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Volledige opera's - Verschenen op 1 november 1985 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen The Qobuz Ideal Discography
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Volledige opera's - Verschenen op 20 oktober 2017 | Warner Classics

Hi-Res Booklet Onderscheidingen Choc de Classica
This 1968 recording of The Flying Dutchman was made in the studio under the baton of the venerable Ottom Klemperer who, incidentally, was approaching his 83rd birthday - he had just five years left to live. This record is simply a dream come true, with Theo Adam, Martti Talvela, Anja Silja and Annneliese Burmeister supported by the New Philharmonia and the BBC choir. Klemperer is known for his fairly rapid tempos, even if the singers themselves lend longer durations to the music, as the work is not short on quasi-recitatives. In this vein, this "almost" short work (short by Wagner's standards at least) offers a measured reading, very much oriented towards comprehension of the text and clarity of the orchestra. It goes without saying that it has been the subject of a meticulous remastering, so that it really doesn't feel like you are listening to a recording from half a century ago. Orchestral colours, balance between stage and orchestra, precise vocal presence: these all make for an unmissable, historic recording. © SM/Qobuz« This performance is as perfect as we have any right to demand. Klemperer’s magisterial interpretation of the opera has a blazing intensity, the orchestra plays superbly and the cast give of their considerable best.» Gramophone‘ With this remaster of Wagner’s Der fliegende Holländer, the listener is plunged into a stormy world of wind and water. The sound effects introduced for the first time by EMI on this recording are very effective, and the dramatic impact of the performance of Anja Silja as Senta is indisputable. This recording, made in the winter of 1968 at Abbey Road’s Studio One, utilises the Ambiophonic system whereby numerous speakers were added to the walls of the studio to increase reverberation and improve the overall acoustic of the studio. The LP master tapes used for this remaster derive directly from the original four-track masters therefore preserving sound and balance as approved by Klemperer at the time the recording was made, including the spectacular sound effects.’  Ian Jones, Remastering Engineer at Abbey Road Studios
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Opera - Verschenen op 1 januari 1967 | Decca Music Group Ltd.

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Opera - Verschenen op 1 januari 1966 | Deutsche Grammophon (DG)

Hi-Res Onderscheidingen Choc de Classica - The Qobuz Ideal Discography
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Klassiek - Verschenen op 2 september 2016 | PentaTone

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Opera - Verschenen op 9 september 2014 | Avie Records

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Klassiek - Verschenen op 14 juli 2017 | Oehms Classics

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Klassiek - Verschenen op 1 januari 1972 | Decca Music Group Ltd.

Hi-Res Booklet
When he records Parsifal in studio, in 1972—three years after Pierre Boulez—Sir Georg Solti still possesses all of his vocal glories from his youth. After the majestic recording of Ring, Decca gathers around him an exceptional Areopagus: Dietrich Fischer-Dieskau, Hans Hotter, Gottlob Frick, René Kollo, Zoltán Kelemen, Christia Ludwig, Robert Tear and no less than the best flower maidens that are called Popp, Te Kanawa, Howells and Knight. This is also the time of legendary sound takes by the English label, in which the balance between the vocals and the orchestra is almost ideal, with a really successful spatialization and a captivating sound impressiveness thanks to a Vienna Symphony Orchestra more sensual than ever. In studio, everything is thought-out, measured, idealized, far from the stage and its risk-taking, but the result is an absolute success. We don’t know what to admire more between the incredible, monstrous, frenzied Kundry of Christa Ludwig or the Parsifal filled with a still adolescent sweetness of René Kollo, without mentioning the chiseled and particularly sparkling direction from Solti. It’s a reference worth listening to (or listening to again), especially in the majestic HD remaster that is now proposed by the publisher. © François Hudry/Qobuz
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Klassiek - Verschenen op 23 oktober 2020 | Deutsche Grammophon (DG)

Hi-Res Booklet
The global spread of the Covid-19 pandemic has had disastrous consequences across many domains, particularly culture and music. Concerts and festivals have been cancelled worldwide and it has required a great deal of ingenuity for artists and organisers to find a way to spread their message. The Bayreuth Festival was no exception to the crisis’ wrath, but Christian Thielemann decided to hold a virtual festival (in which operas are filmed and shown online) with a real-life concert in Villa Wahnfried, built by Wagner to house his entire family within close proximity to the Festival Theatre (thanks to the generosity of King Louis II of Bavaria). The audience, masked and installed in the garden, respect social distancing and follow the concert on large video screens. The anecdote is well-known, Siegrief-Idyll was composed as a birthday present for Cosima Wagner-Liszt and was played on Christmas morning 1870 by thirteen musicians in Tribschen, where the soon-to-be wedded couple were staying next to Lake Lucerne. This original and intimate interpretation by Christian Thielemann is played with a collection of musicians that were set to play the 2020 Festival. For the occasion, German composer and arranger, Andreas N. Tarkmann, has realised a deft instrumentation of Wesendonck-Lieder which is played by the same musicians. The works are sung by the great Wagner soprano Camilla Nylund, who was also unable to perform at the 2020 festival like the rest of her colleagues. © François Hudry/Qobuz
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Volledige opera's - Verschenen op 1 januari 1997 | Deutsche Grammophon (DG)

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Opera - Verschenen op 9 november 2018 | Naxos

Booklet
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Operafragmenten - Verschenen op 17 november 2017 | Orfeo

Booklet Onderscheidingen 5 de Diapason - 5 étoiles de Classica
These are on-stage live recordings of various great Wagnerian moments of the great Swedish dramatic soprano Nina Stemme (born in 1963) made between 2003 and 2013, right during the opera singer’s time of glory, at the prime of her ability – it’s worth pointing out that a dramatic soprano’s voice, as opposed to a “classic” lyric soprano, reaches her full prime rather late in her musical life, considering the extravagant muscular stress required for the roles of Isolde, Sieglinde or Brünnhilde. The orchestra of the Vienna State Opera is conducted by either Seiji Ozawa or Franz Welser-Möst – at the time when they succeeded each other as Music Director of this honourable and particularly traditionalist institution. And let’s not forget that Nina Stemme won the Plácido Domingo’s Operalia Prize in 1993, and gained international recognition as Isolde at Glyndebourne in 2003, the year of the first recordings presented here. Since then, she has played all the legendary female icons such as Elektra, Turandot, Lady Macbeth of the Mtsensk District, and many other major roles in Bayreuth. A stellar career fully recognised in this album. © SM/Qobuz
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Opera - Verschenen op 7 februari 2012 | PentaTone

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Opera - Verschenen op 3 augustus 2018 | Orfeo

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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Klassiek - Verschenen op 22 augustus 2006 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice - Choc de Classica - Choc Classica de l'année - Hi-Res Audio
German tenor Jonas Kaufmann is among the more versatile of today's singers, with a recorded catalog that stretches from later Italian opera to French works and even Schubert songs. This release suggests, however, that Wagner is his true métier. A Wagner greatest-hits album isn't really possible given the nature of his work, but this could work well as a collection of Wagner selections: it includes excerpts from works from the early Rienzi up to the "Ring" cycle, with an orchestral version of the Wesendonck-Lieder song cycle to bring down the curtain. And Kaufmann solidly grasps the different musical idioms; "Allmächtiger Vater, blick herab!" (Almighty Father, look down!), from Rienzi, is close to a conventional aria, while the selections from Die Walküre and Siegfried consist of a sort of dialogic melody, carried out at perilously high pitches over long stretches of music. Kaufmann has the power to pull off the high notes without a trace of distortion or loss of the thread of the action, and equally to excel in the less athletic idiom of the songs. He gets able support from the Orchestra of the German Opera Berlin under Donald Runnicles. Recommended for all levels of Wagner listeners. © TiVo
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Volledige opera's - Verschenen op 18 mei 2018 | Orfeo

Hi-Res Booklet Onderscheidingen 5 de Diapason
An enemy of fashion and glitz who shunned cocktails and society dinners, Wolfgang Sawallisch was a humble, retiring man whose life was wholly dedicated to music and music alone. Behind what might seem like a well-worn cliché of the "honest man", he was surely one of the greatest artists of his generation. An exceptional pianist, he would sometimes accompany his friend Dietrich Fischer-Dieskau through memorable nights dedicated to Schubert's great cycles. A conductor, he knew the whole repertoire by heart, not only working with an orchestra but also taking to the piano with all the singers. He was a Kapellmeister in the most elevated sense of the term. Between 1971 and 1992 he made his hometown’s Munich Opera (Bayerische Staatsoper) one of the greatest stages in the world, offering performances of an utterly exceptional standard. The gradual seizure of power by producers would put an end to a collaboration which had produced so many unforgettable nights. Sawallisch went on to enjoy a kind of Indian summer as a conductor in his final years, at the head of the Philadelphia Orchestra, where he encountered huge success. First and foremost a performer of Wagner, Wolfgang Sawallisch first made his mark on Bayreuth in his youth, when, in 1962, he conducted landmark performances. The archives of the festival are full of recordings which are slowly being released, whose almost-identical distributions on different dates have sown confusion. Sawallisch conducted Tristan and Isolde with the legendary couple Birgit Nilsson/Wolfgang Windgassen several times, for the festivals in 1957, 1958 and 1959, well before the sensational version conducted by Karl Böhm. This new release covers the night of 26 July 1958 (so it is not a cover of the version released by MYTO of the show on 21 August of the same year). The doomed lovers are given an exceptional treatment under the electrifying baton of a young Sawallisch. © François Hudry/Qobuz
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Opera - Verschenen op 6 november 2015 | Naxos

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Piano solo - Verschenen op 13 oktober 2017 | Mirare

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 4 september 2019 | La discothèque idéale de Diapason

Booklet Onderscheidingen Diapason d'or
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Opera - Verschenen op 3 april 2020 | BR-Klassik

Hi-Res Booklet