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Volledige opera's - Verschenen op 2 augustus 2019 | Deutsche Grammophon (DG)

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Volledige opera's - Verschenen op 7 juni 2019 | Aparté

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
While Mozart was largely overlooked in the French capital, Antonio Salieri took on the reigns of the Académie Royale de Musique (Paris Opera), a fruitful collaboration that was completely broken up by the French Revolution. After the success of his work Les Danaïdes, composed for Paris in 1784, Salieri worked tirelessly with Beaumarchais, spurred on by the success and scandal of his Figaro, on a new project which would become Tarare. Beaumarchais moved himself shamelessly toward stardom, skillfully self-promoting and attending rehearsals so as to assure that the orchestra played pianissimo to emphasize the primacy of his verse during performances. Beaumarchais found that the music was too overwhelming to “embellish the lyrics”.Created one year after Mozart’s The Marriage of Figaro (which was relatively well-received in Vienna before triumphing in Prague), Tarare was an immense success in Paris maintaining the status of the composer’s repertoire despite the political turmoil of the time before disappearing from view around 1826, thereon ceasing to be played. Beaumarchais’ words were immediately adapted into Italian by Lorenzo Da Ponte to be performed and met with equal success in Vienna. Tarare is half lyrical tragedy, half comic opera with a hint of orientalism.After resuscitating Les Danaïdes and Les Horaces, Christophe Rousset finished off his series of recordings dedicated to Salieri’s French operas for the Parisian public. Tarare is very much of its time, that of the Lumières, and used the power of art to challenge despotism in all its forms. Thanks to Christophe Rousset’s excellent delivery and lively direction, this recording enables one to judge the merits of the composition and the chasm that separates an honest and talented musician from a solitary and impassioned one like Mozart. © François Hudry/Qobuz
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Volledige opera's - Verschenen op 15 maart 2019 | CPO

Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
As a casual victim of circumstances – jealousy, denigration and low blows − Johann David Heinichen’s opera Flavio Crispo was never performed during its composer’s life; during repetitions in Dresden, insults flew back and forth between him and some Italian singers, which led the piece to be removed from the programme and never completed. Although in reality, only a few pages of music are missing from the integral score... Consequently, this is the first discographic publication of the opera, with the complete music composed in 1720. It reveals a composer at ease in both the sharp and complex language of Germanic tradition, and the formal and vocal freedom of Italian opera – which Heinichen had studied closely during a long stay in Venice. There, he met the Elector of Saxony (Frederick Augustus II of Saxony) and future King of Poland (Augustus III of Poland), who hired him to his court in Dresden, at the time one of the largest hubs in European culture. Heinichen soon took up the torch from Antonio Lotti who had composed Italian operas for the court of Dresden for a few years, and his Flavio Crispo was meant to be his contribution to the genre. But unlike Lotti, Heinichen called upon a highly-flavoured orchestra: horns, oboes, flutes, in addition to strings and continuo, and winds to which he gives a fair amount of highly-virtuosic movements. Unfortunately for the composer, he was never able to hear his masterpiece, as the King of Poland dismissed the few Italian singers who had risen up against the partition under a futile pretence; no one else was able to sing these roles, and the score fell into obscurity. This was until it was rediscovered and showcased by the ensemble Il Gusto Barocco and its music director Jörg Halubek, in a 2015 live recording. At long last, Herr Heinichen! © SM/Qobuz
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Volledige opera's - Verschenen op 2 november 2018 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - 5 étoiles de Classica
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Volledige opera's - Verschenen op 29 juni 2018 | Nonesuch

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - Choc de Classica - 5 Sterne Fono Forum Klassik - Preis der deutschen Schallplattenkritik
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Volledige opera's - Verschenen op 22 juni 2018 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica - Qobuzism - 5 Sterne Fono Forum Klassik
Why yes, it is still possible to discover Bernstein scores, or in this case the chamber version of A Quiet Place, adapted by Garth Edwin Sunderland, conducted and recorded for the first time by Kent Nagano, at the Montreal Symphony House. The final stage score by the American composer, first performed at the Houston Grand Opera in 1983, it was revisited by the librettist Stephen Wadsworth, and the composer who added several fragments from the one-act piece Trouble in Tahiti, from 1951; this addition would see two new performances (the Scala in Milan, and Washington). Another draft – this one definitive – was performed at the Vienna Opera House, conducted by the composer, in 1986. Fascinating in more ways than one, rather like a modern-day Intermezzo by Strauss, the work depicts American society by way of an existential crisis faced, first by one couple, (Trouble in Tahiti) and then by one family. Bernstein borrowed from Mahler for the structure, with a final movement whose "grave nobility" recalled the final movements of the Third and NinthSymphonies by his much-admired forebear. As is often the case with this composer, Bernstein's mix of styles (jazz, chorale, Broadway, Mahler, Berg, Britten, Copland…) provides an explosive cocktail, which has about it more of a musical conversation than grand opera – and, paradoxically, that's what makes this work so unique... And so charming. This is well worth a re-discovery, this time under the baton of Bernstein's faithful former pupil, Kent Nagano, at the head of top-flight solo singers, who point the way to that "quiet place", where "love will teach us harmony and grace". © Franck Mallet/Qobuz
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Volledige opera's - Verschenen op 18 mei 2018 | Orfeo

Hi-Res Booklet Onderscheidingen 5 de Diapason
An enemy of fashion and glitz who shunned cocktails and society dinners, Wolfgang Sawallisch was a humble, retiring man whose life was wholly dedicated to music and music alone. Behind what might seem like a well-worn cliché of the "honest man", he was surely one of the greatest artists of his generation. An exceptional pianist, he would sometimes accompany his friend Dietrich Fischer-Dieskau through memorable nights dedicated to Schubert's great cycles. A conductor, he knew the whole repertoire by heart, not only working with an orchestra but also taking to the piano with all the singers. He was a Kapellmeister in the most elevated sense of the term. Between 1971 and 1992 he made his hometown’s Munich Opera (Bayerische Staatsoper) one of the greatest stages in the world, offering performances of an utterly exceptional standard. The gradual seizure of power by producers would put an end to a collaboration which had produced so many unforgettable nights. Sawallisch went on to enjoy a kind of Indian summer as a conductor in his final years, at the head of the Philadelphia Orchestra, where he encountered huge success. First and foremost a performer of Wagner, Wolfgang Sawallisch first made his mark on Bayreuth in his youth, when, in 1962, he conducted landmark performances. The archives of the festival are full of recordings which are slowly being released, whose almost-identical distributions on different dates have sown confusion. Sawallisch conducted Tristan and Isolde with the legendary couple Birgit Nilsson/Wolfgang Windgassen several times, for the festivals in 1957, 1958 and 1959, well before the sensational version conducted by Karl Böhm. This new release covers the night of 26 July 1958 (so it is not a cover of the version released by MYTO of the show on 21 August of the same year). The doomed lovers are given an exceptional treatment under the electrifying baton of a young Sawallisch. © François Hudry/Qobuz
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Volledige opera's - Verschenen op 2 mei 2018 | PentaTone

Hi-Res Booklet Onderscheidingen 4F de Télérama - Gramophone Record of the Month - Diapason d'or / Arte - Le Choix de France Musique - Choc de Classica
The story of the Pêcheurs de perles [Pearl Fishers] by Bizet is nothing short of torturous: after its first outing in 1863, the score – whose manuscript is now in private hands and no longer available, alas – fell into obscurity, and was only returned to its rightful place in the sun after the composer's death, once Carmen had made his name. Alas – a thousand times, alas – many different theatre directors took themselves for great geniuses and made little amendments to the work, cutting here, adding there, changing bits up to and including the end. Until the 1960s, this calamitously cack-handed version was the one that was performed – this libretto looks a little flat, why not add a few mistakes? – until musicologists stumbled across the original documents, in particular the cut-down version by Bizet himself, as well as the "conductor's score" of the time, which contained many notes about orchestration. This version, put together in 2014 by Hugh MacDonald, is sung by the flower of great French lyrical music – Julie Fuchs, Florian Sempey, Cyrille Dubois and Luc Bertin-Hugault – and returns as closely as possible to the original version of the work, so that the listener will encounter a number of big surprises, and good surprises too: additional numbers, several melodic and dramatic developments: almost a whole new score. © SM/Qobuz
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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 20 oktober 2017 | Warner Classics

Hi-Res Booklet Onderscheidingen Choc de Classica
« This magnificent 1956 recording, conducted with genius by Karajan and with a cast such as dreams are made of, has an unparalleled status and is unlikely to be challenged for many a year. » Gramophone« This remastering comes from the original analogue tapes and has been transferred at high resolution digital quality to capture the very best sound from the tapes. In consultation with the original engineer Chris Parker, we have slightly adjusted the balance of the Trio (in Act 3) to reflect the quality of sound that was desired but not achieved at the time of recording. This recording was originally made as a mono recording by Douglas Larter, with a stereo test version engineered by Chris Parker. It is this stereo test version which has been used for this remastering. Despite the early experimental nature of this new ‘stereo’ technology, this recording is captured in astonishingly vivid sound and is a testament to the experience, understanding and skill of both the musicians and engineers of the time.» Simon Gibson, Remastering Engineer at Abbey Road Studios 
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Volledige opera's - Verschenen op 20 oktober 2017 | Warner Classics

Hi-Res Booklet Onderscheidingen Choc de Classica
This 1968 recording of The Flying Dutchman was made in the studio under the baton of the venerable Ottom Klemperer who, incidentally, was approaching his 83rd birthday - he had just five years left to live. This record is simply a dream come true, with Theo Adam, Martti Talvela, Anja Silja and Annneliese Burmeister supported by the New Philharmonia and the BBC choir. Klemperer is known for his fairly rapid tempos, even if the singers themselves lend longer durations to the music, as the work is not short on quasi-recitatives. In this vein, this "almost" short work (short by Wagner's standards at least) offers a measured reading, very much oriented towards comprehension of the text and clarity of the orchestra. It goes without saying that it has been the subject of a meticulous remastering, so that it really doesn't feel like you are listening to a recording from half a century ago. Orchestral colours, balance between stage and orchestra, precise vocal presence: these all make for an unmissable, historic recording. © SM/Qobuz« This performance is as perfect as we have any right to demand. Klemperer’s magisterial interpretation of the opera has a blazing intensity, the orchestra plays superbly and the cast give of their considerable best.» Gramophone‘ With this remaster of Wagner’s Der fliegende Holländer, the listener is plunged into a stormy world of wind and water. The sound effects introduced for the first time by EMI on this recording are very effective, and the dramatic impact of the performance of Anja Silja as Senta is indisputable. This recording, made in the winter of 1968 at Abbey Road’s Studio One, utilises the Ambiophonic system whereby numerous speakers were added to the walls of the studio to increase reverberation and improve the overall acoustic of the studio. The LP master tapes used for this remaster derive directly from the original four-track masters therefore preserving sound and balance as approved by Klemperer at the time the recording was made, including the spectacular sound effects.’  Ian Jones, Remastering Engineer at Abbey Road Studios
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Volledige opera's - Verschenen op 1 januari 1951 | Universal Music Australia Pty. Ltd.

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Volledige opera's - Verschenen op 16 juni 2017 | Warner Classics

Hi-Res Booklet Onderscheidingen Diapason d'or - The Qobuz Ideal Discography
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Volledige opera's - Verschenen op 1 april 1962 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen Diapason d'or - Choc de Classica
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Volledige opera's - Verschenen op 4 november 2016 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Choc de Classica
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Volledige opera's - Verschenen op 2 september 2016 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Diapason d'or
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Volledige opera's - Verschenen op 1 juli 2007 | Coviello Classics

Onderscheidingen 5 croches d'Opéra International
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Volledige opera's - Verschenen op 1 januari 1971 | Decca Music Group Ltd.

Booklet
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Volledige opera's - Verschenen op 3 oktober 2010 | Coviello Classics

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