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Klassiek - Verschenen op 29 december 2014 | harmonia mundi

In almost 20 years, since the release of the much-acclaimed Cosi fan tutte in 1999 (with Gens, Fink, Güra), René Jacobs has recorded the entirety of Mozart’s great operas, a feat considered as one of the most important discographical achievements of the beginning of the 20th century for its theatrical force, volcanic intensity of direction and vocal quality.Among this renewed collection, the recording of Die Zauberflöte is most Mozartian in nature: after the discovery of a new interpretation of his Da Ponte trilogy and a profoundly reimagined approach to two other opera serias (Idomeneo and La Clémence de Titus), Jacobs works to sensitively combine an array of perspectives in The Magic Flute, going well beyond the Masonic elements and integrating a range of theatrical genres.This sometimes rather sombre work contains a rather welcome light to it! Anna-Kristiina Kaappola’s “Queen of the night” is beautiful although less virtuoso than the former Cristina Deutekom’s rendition or the radiant “double” Pamina/Papageno by Marlis Petersn and Daniel Schmutzhard. © Qobuz“[…] Jacobs wanted a stripped down Flute, one that is de-romanticised […] and here, he works in a disc-oriented, hyper-theatrical mindset. The work displays an energy capable of charming a traditional Viennese audience (the work was created in Vienna’s Theater auf der Wieden) without losing any of its philosophical and Masonic airs […]. The interpretation includes a subtle study of dialogues: how to move from song to spoken word (the scenes with the Ladies of the Night are particularly revelatory), how to weave them into the music with the help of a loquacious and blunt pianoforte […] A masterfully captivating work in which multiple listens are required to extract all its riches […] (Diapason, novembre 2010/Michel Parouty)
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Symfonieën - Verschenen op 7 april 2015 | Deutsche Grammophon (DG)

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Klassiek - Verschenen op 17 maart 2011 | Alpha

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Duo´s - Verschenen op 7 februari 2020 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason
Using period instruments, Isabelle Faust and Alexander Melnikov breathe new life into these ‘sonatas for keyboard with violin accompaniment’, a tradition Mozart renewed from within, blazing the trail for Beethoven, Schubert and Schumann. The first volume was widely praised: ‘The greater similarity of tone between Faust’s sparkling violin and Melnikov’s glittering fortepiano (within an airier acoustic) results in a sound more akin to the jingling of small bells. It’s delicious’ (Gramophone). ‘In a world full of star violinists, all with technical facility and individual style, it’s rare to find one that everyone agrees is just – brilliant. Isabelle Faust is that violinist’ (The Strad). © harmonia mundi
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Klassiek - Verschenen op 23 april 2013 | Ambronay Éditions

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Klassiek - Verschenen op 2 augustus 2019 | Deutsche Grammophon (DG)

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Yannick Nézet-Séguin’s saga on Mozart for Deutsche Grammophon continues: after The Clemency of Titus in 2018, it’s now time for The Magic Flute to pass under the Quebecois’ baton at the Festspielhaus in Baden-Baden. His direction breathes life into all the magic that is required for such a fairy-tale, Mozart’s final opera, and the Chamber Orchestra of Europe successfully communicates the opera’s majesty and depth, as heard in the radiant “Priest’s March”. When it comes to the singers, Christiane Karg is captivating in the role of Pamina, and Klaus Florian Vogt – who’s tonality is explosive here – embodies an innocent Tamino that is consistently dazzling. Rolando Villazón, Yannick Nézet-Séguin’s faithful companion in this Mozartian adventure (he has been present since the beginning of the recording of Don Giovanni), takes on the role of the bird catcher Papageno, written for a baritone voice; the former tenor is convincingly at one with the character’s personality. What’s more, despite their unequal distribution, the singers seem to be at home with this extraordinary singspiel. The orchestra whets our appetite with their clear love for playing together and invites us to dive once more into the discography of such a luxurious and dramatic work that is both humorous and spectacular. Nézet-Séguin’s orchestration is tight and the variation in the writing is that of a phenomenal musician. One thinks of Strauss’ Rosenkaalier for the sensual intermingling of voices in the final trio. The Magic Flute is almost masonic as the development of its spiritual storyline is akin to an initiation. Its enchanting atmosphere is typical to the German composer, much like the later Oberon by Weber. © Elsa Siffert/Qobuz
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Klassiek - Verschenen op 1 november 2019 | Sony Classical

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It is obvious that the wave of baroque music and its string of splendid "historically accurate" performances has completely changed our listening habits. But this is no reason to vilify the records that once characterized their era. When Bruno Walter recorded Mozart's last six symphonies at the very end of his life, with an orchestra formed in California for the sole purpose of Columbia with musicians largely from Los Angeles, he benefited from the latest advances in stereophonic technology and was given time to rehearse everything at his own pace. At the time, Mozart was played with a full orchestra and a legato style that we no longer use. But these recordings are timeless because they reflect a style and a time when music was lived with an almost religious approach, tinged with a humanism further reinforced by the tragedy of the Second World War, after which the world was rebuilt through music. Bruno Walter's quasi-metaphysical vision is that of a great European with a love of culture and civilization: his Mozart is exceptionally fraternal. © François Hudry/Qobuz
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Opera - Verschenen op 30 augustus 2019 | harmonia mundi

Hi-Res Booklets Onderscheidingen Choc de Classica
A challenge. This is a disorienting, provocative, and terribly refreshing album. Before launching headlong into the "Da Ponte-Mozart Trilogy", Raphaël Pichon undertakes a spirited exploration of the themes, throwing all these pieces together into a three-part "pasticcio", with the help of Mozart's earlier works and those of his contemporaries. To do this, Pichon and his arrangers use concert arias, nocturnes, canons, unfinished operas with characters and situations that evoke those of the trilogy. They have thrown together a delicious miniature trilogy "like a sort of musical apéritif." The result is all the more pleasing because it allows us to follow the evolution of Mozart's thought, at the same time as underlining the continuity of his literary choices and situations that he would set to music throughout his short life. Add that to some lively conducting and soloists who have great fun prefiguring the coming masterpieces. The result is a real gourmet feast. © François Hudry/Qobuz
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Symfonieën - Verschenen op 15 november 2019 | Aparté

Hi-Res Booklet Onderscheidingen 5 de Diapason
If we take a closer look at the first symphonic attempts by the young Mozart, we can see that they are motivated by a lot more than mere curiosity, musicologist Henning Bey, the author of the texts that accompany this new recording, points out. He shows how the young boy, without the presence of his bedridden father, managed to set down on paper his first symphony after a few efforts for the clavier and violin. The manuscript still bears the traces of the young composer's experimentations and difficulties with ink and an ill-cut quill. The lesson of this first orchestral outing is that "form develops from content". Mozart came to composition when his father taught him to write minuets. And it was also with dance that he would finish his oeuvre, writing the 5 Contredanses, K. 609, just a few days before his death, for the imperial balls in the Redoute. They are presented here by way of closing the circle, interspersed between each of the five youthful symphonies which make up the substance of this album. The excellent performance from Gottfried von der Goltz and the musicians of the Freiburger Barockorchester whom he directs with his violin, have a mature take on this childish music, written before Mozart the traveller starts taking in everything he sees and hears to elaborate his own unique language. What's troubling about it is the assuredness of the writing from a child of nine years old, who seems already to know exactly where he will go and what he will become. © François Hudry/Qobuz
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Klassiek - Verschenen op 30 september 2016 | Warner Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica - Choc Classica de l'année - Exceptional Sound Recording
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Piano solo - Verschenen op 3 mei 2019 | Mirare

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama
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Volledige opera's - Verschenen op 16 juni 2017 | Warner Classics

Hi-Res Booklet Onderscheidingen Diapason d'or - The Qobuz Ideal Discography
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Concerten voor klavier - Verschenen op 26 augustus 2016 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - Gramophone Editor's Choice - Diapason d'or / Arte - Le Choix de France Musique - 4 étoiles Classica - 5 Sterne Fono Forum Klassik
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Concerten voor klavier - Verschenen op 31 mei 2019 | Chandos

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - Choc de Classica
Jean-Efflam Bavouzet’s first three volumes of Mozart concertos with the Manchester Camerata and Gábor Takács-Nagy have been received with widespread acclaim, and so it is with some excitement that we release the keenly anticipated fourth instalment in the series. Composed within just one month in early 1785, these two concertos by Mozart are among the most popular of all his piano concertos. No. 20, KV 466 was his first concerto in a minor key, and its dark and stormy nature contrasts with the light and sunny atmosphere of Concerto No. 21, KV 467. Like so many of his piano concertos, both works were composed for the Vienna concert season and were given their premiere performances with Mozart at the keyboard. The two concertos are interspersed on this recording with a vivid performance of the Overture to Don Giovanni, which shares traits with both concertos and further demonstrates the exemplary playing of Manchester Camerata. © Chandos
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Klassiek - Verschenen op 13 september 2019 | Deutsche Grammophon (DG)

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Daniel Barenboim is no stranger to complete collections. Glutton that he is, he records them several times over, whether it's Beethoven's Sonatas, or as here, Mozart's Trios (already recorded for EMI in 2006 with violinist Nicolai Znaider and cellist Kyril Zlotnikov). And so it's not the immortal Amadeus that we are hearing so much as a portrait of Barenboim that ages with the years. The accomplished artists create a close dialogue, greedily following each other's music. Amongst all these scores, can we detect an aesthetic vision? The scores follow one after the other, like at a family musical soirée, with a convivial, sweetish piano sound – likely a matter of sound quality rather than sherry consumption – in particular on the Piano Trio in B Flat Major, K.502, but also in the opening passages of the Allegro of the Piano Trio in E Major, K.542, whose dramatic dimension is somewhat lacking here. But at least the piano doesn't overshadow the strings or upset the balance required in these tightly-wound, respected works. Mozart's chamber music isn't simple: the contrapunctual writing builds a delicate world whose poetry is flavoured by harmonies and chromatism. Daniel Barenboim has found some fitting partners. © Elsa Siffert/Qobuz
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Klassiek - Verschenen op 1 april 2013 | Alpha

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Klassiek - Verschenen op 12 juni 2020 | Piano 21

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Klassiek - Verschenen op 2 augustus 2019 | MUNCHNER PHILHARMONIKER GBR

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Klassiek - Verschenen op 19 juni 2020 | Piano 21

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Klassiek - Verschenen op 10 juli 2020 | Piano 21

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