Renée Fleming

Soprano

Renée Fleming

Fleming's first major break came in 1988 when she sang the Countess in The Marriage of Figaro at the Houston Grand Opera. In 1989, she made debuts with the New York City Opera and the Royal Opera House, Covent Garden. In 1991, she made her Metropolitan Opera debut. In 1997, Fleming sang her first Manon at the Opéra Bastille to glowing reviews.

As a youngster, Fleming enjoyed popular music and admired the talent of Joni Mitchell and others. In addition to the standard operatic repertoire, she performs new music, Broadway show tunes, and other popular genres.

Fleming sang in the world première of John Corigliano's The Ghosts of Versailles with the Metropolitan Opera, in the Lyric Opera of Chicago's first performances of Floyd's Susannah, and as Blanche in the world première of André Previn's A Streetcar Named Desire, with the San Francisco Opera.

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Distant Light

Distant Light


Barber:

Knoxville: Summer of 1915, Op. 24

Bjork:

Virus

Joga

All is Full of Love

arr. Hans Ek

Hillborg:

The Strand Settings

world premiere recording


Read Katherine's exclusive interview with Renée Fleming about the recording here.

‘Distant Light’ is Renée Fleming’s first foray into the hypnotic world of Scandinavian music. For her first new studio album in three years she has chosen to inspire and provoke with a daring mix of music.

The title comes from a poem in a new song cycle dedicated to Renée and here receiving its world premiere recording: Anders Hillborg’s ‘The Strand Settings’.

"At once atmospheric, elegiac and unsettling, the work was crafted with Ms. Fleming’s creamy voice in mind”, wrote the New York Times at its first performance in 2013. One of Sweden’s brightest star composers Hillborg has a close relationship with the Royal Stockholm Philharmonic where this recording was made in February 2016 with its principal conductor Sakari Oramo.

Renée couples this with three songs by Björk in specially commissioned orchestrations by the brilliant Swedish composer and arranger Hans Ek, recorded here for the first time.

Why Björk? Both she and Renée are recipients of Sweden’s Polar Music Prize. Both dare to be original. In the fascinating booklet interview Renée talks about her admiration for Björk: “Her originality is breathtaking. She just blazes her own path forward”. Renée chooses the songs which mean the most to her personally and musically.

“[The Strand Settings] already seems a classic with its declamatory vocal ardour, orchestral finesse, and communicative confluence of styles, from tinkling minimalism to a snatch of mock Handel. As she soars upwards on words like ‘stars’ and ‘freedom’ – Hillborg’s not afraid of the obvious – Fleming’s top register seems as golden as ever” BBC Music Magazine, March 2017 ****

“At once alluring and uneasy, the songs are a gift for Renée Fleming, whose siren-like soprano draws the listener on to the unknown. The atmosphere is potently captured by Sakari Oramo and the Royal Stockholm Philharmonic Orchestra.” Financial Times, 6th January 2017 ****

“Fleming is in her best voice for Hillborg, sometimes digging into her lower range with great effect but also resorting to breathy mannerisms to characterise awed disbelief at the visions at hand…[she] finds much to connect with in the rhapsodic repetitions of ‘Jóga’. ‘All is Full of Love’ benefits from overdubbing: Fleming seems to be everywhere at once, with rather intoxicated effect” Gramophone Magazine, February 2017

“Fleming obviously relishes the atmospheric music that Hillborg provides for her, and her soprano sails and swoops through the generally wistful and gossamer textures that the orchestration provides” Opera Now, February 2017 ****

“As a vehicle for the soaring purity of Fleming’s voice, and as an evocation of Strand’s very finely etched sensibility, Hillborg’s settings are genuinely beautiful and their cumulative effect is powerful...And the three songs by Björk that end the disc don’t seem out of place either.” The Guardian, 11th January 2017 ****

“[Fleming] still commands the creamiest, spine-shiveringly sensuous timbre in the business. That’s evident throughout Knoxville, as is her excellent diction, an area often perceived as her weakness...There’s a much more ghostly, even ominous, atmosphere in Hillborg’s writing.” The Times, 6th January 2017 *****

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Paradisum: Serene Sacred Songs

Paradisum: Serene Sacred Songs


Bach, J S:

Cantata BWV147 'Herz und Mund und Tat und Leben': Jesu, bleibet meine Freude

The Choir of King’s College, Cambridge

Magnificat in D major, BWV243: Quia respexit humilitatem

Angela Gheorghiu (soprano)

Bernstein:

A Simple Song (from Mass)

Bruckner:

Os justi meditabitur sapientiam

Voces8

Caccini, G:

Ave Maria

Elina Garanca (mezzo)

Fauré:

Requiem: Pie Jesu

Renee Fleming (soprano)

Requiem: In Paradisum

Sir Neville Marriner

Cantique de Jean Racine, Op. 11

The Choir of King’s College, Cambridge

Franck, C:

Panis Angelicus

Luciano Pavarotti (tenor)

Gjeilo:

The Ground

Renee Fleming (soprano)

Gounod:

Repentir (O Divine Redeemer)

Kiri Te Kanawa (soprano)

Ave Maria

Juan Diego Florez (tenor)

Handel:

Ombra mai fu (from Serse)

Andreas Scholl (countertenor)

Lloyd Webber, A:

Requiem: Pie Jesu

Anna Netrebko (soprano)

Mascagni:

Sancta Maria

Andrea Bocelli (tenor)

Mendelssohn:

Auf Flügeln des Gesanges, Op. 34 No. 2

Angela Gheorghiu (soprano)

Mozart:

Ave verum corpus, K618

The Choir of King’s College, Cambridge

Requiem in D minor, K626 - Lacrimosa

Vesperae Solennes de Confessore, K339: Laudate Dominum

Felicity Palmer (soprano)

Rachmaninov:

Vespers, Op. 37: Khvalite imya Godpodne

How fair this spot, Op. 21 No. 7

Anna Netrebko (soprano)

Ramirez, A:

Misa Criolla: Kyrie

Jose Carreras (tenor)

Schubert:

Ave Maria, D839

Luciano Pavarotti (tenor)

Du bist die Ruh D776 (Rückert)

Bryn Terfel (bass-baritone)

Mille Cherubini in coro

Andrea Bocelli (tenor)

Tavener:

Song for Athene

The Holst Singers

Vivaldi:

Larghetto from "Nulla in Mundo pax sincera"

Emma Kirkby (soprano)

Wagner:

Der Engel (No. 1 from Wesendonck-Lieder)

Jonas Kaufmann (tenor)

Whitacre:

Lux aurumque


This 2CD collection brings together the calmest and most thoughtful sacred songs ever written, performed by the world’s greatest singers including Andrea Bocelli, Luciano Pavarotti, Jonas Kaufmann, Anna Netrebko, Renée Fleming, José Carreras and Bryn Terfel.

Composers range from Mozart and Bach to the contemporary cool of today’s great writers such as Eric Whitacre and Ola Gjeilo.

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Lehár: The Merry Widow

Lehár: The Merry Widow

sung in English


Lehár:

Die Lustige Witwe


Renée Fleming (Hanna Glawari), Nathan Gunn (Danilo), Kelli O’Hara (Valencienne), Alek Shrader (Camille)

The Metropolitan Opera Orchestra, Chorus & Ballet, Sir Andrew Davis

Director and choreographer Susan Stroman

The great Renée Fleming stars as the beguiling femme fatale who captivates all Paris in Lehár’s enchanting operetta, seen in a new staging by Broadway virtuoso director and choreographer Susan Stroman (The Producers, Oklahoma!, Contact).

Stroman and her design team of Julian Crouch (Satyagraha, The Enchanted Island) and costume designer William Ivey Long (Cinderella, Grey Gardens, Hairspray) have created an art-nouveau setting that climaxes with singing and dancing grisettes at the legendary Maxim’s. Nathan Gunn co-stars as Danilo and Kelli O’Hara is Valencienne. Sir Andrew Davis conducts.

Bonus Feature: Backstage at the MET with members of the Cast

English, French and German subtitles

“Davis keeps Lehar's effervescent score bubbling along and this would be the perfect, light-hearted operatic fare to see in the New Year...There's a great sense of fun running through the entire cast. Fleming's Hanna Glawari is glamorously over the top, as is Nathan Gunn's Danilo, revelling in his wild life of drinking, gambling and grisettes at Chez Maxim's.” Gramophone Magazine

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Berg: Lyric Suite

Berg: Lyric Suite


Berg:

Lyric Suite - for soprano and string quartet

Wellesz:

Sonnets For Elizabeth Barrett Browning, Op. 52

Zeisl:

Komm, süsser Tod

arranged for soprano and string quartet by J. Peter Koene


This release unites on record for the first time America’s reigning star soprano Renée Fleming and its premier string quartet, The Emersons, to take us on a journey into the twilight world of Vienna in the 1920s and 30s in music imbued with late romanticism and burgeoning modernism.

Berg’s Lyric Suite is a work of intricate, complexity believed to have a secret dedication and to outline a secret programme relating to Berg’s affair with Franz Werfel’s sister (Werfel was married to Mahler’s widow, Alma). Theodor Adorno called the work a “latent opera” and in its sixth and final movement, the Largo desolato, Berg introduces the soprano voice and quotes Wagner’s Tristan motif to evoke his doomed, impossible love.

This was still secessionist Vienna: a world of paintings by Klimt, psychoanalysis by Freud and a musical life where you could hear Bruno Walter conduct Mahler and Clemens Krauss lead the operas of Richard Strauss.

Egon Wellesz’s highly expressive setting of Sonnets by Elizabeth Barrett-Browning was one of the last works he completed before leaving Austria ahead of the Anschluss in 1938. It is heard here in its original version for soprano and string quartet. Barrett-Browning was one of the most popular English poets of the Victoria era, although Wellesz turned to German translations by Rainer Maria Rilke for his setting.

Renée Fleming is famed for her “intense and luxurious” (Evening Standard) performances of Richard Strauss and Korngold, Berg and Mahler. Her sumptuous sound is uniquely suited to this repertoire.

As Edward Seckerson wrote of her fin de siècle recital at the Barbican in 2012: “We were back in Vienna’s golden age and it seemed like that was where she had always belonged”.

“Fleming sings with velvety evenness, threading her vocal line through the swirling strings, but in a rather impersonal, neutral way. But it’s the performance of the whole work by the Emersons that it is so remarkable; there is much more emotional directness, less of the usual armour-plated efficiency about their playing, and that, combined with the total technical assurance, suits the world of late Berg perfectly.” The Guardian, 9th September 2015 *****

“This is an outstanding performance of Berg's Lyric Suite.” BBC Music Magazine, December 2015

“Astonishingly accurate and coordinated accounts ...[In the Lyric Suite's Finale] the Emersons leave you longing for what might have been...Wellesz suits Renée Fleming down to her fingertips. She is woven between the lines of the original quartet version.” Gramophone Magazine, October 2015

Presto Discs of 2015

Finalist

GGramophone Awards 2016

Finalist - Chamber

BBC Music Magazine

Chamber Choice - December 2015

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Dvorak: Rusalka, Op. 114

Dvorak: Rusalka, Op. 114


Renée Fleming (Rusalka), Piotr Beczala (Prince), Dolora Zajick (Jezibaba), John Relyea (Water Goblin), Emily Magee (Foreign Princess)

Orchestra, Ballet & Chorus of The Metropolitan Opera, Yannick Nézet-Séguin

Dvorak’s enchanting fairytale of the water-nymph Rusalka has been a signature role for Renée Fleming for the past 25 years.

The Gramophone Classical Music Guide writes: “Renée Fleming's tender and heartwarming account of Rusalka's Song to the Moon reflects the fact that the role of the lovelorn water nymph, taken by her in a highly successful production at the MET in New York, has become one of her favourites”.

Here at last – in sumptuous HD – is that MET production by the late Günther Schneider-Siemssen and directed by Otto Schenk.

Yannick Nézet-Séguin conducts with “sensitivity and urgency” (Financial Times)and the strong supporting cast includes Piotr Beczala “wonderful as the Prince, his tenor elegant and impassioned” (New York Times).

“For sumptuously costumed, traditionally picturesque opera productions, you don't need to look much further...This is favourite Fleming role and it is beautifully sung very beautifully, her creamy tone with slivery top notes still exquisite. Beczala is in heroic voice and throws in some gorgeous head notes in his death throes...Nézet-Séguin is alert to the score's Czech dance rhythms and wallows in Dvorak's rich orchestration.” Gramophone Magazine, January 2016

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Dvorak: Rusalka, Op. 114

Dvorak: Rusalka, Op. 114


Renée Fleming (Rusalka), Piotr Beczala (Prince), Dolora Zajick (Jezibaba), John Relyea (Water Goblin), Emily Magee (Foreign Princess)

Orchestra, Ballet & Chorus of The Metropolitan Opera, Yannick Nézet-Séguin

Dvorak’s enchanting fairytale of the water-nymph Rusalka has been a signature role for Renée Fleming for the past 25 years.

The Gramophone Classical Music Guide writes: “Renée Fleming's tender and heartwarming account of Rusalka's Song to the Moon reflects the fact that the role of the lovelorn water nymph, taken by her in a highly successful production at the MET in New York, has become one of her favourites”.

Here at last – in sumptuous HD – is that MET production by the late Günther Schneider-Siemssen and directed by Otto Schenk.

Yannick Nézet-Séguin conducts with “sensitivity and urgency” (Financial Times)and the strong supporting cast includes Piotr Beczala “wonderful as the Prince, his tenor elegant and impassioned” (New York Times).

“For sumptuously costumed, traditionally picturesque opera productions, you don't need to look much further...This is favourite Fleming role and it is beautifully sung very beautifully, her creamy tone with slivery top notes still exquisite. Beczala is in heroic voice and throws in some gorgeous head notes in his death throes...Nézet-Séguin is alert to the score's Czech dance rhythms and wallows in Dvorak's rich orchestration.” Gramophone Magazine, January 2016

“Yannick Nézet-Séguin, the Philadelphia Orchestra's new director, takes a more dramatic approach than precursors like Sir Andrew Davis, slightly hardening Dvorak's moonlit atmosphere but intensifying its emotional focus…[Fleming] still cuts a beautiful figure, vulnerable but eerily isolated. And she gives Piotr Beczala's equally personable Prince, sung with ardour and refined head voice, some excuse for chasing his Foreign Princess” BBC Music Magazine, March 2016 *****

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Divas and Tenors

Divas and Tenors


Bach, J S:

Sheep May Safely Graze, from Cantata BWV208

Magdalena Kozena (mezzo)

Bellini:

Casta Diva (from Norma)

Cecilia Bartoli (mezzo)

Bizet:

Au fond du temple saint (from Les Pêcheurs de Perles)

Ramon Vargas (tenor), Ludovic Tezier (baritone)

La fleur que tu m'avais jetée (from Carmen)

Placido Domingo (tenor)

Capua:

O sole mio

Luciano Pavarotti (tenor)

Catalani:

Ebben? Ne andrò lontana (from La Wally)

Angela Gheorghiu (soprano)

Delibes:

Sous le dôme épais (from Lakmé)

Joan Sutherland (soprano), Jane Berbie (mezzo)

Donizetti:

Una furtiva lagrima (from L'elisir d'amore)

Juan Diego Florez (tenor)

Dvorak:

Mesícku na nebi hlubokém 'Song to the Moon' (from Rusalka)

Renee Fleming (soprano)

Gershwin:

Summertime (from Porgy and Bess)

Renee Fleming (soprano)

Gluck:

J'ai perdu mon Eurydice (from Orphée et Eurydice)

Juan Diego Florez (tenor)

Handel:

Samson: Let the bright seraphim

Kiri Te Kanawa (soprano)

Lascia ch'io pianga (from Rinaldo)

Patricia Petibon (soprano)

Ombra mai fu (from Serse)

Cecilia Bartoli (mezzo)

Care selve (from Atalanta)

Luciano Pavarotti (tenor)

Semele: Where'er you walk

John Aler (tenor)

Verdi prati (from Alcina)

Fritz Wunderlich (tenor)

Lloyd Webber, A:

All I ask of you (from The Phantom of the Opera)

Renee Fleming (soprano), Bryn Terfel (bass-baritone)

Løvland:

You Raise Me Up

Joseph Calleja (tenor)

Mozart:

Porgi amor (from Le nozze di Figaro)

Arleen Auger (soprano)

Der Hölle Rache kocht in meinem Herzen (from Die Zauberflöte)

Sumi Jo (soprano)

Un'aura amorosa del nostro tesoro (from Così fan tutte)

Francisco Araiza (tenor)

Il mio tesoro intanto (from Don Giovanni)

Francisco Araiza (tenor)

Dies Bildnis ist bezaubernd schön (from Die Zauberflöte)

Fritz Wunderlich (tenor)

Offenbach:

Barcarolle (from Les Contes d'Hoffmann )

Anna Netrebko (soprano), Elina Garanca (mezzo)

Ponchielli:

Cielo e mar! (from La Gioconda)

Rolando Villazon (tenor)

Puccini:

O mio babbino caro (from Gianni Schicchi)

Renee Fleming (soprano)

Si, mi chiamano Mimi (from La Bohème)

Anna Netrebko (soprano)

Recondita armonia (from Tosca)

Luciano Pavarotti (tenor)

Nessun dorma (from Turandot)

Luciano Pavarotti (tenor)

Rossini:

Una voce poco fa (from Il barbiere di Siviglia)

Agnes Baltsa (mezzo)

Saint-Saëns:

Mon cœur s'ouvre à ta voix (from Samson et Dalila)

Elina Garanca (mezzo)

Schönberg, C-M:

Bring Him Home (from Les Misérables)

Alfie Boe (tenor)

Verdi:

La donna è mobile (from Rigoletto)

Luciano Pavarotti (tenor)

Libiamo, ne' lieti calici (from La Traviata)

Placido Domingo (tenor)


The title says it all – one CD dedicated to the greatest Divas and one to the Tenors. Over two hours of the most beautiful and unforgettable songs and arias — sung by a line-up of the greatest and most legendary voices of all time. Artists such as Luciano Pavarotti, Plácido Domingo, Fritz Wunderlich, Kiri Te Kanawa, Anna Netrebko, Cecilia Bartoli and Renée Fleming — musical giants who will be remembered forever.

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The Best of Jonas Kaufmann

The Best of Jonas Kaufmann


Bizet:

La fleur que tu m'avais jetée (from Carmen)

Prague Philharmonic Orchestra, Marco Armiliato

Cilea:

È la solita storia 'Lamento di Federico' (from L'Arlesiana)

Orchestra dell'Accademia di Santa Cecilia, Antonio Pappano

Giordano, U:

Amor ti vieta (from Fedora)

Orchestra dell'Accademia di Santa Cecilia, Antonio Pappano

Gounod:

Quel trouble inconnu me pénètre… Salut! Demeure chaste et pure (from Faust)

Prague Philharmonic Orchestra, Marco Armiliato

Leoncavallo:

Recitar!...Vesti la giubba (from I Pagliacci)

Orchestra dell'Accademia di Santa Cecilia, Antonio Pappano

Mascagni:

Apri la tua finestra (from Iris)

Orchestra dell'Accademia di Santa Cecilia, Antonio Pappano

Intanto amici…Viva il vino spumeggiante (Brindisi)

Orchestra dell'Accademia di Santa Cecilia, Antonio Pappano

Massenet:

Pourquoi me reveiller (from Werther)

Prague Philharmonic Orchestra, Marco Armiliato

Mozart:

Dies Bildnis ist bezaubernd schön (from Die Zauberflöte)

Mahler Chamber Orchestra, Claudio Abbado

Puccini:

Che gelida manina (from La Bohème)

Prague Philharmonic Orchestra, Marco Armiliato

E lucevan le stelle (from Tosca)

Prague Philharmonic Orchestra, Marco Armiliato

Bevo al tuo fresco sorriso (from La Rondine)

Renee Fleming (soprano)

Refice:

Ombra di Nube

Orchestra dell'Accademia di Santa Cecilia, Antonio Pappano

Strauss, R:

Cäcilie, Op. 27 No. 2

Verdi:

Io l'ho perduta (from Don Carlos)

Prague Philharmonic Orchestra, Marco Armiliato

Lunge da lei…De’ miei bollenti spiriti (from La Traviata)

Prague Philharmonic Orchestra, Marco Armiliato

Ella mi fu rapita! (from Rigoletto)

Prague Philharmonic Orchestra, Marco Armiliato

Wagner:

Winterstürme wichen dem Wonnemond (from Die Walküre)

Mahler Chamber Orchestra, Claudio Abbado

Morgenlich leuchtend im rosigen Schein 'Prize Song' (from Die Meistersinger von Nürnberg)

Prague Philharmonic Orchestra, Marco Armiliato

Weber:

Ich juble in Glück und Hoffnung neu (from Oberon)

sung in English as 'I revel in hope and joy'

Orchestre Révolutionnaire et Romantique, Sir John Eliot Gardiner


Showcasing the unique variety and quality of Kaufmann’s award-winning recordings for Decca, this album contains some of the best-loved operatic repertoire and of roles performed by Kaufmann, conducted by masters such as Abbado, Pappano and Gardiner and recorded in resplendent Decca sound.

Central to the collection are the two great nineteenth-century operatic geniuses Verdi and Wagner, coinciding with their 200th anniversaries. Kaufmann is probably the only tenor able to sing both Italian and German opera with equal aplomb.

It also features extracts from some of the greatest works in the operatic canon including arias by Puccini, Bizet and Mozart, as well as two recordings of Mascagni and Richard Strauss which are NEW TO CD. He is joined by Renée Fleming for the duet from Puccini’s 'La Rondine'.

Accolades for Kaufmann’s Decca recordings have been plentiful, with recent awards including the inaugural International Opera Award for best male singer, three Gramophone Awards, a Goldene Deutschland Award, a Grammy, an ECHO Award, Artist of the Year from Musical America and the Bayerische Europamedaille.

"The colour, the elegance and the sheer beauty of tone in his singing are truly exceptional” The Guardian

“the full range of his characterisation is well represented...perhaps the most impressive example of his ability to inhabit a role is in “Io l’ho perduta!”, where his beautiful fading “Ahime!” in the closing line conveys all the wretched despair of Don Carlo’s betrayal.” The Independent, 7th September 2013 ****

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Bruckner: Symphony No. 7 & Wolf: Lieder

Bruckner: Symphony No. 7 & Wolf: Lieder

Recorded live at Semperoper Dresden, September 2012


Bruckner:

Symphony No. 7 in E Major

Strauss, R:

Befreit, Op. 39 No. 4

Wolf, H:

Verborgenheit (No. 12 from Mörike-Lieder)

Renée Fleming (soprano)

Er ist's (No. 6 from Mörike-Lieder)

Renée Fleming (soprano)

Elfenlied (No. 16 from Mörike-Lieder)

Renée Fleming (soprano)

Anakreons Grab (No. 29 from Goethe-Lieder)

Renée Fleming (soprano)

Mignon II 'Nur wer die Sehnsucht kennt' (No. 6 from Goethe-Lieder)

Renée Fleming (soprano)


The Dresden Staatskapelle has a living Bruckner tradition, stretching back a century and more, which is lovingly curated by its new music director, Christian Thielemann, who is himself a powerful advocate for the composer’s symphonies as the pinnacle of the Austro-German tradition; and in particular for the Wagnerian resonances of the Seventh, whose Adagio was shaped by news of Wagner’s death in Venice. Hugo Wolf was also deeply affected by that news; his songs, like Bruckner’s symphonies, can be seen as oblique reflections on the influence of Wagner, especially when sung, as they are here by Renée Fleming, with the utmost delicacy and intimacy.

Christian Thielemann’s first concert as Principal Conductor of the Staatskapelle Dresden.

Both Thielemann and Fleming are renowned interpreters of Romantic repertoire.

Bruckner’s 7th Symphony premiered in 1884 to universal acclaim & established him as a serious composer of symphonic music, Wolf’s Songs were composed four years later.

Wolf was a great admirer of Bruckner and both idolized Wagner, whose influence is felt in the 7th Symphony.

Running time: 106 minutes

Subtitles N/A

Sound format: 2.0LPCM + 5.1(5.0) DTS

“Thielemann's interpretation of Bruckner's Seventh Symphony is majestic and clean, as expected, though it falls just short of the cumulative power that the audience's warm reception suggests. The camera's close scrutiny underlines how minimal his conducting can be.” BBC Music Magazine, September 2013 ****

GGramophone Magazine

DVD/Blu-ray of the Month - September 2013

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Mozart: Le nozze di Figaro, K492

Mozart: Le nozze di Figaro, K492


Gerald Finley (Figaro), Alison Hagley (Susanna), Andreas Schmidt (Count Almaviva), Renée Fleming (Countess Almaviva), Marie-Ange Todorovitch (Cherubino), Manfred Röhrl (Bartolo), Wendy Hillhouse (Marcellina), Robert Tear (Don Basilio), Donald Adams (Antonio), John Graham-Hall (Don Curzio), Susan Gritton (Barbarina)

Glyndebourne Festival Opera & London Philharmonic Orchestra, Bernard Haitink (conductor) & Stephen Medcalf (director)

Stephen Metcalf’s production of The Marriage of Figaro opened the new Glyndebourne Theatre in 1994. It is a story of the young engaged couple Figaro and Susanna, and the comedy of romantic fiascos involving the Count and Countess Almaviva, Dr Bartolo and his housekeeper Marcellina, the page Cherubino, and the gardener’s daughter, Barbarina.

SUBTITLED IN ENGLISH, FRENCH, GERMAN, SPANISH

189 MINS • ALL REGIONS • NTSC 4:3 • COLOUR • L-PCM STEREO

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