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Balada - La Muerte de Colon (The Death of Columbus) [Garrison, Blackwell, Jenkins, Mueller, Okerlund - Page 2005]
Жанр: Opera
Страна-производитель диска: Germany
Год издания диска: 2009
Издатель (лейбл): Naxos
Номер по каталогу: 8.660193-94
Дата записи: 2005
Аудиокодек: APE
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: Total Playing Time: 01:34:25
Источник: собственный рип
Наличие сканов в содержимом раздачи: да
Треклист:
CD1- Act I

01. Scene 1, "Barcelona - Retorno de Colon" (Barcelona - Return of Columbus): Ave verum corpus natum de Maria Virgine 00:13:04
02. Scene 2, "Lecho de Muerte 1" (Death - Bed 1): Mis ojos cansados 00:04:45
03. Scene 3a, "En un poblado indio" (In an Indian Village): Song: Uuuuaaa, uuuoaaa, daaaee, uooaaa 00:04:02
04. Scene 3b, "En un poblado indio - pillaje" (In an Indian Village - Pillage): Yeee, yeje, yajo, eee 00:01:27
05. Scene 4, "Lecho de muerte 2" (Death - Bed 2): Bien seria aquello el Paraiso, libres las gentes 00:02:51
06. Scene 5: Bobadilla: Ese, Colon, ese extranjero esta llevado de la mano 00:07:12
07. Scene 6, "Mirad" (Look): Doliente mi cuerpo, con sangre mi alma 00:04:46
08. Scene 7, "Jerusalen" (Jerusalem): Ja, ja, ja! 00:06:57
09. Scene 8, "Los Colones" (The Columbuses): Los Colones, los hijos, los hermanos 00:05:05

CD2-Act II

01. Scene 1, "En un poblado indio" (In an Indian villaga): Dance: Ay! (Voices) 00:04:14
02. Scene 2, "Lecho de muerte 3" (Death - Bed 3): Aaje, aaja, aajo … (Indians, Mysterious Character, Columbus, Monks) 00:02:45
03. Scene 3, "Amadisimas" (Beloved Ones!): Cristobal … (Beatrice, Queen Isabella, Columbus) 00:08:29
04. Scene 4, "Lecho de muerte 4" (Death - Bed 4): Mal supisteis llevar de la mano (Mysterious Character, Columbus, Monks) 00:02:41
05. Scene 5, "Los Heroes" (The Heroes): Colon! Yo, Vespucio! (Vespucci, Magellan, Columbus, Mysterious Character, Monks, Bolivar, Zapata) 00:08:28
06. Scene 6, "Apocalipsis" (Apocalypse): Ellos son los verdaderos heroes (Monks, Columbus, Voices, Apocalyptic, Apocalyptic Characters, Beatrice, Isabella) 00:09:15
07. Scene 7, "Perdonadme" (Forgive Me): Ave verum corpus, natum de Maria Virgine (Monks, Columbus) 00:08:24

Исполнители:

Leonardo Balada (b. 1933)
La Muerte de Colón (1992–93, rev. 1996) (The Death of Columbus)
Opera in two acts
Libretto by Leonardo Balada
Premièred at Carnegie Music Hall, Pittsburgh, Pennsylvania, on 15 January 2005
Christopher Columbus (Cristóbal Colón) - Jon Garrison
Queen Isabella (Reina Isabel) - Judith Jenkins
Beatriz Enríquez - Katherine Mueller
Mysterious Character (Personaje Misterioso) - David Okerlund
Margarit / Hernando / Vespucci / Apocalyptic Character 1 - Arturo Martín
Aguado / Diego[brother]/ Magellan /Apocalyptic Character 2 - Dimitrie Lazich
Friar Boil / Diego [son] / Zapata / Apocalyptic Character 3 - Raymond Blackwell
Bobadilla / Bartholomew / Bolívar / Apocalyptic Character 4 - Milutin Lazich
King Ferdinand (Rey Fernando) - Brent Stater
Indian Voice (Voz India) - Katy Shackleton-Williams
Choruses of Citizens, Courtiers, Indians, and Voices - Carnegie Mellon Repertory Chorus
Chorus of Monks - Members of the Mendelssohn Choir
Carnegie Mellon Philharmonic • Robert Page
Assistant conductors: Jeff Turner, Katherine Mueller, Jeffrey Grossman, Jason Iannuzzi

Код:

CD1

Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 6. May 2013, 16:17
Balada / La Muerte de Colón, Page 2005 CD1
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Код:

CD2

Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 6. May 2013, 16:15
Balada / La Muerte de Colón, Page 2005 CD2
Used drive : TSSTcorpCDDVDW SE-208AB Adapter: 1 ID: 0
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
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Selected bitrate : Fast Lossless Compression
Quality : High
Add ID3 tag : Yes
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Additional command line options : %dest% -t "Artist=%artist%" -t "Title=%title%" -t "Album=%albumtitle%" -t "Year=%year%" -t "Track=%tracknr%" -t "Genre=%genre%" mac.exe %source% %dest% -c3000 -v
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Copy OK
No errors occurred
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Код:

CD1

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REM DATE 2005
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TITLE "La Muerte de Colón, Page 2005 CD1"
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TRACK 01 AUDIO
TITLE "Act I Scene 1, 'Barcelona - Retorno de Colon' (Barcelona - Return of Columbus..."
PERFORMER "Balada"
ISRC HKI190802801
INDEX 01 00:00:00
TRACK 02 AUDIO
TITLE "Act I Scene 2, 'Lecho de Muerte 1' (Death - Bed 1): Mis ojos cansados (Columb..."
PERFORMER "Balada"
ISRC HKI190802802
INDEX 01 13:02:08
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ISRC HKI190802803
INDEX 01 17:47:42
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ISRC HKI190802804
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ISRC HKI190802805
INDEX 01 23:17:20
TRACK 06 AUDIO
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ISRC HKI190802806
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TRACK 07 AUDIO
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ISRC HKI190802806
INDEX 01 33:21:04
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ISRC HKI190802808
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PERFORMER "Balada"
ISRC HKI190802809
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Код:

CD2

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REM DATE 2005
REM DISCID 5A0A5D07
REM COMMENT "ExactAudioCopy v1.0b3"
PERFORMER "Balada"
TITLE "La Muerte de Colón, Page 2005 CD2"
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ISRC HKI190802901
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TRACK 02 AUDIO
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ISRC HKI190802901
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PERFORMER "Balada"
ISRC HKI190802907
INDEX 01 35:48:70

Код:

CD1

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Код:

CD2

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Доп. информация: About the composer

Since the early 1980s opera has been a significant part of Balada’s musical life.
Beginning with the acclaimed operas Hangman, Hangman (1982), Zapata (1984), and The Town of Greed (1997) and the new opera Faust-bal recently given its première at the Teatro Real in Madrid, Balada has combined his musical and extra-musical interests in his works for the stage.
La Muerte de Colón brings together his historical interest in heroic figures from the age of Revolution and Discovery with his characteristic musical style.
Balada blends surrealism, ethnic and folk allusions, and a contemporary orchestral language derived from avant-garde techniques of the mid-twentieth-century.
In short, a work emerges which could not be written by any other composer.
It is fitting that this première recording of the opera involves a large spectrum of the faculty and student musicians of Carnegie Mellon University, at which Balada has been a driving force in the composition program and university community for almost forty years.
Before the Barcelona première of Christopher Columbus, Balada was asked if he felt it was important to write an “avant-garde and futuristic” opera for the subject matter of Columbus and the ideas of discovery and looking forward.
Balada commented, however, that he felt it was crucial for us to always have one foot in the past and one foot in the future.
Rather than looking towards a future of total cultural homogeneity, we must rather embrace and recognize the cultural differences of our collective pasts.
This was a very important concept to the music of the original Christopher Columbus and also La Muerte de Colón, with their blending of ethnic ideas and avant-garde musical effects.
In this way, Balada is making his own statement about what the present needs to be: a mix of both past and future.
Carson Cooman

About the opera

The opera The Death of Columbus, in Spanish, was composed from February 1992 to January 1993 (and revised/expanded in 1995/96), and is a sequel to Christopher Columbus (http://rutracker.org/forum/viewtopic.php?t=2376823 ) which had its première in Barcelona in 1989 with José Carreras and Montserrat Caballé in the leading rôles.
The composition was supported in part by a grant from the National Endowment for the Arts.
From my point of view as a composer, the important elements in an opera are the identification by the orchestra of each dramatic moment and the lyricism of the vocal soloists.
Given the importance of the latter, it would not have been appropriate for me to compose operas during my avant-garde period, from the mid- 1960s to the mid-1970s, when I did not consider melody as part of my style.
Instead my interest in musical drama expressed itself in the form of cantatas, where instead of singers there were narrators and the choruses would sing texturally rather than lyrically.
In 1975, while feeling the need for a new direction in my music, I incorporated melody into my language, creating a symbiosis between the far-out techniques of the avant-garde and traditional lines and harmonies, causing disapproval from some quarters in carrying out what nowadays is a very common practice.
At that point with the addition of lyrical melodies to my palette, composing operas made sense to me.
In all of my operatic work since then, abrasive contemporary orchestral sonorities co-exist with highly melodic vocal lines.
Leonardo Balada