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Verdi : La Traviata

Marina Rebeka

Opera - Released November 1, 2019 | Prima Classic

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As if trying to prove that opera's centre of gravity has changed, this new Traviata is from Latvia. Recorded in Riga between 24 March and 3 April 2019, it's the first studio recording of a Verdi opera for... 26 years. This production shows off today's great voices, with a moving Violetta from Latvian soprano Marina Rebeka, who has been singing this role very successfully on the great stages of the world since 2007 and meeting with great acclaim (she has already featured in a Naxos DVD of a live performance of La Traviata in Hanover). At her side, Alfredo is played by Charles Castronovo, one of the world's most sought-after lyrical tenors. He sang this role (also for a DVD recording) alongside Natalie Dessay at Aix-en-Provence. As for the Verdian baritone George Petean, he is also seen at Vienna, and at Covent Garden, the Metropolitan, Dresden and Zurich. At the stand, the young German lyrical orchestra conductor Michael Balke is on the up and up. After having led the Magdeburg Opera, he is currently the musical director at St. Gallen, in German- speaking Switzerland. And today he is gradually becoming more and more in- demand on the Tokyo stage and on stages across Europe. For musicians, making a record often means running a gauntlet. Following her international success, Marina Rebeka, like a great many artists today, turned the tables by creating Prima Classic, her own independent label, keeping her intellectual property rights and artistic independence over her work: all in order to enjoy total freedom in her own artistic choices. This Traviata is very polished both vocally and instrumentally, and it's one of the first outings for the new label. © François Hudry/Qobuz
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Verdi: La Traviata

Dame Joan Sutherland

Classical - Released January 1, 1980 | Decca Music Group Ltd.

Joan Sutherland was in her early fifties when she made this 1976 recording of La traviata, so her voice has a maturity that isn't ideal for Violetta. Her technique and her distinctive brightness are still fully evident, though, and her performance is sometimes vocally dazzling. Luciano Pavarotti was close to his prime at the time of the recording, and he sings with his characteristic breadth, vigor, and intensity. Matteo Manuguerra is a sturdy Germont. Richard Bonynge leads the National Philharmonic Orchestra and the London Opera Chorus in a spirited, traditional take on the score, one of the relatively few recordings of the opera that is absolutely complete. The sound is superb and clear, clean, and present.© TiVo
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Verdi: La Traviata - Highlights

Dame Joan Sutherland

Classical - Released January 1, 1981 | Decca Music Group Ltd.

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Rossini & Verdi: Overtures

Carlo Maria Giulini

Classical - Released February 7, 2020 | Warner Classics

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Fragments Part I - "Traviata"

Teodor Currentzis

Classical - Released December 4, 2020 | Sony Classical

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La Traviata

Giuseppe Verdi

Opera - Released January 1, 1977 | Master Classics Records

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Verdi: La Traviata

Anna Moffo

Classical - Released December 29, 1997 | Living Stereo

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Giuseppe Verdi : La Traviata

Maria Callas

Opera - Released March 1, 2015 | Myto Historical

Booklet Distinctions 5 de Diapason - 4 étoiles Classica
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Verdi: La traviata

Sofia Philharmonic Orchestra

Opera - Released December 1, 2017 | Profil

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Verdi : La Traviata (Live)

Herbert von Karajan

Full Operas - Released January 1, 1999 | IDIS

Distinctions 4 étoiles Classica
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Verdi: Overtures - Preludes - Ballet Music

Slovak Radio Symphony Orchestra

Classical - Released January 17, 2017 | SMOOTH CLASSICAL

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La Traviata, Act I: "Prelude"

Orchestra and Chorus of Moscow State Opera Theatre "Natalia Sats"

Classical - Released April 14, 2023 | Halidon

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La Traviata preludes ~Live at Oji Hall (Piano version)~

Tadayuki Kawahara

Classical - Released December 29, 2021 | Gina Corp. & XylomaniaStudio

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Verdi : La Traviata

Carlos Kleiber

Classical - Released January 1, 1977 | Deutsche Grammophon (DG)

Hi-Res Booklet Distinctions Choc de Classica
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Atys

Christophe Rousset

Opera - Released January 5, 2024 | Château de Versailles Spectacles

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Backed by the Sun King despite a lukewarm audience reception at first, Lully's Atys (1676) went on to become one of the composer's most successful operas, with revivals at French court theaters as late as 1753. In modern times, however, it is a considerably rarer item due to the massive forces and time required. Christophe Rousset was in the pit as harpsichordist when conductor William Christie gave the first modern revival of the work in the late '80s. That experience marks this 2024 release, which made classical best-seller lists at the beginning of that year. That is not common for a hefty five-act Baroque opera, but even a bit of sampling will confirm why it happened: Rousset, from the keyboard, brings tremendous energy to the opera. He pushes the tempo in the numerous dances and entrance numbers, and the musicians of Les Talens Lyriques and the singers of the Choeur du Chambre de Namur, all of whom have worked closely with Rousset in the past, keep right up. The singers in the solo roles are all fine; haut-contre Reinoud Van Mechelen in the title role and Ambroisine Bré as the goddess Cybèle, who sets the tragic plot in motion, are standouts. The sound from the increasingly engineering-expert Château de Versailles label is exceptionally clear in complex textures, and the sensuous cover art (representing, it is true, not the Roman mythological figure of Atys but Hippomène and Atalante) is a bonus. In the end, this is Rousset's Atys, and that is a very good thing.© James Manheim /TiVo
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Jules Massenet: Ariane

Münchner Rundfunkorchester

Classical - Released September 8, 2023 | Bru Zane

Hi-Res Booklet Distinctions Diapason d'or
For many years, it was only Manon and Werther that were heard among Massenet's operas, but his reputation appears to be on the rise, and his champion, conductor Laurent Campellone, has recorded a good number of them. Ariane, from 1906, is one of the last to receive its recorded premiere. The Palazzetto Bru Zane label, specializing in obscure French opera, does a typically fine job here; the sound is superb, and the cast of singers, led by the soprano Amina Edris in the lead role, offers several revelations. In his later operas, Massenet often attempted to put a French stamp on the newer styles of the day, and here, it is Wagner who gets this treatment; the opera is built around a set of motifs de rappel (or "reminiscence motifs"), whose parentage in Wagner's leitmotifs is clear. This structure is shoehorned into the durable machinery of French opera. There are big entrance scenes, a pantomime, and plenty of spectacular stage machinery to go with the love triangle plot involving Ariane (Ariadne), Phèdre (Phaedra), and Theseus, who gets to take on the Minotaur in a grand scene with Wagnerian bass trumpet and bass trombone. Massenet's orchestration is impressive throughout. The work does not have the inevitability of truly great art, but it is in no way dull, and anyone with any interest in French opera should hear it for the singers alone; enough of those listeners have already weighed in and put the album on classical best-seller lists in the late summer of 2023.© James Manheim /TiVo
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Psyché

Christophe Rousset

Classical - Released January 13, 2023 | Château de Versailles Spectacles

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Lully: Acis et Galatée

Les Talens Lyriques

Opera - Released October 14, 2022 | Aparté

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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