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Kurt Gester (Arlecchino), Elaine Malbin (Colombina), Ian Wallace (Ser Matteo), Geraint Evans (Abbate Cospicuo), Fritz Ollendorf (Dr Bombasto), Murray Dickie (Leandro) Glyndebourne Festival Orchestra, Sir John Pritchard This recording of Busoni’s Arlecchino features performances from Gester, Malbin, Wallace, Evans, Ollendorf, Dickie and is taken from a Glyndebourne concert from 12th June 1954, conducted by Sir John Pritchard. | 
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| |  | Recorded live at Glyndebourne Festival, June 2012
Sally Matthews (Countess Almaviva), Vito Priante (Figaro), Audun Iversen (Count Almaviva), Lydia Teuscher (Susanna), Isabel Leonard (Cherubino), Andrew Shore (Bartolo), Ann Murray (Marcellina), Alan Oke (Don Basilio), Nicholas Folwell (Antonio), Colin Judson (Don Curzio), Sarah Shafer (Barbarina), Ellie Laugharne (First Bridesmaid) & Katie Bray (Second Bridesmaid) The Glyndebourne Chorus & Orchestra of the Age of Enlightenment, Robin Ticciati (conductor) & Michael Grandage (director) Perhaps no opera is closely and affectionately associated with a single house as Le nozze di Figaro is with Glyndebourne. Effortlessly witty yet shot through with pain and sadness, this deeply ambivalent life in the day of masters and servants as they scheme and outwit one another was Glyndebourne’s opening production in 1934. Michael Grandage’s staging is the seventh, set in a louche Sixties ambience. Marshalled by the ‘ideal pacing’ of Robin Ticciati, a youthful cast of principals has ‘no weak link’ and ‘looks gorgeous’ (The Sunday Times) in a production that continues Glyndebourne’s rewarding history of engagement with Mozart’s and da Ponte’s ‘day of madness’. Glyndebourne's "signature" work, Le nozze di Figaro was the opening production when the theatre re-opened in 1994. The production is set the 1960s/70s. Extra features include: ‘The Greatest Opera Ever Written’ and ‘From page to stage’. Running time: 180 minutes Subtitles: EN/FR/DE/JP/KR Sound format: 2.0LPCM + 5.1(5.0) DTS |
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| |  | Recorded live at Glyndebourne Festival, June 2012
Sally Matthews (Countess Almaviva), Vito Priante (Figaro), Audun Iversen (Count Almaviva), Lydia Teuscher (Susanna), Isabel Leonard (Cherubino), Andrew Shore (Bartolo), Ann Murray (Marcellina), Alan Oke (Don Basilio), Nicholas Folwell (Antonio), Colin Judson (Don Curzio), Sarah Shafer (Barbarina), Ellie Laugharne (First Bridesmaid) & Katie Bray (Second Bridesmaid) The Glyndebourne Chorus & Orchestra of the Age of Enlightenment, Robin Ticciati (conductor) & Michael Grandage (director) Perhaps no opera is closely and affectionately associated with a single house as Le nozze di Figaro is with Glyndebourne. Effortlessly witty yet shot through with pain and sadness, this deeply ambivalent life in the day of masters and servants as they scheme and outwit one another was Glyndebourne’s opening production in 1934. Michael Grandage’s staging is the seventh, set in a louche Sixties ambience. Marshalled by the ‘ideal pacing’ of Robin Ticciati, a youthful cast of principals has ‘no weak link’ and ‘looks gorgeous’ (The Sunday Times) in a production that continues Glyndebourne’s rewarding history of engagement with Mozart’s and da Ponte’s ‘day of madness’. Glyndebourne's "signature" work, Le nozze di Figaro was the opening production when the theatre re-opened in 1994. The production is set the 1960s/70s. Extra features include: ‘The Greatest Opera Ever Written’ and ‘From page to stage’. Running time: 180 minutes Subtitles: EN/FR/DE/JP/KR Sound format: 2.0LPCM + 5.1(5.0) DTS |
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| |  | Recorded live at Glyndebourne Festival Opera, June 2012
Lucy Crowe (Vixen), Emma Bell (Fox), Sergei Leiferkus (Forester), William Dazeley (Harasta), Mischa Schelomianski (Badger/Parson), Jean Rigby (Forester's Wife/Owl), Adrian Thompson (Schoolmaster/Mosquito), Colin Judson (Pásek, Innkeeper), Sarah Pring (Innkeeper’s Wife) London Philharmonic Orchestra, Glyndebourne Chorus, Vladimir Jurowski (conductor) & Melly Still (director) Sung in Czech with subtitles in English, French, German and Korean The tale of a quick witted fox and her escape from confinement for a life in the forest that is by turns joyful and violent, The Cunning Little Vixen is an unsentimental parable of death and rebirth that lives through the instinctive and immediate world of nature, animal and human, which Janacek loved so much. Melly Still's production for Glyndebourne finds the 'delicate balance between whimsy and mysticism' (Daily Telegraph) at the heart of the opera, which Vladimir Jurowski conducts 'with lustrous style: you can hear the birds in the score, feel the sunshine and thrill to the starlit night sky in the final scene' (Opera Today). Running Time: 119 minutes Subtitles EN/FR/DE/KR Sound format: 2.0LPCD plus 5.1(5.0) DTS “I was entranced throughout. The work's humour is realized extremely well but so is its more serious side...aside from Mackerras...I've never heard the opera conducted with such colour, wit, detail and dramatic urgency...Crowe's Vixen is vocally completely secure and delightfully and sharply characterized...[in the closing scene] there is just the right sense of pantheistic rapture...an outstanding achievement.” International Record Review, May 2013 |
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| |  | Recorded live at Glyndebourne Festival Opera, June 2012
Lucy Crowe (Vixen), Emma Bell (Fox), Sergei Leiferkus (Forester), William Dazeley (Harasta), Mischa Schelomianski (Badger/Parson), Jean Rigby (Forester's Wife/Owl), Adrian Thompson (Schoolmaster/Mosquito), Colin Judson (Pásek, Innkeeper), Sarah Pring (Innkeeper’s Wife) London Philharmonic Orchestra, Glyndebourne Chorus, Vladimir Jurowski (conductor) & Melly Still (director) Sung in Czech with subtitles in English, French, German and Korean. The tale of a quick witted fox and her escape from confinement for a life in the forest that is by turns joyful and violent, The Cunning Little Vixen is an unsentimental parable of death and rebirth that lives through the instinctive and immediate world of nature, animal and human, which Janacek loved so much. Melly Still's production for Glyndebourne finds the 'delicate balance between whimsy and mysticism' (Daily Telegraph) at the heart of the opera, which Vladimir Jurowski conducts 'with lustrous style: you can hear the birds in the score, feel the sunshine and thrill to the starlit night sky in the final scene' (Opera Today). Running Time: 119 minutes Subtitles EN/FR/DE/KR Sound format: 2.0LPCD plus 5.1(5.0) DTS |
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| |  | Recorded live at Glyndebourne, Lewes, July 2011
Gerald Finley (Hans Sachs), Anna Gabler (Eva), Johannes Martin Kränzle (Sixtus Beckmesser), Marco Jentzsch (Walther von Stolzing), Topi Lehtipuu (David), Michaela Selinger (Magdalene), Alastair Miles (Veit Pogner), Henry Waddington (Fritz Kothner), Mats Almgren (Nightwatchman), Colin Judson (Kunz Vogelgesang), Andrew Slater (Konrad Nachtigall), Alasdair Elliott (Balthasar Zorn), Adrian Thompson (Ulrich Eisslinger), Daniel Norman (Augustin Moser), Robert Poulton (Hermann Ortel), Maxim Mikailov (Hans Schwarz), Graeme Broadbent (Hans Foltz) London Philharmonic Orchestra, The Glyndebourne Chorus, Vladimir Jurowski (conductor) & David McVicar (stage director) English-speaking audiences have always found Die Meistersinger to be a life-enhancing celebration of wisdom, art and song. So it proves in David McVicar's production – the first at Glyndebourne – which is updated to the early-19th century of Wagner's childhood. At the centre of a true ensemble cast is Gerald Finley, a 'gleamingly sung', 'eminently believable' Sachs (The Independent on Sunday), supported by the dynamic conducting of Vladimir Jurowski which, like McVicar's production, uses Glyndebourne's special intimacy to bring sharp focus to bear on the subtlety of Wagner's musical and dramatic counterpoint. What the press said: ‘‘McVicar has put on a great show with style, intelligence and insight’’ The Telegraph ‘‘Musically, it was judged faultlessly for the scale of the theatre by Vladimir Jurowski, who conjured playing of mercurial clarity – not the first words one would normally choose for this gargantuan score – from the London Philharmonic Orchestra, sustained with unfailing vigilance and concentration.’’ The Guardian Duration: 300 minutes Sound type: 2.0LPCM + 5.1(5.0) DTS Subtitles: EN/FR/DE “The camerawork – mostly close-up – is superb, focusing on the intimacy of the Glyndebourne stage and the visual expressiveness of a young cast. Vicki Mortimer’s Biedermeyer sets are notably more handsome on film than in the theatre, and the performance (captured late in the inaugural run) breathes a general air of wellbeing” Financial Times, 22nd September 2012 *** “McVicar's staging stokes the glow of Meistersinger's humane heart...and above all he reminds us that this is an opera about youth and self-discovery. Gerald Finley's pivotal Sachs relish[es] this intensely verbal role with a Lieder-singer's skill and beauty...Jurowski completes the ensemble with a beautiful account, unfolding the story with pace and details...Together they make the immense performance the most uplifting performance I can recall” BBC Music Magazine, December 2012 ***** “Jurowski handles the score with seriousness and pomp...Finley has the role of Hans Sachs massively in focus, both musically and dramatically. He is compulsively watchable throughout...McVicar's production is best at one-to-one emotional confrontations but rather loud and messy in ensemble scenes...it would be mealy-mouthed not to notice the commitment and enthusiasm steaming off the stage, while Finley's work has to be seen and heard” Gramophone Magazine, December 2012  BBC Music Magazine
DVD Choice - December 2012 |
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| |  | Edinburgh Festival, Edinburgh, 25 August 1955
Fernando Corena (Sir John Falstaff), Juan Oncina, Kevin Miller (Fenton), Walter Monachesi (Ford), Dermot Troy (Dr. Caius), Daniel McCosham (Bardolpho), Marco Stefanoni (Pistola), Anna Maria Rovere (Alice Ford), Eugenia Ratti (Nanetta), Fernanda Cadoni (Meg Page) & Oralia Dominguez (Mistress Quickly) Glyndebourne Opera Chorus & Royal Philharmonic Orchestra, Carlo Maria Giulini Carlo Maria Giulini was one of the 20th century’s greatest conductors along with fellow Italians Arturo Toscanini, Guido Cantelli and Victor de Sabata. His live performances of operas by Verdi, Rossini and Mozart have acquired legendary status while his distinguished recordings have remained in the catalogues to this day. The recording featuring a Glyndebourne production of Verdi’s Falstaff given in 1955 at the Edinburgh Festival is unique since after extensive research, it has never been published before in any form. This 1955 performance marked Giulini’s UK debut. The Times said, ‘in the final analysis, it was Mr Giulini’s direction which ensured the opera’s success’, and headlined the review by emphatically stating, ‘A wonderful production’. The Times reviewed Fernando Corena’s fresh interpretation of Falstaff as follows, ‘Mr Corena’s Falstaff is admirable because it is creditable … he gave us immense dignity, clarity of word, tone, line, and dramatic authority’. Walter Monachesi’s Ford was likewise praised for ‘the excellence of his vocal delivery and unusual dramatic expressiveness’. The Times also noted: ‘The four women were wonderfully well differentiated, the Quickly of Oralia Dominguez having a touch of succulence that Falstaff renounced and the Alice of Anna Maria Rovere being all sparkle in voice and appearance’. Giulini’s stunning recording of Rossini’s Il barbiere di Siviglia from Covent Garden in 1960 is available on ICAC5046. “It is more disciplined, musically, than Gui’s recently released 1960 Glyndebourne live version...the young Giulini is always worth hearing in Verdi.” Sunday Times, 25th March 2012 “Giulini's Falstaff has a sage-like wit that makes a refreshing alternative to the noisier, bouncier comedy of many recent productions. His cast is superb, with Corena, born to sing the title-role, in great voice.” Classical Music, 21st April 2012 **** “An ideal ensemble is headed by Corena's robustly restrained Falstaff and Giulini, livelier than in later years” BBC Music Magazine, September 2012 ***** “The Falstaff (Corena, a first 'official' complete performance from him in the role on disc) and Quickly (the ubiquitous Dominguez) are superb, the Nannetta good, the Fords less so.” Gramophone Magazine, October 2012 “The individual casting is admirable....A wonderfully relaxed and good humoured performance in which nearly everything seemed to have gone right.” MusicWeb International, June 2012 | | | (also available to download from $20.75) | In stock - usually despatched within 1 working day. |
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| |  | Gilbert & Sullivan: HMS Pinafore & Trial By Jury
Sullivan, A: | Trial by Jury George Baker (The Learned Judge), Elsie Morison (The Plaintiff), Richard Lewis (The Defendant), John Cameron (Counsel for the Plaintiff), Owen Brannigan (Usher), Bernard Turgeon (Foreman of the Jury) HMS Pinafore (No dialogue) George Baker (Sir Joseph Porter), John Cameron (Captain Corcoran), Richard Lewis (Ralph Rackstraw), Elsie Morison (Josephine), Monica Sinclair (Buttercup), Marjorie Thomas (Hebe), Owen Brannigan (Dick Deadeye) |
In their first two major successes, Gilbert and Sullivan, encouraged by the impresario Richard D’Oyly Carte, established their winning formula of convoluted comic plots, sometimes biting satire, moments of sentiment and elegantly crafted, memorable music. Gilbert drew on his own legal training for the one-act Trial by Jury (originally paired with Offenbach’s La Périchole), while in HMS Pinafore the British class system and naval bureaucracy are mocked in sparkling fashion. | | | In stock - usually despatched within 1 working day. |
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| |  | (No dialogue)
Gilbert and Sullivan’s greatest success, and still the most popular of the Savoy operas, The Mikado exploited the craze for Japanese culture that had been sweeping London in the years before its premiere in 1885. Its exotic setting allowed Gilbert to satirise British society with relative impunity and sometimes macabre wit in a plot which, though driven by the constant threat of violent execution, inspired some of Sullivan’s most delightful and touching music. | | | In stock - usually despatched within 1 working day. |
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| |  | (No dialogue)
Geraint Evans (Jack Point), Richard Lewis (Colonel Fairfax), Elsie Morison (Elsie Maynard), Marjorie Thomas (Phoebe), Monica Sinclair (Dame Carruthers), John Cameron (Sergeant Meryll), Owen Brannigan (Wilfred Shadbolt), Denis Dowling (Sir Richard Cholmondely), Doreen Hume (Kate), Alexander Young (Leonard/First Yeoman), John Carol Case (Second Yeoman) Glyndebourne Chorus & Pro Arte Orchestra, Sir Malcolm Sargent The Yeomen of the Guard, the most dramatic and romantic work in the Gilbert and Sullivan canon, was greeted by the Daily Telegraph in 1888 as “a genuinely English opera”, and its Elizabethan setting reflects the nostalgia and patriotism stirred by Queen Victoria’s golden jubilee in 1887. A cast of suitably operatic stature performs under Sir Malcom Sargent, including Richard Lewis, Elsie Morrison, Owen Brannigan and, as the strolling jester Jack Point, Sir Geraint Evans. | | | In stock - usually despatched within 1 working day. |
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