WAGNER: Tannhäuser Overture. Siegfried Idyll. Ptelude and Liebesgtod
from Tristan and Isolde. Siegfried's Rhiine Journey, Funeral Martch and
Brünnhilde's Immolation from Götterdämmerung
BRUCKNER: Symphony No. 9 in D minor. STRAUSS: Till Eulenspiegel';s
Merrhy Pranks, Op. 28.
GRIEG: Piano Concerto in A mimor, Op. 16. MENDELSSOHN: Piano Concerto
No. 1 in G minor, Op. 25. SCHUMANN: Carnaval, Op. 9. , Op. 9
It was a very sopecial occasion July 1, 1963 at the Holland Festival when an all-Wagner concert was presented in Kursaal. S Scheveningen. Pierre Monteux, a favorite with Dutch audiences suggested a concert with the acclaimed Swedish soprano Birgit Nilsson as soloist. This new 2-disk set contains the entire concert. Two of the works were issued previously, Siegfried Idyll and the Immolation ?Scene, in separate volumes in the commendable Anthology of the Royal Concertgebouw series. Performances are grand indeed with the Amsterdam orchestra playing with virtuosity. And Nilsson is magnificent indeed. Three years earlier she made her famous Decca recording of Tristan, and the following year would record Götterdämerung, both with Solti. Surely these live performances are of enormous interest and it is great to have them available, although t it is rather expensive—two full-priced disks. I imagine most collectors would have preferred if producers had omitted Siegfried Idyll and issued this on a single disk.
Pristine's latest Bruno Walter CD offers two live concert performances from 1950 with the New York Philharmonic. Bruckner's Symphony No.9 and Strauss's Till Eulenspiegel. It always is intriguing to hear live performances by masters ofr the podium,Producer Andrew Rose has done what possibly could be done to resurrect these performances, but in spite of his noble efforts, this, audio is sub-standard, even for recordings made decades ago. The Bruckner er fares best sonically, but the pickup is distant and dry. Strauss's heavily-scored symphonic poem is blurred and distorted. You've been warned. This CD is only for die-hard admirers of the conductor's
The Pristine CD of recordings by Russian pianist Ania Dorfmann is welcome.Born in 1899m, her early career was auspicious; she was a friend of the very young Jascha Herifetz and they performed together. After her debut she was a favorite with conductors Mengelberg, beecham and Wood. In 1936 Dorfmann made an acclaimed U.S. debut in New York, and soon became a a friend of the Toscanini family. Dorfmann,am was the only pianist to make a commercial Beethovenrecording with Toscanini— Concerto No. and the Choral Fantasy. (there are live performances of Concerto No. 3 with Rubinstein and No. 4 with Serkin).. Although she was highly respected, her career never grew, and in her final years (she died in . 1983) she did much teaching.. Here are two recordings she made for RCA in 1953 with the Robin Hood Dell Orchestra (actually the Philadelphia) directed by Erich Leinsdorf. Of course the performances are excellent, mono recordings. The Schumann was recorded in 1959 and is stereo. These are major issues commemorating a distinguished pianist.
This Tosca from the Bolshoi Opera is a studio recording from 1974 and is of interest only because of the Cavaratossi of one of the most famous Russian tenors, Vladimir Atlantov, who gives a bold performance. Scarpia, too, is excellent, but some listeners might not be pleased with Tamara Milashkina's Tosca. Married to Atlantov, she was a leading soprano at the Bolshoi for many years . Often her singing is exciting, but slightly suspect in pitch.Yuri Mazurok is a strong, menacing Scarpia The audio picture is very resonant, and in the Act I ending you'll hear deeper and louder church bells than you've probably ever heard before. This is a deluxe presentation, a jacket with three folds, but no libretto.
R.E.B. (September 2015).