Camilla Tilling: “loves me… loves me not…”
Opera arias by Gluck and Mozart.
Philipp von Steinaecker, conductor
Camilla Tilling grew up on a farm in a rural part of Sweden. Her parents sang in the local church choir. Hearing her parents sing with the choir when she was about six years of age, she later recalled thinking, “Well, this isn’t difficult. I could do the same.” There you go!
I have to confess that Ms. Tilling had not been on my radar screen before I saw a listing for her new SACD from BIS. But one can infer from the stratospheric level of her appearances over the past few years that she has a marvelous voice. From her management’s website: “Fresh from performances of Mendelssohn’s Elijah with the Gewandhausorchester Leipzig and Thomas Hengelbrock, Tilling has a busy concert diary ahead including returns to Teatro alla Scala for Beethoven’s Missa Solemnis under Bernard Haitink, the Berliner Philharmoniker for Mahler’s Symphony No.4 under Sir Simon Rattle, and the New York Philharmonic for Beethoven’s Symphony No.9 under Alan Gilbert.” Also: Brahms’ German Requiem with Andris Nelsons (Boston Symphony), Christoph von Dohnányi (New York Philharmonic), and Bernard Haitink (Tonhalle-Orchester Zürich); Bach’s Matthew Passion with Sir Simon Rattle (Berlin Philharmonic); and Bach’s B-minor Mass with Philippe Jordan (Vienna Philharmonic). Whew!
More, and sound samples, after the jump. Continue Reading →
I love to introduce people to pieces of music (or entire albums) I think should be parts of our shared cultural inheritance but which, for whatever reason, remain comparatively obscure. A prime example is Clifford Brown’s Clifford Brown With Strings. I also love to put together playlists that create a narrative arc (that’s fancypants-speak for, “tell a story”).
I was chatting with my friend Doug White, of the Philadelphia-area specialty high-end audio dealer “The Voice That Is.” The subject was the then-upcoming visit from John Atkinson, Jana Dagdagan, and Herb Reichert, all from Stereophile magazine. I volunteered to put together a playlist of high-resolution classical tracks that could do double duty as system-showing-off demo fodder while at the same time providing memorably engaging musical experiences. (Note, I think that the word “classical” is stretchy enough to encompass “Bridge Over Troubled Water.”)
I began sifting through my various lists of demo tracks. It soon became obvious to me that I could profitably fill just about one hour of listening by playing six tracks, all from the Norwegian audiophile label 2L. The tracks are in four parts: Two pairs of shorter tracks that share some aspects, and then two longer tracks from contrasting musical forces and genres. The gamut runs from a-cappella choral music through organ music and solo-piano music, ending with orchestral music. Continue Reading →
Berlin the Bear celebrates Christmas with some great audio gear! Photo by John Marks
This is the fourth installment in my series about choosing Pareto-Optimal equipment to make archival digital copies of vinyl LP (long-playing) phonograph records. The first part (an overview) is here. Part 2 (Rega’s Planar 3 turntable package) is here. Part 3 (Graham Slee’s Revelation M phono stage) is here. This installment covers the conversion of the analog signal from the phono stage into a digital-audio data file.
Unfortunately, as far as I have been able to determine, the various inexpensive solutions for making digital transfers of LPs are inadequate for making archival-quality copies. In this regard, I am not referring to “Best Practices.” I am only talking about “Non-Inadequate Practices.” I cannot recommend all-in-one “USB Turntable” or “USB Phono Stage” solutions for anything other than their convenience for casually ripping an LP to a CD-R. The reasons for this disinclination on my part appear after the jump.
I am a bit of two minds about this video. I’ve had a positive impression of John Mayer ever since I happened across his Room for Squares CD (Sony CK 85293), which I wrote about in Stereophile in 2003, thusly:
Rock singer-songwriter-guitarist Mayer is often compared to Dave Matthews, but for me
his combination of bedevilment over the fair sex, wry wordplay, smooth arrangements,
and low-key vocal delivery strongly calls to mind Michael Franks’ early work.
So, I start out predisposed to whatever John Mayer feels like doing at any time–even though I have not been wowed by all of it. Therefore, to hear him in the “Rock Power Trio” format with totally committed bass player and drummer is good, and to hear them cover one of Jimi Hendrix’ strongest self-penned numbers is even better. Continue Reading →
Film-score composer John Barry’s father owned movie theaters in England. So, in a sense, Barry (1933-2011) grew up in the movie business. (The family name was “Prendergast;” Barry used his first and middle names as his professional name.) The movie business and the music business are similar, in that fickle public tastes can make or break projects and careers. Also similar in that the process of actually getting paid can be… quirky.
John Barry composed the scores for 11 James Bond films including Goldfinger, as well as for Body Heat, Born Free, Dances With Wolves, Out of Africa, The Lion in Winter, and Midnight Cowboy. Barry’s film scores won him five Academy Awards and four Grammys. However, it is almost certain that Barry’s most popular (and profitable for him) film score was for a film that was decidedly unsuccessful upon its original theatrical release, finding a larger audience only on cable tv, and then a bit later with the advent of home video on VHS cassettes.
I wrote about Graham Slee’s UK-made Revelation M phono stage with selectable treble-cut and bass-boost controls (which enable proper playback of non-RIAA as well as RIAA 33 rpm records—and also most electrically-cut 78 rpm discs) here.
Bruce Kohl, facilitator of Graham Slee’s US in-home trial program, included a pair of Graham Slee’s Lautus analog line-level signal cables (with locking RCA phono-plug terminations at both ends–other terminations optional) in the package with the phono stage.
When listening for reviewing I try to avoid (if at all possible) changing more than one variable at a time. So, I had to put Slee’s interconnects aside; and, put-aside they stayed. I eventually did listen; but since you are reading this, you likely figured that out already. The story continues after the jump! Continue Reading →
According to pop-song authority Mark Steyn, there exist more than 100 recordings of Rodgers and Hart’s “My Funny Valentine“—by Chet Baker. Baker recorded the song as a trumpeter with Gerry Mulligan in 1952, re-recording it as a vocalist in 1954, a breakthrough performance that has been widely anthologized. I gather that for the remainder of Baker’s checkered career, audiences continued to demand it, because his last recording of it was in 1985.
The 1937 musical Babes in Arms (set in the imaginary town of Seaport, Rhode Island) is famous not only for “Valentine” (the name of the male romantic interest the song is sung to) but also the standards “The Lady Is a Tramp” and “Where or When.” Less well known but equally significant is that the show included a “dream ballet” by George Balanchine.
The song starts in C minor, and in emotional tone is both pensive and a bit anxious. The girl knows that her guy is a bit of a ditz, but the idea of losing him upsets her no end—the climax comes on the words “Stay, Valentine, stay.” Standout versions include those by Anita O’Day; Miles Davis; and Bill Evans with Jim Hall. And, of course, Keith Jarrett, here with Jack DeJohnette and Gary Peacock.
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This can serve for St. Valentine’s Day, and for President’s Day too!
Abraham Lincoln might have been a log-splitter who had been born in a log cabin; but, at some point in his adult life, Lincoln turned into a true opera lover. (Please remember, opera was what entertained people before movies came along.) In the month before he was murdered, Lincoln was at Ford’s Theater to hear Mozart’s opera The Magic Flute (which had to have been sung in German, because there was no English-language performing version at the time).
More? Lincoln’s favorite opera was von Flotow’s Martha, which was performed as part of the festivities attending his second inauguration. Although German in language, Martha was French in style, with a setting and a plot entirely made up of English-Romantic story elements, such as the two bored upper-class girls who, on a lark, decide to enlist as hired servants. Yeah, right. Of course, one girl finds true love, fast. The upper-crusty beloved, of course, has agonies over his having fallen in love with a serving girl. But, how can our well-born heroine admit that she was an imposter? Or impostress?
Lincoln loved it. He most likely heard it in the original German, though Martha was such a wildfire hit that versions in French and Italian came quickly (with English a bit later). Even later, Enrico Caruso made parts of the Italian version popular hits on record from 1906 on.
More, after the jump. Continue Reading →
All children know that February 2 is the day that the Groundheifetz emerges from his burrow, and…
Well, as I said, everybody knows that.
I had a visceral bad reaction to most of the famous RCA stereo releases—on both sound and interpretative grounds—however, some of his early mono work is actually quite relaxed, and very musical (as well as collegial). Of that era, his Glazounov Concerto with Barbirolli and the LPO stands out.
So, Happy Birthday to a cultural icon—one whose name (as is the case with Einstein’s) is also a common noun.
As in, “He’s no Heifetz.”
Click the jump link for a 1949 Pabst Blue Ribbon magazine beer ad with Heifetz as a celebrity endorser. Continue Reading →
I last featured Gilad Hekselman in some lovely electric-guitar J.S. Bach. Here he is now in a trio (Gilad Hekselman – guitar; Joe Martin – bass; Marcus Gilmore – drums; and special guest Jeff Ballard – drums), in a pensive modern mood, shot in pensive black-and-white. No need for much commentary from me; the lovely music making speaks for itself.
Gilad’s album Homes is here. Just buy it!
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