Albums

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Volledige opera's - Verschenen op 11 juli 2014 | Sony Classical

Hi-Res Onderscheidingen Diapason d'or - The Qobuz Ideal Discography
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Opera - Verschenen op 22 april 2011 | Sony Classical

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Volledige opera's - Verschenen op 8 juni 2015 | Alia Vox

Hi-Res Booklet Onderscheidingen 4 étoiles de Classica
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Opera - Verschenen op 10 maart 2017 | Alpha

Hi-Res Booklet
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Opera - Verschenen op 2 oktober 2015 | Signum Records

Hi-Res Booklet
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Volledige opera's - Verschenen op 13 oktober 2017 | Signum Records

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
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Volledige opera's - Verschenen op 1 september 2013 | Challenge Classics

Hi-Res Onderscheidingen 5 de Diapason - 4 étoiles de Classica
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Opera - Verschenen op 8 juli 2014 | Challenge Classics

Hi-Res Onderscheidingen Gramophone Editor's Choice
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Volledige opera's - Verschenen op 22 juli 2008 | Claves Records

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Opera - Verschenen op 26 oktober 2012 | Challenge Classics

Hi-Res Booklet
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Opera - Verschenen op 7 juli 2017 | Sterling

Booklet
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Volledige opera's - Verschenen op 9 augustus 2017 | mpLive

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Opera - Verschenen op 1 januari 1996 | Playground Music

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Opera - Verschenen op 11 mei 2016 | Opera Discovery

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Opera - Verschenen op 11 oktober 2017 | Kreativ-Music

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Operafragmenten - Verschenen op 28 september 2018 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or - Qobuzism
The first solo album from the excellent youngster Julien Behr, who has already played at the Paris Opéra, the Théâtre des Champs-Elysées, the Bordeaux and Lyon Opera Houses and cities such as Salzburg, Vienna, London, Cologne and many other great venues as well as making recordings of various lyrical works including L’Enfant et les sortilèges with Bavarian Radio. As debut albums go, he has made a daring choice in selecting some of the more unknown areas of French opera rather than the more popular pieces from Don José, Romeo, Faust and other big names. Instead, he has taken some gems from the Romantic repertoire (if we extend it up to the First World War for the sake of argument) which are little-heard of. From Gounod, he has selected Cinq-Mars ; from Bizet, La Jolie fille de Perth (one of Bizet's most exquisite passages); from Thomas, Mignon; and then, better-known but still uncommon, Léhar The Merry Widow; Godard, Jocelyn; and Delibes Lakmé. His diction is utterly impeccable; his transparent and airy voice evokes Heddle Nach or Jussi Björling, which serves the repertoire perfectly. The album closes with a few hits from the Romantic repertoire such as Vous qui passez sans me voir by Charles Trenet – well, the lyrics are from the Fou chantant, while the music is by Johnny Hess and Paul Misraki, and the song was originally written for Jean Sablon – evidence of Behr's love of lighter genres, for sure. . © SM/Qobuz
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Operafragmenten - Verschenen op 2 maart 2018 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen Diapason d'or - Diapason d'or / Arte - Qobuzism - 5 Sterne Fono Forum Klassik
Nowadays it might seem rather strange to describe a composer as a “singing master”, but, during the eighteenth century, this was not the case at all. In Italy, almost every composer worthy of the name wrote opere serie (Porpora wrote at least forty- ve): serious opera was the dominant musical genre, glorifying the human voice above everything else. It was the maker or breaker of musical reputations, with its nest singers the rst superstars of music. Therefore composers, though generally eclipsed by the fame of their leading men and women, needed to understand the human voice and all its remarkable capabilities, both technical and histrionic, in order to be able to exploit the possibilities of the operatic form at a time when those “machines made for singing”, the castrati, had brought the vocal art to a pitch of perfection never known before, nor equalled since. Though this recording is bringing Porpora’s name to public attention again on the 250th anniversary of his death, his fame as a singing teacher has probably obscured, until recently, his remarkable qualities as a composer, quite simply because two of the most famous castrati were among his many pupils, namely Gaetano Majorano, known as Caffarelli, whom Porpora once called “the nest singer in Europe”, also famed for his amorous antics and arrogance on- and off-stage, and the even more celebrated Carlo Broschi, who, under his stage name of Farinelli, amazed audiences and set hearts a- utter for fteen years throughout Europe, before being called to Spain to heal a crazed King by the power of his voice. Max Cencic remarks: “Porpora was a severe teacher, I think, maybe almost sadistic in his demands — you need 120% control of breath, brain and voice”. Legend indeed has it that he taught Caffarelli one page of exercises, and those alone, for six years. The formal alternation of aria and recitative in opera seria conceals a great range of emotional expression, that varietas that Erasmus famously described as “so powerful in every sphere that there is absolutely nothing, however brilliant, which is not dimmed if not commended by variety”. In such forms as the orid aria di bravura or the lyrical aria di sostenuto, the composer’s fantasy only provided a framework for the singer to embroider: the performer’s skill in ornamentation and other emotional devices was of paramount importance. Porpora’s many years of both teaching and composing experience made him, in Max Cencic’s opinion, “one of the top ten composers of Italian Baroque opera. I chose the arias for this recording almost by instinct, by what ‘felt right’. There is no way one can encompass a composer of such quality in one album, and each piece is a treasure in its own right. Though technical display is everywhere — leaps, rapid scales, trills, long phrases — Porpora’s special and utterly captivating melodic gift always shines through.” The arias are all taken from works composed at the height of Porpora’s fame, from Ezio (Venice 1728; “Se tu la reggi al volo” is a semiquaver spectacular) to Filandro (Dresden 1747, with a ravishing siciliano in “Ove l’erbetta tenera, e molle”), including three of the operas he composed for London during the 1730s, in direct competition with Handel (Arianna in Nasso 1733, Enea nel Lazio 1734 — real reworks here in “Chi vuol salva” — and I genia in Aulide 1735). The Teatro San Carlo in Naples, perhaps the most famous of all opera houses at that time, saw the premiere of Il trionfo di Camilla in 1740, and the two arias recorded here show Porpora at his best: the music of “Va per le vene il sangue” evocatively matches its darkly suggestive text, while “Torcere il corso all’onde” combines rapid- re coloratura with elegance of line. In the three arias from Carlo il Calvo (Teatro delle Dame, Rome 1738) the singer is similarly called to match Porpora’s varietas with his own: from the scurrying oriture of “So che tiranno io sono” to the high-lying phrases of “Se rea ti vuole il cielo”, and the beguilingly hypnotic sostenuto of “Quando s’oscura il cielo”. Porpora’s orchestral writing is also remarkably varied, all the more so in that he generally uses only strings, nowhere better than in the elaborate lines of “Torbido intorno al core” from Meride e Selinunte (Venice 1726), where voice and violins entwine in an elaborate and emotionally suggestive web of divisions. However, sometimes he pulls out all the sonority stops, as in the martial “Destrier, che all’armi usato” where, at the rst performance in the Teatro Regio, Turin in 1731 trumpets and horns vied with the unmatchable power of the voice of Farinelli. As Max Cencic has said: “How can we emulate the great castrati? That is hard to pin down, but these voices were the very soul of Porpora’s music.” -Nicholas Clapton © 2018 – Decca Group Limited
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Operafragmenten - Verschenen op 1 januari 2013 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - Diamant d'Opéra Magazine
Cecilia Bartoli neemt ons mee op een reis van Italië naar Rusland en vertelt over de ontwikkeling van de opera in Sint Petersburg. Door het initiatief nemen van 3 invloedrijke Tsarina's, Anna I, Elisabeth I (Elisabeth Petrovna, dochter van Peter de Grote) en Catharina II (Sophia Augusta Frederika van Anhalt-Zerbst ), werd de muziekwereld in Rusland nieuw leven ingeblazen. Naast het regelen van muzikanten, wisten de Tsarina's ook meerdere Italiaanse componisten aan te trekken als Franceso Araia, gevolgd door Manfredini en Cimarosa. In dit album brengt Bartoli verborgen schatten aan het licht van vergeten componisten als Hermann Friedrich Raupach, die van oorsprong hofklavecinist was en componist werd na het ontslag van Araia. Dankzij de archieven van het Mariinskitheater kon Cecilia Bartoli deze selectie operafragmenten samenstellen, waarvan een groot deel niet eerder was gepubliceerd.
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Opera - Verschenen op 21 februari 2006 | Naxos

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