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TCHAIKOVSKY, Arthur Rubinstein, Erich Leinsdorf, Boston Symphony Orchestra
Piano Concerto No. 1
KWINTESENCJA BRZMIENIA ANALOGOWEGO
MOZART, Jean-Francois Paillard, Jean-Francois Paillard Chamber Orchestra
Serenade No. 7 'Haffner'
KWINTESENCJA BRZMIENIA ANALOGOWEGO
BRAHMS, Arthur Rubinstein
Piano Sonata No.3 in F Minor, Op.5 / Intermezzo in E, Op.116, No.6 / Romance in F, Op.118, No.5
KWINTESENCJA BRZMIENIA ANALOGOWEGO
Audiophile Classic - Extended HD2
KODALY, ALBENIZ, Minneapolis Symphony Orchestra, Antal Dorati
Hary Janos Suite, / Iberia
Extended High Definition Mastering 2
DVORAK, Columbia Symphony Orchestra, Bruno Walter
Symphony No. 9 From the New World
Extended High Definition Mastering 2
Miles Davis, Julian 'Cannonball' Adderley, Paul Chambers, Jimmy Cobb, John Coltrane, Bill Evans, Wynton Kelly
Kinf Of Blue
Extended High Definition Mastering 2
GOUNOD, Vienna State Opera Orchestra, Armando Aliberti
Faust / Vienna Waltzes
Extended High Definition Mastering 2
RIMSKY-KORSAKOV, L'Orchestre de la Suisse Romande, Ernest Ansermet
Scheherazade
Extended High Definition Mastering 2
Winylowy niezbędnik
ClearAudio
Essence MC
kumulacja zoptymalizowana: najlepsze z najważniejszych i najważniejsze z najlepszych cech przetworników Clearaudio
Osobowości
TCHAIKOVSKY, Evgeny Mravinsky, Leningrad Philharmonic Orchestra
Synfonies 4-6
Nagranie EKSTREMALNIE audiofilskie
Geraldine Farrar
Berlin G and Ts 1904-1906
- CD 1 (73:01)
- Gramophone and Typewriter Company, Berlin Recordings
- 1904
- 1. LA TRAVIATA: Follie, follie Sempre libera (Verdi) 2:44
- (2173h) 53344
- 2. MIGNON: Non conosci il bel sol {Connais-tu le pays} (Thomas) 3:17
- (2174h) 53345
- 3. Mattinata (Tosti) 3:06
- (2250h) 53363
- 4. Aime-moi (Bemberg) 2:47
- (2251h) 33457
- 5. MANON: Nützet die schönen jungen Tage [Gavotte] (Massenet) 2:54
- (2252h) 43568
- 6. ROMÉO ET JULIETTE: Je veux vivre [Juliettes Waltz Song] (Gounod) 3:10
- (2253h) 53364
- 1904
- ROLAND VON BERLIN (Leoncavallo)
- 7. Elsbeth! Gott stehe allzeit (Act 1) 2:37
- with Wilhelm Grüning, tenor
- (2483) 44445
- 8. Ich ihn lieben? (Act 2) 2:42
- with Wilhelm Grüning, tenor
- (2482L) 44444
- 9. Nun wohl! Dann hast du auch (Act 4, Scene 1) 2:38
- with Wilhelm Grüning, tenor
- (2484L) 44446
- 10. Ja! Dich nur liebe ich (Act 4, Scene 1) 1:56
- with Wilhelm Grüning, tenor(2498 1/2L) 44452
- 11. Fahr wohl! Trautgesell (Act 4, Scene 2) 3:13
- (2496L) 43632
- 27 September 1905
- 12. Dear heart (Mattei) 3:24
- (3799h) 3621
- 13. Cherry ripe (Horn) 2:42
- (3798h) 3620
- 14. MEFISTOFELE: Laltra notte (Bo?to) 3:28
- (3800h) 53425
- 15. Caro mio ben (Giordani) 3:06
- (3801h) 53430
- 16. FAUST: Juwelen-Arie [Jewel Song] (Gounod) 3:01
- (3802h) 43721
- 17. MIGNON: Kennst du das Land {Connais-tu le pays} (Thomas) 3:26
- (3803h) 43733
- 23 June 1906
- 18. DOMINO NOIRE: Ines so schön (Auber) 2:07
- (1313r) 43780
- 19. MANON: Nützet die schönen jungen Tagen [Gavotte] (Massenet) 3:12
- (1314r) 43796
- 20. ROMÉO ET JULIETTE: Je veux vivre [Juliettes Waltz Song] (Gounod) 3:26
- (1315r) 33618
- 21. LA TRAVIATA: Follie, follie Sempre libera (Verdi) 3:08
- (1316r) 53469
- September 1906
- 22. MARTHA: Die letzte Rose {Last rose of summer} (Flotow) 2:37
- (4718h) 43841
- 23. TANNHÄUSER: Gepriesen sei die Stunde (Wagner) 2:41
- with Karl Jörn, tenor
- (4719h) 2-44145
- 24. RIGOLETTO: E il sol dellanima (Verdi) 3:21
- with Karl Jörn, tenor
- (4720h) 54311
- 25. FAUST: Es ist schon spät (Gounod) 2:33
- with Karl Jörn, tenor
- (4721h) 2-44137
- Accompaniment: Tracks 1-11 piano; Tracks 12-25 orchestra
- Languages: Italian [1-3,14-15,21,24]; French [4,6,20]; German [5,7-11,16-19,22-23,25]; English [12-13]
- CD 2 (79:52)
- Victor Talking Machine Company, Camden, New Jersey, Electrical Recordings
- 1. Pur dicesti (Lotti) 4:37
- 11 January 1927; (CVE 37348-1) IRCC-40
- 2. LE NOZZE DI FIGARO: Dove sono (Mozart) 4:44
- Recitative and Andante section only
- 11 January 1927; (CVE 37349-1) IRCC-40
- 3. On wings of song [Auf Flügeln des Gesanges] (Mendelssohn) 3:38
- 11 January 1927; (CVE 37350-1) unpublished
- 4. Serenade [Ständchen] (Richard Strauss) (Translated by Ferrar) 2:41
- 11 January 1927; (BVE 27731-3) IRCC-55
- 5. LE NOZZE DI FIGARO: Non so piu cosa son (Mozart) 3:25
- 12 January 1927; (BVE 37351-2) unpublished
- 6. FRASQUITA: Rest with the dew of the dawning (Farrar; Lehar) 3:46
- 12 January 1927; (matrix number unassigned) IRCC-1953 re-recording
- 7. Midnight bells (Fritz Kreisler) 3:20
- 13 January 1927; (BVE 37354-1) unpublished
- 8. Christinas lament {Humoresque} (Creyke-Dvorak) 3:17
- 13 January 1927; (BVE 37356-1) IRCC 41
- 9. Hame to the highlands (M. Gilmour) 2:20
- 8 March 1927; (BVE 38147-1) unpublished
- 10. Drowsy poppies (M. Gilmour) 2:31
- 8 March 1927; (BVE 38146-1) unpublished
- 11. Serenata (Tosti) 3:11
- 8 March 1927; (BVE 26034-9) unpublished
- 12. Pur dicesti (Lotti) 3:18
- 8 March 1927; (BVE 38145-1) unpublished
- 13. Auf Flügeln des Gesanges (Mendelssohn) 3:39
- 5 April 1927; (BVE 37350-6) IRCC-41
- Bell Telephone Laboratories Experimental recordings (Vertically cut at 33 rpm)
- Lyric Theater, Hoboken, New Jersey
- 15 December 1932
- 14. The old refrain (Kreisler) 3:53
- BTL 2432 unpublished
- 15. Old folks at home (Foster) 2:57
- BTL 2432 unpublished
- 16. Loves old sweet song (Malloy) 3:47
- BTL 2434 unpublished
- 17. In old Madrid (Bingham-Trotere) 3:16
- BTL 2434 unpublished
- Appendix:
- General Motors Symphony Concerts Broadcast
- Taken from primitive off-the-air home recording
- 28 October 1934
- 18. Marie am Fenster (Franz) 2:30
- 19. Heiden Röslein (Schubert) 2:21
- Metropolitan Opera
- Rehearsal recordings for intermission talks
- 4 January 1935*
- 20. Excerpt from Intermission 1 () 7:56
- 21. Excerpt from Intermission 2 () 4:03
- 22. Excerpt from Intermission 3 () 4:53
- Geraldine Farrar - soprano
129.00 PLN
2 CD:
Nr kat.: MAR52040Label : Marston (USA)
>>> Większa okładka A <<<
Victor electrical recordings 1927 Bell Telephone Laboratories experimental recordings 1932
Geraldine Farrar was, for many years, the prima donna assoluta of the Metropolitan Opera. She is remembered as having one of the best soprano voices of her time and yet, those who know her through her recorded output on Victor, are missing the magic that is Farrar. This two CD set, instead, captures Farrar when she made her earliest, finest, and scarcest recordings for G & T (1904-1906). These rare and stunning recordings are fresh, exciting, and expressive and demonstrate Farrar in best voice. This set also chronicles Farrar at the end of her career when technology provided an opportunity to hear her true voice during the 1920s and 1930s. While none of these were issued at the time, these test pressings and unpublished Bell Laboratory test-recordings of 1934 provide a glimpse of her brilliance.