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Giuseppe Verdi (1813-1901)

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Verdi: Requiem

Verdi: Requiem

Live recording, Munich, Philharmonie im Gasteig (10./11.10.2013)


Krassimira Stoyanova (soprano), Marina Prudenskaja (mezzo-soprano), Saimir Pirgu (tenor) & Orlin Anastassov (baritone)

Chor & Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons

Looking back on the Verdi year of 2013, BR-KLASSIK has now supplemented its discography with the live recording of a concert highlight of October 2013, with Mariss Jansons and the Symphonieorchester and Chorus of the Bayerischer Rundfunk. With the “Messa da Requiem”, chief conductor Mariss Jansons is now represented on the BRKLASSIK label with Verdi's choral-symphonic legacy. Together with the international soloists (Krassimira Stoyanova, Marina Prudenskaya, Saimir Pirgu, Orlin Anastassov) and the Symphonieorchester des Bayerischen Rundfunks, the Chorus of the Bayerischer Rundfunk is also a fundamental element of the Requiem, and its tonal versatility received special praise from the press.

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BR Klassik - 900126

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Gloria: Highlights of sacred choral music

Gloria: Highlights of sacred choral music


Bach, J S:

Mass in B minor, BWV232: Gloria in excelsis Deo

Concerto Köln, Peter Dijkstra

Magnificat in D major, BWV243: Gloria Patri Filio

Concerto Köln, Peter Dijkstra

St Matthew Passion, BWV244: O Haupt voll Blut und Wunden

Concerto Köln, Peter Dijkstra

St John Passion, BWV245: Herr, unser Herrscher

Concerto Köln, Peter Dijkstra

Beethoven:

Missa Solemnis in D major, Op. 123: Kyrie

Symphonieorchester des Bayerischen Rundfunks, Bernard Haitink

Dvorak:

Eja Mater (from Stabat Mater, Op. 58)

Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons

Gounod:

St Cecilia Mass: Kyrie

Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons

Handel:

Dixit Dominus, HWV 232: Dixit Dominus

Concerto Köln, Peter Dijkstra

Haydn:

Die Schöpfung: Die Himmel erzählen

Symphonieorchester des Bayerischen Rundfunks, Bernard Haitink

Schubert:

Mass No. 2 in G major, D167 - Gloria

Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons

Verdi:

Dies Irae (from Requiem)

Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons


“Chorus”, the name for a community of singers that evolved in Europe from the Middle Ages onwards, derived from the choros of Ancient Greek theatre. The first polyphony soon arose from the initially purely monophonic Latin church music, sung since Late Antiquity and collected and standardised under Pope Gregory I as Gregorian chant. The Renaissance then brought forth complex types of polyphonic a cappella works; these reached new heights during the course of the 16th century in multiple choirs, bringing new experiences in sound through the juxtaposition - whenever space allowed - of several choirs inside churches. The choir became increasingly functional – above all in operas, cantatas and oratorios. By the Late Baroque period, the development stage had been reached that still characterises today’s concept of the choir: a fixed choral ensemble, clearly differentiated from an instrumental one (the orchestra); works of primarily spiritual content; texts in Latin but, increasingly, in national languages as well; and everything gradually becoming more representational in character. The first bourgeois choral societies of the 19th century – the forerunners of today's philharmonic choirs - were ensembles of a size that could compete as well as cooperate with symphonic orchestras. In choral singing, the content - sacred and secular, nationalist and idealist, reactionary and revolutionary – could be expressed with powerful emotion, not only in separate compositions but also in choral numbers extracted from their former, broader contexts. As the 19th century progressed, combinations of popular pieces appeared that were seldom coherent in terms of their content but still sounded highly impressive (in a musical context this is not referred to as an anthology but more usually as a Florilegium), and it is these that still determine today’s concert programmes.

The Chor des Bayerischen Rundfunks can be heard here performing highlights of sacred choral music dating from the Baroque period to modern times. Even today, three hundred years later, the large oratorio choirs by Bach and Handel are as vivid, realistic and captivating as ever. Haydn succeeded in preserving this for the sacred music of the Wiener Klassik era, which reached its peak in Beethoven's Missa solemnis. The heartfelt masses composed by Schubert are typical of early German Romanticism, Gounod’s St. Cecilia Mass is the French equivalent here, and Dvořák's Stabat mater represents Bohemian Romanticism of the mid- to late 19th century. Verdi's famous Messa da Requiem testifies to the close relationship between Italian opera and Italian church music. The Mass written just before the end of World War II by the Hungarian composer Kodály is still Late Romantic in its musical language, while in his Berlin Mass, written shortly before the start of the 20th century, the Estonian composer Arvo Pärt maintains the Tintinnabuli style that informs and inspires his work.

“From Bach through Haydn and Beethoven to Verdi, the Bavarian Radio Choir, one of the best in Germany, shows great versatility in this selection of recordings marking its 70th birthday.” BBC Music Magazine, May 2017 ****

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BR Klassik - 900518

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Great Singers Live: Hermann Prey

Great Singers Live: Hermann Prey


Bach, J S:

Christmas Oratorio, BWV248: Großer Herr, o starker König

Beethoven:

An die ferne Geliebte (To the distant beloved), Op. 98

Berlin, I:

They say that falling in love is wonderful (from Annie Get Your Gun)

Gounod:

Avant de quitter ces lieux (from Faust)

Leoncavallo:

Si può? (from I Pagliacci)

Lortzing:

Wie freundlich strahlt...Heiterkeit und Fröhlichkeit (from Der Wildschütz)

Mozart:

Ein Mädchen oder Weibchen (from Die Zauberflöte)

Tutto e disposto...Aprite un po' quegl'occhi (from Le Nozze di Figaro)

Rivolgete a lui lo sguardo (from Così fan tutte)

Rossini:

Largo al factotum (from Il barbiere di Siviglia)

Verdi:

Di Provenza il mar (from La Traviata)

Alzati…Eri tu che macchiavi quell'anima (from Un Ballo in Maschera)


Arias from the legendary Sunday concerts from 1966, 1972, 1988 and 1992.

His Papageno was historic and turned Hermann Prey into the most popular opera singer in Germany. This CD contains a collection of hitherto unpublished recordings made during the legendary Sunday Concerts with the Münchner Rundfunkorchester from 1966 to 1992. In a representative series of roles ranging from Bach to musicals, the great baritone shows us all his facets: from the sensitivity of the comic actor to the intense, inmost sincerity of the Lieder performer. At a time when the opera was still an integral part of Germany's media landscape, Hermann Prey made it impressively clear that a broad repertoire and depth of interpretation are not necessarily mutually exclusive. Prey ends this CD with a performance of “They say falling in love is wonderful”, inviting us to fall in love with his art yet again.

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BR Klassik Great Singers Live - 900307

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Great Singers Live: Margaret Price

Great Singers Live: Margaret Price

Selection from three “Sunday Concerts” with the Münchner Rundfunkorchester given in 1977, 1981, 1986 and 1991


Bellini:

Casta Diva (from Norma)

Cilea:

Poveri fiori (from Adriana Lecouvreur)

Mozart:

Or sai chi l'onore (from Don Giovanni)

Parto, parto, ma tu ben mio (from La Clemenza di Tito)

Come scoglio (from Così fan tutte)

E Susanna non vien! … Dove sono i bei momenti (from Le nozze di Figaro)

Rossini:

Bel raggio lusinghier (from Semiramide)

Verdi:

Ritorna vincitor! (from Aida)

Pace, pace mio Dio! (from La forza del destino)

Tu che le vanità (from Don Carlo)

Mia madre aveva...Piangea cantando...Ave Maria (from Otello)

Weber:

Und ob die Wolke sie verhülle (from Der Freischütz)


These first releases of Margaret Price with the Münchner Rundfunkorchester cover a time period from 1977 to 1991. Her work was largely concentrated on Mozart and Verdi, to which this CD pays ample credit, and also features arias by Bellini, Cilea, Rossini and Weber. Mozartian clarity, a consistently effortless vocal production, histrionic fire and a healthy grounding – these attributes made Margaret Price an internationally revered opera star, especially by Munich audiences. Her relationship with the Bavarian State Opera was so close that Margaret Price settled in Munich for 18 years, not returning to her native Wales until the end of her career.

Previously unreleased live recordings from the “Sunday Concerts”.

Singer portrait featuring Margaret Price’s core repertoire, including famous arias from Don Giovanni, Così fan tutte, Le nozze di Figaro, Aida, Otello and Norma.

Continuing the “Great Singers Live” series with the Münchner Rundfunkorchester under the direction of Heinz Wallberg, Leopold Hager and Thomas Fulton.

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BR Klassik Great Singers Live - 900305

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Great Singers Live: Mirella Freni

Great Singers Live: Mirella Freni

Selection from three “Sunday Concerts” with the Münchner Rundfunkorchester given in 1971, 1983 and 1987


Bizet:

Je dis que rien ne m'épouvante (from Carmen)

Cilea:

Io son l'umile ancella (from Adriana Lecouvreur)

(two recordings)

Massenet:

Adieu, notre petite table (from Manon)

Mozart:

E Susanna non vien! … Dove sono i bei momenti (from Le nozze di Figaro)

Puccini:

Si, mi chiamano Mimi (from La Bohème)

Quando me'n vo (from La Bohème)

Vissi d'arte (from Tosca)

Tu che di gel sei cinta (from Turandot)

Tchaikovsky:

Puskay pogibnu ya 'Tatiana's Letter Scene' (from Eugene Onegin)

Verdi:

Ritorna vincitor! (from Aida)


With her Mimì, she conquered the world. Mirella Freni’s extraordinary career lasted for over 30 years, and she never lost the enchanting youthfulness of her voice. She said farewell to the operatic stage in 2005 as a celebrated soprano in full possession of her vocal skills. Recordings from three Sunday concerts by the Münchner Rundfunkorchester document Mme. Freni in arias that reveal the many different facets of her artistry. The program ranges from her key role, Mimì, all the way to Tatyana in Tchaikovsky’s Evgeny Onegin.

Previously unreleased recordings by Mirella Freni.

Documents from the popular Sunday concerts by the Münchner Rundfunkorchester from the 1970s and 80s.

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BR Klassik Great Singers Live - 900303

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Great Singers Live: Nicolai Ghiaurov

Great Singers Live: Nicolai Ghiaurov

Selection from two “Sunday Concerts” with the Münchner Rundfunkorchester given in 1966 and 1969.


Bizet:

Tra, La, La, Tra, La La!...Quand la flamme d'amour (from La jolie fille de Perth)

Glinka:

Ivan Susanin (A Life for the Tsar): They Guess the Truth

Sung in German

Gounod:

Le veau d'or est toujours debout (from Faust)

Vous qui faîtes l'endormie (from Faust)

Khrennikov:

Mnogo shumu? iz-za serdets (Kanzone des Bretunkenen)

Mussorgsky:

Boris Godunov: Prologue

Rachmaninov:

Ves tabor spit (from Aleko)

Sung in German

Rimsky Korsakov:

Song of the Viking Guest (from Sadko)

Sung in German

Rossini:

La calunnia è un venticello (from Il barbiere di Siviglia)

Verdi:

A te l'estremo addio ... Il lacerato spirito (from Simon Boccanegra)

Ella giammai m'amò (from Don Carlo)


Nicolai Ghiaurov’s unmistakable timbre brought him the title “Re dei bassi” – “King of Basses”. In live recordings from two Sunday Concerts by the Münchner Rundfunkorchester he can be heard in key roles from the bass repertoire as well as rarely performed arias by Bizet, Glinka and Rimsky Korsakov.

The program also contains arias from two roles in which Ghiaurov became world-famous: the title role in Boris Godunov and Mephistophèlès in Gounod’s Faust.

- Previously unreleased recordings by Nicolai Ghiaurov

- Documents of the beloved Sunday concerts with the Münchner Rundfunkorchester from the 1960’s under the direction of Georges Prêtre and Alfredo Antonini.

- The program contains key roles of the bass repertoire as well as rarely heard arias.

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BR Klassik Great Singers Live - 900304

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Great Verdi Voices

Great Verdi Voices


Verdi:

Surta è la notte...Ernani! Ernani, involami (from Ernani)

Leontyne Price (soprano)

Mercè, diletti amici (from Ernani)

Neil Shicoff (tenor)

La luce langue (from Macbeth)

Julia Varady (soprano)

Tutto parea sorridere (from Il Corsaro)

Jose Carreras (tenor)

Cortigiani, vil razza dannata (from Rigoletto)

Piero Cappuccilli (baritone)

La donna è mobile (from Rigoletto)

Nicolai Gedda (tenor)

Ah sì ben mio (from Il trovatore)

Carlo Bergonzi (tenor)

Di quella pira (from Il trovatore)

Franco Bonisolli (tenor)

È strano! è strano!...Ah! fors è lui (from La traviata)

Anneliese Rothenberger (soprano)

Di Provenza il mar (from La Traviata)

Renato Bruson (baritone)

Saper vorreste (from Un Ballo in Maschera)

Arleen Auger (soprano)

Tu che le vanità (from Don Carlo)

Sena Jurinac (soprano)

Niun mi tema (from Otello)

Wladimir Atlantow (tenor)

Ehi! Paggio! ... L'onore! Ladri! (from Falstaff)

Giuseppe Taddei (baritone)


The radio recordings collected on the newly-released CD from BR-KLASSIK entitled Great Verdi Voices were made between 1962 and 1984. All impressively convey the vocal presence of the renowned performing artists and are thus also of historical significance: the recordings produced by the Bayerischer Rundfunk document the development of how Verdi's music was received in Germany during the two decades in question.

Many live recordings also offer interesting alternatives to their studio counterparts at that time by the same renowned performers. Their names read like a Who's Who of the most excellent Verdi interpretations: Arleen Auger, Sena Jurinac, Leontyne Price, Margaret Price, Anneliese Rothenberger and Julia Varady are the ladies presented here, and the gentlemen are Vladimir Atlantov, Carlo Bergonzi, Franco Bonisolli, Renato Bruson, Piero Cappuccilli, José Carreras, Nicolai Gedda, Neil Shicoff and Giuseppe Taddei.

The selection of arias and opera scenes ranges from Verdi's early operas Ernani, Macbeth and Il Corsaro (The Corsair) and middle operas Rigoletto, Il Trovatore (The Troubadour), La Traviata and Un ballo in maschera (A Masked Ball), to the later works: Don Carlo, Aida, Otello and Falstaff. The arias and scenes, arranged chronologically according to their dates of composition, are a representative cross-section of Verdi's operatic oeuvre. The Münchner Rundfunkorchester accompanies throughout, under various German and international conductors.

“The first track immediately announces that this compilation means business. At the height of her powers, Leontyne Price launches into 'Ernani, involami' with energy, commanding authority, slightly sketchy coloratura, and voice to spare. If this is not a great Verdi voice, then none is...Conductors, orchestral standards and recording quality are variable. The voices, though, are all worth hearing.” Gramophone Magazine, March 2016

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BR Klassik - 900313

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Michael Volle – A Portrait

Michael Volle – A Portrait


Handel:

Messiah: Thus saith the Lord

Te Deum in D major 'Dettingen', HWV283: Vouchsafe, O Lord

Lehár:

Da geh' ich zu Maxim (from Die Lustige Witwe)

Millöcker:

Dunkelrote Rosen (from Gasparone)

Mozart:

Deh! vieni alla finestra (from Don Giovanni)

Fin ch'han dal vino (from Don Giovanni)

Tutto e disposto...Aprite un po' quegl'occhi (from Le Nozze di Figaro)

Schubert:

An Sylvia, D891

Gruppe aus dem Tartarus, second version, D583 (Schiller)

Erlkönig, D328

Verdi:

Confutatis (from Requiem)

O Carlo, ascolta (from Don Carlo)

É sogno, o realta? (from Falstaff)

Ehi! Paggio! ... L'onore! Ladri! (from Falstaff)

Wagner:

Wie Todesahnung...O du, mein holder Abendstern (from Tannhäuser)

Nein, Lasst ihn unenthüllt (Parsifal)

Wahn! Wahn! Überall Wahn! (from Die Meistersinger von Nürnberg)


BR-Klassik presents the first portrait CD of baritone Michael Volle. Volle is a long-standing member of Bavarian State Opera choral ensemble.

This disc includes works from the Messiah, Don Giovanni and The Marriage of Figaro. Volle also commemorates Wagner and Verdi’s 200th Anniversary by singing arias from Parsifal, Tannhäuser, Don Carlos and Falstaff.

Previous recordings include, St John’s Passion (Harmonia Mundi); Ariadne Auf Naxos (Art Haus) and Zemlinksy: 21st Century Classics (EMI Classics).

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BR Klassik - 900312

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