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Weber: Der Freischütz, Op. 77, J. 277

Frankfurt Radio Symphony Orchestra

Opera - Released October 1, 2019 | PentaTone

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We have Marek Janowski to thank for this studio version of Weber's masterpiece, recorded in 1994 in Berlin, and painstakingly remastered by RCA in 2017. Here the German conductor returns to a work which he knows in minute detail. Marking a bridge from the tradition of the "singspiel" in the style of the Magic Flute and the young Wagner of the Flying Dutchman, Freischütz represents the starting point for German romantic opera. This piece was recorded in the Sendesaal of Radio Hesse in Frankfurt in 2018, a large room built from light wood, with excellent acoustics and completely reconstructed in 1987. This new version, probably produced in the wake of two concert versions, includes short narrations written by Katharina Wagner and Daniel Weber to replace the long original dialogues. The excellent distribution is dominated by two great Wagnerian singers with powerful voices: Lise Davidsen and Andreas Schager. Janowski blazes at the stand, lending the work a constant and theatrical tension, with energetic tempos and a sense of poetry that will stand the test of time. This is a very accomplished new version which easily ranks alongside the legendary recordings of Wilhelm Furtwängler (1954), Josef Keilberth (1958), Eugen Jochum (1960) and Carlos Kleiber (1973). © François Hudry/Qobuz
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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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Mahler: Symphony No. 3 & Lieder (Les indispensables de Diapason)

Leonard Bernstein

Symphonic Music - Released June 30, 2023 | Les Indispensables de Diapason

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Richard Wagner : Der Fliegende Holländer - Pierre-Louis Dietsch : Le vaisseau fantôme ou le maudit des mers

Marc Minkowski

Classical - Released November 4, 2013 | naïve classique

Hi-Res Booklet Distinctions Diapason d'or
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Leipzig 1723 - Telemann | Graupner | Bach

Ælbgut

Classical - Released March 3, 2023 | Accentus Music

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Wagner: Le vaisseau fantôme (Diapason n°615)

George London

Opera - Released June 28, 2013 | Les Indispensables de Diapason

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Wagner : Der fliegende Hollander (Le Vaisseau fantôme)

Matti Salminen

Opera - Released September 1, 2011 | PentaTone

Hi-Res Booklet Distinctions 4F de Télérama
In preparation for the Wagner bicentennial in 2013, Marek Janowski and Rundfunk-Sinfonieorchester and Rundfunkchor Berlin began an ambitious project of recording the composer's ten major operas for Pentatone with Der fliegende Holländer in 2010. The recording's strongest points are the stellar performances by the orchestra and chorus; there's real fire and passion in their playing and singing. This is not Wagner's most dramatically coherent opera, but Janowski manages to keep the momentum going and the big moments are genuinely stirring. The leads are mostly very fine but not consistently memorable; the general lack of real distinction keeps this from being a contender as a top-ranked recording of the opera. Daland has been a signature role for Matti Salminen, who delivers the strongest performance among the leads; his characterization is sharply and vividly realized, and while his noble voice shows its age, it's appropriate for the role. As the Dutchman, Albert Dohmen has a vocal quality not sufficiently differentiated from Salminen's, and although his singing is never less than adequate, he fails to convey the character's mythic dimensions. Ricarda Merbeth as Senta has a voice that's large enough for the part but that's somewhat hard and inflexible, and that fails to generate much sympathy for her character. Robert Dean Smith usually sounds strained as Erik, except in his relatively rare quiet passages. The singer who makes the strongest and most lingering impression is Steve Davislim in the small role of the Steersman. The sound is clean, full, and nicely nuanced.© TiVo
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Wagner: Der fliegende Holländer, WWV 63 (Live)

Bayreuther Festspielorchester

Opera - Released July 27, 2018 | Opus Arte

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Der ferne Klang... Orchestral Works & Songs by Franz Schreker

Konzerthausorchester Berlin

Classical - Released March 17, 2023 | Deutsche Grammophon (DG)

Hi-Res Booklet
In the early '20s, Franz Schreker was one of the best-known composers in the world. His music was suppressed by the Nazis because he was Jewish, and due to the High Modernism of the postwar period, a second totalitarianism, his reputation did not recover. This was a shame, for Schreker was anything but a conservative, and it is good to see that he is finally getting his due. What he needed at this point was a high-profile recording with top soloists, and that is exactly what he gets here from Christoph Eschenbach and the Konzerthausorchester Berlin, with soprano Chen Reiss and baritone Matthias Goerne. Deutsche Grammophon's PR text refers to "Schreker's sumptuous, hyper-Romantic music," but this is not quite right. Schreker could sometimes be that, as in the Romantische Suite that closes the album, but Straussian late Romanticism was only one of his influences. In terms of using tone color as a structural element, Schreker was in every way a contemporary of Schoenberg (his close friend) and Webern. Eschenbach's generous selection of orchestral songs here provides a good way to appreciate this quality; sample Die Dunkelheit sinkt schwer wie Blei from the Fünf Gesänge, with its mysterious strumming-like sounds. The text of that song is from a German translation of the Thousand and One Nights anthology, and Reiss sounds great in the Zwei lyrische Gesänge to texts (in German) by, of all people, Walt Whitman. Schreker could be neoclassic (in the economical Kleine Suite); he could be Impressionist-tinged; he mastered a full Expressionist idiom in the opera that gives the album its title, represented here by a substantial instrumental excerpt. This double-album release conveys the breadth of Schreker's musical language, but he is never blankly eclectic. A wonderful album that will help to rewrite the 20th century canon.© James Manheim /TiVo
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Bach : St Matthew Passion (Matthäus-Passion)

René Jacobs

Masses, Passions, Requiems - Released October 7, 2013 | harmonia mundi

Hi-Res Booklet Distinctions Choc de Classica - Choc Classica de l'année
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Mein Traum. Schubert, Weber, Schumann

Pygmalion

Opera - Released October 7, 2022 | harmonia mundi

Hi-Res Booklet
One morning in 1822, Schubert wrote down an enigmatic text in which all his ghosts seem to take shape: wandering, solitude, consolation, disappointed love. Inspired by this dreamlike narrative, Raphaël Pichon, Pygmalion and Stéphane Degout have devised a vast Romantic fresco, combining resurrection of unknown treasures with rediscovery of established masterpieces. © harmonia mundi
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Bach: Cantatas 54, 82 & 170 "Widerstehe", "Ich habe genug" & "Vergnügte Ruh"

Iestyn Davies

Classical - Released December 30, 2016 | Hyperion

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Bach: Redemption

Anna Prohaska

Classical - Released June 26, 2020 | Alpha Classics

Hi-Res Booklet
Anna Prohaska asked Wolfgang Katschner and the Lautten Compagney at the outset of the coronavirus crisis whether they shouldn’t spontaneously organize a musical get-together in this period. This has now resulted in "Redemption". This is a sequence of music selected solely from Bach cantatas, compiled in keeping with the aforenamed conceptual association. "Redemption" has multiple meanings, for instance: can music give us consolation in times of sickness and crisis; can it open up emotional and contemplative spaces for us; is it redemptive for musicians to be the “instruments” in engendering music and therefore spirituality… ? Besides Anna Prohaska as soloist and three other singers, "Redemption" features a larger group of musicians – around twenty instrumentalists. These musicians serve a dual role: they expertly accompany the arias that Anna Prohaska sings and they also represent the concept of human interaction and a shared collective experience which has been missing during these times. © Alpha Classics
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Wagner: Wesendonck Lieder / Mahler: Rückert Lieder

Christian Thielemann & Wiener Philharmoniker

Classical - Released December 3, 2021 | Deutsche Grammophon (DG)

Hi-Res Booklet
2020 and 2021 were not very conducive to live recordings. So, with Elīna Garanča, you’ll be all the more delighted to be able to discover these superb recordings taken from the last two editions of the Salzburg festival. With the Vienna Philharmonic Orchestra and under the baton of Christian Thielemann, the soprano presents the magnificent orchestral lieder from Wagner’s Wesendonck cycle as well as Mahler’s Rückert-Lieder.In concert, the two works are often performed together because they follow two similar themes: intimacy and introspection. When Wagner composed his Wesendonck-Lieder for piano and female voice in 1857-1858, his world revolved around one person: Mathilde Wesendonck. This nostalgic love, which never really manifested itself, was recorded by Wagner in five lieder based on Mathilde’s own poems. Although Mahler’s Rückert-Lieder aren’t centred around a particular person or event – rather, they are five independent works based on Friedrich Rückert texts – the compositions are nevertheless deeply emotional and place personal experience at the forefront.Elīna Garanča gets to the heart of this intimacy and introspection, helped by the orchestra, which rolls out a carpet of sound which is full of emotion. It’s not only the pieces themselves, but also the concert’s circumstances that give this live recording a special appeal. Garanča is at one with the Vienna Philharmonic Orchestra with vibrancy, finesse and impressive skill, without being drowned out by the instrumental mass. A real record/event. © Lena Germann/Qobuz
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Johann Sebastian Bach : Ich elender Mensch & Leipzig Cantatas (BWV 44, 48, 73, 109)

Collegium Vocale Gent

Cantatas (sacred) - Released December 20, 2013 | Phi

Hi-Res Booklet Distinctions Gramophone Editor's Choice - 4 étoiles Classica
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50 Bach Treasures by Naïve

Anne Gastinel, Karol Teutsch, Hopkinson Smith, Rinaldo Alessandrini

Classical - Released September 1, 2017 | naïve classique

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Der ferne Klang... Orchestral Works & Songs by Franz Schreker

Konzerthausorchester Berlin

Classical - Released March 17, 2023 | Deutsche Grammophon (DG)

Booklet
In the early '20s, Franz Schreker was one of the best-known composers in the world. His music was suppressed by the Nazis because he was Jewish, and due to the High Modernism of the postwar period, a second totalitarianism, his reputation did not recover. This was a shame, for Schreker was anything but a conservative, and it is good to see that he is finally getting his due. What he needed at this point was a high-profile recording with top soloists, and that is exactly what he gets here from Christoph Eschenbach and the Konzerthausorchester Berlin, with soprano Chen Reiss and baritone Matthias Goerne. Deutsche Grammophon's PR text refers to "Schreker's sumptuous, hyper-Romantic music," but this is not quite right. Schreker could sometimes be that, as in the Romantische Suite that closes the album, but Straussian late Romanticism was only one of his influences. In terms of using tone color as a structural element, Schreker was in every way a contemporary of Schoenberg (his close friend) and Webern. Eschenbach's generous selection of orchestral songs here provides a good way to appreciate this quality; sample Die Dunkelheit sinkt schwer wie Blei from the Fünf Gesänge, with its mysterious strumming-like sounds. The text of that song is from a German translation of the Thousand and One Nights anthology, and Reiss sounds great in the Zwei lyrische Gesänge to texts (in German) by, of all people, Walt Whitman. Schreker could be neoclassic (in the economical Kleine Suite); he could be Impressionist-tinged; he mastered a full Expressionist idiom in the opera that gives the album its title, represented here by a substantial instrumental excerpt. This double-album release conveys the breadth of Schreker's musical language, but he is never blankly eclectic. A wonderful album that will help to rewrite the 20th century canon.© James Manheim /TiVo
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Strauss: Der Rosenkavalier

Leonard Bernstein

Classical - Released July 11, 2014 | Sony Classical

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Bach, J.S.: Cantatas BWV 140 & 147

Ruth Holton

Classical - Released January 1, 1992 | Archiv Produktion