Dame Felicity Lott

Soprano

Dame Felicity Lott

The English soprano Dame Felicity Lott, universally known as "Flott" was born in Cheltenham on May 8th 1947.

Dame Felicity's special love belongs to the song repertoire. She enchants with songs of Strauss, Schubert, Schumann and Brahms as well as with the masters of french Mélodies. As might be expected, she is also very fond of English songs, particularly those of Benjamin Britten.

Felicity Lott was awarded the title Chevalier dans l'Ordre des Arts et des Lettres by the French Government. She was made a CBE in the 1990 New Year Honours and in 1996 was created a Dame Commander of the British Empire.

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Brahms: Ein Deutsches Requiem, Op. 45

Brahms: Ein Deutsches Requiem, Op. 45


This reissue is a moving experience in itself, and not only for returning to the catalogue a superlative recording of Brahms’s masterpiece, not the best known at the time of its release in 1991, but also for the exceptional soloists, majestically accompanied by Hickox and his LSO and Chorus. Gramophone praised the ‘fine soloists’, especially the ‘resonance and ease’ of the bass baritone, David Wilson-Johnson. The review also acclaimed the ‘sheer generosity of style and sound’ as well as the choir and orchestra, ‘excellent and wellbalanced, both in themselves and with each other’. Overall, the ‘Hickox gives a remarkably satisfying performance’. Despite its large-scale conception, Brahms’s Requiem remains the product of a very private world, the personal communication of the philosophy of one man, ‘such a great soul – and yet he doesn’t believe in anything’, as Dvorák once remarked.

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Chandos Classics - The Hickox Legacy - CHAN10945X

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Donald Swann: Songs

Donald Swann: Songs


Swann, D:

A collection of songs

Roderick Williams (baritone)

Five colourisations of Emily Dickinson

Dame Felicity Lott (soprano)

Two sonnets by Edna St Vincent Millay

Roderick Williams (baritone)

Stopping by woods

Kathryn Rudge (mezzo)

Two poems by Thomas Hardy

John Mark Ainsley (tenor)

Four lyrics from In memoriam

John Mark Ainsley (tenor), Roderick Williams (baritone)

Two poems by Christina Rossetti

Dame Felicity Lott (soprano)

Dark rose of my heart

John Mark Ainsley (tenor)

An invite to eternity

Roderick Williams (baritone)

The harlot’s house

John Mark Ainsley (tenor)

Six songs to poems by William Blake

Roderick Williams (baritone)

Ya vas lyubil 'I loved you once'

John Mark Ainsley (tenor)

She is all harmony, all wonder

John Mark Ainsley (tenor)

Some people's dreams

Kathryn Rudge (mezzo)

Marguerite

Kathryn Rudge (mezzo)

A red, red rose

John Mark Ainsley (tenor)

It was a lover, and his lass

Kathryn Rudge (mezzo)

See, dearest, how the rose

Kathryn Rudge (mezzo)

Arcades

John Mark Ainsley (tenor)

We'll go no more a-roving

John Mark Ainsley (tenor)

Longing

Kathryn Rudge (mezzo)

Oh, why are the roses so pale?

Kathryn Rudge (mezzo)

Old songs of lost love

Kathryn Rudge (mezzo)

In the mist

Kathryn Rudge (mezzo)

Raiders' dawn

John Mark Ainsley (tenor)

The youth of the heart

Roderick Williams (baritone)

He wishes for the cloths of heaven

Dame Felicity Lott (soprano)

Bilbo's Last Song

Roderick Williams (baritone), Dame Felicity Lott (soprano)


Christopher Glynn (piano)

Read our exclusive interview with Christopher Glynn about the recording here.

Swann but no Flanders: this economically priced collection celebrates the unique talents of a gifted songwriter whose settings of poets from Burns to Betjeman are ripe for revival. The quartet of distinguished singers is luxury casting.

“this is a continually fascinating and diverse selection...The real star of the show is Christopher Glynn, for whom the project has evidently been a labour of love. The detail and colour of his playing (to say nothing of the way he meets the many technical challenges Swann presents with a knowing wink) in the more than two hours of accompaniments is a fine achievement.” Gramophone Magazine, July 2017

“There are some surprises: Ainsley delivers a passionate Russian number, I loved you once, a Pushkin setting that wouldn’t disgrace Tchaikovsky or Rachmaninov. The real revelation, however, is the talent shown by the newcomer of the singing quartet: Rudge, a rising mezzo-soprano with rich tone, who brings more ardour and less archness to the material than her more fêted colleagues.” Sunday Times, 6th August 2017

“the quality of Swann’s craft is clear and Glynn points up every careful detail of some colourful piano writing...If there’s a real revelation, however, it’s the talent shown by the newcomer of the singing quartet: Rudge, a rising mezzo-soprano with rich tone, who brings more ardour and less archness to the material than her more fêted colleagues.” The Times, 28th July 2017 ***

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Purcell: Hail! Bright Cecilia & Music for Queen Mary

Purcell: Hail! Bright Cecilia & Music for Queen Mary


Purcell:

Hail! Bright Cecilia (Ode for St Cecilia's Day 1692), Z328

Jennifer Smith (soprano), Ashley Stafford, Brian Gordon (countertenors), Paul Elliott (tenor), Stephen Varcoe (baritone), David Thomas (bass)

Come ye sons of art (Ode for Queen Mary's birthday, 1694), Z 323

Felicity Lott (soprano), Charles Brett, John Williams (countertenors), Thomas Allen (baritone)

Equale Brass Ensemble

Music for the Funeral of Queen Mary, 1695

Felicity Lott (soprano), Charles Brett, John Williams (countertenors), Thomas Allen (baritone)

Equale Brass Ensemble


Monteverdi Choir, Monteverdi Orchestra, John Eliot Gardiner

The pioneering conductor John Eliot Gardiner, one of the leading lights of the Baroque revival, brings together superlative soloists and the excellent Monteverdi Choir in one of the very first historically-informed Purcell recordings ever released. These two albums received a multitude of prizes when first released, and are also in Erato bestsellers range (more than 400K copies sold to date of Music for the funeral of Queen Mary; 200K of Hail! Bright Cecilia).

Erato Veritas - 2564619524

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Hymns to Saint Cecilia

Hymns to Saint Cecilia


Bennett, R R:

Verses

on Saint Cecilia’s Day

Bliss:

Sing, mortals!

Britten:

Hymn to St Cecilia, Op. 27

Dyson:

Live For Ever, Glorious Lord

Elgar:

There is sweet music, Op. 53 No. 1

Gardner, John:

A Song for St Cecilia’s Day, Op. 119

Howells:

A Hymn for St Cecilia

Jackson, Gabriel:

La musique

with Dame Felicity Lott (soprano)

MacMillan:

Cecilia Virgo

Rose, B:

Feast Song for St Cecilia

Vaughan Williams:

Silence and Music


Royal Holloway Choir, Rupert Gough

A new choral compendium from the highly regarded Choir of Royal Holloway, comprising twentieth- and twenty-first century works inspired by the adulation of Saint Cecilia, the patron saint of music.

In many ways it was Britten’s Hymn to Saint Cecilia—first performed on the radio in 1942—that rekindled musicians’ interest in celebrating their patron saint. The Musicians Benevolent Fund revived the tradition of an annual service of celebration for St Cecilia in 1947, and has marked the occasion with a new commission almost every year. Many of the pieces on this recording are the result of those commissions. Also included is a new work by Gabriel Jackson, one of the most popular choral composers of today, featuring Dame Felicity Lott.

“If the handful of soprano solos spread across the disc are anything to go by, Gough has an exceptional group of singers here. They are impressively responsive” Gramophone Magazine, December 2014

“Warm, confident interpretations from the Royal Holloway singers.” BBC Music Magazine, January 2015 ****

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Felicity Lott sings Mozart

Felicity Lott sings Mozart


Mozart:

Exsultate, jubilate, K165

Voi avete un cor fedele, K217

Vado, ma dove? oh Dei!, K583

Chi sà, chi sà qual sia, K582

Nehmt meinen Dank, ihr holden Gönner!, concert aria K383

Bella mia fiamma, addio... Resta, oh cara, K528

Ruhe sanft, mein holdes Leben (from Zaïde)

Lungi da te, mio bene (from Mitridate, Rè di Ponto, KV87)


One of the most peerless Mozartians of our time, Felicity Lott has been one of the foremost sopranos to essay the composer’s major roles in the opera house. Complementing these is her magnificent disc of concert arias as well as Mozart’s beloved motet Exsultate, jubilate, and arias from two of the composer’s lesser-known operas. The recording was made in 1989 shortly after her mesmerizing performance of some of this material at the London ‘Proms’. Jane Glover and the London Mozart Players provide stylish and sympathetic support. A multi-award winning album, it is now available readily on Eloquence.

“Lott is bright and lyrical (Exsultate), and tender ('Lungi da te'). She can be a bit colourless, but Glover's orchestra gives brilliantly nuanced support.” BBC Music Magazine, December 2012 ****

“Exsultate, jubilate, fine as recorded sound, crisp in the playing, deliciously clear and clean in the singing, sets off with all the promise of a bright spring morning. The middle movement, "Tu virginum corona", is exceptionally beautiful in adding to its accustomed serenity a more rarely heard sense of compassion, bringing out the references to the grief that calls for consolation. Then with the "Allelujah" the sun is out again, the rhythms dance, the voice shines and rejoices in those difficult semiquavers and the final high C. … A lovely performance of "Ruhe sanft" … the marvellous Mitridate [is] crowned by a quiet high D almost as miraculous as the greater wonder of its composition by the 13-year-old boy.” Gramophone Magazine

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Poulenc: La Voix Humaine & La Dame de Monte Carlo

Poulenc: La Voix Humaine & La Dame de Monte Carlo


Poulenc:

La Voix Humaine

La Dame de Monte Carlo


Two dramas for solo woman.

A young woman talks over the phone to her lover, whom we never hear; tomorrow he is going to marry someone else… Several times the conversation is interrupted as the line is cut, each time with dramatic effect; and behind this everyday banality, we realise that we are witnessing a veritable descent to the depths with this abandoned woman. Three years after La Voix humaine (his "sad and lovely child", as he used to refer to it with Denise Duval, its first performer), Poulenc was to conclude his collaboration with Cocteau by writing the short monologue that completes this CD: he musical style has not changed, but this time, the depths are those of the Mediterranean, in which the old lady of Monte-Carlo, "a dead woman among the dead" has decided to plunge for the last time… This title was released for the first time in 2001.

“The outstanding English lyric soprano of her generation performs Poulenc's tragic monodrama, plus its concert-hall successor. Excellent orchestral playing.” BBC Music Magazine, November 2012 ****

“One of my favourite recordings of all time, this - not just for Francophile soprano Felicity Lott's blistering portrayal of a woman being slowly driven towards suicide as a lover breaks up with her over the phone, but also for the lesser-known monodrama La Dame de Monte Carlo, in which a glamorous gambler makes the same tragic journey.” Katherine Cooper, Presto Classical, 21st November 2014

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Schumann Favourite Songs

Schumann Favourite Songs


Schumann:

Liederkreis, Op. 39

Frauenliebe und -leben, Op. 42

Aus den östlichen Rosen, Op. 25 No. 25

Mignon (Kennst du das Land?) Op. 98a No. 1 (Johann Wolfgang von Goethe)

Die Soldatenbraut Op. 64 No. 1

Meine Rose, Op. 90 No. 2

Der Nussbaum, Op. 25 No. 3

Requiem für Mignon, Op. 98b

Widmung, Op. 25 No. 1


“full unblemished tone, faultless legato...thoughtful phrasing - many pleasures to offer” Gramophone Magazine

“Felicity Lott is a connoisseur's artist, far greater than many more illustrious and publicised rivals...here with great poise and completely unaffected artistry...treasurable” Penguin Guide

Alto - ALC1091

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Felicity Lott sings Schubert Favourites

Felicity Lott sings Schubert Favourites


Schubert:

Die Forelle, D550

An Sylvia, D891

Heidenröslein, D257

Du bist die Ruh D776 (Rückert)

Der Musensohn, D764 (Goethe)

An die Musik D547

Auf dem Wasser zu singen, D774

Sei mir gegrüsst! D741 (Rückert)

Litanei auf das Fest Allerseelen, D343

Die junge Nonne, D828

Ave Maria, D839

Im Frühling, D882

Gretchen am Spinnrade, D118

Nacht und Träume, D827

Ganymed, D544 (Goethe)

Nur wer die Sehnsucht kennt, D877/4

Schlachtgesang D443 (Klopstock)

Der Hirt auf dem Felsen, D965 (Von Chezy / Muller)

with Michael Collins (clarinet) & Ian Brown (piano)


Felicity Lott (soprano) & Graham Johnson (piano)

Alto - ALC1092

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The Songs of Robert Schumann - Volume 10

The Songs of Robert Schumann - Volume 10


Schumann:

Liederkreis, Op. 39

Schön Hedwig Op. 106

Vom Heideknaben Op. 122 Nos. 1 & 2

Drei Gedichte, Op. 29

Die Nonne, Op. 49 No. 3

Was soll ich sagen? Op. 27 No. 3

Frühlingsgruss Op. 79/4

Drei Duette Op. 43

Mein Garten Op. 77 No. 2

Sommerruh WoO7

Mädchenlieder Op. 103

Bei Schenkung eines Flügels


Kate Royal (soprano), Graham Johnson (piano) with Felicity Lott (soprano), Ann Murray (mezzo-soprano) & Christoph Bantzer (reciter)

Kate Royal is the soprano of the moment, at the start of her career yet an acknowledged great artist, and her performance here of the Eichendorff Liederkreis Op 39 is one where ‘imagination, intellect and vocal technique are inextricably fused in the single moment of a song’, as The Times wrote of her Wigmore Hall recital in January this year.

“In this cycle of dusk and shadows there are two or three songs that always seem to elude a bright, lyric soprano; and for all her beauty of voice and care for phrasing, Royal doesn't quite catch the fear and eeriness of 'Zwielicht' (which here sounds merely melancholy) or the sudden sense of isolation and dread at the end of 'Im Walde'. Other singers, too, have made 'Waldesgespräch' more scary, though Royal does touchingly suggest a human sadness in the spooky woodland drama.
But these are minor quibbles. Abetted by Johnson's ever-sentient keyboard-playing, Royal reveals a true understanding of Schumann's Innigkeit, whether in the suppressed passion of the opening 'In der Fremde' (the notorious phrase beginning 'Und über mir rauscht' taken effortlessly in a single breath) and 'Die Stille' (where she avoids the trap of ingénue coyness), the exquisite poise of 'Die Mondnacht' or the tremulous excitement and sense of imminent revelation in 'Schöne Fremde'. In the final 'Frühlingsnacht', often rushed off its feet, she and Johnson catch the elusive mix of secretiveness and ecstasy to perfection.
The remainder of the disc is given over to curiosities and rarities. Despite the eloquent declamation of actor Christoph Bantzer, it's hard to work up much enthusiasm for three 'melodramas' which too easily suggest silentmovie music. But there are innocent, Biedermeier delights in assorted duets, sung with bright-eyed eagerness by Felicity Lott and Ann Murray, and in three settings of Emanuel Geibel, beginning with a duet in Schumann's most cosy-comfy vein and ending with a mildly exotic ensemble evoking the gypsy life.
Among a clutch of young singers making cameo appearances, the virginal-toned Lydia Teuscher is true and touching in 'Die Nonne' and in the virtually unknown 'Frühlingsgrüsse', whose shy, halting lyricism is so typical of late Schumann.
Collectors of this revelatory series will need no reminder that Johnson writes about the music as discerningly and eloquently as he plays.”
Gramophone Classical Music Guide, 2010

“The prime attraction for many here… Kate Royal in the popular Eichendorff Liederkreis… Royal's pure, pellucid tone, free-soaring top notes… and refined musicianship give constant pleasure.” Gramophone Magazine, January 2008

GGramophone Magazine

Editor's Choice - January 2008

Hyperion Schumann Song Edition - CDJ33110

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Britten - Purcell Realizations

Britten - Purcell Realizations


Britten:

The knotting song

from Orpheus Britannicus

Seven songs

from Orpheus Britannicus

Six songs

from Orpheus Britannicus

O solitude

from Orpheus Britannicus

Five songs

from Orpheus Britannicus

Celemene

from Orpheus Britannicus

Six duets

from Orpheus Britannicus

The Queen's Epicediumcus

from Harmonia Sacraumcus

The Blessed Virgin's Expostulation

from Harmonia Sacraumcus

Saul and the witch at Endor

from Harmonia Sacraumcus

Three divine hymns

from Harmonia Sacraumcus

Job's curse

from Harmonia Sacraumcus

Two divine hymns and Alleluia

from Harmonia Sacraumcus

Dulcibella

from Harmonia Sacraumcus

When Myra sings

from Harmonia Sacraumcus

Let the dreadful engines of eternal will

from Harmonia Sacraumcus


2 discs for the price of one

“Two irresistible discs—typically painstakingly produced and documented—and would deserve four stars if only they were there to give” The Times

Hyperion Dyads - CDD22058

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