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Klassiek - Verschenen op 5 februari 2021 | Sony Classical

Hi-Res Booklet Onderscheidingen Diapason d'or / Arte
It was time for Ludovic Tézier to finally provide his admirers with a recital. His performances as a Verdian baritone are impressive: Rigoletto, Simon Boccanegra, Falstaff, Giorgio Germont (La Traviata), Posa (Don Carlo), Le Conte De Luna (Il Trovatore), Renato (Un ballo in maschera), Iago (Otello). And almost all of these are reprised in this solo album. To this impressive list of stage roles, Tézier brings the welcome addition of arias from Ernani, Macbeth and Nabucco all accompanied by Frédéric Chaslin at the head of the orchestra of the Teatro Comunale in Bologna. It was in 1998 in Tel Aviv that the French baritone played his first Verdian role. He was thirty years old when he was Ford in a production of Falstaff. "There is an absolutely fascinating energy in Verdi, both for the audience and for the singers", he admits. "His roles are usually very challenging, but his music acts at the same time as a fountain of youth. Verdi is brimming with vitality, which is what allowed me to return to the stage just two days after my father's death". Now with a fully-matured voice, Ludovic Tézier is in demand all over the world for his Verdi roles. He is one of the best performers of Verdi's work, standing alongside the late Piero Cappuccilli who remains his great role model. This record offers timely confirmation of his stature. © François Hudry/Qobuz
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Klassiek - Verschenen op 4 december 2020 | Sony Classical

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Klassiek - Verschenen op 1 januari 1964 | Warner Classics

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Klassiek - Verschenen op 8 oktober 2021 | BR-Klassik

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The Munich performances of Verdi's Messa da Requiem in October 1981 with Jessye Norman, Agnes Baltsa, José Carreras and Yevgeny Nesterenko, the Bavarian Radio Chorus, and the Symphonieorchester des Bayerischen Rundfunks conducted by Riccardo Muti were concert events that have hardly been equaled since, let alone surpassed – so powerful were the chorus and orchestra, so strictly did the maestro keep his eye on the interpretation, and so superb were the renowned soloists - singers of international renown who gave their all to achieve the best possible result. And they all succeeded brilliantly. Finally – four decades later - BR-Klassik can now release this absolute pinnacle in the performance history of Verdi's Messa da Requiem. The audience was spellbound and totally captivated, and there was glowing praise from the critics: the powerful work, they said, had hardly ever been heard like this on this side of the Alps; Riccardo Muti had demonstrated how Verdi's Requiem should sound; this performance of Verdi's requiem mass was authentic, frightening, tender and terrifying, providing a timid yet hopeful glimpse of transcendence. Wolf-Dieter Peter, a reviewer for the "Mittelbayrische Zeitung" in Regensburg, was there at the time and reported how the extra trumpets positioned in the gallery of the Herkulessaal “blasted a glistening jet of metallic sound across the stalls, almost as if from the afterlife”. It was something, he said, that had "never been seen, heard or experienced like this before... simply unforgettable". © BR-Klassik
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Klassiek - Verschenen op 4 november 2016 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Choc de Classica
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Opera - Verschenen op 2 oktober 2015 | Warner Classics

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - 4F de Télérama - Gramophone Award - Diapason d'or / Arte - Choc de Classica
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Klassiek - Verschenen op 12 juni 2020 | Sony Classical

Hi-Res Booklet
It has been a while since major studios gave up recording operas in studio due to a lack of investment and profitability. But the world-renowned reputation of Jonas Kaufmann has incited Sony Classical to record and produce this new version of Verdi’s Othello in studio in the “traditional style”. The work was produced over twelve days of session recording in the generous acoustics of the splendid Parco della Musica built in Rome by the architect Renzo Piano. It is no exaggeration when we say that this is a truly astounding version of Verdi’s masterpiece that stands shoulder to shoulder with the legendary versions of the flamboyant Toscanini (1947), the winning trio Vickers-Rysanek-Gobbi of Serafin (1960) and also the electrifying live performance of Carlos Kleiber (1976). There are of course many others of diverse merit but none so utterly satisfying.Jonas Kaufmann has waited patiently before taking on the compelling title role, singing previously as Cassio in Chicago before playing Otello in London in 2017 under the passionate direction of Antonio Pappano (interpretation available on DVD). Here, the same conductor is at helm of the supercharged and on great form, Orchestre de l’Académie Sainte-Cécile in Rome. Alongside his strong, moving, impulsive and ultimately fragile depiction of Otello, Jonas Kaufmann is joined by Federica Lombardi’s sublime Desdemona and Carlos Álvarez’s solid take on the sordid, treacherous and conniving Iago. Liparit Avetisyan and Carlo Bossi, who play Cassio and Rodrigo respectively, provide this ensemble with a perfect harmony. The sound recording provides a great presence to this vocal and instrumental delight and does justice to the aggression and violent colouring of Verdi’s final drama as the composer proves more than ever to be a match for Shakespeare. © François Hudry/Qobuz
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Klassiek - Verschenen op 1 januari 1962 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen Diapason d'or - Choc de Classica
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Missen, passies, requiems - Verschenen op 29 maart 2019 | Les Indispensables de Diapason

Onderscheidingen Diapason d'or
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Klassiek - Verschenen op 1 januari 2014 | Decca Music Group Ltd.

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Klassiek - Verschenen op 11 juli 2014 | Sony Classical

Hi-Res Onderscheidingen Diapason d'or - The Qobuz Ideal Discography
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Klassiek - Verschenen op 14 oktober 2016 | Sony Classical

Hi-Res Onderscheidingen The Qobuz Ideal Discography
Unquestionably a jewel in the crown of the discography: incandescent and inspired conducting from start to finish (under the baton of Zubin Mehta, not the only example), and great voices of the time, sumptuous and committed — Leontyne Price, Fiorenza Cossotto, Sherrill Milnes and Placido Domingo. A fascinating and burning work is answered by an interpretation of flesh, fire and ashes to be counted in the leading pack of Trovatori in the catalog. (Qobuz/GG)
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Volledige opera's - Verschenen op 1 januari 1976 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Diapason d'or
Lady Macbeth's introduction alone, "Vieni t'affretta", sung by the formidable Shirley Verrett is enough to make this an immortal record! But there's a lot more to come. Recorded in the middle of a 1975 anthology performance at La Scala in Milan and superbly produced by Giorgio Strehler, this album possesses a theatricality that is difficult to recreate in a studio. Claudio Abbado directs with great subtlety and eloquence. Domingo, Cappuccilli, and Ghiaurov are all on top form. It's rare that this blend of Shakespeare and Verdi is performed with such a perfect sense of the dramatic. This is a brilliantly unique record. © François Hudry/Qobuz
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Klassiek - Verschenen op 7 april 2017 | LSO Live

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Klassiek - Verschenen op 16 september 2013 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - 4 étoiles Classica - Hi-Res Audio
Celebrating the 200th anniversary of Giuseppe Verdi's birth, critically acclaimed soprano Anna Netrebko explores five heroines from his operas: Lady Macbeth from Macbeth, Joan from Giovanna d'Arco, Elena from I Vespri Siciliani, Elisabetta from Don Carlo, and Leonora from Il Trovatore. As might be expected of an album of psychological studies, Netrebko delves into the darker places of these women's souls, and her singing is as intense as her characterizations. Supported by her longtime associate, conductor Gianandrea Noseda, and accompanied by the Orchestra of the Teatro Regio Torino, Netrebko reappears on Deutsche Grammophon after an absence of five years, and ten years after her debut album, Opera Arias, which was also recorded with Noseda. Despite the long delay in recording, Netrebko shows no loss of power, focus, or control, and she presents herself in the prime of her career, as a complete artist who commands respect through her integrity and emotional honesty. Netrebko is joined by tenor Rolando Villazón in "Quel son, quelle preci" from the Finale of Il Trovatore, so fans of both superstars should take special note of this dramatic track. This 2013 album has been released in two formats, a standard disc, and a deluxe limited edition that offers the CD with a retrospective on DVD. © TiVo
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Volledige opera's - Verschenen op 5 februari 2001 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Diapason d'or
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Klassiek - Verschenen op 14 oktober 2016 | Sony Classical

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Klassiek - Verschenen op 1 januari 1963 | Warner Classics

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Opera - Verschenen op 1 november 2019 | Prima Classic

Hi-Res Booklet
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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Missen, passies, requiems - Verschenen op 27 maart 2015 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica