Your basket is empty

Categories :

Albums

70312 albums gesorteerd op Price: from most expensive to least expensive en gefilterd op Klassiek en € 10,00 tot € 20,00
From
CD€ 39,99

Klassiek - Verschenen op 2 april 2008 | Bayard Musique

From
HI-RES€ 29,99
CD€ 19,99

Opera - Verschenen op 20 november 2020 | Naïve, a label of Believe Group

Hi-Res Booklet
The impression of the ink still being wet on the page is not an unfamiliar one when listening to Fabio Biondi and Europa Galante, such is the freshness and elan they inject into everything they turn their musical attentions to. However in the case of their Vivaldi Edition Argippo the ink pretty much was still wet as they recorded it, because this is Bernardo Ticci's 2019 reconstruction of what is in fact a lost Vivaldi pasticcio (a cutting and pasting together of music from other operas), created in 1730 for the Venetian impresario Antonio Peruzzi to stage in Vienna and Prague. The reconstruction has been possible because the librettos from those two productions remain, plus a set of arias, and also the full score of a complete three-act, untitled and anonymous opera featuring arias from up to twelve other composers – and both the arias and the score appear to be derived, albeit with many changes, from the Prague libretto. The result is a reconstruction which on the one hand is decidedly scant on actual music by Vivaldi, given that even those arias believed to be from his pen can't be confirmed as such, and they appear alongside arias by Galeazzi, Pescetti, Hasse, Porpora, (possibly) Fiorè and Vinci. However, it's also a stylistically diverse and thus thoroughly entertaining offering that bears all the hallmarks of a Vivaldi pasticcio, and is undoubtedly in the spirit of one. Argippo's action takes place in the Bengali Kingdom – a tapping into the contemporary Venetian enthusiasm for tales of the East, although that influence didn't bleed into the musical style itself. A classic Baroque opera plot centred around lies and mistaken identities – King Argippo of Chittagong and his wife Osira almost lose their lives while visiting the court of the Gran Mogol Tisifaro, because the Tisifaro's cousin Silvero seduces his daughter Zanaida while disguised as Argippo – it's high on drama and strife before eventually reaching its happy conclusion. So, add the multi-composer score, and Biondi's five-strong cast have plenty to get their teeth into. Highlights include the opera's first fizzing showstopper, “Se lento ancora”, contralto Delphine Galou as the Gran Mogol Tisifaro's daughter Zanaida making light work of her leaping figures and embellishments as she anguishes over being betrayed by her lover. Also the soft and fruity-toned fluidity to the vocal acrobatics of ‘Un certo non so che’, sung by soprano Marie Lys as a fearful Osira. Equally fine voiced are soprano Emőke Baráth in the title role, contralto Marianna Pizzolato as Silvero, and bass Luigi de Donato as Tisifaro. Europa Galante themselves bring it all together with their characteristic blend of warmth, fizz and dramatic flair, having launched things with a cracker of an opening Sinfonia. In short, great fun. © Charlotte Gardner/Qobuz
From
HI-RES€ 29,99
CD€ 19,99

Klassiek - Verschenen op 7 februari 2020 | BIS

Hi-Res Booklet Onderscheidingen 5 étoiles de Classica
“A great joy”: this is how Masaaki Suzuki considers this, his second recording of the St. Matthew’s Passion, made twenty years after the first one, in the Saitama Arts Theatre in Japan in April 2019 for the BIS label. A great opportunity to revisit the work, as in the elapsed time, the conductor and his orchestra have nearly completely recorded Bach’s choral music, including the complete masses and secular and sacred cantatas. As is his custom, Suzuki works with European soloists for this new recording, like the splendid young German tenor Benjamin Bruns, playing the stupendous part of the Evangelist. There are other familiar soloists that feature here, such as Carolyn Sampson, Damien Guillon, Makoto Sakurada and Christian Immler. There is nothing monumental about this new intimate and refined version, which follows the fateful narrative with great sobriety. There is nevertheless a fervent level of impulse, as well as a certain innocence within this resolutely pared back Lutheran perspective - there is never any real search for theatricality. The exceptional instrumental quality of the soloists of the Bach Collegium Japan and the soft touches of the two choral ensembles is also worth highlighting. © François Hudry / Qobuz
From
CD€ 19,99

Klassiek - Verschenen op 24 juli 2020 | haenssler CLASSIC

Booklet
From
HI-RES€ 29,99
CD€ 19,99

Opera - Verschenen op 5 februari 2021 | Glossa

Hi-Res Booklet
The complete edition of 1744's Dardanus by Rameau did not come out on record until the present release (almost three hours of music) was made in Budapest. Closely linked to the Centre de Musique Baroque de Versailles, György Vashegyi presented the work alongside some unpublished pages, including the poignant "Amour, cruel auteur du feu qui me dévore" which opens Act III, a sumptuous lament sung by the baritone Tassis Christoyannis. Recorded in the vast ship of the Béla Bartók Concert Hall in Budapest, this concert production suffers from acoustics that blur the work. This probably somewhat erases the precision of a splendid ensemble, made up of soloists, the particularly inspired Purcell Choir and the Orfeo Orchestra. The latter is an ensemble of ancient instruments founded in 1991 in Budapest by György Vashegyi in the wake of the first full performance of Monteverdi's Orfeo in Hungary. This new version of Dardanus is full of dynamic and expressive contrasts. It presents the music to the world for the first time, thanks to a new edition overseen by musicologist Denis Herlin which reveals dozens of unknown pages. Let's salute the performances by the soprano Chantal Santon Jeffery as an ideal Venus, the tenor Cyrille Dubois as Dardanus and the baritone Thomas Dolié as Ismenor. © François Hudry/Qobuz
From
HI-RES€ 29,99
CD€ 19,99

Opera - Verschenen op 3 april 2020 | BR-Klassik

Hi-Res Booklet
 
From
HI-RES€ 23,99
CD€ 19,99

Klassiek - Verschenen op 23 februari 2009 | 2L

Hi-Res Booklet
From
HI-RES€ 29,99
CD€ 19,99

Klassiek - Verschenen op 17 april 2020 | Glossa

Hi-Res Booklet
There is something deeply troubling and inscrutable in Carlo Gesualdo’s music, something that any listener, even the most inexpert one, will unfailingly experience. This most particularly holds for Tenebrae Responsoria (1611), his definitive statement, his monument, his testament. It is as if this work, firmly embedded in the framework of liturgy for the Holy Week and reaching back to the practices of the Gregorian chant, would constantly extend over its boundaries and transgress its time and setting, immediately addressing modernity, disturbing all the rules in a severe tension, reaching into something that borders on chaos and madness, within the very order and religious devotion it fully espouses. Graindelavoix, that groundbreaking ensemble based in Antwerp and directed by Björn Schmelzer, are the ideal performers for this disquieting repertoire which originally was sung at Gesualdo’s castle and with probably only one listener in the audience: Gesualdo himself... In a tour de force lasting over three hours, recorded over ten days in summer 2019, the singers fully display all the features which, after 16 albums (all on Glossa) and hundreds of concerts, have made their sound a truly trademark one. In words of Schmelzer, “this is our most important recording to date”. A fascinating essay especially commissioned to Lithuanian philosopher and cultural theorist Mladen Dolar puts the music of Gesualdo into perspective, avoiding the clichés that are so often found in texts about the composer. © Alpha Classics
From
HI-RES€ 23,99
CD€ 19,99

Klassiek - Verschenen op 1 oktober 2014 | 2L

Hi-Res Booklet
From
HI-RES€ 29,99
CD€ 19,99

Klassiek - Verschenen op 4 oktober 2019 | Academy of Ancient Music

Hi-Res Booklet Onderscheidingen 5 de Diapason
From
HI-RES€ 29,99
CD€ 19,99

Opera - Verschenen op 2 oktober 2020 | Naïve, a label of Believe Group

Hi-Res Booklet
With the great roar of the famous Toccata opening the performance, this new version of Monteverdi’s L'Orfeo is captivating right from the start. The bright instruments, dancing rhythms and colourful tones found in the sumptuous curtain-raiser carry you away.It’s worth discovering Mathilde Etienne’s erudite and fascinating text. She sets the record straight by placing Monteverdi’s masterpiece in the Renaissance period instead of stating that it is the first Baroque opera (it’s not). The text also restores Striggio’s extraordinary libretto, who integrated a whole range of styles. It also explains how much Neo-Platonic thought, with all its mathematics and philosophy, adds up to a simple concept that a child can understand. It’s like a painting (Botticelli for example) that you can admire for its beauty but one which holds a profound meaning as soon as you dig in a little deeper.Finally, there’s a hugely theatrical performance coupled with fleshy, carnal singing. Monteverdi leaves little room for his performers; his score is annotated and precise in terms of ornamentation and instrumentation. You can, however, play around with differentiating the choirs and varying the continuo, as they do here.Emiliano Gonzalez Toro, the man behind it all, is multitalented. He sings in the title role and conducts the whole ensemble, drawing you into the frenzy of human passion, leaving you dizzy. Gripping and enjoyable! © François Hudry/Qobuz
From
HI-RES€ 29,99
CD€ 19,99

Klassiek - Verschenen op 6 november 2020 | ICA Classics

Hi-Res
This release celebrates the partnership of the distinguished conductor Nikolaus Harnoncourt (1929-2016) directing the Chamber Orchestra of Europe (COE) in a memorable cycle of the complete Schubert Symphonies at the Styriarte Festival in Graz, Austria during July 1988. Harnoncourt was a notable and perhaps controversial Schubertian who, with his favorite orchestra, set about examining everything afresh. The players he worked with in 1988 talk about the way he changed their perceptions, of discovering Schubert’s work for themselves, ignoring the accretions of previous performance tradition. Harnoncourt wanted Schubert’s music to be on the edge, to rebuild it, testing and evaluating the contribution of each instrument and for the players to take as many risks as they wanted. Dane Roberts, the COE’s double bass player, recounted: ‘Harnoncourt’s strong roots in both Vienna and Graz influenced and enabled his musical insights and vision. He presented to us dimensions of these masterpieces we had not considered or did not know (or at least recognize)’. Sally Pendlebury, cello, recalled: ‘The Schubert Symphonies was my first ever project with Nikolaus Harnoncourt. To say it completely changed my musical life would in no way be an overstatement’. © ICA Classics
From
HI-RES€ 29,99
CD€ 19,99

Concertmuziek - Verschenen op 10 september 2009 | BIS

Hi-Res Booklet
From
CD€ 19,99

Symfonische muziek - Verschenen op 11 maart 2011 | harmonia mundi

Booklets Onderscheidingen Gramophone Editor's Choice
From
HI-RES€ 29,99
CD€ 19,99

Opera - Verschenen op 15 januari 2021 | Glossa

Hi-Res Booklet
Today's music lovers associate L’Orfeo first and foremost with Claudio Monteverdi's famous opera from 1607, while the version by Luigi Rossi (1597-1653), premiered four decades later, has remained less well-known. Rossi had served as a musician first for the noble families Borghese and Barberini in Florence and Rome, respectively, before he moved to France in 1646, where he became the most respected composer at the court of Cardinal Mazarin. His L'Orfeo, with a libretto by Francesco Buti, was premiered on 2 March 1647 at the Théâtre du Palais-Royal in Paris. It was one of the first operas ever performed in France. The premiere was magnificently staged, full of magnificent sets and machinery, with over 200 people employed to work on the scenery. The performance lasted about six hours and was a great success for Rossi. Twenty years after the first recording by Les Arts Florissants and William Christie, Elena Sartori and her ensemble Allabastrina present now the second recording of this opera. The total playing time is slightly under four hours, almost Wagnerian proportions. Sartori uses exclusively Italian forces (17 solo singers and choristers), with the Baroque experts Francesca Lombardi Mazzulli (Orfeo) and Emanuela Galli (Euridice) in the main roles. © Glossa
From
CD€ 19,99

Opera - Verschenen op 8 januari 2021 | CPO

Booklet
An essential opera composer amid Monteverdi's successors, Antonio Cesti, like Francesco Cavalli, left a body of work that was gradually rediscovered, notably thanks to the Innsbruck Early Music Festival, in the very city where Cesti worked at the court of the Habsburg Archduke Ferdinand. After the success of L'Argia, and then of Orontea, the festival now exhumes the Dori, composed in 1657 and presented to mark three-hundred-fifty years since the composer's death. The libretto, a pretext for much cross-dressing, tells the story of the Persian prince Orontes mourning the (presumed) death of his beloved Dori, who is actually living at his court disguised as a man, while the Egyptian prince Tolomeo, dressed as a woman, has a crush on Dori's sister, Arsinoe, who is pledged to marry Orontes... At the head of many soloists and his Accademia Bizantina, Ottavio Dantone conducts through the many twists and turns of this very long opera (six hours reduced to three for modern ears and attention spans!) taking the various forms of accompanied recitatives, ariosos, ritournelles, vocalisations and some well-rounded ensembles. A new discovery allowing a better knowledge of the Florentine composer whose career mainly played out in the Austrian Tyrol. © François Hudry/Qobuz
From
CD€ 19,99

Klassiek - Verschenen op 6 september 2019 | Profil

Booklet
From
HI-RES€ 29,99
CD€ 19,99

Klassiek - Verschenen op 4 september 2020 | Chandos

Hi-Res Booklet
Following his acclaimed recording of sonatas by contemporaries of Beethoven, Jean-Efflam Bavouzet further celebrates the great composer’s anniversary year with this set of the complete Piano Concertos. Electing to direct the Swedish Chamber Orchestra from the keyboard, Jean-Efflam writes: ‘To play a concerto under a conductor who shares and enriches one’s vision of the work concerned is one of the greatest joys in the life of a soloist. Nevertheless, one can also admit that some aspects of performing without a conductor may prove advantageous. Rehearsal time is generally speaking made longer by the process of working out the different protocol of gestures from the soloist and the leader in coordinating the ensemble playing. As this work proceeds a creative bond is forged, resulting in an artistic osmosis, a common vision of the work, in which compromise has no place. For the pianist there is also the delight of appearing face to face with the entire orchestra, in direct visual communication, the musicians perhaps more likely to take personal initiatives, thus multiplying the pleasure of a genuine participation, dialogue, and musical exchange’. The cadenzas used in this recording are all Beethoven’s, from the set that he wrote out in 1809, and so are contemporaneous with the Fifth Concerto. The set includes also the Quintet for Piano and Winds, Op. 16. © Chandos
From
HI-RES€ 29,99
CD€ 19,99

Opera - Verschenen op 3 april 2020 | Orfeo

Hi-Res Booklet