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See Terms & Conditions for p&p rates. | |  | Recorded (coloured), at the Komische Oper, 1976Sung in German
József Dene (Figaro), Ursula Reinhardt-Kiss (Susanna), Uwe Kreyßig (Count), Magdelena Falewicz (Countess), Ute Trekel-Burgkhardt (Cherubino), Ruth Schob-Lipka (Marcellina), Rudolf Asmus (Bartolo), Frank Folker (Basilio), Werner Enders (Curzio), Helmut Völker (Antonio), Barbara Sternberger (Barbarina) Orchestra and Chorus of The Komische Oper Berlin, Geza Oberfrank (conductor) & Alter Felsenstein (stage director) TV Direction Georg Mielke, Set Design Reinhart Zimmermann & Costume Design Eleonore Kleiber. Libretto by Lorenzo da Ponte, German adaptation by Walter Felsenstein Walter Felsenstein (1901–1975), founder and general director of the Komische Oper in Berlin, was one of the twentieth century’s greatest creative theatre directors, who played a hugely important role in the revival of opera as a theatrical art form. A brilliant artist who directed over 190 productions during the course of his career, he was equally committed to the works, their creators, the ensemble and the audience. The Marriage of Figaro that received its premiere on 26 February 1975 in the Komische Oper Berlin was Walter Felsenstein’s last production and in many respects can be regarded as representing his legacy. Having just returned from directing a guest production at Vienna’s Burgtheater, Felsenstein had been working on Figaro since early February 1974. He had already directed three productions of the work – in 1934 in Cologne, in 1942 at the Salzburg Festival and in 1950 at the Komische Oper. For the latter production, he had used earlier translations as the basis for producing a new text version, but he now decided that this was inadequate, as he had reached the conclusion that from the point of view of both form and expression, rhyme was crucial at many points in the musical numbers. He also wanted to further fi ne-tune the formulation of the text – putting the emphasis on the sense rather than word-for-word equivalence (which was, in any case, impossible). For a 74-year-old, Felsenstein had a punishing work schedule. In addition to working on Figaro (translating the libretto, analysing the pieces with the conductor, working on the overall concept, holding discussions with the set and costume designers), he also had to fi nd time for his work as General Director, for congresses, for a guest production of Bluebeard and for many other duties. His principle was, “always to start from the beginning again, to try to reach an understanding of the text and the music as though they had never before been interpreted or ‘understood’. I call it ‘taking the work literally’. And it is above all the music that has to be taken literally.” Thus he tried to approach even his fourth production of the work in a spirit of ‘naivety’, while, at the same time, benefi ting from the experience gained with his previous productions. With inexorable meticulousness, Felsenstein pored over the opera, consulting its roots in the works of Beaumarchais and Paisiello (The Barber of Seville) in order to be able to understand the relationship between the characters in Mozart’s work. Special Features on DVD: Facsimile & Texts, Interview with Walter Felsenstein on the topic of “Realistic music theatre”, Segments of other Walter Felsenstein’s productions. Sound Format: PCM Stereo DVD Format: 2 x DVD 9, NTSC Picture Format: 4:3 Running Time: 166 mins Opera + Special Features FSK: 0 Subtitle Languages: GB, DE, FR, ES | | | Usually despatched in 2 - 3 working days. |
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| |  | Van Cliburn plays Mozart, Chopin, Beethoven, Prokofiev & Liszt
1958 was a red-letter year not only in music competition history but in the entire history of performance. For it was then that 23-year-old Van Cliburn of Texas won the first Tchaikovsky Competition in Moscow, taking with him both the hearts of the Russian people and his jury (which included such luminaries as Shostakovich, Kabalevsky, Richter and Gilels). Thawing the political freeze between Russia and America, he went on to achieve a celebrity and charisma unknown since the days of Liszt and Paderewski. But Cliburn’s only London solo concert, given at the Royal Festival Hall one year later, was a no less remarkable event. There I joined a capacity audience (including a bevy of Hollywood stars) on a hot summer afternoon to witness playing of a wholly extraordinary communicative character and power. And, strolling down memory lane and listening once more to one of the most remarkable recitals ever given on the South Bank, one word comes to mind above all others and that is ‘eloquence’. It is surely a truism to say that today, as never before, the world is teeming with pianists whose mechanical skill is unmatched by a convincing musical voice or sound. Cliburn’s technique – something far transcending mere mechanics in its overwhelming range, colour and sonority – was immense and yet was always at the service of a generous spirit, anxious only to celebrate and share great music. Throughout this recital he ‘speaks’ with a voice and sonority uniquely his own. Expectation pulsed at fever pitch, yet Cliburn’s vast audience was taken by surprise when he launched into the National Anthem, milked and thundered for all its worth; a lavish and very Texan tribute to the British people (in today’s parlance, to ‘that special relationship’). But then came Mozart and the Sonata in C, K.330, gently and affectionately confided, alive with that unmistakable full and ‘golden’ Cliburn tone and a legato and cantabile ‘more Russian than the Russians’. Yet at the same time everything was delicately and imaginatively pointed with a special sense of Mozart’s poetic ambiguity, his subtle and melancholic undertow. From the booklet note by Bryce Morrison “...beginning with a juicily harmonised and affirmatively delivered God, Save the Queen...he then launches into Mozart’s C major Sonata K330, in which his famed full tone is to the fore, before letting a more fiery, individual temperament exert itself in Beethoven, Chopin, Prokofiev and Liszt, vividly coloured and with a commanding presence.” The Telegraph, 29th January 2010 **** “The three Chopin works are carefully phrased and clearly articulated with a full, even tone...while Prokofiev's Sixth Sonata (another Cliburn favourite) provides the outstanding performance of the recital...An unflashy, deftly executed Hungarian Rhapsody No. 12 rounds off proceedings.” Gramophone Magazine, May 2010 | | | Usually despatched in 4 - 5 working days. |
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| |  | Mozart - Music for Horn
Of the various wind instruments, it was the natural horn which proved to be the one most favoured by Mozart in his solo instrumental music. Four concertos and a plentiful quantity of chamber scores in which the horn plays the leading role testify to that.Without doubt all this derived from the friendship between the composer and Joseph Leutgeb, a virtuoso player almost 25 years his senior, and who, on a number of occasions, ended up as the target for well-meaning jokes and taunts from Mozart, as is explained in the booklet to this disc. Teunis van der Zwart is one of the world's leading specialists on his instrument today, and here he is joined by other members from the Orchestra of the Eighteenth Century for the chamber music (the Quintet, A Musical Joke, the duos), and by the full orchestra conducted by Frans Brüggen for the Horn Concerto, KV477 and for an aria from Mitridate, re di Ponto, which also features the starry vocal talents of North American soprano Claron McFadden. In recordings made between 2006 and 2008 Brüggen and the musicians of his now legendary ensemble once more prove themselves to be on magnificent form in creating a further disc of reference. “Zwart is unafraid to explore the sonorous extremes offered by his natural horn, shaping melodic lines sensitively while also making the most of fruitier long notes (both low and high)...Some entertaining details in the orchestral accompaniment are nicely judged by Franz Brüggen” Gramophone Magazine, June 2010 | | | (also available to download from $10.50) | Usually despatched in 3 - 4 working days. (Available now to download.) |
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| |  | Martha Argerich - Verbier 2007-2008
Bach, J S: | Partita No. 2 in C minor, BWV826 Martha Argerich (piano) | Bartók: | Violin Sonata in E minor, BB28 Martha Argerich (piano) & Renaud Capuçon (violin) | Grieg: | Cello Sonata in A minor, Op. 36 Martha Argerich (piano) & Mischa Maisky (cello) | Lutoslawski: | Variations on a Theme by Paganini, for two pianos Martha Argerich & Gabriela Montero (pianos) | Mozart: | Andante and Variations in G for Piano Duet, K501 Martha Argerich & Stephen Kovacevich (piano) | Shostakovich: | Piano Quintet in G minor, Op. 57 Martha Argerich (piano), Joshua Bell (violin), Henning Kraggerud (violin), Yuri Bashmet (viola) & Mischa Maisky (cello) |
A collection of the most wonderful performances given at the Verbier Festival (2007 and 2008) by the legendary pianist Martha Argerich, featuring some of the most talented musicians of today. Martha Argerich proves once again her great pianistic technique in a wave of virtuosity, performing emblematic works of the greatest composers ever. Moreover, she is accompanied by the best and most renowned cellists, pianists and violinists one can imagine: Stephen Kovacevich, Mischa Maisky, Renaud Capuçon… NTSC · 16:9, PCM Stereo Region Code: 0 Booklet notes: English Running time: 125 mins FSK: all audiences “…Argerich's matriarchal presence casts a benign glow over the proceedings, and her keyboard wizardry remains as abundant and remarkable as ever.” BBC Music Magazine, Christmas 2009 **** | | | Usually despatched in 2 - 3 working days. |
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| |  | recorded 11/1/1958
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The brand new series celebrates EMI - The Home of Opera with Böhm's legendary recording of Così fan tutte with Elisabeth Schwarzkopf and Christa Ludwig. Includes complete libretto and synopsis on a bonus CD ROM. Studio recording, 1962 “Its glorious solo singing is headed by the incomparable Fiordiligi of Schwarzkopf and the Dorabella of Christa Ludwig; it remains a superb memento of Walter Legge's recording genius and remains unsurpassed by other recordings made before or since.” Penguin Guide, 2011 edition | | | Usually despatched in 4 - 5 working days. |
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| |  | Rachel Podger - Mozart & Haydn Concertos
Rachel Podger’s first recording with orchestra since the landmark Gramophone Award winning disc of Vivaldi’s La Stravaganza. Follows eight volumes of the Award Winning Mozart Violin Sonatas edition. Rachel Podger challenges Pavlo Beznosiuk. Soloists play on real ‘Strads’. “…Rachel Podger…silvery-toned, subtly nuanced 1739 Pesarinius violin and intent direction of the strings of the Orchestra of the Age of Enlightenment find a genuine eloquence in the Adagio of the otherwise unremarkable G major Concerto. Mozart's Sinfonia Concertante is... a masterpiece unique even in his output for the almost operatic interplay between its solo violin and viola protagonists... Podger's almost 'speaking' line contrasts with the more 'masculine' tones of Pavlo Beznosiuk. Others have wrung even more pathos from the somber Andante, but this scarcely alloys the warmth and life of the reading.” BBC Music Magazine, Christmas 2009 **** “Podger makes a strong case for Haydn's concertos… the sound has a warm glow that enhances her standpoint that these works are not lightweight nonentities. Slow movements are particularly profound…” Gramophone Magazine, December 2009 “...the OAE accompanies with poise and discretion, allowing Podger's consummate talent to shine through.” The Observer, 29th November 2009 | | | Usually despatched in 4 - 5 working days. |
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| |  | Wilhelm Kempff Rarities
Beethoven: | Piano Concerto No. 4 in G major, Op. 58 Piano Concerto No. 1 in C Major, Op. 15 Piano Concerto No. 2 in B flat major, Op. 19 Bagatelles (6), Op. 126 Piano Sonata No. 32 in C minor, Op. 111 | Brahms: | Piano Sonata No. 3 in F minor, Op. 5 | Chopin: | Berceuse in D flat major, Op. 57 Mazurka No. 7 in F minor, Op. 7 No. 3 Mazurka No. 34 in C major, Op. 56 No. 2 | Fauré: | Nocturne No. 6 in D flat major, Op. 63 | Liszt: | Au lac de Wallenstadt (Années de pèlerinage I, S. 160 No. 2) Pastorale (Années de pèlerinage I, S. 160 No. 3) Au bord d'une source (Années de pèlerinage I, S. 160 No. 4) Sonetto 123 del Petrarca (Années de pèlerinage II, S. 161 No. 6) | Mozart: | Piano Concerto No. 21 in C major, K467 'Elvira Madigan' Rondo for Piano & Orchestra in D major, K382 Variations (10) in G major on Gluck's 'Unser dummer Pöbel meint', K455 Fantasia in C minor, K475 Piano Sonata No. 18 in D major, K576 'Hunt' Piano Concerto No. 20 in D minor, K466 | Schumann: | Arabeske in C major, Op. 18 Études symphoniques, Op. 13 |
Rare and unreleased material recorded 1939-1958. | | | Usually despatched in 2 - 3 working days. |
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| |  | Anny SchlemmDocuments of a Singing Career
A 20 year career as a soprano saw her perform mainly in Berlin, Cologne and Frankfurt. However she appeared at Glyndebourne, Bayreuth and noted concert venues around the world. | | | Usually despatched in 2 - 3 working days. |
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| |  | Ruhr Piano Festival Edition Vol. 22: Portraits IV
Bach, J S: | English Suite No. 2 in A minor, BWV807 Fantasia & Fugue in G minor, BWV542 'Great' (trans. Liszt) | Beethoven: | Piano Sonata No. 8 in C minor, Op. 13 'Pathetique' | Brahms: | Fantasies (7 piano pieces), Op. 116 | Debussy: | Pour le piano Trois Nocturnes: Nuages et Fêtes | Franck, C: | Prélude, Choral et Fugue, M21 | Liszt: | Valse oubliée No. 1, S.215/1 Mephisto Waltz No. 1 Venezia e Napoli (3 pieces), S. 162 Hungarian Rhapsody, S244 No. 15 in A minor 'Rákóczy Marsch' Rhapsodie espagnole, S254 | Mozart: | Rondo in D major, K485 Larghetto & Allegro in E Flat Major (for two pianos, arr. and completed by Robert D. Levin) | Rimsky Korsakov: | Flight of the Bumble Bee | Scarlatti, D: | Keyboard Sonata K380 in E major Keyboard Sonata K492 in D major Keyboard Sonata K466 in F minor Keyboard Sonata K158 in C minor Keyboard Sonata K357 in C major Keyboard Sonata K319 in F sharp major Keyboard Sonata K101 in A major Keyboard Sonata K87 in B minor Keyboard Sonata K380 in E major Keyboard Sonata K17 in F major | Schoenberg: | Klavierstücke (3), Op. 11 | Schubert: | Piano Sonata No. 19 in C minor, D958 Piano Sonata No. 20 in A major, D959 Impromptu in E flat major, D899 No. 2 Klavierstücke (3), D946 Piano Sonata No. 4 in A minor, D537 | Schumann: | Humoreske, Op. 20 Abegg Variations, Op. 1 Études symphoniques, Op. 13 Study in Canonic Form, Op. 56 No. 1 in C major - Nicht zu schnell Study in Canonic Form, Op. 56 No. 4 in A flat major - Innig Study in Canonic Form, Op. 56 No. 2 in A minor - Mit innigem Ausdruck Piano Sonata No. 2 in G minor, Op. 22 | Vallina: | L'enigma '... und ich mit regem Blute' |
Mauricio Vallina, Salem Abboud Ashkar, Ran Jia, Mona Asuka Ott, Hisako Kawamura, Alexei Lubimov, Alexej Zouev, Alexej Kasprov (pianos) This is Vol.22 of the Edition Ruhr Piano Festival and features outstanding young pianists giving their debut recital. | | | Usually despatched in 2 - 3 working days. |
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