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See Terms & Conditions for p&p rates. | |  | Bruckner: Symphony No. 7 & Wolf: LiederRecorded live at Semperoper Dresden, September 2012
The Dresden Staatskapelle has a living Bruckner tradition, stretching back a century and more, which is lovingly curated by its new music director, Christian Thielemann, who is himself a powerful advocate for the composer’s symphonies as the pinnacle of the Austro-German tradition; and in particular for the Wagnerian resonances of the Seventh, whose Adagio was shaped by news of Wagner’s death in Venice. Hugo Wolf was also deeply affected by that news; his songs, like Bruckner’s symphonies, can be seen as oblique reflections on the influence of Wagner, especially when sung, as they are here by Renée Fleming, with the utmost delicacy and intimacy. Christian Thielemann’s first concert as Principal Conductor of the Staatskapelle Dresden. Both Thielemann and Fleming are renowned interpreters of Romantic repertoire. Bruckner’s 7th Symphony premiered in 1884 to universal acclaim & established him as a serious composer of symphonic music, Wolf’s Songs were composed four years later. Wolf was a great admirer of Bruckner and both idolized Wagner, whose influence is felt in the 7th Symphony. Running time: 106 minutes Subtitles N/A Sound format: 2.0LPCM + 5.1(5.0) DTS | 
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| |  | Bruckner: Symphony No. 7 & Wolf: LiederRecorded live at Semperoper Dresden, September 2012
The Dresden Staatskapelle has a living Bruckner tradition, stretching back a century and more, which is lovingly curated by its new music director, Christian Thielemann, who is himself a powerful advocate for the composer’s symphonies as the pinnacle of the Austro-German tradition; and in particular for the Wagnerian resonances of the Seventh, whose Adagio was shaped by news of Wagner’s death in Venice. Hugo Wolf was also deeply affected by that news; his songs, like Bruckner’s symphonies, can be seen as oblique reflections on the influence of Wagner, especially when sung, as they are here by Renée Fleming, with the utmost delicacy and intimacy. Christian Thielemann’s first concert as Principal Conductor of the Staatskapelle Dresden. Both Thielemann and Fleming are renowned interpreters of Romantic repertoire. Bruckner’s 7th Symphony premiered in 1884 to universal acclaim & established him as a serious composer of symphonic music, Wolf’s Songs were composed four years later. Wolf was a great admirer of Bruckner and both idolized Wagner, whose influence is felt in the 7th Symphony. Running time: 106 minutes Subtitles N/A Sound format: 2.0LPCM + 5.1(5.0) DTS |
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| |  | Strauss: Vier letzte Lieder & Orchesterlieder
Strauss, R: | Four Last Songs London Symphony Orchestra, Andre Previn Freundliche Vision, Op. 48 No. 1 Morgen, Op. 27 No. 4 Meinem Kinde, Op. 37 No. 3 Befreit, Op. 39 No. 4 Zueignung, Op. 10 No. 1 London Symphony Orchestra, Andre Previn | Wolf, H: | Auch kleine Dinge (No. 1 from Italienisches Liederbuch) Mein Liebster hat zu Tische mich geladen (No. 25 from Italienisches Liederbuch) Wir haben beide lange Zeit geschwiegen (No. 19 from Italienisches Liederbuch) Ich hab in Penna einen Liebsten (No. 46 from Italienisches Liederbuch) Elfenlied (No. 16 from Mörike-Lieder) Ein Stündlein wohl vor Tag (No. 3 from Mörike-Lieder) Er ist's (No. 6 from Mörike-Lieder) Denk es, o Seele! (No. 39 from Mörike-Lieder) Bei einer Trauung (No. 51 from Mörike-Lieder) Storchenbotschaft (No. 48 from Mörike-Lieder) Gerald Moore (piano) & Günther Weissenborn (piano) |
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| |  | R. Strauss: Orchesterlieder & Metamorphosen
Strauss, R: | Ruhe, meine Seele!, Op. 27 No. 1 Waldseligkeit, Op. 49 No. 1 Freundliche Vision, Op. 48 No. 1 Morgen, Op. 27 No. 4 Befreit, Op. 39 No. 4 Meinem Kinde, Op. 37 No. 3 Winterweihe, Op. 48 No. 4 Wiegenlied, Op. 41 No. 1 Die heiligen drei Könige aus Morgenland Op. 56 No. 6 Metamorphosen |
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| |  | Renée Fleming in ConcertRecorded live at the Salzburg Festival, August 2011
Gloriously affirming the Salzburg Festival’s long-standing reputation as a supreme musical event, this concert honours one of its founding fathers, Richard Strauss. Renée Fleming, Christian Thielemann and the Vienna Philharmonic Orchestra unite for a programme of song, opera and tone poem, genres central to the composer’s extraordinarily fruitful career. Fleming interprets four of his songs with orchestra, including the deeply moving Befreit, and provides a substantial taste of perhaps her finest operatic role, Arabella. New vistas then open as Thielemann and the Vienna Philharmonic take the spectacular mountain journey mapped by the composer in his titanic Alpine Symphony. Running time: 84 minutes Subtitles: EN/FR/DE/ES Sound format: 2.0LPCM + 5.1(5.0) DTS “This is a rare case of visuals enhancing the listening experience, and the Vienna Philharmonic’s Strauss tradition is there for all to see. Thielemann doesn’t push or pull the music, but he is not a pretty sight: his left hand remains inexpressive...there is still no soprano I would rather hear in the soaring lines of “Traum durch die Dämmerung” and “Gesang der Apollopriesterin”.” Financial Times, 19th May 2012 **** “You can immediately hear the classiness of the orchestral support...Thielemann's journey up the mountain is more a question of inner feeling than outward tone-painting...But the summit sequence and the epilogue rival Herbert von Karajan's Berlin Philharmonic for tonal opulence...the cameras always know what to pinpoint in order to highlight visually Strauss's most ingenious orchestral passages.” BBC Music Magazine, August 2012 ***** “Thielemann, whose reading is satisfyingly spacious, reveals the work's structural mastery in intermingling and transforming its many themes. The excellent video director Michael Beyer expertly lays out the orchestra in front of us, following the music sensibly so that we can relish Strauss's detailed scoring...[Fleming] sings gloriously and the result is ravishing” Gramophone Magazine “it is more fun to actually see the players (kudos to video director Michael Beyer) than merely to listen...And no one will accuse the reading [of Ein Alpensinfonie] of not being exciting and the playing superb...In all, this is clearly a treat for Straussians and Fleming fans; she has been both better and worse, but overall, she's lovely here.” International Record Review, September 2012  BBC Music Magazine
DVD/Blu-ray Choice - August 2012 |
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| |  | R. Strauss: Lieder
Strauss, R: | Allerseelen, Op. 10 No. 8 Schön sind, doch kalt die Himmelssterne, Op. 19, No. 3 Die Nacht, Op. 10 No. 3 Ich trage meine Minne, Op. 32 No. 1 Die Georgine Op. 10 No. 4 Ach Lieb, ich muß nun scheiden!, Op. 21 No. 3 Mein Auge Op. 37 No. 4 Meinem Kinde, Op. 37 No. 3 Muttertändelei, Op. 43 No. 2 All mein Gedanken ... Op. 21 No. 1 Ständchen, Op. 17 No. 2 Zueignung, Op. 10 No. 1 Das Rosenband, Op. 36 No. 1 Wie sollten wir geheim sie halten, Op. 19 No. 4 Du meines Herzens Krönelein, Op. 21 No. 2 Mein Herz ist stumm, Op. 19 No. 6 Befreit, Op. 39 No. 4 Morgen, Op. 27 No. 4 Cäcilie, Op. 27 No. 2 Drei Lieder der Ophelia Op. 67 Malven, AV 304 |
This CD features Finnish star soprano Soile Isokoski and her longstanding duo partner Marita Viitasalo, with a selection of Lieder by Richard Strauss. Included are such popular songs as Zueignung, Cäcilie, Morgen!, and Allerseelen. Along with the cycle of 3 Ophelia-Lieder and Strauss’s final complete composition, Malven, this collection spans 65 years of Strauss’ writing. The music of Richard Strauss has been a cornerstone of the singing career of Soile Isokoski: “His music just sits so well in my voice, in terms of both its range and its lyrical quality.” Soile Isokoskis’ earlier CD release of Strauss Orchestral Songs and Vier letzte Lieder (ODE9822) became a major commercial success and earned her a Gramophone Award. Soile Isokoski is hailed as one of the finest singers in the world (“Isokoski's lyric soprano is like liquid gold.” – David L. Kirk, Fanfare Magazine, March/April 2009) whose recordings have been praised as top-choice and garnered the highest distinctions at the BBC Music Magazine Awards, Gramophone Awards and MIDEM Classical Awards. “As always with Isokoski, one either finds a certain humanity in her less-than-rounded tones - or not. Such positive qualities burn from within during songs such as 'Zueignung' and 'Morgen!'...and especially in the lesser-known 'Befreit', a performance whose subtle empathy is a summation of what has always made Isokoski such an endearing figure on the operatic landscape.” Gramophone Magazine, May 2012 “a feat of some of Strauss's greatest solo songs, all sung with high intelligence, in impeccable German, in beautiful sound (the piano especially sympathetic, well-rounded), with accompaniments from Marita Viitasalo impeccably groomed, seldom obtrusive let alone assertive, and perhaps all the better for that...Isokoski does not always seek to cultivate the voice beautiful...She is adept at picking up every nuance” International Record Review, May 2012 “Isokoski begins with disarming lightness of touch...It's easy to forget that, at its core, this is a rich, almost heroic voice, modulating its way with seeming effortlessness through the bigger numbers at the heart of the recital...Isokoski's technique has stood the test of time...Viitasalo is clearly supportive...but more of an accompanist than an equal partner.” BBC Music Magazine, June 2012 **** “The intense, silvered beauty of her tone — less peachy and voluptuous than Fleming’s — and the unmannered clarity of her diction are unique in this music today...The strange Ophelia set, rarely programmed, can never have been more sumptuously sung.” Sunday Times, 24th June 2012 | | | (also available to download from $10.75) | In stock - usually despatched within 1 working day. |
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| |  | Stimme der SehnsuchtLieder by Pfitzner, Strauss & Mahler
Mahler: | Kindertotenlieder | Pfitzner: | Stimme der Sehnsucht Nachts Op. 26 No. 2 Willkommen und Abschied, Op. 29, No. 3 Lockung Op. 7 No. 4 Nachtwanderer, Op. 7 No. 2 Zum Abschied meiner Tochter, Op. 10 No. 3 | Strauss, R: | Ständchen, Op. 17 No. 2 Des Dichters Abendgang, Op. 47 No. 2 Schlechtes Wetter, Op. 69 No. 5 Nachtgang Op. 29 No. 3 All mein Gedanken ... Op. 21 No. 1 Befreit, Op. 39 No. 4 Zueignung, Op. 10 No. 1 |
"In 'Stimme der Sehnsucht,' a poem by Carl Busse, the voice of longing is depicted as a mysterious whispering sound, a dark and confused spirit from Thule, a mythical island beyond the boundaries of the world. Edgar Allan Poe’s poem 'Dream-land' portrays Thule as a surreal realm of melancholy and dread, while Rainer Maria Rilke wrote: ‘That is longing: living in turmoil and having no home in time'." Christianne Stotijn Christianne Stotijn’s recital of Lieder by Pfitzner, Mahler and Strauss confronts powerful emotions – longing, loving, grief, and a desperate wish to turn the clock back to happier times. The collection is dominated by the theme of night, an exploration of dreams, restlessness and darkness. This is a thoughtful and moving programme from one of the outstanding mezzos of our time. Christianne Stotijn’s previous recordings for ONYX have been praised and her song recital CD 'Tchaikovsky Romances' (ONYX4034) was awarded a BBC Music Magazine Award in 2010. “Stotijn confronts [Kindertotenlieder's] emotions with acute sensitivity, and then leaves us with the benediction of Strauss’s “Morgen!”. A connoisseur’s recital.” The Telegraph, 2nd December 2011 **** “Stotijn's latest well-earned recital disc takes the imaginative high ground right at the start...In the booklet-notes, Stotijn eloquently explains why they travelled to Schiermonnikoog (or 'Grey Monk Island') for the shoot, and how she chose the programme. The programme matters most, of course, though all the incidentals help make this a winner. The Richard Strauss sequence has its own logic of lively versus reflective” BBC Music Magazine, February 2012 ***** “a singer whose voice and intelligence melded seamlessly with words, vocal line and whatever dramatic concert was at hand...Stotijn's vivid performances make you examine the texts anew just to appreciate her sudden burst of vocal colour ('Zueignung' goes into the Jessye Norman zone) or her onomatopoeic effects, which give the characters within the songs a near-physical presence....Stotijn is God's gift to Christa Ludwig admirers.” Gramophone Magazine, March 2012 BBC Music Magazine Choral & Song Choice - February 2012 |
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| |  | R. Strauss & Liszt: Lieder
Liszt: | O lieb, so lang du lieben kannst Die Lorelei Die stille Wasserrose, S321 Es muss ein Wunderbares sein, S. 314 Kling Leise, mein Lied, S301 | Strauss, R: | All mein Gedanken ... Op. 21 No. 1 Heimliche Aufforderung, Op. 27 No. 3 Die Nacht, Op. 10 No. 3 Morgen, Op. 27 No. 4 Seitdem dein Aug' in meines schaute, Op. 17 No. 1 Wiegenlied, Op. 41 No. 1 Befreit, Op. 39 No. 4 Allerseelen, Op. 10 No. 8 Du meines Herzens Krönelein, Op. 21 No. 2 Fünf Lieder, Op. 48 Cäcilie, Op. 27 No. 2 Ständchen, Op. 17 No. 2 Zueignung, Op. 10 No. 1 |
When Dame Margaret Price died in January 2011, the musical world reacted in an understandably emotional fashion. By contrast, the Welsh soprano herself was a woman with an understated approach to her life, eschewing the frenetic international star system in favour of loyalty to a select few major opera houses. She bade farewell to public performance in 1999, retiring to rural Wales where she turned to breeding golden retrievers. Although a local vicar persuaded her to perform in a charity concert, she found the occasion so nerve-wracking that her dogs finally became the only audience for her singing. | | | In stock - usually despatched within 1 working day. |
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| |  | The Very Best of Janet Baker
Bach, J S: | Christmas Oratorio, BWV248: Bereite dich, Zion Academy of St Martin-In-The-Fields, Sir Neville Marriner | Brahms: | Alto Rhapsody, Op. 53 Sir Adrian Boult, London Philharmonic Orchestra Geistliches Wiegenlied, Op. 91 No. 2 Cecil Aronowitz (viola), André Previn | Britten: | Corpus Christi Carol Gerald Moore (piano) | Duparc: | L'Invitation au voyage London Symphony Orchestra, André Previn | Duruflé: | Requiem, Op. 9: Pie Jesu Choir of King's College Cambridge, Sir Philip Ledger | Elgar: | Sea Pictures, Op. 37 London Symphony Orchestra, Sir John Barbirolli Softly and gently, dearly-ransomed soul 'Angel's Farewell' (from The Dream of Gerontius) Sir John Barbirolli | Fauré: | Two Songs, Op. 83 Gerald Moore (piano) Clair de Lune, Op. 46 No. 2 Gerald Moore (piano) | Handel: | Messiah: He was despised English Chamber Orchestra, Sir Charles Mackerras | Mahler: | Ich bin der Welt abhanden gekommen (Rückert-Lieder) Hallé Orchestra, Sir John Barbirolli | Mendelssohn: | Elijah: O rest in the Lord New Philharmonia, Rafael Frühbeck De Burgos Auf Flügeln des Gesanges, Op. 34 No. 2 Geoffrey Parsons (piano) | Schubert: | Ave Maria, D839 Gerald Moore (piano) Gretchen am Spinnrade, D118 Gerald Moore (piano) Wiegenlied, D498 Gerald Moore (piano) Die Forelle, D550 Geoffrey Parsons (piano) Auf dem Wasser zu singen, D774 Geoffrey Parsons (piano) An die Musik D547 Geoffrey Parsons (piano) An Sylvia, D891 Geoffrey Parsons (piano) Nacht und Träume, D827 Geoffrey Parsons (piano) Heidenröslein, D257 Geoffrey Parsons (piano) Du bist die Ruh D776 (Rückert) Geoffrey Parsons (piano) | Schumann: | Mondnacht (No. 5 from Liederkreis, Op. 39) Daniel Barenboim (piano) Du Ring an meinem Finger (No. 4 from Frauenliebe und Leben, Op. 42) Daniel Barenboim (piano) | Strauss, R: | Befreit, Op. 39 No. 4 Gerald Moore (piano) Morgen, Op. 27 No. 4 Gerald Moore (piano) | Vaughan Williams: | Linden Lea Gerald Moore (piano) | Warlock: | Pretty Ring Time Gerald Moore (piano) |
Compelling for her intensity and integrity as much as for her unmistakeable voice, Dame Janet Baker struck a distinctive path as a performer, primarily on the concert and recital stage. Among her most celebrated recordings are her interpretations of Elgar with Sir John Barbirolli, here complemented by songs and oratorio arias by composers such as Bach, Handel, Schubert, Schumann, Brahms, Mahler, Strauss, Fauré, Vaughan Williams and Britten. | | | In stock - usually despatched within 1 working day. |
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| |  | The Flagstad Recitals Volume 1Schubert, Brahms, Schumann, Wolf & Strauss - Lieder
Brahms: | Vier ernste Gesänge, Op. 121 Treue Liebe, Op. 7, No. 1 Am Sonntag Morgen Op. 49 No. 1 Auf dem Kirchhofe, Op. 105 No. 4 Wie Melodien zieht es mir, Op. 105 No. 1 Alte Liebe, Op. 72 No. 1 Bei dir sind meine Gedanken (No. 2 from Sieben Lieder, Op. 95) Wir wandelten, wir zwei zusammen Op. 96/2 Dein blaues Auge, (No. 8 from Acht Lieder und Gesänge, Op. 59) | Schubert: | Dem Unendlichen, D291 (Klopstock) Erlkönig, D328 Am Grabe Anselmo's D504 Des Mädchens Klage D191b Ave Maria, D839 | Schumann: | Der Nussbaum, Op. 25 No. 3 Die Soldatenbraut Op. 64 No. 1 Meine Rose, Op. 90 No. 2 Liebeslied, Op. 51 No. 5 Die Lotosblume, Op. 25 No. 7 Widmung, Op. 25 No. 1 Lust der Sturmnacht, Op. 35 No. 1 In der Fremde (No. 1 from Liederkreis, Op. 39) Zum Schluß, Op. 25 No. 26 Previously Unpublished | Sinding: | Leit etter livet og liv det! Op. 55, No. 5 Sylvelin, Op. 55, No. 1 Der skreg en fugl, Op. 18, No. 5 Den Jomfru gik i valmu-Vang? Op. 50, No. 5 | Strauss, R: | Befreit, Op. 39 No. 4 Mit deinen blauen Augen, Op. 56 No. 4 Lob des Leidens, Op. 15 No. 3 Ich trage meine Minne, Op. 32 No. 1 Ständchen, Op. 17 No. 2 Geduld Op. 10 No. 5 | Wolf, H: | Gesang Weylas (No. 46 from Mörike-Lieder) Gebet (No. 28 from Mörike-Lieder) Über Nacht Lieder aus der Jugendzeit Der Freund (No. 1 from Eichendorff-Lieder) Heb’ auf dein blondes Haupt (No. 18 from Italienisches Liederbuch) Anakreons Grab (No. 29 from Goethe-Lieder) Morgenstimmung Zur Ruh, zur Ruh! |
The first of four 2-CD “Flagstad Recitals” features Kirsten Flagstad in Brahms and Schubert on CD1 as well as CD premieres of songs by Schumann (including her previously unpublished “Zum Schluss”), Strauss, Wolf and Sinding on CD2. Her great power and control placed her among those with the natural capacity for success in the ‘big’ songs with its special thrill, but there is no want of gentleness in the quieter ones. The American critic, Virgil Thomson, probably spoke for the whole audience when he wrote on Flagstad’s return to the United States in 1947: ‘Never in this writer’s concert-going lifetime has there been available any other vocal artistry of such sumptuous natural acoustics, such perfect technical control and such sound musicianship’. "Throughout, one is stirred by the sheer beauty of the sound." Gramophone “deeply felt … wonderfully radiant tone … very touching” [Brahms] “the operatic drama of Der Erlkönig is as memorable as the gently ravishing cantilena of Am Grabe Anselmos” The Penguin Guide to Bargain Compact Discs "…worth having for the Wolf group alone." Gramophone | | | In stock - usually despatched within 1 working day. |
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Gramophone Magazine