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Opera - Verschijnt op 20 september 2019 | Kairos

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Opera - Verschenen op 13 september 2019 | Cypres

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Opera - Verschenen op 13 september 2019 | Dynamic

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Opera - Verschenen op 6 september 2019 | Royal Concertgebouw Orchestra

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Opera - Verschenen op 6 september 2019 | CapriccioNR

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Opera - Verschenen op 9 augustus 2019 | Naxos

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First performed in 1865, Amleto ("Hamlet") represented a radical new development in Italian opera, the nuovo melodramma. Composer Franco Faccio and his librettist Arrigo Boito sought a greater degree of musical unity in staged productions and a more equal relationship between text and music. In Hamlet, a play that many then considered un-operatic, they found the perfect medium through which to explore the work’s philosophical and dramatic power - not least the great set-piece scenes: Amleto’s soliloquy "Essere o non essere!" ("To be or not to be"), Ofelia’s Mad Scene and the fight scenes - in a way that strikingly prefigures the verismo operas yet to come. © Naxos
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Opera - Verschenen op 2 augustus 2019 | BR-Klassik

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Opera - Verschenen op 2 augustus 2019 | CapriccioNR

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Opera - Verschenen op 1 augustus 2019 | Soundsgood

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Opera - Verschenen op 12 juli 2019 | Naxos

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Rossini’s Eduardo e Cristina was a huge success in its day, but as perhaps the last centone opera (one assembled from previously existing material) by a major composer, it became forgotten under the subsequent tide of Romantic idealism. Today we can put these prejudices aside and enjoy this masterful creation for what it is: a hugely entertaining parade of beautiful and spectacular musical ‘hits’ set to a familiar story of secret love, dramatic crisis and triumphant resolution. This "2017 Bad Wildbad" revival was summed up as ‘an evening of pure bel canto pleasure!’ by Operagazet. © Naxos
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Opera - Verschenen op 5 juli 2019 | BR-Klassik

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Opera - Verschenen op 14 juni 2019 | Oehms Classics

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Composed in 1832 on a libretto refused by Mendelssohn who found that it was too close to Weber’s Freischütz, Wolfgang Marschner’s Hans Heiling never broke out of Germany nor acquired the success Marschner had hoped for. This romantic opera holds the seeds of all the ingredients that would hence be developed by Wagner, but Marschner did not surpass, according to Piotr Kaminski, a relative expressive banality that the libretto failed to conceal. Beyond its own qualities and flaws, Hans Heiling remains to hold great historical importance in German opera. It is, along with Le Vampire by the same composer, a unifier between Weber’s initial romanticism and accomplished works. We can already find here the tragic destiny of the damned romantic heroes: the impossibility to reconcile their human nature with the death drive. This recording, performed on stage during shows by the Essen opera in February 2018, gives precious information of a relatively forgotten period and shows how much Marschner wanted to combine the old (village fairs, drinking songs, love duets) with the new (a prologue precedes every opening of the curtain before the reveal of a redecorated stage). Certain melodies, like that of the Queen (O bleib bei mir) are well presented and Wagner would later remember them through his use of themes of Hans Heiling in the second act of his Walkyrie. © François Hudry/Qobuz
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Opera - Verschenen op 14 juni 2019 | Jube Classic

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Opera - Verschenen op 24 mei 2019 | harmonia mundi

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A great admirer of the brilliant painter Francisco de Goya, who he saw as one of the most worthy representatives of the Spanish identity, Enrique Granadas composed a cycle of piano pieces in 1911, the Goyescas, in tribute to the Madrid painter. “I am enamored with the psychology of Goya,” writes Granados, “with his palette, with him, with his muse the Duchess of Alba… That whitish pink of the cheeks, contrasting with the blend of black velvet; those subterranean creatures, hands of mother-of-pearl and jasmine resting on jet trinkets, have possessed me.”Granados composed this short opera at the request of the Paris Opera, based on his own piano pieces, which he then orchestrated and expanded. The First World War jeopardized the project, and it was finally the Metropolitan Opera of New York that, with the approval of the Paris Opera, saw the creation of this rich opera in 1916, with elegant and refined writing. There is no trace of Andalusian or Arab-Andalusian music, but rather an inspiration from the culture and music of Madrid in the Goya era, between the end of the 18th and the beginning of the 19th century. Granados develops a popular style by revitalizing historical models.Recorded live at a concert at the Barbican Center in London in January 2018, under the direction of Josep Pons, to whom we owe so many remarkable recordings of Spanish music, this pleasant opera benefits from an Iberian cast and an English orchestra, that of the BBC. Once again, the versatility of London's bands is to be applauded, as they are able to adapt to all styles with ease and virtuosity. © François Hudry/Qobuz
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Opera - Verschenen op 24 mei 2019 | Jube Classic

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Opera - Verschenen op 19 april 2019 | Jube Classic

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Opera - Verschenen op 12 april 2019 | Oehms Classics

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Volledige opera's - Verschenen op 5 april 2019 | Glossa

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama
With Les Indes galantes by Jean-Philippe Rameau, György Vashegyi – along with his Orfeo Orchestra and Purcell Choir – makes a further dazzling addition to their Glossa series of French dramatic masterpieces from the Baroque, and in the company of a luxurious line-up of vocal soloists. The version of this “ballet heroïque” – supplied with an anti-colonial, anti-clerical manifesto by librettist Louis Fuzelier – selected by Vashegyi is the 1761 revision, a mere decade or so before the irruption onto the Parisian musical scene of the likes of Gluck and Grétry. Rameau’s score had undergone frequent adjustments and improvements since its première a quarter of a century earlier, and the performing edition for this recording, prepared for the Rameau Opera Omnia by Sylvie Bouissou (who also provides a booklet essay here), offers a vision of this work which is more theatrical, fluid and concise than hitherto. Just in themselves, the names of Chantal Santon-Jeffery, Katherine Watson, Véronique Gens, Reinoud Van Mechelen, Jean-Sébastien Bou and Thomas Dolié (sharing out the dozen solo roles) augur well for a glorious exploration of the prologue and three entrées ahead. Recently, they have also, in conjunction with the Centre de Musique Baroque de Versailles, been working on questions of tempo and how to perform Rameau’s sequences as the composer intended. Vashegyi brings a consummate understanding of Rameau’s galante style to the proceedings, following two previous Ramellian Glossa outings (Naïs and Les Fêtes de Polymnie). © Glossa
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Opera - Verschenen op 15 maart 2019 | Cantaloupe Music

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Opera - Verschenen op 18 januari 2019 | Pinchgut Live

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