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Dagmar Peckova

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Weill: Wanted

Weill: Wanted

Weill, K:

Surabaya Johnny (from Happy End)


Der Abschiedsbrief

Berlin im Licht

Jiří Hájek (baritone)

Das Lied von den braunen Inseln

Pimp‘s Ballad (Tango) (from The Threepenny Opera)

Jiří Hájek (baritone)

Die Seeräuber-Jenny (Brecht)

Barbara Song (from The Threepenny Opera)

Je ne t'aime pas (text: Maurice Magre)

Denn wie man sich bettet (from Rise and Fall of the City of Mahagonny)

Alabama Song (from Mahagonny)

Jiří Hájek (baritone)

Buddy on the Nightshift

Jiří Hájek (baritone)

One Touch of Venus: I'm A Stranger Here Myself

Kanonensong (from Die Dreigroschenoper)

Jiří Hájek (baritone)

Moritat von Mackie Messer (from The Threepenny Opera)

Dagmar Peckova (mezzo)

Epoque Quartet & Orchestra, Jan Kučera

Recorded at the Czech Radio – Studio Karlín, Prague, July 2016. “We cannot approach opera from the position of snobbish dismissal. We cannot write operas while at the same time lamenting the deficiencies of the genre. We must fulfil our own ideal by making use of that which the stage has to offer,” so wrote Kurt Weill in 1926. At the time, he had just begun seeking a new musical genre, one that would supersede the conventional opera.

The resounding success of Die Greigroschenoper proved that the path he had taken was the right one; the new genre emerged at an appropriate time, and it seemed that the audience had been waiting for opera’s resurgence too. The result of his efforts were considerable simplification of the musical idiom,

inspiration by pop and jazz, and the assignment of the vocal parts to actors without traditional professional voice training. It was a true revolution.

Dagmar Pecková has throughout her illustrious career has appeared on the world’s most prominent stages as an artist acclaimed as a refined performer of music by Mozart, Mahler, Bizet ...

The singular poetics of Weill’s songs, a fabulous orchestra and splendid arrangements blending classical music and jazz – and, of course, Dagmar Pecková, who has never been “just” a diva, but a singer who makes her dreams come true and does everything with great enthusiasm.

“her mezzo has an authentic rasping edge. Terrific accompaniments, too.” Sunday Times, 9th July 2017

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Sinful Women: Dagmar Pecková

Sinful Women: Dagmar Pecková

Recorded at the Studio of Slovak Philharmonic Orchestra, Bratislava, September 2014


Del fiero duol che il cor mi frange (Act 3) (from Medea)


Ah! Je baiserai ta bouche (from Salome)


Ne me refuse pas (from Hérodiade)

O mes sœurs (from Marie-Magdeleine)


Bacchanale from Samson et Dalila

Mon cœur s'ouvre à ta voix (from Samson et Dalila)

Strauss, R:

Ich habe keine guten Nachte (from Elektra)

Salome: Dance of the Seven Veils


Nonn' erubescite, reges (from Oedipus Rex)


Ich sah das Kind an seiner Mutter Brust (from Parsifal)

The provocative title of the new album by the feted mezzo-soprano Dagmar Pecková reflects a remarkable dramaturgic idea: that which connects the life of modern humans with the heroines of Antique mythology is the principle of sin – and forgiveness.

This is perhaps why all the featured characters are smart and strong women, some of them even endowed with supernatural abilities. Women determined to apply the boldest means so as to gain that which they long for – or to take revenge. Women betrayed by a ruse or wounded by their own love.

The very first aria featured, that of Massenet’s Marie-Magdeleine, opens the scope for the message – that the only way out of sin is forgiveness. “When you look at mezzo-soprano characters, virtually all of them can be branded sinners. Perhaps it is owing to the darker voice colour...” says Dagmar Pecková. As rendered by her on the present album, each of the “sinful women” is profoundly treated in psychological and emotional terms.

This profundity and inspiration is based on the soloist’s own professional experience and is also the fruit of the collaboration with the accompanying Slovak Philharmonic Orchestra, under the uncompromising and masterful baton of Aleksandar Marković.

Love, sin and forgiveness. An insight into the mysterious female soul!

“Dagmar Peckova's voice has evolved from strong and stylish Mozartian into a richly powerful instrument whose darkly sensuous hues are ideally suited to the lusher late Romantics…her hollow-toned, haunting Klytaemnestra is the finest performance here.” BBC Music Magazine, September 2015

“Vocally Peckova's dark contralto-ish mezzo is in good shape throughout...Tone and supportive vocal colour seem to count more for her than pure text...Throughout the programme we hear superbly and cleanly executed run-throughs, but it is oftem Markovic's players who provide the real dramatic thrust (try the end of Elektra here).” Gramophone Magazine, July 2015

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Dreams: Dagmar Pecková

Dreams: Dagmar Pecková


Folk Songs


Alto Rhapsody, Op. 53


Rückert-Lieder (5 songs, complete)

Lieder eines fahrenden Gesellen (4 songs, complete)

Das irdische Leben (Des Knaben Wunderhorn)

Rheinlegendchen (Des Knaben Wunderhorn)

Wer hat dies' Liedlein Erdacht? (Des Knaben Wunderhorn)

Wo die schönen Trompeten blasen (Des Knaben Wunderhorn)

Urlicht (Des Knaben Wunderhorn)


Ablösung im Sommer (Lieder und Gesänge aus der Jugendzeit)

Zu Strassburg auf der Schanz (Lieder und Gesänge aus der Jugendzeit)

Nicht wiedersehen (Lieder und Gesänge aus der Jugendzeit)

Um schlimme Kinder artig zu machen (Lieder und Gesänge aus der Jugendzeit)

Erinnerung (Lieder und Gesänge aus der Jugendzeit)


Wesendonck-Lieder (5)

A world renowned singer whose professional career could perhaps be best summed up by the sheer number of leading orchestras (Wiener Philharmoniker, Tonhalle Zürich, LPO, LSO, BBC Symphony, NHK Symphony, Cleveland and Pittsburgh SO, etc.) and conductors (Bělohlávek, Herreweghe, Järvi, Mackerras, Sawallisch, etc) she has worked with or by listing her appearances at the most prestigious festivals, concert halls and opera houses. A mezzo-soprano possessing a distinct voice and great charisma, a bold personality who owing to, among other things, her openness has also succeeded in addressing "nonclassical” audiences, even though she herself remains faithful to classical music. Pecková has confessed: Mahler and Wagner; two composers who have influenced my entire career. They were discovered for me by Jiří Bělohlávek. I can return to these songs – dreams at any time, and they will never cease to surprise me with their unutterable perfection. Supraphon is now returning to these recordings, which represented a significant milestone in Dagmar Pecková’s artistic career and introduced her to the world as a superlative performer of Mahler’s music.

The inner world of Mahler’s songs – a landscape to which Dagmar Pecková likes returning again and again.

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Martinu: Nipponari, Magic Nights & Czech Rhapsody

Martinu: Nipponari, Magic Nights & Czech Rhapsody

Recorded 1985-88


Nipponari – Cycle of seven songs for female voice and small orchestra, H68

Kouzelné noci – Three songs on Chinese texts for soprano and orchestra H119

Ceská rapsodie – Cantata for baritone, mixed choir, organ and orchestra H118

released on CD for the first time

Dagmar Pecková (soprano), Lubica Rybarská (soprano) & Ivan Kusnjer (baritone)

Kühn Mixed Choir & Prague Symphony Orchestra, Jiří Bělohlávek

All three of these compositions open the imaginative world of the young Martinu to the listener, providing a glimpse into his early works for voice and orchestra.

Nipponari and Magic Nights were both inspired by exotic texts. The works of Japanese poets used in Nipponari are infused with a wistful, dreamy mood which is masterfully captured by Martinu’s unusual instrumentation and subtle compositional technique.

For his Impressionistic Magic Nights he instinctively chose texts about sorrow in a distant land far from home, unaware that this theme would play a fateful role in his own life. Mahler, incidentally, drew on the same collection of poems for his song cycle Das Lied von der Erde.

The general nationalistic fervor of 1918 and the thought of national independence are reflected in the Czech Rhapsody — released here for the first time on CD — particularly in his use of the Hymn “Saint Wenceslas” (patron saint of the Czech nation), and the premiere of this work was a tremendous success for Martinu.

It is difficult to imagine a more competent and sensitive interpretation of these works than you will find in these time-tested recordings by conductor Jirí Belohlávek and outstanding soloists.

“Notwithstanding the unfamiliar repertoire, the sopranos Dagmar Pecková and Lubica Rybárska deliver superbly idiomatic renditions of the songs with Belohlávek shapes the cantata with persuasive fervour. Although these performances were recorded over 20 years ago, the sound is remarkable for its clarity. A landmark issue for anyone interested in this endlessly fascinating composer.” BBC Music Magazine, February 2009 ****

“The major item here, however, is the cantata Czech Rhapsody from 1918… The grandiloquence of the opening section and close are beautifully caught by B?lohlávek and the Pavel Kühn Chorale sings the polyglot text (including Psalm 23) with fervour. The Prague Symphony Orchestra accompanies splendidly throughout and the superb acoustic of the Dvo?ák Hall is captured superbly.” Gramophone Magazine, March 2009

“With Martinu's mature and middle-period works staples of the repertoire, one forgets that he did not spring, fully formed, into the compositional world as a neoclassicist. Nipponari is a set of seven songs to Japanese poems for soprano and small orchestra written in 1912 when he was in his early twenties. Delightfully scored, there is nothing in its sound world of the later master who here provides a shimmering accompaniment to the wistful texts. In places there are resonances of Rimsky's Kitezh, too, and British ears may detect stylistic parallels with early Bax, or the Brian of In memoriam. Dagmar Pecková is a radiant soloist.
Magic Nights dates from six years later and uses Chinese texts from the same source as Das Liedvon der Erde to enchanting if less exalted effect.
There is a touch of Debussy in the orchestral sound, which requires a larger ensemble than Nipponari. L'ubica Rybárska yields nothing to Pecková in beauty of tone.
The major item here, however, is the cantata Czech Rhapsody from 1918 (not the violin and orchestra work of 1945), written just a few months before Magic Nights. It is a rare example of politically motivated music in Martinu's canon, imbued with patriotic feelings at impending independence, and was his first nationwide success. The grandiloquence of the opening section and close are beautifully caught by Belohlávek and the Pavel Kühn Cho- rale sings the polyglot text (including Psalm 23) with fervour. The Prague Symphony Orchestra accompanies splendidly throughout and the superb acoustic of the Dvorák Hall is captured superbly. The recordings may be 20 years old but they sound wonderful. Highly recommended.”
Gramophone Classical Music Guide, 2010

GGramophone Magazine

Editor's Choice - March 2009

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Mozart: Opera Arias

Mozart: Opera Arias


Voi che sapete (from Le nozze di Figaro)

Non so più cosa son, cosa faccio (from Le nozze di Figaro)

Ah! Chi mi dice mai (from Don Giovanni)

Ivan Kusnjer (baritone), Jiri Sulzenko (Leporello)

La ci darem la mano (from Don Giovanni)

Ivan Kusnjer (baritone)

Ah Fuggi il Traditor (from Don Giovanni K527)

Vedrai, carino (from Don Giovanni)

In quali eccessi ... Mi tradì quell'alma ingrate (from Don Giovanni)

Ah, scostati!...Smanie implacabili, che m'agitate (from Così fan tutte)

E amore un ladroncello (from Così fan tutte)

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

Deh, per questo istante solo (from La Clemenza di Tito)

Ecco il punto...Non più di fiori vaghe catene (from La clemenza di Tito)

Dagmar Pecková (mezzo)

Prague Chamber Philharmonic Orchestra, Jiří Bělohlávek

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Dvorak: Songs

Dvorak: Songs


In Folk Tone - four songs, Op. 73

Gypsy Melodies (7), Op. 55 (B104)

Liebeslieder (8), Op. 83

Biblical Songs (10), Op. 99

Dagmar Peckova (mezzo), Irwin Gage (piano)

“These four cycles make an excellent and generous coupling, with Dagmar Pecková, brilliantly supported by Irwin Gage, a most persuasive advocate. Hers is an ideal voice, unmistakably Slavonic in timbre, yet firm and pure as well as rich. She retains a freshness specially apt for the songs inviting a girlish manner, including Dvorák's most famous song, the fourth of the seven Gypsy Melodies, 'Songs my mother taught me', sounding fresh and new.
The four cycles represent the full span of Dvorák's career. The eight Love Songs, B160 may officially date from 1888, but Dvorák in fact reworked a selection from 18 songs he'd written passionately at high speed over 20 years earlier – charming pieces which already reveal his unquenchable lyrical gift. Next chronologically are the Gypsy Songs of 1800, bold and colourful, here nicely contrasted by Pecková and Gage with four simpler, less exotic songs, In Folk Tone, of six years later. Last and longest is the cycle of ten Biblical Songs, written in the United States in 1894, when he was feeling homesick. They are more often sung by male singers, gaining from weight and gravity, but here with the mezzo, Pecková, they prove just as moving and intense.
The sound is clear and well balanced.”
Gramophone Classical Music Guide, 2010

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