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Invisible Stream

Raphaël Imbert

Jazz - Released August 19, 2022 | harmonia mundi

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"Invisible Stream": the “unseen currents” are those that connect people and musical works by transcending styles or customary aesthetic and cultural boundaries. A feast of poetic expression organized by four key representatives of both the classical and jazz music scenes of today, this recording initiates a dialogue – motivated by the purest spirit of improvisation – between the compositions of Raphaël Imbert and those of Schubert, Wagner, and Ornette Coleman. © harmonia miundi

Harmonies du Soir

Werner Thomas-mifune

Classical - Released January 1, 2016 | Orfeo

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Wagner: Tannhäuser

Marek Janowski

Opera - Released January 1, 2013 | PentaTone

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Continuing his extraordinary SACD series of Richard Wagner's music dramas for PentaTone, Marek Janowski presents Tannhäuser in the original Dresden version, with a dynamic cast, choir, and orchestra that give the performance their all. Like the previous recordings in this project, issued in celebration of the bicentennial of Wagner's birth, the performance is live and the sound quality is exceptional in capturing both the exciting playing of the Berlin Radio Symphony Orchestra and the dramatic power of the singers onstage. The standouts are Robert Dean Smith as Tannhäuser, Marina Prudenskaja as Venus, and the exceptional Nina Stemme as Elisabeth, leading a cast that is strong and evenly matched to the roles. The mutichannel format fairly accurately re-creates their movements and positions, so there's little confusion about the direction of the vocals or trailing off. (The voice of the Shepherd, sung beautifully by Bianca Reim, is remote by design but perfectly audible.) The choir is rich and vibrant, particularly in the Pilgrims Chorus, and the Berlin orchestra has great presence and burnished sonorities; many listeners will prize this recording for its playing, perhaps even more than for the singing. Taken as a whole, this is a highly desirable recording of Tannhäuser that Wagner buffs should consider adding to their collections. Highly recommended.© TiVo
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Méditations

Les Violoncelles Français

Classical - Released October 19, 2010 | Mirare

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Wagner: Tannhäuser, WWV 70

Bayreuther Festspielorchester

Opera - Released July 29, 2004 | Orfeo

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Meditations

Céline Moinet

Classical - Released December 9, 2013 | harmonia mundi

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Wagner - Great Recordings

Richard Wagner

Classical - Released February 11, 2021 | UME - Global Clearing House

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O du mein holder Abendstern from Tannhäuser

Stephen Powell

Opera - Released February 18, 2022 | Emitha LLC

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Wagner. O DU MEIN HOLDER ABENSTERN. From Tannhäuser, act III

Renato Tagliabue

International Pop - Released February 13, 2024 | 4202386 Records DK

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Wagner: Siegfried, WWV 86C

Simon O´Neill

Opera - Released September 22, 2023 | BR-Klassik

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Taken from several live performances at the Gasteig in Munich in early 2023, this recording of Wagner's Siegfried made classical best-seller charts later that year. It is part of a series that began in 2016, intending to record the entire Ring Cycle live. The recordings have all been successful, and this is testimony to the skills of conductor Simon Rattle. There are conductors' Wagner performances, and there are singers' Wagner performances. This is the former. The Bavarian Radio Symphony seizes the listener's attention from the opening bell, and the energy never flags. There is nothing objectionable about the singers, but few of them will stick in one's head. The exception, perhaps, is soprano Anja Kampe as Brunnhilde (and Danae Kontora as the Voice of the Forest Bird); Kampe, of course, doesn't enter until the end, but at that point, everything comes together for a really thrilling conclusion of "radiant love, laughing death." Although these were live performances, they might just as well have been made in a studio; Bavarian Radio's engineering in its hometown is superbly detailed, and the audience discipline is awesome (no applause or other crowd noise of any kind is retained). There is a liveliness to Rattle's Wagner that sets it apart from performances in the German tradition, and it is fully on display in this recording.© James Manheim /TiVo
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Elisabeth Jacquet de la Guerre: Céphale et Procris

Reinoud Van Mechelen

Classical - Released February 9, 2024 | Château de Versailles Spectacles

Hi-Res Booklet Distinctions Diapason d'or
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Wagner: Parsifal by Hans Knappertsbusch

Hans Knappertsbusch

Opera - Released February 8, 2023 | Alexandre Bak - Classical Music Reference Recording

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Gloire Immortelle !

Hervé Niquet

Classical - Released November 17, 2023 | Château de Versailles Spectacles

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Wagner: Der fliegende Holländer, WWV 63 (Live)

Bayreuther Festspielorchester

Opera - Released March 14, 2006 | Orfeo

Hi-Res Booklet Distinctions Gramophone Editor's Choice
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Antonio Salieri : Les Horaces

Christophe Rousset

Full Operas - Released August 31, 2018 | Aparté

Hi-Res Booklet Distinctions 5 de Diapason - 5 Sterne Fono Forum Klassik - Preis der deutschen Schallplattenkritik
Ever since Peter Shaffer's play Amadeus and the subsequent film by Milos Forman, the operas of Mozart's rival Antonio Salieri have enjoyed a revival: historians determined that not only did Salieri not poison Mozart, he admired him, and Mozart at least respected the older Italian. Indeed, Les Horaces (1786) represents several accomplishments that were not on Mozart's résumé: it is a full-scale French opera, and its recitatives are orchestrally accompanied and contribute elegantly to the action. Berlioz, always an astute critic, numbered himself among the admirers of Salieri's French operas of the 1780s; this one was not as successful as the others, but that could have been due to any number of factors. The plot deals with a woman, Camille, whose romantic life is caught between factions in a war in early Roman times, and Rousset's live reading here benefits from a strong soprano lead, Dutch singer and French Baroque specialist Judith van Wanroij. Other singers likewise step up, but the real credit goes to Rousset, who gets the strengths of Salieri's score: the grand intermèdes, and the exciting finale of Act 1, where the joining-together of action and music is in Mozart's league even if the tunes are not. Also praiseworthy is the engineering work of the curiously named Little Tribeca team, who obtain the best possible sound from none other than Versailles. Highly recommended to those who have dismissed Salieri: this is a sympathetic and enthusiastic performance of his music. © TiVo
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Salieri : Tarare

Christophe Rousset

Classical - Released June 7, 2019 | Aparté

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice - Choc de Classica
While Mozart was largely overlooked in the French capital, Antonio Salieri took on the reigns of the Académie Royale de Musique (Paris Opera), a fruitful collaboration that was completely broken up by the French Revolution. After the success of his work Les Danaïdes, composed for Paris in 1784, Salieri worked tirelessly with Beaumarchais, spurred on by the success and scandal of his Figaro, on a new project which would become Tarare. Beaumarchais moved himself shamelessly toward stardom, skillfully self-promoting and attending rehearsals so as to assure that the orchestra played pianissimo to emphasize the primacy of his verse during performances. Beaumarchais found that the music was too overwhelming to “embellish the lyrics”.Created one year after Mozart’s The Marriage of Figaro (which was relatively well-received in Vienna before triumphing in Prague), Tarare was an immense success in Paris maintaining the status of the composer’s repertoire despite the political turmoil of the time before disappearing from view around 1826, thereon ceasing to be played. Beaumarchais’ words were immediately adapted into Italian by Lorenzo Da Ponte to be performed and met with equal success in Vienna. Tarare is half lyrical tragedy, half comic opera with a hint of orientalism.After resuscitating Les Danaïdes and Les Horaces, Christophe Rousset finished off his series of recordings dedicated to Salieri’s French operas for the Parisian public. Tarare is very much of its time, that of the Lumières, and used the power of art to challenge despotism in all its forms. Thanks to Christophe Rousset’s excellent delivery and lively direction, this recording enables one to judge the merits of the composition and the chasm that separates an honest and talented musician from a solitary and impassioned one like Mozart. © François Hudry/Qobuz
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Wagner: Lohengrin, WWV 75 (Recorded Live 2011)

Bayreuther Festspielorchester

Classical - Released June 22, 2018 | Opus Arte

Booklet
Recorded live at a performance in Bayreuth on 14 August 2011, this Lohengrin naturally benefits a lot from the place's amazing sound; the listener will surely forgive the little noises from around the stage or hall: it is, after all, a very small price to pay for having a front-row seat at a live performance, and with the element of risk – taken by the singers, at least – which heightens the experience. The production brings together some of the greatest voices of the day, led by the tenor Klaus Florian Vogt, a real free radical, who started his career as... horn player in the Hamburg Philharmonic! But soon he heard the call of the lyrical, and he began a superb career as a tenor, first lighter, in Mozartian roles, and then more powerful with Wagner and the roles of the young "Heldentenor." As Elsa, we have Annette Dasch, who had already made a much-remarked-upon début in Bayreuth the year before – also as Elsa. Bass Heinrich Zeppenfeld is following the same Bayreuth trajectory, as King Henry the Fowler. The ambiguous Ortrud is played by Petra Lang, who since moved on to play Isolde, also at Bayreuth, a few years later – a fine rendition. © SM/Qobuz
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The Wagner Project

Matthias Goerne

Classical - Released November 24, 2017 | harmonia mundi

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