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Schubert: Winterreise D911

Schubert: Winterreise D911


Florian Boesch (baritone), Roger Vignoles (piano)

Schubert’s transcendent song cycle of loss and desolation has not lacked for great recordings since the days of the 78: this new account from Florian Boesch and Roger Vignoles (hailed as ‘two of the best performers of Lieder in our time’) is surely destined to join their ranks.

“What I notice especially on the new disc is Boesch’s way with the words: there’s a special lightness – though never a levity – that helps keep his line unencumbered, allowing for an astonishing expressive freedom. There’s no question that this is Lieder performance, from both Boesch and Vignoles, at the very highest level of sophistication and accomplishment, and a fascinating, thought-provoking listen.” Gramophone Magazine, Awards Issue 2017

“The Presto Classical website lists an astounding 178 versions of Winterreise. I’ve heard many of them, but few as intimate and interiorised as this reading...Vignoles sets the tone from the outset...His playing throughout is discreet and supportive...[Boesch's] storytelling and emotional response to what Schubert called his “terrifying songs” are masterly and compelling.” Sunday Times, 24th September 2017

“wonderfully alive to every nuance of the text and of Schubert’s vocal lines.” The Guardian, 14th September 2017 ****

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Richard Strauss: The Complete Songs 8

Richard Strauss: The Complete Songs 8


Strauss, R:

Cäcilie, Op. 27 No. 2

Nicky Spence (tenor)

Wenn ..., Op. 31 No. 2

Nicky Spence (tenor)

Bruder Liederlich, Op. 41 No. 4

Nicky Spence (tenor)

An Sie, Op. 43 No. 1

Nicky Spence (tenor)

Die Ulme zu Hirsau, Op. 43 No. 3

Nicky Spence (tenor)

Fünf Gedichte, Op. 46

Nicky Spence (tenor)

Junggesellenschwur, Op. 49 No. 6

Nicky Spence (tenor)

Wer wird von der Welt verlangen, Op. 67 No. 4

Nicky Spence (tenor)

Hab'ich euch denn je geraten, Op. 67 No. 5

Nicky Spence (tenor)

Wanderers Gemutsruhe, Op. 67 No. 6

Nicky Spence (tenor)

Der Pokal, Op. 69, No. 2

Nicky Spence (tenor)

Vier letzte Lieder

arr. Max Wolff (1885-1954)

Rebecca Evans (soprano)

Sie wissen's nicht, Op. 49 No. 5

Nicky Spence (tenor)


Read Presto's complete review of this disc here.

Roger Vignoles astutely notes that Strauss’s songs cannot be played ‘without a vivid sense of the orchestral colours and textures that they imply’, so how better to conclude our series of the complete songs than with the piano-accompanied versions of the Vier letzte Lieder? These wondrous valedictions are the summation of a great composer’s love affair with the voice, written at the very end of a long creative life.

“Nicky Spence is superb. The voice has recently grown to encompass more heroic roles and we hear that in this selection, in the bright, lively tone and ringing top…He deals heroically with Strauss’s more outrageous demands and, perhaps more importantly, he has just the right interpretative keenness and enthusiasm to put a persuasive case for everything he sings here.” Gramophone Magazine, Gramophone 2017

“Strauss’s piano writing is already rich with orchestral colours, explored, relished, and teased out wonderfully by Vignoles. In these four last songs, Rebecca Evans matches him in that particular ardent introspection Strauss demands. Nicky Spence is abundant (Cäcilie), soaring (Wenn) and tender (An Sie). Three great performers. Lucky Strauss.” The Observer, 23rd July 2017 *****

“Spence's voice is extremely attractive: lyrical and full of expression, yet also with a bright, ringing top register, ideal for the demands of Strauss's vocal writing...Vignoles is of course magnificent throughout, but especially in an impassioned account of Cäcilie which, even for Strauss, has a particularly fiendish accompaniment!” James Longstaffe, Presto Classical, 4th August 2017

“The young Scots tenor is a communicative lieder singer. He begins with an impassioned Cäcilie — the best-known “tenor” song here — but goes on to explore less familiar territory. Vignoles, the mastermind behind this series, revels in Strauss’s lush piano writing in the postlude to Die Ulme zu Hirsau.” Sunday Times, 13th August 2017

“Evans weaves a special magic in the dying falls, with magnificent breath control at the end of 'September'. Gold, though, goes to Nicky Spence and Roger Vignoles, making a remarkable statement of intent in the raptuorous 'Cacilie', with a special care with text and phrase and an ardour verging on the heroic...There’s both sensitivity and fearlessness in Spence’s upper register; three cheers to Hyperion.” BBC Music Magazine, October 2017 *****

Presto Disc of the Week

4th August 2017

BBC Music Magazine

Choral & Song Choice - October 2017

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Krenek: Reisebuch aus den österreichischen Alpen

Krenek: Reisebuch aus den österreichischen Alpen


Krenek:

Reisebuch aus den österreichischen Alpen

Zemlinsky:

In der Ferne (No. 6 of Sieben Lieder)

Wandl’ich im wald des Abends

Die schlanke Wasserlilie (No. 1 of Sieben Lieder)

Waldgespräch


Florian Boesch (baritone), Roger Vignoles (piano)

Krenek’s wonderful travelogue is a real tour de force; a fusion of the remembrance of things past—the Schubertian landscape of Austria and its cultural history—with the music of the 1920s. The very special demands it makes of its performers are effortlessly negotiated by Florian Boesch and Roger Vignoles.

“a real treat, and confirms Krenek’s cycle as one of the great early modernist additions to the German lieder tradition...Boesch and Vignoles evoke this kaleidoscope of styles with fabulous naturalness and fierce dramatic intensity when needed.” The Guardian, 1st September 2016 ****

“The tone of voice, so perfectly captured by Floraian Boesch’s securely focused yet nonchalant baritone, is very much that of the so-called ‘new objectivity’ of the 1920s…the piano accompaniments, lucidly and energtically wrought by Roger Vignoles, add little emotioinal subtext, and the tone of coice makes us feel we are eavesdropping on a private conversation with the self” BBC Music Magazine, November 2016 ****

“It would be fair to say that Boesch has done nothing finer on disc. This is exceptional Lieder singing, fusing line, text and dynamics into an indivisible whole, all of it delivered with a conversational intimacy that is often breathtaking. The emotional ambivalences are finely projected, as sadness, dismay and anger are repeatedly undercut by self-deprecating wit and humour” Gramophone Magazine, October 2016

“Florian Boesch captures with a dry humour the satirical bent of a number of the Songs, particularly so in the quiet, almost deadpan delivery of some of them…but he does blossom into a more full-blown lyricism for the first and sixth songs...Roger Vignoles’s playing is marked by a more playful and lyrical impetus” classicalsource.com, January 2017 ****

GGramophone Awards 2017

Finalist - Solo Vocal

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Tomášek: Songs

Tomášek: Songs


Tomásek:

Mailied, Op. 53 No. 3

Schafers Klagelied, Op. 56 No. 1

Rastlose Liebe, Op. 58 No. 1

Die Nacht, Op. 55 No. 5

Auf dem See

An die Entfernte, Op. 55 No. 1

Wanderers Nachtlied, Op. 58 No. 4

Erlkönig, Op. 59 No. 1

Heidenröslein

Das Geheimnis, Op. 58 No. 3

Die Sprode, Op. 54 No. 2

Die Bekehrte, Op. 54 No. 3

Sorge, Op. 57 No. 4

Am Flusse, Op. 55 No. 3

Die Spinnerin, Op. 55 No. 2

Sechs Böhmische Lieder von Václav Hanka, Op. 71

Des Greises Trauerlied, Op. 69 No. 1

Es ist so angenehm, so süss, Op. 37 No. 2

Lied eines Alpenmädchens, Op. 96 No. 3

Ständchen, Op. 107 No. 3

Drei Gesänge, Op. 92


Václav Jan Křtitel Tomášek wrote numerous songs and short piano pieces, genres in which his works predate those of his rather more famous near contemporary Franz Schubert by some years. Quite why they are so neglected today is a mystery as this enthralling new album from Renata Pokupić and Roger Vignoles unfolds twenty-eight songs of a rare appeal. Perhaps we should not be surprised: Tomášek was one of the very few composers of Goethe settings to meet with the great poet’s (relatively) undivided approval.

“many of Tomášek’s songs are little gems in their own right, and you can hear why Goethe himself approved of settings including Heldenröslein...Pokupić’s supple, gleaming mezzo-soprano could use a notch more colour at times, but is eloquent nonetheless, and pianist Roger Vignoles makes each song sound its best.” The Guardian, 10th July 2015 ****

“While Tomášek had a gift for shapely, oten plaintive melody, in an idiom somewhere between Mozart and Schubert, he never hijacks a poem to create a new musical-dramatic entity, as Schubert famously did…there is much to charm and delight here…[and] the Croatian mezzo Renata Pokupić is a persuasive Tomášek advocate.” Gramophone Magazine, August 2015

“Goethe warmed to [Tomášek], declaring that his Mignon songs showed true understanding of his poetry…his delightful, often salonesque, piano writing is palpably enjoyed by Roger Vignoles, and Renata Pokupic's winey mezzo, whose slightly accented German and rolled 'r's has an apt flavour and timbre.” BBC Music Magazine, September 2015

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Richard Strauss: The Complete Songs 7

Richard Strauss: The Complete Songs 7


Strauss, R:

Weihnachtsgefühl, WoO. 94

Weihnachtslied, Op. 2

Einkehr, Op. 47 No. 4

Der müde Wanderer, Op. 13

Husarenlied, AV14 TrV42

Der Fischer, AV33 TrV48

Die Drossel

Lass ruh'n die Toten, WoO. 35

Lust und Qual, AV36 TrV51

Spielmann und Zither, AV40 TrV58

Wiegenlied , TrV59

Abend- und Morgenrot, WoO. 42

Im Walde, AV43 TrV62

Nebel

Soldatenlied, TrV66

Ein Röslein zog ich mir im Garten, Op. 49

Waldesgesang , TrV75

Alphorn, TrV 64 (WoO 29)

Ed Lockwood (French horn)

Sinnspruch, AV105

Durch allen Schall und Klang, AV111

Zugemessne Rhythmen, AV122

Xenion, AV131

Auf ein Kind, Op. 47 No. 1

Rückleben, Op. 47 No. 3

Von den sieben Zechbrüdern, Op. 47 No. 5

Sankt Michael , Op. 88 No. 3

Winterreise, AV4 TrV4


Ruby Hughes (soprano), Ben Johnson (tenor), Günter Haumer (baritone), Roger Vignoles (piano)

Volume 7 of our Complete Strauss Songs cycle focuses on the juvenilia. But the mysterious TrV references obfuscate compositions of a beauty hard to reconcile with the facts behind their genesis (Strauss was just six when he penned the first of them—his mother had to write in the words for him). Three new singers—Ruby Hughes, Ben Johnson and Günter Haumer—join Roger Vignoles in this most unexpected of recitals to relish.

“the pleasures are manifold. Even ardent Straussians won't know many of the songs in this mix of juvenilia...[Hughes] is a delight, pure lyric-soprano transparency for the often folksy simplicity of young Richard...[by Von den sieben Zechbrüdern] Johnson has really come out of his shell to relish the operatic narrative of which we know he's capable.” BBC Music Magazine, Awards Issue 2015 ****

“Ruby Hughes's bright soprano is appealing” Gramophone Magazine, May 2015

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Bridge: Complete Songs

Bridge: Complete Songs

All forty-five of the songs composed by Frank Bridge


Janice Watson (soprano), Louise Winter (mezzo soprano), Jamie MacDougal (tenor), Gerald Finley (baritone), Roger Vignoles (piano)

This important release brings together all forty-five of the songs composed by Frank Bridge. The programme is presented generally along chronological lines, and although the songs were written over two decades there is a remarkable consistency of style. A good number of the texts will be familiar from the songs of, say, Quilter or Finzi, but many more show Bridge’s enthusiasm for unearthing rather less well-known literary subject matter.

“Prepared and performed with the care and conviction for which Hyperion is famous. Those who simply love vocal recitals will find plenty of enjoyment in these well-documented discs, as well as a further revelation of the wealth of ‘English Renaissance’ contributions to art song. Distinguished performances of little-known but substantial, and often impressive, repertoire” Classic CD

“Another superb collection of songs” Financial Times

“These two CDs, finely recorded and thoughtfully presented, are a most timely and valuable addition to the catalogue” Gramophone Magazine

“This fine collection of settings by poets as diverse as Herrick, Heine and Tagore is full of surprises and beautifully performed by all, especially pianist Roger Vignoles” The Observer

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Hyperion Dyads - CDD22071

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Schubert: Der Wanderer

Schubert: Der Wanderer

and other songs


Schubert:

Der Wanderer, D493

Der Wanderer, D489

Der Wanderer, D649 (Friedrich von Schlegel)

Der Wanderer an den Mond D870 (Seidl)

Aus 'Heliopolis' - I D753 (Mayrhofer)

Aus 'Heliopolis' - II D754 (Mayrhofer)

Auf der Donau, D553 (Mayrhofer)

Auf der Bruck, D853

Der Schiffer, D536 (Mayrhofer)

Das Heimweh, D456 (Winkler)

Der Kreuzzug D932 (Leitner)

Abschied D475 (Mayrhofer)

Wandrers Nachtlied I 'Der du von dem Himmel bist', D224

Wandrers Nachtlied II 'Über allen Gipfeln ist Ruh', D768

Herbst, D945

Meeres Stille, D216, Op. 3 No. 2 (Goethe)

Der Pilgrim, D794 (Schiller)

Die Gotter Griechenlands D677 (Schiller)

Im Walde D708

Die Mutter Erde, D788 (Stolberg)


Florian Boesch (baritone) & Roger Vignoles (piano)

Florian Boesch and Roger Vignoles were shortlisted for a BBC Music Magazine award for their first Hyperion album (Loewe Songs and Ballads). Boesch’s warm, sensuously attractive baritone voice, first-rate diction and remarkable acting ability were enthusiastically praised. Now the duo turn to a selection of Schubert’s Lieder from the dark heart of the repertoire.

“Boesch's singing is faultless: he's in fine voice and marvellously alert to every verbal nuance, without ever fracturing the line for the sake of the text. Vignoles, playing some of Schubert's most taxing accompaniments, tirelessly matches his every emotional shift. Very fine.” The Guardian, 13th February 2014 *****

“[Boesch] has an ideal voice, at once dark and dazzling, and his accompanist...is perfect...If a quest for expressiveness can lead Boesch to disturb the line of a phrase, The Gods of Greece, In the Forest, Autumn and the beautiful Mother Earth are splendid.” Sunday Times, 16th February 2014

“This is a most distinguished recital that confirms the stature of Florian Boesch as one of the leading Lieder singers currently before the public. His partnership with Roger Vignoles is clearly a fruitful one. Vignoles offers insightful and engaging playing throughout.” MusicWeb International, 26th February 2014

“there's plenty of artistry here. For all the conceptual orientation of the disc, Boesch isn't the sort of singer who tells you what to think or feel in this music. He lays it out with hugely attractive (and protracted) clarity and then lets you enter the music a fuller participant.” Gramophone Magazine, March 2014

“We are never far from the solitude of the forlorn wanderer, but there is much variety...This fine disc, pervaded with sadness though it is, has a great deal to offer those who love Schubert's songs.” International Record Review, March 2014

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Richard Strauss: The Complete Songs 5

Richard Strauss: The Complete Songs 5


Strauss, R:

Mädchenblumen (4 songs), Op. 22

Fruhlingsgedrange, Op. 26 No. 1

Morgen, Op. 27 No. 4

Hat gesagt - bleibt's nicht dabei, Op. 36 No. 3

Meinem Kinde, Op. 37 No. 3

Mein Auge Op. 37 No. 4

Herr Lenz Op. 37 No. 5

Junghexenlied, Op. 39 No. 2

Muttertändelei, Op. 43 No. 2

Einkehr, Op. 47 No. 4

Ich Schwebe, Op. 48 No. 2

Kling! Op. 48 No. 3

Brentano Lieder (6) Op. 68


Kiera Duffy (soprano) & Roger Vignoles (piano)

A further instalment of this major Hyperion project introduces the American soprano Kiera Duffy, whose performances in the concert hall and on the opera stage have received the highest praise.

This series, skilfully masterminded by the accompanist Roger Vignoles, is carefully shaped around the talents of each singer and strives to serve the cause of both neglected treasures and essential Strauss masterworks. The majority of the music in this beautifully shaped recital was composed between 1888 and 1900, with the exception of the glorious and virtuosic Op 68 Brentano-Lieder, which owes its richness and fluency to the composer’s experience of opera composition.

Duffy gives an impeccable performance, revealing a deep understanding of the complexity of the music, and tackles the final expansive Lied der Frauen with unwavering stamina and faultless intonation. Perceptive booklet notes from Vignoles, and full texts and translations are also included.

“Duffy's is a light, bright soprano with a stylish sense of phrasing and some rapturous top Bs in her armoury...Two stand out: the harmonically wayward 'Junghexenlied', where Duffy has the right abrasive edge and hint of witchy malice, and the radiant 'Als mir dein Lied erklang'” BBC Music Magazine, December 2011 ***

“The main work here is the Brentano Lieder of 1918, and it is often said that no single soprano can perform the whole cycle adequately. Duffy manages better than most, partly because there is a cutting edge in her tone...Vignoles, the Strauss pianist par excellence, is infinitely supportive and keeps the volume down to a sensible level.” The Guardian, 10th November 2011 ****

“The technically accomplished and conscientious American Kiera Duffy has the clean, bright tone required for the more upbeat numbers such as Kling, but her Morgen doesn’t float through the ether and elsewhere she can sound a little hard-edged.” The Telegraph, 11th November 2011 ***

“She certainly gives a strong interpretation of the six Brentano Lieder, Op. 68, with Vignoles's powerful closing 'Lied der Frauen' a highlight...and both artists are equally impressive in the strongly characterised 'Junghexenlied'...Duffy is also appealing in the gentler songs, such as the tender 'Meinem Kinde', but elsewhere at times one wishes for more varied tonal colour and less climactic passion.” Gramophone Magazine, January 2012

“If the songs of Op. 68 are the most immediately compelling Lieder here, there are other treasures too...after an impeccable entry [in 'Morgen!'], Duffy embraces one of Strauss's most heartfelt melodies before darkening her silvery tone to huge effect in the final lines.” International Record Review, January 2012

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Carl Loewe: Songs & Ballads

Carl Loewe: Songs & Ballads


Loewe, C:

Edward, Op. 1 No. 1 (Herder)

Tom der Reimer "Der Reimer Thomas lag am Bach", Op. 135a

Der Erlkönig, Op. 1 No. 3 (Goethe)

Herr Oluf "Herr Oluf reitet spät und weit", Op. 2/2

Wandrers Nachlied, Op. 9 No. 3a

Wandrers Nachlied, Op. 9 No. 3b

Graf Eberstein

Lynceus der Turmer, auf Fausts Sternwarte singend, Op. 9, H.VIII, 3

Süßes Begräbnis, Op. 62 No. 4

Hinkende Jamben, Op. 62 No. 5

Die wandelnde Glocke, Op. 20 No. 3

Im Vorübergehen, Op. 81, No. 1

arr. Fritz

Der Pilgrim vor St Just, Op. 99, No. 3

Odins Meeresritt "Meister Oluf, der Schmied auf Helgoland", Op. 118

Die Uhr, Op. 123 No. 3

Der Wirthin Töchterlein, Op. 1, No. 2

Meeresleuchten, Op. 145 No. 1

Im Sturme, Op. 145, No. 3

Heimlichkeit, Op. 145, No. 4

Reiterlied, Op. 145, No. 5


Florian Boesch (baritone) & Roger Vignoles (piano)

In his lifetime the German composer Carl Loewe was often referred to as the ‘Schubert of North Germany’. He is frequently credited with the development of the romantic ballad into a powerful art form, and his prolific output of ballads and songs amounts to some four hundred works. Loewe’s treatment of long narrative poems in a clever and powerful mixture of dramatic and lyrical styles, has been a template for many subsequent composers.

Many of the ballads on this disc are masterpieces of their genre and they are performed here in a magisterial Hyperion debut by Austrian baritone Florian Boesch. In these refined performances it is clear why Boesch has been labelled as ‘one of the finest interpreters of Lieder of his generation’. His ability to create characters and enact stories brings the dramatic texts vividly to life, while he maintains musical coherence with astonishing lyricism.

Loewe’s daring and imaginative accompaniments are played here by the incomparable Roger Vignoles, in another addition to his acclaimed discography of Hyperion recordings. His eloquent pianism and penetrating musicianship match Boesch’s artistry to perfection.

“Boesch is arguably [Loewe's] finest interpreter today, and this disc is mesmerising. An expressionistic vocal actor, Boesch has the ability to change the sound of his voice to fit the character he is portraying; when he gets to the big dialogues like Erlkönig, Edward or Herr Oluf, it's hard to believe that only one person is singing...A benchmark recording, and essential listening.” The Guardian, 12th May 2011 *****

“Loewe is at his best when the drama of a ballad unfolds through the characters' words, and his 'Erlkönig', though less terrifying than Schubert's, is more chilling: the child's death is a greater musical shock....Boesch sings these ballads with strong dramatic sympathy...Vignoles's accompaniment is always confident, very musical and perceptive.” International Record Review, May 2011

“Boesch's performance...demonstrates huge imaginative variety in characterisation (offering two different voices when necessary, or even three in Loewe's setting of Erlkonig), and moving convincingly to the lower register...Vignoles matches him in playing of perception in what is pretty well an ideal introduction to a fascinating figure.” BBC Music Magazine, July 2011 *****

“Loewe's writing is perhaps less sophisticated than Schubert's but, like him, he had a supremely appealing melodic gift...As for the singing, I cannot praise it too highly. Florian Boesch has a warmly attractive baritone voice and his diction is first class, as is his response to the word meanings. Roger Vignoles's accompaniments, too, give great pleasure in themselves, especially in the pictorial devices which Loewe so relishes.” Gramophone Magazine, August 2011

GGramophone Magazine

Editor's Choice - August 2011

BBC Music Magazine Awards 2012

Vocal Finalist

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Echoes of Nightingales

Echoes of Nightingales

Encores as sung by Kirsten Flagstad, Eileen Farrell, Helen Traubel and Eleanor Steber


 

'Tis the last rose of summer

traditional & Thomas Moore (1779-1852), arr. Friedrich von Flotow (1812-1883)

Arlen:

Happiness is a thing called Joe

Bernstein:

Some Other Time (from On the Town)

Bridge:

Love went a-riding

Carpenter, J A:

The sleep that flits on baby's eyes

Charles, E:

When I have sung my songs

Dougherty, C:

Last night in Carnegie Hall Miss Sadabelle Smith

Firestone:

In my garden

If l could tell you (Marshall)

Forge:

Hills

Homer:

Sing to me, sing, Op 48

Kramer, A:

Now like a lantern, Op. 44, No. 5

McArthur:

Night

Montaine:

Stopping by woods on a snowy evening

Nordoff:

There shall be more joy

Rogers, J H:

At Parting

Romberg, S:

Will You Remember (from Maytime)

Ronald:

O lovely night!

Sargent, P:

Hickory Hill

Tyson:

Sea Moods

Vicars:

Song of Songs (Chanson du coeur brisé)

Youmans:

Through the years


Christine Brewer (soprano) & Roger Vignoles (piano)

This delightful disc, performed by one of the most admired sopranos of today, accompanied by her long-time collaborator, pays homage to an important musical tradition and part of performance history, and to four great sopranos from the past.

The repertoire includes the encore-songs, mainly by American composers, performed by Kirsten Flagstad, Eileen Farrell, Helen Traubel and Eleanor Steber at the end of their recitals. As Christine Brewer writes in an intimate performance note: ‘These little gems evoke an era of recitals not often encountered these days. Stepping back into that era has been a joy to Roger and me, and I hope it will bring back memories to those who might have heard these women sing these songs, or perhaps ignite a new love affair for younger listeners!’

“unlike many dramatic sopranos, Brewer here demonstrates a clarity of enunciation and a variety of tone that suits this lighter material...Irresistable.” BBC Music Magazine, April 2011 *****

“Brewer hosts her party with flair, unselfconscious enjoyment and unerring style. Never do we sense the opera singer trying to appropriate an alien domain...Vignoles is indeed unfailingly sympathetic, but so much more: an animator and colourist whose rhythmic energy and legerdemain contribute crucially to the success of the whole delightful, offbeat recital.” Gramophone Magazine, June 2011

“It is her ability to reduce her sound that enables her to avoid bringing too much power to 'The Last Rose' and to put across Bernstein's 'Some other time' in a relaxed and intimate manner...Brewer's own [encore], 'Review', has the final word...It's fun and provides a final encore for which it was well worth staying till the end.” International Record Review, April 2011

“Brewer, in tremendous voice, carves out a niche as [Flagstad, Farrell, Traubel and Steber's] successor, partly because the majestic quality of her delivery equals theirs, but more importantly because she, like they, has the ability to make this repertoire live and breathe without sounding mawkish...And Brewer's pianist, Roger Vignoles, sounds as if he's thoroughly enjoying himself.” The Guardian, 14th April 2011 ****

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