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Karl von Ordonez: Symphonies

Karl von Ordonez: Symphonies


Ordonez:

Symphony in B flat, Brown I:B2

Symphony in C major, Brown I:C13

Symphony in F minor, Brown I:F12

Symphony in D major, Brown I:D 5


L'arte del mundo, Werner Ehrhardt

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Reformation 1517-2017

Reformation 1517-2017


Bach, J S:

Cantata BWV79 'Gott der Herr ist Sonn und Schild'

Cantata BWV80 'Ein feste Burg ist unser Gott'

Brahms:

Warum ist das Licht gegeben? Op. 74 No. 1

Croft:

O God, our Help in Ages past

Cruger:

Now thank we all our God (Nun danket)

Luther:

Ein’ feste Burg ist unser Gott

Mit Freud und Freud ich fahr dahin

Mendelssohn:

Wer nur den lieben Gott lasst walten

Neumark:

Wer nur den lieben Gott lässt walten

Vaughan Williams:

Lord, Thou has been our refuge

Holly Holt (soprano), Catherine Clark (mezzo-soprano), Jackson Riley (tenor), Christopher Holliday (bass), Paul Sharp (trumpet), Nicholas Morris (organ)


In 1517, indignant at mercenary practices of the Catholic Church and convinced that a public debate was needed to restore faith in the founding texts of the Bible, Martin Luther nailed his 95 Theses to the door of the church in Wittenberg Castle. This marked the beginning of the Protestant Reformation, of which he was a seminal figure, which was to spread all over Europe.

Five hundred years later, in 2017, Graham Ross and the Choir of Clare College, Cambridge marked the anniversary with a series of cantatas by J. S. Bach performed liturgically in Clare College Chapel on the eight Sundays of Lent Term. This recording is the culmination of that project, presenting chronologically the two great Reformation cantatas of J. S. Bach and three chorale-based works by Mendelssohn, Brahms and Vaughan Williams, each preceded here by the chorale melody or hymn on ̀which they are based, giving an insight into the emotional and dramatic strength of the Reformation's theological and cultural legacy.

Recorded on 2 & 4 April 2017 in St John the Evangelist, Upper Norwood, London.

Sessions Producer, Recording Engineer & Editor: John Rutter

“The choir sometimes sounds a little too youthful: neat and tuneful, but falling short on rich timbre. However, there is much exciting instrumental work from an ensemble packed with distinguished names, and seasoned solo singing from Neal Davies, Nicholas Mulroy and the like.” The Times, 18th August 2017 ***

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Charpentier, M-A: La Descente d'Orphée aux enfers

Charpentier, M-A: La Descente d'Orphée aux enfers


Robert Getchell (Orphée), Caroline Weynants (Eurydice), Caroline Dangin-Bardot (Oenone), Violaine Le Chenadec (Daphné), Caroline Arud (Aréthuse), Lucile Richardot (Proserpine), Stephen Collardelle (Ixion), Davy Cornillot (Tantale), Étienne Bazola (Apollon/Titye), Nicolas Brooymans (Pluton)

Ensemble Correspondances, Sébastien Daucé

'La Descente d’Orphée aux Enfers', Charpentier's last short opera, was written for his patron Mademoiselle de Guise [Marie de Lorraine, Duchesse de Guise, Duchesse de Joyeuse, Princesse de Joinville, 1615-88] and constitutes in its breadth and dramatic density a little gem of 17th-century French vocal art.

Charpentier made use of all 10 singers employed by Mademoiselle de Guise at the time, using the Orpheus' myth, albeit one left in suspension, without a resolution; a carefree and happy ‘descent’ that celebrates Orpheus’ song and the enchanting power of music. Charpentier was one of the first French composers to use this story in its full dimensions. He had already produced a short divertissement called 'Orphée descendant aux Enfers', which may be regarded as the earliest example of the French cantata, a miniature vocal genre that flourished in aristocratic gatherings of the early 18th century. Conceived on a larger scale, 'La Descente d’Orphée aux Enfers' unfolds over two acts. The first installs the listener in the bucolic universe typical of the pastorale, peopled by nymphs led by Daphne, Arethusa and OEnone, who have come to celebrate the wedding of their companion Eurydice with the shepherd Orpheus. Eurydice is mortally wounded by a serpent and her sudden death leaves her companions and Orpheus distraught and tearful. The longer Act Two traces Orpheus’ difficult quest through the Underworld, where he charms first of all the damned souls, then Proserpina and Pluto, with his songs in the hope of bringing Eurydice back with him. He is finally allowed to leave with Eurydice, though warned that he must not meet her gaze until he has seen the light of day once more; otherwise, he will have to abandon her to the realm of the dead for ever. Charpentier’s manuscript stops at this point, as Orpheus commences his journey back to the light, leaving the denizens of the Underworld in despair at his departure.

A poetic experience amid the depths of night, which inspired Sébastien Daucé and his Ensemble Correspondances in this new edition, recorded in Grenoble in January last year.

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JS Bach: Cantatas for Bass

JS Bach: Cantatas for Bass


Bach, J S:

Cantata BWV21 'Ich hatte viel Bekümmernis': Sinfonia

Cantata BWV56 'Ich will den Kreuzstab gerne tragen'

Oboe d'amore Concerto in A major, BWV1055

Cantata BWV82 'Ich habe genug'


In the autumn of 1726 Bach embarked on a series of solo and dialogue cantatas for the first time, in which the virtuoso skills of individual soloists were given pride of place rather than a choir. The poet of this impressive series of solo and dialogue cantatas has recently been identified as the Leipzig theology student Christoph Birkmann (1703-1771), later a pastor in Nuremberg. He reported that he "diligently kept company with the great master, Herr Director Bach, and his choir, and also attended the Collegia Musica in the winter". Among the ‘Ich’ cantatas of late autumn and winter 1726/27 are the two works recorded here, which have been regarded ever since as pearls of Bach’s oeuvre.

Twenty five years after harmonia mundi issued the solo cantatas for bass with Peter Kooj, Collegium Vocale and Philippe Herreweghe, Matthias Goerne, together with Freiburg Baroque, presents two cantatas intimately linked to the celebration of the Lutheran Reformation, as we celebrate its 500th anniversary. The recording has had a long period of fruition, what with Schubert, Schumann, Mahler, and soon Wagner, but this new disc should make its own mark on the discography, just as permanently as its illustrious predecessor.

“Freiburg Baroque are at the top of their game: lithe, shapely, tuneful...And the singing? Matthias Goerne is all breath and vowels and gravel and intensity...There is suave bluster in Mein Gott! wenn kommt das schöne: Nun! and well-fed elation in Endlich, endlich wird mein Joch.” The Guardian, 17th August 2017 ***

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Mendelssohn: Violin Concerto & Symphony No. 5

Mendelssohn: Violin Concerto & Symphony No. 5


Mendelssohn:

Hebrides Overture, Op. 26

Violin Concerto in E minor, Op. 64

Isabelle Faust (violin)

Symphony No. 5 in D major, Op. 107 'Reformation'


Read Presto's complete review of this disc here.

After the mystical 'Hebrides' Overture and the masterly ‘Reformation’ Symphony, Mendelssohn embarked on his second violin concerto. After a long gestation in which he polished the orchestration and meticulously revised the solo part, the work was finally premiered in Leipzig in 1845. From David to Joachim, virtuosos honed the violin part with the composer over successive revivals, leaving to posterity traces of their playing style: fingering, bowing and score markings. This precious heritage has been scrutinised by Isabelle, as she did for her Brahms Violin Concerto recording, as a previously unexploited expressive resource. Isabelle Faust, accompanied by the Freiburger Barockorchester, in top form, under the direction of Pablo Heras-Casado, offers us a miracle of purity and lyricism in a freshly-minted interpretation that fulfils Mendelssohn’s promise of ‘a concerto to make the angels rejoice in heaven’!

“Faust’s research infuses the sound-world of the piece from the very first phrase...Her treatment of the plaintive E minor melody at the opening showcases two of the main stylistic innovations which result from her mining of the archives: very little vibrato, with the sound warmed instead by liberal but judiciously-applied portamento...There’s always the sense that the music’s being well-served rather than short-changed by these choices.” Katherine Cooper, Presto Classical, 18th August 2017

“[Faust] takes the radical decision to perform the work as scholars now think mid-19th-century violinists would have done: with minimal vibrato, but lots of slides between the notes and very different bowings, making the piece sound far spikier and febrile than the suavely efficient readings one usually hears today. Some may think her tone is too parched; I loved it.” The Times, 18th August 2017 ****

Presto Disc of the Week

18th August 2017

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Mozart & Michael Haydn: Bassoon Concerto & Serenade

Mozart & Michael Haydn: Bassoon Concerto & Serenade


Haydn, M:

March, MH 412

Serenade in B flat major

Mozart:

Bassoon Concerto in B flat major, K191

Cassation in B flat major, K. 99: March


Sergio Azzolini (bassoon)

Streicherakademie Bozen

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Rudolf Serkin: The Complete Columbia Album Collection

Rudolf Serkin: The Complete Columbia Album Collection


Bach, J S:

Viola da Gamba Sonata No. 3 in G minor, BWV1029

Pablo Casals (cello), Paul Baumgartner (piano)

Chromatic Fantasia in D minor, BWV903a

Italian Concerto, BWV971

Capriccio sopra la lontananza del suo fratello dilettissimo, BWV992

Toccata in E minor, BWV914

Concerto for Three Keyboards in D minor, BWV1063

Mieczysław Horszowski (piano), Ruth Laredo (piano)

Concerto for Three Keyboards in C major, BWV1064

Mieczysław Horszowski (piano), Peter Serkin (piano)

Brandenburg Concerto No. 1 in F Major, BWV1046

Brandenburg Concerto No. 4 in G major, BWV1049

Brandenburg Concerto No. 5 in D major, BWV1050

Sonata for Violin & Harpsichord No. 3 in E major, BWV1016

Adolf Busch (violin)

Goldberg Variations, BWV988: Aria

Goldberg Canons, BWV1087

Bartók:

Piano Concerto No. 1, BB 91, Sz. 83

George Szell

Beethoven:

Piano Sonata No. 14 in C sharp minor, Op. 27 No. 2 ‘Moonlight'

Piano Sonata No. 8 in C minor, Op. 13 'Pathetique'

Piano Concerto No. 5 in E flat major, Op. 73 'Emperor'

Bruno Walter

Violin Sonata No. 9 in A major, Op. 47 ‘Kreutzer'

Adolph Busch (violin)

Piano Trio No. 5 in D major, Op. 70 No. 1 'The Ghost'

Fantasia in G minor, Op. 77

Piano Sonata No. 24 in F sharp major, Op. 78

Piano Concerto No. 5 in E flat major, Op. 73 'Emperor'

Eugene Ormandy

Piano Sonata No. 14 in C sharp minor, Op. 27 No. 2 ‘Moonlight'

Piano Sonata No. 26 in E flat major, Op. 81a 'Les Adieux'

Piano Sonata No. 23 in F minor, Op. 57 'Appassionata'

Piano Sonata No. 21 in C major, Op. 53 'Waldstein'

Piano Sonata No. 30 in E major, Op. 109

Piano Concerto No. 3 in C minor, Op. 37

Eugene Ormandy

Quintet in E flat major for piano and winds, Op.16

Philadelphia Woodwind Quintet

Cello Sonatas Nos. 1-5 (complete)

Variations (7) on "Bei Männern, welche Liebe fühlen", for Cello and Piano, WoO 46

Variations (12) on "Ein Mädchen oder Weibchen" for Cello and Piano, Op. 66

Variations (12) on "See the conquering hero comes" for Cello and Piano, WoO 45

Pablo Casals (cello)

Piano Concerto No. 1 in C Major, Op. 15

Piano Concerto No. 4 in G major, Op. 58

Piano Concerto No. 2 in B flat major, Op. 19

Eugene Ormandy

Diabelli Variations, Op. 120

Piano Concerto No. 5 in E flat major, Op. 73 'Emperor'

Leonard Bernstein

Piano Sonata No. 14 in C sharp minor, Op. 27 No. 2 ‘Moonlight'

Piano Sonata No. 8 in C minor, Op. 13 'Pathetique'

Piano Sonata No. 23 in F minor, Op. 57 'Appassionata'

Triple Concerto for Piano, Violin, and Cello in C major, Op. 56

Jaime Laredo (violin), Leslie Parnas (cello)

Piano Concerto No. 3 in C minor, Op. 37

Leonard Bernstein

Fantasia for Piano, Chorus and Orchestra in C minor, Op. 80

Leonard Bernstein

Piano Concerto No. 4 in G major, Op. 58

Arturo Toscanini

Piano Concerto No. 4 in G major, Op. 58

Eugene Ormandy

Piano Concerto No. 1 in C Major, Op. 15

Eugene Ormandy

Bagatelles (11), Op. 119

Piano Concerto No. 2 in B flat major, Op. 19

Eugene Ormandy

Piano Sonata No. 29 in B-flat major, Op. 106 'Hammerklavier'

Piano Sonata No. 28 in A major, Op. 101

Piano Sonata No. 31 in A flat major, Op. 110

Piano Sonata No. 11 in B flat major, Op. 22

Fantasia in G minor, Op. 77

Piano Sonata No. 24 in F sharp major, Op. 78

Violin Sonata No. 8 in G major, Op. 30 No. 3

Violin Sonata No. 1 in D major, Op. 12 No. 1

Adolf Busch (violin)

Violin Sonata No. 10 in G major, Op. 96

Adolf Busch (violin)

Piano Sonata No. 26 in E flat major, Op. 81a 'Les Adieux'

Piano Trio No. 4 in B flat major, Op. 11 'Gassenhauer', for clarinet, cello & piano

Quintet in E flat major for piano and winds, Op.16

Piano Trio No. 11 in G major, Op. 121a 'Kakadu'

Piano Sonata No. 1 in F minor, Op. 2 No. 1

Piano Sonata No. 6 in F major, Op. 10 No. 2

Piano Sonata No. 12 in A flat major, Op. 26 'March Funebre'

Piano Sonata No. 13 in E flat major, Op. 27 No. 1 'Quasi una fantasia'

Piano Sonata No. 16 in G major, Op. 31 No. 1

Piano Sonata No. 21 in C major, Op. 53 'Waldstein'

Piano Sonata No. 30 in E major, Op. 109

Piano Sonata No. 31 in A flat major, Op. 110

Piano Sonata No. 32 in C minor, Op. 111

Piano Concerto No. 4 in G major, Op. 58

Fantasia for Piano, Chorus and Orchestra in C minor, Op. 80

Brahms:

Piano Concerto No. 1 in D minor, Op. 15

Fritz Reiner

Piano Concerto No. 2 in B flat major, Op. 83

Eugene Ormandy

Piano Trio No. 2 in C major, Op. 87

Adolf Busch (violin), Hermann Busch (cello)

Piano Concerto No. 1 in D minor, Op. 15

George Szell

Piano Concerto No. 2 in B flat major, Op. 83

Eugene Ormandy

Piano Concerto No. 2 in B flat major, Op. 83

Eugene Ormandy

Horn Trio in E flat major, Op. 40

Myron Bloom (horn), Michael Tree (violin)

Liebeslieder-Walzer, Op. 52

Leon Fleischer (piano), Rudolf Serkin (piano), Benita Valente (soprano), Marlena Kleinman (contralto), Wayne Connor (tenor), Martial Singher (bass)

Piano Quintet in F minor, Op. 34

Budapest String Quartet

Piano Concerto No. 1 in D minor, Op. 15

Eugene Ormandy

Piano Concerto No. 2 in B flat major, Op. 83

George Szell

Piano Concerto No. 1 in D minor, Op. 15

George Szell

Variations and Fugue on a Theme by Handel, Op. 24

Klavierstücke (4), Op. 119

Chopin:

Preludes (24), Op. 28

Haydn:

Piano Sonata No. 59 in E flat major, Hob.XVI:49

Piano Sonata No. 60 in C major, Hob.XVI:50

Mendelssohn:

Song without Words, Op. 62 No. 1 in G major 'May Breezes'

Piano Concerto No. 1 in G minor, Op. 25

Alexander Schneider

Piano Concerto No. 2 in D minor, Op. 40

Eugene Ormandy

Song without Words, Op. 62 No. 1 in G major 'May Breezes'

Song without Words, Op. 67 No. 4 in C major 'Spinning Song' or 'Bee's Wedding'

Capriccio Brillant in B minor Op. 22

Eugene Ormandy

Prelude & Fugue for piano in E minor, Op. 35 No. 1

Mozart:

Piano Concerto No. 20 in D minor, K466

Eugene Ormandy

Piano Concerto No. 22 in E flat major, K482

Pablo Casals

Quintet for Piano and Winds in E flat, K452

Philadelphia Woodwind Quintet

Piano Concerto No. 21 in C major, K467 'Elvira Madigan'

Piano Concerto No. 27 in B flat major, K595

Piano Concerto No. 17 in G major, K453

Piano Concerto No. 25 in C major, K503

Piano Concerto No. 9 in E-flat major, K271 "Jeunehomme"

Piano Concerto No. 12 in A major, K414

Alexander Schneider

Piano Concerto No. 23 in A major, K488

Piano Concerto No. 16 in D major, K451

Rondo for Piano & Orchestra in D major, K382

Piano Concerto No. 20 in D minor, K466

Piano Concerto No. 11 in F major, K413

Piano Concerto No. 19 in F major, K459

Piano Concerto No. 20 in D minor, K466

George Szell

Concerto for 2 Pianos and Orchestra No. 10 in E flat, K365

Eugene Ormandy

Concerto for 2 Pianos and Orchestra No. 10 in E flat, K365

Peter Serkin (piano)

Piano Concerto No. 14 in E flat major, K449

Piano Concerto No. 17 in G major, K453

Alexander Schneider

Piano Concerto No. 12 in A major, K414

Alexander Schneider

Piano Trio No. 3 in B flat major, K502

Jaime Laredo, violin; Madeline Foley, cello

Rondo in A minor, K511

Prokofiev:

Piano Concerto No. 4 in B flat major, Op. 53

Eugene Ormandy

Reger:

Piano Concerto in F minor, Op. 114

Eugene Ormandy

Violin sonata in C minor, Op. 139

P. Carmirelli, violin; Rudolf Serkin, piano

Cello Sonata No 4 in A minor, Op 116

Mischa Schneider, cello; Peter Serkin, piano

Variations and Fugue on a Theme by Bach, Op. 81

Schubert:

Piano Trio No. 2 in E flat major, D929

Adolf Busch (violin), Hermann Busch (cello)

Moments Musicaux (6), D780, Op. 94

Piano Sonata No. 15 in C major, D840 'Reliquie'

Auf dem Strom, D943, Op. post. 119

Benita Valente (soprano), Myron Bloom (horn)

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

Benita Valente (soprano), Harold Wright (clarinet)

Piano Sonata No. 20 in A major, D959

Piano Quintet in A major, D667 'The Trout'

Jaime Laredo (violin), Philipp Naegle (viola), Leslie Parnas (cello), Julius Levine (bass)

Piano Sonata No. 21 in B flat major, D960

Piano Sonata No. 21 in B flat major, D960

4 Impromptus, D935

Schumann:

Piano Quintet in E flat major, Op. 44

Busch Quartet

Piano Concerto in A minor, Op. 54

Eugene Ormandy

Piano Concerto in A minor, Op. 54

Eugene Ormandy

Piano Quintet in E flat major, Op. 44

Budapest String Quartet

Piano Concerto in A minor, Op. 54

Eugene Ormandy

Introduction & Allegro appassionato in G major, Op. 92

Eugene Ormandy

Introduction and Allegro Op. 134

Eugene Ormandy

Violin Sonata No. 1 in A minor, Op. 105

Violin Sonata No. 2 in D minor, Op. 121

Adolf Busch (violin)

Strauss, R:

Burleske for Piano and orchestra in D minor, AV85

Eugene Ormandy

Burleske for Piano and orchestra in D minor, AV85

Eugene Ormandy


The first ever collection of Rudolf Serkin’s complete recordings for Columbia Masterworks on 75 CDs. Concertos, sonatas, chamber music and vocal performances, recorded 1941 to 1985. 45 recordings newly transferred, mixed and mastered from the original analogue tapes using 24 bit / 192 kHz technology (13 recordings for the first time on CD, 15 recordings as first authorized releases, 17 recordings remastered). An all-embracing survey of Rudolf Serkin’s recorded achievements, spanning over 44 years of recording. Includes collaborations with Adolf Busch, Pablo Casals, Peter Serkin, Jaime Laredo, Fritz Reiner, George Szell, Eugene Ormandy, Arturo Toscanini and many more.

Hard cover booklet with a foreword by Peter Serkin, a new essay by Jürgen Kestin plus full discographical notes. Facsimile LP sleeves and labels.


Extra postage costs:
As this set is very heavy (we estimate around 3.5kg) we unfortunately need to charge extra postage on deliveries to addresses outside of the UK.
Prices vary by country - Please contact us for further details.

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Markus Stockhausen: Far into the Stars

Markus Stockhausen: Far into the Stars


Far Into The Stars

Encoeur

Our Father

Passacaglia

Kult

Choral an Ende der Reise

Freigeist

Warmlicht

Schnee von Heute


Quadrivium

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Score

Score

deluxe edition


Disc 1

Game of Thrones Medley

May it Be

For the Love of a Princess

Love Story

Cinema Paradiso

Moon River

Love Theme from The Godfather

My Heart Will Go On

Rain Man Theme

Cavatina

Malena

Schindler's List Main Theme

Titles from Chariots of Fire

Now We are Free

Disc 2

Intro

Love Theme from The Godfather

For the Love of a Princess

Moon River

Cinema Paradiso

Rain Man Theme

Cavatina

Love Story

Schindler's List Main Theme

My Heart Will Go On

Now We are Free

Game of Thrones Medley

Smooth Criminal

Thunderstruck

Smells Like Teen Spirit

You Shook Me All Night Long

Highway to Hell

Satisfaction

Back in Black

With or Without You

Credits


2CELLOS, music s most electric and dynamic instrumental duo, go to the movies for their latest album, Score. Bringing 2CELLOS game-changing sound and style to the most popular melodies ever written for classic and contemporary movies and television, Score finds Croatian cellists Luka Sulic and Stjepan Hauser exploring a more traditional sound-world. Joining them here is the London Symphony Orchestra with conductor/arranger Robin Smith at the helm. The album is co-produced by Sulic and Hauser with Nick Patrick (Jackie Evancho, Il Divo, Placido Domingo). On Score, themes that drove some of the biggest block-busters in film and television history are featured in fresh new treatments including an arrangement of Ramin Djawadi s melodies that score Game of Thrones, Oscar-winning themes from James Horner s Titanic ( My Heart Will Go On ), John Williams Schindler s List and Vangelis s Chariots of Fire, as well as For the Love of a Princess from Braveheart (also by Horner); May It Be from The Lord of the Rings: The Fellowship of the Ring (introduced in the film by Enya); the inspiring Now We Are Free from Gladiator, by the film s composer Hans Zimmer, Lisa Gerrard and Klaus Badelt and more.

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Eternamente (The Verismo Album)

Eternamente (The Verismo Album)


Boito:

Spunta l'aurora pallida (from Mefistofele)

Joseph Calleja (tenor), Richard Novak (bass)

Donaudy:

O del mio amato ben

Giordano, U:

No! se un pensier torture (from Siberia)

Vicino a te (from Andrea Chénier)

Joseph Calleja (tenor), Emmanuel Villaume (spoken voice)

Leoncavallo:

La Canzone di Fleana (from I Zingari)

Ed ora conoscetela (from La Boheme)

Mascagni:

Regina coeli laetare (from Cavalleria Rusticana)

Prague Philharmonic Choir

Voi lo sapete o mamma (from Cavalleria rusticana)

Tu qui, Santuzza? (from Cavalleria Rusticana)

Joseph Calleja (tenor)

Mascheroni:

Eternamente

Ponchielli:

Suicidio! (from La Gioconda)

Puccini:

Vissi d'arte (from Tosca)

Parigi! E la citta dei desideri (from La Rondine)

Refice:

Ombra di Nube


Eternamente is described as a collection of verismo – the term used generically for Italian opera of the immediate post-Verdi era. No matter when they were composed, and no matter what their subject matter, all these operas demand great passion and commitment from their performers – and they get it from Angela Gheorghiu. “It is like my soul, it is something different, it is not the voice,” she explained in an interview with Opera magazine. “The voice is also there, it has to be there, and it has had to be prepared – but at that moment of the performance, there is more. The response is never a conscious exaggeration – it is a natural expression. I am never pretending. It is just how I am at that moment.” The character and impact of her voice was summarised thus in Gramophone: “With her smooth and dark-toned soprano, a voice at once powerfully firm and vulnerable, Gheorghiu stands out from an entire generation of talented singers. Her sound is convincingly Italianate in the great tradition; her voice, once heard, is never forgotten.”

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Warner Classics - 9029578024

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Scheduled for release on 20 October 2017. Order it now and we will deliver it as soon as it is available.

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