Your basket is empty

Categories :

Vergelijkbare artiesten

Albums

From
HI-RES€ 19,49
CD€ 13,99

Klassiek - Verschenen op 3 februari 2014 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen 5 de Diapason - Hi-Res Audio
Star tenor Rolando Villazón, having made several top-flight Mozart opera recordings, pauses to offer this set of arias as a sort of appetizer. The Concert Arias title is accurate for slightly less than half the selections; the largest group are insertion arias, pieces written for inclusion in someone else's opera. In this case the composers benefiting from the Mozart touch are Pasquale Anfossi, Niccolò Piccinni, and Johann Adolf Hasse; there is also an aria from an unfinished Mozart comic opera, Lo sposo deluso, K. 430. That's one of the few pieces from Mozart's full maturity here. So, this is a collection of real Mozart obscurities. And, perhaps surprisingly, Villazón brings them to life. He has performed these works frequently in recital, and it shows: throughout, he has a relaxed way of getting into character. Sample Con ossequio, con rispetto, from Piccinni's L'astratto, ovvero il giocator fortunato, for an example of suppressed sarcasm that most singers would just leave alone. Deutsche Grammophon contributes clear sound from none other than Abbey Road studios, and the result is an album that should find a place in large Mozart collections and those of Villazón fans as well. © TiVo
From
HI-RES€ 21,49
CD€ 14,99

Klassiek - Verschenen op 6 november 2012 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Hi-Res Audio
Appearing on the verge of the bicentennial celebration of Giuseppe Verdi's birth, Rolando Villazón's 2012 collection of opera arias and vocal selections is a fitting tribute that also serves as a practical introduction to the composer's music for tenor. Villazón owes a great deal to Verdi, since his performances in La Traviata, Rigoletto, and Don Carlo helped launch his career, though his return to singing after recovering from throat surgery is itself a worthy cause for celebrating with this special appreciation of Verdi's music. Villazón's voice is clear and strong, with no signs of uncertainty or strain, and his expressions of ardor and intensity are balanced by smooth phrasing and subtle charm. Backed by the Orchestra Teatro Regio Torino, conducted by Gianandrea Noseda, Villazón presents a varied program that spans the years between 1838 and 1893, from "Ciel, che feci!...Ciel pietoso," from Verdi's first opera, Oberto, to "Dal labbro il canto estasiato vola," excerpted from Falstaff, the final masterpiece. Anyone who is looking for an appealing program of Verdi should try this album, because the music is immediately accessible and Villazón's delivery is warm and inviting. Deutsche Grammophon's spacious and vibrant reproduction is first-rate, so Villazón is always at the forefront, while the orchestra has presence without intruding on his singing. © TiVo
From
HI-RES€ 34,99
CD€ 24,99

Klassiek - Verschenen op 2 augustus 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet
Yannick Nézet-Séguin’s saga on Mozart for Deutsche Grammophon continues: after The Clemency of Titus in 2018, it’s now time for The Magic Flute to pass under the Quebecois’ baton at the Festspielhaus in Baden-Baden. His direction breathes life into all the magic that is required for such a fairy-tale, Mozart’s final opera, and the Chamber Orchestra of Europe successfully communicates the opera’s majesty and depth, as heard in the radiant “Priest’s March”. When it comes to the singers, Christiane Karg is captivating in the role of Pamina, and Klaus Florian Vogt – who’s tonality is explosive here – embodies an innocent Tamino that is consistently dazzling. Rolando Villazón, Yannick Nézet-Séguin’s faithful companion in this Mozartian adventure (he has been present since the beginning of the recording of Don Giovanni), takes on the role of the bird catcher Papageno, written for a baritone voice; the former tenor is convincingly at one with the character’s personality. What’s more, despite their unequal distribution, the singers seem to be at home with this extraordinary singspiel. The orchestra whets our appetite with their clear love for playing together and invites us to dive once more into the discography of such a luxurious and dramatic work that is both humorous and spectacular. Nézet-Séguin’s orchestration is tight and the variation in the writing is that of a phenomenal musician. One thinks of Strauss’ Rosenkaalier for the sensual intermingling of voices in the final trio. The Magic Flute is almost masonic as the development of its spiritual storyline is akin to an initiation. Its enchanting atmosphere is typical to the German composer, much like the later Oberon by Weber. © Elsa Siffert/Qobuz
From
HI-RES€ 21,49
CD€ 14,99

Klassiek - Verschenen op 2 oktober 2020 | Deutsche Grammophon (DG)

Hi-Res Booklet
From
HI-RES€ 28,99
CD€ 20,99

Volledige opera's - Verschenen op 6 juli 2018 | Deutsche Grammophon (DG)

Hi-Res Booklet
Recorded in July 2017 in the sumptuous Baden-Baden Festspielhaus, this La clemenza di Tito follows albums which had come out previously in the Mozart series with Nézet-Séguin, the Chamber Orchestra of Europe and tenor Rolando Villazón, who is the only singer to appear in all these productions. It should go without saying that the music is extremely finely-chiselled: none of the singers take the slightest liberty with either the score or the style – there are no unruly Italianisms like glissandos, individual showing off, clownish high-Cs, parasitic ornamentations, warbling, trilling, sobbing – which means that we are left with one of the purest and finest performances of this work. Note that this was Mozart's final opera, first performed just two months before he passed away; and that the recitatives were written by the faithful Sussmayr, who would go on to "complete" the Requiem. In the same period Mozart was also putting the final touches to his Magic flute and only had a few weeks to finish the work; and yet, what perfection in the arias, ensembles and choruses! And that in spite of the fact that the subject probably was not a source of tremendous interest to the composer, especially since his explosive collaboration with Da Ponte. But when given a performance like this, the work absolutely passes with flying colours. © SM/Qobuz
From
HI-RES€ 21,49
CD€ 14,99

Klassiek - Verschenen op 16 november 2018 | Deutsche Grammophon (DG)

Hi-Res Booklet
From
HI-RES€ 21,49
CD€ 14,99

Klassiek - Verschenen op 2 oktober 2015 | Deutsche Grammophon (DG)

Hi-Res Booklet
The graphics for this release by tenor Rolando Villazón don't make clear what it is you're getting: this is not yet another anthology of bel canto Italian opera arias, but something a good deal more rare. These "treasures of bel canto" are not arias, but songs, originally for voice and piano, but here given in orchestral versions. Villazón's explanation for why they needed to be orchestrated is unconvincing; he recalls having been inspired by Luciano Berio's orchestrations of the Verdi songs heard here, but the mainstream versions he commissioned have little in common with Berio, and one suspects that the real reason was to give Villazón's still fragile voice an easier time of things. The orchestral accompaniments somewhat overwhelm the melodies, which lie somewhere between opera and early 19th century art song. The Verdi songs, from early in the composer's career, only intermittently reveal the true Verdian voice; the Donizetti and Bellini groups come closer, while the most fun is the set of Rossini songs (late works, rather than early ones) at the end, with its tarantella-like La danza and a terrific duet with Cecilia Bartoli for a finale. Villazón seems to struggle a bit on the high notes, but there aren't many, and the bottom line is that it's good to have recordings of these comparatively neglected pieces. Recommended for fans of the bel canto period, or of Villazón. © TiVo
From
CD€ 13,99

Klassiek - Verschenen op 5 maart 2012 | Deutsche Grammophon (DG)

Booklet
From
CD€ 20,99

Klassiek - Verschenen op 6 juli 2018 | Deutsche Grammophon (DG)

Booklet
Recorded in July 2017 in the sumptuous Baden-Baden Festspielhaus, this La clemenza di Tito follows albums which had come out previously in the Mozart series with Nézet-Séguin, the Chamber Orchestra of Europe and tenor Rolando Villazón, who is the only singer to appear in all these productions. It should go without saying that the music is extremely finely-chiselled: none of the singers take the slightest liberty with either the score or the style – there are no unruly Italianisms like glissandos, individual showing off, clownish high-Cs, parasitic ornamentations, warbling, trilling, sobbing – which means that we are left with one of the purest and finest performances of this work. Note that this was Mozart's final opera, first performed just two months before he passed away; and that the recitatives were written by the faithful Sussmayr, who would go on to "complete" the Requiem. In the same period Mozart was also putting the final touches to his Magic flute and only had a few weeks to finish the work; and yet, what perfection in the arias, ensembles and choruses! And that in spite of the fact that the subject probably was not a source of tremendous interest to the composer, especially since his explosive collaboration with Da Ponte. But when given a performance like this, the work absolutely passes with flying colours. © SM/Qobuz
From
HI-RES€ 21,49
CD€ 14,99

Klassiek - Verschenen op 22 september 2017 | Deutsche Grammophon (DG)

Hi-Res Booklet
The male-male operatic duet album is certainly less common than the male-female variety, already sizzlingly explored by Rolando Villazón and Anna Netrebko at the height of what was rumored to be a liaison between them. But it has certain advantages: even in the group of Donizetti duets included on the program here, the pieces tend to be slices of the drama rather than set pieces. Villazón and bass Ildar Abdrazakov effectively inhabit these pieces, going beyond vocal heroics. A related attraction in a program like this is the importance of the orchestra, which has to do more than stay out of the way of the singers. The impetus for the project is said to have been Villazón's admiration for the Western hemisphere's conducting star of the moment, Yannick Nézet-Séguin, and his Orchestre Métropolitain de Montréal. Sample one of the comparatively rare duets from Boito's Mefistofele for a taste of the energy Nézet-Séguin brings throughout. The album's fun conclusion, with duet arrangements of a favorite of each of the singers (one Mexican, one Russian), is also notable, along with state-of-the-art operatic orchestral work. Recommended. © TiVo
From
CD€ 13,49

Klassiek - Verschenen op 2 februari 2007 | Warner Classics

From
CD€ 9,99

Klassiek - Verschenen op 12 november 2007 | Warner Classics

From
CD€ 14,99

Klassiek - Verschenen op 17 januari 2020 | Deutsche Grammophon (DG)

Booklet
From
CD€ 24,99

Klassiek - Verschenen op 2 augustus 2019 | Deutsche Grammophon (DG)

Booklet
Yannick Nézet-Séguin’s saga on Mozart for Deutsche Grammophon continues: after The Clemency of Titus in 2018, it’s now time for The Magic Flute to pass under the Quebecois’ baton at the Festspielhaus in Baden-Baden. His direction breathes life into all the magic that is required for such a fairy-tale, Mozart’s final opera, and the Chamber Orchestra of Europe successfully communicates the opera’s majesty and depth, as heard in the radiant “Priest’s March”. When it comes to the singers, Christiane Karg is captivating in the role of Pamina, and Klaus Florian Vogt – who’s tonality is explosive here – embodies an innocent Tamino that is consistently dazzling. Rolando Villazón, Yannick Nézet-Séguin’s faithful companion in this Mozartian adventure (he has been present since the beginning of the recording of Don Giovanni), takes on the role of the bird catcher Papageno, written for a baritone voice; the former tenor is convincingly at one with the character’s personality. What’s more, despite their unequal distribution, the singers seem to be at home with this extraordinary singspiel. The orchestra whets our appetite with their clear love for playing together and invites us to dive once more into the discography of such a luxurious and dramatic work that is both humorous and spectacular. Nézet-Séguin’s orchestration is tight and the variation in the writing is that of a phenomenal musician. One thinks of Strauss’ Rosenkaalier for the sensual intermingling of voices in the final trio. The Magic Flute is almost masonic as the development of its spiritual storyline is akin to an initiation. Its enchanting atmosphere is typical to the German composer, much like the later Oberon by Weber. © Elsa Siffert/Qobuz
From
CD€ 13,99

Klassiek - Verschenen op 3 januari 2009 | Deutsche Grammophon (DG)

Booklet
From
CD€ 14,99

Klassiek - Verschenen op 1 januari 2010 | Deutsche Grammophon (DG)

Booklets
From
CD€ 9,99

Klassiek - Verschenen op 10 februari 2004 | Warner Classics

From
HI-RES€ 2,99
CD€ 1,99

Klassiek - Verschenen op 11 december 2020 | Deutsche Grammophon (DG)

Hi-Res
From
CD€ 14,99

Klassiek - Verschenen op 14 maart 2008 | Deutsche Grammophon (DG)

Booklet
From
HI-RES€ 21,49
CD€ 14,99

Klassiek - Verschenen op 6 november 2012 | Deutsche Grammophon (DG)

Hi-Res Booklet
Appearing on the verge of the bicentennial celebration of Giuseppe Verdi's birth, Rolando Villazón's 2012 collection of opera arias and vocal selections is a fitting tribute that also serves as a practical introduction to the composer's music for tenor. Villazón owes a great deal to Verdi, since his performances in La Traviata, Rigoletto, and Don Carlo helped launch his career, though his return to singing after recovering from throat surgery is itself a worthy cause for celebrating with this special appreciation of Verdi's music. Villazón's voice is clear and strong, with no signs of uncertainty or strain, and his expressions of ardor and intensity are balanced by smooth phrasing and subtle charm. Backed by the Orchestra Teatro Regio Torino, conducted by Gianandrea Noseda, Villazón presents a varied program that spans the years between 1838 and 1893, from "Ciel, che feci!...Ciel pietoso," from Verdi's first opera, Oberto, to "Dal labbro il canto estasiato vola," excerpted from Falstaff, the final masterpiece. Anyone who is looking for an appealing program of Verdi should try this album, because the music is immediately accessible and Villazón's delivery is warm and inviting. Deutsche Grammophon's spacious and vibrant reproduction is first-rate, so Villazón is always at the forefront, while the orchestra has presence without intruding on his singing. © TiVo