1001 classical works (The best) V- 1829-1850
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Re: 1001 classical works (The best) V- 1829-1850
JM Mar Dic 21, 2010 4:29 pm
308. Felix Mendelssohn –
Violin Concerto in E minor (1844)
Violin Concerto in E minor (1844)
Recording
Title: Bruch, Mendelssohn, Mozart: Violin Concertos
Performed by Academy of St. Martin-in-the-Fields with Joshua Bell
Conducted by Neville Marriner
Year: 1988
Review
These are rereleases of previous recordings by Joshua Bell the teenager recorded in 1988.
The principal difference between these recordings and the work Bell does today is in style. Compared to his now lean and mean approach, Bell played in a warmer, more romantic style in these recordings, where he was given appropriate accompaniment by the Academy of St. Martin's in the Fields led by Neville Marriner in this romantic concerto.
Since Bell later re-recorded the Mendelssohn concerto (in 2000 with Roger Norrington and the Salzburg Academy Orchestra) it is easiest to note the differences in that work. The timings for the Mendelssohn are consistently broader in the older recording and his style is consistently more romantic.
Bell and Marriner play up the finale into a blaze or romantic language, picking up the pace at the very end. The Bruch concerto is similar in style and temperament. To my ears, the playing by the Academy and leadership by Marriner in the Mendelssohn is inferior to the 2000 recording.
Trivia
From Wikipedia:
The Violin Concerto in E minor, Op. 64 (1844), written for Ferdinand David, has become one of the most popular of all of Mendelssohn's compositions. David, who had worked closely with Mendelssohn during the piece's preparation, gave the premiere of the concerto on his Guarneri violin.
Mendelssohn violin Concerto. Cadenza by Joshua Bell. Concertgebouw, Amsterdam, April 2008:
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Re: 1001 classical works (The best) V- 1829-1850
JM Mar Dic 21, 2010 7:46 pm
316. Giuseppe Verdi –
Macbeth (1847)
Macbeth (1847)
Recording
Title: Macbeth
Performed by La Scala Theater Orchestra & Chorus
with Nicolai Ghiaurov, Piero Cappuccilli, Placido Domingo and Shirley Verrett.
Conducted by Claudio Abbado
Year: 1976
Review
There is tough competition for the best recording of 'Macbeth', but for me the combination of Abbado's explosive and rhythmically taut way with the score and Shirley Verrett's tour de force as Lady Macbeth give this one the edge. Verdi famously maintained he wanted a 'she devil' in the role of Lady Macbeth, and it is a role that has been essayed by both sopranos and mezzos, with varying success. Fiorenza Cossotto (in the rival EMI Muti version) has more idiomatic Italian and forward projection, but sounds generalized and rantingly melodramatic besides this much subtler performance. The variety of tone colours Verrett produces is awesome - the duet with Macbeth (a more than usually involved Piero Cappuccilli) is a locus classicus of opera as theatre. She has the heft and volume when needed (I don't understand the gramophone critic's reservation about Verrett's top notes - they ring out thrillingly) and yet produces an extraordinary performance of the Sleepwalking scene that once heard, haunts the memory - complete with perfectly placed pianissimo top Db. Cappuccilli sings with burnished tone and is suitably histrionic in the Banqueting scene, though not as alert to nuance as Giuseppe Taddei on the Schippers set (alas not recommendable, despite a strong performance from Birgit Nilsson, as it is a Schippers edition with perfectly idiotic cuts, snipping away at some of Verdi's revised moments.) No this is the one to have, Domingo and Ghiaurov give strong support, Abbado's way with the music, from the rum-ti-tum witches and the ballet to the Lady Macbeth scenas and pre-murder duet with Macbeth, the dark heart of this uneven but fascinating score, is fervent and Toscanini-like in its precision, and above all Verrett's mesmerizing performance give this one the palm..
Trivia
From Wikipedia:
The first version of Macbeth was completed during the middle of what Verdi was to describe as his "galley years". Ranging from 1842 to 1850, this period saw the composer produce 14 operas, but by the standards of the subject matter of almost all Italian operas during the first fifty years of the 19th century, Macbeth was highly unusual. The 1847 version was very successful and it was presented widely. Pleased with his opera and with its reception, Verdi wrote to Antonio Barezzi, his former father-in-law and long-time supporter, on 25 March 1847 just about two weeks after the premiere: "I have long intended to dedicate an opera to you, who have been father, benefactor, and friend to me. It was a duty I should have fulfilled sooner if imperious circumstances had not prevented me. Now, I send you Macbeth which I prize above all my other operas, and therefore deem worthier to present to you”.
Macbeth. Trailer of the première at the Bavarian State Opera, Munich on October 2, 2008:
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