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Joan Sutherland (Turandot), Luciano Pavarotti (Calaf), Montserrat Caballé (Liù), Nicolai Ghiaurov (Timur), Tom Krause (Ping), Pier Francesco Poli (Pang), Piero De Palma (Pong), Peter Pears (L'imperatore Altoum), Sabin Markov (Un mandarino)
John Alldis Choir, London Philharmonic Orchestra, Zubin Mehta
“Sutherland gives an intensely appealing interpretation, while Pavarotti gives a performance equally imaginitive. Mehta directs a gloriously rich and dramatic performance. Still the best-sounding Turandot on CD.” Penguin Guide
“Turandot is a psychologically complex work fusing appalling sadism with self-sacrificing devotion.
The icy Princess of China has agreed to marry any man of royal blood who can solve three riddles she has posed. If he fails his head will roll.
Calaf, the son of the exiled Tartar king Timur, answers all the questions easily and when Turandot hesitates to accept him, magnanimously offers her a riddle in return – 'What is his name?'.
Liù, Calaf's faithful slave-girl, is tortured but rather than reveal his identity kills herself.
Turandot finally capitulates, announcing that his name is Love. Dame Joan Sutherland's assumption of the title role is statuesque, combining regal poise with a more human warmth, while Montserrat Caballé is a touchingly sympathetic Liù, skilfully steering the character away from any hint of the mawkish. Pavarotti's Calaf is a heroic figure in splendid voice and the chorus is handled with great power, baying for blood at one minute, enraptured with Liù's nobility at the next. Mehta conducts with great passion and a natural feel for Puccini's wonderfully tempestuous drama. Well recorded.” Gramophone Classical Music Guide, 2010
“this recording...works for me on every level. Of course you get Pavarotti singing Nessun dorma at his lyrical best, but more importantly than that, Montserrat Caballé sings Liù, showing off her famed pianissimo to great effect at the end of Signore, ascolta. Finally, as a bonus bit of luxury casting, Peter Pears takes the small role of Turandot's father, Emperor Altoum.” James Longstaffe, Presto Classical, July 2014
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Sir Adrian Boult was a supreme interpreter of Elgar’s music, winning accolades and awards for performances and recordings. Boult championed his music throughout his conducting life following the composer’s prophetic words in a letter to Boult in 1920, ‘I feel that my reputation in the future is safe in your hands’.
Boult only made one recording of The Dream of Gerontius, in 1975, of which the Penguin Guide enthused, ‘Boult’s total dedication is matched by his powerful sense of drama…the spiritual feeling is intense throughout’ while The Gramophone Guide ended their review with ‘Boult directs with commendable energy and typical humanity. A document to be treasured.’
This DVD represents the only existing film of Boult conducting The Dream of Gerontius filmed in Canterbury Cathedral in 1968.
The performance features a stellar cast of soloists: Dame Janet Baker, a leading interpreter of The Angel in The Dream of Gerontius, who recorded the role twice, in 1964 in Sir John Barbirolli’s famous recording, and in 1986 under Sir Simon Rattle; John Shirley Quirk who, with Boult, recorded a definitive interpretation of Peter in The Kingdom and about whom Boult said” J.S.-Q. […] was perfection and I don’t think any of the old guard could surpass [him]”; Peter Pears, who recorded the work in 1972 under the direction of his close friend Benjamin Britten.
The film uses the original BBC master which is far superior to the poor copies which have been in circulation over the years.
This was the first classical music production filmed in colour, for which Brian Large, “an understanding musician as well as a brilliant producer” in Boult’s words, had secured eight out of the nine colour T.V. cameras existing in the UK at that time. This DVD also features a 60-minute documentary on Sir Adrian Boult as a bonus. This film was produced in 1989 by the BBC to celebrate Sir Adrian Boult’s 100th anniversary.
The booklet includes a note written by Andrew Neil, from the Elgar Society, as well as a long extract from Sir Adrian Boult’s biography in which Boult gave his extended insight on the filming. The booklet also includes the sung text in English.
DVD format: NTSC
Picture format: 4:3
Running time: 100 mins (feature); 60 mins (bonus)
Menu languages: English
Booklet languages: English
Region code: 0
Territory Restrictions: None
“[Pears] is, in a word, magnificent. Shirley-Quirk is marvellous, too, in both his roles, and Janet Baker, inhabiting the Angel as only she could, is in a league of her own...the TV sound is remarkably good for its time and the quality of the solo performances... makes this a must-see.” Gramophone Magazine, December 2016
“A very important DVD release for Elgar lovers and admirers of Sir Adrian Boult.” MusicWeb International, 11th January 2017
“Boult’s handling of the Prelude, and his masterly accompaniment – especially to Janet Baker’s radiant final benediction – is so beautiful, so magisterial in its intensity, that it feels as though the score is simply being opened before us, its truths unclouded by any merely human ‘interpretation’…the accompanying documentary is excellent: full of fascinating, moving insights into Boult as man and conductor…a beautifully devised portrait of a great musician” BBC Music Magazine, February 2017 ****
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Peter Pears (Grimes), Claire Watson (Ellen Orford), James Pease (Balstrode), Jean Watson (Auntie), Geraint Evans (Ned Keene), Lauris Elms (Mrs Sedley), David Kelly (Hobson), Owen Brannigan (Swallow), Raymond Nilsson (Bob Boles), Marion Studholme, Iris Kells (Nieces)
Orchestra & Chorus of the Royal Opera House, Covent Garden, Benjamin Britten
The project was produced by John Culshaw in stereo’s early prime. Taking full advantage of this then-revolutionary stereo technology, members of the cast moved around a sonic ‘stage’ that Decca’s engineers created, giving the recording a new sense of presence and
More than any other opera recording, this helped to launch the fortunes of Britten's operas and remains one of the most exemplary ever made.
“Almost 60 years on, Britten's own recording is still fresh. His conducting has great naturalness and the sound is amazing for 1958.” BBC Music Magazine
“The Covent Garden Orchestra rise superbly to their task and indeed one is left with an impression of the entire cast, of everybody concerned, being inspired by the presence and direction of the composer…The balance is remarkably good.” Gramophone Magazine
Sir Peter Pears (tenor), David Ward (bass), Helen Watts (contralto), Elizabeth Harwood (soprano), Lindsay Heather (baritone), Robert Tear (tenor), Alexander Young (tenor), Brian Etheridge (baritone), Hervey Alan (bass)
The Choir of King's College, Cambridge, Philomusica of London, Sir David Willcocks
Great British Tenors
La fleur que tu m'avais jetée (from Carmen)
Hiawatha's Wedding Feast: Onaway! Awake, beloved!
Eleanore (No. 6 from Six Songs, Op. 37)
Merrie England: Dan Cupid hath a garden "The English Rose"
Patiently smiling from The Land of Smiles
A heart as pure as gold (from Friederike)
Ah, moon of my delight
Vesti la giubba (from I Pagliacci)
Instant charmant … En fermant les yeux (from Manon)
Elijah: Then shall the righteous
Hears not my Phillis how the birds ('The Knotting Song'), Z371
Love's Philosophy, Op. 3 No. 1 (Shelley)
O mistress mine
An Sylvia, D891
Auf der Bruck, D853
Im Frühling, D882
Take a pair of sparkling eyes (from The Gondoliers)
The briery bush
The Foggy, Foggy Dew
Hugh the drover: Song of the road
The Vagabond (from Songs of Travel)
Winterstürme wichen dem Wonnemond (from Die Walküre)
Wallace, W V:
Yes! let me like a soldier fall
As ever I saw
Ben Davies, John Coates, Gerwase Elwes, Walter Hyde, Frank Mullings, John McCormack, Joseph Hislop, Parry Jones, Hubert Eisdell, Tudor Davies, Walter Widdop, Derek Oldham, Heddle Nash, James Johnston, Henry Wendon, Webster Booth, Peter Pears, David Lloyd, Walter Midgley, Richard Lewis
Commercial recording arrived at the ideal time to capture a golden age of British tenor singing. A range of distinctive qualities had developed in the 19th century – firm yet elegant tone, emphasis on text and on clarity of diction – that characterised the British tenor voice. The worlds of opera, operetta, oratorio and popular song nourished the tradition and benefited from the succession of fine voices the country produced. The recordings presented here capture some of the most important voices of the early 20th century, and demonstrate the range of musical styles in which the British tenor sound could flourish.
This issue secures a unique position in today’s CD market.
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Mátyás Seiber: Ulysses, Elegy for Viola & Three Fragments
Born in Budapest on 4 May 1905, Mátyás Seiber began to learn the cello at the age of ten. He studied composition at the Budapest Academy of Music under Kodály from 1919 to 1924. In 1925 he entered his 'Serenade' for wind sextet in a Budapest competition and when it failed to win the prize, Bartók resigned from the jury in protest.
In 1935 Seiber settled in London, where he founded the Dorian Singers and helped Francis Chagrin to found the Society for the Promotion of New Music. He taught at Morley College and privately, and his pupils included Don Banks, Peter Racine Fricker, Anthony Gilbert, Malcolm Lipkin, David Lumsdaine, Anthony Milner and Hugh Wood. Seiber stayed in touch with continental musical developments and frequently attended the International Society for Contemporary Music’s festivals, several of which featured his own compositions.
On 24 September 1960, at the age of 55, he was killed in a car crash in South Africa during a lecturing tour of the country’s universities. At the time of his tragically early death, Seiber was one of the most respected teachers of composition in Britain. His own body of work is distinguished by a natural versatility and by the wide range and eclecticism of his musical interests. It incorporates the successful pop song 'By the Fountains of Rome' (1956), which entered the top ten of the charts and won an Ivor Novello Award, and his score for the animated film 'Animal Farm' (1954), as well as numerous examples of incidental music for radio, television and the stage.
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Peter Pears (Peter Grimes), Claire Watson (Ellen Orford), James Pease (Balstrode), Jean Watson (Auntie), Raymond Nilsson (Bob Boles), Owen Brannigan (Swallow), Geraint Evans (Ned Keene), Lauris Elms (Mrs Sedley), David Kelly (Hobson), Marion Studholme (First Niece), Iris Kells (Second Niece), John Lanigan (Horace Adams)
Chorus and Orchestra of the Royal Opera House, Covent Garden, Benjamin Britten
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The Essential Collection: Vol. 4
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