Philip Langridge

Tenor

Philip Langridge

Philip Langridge (born 16th December 1939 in Hawkhurst Kent, died 5th March 2010), was educated at the Royal Academy of Music in London and worked as an orchestral violinist before turning his attention to singing in the early 1960s. He was particularly renowned as an interpreter of Britten's tenor roles, most notably Peter Grimes, Aschenbach, Captain Vere and Peter Quint, though his wide operatic repertoire also included works by Janacek, Monteverdi, Mozart and Schoenberg, as well as an acclaimed Loge in Das Rheingold and numerous roles in world premieres including Ades's The Tempest and Birtwistle's Gawain and The Mask of Orpheus. Renowned for his musical intelligence and textual sensitivity, he was also one of the finest lieder-singers of his generation and a very active voice-coach and teacher.

Langridge was awarded the CBE In 1994 and was married to the Irish mezzo-soprano Ann Murray.

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Puccini: Il tabarro

Puccini: Il tabarro


Sherrill Milnes (Michele), Plácido Domingo (Luigi), Piero De Palma (Il Tinca), Robert Amis El Hage (Il Talpa), Leontyne Price (Giorgetta), Oralia Domínguez (La Frugola), Philip Langridge (Venditore di canzonette), Elizabeth Gale (Due amanti)

John Alldis Choir, New Philharmonia Orchestra, Erich Leinsdorf

Released or re-released in last 6 months

Sony - Sony Classical Opera - 88985436162

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The Power of Music

The Power of Music


Liszt:

Ihr Glocken von Marling, S.328

Im Rhein, im schönen Strome, S272

Bist du!, S277

Vergiftet sind meine Lieder, S.289

Jugendglück, S. 323

Freudvoll und leidvoll, S.280

Drei Lieder aus Schillers Wilhelm Tell, S292

Die drei Zigeuner, S.320

Der Glückliche, S.334

Kling Leise, mein Lied, S301

Die Macht der Musik, S.302

Wer nie sein Brot mit Tränen ass, S.297

Ich möchte hingehn, S.296

Die Vätergruft, S.281

Ich scheide, S. 319

Über allen Gipfeln ist Ruh (Wandrers Nachtlied II), S.306


Philip Langridge (tenor) & John Constable (piano)

Rarely recorded and seldom performed in the concert hall, Philip Langridge unearths a forgotten corner of Liszt’s oeuvre: the songs which he wrote throughout his life and which range from austere miniatures to grandiose affairs conceived on a large scale. He is sensitively accompanied by John Constable.

Unicorn - DKPCD9162

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Berg: Wozzeck

Berg: Wozzeck

Live from the Wiener Staatsoper, 1987


Franz Grundheber (Wozzeck), Hildegard Behrens (Marie), Walter Raffeiner (Tambourmajor), Philip Langridge (Andres), Heinz Zednik (Hauptmann), Aage Haugland (Doktor), Anna Gonda (Margret), Peter Jelosits (Narr), Alfred Sramek (1.Handwerkbursch), Alexander Maly (2.Handwerkbursch)

Vienna Boys Choir, Vienna State Opera Chorus, Vienna Philharmonic Orchestra, Claudio Abbado (conductor) & Adolf Dresen (stage director)

For their perfection of composition and link with important literary works, Alban Berg’s operas Wozzeck and Lulu – the latter left unfinished at the composer’s death – must rank among the most outstanding music-theatre pieces of the 20th century. This production by renowned theatre and opera director Adolf Dresen stars the German baritone Franz Grundheber as Wozzeck and the legendary soprano Hildegard Behrens as Marie. And last but not least this terrific opera features one of the greatest conductors of our time at the podium: Claudio Abbado.

Sound Formats: PCM Stereo

Picture Format: 4:3

Original Language: DE

Subtitles: GB, DE, FR, ES

Blu-ray Disc 25 GB (Single Layer)

Resolution: 1080i High Definition (Upscale)

Running Time: 97 mins

FSK: 6

Region free

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Arthaus Musik Legendary Performances - 109156

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Szymanowski: King Roger & Symphony No. 4

Szymanowski: King Roger & Symphony No. 4


Szymanowski:

Król Roger

Thomas Hampson (King Roger), Elzieta Szmytka (Roxana), Philip Langridge (Edrisi), Ryszard Minkiewicz (Shepherd), Robert Gierlach (Archbishop), Jadwiga Rappé (Deaconess)

City of Birmingham Symphony Chorus & City of Birmingham Symphony Youth Chorus

Symphony No. 4, Op. 60 (Sinfonia Concertante)

Leif Ove Andsnes (piano)


Simon Rattle’s luminous reading of Szymanowski’s philosophical opera King Roger won a Gramophone Award for opera on its first release in 2000. ‘A vibrantly dramatic account, revealing potent theatricality from the outset and sustaining its grip throughout’ (Gramophone), Rattle’s recording is coupled with Szymanowski’s colourful Fourth Symphony, with the solo piano part assuredly performed here by Leif Ove Andsnes.

GGramophone Awards 2000

Winner - Opera

Penguin Guide

Rosette Winner

Warner Classics - 2564620051

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Schoenberg: Gurrelieder

Schoenberg: Gurrelieder


Siegfried Jerusalem (Waldemar), Sharon Sweet (Tove), Marjana Lipovšek (Wood Dove), Hartmut Welker (Peasant), Philip Langridge (Klaus the Jester) & Barbara Sukowa (Speaker)

Konzertvereinigung Wiener Staatsopernchor, Arnold Schoenberg Chor, Slowakischer Philharmonischer Chor Bratislava & Wiener Philharmoniker, Claudio Abbado

2013 marks the centenary of the first performance of Schoenberg’s – if not the early 20th century’s – essay in gargantuism. The forces involved were unprecedented: in addition to the soloists (soprano, mezzo-soprano, two tenors, bass and speaker) there were three male-voice choirs and an eight-part mixed choir; and the 150-piece orchestra included 25 woodwind, 11 percussion, 4 harps and 80 strings. In 1903 he had even been compelled to ask the Waldheim–Eberle Press to prepare him some special 48-stave manuscript paper. The reception at the first performance was overwhelming: the ovation lasted fifteen minutes; the composer’s denigrators were silenced, and many members of the audience wept. The title means 'Songs of Gurre', referring to Gurre Castle in Denmark, scene of the medieval love-tragedy revolving around the Danish national legend of the love of the Danish king Valdemar Atterdag (spelt Waldemar by Schoenberg) for his mistress Tove, and her subsequent murder by Valdemar's jealous Queen Helvig.

Its performances and recordings have attracted some of the world’s finest dramatic sopranos – among them Susan Dunn and Jessye Norman, and here, Sharon Sweet. In a survey of this work, Gramophone magazine selected this, Claudio Abbado’s recording as the finest ever made. It was, then, only available for digital download, and is now, after an absence of several years, returns to the CD catalogue in a year which also celebrates Abbado’s 80th birthday.

“… Abbado's interpretation, is the most Expressionistically detailed of all. The textures shimmer and then glint to reveal Schoenberg's' own sea-change in orchestral writing over a decade … Abbado and the Viennese live dangerously – and when day breaks and that prickly cactus Schoenberg finally blooms, they are unrivalled in splendour.” Peter Quantrill, Gramophone Magazine

“Everything about this recording impresses. Siegfried Jerusalem is on top form as Waldemar. He seems able to encompass all aspects of the role...This is a tremendous account of Gurrelieder, which I’m sure is one of the foremost versions in the catalogue” MusicWeb International, 6th September 2013

“Somewhat unusually, Abbado chooses a female speaker (Barbara Sukowa) for the one song that employs the half-sung, half-spoken technique known as Sprechstimme, but for me this makes perfect sense as it looks forward to the use of the same technique in the later work for female voice and small ensemble, Pierrot Lunaire. The enormous forces of the Vienna Philharmonic, and the combined choral might of the Konzertvereinigung Wiener Staatsopernchor, Arnold Schoenberg Chor, and Slowakischer Philharmonischer Chor Bratislava also help to make this a truly thrilling recording.” James Longstaffe, Presto Classical, August 2014

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Birtwistle: The Minotaur

Birtwistle: The Minotaur

Recorded live at the Royal Opera House, Covent Garden on the 25th & 30th April and 3rd May 2008.


John Tomlinson (The Minotaur), Johan Reuter (Theseus), Christine Rice (Ariadne), Andrew Watts (Snake Priestess), Philip Langridge (Hiereus), Amanda Echalaz (Ker), Rebecca Bottone, Pumeza Matshikiza, Wendy Dawn Thompson, Christopher Ainslie, Tim Mead (Innocents)

The Royal Opera Chorus & The Orchestra of the Royal Opera House, Antonio Pappano (conductor) & Stephen Langridge (stage director)

This world premiere of a gripping new work by composer Harrison Birtwistle and librettist David Harsent, commissioned by The Royal Opera, brings the monstrous, Greek mythological character to the stage. John Tomlinson stars as the Minotaur, part man, part beast, trapped in his labyrinth and constrained by his bloodthirsty role there, longs to discover his true identity and his own voice. Athens must pay a blood sacrifice to Crete and among the innocents is Theseus, who has come to challenge the violent Minotaur, but who also attracts the attention of Ariadne, half-sister and keeper of the monster; it is with her help he succeeds. Antonio Pappano conducts the Orchestra and Chorus of the Royal Opera House.

‘Thanks to a superb cast and impeccable playing under Antonio Pappano, the evening is a glittering success. …what Birtwistle has done is give us one opera inside another. The outer one is strident and earthbound; the inner one – ending with the Minotaur's Caliban-like dying aria – burns with visionary fire.’ The Independent

Extra features:

Documentary: ‘Myth is universal'.

Illustrated synopsis & cast gallery.

Running time 175 mins

Region code All regions

Video codec: AVC/MPEG-4

Disc size: BD50

Picture format 1080i High Definition / 16:9

Sound format 2.0 & 5.0 PCM (TBC)

Menu language EN

Subtitles EN/FR/DE/ES/IT

“This opera, premiered at the Royal Opera last April, seems to me to be a masterpiece, of the kind that one feels the greatness of before one has a complete understanding of it. …the Minotaur is a terrifying and pained figure. This performance is the climax of John Tomlinson's career, in a part written with his huge, gravelly voice in mind. The other compelling figure is Ariadne... Christine Rice, bearing the weight of exposition and of suffering, uses her wonderfully rich mezzo to stunning effect.” BBC Music Magazine, December 2008 *****

“The filming reinforces the strengths of Stephen Langridge's tightly controlled, potently expressive production in an economical yet atmospheric setting, with the whole ensemble totally engaged in the drama's dark enterprise. Repeated hearings underline that, in the end, this tragedy is the more convincing for the way its turn towards pathos does not involve any false consolation.” Gramophone Magazine, January 2009

“Birtwistle's latest large-scale music drama, written for Covent Garden, is a quite different experience on DVD: what might have been planned by composer and stage director to be witnessed from a distance is shown in unsparing close-up. But this seething, monumental reinvention of one of the most disquieting Greek myths – with a pithy libretto by David Harsent – is neither betrayed nor diminished by this excellent film. Only in its final stages does the opera's focus shift decisively to the doomed Minotaur from the scheming Ariadne, and the drama's most essential point is that this Ariadne – as different from Strauss's as Birtwistle's Orpheus is different from Gluck's – is in her own way as much of a monster as the half-man/half-bull. These demanding roles are projected with maximum musical eloquence by Christine Rice and Sir John Tomlinson, no doubt because – as Rice makes clear in the absorbing 30-minute documentary that accompanies the performance – what is demanding is also intensely rewarding to singers prepared to commit themselves to a steep learning curve. Equal commitment is evident in Johan Reuter's Theseus, the conventions of heroic posturing given new depth and relevance in text, music and vocal acting alike. We see little of Antonio Pappano and his orchestra, but the excellent sound never lets us escape the inexorable magnetism of the instrumental continuum.” Gramophone Classical Music Guide, 2010

GGramophone Awards 2009

Finalist - DVD

GGramophone Magazine

DVD of the Month

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Opus Arte Royal Opera House Collection - OABD7052D

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$35.50

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Adès: The Tempest

Adès: The Tempest


Simon Keenlyside (Prospero), Kate Royal (Miranda), Toby Spence (Ferdinand), Ian Bostridge (Caliban), Cyndia Sieden (Ariel), Philip Langridge (Alonso), Donald Kaasch (Antonio), Jonathan Summers (Sebastian), David Condier (Trinculo), Stephen Richardson (Stefano), Graeme Danby (Gonzalo)

The Chorus and Orchestra of the Royal Opera House Covent Garden, Thomas Adès

2CD Multipack with libretto and slipcase

When Thomas Adès conducted his opera The Tempest at the Royal Opera House, Covent Garden in 2007, EMI Classics microphones were on hand to record this “masterpiece of airy beauty and eerie power.” (Alex Ross, The New Yorker). The cast included Simon Keenlyside, Cynthia Sieden, Ian Bostridge, Toby Spence, Kate Royal, Philip Langridge, and Stephen Richardson, many of whom took part in the critically acclaimed world premiere three years earlier.

“there are moments in all three acts which are by any standards sheerly, heartstoppingly beautiful; passages in which the music seems to be mined from an unfathomable depth of feeling …” Andrew Clements, The Guardian

“It’s probably the first new opera I’ve experienced in 20 years that left me feeling not just intellectually aroused but deeply moved … A coming-of-age piece. And, yes, momentous.” Michael White, The Independent

“Adès does not shirk the traditional big operatic moments. There is a thrilling and moving quintet of reconciliation and he gives each of his main characters an imposing and impressive aria…these are expressed in music of extraordinary imaginative power.” Michael Kennedy, The Sunday Telegraph

"The evening deservedly belongs to Adès, who himself conducts a score as orchestrally lush and evocative as vocally varied and articulate. The cumulative effect is by turns ethereal, witty, incandescent, often ravishing". The Guardian 2004

“(Adès’s The Tempest) has the potential to be one of the most enduring new operas of the decade. (…) If you need proof that the hype surrounding Adès is more than just hope and expectation, you will find it here” The Guardian on the Royal Opera House revival in March 07.

“Adès has provided Covent Garden and British opera in general with one of its great moments. The cheering from every corner of the theatre on Tuesday - orchestra pit included - felt like what it was: British opera’s equivalent of the England World Cup rugby win.” The Guardian

“…everyone reaches out to the purple passages when Adès touches something rich and strange. Those include the evolution of the young lovers' music from homages to midsummer Britten and Tippett to the heights of Act II, Ariel's banquet and masque in Act III, and the ensemble-passacaglia which takes the ultimate centre of gravity from Prospero's perfunctorily written farewells.” BBC Music Magazine, August 2009 ****

“It may not be a flawless masterpiece ... but it is one of the most viable and stageworthy of modern British operas...The playing of the Covent Garden orchestra is another luxury no, a necessity, given the brilliantly conceived and demanding orchestral aspect of this piece.” Gramophone Classical Music Guide, 2010

“From the tornado-like prelude to Ariel's stratospheric yet ethereal "Five fathoms deep" the music illuminates rather than merely illustrates the drama. …Kate Royal as Miranda, is fully inside her part and sings alluringly… For many, the most memorable writing in The Tempest comes attached to Ariel's vocal high-wire act. Few coloratura sopranos are able to dispatch it like Cyndia Sieden, whose sound lends special colour to the performance... Simon Keenlyside, on the young side as Prospero, mixes brain and baritonal brawn in his characteristically charismatic way. Ian Bostridge sings unstintingly as a wonderfully weird Caliban... The playing of the Covent Garden orchestra is another luxury - no, a necessity, given the brilliantly conceived and demanding orchestral aspect of this piece.” Gramophone Magazine, August 2009

“well constructed and dramatically effective in its clever timing and contrasted textures...The late Philip Langridge in one of his last performances at Covent Garden...makes a memorable King of Naples, while Ades's evocative orchestration with its percussion effects vividly conjures up the atmosphere of the magic island of Prospero...A strong and memorable opera” Penguin Guide, 2011 edition

“Out-Brittening Britten’s Grimes storm music in the prelude, and the eerily beguiling tintinnabulations of the Magic Banquet music that make the recording so rewarding” Sunday Times, 21st June 2009

“Performances are almost all first rate. It's a measure of the strength of the mostly British casting that singers of the quality of Stephen Richardson and Jonathan Summers take some of the smallest roles. Simon Keenlyside's no-nonsense Prospero, a force to be reckoned with from the very start of the opera, is outstanding, and it's hard to think of another singer who could manage the stratospheric writing for Ariel more effortlessly than Cyndia Sieden. Ian Bostridge's Caliban, Philip Langridge's King of Naples, Kate Royal's Miranda and Toby Spence's Ferdinand are excellent, too. It's a fine production, which does full justice to Adès's sometimes remarkable work.” The Guardian, 19th June 2009 ****

“Simon Keenlyside makes an authoritative Prospero, Ian Bostridge’s Caliban tugs at the heartstrings in his radiant Act 2 aria and Cyndia Sieden is phenomenal as a stratospherically high coloratura soprano Ariel.” The Telegraph, 10th June 2009 ****

GGramophone Awards 2010

Best of Category - Contemporary

GGramophone Magazine

Disc of the Month - August 2009

Warner Classics - 6952342

(CD - 2 discs)

$11.25

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Monteverdi: Vespro della beata Vergine (1610)

Monteverdi: Vespro della beata Vergine (1610)


Recorded in 1968

“This live recording from Graz Cathedral is gloriously bombastic but mushy at times, despite sprightly original instruments and sensitive plainsongs.” BBC Music Magazine, June 2009 ***

Warner Classics Das Alte Werk - 2564694648

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$11.50

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Hansel and Gretel

Hansel and Gretel


Humperdinck:

Hänsel und Gretel

Sung in English


Christine Schafer (Gretel), Alice Coote (Hansel), Rosalind Plowright (Gertrude), Alan Held (Peter), Philip Langridge (Witch), Sasha Cooke (Sandman), Lisette Oropesa (Dew-Fairy)

The Metropolitan Opera Orchestra and Chorus, Vladimir Jurowski

Production: Richard Jones, Set and Costume designer: John Macfarlane, Lighting designed by: Jennifer Tipton, Choreographer: Linda Dobell & Translation: David Pountney

Christine Schäfer, Alice Coote and Vladimir Jurowski triumph in Humperdinck’s first and most successful opera – filmed live at the Metropolitan Opera in Hi-Definition.

This irresistibly delicious new English-language production of Humperdinck’s Hansel and Gretel is the first Metropolitan Opera : Live in High-Definition series release following EMI Classic’s recent collaboration with the Met.

The Brothers Grimm fairy tale, a timeless children’s favourite, features a sophisticated score, and this intriguing new staging will appeal to audiences of all ages.

Alice Coote and Christine Schäfer are charming as Hansel and Gretel. The role of the Witch, written for a mezzo-soprano, is sometimes sung by a tenor – as is the case in this production - with Philip Langridge in the role.

Vladimir Jurowski, one of the world’s most sought-after conductors, leads Germany’s dearest opera, with a sensitive account of Humperdinck’s enchanting score.

Hansel and Gretel is considered by many as the salvation of German opera, bringing relief from the murky Wagnerian depths of Teutonic myth and initiating a return to the shimmering world of the fairy tale.

In 1923, Hansel and Gretel became the first complete opera to be broadcast on radio from Covent Garden ; Eight years later it was the first to be broadcast from the New York Met. It is significant therefore that this is one of the eight operas chosen to be in this season’s Met HD transmissions.

Beautifully staged by Richard Jones and moodily designed by John Macfarlane, this dark and eccentric production ‘is tough and dark, sparse and savage, an exploration of deprivation, cruelty and gluttony in a contemporary always-always-land’. (Financial Times)

“…Vladimir Jurowski conducts superbly, and the cast, singing in accessible English, is first-rate, especially Alice Coote and Christine Schäfer and Alan Held's towering Wotanesque Father. The staging… is WNO's familiar Richard Jones effort, with Francis Bacon-style drop curtains of shrieking maws and blood-slathered plates, the Witch visibly roasting in her Auschwitz-style kitchen.” BBC Music Magazine, December 2008 ***

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EMI Metropolitan Opera DVD - 2063089

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Mozart: Le nozze di Figaro, K492

Mozart: Le nozze di Figaro, K492

Recorded live at the Royal Opera House, Covent Garden, London on 10th, 13th and 17th February 2006.


Erwin Schrott (Figaro), Miah Persson (Susanna), Gerald Finley (Count Almaviva), Dorothea Röschmann (Countess Almaviva), Rinat Shaham (Cherubino), Graciela Araya (Marcellina), Jonathan Veira (Bartolo), Philip Langridge (Bartolo), Jeremy White (Antonio), Ana James (Barbarina), Francis Egerton (Curzio)

The Royal Opera Chorus & The Orchestra of the Royal Opera House, Antonio Pappano (conductor) & David McVicar (stage director)

David McVicar’s spellbinding production of Le nozze di Figaro is set in 1830s post-revolution France, where the inexorable unravelling of an old order has produced acute feelings of loss. In the relationship between Finley’s suave, dashingly self-absorbed Count and Röschmann’s passionately dignified Countess, which lies at the tragic heart of the opera, the sexy ease between a feisty Figaro (Erwin Schrott) and a sassy Susanna (Miah Persson) is starkly absent, the tenacious spark between Marcellina (Graciela Araya) and Bartolo (Jonathan Veira) suggesting what might be rekindled. The production is superbly complemented by the beauty of Paule Constable’s lighting and Tanya McCallin’s evocative sets. Antonio Pappano conducts (and accompanies the recitatives) with invigorating wit and emotional depth.

‘This sexy, raunchy, romp of an opera is a triumph. Director David McVicar has searched for the essence of the composer and found it; fun filled, sensitive, romantic and serious by turns, all reflected in this production.This is a 'Must See' opera! …You'll regret it if you don't!’ Musical Opinion

PICTURE FORMAT: 16:9
LENGTH: 184 Mins
SOUND: DTS SURROUND 5.0 / LPCM STEREO
SUBTITLES: EN/FR/DE/ES/IT

“Here is a Figaro to put with the 1973 Glyndebourne production placed among the top five operatic DVDs. Figaro and Susanna are very much the centre here, and we like them not only because they sing and act well but because they are sympathetic in a modern way. Dorothea Röschmann's Countess is an unusually active, passionate woman... The Count's in an unenviable role... Finley goes grim-faced from one defeat to another, singing like a true aristocrat all the way.” Gramophone Magazine, August 2008

“…so accomplished a cast, in which Gerald Finley's Count, Miah Persson's Susanna and Rinat Shaham's Cherubino stand out as ideal.” BBC Music Magazine, June 2008 ****

“Schrott is a lively, resourceful and above all very good-looking Figaro, but the delightful Susanna (Miah Persson), charmingly dressed, is his match...The dignified Countess (Dorothea Roschmann)... is appealingly spirited...The sets are appealing and the action moves forward with a swing.” Penguin Guide, 2011 edition

“There's so much to love about David McVicar's Royal Opera House Figaro, set in pre-revolutionary France and filmed in 2006 with Antonio Pappano at the helm: the relationship between Gerald Finley and Dorothea Röschmann's Count and Countess shocks with its volatility, yet Erwin Schrott's sensual, rebellious Figaro, Miah Persson's cool, sparky Susanna, and Rinat Shaham's gawky Cherubino are all treasurable.” Presto Classical, December 2014

GGramophone Awards 2008

Best of Category - DVD

GGramophone Magazine

DVD of the Month - August 2008

Building a Library

First Choice (DVD) - May 2014

DVD Video

Region: 0

Format: NTSC

Opus Arte - OA0990D

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