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See Terms & Conditions for p&p rates. | |  | R. Strauss: 3 Hymns & Opera arias
Ondine is pleased to announce the new release from legendary Straussian soprano Soile Isokoski. A multiple award-winner, her recording of the Four Last Songs won a Gramophone Award in 2002. The rarely recorded Three Hymns are coupled with arias from Ariadne auf Naxos, Der Rosenkavalier and Capriccio. Soile Isokoski performs those (and other) operas regularly at opera houses across the world including Vienna State Opera, Royal Opera House, Milan’s La Scala, the Semperoper in Dresden, Paris and at festivals including Salzburg, Edinburgh, Orange and Savonlinna. Three Hymns is a major work, and places considerable vocal demands on the soloist. These atmospheric concert pieces show Strauss’ orchestration in full bloom. “Isokoski can match her great predecessors in her breath control. It’s good to have a souvenir of her distinguished Marschallin and her Madeleine...With Kamu’s Helsinki orchestra providing a lush underlay, Isokoski soars in the ecstatic Hölderlin settings.” Sunday Times, 30th September 2012 “The beauty of Isokoski's singing, with its even, lustrous tone and quiet stylishness, almost goes without saying, and those qualities are at their most beguiling in the Three Hymns. The technical quality is just as high in the opera extracts, but those performances seem to lack a vital dimension.” The Guardian, 20th December 2012 **** “The main attraction of the programme is the Drei Hymnen, which do not come round in recordings very often...As each of her three Straussian heroines, she embodies a very touching, human vulnerability.” Gramophone Magazine, January 2013 | | | (also available to download from $10.50) | In stock - usually despatched within 1 working day. |
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| |  | R. Strauss: Vier letzte Lieder & 12 Lieder
Strauss, R: | Four Last Songs Für fünfzehn Pfennige Op. 36 No. 2 Schlechtes Wetter, Op. 69 No. 5 Weißer Jasmin, Op 31 No 3 Heimkehr, Op. 15 No. 5 Schlagende Herzen Op. 29 No. 2 Begegnung (Meeting), AV 72 Die erwachte Rose, TrV 90, AV 66 Rote Rosen, AV76 Die Zeitlose, Op. 10 No. 7 Die Verschwiegenen, Op. 10 No. 6 Geduld Op. 10 No. 5 Nichts, Op. 10 No. 2 Wo ist mein Bruder? (from Capriccio) |
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| |  | Barbara Hendricks: Au Coeur De L'Opera
Barbara Hendricks' voice — particularly suited to Mozart, Debussy, Fauré, and the lighter roles of Puccini and Richard Strauss — has a warm, crystalline quality that has kept her in demand on stage and in recording studios. Her performances have embraced everything from contemporary music to popular standards, including songs of Duke Ellington and several world premieres. She has been careful with her choices of repertoire, avoiding roles that would overextend her essentially lyric instrument. Aside from music, she is deeply committed to humanitarian work, with a particular concern for refugees and those in war or poverty zones. She sang a concert in Sarajevo in 1993 while the city was being shelled, in which she had to wear a bulletproof vest and helmet. Hendricks has appeared on nearly 80 recordings spread over a variety of major labels. Her first of many recordings for EMI was in the small part of the Celestial Voice in Don Carlo in 1978. For nearly twenty years her solo recordings have been made exclusively for EMI Classics | | | In stock - usually despatched within 1 working day. |
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| |  | Kiri te Kanawa sings Mozart & Strauss
Mozart: | E Susanna non vien! … Dove sono i bei momenti (from Le nozze di Figaro) Porgi amor (from Le nozze di Figaro) Ruhe sanft, mein holdes Leben (from Zaïde) Crudeli, oh dio! (from La Finta Giardiniera) S’altro che lagrime (from La clemenza di Tito) Ei parte...Per pietà (from Così fan tutte) L'amerò, sarò costante (from Il re pastore) Pupille amate (from Lucio Silla) Se il padre perdei (from Idomeneo) Bella mia fiamma, addio... Resta, oh cara, K528 Ach, ich fühl's (from Die Zauberflöte, K620) Bester Jüngling (from Der Schauspieldirektor) Nehmt meinen Dank, ihr holden Gönner!, concert aria K383 | Strauss, R: | Four Last Songs Madrigal, Op.15, No. 1 Morgen, Op. 27 No. 4 Er ist der Richtige nicht für mich … Aber der Richtige, wenn's einen gibt für mich (from Arabella) Und jetzt sag ich Adieu, mein lieber Dominik (from Arabella) O Arabella, gibt es was Schöneres als Sie auf einem Ball! (from Arabella) Das war sehr gut, Mandryka (from Arabella) Dann aber, wie ich Sie gespürt hab hier im Finstern stehn (from Arabella) Allerseelen, Op. 10 No. 8 Die Nacht, Op. 10 No. 3 Capriccio: Intermezzo (Moonlight Music) Wo ist mein Bruder? (from Capriccio) Kein andres, das mir so im Herzen loht (from Capriccio) Du Spiegelbild der verliebten Madeleine (from Capriccio) |
Dame Kiri te Kanawa was presented with a lifetime achievement award at the Classical Brits 2010. Decca’s first-ever compilation devoted to the two composers most closely associated with Kiri te Kanawa: Mozart & Richard Strauss. Selection includes arias from operas by both composers which te Kanawa has sung on stage as well as concert arias and songs she has featured in concert. Kiri te Kanawa is accompanied by two of her greatest musical mentors – Sir Georg Solti - in his dual role as conductor and pianist – and Sir Colin Davis (with whom she first sang the role of the Countess in Le nozze di Figaro at The Royal Opera House, Covent Garden, in 1971. | | | In stock - usually despatched within 1 working day. |
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| |  | Great Operatic Arias 12 - Yvonne Kenny Volume 2Sung in English
| | | (also available to download from $10.50) | Usually despatched in 2 - 3 working days. (Available now to download.) |
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| |  | Strauss- Julia Varady
“After giving choice recitals of Verdi and Wagner, Varady turned her attention to Strauss, and once again the results are for the most part rewarding.
The final scene of Salome, under the watchful eye of Varady's husband, Fischer-Dieskau, has the perfection of pitch and phrase one expects of this singer, as well as an expected acuity for the meaning of the text. Perhaps, away from the theatre in a part she never undertook on stage, the absolute conviction of such great interpreters as Cebotari, Welitsch and Rysanek is absent, but not by much.
The two almost consecutive solos of Ariadne benefit from shapely, poised singing, ever obedient to the score, although occasionally one misses the creamier tones that Lisa della Casa (DG) and Gundula Janowitz (DG video, and EMI) brought to the part. As Danae, Varady seems a shade tentative and vocally out of sorts. There need be no reservations about the final scene of Capriccio, in which she catches ideally Countess Madeleine's emotional perplexity as she tries (unsuccessfully) to choose between her poet and musician admirers.
Both her identification with the role and her execution of Strauss's operatic farewell to his beloved soprano voice are near-ideal. Fischer- Dieskau, endearingly, sings the short part of the Haushofmeister. However, his conducting, although sensibly paced, sometimes errs on the side of caution. As a whole, this CD nicely complements Fleming's Strauss concert on Decca, the two discs offering a compendium of the composer's writing for the soprano voice he loved so much.” Gramophone Classical Music Guide, 2010 “this wide-ranging collection of excerpts contains some of the most magnificent Strauss singing in years. The wonder is that any soprano can range so wide, while producing the most beautiful,full and even stream of sound” Penguin Guide, 2010 edition *** | | | Usually despatched in 3 - 4 working days. |
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| |  | Strauss: Four Last Songsand scenes from Capriccio, Arabella and Ariadne auf Naxos
| | | Usually despatched in 8 - 10 working days. |
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