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Lisa Larsson, Het Gelders Orkest, Antonello Manacorda – Berlioz: La Captive (2014)
SACD Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 48:39 minutes | F/B Covers + PDF Booklet | 2,62 GB
or DSD64 2.0 Stereo (from SACD-ISO to Tracks.dsf) > 1-bit/2.8224 MHz | F/B Covers + PDF Booklet | 1,06 GB
or FLAC Stereo (carefully converted & encoded to tracks) 24bit/96 kHz | F/B Covers + PDF Booklet | 968 MB
Features Stereo and Multichannel Surround Sound | Challenge Classics # CC 72639
Swedish soprano Lisa Larsson is among the most versatile singers on the European scene, with a repertory stretching from the Baroque to contemporary music. This coherent and innovative program features two cantatas and a song composed by Berlioz between 1828 and 1830. One of the stars of today singing, Lisa Larsson finally approaches French romantic repertoire.
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Lisa Larsson, Malmo Symphony Orchestra, Paul Magi – Into Eternity (2019)
FLAC (tracks) 24 bit/96 kHz | Time – 01:06:44 minutes | 1,17 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © BIS
The music on “Presentiment”, a 2018 release with four orchestral works by Rolf Martinsson, was described by one critic as “bold and uncompromisingly personal, eschewing avant-garde modernism and engaging us with solidly expert conventional techniques of composition and orchestration” (MusicWeb International.com). The present volume features more of Martinssons music, performed by the Malmö Symphony Orchestra a body with which Martinsson has enjoyed a close relationship as its composer in residence. In two of the recorded works, the orchestra conducted by Paul Mägi is joined by another of Martinssons regular collaborators, the soprano Lisa Larsson. Larsson is the soloist in Ich denke Dein…, a song cycle setting five poems by Goethe, Rilke and von Eichendorff, and in Into Eternity, a longer work which in its second half incorporates two poems by the Swedish poet Karin Boye. Into Eternity was composed for the opening of the Malmö orchestra’s new concert hall in 2015, and Martinsson wrote it, as well as Ich denke Dein…, with Lisa Larsson in mind. Larsson also appears on the composer’s previous monograph on BIS, in his settings of poems by Emily Dickinson.
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Lisa Larsson, Het Gelders Orkest, Antonello Manacorda – Berlioz: La Captive (2014)
DSF Stereo DSD128/5.64 MHz | Time – 48:34 minutes | 3,85 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: nativeDSDmusic | Booklet, Front Cover | © Challenge Records
Have you ever heard of Jean-Baptiste Guirod, Giullaume Ross-Despraux or Eugne Prvost? Apart from Prvost, perhaps, they have mostly been consigned to the depths of oblivion. But these were composers who won the coveted Prix de Rome, an award that had been instituted by Napoleon himself in 1803, in the period from 1827 to 1829. And in doing so, they whipped the prize right out from under the nose of Berlioz, who had competed for it just as often as they had. It might offer Berlioz some — posthumous — solace to know that he was in excellent company; Ravel, Debussy and Bizet were also to be denied the prize. The judging system for the prize, which offered little scope for groundbreaking composers, has come in for severe criticism over the years. In the words of Edgar Varse, the prize ‘produced so much insipid fruit that nowadays we can barely even remember their names’. It was Berlioz himself, in his highly readable and entertaining autobiography, who explained all about the prize’s requirements and what the prize itself involved. The winner received an allowance for five years, but this was on condition that he would spend the first two years at the Acadmie de France in Rome, use the third year for travelling through Germany and survive the remaining two years ‘doing what he could to promote himself and avoid dying from hunger’ in Paris.
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Lisa Larsson, Combattimento Consort Amsterdam, Jan Willem de Vriend – Ladies First! Opera arias by Joseph Haydn (2013)
DSF Stereo DSD128/5.64 MHz | Time – 01:03:07 minutes | 4,98 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: nativeDSDmusic | Booklet, Front Cover | © Challenge Records
The operas of Joseph Haydn are far less known today than those of his contemporaries Christoph Willibald von Gluck (1714 — 1787) and Wolfgang Amadeus Mozart (1756 -1791). In 1790 Haydn was generally considered the most famous composer of his age, but the relative obscurity of his operas in comparison with his other works today was also the case in the 18th century. How is it possible that Haydn’s operas are still relatively unknown, despite a remark Empress Maria Theresia expressed upon hearing Haydn’s L’ Infeldelta Delusa in 1773; “If I want to hear good opera, I am going to Esterhaza!”
Between 1761 and 1790 Haydn was in the employment of Prince Paul von Esterhazy and his son and successor Prince Nikolaus, both passionate music lovers. From 1766 onwards, Haydn wrote, in addition to composing chamber music and symphonies, four Italian comedies, six German Singspiele and numerous Italian operas for his employers of the Esterhazy dynasty. Furthermore he also supervised all musical activities at the court including yearly performances of more than 150 operas, many composed by his contemporaries. As Kapellmeister Haydn was not only responsible for musical direction of the operas but also for staging, contracting the singers and occasionally writing an extra aria as required, like the aria “Quando la rosa”. This aria was included in the performance of Guiseppe Anfossi’s opera La Metilde Ritrovata (1773).
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