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Vocal Music (Secular and Sacred) - Released October 26, 2018 | Warner Classics

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Two composers who in one way or another sang about the horrors of war, and two who lost their lives in it: Ian Bostridge's takes a successful gamble here, with masterful accompaniment on the piano by Antonio Pappano. The first two are from Kurt Weill with Four Walt Whitman Songs in which the poet laments over the soldiers who died in the War of Succession, and Gustav Mahler, three of whose Lieder(s) taken from Knaben Wunderhorn cruelly and repugnantly evoke the lives of poor young people, peasants and people who are barely through with their school years, sent to be torn apart on every possible and imaginable front. More directly concerned, if one may say so, are George Butterworth - who fell at the Somme in 1916, aged thirty-one, and whose A Shropshire Lad is without a doubt the greatest masterpiece here. Rudi Stephan fell at the Galician front in 1915 aged twenty-eight. His cycle Ich will dir singen ein Hohelied is a climax of unsettling eroticism... Would the fate of German music have been different if this genius had been able to act as a counterbalance, for example, to the emerging dodecaphonic music? Bostridge gives it his all here in this sad centenary of the end of the “war to end all wars”, which we know was tragically not the case. © SM/Qobuz
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Vocal Music (Secular and Sacred) - Released September 2, 2016 | Warner Classics

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
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Classical - Released August 23, 2019 | PentaTone

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Just like Pears and Britten, Ian Bostridge worked with the composer Thomas Adès on this recording of Schubert's Winterreise, made at a concert at London's famous Wigmore Hall in 2018. With his unique voice and style, the British singer divides opinion. Love him or hate him, he evokes strong feelings. As we fall into the former camp, we couldn't recommend this recording strongly enough. It is very different from the studio version recorded some years before for EMI, with the great Norwegian pianist Leif Ove Andsnes. Compared to that splendid record, this new version is simpler, almost calmer. Thomas Adès makes use of original manuscripts to build a fine accompaniment, that gives voice to the overwhelming melancholy of the young composer who knows himself to be doomed. Fatal wanderings, seen through a lens of solitude, regret and resignation. The first volume of a trilogy which will eventually bring together Schubert's great cycles, in live recordings by these same musicians. © François Hudry/Qobuz
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Classical - Released January 25, 2019 | Seattle Symphony Media

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Chamber Music - Released November 28, 2005 | Warner Classics

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Classical - Released July 16, 2007 | Warner Classics

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Classical - Released October 1, 1999 | Warner Classics

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Classical - Released December 31, 1998 | Warner Classics

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Classical - Released April 22, 2013 | Warner Classics

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Classical - Released September 9, 2016 | Globe Music

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Classical - Released December 31, 2001 | Warner Classics

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Classical - Released January 30, 2009 | Warner Classics

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Classical - Released May 1, 1998 | Warner Classics

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Classical - Released October 18, 2010 | Warner Classics

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Fans of the Three Tenors should be warned that Three Baroque Tenors has virtually nothing in common with the Pavarotti/Domingo/Carreras phenomenon. There is only one tenor here, Ian Bostridge, singing repertoire originally composed for three early 18th century tenors with extraordinary but very different gifts: Annabile Po Fabri, Francesco Borosini, and John Beard. Almost all of the arias are from operas or semi-operas, and while a few are somewhat familiar, most of the selections are obscure, and several are recorded here for the first time. It would have been easier to discern the three singers' individuality and idiosyncrasies had the pieces for each been grouped together, but there is no discernible rationale for the order of the program. It takes a close reading of the program notes to try to sort out which arias were written for which singer, and not all the pieces are accounted for, so the unique premise of the album is undercut by poor packaging decisions. The coloratura tenor is a voice type that had not even existed at the turn of the 18th century, and it was the virtuosity of Fabri, Borosini, and Beard that emboldened composers to write music for tenors that was as challenging as anything they wrote for women or castrati. With his agile, light voice, Bostridge is probably as well-equipped as any living tenor to tackle this daunting repertoire. He has the coloratura facility and breath control to spin out long lines, and he gives them intelligent, shapely contours. Borosini's voice extended down through typical baritone range, and Bostridge handles even those arias with assurance and solidity. One of the most fascinating things about the album is the juxtaposition of two settings of the same text, "Forte e lieto," the first by Francesco Gasparini in 1719 and the second by Handel in 1724, both written for Borosini's unique gifts. Handel's is certainly the more musically sophisticated, but Gasparini has a visceral emotional charge that Handel's lacks. Obscure arias by composers like Francesco Conti, Antonio Caldara, William Boyce, and John Galliard are reminders of the richness, subtlety, and dazzle of the troves of unexplored Baroque vocal music. Bernard Labadie and the English Consort are simply superb, providing nuanced and delightfully spirited accompaniments.
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Vocal Music (Secular and Sacred) - Released September 2, 2016 | Warner Classics

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Classical - Released November 28, 2005 | Warner Classics

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Classical - Released July 25, 2006 | Warner Classics

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Classical - Released June 23, 2017 | WIGMORE HALL

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Classical - Released April 13, 2018 | WIGMORE HALL

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Classical - Released January 20, 2001 | Warner Classics