Most recordings of Schoenberg's tone poem Pelleas und Melisande are of the blonde bombshell variety. They're big. They're built. They're over the top. And they can't act. Think of Barbirolli's, Böhm's, or especially Karajan's recordings: no matter how gorgeous they are and how emotional they get, the listener is ultimately left unmoved an unimpressed.Not so in Matthias Bamert's 1988 recording with the Scottish National Orchestra. More of the slim, trim, tight, and taut variety, Bamert's Pelleas is transparent, translucent, ...
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Most recordings of Schoenberg's tone poem Pelleas und Melisande are of the blonde bombshell variety. They're big. They're built. They're over the top. And they can't act. Think of Barbirolli's, Böhm's, or especially Karajan's recordings: no matter how gorgeous they are and how emotional they get, the listener is ultimately left unmoved an unimpressed.Not so in Matthias Bamert's 1988 recording with the Scottish National Orchestra. More of the slim, trim, tight, and taut variety, Bamert's Pelleas is transparent, translucent, luminous, radiant, beguiling, mysterious, tragic, and ultimately very, very moving. While this might not sound like the Pelleas that generations of listeners have learned to love, newer listeners who want to be seduced rather than bludgeoned might find Bamert's Pelleas more attractive.Instead of Bamert's recording of Webern's Passacaglia, which appeared with the original release of Schoenberg's Pelleas, there is Schoenberg's Piano Concerto by pianist Amalie Malling with conductor...
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Add this copy of Piano Concerto Op 42 / Pelleas & Melisande Op 5 to cart. $76.80, very good condition, Sold by Cozy Book Cellar rated 5.0 out of 5 stars, ships from Bellingham, MA, UNITED STATES, published 2006 by Chandos Records.
