Pristine Newsletter - 8 November 2013  
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Callas in La Traviata   
   
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VERDI
La Traviata

Maria Callas
Francesco Albanese
Ugo Savarese

Coro Cetra
Orchestra Sinfonica di Torino della RAI

Conductor Gabriele Santini



Studio recording, 1953  

New reviews:
Autumn 2013  
by Bruce Latham    
 

The 1950 La Scala Ring cycle with Kirsten Flagstad and conducted by Wilhelm Furtwangler has received the Pristine makeover treatment, and generally speaking the resulting transfer is a big improvement on the original LP issue on Murray Hill Records. The original sound was dull and lifeless with a very restricted frequency range and needed a volume boost from the LPs as each side was well over the 30-minute mark. Das Rheingold (PACO089; two discs; 129mins) starts well but is a trifle over-loud and when the Rhinemaidens start singing there is an audio level dip. The balance soon settles down, however, and the quality improves, almost rivalling the sound on the other Furtwangler Ring cycle from Rome in 1953 (PAC0057/60). This is certainly a remarkable achievement from Andrew Rose who has also taken the time to eliminate as far as possible any extraneous noise. Ferdinand Frantz again sings Wotan to full effect and Peter Markwort's portrayal of Mime, though not in the same league as Julius Patzak on the later version, is certainly in character all the time.

The remarkable sound quality continues into Die Walküre (PACO091; three discs; 3hrs 30mins) where Furtwangler takes the tempestuous opening at a steadier pace than Leinsdorf or Solti in their later stereo commercial releases. Gunther Treptow's Siegmund isn't quite as fine as Wolfgang Windgassen's in the 1953 Rome performance, but Hilde Konetzni matches her 1953 interpretation of Sieglinde and the final scene of the first act is well done. At Brünnhilde's entrance, Kirsten Flagstad makes you sit up and take notice against Martha Modl's more dramatic approach to the role three years later. The "Ride of the Valkyries" goes well despite some slight balance problems with individual voices, but unless you are working under studio conditions, this scene becomes a balancers nightmare! The orchestral sound, however, is first class. The final scene of Die Walküre belongs to Wotan after he puts Brünnhilde to sleep and Ferdinand Frantz certainly makes the most of it. The call to Loge
and the subsequent "fire music" are particularly well done.

And so to Siegfried (PACO092; three discs; 3hrs 45mins). Enter Set Svanholm as our hero - who sounds just as committed in the role as Ludwig Suthaus did three years later. The scenes with Mime are really very good, although Markwort tends to shout his words at times rather than keep to the notes, but he obviously revels in his character. Ferdinand Frantz has given way to Josef Hermann as the Wanderer (Wotan), whose different vocal timbre indeed sounds justified, as if to hide the fact of his true identity. The final duet between Briinnhilde and Siegfried is more passionate than dramatic, but in the 1953 performance it's the other way round! Svanholm sounds a little strained towards the final bars and Flagstad doesn't attempt the sustained top C, but the audience obviously didn't notice, judging by the applause. Each act fits comfortably on to one disc.

Götterdämmerung (PACO093; four discs; 4hrs 8mins) is the only part of the Ring  cycle on record that has featured Flagstads Brünnhilde more than once, and comparisons are obviously going to be made. Decca issued their set (LXT5205/10) in 1957 with Svanholm as Siegfried and a mostly Norwegian cast, but perhaps ironically it is the 49-year-old Max Lorenz who steps into Siegfried's shoes here. Decca captured Flagstad's voice better than in this live 1950 recording, but the 1950 final tableau is still very powerful, the orchestra dominating but not overpowering Flagstad's voice. Hagen (Ludwig Weber) misses his cue at the very end, as he is engulfed by the Rhine!

It must be said that the later Furtwangler Ring from Rome has, perhaps, the superior supporting cast, but the Rome orchestra is surpassed by La Scala's orchestral forces. All in all, this new reissue of Furtwangler's first Ring Cycle has been given a new lease of life by Andrew Rose. If you've been put off acquiring it before because of the poor quality of sound, then hesitate no longer. Recommended.

The only complete commercial recording of Verdi's La traviata with Maria Callas was first issued in the UK by Cetra on LP (LPC1246), then World Record Club (OC115/17) and subsequently on many different CD labels, yet here it is again on a Pristine download (PAC0090; two discs; 120mins). I must say straight away that this version is the best transfer I have heard. Cetra's sound quality was always variable, but this Traviata was one of the better ones when it was originally issued. Moreover, with some careful technical enhancements Andrew Rose has brought the sound quality into the twenty-first century. It really is astonishingly good, with smoother level transitions and some clever acoustic adjustments. However, the performance, Callas apart, is a rather pedestrian affair. Both Savarese and Albanese as father and son Germont are only adequate in their support and the conductor Gabriele Santini makes the usual cuts in the score. The minor roles, though, are well taken. It is Callas who is undoubtedly the star here and together with its superior sound quality this is the main reason for acquiring the set in its new download form.


PS EXCLUSIVES
Exclusives

New This Week:

Ormandy
The Philadelphia Orchestra   


Mussorgsky 
Pictures at
an Exhibition
(arr. Cailliet)  
 

1937 Victor Recording

Transfer by Dr John Duffy with additional remastering by Andrew Rose




It is fascinating to hear Ormandy at the very start of his long association with the Philadelphia Orchestra. It was in 1936 that, having been Music Director of the Minneapolis Orchestra, he was appointed Co-conductor in Philadelphia alongside Leopold Stokowski, who wanted to cut down Itis commitment to the orchestra...

The Mussorgsky recording is invaluable for offering the only version yet of Lucien Cailliet's orchestration of Pictures, specially commissioned by Ormandy from the orchestra's house-arranger and Principal Bass Clarinet. It was intended as an answer to the Ravel version, commissioned by Koussevitzky, and the contrasts are fascinating. Surprisingly for a wind-player, Cailliet uses full strings markedly more than Ravel, so that the result is less transparent, often warmer, and some would say more conventional. Yet the cor anglais solo in the "Old Castle" works just as well as Ravel's saxophone, and though Cailliet starts portraying Schmuyle on the oboe instead of Ravel's muted trumpet, the Cailliet does bring muted trumpet in later. One bonus is that Cailliet includes the long "Promenade" after "Goldenberg"and before "Limoges", which Ravel omits.

EG, Gramophone, 1997 (excerpt)

CONTENTS
This Week    From Russia with Love: Soviet Series starts
Player           The €40 media centre?
Streaming    New genre search - old PADA has closed    
Khaikin         Eugene Onegin Soviet-style, 1955
PSXclusive   Ormandy's 1937 Philadelphia Pictures

Another "future of media players" device - just €40

Plus brilliant new search feature at Pristine Streaming    



This week's new release
Boris Khaikin

This week we visit mid-50s Moscow and the Bolshoi Theatre for a superb recording of Tchaikovsky's best-known opera, Eugene Onegin. It marks the first in a planned series of Soviet-era recordings transferred from a collection of original Russian LPs recently donated to Pristine Classical by our friend Dr. John Philips.

I must admit to little experience with these recordings, and I am really not quite sure what to expect from them. The repertoire is unfamiliar, the names equally, and the Cyrillic script hard for me to read.

When I first mentioned these recordings I got a swift response from Fanfare reviewer James Altena, who asked: "I hope that a priority item among your intended releases of Soviet era operas will be the first-ever CD release of the late 1940s recording conducted by Alexander Orlov of Tchaikovsky's Oprichniki."

Happily this recording was among the Russian boxes (once I'd guessed the title from the cover!), and is now pencilled in for a release in January. James has since sent me more suggestions - I'll be getting my Russian letter translator out shortly and investigating what else is lurking in there!

The present recording dates from a little later, 1955, and demonstrates well how the Soviet technicians had mastered the recording technologies both they and the Americans had taken home from Germany at the end of the Second World War. It's as fine a piece of audio engineering as almost anything else I've heard from the mid-fifties, and in these new transfers, from near-mint LPs, and following XR remastering, this classic recording sounds better than ever.




Boxing Clever
The little €40 that does it all - almost

A MK808B, a Digital Music Collection drive, and a CD case 


Take a look at the picture above. What do you see? Two small black boxes and a CD. The bigger black box is a 1TB external hard drive that holds the Pristine Audio Digital Music Collection - all our recordings in multiple FLAC formats, plus all our Streaming Exclusives. With the addition of scores for more recent releases, and cover artwork and the like, this little box, as tall as the CD, half as wide and perhaps half as thick again, holds 26,502 files in 2,103 folders, a total of 529GB of data, or 568,667,464,473 bytes in total.

The double-CD to the right of it, by contrast, totals 10,934,479,518 bytes, less than 1/520th the data. (Oh, and those FLAC files almost double in size when played, unlike the CD.)

My point? Things are shrinking. A stack of 1000 CDs barely half fills a box that's little more than half the size of a CD case. And the drive in that Intenso drive could hold more if I'd chosen the 1.5TB option. As it is there's enough music in there to keep you occupied for a very, very long time.

And right underneath it is the media player that'll handle it and deliver "perfect" digital sound to your hi-fi system, after a fashion. It's a very, very small PC - 8.5cm long, 3cm wide and 1.5cm thick (that's about 3" x 1" x 0.5")  - and it runs the Android operating system common among smart-phones that don't have an Apple logo on them.

It's very bare-bones, but it works, and if you have the right connections it'll play those 24-bit FLAC files almost right out of the box.

My test device arrived yesterday afternoon. It comes with very little: a short HDMI connector for TV or monitor, a USB adapter for external storage, and a mains adapter for power, plus a basic pamphlet on how to get started.

So I plugged in the power and attached the MK808B to my PC monitor, and there it was on the screen - and basic Android desktop. I unplugged the Microsoft wireless adapter for my keyboard and mouse from my PC and popped it into the USB connector provided and suddenly a pointer appeared on the screen. I plugged in a USB memory stick with a video on it and clicked on the video player - it found the video and, when asked, started playing the movie.

Now for the Digital Music Collection. I removed the memory stick and plugged in the Intenso drive. No problem, the MK808B found it and I could see all the files on it. But the default music player didn't recognise the FLAC files as music, so wouldn't play them.

But this is an Android PC, just like my phone, and I know there are zillions of music players on the Google Play store, many of them free, which are brilliant at this sort of thing. With the MK808B connected wirelessly to my office wi-fi network, off I go, and a few clicks later I've got a new music player that happily zips through all the files on the Digital Music Collection and plays all the FLACs.

Now hang on a minute, this is coming out of my monitor's built-in loudspeakers. It's hardly a hi-fi experience, is it? I mean, they're good (Asus have partnered with Bang & Olufsen to deliver better sound from this monitor than I've ever heard before from a PC screen), but they're not that good.

Luckily I have a solution. In my living room there's a TV with an optical digital audio output. There's a nice new digital hi-fi amplifier with optical digital inputs. Put an optical cable between them, plug in the MK808B to the TV's spare digital HDMI input, and what do you have? A totally digital signal path from the original FLAC files to my hi-fi system.

It works. What's essentially a €40 ($40, £35) widget that's light enough to dangle behind my TV can deliver all the music on my Digital Music Collection to my hi-fi in as good a sound quality as any other player in the universe, at any price. Because the digital amplifier handles the conversion to analogue current needed by my loudspeakers, there's no expensive circuitry required at any point before there to convert digits into music, so I don't need an expensive player to do that job.

It's tiny because it doesn't need to be any bigger. It has built-in Bluetooth, so I can reclaim my PC's keyboard and mouse and use a portable Bluetooth mini-keyboard with trackpad (or whatever) as a glorified remote control. It doesn't need a display because, guess what, there's a whopping big 40" high definition LED display sitting in the corner of my room that's better at the job than anything you can fit on the front of a hi-fi separate.

This looked good. Then I spotted something else - a networking media app. It's come to the right home! It finds all the various stream offerings that are floating around the house and gives them to me: my Squeezebox Server that sends music and Internet radio to our digital radios; a connection to XBMC that's running on a PC on the network; the Plex server (similar to XBMC that can send video and FLAC to an iPad, among other devices) that's running on another PC; the DNLA stuff I don't really understand that connects all sorts of digital media devices, and more. I didn't realise I was so well connected!

Now the likelihood is that some of these services, such as Plex or Squeezebox Server, may do some file conversions before they send our the music I select from them. I'm not entirely sure, but it wouldn't surprise me if the ability to play a 24-bit FLAC using the Squeezebox method might not be delivering quite the quality I'd hoped for, but equally it may. I'd have to investigate if I decided that was my preferred means of transmission.

Or I can stick to a local drive, as originally described. There's another slot on the MK808B which apparently offers the use of a MicroSD card (they call it a TF card, which according to the Internet (!) is the same thing) which I've not tried yet, but in theory I could pop in a 64GB memory card stuffed with music, video, pictures and more and have this as well as whatever I've got plugged into the USB port.

In short, it works. It's a bit of a hobbyist's solution perhaps, but I'm sure it wouldn't take long for me to have it working simply and the way I want. And the next generation XBMC player for Android is just around the corner too. In use your TV becomes your media control centre, with this little dongle hidden away at the back, and that digital connection from TV to digital amplifier ensures the best possible sound quality can be delivered to your speakers.

When something as small, simple and cheap as this can deliver so much, so well, it's no surprise that those who like endless tweaking, or investing in  esoteric sound equipment, are turning their attention back to vinyl, despite all its shortcomings. What else can they do with all their money when $40 is all they really need?


 

 

 

Pristine Streaming Pristine Streaming

New Genre Search.

This was an excellent idea sent to me earlier this week by one of Pristine Streaming's new subscribers. By going through all of the recordings in the main player and adding a simple extra couple of words denoting the musical category, you can now search for music by genre as well as any other words used in the titles or artists lines.

For example, typing chamber music (or Chamber Music - it's not case-specific) into the search box and pressing return will filter our everything but chamber music from the playlist. Fancy some jazz? Just search for "jazz" What could be simpler?

The musical categories are based on our existing cataloguing schemes and are as follows:

Orchestral Music, Chamber Music, Keyboard Music, Vocal Music, Opera, Blues, Jazz

Note that I've split the vocal section into two. Opera is just that, with Vocal Music covering everything else from large choral works to solo recitals. Keyboard Music refers to solo keyboard recordings, with piano concertos covered under Orchestral Music. Then again, type Piano Concerto and you'll find this does an equally good job at finding just this - that was always an option, as are other keywords found in existing titles, such as Symphony, Quartet, Sonata and so on.

Give these keywords a try, then perhaps randomise the playlist - it's a great way to finding new music!

 

PADA has closed

Due to difficulties resurrecting our music streaming service, PADA, following our hurried relocation last weekend, we've taken the decision to close the service earlier than planned. The majority of subscribers have already moved over to the new Pristine Streaming service. If you're still subscribed to PADA, please use the link on our website under Pristine Streaming to end your subscription now.


Andrew Rose
8 November 2013  

Go Digital

Pristine's Soviet Series: Khaikin's 1955 Eugene Onegin
 
Classic Melodiya recording from the Bolshoi Theatre in new 32-bit XR remaster 

  

Tchaikovsky
Eugene Onegin      


Eugene Belov - Eugene Onegin
Galina Vishnevskaya - Tatiana
Ivan Petrov - Prince Gremin

Bolshoi Theatre Orchestra and Chorus
Chorus Master  -  Mikhail Shorin
Conductor -   Boris Khaikin


Studio Recording · Moscow, 1955

  

                                                         

Producer and Audio Restoration Engineer:

Andrew Rose  

  

Website page: paco099     

  

  

Producer's note

  

This is the first in a planned series of Soviet operatic recordings transferred and remastered from Melodiya LP pressings, and as such is a new experience for me. I know the Red Army was able to acquire a good number of German taped recordings at the end of the war, and with them one assumes the technology to play them, but beyond this my knowledge of Soviet recording technolody is very slender.

This recording, made in 1955 in the Bolshoi Theatre, is a fine example of what they could do, and stands equal to any Western contemporary in its technical quality. That said, it remains resolutely of its era, and XR remastering has worked wonders with the tonal quality of the recording. I've also gently relieved a rather dry acoustic that did the soloists few favours.

 

    

  

MP3 Sample
Act 1, Letter Scene: Download and listen  



Historic Review 


I got great pleasure from this Bolshoi Onegin (helped by visual memories of it) and I think it, by and large, superior in sound and performance to the Decca set from Belgrade (which I also liked, with reservations). It is a lovely opera and one which goes very well on the gramophone. There is depth and perspective in the recording (for instance the chorus of distant reapers drawing towards Mme Larina's garden at dusk). The conducting of the orchestra, which is full-blooded, but a little lacking in individuality in the all-important woodwind sections (almost secondary characters in this score) is firm and brisk and the ensemble of the chorus and the dancing is efficient. Too brisk? I think I have heard the letter scene more affectionately handled; there is the regulation ritardando ("Are you an angel sent from heaven?"), but elsewhere there is a suggestion which may not bother you that this music is simply too familiar to the players to earn the ultimate in expressiveness. The Tatiana is no Melba; every note in her scale has a different quality! But the total effect of her singing is to me pleasing; it is a rich, fresh, young sounding voice and she seems to "live the part" convincingly. The next requirement is a good Onegin and in the baritone Belov we have a character actor whose timbre is strongly individual. He sings with meaning and with a regard for the beauty of the music as such, which is pleasing. At the end of Onegin's priggish advice to Tatiana, telling her he couldn't do more than love her "as a brother", Belov sustains the high alternative note with a finely veiled piano (as I believe Baklanoff used to and which one of the best current Onegins, Ernest Blanc, does). Lemeshev is, of course, a star tenor and sings as he pleases. His sweetness and perhaps rather intrusive pianos and holds are respected by the conductor: personally I thought this a very attractive and individual Lensky, but you may find it mannered (yet isn't that in character, really?). Lemeshev's leading of the post-quarrel quintet (Larina's ball) and his farewell to lost happiness (pre-duel scene) are most appealing. The Olga is rich voiced and rather a heavy singer who doesn't quite seem to see the point of the charming song in the first act ("You never saw me sentimental"), booming and slowing down needlessly. Were I casting the opera I would always see to it that the Nurse sounded like an old woman (not an Amneris on holiday) and that Monsieur Triquet, the tutor, sang in character (here he sounds like an aspiring principal). Prince Gremin is another case: the bass Petrov here with a marvellous voice like a barrel gives his solo splendid weight and handsome dignity (it starts the last side).

All in all my verdict is that this Onegin can provide a lot of pleasure and that we must be grateful for an authentic Bolshoi version as well sung and recorded as this, even if you personally may have heard more delicate and affectionate accounts of the score.

Review by P. H.-W., The Gramophone, July 1959 - Parlophone UK issue


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