MP3 Hiroshi Takasu - THALBERG TRANSCENDENTAL OPERA FANTASIES II
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5 MP3 Songs in this album (53:35) !
Related styles: Classical: Piano solo, Classical: Keyboard Music, Mood: Virtuoso
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This is the second Thalberg album from Hiroshi Takasu, who established a reputation with his first album of works by that composer which was reviewed in various music magazines and classical music radio programs last year. The magic of Takasu is about to mesmerize you again.â¨ãThe introduction of the very first track, âLa fille du régimentâ, is already intense. Is this really played live without any rehearsal? You can enjoy the marching-style âChacun le saitâ, of course, but you will be even more enchanted by the "three-hand" effects he demonstrates in Marieâs famous aria, âConvien partirâ. Takasu plays out the aria with magnificence like tumbling glittering shards of glass while maintaining a steady accompaniment.â¨ãThe second track, âLa Stranieraâ, is among the early works of Thalberg as indicated by its opus number. The melody by Bellini who influenced even Chopin is sweet, and is given prominence by the beautiful clear timbres created by Takasu. His marvelous left hand playing is also worthy of attention, sounding like a harp while accompanying the melody played with his right hand, and sometimes resonant like a stringâs pizzicato.â¨ãThe third track is âCasta Divaâ, an excellent performance without a doubt. His playing is not only meticulous but in this famous aria from Belliniâs grandiose Opera, âNormaâ, in which a high priestess Norma appealed emotionally for love and peace, it sings out clearly and sonorously just like a first-rank opera singer. There was a moment of silence after the performance, which was followed by applause filling the hall. It is said there were even those who started sobbing.â¨ãThe fourth track is âIl barbiere di Sivigliaâ. He splendidly improvises this difficult tune from Thalbergâs ripe years. Amazingly done live. As the tempos quicken from lento, maestoso, allegro and to presto, minor keys of sadness and anxiety are transformed to major keys of delight. Takasu never plays through an easy opening section casually. His playing is extraordinary.â¨ãThe fifth track is Verdiâs masterpiece, âLa Traviataâ, the only studio recording on this album. The introduction is ominous and pathetic, yet eccentric. Takasuâs explosive octave playing is presented better than ever in âDi Provenza, il mar, il suolâ. Who on earth is playing the tremolo if he is playing this beautiful aria âAddio del pasatoâ? If he plays the tremolo with just his right hand, then is he playing the aria with just his left? And the overwhelming âAh, forsâè lui che lâanimaâ reminds one of the impressive âMazeppaâ of Liszt. In fact, this part accompanied with triads or four-note chords is far more difficult than âMazeppaâ accompanied with merely two-note chords. His invincible technique is totally striking.â¨ãYou cannot afford to miss the future perfomances of Takasu, the never waning wizard of the piano.
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