Eva Johansson

Soprano

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Wagner - Die Walküre (DVD)

Wagner - Die Walküre (DVD)


Wagner:

Die Walküre

Grand Théâtre, Aix-en-Provence 2006


Robert Gambill (Siegmund), Mikhail Petrenko (Hunding), Willard White (Wotan), Eva-Maria Westbroek (Sieglinde), Eva Johansson (Brünnhilde), Lilli Paasikivi (Fricka), Joanna Porackova (Gerhilde), Elaine McKrill (Ortlinde), Julianne Young (Waltraute), Andrea Baker (Schwertleite), Erika Sunnegårdh (Helmwige), Heike Grötzinger (Siegrune), Eva Vogel (Grimgerde) & Annette Bod (Rossweisse)

Berlin Philharmonic Orchestra, Sir Simon Rattle (conductor) & Stéphane Braunschweig (director)

In a career spanning more than 30 years, Sir Simon Rattle has distinguished himself through his long-term relationships with a number of orchestras, wide-ranging repertoire and innovative educational and audiencebuilding activities. He is currently Chief Conductor and Artistic Director of the Berliner Philharmoniker and Principal Artist with the OAE. Sir Simon first conducted the Berlin Philharmonic in 1987 and appeared regularly with the orchestra in subsequent years.The summer of 2006 saw the first instalment of their Wagner Ring Cycle at the Aix-en-Provence Festival. Sir Simon's most recent appearance at the Proms in Wagner brought forth ecstatic reviews, which bodes well for possible future installments of the Aix /Salzburg Ring on Bel Air Classiques.

"In what is both Mr. Rattle's and Aix's first Ring Cycle, "Die Walküre," the Ring's second chapter, was magically transformed by the enclosed space and lively acoustics of the Grand Théâtre de Provence. But where the new theater makes another significant difference is in Mr. Braunschweig's staging of the opera. Far more than in last year's "Rheingold," even the gods, notably Wotan and his twin children, Siegmund and Sieglinde, can now be felt to experience deeply human emotions. The final curtain brought a standing ovation for both orchestra and singers, with Ms.Westbroek singled out for her "extraordinary power and lyricism," as Jean-Louis Validire, Le Figaro's music critic, put it… The Ring Cycle continues here with "Siegfried" in 2008 and "Götterdammerüng" in 2009 and, as with "Das Rheingold" and "Die Walküre," they will be presented afresh at the Salzburg Easter Festival the following year." The New York Times, July 5, 2007

“Sir Willard White's patriarchal Wotan seems subtler on screen, more smouldering than stiff, and sings richly… Eva Johansson's… makes a fiery, youthful Brünnhilde, more at one with her fellow Valkyries - a fine bunch - than usual. Rattle's conducting… is easy enough to enjoy - fluent, often sweeping - and, of course, beautifully played by the Berliners...” BBC Music Magazine, December 2008 ****

“Wind and brass detail, the accuracy and blending of the chording and that rhythmic precision which is a Rattle speciality lift the final colloquy between Wotan and Brünnhilde to Olympian heights.” Gramophone Magazine, January 2009

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Wagner: Der Ring des Nibelungen

Wagner: Der Ring des Nibelungen

16GB USB flash-drive


Das Rheingold

John Tomlinson (Wotan), Günter von Kannen (Alberich), Bodo Brinkmann (Donner), Helmut Pampuch (Mime), Kurt Schreibmayer (Froh), Matthias Hölle (Fasolt), Graham Clark (Loge), Philip Kang (Fafner), Linda Finnie (Fricka), Hilde Leidland (Woglinde), Eva Johansson (Freia), Annette Küttenbaum (Wellgunde), Birgitta Svendén (Erda), Jane Turner (Flosshilde)

Die Walküre

Paul Elming (Siegmund), Nadine Secunde (Sieglinde), Matthias Hölle (Hunding), Anne Evans (Brünnhilde), John Tomlinson (Wotan), Ruth Floeren (Ortlinde), Shirley Close (Waltraute), Hitomi Katagiri (Schwertleite), Eva-Maria Bundschuh (Helmwige), Linda Finnie (Siegrune/Fricka), Birgitta Svendén (Grimgerde), Eva Johansson (Gerhilde), Hebe Kijkstra (Rossweisse)

Siegfried

Siegfried Jerusalem (Siegfried), Günter von Kannen (Alberich), Anne Evans (Brünnhilde), Philip Kang (Fafner), John Tomlinson (Wanderer), Birgitta Svendén (Erda), Graham Clark (Mime), Hilde Leidland (Waldvogel)

Götterdämmerung

Siegfried Jerusalem (Siegfried), John Tomlinson (Wanderer), Anne Evans (Brünnhilde), Birgitta Svendén (Erste Norn), Philip Kang (Hagen), Linda Finnie Zweite Norn), Bodo Brinkmann (Gunther), Uta Priew (Dritte Norn), Eva-Maria Bundschuh (Gutrune), Hilde Leidland (Woglinde), Waltraud Meier (Waltraute), Annette Küttenbaum (Wellgunde), Günter von Kannen (Alberich), Jane Turner (Flosshilde)

Bayreuth Festival Orchestra and Choir, Daniel Barenboim

Contents:

Music

Wagner’s complete Ring cycle available in two high quality audio formats (uncompressed WAV and 320kbps MP3)

Video

• BBC documentary: ‘Great composers - Wagner’

• ‘The making of the Ring’ featuring Daniel Barenboim and John Tomlinson.

Full libretto

• The full libretti of all four operas, available to download in PDF form

Specially designed software application featuring:

• Synopses and Articles:

Full synopses for each opera and seventeen original articles covering all

aspects of the Ring and its production.

• Leitmotif extracts and scores:

An exploration of the leitmotifs used in the Ring, with scores, extracts and descriptions covering 65 of the most prominent themes

• Illustrated comic strip:

An illustrated guide to the story of the Ring.

• Photos, biographies and other editorial

“For me the highlight of Daniel Barenboim's 1992 Bayreuth cycle is the matchless singing of John Tomlinson as Wotan, coupled with a radiant Brünnhilde from Anne Evans. Siegfried Jerusalem is movingly tender as Siegfried, and Philip Kang as Hagen is menacingly unsettling; his summoning of the vassals in Act Two of Götterdämmerung is thrilling indeed, with the gentlemen of the Bayreuth chorus sounding fantastic.” James Longstaffe, Presto Classical, March 2015

“it's arguably the finest Ring on disc of the last 30 years” The Guardian, 19th December 2013 ****

“The performances have mostly lasted very well, give or take some lurching speeds and passing weaknesses in lesser roles” The Times, 13th December 2013

Warner Classics - 2564641265

(USB)

$57.50

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Wagner: Die Meistersinger von Nürnberg

Wagner: Die Meistersinger von Nürnberg

Live from The Deutsche Oper Berlin, 1995


Eva Johansson (Eva), Wolfgang Brendel (Hans Sachs), Gösta Winbergh (Walther von Stolzing), Eike Wilm Schulte (Beckmesser), Uwe Peper (David), Ute Walther (Magdalena), Victor von Halem (Pogner), Peter Edelmann (Nachtwächter), Lenus Carlson (Kothner)

Orchestra of the Deutsche Oper Berlin, Rafael Frühbeck de Burgos (conductor) & Götz Friedrich (stage director)

TV and Video Director BRIAN LARGE

Few works of the operatic world are politically so burdened as Wagner’s Die Meistersinger von Nürnberg, which was known to be Hitler’s favourite opera. The production by Götz Friedrich for the Deutsche Oper in Berlin (premiered on 1 May 1993) places the action among the post-war ruins of Nuremberg in 1945, treating this diffi cult aspect of Meistersinger’s history of popularity in an impressive fashion.

Die Meistersinger von Nürnberg is Richard Wagner’s most celebratory opera, and is indeed the epitome of the festival opera. It is therefore no surprise that it is often performed at the opening or reopening of opera houses. As an opera it is furthermore the only comedy among the serious and heavily symbolic works of Wagner. Composing Die Meistersinger after Tristan und Isolde must be the greatest contrast in operatic history, proof of the artist’s ability to give each of his works a specific tone.

In this version Rafael Frühbeck de Burgos gives an striking interpretation and is superbly supported by Eva Johansson, Wolfgang Brendel and Gösta Winbergh.

Sound Format: PCM Stereo

Picture Format: 16:9

DVD Format: 2 x DVD 9 / NTSC

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

Running Time: 266 mins

FSK: 0

“Excellently sung, especially by Gosta Winbergh, finely conducted, and with many insights from Friedrich the director, this is the best DVD of this difficult and complex masterpiece.” BBC Music Magazine, October 2013 ****

“Friedrich balances the cosy world of the Meistersingers against a view of the fate that would overtake Nürnberg in the Second World War...Brendel’s Sachs is a great assumption, rich in character and voice...Rafael Frühbeck de Burgos’s conducting is warm and spacious and aids the whole performance to unfold with a natural flow.” Opera Now *****

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Strauss, R: Elektra

Strauss, R: Elektra

Live Recording from The Opernhaus Zürich, 2005


Eva Johansson (Elektra), Marjana Lipovšek (Klytaemnestra), Melanie Diener (Chrysothemis), Rudolf Schasching (Aegisth), Alfred Muff (Orest)

Orchester und Chor Der Oper Zürich, Christoph von Dohnányi (conductor) & Martin Kušej (director)

Set Design by Rolf Glittenberg & Costume Design by Heidi Hackl.

When Richard Strauss set Hugo von Hofmannsthal’s “Electra” to music in 1909, it marked the beginning of the long-standing and productive collaboration between the two artists. Convinced that the drama was suitable to be staged as an opera, Strauss produced some music that could ideally achieve the expressionistic “trauma of faithfulness” that the work demanded. Martin Kušejs’ production at the Zurich opera house brings the bloody, ancient story into the present day: In the courtyard of her father who was murdered at the hands of her mother, Electra’s isolation is striking in that she is dressed as a punk in the better family. The director expertly realises the tension between uninhibited and yet suppressed sexuality: “…a sinister, cold atmosphere of sex and degradation“. We witness a society that has gone mad, one that only knows violence. The soloists and Christoph von Dohnányi with the choir and orchestra of the Zurich Opera magnifi cently make their contribution to this truly unique Electra.

Picture format: 1080i Full HD
Sound format: PCM Stereo / DTS-HD Master Audio 7.1
Region code: 0 (worldwide)
Subtitles: English, German, French, Italian, Spanish
Booklet notes: English, German, French
Running time: 102 mins
No. of Discs: 1 (BD 25)

“It's a change to see a production of Strauss's and Hofmannsthal's psychotic masterwork that's not weighted with greater German gloom, louring Second World War-derived imagery and cakes of lurid make-up. Martin Kušej directs people well, and since Elektra is largely an opera of dialogues, his work (all closely derived from the text) demands attention. Eva Johansson's Elektra is a hooded tomboy with definite Asbo leanings; she has to be on full throttle for this role but both Dohnányi's orchestra and TDK's engineers are kind to her. Melanie Diener, a consummate singing actress, locates the hard, hard role of Chrysothemis somewhere between Victoria Beckham and Brechtian alienation: every entry, every new event is as surprising to her as a goldfish going round its bowl. Marjana Lipovšek presents their mother as a complex of confused identities, eschewing both in voice and acting any melodramatic harridan tendencies. As their brother, Alfred Muff survives a dreadful first 'disguise' wig to present a revenger of quiet, un-neurotic determination. Equally original is Rudolf Schasching's lecherous groper of an Aegisthus, convincingly deceived when Elektra plays up to his libido. The action takes places in a dangerously uneven, hillock-strewn courtyard, reached by many doors. There is much cavorting by the smaller roles: the maids (and one token transvestite) dress up as…maids (French) for Aegisthus' pleasure, while action or tension in the palace (Strauss's 'interludes') is illustrated by door-to-door crosses by a large troupe of actors in various states of ecstasy, undress, axecarrying, etc. They've not been terribly well directed and the effect only really works when the (false) news of Orestes' death sets off Klytemnestra's laugh. At the end, when revenge is done, the girl extras perform a dance in Las Vegas-style frillies – weird, but suitably unnerving. Dohnányi's old master's approach to the score goes for a long pay-off rather than whipping up the tension from the word go, employing a wide range of tempi and dynamics and stressing the modernity of the score. Both the Vienna staging of Harry Kupfer (with Claudio Abbado) and the studio film of Götz Friedrich (with Karl Böhm and a veteran stellar cast) remain indispensable. But, for an alternative vision allied to a close, human reading of the text, the new performance, while not quite the sum of its parts, makes for intelligent viewing.” Gramophone Classical Music Guide, 2010

“Dohnanyi's powerful conducting and the singing of a fine cast make this TDK account of Strauss Elektra magnetically compelling. Eva Johansson has a sharp cutting edge to her soprano, entirely apt for the role, well contrasted with the much sweeter Chrysothemis of Melanie Diener” Penguin Guide, 2010 edition **/***

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Wagner: Die Walküre

Wagner: Die Walküre

Grand Théâtre, Aix-en-Provence 2006


Robert Gambill (Siegmund), Mikhail Petrenko (Hunding), Willard White (Wotan), Eva-Maria Westbroek (Sieglinde), Eva Johansson (Brünnhilde), Lilli Paasikivi (Fricka), Joanna Porackova (Gerhilde), Elaine McKrill (Ortlinde), Julianne Young (Waltraute), Andrea Baker (Schwertleite), Erika Sunnegårdh (Helmwige), Heike Grötzinger (Siegrune), Eva Vogel (Grimgerde) & Annette Bod (Rossweisse)

Berlin Philharmonic Orchestra, Sir Simon Rattle (conductor) & Stéphane Braunschweig (director)

In a career spanning more than 30 years, Sir Simon Rattle has distinguished himself through his long-term relationships with a number of orchestras, wide-ranging repertoire and innovative educational and audiencebuilding activities. He is currently Chief Conductor and Artistic Director of the Berliner Philharmoniker and Principal Artist with the OAE. Sir Simon first conducted the Berlin Philharmonic in 1987 and appeared regularly with the orchestra in subsequent years.The summer of 2006 saw the first instalment of their Wagner Ring Cycle at the Aix-en-Provence Festival. Sir Simon's most recent appearance at the Proms in Wagner brought forth ecstatic reviews, which bodes well for possible future installments of the Aix /Salzburg Ring on Bel Air Classiques.

"In what is both Mr. Rattle's and Aix's first Ring Cycle, "Die Walküre," the Ring's second chapter, was magically transformed by the enclosed space and lively acoustics of the Grand Théâtre de Provence. But where the new theater makes another significant difference is in Mr. Braunschweig's staging of the opera. Far more than in last year's "Rheingold," even the gods, notably Wotan and his twin children, Siegmund and Sieglinde, can now be felt to experience deeply human emotions. The final curtain brought a standing ovation for both orchestra and singers, with Ms.Westbroek singled out for her "extraordinary power and lyricism," as Jean-Louis Validire, Le Figaro's music critic, put it… The Ring Cycle continues here with "Siegfried" in 2008 and "Götterdammerüng" in 2009 and, as with "Das Rheingold" and "Die Walküre," they will be presented afresh at the Salzburg Easter Festival the following year." The New York Times, July 5, 2007

“Sir Willard White's patriarchal Wotan seems subtler on screen, more smouldering than stiff, and sings richly… Eva Johansson's… makes a fiery, youthful Brünnhilde, more at one with her fellow Valkyries - a fine bunch - than usual. Rattle's conducting… is easy enough to enjoy - fluent, often sweeping - and, of course, beautifully played by the Berliners” BBC Music Magazine, December 2008 ****

“Wind and brass detail, the accuracy and blending of the chording and that rhythmic precision which is a Rattle speciality lift the final colloquy between Wotan and Brünnhilde to Olympian heights.” Gramophone Magazine, January 2009

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Wagner: Das Rheingold: highlights

Wagner: Das Rheingold: highlights


John Tomlinson (Wotan), Bodo Brinkmann (Donner), Kurt Schreibmayer (Froh), Graham Clark (Loge), Linda Finnie (Fricka), Eva Johansson (Freia), Birgitta Svendén (Erda), Günter von Kannen (Alberich), Helmut Pampuch (Mime), Matthias Hölle (Fasolt), Philip Kang (Fafner), Hilde Leidland (Woglinde), Annette Küttenbaum (Wellgunde) & Jane Turner (Flosshilde)

Orchester der Bayreuther Festspiele, Daniel Barenboim

Apex Opera Daniel Barenboim Complete Wagner Operas - 2564615232

(CD)

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Wagner: The Ring of the Nibelungen-Highlights

Wagner: The Ring of the Nibelungen-Highlights


Bernard Haitink/Bavarian Radio Sympony Orchestra, Symphonieorchester des Bayerischen Rundfunks/Bernard Haitink, James Morris (bass), Hans Tschammer (bass-baritone), Andreas Schmidt (bass-baritone), Kurt Rydl (bass), Theo Adam (bass-baritone), Hans Tschammer (baritone vocals), Marjana Lipovsek (mezzo-soprano vocals), Theo Adam (baritone vocals), Eva Johansson (soprano vocals), Jadwiga Rappé (contralto vocals), Susan Quittmeier (mezzo-soprano vocals), Sylvia Herman (soprano vocals), Susan Quittmeyer (mezzo-soprano vocals), Julie Kaufmann (soprano vocals), Silvia Herman (soprano vocals), Andreas Schmidt/Symphonieorchester des Bayerischen Rundfunks/Bernard Haitink, Eva Marton (soprano vocals), John Tomlinson (Bass) (bass), Kiri Te Kanawa (soprano vocals), Peter Haage (tenor vocals), Margarita Lilowa (Roßweiße) (soprano vocals), Peter Seiffert (tenor vocals), Andreas Schmidt (soprano vocals), Siegfried Jerusalem (tenor vocals), Margaretha Hintermeier (mezzo-soprano vocals), Slivia Herman (mezzo-soprano vocals), Heinz Zednik (tenor vocals), James Morris (Baß) (bass), Susan Quitmeyer (mezzo-soprano vocals), Anita Soldh (soprano vocals), Ruth Falcon (soprano vocals), Reiner Goldberg (tenor vocals), Cheryl Studer (soprano vocals), Ute Walther (mezzo-soprano vocals), Peter Seiffert/Symphonieorchester des Bayerischen Rundfunks/Bernard Haitink, James Morris/Marjana Lipovsek/Symphonieorchester des Bayerischen Rundfunks/Bernard Haitink, Heinz Zednik/Symphonieorchester des Bayerischen Rundfunks/Bernard Haitink, James Morris/Heinz Zednik/Julie Kaufmann/Silvia Herman/Susan Quittmeyer/Symphonieorchester des Bayerischen Rundfunks/Bernard Haitink, Bernard Haitink/Symphonieorchester des Bayerischen Rundfunks/Reiner Goldberg, Bernard Haitink/Symphonieorchester des Bayerischen Rundfunks/Cheryl Studer, Bernard Haitink/Symphonieorchester des Bayerischen Rundfunks/Cheryl Studer/Reiner Goldberg, Bernard Haitink/Symphonieorchester des Bayerischen Rundfunks/Anita Soldh/Ruth Falcon/Ute Walther/Ursula Kunz/Silvia Herman/Margaretha Hintermeier/Carolyn Watkinson/Margarita Lilowa, Bernard Haitink/Symphonieorchester des Bayerischen Rundfunks/James Morris, Siegfried Jerusalem/Peter Haage/Bernard Haitink/Symphonieorchester des Bayerischen Rundfunks, Siegfried Jerusalem/Bernard Haitink/Symphonieorchester des Bayerischen Rundfunks, Siegfried Jerusalem/Dame Kiri Te Kanawa/Bernard Haitink/Symphonieorchester des Bayerischen Rundfunks, Eva Marton/Siegfried Jerusalem/Sir John Tomlinson/Bernard Haitink/Symphonieorchester des Bayerischen Rundfunks

Symphonieorchester des Bayerischen Rundfunks, Bayerischer Rundfunk, Bernard Haitink

Seraphim - 2435741355

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Wagner : Die Walküre [Bayreuth, 1991]

Wagner : Die Walküre [Bayreuth, 1991]


Bayreuth Festival Chorus (chorus), Poul Elming (tenor vocals), Nadine Secunde (soprano vocals), Matthias Hölle (bass vocals), John Tomlinson (bass vocals), Anne Evans (soprano vocals), Linda Finnie (mezzo-soprano vocals), Ruth Floeren (soprano vocals), Hitomi Katagiri (mezzo-soprano vocals), Shirley Close (mezzo-soprano vocals), Eva-Maria Bundschuh (soprano vocals), Birgitta Svendén (mezzo-soprano vocals), Eva Johansson (soprano vocals), Hebe Dijkstra (mezzo-soprano vocals)

Bayreuth Festival Orchestra, Daniel Barenboim

Warner Classics - 2564676702

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Zemlinsky: Es war einmal

Zemlinsky: Es war einmal


Ole Hedegaard (tenor), Eva Johansson (soprano), Guido Paevatalu (baritone), Aage Haugland (bass), Kurt Westi (tenor), Per-Arne Wahlgren (baritone), Susse Lillesøe (soprano), Christian Christiansen (bass)

DR SymfoniOrkestret, DR KoncertKoret, Hans Graf

Capriccio - C60019-2

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Wagner: Das Rheingold

Wagner: Das Rheingold

(complete opera)


John Tomlinson (Wotan), Linda Finnie (Fricka), Graham Clark (Loge), Helmut Pampuch (Mime), Gunter von Kannen (Alberich), Eva Johansson (Freia), Kurt Schreibmayer (Froh), Bodo Brinkmann (Donner), Birgitta Svendén (Erda), Matthias Hölle (Fasolt), Philip Kang (Fafner), Hilde Leidland (Woglinde), Annette Küttenbaum (Wellgunde), Jane Turner (Flosshilde)

Bayreuth Festival Orchestra, Daniel Barenboim

Recorded in 1991

“These are enthralling performances. Tomlinson's volatile Wotan is the most potent reading here. He manages to sing every word with insistent meaning and forceful declamation while maintaining a firm legato. His German is so idiomatic that he might have been speaking the language his whole life and he brings breadth and distinction of phrase to his solos at the close of both operas. Anne Evans as a single, important advantage over other recent Brünnhildes in that her voice is wholly free from wobble and she never makes an ugly sound. Hers is a light, girlish, honest portrayal, sung with unfailing musicality if not with the ultimate insights. Linda Finnie is an articulate, sharp-edged Fricka, and Graham Clark a sparky, incisive Loge. Nadine Secunde's impassioned Sieglinde is matched by the vital, exciting Siegmund of Poul Elming, and Matthias Hölle as both Hunding and Fasolt is another of those black basses of which Germany seems to have an inexhaustible supply. The whole is magnificently conducted by Barenboim, a more expansive Wagnerian than Böhm. By 1991 he had the full measure of its many facets, bringing immense authority and power to building its huge climaxes, yet finding all the lightness of touch for the mercurial and/or diaphanous aspects of the score. He has the inestimable advantage of a Bayreuth orchestra at the peak of its form, surpassing – and this says much – even the Metropolitan orchestra for Levine. Similar qualities inform his interpretation of Die Walküre. Barenboim has now learnt how to match the epic stature of Wagner's mature works, how to pace them with an overview of the whole, and there's an incandescent, metaphysical feeling of a Furtwänglerian kind in is treatment of such passages as Wotan's anger and the Valkyrie ride. The orchestra is superb. It's backed by a recording of startling presence and depth, amply capturing the Bayreuth acoustic.” Gramophone Classical Music Guide, 2010

“what is particularly surprising is the dramatic tension of the performance. Even with slow speeds, the sense of flow carries the ear on...It is very satisfying, too, to have on disc John Tomlinson's magnificent performance as Wotan, Graham Clark as an electrifying, dominant Loge and Linda Finnie a thoughtful, intense Fricka.” Penguin Guide, 2010 edition ***

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