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See Terms & Conditions for p&p rates. | |  | Don Giovanni (Juan): A Film by Kaspar Holten
A truly unique filmed version of Mozart’s famous opera - an intense, vibrant and energetic take on a timeless drama, shot on location in Budapest, Hungary. Every scene and every single detail has been adapted so that it fully exploits the film media’s great power to create emotional presence, making use of the full visual vocabulary of modern cinema, following such unorthodox inspirational sources as The Bourne Trilogy and Traffic, while at the same time maintaining the exceptional live experience of opera, since the actors really sing on set. Juan is a famous artist and notorious playboy, thanks to his ability to become just what any woman dreams of. He turns his own life into a megalomanic work of art, playing the game of seduction like no other, driven by a manic restlessness that pushes him forward through an endless stream of conquests, betrayals, sex and eventually murder, with death lurking as the only possible outcome. A portrayal of male sexuality in the 21st century, taken to the extreme, DON GIOVANNI reveals how the blessing of an endless appetite for life and a will to conquer the world, might in reality turn out to be the path to ruthless destruction and eventually self-destruction. Audio: Dolby Stereo & Optional 5.1 Aspect Ratio: 1.85:1 Feature Running Time: 102 mins Region: 2, PAL Contains sex and nudity “a pacey (if slightly cheesy) drama complete with sexy escapades, a car chase, and hospital scenes...Funnily enough, it all sort of works. This is partly because the singers are not only musically good, they can also carry the close scrutiny of the camera lens...Holten gives a lucid account of his motivations for the film in the 'Extras' section.” BBC Music Magazine, Christmas 2012 **** “The well-chosen cast, led by Maltman's assured, sexy Juan, truly look and sound great...But perhaps the ultimate achievement of the Roal Opera House's Kasper Holten in his first feature film...is to make an 'opera film' that really doesn't look like singers standing around a street in costumer wondering why they're not in a theatre. Even if you're phobic about 'modern' productions, give this a go.” Gramophone Magazine, January 2013 “It’s all rather ingenious, and will no doubt launch a thousand undergraduate musicology essays...There’s a lot to admire in the technical achievement the film represents, and, as an exploration of the possibilities of opera as film, it’s undoubtedly fascinating; but it is so, one feels, precisely because it demonstrates the limits of that hybrid genre.” Opera, December 2012 “Holten trades too knowingly, at times, on the narrative disparities between the opera and his film. But this is much more erotic than many stagings of the piece, and by the end we really do understand the nature of Juan's unsettling sexual hold...That's ultimately due to Maltman's charismatic artistry and Holten's filming of it, both of which are sensational.” The Guardian, 13th December 2012 **** “here are sex and violence, speeding cars, and plenty of rough language. Maltman himself supplied the translation, which fits the updated setting supremely well but won’t appeal to maiden aunts...Holten has created a film that treats the opera with the respectful kind of disrespect that leaves the work’s core intact. And the performances are mostly riveting...Go on, be brave, give this adventurous Giovanni a whirl.” The Times, 29th September 2012 **** | | | In stock - usually despatched within 1 working day. |
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| |  | Schubert: Schwanengesang
Concluding a highly acclaimed series of Schubert song cycles, Wigmore Hall Live now release the much-anticipated Schwanengesang. Recorded live on the Wigmore stage by Christopher Maltman and Graham Johnson in April 2010, the song cycle was collated after Schubert’s death by the publisher Haslinger and, through the works of three poets, depicts a despairing man tormented by his lost love. Often sorrowful, sometimes enraged, this performance never fails to search deep within the emotive poetry, truly exploring the drama that unfolds through the fourteen poems. Famed for his superlative Schubertian pianism, Johnson features here not as an accompanist but as an equal, as Maltman’s stunningly colourful voice displays an infinite palette of timbres, carefully and subtly nuanced throughout. “Maltman brings a light touch to 'Liebesbotschaft', beautifully complemented by the filigree of Johnson's accompaniment...The second encore, 'Der Winterabend', culminates in Johnson's right hand doubling and counterpointing the vocal line - magical.” Gramophone Magazine, March 2012 “Both singer and accompanist are on far better form, for me, than they were in Winterreise...These are direct, uncluttered accounts of songs of varying quality, and the deepest - 'Am Meer', 'Der Doppelganger' - get appropriately weighty treatment, while others, such as the last, are delightfully light.” BBC Music Magazine, March 2012 **** “Maltman has a very beautiful light baritone voice and sings Schubert with undemonstrative perceptiveness and much musical intelligence...This is fine recording of Schwanengesang, the accompaniment occasionally somewhat insensitive but Maltman's singing hard to fault.” International Record Review, February 2012 “There's an uncompromising emotional rawness in Maltman's singing in Der Atlas, Die Stadt and Der Doppelgänger that make for very disquieting listening. But it's not all angst: he's sexy in Ständchen and humorous in Die Taubenpost. Johnson, meanwhile, is exemplary, reminding us throughout of the genius of Schubert's piano writing.” The Guardian, 8th March 2012 **** “Maltman confirms that he is one of the most impressive baritone exponents of art songs currently before the public and, of course, he is partnered by one of the finest accompanists of our day, one who is steeped in Schubert’s lieder. Though there are many excellent CD versions of Schwanengesang in the catalogue this one joins the ranks of the very best.” MusicWeb International, June 2012 | | | In stock - usually despatched within 1 working day. |
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“….Maltman’s ardent, impulsive, intensely “lived” performance, partnered and inspired by the everilluminating Johnson, should be heard by anyone who loves the cycle.” So wrote Richard Wigmore in Gramophone Magazine of Christopher Maltman’s Die Schöne Müllerin. Released in April 2011, this was the first release of his complete Schubert song cycles project and was awarded an Editor’s Choice. Recorded over a series of live dates, Maltman has collaborated with one of the world’s foremost authorities on the lieder repertoire, accompanist Graham Johnson. Maltman’s teaming with Johnson is a triumphant partnership with Maltman giving the accolade that he is the “definitive accompanist who leaves no stone unturned”. Die Winterreise will be followed by Schwanengesang in 2012, the live performance of which was critically-applauded. Maltman’s decision to undertake these substantial recordings as a live project was a considered choice: “the live recording experience is where the real beauty lies; the little points, the little imperfections, the emotional stress, give the performance an organic feel, a rawness. It dials everything back to the most important element – the live performance.” “This is a live recording made in the Wigmore Hall in February 2010, remarkable for its robustness, force and energy. Maltman is the most virile, bitterly impassioned and angry of wanderers, whose determination is evident from the first bars of Gute Nacht to the final black desolation of Der Leiermann.” The Telegraph, 18th August 2011 **** “Maltman is a likeable singer, with an easy, communicative manner, excellent diction — even when his German is less than idiomatic — and scrupulously musical instincts.” Sunday Times, 21st August 2011 *** “Maltman gives a bleak, steadily paced account of Winterreise which is at once weighty and intense. This suits his dark-hued voice compared to other excellent but more febrile accounts...The thundering anguish of "Rückblick", the ghostly whispers of "Irrlicht" and the schizophrenic light-dark dreams of spring in "Frühlingstraum" mix depression, frustration and tenderness. This is true soul-singing.” The Observer, 4th September 2011 “He gives a hard-hitting performance, and, as one might expect, it's exceptionally well characterised...Maltman roots his interpretation in the psychological specifics...Some of it is less than beautiful – as it should be...Graham Johnson is wonderful in this work. He follows every emotional utterance, beautifully illuminating Schubert's alignment of the winter landscape with the shifts and instabilities of the protagonist's psyche.” The Guardian, 8th September 2011 **** “Maltman never gives a less than intelligent performance, and he skillfully dramatizes Schubert’s great song-cycle.” Financial Times, 22nd October 2011 *** “If Maltman is sometimes better at communicating the tenderness in Winterreise than the torture, there are moments in this subtle, insightful account where he lays bare the composer’s own syphilitic deterioration.” classicalsource.com, October 2011 “There are many good things in this live Wigmore Hall recital, not least Maltman's characterisation of despair and alienation in 'Wasserflut' and 'Rast' and Johnson's eloquent pianism.” Classic FM Magazine, November 2011 *** “When Maltman essays a mezza voce, his tone whitens; and sometimes, as in 'Die Nebensonnen', he sounds uncomfortable in the original key. But these drawbacks are outweighed by the beauty of Maltman's voice and his keen attention to the words...His crescendo on the last word of all, to match the forte phrase in the piano, is a brilliant touch. Admirable accompanist, excellent sound: well worth hearing.” Gramophone Magazine, December 2011 | | | In stock - usually despatched within 1 working day. |
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| |  | The Complete Songs of Francis Poulenc Volume 2
Composing over 150 works for piano and voice over a period of 44 years, the songs of Francis Poulenc remain consistently popular to concert audiences the world over. Varying in their individual style and character in a way that defies generalisation, Poulenc set music to a wide range of different French poetry – both ancient and modern - and from the serious to the surreal. This is the second release in the series of the complete songs of Francis Poulenc, performed by some of the greatest singers of the day and accompanied by the exceptional Malcolm Martineau. Praise for the first disc was extensive. “These singers have come up with some of the most absorbing recorded experiences of a composer who, for all his unmistakable voice, had an extraordinarily broad range of expression and poetic choices...Jonathan Lemalu has two cameos, embodying solemnity and wry fun...Martineau is the binding presence as he responds to both songs and singers with a transparent understanding of character.” BBC Music Magazine, September 2011 **** “[Lott's] artistry and feeling for the French language remain as impressive as ever...Best of all perhaps are the two miniature cycles: first Tel jour, telle nuit, nine songs to words by Paul Eluard, beautifully sung by Felicity Lott. The other cycle, Le travail du peintre, fascinatingly gives us Poulenc's reaction to seven painters...Signum again provides excellent notes by Roger Nicholls and full texts and translations.” Gramophone Magazine, October 2011 “[Toreador] is finely sung here by Christopher Maltman and Martineau captures the colours and mischief of the piano part very nicely...[Deux Poèmes de Guillaume Apollinaire] are taken by Robert Murray and the rapid-fire setting of the first song reveals a singer who is able to get around this tricky piece very efficiently...The recordings all have a fine natural balance between voice and piano” International Record Review, September 2011 | | | In stock - usually despatched within 1 working day. |
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| |  | Ades: America A ProphecySongs & Choral Works
The music of Thomas Adès taps into the spirit of our restless times with unquiet brilliance and an uncompromising vigour evident throughout this survey of works written in the 1990s. From the wild ‘orchestration’ of a Madness song (Cardiac Arrest) to his alarmingly prescient vision of a country laid waste (America), via French Baroque manners (Les Baricades Misterieuses) and a diatribe against a grand old man (Brahms), Adès is ever his own man. | | | In stock - usually despatched within 1 working day. |
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Acclaimed baritone Christopher Maltman will release the complete Schubert song cycles – Die Schöne Müllerin, Winterreise and Schwanengesang, on Wigmore Hall Live during 2011-12. Recorded over a series of live dates, Maltman has collaborated with one of the world’s foremost authorities on lieder repertoire, piano-accompanist Graham Johnson, in a triumphant partnership. The first release, Die Schöne Müllerin, was Schubert’s first complete song cycle, composed at the age of just 26. The work requires the singer to draw upon a range of moods, from raw emotional turmoil and unpredictability, to introspection and ultimately resignation. Maltman states that the work requires a “certain vulnerability” in its portrayal of the lovelorn young miller, and to achieve this, he and Johnson chose to transpose several of the songs back up to the outer reaches of the baritone range, closer to that of the tenor. The duo’s decision to take the voice out of its comfort zone and embrace the tension this produces undeniably adds to the colour and characterisation which Maltman brings to the work: “These musical masterpieces present an endless pursuit and a constant re-examination.” The next release in the cycle will be Winterreise in September 2011, followed by Schwanengesang in 2012, the live performance of which was critically-applauded in the Guardian: “Maltman's pianist was Graham Johnson, whose focused, detailed playing reminded us just how far Schwanengesang redefined the role of the accompanist" Maltman’s decision to undertake these substantial recordings as a live project was a considered choice: “the live recording experience is where the real beauty lies; the little points, the little imperfections, the emotional stress, give the performance an organic feel, a rawness. It dials everything back to the most important element – the live performance.” “This performance...is uncommonly convincing in its combination of vividness and deep introspection...A strong point is Johnson’s piano-playing...but this is very much a partnership. Maltman is a compelling narrator, making you see the pictures and moods described, and imaginatively mixing half-voice and vehement full tone. The Hateful Colour is thrillingly dramatic.” Sunday Times, 1st May 2011 **** “Maltman's journeyman miller is volatile, susceptible, prone to violent swings between elation and self-communing inwardness, but not one who senses his tragic fate virtually from the outset. With its fine bright resonance, his virile baritone initially exudes health and an eagerness to seize life...Maltman's ardent, impulsive, intensely 'lived' performance, partnered and inspired by the ever-illuminating Johnson, should be heard by anyone who loves the cycle.” Gramophone Magazine, June 2011 “Maltman brings a fierce intelligence and a wide range of vocal colour to his performance, and he manages to balance a sense of overarching emotional control from beginning to end with in-the-moment spontaneity...Graham Johnson's accompanying - which now supports, now ironizes the ostensible emotion of the song - adds depth too.” Classic FM Magazine, June 2011 **** “This is an extraordinarily subtle performance of Schubert's first great cycle. Wonderfully recorded, with an ideal balance between soloist and pianist, it leaves you wondering, at times, who is accompanying whom...Maltman, with his gloriously warm light baritone, is born along on the stream of the piano's uncertainties, and the total effect is disturbing and unique...indispensable for anyone wanting to probe beneath its adorable surface.” BBC Music Magazine, June 2011 ***** “After only moments in the opening song, 'Das Wandern', one becomes aware that Maltman's singing will not be vocally monochromic...This is a extremely introspective reading, controlled, collected and sensitive...Johnson brings his own eloquent contributions.” International Record Review, May 2011 | | | In stock - usually despatched within 1 working day. |
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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, Emmanuelle Haïm Recording Country: France Recording Location: 15-22 January 2003. Eglise Notre Dame du Liban, Paris. Mix Date: 22 Jan 2003 Executive Producer: Alain Lanceron Producer & Editor: Daniel Zalay Balance Engineer: Jean Chatauret (Musica Numeris) | | | In stock - usually despatched within 1 working day. |
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| |  | New Year's Eve Concert in Dresden 2010
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. STEREO: PCM / SURROUND: DTS 5.0 Picture Format: 16:9 | | | In stock - usually despatched within 1 working day. |
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| |  | New Year's Eve Concert in Dresden 2010
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. | | | In stock - usually despatched within 1 working day. |
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| |  | Vladimir Jurowski conducts Bach, Mendelssohn and Vaughan WilliamsRecorded live at Southbank Centre’s Royal Festival Hall, London, on 5 December 2009
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 *** | | | (also available to download from $10.50) | In stock - usually despatched within 1 working day. |
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Gramophone Magazine
