Prokofiev - Peter and the Wolf (Willie Rushton/Sian Edwards, London Philharmonic Orchestra. CfP)

Congratulations on you milestone John as your collection is obviously used and listened to and does not simply sit adorning a shelfjohnQpublic wrote: and with today's listening I reached a milestone. Starting in 2008, I kept track of my listening selections and excepting multi-disc sets of operas, oratorios and ballets, I have heard at least one composition from each CD in my collection. I'm still working on saying the same for my LPs and the goal after that will be to have listened to every item I own. Do keep in mind I only listen for about an hour most days and some days no listening occurs, so these next goals are years out in the future.
I must check that one out Pepejosé echenique wrote:
That´s one of Colin Davis´s best recorded efforts in recent years Fergus. And fortunately Heppner was still in top form when the recording was made. Overall, it´s an excellent Les Troyens. Colin Davis´s previous, landmark recording in PHILIPS is memorable mostly because of Jon Vickers as Aeneas, but the Dido and Cassandra are nowhere in his class. Originally PHILIPS wanted Janet Baker as Cassandra and Regine Crespin as Dido, but for contractual reasons it couldn´t be.Fergus wrote:
Acts 1, 2 & 3.
why do the French 'hate' Berlioz, Pepe? Would it perhaps be the inverse reason as to why he's the only French composer I actually like?josé echenique wrote: Gardiner who also has a very British (because the French hate Berlioz ha, ha) affinity with the score
Believe it or not but I know many French people who totally dislike Berlioz. Of course there have been some notable French conductors who have made him proud like Monteux and Minkowski, but when one thinks of Berlioz it´s usually Anglos like Colin Davis and John Eliot Gardiner who come to mind.Jared wrote:why do the French 'hate' Berlioz, Pepe? Would it perhaps be the inverse reason as to why he's the only French composer I actually like?josé echenique wrote: Gardiner who also has a very British (because the French hate Berlioz ha, ha) affinity with the score
I can understand that that must have been rather galling (or, Gauling?) for a composer, to find that his work was being overlooked in favour of a Prussian/ Germanic composer, given the distrust between the two powers at this time... and even more so after the Franco-Prussian war of 1870...josé echenique wrote: During the first decades after it´s completion in 1858 it was usually played in 2 parts in different evenings, and the first more or less complete performance was given as late as 1890 when the composer was long dead.
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