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Zarathustra,Don Juan,Till Eulenspiegels Lustige

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Produktbeschreibungen

Kurzbeschreibung

In this year of Richard Strauss s 150th birthday, it seems natural that the City of Birmingham Symphony Orchestra under Andris Nelsons should add the ultimate candle to the birthday cake, as it were, given that their previous recordings of Strauss's works for Orfeo ['Ein Heldenleben' C803091A, 'Alpine Symphony' C833111A) have been amongst the label's most successful of recent years. Here, the CBSO and its music director offer us a selection of the early tone poems: 'Don Juan', 'Till Eulenspiegel' and 'Also sprach Zarathustra'. In 'Don Juan', Strauss combined big tunes and orchestral virtuosity with a dash of immorality and wacky humour. Nelsons and the CBSO delight in the Don s life of adventure and conquest that comes to a sticky end. The macabre climax to 'Till Eulenspiegel', with the hanging of the protagonist, is preceded by a witty exploration of just about every possible orchestral timbre, with Strauss pulling out all the stops to depict Till s merry pranks. The world-class CBSO, homogenous across all the sections of the orchestra, is just what s needed for the great 'Also sprach Zarathustra'. Freely based on Friedrich Nietzsche (as Strauss himself wrote), Nelsons and the CBSO do equal justice to Zarathustra s address to the sun and to the mysterious close in which the motives of Man and Nature alternate in their respective keys. This new recording undoubtedly counts as one of the most awaited highlights of #Strauss150.

Rezension

***** 'He [Nelsons] knows he can ask anything of his players … [he] attacks when necessary with full-throttle precipitation … [his] charisma always shines through.' --David Nice, BBC Music Magazine June 2014

'A brilliant addition to the Strauss anniversary-year releases and an important record of the orchestra s fruitful relationship with their Latvian director.' --Martin Cullingford, Gramophone July 2014

**** 'Strauss s music ... splatters the colours, some tender, some vile, all delineated with exemplary finesse by Esa-Pekka Salonen and the Orchestre de Paris ... Precise in pitch, unfailingly intense and charismatic, the German soprano Evelyn Herlitzius conquers every challenge thrown by Strauss and his librettist, Hugo von Hofmannsthal. Watch for her mad victory dance at the end: unnerving and unforgettable ... Chéreau wasn t smiling for nothing.' --Geoff Brown, The Times 30 May 2014

'The treacherous start of Don Juan is securely handled ... the work benefits from Nelsons s long-term perspective and conviction ...The account of Also Sprach Zarathustra has comparible focus and cohesion.' --Richard Whitehouse, IRR June 2014

'... nuanced and insightful ... I'm handing the ultimate accolade to Andris Nelsons, whose version embodies many of Karajan's qualities while telling us lots we didn't already know about this inscrutable, endlessly fascinating score. Nelsons is Superman.' --Philip Clark - Gramophone Awards Issue, September 2014

'The treacherous start of Don Juan is securely handled ... the work benefits from Nelsons s long-term perspective and conviction ...The account of Also Sprach Zarathustra has comparible focus and cohesion.' --Richard Whitehouse, IRR June 2014

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Andris Nelson setzt mit jugendlicher Unbekümmertheit auf die großen Blockbuster. Und recht hat er! Wo findet man heute noch einen Dirigenten, der so konsquent die alten Schlachtrösser wieder aufzäumt? Das fabulös aufspielende britische Orchester ist ihm dabei ein congenialer Partner. Ob die Interpretation der einzelnen Stücke jetzt immer die letzten Feinheiten aufspürt, mögen Berufenere entscheiden. Jedenfalls, für den Freund spätromantischer Klangorgien ist diese auch exzellent aufgenommene CD wirklich ein Muss!
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Amazon.com: 4.5 von 5 Sternen 4 Rezensionen
14 von 16 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen A Thrilling Recording of Also Sprach Zarathustra 2. November 2014
Von James Walker - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
A truly eye opening and ear pleasing performance of this piece. The Sunrise theme was nothing short of mesmerizing. I own the Sinopoli version and have always found it to be wonderful but always felt without knowing exactly why something was missing. This version blows that one away. In the Awards 2014 Edition of Gramophone Magazine they give an insightful critique of all the currently available versions of this piece with the Nelsons version ending up receiving their ultimate accolade even when compared with the very well regarded Von Karajan 1973 version which I am not familiar with. I don't always agree with music reviewers because in the end I feel it comes down to a matter of personal preference which can sometimes be at variance with the music as annotated by the composer. In this case they were on the mark. The included Don Juan and Till Eulenspiegel tone poems are also truly delightful and the recorded sound is spectacular. The one caveat I would add is that a really first rate sound system is a must it you want to truly experience what is without question in my opinion a sublime recording.
2 von 5 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen LIsten to this 22. Dezember 2014
Von XV Corps - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
This is an AMAZING recording. The quality of the sound is above and beyond almost any CD that I've ever heard. The performance is insightful and well done. The Boston Symphony is very lucky to get Nelsons as its new music director. I'm looking forward to incredible music in Boston.
0 von 3 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Five Stars 24. Dezember 2014
Von cadred - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
tops
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3.0 von 5 Sternen Fight Club 17. Januar 2015
Von Bernard Michael O'Hanlon - Veröffentlicht auf Amazon.com
Format: Audio CD
One feature of life in country Australia was "tent boxing" where a troupe would come to town, set up shop and issue a challenge to the local lads to try their luck in the ring with prize-fighters. "Last two minutes against Alligator Ray or the Kalgoorlie Kid and win fifty bucks!" Fred Brophy - you'll find him on YouTube - is the last such impresario. Needless to say, challengers unfailingly bite the canvas. There's an equivalent in Strauss' Opus 30: Karajan's performance of Also Sprach Zarathurstra from 1973 - with his 1960 VP performance (a beast in itself) in reserve. Nor should one forget Reiner. Karajan also features prominently in gun recordings of Don Juan and Till Eulenspiegel (for instance, check out the 1984 Osaka performance of Don Juan on YouTube - it's phenomenal). It's a brave person who throws on the gloves.

Of the Scrawny Toms, Andris Nelsons has more fat on his pelt than others in the fraternity. His recording of the New World Symphony is not devoid of tension or expectancy; in the current climate, that's cause for celebration. I hope he can translate these attributes to music that matters.

On the whole, his Also Sprach Zarathustra is worth a listen even if it cannot trade blows with the heavy-weights above. He holds it together well. As an interpretation, I rate it above Dudamel / BP even if a lesser orchestra is in play. The City of Birmingham Symphony Orchestra - never a world-beater - plays adeptly within its parameters. At key junctures (say the climax of the Dance Song) the lack of torque and tension from the strings are evident (an aggressive timpanist can only do so much to mask it). Speaking of which, tuning is suspect in the opening bars - even I can hear that. It's not right. I was relieved to read that the reviewer in Fanfare was likeminded. Blame the timpanist! The join between the Dance Song and Song of the Night Wanderer is crude (they were clearly recorded in different sessions). The latter is devoid of magic too and, sad to say, this is true of the performance per se.

Don Juan sounds like a glorified run-through. How ordinary it is. Why was it ever published? It adds nothing to the allure of this disc.

I enjoyed Nelsons' Till Eulenspiegel. Then again, it's hard to think of a performance that one does not like.

I admire Nelsons' bravery. In a way, it's a pity that such benchmarks are in place and everlastingly so. Will we ever be free of them? To summarise, Nelsons starts poorly in Opus 30 with a self-inflicted whack to his face and shortly thereafter kisses the canvas. His teeth are knocked out in Don Juan. Like so many others, he stays on his feet in Opus 28. As he escaped with his life, this is a victory of sorts. He lives to fight another day.
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