Albums

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Keyboard Concertos - Released September 7, 2018 | Warner Classics

Hi-Res Booklet Distinctions 4F de Télérama - Choc de Classica
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Violin Concertos - Released September 7, 2018 | Warner Classics

Hi-Res Booklet Distinctions Diapason d'or - 4F de Télérama - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
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Duets - Released January 19, 2018 | Warner Classics

Hi-Res Booklet Distinctions 5 de Diapason - 4F de Télérama - Gramophone Editor's Choice - 5 étoiles de Classica
No-one could think that Edgar Moreau and David Kadouch had an easy job in selecting the programme for this album, which begins with the expansive and impressive Grand Dramatic Sonata (Grande sonate dramatique) "Titus et Bérénice", by Rita Strohl (1865-1941), a pseudonym of Aimée Marie Marguerite Mercédès Larousse La Villette, a French composer of the same vein as Franck or Saint-Saëns. Rita Strohl has gone down in history as an astounding character: she had the idea of creating a kind of French Bayreuth, La Grange, in Bièvres (!) with the support of Odilon Redon and a number of other artists of the day; it was done in aid of performing Rita's operas - monumental works, more than a match for any of the most colossal excesses of Scriabin: a Christian cycle, a Celtic cycle lasting five days, a Hindu cycle in seven. The sheer size of these projects was overwhelming, to say nothing of other troubles such as the start of the First World War and other personal troubles of Strohl's. All the same, this Sonata reveals in Strohl a figure bursting with talents and ideas, which Moreau and Kadouch bring to life with unstinting devotion. Poulenc's little-performed Sonata for Cello and Piano follows: a delicious taste of Poulenc's "light" output, which almost classes as salon music. The other great moment on the album is Franck's Sonata, as re-written by Jules Desart during the composer's lifetime. The album also offers a little rarity from Fernand de La Tombelle, one of the founding members of the Schola Cantorum, whose score relates to the work of Reynaldo Hahn. This ample album closes with a world-first Poulenc recording (such a thing is still possible!), Souvenirs. It is well-named: the piano part appears to recall (or prefigure) the dramas of Dialogues, while the cello, which only intervenes occasionally, shows off Poulenc's salon voice! © SM/Qobuz
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Full Operas - Released November 24, 2017 | Warner Classics

Hi-Res Booklet Distinctions Diapason d'or - 4F de Télérama - Gramophone Record of the Year - Gramophone Award - Gramophone Record of the Month - 4 étoiles de Classica
We will gladly forgive the occasional "weakness" in sound technology in this recording of Troyens by Berlioz (recorded live in concert in April 2017). In light of the first-rate quality of the music and vocals that appear on the disc (a majority of which are French voices, with Stéphane Degout at their head) this immense work is from the Strasbourg Philharmonic Orchestra and the three choirs which have been brought together – because the work demands immense swelling choirs – which are the choir of the Opéra national du Rhin, the Opéra National de Bade, and the Strasbourg Philharmonic's own choir. This recording rests, of course, on the complete original edition, which gives the listener a chance to hear Les Troyens as the work was performed in 1863, at the Théâtre-Lyrique, in which some intense chopping saw Acts I and II condensed into one part and Acts III to V into another, producing two distinct operas (La Prise de Troie and Les Troyens à Carthage). We also get a taste, naturally, of Berlioz's immensely rich orchestral innovations: with every new work, he would invent some exciting new prototype from scratch, never content to rest on his laurels. The listener should note the presence of six saxhorns, recently invented by Adolphe Sax (of whom Berlioz was an indefatigable champion, even if he didn't often use his instruments in his scores, no doubt because of the poor quality of the early instrumentalists who learned - however well or badly - Sax's instruments); bass clarinet, and an army of percussion pieces including several instruments which must have been rare in those days: crotales, goblet drums, tom-toms, thunder sheets... clearly, this is a milestone in the Berlioz discography. © SM/Qobuz
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Secular Vocal Music - Released November 10, 2017 | Warner Classics

Hi-Res Booklet Distinctions Diapason d'or - 4F de Télérama - Gramophone Editor's Choice - Le Choix de France Musique - Choc de Classica - Choc Classica de l'année - 5 Sterne Fono Forum Jazz
This project originated, Sabine Devieilhe says, from her desire to tackle Lakmé. In fact, Delibes was able to compose for her heroine some of the most memorable pages for coloratura soprano, starting with the hugely famous "air des clochettes" [Bell Song]. And as Western ears at the time were eager for musical and poetic voyages, and sensations from far-off lands, we find these same Oriental fantasies with Maurice Delage, who himself went on a grand tour of India, where he found modal colours, but also in Madame Chrysanthème by Messager or Rossignol by Stravinsky, to say nothing of the Egypt of Thaïs as portrayed by Anatole France and Massenet. Sabine Devieilhe, who won the "Lyrical revelation" prize at Victoires de la musique classique in 2013 before winning "Lyrical artist of the year" at the same ceremony – certainly not an unfair judgement of this particular artist – started her recording career with recordings of Rameau, Bach and Mozart, before launching into the lyrical repertoire from more recent years… And with great success! © SM/Qobuz
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Classical - Released June 16, 2017 | Warner Classics

Hi-Res Booklet Distinctions Diapason d'or - 4F de Télérama - Choc de Classica
2017 brings the 50th anniversary (3rd June 1967) of the death of André Cluytens, the Belgian-born French conductor. While he is especially associated with France and with French music of the 19th and early 20th centuries, his recordings bear witness to his substantial international reputation and his command of an impressively wide repertoire. The set include many first-time releases. The producer of the set discovered a number of treasures in the Warner Classics archives, including unedited session tapes that have been carefully assembled for this release.
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Classical - Released June 16, 2017 | Warner Classics

Hi-Res Booklet Distinctions Diapason d'or - 4F de Télérama
2017 brings the 50th anniversary (3rd June 1967) of the death of André Cluytens, the Belgian-born French conductor. While he is especially associated with France and with French music of the 19th and early 20th centuries, his recordings bear witness to his substantial international reputation and his command of an impressively wide repertoire. The set include many first-time releases. The producer of the set discovered a number of treasures in the Warner Classics archives, including unedited session tapes that have been carefully assembled for this release.
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Classical - Released January 5, 2018 | Warner Classics

Booklet Distinctions 4F de Télérama
EDITORIAL NOTES: This complete edition brings together all Debussy’s known works. The one work that is not currently available is the orchestral version of an Intermezzo composed in June 1882. However, it is possible to form an idea of how this might have sounded thanks to Debussy’s own transcription of the piece for piano duet (7/6)2. The following works can be heard here in premiere recordings: —the Chanson des brises (1882) for soprano solo, female chorus and piano four-hands (24/12), the complete manuscript of which has recently come to light; —the first version (1898) of the two Chansons de Charles d’Orléans (25/5-6); —Diane au bois (1885-87), a “comédie lyrique” for soprano, tenor and piano (26/1-4); —the beginning of La Chute de la maison Usher, as it was when Debussy set the work aside in 1916 (30/6-10);   To this group of works, we have added the piano reductions of Khamma (4/13-16) – whose orchestration was mainly the work of Koechlin – and of Jeux (4/17), both of which provided the basis on which the choreography of the two ballets was devised. Moreover, some of Debussy’s transcriptions from the 1890s have never been recorded until now: —À la fontaine, an arrangement for piano solo of Am Springbrunnen from Schumann’s Op.85 set of piano duets (2/20); —Humoresque en forme de valse, an arrangement for piano solo of Raff’s Humoreske in Walzerform, Op.159, for piano duet (6/9); —Saint-Saëns’ Symphony No.2 and Airs d’Étienne Marcel, arranged for two pianos, four hands (11/8-18);   In addition to the above, we have included several arrangements of Debussy’s works made by composers with whom he was on friendly terms. The complete edition contains all the transcriptions by André Caplet (for piano solo, two pianos and orchestrations), even those carried out after Debussy’s death. Caplet’s orchestrations of two of the Ariettes oubliées (22/1415) are recorded here for the first time. Most of Caplet’s transcriptions received Debussy’s seal of approval, and the composer conducted the orchestral version of Children’s Corner (18/12-17) on several occasions and took part in performances of the two-piano version of Ibéria (10/57). The same applies to the arrangements made by Henri Busser, Jean Roger-Ducasse, Désiré-Émile Inghelbrecht and Bernardino Molinari. Ravel’s transcriptions and orchestrations are testimony to his admiration for Debussy. Finally, it is worth noting that Debussy was on good terms with the violinist Arthur Hartmann and transcribed Minstrels (13/3), one of the piano Préludes, for his friend. The two men played the piece together at a concert on 5 February 1914, alongside two arrangements that Hartmann had made with the composer’s consent: another of the Préludes, La fille aux cheveux de lin (13/15), and the second of the Ariettes oubliées, Il pleure dans mon cœur (13/14). Finally, this set features the only known acoustic recording of Debussy, accompanying Mary Garden (33/15-18) and made in February 1904 for the French Gramophone Company, as well as piano rolls of fourteen pieces made using the Welte-Mignon system and probably recorded by the composer in November 1913 (33/1-14). Denis Herlin © 2017 Warner Classics
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Classical - Released September 30, 2016 | Warner Classics

Booklet Distinctions 4F de Télérama
Here, on the very same album, are recordings made far apart in time by Martha Argerich and Itzhak Perlman: Schumann’s Sonata Op. 105. Live at a concert in Saratoga on 30th July 1998 represents the first meeting between the two giants of the music scene, whereas the rest of the programme was recorded as recently as March 2016. There is romanticism above all with Schumann and Brahms - of course, the only Scherzo movement is in the “F-A-E” Sonata, a work composed jointly between Schumann, Dietrich and Brahms, but movements are commonly played individually. Argerich and Perlman end with Bach’s Baroque romanticism with one of the sonatas for violin and keyboard, where Bach himself wrote out the keyboard part instead of leaving it as a continuo. Written thusly, the score is a duet among equals, and even more so when the equals in question are these two in particular. © SM/Qobuz
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Opera - Released October 2, 2015 | Warner Classics

Hi-Res Booklet Distinctions Diapason d'or de l'année - 4F de Télérama - Diapason d'or / Arte - Choc de Classica
Three challenging roles expertly personified by three major singers from the new generation, which some have heralded as the operatic events of the year. Jonas Kaufmann performs his first Radames, Anja Harteros her first Aida, Ludovic Tézier his first Amonasro – and under such dreamy conditions. A real studio recording, not hastily dispatched in a few general sessions, but rather resulting from a long work process which was preceded by a series of presentations in concert version. This work will also highlight the excellent reprisal of Amneris by Ekaterina Semenchuk, who has already played this role on numerous occasions. Pappano affords the stars of the Orchestre de l’Académie Sainte-Cécile in Rome the perfect acoustics of the Parco della Musica de Renzo Piano auditorium. The stars have aligned, even within the music! This new version of Aida is without doubt one of the finest in the work’s discography. The singers go to great lengths to avoid ‘overdoing’ it, which is without doubt due to the complicity of Pappano, who has always been known for his affinity for going back to basics. © Qobuz THE CAST : Anja Harteros (Aida), soprano Jonas Kaufmann (Radames), tenor Ekaterina Semenchuk (Amneris), mezzo-soprano Ludovic Tézier (Amonasro), baritone Erwin Schrott (Ramfis), baritone-basse Marco Spotti (Der King of Egypt), bass Paolo Fanale (The Messenger), tenor Eleonora Buratto (The Priestess), soprano Orchestra e Coro dell’Accademia Nazionale di Santa Cecilia (ligne en plus petit) Antonio Pappano, conductor
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Concertos - Released November 10, 2014 | Warner Classics

Booklet Distinctions Diapason d'or - 4F de Télérama - Gramophone Editor's Choice - 4 étoiles de Classica
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Classical - Released September 10, 2012 | Warner Classics

Booklet Distinctions 4F de Télérama
Renaud Capuçon's brace of the Brahms and Berg violin concertos makes this an attractive release for Virgin Classics, though the drab cover might make it easy to overlook, and the antique appearance of the artwork could make it off-putting to classical newcomers. Capuçon is one of the most engaging young stars of the violin, and his fresh playing suggests nothing of an old-fashioned or stodgy approach. Accompanied by Daniel Harding and the Vienna Philharmonic, Capuçon plays Brahms with a light, soaring expression that is highly appealing, and his Berg is gentle and reflective, with a transparent line that communicates emotion in a satisfying song-like manner. The impulse in both performances is lyrical, and Capuçon's instincts for preserving a connected melody and suspending it with little show of effort make both concertos marvelous artistic experiences. Virgin's reproduction is rich and warm, especially in the ensemble blend, though the violin is always front and center, and it is never overwhelmed by the orchestra at its fullest or most forceful.
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Classical - Released February 6, 2012 | Warner Classics

Booklet Distinctions 4F de Télérama - 4 étoiles de Classica
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Classical - Released November 22, 2010 | Warner Classics

Booklet Distinctions 5 de Diapason - 4F de Télérama - Gramophone Editor's Choice - Choc de Classica - Choc Classica de l'année
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Classical - Released September 13, 2010 | Warner Classics

Booklet Distinctions 4F de Télérama
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Classical - Released January 16, 2009 | Warner Classics

Distinctions 5 de Diapason - 4 étoiles du Monde de la Musique - 4F de Télérama