Prices shown exclude VAT. (UK tax is not payable for deliveries to United States.) See Terms & Conditions for p&p rates. | |  |
Sonia Ganassi (Ermione), Marianna Pizzolato (Andromaca), Gregory Kunde (Pirro), Antonino Siragusa (Oreste), Ferdinand Von Bothmer (Pilade), Nicola Ulivieri (Fenicio), Irina Samoylova (Cleone), Cristina Faus (Cefisa) & Riccardo Botta (Attalo) Bologna Theatre Orchestra & Prague Chamber Chorus, Roberto Abbado (conductor) & Daniele Abbado (director) Set during the Second World War, this live recording of Ermione opened the Rossini Opera Festival in 2008. An exceptional vocal cast, in particular Sonia Ganassi in the title role, described by David Blewitt in The Stage as “deploy[ing] an astonishing vocal armoury to searing effect. Her fury during the Act I finale is hair-raising” This production sees a collaboration between cousins Roberto and Daniele Abbado, nephew and son respectively of celebrated conductor Claudio Abbado. | | | In stock - usually despatched within 1 working day. |
|
|
| |  | New Year's Day Concert 2009From the Teatro La Fenice
Mariella Devia (soprano), Massimiliano Pisapia (tenor) Orchestra and Chorus of the Teatro La Fenice, Venice,
Georges Prêtre | | | Usually despatched in 8 - 10 working days. |
|
|
| |  | Music Transfigured - Remembering Ferenc Fricsay
Lovingly restored, using the finest state-of-the art technology, Classic Archive features great performances from legendary artists, offering a unique historical glimpse into our classical heritage, in this case, a beautifully crafted biography of the legendary Hungarian-born conductor, Ferenc Fricsay, whose tragically early death in 1963 prevented him from earning the celebrity of the likes of Karajan or Bernstein. This film portrays the maestro conducting rehearsals and concert performances of works by Kodaly, Smetana, Dukas and Mozart. Tamas Vasary, Kurt Masur,Yehudi Menuhin and Dietrich Fischer-Dieskau, all of whom worked closely with him, talk about the man and his remarkable artistry. From archive footage, we discover the marvellous technique of this passionate and elegant conductor, who was compared to Toscanini, and the imaginative language he used to bring music to life during his rehearsals with various orchestras from Budapest to Berlin via Munich. “His…story is illustrated by stock footage of varying relevance, but the talking heads are renowned and thoughtful. Antonio Pappano emphasises the importance of private study, how Fricsay arrived at a rehearsal with all points fixed, how persuasive he was in music with a story, and how his stickless technique engenders the Fricsay sound - hair-trigger yet supremely well balanced. Rehearsal excerpts from Vltava and Háry János are garrulous and compelling but clearly staged.” Gramophone Magazine, August 2009 | | | Usually despatched in 2 - 3 working days. |
|
|
| |  | Royal Concerts Volume 3: Alfredo Kraus Opera Recital
Recorded in concert in Madrid in 1984, Alfredo Krauss sings a predominately opera focused recital of arias from Massent’s “Manon” & “Werther”, Gounod’s “Romeo et Juliette” and Donizetti’s “Lucia di Lammermoor” & “La Favorite”. Krauss is still considered to be one of the finest vocal technicians ever. His superb abilities enabled him to sing the bel-canto repertoire, for which he was so justifiably famous, well into his 70’s. This DVD release is a must for all fans of this great tenor and anyone interested in great singing! | | | Usually despatched in 2 - 3 working days. |
|
|
| |  | Renata Scotto - The 1984 Tokyo RecitalKan i Hoken Hall, Gotanda, Tokyo, September 1984
Renata Scotto, one of the greatest and most famous sopranos of the post-war period, is here recorded in her full artistic maturity and, through this vast and varied programme, demonstrates her solid technique and absolutely extraordinary musicality. The performance of this recital ended an eleven-year absence of Scotto from the Japanese stage – a return she clearly relishes as she dedicates the rare musical gems in her performance to the Tokyo audience. Together with famous arias from renowned operas she performs some rare and neglected works, notably Edgar (Puccini’s first opera) and Sole e Amore (written before the success of La Bohème) as well as Respighi’s songs and five unpublished songs by Verdi. The DVD also features a two-minute forward by Renata Scotto (sub – E/G/F/Sp) and a thirteen-minute video featuring the madness scene, Lucia di Lammermoor, Tokyo, 1967 | | | Usually despatched in 2 - 3 working days. |
|
|
| |  | Filmed at the Teatro Rossini, Pesaro, Italy, 18 August 2007
Marco Vinco (Selim), Alessandra Marianelli (Fiorilla), Andrea Concetti (Geronio), Filippo Adami (Narciso), Bruno Taddia (Prosdocimo), Elena Belfiore (Zaida), Daniele Zanfardino (Albazar) Orchestra Haydn di Bolzano e Trento & Prague Chamber Chorus, Antonello Allemandi Director: Guido De Monticelli Sets: Paolo Bregni Costumes: Santuzza Cali Lighting: Guido Mariani Premièred at La Scala, Milan, in 1814, Il turco in Italia is a madcap ensemble opera with an inspired score that boasts music of both comic genius and extraordinary beauty, inspired perhaps by Mozart’s Così fan tutte, which was produced there immediately before Rossini’s drama buffo. Set in Naples, it spins a crazy tale around a poet who uses the romantic entanglements of the inhabitants with a Turkish prince as inspiration for the plot of his next play. Ultimately, life imitates art as all ends happily, but not before a planned abduction leads to a chaotic situation of mistaken identity … | | | Usually despatched in 2 - 3 working days. |
|
|
| |  |
Teresa Berganza (Isabella), Mario Petri (Mustafa), Alvino Misciano (Lindoro), Sesto Bruscantino (Taddeo), Rena Gary Falachi (Elvira), Vittoria Palombini (Zulma), Valerio Meucci (Haly) Orchestra e Coro della RAI di Milano, Nino Sanzogno Subtitles: English, French, Italian, Spanish, Japanese | | | Usually despatched in 8 - 10 working days. |
|
|
| |  | Abbado in Concert
Brahms: | Piano Concerto No. 2 in B flat major, Op. 83 Maurizio Pollini (piano) Wiener Philharmoniker | Mozart: | Kyrie in D minor, K341 Karita Mattila, Marjana Lipovšek, Robert Holl, Jerry Hadley & Jorge Pita Konzertvereinigung Wiener Staatsopernchor & Wiener Philharmoniker Grabmusik, K42: Betracht dies Herz Karita Mattila, Marjana Lipovšek, Robert Holl, Jerry Hadley & Jorge Pita Konzertvereinigung Wiener Staatsopernchor & Wiener Philharmoniker Vesperae Solennes de Confessore, K339: Laudate Dominum Karita Mattila, Marjana Lipovšek, Robert Holl, Jerry Hadley & Jorge Pita Konzertvereinigung Wiener Staatsopernchor & Wiener Philharmoniker | Rossini: | La Cenerentola Overture Orchestra del Teatro alla Scala Il barbiere di Siviglia Overture Orchestra del Teatro alla Scala | Schubert: | Mass No. 6 in E flat major, D950 Karita Mattila, Marjana Lipovšek, Robert Holl, Jerry Hadley & Jorge Pita Konzertvereinigung Wiener Staatsopernchor & Wiener Philharmoniker |
The ’All Saints Day Concert’ - besides the New Year´s concert the most important Viennese music event - from the Musikvereinssaal, Vienna from 1986 with sacred music by Wolfgang Amadeus Mozart and Franz Schubert. Superb soloists like Karita Mattila, Marjana Lipovsek, Robert Holl, Jerry Hadley and Jorge Pita, the Vienna Philharmonic Orchestra and the Vienna State Opera Chorus under the baton of maestro Abbado. “The Schubert Mass may tax Abbado's greatest fans. Yet the Mozart sequence with Karita Mattila is revelatory, camerawork for the Brahms Second Piano Concerto as fluid and imaginative as the Abbado-Pollini partnership...He combines a phenomenal technique with a poetic temperament. Wonderful.” BBC Music Magazine, October 2008 ***** “the most widely respected living conductor” New York Times | | | In stock - usually despatched within 1 working day. |
|
|
| |  |
Rossini's wonderful comic opera, written when he was only 21, to an Italian libretto by Angelo Anelli, was first performed in Venice on May 22, 1813. Since then audiences have thrilled to such mezzos as Teresa Berganza and Marilyn Horne, in the title role of Isabella, the Italian girl who torments the Pasha into loving his own wife. Here rising star Christianne Stotijn, a BBC Young Generation Artist, moves into new repertoire in this production from Aix-en Provence, 2006, conducted by Rossini specialist Riccarda Frizza and directed by Toni Servillo. “Aix-en-Provence is generally a guarantor of musical excellence and this performance is no exception. Maxim Mironov may not be as well known as Flórez but he is rightly the tenore digrazia of choice for leading Rossini houses much as Nicolai Gedda and Luigi Alva were a generation or so ago. In those days, no bass was capable of singing Mustafà properly, without cuts and with all the notes in place. Marco Vinco, one of a new breed of Rossini basses, is exemplary. Christianne Stotijn is not the most fetching or dynamic of Isabellas but she will 'do'. Conductor Riccardo Frizza makes the most of his eight minutes on camera in the overture, play-acting like a fantasy conductor in front of his gramophone before bringing the orchestra to its feet for time-consuming bows and solo plaudits. What follows, however, is taut and well drilled. Space is given for the comedy to flower, though Frizza's tempo is too quick in the wonderful duet between Isabella and Taddeo 'Ai capricci' (the marking is Allegro not Allegromolto) where he appears oblivious to the fact that Rossini's use of musical form is a key contributor to the comedy (Isabella flattening Taddeo with a rejoinder which also happens to be a sonataform recapitulation). The duet barely raises a smile from the audience. A single set does service throughout: an empty stage dominated by a three-story ziggurat that can be transformed into the prow of a threedeck ocean liner at the drop of a painted cloth. For much of the evening there is movement in and around the ziggurat but no production to speak of – unless you count Haly being sent into the audience to sing his chirpy sorbet aria 'Le femmine d'Italia'. It is in effect a colourfully costumed concert. That said, director Toni Servillo's minimalist approach works well in the pivotal Act 2 quintet and climactic Act 2 trio. As stage comedy L'italiana must seem pretty thin stuff to modern audiences, yet the various elements in the Rossini cuisine come together most agreeably in the closing scenes of this Aix production.” Gramophone Classical Music Guide, 2010 | | | This item is currently out of stock at the UK distributor. You may order it now but please be aware that it may be six weeks or more before it can be despatched. |
|
|
| |  | Recorded at the Rossini Opera Festival: Adriatic Arena, Pesaro, August 2007
Paolo Bordogna (Fabrizio), K. Papatheologou (Lucia), Dmitry Korchak (Giannetto), Mariola Cantarero (Ninetta), Alex Esposito (Fernando), Michele Pertusi (Gottardo), Manuela Custer (Pippo), Stefan Cifolelli (Isacco), Cosimo Panozzo (Antonio), Vittorio Prato (Giorgio) & Matteo Ferrara (Ernesto) Orchestra Haydn Di Bolzano e Trento & Prague Chamber Choir, Lü Jia (conductor) & Damiano Michieletto (director) The title La Gazza Ladra is translated as ‘The Thieving Magpie’, which as expected is a story based around the theft of some silverwear which a magpie has absconded for its nest, a crime which a servant girl is wrongly accused of. La Gazza Ladra is an "opera semiseria", a genre from Rossini’s time which was used to define a drama with a happy ending in which the innocent victim, unjustly condemned, should be saved from the scaffold at the eleventh hour and the rascal persecutor punished. “[Korchak is] movie-star handsome and offer[s] gorgeous tone, elegant style and as positive a dramatic portrayal as Messrs Rossini and Michieletto allow...[Pertusi's] Gottardo justifies the entire enterprise. What full, rounded tone over a huge range, and what phenomenal coloratura! Pertusi's body language and hulking presence immeasurably enhance his extraordinary vocal command. [The orchestra] supports the performance firmly and stylishly” International Record Review, October 2012 | | | Usually despatched in 2 - 3 working days. |
|
|
| |
|