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See Terms & Conditions for p&p rates. | |  | Haydn, Rachmaninov & Ravel: Piano Concertos
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| |  | Nyman: Concertos
Affirming Michael Nyman’s status as an innovator in orchestral music, these three concertos demonstrate a bold re-interpretation of musical traditions. Illustrating Nyman’s inventive approach to timbre in the Double Concerto for Saxophone, Cello and Orchestra, and including the virtuosic Concerto for Harpsichord and Strings, this collection concludes with the Concerto for Trombone and Orchestra, a dramatic and tumultuous conflict between instruments. | | | In stock - usually despatched within 1 working day. |
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1. Overture (Orchestra) ACT I 2. Se vuol ballare (Figaro) 3. Non so più cosa son (Cherubino) 4. Non più andrai (Figaro) ACT II 5. Porgi, amor (Countess) 6. Voi che sapete (Cherubino) 7. Conoscete, signor Figaro (Figaro / Antonio / Count / Countess / Susanna / Marcellina / Basilio / Bartolo) ACT III 8. Crudel! Perché finora farmi languir così? (Coun t/ Susanna) 9. Hai già vinta la causa? Vedrò mentr’io sospiro (Count) 10. E Susanna non vien?…Dove sono (Countess) 11. Canzonetta sull’aria (Countess / Susanna) ACT IV 12. Tutto è disposto...Aprite un po’ quegli occhi (Figaro) 13. Giunse alfin il momento…Deh vieni, non tardar (Susanna) 14. Gente, gente! All’armi (Count / Figaro / Don Curzio / Basilio / Antonio / Bartolo / Susanna / Marcellina / Cherubino / Barbarina / Countess)
“The best performance comes from Eberhard Wächter, who sings the Count's aria with steely passion, articulating the triplets - and this is rare - with precision.” Gramophone Magazine, Awards Issue 2011 | | | In stock - usually despatched within 1 working day. |
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| |  | Mascagni: Cavalleria Rusticana & Leoncavallo: I Pagliacci (highlights)
Cavalleria Rusticana 1. O Lola ch’hai di latti la cammisa (Turiddu) 2. II cavallo scalpita (Alfio / Chorus) 3. Regina Coeli…lnneggiamo, iI Signor non è morto (Chorus / Santuzza / Mamma Lucia) 4. Voi lo sapete, o mamma (Santuzza / Mamma Lucia) 5. No, no, Turiddu (Turiddu / Santuzza) 6. Intermezzo (Orchestra) 7. Viva il vino spumeggiante (Chorus / Turiddu / Lola) 8. Mamma, quel vino è generoso (Turiddu / Mamma Lucia / Santuzza) Pagliacci PROLOGUE 9. Si può? Si può? (Tonio) ACT I 10. Qual fiamma avea nel guardo! (Nedda) 11. E allor perché, di’, tu m’hai stregato? (Silvio / Nedda) 12. Recitar!…Vesti la giubba (Canio) ACT II 13. No, Pagliaccio non son…Suvvia, così terribile (Canio / Chorus / Silvio / Nedda / Beppe / Tonio)
“Caballé and Scotto have some lovely moments and both are strong in dramatic commitment … Carreras gives generously of voice and emotion in both of his roles – they are among his best achievements on records.” Gramophone Magazine | | | In stock - usually despatched within 1 working day. |
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ACT I 1 Questa o quella (Duke) 1.49 2 Pari siamo! (Rigoletto) 3.33 3 Figlia!…Mio padre! (Rigoletto/Gilda/Giovanna) 6.42 4 Ah, veglia, o donna (Rigoletto/Gilda/Giovanna/Duke) 5.28 5 È il sol dell’anima (Duke/Gilda) 3.24 6 Addio! speranza ed anima (Duke/Gilda) 1.12 7 Gualtier Maldè!…Caro nome (Gilda/Borsa/Ceprano/Marullo) 6.41 ACT II 8 Ella mi fu rapita!…Parmi veder le lagrime (Duke) 5.26 9 Possente amor mi chiama (Duke/Borsa/Marullo/Ceprano/Chorus) 3.01 10 Cortigiani, vil razza dannata (Rigoletto) 4.31 11 Tutte le feste al tempio (Gilda/Rigoletto) 6.44 ACT III 12 La donna è mobile (Duke) 2.16 13 Un dì, si ben rammentomi…Bella figlia dell’amore (Duke/Maddalena/Gilda/Rigoletto) 6.09 14 V’ho ingannato…Lassù in cielo (Gilda/Rigoletto) 4.45 62.00
“Kraus’s singing is elegant and attractive throughout … The Philharmonia plays with admirable élan and a great deal of subtlety for Rudel.” Gramophone Magazine | | | In stock - usually despatched within 1 working day. |
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ACT I 1 Dammi i colori…Recondita armonia (Cavaradossi/Sacristan) 3.54 2 Mario! Mario! Mario! (Tosca/Cavaradossi) 13.36 3 Tre sbirri, una carrozza (Scarpia/Spoletta/Chorus) 4.32 ACT II 4 Floria!…Amore (Cavaradossi/Tosca/Scarpia/Sciarrone) 1.30 5 Vittoria! Vittoria! (Cavaradossi/Tosca/Scarpia) 3.35 6 Se la giurata fede debbo tradir (Scarpia/Tosca) 3.51 7 Vissi d’arte (Tosca) 3.22 8 Vedi, le man giunte io stendo a te! (Tosca/Scarpia/Spoletta) 3.37 9 E qual via scegliete? (Scarpia/Tosca) 7.12 ACT III 10 E lucevan le stelle (Cavaradossi) 3.08 11 Ah! Franchigia a Floria Tosca (Cavaradossi/Tosca) 2.33 12 O dolci mani (Cavaradossi/Tosca) 5.22 13 E non giungono (Tosca/Cavaradossi/Gaoler/Spoletta/Sciarrone/Chorus) 6.37 65.33
“Scotto provides perhaps the most telling use of the text since Callas’s, and she constantly lets one see the distraught, temperamental woman behind the notes.” Gramophone Magazine | | | In stock - usually despatched within 1 working day. |
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| |  | Schumann: Symphonies Nos. 1-4 & Overtures
Inspired by his wife, Clara, Robert Schumann wrote four symphonies over a decade, with No 1, the ‘Spring’, first perfomed – under Felix Mendelssohn – in 1841. Riccardo Muti’s distinction in this cycle is affirmed by Gramophone’s review of No.3, the ‘Rhenish’: ‘The rhythm is firm and bold, the melodic line clearly drawn, the individual playing given every encouragement, not least with some magnificent horn solos. He is no less masterly and sympathetic with the finale.’ | | | In stock - usually despatched within 1 working day. |
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| |  | Prokofiev: Ivan the Terrible & Romeo and Juliet
In the words of Gramophone magazine, ‘Muti is a formidable interpreter of Prokofiev,’ and here he conducts the suites from the Russian composer’s Romeo and Juliet, probably the greatest full-length ballet of the 20th century, and the oratorio Ivan the Terrible, drawn from the score written for Sergei Eisenstein’s epic film of 1944. Gramophone continued: ‘Such is the fervour of the performance that one is simply carried along by the 'visual' excitement of it all.’ | | | In stock - usually despatched within 1 working day. |
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| |  | Walton conducts Walton 1
Walton‘s own interpretations of the Facade Suites and operatic scenes from Troilus and Cressida provide unique insight into these works. The latter features the incomparable singing of Elisabeth Schwarkkopf and Richard Lewis. Both performances showcase Walton’s considerable talents as a conductor. Essential listening for lovers of British music. | | | In stock - usually despatched within 1 working day. |
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| |  | Milhaud: Concertos
Milhaud: | La Création du Monde, Op. 81 Orchestre National de France, Leonard Bernstein Concerto for marimba, vibraphone and orchestra, Op. 278 Peter Sadlo Münchner Philharmoniker, Sergiù Celibidache Concerto for Cello and Orchestra No. 1 Op. 136 János Starker (cello) Philharmonia Orchestra, Walter Susskind Le Boeuf sur le toit, Op. 58 Orchestre National de France, Leonard Bernstein Six sonnets, composés au secret par Jean Cassou, pour choeur mixte Groupe Vocal de France, John Alldis Piano Concerto No. 1 in E minor, Op. 11 Samson François (piano) Orchestre National de l'Opéra de Monte-Carlo, Louis Frémaux Sonatine Pastorale, Op. 383 Emmanuel Pahud & Eric Le Sage Scaramouche, suite for saxophone & piano (or orchestra), Op. 165c Noel Lee & Christian Ivaldi Saudades do Brasil (12) for orchestra, Op. 67b Concert Arts Orchestra, Darius Milhaud Suite française, Op. 248 Monte Carlo Philharmonic Orchestra, Georges Prêtre |
Darius Milhaud was a chameleon composer, imbibing the infectious rhythms of South America in Le Boeuf sur le toit and Scaramouche, and the sentiment of jazz in La Création du monde, together with a darker side in the Sonnets composé en secret with words written by the imprisoned French Resistance poet Jean Cassou. | | | In stock - usually despatched within 1 working day. |
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