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Kamermuziek - Verschenen op 15 juli 2013 | naïve classique

Hi-Res Booklet Onderscheidingen Diapason d'or - 10 de Répertoire - Gramophone Editor's Choice - Hi-Res Audio
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Concerten voor viool - Verschenen op 24 februari 2015 | Glossa

Hi-Res Booklet Onderscheidingen Diapason d'or
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Kamermuziek - Verschenen op 22 juni 2018 | Glossa

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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Sacred Oratorios - Verschenen op 31 maart 2015 | Glossa

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Volledige opera's - Verschenen op 1 september 2017 | Glossa

Hi-Res Booklet Onderscheidingen 4 étoiles de Classica
No opera from Handel is as enigmatic as Silla. This fourth London opera was composed in 1713; and that’s as far as our knowledge goes! The written music scores are incomplete and we have no information about any contemporary performance. The first Handel experts tried to find an explanation and agreed upon the theory that Silla was written for a private show in the household of the Count of Burlington, who was at the time the composer’s patron. Then, in 1969, the discovery of a glossary from June 1713 established a possible date of the first performance. The inclusion of an extravagant work dedicated to the Duke d’Aumont, a recently appointed French ambassador, suggests the possibility of a show organized by or for the Duke. That could explain not only the absence of an English translation in the glossary, which is unique about Handel’s London operas, but also the relative brevity of the work.However, some problems remain unresolved. D’Aumont was a leading figure in the London life, and it seems rather unlikely that such an initiative would be ignored by the London press or forgotten by D’Aumont in his own writings. Was Silla played in 1713? As of yet, we can’t say for sure. There are further questions regarding the opera itself, in particular the choice of subject. This is indeed one of the rare historical operas from Handel concerned with Lucius Cornelius Silla’s end of life related by Plutarch; having seized Rome, this consul-come-tyran had his adversaries killed before retiring in a way as sudden as it was incredible in his country house to focus on his hobbies. It’s hard to imagine that this thread could fit an opera probably thought as a commemorative piece of an event of some sort: experts have been struggling to find answers and some have tried to discover an allegorical context. Apart from the theme, the quality and the meaning of the book have also been vehemently criticized. It’s significantly based on Italian cantatas from the composer’s youth and it’s interesting to notice that, as far as the style is concerned, the music goes back to a certain extent to his previous historical opera, Agrippina.Although the absurdities from its book make it an unlikely candidate to find a place in the great operatic repertoire, Silla contains enough musical beauties. Let’s also remember that Handel was holding his work in enough regard to recycle a considerable part of it into his next opera, Amadigi di Gaula. © SM/Qobuz
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Klassiek - Verschenen op 5 mei 2017 | Glossa

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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Kamermuziek - Verschenen op 17 mei 2019 | Glossa

Hi-Res Booklet
In the course of his illustrious career, Fabio Biondi has nurtured a remarkable empathy with Italian music from across many centuries, but strikingly so with the early Baroque violin sonata repertory, the development of which was dramatically propelled into the future by Arcangelo Corelli with his Op 5 collection. It is this empathy possessed by Biondi which has inspired the Accademia Nazionale di Santa Cecilia in Rome (from its bowed instrument collection) to make him a loan of the precious 1690 “Tuscan” violin made by Antonio Stradivari, for this Glossa recording. Another skill possessed by Biondi is his deft assemblage of programmes, whether for concert or for recordings, and this new release of early eighteenthcentury violin works touches on the impact that Corelli’s music had on music-making in Dresden, Venice, Padua, London and Amsterdam, to name just a few of the destinations affected as the fame of “Arcangelo Bolognese” fanned out from Rome across Europe. With a continuo team from his Europa Galante ensemble (Antonio Fantinuoli, cello, Giangiacomo Pinardi, theorbo and Paola Poncet, harpsichord), Biondi plays sonatas by Vivaldi, Corelli, Geminiani, Tartini and Locatelli, and a Ciaccona by Veracini. Recorded in Rome, on an instrument which was originally made for the Florentine court of Ferdinando de’ Medici (and which, over time, has survived all manner of vicissitudes on its journey to Rome!), Fabio Biondi expertly captures the flavour of the eighteenth-century violin sonata. © Glossa
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Sacred Oratorios - Verschenen op 1 maart 2011 | BIS

Hi-Res Booklet
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Klassiek - Verschenen op 1 januari 2000 | naïve classique

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Klassiek - Verschenen op 1 januari 1993 | naïve classique

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Klassiek - Verschenen op 30 september 2016 | Glossa

Hi-Res Booklet
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Klassiek - Verschenen op 3 september 2007 | Naive

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Kamermuziek - Verschenen op 29 oktober 2013 | Dynamic

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Klassiek - Verschenen op 1 januari 1997 | naïve classique

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Klassiek - Verschenen op 1 januari 1996 | naïve classique

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Klassiek - Verschenen op 5 maart 2010 | Warner Classics

Booklet
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Klassiek - Verschenen op 2 april 2012 | Warner Classics

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Divers - Verschenen op 1 januari 1990 | Naive

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Klassiek - Verschenen op 1 januari 2000 | naïve classique

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Klassiek - Verschenen op 1 januari 2009 | Arcana

Booklet