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Giulio Cesare, the most popular of Handel’s operas, is named after the great Roman emperor, but its most memorable character is Cleopatra. In this production by Laurent Pelly from Paris’ splendid Palais Garnier, the role of the Egyptian queen is assumed for the first time by Natalie Dessay, described by the Telegraph as “a supreme vocal enchantress”. Giulio Cesare is the opera that, over the quarter century, has led the vigorous revival of interest in Handel’s works for the stage. Now in the repertoire of theatres around the world, it offers a dazzling array of dramatic situations and moods – with music to match – and the seductive and captivating character of Cleopatra exemplifies its (to quote Shakespeare) “infinite variety”. Natalie Dessay chose to make her stage debut in the role of the Egyptian queen at Paris’s Palais Garnier, an opera house of legendary splendour and beauty and, seating an audience of less than 2,000, well suited to the intimacy of baroque opera. Dessay had already recorded all the character’s arias for Virgin Classics with conductor Emanuelle Haïm (catalogue number 5099990787225), who was also in charge of the performances at the Palais Garnier in early 2011. “Every note is as clear and lustrous as a freshly polished crystal chandelier,” said the Toronto Star of the soprano’s recorded performance, while the Telegraph (UK) enthused that “Dessay proves a supreme vocal enchantress”. She proved a svelte physical enchantress, too, in the staging by Laurent Pelly – who, notably, directed Dessay in the sparkling production of Donizetti’s La Fille de régiment that was seen in London, New York and Vienna and released on DVD by Virgin Classics (catalogue No. 5099951900298). His witty and stylised conception of Handel’s opera was described thus by the Wall Street Journal: “The curtain opens on the vast storeroom of an Egyptian museum, stuffed to the rafters with statuary and paintings, crates and frames. As a guard reads his newspaper, a statue of Julius Caesar comes alive – plaster gray from top to toe, including his Roman soldier's garb. Caesar bursts into song, and sculpted heads and busts aligned on storage shelves follow suit, singing along in chorus. We're off into the wacky world of director Laurent Pelly's new production of Handel's 1724 Giulio Cesare at the Paris Opéra ... there is never a dull moment.” The newspaper went on to praise the excellence of the cast: “not just the stellar Ms. Dessay but also counter-tenor Lawrence Zazzo as Caesar, mezzo-soprano Varduhi Abrahamyan as Cornelia and especially mezzo-soprano Isabel Leonard as Sesto”. In The Sunday Times (UK), Hugh Canning, an enthusiast for Handel’s operas, wrote that: “At the end of Act II, Cleopatra has one of Handel's most sublime arias, the great G minor lament ‘Se pietà di me non senti’, and Dessay sang it as well as I have ever heard in the theatre. She is an artist who understands the synergy of notes and text.” “finely managed and skilfully delivered by a strong team of singing actors. None more so than Natalie Dessay's Cleopatra, maybe past her first flush of vocal youth but still looking glamorous and singing with considerable technical and expressive command. Lawrence Zazzo's Caesar matches her...Many good things, then, not least in Emmanuel Haïm's conducting” BBC Music Magazine, Christmas 2012 *** “this is a radical production in that, instead of American oil barons or Bollywood dancers moonlighting in Vegas, the characters look surprisingly like ancient Romans and Egyptians. Zazzo's outstandingly imperious title-hero is the best sung and acted countertenor performance of the part I've encountered...Haim's admirable pacing and sensitivity for shapely phrasing are offset by convoluted continuo intruding during recitatives” Gramophone Magazine, December 2012 “Dessay brings real star quality to the part of Cleopatra, and Isabel Leonard is similarly inspired as Sextus; both project plenty of fire into their faster arias, and both are suitably plangent in their slower ones...Haim and her musicians do a good job by the score” MusicWeb International, December 2012 | | | In stock - usually despatched within 1 working day. |
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| |  | Quatuor Ebène: Fiction at the Folies BergeresLive in Paris
[1] Footprints - Wayne Shorter © Miyako Music (Rondor Music France sarl.) with the authorization of Universal Music Publishing France [2] Nature Boy - Lyrics and music by Eden Ahbez © Crestview-music Corp with the authorization of Warner Chappell Music France [3] Misirlou - Lyrics and music by Milton Leeds / Fred Wise / N. Roubanis / Bob Russell © Misirlou Music Inc. (BMI) with the authorization of Warner Chappell Music France [4] Unrequited - Bradford Mehldau © Werther Music [5] Calling you - Bob Telson © Universal Music Publ. mgb France Obo Boodle Music & Otis Lee Music by kind permission of Universal Music Publishing France [6] Corcovado with Stacey Kent - Antonio Jobim © Universal Music Publ. SAS Obo Universal/Ariston srl. by kind permission of Universal Music Publishing France [7] All blues/ So what - Miles Davis © Universal Music Publ. by kind permission of Universal Music Publishing France [8] Somewhere over the rainbow with Nathalie Dessay - Harold Arlen / E.Y Harburg © 1938 EMI catalog partnership – EMI Fesit catalog Inc. by kind permission of EMI catalog partnership France - all rights reserved [9] Libertango - Astor Piazzolla Edizioni Curci srl / A. Pagani srl © 1975 by kind permission of Curci France [10] Nothing personal - Don Grolnick © Carmine Street Pub. by kind permission of Universal Music Publishing France [11] 7-29-4 The Day Of - David Holmes © Warner Barham Music. by kind permission of Universal Music Publishing France [12] Streets of Philiadelphia - Bruce Springsteen © Rondor Music France sarl by kind permission of Universal Music Publishing France BONUS Les eaux de mars with Stacey Kent and Jim Tomlinson By Antonio Carlos Jobim with French lyrics by Georges Moustaki © 1972 Corcovado Music (BMI) What are you doing the rest of your life? With Natalie Dessay
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| |  | Marc Minkowski conducts OffenbachLive Recordings from The Opéra National de Lyon & Théâtre Musical de Paris - Châtelet
Offenbach: | Orphée aux Enfers Recorded live at the Opéra National de Lyon, 1997 Natalie Dessay (Euridice), Yann Beuron (Orphée), Jean-Paul Fouchecourt (Pluton-Aristée), Laurent Naouri (Jupiter), Martine Olmeda (L'Opinion Publique), Virginie Pochon (Diane), Cassandre Berthon (Cupidon), Lydie Pruvot (Junon), Marylyne Fallot (Vénus), Aketa Cela (Minerve), Steven Cole (John Styx), Etienne Lescroart (Mercure) Opéra National de Lyon La Belle Helène Recorded live at the Théâtre Musical de Paris – Châtelet, 2000 Felicity Lott (Hélène), Michel Sénéchal (Ménélas), Yann Beuron (Pâris), Laurent Naouri (Agamemnon), François Le Roux (Calchas), Eric Huchet (Achille), Marie-Ange Todorovitch (Oreste) Les Musiciens du Louvre |
Arthaus presents an Offenbach Box Set (Orphée aux Enfers & La belle Hélène) featuring Marc Minkowski – the preeminent Offenbach conductor of our day but also a team of wonderful singer-actors (Natalie Dessay & Felicity Lott). Sound Format: PCM Stereo, DD 5.1, DTS 5.1 Picture Format: 16:9 DVD Format: 2 x DVD 9 / NTSC Subtitle Languages: GB, DE, FR, ES, IT Running Time: 250 mins + 26 mins (bonus) FSK: 0 | | | In stock - usually despatched within 1 working day. |
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| |  | Ioan Holender Farewell ConcertGala from Vienna State Opera
Bellini: | Ah, non credea mirarti (from La Sonnambula) Diana Damrau (soprano) | Donizetti: | Ah! tardai troppo...O luce di quest'anima (from Linda di Chamounix) Stefania Bonfadelli (soprano) Pour ce contrat fatal...Salut à la France (from La fille du régiment) Natalie Dessay (soprano) | Giordano, U: | Amor ti vieta (from Fedora) Ramon Vargas (tenor) | Gounod: | L'amour, l'amour... Ah, lève-toi soleil (from Roméo et Juliette) Ramon Vargas (tenor) Quel trouble inconnu me pénètre… Salut! Demeure chaste et pure (from Faust) Piotr Beczala (tenor) | Hiller, W: | Holenderchen! Ich war dein Traumfresserchen (from Das Traumfresserchen) Herwig Pecoraro (tenor) | Korngold: | Glück, das mir verbleib 'Marietta's Lied' (from Die Tote Stadt) Angela Denoke (soprano), Stephen Gould (tenor) | Lehár: | So kommen Sie! ? Ich bin eine anstnd'ge Frau (from Die lustige Witwe) Angelika Kirchschlager (mezzo), Michael Schade (tenor) | Massenet: | Vision fugitive (from Hérodiade) Boaz Daniel (baritone) Werther! Werther!…Je vous écris de ma petite chambre (from Werther) Roxana Constantinescu (mezzo) Toute mon âme - Pourquoi me réveiller (from Werther) Piotr Beczala (tenor) Suis-je gentille ainsi? ... Je marche sur tous les chemins ... Obéissons quand leur voix appelle (from Manon) Anna Netrebko (soprano) | Mozart: | Un'aura amorosa del nostro tesoro (from Così fan tutte) Michael Schade (tenor) Prenderò quel brunettino (from Così fan tutte) Barbara Frittoli (soprano), Angelika Kirchschlager (mezzo) E Susanna non vien! … Dove sono i bei momenti (from Le nozze di Figaro) Barbara Frittoli (soprano) | Offenbach: | Hélas! mon cœur s'égare encore! (from Les Contes d'Hoffmann) | Puccini: | Firenze è come un albero fiorito (from Gianni Schicchi) Saimir Pirgu (tenor) Se come voi piccina io fossi (from Le Villi) Krassimira Stoyanova (soprano) | Strauss, R: | Wie schön ist doch die Musik (from Die schweigsame Frau) Thomas Quasthoff (bass-baritone) Nun will ich jubeln wie keiner gejubelt (from Die Frau ohne Schatten) Adrianne Pieczonka, Deborah Polaski (sopranos), Johan Botha (tenor), Falk Struckmann (baritone) Er ist der Richtige nicht für mich … Aber der Richtige, wenn's einen gibt für mich (from Arabella) Adrianne Pieczonka, Genia Khmeier (sopranos) | Verdi: | Stride la vampa (from Il Trovatore) Nadia Krasteva (mezzo) In braccio alle dovizie (from I Vespri Siciliani) Leo Nucci (baritone) Va, pensiero (from Nabucco) Elle ne m'aime pas! (from Don Carlos) Ferruccio Furlanetto (bass) Pace, pace mio Dio! (from La forza del destino) Violeta Urmana (soprano) Perfidi!…Pietà, rispetto, amore (from Macbeth) Simon Keenlyside (baritone) Tutto nel mondo è burla (from Falstaff) Elisabeth Kulman, Krassimira Stoyanova, Ileana Tonca (sopranos), Nadia Krasteva (mezzo), Gergely Nmeti, Herwig Pecoraro, Michael Roider (tenors), Leo Nucci, Alfred Ramek, Boaz Daniel (baritones) | Wagner: | Rienzi Overture Winterstürme wichen dem Wonnemond (from Die Walküre) Placido Domingo (tenor) Mild und leise 'Isolde's Liebestod' (from Tristan und Isolde) Waltraud Meier (soprano) O sink hernieder, Nacht der Liebe (from Tristan und Isolde) Maria Schnitzer (soprano), Peter Seiffert (tenor) In fernem Land (from Lohengrin) Johan Botha (tenor) Über Stock und Stein (from Das Rheingold) Elisabeth Kulman (soprano), Gergely Nmeti, Adrian Erd (tenors), Boaz Daniel (baritone) | Weber: | Und ob die Wolke sie verhülle (from Der Freischütz) Soile Isokoski (soprano) |
A star-studded benefit concert to celebrate Ioan Holender’s farewell after 19 years as the director of one of the world’s leading and most famous opera houses. The highly acclaimed cast was headed by brilliant singers such as Diana Damrau, Natalie Dessay, Angelika Kirchschlager, Waltraud Meier, Anna Netrebko, Pjotr Beczala, Plácido Domingo, Thomas Hampson, Leo Nucci, Thomas Quasthoff, Ramon Vargas and many others. No fewer than twelve conductors including Marco Armiliato, Bertrand de Billy, Fabio Luisi, Zubin Mehta, Antonio Pappano and Franz Welser-Möst led the way through a program lasting over four hours at the fully-packed Wiener Staastoper. Subtitles: English, German, French, Spanish, Chinese | | | In stock - usually despatched within 1 working day. |
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| |  | Libretto by Hugo von Hofmannsthal
Deborah Voigt (Ariadne/Prima Donna), Natalie Dessay (Zerbinetta), Susanne Mentzer (The Composer), Richard Margison (Bacchus/The Tenor), Wolfgang Brendel (The Music Master), Waldemar Kmentt (The Major-Domo), James Courtney (A Lackey), Mark Schowalter (An Officer), John Fiorito (A Wigmaker), Tony Stevenson (The Dancing Master), Nathan Gunn (Harlekin), John Nuzzo (Brighella), Eric Cutler (Scaramuccio), John Del Carlo (Truffaldin), Joyce Guyer (Najade), Jossie Pérez (Dryade) & Alexandra Deshorties (Echo) The Metropolitan Opera Orchestra and Chorus, James Levine (conductor) & Laurie Feldman (stage director) Production Elijah Moshinsky Set and Costume Designer Michael Yeargan Lighting Designer Gil Wechsler Recorded in 2003 at New York’s Metropolitan Opera, this sumptuous production of Ariadne auf Naxos presents divas Deborah Voigt and Natalie Dessay in the contrasting roles which embody the opera’s themes. Two of today’s reigning sopranos – Deborah Voigt and Natalie Dessay – embody the contrasting philosophies at the heart of Ariadne auf Naxos: the deserted princess Ariadne, a ‘one-man woman’ who believes in loyalty unto death, and the flirtatious comedienne Zerbinetta, who takes a more pragmatic attitude to love and to life. This recording from the Metropolitan Opera dates from 2003. The noble, soaring lines of Ariadne gave Voigt a major breakthrough in 1991, when she sang the role in Boston, and it subsequently became her signature role. Zerbinetta exemplifies the dizzy coloratura characters which first made Dessay’s reputation. Two reviews from the New York Times evoke the first night of Elijah Moshinsky’s production in 1993, and the performance a decade later that is commemorated on this DVD. “...two prima donnas [Voigt and Mentzer] at the peaks of their careers having fun with the liveliest Elijah Moshinsky production I've seen...Dessay slips between complex human truth and the commedia dell'arte character...[Voigt] reveals a talent for Dickensian comedy...altogether a great version to win new lovers to this gorgeous work.” BBC Music Magazine, December 2010 ***** “[Voigt's] singing is full, weighty and rises to the climactic heights of the final duet...The most engaging portrayal comes from Natalie Dessay as Zerbinetta. As well as hitting all the notes (albeit with some vinegary tone), Dessay gives the character three dimensions, adding extra depth with her wide-eyed vulnerability...James Levine takes his time in the pit - but how many opera orchestras play this score with such high-quality indulgence?” Gramophone Magazine, July 2011 | | | In stock - usually despatched within 1 working day. |
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Bellini's romantic opera 'La sonnambula' (1831), hinges on the love and misunderstanding between Elvino and Amina (the ‘sleepwalker’ of the title). Discovered in the bedroom of Rodolfo, Amina is assumed to have been unfaithful, and Elvino cancels their wedding. But in the dramatic final scene, he witnesses Amina sleepwalking, understands her innocence, and all ends happily. Mary Zimmerman's production plays with the dual realities of a rehearsal of the opera and a performance of the opera itself. In his latest Decca DVD release, bel canto star Juan Diego Flórez assumes the role of Elvino in Bellini’s romantic drama, playing opposite the mercurial French soprano, Natalie Dessay, in the MET’s striking, modern-dress production, screening live worldwide in March 2009. The MET’s ‘La Sonnambula’ website reads: “Mary Zimmerman, who directed Natalie Dessay in last season’s hit new production of Lucia di Lammermoor, underlines La Sonnambula’s dual elements of sleep and wakefulness in an intriguing staging set in the present. Bellini’s hauntingly lyrical score soars as performed by Dessay and Juan Diego Flórez, back from their sensational run together in La Fille du Régiment in leading opera houses around the world.” The DVD release will benefit from the addition of the customary MET backstage and interview footage, familiar to devotees of their live worldwide cinema broadcasts. Following Flórez's latest DVD release (Cenerentola, in October 2009), 2010 will also see a second Flórez DVD – Bellini’s ‘I Puritani’, with Nino Machaidze, from Bologna. Filmed in High Definition Widescreen. SUBTITLES: English, French, German, Spanish, Chinese PICTURE FORMAT: 16:9 (anamorphic widescreen), Colour, NTSC, Region code 0 (worldwide) SOUND FORMAT: LPCM Stereo & DTS 5.1 Surround (DVD) BONUS FEATURE: 'Backstage at the MET', presented by Deborah Voigt, featuring interviews with Dessay and Flórez “The role of Amina holds no terrors for Natalie Dessay...you wonder how it could be sung any other way. As Elvino, Juan Diego Flórez is richer in tone than in recent performances and you feel the violence ignited by his sexual jealousy. In the pit, Evelino Pidò is everything you need” BBC Music Magazine, July 2010 *** “[The rehearsal conceit] may sound like a straight thumbs-down. But it works....almost without knowing it, one is drawn into the work itself, rejoicing in the power of song...Juan Diego Flórez has an abundance of all that is required and enjoys a well-deserved ovation after his solo in Act 2...Evelino Pidò conducts with judicious flexibility.” Gramophone Magazine, July 2010 | | | In stock - usually despatched within 1 working day. |
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| |  | Live Recording from The Opéra National de Lyon, 1997
Set Design by Chantal Thomas & Costume Design by Michel Dussarat & Laurent Pelly In the role of Eurydice, Natalie Dessay begins at once with a display of vocal and verbal pyrotechnics, which are then taken up by Yann Beuron as Orpheus. Together they give us an idea of the developments to follow. Dancers and singers melt into a unit. The stage setting and an unconventional choreography sparkle with inventiveness. When Pluto, for example, arrives on skis from the underworld onto Mt. Olympus and Offenbach quotes the famous can-can right in the middle of Pluto’s aria, it seems to be a parody of his own work. The production offers a wealth of material for modern interpretations of this operetta full to the brim with ironic sideswipes at morality and immorality. Thus we see a bored Eurydice lying on the sofa in her apartment as she zaps her way through the TV channels, constantly looking for diversion, showing us how timeless an opera buffa can really be. Sometimes she sings upside down, sometimes hopping around – a vocal masterpiece. Laurent Naouri also captivates in the role of Jupiter and, costumed as a fly, demonstrates his vocal and acting talent with Jacques Offenbach’s “Buzz” aria. Sound Format: PCM STEREO, DD 5.1, DTS 5.1 DVD Format: DVD 9, NTSC Picture Format: 16:9 Running Time: 123 mins FSK: 0 Subtitle Languages: GB, DE, FR, ES, IT | | | In stock - usually despatched within 1 working day. |
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| |  | Stage Director: Laurent Pelly
Subtitles: English, French, German, Spanish, Italian Live from Covent Garden, Royal Opera House, London – January 2007 “Reactions to Dawn French’s non-singing appearance as an ample and obdurate Duchess of Crackentorp will be, more than usual, a matter of taste...But there can surely be no argument about Dessay. As the regiment’s tomboy handmaiden Marie, pigtail curving, fist punching the air à la Nigel Kennedy, she shows incredible comic verve even when Donizetti’s music sends her voice skyrocketing. Singer, actress, clown: she’s all three.
Theatrically, Flórez isn’t even near the same league...[but] the Peruvian star’s grin, sparkle and ringing tenor keep us happy enough. When the nine high Cs of Ah, mes amis! are hit dead in the centre with the ease of a shrug, you know you’re in safe hands. And Tonio suits exactly the singer’s still-boyish charm... It all makes you want to be in the stalls, seeing and breathing every moment.” The Times, 25th April 2008 **** “Dessay… is such a natural clown, and it is wonderful to behold the way she used little bits of the coloratura to illustrate comic points. Bruno Campanella conducts the Royal Opera forces with a delicate understanding of all the requirements of Donizetti's often exquisite instrumental detail.” Gramophone Magazine, May 2008 “Laurent Pelly's production of Donizetti's opéra comique was one of the highlights of the Royal Opera's 2006-7 season, and viewing this well-produced DVD of the show it's perfectly obvious why. Natalie Dessay's skinny tomboy of a Marie combines a 110 per cent commitment to the physicality of her acting with a coloratura facility that is beyond criticism.” BBC Music Magazine, June 2008 ***** “Dessay establishes her star quality from her very first entry and vivaciously dominates Donizetti's delightful opera throughout...In short she is an unforgettably enchanting Marie, unlikely to be surpassed...[Florez] also sings and acts superbly.” Penguin Guide, 2011 edition BBC Music Magazine
DVD Choice - June 2008 |
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“David Caviar's production of Massenet's masterpiece is strong on period flavour… It's strong, too, in the delineation and interaction of the two protagonists… Dessay's Manon shines, not only in her prodigious technical skills… but also in a realisation of her conflicted character that shows Manon's desire for love running up against her penchant for the finer things in life.” BBC Music Magazine, March 2008 ***** “David McVicar's production of Manon takes a more than usually harsh view of the story…Here, everything and everybody is for sale… It is thrilling, sometimes even slightly shocking, and throughout the direction of the cast is faultless: every scene bears re-viewing for the amount of detail and dramatic energy that is released. It is unlikely that Natalie Dessay will ever give a greater performance than this. Her singing of each of the great arias is equally fascinating. The scene in which she and Rolando Villazón size each other up before speaking is exquisitely managed... Villazón makes a passionate hero. I cannot imagine that we will see another Manon to equal this for a long time: highly recommended.” Gramophone Magazine, April 2008 “David McVicar's production of Manon takes a more than usually harsh view of the story, too often softened by Rococo prettiness. Here, everything and everybody is for sale, and behind the façade of 18th-century Paris lurks a world of corruption, disease and perversion. It is thrilling, sometimes even slightly shocking, and throughout the direction of the cast is faultless: every scene bears re-viewing for the amount of detail and dramatic energy that is released. It is unlikely that Natalie Dessay will ever give a greater performance than this. First glimpsed as a gawky schoolgirl, wearing a travelling-coat two sizes too large, she grows into a coquettish lover, then a manipulative, avaricious courtesan before our eyes. Her singing of each of the great arias is equally fascinating, with delicate embellishments at such moments as 'Profitons de la jeunesse', and a really touching 'Adieu, notre petite table', ending up lying in a foetal position on top of the table. The scene in which she and Rolando Villazón size each other up before speaking is exquisitely managed. Villazón makes a passionate hero. His interpretation is much more extrovert than Dessay's, and there are several moments when one would have wished him to sing yet more softly. This is considerably more subtle, though, than his reading of the same part in the modern-dress production in Berlin last year. Manuel Lanza makes a seductive, sleazy Lescaut, and Francisco Vas is sinister rather than just amusing as the vengeful Guillot. Although his demeanour is suitably dignified as Des Grieux père, Samuel Ramey's voice now has such a perilous wobble that 'Epouse quelque brave fille' is rather painful, in the wrong way. Tanya McCallin's set – a steep amphitheatre from which extras watch the action played out centre-stage – complements her costumes, inspired by the paintings of Chardin rather than the usual sugary Fragonard. The choreography of Michael Keegan-Dolan reaches its height in the elaborate hunting ballet in the Cours-La- Reine scene, one of Massenet's happiest bits of Baroque pastiche. It is hard to imagine that we will see another Manon to equal this for a long time: highly recommended.” Gramophone Classical Music Guide, 2010 BBC Music Magazine
DVD Choice - March 2008 |
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| |  | Natalie Dessay - The Miracle of the VoiceGreatest Moments on Stage
Bernstein: | Glitter and be gay (from Candide) London Philharmonic Orchestra, Sir Andrew Davis | Donizetti: | Il dolce suono mi colpì di sua voce! … Spargi d'amaro pianto (from Lucia di Lammermoor) Orchestre & Chœurs de l’Opéra de Lyon, Evelino Pidò | Mozart: | O zittre nicht (from Die Zauberflöte) Les Arts Florissants, William Christie Der Hölle Rache kocht in meinem Herzen (from Die Zauberflöte) Orchestre & Chœurs de l’Opéra National de Paris, Ivan Fischer | Offenbach: | Les oiseaux dans la charmille (from Les Contes d'Hoffmann) Orchester der Wiener Staatsoper, Jan Märkl Duo de la mouche from Orphée aux Enfers | Ravel: | Air du Feu: “Arrière…” from L'enfant et les sortilèges | Strauss, J, II: | Frühlingsstimmen Walzer Op. 410 Orchester der Wiener Staatsoper, Ulf Schirmer | Strauss, R: | Grossmächtige Prinzessin (from Ariadne auf Naxos) Wiener Philharmoniker, Christoph von Dohnanyi | Thomas, Ambroise: | A vos jeux, mes amis (from Hamlet) Symphony Orchestra & Chorus of the Gran Teatre del Liceu, Bertrand de Billy |
“Ms. Dessay treats opera like a form of theatre in which acting and singing are one” The Times, November 2005 | | | In stock - usually despatched within 1 working day. |
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