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Klassiek - Verschenen op 19 mei 2017 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Gramophone Editor's Choice - Choc de Classica - 5 Sterne Fono Forum Klassik - Preis der deutschen Schallplattenkritik
What was the context in which so great a masterpiece such as Monteverdi’s L’Orfeo could be born back in 1607, invested with such beauty, endowed with such profundity of expression and so perfect a structure, at a time when the operatic form was still in its infancy? These are precisely the questions that lie at the origin of this recording project, giving Pichon and his musicians the opportunity to discover the astonishing musico-dramatic productions that preceded L’Orfeo, notably those performed at the Medici court in Florence, in which one may discern the seeds of numerous elements to be found in L’Orfeo. At the turn of the 16th and 17th centuries, it was ovbviously the city of the Medici that was the main focus of one of the most fascinating moments in the history of music: the birth of opera. Concentrating on the years from 1589 to 1611, i.e. the premiere of the intermedi for theatre piece called La pellegrina at one end and the performance in Florence of Marco da Gagliano’s Dafne at the other, Pichon has devised four imaginary “interludes” – inspired by the form of the intermedio so popular at this period – in which he assembled some of the finest examples of the first stirrings of opera, the music pieces of which are signed Lorenzo Allegri, Antonio Brunelli, Giovanni Battista Buonamente, Giulio Caccini, Emilio de’ Cavalieri, Girolamo Fantini, Marco da Gagliano, Cristofano Malvezzi, Luca Marenzio, Alessandro Orologio, Jacopo Peri and Alessandro Striggio. In imitation of the ancient theatre, intermedi were entertainments inserted between the acts of plays, with sumptuous visual effects, which provided a pretext for allegories to the glory of the reigning dynasty. The place of music and the fantastic element in theatrical performances acquired an ever grander and more spectacular character, thanks notably to the genius of set designers and the progress made in the domain of stage machinery. Seeing the artistic and political potential of the genre, the powerful princely families of the northern half of Italy (Gonzagas, Este and Medici, as well as the papal court), encouraged its development. Intermedi ended up occupying so important a place that they became a show within the show, with the aim of dazzling the audience. It was in 1589 that the Florentine tradition of intermedi attained its zenith, with the six sumptuous entertainments devised by Count Bardi to accompany the comedy La pellegrina, performed on the occasion of the wedding of Grand Duke Ferdinando I and Princess Christina of Lorraine, grand-daughter of Catarina de’ Medici. In their variety and novelty, with a balanced combination of polyphony and the nascent monody, not forgetting instrumental and dance music, the intermedi of 1589 opened the way for an integrally sung form of theatre. And indeed it was once again Florence that witnessed the first examples of the Gesamtkunstwerk, the perfect model of the alliance between poetry and music. At the turn of the 16th and 17th centuries, a veritable laboratory was set up in Florence, prompting poets and composers to bring together several forms of musical expression in a single place? Building on the models established by earlier generations, composers continued their experiments with sound-space and the spatialisation of music, what with the proliferation of echo effects in the early monodies, or madrigals featuring dialogues between as many as seven independent choirs. But how can one tell this story nowadays, revive this rich adventure? The solution chosen for this recording was to create from scratch a large-scale imaginary work, resembling an initiatory journey, that would weld these multiple works into a single whole.
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Volledige opera's - Verschenen op 2 mei 2018 | PentaTone

Hi-Res Booklet Onderscheidingen 4F de Télérama - Gramophone Record of the Month - Diapason d'or / Arte - Le Choix de France Musique - Choc de Classica
The story of the Pêcheurs de perles [Pearl Fishers] by Bizet is nothing short of torturous: after its first outing in 1863, the score – whose manuscript is now in private hands and no longer available, alas – fell into obscurity, and was only returned to its rightful place in the sun after the composer's death, once Carmen had made his name. Alas – a thousand times, alas – many different theatre directors took themselves for great geniuses and made little amendments to the work, cutting here, adding there, changing bits up to and including the end. Until the 1960s, this calamitously cack-handed version was the one that was performed – this libretto looks a little flat, why not add a few mistakes? – until musicologists stumbled across the original documents, in particular the cut-down version by Bizet himself, as well as the "conductor's score" of the time, which contained many notes about orchestration. This version, put together in 2014 by Hugh MacDonald, is sung by the flower of great French lyrical music – Julie Fuchs, Florian Sempey, Cyrille Dubois and Luc Bertin-Hugault – and returns as closely as possible to the original version of the work, so that the listener will encounter a number of big surprises, and good surprises too: additional numbers, several melodic and dramatic developments: almost a whole new score. © SM/Qobuz
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Piano solo - Verschenen op 30 september 2016 | Warner Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica - Choc Classica de l'année - Exceptional sound
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Sacred Oratorios - Verschenen op 12 april 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Gramophone Record of the Month - Choc de Classica
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Klassiek - Verschenen op 6 oktober 2014 | La Dolce Volta

Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Le Choix de France Musique - Choc de Classica
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Volledige opera's - Verschenen op 22 juni 2018 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica - Qobuzism - 5 Sterne Fono Forum Klassik
Why yes, it is still possible to discover Bernstein scores, or in this case the chamber version of A Quiet Place, adapted by Garth Edwin Sunderland, conducted and recorded for the first time by Kent Nagano, at the Montreal Symphony House. The final stage score by the American composer, first performed at the Houston Grand Opera in 1983, it was revisited by the librettist Stephen Wadsworth, and the composer who added several fragments from the one-act piece Trouble in Tahiti, from 1951; this addition would see two new performances (the Scala in Milan, and Washington). Another draft – this one definitive – was performed at the Vienna Opera House, conducted by the composer, in 1986. Fascinating in more ways than one, rather like a modern-day Intermezzo by Strauss, the work depicts American society by way of an existential crisis faced, first by one couple, (Trouble in Tahiti) and then by one family. Bernstein borrowed from Mahler for the structure, with a final movement whose "grave nobility" recalled the final movements of the Third and NinthSymphonies by his much-admired forebear. As is often the case with this composer, Bernstein's mix of styles (jazz, chorale, Broadway, Mahler, Berg, Britten, Copland…) provides an explosive cocktail, which has about it more of a musical conversation than grand opera – and, paradoxically, that's what makes this work so unique... And so charming. This is well worth a re-discovery, this time under the baton of Bernstein's faithful former pupil, Kent Nagano, at the head of top-flight solo singers, who point the way to that "quiet place", where "love will teach us harmony and grace". © Franck Mallet/Qobuz
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Volledige opera's - Verschenen op 7 oktober 2010 | harmonia mundi

Booklets Onderscheidingen 5 de Diapason - 4F de Télérama - Choc de Classica - Exceptional sound
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Klassiek - Verschenen op 16 september 2016 | Universal Music Division Decca Records France

Hi-Res Booklet Onderscheidingen 5 de Diapason - Pianiste Maestro - Choc de Classica - Qobuzism
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Volledige opera's - Verschenen op 9 oktober 2012 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - Disque de la semaine France Musique - Choc de Classica - Hi-Res Audio
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Volledige opera's - Verschenen op 29 juni 2018 | Nonesuch

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - Choc de Classica - 5 Sterne Fono Forum Klassik - Preis der deutschen Schallplattenkritik
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Opera - Verschenen op 22 september 2014 | Aparté

Hi-Res Booklet Onderscheidingen 4F de Télérama - Diamant d'Opéra Magazine - Choc de Classica - 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 21 mei 2012 | Aparté

Hi-Res Booklet Onderscheidingen Pianiste Maestro - Choc de Classica - Qobuzism - Hi-Res Audio
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Klassiek - Verschenen op 1 januari 2013 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen Choc de Classica - Choc Classica de l'année - Hi-Res Audio
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Klassiek - Verschenen op 28 september 2012 | Warner Classics

Booklet Onderscheidingen 5 de Diapason - Gramophone Record of the Month - Choc de Classica
CD€ 69,99

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

Booklet Onderscheidingen Diapason d'or - Choc de Classica - The Qobuz Ideal Discography
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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
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Liederen - Verschenen op 28 april 2015 | Melodia

Onderscheidingen Diapason d'or - Choc de Classica - The Qobuz Ideal Discography
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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