Albums

151 albums sorted by Date: from newest to oldest
£18.99
£14.99

Full Operas - Released December 1, 2017 | Aparté

Hi-Res Booklet
Everyone thinks that they know Alceste by Lully, and yet this 1674 masterpiece has almost never been recorded in its entirety. Apart from the Malgoire version from 1975 with Bruce Brewer and Felicity Palmer, which is starting to become outdated, the real treat is a second versoin by the same Malgoire twenty years later with Jean-Philippe Lafont and Colette Alliot-Lugaz... And so we can only take our hats off to the new discographical opus from Christophe Rousset's Talens Lyriques, a lively and elegant reading which allows us to rediscover everything that was so innovative about this brilliant, effervescent Florentine, who would become a typical Versaillais, a courtesan and a wheeler-dealer. King Louis XIV - 36 years old, still with all his own teeth and a victorious war leader - could only feel flattered by the piece signed by Quinault: Alcide, who covets the beautiful Alceste (who has been promised to Admetus), is none other than Hercules himself - Louis XIV seeing himself in Hercules saving the beautiful Madame de Montespan from the clutches of her husband.  To be sure, in this opera, Admetus/Hercules magnanimously hands Alceste, whom he has saved from hell, to her husband, while the poor Mr Montespan would end his career and his life exiled in Gascony... Honour intact. The Sun King loved the work, to the point that he commanded that rehearsals be held at Versailles. According to Madame de Sévigné, "The King declared that if he found himself in Paris when it was performed, he would go to see it every night." That being said, if Alceste suited the tastes of the court, it didn't do so well in Paris, where Lully's enemies, jealous of the extravagant privileges that he had won (the exclusive right to "have sung any whole piece in France, wither in French verse or in other languages, without the written permission of said Sir Lully, on pain of a ten thousand livre fine, and confiscation of theatres, equipment, decorations, costumes..."), heaped plot upon plot, while the gallant Mercury sang his little couplet: Dieu !  Le bel opéra ! Rien de plus pitoyable ! Cerbère y vient japper d'un aboi lamentable !  Oh ! Quelle musique de chien ! Oh ! Quelle musique du diable ! [Lord!/Fine opera!/There's nothing so pitiable!/Cerberus is yapping, his howls lamentable!/What doggish music!/What devilish music!]. Posterity would decide otherwise, and Rousset proved it triumphantly. © SM/Qobuz
£11.99
£8.49

Classical - Released November 24, 2017 | Aparté

Hi-Res Booklet
£11.99
£8.49

Classical - Released November 10, 2017 | Aparté

Hi-Res Booklet
£11.99
£8.49

Secular Vocal Music - Released November 10, 2017 | Aparté

Hi-Res Booklet
Around the Franco-Italian mezzo soprano Lea Desandre – who made her big début with William Christie in the Jardins des voix, then won the "Lyrical Revelation" prize in the Victoires de la musique in 2017 – the sopranos Nathalie Pérez and Chantal Santon-Jeffery have concocted a programme that takes in many different lyrical incarnations of Berenice of Egypt and her misadventures with the King, Antigono Gonatas, through the prism of Metastasio's Antigone, which has been set to music by well over thirty composers, some focusing more on Antigone, others on Berenice. We will hear little-known airs like those of Haydn, Mozart, Johann Christian Bach and Hasse: the principle virtue of this album is that it allows us to discover these rarities, which often call for virtuoso vocal talents, and so are perfect for the voices of the three singers presented here. A rarity among rarities, we will also find a stunning air from Marianna von Martinez who held a musical salon in Vienna which received visits from... Haydn and Mozart. © SM/Qobuz
£11.99
£8.49

Classical - Released October 27, 2017 | Aparté

Hi-Res
£11.99
£8.49

Classical - Released October 20, 2017 | Aparté

Hi-Res Booklet
£11.99
£8.49

Symphonic Music - Released September 29, 2017 | Aparté

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica
£11.99
£8.49

Classical - Released September 8, 2017 | Aparté

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica
For his new album Soave e virtuoso, Alexis Kossenko went on the trail of rare scores from the baroque era. Partitions that remind us that the Italian repertory, if it gives pride of place to the the violin and the voice, nevertheless doesn’t forget wind instruments. At the head of his ensemble Les Ambassadeurs, the conductor and flutist Alexis Kossenko performs delightly concertos by Tartini, Vivaldi and Sammartini. Sometimes voluptuous, sometimes dreadfully acrobatic, these scores require technique and sensitivity from the soloist. With a jubilant virtuosity, at the service of expressiveness, Alexis Kossenko, multi-skilled musician as at ease with flute as with recorder, brings life in colors to the works of the three Italian composers. © Aparté
£11.99
£8.49

Classical - Released September 1, 2017 | Aparté

Hi-Res Booklet Distinctions Gramophone Record of the Month - Choc de Classica
Christophe Rousset and the Talens Lyriques bring us to the stage of the Royal Academy of Music where Pygmalion, an act of ballet by Jean-Philippe Rameau inspired by an episode of Ovid’s Metamorphoses, was created in 1748. Love, showing empathy for Pygmalion’s despair of loving a statue, invigorates the sculpted woman who immediately falls in love with her creator. Very suggestive, the music of this tender and mischievous ballet deploys the grace of 18th century dances. Like Ovid’s Love, Christophe Rousset instils life in this score, one of Rameau’s greatest successes in his day, and offers us, thanks to his sense of drama and his impeccable leadership, a new and essential reading of this ballet. © Aparté
£11.99
£8.49

Classical - Released August 25, 2017 | Aparté

Hi-Res Booklet
After an audacious first-record dedicated to Webern, Beethoven and Yun, the young musicians of the Novus Quartet interpret with passion two essential works of Tchaikovsky’s chamber music: the First Quartet and the Sextuor « Souvenir de Florence » – for this work, the musicians are joined by two guests, cellist Ophélie Gaillard and violist Lise Berthaud. These two works, which are like milestones in the career of the Russian composer (the first is written in 1871, the second in 1887), show Tchaikovsky’s inclination for popular melodies. Clarity and technique serving musical expression, the fiery strings of the Novus Quartet spread a warm sound that impresses by its homogeneity, intensely invites to melancholy in slow movements, and fully transcribed the exaltation of Tchaikovsky’s poetic universe. © Aparté
£11.99
£8.49

Classical - Released June 2, 2017 | Aparté

Hi-Res Booklet
£11.99
£8.49

Chamber Music - Released June 2, 2017 | Aparté

Hi-Res Booklet Distinctions 5 de Diapason
 Geminiani’s The Art of Playing on the Violin, op. 9 (published in English in 1751) give us a very precious glimpse of what was musical practice in the first half of the 18th century, then considerably in the grip of the Italian influence. The publication began with some 28 exercises, aimed at perfecting technical skills such as double stops, special bowing, arpeggios, chords, ornamentation, shakes, swelling and softening, staccato, scales galore etc., and finished with twelve “examples”, “twelve pieces in different styles for violin and cello with basso continuo for the harpsichord”. What he meant by different styles are dances (courante: no. IV, gavotte: no. VIII, gigue: no. XI), fugues in the style of Corelli’s sonatas (nos. I, II, VII; while nos. IX-XI could be considered a full-fledged sonata da chiesa) as well as slow pieces in the “pathetic” style. These last, full of affectation, are particularly evocative of opera arias. Violonist Gottfried von der Goltz plays these twelve examples using several ornamentation techniques as pinpointed by the composer himself in the exercises – according to the liner notes, this would even be a recording premiere, and quite astonishingly it seems this is really the case. The interpreter begins the recording with a free improvisation, like a kind of offhand praeludium, reminding us that Geminiani was known amongst his student as Il Furibondo. So as not to wary the listener, the recording makes use of various continuo combinations, what with harpsichord, theorbo or organ. Von der Goltz completes the album with two of the Twelve Sonatas op. 4 for violin and basso continuo, composed 1739, two pieces which stylistically make the link between the Italian style (Corelli, Vivaldi) and the French (Leclair, Boismortier), several years before the Quarrel of the Buffoons broke out – that moronic Parisian controversy concerning the relative merits of French and Italian music in general, opera in particular. © SM/Qobuz
£11.99
£8.49

Classical - Released May 26, 2017 | Aparté

Hi-Res Booklet
£11.99
£8.49

Classical - Released May 26, 2017 | Aparté

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica
£11.99
£8.49

Classical - Released May 19, 2017 | Aparté

Hi-Res Booklet Distinctions 4 étoiles Classica

Label

Aparté in the magazine