The acoustic is unusually fine, intimate, not over-resonant, but warmly glowing. Unfortunately the booklet provides no information on the genesis of this ending.
Amazing as it is to relate, after all these years and all this unsparing usage, his is still the most beautiful voice - the most richly firm and even - that we have heard on recordings of this music. Disorientating at first, the join creates its own coherence, the passionate scene leading to its immediate resolution.
The Covent Garden orchestra play for Pappano with fine attentiveness and exhilaration, and it seems that he brings a renewing spirit to everything he touches. From the mesmerising orchestral waves of Siegfried Act III, Scene 3, here marvellously sustained and sculpted, to its quickening and blazing crescendo, there is an absolute mastery of the line and pacing.
Barenboim apparently discovered it in the Wagner archive in Bayreuth and passed it to Pappano, once his assistant in Berlin. I leave it to native German speakers to criticise his pronunciation if need be; to me it seems self-defeating and gratuitous for others to cavil.
This never took place, and nothing was known about the musical preparations Wagner made for the event until ; even then it Read more seems the material remained unexamined, and certainly unused, until very recently.
The next subject of general concern will probably be Domingo and his success or otherwise in meeting the challenges of these formidable roles, Siegfried and Tristan, if only in excerpts. He is exact and lyrical in his reading of the music, and is largely if not invariably, imaginative and convincing in his dramatic commitment.
After the exchange with its heaving swings of emotion, Voigt draws in a rapt pianissimo. The arrangement elides the cruelly interrupted love scene into the Liebestod.
If this is anything to go by, we have some wonderful Wagner in store at the Royal Opera House when Pappano takes up his post of music director. It is hard to imagine a concert performance ending with the rude abruptness of the score, but worse to think of its possible closure as in some early recordings on a glib and alien major chord.
This supreme expression of eroticism in music culminates in erotic catastrophe. And the end of the Liebestod flows swiftly on into a heavenly reverie.Daß der mein Vater nicht ist (Fore - Richard Wagner - Natalie Dessay - Plácido Domingo - Royal Opera House Orchestra Covent Garden - Antonio Pappano - Simon Rayner - David Cangelosi - Alan Garner Siegfried, opera, WWV 86c: Act 2.
Download Wagner - Pappano, Domingo, Dessay, Voigt torrent or any other torrent from Audio > FLAC Direct download via magnet link. Wagner - Arias & Love Duets Placido Domingo (tenor), David Cangelosi (Mime), Natalie Dessay (Woaldvogel), Deborah Voigt (Brünnhilde), Deborah Voigt (Isolde), Violeta Urmana (Brangäne), Violeta Urmana (Brünnhilde) Orchestra of the Royal Opera House, Covent Garden, Antonio Pappano.
Disc: 1 1. Sehr Langsam 2. Heil Dir, Sonne! Heil Dir, Licht! 3. For all the experience and star quality Domingo and Voigt bring to this recording, its real greatness lies in the conducting of Antonio Pappano. From the mesmerising orchestral waves of Siegfried Act III, Scene 3, here marvellously sustained and sculpted, to its quickening and blazing crescendo, there is an absolute mastery of the line and pacing.
Placido Domingo (tenor), David Cangelosi (Mime), Natalie Dessay (Waldvogel), Violeta Urmana (Brünnhilde) Orchestra of the Royal Opera House, Antonio Pappano. Ryzykować trzeba umieć.
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