{"product_id":"furtwangler-weber-der-freischutz-1954-paco122","title":"FURTWÄNGLER Weber: Der Freischütz (1954) - PACO122","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWEBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDer Freischütz\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded live in Salzburg, 1954\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 30:58 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eChorus of the Vienna State Opera\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eVienna Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Wilhelm Furtwängler\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Reviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe performance remains one of the finest of this opera ... grab this reissue because of its sonic improvement over all predecessors.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI entered this performance, when it was issued on CD by Music \u0026amp; Arts, into \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e’s Classical Hall of Fame (24:3), and that review can be found in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eArchive.\nFor that reason I will not go into great detail here. But I will say\nthat while the Music \u0026amp; Arts has been the best remastering of this\nsomewhat dry sounding 1954 recording until now, Pristine Audio has\nimproved upon it significantly. Andrew Rose, the proprietor of Pristine,\nfelt that the best sound of prior versions was the Fonit Cetra LP issue\n(and I’ll admit it was close to the M\u0026amp; A, though I preferred the\nlatter) and he used a mint condition set of those LPs as his source.\nWhat he has managed here is a richer orchestra sound, with a\nparticularly striking depth in the bass, and he has taken some of the\nedge off the voices of the singers. A bit of that hard edge is still\npresent—probably there forever—but the overall sound now is extremely\nsatisfying. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe performance remains one of the finest of this opera, although \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e’s\nJim Miller in 12:5 dissents a bit, finding it a satisfactory\nperformance but not a great one. Furtwängler is slower than most, but I\nfind his conducting intensely theatrical and powerful. As I said in my\noriginal review, “If you think of this as a light folk opera, this\nperformance will seem overblown. But if you see the opera as the root of\nGerman Romanticism through to Wagner, then this reading will make a\ngreat deal of sense.” Furtwängler gets everyone in the cast on the same\npage, so that we hear real characters interacting with each other, not\nsingers vocalizing to the audience. The inflection is dramatically alert\nand convincing in the spoken dialogue and in musical numbers. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHans Hopf’s somewhat whiny tone remains\na bit of a problem, but his singing is more lovely and elegant than it\nusually was and he is effective for the most part. The rest of the cast\nis terrific, most particularly Grümmer. You are likely to want to stop\nbreathing during Agathe’s great cavatina, as she and Furtwängler create a\nvery special world. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eAs is usual with Pristine, there are minimal notes (actually, only an excerpt of my earlier \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ereview\nand a producer’s comment). Nonetheless, fans of this performance, or\nthose who are tempted by the extraordinary combination of cast and\nconductors, should grab this reissue because of its sonic improvement\nover all predecessors. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:2 (Nov\/Dec 2015) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis justly famed performance already has five previous reviews in the\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Fanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nArchive, for five previous incarnations on CD. Easily the best of the\npreviously available versions is that on Music \u0026amp; Arts, discussed in\ndetail by Henry Fogel back in 24:3. Here, Andrew Rose of Pristine Audio\nhas again applied his trademark XR remastering wizardry to produce a new\nsonic profile that significantly improves on all previous versions,\nwith the results being nearly on the level of studio recordings of the\nsame vintage. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn that review, Fogel wrote: “As for the performance, there is no other \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFreischütz\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e like it....There is a gravitas about this \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDer Freischütz\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nthat is unmatched by any recording I know....What is most startling is\nits dramatic impact.” With those sentiments I concur completely.\nAlthough I have a few criticisms of the conducting for being too slow in\nspots—e.g., the Peasant Dance in act I is overly heavy in tread, and\nthe final portion of “Durch die Wälder” is so drawn out that Hans Hopf, a\nsinger known for his considerable lung capacity, audibly struggles to\nsustain his phrases—there is indeed no other conductor who matches\nFurtwängler for the weight and intensity of expression he brings to this\ndrama. And, of course, he has the Vienna Philharmonic at his command\nhere. Unless you’ve heard this performance, warts and all, you arguably\nhave not really ever heard \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDer Freischütz. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eFogel and I do differ in our\nassessments of some of the singers. In his earliest review of a release\nof this performance (dating all the way back to issue 6:3!), he wrote:\n“Every role is superbly sung with the exception of Max....Once beyond\nHopf, though, you will hear some of the finest singing Weber has ever\nbeen treated to.” In my judgment, this performance falls short vocally\ncompared to what I consider to be the desert-island \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFreischütz\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nthe nearly contemporaneous 1955 radio broadcast conducted by Erich\nKleiber with three of the same principals: Elisabeth Grümmer, Rita\nStreich, and Hans Hopf. Fogel and I agree absolutely on the merits of\nGrümmer as Agathe and Streich as Aennchen (both nonpareil) and the\ndemerits of Hopf as Max (a flabby, beefy voice and somewhat whiny\ncharacterization). All three are much the same in the two performances;\nwith Kleiber, Hopf has better breath control under his faster tempos but\nis somewhat careless at certain points about intonation. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAfter that, our judgments diverge. I\nhave always considered Kurt Böhme to be a much overrated singer,\nafflicted with a grainy, somewhat hollow voice and persistent wobble.\nHere, he is actually in fairly good form as Kaspar—generally steady in\nemission and suitably malevolent in characterization, though his top\nnotes are clearly a stretch. He is, however, simply no match, either\nvocally or interpretively, for the wonderfully sinister and potent Max\nProebstl under Kleiber. In the comprimario roles, Alfred Poell sings\nOttokár in both performances, but is heard to significantly better\nadvantage under Kleiber. Böhme appears under Kleiber as the Hermit\ninstead of as Kaspar; he’s tolerable, although Otto Edelmann for\nFurtwängler is even better, but neither one can hold a candle to Gottlob\nFrick in the EMI set under Keilberth that still remains far and away\nthe best studio and stereo recording of this opera. (That set also has\nthe stupefying luxury of Hermann Prey as Ottokár!) As Kuno, I prefer\nHeiner Horn under Kleiber to Oskar Czerwenka under Furtwängler, and\nlikewise the well-sung Kilian of Kurt Marschner is infinitely superior\nto the grotesquely ugly \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSprechgesang\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nof Karl Dönch. Finally, Kleiber also has the superior Samiel in that\nimportant speaking role, and the studio sound effects for the Wolf’s\nGlen scene for him are of absolutely hair-raising horror. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAll that said, even with its secondary\nflaws, this set is still indispensable. While the Kleiber performance is\nin my judgment much superior, there are a couple of factors that may\nsway other people’s in a different direction than mine. First, the\nKleiber version was a radio studio broadcast that used professional\nactors for the spoken dialogue instead of having the singers speak their\nown lines. That doesn’t bother me—at least in this instance, because\nevery one of the actors is superb—but some people may object. Second,\nthe broadcast has two cuts: the long spoken narrative in act I of the\ninstitution of the “free-shot” competition, and Aennchen’s act III aria.\nAccording to booklet notes in the Koch-Schwann release of the Kleiber\nversion, this apparently was done because Streich fell ill in the course\nof making the tapes for broadcast. However, since Streich’s singing of\nthat aria is preserved not only here but also in a complete studio\nrecording of the opera on DG conducted by Eugen Jochum, I’ve simply\nremedied that omission by splicing in these two items from the Jochum\nset into the Kleiber broadcast on CDs I burned for myself. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eIn the last analysis, then, Kleiber remains my top recommendation for a recording of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDer Freischütz\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\nIn addition, one should also have the aforementioned EMI studio set\nwith Keilberth, which yet again stars Elisabeth Grümmer as Agathe. While\nnot ideal, Rudolf Schock is a major improvement on Hans Hopf; Lisa Otto\nis a fine Aennchen, if not quite in Rita Streich’s league; Karl\nChristian Kohn is a solid Kaspar vocally, though somewhat short on\nmenace; all the smaller roles are cast from strength; and Keilberth\nleads a well-considered though not superlative account of the score.\nWhile this Furtwängler version ranks third behind Kleiber and Keilberth\nas an overall performance, it arguably ranks first for its masterful\nconducting, and is an essential acquisition for that reason—especially\nin this superior new transfer. Despite some caveats about casting in\nminor supporting roles, highly recommended. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames A. Altena\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:2 (Nov\/Dec 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO122.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFurtwängler's definitive 1954 Salzburg Freischütz in superb sound quality\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eVast sonic improvements over all previous issues of this essential recording \u003cbr\u003e\u003cbr\u003e\"Despite the joys of the various commercial recordings by Kubelik, Keilberth, \u003cbr\u003eHeger, and Carlos Kleiber, this performance is the one I will most often turn to\"\u003cbr\u003e- Fanfare\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThis recording has appeared on a number of labels, large and small,\nover the years. The present transfer was taken from mint 1982 Italian LP\npressings on the Fonit Cetra label, and - I believe - presents this\nsuperb performance of\u003cem\u003e Der Freischütz\u003c\/em\u003e in by far the best overall sound it has ever received.\u003c\/p\u003e\u003cp\u003eSignificant improvements in the pitch anomalies present in the\noriginal have now been possible, thanks to technological developments\nunavailable to previous restorers, but more than this, the application\nof Pristine's 32-bit XR remastering process has brought forth a rich\ntonal quality and depth that appears to have evaded all previous issues.\nGone is the often thin, sharp, unappealing sound heard elsewhere - in\nits place the full glory of the Vienna Philharmonic Orchestra under\nmaestro Furtwängler can be fully appreciated at last. Likewise the\nsinging, surprisingly well captured for a stage performance, rings\nthrough clearly and beautifully, with none of the unpleasant hard edge\nto be found in previous issues.\u003c\/p\u003e\u003cp\u003eThe aim here has been realism, above all. I believe this issue comes\nsignificantly closer to this goal than any that has gone before it.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWEBER \u003c\/b\u003e Der Freischütz\u003cb\u003e \u003c\/b\u003e\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eElisabeth Grümmer - \u003cem\u003eAgathe\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eRita Streich - \u003cem\u003eAennchen\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eHans Hopf - \u003cem\u003eMax\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eAlfred Poell - \u003cem\u003eOttokar\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eKarl Dönsch - \u003cem\u003eKilian\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eOskar Czerwenka - \u003cem\u003eKuno\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eKurt Böhme - \u003cem\u003eKaspar\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eClaus Clausen - \u003cem\u003eSamiel\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eOtto Edelmann - \u003cem\u003eA Hermit\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eChorus of the Vienna State Opera\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eVienna Philharmonic Orchestra\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWilhelm Furtwängler\u003c\/b\u003e, conductor\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eRecorded 26 July 1954\u003cbr\u003eFestspielhaus, Salzburg\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO122.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO122.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":44064782811226,"sku":"osa1789304918111","price":22.65,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":44064782843994,"sku":"fej1789304918112","price":20.17,"currency_code":"USD","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":44064782876762,"sku":"fpb1789304918113","price":18.64,"currency_code":"USD","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":44064782909530,"sku":"ssn1789304918114","price":12.74,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/3807\/0874\/files\/furtwangler-weber-der-freischutz-1954---paco122_1.jpg?v=1789304925","url":"https:\/\/vestorawear.shop\/products\/furtwangler-weber-der-freischutz-1954-paco122","provider":"My Store","version":"1.0","type":"link"}