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Volledige opera's - Verschenen op 14 februari 2020 | Bru Zane

Hi-Res Booklet Onderscheidingen 4F de Télérama - 5 étoiles de Classica
Faded into oblivion and absent from stages since 1879, the vivacious Maître Péronilla was lavishly put on at the Théâtre des Champs-Elysées in the Spring of 2019 to celebrate 200 years since the birth of Jacques Offenbach. This publication is the result of a collaboration between the Bru-Zane Foundation and Radio France for the recording. This piece of music was written in the last few years of Offenbach’s life, a Spanish language operetta that was part of the wave of Spanish fever that was crashing over France since Bizet and Chabrier and that would last until Debussy and Ravel. With its frenzied rhythm and signature Offenbach dialogue (aided by Nuitter and Ferrier, who hit the mark at every occasion), this work cheerfully borrows from a variety of styles while reprising a few of the composer’s older techniques but with a new sense of refinement that supersedes the previously light atmosphere. The rarity of this work is partly due to the convoluted nature of the libretto. The plotline revolves around an arranged marriage, presenting twenty different characters from three separate generations. The wonderful cast of singers has done a great job of reviving the opera buffa, with Antoinette Dennefeld playing young but tender scholar Frimouskino standing out. Eric Huchet and Véronique Gens are at the pinnacle of the joy and vivacity that seem to have taken hold of the whole cast of protagonists of this production directed by Markus Poschner who also conducts the National Orchestra of France and the Radio France choir. © François Hudry
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Volledige opera's - 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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Volledige opera's - Verschenen op 18 oktober 2019 | Glossa

Hi-Res Booklet Onderscheidingen 5 de Diapason
The remarkable Hypermnestre by Charles-Hubert Gervais is the latest unremembered early 18th-century French opera to be recorded afresh for Glossa, and conducted by György Vashegyi. Gervais was a contemporary of Campra and Destouches, learning from Lully and paving the way for Rameau and, like Marais and François Couperin, open to the Italianising trends of “les goûts réunis”. A high-quality libretto from Joseph La Font tackles the story of Hypermnestra which proved so popular in the early eighteenth century. The Glossa recording contains both the original fifth act and the major revision of it from 1717 and Vashegyi drives the whole tragedy expertly to its bitter (and not-so-bitter!) end. Musically, this “tragédie lyrique” provides powerful opportunities for the trio of leading characters, here taken by Katherine Watson (Hypermnestre), Thomas Dolié (Danaüs, her father) and Mathias Vidal (Lyncée, her betrothed), but they are ably supported by Juliette Mars, Chantal Santon-Jeffery, Manuel Núñez Camelino and Philippe-Nicolas Martin. No French opera of this time would have been complete without a generous helping of choral or instrumental music and Gervais – a master of melody, harmony and orchestration – serves these up in a dazzling set of divertissements and festive set pieces full of dances (including a massive passacaille); all this performed with great stylistic awareness and vivacity by Vashegyi’s Orfeo Orchestra and Purcell Choir. © Glossa
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Volledige opera's - Verschenen op 30 augustus 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason
An echo of the luxuriant performance at the 2018 Salzburg Festival, where this recording was made, this new version of the Coronation of Poppea by Claudio Monteverdi, conducted by William Christie (who had already recorded the piece once before, at a concert in Madrid, with production by Pier-Luigi Pizzi, in 2010) met with unanimous acclaim thanks to its exceptional musical execution. A distribution to die for, dominated by Sonja Yoncheva's voluptuous interpretation of the titular role, and fabulous instrumentation from the Arts Florissants, led by Christie, with no fancy tricks, from the vantage point of his harpsichord. These ingredients all add up to a very high quality production to mark the fortieth anniversary of the ensemble, which was founded in 1979. While Jan Lauwer's production was widely admired, this audio-only publication will seduce novices and connoisseurs alike. In this extraordinary opera, Monteverdi applies his genius to spoofing contemporary figures from behind a curtain of ancient history. This exceptional recording is a joyful demonstration of how Montverdi ennobled the nascent genre of opera, by writing for it a moving masterpiece that defies changing times and fashions. © François Hudry/Qobuz
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Volledige opera's - Verschenen op 5 juli 2019 | BR-Klassik

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Volledige opera's - Verschenen op 7 juni 2019 | Aparté

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - Choc de Classica
While Mozart was largely overlooked in the French capital, Antonio Salieri took on the reigns of the Académie Royale de Musique (Paris Opera), a fruitful collaboration that was completely broken up by the French Revolution. After the success of his work Les Danaïdes, composed for Paris in 1784, Salieri worked tirelessly with Beaumarchais, spurred on by the success and scandal of his Figaro, on a new project which would become Tarare. Beaumarchais moved himself shamelessly toward stardom, skillfully self-promoting and attending rehearsals so as to assure that the orchestra played pianissimo to emphasize the primacy of his verse during performances. Beaumarchais found that the music was too overwhelming to “embellish the lyrics”.Created one year after Mozart’s The Marriage of Figaro (which was relatively well-received in Vienna before triumphing in Prague), Tarare was an immense success in Paris maintaining the status of the composer’s repertoire despite the political turmoil of the time before disappearing from view around 1826, thereon ceasing to be played. Beaumarchais’ words were immediately adapted into Italian by Lorenzo Da Ponte to be performed and met with equal success in Vienna. Tarare is half lyrical tragedy, half comic opera with a hint of orientalism.After resuscitating Les Danaïdes and Les Horaces, Christophe Rousset finished off his series of recordings dedicated to Salieri’s French operas for the Parisian public. Tarare is very much of its time, that of the Lumières, and used the power of art to challenge despotism in all its forms. Thanks to Christophe Rousset’s excellent delivery and lively direction, this recording enables one to judge the merits of the composition and the chasm that separates an honest and talented musician from a solitary and impassioned one like Mozart. © François Hudry/Qobuz
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Volledige opera's - Verschenen op 17 mei 2019 | ICA Classics

Booklet Onderscheidingen Diapason d'or
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Volledige opera's - Verschenen op 5 april 2019 | Glossa

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama
With Les Indes galantes by Jean-Philippe Rameau, György Vashegyi – along with his Orfeo Orchestra and Purcell Choir – makes a further dazzling addition to their Glossa series of French dramatic masterpieces from the Baroque, and in the company of a luxurious line-up of vocal soloists. The version of this “ballet heroïque” – supplied with an anti-colonial, anti-clerical manifesto by librettist Louis Fuzelier – selected by Vashegyi is the 1761 revision, a mere decade or so before the irruption onto the Parisian musical scene of the likes of Gluck and Grétry. Rameau’s score had undergone frequent adjustments and improvements since its première a quarter of a century earlier, and the performing edition for this recording, prepared for the Rameau Opera Omnia by Sylvie Bouissou (who also provides a booklet essay here), offers a vision of this work which is more theatrical, fluid and concise than hitherto. Just in themselves, the names of Chantal Santon-Jeffery, Katherine Watson, Véronique Gens, Reinoud Van Mechelen, Jean-Sébastien Bou and Thomas Dolié (sharing out the dozen solo roles) augur well for a glorious exploration of the prologue and three entrées ahead. Recently, they have also, in conjunction with the Centre de Musique Baroque de Versailles, been working on questions of tempo and how to perform Rameau’s sequences as the composer intended. Vashegyi brings a consummate understanding of Rameau’s galante style to the proceedings, following two previous Ramellian Glossa outings (Naïs and Les Fêtes de Polymnie). © Glossa
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Volledige opera's - Verschenen op 5 april 2019 | CapriccioNR

Hi-Res Onderscheidingen Diapason d'or
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Volledige opera's - Verschenen op 15 maart 2019 | CPO

Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
As a casual victim of circumstances – jealousy, denigration and low blows − Johann David Heinichen’s opera Flavio Crispo was never performed during its composer’s life; during repetitions in Dresden, insults flew back and forth between him and some Italian singers, which led the piece to be removed from the programme and never completed. Although in reality, only a few pages of music are missing from the integral score... Consequently, this is the first discographic publication of the opera, with the complete music composed in 1720. It reveals a composer at ease in both the sharp and complex language of Germanic tradition, and the formal and vocal freedom of Italian opera – which Heinichen had studied closely during a long stay in Venice. There, he met the Elector of Saxony (Frederick Augustus II of Saxony) and future King of Poland (Augustus III of Poland), who hired him to his court in Dresden, at the time one of the largest hubs in European culture. Heinichen soon took up the torch from Antonio Lotti who had composed Italian operas for the court of Dresden for a few years, and his Flavio Crispo was meant to be his contribution to the genre. But unlike Lotti, Heinichen called upon a highly-flavoured orchestra: horns, oboes, flutes, in addition to strings and continuo, and winds to which he gives a fair amount of highly-virtuosic movements. Unfortunately for the composer, he was never able to hear his masterpiece, as the King of Poland dismissed the few Italian singers who had risen up against the partition under a futile pretence; no one else was able to sing these roles, and the score fell into obscurity. This was until it was rediscovered and showcased by the ensemble Il Gusto Barocco and its music director Jörg Halubek, in a 2015 live recording. At long last, Herr Heinichen! © SM/Qobuz
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Volledige opera's - Verschenen op 8 maart 2019 | LSO Live

Hi-Res Booklet
“This is Rattle” is the name of a ten-day festival organised in 2017 at the Barbican Centre in London to celebrate Sir Simon Rattle’s return to the country and his debut at the elm of the London Symphony Orchestra. One of the high points was the presentation of Berlioz’s La Damnation de Faust, performed twice, a piece Rattle knows in fact very well and also conducted in Berlin. Half opera, half cantata, the work wasn’t intended to be performed on stage. Very much like in the Symphonie fantastique, written fifteen years earlier, and his upcoming opera Benvenuto Cellini, La Damnation de Faust is largely autobiographical; Berlioz identifies with Faust’s metaphysical suffering, between disillusioned idealism, forbidden love and internal demons. The London Symphony Orchestra is very familiar with Berlioz, having performed his work many times since the 1970s under the lead of its former conductor, the late Sir Colin Davis. Standout performances include American tenor Bryan Hymel as Faust and British mezzo-soprano Karen Cargill, radiant in the role of Marguerite, once again displaying the excellent French diction of international singers. Replacing Gerald Finley at the last minute, Christopher Purves plays a particularly elegant Mephisto. Yet another contribution to the discography put together on the occasion of the 150th anniversary of the bubbling French composer’s passing. © François Hudry/Qobuz
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Volledige opera's - Verschenen op 11 januari 2019 | Decca

Onderscheidingen 5 de Diapason
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Volledige opera's - Verschenen op 16 november 2018 | naïve classique

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - Choc de Classica
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Volledige opera's - Verschenen op 16 november 2018 | Dynamic

Onderscheidingen 5 de Diapason
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Volledige opera's - Verschenen op 9 november 2018 | 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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Volledige opera's - Verschenen op 2 november 2018 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - 5 étoiles de Classica
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Volledige opera's - Verschenen op 2 november 2018 | Arcana

Hi-Res Booklet Onderscheidingen 5 de Diapason
Alessandro Stradella’s place in the annals of the history of music is not only due to the adventurous circumstances that marked his brief existence, but also to the reputation as a opera composer he has acquired since the 18th century. Inaccessible for many decades to specialists and scholars, La Doriclea is definitely the least known of all Stradella’s operas. However, it constitutes a particularly significant chapter in his overall output: composed in Rome during the early 1670s, to our knowledge La Doriclea represents the first opera entirely composed by Stradella. From the dramatic point of view, La Doriclea belongs to the comedy of intrigue genre typical of the 17th century Spanish theatre tradition. Refined and amusing, it alternates touching lamentos with irresistibly comic scenes, in which the character of Giraldo, a veritable precursor of the basso buffo, allows us to glimpse Rossinian atmospheres. Emőke Baráth (Doriclea) and Xavier Sabata (Fidalbo) alongside Giuseppina Bridelli (Lucinda) and Luca Cervoni (Celindo) and the comic couple of Delfina (Gabriella Martellacci) and Giraldo (Riccardo Novaro) bring a complex and fascinating role-playing game to life. This world premiere release of La Doriclea is a major achievement for "The Stradella Project", which here reaches its fifth volume. © Arcana
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Volledige opera's - Verschenen op 12 oktober 2018 | B Records

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - 5 étoiles de Classica
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Volledige opera's - Verschenen op 14 september 2018 | Bru Zane

Hi-Res Booklet Onderscheidingen Diapason d'or - Choc de Classica
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Volledige opera's - Verschenen op 14 september 2018 | Naxos

Hi-Res Booklet Onderscheidingen 5 de Diapason