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Susan Graham (Didon), Gregory Kunde (Énée), Anna Caterina Antonacci (Cassandra/Clio), Renata Pokupic (Anna), Ludovic Tézier (Chorèbe), Nicholas Testé (Panthée), Laurent Naouri (Narbal/le Grand Prêtre), Mark Padmore (Iopas), René Schirrer (Priam/Mercu) Orchestre Révolutionnaire et Romantique, Monteverdi Choir, Choeur du Théâtre du Châtelet, John Eliot Gardiner, stage direction by Yannis Kokkos PICTURE FORMAT: 16:9
LENGTH: 5 HOURS
SOUND: SOUND DTS SURROUND / LPCM STEREO
SUBTITLES: EN/F/D/ES “Les Troyens hasn't fared well on DVD, but this superb authentic-instrument performance of October 2003 from the Théâtre du Châtelet, Paris, equals Sir Colin Davis's pioneering original. Orchestrally it's everything we've come to expect from Gardiner's Berlioz, his tempi swift and dynamic, sharing the composer's delight in complex rhythmic interplay, yet always propelling the drama. Passages like Andromache's entrance and Hector's ghost nevertheless have their proper gravitas and sombre hues against the brighter shades of Carthage. Colour is the great gift of the period instruments, revealing a wide range of sonorities, and creating a sense of freshness and discovery.
The effect is sometimes rawer, sometimes more classical, but almost always more complex and dramatic than the homogenised modern sound.
Gardiner's singers, too, could hardly be more committed. Anna Caterina Antonacci is a fiery Cassandra, superbly classical-looking, so wrung and tormented that some moments of strain scarcely matter. Gregory Kunde tackles Aeneas with ringing tone, looks and acts pretty well, and brings a welcome bel canto touch to the gorgeous duet. Susan Graham, though, needs no caveats: a radiant Dido, queenly yet youthful, lyrical and lighter-toned than Janet Baker, but in her final despair no less tragically moving. Other roles are generally excellent. The mostly youthful chorus sounds marvellous, and is a constant force in Yannis Kokkos's moderately modern production.
The stage is plain and bare, capped by a reflector in which most of the décor appears: an Italian Renaissance cityscape for Troy, and the Horse only as a menacing head. Carthage is a classical vision of white walls and blue sea with stylised ships. The Trojans wear the inescapable greatcoats the brutal Greeks, inevitably, American combat gear, and the Carthaginians vaguely North African whites and pastels. This is a mostly straightforward, lively staging which lets characters and drama speak for themselves, and so works well on screen. The magnificent high-definition recording does it ample sonic and visual justice.
For anyone who loves Les Troyens, this is a revelatory and essential performance.” Gramophone Classical Music Guide, 2010 | | | Usually despatched in 2 - 3 working days. |
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| |  | Purcell Edition, Vol. 2 - Theatre Music
Purcell: | The Indian Queen, Z630 Rosemary Hardy, Gillian Fisher, Dinah Harris, Jennifer Smith (sopranos), Ashley Stafford (countertenor), Martyn Hill, John Elwes (tenors), Stephen Varcoe (baritone) & David Thomas (bass) The Tempest, Z631 Rosemary Hardy, Jennifer Smith (sopranos), Carol Hall (mezzo-soprano), John Elwes (tenor), Stephen Varcoe (baritone) & David Thomas, Roderick Earle (basses) Monteverdi Orchestra The Married Beau: Overture Rondeau from Abdelazer Timon of Athens, Z632 Lynne Dawson, Gillian Fisher (sopranos), Rogers Covey-Crump, Paul Elliott (tenors), Stephen Varcoe (baritone) & Michael George (bass) Prophetess or The History of Dioclesian, Z627 Lynne Dawson, Gillian Fisher (sopranos), Rogers Covey-Crump, Paul Elliott (tenors), Stephen Varcoe (baritone) & Michael George (bass) Music for a while, Z583 Dawn Upshaw (soprano), Myron Lutzke (cello) & Arthur Haas (harpsichord, organ) Ah! how sweet it is to love (from Tyrannic Love or The Royal Martyr, Z613) Dawn Upshaw (soprano), Myron Lutzke (cello) & Arthur Haas (harpsichord, organ) If music be the food of love, Z379 Dawn Upshaw (soprano), Myron Lutzke (cello) & Arthur Haas (harpsichord, organ) |
“The choral singing is especially fine, with the close of the work movingly expressive… for The Tempest, Gardiner demonstrates how delightful it is, a masterly collection, in performances both polished and stylish and with excellent solo and choral singing…” Penguin Guide Key Recording (on The Indian Queen) | | | In stock - usually despatched within 1 working day. |
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| |  | Gluck: Iphigénie en Aulide, Les Pèlerins de la Mecque & Don Juan
Gluck: | Iphigénie en Aulide Jose van Dam (Agamemnon), Anne Sofie von Otter (Clytemnestra), Lynne Dawson (Iphigenie), Bernard Deletré (Patrocle), John Aler (Achille), Gilles Cachemaille (Calchas), René Schirrer (Arcas), Guillemette Laurens (Diane), Ann Monoyios (First Greek Lady/Slave), Isabelle Eschenbrenner (Second Greek Lady) Monteverdi Choir & Orchestre De L’Opera de Lyon Les Pèlerins de la Mecque Lynne Dawson (Rezia), Claudine Le Coz (Balkis), Catherine Dubosc (Dardané), Sophie Marin-Degor (Dardané), Sophie Marin-Degor (Amine), Guy de Mey (Ali), Jean-Luc Viala (Osmin), Guy Flechter (Sultan), Jean-Philippe Lafont (Vertigo), Gilles Cachemaille (A Calender), A Calender (Chef de Caravane) Orchestre de L’Opera de Lyon Don Juan English Baroque Soloists |
'Iphigenie en Aulide' was the opera with which Gluck set out to conquer the lyric stage in Paris in April 1774. France was the only country to resist the fashion for Italian opera that prevailed everywhere else in civilised Europe in the first half of the 18th century and to develop instead its own national form of serious opera, the tragedie lyrique. As an acknowledged master of theItalian manner, therefore, Gluck's appearance in Paris was bound to be controversial… He had a useful ally in Paris, however, in the person of the newly crowned young queen Marie Antoinette, who had previously, as an Austrian archduchess, been one of his singing pupils at the Viennese court, and could always quell dissent during the long and stormy rehearsals for the new opera by threatening to fetch the queen. In the event the opera was a great success and Gluck quickly became established as the new saviour of French opera, a worthy inheritor of the mantle of Lully and Rameau. | | | In stock - usually despatched within 1 working day. |
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| |  | Stabat Mater - Boxed SetIn this collection we explore some of the beautiful interpretations there have been of this most powerful of medieval texts.
Cavalli: | Salve Regina Monteverdi Choir, Sir John Eliot Gardiner | Clemens: | O Maria vernans rosa Monteverdi Choir, Sir John Eliot Gardiner | Gesualdo: | Ave, Dulcissima Maria Monteverdi Choir, Sir John Eliot Gardiner | Haydn: | Stabat Mater Orchestre de Chambre de Lausanne, Michel Corboz | Pergolesi: | Stabat Mater Ileana Cotrubas, Lucia Valentini-Terrani and Claudio Scimone | Scarlatti, D: | Stabat Mater a 10 voci Monteverdi Choir, Sir John Eliot Gardiner | Schubert: | Magnificat in C major, D486 Sheila Armstrong, Hanna Schaer, Alejandro Ramirez & Philippe Huttenlocher Lausanne Vocal Ensemble & Lausanne Chamber Orchestra, Philippe Corboz & Michel Corboz Stabat mater, D383 Sheila Armstrong, Hanna Schaer, Alejandro Ramirez & Philippe Huttenlocher Lausanne Vocal Ensemble & Lausanne Chamber Orchestra, Philippe Corboz & Michel Corboz Offertorium 'Intende voci', D963 Sheila Armstrong, Hanna Schaer, Alejandro Ramirez & Philippe Huttenlocher Lausanne Vocal Ensemble & Lausanne Chamber Orchestra, Philippe Corboz & Michel Corboz | Vivaldi: | Stabat Mater, RV621 Michel Corboz |
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| |  | Purcell Edition, Vol. 3 – Anthems, Odes & Instrumental Music
Purcell: | Hail! Bright Cecilia (Ode for St Cecilia's Day 1692), Z328 Monteverdi Choir & English Baroque Soloists, John Eliot Gardiner Come ye sons of art (Ode for Queen Mary's birthday, 1694), Z 323 Monteverdi Choir & English Baroque Soloists, John Eliot Gardiner Welcome, vicegerent of the mighty king, Z340 Tragicomedia, Stephen Stubbs and Erin Headley (directors) O dive custos Auriacae domus, Z504 Tragicomedia, Stephen Stubbs and Erin Headley (directors) Raise, raise the voice (for St Cecilia's Day, c1685) Tragicomedia, Stephen Stubbs and Erin Headley (directors) Incassum Lesbia, incassum rogas ('The Queen's Epicedium'), Z383 Tragicomedia, Stephen Stubbs and Erin Headley (directors) Young Thirsis' fate, Z473 Tragicomedia, Stephen Stubbs and Erin Headley (directors) Why, why are all the Muses mute?, Z343 Tragicomedia, Stephen Stubbs and Erin Headley (directors) Rejoice in the Lord alway ('The Bell Anthem'), Z49 Kings’ College Choir & Leonhardt-Consort, Gustav Leonhardt Blow up the trumpet in Sion, Z10 Kings’ College Choir & Leonhardt-Consort, Gustav Leonhardt O God, thou art my god, Z35 Kings’ College Choir & Leonhardt-Consort, Gustav Leonhardt My heart is inditing, Z30 Kings’ College Choir & Leonhardt-Consort, Gustav Leonhardt Remember not, O Lord, our offences, Z50 Kings’ College Choir & Leonhardt-Consort, Gustav Leonhardt I was glad when they said unto me, Z19 Chanticleer & Capriccio Stravagante, Skip Sempe O Lord, rebuke me not, Z40 Chanticleer & Capriccio Stravagante, Skip Sempe Praise the Lord, O my soul, O Lord my God, Z48 Chanticleer & Capriccio Stravagante, Skip Sempe An Evening Hymn 'Now that the sun hath veiled his light', Z193 Chanticleer & Capriccio Stravagante, Skip Sempe Jehova, quam multi sunt hostes, Z135 Monteverdi Choir & English Baroque Soloists, John Eliot Gardiner My beloved spake, Z28 Monteverdi Choir & English Baroque Soloists, John Eliot Gardiner O God, thou hast cast us out, Z36 Monteverdi Choir & English Baroque Soloists, John Eliot Gardiner Hear my prayer, O Lord, Z15 Monteverdi Choir & English Baroque Soloists, John Eliot Gardiner Music for the Funeral of Queen Mary, 1695 Monteverdi Choir & English Baroque Soloists, John Eliot Gardiner In guilty night (Saul and the Witch of Endor), Z134 Monteverdi Choir & English Baroque Soloists, John Eliot Gardiner Close thine eyes and sleep secure, Z184 Monteverdi Choir & English Baroque Soloists, John Eliot Gardiner Lord, what is man?, Z192 Dawn Upshaw (soprano), Myron Lutzke (cello) & Arthur Haas (harpsichord) Tell me, some pitying angel (The Blessed Virgin's Expostulation), Z196 Dawn Upshaw (soprano), Myron Lutzke (cello) & Arthur Haas (harpsichord) |
“Come ye Sons of Art is splendidly paired here with the unforgettable funeral music… With the Monteverdi Choir at its most incisive and understanding the performances are exemplary…” Penguin Guide 08 *** Key recording | | | Usually despatched in 4 - 5 working days. |
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| |  | JS Bach: Cantatas for Christmas (Box Set)Recorded in 1999-2000 during the Bach Cantata Pilgrimage
Bach, J S: | Cantata BWV63 'Christen, aetzet diesen Tag' Cantata BWV191 'Gloria in excelsis Deo' Cantata BWV91 'Gelobet seist du, Jesu Christ' Cantata BWV110 'Unser Mund sei voll Lachens' Cantata BWV121 'Christum wir sollen loben schon' Cantata BWV40 'Darzu ist erschienen der Sohn Gottes' Cantata BWV57 'Selig ist der Mann' Cantata BWV64 'Sehet, welch eine Liebe hat uns der Vater erzeiget' Cantata BWV151 'Süßer Trost, mein Jesus kömmt' Cantata BWV133 'Ich freue mich in dir' Motet BWV225 'Singet dem Herrn ein neues Lied' Cantata BWV152 'Tritt auf die Glaubenbahn' Cantata BWV122 'Das neugeborne Kindelein' Cantata BWV28 'Gottlob, nun geht das Jahr zu Ende' Cantata BWV190 'Singet dem Herrn ein neues Lied' Cantata BWV143 'Lobe den Herrn, meine Seele' Cantata BWV41 'Jesu, nun sei gepreiset' Cantata BWV16 'Herr Gott, dich loben wir' Cantata BWV171 'Gott, wie dein Name, so ist auch dein Ruhm' Cantata BWV153 'Schau, lieber Gott, wie meine Feind' Cantata BWV58 'Ach Gott, wie manches Herzeleid' Cantata BWV65 'Sie werden aus Saba alle kommen' Cantata BWV123 'Liebster Immanuel, Herzog der Frommen' |
This box set is a collection of Cantatas for the entire Christmas season from our award-winning series of recordings from the 2000 Bach Cantata Pilgrimage. It features a cast of stellar soloists including Magdalena Kožená, Bernarda Fink, Michael Chance, James Gilchrist, Christoph Genz, etc. The Monteverdi Choir and English Baroque Soloist give their customary brilliant performances, making this release a must-have gift this Christmas season. It includes some of Bach’s best known cantatas, including the glorious Christen, atzet diesen Tag (CD1), the festive and brilliant Unser Mund sei voll Lachens (CD2) , the infectiously rhythmic Ich freue mich in dir (CD3), Gelobet seist du (CD1) and many other “jewels” which glow with that special sense of expectation that is the hallmark of Bach’s Christmas music. Packaged in a clamshell box, it contains 6 CDs in individual sleeves and a booklet with collected notes by Sir John Eliot Gardiner, and texts in German and English. “Fresh and incisive, Gardiner’s live performances are an ideal tonic for any winter blues.” The Times, 21st December 2012 | | | In stock - usually despatched within 1 working day. |
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| |  | Handel Edition Volume 5 - Semele, Israel in Egypt, etc
Handel: | Semele Norma Burrowes (Semele), Della Jones (Juno), Anthony Rolfe-Johnson (Jupiter), Timothy Penrose (Athamas), Robert Lloyd (Cadmus), Maldwyn Davies (Apollo), Patrizia Kwella (Iris), Catherine Denley (Ino), David Thomas (Somnus), Elisabeth Priday (Cupid) John Eliot Gardiner Israel in Egypt, HWV54 John Eliot Gardiner The Ways of Zion do mourn, HWV 264 John Eliot Gardiner Coronation Anthem No. 1, HWV258 'Zadok the Priest' John Eliot Gardiner La Resurrezione, HWV47 Ton Koopman Dixit Dominus, HWV 232 John Eliot Gardiner |
“John Eliot Gardiner catches all its brilliance and directs an exhilarating performance, marked by strongly accented, sharply incisive singing from the choir and outstanding solo contributions.” Penguin Guide 3-star (on Dixit Dominus) “Koopman re-creates something of the occasion in his colourful interpretation of Handel's orchestration and in his pacing of the work. The expressive and dulcet oboe tone produced by Ku Ebbinge and Michel Henry shines out again and again throughout— In the recitative ''Notte funesta'', Koopman creates a wonderful ensemble timbre with recorders, bass viol and organ, and the delicately poised organ pedal that begins ''Ferma l'ali'' creates a magical atmosphere that lasts to the end of the aria…” Gramophone Magazine (on ‘La Resurrezione’) | | | In stock - usually despatched within 1 working day. |
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| |  | Handel Edition Volume 3 - Tamerlano, L'Allegro ed il Penseroso, etc.
“Taking Milton as his starting point, Handel illustrated in music the contrasts of mood and character between the cheerful and the thoughtful. Then, prompted by his librettist, Charles Jennens, he added compromise in Il Moderato, the moderate man. The sequence of brief numbers is a delight, particularly in a performance as exhilarating as Gardiner’s, with excellent soloists, choir and orchestra. The recording is first rate.” Penguin Guide *** | | | In stock - usually despatched within 1 working day. |
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| |  | John Eliot Gardiner - Handel
Handel: | Water Music Suites Nos. 1-3, HWV348-350 Concerti grossi Op. 3 Nos. 1-6, HWV312-317 Israel in Egypt, HWV54 The Ways of Zion do mourn, HWV 264 Semele Norma Burrowes (Semele), Della Jones (Juno), Anthony Rolfe-Johnson (Jupiter), Timothy Penrose (Athamas), Robert Lloyd (Cadmus), Maldwyn Davies (Apollo), Patrizia Kwella (Iris), Catherine Denley (Ino), David Thomas (Somnus), Elisabeth Priday (Cupid) |
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Gramophone Awards 2005
