Christine Rice

Mezzo-soprano

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Offenbach: Les Contes d'Hoffmann

Offenbach: Les Contes d'Hoffmann


Vittorio Grigolo (Hoffmann), Kate Lindsey (Nicklausse/Muse), Christine Rice (Giulietta), Sonya Yoncheva (Antonia), Sofia Fomina (Olympia), Thomas Hampson Coppélius/Dapertutto/Lindorf/Miracle)

Orchestra of the Royal Opera House, Royal Opera Chorus, Evelino Pidò (conductor) & John Schlesinger (director)

The final revival of this well-loved production by John Schlesinger provided the perfect vehicle for Vittorio Grigòlo as Hoffmann to display his wonderful voice and masterful acting, surrounded by an exemplary supporting cast, including Sonya Yoncheva in the role of Antonia, and Thomas Hampson as Hoffmann’s arch rivals. The production at the Royal Opera House (November 2016) garnered very good reviews, especially for Vittorio Grigòlo.

Released or re-released in last 6 months

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Sony - 88985376619

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$13.50

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Offenbach: Les Contes d'Hoffmann

Offenbach: Les Contes d'Hoffmann


Vittorio Grigolo (Hoffmann), Kate Lindsey (Nicklausse/Muse), Christine Rice (Giulietta), Sonya Yoncheva (Antonia), Sofia Fomina (Olympia), Thomas Hampson Coppélius/Dapertutto/Lindorf/Miracle)

Orchestra of the Royal Opera House, Royal Opera Chorus, Evelino Pidò (conductor) & John Schlesinger (director)

The final revival of this well-loved production by John Schlesinger provided the perfect vehicle for Vittorio Grigòlo as Hoffmann to display his wonderful voice and masterful acting, surrounded by an exemplary supporting cast, including Sonya Yoncheva in the role of Antonia, and Thomas Hampson as Hoffmann’s arch rivals. The production at the Royal Opera House (November 2016) garnered very good reviews, especially for Vittorio Grigòlo.

Released or re-released in last 6 months

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Sony - 88985376629

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Music for Remembrance

Music for Remembrance


Duruflé:

Requiem, Op. 9

Roderick Williams (baritone), Christine Rice (mezzo-soprano)

Howells:

Take him, earth, for cherishing

Moore, P:

Three Prayers of Dietrich Bonhoeffer

Tavener:

The peace that surpasseth understanding

Vaughan Williams:

Lord, Thou has been our refuge


This latest album from Westminster Abbey is a programme of memorial music composed in England and France in the shadow of two World Wars.

The main feature is Duruflé’s Requiem, one of the best-loved of all works of the twentieth century, and given an astoundingly beautiful performance here, enhanced by distinguished soloists Christine Rice and Roderick Williams.

The Requiem is many ways a paradoxical work, based on plainsong but with Durufle’s sensuous harmonies suffusing every note with feeling: ‘This Requiem is not an ethereal work which sings of detachment from human concerns’, he said. ‘It reflects, in the unchanging form of Christian prayer, the anguish of man faced with the mystery of his final end.’ It is a work of unimpeachable integrity, a miraculous synthesis of the old and the new.

Throughout the past century the Abbey has been a focus of national remembrance on Armistice Day, and ‘O God, our help in ages past’—the ‘great ceremonial hymn of the English nation’, quoted in Vaughan Williams’ Lord, thou has been our refuge—has been a constant and reassuring presence, from the Burial Service of the Unknown Warrior on 11 November 1920 to the Service commemorating the Passing of the World War One Generation on 11 November 2009. The anthem by John Tavener recorded here was composed for that service, and all the other English music has some special significance in this place: a statue of Dietrich Bonhoeffer stands above the west door of Westminster Abbey (one of the ten twentieth-century Christian martyrs installed in the niches there in 1998), while the ashes of Herbert Howells and Ralph Vaughan Williams are buried in the church where their music has contributed so much to daily services and great state occasions.

“The two soloists are excellent. Roderick Williams shows his usual sensitivity not just to the music but also to the text...The Westminster choir gives a fine account of the wonderful, eloquent Howells anthem... James O’Donnell’s excellent choir is on top form throughout this recital.” MusicWeb International, 7th November 2014

“Roderick Williams features widely in remembrance recordings this year...and here in Duruflé’s transcendent Requiem, his beautiful unforced baritone perfect for the mysterious Domine Jesu Christe, with the strings of the Britten Sinfonia adding an elegant sheen in the expansive acoustic of the abbey.” The Observer, 9th November 2014

“This is an exquisite performance of the Durufle Requiem...The playing of the Britten Sinfonia is superb, Robert Quinney's fluid, immensely colourful organ-playing a joy to behold and Roderick Williams a supremely compelling baritone soloist...O'Donnell moulds and shapes every moment with infinite care...as a beautiful listening experience it is in a class of its own.” Gramophone Magazine, November 2014

Hyperion - CDA68020

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$14.50

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Brian: Symphony No. 1 'Gothic'

Brian: Symphony No. 1 'Gothic'


Susan Gritton (soprano), Christine Rice (mezzo-soprano), Peter Auty (tenor), Alastair Miles (bass) & David Goode (organ)

BBC National Orchestra of Wales, BBC Concert Orchestra, The Bach Choir, BBC National Chorus of Wales, Brighton Festival Chorus, CBSO Youth Chorus, Côr Caerdydd, Eltham College Boys’ Choir, Huddersfield Choral Society & London Symphony Chorus, Martyn Brabbins

On 17 July 2011 over 800 performers gathered in London’s Royal Albert Hall to give a rare performance of Havergal Brian’s Symphony No 1 in D minor—‘The Gothic’. Tickets for this Prom sold out within 24 hours, and so it gives us great pleasure to make this live recording available to all.

It’s a pretty phenomenal work. Responding to the challenge set by Sir Henry Wood, the composer has thrown just about every known orchestral instrument into the mix, then adding a double chorus of over 500, plus children’s choirs, for an hour-long Te Deum—the church’s blazing Hymn of Thanksgiving—which makes up the symphony’s finale.

Whether or not you were lucky enough to be there on the night, this is a recording not to be missed.

“As ideas tumble forth in Havergal Brian’s epic scheme, you cannot help admiring his fervour in getting it all down on paper. It remains one of the oddities of the English symphonic repertoire, but Martyn Brabbins and his legions of players and singers do it proud.” The Telegraph, 2nd December 2011 ****

“Hyperion's release is a perfect one, of a great event, a magisterial work and an encapsulation of the enormous difficulties of the project as a whole...[Brabbins emphasises] the kaleidoscopic variety of speeds, textures and invention in the score. Aided by Hyperion's sensational sound, details which barely registered before become crystal clear...I cannot recommend it strongly enough.” Gramophone Magazine, February 2012

“credit to Martyn Brabbins for overseeing a performance which emphatically does not play it safe: enabling the piece to be appreciated for a formal evolution as oblique and purposeful as is its emotional progression...the discreet but intent control exerted over the vast numbers leaves no doubt as to his conviction. That the capacity audience betrays so few sign of its presence says much in itself.” International Record Review, January 2012

“Where to begin? This is a hugely impressive record of a great performance, but I’m not convinced that this is great music. But you can’t help feeling thankful that once in a generation we’re given the chance to hear something of this magnitude and judge the results for ourselves” The Arts Desk, 11th February 2012

“the best [recording] yet. There's an ongoing buzz of Proms atmosphere that grips from start to finish; and the recorded sound succeeds phenomenally at somehow fitting Brian's hugest climaxes alongside the delicate scoring of other passages into a convincing perspective. Under Brabbins's forthright direction, even the work's poorer passages (and whatever Brian's fanatical supporters say, there are plenty) don't sprawl.” BBC Music Magazine, March 2012 ****

“This seems likely to become the top recommendation of this huge but strange symphony for many years to come...The BBC Proms is one of the few organisations which is capable of putting on a performance of this epic work, and I was thrilled to learn that Hyperion would be releasing it. It is well worth hearing.” Chris O'Reilly, Presto Classical, 28th November 2011

Presto Disc of the Week

28th November 2011

GGramophone Magazine

Editor's Choice - February 2012

Hyperion - CDA67971/2

(CD - 2 discs)

$28.50

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Birtwistle: The Minotaur

Birtwistle: The Minotaur

Recorded live at the Royal Opera House, Covent Garden on the 25th & 30th April and 3rd May 2008.


John Tomlinson (The Minotaur), Johan Reuter (Theseus), Christine Rice (Ariadne), Andrew Watts (Snake Priestess), Philip Langridge (Hiereus), Amanda Echalaz (Ker), Rebecca Bottone, Pumeza Matshikiza, Wendy Dawn Thompson, Christopher Ainslie, Tim Mead (Innocents)

The Royal Opera Chorus & The Orchestra of the Royal Opera House, Antonio Pappano (conductor) & Stephen Langridge (stage director)

This world premiere of a gripping new work by composer Harrison Birtwistle and librettist David Harsent, commissioned by The Royal Opera, brings the monstrous, Greek mythological character to the stage. John Tomlinson stars as the Minotaur, part man, part beast, trapped in his labyrinth and constrained by his bloodthirsty role there, longs to discover his true identity and his own voice. Athens must pay a blood sacrifice to Crete and among the innocents is Theseus, who has come to challenge the violent Minotaur, but who also attracts the attention of Ariadne, half-sister and keeper of the monster; it is with her help he succeeds. Antonio Pappano conducts the Orchestra and Chorus of the Royal Opera House.

‘Thanks to a superb cast and impeccable playing under Antonio Pappano, the evening is a glittering success. …what Birtwistle has done is give us one opera inside another. The outer one is strident and earthbound; the inner one – ending with the Minotaur's Caliban-like dying aria – burns with visionary fire.’ The Independent

Extra features:

Documentary: ‘Myth is universal'.

Illustrated synopsis & cast gallery.

Running time 175 mins

Region code All regions

Video codec: AVC/MPEG-4

Disc size: BD50

Picture format 1080i High Definition / 16:9

Sound format 2.0 & 5.0 PCM (TBC)

Menu language EN

Subtitles EN/FR/DE/ES/IT

“This opera, premiered at the Royal Opera last April, seems to me to be a masterpiece, of the kind that one feels the greatness of before one has a complete understanding of it. …the Minotaur is a terrifying and pained figure. This performance is the climax of John Tomlinson's career, in a part written with his huge, gravelly voice in mind. The other compelling figure is Ariadne... Christine Rice, bearing the weight of exposition and of suffering, uses her wonderfully rich mezzo to stunning effect.” BBC Music Magazine, December 2008 *****

“The filming reinforces the strengths of Stephen Langridge's tightly controlled, potently expressive production in an economical yet atmospheric setting, with the whole ensemble totally engaged in the drama's dark enterprise. Repeated hearings underline that, in the end, this tragedy is the more convincing for the way its turn towards pathos does not involve any false consolation.” Gramophone Magazine, January 2009

“Birtwistle's latest large-scale music drama, written for Covent Garden, is a quite different experience on DVD: what might have been planned by composer and stage director to be witnessed from a distance is shown in unsparing close-up. But this seething, monumental reinvention of one of the most disquieting Greek myths – with a pithy libretto by David Harsent – is neither betrayed nor diminished by this excellent film. Only in its final stages does the opera's focus shift decisively to the doomed Minotaur from the scheming Ariadne, and the drama's most essential point is that this Ariadne – as different from Strauss's as Birtwistle's Orpheus is different from Gluck's – is in her own way as much of a monster as the half-man/half-bull. These demanding roles are projected with maximum musical eloquence by Christine Rice and Sir John Tomlinson, no doubt because – as Rice makes clear in the absorbing 30-minute documentary that accompanies the performance – what is demanding is also intensely rewarding to singers prepared to commit themselves to a steep learning curve. Equal commitment is evident in Johan Reuter's Theseus, the conventions of heroic posturing given new depth and relevance in text, music and vocal acting alike. We see little of Antonio Pappano and his orchestra, but the excellent sound never lets us escape the inexorable magnetism of the instrumental continuum.” Gramophone Classical Music Guide, 2010

GGramophone Awards 2009

Finalist - DVD

GGramophone Magazine

DVD of the Month

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Opus Arte Royal Opera House Collection - OABD7052D

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Respighi - The Roman Trilogy

Respighi - The Roman Trilogy


Respighi:

Fountains of Rome

Pines of Rome

Alessandro Carbonare (clarinet) & Andrea Lucchi (trumpet)

Roman Festivals

Alessio Allegrini (horn)

Il tramonto

Version for voice and string orchestra

Christine Rice (soprano)


"I feel very honoured and privileged to be able to conduct this music with the Orchestra of the Academy of Santa Cecilia not only because it's my orchestra now but because the Fountains and the Pines of Rome were written for this orchestra and were premiered by this orchestra. And the Roman Festivals were premiered by the New York Philharmonic with Toscanini conducting but this orchestra played the Italian premiere." Antonio Pappano

“Pappano's gift to constantly delve well beyond the reputation these tone-poems have as technically brilliant display pieces devoid of deeper content. Try to listen, for instance, to the plangency of the woodwind playing at the rapt opening of 'Fountain of Valle Giulia', or the translucent sifting of textures in a magical 'Villa Medici Fountain', without becoming riveted.” BBC Music Magazine, November 2007 *****

“What more appropriate orchestra to record the three Roman colour-scapes of Respighi than Rome's greatest orchestra under its music director, Antonio Pappano? As in Italian opera, Pappano has a natural feeling for flexible phrasing without exaggeration. ...while the fine EMI recording offers clean separation and a wide dynamic range to match even the brilliant Decca. ...as a bonus Pappano offers the lovely setting of Shelley in translation for mezzo and strings, Il tramonto ("The Sunset"), beautifully sung with clear, firm tone by Christine Rice.” Gramophone Magazine, November 2007

“What more appropriate orchestra to record the three Roman colour-scapes of Respighi than Rome's greatest orchestra under its music director, Antonio Pappano? In every way this new version is more than a match for the fine Dutoit version of the trilogy (Decca). As in Italian opera, Pappano has a natural feeling for flexible phrasing without exaggeration, and here he has even more resilience in his springing of rhythms than Dutoit, while the fine EMI recording offers clean separation and a wide dynamic range to match even the brilliant Decca.
It adds to the attractions of the disc that as a bonus Pappano offers the lovely setting of Shelley in translation for mezzo and strings, Il tramonto ('The Sunset'), beautifully sung with clear, firm tone by Christine Rice. Dutoit puts the trilogy pieces in his chosen order while Pappano presents them in chronological order, ending with the noisiest – and least inspired – Roman Festivals.
Nonetheless, Pappano conducts that, as he does the earlier two pieces, with all the flamboyance needed for such boldly extrovert music.
These are unashamed picture-postcards in music, and the images they evoke are always exceptionally vivid. One slight reservation is that the recording of a nightingale that the adventurous Respighi includes towards the close of the 'The Pines of the Janiculum' is so faint you can barely hear it. Pappano's trilogy now stands as a model for a colourful and ideal coupling, particularly with such an apt fill-up as Iltramonto.”
Gramophone Classical Music Guide, 2010

Warner Classics - 3944292

(CD)

$12.00

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Elgar: Symphony No. 1

Elgar: Symphony No. 1


Elgar:

Symphony No. 1 in A flat major, Op. 55

In the South (Alassio), Op. 50

Canto Popolare (In Moonlight)

Christine Rice (mezzo-soprano)


“The main focus of this disc from Sir Mark Elder and the Hallé is an outstanding recording of the First Symphony, but I chose it here mainly because of the first-rate account of In the South. The central viola solo is tenderly performed, and as a bonus Christine Rice sings Canto Popolare, Elgar's own setting of the same viola tune to a text by Shelley.” James Longstaffe, Presto Classical, May 2014

Building a Library

First Choice - April 2006

Hallé - Elder Elgar Series - CDHLL7500

(CD)

$14.25

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Mozart 225: Legendary Opera Performances

Mozart 225: Legendary Opera Performances


Mozart:

Ruhe sanft, mein holdes Leben (from Zaïde)

Durch Zärtlichkeit und Schmeicheln (from Die Entführung aus dem Serail)

Martern aller Arten (from Die Entführung aus dem Serail)

Fuor del mar ho un mar in seno (Idomeneo)

Torna la pace (from Idomeneo)

Non so più cosa son, cosa faccio (from Le nozze di Figaro)

Non piu andrai, farfallone amoroso (from Le Nozze di Figaro)

Voi che sapete (from Le nozze di Figaro)

Dove sono i bei momenti (from Le nozze di Figaro)

Deh vieni, non tardar (from Le nozze di Figaro)

La ci darem la mano (from Don Giovanni)

Or sai chi l'onore (from Don Giovanni)

Fin ch'han dal vino (from Don Giovanni)

Batti, batti, o bel Masetto (from Don Giovanni)

Deh! vieni alla finestra (from Don Giovanni)

Soave sia il vento (from Così fan tutte)

Ah, scostati!...Smanie implacabili, che m'agitate (from Così fan tutte)

Come scoglio (from Così fan tutte)

Dies Bildnis ist bezaubernd schön (from Die Zauberflöte)

O zittre nicht (from Die Zauberflöte)

In diesen heil'gen Hallen (from Die Zauberflöte)

Ah perdona al primo affetto (from La Clemenza di Tito)

Non più, tutto ascoltai - Non temer, amato bene, K490

Hier soll ich dich denn sehen (from Die Entführung aus dem Serail)

Wenn der Freude Tränen fließen (from Die Entführung aus dem Serail)

Se vuol ballare (from Le nozze di Figaro)

Non so più cosa son, cosa faccio (from Le nozze di Figaro)

Porgi amor (from Le nozze di Figaro)

Venite, inginocchiatevi (from Le nozze di Figaro)

Sull' aria che soave zeffiretto (from Le Nozze di Figaro)

La ci darem la mano (from Don Giovanni)

Dalla sua pace (from Don Giovanni)

Riposate vezzose, regazza (Don Giovanni)

Il mio tesoro intanto (from Don Giovanni)

Mi tradì quell'alma ingrate (from Don Giovanni)

La mia Dorabella capace non e' (from Così fan tutte)

È la fede delle femmine (from Così fan tutte)

Una bella serenata (from Così fan tutte)

Un'aura amorosa del nostro tesoro (from Così fan tutte)

Dies Bildnis ist bezaubernd schön (from Die Zauberflöte)

Bei Männern, welche Liebe fühlen (from Die Zauberflöte)

Der Hölle Rache kocht in meinem Herzen (from Die Zauberflöte)

Ein Mädchen oder Weibchen (from Die Zauberflöte)


Renée Fleming (soprano), Anna Prohaska (soprano), Cheryl Studer (soprano), Stephen Orton (cello), Kenneth Sillito (violin), Christine Messiter (flute), Celia Nicklin (oboe), Plácido Domingo (tenor), Luciano Pavarotti (tenor), Cecilia Bartoli (mezzo-soprano), Samuel Ramey (bass), Frederica von Stade (mezzo-soprano), Kiri Te Kanawa (soprano), Anna Netrebko (soprano), Bryn Terfel (bass-baritone), Margaret Price (soprano), Stuart Burrows (tenor), Sir Thomas Allen (baritone), Franz Bartolomey (cello obbligato), James Ellis (mandolin), Miah Persson (soprano), Christine Rice (mezzo-soprano), Dame Janet Baker (mezzo-soprano), Montserrat Caballé (soprano), Jonas Kaufmann (tenor), Sumi Jo (soprano), Kurt Moll (bass), Elina Garanca (mezzo-soprano), Irmgard Seefried (soprano), Wolfgang Schneiderhan (violin), Fritz Wunderlich (tenor), Hermann Prey (baritone), Tatiana Troyanos (mezzo-soprano), Gundula Janowitz (soprano), Mirella Freni (soprano), Edith Mathis (soprano), Cesare Siepi (bass), Hilde Gueden (soprano), Léopold Simoneau (tenor), Lisa della Casa (soprano), Anton Dermota (tenor), Suzanne Danco (soprano), Fernando Corena (bass), Walter Berry (bass), Leontyne Price (soprano), Ernst Haefliger (tenor), Dietrich Fischer-Dieskau (baritone), Lucia Popp (soprano), Tom Krause (baritone), Rita Streich (soprano)

Orchestra Of St Luke's, Chamber Orchestra Of Europe, Academy of St. Martin in the Fields, Metropolitan Opera Orchestra, Wiener Philharmoniker, Wiener Kammerorchester, London Philharmonic Orchestra, Orchestra dell'Accademia Nazionale di Santa Cecilia, Scot, Sir Charles Mackerras, Yannick Nézet-Séguin, Sir Neville Marriner, James Levine, Sir John Pritchard, György Fischer, Sir Georg Solti, Herbert von Karajan, Nikolaus Harnoncourt, Myung Whun Chung, Sir Colin Davis, Claudio Abbado, Ferdinand Leitner, Eugen Jo

Released or re-released in last 6 months

Decca Mozart 225 - 4831857

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Mozart: The Singles - 66 Classic Tracks

Mozart: The Singles - 66 Classic Tracks


András Schiff (piano), Barry Tuckwell (horn & director), Members of the Netherlands Wind Ensemble (chamber ensemble), Hagen Quartett (string quartet), Joshua Bell (violin), Erik Smith (harpsichord), Lang Lang (piano), Alfred Brendel (piano), Mitsuko Uchida (piano), Samuel Ramey (bass), Frederica von Stade (mezzo-soprano), Thomas Quasthoff (bass-baritone), Bryn Terfel (bass-baritone), Peter Hurford (organ), Wim Straesser (cello), Brian Pollard (bassoon), Henk Rubingh (violin), Margaret Urquhart (double bass), Johan Kracht (violin), Sylvia McNair (soprano), David Jolley (horn), Johann Strauss Orchestra, André Rieu, Sumi Jo (soprano), Francesco Piemontesi (piano), Timothy Brown (french horn), Felix Warnock (bassoon), Nicholas Hill (french horn), Julian Baker (french horn), Raymund Koster (double bass), Colin Horton (french horn), Graham Sheen (bassoon), Angela Malsbury (basset horn), Celia Nicklin (oboe), Barry Davis (oboe), Richard West (clarinet), Antony Pay (clarinet), Hale Hambleton (basset horn), Chamber Orchestra Of Europe (chamber orchestra), Barry Tuckwell (horn), Kenneth Essex (viola), Willi Boskovsky (director), Lukas Hagen (violin), Rainer Schmidt (violin), Veronika Hagen (viola), Clemens Hagen (cello), Hélène Grimaud (piano), Mark Steinberg (violin), Arleen Augér (soprano), Alicia de Larrocha (piano), Stewart Rose (horn), William Purvis (horn), Randall Wolfgang (oboe), Todd Phillips (violin), Naoko Tanaka (violin), Maureen Gallagher (viola), Donald Palma (double bass), Géza Anda (piano), Jack Brymer (clarinet), Itzhak Perlman (violin), Daniel Barenboim (piano), Sir James Galway (flute), Catrin Finch (harp), Martha Argerich (piano), Vladimir Ashkenazy (piano), Kiri Te Kanawa (soprano), Miah Persson (soprano), Sonya Yoncheva (soprano), Jory Vinikour (fortepiano), Edith Mathis (soprano), Gundula Janowitz (soprano), Christine Rice (mezzo-soprano), Jan Lisiecki (piano), Harold Wright (clarinet), Jules Eskin (cello), Laura Park (violin), Malcolm Lowe (violin), Burton Fine (viola), Maria João Pires (piano), Patrick Ireland (viola), Bernard Gregor-Smith (cello), Ronald Birks (violin), The Lindsays (string quartet), Peter Cropper (violin), Robin Ireland (viola), Rundfunkchor Leipzig (chorus)

Wiener Mozart Ensemble, Wiener Mozart Ensemble, English Chamber Orchestra, Wiener Philharmoniker, Camerata Academica des Mozarteums Salzburg, Camerata Academica des Mozarteums Salzburg, Members of the Netherlands Wind Ensemble, Hagen Quartett, Scottish Ch, Willi Boskovsky, James Levine, Sándor Végh, Peter Maag, Sir Charles Mackerras, Sir Neville Marriner, Sir Georg Solti, Herbert von Karajan, Sebastian Weigle, John Eliot Gardiner, Josef Krips, Sir Colin Davis, Yannick Nézet-Séguin, George Szell, Barry Rose,

Decca - 4831051

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Britten: The Rape of Lucretia

Britten: The Rape of Lucretia

Recorded live at Glyndebourne Opera House, Lewes, October 2015


Christine Rice (Lucretia), Allan Clayton (Male Chorus), Kate Royal (Female Chorus), Duncan Rock (Tarquinius), Matthew Rose (Collatinus), Michael Sumuel (Junius), Catherine Wyn-Rogers (Bianca) & Louise Alder (Lucia)

London Philharmonic Orchestra, Leo Hussain (conductor) & Fiona Shaw (stage director)

Read Presto's complete review of this disc here

Seventy years after its Glyndebourne world premiere, Benjamin Britten’s first chamber opera is welcomed home with ‘a performance of enthralling emotional power and physical beauty’ gifted with ‘piercingly intelligent, immaculately realised staging and superb singing, acting and playing’ led by ‘Fiona Shaw’s supremely nuanced direction’ and underpinned by ‘febrile playing’ from members of the London Philharmonic Orchestra (The Telegraph ★★★★★). The production eloquently and tastefully tackles the difficult subject, which is lent emotional weight by ‘Christine Rice’s grandly sung Lucretia, noble in tone yet tragically vulnerable’, along with baritone Duncan Rock’s ‘forthright’ Tarquinius and the ‘smooth bass’ of Matthew Rose as the caring Collatinus (The Guardian ★★★★).

Running time: 114 minutes

Subtitles: EN/FR/DE/JP/KO

Sound format: 2.0LPCM + 5.1(5.0) DTS

“Shaw’s production resolutely avoids anything approaching sensationalism or prurience...Clayton [is] disturbingly involved and involving as the Male Chorus...Though the focus is thrown onto the two narrators, the Roman characters all come vividly to life: Duncan Rock’s hyper-muscular Prince of Rome is as imposing vocally as he is physically...Rice’s warmly sung Lucretia is all vitality and tenderness.” Katherine Cooper, Presto Classical, 22nd July 2016

“Its beautifully acted and sung. Rice wrings your heart throughout and her self-lacerating final scenes have a harrowing immediacy” Gramophone Magazine, September 2016

“The DVD is evidence of a work, performances and a production accomplished at the highest level, each component brilliant and compelling in its own right, but here functioning perfectly together to deliver an effect that is simply overwhelming” Opera, November 2016

“The production, set during an archaeological excavation, packs a punch” Financial Times, 29th July 2016

Presto Disc of the Week

22nd July 2016

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Opus Arte Glyndebourne - OABD7206D

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