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Wagner: Der Ring des Nibelungen (Live)

Bayreuther Festspielorchester

Opera - Released January 11, 2009 | Opus Arte

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Wagner: Tannhäuser, WWV 70

Bayreuther Festspielorchester

Opera - Released July 29, 2004 | Orfeo

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Schubert: Schwanengesang

Mark Padmore

Classical - Released January 27, 2023 | Decca Music Group Ltd.

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This release by tenor Mark Padmore and pianist Mitsuko Uchida, Schubert specialists both, came with strong recital buzz on both sides of the Atlantic and landed on classical best-seller charts in early 2023. This recording was made at Wigmore Hall in London. It is Schubert's not-quite-cycle Schwanengesang (it was assembled into a set after Schubert's death) that gets top billing in the graphics, but the album opens with Beethoven's An die ferne Geliebte, Op. 98, the first true song cycle, shown on the cover in small print. The piano part in Beethoven's songs had an unprecedentedly major role in the proceedings, and the placement of the set at the beginning may serve to advise the listener of the unusual emphasis on Uchida's piano in the main Schubert attraction as well. Sample Ständchen, the most famous song in the set, or Abschied for a taste of the lively, spritely quality that is Uchida's alone. The piano-driven effect is heightened by the engineering, which puts Padmore's voice somewhat into the background, and it is not at all clear that this needed to be done. Padmore remains, however, a terrific Schubert interpreter. His voice is a bit thin in its middle register by now, but his ability to extract fine shades of meaning through slight alterations of tempo is unmatched. In general, this is a fine Schubert recording that lives up to the hype, and it is especially recommended to Uchida fans; they will discover a new facet of her talent. © James Manheim /TiVo
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Schreker: Der ferne Klang

Frankfurter Opern- und Museumsorchester

Opera - Released April 16, 2021 | Oehms Classics

Booklet
Der ferne Klang by Franz Schreker (1878-1934) premiered on August 18, 1912 at the Frankfurt Opera House. Schreker had already begun composing his first full-length opera in 1901, after the text he had written in just a few weeks. Now the work, which was initially considered impossible to perform, but which made Schreker suddenly famous, is returning to the location of its premiere for the first time after 1945. Almost half of all operas by the Austrian, who with one exception was both composer and librettist for all of his stage works, performed or premiered in Frankfurt. The Choir of the Oper Frankfurt and Frankfurter Opern- und Museumsorchester perform under the direction of Sebastian Weigle. © Oehms Classics
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Strauss: Der Rosenkavalier

Leonard Bernstein

Classical - Released July 11, 2014 | Sony Classical

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Schumann : Szenen aus Goethes Faust, WoO 3

Daniel Harding

Secular Vocal Music - Released September 29, 2014 | BR-Klassik

Booklet Distinctions Diapason d'or - Gramophone: Recording of the Month - Le Choix de France Musique - 5 Sterne Fono Forum Klassik
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Beethoven: Lieder

Dietrich Fischer-Dieskau

Classical - Released August 26, 2022 | Deutsche Grammophon (DG)

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Sei still, wisse ich bin

Popol Vuh

Ambient - Released January 1, 1981 | BMG Rights Management GmbH

Recorded in 1980 and produced by Klaus Schulze, Sei Still, Wisse ICH BIN ("Be quiet, I am") is one of Popol Vuh's sacred music offerings. Like Hosianna Mantra nearly a decade before, this set is regal in its solemnity and in its intensity. Utilizing the Chorensemble der Bayerischen Staatsoper and the soprano saxophone stylings of Chris Karrer, Popol Vuh -- down to a three-piece with vocalist Renate Knaup fronting the choir, Fricke on piano and voice, and guitarist Daniel Fichelscher holding down the drum chair as well, this is a huge recording . Schulze's immediate mix, which brings the vocals into complete balance with the undulating, mantra-like instrumentation, is nothing less than stunning; from Tibetan-style prayer chants to Eastern Orthodox choral scales, from thundering bass drums and cymbals to snaky, elusive, sparse electric guitar lines and Fricke's trademark shimmering piano, each of this album's seven selections is its own kind of masterpiece. It is the perfect marriage of world music utilized in rock & roll fashion, and of both being placed at the service of the Sacred. It is nothing less than awe-inspiring.© Thom Jurek /TiVo
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Mahler: Songs of a Wayfarer; 5 Rückert-Lieder - Zemlinsky: Six Songs to Poems by Maurice Maeterlinck

Anne Sofie von Otter

Art Songs, Mélodies & Lieder - Released January 1, 1996 | Deutsche Grammophon (DG)

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Korngold: Die tote Stadt

Erich Leinsdorf

Classical - Released July 3, 1989 | RCA Red Seal

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J.S. Bach: Matthäus Passion

Rufus Müller

Classical - Released December 29, 2023 | Brilliant Classics

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Meine schönsten Lieder - 40 Jahre 40 Hits

Andy Borg

Schlager - Released September 24, 2021 | MCP Sound & Media

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Schubert: Schwanengesang/Beethoven: An die Ferne Geliebte

Matthias Goerne

Classical - Released January 1, 2005 | Decca Music Group Ltd.

The Art of Christa Ludwig

Christa Ludwig

Classical - Released August 8, 2020 | UME - Global Clearing House

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Rediscovered - Bagatellen and Klavierstücke

Camiel Boomsma

Classical - Released June 4, 2021 | Challenge Classics

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For Camiel Boomsma, discovering the music by Dutch composer Gerhard (and his son Karel) Hamm was really a game of fate. After a recital, Carl Hamm, who is a direct descendant, gave him a stack of scores. While playing through the pieces at home Boomsma was struck by their delicacy and narrative power. Gerhard Hamm belongs in a way to the musical family of Robert Schumann. He writes little poetic reflections on grand Romantic gestures. In these small musical poems a whole world lies hidden. Sometimes powerful and proud, sometimes vulnerable and reflective. Romantic expression beautiful in itself. In his Gefunden: 6 Clavierstücke in Liedform, Op. 18, Gerhard Hamm's musical gift as a composer is beautifully displayed. Hamm’s craftsmanship is excellent but he never neglects poetic expression. © Challenge Classics
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Strauss, R.: Arabella

Lisa Della Casa

Classical - Released January 1, 1958 | Decca Music Group Ltd.

How can one decide between Lisa della Casa's many recordings of Strauss' Arabella? After all, she recorded the work twice for major labels -- this 1957 Decca recording with Solti conducting and a 1963 DG recording with Keilberth conducting -- and, beyond that, there are half a dozen or so extant live recordings. But of course, when you want a recording of Arabella, it has to have Lisa della Casa in the title role. With her voice of pure gold, her technique of absolute effortlessness, and her portrayal of enormous compassion, she is by common agreement the role's finest interpreter. So how does one decide?Let's say that for reasons of sonic quality, we put aside the half dozen or so extant live recordings and stick just with the two major-label productions. What are the arguments for the Decca? Della Casa is younger, stronger, and more supple. Solti is colorful, powerful, and very dramatic. The Wiener Philharmoniker is brilliant, beautiful, and very virtuosic. The rest of the cast ranges from good to great with Otto Edelmann being the merely good and Hilde Gueden, George London, and Anton Dermota being the very great. John Culshaw's recording is deep, detailed, and very immediate. What are the arguments for the DG? Della Casa is older but wiser and deeper than ever. Keilberth is more than adequate but less than dramatic. The Bavarian State Opera Orchestra is more than adequate but less than beautiful. However, the rest of the cast, especially Fischer-Dieskau, is great to magnificent and the live sound is rich and very live. So how does one decide? Given the choice of two superlative performances, the answer is both. Forced to choose, the Decca might get the nod for conducting, but the DG might get the nod for the rest of the cast. Better to go with both.© TiVo
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Liebe, was ist schöner als die Liebe

Stagione Frankfurt, La

Classical - Released September 17, 2021 | CPO

Booklet
Georg Philipp Telemann never missed the opportunity to delight those around him with countless compositions treating the subject of love and its consequences. The origins of his enormous achievement in this field are certainly to be sought in his personal disposition: in his exuberant joy in composition, combined with an open, optimistic attitude in his dealings with his environment, which in his works not rarely revealed his roguish sense of humor. And so he above all was very much in demand as a composer of wedding pieces. The texts of the wedding serenata Liebe, was ist schöner als die Liebe undeniably exhibit mirthful exuberance and belong to the most original and wittiest musical creations of all by this composer. The serenata has the form of a disputatio, a dramatic dialogue in which an advocate of marriage (Ametas, soprano) and a skeptic (Crito, tenor) are in disagreement about the usefulness of the institution of marriage. This recording also includes the solo cantata Lieben will ich, in which the imponderables of love are celebrated in witty free texts, and the cantata Der Weiberorden, which quite clearly was composed in conjunction with a wedding feast and in lighter tones enables to join the young bride in joyous anticipation of her future married life. © CPO
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Ich war die Wellen, doch dann sah ich sie an

Lambert windges

Miscellaneous - Released March 1, 2024 | Recordjet

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Und ich war weg als sie sagte

Dondon

Hip-Hop/Rap - Released October 14, 2020 | Phantom Brigade

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