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Su | Mo | Tu | We | Th | Fr | Sa |
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27 | 28 | 29 | 30 | 1 | 2 | 3 |
4 | 5 | 6 | 7 | 8 | 9 | 10 |
11 | 12 | 13 | 14 | 15 | 16 | 17 |
18 | 19 | 20 | 21 | 22 | 23 | 24 |
25 | 26 | 27 | 28 | 29 | 30 | 31 |
A top ranking performance, only found in Japan, with an excellent Cedolins who is in a far better condition than in her Liceu's performance (Arthaus, 2007): beautiful voice, adequate play, sustained by good singers (excellent Adalgisa too), and Campanella is conducting with a great sense of the score. Only one limit: the orchestra which has difficulties to play piano when required (or maybe the recording is too close of the instruments?)
There is certainly nothing mechanical about the present performances, of three works which in emotional content range from the joyful vitality of the Advent cantata BWV36 to the meditations upon death and the leave-taking of this world which permeate BWV27. As always the opening choruses are of particular interest, for instance that of Cantata BWV47, a striking example of Bach’s skills in illustrating a text in music but also a highly complex composition in which the interplay between choir and orchestra is beautifully balanced. The soloists also have their share of fine moments on this instalment. Hana Blažíková, dubbed ‘an ideal Bach soprano’ in International Record Review on account of her performance on the previous Cantata volume, performs the charming and playful aria ‘Auch mit gedämpften, schwachen Stimmen’ with solo violin, while Robin Blaze and Peter Kooij – both veterans of this series – each have received a true display piece in the form of the two arias of BWV27.
Puccini's music has never been more elegant or beautiful. It is amazing that this lovely opera remains so little heard. With performances as brilliant as this one I doubt that will continue for much longer. If you are a devotee of Puccini you will probably love this staging of his still rarely performed but nearly perfect creation: La Rondine. It is a performance of rare elegance and taste, suffused with the autumnal musical beauty of an artist at twilight.
Through clearly influenced by Gluck, Méhul's Stratonice burns with Beetovenian zeal. William Christie's 1996 performance with Capella Coloniensis is brilliant and bracing
Anna Picard for BBC Music Magazine