Concierto Aranjuez Full Score Pdf [HOT]
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The interest of this recording lies in Rattle's use of the orchestra, especially the strings, to provide a strong backdrop for the singers, as opposed to simply providing a solemn, Romantic-era instrumental accompaniment. The result is a recording that is more of an orchestral recording than any other, with a greater sense of actual wind and string attack (the brass section is well-recorded but lacks the texture and volume one expects from a great Wagner orchestra). The orchestration and musical materials are recognizably German, in the style of Rattle's mentor Hans Pfitzner, rather than the simpler, more vocal-oriented style of his principal mentor, Bruno Walter, with which Rattle has had more direct contact. There is a lightness and richness of orchestral texture throughout the recording, and this makes the singing sound very vivid, even though the singers have been well-prepared and trained for the work. The countertenor Thomas Hampson has a strong, attractive timbre, and his voice is a good match for the dramatic, deeply passionate tone of Wotan. He is a vocalist who can handle difficult music, and he makes a character portrayal of the god that is convincing and exciting, even if Wotan is not portrayed as typically tragic or heroic. The nightingale-like high notes of the young soprano Elisabeth Kulman are lovely, her lower register is smooth and rich, and her tone is flexible and attractive. The baritone Michael Volle is very strong and commanding, and his voice fits the character of the god Alberich well. His range is limited, but he can cope with the difficult passages, and the effect is strong. The tenor Paul Groves does not have the vocal force and range of a Simon Rattle-directed ensemble, but he is very handsome, with a fine sound, and his clean tone suits the role perfectly. The Bavarian Radio Symphony Orchestra, an ensemble with many members who study with Rattle, is very strong, especially in the lower brass and woodwind instruments, and the recording is full of life. The strings sound like a real orchestra, not just a recording of a single great instrument, and it is a pleasure to hear them in a Wagner recording.
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