Bernard Richter

Tenor

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Lully: Atys

Lully: Atys


Bernard Richter (Atys), Stéphanie d’Oustrac (Cybèle), Emmanuelle de Negri (Sangaride), Nicolas Rivenq (Célénus), Marc Mauillon (Idas), Sophie Daneman (Doris), Jaël Azzaretti (Mélisse), Paul Agnew (Le Sommeil) & Cyril Auvity (Morphée)

Danseurs Compagnie Fêtes galantes & Les Arts Florissants, William Christie (conductor) & Jean-Marie Villégier (director)

Carlo Tommasi (designer)

Patrice Cauchetier (costumes)

Francine Lancelot, Béatrice Massin (choreography)

William Christie: "There were a number of important moments in the history of the Arts Florissants, but there's one moment that obviously stands out - and that's the moment when we produced Atys." Christie had been approached by the director of the Paris Opera, Massimo Bogianckino, to think about putting on a Lully opera. Christie was advised by the Opéra-Comique's Thierry Fouquet that Quinault's libretto for 'Atys' would demand an extraordinary stage director - Jean-Marie Villégier took this role and he, together with Christie, created 'Atys'. The production marked the renaissance of Baroque Opera in France.

The American philanthropist Ronald P. Stanton has funded this 2011, Opera Comique production that has been described as 'one to see before you die', and it is clear that the magic of this show is still intact. Villégier has concentrated the tragedy in a unique backdrop of black marble, marked by furniture from the State Apartments of Versailles, and sumptuous costumes designed by Patrice Cauchetier with graceful choreography by the late Francine Lancelot revived by Béatrice Massin. The fabulous musicians and choir of Les Arts Florissants and the Jardin des Voix need no introduction here.

Last, but not least, we have the powerfully-projected Atys of Bernard Richter, admired mezzo, Stephanie d'Oustrac as Cybele, rival to the vibrant Sangaride, sung by soprano Emmanuelle de Negri. Discover this masterpiece of Lully magnified by the combined talents of William Christie and Jean Marie Villégier.

“Lully's music shines and dances in the hands of the now-veteran William Christie and his superbly understanding singers and players, but what will astonish those who doubt the drama of baroque opera is the sheer emotional power of the plot. The filming is formal rather than fluid. A triumph of postmodern authenticity.” The Observer, 19th February 2012

“this visually sumptuous production will satisfy the most diehard traditionalist. It's true that the sets and costumes are far removed from ancient Phrygia; but they do evoke the time of Louis XIV, Lully's patron. Bernhard Richter finds plenty of passion as Atys...Chorus, orchestra and conductor are first-class.” Gramophone Magazine, March 2012

GGramophone Awards 2012

Finalist - DVD Performance

GGramophone Magazine

DVD of the Month - March 2012

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fRA - FRA006

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Poulenc: Dialogues des Carmélites

Poulenc: Dialogues des Carmélites

Filmed in HD at the Bayerische Staatsoper (Munich), 03/2010


Alain Vernhes (Marquis de la Force), Susan Gritton (Blanche de la Force), Bernard Richter (Chevalier de la Force), Sylvie Brunet (Madame de Croissy), Soile Isokoski (Madame Lidoine), Susanne Resmark (Mère Marie), Hélène Guilmette (Soeur Constance), Heike Grötzinger (Mère Jeanne) & Anaïk Morel (Soeur Mathilde)

Bayerisches Staatsorchester & Chor der Bayerischen Staatsoper, Kent Nagano

Stage direction and set design: Dmitri Tcherniakov

Costumes Elena Zaytseva, Lighting Gleb Filshtinsky

A passionate lover of the human voice, Francis Poulenc composed the Dialogues des Carmélites in 1953, using a libretto he himself had written from a screenplay by Georges Bernanos. The first ever performances in Munich, this production was entrusted to Dmitri Tcherniakov, whose worldwide reputation is underpinned by productions like Eugene Onegin and Macbeth at the Paris Opera and Don Giovanni at Aixen-Provence.

The superb international cast includes a fine Blanche de la Force in Susan Gritton and an excellent Madame de Croissy by Sylvie Brunet, who was favourably compared to Rita Gorr in the press. They are superbly backed up by Soile Isokoski, Susanne Resmark, Hélène Guilmette, Alain Vernhes and the fabulous Bernard Richter.

Kent Nagano with the Dialogues literally at his fingertips – he recorded a landmark version some years ago – is at the helm of the Bavarian State Opera Orchestra and Chorus.

Duration : 146 minutes

Subtitles : Fr, Eng, Ger, Spa

Colour 16/9, NTSC

PCM Stereo, Dolby Digital 5.1

“[the production is] set in a soulless authoritarian state but filmed in a way that underlines individual dilemmas and common humanity. It is worth watching for Sylvie Brunet’s doughty Madame de Croissy, Soile Isokoski’s gracious Madame Lidoine and Susan Gritton’s winning Blanche.” Financial Times, 4th June 2011 ***

“Tcherniakov's production is probably the most physically active Dialogues ever staged. Everyone is seemingly in constant motion...Sylvie Brunet is a memorably formidable and pitiable Croissy...Helen Guilmette's Constance, lively but never cloying or cute, is immeasurably enhanced by heavenly floated pianissimi...Isokoski, suitably dignified in her role, is in ravishing voice.” International Record Review, July/August 2011

Released or re-released in last 6 months

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Poulenc: Dialogues des Carmélites

Poulenc: Dialogues des Carmélites

Filmed in HD at the Bayerische Staatsoper (Munich), 03/2010


Alain Vernhes (Marquis de la Force), Susan Gritton (Blanche de la Force), Bernard Richter (Chevalier de la Force), Sylvie Brunet (Madame de Croissy), Soile Isokoski (Madame Lidoine), Susanne Resmark (Mère Marie), Hélène Guilmette (Soeur Constance), Heike Grötzinger (Mère Jeanne) & Anaïk Morel (Soeur Mathilde)

Bayerisches Staatsorchester & Chor der Bayerischen Staatsoper, Kent Nagano

Stage direction and set design: Dmitri Tcherniakov

Costumes Elena Zaytseva, Lighting Gleb Filshtinsky

A passionate lover of the human voice, Francis Poulenc composed the Dialogues des Carmélites in 1953, using a libretto he himself had written from a screenplay by Georges Bernanos. The first ever performances in Munich, this production was entrusted to Dmitri Tcherniakov, whose worldwide reputation is underpinned by productions like Eugene Onegin and Macbeth at the Paris Opera and Don Giovanni at Aixen-Provence.

The superb international cast includes a fine Blanche de la Force in Susan Gritton and an excellent Madame de Croissy by Sylvie Brunet, who was favourably compared to Rita Gorr in the press. They are superbly backed up by Soile Isokoski, Susanne Resmark, Hélène Guilmette, Alain Vernhes and the fabulous Bernard Richter.

Kent Nagano with the Dialogues literally at his fingertips – he recorded a landmark version some years ago – is at the helm of the Bavarian State Opera Orchestra and Chorus.

Subtitles : Fr, Eng, Ger, Spa

Colour 1080i HD, 16/9

PCM Stereo, DTS HD Master Audio

“[the production is] set in a soulless authoritarian state but filmed in a way that underlines individual dilemmas and common humanity. It is worth watching for Sylvie Brunet’s doughty Madame de Croissy, Soile Isokoski’s gracious Madame Lidoine and Susan Gritton’s winning Blanche.” Financial Times, 4th June 2011 ***

“Tcherniakov's production is probably the most physically active Dialogues ever staged. Everyone is seemingly in constant motion...Sylvie Brunet is a memorably formidable and pitiable Croissy...Helen Guilmette's Constance, lively but never cloying or cute, is immeasurably enhanced by heavenly floated pianissimi...Isokoski, suitably dignified in her role, is in ravishing voice.” International Record Review, July/August 2011

Released or re-released in last 6 months

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Bel Air Classiques - BAC461

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Rameau: Dardanus

Rameau: Dardanus


Bernard Richter, Gaëlle Arquez, João Fernandes, Benoit Arnould, Alain Buet, Sabine Devieilhe, Emmanuelle De Negri & Romain Champion

Ensemble Pygmalion, Raphaël Pichon

To get the New Year off to a great start, Alpha reissues Ensemble Pygmalion’s version of Dardanus, conducted by Raphaël Pichon and recorded in the majestic acoustics of the Opéra Royal at Versailles Palace. This set won multiple awards on its first release.

“The singing is first class, with Bernard Richter outstanding as Dardanus, while Ensemble Pygmalion bring out all the hues of Rameau’s colourful score” Early Music Today, August 2016 ****

A Musical Picture - up to 40% off

Alpha - ALPHA964

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Mozart: Die Zauberflöte, K620

Mozart: Die Zauberflöte, K620


Georg Zeppenfeld (Sarastro), Bernard Richter (Tamino), Mandy Fredrich (Queen of Night), Julia Kleiter (Pamina), Markus Werba (Papageno), Rudolf Schasching (Monostatos), Martin Gantner (Speaker), Elisabeth Schwarz (Papagena), Sandra Trattnigg (First Lady), Anja Schlosser (Second Lady), Wiebke Lehmkuhl (Third Lady), Members of the Tölzer Knaben (Three Boys), Lucian Krasznec (First Man in Armour/First Priest), Andreas Hörl (Second Man in Armour)

Concentus Musicus Wien, Nikolaus Harnoncourt (conductor), Jens-Daniel Herzog (director)

One of Mozart’s best-known opera, Die Zauberflöte, opened the series of new opera productions of the 2012 Salzburg Festival. Nikolaus Harnoncourt conducted his ensemble, the Concentus Musicus Wien, performing the Salzburg Festival’s first-ever performance of Die Zauberflöte on period instruments.

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Sony - 88843005729

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$13.75

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Mozart: Die Zauberflöte, K620

Mozart: Die Zauberflöte, K620


Georg Zeppenfeld (Sarastro), Bernard Richter (Tamino), Mandy Fredrich (Queen of Night), Julia Kleiter (Pamina), Markus Werba (Papageno), Rudolf Schasching (Monostatos), Martin Gantner (Speaker), Elisabeth Schwarz (Papagena), Sandra Trattnigg (First Lady), Anja Schlosser (Second Lady), Wiebke Lehmkuhl (Third Lady), Members of the Tölzer Knaben (Three Boys), Lucian Krasznec (First Man in Armour/First Priest), Andreas Hörl (Second Man in Armour)

Concentus Musicus Wien, Nikolaus Harnoncourt (conductor), Jens-Daniel Herzog (director)

One of Mozart’s best-known opera, Die Zauberflöte, opened the series of new opera productions of the 2012 Salzburg Festival. Nikolaus Harnoncourt conducted his ensemble, the Concentus Musicus Wien, performing the Salzburg Festival’s first-ever performance of Die Zauberflöte on period instruments.

Blu-ray Disc

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Sony - 88843005739

(Blu-ray)

$13.75

Usually despatched in 3 - 4 working days.

Rameau: Dardanus

Rameau: Dardanus

Live Recording


Bernard Richter, Gaëlle Arquez, João Fernandes, Benoit Arnould, Alain Buet, Sabine Devieilhe, Emmanuelle De Negri & Romain Champion

Ensemble Pygmalion, Raphaël Pichon

After the exploration of Bach’s ‘five’ Missae Breves concluding with the success of the original version of the B minor Mass, Ensemble Pygmalion has recorded Rameau’s Dardanus following a series of concerts unanimously hailed by the critics.

Although superior from the dramatic point of view, this second version of Dardanus proposed by Pygmalion has never, until the present day, been resurrected, with the exception of the famous aria ‘Lieux funestes’ from Act IV. A new edition was carried out (by Gilles Rico) based on the 1744 edition, also incorporating the numerous variants integrated by Rameau between 1744 and 1760, as he constantly strove to enrich the music’s emotional power. Originally stemming totally from the restrictive form of Lully’s tragédie lyrique but also attesting to a pronounced taste for ‘extraordinary stories’, this work presents a more intimate, human sense of the drama, thereby tracing a very clear path towards the psychological explorations of the Classical era.

“Richter is very strong in the title role through much of the score, though most especially in the radiant final two acts...The Ensemble Pygmalion...clearly relish its orchestral opportunities and the continuo accompaniment is both responsive and stylish.” BBC Music Magazine, May 2014 ****

“Gaëlle Arquez's Iphise is no shrinking vioet...Equally accomplished is Sabine Devieilhe...João Fernandes is suitably cavernous as Ismenor.” Gramophone Magazine, April 2014

“there are so many delights to be discovered in this opera that disappointment is inconceivable...Throughout, the performance has an energy and a sure pacing which unfailingly holds out attention right from the delightful, classically based Prologue for which Rameau wrote some widely admired and irresistably alluring music.” International Record Review, March 2014

A Musical Picture - up to 40% off

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Gustave Charpentier: Music for the Prix de Rome

Gustave Charpentier: Music for the Prix de Rome


Charpentier, G:

Impressions d'Italie

Didon

La Vie du poète

La Fête des myrtes


Manon Feubel, Sabine Devieilhe (sopranos), Helena Bohuszewicz (contralto), Julien Dran (tenor), Bernard Richter (tenor), Marc Barrard & Alain Buet (baritone)

Flemish Radio Choir, Royal Symphonic Band of the Belgian Guides & Brussels Philharmonic, Hervé Niquet

This third release in the Prix de Rome series by Glossa is set to demonstrate a composer whose range of talents far extends beyond his famous opera 'Louise'.

After Debussy and Saint-Saëns, Hervé Niquet now turns to the dramatic realism of the late 19th century. The Italian period in Charpentier’s life (1888-1890) was actually his most fruitful creative. It was there, in Rome, that he worked on two masterly symphonic works: the one elaborating his 'Impressions d’Italie' which was to enjoy significant success right up until the Second World War; whilst the other, 'La Vie du poète', more experimental, called for three soloists, a chorus and a large symphonic orchestra. Thanks to the quality of his chorus 'La Fête des myrtes' and the magnificent Wagnerian cantata 'Didon', the composer won, in 1887, the famous Prix de Rome, opening the way for him to have a Bohemian séjour in the Villa Medici.

“Two of the works here [Didon and La vie du Poete] pointed to a serious future for Charpentier in opera...the standard of performance under Herve Niquet and his chosen Belgian soloists and ensembles easily crosses over from archive duty into committed championship. The Brussels and Antwerp recordings are most natural. A huge recommendation, especially for Didon.” Gramophone Magazine, May 2012

“The result is a kind of operatic symphony and some of the music is stunning...this performance is preferable to the 1934 performance by Charpentier. For a start, modern recording allows us to hear the considerable delights of the orchestration, and the orchestral playing and choral singing are superior too...there is so much lovely music here.” International Record Review, February 2012

Glossa Prix de Rome - GCD922211

(CD - 2 discs)

$24.75

(also available to download from $20.00)

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Saint-Saëns: Music for the Prix de Rome

Saint-Saëns: Music for the Prix de Rome

Recorded in Antwerp (Koningin Elisabethzaal), Heverlee (Jezuïetenkerk) and Brussels (Flagey) in Feb, March and Oct 2010


Saint-Saëns:

Ivanhoé

Le Retour de Virginie

Ode

Choeur de Sylphes

O Salutaris, de la Messe, Op. 4 (extracts)

Motets au Saint Sacrement


Julie Fuchs (soprano), Marina De Liso (mezzo-soprano), Solenn’ Lavanant Linke (mezzo-soprano), Bernard Richter (tenor), Pierre-Yves Pruvot (baritone), Nicolas Courjal (bass), Bart Cypers (French horn) & François Saint-Yves (organ)

Brussels Philharmonic & Flemish Radio Choir, Hervé Niquet

Camille Saint-Saëns and the Prix de Rome… surely a strange bringing together of ideas, given that the composer never gained that coveted award and consequently never took up residence in the famous Villa Medici? All the same, Saint-Saëns entered the competition on two separate occasions and, peculiarly in the history of the competition, twelve years apart: firstly in 1852 and then in 1864. On the first occasion he was still an adolescent, devoted to worshipping the memory of the great Mendelssohn; behind him, by the time of the second occasion, were already a number of his masterpieces later to be confirmed by posterity – and he had become acquainted with Verdi and had also discovered Wagner. If the music he composed for the competition in 1864 was not deemed worthy of being awarded a prize, perhaps that was due to it being full of a troubling and disquieting sense of modernity: there is clearly nothing that the cantata Ivanhoé need fear in a comparison with Il Trovatore… In the period between the two competitions Saint- Saëns concurrently secured for himself a reputation in church music based on a plentiful collection of magnificent motets; proof that it is possible to be successful in religious academicism and unsuccessful in its lyric counterpart (provided we set aside Samson et Dalila!) Hervé Niquet, the Brussels Philharmonic and Glossa are now presenting the second volume in their survey of music composed for the Prix de Rome with the majority of such pieces being previously unrecorded and definitely demanding to become much better-known.

“[Ivanhoé is] a confident, accomplished creation with up-to-the-minute Italian influences...Hervé Niquet usefully fills out the picture of the young Saint-Saëns’s output with an 1852 Choeur de Sylphes, an 1864 Ode, as well as motets and excerpts of a Mass from 1857.” Irish Times, 18th February 2011 ***

“[Le retour de Virginie is] a silly enough story but it allows for romantic solos, sea-music, storm-music and quasi-religious prayers; Saint-Saëns's score has little individuality, but all this is deftly handled, with a sure flair for vocal and instrumental writing...the performances seem uniformly excellent and the sound quality is first-rate. As with the Debussy set, the artistic result has proved to be so much more than a musicological exercise.” International Record Review, May 2011

“[Ode] is reminiscent of Berlioz, while the corresponding cantata, Ivanhoé, has strong overtones of both Verdi and Meyerbeer. Niquet conducts his Belgian forces with infectious enthusiasm, and the choral singing is consistently lovely. The real treat, though, is Ivanhoé...It's gung-ho, thrill-a-minute stuff and tremendous fun.” The Guardian, 5th January 2012 ****

Glossa Prix de Rome - GCD922210

(CD - 2 discs)

$24.75

(also available to download from $20.00)

This item is currently out of stock at the UK distributor. You may order it now but please be aware that it may be six weeks or more before it can be despatched. (Available now to download.)

Haydn: Il mondo della luna

Haydn: Il mondo della luna


Dietrich Henschel (Buonafede), Vivica Genaux (Ernesto), Bernard Richter (Ecclitico), Christina Landshamer (Clarice), Maite Beaumont (Lisetta), Markus Schafer (Cecco)

Concentus Musicus Wien, Nikolaus Harnoncourt (conductor) & Tobias Moretti (director)

First Haydn Il Mondo della Luna (which has blissful Mozartian spirit) available on DVD and Blu-ray!

Live recording from Theatre an der Wien, 2009.

Nikolaus Harnoncourt created an interpretation in which Haydn’s work can become a veritable gem of opera literature.

Renowned actor and director Tobias Moretti relates the story as a light-footed, magical fairy tale infused with slapstick, witty details and fantasy costumes.

Bonus Interview with Harnoncourt (26 min.)

“Harnoncourt on top form” 4 star rating Financial Times

Running Time Total: 193 minutes (Opera ´167 + ´26 Bonus ´)

Picture 16:9, HD

Sound DVD/BD: DTS 5.1, PCM Stereo

Subtitles Italian, English, German, French

Booklet English, German, French

“With the ever-responsive Concentus Musicus, [Harnoncourt] duly mines the comically disruptive potential of Haydn's music with unabashed glee... The comic leads are ideally cast...an inventive, thoroughly entertaining performance of a zany, sometimes touching comedy. If you're still sceptical about Haydn's operas, this may convert you.” Gramophone Magazine, January 2010

“[Genaux] sings with easy flexibility and sophisticated style...The rich-voiced mezzo Maite Beaumont's Lisetta does well with the patter...Bahrmann sings strongly, with fine coloratura...[Harnoncourt] is at the helm of his ensemble, the Concentus Musicus Wien, which responds to his every intention with spirited accomplishment.” International Record Review, January 2011

GGramophone Magazine

DVD of the Month - January 2011

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C Major - 703508

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$40.75

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