Prices shown exclude VAT. (UK tax is not payable for deliveries to United States.)
See Terms & Conditions for p&p rates. | | Luciano Pavarotti: Les plus grands airs
| | | In stock - usually despatched within 1 working day. |
|
|
| |  | Luciano Pavarotti: Unforgettable Live
| | | In stock - usually despatched within 1 working day. |
|
|
| |  | Sylvia Sass – The Decca Recitals
Bartók: | Five Songs, Op. 16 (Text: Endre Ady) | Bellini: | Sediziose voci (from Norma) with the Ambrosian Singers | Liszt: | Die Lorelei with András Schiff (piano) Ne brany menya, moy drug, S340a original version with András Schiff (piano) Enfant, si j'étais roi (Hugo), S283 with András Schiff (piano) Es muss ein Wunderbares sein, S. 314 with András Schiff (piano) Vergiftet sind meine Lieder, S.289 with András Schiff (piano) Kling Leise, mein Lied, S301 with András Schiff (piano) Der König von Thule with András Schiff (piano) Die drei Zigeuner, S.320 with András Schiff (piano) | Ponchielli: | Suicidio! (from La Gioconda) National Philharmonic Orchestra, Lamberto Gardelli | Puccini: | In questa reggia (from Turandot) London Symphony Orchestra, Lamberto Gardelli Vissi d'arte (from Tosca) London Symphony Orchestra, Lamberto Gardelli In quelle trine morbide (from Manon Lescaut) London Symphony Orchestra, Lamberto Gardelli Sola, perduta, abbandonata (from Manon Lescaut) London Symphony Orchestra, Lamberto Gardelli Un bel di vedremo (from Madama Butterfly) London Symphony Orchestra, Lamberto Gardelli | Verdi: | Ritorna vincitor! (from Aida) London Symphony Orchestra, Lamberto Gardelli Una macchia è qui tutt'ora (from Macbeth) London Symphony Orchestra, Lamberto Gardelli O madre, dal cielo …Se vano, se vano è il pregare (from I Lombardi) London Symphony Orchestra, Lamberto Gardelli È strano! è strano!...Ah! fors è lui (from La traviata) with Ian Caley (tenor) Vanne, lasciami (from Il Trovatore) La luce langue (from Macbeth) |
Sylvia Sass was born near Budapest, Hungary, in 1951 to a very musical family. Her mother was a coloratura soprano and her father a high school music teacher. She made her stage debut at age 14 in Adam’s operetta Die Nürnberger Puppe and then commenced study at the celebrated Franz Liszt Academy in Budapest, completing a five-year program in two. Her professional debut was as Frasquita in Carmen in 1971. Several awards followed – 1st prize at the Kodály Voice Competition in Budapest, 1972; winner at the International Opera Competition for Young Singers, of the Grand Prix as Violetta in La traviata, 1973, the Silver Medal at the International Tchaikovsky Competition in Moscow, 1974. She was also made an Honoured Artist of Hungary in 1977. While still in Budapest, she performed such dramatic roles as Freia in Das Rheingold, Violetta in La traviata and Mimi in La bohème. International stardom came with a composer with whom she is most associated and in a role represented on her Decca recitals – Giselda in Verdi’s I Lombardi at Covent Garden in London, 1976. The next year she made both, her Italian debut in Turin as Lady Macbeth, and her Metropolitan Opera debut as Tosca alongside José Carreras. La Scala followed the year after, in 1978, where she sang Puccini’s tragic heroine Manon Lescaut alongside Plácido Domingo. Soon, Sass was being heralded as ‘the new Callas’, and she did meet Callas in person, thanks to a meeting set up by Leonard Bernstein. True, the voice had a similar dramatic colour, but Sass quickly rebuffed the comparison, saying, ‘Callas was so great and so unique. I just don’t think it’s fair to compare somebody with such a great artist.’ Her three recital records for Decca include two discs of operatic arias, including all her most celebrated roles, both conducted by Lamberto Gardelli, and a disc of songs by Liszt and Bartók with her compatriot, pianist András Schiff. All of these are issued collectively as a 2CD set for the first time. In recent years, Sass has settled in France, where she keeps busy painting and giving masterclasses. “you could say that Sylvia Sass had taken the best from Callas's and Sutherland's Norma … ‘Sempre libera’, which sounds appropriately hectic, is fearlessly done (with a tender, ardent incursion from Ian Caley as Alfredo) … her vibrant ‘Suicidio’ is undeniably exciting … The Decca recording is faultless.” Gramophone Magazine “The very first phrases of the opening aria (Turandot’s ‘In questa reggia’, no less) command attention and let you know that something rather special has arrived on the scene. And as the Puccini arias follow one another it becomes quite clear that here is an exceptional singer, distinctive in timbre, distinguished in artistry. The voice glitters rather than soothes, shines rather than warms. It is powerful, has a wide range, and is firmly placed. The tone can be brilliantly luminous (as in the Turandot aria), or may acquire a deeper kind of radiance (as in the ‘Vissi d’arte’ that follows it).” Gramophone Magazine “Entering into every nuance of the songs’ moods, and employing a dynamic range from the merest whisper to a full-blooded climax, Sylvia Sass makes the utmost of their not very rewarding vocal line; but the success of this performance is assured by the subtle playing of András Schiff, who conjures up beautiful sounds from the swirling figurations [Bartók] … Die Loreley is an evocative scena, sung imaginatively (and with much flexibility of pace) by Sass, bringing into play a vocal quality as seductive as that of the siren herself; and her gentle singing of the serenade Kling leise, mein Lied would melt the most obdurate heart. … all the performances here are unusually illuminating and satisfying; and the recording is excellent.” Gramophone Magazine (Liszt, Bartók) | | | Usually despatched in 2 - 3 working days. |
|
|
| |  | Leontyne Price: The Complete Collection of Operatic Recital Albums
Barber, S: | He has come, he has come! (from Vanessa) Do not utter a word (from Vanessa) Give Me Some Music (from Antony and Cleopatra, Op. 40) Give me my robe (from Antony and Cleopatra) Knoxville: Summer of 1915, Op. 24 | Beethoven: | Abscheulicher! Wo eilst du hin? (from Fidelio) | Bellini: | Sediziose voci (from Norma) Casta Diva (from Norma) Mira, o Norma (from Norma) with Marilyn Horne (mezzo) | Berlioz: | La Damnation de Faust: D'amour l'ardente flamme | Bizet: | Je dis que rien ne m'épouvante (from Carmen) | Boito: | L'altra notte in fondo al mare (from Mefistofele) | Britten: | On rivalries 'tis safe for kings...O God, my King (from Gloriana) | Charpentier, G: | Depuis le jour (from Louise) | Cilea: | Ecco: respiro appena. Io son l'umile ancella (from Adriana Lecouvreur) Poveri fiori (from Adriana Lecouvreur) | Debussy: | L'annee en vain...Cependent les soirs (from L'enfant Prodigue) | Dvorak: | Mesícku na nebi hlubokém 'Song to the Moon' (from Rusalka) | Flotow: | The Last Rose of Summer (Martha) | Gershwin: | Porgy and Bess (highlights) | Giordano, U: | La mamma morta (from Andrea Chénier) | Gluck: | Divinités du Styx (from Alceste) | Handel: | Care selve (from Atalanta) Semele: Where'er you walk Vivi, tiranno, io t'ho scampato (from Rodelinda) Marilyn Horne (mezzo) Fermati! No, crudel! (from Rinaldo) | Korngold: | Glück, das mir verbleib 'Marietta's Lied' (from Die Tote Stadt) | Leoncavallo: | Qual fiamma avea nel guardo!.... Hui! Stridono lassù (from I Pagliacci) | Mascagni: | Voi lo sapete o mamma (from Cavalleria rusticana) | Massenet: | Allons! Il le faut pour lui-même!... Adieu, notre petite table (from Manon) Dis-moi que je suis belle (from Thaïs) | Menotti: | While I waste these precious hours (from Amelia Goes to the Ball) | Meyerbeer: | In grembo a me [Sur mes genoux] (from L'Africaine) Sung in French Non, non, non, vous n'avais jamais, je gage (from Les Huguenots) Marilyn Horne (mezzo) | Mozart: | E Susanna non vien! … Dove sono i bei momenti (from Le nozze di Figaro) Don Ottavio, son morta!...Or sai chi l'onore (from Don Giovanni) Ch'io mi scordi di te?... Non temer, amato bene, K505 Porgi amor (from Le nozze di Figaro) Se il padre perdei (from Idomeneo) Ach, ich fühl's (from Die Zauberflöte, K620) Giunse alfin il momento... Deh, vieni, non tardar… (from Le nozze di Figaro) L'amerò, sarò costante (from Il re pastore) Bella mia fiamma, addio... Resta, oh cara, K528 Crudele? Ah no, mio bene! ... Non mi dir, bell'idol mio (from Don Giovanni) Oh smania! oh furie!...D'Oreste, d'Aiace (from Idomeneo) Ah, guarda, sorella (from Così fan tutte) with Marilyn Horne (mezzo) Dove sono i bei momenti (from Le nozze di Figaro) | Offenbach: | Tu n'es pas beau, tu n'es pas riche (from La Périchole) | Poulenc: | Mes filles, voilà que s'achève (from Dialogues des Carmelites) | Puccini: | Un bel di vedremo (from Madama Butterfly) Tu? Tu? Piccolo iddio (from Madama Butterfly) Chi il bel sogno di Doretta (from La Rondine) Vissi d'arte (from Tosca) Signore, ascolta! (from Turandot) Tu che di gel sei cinta (from Turandot) Senza mamma, o bimbo (from Suor Angelica) O mio babbino caro (from Gianni Schicchi) Si, mi chiamano Mimi (from La Bohème) Donde lieta usci (from La Bohème) Quando me'n vo (from La Bohème) Addio, addio mio dolce amor! (from Edgar) Ore dolci e divine (from La Rondine) Vissi d'arte (from Tosca) In quelle trine morbide (from Manon Lescaut) Sola, perduta, abbandonata (from Manon Lescaut) Se come voi piccina io fossi (from Le Villi) Un bel di vedremo (from Madama Butterfly) L'amore e un altra cosa (from La Fanciulla del West) Laggiù nel Soledad (from La Fanciulla del West) Oh, sarò la più bella...Tu, tu, amore? (from Manon Lescaut) with Placido Domingo (tenor) Bimba, bimba, non piangere (from Madama Butterfly) with Placido Domingo (tenor) In questa reggia (from Turandot) Chi il bel sogno di Doretta (from La Rondine) Una nave da guerra...Scuoti quelle fronda (from Madama Butterfly) with Marilyn Horne (mezzo) | Purcell: | Thy hand, Belinda … When I am laid in earth (from Dido & Aeneas) | Rossini: | Non temer, d' un basso affetto (from Maometto II) Marilyn Horne (mezzo) | Strauss, J, II: | Klänge der Heimat (from Die Fledermaus) | Strauss, R: | Zweite Brautnacht! (from Die Ägyptische Helena) Salome: Dance of the Seven Veils Salome: Zwischenspiel Ah! Du wolltest mich nicht deinen Mund küssen lassen (from Salome) Es gibt ein Reich (from Ariadne auf Naxos) | Tchaikovsky: | Puskay pogibnu ya 'Tatiana's Letter Scene' (from Eugene Onegin) | Verdi: | Ritorna vincitor! (from Aida) Qui Radamès verrà!... O patria mia (from Aida) Tacea la notte (from Il Trovatore) D'amor sull'ali rosee (from Il Trovatore) Teneste la promessa...Addio, del passato (from La Traviata) Era più calmo? (from Otello) Mia madre aveva...Piangea cantando...Ave Maria (from Otello) Vegliammo invan due notti (from Macbeth) Una macchia è qui tutt'ora (from Macbeth) O madre, dal cielo …Se vano, se vano è il pregare (from I Lombardi) Come in quest'ora bruna (from Simon Boccanegra) È strano! è strano!...Ah! fors è lui (from La traviata) Sempre libera (from La Traviata) Tu che la vanità (from Don Carlo) Giá nella notte densa (from Otello) with Placido Domingo (tenor) Teco io sto (from Un ballo in maschera) with Placido Domingo (tenor) La luce langue (from Macbeth) Caro nome (from Rigoletto) Silenzio! Aida verso noi s'avanza (from Aida) with Marilyn Horne (mezzo) Pace, pace mio Dio! (from La forza del destino) | Wagner: | Du bist der Lenz (from Die Walküre) Dich, teure Halle (from Tannhauser) Mild und leise 'Isolde's Liebestod' (from Tristan und Isolde) | Weber: | Wie nahte mir der Schlummer … Leise, leise, fromme Weise (from Der Freischütz) Ozean, du Ungeheuer (from Oberon) | Zandonai: | Paolo, datemi pace! (from Francesca Da Rimini) |
Leontyne Price is simply one of the best sopranos of all time. Hailed as the “Stradivarius of singers” she had a unique, unmistakable and unforgettable voice which graced the stage of the Met an astonishing 164 times throughout her career. The Leontyne Price catalogue is divided into two “Complete Collections”; Song and Spiritual Albums and Operatic Recital Albums. These collections are housed in original LP design cardboard slipcases and presented in a hardback boxset. “her core stage repertoire was restricted to a dozen or so roles...These 14 recital albums extend her range from Purcell’s Dido to Menotti’s Amelia: her Handel and Mozart may have dated stylistically, but few Countess Almavivas or Donna Annas have sounded more temperamental and voluptuous...All in all, a banquet for opera-lovers.” Sunday Times, 8th January 2012 | | | In stock - usually despatched within 1 working day. |
|
|
| |
|
