Albums

€ 31,99
€ 27,99

Opera - Verschenen op 22 maart 2019 | Opera Rara

Hi-Res Booklet
€ 29,99

Opera - Verschenen op 22 maart 2019 | Orfeo

€ 29,99

Opera - Verschenen op 15 maart 2019 | CPO

Booklet
€ 29,99

Opera - Verschenen op 8 maart 2019 | Orfeo

€ 44,99
€ 29,99

Opera - Verschenen op 1 maart 2019 | Dynamic

Hi-Res Booklet
€ 29,99

Opera - Verschenen op 1 februari 2019 | Orfeo

€ 36,51€ 48,68

Opera - Verschenen op 30 november 2018 | LSO Live

Booklet Onderscheidingen 4F de Télérama
€ 35,99
€ 23,99

Volledige opera's - Verschenen op 16 november 2018 | naïve classique

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - Choc de Classica
€ 35,96
€ 23,96

Opera - Verschenen op 16 november 2018 | PentaTone

Hi-Res Booklet
€ 35,99

Opera - Verschenen op 9 november 2018 | Naxos

Booklet
€ 48,99
€ 34,99

Volledige opera's - Verschenen op 2 november 2018 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - 5 étoiles de Classica
€ 44,99
€ 29,99

Opera - Verschenen op 26 oktober 2018 | SDG

Hi-Res Booklet Onderscheidingen Gramophone Record of the Month
Il ritorno d’Ulisse in patria by Monteverdi poses a lot of problems for modern performers. There exists no definitive manuscript – although one may doubt how much people bothered back then with "definitive" versions of works which were re-written from one performance to the other, depending on the singers and instrumentalists that were on hand, the tastes of this or that star, the diktat of the Church – and the only copy dating from the composer's time, discovered in Vienna in 1881, is incomplete. When we try and compare this manuscript with different copies of the libretto which are still around today, the difficulties only increase. For this recording by Sir John Eliot Gardiner and the English Baroque Soloists, recorded live at concerts in September 2017, the decision was taken to fill in everything that could be filled in with a few passages borrowed from earlier works by Monteverdi. The Return of Ulysses dates from 1640, when Monteverdi was 74 years old, so there was a lot to choose from for these fillers. This version is almost certainly the closest approximation we have to the original yet, the singers have worked hard to give the most accurate reproduction possible of the vocal inflections demanded by the various formats employed by Monteverdi. These inflections are often very declamatory and sometimes sung to the fullest. The recitations and the melodies, the ensembles and the choirs: everything is treated with the utmost care and the effort put into contrast and clarity only enhances the quality of this recording. A magnificent rendition. © SM/Qobuz
€ 44,99
€ 29,99

Opera - Verschenen op 12 oktober 2018 | Orfeo

Hi-Res Booklet
€ 29,99

Opera - Verschenen op 21 september 2018 | Accent

Booklet
€ 29,99

Opera - Verschenen op 31 augustus 2018 | Orfeo

Booklet
€ 29,99

Opera - Verschenen op 31 augustus 2018 | Orfeo

Booklet
€ 29,99

Opera - Verschenen op 27 juli 2018 | Opus Arte

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
€ 38,99
€ 27,99

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

Genre

Opera in het magazine