All recordingsPrices shown exclude VAT. (UK tax is not payable for deliveries to United States.) See Terms & Conditions for p&p rates. | |  | Favourite Baroque Arias
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| |  | Classic Brass
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| |  | Great Handel - Ian Bostridge
“Beyond a forgivable desire to rehabilitate the Handel tenor, I have tried in this recording to represent one essential but fugitive quality of Handel’s - his protean nature, his ability to recreate himself while remaining essentially the same.” Ian Bostridge “Bostridge is sharply attuned to the subtlety of Handel's work setting, colouring his sound with a rich palette of timbres and effects: sonorous and sensuous in 'Ombra mai fù', hauntingly stark in 'Total eclipse'. …Harry Bicket's direction is sensitive and unfussy - tempos are well-judged, allowing him to shape Handel's long-breathed melodic lines with supple grace.” BBC Music Magazine, Proms 2007 **** “Bostridge’s care over colouring and shading refreshes numerous chestnuts...No self-conscious art here; it’s the music that speaks.” The Times, 13th July 2007 **** “...high points of the disc include Where'er you walk, and the uplifting Comfort ye…Ev'ry valley from The Messiah. However, with Bostridge's vocal precision and smooth tone the whole disc is undoubtedly an enjoyable listen.” Charlotte Gardner, bbc.co.uk, 16th January 2008 | | | In stock - usually despatched within 1 working day. |
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| |  | As Steals the MornHandel - Arias & scenes for tenor
Handel: | Enjoy the sweet Elysian grove (Alceste, Act IV) Semele: Where'er you walk Urne voi (Il Trionfo del Tempo e del Disinganno, Part I) Forte e lieto (from Tamerlano) Oh per me lieto, avventuroso giorno! (from Tamerlano) Figlia mia (from Tamerlano) Tu, spietato (from Tamerlano) Samson: Total eclipse! Samson: Did love constrain thee? Samson: Your charms to ruin led the way Samson: Let but that spirit Samson: Then shall I make Jehovah's glory known! Thus when the sun from’s watry bed (Samson) Fatto inferno…Pastorello d'un povero armento (from Rodelinda) Esther: Tune your harps to cheerful strains Heav'n smiles once more … (Jephtha, Act II, 2) Jephtha: His mighty arm Jephtha: Waft her, angels, through the skies As steals the morn (from L'Allegro, il Penseroso, ed il Moderato) |
A dramatic collection of solo arias and scenes for tenor drawn for oratorio and opera - some of Handel's most lovely music, brilliantly performed by Mark Padmore and The English Concert, led by Andrew Manze. The concluding duet As steals the morn with soprano Lucy Crowe is an added bonus. “Tenors are fighter pilots - dashing, heroic, unhappy out of the limelight - and Padmore is an ace among them, soaring through this disc on a velvet voice in various Handelian guises. Semele falls for
his smooth flattery in Where'er you walk', though he decelerates after the intro speed set by The English Consort under Andrew Manze. His blinded Samson is harrowingly persuasive in 'Total Eclipse',
he shows off impressive no-breath acrobatics in Jephtha and dramatises outrageously in the Tameriano extract. The alto Robin Blaze and the soprano Lucy Crow are his top-notch, bit-part crew.” The Times “Underpinned by Andrew Manze's unobtrusive and warm-hearted English Concert, Mark Padmore uses his extraordinary diction and whispering chamber-like intimacy to remind us that the most exalted tenor arias from Handel's operas and oratorios can achieve true potency out of context. Favourites like 'Where'er you walk' and 'Waft her, angels' appear to grow out of this varied programme without the sense of being lifted for a compilation; Padmore is a master of taste, restraint and unassuming gesture. 'Pastorello d'un povero' is a touching vignette and the soft singing elsewhere contributes to a concentrated and affecting juxtaposition of human vice and virtue in the Tamerlano scenas. As throughout, Padmore saves the greatest emotional impact for the da capos where coloration reaches new heights. Indeed, it is the joy in conveying the emotional core of each situation which marks out this disc. Graphic dramatic effects abound (not least the Sultan's gradual giving up the ghost in 'Figlia mia' with a croaking realism) but this is a disc which celebrates Handel's capacity for incisive human observation, achieved more through reflective means than showpiece coloratura. It's a persuasive and thoughtful approach. Padmore's lowest register can seem a touch insubstantial but this is a small gripe in a disc boasting – as its parting shot – the duet 'As steals the morn', a performance with the fine Lucy Crowe at her most alluring.” Gramophone Classical Music Guide, 2010 “Handel was one of the first Baroque composers to invest his talents in the tenor voice and here this unique English legacy is recalled. Through his shading, dynamic range and commitment to the text, Padmore seduces the listener.” BBC Music Magazine, May 2008 | | | In stock - usually despatched within 1 working day. |
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| |  | Lynn Harrell - Andante CantabileCello Encores
Bloch, E: | From Jewish Life: No. 1, Prayer (From Jewish Life - No. 1) | Catalani: | Ebben? Ne andrò lontana (from La Wally) (arr. Vladimir Cosma) | Chopin: | Nocturne No. 20 in C sharp minor, Op. post. (transc. Piatigorsky) | Debussy: | Beau Soir (transc. Alexander Gretchaninoff) | Duparc: | Phidylé | Elgar: | Salut d'amour, Op. 12 | Falla: | Nana (No. 5 from Siete canciones populares españolas) (Suite populaire Espagnole) | Fauré: | Après un rêve, Op. 7 No. 1 (arr. Milton Katims) | Glazunov: | Spanish Serenade, Op. 20 No. 2 | Granados: | Goyescas (opera): Intermezzo | Handel: | Semele: Where'er you walk | Hillemacher: | Gavotte tendre | Paradis: | Sicilienne (arranged for violin by S. Dushkim, transcribed for cello by Lynn Harrell) | Ravel: | Vocalise-étude en forme de habanera | Saint-Saëns: | Le carnaval des animaux: Le Cygne (ed. Leonard Rose) | Schubert: | Moments Musicaux, D780: No. 3 in F minor An die Musik D547 Nacht und Träume, D827 | Schumann: | Kinderszenen, Op. 15: Traümerei | Sullivan, A: | An Idyll | Taki: | Kojo no tsuki (The Moon on the Ruined Castle) |
As he explains in his liner notes for this CD, Lynn Harrell uses the voice as his point of departure for this collection of encores. They are largely reflective pieces, with a bit of fun such as the unfairly forgotten Glazunov Spanish Serenade thrown in for good measure, and this once popular disc now makes a return to the catalogue, at budget price. | | | In stock - usually despatched within 1 working day. |
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| |  | In Memoriam Kathleen Ferrier 1912-1953
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| |  | Handel: Arias
Handel: | Judas Maccabaeus: Arm, arm ye brave Te Deum in D major 'Dettingen', HWV283: Vouchsafe, O Lord Samson: Honour and arms scorn such a foe Si, tra i ceppi (from Berenice) Verdi prati (from Alcina) O voi, del mio poter (from Orlando) Sorge infausta una procella (from Orlando) I rage, I melt, I burn…O ruddier than the cherry (from Acis and Galatea) O ruddier than the Cherry (from Acis and Galatea) Semele: Where'er you walk Alexander's Feast: Revenge, revenge, Timotheus cries Va tacito e nascosto (from Giulio Cesare) Frondi tenere e belle ... Ombra mai fù (from Serse) Messiah: Thus saith the Lord Messiah: But who may abide Messiah: Why do the nations so furiously rage together? Messiah: Behold, I tell you a mystery... The trumpet shall sound |
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| |  | Kenneth McKellar sings Handel
Throughout much of the first half of the previous century, entertainer Harry Lauder was, in the words of Winston Churchill, ‘Scotland’s greatest ever ambassador!’ In the following years, Scotland’s next ‘greatest ever ambassador’ (if not Sean Connery!) must have been Kenneth McKellar, who was born in 1927, the son of a grocer, in the Scottish town of Paisley. From 1959–60 he recorded a series of Handel arias for Decca, with the Orchestra of the Royal Opera House, Covent Garden, conducted by Sir Adrian Boult. Some were issued on an EP and later the entire collection was brought out on an LP. In 1961 he went into the recording studios, again with Boult, for more Handel, this time with the LSO and Chorus, to sing the tenor part in Messiah alongside Joan Sutherland, Grace Bumbry and David Ward. Collected here are all the arias from the first record, supplemented with additional arias from Messiah. ‘Thy rebuke … Behold and see’ was recorded during the Messiah sessions as an alternative take to the soprano version (Joan Sutherland eventually sang it in the complete recording) and never issued on LP (it first appeared as an appendix to the Decca Eloquence reissue of this complete Boult Messiah). ‘Comfort ye … Ev’ry valley’ comes from the earlier Handel Arias sessions, and receives its first international release on CD. McKellar died, shortly after being diagnosed with pancreatic cancer, in 2010, while visiting his daughter Jane in the United States. He is buried in Paisley. It is gratifying that his artistry is being rediscovered by a new generation of listeners. “Kenneth McKellar's voice has timeless appeal in this 1960s compilation.” BBC Music Magazine, March 2012 *** | | | This item is currently out of stock at the UK distributor. You may order it now but please be aware that it may be six weeks or more before it can be despatched. |
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| |  | The Sublime Voice of Lynda Barrett
Adam: | O Holy Night | Franck, C: | Panis Angelicus | Gounod: | Ave Maria | Handel: | Semele: Where'er you walk Messiah: Come Unto Him All Ye That Labour Messiah: How beautiful are the feet | Head, M: | The Little Road to Bethlehem Sweet chance | Lloyd Webber, A: | Requiem: Pie Jesu | Løvland: | You Raise Me Up | Mozart: | Vesperae Solennes de Confessore, K339: Laudate Dominum arr. Neil Jenkins S’altro che lagrime (from La clemenza di Tito) | Purcell: | Music for a while, Z583 When I am laid in earth (from Dido and Aeneas) | Rubbra: | A Hymn to the Virgin, Op. 13 No. 2 | Rutter: | The Lord bless you and keep you | Stopford: | Irish Blessing Stabat Mater | Sullivan, A: | The Sun Whose Rays (from The Mikado) | trad.: | O Waly, Waly ('The Water is Wide') arr. Mark Haye | Vivaldi: | Nulla in mundo pax sincera, motet for soprano, strings & continuo, RV 630 |
"The most wonderful natural soprano voice you will ever hear." Do not miss it. Lynda has been singing since she was a young girl and today she has won many prizes and awards in Northern Ireland. She studied music at Queen's University, Belfast where she studied with the late great Irene Sandford. Much in demand as a soloist, Lynda also has been involved with Castleward Opera where she has sung a number of leading roles. She has also featured as guest soprano with the Ulster Orchestra in their series of Christmas Concerts as well as on television in different programmes for the BBC. I first came across Lynda Barrett when she was singing as part of a choir that I was recording in St.Anne's Cathedral, Belfast. Suddenly in the solo section of an anthem a solo voice shone through that was something rather special and that nearly made me fall off my seat in amazement! It was a wonderful mixture of purity, clarity and beauty that was far removed from the average solo soprano. Not only was this a voice of rare quality but Lynda sang from the heart and not from the head. Here was a God given gift from a very modest lady, which i felt should be heard by a far wider audience. A CD was therefore born... Lynda has recorded a programme of music that is delightful on the earand one that I feel best conveys the qualities of this superb voice captured for posterity. | | | Usually despatched in 8 - 10 working days. |
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| |  | Handel Gold
Handel: | Samson: Let the bright seraphim Kiri Te Kanawa (soprano), Crispian Steele-Perkins (trumpet) English Chamber Orchestra, Barry Rose Lascia la spina (from Il Trionfo del Tempo e del Disinganno) Cecilia Bartoli Les Musiciens du Louvre - Grenoble, Marc Minkowski Frondi tenere e belle ... Ombra mai fù (from Serse) Plácido Domingo Giuseppe Verdi SO Milano, Marcelo Viotti Tornami a vagheggiar (from Alcina) Joan Sutherland London Symphony Orchestra, Richard Bonynge Dopo notte (from Ariodante) Anne Sofie von Otter Les Musiciens du Louvre, Marc Minkowski Care selve (from Atalanta) Luciano Pavarotti Orchestra del Teatro Comunale di Bologna, Richard Bonynge V' adoro, pupille (from Giulio Cesare) Renée Fleming Orchestra of the Age of Enlightenment, Harry Bicket Ciel e terra armi di sdegno (from Tamerlano) Rolando Villazón Gabrieli Players, Paul McCreesh Ma che vuoi più da me (from Floridante) Joyce DiDonato Il Complesso Barocco, Alan Curtis Ah dolce nome! (from Muzio Scevola) Russell Oberlin The Baroque Chamber Orchestra, Thomas Dunn Jephtha: Waft her, angels, through the skies Nigel Robson English Baroque Soloists, John Eliot Gardiner Messiah: He was despised Kathleen Ferrier London Philharmonic Orchestra, Adrian Boult Coronation Anthem No. 1, HWV258 'Zadok the Priest' Choir of Westminster Abbey, The English Concert, Simon Preston Semele: Where'er you walk Bryn Terfel Scottish Chamber Orchestra, Charles Mackerras Hercules: Where shall I fly? Janet Baker English Chamber Orchestra, Raymond Leppard Joshua: Oh! had I Jubal's lyre Magdalena Kozena Venice Baroque Orchestra, Andrea Marcon Judas Maccabaeus: See, the conqu'ring hero comes! Academy & Chorus of St Martin in the Fields, Neville Marriner Judas Maccabaeus: Father of Heaven Grace Bumbry The Utah Symphony, Maurice Abravanel Solomon: Almighty pow'r Andreas Scholl Gabrieli Players, Paul McCreesh Semele: Myself I shall adore Danielle de Niese Les Arts Florissants, William Christie Messiah: The People that walked in darkness John Tomlinson The English Concert, Trevor Pinnock Piangerò la sorte mia (from Giulio Cesare) Teresa Berganza Orchestra of the Royal Opera House Covent Garden, Alexander Gibson Verdi prati (from Alcina) Fritz Wunderlich Cappella Coloniensis, Ferdinand Leitner Semele: Hence, Iris, hence away Marilyn Horne New Symphony Orchestra of London, Richard Bonynge Theodora: Angels, ever bright and fair Susan Gritton Gabrieli Players, Paul McCreesh Messiah: I know that my Redeemer liveth Sylvia McNair Academy of St. Martin in the Fields, Neville Marriner Messiah: Behold, I tell you a mystery... The trumpet shall sound Thomas Quasthoff Staatskapelle Dresden, Sebastian Weigle Messiah: Hallelujah Chorus The English Concert Choir, The English Concert, Trevor Pinnock |
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