_Composers – Offenbach

Offenbach / Gaite Parisienne / Boston Pops / Fiedler – Reviewed in 2008

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A distinguished member of the Better Records Orchestral Music Hall of Fame.  

12s Hot stampers. The best sounding copy I’ve ever heard.

Jim Mitchell is famous for pointing out that many of the RCA’s that were re-recorded a few years later are inferior to their earlier counterparts. This record is no exception. LSC 1817 is an amazing record. This record is merely good, with depth, soundstaging, nice string tone, etc., but not the kind of sonic fireworks to be found on the 1954 2-track recording that RCA first did of this work.

A very good Sabre Dance as a bonus, check it out! It’s the lead off track on Destination Stereo (LSC 2307) for good reason: it sounds great. (more…)

Offenbach et al / French Overtures – Ansermet – Reviewed in 2009

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This Minty London Blueback LP has a WONDERFUL Tubey Magical Super Hot Stamper Side One. I have never heard this music sound better. Of course Ansermet is exactly the right conductor for these light and colorful orchestral pieces; the performances are uniformly superb.

But as audiophiles we want to make sure the sound is what it should be, and here side one does not disappoint. The string tone is perfection. I defy anyone to find a Heavy Vinyl reissue with string tone even remotely as good. In my experience there simply is no such record.

With vintage classical records there are always trade-offs of course. Here the loudest passages suffer from compressor distortion, so common on these early pressings. A small price to pay for sound this lovely I say. The Zampa overture by Herold is probably the best sound on the album — it’s gorgeous!

Side two is not quite as good. We rated it A Plus, with real weight and energy but a bit too much compression in the loud passages to be completely satisfying. (more…)

Offenbach / Gaite Parisienne / Dorati – Our Shootout Winner from 2011

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A distinguished member of the Better Records Orchestral Music Hall of Fame.

This lovely Mercury Golden Import LP not only has Super Hot Stamper sound on side one, which is where Gaite Parisienne can be found, but it also boasts one of the greatest performances of the piece ever recorded. 

Dorati is surely The Man when it comes to energy, drive and dynamic excitement with this venerable warhorse. He and his Minneapolis Symphony play the hell out of this boisterous music, and luckily for us audiophiles, the Mercury engineers give us Demonstration Quality Sound to go with it.

The original Mercury release of this record (90016) is a shrill piece of trash, as is the Mercury Wing pressing. So many of the early Mercurys were poorly mastered it seems. We audiophiles must wait for reissues (either by Mercury or in this case by Philips once they had bought Mercury) to show us how good the sound of a particular recording might actually be. (Of course what you really need is the right copy to know ultimately how good the recording can be, and to find it you might have to clean and play ten LPs, or more. That’s where we come in.) (more…)

Offenbach / Gaite Parisienne – Fiedler – Reviewed in 2005

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A distinguished member of the Better Records Orchestral Music Hall of Fame.  

Superb sound! The top end of this record is PERFECTION. When you hear all the percussion instruments, the tambourines, triangles, wood blocks they just sound so lovely. The overall sound is rich and sweet, just like a good vintage RCA should sound. Some may find the sound colored, but I find it enchanting.

Side two, however, sounded fairly unpleasant when I first played it. As I listened more and more, I came to the realization that the absolute phase was probably inverted. The orchestra, rather than being back behind the speakers where they belong, was coming AT me, a sure sign that something is funny. One way to think about it is the sound stage becomes convex instead of concave.

So I switched my headshell leads and sure enough everything got much better — the orchestra now had depth and the strings became less forward and shrill, and the horns took on more body and had less of that blary quality they sometimes do. (more…)

Offenbach / Gaite Parisienne / Fiedler – Our Shootout Winner from 2004

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A distinguished member of the Better Records Orchestral Music Hall of Fame.

Hot Stamper Copy! 11S/ 10S are the best stampers for this amazing DEMONSTRATION QUALITY record!

M-/ E+++. Side 1 plays nearly NM without a pop! Side 2 opens with a half inch scratch. But think about it — isn’t one side about the right amount for this kind of music? Do you really need to play side 2 after hearing side 1? This copy gives you a good portion of the music with AMAZINGLY GOOD SOUND.

This 1954 2-track recording is RCA’s first stereo recording of the work. 1954. Can you believe it? Two mics and two channels and it blows away 99% of all the classical recordings ever done! Some old record collectors and tube equipment lovers (like me) say classical recording quality ain’t what it used to be. This record proves it.

Offenbach & Chopin / Gaite Parisienne & Les Sylphides – Reverse Your Polarity

More Jacques Offenbach (1819-1880)

Reverse Your Polarity

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This is one of the pressings we’ve discovered with Reversed Polarity.

Amazing in every way! The top end of this record is clear, clean and correct. No other copy sounded like this one on the first side. When you hear all the percussion instruments — the tambourines, triangles, wood blocks and what-have-you — you know instantly that they sound RIGHT.

The overall sound is very different from many of the other recordings of the work that we have offered in the past. Rather than smooth, rich and sweet, the sound here is big and bold and clear like nothing we have ever played.

This is Front Row Center sound for those whose systems can reproduce it!

And this is truly a top performance by Fistoulari and the Royal Philharmonic. I know of none better. For music and sound this is the one!

Side One

The Triple Plus sound makes this THE Gaite Parisienne to Own.

If you have a hot copy of LSC 1817 consider yourself very fortunate. If your copy of LSC 1817 has never thrilled you, then this pressing will beat the pants off it, as it is pretty darn THRILLING. Even if you do have a great 1817 I would still put this up against it and expect it to win the shootout.

It’s clear, clean and above all, TRANSPARENT. This is a claim no modern remastered record, in our opinion, can make. The energy is spectacular on this side. Not only that, but listen to the bite of the brass — that’s some high-rez sound! (more…)

Gaite Parisienne with Fiedler – More Smeary Dreck from Classic Records

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Sonic Grade: F

The last time I played the Classic I thought it was a smeary mess, as awful as their awful Scheherazade (both shamefully on the Super Disc List as I recall). If I were to play it today I’m guessing it would join the other Classic Records entries in our Hall of Shame. 

 I love Fiedler’s performance and the 1954 two track RCA Living Stereo sound but finding an original Shaded Dog pressing in clean condition under $500 with the right stampers (something above 10 as a rule) is all but impossible nowadays.

If you want to go that way more power to you. 

This 1954 2-track recording is RCA’s first stereo recording of the work. 1954. Can you believe it? Two mics and two channels and it blows away 99% of all the classical recordings ever done! Some old record collectors and tube lovers say classical recording quality ain’t what it used to be. This record proves it.

THE Gaite Parisienne to Own – A Classic Case of Reversed Polarity

The Music of Jacques Offenbach

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  • This amazing Readers Digest disc has A+++ Out of This World Demo Disc sound for Gaite Parisienne
  • The dynamic energy, clarity and power of this work come through on this pressing like nothing you have ever heard
  • But only if you can reverse your polarity – if you can’t (or won’t) just forget hearing this record sound the way I describe it
  • “This is unpretentious, well-crafted music, and while it will not appeal to those exclusively interested in serious listening, it is undeniably masterful within its genre.”

Amazing in every way! The top end of this record is clear, clean and correct. No other copy sounded like this one on the first side. When you hear all the percussion instruments — the tambourines, triangles, wood blocks and what-have-you — you know instantly that they sound RIGHT. (more…)