland. Kiri te Kanawa is phenomenal!!!. Very rarely does she sound so convincing dramatically but she is heavenly in this recording. Ah che di mai, Inquali eccesi, Masker's trio, Ah Fuggi.. are all sung excellently with a full throated creamy tone as golden as the morning sun and as smooth as silk. Not a note out of place or scooped. Schwartkopf occassional shows her troubles with Mozart- esp in Inquali eccesi but otherwise she is commanding. Her's is the more compelling potrait but te Kanawa outshines her in all other aspects of the role- youthful brilliance coupled with a voice that is truly unforgettable.

In the 1970's te Kanawa as a lyric soprano had no equal esp in Mozart. Freni, Riciarelli, Tomowa Sintow, Cotrubas, Popp comes nowhere near and four of her Mozart recordings then deserves to be ranked as some of the most sensational recordings ever committed to disc ( along with her Grammy award Four Lasts Songs ). Of her many Mozartian potraits; Fiordiligi and Pamina with Lombard and her Figaro with Boehm, this Elvira has to be the most breathtaking and quintessential of all. Her incredible voice, the manner of her delivery and the warmth of her superlative singing is magical.

Edda Moser is a wondefully dramatic Anna, not always focused and she sounds positively insecure in her entrance. Sutherland is incomparable. I find her 'Or sai' tellingly dramatic. Berganza is lovely and she manages the high tessitura well.

The men lack something of the spark in comparison. Van Dam is a most aristocratic Leporello. Terfel is more believable. Raimondi is commanding- his is the most sexually appealling of all recordings. Maazel has wonderful moments but tends to rush much of Mozart's orchestral colour.

Like Amadeus, Terrific! A Must have!.......2001-08-03

If you have seen the 1984 Milos Forman Best Picture Amadeus, you would have seen the Commandatore Scene from Don Giovanni. This soundtrack is to the 1979 film version of the opera, with the great conductor Lorin Maazel at the baton, Kiri Te Kenawa, Edda Moser, Berganza and Van Dam putting in their talents. This is a great performance, and if you loved the film, this is a must have. Dark, comic, it is Mozart's finest Italian opera. Popular for its beautiful melodies, such as "La Ci Darem La Mano" "Viva La Libertad " the Don's lusty champagne aria "Finch hal Del Vino" and of course the climatic encounter with the Commandatore, Don Giovanni remains one of the world's greatest operas. Before you listen to all the other recordings, try this one out. I think you will be pleasantly surprised. Of course, Maazel fans might appreciate it better, as well as fans of Te Kenawa and Moser.

Not the best by a long shot.......2001-05-09

Frankly, this is very overated recording, as is the so-called legendary Gulini. Best in my view are a) Josef Krips (Decca) and Mitropoulos (Sony Classics). The latter is live, which this opera can take and in fact it adds to the frisson and excitement particularly in the final act. And the singers. Nobody has yet bettered Grummer, or Della Casa as Donna Anna or Donna Elivira. Hear them and you won't be able to listen to others doing this opera. The sound for a 1956 recording is excellent as is the Krips one which was recorded around 1959. In both recordings Siepi is the Don and his voice is a marvellous mixture of suave, erotic and downright sinister. In short he encompases the whole role. Do yourself a favour and get BOTH these recordings.

Average customer rating:

El Camino De Santiago

Manufacturer: Pneuma
ProductGroup: Music
Binding: Audio CD

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ASIN: B000AYYT9O
Release Date: 2005-11-08

Don Giovanni: Lepovello's Revenge (Soundtrack)

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A Showcase of DH's Mozart.
Masterful Don Giovanni
what a thrill !

Don Giovanni: Lepovello's Revenge (Soundtrack)

Manufacturer: Cbc
ProductGroup: Music
Binding: Audio CD

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ASIN: B000051W06
Release Date: 2000-11-21

Customer Reviews:

A Showcase of DH's Mozart........2007-02-09

If Don Giovanni wasn't casted by Mozart with sufficient solo arias, this soundtrack made it up by having the same singer singing the part of Leporello as well.
In recent years DH has focused primarily on his native Russian reportoire. In part, this is a true loss to operatic fans.
Here in Don Giovanni, DH demonstrates what a versatile singer he is.
Personally I find his timbre suits the role of Don Giovanni more than Leporello. Even so, in terms of singing, the great solo arias of Leporello were handled very well too in this recording.
If the orchestra is not as first rate as other top-notch ones, and the rest of the cast less well-known, the singers of Zerlina and Commendatore did come up with more than competent performances alongside with DH.
Just for the sake of a truly good baritone singing a truly great opera, this soundtrack is a must to own.

Masterful Don Giovanni.......2002-03-21

I'd say Hvorostovsky makes the best Don Giovanni there is. Despite his temperament fits more to Verdi than Mozart, I really love his exquisite lyric baritone voice in Mozart. I was extremely impressed when I heard him sung the Count at Salzburg back in 95. He is my favorite Mozart interpreter ever since. I don't think anybody else could quite pull off "La ci darem" and "Serenade" so seductively as Hvorostovsky does. His "Champagne aria" is at most perfect tempo, and even Lepollero's "Catalogo aria" sounds so sensuous. This is the only recording of his Mozart. I should be thankful to have this at all since he sung both Giovanni and Leporello. What a clever idea!

The film version of "Lepollero's Revenge is quite a treat.
Dmitri's portrayal of both Don Giovanni and Lepollero is absolutely charming. He showed his comical skills so well.

He'll sing Don Giovanni at the Met next season and The Marriage of Figaro at Paris, so he keeps the balance in between various Verdi productions.

what a thrill !.......2001-12-16

To hear my favorite singer perform my favorite opera is a treat indeed, and through the the magic of modern technology, we get to hear him do duets with himself, as both the Don, and Leporello. This dual casting, as the booklet says about this hour long film, "...alludes to the notion that the Don and his servant are alter-egos, opposite sides of the the same person".

One of the reasons I like this CD is that I get to hear all the parts of this opera (including the overture) that delight me, all on one disc...also the recitativos, which are sometimes the most delectable of all...and Hvorostovsky does them so well, with his flawless Italian.
I also love the trio "Al taci, ingiusto core", and the sestetto "Sola, sola in buio loco". Of the lovely melodic arias, the "La ci darem la mano" duet, and the beautiful Serenata are wonderful, and perfectly suited for his rich baritone.

Tracks:

Italian Con, BWV 971: I. Allegro - Columbia Conc Orch/Howard Barlow
Pno Con No.20 in d, K 466: I. Allegro - Columbia Conc Orch/Howard Barlow
Pno Con No.20 in d, K 466: II. Romanze - Columbia Conc Orch/Howard Barlow
Pno Con No.20 in d, K 466: III. Allegro Assai - Columbia Conc Orch/Howard Barlow
Hungarian Rhap No.13 - New York Phil/Efrem Kurtz
Pno Con No.2 in c, Op.18: II. Adagio Sostenuto - New York Phil/Efrem Kurtz
Pno Son: I. Allegro Con Moto - Teresa Sterne
Pno Son: II. Adagietto - Teresa Sterne
Pno Son: III. Allegro Vivo - Teresa Sterne
Pno Son: IV. Allegro - Teresa Sterne

Tracks:

Ov To An English Opr, Hob 1A-3 - The Little Orch Of London/Leslie Jones
Nun Freut Euch, Lieben Christen - Paul Jacobs
Herzlich Thut Mich Verlangen - Paul Jacobs
Etude, Book II - Paul Jacobs
Five Pno Pieces, Op.23: II Sehr Rasch - Paul Jacobs
Ionisation - The New Jersey Perc Ens/Raymond DesRoches
The Ragtime Dance - Joshua Rifkin
Jeanie With The Light Brown Hair - Jan DeGaetani/Gilbert Kalish
Blondel Zu Marien, D 626 - Jan DeGaetani/Gilbert Kalish
Double Con: Intro - Paul Jacobs/Gilbert Kalish
Pno Son No.2, 'Concord, Mass': III. The Alcotts - Gilbert Kalish
Wait 'Till The Sun Shines, Nellie - Joan Morris/William Bolcom
Graceful Ghost - William Bolcom
Ancient Voices Of Children: III. De Donde Vienes, Amor, Mi Nino?/IV. Todas Las Tardes En Granada... - Jan DeGaetani/Michael Dash
Nyamamusango (Meat In The Forest) - Hakurotwi Mude/Cosmas Magaya/Ephat Mujuri
Vetar Vee - Vasilka Andonova/Kremena Stancheva
Ta Shto Mi E Miloj, Mamo - Nadezhda Georgieva Klicherova/Gena Ivanova Bodenova/Nadezhda Georgieva Paleastova
Ketjak Dance - Teresa Sterne
I Big You Goodnight - Edith Pinder/Geneva Pinder/Raymond Pinder/Joseph Spence
Oyun Havasi - Teresa Sterne
Ketawang Puspawarna - Teresa Sterne

Amazon.com

The life of Teresa Sterne is as noteworthy as the label she once presided over (Nonesuch). As a child prodigy, she successfully filled world-class auditoriums in the 1940s with audiences eager to hear her piano playing. Then, inexplicably, Sterne abandoned her concert career only to resurface as the leader behind Nonesuch Records in the late 1960s, turning the budget classical label into one of the more adventurous and consistently rewarding labels around (and generally keeping quiet about her earlier fame). Half of this double-CD tribute collects recordings of a teenage Sterne at the keyboard; the second disc is devoted to some of the finest recordings from her Nonesuch tenure (1965-1979)--both are engrossing.

Ignore the surface noise on Sterne's disc (no small task on the Mozart Piano Concerto No. 20), and you'll hear a young pianist in fine form--she is expressive, and boasts crisp articulation and fine technique. She dances through Liszt's Hungarian Rhapsody No. 13 with riveting intensity; on Rachmaninoff's Piano Concerto No. 2 (with the New York Philharmonic), she shows a sensitive but no less virtuosic side. On the second disc, we get a virtual best-of for Nonesuch Records, including tracks by Joshua Rifkin, Paul Jacobs, and William Bolcom. Hard to imagine anyone doing it these days, but in one five-year period (1970-1975), Nonesuch released albums featuring the music of Stephen Foster, Edgar Varese, George Crumb, and a platter of Bulgarian folk tunes. They're all here. Now battling Lou Gehrig's disease, Sterne herself may be unable to celebrate this release, but for anyone who has treasured a release from Nonesuch's glory days, it's a moving tribute. --Jason Verlinde

The World of Robin and Marion: Songs and Motets from the Time of Adam de la Halle
Average customer rating:

Le creuset du déchant produit l'ébauche de l'opéra profane

That's where and when the profane opera started

At the root of the profane secular opera

The World of Robin and Marion: Songs and Motets from the Time of Adam de la Halle

Manufacturer: Analekta
ProductGroup: Music
Binding: Audio CD

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Halle: Le Jeu de Robin et Marion

Music of the Gothic Era

Adam de la Halle: Le jeu de Robin et Marion

Music from the Time of the Crusades

ASIN: B0002VYES6
Release Date: 2007-04-05

Tracks:

Mout Me Fut Grief/Robin M'aime/Portare
Robins M'aime/Je Me Repairoie/He Robins Se Tu M'aimes
Lie Maus Amourous Me Tient/Dieus Par Quoi/Portare
Vous Perdez Vos Paine Sire Aubert/Ne Sai Que Je Die/Johanne
Bergeronnete Sui/Trairi Deluriau
He Robechon
Au Douz Tans/Biau Dous Amis/Manere
Vous L'ores Bien Dire/Saltarello
Bergeronnete/Robin Par L'ame Ten Pere
He Marotele Alons Au Bois/En La Praerie/Aptatur/Li Maus D'amer
L'Autre Jour/Au Tens Pascour/In Seculum
Par Un Matinet/Les Un Bosket/Portare
En Mai Quant Rosier/L'autre Jour/He Resveille Toi Robin
Encontre Le Tans De Pascour/Quant Fuellent/In Odorem
Quant Florist La Violete/El Mois De Mai/Et Gaudebit
En Non Diu/Quant Voi La Rose Espanie/Eius Oriente
Avoec Telle Compaignie/Quiconque Rira/Parodie (After Quant Voi Le Fleur/Et Tenuerunt)
Je Voi Douleur Avenir/Fauvel Nous A Fait Present/Autant M'est Sie Poise/Emi Emi Marotele N'ocies/Emi Emim Marotele Sage/Portare
Quant Froidure Trait A Fin/Domino Quoniam/Ronde: Le Sentelle
J'ai Encore Un Tel Paste
Audigier Dist Raimberge/Quant Voi Le Douz Tans Venir/En Mai Quant Rose/Immolatus
Venes Apres Moi/Nota Domino Quoniam
Mout Me Fut Grief/Robin M'aime/Portare/L'autre jour Par Un Matinet/Hier Matinet/Ite Missa Est

Album Description

Anonymus invites you to witness Robin and Marion's love, in the best musical tradition of the Middle Ages. A program with a rural accent that brings alive through poetry and music this lively and marvellously naïve romance by Adam de la Halle, the great troubadour from Arras.

Customer Reviews:

Le creuset du déchant produit l'ébauche de l'opéra profane.......2005-01-09

Loin de tout ce que tous les livres classiques peuvent dire, la polyphonie pas plus que l'opéra n'ont commencé au 16ème siècle italien. Le plus ancien opéra biblique est du 13ème siècle français (Ludus Danielis). Et voilà que l'Ensemble Anonymus vient de sortir pour notre plus grand plaisir le Robin et Marion d'Adam de La Halle, lui aussi du 13ème siècle. C'est l'un des ancêtres de ce que l'on appellera plus tard l'opéra. Et en plus cette uvre est géniale. Le choix des instruments est excellent et certains sont plus lointains qu'européen, remontant jusqu'à la Perse iranienne. Le jeu en est clair, délicat, dansant et vif, expressif et même imagé. Le style de musique qu'ils nous offrent est très populaire pour l'époque, avec cependant des intermèdes musicaux d'une autre source qui ont plus de poids, de grandeur, d'ampleur. Les voix opposent le couple ténor-soprano au couple mezzosoprano-baryton, et cela sur une base dramatique : les premiers sont les héros, les seconds sont les trouble-fête. Le chant est la vraie grande révolution d'Adam de La Halle. Les artistes chantent, pour l'essentiel, en vieux français, avec une prononciation parfaite. On voit bien leur origines québecoises qui aident : de telles prononciations seraient beaucoup plus difficiles en France vu que nous avons perdu les dialectes anciens. La partition mêle des solos, de vrais duos en alternance, des duos où les voix s'allient et se superposent. Adam de La Halle importe ainsi dans une pièce profane dont la musique est populaire et non grégorienne ce qui est en train de naître en France particulièrement, et ailleurs aussi partiellement, à savoir la polyphonie et c'est un plaisir de découvrir que certaines formes qui deviendront des classiques des siècles futurs sont déjà là en germe dans cette partition. Adam de La Halle avait étudié le déchant, première aventure polyphonique dans le cadre grégorien. Il le transfère ici dans le cadre profane avec le meilleur effet. L'histoire est simple mais bien ancrée dans son temps. Elle est aussi complète et donc bien une sorte de livret d'opéra. Robin et Marion s'aiment d'un amour tendre, mais le chevalier Aubert intervient et vole la belle, par des moyens pas très honnêtes : la force, les cadeaux qui semblent de luxe à cette bergère, et des mots doux qui ne sont qu'autant de pièges. Le tout se finira, après un petit épisode beaucoup plus courtois emprunté à Gervais de Bus et son Roman de Fauvel, sur une solution ambiguë, cette brave Marion n'arrivant pas à prendre une décision entre son bel amour Robin qui joue si bien de la cornemuse ou du flageolet, et son tout nouveau amoureux chevalier qui brille de tous les feux de sa cuirasse et de ses victoires au tournoi. Entre les deux bien sûr son cur balance. On se demande pourquoi ces uvres du patrimoine français qui révèlent que nous avons eu une période florissante dans les arts bien avant la Renaissance, doivent être découvertes et mises en avant par des Anglais comme pour le Ludus Danielis ou des Québecois comme ici. Que font donc les Français qui se gargarisent de la défense de leur langue et qui ne s'intéressent même pas à leur patrimoine culturel un peu ancien, raison de plus très ancien ? Heureusement que nous avons des étrangers, francophones ou non, cousins distants ou pas cousins du tout, pour faire notre travail.

Dr Jacques COULARDEAU
Université Paris Dauphine

That's where and when the profane opera started.......2005-01-09

This recording is amazing. It is probably one of the ancestors of the secular opera, just like Ludus Danielis was the ancestor of the biblical opera, but both three centuries before the « official » birthdate of the genre, here the 13th century. What's more both works are French and not Italian as the legend wants it to be : opera was born in Italy during the Renaissance, they say. Another mystery is why these very fine and rich works are discovered and recorded not by French musicians and artists but by English and here French Canadian musicians and artists. What are the French doing ? Don't they go to their libraries and archives and check on those scores, and I could probably say scores of scores, that are sleeping in the boxes ? Apparently not. They blabber a lot about English menacing their French language with barbaric technical words, but they do not defend their own cultural heritage. Bizarre, isn't it ? But this recording reveals many things about this old century and this ancient composer. The instruments are authentic, even if at times a little bit exotic, Turkish or Irani. But they are light, brilliant, délicate, expressive and definitely lively. The score opposes the couple tenor-soprano of the two main characters to the couple mezzosoprano-barytone of the disturbing intruders. This is dramatically good. The singing is innovative. It uses solos, real duets with alternating voices or with superimposed voices, and many other forms, including of course the motet. Some singing forms that will become classical in a few centuries are already present here and quite lively and alive. Adam de La halle had learn the beginning of polyphony with the gregorian dechant and here he transposes it from the sacred field to the profane secular domain with the best results because it serves very well that music which is perfectly popular. The end of the tale, after an episode that is very courtly and borrowed from Gervais du Bus and his Roman de Fauvel, is ambiguous with Marion fluttering between her love for Robin who plays the bagpipe and the plain pipe so well, and her sudden love for the knight Aubert who conquered her with a little bit of force, a little bit of fine language, the promise of beautiful presents and the metallic shine of his armour and helmet and tournament weapons. Her heart is swinging and swaying between the two and the music is doing just the same, and yet announcing a future that must be in existence somewhere in some archives and has not yet been discovered, except the music, thanks to Paul McCreesh who never recorded it, of Pope Clement VI in Avignon whose favorite composer was the mathematician Vitry. But what is the French Ministry of Culture doing or thinking since they cannot bring all these gems out of oblivion ? The Minister should have a few pennies left at the bottom of a drawer somewhere to help this adventure ?

Dr Jacques COULARDEAU

At the root of the profane secular opera.......2005-01-09

Average customer rating:

Moravian songs, via Janacek, Godar, Bittova and Skampa
Skampa Quartet is great - the singer... yikes

Janácek: Moravian Folk Poetry in Songs
Leos Janacek , Iva Bittová , ¿kampa Quartet , Vladimír Godár , and Skampa Quartet
Manufacturer: Supraphon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Folk | Styles | Music

General | International | Styles | Music

General | Opera & Vocal | Styles | Music

General | Vocal Pop | Pop | Styles | Music

Adult Alternative | Pop | Styles | Music

Experimental Music | Miscellaneous | Styles | Music
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Cikory
Peter Lieberson: Neruda Songs

ASIN: B00061X9YC
Release Date: 2005-03-01

Tracks:

Tuzba (Desire)
Stst'/Steadiness
Lavecka (Bench)
Stesk (Woe) - Skampa Quartet
Obrk Mileho (Lover's Likeness)
Svatba Kom (Gnats Wedding)
Kouzlo (Charm)
Slib (Promise)
Orisek Lovy (Hazel Nut) - Skampa Quartet
La (Love)
Jablunka (Apple Tree)
Jabucko (Sweet Apple)
Co Je to Za Nebe (What Sky)
Safva C (Alderman's Daughter)
Cervenab(Little Red Apples)
Dobr(Good Hunt)
He Warden)
Kony Mil [My Lover's Horses]
Kv MilodejnLove Herbs)
Pcko (Posy)
LoucenMilou
Jindy a NynThen and Now)
T (Uneasy)
VzknMessage)
Belegrade (Belgrade) - Skampa Quartet
Milenec Vrah (Lover Killer)
Pomluva (Calumny)
LoucenParting)
Sirota (Lonely Soul)
Osamel Alone)
Komu Kytka (For Whom the Posy)
Z Od Mil (Love Shining)
Polajka (Thyme)
Kol(KolTown)
Psano (Love Letter)
Karafi(Carnation)
Rozmarsemary)
Pamy (Mementos)
Zpevulenka (Tender Little Tune)
Nejistota (Uncertainty)
Kukacka (Cuckoo)
Zahrcka (Fence)
Muzikanti (Musicians)
Vernost' (Faithfulness)
Bolavlava (Headache)
Osud (Fate)
Daleko ProvdanWedded Far Away)
Budk (Wakening)
Dobrada (Sound Advice)
Slzy echou (Tears of Comfort)
Koukol (Corncockle)
Kalina (Guelder Rose)
Pohreb Zbojnv

Customer Reviews:

Moravian songs, via Janacek, Godar, Bittova and Skampa.......2006-05-09

This is a unique recording of Janacek's transcriptions of Moravian folk songs. Originally for piano and voice, they have been transcribed by Slovak composer Vladimir Godar for string quartet and (occasionally) three-voice male chorus. Here they are performed by renowned Czech singer and violinist Iva Bittova, accompanied by the Skampa Quartet and chorus. The effect is not so much of classical liede, but of authentic eastern European "popular" songs - the sonority of the string quartet adds to this in no small part. Janacek would be proud.

Skampa Quartet is great - the singer... yikes.......2005-07-28

I honestly did not know what I was getting myself into when I bought this CD. I love Janacek, I love folk songs... how could I go wrong? Iva Bittova! I was concerned that she would have a 50yr old woobly voice, but instead what exists is a thin VERY nasal tone... perhaps she should be singing traditional Bulgarian music! The voice is expressive, just ugly.
The recording quality is not very good, either. On many of the tracks, Iva seems to be muffled and in the background of the recording.
Really - dont waste your time and money, unless you really would just like to have a recording of over 50 Janacek songs.