Gustav Mahler

(1860-1911)

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Mahler: Das Lied von der Erde

Mahler: Das Lied von der Erde


Reference Recordings - RR88

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$17.00

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Minnesota Orchestra Showcase

Minnesota Orchestra Showcase


Argento:

Valentino Dances: excerpt

Bernstein:

Candide - Suite

Copland:

Appalachian Spring - excerpts

Liadov:

Baba-Yaga, Op. 56

Mahler:

Von der Jugend (Das Lied von der Erde)

Ravel:

Alborada del gracioso (orchestral version)

Sibelius:

Finlandia, Op. 26

Strauss, R:

Don Juan, Op. 20

Ein Heldenleben, Op. 40 - excerpts

Stravinsky:

The Firebird - excerpts

Taylor, J D:

Through the Looking Glass

Tchaikovsky:

Cossack Dance (Hopak/Gopak) from Mazeppa


Reference Recordings - RR907

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Anne Sofie von Otter - In My Element

Anne Sofie von Otter - In My Element


 

I let the music speak

No Wonder

(arr. by Elvis Costello and Ensemble)

I Want to Vanish

(arr. by Elvis Costello and Ensemble)

Bizet:

L'amour est un oiseau rebelle 'Habanera' (from Carmen)

Les tringles des sistres tintaient (from Carmen)

Brahms:

He, Zigeuner, greife in die Saiten ein! (No. 1 from Zigeunerlieder, Op.103)

Brauner Bursche führt zum Tanze (No. 5 from Zigeunerlieder, Op.103)

Chaminade:

Ah! si l'amour prenait

Mignonne, à l'amour j'ai lié

Dowland:

In darkness let me dwell

Grieg:

Haugtussa, Op. 67 No. 8 'Ved Gjætle-Bekken'

Haas, P:

Seven Songs in a Folk Style, Op. 18

(unreleased)

Handel:

Qui d'amor (from Ariodante)

Hercules: The world, when day's career is run

Hercules: When beauty sorrow's liv'ry wears

Mahler:

Rheinlegendchen (Des Knaben Wunderhorn)

Oft denk' ich, sie sind nur ausgegangen (Kindertotenlieder)

Monteverdi:

Adagiati, Poppea - Oblivion soave (L'incoronazione di Poppea)

Disprezzata regina (L'incoronazione di Poppea)

Addio Roma! (from L'incoronazione di Poppea)

Mozart:

Parto, parto, ma tu ben mio (from La Clemenza di Tito)

Oh Dei, che smania è questa (La Clemenza di Tito)

Ah, qual gelido orror...Il padre adorato (from Idomeneo)

No, la morte io non pavento (from Idomeneo)

Non so più cosa son, cosa faccio (from Le nozze di Figaro)

Voi che sapete (from Le nozze di Figaro)

Offenbach:

Barcarolle (from Les Contes d'Hoffmann )

Portez armes...Vous aimez le danger…Ah! que j’aime les militaires! (from La grande-duchesse de Gérolstein)

Purcell:

When I am laid in earth (from Dido and Aeneas)

Schubert:

Im Abendrot, D799

Erlkönig, D328

Schumann:

Süsser Freund, du blickest mich verwundert an (No. 6 from Frauenliebe und Leben, Op. 42)

Die Meerfee Op. 125 No. 1

Strauss, R:

Sein wir wieder gut (from Ariadne auf Naxos)

Weill, K:

Buddy on the Nightshift

My ship

Surabaya Johnny (from Happy End)


“Smart, sophisticated and opinionated, Anne Sofie von Otter has become a star by doing exactly what she wants” Opera News

DG - 4777077

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Mahler & Wagner - Lieder

Mahler & Wagner - Lieder

Transcribed for chamber ensemble by Christian Favre


Mahler:

Rückert-Lieder (5 songs, complete)

Wagner:

Wesendonck-Lieder (5)

Tristan und Isolde: Prelude & Liebestod


Dame Felicity Lott (soprano)

Quatuor Schumann

“Her performance of the Leibestod is an object lesson in engagement with the text, sensuality and controlled power.” Gramophone Magazine, July 2008

“What a revelation this disc actually turns out to be. Lott's voice brings wonderful subtlety and intensity to the music, Isolde's death scene in particular.” Classic FM Magazine

“The Schumann Quartet's pianist, Christian Favre, has made these clear, practical transcriptions (rather than arrangements, the bookletnote stresses) inspired by Chausson's Chansonperpetuelle, and with a view to adding to the chamber music literature from the Romantic world of song. So expect a scaled-down report on the works concerned rather than Schoenberg's interventionist way with Johann Strauss or Brahms, or the risk-taking panache of Liszt's operatic adaptations.
Not the least virtue of the exercise is that we get Dame Felicity Lott in repertoire she might otherwise not have attempted. Her performance of the Liebestod – or 'Verklärung' as we should call it – is such an object lesson in engagement with the text, sensuality and controlled power that one might imagine the late Carlos Kleiber (whose favourite Marschallin she was) contemplating a further recording of the opera with her.
The Wesendoncks have a similar sensual (and lean) intelligence, devoid of the stuffy Victorian abstractions that Mathilde's dreadful poetry can often produce in performance. And, if this is not the ideal-est voice for the darker corners of the Rückert-Lieder, you'll need to hear what Lott makes of the poems. The Tristan Prelude is fine too; it's just that it doesn't have a voice part.
Good recordings, and 100 per cent worth it for the singing.”
Gramophone Classical Music Guide, 2010

GGramophone Magazine

Editor's Choice - July 2008

Aeon - AECD0858

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Auf Flügeln des Gesanges

Auf Flügeln des Gesanges

Piano works


Liszt:

Die Lorelei

Mahler:

Lieder eines fahrenden Gesellen (4 songs, complete)

Mendelssohn:

Auf Flügeln des Gesanges, Op. 34 No. 2

Variations sérieuses in D minor Op. 54

Schumann:

Fantasie in C major, Op. 17


Super Audio CD

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MDG Gold - MDG9121489

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The Art of Christa Ludwig

The Art of Christa Ludwig

Christa Ludwig 80th Birthday Tribute


Bach, J S:

St John Passion, BWV245: Es ist vollbracht

Recorded: 1961, Berlin-Grünewald, Grünewaldkirche

Berliner Symphoniker, Karl Forster

St Matthew Passion, BWV244: Erbarme dich

Recorded: 3-4 January, 14-15 April, 10-12 May, 21, 25-26 November, 28 December 1961, Kingsway Hall, London

Philharmonia Orchestra, Otto Klemperer

Bellini:

Sgombra è la sacra selva from Norma

Recorded: 5-12 September 1960, Teatro all Scala, Milan

Orchestra del Teatro alla Scala di Milano, Tullio Serafin

Bizet:

L'amour est un oiseau rebelle 'Habanera' (from Carmen)

sung in German

Berliner Symphoniker, Horst Stein

Brahms:

Sapphische Ode, Op. 94 No. 4

Recorded: 11, 13, 14, 17 & 20 November, 1957, Abbey Road Studios, London

Gerald Moore (piano)

Liebestreu, Op. 3 No. 1

Recorded: 11, 13, 14, 17 & 20 November, 1957, Abbey Road Studios, London

Gerald Moore (piano)

Der Schmied Op. 19/4

Recorded: 11, 13, 14, 17 & 20 November, 1957, Abbey Road Studios, London

Gerald Moore (piano)

Die Mainacht, Op. 43 No. 2

Recorded: 11, 13, 14, 17 & 20 November, 1957, Abbey Road Studios, London

Gerald Moore (piano)

Dein blaues Auge, (No. 8 from Acht Lieder und Gesänge, Op. 59)

Recorded: 31 March – 3 April 1969, Abbey Road Studios, London

Geoffrey Parsons (piano)

Von ewiger Liebe, Op. 43 No. 1

Recorded: 31 March – 3 April 1969, Abbey Road Studios, London

Geoffrey Parsons (piano)

Das Mädchen spricht, Op. 107 No. 3

Recorded: 31 March – 3 April 1969, Abbey Road Studios, London

Geoffrey Parsons (piano)

Heimweh, Op. 63 No. 8

Recorded: 31 March – 3 April 1969, Abbey Road Studios, London

Geoffrey Parsons (piano)

Wie Melodien zieht es mir, Op. 105 No. 1

Recorded: 31 March – 3 April 1969, Abbey Road Studios, London

Geoffrey Parsons (piano)

Mädchenlied, Op. 107 No. 5

Recorded: 31 March – 3 April 1969, Abbey Road Studios, London

Geoffrey Parsons (piano)

Vergebliches Ständchen, Op. 84 No. 4

Recorded: 31 March – 3 April 1969, Abbey Road Studios, London

Geoffrey Parsons (piano)

Der Tod, das ist die kühle Nacht, Op. 96 No. 1

Recorded: 31 March – 3 April 1969, Abbey Road Studios, London

Geoffrey Parsons (piano)

Auf dem See (No. 2 from Acht Lieder und Gesänge, Op. 59)

Recorded: 31 March – 3 April 1969, Abbey Road Studios, London

Geoffrey Parsons (piano)

Feldeinsamkeit, Op. 86 No. 2

Recorded: 31 March – 3 April 1969, Abbey Road Studios, London

Geoffrey Parsons (piano)

In stiller Nacht (No. 42 from Deutsche Volkslieder, WoO 33)

Recorded: 31 March – 3 April 1969, Abbey Road Studios, London

Geoffrey Parsons (piano)

Schwesterlein, WoO posth. 37 No. 1

Recorded: 31 March – 3 April 1969, Abbey Road Studios, London

Geoffrey Parsons (piano)

Immer leiser wird mein Schlummer, Op. 105 No. 2

Recorded: 31 March – 3 April 1969, Abbey Road Studios, London

Geoffrey Parsons (piano)

Ständchen, Op. 106 No. 1

Recorded: 31 March – 3 April 1969, Abbey Road Studios, London

Geoffrey Parsons (piano)

Two songs for contralto with viola obbligato, Op. 91

Recorded: November 1965 & March 1966, Abbey Road Studios, London

Geoffrey Parsons (piano) & Herbert Downes (viola)

Alto Rhapsody, Op. 53

Recorded: March 1962, Kingsway Hall, London

Philharmonia Chorus & Orchestra, Otto Klemperer

Handel:

Es blaut die Nacht (Julius Caesar)

Recorded: 19 March, 1962, Berlin-Grünewald, Grünewaldkirche

Berliner Symphoniker, Horst Stein

Mahler:

Der Abschied (Das Lied von der Erde)

Recorded: 19-22 February, 1964, Kingsway Hall, London & 7-8 November 1966, Abbey Road Studos, London

Philharmonia Orchestra & New Philharmonia Orchestra, Otto Klemperer

Ich ging mit Lust (Lieder und Gesänge aus der Jugendzeit)

Hans und Grete (Lieder und Gesänge aus der Jugendzeit)

Frühlingsmorgen (Lieder und Gesänge aus der Jugendzeit)

Wo die schönen Trompeten blasen (Des Knaben Wunderhorn)

Der Schildwache Nachtlied (Des Knaben Wunderhorn)

Um schlimme Kinder artig zu machen (Lieder und Gesänge aus der Jugendzeit)

Ich atmet' einen linden Duft (Rückert-Lieder)

Liebst Du um Schönheit (Rückert-Lieder)

Um Mitternacht (Rückert-Lieder)

Das irdische Leben (Des Knaben Wunderhorn)

Wer hat dies' Liedlein Erdacht? (Des Knaben Wunderhorn)

Lob des hohen Verstandes (Des Knaben Wunderhorn)

Ich bin der Welt abhanden gekommen (Rückert-Lieder)

Rheinlegendchen (Des Knaben Wunderhorn)

Des Antonius von Padua Fischpredigt (Des Knaben Wunderhorn)

Recorded: 3-5 May, 1957, Abbey Road Studios, London

Gerald Moore (piano)

Mozart:

In quali eccessi ... Mi tradì quell'alma ingrate (from Don Giovanni)

Recorded: June/July 1966, Abbey Road Studios, London

New Philharmonia Orchestra, Otto Klemperer

E amore un ladroncello (from Così fan tutte)

Recorded: September 1962, Kingsway Hall,, London

Philharmonia Orchestra, Karl Böhm

Rachmaninov:

Sing not, O lovely one (Ne poi, krasavitsa, pri mne), Op. 4 No. 4

Recorded: November 1965 & March 1966, Abbey Road Studios, London

Geoffrey Parsons (piano)

Oh, my field, Op. 4 No. 5

Recorded: November 1965 & March 1966, Abbey Road Studios, London

Geoffrey Parsons (piano)

Ravel:

Trois chansons madécasses

Recorded: November 1965 & March 1966, Abbey Road Studios, London

Geoffrey Parsons (piano)

Reger:

Der Brief, Op. 76, No. 8

Recorded: 29 November & 1 December, 1965, Bürgerbräu, Munich

Gerald Moore (piano)

Volkslied aus Franken – Waldeinsamkeit, Op. 76, No. 3

Recorded: 29 November & 1 December, 1965, Bürgerbräu, Munich

Gerald Moore (piano)

Rossini:

La regata veneziana

Recorded: 29 November & 1 December, 1965, Munich Bürgerbräu

Gerald Moore (piano)

Saint-Saëns:

Une flûte invisible

Recorded: November 1965 & March 1966, Abbey Road Studios, London

Geoffrey Parsons (piano)

Schubert:

Die Allmacht, D852

Recorded: 11, 13, 14, 17 & 20 November, 1957, Abbey Road Studios, London

Gerald Moore (piano)

Fischerweise, D881 (Schlechta)

Recorded: 11, 13, 14, 17 & 20 November, 1957, Abbey Road Studios, London

Gerald Moore (piano)

An die Musik D547

Recorded: 28-30 November, 1961, Abbey Road Studios, London

Geoffrey Parsons (piano)

Der Musensohn, D764 (Goethe)

Recorded: 28-30 November, 1961, Abbey Road Studios, London

Geoffrey Parsons (piano)

Ganymed, D544 (Goethe)

Recorded: 28-30 November, 1961, Abbey Road Studios, London

Geoffrey Parsons (piano)

Auf dem Wasser zu singen, D774

Recorded: 28-30 November, 1961, Abbey Road Studios, London

Geoffrey Parsons (piano)

Ave Maria, D839

Recorded: 28-30 November, 1961, Abbey Road Studios, London

Geoffrey Parsons (piano)

Die Forelle, D550

Recorded: 28-30 November, 1961, Abbey Road Studios, London

Geoffrey Parsons (piano)

Gretchen am Spinnrade, D118

Recorded: 28-30 November, 1961, Abbey Road Studios, London

Geoffrey Parsons (piano)

Frühlingsglaube, D686

Recorded: 28-30 November, 1961, Abbey Road Studios, London

Geoffrey Parsons (piano)

Der Tod und das Mädchen, D531

Recorded: 28-30 November, 1961, Abbey Road Studios, London

Geoffrey Parsons (piano)

Lachen und Weinen, D777

Recorded: 28-30 November, 1961, Abbey Road Studios, London

Geoffrey Parsons (piano)

Litanei auf das Fest Allerseelen, D343

Recorded: 28-30 November, 1961, Abbey Road Studios, London

Geoffrey Parsons (piano)

Erlkönig, D328

Recorded: 28-30 November, 1961, Abbey Road Studios, London

Geoffrey Parsons (piano)

Der Hirt auf dem Felsen, D965 (Von Chezy / Muller)

Recorded: 8 November, 1965, Abbey Road Studios, London

Geoffrey Parsons (piano)

Schumann:

Frauenliebe und -leben, Op. 42

Recorded: 3, 4, 6 May & 25 June, 1959, Abbey Road Studios, London

Gerald Moore (piano)

Strauss, R:

Die Nacht, Op. 10 No. 3

Recorded: 11, 13, 14, 17 & 20 November, 1957, Abbey Road Studios, London

Gerald Moore (piano)

Allerseelen, Op. 10 No. 8

Recorded: 11, 13, 14, 17 & 20 November, 1957, Abbey Road Studios, London

Gerald Moore (piano)

Schlechtes Wetter, Op. 69 No. 5

Recorded: 29 November & 1 December, 1965, Bürgerbräu, Munich

Gerald Moore (piano)

Der Rosenkavalier, Act 3 – conclusion

Recorded: 10-15 & 17-22 December 1956, Kingsway Hall,, London

Teresa Stich-Randall, Elisabeth Schwarzkopf, Eberhard Wächter

Philharmonia Orchestra, Herbert von Karajan

Verdi:

Quid sum miser (from Requiem)

Recorded: 16-21, 23-27 September 1963 & 7 April 1964, Kingsway Hall, London

Philharmonia Chorus & Orchestra, Carlo Maria Giulini

Liber scriptus (from Requiem)

Recordare (from Requiem)

Wagner:

Wesendonck-Lieder (5)

orch. Mottl

Philharmonia Orchestra, Otto Klemperer

Mild und leise 'Isolde's Liebestod' (from Tristan und Isolde)

Recorded: 21-23 March 1962, Kingsway Hall, London

Philharmonia Orchestra, Otto Klemperer

Wolf, H:

Gesang Weylas (No. 46 from Mörike-Lieder)

Recorded: 11, 13, 14, 17 & 20 November, 1957, Abbey Road Studios, London

Gerald Moore (piano)

Auf einer Wanderung (No. 15 from Mörike-Lieder)

Recorded: 11, 13, 14, 17 & 20 November, 1957, Abbey Road Studios, London

Gerald Moore (piano)


“Her voice took naturally to the microphone, so this four-disc set is another source of infinite musical pleasure to be snapped up quickly before it disappears.” Penguin Guide, 2011 edition

EMI - 5176082

(CD - 5 discs)

$28.75

Usually despatched in 2 - 3 working days.

Edition Staatskapelle Dresden - Volume 21

Edition Staatskapelle Dresden - Volume 21


Mahler:

Symphony No. 4 in G major


Live Recording from the Semperoper Dresden 1999

“There isn't an ugly note or gratuitously unpleasant sound in the Scherzo yet no jot of the music's wit, grace and sinister humour is lost. After which, the playing of the slow movement really I a glimpse of musical heaven on earth, the string playing glowing like old gold.” Gramophone Magazine, August 2008

“'Glorious' and 'sublime' were among the epithets applied to the playing of Dresden's 'Royal Chapel' ensemble when Mahler's Fourth Symphony was first performed in the city in 1908. Both epithets could be applied to the playing on this latter-day realisation under Giuseppe Sinopoli. People obsess about the Berlin and Vienna Philharmonics but under the right leadership the Dresden orchestra, which Sinopoli led from 1992 until his death at the age of 54 nine years later, can surpass either with its flawless ensemble and understated eloquence. There isn't an ugly note or gratuitously unpleasant sound in the Scherzo yet no jot of the music's wit, grace and sinister humour is lost. After which, the playing of the slow movement really is a glimpse of musical heaven on earth, the string playing glowing like old gold.
Sinopoli made a studio recording of the Fourth with the Philharmonia Orchestra in the early 1990s. The Dresden reading is essentially unchanged but its realisation is in a different league. The start may seem unduly brisk but a series of exquisitely shaped transitions take us into calmer waters and a succession of ever more enchanted landscapes where the performance reveals its essentially introspective side. Some might think it too introspective in those espressivo interludes where the pulse marginally hangs fire.
In the finale's calm opening and meditative close Sinopoli takes a very slow tempo indeed, way below the one Mahler himself adopts on his 1905 piano roll. Lorin Maazel takes a similar tempo in his celebrated 1984 recording with the Vienna Philharmonic. He, though, has Kathleen Battle, a brighter-voiced, less lustroussounding soloist than Sinopoli's excellent Juliane Banse. He also guards against somnolence by sharper pointing of the music's barcarolle-like rhythm. Not that straight comparisons are really in order here. Orchestrally, this is archive gold.
It is also a happy reminder of a conductor whose prodigious intellect and idiosyncratic ways could never entirely mask the fact that he was a good man and a wonderful musician.”
Gramophone Classical Music Guide, 2010

GGramophone Magazine

Editor's Choice - August 2008

Profil - 25% off

Profil Medien Edition Staatskapelle Dresden - PH07047

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Kurt Sanderling

Kurt Sanderling


Mahler:

Symphony No. 9 in D major


BBC Northern Symphony Orchestra, Kurt Sanderling

Sanderling, according to his son Thomas Sanderling, ‘came from a generation of conductors who did not like to refer to recordings…one had to live with the score! And obviously he knew conductors like Walter and Klemperer, both of whom had known Mahler personally…And then there was Oskar Fried, another early disciple of Gustav Mahler, who had also been active in Russia at various times. My father was therefore very much part of this same culture’

Recorded: BBC Studio 7, Manchester, 17/7/1982

“Sanderling is unfussy, with no nudging or pointing up of pet moments, but there is no stinting. One emerges drained, as one should be. In the last movement the strings show themselves capable of an impressive fullness and weight of tone.” BBC Music Magazine, July 2008 ****

“The maestro's score-driven approach to Mahler, and to music-making in general, can rival Klemperer's in its intellectual sobriety. ” David Gutman, Gramophone Magazine, June 2008

Historical Recordings - up to 25% off

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Marilyn Horne - The Complete Decca Recitals

Marilyn Horne - The Complete Decca Recitals


Bach, J S:

Magnificat in D major, BWV243: Et exultavit

Magnificat in D major, BWV243: Esurientes implevit bonis

Christmas Oratorio, BWV248: Schlafe, mein Liebster

St Matthew Passion, BWV244: Erbarme dich

Bist du bei mir, BWV508

Beethoven:

Abscheulicher! Wo eilst du hin? (from Fidelio)

Bellini:

Lieto del dolce incarco…Se Romeo t'uccise un figlio (from I Capuleti e i Montecchi)

Bizet:

L'amour est un oiseau rebelle 'Habanera' (from Carmen)

Près des remparts de Séville (Séguedille) (from Carmen)

Adieux de l'hotesse Arabe

Chanson d'Avril

Vieille chanson

Absence

Copland:

Old American Songs: excerpts

Debussy:

Trois chansons de Bilitis

Donizetti:

Deciso è dunque...le richezze (from La Figlia del Reggimento)

Falla:

Siete Canciones populares españolas

Gluck:

J'ai perdu mon Eurydice (from Orphée et Eurydice)

Divinités du Styx (from Alceste)

Gounod:

Ô ma lyre immortelle (from Sapho)

Handel:

Messiah: O thou that tellest good tidings to Zion

Messiah: I know that my Redeemer liveth

Scacciata dal suo nido (from Rodelina)

Dove sei, amato bene? (from Rodelinda)

Vivi, tiranno, io t'ho scampato (from Rodelinda)

Mahler:

Rückert-Lieder (5 songs, complete)

Lieder eines fahrenden Gesellen (4 songs, complete)

Kindertotenlieder

Massenet:

Ces lettres! (from Werther)

Va! Laisse couler mes larmes (from Werther)

Meyerbeer:

Ah, mon fils! (from Le Prophète)

O prêtres de Baal (from Le Prophète)

Nobles seigneurs, salut! (from Les Huguenots)

Mozart:

Parto, parto, ma tu ben mio (from La Clemenza di Tito)

Nin:

Villancico Castellano (from Villancicos Españolas)

Jesus de Nazareth (from Villancicos Españolas)

Villancico Asturiano (from Villancicos Españolas)

Villancico Andaluz (from Villancicos Españolas)

Rossini:

Una voce poco fa (from Il barbiere di Siviglia)

Assisa a' piè d'un salice (from Otello)

Di tanti palpiti (from Tancredi)

Bel raggio lusinghier (from Semiramide)

Pronti abbiamo...Amici in ogni evento...Pensa alla patria (from L'Italiana in Algeri)

Eccomi alfine in Babilonia (from Semiramide)

Cruda sorte! Amor tiranno! (from L'Italiana in Algeri)

Nacqui all'affanno, al pianto...Non più mesta (from La Cenerentola)

L'ora fatal s'appressa ... Giusto ciel! (from L'Assedio di Corinto)

Mura felici (from La donna del lago)

Tanti affetti in tal momento (from La donna del lago)

Non temer, d' un basso affetto (from Maometto II)

Saint-Saëns:

Printemps qui commence (from Samson et Dalila)

Mon cœur s'ouvre à ta voix (from Samson et Dalila)

Schubert:

Im Frühling, D882

Nacht und Träume, D827

Die junge Nonne, D828

Fischerweise, D881 (Schlechta)

Schumann:

Die Lotosblume, Op. 25 No. 7

Aus den hebräischen Gesängen, Op. 25 No. 15

Die Kartenlegerin, Op. 31 No. 2

Abendlied, Op. 85 No. 12

Strauss, R:

Schön sind, doch kalt die Himmelssterne, Op. 19, No. 3

Für fünfzehn Pfennige Op. 36 No. 2

Befreit, Op. 39 No. 4

Thomas, Ambroise:

Connais-tu le pays (from Mignon)

Me voici dans son boudoir 'Gavotte' (from Mignon)

Elle est là! Près de lui! (from Mignon)

Verdi:

Stride la vampa (from Il Trovatore)

Condotta ell’era in ceppi (from Il Trovatore)

Wagner:

Wesendonck-Lieder (5)

Wolf, H:

Auf einer Wanderung (No. 15 from Mörike-Lieder)

Der Genesene an die Hoffnung (No. 1 from Mörike-Lieder)

Mein Liebster hat zu Tische mich geladen (No. 25 from Italienisches Liederbuch)

and traditional American folk songs


The great American mezzo-soprano Marilyn Horne celebrated her her 70th birthday in January 2004 and that year also marked 50 years since her professional debut.

Horne’s debut in 1954 was in in Los Angeles. That same year her name and voice was brought to many more people than could ever hear her in the opera house through the 1954 film Carmen Jones in which she sang the dubbed voice of Dorothy Dandridge. Her Covent Garden debut was as Marie in Wozzeck (sung in English at that time) in 1964 – she had made her San Francisco debut in 1960 with the same role. It was with Joan Sutherland that Marilyn Horne found the perfect vocal partner and their performances in the great bel canto operas by Rossini, Bellini and Donizetti took the opera world by storm in the 1960s and early 1970s.

By the time she retired in 1998, Marilyn Horne’s long and distinguished career embraced an enormous variety of operatic roles, as well as a wide variety of solo song ranging from Schubert, Schumann and Mahler through to modern American songs. Such a wide repertory was due to the sheer range of her voice and its remarkable flexibility, a voice that could sustain long lines of melody as well as negotiate the most florid vocal pyrotechnics.

Marilyn Horne participated in a number of complete opera recordings (among them classic recordings of Norma and Semiramide with Joan Sutherland) for Decca and also made ten recital programmes.

The complete recitals are now reissued in their entirety as a Collector Edition on 11 CDs and preserve the original sequence of music as presented on vinyl; the original LP cover art is reproduced for the CD sleeves.

“When every single item brings wonderment it is impossible to single out one above the rest, and the recording is outstandingly vivid...her Rossini recital is one of the most cherishable among all Rossini records ever issued. The voice is in glorious condition, rich and firm throughout its spectacular range, and is consistently used with artistry and imagination, as well as brilliant virtuosity in coloratura. By any reckoning, this is thrilling singing.” Penguin Guide, 2011 edition

Decca - 4780165

(CD - 11 discs)

$95.50

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Usually despatched in 2 - 3 working days.

Mahler: Symphony No. 5 in C sharp minor

Mahler: Symphony No. 5 in C sharp minor


"…the magic in the combination of Yoel Levi and the music of Mahler created a unity in the orchestra from the biggest tutti to the smallest quartet solo; all played with drive and command." -- Le Devoir (Montreal Canada)

Telarc - CD80394

(CD)

$11.00

Usually despatched in 4 - 5 working days.

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