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Opera - Verschijnt op 4 december 2020 | Naxos

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Opera - Verschijnt op 27 november 2020 | Naxos

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Meyerbeer had already won renown in Italy before conquering Paris with a sequence of much-acclaimed grand operas. In a musical climate dominated by Rossini, Meyerbeer’s first Italian opera, Romilda e Costanza, earned the still-unknown 26-year-old composer the sobriquet of ‘the genius of the Spree’. The work is a rescue opera overlaid with a love triangle, which was written for specific performers, and the passionate intensity of feeling - from lyricism to unfettered virtuosity - reflects the semiseria nature of the opera. It is performed here in the original version heard at the 1817 premiere. © Naxos
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Opera - Verschenen op 20 november 2020 | Dynamic

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Opera - Verschenen op 9 oktober 2020 | Naxos

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Born in Lisbon of Italian parentage, Pedro António Avondano was employed at the court of Joseph I, becoming Portugal’s leading composer of instrumental music and dances for the royal ballet. Il mondo della luna was a hugely successful libretto by Carlo Goldoni and was set by the likes of Haydn - its comic tale seeing the social climber and strict moralist Buona Fede duped into thinking that he is on the moon. This narrative of illusion in collision with love, jealousy and power struggles is set with sublime lyrical and dramatic transparency by Avondano in this, his only opera. © Naxos
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Opera - Verschenen op 9 oktober 2020 | BMC Records

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Opera - Verschenen op 21 augustus 2020 | Oehms Classics

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Opera - Verschenen op 14 augustus 2020 | Naxos

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Following the French theatre tradition for spectacular biblical dramas during Lent, Rossini’s Moïse was an incredible success at its Parisian premiere in 1827, and the opera is presented here in its complete form. Alongside power struggles and miracles, there develops a love story between Pharaoh’s son Aménophis and the Israelite Anaï, though the main narrative is that of the Exodus from Egypt: Rossini’s riveting score with its spellbinding finales culminates in the parting of the waves of the Red Sea. In this single work, Rossini laid the foundations of grand opera, and it is widely considered to be among his greatest achievements. © Naxos
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Opera - Verschenen op 7 augustus 2020 | Redhouse

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Opera - Verschenen op 24 juli 2020 | Bongiovanni

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Opera - Verschenen op 26 juni 2020 | Aparté

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Opera - Verschenen op 19 juni 2020 | Dynamic

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Opera - Verschenen op 5 juni 2020 | CapriccioNR

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The Prince of Homburg was a great, classical masterpiece of German theatre written by Heinrich von Kleist in 1808-10 a few months before his death and inspired by the memoirs of Frederick the Great, the King of Prussia. At times, the Prince falls into a dream-like state, causing him to accidentally disobey the commander in battle and lead his army to victory. Upon awaking from his sleepless stupor he is then plunged into a real-life nightmare as he faces the death penalty for having refused to obey orders. The flamboyant play was transformed into an opera by composer Hans Werner Henze and was premiered in Hamburg in 1960.This lyrical work follows Kleist’s play in that it is built around Frederick’s dreamworld. Henze and his librettist Ingeborg Bachmann expressed their dislike of German militarism and the horrors it caused in the 20th century through the play, whilst emphasising the aspect of the dream that shows the prince as an outsider who values both his honour and his freedom. Henze captures the essence of the story excellently, with music that draws skilfully on the operatic canon of Kleist’s time but is strictly serial and more expressive.After many years, this great work was finally recorded in 2019 at the Stuttgart Opera House, one of the most sophisticated opera houses in the world in terms of its repertoire. With an excellent ensemble in the hands of conductor Cornelius Meister, the musical director of the opera house chose to perform a revised version of the opera from 1991. Times have changed, and what once seemed abstruse is now viewed as a form of classicism. © François Hudry/Qobuz
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Opera - Verschenen op 1 mei 2020 | BR-Klassik

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Verdi strongly adhered to Italian patriotism and Attila is one of his works that goes to show it. A drama with a particularly inventive melodic invention, it aptly confronts the barbarian Attila, not devoid of greatness and humanity, the Roman general Ezio with his ambiguous character (“You will have the universe; but let Italy remain mine”) and the allegorical figure Odabella, an emblem of the Italian female fighters. Attila contains some major pages heralding the great works of maturity, especially in Attila’s scene and the grand finale of the first act. In this work and like so many others, Verdi carries his political ideas into an epic and national drama. Recorded during a concert at the Prince Regent Theatre in Munich on October 13, 2019, this production features the dark, deep voice of Italian bass baritone Ildebrando d’Archangelo, facing the powerful Ukrainian soprano Liudmyla Monastyrska, whose sharp style and impressive vocal abilities transfigure the Verdian melodies. Sicilian tenor Stefano La Colla en Foresto and Romanian baritone George Petean complete a motley but perfectly balanced cast. A special mention goes to the Bavarian Radio Choir, who bring a luxurious note to the Verdian drama conducted here by the Croatian conductor Ivan Repušić, marking his induction concert to his new position as Music Director of the Munich Radio Orchestra. © François Hudry/Qobuz
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Opera - Verschenen op 1 mei 2020 | Kairos

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Opera - Verschenen op 17 april 2020 | Dynamic

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Opera - Verschenen op 3 april 2020 | Rondeau

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Opera - Verschenen op 6 maart 2020 | Glossa

Hi-Res Booklet Onderscheidingen Diapason d'or
In Jephté by Michel Pignolet de Montéclair, György Vashegyi directs – with style and energy – another riveting account of a neglected French Baroque opera. The work, based on the Biblical tale of a conquering general obliged, by a sacred vow, to sacrifice his own kin, became an immediate success in 1732, indeed a fixture in opera life in France, receiving over a hundred performances at the Opéra alone in the three decades following its première. Montéclair and his librettist Pellegrin were open to preparing revised versions of the opera and it is the third and conclusive edition which has been worked on by the Centre de Musique Baroque de Versailles and recorded by Vashegyi and his musicians. The central and demanding role of Iphise here is taken by Chantal Santon Jeffery, who is joined by Tassis Christoyannis as the unfortunate but successful-in-war title character, Judith van Wanroij as the bewildered but resolute mother and Thomas Dolié as the relayer of divine messages, Phinée. There is an imaginative and individual flair to Montéclair’s music, nurtured by his extensive orchestral pit experience at the Paris Opéra – and Jephté is a work of his maturity. As well as the tautness of the third edition, the fruits of all this experience are to be heard here with the Orfeo Orchestra showing its paces in zesty airs, minuets, marches and a chaconne, but also with a musettetinged pastoral celebration – this last also allows the Purcell Choir opportunities to excel; elsewhere, the choir is called on variously to represent warriors, Israelites, and companions of Iphise. © Glossa
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Opera - Verschenen op 28 februari 2020 | CAvi-music

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Opera - 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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Opera - Verschenen op 14 februari 2020 | Naxos

Hi-Res Booklet
Francesco Morlacchi was a native of Perugia, but early success led him to become music director of the Dresden Opera where he remained for the rest of his life despite having an opportunity to succeed Rossini in Naples in 1822. He did make tours to Italy however, and Tebaldo e Isolina received its triumphant premiere in Venice, becoming the most successful of all his operas. Morlacchi’s gifts as a lyricist and for characterisation are heard here at their best, with showpiece arias and duets in a version of the Romeo and Juliet story that ends in happiness and the victory of reason over vengeance. © Naxos