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La Flûte Enchantée

Hervé Niquet

Classical - Released April 23, 2021 | Château de Versailles Spectacles

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La flûte enchantée

Sigiswald Kuijken

Opera - Released March 9, 2005 | Brilliant Classics

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There is magic in this Die Zauberflöte -- the warmly glowing intonation of La Petite Bande, the pure Pamina of Suzie LeBlanc, the idealized Sorastro of Cornelius Hauptmann, the ardent Tamino of Christoph Genz, the robust Papageno of Stephan Genz, the lovely Papagna of Marie Kuijken, the deeply knowing conducting of Sigiswald Kuijken, even the corny thundercrashes -- but there is also one huge drawback -- the spoken dialogue. The amount of spoken dialogue included has always been a crucial issue for recordings of Die Zauberflöte -- too little and the story is all but incomprehensible, too much and listeners may grow restless waiting for the characters to stop speaking to each other in German, especially if they themselves don't speak German. For the completists and German speakers, Kuijken has included all the spoken dialogue. While this has its charms -- Genz's Papageno's fright is quite convincing -- the dialogue stops the music dead in its tracks every three to five minutes. Depending on the listener, this will either delightfully enhance or fatally detract from what is otherwise a thoroughly beguiling Die Zauberflöte. Amati's sound is deep and clear, but a little reverberant and very live.© TiVo
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Quatuor Zaïde: Amadeus

Quatuor Zaïde

Chamber Music - Released April 12, 2019 | NoMadMusic

Hi-Res Booklet Distinctions 4F de Télérama
A is for “Amadeus,” and a recording which marks a return to the source for Quatuor Zaïde, who dedicate their fourth collection to the genius Austrian composer. Z is for Zaïde, a “Singspiel” by Mozart in the style of Die Zauberflöte, which historical transcription for string quartet is a world premiere! Paired with the Quartet in G Major, No. 14, K. 387, this miniature version of one of the most famous operas repeatedly casts each instrument of the quartet in a multitude of lyric roles, celebrating the eternal dialogue between singing and playing. © Nomadmusic
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Die Zauberflöte / The Magic Flute

Wiener Philharmonic Orchestra

Classical - Released March 3, 2023 | Profil

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Wolfgang Amadeus Mozart : Die Zauberflöte (La Flûte enchantée)

Otto Klemperer

Classical - Released January 1, 1964 | Warner Classics

Booklet Distinctions Diapason d'or
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Amadè

Julie Fuchs

Classical - Released November 18, 2022 | Sony Classical

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Mozart: Piano Concertos Vol. 8

Jean-Efflam Bavouzet

Concertos - Released October 6, 2023 | Chandos

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With this 2023 release, the cycle of Mozart's mature piano concertos by pianist Jean-Efflam Bavouzet, with the Manchester Camerata under conductor Gabor Takács-Nagy, reaches its end. The series, with a modern piano but an economical approach that shows some influence from the historical performance movement, has found both critical and popular success, and this finale will not disappoint. Bavouzet is a technically clean pianist who can impress with the elegance of any given phrase, but what strikes the listener considering his Mozart work as a whole is the way he approaches each piece as an individual. His Mozart is entirely different from his Haydn, as revealed in a long series of fine piano sonata recordings, and he is very sensitive to the development of Mozart's style, capturing subtle interaction between piano and winds in the big middle-period concertos and backing off to a simpler melodicism in these late ones. In the Piano Concerto No. 26 in D major, K. 537 ("Coronation"), he prepares his own version of the incompletely notated left-hand part, and he adds some light ornamentation to the rather bare, slow movement. Bavouzet's Mozart albums have included overtures from the period of the concertos involved, and here, one gets no fewer than three from the last three Mozart operas. Takács-Nagy integrates these with the concertos beautifully, and the program as a whole has a satisfying effect that brings to mind Mozart's remark about the connoisseurs and the amateurs; the album can be appreciated at multiple levels. Chandos' engineering work at the Stoller Hall in Manchester is once again exemplary. This release made classical best-seller lists in the autumn of 2023.© James Manheim /TiVo
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Mozart : La Flûte enchantée 

Ferenc Fricsay

Full Operas - Released December 25, 2009 | Les Indispensables de Diapason

Booklet Distinctions Diapason d'or
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Berlioz: Les nuits d'été, Op. 7, H 81b - Ravel: Shéhérazade, M. 41 - Saint-Saëns: Mélodies persanes, Op. 26

Marie-Nicole Lemieux

Classical - Released September 29, 2023 | Warner Classics

Hi-Res Booklet
This is a nicely programmed album consisting of French song cycles spaced several decades apart from the 19th and early 20th centuries. One of them, the Mélodies Persanes ("Persian Songs") of Saint-Saëns, is not a common item; with its bouncy text-setting, nobody would compare it to the deep Eastern influences woven into various Ravel works, but then, Ravel was inspired to execute those by listening to Saint-Saëns. In Berlioz's Les nuits d'été and Ravel's Shéhérazade, contralto Marie-Nicole Lemieux has plenty of competition, but there is less for the Saint-Saëns. Another attraction is the work of the Orchestre Philharmonique de Monte-Carlo under conductor Kazumi Yamada, neither a household name. The group is velvety smooth in the Berlioz cycle, with quiet and perfectly controlled string sound throughout. The strings match the voice of Lemieux beautifully; both have a luxuriance that fits the extravagantly Romantic texts of the Berlioz. So, everything is in place here, and listeners' reactions to the whole are likely to come down to their feelings about Lemieux's voice itself. It has a rapid, confident vibrato that is remarkably pitch-accurate as it moves up and down within her range. To these ears, it is beautiful. It also doesn't vary much according to the text; the Saint-Saëns songs and Ravel's Asie, which are intended to evoke exotic melodic traits, sound much like the Berlioz. A bit of sampling will likely determine one's enjoyment of the album in general, and there are certainly many things to like here.© James Manheim /TiVo
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El Nour

Fatma Said

Classical - Released October 16, 2020 | Warner Classics

Hi-Res Booklet Distinctions Qobuzissime
"Vieux pays merveilleux des contes de nourrice" (‘Old marvellous land of nursery tales’): These few words describe the irresistible and striking interpretation of Ravel's Shéhérazade, now of a bygone era. The timbral lows and highs radiate from Egyptian soprano Fatma Said’s voice. Her exemplary diction shines. Each word is intelligible and each sound exists to colour the word, emphasising its meaning. Nobody would have thought that the singer’s extremely versatile musicality – reminiscent of Regine Crespin’s vibrant performances – would find an even greater versatility in the orchestral version, with Malcolm Martineau’s beautifully timbred and precise piano occasionally slowing things down.The program completely immerses itself in Spain, with Rafael Aguirre’s subtle guitar substituting itself for Martineau’s piano. Other facets of Fatma Said’s voice are her musical agility and ethereal spirit, which are revealed in the two Falla pieces. The Canción de Marinela by José Serrano, where her voice thickens, will remain an unforgettable moment of sweet sensuality. It's easy to start dreaming of Said exploring some other roles in zarzuelas, for which she would be divine! The three songs by Federico García Lorca, excerpts of the 13 Canciones españolas antiguas, are rather modest and of a noble elegance, even in the carnal arabesques of Nana de Sevilla. This is the perfect transition for the ‘Arabic’ songs that Fatma Said chooses next.She introduces, for example, a pretty melody from Egyptian composer Gamal Abdel-Rahim (1924-1988), before flying off into the gorgeous Adieux de l’hôtesse arabe by Bizet where Burcu Karadağ's nev (a sort of reed flute) improvises in counterpoint alongside the vocals. The last four pieces return to the Egyptian and Lebanese standards, in a jazzy and nostalgic atmosphere. This is a captivating album with overwhelming emotion! © Pierre-Yves Lascar/Qobuz
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Mozart : Die Entführung aus dem Serail

René Jacobs

Classical - Released October 15, 2015 | harmonia mundi

Hi-Res Booklet Distinctions 4 étoiles Classica
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Berlioz: Herminie, Les Nuits d'été / Ravel: Schéhérazade

Véronique Gens

Vocal Music (Secular and Sacred) - Released May 3, 2012 | Ondine

Hi-Res Booklet Distinctions 4F de Télérama - 4 étoiles Classica - La Clef du mois RESMUSICA
The vocal works of Hector Berlioz are less familiar than his gigantic orchestral pieces, but in the right hands they're delightful. This release by French soprano Véronique Gens, who is at the absolute peak of her powers, has all you could ask. It has the sheer creamy goodness of Gens' voice, made still tastier by her obvious enthusiasm for the likes of Ravel's Asie (Asia) from the Shéhérazade set. It offers a distinction from earlier traversals of the same material: the song cycle Les Nuits d'été (Summer Nights), especially, has been the province of big dramatic sopranos, but Gens' reading is more chamber-sized, and indeed more in line with the medium-sized halls Berlioz would have known in material of this kind. The album has a novel item: the early Berlioz cantata Herminie, written in 1828 as one of his unsuccessful attempts to capture the Prix de Rome. (He finally succeeded with Sardanapale in 1830.) The music of this piece has links to the Symphonie fantastique, and in general it has the fearlessly showy lyricism that makes the music of the young Berlioz so attractive. The album boasts excellent orchestral support from the Orchestre National des Pays de la Loire under conductor John Axelrod, who fully merits his full-page picture in the CD version's booklet. Sound ideally suited to the dimensions of Gens' voice is just a bonus by this time. This is state-of-the-art Berlioz (and Ravel). © TiVo
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Paradise Lost

Anna Prohaska

Classical - Released April 10, 2020 | Alpha Classics

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The gestation of this project lasted two years. Anna Prohaska and Julius Drake finally concentrated their research on the themes of Eve, Paradise and banishment. Some songs were obvious choices, such as Fauré’s Paradis, in which God appears to Eve and asks her to name each flower and animal, or Purcell’s Sleep, Adam, sleep with its references to Genesis. But Anna Prohaska also wished to illustrate the cliché of the woman who brought original sin into the world and her status as a tempter who leads man astray, as in Brahms’s Salamander, Wolf’s Die Bekehrte or Ravel’s Air du Feu. In Das Paradies und die Peri, Schumann conjures up the image of Syria’s rose-covered plains. Bernstein also transports us to the desert with Silhouette.. John Milton’s seventeenth-century masterpiece Paradise Lost was the inspiration for Charles Ives and Benjamin Britten, also featured in this very rich programme that constitutes an invitation to travel and reflection. © Alpha Classics
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Mozart Arias

Regula Mühlemann

Opera - Released October 7, 2016 | Sony Classical

Hi-Res Booklet Distinctions 5 de Diapason - Qobuzissime
As Mozart wrote to his father in 1778: "I love it when an aria fits a singer as perfectly as a suit". This, by reasoning, means that virtually all of his greatest melodies – for both prima donna and secondary (supporting) roles - were designed for a specific type of voice. This means that anyone who wants to tackle numerous Mozart roles must know how to adapt their suit accordingly – no simple task, to say the least. Swiss soprano coloratura Regula Mühlemann, with her sumptuous, clear and precise vocals, has perfectly adapted to all of these melodies, as well as the wide range of genres, styles and characters explored. Among the works, one will find Exultate, Jubilate and also a melody that Mozart had written to be inserted in The Barber of Seville by Paisiello, although this did not materialize and Mozart left the work unfinished. Regula Mühlemann, whom we have already witnessed in Salzburg, Berlin, Paris, Zurich, and many other prestigious cities and settings, is accompanied here by the Basel Chamber Orchestra conducted by Umberto Benedetti Michelangeli, the nephew of famous Italian pianist Arturo Benedetti Michelangeli. © SM / Qobuz
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Zauberoper - Mozart, Haydn, Salieri

Konstantin Krimmel

Classical - Released October 7, 2022 | Alpha Classics

Hi-Res Booklet
Following his acclaimed first recording for Alpha Classics, "Saga", the German baritone Konstantin Krimmel continues to tell us stories, with a programme focusing on "Zauberoper" (or "magic opera"). Accompanied by the Hofkapelle München orchestra conducted by Rüdiger Lotter, Krimmel explores operas by Mozart (Der Stein der Weisen), Salieri (La grotta di Trofonio) and Haydn (L'Anima del filosofo, Orlando Paladino), alongside less well-known titles by Paul Wranitzky (Oberon) and Peter von Winter: spectacular musical comedies from the eighteenth-century Viennese repertory, with their enchanted fairytale universe. © Alpha Classics
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Ravel: Shéhérazade, Le Tombeau de Couperin / Debussy: Danses, 3 Ballades de Villon

Anne Sofie von Otter

Classical - Released January 1, 2002 | Deutsche Grammophon (DG)

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Schütz: Musikalische Exequien

La Chapelle Royale, Philippe Herreweghe

Masses, Passions, Requiems - Released November 6, 2007 | harmonia mundi

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Ravel: Boléro, La valse, Shéhérazade...

Orchestre Philharmonique du Luxembourg

Classical - Released September 25, 2012 | Zig-Zag Territoires

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