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   DeutscheGrammophon の売れ筋最新ランキング   [2017年08月20日]
2017年08月20日(日) DeutscheGrammophonの第1位は 『Essential Bernstein』!
303ページ中 1ページ目を表示しています (110件) あとで携帯で見る



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¥ 2,764(税込)
ジャンル内ランキング:23179位  
くちコミ情報を見る



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Mozart;Requiem
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ジャンル内ランキング:254379位  
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ジャンル内ランキング:165726位  


Amazonレビュー
Herbert von Karajan gave some first-rate Sibelius performances in the course of his long career, and these are two of the finest. The suite of incidental music from Pelleas is particularly successful. Sibelius's score, as befits the understated and dreamy mood of the play, is very subtle, but also quite beautiful. It's the kind of thing the Karajan always did well, since the music really responds to such lovely playing and sheet beauty of sound. Finlandia, of course, merely needs a good, rousing blast from the brass to make its proper effect, and Karajan delivers the goods. The other works are both well-done, making this a desirable collection if the couplings appeal to you. --David Hurwitz くちコミ情報を見る



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ジャンル内ランキング:3145位  


Amazonレビュー
   最高の若手ヴァイオリニストのひとりとして、押しも押されもせぬ存在であるヒラリー・ハーン。早くから輝くばかりの才能を感じさせた彼女は、努力する天才でもあった。23歳になったハーンは、豊かな表現力を持つ素晴らしいヴァイオリニストへと成長を遂げている。今回の録音でハーンが取り上げたのは、バッハの「ヴァイオリン協奏曲第1番イ短調 BWV1041」と「同第2番ホ長調 BWV1042」、さらに「2つのヴァイオリンのための協奏曲ニ短調 BWV1043」と「オーボエとヴァイオリンのための協奏曲ハ短調 BWV1060」。非の打ちどころのない演奏技術、際立った美しさ、くっきりとした音色を満喫できるアルバムだ。

   ハーンの演奏には崇高さと節度がある。そのため、「モダン」な響きとヴィブラートにもかかわらず、サウンドはクラシカルで自然な清潔さを感じさせる。これとは対照的に、オーケストラのサウンドは美しいがあきれるほどに派手で、どうにも場違いな感じだ。が、2人の優秀な共演者とハーンの息はぴったりで、音色もスタイルも相性抜群。比較的なじみの薄い曲である「オーボエとヴァイオリンのための協奏曲」は、とりわけ見事な演奏となった。

   音楽に対する真摯で思慮深い取り組み方とは裏腹に、残念ながらハーンは「指がついていく限り速く弾く」という今日の演奏家たちのトレンド(おそらくジェット時代を反映したもの)に流されてしまっている。速い楽章はものすごいスピードで演奏されるため、楽曲の持つ優雅さ、品格、魅力が台無しになり、わざとらしいアクセントや、攻撃的でやたらと気ぜわしい弾き方ばかりが目立ってしまう。品位に欠ける演奏家ならば、単に器用さを誇示したいだけと思われかねないところだ。しかし、緩徐楽章になると、ハーンの音楽性、表現力、バッハに対する思い入れ(ソニーから無伴奏ヴァイオリン曲集『Hilary Hahn Plays Bach』もリリースしている)がハッキリと現れる。穏かでゆったりとした演奏は、音形を注意深く描き出しており、豊かな情感をたたえ、どこまでも美しい。(Edith Eisler, Amazon.com) くちコミ情報を見る




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Art of Segovia
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ジャンル内ランキング:2984位  


Amazonレビュー
DG has put together a fascinating compilation of Segovia's art that reminds us what a protean figure he was. Segovia single-handedly put the instrument on the map by making classical guitar concerts popular events, broadening the instrument's repertory through commissions and transcriptions, and convincing even doubters that it could be a vehicle for serious music. He's heard here in brief pieces recorded between 1952 and 1969. Even in those made when he was well into his 70s, his fingers remain nimble and interpretations lively. Listening straight through, one hears many all-time Segovia favorites as Turina's Sevillana and Albeniz's Asturias and Zambra Granadina and renews appreciation for path-breaking composers like Castelnuovo-Tedesco. He wrote extensively for Segovia and his Capriccio diabolico and Tonadilla are pieces of real substance. Disc two is largely made up transcriptions and it's amazing how well so many of them work on the guitar, at least under Segovia's magic fingers. Thus the transformations of Bach's violin music and even a Chopin Prelude sound idiomatic, and the gorgeous melodies of the Canzonetta from Mendelssohn's Op. 12 String Quartet are irresistible here. An entrancing set. --Dan Davis くちコミ情報を見る



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Symphonies 1-9
José Van Dam (Baritone) Ludwig van Beethoven (作曲) Herbert von Karajan (指揮) Agnes Baltsa (Mezzo Soprano) Berlin Philharmonic Orchestra (オーケストラ) Anna Tomowa-Sintow (Soprano) Peter Schreier (Tenor) Vienna Singverein (Vocals)  
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Amazonレビュー
This is hedonistic Beethoven, though in listening to these accounts one wonders sometimes whether Herbert von Karajan may not have confused sex with love, and physicality with emotion. At least he seems more concerned with opulence of sound and weight of texture than with psychology or substance. Yet while his interpretation has neither great emotion, nor struggle, nor a sense of spiritual release, it certainly has great beauty and exhilaration. The readings are typical of the "massaged" style of performance Karajan cultivated in Berlin during the 1970s, and which Andrew Porter famously critiqued when he likened the results to Kobe beef. There is a certain softness under all that muscularity, though for the most part Karajan shows his usual strong grip and maintains the balance of lyrical and kinetic elements. The Berlin Philharmonic, at its peak when these recordings were made, is a marvel: even if its playing is rarely fiery or spontaneous, its sound is plush, succulent, and exilaratingly rich. Karajan uses a big orchestra all the way through, even in Symphony No. 1--which as a result sounds rather massive, though not heavy (the brisk scale in the violins at beginning of the fourth movement is delightfully airy). In addition to their polish, his readings are notable for their high energy level. This is particularly true of the Eighth, one of the most successful items in the set, which is interpreted in a way that clearly shows its connection to Seventh. On balance, the accounts run from very good to outstanding (Nos. 4, 8 and 9), but only rarely do they approach the transcendent. The recordings, made in Berlin's Philharmonie, are close-miked and mastered at a fairly high level, and sound is impressively firm. --Ted Libbey くちコミ情報を見る



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Amazonレビュー
Two valedictory sets of songs feature on this disc from the German baritone Thomas Quasthoff. Brahms's aptly named Four Serious Songs date from the year before his death and find him at his most Teutonic, setting stern words from the Bible. But there are unexpected beauties within--have a listen to track 17, from about 1:17 onwards, and discover that he's more of a charmer than he's often given credit for. Quasthoff and pianist Justus Zeyen demonstrate a true meeting of minds in this highly persuasive reading. But it's Schwanengesang that is the real buying-point here. Quasthoff has chosen to take the songs in published order, which is not necessarily the done thing these days. It's a less searing reading than those of, say, Dietrich Fischer-Dieskau or Brigitte Fassbaender, lacking the voice-cracking edginess that they favour in the more violent songs, such as "Der Atlas" and "Der Doppelganger". As a result, Quasthoff's version of events sounds more of a piece than in some readings, with the final song, "Die Taubenpost" (Pigeon Post), chirruping away merrily without seeming the disastrous faux pas that it can so easily be, coming as it does directly after the impassioned Heine settings. Here is, in short, a reading to rate alongside the best--to be listened to regularly and with ever increasing pleasure. If you want a taster, just try "Am Meer" (By the Sea) on track 12 and see if you aren't mesmerised. --Harriet Smith くちコミ情報を見る



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Amazonレビュー
Puccini struggled especially hard with the birth of Manon Lescaut, his first triumph and, for all its flaws, his first real masterpiece. There's no question that the compassion he felt for the confused and ultimately doomed heroine of Abbé Prévost's 18th-century novel generated the kind of intensity he brought to Mimi or Tosca.

This live performance from June 1998 at La Scala is clearly banking on the star power of José Cura, who indeed makes his memorable mark on des Grieux. It's exactly the kind of role to absorb Cura's drawbacks (his moments of insecurity and odd phrasings) and let his strengths shine, and Cura uses his wonderfully dark, ardent tenor to embody des Grieux in all his helpless passion. As the title heroine, Maria Guleghina can be exasperatingly supercharged one moment, beguiling the next. She's not all that convincing as the character's frantic mood shifts, but is emotionally gripping in her bleak final monologue. Riccardo Muti is less uptight than usual in the pit and throws welcome light on the score's notable symphonic depth, bringing a sense of coherency to Puccini's not-quite-perfected vision. Some moments of frazzled string ensemble aside, the band plays beautifully. --Thomas May くちコミ情報を見る




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Theo Adam (Baritone) Bernd Weikl (Baritone) Carl Maria von Weber (作曲) Carlos Kleiber (指揮) Leipzig Radio Chorus (オーケストラ) Staatskapelle Dresden (オーケストラ) Gerhard Paul (演奏) Gundula Janowitz (Soprano) Edith Mathis (Soprano) Peter Schreier (Tenor)  
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Amazonレビュー
Der Freischütz is one of the great milestones in the history of opera. The resounding success of its premiere in 1821 practically made it a manifesto for German Romantic opera, one that would become a significant formative influence on Wagner. Although it has its roots in the Singspiel tradition exemplified by Mozart's Die Zauberflöte, Der Freischütz cut new ground with its potent mixture of supernatural elements, dreams, folk melodies, evocations of nature, and symphonic tone painting. Here, von Weber exploited his brilliant orchestral imagination--using, for example, carefully divided string tremolos and a gleaming choir of four horns--to maximum effect. This legendary recording from 1973 was Carlos Kleiber's first studio project, and the scrupulous attention he lavished on the score resulted in an interpretation that continues to sound bold, fresh, and authoritative. The Dresden Staatskapelle plays in top form, whether in tenderly sprung wind solos or in the truly spooky atmospherics of the famous Wolf's Glen scene. Peter Schreier's dark, pungent tenor is something of an acquired taste, but he gives fervent voice to the despair of hunter/protagonist Max. Gundula Janowitz sings with stirring beauty and enriches the two-dimensional character of Max's beloved Agathe with remarkable depth, revealing both her innocence and her agonized foreboding. And Theo Adam delivers a thoroughly spiteful, loathesome vocal portrait of the nefarious Kaspar, whose pact with the devil Samiel goes awry. For a work that is not performed nearly as often as it deserves to be, this recording is essential. --Thomas May くちコミ情報を見る
303ページ中 1ページ目を表示しています (110件)
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