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Arne Domnerus, Bengt Hallberg, Georg Riedel, Egil Johansen
Jazz at the Pawnshop
NAJWYŻSZY, NAJBARDZIEJ AUDIOFILSKI WINYLOWY NOŚNIK NA ŚWIECIE
CHOPIN, LISZT, Martha Argerich, Claudio Abbado, The London Symphony Orchestra
Concerto for Piano and Orchestra No. 1 in E minor, op. 11 / Concerto for Piano and Orchestra No. 1 in E flat major
UHQCD - dotknij Oryginału - MQA (Master Quality Authenticated)
Gregorio Paniagua, Atrium Musicae de Madrid
La Spagna Paniagua
Premiera nowego nośnika Ultimate HQCD
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, MENDELSSOHN, Martha Argerich, Charles Dutoit, Royal Philharmonic Orchestra
Piano Concerto No. 1 in B-flat minor, Op. 23 / Concerto for Violin, Piano and String Orchestra in D minor -
Nikt nigdy szybciej tego koncertu nie zagrał. Wirtuozeria i maestria
MOZART, Elisabeth Schwarzkopf, Sesto Bruscantini, Herbert von Karajan, The Philharmonia Orchestra
Cosi Fan Tutte
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Listening to this set again after a few years and several subsequent "authentic" recordings of the opera is a revelation: Karajan's entire sense of the work, at least at this point in his career, was very much in line with the so-called "purists'" approach to which we've since become accustomed. Tempos are fleet in the recitatives as well as the musical numbers, attacks are swift, inner lines--especially the low strings and woodwinds--are emphasized, and despite the precision, there is nothing precious about his reading. And the singers are near-ideal. Elisabeth Schwarzkopf "gets" Fiordiligi, and because she had not yet begun over-emphasizing every word and note she encountered, the character's melodramatic approach to life is all the more telling. As Dorabella, Nan Merriman is almost as good, and her dark sound, so unlike the sunny, 1954 Schwarzkopf, blends well. I doubt that Ferrando ever will be sung as elegantly or with as much feeling--all of it in good taste--as by Leopold Simoneau, and Rolando Panerai changes nicely from happy-go-lucky to poised-to-kill. Sesto Bruscantini is a terrifically wry Alfonso and Lisa Otto's Despina is old-fashioned perky--not a favorite attitude for me, but impressive nonetheless. Only the little first act duet for the guys and Ferrando's "Ah, lo veggio" are cut, in addition to lots of recitative (no argument from me). The sound is a bit boxy, but the playing of the Philharmonia forces shines anyway. This set is one for the ages. --Robert Levine, ClassicsToday.com Reviewing earlier release
