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6339 albums gesorteerd op Meest aanbevolen en gefilterd op Klassiek en € 20,00 tot € 50,00
HI-RES€ 35,98
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Opera - Verschenen op 29 januari 2013 | PentaTone

Hi-Res Onderscheidingen 5 de Diapason - 4 étoiles de Classica - Hi-Res Audio
CD€ 29,99

Klassiek - Verschenen op 16 oktober 2015 | Ligia

Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Choc de Classica
CD€ 55,99

Klassiek - Verschenen op 1 januari 2010 | Deutsche Grammophon (DG)

Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Choc de Classica
CD€ 69,99

Opera - Verschenen op 1 januari 2012 | Deutsche Grammophon (DG)

Onderscheidingen Diapason d'or / Arte - Choc de Classica - The Qobuz Ideal Discography
HI-RES€ 48,99
CD€ 34,99

Klassiek - Verschenen op 9 juni 2017 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - Preis der deutschen Schallplattenkritik
One should not think that at the time when Handel was around, an opera was a finished product, etched in stone, the score of which was some kind of Holy Grail that would not suffer any tampering with, be it so benign. From that point of view, Handel’s Ottone is a case in point. Some extensive adjustments probably arose from Handel’s collaboration with the famous prima donna Francesca Cuzzoni, who had arrived in London in December 1722, but a fortnight before the first performance, and immediately threw a tantrum. Several of her arias she rejected and had had Handel substitute with entirely different new music. According to Mainwaring’s Memoirs of the Life of the Late George Frederic Handel (1760), having one day some words with Cuzzoni on her refusing to sing the aria Falsa imagine, the composer had shouted, in French: “I know very well that you are a veritable she-devil: but I will show you that I am Beelzebub the Chief of the Devils ” and with this he took her up by the waist, and, if she uttered another word, swore that he would fling her out of the window. This being said, many of the modifications he made during the rehearsal period had nothing to do with Cuzzoni. All in all, eleven arias and one duet were finished but then discarded and replaced before the first performance, and several other arias were considerably revised . It is impossible to determine which changes were instigated by Handel himself on artistic grounds and which were compromises in order to satisfy his singers’ whims and overblown egos. In addition to rejections, redrafts of scenes and wholesale substitutions by Handel during the opera’s composition and preparation, further amendments were also made during its first run . Moreover, he replaced and also added several extra arias for the twelfth performance, which took place on 26 March 1723 after a break of several weeks because of Lent. So: what does “the real” Ottone look like? This recording presents a reconstruction of the complete first performance version, but it also incorporates Handel’s expansions to two scenes reworked especially for Cuzzoni. As an appendix, there are three bonus tracks of new arias composed for the title-role in Handel’s 1726 revival, making it an Ottone as complete as possible. All this extra music will allow the listener to enjoy even more the great voices of the recording, to begin with the countertenor Max Cencic, but also the soprano Lauren Snouffer – who sings the part initially held by the infamous Cuzzoni –, accompanied by the ensemble Il pomo d’oro playing on period instruments and conducted by George Petrou. © SM/Qobuz
CD€ 34,99

Liederen - Verschenen op 28 april 2015 | Melodia

Onderscheidingen Diapason d'or - Choc de Classica - The Qobuz Ideal Discography
CD€ 24,99

Volledige opera's - Verschenen op 1 januari 1985 | Deutsche Grammophon (DG)

Onderscheidingen Diapason d'or - Gramophone Record of the Year - The Qobuz Ideal Discography
HI-RES€ 32,99
CD€ 23,49

Volledige opera's - Verschenen op 12 januari 2018 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen Diapason d'or - 4 étoiles de Classica - Preis der deutschen Schallplattenkritik
Until now, Porpora’s Germanico in Germania has, with the exception of one or two virtuoso arias, remained firmly hidden on library shelves. However, during his lifetime Porpora was as famous for teaching singing (one of his pupils was Farinelli) as for his compositions, so it’s no wonder that his score is a veritable feast of vocal delights ripe for resurrection. As a composer, Porpora’s reputation spread throughout Italy, especially to Venice, where he was “maestro delle figlie at the Ospedale degli Incurabili” (one of the city’s famous music schools for orphans) from 1726 to 1733, and Rome, where the Teatro Capranica saw the premiere of Germanico in Germania in February 1732. In Rome, by Papal edict, operas were “all-male”, and this cast was seriously “all-star”. Clearly Porpora enjoyed stretching the singers to their utmost potential, employing every vocal trick at his command. Germanico was played by the experienced alto castrato Domenico Annibali. The en travesti female roles were taken, as was often the case, by young singers at the start of their careers. For this recording boasting another “all-star” cast led by countertenor Max Emanuel Cencic, female roles are of course held by female singers. The excellent Capella Cracoviensis, playing on period instruments, is led by Jan Tomasz Adamus. © SM/Qobuz
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CD€ 34,99

Klassiek - Verschenen op 1 januari 2014 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice - 4 étoiles de Classica
HI-RES€ 39,99
CD€ 33,99

Klassiek - Verschenen op 13 oktober 2017 | Warner Classics

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique - Choc de Classica
For true fans of Christian Ferras (1933-1982), this box set of recordings (mono and stereo) made between 1957 and 1962 is an absolute treasure chest. In the company of his good friend Pierre Barbizet, Georges Prêtre, Malcolm Sargent, Menuhin for Bach's Double and several other big names of her era, this follower of George Enesco offers up a superb selection of great concertos and great sonatas, from before the famous recordings with Karajan that covered of the lion's share of the Ferras concert repertoire. Ferras had a searing career – these recordings were made by a man aged 24 to 29 years old! His glory years ran until the end of the 1960s, before meeting with an inexorable descent into the hell of alcoholism and depression (which would drive away the big labels, the orchestras and the public) – a descent which he would end with a ten-storey fall from his Parisian apartment on 14 September 1982. The world had lost one of the greatest violinists of his time, but his legend would never die. Naturally, all these recordings have been subject to a most careful remastering, based on the original matrices. © SM/Qobuz
CD€ 20,49

Klassiek - Verschenen op 4 juni 2012 | Warner Classics

Onderscheidingen Diapason d'or - Choc de Classica - The Qobuz Ideal Discography
HI-RES€ 34,99
CD€ 24,99

Klassiek - Verschenen op 1 januari 2012 | Decca Music Group Ltd.

Hi-Res Onderscheidingen 5 de Diapason - 4 étoiles de Classica - Hi-Res Audio
HI-RES€ 28,99
CD€ 24,49

Concerten voor klavier - Verschenen op 10 november 2017 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles de Classica - 5 Sterne Fono Forum Klassik
HI-RES€ 36,99€ 48,99(24%)
CD€ 26,49€ 34,99(24%)

Klassiek - Verschenen op 23 mei 2015 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica - 5 Sterne Fono Forum Klassik
HI-RES€ 31,99
CD€ 22,99

Opera - Verschenen op 22 september 2014 | Aparté

Hi-Res Booklet Onderscheidingen 4F de Télérama - Diamant d'Opéra Magazine - Choc de Classica
CD€ 33,99

Klassiek - Verschenen op 1 augustus 1999 | Warner Classics

Onderscheidingen Diapason d'or - Choc de Classica - The Qobuz Ideal Discography
CD€ 41,99

Klassiek - Verschenen op 1 januari 2014 | Decca

Booklet Onderscheidingen Diapason d'or - Choc de Classica - The Qobuz Ideal Discography
HI-RES€ 31,99
CD€ 27,99

Volledige opera's - Verschenen op 16 juni 2017 | Warner Classics

Hi-Res Booklet Onderscheidingen Diapason d'or - The Qobuz Ideal Discography
HI-RES€ 48,99
CD€ 34,99

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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CD€ 21,98

Volledige opera's - Verschenen op 7 juni 2019 | Aparté

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
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