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Great Operatic Arias 22 - Gerald Finley

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, R:

Some Enchanted Evening (from South Pacific)

Tchaikovsky:

Kto mozhet sravnitsa s Matildoyu moyei (Robert's aria from Iolanta)

My only beloved Mathilde I claim

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?


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

“As this recital of operatic arias in English handsomely demonstrates, Finley has it all: a rich-toned and smoothly produced voice, crisp diction, sterling technique, immaculate legato, a keen sense of musical style and unfailing sensitivity to drama and character.” The Telegraph, 9th April 2010 ****

“Opera recital discs too often play safe with repertoire. Not here. This intelligent compilation...satisfyingly mixes popular with unfamiliar. Finley, a versatile stage presence, brings integrity to every dark, burnished note he sings. All these arias come alive, even robbed of their original context.” The Observer, 2nd May 2010

GGramophone Magazine

Editor's Choice - April 2010

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Chandos Opera in English - Great Operatic Arias - CHAN3167

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The Film Music of William Alwyn, Volume 2

The Film Music of William Alwyn, Volume 2


Alwyn:

The Crimson Pirate

overture on themes from the film

Green Girdle

music from the documentary film of the same name

Take My Life

aria from the film of the same name

Main Title from 'A Night to Remember'

Suite from 'The Card'

Suite from 'Desert Victory': excerpts

Libera me

Aria from 'Svengali'

Suite from the 'Winslow Boy'

In Search of the Castaways: excerpts

Suite from 'State Secret': excerpts


A fine showcase of a melodically gifted and subtle English composer of film scores. (Gramophone)

“With vintage British films of the 1940s and '50s you expected a major orchestral film score. William Alwyn, alongside Malcolm Arnold, supplied some of the finest examples. His orchestral flair and the ready lyrical flow of his themes brought much that was memorable, and Philip Lane's reconstructions from the original soundtracks continually remind us of his melodic gifts, never more effectively than in the opening pot-pourri from The Crimson Pirate, which is teeming with lively ideas and nautical colour. In Take my Life Alwyn composed a pastiche aria for the operatic heroine, and wrote yet another for Svengali, both powerfully sung here by Susan Bullock.
The delectably light-hearted score for TheCard is a quite perfect, whimsical portrayal of the engagingly resourceful hero (played by Alec Guinness) of one of Arnold Bennett's most endearing lighter novels. It opens, appropriately, with a (human) whistle, but includes both a lively ball sequence and a nice touch of sentimental romantic nostalgia, exquisitely scored; the 'Coachride to Bursley' is a delightful motoperpetuo scherzando, and the finale is equally charming and capricious. There's a fine 'Ship's Waltz' and a rumbustious 'Rumba' for In Searchof the Castaways, while the wartime epic DesertVictory opens nobilmente, and closes in similarly patriotic mood with a grandiloquent march. As shown by the main title for A Night to Remember Alwyn wasn't a purveyor of flamboyant Hollywoodian theme tunes, but his music always added much to the background atmosphere, and for the most part stands up very well on its own, especially when it's as superbly played and recorded as it is here.”
Gramophone Classical Music Guide, 2010

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Chandos Movies Film Music of William Alwyn - CHAN9959

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Miracles: Thirteenth-century Spanish Songs in Praise of the Virgin Mary

Miracles: Thirteenth-century Spanish Songs in Praise of the Virgin Mary


anon.:

Beyeita es Maria

Procession

Quen quer que na Virgen fia

Estampie on

O Nome da Virgen Santa

Instrumental

Quen boa dona

Eno pouco e no muito

Instrumental

Como pod' a groriosa

Instrumental

Sempr'a Virgen groriosa

Instrumental


Vivien Ellis (soprano)

The Dufay Collective

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Chandos - CHAN9513

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Bach - Early Cantatas Volume 1

Bach - Early Cantatas Volume 1

Mühlhausen Cantatas


Bach, J S:

Cantata BWV4 'Christ lag in Todesbanden' (Easter Cantata)

Cantata BWV106 'Gottes Zeit ist die allerbeste Zeit' (Actus tragicus)

Cantata BWV131 'Aus der Tiefe rufe ich, Herr, zu dir'

Cantata BWV196 'Der Herr denket an uns' (Wedding Cantata)


Emma Kirkby (soprano), Michael Chance (counter-tenor), Charles Daniels (tenor), Peter Harvey (baritone)

The Purcell Quartet

"For sheer brilliance of technique, the Purcell Quartet and friends take the biscuit." International Record Review

“…rhythmically supple performances with generally effective tempos and which demonstrate an awareness of the antecedent styles of Buxtehude and others.” BBC Music Magazine, May 2005 ***

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Chandos Chaconne - CHAN0715

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Bach - Early Cantatas Volume 2

Bach - Early Cantatas Volume 2

Weimer Cantatas I


Bach, J S:

Cantata BWV12 'Weinen, Klagen, sorgen, Zagen'

Cantata BWV18 'Gleichwie der Regen und Schnee vom Himmel fällt'

Cantata BWV61 'Nun komm, der Heiden Heiland'

Cantata BWV161 'Komm, du süsse Todesstunde'


Emma Kirkby (soprano), Michael Chance (countertenor), Charles Daniels (tenor) & Peter Harvey (bass)

The Purcell Quartet

“The Purcell Quartet - two violins, cello and continuo, augmented by two violas, recorders, oboe, bassoon, and trumpet - reflect the meagre forces available to Bach. The four solo singers combine in a one-to-a-part chorus… With no designated 'conductor', this is chamber music, warmed by the acoustic environment of a London church. The resulting clarity is delightful, more subtle that the similarly scaled Ricercar Consort (Mirare).” BBC Music Magazine, Proms 2007 *****

“This is a well chosen programme, the sound recording is beautiful, and it is an effective advocacy of the one-per-part method.” Gramophone Magazine, September 2007

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Chandos Chaconne - CHAN0742

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Bach - Early Cantatas Volume 3

Bach - Early Cantatas Volume 3

Weimer Cantatas II


Bach, J S:

Cantata BWV21 'Ich hatte viel Bekümmernis'

Cantata BWV172 'Erschallet, ihr Lieder'

Cantata BWV182 'Himmelskönig, sei willkommen'


Emma Kirkby (soprano), Michael Chance (countertenor), Charles Daniels (tenor) & Peter Harvey (bass)

The Purcell Quartet

This 2-CD set with The Purcell Quartet and a distinguished group of soloists is the third in a series devoted to Bach’s early cantatas and the second focussing on the Weimar period. On an earlier release, International Record Review wrote, ‘The Purcell Quartet and guests are most welcome: even the most distinguished of period performers with larger ensembles can’t achieve the intimacy that the forces here have at their disposal’.

Uniquely, but following historical precedent, The Purcell Quartet employs single voices, rather than a choir. The stance is still controversial, but recreates the works as they would have been performed originally, and therefore stands out from the more conventional approach, the product of subsequent developments of massed choral singing. Accompanied by The Purcell Quartet and their guest instrumentalists are the vocal soloists Emma Kirkby, Michael Chance, Charles Daniels and Peter Harvey. Individual vocal and instrumental lines are allowed to be heard to their full effect, which greatly enhances the impact and meaning of the cantata texts.

This programme contains three cantatas dating from 1714, the year in which Bach was promoted to the post of Konzertmeister at the ducal court in Weimar. His responsibilities now included the composition of concerted sacred vocal music, including the writing of cantatas at regular intervals for Sundays and feast days of the liturgical year. Bach performed all three works collected on this pair of discs several times. They are presented here as they would have been heard in Weimar at their 1714 performances. The first two works, Erschallet, ihr Lieder, BWV 172 and Himmelskönig, sei willkommen, BWV 182, have much in common in tone and atmosphere: both are essentially jubilant at the prospect of the heavenly eternity awaiting the good Christian at the end of his life, and the images of the Trinity led Bach to employ three trumpets in BWV 172. In BWV 182 there is, instead of trumpets and drums, an intimate conversation principally between violin and recorder. The jubilant mood of these two cantatas is juxtaposed with that of Ich hatte viel Bekümmernis, BWV 21, which exudes a feeling of despair, only for Bach to bring in trumpets and drums at the end as hope gradually begins to dawn.

The Weimar cantatas of J.S. Bach form an exceptional body of work and it is thrilling to hear them performed in a way that Bach would have recognised, and by artists respected in the early music field. We offer this set at the price of two CDs for one.

“Out to impress, Bach's instrumental imagination soared in these works. …the playing is consistently rewarding, more so than the singing which at its most persuasive is ravishing, but (excepting Peter Harvey) is not without the odd hint of strain. Still there are marvellous things from all, and this version of BWV 21 sustains greater presence than Masaaki.” BBC Music Magazine, November 2008 ****

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Chandos Chaconne - CHAN0752

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Clifford / Bainton Volume 2

Clifford / Bainton Volume 2


Bainton, E:

Epithalamion

An English Idyll for baritone & orchestra

Paul Whelan (baritone)

Clifford:

A Kentish Suite

The Casanova Melody

from Carol Reed's Production of The Third Man

Five English Nursery Tunes

Shanagolden


Premiere recordings

GGramophone Magazine

Editor's Choice - March 2003

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Chandos - CHAN10019

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Bax: In Memoriam

Bax: In Memoriam


Bax:

In Memoriam

Concertante for Piano (left hand) & Orchestra

Margaret Fingerhut (piano)

The Bard of the Dimbovitza

Jean Rigby (mezzo)


“The glorious tune that dominates the 1916 tone-poem In Memoriam will be familiar to many Bax enthusiasts from its use in his 1948 film score for David Lean's Oliver Twist, and to hear it in its original surroundings is both a moving and thrilling experience.
It had long been assumed that the 32-year-old composer never got round to scoring this deeply felt elegy so it's pleasing to find that Vernon Handley and the BBC Philharmonic do full justice to its opulent yet iridescent sound world, with its strong ech- oes of The Garden of Fand and Nympholept.
The Concertante for left-hand piano and orchestra, written for Harriet Cohen after a domestic accident had disabled her right hand, isn't top-drawer Bax, but remains a most appealing creation, with a central Moderato tranquillo in the composer's sweetest lyrical vein. Margaret Fingerhut is a deft, sympathetic soloist.
The five orchestral songs that make up TheBard of the Dimbovitza, setting poems allegedly based on Romanian folk-songs, contain not a hint of local colour but are purest Bax, the harmonic idiom and overall mood strikingly similar to his Enchanted Summer. Jean Rigby vividly characterises the dialogue in the last two songs ('My girdle I hung on a tree-top tall' and 'Spinning Song'), while bringing plenty of drama to the almost operatic scena that's 'The Well of Tears'. Some typically lustrous Chandos engineering adorns this valuable triptych of recorded premières, and the issue as a whole deserves the heartiest of welcomes.”
Gramophone Classical Music Guide, 2010

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Chandos - CHAN9715

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Bax - Orchestral Works Volume 6

Bax - Orchestral Works Volume 6


Bax:

Russian Suite

Four Songs for tenor & orchestra

Martyn Hill (tenor)

Golden Eagle

Saga Fragment

Margaret Fingerhut (piano)

Romantic Overture


'Thomson possesses an intuitive understanding that allows more of the music to compel than one had dared hope… The London Philharmonic plays beautifully…' The Independent

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Chandos Classics - CHAN10159X

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Richard Rodney Bennett - Words and Music

Richard Rodney Bennett - Words and Music


Bennett, R R:

It might as well be spring

Don’t sleep in the subway

Get rid of Monday

Someone to watch over me

Angel eyes

Spring can really hang you up the most

Let me down easy

I won’t dance

Killing time

How long has this been going on?

On second thought

Early to bed

Wake up, chillun’ wake up

Goodbye for now

Words and Music


Richard Rodney Bennett

“ What was important was to acknowledge that the finely crafted marriage of words and music that flourished in the thirties and forties – indeed the golden age of American popular song – simply aren’t period pieces, not when a Richard Rodney Bennett is around to pick them up, dust them off and allow their magic to start all over again” Glasgow Herald

BBC Music Magazine

Jazz Choice - February 2007

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Chandos - CHAN10411

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