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Handel: Alcina

Joyce DiDonato

Classical - Released March 9, 2009 | Archiv Produktion

Booklet Distinctions Diamant d'Opéra
It's a pleasure to have such an abundance of excellent recordings of Handel operas that were long virtually unknown or available on CD in a single version, if at all. Alan Curtis' stellar recording of Alcina, which joins a respectable number of very fine recordings of the opera, is remarkable for the supple liveliness of his conducting and the outstanding performances of the soloists. The elasticity of his performance, leading Il Complesso Barocco, should dispel any misconceptions about Baroque music being rigid and metronomic. The nuanced care with which he brings out the emotional depth of Handel's writing is evident from the first measures of the overture and enlivens the entire opera. The opera is one of Handel's strongest, both in its sensuous, endlessly inventive music, and in the coherence and emotional complexity of its libretto, taken by an anonymous writer from Ariosto's "Orlando Furioso," the source of many operas of the era, and Curtis and the singers give it fiery dramatic urgency. The soloists assembled here, veterans of Baroque opera, perform with assurance and fluent familiarity with the style. The intelligence and emotional rightness of their ornamentation in the da capo arias is especially impressive, and they handle the florid pyrotechnics with polish and an engaging sense of spontaneity. Joyce DiDonato is stunning in the title role, with the intensity of a force of nature, and Maite Beaumont as Ruggiero and Karina Gauvin as Morgana are no less impressive. The women who are less well known, Sonia Prina and Laura Cherici, are just as astonishing in their virtuosity and the consistent purity and beauty of their tone quality; these are singers to watch out for. Bass Vito Priante sings with comparable effectiveness, but tenor Kobie van Rensburg doesn't quite have the ideal vocal heft for his role, although otherwise his performance is exemplary. The sound is immaculate and clean and intensely present. This version of Alcina should delight fans of Baroque opera and might even make converts of opera lovers who have never warmed to this repertoire.© TiVo
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Handel: Serse, HWV 40

Accademia Bizantina

Classical - Released May 27, 2022 | Hdb Sonus

Hi-Res Booklet
Famous for its aria “Ombra mai fu”, known as “Handel’s Largo”, Serse (or Xerxes) is one of this German composer’s most original and varied operas. It’s one of his rare “comic” works, containing a great deal of facetiousness and humour whilst still being grounded in reality.This version was recorded live in 2019 across two evenings at the Teatro Romollo Valli de Reggio Emilia. Ottavio Dantone favoured mainly Baroque Italian voices without resorting to falsettists who, in his opinion, are too often used to replace the castrati of the past. The tendency to use countertenors for every purpose seems to be declining in favour of offering a better historical perspective. As such, Ottavio Dantone gave the main role of Serse to Arianna Vendittelli and her beautiful soprano voice, whose tone really captures the character’s fragility.Under the direction of its conductor, the Accademia Bizantina perfectly reflects the varied colours of this well-known work thanks to their clear attacks which beautifully emphasize the score’s many bravura arias. As for the young cast assembled for the occasion, they’re simply perfect. Monica Piccini excels in the role of Monica whilst the bright, clear voice of Francesca Aspromonte is perfect for the role of Atlanta. Alto Delphine Galou shines as Amaster, and the hilarious Elviro is flawlessly interpreted by Biagio Pizzuti. © François Hudry/Qobuz
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Handel: Alcina

Les Musiciens du Louvre

Opera - Released February 2, 2024 | PentaTone

Hi-Res Booklet
Handel's Alcina, a work in the vocally virtuosic opera seria genre from 1735, returned to opera stages after a revival by Joan Sutherland in 1960, but recordings of it are not abundant. This is partly because it is a very visual work, with dances and sorcery special effects that don't come through on a recording. Another reason is that it contains some of Handel's most strenuous vocal writing, requiring a trio of top-notch female singers. The latter problem is solved in this 2024 release by Les Musiciens du Louvre and its director Marc Minkowski, who keep the massive, three-and-a-quarter-hour spectacle moving with tough, resolute playing. The title role is sung by mezzo-soprano Magdalena Kožená (Lady Rattle for peerage freaks), a Handel specialist of long standing who has absolutely outdone herself here in one of the big Handel roles that exploits her entire range, both physically and emotionally. The love-triangle (or rectangle) plot, however, requires other singers who can stand up to the star, and this the opera receives in Erin Morley as Alcina's sister, Morgana, and Elizabeth DeShong as Bradamente, a fiancée disguised as her own brother. Though the plot is over-intricate, the emotional threads remain clear in this performance, and the engineering from PentaTone Classics is top-notch. This release made classical best-seller charts in early 2024, something not often accomplished by hefty Handel opera recordings.© James Manheim /TiVo
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Mozart: Don Giovanni by Wilhelm Furtwängler

Wilhelm Furtwängler

Opera - Released January 8, 2022 | Alexandre Bak - Classical Music Reference Recording

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Monteverdi: Il ritorno d'Ulisse in patria, SV 325

Hana Blažíková

Opera - Released October 26, 2018 | SDG

Hi-Res Booklet Distinctions Gramophone: Recording of the Month
Il ritorno d’Ulisse in patria by Monteverdi poses a lot of problems for modern performers. There exists no definitive manuscript – although one may doubt how much people bothered back then with "definitive" versions of works which were re-written from one performance to the other, depending on the singers and instrumentalists that were on hand, the tastes of this or that star, the diktat of the Church – and the only copy dating from the composer's time, discovered in Vienna in 1881, is incomplete. When we try and compare this manuscript with different copies of the libretto which are still around today, the difficulties only increase. For this recording by Sir John Eliot Gardiner and the English Baroque Soloists, recorded live at concerts in September 2017, the decision was taken to fill in everything that could be filled in with a few passages borrowed from earlier works by Monteverdi. The Return of Ulysses dates from 1640, when Monteverdi was 74 years old, so there was a lot to choose from for these fillers. This version is almost certainly the closest approximation we have to the original yet, the singers have worked hard to give the most accurate reproduction possible of the vocal inflections demanded by the various formats employed by Monteverdi. These inflections are often very declamatory and sometimes sung to the fullest. The recitations and the melodies, the ensembles and the choirs: everything is treated with the utmost care and the effort put into contrast and clarity only enhances the quality of this recording. A magnificent rendition. © SM/Qobuz
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Donizetti: Gemma di Vergy

Eve Queler

Classical - Released September 22, 2017 | Sony Classical

Hi-Res Distinctions 5 de Diapason
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Carlo Gesualdo : Madrigaux (Livres V et VI)

Delitae Musicae

Classical - Released May 7, 2013 | Naxos

Booklet Distinctions 5 de Diapason
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Verdi : Stiffelio

Andrea Battistoni

Classical - Released March 25, 2014 | C Major

Hi-Res Booklet
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Rossini: Adelaide di Borgogna

Virtuosi Brunensis

Opera - Released June 9, 2017 | Naxos

Booklet Distinctions 5 de Diapason
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Händel: Partenope - The Sony Opera House

Sigiswald Kuijken

Classical - Released July 20, 1979 | deutsche harmonia mundi

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'Where'er You Walk': Arias For Handel's Favourite Tenor

Ian Page

Opera - Released May 6, 2016 | Signum Records

Booklet
When it comes to Handel aria collections, it's the countertenors and sopranos that get all the recording time. The entirely beneficial trend of organizing these recordings by the people who sang the music in Handel's time may touch on a tenor here for the first time, and the effect is different from the various albums devoted to the soprano and countertenor repertoire. The tenor John Beard was not a flashy Italian import, but a native Englander, and he had a long career with Handel. He might, the detailed booklet observes, have sung Handel's anthems as a 12-year-old at the coronation of George II in 1727. One imagines that while Faustina Bordoni and Francesca Cuzzoni were making headlines by duking it out on-stage, connoisseurs preferred a quieter appreciation of Beard. There are several attractive features here, starting with the voice of tenor Allan Clayton: it seems suited to languid pastoral melodies, but explodes quite unexpectedly with power in the heroic ones. You get several chunks of music beyond single arias, including one by William Boyce (tracks 11-14), which breaks up the elevated Handelian mood nicely. The gentle playing of the choir and orchestra of Classical Opera under Ian Page fits the general concept well, and much of the material deserves a fresh, careful performance. Sample Clayton's extraordinarily graceful reading of "As steals the morn" from L'Allegro, il Penseroso, ed il Moderato (track ten), and enjoy! © TiVo
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Rodgers & Hammerstein's Oklahoma! (Complete original score)

John Wilson

Theatre Music - Released September 15, 2023 | Chandos

Hi-Res Booklet
While the recordings of highlights and hits from Rodgers & Hammerstein's still-popular Oklahoma! have been issued over the years, the complete, as originally orchestrated score (by Richard Rodney Bennett) had yet to be recorded. However, following a live-staged performance at the 2017 BBC Proms, conductor John Wilson took it upon himself to deliver this premiere. He sticks with the original orchestra dimensions as well, which is a good thing since the handpicked members of his Sinfonia of London are powerful enough in this smaller group. Wilson also took advantage of the quality theaters around London, bringing in soloists and a cast ensemble of veterans from stages across England. He does well in selecting a cast here; while all are more than capable singers, they are also able to deliver the vocal acting that is necessary to pull this off. Leading the cast are Nathaniel Hackmann, reprising his role as Curly from the Proms performance, and Sierra Boggess as Laurey. The vocalists and orchestra take full advantage of the space and recording setup, which allows the orchestra to play full out while not overstraining the singers. The beauty of Rodgers' music paired with Hammerstein's book is evident, even if you are unfamiliar with anything but the titular state (if even that!); the imagery of ranches and open cattle land easily comes to mind. This recording should be welcomed with open arms by those who are familiar with the musical, be it either from a stage (generally edited and with cuts) or in its film version with its edits. Oh, what a beautiful mornin', indeed.© Keith Finke /TiVo
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Vivaldi : Il Giustino

Ottavio Dantone

Full Operas - Released November 16, 2018 | naïve classique

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice - Choc de Classica
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Gesualdo: Madrigali, Libri quinto & sesto

Les Arts Florissants

Art Songs, Mélodies & Lieder - Released March 10, 2023 | harmonia mundi

Hi-Res Booklet Distinctions Gramophone: Recording of the Month
The madrigals of Carlo Gesualdo were new territory for Les Arts Florissants, a group that specializes mostly in French Baroque opera, but the cycle, which concludes with this double album featuring the composer's tortured fifth and sixth books, has been consistently strong and has brought many new insights; the album reached the top levels of classical sales charts in early 2023. Gesualdo and his style have been used in narratives that don't necessarily fit the actual music. For Stravinsky and his contemporaries, the dissonance-loving Gesualdo was a proto-modernist, but Les Arts Florissants leader (and tenor voice) Paul Agnew points out that the trends in his music were also present in that of other composers of the Mannerist late 16th century. It is conventional to connect the experiments in Gesualdo's music to the facts of his life: he caught his wife and her lover in flagrante, murdered them both, beat the rap at trial, and spent the rest of his life in seclusion. Agnew doesn't buy this connection, either, and his interpretations avoid the emotional extremes present in other performances. At the most intense moments, he may steer the singers just a bit toward spoken inflections, but mostly his dissonant harmonies are precise and cutting. The sound is a bit swallowed up in the Philharmonie de Paris, but the laconic statements of Gesualdo's chosen texts are clear. A fine conclusion to a cycle of music by a composer who warranted a fresh look.© James Manheim /TiVo
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Handel: Finest Arias for Base (Bass) Voice, Vol. 1

Christopher Purves

Classical - Released December 2, 2012 | Hyperion

Hi-Res Booklet
There's no shortage of Handel aria recitals these days, especially in Britain, but this one by bass baritone Christopher Purves stands out from the crowd in several respects. First of all, it is rare in collecting arias for bass voice, which was, in Handel's time as it was later on, generally associated with a few fixed and generally negative character types (tyrants, rogues, repressive patriarchs). Second, it's a very pleasantly varied collection of tunes, including displays of brilliant passagework, out-of-the-norm writing in service of characterization (Fra l'ombre e gl'orrori, from Aci, Galatea e Polifemo, track 4), and high climactic drama (the big, three-part Revenge, Timotheus cries, from Alexander's Feast, track 19, is a familiar example). Finally, Purves unearths some rarely heard pieces and programs them intelligently. When did anyone last year anything from Muzio Scevola, or Riccardo Primo, rè d'Inghilterra, which must have pleased London audiences in 1727 despite its Italian-language text. Purves does not have the biggest voice in the bass baritone universe, and there could be a bit more sound in the very low notes. But the dimensions of the music are right for the period. He's pleasingly accurate in the passagework, and he's a real actor who makes these potentially stilted characters come alive. Listeners will want to hear Purves in a small production of one of these operas after hearing this album, preferably accompanied by the strong historical-instrument group Arcangelo under Jonathan Cohen, as he is here.© TiVo
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Cantate da camera

Lucile Richardot

Classical - Released January 20, 2023 | Audax Records

Hi-Res Booklet Distinctions 4F de Télérama
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Handel: Amadigi di Gaula

Tim Mead

Opera - Released September 16, 2022 | Chandos

Hi-Res Booklet
The countertenor Tim Mead leads an all-star cast in the Early Opera Company’s recording of Handel’s Amadigi di Gaula, conducted by Christian Curnyn. The opera was first performed, in London, in 1715, in the first season under the reign of George I, at the King’s Theatre on the Haymarket. The complex, twisting plot features the lovers Amadigi and Oriana, imprisoned by the sorceress Melissa (who seeks Amadigi’s love). His ally Dardano turns against Amadigi, his former friend, when he realises that they both love Oriana and he sides with Melissa. Her plans are repeatedly foiled, and true love triumphs at the final curtain! Amadigi is considered the finest of Handel’s early London operas in terms of musical sophistication, theatrical pacing, and a perfectly balanced exploration of the interconnected relationships, motivations, and emotional divergences among just four dissimilar yet equally arresting characters. © Chandos
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Jean-Baptiste Lully : Amadis

Christophe Rousset

Opera - Released September 22, 2014 | Aparté

Hi-Res Booklet Distinctions 4F de Télérama - Diamant d'Opéra - Choc de Classica - 5 Sterne Fono Forum Klassik
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Scarlatti - Father and Son. Cantatas and Sonatas (con idea humana)

Tenta La Fuga

Classical - Released May 5, 2023 | Prospero Classical

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Verdi: Don Carlos

Luigi Roni

Opera - Released January 1, 1979 | Orfeo