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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
MOZART, Wilma Lipp, Emmy Loose, Walter Ludwig, Wiener Philharmoniker, Josef Krips
Die Entfuhrung aus dem Serail
ZamknijGaleria okładek
54.00 PLN
2 CD:
Nr kat.: LRC1116Label : Aura (Italy)
This set (originally issued by Decca) was one of the first operas (possibly the first) released on LP, and its virtues hold their own fifty years hence. Pride of place goes to Wilma Lipp’s adroit dispatch of Konstanze’s difficult florid arias, seconded by Emmy Loose’s lighter-toned agility as Blonde. Peter Klein’s dry, one-dimensional Pedrillo markedly contrasts to the ringing timbre of Walther Ludwig’s Belmonte. Endre Koreh admirably plays up the buffa aspects of Osmin’s role, making it easy to overlook his pinched high notes. As was customary for the time, the singers are miked too closely for comfort, at times drowning out the orchestra during ensembles, but that takes nothing away from Roger Beardsley’s robust, full-sounding transfer from clean commercial LP pressings. Josef Krips wields a light and supportive hand, and inflects Mozart’s janissary-tinged scoring with colorful vigor. There are little cuts here and there, but the dialogue is delivered with such zest that you don’t have to understand German to grasp the emotional tenor of its meaning (Pearl provides no libretto). Krips 1966 stereo remake, however, boasts superior sound, a much-improved Vienna Philharmonic, and Gottlob Frick’s classic Osmin. Still, specialist Mozartians will be pleased to know this Abduction is available again.