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Eloquence, c'est la collection des trésors oubliés des labels Deutsche Grammophon, Decca et Philips. Initiée par l'Australie, cette série de rééditions sait créer l'événement. Les albums offrent des couplages souvent inédits, avec une véritable connaissance de l'histoire discographique pour former une présentation cohérente et soignée. Le son, provenant des bandes originales anglaises, est traité de manière naturelle pour pouvoir rendre au mieux l'exceptionnelle qualité sonore qui a subjugué des générations de mélomanes dès l'orée de la stéréophonie dont Decca a été un des pionniers, développant ses propres micros et magnétophones. Une collection pour mélomanes et audiophiles exigeants pour un prix modique.

Albums

CD$10.49

Classical - Released January 1, 2000 | Decca Music Group Ltd.

CD$10.49

Classical - Released January 1, 2000 | Decca Music Group Ltd.

CD$12.99

Classical - Released January 1, 1997 | Decca Music Group Ltd.

CD$12.99

Symphonic Music - Released January 1, 1964 | Decca

In 1936, the English composer and writer, Constant Lambert, described Igor Markevitch as ‘the leading figure of the Franco-Russian school’. As a composer he had been commissioned by Diaghilev and performed by the likes of Alfred Cortot and Roger Désormière but his posthumous reputation largely rests on his prowess as a conductor, a profession he took up in the 1930s after study with Pierre Monteux. As an interpreter, Markevitch combined a volatile personality with meticulous attention to the composer’s instructions, very much in the mould of Monteux. He was ideally suited in this regard to the Russian repertoire from Tchaikovsky to Stravinsky. Central both to this history and to his repertoire, was the music of Nikolai Rimsky-Korsakov with its sinuous melodies and ever-astonishingly original orchestral colours. Made by Philips engineers in London in October 1962, this album of the composer’s best-loved orchestral works complements Markevitch’s cycle of the Tchaikovsky symphonies also recorded with the London Symphony Orchestra during the mid-1960s. They share many of the same qualities: super-charged tension, precise definition (in both performance and engineering) and refreshingly unusual articulation in repertoire that has often become stale by familiarity and lazy execution. Markevitch never made a lazy or conventional recording in his life and he attended to the sweeping narrative of ‘Scheherazade’ with the kind of detail that distinguishes his electrifying accounts of ‘The Rite of Spring’. (© Decca Music Group Limited / Universal Music Australia Pty Ltd.)
CD$25.49

Secular Vocal Music - Released January 1, 1959 | Decca

A newly remastered collection of four original Decca albums featuring the Spanish mezzo-soprano at the height of her powers in the repertoire most associated with her, from Rossini to folk and popular songs from her native Spain.Born in 1935, Teresa Berganza was in her mid-twenties when she made the recordings on this album, yet she was already the darling of the opera press by June 1959 when Decca first issued the wide-ranging recital of Rossini arias which opens this anthology, moving with assured mastery from the flirtatious Isabella in ‘L’italiana in Algeri’ to the grave beauty of ‘Fac ut portem’ from the ‘Stabat mater’. Later the same year, she recorded a sequence of eight Basque songs with orchestra which captivatingly exploits the dark, sultry shadings within her mezzo. Although the Rossini LP has been issued piecemeal on CD, this is the first time the recital appears in its entirety. A year later, Berganza was established as an artist of singular gifts who would lend distinction to the extraordinary ‘gala sequence’ inserted in the second act of the label’s new Viennese recording of ‘Die Fledermaus’, capable of standing her own alongside the likes of Björling, Nilsson, Sutherland and Tebaldi. Her contribution to that album was a Lullaby by her husband Félix Lavilla which they recorded together not in Vienna but Kingsway Hall, London. As her long-standing accompanist, Lavilla partnered Berganza in a 1962 recital of Spanish songs that capture the mezzo-soprano in vibrant form, bringing her flaring tone, dramatic energy and captivating charisma to Baroque arias by Pergolesi and Scarlatti as well as songs by Granados and Turina, finishing with a classic account of Falla’s ‘Siete canciones populares españolas’ from 1959. As Richard Wigmore remarks in his new booklet appreciation, not even the legendary Conchita Supervia gave a more thrilling, spine-tingling performance of the cycle’s concluding ‘Polo’. (© Decca Music Group Limited / Universal Music Australia Pty Ltd.)