Prices shown exclude VAT. (UK tax is not payable for deliveries to United States.) See Terms & Conditions for p&p rates. | |  | Masters of the Keyboard, Vol. 2
This documentary, like its companion, "Masters of the Keyboard, The Next Generation Vol. I", combines conversation and brilliant solo performances by promising artists featured at the Miami International Piano Festival. | | | Usually despatched in 4 - 5 working days. |
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| |  | Karel Ancerl & Hermann Scherchen: Great Conductors in Rehearsal & Performance
Karl Ancerl leads the Toronto Symphony Orchestra in a rehearsal and performance of Smetana's The Moldau. Hermann Scherchen rehearses his own orchestration of Bach's The Art of the Fugue with the CBC Toronto Chamber Orchestra. “Two long rehearsal sequences, both very rewarding, Ancerl urbane and immensely detailed in Smetana's Vltava, Scherchen severe and penetrating, directing his own version of Bach's last work.” BBC Music Magazine, September 2005 ***** “Ančerl puts the Toronto players through their paces in Vltava. Even (or, perhaps, especially) when one thinks one is thoroughly familiar with an old warhorse, to experience it being prepared so patiently and gracefully by a man who has the score in his veins is revelatory. Bohemian-born Ančerl was assistant to Hermann Scherchen in Germany from 1929 to 1931. Filmed in the last year of the latter's life, the second section of the DVD offers a rare glimpse of the grumpy, tight-lipped maestro rehearsing his own orchestration of The Art of Fugue. Looking like a cross between Toscanini and the late Pope, the constantly exasperated Scherchen inspired an atmosphere of such awkwardness and tension you wonder how anyone can play their instruments, let alone make music. ...he manages to elicit some memorable playing...” Gramophone Magazine, Awards Issue 2005 | | | Usually despatched in 4 - 5 working days. |
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| |  | Marilyn Horne in Recital: Milan, 1981
Alvarez, F M: | La Partida | Beethoven: | In questa tomba oscura, WoO.133 Zärtliche Liebe 'Ich liebe dich', WoO 123 Busslied (No. 5 from 6 Lieder von Gellert, Op. 48) | Copland: | Ching-a-ring Chaw Simple Gifts (from Old American Songs, Set I) Long Time Ago At the River | Donizetti: | Il segreto per esser felici (from Lucrezia Borgia) | Duparc: | L'Invitation au voyage Extase Le Manoir de Rosemonde | Foster, S: | Beautiful Dreamer I Dream of Jeanie with the Light Brown Hair | Granados: | Tonadillas: No. 3, La maja dolorosa | Handel: | Semele: Hence, Iris, hence away | Montsalvatge: | Canción negra No. 4, Cancion de cuna para dormir a un negrito | Obradors: | El Vito (from Canciones clásicas españolas) | Rossini: | Eccomi alfine in Babilonia (from Semiramide) Se il vuol, la molinara |
Though Marilyn Horne is known mostly for her virtuosic operatic roles, she is a superb recitalist who can scale her powerful voice down to the more intimate requirements of the recital stage. In 1981, she appeared at Milan’s La Scala opera house in a recital consisting of music by Italian, German, Spanish, French and American composers. Horne was in particularly superb form that evening, partnered brilliantly by Martin Katz at the piano. 93 minutes, color, mono. Live performance: 2nd June, 1981 | | | Usually despatched in 4 - 5 working days. |
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| |  | Renata Tebaldi: A Portrait
Renata Tebaldi’s numerous appearances on television made her unique among her contemporaries. Four complete operatic performances as well as televised concerts and guest appearances on major variety programs in the U.S. and abroad have made their way to home video. The soprano’s glowing physical presence made her a natural for the TV cameras while the sumptuousness of her voice asserted itself through even the flimsiest of television speakers. Tebaldi made three appearances on the Bell Telephone Hour between 1959 and 1967. As collected here, the six arias demonstrate the soprano at the height of her powers in five of her greatest roles. (Though Tebaldi never performed Cavalleria Rusticana on stage, she did make a stunning studio recording of the opera.) The two Butterfly arias from 1959, radiantly sung, are amongst Tebaldi’s first TV appearances, taken from a program that also holds the distinction of being one of the earliest extant color telecasts. By 1967, Tebaldi was clearly comfortable in the spinto-dramatic repertoire with an awesome use of the chest register in the Cavalleria and Gioconda arias. This collection will delight the myriad fans of one of this century’s most beloved divas. | | | Usually despatched in 4 - 5 working days. |
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| |  | The Glory of Spain
This program is a visual and musical hymn of praise to what Andrés Segovia describes as "the pride, strength, and reverence of the Spanish soul." That soul is exhibited through the remarkable music of Spanish composers: Issac Albéniz, Manuel de Falla, Enrique Granados, and Federico Moreno Torroba; and a gifted group of painters: El Greco, Goya, and Velásquez. Filmed at Madrid's El Prado featuring performances by Andrés Segovia, Victoria de los Angeles and Alicia de Larrocha. Recorded in 1967 | | | Usually despatched in 4 - 5 working days. |
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| |  | The Lotte Lehmann Master Classes, Vol. 2: Opera
Filmed in July 1961, Mme. Lehmann guides students of the Music Academy of the West through arias and scenes from Der Rosenkavalier, Le Nozze di Figaro, Lohengrin, Der Freischütz, and Fidelio. Includes Lehmann’s invaluable demonstration/performance of the Marschallin’s Monologue from Der Rosenkavalier. Bonus selection: a rare 21-minute interview in which Lehmann discusses her life and career (CBC, 1963), including her associations with Bruno Walter, Richard Strauss, Giacomo Puccini, and others. 114 minutes. Playable in all regions. | | | Usually despatched in 4 - 5 working days. |
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| |  | In Celebration of the PianoAn All-Star Tribute to the Steinway
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| |  | George London: A Tribute
Beethoven: | O welche Lust! In freier Luft den Atem leicht zu heben! (from Fidelio) Vienna State Opera Chorus, Heinrich Hollreiser | Mozart: | Don Giovanni, K527: Overture Lothar Zagrosek Fin ch'han dal vino (from Don Giovanni) Archival television performance, 1964 George London Dalla sua pace (from Don Giovanni) Nicolai Gedda Heinrich Hollreiser Deh vieni, non tardar (from Le nozze di Figaro) Lucia Popp Deh, per questo istante solo (from La Clemenza di Tito) Tatiana Troyanos | Mussorgsky: | Dostig Ya Vyshey Vlasti (from Boris Godunov) Archival television performance, 1964 George London | Offenbach: | Les oiseaux dans la charmille (from Les Contes d'Hoffmann) Edita Gruberova Erich Binder Elle a fui, la tourterelle (from Les Contes d' Hoffmann) Catherine Malfitano Tu ne chanteras plus (from Les Contes d'Hoffman) Catherine Malfitano, Simon Estes, Margaretha Hintermeier Erich Binder | Puccini: | E lucevan le stelle (from Tosca) Nicolai Gedda | Strauss, R: | Er ist der Richtige nicht für mich … Aber der Richtige, wenn's einen gibt für mich (from Arabella) Lucia Popp, Sona Ghazarian Heinrich Hollreiser | Tchaikovsky: | Kuda, Kuda 'Lensky's Aria' (from Eugene Onegin) Francisco Araiza | Wagner: | Mit Gewitter und Sturm (from Der Fliegende Hollander) Thomas Moser Lothar Zagrosek Die Walkure: Act 1 Scene 3 Leonie Rysanek, James King Lothar Zagrosek |
Gala 1984 operatic concert organized by the George London Foundation for Singers. Bonus material includes excerpts from London's Bell Telephone and CBC telecast appearances, as well as excerpts of his role as Scarpia in VAI's Tosca, with Renata Tebaldi. 127 minutes, color, stereo with optional English subtitles. Playable in all regions. | | | Usually despatched in 4 - 5 working days. |
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| |  | Dmitri Hvorostovky in Concert
54 minutes, color, stereo, optional English, French, German, and Italian subtitles. | | | Usually despatched in 4 - 5 working days. |
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Giuseppe Taddei (Falstaff), Rosanna Carteri (Alice Ford), Scipione Colombo (Ford), Luigi Alva (Fenton), Anna Moffo (Nanetta), Fedora Barbieri (Mistress Quickly), Mario Carlin (Dr Caius), Anna Maria Canali (Meg Page), Franco Calabrese (Pistola), Renato Ercolani (Bardolfo) Orchestra and Chorus of Radiotelevisione Italiana, Milan, Tullio Serafin This sparkling 1956 telecast of Verdi’s comic masterpiece presents a rare opportunity to see Giuseppe Taddei in his most celebrated role. Production by Herbert Graf. Optional subtitles in English, French, and German. Black and White, 118 minutes. Region 0 encoding, playable worldwide. Telecast from 9th May, 1956 “Vintage 1956, Italian television, black and white, 'the flicks' appropriately named, with an occasional vertical line down the middle, and on the generally vivid soundtrack an occasional 'wow' – but all of this is nothing to the 'wow' of a performance. Splendidly cast, with not a weak link, conducted with benevolent mastery and pro- duced so as to give the composer what he (and not some imposer of a crack-brained concept) wanted. And above all it's a happy Falstaff (you'd think that would go without saying, but there have been too many frowning Falstaffs making heavy weather amid dutifully rehearsed mirth with no joy in it). Giuseppe Taddei's smile is at the centre of everything, teeth white as his wig, more emblematic of the man even than his big belly. He sings gloriously, absolutely in his prime (the Karajan recording by which his Falstaff is probably most generally remembered was made 24 years later). The Ford is also a fine singer, Scipione Colombo, courtly and vulpine in appearance, convincing in his wounded monologue. The merry wives take their centre not so much from the Alice Ford (Rosanna Carteri) as from the Mistress Quickly and the ripe chest notes of Fedora Barbieri. The lovers, Anna Moffo and Luigi Alva, make a good-looking as well as mellifluous pair. The Caius, Mario Carlin, actually sings (most of them peck), and the Bardolph, Renato Ercolani, is a star, a kind of Dudley Moore with a Cyrano nose. We don't at any point see the conductor, but Serafin's presence is real enough nonetheless.” Gramophone Classical Music Guide, 2010 “Vintage 1956, Italian television, black and white… Splendidly cast, with not a weak link, conducted with benevolent mastery and produced so as to give the composer what he… wanted. And above all it's a happy Falstaff… Giuseppe Taddei's smile is at the centre of everything, teeth white as his wig, more emblematic of the man even than his big belly. He sings gloriously, absolutely in his prime... The Ford is also a fine singer, Scipione Colombo, courtly and vulpine in appearance, convincing in his wounded monologue. The merry wives take their centre not so much from the Alice Ford (Rosanna Carteri) as from the Mistress Quickly and the ripe chest notes of Fedora Barbieri.” Gramophone Magazine, July 2006 | | | Usually despatched in 4 - 5 working days. |
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