What is a Qobuzissime? It’s an award presented by Qobuz for a first or second album.

Pop or Reggae, Metal or Classical, Jazz or Blues, no genre is excluded. More often than not the award is presented to a newly discovered artist.

Sometimes it might be a particularly quirky or a crossover album from a discography.

The important aspects are uniqueness, sincerity and quality. We look for these things in the recording, the project and the sound identity.





Albums

€ 15,99
€ 11,49

Piano solo - Verschenen op 2 maart 2015 | Mirare

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - Diapason d'or - 4 étoiles de Classica - Qobuzism
€ 21,49
€ 14,99

Operafragmenten - Verschenen op 2 maart 2018 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen Diapason d'or - Diapason d'or / Arte - Qobuzism - 5 Sterne Fono Forum Klassik
Nowadays it might seem rather strange to describe a composer as a “singing master”, but, during the eighteenth century, this was not the case at all. In Italy, almost every composer worthy of the name wrote opere serie (Porpora wrote at least forty- ve): serious opera was the dominant musical genre, glorifying the human voice above everything else. It was the maker or breaker of musical reputations, with its nest singers the rst superstars of music. Therefore composers, though generally eclipsed by the fame of their leading men and women, needed to understand the human voice and all its remarkable capabilities, both technical and histrionic, in order to be able to exploit the possibilities of the operatic form at a time when those “machines made for singing”, the castrati, had brought the vocal art to a pitch of perfection never known before, nor equalled since. Though this recording is bringing Porpora’s name to public attention again on the 250th anniversary of his death, his fame as a singing teacher has probably obscured, until recently, his remarkable qualities as a composer, quite simply because two of the most famous castrati were among his many pupils, namely Gaetano Majorano, known as Caffarelli, whom Porpora once called “the nest singer in Europe”, also famed for his amorous antics and arrogance on- and off-stage, and the even more celebrated Carlo Broschi, who, under his stage name of Farinelli, amazed audiences and set hearts a- utter for fteen years throughout Europe, before being called to Spain to heal a crazed King by the power of his voice. Max Cencic remarks: “Porpora was a severe teacher, I think, maybe almost sadistic in his demands — you need 120% control of breath, brain and voice”. Legend indeed has it that he taught Caffarelli one page of exercises, and those alone, for six years. The formal alternation of aria and recitative in opera seria conceals a great range of emotional expression, that varietas that Erasmus famously described as “so powerful in every sphere that there is absolutely nothing, however brilliant, which is not dimmed if not commended by variety”. In such forms as the orid aria di bravura or the lyrical aria di sostenuto, the composer’s fantasy only provided a framework for the singer to embroider: the performer’s skill in ornamentation and other emotional devices was of paramount importance. Porpora’s many years of both teaching and composing experience made him, in Max Cencic’s opinion, “one of the top ten composers of Italian Baroque opera. I chose the arias for this recording almost by instinct, by what ‘felt right’. There is no way one can encompass a composer of such quality in one album, and each piece is a treasure in its own right. Though technical display is everywhere — leaps, rapid scales, trills, long phrases — Porpora’s special and utterly captivating melodic gift always shines through.” The arias are all taken from works composed at the height of Porpora’s fame, from Ezio (Venice 1728; “Se tu la reggi al volo” is a semiquaver spectacular) to Filandro (Dresden 1747, with a ravishing siciliano in “Ove l’erbetta tenera, e molle”), including three of the operas he composed for London during the 1730s, in direct competition with Handel (Arianna in Nasso 1733, Enea nel Lazio 1734 — real reworks here in “Chi vuol salva” — and I genia in Aulide 1735). The Teatro San Carlo in Naples, perhaps the most famous of all opera houses at that time, saw the premiere of Il trionfo di Camilla in 1740, and the two arias recorded here show Porpora at his best: the music of “Va per le vene il sangue” evocatively matches its darkly suggestive text, while “Torcere il corso all’onde” combines rapid- re coloratura with elegance of line. In the three arias from Carlo il Calvo (Teatro delle Dame, Rome 1738) the singer is similarly called to match Porpora’s varietas with his own: from the scurrying oriture of “So che tiranno io sono” to the high-lying phrases of “Se rea ti vuole il cielo”, and the beguilingly hypnotic sostenuto of “Quando s’oscura il cielo”. Porpora’s orchestral writing is also remarkably varied, all the more so in that he generally uses only strings, nowhere better than in the elaborate lines of “Torbido intorno al core” from Meride e Selinunte (Venice 1726), where voice and violins entwine in an elaborate and emotionally suggestive web of divisions. However, sometimes he pulls out all the sonority stops, as in the martial “Destrier, che all’armi usato” where, at the rst performance in the Teatro Regio, Turin in 1731 trumpets and horns vied with the unmatchable power of the voice of Farinelli. As Max Cencic has said: “How can we emulate the great castrati? That is hard to pin down, but these voices were the very soul of Porpora’s music.” -Nicholas Clapton © 2018 – Decca Group Limited
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Kwartetten - Verschenen op 20 oktober 2014 | La Dolce Volta

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Choc de Classica - Qobuzism
€ 16,49
€ 10,99

Klassiek - Verschenen op 7 maart 2016 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles de Classica - Qobuzism - 5 Sterne Fono Forum Klassik
"Nevermind Conversations", that could easily be the title of a rap album, right? But no, dear qobuzian (qobuzzer?), this new recording by Baroque ensemble Nevermind (Anna Besson (flute), Louis Creac'h (violin), Robin Pharo (gamba) and Jean Rondeau (harpsichord)) certainly strike up a spirited conversation between two French Baroque composers, established between French and Italian styles that both deal with fantasy and invention. The two composers: Jean Baptiste Quentin (ca. 1690 - ca. 1742), violinist at the Royal Academy of Music; and Louis-Gabriel Guillemain (1705 - 1770), ordinary musician of the king.© SM/Qobuz
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Klassiek - Verschenen op 6 november 2015 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique - Choc de Classica - Qobuzism
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Religieuze vocale muziek - Verschenen op 26 augustus 2013 | Aparté

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles de Classica - Qobuzism - Hi-Res Audio
€ 23,49
€ 16,49

Klassiek - Verschenen op 10 april 2015 | ECM New Series

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - Diapason d'or - Qobuzism - 5 Sterne Fono Forum Klassik
€ 10,79

Piano solo - Verschenen op 27 oktober 2008 | MONSIEUR CROCHE

Booklet Onderscheidingen 5 de Diapason - Pianiste Maestro - 4 étoiles de Classica - Qobuzism
€ 21,49
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Liederen (Duitsland) - Verschenen op 31 mei 2019 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice - Qobuzism
Born in a small Norwegian village in 1987 (and is thus inevitably compared to her long-time compatriot Kirsten Flagstad), soprano Lise Davidsen was almost built to embody Wagnerian and Straussian heroines. For her first record under the label Decca, with whom she has signed an exclusive contract, she has chosen to present several facets of femininity in the vocal stylings of Elisabeth (Tannhäuser), Ariane (Ariane à Naxos) and… Pauline. Pauline being Richard Strauss’ beloved wife to whom he dedicated many Lieder from his opus 27 - the 1894 cycle offered to his wife as a wedding gift - until the last Vier letzte Lieder in 1948.Under the supple baton of Esa-Pekka Salonen, the Philharmonic Orchestra embraces the brassy voice of the Norwegian soprano with finesse and elegance. As you will see, this record, with its carefully devised programme, oscillates between youth and old age, in the presence of ghosts and death. You may wonder how one can express mortality at just 30 years old with such a powerful timbre, radiant health and a whole life ahead of you. The answer lies in Lise Davidsen’s voice, which upsurges as if it were a promise of immortality, the music of the last Strauss piece returning one last time to its past, to a Europe in ruins.Discovered in 1984, after the death of the singer and dedicatee Maria Jeritza, Malven (“The Mallows") is Richard Strauss’ true “last song”. Lighter in tone than the Vier letzte Lieder to which it might have belonged, it is presented here in an orchestration by Wolfgang Rihm. © François Hudry/Qobuz
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Klassiek - Verschenen op 29 september 2017 | Erato - Warner Classics

Hi-Res Booklet Onderscheidingen 4 étoiles de Classica - Qobuzism - 5 Sterne Fono Forum Klassik
For their first recording, the Arod Quartet has selected Mendelssohn, one of the pillars of the quartet's art, in particular his masterpiece, the Fourth Quartet in E Minor of June 1837 - more Mozartian than Beethovian in its structure and development, to be sure, even if it bears Mendelssohn's hallmark from the first note to the last. To find the influence of the deaf genius, we have to look in the Second Quartet Op. 13 of 1827, a work written shortly after Beethoven's death, the full extent of whose innovations Mendelssohn was only just discovering. The Arod Quartet continues its album with Four Pieces for Quartet, assembled posthumously and numbered Op. 81 by Mendelssohn's successor at the Gewandhaus, Julius Rietz, and based on four disparate pieces from various eras. Finally, the album closes with the Arod's re-interpretaton of a Lied, sung here by Marianne Crebassa, whose theme takes in several passages from Beethoven note for note, a real homage from the young composer to his illustrious elder. It’s worth noting that the Arod Quartet, only founded in 2013, has shot to global prominence, having performed at the Paris Philharmonic, the Louvre Auditorium, the Théâtre des Bouffes du Nord, the Metz Arsenal, and further afield the Salzburg Mozarteum, the Vienna Konzerthaus, the Amsterdam Concertgebouw, the Zurich Tonhalle, London's Wigmore Hall, as well as in Tokyo, Finland, Switzerland... the list goes on! © SM/Qobuz
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Duo´s - Verschenen op 6 mei 2016 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica - Qobuzism
Marie-Elisabeth Hecker made her entry into the ‘big leagues’ by winning first prize in the Rostropovich Competition in Paris back in 2005. Her international career was simultaneously launched on the back of this great success. Born in 1987 in Zwickau, the young cellist has studied with Steven Iserlis, Bernard Greenhouse and even Gary Hoffman. She has performed as a soloist with the Russian Symphony Orchestra, the Mahler Chamber Orchestra, the Kremerata Baltica, the Mariinsky Orchestra, the Philharmonia Orchestra, the Munich and Dresden Philharmonic Orchestras, the Staatskapelle Berlin, the Vienna Symphony Orchestra, Orchestre de Paris… the list goes on. Her experience has seen her work with conductors such as Yuri Temirkanov, Yuri Bashmet, Gidon Kremer, Valery Gergiev, Fabio Luisi, Marek Janowski, Emmanuel Krivine, Christian Thielemann or even Daniel Barenboim. Here, with her musical partner (and husband) pianist Martin Helmchen for their first duo album; the two musicians met at the Lockenhaus Festival at which time they performed another one of Brahms sonatas: Proust's Madeleine! More than twenty years separate the two sonatas for cello and piano, the first from 1862 – the composer had not yet turned 30 – and the second from 1886, by which time he had nothing left to prove to anyone. Hecker-Helmchen thoroughly master this repertoire. A coup for this first album as a duo. © SM / Qobuz
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Liederen (Frankrijk) - Verschenen op 21 april 2014 | harmonia mundi

Hi-Res Booklet Onderscheidingen Le Choix de France Musique - Qobuzism - Hi-Res Audio
€ 15,99
€ 11,49

Concerten voor klavier - Verschenen op 3 november 2014 | Aparté

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles de Classica - Qobuzism
€ 23,99
€ 15,99

Klassiek - Verschenen op 20 november 2015 | Ediciones Singulares

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice - Qobuzism
€ 15,99
€ 11,49

Religieuze vocale muziek - Verschenen op 26 augustus 2013 | Aparté

Hi-Res Booklet Onderscheidingen 4 étoiles de Classica - Qobuzism - Hi-Res Audio
€ 15,99
€ 13,49

Operafragmenten - Verschenen op 5 oktober 2018 | Warner Classics

Hi-Res Booklet Onderscheidingen Diapason d'or - Qobuzism
For her first recital with orchestra album, young Franco-Danish soprano Elsa Dreisig had the idea of presenting five pairs of songs in which each part of the pair is ambiguously related to the other, like a mirror’s reflection. This process leads to striking juxtapositions of different musical styles, dramatic moments, historical periods and contrasting voices; classicism and romanticism complement each other, terror answers joy, and the result is a view of the feminine soul all its facets. The first pairing involves two mirrors: the one in which Marguerite from Gounod's Faust admires herself and Thaïs's mirror in Massenet's opera (Thaïs). There follows Puccini's vision of Manon Lescaut, and then Manon (sans Lescaut) as imagined by Massenet. Following this we have Juliette, this is a rather daring pairing of the largely-forgotten early romantic German composer Daniel Steibelt with Gounod's Juliette. Elsa Dreisig then moves onto the two famous Figaros, one from Rossini's Barber (Rosina) and the other from Mozart's Marriage, with the gentle tones of the Countess. Finally, and more daring still, we end with the Salome of the Hérodiade by Massenet, a tender young woman who is not after anyone's head; and then Strauss's Salome, with her sanguinary madness. Probably in order to avoid the temptation of comparisons with other recordings, our singer has opted for the 1907 French version – note that this work by Oscar Wilde was itself originally written in French. This is the most extraordinary selection that one could hope for in a first recording from any artist, all accompanied by the Montpelier Orchestra, conducted by Michael Schønwandt. © SM/Qobuz
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Operafragmenten - Verschenen op 28 september 2018 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or - Qobuzism
The first solo album from the excellent youngster Julien Behr, who has already played at the Paris Opéra, the Théâtre des Champs-Elysées, the Bordeaux and Lyon Opera Houses and cities such as Salzburg, Vienna, London, Cologne and many other great venues as well as making recordings of various lyrical works including L’Enfant et les sortilèges with Bavarian Radio. As debut albums go, he has made a daring choice in selecting some of the more unknown areas of French opera rather than the more popular pieces from Don José, Romeo, Faust and other big names. Instead, he has taken some gems from the Romantic repertoire (if we extend it up to the First World War for the sake of argument) which are little-heard of. From Gounod, he has selected Cinq-Mars ; from Bizet, La Jolie fille de Perth (one of Bizet's most exquisite passages); from Thomas, Mignon; and then, better-known but still uncommon, Léhar The Merry Widow; Godard, Jocelyn; and Delibes Lakmé. His diction is utterly impeccable; his transparent and airy voice evokes Heddle Nach or Jussi Björling, which serves the repertoire perfectly. The album closes with a few hits from the Romantic repertoire such as Vous qui passez sans me voir by Charles Trenet – well, the lyrics are from the Fou chantant, while the music is by Johnny Hess and Paul Misraki, and the song was originally written for Jean Sablon – evidence of Behr's love of lighter genres, for sure. . © SM/Qobuz
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Klassiek - Verschenen op 19 januari 2015 | Erato - Warner Classics

Hi-Res Booklet Onderscheidingen Choc de Classica - Qobuzism
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Piano solo - Verschenen op 25 maart 2016 | Sony Classical

Hi-Res Booklet Onderscheidingen Choc de Classica - Qobuzism
In 2015, young French pianist Lucas Debargue set the classical world alight at the International Tchaikovsky Competition in Moscow. Although he took home ‘just’ fourth prize, he also received the coveted Music Critic’s Award (all disciplines). This is all the more impressive when you consider the sort of ‘anti’ child prodigy that we have on our hands here; Debargue is a musician who arrived very late to the piano, and is entirely self-taught. ”Not since Glenn Gould graced Moscow with his presence, or the victory of Van Cliburn at the Tchaikovsky competition during the cold war, has a foreign pianist generated such excitement”, wrote the Huffington Post, known for being difficult to please. The program here was recorded in live concert at the Salle Cortot in Paris back in November 2015, and we’re delighted to add another award to a growing list for the young Frenchman, our Qobuzism award for excellence! The adventure has most certainly just begun for this exciting prospect in Classical Music.
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Klassiek - Verschenen op 26 oktober 2016 | Erato - Warner Classics

Hi-Res Booklet Onderscheidingen Diapason d'or - Qobuzism