This was all very fascinating. Thank you. I own the new CD reissue box, but your mixes are different, correct? Are there any plans to make you new mixes available in CD format?
Fascinating video! Thank you! Nice to learn how the process was developed to offer such a top quality product to us. Interesting also to hear from Thomas that 8 track recording started in Boston to move some work from the recording sessions to post production to be more cost effective and I was surprised to learn there is more “intervention” in post production even in recordings made at Jesus-Christus-Kirche (adding bass…). This probably explain why Fricsay’s Eroica, in its Japanese SACD guise is so good... Well done DG & EBS!
Vocalità apertissima, fuori di tutto ! Ma questo bravo ragazzo non si rende conto che se continua a cantare in questo modo poco professionale sbiancando le vocali in breve tempo va a distruggere da solo la bellezza unica della propria voce ?!?! Questa vocalità non ha niente a vedere con lo vero stile interpretativo pucciniano . Quel gâchis! il vecchio
PATHETIC. This guy gets cheaper and cheaper. Soon competing with hauser & co. Totally disappointing. Shame on Deutsche Gramophone for endorsing such a lame enterprise. 0:55
Hello Jonathan, your voice is so engulfing, it grabs a part of my being, I just can't find the words to explain how your voice affects me. Take care of yourself so you can keep bringing joy & happiness to everyone. 😊
What an unappetizing discovery when you litterally “hear” from the echo chambers! Good recordings should respect room acoustics as is and - like a good red wine - sound natural, dry, warm and woody and reveal lines and details of the music.
Fantastic video. I never realized it all came down to how good a recording studio's stair case was :-). Of course there is more than that, but found the topic of reverb recreation fascinating.
Looking online I see BnF has released the download of Fricsay’s recording of Beethoven’s Choral symphony. It’s half the price of the DG release. Do you know if it’s the same performance as DGs?
A truly special performance. If you had to buy a ticket, you couldn't afford the true value. I can't imagine how I would feel if I was on my way there and got stuck in traffic. I assume that's what happened to the percussionist that was bringing the "good" cymbals.
I have been involved with DG recordings for many years now. What I don't understand: Why do the original pressings from the 70s sound so ‘modest’, while the 60s recordings (e.g. Tchaikovsky with Mavrinskij) sound so audiophile? What went wrong for you in the 70s? Nobody wants to hear the 70s recordings of DG while the earlier ones with "big tulip" are really genious... Would you please offer some information about this?
Jonathan Tetelman a une des plus belles voix actuelles et pour moi est le meilleur ténor depuis Pavarotti sa puissance vocale est incroyable et unique en plus de ça j’ai eu le plaisir de le croiser à Paris il y a quelques temps de ça il est d’une gentillesse et d’une humilité incroyable ce qui ne gâche rien. Les gens présents dans ce magasin ont eu une chance folle vu la qualité sonore de la vidéo dans un espace qui ne s’y prête pas forcément l’interprétation est grandiose.
What a wonderful interview (both parts). I have not been a fan of opera, but his descriptions and explanations tempt me to try it again. Like beautiful architecture, it helps to know how to look at it, and he helps me know how to listen to opera. Thank you Mr. Tetelman.
