Lehár: Viljalied (from Die lustige Witwe) (Es lebt eine Vilja)

This page lists all recordings of Viljalied (from Die lustige Witwe) (Es lebt eine Vilja), by Franz Lehár (1870-1948) on CD, DVD & download (MP3 & FLAC). Generally, more recent releases are listed first, but with priority given to those that are in stock.

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The Very Best of Elisabeth Schwarzkopf

The Very Best of Elisabeth Schwarzkopf


Bach, J S:

Cantata BWV51 'Jauchzet Gott in allen Landen': Aria

Bist du bei mir, BWV508

Beethoven:

O wär' ich schon mit dir vereint (Marzelline)

Heuberger:

Gehen wir ins Chambre séparée) from The Opera Ball

Humperdinck:

Brüderchen, komm tanz mit mir (Dance Duet from Hänsel und Gretel)

Lehár:

Viljalied (from Die lustige Witwe)

Mozart:

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

Porgi amor (from Le nozze di Figaro)

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

In quali eccessi ... Mi tradì quell'alma ingrate (from Don Giovanni)

Come scoglio (from Così fan tutte)

Ridente la calma, K152

Schubert:

An die Musik D547

Das Lied im Grünen, D917

Nachtviolen D752 (Mayrhofer)

Der Musensohn, D764 (Goethe)

Siecynski:

Wien, du Stadt meiner Traüm

Smetana:

Endlich allein (from Die verkaufte Braut)

Strauss, J, II:

Klänge der Heimat (from Die Fledermaus)

Strauss, R:

Da geht er hin (from Der Rosenkavalier, Op. 59)

Es gibt ein Reich (from Ariadne auf Naxos)

Das war sehr gut, Mandryka (from Arabella)

Frühling (from Vier Letzte Lieder)

Im Abendrot (from Vier Letzte Lieder)

Muttertändelei, Op. 43 No. 2

Zueignung, Op. 10 No. 1

trad.:

Gsätzli

Wagner:

Einsam in trüben Tagen (from Lohengrin)

Weber:

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

Wolf, H:

Auch kleine Dinge (No. 1 from Italienisches Liederbuch)

Mein Liebster hat zu Tische mich geladen (No. 25 from Italienisches Liederbuch)

Ich hab in Penna einen Liebsten (No. 46 from Italienisches Liederbuch)

Verschling der Abgrund meines Liebsten Hütte

Wiegenlied im Sommer (from Sechs Lieder für eine Frauenstimme)

In dem Schatten meiner Locken (No. 2 from Spanisches Liederbuch: Weltliche Lieder)

Mignon IV 'Kennst du das Land' (No. 9 from Goethe-Lieder)

Mausfallen-Sprüchlein (from Lieder für eine Frauenstimme)


Multi-award winning opera singer Elisabeth Schwarzkopf, praised for the ‘pristine beauty of her lyric soprano’ (The Guardian), was revered in opera houses worldwide and is perhaps most famous for her Mozart roles. However, she was also at home on the concert stage and this collection combines her acclaimed portrayals of Donna Elvira, Countess Almaviva and Richard Strauss’s Marschallin, among others, with her affecting interpretations of lieder and song-cycles.

Released or re-released in last 6 months

EMI - The Very Best of... - 4165022

(CD - 2 discs)

$11.00

In stock - usually despatched within 1 working day.

Richard Tauber: Lehár & Co

Richard Tauber: Lehár & Co


Kalman:

Grüß mir mein Wien (from Gräfin Mariza)

Zwei Märchenaugen (from Die Zirkusprinzessin)

Lehár:

Viljalied (from Die lustige Witwe)

Lippen schweigen (from Die Lustige Witwe)

Hab' ein blaues Himmelbett (from Frasquita)

O Mädchen, mein Mädchen (from Friederike)

Dein ist mein ganzes Herz (from Das Land des Lächelns)

Gern hab' ich die Frau'n geküßt (from Paganini)

Allein, wieder allein (from Der Zarewitsch)

Kosende Wellen (from Der Zarewitsch)

Carlotta Vanconti (soprano)

Freunde, das Leben ist lebenswert (from Giuditta)

Schön wie die blaue Sommernacht (from Giuditta)

Jarmila Novotna (soprano)

Strauss, J, II:

Als flotter Geist (from Der Zigeunerbaron)

Treu sein, das liegt mir nicht (from Eine Nacht in Venedig)

Dieser Anstand, so manierlich (from Die Fledermaus)

Vera Schwarz (soprano)


Richard Tauber loved his audience and his audience loved him. He bridged the gap between serious and light music and his voice had an instantly recognisable timbre. He sang from the heart and could hold the audence in the palm of his hand.

Preiser - PR90802

(CD)

$17.00

In stock - usually despatched within 1 working day.

Gustav Klimt: Music of his Era

Gustav Klimt: Music of his Era


Beethoven:

Symphony No. 9 in D minor, Op. 125 'Choral' - Ode to joy (excerpt)

Berg:

Die Nachtigall

Brahms:

Clarinet Sonata No. 2 in E flat major, Op. 120 No. 2: excerpt

Heuberger:

Gehen wir ins Chambre séparée) from The Opera Ball

Lehár:

Viljalied (from Die lustige Witwe)

Mahler:

Urlicht (from Symphony No. 2)

Mahler, A:

Bei dir ist es traut

Mozart:

Pa-pa-pa-pa-Papagena (from Die Zauberflöte)

Pfitzner:

Sommerherrin lachende Welle (from Die Rose vom Liebesgarten)

Schoenberg:

5 Orchestral Pieces, Op. 16 - Farben

Schrammel:

Wien bleibt Wien

Strauss, J, II:

Kaiser-Walzer, Op. 437

Strauss, R:

Salome: Dance of the Seven Veils

Wagner:

He! Du da! (from Parsifal)

Webern:

Five movements for String Quartet, Op. 5 (1909): Heftig bewegt

Wolf, H:

Storchenbotschaft (No. 48 from Mörike-Lieder)

Ziehrer:

Hereinspaziert


Astor Media - AST170286

(CD)

$12.75

In stock - usually despatched within 1 working day.

Time Traveller: La Belle Epoque

Time Traveller: La Belle Epoque


Debussy:

Clair de Lune (from Suite Bergamasque)

Elgar:

Chanson de Matin, Op. 15 No. 2

Fauré:

C'est l'extase langoureuse, Op. 58 No. 5 (Verlaine)

Gottschalk, L:

Le banjo - fantaisie grotesque, Op. 15 (RO22)

Lehár:

Viljalied (from Die lustige Witwe)

Liszt:

Grand galop chromatique, S219

Martini, G B:

Plaisir d'amour

Massenet:

Meditation (from Thaïs)

Offenbach:

Gaite Parisienne: overture

Ah! quel dîner je viens de faire (from La Perichole)

Satie:

Gymnopédie No. 3

Strauss, J, II:

An der schönen, blauen Donau, Op. 314

Banditen-Galopp, Op. 378

Tosti:

Marechiare

Waldteufel:

Les Patineurs - Valse, Op. 183


As the 19th century faded and the 20th century began, something special was in the air: the scent of decadence mingled with the thrill of the new.

Moving from Romanticism to Modernism, creative spirits welcomed diverse influences – some of them exotic – and introduced new textures and colours to their work. Whether first heard in Paris, Vienna or London, the music of the Belle Époque was typically sensuous, elegant and perfumed – and full of subtle delights.

EMI Time Traveller - 6790142

(CD)

$11.00

In stock - usually despatched within 1 working day.

The Best of Elisabeth Schwarzkopf

The Best of Elisabeth Schwarzkopf


anon.:

S'Schatzli

Gerald Moore (piano)

Dvorak:

Songs My Mother Taught Me, Op. 55 No. 4

Gerald Moore (piano)

Humperdinck:

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

Elisabeth Grummer (Hansel)

Philharmonia Orchestra, Herbert von Karajan

Lehár:

Meine Lippen sie Kussen so heiss (from Giuditta)

Philharmonia Orchestra, Otto Ackermann

Viljalied (from Die lustige Witwe)

Philharmonia Orchestra, Otto Ackermann

Mozart:

Porgi amor (from Le nozze di Figaro)

Vienna Philharmonic Orchestra, Herbert von Karajan

Dove sono i bei momenti (from Le nozze di Figaro)

Vienna Philharmonic Orchestra, Herbert von Karajan

Come scoglio (from Così fan tutte)

Philharmonia Orchestra, Herbert von Karajan

In quali eccessi ... Mi tradì quell'alma ingrate (from Don Giovanni)

Philharmonia Orchestra, Carlo Maria Giulini

Quilter:

Drink to me only

Gerald Moore (piano)

Schubert:

Der Musensohn, D764 (Goethe)

Edwin Fischer (piano)

Gretchen am Spinnrade, D118

Edwin Fischer (piano)

Die Forelle, D550

Edwin Fischer (piano)

Schumann:

Der Nussbaum, Op. 25 No. 3

Gerald Moore (piano)

Strauss, J, II:

Klänge der Heimat (from Die Fledermaus)

Philharmonia Orchestra, Herbert von Karajan

Strauss, R:

Wiegenlied, Op. 41 No. 1

Gerald Moore (piano) 12. Viljalied (Die Lustige Witwe:Lehár) 5:13

Da geht er hin (from Der Rosenkavalier, Op. 59)

Philharmonia Orchestra, Herbert von Karajan

Zeller:

Der Obersteiger: Sei nicht bös’ from Der Vogelhändler

Philharmonia Orchestra, Otto Ackermann


Alto - ALC1163

(CD)

$7.25

In stock - usually despatched within 1 working day.

Kate Royal – Midsummer Night

Kate Royal – Midsummer Night


Alwyn:

Midsummer night (Miss Julie)

Barber, S:

Do not utter a word (from Vanessa)

Britten:

Embroidery in childhood (from Peter Grimes)

Thomas Allen (baritone)

Tiny's song (Paul Bunyan)

How Beautiful It Is (from The Turn of the Screw)

Dvorak:

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

Floyd:

The trees on the mountains (Susannah)

Herrmann, B:

I Have Dreamt

Korngold:

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

Lehár:

Viljalied (from Die lustige Witwe)

Messager:

Philomel from Monsieur Beaucaire

Stravinsky:

Le Chant du Rossignol

Andrew Staples (tenor)

Walton:

At the haunted end of the day (Troilus and Cressida)


Kate Royal (soprano)

Orchestra of the English National Opera & Crouch End Festival Chorus, Edward Gardner

Kate Royal’s second recording for EMI Classics is Midsummer Night, an atmospheric recital collection focusing on female characters in 20th century opera and operetta, reflecting their pain and ecstasy in love. The programme ranges from well known turn-of-the-century works by Dvorák (Song to the Moon from Rusalka) and Lehár (Vilja from The Merry Widow) to Midsummer Night, from the English composer William Alwyn’s opera Miss Julie. Edward Gardner conducts the English National Opera Orchestra with guest appearances by Thomas Allen, Andrew Staples and the Crouch End Festival Chorus.

"[My] Inspiration for this album began with Benjamin Britten's The Turn of the Screw and the Governess - my first major role in a 20th century opera,” said Kate Royal. “The music got under my skin in a way I had not experienced before. Britten's vocal writing is immediate and naturally dramatic. His harmonic world seeps into the subconscious underpinning the character as a fully formed human being rather than a romantic stereotype. So, with the Governess’s Tower Scene as a starting point, I went in search of other arias that shared this combination of intensity and abandon. These are worlds in which the heroines are laid bare, vulnerable in their journey towards emotional fulfilment … women lost in love [or] trapped in a deeper trance-like state as they wrestle with their unsated desires. … Alongside some of the century's seminal works I [was] also delighted to discover what I believe to be some hidden gems for the soprano voice."

Stephen Johns, Vice President of A&R, EMI Classics, has also commented on the choice of repertoire, "The selection of songs for this recital is illuminated by their composers’ reactions to the changing musical scenes of the 20th century. All the arias were written after 1900, but each composer has found a different and unique way of coping with the transition into the century. Some are still firmly rooted in the lush harmonies of the 19th century like Dvorák and Korngold; some even clinging onto the innocence of the past world, such as Léhar. Others are experimenting with newer harmonies - the exoticism of early Stravinsky, and the aching beauty of Walton and Alwyn's music. Still others find new life in the old harmonic structures - Britten and Floyd. What binds them together, in a programme that coincidentally emphasises the nocturnal, the close of the day, is a desire to allow the soprano voice fully to express beauty in melody ….”

Among the lesser known arias on Kate Royal’s CD are those from operas by the English composer William Alwyn and American composers Bernard Herrmann and Carlisle Floyd: William Alwyn (1905-1985) based his only major opera, Miss Julie, on August Strindberg’s tense and intimate drama of class and sexual relations from 1888. Composed between 1973 and 1976, Miss Julie was premiered on BBC Radio in 1977, but has had only one semi-professional stage production, in Copenhagen in 1991; Bernard Herrmann’s many film scores, notably his collaborations with Orson Welles (Citizen Kane), Alfred Hitchcock (Psycho) and Martin Scorsese (Taxi Driver), have diverted attention from his other musical achievements. He was particularly proud of Wuthering Heights, his major opera to a libretto by Lucille Fletcher (his first wife), based on Emily Brontë’s novel. Herrmann (1911-1975) composed it between 1943 and 1951, but the opera was not staged until 1982, seven years after his death; The American composer Carlisle Floyd (b 1926), whose own version of Wuthering Heights was premiered in 1958, has produced a steady stream of operas over a period of fifty years, a couple of which have become staples of the American repertoire. His greatest success has been Susannah, based on the story in the Apocrypha of Susannah and the Elders translated to a contemporary Bible-belt setting. First staged at Florida University in 1955, the opera has been performed predominantly by American companies, notably the Metropolitan Opera in 1999.

"She is a natural communicator, has all the ingredients for an important career – musicality, a lyric soprano of rare loveliness, a poised and dignified manner and looks gorgeous too" The Sunday Times

“…Kate Royal's lustrous soprano has invited comparisons with that of Elisabeth Schwarzkopf, and so it does in this imaginative programme, conducted by fellow wunderkind Edward Gardner.” BBC Music Magazine, June 2009 ****

“Dramatically, she and the orchestra capture the early evening atmosphere with its unsettling undercurrents. Vocally, her voice is so lusciously rich there is a mezzo quality to it; her diction is crystal clear, and her top register effortless, pure and true...Royal seems to have a particular gift for getting to the heart of any text, becoming the character and making it her own.” Charlotte Gardner, bbc.co.uk, 4th June 2009

“Listening to Royal is like being thrown back to a bygone age when singers didn't merely perform roles, they became indivisible from them.” Classic FM Magazine, April 2011 ****

“All the extracts from English and American works go extremely well; the aria that gives the disc its title, "Midsummer Night" from William Alwyn's Miss Julie, is a rarity. The Tower scene from the Turn of the Screw, with its spooky woodwind and harp accompaniment, is as good as the Grimes scene - Royal comes into her own in the Britten roles.” Gramophone Magazine, July 2009

“Solos from Britten’s Paul Bunyan, Peter Grimes and The Turn of the Screw are dotted among extracts from Alwyn’s Miss Julie, Carlisle Floyd’s Susannah, Walton’s Troilus and Bernard Herrmann’s Wuthering Heights. If Royal’s voice sounds squeezed at the top of her range, she revels in this lush music.” Sunday Times, 24th May 2009 ***

“Much of the music is pensive, decorated with birdlike flutes and piccolos or the plink of a refined harp — details brightly supplied by the Orchestra of English National Opera and their conductor Edward Gardner. But Royal’s voice is the best instrument of all: a voice of strong, liquid beauty, unfaltering in any register, never more thrilling than when pealing or gliding in long breaths.” The Times, 1st May 2009 ****

EMI - 2681922

(CD)

$13.00

In stock - usually despatched within 1 working day.

Dein ist mein ganzes Herz

Dein ist mein ganzes Herz


Kalman:

Weisst du es noch (from Die Csárdásfürstin)

Tanzen Möcht' ich (from Die Csárdásfürstin)

Heut' Nacht hab' ich geträumt von Dir (from Das Veilchen von Montmartre)

Wieder hinaus ins strahlende Licht (from Die Zirkusprinzessin)

Lehár:

Meine Lippen sie Kussen so heiss (from Giuditta)

Da geh' ich zu Maxim (from Die Lustige Witwe)

Viljalied (from Die lustige Witwe)

Lippen schweigen (from Die Lustige Witwe)

Nur die Liebe macht uns jung (from Zigeunerliebe)

Dein ist mein ganzes Herz (from Das Land des Lächelns)

Millöcker:

Dunkelrote Rosen (from Gasparone)

Stolz, R:

Du sollst der Kaiser meiner Seele sein (from Der Favorit)

Strauss, J, II:

Ich lade gern mir Gäste ein (from Die Fledermaus)

Draußen im Sievering blüht schon der flieder (from Die Tänzerin Fanny Elssler)

Suppe:

Florenz hat schöne Frauen (from Boccaccio)

Hab' ich nur deine Liebe (from Boccaccio)


Angelika Kirchschlager (mezzo), Simon Keenlyside (baritone)

Tonkünstlerorchester NÖ, Alfred Eschwe

Sony - 88697119082

(CD)

$18.50

In stock - usually despatched within 1 working day.

Lucia Aliberti: A Portrait

Lucia Aliberti: A Portrait


Bellini:

Casta Diva (from Norma)

Cardillo:

Core 'ngrato

Catalani:

Ebben? Ne andrò lontana (from La Wally)

Donizetti:

Ardon gli incensi (from Lucia di Lammermoor)

Al dolce guidami castel natio (from Anna Bolena)

Gounod:

Ah! Je veux vivre dans ce rêve (from Roméo et Juliette)

Lehár:

Viljalied (from Die lustige Witwe)

Puccini:

O mio babbino caro (from Gianni Schicchi)

Vissi d'arte (from Tosca)

Rota:

The Godfather theme

The Godfather: The Immigrant

Verdi:

Libiamo, ne' lieti calici (from La Traviata)


Lucia Aliberti (soprano)

Nordestdeutsche Philharmonie, Peter Feranec

RCA - 74321574362

(CD)

$9.50

In stock - usually despatched within 1 working day.

Elisabeth Schwarzkopf: Popular Arias, Duets & Lieder

Elisabeth Schwarzkopf: Popular Arias, Duets & Lieder


anon.:

S'Schatzli

trad. Swiss

Bach, J S:

Sheep May Safely Graze, from Cantata BWV208

Beethoven:

O wär' ich schon mit dir vereint (Marzelline)

Handel:

L'Allegro, Il Penseroso ed Il Moderato: Sweet Bird

Humperdinck:

Brüderchen, komm tanz mit mir (Dance Duet from Hänsel und Gretel)

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

Lehár:

Viljalied (from Die lustige Witwe)

Mozart:

Porgi amor (from Le nozze di Figaro)

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

Puccini:

O mio babbino caro (from Gianni Schicchi)

Un bel di vedremo (from Madama Butterfly)

Schubert:

An die Musik D547

Die junge Nonne, D828

Der Musensohn, D764 (Goethe)

Strauss, R:

Herr Gott in Himmel! (from Der Rosenkavalier)

with Irmgard Seefried


Regis - RRC1167

(CD)

$7.25

In stock - usually despatched within 1 working day.

Elisabeth Schwarzkopf: Operetta Arias & Duets

Elisabeth Schwarzkopf: Operetta Arias & Duets


Lehár:

Bitte meine Herren (from Die Lustige Witwe)

Viljalied (from Die lustige Witwe)

Heia, Madel, aufgeschauf (from Die Lustige Witwe)

Ganz a Pariser art

Lippen schweigen (from Die Lustige Witwe)

Ich danke fur die Huldigung…Ger, gern wär’ich verliebt

Es ist nicht das erstemal

Bei einem Tee en deux

Wer hat die Liebe uns ins Herz gesenkt

Ich möcht wieder einmal die Heimat sehn (from Das Land des Lächelns)

Strauss, J, II:

Frutti di mare

Annina! Caramello

Was mir der Zufall gab

Hör mich, Annina

Gruss dich Gott, du liebes Nesterl

Wiener Blut Waltz, Op. 354

Mein Herr Marquis (from Die Fledermaus)

Dieser Anstand, so manierlich (from Die Fledermaus)

Klänge der Heimat (from Die Fledermaus)

So elend und so true…O habet acht (from Der Zigeunerbaron)

Schatz-Walzer, Op. 418

Wer uns getraut? (from Der Zigeunerbaron)


Schwarzkopf was famed for her operetta roles and is featured here, at super budget price, in arias and duets from Merry Widow, Land of Smiles, Die Fledermaus, A Night in Venice, Gypsy Baron and Vienna Blood.

“The whole collection heightens admiration for the delights of the music and the quality of Schwarzkopf's soprano.” Gramophone Magazine, July 2008

Released or re-released in last 6 months

Regis - RRC1291

(CD)

$7.25

Usually despatched in 8 - 10 working days.

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