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

Hi-Res Onderscheidingen Diapason d'or
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Volledige opera's - Verschenen op 16 november 2018 | naïve classique

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - Choc de Classica
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Volledige opera's - Verschenen op 16 november 2018 | Dynamic

Onderscheidingen 5 de Diapason
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Volledige opera's - Verschenen op 9 november 2018 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Diapason d'or
Lady Macbeth's introduction alone, "Vieni t'affretta", sung by the formidable Shirley Verrett is enough to make this an immortal record! But there's a lot more to come. Recorded in the middle of a 1975 anthology performance at La Scala in Milan and superbly produced by Giorgio Strehler, this album possesses a theatricality that is difficult to recreate in a studio. Claudio Abbado directs with great subtlety and eloquence. Domingo, Cappuccilli, and Ghiaurov are all on top form. It's rare that this blend of Shakespeare and Verdi is performed with such a perfect sense of the dramatic. This is a brilliantly unique record. © François Hudry/Qobuz
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Volledige opera's - Verschenen op 2 november 2018 | Arcana

Hi-Res Booklet Onderscheidingen 5 de Diapason
Alessandro Stradella’s place in the annals of the history of music is not only due to the adventurous circumstances that marked his brief existence, but also to the reputation as a opera composer he has acquired since the 18th century. Inaccessible for many decades to specialists and scholars, La Doriclea is definitely the least known of all Stradella’s operas. However, it constitutes a particularly significant chapter in his overall output: composed in Rome during the early 1670s, to our knowledge La Doriclea represents the first opera entirely composed by Stradella. From the dramatic point of view, La Doriclea belongs to the comedy of intrigue genre typical of the 17th century Spanish theatre tradition. Refined and amusing, it alternates touching lamentos with irresistibly comic scenes, in which the character of Giraldo, a veritable precursor of the basso buffo, allows us to glimpse Rossinian atmospheres. Emőke Baráth (Doriclea) and Xavier Sabata (Fidalbo) alongside Giuseppina Bridelli (Lucinda) and Luca Cervoni (Celindo) and the comic couple of Delfina (Gabriella Martellacci) and Giraldo (Riccardo Novaro) bring a complex and fascinating role-playing game to life. This world premiere release of La Doriclea is a major achievement for "The Stradella Project", which here reaches its fifth volume. © Arcana
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Volledige opera's - Verschenen op 12 oktober 2018 | B Records

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - 5 étoiles de Classica
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Volledige opera's - Verschenen op 14 september 2018 | Bru Zane

Hi-Res Booklet Onderscheidingen Diapason d'or - Choc de Classica
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Volledige opera's - Verschenen op 14 september 2018 | Naxos

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Volledige opera's - Verschenen op 7 september 2018 | CPO

Booklet Onderscheidingen 5 de Diapason
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Volledige opera's - Verschenen op 31 augustus 2018 | Aparté

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik - Preis der deutschen Schallplattenkritik
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Volledige opera's - Verschenen op 3 november 1971 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen The Qobuz Ideal Discography
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Volledige opera's - Verschenen op 6 juli 2018 | Deutsche Grammophon (DG)

Hi-Res Booklet
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Volledige opera's - Verschenen op 22 juni 2018 | Warner Classics

Onderscheidingen Diapason d'or
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Volledige opera's - Verschenen op 22 juni 2018 | Warner Classics

Onderscheidingen 5 de Diapason
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Volledige opera's - Verschenen op 22 juni 2018 | Warner Classics

Onderscheidingen 5 de Diapason
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Volledige opera's - Verschenen op 18 mei 2018 | Oehms Classics

Booklet Onderscheidingen 5 de Diapason
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Volledige opera's - Verschenen op 11 mei 2018 | Ediciones Singulares

Hi-Res Booklet Onderscheidingen 5 de Diapason - 3F de Télérama - Gramophone Editor's Choice - Choc de Classica
We'll admit: this Reine de Chypre by Fromental Halévy is probably not the unfairly-overlooked work of commanding genius for which the lyrical world has been waiting for fifty years… But it would still be a shame to miss it, especially when performed by such a line-up, with Véronique Gens, Cyrille Dubois and Etienne Dupuis at the top of the bill. And after all, the score is full of vocal marvels and very original ensembles; but it is rather in the orchestration – which is not much more adventurous than that of any other piece of Italian bel canto of the era – that Halévy has taken it easy. The melodic richness was pointed out in an article in the Revue et gazette musicale in April 1842: "In the Reine de Chypre, Halévy's new style is on display with more dash, and more success. I have had occasion to point out the preconditions, as I see them, of the production of a good opera, by pointing out the obstacles which stand in the way of meeting these conditions fully and in good time, whether by the poet or the composer. When these conditions are met, it is an event of great importance for the world of art. Now, in the present case, circumstances have conspired in the performance of a work which, as even the most exacting critic must admit, possesses all the qualities which constitute a good opera. (…) The composer has put all the enchantment of his art into the duet that breathes the sentiments that enrapture them. The dark cloth on which these two charming figures are drawn shows through even in those songs which are so sparkling and alive with happiness, like a sinister cloud, and lends them a particular character of melancholy intrigue. There is no equal, in nobility or in grace, of the magnificent melody of the final part of this duet." The article continues in this vein. The byline? One Richard Wagner… © SM/Qobuz
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Volledige opera's - Verschenen op 2 maart 2018 | Sony Classical

Hi-Res Onderscheidingen Diapason d'or
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Volledige opera's - Verschenen op 9 februari 2018 | Cypres

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Choc de Classica
Nineteen musicians in the pit, three on stage; resolutely tonal music in a straight line of succession running from Stravinsky, Prokofiev, Martinů, Weill; French lyrics more declaimed than sung - by, happily, Francophone singer-actors led by Stéphane Degout, Vincent Le Texier, Yann Beuron and Chloé Briot: this is the framework that Philippe Boesmans chose for his latest opera Pinocchio, recorded live at La Monnaie in Brussels. The script is the work of Joël Pommerat, and it aims for an hour and fifteen of the quasi-melodrama based on the style which was in vogue in the 19th century in which to showcase the baffling musical richness of Collodi's work: and with immense success, it must be said. Pommerat is not necessarily looking to write a purely lyrical Pinocchio, but rather to develop an opera within an opera, using Brecht's favoured method of defamiliarisation, a sort of play-within-a-play, where "real" events alternate with narrative description of what's happening or about to happen. This is, without a shadow of a doubt, a major work for the contemporary scene, a worthy 21st-century successor to the Magic Flute and its fantasy world, immersive, and full of illusions, prisms and invitations to new readings: in short, a masterpiece. And it can hardly come as a surprise that the subject hasn't drawn the attention of more composers since it first appeared in 1881, as only cinema and television have really taken it seriously (and Disneyesque animations, heaping on the sugar), with the exception of Jonathan Dove's unique 2007 work, The Adventures of Pinocchio © SM/Qobuz

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