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See Terms & Conditions for p&p rates. | |  | Great Operatic Arias 22 - Gerald Finley
Adams, J: | Batter My Heart (from Doctor Atomic) | Bizet: | Votre toast je peux vous le rendre 'Toreador Song' (from Carmen) You're Most Kind, and in Return I Toast You Deborah Miles-Johnson (Carmen), Emma Brain-Gabbott (Frasquita), Kathryn Jenkin (Mercedes), Geoffrey Mitchell Choir | Donizetti: | Ambo Nati Questa Valle (from Linda di Chamounix) In This Valley We Shared Our Childhood Anne-Marie Gibbons (Maddalena) | Mozart: | La ci darem la mano (from Don Giovanni) There Will My Arms Enfold You Lucy Crowe (Zerlina) | Puccini: | Tre sbirri...Una carozza...Presto 'Te Deum' (from Tosca) Three Agents, Quick As You Can, Now Matthew Long (Spoletta), Geoffrey Mitchell Choir | Rodgers: | Some Enchanted Evening (from South Pacific) | Turnage: | Oh Bring to Me a Pint of Wine (from The Silver Tassie) | Verdi: | Vanne, la tua meta gia vedo…Credo in un Dio crudel (from Otello) Take it…Yes, I Believe in God | Wagner: | Verachtet mir die Meister nicht (from Die Meistersinger von Nürnberg) Do Not Disdain Our Masters Thus O du, mein holder Abendstern (from Tannhäuser) Look Down, O Gentle Evening Star | Weber: | Wo berg ich mich? (from Euryanthe) What Refuge Here? |
Gerald Finley (baritone) London Philharmonic Orchestra, Edward Gardner One of the leading baritones and dramatic interpreters of his generation, Gerald Finley is an artist who sets alight the stage and delights the ear in whatever the role he portrays. On this (his first arias disc, and first for Opera in English) he explores a broad range of repertory: old favourites, hidden treasures, and roles which he himself has created, among them J.Robert Oppenheimer in John Adams’s Doctor Atomic and Harry Heegan in Mark-Anthony Turnage’s The Silver Tassie. Gerald has won accolades across the globe including Gramophone Editor’s Choice Award at the 2006 Gramophone Awards for Stanford: Songs of the Sea (CHSA5043). English National Opera director Edward Gardner offers a great understanding of Opera in English, and here conducts the London Philharmonic Orchestra in his debut on Chandos. “All essentials for a recital are present here: the featured artist in good voice, imagination capable of bringing 13 different characters to life..., apt recording decisions and on-the-pace accompaniment...Both Gerald Finley and Edward Gardner are natural time-travellers in lyric theatre” Gramophone Magazine, April 2010 | 
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| |  | Great Operatic Arias 9 - Andrew Shore
Andrew Shore Philharmonia Orchestra, London Philharmonic Orchestra, English National Opera Orchestra, David Parry, Gabriele Bellini, Paul Daniel | | | In stock - usually despatched within 1 working day. |
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| |  | Great Operatic Arias 21 - Cheryl Barker
Tracklisting: from Cilea’s Adriana Lecouvreur 1 ‘See now, I am exhausted…’ 3:13 from Tchaikovsky’s The Queen of Spades 2 ‘You need not close the windows just yet’ 4:48 with Gillian Keith soprano from Leoncavallo’s Pagliacci (The Touring Company) Nedda’s Aria (Stridono lassu) 3 ‘His eyes were flashing with anger’ 4:52 4 ‘Nedda!’ – ‘My fate is in your hands’ 11:34 with William Dazeley baritone from Boito’s Mephistopheles 5 ‘To the moonlit waves they cast him’ 6:01 from Jake Heggie’s The End of the Affair 6 A Bargain and a Prayer 6:37 with William Dazeley baritone from Tchaikovsky’s The Queen of Spades 7 ‘It’s nearly midnight now’ 5:11 from Strauss’s Arabella 8 ‘The one who’s right for me’ 6:20 with Gillian Keith soprano from Cilea’s Adriana Lecouvreur 9 ‘Poor little flowers’ 2:27 from Malcolm Williamson’s The Violins of St Jacques 10 ‘How can I explain to you’ 4:10 from Catalani’s La Wally 11 ‘I’ll float into the distance’ 3:47 from Strauss’s Arabella 12 ‘I’m very glad, Mandryka’ 7:39 with William Dazeley baritone
Cheryl Barker (soprano), Gillian Keith (soprano) & William Dazeley (baritone) London Philharmonic Orchestra, David Parry Following her superb Katya in Katya Kabanova, her Emilia Marty in The Makropulos Case, recorded live at the London Coliseum, and her Butterfly for Chandos Opera in English, we were delighted to have enticed Cheryl Barker into our studios to record these thrilling samples of her dramatic artistry in music both familiar and fresh. The repertoire chosen for the solo disc includes works, actually performed by her on stage, as well as arias Cheryl has always enjoyed listening to. ‘There were two arias that I was very keen to include one was the scene from The End of the Affair by the brilliant American composer Jake Heggie. I premiered the role of Sarah in Houston and I think this scene is dramatic and fantastically composed. I am very proud to have recorded the aria Each Afternoon from the Violins of St Jacques by Malcolm Williamson, a fellow Australian. It is very atmospheric with its simply vocal line. I have also included some popular arias and some repertoire performed by Dame Joan Hammond with whom I studied with as a student.’ ‘As an English speaker, performing these arias in English means that I can relay the emotions of the arias in my native language and I think it is interesting to an English speaking audience to hear the arias in their native tongue. Also, it is important to have an accurate translation of the original text and I think in these arias we have that.’ “Cheryl Barker is always clean in her placing of notes and clear in her articulation of the English words. …sometimes (as in the opening of the Arabella-Mandryka duet) she sings quite beautifully. …William Dazeley (surely one of our best baritones) has an attractive timbre, heard pleasingly throughout. David Parry's speeds tend to be a little too slow for my liking but the orchestral playing refined and responsive.” Gramophone , Awards 2009 “Anguish… the keynote, coming across best in Margarita's prison aria from Boito's Mefistofele and Lisa's midnight soliloquy in Tchaikovsky's Queen of Spades.” BBC Music Magazine, December 2009 | | | Usually despatched in 2 - 3 working days. |
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| |  | Great Operatic Arias 20 - Christine Brewer Volume 2
Christine Brewer (soprano), Judith Howarth (soprano) & Timothy Robinson (tenor) London Philharmonic Orchestra, David Parry We were delighted when the internationally renowned soprano Christine Brewer agreed to record some of her favourite repertoire pieces on her first recital disc for Chandos in 2005. No surprise that it was a huge success – so we were even more delighted when she returned to record this second volume – repertoire which you would never hear in a single concert or operatic performance, but here capturing Brewer’s glorious range, wonderfully supported by Judith Howarth, Timothy Robinson and the London Philharmonic Orchestra, conducted by David Parry. Christine Brewer’s earlier recital (CHAN3127) introduced into this series the dramatic soprano voice and included in its programme, as does its successor, arias from Gluck’s Alceste and Wagner’s Tannhäuser. In a previous age both operas were sung by Kirsten Flagstad, by general consent the greatest heroic-dramatic soprano of all. Christine Brewer now adds one of the most formidable challenges in the repertoire, Leonore’s solo in Act I of Beethoven’s Fidelio. Otherwise, the two significant extensions are in time, backward to Handel and forward to Britten and Menotti. “This is a spectacular demonstration not only of Christine Brewer's vocal strength with every note firm from top to bottom, but of her extraordinary versatility in this wide range of repertory. She starts with a flawless account of the Countess's "Porgi amor" from Figaro with a wonderful range of tone colour. The Wagner items include both Elisabeth's Prayer from Tannhäuser and Elsa's Dream from Lohengrin, again both flawless, making one want to hear Brewer in a complete Wagner opera. ...when it comes to the aria from Korngold's Die tote Stadt and Magda's big aria from Menotti's The Consul one marvels at the power and tonal range of the voice.” Gramophone Magazine, July 2009 | | | Usually despatched in 2 - 3 working days. |
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| |  | Great Operatic Arias 19 - Sir Thomas Allen Volume 2
Wolfgang Amadeus MOZART (1756-1791) The Magic Flute - Papageno's Aria (Der Vogelfäger bin ich ja) [2:05]; Pamina and Papageno’s Duet (Der Vogelfäger bin ich ja) with Susan Gritton (soprano) [3:12]; Papagena and Papageno's Duet, Pa-pa-ge-na, with Susan Gritton (soprano) [2:38] The Marriage of Figaro - Non più andrai [3:51] Figaro’s Recitative and Cavatina - Se vuol ballare [3:30] Don Giovanni - Leporello's Catalogue Aria, Madamina [5:38]; Don Giovanni's Aria, Finch' han dal vino [1:29]; Don Giovanni's Canzonetta, Deh, vieni alla finestra [2:20] Giuseppe VERDI (1813-1901) Falstaff - Ford's Monologue, È sogno? O realtà... [4:37] Don Carlos - Don Carlos' and Rodrigo's Duet, Dio, che nell'alma infondere with Gwyn Hughes Jones (tenor); Philip Tebb (bass); Geoffrey Mitchell Choir [5:41] Prison Scene. Per me giunto è il dì supremo with Gwyn Hughes Jones (tenor) [12:13] Macbeth - Macbeth's Scena and Aria, Perfidi! - Pietà, rispetto [5:16] La Traviata - Recitative and Duet, Pura siccome un angelo with Claire Rutter (soprano) [18:56] Kurt WEILL (1900-1950) Knickerbocker Holiday - September Song [4:04] Sir Thomas Allen (baritone) Philharmonia Orchestra/David Parry rec. Blackheath Halls, London, 12-15 October 2007
Sir Thomas Allen with Claire Rutter (soprano), Susan Gritton (soprano), Gwyn Hughes Jones (tenor) & Philip Tebb (bass) Geoffrey Mitchell Choir & Philharmonia Orchestra, David Parry Over a long and still flourishing career Sir Thomas Allen has given benchmark performances in several
operatic roles of which Mozart and Verdi operas figure strongly. With two spicy exceptions, every item
in this programme comes from an opera by Mozart or Verdi. Part of the design of this recital series is to
highlight the particular type of voice and explore its repertoire. The works chosen for this disc provide a
unique showcase of Sir Thomas Allen’s unique gifts and that of the baritone in general. The Sunday
Telegraph wrote of volume one, “How good to have this anthology of Thomas Allen’s versatility in a
wide range of his operatic roles… anyone who cherishes good singing will rejoice in this great baritone’s
smooth legato, perfect diction, subtle characterisation and, of course, beautiful and unmistakable voice,”
and The Guardian noted “As always, Allen was a supremely intelligent recitalist, matching sound with
sense, probing the meaning of a text without fracturing the vocal line.”
As in previous issues, the solos are interspersed with longer excerpts, duets and ensembles, including
performances with Susan Gritton and Claire Rutter. With Ford’s monologue in Falstaff, Sir Thomas
extends his lyrical voice to encompass the more theatrical style of late Verdi and in the lighter Weill
‘September Song’, he extends it further, albeit in a different direction altogether. Other repertoire
includes an aria from Meyerbeer’s Dinorah, recitatives and arias from Verdi’s Macbeth and La Traviata,
arias from Mozart’s Marriage of Figaro and Don Giovanni, and duets from The Magic Flute. “The voice is beautifully captured by the clear recording and, as ever, David Parry and the Philharmonia provide sterling support. Pure pleasure. ” Gramophone Magazine, June 2008 “Unfailingly beautifully phrased and enunciated, Allen's singing for the most part has too little dramatic presence and character here… Allen is better in soliloquy and in duet. Falstaff's great dream of cuckoldry, and Macbeth's vision of desolate old age are magnificent.” BBC Music Magazine, April 2008 *** | | | Usually despatched in 2 - 3 working days. |
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| |  | Great Operatic Arias 18 - Jennifer Larmore
Francesco CILEA (1866–1950) Adriana Lecouvreur 1. The torment of desire, exquisite torture – Star of the Evening (O vagabonda stella d’oriente) [4:18]; Gaetano DONIZETTI (1797–1848) La favorita 2. Can I believe it? – Oh my beloved – I submit to heav’nly powers! (O, mio Fernando) [8:02]; Giuseppe VERDI (1813–1901) Il trovatore 3. Fierce flames are raging (Stride la vampa) [2:54] Amilcare PONCHIELLI (1834–1886) La Gioconda 4. My curse upon you! – Love like mine is the light of creation (L’amo come il fulgor del creato) [3:43]; Wolfgang Amadeus MOZART (1756–1791) Don Giovanni 5. To what atrocity – That ungrateful man betrayed me (Mi tradi) [5:46]; Richard WAGNER (1813–1883) Rienzi 6. Oh righteous God – Where was I? (Wo war ich?) [9:19]; Gaetano DONIZETTI La favorita 7. You, most courteous maiden – My beloved (Ah, mio bene) [10:26]; George Frideric HANDEL (1792–1868) Semele 8. Hence, Iris hence away! [3:40]; Gioachino ROSSINI (1792–1868) Tancredi 9. Tell me, my beating heart (Di tanti palpiti) [2:56]; Vincenzo BELLINI (1801–1835) Norma 10. Take my children – See, O Norma (Mira, O Norma) [10:49]; Giuseppe VERDI Don Carlos 11. O hated gift (O don fatale) [4:35]; Charles GOUNOD (1818–1893) Romeo and Juliet 12. Juliet’s Waltz Song (Je veux vivre) [3:44] Jennifer Larmore (mezzo) Susan Patterson (soprano) (4, 10); Colin Lee (tenor)(7); Fflur Wyn (soprano)(7) Philharmonia Orchestra/David Parry rec. Blackheath Halls, London, 12-15 September 2006
Jennifer Larmore (mezzo-soprano), Susan Patterson (soprano), Fflur Wyn (soprano) & Colin Lee (tenor) Philharmonic Orchestra, David Parry She presents her first operatic arias disc on Chandos Opera in English with a wide range of composers, performing
works from Donizetti’s La favorita, Cilea’s Adriana Lecourvreur, Rossini’s Tancredi, Rienzi by Wagner, Romeo
and Juliet by Gounod and Mozart’s Don Giovanni to name but a few! As well as solo arias she also performs a
number of duets and is joined on the disc by Susan Patterson, Fflur Wyn and Colin Lee – all familiar names on the
Chandos Opera in English label. “Track by track, Larmore's technical command and dramatic concentration are stunning. That Rienzi solo, for instance, is an immense undertaking, and everything - vocal range and expressive intensity for a start - is in the grand manner, indomitable and tireless.” Gramophone Magazine, July 2007 “Versatility is the key to mezzo Jennifer Larmore's success in this English-language programme, as it is in the opera house. …when one hears her in the waltz-song from Gounod's Romeo and Juliet, a coloratura soprano showpiece that goes too high for many sopranos' comfort, then one just has to take off one's hat.” BBC Music Magazine, May 2007 ****  BBC Music Magazine
Opera Choice - May 2007 |
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| |  | Great Operatic Arias 17 - Christine Brewer Volume 1
Christine Brewer (soprano) Philharmonia Orchestra, David Parry “Hats off, gentlemen. A diva. The real, rare, wondrous thing. Her name is Christine Brewer.” Evening Standard | | | Usually despatched in 2 - 3 working days. |
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| |  | Great Operatic Arias 16 - Sir Thomas Allen Volume 1
Sir Thomas Allen (baritone) London Philharmonic Orchestra, David Parry | | | Usually despatched in 2 - 3 working days. |
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| |  | Great Operatic Arias 15 - Barry BanksBarry Banks sings Bel Canto Arias
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| |  | Great Operatic Arias 14 - Dennis O'Neill Volume 2
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