Newsgroup: it.arti.musica.classica
Titolo: FLEMING sinks + VOIGT & MATTILA fake it

http://www.concertonet.com/exec/review.asp?IndexReview=1613
+
About Sinopoli/Deutsche Grammophon's recording of R. Strauss'
"Friedenstag":
"...Deborah Voigt's Maria (which was in fact dubbed in after the
recording was completed, after the original soprano had dropped
out)...."
---Fanfare, Sep/Oct 2002, p. 214
+
http://andante.com/magazine/article.cfm?id=17979
"Yet the recording [Gurrelieder] (5 57303 2; two CD's) is not quite
the "live performance" touted in EMI's glossy publicity materials.
Some shady marketing practices are involved, as well as a questionable
artistic decision by Sir Simon and the soprano Karita Mattila, one of
the soloists. If the project is, overall, an encouraging indicator of
what we can expect from Sir Simon as he begins his Berlin tenure, it
also provides a cautionary tale about unduly allowing a marketing
concept to influence artistic policy. You will not learn the full
story of how this recording was made either from the extensive liner
notes or from the fine print on the album cover.
(...)
Ms. Mattila readily agreed to participate. But instead of flying her
to Berlin to record Tove's four songs (some 14 minutes of music) with
the Philharmonic, Sir Simon recorded just the orchestra parts at the
Philharmonie. Then he flew to London to rehearse with Ms. Mattila, who
recorded the soprano parts at the Abbey Road Studios while Sir Simon
coordinated her singing with the existing recording of the orchestra
parts.
(...)
The objections to what was in essence a high-tech dubbing job are
obvious. The orchestra recorded in the natural acoustics of the
Philharmonie, but on another day entirely Ms. Mattila sang in a
soundproof studio. Moreover, no matter how extensively artists
rehearse, spontaneous things inevitably happen in performances.
Circumstances prevented that here.
(...)
The recording technology available today is astonishing. When I first
listened to this "Gurrelieder," I knew nothing about how those songs
were recorded. As I followed the immense score, I accepted the
recording as a live event, though I remember being struck by the
up-front presence of Ms. Mattila's voice. (Such imbalances are not
uncommon in live recordings.)
(...)
Both performers defend their actions, which have precedents large and
small (though usually identified as hybrids). The problem is that the
publicity materials promise a "live" recording, "based on performances
given in the Philharmonie during the Berlin Festival last September."
Peter Alward, the president of EMI Classics, United Kingdom, recently
told me that the company had "no intention to deceive.""

"Fleming en plein naufrage"
http://www.concertonet.com/exec/review.asp?IndexReview=1613
+
About the Sinopoli/Deutsche Grammophon recording of R. Strauss'
*Friedenstag*:  "...Deborah Voigt's Maria (which was in fact dubbed in after the
recording was completed, after the original soprano had dropped
out)...."
---Fanfare, Sep/Oct 2002, p. 214
+
A faked *Gurrelieder* from Rattle/EMI
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"Fleming en plein naufrage"
http://www.concertonet.com/exec/review.asp?IndexReview=1613
+
About the new Sinopoli/Deutsche Grammophon recording of R. Strauss'


"Pirate et fiancée du pirate en plein naufrage" 


 wrote in message
news:136618ca.02083...@posting.google.com...




"PIRATE et fiancée du pirate en plein naufrage" 
 
http://www.concertonet.com/exec/review.asp?IndexReview=1613
 
+
 
About the new Sinopoli/Deutsche Grammophon recording of R. Strauss'
*Friedenstag*:  "...Deborah Voigt's Maria (which was in fact dubbed in after the
recording was completed, after the original soprano had dropped out)...."
 
---'Fanfare', Sep/Oct 2002, p. 214
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

"PIRATE et fiancée du pirate en plein naufrage" 
 
http://www.concertonet.com/exec/review.asp?IndexReview=1613
 
+
 
About the new Sinopoli/Deutsche Grammophon recording of R. Strauss'
*Friedenstag*:  "...Deborah Voigt's Maria (which was in fact dubbed in after the
recording was completed, after the original soprano had dropped out)...."
 
---'Fanfare', Sep/Oct 2002, p. 214
 
+
 
A faked *Gurrelieder* from Rattle/EMI
 
http://andante.com/magazine/article.cfm?id=17979
 
"Yet the recording [Gurrelieder] (5 57303 2; two CD's) is not quite
the "live performance" touted in EMI's glossy publicity materials.
Some shady marketing practices are involved, as well as a questionable
artistic decision by Sir Simon and the soprano Karita Mattila, one of
the soloists. If the project is, overall, an encouraging indicator of
what we can expect from Sir Simon as he begins his Berlin tenure, it
also provides a cautionary tale about unduly allowing a marketing
concept to influence artistic policy. You will not learn the full
story of how this recording was made either from the extensive liner
notes or from the fine print on the album cover.
 
(...)
 
Ms. Mattila readily agreed to participate. But instead of flying her
to Berlin to record Tove's four songs (some 14 minutes of music) with
the Philharmonic, Sir Simon recorded just the orchestra parts at the
Philharmonie. Then he flew to London to rehearse with Ms. Mattila, who
recorded the soprano parts at the Abbey Road Studios while Sir Simon
coordinated her singing with the existing recording of the orchestra
parts.
 
(...)
 
The objections to what was in essence a high-tech dubbing job are
obvious. The orchestra recorded in the natural acoustics of the
Philharmonie, but on another day entirely Ms. Mattila sang in a
soundproof studio. Moreover, no matter how extensively artists
rehearse, spontaneous things inevitably happen in performances.
Circumstances prevented that here.
 
(...)
 
The recording technology available today is astonishing. When I first
listened to this "Gurrelieder," I knew nothing about how those songs
were recorded. As I followed the immense score, I accepted the
recording as a live event, though I remember being struck by the
up-front presence of Ms. Mattila's voice. (Such imbalances are not
uncommon in live recordings.)
 
(...)
 
Both performers defend their actions, which have precedents large and
small (though usually identified as hybrids). The problem is that the
publicity materials promise a "live" recording, "based on performances
given in the Philharmonie during the Berlin Festival last September."
Peter Alward, the president of EMI Classics, United Kingdom, recently
told me that the company had "no intention to deceive.""

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