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Volledige opera's - Verschenen op 4 november 2016 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Choc de Classica
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€ 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
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€ 22,99

Volledige opera's - Verschenen op 4 oktober 2011 | harmonia mundi

Hi-Res Booklet Onderscheidingen 4F de Télérama - Choc de Classica - Hi-Res Audio
€ 48,99
€ 34,99

Opera - Verschenen op 1 januari 1966 | Deutsche Grammophon (DG)

Hi-Res Onderscheidingen Choc de Classica - The Qobuz Ideal Discography
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Volledige opera's - Verschenen op 22 mei 2009 | harmonia mundi

Onderscheidingen Choc de Classica - Exceptional sound
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€ 24,49

Opera - Verschenen op 2 oktober 2015 | Warner Classics

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - 4F de Télérama - Diapason d'or / Arte - Choc de Classica
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Volledige opera's - Verschenen op 20 oktober 2017 | Warner Classics

Hi-Res Booklet Onderscheidingen Choc de Classica
« This magnificent 1956 recording, conducted with genius by Karajan and with a cast such as dreams are made of, has an unparalleled status and is unlikely to be challenged for many a year. » Gramophone« This remastering comes from the original analogue tapes and has been transferred at high resolution digital quality to capture the very best sound from the tapes. In consultation with the original engineer Chris Parker, we have slightly adjusted the balance of the Trio (in Act 3) to reflect the quality of sound that was desired but not achieved at the time of recording. This recording was originally made as a mono recording by Douglas Larter, with a stereo test version engineered by Chris Parker. It is this stereo test version which has been used for this remastering. Despite the early experimental nature of this new ‘stereo’ technology, this recording is captured in astonishingly vivid sound and is a testament to the experience, understanding and skill of both the musicians and engineers of the time.» Simon Gibson, Remastering Engineer at Abbey Road Studios 
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Operafragmenten - Verschenen op 15 februari 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
Recorded in July 2018 at “Studio” - a new high-tech venue in the outskirts of Paris - this album (which was built entirely on Judith Fuchs' own idea) is dedicated to orphaned women in 19th century opera, between 1815 and 1850, who were struggling to escape the miserable conditions which they found themselves in. Following her huge success in 2018 in Rossini's Count Ory at the Opéra-Comique de Paris, Julie Fuchs was keen to further explore this repertoire. Conducted by Enrique Mazzola (a real “opera maestro”) the Orchestre National d'Île-de-France is dazzling in these operatic excerpts by Donizetti and Rossini, as well as - and most importantly – those by Pacini, Raimondi, Fioravanti, Berlioz, Barbieri and Meyerbeer. This album presents another opportunity for listeners to be won over by Fuchs’ sumptuous voice. The young French lyrical soprano first made a name for herself at the Festival d'Aix-en-Provence, before joining the opera ensemble at the Zurich Opera House in 2013. Further successes followed in Salzburg, Vienna and Paris as well as at the Teatro Real in Madrid. This incredibly versatile repertoire jumps from Mozart to Barbara, Cole Porter, George Crumb and Björk. Julie Fuchs knows no musical boundaries, performing with equal ease in opera as she does in concert next to the young pianist Alphonse Cemin. On Mademoiselle she sings in Italian, French and Spanish, journeying through romantic Bel Canto with a wonderfully original touch and revealing all aspects of her agile, sensual voice. © François Hudry/Qobuz
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Operafragmenten - Verschenen op 16 mei 2014 | Sony Classical

Hi-Res Booklet Onderscheidingen Choc de Classica
€ 27,99

Volledige opera's - Verschenen op 7 oktober 2010 | harmonia mundi

Booklets Onderscheidingen 5 de Diapason - 4F de Télérama - Choc de Classica - Exceptional sound
€ 17,49
€ 12,49

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 1 maart 1962 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen Choc de Classica
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Volledige opera's - Verschenen op 1 december 2017 | Aparté

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - Choc de Classica
Everyone thinks that they know Alceste by Lully, and yet this 1674 masterpiece has almost never been recorded in its entirety. Apart from the Malgoire version from 1975 with Bruce Brewer and Felicity Palmer, which is starting to become outdated, the real treat is a second versoin by the same Malgoire twenty years later with Jean-Philippe Lafont and Colette Alliot-Lugaz... And so we can only take our hats off to the new discographical opus from Christophe Rousset's Talens Lyriques, a lively and elegant reading which allows us to rediscover everything that was so innovative about this brilliant, effervescent Florentine, who would become a typical Versaillais, a courtesan and a wheeler-dealer. King Louis XIV - 36 years old, still with all his own teeth and a victorious war leader - could only feel flattered by the piece signed by Quinault: Alcide, who covets the beautiful Alceste (who has been promised to Admetus), is none other than Hercules himself - Louis XIV seeing himself in Hercules saving the beautiful Madame de Montespan from the clutches of her husband. To be sure, in this opera, Admetus/Hercules magnanimously hands Alceste, whom he has saved from hell, to her husband, while the poor Mr Montespan would end his career and his life exiled in Gascony... Honour intact. The Sun King loved the work, to the point that he commanded that rehearsals be held at Versailles. According to Madame de Sévigné, "The King declared that if he found himself in Paris when it was performed, he would go to see it every night." That being said, if Alceste suited the tastes of the court, it didn't do so well in Paris, where Lully's enemies, jealous of the extravagant privileges that he had won (the exclusive right to "have sung any whole piece in France, wither in French verse or in other languages, without the written permission of said Sir Lully, on pain of a ten thousand livre fine, and confiscation of theatres, equipment, decorations, costumes..."), heaped plot upon plot, while the gallant Mercury sang his little couplet: Dieu !  Le bel opéra ! Rien de plus pitoyable ! Cerbère y vient japper d'un aboi lamentable !  Oh ! Quelle musique de chien ! Oh ! Quelle musique du diable ! [Lord!/Fine opera!/There's nothing so pitiable!/Cerberus is yapping, his howls lamentable!/What doggish music!/What devilish music!]. Posterity would decide otherwise, and Rousset proved it triumphantly. © SM/Qobuz
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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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Volledige opera's - Verschenen op 3 september 2015 | Aparté

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica - Choc Classica de l'année
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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
€ 69,99

Opera - Verschenen op 1 januari 2012 | Deutsche Grammophon (DG)

Onderscheidingen Diapason d'or / Arte - Choc de Classica - The Qobuz Ideal Discography
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€ 27,99

Volledige opera's - Verschenen op 20 oktober 2017 | Warner Classics

Hi-Res Booklet Onderscheidingen Choc de Classica
This 1968 recording of The Flying Dutchman was made in the studio under the baton of the venerable Ottom Klemperer who, incidentally, was approaching his 83rd birthday - he had just five years left to live. This record is simply a dream come true, with Theo Adam, Martti Talvela, Anja Silja and Annneliese Burmeister supported by the New Philharmonia and the BBC choir. Klemperer is known for his fairly rapid tempos, even if the singers themselves lend longer durations to the music, as the work is not short on quasi-recitatives. In this vein, this "almost" short work (short by Wagner's standards at least) offers a measured reading, very much oriented towards comprehension of the text and clarity of the orchestra. It goes without saying that it has been the subject of a meticulous remastering, so that it really doesn't feel like you are listening to a recording from half a century ago. Orchestral colours, balance between stage and orchestra, precise vocal presence: these all make for an unmissable, historic recording. © SM/Qobuz« This performance is as perfect as we have any right to demand. Klemperer’s magisterial interpretation of the opera has a blazing intensity, the orchestra plays superbly and the cast give of their considerable best.» Gramophone‘ With this remaster of Wagner’s Der fliegende Holländer, the listener is plunged into a stormy world of wind and water. The sound effects introduced for the first time by EMI on this recording are very effective, and the dramatic impact of the performance of Anja Silja as Senta is indisputable. This recording, made in the winter of 1968 at Abbey Road’s Studio One, utilises the Ambiophonic system whereby numerous speakers were added to the walls of the studio to increase reverberation and improve the overall acoustic of the studio. The LP master tapes used for this remaster derive directly from the original four-track masters therefore preserving sound and balance as approved by Klemperer at the time the recording was made, including the spectacular sound effects.’  Ian Jones, Remastering Engineer at Abbey Road Studios
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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
€ 34,99
€ 24,99

Volledige opera's - Verschenen op 1 april 1962 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen Diapason d'or - Choc de Classica


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