Prices shown exclude VAT. (UK tax is not payable for deliveries to United States.) See Terms & Conditions for p&p rates. | |  | Live Recording from The Zurich Opera House, 2002
Set Design by GILLES AILLAUD Il Ritorno d‘Ulisse in Patria is based closely on the fi nal books of Homer‘s Odyssey and is hailed as the key work marking the threshold between the Renaissance and Baroque periods. Together with producer Klaus Michael Grüber, Nikolaus Harnoncourt strikes a new balance between musical polish and distillation of the essence of dramatic action. „It is a kind of ‘théâtre pauvre’, which works with a few carefully chosen and powerful symbols“, was how the newspaper Neue Zürcher Zeitung reviewed the production. The main action takes place on little more than an angled revolving stage in front of a whitewashed wall which hints at the landscape of a Greek island. The sets have an apt simplicity, eschewing fussy detail and spectacular effects. The colours are cool, predominantly white, blue and black, transporting us to a modern day. Harnoncourt’s musical drive has become „a touch gentler“, wrote the Berlin daily Tagesspiegel. „Not that Harnoncourt is now leaving things to chance or to the discretion of his exquisite musicians. But the way he communicates – his entire rostrum manner – seems to have become more relaxed, calmer, rounder, and both he and the listener are amply rewarded by the sound which results.“ Sound Format: PCM Stereo, DD 5.1 Picture Format: 16:9 DVD Format: DVD 9, NTSC Subtitles: IT (Original Language), DE, GB, FR, ES, JP. KOR Running Time: 155 mins FSK: 0 | | | In stock - usually despatched within 1 working day. |
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| |  | Best of Vesselina Kasarova
Bellini: | Arresta! Qual mesto suon echeggia? (from I Capuleti) Ramon Vargas (tenor) Munchner Rundfunkorchester, Roberto Abbado | Bizet: | L'amour est un oiseau rebelle 'Habanera' (from Carmen) Munchner Rundfunkorchester, Giuliano Carella | Gluck: | Che faro' senza Euridice? (from Orfeo ed Euridice) Munchner Rundfunkorchester, Friedrich Haider | Handel: | Bella sorge la speranza (Arianna in Creta) Il Complesso Barocco, Alan Curtis Sento brillar nel sen (from Il Pastor Fido) Il Complesso Barocco, Alan Curtis | Mozart: | Non so più cosa son, cosa faccio (from Le nozze di Figaro) Staatskapelle Dresden, Sir Colin Davis Già dagli occhi il velo è tolto (from Mitridate, rè di Ponto) Staatskapelle Dresden, Sir Colin Davis Il Tenero Momento (from Lucio Silla) Staatskapelle Dresden, Sir Colin Davis | Offenbach: | Bonjour, Monsieur, je suis la bonne (from Pomme d'api) Munchner Rundfunkorchester, Ulf Schirmer Ah! quel dîner je viens de faire (from La Perichole) Munchner Rundfunkorchester, Ulf Schirmer | Rossini: | Ah, vieni, nel tuo sangue (from Otello) Juan Diego Florez (tenor) Arthur Fagen | Schubert: | Auf dem Wasser zu singen, D774 Friedrich Haider (piano) | Thomas, Ambroise: | Connais-tu le pays (from Mignon) Munchner Rundfunkorchester, Frederic Chaslin | Verdi: | O don fatale (from Don Carlo) Munchner Rundfunkorchester, Giuliano Carella |
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| |  | Live Recording from The Felsenreitschule, Salzburg Festival, 2003
Set Design by Jens Kilian Arthaus presents a truly new way of looking at La clemenza di Tito with this famous and star-studded production from the Salzburg Festival 2003. Here Nikolaus Harnoncourt, renowned for his analytical approach to the search for the core of the music, interprets Mozart’s last opera. Martin Kušej, who is acclaimed for his theatre productions directs the production. Nikolaus Harnoncourt identifies with Mozart’s score as both an extremely knowledgeable musician and a conductor who invariably plays an active part in helping to shape the drama. Together with the Vienna Philharmonic, he savours the miracles of Mozart’s late work, bringing out its instrumental colours and effects and at the same time stimulating his singers while proving a solicitous accompanist. Martin Kušej’s production emphasizes the darker sides of the piece, exploring the opera’s basic archetypal patterns while at the same time interpreting it as a highly topical and – in the truest sense of the term – timeless political and human power game. His ability to bring this concept across by focussing on every last detail of the characterization reflects the demand to provide new insights into Mozart’s works that, in Salzburg more than anywhere else, is incumbent upon interpreters. The suggestive power of this performance however, is also due to an ensemble that was truly worthy of a festival appearance. As one critic wrote, six handpicked artists “brought to their parts both plenty of character and a flawless technique”. Sound Format: LPCM Stereo, DD 5.1, DTS 5.1 Picture Format: 16:9 DVD Format: 1 x DVD 5, 1 x DVD 9 / NTSC Subtitle Languages: DE, GB, FR, ES, IT Running Time: 160 mins FSK: 0 “The strongest point in its favour is its communication of the work's austere power: a music-drama that both sums up the past and looks far into the future...The characters, whether or not one accepts Kusej's view of them, are all delineated with extraordinary vividness; in purely vocal terms likewise this is a Tito cast of considerable all-round distinction.” BBC Music Magazine, July 2011 ** | | | In stock - usually despatched within 1 working day. |
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| |  | Vesselina Kasarova: A Portrait & French Opera Arias
Bellini: | Ascolta! Se Romeo t'uccise un figlio...La tremenda ultrice spada (from I Capuleti) | Berlioz: | Ah! Je vais mourir (from Les Troyens) | Donizetti: | Fia dunque vero…O mio Fernando (from La Favorita) Sposa a Percy...Per questa fiamma indomita (from Anna Bolena) | Gluck: | Che faro' senza Euridice? (from Orfeo ed Euridice) | Gounod: | Ô ma lyre immortelle (from Sapho) Depuis hier je cherche en vain mon maître...Que fais-tu, blanche tourterelle (from Roméo et Juliette) Nuit resplendissante (from Cinq-Mars) | Handel: | Or la tromba (Rinaldo) | Lalo: | De tous côtes j'apercois...Lorsque je t'ai vu soudain (from Le Roi d'Ys) | Massenet: | De cet affreux combat…Pleurez, mes yeux ! (from Le Cid) | Meyerbeer: | Non, non, non, vous n'avais jamais, je gage (from Les Huguenots) Donnez, donnez (from Le Prophète) | Mozart: | Voi che sapete (from Le nozze di Figaro) Batti, batti, o bel Masetto (from Don Giovanni) | Rossini: | Nacqui all'affanno, al pianto...Non più mesta (from La Cenerentola) Pensa alla patria (from L'Italiana in Algeri) Una voce poco fa (from Il barbiere di Siviglia) | Saint-Saëns: | Amour, viens aider ma faiblesse (Samson et Dalila) | Thomas, Ambroise: | Connais-tu le pays (from Mignon) |
“[Portrait] is the stuff of legends: I can't recall the last time I heard a debut opera recital that has given me so much pleasure. The vibrant richness of Kasarova's tone allied to her totally uninhibited manner before the microphone allow her to bring to astonishing life each of the characters portrayed within.” Gramophone Magazine, February 2007 | | | In stock - usually despatched within 1 working day. |
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| |  | Passionate Arias
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| |  | Caro AmorDas Schonste aus Handels Opern
Nuria Rial, Annette Dasch, Maria Bayo (sopranos), Angelika Kirchschlager, Vesselina Kasarova, Marjana Mijanovic (mezzo), Lawrence Zazzo (countertenor), Ian Bostridge (tenor), Byrn Terfel (bass-baritone) Il Complesso Barocco, Orchestra of the Age of Enlightenment, Kammerorchester Basel | | | In stock - usually despatched within 1 working day. |
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| |  | Vesselina Kasarova - Sento BrillarArias for Carestini
Bulgarian mezzo-soprano Vesselina Kasarova has chosen arias from five of Handel’s operas closely linked with the vocal art of Carestini, one of the most famous singers from the composer’s time Vesselina will be making several appearances at the Royal Opera House, Covent Garden, throughout October and November 2008 in their production of Rossini’s Matilde di Shabran “A Bulgarian voice to blast you off your feet…Her vocal range is stunning” The Independent “This is singing of great nobility and expressive power, accompanied by instrumental work of exceptional dignity from Il Complesso Barocco. Deeply touching and highly recommended.” The Guardian, 14th November 2008 **** | | | In stock - usually despatched within 1 working day. |
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| |  | Offenbach - Belle Nuit
The collection includes excerpts from well-known works such as Orpheus in the Underworld, La Périchole and La Belle Hélène. On this live recording from October 2007 in the Philharmonic Hall in Munich, she is accompanied by the Bavarian Radio Symphony Orchestra and Chorus, conducted by Ulf Schirmer “…best of all are the Overture and two numbers from Barbe-bleue. The second, 'Faut-il y aller…' bubbles over into toe-tapping delight. Kasarova doesn't just sing: she 'performs' the music.” BBC Music Magazine, Proms 2008 **** “…a pleasant stroll through the standard repertory. The track that gives the CD its title, the Barcarolle from Hoffmann, goes especially well, with Kasarova joined by Melissa Shippen.” Gramophone Magazine, Awards Issue 2008 “A Bulgarian voice to blast you off your feet…Her vocal range is stunning” The Independent | | | In stock - usually despatched within 1 working day. |
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| |  | 2005 Zürich Opera production by Jonathan Miller
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Vesselina Kasarova (Cenerentola), Antonino Siragusa (Don Ramiro), Bruno De Simone (Don Magnifico), Maria Laura Martorana (Clorinda), Judith Schmidt (Tisbe), Vladimir Chernov (Dandini), Paolo Pecchioli (Alidoro) Münchner Rundfunkorchester, Chor des Bayerischen Rundfunks, Carlo Rizzi | | | In stock - usually despatched within 1 working day. |
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