Albums

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Opera - Verschenen op 2 augustus 2011 | PentaTone

Hi-Res Booklet Onderscheidingen 4F de Télérama - Hi-Res Audio
€ 9,99

Operafragmenten - Verschenen op 15 december 2010 | Cypres

Onderscheidingen 5 de Diapason - 4F de Télérama - Orphée d'Or de l'Académie du Disque Lyrique - 4 étoiles de Classica
€ 9,99

Volledige opera's - Verschenen op 13 juni 2006 | Avie Records

Onderscheidingen 5 de Diapason - Choc du Monde de la Musique - Recommandé par Répertoire - 4F de Télérama
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€ 9,99

Opera - Verschenen op 24 februari 2015 | Cypres

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Choc de Classica
€ 14,99

Volledige opera's - Verschenen op 1 april 2011 | Challenge Classics

Onderscheidingen 4F de Télérama
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Operafragmenten - Verschenen op 21 januari 2013 | Aparté

Hi-Res Booklet Onderscheidingen 4F de Télérama - Hi-Res Audio
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Opera - Verschenen op 1 december 2017 | naïve classique

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - 5 Sterne Fono Forum Klassik
The opera Dorilla in Tempe, which was first performed in Venice in 1726, exudes a delightful rural atmosphere. The libretto tells a bucolic story set in a valley of Thessaly. Between amorous twists and a huge sacrifice, the various misadventures of Dorilla offer Vivaldi the occasion to deploy a luminous sound palette where hunting horns and flutes often support choruses and soloists. He resumed the work in 1728, still in Venice, then again in 1732 in Prague and one last time in 1734 at "his" theatre - Sant’Angelo. Only this 1734 version has reached us, and so it serves as a basis for present recordings. It is a "pasticcio", for which Vivaldi used various composers - Hasse, Giacomelli, Sarri and Leo in this case - whose melodies replace some of his own; about a third of them are borrowed from colleagues in fact. It was never Vivaldi’s intention to recycle on the sly: the principle of "pasticcio" was the most widespread at the time and very popular with the public. The particularly rare vocal timbres are noticeable: they are made up of almost exclusively deep voices, including three mezzos and one baritone and even two deep castratos, nowadays replaced by contraltos who are much easier to dig up. The entire score gives off a mad energy; a delightful peculiarity adorns part of the opening, in which Vivaldi takes over one of the movements with his Four Seasons with the addition of a choir - proof that even though this music is rich at the base, it can still be further enriched, provided your name is Vivaldi! Diego Fasolis and his ensemble I Barrochisti offer us here one of the very, very rare discographical performances of this neglected masterpiece. © SM/Qobuz
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Operafragmenten - Verschenen op 23 februari 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen 4F de Télérama - Gramophone Editor's Choice - Diamant d'Opéra Magazine - Choc de Classica - 5 Sterne Fono Forum Klassik
With his ensemble Pygmalion, Raphaël Pichon has written the listing for this album in the form of a "pastiche" of a Mass for the Dead, a Requiem both sacred and profane. While it is a long way from having all the defining traits, it does possess all the outlines: Introit, Kyrie, Gradual, Sequence, Offertory, In Paradisum... The idea came about after a recent discovery, in the Bibliothèque Nationale of an anonymous requiem mass from the 18th century, in which the writer constructed a "parody" based on musical extracts from Castor and Pollux and the Fêtes de Paphos by Jean-Philippe Rameau. Note that the term "parody" doesn't necessarily imply satire or mockery: it refers to the practice of taking up older music and setting new words to it. This fusion of sacred music (the mass) and profane music (lyrical tragedy), a common practice during the Enlightenment, was a procedure that Pichon wanted to take up. In French society at the time, when Catholicism was the norm, where the political system was monarchical rule by divine right, the representation of ancient pagan Hell on theatrical stages seemed to betray a fascination in the beliefs of the ancients. And so this programme melds together pagan fable with a Christian imaginary, where Hell takes on different faces. It is the place of unjust and eternal torment, a place of privation where a couple is separated, one half kept in Hades. But, in the lyrical tragedy, Hell is also a place of perdition: obscure forces unleashed in Sabbath rites, a Satanic vision which unearths the darkest depths of the human soul... Stéphane Degout is the author of this tragedy, bringing together such varied characters as Phaedra, Pluto, and the Parcae. The composers whose music is put to use are Rameau and Gluck, with a single borrowing from Rebel: it would have been a shame not to mention his singular Chaos (taken from Éléments), which starts with a dissonant chord containing the seven notes of the scale of D minor. © SM/Qobuz
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Volledige opera's - Verschenen op 2 september 2016 | Ediciones Singulares

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Choc de Classica
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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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Volledige opera's - Verschenen op 17 juni 2016 | Alpha

Hi-Res Booklet Onderscheidingen 4F de Télérama
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Opera - Verschenen op 6 januari 2012 | Sony Classical

Onderscheidingen 4F de Télérama - Choc de Classica
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Volledige opera's - Verschenen op 24 april 2008 | Mirare

Onderscheidingen 5 de Diapason - 4 étoiles du Monde de la Musique - 4F de Télérama
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Volledige opera's - Verschenen op 27 april 2015 | harmonia mundi

Hi-Res Booklet Onderscheidingen 4F de Télérama
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Volledige opera's - Verschenen op 24 maart 2017 | Aparté

Hi-Res Booklet Onderscheidingen 4F de Télérama - Gramophone Editor's Choice
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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 25 januari 2011 | Aparté

Hi-Res Booklet Onderscheidingen 4F de Télérama - Diapason découverte - Choc de Classica - Hi-Res Audio
€ 31,99
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Volledige opera's - Verschenen op 4 oktober 2011 | harmonia mundi

Hi-Res Booklet Onderscheidingen 4F de Télérama - Choc de Classica - Hi-Res Audio
€ 31,99
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Opera - Verschenen op 22 september 2014 | Aparté

Hi-Res Booklet Onderscheidingen 4F de Télérama - Diamant d'Opéra Magazine - Choc de Classica - 5 Sterne Fono Forum Klassik
€ 31,99
€ 22,99

Opera - Verschenen op 22 september 2014 | Aparté

Hi-Res Booklet Onderscheidingen 4F de Télérama - Diamant d'Opéra Magazine - Choc de Classica

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Opera in het magazine