(Spanish Opera / Zarzuela) Arbos - El Centro de la Tierra (Martin, Sanchez, Alvarez, Alcedo - Coro y Orquestra de Madrid, Temes) • Cinco piezas para piano, (Turina) - 2004, APE (image+.cue) lossless


 

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Enrique Fernández Arbós - El Centro de la Tierra
Жанр: Spanish Opera / Zarzuela
Страна-производитель диска: Spain
Год издания диска: 2004
Издатель (лейбл): Verso
Номер по каталогу: VRS 2019
Дата записи: 2004
Аудиокодек: APE
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 62'08+63'16
Источник: собственный рип
Наличие сканов в содержимом раздачи: да
Треклист:

CD1

Acto primero
1. Preludia (1) (orquestal)
2. Mazurca de los pichones (2)
3. Escena de la disputa (3)
4. Habanera (4A)
5. Coplas de los novios (4B)
6. Intermedio (5) (orquestal)
7. Escena de la grieta, pasacalle y ternpesrad (6A)
8. Invocatión (6B)
9. Marcha triunfal de los dioses (7) (orquestal) [4'02J
Acto segundo (inicio)
10. Preludia del segundo acto (8) (orquestal)
11. Saludo a la diosa (9A)
12. Bailable del ara (9B) (orquestal)
13. Bailable del imán y el acero (9C) (orquestal)
14. Bailable de la sal (9D) (orquestal)

CD2

Acto segundo (conclusión)
1. Mazurca de los mutiladores (10)
2. Cliotis de la fuente (11A)
3. Marcha (11 B)
4. Transformación de Román (11C)
5. Coro invisible de los gromos (12)
6. Coplas del talismán (l3A)
7. Concertante (13B)
8. Acordeón, erupción y final (13C)
Исполнители:
Enrique Fernández Arbós - El Centro de la Tierra
Pura - Milagros Martin, Soprano.
Román - Ernilio Sánchez, Tenor.
Don Doroteo - Luis Álvarez, Barítono.
La diosa Imán - Celia Alcedo, Soprano.
El Sumo sacerdote - Javier Franco, Barítono.
Coro y Orquestra de Madrid
José Luis Temes

Лог создания рипа

CD1

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CD2

Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 12. December 2014, 12:42
Arbos / El Centro De La Terra, Temes CD2
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Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Used output format : Monkey's Audio Lossless Encoder
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Содержание индексной карты (.CUE)

CD1

REM GENRE Opera
REM DATE 2004
REM DISCID A60E900E
REM COMMENT "ExactAudioCopy v1.0b3"
PERFORMER "Arbos"
TITLE "El Centro De La Terra, Temes CD1"
FILE "Arbos - El Centro De La Terra, Temes CD1.ape" WAVE
TRACK 01 AUDIO
TITLE "Act 1. Preludia (1) (orquestal)"
PERFORMER "Arbos"
INDEX 01 00:00:00
TRACK 02 AUDIO
TITLE "Act 1. Mazurca de los pichones (2)"
PERFORMER "Arbos"
INDEX 01 08:28:08
TRACK 03 AUDIO
TITLE "Act 1. Escena de la disputa (3)"
PERFORMER "Arbos"
INDEX 01 14:14:03
TRACK 04 AUDIO
TITLE "Act 1. Habanera (4A)"
PERFORMER "Arbos"
INDEX 01 18:28:53
TRACK 05 AUDIO
TITLE "Act 1. Coplas de los novios (4B)"
PERFORMER "Arbos"
INDEX 01 23:09:59
TRACK 06 AUDIO
TITLE "Act 1. Intermedio (5) (orquestal)"
PERFORMER "Arbos"
INDEX 01 25:41:21
TRACK 07 AUDIO
TITLE "Act 1. Escena de la grieta, pasacalle y ternpesrad (6A)"
PERFORMER "Arbos"
INDEX 01 28:20:50
TRACK 08 AUDIO
TITLE "Act 1. Invocatión (6B)"
PERFORMER "Arbos"
INDEX 01 33:19:32
TRACK 09 AUDIO
TITLE "Act 1. Marcha triunfal de los dioses (7) (orquestal)"
PERFORMER "Arbos"
INDEX 01 40:54:36
TRACK 10 AUDIO
TITLE "Act 2. Preludia del segundo acto (8) (orquestal)"
PERFORMER "Arbos"
INDEX 01 44:56:16
TRACK 11 AUDIO
TITLE "Act 2. Saludo a la diosa (9A)"
PERFORMER "Arbos"
INDEX 01 48:49:12
TRACK 12 AUDIO
TITLE "Act 2. Bailable del ara (9B) (orquestal)"
PERFORMER "Arbos"
INDEX 01 53:19:26
TRACK 13 AUDIO
TITLE "Act 2. Bailable del imán y el acero (9C) (orquestal)"
PERFORMER "Arbos"
INDEX 01 57:21:53
TRACK 14 AUDIO
TITLE "Act 2. Bailable de la sal (9D) (orquestal)"
PERFORMER "Arbos"
INDEX 01 59:32:50

CD2

REM GENRE Opera
REM DATE 2004
REM DISCID B70ED40D
REM COMMENT "ExactAudioCopy v1.0b3"
PERFORMER "Arbos"
TITLE "El Centro De La Terra, Temes CD2"
FILE "Arbos - El Centro De La Terra, Temes CD2.ape" WAVE
TRACK 01 AUDIO
TITLE "Act 2. Mazurca de los mutiladores (10)"
PERFORMER "Arbos"
INDEX 01 00:00:00
TRACK 02 AUDIO
TITLE "Act 2. Cliotis de la fuente (11A)"
PERFORMER "Arbos"
INDEX 01 06:01:34
TRACK 03 AUDIO
TITLE "Act 2. Marcha (11 B)"
PERFORMER "Arbos"
INDEX 01 11:01:61
TRACK 04 AUDIO
TITLE "Act 2. Transformación de Román (11C)"
PERFORMER "Arbos"
INDEX 01 13:46:12
TRACK 05 AUDIO
TITLE "Act 2. Coro invisible de los gromos (12)"
PERFORMER "Arbos"
INDEX 01 16:57:36
TRACK 06 AUDIO
TITLE "Act 2. Coplas del talismán (l3A)"
PERFORMER "Arbos"
INDEX 01 22:15:39
TRACK 07 AUDIO
TITLE "Act 2. Concertante (13B)"
PERFORMER "Arbos"
INDEX 01 26:09:19
TRACK 08 AUDIO
TITLE "Act 2. Acordeón, erupción y final (13C)"
PERFORMER "Arbos"
INDEX 01 31:18:58
TRACK 09 AUDIO
TITLE "Piano pieces. I. Preludio"
PERFORMER "Arbos"
INDEX 00 39:29:00
INDEX 01 39:31:65
TRACK 10 AUDIO
TITLE "Piano pieces. II. Bailable del oro"
PERFORMER "Arbos"
INDEX 01 48:23:68
TRACK 11 AUDIO
TITLE "Piano pieces. III. Bailable del imán y el acero"
PERFORMER "Arbos"
INDEX 01 52:45:67
TRACK 12 AUDIO
TITLE "Piano pieces. IV. Bailable de la sal"
PERFORMER "Arbos"
INDEX 01 55:42:54
TRACK 13 AUDIO
TITLE "Piano pieces. V. Marcha triunfal de los dioses"
PERFORMER "Arbos"
INDEX 01 58:55:36
Доп. информация:
Nevertheless people in the past often were far more superstitious than we are, and certainly were less cynical and naïve.
Even then, one sympathizes with the bafflement of the Madrid public at the first (and probably last, one is not sure) performance of ‘El Centro de la Tierra’ at its première.
Rarely has a more ridiculous libretto inspired a composer.
Three Madrilenos fall into a crevice and arrive in the middle of the earth where they are considered to be gods by the gnomes, the minerals (living persons) and the natives of a hidden civilisation.
They succeed in stealing a huge diamond and the few natives with doubts as to their godly descent are reassured by the tenor . . . playing an accordion.
Though there are some comical scenes as in all zarzuelas, the central theme is treated seriously without satirizing a society as Paul Lincke did when he sent some heroes to the moon in his ‘Frau Luna,’ where they meet all the Greek and Roman gods.
Enrique Arbos’ music cannot really save the situation.
The composer was the ‘Konzertmeister’ of the Berlin Philharmonic for several years and thus no mean musician.
He knew his classics, especially Wagner, very well as is proven by the use of a Tristan chord and the triumphal march of the Gods in this zarzuela.
But the composer had his roots firmly planted in his own country.
When he was offered the conductorship of the newly formed Madrid Symphony, he returned home and conducted it for 35 years.
Conducting meant the end of his composing years.
The 100th anniversary of the orchestra was duly celebrated and the whole of Arbos’ output appeared on 3 boxed sets with his one zarzuela unexpectedly being unearthed.
Arbos is not another Sorozabal, Morreno Torroba, Chapi, Luna or Vives and he probably couldn’t be after only one trial.
Zarzuela lovers may regret the fact that more worthwhile zarzuelas are still awaiting a complete recording.
On the other hand any zarzuela from the great century between 1840 and 1940 is welcome as the music always lies easily on the ear and is often very charming.
The problem, if there is one, with Arbos is the fact that he is, as could be expected, an orchestral composer.
The many dancing numbers in this long score are well worth listening too.
But his vocal writing is marred by his being not accustomed to writing for the voice.
The singers’ solos are not very distinguished and remain dancing numbers in disguise.
All the singers are fine zarzuela performers, with good though not unexceptional voices to match their numbers and ensembles.
Best of them all is baritone Javier Franco as the High Priest.
José Luis Temes conducts the orchestra with a lot of conviction, not lingering on some awkward moments but making the best of the agreeable and indeed somewhat forgettable music.
One complaint: once again a Spanish recording label fails to give us a fine and exact translation of the sleeve notes.
In the Spanish text the composer is born in 1863, in the English one in 1963.
The biography of tenor Sanchez is deleted in the English version, etc.
As a lot of visitors know the ‘mañana’ mentality has not completely died out in Spain and maybe some producers think the international market is not to be taken seriously.
They forget that thanks to an outstanding generation of Spanish singers zarzuela is now to be found in many a collection of non-Spanish speaking people.



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