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Volledige opera's - Verschenen op 11 mei 2018 | Ediciones Singulares

Hi-Res Booklet Onderscheidingen 5 de Diapason - 3F de Télérama - Gramophone Editor's Choice - Choc de Classica
We'll admit: this Reine de Chypre by Fromental Halévy is probably not the unfairly-overlooked work of commanding genius for which the lyrical world has been waiting for fifty years… But it would still be a shame to miss it, especially when performed by such a line-up, with Véronique Gens, Cyrille Dubois and Etienne Dupuis at the top of the bill. And after all, the score is full of vocal marvels and very original ensembles; but it is rather in the orchestration – which is not much more adventurous than that of any other piece of Italian bel canto of the era – that Halévy has taken it easy. The melodic richness was pointed out in an article in the Revue et gazette musicale in April 1842: "In the Reine de Chypre, Halévy's new style is on display with more dash, and more success. I have had occasion to point out the preconditions, as I see them, of the production of a good opera, by pointing out the obstacles which stand in the way of meeting these conditions fully and in good time, whether by the poet or the composer. When these conditions are met, it is an event of great importance for the world of art. Now, in the present case, circumstances have conspired in the performance of a work which, as even the most exacting critic must admit, possesses all the qualities which constitute a good opera. (…) The composer has put all the enchantment of his art into the duet that breathes the sentiments that enrapture them. The dark cloth on which these two charming figures are drawn shows through even in those songs which are so sparkling and alive with happiness, like a sinister cloud, and lends them a particular character of melancholy intrigue. There is no equal, in nobility or in grace, of the magnificent melody of the final part of this duet." The article continues in this vein. The byline? One Richard Wagner… © SM/Qobuz
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Religieuze vocale muziek - Verschenen op 6 maart 2012 | Glossa

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica - Hi-Res Audio
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Klassiek - Verschenen op 20 november 2015 | Ediciones Singulares

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice - Qobuzism
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Missen, passies, requiems - Verschenen op 1 november 2019 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
Composed in 1824 by Hector Berlioz at the age of twenty-one and premiered at the church of Saint-Roch in Paris in 1825, the Messe solennelle has come down to us following an eventful history. After Berlioz declared that he had destroyed the score, the mass was considered lost until it was rediscovered in Antwerp in 1992. This remarkable work helps us both to appreciate the development of Berlioz’s style – already revolutionary in his early years – and to understand what he owed to his contemporaries, notably Cherubini, whose monumental Requiem Hervé Niquet has already recorded (Alpha 251). Scored for three soloists (soprano, tenor and bass), chorus and orchestra, the work consists of thirteen movements, material from which Berlioz was to reuse in several later works, notably in the ‘Scène aux champs’ of the Symphonie fantastique, which quotes the ‘Gratias’. On the occasion of the 150th anniversary of Berlioz’s death, Hervé Niquet, fascinated by this work – ‘There’s nothing he doesn’t know about dramaturgy and vocal style. At the age of twenty!’ – decided to programme it (the concert at the famous Berlioz Festival of La Côte Saint-André was a memorable occasion) and record it in the Chapelle Royale of the Château de Versailles. © Alpha Classics
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Missen, passies, requiems - Verschenen op 25 mei 2018 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice
In the 17th century, Roman churches were competing to put on the greatest show to celebrate their patron saints. On these occasions, extraordinary services were performed, where many different artists would be brought together, singers and instrumentalists alike, alongside ordinary musicians, for sumptuous pieces performed by several vocal and instrumental choirs. One contemporary description gives an idea of the scale: ten choirs and ensembles played together, two on fixed stages, and eight others distributed symmetrically right along the nave, on platforms built for the occasion. Every additional stage was provided with a positive organ, while many other instruments added to the sonic splendour. So that all the musicians could play well together in spite of the distance, "capi di coro” or time-keeping drummers, would play in unison. Orazio Benevolo (1605-1672) was one of the most remarkable architects of these extravagant, multi-choral monuments. Benevolo was a choirboy at the Church of St. Louis of the French in Rome before he entered the upper echelons by taking the job of Chapel Master in 1638. The composer has left behind him an abundant set of works, containing no fewer than 34 motets for a range of players, including Regna terrae, written for twelve soprano parts distributed across six vocal choirs, each with its own basso continuo. We are also indebted to him for twelve versions of the Magnificat, for between eight and 24 voices, including one for 16 voices, in quadruple choir, which appears here. Hervé Niquet and his Concert Spirituel have made use of the ample acoustics in the Notre-Dame-du-Liban church in Paris, perfectly structured to hold several choirs distributed across the building, to create the sensations of immersion and spatial plenitude that the composer aimed for. © SM/Qobuz
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Klassiek - Verschenen op 8 september 2015 | Ediciones Singulares

Hi-Res Booklet Onderscheidingen 4F de Télérama - Choc de Classica
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Klassiek - Verschenen op 14 oktober 2016 | Alpha

Hi-Res Booklet Onderscheidingen Gramophone Award - 4 étoiles Classica
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Religieuze cantates - Verschenen op 12 januari 2018 | Ediciones Singulares

Hi-Res Booklet Onderscheidingen 5 de Diapason - 5 étoiles de Classica
An icon of French Romanticism thanks to the enduring popularity of his operas Faust and Roméo et Juliette, Charles Gounod competed three times for the prestigious Prix de Rome between 1837 and 1839. Thus he composed three unpublished cantatas for soloists and orchestra, including Marie Stuart et Rizzio and La Vendetta, which he never had the opportunity to hear in performance. Revealed for the first time, these three cantatas, fine examples of French Romanticism, show a young composer with a remarkable flair for opera. In the end Fernand won him the coveted prize, carrying with it the privilege of a three-year stay (from 1840) at the Villa Medici in Rome. While there he produced several sacred compositions, which have also remained unknown until now. His splendid Messe vocale for unaccompanied choir, written in a neo-Palestrinian style, deserves a place on the programme of every vocal ensemble. © Palazzetto Bru Zane
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Religieuze vocale muziek - Verschenen op 3 november 2015 | Alpha

Hi-Res Booklet Onderscheidingen 4 étoiles Classica
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Sacred Oratorios - Verschenen op 25 oktober 2019 | Musique en Wallonie

Hi-Res Booklet Onderscheidingen 5 étoiles de Classica
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Klassiek - Verschenen op 2 april 2013 | Glossa

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Opera - Verschenen op 1 januari 2014 | Ediciones Singulares

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Klassiek - Verschenen op 24 april 2020 | Château de Versailles Spectacles

Hi-Res Booklet
When it comes to his illustration of music at the turn of the 18th and 19th centuries, Martini had more to show than Plaisir d’amour alone. The Bavarian, would rise to glory at the French court and enjoy a privileged position among the sovereigns. Appointed Superintendent of the King’s Music in 1788, he fled France under the Terror before making a triumphant return to Paris with his opera Sapho, joined the Conservatoire in 1796, distanced himself from the stage and, finally, was reinstated as Superintendent in 1815. That same year, in Saint-Denis, he had the honour of hosting his Requiem Mass with a full orchestra, on 21 January 1815, when the remains of Louis XVI and Marie Antoinette were transferred to the Royal Basilica. This Requiem in memory of Louis XVI and Marie Antoinettewas performed once again one year after, to mark the anniversary of the martyr King. However, this spectacular piece, written for three soloists, a full orchestra and choir, seems to date from 1811 and bears the musical accents of the Empire – fitting for a celebration of the monarchy! Hervé Niquet gives to this highly symbolic work of the history of France and Versailles, a resurrection that brings Martini back into the spotlight of the last monarchic splendour. © Château de Versailles Spectacles
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Opera - Verschenen op 10 maart 2017 | Alpha

Hi-Res Booklet
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Opera - Verschenen op 7 januari 2014 | Glossa

Hi-Res Booklet