Dalia Atlas Sternberg

Editorial Reviews
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The most striking features of this release are the physical sound and exceptional level of performance Dalia Sternberg gets out of the Royal Philharmonic Orchestra. The sound is bright and sharp without being tinny. Praise for this goes to Maestro Sternberg. She seems to have a feel for this music (the Three Jewish Poems will have you melt in your chair), and she gets just the right folk-music touches without allowing the music to become maudlin. The highlight here is the stately Symphony in E-flat. It is much less based on Jewish themes, but still tonal. --Paul Cook

Ernest Bloch: Macbeth (1919) - Two Interludes / Three Jewish Poems (1913) / In Memoriam (1952) / Symphony In E flat (1954/5) - Royal Philharmonic Orchestra / Dalia Atlas Sternberg, Music, Ernest Bloch, Dalia Atlas Sternberg, David Towse, Royal Philharmonic Orchestra, 20th/21st Century Orchestral Work with Descriptive Title, 20th/21st Century Symphony, 20th/21st Century Tone Poem/Symphonic Poem, American 20th/21st Century Opera, Classical, Classical Composers, Classical Music, Opera, Orchestral, Orchestral & Symphonic, Symphonic

BLOCH: Macbeth - Rumpf - 2CD
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BLOCH: Macbeth - Rumpf - 2CD

Manufacturer: Capriccio
ProductGroup: Music
Binding: Audio CD

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ASIN: B00069CPNK
Release Date: 2004-10-15

Album Description

Ernest Bloch (1880-1959)

Macbeth, Opera in Seven Scenes, Complete Recording

Theatre Chorus of Dortmund
The Dortmund Philharmonic Orchestra
Alexander Rumpf, director

with:

Macbeth...Hannu Niemela
Lady Macbeth...Sonja Borowski-Tudor
Macduff...Karl-Heinz Lehner
Lady Macduff...Jill-Maria Mardsen
Banquo...Thomas De Vries
Duncan...Norbert Schmittberg
Malcolm...Fredric Hellgren
Lennox...Sven Ehrke
Le portier...Thomas Mehnert

Two Cd set with complete scene explanations and essays of the work (does not contain libretto).

Tracking in CD Booklet

Customer Reviews:

Inge Borkh:Hidden treasure.......2004-06-14

One of the outstanding singers of the last 60 years, among the most exciting 'Elektras', yet almost unrepresented on commercial recordings ('Elektra' and 'Salome' excerpts with Reiner, and Decca's 1959 'Turandot' with Del Monaco are about all). This set is a great bargain intro to this full-voiced, edgy, sexy, nuancy, spinta (comparisons are always lazy and odious, but consider your condition if you'd missed Gencer, Olivera, or Cerqueti.)

Stokowski & The Symphony of the Air: Shostakovich, Respighi, Khachaturian, Bloch, Frescobaldi, Palestrina, Gabrieli, & Cesti

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An indispensable purchase for the Stokowski admirer
Very Rare Stokowski
A rare find, get this while you still can!

Stokowski & The Symphony of the Air: Shostakovich, Respighi, Khachaturian, Bloch, Frescobaldi, Palestrina, Gabrieli, & Cesti
cello George Neikrug , Ernest Bloch , Antonio Cesti , Girolamo Frescobaldi , Giovanni Gabrieli , Aram Khachaturian , Giovanni Pierluigi da Palestrina , Ottorino Respighi , Dmitry Shostakovich , and Leopold Stokowski
Manufacturer: Capitol
ProductGroup: Music
Binding: Audio CD

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ASIN: B000025LLU
Release Date: 1994-11-15

Customer Reviews:

An indispensable purchase for the Stokowski admirer .......2007-02-02

Let me join the two previous commentators and add on to their praise of this set, while also providing some additional information. It is an indispensable purchase for the Stokowski admirer. The two well-filled discs collect the contents of three and a half LPs recorded in 1958-9 and released by the apparently short-lived United Artists label: UAS 8001 had Respighi's Pines (surprisingly the Maestro's only studio recording of any Respighi, though a live Philadelphia concert of a year later had been available at one point on LP) and the transcriptions, UAS 8002 Khachaturian's sprawling second symphony, UAS 8004 the Shostakovitch compositions and UAS 8005 Bloch's Schelomo. Left out in the process are Paul Ben Haim's "From Israël" which served as a filler to Bloch and Beethoven's 7th symphony (Stokowski's second recording) which came on UAS 8003. The Symphony of the Air Orchestra is in fact the name assumed by Toscanini's reformed NBC Orchestra after it was disbanded by RCA, following the conductor's death.

As remastered, the sound is saturated in some of the louder passages, especially in Khachaturian's symphony and there is some tape hiss, but one can only agree with the note of warning contained in the booklet: "these analog recordings were chosen for re-release on Compact Disc because of their artistic and historical significance. Unfortunately, the original master tapes suffer from a degree of distortion and irregularity which could not be eliminated in the re-mastering process. However, the importance of making available these definitive recordings should outweigh any such technical shortcomings".

Khachaturian's 2nd symphony is a composition of vast and at times sprawling dimensions. Written in 1943, it is conceived as "a requiem of protest against war and violence" and has the bombast of Shostakovich's 7th and 8th symphonies, but also genuine dramatic sweep, in particular in its third movement, a funeral march starting with a melody of almost Spanish tinge - it could be music for Llorca's dirge for the fallen bull fighter - and soon mixed with the tune of the Dies Irae. I find it evocative of Shostakovich' 11th symphony. As mentioned, the sound is saturated in the louder passages and no match to the composer's own 1962 recording with the Vienna Philarmonic (Decca), but Stokowski, in his only recording of that piece (he also did the 3rd symphony and the "Masquerade"-Suite), conducts with plenty of color and panache. The same holds true of Shostakovich's brash first symphony, his second recording (the first was with Philadelphia in 1933, now on Pearl). His transcription of the composer's piano prelude Op. 34/14, here in the third of the Maestro's four studio recordings (there are also three live ones), makes it into a sombre, brooding and dramatic sister movement of the 11th symphony.

Stokowski had done the first recording ever of Bloch's Schelomo, in 1940, with Emanuel Feuermann (available on CD from various labels). A pupil of Feuerman and of the apparently exceptional pedagogue Demetrious Dounis, George Neikrug doesn't belong to the stellar names of the cello who have recorded the piece (which, besides Feuermann, include, in rough chronological order, Piatigorsky, Rose, Fournier, Starker, Rostropovich, Harrell, Ma), yet he is second to none. He performs with big tone and romantic fervor, and the orchestra under Stokowski plays with fire, a few uncertain entries and sometimes almost overbearing presence, some of the solo wind interventions sounding forte rather than the indicated piano. One can find on the web a fascinating interview of Neikrug, in which he remembers being with Feuermann in California, twenty years before, when the latter received the first pressings of his recording with Stokowski; he also hilariously recounts the circumstances of the 1959 rehearsals, how they began in chaos and how suddenly and unexpectedly everything coalesced into the genuine and unique "Stokowski sound".

The Stokowski transcriptions of pieces by four Italian Renaissance composers make them into full-blooded romantic pieces, evoking, especially in Cesti and Palestrina, Barber's adagio or even Albinoni's spurious adagio as it was customarily performed in the fifties and sixties. The effect is somewhat staid, but still deeply moving.

The 17 page (including photos) liner notes are an integral part of this set's value. They contain lengthy comments of each composition (including the transcriptions) by William C. Baxter (who seems to confuse this recording of Schelomo and Stokowski's earlier one with Feuermann) and a biography of Stokowski by Kay Baumgartner (with an account of the circumstances of the recordings at hand) whose value comes from the fact that it is not a mere one-sided panegyric.

Very Rare Stokowski.......2006-01-06

These recordings are truly rarities. The originals were made for the now defunct United Artists label. Some years ago the master tapes were purchased by Angel Records (USA) and languished in their vaults for many years. With pressure exerted by individuals and the Leopold Stokowski Society of America, this set was finally released. Many of these pieces were never recorded by the Maestro at any other time. In my opinion, the gem in the set is the Shostakovich Symphony # 1. At the time of its original release it was hailed as the best recorded performance ever of this piece. I have never found another I like better. It is superb. Stokowski also brings out the very best in all the other numbers as well. It is an outstanding testament to the man and to a great orchestra. These recordings may never be released again. Get this set now while you can.

A rare find, get this while you still can!.......2005-06-14

This generous 2 disc set(over 70min. each)is comprised of recordings made for the defunct United Artists Record Label from
1958-59. I presume these are some of the last recordings made by The Symphony of the Air(formerly Toscanini's NBC Symphony).
EMI has nicely remastered(only the bass lacking)the sound.
We are given a somewhat average "Pines" and a congested but cinematic Khachaturian Sym. #2 on disc 1. Stokowski's period piece orchestrations/transcriptions emphasis modern choirs of brass. On disc 2, He affectionately conducts Shostakovich's youthful Sym. #1. We are given a robust account of Bloch's "Schelomo" with the renowned George Neikrug as cello soloist.(I think overall sound quality is better on this second disc.) This set is a must for any collector of Stokowski interpretations and what a value for those wanting a varied orchestral program. The selections are excellently annotated and their are some rare photos along with a informative essay about the great meastro. At time of my review this may allready be out of print, so hurry!

Ernest Bloch: Macbeth (1919) - Two Interludes / Three Jewish Poems (1913) / In Memoriam (1952) / Symphony In E flat (1954/5) - Royal Philharmonic Orchestra / Dalia Atlas Sternberg

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Ernest Bloch: Macbeth (1919) - Two Interludes / Three Jewish Poems (1913) / In Memoriam (1952) / Symphony In E flat (1954/5) - Royal Philharmonic Orchestra / Dalia Atlas Sternberg
Ernest Bloch , Dalia Atlas Sternberg , David Towse , and Royal Philharmonic Orchestra
Manufacturer: Asv Living Era
ProductGroup: Music
Binding: Audio CD

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Bloch: Concerti Grossi Nos. 1 and 2 / String Quartet

ASIN: B0000030XO
Release Date: 1998-01-20

Tracks:

Act I
Act 3
Danse (Poco Animato)
Rite (Calmo-Andante Moderato)
Cortege Funebre (Lento Assai)
In Memoriam
First Movement: Tranquillo-Allegro Deciso
Second Movement: Allegro
Third Movement: Andante
Fourth Movement: Allegro Deciso

Amazon.com

The most striking features of this release are the physical sound and exceptional level of performance Dalia Sternberg gets out of the Royal Philharmonic Orchestra. The sound is bright and sharp without being tinny. Praise for this goes to Maestro Sternberg. She seems to have a feel for this music (the Three Jewish Poems will have you melt in your chair), and she gets just the right folk-music touches without allowing the music to become maudlin. The highlight here is the stately Symphony in E-flat. It is much less based on Jewish themes, but still tonal. --Paul Cook

Average customer rating:

Elegy/Masterpieces for String Orchestra

Manufacturer: Claves
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

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Russian | Languages | Opera & Vocal | Styles | Music
ASIN: B0000045BI
Release Date: 1993-01-01

Tracks:

Elegy
Poem
Two Elegiac Melodies, Op.34
Crisantemi
Une Larme
Adagio
Lyric Andante
Langsamer Satz
Prayer - Denis Krotov
Nocturne, Op.40
Elegy, Op.58
Adagio Op.11
Nocturne
Elegy, Op.29

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Ernest Bloch: Macbeth

Manufacturer: Musicales Actes Sud
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004UFGQ
Release Date: 2000-09-12

Tracks:

Intro - Montpellier PO Languedoc-Roussillon/Friedemann Layer
'D'ou Viens-Tu? Sur Le Champ De Bataille...' - Sophie Fournier/Hanna Schaer/Ariene Stamboulides
'Oh Macbeth! Voyez Ces Creatures Fletries - Jacque Trussel
Macbeth! Plus Rapides Que La Grele...' - Jean-Philippe Marliere
Act I, Scene 1. Une Salle Dans Le Chateau De Macbeth: 'Et Puis...Elles Disparurent' - Jean-Philippe Lafont
Act I, Scene 1. Une Salle Dans Le Chateau De Macbeth: 'Seigneur, Le Roi Vient!' - Franck Bard
Act I, Scene 1. Une Salle Dans Le Chateau De Macbeth: 'O Fidele Epouse De Mon Fidele Macbeth' - Christer Bladin
Act I, Scene 1. Une Salle Dans Le Chateau De Macbeth: 'Je Suis Vieux, Malcolm' - Christer Bladin
Act I, Scene 1. Une Salle Dans Le Chateau De Macbeth: 'Ah! Si La Chose Une Fois Faite' - Jean-Philippe Lafont
Act I, Scene 1. Une Salle Dans Le Chateau De Macbeth: 'Ecoute: Quand Duncan...' - Markella Hatziano
Act I, Scene 1. Une Salle Dans Le Chateau De Macbeth: Interlude Orchestral - Montpellier PO Languedoc-Roussillon/Friedemann Layer
Act I, Scene 2. La Cour Interieure Du Chateau: 'Il Est Plus De Minuit' - Jacque Trussel
Act I, Scene 2. La Cour Interieure Du Chateau: 'Est-ce Un Poignard?' - Jean-Philippe Lafont
Act I, Scene 2. La Cour Interieure Du Chateau: 'Les Portes Sont Ouvertes' - Markella Hatziano
Act I, Scene 2. La Cour Interieure Du Chateau: 'Frappe, Frappe, Dit Le Demon' - Marcel Vanaud
Act I, Scene 2. La Cour Interieure Du Chateau: 'Il Etait Donc Bien Tard L'ami?' - Jean-Philippe Marliere

Tracks:

Act II: Une Salle D'apparat Dans Le Chateau De Macbeth: 'Ces Hommes Sont La?' - Jean-Philippe Lafont
Act II: Une Salle D'apparat Dans Le Chateau De Macbeth: 'Partis! Partis! Pour Toujours!' - Jean-Philippe Lafont
Act II: Une Salle D'apparat Dans Le Chateau De Macbeth: 'Qu'entends-Je Mylords?' - Jean-Philippe Lafont
Act II: Une Salle D'apparat Dans Le Chateau De Macbeth: 'Que Vois-Je? Plus De Place Pour Moi' - Jean-Philippe Lafont
Act II: Une Salle D'apparat Dans Le Chateau De Macbeth: 'O Macbeth! Pourquoi?' - Markella Hatziano
Act II: Une Salle D'apparat Dans Le Chateau De Macbeth: 'Oui, Je Tiens Dans Mes Bras' - Jean-Philippe Lafont
Act III, Scene 1. Une Caverne Tenebreuse: 'La Chatte A Miaule' - Sophie Fournier/Hanna Schaer/Ariene Stamboulides
Act III, Scene 1. Une Caverne Tenebreuse: 'Que Faites-Vous Donc, Sorcieres Tenebreuses?' - Jean-Philippe Lafont
Act III, Scene 1. Une Caverne Tenebreuse: 'Macbeth! Macbeth!' - Mojtek Smilek/Annie Vavrille
Act III, Scene 1. Une Caverne Tenebreuse: Interlude Orchestral - Montpellier PO Languedoc-Roussillon/Friedemann Layer
Act III, Scene 2. Une Salle Dans Le Chateau De Macbeth Avec Une Galerie Ouverte Sur La Forte De... - Markella Hatziano
Act III, Scene 2. Une Salle Dans Le Chateau De Macbeth Avec Une Galerie Ouverte Sur La Forte De... - Jean-Philippe Lafont
Act III, Scene 2. Une Salle Dans Le Chateau De Macbeth Avec Une Galerie Ouverte Sur La Forte De... - Jean-Philippe Lafont
Act III, Scene 2. Une Salle Dans Le Chateau De Macbeth Avec Une Galerie Ouverte Sur La Forte De... - Jean-Philippe Lafont
Act III, Scene 2. Une Salle Dans Le Chateau De Macbeth Avec Une Galerie Ouverte Sur La Forte De... - Choeur De La Radio Lettone

Average customer rating:

Exciting Performance of Bloch Rarity, But Must Be 2nd Choice

Ernest Bloch: Macbeth

Manufacturer: Capriccio
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

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ASIN: B00005MK9O
Release Date: 2001-07-24

Customer Reviews:

Exciting Performance of Bloch Rarity, But Must Be 2nd Choice.......2002-01-06

Bloch's only opera had its premiere in Paris in 1910, when the composer was 30. Though the influence of Wagner, Musorgsky & Debussy is obvious, the music has a distinctive, dark sound, both harmonically and orchestrally, which suits the violent, bloody story (closely based on Shakespeare) very well. The scenes between Macbeth & Lady Macbeth are set with particular psychological subtlety. Overall, I find this one of the most rewarding and fascinating rediscoveries of French-language opera in recent years, and recommend it to anyone with a taste for music drama of this era.
This is the 2nd recording to be issued: like the 1st one, it preserves a live performance, but otherwise the 2 versions are very different. The other one (Actes Sud #34100) stems from a concert conducted expertly by Friedemann Layer, with the excellent Orchestre Philharmonique de Montpellier L.-R., & a generally strong cast headed by Jean-Philippe Lafont & Markella Hatziano. The French is mostly native - a definite plus in this work - & there's a full libretto (French only). Layer makes one big cut, Act II, Scene 2 - the "Lady Macduff scene": this omission is composer-sanctioned, but perhaps regrettable on both dramatic & musical grounds.
This new set comes from the German stage premiere in Dortmund (1998). It's an exciting performance, led with great forward momentum by Alexander Rumpf, which confirms the music's theatrical power, while slighting some of its subtleties. It also shows that the piece can work even without a single native speaker in the cast: the French ranges from decently schooled to pretty murky. Act II, Scene 2 is included, though slightly abridged & with the unfortunate substitution of a tenor for a mezzo-soprano in the role of Macduff's Son (think Debussy's Yniold & Musorgsky's Tsarevich Fyodor). There are over a dozen other cuts & omissions of varying length (including 2 composer-authorized ones), most notably in Act III, with the result that the playing time is actually 4' shorter than the Actes Sud version. (These cuts are not insensitive or stupid, but on disc I think the composer's full text is preferable.) Finally, there is no libretto, only a skimpy synopsis. My recommendation: get the Actes Sud version; then, if you really fall in love with the piece, try to hear this performance for its raw dramatic energy & the "missing" scene.

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