
Now have eight versions of the Goldbergs in the collection including 2 Goulds, Hewitt, Tureck, Ishizaka, Chen and Jarrett (Harpsichord). Listening to Schiff right now.
You need Hantai as well!!markof wrote: Have eight versions of the Goldbergs in the collection including 2 Goulds, Hewitt, Tureck, Ishizaka, Chen and Jarrett (Harpsichord). Listening to the Schiff right now.
I think I need my head examined, more like, but I'll bear it in mind :~)Diapason wrote:You need Hantai as well!!markof wrote: Have eight versions of the Goldbergs in the collection including 2 Goulds, Hewitt, Tureck, Ishizaka, Chen and Jarrett (Harpsichord). Listening to the Schiff right now.
markof wrote:I think I need my head examined, more like, but I'll bear it in mind :~)Diapason wrote:You need Hantai as well!!markof wrote: Have eight versions of the Goldbergs in the collection including 2 Goulds, Hewitt, Tureck, Ishizaka, Chen and Jarrett (Harpsichord). Listening to the Schiff right now.
He definitely does.Diapason wrote:You need Hantai as well!!markof wrote: Have eight versions of the Goldbergs in the collection including 2 Goulds, Hewitt, Tureck, Ishizaka, Chen and Jarrett (Harpsichord). Listening to the Schiff right now.
Now that's a new one on me, very interesting indeed.Jose Echenique wrote:
Otto Klempere said in the last year of his life that he regretted not conducting more often 2 rarely staged operas that he especially loved: Cornelius´The Thief of Bagdad and Weber´s Euryanthe.
Euryanthe was enormously popular in the XIX Century. Victor Hugo describes in Les Mis the hunting chorus as the most beautiful music ever written (no, he was not confused with Der Freischütz, there´s also a hunting chorus in Euryanthe). So why it suddenly became a rarity? Probably because of Lohengrin, since they basically share the same story. But Euryanthe is really gorgeous, and this magnificent recording has served the opera well since 1974. There is only one other recording, a live version from Italy in the Dynamic label, but it´s not as opulently cast as this one nor as beautifully played by a vintage Dresden Staatskapelle. Klemperer was right, Euryanthe deserves a comeback.