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Discussion: Verdi: Messa da Requiem - Muti

Posts: 6

Post by Links November 17, 2010 (1 of 6)
For those wondering about off-stage effects,
CSO Resound on Facebook says this about the SACD:

"The 4 bonus trumpets are indeed in surround. They were stationed in the left and right lower balconies, and that's the perspective you'll hear on the surround SACD."

JR

Post by hiredfox November 18, 2010 (2 of 6)
Links said:

For those wondering about off-stage effects,
CSO Resound on Facebook says this about the SACD:

"The 4 bonus trumpets are indeed in surround. They were stationed in the left and right lower balconies, and that's the perspective you'll hear on the surround SACD."

JR

Naughty boy! You'll end up with the Stereo v Mch battle all over again. What was the music like?

Post by Claude November 18, 2010 (3 of 6)
Links said:

"The 4 bonus trumpets are indeed in surround. They were stationed in the left and right lower balconies, and that's the perspective you'll hear on the surround SACD."

What the heck does that mean? That the rear speakers will remain mute except for when the 4 bonus trumpets kick in?

Post by Chris November 25, 2010 (4 of 6)
OMG how happy I am again that I have kept my LP12 and my record collection.
This Verdi Requiem is musically ok. But no more. And as a recording really underwhelming!
Why? why? why? was it possible to record the CSO so well 50 years ago??? With two or three mics! And make them sound as if they and the soloists are performing in a lifeless "airless digital no man land" with, let me guess, twenty-thirty mics or more today???
Why are so many recording engineers today recording great operatic and choral works in the same way they record a bloody pop band!?
This thing in stereo at least is almost acoustically dead.
Long live Channel and Chandos!
They make recordings that still sound as music performed in in real acoustic spaces!
It is still possible!!!

For good sound and a real coherent acoustic signature in this major work, even DGG did a much better job on LP under Karajan in the 1970s!!
Shame on the recording team for such mediocre synthetic sound!
To label this recording as dry and dull and airless is almost an understatement.

If you want to hear the CSO in really realistic sound there are luckily plenty of good ones from Living Stereo.

Anybody want to buy my copy of this over hyped SACD for say 10 , just let me know.
PS Give me 25 and I will throw in LSO Live 's Otello in the deal as well . No need for that one either. I have both of the excellent Karajan recordings on LPs and the 1974 EMI production sounds just SOO much more like real Grand Opera should IMHO.
Any bids?

Post by srl1 November 25, 2010 (5 of 6)
Wow! I thought something was wrong with my system. This release doesn't sound good to me at all. The EMI/Pappano walks all over this. The soloists sound like they're singing through megaphones! I was really disappointed. Previous CSO releases have sounded much better.

Post by seth November 25, 2010 (6 of 6)
Chris said:


Why? why? why? was it possible to record the CSO so well 50 years ago??? With two or three mics! And make them sound as if they and the soloists are performing in a lifeless "airless digital no man land" with, let me guess twenty-thirty mics or more today???

I know that some Chicago locals claim that the hall has never really had great acoustics, and that the renovations in the 1990s actually made things worse.

It also helps that RCA had long studio sessions to work with; the newer recordings are live.

Closed