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CD€ 13,49

Klassiek - Verschenen op 17 januari 2011 | Warner Classics

Booklet Onderscheidingen Diapason d'or - Diamant d'Opéra - Choc de Classica - Choc Classica de l'année
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Klassiek - Verschenen op 7 januari 2008 | Warner Classics

Onderscheidingen Diapason d'or - 10 de Classica-Répertoire - Diamant d'Opéra
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Klassiek - Verschenen op 24 oktober 2011 | Warner Classics

Hi-Res Booklet Onderscheidingen 4 étoiles Classica - Exceptional Sound Recording - Hi-Res Audio
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Klassiek - Verschenen op 7 januari 2008 | Warner Classics

Onderscheidingen Diapason d'or - 10 de Classica-Répertoire - Diamant d'Opéra
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CD€ 14,99

Klassiek - Verschenen op 27 maart 2015 | Erato - Warner Classics

Hi-Res Booklet Onderscheidingen Choc de Classica - 5 Sterne Fono Forum Klassik
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Klassiek - Verschenen op 3 juli 2015 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 4F de Télérama
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Klassiek - Verschenen op 21 november 2014 | Warner Classics

Hi-Res Onderscheidingen 4 étoiles Classica
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CD€ 23,99

Klassiek - Verschenen op 14 oktober 2013 | Warner Classics International

Hi-Res Onderscheidingen Hi-Res Audio
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Klassiek - Verschenen op 27 maart 2015 | Erato - Warner Classics

Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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CD€ 13,49

Klassiek - Verschenen op 31 januari 2020 | Warner Classics

Hi-Res Booklet
The late Mariss Jansons would never live to see the release of this album from Diana Damrau, in which he leads his Bavarian Radio Symphony Orchestra for a recital of Richard Strauss’ Vier letze Lieder. Recorded in the Herkulessaal (Hercules hall) of the Munich Residence and Hohenems in 2019, the album follows Damrau’s Lieder recital from 2011 which was also dedicated to the composer, under the direction of Christian Thielemann. Morgen was already re-recorded here, but the German soprano sang the Vier letzte Lieder once more under the direction of Mariss Jansons on November 8, 2019 during her very last concert on tour with the famous Bavarian ensemble at Carnegie Hall in New York, just twenty days before the composer passed away. Her gentle voice is much like that of her fellow performer Gundula Janowitz, bringing a radiant glow to this veritable farewell which was composed by an eighty-four-year-old Strauss as he contemplated life, gazing upon a Germany devastated by war. In addition to these orchestral pieces, the programme is devoted to a selection of some twenty Lieder from all eras, including Richard Strauss’ last composition, Malven (“Mauves”) which he composed in 1948 for singer Maria Jeritza, who jealously kept it to herself until it was finally released in 1985. Helmut Deutsch provides the ideal accompaniment on piano, listening, supporting and coordinating his playing with the German singer’s every word. © François Hudry/Qobuz
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Liederen (Duitsland) - Verschenen op 11 januari 2019 | Warner Classics

Hi-Res Booklet
By turns ecstatic and deeply depressed, as is the way with bipolar disorders, Hugo Wolf gave the world great and precious masterpieces in the genre of the lied with his great cycles, in particular Italienisches Liederbuch, for two voices, which represents the soul of the art. 46 lieder speak of love, focusing on the tangled feelings of man and woman across lovers' dialogues in ironic, gallant and impassioned tones. Written around words by Paul Heyse based on anonymous Tuscan poems, this collection is full of ballads, and in particular rispetti (compliments), folksy poems made up of two quatrains. The German translation seriously disfigures the light touch of the Italian original, especially as Hugo Wolf makes no attempt to "do Italian" in his compositions. “I assure you: a warm heart beats in the little chests of my youngest southern children, who, despite everything, cannot hide their German origins. Yes, their hearts beat in German, even though the sun shines in Italian", he told a friend. This Italian collection is made up of, as Stéphanie Goldet writes, "little love stories, moments of impatience or frustration, wishes and warnings, complaints and recriminations, demands and unconditional surrenders". Recorded in concert at the Hesse Philharmonic on 18 February 2018, this new recording ranks alongside other legendary records such as those by Schwarzkopf and Fischer-Dieskau; it will surely become a new reference point version. While it was reasonable to worry about Jonas Kaufmann's voice, we can hear that it has recovered all its strength and its thousand and one miraculous nuances. His partner, Diana Damrau, is radiant, with a song that brings together the many different emotions of a worried and sometimes mischievous young girl. But this dialogue would be nothing without the subtle and refined piano-playing of Helmut Deutsch, who has given these miniatures such an irresistible accompaniment. © François Hudry/Qobuz
CD€ 19,49

Klassiek - Verschenen op 21 november 2014 | Warner Classics

Booklet
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Klassiek - Verschenen op 6 juli 2015 | Deutsche Grammophon (DG)

Booklet
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Klassiek - Verschenen op 1 februari 2017 | Orfeo

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Religieuze vocale muziek - Verschenen op 1 januari 2005 | Haenssler Classic

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Klassiek - Verschenen op 5 mei 2017 | Erato - Warner Classics

Hi-Res Booklet
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Klassiek - Verschenen op 14 oktober 2013 | Warner Classics International

Booklet
CD€ 13,49

Klassiek - Verschenen op 11 januari 2019 | Warner Classics

Booklet
CD€ 9,99

Klassiek - Verschenen op 7 september 2018 | Profil

Booklet
CD€ 9,99

Klassiek - Verschenen op 18 mei 2018 | Profil

Booklet
It's not for nothing that 1840 is thought of as Schumann's "year of the Lied": Dichterliebe, Frauen-Liebe und Leben , the two great Liederkreis – Heine and Eichendorff – as well as a number of other cycles came to be, plus this Myrten, which was written as a wedding gift for Clara Wieck. The 26 Lieder are in fact not connected by any organic link: rather, they are like a crown made of 26 flowers, all essentially different, all displaying the immense diversity of the composer's art in the domain of the Lied, running from a traveller's scrapbook – in the Orientalist texts of Goethe's West–östlicher Divan , Burns's Scotland or Venice with its gondolieri – to the more domestic and familial, by way of ambiguous moments evoking the Lotusblume (lotus flower) or the bucolic air of Germany. Soprano Diana Damrau and baritone Iván Paley, accompanied on the piano by Stephan Matthias Lademann, share the score, each choosing Lieder which best fit their voice – without any transposition; all the original tonalities are retained. Because, while the texts aren't necessarily organically connected to one another, the transition from one Lied to the next is strongly structured, and any modifications would break the tonal balance. Moreover, the alternation between male and female voices really puts the accent on the feminine-masculine aspect of the cycle, and it avoids any monotony. This is a very fine production indeed. © SM/Qobuz