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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 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 1 mei 2020 | BR-Klassik

Hi-Res Booklet
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 2 augustus 2019 | BR-Klassik

Hi-Res Booklet Onderscheidingen 5 de Diapason
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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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Opera - Verschenen op 13 september 2019 | Dynamic

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Opera - Verschenen op 17 januari 2020 | Oehms Classics

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Opera - Verschenen op 15 november 2019 | Oehms Classics

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Opera - Verschenen op 6 september 2019 | CapriccioNR

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The little-known overture to this opera was written in Salzburg in 1801 by the young Carl Maria von Weber at the age of 15, under the watchful eye of his teacher Michael Haydn. According to the latter, this youthful opera was written "according to the true rules of counterpoint, with much fire and delicacy, and appropriately to the text". While the dialogue from this singspiel has been lost, the music has survived in full. The work attracted little attention at its début at Augsburg in 1803. A charming, light work, Peter Schmoll und seine Nachbarn is a musical setting of a mediocre libretto inspired by the novel of the same name by Carl Gottlob Cramer, a writer whose terrifying stories won him lasting fame. Against the backdrop of the French Revolution, the story follows characters who, uprooted, find themselves in the cellars of a German castle. The listener will note the skill of the young composer and his sense for melody, which is striking from the end of the pleasant overture that announces a cheery comedy with absolutely no political content. The numbers follow in a fairly conventional way. But what's quirky about this score is its orchestration, which has Weber using quite rare instruments like recorders, basset horns, piccolos or solo trombones. This new version, conducted by Roberto Paternostro, was recorded in concert on 23 January 2019 in the famous An der Wien theatre, a historic hall whose construction was driven by Schikaneder, the impresario and librettist of Mozart's Magic Flute. It was also here that many scores by Beethoven, Johann Strauss II and Franz Lehár were first heard. © François Hudry/Qobuz
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Opera - Verschenen op 3 januari 2020 | Coviello Classics

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Opera - Verschenen op 17 april 2020 | Dynamic

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Opera - Verschenen op 14 februari 2020 | Dynamic

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Opera - Verschenen op 3 april 2020 | Rondeau

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Opera - Verschenen op 4 oktober 2019 | Jube Classic

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Opera - Verschenen op 15 november 2019 | Alba

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Opera - Verschenen op 1 mei 2020 | Kairos

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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 3 april 2020 | Orfeo

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Opera - Verschenen op 6 december 2019 | National Sawdust Tracks

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