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Papelón sin agua para cantar clarito
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Hidrobolívar donó 16 panelas de papelón a sinfónica de Ciudad Guayana
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(5 out of 5 stars) I fell asleep at a performance of Vaughan Williams A Sea Symphony some years ago. It is a LONG piece. I would not recommend it as a first Vaughan Williams purchase, unless you are a particular fan of choral music. On the other hand, I couldn t ignore it. Robert Shaw (America s Mr. Choral Music ) described this symphony on the radio as the most beautiful piece of choral music written in the 20th century . Wow! That covers 100 years, you know. And I deeply enjoy other pieces by RVW, including his Four Hymns and Five Mystical Songs. So I bought this CD and now, instead of listening to this 70-minute symphony in one very long sweep, I listen to songs and sections.
(5 out of 5 stars) I haven t listened to this recording as closely as some of the other reviewers that have pointed out imperfections in the performance. My perspective is that the performance just plain blows me away, where the Gardiner performance just doesn t seem to muster enough power. (And this is from someone who believes that some of Gardiner s Baroque performances border on the miraculous.)
By rights this should be a triumph, but it isn t quite
Santa Fe Listener
| 02/25/2007 (3 out of 5 stars) Since he took over the BSO a few years ago, I have come to admire James Levine enormously, but what kept me from that judgment in the past were recordings like this Missa Solemnis. It all but promises to be stupendous with a money-back guarantee. We have a vocal quartet made up of stars from the Met. The orchestra is no less than the ultimate in Beethoven, the Vienna Phil. The acoutsics are grand, the recording fine (showing some digital edginess in climaxes, however).
Ninth Symphony (the Choral Symphony), was used as the sign-off music for some 15 years on the dominant US evening news broadcast,
The Huntley Brinkley Report, five nights a week on the NBC television network.
The particular performance’s recording had been conducted by the redoubtable Arturo Toscanini back in 1942, with the NBC Symphony Orchestra. (How many commercial television networks still have a resident orchestra these days, hey?) This was all back in a day when even a weekly shoot-’em-up western television show aimed at children,
William Tell, instead of some synthesiser-generated nonsense.
Or perhaps my first exposure was seeing a television broadcast of one of the segments from Walt Disney’s
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