Albums

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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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€ 27,99

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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Operafragmenten - Verschenen op 6 oktober 2017 | BR-Klassik

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles de Classica
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Opera - Verschenen op 22 september 2017 | Warner Classics

Hi-Res Booklet Onderscheidingen 4 étoiles de Classica
The pianists are perhaps the most exotic of all the creatures in the Carnival of the Animals. A very rare and treasurable pairing has been made by Warner Classics for this new recording of Saint-Saëns’ enchantingly witty suite: Martha Argerich, often described as the world’s finest example of the pianist species, and Antonio Pappano, a particularly fine specimen of the conductor-pianist. Beside such natural wonders as the graceful swan, the mighty lion, the waltzing elephant, the iridescent denizens of the aquarium and the rattling fossils, the pianists are the prize exhibits of the Carnival, bringing their colour and virtuosity to all but one of its fourteen movements. Their big solo moment comes towards the end of proceedings as they relentlessly practise their scales, which are punctuated with peremptory chords from the strings. Argerich and Pappano met in Italy for the recording – not in Venice, the city of Carnival, but in Rome, where, since 2005, Pappano has been Music Director of the Orchestra dell'Accademia Nazionale di Santa Cecilia. Nine of its players partner the two star pianists in Saint-Saëns’ suite. In 2012, when Argerich performed Schumann’s Piano Concerto with the Orchestra dell’Accademia Nazionale di Santa Cecilia, Pappano told Euronews that he was “just knocked over by the amount of energy that she has, but actually what she does is always extremely natural, as if the music can’t go any other way.” Argerich’s daughter, Annie Dutoit also makes a contribution to the Carnival: she recites verses written for the piece by the French actor, singer, humorist Francis Blanche (1921-1974). The Carnival shares the album release with another of Saint-Saëns’ most celebrated works, the magnificent Symphony No. 3. The prominent organ part is played by Daniele Rossi. Both the Carnival and the Symphony No. 3 were composed in the same year, 1886, but their aesthetics could hardly be more different. In Spring 2016 the Symphony No. 3 featured on a European tour that Pappano made with the Orchestra dell'Accademia Nazionale di Santa Cecilia. In Germany, the Hamburger Abendblatt reported that the audience responded to the performance of the symphony with “euphoria …stamping on the ground and calling for two encores,” while the Frankfurter Rundschau wrote that “under Pappano’s inspiring direction the Italian musicians captured the reverential, ethereal atmosphere [of the first movement’s Poco adagio] with the same precision as the circus-like uproar of its combined instrumental masses [in the Allegro finale].” This was the last symphony that Saint-Saëns composed, though he lived for a further 35 years. When asked why, he responded: "With it I have given all I could give. What I did I could not achieve again." © Warner
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€ 19,99

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

Hi-Res Booklet Onderscheidingen 4 étoiles de Classica
No opera from Handel is as enigmatic as Silla. This fourth London opera was composed in 1713; and that’s as far as our knowledge goes! The written music scores are incomplete and we have no information about any contemporary performance. The first Handel experts tried to find an explanation and agreed upon the theory that Silla was written for a private show in the household of the Count of Burlington, who was at the time the composer’s patron. Then, in 1969, the discovery of a glossary from June 1713 established a possible date of the first performance. The inclusion of an extravagant work dedicated to the Duke d’Aumont, a recently appointed French ambassador, suggests the possibility of a show organized by or for the Duke. That could explain not only the absence of an English translation in the glossary, which is unique about Handel’s London operas, but also the relative brevity of the work.However, some problems remain unresolved. D’Aumont was a leading figure in the London life, and it seems rather unlikely that such an initiative would be ignored by the London press or forgotten by D’Aumont in his own writings. Was Silla played in 1713? As of yet, we can’t say for sure. There are further questions regarding the opera itself, in particular the choice of subject. This is indeed one of the rare historical operas from Handel concerned with Lucius Cornelius Silla’s end of life related by Plutarch; having seized Rome, this consul-come-tyran had his adversaries killed before retiring in a way as sudden as it was incredible in his country house to focus on his hobbies. It’s hard to imagine that this thread could fit an opera probably thought as a commemorative piece of an event of some sort: experts have been struggling to find answers and some have tried to discover an allegorical context. Apart from the theme, the quality and the meaning of the book have also been vehemently criticized. It’s significantly based on Italian cantatas from the composer’s youth and it’s interesting to notice that, as far as the style is concerned, the music goes back to a certain extent to his previous historical opera, Agrippina.Although the absurdities from its book make it an unlikely candidate to find a place in the great operatic repertoire, Silla contains enough musical beauties. Let’s also remember that Handel was holding his work in enough regard to recycle a considerable part of it into his next opera, Amadigi di Gaula. © SM/Qobuz
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€ 11,99

Opera - Verschenen op 11 augustus 2017 | Naxos

Hi-Res Booklet Onderscheidingen 4 étoiles de Classica
The opening night of Vincenzo Bellini’s first professional opera, Bianca e Fernando (NOT Gernando), set to take place at the Teatro San Carlo in Naples as part of a gala evening in January 1826, was cancelled at the last minute for reasons that remain unclear, even though it appears that at the time, use of the name Fernando in the title was forbidden because Ferdinando was the name of the Bourbon heir to the throne, and no form of it could be used on a royal stage. But in May of the same year, under the title Bianca e Gernando, the piece was finally premiered, with great success. But after the triumph of Il pirata in Milan in 1827, Bellini was commissioned by Genoa in 1828 to offer a new work – too late for the composer to write anything new: he resorted to the age-old trick of recycling old material, in this case his own Bianca, even though he was confronted with the difficult task of adapting several episodes to suit the voices of the new performers for the new production. He reverted to the former title Bianca et Fernando and it is that heavily revised score which has been produced, on and off, up to the 1980s, even though quite rarely. But in 2016, the famous festival Rossini in Wildbad decided to revert to the first version – which is radically different from the revised score, one should add –, a world premiere since 1826, which was duly recorded (live, of course) and is now available to aficionados in that excellent interpretation, with a brilliant cast and a highly polished orchestra. A brand new Bellini, 190 years after it was written! © SM/Qobuz
€ 19,99

Opera - Verschenen op 7 juli 2017 | Oehms Classics

Booklet Onderscheidingen 5 de Diapason - 4 étoiles de Classica
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€ 13,99

Volledige opera's - Verschenen op 12 mei 2017 | Ediciones Singulares

Hi-Res Booklet Onderscheidingen Diapason d'or - 4 étoiles de Classica
€ 14,99
€ 9,99

Volledige opera's - Verschenen op 7 april 2017 | BR-Klassik

Hi-Res Booklet Onderscheidingen 4 étoiles de Classica
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€ 9,99

Operafragmenten - Verschenen op 3 februari 2017 | BIS

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles de Classica - 5 Sterne Fono Forum Klassik
€ 9,99

Opera - Verschenen op 9 september 2016 | SWR Classic

Booklet Onderscheidingen 4 étoiles de Classica
€ 14,99
€ 9,99

Volledige opera's - Verschenen op 9 september 2016 | Ramée

Hi-Res Booklet Onderscheidingen 4 étoiles de Classica
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€ 13,99

Opera - Verschenen op 20 mei 2016 | Ediciones Singulares

Hi-Res Booklet Onderscheidingen Diapason d'or - 4 étoiles de Classica
€ 8,99

Volledige opera's - Verschenen op 6 mei 2016 | Naxos

Booklet Onderscheidingen 4 étoiles de Classica
€ 6,49

Volledige opera's - Verschenen op 1 april 2016 | harmonia mundi

Booklet Onderscheidingen 5 de Diapason - 4 étoiles de Classica
€ 11,49

Volledige opera's - Verschenen op 28 augustus 2015 | RCA Red Seal

Onderscheidingen 5 de Diapason - 4 étoiles de Classica
€ 15,99

Volledige opera's - Verschenen op 28 augustus 2015 | RCA Red Seal

Onderscheidingen 4 étoiles de Classica
€ 21,99
€ 14,99

Volledige opera's - Verschenen op 7 augustus 2015 | Dacapo

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice - 4 étoiles de Classica
€ 9,99

Volledige opera's - Verschenen op 3 augustus 2015 | Bridge Records, Inc.

Onderscheidingen 5 de Diapason - 4 étoiles de Classica
€ 14,99

Volledige opera's - Verschenen op 3 juli 2015 | IDIS

Onderscheidingen 4 étoiles de Classica

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