Gaetano Donizetti - L'elisir d'amore - "Tra-la-la-la" (Peter Dvo
- Classical music composed by Gaetano Donizetti In Italian opera the Act One Finale seems to be the most important part of the whole evening: something very important is bound to happen just before or during the finale, so the whole finale is usually either devoted to something crucial happening between the main characters, to characters reacting to the event or, in some cases, to both things at the same time. Moreover, the emotions usual run very high with lower voices snarling effectively, sopranos and tenors brandishing high Cs and coloratura roulandes, the chorus and comprimarios confused, at best. The First Act Finale to "L'elisir d'amore" really isn't s break of traditon but it can claim fully its' originality of form and of music :)! Despite concert and recording practices, the present finale is actually formed out of three almost independent numbers (but they are connected into a cohesive whole): Adina's and Nemorino's second duet; the subsequent terzettino with Belcore and the finale proper (complete with the traditional "scene - andante - allegro" structure). The duettino starts after a short scene as Nemorino tries to make Adina believe that he is uninterested with her, while the latter is a bit shocked to see her faithful follower turn away from her. A classical contrasting succession of "andante - allegro" is made interesting by the fact that both movements use the same words to show the changing emotions of the characters: Adina is at first unable to understand the sudden change in Nemorino's behavior but ...
Related Videos
Gaetano Donizetti - Don Pasquale - "Quel guardo il cavaliere" (Luc
Recently I acquired another two recordings of Donizetti's "Don Pasquale" and "L'elisir d'amore" into my collection. Both these pieces are well-known and don't need any kind of introduction. Saying that the works have received numerous recordings would be a very big understatement: according to one of the best sites for discographies, operadis-opera-discography.org.uk, there are, respectively, 62 and 77 recordings of the operas. I have several recordings of the operas with which I am pretty happy: Abbado's recording of "Don Pasquale" with Allen, Mei, Lopardo and Scimone's "L'elisir" with Carreras, Ricciarelli, Trimarchi and Nucci would have to be the highlights... At least, they were before I bought the two new ones. Heinz Wallberg was a German conductor. He became principal music director in Augsburg in 1954, and in Bremen in 1955, concluding in both posts in 1960. From 1964 to 1975, Wallberg was principal conductor of the Tonkünstler Orchestra, Vienna. He held the same post with the Munich Radio Orchestra from 1975 to 1982, and with the Essen Philharmonic from 1975 to 1991. From what I managed to read on him, most of his recordings are set firmly in Wagnerian operas and verisimo. And yet, in 1979 and in 1984, with the help of Bavaria Radio and BMG Music, he recorded Donizetti's comic masterpieces (in the order already given at the beginning)... One would imagine that the recordings are bound to be heavy, over-emphasized affairs... They aren't even close to these <b>...</b>
Recently I acquired another two recordings of Donizetti's "Don Pasquale" and "L'elisir d'amore" into my collection. Both these pieces are well-known and don't need any kind of introduction. Saying that the works have received numerous recordings would be a very big understatement: according to one of the best sites for discographies, operadis-opera-discography.org.uk, there are, respectively, 62 and 77 recordings of the operas. I have several recordings of the operas with which I am pretty happy: Abbado's recording of "Don Pasquale" with Allen, Mei, Lopardo and Scimone's "L'elisir" with Carreras, Ricciarelli, Trimarchi and Nucci would have to be the highlights... At least, they were before I bought the two new ones. Heinz Wallberg was a German conductor. He became principal music director in Augsburg in 1954, and in Bremen in 1955, concluding in both posts in 1960. From 1964 to 1975, Wallberg was principal conductor of the Tonkünstler Orchestra, Vienna. He held the same post with the Munich Radio Orchestra from 1975 to 1982, and with the Essen Philharmonic from 1975 to 1991. From what I managed to read on him, most of his recordings are set firmly in Wagnerian operas and verisimo. And yet, in 1979 and in 1984, with the help of Bavaria Radio and BMG Music, he recorded Donizetti's comic masterpieces (in the order already given at the beginning)... One would imagine that the recordings are bound to be heavy, over-emphasized affairs... They aren't even close to these <b>...</b>
Gaetano Donizetti - L'elisir d'amore - Chiedi all'aura lusinghier
The mini-series of uploads from Wallberg's recordings of Donizetti's two great buffo operas continues :)! Adina and Nemorino surprisingly don't actually have a real "suspended-over-time" love duet (similar to, for example, "Tornami a dir"): their first number together narratively follows Adina as she gently pokes fun of Nemorino's sentimental outpourings; while their second duet, a part of the first Finale, finds both characters a bit angry and confused, so no love duettino there. Only in Adina's aria or, to be more precise, its' cabaletta do we get close to the traditional love scene. But the whole thing works without any obligatory nocturnal duettino. The first duet is quite unconventional, mainly due to the fact that it skips the central andante and, after the characters' statements, plunges straight into an impassioned but slowly moving stretta. The music is touching throughout: especially charming are the final two sections ("si, si, si/no, no, no" and the succeeding section) leading up to the climatic Cs from both characters. Lucia Popp and Peter Dvorsky seems to me almost perfect as, respectively, Adina and Nemorino :). Enjoy :)! Your comments will be appreciated.
The mini-series of uploads from Wallberg's recordings of Donizetti's two great buffo operas continues :)! Adina and Nemorino surprisingly don't actually have a real "suspended-over-time" love duet (similar to, for example, "Tornami a dir"): their first number together narratively follows Adina as she gently pokes fun of Nemorino's sentimental outpourings; while their second duet, a part of the first Finale, finds both characters a bit angry and confused, so no love duettino there. Only in Adina's aria or, to be more precise, its' cabaletta do we get close to the traditional love scene. But the whole thing works without any obligatory nocturnal duettino. The first duet is quite unconventional, mainly due to the fact that it skips the central andante and, after the characters' statements, plunges straight into an impassioned but slowly moving stretta. The music is touching throughout: especially charming are the final two sections ("si, si, si/no, no, no" and the succeeding section) leading up to the climatic Cs from both characters. Lucia Popp and Peter Dvorsky seems to me almost perfect as, respectively, Adina and Nemorino :). Enjoy :)! Your comments will be appreciated.
Gaetano Donizetti - Don Pasquale - "E il dottore non si vede" (Luc
Recently I acquired another two recordings of Donizetti's "Don Pasquale" and "L'elisir d'amore" into my collection. Both these pieces are well-known and don't need any kind of introduction. Saying that the works have received numerous recordings would be a very big understatement: according to one of the best sites for discographies, operadis-opera-discography.org.uk, there are, respectively, 62 and 77 recordings of the operas. I have several recordings of the operas with which I am pretty happy: Abbado's recording of "Don Pasquale" with Allen, Mei, Lopardo and Scimone's "L'elisir" with Carreras, Ricciarelli, Trimarchi and Nucci would have to be the highlights... At least, they were before I bought the two new ones. Heinz Wallberg was a German conductor. He became principal music director in Augsburg in 1954, and in Bremen in 1955, concluding in both posts in 1960. From 1964 to 1975, Wallberg was principal conductor of the Tonkünstler Orchestra, Vienna. He held the same post with the Munich Radio Orchestra from 1975 to 1982, and with the Essen Philharmonic from 1975 to 1991. From what I managed to read on him, most of his recordings are set firmly in Wagnerian operas and verisimo. And yet, in 1979 and in 1984, with the help of Bavaria Radio and BMG Music, he recorded Donizetti's comic masterpieces (in the order already given at the beginning)... One would imagine that the recordings are bound to be heavy, over-emphasized affairs... They aren't even close to these <b>...</b>
Recently I acquired another two recordings of Donizetti's "Don Pasquale" and "L'elisir d'amore" into my collection. Both these pieces are well-known and don't need any kind of introduction. Saying that the works have received numerous recordings would be a very big understatement: according to one of the best sites for discographies, operadis-opera-discography.org.uk, there are, respectively, 62 and 77 recordings of the operas. I have several recordings of the operas with which I am pretty happy: Abbado's recording of "Don Pasquale" with Allen, Mei, Lopardo and Scimone's "L'elisir" with Carreras, Ricciarelli, Trimarchi and Nucci would have to be the highlights... At least, they were before I bought the two new ones. Heinz Wallberg was a German conductor. He became principal music director in Augsburg in 1954, and in Bremen in 1955, concluding in both posts in 1960. From 1964 to 1975, Wallberg was principal conductor of the Tonkünstler Orchestra, Vienna. He held the same post with the Munich Radio Orchestra from 1975 to 1982, and with the Essen Philharmonic from 1975 to 1991. From what I managed to read on him, most of his recordings are set firmly in Wagnerian operas and verisimo. And yet, in 1979 and in 1984, with the help of Bavaria Radio and BMG Music, he recorded Donizetti's comic masterpieces (in the order already given at the beginning)... One would imagine that the recordings are bound to be heavy, over-emphasized affairs... They aren't even close to these <b>...</b>
Gaetano Donizetti - L'elisir d'amore - "Signor sergente" (Peter
The finale proper begins with Gianetta's entrance with a letter from Belcore's commander (talk about dramatical messenger; plus, the music is brilliantly "runny" in the strings). Belcore and his men are to leave the very next morning. But that doesn't really stop Adina who (and that's the second part of the all-important-event) announces that she will marry Belcore immediately which causes Nemorino great distress (plus, the wine has gotten out of his system a bit). The next section is the iconic "suspension-over-time": Nemorino's gentle, sighing, elegant line is contrasted with Belcore's and Adina's laughing, mocking short phrases (the soprano only joins the tenor's line for her two last couplets as she laments the loss of all possible hope of marrying Nemorino). Finally, time returns as all except Nemorino (and, secretly, Adina) rejoice at the news of the upcoming news; Nemorino is pushed aside with only his cries of "doctor! doctor!" audible. And that's the Act One Finale :)! Peter Dvorsky, Lucia Popp, Bernd Weikl are joined by the Gianetta of Judith Hobarth. Hope you enjoyed it :)! The next piece, Adina's big aria is coming soon.
The finale proper begins with Gianetta's entrance with a letter from Belcore's commander (talk about dramatical messenger; plus, the music is brilliantly "runny" in the strings). Belcore and his men are to leave the very next morning. But that doesn't really stop Adina who (and that's the second part of the all-important-event) announces that she will marry Belcore immediately which causes Nemorino great distress (plus, the wine has gotten out of his system a bit). The next section is the iconic "suspension-over-time": Nemorino's gentle, sighing, elegant line is contrasted with Belcore's and Adina's laughing, mocking short phrases (the soprano only joins the tenor's line for her two last couplets as she laments the loss of all possible hope of marrying Nemorino). Finally, time returns as all except Nemorino (and, secretly, Adina) rejoice at the news of the upcoming news; Nemorino is pushed aside with only his cries of "doctor! doctor!" audible. And that's the Act One Finale :)! Peter Dvorsky, Lucia Popp, Bernd Weikl are joined by the Gianetta of Judith Hobarth. Hope you enjoyed it :)! The next piece, Adina's big aria is coming soon.
Sumi Jo - Verdi - La Traviata - Violetta - Sempre Libera
"Ah! Fors'e lui"
"Sempre Libera"
Sokcho Summer Festival,
Sokcho, South Korea, 2005.
"Ah! Fors'e lui""Sempre Libera"
Sokcho Summer Festival,
Sokcho, South Korea, 2005.
Maria Callas - La Traviata
Maria Callas (1923-1977)
Giuseppe Verdi (1813-1901)
La traviata
E strano! E strano!...Ah, fors'è lui che l'anima...Follie! Follie!...Sempre libera
Orchestra sinfonica di Torino della RAI
Conducted by Gabriele Santini
1953
VIOLETTA (sola)
È strano! È strano! In core
scolpiti ho quegli accenti!
Saria per me sventura un serio amore?
Che risolvi, o turbata anima mia?
Null'uomo ancora t'accendeva -- O gioia
ch'io non conobbi, esser amata amando!
E sdegnarla poss'io
per l'aride follie del viver mio?
Ah, fors'è lui che l'anima
solinga ne' tumulti
godea sovente pingere
de' suoi colori occulti!
Lui che modesto e vigile
all'egre soglie ascese,
e nuova febbre accese,
destandomi all'amor.
A quell'amor ch'è palpito
dell'universo intero,
misterioso, altero,
croce e delizia al cor!
Follie! follie! Delirio vano è questo!
Povera donna, sola,
abbandonata in questo
popoloso deserto
che appellano Parigi.
Che spero or più?
Che far degg'io? Gioire,
di voluttà ne' vortici perir.
Gioir, gioir!
Sempre libera degg'io
folleggiare di gioia in gioia,
vo' che scorra il viver mio
pei sentieri del piacer.
Nasca il giorno, o il giorno muoia,
sempre lieta ne' ritrovi,
a diletti sempre nuovi
dee volare il mio pensier.
ALFREDO (sotto al balcone)
Amore, amor è palpito...
VIOLETTA
Oh!
ALFREDO
...dell'universo intero --
VIOLETTA
Oh amore.
ALFREDO
Misterioso, misterioso, altero,
croce, croce e delizia,
croce e delizia, delizia al cor.
VIOLETTA
Follie! follie! Ah sì! Gioir, gioir!
Sempre libera degg'io
folleggiare di gioia in gioia,
vo' che scorra il viver mio
pei sentieri del piacer.
Nasca il giorno, o il giorno muoia,
sempre lieta ne' ritrovi,
a diletti sempre nuovi,
dee volare il mio pensier.
ALFREDO
Amor è palpito
dell'universo --
VIOLETTA
Ah! Dee volar il mio pensier.
Ah! il mio pensier. Il mio pensier.
Maria Callas (1923-1977)Giuseppe Verdi (1813-1901)
La traviata
E strano! E strano!...Ah, fors'è lui che l'anima...Follie! Follie!...Sempre libera
Orchestra sinfonica di Torino della RAI
Conducted by Gabriele Santini
1953
VIOLETTA (sola)
È strano! È strano! In core
scolpiti ho quegli accenti!
Saria per me sventura un serio amore?
Che risolvi, o turbata anima mia?
Null'uomo ancora t'accendeva -- O gioia
ch'io non conobbi, esser amata amando!
E sdegnarla poss'io
per l'aride follie del viver mio?
Ah, fors'è lui che l'anima
solinga ne' tumulti
godea sovente pingere
de' suoi colori occulti!
Lui che modesto e vigile
all'egre soglie ascese,
e nuova febbre accese,
destandomi all'amor.
A quell'amor ch'è palpito
dell'universo intero,
misterioso, altero,
croce e delizia al cor!
Follie! follie! Delirio vano è questo!
Povera donna, sola,
abbandonata in questo
popoloso deserto
che appellano Parigi.
Che spero or più?
Che far degg'io? Gioire,
di voluttà ne' vortici perir.
Gioir, gioir!
Sempre libera degg'io
folleggiare di gioia in gioia,
vo' che scorra il viver mio
pei sentieri del piacer.
Nasca il giorno, o il giorno muoia,
sempre lieta ne' ritrovi,
a diletti sempre nuovi
dee volare il mio pensier.
ALFREDO (sotto al balcone)
Amore, amor è palpito...
VIOLETTA
Oh!
ALFREDO
...dell'universo intero --
VIOLETTA
Oh amore.
ALFREDO
Misterioso, misterioso, altero,
croce, croce e delizia,
croce e delizia, delizia al cor.
VIOLETTA
Follie! follie! Ah sì! Gioir, gioir!
Sempre libera degg'io
folleggiare di gioia in gioia,
vo' che scorra il viver mio
pei sentieri del piacer.
Nasca il giorno, o il giorno muoia,
sempre lieta ne' ritrovi,
a diletti sempre nuovi,
dee volare il mio pensier.
ALFREDO
Amor è palpito
dell'universo --
VIOLETTA
Ah! Dee volar il mio pensier.
Ah! il mio pensier. Il mio pensier.
Luciano Pavarotti - La Donna è Mobile Rigoletto
The "king" Luciano Pavarotti as Il Duca di Mantova in the screen movie "Rigoletto" (1983) based on Giuseppe Verdi's opera with the same name (1851).
La Donna è Mobile - Giuseppe Verdi
La donna è mobile
Qual piuma al vento
Muta d'accento
E di pensiero
Sempre un'amabile
Leggiadro viso
In pianto o in riso
È menzognero
La donna è mobil
Qual piuma al vento
Muta d'accento
E di pensier
E di pensier
E di pensier
è sempre misero
Chi a lei s'affida
Chi le confida
Mal cauto il core
Pur mai non sentesi
Felice appieno
Chi su quel seno
Non liba amore
La donna è mobil
Qual piuma al vento
Muta d'accento
E di pensier
E di pensier
E di pensier...
The "king" Luciano Pavarotti as Il Duca di Mantova in the screen movie "Rigoletto" (1983) based on Giuseppe Verdi's opera with the same name (1851).La Donna è Mobile - Giuseppe Verdi
La donna è mobile
Qual piuma al vento
Muta d'accento
E di pensiero
Sempre un'amabile
Leggiadro viso
In pianto o in riso
È menzognero
La donna è mobil
Qual piuma al vento
Muta d'accento
E di pensier
E di pensier
E di pensier
è sempre misero
Chi a lei s'affida
Chi le confida
Mal cauto il core
Pur mai non sentesi
Felice appieno
Chi su quel seno
Non liba amore
La donna è mobil
Qual piuma al vento
Muta d'accento
E di pensier
E di pensier
E di pensier...
Gracia - William Tell Overture
Rossini's classical piece performed by three talented violin player ladies from Hungary
Rossini's classical piece performed by three talented violin player ladies from Hungary
L'elisir d'amore - Atto 1 - Esulti pur la barbara
Gaetano Donizetti L'elisir d'amore Comic opera in two acts after the comedy Le Philtre by Eugene Scribe Orchestre et Choeur de l'opera de Lyon Conducted by Evelino Pido Nemorino - Roberto Alagna Adina - Angela Gheorghiu Belcore - Roberto Scaltriti Dulcamara - Somine Alaimo Madame Dulcamara - Luce Bekistan Giannetta - Elena Dan
Gaetano Donizetti L'elisir d'amore Comic opera in two acts after the comedy Le Philtre by Eugene Scribe Orchestre et Choeur de l'opera de Lyon Conducted by Evelino Pido Nemorino - Roberto Alagna Adina - Angela Gheorghiu Belcore - Roberto Scaltriti Dulcamara - Somine Alaimo Madame Dulcamara - Luce Bekistan Giannetta - Elena Dan
Gaetano Donizetti - L'elisir d'amore - "Della crudele Isolde" (L
Recently I acquired another two recordings of Donizetti's "Don Pasquale" and "L'elisir d'amore" into my collection. Both these pieces are well-known and don't need any kind of introduction. Saying that the works have received numerous recordings would be a very big understatement: according to one of the best sites for discographies, operadis-opera-discography.org.uk, there are, respectively, 62 and 77 recordings of the operas. I have several recordings of the operas with which I am pretty happy: Abbado's recording of "Don Pasquale" with Allen, Mei, Lopardo and Scimone's "L'elisir" with Carreras, Ricciarelli, Trimarchi and Nucci would have to be the highlights... At least, they were before I bought the two new ones. Heinz Wallberg was a German conductor. He became principal music director in Augsburg in 1954, and in Bremen in 1955, concluding in both posts in 1960. From 1964 to 1975, Wallberg was principal conductor of the Tonkünstler Orchestra, Vienna. He held the same post with the Munich Radio Orchestra from 1975 to 1982, and with the Essen Philharmonic from 1975 to 1991. From what I managed to read on him, most of his recordings are set firmly in Wagnerian operas and verisimo. And yet, in 1979 and in 1984, with the help of Bavaria Radio and BMG Music, he recorded Donizetti's comic masterpieces (in the order already given at the beginning)... One would imagine that the recordings are bound to be heavy, over-emphasized affairs... They aren't even close to these <b>...</b>
Recently I acquired another two recordings of Donizetti's "Don Pasquale" and "L'elisir d'amore" into my collection. Both these pieces are well-known and don't need any kind of introduction. Saying that the works have received numerous recordings would be a very big understatement: according to one of the best sites for discographies, operadis-opera-discography.org.uk, there are, respectively, 62 and 77 recordings of the operas. I have several recordings of the operas with which I am pretty happy: Abbado's recording of "Don Pasquale" with Allen, Mei, Lopardo and Scimone's "L'elisir" with Carreras, Ricciarelli, Trimarchi and Nucci would have to be the highlights... At least, they were before I bought the two new ones. Heinz Wallberg was a German conductor. He became principal music director in Augsburg in 1954, and in Bremen in 1955, concluding in both posts in 1960. From 1964 to 1975, Wallberg was principal conductor of the Tonkünstler Orchestra, Vienna. He held the same post with the Munich Radio Orchestra from 1975 to 1982, and with the Essen Philharmonic from 1975 to 1991. From what I managed to read on him, most of his recordings are set firmly in Wagnerian operas and verisimo. And yet, in 1979 and in 1984, with the help of Bavaria Radio and BMG Music, he recorded Donizetti's comic masterpieces (in the order already given at the beginning)... One would imagine that the recordings are bound to be heavy, over-emphasized affairs... They aren't even close to these <b>...</b>
d'Amore Ensembles: Hornpipe from Handel's Watermusic
d'Amore Ensembles provide live classical music for Weddings, Corporate and other Functions
d'Amore Ensembles provide live classical music for Weddings, Corporate and other Functions
Viola D'amore
Video clip of Thomas Georgi from Tafelmusik Ensamble playing Classical music on Viola D'amore
Video clip of Thomas Georgi from Tafelmusik Ensamble playing Classical music on Viola D'amore
Christopher Parkening - Capriol suite (Peter Warlock) Pieds-en-l'ai
Capriol Suite de Peter Warlock. Part-5: Pieds-en-l'air Interpreted by Christopher Parkening. Classical guitar and orchestra arrangement. Althought there is a lot of version of this suite, the one made by Christopher Parkening is stunning and pleasant to listen. This suite reminds me of the pirate of the carribean. This song is the property of respective authors, artists and labels. I do not own the right.
Capriol Suite de Peter Warlock. Part-5: Pieds-en-l'air Interpreted by Christopher Parkening. Classical guitar and orchestra arrangement. Althought there is a lot of version of this suite, the one made by Christopher Parkening is stunning and pleasant to listen. This suite reminds me of the pirate of the carribean. This song is the property of respective authors, artists and labels. I do not own the right.
Christopher Parkening - Capriol suite (Peter Warlock) entire
Capriol Suite de Peter Warlock. Interpreted by Christopher Parkening. Classical guitar and orchestra arrangement. Althought there is a lot of version of this suite, the one made by Christopher Parkening is stunning and pleasant to listen. This suite reminds me of the pirate of the carribean. This song is the property of respective authors, artists and labels. I do not own the right.
Capriol Suite de Peter Warlock. Interpreted by Christopher Parkening. Classical guitar and orchestra arrangement. Althought there is a lot of version of this suite, the one made by Christopher Parkening is stunning and pleasant to listen. This suite reminds me of the pirate of the carribean. This song is the property of respective authors, artists and labels. I do not own the right.
Dublin Philharmonic Dvorak New World Symphony - 1st Mvt
Dublin Philharmonic, Dvorak, New World Symphony - 1st Mvt, Conductor Derek Gleeson
Dublin Philharmonic, Dvorak, New World Symphony - 1st Mvt, Conductor Derek Gleeson
Zuill Bailey - Dvorak - Cello Concerto in B Minor Op 104 - Allegro Parte 1
Antonin Dvorak - Concierto para violonchelo y orquesta en Si menor opus 104 - Allegro (Parte 1)
Orquesta de Cámara Ciudad de los Reyes
Director: Guillermo Salvador
Solista: Zuill Bailey
Auditorio del Colegio Santa Ursula
Lima - Perú
10 Abril 2008
Zuill Bailey toca un vilonchelo Matteo Goffriller (1693)
Antonin Dvorak - Concierto para violonchelo y orquesta en Si menor opus 104 - Allegro (Parte 1)Orquesta de Cámara Ciudad de los Reyes
Director: Guillermo Salvador
Solista: Zuill Bailey
Auditorio del Colegio Santa Ursula
Lima - Perú
10 Abril 2008
Zuill Bailey toca un vilonchelo Matteo Goffriller (1693)
Dvorak - Humoresque - Yo-Yo Ma Itzhak Perlman
Humoresque
Yo-Yo Man, Cello
Itzhak Perlman, Violin
Seiji Ozawa, Conductor
Boston Symphony Orchestra
HumoresqueYo-Yo Man, Cello
Itzhak Perlman, Violin
Seiji Ozawa, Conductor
Boston Symphony Orchestra
Dvorak Slavonic Dance No.1 - Wiener Philharmoniker -S. Ozawa
Dvorak's Slavonic Dance No.1 In c..Live Performance with Vienna Philharmonic conducted by Seiji Ozawa
Dvorak's Slavonic Dance No.1 In c..Live Performance with Vienna Philharmonic conducted by Seiji Ozawa
