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See Terms & Conditions for p&p rates. | |  | Classical 2013
Beethoven: | Fidelio Overture Op. 72c Otto Klemperer | Bizet: | Carmen: Prelude to Act I Berliner Philharmoniker, Sir Simon Rattle Les tringles des sistres tintaient (from Carmen) Magdalena Kozena (mezzo) Berliner Philharmoniker, Sir Simon Rattle La fleur que tu m'avais jetée (from Carmen) Jonas Kaufmann (tenor) Berliner Philharmoniker, Sir Simon Rattle | Delibes: | Les filles de Cadix Tine Thing Helseth (trumpet) | Fauré: | Sicilienne, Op. 78 Gautier Capucon (cello) | Gluck: | Che faro' senza Euridice? (from Orfeo ed Euridice) Kathleen Ferrier (contralto) Divinités du Styx (from Alceste) Maria Callas (soprano) | Handel: | Atalanta: Overture Alison Balsom (trumpet) English Concert, Trevor Pinnock | Heggie: | This journey...This journey to Christ (from Dead Man Walking) Joyce DiDonato (mezzo) | Leoncavallo: | Qual fiamma avea nel guardo!.... Hui! Stridono lassù (from I Pagliacci) Angela Gheorghiu (soprano) | Leontovich: | Carol of the Bells Libera | Liszt: | Bist du!, S277 Diana Damrau (soprano) | Puccini: | Donde lieta usci (from La Bohème) Angela Gheorghiu (soprano) | Purcell: | Sound the trumpet, beat the drum, Z335 Alison Balsom (trumpet) English Concert, Trevor Pinnock | Rachmaninov: | Vocalise, Op. 34 No. 14 - arrangement for orchestra Vasily Petrenko | Rodgers, R: | The King And I: Overture The John Wilson Orchestra, John Wilson | Verdi: | Ingemisco (from Requiem) Rolando Villazon (tenor) | Vivaldi: | Vedro con mio diletto (from Giustino) Philippe Jaroussky (countertenor) |
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| |  | Opera 2012
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Production by Bartlett Sher; recorded in 2011 In spring 2011, the first-ever performances at New York's Metropolitan Opera of Rossini's Le Comte Ory brought standing ovations and critical-acclaim. The spectacular trio of Juan Diego Florez, Diana Damrau and Joyce DiDonato ignited vocal and theatrical fireworks. Le Comte Ory tells the story of a libidinous and cunning nobleman who disguises himself first as a hermit and then as a nun ("Sister Colette") in order to gain access to the virtuous Countess Adele, whose brother is away at the Crusades. The 2011 Met production was directed by the Tony Award-winning Broadway director Bartlett Sher, who in recent years has also staged Il barbiere di Siviglia and Les Contes d'Hoffman for the Met. Sher presented the action as an opera within an opera, updated the action by a few centuries and giving the costume designer, Catherine Zuber, the opportunity to create some particularly extravagant headgear. Juan Diego Florez starred as the title role while Diana Damrau plays his love interest, Countess Adele, and Joyce DiDonato was in breeches as his pageboy Isolier. The trio had appeared in Sher's production of Rossini's Il barbiere di Siviglia. The New York Times praised "the terrific cast", citing Damrau's "lustrous, agile coloratura soprano voice, and charisma galore" and describing how DiDonato, "who sang with plush sound and impeccable passagework, sent top notes soaring and conveyed all the swagger of a smitten page." The Financial Times named Florez, "a bel-canto paragon virtually without peer. He attacks and/or floats top tones with laughing ease, phrases with slender grace and exudes charm even when impersonating a singing nun". The Wall Street Journal said: "It was a treat to hear Mr. Florez navigate the vocal extremes of the role, popping out high C's while adopting a rascally but winning demeanor." Conducted with verve and finesse by Rossini specialist Maurizio Benini, the production also features the stylish French baritone Stephane Degout as Ory's bibulous conspirator Raimbaud (quite a change from his previous Met role - Debussy's gentle Pelleas), charismatic Italian bass Michele Pertusi as the Count's long-suffering Tutor, and, formidable as Adele's housekeeper Ragonde, the Swedish dramatic mezzo Susanne Resmark. “Sher's production is wise, witty and completely faithful to the spirit of the piece...Damrau is peerless, giving a bravura comic performance made from winks and nudges, heavy theatrical sighing and a heaving bosom. Rossini's music might have been written for her diamond-bright coloratura and gravity-defying top notes. Joyce DiDonato is equally fine...And who could ask for a more winning Ory than Juan Diego Florez?...Delicious.” BBC Music Magazine, June 2012 “Not since Juan Oncina at Glyndebourne in the 1950s has there been a singer better able to cope with the phallocentric Count's stratospheric billings and cooings than Juan Diego Florez. Diana Damrau, a coloratura possessed of breeding as well as presence, makes a superb Countess Adele, and the irrepressible Joyce DiDonato gives a properly testosterone-fuelled performance...Benini directs the Met's Rolls Royce pit band with brisk efficiency.” Gramophone Magazine, July 2012 “What a cast the Met has put together!...[Florez is] handsome, sly and tonally easy...[Damrau] acts with just the right oxymoronic ladylike lust...there seems to be nothing [DiDonato's] voice cannot do and she moves as if she owns the stage...Benini managed to keep the many disparate parts together and leads with great consideration for the singers.” International Record Review, June 2012 “The purity and lightness of Flórez’s voice is astounding...If we ever hear another Ory as good as this then I’ll be very surprised... the sheer security of [DiDonato's] tone is a marvel to behold...Damrau has less form in the bel canto repertoire, but she takes to the virtuoso role of the Countess like a duck to water.” MusicWeb International, July 2012 | | | In stock - usually despatched within 1 working day. |
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| |  | Liszt: Songs
Liszt: | Der Fischerknabe, S.292 No. 1 Im Rhein, im schönen Strome, S272 Die Lorelei Die drei Zigeuner, S.320 Es war einmal ein König, S73 Ihr Glocken von Marling, S.328 Über allen Gipfeln ist Ruh (Wandrers Nachtlied II), S.306 Der du von dem Himmel bist (Goethe), S279 Benedetto sia'l giorno S 270a/2 Sonetto 104 del Petrarca 'Pace non trovo', S270 No. 1 Sonetto 123 del Petrarca 'I' vidi in terra angelici costumi', S270 No. 3 Freudvoll und leidvoll, S.280 Es rauschen die Winde, S294 Die stille Wasserrose, S321 Bist du!, S277 Es muss ein Wunderbares sein, S. 314 O lieb, so lang du lieben kannst |
After her sumptuous album of Strauss songs with orchestra, soprano Diana Damrau marks the bicentenary of Liszt’s birth with an album of his most celebrated songs in German, French and Italian, accompanied by pianist Helmut Deutsch. “Diana Damrau has a fine line in floated high notes, and the lyrical songs (the majority of those recorded here) benefit from her sweet tone...Helmut Deutsch's accompaniments are of the highest quality, setting the mood from the very beginning of each song and managing Liszt's virtuoso figuration with apparent ease.” BBC Music Magazine, January 2012 **** “A gifted Lieder singer with a flawlessly even and shining sound, Damrau knows exactly how to draw the listener into the drama of each song...Deutsch proves yet again what a great accompanist he is too: his insights into the atmosphere and psychology of these works are as compelling as Damrau's.” Classic FM Magazine, February 2012 ***** “The particular qualities of Damrau's lustrous coloratura lend an aura of ethereal beauty to several of her interpretations...Damrau brings a languid voluptuousness to the more famous love songs...There are times when one wishes Damrau would abandon her consistently gorgeous sound production to focus instead on a more vivid characterization of the text. In terms of pure singing, these interpretations are undeniably beautiful.” International Record Review, February 2012 | | | In stock - usually despatched within 1 working day. |
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| |  | Live Recording from The Teatro Alla Scala, 2006
Set Design by EZIO FRIGERIO Giorgio Strehler was one of Europe’s most celebrated theatre directors. In his Piccolo Teatro in Milan he created outstanding interpretations of Bertolt Brecht and William Shakespeare. As an opera director he worked at all the major international opera houses, most notably the Teatro alla Scala, Milan, where he was responsible for productions of Verdi’s Simon Boccanegra (1971), Macbeth (1975) and in 1980 for Wolfgang Amadeus Mozart’s Le Nozze di Figaro. This legendary production of Mozart’s masterpiece is now available as a 2006 recording, featuring the wonderful Diana Damrau as Susanna and Ildebrando D’Arcangelo as Figaro. Sound Format: PCM Stereo, DD 5.1 Picture Format: 16:9 DVD Format: 2 x DVD 9, NTSC Subtitle Languages: IT (Original Language), GB, DE, FR, ES, Korean, JP Running Time: 187 mins FSK: 0 | | | In stock - usually despatched within 1 working day. |
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| |  | Verdi: Canzoni
Diana Damrau (soprano), César Augusto Gutiérrez (tenor), Paul Armin Edelmann (baritone), Friedrich Halder (piano) “Damrau bring both these vignettes to vivid life, trilling and waltzing through 'Lo spazzacamino' with gleeful abandon, and softening her natural diamantine brilliance when the gypsy girl momentarily reflects on an uncertain future. She's just as captivating as the proto-feminist protagonist of Stornello...[Freidrich Haider] matches Damrau all the way in devil-may-care zest.” Gramophone Magazine, July 2011 “[Damrau] has the more exuberant songs, in which she is fully home, tossing off the sprightliness...of 'Lo spazzacamino' and the bolero rhythm of 'La zingara' but holding the line of the more serious 'Perduta ho la pace'...Edelmann does not use a vast range of vocal colours in his singing...but I did not find him a dull interpreter. Perhaps 'storyteller' would be a more appropriate word than 'interpreter', and his tone is not one of hue or weight only.” International Record Review, May 2011 | | | (also available to download from $10.50) | In stock - usually despatched within 1 working day. |
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| |  | OPERA 2011
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| |  | R. Strauss: Lieder
Strauss, R: | Ich wollt ein Sträusslein binden, Op. 68 No. 2 Waldseligkeit, Op. 49 No. 1 Das Bächlein, Op. 88 No. 1 Winterweihe, Op. 48 No. 4 Morgen, Op. 27 No. 4 Allerseelen, Op. 10 No. 8 Cäcilie, Op. 27 No. 2 Amor, Op. 68 No. 5 Säusle, Liebe Myrte, Op. 68 No. 3 Freundliche Vision, Op. 48 No. 1 Ständchen, Op. 17 No. 2 Traum durch die Dämmerung, Op. 29 No. 1 Wiegenlied, Op. 41 No. 1 Meinem Kinde, Op. 37 No. 3 Muttertändelei, Op. 43 No. 2 Zueignung, Op. 10 No. 1 Das Rosenband, Op. 36 No. 1 Heimkehr, Op. 15 No. 5 Als mir dein Lied erklang, Op. 68 No. 4 Des Dichters Abendgang, Op. 47 No. 2 An die Nacht, Op. 68 No. 1 Lied der Frauen, Op. 68 |
“This is a performance of transcendent art” proclaimed Opera News on hearing Diana Damrau’s interpretation of Strauss’ Zerbinetta on her last Virgin Classics album, ‘Coloraturas’. In this collection of Strauss songs, recorded in the composer’s hometown, she is joined by the Munich Philharmonic and Christian Thielemann, the leading German conductor of his generation. Soprano Diana Damrau, described by The Sunday Times as “the most dazzling star to have emerged from Germany in recent years” was born in Bavaria. The region’s capital, Munich, was the birthplace of Richard Strauss, and in March 2009 a programme of the composer’s songs was presented at the city’s Gasteig Philharmonie, with Damrau accompanied by the Munich Philharmonic Orchestra under its Chief Conductor, Christian Thielemann. “Strauss loved female voices,” says Damrau, “and he explores some extreme possibilities in these many-layered songs, each with its different point of view. Sensitivity to the words is vital to telling the story of each song, to capturing the rapid changes of mood and all the colours.” Strauss’ operatic roles for lyric-coloratura soprano, notably Zerbinetta (Ariadne auf Naxos), Aithra (Die Aegyptische Helena) and Sophie (Der Rosenkavalier) have played an important role in Damrau’s career. As Opera News wrote when reviewing her last Virgin Classics album, ‘Coloraturas’: “Zerbinetta … is one of Damrau's calling cards, having served for her stupendous Met debut in 2005. ‘Grossmächtige Prinzessin’ provides every opportunity to dazzle the listener, with stratospheric high notes, staccatos, roulades and trills, as Zerbinetta cajoles, berates and mocks the gloomy Ariadne. Every note and word reveals Damrau's artistry, the result of constantly questioning and probing into the composer's intentions; while the soprano has a knack for concealing or highlighting technical difficulties at will, here just enough self-absorbed delight breaks to the surface that we are as captivated by Zerbinetta's own theatrical skills as by Damrau's vocal athleticism. Damrau/Zerbinetta even seems to be commanding the orchestra's responses to her whimsical, moody outbursts. This is a performance of transcendent art.” On the new CD, favourites such as ‘Ständchen’, ‘Wiegenlied’, ‘Allerseelen’, ‘Cäcilie’ and ‘Zueignung’ feature alongside more rarely heard numbers, and six tracks recorded under studio conditions now complement the sixteen songs captured live. “Always there is delicacy and an absolute respect for the silky legato that Strauss demands from his soloist. Damrau finds drama in these songs too...the songs that demand diamond-bright coloratura, runs and trills to affright a Zerbinetta hold no terrors...Thielemann has a very special affinity with singers. He also coaxes some fine playing from the Munich orchestra.” International Record Review, January 2011 “What wins this disc the five stars are the facts that Damrau, singing in her native German, is poised ideally between dreamy haze and Schwarzkopfian fussiness...her hallowed pianissimos allow the exquisite detail Thielemann draws from his Munich players to shine...the ineffable balance between voice and orchestra, subtly assisted by the engineering, is a treat throughout.” BBC Music Magazine, February 2011 ***** “Secure in technique, gifted in projecting drama and emotion, Damrau is a peach of a singer...The haunting music; the lyrical voice; the orchestra’s dappled array, with woodwinds curling like climbing roses and violins wafting with fragrant perfume: poesie indeed, in small doses.” The Times, 28th January 2011 **** “With a creamy-voiced soprano such as Renée Fleming, say, the results could be an excess of musical cholesterol, but Damrau’s diamantine timbre brings a welcome edge to the mix...She’s the leading Strauss soprano of the day, and her singing here shows exactly why.” Sunday Times, 30th January 2011 **** “her voice is not ideally voluptuous for Strauss, but she makes up for it by her exceptional musicality, investing every song with meaning, and her clarity of diction. The Munich Philharmonic under Christian Thielemann are splendid partners on a CD that must now be regarded as the best modern introduction to Strauss's songs” Mail on Sunday, 30th January 2011 **** “Her singing is consistently accurate and expressive. I particularly liked her 'Traum durch die Dämmerung', which caught the atmosphere of a secret tryst perfectly...She joins the group of younger sopranos such as Angelika Kirchschlager and Anne Schwanewilms among the leading lyric Strauss singers of the day.” Sunday Telegraph, 30th January 2011 **** “she is not merely a fair-weather soprano. Darker shades, more serious tones lie within her expressive scope than one might at first suppose...Familiar songs such as "Ständchen" gain new life with a smiling intimacy of approach in the first verse and an enriched suggestiveness as dusk falls in the third.” Gramophone Magazine, March 2011 “there are performances of such favourites as Morgen, Allerseelen and Wiegenlied, where her hovering, silvery soprano is heard to perfection...Not all the orchestrations are by Strauss: Christian Thielemann and the Munich Philharmonic really bring home just how marvellous his own instrumentation sounds when placed beside that of some of the other composers” The Guardian, 10th February 2011 **** “When did a German coloratura soprano last handle Richard Strauss’s orchestral songs with such grace and aplomb?...Damrau’s artistry is a combination of vocal noblesse, emotional warmth and instinctive intelligence.” Financial Times, 19th February 2011 **** “This gloriously romantic collection of orchestral settings of Strauss’s songs... shows [Damrau] at her stunning best. Outstanding tracks include Amor, with its airy, witty coloratura, and a magically slow yet gloriously alive Wiegenlied. The accompaniments, as might be expected from Thielemann’s baton, are quite superb.” The Telegraph, 25th February 2011 ***** “These songs demand a variety of vocal weights and colours, and Damrau seems to have it all...Thielemann and the Munich Phil revel in the rich orchestral colours and can be as light as air when required...Damrau brings effortless technique, beautiful tone and unfailing musical instinct to these songs.” Classic FM Magazine, April 2011 *****  BBC Music Magazine
Choral & Song Choice - February 2011 |
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Hercules reborn! Rolando Villazón and Joyce DiDonato lead a dazzling cast in Vivaldi’s opera Ercole sul’Termodonte, first heard in Rome in 1723 and reconstructed by conductor Fabio Biondi from the original libretto, historical scores and his intimate knowledge of the composer. Like the mythical Hercules, hero of this opera by Vivaldi, dynamic tenor Rolando Villazón has triumphed over some huge challenges, including an operation in 2009 on his vocal cords. In this, his first complete studio recording of an opera for Virgin Classics, he takes on the title role of Hercules (Ercole), whose mission is to obtain the belt of the Amazon queen Hippolyta (Ippolita). She is portrayed by Joyce DiDonato, whose Virgin Classics album of Handel, ‘Furore’, gave ample evidence of both her seductive powers and her intrepid spirit in Baroque music. Completing the cast is a dazzling line-up of virtuoso star singers: Diana Damrau, Vivica Genaux, Philippe Jaroussky, Patrizia Ciofi, Romina Basso and Topi Lehtipuu. The conductor is Italian Baroque specialist Fabio Biondi, directing his group Europa Galante. His Virgin Classics recording of Vivaldi’s opera Bajazet, nominated for a Grammy, won multiple awards including the Grand Prix de l'Académie du Disque Lyrique in France, an ECHO Award in Germany and a Midem Classical Award. It also received the highest praise from publications such as Le Monde de la Musique, Diapason, Classica-Répertoire, Opéra International, Pizzicato, Opera News and Gramophone, which said: “Fabio Biondi and his players bring out countless nuances in the score with their usual array of interpretative devices ranging from gentle cello chords in recitative to sparky off-beat accents and pizzicati, and even some acid sul ponticello. There could hardly be a better way to bring this opera to life.” Biondi himself brought the score back to life, reconstructing it for performance in Venice in 2007, and subsequently in Paris in 2009. No autograph score or contemporary copy of the opera was in existence, but Biondi worked from the libretto printed for the first performances in Rome in 1723. He was then able to identify various arias from other Vivaldi scores kept in libraries around Europe, principally in France and Germany. In many cases, he also orchestrated the arias, extrapolating from their musical substance and his intimate knowledge of Vivaldi’s practice. Where no source existed for an aria or chorus, he reconstructed the music by adapting and borrowing from other works by Vivaldi. He also composed all the recitatives. As Biondi explains: “This opera occupies a special and emblematic position in Vivaldi’s life. At the age of 45, he took the risk of presenting an opera in Rome for the first time … Ercole proved a resounding success … The city was full of talk about this opera which, by introducing a new musical style, seemed to revolutionise a genre much loved in the Eternal City. His melodic invention, his bel canto lyricism, rhythmic impulse and colourful instrumentation captured the imagination of music lovers.” “Villazón looms large in the title role of the Vivaldi opera here so vividly captured on disc...In vocal colour and style [he] always stands apart from his vocal colleagues. He’s louder and broader, less bothered about immaculate pitch...[yet] a jolting mix of vocal styles at least fits the score...the absence of weighty matter in no way diminishes the music’s brilliance” The Times, 6th December 2010 **** “The secret here is Vivaldi's score, given a wonderfully energised performance by a cast of megastars...The Venetian composer is ubiquitously popular for his Four Seasons but his operas, making a gradual comeback, so far remain specialist territory.” The Observer, 19th December 2010 “Joyce DiDonato is compelling as the passionate Hippolyta, her 'Onde chiare' especially beguiling. Vivica Genaux is splendid in the role of the warrior-queen Antiope, presenting her credentials with confrontational fervour...Lively, incisive and stylish instrumental playing by Europa Galante provide sympathetic rapport with the voices.” BBC Music Magazine, January 2011 ***** “Amongst several strong vocal performances, Joyce DiDonato's is the one to cherish, especially her exquisite 'Onde chiare che sussurrate'. Rolando Villazón as Hercules is on dramatically good form...Biondi's orchestral interpretation is a flowing one...but the rhythmic vitality is still most present...it's worth the money for DiDonato's fabulous performance alone.” Classic FM Magazine, February 2011 **** “it is exciting to hear a Baroque opera sung by an almost entirely high-class cast (only the threadbare Patrizia Ciofi is below par)...Villazón is suitably larger than life as Hercules; he gets around tricky coloratura passages and embellishes with unbridled bravado...spirited gusto is certainly the order of the day from Europa Galante.” Gramophone Magazine, March 2011 “As the first stage work that Vivaldi wrote in Rome, scholars find the score of exceptional musicological interest; the rest of us will find it an entertaining parade of shortish arias contrasting in mood, rich in melody and full of energy, in a performance that could hardly be bettered.” The Telegraph, 4th February 2011 **** “DiDonato is first among equals in this star-studded recording: Vivica Genaux's dazzlingly sung, resinous Antiope is well contrasted with the plush, voluptuous alto of Romina Basso's Teseo, whilst Patrizia Ciofi and Diana Damrau's gleaming bright sopranos are easily distinguishable as Orizia and Martesia...Biondi and his Europa Galante are, as ever, live wires 'in the pit'” International Record Review, March 2011 BBC Music Magazine Opera Choice - January 2011 |
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| |  | Ioan Holender Farewell ConcertGala from Vienna State Opera
Bellini: | Ah, non credea mirarti (from La Sonnambula) Diana Damrau (soprano) | Donizetti: | Ah! tardai troppo...O luce di quest'anima (from Linda di Chamounix) Stefania Bonfadelli (soprano) Pour ce contrat fatal...Salut à la France (from La fille du régiment) Natalie Dessay (soprano) | Giordano, U: | Amor ti vieta (from Fedora) Ramon Vargas (tenor) | Gounod: | L'amour, l'amour... Ah, lève-toi soleil (from Roméo et Juliette) Ramon Vargas (tenor) Quel trouble inconnu me pénètre… Salut! Demeure chaste et pure (from Faust) Piotr Beczala (tenor) | Hiller, W: | Holenderchen! Ich war dein Traumfresserchen (from Das Traumfresserchen) Herwig Pecoraro (tenor) | Korngold: | Glück, das mir verbleib 'Marietta's Lied' (from Die Tote Stadt) Angela Denoke (soprano), Stephen Gould (tenor) | Lehár: | So kommen Sie! ? Ich bin eine anstnd'ge Frau (from Die lustige Witwe) Angelika Kirchschlager (mezzo), Michael Schade (tenor) | Massenet: | Vision fugitive (from Hérodiade) Boaz Daniel (baritone) Werther! Werther!…Je vous écris de ma petite chambre (from Werther) Roxana Constantinescu (mezzo) Toute mon âme - Pourquoi me réveiller (from Werther) Piotr Beczala (tenor) Suis-je gentille ainsi? ... Je marche sur tous les chemins ... Obéissons quand leur voix appelle (from Manon) Anna Netrebko (soprano) | Mozart: | Un'aura amorosa del nostro tesoro (from Così fan tutte) Michael Schade (tenor) Prenderò quel brunettino (from Così fan tutte) Barbara Frittoli (soprano), Angelika Kirchschlager (mezzo) E Susanna non vien! … Dove sono i bei momenti (from Le nozze di Figaro) Barbara Frittoli (soprano) | Offenbach: | Hélas! mon cœur s'égare encore! (from Les Contes d'Hoffmann) | Puccini: | Firenze è come un albero fiorito (from Gianni Schicchi) Saimir Pirgu (tenor) Se come voi piccina io fossi (from Le Villi) Krassimira Stoyanova (soprano) | Strauss, R: | Wie schön ist doch die Musik (from Die schweigsame Frau) Thomas Quasthoff (bass-baritone) Nun will ich jubeln wie keiner gejubelt (from Die Frau ohne Schatten) Adrianne Pieczonka, Deborah Polaski (sopranos), Johan Botha (tenor), Falk Struckmann (baritone) Er ist der Richtige nicht für mich … Aber der Richtige, wenn's einen gibt für mich (from Arabella) Adrianne Pieczonka, Genia Khmeier (sopranos) | Verdi: | Stride la vampa (from Il Trovatore) Nadia Krasteva (mezzo) In braccio alle dovizie (from I Vespri Siciliani) Leo Nucci (baritone) Va, pensiero (from Nabucco) Elle ne m'aime pas! (from Don Carlos) Ferruccio Furlanetto (bass) Pace, pace mio Dio! (from La forza del destino) Violeta Urmana (soprano) Perfidi!…Pietà, rispetto, amore (from Macbeth) Simon Keenlyside (baritone) Tutto nel mondo è burla (from Falstaff) Elisabeth Kulman, Krassimira Stoyanova, Ileana Tonca (sopranos), Nadia Krasteva (mezzo), Gergely Nmeti, Herwig Pecoraro, Michael Roider (tenors), Leo Nucci, Alfred Ramek, Boaz Daniel (baritones) | Wagner: | Rienzi Overture Winterstürme wichen dem Wonnemond (from Die Walküre) Placido Domingo (tenor) Mild und leise 'Isolde's Liebestod' (from Tristan und Isolde) Waltraud Meier (soprano) O sink hernieder, Nacht der Liebe (from Tristan und Isolde) Maria Schnitzer (soprano), Peter Seiffert (tenor) In fernem Land (from Lohengrin) Johan Botha (tenor) Über Stock und Stein (from Das Rheingold) Elisabeth Kulman (soprano), Gergely Nmeti, Adrian Erd (tenors), Boaz Daniel (baritone) | Weber: | Und ob die Wolke sie verhülle (from Der Freischütz) Soile Isokoski (soprano) |
A star-studded benefit concert to celebrate Ioan Holender’s farewell after 19 years as the director of one of the world’s leading and most famous opera houses. The highly acclaimed cast was headed by brilliant singers such as Diana Damrau, Natalie Dessay, Angelika Kirchschlager, Waltraud Meier, Anna Netrebko, Pjotr Beczala, Plácido Domingo, Thomas Hampson, Leo Nucci, Thomas Quasthoff, Ramon Vargas and many others. No fewer than twelve conductors including Marco Armiliato, Bertrand de Billy, Fabio Luisi, Zubin Mehta, Antonio Pappano and Franz Welser-Möst led the way through a program lasting over four hours at the fully-packed Wiener Staastoper. Subtitles: English, German, French, Spanish, Chinese | | | In stock - usually despatched within 1 working day. |
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Gramophone Magazine
Gramophone Awards 2011