Albums

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Opera - Verschenen op 7 januari 2019 | Marco Velocci

€ 16,49

Opera - Verschenen op 21 december 2018 | Bella Musica Edition

€ 18,99
€ 15,99

Operafragmenten - Verschenen op 26 oktober 2018 | Sony Classical

Hi-Res Booklet Onderscheidingen 5 étoiles de Classica
Puccini love duets galore! That’s what the Polish soprano Aleksandra Kurzak and the tenor Roberto Alagna offer up here. Both are regulars on the world's greatest stages and their voices seem to have been tailor-made for this repertoire. The heroines - Mimì, Minnie, Tosca, Giorgetta, Butterfly and Manon - represent the absolute woman with a femininity that fascinates the composer, attracting him, inspiring him and making him fall in love. The male characters are undoubtedly a reflection of his own personality. Rodolfo, Mario and Calaf too, who is so besotted with Turandot that he risks his life for her: man, lover, seducer, villain, deceiver, poet, artist, knight or traitor... No doubt Roberto Alagna sees himself in these characters as well. Their traits are similar from one opera to the next, but Puccini knew how to make each vocal idiom wonderfully unique. © SM/Qobuz
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Opera - Verschenen op 19 oktober 2018 | Marco Velocci

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€ 13,49

Operafragmenten - Verschenen op 5 oktober 2018 | Warner Classics

Hi-Res Booklet Onderscheidingen Diapason d'or - Qobuzism
For her first recital with orchestra album, young Franco-Danish soprano Elsa Dreisig had the idea of presenting five pairs of songs in which each part of the pair is ambiguously related to the other, like a mirror’s reflection. This process leads to striking juxtapositions of different musical styles, dramatic moments, historical periods and contrasting voices; classicism and romanticism complement each other, terror answers joy, and the result is a view of the feminine soul all its facets. The first pairing involves two mirrors: the one in which Marguerite from Gounod's Faust admires herself and Thaïs's mirror in Massenet's opera (Thaïs). There follows Puccini's vision of Manon Lescaut, and then Manon (sans Lescaut) as imagined by Massenet. Following this we have Juliette, this is a rather daring pairing of the largely-forgotten early romantic German composer Daniel Steibelt with Gounod's Juliette. Elsa Dreisig then moves onto the two famous Figaros, one from Rossini's Barber (Rosina) and the other from Mozart's Marriage, with the gentle tones of the Countess. Finally, and more daring still, we end with the Salome of the Hérodiade by Massenet, a tender young woman who is not after anyone's head; and then Strauss's Salome, with her sanguinary madness. Probably in order to avoid the temptation of comparisons with other recordings, our singer has opted for the 1907 French version – note that this work by Oscar Wilde was itself originally written in French. This is the most extraordinary selection that one could hope for in a first recording from any artist, all accompanied by the Montpelier Orchestra, conducted by Michael Schønwandt. © SM/Qobuz
€ 13,49

Opera - Verschenen op 14 september 2018 | Warner Classics

Booklet
€ 7,99

Opera - Verschenen op 6 juli 2018 | Royal Philharmonic Orchestra

Booklet
€ 9,99

Opera - Verschenen op 18 januari 2008 | Butler Records

€ 17,49

Opera - Verschenen op 22 juni 2018 | Warner Classics

€ 17,49

Opera - Verschenen op 22 juni 2018 | Warner Classics

€ 29,99
€ 19,99

Opera - Verschenen op 15 juni 2018 | Dynamic

Hi-Res
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Opera - Verschenen op 1 juni 2018 | Halidon - Musical Dorica

€ 9,99

Opera - Verschenen op 18 mei 2018 | Profil

Booklet
€ 19,99

Opera - Verschenen op 4 mei 2018 | Profil

Booklet
€ 9,99

Opera - Verschenen op 20 april 2018 | Ars Produktion

Booklet
€ 89,91

Opera - Verschenen op 20 april 2018 | Profil

Booklet
€ 9,99

Opera - Verschenen op 6 april 2018 | CapriccioNR

Booklet
After Manon Lescaut and La Bohème, Il Tabarro is Puccini’s third Parisian incursion. Puccini got the idea to write the first part of his Trittico after seeing La Houppelande − a play in slang by Didier Gold – at Théâtre Marigny in Paris. Violent and naturalistic – to the point of bordering with trade-comedy – this play instantly captured the imagination of the Italian composer who immediately envisioned putting this slice of daily life to music. Conductor Bertrand de Billy has perfectly grasped all the stakes at play in this opera that superbly describes the Parisian atmosphere on the banks of the Seine where the barge that serves as the framework for this folk drama about jealousy, long before Simenon and his detective Commissaire Maigret, is moored. Recorded during a concert in Vienna in 2010, this beautiful version features a resounding distribution with great South-African tenor Johan Botha – who prematurely died of cancer in 2016 −, his fellow countrywoman, soprano Elza van den Heever who has triumphed in New York, Frankfurt and Bordeaux, and German baritone Wolfgang Koch who abandons Wotan to take on the role of Michele, the jealous husband turned murderer. © François Hudry/Qobuz
€ 19,99

Opera - Verschenen op 23 maart 2018 | CPO

Booklet
This Rondine is surely Puccini's least-well known opera, the victim of a misunderstanding early on: commissioned in 1912 by a Viennese theatre, people jumped to the conclusion that Puccini was writing an operetta, and discarding his normal canon. But upon closer inspection, although it is full of ternary rhythms, it is no operetta. Its language is absolutely the one we know from Puccini's other works, that lightness of style seen under the Second Empire in Paris and on the Côte d’Azur. It was in 1917, with the First World War dragging on, that the work finally débuted, in neutral Monte Carlo. Although it was hailed as a success, Puccini's work quickly fell into obscurity and was buried under a hail of successive operas: Il Trittico (Il Tabarro, Suor Angelica, Gianni Schicchi) and Turandot, the latter left unfinished by the composer. Recorded by Radio Munich in 2015 at a concert given at the Prinzregententheater, this new recording with excellent sound quality, is dominated by the troubled, wounded Magda, played by Romanian soprano Elena Mosuc, whose name is now inseparable from the Zurich Opera which has long been her musical home. Named Romania's "Woman of the Year", she has performed at many festivals, and on all the world's great stages. Her distribution is not at all Italian, but beautifully balanced for all that: it is a welcome alternative to the Gheorghiu-Alagna-Pappano version (from Warner), which was long believed to be definitive: the second act here is particularly accomplished. © François Hudry/Qobuz

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