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See Terms & Conditions for p&p rates. | |  | Handel/Mozart: Timotheus oder die Gewalt der Musik
Timotheus, or The Power of Musick” is W. A. Mozart’s adaptation of G. F. Handel’s “Alexander's Feast”, which is an ode with music set to a libretto by Newburgh Hamilton. Hamilton adapted his libretto from John Dryden's ode Alexander's Feast, or the Power of Music (1697) which had been written to celebrate Saint Cecilia's Day. The work describes a banquet held by Alexander the Great and his mistress Thaïs in the captured Persian city of Persepolis, during which the musician Timotheus sings and plays his lyre, arousing various moods in Alexander until he is finally incited to burn the city down in revenge for his dead Greek soldiers. The German version of Handel’s “Alexander’s Feast” was prepared by Mozart for Gottfried van Swieten in 1790. | 
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C Major is proud to present a stunning performance of Beethoven’s Missa Solemnis, conducted by Nikolaus Harnoncourt with the Royal Concertgebouw Orchestra. The highly acclaimed soloists are Marlis Petersen, Elisabeth Kulman, Werner Güra and Gerald Finlay. PICTURE: 16:9, HD BD: DTS-HD MA 5.1, PCM 2.0 RUNNING TIME: 99 MINUTES SUBTITLES: LATIN (ORIGINAL LANGUAGE), GERMAN, ENGLISH, FRENCH, SPANISH, CHINESE, KOREAN, JAPANESE AVAILABILITY: WORLDWIDE |
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| |  | Opera Film 2001
When Britten started to work on Owen Wingrave he conceived the opera both for performance on stage and for TV production. In fact the first TV production of Owen Wingrave was broadcast in 1971, two years before the staged premiere at Covent Garden. This 2001 production, made for Channel 4 television, intriguingly tells the drama of Owen, who refuses to follow a military career like his ancestors. The story, in which pacifism makes up the main theme, was written by Henry James, and the libretto adapted by Myfanwy Piper. The Canadian baritone Gerald Finley stars as Owen with Peter Savidge, Hilton Marlton and Josephine Barstow at his side. The production was directed by the award winning TV director Margaret Williams. Highly acclaimed conductor Kent Nagano is the musical director of this performance featuring the Deutsches Symphonie-Orchester Berlin. “The cast is outstanding: Gerald Finley as Owen, the formidable Dame Josephine Barstow as his terrifying aunt and Martyn Hill as his militaristic grandfather. Who says singers can‘t act? One of the best opera films ever.” The Sunday Times Sound Format: PCM Stereo Picture Format: 16:9 DVD Format: DVD 9 / NTSC Subtitle Languages: GB (Original Language), DE, FR, ES Running Time: 92 mins “Finley and his top-drawer British actor/singer colleagues tread an impeccably drawn line beween emotion and excess. Nagano and his German players might have been a strange choice but they are never less than efficient.” Gramophone Magazine, June 2013 “The unsympathetic fiancee, Kate...seems a more complex character than before, well taken by Charlotte Hellekant, and the gallery of disagreeable family-members is strongly cast too” Penguin Guide, 2010 edition *** |
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| |  | Schumann: Liederkreis
Gerald Finley and Julius Drake return to Schumann, following a magisterially intense Dichterliebe which won them a third Gramophone award. Here they focus on the two contrasting Liederkreis (‘song-circle’) cycles using texts by Heine and Eichendorff. Heine is the poet of Dichterliebe, and Op 24 contains extremes of elation and despair that call all Finley’s considerable dramatic powers into play. Eichendorff’s seductive, crepuscular ‘night-songs’ of Op 39 require the velvety tone for which this singer is equally revered. Separating these two great works are the Sechs Gedichte aus dem Liederbuch eines Malers, Op 36, which find Schumann in more homespun, folksong-influenced vein. “Finley and pianist Julius Drake are well attuned to those pervading atmospheres and psychological shifts; beginning with the veiled tone with which Finley opens Op 39 every song is individually coloured (some of his inflections suggest a close study of Dietrich Fischer-Dieskau's performances), and the text is always clear.” The Guardian, 26th September 2012 **** “With his slow tempos and dark vowels, Finley draws from the Op. 39 Eichendorff Liederkreis a real sense of the fear lurking behind even the ecstasies of love...Drake is perfectly attuned to the palette of shifting colours in Finley's dark baritone - here in top form.” BBC Music Magazine, Christmas 2012 **** “This new recording shows a greater richness in Finley's voice plus an evolving intimacy in his approach to recording Lieder, one that retreats from the word-by-word vocal painting of Dietrich Fischer-Dieskau...Each song's overall conception - of which Julius Drake is a key part - reflects great thought as to its core emotion.” Gramophone Magazine, January 2013 | | | In stock - usually despatched within 1 working day. |
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| |  | Recorded live at Glyndebourne, Lewes, July 2011
Gerald Finley (Hans Sachs), Anna Gabler (Eva), Johannes Martin Kränzle (Sixtus Beckmesser), Marco Jentzsch (Walther von Stolzing), Topi Lehtipuu (David), Michaela Selinger (Magdalene), Alastair Miles (Veit Pogner), Henry Waddington (Fritz Kothner), Mats Almgren (Nightwatchman), Colin Judson (Kunz Vogelgesang), Andrew Slater (Konrad Nachtigall), Alasdair Elliott (Balthasar Zorn), Adrian Thompson (Ulrich Eisslinger), Daniel Norman (Augustin Moser), Robert Poulton (Hermann Ortel), Maxim Mikailov (Hans Schwarz), Graeme Broadbent (Hans Foltz) London Philharmonic Orchestra, The Glyndebourne Chorus, Vladimir Jurowski (conductor) & David McVicar (stage director) English-speaking audiences have always found Die Meistersinger to be a life-enhancing celebration of wisdom, art and song. So it proves in David McVicar's production – the first at Glyndebourne – which is updated to the early-19th century of Wagner's childhood. At the centre of a true ensemble cast is Gerald Finley, a 'gleamingly sung', 'eminently believable' Sachs (The Independent on Sunday), supported by the dynamic conducting of Vladimir Jurowski which, like McVicar's production, uses Glyndebourne's special intimacy to bring sharp focus to bear on the subtlety of Wagner's musical and dramatic counterpoint. What the press said: ‘‘McVicar has put on a great show with style, intelligence and insight’’ The Telegraph ‘‘Musically, it was judged faultlessly for the scale of the theatre by Vladimir Jurowski, who conjured playing of mercurial clarity – not the first words one would normally choose for this gargantuan score – from the London Philharmonic Orchestra, sustained with unfailing vigilance and concentration.’’ The Guardian Duration: 300 minutes Sound type: 2.0LPCM + 5.1(5.0) DTS Subtitles: EN/FR/DE “The camerawork – mostly close-up – is superb, focusing on the intimacy of the Glyndebourne stage and the visual expressiveness of a young cast. Vicki Mortimer’s Biedermeyer sets are notably more handsome on film than in the theatre, and the performance (captured late in the inaugural run) breathes a general air of wellbeing” Financial Times, 22nd September 2012 *** “McVicar's staging stokes the glow of Meistersinger's humane heart...and above all he reminds us that this is an opera about youth and self-discovery. Gerald Finley's pivotal Sachs relish[es] this intensely verbal role with a Lieder-singer's skill and beauty...Jurowski completes the ensemble with a beautiful account, unfolding the story with pace and details...Together they make the immense performance the most uplifting performance I can recall” BBC Music Magazine, December 2012 ***** “Jurowski handles the score with seriousness and pomp...Finley has the role of Hans Sachs massively in focus, both musically and dramatically. He is compulsively watchable throughout...McVicar's production is best at one-to-one emotional confrontations but rather loud and messy in ensemble scenes...it would be mealy-mouthed not to notice the commitment and enthusiasm steaming off the stage, while Finley's work has to be seen and heard” Gramophone Magazine, December 2012  BBC Music Magazine
DVD Choice - December 2012 |
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| |  | The Renaissance of Italian MusicThe National Gallery Collection
Allegri: | Miserere mei, Deus Gerald Finley (baritone), Timothy Beasley-Murray (treble solo) Choir of King's College, Cambridge, Stephen Cleobury | Gabrieli, A: | Kyrie a 12 David Hurley (falsetto), Charles Pott (tenor) Gloria a 16 Robert Harre-Jones (falsetto), Charles Pott (tenor) Sanctus & Benedictus a 12 Charles Pott (tenor) | Gabrieli, G: | Omnes gentes plaudite manibus a 16 Robert Harre-Jones (falsetto), Charles Daniels (tenor), Peter Harvey (baritone) Gabrieli Consort, Paul McCreesh Sonata con voce: Dulcis Jesu a 20 Charles Daniels, Nicolas Robertson (tenor) Tavener Consort, Choir & Players, Andrew Parrott O Jesu mi dulcissime a 8, C 56 Tavener Consort, Choir & Players, Andrew Parrott | Monteverdi: | Vespro della beata Vergine (1610): excerpts Emma Kirkby, Tessa Bonner (sopranos), Nigel Rogers, Andrew King, Joseph Cornwell (tenors) Tavener Consort, Choir & Players, Andrew Parrott Selva morale e spirituale (excerpts) Emma Kirkby, Emily Van Evera (sopranos), Rogers Covey-Crump (tenor [alto part]), Nigel Rogers (tenor), David Thomas (bass) Tavener Consort, Choir & Players, Andrew Parrott | Palestrina: | Missa Papae Marcelli Choir of King's College, Cambridge, Sir David Willcocks Beata es, virgo Maria Hodie gloriosa semper virgo Maria Magnificat Septimi Toni Choir of Clare College, Cambridge, Timothy Brown |
“[The Allegri] is one of the highlights, the 1970 recording by the Choir of King's College, Cambridge achieving an almost weightless sublimity, particularly in the Sanctus. The Taverner Consort of the 1980s offers similarly impressive interpretations of Giovanni Gabrieli's polychoral pieces” The Independent, 25th November 2011 | | | In stock - usually despatched within 1 working day. |
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| |  | Recorded live at the Royal Opera House, 23 & 26 February 2011
Eva-Maria Westbroek (Anna Nicole), Alan Oke (Old Man Marshall), Gerald Finley (The Lawyer Stern), Susan Bickley (Virgie), Jeremy White (Daddy Hogan), Loré Lixenberg (Cousin Shelley), Peter Hoare (Larry King), Rebecca de Pont Davies (Aunt Kay), Dominic Rowntree (Older Daniel), Allison Cook (Blossom), Andrew Rees (Doctor), Grant Doyle (Billy) & Wynne Evans (Mayor); John Parricelli (guitar), John Paul Jones (bass guitarist), Peter Erskine (drummer) Royal Opera Chorus & Orchestra of the Royal Opera House, Antonio Pappano (conductor) & Richard Jones (director) In a tragic-comic take on the extremes of celebrity culture, composer Mark Anthony Turnage, librettist Richard Thomas and director Richard Jones add Anna Nicole Smith to opera’s gallery of bad, sad girls. A pneumatic Playboy model who married an octogenarian billionaire, she achieved grotesque fame before her destitute, drugriddled death. With its jazz-coloured score and Eva-Maria Westbroek’s starry performance, this is, as the New York Times said: “an engrossing outrageous, entertaining and, ultimately deeply moving opera”. "...It's a tremendous show...shocking it isn't; stunning it is!" The Independent Contains very strong language and scenes of a sexual nature Extra features: Cast gallery Illustrated synopsis Behind the scenes feature including artist interviews Running time 120 mins approx Region Code All regions Picture format 1080i High Definition / 16:9 Sound format 2.0LPCM + 5.1(5.0) DTS Menu languages EN Subtitles EN/FR/DE/ES “The six camera operators get in close enough for us all to appreciate the visual brilliance of Richard Jones’s direction and Miriam Buether’s colourfully absurd sets. Better yet, the cameras offer extra chances for the Dutch soprano Eva-Maria Westbroek to warm and tenderise Anna Nicole’s rollercoaster life...The camera’s scrutiny also helps appreciation of Gerald Finley. Always an eloquent stage performer, he’s unsettlingly plausible as Stern” The Times, 12th August 2011 *** “this is an opera that demands to be seen in its full wide-screen glory...On DVD, the opera is worryingly compelling. The more Turnage and his librettist, Richard Thomas, pile one cringe-making scene upon another, the harder it is to look away...the whole cast is excellent...all bolstered by a vivid musical performance under Pappano...As it stands, the opera is a salacious expose and not much more - a compelling one none the less” Gramophone Magazine, November 2011 “a slick satire on the superficiality of American popular culture...Eva-Maria Westbroek gives a gutsy central performance” Financial Times, November 2011 “such pulsing energy and raucous humour in a brassy, vivid score that is perfectly matched to its trailer-trash subject...Nobody...could fail to admire Richard Jones’s flamboyantly inventive staging or Eva-Maria Westbroek’s brave and sassy performance in the title role of the rags-to-riches girl who married a billionaire and met a tragic end.” The Telegraph, 2nd December 2011 | | | In stock - usually despatched within 1 working day. |
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| |  | The Ballad Singer
anon.: | O where hae ye been, Lord Randall, my son? traditional, arr. Cyril Scott | Beethoven: | Mephistos Flohlied, Op. 75, 3 | Brahms: | Es war ein Markgraf überm Rhein (No. 29 from Deutsche Volkslieder, WoO 33) | Emanuel: | Alone in the desert, alone, I'm alone | Loewe, C: | Edward, Op. 1 No. 1 (Herder) Die wandelnde Glocke, Op. 20 No..3 | Mahler: | Wo die schönen Trompeten blasen (Des Knaben Wunderhorn) | Porter, C: | The Tale of the Oyster | Schubert: | Erlkönig, D328 | Schumann: | Die Löwenbraut, Op. 31 No. 1 Der Schatzgräber, Op. 45 No. 1 | Stanford: | La Belle Dame sans merci (John Keats) (1877) | Sullivan, A: | The Lost Chord | Wolf, H: | Der Feuerreiter (No. 44 from Mörike-Lieder) |
This latest release from the multi-award-winning partnership of Gerald Finley and Julius Drake features a literary and musical form which inspired the greatest voices of German Romanticism. The foremost poets and composers of the age saw the ballad as a direct link to the folk-minstrels of the past. Frequently ghoulish and sensational in character, ballads satisfied the popular taste for the Gothic. This disc contains some of the greatest examples of the form, including Schubert’s Erlkönig, as well as some fascinating and lesser-known works. The disc also includes selections from the ever popular English ballad tradition. Gerald Finley’s unrivalled gift for characterization and story-telling, honed both on the stages of opera houses around the world and through his extraordinary Lieder recordings, makes him the ideal performer of these works. This is a genuinely entertaining and original disc. “Drake's playing has successfully suited the varied repertoire. Finley has enthralled with his interpretations and delighted with his singing purely as singing, combining the two aspects expertly.” International Record Review, July 2011 “they're all tales and Finley is a fine tale-teller. In Loewe, he sounds as though he's singing just for you, the listener, so rapt and intense is his communication. Drake is a fine accomplice, tuning his fingers to full orchestral capacity for Schumann's psycho-drama 'Die Löwenbraut' and Wolf's 'Der Feuerreiter'” BBC Music Magazine, July 2011 **** “Listen to these wonderfully melodramatic, mostly Victorian ballads by candlelight in a haunted house...Performances full of raging fortissimos and ghoulish tremolandos from Finley and his pianist Julius Drake.” The Times, 18th June 2011 **** “Their approach to text and music consistently casts light on turbulent emotions, at times glaring in its dramatic intensity at others passed through restraining filters. The recital's heart pulses with Wolf's Der Feuerreiter and a spine-tingling account of Stanford's La belle dame sans merci.” Classic FM Magazine, August 2011 **** | | | In stock - usually despatched within 1 working day. |
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“Amazing production of Don Giovanni at Glyndebourne, a work of art in itself… Magnificent as the set is, this will also be a Don Giovanni to listen to for the orchestra. The Orchestra of the Age of Enlightenment are so good that they can generate almost demonic energy from the lighter timbres of period instruments. Vladimir Jurowski has rarely sounded more inspired”. Opera Today “The graceful purity of Kate Royal as Elvira ... gave lustre to Mozart's kaleidoscopic masterpiece”. The Scotsman “Suavely ruthless, Finley was both steely monster and molten charmer, singing with a firmness, clarity and stylistic elegance that I can’t easily imagine surpassed”. The Telegraph For this 2010 production, the first new staging of the opera in 10 years, Glyndebourne welcome back the winning team of director Jonathan Kent and designer Paul Brown with Festival Music Director, Vladimir Jurowski conducting the Orchestra of the Age of Enlightenment. Set at a time of seismic social and cultural change - in a Fellini-esque vision of post-war life - Jonathan Kent's urgently propulsive production offers a 'white-knuckle rollercoaster ride' through the events of the Don's last day as they unfold in and around Paul Brown's magical 'box of tricks' set. In the title role we also welcome back the great bass-baritone Gerald Finley. He has sung Don Giovanni to worldwide acclaim in New York, London, Paris, Vienna, Rome, Budapest and Prague. Finley is joined by Luca Pisaroni (Guglielmo in the 2006 Festival’s Così fan tutte) as Leporello, Kate Royal (the Governess in Jonathan Kent’s 2006 staging of The Turn of the Screw) as Donna Elvira, and the young Russian soprano Anna Samuil making her UK opera debut as Donna Anna. Bonus features include rehearsal and backstage footage, interviews with the production staff and cast as well as a glimpse into the costume, design and technical departments at Glyndebourne. The DVD will feature English, French and German subtitles. The production will be revived next summer at the 2011 Glyndebourne Festival. Kate Royal is an exclusive EMI Classics artist since 2006. She has made two solo recordings: Kate Royal with the Academy of St. Martin in the Fields/Edward Gardner and Midsummer Night with the Orchestra of English National Opera/Edward Gardner. As a guest artist, she has recorded discs for the label with the Choir of King’s College, Cambridge, Le Concert d’Astrée/Emmanuelle Haïm and Paul McCartney. Kate Royal's new album ‘A Lesson in Love’ (released in 2011), is an intimate recital with pianist Malcolm Martineau charting a young girl’s journey of love and loss through a combination of German lieder, English and American songs and French melodies. Kate Royal returns to Glyndebourne in Summer 2011. Designer Paul Brown “this Don, played by Gerald Finley, is a master of self-control: hands in tailored pockets and operating with a steely indifference to all...And Finley give this vision vocal assurance matching the clarity of Jurowski's conducting and the momentum generated by Kent within the ever-shifting Pandora's box of a design...Kate Royal is a deeply serious, thrillingly sung Donna Elvira, Anna Samuil an equally classy, flaring soprano of a Donna Anna.” BBC Music Magazine, July 2011 **** “Gerald Finley is vocally and theatrically mesmerising as a dashing Giovanni, and he's matched by Kate Royal on splendid form as the abandoned Elvira and Anna Virovlansky a charming and fresh-voiced Zerlina. Vladimir Jurowski takes the orchestra at quite a lick, adding energy and fizz to proceedings.” Classic FM Magazine, August 2011 *** “[Finley's] assumption is completely convincing...his fear before the confrontation with the Commendatore in the supper scene is palpable. Finley sings as well as he acts, apart from an oddly unhoneyed serenade...The singing is fine and the OAE play like angels.” Gramophone Magazine, August 2011 “Finley is a Don of remarkable self-assurance and narcissism, his impeccable diction and technically flawless singing an extension of this monstrous character...Pisaroni's great acting occasionally makes his singing imperfect, but the voice is grand and there will be few complaints...[Samuil's] singing is big-boned, fearless and has a nice unpredictability to it...The [OAE] plays with fire and passion...[Jurowski's] reading keeps the listeners on the edge of their seats.” International Record Review, July 2011 | | | In stock - usually despatched within 1 working day. |
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| |  | DSD recording, live at the Barbican December 2009
‘an electrifying account ... Simon O’Neill made a tremendous debut in the title-role, giving notice that he is the best heroic tenor to emerge over the last decade’ Daily Telegraph Sir Colin Davis’s eagerly anticipated recording of Verdi’s Otello is released on the 10th anniversary of the LSO Live label. Opera has always formed an important part of the label’s output – recording concert performances of opera allows listeners to enjoy the drama of a live performance without the problems associated with recording in a theatre. Among Sir Colin’s greatest triumphs on LSO Live have been his award-winning recordings of Berlioz’operas plus Peter Grimes, Fidelio and Verdi’s final opera, Falstaff. Falstaff was released in 2004 and collected the Grammy Award for Best Opera. Sir Colin is joined, in the title role of Otello, by one of the world’s most exciting young tenors. New Zealander Simon O’Neill stepped in at short notice to these concerts, making his debut in the role (although he had studied it with Domingo), delivering what can only be described as an astonishing performance. The villainous Iago is played by Gerald Finley and Otello’s wife, Desdemona, by Anne Schwanewilms. Verdi had retired from opera following the premiere of Aida in 1871 but was eventually persuaded by his publisher to work with the librettist Arrigo Boito. As with Falstaff, Verdi’s final opera on which they would subsequently collaborate, they turned to Shakespeare for inspiration. Otello, which was premiered in 1887, marked a significant evolutionary development in Italian opera and is widely regarded as one of the great operatic masterpieces. Concert reviews ‘This was an electrifying account of a masterpiece, conducted with an explosive energy that belies Sir Colin’s eighty years and pushed the LSO to the top of its game. Simon O’Neill made a tremendous debut in the title-role, giving notice that he is the best heroic tenor to emerge over the last decade … Gerald Finley was an arrestingly crisp and snakily plausible Iago … Verdi’s great music drama shone in all its power and glory’ Daily Telegraph ‘a performance of Verdi’s opera that had finesse, fervour and glorious lyricism … Such is Davis’s rapport with the LSO and its rampant Chorus that he can unleash greater musical power with an elegant flick of the baton than most conductors muster with flailing arms. Gerald Finley was a superb Iago: insiduously sinister, yet sustaining a wonderfully suave line. And the New Zealand tenor Simon O’Neill gave an immense performance … he will make the Moor his own’ The Times ‘a thrilling performance from beginning to end … an evening to treasure; not just for Davis’s contribution, but for an impressive debut from the young New Zealand tenor Simon O’Neill. O’Neill mastered Otello’s many moods with a striking musicality and an evenness of tone throughout the range. He will go far, and promises to be the outstanding Wagner Heldentenor we have been longing far … the men, led by Gerald Finley’s totally convincing and committed Iago, were splendid’ Mail on Sunday “Age has not dimmed Davis’s musical vitality, any more than it did Verdi’s...Davis inspires the London Symphony Orchestra and Chorus to a performance of vigour and refinement, and it’s for their contribution – and Gerald Finley’s suave, stylish Iago – that this recording stands out.” Financial Times, 16th October 2010 *** “ everything contributes to accentuating extremes: Colin Davis gets the LSO, in shattering form, to play chords like cannon shots...The two male leads are superb: Simon O'Neill is the most complete Otello since Domingo...Finley's debut as Iago is also a great reading - the most chilling I have ever heard.” BBC Music Magazine, December 2010 **** “throughout, [O'Neill's] clarion tone is thrilling. But the heroes are Gerald Finley, a supremely malignant Iago, the superb orchestra and chorus, and Colin Davis, who makes the terror and pity of the opera almost unbearably vivid. This is an Otello to rank with Davis’s LSO Live Falstaff” Sunday Times, 31st October 2010 **** “Finley gives a masterly account of [Iago], his voice seemingly transfigured by the Italian music and language...his singing - firm and resonant - is scarcely to be bettered on record...O'Neill is an unusual Otello in that he is so unequivocally a tenor, with no hint of baritone in his timbre...the playing is alert and sensitive to drama and text.” Gramophone Magazine, November 2010 “Davis’s electrifying conducting keeps the temperature high throughout this gripping performance...Simon O’Neill makes a powerful and confident debut in the title role, well matched against Gerald Finley’s subtle and sneaky Iago...with the additional merits of Allan Clayton’s vivid Cassio, the splendid chorus and superb playing from the LSO, this is a front-runner in the field.” The Telegraph, 12th November 2010 **** “This is worth hearing for Finley's superb performance as Iago...listen to his chilling account of 'Cassio's dream', or the way he can inflect a single word like 'capitano'...Schwanewilms is touching as Desdemona, and the smaller roles are well taken.” Classic FM Magazine, December 2010 ** “Finley is suave, his experience in Lieder showing in detailed enunciation and delivery of the text...Clayton is bright-toned and much less wimpy than some Cassios; you could appreciate how Otello promoted him over Iago...In spite of the lack of Italianate voices, O'Neill's heroic singing and Davis's unexpectedly fiery conducting still make this a satisfying account of Verdi's miraculous score.” International Record Review, November 2010 “a spellbinding account, thanks to O’Neill, Anne Schwanewilms’s Desdemona and Gerald Finley’s Jago, but above all to Colin Davis’s warm, urgent but never forced interpretation” The Observer, 14th November 2010 | | | In stock - usually despatched within 1 working day. |
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Gramophone Magazine
Gramophone Awards 2011