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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 5 juli 2019 | BR-Klassik

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 15 november 2019 | First Hand Records

Hi-Res Booklet
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Opera - Verschenen op 2 augustus 2019 | BR-Klassik

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Concertmuziek - Verschenen op 1 oktober 2009 | SDG

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Sacred Oratorios - Verschenen op 8 maart 2019 | Oehms Classics

Hi-Res Booklet Onderscheidingen Diapason d'or
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Klassiek - Verschenen op 17 november 2017 | Carus

Hi-Res Booklet
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Klassiek - Verschenen op 28 juni 2019 | Tonkunstler Orchestra

Hi-Res Booklet
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Koormuziek - Verschenen op 5 juli 2019 | Carus

Hi-Res Booklet Onderscheidingen 5 de Diapason
A brilliant conclusion to the first Heinrich Schütz complete recording. With the "Psalmen & Friedensmusiken" (Psalms & Music for Peace), Hans-Christoph Rademann and the Dresdner Kammerchor bring this groundbreaking project to a magnificent close. The recording features mostly unknown, but particularly sumptuous and mostly multi-choral works, which Schütz wrote between 1618 and 1648 for important political occasions or thanksgiving celebrations. Groups of soloists and choristers create a colorful sound experience in interplay with strings, trombones, cornetts and viols. A truly worthy conclusion to this award-winning series. © Carus
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Klassiek - Verschenen op 2 november 2018 | BR-Klassik

Hi-Res Booklet
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Klassiek - Verschenen op 6 januari 2017 | BR-Klassik

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 11 oktober 2019 | Grand Piano

Hi-Res Booklet
Esteemed as one of Germany’s leading music critics, Ferdinand Pfohl never lost a passion for composition that had been nurtured in Leipzig. He wrote highly individual works for his own instrument, the piano, conceiving cycles that reveal harmonic daring and sophistication, often evocative of developments in impressionism. As Strandbilder ("Beach Pictures") shows, he mastered tonal painting - while in the compositional unity of Suite élégiaque, Bohemian and Russian elements mingle with the influence of one of his great heroes, Grieg. © Grand Piano
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Klassiek - Verschenen op 17 mei 2019 | Profil

Hi-Res Booklet
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Klassiek - Verschenen op 15 november 2019 | Alba

Hi-Res Booklet
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Klassiek - Verschenen op 5 oktober 2018 | BR-Klassik

Hi-Res Booklet
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Klassiek - Verschenen op 1 juni 2018 | BR-Klassik

Hi-Res Booklet
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Opera - Verschenen op 14 juni 2019 | Oehms Classics

Hi-Res Booklet
Composed in 1832 on a libretto refused by Mendelssohn who found that it was too close to Weber’s Freischütz, Wolfgang Marschner’s Hans Heiling never broke out of Germany nor acquired the success Marschner had hoped for. This romantic opera holds the seeds of all the ingredients that would hence be developed by Wagner, but Marschner did not surpass, according to Piotr Kaminski, a relative expressive banality that the libretto failed to conceal. Beyond its own qualities and flaws, Hans Heiling remains to hold great historical importance in German opera. It is, along with Le Vampire by the same composer, a unifier between Weber’s initial romanticism and accomplished works. We can already find here the tragic destiny of the damned romantic heroes: the impossibility to reconcile their human nature with the death drive. This recording, performed on stage during shows by the Essen opera in February 2018, gives precious information of a relatively forgotten period and shows how much Marschner wanted to combine the old (village fairs, drinking songs, love duets) with the new (a prologue precedes every opening of the curtain before the reveal of a redecorated stage). Certain melodies, like that of the Queen (O bleib bei mir) are well presented and Wagner would later remember them through his use of themes of Hans Heiling in the second act of his Walkyrie. © François Hudry/Qobuz
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Opera - Verschenen op 6 april 2018 | BR-Klassik

Hi-Res Booklet
Luisa Miller marks the end of years of hardship for Verdi who is now in full possession of his own musical language, and he does not owe anything to Bellini or Donizetti anymore. The opera, with a rather complex architecture, starts with a beautiful overture, and is supported by a dramatic direction and an inspired melodic style, with perfectly characterised roles. Recorded during a live version performed in 2017 in Munich’s Prinzregententheater, this new version of Luisa Miller, with its eminently international cast, sounds undeniably appealing. The title role is held by Latvian soprano Marina Rebeka. This great interpreter of Mozart and Rossini made her acclaimed debut in Salzburg, under the direction of Riccardo Muti, and has since sung on the greatest lyrical stages in the world. By her side, Sicilian tenor Ivan Magri as Rodolfo, and Romanian George Petean who asserts himself as one of today’s best Verdian baritones. Croatian conductor Ivan Repušić leads the way with meticulous efficiency, lending a true “italianità” to the Munich Radio Orchestra. © François Hudry/Qobuz
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Volledige opera's - Verschenen op 1 september 2017 | Glossa

Hi-Res Booklet Onderscheidingen 4 étoiles Classica
No opera from Handel is as enigmatic as Silla. This fourth London opera was composed in 1713; and that’s as far as our knowledge goes! The written music scores are incomplete and we have no information about any contemporary performance. The first Handel experts tried to find an explanation and agreed upon the theory that Silla was written for a private show in the household of the Count of Burlington, who was at the time the composer’s patron. Then, in 1969, the discovery of a glossary from June 1713 established a possible date of the first performance. The inclusion of an extravagant work dedicated to the Duke d’Aumont, a recently appointed French ambassador, suggests the possibility of a show organized by or for the Duke. That could explain not only the absence of an English translation in the glossary, which is unique about Handel’s London operas, but also the relative brevity of the work.However, some problems remain unresolved. D’Aumont was a leading figure in the London life, and it seems rather unlikely that such an initiative would be ignored by the London press or forgotten by D’Aumont in his own writings. Was Silla played in 1713? As of yet, we can’t say for sure. There are further questions regarding the opera itself, in particular the choice of subject. This is indeed one of the rare historical operas from Handel concerned with Lucius Cornelius Silla’s end of life related by Plutarch; having seized Rome, this consul-come-tyran had his adversaries killed before retiring in a way as sudden as it was incredible in his country house to focus on his hobbies. It’s hard to imagine that this thread could fit an opera probably thought as a commemorative piece of an event of some sort: experts have been struggling to find answers and some have tried to discover an allegorical context. Apart from the theme, the quality and the meaning of the book have also been vehemently criticized. It’s significantly based on Italian cantatas from the composer’s youth and it’s interesting to notice that, as far as the style is concerned, the music goes back to a certain extent to his previous historical opera, Agrippina.Although the absurdities from its book make it an unlikely candidate to find a place in the great operatic repertoire, Silla contains enough musical beauties. Let’s also remember that Handel was holding his work in enough regard to recycle a considerable part of it into his next opera, Amadigi di Gaula. © SM/Qobuz
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Opera - Verschenen op 13 september 2019 | Dynamic

Hi-Res Booklet