Prices shown exclude VAT. (UK tax is not payable for deliveries to United States.)
See Terms & Conditions for p&p rates. | |  | Donizetti: Lucia di Lammermoor9/12/1961 live recording
Recorded just 13 days after Joan Sutherland's US debut, at the Met, as Lucia. The audience shows its huge appreciation with prolonged applause as she trills seemingly endlessly, in excellent sound. | | | Usually despatched in 3 - 4 working days. |
|
|
| |  | Donizetti: Lucia di Lammermoor
This performance, with Callas and Raimondi, was recorded in the Teatro di San Carlo Naples on 22nd April 1956. | | | Usually despatched in 2 - 3 working days. |
|
|
| |  | Donizetti: Lucia di Lammermoor
“Though some of the girlish freshness of voice which marked the 1961 recording had disappeared by the 1971 set, Sutherland's detailed understanding was intensified. Power is there as well as delicacy, and the rest of the cast is first-rate.” Penguin Guide, 2010 edition *** | | | Usually despatched in 2 - 3 working days. |
|
|
| |  | Donizetti: Lucia di Lammermoor
This performance with a cast including the legendary Joan Sutherland, was recorded at the Lyric Opera Chicago on 14th October 1961. | | | Usually despatched in 2 - 3 working days. |
|
|
| |  | Donizetti: Lucia di LammermoorMariinsky Concert Hall, St Petersburg, 12-16 September 2010. Notes in Russian (cyrillic ), English, French and German, libretto in Italian with English translation
The Mariinsky label’s opera recordings have garnered acclaim and awards from around the world, most recently for Valery Gergiev’s recording of Parsifal released in 2010. For the label’s fifth opera, Gergiev conducts Donizetti’s masterpiece with a magnificent cast led by Natalie Dessay. Natalie Dessay is one of the world’s most sought-after sopranos and an admired interpreter of lyric heroines. She is particularly renowned for her interpretation of the role of Lucia, which she has performed at the Metropolitan Opera, Royal Opera House and the Mariinsky Theatre. Future engagements include Verdi’s La Traviata with the LSO at the Aix-en-Provence Festival in July and at the Vienna State Opera in October. Piotr Beczala is rapidly establishing a reputation as one of today’s leading lyric tenors. He has recently sung Edgardo at the Met and on tour in Japan, and this summer will perform at the Bavarian State Opera and Salzburg Festival. Valery Gergiev recently won the Disc of the Year Award from BBC Music Magazine for his LSO Live recording of Prokofiev’s Romeo & Juliet. In July, Gergiev will conduct the Mariinsky Ballet at New York Metropolitan Opera and in August he conducts at the Edinburgh Festival and BBC Proms with the Mariinsky Orchestra before opening the LSO’s 2011-12 concert season. In October he embarks on a major tour of the USA and Canada with the Mariinsky Orchestra, including residencies at Carnegie Hall and Berkeley. Forthcoming releases include the final instalment in his Mahler cycle on LSO Live featuring Symphony No 9 and the Mariinsky label’s first DVDs and Blu-Ray Discs. Natalie Dessay appears courtesy of Virgin Classics. “The recording is worth owning for Beczala’s classy singing as Edgardo, the only paragon here. The Polish tenor’s gleaming, if not Italianate, tone, superb diction and shapely phrasing are the set’s most consistent pleasures.” Sunday Times, 17th July 2011 ** “Here’s a Valery Gergiev recording in which, for once, the febrile maestro isn’t centre stage. This is all about Natalie Dessay’s performance as poor deluded Lucy. And if you thrill to the French soprano’s hypercharged, histrionic and occasionally wayward delivery of Donizetti’s mad scene, you will forgive the ebullient but sometimes rough-edged playing of the Mariinsky Orchestra...Top singing from Vladislav Sulimsky as Enrico.” The Times, 16th July 2011 **** “there is something distinctively Russian about this Lammermoor. All those Italian melodies flow beautifully...But there is a sense of drive and purpose about this performance that seems, to me at least, distinctively Slavic...Dessay structures [the Mad Scene] well, always saving something in reserve for the build-ups and outbursts. Some excellent glass harmonica playing from Sascha Reckert...An intense but satisfying experience.” Classical Review, July 2011 “Here is a Lucia to match Callas or Sutherland. Natalie Dessay’s light soprano gives a vivid impression of Lucia’s vulnerable personality. The Mad Scene is enthralling. Piotr Beczala is a gloriously virile Edgardo, and the Italian style of the Russian cast more than acceptable. With Valery Gergiev a surprisingly sensitive conductor, this is a top-rank recording of a marvellous opera.” The Telegraph, 4th August 2011 ***** “Gergiev drives it hard, admirably sustaining an atmosphere of tremendous neurotic tension throughout...Piotr Beczala's Edgardo is stylish and impulsive, if occasionally effortful.” The Guardian, 11th August 2011 *** “how authentic a Donizettian can [Gergiev] be? The basic answer is that the tinta he establishes for the work - a dark sound with good forward winds and present brass...creates real atmosphere...this is a neurotic, depressed Donizetti, surely right for this story. If this is not always Italian slancio, it certainly has its own mood and lift...It is also sensitive to dynamic markings: this is rarely a loud experience.” Gramophone Magazine, October 2011 “Everything Dessay does is lovely, but there is a lack of the desperation which should pervade the role...[Beczala is] actually more moving and Italianate than Dessay. Still, as post-Maria Callas Lucias go, this is one of the best.” BBC Music Magazine, October 2011 **** “we can once again relish Dessay's extraordinary command of staccatos, her flexibility (the rapid scales in the Mad Scene cabaletta are stunning) and that uniquely pearly timbre...Finally, and most importantly, she phrases at all times with the sensitivity we have come to expect of her...Beczala, with his gleaming, immaculately centred tone and unfailing sincerity of address, stands comparison with any other recorded Edgardo.” International Record Review, September 2011 | | | Usually despatched in 3 - 4 working days. |
|
|
| |  | Donizetti: Lucia di LammermoorRecorded 26th February 1959
This is Sutherland’s first Lucia and is now back in the catalogue in splendid sound. This performance was at Covent Garden in 1959. | | | Usually despatched in 2 - 3 working days. |
|
|
| |  | Donizetti: Lucia di LammermoorRecorded in 1986
Joan Sutherland (Lucia), Richard Greager (Edgardo), Malcolm Donnelly (Enrico), Clifford Grant (Raimondo), Sergei Baigildin (Arturo), Patricia Price (Alisa), Robin Donald (Normanno) Elizabethan Sydney Orchestra & Australian Opera Chorus, Richard Bonynge Dame Joan Sutherland triumphs in one of her most famous roles bringing memorable life to the heroine who murders her bridegroom on her wedding night. “Sutherland remains a splendid heroine, the charisma of her role is untarnished and her singing is still the experience of a lifetime.” Sydney Morning Herald “The performance, quite heavily cut, is enthusiastically projected by Bonynge and the orchestra. The well-remembered Clifford Grant and Malcolm Donnelly set to with a will and Richard Greager puts much bite into the hapless Edgardo.” Gramophone Magazine, October 2011 | | | Usually despatched in 2 - 3 working days. |
|
|
| |  | Donizetti: Lucia di Lammermoor
Beautifully packaged, and at budget price. Full track-lists and synopses in English, German and French. “this 1990 recording, conducted with great energy and character by Ion Marin, has plenty going for it. Studer and Domingo are both idiomatic and the rest of the cast...is good. As an alternative to one of the Callas or Sutherland recordings, this is an attractive proposition.” International Record Review, October 2011 | | | Usually despatched in 2 - 3 working days. |
|
|
| |  | Donizetti: Lucia di LammermoorLive Recording from The Teatro Carlo Felice, 2003
Stefania Bonfadelli (Lucia), Marcelo Álvarez (Edgardo) & Roberto Frontali (Enrico) Teatro Carlo Felice, Patrick Fournillier (conductor) & Graham Vick (stage director) Set & Costume Design Paul Brown This DVD shows an impressive staging of Lucia di Lammermoor by Gaetano Donizetti filmed at the opera house in Genoa, directed by preeminent opera director Graham Vick, conducted by renowned opera conductor Patrick Fournillier and sung by an all star cast - Marcelo Álvarez hailed as one of the hottest tenors on the international scene and Stefania Bonfadelli frequent guest on the stages of the world‘s greatest opera houses and celebrated by audience and critics alike. In this staging, Graham Vick concentrated all his attention on the performers and employed the simplest of means to create spaces representing the atmosphere of the scenes rather than concrete physical locations for them. In spirit, therefore, his production remains loyal to the libretto by Salvatore Cammarano, the music by Gaetano Donizetti and their concentration on the story’s essentials, focussing as closely as possible on the passionate engagement of Lucia, Edgardo and Enrico. Sound Format: PCM Stereo, DD 5.1, DTS 5.1 Picture Format: 16:9 DVD Format: DVD 9, NTSC Subtitle Languages: GB, DE, FR, IT, ES Running Time: 145 mins FSK: 0 | | | Usually despatched in 2 - 3 working days. |
|
|
| |  | Donizetti: Lucia di Lammermoor
Désirée Rancatore (Lucia), Roberto De Biasio (Sir Edgardo di Ravenswood), Luca Grassi (Lord Enrico Asthon), Enrico Giuseppe Iori (Raimondo Bidebent), Matteo Barca (Lord Arturo), Tiziana Falco (Alisa) & Vincenzo Maria Sarinelli (Normanno) Orchestra and Chorus of the Bergamo Musica Festival Gaetano Donizetti, Antonino Fogliani Lucia di Lammermoor’s tragic tale of love, feuds, deception, madness and murder has thrilled audiences since its première in 1835. It boasts a fast-moving plot, a strong cast of characters, a brooding Scottish Gothic horror setting and some of Donizetti’s most effective and demanding music, making it the most celebrated bel canto opera in the repertoire. On this live recording from the Donizetti Theatre in Bergamo, Désirée Rancatore gives a fresh and thrilling interpretation of the demanding rôle of the doomed heroine Lucy Ashton, her famous ‘mad scene’ featuring a glass harmonica, Donizetti’s original choice of instrument, rather than the more usual flute, to underline the state of her shattered mind. “This performance from the 2006 Bergamo Festival mixes the new critical edition of Donizetti's work with traditional cadenzas and transpositions” BBC Music Magazine, April 2011 ** “The best pleasures come from the singing. notably Roberto de Biasio's very fine Edgardo, passionate and beautiful of tone throughout.” Opera Now, September/October 2011 *** | | | (also available to download from $10.75) | Usually despatched in 2 - 3 working days. (Available now to download.) |
|
|
| |
|
Gramophone Magazine
