No Olympia [Import]

Product Description
Am¯lia's Breakthrough International Album, this Live Recording was Made at Paris' Legendary Olympia Hall in the Spring of 1956, at a Time When the Singer was Becoming the Toast of Paris and a Major Star in France. Released Originally in January of 1957, this Album Remains Still Today in the EMI Catalog, Proving the Unique Power of Am¯lia's Performance. She Has Seldom Been Better Captured on Stage Than on this Mesmerising Record.

No Olympia,Amália Rodrigues,EMI Int'l,Fado,Int'l & World Music,Latin,Portugal,Spain & Portugal,Vocals,World Music

50 Años de Boemia Ao Vivo No Olympia
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50 Años de Boemia Ao Vivo No Olympia
Nelson Goncalves
Manufacturer: Sony Bmg/RCA
ProductGroup: Music
Binding: Audio CD

General | International | Styles | Music
International | Imports | Stores | Music
ASIN: B00000G859
Release Date: 1993-05-19

Tracks:

Dos Meus Bra Os T N O Sair S
Caminhemos
Meu V Cio Voc
Marina
Dolores Sierra
Fica Comigo Esta Noite - Mu Dilema - Escultura - Pensando Em
Carlos Gardel - Vermelho
Cadeira Vazia
N Mero Um
Naquela Mesa
Ch O De Estrelas
As Rosas N O Falam
Nem As Paredes Confesso - S N S Dois
Onde Anda Voc
Renuncia
Spot Light
As Vitrines
Matriz Ou Filial
Negue
A Volta Do Bo Mio

Album Details

Re-issue which Celebrates 50 Years of the Artist's Success; All Recorded Live.

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Schubert: Piano Duet, Vol.6

Manufacturer: Olympia
ProductGroup: Music
Binding: Audio CD

Fugues | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B00004C4L0
Release Date: 2000-02-15

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An Important Series of an Important yet underrated Soviet II

Myaskovsky: Symphonies Nos. 2 & 18

Manufacturer: Olympia
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B00005UWVI
Release Date: 2002-05-28

Customer Reviews:

An Important Series of an Important yet underrated Soviet II.......2002-11-27

What makes Myaskovsky worthy of admiration today was his capacity and choice in enhancing musical art in the Soviet Regime under Stalin from the mere conformity towards Socialist Realism and gave it more authenticity and credibility. He was not a bold musical statesman like Shostakovich and Prokofiev. But he was relentless, his own man, and in many ways autobiographical and personal as Tchaikovsky was generations before and like his near contemporaries such as Bax and Martinu. His music is somewhat of a journey from searching for his personal voice to actually finding it while making it accessible to listeners in Russia and beyond. Listening to his music, you can be assured of depth and substance behind his compositions permeating with an euphonious sense of genuinity and dignity.

The Second Symphony (1910) serves as an effective foretaste to the Scriabin-ladened Third Symphony (1913). In terms of fiery temperament, it relates to the early piano sonatas (namely nos. 1-4). The influence of Scriabin is notable especially in the first movement. But listen further and you'll sense something Tchaikovskian and Mahlerian in its manic, intense expressionism. It's particularly daring & powerful, with despairing climaxes & intensity. The slow movement is a bit more compelling I found. It is among his most deeply felt and memorable of all the slow movements of his large-scaled works. What comes to mind is perhaps an accidental relation with the slow movements of Lyatoshynsky's First and Third Symphonies in its mystic themes, pseudo Scriabinian & Rachmaninovian emotionalism & beauty. The movement is remarkably appealing & poetic. The last movement returns to where the first movement left off, with the same level of intensity & pessimism, with the sense of optimism trying to assert itself, only to be overcome by the anguish nature of this impressive, promising student work (completed while Myaskovsky attended the St. Petersburg Conservatory of Music).

The Eighteenth Symphony (1937) is altogether a simpler, albeit a less adventurous work (even less dramatic and emotionally profound than the Seventeenth of 1936-1937). It was dedicated to the 20th Anniversary of the October Revolution and the height of the Stalin purges and the enforcement of Socialist Realist policies at that time compelled everyone to go on a safe road and not take risks (hence, the Finale of Shostakovich Fifth Symphony written the same year). The Symphony instead is songlike throughout. It has a strong Slavic feeling to it and the ideas are of exceptional clarity. The discursive first movement begins with a strong motoric theme that recurs throughout (and somewhat in a manner of Rimsky-Korsakov) while the following secondary, recurring theme (@ 1'12''-ff) is dancelike in character (like slowly riding in a horse-drawn wagon passing through a Russian pastoral landscape). The second movement is highly serene and meditative and a foretaste to the 23rd Symphony in its coloristic facets & qualities throughout. The finale is likewise dancelike, strongly Slavic in character and temperament, but with gusto and exuberance. According to Alexei Ikonnikov, the composer's chief biographer, the work was so appealing that a farmer, Sergey Ivanovich Korsakov, wasted no time sending a letter of praise to the composer via a fellow Professor A.A. Alschvang.

The performances of Svetlanov and the State Symphony Orchestra of Russia are committed and authoritative, with a sense of flair especially in the slow movements. The Second Symphony is bestowed with two other very good recordings currently available: Gennady Rozhdestvensky with the USSR Ministry of Culture Symphony (Russian Revelation) and Gottfried Rabl with the Vienna Radio Symphony (Orfeo). Rozhdestvensky is no doubt to most compelling, bringing out the manic depression and pessimism behind the work most naturally. His approach of the slow movement is particularly spillbinding. Rabl, not as sonorous as Rozhdestvensky and Svetlanov, has the advantage of pure dramatic sweep and edge that keep the music from sounding longwinded (and the Orfeo is more superior). Svetlanov's rendition of the work is not as ideal as Rozhdestvensky's, but its strong Russian ardency is a good enough incentive for acquisition. And since the Second Symphony is coupled with the Eighteenth (in its only digital recording, though recorded by Melodiya roughly five decades ago featuring Gauk and the Moscow Radio Symphony not widely available) the incentive for acquisition becomes even greater. Therefore, I would suggest purchasing these three recordings of the Second Symphony. Meanwhile, eagerly look forward to Volume III, with Myaskovsky's Third & Thirteenth Symphonies. The Thirteenth is a qualified masterpiece that went a step further from the Twelfth Symphony in the inner-conflictive turn-around from the overtly personal to the idiomatic musical representative of the Soviets (and deceptively & defiantly beyond the Soviets).

--->A heartfelt tribute is due to Yevgeny Fedorovich Svetlanov, who passed away on May 3rd. He was, arguably, the chief representative of Russian music, exposing us to obscure works of Russian and Non-Russian composers (like Glazunov, Lyapunov, Shaporin, and Alfven for instance) that, perhaps, would not otherwise be exposed. His career as conductor, pianist, and composer was long and influential, and he was truly enterprising throughout, while never afraid to let himself go. Although it's regrettable that he could have done much more to revitalize Russian opera, he will continue to be honored as among the conductors (not so many, by the way) who not only made a career in promoting obscured works, but also giving meaning behind a particular piece, famous and not so famous. Svetlanov remained faithful and genuine in his approach to a given music and the affinity he had towards a piece was so strong that when performing Tchaikovsky, Svetlanov became Tchaikovsky, when playing Glazunov, Svetlanov became Glazunov, and so forth. He is a jewel of Russian musical culture, and therefore, his devotions will not be strewn in memory especially of those who benefited from all that he gave us for over five decades. I dare hope that recording companies would take it upon themselves to revitalize his recordings, especially of his performances of Medtner's works for pianoforte, since less than five percent are available so far.

Until next time.

Piano Sonatas No.19 Op.49 No.1, No.20 Op.40 No.2, No.21 "Waldstein" Op.53, No.23 "Appassionata" Op.57 and No.25 Op.79 - Emil Gilels Vol. 7
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Piano Sonatas No.19 Op.49 No.1, No.20 Op.40 No.2, No.21 "Waldstein" Op.53, No.23 "Appassionata" Op.57 and No.25 Op.79 - Emil Gilels Vol. 7

Manufacturer: MKM (Mezhdunarodnaya Kniga Muzyka), Olympia Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B000TAWZCW

Product Description

Label(s): MKM (Mezhdunarodnaya Kniga Muzyka), Olympia Records Year of release: 2006 Recording length: 79:23 Composer: Ludwig van Beethoven Performer: Emil Gilels Sonata No.19 in G minor Op.49 No.1 1.I. Andante 2.II. Rondo. Allegro Sonata No.20 in G major Op.49 No.2 3.I. Allegro, ma non troppo 4.II. Tempo di Menuetto Sonata No.21 in C major "Waldstein", Op.53 5.I. Allegro con brio 6.II. Introduzione. Adagio molto-attacca 7.III. Rondo. Allegretto moderato - Prestissimo Sonata No.23 in F minor "Appassionata", Op.57 8.I. Allegro assai 9.II. Andante con moto-attacca 10.III. Allegro, ma non troppo - Presto Sonata No.25 in G major, Op.79 11.I. Presto alla tedesca 12.II. Andante 13.III. Vivace MKM 185

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A hit in France, a hit all over the world

No Olympia
Amália Rodrigues
Manufacturer: EMI Int'l
ProductGroup: Music
Binding: Audio CD

General | International | Styles | Music

General | Latin Music | Styles | Music

International | Imports | Stores | Music

Latin Music | Imports | Stores | Music
ASIN: B0000507BG
Release Date: 2001-02-20

Tracks:

Uma Casa Portuguesa
Nem As Paredes Confesso
Al Mouraria
Perseguicao
Tudo Isto E Fado
Fado Corrido
Barco Negro (Do Filme 'Os Amantes Do Tejo')
Coimbra
Sabe-Se La
Tendinha
La Vai Lisboa
Que Deus Me Perdoe
Lisboa Antiga
Amalia

Album Details

Am¯lia's Breakthrough International Album, this Live Recording was Made at Paris' Legendary Olympia Hall in the Spring of 1956, at a Time When the Singer was Becoming the Toast of Paris and a Major Star in France. Released Originally in January of 1957, this Album Remains Still Today in the EMI Catalog, Proving the Unique Power of Am¯lia's Performance. She Has Seldom Been Better Captured on Stage Than on this Mesmerising Record.

Customer Reviews:

A hit in France, a hit all over the world.......2002-06-27

This beautiful recording of a live concert by Amália is a treat not only for her fans but for those music lovers who also love pieces of musical and cultural history. Recorded, according to most accounts, in 1957, Amália's second great presence on the mythical French concert hall, it shows the powers of Amália's beautiful voice at still an early stage of her international career, consolidated by her appearance in Paris in 1956, at the same stage. The freshness, power and beautiful colour of her voice is clearly shown in this recording, allthough it might still be submitted to technical treatment here and there. Also as an historical note, though Amália had already sung many times abroad with great success (in Europe in 1950, London in 1952, The USA and Mexico in 1953, and later on many times) her international success took off after she sang and starred in a French picture called "Les Amants du Tage" in 1955, singing one of her hit songs "Barco Negro", and was invited by the Olympia's impresario Bruno Coquatrix as the star of the first part of the show celebrating Josephine Baker's "adieu" to the stage in 1956. Immediately after a tremendous and sensational success, she was invited to act on a show of her own, as the main star, something she would repeat many times, in a total of about 10 seasons at the Olympia (unequalled by any other artist), from 1956 to 1992. France always cherished this extraordinary singer, cummulating her with honours (the Medal of the City of Paris in 1959, the Order of the Arts and Letters in 1970, the Golden Medal of the City of Paris in 1989, and the Legion d'Honneur in 1991, among many others in the country). So, the importance of this recording at the outset of her great international success, is only increased by the symbolic and magical atmosphere lived by those who listened and saw her at the Olympia. A great, great cd.

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Kabalevsky: Piano Music, Vol. 2

Manufacturer: Olympia
ProductGroup: Music
Binding: Audio CD

Preludes | Forms & Genres | Classical | Styles | Music

Rondos | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B000003W53
Release Date: 1993-10-04

Tracks:

Rondo In A Minor, Op.59
Four Preludes, Op.5: No.1 In A Minor
Four Preludes, Op.5: No.2 In C Major
Four Preludes, Op.5: No.3 In B Minor
Four Preludes, Op.5: No.4 In A Major
Sonat No.1 In F Major, Op.6: I. Allegro no troppo, ma con fuoco
Sonat No.1 In F Major, Op.6: II. Andantino semplice
Sonat No.1 In F Major, Op.6: III. Vivo
Sonatina No.2 In G Minor, Op.13 No.2: I. Allegro moderato. Risoluto
Sonatina No.2 In G Minor, Op.13 No.2: II. Sostenuto
Sonatina No.2 In G Minor, Op.13 No.2: III. Moderato
Sonatina No.2 In G Minor, Op.13 No.2: IV. Vivace. Gajo
Sonata No.2 In E Flat Major, Op.45: I. Allegro moderato. Festivamente
Sonata No.2 In E Flat Major, Op.45: II. Andante sostenuto
Sonata No.2 In E Flat Major, Op.45: III. Presto assai

Prokofiev: Piano Sonatas Vol. 2 - Sonata No. 2 in D minor Op. 14; No. 7 in B-flat Major Op. 83; No. 8 in B-flat Major Op. 84

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Prokofiev: Piano Sonatas Vol. 2 - Sonata No. 2 in D minor Op. 14; No. 7 in B-flat Major Op. 83; No. 8 in B-flat Major Op. 84
Sergei Prokofiev , and Murray Mclachlan
Manufacturer: Olympia
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Tracks:

Son No.2 in D, Op.14: Allegro Ma Non Troppo
Son No.2 in D, Op.14: Allegro Marcato
Son No.2 in D, Op.14: Andante
Son No.2 in D, Op.14: Vivace
Son No.7 in B flat, Op.83: Allegro Inquieto
Son No.7 in B flat, Op.83: Andante Caloroso
Son No.7 in B flat, Op.83: Precipitato
Son No.8 in B flat, Op.84: Andante Dolce-Allegro Moderato-Andante-Andante Dolce Come Prima-Allegro
Son No.8 in B flat, Op.84: Andante Sognando
Son No.8 in B flat, Op.84: Vivace-Allegro Ben Marcato-Andantino-Vivace

H.Gorecki-Symphony No.3:Three Pieces in the Olden Style-Amen For Choir

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H.Gorecki-Symphony No.3:Three Pieces in the Olden Style-Amen For Choir

Manufacturer: olympia
ProductGroup: Classical
Binding: Audio CD
ASIN: B000K2OATA

Product Description

Three Pieces in Olden Style for string orchestra 1.First Piece 2.Second Piece 3.Third Piece Symphony No.3-The Symphony of Sorrowful Songs for soprano and orchestra 4.Song No.1-Lento,sostenuto tranquillo ma cantabile 5.Song No.2-Lento e largo 6.Song No.3-Lento cantabile semplice 7.Amen-for choir

Dimitri Kabalevsky: Piano Concertos 2,3 &4

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Rare recordings of underrated works
Quite the rare find...
good but glossed over
good but glossed over

Dimitri Kabalevsky: Piano Concertos 2,3 &4

Manufacturer: Olympia
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Tracks:

Pno Con No.2: I. Allegro Moderato - Nikolai Petrov
Pno Con No.2: II. Andantino Semplice - Nikolai Petrov
Pno Con No.2: III. Allegro Molto - Nikolai Petrov
Pno Con No.3: I. Allegro Molto - Emil Gelels
Pno Con No.3: II. Andante - Emil Gelels
Pno Con No.3: III. Presto - Emil Gelels
Pno Con No.4: I. Allegro Molto E Energico - Yuri Popov
Pno Con No.4: II. Molto Sostenuto, Improvisato - Yuri Popov
Pno Con No.4: III. Vivo - Yuri Popov

Customer Reviews:

Rare recordings of underrated works.......2003-06-15

There is a wonderful LP of Pavel Stepan playing the 2nd Concerto that beats this one, but it has not been available on CD. The Gilels recording of #3 is barely adequate, it being an OLD Melodiya live recording with Kabalevsky on the podium and they all race asif they have a train to catch. But there are hardly any recordings of these works, let alone couplings of #s 2,3 & 4.

There is a new recording out with Kathryn Stott playing #2 and #3, in which the third is fabulous. Crisp and clear. But #2 is a large concerto in the vein of Prokofiev or Rachmaninoff, even Khachaturian, and Stott makes it sound a bit lightwheight.

So. If you are looking for a good #2, this is the one to get. If you want a good #3, skip this one and go for Stott. I think this is the only recording of #4, and it is a very solid version of the work.

All are live recordings, with some wrong notes and coughs. All these works need modern recordings. Pity that Stott got #2.

Quite the rare find..........2001-09-10

I must agree with 'lilmspiano' - Gilels has little in the way of breathing room when under Kabalevsky's baton in this instance (or perhaps they were running out of magnetic tape already, during the first movement?). Concerto 3, which should sound optimistic and innocent, is delivered hastily and often with quite some abandon from the clarinet section, awfully prominent at the oddest times because of some strange recording track misbalance. What can one say? It is an old recording - but a rare find. Nonetheless, while it is true that the Piano Concerto #3 is not done full justice by this particular rendition, the electrifying performances of both #2 and #4 on this CD more than make up for it. The clean, clear, and shearing opening of Concerto 4 is downright shocking after the ears become accustomed to the muffled sonority of the previous three tracks. Concerto 2, grandiose and brooding, spans the depressed Russian romanticism of the eighteenth century and calculated modern sonorities in many places. The collection on this disc is altogether a prize for us scattered Kabalevsky fans. One must honestly turn to plastinki, records, to find quality nostalgic material, even in these days of digitalizing every archaic excerpt. Well, it is one of my favorites! Call me sentimental, but it speaks to me.

good but glossed over.......2001-02-04

Conducted by Kabalevsky himself, this is the definitive recording of his playful yet insightful Piano Concerto No. 3, played by Emil Gilels. However, the tempo is much too fast for Gilels to ever catch himself, take a breath, and begin to play with true feeling, giving the recording a glossy feeling, lacking any true depth, except for the beginning of the second movement.

good but glossed over.......2001-02-04