When Gianandrea Noseda brought the forces assembled here for this live recording of Britten's War Requiem to New York's Avery Fisher Hall in October 2011, Alex Ross, classical music critic for The New Yorker , described it as the finest performance of the piece he had heard, and the recorded performance made at the Barbican, London, the same month is exceptional on many counts. The problem with experiencing the power of the performance on the SACD lies in its acoustic; the piece is recorded at such a low level that it's ...
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When Gianandrea Noseda brought the forces assembled here for this live recording of Britten's War Requiem to New York's Avery Fisher Hall in October 2011, Alex Ross, classical music critic for The New Yorker , described it as the finest performance of the piece he had heard, and the recorded performance made at the Barbican, London, the same month is exceptional on many counts. The problem with experiencing the power of the performance on the SACD lies in its acoustic; the piece is recorded at such a low level that it's necessary to crank the volume up far beyond normal listening levels for the performers not to sound remote and underpowered. Even at very high volume, the performers lack the feeling of presence and immediacy that must certainly have been conveyed in live performance. Even so, the strengths of the soloists, choirs, and orchestra, and of Noseda's assured understanding of the score, both in its larger architecture and its particulars, are striking. From the anguished opening, he...
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