Prices shown exclude VAT. (UK tax is not payable for deliveries to United States.) See Terms & Conditions for p&p rates. | |  | Part Two of The Magic Flute
World Premiere Recording. Live Recording from The Residenzhof, Salzburg Festival, 2012 We are all familiar with Mozart’s Die Zauberflöte (The Magic Flute) to the libretto by Emanuel Schikaneder (1751–1812). It is not widely known however that Schikaneder wrote a sequel to The Magic Flute, which his friend Peter von Winter (1754–1825) set to music. 2012 the Salzburg Festival presented this operatic rarity in the form of a glittering fairy-tale opera full of magical events. The happy couple Pamina and Tamino have to master trials and tribulations, like the separation by Sarastro in order to wander through an underground labyrinth and the continuing machinations of the Queen of the Night. Well-loved Papageno – who reunites with his parents and finally marries his Papagena – helps Tamino and Pamina in their efforts to reach a happy ending. The Salzburg production by young director Alexandra Liedtke features a number of star soloists with Christof Fischesser as Sarastro and Malin Hartelius and Michael Schade as the lovers Pamina and Tamino. Newcomer Thomas Tatzl gives a charming Papageno, who leads us through the story and is always good for an adventure. Ivor Bolton conducts his Salzburg Mozarteum Orchestra energetically, smoothly and elegantly, bringing out the best in Peter von Winter’s charming score with its cleverly interwoven allusions to Mozart. His compositions partly marked the transition between Mozart and Carl Maria von Weber in the development in German opera. Sound Format: PCM Stereo, DD 5.1, dts-HD Master Audio 5.1 Picture Format: 16:9, 1080i FULL HD Subtitle Languages: DE (Original Language), GB, FR, ES, IT, JP, Korean Running Time: 158 mins Blu-ray Disc: 25 GB (Single Layer) FSK: 0 | 
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| |  | Live Recording from The Felsenreitschule, Salzburg Festival, 2003
Set Design by Jens Kilian Arthaus presents a truly new way of looking at La clemenza di Tito with this famous and star-studded production from the Salzburg Festival 2003. Here Nikolaus Harnoncourt, renowned for his analytical approach to the search for the core of the music, interprets Mozart’s last opera. Martin Kušej, who is acclaimed for his theatre productions directs the production. Nikolaus Harnoncourt identifies with Mozart’s score as both an extremely knowledgeable musician and a conductor who invariably plays an active part in helping to shape the drama. Together with the Vienna Philharmonic, he savours the miracles of Mozart’s late work, bringing out its instrumental colours and effects and at the same time stimulating his singers while proving a solicitous accompanist. Martin Kušej’s production emphasizes the darker sides of the piece, exploring the opera’s basic archetypal patterns while at the same time interpreting it as a highly topical and – in the truest sense of the term – timeless political and human power game. His ability to bring this concept across by focussing on every last detail of the characterization reflects the demand to provide new insights into Mozart’s works that, in Salzburg more than anywhere else, is incumbent upon interpreters. The suggestive power of this performance however, is also due to an ensemble that was truly worthy of a festival appearance. As one critic wrote, six handpicked artists “brought to their parts both plenty of character and a flawless technique”. Sound Format: LPCM Stereo, DD 5.1, DTS 5.1 Picture Format: 16:9 DVD Format: 1 x DVD 5, 1 x DVD 9 / NTSC Subtitle Languages: DE, GB, FR, ES, IT Running Time: 160 mins FSK: 0 “The strongest point in its favour is its communication of the work's austere power: a music-drama that both sums up the past and looks far into the future...The characters, whether or not one accepts Kusej's view of them, are all delineated with extraordinary vividness; in purely vocal terms likewise this is a Tito cast of considerable all-round distinction.” BBC Music Magazine, July 2011 ** | | | In stock - usually despatched within 1 working day. |
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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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Set in Egypt, Massenet's drama 'Thais' (1894) traces the ill-fated attempt of the monk, Athanaël, to rescue the soul of the celebrated Alexandrian courtesan, Thaïs. Though she is presently living with his wealthy friend Nicias, Athanaël persuades her to renounce her way of life and riches, but as she dies in the desert in a state of grace, he realises he has succumbed to her worldly charms and begs God for mercy. Renée Fleming triumphs as the glamorous courtesan Thaïs in Massenet’s romantic tragedy set in fourth century Alexandria and the Egyptian desert. The timeless struggle between earthly desire and spiritual redemption finally destroys the resolve of the monk Athanaël (Thomas Hampson), just as the newly penitent Thaïs ascends heavenward. Jesús López-Cobos gives a masterly performance of Massenet’s sensuous score, with concert master David Chan contributing a ravishing ‘Méditation’. The first Met staging in over 30 years of Massenet’s Thaïs is released on a starry DVD sure to win this beguiling French opera many new fans. Renée Fleming is Thaïs to the life. She sings Massenet’s taxing role with the utmost ease and beauty of tone while looking as glamorous as her famous predecessors. Fleming’s co-star is the great American baritone Thomas Hampson in the role of Athanaël, a part he sings and acts with mastery. Renée Fleming’s best-selling audio set of Thaïs was greeted by the Associated Press: “Fleming was in glorious voice, floating high pianissimos with ease, pouring out melting, creamy tone.” If anything, Renée Fleming’s DVD assumption is deeper, subtler, more touching The New York Times lauded Renée Fleming as a “vocally sumptuous and unabashedly show-stealing Thaïs”. If this is crime, opera needs more of it! Short bonus feature: “Backstage at the Met” with Plácido Domingo (7’52”). Filmed in High Definition. Renée Fleming’s costumes for this production were made by French designer Christian Lacroix. There is virtually no DVD competition on Thaïs. DURATION: 146 mins (opera) SUBTITLES: English, French (sung language), German, Spanish, Chinese PICTURE FORMAT: 16:9 (anamorphic widescreen), Colour, NTSC, Region code 0 (worldwide) SOUND FORMAT: LPCM Stereo & DTS 5.1 Surround (DVD) LPCM Stereo & DTS Master Audio Surround (Blu-ray) BONUS FEATURE: 'Backstage at the MET', presented by Plácido Domingo, featuring interviews with Fleming and Hampson “Renée Fleming is vocally splendid, positively caressing Massenet's ornate vocal line with luscious ease...Thomas Hampson is an appropriately grim Athanaël, boiling with sublimated lust.” BBC Music Magazine, May 2010 **** “Do you like fragrant kitsch? Then roll up for this enjoyable DVD of Massenet’s cocktail of sex and piety...Fleming’s creamy trills as the Egyptian courtesan who finds God are almost as luscious as her costumes, designed by the French fashion god Christian Lacroix.” The Times, 20th February 2010 **** | | | In stock - usually despatched within 1 working day. |
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| |  | Mozart Gala from SalzburgRecorded at Felsenreitschule Salzburg, Austria
Directed by Brian Large. The highly acclaimed gala concert celebrating the 2006 Mozart anniversary from the Salzburg Festival featuring some of the world´s top singers, including exclusive DG artists Anna Netrebko, Magdalena Kozena, Patricia Petibon and Rene Pape with the Wiener Philharmoniker under Daniel Hardingat last on DVD! Held in the Felsenreitschule on 30 July 2006 at the start of the Salzburg Festival, the gala performance represents the full spectrum of the Mozart festivities through a selection of arias and orchestral works Celebrated soprano Anna Netrebko lives up to her reputation as a fiery dramatic diva with her passionate rendition of Elettra's aria D'Oreste, d¡'Aiace from Idomeneo, while Magdalena Kozena, who was acclaimed for her performance as Idamante in the festival's production of the opera, sings the duet S'io non moro a questi accenti with Ekaterina Siurina as Ilia Other highlights include renowned baritone Thomas Hampson Rivolgete a lui lo sguardo from Cosi fan tutte and Rene Pape's spirited rendition of Leporello's famous catalogue aria from Don Giovanni As well as providing superb accompaniments, the Wiener Philharmoniker makes a contribution of its own to the programme with the overtures to Don Giovanni and Idomeneo, and concluding the performance with the Prague Symphony, K. 504 Filmed in HD, released in 16:9 widescreen; audio in PCM and 5.1 DTS Surround Sound First DVD release “The orchestral playing is impeccably groomed, opening with a fast and fiery account of the Don Giovanni overture followed later by a dynamic Idomeneo overture and finishing with an accomplished Prague Symphony. The vocal contributions are less even and, except in the case of the two Russian artists, marred by some ugly face pulling to produce particular vowels. The Russians sing magnificently too, Anna Netrebko nearly bringing the house down with Elettra's 'fury' aria from Idomeneo and Ekaterina Siurina scoring as Ilia with her fresh tone and simplicity of manner.” BBC Music Magazine, February 2009 *** | | | In stock - usually despatched within 1 working day. |
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“Orlando paladino is at the summit of Haydn's operatic art, and Harnoncourt's well-cast version is strongly recommended.” BBC Music Magazine, August 2009 “Nikolaus Harnoncourt boldly proclaims that Orlando Paladino 'is one of the best works in 18th-century music theatre'. Written to commemorate a visit by Russian royalty to Eszterháza that never materialised, Orlando Paladino was first performed in 1782, in celebration of Prince Nikolaus's name-day. Sabine Gruber's conversational essay explains how Haydn's musical portraits show an astute affection for Ariosto's epic poem. Although Haydn's Orlando Paladino seems part-pantomime, part-fantasy, these characters are never conscious that they are not what they protest to be. Like Ariosto, Haydn lets the audience in on the joke but the characters remain blissfully oblivious to the hypocrisy or naivety of their richly ironic statements to themselves and each other. Harnoncourt's exemplary team of singers deliver deadpan comedy. For instance, Werner Güra takes on an opera seria posture as the romantic 'hero' Medoro in 'Parto, Ma, oh Dio': the glorious musical language suggests he suffers from sincere passion, but his real motivation is cowardice. One imagines that Patricia Petibon's Angelica is merely emulating the heroic fidelity and courage of women like Mozart's Konstanze but during 'Non partir, mia bella face' one suspects that there is sincerity in her after all: Angelica is facing possible abandonment and her vulnerability shows through. Michael Schade's voice is smokier than it used to be but his powerful resonant high notes, expressive weight and authority suggest that Orlando is more victim than villain. Only the comic secondary roles sung by Markus Schäfer and Malin Hartelius get hammed up, but they each sing with élan. There is a vivid sense of dramatic intensity in this live concert recording. It is historically absurd to employ a lute as part of the continuo team in a late-18th-century opera but Harnoncourt leads Concentus Musicus Wien through a fizzing theatrical performance. This is comfortably among the finest Haydn opera recordings, although the stingy omission of scene numbers and stage directions from the libretto is unhelpful.” Gramophone Classical Music Guide, 2010 “Harnoncourt's exemplary team of singers deliver deadpan comedy. There is a vivid sense of dramatic intensity in this live concert recording. …Harnoncourt leads Concentus Musicus Wien through a fizzing theatrical performance. This is comfortably among the finest Haydn opera recordings...” Gramophone Magazine, October 2006 “The musical adventurer par excellence,… the scholarly conductor with temperament, the thinking musician who makes music with rough edges” Gramophone Magazine | | | In stock - usually despatched within 1 working day. |
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Renée Fleming (Daphne), Johan Botha (Apollos), Michael Schade (Leukippos), Kwanchul Youn (Peineios), Anna Larsson (Gaea), Eike Wilm Schulte (1st Shepherd), Cosmin Ifrim (2nd Shepherd), Gregory Reinhart (3rd Shepherd), Carsten Mittmoser (4th Shepherd), Julia Kleiter (1st Maid) & Twyla Robinson (2nd Maid) Orchestra & Chorus of West Deutscher Rundfunk, Semyon Bychkov “Renée Fleming's many admirers should be pleased enough with her gracious performance. She deals idiomatically with Strauss's long phrases and points the text well…” BBC Music Magazine, October 2005 “Fleming copes beautifully with the high tessitura of the role, and produces her clearest, brightest tone...with bright, cleanly focused sound backing Bychkov's urgent and sensuous reading, the result is very convincing” Penguin Guide, 2010 edition **** “As Daphne, Fleming soared” The Independent on Sunday, 21st March 2004 | | | In stock - usually despatched within 1 working day. |
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