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See Terms & Conditions for p&p rates. | |  | Glyndebourne production by Jonathan Kent
It is indeed ‘a curious story’, as the Prologue says. A remote English country house, an old and faithful housekeeper, two young orphan children and an eager new governess sent down from London to look after them. But all is not quite as it seems in the sheltered world of Bly. Spirits from the past increasingly encroach upon the realm of the living. And one question keeps worming its way into the governess’s mind: what exactly did happen between the children, their former governess and the deceased manservant, Peter Quint? Britten’s brilliantly scored, insidiously compelling adaptation of Henry James’s novella takes its themes of childish innocence and adult corruption, then twists and turns them to disturbing and ultimately devastating effect. Jonathan Kent’s eerily unsettling staging has been recorded at the Glyndebourne Festival conducted by Glyndebourne on Tour’s Music Director, Jakub Hrusa. “Here is Britten’s supremely crafted operatic masterpiece — not a dud moment or false move — in a shatteringly powerful performance of such musical and theatrical distinction that I scarcely know where to begin apportioning praise. Perhaps the conductor: I already knew the quality of Jonathan Kent’s production from its first outing in 2006, and the cast looked pretty hot on paper too. But what I hadn’t suspected was that the young Czech conductor Jakub Hrusa would offer such a thrillingly visceral, angry and churned-up reading of the score. Galvanising the LPO to playing of scalding brilliance, Hrusa carefully ratcheted up the tension in the early scenes and brought the drama to the boil with an almost daemonic intensity. This wasn’t a nice creepy bedtime story, but something reaching dangerously into the darker reaches of human nature.” Rupert Christiansen, The Telegraph “The Turn of the Screw has been lucky on DVD - but forget those performances. This Glyndebourne production is streets ahead...At its dark heart lies Jakub Hrusa's quite astonishing conducting...A cast of first-rate singers infuse their roles with unnerving life...Altogether, one of the finest opera performances on DVD. Buy it.” BBC Music Magazine, January 2013 ***** “one of the company’s best Britten performances. Jonathan Kent’s production, vividly conducted by Jakob Hrusa, turns the Victorian ghost story into something more modern but equally “innocent” – a 1950s psychological thriller, with strong performances [from Persson and Spence]” Financial Times, 30th November 2012 “the casting is ideal...Hrusa's conducting, completely unlike Britten's more romantic approach, looks throughout to emphasise the tone-row (and atonal) elements that stalk this score like the story's ghosts. It's a real contribution to our musical knowledge of the score.” Gramophone Magazine, February 2013 “the singing is probably the finest on any DVD version of the work … Miah Persson is flawless … Her diction, pitch and sense of line are impeccable … [Spence's] melismatic singing is clean and effortless … wonderful children … Jakub Hrusa leads the London Philharmonic in an instinctual, perversely accented, gut-wrenching reading and the 15-or-so instrumentalists are superb … Both picture and sound are excellent … musically close to perfection” International Record Review, March 2013 “the video direction of François Roussillon fully exploits the intimacy of the DVD medium, of this opera and of Jonathan Kent’s stage direction...This superlatively sung, played, acted and directed production sets a gold standard for future staged versions...The opera comes with 22 minutes of extras. These illuminate why this Glyndebourne 2011 version is so distinctive, how it developed and the nature of the journey for the performers” MusicWeb International, March 2013  BBC Music Magazine
DVD Choice - January 2013 |
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| |  | Glyndebourne production by Jonathan Kent
It is indeed ‘a curious story’, as the Prologue says. A remote English country house, an old and faithful housekeeper, two young orphan children and an eager new governess sent down from London to look after them. But all is not quite as it seems in the sheltered world of Bly. Spirits from the past increasingly encroach upon the realm of the living. And one question keeps worming its way into the governess’s mind: what exactly did happen between the children, their former governess and the deceased manservant, Peter Quint? Britten’s brilliantly scored, insidiously compelling adaptation of Henry James’s novella takes its themes of childish innocence and adult corruption, then twists and turns them to disturbing and ultimately devastating effect. Jonathan Kent’s eerily unsettling staging has been recorded at the Glyndebourne Festival conducted by Glyndebourne on Tour’s Music Director, Jakub Hrusa. “Here is Britten’s supremely crafted operatic masterpiece — not a dud moment or false move — in a shatteringly powerful performance of such musical and theatrical distinction that I scarcely know where to begin apportioning praise. Perhaps the conductor: I already knew the quality of Jonathan Kent’s production from its first outing in 2006, and the cast looked pretty hot on paper too. But what I hadn’t suspected was that the young Czech conductor Jakub Hrusa would offer such a thrillingly visceral, angry and churned-up reading of the score. Galvanising the LPO to playing of scalding brilliance, Hrusa carefully ratcheted up the tension in the early scenes and brought the drama to the boil with an almost daemonic intensity. This wasn’t a nice creepy bedtime story, but something reaching dangerously into the darker reaches of human nature.” Rupert Christiansen, The Telegraph “The Turn of the Screw has been lucky on DVD - but forget those performances. This Glyndebourne production is streets ahead...At its dark heart lies Jakub Hrusa's quite astonishing conducting...A cast of first-rate singers infuse their roles with unnerving life...Altogether, one of the finest opera performances on DVD. Buy it.” BBC Music Magazine, January 2013 ***** “one of the company’s best Britten performances. Jonathan Kent’s production, vividly conducted by Jakob Hrusa, turns the Victorian ghost story into something more modern but equally “innocent” – a 1950s psychological thriller, with strong performances [from Persson and Spence]” Financial Times, 30th November 2012 “the casting is ideal...Hrusa's conducting, completely unlike Britten's more romantic approach, looks throughout to emphasise the tone-row (and atonal) elements that stalk this score like the story's ghosts. It's a real contribution to our musical knowledge of the score.” Gramophone Magazine, February 2013 “the singing is probably the finest on any DVD version of the work … Miah Persson is flawless … Her diction, pitch and sense of line are impeccable … [Spence's] melismatic singing is clean and effortless … wonderful children … Jakub Hrusa leads the London Philharmonic in an instinctual, perversely accented, gut-wrenching reading and the 15-or-so instrumentalists are superb … Both picture and sound are excellent … musically close to perfection” International Record Review, March 2013 “the video direction of François Roussillon fully exploits the intimacy of the DVD medium, of this opera and of Jonathan Kent’s stage direction...This superlatively sung, played, acted and directed production sets a gold standard for future staged versions...The opera comes with 22 minutes of extras. These illuminate why this Glyndebourne 2011 version is so distinctive, how it developed and the nature of the journey for the performers.” MusicWeb International, March 2013 BBC Music Magazine DVD/Blu-ray Choice - January 2013 |
| | | fRA - FRA507 (Blu-ray) Normally: $41.50 Special: $29.05 |
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| |  | Lutosławski: Vocal Works
The BBC Symphony Orchestra under Edward Gardner, music director of English National Opera and an exclusive Chandos artist, presents Volume 2 of their Polish Music series; a disc dedicated to vocal works by Witold Lutosławski. They are joined by the soloists Lucy Crowe, Toby Spence, and Christopher Purves in looking at some of the composer’s earlier works for voice and orchestra as well as three major works written after 1960: Paroles tissées, Les Espaces du sommeil and Chantefleurs et Chantefables. Among the earlier pieces, Lacrimosa is the only surviving fragment of an intended Requiem and the only sacred work in Lutosławski’s output. In complete contrast, the Silesian Triptych was written at the height of the post-war Soviet doctrine that called for music that connected with the broad masses. In this folk-based work, Lutosławski takes three Silesian songs about the trials of love, giving them sparkle as well as depth to lift them above the mundanity of everyday life. Both works here feature the soprano soloist Lucy Crowe. When Poland finally emerged from the cultural oppression of the post-war decade, its music scene flourished. For Lutosławski, it was a time for personal development. In the first half of the 1960s his music had a raw energy, but by 1965 it had developed a much more subtle tone. Paroles tissées, in which the tenor soloist here is Toby Spence, simply accompanied by strings, harp, and piano, was the first work really to show this new subtlety in his works. Les Espaces du sommeil, with the baritone soloist Christopher Purves, is another prime example of the new lyrical quality that came to colour many of Lutosławski’s later orchestral works. Chantefleurs et Chantefables is made up of nine charming and humourous songs which, inspired by the collection of childrens’ poems by the surrealist Robert Desnos, explores the vivid imagery and bright colours of the natural world through the innocent eyes of a child. “What comes across in this anthology is that he wrote just as beguilingly for voice as for orchestra...[Les Espaces du sommeil] is a dark dreamscape hauntingly captured by Christopher Purves, while Toby Spence underlines the Britten-esque associations of Paroles tissées, written for Peter Pears...With music ranging from youth to old age, the disc adds up to a fascinating traversal of Lutoslawski’s style.” Financial Times, 27th August 2011 **** “Toby Spence brings more muscularity to Paroles Tisées than Pears ever summoned, while Christopher Purves is a wonderfully secure soloist in Les Espaces du Sommeil” The Guardian, 1st September 2011 **** “Poles may quibble over Lucy Crowe's command of the Śląsk (Polish) dialect. They're more likely, though, to praise the beauty of her singing and the beguiling power of music-making projected by all concerned with this disc. Gardner's understanding of and empathy for the expressive subtleties and rich humanity of this music register clearly and irresistable authority. The BBC Symphony Orchestra is on superb form” Classic FM Magazine “Lutosławski's sensitivity to aural texture and detail puts him in a category of his own...Gardner and the BBCSO provide glowing, delicately shaded accompaniment throughout.” The Observer, 11th September 2011 “Toby Spence is on mellifluous form here, and Christopher Purves is no less subtle in the nocturnal cycle Les espaces du sommeil...An attractively varied, highly accomplished release.” BBC Music Magazine, November 2011 **** “Lucy Crowe is in ravishing voice and displays comparable charm and composure in both the rustic Silesian Triptych (1951) and miniature 'Sleep, sleep'...Christopher Purves proves a wonderfully secure exponent in a reading which combines tingling atmosphere and arresting drama to consistently riveting effect. As for the sublimely delicate and exquisitely rapt Paroles tissees, tenor Toby Spence acquits himself with enormous credit” Gramophone Magazine, November 2011 | | | (also available to download from $10.50) | In stock - usually despatched within 1 working day. |
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Continuing the Handel series from Le Concert d’Astrée and Emmanuelle Haïm is La resurrezione, composed during the young Handel’s period in Rome and first performed there in 1708. The work recounts the events of Easter and the solo singers portray Lucifer, Mary Magdalene, an Angel, St John the Evangelist, and St Mary Cleophas. It calls upon a large orchestra, led and directed at the first performance by the master violinist Arcangelo Corelli. The role of Mary Magdalene, here performed by the lush-voiced young British soprano (and EMI Classics artist) Kate Royal, was sung at the first performance by the celebrated Margherita Durastanti, even though the Pope had forbidden female singers to perform in public. In April 2009, Emmanuelle Haïm led a performance of La resurrezione at London’s Barbican Centre, part of a tour which also covered Paris, Dijon, Aix-en-Provence, Lille, Pamplona, Valladolid and Salzburg. The Guardian reported that: “Emmanuelle Haïm's understanding of the relationship between sense and sensuality in Handel has marked her out as one of his finest interpreters, and her performance with her own Concert d'Astrée was notable for its immediacy and expression. The playing had touches of magic as recorders and flutes comforted the uncomprehending saints, and flaring brass heralded the arrival of a new dawn … Camilla Tilling's joyous Angel let fly volleys of flamboyant coloratura … while the great Sonia Prina was vocally spectacular and immensely moving as Mary Cleophas.” The Salzburg performance led the Salzburger Nachrichten to describe the “springy mastery” of the ensemble, “with sparkling accents from the trumpets, lute and gamba … A Baroque highpoint in an Easter Festival dominated by Romanticism.” Drehpunkt Kultur described Luca Pisaroni’s Lucifer as “dangerously honed” and Toby Spence as “a master of subtle ornamentation”. Overall, the ensemble of singers was “technically and stylistically at the peak of today’s Handel interpretation”, while Haïm herself “knows how to ignite her ensemble to such powerful effect and then to restrain the emotion once more, so that the force of expression never runs wild.” This complements the judgement of Forum Opéra on Haïm's Virgin Classics recording of another Italian work by Handel, Il trionfo del tempo e del disinganno: “Emmanuelle Haïm favours the chamber dimension of the work in an interpretation that is balanced, vivid, refined – but not precious – lively, but never aggressive. She prefers the power of suggestion and this puts the music at an advantage: she breathes and lets things run their natural course. Isn’t that the apogee of art? This Trionfo could become a classic.” “…a performance of breath-taking clarity. …Haïm maintains the warmth and delicacy of the chamber sensibility for which this work was conceived.” BBC Music Magazine, Christmas 2009 ***** “Handel's early Resurrection oratorio… is characterised by a freshness and vitality that he seldom matched in more mature works. That spirit shines through in Emmanuelle Haïm's excellent new recording with her Concert d'Astrée, played with all the expressive flair one has come to expect of her. Luca Pisaroni makes a suitably villainous Lucifer and his virile bass-baritone is well up to the wide tessitura of the part... Sonia Prina's contralto is heard to lovely effect in Mary Cleophas's pastoral music. The work's striking opening aria belongs to the Angel, taken here with plenty of presence by Swedish soprano Camilla Tilling. Two British singers complete... both give of their very best. Toby Spence is elegant in St John the Evangelist's music, and Kate Royal find sumptuous beauty and emotional depth in the part of Mary Magdalene.” Gramophone Magazine, February 2010 | | | In stock - usually despatched within 1 working day. |
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Simon Keenlyside (Prospero), Kate Royal (Miranda), Toby Spence (Ferdinand), Ian Bostridge (Caliban), Cyndia Sieden (Ariel), Philip Langridge (Alonso), Donald Kaasch (Antonio), Jonathan Summers (Sebastian), David Condier (Trinculo), Stephen Richardson (Stefano), Graeme Danby (Gonzalo) The Chorus and Orchestra of the Royal Opera House Covent Garden, Thomas Adès 2CD Multipack with libretto and slipcase When Thomas Adès conducted his opera The Tempest at the Royal Opera House, Covent Garden in 2007, EMI Classics microphones were on hand to record this “masterpiece of airy beauty and eerie power.” (Alex Ross, The New Yorker). The cast included Simon Keenlyside, Cynthia Sieden, Ian Bostridge, Toby Spence, Kate Royal, Philip Langridge, and Stephen Richardson, many of whom took part in the critically acclaimed world premiere three years earlier. “there are moments in all three acts which are by any standards sheerly, heartstoppingly beautiful; passages in which the music seems to be mined from an unfathomable depth of feeling …” Andrew Clements, The Guardian “It’s probably the first new opera I’ve experienced in 20 years that left me feeling not just intellectually aroused but deeply moved … A coming-of-age piece. And, yes, momentous.” Michael White, The Independent “Adès does not shirk the traditional big operatic moments. There is a thrilling and moving quintet of reconciliation and he gives each of his main characters an imposing and impressive aria…these are expressed in music of extraordinary imaginative power.” Michael Kennedy, The Sunday Telegraph "The evening deservedly belongs to Adès, who himself conducts a score as orchestrally lush and evocative as vocally varied and articulate. The cumulative effect is by turns ethereal, witty, incandescent, often ravishing". The Guardian 2004 “(Adès’s The Tempest) has the potential to be one of the most enduring new operas of the decade. (…) If you need proof that the hype surrounding Adès is more than just hope and expectation, you will find it here” The Guardian on the Royal Opera House revival in March 07. “Adès has provided Covent Garden and British opera in general with one of its great moments. The cheering from every corner of the theatre on Tuesday - orchestra pit included - felt like what it was: British opera’s equivalent of the England World Cup rugby win.” The Guardian “Out-Brittening Britten’s Grimes storm music in the prelude, and the eerily beguiling tintinnabulations of the Magic Banquet music that make the recording so rewarding” Sunday Times, 21st June 2009 “Performances are almost all first rate. It's a measure of the strength of the mostly British casting that singers of the quality of Stephen Richardson and Jonathan Summers take some of the smallest roles. Simon Keenlyside's no-nonsense Prospero, a force to be reckoned with from the very start of the opera, is outstanding, and it's hard to think of another singer who could manage the stratospheric writing for Ariel more effortlessly than Cyndia Sieden. Ian Bostridge's Caliban, Philip Langridge's King of Naples, Kate Royal's Miranda and Toby Spence's Ferdinand are excellent, too. It's a fine production, which does full justice to Adès's sometimes remarkable work.” The Guardian, 19th June 2009 **** “Simon Keenlyside makes an authoritative Prospero, Ian Bostridge’s Caliban tugs at the heartstrings in his radiant Act 2 aria and Cyndia Sieden is phenomenal as a stratospherically high coloratura soprano Ariel.” The Telegraph, 10th June 2009 **** “From the tornado-like prelude to Ariel's stratospheric yet ethereal "Five fathoms deep" the music illuminates rather than merely illustrates the drama. …Kate Royal as Miranda, is fully inside her part and sings alluringly… For many, the most memorable writing in The Tempest comes attached to Ariel's vocal high-wire act. Few coloratura sopranos are able to dispatch it like Cyndia Sieden, whose sound lends special colour to the performance... Simon Keenlyside, on the young side as Prospero, mixes brain and baritonal brawn in his characteristically charismatic way. Ian Bostridge sings unstintingly as a wonderfully weird Caliban... The playing of the Covent Garden orchestra is another luxury - no, a necessity, given the brilliantly conceived and demanding orchestral aspect of this piece.” Gramophone Magazine, August 2009 “…everyone reaches out to the purple passages when Adès touches something rich and strange. Those include the evolution of the young lovers' music from homages to midsummer Britten and Tippett to the heights of Act II, Ariel's banquet and masque in Act III, and the ensemble-passacaglia which takes the ultimate centre of gravity from Prospero's perfunctorily written farewells.” BBC Music Magazine, August 2009 **** “It may not be a flawless masterpiece ... but it is one of the most viable and stageworthy of modern British operas...The playing of the Covent Garden orchestra is another luxury no, a necessity, given the brilliantly conceived and demanding orchestral aspect of this piece.” Gramophone Classical Music Guide, 2010 “well constructed and dramatically effective in its clever timing and contrasted textures...The late Philip Langridge in one of his last performances at Covent Garden...makes a memorable King of Naples, while Ades's evocative orchestration with its percussion effects vividly conjures up the atmosphere of the magic island of Prospero...A strong and memorable opera” Penguin Guide, 2011 edition | | | In stock - usually despatched within 1 working day. |
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“…Haydn's magnificent oratorio receives here a lively and considered reading. This is a new Creation of major quality, running close the best of existing versions, among which Karajan's Berlin Philharmonic set will probably be preferred by those wanting a modern-instrument approach, and John Eliot Gardiner's version by those who want the full period style.” BBC Music Magazine, January 2008 **** “…choice among period Creations is far from clear-cut. If Harnoncourt has the finest solo team and Gardiner's choruses pack the most powerful punch, Christie's inspiring performance has none of their occasional artfulness, and is arguably the best played of the lot.” Gramophone Magazine, February 2008 | | | In stock - usually despatched within 1 working day. |
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“Haïm's performances are light-footed and elegantly phrased and her mainly pleasing line-up of soloists is attentive to textural content and word-painting.” BBC Music Magazine, January 2008 **** “Haïm's colourful sense of theatre produces bold gestures and some hair-raising speeds. There are powerfully sensual performances from Natalie Dessay and Karine Deshayes but the choral singing is less consistent.” BBC Music Magazine, March 2009 “…while joyful exhortation courses through the Magnificat, Haïm's approach is not simply about sprung rhythmic gesture. She harnesses and moulds the solos with a kaleidoscopic scheme of voice-types, hand-picked for each movement… Again, it is the solo movements in Dixit Dominus which capture the imagination as they are distilled through Haïm's inimitable operatic flair and dramatic timings, where bite and allure sit in easy juxtaposition.” Gramophone Magazine, Janurary 2008 | | | In stock - usually despatched within 1 working day. |
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| |  | (1751 version)
This new recording of Handel’s Messiah presents the first modern recording of a re-construction of Handel’s unique London performances of Messiah in April and May 1751, when he used treble voices from the Chapel Royal for choruses and arias. “Taking his cue from Handel's 1751 performances, Edward Higginbottom assigns all the soprano solos to some talented boy trebles from the Choir of New College, Oxford. Otta Jones's contribution to 'He shall feed his flock' and Henry Jenkinson's 'I know that my redeemer liveth' are lovely testaments to Higginbottom's crusading 30 years with his choir.
At best, Higginbottom's choir produces some marvelous moments ('All we like sheep', and one of the finest 'Amen' fugues on disc). Higginbottom's direction does not boil with dramatic intensity but instead simmers along with patience, elegant judgement and articulate tastefulness.
Some familiar music bears ripe fruit when taken a shade slower than has become common in recent times ('Glory to God' is splendid rather than hurried, and all the better for it). Ex-scholar Toby Spence is on fine form in 'Rejoice greatly', and Iestyn Davies's poetic singing is another enjoyable feature, although one might hanker for a more dramatic treatment of 'shame and spitting' ('He was despised'). 'The trumpet shall sound' resounds with David Blackadder's magnificent playing, and the Academy of Ancient Music play Handel's orchestral parts immaculately.
This Naxos release will appeal to those who want an affordable Messiah that is beautifully played, brightly sung, sweetly satisfying and unashamedly English in its sentimental roots.” Gramophone Classical Music Guide, 2010 “This is a very special recording. Not only is it of quite outstanding quality both musically and dramatically, but, being sung entirely by male voices associated with a single institution (all the soloists are past or present members of New College Choir), it probably comes as close as modern conditions permit to a sound that Handel would have recognized.” The Telegraph | | | (also available to download from $10.75) | In stock - usually despatched within 1 working day. |
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“Norrington's approach is pensive, sober and funereal-but it's so well paced that the sense of inevitability underlines man's mortality, and the outbursts when they do come are more effective for their comparative restraint...a reminder that the first performance was in church, not on a concert hall stage.” Andrew McGregor, bbc.co.uk, 8th May 2006 “"Truly it was of frightening greatness," wrote Berlioz after the Requiem 's première. The massed timpani of the "Tuba mirum" produced an "indescribable shock". The chief priest wept uncontrollably, while one of the choral singers suffered a nervous breakdown.
Thankfully, there seems to have been no such casualty among the singers in this "live" performance from Stuttgart. The rich, ample acoustics of the Beethovensaal give full value to Berlioz's vast spatial effects, most spectacularly the four brass bands that herald the timpani onslaught in the "Tuba mirum". Yet Norrington's concern for clarity of line and articulation, and the carefully judged balances, mean that we hear far more than usual of Berlioz's brilliant and bizarre orchestral detail.
Norrington's dramatic urgency, allied to choral singing of thrilling body and bite, make the apocalyptic movements duly overwhelming. No less moving is the choir's luminous delicacy in the "Quid sum miser" and "Quaerens me" - music of Cistercian purity and austerity - while Toby Spence brings a calm, rapt beauty to the cruelly high solo in the "Sanctus". A magnificent achievement, to be set alongside Colin Davis's recordings of this awesome work.” The Telegraph | | | (also available to download from $21.00) | In stock - usually despatched within 1 working day. |
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| |  | Director: Luc Bondy,
Designer: Richard Peduzzi,
Costumes: Rudy Sabounghi &
Lighting: Dominique Bruguière
“Among the best DVDs ever made of a Handelian production.” Opera News “…it's the grand portrait of Dejanira that holds the attention in a marvellously evocative performance from Joyce DiDonato… Les Arts Florissants responds to William Christie's firm yet subtle conducting with immaculate playing, while Luc Bondy's modern-dress production searches out the work's truth in a considered, finely-honed dramatic realisation.” BBC Music Magazine, March 2006 **** “Luc Bondy's Aix-en-Provence production, here captured at a later Paris performance, confirms that Hercules is superb theatre. Many of Bondy's ideas about detail and stagecraft are impressive and convincing. In Sophocles, Hercules is a serial adulterer; but in Handel's drama it is transparent that he and lole are innocent. Instead, Bondy portrays Dejanira as an innocent victim, lole as a scheming greedy hypocrite, and Hercules as a thoroughly unpleasant cad. All three characterisations grind against Handel's music. But if you accept that this is a distorted invention based on Handel's drama, it becomes an accomplished and powerful experience. Joyce DiDonato's finest moment as the nervously twitching Dejanira is a penetrating, tearful performance of 'Cease, ruler of the day to rise'... Swedish soprano Ingela Bohlin has striking looks and a lovely clear voice: Iole's 'My father!' and 'My breast with tender pity swells' are highlights. Toby Spence's articulate singing makes him a potent Hyllus... The chorus of Les Arts Florissants sings with clarity, precision and a good sense of the libretto's meaning...” Gramophone Magazine, April 2006 | | | In stock - usually despatched within 1 working day. |
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