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Bel Canto Arias
Recorded in her 59th year, this was one of Sutherland's last studio recordings. The notes are by Richard Bonynge, the indefatigable mind behind the research of much of this repertoire.
“How good, for instance, that Sutherland should still be exploring. Everything here is new to her discography, and the solo from Il castello di Kenilworth will be new to most of her listeners … The fine tragic sweep of the violins in the Attila solo, the plaintive elegance of Bellini's cantilena, the simple good humour of Betly's 'tralla las' – none of these is too familiar to be welcome, and in the last of them Sutherland's gaiety is vividly personal and expert in timing. Of her French arias the Africaine is probably most successful, with its emotions imaginatively caught” Gramophone Magazine
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Richard Bonynge – The Opera Collection
Good night (Victoria und ihr Husar)
Le chanson du canari (from Les Pantins de Violette)
Dès l’enfance (from Le Serment/Fra Diavolo)
Buvons tous au Sultan Misapouf (from L’Ambassadrice)
Qui la voce sua soave...Vien, diletto (from I Puritani)
Sa misère est si grande (from Dom Sébastien)
L'ai-je bien entendu?… O mon Fernand (from La Favorite)
Rodelinda: selected arias
Gehen wir ins Chambre séparée (from Der Opernball)
Heia, in den Bergen from Die Csárdásfürstin
Stars In My Eyes (from The King Steps Out)
Einer wird kommen (from Der Zarewitsch)
Meine Lippen sie Kussen so heiss (from Giuditta)
Viljalied (from Die lustige Witwe)
Lippen schweigen (from Die Lustige Witwe)
Hör' ich Zymbalklänge (from Zigeunerliebe)
Non piu andrai, farfallone amoroso (from Le Nozze di Figaro)
Crudel! perché finora farmi languir così? (from Le nozze di Figaro)
Vedro mentr'io sospiro (from Le nozze di Figaro)
Dove sono i bei momenti (from Le nozze di Figaro)
Come scoglio (from Così fan tutte)
Donne mie la fate a tanti (from Così fan tutte)
La ci darem la mano (from Don Giovanni)
Batti, batti, o bel Masetto (from Don Giovanni)
Vedrai, carino (from Don Giovanni)
Bei Männern, welche Liebe fühlen (from Die Zauberflöte)
Ach, ich fühl's (from Die Zauberflöte, K620)
Pa-pa-pa-pa-Papagena (from Die Zauberflöte)
Die Zauberflöte, K620: Overture
Hm! hm! hm! hm! (from Die Zauberflöte)
O Isis und Osiris, schenket (from Die Zauberflöte)
Soll ich dich, Teurer, nie mehr sehn? (from Die Zauberflöte)
Bald prangt, den Morgen zu verkünden (from Die Zauberflöte)
Someday my heart will awake (from King's Rhapsody)
My Dearest Dear (from The Dancing Years)
Barcarolle (from Les Contes d'Hoffmann )
Wien, du Stadt meiner Traüm
Mein Liebeslied muß ein Walzer sein
Strauss, J, II:
Gruss dich Gott, du liebes Nesterl
Nun's Chorus from Casanova
A vos jeux, mes amis (from Hamlet)
Schenkt man sich Rosen in Tirol (from Der Vogelhändler)
Der Obersteiger: Sei nicht bös’ from Der Vogelhändler
John Pringle, Isobel Buchanan, Roger Lemke, Michael Martin, Wendy Dixon, Kerry Elizabeth Brown, Rosemary Gunn, Deborah Riedel, Stephen Bennett, Andrew Phipps, Michael Tierney, Christoper Taplin, Angela Denning, Heather Begg, Anson Austin, Glenys Fowles, Joan Sutherland, Yvonne Kenny, Valda Wilson, John Longmuir, Fiona Janes, Lorina Gore, Liane Keegan
Queensland Symphony Orchestra, Australian Opera and Ballet Orchestra, Melbourne Symphony Orchestra, Adelaide Symphony Orchestra, Melbourne Symphony Orchestra Chorus, Sydney Lyric Orchestra, Richard Bonynge
Richard Bonynge is renowned as one of the finest opera conductors of his generation. His musicianship has been acclaimed around the globe – but it is at home in Australia that many of his closest musical collaborations have developed.
This collection, released in celebration of the maestro’s 85th birthday, celebrates his rich legacy on ABC Classics, drawing on four decades of recordings: from Handel and Mozart to the great bel canto repertoire and Viennese operatta, including never-before-released recordings of Joan Sutherland, and classic recordings of French opera arias now issued on CD for the first time.
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French Opera Arias
Sonia Ganassi (mezzo-soprano)
Marchigiana Philharmonic Orchestra, Carla Delfrate
Elina: The Best of Elina Garanča
Elīna Garanča’s personal choice of her greatest tracks, released to coincide with her receiving an Echo Award (6 October) & the publication of her memoirs in December
Ten years ago she made her sensational début at the Salzburg Festival, singing the role of Annio in Mozart’s Clemenza di Tito. Since then Elīna Garanča has become one of the greatest, most sought-after mezzo-sopranos in the world. As an exclusive Deutsche Grammophon artist, she has made four solo albums for the label, and collaborated on many CD and DVD releases.
Now, with the artist’s help, we have brought together favourite tracks from her discography – the Seguidilla and Habanera from Carmen, the Flower Duet from Lakmé (with Anna Netrebko), the Barcarolle from The Tales of Hoffmann and many more, including Annio’s aria from Clemenza di Tito, some of her great bel canto roles and the touching Lullaby (Nana) by de Falla (see tracklist).
The CD booklet includes a newly-commissioned interview with Elina, where she reflects on her career and indicates where she is headed artistically. Her complete discography is also given there.
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Elīna Garanča: Romantique
In Romantique, Elīna Garanča makes a smashing return to the studio and puts her imprint upon the big Romantic repertory, brilliantly portraying such different heroines as Tchaikovsky’s Joan of Arc (The Maid of Orléans), Gounod’s Sapho and Saint-Saëns’ Dalila
Elīna Garanča’s mezzo-soprano is velvet; she is a stunning figure on stage; her formidable technique encompasses repertoire from Mozart and bel canto to dramatic roles and contemporary music
Conductor Yves Abel’s penchant for the voice and skill at leading an orchestra draws beautiful sound and potent drama from the Filarmonica del Teatro Comunale di Bologna. Elīna Garanča’s rapport with this orchestra is deeper than ever.
“If we needed more evidence that the Latvian mezzo is shaping up to be one of the 21st century’s greatest voices, this superb album of 19th-century arias supplies it in buckets. From top to bottom her timbre is rich and firm and her intonation virtually infallible...Pure vocal bliss.” The Times, 6th October 2012 *****
“She has an intensely lyrical voice, lithe enough for ornamentation but also honing a dusky quality which is immediately appealing in the repertoire selected for this disc...Overall, this is a splendid operatic recital...[and] should appeal to aficionados of fine singing, especially in French repertoire somewhat 'off the beaten track'.” International Record Review, December 2012
“Marguerite's soliloquy, accompanied by an eloquent cor anglais, is movingly done...[as Dalila] Garanca is sensuous without being vampish - quite an achievement in this part...[She] moves effortlessly from top to bottom without ever sacrificing beauty of tone...Fans - and others - need not hesitate.” Gramophone Magazine, January 2013
“She describes herself as a lyric mezzo, but many roles here suggest considerable power, emphasised by the echoey recording...Her French isn't perfect, but it's very good, and she relishes the lyrical lines of Gounod's little-known Sapho and Queen of Sheba...A fine collection.” BBC Music Magazine, January 2013 ****
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