Purcell: When I am laid in earth (from Dido and Aeneas) (Dido's Lament)

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Lachrymae: Music For Strings

Lachrymae: Music For Strings


Lachrymae for viola & strings, Op. 48a


Cantus in memoriam Benjamin Britten


Chacony in G minor

arr. Britten

When I am laid in earth (from Dido and Aeneas)

arr. Stokowski


Fantasia Concertante on a Theme of Corelli

Vaughan Williams:

Fantasia on a Theme by Thomas Tallis


Passacaglia - Death of Falstaff and Touch her soft lips from Henry V

Nicolas Bône (viola)

Chamber Orchestra of Europe, Douglas Boyd, William Conway & Richard Egarr

Apex - 2564660705



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Purcell: Love’s Madness

Purcell: Love’s Madness

Johnson, R:

As I walked forth

Full fathom five


Curtain Tune from The Tempest


Tis women make us love

Then mad, very mad let us be (from The Richmond Heiress or A Woman Once in the Right, Z608)

Fantasia: three parts on a ground, for three recorders & b.c

I'll sail upon the dog-star (from A Fool's Preferment or The Three Dukes of Dunstable, Z571)

Jack, thou'rt a Toper - a catch (from Bonduca, Z574)

Dido and Aeneas: The Triumphing Dance

Prophetess or The History of Dioclesian, Z627: Oh the sweet delights of love

O solitude, my sweetest choice, Z406

Prophetess or The History of Dioclesian, Z627: Dance of the Bacchanals

Fantasia Upon One Note in F major, Z745

Sing, sing ye druids from Bonduca Z574

Oft she visits (from Dido and Aeneas)

Distressed Innocence, Z577: Rondo

Beneath a poplar's shadow (from Sophonisba or Hannibal's Overthrow, Z590)

From silent shades ('Bess of Bedlam') Z370

Tell me, some pitying angel (The Blessed Virgin's Expostulation), Z196

Once, twice, thrice, Z265

Prophetess or The History of Dioclesian, Z627: Charon the peaceful shade invites


When I am laid in earth (from Dido and Aeneas)

With Drooping Wings (from Dido and Aeneas)

Ravenscroft, T:

The Three Ravens


Bedlam Boys

Grim King of the Ghosts (broadside ballad)

The Cruel Mother

William and Margret

Willow Song

Ophelia's mad song

Dorothee Mields (soprano)

Lautten Compagney Berlin, Wolfgang Katschner

Following her previous very successful release of Love Songs by Purcell (CARUS83435), Dorothee Mields now turns her attention to a darker side of life. Reminiscences of Shakespeare, melancholy and madness are evident throughout this collection.

“…marvellously expressive throughout…” International Record Review

“Most effective are the ballads and lighter, folksy numbers, where Mields's agile voice enchants...Purists may fgind the ensemble takes a few too many liberties, orchestrating these pieces wioth a battery of percussion, wind and stringed instruments, but there's no denying that it's all done with terrific style and bravura.” BBC Music Magazine, September 2012 ****

“Mields has a fine, conventional voice for this kind of music - pure, pretty and with clear, largely correct English - and she enters into the spirit to the point of the odd deranged cackle, sob or moan...Ultimately they seem more like the kind of adaptations you might hear in a modern staging of a Restoration play than a reflection of the 17th-century sound world.” Gramophone Magazine, September 2012

Carus - CARUS83371



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Ferveur & Extase

Ferveur & Extase



Lamento di Didone


Cantata a voce sola


Passacalle à 3

Marini, B:

Sinfonia Primo Tuono

Sinfonia Sesto Tuono


Pianto della Madonna 'Iam moriar, mi fili' (sopra il Lamento dell'Arianna), SV 288


When I am laid in earth (from Dido and Aeneas)

Rossi, Luigi:

Fantasia "Les pleurs d'Orphée"

Scarlatti, A:

Didone delirante: excerpts

Concerto VII in D major


O Maria

Stéphanie d'Oustrac (mezzo) & Violaine Cochard (harpsichord, direction)


From Dido's desperate love to Mary's poignant fervour...

This sumptuous album, combines the sacred and profane, the cult of the Virgin Mary as opposed to Dido, Queen of Carthage, almost exclusively by 17th century Venetian Baroque composers.

It includes the iconic aria [Dido's Lament], Cavalli's Lamento di Didone and Scarlatti's Didone delirante, long thought lost, and a previously unrecorded cantata by Faggioli.

The vocally distinctive, theatrically brilliant French mezzo Stephanie d'Oustrac is accompanied by Ens Amarillis and Violaine Cochard.

“the sequence never feels like a series of bleeding chunks - indeed, among recordings of 17th-century Italian music, this programme stands out for its musical integrity and cohesiveness...d'Oustrac responds to the music's vacillating moods with a gorgeous variety of vocal effects and colours.” BBC Music Magazine, December 2011 *****

“[d'Oustrac] demonstrates arresting dramatic personality and intelligence with text to go with a mezzo voice with enough flexibility, lyrical composure and fragility enough to prevent her from sounding like an identikit raving lady.” Gramophone Magazine, February 2012

Ambronay - AMY027



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Pure Diva

Pure Diva

Tribute to Joan Hammond

Bishop, H R:

Home, Sweet Home

Timothy Young (piano)

Coates, E:

The Green Hills o' Somerset

Timothy Young (piano)


Mesícku na nebi hlubokém 'Song to the Moon' (from Rusalka)


Glück, das mir verbleib 'Marietta's Lied' (from Die Tote Stadt)


Elle a fui, la tourterelle (from Les Contes d' Hoffmann)


When I am laid in earth (from Dido and Aeneas)



Timothy Young (piano)


Puskay pogibnu ya 'Tatiana's Letter Scene' (from Eugene Onegin)


The Last Rose of Summer

Timothy Young (piano)


Mia madre aveva...Piangea cantando...Ave Maria (from Otello)

Tu che le vanità (from Don Carlo)

Cheryl Barker (soprano)

Queensland Symphony Orchestra, Guillaume Tourniaire

The ravishing Australian soprano Cheryl Barker has an important career in many major opera houses – English National Opera, Scottish Opera, Welsh National Opera and The Royal Opera Covent Garden among them – and concert halls. She is widely celebrated for her riveting performances. Pure Diva: is her very personal tribute to her teacher, the great Dame Joan Hammond, a disc, Barker says, “that feels as if it’s been a long time coming”.

The orchestral scenes are high drama from the first note to the last reverberation. Cheryl’s glorious lyric soprano rides the wave of Guillaume Tourniaire’s orchestral texture in grand operatic scenes, arias and songs made famous by Hammond. They include Tatyana’s Letter Scene, Dido's Lament, Desdemona’s Willow Song, and other arias by Verdi, Dvořák, Korngold, and Offenbach. Cheryl’s visceral portrayals of these operatic heroines convey the full emotional depth of these multi-dimensional characters in extremis.

The tributes with piano accompaniment (by Timothy Young) provide a contrast to the preceding drama, encore pieces beloved of Joan Hammond, the biggest selling recording artist during the war. Her recording of The Green Hills o’ Somerset became a best seller and Cheryl includes it as a homage here. The delightful rarity Shadows is a song written for Hammond by the Australian composer Ronald Settle.

Illuminating CD notes are by the late and great vocal commentator John Steane who was an insightful witness to Dame Joan Hammond (1912-96) and all the great singers of her era and those that followed.

Cheryl Barker’s relationship with Melba Recordings stretches back almost to the label’s beginning: Puccini=Passions (MR301085) was her acclaimed 2003 collection of arias with Richard Bonynge conducting Orchestra Victoria.

“The excitement and sense of urgency of young Tatyana are well caught ad projected, with the fullness of Barker's voice brought into play...Despite the occasional unsteadiness and a certain lack of tonal freshness at time, I find much to like in the singing, and the Queensland orchestra and the pianist work well with the soloist.” International Record Review, January 2012

Super Audio CD


Hybrid Multi-channel

Melba Recordings - MR301129



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Lorraine Hunt-Lieberson: A Tribute

Lorraine Hunt-Lieberson: A Tribute

Bach, J S:

Bist du bei mir, BWV508


Qui d'amor (from Ariodante)

Scherza, infida (from Ariodante)

Dopo notte (from Ariodante)

Theodora: Angels, ever bright and fair

Theodora, HWV 68: With Darkness deep

Theodora, HWV 68: Oh! that I on wings could rise

To thee, thou glorious son of worth (from Theodora)

with Drew Minter (counter-tenor)

Messiah: Rejoice Greatly, O Daughter of Zion

Messiah: But who may abide

Messiah: He was despised

Messiah: I know that my Redeemer liveth

Clori, degli occhi miei, HWV 91a

Susanna, HWV 66: Bending to the throne of glory

Crystal streams in murmurs flowing: Susanna

Susanna, HWV 66: Guilt trembling spoke my doom

Susanna: If guiltless blood be your intent

Qual nave smarrita (from Radamisto)

Come to me, soothing sleep (from Ottone)

Svegliatevi nel core (from Giulio Cesare)

Qual Leon (from Arianna)


Thy hand, Belinda … When I am laid in earth (from Dido & Aeneas)

When I am laid in earth (from Dido and Aeneas)

As a tribute to the artistry of Lorraine Hunt Lieberson, this retrospective gathers together many of the finest recordings of arias and duets made during her acclaimed association with harmonia mundi. The booklet notes include tributes from her husband, Peter Lieberson, Nicholas McGegan and her obituary from Le Monde.

Lorraine Hunt - who became Lorraine Hunt Lieberson after her marriage to the American composer Peter Lieberson in 1999 - was born on March 1st 1954, in San Francisco. Her father was a music teacher and a conductor, her mother a contralto and a voice teacher. She played viola professionally until she was 26, when she found that her voice could be a better and richer way to express her musicality and secure her professional future. Lorraine would have a professional singing career of only 2 decades (1984-2006), interrupted twice by illness. She died from cancer on July 3, 2006, aged 52.

For harmonia mundi, Lorraine Hunt Lieberson recorded operas, oratorios and Handel arias, conducted notably by Nicholas McGegan. For Erato, she added the rôles of Rameau’s Phèdre and Charpentier’s Medea, under William Christie. Since her death, other taped live performances have been added to her discography, including two Wigmore Hall Live recitals and Peter Lieberson’s Rilke and Neruda Songs.

In 2009 harmonia mundi issued a recital given at the Ravinia Festival in August 2004 with pianist Peter Serkin. More recently, new label Philharmonia Baroque has issued Lorraine’s live performances of Les Nuits d’Eté and Handel Arias.

A formidable musician, a natural-born actress, she was at her best in roles of sacrificed victims, which didn’t prevent her from displaying a dark sense of humour. After having sung during the same evening Stravinsky’s Jocasta and Britten’s Phaedra, she once said: ‘Two suicides in one night! That’s right up my alley’.

“For those who loved Lorraine and her singing, and for those who have not yet heard her, my gratitude to harmonia mundi.” PETER LIEBERSON (b.1946, d.2011)

“Handel's popular "Angels, ever bright and fair" from Theodora and "Scherza infida" from Ariodante remind us of her musical intelligence and vitality...The final tracks on each disc, Dido's Lament and "Bist du bei mir" from the Notebook of Anna Magdalena Bach, are almost unbearably moving in their characteristic simplicity and intensity. She is much missed.” The Observer, 24th July 2011

Harmonia Mundi - HMU907471/72

(CD - 2 discs)


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Danielle de Niese: The Beauty of Baroque

Danielle de Niese: The Beauty of Baroque

Bach, J S:

Cantata BWV202 'Weichet Nur, betrübte Schatten' (Wedding Cantata)

Sheep May Safely Graze, from Cantata BWV208


Come again, sweet love doth now invite

What if I never speed?


Ombra mai fu (from Serse)

Samson: Let the bright seraphim

Acis and Galatea: Heart, the seat of soft delight

Arr. Mozart. Performed in English

Io t'abbraccio (from Rodelinda)

with Andreas Scholl (countertenor)

The Triumph of Time and Truth: Guardian angels


Pur ti miro (I gaze upon you) from L'Incoronazione di Poppea

with Andreas Scholl (countertenor)

Quel sguardo sdegnosetto


Stabat mater: Opening duet

with Andreas Scholl (countertenor)


When I am laid in earth (from Dido and Aeneas)

Since her early success in Glyndebourne’s now famous production of Handel’s Giulio Cesare, Danielle de Niese has become most closely associated with the music of the Baroque. The New York Times commented: “A voice seductive enough to woo gods as well as mortals”.

With her third solo album, Danielle de Niese embodies the Beauty of the Baroque with an album of arias from the English, German, and Italian traditions, accompanied by the leading European Baroque orchestra, The English Concert, under Harry Bicket. Many popular arias feature, including Handel’s, ‘Ombra mai fu’, and highlights from JS Bach’s Cantatas are contrasted with much loved solo songs by Purcell and Dowland.

Decca’s star countertenor Andreas Scholl joins Danielle de Niese for duets including the ravishing duet “Pur ti miro” from Monteverdi’s L’Incoronazione di Poppea.

“It's an intriguing and enjoyable programme...The English Concert provides suitable support throughout, from solo theorbo on Dowland's "What if I never speed?" to the trio of harpsichord, theorbo and viola da gamba with her delightful duet with counter-tenor Andreas Scholl” The Independent, 10th June 2011 ****

“This is a charming recital that shows this popular soprano at her best...she has plenty of vivacity and fresh-toned sweetness. Guardian Angels, from Handel’s “The Triumph of Time and Truth”, is a highlight: a little-known but beautiful aria, sung here with poise and allure.” The Telegraph, 7th July 2011 ****

“she keeps things light on this disc, and for the greater part only shows off her many splendid advantages. Indeed, her flirtatious performance of the famous lute-song Come again can rank as one of the most captivating on disc. The duets with Scholl are a delight too. De Niese's sheer joy in singing leaps off the CD and her emotional immediacy is hard to resist.” Classic FM Magazine, August 2011 ****

“In Dowland's Come again, sweet love doth now invite and What if I never speed?, she sounds like a sexier Emma Kirkby...The English Concert under its Music Director Harry Bicket provides the stylish orchestral and instrumental backing...You really hear the personality behind the voice - the 'Beauty of the Baroque' is, without question, a real artist.” International Record Review, July/August 2011

Decca - 4782260



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The Sublime Voice of Lynda Barrett

The Sublime Voice of Lynda Barrett


O Holy Night

Franck, C:

Panis Angelicus


Ave Maria


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


You Raise Me Up


Vesperae Solennes de Confessore, K339: Laudate Dominum

arr. Neil Jenkins

S’altro che lagrime (from La clemenza di Tito)


Music for a while, Z583

When I am laid in earth (from Dido and Aeneas)


A Hymn to the Virgin, Op. 13 No. 2


The Lord bless you and keep you


Irish Blessing

Stabat Mater

Sullivan, A:

The Sun Whose Rays (from The Mikado)


O Waly, Waly ('The Water is Wide')

arr. Mark Haye


Nulla in mundo pax sincera, motet for soprano, strings & continuo, RV 630

Lynda Barrett (soprano)

"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.

Priory - PRCD1043



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Concert: Oboe, oboe d’amore, cor anglais and harpsichord

Concert: Oboe, oboe d’amore, cor anglais and harpsichord


Sonata for cor anglais


Sonata for oboe


Oboe Sonata (after the Oboe Quartet, K370)


When I am laid in earth (from Dido and Aeneas)


Les soupirs

L'Entretien des muses


Pavane pour une infante défunte

D'Anne jouant de l'espinette




Pièce pour clavecin


Oboe Sonata in G minor

Phillipe Pélissier (oboe, oboe d’amore, cor anglais) & Harumi Konoshita (harpsichord)

This CD celebrates fifteen years of these two artists playing as a duo. Phillippe Pélisier has pursued a double career as both a musician and a producer for Radio France. Harumi Konoshita studied the piano in Japan and Paris. She performs as a soloist and with many instrumental ensembles. The duo performs works by Mozart, Sweelinck, Telemann, Rameau, Hotteterre, Ravel and Purcell.

BNL - BNL112967



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Lamente: Furore e Dolore

Lamente: Furore e Dolore


Che puro ciel (Orfeo ed Euridice)

Che faro' senza Euridice? (from Orfeo ed Euridice)


Lascia ch'io pianga (from Rinaldo)

L'angue offeso (from Giulio Cesare)

Benchè tuoni e l’etra avvampi (from Aci, Galatea e Polifemo)

Hercules: Where shall I fly?


Lamento d'Arianna 'Lasciatemi morire'

Lamento di Penelope: Di misera Regina


When I am laid in earth (from Dido and Aeneas)


Vedro con mio diletto (from Giustino)

Sento in seno (from Il Giustino)

Mareike Morr (mezzo-soprano)

Hannoversche Hofkapelle

As part of the Movimentos series, the wonderful mezzo-soprano Mareike Morr brings all the apprehensive and furious heroines back to life on her debut Genuin CD. Together with the frothing and murmuring tones of the Hannoversche Hofkapelle, she performs arias by Handel and Vivaldi, bewails Euridice as Gluck’s Orpheus and to heart-rending effect breathes her last as Purcell’s Dido.

Genuin Movimentos Edition - GEN10176



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Purcell - Viol Fantasias

Purcell - Viol Fantasias


Fantazia 1 in D minor, Z. 732

Fantazia 2 in F major, Z, 733

Fantazia 3 in G minor, Z. 734

Fantazia 4 in G minor, Z. 735

Fantazia 5 in B flat major, Z. 736

Fantazia 6 in F major, Z. 737

Fantazia 7 in C minor, Z. 738

Fantazia 8 in D minor, Z. 739

Fantazia 9 in A minor, Z. 740

Fantazia 10 in E minor, Z. 741

Fantazia 11 in G major, Z. 742

Fantazia 12 in D minor, Z. 743

Fantazia 13 in A minor, Z. 744

Fantasia Upon One Note in F major, Z745

Six-Part In Nomine in G minor, Z746

Seven-Part In Nomine, Z. 747, "Dorian"

Dance for the Green Men Monkey’s Dance (from The Fairy Queen, Z628)

When I am laid in earth (from Dido and Aeneas)

André Mangeot described these works as being “of astonishing beauty”. Here they are performed by an ensemble which has received much critical acclaim on the “Hart House Viols”, a collection of instruments at the University of Toronto.

Atma - ACD22591



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