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Wagner: Die Walküre, WWV 86B (Live)

Symphonieorchester Des Bayerischen Rundfunks

Opera - Released April 3, 2020 | BR-Klassik

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R. Strauss: Die Frau ohne Schatten, Op. 65, TrV 234 (Live)

Evelyn Herlitzius

Opera - Released April 3, 2020 | Orfeo

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Richard Strauss' Die Frau ohne Schatten, Op. 65 (1911), has been called the last Romantic opera, and it pushes singers to their limits. It requires powerhouse Wagner-Strauss specialists, especially in the lead female roles of the Empress and the Nurse, and it receives them here in Camilla Nylund and Evelyn Herlitzius, respectively. They make an impressive pair, with Herlitizius' slashing soprano a vivid counterpoint to Nylund's soaring one, but ultimately, Die Frau ohne Schatten is a conductor's opera. It failed at first, with its complex snarl of orchestral parts, and it requires a leader who can control all of the layers of sound. Those at this live 2019 production from the Vienna State Opera spoke in awe of conductor Christian Thielemann's cool, minimal gestures, seemingly at odds with the oversized fairy-tale story, but essential to communicating it musically. Strands of orchestral texture spring into focus and then link up with what is coming next, nor does he let the vocally virtuosic cast take star turns; they work as an ensemble. Orfeo's live sound has a minimum of interference with the listener's enjoyment. Whatever one thinks of Thielemann, this is a major notch in his baton. © TiVo
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Wagner: Tannhäuser, WWV 70

Bayreuther Festspielorchester

Opera - Released July 29, 2004 | Orfeo

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Delius: A Mass of Life

Frederick Delius

Classical - Released November 24, 2023 | Lawo Classics

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The most popular works by Frederick Delius, like Summer Night on the River and On Hearing the First Cuckoo in Spring are orchestral tone poems with a British tinge, seeming to offer a British counterpart to Debussy's Impressionism. Eine Messe des Lebens ("A Mass of Life") has little that is British about it at all unless it be a general commonality of mood with the vast spectaculars written for England's choral festivals. This work has had its champions, including Sir Thomas Beecham, but it has rarely been performed or recorded. The fact that it is in German is one impediment; the work sets texts from Friedrich Nietzsche's Also sprach Zarathustra. Many readers of the day put a grandiose spin on that work; nowadays, it is seen more as lyrical and poetic. The Richard Strauss tone poem based on Also sprach Zarathustra reflects the former view, and so does the Delius work, although it has some almost static mystical passages. There are influences from English choral music, from Wagner, perhaps from Grieg. The work requires a double chorus and a large orchestra; this live performance from Bergen in 2022, with the Bergen Philharmonic, four soloists, and one Norwegian and one English chorus, must have been a logistical challenge. Eine Messe des Lebens (which is in no sense a mass) is something of a beast, but conductor Mark Elder makes a strong case for it. His handling of the large forces is lucid and moves clearly toward goal points, and he balances the choruses, soloists (the principal being baritone Roderick Williams, in fine form), and orchestra well; perhaps the prize should go to the LAWO Classics engineers who kept all these layers clear in a live concert situation. This recording may or may not rescue Eine Messe des Lebens from obscurity, but those interested in Delius, and for that matter in Nietzsche and his reception, should definitely hear it.© James Manheim /TiVo
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Bach : St Matthew Passion (Matthäus-Passion)

René Jacobs

Masses, Passions, Requiems - Released October 7, 2013 | harmonia mundi

Hi-Res Booklet Distinctions Choc de Classica - Choc Classica de l'année
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Brahms & Bruckner: Motets

Anton Bruckner

Classical - Released October 30, 2015 | Signum Records

Hi-Res Booklet Distinctions 5 de Diapason
Maybe the combination of Brahms and Bruckner with the British choir Tenebrae sounds a little strange: the choir has specialized in Renaissance music and generally in music built on that sound ideal. Maybe the combination of the abstract, devout, and technically demanding Bruckner with the friendly and humanist Brahms sounds a little strange, too. But it all works out very nicely. In the 19th century, when choral music was a bigger part of everyday musical life than it is now, this would have been a program any good municipal choir would have loved to present. And Tenebrae bulks up its style a bit. They hit Bruckner's punishing high notes with the requisite perfect chill, and you can sample one of the large motets at the beginning, such as Ecce sacerdos (track three), for the full range of this choir's remarkable technical control under director Nigel Short. In Brahms pieces like the familiar "How lovely are thy dwellings" from the German Requiem, Op. 45 (track 11), the choir might even be called unusually weighty. Signum hits the ball out of the park sonically with engineering work at London's Temple Church, and the end result is a satisfying and unusual choral disc. A substantial donation from each copy of this album sold goes to Macmillan Cancer Support.© TiVo
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Wagner: Lohengrin, WWV 75 (Live)

Bayreuth Festival Orchestra

Opera - Released November 3, 2017 | Orfeo

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Brahms: Vier Ernste Gesänge, Op. 121

Marie-Claude Chappuis

Classical - Released May 26, 2023 | Prospero Classical

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Mendelssohn & Bach: Matthäus-Passion

The Bach Choir Of Bethlehem

Classical - Released March 22, 2024 | Les Productions Analekta Inc.

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Brahms: Complete Liebeslieder Walzer, Op. 52 & 65, Hungarian Dances

Rias Kammerchor

Choral Music (Choirs) - Released November 4, 2022 | harmonia mundi

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In these love songs in waltz style for chorus or solo voices accompanied by piano four hands, Brahms freely indulged his taste for Viennese folk music. The RIAS-Kammerchor instils a wonderful inner life in these musical landscapes, sometimes cheerful, sometimes melancholy, punctuated here by a selection from the Hungarian Dances – also eminently popular in their inspiration. © harmonia mundi
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Die Zauberflöte / The Magic Flute

Wiener Philharmonic Orchestra

Classical - Released March 3, 2023 | Profil

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Brahms: Lieder

Bernarda Fink

Classical - Released November 6, 2007 | harmonia mundi

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Brahms: Liebeslieder-Walzer

Edith Mathis

Classical - Released January 1, 1983 | Deutsche Grammophon (DG)

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J.S. Bach: Matthäus-Passion BWV 244

Gustav Leonhardt

Sacred Vocal Music - Released January 2, 1990 | deutsche harmonia mundi

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Brahms: Choral works

Rias Kammerchor

Classical - Released June 22, 2010 | harmonia mundi

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Bach, J.S.: Cantatas, Vol. 5 - Bwv 45, 46, 101, 102, 136, 178

Robin Tyson

Choral Music (Choirs) - Released September 1, 2008 | SDG

Melchior Franck: Geistliche Gesäng und Melodeyen

Cantus Thuringia

Classical - Released May 1, 2020 | deutsche harmonia mundi

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Wettsingen in Schwetzingen MTV Unplugged

Söhne Mannheims

Pop - Released September 19, 2008 | Dein Label

Released in 2008, Wettsingen in Schwetzingen is a unique MTV Unplugged album: it acts as a singing contest between German soul singer Xavier Naidoo and the band he formed and still records with, Sohne Mannheims. Recorded at the Rococo Theatre at Schwetzingen Castle, Germany, the two-disc, 25-track list features acoustic performances of both acts' biggest hits, including "Babylon System," "Fuhr Mich ans Licht," and "Wenn Du Schlafst." The German number one album also includes appearances by Cassandra Steen, Daniel Stoyanov, and Azad. © Jon O'Brien /TiVo
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Brahms: Symphony No. 4

Orchestre Révolutionnaire et Romantique

Classical - Released September 23, 2010 | SDG

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Several conductors associated with period-style performances of Baroque and Classical music have turned their batons to Romantic works, trying out what is known of authentic 19th century practices on repertoire that has otherwise been burdened by 20th century interpretations. In this 2010 release by John Eliot Gardiner and the Orchestre Revolutionnaire et Romantique, attention is focused on the Symphony No. 4 in E minor by Johannes Brahms, notwithstanding the first nine tracks, which offer shorter works by Beethoven, Gabrieli, Schütz, Bach, and Brahms as a warm-up. These tracks serve as an excellent sampler of what Gardiner, the Monteverdi Choir, and the orchestra of original instruments usually record, with an emphasis on early music and particularly choral works. All the same, approach the performance of the symphony with the foreknowledge that Gardiner likes his tempos quite brisk, a string tone with minimal vibrato and a characteristic timbral sheen, and a lean and transparent ensemble sound -- all features that are apparent in the opening selections -- and then decide if this is too jarring a transformation for this work. Many who grew up with conventional readings of Brahms will miss the rich, burnished tone that was fostered for decades by many eminent conductors. Gardiner's version is really spare in textures and even busy-sounding, as if the musicians are in a hurry to zip through the work. As a result, many things are glossed over, especially Brahms' brilliant interplay of rhythms. There is precious little of the glowing sonorities that have become associated with Brahms' final symphony, and Gardiner's clipped accents and fast tempos seem almost too brusque for this famous autumnal work. Listeners who feel that a streamlined approach to the Brahms symphonies is long overdue will rejoice, but for others, Gardiner's choices will be controversial, perhaps even more than his daring innovations in performing Beethoven. © TiVo