(Opera) Wolf-Ferrari - Das Himmelskleid (Adam, Ruzzafante, Basa, Leisenheimer - Hagen Philharmonic Orchestra, Markson) - 1997, APE (image+.cue) lossless


 

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Ermanno Wolf-Ferrari (1876-1948) - Das Himmelskleid
Жанр: Opera
Страна-производитель диска: Germany
Год издания диска: 1997
Издатель (лейбл): Marco Polo
Номер по каталогу: 8.223261-63
Дата записи: 1996
Аудиокодек: APE
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 55'04+69'14+42'18
Источник: собственный рип
Наличие сканов в содержимом раздачи: да
Треклист:

CD1

1. Act I: Prelude
2. Act I: Ha! Welche Schmach!
3. Act I: Hoheit, gestatten...
4. Act I: Es sind schon zweiunddreissig
5. Act I: Der Kanzler befahl
6. Act I: Ach, nein! Bin nimmer froh
7. Act I: Fern, in der Vater Park ein tiefer See
8. Act I: O du, du Ungetum, du brachtest Unheil

CD2

1. Act II: Prelude
2. Act II: Wer wagt es, uns Winde zu storen
3. Act II: Ah!... Hei, hei, hei - ha - ha - hei!
4. Act II: So schau'er sich um
5. Act II: Schlummernde, Ihr, auf Erden!
6. Act II: Es scheint, ihr traumt wohl selber
7. Act II: Nein! Nein! Du lugst!

CD3

1. Act II: Gesegnet sei, den die Erde erkor
2. Act II: Doch, irren wir uns nicht
3. Act III: Sie war's! Sie war's gewiss
4. Act III: Hier! Hier! Horch... Nein
5. Act III: Ha!... Ruhre dich nicht
6. Act III: Ach! Wo bin ich
Исполнители:
Ermanno Wolf-Ferrari (1876-1948) - Das Himmelskleid
Legend in three Acts
Libretto by the composer after Perrault
Die Fürstin - Angelina Ruzzafante, soprano
Der Prinz - Sibrand Basa, tenor
Der Kanzler - Reinhard Leisenheimer, tenor
Fürst Korbinian - Stefan Adam, baritone
Fürst Gudolin - Sergio Gómez, bass
Fürst Fridolin - Peer-Martin Sturm, tenor
Fürst Pippin - Michael Kurz, tenor
Der Mondfee Anna Maria Dur, mezzo-soprano
etc.
Der Opernchor und Extrachor des Theater-Hagen
Das Philharmonische Orchester Hagen
Conductor: Gerhard Markson

Лог создания рипа

CD1

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CD2

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CD3

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Содержание индексной карты (.CUE)

CD1

REM GENRE Opera
REM DATE 1996
REM DISCID 550CE508
REM COMMENT "ExactAudioCopy v1.0b3"
PERFORMER "Wolf-Ferrari"
TITLE "Das Himmelskleid, Markson CD1"
FILE "Wolf-Ferrari - Das Himmelskleid, Markson CD1.ape" WAVE
TRACK 01 AUDIO
TITLE "Act I: Prelude"
PERFORMER "Wolf-Ferrari"
ISRC HKI199630801
INDEX 01 00:00:00
TRACK 02 AUDIO
TITLE "Act I: Ha! Welche Schmach! "
PERFORMER "Wolf-Ferrari"
ISRC HKI199630802
INDEX 01 01:09:67
TRACK 03 AUDIO
TITLE "Act I: Hoheit, gestatten... "
PERFORMER "Wolf-Ferrari"
ISRC HKI199630803
INDEX 01 05:03:10
TRACK 04 AUDIO
TITLE "Act I: Es sind schon"
PERFORMER "Wolf-Ferrari"
ISRC HKI199630804
INDEX 01 10:22:60
TRACK 05 AUDIO
TITLE "Act I: Der Kanzler befahl"
PERFORMER "Wolf-Ferrari"
ISRC HKI199630805
INDEX 01 15:02:62
TRACK 06 AUDIO
TITLE "Act I: Ach, nein! Bin nimmer froh"
PERFORMER "Wolf-Ferrari"
ISRC HKI199630806
INDEX 01 23:05:72
TRACK 07 AUDIO
TITLE "Act I: Fern, in der Vater Park ein tiefer See"
PERFORMER "Wolf-Ferrari"
ISRC HKI199630807
INDEX 01 35:07:62
TRACK 08 AUDIO
TITLE "Act I: O du, du Ungetum, du brachtest Unheil"
PERFORMER "Wolf-Ferrari"
ISRC HKI199630808
INDEX 01 51:00:72

CD2

REM GENRE Opera
REM DATE 1996
REM DISCID 50103807
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TRACK 01 AUDIO
TITLE "Act II: Prelude"
PERFORMER "Wolf-Ferrari"
ISRC HKI199630901
INDEX 01 00:00:00
TRACK 02 AUDIO
TITLE "Act II: Wer wagt es, uns Winde zu storen"
PERFORMER "Wolf-Ferrari"
ISRC HKI199630902
INDEX 01 02:38:45
TRACK 03 AUDIO
TITLE "Act II: Ah!... Hei, hei, hei - ha - ha - hei!"
PERFORMER "Wolf-Ferrari"
ISRC HKI199630903
INDEX 01 11:46:70
TRACK 04 AUDIO
TITLE "Act II: So schau'er sich um"
PERFORMER "Wolf-Ferrari"
ISRC HKI199630904
INDEX 01 27:07:22
TRACK 05 AUDIO
TITLE "Act II: Schlummernde, Ihr, auf Erden!"
PERFORMER "Wolf-Ferrari"
ISRC HKI199630904
INDEX 01 36:39:42
TRACK 06 AUDIO
TITLE "Act II: Es scheint, ihr traumt wohl selber"
PERFORMER "Wolf-Ferrari"
ISRC HKI199630906
INDEX 01 43:26:12
TRACK 07 AUDIO
TITLE "Act II: Nein! Nein! Du lugst!"
PERFORMER "Wolf-Ferrari"
ISRC HKI199630906
INDEX 01 61:09:35

CD3

REM GENRE Opera
REM DATE 1996
REM DISCID 4D09E806
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TRACK 01 AUDIO
TITLE "Act II: Gesegnet sei, den die Erde erkor"
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ISRC HKI199631001
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TRACK 02 AUDIO
TITLE "Act II: Doch, irren wir uns nicht"
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TRACK 03 AUDIO
TITLE "Act III: Sie war's! Sie war's gewiss"
PERFORMER "Wolf-Ferrari"
ISRC HKI199631003
INDEX 00 13:57:43
INDEX 01 14:09:64
TRACK 04 AUDIO
TITLE "Act III: Hier! Hier! Horch... Nein"
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ISRC HKI199631003
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TITLE "Act III: Ha!... Ruhre dich nicht"
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ISRC HKI199631005
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TITLE "Act III: Ach! Wo bin ich"
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ISRC HKI199631006
INDEX 01 38:03:02
Доп. информация:
DAS HIMMELSKLEID
"The last comfort of the soul lies in music..."
That my present stage-work is a legend and not a comic opera is to many a matter of surprise; yes, it can be that many people think I am attempting here territory that is new to me.
Whoever knows my choral work La vita nuova, after Dante, that I wrote 25 years ago, will know otherwise.
I was then surprised myself that, barely a year after La vita nuova, I started to write Le donne curiose, a comic opera Today I am not surprised, since I now know much that I did not know then.
Strictly speaking, every man, seen from outside, is a comic figure, and inside is a tragic one...
If I now have set to music a legend, I do not mean throughout to bring about something "more serious" than before, since art is anyway, in a higher sense, always joyful, but I have kept away from the everyday and let characters behave on the stage as inner men, consequently they seem much less in conflict with themselves.
One also does not expect them to become restrained, limited and restricted.
No, if my work somehow succeeds, it can only do this through a kind of magnetic attraction that emanates from it and to which the listener succumbs.
It is a work of stillness, born of stillness and calling for stillness.
Why should it not be just what is needed in a time of great disturbance?
Yet on that I do not want to say much¡K
With these words Ermanno Wolf-Ferrari explained his views on the occasion of the first performance of his opera Das Himmelskleid, that was first performed on 21st April 1927 under Hans Knappertsbusch at the Munich National Opera.
The critical reception of the work was mixed, with the composer previously having attracted attention for his comic operas.
It was not the great success that Wolf-Ferrari had so much hoped for.
There was talk of a "weight of ideas that were too philosophical and aesthetic", and people found fault with the longueurs and faults of dramatic tension of a "poem that does not have the pervasive breath of drama, without which a stage work cannot exist in the theatre".
The critics were united on the question of the quality of the composition.
"In this symbolical twilight world of the work that rises musically to religious greatness and a world of dreams, Wolf-Ferrari has conveyed all the fervour that is at his command as a composer.
He revels in lyrical ecstasy, his musical invention, like the brilliance of his instrumentation, is at the highest level, threatening to lose for us any consciousness of the theatre.
We see and hear only the searcher for God among spiritual beings or the emissaries of Heaven¡K
Musically Wolf-Ferrari shows himself in his new work an idealist and a romantic.
Here we seem to recognise a new aspect of the composer - for me it is only a new proof of his original musical gifts, which, obeying an unfailing inner feeling, can exhaustively express what the situation demands.
The sensitivity of his sound and colour perception is amazing and the results are so self-evident that the structure is barely or absolutely not apparent..."
Ermanno Wolf-Ferrari, born on 12th January 1876, the son of a German painter and his Italian wife, was throughout his life divided between the two cultures, uniting in himself the deep-felt seriousness of the German and the cheerful calmness of the Italian, bel canto and counterpoint, philosophy and grace.
He spent his life between Munich and Venice, in Germany longing for Italy and vice versa.
This geographical division was also the foundation of his creative existence.
It was very early in his life that Wolf-Ferrari enjoyed great cultural success, winning international fame with his choral work La vita nuova and the opera Le donne curiose.
Already at the age of nineteen he was appointed choral director in Milan and at 27 he became, for his life-time, director of the Liceo Benedetto Marcello in Venice.
After six years he ended his contract to settle in Munich, where he lived and worked for the next 35 years, in complete seclusion, seldom yielding to the light of publicity.
The first World War brought about a great crisis in his life, resulting in a creative break of several years.
After that came a new impulse to compose and Wolf-Ferrari produced one masterpiece after another.
In 1939 he accepted appointment to the Salzburg Mozarteum.
His last years were clouded by the second World War and its consequences.
Suffering from heart disease, he dedicated himself strongly again to his old love, chamber music.
He died of a heart attack in Venice on 21st January 1948.
The compositions left by Wolf-Ferrari include oratorios, choral and orchestral works, chamber music and songs, thirteen operas, three serious (I gioielli della Madonna, Das Himmelskleid and Sly) and ten comic, of which Le donne curiose and I quattro rusteghi are the best known, the most successful and most often staged.
Of all his operas Wolf-Ferrari loved most his fairy-tale opera Das Himmelskleid.
The text of Das Himmelskleid is based on the French story The Donkey-Skin by Charles Perrault. This is a parable of a young princess and the story of the development of a human soul. The princess is born with the garment of Heaven, forgotten during the course of her life as a result of the misuse of her wealth, greed and thoughts of power. Through the "holy beggar" she is deprived of all her earthly goods and of the honourable love of a prince, whom she sends away to bring her the garments of the wind, the sun and the moon. Wretched and lonely she wanders through the world until finally she comes to understand her faults. At the end, recognising that man is born with the clothing of Heaven, the princess awaits death, until the prince finds her again...
To the great disappointment of Wolf-Ferrari this work, at its first performance in Munich in 1927, in spite of a brilliant interpretation (Knappertsbusch was on the podium and Fritz Krauss and Luise Willer sang the principal rôles), won no great success. This was not because of the music; it is perhaps the most profound and mature, and the most German, that he had written, the sensitivity of his feeling for sound and colour is amazing and was not bettered in any other work. Possibly the public had expected something different or the text that he had devised himself held too much that was symbolic. In any case there was not the usual response and Wolf-Ferrari expressed his dismay: "Hostility one can bear, not indifference".
On 6th May 1995 Das Himmelskleid was revived at the Hagen Theater, with its reputation for rediscoveries, in a production that drew much attention. Under the musical direction of Gerhard Markson, the Hagen General Music Director, with stage direction by the young régisseur Anette Leistenschneider and décor by Gerd Friedrich, the opera had a positive reception from the public and the press. From the Hagen performances came the idea of the present recording, which will help to bring Wolf-Ferrari's favourite work to a wider audience.

Synopsis

A beggar had given the king of a little country, in gratitude for his goodness and love for his people, a golden ass, which assured material prosperity to the country for ever. When the old king died, his daughter came to power. The beggar who had made the gift to the old king before, put to the test the young princess, who in her life had only known wealth and prosperity: true happiness would only be bestowed on her if she had in her possession the clothing of the wind, the moon and the sun. The ambitious princess had it proclaimed that she would only take for her husband a prince who gave her these garments. Many princes journeyed there and laid at the feet of the princess the most costly robes, but all were rejected.
Act I
CD 1 [1] - [8]
The chancellor is disconsolate. Yet again has the young princess spurned and rejected three suitors. The people are becoming restless and there is fear of a war with the neighbouring kingdoms. Then a new prince declares himself. At their first meeting the prince and the princess recognise their love for one another, yet instead of the garments that are wanted the prince holds in his hand only a flower. The princess insists on her wish being fulfilled and sends the prince away, telling him to return when he has the garments in his possession. Left alone the princess curses her wealth and the golden ass that she believes responsible for her unhappiness. She destroys the statue of the donkey and with it its magic. The kingdom falls into ruin and the princess, clad only in the donkey-skin, is driven out of her realm by her subjects.
Act II
CD 2 [1] - [7] & CD 3 [1] - [2]
The prince travels to the world of the air, to find there the garment of the wind, but finds only mockery from the spirits of the air. In the realm of the moon he meets the moon-fairy, who wants to win the prince for herself and drives him scornfully away, out of her realm, when he asks her for the garment of the moon. In the realm of the sun the sun-maidens tell him that no mortal can wear the garment of the sun. He learns that the young princess has been driven out of her kingdom and is in want. Alarmed, he hurries back to the earth.
Act III
CD 3 [3] - [6]
The princess wanders, clad only in the donkey-skin, through a forest. She is ready to die. Here she finds the prince, who stands before her again without the desired garments. Yet now the princess realises that she has in her possession the garments of the wind, the moon and the sun, in her nakedness and in her love. The beggar's magic is renewed and the kingdom shines out in new splendour.



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