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Volledige opera's - Verschenen op 8 maart 2019 | LSO Live

Hi-Res Booklet
“This is Rattle” is the name of a ten-day festival organised in 2017 at the Barbican Centre in London to celebrate Sir Simon Rattle’s return to the country and his debut at the elm of the London Symphony Orchestra. One of the high points was the presentation of Berlioz’s La Damnation de Faust, performed twice, a piece Rattle knows in fact very well and also conducted in Berlin. Half opera, half cantata, the work wasn’t intended to be performed on stage. Very much like in the Symphonie fantastique, written fifteen years earlier, and his upcoming opera Benvenuto Cellini, La Damnation de Faust is largely autobiographical; Berlioz identifies with Faust’s metaphysical suffering, between disillusioned idealism, forbidden love and internal demons. The London Symphony Orchestra is very familiar with Berlioz, having performed his work many times since the 1970s under the lead of its former conductor, the late Sir Colin Davis. Standout performances include American tenor Bryan Hymel as Faust and British mezzo-soprano Karen Cargill, radiant in the role of Marguerite, once again displaying the excellent French diction of international singers. Replacing Gerald Finley at the last minute, Christopher Purves plays a particularly elegant Mephisto. Yet another contribution to the discography put together on the occasion of the 150th anniversary of the bubbling French composer’s passing. © François Hudry/Qobuz
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Volledige opera's - Verschenen op 14 september 2018 | Naxos

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Volledige opera's - Verschenen op 31 augustus 2018 | Aparté

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik - Preis der deutschen Schallplattenkritik
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Volledige opera's - Verschenen op 9 februari 2018 | Cypres

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Choc de Classica
Nineteen musicians in the pit, three on stage; resolutely tonal music in a straight line of succession running from Stravinsky, Prokofiev, Martinů, Weill; French lyrics more declaimed than sung - by, happily, Francophone singer-actors led by Stéphane Degout, Vincent Le Texier, Yann Beuron and Chloé Briot: this is the framework that Philippe Boesmans chose for his latest opera Pinocchio, recorded live at La Monnaie in Brussels. The script is the work of Joël Pommerat, and it aims for an hour and fifteen of the quasi-melodrama based on the style which was in vogue in the 19th century in which to showcase the baffling musical richness of Collodi's work: and with immense success, it must be said. Pommerat is not necessarily looking to write a purely lyrical Pinocchio, but rather to develop an opera within an opera, using Brecht's favoured method of defamiliarisation, a sort of play-within-a-play, where "real" events alternate with narrative description of what's happening or about to happen. This is, without a shadow of a doubt, a major work for the contemporary scene, a worthy 21st-century successor to the Magic Flute and its fantasy world, immersive, and full of illusions, prisms and invitations to new readings: in short, a masterpiece. And it can hardly come as a surprise that the subject hasn't drawn the attention of more composers since it first appeared in 1881, as only cinema and television have really taken it seriously (and Disneyesque animations, heaping on the sugar), with the exception of Jonathan Dove's unique 2007 work, The Adventures of Pinocchio © SM/Qobuz
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Volledige opera's - Verschenen op 5 januari 2018 | Oehms Classics

Booklet Onderscheidingen 5 de Diapason
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Volledige opera's - Verschenen op 1 december 2017 | Aparté

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - Choc de Classica
Everyone thinks that they know Alceste by Lully, and yet this 1674 masterpiece has almost never been recorded in its entirety. Apart from the Malgoire version from 1975 with Bruce Brewer and Felicity Palmer, which is starting to become outdated, the real treat is a second versoin by the same Malgoire twenty years later with Jean-Philippe Lafont and Colette Alliot-Lugaz... And so we can only take our hats off to the new discographical opus from Christophe Rousset's Talens Lyriques, a lively and elegant reading which allows us to rediscover everything that was so innovative about this brilliant, effervescent Florentine, who would become a typical Versaillais, a courtesan and a wheeler-dealer. King Louis XIV - 36 years old, still with all his own teeth and a victorious war leader - could only feel flattered by the piece signed by Quinault: Alcide, who covets the beautiful Alceste (who has been promised to Admetus), is none other than Hercules himself - Louis XIV seeing himself in Hercules saving the beautiful Madame de Montespan from the clutches of her husband. To be sure, in this opera, Admetus/Hercules magnanimously hands Alceste, whom he has saved from hell, to her husband, while the poor Mr Montespan would end his career and his life exiled in Gascony... Honour intact. The Sun King loved the work, to the point that he commanded that rehearsals be held at Versailles. According to Madame de Sévigné, "The King declared that if he found himself in Paris when it was performed, he would go to see it every night." That being said, if Alceste suited the tastes of the court, it didn't do so well in Paris, where Lully's enemies, jealous of the extravagant privileges that he had won (the exclusive right to "have sung any whole piece in France, wither in French verse or in other languages, without the written permission of said Sir Lully, on pain of a ten thousand livre fine, and confiscation of theatres, equipment, decorations, costumes..."), heaped plot upon plot, while the gallant Mercury sang his little couplet: Dieu !  Le bel opéra ! Rien de plus pitoyable ! Cerbère y vient japper d'un aboi lamentable !  Oh ! Quelle musique de chien ! Oh ! Quelle musique du diable ! [Lord!/Fine opera!/There's nothing so pitiable!/Cerberus is yapping, his howls lamentable!/What doggish music!/What devilish music!]. Posterity would decide otherwise, and Rousset proved it triumphantly. © SM/Qobuz
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Volledige opera's - Verschenen op 13 oktober 2017 | Signum Records

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
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Volledige opera's - Verschenen op 13 oktober 2017 | Musical Concepts

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Volledige opera's - Verschenen op 13 oktober 2017 | Musical Concepts

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Volledige opera's - Verschenen op 1 september 2017 | Orfeo

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Volledige opera's - Verschenen op 7 april 2017 | BR-Klassik

Hi-Res Booklet Onderscheidingen 4 étoiles Classica
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Volledige opera's - Verschenen op 24 maart 2017 | Aparté

Hi-Res Booklet Onderscheidingen 4F de Télérama - Gramophone Editor's Choice
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Volledige opera's - Verschenen op 17 februari 2017 | Musical Concepts

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Volledige opera's - Verschenen op 24 oktober 2016 | Melodiya

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Volledige opera's - Verschenen op 8 november 2010 | naïve

Booklet Onderscheidingen Diapason d'or
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Volledige opera's - Verschenen op 19 februari 2002 | naïve

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Volledige opera's - Verschenen op 27 november 2007 | Ambroisie

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Volledige opera's - Verschenen op 4 oktober 2010 | naïve

Booklet Onderscheidingen Diapason d'or
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Volledige opera's - Verschenen op 9 september 2016 | Ramée

Hi-Res Booklet Onderscheidingen 4 étoiles Classica
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Volledige opera's - Verschenen op 1 augustus 2016 | Solstice

Booklet