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See Terms & Conditions for p&p rates. | |  | Handel Operatic Arias
“Sheer delight from first bar to last.” BBC Music Magazine “Here is a countertenor who, for once, gives an inkling of what the castrato voice did for Handel and his music ... Every track is a winner on this disc. More please.” Sunday Times “The ever-increasing popularity of Handel and his contemporaries, and their employment of alto castratos, has encouraged the development of countertenors capable of similar vocal feats to the original interpreters of the heroic roles in these works. Among these David Daniels can certainly be counted as a leading contender. He displays and deploys his talent here in a wide range of arias reflective and dramatic. His amazing technique runs through Tamerlano's virtuoso 'A dispetto' and Bertarido's 'Vivi tiranno!' without a blemish in the sound and with every division in its place yet part of a confidently delivered whole: by and large Daniels's runs and embellishments are smoothly accomplished. In more reflective pieces such as Giulio Cesare's 'Aure, deh, per pietà' (he also tackles Sesto's 'Cara speme' from Giulio Cesare, a particularly liquid, subtle piece of singing), Bertarido's 'Dove sei?' and Ariodante's sad lament, 'Scherza infida', written for the great Senesino, he uses his impeccable Italian to express wide-ranging emotions. Throughout, Roger Norrington and the Orchestra of the Age of Enlightenment give excellent support. The recording is blameless so there's every reason for readers to sample this fine exposition of the countertenor's art.” Gramophone Classical Music Guide, 2010 | | | In stock - usually despatched within 1 working day. |
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| |  | Handel: Opera Arias, Sacred Arias & Italian Cantatas
This artist was originally described as a countertenor, but emancipated himself as an altus, characterized by a higher level of vibrato. His singing technique provides us with a realistic picture of what once enthused half of Europe, the castrato. | | | Usually despatched in 2 - 3 working days. |
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| |  | Handel - Arias
Handel: | Messiah: Why do the nations so furiously rage together? Messiah: Let us break their bonds asunder Messiah: He shall feed His flock Messiah: Rejoice Greatly, O Daughter of Zion This manly youth's exalted mind (from The Choice of Hercules) Mount, mount the steep ascent (from The Choice of Hercules) Turn thee, youth, to joy and love (from The Choice of Hercules) Va tacito e nascosto (from Giulio Cesare) Silete venti, HWV242: Dulcis amor, Jesu care Amor, nel mio penar (from Flavio) Vivi, tiranno, io t'ho scampato (from Rodelinda) Neun deutsche Arien, HWV202-210: Süße Stille, sanfte Quelle Or la tromba (Rinaldo) Frondi tenere e belle ... Ombra mai fù (from Serse) Fammi Combattere (Orlando) |
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| |  | The Essential Handel
Handel: | Dove sei, amato bene? (from Rodelinda) Bernadette Greevy (contralto) Academy of St Martin in the Fields, Neville Marriner Organ Concerto No. 13 in F major, HWV295 'The Cuckoo and the Nightingale' Peter Hurford (organ) Concertgebouw Chamber Orchestra, Joshua Rifkin Sarabande from Suite in D minor, HWV437 Christopher Hogwood (harpsichord) Overture Berenice: Minuet Academy of St Martin in the Fields, Neville Marriner Jephtha: Waft her, angels, through the skies Anthony Rolfe Johnson (tenor) Academy of St Martin in the Fields, Neville Marriner Judas Maccabaeus: See, the conqu'ring hero comes! Handel Opera Society Chorus and Orchestra, Charles Farncombe Largo from Xerxes (instrumental arrangement) London Symphony Orchestra, George Szell Coronation Anthem No. 1, HWV258 'Zadok the Priest' Choir of King's College Cambridge, English Chamber Orchestra, David Willcocks Music for the Royal Fireworks Suite Academy of St Martin in the Fields, Neville Marriner Samson: Return, O God of hosts Kathleen Ferrier (contralto) London Philharmonic Orchestra, Adrian Boult Harp Concerto in B flat major, Op. 4 No. 6, HWV 294 Marisa Robles (harp) Academy of St Martin in the Fields, Iona Brown Samson: Let the bright seraphim Joan Sutherland (soprano) Chorus & Orchestra of Royal Opera House Covent Garden, Francesco Molinari-Pradelli Concerto Grosso Op. 3 No. 6 in D major, HWV317 Academy of St Martin in the Fields, Neville Marriner Ode for St Cecilia's Day: The trumpet's loud clangor Peter Pears (tenor) Chorus of East Anglian Choirs, English Chamber Orchestra, Benjamin Britten Rinaldo: March & Battle English Chamber Orchestra, Richard Bonynge Vivi, tiranno, io t'ho scampato (from Rodelinda) Marilyn Horne (mezzo-soprano) Vienna Cantata Orchestra, Henry Lewis Messiah (highlights) Academy & Chorus of St Martin in the Fields, Neville Marriner Arrival of the Queen of Sheba (from Solomon) Academy of St Martin in the Fields, Neville Marriner Semele: Where'er you walk Kenneth McKellar (tenor) Orchestra of the Royal Opera House Covent Garden, Adrian Boult Water Music (extracts) Academy of St Martin in the Fields, Neville Marriner |
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| |  | Handel: Arie per Castrato
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| |  | Marilyn Horne in RecitalRecordings from 1959 - 1973
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| |  | Marilyn Horne - The Complete Decca Recitals
Bach, J S: | Magnificat in D major, BWV243: Et exsultavit Magnificat in D major, BWV243: Esurientes implevit bonis Christmas Oratorio, BWV248: Schlafe, mein Liebster St Matthew Passion, BWV244: Erbarme dich Bist du bei mir, BWV508 | Beethoven: | Abscheulicher! Wo eilst du hin? (from Fidelio) | Bellini: | Lieto del dolce incarco…Se Romeo t'uccise un figlio (from I Capuleti e i Montecchi) | Bizet: | L'amour est un oiseau rebelle 'Habanera' (from Carmen) Près des remparts de Séville (Séguedille) (from Carmen) Adieux de l'hotesse Arabe Chanson d'Avril Vieille chanson Absence | Copland: | Old American Songs: excerpts | Debussy: | Trois chansons de Bilitis | Donizetti: | Deciso è dunque...le richezze (from La Figlia del Reggimento) | Falla: | Siete Canciones populares españolas | Gluck: | J'ai perdu mon Eurydice (from Orphée et Eurydice) Divinités du Styx (from Alceste) | Gounod: | Ô ma lyre immortelle (from Sapho) | Handel: | Messiah: O thou that tellest good tidings to Zion Messiah: I know that my Redeemer liveth Scacciata dal suo nido (from Rodelina) Dove sei, amato bene? (from Rodelinda) Vivi, tiranno, io t'ho scampato (from Rodelinda) | Mahler: | Rückert-Lieder (5 songs, complete) Lieder eines fahrenden Gesellen (4 songs, complete) Kindertotenlieder | Massenet: | Ces lettres! (from Werther) Va! Laisse couler mes larmes (from Werther) | Meyerbeer: | Ah, mon fils! (from Le Prophète) O prêtres de Baal (from Le Prophète) Nobles seigneurs, salut! (from Les Huguenots) | Mozart: | Parto, parto, ma tu ben mio (from La Clemenza di Tito) | Nin: | Villancico Castellano (from Villancicos Españolas) Jesus de Nazareth (from Villancicos Españolas) Villancico Asturiano (from Villancicos Españolas) Villancico Andaluz (from Villancicos Españolas) | Rossini: | Una voce poco fa (from Il barbiere di Siviglia) Assisa a' piè d'un salice (from Otello) Di tanti palpiti (from Tancredi) Bel raggio lusinghier (from Semiramide) Pronti abbiamo...Amici in ogni evento...Pensa alla patria (from L'Italiana in Algeri) Eccomi alfine in Babilonia (from Semiramide) Cruda sorte! Amor tiranno! (from L'Italiana in Algeri) Nacqui all'affanno, al pianto...Non più mesta (from La Cenerentola) L'ora fatal s'appressa ... Giusto ciel! (from L'Assedio di Corinto) Mura felici (from La donna del lago) Tanti affetti in tal momento (from La donna del lago) Non temer, d' un basso affetto (from Maometto II) | Saint-Saëns: | Printemps qui commence (from Samson et Dalila) Mon cœur s'ouvre à ta voix (from Samson et Dalila) | Schubert: | Im Frühling, D882 Nacht und Träume, D827 Die junge Nonne, D828 Fischerweise, D881 (Schlechta) | Schumann: | Die Lotosblume, Op. 25 No. 7 Aus den hebräischen Gesängen, Op. 25 No. 15 Die Kartenlegerin, Op. 31 No. 2 Abendlied, Op. 85 No. 12 | Strauss, R: | Schön sind, doch kalt die Himmelssterne, Op. 19, No. 3 Für fünfzehn Pfennige Op. 36 No. 2 Befreit, Op. 39 No. 4 | Thomas, Ambroise: | Connais-tu le pays (from Mignon) Me voici dans son boudoir 'Gavotte' (from Mignon) Elle est là! Près de lui! (from Mignon) | Verdi: | Stride la vampa (from Il Trovatore) Condotta ell’era in ceppi (from Il Trovatore) | Wagner: | Wesendonck-Lieder (5) | Wolf, H: | Auf einer Wanderung (No. 15 from Mörike-Lieder) Der Genesene an die Hoffnung (No. 1 from Mörike-Lieder) Mein Liebster hat zu Tische mich geladen (No. 25 from Italienisches Liederbuch) |
and traditional American folk songs
The great American mezzo-soprano Marilyn Horne celebrated her her 70th birthday in January 2004 and that year also marked 50 years since her professional debut. Horne’s debut in 1954 was in in Los Angeles. That same year her name and voice was brought to many more people than could ever hear her in the opera house through the 1954 film Carmen Jones in which she sang the dubbed voice of Dorothy Dandridge. Her Covent Garden debut was as Marie in Wozzeck (sung in English at that time) in 1964 – she had made her San Francisco debut in 1960 with the same role. It was with Joan Sutherland that Marilyn Horne found the perfect vocal partner and their performances in the great bel canto operas by Rossini, Bellini and Donizetti took the opera world by storm in the 1960s and early 1970s. By the time she retired in 1998, Marilyn Horne’s long and distinguished career embraced an enormous variety of operatic roles, as well as a wide variety of solo song ranging from Schubert, Schumann and Mahler through to modern American songs. Such a wide repertory was due to the sheer range of her voice and its remarkable flexibility, a voice that could sustain long lines of melody as well as negotiate the most florid vocal pyrotechnics. Marilyn Horne participated in a number of complete opera recordings (among them classic recordings of Norma and Semiramide with Joan Sutherland) for Decca and also made ten recital programmes. The complete recitals are now reissued in their entirety as a Collector Edition on 11 CDs and preserve the original sequence of music as presented on vinyl; the original LP cover art is reproduced for the CD sleeves. “When every single item brings wonderment it is impossible to single out one above the rest, and the recording is outstandingly vivid...her Rossini recital is one of the most cherishable among all Rossini records ever issued. The voice is in glorious condition, rich and firm throughout its spectacular range, and is consistently used with artistry and imagination, as well as brilliant virtuosity in coloratura. By any reckoning, this is thrilling singing.” Penguin Guide, 2011 edition | | | Usually despatched in 2 - 3 working days. |
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| |  | Leontyne Price: The Complete Collection of Operatic Recital Albums
Barber, S: | He has come, he has come! (from Vanessa) Do not utter a word (from Vanessa) Give Me Some Music (from Antony and Cleopatra, Op. 40) Give me my robe (from Antony and Cleopatra) Knoxville: Summer of 1915, Op. 24 | Beethoven: | Abscheulicher! Wo eilst du hin? (from Fidelio) | Bellini: | Sediziose voci (from Norma) Casta Diva (from Norma) Mira, o Norma (from Norma) with Marilyn Horne (mezzo) | Berlioz: | La Damnation de Faust: D'amour l'ardente flamme | Bizet: | Je dis que rien ne m'épouvante (from Carmen) | Boito: | L'altra notte in fondo al mare (from Mefistofele) | Britten: | On rivalries 'tis safe for kings...O God, my King (from Gloriana) | Charpentier, G: | Depuis le jour (from Louise) | Cilea: | Ecco: respiro appena. Io son l'umile ancella (from Adriana Lecouvreur) Poveri fiori (from Adriana Lecouvreur) | Debussy: | L'annee en vain...Cependent les soirs (from L'enfant Prodigue) | Dvorak: | Mesícku na nebi hlubokém 'Song to the Moon' (from Rusalka) | Flotow: | The Last Rose of Summer (Martha) | Gershwin: | Porgy and Bess (highlights) | Giordano, U: | La mamma morta (from Andrea Chénier) | Gluck: | Divinités du Styx (from Alceste) | Handel: | Care selve (from Atalanta) Semele: Where'er you walk Vivi, tiranno, io t'ho scampato (from Rodelinda) Marilyn Horne (mezzo) Fermati! No, crudel! (from Rinaldo) | Korngold: | Glück, das mir verbleib 'Marietta's Lied' (from Die Tote Stadt) | Leoncavallo: | Qual fiamma avea nel guardo!.... Hui! Stridono lassù (from I Pagliacci) | Mascagni: | Voi lo sapete o mamma (from Cavalleria rusticana) | Massenet: | Allons! Il le faut pour lui-même!... Adieu, notre petite table (from Manon) Dis-moi que je suis belle (from Thaïs) | Menotti: | While I waste these precious hours (from Amelia Goes to the Ball) | Meyerbeer: | In grembo a me [Sur mes genoux] (from L'Africaine) Sung in French Non, non, non, vous n'avais jamais, je gage (from Les Huguenots) Marilyn Horne (mezzo) | Mozart: | E Susanna non vien! … Dove sono i bei momenti (from Le nozze di Figaro) Don Ottavio, son morta!...Or sai chi l'onore (from Don Giovanni) Ch'io mi scordi di te?... Non temer, amato bene, K505 Porgi amor (from Le nozze di Figaro) Se il padre perdei (from Idomeneo) Ach, ich fühl's (from Die Zauberflöte, K620) Giunse alfin il momento... Deh, vieni, non tardar… (from Le nozze di Figaro) L'amerò, sarò costante (from Il re pastore) Bella mia fiamma, addio... Resta, oh cara, K528 Crudele? Ah no, mio bene! ... Non mi dir, bell'idol mio (from Don Giovanni) Oh smania! oh furie!...D'Oreste, d'Aiace (from Idomeneo) Ah, guarda, sorella (from Così fan tutte) with Marilyn Horne (mezzo) Dove sono i bei momenti (from Le nozze di Figaro) | Offenbach: | Tu n'es pas beau, tu n'es pas riche (from La Périchole) | Poulenc: | Mes filles, voilà que s'achève (from Dialogues des Carmelites) | Puccini: | Un bel di vedremo (from Madama Butterfly) Tu? Tu? Piccolo iddio (from Madama Butterfly) Chi il bel sogno di Doretta (from La Rondine) Vissi d'arte (from Tosca) Signore, ascolta! (from Turandot) Tu che di gel sei cinta (from Turandot) Senza mamma, o bimbo (from Suor Angelica) O mio babbino caro (from Gianni Schicchi) Si, mi chiamano Mimi (from La Bohème) Donde lieta usci (from La Bohème) Quando me'n vo (from La Bohème) Addio, addio mio dolce amor! (from Edgar) Ore dolci e divine (from La Rondine) Vissi d'arte (from Tosca) In quelle trine morbide (from Manon Lescaut) Sola, perduta, abbandonata (from Manon Lescaut) Se come voi piccina io fossi (from Le Villi) Un bel di vedremo (from Madama Butterfly) L'amore e un altra cosa (from La Fanciulla del West) Laggiù nel Soledad (from La Fanciulla del West) Oh, sarò la più bella...Tu, tu, amore? (from Manon Lescaut) with Placido Domingo (tenor) Bimba, bimba, non piangere (from Madama Butterfly) with Placido Domingo (tenor) In questa reggia (from Turandot) Chi il bel sogno di Doretta (from La Rondine) Una nave da guerra...Scuoti quelle fronda (from Madama Butterfly) with Marilyn Horne (mezzo) | Purcell: | Thy hand, Belinda … When I am laid in earth (from Dido & Aeneas) | Rossini: | Non temer, d' un basso affetto (from Maometto II) Marilyn Horne (mezzo) | Strauss, J, II: | Klänge der Heimat (from Die Fledermaus) | Strauss, R: | Zweite Brautnacht! (from Die Ägyptische Helena) Salome: Dance of the Seven Veils Salome: Zwischenspiel Ah! Du wolltest mich nicht deinen Mund küssen lassen (from Salome) Es gibt ein Reich (from Ariadne auf Naxos) | Tchaikovsky: | Puskay pogibnu ya 'Tatiana's Letter Scene' (from Eugene Onegin) | Verdi: | Ritorna vincitor! (from Aida) Qui Radamès verrà!... O patria mia (from Aida) Tacea la notte (from Il Trovatore) D'amor sull'ali rosee (from Il Trovatore) Teneste la promessa...Addio, del passato (from La Traviata) Era più calmo? (from Otello) Mia madre aveva...Piangea cantando...Ave Maria (from Otello) Vegliammo invan due notti (from Macbeth) Una macchia è qui tutt'ora (from Macbeth) O madre, dal cielo …Se vano, se vano è il pregare (from I Lombardi) Come in quest'ora bruna (from Simon Boccanegra) È strano! è strano!...Ah! fors è lui (from La traviata) Sempre libera (from La Traviata) Tu che la vanità (from Don Carlo) Giá nella notte densa (from Otello) with Placido Domingo (tenor) Teco io sto (from Un ballo in maschera) with Placido Domingo (tenor) La luce langue (from Macbeth) Caro nome (from Rigoletto) Silenzio! Aida verso noi s'avanza (from Aida) with Marilyn Horne (mezzo) Pace, pace mio Dio! (from La forza del destino) | Wagner: | Du bist der Lenz (from Die Walküre) Dich, teure Halle (from Tannhauser) Mild und leise 'Isolde's Liebestod' (from Tristan und Isolde) | Weber: | Wie nahte mir der Schlummer … Leise, leise, fromme Weise (from Der Freischütz) Ozean, du Ungeheuer (from Oberon) | Zandonai: | Paolo, datemi pace! (from Francesca Da Rimini) |
Leontyne Price is simply one of the best sopranos of all time. Hailed as the “Stradivarius of singers” she had a unique, unmistakable and unforgettable voice which graced the stage of the Met an astonishing 164 times throughout her career. The Leontyne Price catalogue is divided into two “Complete Collections”; Song and Spiritual Albums and Operatic Recital Albums. These collections are housed in original LP design cardboard slipcases and presented in a hardback boxset. “her core stage repertoire was restricted to a dozen or so roles...These 14 recital albums extend her range from Purcell’s Dido to Menotti’s Amelia: her Handel and Mozart may have dated stylistically, but few Countess Almavivas or Donna Annas have sounded more temperamental and voluptuous...All in all, a banquet for opera-lovers.” Sunday Times, 8th January 2012 | | | In stock - usually despatched within 1 working day. |
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