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Concertmuziek - Verschenen op 16 november 2010 | Chandos

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Award - Hi-Res Audio
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Opera - Verschenen op 5 juni 2020 | Chandos

Hi-Res Booklet
This new recording of Massenet’s opera was recorded by Chandos during rehearsals and two concerts at Toronto’s Thomson Hall in November 2019, making the work feel like a great oratorio bathed in the sensuality of orchestral music. Known around the world for his Méditation with solo violin, which was used in the heyday of bandstands and orchestras in large hotels and fashionable spas, Thaïs is rarely played today. There are no arias "à l'italienne" in this opera, but instead it’s full of long dramatic passages that would inspire Debussy to compose Pelléas eight years later. The protagonists of this new recording are without a doubt the Toronto Symphony Orchestra and the Toronto Mendelssohn Choir, whose conductor Sir Andrew Davis makes use of all their sonic and expressive resources, leaving the soloists somewhat sidelined in terms of sound balance. A special mention goes to the beautiful sound and intense expression that avoids any mawkishness of the concertmaster Jonathan Crow in the famous Méditation, which is in fact a simple interlude at the heart of the Act I.. This orientalising story about the conflict between paganism and Christianity in Alexandria in the fourth century is told by the baritone Joshua Hopkins with his powerful timbre in the role of Athanael, battling with the soprano Erin Wall as an exemplary Thai, and the tenor Andrew Staples, beautifully playing the role of Nicias, Athanael’s rich friend. The rest of the cast is of the same calibre. Sir Andrew Davis knows this work very well having directed it on several occasions, notably at the Edinburgh and Melbourne Festivals with the same Erin Wall in Thaïs, who he calls "the Thaïs of one’s dreams". © François Hudry/Qobuz
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Klassiek - Verschenen op 9 oktober 2020 | Naxos

Hi-Res Booklet
Jules Massenet’s numerous operas (notably Manon and Werther) have somewhat overshadowed his symphonic works, not to mention his oratorios and melodies. At the head of the Royal Scottish National Orchestra, French conductor Jean-Luc Tingaud brings some of his forgotten manuscripts back to life.Visions is a symphonic poem modelled on works by Liszt – particularly his famous Preludes. It was inspired by his travels, as Massenet said himself: “The last hour of the day, in the high and sad solitudes of Simplon. The traveller there has fallen asleep, but his sleep is disturbed by visions that are calm or agitated, smiling or terrible. He wakes up. Around him it is night...he no longer dreams, he listens and thinks he hears a voice dear to his memory.”Brumaire was written for a historical drama commemorating Napoleon’s coup d'etat that ended the 'Directoire' period. The Overture for “Phaedra”, written at the Pasdeloup Orchestra’s request, is considered one of Massenet’s best instrumental works and has long been included in the symphonic repertoire. The incidental music for Les Erinnyes and his ballet Espada show Massenet’s appeal for exoticism – something that was fashionable at the time. This aspect of his music is still largely undiscovered. © François Hudry/Qobuz
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Klassiek - Verschenen op 11 april 1995 | Naxos

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Klassiek - Verschenen op 11 april 1995 | Naxos

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Opera - Verschenen op 1 januari 1999 | Dynamic

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Opera - Verschenen op 1 januari 2005 | Dynamic

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Opera - Verschenen op 1 januari 2006 | Dynamic

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Klassiek - Verschenen op 12 juli 2002 | Naxos

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Klassiek - Verschenen op 7 juli 2000 | Decca Music Group Ltd.

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Symfonische muziek - Verschenen op 25 juni 2011 | Les Indispensables de Diapason

Booklet Onderscheidingen Diapason d'or
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Klassiek - Verschenen op 1 maart 2013 | Timpani

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Klassiek - Verschenen op 22 april 2021 | Decca Music Group Ltd.

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Klassiek - Verschenen op 3 september 2000 | Warner Classics

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Klassiek - Verschenen op 28 november 1999 | Warner Classics

Antonio Pappano leads a sensuous and dramatically taut reading of Werther on EMI's all-star release. Werther is one of the most intimate and interior of operas, and Pappano successfully captures the mood of the protagonist's turmoil that constitutes its real drama. The leads are in strong voice and make dramatic impressions as the victims of passion in whose face they feel helpless. Roberto Alagna's Werther is consumed with love and anguish, and he sings with a ringing, heroic tone. Angela Gheorghiu's Charlotte is capable of expressing the fire that finally ignites in the third act, and her tone is pure and true, but she sounds a little mature for a 20 year old and misses the girlishness that makes Charlotte's predicament so poignant. In Werther's death scene, both are hugely moving. Thomas Hampson's voice is rich and dark, and he ably conveys the complexity of Albert's emotions. In a bit of luxury casting, Patricia Petibon sparkles as the adolescent Sophie. The smaller roles are well taken, and the singers make the most of their vignettes. The London Symphony responds with sensitivity to Pappano's fluid tempi and plays with gorgeous tone. EMI's sound is ideal -- realistically present, with excellent balance. © TiVo
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Klassiek - Verschenen op 31 december 1997 | Warner Classics

Onderscheidingen Diapason d'or
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Klassiek - Verschenen op 6 november 2006 | Decca Music Group Ltd.

Booklet Onderscheidingen Choc de Classica
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Klassiek - Verschenen op 1 januari 1980 | Warner Classics

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Klassiek - Verschenen op 5 november 2013 | Naxos

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Opera - Verschenen op 1 januari 2016 | Orfeo