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Symphonic Music - Released March 1, 2011 | Chandos Records

Hi-Res Booklet Distinctions Choc de Classica - Exceptional Sound Productions - Hi-Res Audio
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Symphonic Music - Released October 26, 2010 | Chandos Records

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice - Hi-Res Audio
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Symphonic Music - Released January 1, 2013 | Chandos Records

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice - Hi-Res Audio

Classical - Released May 3, 2011 | Chandos Records

Booklet Distinctions 5 de Diapason - 4F de Télérama - Choc de Classica
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Classical - Released September 3, 2013 | Chandos Records

Hi-Res Booklet Distinctions 5 de Diapason - Hi-Res Audio
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Classical - Released March 5, 2013 | Chandos Records

Hi-Res Booklet Distinctions 5 de Diapason - Hi-Res Audio
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Symphonic Music - Released November 6, 2012 | Chandos Records

Hi-Res Booklet Distinctions 5 de Diapason - Hi-Res Audio
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Classical - Released February 7, 2012 | Chandos Records

Hi-Res Booklet Distinctions 5 de Diapason - Hi-Res Audio
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Cantatas (secular) - Released October 7, 2016 | Chandos Records

Hi-Res Booklet Distinctions Gramophone Editor's Choice - 4 étoiles Classica - 5 Sterne Fono Forum Klassik

Classical - Released November 5, 2013 | Chandos Records

Booklet Distinctions 5 de Diapason

Classical - Released May 7, 2013 | Chandos Records

Booklet Distinctions Choc de Classica

Vocal Music (Secular and Sacred) - Released September 6, 2011 | Chandos Records

Booklet Distinctions 5 de Diapason
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Classical - Released February 17, 2017 | Chandos

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Classical - Released March 25, 2016 | Chandos Records

Hi-Res Booklet

Classical - Released April 1, 2014 | Chandos Records

Booklet
When the Opera in English series on the Chandos label began in 1995, AOL was just coming into its own, Google was far from launching, and even opera supertitles were not general. There was a real need for operatic recordings that removed the layer of interference from foreign language. In 2014 the need is less clear, but this, the 62nd and final release in the series, is a worthy conclusion, and it should be remembered that this was a very common way of performing operas of all kinds until relatively recently. Performed here in its 1865 revision, Macbeth was perhaps the first Verdi opera to point the way to the breakdown in the structure of recitative and aria that was coming very soon: the fantastic power of the drama and Verdi's understanding of it blast through the boundaries. There is much in it that sounds like Rossini, but also much that sounds like German opera. It is presented here by a cast headed by veteran baritone Simon Keenlyside in the title role, with a variety of other singers, notably American soprano Latonia Moore, who fit English National Opera conductor Edward Gardner's colorful, driving conception of the work. It's an exciting reading that gets the music across, and the only question for listeners is whether they'll be distracted by the Jeremy Sams translation of the Piave libretto (it is contemporary but existed before this project), which is plain and utilitarian in the extreme.