Jul I'm Sorry

VA - Rolling Stone Rare Trax Vol. 63 - Von Burg Waldeck Zum Goldenen Pudel: Liedermacher im Wandel der Zeit
EAC+LOG+CUE | FLAC: 148 MB | Full Artwork | 5% Recovery Info
Label/Cat#: None, Promo | Country/Year: Germany 2009
Genre: Folk, Acoustic | Style: Singer/Songwriter, Liedermacher

RARE TRAX is a continued series of promotional samplers given away with the german edition of Rolling Stone magazine since the 1990's and has reached volume 80 already. Each version covers a special topic and presents lesser known songs and/or artists.

No Handel opera is as enigmatic as Silla. His fourth London opera, it was composed in 1713 to a libretto by Giacomo Rossi, also the librettist of the composer s first great London triumph Rinaldo (1711). And that is just about the extent of any certainty on the subject. It might have been premiered in 1713 in London in a private concert at the Queen s Theatre, but even this remains unconfirmed. This is one of Handel s few historical operas, being concerned with Plutarch s account of the latter part of the life of Lucius Cornelius Sulla, who after taking Rome became a tyrannical despot who murders his opponents, before suddenly retiring to his country estate to enjoy his leisure.

Aline Kutan, Canadian coloratur soprano of Armenian origin, sang her first professional role of Flora in Benjamin Britten’s the Turn of the Screw with Vancouver Opera at the age of 18 and then pursued her musical studies at UBC as well as at l’Université Laval in Quebec City.
Ms. Kutan was the winner of Jeunesses Musicales-Joseph Rouleau award, the recipient of the Licia Albanese-Puccini Foundation Study Grant and the George London Award in New York. Other national awards include the Montreal Symphony Orchestra Voice Competitions, the Canadian Opera Company Young Mozart Singers and the Vancouver Operatic Society Competitions. She has also been a finalist and prize winner at the Toulouse International Vocal Competition in France for Best Interpretation of a French Opera Excerpt…
Sung in Armenian

This is a taut, dense Mahler 6, missing all the angst that one finds in the recordings of Bernstein or Tennstedt. But this "tragic" symphony is much less frantic than his others, and Dohnanyi's interpretation, so similar to Szell's with the Cleveland Orchestra, is the way I feel the symphony ought to be played. This ranks in my top three or four Mahler 6, along with Abbado Berlin, Karajan, and Szell.

Chailly has radically rethought his approach to these works, re-examining the scores and returning to the recorded interpretations of a generation of conductors alive during Brahms lifetime, principally Felix Weingartner and one of his Gewandhaus predecessors Bruno Walter.