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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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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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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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FolksLied

FolksLied


Beethoven:

Could this ill world, Op. 108 No. 16

Come fill, fill, my good fellow!, Op. 108 No. 13

Oh! Sweet were the hours, Op. 108 No. 3

Faithfu' Johnie, Op. 108 No. 20

Sunset, Op. 108 No. 2

Britten:

Ca’ the yowes

Sally in Our Alley

The Miller of Dee

O can ye sew cushions?

How Sweet the Answer

At the mid hour of night

Dear Harp of My Country

Avenging and Bright

Haydn:

Fließ leise mein Bächlein, Hob.XXXIa/253 A

Anton Barachovsky (violin), Sebastian Klinger (cello)

Ein Wandrer kommt von ferne, Hob.XXXIb:3

Anton Barachovsky (violin), Sebastian Klinger (cello)

Ich stehe auf der Heide, Hob.XXXIb:27

Anton Barachovsky (violin), Sebastian Klinger (cello)

Es weiden meine Schafe, Hob.XXIa

Anton Barachovsky (violin), Sebastian Klinger (cello)

Im Schummern, da kam ich einst zu dir, Hob.XXXIb:36

Anton Barachovsky (violin), Sebastian Klinger (cello)

Rose weiss Rose rot, Hob.XXXb:10

Anton Barachovsky (violin), Sebastian Klinger (cello)


Christian Gerhaher (baritone), Gerold Huber (piano)

As a Lied interpreter, on the concert stage and, increasingly, on the operatic stage as well, the baritone Christian Gerhaher is currently setting new artistic standards. After publication of two choral-symphonic recordings with this exceptional singer, BR-KLASSIK now presents a Lieder CD containing recorded material from Gerhaher's time as Artist in Residence with the Symphonieorchester des Bayerischen Rundfunks. Gerhaher's finely coordinated programme –ambiguously entitled "folkslied" – examines the exciting contrast between the Volkslied(folk song) and the Kunstlied (art song). It contains the rarely heard Folk Song Arrangementsby Benjamin Britten, the folk song arrangements for piano trio and voice by Beethoven and Haydn. Gerhaher's decision to use German texts to Haydn's melodies that were published inthe 1920s represents a tribute to Fritz Wunderlich, whose first recording of the German text versions is particularly close to his heart. The instrumental partners are: Gerold Huber, Gerhaher's longtime accompanist; Sebastian Klinger, the principal cellist of the Symphonieorchester des Bayerischen Rundfunks who is currently pursuing a solo career; and, on the violin, Anton Barachovsky, leader of the Symphonieorchester.

“Word-lively, supple and instinctive of inflection, Gerhaher is the perfect voice for a song such as Haydn’s ‘Flow gently, sweet Afton’…and his command of both English and Lallans Scots is formidable…[the recording] is enhanced by the violin and cello playing of Anton Barachovsky and Sebastian Klinger, and the always sentient piano accompaniments of the faithful Gerold Huber.” BBC Music Magazine, July 2016 ****

“[These arrangements are] delightful and share characterful piano trio accompaniment, here superbly played. Gerhaher is in fine voice throughout, and his English (and Scottish!) is idiomatic and convincing.” Classical Music, August 2016 *****

“Best of all are the bittersweet, sometimes disturbing Britten arrangements that form the recital’s centrepiece. In beauty of tone and sensitivity to text and mood, Gerhaher’s vividly ‘lived’ performances are a match for any of his baritone predecessors, British or German…Gerold Huber’s playing is in the Britten class (in his recordings with Pears) for colour, point and wry inventiveness” Gramophone Magazine, June 2016

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Mahler: Symphony No. 3

Mahler: Symphony No. 3

Live-Recording: Munich, Philharmonie im Gasteig, 15. – 17.06.2016


Gerhild Romberger (contralto)

Augsburger Domsingknaben, Frauenchor des Bayerischen Rundfunks, Symphonieorchester des Bayerischen Rundfunks, Bernard Haitink

Read Presto's complete review of this disc here

Gustav Mahler's Third Symphony still ranks today as one of the greatest and most powerful creations of the Late Romantic period. The huge symphony, longer and more monumental than the others and containing texts from the collection of poems by Clemens Brentano and Achim von Arnim entitled “Des Knaben Wunderhorn”, was composed over a period of four years from 1892 to 1896, and especially during the summers of 1895 and 1896, which Mahler spent at the Attersee in Austria. Following performances of several individual movements of the symphony, the complete work was premiered on June 9, 1902, at the 38th “Tonkünstler Festival” in Krefeld. Mahler conducted the Städtische Kapelle Krefeld and Cologne’s Gürzenich Orchestra at this exciting event. It was one of his greatest successes, and his contemporaries were deeply impressed. Between 1902 and 1907, the composer conducted his Third Symphony a further 15 times.

Of the six powerful movements, the slow fourth one requires not only a large orchestra but also a mezzo-soprano solo for a setting of the “Midnight Song” (“O Man! Take heed!”) from Friedrich Nietzsche's poetical-philosophical "Thus Spoke Zarathustra," while in the cheerful fifth movement the mezzo-soprano soloist is joined by a children’s choir and a female chorus for the song Es sungen drei Engel from "Des Knaben Wunderhorn". The symphony is a huge challenge for all its performers, and this concert recording of June 2016 has a prestigious line-up: guest conductor Bernard Haitink with the Symphonieorchester des Bayerischen Rundfunks, the Augsburger Domsingknaben and the Frauenchor des Bayerischen Rundfunks; the solo parts are sung by Gerhild Romberger.

“Haitink has long been regarded as one of our least egocentric and interventionist conductors, and I don’t think I’ve ever felt that more keenly than on this recording...throughout the long first movement in particular, there’s a sense that the music is simply being allowed to unfold itself organically rather than being driven too hard.” Katherine Cooper, Presto Classical, 6th January 2017

“The opening horn unison arrests and promises much, Mahler’s Third delivered with the long view typical of Bernard Haitink. He doesn’t sensationalise the music…the remaining five movements, naturalistic and divine, receive superior outings – poetic, eloquent, picturesque, as agile and athletic as required. The posthorn solo during the third movement is especially magical…as ever from Bavarian Radio, the orchestra and the sound are exemplary.” Classical Ear, 17th April 2017 ****

“Haitink seems just a pure conduit for the music.” Hi-Fi News, May 2017

“a perfect beauty of a performance, natural sound matching natural evoution and every solo perfectly intoned” BBC Music Magazine, May 2017 *****

“While the performance feels most engaged when the music is in repose, the inner movements are more than adequately eloquent. The excellent posthorn solos in the third are credited to Martin Angerer…Gerhild Romberger has an old-fashioned contralto-ish timbre in the Nietzsche setting…the choirs sound lovely in the fifth movement and the finale has always been a Haitink speciality, plainly spoke and all the more moving for it.” Gramophone Magazine, August 2017

Presto Disc of the Week

6th January 2017

BBC Music Magazine

Orchestral Choice - May 2017

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Fritz Wunderlich (1930-1966)

Fritz Wunderlich (1930-1966)


Fall, L:

Man sagt uns nach…O Rose von Stambul (from Die Rose von Stambul)

Man sagt uns nach…O Rose von Stambul (from Die Rose von Stambul)

Künneke, Eduard:

Ich träume mit offenen Augen (from Die lockende Flamme)

Das Lied vom Leben des Schrenk (from Die Grosse Sünderin)

Lehár:

Schön ist die Welt (from Schön ist die Welt)

Lortzing:

Lebe wohl, mein flandrisch Mädchen (from Zar und Zimmermann)

Lied: Vater, Mutter, Schestern, Bruder (from Undine)

Man wird ja einmal nur geboren (from Der Waffenschmied)

Mattes:

Melodia con passione

Millöcker:

Wie schon ist alles (from Die Dubarry)

Mein Weg führt immer mich zu Dir zurück (from Die Dubarry)

Nicolai, C O:

Horch, die Lerche singt im Hain! 'Romance' (from Die lustigen Weiber von Windsor)

Spoliansky:

Heute Nacht oder nie (from Das Lied einer Nacht)

Stolz, R:

Ob blond, ob braun, Ich liebe die Frau'n

Strauss, J, II:

Treu sein, das liegt mir nicht (from Eine Nacht in Venedig)

Sei mir gegrusst, du holdes Venezia! (from Eine Nacht in Venedig)


A new CD from BR-KLASSIK commemorating the 50th anniversary of the singer’s death.

Early, as yet unreleased radio recordings made between 1959 and 1965.

Although fifty years have now passed since Fritz Wunderlich’s tragic death on September 17, 1966, the singer and his incomparable tenor voice have remained unforgotten. One reason was the meteoric success of his artistic career. Following his performance in a student production of Mozart's Magic Flute in Freiburg, the young singer was instantly engaged by the Stuttgart State Opera; he then went on to Frankfurt and Munich, performed at the Vienna State Opera and the Salzburg Festival, and had already received an offer from the New York Metropolitan Opera. What people remember most about him was his vital, lively personality, his almost limitless ability to cope under pressure, and of course his mellifluous voice, with its great depth, radiance, and delightful timbre. His accurate and always intelligible pronunciation of the words he sang has remained quite unparalleled. He performed operetta scenes with ease and charming levity; he bestowed the grace of genuine feeling onto lieder that had fallen into sentimental discredit; and he belted out party pieces with all the effortless verve of an Italian….

This new CD from BR-KLASSIK commemorating the 50th anniversary of the singer’s death presents early, as yet unreleased radio recordings made between 1959 and 1965. The recordings of some Munich Sunday concerts and studio recordings by the Bayerischer Rundfunk show him and his tenor voice at the height of their success. Together with the Munich Radio Orchestra and the Chor des Bayerischen Rundfunks, he can be experienced singing with such renowned conductors as Kurt Eichhorn, Siegfried Köhler, Willy Mattes, Hans Moltkau and Meinhard von Zallinger.

Here he focused primarily on the German repertoire, from comic opera to operetta all the way to popular hits which, to this day, more or less owe their very survival to his interpretations of them in concerts and recordings.

Fritz Wunderlich - the tenor voice of the 20th century par excellence – can be relived here in these unreleased recordings from BR-KLASSIK.

“Wunderlich delivers these operetta and light opera arias, not long recorded before ,his tragic death, with the same ardour and elegance that made him his generation’s leading Mozart tenor.” BBC Music Magazine, March 2017 *****/***

“The single cd issued by the Bayerischer Rundfunk label is likely to be snapped up by the tenor’s fans, comprising as it does first releases of broadcast material recorded in Munich between 1959 and 1966 and focusing on the operetta repertoire at which Wunderlich excelled.” Opera, January 2017

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BR Klassik - 900314

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Fritz Wunderlich - Vinyl Edition

Fritz Wunderlich - Vinyl Edition

Early, as yet unreleased radio recordings made between 1959 and 1965.


Fall, L:

O Rose von Stambul (from Die Rose von Stambul)

Künneke, Eduard:

Ich träume mit offenen Augen (from Die lockende Flamme)

Das Lied vom Leben des Schrenk (from Die Grosse Sünderin)

Lehár:

Schön ist die Welt (from Schön ist die Welt)

Lortzing:

Lebe wohl, mein flandrisch Mädchen (from Zar und Zimmermann)

Lied: Vater, Mutter, Schestern, Bruder (from Undine)

Man wird ja einmal nur geboren (from Der Waffenschmied)

Mattes:

Melodia con passione

Millöcker:

Wie schon ist alles (from Die Dubarry)

Mein Weg führt immer mich zu Dir zurück (from Die Dubarry)

Spoliansky:

Heute Nacht oder nie (from Das Lied einer Nacht)

Stolz, R:

Ob blond, ob braun, Ich liebe die Frau'n

Strauss, J, II:

Treu sein, das liegt mir nicht (from Eine Nacht in Venedig)


Although fifty years have now passed since Fritz Wunderlich’s tragic death on September 17, 1966, the singer and his incomparable tenor voice have remained unforgotten. One reason for this was the meteoric success of his artistic career. Following his performance in a student production of Mozart's Magic Flute in Freiburg, the young singer was instantly engaged by the Stuttgart State Opera, then went on to Frankfurt and Munich, performed at the Vienna State Opera and the Salzburg Festival, and had already received an offer from the New York Metropolitan Opera. What people remember most about him was his vital, lively personality, his almost limitless ability to cope under pressure, and of course his mellifluous voice, with its great depth, radiance, and delightful timbre. His accurate and always intelligible pronunciation of the words he sang has remained quite unparalleled. He performed operetta scenes with ease and charming levity; he bestowed the grace of genuine feeling onto lieder that had fallen into sentimental discredit; and he belted out party pieces with all the effortless verve of an Italian….

This new CD from BR-KLASSIK to commemorate the 50th anniversary of the singer’s death presents early, as yet unreleased radio recordings made between 1959 and 1965. The recordings of some Munich Sunday concerts and studio recordings by the Bayerischer Rundfunk show him and his tenor voice at the height of their success. Together with the Munich Radio Orchestra and the Chor des Bayerischen Rundfunks, he can be experienced singing with such renowned conductors as Kurt Eichhorn, Siegfried Köhler, Willy Mattes, Hans Moltkau and Meinhard von Zallinger.

Here he focused primarily on the German repertoire, from comic opera to operetta all the way to popular hits which, to this day, more or less owe their very survival to his interpretations of them in concerts and recordings.

Fritz Wunderlich - the tenor voice of the 20th century par excellence – can be relived here in these unreleased recordings from BR-KLASSIK.

Released or re-released in last 6 months

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BR Klassik - 900315

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Great Singers Live: Elisabeth Grümmer

Great Singers Live: Elisabeth Grümmer


Mozart:

Warnung 'Männer suchen stehts zu naschen', K433

Der Zauberer, K472

Ridente la calma, K152

Das Veilchen, K476

Die Verschweigung, K518

Abendempfindung an Laura, K523

Un moto di gioia, K579

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

sung in German

Porgi amor (from Le nozze di Figaro)

sung in German

Crudele? Ah no, mio bene! ... Non mi dir, bell'idol mio (from Don Giovanni)

sung in German

Temerari!...Come scoglio! (from Così fan tutte)

Ei parte...Per pietà (from Così fan tutte)

Fra gli amplessi (from Così fan tutte)

sung in German

Ach, ich fühl's (from Die Zauberflöte, K620)


Elisabeth Grümmer (soprano), Hans Altmann (piano) & Walter Kmentt (tenor)

Münchner Rundfunkorchester, Kurt Eichhorn, Horst Stein

The great Elisabeth Grümmer ranks as one of the most outstanding German sopranos of the 20th century, an artist whose romantic sensitivity was often lauded. The “Great Singers Live” series presents this artist as a fascinating Mozart interpreter accompanied by the Münchner Rundfunkorchester. The CD was previously only available as part of the “Great Singers Live” box, and it is now being released as a single CD.

For the first time as a single CD with recordings by Elisabeth Grümmer.

Recordings from the years 1956, 1960 and 1962.

“The recordings are taken from the archives of Bavarian Radio, dating from between 1956 and 1962. Grümmer was now well into her forties, but her voice was still radiant, fresh and technically secure...Pamina’s aria from Die Zauberflöte is sensitively sculpted with Grümmer achieving a purity of tone and graceful simplicity. It is a captivating performance.” MusicWeb International, 10th July 2013

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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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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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