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Le jour qui se rêve

Heaven is Shining

Pop - Released December 13, 2022 | Rosenklang

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Tcherepnin: Prelude to "La princesse lointaine", Op. 4 & Narcisse et Echo, Op. 40

Bamberger Symphoniker

Classical - Released June 5, 2020 | CPO

Booklet Distinctions Diapason d'or
It's a real godsend to be able to discover the ballet Narcissus and Echo by Nicolaï Tcherepnine, an all-too-forgotten composer today. Yet he is one of the young Russians, such as Rachmaninov, Glazunov, Medtner or Taneïev, who succeeded their great elders in the Group of Five and Tchaikovsky. He inherited an exceptional orchestral skill from his teacher Rimsky-Korsakov, before teaching himself at the St Petersburg Conservatory where he had Sergei Prokofiev as a student.Appointed as a conductor at the Mariinsky Theatre before the October Revolution, Nicolaï Tcherepnine conducted the inaugural season of the Ballets Russes in Paris in 1909. It was for Serge de Diaghilev that he composed his ballet Narcissus and Echo, which was hastily premiered in 1911 in place of Daphnis and Chloe, whose composition Ravel had not finished in time. Danced by Nijinsky in a choreography by Fokine and the Bakst sets planned for Daphnis, the work seemed boring to the Parisian public. It was an unjust judgment, since this sparkling score deserves much more than to simply be forgotten.Dance générale, Bacchanal in a dreamy Greece, here we are in the same universe as Ravel, one adorned with a colourful and magical orchestration, and whose use of a choir further reinforces - in a rather disturbing way - its closeness to Ravel's future ballet. It was certainly a kind of stagnation that may have confused the audience, accustomed at the time to the wild rhythms of Borodin, Rimsky-Korsakov and the young Stravinsky.The beautiful recording of Łukasz Borowicz is a timely reminder of the music of this great Russian composer who lived in Paris where he died in 1945, leaving behind a large number of stage compositions (operas and ballets), symphonic music, chamber music, vocal works and piano works. © François Hudry/Qobuz
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Suffit que tu oses

Nicolas Peyrac

French Music - Released October 13, 2017 | Note A Bene

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Lully: Acis et Galatée

Les Talens Lyriques

Opera - Released October 14, 2022 | Aparté

Hi-Res Booklet
Composed on 1686 as part of the festivities organised by the Duc de Vendôme in honour of the Grand Dauphin, during the latter’s visit to his estate at the Château d’Anet in September of that year, Acis et Galatée is Lully’s last complete opera. His faithful librettist Quinault having retired from writing for the stage, he collaborated this time with the poet Campistron on a work that tells the story of the love between the sea-nymph Galatea and the shepherd Acis – a love threatened by the violence of the jealous cyclops Polyphemus. This opera, an undoubted dramatic success, gives the orchestra an important part, expressively evoking, for example, the giant’s cries of anger, the terror of the chorus, and the lovers’ hasty flight in Act III. It includes some magnificent pieces, including the final Passacaille, as well as inventive treasures, such as duet for hautes-contre (high tenors) “Ah! je succombe au tourment qui m'accable”, or the burlesque march that accompanies the entry of Polyphemus and his fellow cyclopes, conveying their uncouthness. But the loveliest pieces in the score are for Galatea: “Enfin, j’ai dissipé la crainte”, for instance, or “Que ne puis-je expirer après ce coup funeste?”. Lully died in March 1687, a few months after the première, leaving Achille et Polyxène unfinished. © Aparté
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Lully: Acis et Galatée, LWV 73

Jean-François Lombard

Opera - Released October 13, 2023 | Naxos

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Destouches : Issé, pastorale héroïque

Ensemble Les Surprises

Classical - Released November 8, 2019 | Ambronay Éditions

Hi-Res Booklet Distinctions Diapason découverte
Recorded at the Royal Opera of Versailles, this "pastorale héroïque" is a co-production of the Festival d’Ambronay, which has released it on its own label. Inspired by Lully's Acis and Galatea of ten years earlier, André-Cardinal Destouches composed Issé to mark the prince's wedding celebrations at Trianon. The work met with great success right away and was performed several times at Versailles, right up to the wedding celebrations of the future king Charles X, before it went on to conquer the Paris Opéra. Issé's lighthearted plot is full of the obligatory amorous reversals and twists: Apollo, disguised as the shepherd Philémon, is assiduously pursuing the nymph Issé. The work delighted the King, who had it staged again, with Madame de Pompadour reprising the role of the nymph, in 1749. "The version upon which this record is based was published in 1724, by Jean- Baptiste Christophe Ballard. This revision truly perfected the work: it improved whole sections and added some remarkable pages. Houdar de La Motte re-wrote several lines, while Destouches undertook a wide-ranging re-working of the rhythm and the instrumental setting of the great arias, in such a way that the dramatic material remained recognisable", François Escande says. Closely linked to the needs of the French Court, this pastorale is probably Destouches's masterpiece, quite a feat if you consider that this was his first lyrical work. It links the charm and refined sensibilities of the 17th Century with the eloquent, brilliant and expressive spirit that the following century would love so passionately. Conducted by Louis-Noël Bestion de Camboulas, this version sparkles with intelligence thanks to a virtuoso orchestra (Les Surprises) and a team of larger- than-life singers who fit their roles perfectly. © François Hudry/Qobuz
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Lilith (Version Remasterisée)

Jean-Louis Murat

French Music - Released December 20, 2019 | [PIAS] Le Label

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Lilith

Jean-Louis Murat

Pop - Released December 20, 2019 | [PIAS] Le Label

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Love's Illusion - Music from the Montpellier Codex (13th-Century)

Anonymous 4

Classical - Released November 1, 1998 | harmonia mundi