All recordingsPrices shown exclude VAT. (UK tax is not payable for deliveries to United States.) See Terms & Conditions for p&p rates. | |  | Régine Crespin in Recital
The larger-than-life Régine Crespin, made only one song recital record for Decca, of music by Schumann, Wolf, Debussy and Poulenc. This is the first time the entire recital has been made available on CD. As her career progressed, Crespin became associated with certain roles – Kundry, Sieglinde, Brünnhilde, Tosca, the Marschallin – but she was prodigiously versatile, thanks to her years in the French provinces. An intelligent singer who understood how to make the texts count, Crespin also had tremendous success in non-operatic repertory. Her 1963 Decca recording, with conductor Ernest Ansermet, of Berlioz’s Les Nuits d'été and Ravel’s Shéhérazade, is regarded as among the best available. In its original French, her candid and entertaining autobiography is called La vie et l'amour d'une femme, which is also the French translation of Schumann's song cycle Frauenliebe und -leben. Indeed, Lieder by Schumann and Wolf were important parts of her recital repertory, and she brought the same depth of meaning to their German texts as she did to her Wagnerian roles. Of course French, being her native language, evoked a most immediate and intimate response from this singer. This release marks the launch of an Eloquence series of notable recitals of songs and opera arias by some of the great voices of Decca and Deutsche Grammophon. “Seven songs by Poulenc, in pungent and marvellously characterised performances, form the highlight of this 1967 recital of Crespin in her prime. Her Wolf and Schumann are also irresistable.” BBC Music Magazine, June 2012 **** “It is difficult, indeed I find it impossible, to think of any soprano capable of singing Brünnhilde, as Régine Crespin has done, who is also capable of making a success of such a varied programme as this recital offers, but this she most certainly has achieved from start to finish. […] She has in John Wustman a pianist truly worthy of her, sensitive to every mood and nuance. […] I can give no higher praise to Crespin's singing of Debussy's Chansons de Bililis than to say it does not suffer from comparison with Maggie Teyte's. […]The balance between voice and piano is very good, and so here is everything for our delight. This is, indeed, one of the finest song recitals of recent times and I most warmly and enthusiastically recommend it” Gramophone Magazine | | | 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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| |  | 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 | 
| | | Scheduled for release on 3 June 2013. Order it now and we will deliver it as soon as it is available. |
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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 | 
| | | Scheduled for release on 3 June 2013. Order it now and we will deliver it as soon as it is available. |
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| |  | Lyric: Orchestral Songs
Bloch, E: | Poèmes D’automne for Mezzo-Soprano and Orchestra Sophie Koch (mezzo) Deutsches Symphonie-Orchester Berlin, Steven Sloane Two Psalms for Soprano & orchestra Christiane Oelze (soprano) Deutsches Symphonie-Orchester Berlin, Steven Sloane | Mahler: | Rückert-Lieder (5 songs, complete) Christine Schäfer (soprano) Deutsches Symphonie-Orchester Berlin, Christoph Eschenbach Lieder eines fahrenden Gesellen (4 songs, complete) Thomas Quasthoff (bass-baritone) Kölner Rundfunk-Sinfonie-Orchester, Gary Bertini | Schreker: | Lieder (5) für tiefe Stimme und Orchester Mechthild Georg (mezzo) WDR Rundfunkorchester Köln, Peter Gülke | Wellesz: | Leben, Traum und Tod, Op. 55 Regina Klepper (soprano), Sophie Koch (mezzo) Deutsches Symphonie-Orchester Berlin, Roger Epple | Wolf, H: | Mignon IV 'Kennst du das Land' (No. 9 from Goethe-Lieder) Er ist's (No. 6 from Mörike-Lieder) Anakreons Grab (No. 29 from Goethe-Lieder) Denk es, o Seele! (No. 39 from Mörike-Lieder) An den Schlaf (No. 29 from Mörike-Lieder) Mitsuko Shirai (mezzo) Radio-Symphonie-Orchester Berlin, David Shallon | Zemlinsky: | Lied der Baumwollpacker (from Symphonische Gesänge, Op. 20) Totes braunes Mädel (from Symphonisches Gesänge, Op. 20) Afrikanischer Tanz (from Symphonisches Gesänge, Op. 20) Franz Grundheber (baritone) Philharmonisches Staatsorchester Hamburg, Gerd Albrecht Lyric Symphony Op. 18: Friede mein Herz Matthias Goerne (baritone) Orchestre de Paris, Christoph Eschenbach |
These recordings taken from the legendary Capriccio-Archive bring some of the world’s leading singers together. “A flavoursome two-disc compliation garnering the distinctive character of these singers, often in less familiar and fascinating repertoire” BBC Music Magazine, April 2012 **** | | | (also available to download from $21.00) | Usually despatched in 2 - 3 working days. (Available now to download.) |
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| |  | Hugo Wolf: Lieder
This is a recording of a live recital by these legendary performers, given in Salzburg in 1958. | | | Usually despatched in 2 - 3 working days. |
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| |  | Songs of Hugo Wolfand songs by Schubert and Schumann
Daniel Lichti (baritone), Arlene Shrut (piano) | | | (also available to download from $10.50) | Usually despatched in 2 - 3 working days. (Available now to download.) |
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| |  | Between Life and Death - Songs & Arias
Bach, J S: | Komm süsser Tod, BWV478 | Brahms: | Feldeinsamkeit, Op. 86 No. 2 Wie rafft' ich mich auf Op. 32,1 (v.Platen) | Loewe, C: | Edward, Op. 1 No. 1 (Herder) Der Erlkönig, Op. 1 No. 3 (Goethe) | Mahler: | Urlicht (from Symphony No. 2) Revelge (Des Knaben Wunderhorn) Ich bin der Welt abhanden gekommen (Rückert-Lieder) | Mendelssohn: | Neue Liebe, Op. 19a No. 4 | Mozart: | Abendempfindung an Laura, K523 | Schubert: | Schwanengesang D744 (Senn) Auflösung, D807 Der Jungling und der Tod, D545 (Spaun) Der Tod und das Mädchen, D531 Kriegers Ahnung D 957, No. 2 | Schumann: | Stirb, Lieb’ und Freud! Op.35, No. 2 | Tchaikovsky: | Kuda, Kuda 'Lensky's Aria' (from Eugene Onegin) | Weber: | Nein! länger trag' ich nicht die Qualen…Durch die Wälder (from Der Freischütz) | Wolf, H: | Denk es, o Seele! (No. 39 from Mörike-Lieder) Anakreons Grab (No. 29 from Goethe-Lieder) Ein Ständchen Euch zu bringen kam ich her (No. 22 from Italienisches Liederbuch) Dereinst, Gedanke mein (No. 22 from Spanisches Liederbuch: Weltliche Lieder) |
The selection of songs and arias on this double SACD set reflect on the fundamental question of life and death and cover a period of almost two centuries, the composers featured ranging from Bach through to Tchaikovsky. They are performed by one of the great lyric tenors of our age Christophe Prégardien, accompanied by the pianist Michael Gees. The common theme in the music of this recording is the most fundamental of all, existence itself, life and death. The composers represented are Bach, Mahler, Schubert, Schumann, Mozart, Brahms, Loewe, Wolf, Mendelssohn, and Tchaikovsky. The songs and arias performed here range over almost two centuries with eleven compositions and many musical forms, the simple song with piano accompaniment, the narrative, expansive ballad, the great opera aria and more. Christoph Prégardien is widely regarded as among the foremost lyric tenors of our time and frequently collaborates with conductors such as Ricardo Chailly, John Elliot Gardiner, Nicolaus Harnoncourt, and Phillipe Herreweghe. He is represented on disc with more than a hundred and twenty titles, including most of his current repertoire. His recordings of German Romantic Lied repertory, particularly his recent releases on Challenge Classics of Schubert’s Die Schöne Müllerin, (CC72292), and Schwanengesang, (CC72302), have been highly acclaimed by the public and press and have received many major international awards. “…far from being depressing, the programming here, both thoughtful and vividly imaginative, serves to stimulate the senses and lift the spirit. A fresh and unmannered introductory performance of Bach's 'Komm, süsser Tod' leads with both tonal and spiritual ease into an equally direct rendering of 'Urlicht' from Mahler's Second Symphony - artfully and beautifully accompanied by Gees. with a quietly impassioned and sensitively paced performance of Mahler's valedictory 'Ich bin der Welt abhanden gekommen', the final track fades into thin air, concluding an anthology to savour slowly, and return to many times.” BBC Music Magazine, February 2010 **** “Such a programme demands exceptional resources in its singer, and there is probably no one presently more suited than Christoph Prégardien. His tenor, always centred as a high baritone, extends into the bass range right down to the low D of "Der Tod und das Mädchen". He can also call upon a silvery spiritual quality which serves well in songs such as Brahms's "Feldeinsamkeit" and as a final blessing over the whole recital in that last phrase of Mahler's "Ich bin der Welt abhanden gekommen". Michael Gees is one with the singer in the dedication of his own skills and in the imaginative sympathy that informs his touch.” Gramophone Magazine, March 2010 | | | Usually despatched in 4 - 5 working days. |
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| |  | Christa Ludwig - Lieder RecitalDirected by Enrique Sánchez Lansch
| | A Master Class with Christa Ludwig, Part II Bonus Directed by Claus Viller | Bernstein: | I Hate Music, a cycle of five 'kid songs' | Mahler: | Ich ging mit Lust (Lieder und Gesänge aus der Jugendzeit) Rheinlegendchen (Des Knaben Wunderhorn) Das irdische Leben (Des Knaben Wunderhorn) Ich bin der Welt abhanden gekommen (Rückert-Lieder) Scheiden und Meiden (Lieder und Gesänge aus der Jugendzeit) | Schubert: | Im Abendrot, D799 Die Forelle, D550 Der Tod und das Mädchen, D531 Geheimnis, D491 (Mayrhofer) Sehnsucht, D636 (Schiller) Der Musensohn, D764 (Goethe) | Strauss, R: | Du meines Herzens Krönelein, Op. 21 No. 2 Begegnung (Meeting), AV 72 Die Nacht, Op. 10 No. 3 Morgen, Op. 27 No. 4 | Wolf, H: | Anakreons Grab (No. 29 from Goethe-Lieder) Der Gärtner (No. 17 from Mörike-Lieder) Bedeckt mich mit Blumen (No. 26 from Spanisches Liederbuch: Weltliche Lieder) In dem Schatten meiner Locken (No. 2 from Spanisches Liederbuch: Weltliche Lieder) Mein Liebster hat zu Tische mich geladen (No. 25 from Italienisches Liederbuch) Wie lange schon war immer mein Verlangen (No. 11 from Italienisches Liederbuch) |
Christa Ludwig is acknowledged as one of the twentieth century’s most explorative and complete vocal artists. Her professional singing career spanned five decades and, as a star of the international operatic stage, she made roles as diverse as Rosina, Dorabella, Cherubino, Leonore, Amneris, Eboli, Kundry, Ortrud, Clytemnestra and the Marschallin her own, excelling in soprano, mezzo and coloratura mezzo repertoire. She also established her reputation as a fine lieder singer. The intimate auditorium of the magnificent neo-baroque Volkstheater in Vienna was packed with a discerning and enthusiastic audience when Christa Ludwig gave a master class there. The intimate auditorium of the magnificent neo-baroque Volkstheater in Vienna was packed with a discerning and enthusiastic audience when Christa Ludwig gave a master class there. The young singers who took part – Valerij Serkin (tenor), Stella Grigorian (mezzo) and Marcus Pelz (baritone) – were all studying at an advanced level, with their sights set on fi nding success as professionals on the operatic stage. Christa Ludwig focused the time she spent with each singer on helping them to find the dramatic truth expressed in the aria of their choice and advising on how they could communicate this in their interpretation. The master class includes pieces by Beethoven, Bizet and Massenet and, at the end, the greatness of her art is recalled as she is seen singing Mistress Quickly in a production of Verdi’s Falstaff (1982). “Filmed in Athens in 1994, this is one of the great German mezzo's final Lieder recitals. With her voice still in fine fettle and her interpretative powers undiminished, it's an impressive token of her artistry.” BBC Music Magazine, July 2009 **** | | | Usually despatched in 2 - 3 working days. |
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| |  | Hugo Wolf: Lieder
Heinrich Schlusnus (baritone), Franz Rupp (piano), Sebastian Peschko (piano) Berlin Staatsoper Orchestra, Hessen Radio Symphony Orchestra, Gerhard Steeger, Kurt Schroder | | | (also available to download from $10.50) | Usually despatched in 4 - 5 working days. (Available now to download.) |
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