Composed in the early 19th century, the four grand piano sonatas by Carl Maria von Weber round out the Classical age and herald in the Romantic style. All four of these sonatas are featured on this two-disc set, as well as Weber’s Rondo brilliante in E flat major, Op. 62, and Aufforderung zum Tanz, Op 65. +Pianist Michelangelo Carbonara studied at Lake Como Academy under such pianists as Dimitri Bashkirov, Leon Fleisher, Claude Frank, and Alicia de Larrocha. He has won several international competitions, including the Schubert International Piano Competition.

The reissue of this now elderly performance of Der Freischdtz is of interest chiefly for some classic performances. The most impressive of these is Gottlob Frick's Kaspar. Flashing with a sinister allure in ''Hier im ird'schen Jammertal'', he changes character as soon as the hapless Max has gone and steps forward with a terrifying account of ''Schweig! Schweig!'', curling his phrasing around the music with evil relish and deploying his most Schwarzalberich tones; he is at once edgy and determined as he sets about persuading Samiel to allow him to substitute Max for himself as victim. Rudolf Schock sings lyrically and tenderly as Max, though he is cast a little too much as the primo tenore rather than as a part of Weber's fantastic orchestral expression by being set, like most of the singers, rather too far forward. Claire Watson is an affecting Agathe, with a gentle directness of emotion in ''Leise, leise'' that is very touching. She has at her side a lively Aennchen in Lotte Schadle, even if the soubrette bounciness has to worked for a little. There are plenty of stage effects, including an extraordinary rattle of approaching feathers followed by a loud thump as the shot eagle crashes to the ground: this is always a tricky moment for anyone with any sense of humour at all. There is, of course, a wealth of accompanying din (including a grunting boar) in the Wolf's Glen, which comes off with its usual gruesome effect.

Matacic is sometimes rather too expansive with the score, but he gives a firm and distinctive performance. I would not now commend the set above the Carlos Kleiber (for DG), but it is god to have a chance of hearing it again. There is a synopsis in four languages, and the German text with a rather free English translation, including much of the original dialogue.'

John Warrack, Gramophone [3/1989] Reviewing Eurodisc 352 894

Classical Music

Bull's eye, Carl Maria von Weber triumphantly wrote to his librettist Friedrich Kind after the enthusiastically received world premiere of Der Freischutz in 1821 in Berlin. With it's emotional and gripping music, it soon became the epitome of German Romantic opera. As one of the most popular operas in the German-speaking world, Der Freischutz has now been staged on the Seebuhne for the first time under the lead of director and stage designer Philipp Stolzl and conductor-in-residence Enrique Mazzola. The two teamed up again in Bregenz following their phenomenal success with Verdi's Rigoletto. "The staging is overwhelming" (Suddeutsche Zeitung). "A small theatre miracle is taking place in Bregenz" (Der Tagesspiegel). BONUS: A Winter's Tale: Inside 'Der Freischutz' at Bregenzer Festspiele

Bull's eye, Carl Maria von Weber triumphantly wrote to his librettist Friedrich Kind after the enthusiastically received world premiere of Der Freischutz in 1821 in Berlin. With it's emotional and gripping music, it soon became the epitome of German Romantic opera. As one of the most popular operas in the German-speaking world, Der Freischutz has now been staged on the Seebuhne for the first time under the lead of director and stage designer Philipp Stolzl and conductor-in-residence Enrique Mazzola. The two teamed up again in Bregenz following their phenomenal success with Verdi's Rigoletto. "The staging is overwhelming" (Suddeutsche Zeitung). "A small theatre miracle is taking place in Bregenz" (Der Tagesspiegel). BONUS: A Winter's Tale: Inside 'Der Freischutz' at Bregenzer Festspiele

Trios For Flute, Cello And Pia

Without any doubt Euryanthe is an absolute masterpiece, rich on unforgettable melodies and brilliantly orchestrated. While today only the overture is frequently performed, the entire production is worthy of renewal. Furthermore, it is the only opera by Weber without spoken dialogues, continuity being created by orchestral recitatives linking the “numbers“ in a very skillful way. This makes it an ideal opera for radio, as this production proves in no uncertain way. The interpretation is on a high level and we get a glimpse of the great talent of Kurt Masur, famed German conductor and “one of the last old-style maestros” at the beginning of his glorious career.

CARL MARIA VON WEBER: Elena Prokina, soprano; JOlana Fogasova, soprano; Yikun chung, tenor; Andreas Scheibner, bass-baritone; Orchestra e Coro del Teatro Lirico di Cagliari/Gerard Korsten; 169 mins; NTSC; Subtitles in Italian, English, German, French, Spanish; DTS, Dolby Digital 5+ CARL MARIA VON WEBER: Euryanthe (Sung in German).

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music