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Gesamtaufnahmen von Opern - Erschienen am 29. Juni 2018 | Nonesuch

Hi-Res Booklet Auszeichnungen Gramophone Editor's Choice - Choc de Classica - 5 Sterne Fono Forum Klassik - Preis der deutschen Schallplattenkritik
Diese apokalyptische Wucht sucht ihresgleichen unter jüngeren Opern. Im ersten Akt lässt das egomanische Gezänk zwischen den Konkurrenten Oppenheimer und Teller den Zuhörern das Blut in den Adern gefrieren, so kalt schreiten die Physiker zum kalkulierten Massenmord an einer beliebigen japanischen Stadtbevölkerung. Unbegreiflich dazwischen die poetischen Ergüsse der Feingeister, die die erste Atombombe ausgetüftelt haben. Ein junger Wissenschaftler mit moralischen Bedenken versucht vergeblich, das Wahnsinnsprojekt noch zu stoppen. Schon 2005 wurde diese Oper um J. Robert Oppenheimer in San Francisco uraufgeführt, doch erst jetzt erscheint die erste Aufnahme. Wie bei der Uraufführung singt Gerald Finley die Titelpartie, und wiederum zeigt er uns die vielen Facetten des Atomphysikers: den treuen, aber unzulänglichen Gatten und Vater, den passionierten Baudelaire-Liebhaber, der sich in poetische Welten träumt, den Kenner der Baghavat Gītā, der sich von Krishna persönlich den Freibrief für die Tötung Hunderttausender ausstellen lässt. In dem John-Donne-Gedicht „Batter my Heart“ formt Finley dies Widerspruchsgeflecht am Ende des ersten Aktes zu ergreifendem Ausdruck. Julia Bullock singt Oppenheimers Frau Kitty mit schneidender Verzweiflung, während das indianische Kindermädchen Pasqualita parallel zu dem Sturm, der den Test beinahe verhindert hätte, mit der ruhigen Stimme von Aubrey Allicock magische Beschwörungen einschwingen lässt. Und auch die übrigen vorzüglichen Sänger fügen sich perfekt in den von John Adams am Pult des BBC Symphony Orchestra erzeugten Supersound ein. Ein Höhepunkt sind die ekstatischen Chöre der BBC Singers. Am Ende scheint die Zeit sich immer mehr zu dehnen, die Spannung steigt ins Unerträgliche. Ein intelligenter Hörgenuss, der niemanden unberührt lässt. © Feuchtner, Bernd / www.fonoforum.de
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Klassik - Erschienen am 27. Mai 2011 | Nonesuch

Booklet Auszeichnungen 5 de Diapason - Choc de Classica - Herausragende Tonaufnahme - Stereophile: Recording of the Month
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HI-RES19,49 €
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Klassik - Erschienen am 16. April 2002 | Nonesuch

Hi-Res Auszeichnungen Qobuz' Schallplattensammlung - Hi-Res Audio
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CD16,99 €

Klassik - Erschienen am 17. Mai 2005 | Nonesuch

Auszeichnungen Qobuz' Schallplattensammlung
Naïve and Sentimental Music seems at first like a glib, almost self-deprecating title for a large-scale orchestral work. But that would be beneath John Adams, who has a knack for infusing his appealing soundscapes with weight and philosophy. In fact, Adams uses the word "sentimental" here to convey self-awareness, even self-consciousness. And so the title -- and indeed, the entire piece -- is a deliberate study in the balance and integration of opposites: innocence with perspective, spontaneity with design, and beauty with rhetoric. The result is a tremendous success; Naïve and Sentimental Music is a wealth of ideas sculpted into musical form and yet the listener needs no knowledge of these ideas to hear it to its fullest effect. Since Esa-Pekka Salonen gave Adams the commission that led to Naïve and Sentimental Music, it is no surprise that he and the L.A. Philharmonic deliver an outstanding performance on this Nonesuch release. Every layer of sound is beautifully textured and realized, from the strings -- sometimes icy, sometimes agitated -- to the evocative percussion that dots the entire score with color. David Tanenbaum's amplified guitar adds an especially interesting element to the second movement, "Mother of the Man"; he, Salonen, and the engineers should be complimented for integrating the guitar into the score while still allowing it to stand apart as an individual in a bigger world. The first and third movements are equally successful, each taking on its distinctive mood and character while at the same time feeling like part of a greater whole. This is, in every way, an outstanding recording. © TiVo
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CD16,99 €

Klassik - Erschienen am 2. Januar 2000 | Nonesuch

Auszeichnungen Qobuz' Schallplattensammlung
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CD26,49 €

Oper - Erschienen am 25. Dezember 2006 | Nonesuch

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CD24,49 €

Klassik - Erschienen am 25. September 2006 | Nonesuch

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CD112,49 €

Klassik - Erschienen am 4. Mai 1999 | Nonesuch

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CD16,99 €

Klassik - Erschienen am 15. April 1987 | Nonesuch

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CD16,99 €

Aus aller Welt - Erschienen am 4. Mai 2004 | Rhino - Warner Records

Composer John Adams' album Road Movies contains five pieces that Adams' considers "travel music, (...) passing through harmonic and textural regions as one would pass through on a car trip." Indeed, during Leila Josefowicz's spirited and appropriately brusque reading of the "40% Swing" movement from the title work, one hears what sounds like a passing auto in the left channel. Is it mere coincidence or the album concept channeling onto the master tape? Three of the pieces here appear on recordings for the first time, Road Movies for violin and piano (1995), Hallelujah Junction for two pianos, and American Berserk for piano (2001). The balance is given to the already familiar China Gates and Phrygian Gates played by pianists Nicolas Hodges and Rolf Hind, respectively, who join forces in the four-hand work. Actually, it's been a long time since there was a whole disc made up of chamber and/or keyboard works from Adams, who has been concentrating on orchestral music and pieces for ensembles. As such, this is a real treat -- the playing is expert on all counts, and the newer pieces sit comfortably side by side with the older ones, which are given a fresh perspective in these new recordings. While it may not be the album that never leaves your car stereo -- American Berserk is raucous enough that it could prove quite distracting during a traffic jam -- Road Movies is an immensely enjoyable collection that never runs out of gas. © TiVo
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CD16,99 €

Klassik - Erschienen am 4. Mai 2004 | Nonesuch

Composer John Adams' album Road Movies contains five pieces that Adams' considers "travel music, (...) passing through harmonic and textural regions as one would pass through on a car trip." Indeed, during Leila Josefowicz's spirited and appropriately brusque reading of the "40% Swing" movement from the title work, one hears what sounds like a passing auto in the left channel. Is it mere coincidence or the album concept channeling onto the master tape? Three of the pieces here appear on recordings for the first time, Road Movies for violin and piano (1995), Hallelujah Junction for two pianos, and American Berserk for piano (2001). The balance is given to the already familiar China Gates and Phrygian Gates played by pianists Nicolas Hodges and Rolf Hind, respectively, who join forces in the four-hand work. Actually, it's been a long time since there was a whole disc made up of chamber and/or keyboard works from Adams, who has been concentrating on orchestral music and pieces for ensembles. As such, this is a real treat -- the playing is expert on all counts, and the newer pieces sit comfortably side by side with the older ones, which are given a fresh perspective in these new recordings. While it may not be the album that never leaves your car stereo -- American Berserk is raucous enough that it could prove quite distracting during a traffic jam -- Road Movies is an immensely enjoyable collection that never runs out of gas. © TiVo
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CD9,99 €

Jazz Fusion & Jazzrock - Erschienen am 1. Januar 2006 | Congruent Music Co

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CD16,99 €

Klassik - Erschienen am 8. Januar 2007 | Nonesuch

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CD16,99 €

Klassik - Erschienen am 1. November 2005 | Nonesuch

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CD16,99 €

Klassik - Erschienen am 22. November 2005 | Nonesuch

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CD16,99 €

Klassik - Erschienen am 1. November 2005 | Nonesuch

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CD16,99 €

Klassik - Erschienen am 23. Januar 2007 | Nonesuch

Ab
CD16,99 €

Aus aller Welt - Erschienen am 17. Mai 2005 | Rhino - Warner Records

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CD5,99 €

Klassik - Erschienen am 2. Januar 2000 | Nonesuch - Warner Records

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CD3,99 €

Aus aller Welt - Erschienen am 17. Mai 2005 | Rhino - Warner Records

Naïve and Sentimental Music seems at first like a glib, almost self-deprecating title for a large-scale orchestral work. But that would be beneath John Adams, who has a knack for infusing his appealing soundscapes with weight and philosophy. In fact, Adams uses the word "sentimental" here to convey self-awareness, even self-consciousness. And so the title -- and indeed, the entire piece -- is a deliberate study in the balance and integration of opposites: innocence with perspective, spontaneity with design, and beauty with rhetoric. The result is a tremendous success; Naïve and Sentimental Music is a wealth of ideas sculpted into musical form and yet the listener needs no knowledge of these ideas to hear it to its fullest effect. Since Esa-Pekka Salonen gave Adams the commission that led to Naïve and Sentimental Music, it is no surprise that he and the L.A. Philharmonic deliver an outstanding performance on this Nonesuch release. Every layer of sound is beautifully textured and realized, from the strings -- sometimes icy, sometimes agitated -- to the evocative percussion that dots the entire score with color. David Tanenbaum's amplified guitar adds an especially interesting element to the second movement, "Mother of the Man"; he, Salonen, and the engineers should be complimented for integrating the guitar into the score while still allowing it to stand apart as an individual in a bigger world. The first and third movements are equally successful, each taking on its distinctive mood and character while at the same time feeling like part of a greater whole. This is, in every way, an outstanding recording. © TiVo