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Acclaimed Greek violinist Leonidas Kavakos makes his Decca Classics debut with the complete Beethoven Violin Sonatas. A young artist of rare quality, Leonidas Kavakos won the Sibelius Violin Competition in 1985, when still in his teens and, three years later, the Paganini Competition. Often described as “the violinist’s violinist”, Der Tagesspiegel wrote that Kavakos has “quite possibly the most beautiful violin tone imaginable”. He has appeared with conductors including Riccardo Chailly, Valery Gergiev and Iván Fischer, and with the world’s major orchestras, including the Berliner Philharmoniker, Gewandhausorchester, London Symphony Orchestra, New York Philharmonic and Royal Concertgebouw Orchestra. “In their beautifully balanced survey of Beethoven's Sonatas for Violin and Piano, Kavakos and Pace allow us to eavesdrop on 10 intimate conversations between musical equals.” The Independent on Sunday, 17th February 2013 ***** “This is a notably well-played set, and Pace and Kavakos have considered deeply how to present Beethoven's ideas in the clearest, most vivid way. Phrases are precisely articulated, the dynamic shapes and stress points brought into clear focus.” Gramophone Magazine, March 2013 “Kavakos' tone is both sweet and full-blooded, never overblown; Pace's contribution is lithe, characterful and sensitive...this vital, joyous set of Beethoven's boundary pushing sonatas takes its place among the very best.” bbc.co.uk, 18th March 2013 “[Op. 96] holds some of the most delicate and refined playing of the set...This is a milestone in Kavakos's remarkable career and a worthy successor to the four-decades-old Perlman/Ashkenazy classic.” International Record Review, May 2013 | 
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| |  | JS Bach: Magnificat & 4 Motets
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| |  | Poulenc: Gloria, Stabat Mater & Organ Concerto
“Powerful performance, especially of the Organ Concerto. Vivid recording, fine contributions from the Radio France Choir, and muscular conducting from Charles Dutoit.” BBC Music Magazine, June 2013 **** |
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| |  | Dustin Hoffman: Quartet
1 - Verdi: Act 1: Libiamo ne' lieti calici [Brindisi] – [La traviata] [Instrumental] / The Danish National Chamber Orchestra 2 - Marianelli: Wilf’s Descent / Dario Marianelli 3 - Schubert: An Sylvia, LD891 / Hermann Prey, Karl Engel 4 - Verdi: La Donna è mobile [Rigoletto] [Instrumental] / The Danish National Chamber Orchestra 5 - Gilbert & Sullivan: The Flowers That Bloom In The Spring [The Mikado] / Kenneth Sandford, John Reed; Isidore Godfrey: New Symphony Orchestra, D'Oyly Carte Opera Chorus 6 - Marianelli: Jean Arrives / Dario Marianelli 7 - Saint-Saëns: The Swan [Carnival Of The Animals] / Christopher van Kampen, Pascal Rogé 8 - Gilbert & Sullivan: So Please You, Sir, We Much Regret [The Mikado] / Royston Nash: Royal Philharmonic Orchestra, D'Oyly Carte Opera Company 9 - Boccherini: Minuet & Trio from String Quintet, Op.13 no.5 / Karl Münchinger, Stuttgart Chamber Orchestra 10 - Marianelli: Not Upset / Dario Marianelli 11 - Haydn: Symphony no.100, “Military” 3. Menuet / Antal Doráti: Philharmonia Hungarica 12 - Haydn: String Quartet Op.76 no.4 “Sunrise” 1. Allegro con spirito / Takács Quartet: Gábor Takács-Nagy, Andras Fejér, Károly Schranz, Gabor Ormai 13 - Haydn: String Quartet Op.76 no.4 “Sunrise” 2. Adagio / Takács Quartet 14 - Haydn: String Quartet Op.76 no.4 “Sunrise” 3. Menuetto: Allegro / Takács Quartet 15 - Haydn: String Quartet Op.76 no.4 “Sunrise” 4. Finale: Allegro ma non troppo / Takács Quartet 16 - Gilbert & Sullivan: Tit Willow [The Mikado] / George Cook, Anthony Raffell, Malcolm Sargent: Royal Philharmonic Orchestra, D'Oyly Carte Opera Chorus 17 - Verdi: Caro nome [Rigoletto / Act 1] / Ileana Cotrubas, Vienna Philharmonic Orchestra, Carlo Maria Giulini 18 - Rossini: Ah! qual colpo inaspettato! [Il barbiere di Siviglia / Act 2] / Gianna D'Angelo, Renato Capecchi, Nicola Monti, Symphonieorchester des Bayerischen Rundfunks, Bruno Bartoletti 19 - Are You Havin' Any Fun? / Trevor Peacock & David Ryall [vocals], Jack Honeyborne [piano] & Ronnie Hughes [trumpet] 20 - Marianelli: Over My Dead Body / Dario Marianelli 21 - J.S. Bach: Toccata and Fugue in D minor / Léon Charles [piano], John Georgiadis [violin], Ita Herbert [violin], Graeme Scott [viola] and John Heley [cello] 22 - Verdi: Libiamo ne' lieti calici [Brindisi] [La traviata / Act 1] / Joan Sutherland, Luciano Pavarotti, Richard Bonynge: National Philharmonic Orchestra, London Opera Chorus 23 - Puccini: Vissi d'arte [Tosca / Act 2] / Kiri Te Kanawa, Sir Georg Solti, National Philharmonic Orchestra, Welsh National Opera Chorus 24 - Verdi: Bella figlia dell'amore [Rigoletto / Act 3] / Joan Sutherland, Luciano Pavarotti, Huguette Tourangeau, Sherrill Milnes, Richard Bonynge, London Symphony Orchestra
Directed by Dustin Hoffman and based on the play by Ronald Harwood. The film stars Maggie Smith, Tom Courtenay, Pauline Collins and Billy Connolly as retired Opera singers who annually put on a concert to celebrate Verdi's birthday. The arrival of the fourth member of the quartet, Jean (Smith) disrupts the equilibrium. This results in old rivalries and theatrical temperaments and it becomes unclear if the show will or will not go on. |
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| |  | MissionPlease note - This is an LP vinyl record - NOT a CD!
Steffani: | Schiere invitte, non tardate (from Alarico il Baltha) Ogni core può sperar (from Servio Tullio) Ove son? Chi m'aita? In mezzo all'ombre...Dal mio petto (from Niobe) Più non v'ascondo (from Tassilone) Amami, e vederai (from Niobe) T'abbraccio, mia Diva...Ti stringo, mio Nume (from Niobe) Philippe Jaroussky (countertenor) Mie fide schiere, all'armi!...Suoni, tuoni, il suolo scuota (from I trionfi del fato) Sposa, mancar mi sento...Deh non far colle tue lagrime (from Tassilone) Non prendo consiglio (from La superbia d'Alessandro) Si, si, riposa, o caro...Palpitanti sfere belle (from Alarico il Baltha) Notte amica al cieco Dio (from La libertà contenta) Combatton quest'alma (from I trionfi del fato) Philippe Jaroussky (countertenor) A facile vittoria (from Tassilone) Tra le guerre e le vittorie (from La superbia d'Alessandro) Foschi crepuscoli (from La libertà contenta) Dell'alma stanca a raddolcir le tempre...Sfere amiche, or date al labbro (from Niobe) La cerasta più terribile (from La lotta d'Hercole con Acheloo) Serena, o mio bel sole...Mia fiamma/Mio ardore (from Niobe) Philippe Jaroussky (countertenor) Dal tuo labbro amor m'invita (from Tassilone) Deh stancati, o sorte (from La libertà contenta) Svenati, struggiti, combatti, suda (from La libertà contenta) Padre, s'è colpa in lui (from Tassilone) Timori, ruine (from Le rivali concordi) Morirò fra strazi e scempi (from Henrico Leone) Non si parli che di fede (from Marco Aurelio) |
Autumn 2012 marks the release of Mission, a sensational new album from the world’s best-selling classical artist, Cecilia Bartoli, and a project with international politics, religious conflict, diplomatic secrecy, spying and sensational music at its heart. The album showcases the music of a little-known Italian composer and will include solo arias of various moods and styles, several duets, solo numbers with chorus - all sung in Italian - and instrumental interludes that create an organic transition from one piece to the next and an arc that reaches from the beginning to the end of the album. Such was the appeal of the project that longtime Bartoli admirer and global best-selling author Donna Leon decided to write a mystery novel - Jewels of Paradise - to accompany Cecilia’s album, which uses the mystery surrounding the composer’s story as the centre of its plot. Jewels of Paradise will be released simultaneously with Cecilia Bartoli’s album in English (UK and USA), German, French, Dutch, Spanish and Catalan. Among the distinguished names appearing on Mission is star French counter-tenor Philippe Jaroussky who features in a first-time collaboration with Cecilia on a selection of duets, alongside the Coro della Radiotelevisione Svizzera, the period orchestra I Barocchisti from Lugano, Switzerland, and conductor Diego Fasolis. A cinematographic vision of the album directed by Olivier Simonnet and filmed in the historic Galerie des Glaces (Hall of Mirrors) and in the gardens of the Chateau de Versailles will be available on DVD later in the year. “Bartoli's plummy mezzo soars, smoulders and seduces, milking the music's vocal and expressive scope to dramatic effect. It's hard to resist her sparkling personality and infectious passion for this repertoire...the animated playing of I Barocchisti enhance the sheer theatre and scale of Steffani's talent...this is truly a revelatory disc.” BBC Music Magazine, Christmas 2012 ***** “she sweeps through 25 numbers flexing her well-rehearsed vocabulary of flighty fioritura, expressive mannerism and tender vocalità. The melting duets with countertenor Philippe Jaroussky are worth hearing” Financial Times, 20th October 2012 ** “Bartoli is to be both congratulated and thanked for this project...Her dazzlingly virtuoso and urgently expressive performances betoken nothing less than total commitment, with every single aria delivered with as much dramatic intensity and focus as if it had been lifted straight from a fully staged production...it is hard to know what more one could ask for.” Gramophone Magazine, December 2012 “I can't think of another singer who brings such variety of colour, nuance and pathos to slow numbers...Bartoli's performance of the more bravura numbers...is more questionable...Vocal fireworks have always been essential weapons in the Bartoli armoury, but they are now sounding rusty...I don't want to end on a negative note, as there is much to admire and even love here...'Mission' is in every sense a collector's item.” International Record Review, December 2012 “Among the opera arias Ms. Bartoli dug up in the archives are some treasures, hypnotic, slow numbers in which voice and accompanying strings circle each other like spinning planets and jubilant vehicles for her rapid-fire coloratura singing. Mr. Fasolis stokes the fire with an impetuous period-instrument ensemble.” New York Times, 23rd November 2012 “Bartoli’s programming instincts are immaculate in terms of musical and emotional variety; she is compelling in pearly arioso and slow numbers, less so in bravura ones.” Sunday Times, 14th October 2012 “Bartoli's vocal mannerisms vex and delight – sometimes simultaneously. But for those seduced by the 2010 Royal Opera House production of Niobe, Regina di Tebe, this selection will be irresistible.” The Independent on Sunday, 18th November 2012 **** “Steffani’s art is elegantly expressive, Italianate with French dressing...Several brazen display arias are here...Bartoli leaps around the vocal ladder with customary gusto and a rather too vigorous vibrato. The pleasures are subtler when the music is simpler and the voice quieter...Notte amica, say, from La Libertà contenta, or the silky caress of Sfere amiche...These two tracks were definitely worth Bartoli shaving her head.” The Times, 21st September 2012 *** |
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| |  | MissionDVD Video
Steffani: | Non si parli che di fede (from Marco Aurelio) Morirò fra strazi e scempi (from Henrico Leone) Timori, ruine (from Le rivali concordi) Padre, s'è colpa in lui (from Tassilone) Svenati, struggiti, combatti, suda (from La libertà contenta) Deh stancati, o sorte (from La libertà contenta) Dal tuo labbro amor m'invita (from Tassilone) Serena, o mio bel sole...Mia fiamma/Mio ardore (from Niobe) Philippe Jaroussky (countertenor) La cerasta più terribile (from La lotta d'Hercole con Acheloo) Dell'alma stanca a raddolcir le tempre...Sfere amiche, or date al labbro (from Niobe) Foschi crepuscoli (from La libertà contenta) Tra le guerre e le vittorie (from La superbia d'Alessandro) A facile vittoria (from Tassilone) Combatton quest'alma (from I trionfi del fato) Philippe Jaroussky (countertenor) Notte amica al cieco Dio (from La libertà contenta) Si, si, riposa, o caro...Palpitanti sfere belle (from Alarico il Baltha) Non prendo consiglio (from La superbia d'Alessandro) Sposa, mancar mi sento...Deh non far colle tue lagrime (from Tassilone) Mie fide schiere, all'armi!...Suoni, tuoni, il suolo scuota (from I trionfi del fato) T'abbraccio, mia Diva...Ti stringo, mio Nume (from Niobe) Philippe Jaroussky (countertenor) Amami, e vederai (from Niobe) Più non v'ascondo (from Tassilone) Ove son? Chi m'aita? In mezzo all'ombre...Dal mio petto (from Niobe) Ogni core può sperar (from Servio Tullio) Schiere invitte, non tardate (from Alarico il Baltha) |
Autumn 2012 marks the release of Mission, a sensational new album from the world’s best-selling classical artist, Cecilia Bartoli, and a project with international politics, religious conflict, diplomatic secrecy, spying and sensational music at its heart. The album showcases the music of a little-known Italian composer and will include solo arias of various moods and styles, several duets, solo numbers with chorus - all sung in Italian - and instrumental interludes that create an organic transition from one piece to the next and an arc that reaches from the beginning to the end of the album. Such was the appeal of the project that longtime Bartoli admirer and global best-selling author Donna Leon decided to write a mystery novel - Jewels of Paradise - to accompany Cecilia’s album, which uses the mystery surrounding the composer’s story as the centre of its plot. Jewels of Paradise will be released simultaneously with Cecilia Bartoli’s album in English (UK and USA), German, French, Dutch, Spanish and Catalan. Among the distinguished names appearing on Mission is star French counter-tenor Philippe Jaroussky who features in a first-time collaboration with Cecilia on a selection of duets, alongside the Coro della Radiotelevisione Svizzera, the period orchestra I Barocchisti from Lugano, Switzerland, and conductor Diego Fasolis. A cinematographic vision of the album directed by Olivier Simonnet and filmed in the historic Galerie des Glaces (Hall of Mirrors) and in the gardens of the Chateau de Versailles “Bartoli's plummy mezzo soars, smoulders and seduces, milking the music's vocal and expressive scope to dramatic effect. It's hard to resist her sparkling personality and infectious passion for this repertoire...the animated playing of I Barocchisti enhance the sheer theatre and scale of Steffani's talent...this is truly a revelatory disc.” BBC Music Magazine, Christmas 2012 ***** “she sweeps through 25 numbers flexing her well-rehearsed vocabulary of flighty fioritura, expressive mannerism and tender vocalità. The melting duets with countertenor Philippe Jaroussky are worth hearing” Financial Times, 20th October 2012 ** “Bartoli is to be both congratulated and thanked for this project...Her dazzlingly virtuoso and urgently expressive performances betoken nothing less than total commitment, with every single aria delivered with as much dramatic intensity and focus as if it had been lifted straight from a fully staged production...it is hard to know what more one could ask for” Gramophone Magazine, December 2012 “I can't think of another singer who brings such variety of colour, nuance and pathos to slow numbers...Bartoli's performance of the more bravura numbers...is more questionable...Vocal fireworks have always been essential weapons in the Bartoli armoury, but they are now sounding rusty...I don't want to end on a negative note, as there is much to admire and even love here...'Mission' is in every sense a collector's item.” International Record Review, December 2012 “Among the opera arias Ms. Bartoli dug up in the archives are some treasures, hypnotic, slow numbers in which voice and accompanying strings circle each other like spinning planets and jubilant vehicles for her rapid-fire coloratura singing. Mr. Fasolis stokes the fire with an impetuous period-instrument ensemble.” New York Times, 23rd November 2012 “Bartoli’s programming instincts are immaculate in terms of musical and emotional variety; she is compelling in pearly arioso and slow numbers, less so in bravura ones.” Sunday Times, 14th October 2012 “Bartoli's vocal mannerisms vex and delight – sometimes simultaneously. But for those seduced by the 2010 Royal Opera House production of Niobe, Regina di Tebe, this selection will be irresistible.” The Independent on Sunday, 18th November 2012 **** “Steffani’s art is elegantly expressive, Italianate with French dressing...Several brazen display arias are here...Bartoli leaps around the vocal ladder with customary gusto and a rather too vigorous vibrato. The pleasures are subtler when the music is simpler and the voice quieter...Notte amica, say, from La Libertà contenta, or the silky caress of Sfere amiche...These two tracks were definitely worth Bartoli shaving her head.” The Times, 21st September 2012 *** |
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| |  | MissionBlu-ray
Steffani: | Schiere invitte, non tardate (from Alarico il Baltha) Ogni core può sperar (from Servio Tullio) Ove son? Chi m'aita? In mezzo all'ombre...Dal mio petto (from Niobe) Più non v'ascondo (from Tassilone) Amami, e vederai (from Niobe) T'abbraccio, mia Diva...Ti stringo, mio Nume (from Niobe) Philippe Jaroussky (countertenor) Mie fide schiere, all'armi!...Suoni, tuoni, il suolo scuota (from I trionfi del fato) Sposa, mancar mi sento...Deh non far colle tue lagrime (from Tassilone) Non prendo consiglio (from La superbia d'Alessandro) Si, si, riposa, o caro...Palpitanti sfere belle (from Alarico il Baltha) Notte amica al cieco Dio (from La libertà contenta) Combatton quest'alma (from I trionfi del fato) Philippe Jaroussky (countertenor) A facile vittoria (from Tassilone) Tra le guerre e le vittorie (from La superbia d'Alessandro) Foschi crepuscoli (from La libertà contenta) Dell'alma stanca a raddolcir le tempre...Sfere amiche, or date al labbro (from Niobe) La cerasta più terribile (from La lotta d'Hercole con Acheloo) Serena, o mio bel sole...Mia fiamma/Mio ardore (from Niobe) Philippe Jaroussky (countertenor) Dal tuo labbro amor m'invita (from Tassilone) Deh stancati, o sorte (from La libertà contenta) Svenati, struggiti, combatti, suda (from La libertà contenta) Padre, s'è colpa in lui (from Tassilone) Timori, ruine (from Le rivali concordi) Morirò fra strazi e scempi (from Henrico Leone) Non si parli che di fede (from Marco Aurelio) |
Autumn 2012 marks the release of Mission, a sensational new album from the world’s best-selling classical artist, Cecilia Bartoli, and a project with international politics, religious conflict, diplomatic secrecy, spying and sensational music at its heart. The album showcases the music of a little-known Italian composer and will include solo arias of various moods and styles, several duets, solo numbers with chorus - all sung in Italian - and instrumental interludes that create an organic transition from one piece to the next and an arc that reaches from the beginning to the end of the album. Such was the appeal of the project that longtime Bartoli admirer and global best-selling author Donna Leon decided to write a mystery novel - Jewels of Paradise - to accompany Cecilia’s album, which uses the mystery surrounding the composer’s story as the centre of its plot. Jewels of Paradise will be released simultaneously with Cecilia Bartoli’s album in English (UK and USA), German, French, Dutch, Spanish and Catalan. Among the distinguished names appearing on Mission is star French counter-tenor Philippe Jaroussky who features in a first-time collaboration with Cecilia on a selection of duets, alongside the Coro della Radiotelevisione Svizzera, the period orchestra I Barocchisti from Lugano, Switzerland, and conductor Diego Fasolis. A cinematographic vision of the album directed by Olivier Simonnet and filmed in the historic Galerie des Glaces (Hall of Mirrors) and in the gardens of the Chateau de Versailles “Steffani’s art is elegantly expressive, Italianate with French dressing...Several brazen display arias are here...Bartoli leaps around the vocal ladder with customary gusto and a rather too vigorous vibrato. The pleasures are subtler when the music is simpler and the voice quieter...Notte amica, say, from La Libertà contenta, or the silky caress of Sfere amiche...These two tracks were definitely worth Bartoli shaving her head.” The Times, 21st September 2012 *** “Bartoli’s programming instincts are immaculate in terms of musical and emotional variety; she is compelling in pearly arioso and slow numbers, less so in bravura ones.” Sunday Times, 14th October 2012 “she sweeps through 25 numbers flexing her well-rehearsed vocabulary of flighty fioritura, expressive mannerism and tender vocalità. The melting duets with countertenor Philippe Jaroussky are worth hearing” Financial Times, 20th October 2012 “Bartoli's vocal mannerisms vex and delight – sometimes simultaneously. But for those seduced by the 2010 Royal Opera House production of Niobe, Regina di Tebe, this selection will be irresistible.” The Independent on Sunday, 18th November 2012 “Bartoli's plummy mezzo soars, smoulders and seduces, milking the music's vocal and expressive scope to dramatic effect. It's hard to resist her sparkling personality and infectious passion for this repertoire...the animated playing of I Barocchisti enhance the sheer theatre and scale of Steffani's talent...this is truly a revelatory disc.” BBC Music Magazine, Christmas 2012 ***** “Among the opera arias Ms. Bartoli dug up in the archives are some treasures, hypnotic, slow numbers in which voice and accompanying strings circle each other like spinning planets and jubilant vehicles for her rapid-fire coloratura singing. Mr. Fasolis stokes the fire with an impetuous period-instrument ensemble.” New York Times, 23rd November 2012 “Bartoli is to be both congratulated and thanked for this project...Her dazzlingly virtuoso and urgently expressive performances betoken nothing less than total commitment, with every single aria delivered with as much dramatic intensity and focus as if it had been lifted straight from a fully staged production...it is hard to know what more one could ask for” Gramophone Magazine, December 2012 “I can't think of another singer who brings such variety of colour, nuance and pathos to slow numbers...Bartoli's performance of the more bravura numbers...is more questionable...Vocal fireworks have always been essential weapons in the Bartoli armoury, but they are now sounding rusty...I don't want to end on a negative note, as there is much to admire and even love here...'Mission' is in every sense a collector's item.” International Record Review, December 2012 |
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Filmed live in Baden-Baden by the veteran director Brian Large, Renée Fleming makes her debut in the role of Ariadne together with fellow key Strauss interpreters Sophie Koch and Christian Thielemann, following on from their Rosenkavalier triumph. Thielemann conducts the Staatskapelle Dresden, the orchestra to whom Strauss dedicated his Alpine Symphony and which premiered Feuersnot, Salome, Elektra, Der Rosenkavalier and Daphne. Fleming's voice might have been made for Ariadne and she achieved a great personal triumph in this production: “The chief glory of the evening was hearing Renée Fleming, the Straussian soprano par excellence, making her role debut as Ariadne… As the possessor of what is, possibly, the most beautiful soprano voice in the world, she put her vocal treasures in the service of an empathic, nuanced interpretation of the role. From the creamy top, through a rich, warm middle, to the bewitching, darker colours of her lower register, Fleming poured her magnificent sound into Strauss’s enchanting melodic arcs, animating the sadness, vulnerability, and desire of the bereft princess...” Frankfurter Allgemeine Zeitung |
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Filmed live in Baden-Baden by the veteran director Brian Large, Renée Fleming makes her debut in the role of Ariadne together with fellow key Strauss interpreters Sophie Koch and Christian Thielemann, following on from their Rosenkavalier triumph. Thielemann conducts the Staatskapelle Dresden, the orchestra to whom Strauss dedicated his Alpine Symphony and which premiered Feuersnot, Salome, Elektra, Der Rosenkavalier and Daphne. Fleming's voice might have been made for Ariadne and she achieved a great personal triumph in this production: “The chief glory of the evening was hearing Renée Fleming, the Straussian soprano par excellence, making her role debut as Ariadne… As the possessor of what is, possibly, the most beautiful soprano voice in the world, she put her vocal treasures in the service of an empathic, nuanced interpretation of the role. From the creamy top, through a rich, warm middle, to the bewitching, darker colours of her lower register, Fleming poured her magnificent sound into Strauss’s enchanting melodic arcs, animating the sadness, vulnerability, and desire of the bereft princess...” Frankfurter Allgemeine Zeitung |
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| |  | Pavarotti sings Verdi
Verdi: | Esultate! (from Otello) Giá nella notte densa (from Otello) Era la notte (from Otello) Si, pel ciel (from Otello) Niun mi tema (from Otello) O figli … Ah, la paterna mano (from Macbeth) Dove siam? (from Macbeth) Quale d’armi fragor poc’anzi intesi? (from Il Trovatore) Ah sì ben mio (from Il trovatore) L'onda de'suoni mistici (from Il Trovatore) Di quella pira (from Il trovatore) Miserere d'un' alma gia vicina (from Il Trovatore) Ingemisco (from Requiem) Il foglio dunque?…Io tutto già vi narrai (from Luisa Miller) Quando le sere al placido (from Luisa Miller) M'ardon le vene (from Luisa Miller) Padre, ricevi l'estremo addio (from Luisa Miller) Se quel guerrier io fossi!…Celeste Aida (from Aida) Pur ti riveggo, mia dolce Aida (from Aida) Fuggiam gli ardori inospiti (from Aida) Tu...Amonasro!...tu!...il Re? (from Aida) La fatale pietra (from Aida) Presago il core della tua condonna (from Aida) O terra, addio (from Aida) Fratello...Riconoscimi! (from La Forza del Destino) O madre mia, che fa colei? (from I Lombardi) O madra mia ... Come poteva un angelo (from I Lombardi) Dove sola m'inoltro? (from I Lombardi) Oh belle, a questa misera (from I Lombardi) In cielo benedetto (from I Lombardi) Qual prodigio!...Non fu sogno! (from I Lombardi) Di' tu se fedele (from Un ballo in maschera) E' scherzo od è follia (from Un ballo in maschera) Teco io sto (from Un ballo in maschera) Forse la soglia attinse (from Un ballo in maschera) Ma se m'è forza perderti (from Un ballo in maschera) Libiamo, ne' lieti calici (from La Traviata) Un dì felice, eterea (from La traviata) Lunge da lei…De’ miei bollenti spiriti (from La Traviata) Parigi, o cara (from La Traviata) Della mia bella incognita borghese (from Rigoletto) Questa o quella (from Rigoletto) Ella mi fu rapita! (from Rigoletto) Scorrendo uniti remota (from Rigoletto) Possente amor mi chiama (from Rigoletto) La donna è mobile (from Rigoletto) Un di, se ben rammentomi... Bella figlia dell'amore (from Rigoletto) Mercè, diletti amici (from Ernani) Dell’esilio nel dolore (from Ernani) Cessaro i suoni, dispari ogni face (from Ernani) Ecco il pegno (from Ernani) Ferma, crudele, estinguere perché vuoi tu due vite? (from Ernani) Inno delle nazioni |
Legendary tenor Luciano Pavarotti often said that Verdi was his favourite operatic composer. He excelled in a number of major roles in Verdi operas, both on stage and in the recording studio. This 3-CD set, celebrating Verdi’s bicentenary, features Pavarotti and several star colleagues in arias and extended scenes from eleven of Verdi’s operas, the Requiem and the rarely performed Inno delle nazioni (Hymn of the Nations), written for the 1862 International Exhibition in London that Verdi visited as Italy’s representative. Excerpts from Aida, Un ballo in maschera, Ernani, La forza del destino, I Lombardi, Luisa Miller, Macbeth, Otello, Rigoletto, La Traviata, Il trovatore, Requiem Plus Hymn of the Nations Artists include Joan Sutherland, Kiri Te Kanawa, Montserrat Caballé, Christa Ludwig, Margaret Price, Leo Nucci, Richard Bonynge, Lamberto Gardelli, James Levine, Lorin Maazel and Sir Georg Solti Also includes: George Hall article on Pavarotti and Verdi. Production/Concert and session of images Sung texts translated into English (cue pointed). |
| Decca - 4785397 (CD - 3 discs) Normally: $22.00 Special: $20.00 |
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