Christopher Maltman

Baritone

Christopher Maltman

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Decades: A Century of Song Vol. 2 1820 - 1830

Decades: A Century of Song Vol. 2 1820 - 1830


Bellini:

Malinconia, ninfa gentile

Ma rendi pur contento

Vanne, o rosa fortunata

Glinka:

Skazhi, zachem

Ne iskushay menya bez nuzhdi

Moya harfa

Loewe, C:

Der Erlkönig, Op. 1 No. 3 (Goethe)

Herr Oluf "Herr Oluf reitet spät und weit", Op. 2/2

Mendelssohn:

Minnelied im Mai 'Holder klingt der Vogelsang', Op. 8 No. 1

Niedermeyer:

Le lac

Schubert:

Auf der Bruck, D853

Im Frühling, D882

Aus 'Heliopolis' - I D753 (Mayrhofer)

Gondelfahrer, D808

Auflösung, D807

Ellen 1-3, Op. 52

Der Winterabend (Es ist so still), D938

Die Taubenpost, D965A (D957 No. 14)

Schumann:

Sehnsucht


John Mark Ainsley (tenor), Luis Gomes (tenor), Robin Tritschler (tenor), Anush Hovhanissyan (soprano), Sarah Connolly (mezzo), Christopher Maltman (baritone), Malcolm Martineau (piano)

The second volume in this major recording series, across which a host of world-renowned singers draw listeners, decade by decade, through a century of song, from 1810 to 1910. Each volume features a carefully planned, varied programme performed by household names, whilst the series overall creates a comprehensive survey of song right through the nineteenth century – an invaluable teaching asset, as well as a joy for listeners.

Includes songs from Austria, France, Germany, Italy and Russia, by Vincenzo Bellini, Mikhail Glinka, Carl Loewe, Felix Mendelssohn, Louis Niedermeyer, Franz Schubert and Robert Schumann.

The three principal singers for this second volume are mezzo Sarah Connolly, tenor John Mark Ainsley and baritone Christopher Maltman, who are joined by tenors Robin Tritschler and Luis Gomes, and Armenian soprano Anush Hovhannisyan, accompanied by the series’ creator, pianist Malcolm Martineau

Of special note is Sarah Connolly’s performance of Schubert’s three ‘Ellen Songs’, including a glorious rendition of the classic ‘Ave Maria’, Christopher Maltman’s vivid portrayal of Goethe’s ‘Erlkönig’ in Loewe’s setting, and John Mark Ainsley’s beautifully crafted renditions of songs by Schubert, Schumann and Mendelssohn

Extensive presentation includes 64 page booklet with authoritative liner note in three languages by renowned song expert and series consultant Prof Susan Youens, with full texts and translations.

“the range is wide and unpredictable, embracing seven composers and four languages … [Glinka songs] thrillingly caught by the flame-toned Armenian soprano Anush Hovhannisyan ... John Mark Ainsley brings thoughtful, shapely phrasing … Christopher Maltman, with his histrionic flair and colouristic range, is in his element … tenor Luis Gomes has the right vibrant, Latin timbre … Sarah Connolly’s deliriously impassioned singing … Malcolm Martineau, recorded with welcome prominence, is the most observant and imaginative of pianist partners” Gramophone Magazine, June 2017

“The second instalment in a perceptively assembled and uncommonly interesting survey of art songs” MusicWeb International, May 2017

“The singers have been well chosen. Portuguese tenor Luis Gomes is impassioned in Bellini’s small domestic substitutes or operatic arias, while Armenian soprano Anush Hovhannisyan brings vitality and personality to Glinka…Sarah Connolly is grand yet subtly inflected in Schubert, Irish tenor Robin Tritschler dramatic in Niedermeyer’s Le Lac…Malcom Martineau is superb, technically immaculate and consistently imaginative” BBC Music Magazine, July 2017 ****

“It’s a very clever cross-section: it’s taking that decade and going across the continents … it gives you a real snapshot … collating them together, and not necessarily going for the obvious ones, that’s what I love about this collection.” Record Review, 17th June 2017

“Maltman and Connolly’s Schubert performances are beguiling and deliciously nuanced; Hovhannisyan is gorgeously dusky in her Glinka songs; Tritschler is endearing in Louis Niedermeyer’s Le Lac; passion oozes from Gomes’ Bellini arias; Ainsley is light and delicate in Schumann’s rippling Sehnsucht. Martineau’s empathetic pianism is the steadying omnipresence.” The Scotsman, 15th May 2017

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Vivat - VIVAT114

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Wagner: Das Liebesverbot

Wagner: Das Liebesverbot


Manuela Uhl (Isabella), Christopher Maltman (Friedrich), Peter Lodahl (Lucio), Ilker Arcayürek (Claudio), Ante Jerkunica (Brighella)

Chorus and Orchestra of Teatro Real, Madrid, Ivor Bolton (conductor) & Kasper Holten (director)

Read Katherine's exclusive interview with Kasper Holten about the production here.

Wagner’s rarely performed early comic opera, based on Shakespeare’s Measure for Measure, enjoys its Spanish debut in a new production by director Kasper Holten. The lively score boasts clear Italian, French and Weberian influences that pre-date the composer’s mature voice, yet the music continually delights with the unmistakable emergence of Wagner’s precocious genius. His adaptation of the Bard’s play reflects the rebellious mood of a Revolutionary Germany, vindicating sensual love and attacking the fanatical repression of sexuality by a puritanical and hypocritical authority. Ivor Bolton conducts a vibrant cast featuring English baritone and Cardiff Singer of the World Lieder Prize-winner Christopher Maltman, Turkish-Viennese tenor and BBC Radio 3 New Generation Artist Ilker Arcayürek and Germany’s hottest Wagnerian leading lady, Manuela Uhl.

Subtitles: EN/FR/DE/JP/KO

Running time: 160 minutes

Sound format: LPCM 2.0 & DTS-HD 5.1 Master Audio

“Filmed for DVD, Kasper Holten’s colourful production lifts the spirits and a hard-working cast is swept along” Financial Times, February 2017

“As a Das Liebsverbot virgin, I was keen to apply the old test: if this opera was by J. Soap rather than R. Wagner, how would we rate it? My personal verdict is ‘highly’. Young Richard concocted a cracking libretto…his score has verve, variety and several alluring examples of the soaring, extended melodies that mark out his special territory.” Opera, May 2017

“Musically, the cast is led by the ever-dependable Christopher Maltman, who gives a touch of magic to the rather archetypal figure of the wicked duke...The smaller soprano roles are well taken too, with María Miró proving a good foil to the heroically chaste Isabella. The finest heroes, however, are the orchestra, who play the score as though it were Meistersinger, sounding like gods right from the sparkling overture to the jolly resolution” MusicWeb International, 18th April 2017

“It's well…performed here, especially by the splendidly full-voiced chorus.” BBC Music Magazine, May 2017 ***

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Monteverdi: L'Orfeo

Monteverdi: L'Orfeo


Ian Bostridge (Orfeo), Natalie Dessay (La Musica), Patrizia Ciofi (Euridice), Véronique Gens (Proserpina), Alice Coote (Messaggiera), Sonia Prina (Speranza), Carolyn Sampson (Ninfa), Paul Agnew (Eco/Pastore), Christopher Maltman (Apollo/Pastore), Lorenzo Regazzo (Plutone), Mario Luperi (Caronte), Pascal Bertin, Richard Burkhard (Pastori)

Le Concert d'Astrée, European Voices, Emmanuelle Haïm

Monteverdi’s retelling of the story of Orpheus and Eurydice, composed for the court of Mantua, is the earliest opera to hold a firm place in the repertoire. Emmanuelle Haïm directs a full-blooded performance with star singers whose artistry is as valid here – in a groundbreaking Renaissance score – as in music of later eras: Ian Bostridge, Patrizia Ciofi, Natalie Dessay, Carolyn Sampson, Véronique Gens, Alice Coote, Sonia Prina, Christopher Maltman and Lorenzo Regazzo.

Erato The Opera Series - 9029593486

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Puccini: Manon Lescaut

Puccini: Manon Lescaut


Jonas Kaufmann (Des Grieux), Kristine Opolais (Manon Lescaut), Christopher Maltman (Lescaut), Maurizio Muraro (Gerontes) & Benjamin Hulett (Edmondo)

Orchestra of the Royal Opera House & Royal Opera House Chorus, Antonio Pappano (conductor) & Jonathan Kent (director)

'From the moment Kaufmann and Opolais embark – with infinite delicacy - on their emotional journey, it becomes clear that this is a vocal marriage made in heaven. His warmly burnished sound is balanced by the exquisitely-nuanced purity of hers, and they are supported by a performance in the pit, under Antonio Pappano, of rare refinement.' THE INDEPENDENT

'Exhibiting qualities from each of the Three Tenors — Pavarotti's gleaming tone, Carreras's good looks, Domingo's dramatic presence — Jonas Kaufmann is justifiably lauded as the outstanding tenor of our day. In Jonathan Kent's new production of Puccini's Manon Lescaut he delivers a thrilling performance that satisfies both musically and theatrically.' LONDON EVENING STANDARD

'Antonio Pappano has few peers today as a Puccini conductor, and gives the score a tremendous sense of vivid theatricality' THE GUARDIAN

“Kaufmann is a gloriously ardent Des Grieux, recklessly embarking upon an emotional journey almost as distressing as that of the heroine herself. Kristine Opolais matches him in a performance that combines tenderness with wilfulness and a kind of doomed personal integrity exemplified in her vocal line. And Pappano brings his customary sense of style to the music.” BBC Music Magazine, December 2015

“do not pass up the chance to see the power and achievement of Jonas Kaufmann and Kristine Opolais in the lead roles. Even in this day and age, to see (and hear) such uninhibited physical master of stage parts in opera is not so common - and everyone from the artists themselves to the director, designers and video director should be prasied…around them the support is terrifically sharp, the well-placed chorus included” Gramophone Magazine, November 2015

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Sony - 88875105199

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Vaughan Williams: Dona nobis pacem & Hough: Missa Mirabilis

Vaughan Williams: Dona nobis pacem & Hough: Missa Mirabilis


Hough:

Missa Mirabilis

first recording

Vaughan Williams:

Dona Nobis Pacem

Christopher Maltman (baritone), Sarah Fox (soprano)


Colorado Symphony Chorus & Colorado Symphony, Andrew Litton

Dona nobis pacem became a somewhat unexpected hit for Vaughan Williams. A fervently anti-war plea from the heart composed in 1936 as a pièce d’occasion for the Huddersfield Choral Society, it remains to this day one of the composer’s most widely performed works. Coupled with it here is the first recording of Stephen Hough’s Missa Mirabilis (the title derives from an unfortunate motorway incident), a work which shares with the Vaughan Williams an ability to seem very much greater than the sum of its parts. Andrew Litton directs the Colorado Symphony and all-star soloists Sarah Fox and Christopher Maltman.

“Vaughan Williams's Dona nobis pacem is a work that wastes no time cutting to the quick, and nor does this performance of it: in the opening Agnus Dei soprano Sarah Fox is immediately intense and focused, the Colorado Symphony coiled and ready to spring on the explosive tutti that rips forth from the softer textures” BBC Music Magazine, June 2015 ****

“Litton presides over another first-rate display.” Gramophone Magazine, June 2015

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Hyperion - CDA68096

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Brahms: The Complete Songs Volume 5 (Christopher Maltman)

Brahms: The Complete Songs Volume 5 (Christopher Maltman)


Brahms:

Die schöne Magelone, Op. 33

(without spoken text)


Christopher Maltman (baritone) & Graham Johnson (piano)

A new recording from renowned recitalist and winner of the Lieder Prize at the 1997 Cardiff Singer of the World Competition, Christopher Maltman. Graham Johnson is both accompanist and curator of this series that presents the entire piano-accompanied songs and vocal works of Johannes Brahms.

As such it is a companion to the series undertaken by Hyperion for the songs of Schubert, Schumann, Fauré, Strauss and Liszt. This fifth volume presents the songs of Op 33, the only time that Brahms composed a song cycle as such, but even then his observations about how he wished his songs to be heard are worth considering; they are far removed from the contemporary orthodoxy. Brahms sets Tieck’s ‘novella’ Die wundersame Liebesgeschichte der schönen Magelone und des Grafen Peter von Provence (‘The wondrous love story of the beautiful Magelone and Count Peter of Provence’). A full account of the text and of the composition of this intriguing cycle is to be found in Graham Johnson’s erudite booklet notes.

“Maltman and the ever-sensitive Johnson...make a compelling, illuminating partnership. Maltman's mellow baritone,with its distinctively plangent, tenorish upper register, is always easy on the ear.” Gramophone Magazine, October 2014

“The partnership of Graham Johnson - who, as ever, provides the lucid liner-notes - and Christopher Maltman would be hard to better. They sound well and their performance is beautifully shaped in its ebb and flow, an important consideration in any song cycle. Maltman colours his voice skilfully as he represents the different protagonists in the story.” MusicWeb International, 20th October 2014

“While Behle and Bjelland attempt contextualisation [on their Capriccio recording ealier this year], Maltman and Johnson give us the music on its own, in a performance that is the more focused and emotionally detailed of the two, though some may prefer Behle’s romantic-sounding tenor to Maltman’s sexier, if more troubling baritone.” The Guardian, 11th September 2014 ****

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Hyperion Complete Brahms Songs - CDJ33125

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Brahms: Ein Deutsches Requiem, Op. 45

Brahms: Ein Deutsches Requiem, Op. 45


Valery Gergiev and the London Symphony Orchestra present Brahms’ greatest choral work, the 'German' Requiem, featuring soprano Sally Matthews and baritone Christopher Maltman. Gergiev’s first Brahms release on LSO Live, Symphonies Nos 1 & 2, Tragic Overture & Haydn Variations was awarded 5/5 by BBC Music Magazine.

Intended to be for ‘all humanity’, Brahms’ 'German' Requiem is a powerful work – its central themes of melancholy and comfort are universally applicable. Non-liturgical, yet sacred and devotional in spirit, it showcases the great romantic melodies for which Brahms was renowned, and has become a popular work with choirs all over the world – admired for its mystical, consolatory and contemplative tone.

“The dark, veiled string at the opening (Brahms with a slight Russian Orthodox accent?) are very impressive. So too is the sense of the first movement rising and falling steadily like a great arch. But the sentiments in the second movement...seem to have acted as a damper on the collective spirit...Maltman is on fine stirring form.” BBC Music Magazine, September 2014 *****

“[Maltman] is outstanding; firm of tone, passionate in declamation and excellent of diction...The LSC, meticulously prepared by their director Simon Halsey, cope superbly for most of the time. Their corporate tone for the 'big moments' is shatteringly powerful.” MusicWeb International, 29th June 2014

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Hybrid Multi-channel

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LSO Live - LSO0748

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New Year's Eve Concert in Dresden 2010

New Year's Eve Concert in Dresden 2010


Lehár:

Die Lustige Witwe (highlights)


Renée Fleming (soprano) & Christopher Maltman (baritone)

Sächsischer Staatsopernchor Dresden & Staatskapelle Dresden, Christian Thielemann

This is the auspicious premiere of a series of New Year's Eve Concerts from the famous Semperoper in Dresden. Deutsche Grammophon is proud to announce a long-term cooperative association with Christian Thielemann, Staatskapelle Dresden and Unitel/Classica to brand a new series of CDs and DVDs, beginning at the turn of the year.

Christian Thielemann, no stranger to the Yellow Label, and designated Principal Conductor of Staatskapelle Dresden, pours his expertise into Lehár’s evergreen The Merry Widow, with the American megastar Renée Fleming in the title role.

DG Unitel - 4779540

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Vladimir Jurowski conducts Bach, Mendelssohn and Vaughan Williams

Vladimir Jurowski conducts Bach, Mendelssohn and Vaughan Williams

Recorded live at Southbank Centre’s Royal Festival Hall, London, on 5 December 2009


Bach, J S:

Cantata BWV63 'Christen, aetzet diesen Tag'

Mendelssohn:

Von Himmel hoch, chorale cantata

Vaughan Williams:

The First Nowell


This disc is a far cry from the typical fare we’ve come to expect on the shelves around the Christmas season. The inclusion of Bach’s sublime Cantata 63 and Mendelssohn’s Vom Himmel hoch give the disc a year round appeal.

Vaughan Williams’ joyful The First Nowell is a veritable feast of well loved carols and the London Philharmonic Choir together with soloists Lisa Milne and Christopher Maltman exude Christmas cheer.

Vaughan Williams himself said ‘I think that every Christmas play ought to begin with God rest you Merry and end with The First Nowell.’

“The LPO and Choir provide serious nourishment while opening our ears to the sort of Christmas music that gets overlooked amid the tinsel...Jurowski makes an unlikely but worthy VW champion...All in all, this is a programme combining enterprise and tradition, to be enjoyed during the Christmas season and beyond.” Financial Times, 4th December 2010 ***

LPO - LPO0050

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Handel: Giulio Cesare in Egitto

Handel: Giulio Cesare in Egitto

Recorded live at the Glyndebourne Opera House, East Sussex, on 14th & 17th August 2005.


Sarah Connolly (Cesare), Danielle de Niese (Cleopatra), Angelika Kirchschlager (Sesto), Christophe Dumaux (Tolomeo), Patricia Bardon (Cornelia), Christopher Maltman (Achilla) & Rachid Ben Abdeslam (Nireno)

The Glyndebourne Chorus & Orchestra of the Age of Enlightenment, William Christie (conductor) & David McVicar (stage director)

Note: This Blu-ray Disc (BD) is not compatible with standard DVD players

David McVicar’s production of Giulio Cesare manages to combine serious insight with entertainment, bringing Handel’s masterpiece to life in a powerful, convincing and highly intelligent way. In every line of the complex narrative the subtle nuances are apparent, reflecting perfectly the transparent and exquisite nature of Handel’s musical expression. Filmed in High Definition and recorded in true surround sound, the outstanding singing of the all-star cast, led by a superb Sarah Connolly, and the vivid playing of the Orchestra of the Age of Enlightenment under the energising baton of William Christie reveal the colour and dramatic character of Handel’s music in a most delightful manner.

‘…a production with performances to savour, led from the pit by William Christie and the Orchestra of the Age of Enlightenment on stylish form. Sarah Connolly… gave a ‘complete’ performance full of intelligence and subtlety. Danielle de Niese stole the show as a wily, fun-filled sex kitten who renders men helpless with her irresistible charms.’ Opera Now

Bonus material/features:

Illustrated synopsis & cast gallery.

Entertainment is not a Dirty Word - documentary including interviews with William Christie, David McVicar and the cast.

Danielle de Niese & the Glyndebourne experience - an informal portrait of Danielle de Niese in her first-ever Glyndebourne season.

Production photo gallery & rehearsals photo gallery.

PICTURE FORMAT: 1080i
LENGTH: Approx 305 Mins
SOUND: 5.0 & 2.0 PCM
SUBTITLES: EN/FR/DE/ES/IT

“David McVicar's 2005 staging, revived the following summer, provoked a deal of contrasting views among the critical fraternity but was adored by the Glyndebourne public. Chief cause of their delight was the overtly sexual, high-hoofing performance of Cleopatra by the irrepressible Danielle de Niese (who is accorded a delightful 22-minute narrative on her Glyndebourne experience among the extras here). Her vocal command and stage presence are spectacular in every sense, and from her first aria she utterly seduces her audience. McVicar took advantage of her attractive skills to build the opera around her personality. We are here in the high noon of British imperialism and the Ottoman Empire, with Caesar more like a late-19th-century English general than a Roman emperor, and with the Egyptian milieu heavily underlined by milling extras, now always a not-altogether welcome feature of a McVicar production. They clutter the stage and draw attention away from the principals, although one has to admit that the highly disciplined and often captivating choreography is brilliantly executed within Robert Jones's exotic sets. McVicar does at least allow the moments of serious drama to be played out without undue interference – such as the deeply moving duet that closes Act 1 and Cleopatra's 'Piangerò'. Finally it has to be said that only Glyndebourne allows for the rehearsal time to prepare such a complex and ingenious staging. The musical side of things is equally well prepared and thought-through under William Christie's knowledgeable and commanding direction. He manages to balance with the same finesse and care the light and serious parts of the score, even if his love for Handel leads him to a few self-indulgently slow tempi. The OAE play lovingly and with period skills for him. By the time of this DVD recording, near the end of the run, the whole thing moves with eloquence matched by elegance. De Niese sings her airy numbers as to the manner born, seconded by expertly erotic dancing. She manages most of the emotional substance of her sadder arias, but they sometimes seem wanting in the tonal weight ideally required. Sarah Connolly's thoroughly believable Caesar is sung with her firm tone and well schooled mastery of Handelian style, including subtle embellishments. This wilful and imperial Caesar manages to change moods as his music demands. Some of the most accomplished and tender Handelian singing comes from Patricia Bardon's moving Cornelia and Angelika Kirchschlager's concerned Sesto, although the latter does slightly overplay the character's seemingly neurotic state of mind following his father's brutal death. The young countertenor Christophe Dumaux playing Tolomeo is suitably brat-like and spoilt. He, like most of the cast, fulfils all the stringent demands of this very physical staging. Christopher Maltman makes Achilles as nasty as he should be. The sense of teamwork all round is confirmed in the interviews included in the extras. Robin Lough's DVD direction is faultless.” Gramophone Classical Music Guide, 2010

“Justly garlanded with awards aplenty, David McVicar's 2005 Glyndebourne production offers a witty, imaginative post-colonial take on Handel's best-known opera. Sarah Connolly is the definitive Caesar, whilst Danielle de Niese's high-glamour, all-singing-all-dancing Cleopatra catapulted her to stardom. William Christie directs with his customary energy and insight in the pit.” Katherine Cooper, Presto Classical, August 2014

“an account at once scholarly, lively and refreshing...Sarah Connolly sings superbly in the title-role, looking very boyish...Patricia Bardon is an excellent Cornelia and Christophe Dumaux a characterful Tolomeo” Penguin Guide, 2010 ***

GGramophone Awards 2006

Best of Category

GGramophone Magazine

DVD of the Month

BBC Music Magazine

DVD Choice - June 2006

BBC Music Magazine Awards 2007

DVD of the Year

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Opus Arte Glyndebourne - OABD7024D

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