Marlis Petersen

Soprano

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Berg: Lulu

Berg: Lulu


Marlis Petersen (Lulu), Daniela Sindram (Gräfin Geschwitz), Rachael Wilson (Eine Theater-Garderobiere/Ein Gymnasiast/Ein Groom), Rainer Trost (Der Maler/Ein Neger), Bo Skovhus (Dr. Schön/Jack the Ripper), Matthias Klink (Alwa), Martin Winkler (Ein Tierbändiger/Ein Athlet), Wolfgang Ablinger-Sperrhacke (Der Prinz/Der Kammerdiener/Der Marquis), Elsa Benoit (Eine Fünfzehnjährige), Christian Rieger (Der Medizinalrat/Der Bankier/Der Professor), Pavlo Hunka (Schigolch), Christoph Stephinger (Der Theaterdirektor)

Bayerisches Staatsorchester, Kirill Petrenko (conductor), Dmitri Tcherniakov (director)

Lulu, Alban Berg’s hauntingly mysterious opera in a new production by Dmitri Tcherniakov, has been one of the major events of the 2015 Bayerische Staatsoper season : an ideal setting for conductor Kirill Petrenko first-ever DVD recording ! A sensuous and impenetrable opera, Berg’s masterpiece depicts the burning and sometimes bestial intensity of human relationships through the figure of Lulu, the true femme fatale, bearer of an enigma that haunts us way beyond the end of the opera. Venenous, sibylline, deathly for who approaches her, the dangerous Lulu destroys the established and bourgeois order she evolves in, carrying away with her all certainty, just like the audacious and demanding musical language Berg invented to give form to this unreachable character. Frank Wedekind’s work proved indeed to be an extremely fertile ground for the dodecaphonic composer’s imagination, and gave birth to one of the most singular and ambitious work of art of the twentieth century. With the privilege of a dream cast, gathering Berg’s best interprets, this new production of Lulu is conducted by Kirill Petrenko, and staged by Dmitri Tcherniakov. A visionary genius considered as the contemporary stage ‘enfant terrible’, it is with a shattering realism that he directs those characters, hostages to their own passions and darkest fantasies, and reveals the complexity of this great human and social tragedy. Marlis Petersen is Lulu, a role she was then singing for the ninth time, and which awarded her, for this production, the title of ‘singer of the year’ by German magazine Opernwelt

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Schumann & Brahms: Vocal Quartets

Schumann & Brahms: Vocal Quartets


Brahms:

Liebeslieder-Walzer, Op. 52

Marlis Petersen (soprano), Stella Doufexis (alto), Werner Güra (tenor), Konrad Jarnot (baritone) & Christoph Berner, Camillo Radicke (pianos)

Neue Liebeslieder-Walzer, Op. 65

Marlis Petersen (soprano), Stella Doufexis (alto), Werner Güra (tenor), Konrad Jarnot (baritone) & Christoph Berner, Camillo Radicke (pianos)

Quartette (3), Op. 64

Marlis Petersen (soprano), Stella Doufexis (alto), Werner Güra (tenor), Konrad Jarnot (baritone) & Christoph Berner, Camillo Radicke (pianos)

Schumann:

Spanische Liebeslieder Op. 138

Marlis Petersen (soprano), Anke Vondung (mezzo soprano), Werner Güra (tenor), Konrad Jarnot (baritone) & Christoph Berner, Camillo Radicke (pianos)

Minnespiel, Op. 101

Marlis Petersen (soprano), Anke Vondung (mezzo soprano), Werner Güra (tenor), Konrad Jarnot (baritone) & Christoph Berner, Camillo Radicke (pianos)

Spanisches Liederspiel, Op. 74

Marlis Petersen (soprano), Anke Vondung (mezzo soprano), Werner Güra (tenor), Konrad Jarnot (baritone) & Christoph Berner, Camillo Radicke (pianos)


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Haydn: The Seasons

Haydn: The Seasons


Haydn's The Seasons is a two-hour vocal work that praises God and nature and orchestrally imitates croaking frogs and lambs that gambol. It could easily seem slightly out of kilter with the times in which we live, but its proto-ecological message has perhaps never been more relevant, its sublimely fresh and vernal musical language a painful reminder of lost environmental innocence.

And this recording of the piece is notably successful in communicating that message. Beautifully conducted by René Jacobs, it offers elasticity of rhythm and a bright alfresco atmosphere. The three soloists have just the right plenitude of tone and timbre (as in Summer, their mellifluous hymn to the sun) while the RIAS Kammerchor's singing combines technical precision with a striking ease of utterance (the closing chorus of Spring is typical of their outstanding contribution).

This is a fresh and articulate Seasons for an era that most definitely needs it.

“Front runners among recordings of The Seasons have long been the ins

“What clinches my preference for this new version is the trio of soloists, led by the soaring, sensuous soprano of Marlis Petersen. Petersen's timing and her knowing humour are delightful, both in her tale of seduction outwitted and in her love duet with Werner Güra's ardent, graceful tenor.” BBC Music Magazine, November 2004 *****

GGramophone Awards 2005

Winner - Choral

GGramophone Magazine

Winner - Editor's Choice

Building a Library

First Choice - March 2008

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Haydn: Orlando Paladino

Haydn: Orlando Paladino

Recorded live at the Etaatsoper unter den Linten, Berlin, 8th May 2009


Marlis Petersen (Angelica), Tom Randle (Orlando), Pietro Spagnoli (Rodomonte), Alexandrina Pendatchanska (Alcina), Sunhae Im (Eurilla), Victor Torres (Pasquale), Magnus Staveland (Medoro) & Arttu Kataja (Licone/Caronte)

Freiburger Barockorchester, René Jacobs

Nigel Lowery / Amir Hosseinpour, staging

Nigel Lowery, set & costume design

Re-Release of the successful DVD on Blu-ray Disc.

For more than 25 years René Jacobs has dedicated his life to baroque operas and works with the best ensembles for early music. On the occasion of the Haydn Year the renowned Freiburger Barockorchester and outstanding baroque opera singers such as Marlis Petersen, Alexandrina Pendatchanska, Pietro Spagnoli and Tom Randle presented Haydn’s most successful opera from the Berliner Staatsoper.

"Orlando Paladino", written in 1782, was Haydn's most famous opera during his lifetime, with thirty performances in Esterháza in the first two years after its composition. The libretto, a "drama eroicomico", gives scope to Haydn's frequently puckish sense of humour, as well as his inventive melodic expression. Most semi-serious operas of the period typically inserted comic characters into an essentially serious story but Haydn expanded the comic elements even into the more serious scenes.

Another very colourful and vivid staging by the successful team Nigel Lowery and Amir Hosseinpour.

Picture format Blu-ray: 1080i Full HD, 16:9

Sound formats Blu-ray: PCM Stereo, DTS-HD Master Audio

Region code: All (worldwide)

Booklet notes: English, German, French

Subtitles: English, German, French, Italian

Running time: 168 mins

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EuroArts - 2057784

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$35.25

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Goethe-Lieder: Das ewig Weibliche

Goethe-Lieder: Das ewig Weibliche


Braunfels:

Die Trommel gerühret (first version), Op. 29 No. 2

Diepenbrock:

Kennst du das Land? (Mignon)

Ives, C:

Illmenau

Kempff:

Wandrers Nachtlied, Op. 61 No. 4

Krenek:

Monolog der Stella, Op. 57

Liszt:

Freudvoll und leidvoll, S.280

Über allen Gipfeln ist Ruh (Wandrers Nachtlied II), S.306

Medtner:

Wandrers Nachtlied II aus 'Neun Lieder von W. Goethe', Op. 6 No. 1

Mendelssohn, Fanny:

Ach, um deine feuchten Schwingen, H306

Schubert:

Suleika I, D720

Schumann:

Nachtlied, Op. 96 No. 1

So lasst mich scheinen Op. 98a No. 9 (Johann Wolfgang von Goethe)

Sommer, H:

Ach neige, du Schmerzenreiche

Wandrers Nachtlied

Tchaikovsky:

None but the lonely heart, Op. 6 No. 6

Trojahn:

Bewundert viel und viel gescholten

Wagner:

Meine Ruh ist hin, Op. 5 No 6

Wolf, H:

Philine (No. 8 from Goethe-Lieder)

Mignon I 'Heiß mich nicht reden' (No. 5 from Goethe-Lieder)


Marlis Petersen (soprano) & Jendrik Springer (piano)

For her first solo CD, Marlis Petersen and her partner Jendrik Springer have devised this programme of 19 lieder, from nearly two centuries of music, centreing on the concept of the 'Eternal Feminine'.

"For this CD we made a selection of songs sung by several female characters from Goethe’s dramas (Stella, Klärchen, Gretchen, Mignon, Philine, Suleika and Helena). Among them are a number of poems which have been set to music countless times in the past two centuries, but are today often known only in a standard setting: if one speaks of 'Gretchen am Spinnrade' or Klärchen’s 'Freudvoll and leidvoll' (to take just two examples), then each of us thinks immediately of the compositions by Franz Schubert and Ludwig van Beethoven respectively. These poems too are on our CD, but set by Richard Wagner and Franz Liszt! By choosing composers who are not usually associated with the lied genre (Ernst Krenek, Charles Ives) or in certain cases probably completely unknown to some listeners (Nikolay Medtner, the pianist Wilhelm Kempff), we wanted to encourage a fresh approach to the poems, one not cluttered by listening traditions. However, to make the selection of songs as varied and balanced as possible, we have also included a few well-known settings like Schubert’s 'Was bedeutet die Bewegung' or Robert Schumann’s 'So laßt mich scheinen'. Furthermore, Manfred Trojahn has contributed a new setting of words portraying Helen of Troy, thus bringing our survey right up to date. Between the individual groups and at the end we have placed a setting of Goethe’s second ‘Wanderer’s Night Song’, 'Über allen Gipfeln ist Ruh'. This is intended to serve as a restingpoint, an emotional ‘reset’; at the same time, it gave us the possibility of presenting a single poem in the interpretation of six different composers: the naive idyll of Hans Sommer and the threatening, doom-laden atmosphere of Nikolay Medtner’s setting are worlds away from each other. It was a thrill and a delight for us to explore this virtually inexhaustible musical treasure-trove in order to come up with an interesting selection of songs that amply repay discovery. We hope you will be as fascinated by this rich diversity as we were!" Marlis Petersen/Jendrik Springer

“the sheer range of Petersen's soprano and her interests enables her to compel and convince as much in 1821 Schubert as in German composer Manfred Trojahn's settings from 2008...Most fascinating and seductive of all are the rare settings of Goethe's Uber allen Gipfeln ist Ruh” BBC Music Magazine, May 2012 *****

“There are real treats here and on her best form Marlis Petersen is the kind of silvery-toned lyric soprano for whom some of these Goethe settings hold no fear. She is a natural Mignon in Alphonse Diepenbrock's Kennst du das Land and an appealing Helen of Troy in Manfred Trojahn's Bewundert viel und viel gescholten...it's a compelling piece, packed with drama as Helen contemplates her place in world history” International Record Review, May 2012

BBC Music Magazine

Choral & Song Choice - May 2012

BBC Music Magazine Awards 2013

Vocal Finalist

Harmonia Mundi - HMC902094

(CD)

$13.75

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Verdi: La Traviata

Verdi: La Traviata

Live Recording from The Oper Graz, 2011


Marlis Petersen (Violetta Valéry), Kristina Antonie Fehrs (Flora Bervoix), Fran Lubahn (Annina), Giuseppe Varano (Alfredo Germont) & James Rutherford (Giorgio Germont)

Oper Graz, Tecwyn Evans (conductor) & Peter Konwitschny (stage director)

Set & Costumes by JOHANNES LEIACKER

With this production of La Traviata, director Peter Konwitschny achieved a resounding success and Marlis Petersen made a sensational debut in the title role.

The first ever production of La Traviata by Peter Konwitschny of Graz Opera is a highly-focused, intelligent reading of the music that was widely acclaimed by audiences. With a reduced stage set and daring cuts in the score, the production concentrates on the tragic story of the courtesan Violetta. Soprano Marlis Petersen (2010 „Singer of the Year“ in Germany) is superb in the title role.

BONUS: “La Traviata” in Graz – An introduction by Ioan Holender. Including interviews with Peter Konwitschny and Marlis Petersen as well as backstage and rehearsal footage.

Sound Format: PCM Stereo, dts-HD Master Audio 5.0

Picture Format: 16:9

Resolution: 1080i FULL HD

Languages: IT (Original Language), GB, DE, FR, ES, JP, Korean

Running Time: 110 mins + 20 mins (Bonus)

Blu-ray Disc: 25 GB (Single Layer)

FSK: 6

“Konwitschny is radical enough to introduce a character - silent, of course - whom Verdi and his librettist left out. That is Germont's daughter...Now to the musica performance: it is heavily cut, with the second verse of arias omitted, and also some very poignant music...Petersen is wonderful, and I think she would be in a more conventional production. She has a phenomenal vocal range, and she acts electrifyingly.” BBC Music Magazine, March 2012 ****

“[Konwitschny] concentrates on the often very cruel emotional journey of the three principal characters...[Petersen, Varano and Rutherford] are intensely involved and in good vocal shape. Tecwyn Evans conducts with great rhythmic acuity and finds pace and tension without rushing or becoming unduly loud...An outstanding issue and a quite draining experience.” Gramophone Magazine, April 2012

“Konwitschny's early training in Brechtian theatre is apparent in his fierce observations on sexual hypocrisy, and in the unnerving way he confronts his audience's prurient fascination with the subject matter. The performance he gets from Petersen is little short of extraordinary in its veracity and beauty...the score has been more heavily cut than many will like. It's not for purists, though it won't leave you indifferent.” The Guardian, 8th December 2011 ****

Blu-ray Disc

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Arthaus Musik - 108036

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$35.25

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Berg: Lulu

Berg: Lulu


Marlis Petersen (Lulu), Daniela Sindram (Gräfin Geschwitz), Rachael Wilson (Eine Theater-Garderobiere/Ein Gymnasiast/Ein Groom), Rainer Trost (Der Maler/Ein Neger), Bo Skovhus (Dr. Schön/Jack the Ripper), Matthias Klink (Alwa), Martin Winkler (Ein Tierbändiger/Ein Athlet), Wolfgang Ablinger-Sperrhacke (Der Prinz/Der Kammerdiener/Der Marquis), Elsa Benoit (Eine Fünfzehnjährige), Christian Rieger (Der Medizinalrat/Der Bankier/Der Professor), Pavlo Hunka (Schigolch), Christoph Stephinger (Der Theaterdirektor)

Bayerisches Staatsorchester, Kirill Petrenko (conductor), Dmitri Tcherniakov (director)

Lulu, Alban Berg’s hauntingly mysterious opera in a new production by Dmitri Tcherniakov, has been one of the major events of the 2015 Bayerische Staatsoper season : an ideal setting for conductor Kirill Petrenko first-ever DVD recording ! A sensuous and impenetrable opera, Berg’s masterpiece depicts the burning and sometimes bestial intensity of human relationships through the figure of Lulu, the true femme fatale, bearer of an enigma that haunts us way beyond the end of the opera. Venenous, sibylline, deathly for who approaches her, the dangerous Lulu destroys the established and bourgeois order she evolves in, carrying away with her all certainty, just like the audacious and demanding musical language Berg invented to give form to this unreachable character. Frank Wedekind’s work proved indeed to be an extremely fertile ground for the dodecaphonic composer’s imagination, and gave birth to one of the most singular and ambitious work of art of the twentieth century. With the privilege of a dream cast, gathering Berg’s best interprets, this new production of Lulu is conducted by Kirill Petrenko, and staged by Dmitri Tcherniakov. A visionary genius considered as the contemporary stage ‘enfant terrible’, it is with a shattering realism that he directs those characters, hostages to their own passions and darkest fantasies, and reveals the complexity of this great human and social tragedy. Marlis Petersen is Lulu, a role she was then singing for the ninth time, and which awarded her, for this production, the title of ‘singer of the year’ by German magazine Opernwelt

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Berg: Lulu

Berg: Lulu


Marlis Petersen (Lulu), Susan Graham (Countess Geschwitz), Daniel Brenna (Alwa), Paul Groves (Painter/African Prince), Johan Reuter (Dr Schon/Jack the Ripper), Franz Grundheber (Schigolch), Julian Close (Theatre Manager/Banker), Elizabeth DeShong (Wardrobe-Mistress/Page/Schoolboy), Alan Oke (Prince/Manservant/Marquis)

Metropolitan Opera, Lothar Koenigs

Alban Berg's monumental opera Lulu, which he left unfinished when he died in 1935, had its posthumous premiere in its incomplete version in 1937, with the three-act version that has become standard premiering in 1979. The opera tells the tragic story of a young woman who, as a victim of a harsh society, torments a series of men by whom she is objectified, desired, abused, and eventually killed.

Berg adapted the libretto from Frank Wedekind's two Lulu plays, Erdgeist (Earth Spirit, 1895) and Die Büchse der Pandora (Pandora's Box, 1904). He wrote the music using the 12-tone style conceived of his teacher, Arnold Schoenberg, but with a nod to Romanticism that makes it unusually accessible for something written by a Schoenberg disciple.

The Metropolitan Opera's new production of Alban Berg's Lulu, directed by accliamed South African visual artist William Kentridge, premiered in 2015 and starred Marlis Petersen in her final performances as Lulu, a role she has made "hers and almost hers alone" (Opera News) in 10 different productions over 18 years.

Kentridge received acclaim for his previous work at the Met directing the company premiere of Dmitri Shostakovich's The Nose in 2010. This new Lulu, conducted by Lothar Koenigs, featured Susan Graham as the Countess Geschwitz, Daniel Brenna as Alwa, Paul Groves as The Painter/African Prince, Johan Reuter as Dr. Schön/Jack the Ripper, and Franz Grundheber as Schigolch. Lulu's production team included co-director Luc De Wit, set designer Sabine Theunissen, costume designer Greta Goiris, lighting designer Urs Schönebaum, and projection designer Catherine Meyburgh, all of whom also worked on The Nose.

Picture Format: 1080i 29.97 HD 16:9

Colour mode: colour

Region Code: All Region

Disc Format: BD25

Duration: 182 mins

Sound: (1) Dolby TrueHD 24-bit Surround (2) Dolby TrueHD 24-bit Stereo

Subtitles: English, French, German, Russian, Spanish, Swedish

Subtitles: German, English, French, Russian, Spanish, Swedish

“Koenigs ensures maximum clarity from the strings and woodwind, especially in the orchestral interludes. It’s cool, clever playing that throws unusual focus on the seamy saxophone line that coils itself round each character’s description of Lulu. Peterson is tirelessly intelligent and musical…there is luxury support from Susan Graham, Paul Groves and Martin Winkler…it’s not a perfect performance. It’s not a perfect opera. But altogether it’s as fascinating as its heroine” BBC Music Magazine, February 2017 ****

“All the principals are strongly cast. There is as much frisson to Susan Graham’s voluptuously sung Countess Geschwitz as there is to Johan Reuter’s Dr Schön/Jack the Ripper, oozing power and entitlement from every phrase…conducting, singing, direction: they’re all of a piece, working to domesticate Berg’s feral beast, and making it the funniest, least absurd and most approachable Lulu on film” Gramophone Magazine, January 2017

Nonesuch - 7559794537

(Blu-ray + DVD Video - 2 discs)

$29.75

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Mendelssohn: Elijah, Op. 70

Mendelssohn: Elijah, Op. 70


Marlis Petersen (soprano), Lioba Braun (mezzo ‐ soprano), Maximilian Schmitt (tenor) & Thomas Oliemans (baritone)

RIAS Kammerchor & Akademie für Alte Musik Berlin, Hans‐Christoph Rademann

“Never was there a more complete triumph – never a more thorough and speedy recognition of a great work of art.” This was the response of the critic in the London Times to the wildly successful premiere of Felix Mendelssohn’s Elias in 1846. Hans‐Christoph Rademann began his tenure as Principal Conductor of the RIAS Chamber Choir with this groundbreaking oratorio. After eight productive and successful years, his final concert in July 2015 also featured the work.

It was a “Farewell Performance with Furor” (Der Tagesspiegel), not least because of the impressive performers involved: the RIAS Chamber Choir, the Akademie für Alte Musik Berlin, and the soloists Marlis Petersen, Lioba Braun, Maximilian Schmitt, and Thomas Oliemans. Hans‐Christoph Rademann is one of the world’s most sought‐after choral conductors, a specialist in the sound of choral ensembles. From 2007 to 2015, he expanded the reputation and repertoire of the RIAS Chamber Choir, helping the group to achieve a remarkable spiritual and emotional identification with the subject matter of the works it performed. Rademann has said, “I want us to not only be involved with perfect singing, but to embody a certain attitude and convey a message that will touch listeners all over the world.”

“Perhaps Rademann is less concerned than Herreweghe to pull out the many felicities of Mendelssohn’s original orchestration – trombones play a largely supporting role in the big choruses – but he is more prepared to cultivate legato phrases, which impart to the concerted vocal numbers a flow as smooth as the brook of Kidron itself” Gramophone Magazine, June 2016

“A compelling account of Elias that tells the story vividly and confirms the true stature of the work.” MusicWeb International, 3rd June 2016

Accentus Music - ACC30356

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$24.50

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Braunfels: Lieder

Braunfels: Lieder


Braunfels:

Gesange (6), Op. 1

Fragmente eines Federspiels, Op. 7

Gesange (6), Op. 4

Neues Federspiel, Op. 7

Was ihr wollt (What you want), Op. 11

Freudvoll, leidvoll (No. 1 from 3 Goethe Songs, Op. 29)

Die Trommel gerühret (first version), Op. 29 No. 2

Herbstgefuhl

An die Parzen (No. 2 from 2 Gesange, Op. 27)

Gesange (2), Op. 44


Marlis Petersen (soprano), Konrad Jarnot (baritone) & Eric Schneider (piano)

The music of Walter Braunfels went into decline twice: first, when the Nazis declared his music “degenerate art”; and again when post-war Germany had little use for the various schools of tonal music, when the arbiters of taste considered any form of romantic music – almost the whole pre-war aesthetic – to be tainted. Post-war Europe had experienced (or, rather, had been prescribed) an aesthetic paradigm shift.

Walter Braunfels had a flair for drama and his operas demonstrate how carefully he considered the texts. This is also apparent in his songs, which are early works, all but two of which he composed prior to his most popular opera, The Birds (1919). Marlis Petersen’s fascination with Braunfels’ “unique tonal language, totally transparent structure and expansive, late-romantic character” began with two songs she got to sing early in her career, and she considers the Federspiele to be “real jewels of the art of Lied: simple and deeply touching.”

Capriccio - C5251

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