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See Terms & Conditions for p&p rates. | |  | Diana Damrau: Recital at Baden Baden & Documentary 'Diva Divina'From the Festspielhaus Baden-Baden
Debussy: | Nuit d'étoiles Le Lilas Fleur des blés (André Girod) Claire de lune (song) Mandoline (Verlaine) Beau Soir Apparition - song (1884) Arabesque No. 1 | Fauré: | Impromptu No. 6 in D flat major for harp, Op. 86 Après un rêve, Op. 7 No. 1 Clair de Lune, Op. 46 No. 2 Sérénade toscane Op. 3 No. 2 Les berceaux, Op. 23 No. 1 Adieu, Op. 21 No. 3, from Poème d'un jour Notre amour Op. 23 No. 2 | Gounod: | Ave Maria | Schumann: | Lied der Suleika, Op. 25 No. 9 Der Nussbaum, Op. 25 No. 3 Die Lotosblume, Op. 25 No. 7 Er ist's! Op. 79 No. 23 (Eduard Mörike) Widmung, Op. 25 No. 1 | Strauss, R: | Nichts, Op. 10 No. 2 Freundliche Vision, Op. 48 No. 1 All mein Gedanken ... Op. 21 No. 1 Wiegenlied, Op. 41 No. 1 Die Nacht, Op. 10 No. 3 Morgen, Op. 27 No. 4 Kling! Op. 48 No. 3 Ständchen, Op. 17 No. 2 |
This DVD, centered on the dazzling German soprano Diana Damrau, complements a ravishing recital with a fascinating documentary. In March 2013, Damrau achieved “a daring victory” (in the words of the New York Times) when the Metropolitan Opera witnessed her first-ever performances of Verdi’s La traviata. In recent years she has made the transition from glittering, stratospheric roles such as Mozart’s Queen of the Night and Strauss’ Zerbinetta to lyrical heroines of greater emotional complexity, such as Gilda in Rigoletto, Adina in L’elisir d’amore and Lucia di Lammermoor. A series of triumphs at the Met have made her a favourite singer in New York – as she is in other leading opera houses around the world. In the documentary, Diana Damrau – Diva Divina, the soprano explains that, when she was just 12 years old, it was La traviata (in Franco Zeffirelli’s lavish 1982 cinematic version) that inspired her to make a career in opera. The documentary, directed by Beatrix Conrad, follows Damrau over the course of nine months, covering operatic performances and rehearsals in Geneva, New York, Paris and Munich, recitals, recordings and the arrival of her first child, Alexander. The recital, filmed at the impressive Festspielhaus in Baden-Baden, pairs Damrau with the French harpist Xavier de Maistre in an exquisite selection of songs by Schumann, Fauré, Debussy and Strauss. Among the best-loved items in the programme are: Schumann’s ‘Widmung’; both Fauré’s and Debussy’s settings of Verlaine’s poem ‘Clair de lune’; Fauré’s ‘Après un rêve’; a harp arrangement of Debussy’s piano Arabesque No 1; Strauss’ ‘Morgen‘ and ‘Ständchen’ and, among the encores, the famed Bach-Gounod ‘Ave Maria’. In the course of 2013, Damrau and de Maistre will also perform together in concert seasons in Washington D.C., Paris, Geneva, Lyon, Reykjavik, Hamburg, Munich and London and at festivals in Menton, Gstaad, Schwarzenberg and Grafenegg. Reviewing the performance in Baden-Baden – for which the audience joined Damrau and de Maistre on the stage, rather than being distanced from them in the expansive auditorium – the Badische Neueste Nachrichten wrote of Damrau as a recitalist “whose vocal material and abilities as a storyteller approach perfection”, while the Badisches Tagblatt said:” Damrau’s diction is a pleasure, her vocal flexibility amazing. She sings phrases with ample breath, while her nuanced shadings create subtle changes of mood from song to song.” Die Rheinpfalz described the “gentle, sometimes ethereal tones of the harp” as being in perfect harmony with the “exceptionally subtle and detailed vocal art of the soprano … particularly exceptional are the delicate tracery and colours of Diana Damrau’s singing. Her shaping and accenting of the text is meticulous, her phrasing is of great sensitivity and her dynamics are richly nuanced, yet her song performances are never mannered, rather always full of lyrical feeling.” | 
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| |  | Frederica von Stade sings Fauré Melodies
Fauré: | Les berceaux, Op. 23 No. 1 Le papillon et la fleur, Op. 1 No. 1 Lydia, Op. 4 No. 2 Rêve d'amour, Op. 5 No. 2 La fée aux chansons Op. 27 No. 2 Au bord de l'eau, Op. 8 No. 1 (Prudhomme) Notre amour Op. 23 No. 2 Les roses d'Ispahan Op. 39 No. 4 Dans les ruines d'une abbaye Op. 2 No. 1 Après un rêve, Op. 7 No. 1 Clair de Lune, Op. 46 No. 2 Mandoline, Op. 58 No. 1 (Verlaine) En sourdine, Op. 58 No. 2 (Verlaine) L'aurore Arpège, Op. 76 No. 2 (Samain) Prison, Op. 83 No. 1 Dans la forêt de septembre Op. 85 No. 1 Au cimetière, Op. 51 No. 2 Mélisande's song from Op. 80 |
Described by the New York Times as “one of America’s finest artists and singers,” Frederica von Stade continues to be extolled as one of the music world’s most beloved figures. Known to family, friends, and fans by her nickname “Flicka,” the mezzo-soprano has enriched the world of classical music for three decades. This release highlights the iconic recordings of Faure Melodies with Jean-Philippe Collard and Melisande's Song from Faure's Pelleas et Melisande with Orchestre du Capitole de Toulouse under Michel Plasson. | | | In stock - usually despatched within 1 working day. |
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| |  | Summertime
Arne: | Where the Bee Sucks | Barber, S: | Sure on this shining night, Op. 13 No. 3 The Monk and His Cat (No. 8 from Hermit Songs) | Berlioz: | L'Île inconnue (from Les Nuits d'été) Villanelle (from Les nuits d'été, Op. 7) | Bernstein: | My House (from Peter Pan) | Brahms: | Meine Liebe ist grün, Op. 63 No. 5 | Bridge: | Go Not, Happy Day | Delius: | To Daffodils | Elgar: | The Shepherd's Song | Fauré: | Clair de Lune, Op. 46 No. 2 Soir Op. 83 No. 2 Notre amour Op. 23 No. 2 | Fraser-Simson: | Vespers | Gershwin: | Summertime (from Porgy and Bess) | Head, M: | The Little Road to Bethlehem | Ireland: | The Trellis | Lehmann: | Ah, moon of my delight | Porter, C: | The Tale of the Oyster | Quilter: | Now sleeps the crimson petal, Op. 3 No. 2 (Tennyson) Who is Sylvia Love's Philosophy, Op. 3 No. 1 (Shelley) | Rutter: | The Lord bless you and keep you | Schubert: | Auf dem Wasser zu singen, D774 | Schumann: | Der Nussbaum, Op. 25 No. 3 | trad.: | The Lark in the Clear Air | Vaughan Williams: | Orpheus With His Lute | Warlock: | Sleep | Wood, Haydn: | A brown bird singing |
Dame Felicity Lott, revered British soprano, says of this CD: “ Summertime also has many of my favourite songs in English, French and German. We made the CD at a friend`s house, and the sessions were so relaxed, with no London traffic to cause endless retakes! It`s a real mix of beautiful songs of all kinds, on a summer theme. I chose songs I loved, from Gershwin to Christopher Robin…. Three centuries of song are represented here, and, as BBC Music Magazine's Hilary Finch put it “such is the skill of Johnson's programming that the entire recital seems to be a single, sustained exhalation of rapture and reflection” She went on to say: The upper reaches of Lott's still gleaming soprano inhabit Barber's 'Shining Night' and Fauré's Clair de lune'. And her robust English version of Schubert's 'Who is Sylvia?' finds an irresistible companion in Arne's 'Where the Bee Sucks', with its veritable midsummer night's dream of an accompaniment from Johnson. The artists' palpable sense of joy and well-being gathers momentum as they visit Berlioz's 'L'île inconnue' and as they sing on the water with Schubert. . . . And Lott and Johnson know well that the only way to face sentiment is to acknowledge its own integrity, as they do when they listen to Haydn Wood's 'Little Brown Bird' and eavesdrop with Fraser-Simson on Christopher Robin saying his prayers. This CD features songs from a great variety of composers - Gershwin, Barber, Cole Porter, Bernstein, Brahms, Schubert, Arne, Schumann, Berlioz, and many more. A full 29 tracks of summer-themed songs! | | | In stock - usually despatched within 1 working day. |
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| |  | Simon Keenlyside & Malcolm Martineau
Fauré: | Aubade, Op. 6 No. 1 En sourdine, Op. 58 No. 2 (Verlaine) Green, Op. 58 No. 3 (Verlaine) Notre amour Op. 23 No. 2 Fleur jetée, Op. 39 No. 2 Spleen, Op. 51 No. 3 (Verlaine) Madrigal Op. 35 Le papillon et la fleur, Op. 1 No. 1 | Poulenc: | Hotel Encore | Ravel: | Histoires naturelles (5) | Schubert: | An Sylvia, D891 Die Einsiedlei D393 (Salis-Seewis) Verklarung D59 (Herder, after Pope) Die Sterne, D939 (Leitner) Himmelsfunken, D651 Ständchen 'Leise flehen meine Lieder', D957 No. 4 | Wolf, H: | Der Knabe und das Immlein (No. 2 from Mörike-Lieder) Gesang Weylas (No. 46 from Mörike-Lieder) An die Geliebte (No. 32 from Mörike-Lieder) Auf eine Christblume II (No. 21 from Mörike-Lieder) Lied eines Verliebten (No. 43 from Mörike-Lieder) Lied vom Winde |
He was already noted as a recitalist, and “a talent to cherish” as far back as 1989. Since appearing in La Scala in 1998 he has performed recitals all over the world, his repertoire including: Schubert, Schumann, Strauss, Brahms, Fauré, Wolf and Mahler. He has also recorded many English songs. Gramophone describe him as the finest baritone singer of Lieder this country has ever produced. In Simon's own words “I've probably got around 15 years, and think I can see the end of the tunnel. I've done most of the roles that suit me and some, like Papageno, I'll never want to drop…” “In Wagner I shan't go beyond Wolfram in Tannhauser. I know there's Beckmesser, but I'm afraid it's not a role that excites or fascinates me. I'll never get tired of the stand-and-sing roles like Germont in Traviata and Posa in Don Carlos - parts where you really have to act with your voice and pin the audience to their seats with inflexion, nuance and colour. I probably shan't sing Billy Budd again… and am moving down from Pelleas to Golaud. The two new roles I'm most excited about are Wozzeck and Rigoletto, which are both great theatre and call on a huge palette of colours. Wozzeck in particular, is a mountain any baritone wants to climb…” “The opening Schubert group demonstrates the baritone's natural and unaffected delivery - an ability to hold words and notes together in one single gesture - and his finely tuned vocalism, founded on a lightly rounded but always expressive tone. He sounds equally at ease in the French half of the programme. ...'En sourdine' flows beautifully...and the light humour of 'Le Papillon et la Fleur', Fauré's Op. 1 No. 1, is flawlessly conveyed in Martineau's enchantingly lithe pianism.” BBC Music Magazine, December 2009 “you’re being invited to step into a more gently nuanced and delicately observed world, where the expressive weight of each phrase is being judged to perfection, with not a gram of emotional excess...this is such a successful document of the occasion that you might honestly end up feeling that you were [there]… and can be again, and again.” Andrew McGregor, bbc.co.uk, 22nd December 2009 “Hugo Wolf is at his most welcoming in "Der Knabe und das Immelein" and Keenlyside is at his most responsive in "An die Geliebte". Keenlyside is at his best in "Notre amour" - and very French. In… Malcolm Martineau: he has a collaborator in whom the life of texts as well as the music is experienced and communicated unfailingly.” Gramophone Magazine, November 2009 | | | In stock - usually despatched within 1 working day. |
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| |  | Fauré - The Complete Songs - 3Chanson d’amour
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| |  | Faure - Requiem & Songs
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| |  | Faure: Complete Songs, Vol. 2
Pierre Mollet (baritone), Simone Gouat (piano), Berthe Monmart (soprano), Renee Doria (soprano), Jacques Dutey (baritone), Tasso Janopoulo (piano) | |
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| |  | Songs of Debussy and Fauré
Benita Valente (soprano), Lydia Artymiw (piano) | |
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| |  | Measha Brueggergosman - Night and Dreams
Brahms: | Ständchen, Op. 106 No. 1 | Chausson: | Le temps des lilas | Debussy: | Beau Soir | Duparc: | Chanson triste Phidylé | Falla: | Nana (No. 5 from Siete canciones populares españolas) | Fauré: | Notre amour Op. 23 No. 2 Clair de Lune, Op. 46 No. 2 | Hahn, R: | L'heure exquise | Hime, F: | Anoiteceu | Liszt: | O quand je dors (Hugo), S282 | Montsalvatge: | Canción negra No. 4, Cancion de cuna para dormir a un negrito | Mozart: | Abendempfindung an Laura, K523 | Schubert: | An den Mond, D193 | Strauss, R: | Die Nacht, Op. 10 No. 3 Wiegenlied, Op. 41 No. 1 Ständchen, Op. 17 No. 2 | Warlock: | Sleep | Wolf, H: | In dem Schatten meiner Locken (No. 2 from Spanisches Liederbuch: Weltliche Lieder) |
Measha Brueggergosman and pianist Justus Zeyen interpret well- and little-known songs of Duparc, de Falla, Hahn, Liszt, Schubert, and others chosen for their soulful depth, variety, and beauty. Measha Brueggergosman about Night and Dreams: “We wanted something that was languid, sexy, romantic, different. Also, it’s repertoire that gives me the chance to really let go.” She projects drama, passion, comedy, or charm as needed in any of the languages she speaks, essential for a Lieder and chanson singer who must make words come alive with meaning, color, and esprit as well as vocal quality The fervent response to her “triumphant DG debut recital” (Gramophone) makes this follow-up album a must for fans of this rising star. “In a programme that moves, as in dreams, from land to land without seeming to notice, this delicately attuned soprano and her ever-wakeful pianist drift wherever Morpheus calls most beguilingly. The lullabies, serenades, evocations of moonlight and invocations to sleep are sweetly voiced and extended to include the tender observations of a lover's repose or (in Fauré's "Notre amour") the lively appreciation of love itself. The "exquisite hour" is not so drowsy as to become merely soporific, and the expressive range is perhaps surprisingly wide.” Gramophone Magazine, February 2010 “This is a recital to treasure, one that I’ve been playing repeatedly...Everything she sings is radiated by an instinctive musicality, breadth of phrasing and generosity of spirit: here is someone evidently singing for love not money and she has the gift of making the music glow.” The Telegraph, 23rd April 2010 ***** | | | Usually despatched in 2 - 3 working days. |
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| |  | Faure: Mélodies
Fauré: | Nell, Op. 18 No. 1 Lydia, Op. 4 No. 2 Les roses d'Ispahan Op. 39 No. 4 Clair de Lune, Op. 46 No. 2 Mandoline, Op. 58 No. 1 (Verlaine) En Priere Noël Op. 43 No. 1 Poème d'un jour Op. 21 Berceuse, Op. 16 Ici-bas ! Op. 8 No. 3 Au bord de l'eau, Op. 8 No. 1 (Prudhomme) Les berceaux, Op. 23 No. 1 Notre amour Op. 23 No. 2 Le secret Op. 23 No. 3 Chanson d'amour, Op. 27 No. 1 Sicilienne, Op. 78 Dans les ruines d'une abbaye Op. 2 No. 1 Rêve d'amour, Op. 5 No. 2 Mai Op. 1 No. 2 Au cimetière, Op. 51 No. 2 L'horizon chimérique, Op. 118 Nocturne, Op. 43 No. 2 |
Maria Jette (soprano), Judith Kogan (harp) | |
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