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R. Strauss: Salome (Live)

Benjamin Bruns

Opera - Released October 1, 2017 | PentaTone

Hi-Res Booklet Distinctions Gramophone Editor's Choice
Recorded on September 10, 2016, this concert performance of Richard Strauss' Salome is presented in Pentatone's Super Audio format, and the multi-channel reproduction creates a vivid Surround Sound experience of one of the most controversial 20th century works. With a German libretto adapted by Strauss from Oscar Wilde's French play, Salome elaborates the Biblical story of the daughter of King Herod Antipas and her provocation of the beheading of John the Baptist. The scandalous story brought Salome instant fame, and it was Strauss' first operatic success, due mostly to the strength of his innovative score, and the notoriety of the Dance of the Seven Veils, which has become a popular orchestral excerpt. This performance by the Frankfurt Radio Symphony Orchestra was conducted by Andrés Orozco-Estrada, and featured soprano Emily Magee as Salome, tenor Peter Bronder as Herod, mezzo-soprano Michaela Schuster as Herodias, and baritone Wolfgang Koch as John the Baptist. The strong vocals and the lush orchestral playing make this recording a sonic showcase, and even first-time listeners will be seduced by the gorgeous sonorities and the passion of the singing. Highly recommended for audiophiles and fans of Strauss' operas.© TiVo
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Richard Strauss: Ariadne auf Naxos, Op. 60, TrV 228a (Live)

Jochen Schmeckenbecher

Opera - Released February 5, 2021 | Orfeo

Booklet
This live recording of Ariadne auf Naxos in October 2014 took place not only at the site of the opera premiere of the version of the opera that we are best familiar with these days, but it also testifies Christian Thielemann’s first conducting engagement of a scenic performance of a Strauss opera at the opera house on the Ring. The cast includes Soile Isokoski as Ariadne, Johan Botha – in one of his latest performances before his untimely death – as Bachus, Daniela Fally as Zerbinetta, Sophie Koch as the composer, Jochen Schmeckenbecher as the music teacher and Peter Matic as the dancing master. Many attendees of the premiere of Strauss‘ first version of Ariadne - which was intended to succeed Moliere’s Le Bourgeois gentilhomme and for this reason was six hours long – felt that they had just been part of a first-rate funeral. It had become obvious that this third cooperational work with Hugo von Hofmannsthal needed some restructuring. As a consequence, the Moliere piece was replaced with the Prologue, and premiered four years later on 4 October 1916 at Vienna’s Court Opera (today’s State Opera). In March 2021, Ariadne returns to the Vienna State Opera’s playing schedule. © Orfeo
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Lieder von Richard Wagner, Vasyl Barvinsky und Richard Strauss (Seel an Seele)

Georg Streuber

Classical - Released February 23, 2024 | Auris subtilis

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Schubert : Goethe Lieder

Dietrich Fischer-Dieskau

Classical - Released January 1, 1960 | Deutsche Grammophon (DG)

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Schubert: Goethe Lieder

Matthias Goerne

Classical - Released January 1, 1997 | Decca Music Group Ltd.

Bruckner: Symphony No. 6 / Wolf: Four Goethe Songs

Riccardo Chailly

Classical - Released April 30, 1999 | Decca Music Group Ltd.

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Strauss: Also sprach Zarathustra, Till Eulenspiegel

Herbert von Karajan

Classical - Released January 1, 1995 | Deutsche Grammophon (DG)

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Wagner: Das Rheingold

Wiener Philharmonic Orchestra

Classical - Released October 14, 1997 | Decca Music Group Ltd.

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Wagner: Die Walküre

Georg Solti

Classical - Released October 14, 1997 | Decca Music Group Ltd.

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Strauss: Also sprach Zarathustra

Rundfunk Sinfonieorchester Berlin

Symphonies - Released August 11, 2023 | PentaTone

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Ein Deutsches Barockrequiem

Vox Luminis

Classical - Released April 14, 2023 | Ricercar

Hi-Res Booklet Distinctions 4F de Télérama - Gramophone: Recording of the Month
For more than forty years, the Liège musicologist Jérôme Lejeune has been tirelessly managing the prized Ricercar record label. He founded in 1980, before which he studied the viola da gamba with Wieland Kuijken. Often unearthed from the depths of the archives, they’ve released more than 400 rare baroque records; featuring interpretive performances by Bernard Foccroulle on the organ, François Fernandez on the violin and Philippe Pierlot on the viol. Together they form the very essence of the Ricercar Consort.Other musicians and ensembles have also recorded at this precious Belgian label for initiates, such as the Vox Luminis ensemble. They were the masterminds behind the Ein Deutsches Barockrequiem, an analogy to Brahms' German Requiem which, through the music of Heinrich Schütz (whom Brahms knew very well), drew inspiration from the same musical sources of old Baroque Germany.The result of long and patient musicological research, this programme closely follows the texts chosen by Brahms for his sacred work from a Lutheran perspective where, through the music of a dozen composers, death is tamed in a serene and comforting manner. This hypothetical reconstruction, for the simple pleasure of the mind, sheds a somewhat unusual light on a little-known part of this Germanic sacred repertoire. © François Hudry/Qobuz
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Strauss, R.: Also sprach Zarathustra / Holst: The Planets

Boston Symphony Orchestra

Classical - Released January 1, 1971 | Deutsche Grammophon (DG)

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Richard Strauss : Also sprach Zarathustra... (Live)

Riccardo Chailly

Classical - Released September 6, 2019 | Decca Music Group Ltd.

Hi-Res Distinctions Diapason d'or / Arte
Leading the Lucerne Festival for two summers running, conductor Richardo Chailly has honoured composers that the musicians had never yet recorded: Igor Stravinsky in 2018, and Richard Strauss in 2019. The sumptuousness of the orchestration of the latter here affords a glittering clarity, just as much in the concertante parts as in the tutti. The writing conjures a Straussian atmosphere: a marvellously apt terrain for the Lucerne orchestra. In Zarathustra, the strings, in particular the double-basses, rumble away as under one bow, with gobsmacking precision in Von der großen Sehnsucht ("Of the Great Yearning") and Genesende ("the Convalescent"). Richard Strauss deploys a romantic counterpoint in his writing – in particular in Von den Hinterweltlern ("Of the Backworldsmen") – and the strings of Lucerne brilliantly bring his limitless lyricism to life. The following works, (Tod und Verklärung, Till Eulenspiegel and finally The Dance of the Seven Veils) bring to mind other epithets that we might apply to this perfect recording: epic majesty, burlesque humour, serpentine voluptuousness: all ingredients of Strauss's symphonic poems. The sound quality does justice to the beauty of the orchestra, and the mix doesn't leave anyone out: every counterpoint is defined, every pizzicato twangs appropriately and we hear even the softest touch of the timbal. Demanding in their extremity (in both nuance and difficulty), these scores make a perfect fit for the Lucerne orchestra, a meeting of the greatest soloists of the international stage, brought together by the festival. The only drawback comes from precisely this concentration of quality. While we are gripped by Salome's Dance of the Seven Veils, we are perhaps more impressed than moved by a piece that has been stripped of some of its finest orchestral ornamentation. © Elsa Siffert/Qobuz
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R. Strauss: Eine Alpensinfonie, Tod und Verklärung (Live)

Mariss Jansons

Classical - Released December 30, 2016 | BR-Klassik

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica - 5 Sterne Fono Forum Klassik
Mariss Jansons and the Bavarian Radio Symphony Orchestra have recorded the tone poems of Richard Strauss for BR Klassik since 2010, and they have already presented the popular Till Eulenspiegels lustige Streiche (Till Eulenspiegels Merry Pranks), Don Juan, and Ein Heldenleben (A Hero's Life), in impressive performances for the German label. This 2016 album offers two more Strauss favorites, the musical representation of a mountain hike, Eine Alpensinfonie (An Alpine Symphony), and the moving depiction of a man's last moments, Tod und Verklärung (Death and Transfiguration). These works reflect dramatically different sides of Strauss, where the virtuosic music and opulent orchestration of Eine Alpensinfonie suggest a robust extroversion, while the deathbed ruminations of Tod und Verklärung and its final vision of transcendence are more introspective. Jansons elicits powerful playing from the orchestra, and draws out resplendent sonorities that are thrilling for their brilliance and force. Yet Strauss' softer music may hold more expressive depth, particularly the tone painting of "Night" at the beginning of Ein Alpensinfonie, and the fragile, hesitant opening of Tod und Verklärung, which are among the subtlest and most affecting passages in all of Strauss' works. The sound of this standard CD is rich and vibrant, and practically every detail can be heard clearly.© TiVo
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Strauss: Ein Heldenleben - Mahler: Rückert-Lieder

Orchestre Symphonique de Montréal

Classical - Released March 15, 2024 | PentaTone

Hi-Res Booklet
The Strauss and Mahler works on this 2024 release are both relatively often recorded, and listeners may have been surprised to see the album show up on classical best-seller lists in the spring of that year. There is the consideration that Rafael Payare and his abundant Afro are landing on many lists of acts to watch, and he shows signs of jelling with the Orchestre Symphonique de Montréal in the Richard Strauss autobiographical tone poem Ein Heldenleben. Hear the superb solo work from violinist Andrew Wan in the third movement, representing Strauss' wife, Pauline de Ahna, but the big news here, and what is probably drawing buyers, is the other work on the album, Mahler's Rückert-Lieder, which receive a revelatory performance from soprano Sonya Yoncheva. It is a distinctly different flavor from the usual Wagnerian sound, adding operatic emotionalism to Um Mitternacht and the gorgeous finale, Ich bin der Welt abhanden gekommen. Yoncheva was an inspired choice, whether by Payare or someone else, and the album is worth time and money for her alone. The PentaTone label adds nicely transparent sound from the Maison Symphonique de Montréal to the mix.© James Manheim /TiVo
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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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Strauss: Also sprach Zarathustra - Debussy: Jeux

François-Xavier Roth

Symphonies - Released March 24, 2023 | LSO Live

Hi-Res Booklet
Although the Principal Guest Conductor of the London Symphony Orchestra since 2017, the Frenchman François-Xavier Roth also juggles conducting his own orchestra, Les Siècles. He founded this ensemble in 2003 to play a wide-ranging repertoire on the appropriate period instruments. This new album was recorded in London’s Barbican Hall during two concerts with the London Symphony Orchestra both in January and November 2018, and it features two rarely performed composers: Richard Strauss and Claude Debussy.Reading between the lines of Debussy's collection of ironic writings in Monsieur Croche, his admiration for his powerful elder is tangible. After a concert Strauss had conducted in Paris, Debussy wrote, “I can assure you there is plenty of sun in the music of R. Strauss… His mind is still that of a musician, but his eyes and actions are those of a 'superman'. As the man who must have inspired his energy, Nietzsche, used to say... I repeat that there is no way to resist the conquering domination of this man!” On the other hand, Strauss was completely baffled by Pelléas et Mélisande, stating, “These are very fine harmonies, in very good taste; but it is nothing, nothing at all.”The strange combination offered here conveys the Nietzschean philosophy of Thus Spoke Zarathustra through a titillating call-and-response (Debussy’s Jeux, his last great orchestral work). François-Xavier Roth conducts these two scores with a delicate vigour, embracing the stunning orchestral palette they share while simultaneously highlighting two different aspects of modernity that constitute 20th-century music. Absolutely fascinating. © François Hudry/Qobuz
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Schumann & Brahms Lieder

Elina Garanca

Classical - Released November 6, 2020 | Deutsche Grammophon (DG)

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Mezzo-soprano Elina Garanča has been known primarily as an operatic singer. This 2020 release on Deutsche Grammophon marks her debut on recordings in song repertory, although she and accompanist Malcolm Martineau performed these songs often in the months leading up to the recording, and there's nothing tentative about the performances. It's not saying too much to observe that Garanča here, more than in operatic recordings, brings the great Christa Ludwig to mind, although Ludwig sang lieder at all stages of her career. There's the gradual way in which Ludwig's voice matured over time, the sense of discovering things in it that one never knew were there. The overall richness of the voice, the depth in the lower register, the effortless power at the top: all these aspects will sound familiar to those who remember the German soprano, but none of it means that Garanča uses vocal beauty to skate across the meanings of the texts. She has a dramatic soprano's insight into Schumann's Frauenliebe und Leben, Op. 42, which brings out the arc of the cycle rather than letting it disintegrate into a set of individual songs. The individual Brahms lieder, mostly familiar numbers, have a real freshness here. Garanča's voice soars through it all, and it remains a wonder. May one hear more song repertory from this artist!© TiVo
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Encounter

Igor Levit

Classical - Released September 11, 2020 | Sony Classical

Hi-Res Booklet Distinctions Diapason d'or / Arte
The latest album ‘Encounter’ by the German-Russian pianist is a particularly astonishing one, blending the diverse works of great composers such as Bach, Brahms and Morton Feldman. While the 2020 health crisis, due to the covid19 virus, has caused great anxiety among the general population it has also ignited the imagination of artists and musicians alike. Locked down in his apartment like so many us, the pianist Igor Levitt broadcasted a daily, live performance on his social media, even going as far as playing a 20 hour piece, Vexations by Erik Satie. ‘Encounter’, the product of Levitt’s self-isolation during lockdown, brings together an intelligent and pleasing array of composers. From Bach arranged by Busoni at the Palais de Mari, or the latest work from Morton Feldman for solo piano, to Brahms arranged by Reger, these are intimate connections between composers, as much as they are moments of solidarity at a time or great loneliness and isolation. Levitt’s poignant introspection and devotion to humanity shines throughout his album. © François Hudry/Qobuz