Saint-Saëns: Mon cœur s'ouvre à ta voix (from Samson et Dalila) (Softly awakes my heart)

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Maria Callas: Pure

Maria Callas: Pure


Bellini:

Casta Diva (from Norma)

Bizet:

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

Les tringles des sistres tintaient (from Carmen)

Catalani:

Ebben? Ne andrò lontana (from La Wally)

Cilea:

Ecco: respiro appena. Io son l'umile ancella (from Adriana Lecouvreur)

Donizetti:

Il dolce suono mi colpì di sua voce! … Spargi d'amaro pianto (from Lucia di Lammermoor)

Giordano, U:

La mamma morta (from Andrea Chénier)

Gluck:

J'ai perdu mon Eurydice (from Orphée et Eurydice)

Puccini:

O mio babbino caro (from Gianni Schicchi)

Vissi d'arte (from Tosca)

Donde lieta usci (from La Bohème)

Rossini:

Una voce poco fa (from Il barbiere di Siviglia)

Saint-Saëns:

Mon cœur s'ouvre à ta voix (from Samson et Dalila)

Verdi:

Ah, fors'è lui che l'anima (from La Traviata)

Sempre libera (from La Traviata)

D'amor sull'ali rosee (from Il Trovatore)

Ave Maria (from Otello)


Maria Callas (soprano)

One of the 20th century’s most legendary and enduring icons, Maria Callas was both a glamorous diva and a global superstar who captivated audiences worldwide with her vivid and passionate performances. This disc features Callas in a glittering selection of opera favourites that showcase her unique voice and her heart-breaking portrayal of tragic heroines.

Opera singers come and go, but just a few – the legends – live on. And Maria Callas was the greatest legend of them all, though not just for the wonder of her voice. She changed the way people thought about opera, but she also became famous as the glamorous celebrity who fell in love with Aristotle Onassis, leaving her elderly husband to live with him on his yacht Christina and enjoy the high life with the international jet set. Of course it ended badly. She lived her life like one of her own tragic heroines who (as women tend to do in opera) sing, suffer and die. And her own death came at just 53, after a dazzling but short career that took in heavy roles alongside decorative, nightingale-like ones – ignoring the established rules of vocal health and probably explaining why her voice finally gave out as it did. But in that time she did extraordinary things, using the muscle of those heavy heroines to empower the nightingales with strength and depth of feeling nobody had thought to offer them before. She gave them credibility as drama. Her performances were absolute and self-exposing: she held nothing back. And she was even tougher on herself than she could be on others – which is why her voice was never quite the flawless instrument singers are meant to cultivate. Her personality was far too volatile and too self-sacrificing in its love affair with risk. In the mythology of opera, though, that’s what the audience demands. We want the diva to be both a goddess and a slave: to give her life for art. We thrill to the dimension of that sacrifice. And Callas dutifully obliged.

Released or re-released in last 6 months

Warner Classics - 2564633994

(CD)

$15.50

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Marian Anderson: Rare Live Broadcast Performances 1944-1951

Marian Anderson: Rare Live Broadcast Performances 1944-1951


Bach, J S:

Cantata BWV68 'Also hat Gott die Welt geliebt: Mein glaubiges Herze

Komm süsser Tod, BWV478

Christmas Oratorio, BWV248: Bereite dich, Zion

Bellini:

Odiò la pastorella

Bononcini, G B:

Calfurnia: The Trumpet is calling (Un'ombra di pace)

Brahms:

Von ewiger Liebe, Op. 43 No. 1

Burleigh, H T:

Deep River

My Way's Cloudy

Hard Trials

Fauré:

Après un rêve, Op. 7 No. 1

Handel:

Ombra mai fu (from Serse)

Per rapir quel tesoro... Un cenno leggiadretto (from Serse)

Vanne, segui'l mio desio (from Floridante)

Mozart:

Exsultate, jubilate, K165 - Alleluia

Saint-Saëns:

Mon cœur s'ouvre à ta voix (from Samson et Dalila)

Schubert:

Ständchen 'Leise flehen meine Lieder', D957 No. 4

Die Allmacht, D852

Sibelius:

Solitude from Belshazzar's Feast Op. 51

Verdi:

O don fatale (from Don Carlo)


Marian Anderson (contralto)

Previously unpublished radio performances by one of the greatest vocal artists of the twentieth century. This collection presents Anderson in a wide range of repertoire, including songs and arias by Bach, Handel, Mozart, Schubert, Verdi, Brahms, Fauré, Saint-Saëns, and Sibelius, as well as spirituals. Booklet includes notes by Anderson biographer Allan Keiler. 72 minutes in glorious Mono.

VAI - VAIA1275

(CD)

$14.25

Usually despatched in 4 - 5 working days.

French Opera Arias

French Opera Arias


Bizet:

Les tringles des sistres tintaient (from Carmen)

Carmen Suite No. 1

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

Donizetti:

L'ai-je bien entendu?… O mon Fernand (from La Favorite)

Gounod:

Mireille: Overture

Ô ma lyre immortelle (from Sapho)

Massenet:

De cet affreux combat…Pleurez, mes yeux ! (from Le Cid)

Offenbach:

Vois sous l'archet frémissant (from Les Contes d'Hoffmann)

Saint-Saëns:

Mon cœur s'ouvre à ta voix (from Samson et Dalila)

Thomas, Ambroise:

Connais-tu le pays (from Mignon)


Sonia Ganassi (mezzo-soprano)

Marchigiana Philharmonic Orchestra, Carla Delfrate

Bongiovanni - GB2564

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Naive 15th Anniversary Limited Editions: Marie-Nicole Lemieux

Naive 15th Anniversary Limited Editions: Marie-Nicole Lemieux


Berlioz:

Ah! Je vais mourir (from Les Troyens)

Bizet:

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

Cherubini:

Ah! Nos peines seront communes (from Médée)

Halévy:

Sous leur sceptre… Humble fille des champs (from Charles VI)

Handel:

Fair virtue shall charm me (from Alexander Balus, HWV 65)

Fury with red sparkling eyes (from Alexander Balus, HWV 65)

Destructive War, thy limits know (from Belshazzar)

Great victor, at your feet I bow (from Belshazzar)

My father! Ah! methinks I see (from Hercules, HWV 60)

Prophetic raptures swell my breast (from Joseph And His Brethren, HWV 59)

Oh peerless maid; Our limpid streams (from Joshua, HWV64)

From this dread scene (Judas Maccabaeus, HWV 63)

Solomon: Welcome as the dawn of day

Can I see my infant gor'd (from Solomon, HWV 67)

Crystal streams in murmurs flowing: Susanna

As With Rosy Steps (from Theodora)

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

Streams of Pleasure (from Theodora)

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

Massenet:

Ne me refuse pas (from Hérodiade)

Werther! Werther!…Je vous écris de ma petite chambre (from Werther)

Saint-Saëns:

Mon cœur s'ouvre à ta voix (from Samson et Dalila)

Thomas, Ambroise:

Connais-tu le pays (from Mignon)

Wormser:

Clytemnestre: Qu’Apollon soit loué… Ombre d’Agamemnon


Naive - up to 25% off

Naive 15th Anniversary Limited Editions - NC40039

(CD - 2 discs)

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Opera Breve

Opera Breve


Castelnuovo-Tedesco:

Paraphrase on 'Largo al factotum' from Rossini's 'Il barbiere di Siviglia'

Donizetti:

Una furtiva lagrima (from L'elisir d'amore)

arr. Quint

Falla:

La vida breve: First Spanish Dance

arr. Kreisler

Gershwin:

Porgy and Bess - Suite

arr. Heifetz

Gluck:

Orfeo ed Euridice: Mélodie

arr. Kreisler

Humperdinck:

Abendsegen 'Abends will ich schlafen gehn' (Hänsel und Gretel)

arr. Quint

Raff:

Cavatina for violin & piano (or orchestra), Op. 85 No. 3

Saint-Saëns:

Mon cœur s'ouvre à ta voix (from Samson et Dalila)

Strauss, R:

Morgen, Op. 27 No. 4

arr. Maisky

Tchaikovsky:

Kuda, Kuda 'Lensky's Aria' (from Eugene Onegin)

arr. Auer


Philippe Quint (violin), Lily Maisky (piano)

For his new project with Avanticlassic, internationally acclaimed violinist Philippe Quint is joined by rising star pianist Lily Maisky for a unique recital featuring the most beloved Operatic transcriptions.

Recorded with the legendary 1708 "Ruby" Stradivari, Opera Breve will allow you to (re)discover such gems as Figaro's aria from Il Barbiere di Siviglia, ‘Una Furtiva Lagrima from l’Elisir d’Amore, Lensky’s Aria from Eugene Onegin, ‘Mon coeur s’ouvre à ta voix’ from Samson and Delilah and Jascha Heifetz's clever arrangements from Porgy and Bess.

Taped at the Teldex studio –famous for its legendary acoustic– in 5 HD channels, this program is not only a tribute to one of the leading violinists of our generation; it is also a feast to the ears. From the fiery virtuosity of la Vida Breve, to the overtly humorous Il Barbiere di Siviglia, Philippe Quint and Lily Maisky will offer you an exquisite hour with the most beloved opera aria transcriptions in superlative interpretations.

Super Audio CD

Format:

Hybrid Multi-channel

Avanti - AVANTI10402

(SACD)

$17.25

Usually despatched in 2 - 3 working days.

Elina: The Best of Elina Garanča

Elina: The Best of Elina Garanča


Bellini:

Dopo l'oscuro nembo (from Adelson e Salvini)

Riedi al campo (from I Capuleti e i Montecchi)

Bizet:

Près des remparts de Séville (Séguedille) (from Carmen)

Les tringles des sistres tintaient (from Carmen)

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

Chapí:

Carceleras from Las hijas de Zebedeo

Delibes:

Lakmé: Dôme épais (Flower Duet)

Donizetti:

L'ai-je bien entendu?… O mon Fernand (from La Favorite)

Falla:

Nana (No. 5 from Siete canciones populares españolas)

Mozart:

Parto, parto, ma tu ben mio (from La Clemenza di Tito)

Offenbach:

Barcarolle (from Les Contes d'Hoffmann )

Saint-Saëns:

Mon cœur s'ouvre à ta voix (from Samson et Dalila)

Villa-Lobos:

Bachianas Brasileiras No. 5: Aria (Cantilena)


Elīna Garanča’s personal choice of her greatest tracks, released to coincide with her receiving an Echo Award (6 October) & the publication of her memoirs in December

Ten years ago she made her sensational début at the Salzburg Festival, singing the role of Annio in Mozart’s Clemenza di Tito. Since then Elīna Garanča has become one of the greatest, most sought-after mezzo-sopranos in the world. As an exclusive Deutsche Grammophon artist, she has made four solo albums for the label, and collaborated on many CD and DVD releases.

Now, with the artist’s help, we have brought together favourite tracks from her discography – the Seguidilla and Habanera from Carmen, the Flower Duet from Lakmé (with Anna Netrebko), the Barcarolle from The Tales of Hoffmann and many more, including Annio’s aria from Clemenza di Tito, some of her great bel canto roles and the touching Lullaby (Nana) by de Falla (see tracklist).

The CD booklet includes a newly-commissioned interview with Elina, where she reflects on her career and indicates where she is headed artistically. Her complete discography is also given there.

DG - 4792241

(CD)

$16.00

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The Top Ten Opera Classics

The Top Ten Opera Classics


Bizet:

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

Donizetti:

Una furtiva lagrima (from L'elisir d'amore)

Handel:

Lascia ch'io pianga (from Rinaldo)

Ombra mai fu (from Serse)

Mozart:

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

Puccini:

Nessun dorma (from Turandot)

O mio babbino caro (from Gianni Schicchi)

Che gelida manina (from La Bohème)

Saint-Saëns:

Mon cœur s'ouvre à ta voix (from Samson et Dalila)

Verdi:

Va, pensiero (from Nabucco)


X5 Music Group - X5CD106

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$7.00

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Mezzo Soprano Arias Vol. 1

Mezzo Soprano Arias Vol. 1

Complete versions and orchestral backing tracks


Bizet:

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

Près des remparts de Séville (Séguedille) (from Carmen)

Gluck:

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

Mozart:

Non so più cosa son, cosa faccio (from Le nozze di Figaro)

Rossini:

Una voce poco fa (from Il barbiere di Siviglia)

Saint-Saëns:

Mon cœur s'ouvre à ta voix (from Samson et Dalila)

Verdi:

O don fatale (from Don Carlo)

Re dell’abisso, affrettati (from Un Ballo in Maschera)


Cantolopera Mezzo arias - HLCD95037

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$22.75

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The Four-Minute Cylinders, Part II

The Four-Minute Cylinders, Part II


Bizet:

Parle-moi de ma mère (from Carmen)

Antoinette Laute-Brun (soprano), Gaston Dubois (tenor)

Donizetti:

Una furtiva lagrima (from L'elisir d'amore)

Karl Jorn (tenor)

Deciso è dunque...le richezze (from La Figlia del Reggimento)

(sung in Italian)

Frieda Hempel (soprano)

Flotow:

Love proscribed (from Martha)

(sung in English)

Charles Hackett (tenor), Marie Rappold (soprano)

The Last Rose of Summer (Martha)

(sung in English)

Charles Hackett (tenor), Marie Rappold (soprano)

Gounod:

Faites- lui mes aveux (from Faust)

Antoinette Laute-Brun (soprano), Rosa Olitzka (contralto)

Il était un roi de Thule (from Faust)

Antoinette Laute-Brun (soprano), Rosa Olitzka (contralto)

L'amour, l'amour... Ah, lève-toi soleil (from Roméo et Juliette)

Pierre-Aurele Asselin (tenor)

Kneass:

Ben Bolt

Eleanor de Cisneros (soprano)

Mendelssohn:

Heimkehr aus der Fremde, Op. 89: Ich bin ein vielgereister Mann

(sung in English)

Peter Dawson (baritone)

Meyerbeer:

Ah, mon fils! (from Le Prophète)

Maria Delna (contralto)

Puccini:

Si, mi chiamano Mimi (from La Bohème)

Lucrezia Bori (soprano)

Robaudi:

Alla stella confidente

Francesco Daddi (tenor)

Saint-Saëns:

Mon cœur s'ouvre à ta voix (from Samson et Dalila)

Maria Delna (contralto)

Thomas, Ambroise:

Je suis Titania (from Mignon)

Blanche Arral (soprano)

Wagner:

Blick ich umher in diesem edlen Kreise (from Tannhäuser)

Walter Soomer (baritone)

Nun sei bedankt, mein lieber Schwan (from Lohengrin)

Jacques Urlus (tenor)

Weber:

Wie nahte mir der Schlummer … Leise, leise, fromme Weise (from Der Freischütz)

Marie Rappold (soprano)


Symposium - SYMPCD1243

(Sorry, download not available in your country)

Melodies of Love and Death: Opera Senza Parole

Melodies of Love and Death: Opera Senza Parole

Arranged for piano trio by Bob Zimmerman


Bizet:

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

Arranged for pianotrio by Bob Zimmerman

La fleur que tu m'avais jetée (from Carmen)

Arranged for pianotrio by Bob Zimmerman

Carreau! Pique! La mort! (from Carmen)

Arranged for pianotrio by Bob Zimmerman

Donizetti:

Una furtiva lagrima (from L'elisir d'amore)

Arranged for pianotrio by Bob Zimmerman

Dvorak:

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

Arranged for pianotrio by Bob Zimmerman

Janacek:

Love duet (from The Cunning Little Vixen)

Arranged for pianotrio by Bob Zimmerman

Massenet:

Pourquoi me reveiller (from Werther)

Arranged for pianotrio by Bob Zimmerman

Puccini:

E lucevan le stelle (from Tosca)

Arranged for pianotrio by Bob Zimmerman

Sola, perduta, abbandonata (from Manon Lescaut)

Arranged for pianotrio by Bob Zimmerman

Tu che di gel sei cinta (from Turandot)

Arranged for pianotrio by Bob Zimmerman

Che gelida manina (from La Bohème)

Arranged for pianotrio by Bob Zimmerman

Un bel di vedremo (from Madama Butterfly)

Arranged for pianotrio by Bob Zimmerman

Saint-Saëns:

Mon cœur s'ouvre à ta voix (from Samson et Dalila)

Arranged for pianotrio by Bob Zimmerman

Strauss, R:

Ist ein Traum, kann nicht wirklich sein (from Der Rosenkavalier)

Arranged for pianotrio by Bob Zimmerman

Verdi:

Addio del passato (from La Traviata)

Arranged for pianotrio by Bob Zimmerman


Osiris Trio: Ellen Corver (piano), Peter Brunt (violin) & Larissa Groeneveld (cello)

‘Melodies of Love and Death’ features the highly regarded Osiris Trio, a Dutch piano trio that since its formation over 20 years ago has been the recipient of many major awards. Their programme is an unusual but rewarding one, since it is devoted to special arrangements made by Bob Zimmerman of some of the best loved opera arias in the repertoire, from Bizet and Verdi to Puccini and Janacek.

The Osiris Trio was formed in 1988 and over the following years the group has won a number of Dutch awards, including the ‘Philip Morris Finest Selection’ award and the Annie Bosboom Prize. Since 2001 the trio has received financial support by the Dutch Ministry of Culture. The trio’s discography encompasses two centuries of repertoire for piano trio, and includes song cycles and a critically acclaimed recording of Messiaen’s Quatuor pour la Fin du Temps. In 2009 the group released a fine CD featuring the piano trios of Antonin Dvořák.

Composer and arranger Bob Zimmerman is mostly known for his work on the album ‘Fascinating Gershwin’ that was released on the label Pentatone in 2007. He has also collaborated with the great Dutch choreographer Krzysztof Pastor in the 2010 ballet production, “Nijinsky”.

“The Osiris trio play with a classical sensitivity, successfully avoiding any Palm Court, Light music associations, and keep everything on an intimate chamber scale, ensuring that the listener is subtly drawn in rather than pinned to the back of his or her seat...I must confess I had my doubts about this disc, but in the event its winning combination of skilled arrangements and sensitive playing won me over.” Classic FM Magazine, November 2011 ****

Challenge Classics - up to 25% off

Challenge Classics - CC72373

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