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Classical - Released August 29, 2014 | Erato - Warner Classics

Hi-Res Booklet Distinctions Diapason d'or de l'année - Diapason d'or - Gramophone Editor's Choice - Diamant d'Opéra - Choc de Classica - Exceptional Sound Productions
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Classical - Released November 4, 2016 | Erato - Warner Classics

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Award - Gramophone Editor's Choice - Choc de Classica - Exceptional Sound Productions - 5 Sterne Fono Forum Klassik
Mezzo-soprano Joyce DiDonato has gained a strong following with novel, even fearless programs, flawlessly executed. The stimulus for In War & Peace was extramusical: DiDonato temporarily shelved a different project in the wake of the terrorist attack at the Bataclan concert hall in Paris. The concept is ambitious: the booklet includes quotes about finding peace from figures as varied as Patrick Stewart, Riccardo Muti, Ruth Bader Ginsburg, and an inmate at New York's Sing Sing prison. Does it directly connect with DiDonato's program of Baroque arias? Listeners will have to decide for themselves, but the good news is that the program stands on its own. War and peace are among the most common themes in Baroque opera, but DiDonato has woven them together intelligently here. For one thing, the two interpenetrate, with elevated tragic arias in the War half of the program, and complex dramatic conceptions in the Peace half. Sample Handel's remarkable "Augelletti, che cantante," from Rinaldo, with its sopranino recorder part and discursive development. Added bonuses are some world-premiere arias from the still largely unexplored corpus of opera seria from the middle 18th century, represented by compositions of Leonardo Leo and Niccolò Jommelli. Equally good are the big hits, including a magnificent, deliberate "When I am laid in earth," from Purcell's Dido and Aeneas, which shows the breadth of DiDonato's conceptualizations of war and peace. The accompaniment from the historical-instrument group Il Pomo d'Oro under Maxim Emelyanychev is ideal. Recommended, whatever your views on the feasibility of world peace.
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Classical - Released January 1, 2009 | Archiv Produktion

Booklet Distinctions Diamant d'Opéra
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Classical - Released August 28, 2015 | Erato - Warner Classics

Hi-Res Booklet Distinctions 5 de Diapason - Grammy Awards
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Classical - Released October 21, 2013 | PentaTone

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Full Operas - Released September 1, 2005 | Naxos

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Opera - Released August 26, 2013 | Warner Classics International

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Classical - Released January 12, 2018 | Warner Classics

Hi-Res Booklet
In Great Scott, the Kansas-born mezzo-soprano, one of today’s best-loved classical singers, creates a role conceived specifically with her in mind. The character she plays, Arden Scott, just happens to be an opera star, and she is the lynchpin of what Fred Plotkin of WQXR, the USA’s leading classical music radio station, welcomed as a “deeply moving and musically brilliant work” that “should enter the standard repertory just as Heggie’s two previous masterpieces – Dead Man Walking and Moby Dick – already have”. Jake Heggie, who has been described as US opera’s most successful composer, chose the celebrated playwright Terence McNally as his librettist for Great Scott. The two previously collaborated on the gripping Dead Man Walking, which has become something of a modern classic since its premiere in 2000. Joyce DiDonato first performed its central role, Sister Helen Prejean, at New York City Opera in 2002 and will do so again in concert stagings in London and Madrid in January/February 2018, coinciding with the album release of Great Scott. © Warner Classics
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Classical - Released January 12, 2018 | Warner Classics

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Classical - Released December 1, 2017 | Warner Classics

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Opera - Released November 24, 2017 | Warner Classics

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Classical - Released November 4, 2016 | Erato - Warner Classics

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Classical - Released November 1, 2016 | Warner Classics

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Classical - Released October 14, 2016 | Erato - Warner Classics

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Classical - Released September 21, 2016 | Erato - Warner Classics

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Mezzo-soprano Joyce DiDonato has gained a strong following with novel, even fearless programs, flawlessly executed. The stimulus for In War & Peace was extramusical: DiDonato temporarily shelved a different project in the wake of the terrorist attack at the Bataclan concert hall in Paris. The concept is ambitious: the booklet includes quotes about finding peace from figures as varied as Patrick Stewart, Riccardo Muti, Ruth Bader Ginsburg, and an inmate at New York's Sing Sing prison. Does it directly connect with DiDonato's program of Baroque arias? Listeners will have to decide for themselves, but the good news is that the program stands on its own. War and peace are among the most common themes in Baroque opera, but DiDonato has woven them together intelligently here. For one thing, the two interpenetrate, with elevated tragic arias in the War half of the program, and complex dramatic conceptions in the Peace half. Sample Handel's remarkable "Augelletti, che cantante," from Rinaldo, with its sopranino recorder part and discursive development. Added bonuses are some world-premiere arias from the still largely unexplored corpus of opera seria from the middle 18th century, represented by compositions of Leonardo Leo and Niccolò Jommelli. Equally good are the big hits, including a magnificent, deliberate "When I am laid in earth," from Purcell's Dido and Aeneas, which shows the breadth of DiDonato's conceptualizations of war and peace. The accompaniment from the historical-instrument group Il Pomo d'Oro under Maxim Emelyanychev is ideal. Recommended, whatever your views on the feasibility of world peace.