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COMPOSERBARTKOK, BELA
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ORCHESTRA / ENSEMBLEPhilharmonia Orchestra, Philharmonia Voices
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PERFORMERTomlinson, Deyoung, Stevenson, Salonen
Bartok: Bluebeard's Castle / Salonen, Stevenson, DeYoung, Tomlinson, Philharmonia
- Signum Classics
- April 29, 2014
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RELEASE DATEApril 29, 2014
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UPC635212037225
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CATALOG NUMBERSIGCD372
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LABELSignum Classics
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NUMBER OF DISCS1
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GENRE
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Prologue - Opening
Composer: Béla Bartók
Ensemble: Philharmonia Orchestra
Performer: Juliet Stevenson, John Tomlinson, Michelle DeYoung
Conductor: Esa-Pekka Salonen
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First Door: The Torture Chamber
Composer: Béla Bartók
Ensemble: Philharmonia Orchestra
Performer: John Tomlinson, Michelle DeYoung
Conductor: Esa-Pekka Salonen
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Second Door: The Armoury
Composer: Béla Bartók
Ensemble: Philharmonia Orchestra
Performer: Michelle DeYoung, John Tomlinson
Conductor: Esa-Pekka Salonen
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Third Door: The Treasury
Composer: Béla Bartók
Ensemble: Philharmonia Orchestra
Performer: Michelle DeYoung, John Tomlinson
Conductor: Esa-Pekka Salonen
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Fourth Door: The Secret Garden
Composer: Béla Bartók
Ensemble: Philharmonia Orchestra
Performer: Michelle DeYoung, John Tomlinson
Conductor: Esa-Pekka Salonen
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Fifth Door: Bluebeard's Kingdom
Composer: Béla Bartók
Ensemble: Philharmonia Orchestra
Performer: Michelle DeYoung, John Tomlinson
Conductor: Esa-Pekka Salonen
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Sixth Door: Tears
Composer: Béla Bartók
Ensemble: Philharmonia Orchestra
Performer: Michelle DeYoung, John Tomlinson
Conductor: Esa-Pekka Salonen
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Seventh Door: Bluebeard's Former Wives
Composer: Béla Bartók
Ensemble: Philharmonia Orchestra
Performer: John Tomlinson, Michelle DeYoung
Conductor: Esa-Pekka Salonen
Featuring ⌄
Product Details ⌄
Works ⌄
An unforgettable live-concert recording, selected from the Philharmonia Orchestra and Esa-Pekka Salonen's season of works by Béla Bartok - 'Infernal Dance'. Reviews of the concert from which this recording was taken: "John Tomlinson and Michelle DeYoung were vocally so commanding as to render "choreography" entirely superfluous. Tomlinson's cavernous voice seemed to embody the very interior world of his castle - its sadness, darkness, emptiness - his Hungarian so vivid and expressive in itself that it became another sonority in Bartók's aural palette. He was quite extraordinary. Musically stunning ..." The Arts Desk "The part of Judith was well taken by Michelle DeYoung but it was the portrayal of Tomlinson that stole the show. At first predatory and prowling - no one can prowl like John Tomlinson - he visibly collapsed into himself as his secrets were exposed. And never was that magnificently gnarled tone put to better use." The Evening Standard
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