Albums

€ 14,99
€ 9,99

Opera - Verschenen op 15 maart 2019 | Cantaloupe Music

Hi-Res Booklet
€ 14,99
€ 9,99

Opera - Verschenen op 8 maart 2019 | Oehms Classics

Hi-Res Booklet
€ 29,99
€ 19,99

Opera - Verschenen op 18 januari 2019 | Pinchgut Live

Hi-Res
€ 20,99
€ 13,99

Opera - Verschenen op 11 januari 2019 | Bru Zane

Hi-Res Booklet
€ 14,99
€ 9,99

Opera - Verschenen op 4 januari 2019 | Dacapo

Hi-Res Booklet
€ 29,99
€ 19,99

Opera - Verschenen op 16 november 2018 | Rondeau

Hi-Res Booklet
€ 26,99
€ 17,99

Opera - Verschenen op 9 november 2018 | Naxos

Hi-Res Booklet
Rossini's opera Maometto II might not ring many bells. It was first performed in Naples in 1820. But what if we told you that the 1826 French version was named Le Siège de Corinthe… ? Of course, the revision for the French version was such that it is easy to think of them as two different works, if only because Maometto II deals with the Turkish-Venetian war of the 15th century (Mehmet II is a historical figure, an Ottoman Sultan), whereas Le Siège de Corinthe is pushed forwards into the 1820 Greek War of Independence! This is a recording of the original 1820 version and not one of the many reworkings that the piece underwent over the decades. Here we find Rossini in a most unusual mood: few bravura numbers and an almost unbroken writing style, it’s very close to the libretto and its incessant dramatic leaps. It is hardly surprising that Rossini didn't find much success with the piece’s many Italian performances. In a way it was too modern; it dared to deviate radically from the standards that everyone expected at the time. This is a live recording (so excuse the occasional rogue noises from the stage) made at the Rossini in Wildbad festival in 2017 with the Virtuosi Brunensis (an orchestra made up of Brno's finest stage musicians) and the Poznań Camerata Bach Choir, a fine set. © SM/Qobuz
€ 14,99
€ 9,99

Opera - Verschenen op 9 november 2018 | Jube Classic

Hi-Res
€ 29,99
€ 19,99

Opera - Verschenen op 19 oktober 2018 | Jube Classic

Hi-Res
€ 26,99
€ 17,99

Opera - Verschenen op 12 oktober 2018 | Naxos

Hi-Res Booklet
€ 29,99
€ 19,99

Opera - Verschenen op 5 oktober 2018 | BIS

Hi-Res Booklet
€ 20,99
€ 13,99

Volledige opera's - Verschenen op 14 september 2018 | Bru Zane

Hi-Res Booklet Onderscheidingen Diapason d'or - Choc de Classica
€ 26,99
€ 17,99

Volledige opera's - Verschenen op 14 september 2018 | Naxos

Hi-Res Booklet Onderscheidingen 5 de Diapason
€ 26,99
€ 17,99

Opera - Verschenen op 13 juli 2018 | Naxos

Hi-Res Booklet
€ 39,99
€ 33,99

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
€ 14,99
€ 9,99

Opera - Verschenen op 15 juni 2018 | Solo Musica

Hi-Res Booklet
It's hard to love these calling-card albums in which young soloists go rummaging through the repertoire for great hits, generally the most hackneyed ones available. But Romanian soprano Elena Moşuc has made hers with flair: her choice of Verdi heroines includes a few classics, sure, (Traviata, Il Trovatore), but there are also rarities like Attila, Aroldo, I due Foscari, the Vêpres siciliennes. These are works that everyone knows of, but where are they performed regularly? Elena Moşuc largely built her career in the Zurich Opera House, where she has played a good number of great heroines, like the Queen of the Night, Gilda, Violetta, Lucia, Mimì, Marguerite, Donna Anna, Konstanze, Zerbinetta, Norma, Nedda, Lucrezia Borgia, Anna Bolena, Maria Stuarda and Desdemona – showing a clear preference for characters from Italian opera. © SM/Qobuz
€ 29,99
€ 19,99

Opera - Verschenen op 6 april 2018 | BR-Klassik

Hi-Res Booklet
Luisa Miller marks the end of years of hardship for Verdi who is now in full possession of his own musical language, and he does not owe anything to Bellini or Donizetti anymore. The opera, with a rather complex architecture, starts with a beautiful overture, and is supported by a dramatic direction and an inspired melodic style, with perfectly characterised roles. Recorded during a live version performed in 2017 in Munich’s Prinzregententheater, this new version of Luisa Miller, with its eminently international cast, sounds undeniably appealing. The title role is held by Latvian soprano Marina Rebeka. This great interpreter of Mozart and Rossini made her acclaimed debut in Salzburg, under the direction of Riccardo Muti, and has since sung on the greatest lyrical stages in the world. By her side, Sicilian tenor Ivan Magri as Rodolfo, and Romanian George Petean who asserts himself as one of today’s best Verdian baritones. Croatian conductor Ivan Repušić leads the way with meticulous efficiency, lending a true “italianità” to the Munich Radio Orchestra. © François Hudry/Qobuz
€ 7,45
€ 4,95

Opera - Verschenen op 22 februari 2018 | Hoot - Wisdom Recordings LLC

Hi-Res
€ 26,99
€ 17,99

Opera - Verschenen op 9 februari 2018 | Naxos

Hi-Res Booklet
No, sir: Ricciardo e Zoraide is not an obscure opera from the young Rossini. In the same year, 1818, the maestro had already stunned the world of lyrical music with Tancredi, L'Italiana in Algeri, Il turco in Italia , The Barber of Seville, Otello, La cenerentola, La gazza ladra and a good fifteen or so others. But then, why should the "drama" Riccardo e Zoraide remain in the shade, even today when there is something of a fashion for unearthing forgotten works? Let's just say that the script is worse even than most badly-put-together scripts. As Richard Osborne has it (in Rossini, his life and work), "with all these details, the work reads like a Marlowe epic re-written by the Marx brothers; only Rossini's music brings to life and carries these crude dramatic archetypes." … And yet: what a musical treasure! From the overture... There isn't an overture, at least, not one of those overtures which is pretty much interchangeable between operas: Rossini unfolds an ample musical prologue, which describes the start of the action, with the rather spectacular addition of a backstage orchestra. Airs, ensembles, choirs, the score contains innumerable splendours and it would be a crying shame for them to go unheard. We should add that after its first performance in 1818, Ricciardo e Zoraide was performed all over Europe, translated into German and French, and given a last outing at la Scala in 1846, before disappearing until 1990, and then falling out of sight yet again, before being unearthed for a performance at the Wildbad Rossini Festival 2013 in Germany. And here is a live recording of that very concert: a discographic rarity which merits discovery. © SM/Qobuz

Genre

Opera in het magazine