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

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Bach Arcades

Bach Arcades


Bach, J S:

Cantata BWV28 'Gottlob, nun geht das Jahr zu Ende': Gottlob! nun geht das Jahr zu Ende

Cantata BWV28 'Gottlob, nun geht das Jahr zu Ende': Nun lob, mein Seel, den Herren

Motet BWV225 'Singet dem Herrn ein neues Lied': Wie sich ein Vater erbarmet

Chorale Prelude BWV644 'Ach wie nichtig, ach wie flüchtig'

Cantata BWV26 'Ach wie flüchtig, ach wie nichtig'

Cantata BWV56 'Ich will den Kreuzstab gerne tragen'

Cantata BWV12 'Weinen, Klagen, sorgen, Zagen': Weinen, Klagen, Sorgen, Zagen'

Chorale Prelude BWV645 'Wachet auf, ruft uns die Stimme'

Motet BWV227 'Jesu, meine Freude'

Chorale Prelude BWV610 'Jesu, meine Freude'

Chorale Prelude BWV615 'In dir ist Freude'

Minuet in G major, BWV Anh. 114

Buxtehude:

Herr, wenn ich nur dich hab, BuxWV 38

Dufay:

Ecclesiae militantis

Pärt:

Fratres (version for chamber ensemble, 2007)

Purcell:

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

Tavener:

The Lamb

Walter, J:

Vivat Carolus


Leipzig Calmus Ensemble, Lautten Compagney, members

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Opera Zapico

Opera Zapico

Opera from Monteverdi to Mozart arranged as instrumentals by Forma Antigva


Bach, J C:

Artaserse: Overture

Caldara:

Il più bel nome: Quella Clizia innamorata

Cavalli:

La Calisto: Mogli mie sconsolato

Handel:

Lascia ch'io pianga (from Rinaldo)

Se giunge un dispetto (from Agrippina)

Ritorna, caro e dolce mio tesoro (from Rodelinda)

Landi, S:

Il Sant'Alessio: O morte gradita

Monteverdi:

Vi ricorda, o bosch'ombrosi

Mozart:

Batti, batti, o bel Masetto (from Don Giovanni)

Nebra Blasco:

Amor aumenta el valor: A Dios, prenda de mi amor

Purcell:

Dance for the Chinese Man & Woman (from The Fairy Queen, Z628)

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

Dido and Aeneas: Thanks to these lonesome vales

Rameau:

Les Indes galantes: Air pur les Sauvages


Forma Antiqva

Follwing Vivaldi's 'The Four Seasons' Forma Antiqua presents 'Opera Zapico', a selection of 17th and 18th operatic arias played with charm and elan.

The Zapico Brothers have carefully chosen a wonderful collection of popular opera pieces and arias from Monteverdi to Mozart and arranged the music as instrumental works. The adaptions are made for harpsichord/organ played by Aarón Zapico, theorbo by Daniel Zapico and baroque guitar/archlute by Pablo Zapico plus special guest artists. 'Opera Zapico' presents melodies from Italian, French, English and German music-theatres. The viola da gamba, cornetto, recorder and percussion resound!

Winter and Winter - 9102062

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Kirsten Flagstad: Songs & Scenes

Kirsten Flagstad: Songs & Scenes


Grieg:

Efterårsstormen, Op. 18, No. 4

Tolv Melodier til Digte af Aasmund Olavsson Vinje, Op. 33 No. 5 'Langs ei Å'

Mens jeg venter (On the Water), Op. 60 No. 3

The Princess, EG133

Fyremal (No. 12 from 12 Melodies, Op. 33)

Med en vandlije, Op. 25 No. 4

Jeg Elsker Deg, Op. 41 No. 3

En svane (No. 2 from Seks Digte af Henrik Ibsen, Op. 25)

Den særde (from 12 Songs Op. 33)

Tak for dit råd (from 4 Songs Op. 21)

Purcell:

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

Wagner:

Allmächt’ge Jungfrau! (from Tannhäuser)

Doch nun von Tristan? (from Tristan und Isolde)

Mild und leise 'Isolde's Liebestod' (from Tristan und Isolde)

Starke Scheite schichtet mir dort 'Brünnhilde's Immolation Scene' (from Götterdämmerung)


Legendary soprano Kirsten Flagstad is featured on this super budget re-issue in 10 songs by Grieg, Dido’s lament from Purcell’s most famous opera and Wagnerian scenes from Tannhauser, Tristan und Isolde and Götterdämmerung .

Regis - RRC1269

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Classics for Farewells

Classics for Farewells

Trauermusik


Allegri:

Miserere mei, Deus

Bach, J S:

Orchestral Suite No. 3 in D major, BWV1068: Air ('Air on a G String')

Barber:

Adagio for Strings, Op. 11

Caccini, G:

Ave Maria

Chopin:

Piano Sonata No. 2 in B flat minor, Op. 35 'Marche funèbre': 3rd movement (Funeral March)

Fauré:

Requiem: Pie Jesu

Gounod:

Ave Maria

Handel:

Sarabande

Purcell:

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

Ravel:

Pavane pour une infante défunte

and excerpts from works by Beethoven, Grieg, Mahler, Mozart, Preisner, Verdi


Erato - 6232602

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Opera - 50 of the Best

Opera - 50 of the Best


Bellini:

Casta Diva (from Norma)

O rendetemi la speme...Qui la voce sua soave...Vien, diletto (from I Puritani)

Bizet:

L'amour est un oiseau rebelle 'Habanera' (from Carmen)

Votre toast je peux vous le rendre 'Toreador Song' (from Carmen)

Carmen: Prelude to Act I

Au fond du temple saint (from Les Pêcheurs de Perles)

Catalani:

Ebben? Ne andrò lontana (from La Wally)

Gluck:

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

Leoncavallo:

Vesti la giubba (from I Pagliacci)

Monteverdi:

Possente Spirto (from l'Orfeo)

Mozart:

Le nozze di Figaro, K492: Overture

Non piu andrai, farfallone amoroso (from Le Nozze di Figaro)

Dalla sua pace (from Don Giovanni)

Vedrai, carino (from Don Giovanni)

Der Hölle Rache kocht in meinem Herzen (from Die Zauberflöte)

Ach, ich fühl's (from Die Zauberflöte, K620)

La mia Dorabella capace non e' (from Così fan tutte)

E Susanna non vien! … Dove sono i bei momenti (from Le nozze di Figaro)

La ci darem la mano (from Don Giovanni)

Offenbach:

Barcarolle (from Les Contes d'Hoffmann )

Puccini:

Donna non vidi mai (from Manon Lescaut)

O mio babbino caro (from Gianni Schicchi)

Nessun dorma (from Turandot)

Un bel di vedremo (from Madama Butterfly)

Tu che di gel sei cinta (from Turandot)

Vissi d'arte (from Tosca)

Si, mi chiamano Mimi (from La Bohème)

Manon Lescaut: Intermezzo Act III

Humming Chorus (from Madama Butterfly)

Che gelida manina (from La Bohème)

E lucevan le stelle (from Tosca)

Purcell:

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

Rossini:

Elena! Oh tu, che chiamo! (from La donna del lago)

Pensa alla patria (from L'Italiana in Algeri)

Guillaume Tell Overture

Sia qualunque delle figlie (from La Cenerentola)

Semiramide Overture

Verdi:

Manrico! Che? (from il Trovatore)

Follie! Follie! Delirio vano è questo…Sempre libera (from La traviata)

Se quel guerrier io fossi!…Celeste Aida (from Aida)

Di Provenza il mar (from La Traviata)

La donna è mobile (from Rigoletto)

Caro nome (from Rigoletto)

Or co' dadi, ma fra poco (from Il Trovatore)

Noi siamo zingarelle (from La Traviata)

È il sol dell'anima (from Rigoletto)

Wagner:

Tannhäuser: Overture

Steuermann, laß die Wacht! (from Der fliegende Holländer)

Mild und leise 'Isolde's Liebestod' (from Tristan und Isolde)

Lohengrin: Prelude to Act 1


Graciela Alperyn (mezzo-soprano), Daniela Longhi (soprano), Jozsef Mukk (tenor), Maurizio Frusoni (tenor), Kaludi Kaludov (tenor), Monika Krause (soprano), Tatiana Lisnic (soprano), Renato Girolami (bass), Lando Bartolini (tenor), Marianna Pizzolato (mezzo-soprano), Bo Skovhus (baritone), Miriam Gauci (soprano), Kristjan Johannsson (tenor), Armando Ariostini (baritone), Masako Deguci (soprano), Felipe Bou (bass), Alessandro Carmignani (tenor), Ildiko Raimondi (soprano), Georg Tichy (baritone), Silvano Carroli (baritone), Nelly Miricioiu (soprano), Alan Titus (baritone), Luba Orgonasova (soprano), Yordy Ramiro (tenor), Kym Amps (soprano), Hellen Kwon (soprano), Elisabeth Norberg-Schulz (soprano), Alida Ferrarini (soprano), Ann-Christine Biel (soprano), Indra Thomas (soprano), Kristine Jepson (mezzo-soprano), Franco de Grandis (bass), Goran Eliasson (tenor), Ladislav Neshyba (bass), Rannveig Braga (mezzo-soprano), Marina Mescheriakova (soprano), Hedwig Fassbender (mezzo-soprano), Janez Lotric (tenor), Igor Morozov (baritone), Bruno Pratico (bass-baritone), John Dickie (tenor), Andrea Martin (baritone), Peter Mikulas (bass), Nicola Martinucci (tenor), Jonathan Welch (tenor), Giorgio Lamberti (tenor)

Nicolaus Esterhazy Sinfonia, Slovak Radio Symphony Orchestra, Slovak Philharmonic Chorus, Hungarian State Opera Orchestra, Budapest Festival Chorus, Belgian Radio and Television Philharmonic Orchestra, Malaga Symphony Orchestra, Bilbao Choral Society, Mal, Michael Halasz, Alexander Rahbari, Will Humburg, Alberto Zedda, Ricco Saccani, Sergio Vartolo, Arnold Ostman, Charles Rosekrans, Leif Segerstam, Johannes Wildner

Naxos Digital Compilations - 900145

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Lachrymae: Music For Strings

Lachrymae: Music For Strings


Britten:

Lachrymae for viola & strings, Op. 48a

Pärt:

Cantus in memoriam Benjamin Britten

Purcell:

Chacony in G minor

arr. Britten

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

arr. Stokowski

Tippett:

Fantasia Concertante on a Theme of Corelli

Vaughan Williams:

Fantasia on a Theme by Thomas Tallis

Walton:

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

Locke:

Curtain Tune from The Tempest

Purcell:

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

Ground

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

With Drooping Wings (from Dido and Aeneas)

Ravenscroft, T:

The Three Ravens

trad.:

Bedlam Boys

Grim King of the Ghosts (broadside ballad)

The Cruel Mother

William and Margret

Willow Song

Ophelia's mad song


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


Cavalli:

Canzon

Lamento di Didone

Faggioli:

Cantata a voce sola

Falconieri:

Passacalle à 3

Marini, B:

Sinfonia Primo Tuono

Sinfonia Sesto Tuono

Monteverdi:

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

Purcell:

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

Strozzi:

O Maria


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

Amarillis

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)

Dvorak:

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

Korngold:

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

Offenbach:

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

Purcell:

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

Settle:

Shadows

Timothy Young (piano)

Tchaikovsky:

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

trad.:

The Last Rose of Summer

Timothy Young (piano)

Verdi:

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

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Hybrid Multi-channel

Melba Recordings - MR301129

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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

Dowland:

Come again, sweet love doth now invite

What if I never speed?

Handel:

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

Monteverdi:

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

with Andreas Scholl (countertenor)

Quel sguardo sdegnosetto

Pergolesi:

Stabat mater: Opening duet

with Andreas Scholl (countertenor)

Purcell:

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.

“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

“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 ****

Decca - 4782260

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