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Subject: Re: Mark Reizen concert from the Great HAll of the Moscow Conservatory 15th March 1958
From: Victor Han <[log in to unmask]>
Reply-To:Victor Han <[log in to unmask]>
Date:Fri, 15 Dec 2017 12:52:08 -0500
Content-Type:text/plain
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text/plain (165 lines)


As I write this, I am playing this CD, recently received, for the first time on my
my stereo system. Through the big speakers the quality is so good that if I cl
close my eyes, it seems that I was there in the concert hall.

 I may make more comments about the songs, the performances and the 
period in Reizen's life and career. Just saying that the voice is still of the 
greatest bass of the century. Listen to the resounding Basilio at the end :-)

The CD comes with bilingual listings and a good bio sketch but no texts. As t
these are very useful for the Russian songs, I endeavor to provide text a
assistance if any one requests it.

I recommend this highly, for Reizen fans as well as for new "recruits". The Bori
Boris scene is unique, the only live recording of the century's other and argu
arguably greatest Boris. The sound is surprisingly good too.

Best,

Victor Han


On Sun, 19 Nov 2017 08:11:11 -0500, Mike Weston <we
<[log in to unmask]> wrote:

>To commemorate the 25th anniversary of the passing of the great bass M
Mark
>Osipovich Reizen (3 July 1895 – November 25, 1992), Aquarius have r
released,
>what is believed to be, the singer’s only surviving complete solo concert
>(previously unreleased). Fragments of others are known to exist, as well a
as
>joint concerts with other singers (a performance of Glinka’s “Doubt” from a

a
>concert in memory of Antonina Nezhdanova on 12th May 1952 was or
originally
>intended as the bonus item on this release). The entire repertoire p
performed
>was also recorded in the studio at some point in his career.  The aria ‘E il
>foglio io segnero’ from Gomes’s opera «Salvator Rosa» is of particular
>interest. He first recorded the aria whilst on the UK leg of his European
>tour (Paris, Berlin, Monte Carlo) at the EMI studios in Hayes, Middlesex and
>r
and
>represents the first three entries in his extensive discography. 
>Reizen performed the role of Tsar Boris many times throughout his caree
career. He
>sang the role in both of the Musorgsky versions (1868 and 1873) in the Pave
Pavel
>Lamm editions whilst engaged at the Mariinsky Theatre. It was on the
>strength of his performances in the new production, at the Bolshoi Th
Theatre,
>which premiered on 20th June 1946,  that he was engaged to record the r
role
>in the first complete studio recording.  Luckilly, for collectors, Reizen’s
>studio performance did not meet with expectations and Alexander Pirogov was

was
>recorded in a performance more acceptable to Soviet ideology. The Reizen
>performance remained in the vaults until it was finally released in 1975.
>This magnificent performance has been reissued on CD many times si
since.  In
>the Spring of 1954, a small group of artists including Mark Reizen and
>Sviatoslav Richter embarked on an Hungarian tour. The performance 
of ‘Boris
>Godunov’ at the Hungarian State Opera in Budapest on 7th March 1954 (th
(the
>same year that Reizen retired from the Bolshoi Theatre) was thankfully
>recorded and still survives in a few private copies. The bonus item, on this
>CD, is from that performance and  begins at Boris’s final entrance through
>to the end of the opera. The cast of the complete performance was:
>              Boris Godunov—Mark Reizen 
>	Shuisky— Endre Rösler
>	Pimen— Oszkár Kálmán
>	Grigori—Laszlo Nagypal
>	Marina—Magda Rigo 
>	Varlaam—Oszkar Maleczky
>	Missail—Joszef Somlo
>	Simpleton—Pal Fekete
>
> This complete recording represents one of only two complete, surviving l
live
>performances with this great bass (The other being a performance 
of ‘Ruslan
>and Lyudmila’ from the Bolshoi Theatre on 6th April 1951). Neither of th
these
>has been released on CD.
>Of special interest to collectors is the inclusion Oszkár Kálmán’s Pimen.
>The extract represents a rare, live performance of the bass who created t
the
>role of Bluebeard in Bela Bartok’s “A kékszakállú herceg vára” (
(‘Bluebeard's
>Castle’) in 1917
>The CD can be purchased direct by e-mailing Andrei at
>[log in to unmask] or from 
>Norbeck, Peters & Ford (http://www.norpete.com/)
>Although I do have an association with Aquarius, I do not receive any
>payment for my work.
>
>
>
>
>
>The Concert from the Great Hall of the Moscow Conservatory on March 15, 195
15, 1958" 
> 
>  1. Doubt (M. Glinka) 
>  2. Midnight review (M. Glinka) 
>  3. Dusk fell on the earth (P. Tchaikovsky) 
>  4. Frenzied nights (P. Tchaikovsky) 
>  5. Amid the din of the ball (P. Tchaikovsky) 
>  6. When to the sessions (D. Kabalevsky) (from the cycle «Seven S
Sonnets of
>Shakespeare») 
>  7. E il foglio io segnero (A. Gomes «Salvator Rosa», act 2) 
>  8. Die Krähe (F. Schubert, from the cycle «Die Winterreise») 
>  9. An die Musik (F. Schubert) 
>10. Wenn ich in deine Augen seh (R. Schumann, from the 
cycle «Dichterliebe») 
>11. Ich hab' im Traum geweinet (R. Schumann, from the 
cycle «Dichterliebe») 
>12. The goat (M. Mussorgsky) 
>13. The Song of the Flea (M. Mussorgsky) 
>14. La Calunnia (G. Rossini «Il barbiere di Siviglia», act 1) 
>Piano - Abram Makarov 
>Cello - Leonid Adamov (1) 
>Presenter - Mikhail Balaksheev
>Bonus: 
>15-17. M. Mussorgsky «Boris Godunov», the finale of the opera 
>Boris Godunov - Mark Reizen, Shuisky - Endre Rösler, Pimen - Oszkár K
Kálmán 
>Choir and Orchestra of the Hungarian State Opera, conductor - János Ferencsik 
>Bro
Ferencsik 
>Broadcast recording from the Hungarian State Opera (Budapest) on March 7th,
>19
March 7th,
>1954 
>
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