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Opera - Verschenen op 23 juni 2017 | CPO

Booklet Onderscheidingen 5 de Diapason
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Opera - Verschenen op 4 juni 2013 | Dynamic

Onderscheidingen 5 de Diapason
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Opera - Verschenen op 1 november 2011 | PentaTone

Hi-Res Booklet Onderscheidingen 5 de Diapason - Hi-Res Audio
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Volledige opera's - Verschenen op 7 oktober 2010 | harmonia mundi

Booklets Onderscheidingen 5 de Diapason - 4F de Télérama - Choc de Classica - Exceptional sound
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Volledige opera's - Verschenen op 9 oktober 2012 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - Disque de la semaine France Musique - Choc de Classica - Hi-Res Audio
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Opera - Verschenen op 29 januari 2013 | PentaTone

Hi-Res Onderscheidingen 5 de Diapason - 4 étoiles de Classica - Hi-Res Audio
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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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Operafragmenten - Verschenen op 6 juni 2014 | audite Musikproduktion

Booklet Onderscheidingen Diapason d'or - 5 de Diapason
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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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Opera - Verschenen op 6 april 2018 | Glossa

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
Created in 1749 to commemorate the Treaty of Aix-la-Chapelle signed between George II and Louis XV of France to end the War of the Austrian Succession, Rameau’s pastorale héroïque Naïs consecrates the triumph of virtuosity on the stage of the Académie Royale de Musique, while in England, Handel wrote his famous Music for the Royal Fireworks for the same occasion. Weary of sombre tragedies and their dark and oppressive passions, audiences received lighter works more enthusiastically – ballets and pastorales – for which soprano Marie Fel and tenor Pierre Jélyotte were applauded for their prodigious vocal performances. With Naïs, Rameau produces some of his most impressive pages, among which the overture and descriptive prologue, tracing the epic fight between the Titans and the heavenly court for the rule of Olympus. Chivalrous exchanges, athlete evolutions, prophecies, pastoral celebrations, naval battles and underwater nuptials punctuate the work and support the blooming of tender feelings that unite Naïs and Neptune. This co-production between the Centre de Musique Baroque de Versailles (CMBV − Centre of Baroque Music Versailles) and the Müpa Budapest Early Music Festival confirms the position of György Vashegyi in the field of baroque music, and French music in particular. Following the success of Rameau’s Les Fêtes de Polymnie (The Festivals of Polyhymnia) in 2015, and the revelation that was Mondonville’s Isbé, the Hungarian conductor is at it again with excellent singers and his two ensembles, the Budapest Orfeo Orchestra and the Purcell Chorus, which he founded in Budapest at the end of his studies at The Franz Liszt Academy of Music, completed by master classes from the likes of Sir John Eliot Gardiner and Helmut Rilling. This French-Hungarian production focusing on Rameau will be extended with the upcoming release of Les Indes Galantes (The Amorous Indies). © François Hudry/Qobuz
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Volledige opera's - Verschenen op 7 september 2018 | CPO

Booklet Onderscheidingen 5 de Diapason
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Volledige opera's - Verschenen op 18 mei 2018 | Oehms Classics

Booklet Onderscheidingen 5 de Diapason
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Opera - Verschenen op 3 april 2012 | CPO

Onderscheidingen 5 de Diapason
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Volledige opera's - Verschenen op 3 juni 2014 | CPO

Booklet Onderscheidingen 5 de Diapason - Choc de Classica
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Opera - Verschenen op 25 september 2015 | Dynamic

Booklet Onderscheidingen 5 de Diapason
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Volledige opera's - Verschenen op 25 maart 2013 | Ambroisie - naïve

Hi-Res Booklet Onderscheidingen 5 de Diapason - Hi-Res Audio
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Opera - Verschenen op 6 november 2012 | Dynamic

Onderscheidingen 5 de Diapason
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Opera - Verschenen op 29 oktober 2013 | Dynamic

Onderscheidingen 5 de Diapason
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Volledige opera's - Verschenen op 1 maart 2015 | Myto Historical

Onderscheidingen 5 de Diapason
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Opera - Verschenen op 7 juli 2017 | Oehms Classics

Booklet Onderscheidingen 5 de Diapason - 4 étoiles de Classica

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