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    Anne Sofie Von Otter, Melvyn Tan - Beethoven/Meyerbeer/Spohr: Lieder (2001)

    Posted By: luckburz
    Date: 20 Jul 2012 10:00:16
    Anne Sofie Von Otter, Melvyn Tan - Beethoven/Meyerbeer/Spohr: Lieder (2001)

    Anne Sofie von Otter / Melvyn Tan - Beethoven/Meyerbeer/Spohr: Lieder, Mélodies
    EAC+LOG+CUE | FLAC: 245 MB | MP3 CBR 320: 175 MB | Full Artwork | 5% Recovery Info
    Label/Cat#: Archiv Produktion # 469 074-2 | Country/Year: Germany 2001 | Genre: Classical

    MD5 [X] CUE [X] LOG [X] INFO TEXT [X] ARTWORK [X]

    webfind [] selfrip [X]

    Anne Sofie Von Otter, Melvyn Tan - Beethoven/Meyerbeer/Spohr: Lieder (2001)

    Anne Sofie Von Otter, Melvyn Tan - Beethoven/Meyerbeer/Spohr: Lieder (2001)



    Exact Audio Copy V1.0 beta 3 from 29. August 2011

    EAC extraction logfile from 21. June 2012, 18:30

    Anne Sofie Von Otter, Melvyn Tan / Beethoven/Meyerbeer/Spohr: Lieder

    Used drive : PIONEER BD-RW BDR-206 Adapter: 2 ID: 3

    Read mode : Secure
    Utilize accurate stream : Yes
    Defeat audio cache : Yes
    Make use of C2 pointers : No

    Read offset correction : 667
    Overread into Lead-In and Lead-Out : No
    Fill up missing offset samples with silence : Yes
    Delete leading and trailing silent blocks : No
    Null samples used in CRC calculations : Yes
    Used interface : Native Win32 interface for Win NT & 2000

    Used output format : User Defined Encoder
    Selected bitrate : 896 kBit/s
    Quality : High
    Add ID3 tag : No
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    TOC of the extracted CD

    Track | Start | Length | Start sector | End sector
    ––––––––––––––––––––––––––––-
    1 | 0:00.00 | 1:48.39 | 0 | 8138
    2 | 1:48.39 | 2:19.48 | 8139 | 18611
    3 | 4:08.12 | 3:54.15 | 18612 | 36176
    4 | 8:02.27 | 3:23.50 | 36177 | 51451
    5 | 11:26.02 | 3:37.46 | 51452 | 67772
    6 | 15:03.48 | 1:59.70 | 67773 | 76767
    7 | 17:03.43 | 6:33.23 | 76768 | 106265
    8 | 23:36.66 | 5:45.44 | 106266 | 132184
    9 | 29:22.35 | 3:27.18 | 132185 | 147727
    10 | 32:49.53 | 3:02.49 | 147728 | 161426
    11 | 35:52.27 | 1:48.17 | 161427 | 169543
    12 | 37:40.44 | 5:27.48 | 169544 | 194116
    13 | 43:08.17 | 2:11.46 | 194117 | 203987
    14 | 45:19.63 | 1:18.46 | 203988 | 209883
    15 | 46:38.34 | 1:58.71 | 209884 | 218804
    16 | 48:37.30 | 2:12.29 | 218805 | 228733
    17 | 50:49.59 | 5:15.13 | 228734 | 252371
    18 | 56:04.72 | 2:09.19 | 252372 | 262065
    19 | 58:14.16 | 2:01.41 | 262066 | 271181
    20 | 60:15.57 | 1:56.65 | 271182 | 279946
    21 | 62:12.47 | 3:20.03 | 279947 | 294949
    22 | 65:32.50 | 2:50.11 | 294950 | 307710
    23 | 68:22.61 | 2:15.09 | 307711 | 317844


    Range status and errors

    Selected range

    Filename I:\=== VINYL RIPS ===\=== EAC===\X FRESH RIP\Anne Sofie Von Otter, Melvyn Tan - Beethoven,Meyerbeer,Spohr- Lieder.wav

    Peak level 97.4 %
    Extraction speed 7.7 X
    Range quality 99.9 %
    Test CRC 76BE0660
    Copy CRC 76BE0660
    Copy OK

    No errors occurred


    AccurateRip summary

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    Track 2 accurately ripped (confidence 2) [AA723435] (AR v2)
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    All tracks accurately ripped

    End of status report

    –– CUETools DB Plugin V2.1.3

    [CTDB TOCID: oWCWLNx3Dx.Snc20Ytb_54rS63M-] found, Submit result: oWCWLNx3Dx.Snc20Ytb_54rS63M- has been confirmed
    [043310b9] (1/1) Accurately ripped


    ==== Log checksum D1B3C6AA41095CFFAFAAE84D925748BAB609D6B5D5649429077A9FFC2E7A5E2F ====

    foobar2000 1.1.7 / Dynamic Range Meter 1.1.1
    log date: 2012-06-21 21:34:50

    ––––––––––––––––––––––––––––––––––––––––
    Analyzed: Anne Sofie Von Otter, Melvyn Tan / Beethoven/Meyerbeer/Spohr: Lieder
    ––––––––––––––––––––––––––––––––––––––––

    DR Peak RMS Duration Track
    ––––––––––––––––––––––––––––––––––––––––
    DR15 -7.88 dB -29.58 dB 1:49 01-Mina (Meyerbeer)
    DR17 -1.77 dB -26.88 dB 2:20 02-Komm (Meyerbeer)
    DR16 -2.41 dB -25.60 dB 3:54 03-Ma barque legere (Meyerbeer)
    DR14 -0.23 dB -24.43 dB 3:24 04-La Fille de l'air (Meyerbeer)
    DR17 -7.10 dB -29.86 dB 3:38 05-Sicilienne (Meyerbeer)
    DR12 -9.39 dB -26.57 dB 2:00 06-Priere d'enfants (Meyerbeer)
    DR16 -0.32 dB -23.14 dB 6:33 07-Le Voeu pendant l'orage (Meyerbeer)
    DR15 -3.82 dB -25.55 dB 5:46 08-Des Schafers Lied (Meyerbeer)
    DR14 -7.02 dB -29.45 dB 3:27 09-In questa tomba oscura (Beethoven)
    DR13 -2.68 dB -24.12 dB 3:03 10-T'intendo si, mio cor (Beethoven)
    DR14 -4.85 dB -25.00 dB 1:48 11-Als die Geliebte sich trennen wollte (Beethoven)
    DR19 -1.45 dB -27.28 dB 5:28 12-Seufzer eines Ungeliebten Gegenliebe (Beethoven)
    DR12 -13.16 dB -30.45 dB 2:12 13-Sehnsucht (Beethoven)
    DR14 -6.41 dB -26.51 dB 1:19 14-An die Geliebte (Beethoven)
    DR13 -0.68 dB -26.34 dB 1:59 15-Arriette (Der Kuss) (Beethoven)
    DR16 -5.85 dB -29.13 dB 2:12 16-Maigesang (Beethoven)
    DR15 -5.00 dB -25.34 dB 5:15 17-Adelaide (Beethoven)
    DR14 -6.99 dB -25.92 dB 2:09 18-Abend-Feier (Spohr)
    DR16 -1.66 dB -25.00 dB 2:02 19-Jagdlied (Spohr)
    DR15 -5.62 dB -26.61 dB 1:57 20-Töne (Spohr)
    DR17 -2.66 dB -26.18 dB 3:20 21-Erlkönig (Spohr)
    DR15 -1.91 dB -23.68 dB 2:50 22-Der Spielmann und seine Geige (Spohr)
    DR13 -14.95 dB -33.14 dB 2:15 23-Abendstille (Spohr)
    ––––––––––––––––––––––––––––––––––––––––

    Number of tracks: 23
    Official DR value: DR15

    Samplerate: 44100 Hz
    Channels: 2
    Bits per sample: 16
    Bitrate: 485 kbps
    Codec: FLAC
    ================================================================================



    CD Info:

    Anne Sofie von Otter / Melvyn Tan - Beethoven/Meyerbeer/Spohr: Lieder, Mélodies

    Label: Archiv Produktion
    Catalog#: 469 074-2
    Format: CD, Album
    Country: Germany
    Released: 2001
    Genre: Classical
    Style: Vocal

    Tracklist:

    01. Mina (Meyerbeer) [0:01:48.39]
    02. Komm (Meyerbeer) [0:02:19.48]
    03. Ma barque legere (Meyerbeer) [0:03:54.15]
    04. La Fille de l'air (Meyerbeer) [0:03:23.50]
    05. Sicilienne (Meyerbeer) [0:03:37.46]
    06. Priere d'enfants (Meyerbeer) [0:01:59.70]
    07. Le Voeu pendant l'orage (Meyerbeer) [0:06:33.23]
    08. Des Schafers Lied (Meyerbeer) [0:05:45.44]
    09. In questa tomba oscura (Beethoven) [0:03:27.18]
    10. T'intendo si, mio cor (Beethoven) [0:03:02.49]
    11. Als die Geliebte sich trennen wollte (Beethoven) [0:01:48.17]
    12. Seufzer eines Ungeliebten Gegenliebe (Beethoven) [0:05:27.48]
    13. Sehnsucht (Beethoven) [0:02:11.46]
    14. An die Geliebte (Beethoven) [0:01:18.46]
    15. Arriette (Der Kuss) (Beethoven) [0:01:58.71]
    16. Maigesang (Beethoven) [0:02:12.29]
    17. Adelaide (Beethoven) [0:05:15.13]
    18. Abend-Feier (Spohr) [0:02:09.19]
    19. Jagdlied (Spohr) [0:02:01.41]
    20. Töne (Spohr) [0:01:56.65]
    21. Erlkönig (Spohr) [0:03:20.03]
    22. Der Spielmann und seine Geige (Spohr) [0:02:50.11]
    23. Abendstille (Spohr) [0:02:15.09]

    Credits:

    Anne Sofie von Otter Mezzo-Soprano
    Melvyn Tan Fortepiano
    Christina Högman Soprano
    Kristina Hammarström Mezzo-Soprano
    Eric Hoeprich Clarinet
    Nils-Erik Sparf Violin

    Anne Sofie Von Otter, Melvyn Tan - Beethoven/Meyerbeer/Spohr: Lieder (2001)


    Review by: David Vernier

    Perhaps through all the down-scaling going on at major record companies, song-recitalists will prove to be the most fortunate, what with their relatively inexpensive production costs and abundant quantity of both well-loved and still-untapped repertoire. Whatever the case, there’s been no shortage of fine solo-song recordings during the past couple of years–and here’s another one that also happens to contain repertoire almost never heard in concert or on disc. And it’s not because the music has little merit. Anyone who enjoys early-to-mid-19th century song will enjoy this. Although the composers are German, the texts also include French (Meyerbeer) and Italian (two of the Beethoven songs). The program also benefits from variety in the instrumental accompaniments. One of the Meyerbeer pieces, Hirtenlied (Shepherd’s Song), is scored for piano and clarinet, and although it doesn’t nearly approach Schubert’s own “shepherd song” with clarinet Der Hirt auf dem Felsen (The Shepherd on the Rock) for scope or virtuosity, you have to wonder whether Meyerbeer received some inspiration from it.

    At least as interesting as the vocal line are Meyerbeer’s piano accompaniments, so effective and full of character and integral to the sense of the songs. Listen to how the composer uses sparkling, tinkling treble figures to completely different results in Ma barque légère and La Fille de l’air. Many of Meyerbeer’s songs have a definite operatic flavor (not surprising, considering his position as one of the eminent opera composers of the period), and some could stand in for full-fledged arias–Le Voeu pendant l’orage (The vow during the storm) or Ma barque légère (The light skiff), for example. In this latter song Otter is in absolute top form, showing impressive vocal control and exuding such personality and vitality–not to mention impeccable vocal technique–that you feel almost as if you could be right in the room with the singer.

    Although Beethoven’s strong suit certainly was not the solo song, anyone who has doubts about his melodic gifts or his ability to create a charming vocal piece only has to listen to the extended Seutzer eines Ungeliebten-Gegenliebe, a “dialogue” concerning “one who is unloved” and “love returned”, or to the delicate and tender Sehnsucht (Yearning). Otter really enlivens what could be a fairly routine song–Beethoven’s Maigesang (May Song)–purely with her vivacious energy and dancing inflection; she does the same for several others, including Beethoven’s Adelaide. The Spohr pieces are remarkable little gems, not only for their engaging melodies but especially for the delightful, playful, perfectly integrated violin parts. More than mere decoration, the violin is an interactive if sometimes capricious companion to the singer. Why aren’t these pieces performed more often? Who knows, but after hearing them once, you’ll certainly want to return to them–as you will this entire recital. Otter is one of today’s more able and versatile soloists, and unlike many other big-time singers, she really seems to love the solo song genre. Yes, she occasionally can get carried away with cutesy, flirtatious affectations–as in the disc’s opening song and in isolated moments elsewhere–but even on a recording she fully engages herself and projects as if to a live audience–and as home listeners we certainly gain from that. You might wonder about the use of a fortepiano here, but you shouldn’t worry at all. This is an unusually full-bodied instrument, richly colored and more than up to the dramatic demands of the songs, and it’s exceptionally well recorded and balanced with the voice. classicstoday


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