해외구매대행 N0.1 쇼핑365
Bach

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Product Description Born to sing J. S. Bach, Anne Sofie von Otter brings elegant style, richness of voice, and career-long commitment to Baroque music to this glorious recording of alto and soprano arias she herself selected. Featuring beloved staples like the moving Erbarme Dich from the St. Matthew Passion and the Agnus Dei from the B minor Mass, this follow-up to her successful release of Music for a While includes lesser-known repertoire to entice the most jaded lover of voice, Baroque or Bach. Lars Ulrik Mortensen leads Concerto Copenhagen, the acclaimed Scandinavian Baroque ensemble, in instrumentations of fascinating variety unusual in Bach solo vocal albums. Review She possesses one of the most flexible and natural vocal instruments of any living artist. --Opera Now (London), November 2008 From the Artist It was with Bach that Anne Sofie von Otter made her very first solo appearances when she performed the alto arias in the St. John Passion in Stockholm. But by then, as she has explained, the experience gained as a chorister in the Stockholm Bach Choir had already had a fundamental and enduring influence on her approach to the composer. "The conductor of the Bach Choir at that time was very dynamic: he was on fire for this music, and I became on fire for it as well. Then Nikolaus Harnoncourt came up to conduct the Bach motets, and that was also a marvellous experience. Harnoncourt was revolutionizing the performance of Baroque and Viennese Clas¬sical works - spring-cleaning tempos and phrasing and using original instruments to shed the old woolly sounds of a Romantic orchestra and make the music vibrant again. It was an exciting time for young people like me who gathered around the gramophone and listened eagerly to his new recordings of Monteverdi, Bach and Mozart. Harnoncourt really was my main influence in Bach." "In the first ten years of my career I sang a lot of Bach," the singer adds, "but after that I purposely put his music and oratorio aside, because there was so much else to explore, especially opera. So this disc is like coming back full circle." Her concept for the recording and the repertoire she has chosen for it date back to the autumn of 2007. "I borrowed discs of every single Bach cantata, listened to them all, and made notes. It was wonderful to discover new arias, but rather than have a solo vocal recital I decided to break it up with purely instrumental movements. I'd known Lars Ulrik Mortensen for a long time, though we hadn't seen a lot of each other recently, and suddenly this name `Concerto Copenhagen' appeared on the horizon; I heard them on the radio, and I thought: `What a wonderful ensemble!' Sure enough, Lars Ulrik was the leader of this great ensemble, so when the idea of the Bach recording came up I thought: `Why don't I ask Concerto Copenhagen?' I cut down the original list, Lars Ulrik added new ideas, and we had a fantastic time making this recording." As for instrumentation: "Bach often puts the alto voice together with the oboe, so that choice was given, and the sound of the Baroque oboe is one I love." There is a strong showing in the programme of works from the latter part of the young Bach's years in Weimar, from 1714, when he composed Widerstehe doch der Sünde BWV 54, for alto, strings and continuo, and the more elaborately scored Weinen, Klagen, Sorgen, Zagen BWV 12, with its plangent Sinfonia. After his subsequent spell at the court of the music-loving prince of Anhalt-Cöthen, where most of his secular orchestral works were written, Bach returned to composing cantatas when he was appointed Kantor at the Thomaskirche in Leipzig in 1723. At the end of May he began the production of what would, in a relatively short time, turn out to be a staggering quantity of work for the Lutheran liturgical year - some 300 sacred cantatas for Leipzig in five annual cycles, not to mention the great Passions and oratorios. For Christmas that year he wrote the first version of his Magnificat, originally in E flat major and with four insertions specific to Christmas Day; the pastoral siciliano of the lilting alto and tenor duet "Et misericordia", with its two flutes, is heard here in the more familiar D major version, made toward the end of the decade. The two sacred works that tower over that period, however, are the St Matthew Passion and the B minor Mass, both represented here. From the St Matthew Passion, first performed on Good Friday 1729, Anne Sofie von Otter sings the profoundly moving aria "Erbarme dich", which occurs at the point in the Easter narrative when Peter has fulfilled Christ's prediction that he will deny him three times before the cock crows, and follows the words "And he went out, and wept bitterly." The B minor Mass was initiated in 1733 with the Kyrie and Gloria and expanded with music composed both previously and later before reaching its final form at the end of the 1740s. The great alto aria "Agnus Dei" was written in 1735. Historical considerations aside, for von Otter the music remains the starting point, and then the way it relates to the text. Bach poses specific problems for any singer: "Bach is tricky as far as breathing is concerned. There are these wonderful lines, and you want not to breathe so as not to break them up. But more and more the text has increased in meaning for me. Bach really does something with the words, and I enjoy using the text, getting it across. It's not by chance that Bach will really squeeze everything he can out of certain vowels or consonants - this symbolism is something I learned about in the Bach Choir. One has to paint the picture in Bach's mind with one's voice. `Erbarme dich', for instance, has great sadness, in the pleading of the minor sixths, while in `Widerstehe doch der Sünde' we decided on a particular approach to convey the image of the poison in the text." "I dived into this project with great excitement. Lars Ulrik really has what I always like in a conductor, particularly in a Baroque conductor: very clear ideas and a lot of energy. He leads from the organ, so he's part of the music-making himself in a very active way. It was a creative collaboration, and the time was spent with great love." Kenneth Chalmers About the Artist Anne Sofie von Otter was born in Stockholm and studied at the Guildhall School of Music and Drama in London with Vera Rosza. She also attended classes in lied interpretation with Geoffrey Parsons in London and Erik Werba in Vienna. In 1980 she began her collaboration with the pianist Bengt Forsberg. Two years later she joined the ensemble of the Basle Opera, where she made her mark as an interpreter of Mozart (Cherubino, Dorabella, Sesto) and Richard Strauss (Composer). One of the finest singers of her generation, the internationally acclaimed mezzo-soprano works with the pre-eminent conductors of the day, has triumphed at the world's major opera houses and is a regular guest at leading festivals. Anne Sofie von Otter has also achieved great success as a lieder interpreter, mostly in collaboration with Bengt Forsberg. 1984 Debut with the Accademia di Santa Cecilia in Rome under Giuseppe Sinopoli; first ap¬pears at the Aix-en-Provence Festival 1985 Covent Garden debut as Cherubino; Berlioz's L'Enfance du Christ and La Damnation de Faust at the Opéra de Lyon under Gardiner. Beginning of her association with Deutsche Grammophon/Archiv Produktion 1987 CD releases: Messenger in Monteverdi's L'Orfeo (Edison prize 1988), and Bach's Christ¬mas Oratorio, both with Gardiner and the English Baroque Soloists 1990 Named "Recording Artist of the Year" with an International Record Critics Award 1991 At Covent Garden, debut in La Cenerentola (title role); CD releases: Mozart's Idomeneo (Idamante) and La clemenza di Tito (Sesto) with Gardiner and the English Baroque Soloists, and Le nozze di Figaro at the Met under Levine; Brahms lieder with Forsberg (Grand Prix International du disque 1991) 1992 Salzburg Easter Festival debut; great success as Ramiro in Mozart's La finta giardiniera at the Salzburg Summer Festival 1993 CD of Grieg songs with Forsberg (Gramophone Award, Prix Caecilia, Brussels, 1993; Edison Award, Record Academy Prize, Tokyo, 1994) 1994 Tours Japan with the Vienna State Opera in Der Rosenkavalier; on CD: lieder by Berg, Korngold and Strauss with Forsberg 1995 "Singer of the Year" at the Cannes Classical Awards and Germany's Echo Awards; on CD: Berg's orchestral lieder with Abbado and the Wiener Philharmoniker, and Schumann lieder with Forsberg (Grand Prix de la Nouvelle Académie du disque, Prix Caecilia, Brussels, 1995) 1996 First recital at the Salzburg Festival; "Artist of the Year" at the Gramophone Awards; tours with songs from Wings in the Night (Echo Award 1997); other CD release: La bonne chanson (Edison Award, Grand Prix du disque 1997) 1997 Great success as Handel's Ariodante in Europe; Carmen at the Berliner Philharmoniker's New Year's Eve concert with Abbado, recorded for DG; Diapason d'or as "Artist of the Year"; on CD: Ariodante (title role) under Minkowski (Classic CD Award and Cannes Classical Award 1999) 1998 Creates the role of Sorl in Ståden by Sven-David Sandström at the Royal Swedish Opera; CD releases include La Damnation de Faust (Marguerite) with the Philharmonia Orchestra under Chung, and Lamenti with Goebel and Musica Antiqua Köln 1999 Appears in Poppea in Aix-en-Provence; CD releases: Rendezvous with Korngold; Mahler's Des Knaben Wunderhorn with Thomas Quasthoff and Abbado (Grammy 2000); Stravinsky's The Rake's Progress (Baba the Turk) under Gardiner (Grammy 2000) 2001 Named "Singer of the Year" at the Echo Awards; CD releases include For the Stars, with Elvis Costello (Edison Award 2002), and Mots d'amour (Mélodies by Cécile Chaminade) with Forsberg (Gramophone Award "Best Vocal Recording" 2002) 2002 CD releases: Handel's Hercules (Choc du Monde de la musique, Diapason d'or 2002) and arias and scenes by Offenbach, both featuring Minkowski and Les Musiciens du Louvre 2003 BBC Prom with Minkowski and Les Musiciens du Louvre; CD releases: Orchestrated Schubert lieder with Abbado (Grammy 2004), and Handel's Giulio Cesare with Min¬kowski (Diapason d'or, Record Academy Prize, Tokyo, 2003) 2004 Berlioz's Béatrice et Bénédict and Strauss's Capriccio in Paris, Poppea in Paris and London; CD releases include Watercolours, a Swedish song recital (Diapason d'or 2004), and Ravel's Shéhérazade with Boulez and the Cleveland Orchestra 2005 Appearances include Mélisande and Sesto, Ravel's L'Heure espagnole, and Gluck's Orfeo, BBC Prom with Gustavo Dudamel and the Gothenburg Symphony Orchestra. On CD: Mahler with Boulez and the Wiener Philharmoniker, and Music for a While - Baroque melodies by Caccini, Monteverdi, Frescobaldi, Ferrari, Dowland and Purcell 2006 World premiere of Sven-David Sandström's St. John Passion in Stockholm. European tours with the programmes "I Let The Music Speak" and "Excerpts from the Great American Songbook". CD releases: I Let The Music Speak - with the music of ABBA and songs by Benny Andersson and Björn Ulvaeus, and the Christmas album Noël. On Hélène Grimaud's disc Reflection she performs three songs by Clara Schumann 2007 Role debut as Brangaene in Wagner's Tristan und Isolde; appearances include Didon in Berlioz's Les Troyens, Ravel's Shéhérazade, Mozart's Requiem at the Verbier Festival and Berlioz's Les Nuits d'été. Her greatly acclaimed recording of music by Jewish prisoners in the Theresienstadt (Terezín) concentration camp is awarded a Diapason d'or 2008 Orfeo, Bach's St. Matthew Passion, and Mahler's Des Knaben Wunderhorn in Stockholm; Lully's Thésée in Paris; Ravel's Shéhérazade at the Deutsche Oper Berlin; Stravinsky's The Rake's Progress under Harnoncourt in Vienna; Mozart arias in Salzburg and Canteloube's Chants d'Auvergne in Grenoble, Frankfurt, Spain and at the Budapest Festival under Minkowski; Mahler's Das Lied von der Erde and Berlioz's Les Troyens with the Boston Symphony Orchestra under Levine. Residency at Vienna's Musikverein. Festival appearances in Sweden, Tanglewood, Santander, Lucerne, and Edinburgh. Christmas concert tour to the Far East. Release of Swedish orchestral songs by Hans Gefors, Anders Hillborg (both world-premiere recordings) and Laci Boldemann with the Gothenburg Symphony Orchestra and Nagano 2009 Mahler's Symphony no. 3 with the Royal Philharmonic Orchestra Stockholm and the Deutsches Symphonie-Orchester Berlin; Wagner's Götterdämmerung in Stockholm and at the Aix-en-Provence Festival; Songs from Theresienstadt in the USA, on tour in Europe, at the Rheingau, Schleswig-Holstein and Mecklenburg-Vorpommern music festivals and at the Schubertiade; Offenbach's La Grande-Duchesse de Gérolstein in Basle and Vienna. Stravinsky's Oedipus rex with the Los Angeles Philharmonic under Salonen. Bach is on the programme of a European tour with Concerto Copenhagen to support her new recording of famous arias by J. S. Bach with Concerto Copenhagen under Lars Ulrik Mortensen, which is due for release in the spring See more




















2020-12-21 20:32:35


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