Cornelius Meister

Conductor

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Dvorak: Svatební Kosile, Op. 69

Dvorak: Svatební Kosile, Op. 69


Simona Šaturová (soprano), Pavol Breslik (tenor) & Adam Plachetka (bass-baritone)

Wiener Singakademie & Orf Vienna Radio Symphony Orchestra, Cornelius Meister

Performances of Dvořák’s music in cities all over Britain helped to ensure a continued demand for the works he wrote especially for that country. He composed the cantata The Spectre’s Bride during the period May-November, 1884, with the first performance taking place in Birmingham the following year. Tradition has it that Dvořák himself conducted the choir of around 400 voices and an orchestra of 150 musicians. There were many more performances of the cantata in Great Britain and the USA during the year following its première. This helped secure Dvořák’s prominence and popularity among Anglo-American audiences, an advantage which has never really waned since.

“Simona Šaturová is pure and innocent as the girl but thrills when she throttles up. Pavol Breslik is smooth and eager as her ghostly spouse, Adam Plachetka sage-like as the narrator. A nice little discovery” Gramophone Magazine, June 2017

“With Krombholc one gets the great trio of Drahomíra Tikalová, Beno Blachut and Ladislav Mráz in a twofer coupling with Novák’s The Storm. Here are singers for whom cantata and opera are, without any crudity, fruitfully interchangeable.” MusicWeb International, 28th June 2017

“Meister, one of Germany’s rising conductors, makes a strong case for it with his Viennese forces and Slovakian and Czech soloists. Simona Saturova is steely, if occasionally unsteady, as the distraught Bride, Pavol Breslik’s lyric tenor expands into the Spectre’s strenuous music, and Adam Plachetka...is an exemplary narrator, leading the commentating chorus.” Sunday Times, 26th March 2017

“[Meister] tends to emphasise the lyrical aspects of Dvořák’s score. But there are shapely solo contributions from the ORF orchestra, and certainly some very fine expressive singing from soprano Simona Šaturová as the girl and tenor Pavol Breslik as the spectre.” The Guardian, 30th March 2017 ***

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Capriccio - C5315

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Aida

Aida


anon.:

Alluki

Cossack Lullaby

Delibes:

Où va la jeune Indoue? 'Bell Song' (from Lakmé)

Gounod:

Ah! Je veux vivre dans ce rêve (from Roméo et Juliette)

Rachmaninov:

Lilacs, Op. 21 No. 5

How fair this spot, Op. 21 No. 7

Vocalise, Op. 34 No. 14

Rimsky Korsakov:

Song of the Hindu Guest (from Sadko)

Akh, bednaya Snegurocka, dirkarka! - S podruzkami po yagodu khodit (from The Snow Maiden)

Hymn to the Sun

Tsaritsa's Dance of Seduction (from Le Coq d'Or)

Oriental Romance, Op. 2 No. 4

Soloviev-Sedoy:

Midnight In Moscow

Tchaikovsky:

O ditya, pod okoshkom tvoim (Serenade), Op. 63 No. 6

Spi, mladénets moy prekrásny (from Mazeppa)


Aida Garifullina (soprano)

ORF Radio-Symphonieorchester Wien, Cornelius Meister

Aida Garifullina’s debut album is one of the most eagerly awaited operatic events of the year!

Since her triumphant win at Plácido Domingo’s Operalia 2013, the young star soprano from Kazan has become the hottest newcomer of the opera world – winning audiences over with stand-out performances at Vienna State Opera and Mariinsky Theatre, recitals at the Wigmore Hall and Vienna Musikverein and a US tour with Andrea Bocelli. Boosting a unique media profile Aida has made her feature film debut in Florence Foster Jenkins alongside Meryl Streep and Hugh Grant. She has appeared on German, Austrian, French and Russian TV multiple times, including televised performances at Vienna and Dresden Opera Balls, Rolando Villazon’s Stars von Morgen on ZDF, and the 2016 Bastille Day Concert in Paris in front of the Eiffel Tower, watched by millions. Aida has duetted with some of opera’s greatest stars, including Plácido Domingo, Andrea Bocelli, Juan Diego Florez, Dmitri Hvorostovsky and Rolando Villazón

Her debut album showcases Aida at her very best – treasures of her beloved Russian opera are combined with two of her signature arias: Delibes’ ‘Bell Song’ (as featured in her stand out performance in Florence Foster Jenkins) and Gounod’s ‘Je veux vivre’, which she performed to rave reviews at the Vienna Opera Ball. The selection also includes the hauntingly beautiful folk song ‘Alluki’ sung in Aida’s native Tatar language, recorded here for the first time, and ‘Midnight in Moscow’, adding her vocal to a Balalaika orchestra recording from the early 1960s in this classic Russian tune

BBC Music Magazine

Opera Choice - April 2017

Decca - 4788305

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Einem - Konzert für Klavier und Orchester

Einem - Konzert für Klavier und Orchester


Einem:

Piano Concerto, Op. 20

Dantons Tod

Wandlungen, Op. 21

Nachtstück, Op. 29

Medusa – Suite aus dem Ballett, Op. 24


Konstantin Lifschitz (piano)

RSO Vienna, Cornelius Meister

The opera Dantons Tod made Gottfried von Einem world-famous and this symphonic version of his opera music confirms his reputation, as does his masterly Piano Concerto, especially when they are given firstclass performances as here. Throughout his life von Einem held fast to tonality, and even if it’s difficult to regard him as an avant-gardist, his oeuvre is characterised by a dogged questioning and opening up of traditional formal models. Thus it was important to him in his Dantons Tod Suite that it should not be seen just as a ‘potpourri’ from the stage work, but as an independent work for the concert hall. It is in this form that it is represented in this new Orfeo recording by the Vienna Radio Symphony Orchestra and its’ chief conductor designate, Cornelius Meister. The motto of ‘transformation’ is even clearer in the case of Wandlungen, von Einem’s introduction to a Divertimento for Mozart that Donaueschingen Music Days commissioned from twelve composers in ‘Mozart year’, 1956. The Wandlungen are based on Papageno’s aria “Ein Mädchen oder Weibchen” from the Magic Flute. In his Piano Concerto Op. 20 he is no less keen to enrich his music by establishing stylistic connections to jazz and dance. Konstantin Lifschitz is the soloist, and he shows here why his outstanding reputation is not just based on his Bach interpretations. The Vienna Radio Symphony Orchestra and Cornelius Meister are his precise, dynamic partners.

Orfeo - C764091A

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Mahler: Das klagende Lied

Mahler: Das klagende Lied


Simone Schneider (soprano), Taja Ariane Baumgartner (mezzo-soprano), Torsten Kerl (tenor), Adrian Erod (baritone), Camilo Diaz Delegado (tenor), Juyoung Kim (bass)

ORF Vienna Radio Symphony Orchestra, Wiener Singakademie, Soloists of the Tölzer Knabenchor, Cornelius Meister

Mahler's cantata Das klagende Lied continues to be a rarity on concert programmes, despite the fact that the composer is recognised today as one of music history's most preeminent figures, many of whose works form part of the standard repertoire. The significance of this large-scale symphonic choral piece is that it represents the foundation of Mahler’s more widely-known compositions. As such, it is a key component in understanding Mahler and interpreting his works. It could be said that Das klagende Lied represents a summary of all Mahler's creative output up to that point in his life. It also foreshadows the works that were to come.

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Capriccio - C5316

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Delibes: Lakmé: Act 2 - "Où va la jeune Indoue" (Bell Song)

Delibes: Lakmé: Act 2 - "Où va la jeune Indoue" (Bell Song)


Aida Garifullina (soprano)

RSO-Wien, Cornelius Meister

Decca - 4831664

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Bruckner: Symphony No. 9 & Mass No. 3

Bruckner: Symphony No. 9 & Mass No. 3


Bruckner:

Symphony No. 9 in D Minor

Ruth Ziesak (soprano), Janina Baechle (alto), Benjamin Bruns (tenor) & Günther Groissböck (bass)

Mass No. 3 in F minor

Wiener Singakademie


ORF Radio Symphony Orchestra, Cornelius Meister

The composition of his Ninth Symphony proved a struggle for Anton Bruckner. Having begun work on it in the late summer of 1887, it remained unfinished by the time of his death nine years later. The movements that he did complete have a more 'stand-alone' quality than in other symphonies - perhaps as a direct consequence of there being no finale to round off the arching structure and bring the work's dramatic development to a conclusion. Bruckner intended to dedicate the Ninth to "my dear God", and his Mass in F minor is also a work of gratitude to God for his recovery following a period of sustained nervous exhaustion. Performed several times during Bruckner’s lifetime, the Mass in F minor has always ranked ahead of its sister works, those in D minor and E minor, securing a place for itself among the most popular, late Romantic sacred choral works.

“warmly expressive and spontaneous” Gramophone Magazine, September 2016

Capriccio - C5247

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Mark Barden: Monoliths

Mark Barden: Monoliths


Barden:

a tearing of vision

Ensemble intercontemporain, Cornelius Meister

Chamber

Mark Barden, Stefan Maier, Max Murray

Alam (Schmerz)

Klangforum Wien, Andreas Eberle

flesh/veil

Klangforum Wien, Andreas Eberle

die Haut Anderer

Nicolas Hodges (piano)

Monoliths I-V

Kammerensemble Neue Musik Berlin


A 2015 Composers’ Prize Winner at the Ernst Siemens Music Foundation. American Mark Barden’s work represents a staging of the failures that occur just before and just beyond the limits of what the body can hear and what it can enact, but where the failure itself is always palpable. The sounds of this music are, by turns, dense, visceral, and febrile; the tangibility of the performer’s loss of precise physical control is mirrored in the listening experience. The listener senses, just barely, a loss of themselves in this moment of shared vulnerability.

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R. Strauss: Ein Heldenleben, Metamorphosen

R. Strauss: Ein Heldenleben, Metamorphosen


Strauss, R:

Ein Heldenleben, Op. 40

Metamorphosen


Ein Heldenleben op. 40 was written in 1898, so to speak at the end of a decade, in which Strauss with orchestral works such as Don Juan, Macbeth, Tod und Verklärung, Till Eulenspiegel’s lustige Streiche, Also sprach Zarathustra and Don Quixote had highly intensively and successfully set to music extra-musical stories with purely instrumental means. In the popular genre of programme music, he could justifiably count on a positive response on the part of his public.

The ORF Vienna Radio Symphony Orchestra under the direction of his chief conductor Cornelius Meister did a lot of performances of Richard Strauss works during the Jubilee year 2014. The Highlight of this concert series at the Vienna Konzerthaus was the “Heldenleben” performance, enthusiastic acclaimed by press and audience.

Capriccio - C5208

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Wagner: Wesendonck-Lieder

Wagner: Wesendonck-Lieder


Wagner:

Wesendonck-Lieder (5)

Tannhäuser: Overture and Venusberg Music

Dich, teure Halle (from Tannhauser)

Tristan und Isolde: Prelude & Liebestod


One of the most interesting voices of our time presents her first Wagner album: Anne Schwanewilms, who just made a very successful debut at the Metropolitan Opera, New York sings the Wesendonck-Lieder, Liebestod and Elisabeth’s Aria from Tannhäuser.

Capriccio - C5174

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Bartók: Kossuth

Bartók: Kossuth


Bartók:

Kossuth Symphonic Poem Sz21

Concerto for Orchestra, BB 123, Sz.116

Romanian Folk Dances for orchestra, Sz. 68, BB 76


ORF Radio-Symphonieorchester Wien, Cornelius Meister

Béla Bartók’s symphonic poem Kossuth stands in the shadow of his later works and is hardly ever performed. It was written when Bartók was a mere twenty-year-old and celebrates the Hungarian freedom fighter Lajos Kossuth. It is a brilliantly instrumented, fiery work of his youth, and the opportunity to get to know it is a rewarding experience.

Cornelius Meister debuted at the Hamburg State Opera at the young age of twenty-one and numbers among today’s top young conducting marvels.

“In both the Concerto for Orchestra and the set of Romanian Dances included as an extra, there is plenty of characterful, extrovert playing, but Kossuth...needs much more cogency and tightly focused energy if it is not to seem just episodic” The Guardian, 4th April 2013 ***

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CPO - 7777842

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