Nina Stemme

Soprano

Nina Stemme

Swedish soprano Nina Stemme (born May 11 1963) is an opera singer renowned for her stentorian, solid dramatic soprano voice.

In 2006, Nina Stemme made her highly successful role debut in the title role of Aida in a new production at Zürich Opera and recorded her first album as an exclusive artist for EMI Classics of Strauss's Four Last Songs and final scenes.

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Puccini: Turandot

Puccini: Turandot


Nina Stemme (Turandot), Aleksandrs Antonenko (Calaf), Maria Agresta (Liù), Alexander Tsymbaluk (Timur), Angelo Veccia (Ping), Roberto Covatta (Pang), Blagoj Nacoski (Pong), Carlo Bosi (Altoum), Gianluca Breda (Mandarino), Azer Rza-Zada (Principe di Persia)

Coro di voci bianche dell’Accademia Teatro alla Scala, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Riccardo Chailly, Nikolaus Lehnhoff (dir.)

TURANDOT, the first BD/DVD of a cycle of the complete Puccini operas in partnership with La Scala and conducted by Chailly. Quality casts and sumptuous productions guarantee a new benchmark for these classic operas. Nina Stemme assumes the title role with Maria Agresta as Liu with Aleksandrs Antonenko as the heroic Calaf.

“The set and costumes (Raimund Bauer and Andrea Schmidt-Futterer) are a feast for the eye...[Stemme] delivers ‘In questa reggia’ with burnished tone, culminating in a gleaming top C...Tsymbalyuk is touching in Timur’s lament for Liù, and the masks are well characterised...A firm recommendation for this eminently watchable offering from the theatre of the opera’s premiere.” Gramophone Magazine, April 2017

“it is a measure of Lehnhoff's authority that you never question his choices...Chailly digs deep into Puccini's score...And the La Scala orchestra plays as if their life depended on it...Stemme is in the great tradition of Birgit Nilsson's Turandot, though there is a touching uncertainty around her Princess too...Agresta's Liù is one of the most appealing on record.” BBC Music Magazine, June 2017 *****

“Chailly and Lehnhoff share a very dark view of the work indeed, a brutal world in which Stemme’s steely princess fits in perfectly. She owns the part, and is in glorious voice throughout: Antonenko is a ringing Calaf, very impressive especially as the work progresses, while Agresta is a deeply affecting Liù” Classical Music, July 2017 *****

GGramophone Magazine

DVD of the Month - April 2017

BBC Music Magazine

Opera Choice - June 2017

DVD Video

Region: 0

Format: NTSC

Summer Opera Sale

Decca - 0743937

(DVD Video)

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Puccini: Turandot

Puccini: Turandot


Nina Stemme (Turandot), Aleksandrs Antonenko (Calaf), Maria Agresta (Liù), Alexander Tsymbaluk (Timur), Angelo Veccia (Ping), Roberto Covatta (Pang), Blagoj Nacoski (Pong), Carlo Bosi (Altoum), Gianluca Breda (Mandarino), Azer Rza-Zada (Principe di Persia)

Coro di voci bianche dell’Accademia Teatro alla Scala, Coro del Teatro alla Scala di Milano, Orchestra del Teatro alla Scala di Milano, Riccardo Chailly, Riccardo Chailly, Nikolaus Lehnhoff (dir.)

TURANDOT, the first BD/DVD of a cycle of the complete Puccini operas in partnership with La Scala and conducted by Chailly. Quality casts and sumptuous productions guarantee a new benchmark for these classic operas. Nina Stemme assumes the title role with Maria Agresta as Liu with Aleksandrs Antonenko as the heroic Calaf.

“The set and costumes (Raimund Bauer and Andrea Schmidt-Futterer) are a feast for the eye...[Stemme] delivers ‘In questa reggia’ with burnished tone, culminating in a gleaming top C...Tsymbalyuk is touching in Timur’s lament for Liù, and the masks are well characterised...A firm recommendation for this eminently watchable offering from the theatre of the opera’s premiere.” Gramophone Magazine, April 2017

“it is a measure of Lehnhoff's authority that you never question his choices...Chailly digs deep into Puccini's score...And the La Scala orchestra plays as if their life depended on it...Stemme is in the great tradition of Birgit Nilsson's Turandot, though there is a touching uncertainty around her Princess too...Agresta's Liù is one of the most appealing on record.” BBC Music Magazine, June 2017 *****

GGramophone Magazine

DVD/Blu-ray of the Month - April 2017

BBC Music Magazine

Opera Choice - June 2017

Blu-ray Disc

Region: all

Summer Opera Sale

Decca - 0743938

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Puccini: La fanciulla del West

Puccini: La fanciulla del West


A celebrated new production of Puccini’s La fanciulla del West from the Vienna State opera featuring Jonas Kaufmann and Nina Stemme. Staged by Marco Arturo Marelli, who sets it in a modern-day mining village, with the feel of a gritty modern drama, during the American gold rush of 1849. An unlikely setting for an Italian opera, but one that has a happy ending. It tells the tale of Minnie, the bartender in the saloon whom all the local men adore, and Dick Johnson alias Ramerrez, a notorious bandit. Dick and Minnie fall in love on first meeting, so much so that he vows to change his life as a bandit, sung by two contemporary great singers: Nina Stemme and Jonas Kaufmann. A new production from Marco Arturo Marelli brought one of Puccini’s rarely performed works to the Vienna State Opera stage in September 2013. Jonas Kaufmann in his role debut as the wanted and notorious bandit Ramerrez proves ideally cast, full of power, with his breathtakingly beautiful baritone timbre. "Nina Stemme and Jonas Kaufmann are the opera’s must-see couple for a generation… The rich playing of the Vienna orchestra under Franz Welser-Möst shows up the colour and detail of Puccini’s score to spectacular effect” Financial Times.

“The star couple are on top form...In the theatre Stemme sounded one size larger vocally than Kaufmann but the tenor's burnished tone and romantic magnetism come across impressively on disc. Tomasz Konieczny does well not to be upstaged as a searingly forceful Jack Rance...The combined strengths of this performance make Sony's DVD a clear first choice among recent releases.” Gramophone Magazine, January 2016

“Stemme and Jonas Kaufmann succeed in making Johnson and Minnie’s last-chance-love thoroughly believable. Their singing is magnificent: supple, authoritative, sincere and tender, with due attention to the words...Welser-Möst balances narrative urgency and the hallucinatory languor of Minnie and Dick’s love music with playing of outstanding discipline, detail and brilliance from the orchestra.” BBC Music Magazine *****

Presto Discs of 2015

Finalist

Building a Library

Also Recommended - December 2016

BBC Music Magazine

Opera Choice - March 2016

Blu-ray Disc

Region: all

Sony - 88875064079

(Blu-ray)

$21.00

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Wagner: Siegfried

Wagner: Siegfried

Live recording from the Teatro alla Scala, Milan, 2012


Lance Ryan (Siegfried), Peter Bronder (Mime), Terje Stensvold (Der Wanderer), Johannes Martin Kränzle (Alberich), Anna Larsson (Erda) & Nina Stemme (Brünnhilde)

Teatro alla Scala, Daniel Barenboim (conductor) & Guy Cassiers (stage director)

In Siegfried, the “Second Day” or third evening of the Ring Cycle, we meet the pivotal hero of the epic tale. The energetic drive from Die Walküre is pursued here while Siegfried finally recaptures the mighty ring from Fafner the Dragon and awakens Brünnhilde from her penal sleep on the great rock.

Lance Ryan, having interpreted this role on the greatest stages of the world including the Bayreuth Festival, portrays the naïve hero. His antagonists are Peter Bronder, great and agile as Mime, Terje Stensvold, an experienced Wanderer and Johannes Martin Kränzle, who continues his mean and deceitful depiction of Alberich. The leading ladies are Nina Stemme, once again unrivalled as Brünnhilde and Anna Larsson, moving as the God-mother Erda.

Sound Formats: PCM Stereo, dts-HD Master Audio 5.1

Picture Format: 16:9

Resolution: 1080i High Definition

Subtitle Languages: DE (Original Language), GB, FR, ES, IT, Korean

Running Time: 253 mins

Blu-ray Disc: 50 GB (Dual Layer)

FSK: 0

Region Code: worldwide

Worldwide available excluding Japan

“Stensvold (Wanderer) sings with perfectly centred tone, terrific staying power and command of broad legato phrases...Surprisingly, though, it's Alberich here who possesses the more beautiful voice: baritone Johannes Martin Kranzle, combining effortless vocalism with chilling intensity of utterance - and he's also a born actor...The video direction adopts a wonderfully cinematic approach.” International Record Review, March 2014

Blu-ray Disc

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Summer Opera Sale

Arthaus Musik Barenboim La Scala Milan Ring Cycle - 108092

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Wagner: Siegfried

Wagner: Siegfried

Live recording from the Teatro alla Scala, Milan, 2012


Lance Ryan (Siegfried), Peter Bronder (Mime), Terje Stensvold (Der Wanderer), Johannes Martin Kränzle (Alberich), Anna Larsson (Erda) & Nina Stemme (Brünnhilde)

Teatro alla Scala, Daniel Barenboim (conductor) & Guy Cassiers (stage director)

In Siegfried, the “Second Day” or third evening of the Ring Cycle, we meet the pivotal hero of the epic tale. The energetic drive from Die Walküre is pursued here while Siegfried finally recaptures the mighty ring from Fafner the Dragon and awakens Brünnhilde from her penal sleep on the great rock.

Lance Ryan, having interpreted this role on the greatest stages of the world including the Bayreuth Festival, portrays the naïve hero. His antagonists are Peter Bronder, great and agile as Mime, Terje Stensvold, an experienced Wanderer and Johannes Martin Kränzle, who continues his mean and deceitful depiction of Alberich. The leading ladies are Nina Stemme, once again unrivalled as Brünnhilde and Anna Larsson, moving as the God-mother Erda.

Sound Formats: PCM Stereo, DD 5.1

Picture Format: 16:9

DVD Format: 2 x DVD 9 / NTSC

Subtitle Languages: DE (Original Language), GB, FR, ES, IT, Korean

Running Time: 253 mins

“Not only does Barenboim have complete control of the shape of Wagner's enormous acts, but there are enormous numbers of details, often witty and pertinent, and immense climaxes...[Stensvold] almost steals the show with his lofty grandeur barely concealing anxiety and exhaustion...Stemme is superb, flawless.” BBC Music Magazine, May 2014 ****

“Stensvold (Wanderer) sings with perfectly centred tone, terrific staying power and command of broad legato phrases...Surprisingly, though, it's Alberich here who possesses the more beautiful voice: baritone Johannes Martin Kranzle, combining effortless vocalism with chilling intensity of utterance - and he's also a born actor...The video direction adopts a wonderfully cinematic approach.” International Record Review, March 2014

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Arthaus Musik Barenboim La Scala Milan Ring Cycle - 101695

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Salzburg Festival 2012

Salzburg Festival 2012


Brahms:

Symphony No. 1 in C minor, Op. 68

Strauss, R:

Don Juan, Op. 20

Wagner:

Wesendonck-Lieder (5)

Nina Stemme (soprano)


This concert programme dedicated to the second half of the 19th Century was one of the highlights of the 2012 Salzburg Festival.

Mariss Jansons, chief conductor of the Concertgebouw Orchestra and winner of the Cannes Classical Award, and soprano Nina Stemme offer a “superlative concert experience” (Kurier).

Swedish soprano Nina Stemme is outstanding in her performance of Wagner’s Wesendonck-Lieder. Brilliant readings of Richard Strauss’ tone poem Don Juan and Johannes Brahms symphony No. 1 complete this extraordinary concert performance.

Picture format Blu-ray Disc: 1080i Full HD - 16:9

Sound format Blu-ray Disc: PCM Stereo, DTS-HD Master Audio 5.0

Region code: All (worldwide)

Booklet notes: English, German, French

Running time: 95 mins

“Gorgeous sounds also emerge during Wagner's Wesendonck Lieder, though they're mostly confined to the orchestra; their silky diminuendos are wonderful. Nina Stemme also shines when the dynamics are scaled back...As usual, the Blu-ray edition offers much greater visual sparkle.” BBC Music Magazine, November 2013 ***

Blu-ray Disc

Region: all

EuroArts - 2072624

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$33.75

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Wagner: Wesendonck-Lieder, Siegfried-Idyll & Overtures

Wagner: Wesendonck-Lieder, Siegfried-Idyll & Overtures


Wagner:

Der fliegende Holländer: Overture

original version

Wesendonck-Lieder (5)

orch. Mottl (Nos. 1-4)/Wagner (No. 5)

Nina Stemme (soprano)

Der fliegende Holländer: Overture

final version

Siegfried Idyll

Träume (No. 5 from Wesendonck-Lieder)

Katarina Andreasson (violin)

Die Meistersinger von Nürnberg: Prelude to Act 3


In June 2013 the Swedish Chamber Orchestra under the expert direction of Thomas Dausgaard are joined by one of today's foremost Wagner singers. Named 'Singer of the Year' by Opernwelt magazine in 2012, Nina Stemme has been the Isolde of choice at Glyndebourne, Bayreuth and Covent Garden.

For this new release Nina performs the five Wesendonck-Lieder, of which two in particular, Im Treibhaus and Träume, were referred to by Wagner as 'studies' for Tristan and Isolde. Wagner himself prepared a version for violin and orchestra of Träume, and the ensemble includes this setting featuring principal violinist, Katarina Andreasson, as soloist.

The Wesendonck-Lieder are framed by two versions of the overture to Der fliegende Holländer, the rarely heard 1841 original version and the composer's final creation from 1860, with its new ending inspired by Tristan, composed three years earlier.

“[Stemme] brings heroic refulgence as well as sensibility to music that luxuriates in the chromatic agony and ecstasy of Tristan und Isolde.” Sunday Times, 26th May 2013

“Surprisingly, these performances don’t come across as anaemic, thanks to a very vivid, closely-miked recording...There’s no excess fat, but no absence of drive or drama either...Stemme’s rapt account of the Wesendonck-Lieder is among the best around.” The Arts Desk, 1st June 2013

“[the Siegfried Idyll is] performed with a bright morning airiness that recalls its famous premiere...[Stemme's] approach remains expressive and searching, with excellent diction that rides the lighter orchestration effortlessly.” BBC Music Magazine, August 2013 ***

“[Stemme] dominates with the Wesendonck-Lieder, which have all of her customary vocal richness but also an amplitude and approach that's appropriate to the larger scale and broader strokes of opera...Siegfried Idyll is usually heard under chamber orchestra circumstances, and both the quality of the playing and sheen of the strings are up there with the best.” Gramophone Magazine, August 2013

“Stemme’s singing is glorious throughout and the disc worth hearing for her alone.” Opera Now ***

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BIS - BIS2022

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Beethoven: Fidelio, Op. 72

Beethoven: Fidelio, Op. 72


Jonas Kaufmann (Florestan), Nina Stemme (Leonore), Falk Struckmann (Pizarro), Christof Fischesser (Rocco), Rachel Harnisch (Marzelline), Christoph Strehl (Jaquino), Peter Mattei (Don Fernando), Juan Sebastian Acosta (Erste Gefangener), Levente Pall (Zweite Gefangener)

Lucerne Festival Orchestra & Arnold Schoenberg Chor, Claudio Abbado

Read Presto's complete review of this recording here.

Recorded live at the Lucerne Festival 2010 with the Festival Orchestra, this Fidelio is led by the legendary conductor Claudio Abbado − making this release a major operatic event.

The central tenor role of Florestan is known as one of the most demanding and difficult in all opera. For his first complete opera recording for Decca, Jonas Kaufmann, “the world’s greatest currently performing tenor” (London’s Daily and Sunday Express), delivers everything the role demands: fearless tone, peerless style, and heart-stopping dramatic intensity.

“Abbado’s command of the score and its structure is consummate, the atmosphere palpable through his perceptive application of orchestral colour. The detail he elicits from his hand-picked Lucerne Festival Orchestra is phenomenal, the blend of sonorities aglow, the clarity of texture refined with a masterly touch.” The Telegraph, 23rd June 2011 *****

“Abbado and his hand-picked Lucerne orchestra certainly do not disappoint here, as Beethoven’s epic score is delivered with drama and incandescence...Kaufmann’s thrilling Florestan emerges with a gut-wrenching cry from his dungeon. The set is worth sampling for him alone.” Sunday Times, 26th June 2011 ***

“Jonas Kaufmann’s first note alone is a good reason to buy this new recording of Beethoven’s stirring opera...The effect makes your jaw drop, your pulse pause, your hairs stand on end...Abbado conducts with magisterial but selfless understanding. In the overture alone (Beethoven’s punchy fourth version is used) you feel electricity and humanity in every jabbing rhythm and lyrically sculptured phrase.” The Times, 1st July 2011 ****

“this is a “modern” Fidelio in so far as it espouses lightly pointed rhythms, transparent textures and attention to detail – but it also captures the hallowed glow of Beethoven tradition...Interest for opera fans lies primarily in Jonas Kaufmann’s Florestan: his aria, beginning on a thread of sound, is as much a meditation as a cry from the depths.” Financial Times, 9th July 2011 ****

“Abbado's contribution is without doubt extraordinary – a loving if slow interpretation, noble in its anguish and elation...An exceptional Florestan – arguably the finest since Jon Vickers's – from Jonas Kaufmann wonderfully conveys his moral greatness as well as the extremity of his suffering.” The Guardian, 7th July 2011 ****

“Under Claudio Abbado’s assured direction, the Mahler Chamber and Lucerne Festival orchestras derive a fantastic amount of energy...[Stemme] manages to imbue her Fidelio/Leonore role with the requisite disguised anguish...High praise also must go to the spellbinding ensemble work...Jonas Kaufmann also impresses, most of all in his lachrymose opening to the second act...Due in part to the relative infrequency of recordings of Fidelio, this is one in particular to be cherished.” Daniel Ross, bbc.co.uk, 1st July 2011

“the instrumental performance is faultlessly sensitive to the drama it is illustrating. The singing is heroic, both from Nina Stemme as Leonore/Fidelio and Jonas Kaufmann as Florestan. Rachel Harnisch is a touching Marzelline, Falk Struckman a terrifying Don Pizarro.” The Independent on Sunday, 24th July 2011

“Abbado leads a viscerally charged performance that flies to the very heart of the matter...One of the many glories of this thrillingly articulated Fidelio is the playing of the basses and lower strings sharp-featured and black as the pit of Acheron...This is the best-conducted Fidelio since Furtwängler's; a joy to experience and a privilege to possess.” Gramophone Magazine, September 2011

“The real star of this performance...is the Lucerne Festival Orchestra, in whose hands the music seems to glow from within. The playing is thrilling throughout, with Claudio Abbado caressing every detail of Beethoven's score...The Arnold Schoenberg Choir rises to the occasion, too, producing hushed singing of great beauty in the Act 1 prisoners' chorus...Kaufmann is a commanding Florestan. His opening phrase as he lies in the depths of the dungeons is spine-tingling.” BBC Music Magazine, September 2011 ****

“Abbado brings elegance to everything he touches. In the event, Kaufmann is superb, Stemme sings with technical control and warmth of tone, and Abbado conducts with exemplary clarity.” Classic FM Magazine, October 2011 ***

“I could be in the minority when I state that I find this performance almost clinical...[Kaufmann] can do no wrong and, in fact, he does no wrong here, articulating his despair as well as his hope and desperation with great sincerity...Abbado is obviously going for a lean performance, and he succeeds; one hears things in both orchestra and vocal lines that are frequently smudged elsewhere.” International Record Review, September 2011

“this is a lean, chamber-sized account, every note precisely placed, but with enough punch for the drama to hit home...for superb technical playing, transparency of sound and with Stemme and Kaufmann in glorious voice, this is a Fidelio to treasure.” Opera Britannia, 6th October 2011

“From the opening flourishes of the overture, Abbado and his hand-picked festival orchestra arrest the attention...The ensemble-singing has the balance and synthesis which characterise the very best performances of Beethoven’s chamber-music...[Kaufmann's] first note alone is worth the price of the set...this is truly glorious, exhilarating music-making, and a superb document of one of the most thrilling live performances of 2010.” Katherine Cooper, Presto Classical, 20th June 2011

“My colleague Katherine would never forgive me if I didn't choose this live recording from the 2010 Lucerne Festival of Beethoven's only opera, conducted by Claudio Abbado and featuring the incomparable pairing of Nina Stemme as Leonore and Jonas Kaufmann as Florestan. His agonised cry of "Gott! Welch Dunkel hier!" after the slow orchestral build-up is astonishingly moving, and there's memorable support from Falk Struckmann as Pizarro and Christof Fischesser as Rocco.” James Longstaffe, Presto Classical

Presto Disc of the Week

20th June 2011

Presto Favourites

Recommended Recording

GGramophone Awards 2012

Best of Category - Opera

GGramophone Magazine

Disc of the Month - September 2011

Summer Opera Sale

Decca - 4782551

(CD - 2 discs)

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Strauss: Vier letzte Lieder, final scenes from Capriccio & Salome

Strauss: Vier letzte Lieder, final scenes from Capriccio & Salome


Strauss, R:

Vier letzte Lieder

Capriccio: Intermezzo (Moonlight Music)

Morgen mittag um elf! (from Capriccio)

Ah! Du wolltest mich nicht deinen Mund küssen lassen (from Salome)

Gerhard Siegel (Herod)


Speaking of Nina’s interpretation of the Four Last Songs, Pappano enthuses: “I trust the warmth of Nina's voice. There are a lot of lighter voices that have recorded the piece but you have to remember that Kirsten Flagstad sang the premiere and it's that kind of ample voice with warmth and body - Nina's voice - that I think is too rarely heard in this repertoire.”

“Pappano and his orchestra (what solo playing!), while never hurrying, keep the forward pace of an attentive Lied accompanist - emotional points are made without milking, matching the cool beauty of the soloist's timbre. Stemme has vocal height and weight in equal measure and (again) really uses her text.” Gramophone Magazine, June 2007

“…Antonio Pappano never gets to record more than bleeding chunks of the Strauss operas… Yet nothing illustrates better his genius for going straight to the theatrical heart of the matter than the opening blaze of this Salome finale. It's both beautifully textured and keenly energised, and his sense of the drama seems to have rubbed off on Nina Stemme's Salome, poised between anger and nostalgia, and Gerhard Siegel's anxious Herod.” BBC Music Magazine, May 2007 *****

“To borrow a phrase from Richard Osborne, mighty tents are already pitched on these fields – for the Four Last Songs Schwarzkopf/Szell, Della Casa/Böhm, Norman/Masur; for the Salome finale Krauss/Cebotari, Welitsch/ Reiner and so on. But the conductor who has already got onto record a newly thoughtthrough Bohème, a Tosca that can hold its own with de Sabata's, and a modern Tristan with Domingo need fear no competition. All the hounds of hell are let loose by the ROH's percussion section to launch a wild, but always intricately shaped and detailed, account of young Princess Salome's sickly Liebestod.
Being already a searching, grown-up Isolde, Stemme, like her 1950s forerunners, now really manages to be a teenage Isolde too, by turns sweet, spooky and growing up.
The discs's running order is cunning and effective, and both conductor and soprano are in command of the switch to Madeleine's musicor- words dilemma. In Capriccio's Moonlight Interlude, as in the Songs, Pappano achieves richness without overweighting; his rubato lingers rather than indulges (like… but let's not compare). Stemme is a more torn and dramatic Countess than, say, Janowitz, Schwarzkopf or Della Casa; this performance harks back to Clemens Krauss and Viorica Ursuleac, emotion shaping the (fine) text, rather than vice-versa.
As if to create a valedictory survey of Strauss, the soprano voice and the orchestra, the start of 'Frühling' aptly seconds the Countess's mood.
Michael Tanner's note for the new remastering of Flagstad's creator's performance (see above) remarks how tempi in this work have got slower over the past 50 years. Pappano and his orchestra (what solo playing!), while never hurrying, keep the forward pace of an attentive Lied accompanist – emotional points are made without milking, matching the cool beauty of the soloist's timbre. Stemme has vocal height and weight in equal measure and (again) really uses her text. Finally, the record is produced and engineered with sensitivity to the layout of Strauss's instrumental and vocal textures.”
Gramophone Classical Music Guide, 2010

Presto Disc of the Week

19th March 2007

GGramophone Awards 2007

Finalist - Recital

GGramophone Magazine

Editor's Choice - June 2007

Warner Classics - 3787972

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Gok's Divas

Gok's Divas


Bellini:

Casta Diva (from Norma)

Maria Callas

Bernstein:

Tonight (from West Side Story)

Bizet:

L'amour est un oiseau rebelle 'Habanera' (from Carmen)

Victoria de los Angeles

Catalani:

Ebben? Ne andrò lontana (from La Wally)

Delibes:

Sous le dôme épais (from Lakmé)

Dvorak:

Mesícku na nebi hlubokém 'Song to the Moon' (from Rusalka)

Eva Urbanova

Gershwin:

Summertime (from Porgy and Bess)

Giordano, U:

La mamma morta (from Andrea Chénier)

Maria Callas

Gluck:

Che faro' senza Euridice? (from Orfeo ed Euridice)

Kathleen Ferrier

Handel:

Lascia ch'io pianga (from Rinaldo)

Frondi tenere e belle ... Ombra mai fù (from Serse)

Joyce DiDonato

Mozart:

Voi che sapete (from Le nozze di Figaro)

Non so più cosa son, cosa faccio (from Le nozze di Figaro)

Elisabeth Schwarzkopf

Soave sia il vento (from Così fan tutte)

Der Hölle Rache kocht in meinem Herzen (from Die Zauberflöte)

Offenbach:

Barcarolle (from Les Contes d'Hoffmann )

Les oiseaux dans la charmille (from Les Contes d'Hoffmann)

Natalie Dessay

Puccini:

O mio babbino caro (from Gianni Schicchi)

Montserrat Caballe

Vissi d'arte (from Tosca)

Maria Callas

O soave fanciulla (from La Bohème)

Ailyn Perez

Chi il bel sogno di Doretta (from La Rondine)

Un bel di vedremo (from Madama Butterfly)

Kiri Te Kanawa

Purcell:

When I am laid in earth (from Dido and Aeneas)

Rossini:

Una voce poco fa (from Il barbiere di Siviglia)

Maria Callas

Saint-Saëns:

Mon cœur s'ouvre à ta voix (from Samson et Dalila)

Schönberg, C-M:

I Dreamed a Dream (from Les Misérables)

Katherine Jenkins

Verdi:

Follie! Follie! Delirio vano è questo…Sempre libera (from La traviata)

Natalie Dessay

Libiamo, ne' lieti calici (from La Traviata)

Natasha Marsh

Ah, fors'è lui che l'anima (from La Traviata)

Maria Callas

Wagner:

Mild und leise 'Isolde's Liebestod' (from Tristan und Isolde)

Nina Stemme


Fashion expert, award-winning TV presenter, author and all round national treasure Gok Wan made his mark by giving women the confidence to appreciate their bodies and brings out the inner-diva in everyone. Gok has a passion for opera – the music, the drama, the costumes, the spectacle – and above all: The Diva! From La Bohème to Les Miserables – share in Gok’s passion with his personal selection of the world’s most beautiful arias, sung by opera’s greatest divas!

Released or re-released in last 6 months

Warner Classics - 9029585192

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