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Volledige opera's - Verschenen op 24 november 2017 | Warner Classics

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Gramophone Record of the Year - Gramophone Award - Gramophone Record of the Month - Victoire de la musique - 4 étoiles de Classica
We will gladly forgive the occasional "weakness" in sound technology in this recording of Troyens by Berlioz (recorded live in concert in April 2017). In light of the first-rate quality of the music and vocals that appear on the disc (a majority of which are French voices, with Stéphane Degout at their head) this immense work is from the Strasbourg Philharmonic Orchestra and the three choirs which have been brought together – because the work demands immense swelling choirs – which are the choir of the Opéra national du Rhin, the Opéra National de Bade, and the Strasbourg Philharmonic's own choir. This recording rests, of course, on the complete original edition, which gives the listener a chance to hear Les Troyens as the work was performed in 1863, at the Théâtre-Lyrique, in which some intense chopping saw Acts I and II condensed into one part and Acts III to V into another, producing two distinct operas (La Prise de Troie and Les Troyens à Carthage). We also get a taste, naturally, of Berlioz's immensely rich orchestral innovations: with every new work, he would invent some exciting new prototype from scratch, never content to rest on his laurels. The listener should note the presence of six saxhorns, recently invented by Adolphe Sax (of whom Berlioz was an indefatigable champion, even if he didn't often use his instruments in his scores, no doubt because of the poor quality of the early instrumentalists who learned - however well or badly - Sax's instruments); bass clarinet, and an army of percussion pieces including several instruments which must have been rare in those days: crotales, goblet drums, tom-toms, thunder sheets... clearly, this is a milestone in the Berlioz discography. © SM/Qobuz
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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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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
CD€ 35,99

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
CD€ 31,49

Volledige opera's - Verschenen op 15 augustus 2007 | harmonia mundi

Onderscheidingen Diapason d'or - Choc du Monde de la Musique - 4F de Télérama - The Qobuz Ideal Discography
CD€ 69,99

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

Booklet Onderscheidingen Diapason d'or - Choc de Classica - The Qobuz Ideal Discography
CD€ 55,99

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

Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Choc de Classica
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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
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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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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
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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
CD€ 20,49

Klassiek - Verschenen op 4 juni 2012 | Warner Classics

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

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

Hi-Res Booklet Onderscheidingen Diapason d'or - The Qobuz Ideal Discography
CD€ 24,99

Klassiek - Verschenen op 1 januari 1978 | Decca Music Group Ltd.

Onderscheidingen Diapason d'or - The Qobuz Ideal Discography
CD€ 20,49

Piano solo - Verschenen op 22 november 2005 | Nonesuch

Onderscheidingen Diapason d'or - 4 étoiles de Classica
CD€ 24,49

Klassiek - Verschenen op 19 oktober 2009 | Warner Classics

Booklet Onderscheidingen Diapason d'or - The Qobuz Ideal Discography
CD€ 24,99

Klassiek - Verschenen op 1 januari 1985 | Archiv Produktion

Onderscheidingen Diapason d'or - The Qobuz Ideal Discography