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Die Alben

Ab
CD7,49 Fr.

Oper die man hören muss

Various Artists

Klassik - Erschienen am 15. Juni 2007 | Warner Classics International

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HI-RES11,49 Fr.
CD9,99 Fr.

Caldara in Vienna

Philippe Jaroussky

Klassik - Erschienen am 29. Oktober 2010 | Warner Classics

Hi-Res Booklets Auszeichnungen 5 de Diapason - Gramophone Editor's Choice - Choc de Classica - Choc Classica de l'année - Hi-Res Audio
Ab
CD9,99 Fr.

Carestini : A Castrato's Story

Philippe Jaroussky/Emmanuelle Haïm/Le Choeur d'Astrée

Klassik - Erschienen am 5. November 2007 | Warner Classics

Ab
CD9,99 Fr.

Edition Anniversaire 1759-2009

Various Artists

Klassik - Erschienen am 2. März 2009 | Warner Classics

Ab
CD9,99 Fr.

50 Best Handel

Various Artists

Klassik - Erschienen am 4. April 2011 | Warner Classics

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CD9,99 Fr.

Baroque Treasures

Various Artists

Klassik - Erschienen am 17. September 2012 | Warner Classics

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CD9,99 Fr.

L'Univers des castrats

Various Artists

Klassik - Erschienen am 24. Februar 2010 | Parlophone (France)

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CD9,99 Fr.

Georg Friedrich Handel : Delirio

Natalie Dessay/Emmanuelle Haïm/Le Concert d`Astrée

Klassik - Erschienen am 28. November 2005 | Warner Classics

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CD9,99 Fr.

Monteverdi: Orfeo

Emmanuelle Haïm/Le Concert d`Astrée/European Voices/Natalie Dessay/Ian Bostridge

Klassik - Erschienen am 1. März 2004 | Warner Classics

After almost 400 years, you might think Monteverdi's L'Orfeo would have lost its luster. But in the right hands it can still be deeply exciting, allowing you to relive the birth of an electric and emotionally charged new art form. Emmanuelle Haïm's new L'Orfeo, starring Ian Bostridge, is that kind of experience. It combines truly electric instrumental playing with committed, daring performances to great effect, making for one of the most enjoyable opera recordings to come along in a while. Haïm, who has the Midas touch for Baroque opera, leads this performance with infectious energy, perfect tempo, and dramatic timing. Le Concert d'Astrée, along with Les Sacqueboutiers, turns in a spirited but still clean reading of the score. Bostridge is an ardent Orfeo, revealing a more dramatic aspect to his singing that is very welcome; he has also makes an admirable stab at the idiosyncratic vocal ornamention of the period. Natalie Dessay throws aside notions of the white-voiced early music singer, and tears into La Musica's prologue with real flair. Véronique Gens shines in her brief moments as Proserpina, and Patrizia Ciofi manages to be genuinely entrancing as Euridice, even though she only appears a few times in the score. The supporting cast is uneven; Christopher Maltman is outstanding as Apollo and one of the "Pastori," but many of the other voices are weak and unfocused. However, when they all join together for ensembles, they hit the nail on the head. In general, sticklers for historically "accurate" vocalism (a sticky matter anyway, since we have no recordings to confirm the conclusions of scholars) will likely be dissatisfied with this recording. But those who care more about dramatic effect will find a lot to enjoy. There are a couple of good L'Orfeos already on the market, notably John Eliot Gardiner's from the 1980s. It may actually be cleaner in a few spots than this recording. But no one has ever captured the urgent combination of drama and music that was the motivating force behind L'Orfeo any better than you'll hear on this disc. © TiVo
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CD12,99 Fr.

100 Komponisten, die man gehört haben muss

Maria Callas

Klassik - Erschienen am 29. März 2013 | Warner Classics

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HI-RES24,99 Fr.
CD21,49 Fr.

Handel : Italian Cantatas

Emmanuelle Haïm

Kantaten (weltlich) - Erschienen am 23. November 2018 | Erato

Hi-Res Booklet Auszeichnungen 5 de Diapason - Gramophone Record of the Month - Choc de Classica - 5 Sterne Fono Forum Klassik
Die hier vorgestellten drei italienischen Kantaten stammen alle aus Händels italienischer Periode, aus den Jahren zwischen 1707 und 1710. Damals war er damit beschäftigt, sich die Neuheiten der italienischen Kunstmusik anzueignen und arbeitete gleichzeitig für verschiedene wichtige Mäzene, die das große Potential des jungen Sachsen erkannt hatten. Diese Art Kantaten wurden im privaten Rahmen römischer Adelsresidenzen aufgeführt, denn der Kirchenstaat verbot Frauen, auf der Bühne zu singen, wodurch großen Sängerinnen das Recht verwehrt wurde, öffentlich aufzutreten. Diese Kantaten sind im Hinblick auf ihren Umfang und ihren reichen musikalischen Gehalt schon fast Opern, auch wenn a priori eine Inszenierung, Chöre oder eine großes Orchester nicht in Frage kamen. Der Geist der Oper ist jedoch in jedem Takt zu spüren. Zweifellos schätzte Händel seine Jugendkantaten durchaus, denn er sollte später reichlich daraus schöpfen: nach dem barocken Grundsatz der Wiederverwendung in Vergessenheit geratener älterer Werke – der Komponist hatte sie nicht vergessen und hielt sie sorgsam in der Hinterhand! Emmanuelle Haïm und ihr Ensemble Concert d’Astrée begleiten die Sopranistin Sabine Devieilhe und die Mezzosopranistin Léa Desandre. Beide sind ebensogut mit Händels Koloraturen als auch mit seinen ausgesprochen lyrischen Melodielinien vertraut. © SM/Qobuz
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CD21,49 Fr.

La voix des rêves

Philippe Jaroussky

Klassik - Erschienen am 20. Oktober 2012 | Warner Classics

Booklet
The rise of the countertenor is one of the major musical developments of the early 21st century, and French singer Philippe Jaroussky has been at the heart of it. He not only has a glorious voice, creamy, with multiple shades, yet somehow with the fragility to take on Baroque opera's doomed heroines; he has the dramatic sense and an exquisite injured quality necessary for the opera genre, the dominant one during the Baroque. His popularity has expanded well beyond historical-performance circles, with some of his YouTube videos achieving Bieber-esque hit counts. He modestly avers that a best-of album may be ambitious for an artist in his early thirties, but in reality the two CDs here aren't quite enough to cover what he has accomplished: Vivaldi, which is what he's best known for, is somewhat shortchanged. Nevertheless, this is a very good place to start with Jaroussky if you've bypassed him. The selections are drawn from albums Jaroussky made between 2004 and 2011. Needless to say, he's in fine voice throughout, and the collection covers his major Baroque specialties as well as selections from Opium, his 2009 release covering French late Romantic music. These take up the bulk of the second half of disc 1, and a few might have been left out to in order to bulk up the Baroque areas. On the plus side, however, are the new recordings that are included; Jaroussky fans will be convinced of the rightness of their purchase from the new opening track, Nicola Porpora's Alto giove. Another advantage for confirmed Jaroussky lovers is the opportunity to hear how his voice slightly changes as he works with the leading lights of the historical-instrument movement; he is a delightfully sensitive ensemble performer. Listen and enjoy. © TiVo
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CD21,49 Fr.

Händel : Italian Cantatas

Sabine Devieilhe

Klassik - Erschienen am 23. November 2018 | Warner Classics

Booklet
Ab
CD14,49 Fr.

Henry Purcell : Dido and Aeneas (Didon et Enée)

Emmanuelle Haïm

Klassik - Erschienen am 13. Oktober 2003 | Warner Classics

Booklet
Ab
CD14,49 Fr.

Henry Purcell : Dido and Aeneas (Didon et Enée)

Emmanuelle Haïm

Gesamtaufnahmen von Opern - Erschienen am 13. Oktober 2003 | Warner Classics

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CD22,99 Fr.

Baroque

Natalie Dessay

Vokalmusik (weltlich und geistlich) - Erschienen am 6. November 2015 | Warner Classics

Booklet
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HI-RES24,99 Fr.
CD21,49 Fr.

Haendel : Arias for Cleopatra from 'Giulio Cesare'

Natalie Dessay

Opernauszüge - Erschienen am 10. Januar 2011 | Warner Classics

Hi-Res Booklet Auszeichnungen 5 de Diapason - Hi-Res Audio
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CD16,99 Fr.

Cantates

Natalie Dessay/Le Concert d`Astrée/Emmanuelle Haïm/Neil Brough

Klassik - Erschienen am 10. November 2008 | Warner Classics

Booklet