Steve Davislim

Tenor

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Re-Sound Beethoven Volume 5: Symphony No. 9

Re-Sound Beethoven Volume 5: Symphony No. 9


Beethoven:

Symphony No. 9 in D minor, Op. 125 'Choral'


Laura Aikin (soprano), Michaela Selinger (mezzo), Steve Davislim (tenor), José Antonio López (baritone)

Chorus sine Nomine & Orchester Wiener Akademie, Martin Haselböck

The Orchester Wiener Akademie and its conductor Martin Haselböck continue their RESOUND Beethoven series. The aim of this project is to record the complete Beethoven symphonies on period instruments in the venues where they were first performed, scrupulously respecting the layout of the orchestra 200 years ago, and also that of the chorus, which at that time was positioned in front of the orchestra.

Volume 5 is devoted to the monumental Ninth Symphony with its famous ‘Ode to Joy’.

The work’s premiere took place in May 1824 at the Kärntnertortheater in Vienna, which no longer exists. The symphony was performed again shortly afterwards in the Grosser Redoutensaal of the Hofburg Palace in Vienna. It is in this hall that the present recording was made in 2015.

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Alpha RESOUND Beethoven - ALPHA476

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Liszt: A Faust Symphony, S108

Liszt: A Faust Symphony, S108


The Faust Symphony undoubtedly constitutes one of the principal works of Liszt’s Weimar period, if not indeed his orchestral masterpiece. Liszt had become acquainted with Goethe’s poem Faust in 1830, in the French translation of Gérard de Nerval. He began composing the work in the 1840s, after a visit to the Goethe House in Weimar. Its first performance was arranged for September 1857, to mark the centenary of Grand Duke Carl August and the erection of a statue to Goethe and Schiller. On this occasion Liszt rounded the work off by adding a tenor solo and chorus at the end. The premiere took place on 5 September. This musical transposition of the poem is performed here by Orchester Wiener Akademie under Martin Haselböck, and follows their recording of Liszt’s transcriptions of works by Schubert, released in 2015 (ALPHA471). In parallel with this, the Viennese period-instrument orchestra is also continuing its Resound Beethoven project, the recording of the complete symphonies at the venues of their first performances.

“[Haselböck] reveals aspects of Liszt’s scoring that would otherwise go unnoticed…you being to understand Liszt’s sound world as he understood it…beautiful singing by Steve Davislim” Gramophone Magazine, May 2017

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Alpha - ALPHA475

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Szymanowski: Song of the Night

Szymanowski: Song of the Night


Szymanowski:

Symphony No. 3 'The Song of the Night', Op. 27

Steve Davislim (tenor), Volkhard Steude (violin)

Singverein Der Gesellschaft Der Musikfreunde

Violin Concerto No. 1, Op. 35

Christian Tetzlaff (violin)


DG - E4790068

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Haydn: The Creation

Haydn: The Creation


Simone Kermes (Gabriel), Dorothee Mields (Eve), Steve Davislim (Uriel), Johannes Mannov (Raphael), Locky Chung (Adam)

Balthasar-Neumann Chor & Ensemble, Thomas Hengelbrock

Deutsche HM - 88697959522

(CD - 2 discs)

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Handel: Lotario, HWV 26

Handel: Lotario, HWV 26


Sara Mingardo (Lotario), Simone Kermes (Adelaide), Steve Davislim (Berengario), Hilary Summers (Idelberto), Sonia Prina (Matilda), Vito Priante (Clodomiro)

Il Complesso Barocco, Alan Curtis

Studio recording, 2004

Deutsche HM - 88697959592

(CD - 2 discs)

$14.25

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Tippett: A Child of Our Time

Tippett: A Child of Our Time


DSD recording, live at the Barbican December 2007

“Colin Davis's revival of A Child of Our Time at the Barbican last December, ranked, unquestionably, among his most formidable achievements. That its transfer to LSO Live is less than ideal is due to the actual recording, which persistently emphasises clarity at the expense of weight...Davis conducts like one possessed, and the playing is exemplary, though the LSO Chorus, matchlessly intense in this work, sometimes sounds distant. The recording also does the soloists few favours - but if you're not moved to tears by Indra Thomas in the spirituals and Steve Davislim singing I Have No Money for My Bread, I suspect you of lacking soul and conscience. Awesome, but also very flawed.” The Guardian, 11th July 2008 ****

“Davis’s latest recording, taken from two live performances with the London Symphony Orchestra and Chorus, has its own flaws, and the team of soloists is uneven, with the rich-voiced, impassioned bass, Matthew Rose, by far the most convincing. The tenor, Steve Davislim, is also good, but the two women, Indra Thomas and Mihoko Fujimura, lack the right sort of intensity. The orchestral playing is superb, the choral singing gutsy and confident.” Sunday Times, 13th July 2008 ***

“From just about every point of view this is an improvement on Colin Davis's recent Dresden Staatskapelle A Child of Our Time… The soloists are more roundly convincing… and yet they still aren't quite distinctive enough to stand up against the magnificent team on Davis's 1975 version (now on Decca).” BBC Music Magazine, August 2008 ***

“There are emotional depths here which turn this recording into something very special.” Gramophone Magazine, September 2008

“Four years after his Dresden version of A Childof Our Time, recorded live in the Semperoper (Profil, 3/08), Sir Colin Davis returned to the work in the very different environment of London's Barbican Hall. On this occasion the Classic Sound engineers and editors have managed a good blend of the intimate and the intense. Now and again a soloist may seem unduly reticent – perhaps a vocal problem on the day rather than a matter of recorded balance. But is there another recording that surpasses this one in the expressive power with which choral singing and orchestral playing combine to reinforce the timeless message of this most history-conscious work, rooted as it is in events just prior to the years of its composition (1939-41)? The formidable discipline and sensitivity of the London Symphony Chorus are immediately clear in the well defined dynamic contrasts of Part 1's first movement. While an imposing weight of sonority, as in the Spiritual 'Go Down Moses', can be guaranteed, there is a rare lightness of articulation in the passage beginning 'We are as seed before the wind', which returns in 'Nobody knows the trouble I see'.
Of the soloists, soprano Indra Thomas struggles with foggy vibrato while still managing to float some beautifully unstrained high notes in the final ensemble. Mihoko Fujimura, Steve Davislim and Matthew Rose are all excellent, and it's especially good to have a tenor who sounds young enough to embody the character of Herschel Grynszpan convincingly. Of course, some collectors will not be persuaded that Sir Colin could ever match, let alone outdo, his first, 1975 Philips recording of the work. Nevertheless, the enduring significance of the piece for him is palpable right through to the superbly shaped account of the final Spiritual, 'Deep River'. There are emotional depths here which turn this recording into something very special.”
Gramophone Classical Music Guide, 2010

GGramophone Magazine

Editor's Choice - September 2008

Super Audio CD

Format:

Hybrid Multi-channel

LSO Live - LSO0670

(SACD)

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Bach Cantatas Volume 25

Bach Cantatas Volume 25

Cantatas for the Fifth Sunday after Easter & Cantatas for the Sunday after Ascension Day


Bach, J C'ph:

Fürchte dich nicht

Bach, J S:

Cantata BWV86 'Wahrlich, wahrlich, ich sage euch'

Recorded: Dresden

Katharine Fuge, Robin Tyson, Steve Davislim & Stephan Loges

Cantata BWV87 'Bisher habt ihr nichts gebeten in meinem Namen'

Recorded: Dresden

Katharine Fuge, Robin Tyson, Steve Davislim & Stephan Loges

Cantata BWV97 'In allen meinen Taten'

Recorded: Dresden

Katharine Fuge, Robin Tyson, Steve Davislim & Stephan Loges

Cantata BWV44 'Sie werden euch in den Bann tun'

Recorded: Sherborne

Joanne Lunn, Daniel Taylor, Paul Agnew & Panajotis Iconomou

Cantata BWV150 'Nach dir, Herr, verlanget mich'

Recorded: Sherborne

Joanne Lunn, Daniel Taylor, Paul Agnew & Panajotis Iconomou

Cantata BWV183 'Sie werden euch in den Bann tun'

Recorded: Sherborne

Joanne Lunn, Daniel Taylor, Paul Agnew & Panajotis Iconomou


“There is a genuine pilgrim’s humility about this recording that contrasts tellingly with the magnificence of the achievement. Gardiner has made history.” The Times

“Another treasure chest of refreshment and musical surprises...Highlights include the exploratory BWV 150, the jazzy duet from BWV 97, Paul Agnew and David Watkins’s tenor aria with cello accompaniment (BWV 183), and the final Johann Christoph Bach motet – to die for.” The Times, 4th July 2008 ****

“This latest volume from Gardiner's 2000 Bach Pilgrimage exudes the now-familiar sense of urgent, excited discovery. None of these cantatas is well known. Yet the power and fertility of Bach's invention are spellbinding... As ever, Gardiner and his crack forces combine dramatic flair (the turba chorus in No 44 has a shocking ferocity), rhetorical subtlety and a profound feeling for Bach's unique vein of morbid inwardness.” The Telegraph, 9th August 2008

“This is Bach at a very high level - a match for anything else that is currently available on disc.” BBC Music Magazine, August 2008 *****

“Once again, Gardiner’s Monteverdi Choir is the jewel in the crown of each cantata performance. Add to that Gardiner’s dramatic, electric response to music he clearly loves and you have a set that rivals his Gramophone Record of the Year Award-winning disc that launched this amazing series.” Gramophone Magazine

“The second Sie werden (BWV183) is the pick of the crop… From the most theatrical of openings, the committed Paul Agnew navigates his way expertly through one of Bach's most extended and contemplative testaments of faith, "Ich fürchte nicht".” Gramophone Magazine, Awards Issue 2008

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SDG Gardiner Bach Cantatas - SDG144

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Mozart: Requiem in D minor, K626

Mozart: Requiem in D minor, K626


Live recording

'...has one ever heard this or that passage sound so beautiful, so fully realized before?.. The ensemble worked wonders! (Münchner Merkur, Feb 2006)

DG - E4775797

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Beethoven: Symphony No. 9 in D minor, Op. 125 'Choral'

Beethoven: Symphony No. 9 in D minor, Op. 125 'Choral'


Ruth Ziesak (soprano), Birgit Remmert (contralto), Steve Davislim (tenor), Detlef Roth (bass)

Tonhalle Orchester Zurich, David Zinman

Arte Nova - 74321654112

(CD)

$6.50

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The Classic 100: Voice - The Top 10 And Selected Highlights

The Classic 100: Voice - The Top 10 And Selected Highlights


Cheryl Barker (soprano), Elizabeth Campbell (mezzo-soprano), Teddy Tahu Rhodes (bass-baritone), Steve Davislim (tenor), David Hobson (tenor), Teddy Tahu Rhodes (baritone), Sara Macliver (soprano), Jenny Duck-Chong (mezzo-soprano), Richard Anderson (bass), Belinda Montgomery (soprano), Jane Sheldon (soprano), Milica Ilic (soprano), Victoria Lambourn (mezzo-soprano), Erin Wall (soprano), Opera Queensland Chorus (chorus), Paul Dyer (musical director), Nicole Car (soprano), Sally-Anne Russell (mezzo-soprano), Rosario La Spina (tenor), Sinfonia Australis (symphony), Alison Morgan (soprano), Emma Matthews (soprano), Melbourne Symphony Orchestra Chorus (chorus), Ian Cleworth (percussion), Brian Nixon (percussion), Matthew Doyle (didgeridoo), Rixon Thomas (cor anglais), Jim Franklin (shakuhachi)

Australian World Orchestra, The Sydney Philharmonia Choir, The Sydney Philharmonia Choir, Sinfonia Australis, Orchestra of the Antipodes, Cantillation, Cantillation, Cantillation, Tasmanian Symphony Orchestra, Melbourne Symphony Orchestra, Sydney Philharm, Alexander Briger, Thomas Woods, Antony Walker, Andrew Greene, Sir Andrew Davis, Johannes Fritzsch, Paul Dyer, Andrea Molino, Nicholas Milton, Richard Mills, Marko Letonja, Ola Rudner, Brett Weymark, Nicholas Braithwaite, Stephen Mould, Lyn Williams

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ABC Classics - ABC4814957

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