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Filmed live in Baden-Baden by the veteran director Brian Large, Renée Fleming makes her debut in the role of Ariadne together with fellow key Strauss interpreters Sophie Koch and Christian Thielemann, following on from their Rosenkavalier triumph. Thielemann conducts the Staatskapelle Dresden, the orchestra to whom Strauss dedicated his Alpine Symphony and which premiered Feuersnot, Salome, Elektra, Der Rosenkavalier and Daphne. Fleming's voice might have been made for Ariadne and she achieved a great personal triumph in this production: “The chief glory of the evening was hearing Renée Fleming, the Straussian soprano par excellence, making her role debut as Ariadne… As the possessor of what is, possibly, the most beautiful soprano voice in the world, she put her vocal treasures in the service of an empathic, nuanced interpretation of the role. From the creamy top, through a rich, warm middle, to the bewitching, darker colours of her lower register, Fleming poured her magnificent sound into Strauss’s enchanting melodic arcs, animating the sadness, vulnerability, and desire of the bereft princess...” Frankfurter Allgemeine Zeitung | 
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| |  | MissionBlu-ray
Steffani: | Schiere invitte, non tardate (from Alarico il Baltha) Ogni core può sperar (from Servio Tullio) Ove son? Chi m'aita? In mezzo all'ombre...Dal mio petto (from Niobe) Più non v'ascondo (from Tassilone) Amami, e vederai (from Niobe) T'abbraccio, mia Diva...Ti stringo, mio Nume (from Niobe) Philippe Jaroussky (countertenor) Mie fide schiere, all'armi!...Suoni, tuoni, il suolo scuota (from I trionfi del fato) Sposa, mancar mi sento...Deh non far colle tue lagrime (from Tassilone) Non prendo consiglio (from La superbia d'Alessandro) Si, si, riposa, o caro...Palpitanti sfere belle (from Alarico il Baltha) Notte amica al cieco Dio (from La libertà contenta) Combatton quest'alma (from I trionfi del fato) Philippe Jaroussky (countertenor) A facile vittoria (from Tassilone) Tra le guerre e le vittorie (from La superbia d'Alessandro) Foschi crepuscoli (from La libertà contenta) Dell'alma stanca a raddolcir le tempre...Sfere amiche, or date al labbro (from Niobe) La cerasta più terribile (from La lotta d'Hercole con Acheloo) Serena, o mio bel sole...Mia fiamma/Mio ardore (from Niobe) Philippe Jaroussky (countertenor) Dal tuo labbro amor m'invita (from Tassilone) Deh stancati, o sorte (from La libertà contenta) Svenati, struggiti, combatti, suda (from La libertà contenta) Padre, s'è colpa in lui (from Tassilone) Timori, ruine (from Le rivali concordi) Morirò fra strazi e scempi (from Henrico Leone) Non si parli che di fede (from Marco Aurelio) |
Autumn 2012 marks the release of Mission, a sensational new album from the world’s best-selling classical artist, Cecilia Bartoli, and a project with international politics, religious conflict, diplomatic secrecy, spying and sensational music at its heart. The album showcases the music of a little-known Italian composer and will include solo arias of various moods and styles, several duets, solo numbers with chorus - all sung in Italian - and instrumental interludes that create an organic transition from one piece to the next and an arc that reaches from the beginning to the end of the album. Such was the appeal of the project that longtime Bartoli admirer and global best-selling author Donna Leon decided to write a mystery novel - Jewels of Paradise - to accompany Cecilia’s album, which uses the mystery surrounding the composer’s story as the centre of its plot. Jewels of Paradise will be released simultaneously with Cecilia Bartoli’s album in English (UK and USA), German, French, Dutch, Spanish and Catalan. Among the distinguished names appearing on Mission is star French counter-tenor Philippe Jaroussky who features in a first-time collaboration with Cecilia on a selection of duets, alongside the Coro della Radiotelevisione Svizzera, the period orchestra I Barocchisti from Lugano, Switzerland, and conductor Diego Fasolis. A cinematographic vision of the album directed by Olivier Simonnet and filmed in the historic Galerie des Glaces (Hall of Mirrors) and in the gardens of the Chateau de Versailles “Steffani’s art is elegantly expressive, Italianate with French dressing...Several brazen display arias are here...Bartoli leaps around the vocal ladder with customary gusto and a rather too vigorous vibrato. The pleasures are subtler when the music is simpler and the voice quieter...Notte amica, say, from La Libertà contenta, or the silky caress of Sfere amiche...These two tracks were definitely worth Bartoli shaving her head.” The Times, 21st September 2012 *** “Bartoli’s programming instincts are immaculate in terms of musical and emotional variety; she is compelling in pearly arioso and slow numbers, less so in bravura ones.” Sunday Times, 14th October 2012 “she sweeps through 25 numbers flexing her well-rehearsed vocabulary of flighty fioritura, expressive mannerism and tender vocalità. The melting duets with countertenor Philippe Jaroussky are worth hearing” Financial Times, 20th October 2012 “Bartoli's vocal mannerisms vex and delight – sometimes simultaneously. But for those seduced by the 2010 Royal Opera House production of Niobe, Regina di Tebe, this selection will be irresistible.” The Independent on Sunday, 18th November 2012 “Bartoli's plummy mezzo soars, smoulders and seduces, milking the music's vocal and expressive scope to dramatic effect. It's hard to resist her sparkling personality and infectious passion for this repertoire...the animated playing of I Barocchisti enhance the sheer theatre and scale of Steffani's talent...this is truly a revelatory disc.” BBC Music Magazine, Christmas 2012 ***** “Among the opera arias Ms. Bartoli dug up in the archives are some treasures, hypnotic, slow numbers in which voice and accompanying strings circle each other like spinning planets and jubilant vehicles for her rapid-fire coloratura singing. Mr. Fasolis stokes the fire with an impetuous period-instrument ensemble.” New York Times, 23rd November 2012 “Bartoli is to be both congratulated and thanked for this project...Her dazzlingly virtuoso and urgently expressive performances betoken nothing less than total commitment, with every single aria delivered with as much dramatic intensity and focus as if it had been lifted straight from a fully staged production...it is hard to know what more one could ask for” Gramophone Magazine, December 2012 “I can't think of another singer who brings such variety of colour, nuance and pathos to slow numbers...Bartoli's performance of the more bravura numbers...is more questionable...Vocal fireworks have always been essential weapons in the Bartoli armoury, but they are now sounding rusty...I don't want to end on a negative note, as there is much to admire and even love here...'Mission' is in every sense a collector's item.” International Record Review, December 2012 |
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Jonas Kaufmann (Der Königssohn), Isabel Rey (Die Gänsemagd), Oliver Widmer (Der Spielmann), Liliana Nikiteanu (Die Hexe), Reinhard Mayr (Der Holzhacker), Boguslaw Bidzinski (Der Besenbinder), Tomasz Slawinski (Der Wirt), Miroslav Christoff (Der Schneider) Chorus & Orchestra of the Opernhaus Zürich, Ingo Metzmacher Tenor superstar Jonas Kaufmann leads the cast in the first-ever DVD release of the beautiful fairytale opera from the composer of Hänsel und Gretel. The German tenor is “the fairytale prince of most opera-goers’ dreams – young, reckless, beautiful” (Financial Times), and Isabel Rey is the Goosegirl star in the acclaimed Zurich production of Humperdinck’s magical opera Königskinder – a story of love tested beyond endurance – premiered at New York’s Metropolitan Opera in 1910. Humperdinck’s setting of the modern fairytale saw him further develop the musical language of his much-loved Hänsel und Gretel. Königskinder is enjoying a revival in popularity with productions planned in several major European houses | | | In stock - usually despatched within 1 working day. |
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Renée Fleming and Andreas Scholl lead a superb cast in Stephen Wadsworth’s celebrated production of Handel’s Rodelinda from the Metropolitan Opera – based on the "Live in HD" transmission to cinemas worldwide. The title role is unique in featuring no less than eight magnificent arias. Renée Fleming’s triumph in the first run of the production was hailed by The New York Times, "Ms Fleming draws on every resource of her artistry in this portrayal: luminous sound, exquisite ornamentation, floating high notes, emotional volatility." Playing opposite her is Decca Classics countertenor star, Andreas Scholl, as King Bertarido, assumed dead, but returning to reclaim his throne and his queen. The handsome period production sets the drama of public and private passion in the Milan of Handel’s own time – majestically presented in the set designs of Thomas Lynch and the lavish costumes of Martin Pakledinaz. “Bicket coaxes the Met into a credible Baroque style...Iestyn Davies's intelligent singing and acting make Unulfo an especially likeable confidant to the heroic couple. Joseph Kaiser's acting of the sorrowful tyrant Grimoaldo undergoing a crisis of confidence ('Pastorello') is first-class...Wadsworth's amiable production comes to the boil nicely in acts 2 & 3.” Gramophone Magazine, February 2013 “In this packaging of [Handel's] Rodelinda, the unfriendly size of the Met auditorium is neutralized...we can better appreciate the period theorbo and recorders that conductor Harry Bicket adds for flavoring in the pit. Via this medium, characters give every sign of communicating with one another, while the producer's agile camera focuses tightly on individual expressions...[Fleming] invests her high-speed passagework with convincing venom” Opera News, April 2013 “the orchestra delivers a nimble performance...Scholl's cool Bertarido and Iestyn Davies's mellifluous Unulfo make a pleasing contrast to Joseph Kaiser's splenetic Grimoaldo...Blythe displays handsome tones, while Shenyang sings the brutish role of Garibaldo with elan. Fleming, without whom none of this would be happening, is perplexing: an exquisite voice untroubled by consonants, mermaid-like in its dolorous beauty” BBC Music Magazine, January 2013 **** | | | In stock - usually despatched within 1 working day. |
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Juan Diego Florez, Kate Aldrich, Gregory Kunde, Alex Esposito Orchestra e coro del Teatro Comunale de Bologna, Roberto Abbado Juan Diego Flórez stars in the only available DVD version of Zelmira, filmed at the celebrated Rossini Festival in the composer’s home town of Pesaro. Recorded in high definition at the 2009 Festival, Giorgio Barberio Corsetti’s production places the classical tale, set during the Trojan Wars, in modern times and modern dress. The final opera Rossini wrote for Naples is a dramatic and musical tour de force and a magnificent showcase for the bel canto superstar of our time. Joining Juan Diego Flórez are a major international cast, described as “near miraculous” by Opera Today and led by American mezzo-soprano Kate Aldrich in the virtuosic title role. But the evening remained another distinguished triumph for Juan Diego Flórez as Prince Ilo, whose arrival in his homeland, to rescue Zelmira, was marked by “a dazzling tenorial display” which “evoked a nearly twenty-minute ovation” (Opera Today) | | | Usually despatched in 2 - 3 working days. |
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Angela Gheorghiu (Adriana), Jonas Kaufmann (Maurizio), Olga Borodina (La principessa di Bouillon), Alessandro Corbelli (Michonnet), David Soar (Quinault), Iain Paton (Poisson), Janis Kelly (Mademoiselle Jouvenot), Sarah Castle (Mademoiselle Dangeville), Maurizio Muraro (Principe di Bouillon), Bonaventura Bottone (Abbé de Chazeuil) Chorus and Orchestra of the Royal Opera House, Covent Garden, Sir Mark Elder (conductor) & David McVicar (stage director) Starring Angela Gheorghiu as the celebrated French actress Adriana Lecouvreur and Jonas Kaufmann as her lover Maurizio, Count of Saxony, Cilea’s verismo drama explores celebrity, romance, jealousy, and death. The trio of sublime voices is completed by Russian mezzo-soprano Olga Borodina as Adriana’s jealous rival, the Princess de Bouillon. David McVicar’s hit production – the first performance of the opera at the Royal Opera House, Covent Garden for more than a century – presents the life of the French actress as a blurring of the distinction between fantasy and reality. The action revolves around a life-size Baroque Theatre, taking us from the bustle and colour of the first act backstage at the playhouse, to the bare final scenes as the drama reaches its fatal climax. The DVD & Blu-ray contain bonus footage featuring interviews with the principal artists, Director, Set Designer and Conductor. “Kaufmann and Gheorghiu radiate sexiness" (Financial Times) “Gheorghiu is a dream" (The Independent) “Gheorghiu is an inspired piece of casting for the heroine...There is an excitement about [Kaufmann's] voice and stage presence that is infectious, ...Borodina chews up the scenery, singing with a voice so commanding that it takes you aback...McVicar’s production is another treat, this time for the eyes...All told, then, this set is an absolute winner. It even supersedes Levine’s Sony CDs as an overall first choice for this opera in any format.” MusicWeb International, June 2012 | | | In stock - usually despatched within 1 working day. |
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Following the success of Fleming’s Der Rosenkavalier DVD, live from the Met comes Fleming’s interpretation of Strauss’s chamber-opera, Capriccio. | | | Usually despatched in 2 - 3 working days. |
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Verdi’s epic drama of ancient Egypt comes to life in the Met’s monumental production, captured here in a breathtaking Live in HD presentation. Violeta Urmana stars in the title role of the princess-turned-slave girl, opposite Johan Botha as her lover and Dolora Zajick as her jealous rival. Maestro Daniele Gatti conducts. “We are in an ancient Egypt reimagined by Cecil B de Mille...So what's it all about? The thing that the Met does best, singing. Johan Botha is a stentorian Radames and in the later acts Zajick becomes a chilling Amneris. But it's Violeta Urmana's Aida who steals the show with melting pianissimos and thrilling top notes. Do they act? Of course not, they emote. Is there a single idea on stage. Don't be silly. Just lie back and wallow.” BBC Music Magazine, October 2011 *** “How satisfying it is to have a production of Aida that looks like a production of Aida: no Nazi uniforms, machine guns or alien spacecraft...[Botha] is on form...his unclouded timbre having a sound middle and a ringing top, and his held notes on high certainly are steady...There are some roles in which Urmana takes something of a hell-for-leather approach, but her Aida has many subtle touches.” International Record Review, October 2011 | | | Usually despatched in 2 - 3 working days. |
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Franco Zeffirelli’s magnificent staging of Puccini's final opera — a fairy tale set in a mythical China — is one of the most popular in the Met repertory. In this Live in HD production, Maria Guleghina takes on the title role and Marcello Giordani is Calaf, the unknown prince. Marina Poplavskaya and Samuel Ramey co-star, and Andris Nelsons conducts in his Met debut. “Zeffirelli's classic 1990s Met production, unashamedly glitzy, crowded and spectacular comes up remarkably fresh in this second video incarnation...Guleghina's ice-princess is intensely feminine...Giordano cuts a charismatic stage figure, and 'Nessun dorma' stops the show...What really makes this production is the vividness with which it's communicated, both in the exceptional high-definition picture and spacious sound.” BBC Music Magazine, October 2011 ***** “Zeffirelli's ultra-lavish traditional production hovers between gorgeously extravagant and amusingly overdone. It's kept in check by three terrific performers in the main roles. Maria Guleghina soars effortlessly through the cruelly demanding title role...Poplavskaya is wonderfully affecting both dramatically and vocally as the innocent young Liu...[Nelsons] provides some surprising subtlety among the necessary broad brush-strokes” Classic FM Magazine, October 2011 **** “the production's brain-flooding panorama of ancient China...matches the sumptuousness of Puccini's score...[Guleghina and Giordani are] both fairly new to their roles and singing them with a sense of new discovery...In the secondary roles, Marina Poplavskaya and Samuel Ramey are certainly A-team talents...Nelsons finds layers of sound and meaning unlike anything I've heard since Karajan's audio recording on DG” Gramophone Magazine, Awards Issue 2011 “the 22-year-old extravaganza has lost none of its razzle-dazzle...in the opera house one can't take it all in...Perhaps home viewing is the best route - when soloists sing, the camera hones in on them...The stars of the evening are conductor and second soprano...[Poplavskaya] acts convincingly, looks wonderful and sings with great warmth and sure technique..,[Nelsons] rises to each occasion, but he also pays heed to Puccini's delicate colorations” International Record Review, November 2011 | | | In stock - usually despatched within 1 working day. |
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| |  | New Year's Day Concert 2011
Hellmesberger: | Die Perle von Iberien: Gypsy Dance | Lanner: | Die Schönbrunner Waltzer, Op. 200 | Liszt: | Mephisto Waltz No. 1 | Strauss, E: | Ohne Aufenthalt - Polka Schnell, Op.112 | Strauss, J, I: | Furioso-Galopp nach Liszt's Motiven, Op. 114 Cachucha-Galopp, Op. 97 Radetsky March, Op. 228 | Strauss, J, II: | Reitermarsch (Riders March), Op. 428 Donauweibchen Waltz, Op. 427 Amazonen-Polka, Op. 9 Debut-Quadrille, Op. 2 Muthig Voran! - Schnell-polka, Op. 432 Ritter Pázmán: Csárdás Abschieds-Rufe Walzer, Op. 179 Spanischer Marsch, Op. 433 An der schönen, blauen Donau, Op. 314 | Strauss, Josef: | Aus der Ferne - Polka mazur, Op. 270 Mein Lebenslauf ist Lieb' und Leben - waltz, Op. 263 |
Seen by millions on TV worldwide, the Wiener Philharmoniker’s New Year's Concert from Vienna is the best-known classical event in the world The 2011 concert will be conducted by Austrian-born Franz Welser-Möst - newly installed as the music director of the Vienna State Opera and a favourite with Viennese concertgoers The New Year's Concert, presented in the glittering Musikverein, features a charming programme that offers perennial favourites alongside some intriguing Strauss premieres. The complete programme will be announced beginning of November | | | Usually despatched in 2 - 3 working days. |
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