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

Hi-Res Booklet Onderscheidingen Diapason d'or - 4 étoiles de Classica
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Volledige opera's - Verschenen op 7 april 2017 | BR-Klassik

Hi-Res Booklet Onderscheidingen 4 étoiles de Classica
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Volledige opera's - Verschenen op 9 september 2016 | Ramée

Hi-Res Booklet Onderscheidingen 4 étoiles de Classica
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Volledige opera's - Verschenen op 6 mei 2016 | Naxos

Booklet Onderscheidingen 4 étoiles de Classica
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Volledige opera's - Verschenen op 1 april 2016 | harmonia mundi

Booklet Onderscheidingen 5 de Diapason - 4 étoiles de Classica
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Volledige opera's - Verschenen op 28 augustus 2015 | RCA Red Seal

Onderscheidingen 5 de Diapason - 4 étoiles de Classica
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Volledige opera's - Verschenen op 28 augustus 2015 | RCA Red Seal

Onderscheidingen 4 étoiles de Classica
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Volledige opera's - Verschenen op 7 augustus 2015 | Dacapo

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice - 4 étoiles de Classica
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Volledige opera's - Verschenen op 3 augustus 2015 | Bridge Records, Inc.

Onderscheidingen 5 de Diapason - 4 étoiles de Classica
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Volledige opera's - Verschenen op 3 juli 2015 | IDIS

Onderscheidingen 4 étoiles de Classica
CD€ 19,99

Volledige opera's - Verschenen op 1 mei 2015 | Myto Historical

Onderscheidingen 4 étoiles de Classica
CD€ 17,99

Volledige opera's - Verschenen op 17 april 2015 | Decca Music Group Limited

Onderscheidingen 4 étoiles de Classica
CD€ 14,99

Volledige opera's - Verschenen op 1 maart 2015 | Myto Historical

Onderscheidingen 4 étoiles de Classica
CD€ 9,99

Volledige opera's - Verschenen op 1 maart 2015 | Myto Historical

Booklet Onderscheidingen 4 étoiles de Classica
CD€ 14,99

Volledige opera's - Verschenen op 1 maart 2015 | Myto Historical

Onderscheidingen 4 étoiles de Classica
CD€ 17,99

Volledige opera's - Verschenen op 1 februari 2015 | Myto Historical

Booklet Onderscheidingen Diapason d'or - 4 étoiles de Classica
CD€ 17,99

Volledige opera's - Verschenen op 1 februari 2015 | Myto Historical

Onderscheidingen 4 étoiles de Classica

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