Johannette Zomer

Soprano

Johannette Zomer

The Dutch soprano, Johannette Zomer, began her studies at the Sweelinck Conservatory Amsterdam in 1990 with Charles van Tassel, after having worked as a microbiology analyst for several years. In June 1997 she was awarded her Performance Diploma.

Johannette Zomer regularly gives recitals with pianist Bart van de Roer and forte-piano specialist Arthur Schoonderwoerd and is also a member of several Early Music groups; a.o. Compania Vocale, with whom she sang at the Ambraser Schlosskonzerte in Innsbruck and at the "Oude Muziek Festival Utrecht" during the summer of 1997.

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Mozart: Piano Concerto KV175

Mozart: Piano Concerto KV175

versions for harpsichord 1773 & fortepiano 1782


Mozart:

Piano Concerto No. 5 in D major, K175

Arthur Schoonderwoerd (harpsichord 1773)

Ah, lo previdi... Ah, l'invola agl'occhi miei, K272

Johannette Zomer (soprano)

Piano Concerto No. 5 in D major, K175

Arthur Schoonderwoerd (piano 1782)


Cristofori

With his recording of two different versions of the Piano Concerto, K175, Arthur Schooderwoerd, one of the most sought-after interpreters on the fortepiano, presents the third part of his complete recording of Mozart's Piano Concertos on ACCENT. The early version of 1773 is Mozart's first piano concerto. In 1782 he revised the concerto, adapting it to the changed prevailing taste by replacing the original final movement with a Viennese rondo (K382). Arthur Schoonderwoerd also takes into account the advance in instrument building with his juxtaposition of these two versions: he uses a harpsichord for the early Salzburg version but plays the later Vienna version on a fortepiano.

As in the two previous recordings, Schoonderwoerd and his ensemble Cristofori have set themselves the objective of liberating Mozart's works from the sound ideals of the 19th and 20th centuries. The string parts in the orchestra have just one player each, resulting in a very slender and transparent sound that supports but never covers up the solo instrument.

This recording is completed by the concert aria 'A lo previdi' (K272) for soprano and orchestra, sung by Johannette Zomer.

“these are not your standard Mozart concerto performances … cautiously recommended” International Record Review, April 2014

Accent - ACC24289

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Mozart: Il re pastore, K208

Mozart: Il re pastore, K208


Johannette Zomer (Aminta), Francine Van Der Heijden (Elisa), Marcel Reijans (Agenore), Alexei Grigorev (Alessandro), Claudia Patacca (Tamiri) & Michael Borgstede (harpsichord)

Musica ad Rhenum, Jed Wentz

In addition to his mastery of instrumental and sacred works, Wolfgang Amadeus Mozart is one of the most celebrated operatic writers in music history. In Il rè pastore, a relatively early opera from the then nineteen‐year‐old composer, we see the beginnings of genius in a man who was later to become a true master of the genre.

Il rè pastore was commissioned in 1775 for the visit of Austria’s Archduke Maximilian Franz to Salzburg. Written in just six weeks, the opera is based on a libretto by Pietro Metastasio in which Alexander the Great (Alessandro) discovers that young shepherd Aminta is the rightful heir to the throne, taking it upon himself to restore the boy to power. Regardless of the composer’s youth, several moments in the opera show hints of the more mature Mozart, including the aria ‘L’amerò sarò costante’ in which rippling strings and lush orchestration are combined with a poignant, yearning vocal line. Another highlight is the glorious ensemble finale of Act II, a feature that would become a vital characteristic of Mozart’s later operas.

Musica ad Rhenum has earned a special place in the early music world, with critics describing the ensemble’s performances as ‘cutting‐edge’ and ‘exhilarating’. The group are joined by a fantastic set of vocal soloists, with Johanette Zomer assuming the role of Aminta and Alexei Gregoriev playing Alexander the Great.

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Brilliant Classics Opera Collection - 94498

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Eyck: Pleasure garden

Eyck: Pleasure garden


Johannette Zomer (soprano), Mathieu Dupouis (harp, virginal), Giovanna Pessi (harp) & Luis Beduschi (conductor & recorder)

Consort de Violes

When you pick up a modern edition of Jacob van Eyck’s Der Fluyten Lust-hof, a work from the mid-17th century, you see a blizzard of notes for solo recorder, going on for hundreds of pages, divided among what, for most of us, are a slew of incomprehensible Dutch titles. When you hear Van Eyck’s music live or recorded, that is usually what you hear too: several minutes of solo recorder, accelerating relentlessly. Frans Bruggen’s brilliant 1960s performances of a half-dozen greatest hits set the pattern for a generation, then Marion Verbruggen, now…

“'Pleasure Garden' is unashamedly to promote the recorder virtuosity of the Brazilian player Luis Beduschi...Beduschi's playing is indeed impressive, particularly in his ability to play unbelievably fast without any sign of struggle or unclarity.” Gramophone Magazine, November 2011

Eloquentia - EL1126

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Cavalli: Ercole Amante

Cavalli: Ercole Amante


Luca Pisaroni (Ercole), Veronica Cangemi (Iole), Anna Bonitatibus (Giunone), Jeremy Ovenden (Hyllo), Anna Maria Panzarella (Deianira), Marlin Miller (Licco), Umberto Chiummo (Nettuno/Tevere/Spirit of Eutyro), Wilke te Brummelstroete (Bellezza/Venere), Johannette Zomer (Cinzia/Parsitea/Spirit of Clerica), Mark Tucker (Mercurio/Spirit of Laomedonte) & Tim Mead (Paggio/Spirit of Bussiride)

Concerto Köln & Chorus of De Nederlandse Opera, Ivor Bolton (conductor) & David Alden (stage director)

This hilarious contemporary version of Francesco Cavalli’s baroque opera Hercules in Love was commissioned on occasion of the marriage of Louis XIV, the Sun King, to Maria Theresa of Spain. The original production took two years to complete and was at the time the greatest show ever performed in Europe. Directed by David Alden, this surreal production is a triumph of commedia buffa resplendent with decorative and symbolic elements, and complemented by Constance Hoffman’s exceptional costumes. Led by Ivor Bolton, a master of baroque music, the chorus of De Nederlandse Opera and Concerto Köln give a sublime performance. With Luca Pisaroni’s (Ercole) singing being heroic and melodious in turn, and Veronica Cangemi as a splendid Iole, this is an outstanding production by the DNO. Filmed in High Definition and surround sound.

Extra features:

Illustrated synopsis.

Cast gallery.

Behind the scenes with Johanette Zomer.

Behind the scenes with Luca Pisaroni.

The making of Ercole Amante.

Region code All regions

Video codec: AVC/MPEG-4

Disc size: BD50

Picture format 1080i High Definition / 16:9 Sound format 5.0 DTS Surround

Menu language EN

Subtitles EN/FR/DE/ES/IT/NL

“This is a ravishing production in every department - scenery, stage effects, costumes, dancing, acting and music. Luca Pisaroni is an assured and vigorous Hercules...but it is Cavalli's women who steal the show...this is an enterprising, entertaining and enlightening offering from Amsterdam.” BBC Music Magazine, August 2010 ****

“The production, like the piece, is moving, funny and literally action-packed. Alden knows well when to fill or empty his stage....Bolton leads his large authentic-instrument forces with gusto...Hugely recommended.” Gramophone Magazine

Blu-ray Disc

Region: all

Opus Arte - OABD7050D

(Blu-ray)

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L’Esprit Galant

L’Esprit Galant


Boesset, A:

Noires forêts

Que servent tes conseils

Me veux-tu voir mourir

Camus, S:

Forêts solitaires

Ah! Fuyons ce dangereux séjour

Laissez durer la nuit

Qu’une longue tiédeur ennuie

Amour, cruel Amour

Charpentier, M-A:

Ah! Laissez-moi rêver H. 441

Celle qui fait tout mon tourment…

Ah! Qu'on est malheureux, H. 443

Ruisseau qui nourrit dans ce bois

Chaconne "sans frayeur…"

Gaultier, E:

L'Immortelle

Hotman:

Sarabande

Pièces de théorbe in D minor

Lambert, M:

Vous éprouver toujours sévère

Ombre de mon amant

Il n’est point d’amour sans peine

Rochers, vous êtes sourds

Vos mépris chaque jour

Pinel:

Préludes

Visée:

Prélude

Masquerade

Chaconne et rondeau


Johannette Zomer (soprano) & Fred Jacobs (french theorbo)

“Fred Jacobs is both expert as accompanist and as soloist in his various solos, notably a fine chaconne by Robert de Visée. Johannette Zomer is adept in dealing with the vocal ornament needed to leaven repetition and, in this sympathetic recorded ambience, often charms.” BBC Music Magazine, February 2008 ***

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Channel - CCSSA24307

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Bach, J S: Mass in B minor, BWV232

Bach, J S: Mass in B minor, BWV232


Harmonia Mundi - up to 30% off

Harmonia Mundi - HML5901614/15

(CD - 2 discs)

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Buxtehude: Membra Jesu nostri

Buxtehude: Membra Jesu nostri


Buxtehude:

Membra Jesu nostri, BuxWV75

Fried- und Freudenreiche Hinfahrth, BuxWV 76


Anne Grimm (soprano 1), Johannette Zomer (soprano 2), Peter de Groot (alto), Andrew Tortise (tenor) & Bas Ramselaar (bass)

The Netherlands Bach Society

“They dally deliciously on any expressive dissonances and suspensions, while the players add warmth and colour with intelligent use of vibrato and ornamentation, becoming more overtly dramatic at the start of the third cantata, where their percussive introduction reminds you forcibly of the nails hammered into Christ's hands.” Andrew McGregor, bbc.co.uk, 24th April 2006

“Veldhoven's direction of each cantata's opening sonata is beautifully measured according to the sentimental subject matter. His five singers match the excellent Cantus Cöllin: the consort singing is comparably alert, responsive and dramatic in quick music but Veldhoven better exploits the melancholic passion of each exquisite moment.” Gramophone Magazine, June 2006

GGramophone Magazine

Editor's Choice - June 2006

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Fauré: Requiem, Op. 48, etc.

Fauré:

Requiem, Op. 48

(1901 version with full orchestra)

Franck, C:

Symphony in D minor


Thirteen years after his memorable recording of the first version of the Fauré Requiem - an intimate version first performed by the composer in 1892, at Saint-Gervais in Paris - Philippe Herreweghe here conducts the 1901 version for full orchestra commissioned by Fauré's publisher for performance in large concert halls.

Fauré said of this masterpiece: 'My Requiem was composed for nothing... for pleasure, if I may say so!'

“Philippe Herreweghe's earlier recording of the Fauré Requiem (also Harmonia Mundi) used Jean-Michel Nectoux's edition of the original 1891 'chamber' score. This is the familiar 1901 version, with its full if curious orchestration, but in other respects this is a more 'authentic' reading than the earlier one. Period instruments are used, gut strings giving the sound a gentle luminescence, and instead of an organ Fauré's permitted alternative, a large harmonium, adds a reedy quality to the wind scoring.
A shade more controversially, the work is sung in 'Gallican' Latin – 'Pié Zhesü' instead of 'Pie Yesou', 'Lüx perpétüa', and so on. Together with the other period details it makes the work sound distinctly Gallic: an admirable antidote to the Anglicised or even Anglicanised Fauré presented by the archetypally English cathedral and college choirs that have so often recorded it. Both soloists are excellent, Herreweghe's tempos are a little more alert than before and the recording is splendidly ample.
Alongside gut strings the big advantage of a period orchestra in Franck is the beautifully smooth sound of the horns. The overall sound is more transparent than usual, and Franck's reputation for dense over-scoring seems more than ever unjustified. It's a fine and idiomatic performance and hugely enjoyable. A fascinating coupling, strongly recommended.”
Gramophone Classical Music Guide, 2010

GGramophone Magazine

Editor's Choice - June 2002

Harmonia Mundi - up to 30% off

Harmonia Mundi - HMC901771

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Gershwin Album

Gershwin Album


Gershwin:

Things Are Looking Up

arr.Jetse Bremer

I Can't Be Bothered Now

arr. Jetse Bremer

Stiff Upper Lip

arr. Jetse Bremer

Sing of Spring

arr. Jetse Bremer

The Jolly Tar and the Milkmaid

arr. Jetse Bremer

A Foggy Day (In London Town)

arr. Jetse Bremer

Nice Work If You Can Get It

arr. Jetse Bremer

Rhapsody in Blue

arr. Johan van der Linden

They Can't Take That Away From Me

arr. Jetse Bremer/Pete Harden

Fascinatin' Rhythm

arr. Jetse Bremer/Pete Harden

Summertime (from Porgy and Bess)

arr. Jetse Bremer

My man's gone now (from Porgy and Bess)

arr. Erik-Jan de With

It Ain't Necessarily So (from Porgy and Bess)

arr. Erik-Jan de With

O Lawd, I'm on My Way

arr. Jetse Bremer


Johannette Zomer (soprano) & Michel Ponsioen (percussion)

The Gents & Haags Saxophone Quartet, Béni Csillag

Broadway musicals and jazz belong to the cultural heritage of America. But people thought differently in George Gershwin's day - the 1920s and 30s. Broadway shows were immensely popular, but were rarely considered as art. Jazz was a subculture secretly appreciated by many white Americans, but in the same way as they liked to see wild animals at the circus - at a safe distance. It had yet to be realised that amusement music was a unique and characteristic part of American culture. “American music is not jazz, and jazz is not music”, wrote the influential music critic Paul Rosenfeld in 1929. Precisely what, then, was American music? George Gershwin (1898-1937) was one of the first to show the world. (from: liner notes)

After recordings of English Renaissance and German romantic music, and twentieth- century works from France, The Gents venture across the ocean to the new world, with a CD that takes them to Broadway. Jetse Bremer has specially arranged the last compositions by George Gershwin for this combination of soloist, choir and instruments and the flexibility and homogeneous sound of The Gents matches these songs so well. For the singers of The Gents and soprano Johannette Zomer, with their classical background, this repertoire is a special challenge, raising the question where classical stops or changes into something else....

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Channel - CCSSA33312

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The Rough Guide to JS Bach

The Rough Guide to JS Bach


Disc 1

1. Cello Suite No. 1 in G major, BWV1007: I. Prelude

2. Orchestral Suite No. 1 in C major, BWV1068: I. Overture

3. Orchestral Suite No. 3 in D major, BWV1068: II. ‘Air on the G String'

4. Orchestral Suite No. 3 in D major, BWV1068: III. Gavotte

5. Orchestral Suite No. 3 in D major, BWV1068: IV. Bourrée

6. Orchestral Suite No. 3 in D major, BWV1068: V. Gigue

7. Lobet Den Herrn (Praise the Lord), BWV230: Part 1 – Lobet den Herrn, alle Heiden

8. Lobet Den Herrn (Praise the Lord), BWV230: Part 2 – Alleluja

Das Wohltemperierte Klavier (The Well-Tempered Clavier) Book 1, BWV846

9. I. Prelude in C major

10. Das II. Fugue in C major

11. I. Prelude in C minor

12. II. Fugue in C minor

13. Concerto in C major for Three Harpsichords and Strings, BWV1064: I. Allegro

14. Brandenburg Concerto No. 1 in F major, BWV1046: IV. Menuet – Trio I – Polonaise – Trio II

15. Schlummert Ein, Ihr Matten Augen, Aria from Cantata, BWV82: ‘Ich habe genug’ (‘I Have Enough’)

16. Wachet Auf, Ruft Uns Die Stimme (Sleepers Awake), BWV645: Organ Choral Prelude

Disc 2

1. Chromatic Fantasia and Fugue in D minor, BWV903: I. Fantasia

2. Chromatic Fantasia and Fugue in D minor, BWV903: II. Fugue

3. Toccata in E minor, BWV914

4. Italian Concerto in F major, BWV971: I.

5. Italian Concerto in F major, BWV971: II. Andante

6. Italian Concerto in F major, BWV971: III. Presto

7. French Suite No. 5 in G major, BWV816: I. Allemande

8. French Suite No. 5 in G major, BWV816: II. Courante

9. French Suite No. 5 in G major, BWV816: III. Sarabande

10. French Suite No. 5 in G major, BWV816: IV. Gavotte

11. French Suite No. 5 in G major, BWV816: V. Bourrée

12. French Suite No. 5 in G major, BWV816: VI. Loure

13. French Suite No. 5 in G major, BWV816: VII. Gigue

14. Partita No. 3 in A minor, BWV827: I. Fantasia

15. Partita No. 3 in A minor, BWV827: II. Allemande

16. Partita No. 3 in A minor, BWV827: III. Corrente

17. Partita No. 3 in A minor, BWV827: IV. Sarabande

18. Partita No. 3 in A minor, BWV827: V. Burlesca

19. Partita No. 3 in A minor, BWV827: VI. Scherzo

20. Partita No. 3 in A minor, BWV827: VII. Gigue

21. Goldberg Variations 'Aria Mit Verschiedenen Veränderungen', BWV988: XXXII. Aria Da Capo


Steven Isserlis (cello), The Brandenburg Consort, Roy Goodman (conductor), The Sixteen, Harry Christophers (conductor), Angela Hewitt (piano), Purcell Quartet, Swiss Baroque Soloists, Florilegium, Johannette Zomer (soprano) & Thomas Schmögner (organ)

Bach is arguably the most influential composer ever to have lived; his music is renowned for intricate polyphonic textures, poetic melody lines and thrusting terraced dynamics. This Rough Guide showcases Bach’s inimitable genius in all its forms and It includes a bonus disc performed by the world-renowned pianist Angela Hewitt.

Bonus CD: The Rough Guide to Angela Hewitt Plays Bach

From intricate fugues to grand orchestral suites – enjoy Bach’s varied repertoire on this Rough Guide. We have handpicked a collection from some fantastic works to feature on this album. The bonus disc highlights Bach’s vast keyboard repertoire, as performed by the masterful Angela Hewitt. Enjoy the extra music, but don’t stop there – details of the source albums are included in the CD booklet, guiding you further on your musical adventure.

“The first in a new series that combines composer highlights...with a bonus CD - in this case an invaluable Angela Hewitt recital - and a dedicated website.” BBC Music Magazine, January 2012 ****

World Music Network - RGNET1241CD

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