Mark Padmore

Tenor

Mark Padmore

Mark Padmore was born in London and grew up in Canterbury. He was a choral scholar at King’s College, Cambridge and graduated with an honours degree in music in 1982. In the opera house he has worked with such distinguished directors as Peter Brook, Katie Mitchell, Mark Morris and Deborah Warner and has sung at English, Welsh and Scottish National Operas, Royal Opera House, Covent Garden, Opéra de Paris, Opéra de Lausanne, Théâtre du Châtelet and the Aix-en Provence Festival. He has appeared with many of the world’s greatest orchestras including the Berlin, New York and Vienna Philharmonics, the London Symphony Orchestra and the Royal Concertgebouw Orchestra. He has given recitals in Amsterdam, Barcelona, Brussels, Copenhagen, London, Moscow, New York, Paris and Zürich with pianists such as Imogen Cooper, Julius Drake, Till Fellner, Steven Osborne and Roger Vignoles.

He has made numerous recordings including Bach’s Passions, Mozart’s Don Giovanni and La Clemenza di Tito, Handel’s Messiah and Britten’s Turn of the Screw.

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Scarlatti, A: Sedecia, re di Gerusalemme

Scarlatti, A: Sedecia, re di Gerusalemme


Gérard Lesne (Sedecia), Philippe Jaroussky (Ismale), Mark Padmore (Nadabbe), Peter Harvey (Nabucco), Virginie Pochon (Anna)

Il Seminario Musicale

“The edition for this premiere recording has been made by Karl Böhmer, who has provided an informative introductory essay, and Oliver Mattern. Gérard Lesne has made something of a speciality of Scarlatti’s music and his lively direction of Sedecia benefits from his fluent handling of dramatic and stylistic aspects of the work...A splendid achievement.” BBC Music Magazine

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Beethoven: Missa Solemnis in D major, Op. 123

Beethoven: Missa Solemnis in D major, Op. 123

Live-Recording, Munich, Herkulessaal, 25./26.09.2014


Genia Kühmeier (soprano), Elisabeth Kulman (mezzo-soprano), Mark Padmore (tenor), Hanno Müller-Brachmann (bass-baritone) & Anton Barachovsky (solo violin)

Chor and Symphonieorchester des Bayerischen Rundfunks, Bernard Haitink

The BR-KLASSIK label has already released several recordings with Bernard Haitink, who has now been connected with the Symphonieorchester des Bayerischen Rundfunks for over 55 years. Following Bruckner's Fifth Symphony, Mahler's Ninth and Haydn's "Creation," BR-KLASSIK now presents a live recording of Ludwig van Beethoven's "Missa solemnis" – a work performed for the recording market for the first time under the baton of Bernard Haitink. The musical partners of this grand seigneur among world-class conductors are the Choir and Symphonieorchester des Bayerischen Rundfunks as well as a finely coordinated ensemble of soloists, consisting of Genia Kühmeier, Elisabeth Kulman, Mark Padmore and Hanno Müller-Brachmann.

“it is deeply felt, has a superbly disciplined and committed chorus, and grows powerfully towards an Agnus Dei whose darkness and terror are beautifully realised.” Sunday Times, 10th May 2015

“Haitink at 85 makes his first recording of one of music’s choral masterpieces – and what a wonderful performance his wisdom and experience offers.” Gramophone Magazine, August 2015

GGramophone Magazine

Editor's Choice - August 2015

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Mark Padmore sings Beethoven, Mozart & Haydn

Mark Padmore sings Beethoven, Mozart & Haydn


Beethoven:

An die ferne Geliebte (To the distant beloved), Op. 98

Maigesang, Op. 52 No. 4

Neue Liebe, Neues Leben, Op. 75, 2

Mephistos Flohlied, Op. 75, 3

Adelaide, Op. 46

Selbstgesprach, WoO 114

Resignation, WoO 149

An die Hoffnung, Op. 94

Abendlied unter'm gestirten Himmel, WoO 150

Haydn:

She Never Told Her Love, Hob. XXVIa:34

The Spirit's Song, Hob. XXV1a:41

The Boatman, Hob. XXXia:246

Mozart:

Das Veilchen, K476

Abendempfindung an Laura, K523

Die ihr des unermeßlichen Weltfalls - Kantate, K619


Mark Padmore (tenor) & Kristian Bezuidenhout (fortepiano, Rosenberger, c.1820. Tuning: A = 430, unequal temperament)

Following their acclaimed Schumann recording, tenor Mark Padmore and fortepiano phenomenon Kristian Bezuidenhout join forces again for this varied and appealing lieder recital of songs by Haydn, 'An die ferne Geliebte' Op.98 by Beethoven, and the Masonic Cantata K.619 by Mozart.

“highly refined recital by the ever-sensitive Mark Padmore in what appears to be a richly rewarding dialogue with the South African fortepianist Kristian Bezuidenhout: the tenor’s sweet, heady and youthful lucidity of tone is beautifully complemented by the percussive resonance of the accompaniment. One senses two true musicians in deep harmony with each other.” The Telegraph, 5th April 2015 ****

“In his Haydn and Mozart songs Padmore sings with an extra delicacy ... His Beethoven is stronger and more forthright, culminating in a heartfelt performance of the cycle An die ferne Geliebte. Bezuidenhout draws the maximum colour and contrast out of his fortepiano throughout.” Financial Times, April 2015

“Mark Padmore combines an acute intelligence with an unvarnished directness in all he sings. In symbiotic partnership with fortepianist Kristian Bezuidenhout, Padmore 'lives' all of these songs, noticing everything, exaggerating nothing ... Padmore is an eager and touching storyteller ... In An Die Ferne Geliebte Padmore and Bezuidenhout catch naturally, unfussily, the oscillations between stillness and excited anticipation, dream and desire. This is a true dialogue between voice and keyboard, as it should be.” Gramophone Magazine, May 2015

“From urgent declamation to whispered despair, Padmore expresses all with directness, clarity and tonal variety. Bezuidenhout is an equal partner: engaged, lively, with a wonderful brio which never overwhelms the singer.” The Observer, 3rd May 2015 ****

“Padmore’s normal mode, often vibrato-free, is of such an intimacy that he might almost be addressing his beguiling, carefully contoured delivery to you alone. With such detail and depth, you imagine, he could make a telephone directory interesting.” Irish Times, 1st May 2015 *****

“Bezuidenhout's fortepiano sounds for all the world like a harp at the very opening of the Abendlied that ends the disc. Its beautiful, serenade-like quality makes it a great choice for a final track. Padmore finds his groove here, too, transcendent and thoughtful for the opening verses but then rising to a peak of triumph for the "transfigured countenance" of the song's second half.” MusicWeb International, 17th July 2015

“On this astutely chosen program, Mr. Padmore, accompanied by the elegant fortepianist Mr. Bezuidenhout, gives richly expressive, crisp accounts.” New York Times, 11th December 2015

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Handel: As Steals the Morn

Handel: As Steals the Morn

Arias & Scenes for Tenor


Handel:

Enjoy the sweet Elysian grove (Alceste, Act IV)

Semele: Where'er you walk

Urne voi (Il Trionfo del Tempo e del Disinganno, Part I)

Forte e lieto (from Tamerlano)

Oh per me lieto, avventuroso giorno! (from Tamerlano)

Figlia mia (from Tamerlano)

Tu, spietato (from Tamerlano)

Samson: Total eclipse!

Samson: Did love constrain thee?

Samson: Your charms to ruin led the way

Samson: Let but that spirit

Samson: Then shall I make Jehovah's glory known!

Thus when the sun from’s watry bed (Samson)

Fatto inferno…Pastorello d'un povero armento (from Rodelinda)

Esther: Tune your harps to cheerful strains

Heav'n smiles once more … (Jephtha, Act II, 2)

Jephtha: His mighty arm

Jephtha: Waft her, angels, through the skies

As steals the morn (from L'Allegro, il Penseroso, ed il Moderato)

Lucy Crowe (soprano)


2015 CATALOGUE CD

“Handel was one of the first Baroque composers to invest his talents in the tenor voice and here this unique English legacy is recalled. Through his shading, dynamic range and commitment to the text, Padmore seduces the listener.” BBC Music Magazine, May 2008

“Hearing him in this repertoire is a delight...Throughout, Padmore sings with beauty of tone and generosity of feeling. His ornamentations are always sensitive and never intrusive, and equal plaudits should go to the transparent playing of The English Concert and Andrew Manze's similarly sensitive direction.” MusicWeb International, 17th February 2015

“Padmore's plangent tone and elegant phrasing make him one of the most in-demand Handel tenors of today, particularly acclaimed as Samson and Jephtha, and in Messiah; this BBC Music Award-winning collection includes arias from these three and more. Classy accompaniment from The English Concert under Andrew Manze.” Presto Classical, August 2014

“His accounts of Where'er You Walk from Semele, and Waft Her Angels from Jephtha, are unfolded with rapt intensity; As Steals the Morn upon the Night from L'Allegro, in which he's partnered by soprano Lucy Crowe, has exactly the right vernal delicacy...What's missing are the moments when Padmore gets a grip on the music, when he takes charge dramatically.” The Guardian, 30th March 2007 ***

“Tenors are fighter pilots - dashing, heroic, unhappy out of the limelight - and Padmore is an ace among them, soaring through this disc on a velvet voice in various Handelian guises...His blinded Samson is harrowingly persuasive in 'Total Eclipse', he shows off impressive no-breath acrobatics in Jephtha and dramatises outrageously in the Tamerlano extract.” The Times

Early Music

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Purcell: Funeral Sentences, Te Deum, Anthems

Purcell: Funeral Sentences, Te Deum, Anthems


Purcell:

Music for the Funeral of Queen Mary, 1695: Funeral Sentences

Te Deum & Jubilate Deo in D, Z232

Hail! Bright Cecilia (Ode for St Cecilia's Day 1692), Z328

Welcome to all the pleasures (from Ode for St Cecilia's Day 1683), Z339


Susan Hamilton, Siri Thornhill (soprano), Robin Blaze, Martin van der Zeijst (countertenor), Mark Padmore (tenor), Jonathan Arnold, Jonathan Brown, Peter Harvey (bass)

Collegium Vocale Choir & Orchestra, Philippe Herreweghe

Coupled here are Philippe Herreweghe’s two major Purcell recordings: the Funeral Sentences and a selection of full and verse anthems, was acclaimed by the American Record Guide for its "clarity and precision of English diction and outstanding choral intonation’ combined with ‘consistently beautiful" solo singing. Five years later, the maestro directed his virtuoso Collegium Vocale Gent in two highly contrasting glorifications of the art of which Purcell was a supreme master. Whether with the small forces of 'Welcome to all the pleasures' or in the vocal and orchestral pyrotechnics of 'Hail! Bright Cecilia', here is a genuine festival of music. These titles were released for the first time in 1993 (CD1) and 1998 (CD2) and have not been available for some time.

“The sheer vitality-and the range of colour and character that Philippe Hereweghe and his musicians draw out of this music- makes these performances irresistible … beautifully sung and played.” International Record Review, September 2014

Early Music

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Thomas Larcher: What Becomes

Thomas Larcher: What Becomes


Larcher:

Smart Dust

Poems

What Becomes

A Padmore Cycle


Tamara Stefanovich (piano), Mark Padmore (tenor) & Thomas Larcher (piano)

Thomas Larcher’s sound world is both original and captivating in its fusion of contemplative harmonies with innovative performance techniques. Written for and performed by tenor Mark Padmore, 'A Padmore Cycle' features the composer at the keyboard. Works for solo piano performed by Tamara Stefanovich round out this programme of first recordings.

Born 1963 in Innsbruck, composer Thomas Larcher studied piano and composition in Vienna. He first gained renown primarily as a pianist, performing with major orchestras and prominent conductors such as Claudio Abbado, Pierre Boulez and Franz Welser Möst. In 1998, he began to define himself more clearly as a composer. Since then he has composed works for the San Francisco Orchestra, the BBC Symphony Orchestra, London Sinfonietta, the Belcea Quartet, and for Leif Ove Andsnes, Matthias Goerne, Mark Padmore and Viktoria Mullova and Matthew Barley.

He has recorded five CDs with ECM, most recently 'Madhares' with Kim Kashkashian, Till Fellner and Dennis Russell Davies. Thomas Larcher has won numerous distinctions, including the Choc de la Musique and the British Composer Award (International category) 2012. The UK premiere of A Padmore Cycle, orchestrated version will be in November 2014 with the BBC Symphony Orchestra.

“if Larcher's settings, which are beautifully tailored to the colour, clarity and expressive strengths of Padmore's voice, evoke any specific 19th-century song composer it is Schumann.” The Guardian, 15th May 2014 ***

“Larcher's music is notable for its eclectic frame of reference and a capacity for creating striking and surprising moments...the songs make full use of Padmore's exceptional interpretative talents.” BBC Music Magazine, June 2014 *****

“Larcher maintains a fascination with the unadorned note, often played in spacious, uncrowded circumstances that require a certain kind of concentration to determine what sort of an idea is unfolding...The special qualities of A Padmore Cycle would emerge in higher relief if surrounded by something more traditional.” Gramophone Magazine, June 2014

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Vaughan Williams: On Wenlock Edge & Ten Blake Songs

Vaughan Williams: On Wenlock Edge & Ten Blake Songs


Dove:

The End

Nicholas Daniel (cor anglais)

Britten Sinfonia (members), Jacqueline Shave

Vaughan Williams:

On Wenlock Edge

Britten Sinfonia (members), Huw Watkins (piano)

Ten Blake Songs

Nicholas Daniel (oboe)

Warlock:

The Curlew

Nicholas Daniel (cor anglais)

Britten Sinfonia (members), Jacqueline Shave


Mark Padmore (tenor)

Fresh from his triumph in the Glyndebourne 'Billy Budd', star tenor Mark Padmore is joined by members of Britten Sinfonia in 3 quintessentially British song-cycles: Ralph Vaughan Williams’ 'On Wenlock Edge', with pianist Huw Watkins; 'Ten Blake Songs' with oboist Nicholas Daniel; and Peter Warlock’s best-known work, 'The Curlew'. 'The End' by Jonathan Dove (a co-commission by Britten Sinfonia and Wigmore Hall) receives its world première recording here.

British composer Jonathan Dove (b. 1959) made the following remarks on the genesis of his new work, 'The End' (2012), with support from the 'Tenner for a Tenor' campaign.

"When I heard Mark Strand read his poem ‘The End’ to a small gathering of artists in Italy a few years ago, I was moved – and also felt immediately that it was a poem that could be sung. I hoped that one day I might have the chance to set it to music. I did not know exactly what the music would sound like, but I imagined a solo voice with several instruments.

Britten Sinfonia gave me the opportunity to make this wish come true, by inviting me to write something for Mark Padmore to sing, with instrumentation to match Warlock’s 'The Curlew'. String quartet with two solo wind instruments seemed the perfect combination to suggest the gentle rocking motion of the ship slipping into darkness, and perhaps hear birds suspended in flight."

“This is a reflective, beautifully delivered recital of English song much concerned with death, its nature well suited to this tenor’s mellifluously lyrical, emotionally intense music-making.” Sunday Times, 29th September 2013

“This is an extremely fine disc. Mark Padmore’s singing is technically beyond reproach and his eloquence is telling in all four works on the programme. At every turn he finds superb partners in the members of Britten Sinfonia...this new release is one of the finest discs of English song to have come my way in a long time.” MusicWeb International, 1st November 2013

“Dove's musical nightscape shifts slowly and slightly...The same vocal simplicity and white timbre that chafes so tellingly at the smugness of Blake's Innocence poems (aided there by exquisite solo oboe) also works well here for Padmore, never blurring the clarity of the composer's melodic architecture.” Gramophone Magazine, November 2013

“Edge, rather than lyrical elegance, is Mark Padmore's expressive strength, combined with his superb diction...I've never heard [the Blake Songs] come across so convincingly...Lavish praise too for the wonderful playing of the Britten Sinfonia...I shall be coming back to this.” BBC Music Magazine, December 2013 ****

“Many of Blake’s finest, most condensed verse utterances are here, Innocence and Experience nestling side by side: darkness is ever-present, as we move for instance from the Sunflower- and then to the comforting ‘Divine Image’. Ten Blake Songs is a bleak masterpiece and Padmore and Daniel are exceptional… This fine release earns plaudits on every front” International Record Review, November 2013

GGramophone Awards 2014

Finalist - Solo Vocal

Super Audio CD

Format:

Hybrid Multi-channel

Harmonia Mundi - HMU807566

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Handel: Messiah

Handel: Messiah


“Christie negotiates both wide-eyed wonderment of the Nativity and the pathos of Part II with aplomb in a performance underpinned by luxury casting and instrumental finesse.” BBC Music Magazine, Christmas Issue 2013

Early Music

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Alec Roth: Sometime I Sing

Alec Roth: Sometime I Sing

Music for Voice and Guitar


Roth, A:

My Lute and I

Invocation

Dark Night

Night Songs (3)

Autumnal

English Folk Songs (5)

Lights Out


Mark Padmore (tenor) & Morgan Szymanski (guitar)

A lyrical collection of chamber works for tenor and guitar, 'Sometime I Sing' unites Gramophone award-winning tenor Mark Padmore with Mexican guitarist, Morgan Szymanski, in settings of texts by Thomas Wyatt, Vikram Seth, John Donne and Edward Thomas by the composer Alec Roth.

Roth is a UK-based composer who works across a wide range of musical genres, including stage works, vocal, choral, orchestral, instrumental, and Javanese gamelan. His former posts include Founder/Director of the Royal Festival Hall Gamelan Programme and Southbank Gamelan Players, Music Director of the Baylis Programme, English National Opera and Associate Composer, Opera North. This is his third disc with Signum, following a choral album with Ex Cathedra (SIGCD270) and a chamber music disc 'Songs in Time of War' (SIGCD124) also with Mark Padmore and Morgan Szymanski.

“Padmore’s clean tenor finds an ideal vehicle ... there’s a transparent, haunting beauty about it, and the accompaniments for violin, harp and guitar are a joy” The Times, 8th June 2013 ****

“Light-footed, lyrical, Roth's settings range from Thomas Wyatt to Vikram Seth. They suit Szymanski's elegant guitar and Padmore's refined tenor, but devitalise folksongs like Scarborough Fair.” BBC Music Magazine, August 2013 ***

“[My Lute ande I] is an excellent and most appealing set of songs which I enjoyed very much; the performance is surely definitive...This is a delightful disc containing some highly accomplished and very imaginative music, beautifully written for voice and guitar.” MusicWeb International, 12th August 2013

“Roth's song cycle My Lute and I harnesses language and music in a highly effective alliance...Padmore's flexible voice, with its high register being exploited to particular fruitful effect, is the ideal vehicle for this repertoire” Gramophone Magazine, September 2013

Signum - SIGCD332

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Britten‘s War Requiem: 50th anniversary in Coventry

Britten‘s War Requiem: 50th anniversary in Coventry


Britten:

War Requiem, Op. 66

Live Recording from Coventry Cathedral, 30 May 2012


2012 brings the 50th anniversary of the premiere of Britten‘s War Requiem, one of the most powerful pacifist statements in music. The first performance took place in 1962 in the newly consecrated Coventry Cathedral, built alongside the ruins of the old cathedral, left as a sombre reminder of the wartime bombings. On 30 May 2012, 50 years to the day, Britten‘s masterpiece returns to the cathedral, performed as at the premiere by the City of Birmingham Symphony Orchestra and vocal soloists from three once warring nations.

The anniversary performance is conducted by the CBSO‘s Music Director, Andris Nelsons, featuring the Canadian soprano Erin Wall, English tenor Mark Padmore singing the role written for Peter Pears, and German baritone Hanno Müller-Brachmann. Choral forces are provided by the CBSO Chorus and Youth Chorus. Benjamin Britten (1913-1976) was commissioned to compose a work for the inauguration in 1962 of Coventry’s new cathedral, adjoining the old cathedral that had been bombed and nearly completely destroyed by the German Luftwaffe at the beginning of World War II in November 1940. The commission gave Britten complete freedom to choose the type of music to compose. He conceived of setting the traditional Latin Mass for the Dead interwoven with nine poems by the English poet Wilfred Owen, who had been killed in World War I. It has become one of the defining masterpieces of the twentieth century: a devastating meditation on the pity of war that is every bit as relevant today.

"The light-filled building was used to full effect. The CBSO Youth Chorus was positioned at the high altar beneath Graham Sutherland's Christ in Glory tapestry, all golden section and green resurrection...Padmore sang with visionary intensity. Müller-Brachmann maintained an unadorned simplicity of expression." Fiona Maddocks, The Observer, on the live performance

Sound Format: PCM Stereo, dts-HD Master Audio 5.1 (Blu-ray)

Picture Format: 16:9, 1080i FULL HD

Audio Languages: Sung in Latin and English

Subtitle Languages: GB, DE, FR, ES

Running Time: 97 mins

FSK: 0

“The three soloists are not, perhaps, quite as eminently as the originals, but they're all excellent...[Nelsons's] un-English reading, more tautly controlled and vigorous than Britten's own, reveals unexpected hues and beauties in the score. This never drags, despite so much inner darkness, and the camera enhances the performance” BBC Music Magazine, January 2013 *****

“[Padmore] is simply outstanding...Erin Wall projects the soprano part extremely well...Orchestra and choirs played their parts admirably but the overall accolade...must go to Andris Nelsons for the wonderful way in which he holds the whole thing together.” MusicWeb International, January 2013

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Arthaus Musik - 108070

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