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Opera - To be released September 10, 2021 | Walhall Eternity Series

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Opera - To be released September 10, 2021 | Walhall Eternity Series

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Opera - To be released August 27, 2021 | Dacapo

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Opera - To be released August 20, 2021 | Delos

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Opera - To be released August 13, 2021 | Naxos

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Opera - To be released August 6, 2021 | Walhall Eternity Series

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Opera - To be released August 6, 2021 | VOCES8 Records

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Opera - To be released August 6, 2021 | Eterna

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Opera - To be released August 6, 2021 | CPO

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Opera - To be released August 6, 2021 | Archipel

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Opera - To be released August 6, 2021 | PentaTone

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There isn’t exactly a plethora of recordings of Haydn’s 1779 opera, L’isola disabitata, about a pair of sisters shipwrecked on a desert island who eventually are rescued respectively by their husband and lover. However that’s perhaps not surprising when you consider its bumpy entry into the world. Penned for the name day of Prince Nicolaus of Esterházy, this is a work that should have been assured of a lavish first staging, but a month before the premiere, the Esterháza opera house went up in flames, meaning the performance instead took place in the palace, quite possibly without scenery. What is more, Haydn himself wasn’t entirely convinced by what he’d written, remarking in later years that it needed to be shortened – in part because of the slow tempo of much of the music. Still, it’s worth remembering that operas which work brilliantly onstage don’t always translate so well into audio-only in one’s living room; whereas operas that feel a bit of a slog in the theatre can suddenly end up sounding a dream from one’s armchair, where plot and pacing is less important than the overall quality of the music and performances. Happily, this particular recording of L’isola disabitata fits snugly into that latter category. Not least because it’s Haydn’s only opera for which he wrote an orchestral accompaniment for the recitatives; and while Haydn ended up deliberately cutting many of the elaborate instrumental sections from his printed score, fearing they were too demanding for both the players and the audience, Bernhard Forck and the Akademie für Alte Music Berlin have reinstated them all, using a recent edition by Thomas Busse. They’ve then presented them via readings that are unfailingly crisp, warm, committed and eminently convincing. As for the vocal soloists, these are Anett Fritsch as Costanza, André Morsch as Enrico, Sunhae Im as Silvia and Krystian Adam as Gernando, and all four are so enjoyable that it feels wrong to single out anyone. That said, if you’re looking for highlights then perhaps skip to the “Fra un dolce deliro” from Sunhae Im, which absolutely delivers on what it says on the tin, Im’s bright, supple soprano voice sounding winsomely sweet and sprightly, complemented by some equally lovely woodwind colour. Or there’s the elegantly persuasive “Non turbar quand’io mi lagno” from tenor Krystian Adam. Essentially, this is a performance that probably would have brought Haydn himself around to this opera’s pleasures. © Charlotte Gardner/Qobuz
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Opera - To be released August 6, 2021 | CPO

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Opera - Released July 30, 2021 | Dhayani

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Opera - Released July 30, 2021 | WM Italy

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Opera - Released July 23, 2021 | Raks Müzik

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Opera - Released July 23, 2021 | Myto Historical

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Opera - Released July 16, 2021 | PentaTone

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After their acclaimed recording of Weber’s Freischütz, the Dresdner Philharmonie and its Principal conductor Marek Janowski present yet another German opera classic with Beethoven’s Fidelio. They work together with a stellar cast including Lise Davidsen (Fidelio/Leonore), Christian Elsner (Florestan), Georg Zeppenfeld (Rocco), Christina Landshamer (Marzelline) and Günther Groissböck (Don Fernando). This Beethoven’s masterpiece was recorded in two studio sessions, with two different, established choirs: the Sächsischer Staatsopernchor Dresden, as well as the MDR Leipzig Radio Choir. Katharina Wagner and Daniel Weber have adapted the original dialogues for the recording. Fidelio is the quintessential rescue opera, in which a wife goes to any lengths to free her beloved from the chains of a barbaric, oppressive regime. Beethoven’s opera on the power of love and the enlightening power of humanity still resonates with us today, and its music continues to delight and inspire. © Pentatone
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Opera - Released July 16, 2021 | CPO

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Our Leo Fall cycle continues with Die Rose von Stambul. This operetta in three acts offers music that is full of feeling. This highly emotional work celebrated its premiere with great success at the Theater an der Wien in 1916. Die Rose von Stambul’s 422 straight performances made it the most successful operetta in the history of the Theater an der Wien, next to Franz Lehár’s The Merry Widow. Within the shortest time performances followed throughout Central Europe. However, like Emmerich Kálmán’s The Csárdás Princess, it did not become an international success – primarily because of World War I, since the theaters of the Allied countries had stopped staging German-language works. Achmed Bey, the son of a Turkish minister, is married to Kondja, “The Rose of Stamboul”. However, she has exchanged letters with a passionate novelist and fallen in love with him. What she does not suspect: none other than her husband is behind this pseudonym – which provides plenty of opportunities for the expression of emotions – rendered in the Viennese waltz mode (“Ein Walzer muss es sein”) or tunes of Oriental flair. © CPO
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Opera - Released July 16, 2021 | Urania Records

This set contains one of the most famous complete recording of Aida as well as one of the few testimony of Franco Corelli performing a complete Verdian opera, in the modern interpretation by Zubin Mehta. Zubin Mehta received his first musical education under his father’s guidance, who was a noted concert violinist and the founder of the Bombay Symphony Orchestra. After a short period of pre-medical studies in Bombay, he left for Vienna in 1954 where he eventually entered the conducting program under Hans Swarowsky at the Akademie für Musik. Zubin Mehta won the Liverpool International Conducting Competition in 1958 and was also a prize-winner of the summer academy at Tanglewood. By 1961 he had already conducted the Vienna, Berlin and Israel Philharmonic Orchestras and has recently celebrated 50 years of musical collaboration with all three ensembles. The present recording was made in 1966. © Urania Records
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Opera - Released July 16, 2021 | Archipel

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Opera in the magazine