[SACD-R] [OF] Mahler - DAS Lied Von der Erde - 皮埃尔·鲍勒斯，维纳利尔乐州人; Violetta Urmana，Michael Schade - 2003（古典管弦乐）

10086

Wiener Philharmoniker, Pierre Boulez, Violeta Urmana, Michael Schade
Mahler: Das Lied von der Erde
Формат записи/Источник записи: [SACD-R][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 2003
Жанр: Orchestral, Choral, Vocal
Издатель(лейбл): Deutsche Grammophon
Продолжительность: 01:00:32
Наличие сканов в содержимом раздачи: ДаТреклист:
1. Das Trinklied vom Jammer der Erde
2. Der Einsame im Herbst
3. Von der Jugend
4. Von der Schönheit
5. Der Trunkene im Frühling
6. Der AbschiedVioleta Urmana (contralto)Michael Schade (tenor)
Wiener Philharmoniker
Pierre Boulez (conductor)
Контейнер: ISO (*.iso)
Тип рипа: image
Разрядность: 64(2,8 MHz/1 Bit)
Формат: DST64
Количество каналов: 5.1, 2.0
Доп. информация: Deutsche Grammophon 471 635-2
Источник (релизер): JadedMan (Demonoid)
http://sa-cd.net/showtitle/96
DSD STEREO в файлах .dff ЗДЕСЬ
Об альбоме (сборнике)
Pierre Boulez leads the Vienna Philharmonic in the “Song of the Earth” of Gustav Mahler, his non-symphony of songs, with mezzo Violeta Urmana and tenor Michael Schade.
A pan of the SACD Version from Classics Today
Multichannel sound adds nothing to this unremarkable performance (for Victor Carr Jr’s original review, enter Q2959 in the search box), save for perhaps a degree of artificial closeness to the voices (the best thing about the performance, granted). Horns too, in the opening song, leap out of the texture at the expense of good balance with the strings. But the real problem lies in Pierre Boulez’s incredibly dull and disinterested conducting, which keeps all of the accompaniments on the same uninflected, emotionally glacial plain.
Having heard him live, it’s now clear that tenor Michael Schade has no business attempting this music, but under studio conditions he does a good job, and Violeta Urmana sounds pretty marvelous in Der Abschied; but both deserve better than what Boulez delivers. After all, this is a symphony, and it can survive indifferent singing much more readily than anesthetized playing. Under such circumstances, sonic quality remains a largely irrelevant side issue.
                                                                                       
                       
                       
                       
                       
                       
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