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See Terms & Conditions for p&p rates. | |  | Bel Raggio: Rossini Arias
For her second album, Bel raggio, Aleksandra Kurzak focuses on the bel canto classics of Rossini; offering a beguiling mix of the virtuosic, the lyrical, and the comic. Joining her are Sinfonia Varsovia and Pier Giorgio Morandi. “graceful, finished phrasing and an apparently effortless coloratura technique...Without over-egging the pudding, Kurzak acts vividly for a 'blind' audience, alive to verbal nuance and using coloratura not merely as a vote-catching circus trick, but to enhance character.” Gramophone Magazine, June 2013 | 
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| |  | Cecilia & Bryn
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| |  | The Art of Cecilia Bartoli
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| |  | Carlo Morelli
Chiara: | La Spagnola | Giordano, U: | Un dì, m'era di gioia (from Andrea Chénier) | Grever: | Alma mia | Leoncavallo: | Buona Zazà del mio buon tempo from Zazà Zazà, piccolo zingara from Zazà Zazà, piccolo zingara from Zazà Luigi Montesano (baritone) | Massenet: | Vision fugitive (from Hérodiade) | Mozart: | Deh! vieni alla finestra (from Don Giovanni) Luigi Montesano (baritone) | Mussorgsky: | Mephistopheles' Song of the Flea Luigi Montesano (baritone) | Ponce, M: | Si alguna vez | Ponchielli: | Maledici? O monumento (from La Gioconda) Pescator affonda l'esca (from La Gioconda) Così mantieni il patto? (from La Gioconda) Luigi Montesano (baritone) | Puccini: | Quanto?...Gia, mi dicon venal (from Tosca) Luigi Montesano (baritone) | Rossini: | Dunque io son? (from Il Barbiere di Siviglia) Luigi Montesano (baritone), Toti dal Monte (soprano) | Verdi: | Cortigiani, vil razza dannata (from Rigoletto) Vanne, la tua meta gia vedo…Credo in un Dio crudel (from Otello) Era la notte (from Otello) Lassù in cielo (from Rigoletto) Luigi Montesano (baritone), Toti dal Monte (soprano) Vanne, la tua meta gia vedo…Credo in un Dio crudel (from Otello) Luigi Montesano (baritone) |
Carlo Morelli (baritone) with Luigi Montesanto (baritone) Carlo Morelli made his debut at Alessandria’s Teatro Municipale as Tonio in “Pagliacci” in 1922. In order to avoid having his name confused with that of his brother, the tenor/baritone Renato Zanelli, he adopted “Carlo Morelli” as his stage name. He sang for La Scala, Chicago Civic Opera and the Metropolitan Opera in New York. Her later settled in Mexico and died in 1970. | | | Usually despatched in 2 - 3 working days. |
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| |  | Liebeslieder der KlassikClassical Love Songs
Bizet: | La fleur que tu m'avais jetée (from Carmen) | Brahms: | Liebeslieder-Walzer, Op. 52: excerpts O liebliche Wangen, Op. 47 No. 4 Neckereien, WoO 31 No. 2 Der Gang Zum Liebchen, Op. 31 No. 3 | Donizetti: | Una furtiva lagrima (from L'elisir d'amore) | Flotow: | Ach, so fromm (from Martha) | Kalman: | Zwei Märchenaugen (from Die Zirkusprinzessin) Tanzen Möcht' ich (from Die Csárdásfürstin) | Lehár: | O Mädchen, mein Mädchen (from Friederike) Ich danke fur die Huldigung…Ger, gern wär’ich verliebt Dein ist mein ganzes Herz (from Das Land des Lächelns) Wer hat die Liebe uns ins Herz gesenkt | Lortzing: | Lebe wohl, mein flandrisch Mädchen (from Zar und Zimmermann) | Mendelssohn: | Ich wollt' meine Lieb' ergösse sich, Op. 63. No. 1 | Mozart: | Dies Bildnis ist bezaubernd schön (from Die Zauberflöte) Ein Mädchen oder Weibchen (from Die Zauberflöte) Donne mie la fate a tanti (from Così fan tutte) Un'aura amorosa del nostro tesoro (from Così fan tutte) Il mio tesoro intanto (from Don Giovanni) Konstanze, Konstanze...O wie ängstlich (from Die Entführung aus dem Serail) | Nicolai, C O: | Horch, die Lerche singt im Hain! 'Romance' (from Die lustigen Weiber von Windsor) | Puccini: | Che gelida manina (from La Bohème) Bimba dagli occhi pieni di malia (from Madama Butterfly) O soave fanciulla (from La Bohème) Marcello, finalmente...Mimì è una civetta (from La Boheme) | Raymond: | Schau einer schonen Frau nie zu tief in die Augen (from Maske in Blau) | Rossini: | Dunque io son? (from Il Barbiere di Siviglia) Armida: D'amor al dolce impero | Saint-Saëns: | Mon cœur s'ouvre à ta voix (from Samson et Dalila) | Schumann: | Ich denke dein, Op. 78, No. 3 | Strauss, J, II: | Eine Nacht in Venedig: Komm in die Gondel | Suppe: | Florenz hat schöne Frauen (from Boccaccio) sung in German as 'Florenz hat schöne Frauen' | Tauber: | You are the world to me from Der singende Traum sung in German as 'Du bist die Welt für mich' | Verdi: | La donna è mobile (from Rigoletto) Ah sì ben mio (from Il trovatore) |
2 CDs for the price of 1 This new release entited Classical Love Songs on Profil is a compilation of the most beautiful love songs by Mozart, Schumann, Brahms, Rossini, Donizetti and many more. The songs are sung by an exceptional array of artists including Fritz Wunderlich, Rudolf Schock, Hermann Prey, Richard Tauber, Elisabeth Schwarzkopf, Joseph Schmidt, Anneliese Rothenberger and Heinz Hoppe. | | | Usually despatched in 2 - 3 working days. |
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| |  | Cecilia & Bryn at GlyndebourneRecorded live in Glyndebourne Opera House, Lewes, Sussex, 24th April 1999.
Note: This Blu-ray Disc (BD) is not compatible with standard DVD players.
PICTURE FORMAT: 16:9
LENGTH: 90 Mins
SOUND: DOLBY SURROUND / LPCM STEREO
SUBTITLES: EN/FR/DE
“Sparkling harmony …the combined talents of Bryn Terfel and Cecilia Bartoli… raise the temperature… Mozart’s Le Nozze di Figaro… is charged with intrigue and sexual tension and they captured the mood with pinpoint vocal interplay and assured comic acting…a formidable display of coloratura technique and lasersharp intonation.” The Guardian ***** | | | Usually despatched in 2 - 3 working days. |
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| |  | Olga Borodina - Portrait
Berlioz: | Roméo et Juliette: Heureux enfants aux coeurs de flamme Roméo et Juliette Chor des Bayerischen Rundfunks & Wiener Philharmoniker, Sir Colin Davis | Borodin: | Merknet svyet dnevnoy (from Prince Igor) Prince Igor Kirov Orchestra and Chorus, Mariinsky Theatre, St Petersburg, Valery Gergiev Ty li, Vladimir moy? (from Prince Igor) Prince Igor Kirov Orchestra and Chorus, Mariinsky Theatre, St Petersburg, Valery Gergiev | Falla: | El pano moruna (No. 1 from Siete canciones populares españolas) Semyon Skigin (piano) | Handel: | Frondi tenere e belle ... Ombra mai fù (from Serse) Serse Orchestra of Welsh National Opera, Carlo Rizzi | Mussorgsky: | Noch' Larissa Gergieva (piano) Ty, Ruzya, mnye nye nuzhna sevodnya… Kak tomitel'no i vyalo dni za dnyami dlyatsa Boris Godounov Kirov Orchestra, Mariinsky Theatre, St Petersburg, Valery Gergiev Postav'!...Sily potajnye (from Khovanshchina) Khovanshchina Kirov Orchestra, Mariinsky Theatre, St Petersburg, Valery Gergiev | Ponchielli: | Voce di donna o d'angelo (from La Gioconda) La Gioconda Orchestra of Welsh National Opera, Carlo Rizzi | Purcell: | Thy hand, Belinda … When I am laid in earth (from Dido & Aeneas) Dido and Aeneas Orchestra of Welsh National Opera, Carlo Rizzi | Rachmaninov: | Vespers, Op. 37: Blagoslovi, dushe moya, Gospoda Vespers St Petersburg Chamber Choir, Nikolai Korniev | Rimsky Korsakov: | The clouds begin to scatter (Elegy), Op. 42 No. 3 Larissa Gergieva (piano) Zachem ty? … Znat' nye lyubish bolshe ty svoyu Lyubashu with Dmitri Hvorostovsky Vot do chevo ya dozhila The Tsar’s Bride Kirov Orchestra, Mariinsky Theatre, St Petersburg, Valery Gergiev | Rossini: | Una voce poco fa (from Il barbiere di Siviglia) Il barbiere di Siviglia English Chamber Orchestra, Patrick Summers Dunque io son? (from Il Barbiere di Siviglia) Il barbiere di Siviglia with Dmitri Hvorostovsky as Figaro English Chamber Orchestra, Patrick Summers Ah! quel giorno ognor rammento (from Semiramide) Semiramide Orchestra of Welsh National Opera, Carlo Rizzi Nacqui all'affanno, al pianto...Non più mesta (from La Cenerentola) La Cenerentola Orchestra of Welsh National Opera, Carlo Rizzi | Saint-Saëns: | Mon cœur s'ouvre à ta voix (from Samson et Dalila) Samson et Dalila Orchestra of Welsh National Opera, Carlo Rizzi Samson, recherchant ma présence…Amour, viens aider ma faiblesse (from Samson et Dalila) Samson et Dalila Orchestra of Welsh National Opera, Carlo Rizzi J'ai gravi la montagne … Salut à vous, mon père! Samson et Dalila With Dmitri Hvorostovsky English Chamber Orchestra, Patrick Summers | Tchaikovsky: | None but the lonely heart, Op. 6 No. 6 Larissa Gergieva (piano) Uzh polnoch' blizitsya (from Pique Dame) The Queen of Spades Orchestra of Welsh National Opera, Carlo Rizzi Kak ya lyublyu pod zvuki pesen etikh…Uzh kak po mostu, mostochku (from Eugene Onegin) Eugene Onegin Orchestre de Paris, Semyon Bychkov Uzh vecher (from Pique Dame) The Queen of Spades Kirov Orchestra, Mariinsky Theatre, St Petersburg, Valery Gergiev Solitude ('Again, as before, alone'), Op. 73 No. 6 Larissa Gergieva (piano) | Verdi: | Al suon del tamburo (from La Forza del Destino) La forza del destino Kirov Orchestra and Chorus, Mariinsky Theatre, St Petersburg, Valery Gergiev Rataplan, rataplan, della gloria (from La forza del destino) La forza del destino Kirov Orchestra and Chorus, Mariinsky Theatre, St Petersburg, Valery Gergiev Nei giardin del bello saracin ostello 'Veil Song' (from Don Carlo) Don Carlo Chorus & Orchestra of the Royal Opera House, Covent Garden, Bernard Haitink |
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| |  | Great Stars of Opera Vol.1Telecasts from the Bell Telephone Hour 1959-1966
Bell Telephone Orchestra and Chorus, Donald Voorhees | | | Usually despatched in 4 - 5 working days. |
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| |  | Cecilia & Bryn at GlyndebourneArias & duets by Mozart, Rossini & Donizetti
PICTURE FORMAT: 16:9
LENGTH: 90 MINS
SOUND: DOLBY SURROUND / STEREO
SUBTITLES: EN/FR/DE
“Sparkling harmony …the combined talents of Bryn Terfel and Cecilia Bartoli… raise the temperature… Mozart’s Le Nozze di Figaro… is charged with intrigue and sexual tension and they captured the mood with pinpoint vocal interplay and assured comic acting…a formidable display of coloratura technique and lasersharp intonation.” The Guardian ***** | | | Usually despatched in 2 - 3 working days. |
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| |  | Toti dal Monte: A tribute
and traditional Italian songs
The soprano Toti Dal Monte was born Antonietta Meneghel in Mogliano Veneto in 1892. After study at the Benedetto Marcello Conservatory in Venice, she made her début at La Scala in 1916, in Zandonai’s Francesca da Rimini. It was at this time that she adopted her stage name: ‘Toti’ from childhood, ‘Dal Monte’ from an aristocratic grandmother. Her career soon took off both nationally and internationally, as she toured as far afield as the USA, South America, China, Japan and Australia. Held in high regard by the world’s greatest conductors (not least Toscanini), Dal Monte appeared on stage into the late 1940s, in a large repertoire that embraced almost the entire Italian canon of her day. She died in 1975. In his passionately informed booklet essay, Giuseppe Pugliese measures Dal Monte’s singing and career against the judgements and classifications of the tenor and opera historian Giacomo Lauri-Volpi and others. He makes a detailed case for seeing Dal Monte’s as ‘a naturally lirico voice, shaped to the liricoleggero repertoire’. Reckoning her also as nonpareil among her generation, he cites another authority, Eugenio Gara: ‘[Toti Dal Monte] portrayed the moonlit visions and arcane enchantments of Bellini’s heroines, and the passions and sacrifices, woes and remembrances of those of Verdi and Donizetti, with flawless abandon.’ |
| | | Scheduled for release on 1 July 2013. Order it now and we will deliver it as soon as it is available. |
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Gramophone Magazine
