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See Terms & Conditions for p&p rates. | |  | Daniel Barenboim & CSO: R. Strauss, Mahler & Schoenberg
Mahler: | Symphony No. 5 in C sharp minor Das Lied von der Erde Waltraud Meier (mezzo-soprano) & Siegfried Jerusalem (tenor) | Schoenberg: | Verklärte Nacht, Op. 4 5 orchestral pieces, Op. 16 Klavierstücke (3), Op. 11 Daniel Barenboim (piano) Kleine Klavierstücke (6), Op. 19 Daniel Barenboim (piano) | Strauss, R: | Don Quixote, Op. 35 Don Juan, Op. 20 Till Eulenspiegels lustige Streiche, Op. 28 Ein Heldenleben, Op. 40 Samuel Magad (violin) Eine Alpensinfonie, Op. 64 Symphonic Fantasy on Die Frau ohne Schatten, TrV234a |
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| |  | 13/8/1960 Live, Munich
Josef Metternich (Kommandant), Hildegard Hillebrecht (Maria, his wife), Max Proebstl (Wachtmeister), Richard Holm (Schütze), Benno Kusche (Konstabel), Albrecht Peter (Musketier), Wolfgang Anresos (Hornist), Hand Hermann Nissen (Offizier), Josef Knapp (Front offizier), Kurt Böhme (Der Holsteiner, Kommandant), Lorenz Fehenberger (Bürgermeister) & Karl Hoppe (Prälat) Chorus and Orchestra of the Bavarian State Opera, Joseph Keilberth One of Strauss' rarer operas, 'Friedenstag' (1938) occupies a particularly interesting place in his life. It was conceived and written during the late 1930s, at the time when his relationship with the Nazis was at its most difficult. Although the libretto was by Josef Gregor, he had been recommended to Strauss by the Jewish poet Stefan Zweig (librettist of the earlier opera Die schweigsame Frau (1936), who became black-listed by the Nazis and left Germany in 1938. 'Friedenstag' is cast in a single act and, as its name suggests, is a celebration of the ideal of peace. The style is relatively austere, concerning a story set in the early 17th century on the last day of the Thirty Years War. The Commandant of a fortress under siege resolves to die rather than surrender, but then news of peace arrives and he and his former enemy embrace with vows to work for a better world. Male voices dominate (see the cast list) and there is an important role for the chorus. However, there is a significant role for the Commandant's wife and her dignified aria is a memorable inspiration. It was dedicated to Viorica Ursuleac and her husband Clemens Krauss, the lead and conductor respectively in the premiere on July 24, 1938 and on the subsequent recording. 'Friedenstag' has been recorded relatively few times, just as it is seldom performed in the theatre. It is also a one act opera which lacks an obvious partner. Good sound – unique cast including the legendary Fehenberger. “Blending drive with lyricism, Keilberth does some fine things” The Guardian, 10th May 2012 *** | | | Usually despatched in 3 - 4 working days. |
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| |  | R. Strauss: Horn Concertos Nos. 1 & 2and Beethoven: Piano Quintet in E flat major
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| |  | Strauss: Don Juan & Till Eulenspiegels lustige Streiche
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| |  | Great Swedish Singers: Set Svanholm (1943-1958)
Set Svanholm (tenor), Florence Widgren (vocals), Inge-Gerd Norlin (vocals), Hjordis Schymberg (soprano), Birgit Nilsson (soprano), Elisabeth Soderstrom (soprano), Sigurd Bjorling (baritone) Swedish Radio Orchestra, Stockholm Royal Orchestra, Swedish Radio Symphony Orchestra, Herbert Sandberg, Nils Grevillius, Sixten Ehrling, Lars-Erik Larsson, Tor Mann | |
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| |  | Richard Strauss: Vier Letzte Lieder and other songs
Strauss, R: | Begegnung (Meeting), AV 72 Die Nacht, Op. 10 No. 3 Allerseelen, Op. 10 No. 8 Wie sollten wir geheim sie halten, Op. 19 No. 4 Du meines Herzens Krönelein, Op. 21 No. 2 Cäcilie, Op. 27 No. 2 Morgen, Op. 27 No. 4 Befreit, Op. 39 No. 4 Wiegenlied, Op. 41 No. 1 Freundliche Vision, Op. 48 No. 1 Frühlingsfeier Op. 56 No. 5 Malven, AV 304 Four Last Songs Ich wollt ein Sträusslein binden, Op. 68 No. 2 Säusle, Liebe Myrte, Op. 68 No. 3 Sie wissen's nicht, Op. 49 No. 5 |
Viktor Aslund (piano), Britt-Marie Aruhn (soprano) Stockholm Royal Orchestra, Siegfried Kohler | |
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| |  | Recorded live at the Salzburg Festival, July 2011
Already brimming with symbols and transformations, the epic fairytale recounted by Strauss and his librettist Hofmannsthal in Die Frau ohne Schatten acquires a further allegorical dimension in Christoph Loy’s inventive production for the Salzburg Festival. The central character, the Empress – half-spirit, half-human, and unable to bear children until she finds a shadow – here becomes a young soprano who makes a voyage of personal and professional discovery as she records the opera. A superb cast fulfils the complex vocal and dramatic demands of the piece while Christian Thielemann and the Vienna Philharmonic rise gloriously to the challenges of Strauss’s most ambitious and splendid operatic score. Premiere recording of this production. Christian Thielemann’s first opera performance at the Salzburg Festival. First opera from Salzburg Festival to be released on Opus Arte. Extra features include 'Christian Thielemann rehearses 'Die Frau Ohne Schatten', and cast gallery. Running time: 220 minutes Subtitles: EN/FR/DE/ES Sound format: 2.0LPCM + 5.1(5.0) DTS “Evelyn Herlitzius and Wolfgang Koch inject drama as a couple experiencing marital difficulties...[the Empress] is central throughout, compellingly acted and luminously sung by the marvellous Anne Schwanewilms...Holding it all together are the clearly articulated text and a magic carpet of sound that's down with assurance by Christian Thielemann...Orchestral detail has tremendous clarity and the documentary extra includes pithy insights from cast and crew” BBC Music Magazine, July 2012 **** “Loy's Personregie works well for nearly every singer...The VPO under Christian Thielemann is impeccable...[Thielemann] brings a perceptive though-line to this vast structure, and he cares as much about intimacy as about grandeur...The stand-out onstage is Michaela Schuster (Nurse), vocally magnificent and revelling in her characterization...Schwanewilms's Empress embodies dignified feminine beauty and dignity...her pristine timbre eminently suits the role.” International Record Review, June 2012 “As an exercise in demonstrating a director’s power, it’s strangely impressive; as a way of experiencing the opera, it’s persistently, excruciatingly frustrating.” Opera | | | Usually despatched in 2 - 3 working days. |
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| |  | Recorded live at the Salzburg Festival, July 2011
Already brimming with symbols and transformations, the epic fairytale recounted by Strauss and his librettist Hofmannsthal in Die Frau ohne Schatten acquires a further allegorical dimension in Christoph Loy’s inventive production for the Salzburg Festival. The central character, the Empress – half-spirit, half-human, and unable to bear children until she finds a shadow – here becomes a young soprano who makes a voyage of personal and professional discovery as she records the opera. A superb cast fulfils the complex vocal and dramatic demands of the piece while Christian Thielemann and the Vienna Philharmonic rise gloriously to the challenges of Strauss’s most ambitious and splendid operatic score. Premiere recording of this production. Christian Thielemann’s first opera performance at the Salzburg Festival. First opera from Salzburg Festival to be released on Opus Arte. Extra features include 'Christian Thielemann rehearses 'Die Frau Ohne Schatten', and cast gallery. Running time: 220 minutes Subtitles: EN/FR/DE/ES Sound format: 2.0LPCM + 5.1(5.0) DTS “Evelyn Herlitzius and Wolfgang Koch inject drama as a couple experiencing marital difficulties...[the Empress] is central throughout, compellingly acted and luminously sung by the marvellous Anne Schwanewilms...Holding it all together are the clearly articulated text and a magic carpet of sound that's down with assurance by Christian Thielemann...Orchestral detail has tremendous clarity and the documentary extra includes pithy insights from cast and crew” BBC Music Magazine, July 2012 **** “Loy's Personregie works well for nearly every singer...The VPO under Christian Thielemann is impeccable...[Thielemann] brings a perceptive though-line to this vast structure, and he cares as much about intimacy as about grandeur...The stand-out onstage is Michaela Schuster (Nurse), vocally magnificent and revelling in her characterization...Schwanewilms's Empress embodies dignified feminine beauty and dignity...her pristine timbre eminently suits the role.” International Record Review, June 2012 | | | Usually despatched in 2 - 3 working days. |
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| |  | Martha Mödl: The Portrait of a Legend
“I cannot praise Mödl’s wonderful voice enough...I congratulate Profil for releasing this excellent set of previously unreleased live recordings. Sincere thanks are also owed to the Mödl enthusiast who provided these recordings. Opera-lovers everywhere will delight in this stunning voice.” MusicWeb International, 26th April 2013 | | | (also available to download from $21.75) | Usually despatched in 2 - 3 working days. (Available now to download.) |
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| |  | Mario Lanza, Francis Yeend, Eugene Ormandy at Hollywood Bowl 1947
Bach, J S: | Passacaglia & Fugue in C minor, BWV582 | Donizetti: | Una furtiva lagrima (from L'elisir d'amore) Mario Lanza (tenor) | Giordano, U: | Un dì, all' azzurro spazio (from Andrea Chénier) Mario Lanza (tenor) | Mendelssohn: | Symphony No. 4 in A major, Op. 90 'Italian': Allegro vivace | Mozart: | Exsultate, jubilate, K165 - Alleluia Francis Yeend (soprano) | Puccini: | E lucevan le stelle (from Tosca) Mario Lanza (tenor) Vogliatemi bene, un bene piccolini (from Madama Butterfly) Mario Lanza (tenor) & Francis Yeend (soprano) O soave fanciulla (from La Bohème) Mario Lanza (tenor) & Francis Yeend (soprano) | Strauss, J, II: | An der schönen, blauen Donau, Op. 314 | Strauss, R: | Kling! Op. 48 No. 3 Francis Yeend (soprano) | Verdi: | Parigi, o cara (from La Traviata) Mario Lanza (tenor) & Francis Yeend (soprano) | Weber: | Wie nahte mir der Schlummer … Leise, leise, fromme Weise (from Der Freischütz) Francis Yeend (soprano) |
This will be of great interest to Mario Lanza collectors and the concert contains a very varied repertoire; arias from La Traviata, Madame Butterfly, La Bohème and Der Freischutz, as well as The Blue Danube and Bach’s Passacaglia and Fugue in C minor and others. Recorded on 27th August 1947 | | | Usually despatched in 2 - 3 working days. |
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Gramophone Awards 2012
