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Religieuze vocale muziek - Verschenen op 5 juni 2012 | SDG

Hi-Res Onderscheidingen Diapason d'or de l'année - Diapason d'or - Gramophone Award - Choc de Classica - Hi-Res Audio
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Missen, passies, requiems - Verschenen op 10 maart 2017 | SDG

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Award - Gramophone Record of the Month - 5 Sterne Fono Forum Klassik
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Missen, passies, requiems - Verschenen op 13 oktober 2017 | SDG

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice - Le Choix de France Musique - 5 Sterne Fono Forum Jazz
So much can be said about this new recording featuring among others − but as the pièce de résistance − Bach’s Magnificat, performed by John Eliot Gardiner, that we simply don’t know where to start! In 1983 – already 35 years ago! – Gardiner gave his first vision of Magnificat BWV 234 in D major; here the version in question is the BWV 234a in E flat major, the original and initial version, the – extended – one Bach wrote as soon as 1723 while the BWV 234 version (more often played nowadays) only arose from adjustments made ten years later. Of course one can debate on the advantages of one over the other but for this recording, Gardiner put emphasis on the brilliance, vibrancy and stunning virtuosity imposed by the E-flat major tone and vigorous tempi, in other words: undeniably modern! Magnificat is preceded by the Mass in F major, one of Bach’s four Lutheran masses, proper gems that are too rarely performed. It’s worth noting that most movements are recycled from previous cantatas, but with thorough rewrites of course! You’ll also find one of Gardiner’s favourite cantatas, Süßer Trost, mein Jesus kömmt (Sweet comfort, my Jesus comes), BWV 151, composed for the Christmas period. With his English Baroque Soloists, his Monteverdi Choir and a broad group of soloists (the alto parts are given to a male voice, it’s worth mentioning in case… it’s not your cup of tea), Gardiner is once again standing on top of a great success.
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Symfonische muziek - Verschenen op 2 oktober 2012 | SDG

Hi-Res Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - Exceptional Sound Recording
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Symfonieën - Verschenen op 7 oktober 2014 | SDG

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles Classica - 5 Sterne Fono Forum Klassik
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Symfonieën - Verschenen op 7 februari 2020 | LSO Live

Hi-Res Booklet Onderscheidingen 4F de Télérama - 5 étoiles de Classica
The second album in Sir John Eliot Gardiner's Schumann series with the London Symphony Orchestra travels from glorious fanfare to dream-like passages with the lively 'Spring' and 'Rhenish' symphonies. From the dramatic first trumpet-call which awakens the frozen landscape, the First Symphony is a celebration of spring. It moves through the season and a gruff folk-song Scherzo until finally a jubilant conclusion dances into summer. Desperate, heartfelt and elegant, the "Manfred" Overture opens with an urgent impetus that only increases through the work, displaying the intense strife which lies ahead for its protagonist. Schumann’s Third is one of the composer’s most impressive, painting a euphoric picture of the German Rhineland in broad Beethovenian style and closing with an exhilarating finale. © LSO Live
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Missen, passies, requiems - Verschenen op 6 november 2015 | SDG

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles Classica
For his new recording of this monument to Bach, John Eliot Gardiner is limited to a light chamber orchestra (obviously the English Baroque Soloists, founded here 37 years ago by Gardiner!), a choir of reasonable size (the Monteverdi Choir, same remark...), and a meticulous - but above all, calm - conducting of the articulations, phrases and lines, almost like a kind of chamber opera. The tempos are rather upbeat, like baroque music back in its heyday - the perfect balance between respecting history and the quest for beauty of sound. Gardiner has nothing dogmatic - making this new recording a particularly welcome perspective among the ample discography(yet unsatisfactory) of this Mass en si. © SM / Qobuz
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Sacred Oratorios - Verschenen op 4 maart 2014 | SDG

Hi-Res Booklet Onderscheidingen 5 de Diapason - Exceptional Sound Recording
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Koormuziek - Verschenen op 3 december 2013 | SDG

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice
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Klassiek - Verschenen op 1 januari 2013 | Deutsche Grammophon (DG)

Booklet Onderscheidingen Diapason d'or
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Symfonische muziek - Verschenen op 20 september 2019 | LSO Live

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Religieuze cantates - Verschenen op 1 oktober 2010 | SDG

Onderscheidingen Diapason d'or
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Klassiek - Verschenen op 1 januari 2015 | Decca Music Group Ltd.

Booklet Onderscheidingen 4 étoiles Classica
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Klassiek - Verschenen op 25 mei 2009 | Warner Classics

Onderscheidingen The Qobuz Ideal Discography
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Religieuze vocale muziek - Verschenen op 25 januari 2019 | Warner Classics

Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 1 februari 2011 | Warner Classics International

Onderscheidingen Diapason d'or
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Symfonische muziek - Verschenen op 1 februari 2011 | SDG

Booklet Onderscheidingen 5 de Diapason
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Opera - Verschenen op 26 juni 2020 | SDG

Hi-Res Booklet
Opera or oratorio? The question has remained unanswered since the disastrous creation of Semele in Covent Garden in 1744. Attacked by both opera critics and devotees, both parties accusing him of turning theatres into temples by playing his oratorios, Handel was no longer popular in the British capital. In doing so, he reconnected with Greek mythology through Ovid and his librettists in a work intended to satisfy both sides.Semele contains several large passages, including a splendid quartet in the first act, which was extremely rare at the time. But it was a complete failure and the new work was on display only for four short evenings. John Eliot Gardiner first recorded Semele at the beginning of the 80s for Erato Records, to varying degrees of success. He revisited the work in 2019 for a series of concerts given in Paris, Barcelona, Milan (La Scala), Rome and London, where the new version was recorded on 2nd May 2019.Gardiner sets the record straight in a way with this recording that does full justice to this hybrid work thanks to excellent soloists, starting with soprano Louise Alder in the title role. His great sensitivity, the rich palette of vocal colours and the touching expressiveness are all incredibly admirable. The protagonists surrounding him, mezzo-soprano Lucile Richardot, tenor Hugo Hymas, countertenor Carlo Vistoli, bass Gianluca Buratto and a few soloists from the choir, complete a coherent and flawless cast. As an untiring discoverer of new voices, Sir John Eliot Gardiner gives a beautiful impetus to this work. The Monteverdi Choir and the English Baroque Soloists are as sparkling as ever. © François Hudry/Qobuz
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Concertmuziek - Verschenen op 1 oktober 2009 | SDG

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