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See Terms & Conditions for p&p rates. | |  | Montserrat Caballé: Diva
Bellini: | Casta Diva (from Norma) Mira, o Norma (from Norma) Ah, non credea mirarti (from La Sonnambula) Dopo l'oscuro nembo (from Adelson e Salvini) Col sorriso d'innocenza (from Il Pirata) | Bizet: | L'amour est un oiseau rebelle 'Habanera' (from Carmen) | Catalani: | Ebben? Ne andrò lontana (from La Wally) | Charpentier, G: | Depuis le jour (from Louise) | Cilea: | Io son l'umile ancella (from Adriana Lecouvreur) | Delibes: | Lakmé: Dôme épais (Flower Duet) | Donizetti: | E sara in questi orribili momenti (from Roberto Devereux) Vivi ingrato (from Roberto Devereux) Com' e bello! (from Lucrezia Borgia) Dio Possente! Ah! Tu ben sai (from Gemma di Vergy) Maria Stuarda: Final Scene | Flotow: | The Last Rose of Summer (Martha) Martha! Herr! Sie lacht zu meinen Leiden (from Martha) | Giordano, U: | La mamma morta (from Andrea Chénier) | Gluck: | Divinités du Styx (from Alceste) | Heuberger: | O mon cher amant (from La Périchole) | Lehár: | Lippen schweigen (from Die Lustige Witwe) Warum hast du mich wachgeküßt? (from Friederike) | Leoncavallo: | Qual fiamma avea nel guardo!.... Hui! Stridono lassù (from I Pagliacci) Musette svaria sulla bocca viva (from La Bohème) | Lloyd Webber, A: | Wishing you were somehow here again (from The Phantom of the Opera) | Mascagni: | Voi lo sapete o mamma (from Cavalleria rusticana) | Massenet: | Il est doux, il est bon (from Hérodiade) Pleurez, mes yeux (Le Cid) | Mozart: | Sull' aria che soave zeffiretto (from Le Nozze di Figaro) Pa-pa-pa-pa-Papagena (from Die Zauberflöte) | Offenbach: | Barcarolle (from Les Contes d'Hoffmann ) | Ponchielli: | Suicidio! (from La Gioconda) È un anatema (from La Gioconda) | Puccini: | Si, mi chiamano Mimi (from La Bohème) O soave fanciulla (from La Bohème) Vissi d'arte (from Tosca) O mio babbino caro (from Gianni Schicchi) In questa reggia (from Turandot) Senza mamma, o bimbo (from Suor Angelica) | Rodrigo: | En Aranjuez con tu amor | Rossini: | Non si dà follia maggiore (from il Turco in Italia) Di tanti palpiti (from Tancredi) L'ora fatal s'appressa ... Giusto ciel! (from L'Assedio di Corinto) Tanti affetti in tal momento (from La donna del lago) Assisa a' piè d'un salice (from Otello) Armida: D'amor al dolce impero Serbami ognor (from Semiramide) Duetto buffo di due gatti (Comic Duet for Two Cats) | Saint-Saëns: | Mon cœur s'ouvre à ta voix (from Samson et Dalila) | Stolz, R: | Du sollst der Kaiser meiner Seele sein (from Der Favorit) | Verdi: | Ah! Non m'hanno ingannata!...Grave a core innamorato (from Un Giorno di Regno) Qual prodigio!...Non fu sogno! (from I Lombardi) Tu al cui sguardo onnipossente (from I due Foscari) Oh nel fuggente nuvolo (from Attila) Egli non riede ancora! (from Il Corsaro) Va, pensiero (from Nabucco) Vieni! t'affretta!…Or tutti sorgete (from Macbeth) Mercè, dilette amiche 'Bolero' (from I Vespri Siciliani) Oh, cielo! Dove son'io!...Ah! dagli scanni eterei...Ah, dal sen di quella tomba (from Aroldo) Libiamo, ne' lieti calici (from La Traviata) È strano! è strano!...Ah! fors è lui (from La traviata) Sempre libera (from La Traviata) Addio del passato (from La Traviata) Parigi, o cara (from La Traviata) Tacea la notte (from Il Trovatore) Pietà ti prenda del mio dolor (from Aida) Ecco l'orrido campo … Ma dall'arido stelo divulsa (from Un ballo in maschera) Ave Maria (from Otello) | Wagner: | Dich, teure Halle (from Tannhauser) |
This is a x6 CD budget-priced boxset, released to celebrate the 80th birthday & career of opera's last great diva, Montserrat Caballe. Contents: Disc 1 - Rossini & Donizetti. Disc 2 - Bellini & Verdi. Disc 3 - Verdi & Puccini. Disc 4 - Bizet & Wagner. Disc 5 - Operetta & Zarzuela. Disc 6 - Encores, Hits & Evergreens. | 
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| |  | The Very Best of Nicolai Gedda
Adam: | Mes amis, écoutez l'histoire (from Le Postillon de Lonjumeau) | Beethoven: | Adelaide, Op. 46 | Bellini: | Prendi l'anel ti dono (from La Sonnambula) | Berlioz: | La gloire etait ma seule idole (from Benvenuto Cellini) | Bizet: | Au fond du temple saint (from Les Pêcheurs de Perles) La fleur que tu m'avais jetée (from Carmen) | Donizetti: | Quanto è bella, quanto è cara! (from L'Elisir d'amore) Una furtiva lagrima (from L'elisir d'amore) Fra poco a me ricovero...Tu che a Dio spiegasti l'ali (from Lucia di Lammermoor) | Flotow: | Ach, so fromm (from Martha) | Glinka: | Souvenir | Goldmark: | Magische Töne, berauschender Duft (from Die Königin von Saba) | Gounod: | L'amour, l'amour... Ah, lève-toi soleil (from Roméo et Juliette) | Lehár: | Gern hab' ich die Frau'n geküßt (from Paganini) Dein ist mein ganzes Herz (from Das Land des Lächelns) | Massenet: | Pourquoi me reveiller (from Werther) Instant charmant … En fermant les yeux (from Manon) | Mozart: | Il mio tesoro intanto (from Don Giovanni) Dies Bildnis ist bezaubernd schön (from Die Zauberflöte) | Mussorgsky: | Boris Godunov: Dmitry! Tsarevich | Offenbach: | Va pour Kleinzach...Il était une fois à la cour (from Les Contes d'Hoffmann) | Puccini: | Donna non vidi mai (from Manon Lescaut) | Rachmaninov: | Sing not, O lovely one (Ne poi, krasavitsa, pri mne), Op. 4 No. 4 How fair this spot, Op. 21 No. 7 | Rossini: | Asile héréditaire (from Guillaume Tell) | Strauss, J, II: | Ja, das alles auf Ehr' (from Der Zigeunerbaron) | Strauss, R: | Heimliche Aufforderung, Op. 27 No. 3 Ständchen, Op. 17 No. 2 | Tchaikovsky: | Kuda, Kuda 'Lensky's Aria' (from Eugene Onegin) In this moonlight, Op.73, No.3 Sred' shumnogo bala (Amid the din of the ball), Op. 38 No. 3 Serenada Don-Zhuana (Don Juan's Serenade), Op. 38 No. 1 | Thomas, Ambroise: | Elle ne croyait pas, dans sa candeur naïve (from Mignon) | Verdi: | Di' tu se fedele (from Un ballo in maschera) La donna è mobile (from Rigoletto) | Wagner: | In fernem Land (from Lohengrin) |
Nicolai Gedda, the most recorded tenor in history, is an exceptionally versatile artist who has excelled in a wide variety of operatic roles as well as in the art song. With a magnificent lyric tenor voice and extraordinary range, Gedda makes the notorious top D at the end of ‘Mes amis, écoutez l’histoire’ sound positively effortless. This collection offers a wealth of repertoire that has helped to cement Gedda’s reputation as one of the greatest tenors of his generation. |
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| |  | Brigitte Fassbaender: The Great Lieder Recordings
and songs by Liszt, Tchaikovsky, Dvorak, Brahms, Mendelssohn, Milhaud and Wolf; oratorio arias by Rossini, Handel, JS Bach and Schumann; opera arias and scenes by Ponchielli, Massenet, Saint-Saens, Verdi, Flotow, Enescu; operetta excerpts by Fall, J Strauss II, Oscar Straus, Heuberger, Offenbach and Zeller
Brigitte Fassbaender (mezzo); Wolfgang Sawallisch, Erik Werba, Irwin Gage, Karl Engel, Aribert Reimann (piano); with Anneliese Rothernberger (soprano), Patricia Wise (soprano), Lucia Popp (soprano), Nicolai Gedda (tenor), Dietrich Fischer-Dieskau (baritone), José van Dam (bass-baritone) Lawrence Foster, Jeffrey Tate, Willi Boskovsky, Sir Neville Marriner, Willy Mattes Brigitte Fassbaender rose to woldwide fame in the role of Octavian in the Strauss/Hofmannsthal comedy Der Rosenkavalier. Fassbaender took her Octavian to all the major centres including London, Milan, Vienna, New York and Tokyo and continued singing the role for over 20 years. Fassbaender says that, in her operatic repertoire, she wanted to be as wide-ranging as possible, while always respecting her limitations. Running parallel to her appearances in the theatre, Fassbaender developed her career in the concert hall and on the recital platform. Her discography is even richer in oratorio (Bach, Handel, Rossini, Schumann) and Lieder than in opera. If you pick up any retrospective writing on a singer you will encounter attempts to describe their voice in words. In the case of Brigitte Fassbaender there is more description of her performances and interpretations than of her actual sound. Alan Blyth has spoken of ‘a very personal, no-holds barred manner of singing’, while Richard Wigmore wrote that ‘her bold, bronze timbre, with its dash of astringency, was not conventionally beautiful. Yet beauty was never her prime concern.’ In a recent interview Fassbaender looked back on her career in its time. ‘It was very different then – there was much less stress and competition (...). And we had more opportunities to sing for recordings and to take more risks in our work. I feel gratitude, but also amazement, for all the wonderful, strenuous, many-sided, nerve-wracking things that I was allowed to experience.' |
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| |  | The Early Domingo
CD 1: Arias from Giulio Cesare, Don Giovanni, Il duca d'Alba, La Juive, Luisa Miller, Lohengrin, Simon Boccanegra, Eugene Onegin, Le Villi, Iris, Werther, Luisa Fernanda, El último romántico, Rigoletto, La traviata CD 2: Arias from La bohème, L'elisir d'amore, Pagliacci, Manon, L'arlesiana, Martha, La fanciulla del West, Rigoletto, Le Cid, L'Africaine, Aida, Carmen, Andrea Chénier, Cavalleria rusticana, Il trovatore, Tosca CD 3: Arias from Cavalleria rusticana, Faust, Rigoletto, La forza del destino, Adriana Lecouvreur, Turandot, La fanciulla del West, Gianni Schicchi, Les Pêcheurs de perles, Un ballo in maschera, Roméo et Juliette, Chatterton, Mefistofele, Norma, Andrea Chénier, Tosca, I Vespri sicilliani, Il trovatore, Otello CD 4: Arias from Don Carlo, Un ballo in maschera, I Vespri sicilliani, La forza del destino, Otello, Aida CD 5: Arias from La bohème, Manon Lescaut, Francesca da Rimini, Les Pêcheurs de perles, Los claveles, Norma, La Gioconda, Madama Butterfly
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| |  | Domingo sings Caruso
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| |  | Klaus Florian Vogt: Helden
Klaus Florian Vogt is Bayreuth´s leading tenor – he has a unique voice, perfect technique and last but not least the perfect look for a leading man in the works of Wagner. He had a triumphant breakthrough success as "Lohengrin" at the world famous Bayreuth Wagner festival in the Summer of 2011. Major media acclaimed his singing as "the third wonder of Bayreuth" and the "...best Lohengrin ever". Klaus Florian Vogt sings in all major opera houses of the world. In 2012, he will star in new productions in Tokyo (Lohengrin), Munich (Valkyrie) and Barcelona (Florentine Tragedy). He will also feature in roles at Bayreuth. Helden ("Heroes") is Vogt´s first album for Sony Classical, where he is exclusively signed, and is his first recital recording. The CD shows major pieces linked with him, of course Wagner and the famous "Grahlserzählung" in Lohengrin, but there are also beautiful arias by Weber, Flotow, Korngold and Lortzing – and last not least also by Mozart. “Vogt has an attractive if slender voice, and for him to sing on this album called Heroes seems a bit odd, since he is more suited to tender regrets than to thrilling outbursts of tone. He shows a Lieder singer's sensitivity to words, and is almost ideally suited to Lohengrin's narration, perhaps the high-point of his recital.” BBC Music Magazine, July 2012 *** “[Vogt] offers the gentlest presentation of [Siegmund's] music that I've heard, and notably touching it is. He impresses even more with Lohengrin's narrative, where stage experience pays dividends...Vogt phrases exquisitely, and though the gentleness of sound is again evident, the strength of the character's convictions throughout is clear.” International Record Review, July/August 2012 “his Siegmund, naive and ecstatic rather than virile and forceful, is striking. Vogt's vocal ease and cleanness of line is appealing in Weber and Wagner, and he proves an accomplished, elegant Mozartian.” The Guardian, 12th April 2012 *** | | | In stock - usually despatched within 1 working day. |
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| |  | Fritz Wunderlich: Arias
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| |  | Leontyne Price: The Complete Collection of Operatic Recital Albums
Barber, S: | He has come, he has come! (from Vanessa) Do not utter a word (from Vanessa) Give Me Some Music (from Antony and Cleopatra, Op. 40) Give me my robe (from Antony and Cleopatra) Knoxville: Summer of 1915, Op. 24 | Beethoven: | Abscheulicher! Wo eilst du hin? (from Fidelio) | Bellini: | Sediziose voci (from Norma) Casta Diva (from Norma) Mira, o Norma (from Norma) with Marilyn Horne (mezzo) | Berlioz: | La Damnation de Faust: D'amour l'ardente flamme | Bizet: | Je dis que rien ne m'épouvante (from Carmen) | Boito: | L'altra notte in fondo al mare (from Mefistofele) | Britten: | On rivalries 'tis safe for kings...O God, my King (from Gloriana) | Charpentier, G: | Depuis le jour (from Louise) | Cilea: | Ecco: respiro appena. Io son l'umile ancella (from Adriana Lecouvreur) Poveri fiori (from Adriana Lecouvreur) | Debussy: | L'annee en vain...Cependent les soirs (from L'enfant Prodigue) | Dvorak: | Mesícku na nebi hlubokém 'Song to the Moon' (from Rusalka) | Flotow: | The Last Rose of Summer (Martha) | Gershwin: | Porgy and Bess (highlights) | Giordano, U: | La mamma morta (from Andrea Chénier) | Gluck: | Divinités du Styx (from Alceste) | Handel: | Care selve (from Atalanta) Semele: Where'er you walk Vivi, tiranno, io t'ho scampato (from Rodelinda) Marilyn Horne (mezzo) Fermati! No, crudel! (from Rinaldo) | Korngold: | Glück, das mir verbleib 'Marietta's Lied' (from Die Tote Stadt) | Leoncavallo: | Qual fiamma avea nel guardo!.... Hui! Stridono lassù (from I Pagliacci) | Mascagni: | Voi lo sapete o mamma (from Cavalleria rusticana) | Massenet: | Allons! Il le faut pour lui-même!... Adieu, notre petite table (from Manon) Dis-moi que je suis belle (from Thaïs) | Menotti: | While I waste these precious hours (from Amelia Goes to the Ball) | Meyerbeer: | In grembo a me [Sur mes genoux] (from L'Africaine) Sung in French Non, non, non, vous n'avais jamais, je gage (from Les Huguenots) Marilyn Horne (mezzo) | Mozart: | E Susanna non vien! … Dove sono i bei momenti (from Le nozze di Figaro) Don Ottavio, son morta!...Or sai chi l'onore (from Don Giovanni) Ch'io mi scordi di te?... Non temer, amato bene, K505 Porgi amor (from Le nozze di Figaro) Se il padre perdei (from Idomeneo) Ach, ich fühl's (from Die Zauberflöte, K620) Giunse alfin il momento... Deh, vieni, non tardar… (from Le nozze di Figaro) L'amerò, sarò costante (from Il re pastore) Bella mia fiamma, addio... Resta, oh cara, K528 Crudele? Ah no, mio bene! ... Non mi dir, bell'idol mio (from Don Giovanni) Oh smania! oh furie!...D'Oreste, d'Aiace (from Idomeneo) Ah, guarda, sorella (from Così fan tutte) with Marilyn Horne (mezzo) Dove sono i bei momenti (from Le nozze di Figaro) | Offenbach: | Tu n'es pas beau, tu n'es pas riche (from La Périchole) | Poulenc: | Mes filles, voilà que s'achève (from Dialogues des Carmelites) | Puccini: | Un bel di vedremo (from Madama Butterfly) Tu? Tu? Piccolo iddio (from Madama Butterfly) Chi il bel sogno di Doretta (from La Rondine) Vissi d'arte (from Tosca) Signore, ascolta! (from Turandot) Tu che di gel sei cinta (from Turandot) Senza mamma, o bimbo (from Suor Angelica) O mio babbino caro (from Gianni Schicchi) Si, mi chiamano Mimi (from La Bohème) Donde lieta usci (from La Bohème) Quando me'n vo (from La Bohème) Addio, addio mio dolce amor! (from Edgar) Ore dolci e divine (from La Rondine) Vissi d'arte (from Tosca) In quelle trine morbide (from Manon Lescaut) Sola, perduta, abbandonata (from Manon Lescaut) Se come voi piccina io fossi (from Le Villi) Un bel di vedremo (from Madama Butterfly) L'amore e un altra cosa (from La Fanciulla del West) Laggiù nel Soledad (from La Fanciulla del West) Oh, sarò la più bella...Tu, tu, amore? (from Manon Lescaut) with Placido Domingo (tenor) Bimba, bimba, non piangere (from Madama Butterfly) with Placido Domingo (tenor) In questa reggia (from Turandot) Chi il bel sogno di Doretta (from La Rondine) Una nave da guerra...Scuoti quelle fronda (from Madama Butterfly) with Marilyn Horne (mezzo) | Purcell: | Thy hand, Belinda … When I am laid in earth (from Dido & Aeneas) | Rossini: | Non temer, d' un basso affetto (from Maometto II) Marilyn Horne (mezzo) | Strauss, J, II: | Klänge der Heimat (from Die Fledermaus) | Strauss, R: | Zweite Brautnacht! (from Die Ägyptische Helena) Salome: Dance of the Seven Veils Salome: Zwischenspiel Ah! Du wolltest mich nicht deinen Mund küssen lassen (from Salome) Es gibt ein Reich (from Ariadne auf Naxos) | Tchaikovsky: | Puskay pogibnu ya 'Tatiana's Letter Scene' (from Eugene Onegin) | Verdi: | Ritorna vincitor! (from Aida) Qui Radamès verrà!... O patria mia (from Aida) Tacea la notte (from Il Trovatore) D'amor sull'ali rosee (from Il Trovatore) Teneste la promessa...Addio, del passato (from La Traviata) Era più calmo? (from Otello) Mia madre aveva...Piangea cantando...Ave Maria (from Otello) Vegliammo invan due notti (from Macbeth) Una macchia è qui tutt'ora (from Macbeth) O madre, dal cielo …Se vano, se vano è il pregare (from I Lombardi) Come in quest'ora bruna (from Simon Boccanegra) È strano! è strano!...Ah! fors è lui (from La traviata) Sempre libera (from La Traviata) Tu che la vanità (from Don Carlo) Giá nella notte densa (from Otello) with Placido Domingo (tenor) Teco io sto (from Un ballo in maschera) with Placido Domingo (tenor) La luce langue (from Macbeth) Caro nome (from Rigoletto) Silenzio! Aida verso noi s'avanza (from Aida) with Marilyn Horne (mezzo) Pace, pace mio Dio! (from La forza del destino) | Wagner: | Du bist der Lenz (from Die Walküre) Dich, teure Halle (from Tannhauser) Mild und leise 'Isolde's Liebestod' (from Tristan und Isolde) | Weber: | Wie nahte mir der Schlummer … Leise, leise, fromme Weise (from Der Freischütz) Ozean, du Ungeheuer (from Oberon) | Zandonai: | Paolo, datemi pace! (from Francesca Da Rimini) |
Leontyne Price is simply one of the best sopranos of all time. Hailed as the “Stradivarius of singers” she had a unique, unmistakable and unforgettable voice which graced the stage of the Met an astonishing 164 times throughout her career. The Leontyne Price catalogue is divided into two “Complete Collections”; Song and Spiritual Albums and Operatic Recital Albums. These collections are housed in original LP design cardboard slipcases and presented in a hardback boxset. “her core stage repertoire was restricted to a dozen or so roles...These 14 recital albums extend her range from Purcell’s Dido to Menotti’s Amelia: her Handel and Mozart may have dated stylistically, but few Countess Almavivas or Donna Annas have sounded more temperamental and voluptuous...All in all, a banquet for opera-lovers.” Sunday Times, 8th January 2012 | | | In stock - usually despatched within 1 working day. |
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| |  | Arrivederci
“After he has handsomely done his classical duty with arias from Verdi, Puccini, Mozart and Cilea among others, Grigolo lets rip with popular Italian songs, emoting in a properly verismo manner about being lovesick and homesick for the southern sun and the Mediterranean moon...his is an attractive, light lyric voice with a pleasing top but, as yet, shallow in the lower register.” BBC Music Magazine, December 2011 *** “Like Pavarotti, Grigolo has a forward projection of the voice which propels it smoothly along the line, thus helping legato. His lyric tenor is supple and has a pleasant sound, and he has the virtue of being able (and willing) to employ vocal dynamic, which always benefit strophic songs...Grigolo puts across each message in winning tones.” International Record Review, March 2012 “he brings the same muscular charm to "Torna a Surriento" and "Arrivederci Roma" as he does to "La donna e mobile" and "La danza". Most impressive of all, emotion courses through every syllable of Lucio Dalla's "Caruso".” The Independent, 3rd February 2012 *** “Grigolo's bright, forward projection and not huge voice suits this Three Tenors repertoire well and he handles it with more respect (and, dare one say, taste) and intelligent use of the words than some of his predecessors therein. The Italian pops, especially 'Arrivederci, Roma', have a refreshing simplicity...this sounds like a serious artist and he's been well recorded and produced.” Gramophone Magazine, June 2012 | | | In stock - usually despatched within 1 working day. |
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