Ta strona wykorzystuje mechanizm ciasteczek (cookies) do poprawnego działania. Więcej informacji na stronie Polityka Prywatności. Zamknij.


FRANCESCONI, Orchestre Symphonique et Choerus del La Monnaie, Thanaos Adamopoulos


1. Atto I: Preludio 4:04 2. Atto I: Scena I 8:28 3. Atto I: Scena I bis 0:37 4. Atto I: Scena II 3:13 5. Atto I: Scena III 2:10 6. Atto I: Scena III bis: Il passaggio 0:53 7. Atto I: Scena IV 17:14 8. Atto I: Scena V 3:57 9. Atto I: Scena VI 0:40 10. Atto I: Scena VII 3:25 11. Atto I: Scena VIII 5:28 12. Atto I: Scena IX 1:28 13. Atto I: Scena X 1:50 14. Atto I: Scena XI 0:30 15. Atto I: Scena XII 0:35 16. Atto I: Scena XIII: Scena XIV 1:40 17. Atto I: Scena XV 6:24 18. Atto I: Interludio 6:22 Disc 2: 1. Atto II: Scena I 7:26 2. Atto II: Scena I bis 1:20 3. Atto II: Scena II 4:08 4. Atto II: Scena II bis 0:32 5. Atto II: Scena III 17:59 6. Atto II: Scena III bis 1:33 7. Atto II: Scena IV 24:54 8. Atto II: Scena IV bis 4:14 9. Atto II: Scena V 9:32
  • Orchestre Symphonique et Choerus del La Monnaie - orchestra
  • Thanaos Adamopoulos - conductor
Add to Basket

79.00 PLN

2 CD:

Nr kat.: STR57012
Label  : Stradivarius

A new chapter in the Ricordi Oggi series, the collection that enacts the strong partnership between Stradivarius and the prestigious Casa Ricordi publishing house. This world première recording is dedicated to Luca Francesconi and his Ballata, a two-act opera whose libretto, by Umberto Fiori, is based upon S. T. Coleridge’s Rime of the Ancient Mariner. Francesconi confirms his particular confidence for large-scale musical thought, rather than merely show a flair for illustrative brilliance. "Coleridge’s Mariner confronts a natural world that is implacably adverse, one that [...] remains magnificently indifferent to its needs. To respond to that requires a sense of pacing, of large-scale dynamic proportion, that must prevail over any proclivity to exuberant detail.[...] That sense of scale [...] is everywhere in Francesconi’s recent work. [...] Fiori’s fine libretto is so constructed as to allow for the enchained series of numbers that are integral to that form of dramaturgy, because they pace the opera’s progress through a sequence of images and actions whose synopsis could be presented in a few, trite sentences, but whose power and resonance can only be felt when worked through at the slow, remorseless pace common to Francesconi’s opera, and Coleridge’s poem” David Osmond-Smith, liner notes. “it's the nihilistic resolve of the undertaking that most impresses: Francesconi is resolute in his large-scale realisation of the despairing Mariner's humiliation by the quixotic spirit of Life-in-Death, and of Death's utter disinterest in his victims. And, as might be expected of a pupil of Berio and Stockhausen, he wields a terrifying sonic palette. Not for the faint-hearted.” The Independent