Albums

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Opera - Verschenen op 22 maart 2019 | Orfeo

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Opera - Verschenen op 8 maart 2019 | Orfeo

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Opera - Verschenen op 8 maart 2019 | Orfeo

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Opera - Verschenen op 1 maart 2019 | Orfeo

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Opera - Verschenen op 1 maart 2019 | Orfeo

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Opera - Verschenen op 8 februari 2019 | Classical Tunes - Self - Alfa

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Opera - Verschenen op 8 februari 2019 | Orfeo

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Opera - Verschenen op 1 februari 2019 | Prima Voce

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Opera - Verschenen op 1 februari 2019 | Orfeo

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Opera - Verschenen op 18 januari 2019 | Ars Produktion

Booklet
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Opera - Verschenen op 16 november 2018 | PentaTone

Hi-Res Booklet
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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
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Opera - Verschenen op 1 oktober 2018 | WM Poland - WMI

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Opera - Verschenen op 21 september 2018 | Datum

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Opera - Verschenen op 21 september 2018 | Cedille

Hi-Res
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Opera - Verschenen op 14 september 2018 | Signum Records

Hi-Res Booklet
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Opera - Verschenen op 31 augustus 2018 | Orfeo

Booklet
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Opera - Verschenen op 31 augustus 2018 | Orfeo

Booklet
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Opera - Verschenen op 3 augustus 2018 | PentaTone

Hi-Res Booklet
Yes, at the opera, when the tenor and the soprano stubbornly want to make eyes at each other, there is always a baritone or a bass to sow some discord, sometimes in vain—Osmin, Pizzarro, Caspar—, sometimes successfully—the various Mephisto, Nick Shadow Lindorf-Dapertutto-Miracle. The American bass-baritone Kevin Short offers here, accompanied by an Orchestre Philharmonique de Marseille in great shape, a compendium of very, very bad characters, roles he has already sung more or less on the whole lyrical scene. Reckon that he has already performed at the MET in New York, at the operas in Chicago, Houston Los Angeles and Washington, at the Opéra Comique in Paris, in Cologne, Stuttgart, Bologna; in the festivals in Santa Fe, Bregenz, Baden-Baden, Aix-en-Provence. Not forgetting, obviously, his intense participation in the concertante field with the orchestras of Boston, Philadelphia, San Francisco, Cleveland, the one from the RAI, from Radio France and so many others of that kind. Purists (who are absolutely right), fear not: Kevin Short perfectly masters the French pronunciation, as well as the German one and the Italian one. As a “bonus”, he offers a tune from his compatriot Gordon Getty, Mephistopheles to Faust. For your information, Getty indeed bears the name of the famous petroleum dynasty, but Gordon much prefers to compose music—some excellent pieces, incidentally. © SM/Qobuz

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