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See Terms & Conditions for p&p rates. | |  | Mozart: Idomeneo, K366
Mozart is very much Glyndebourne’s signature composer and as a point of fact Glyndebourne was instrumental in putting Mozart back into the repertoire in the UK, so much so that the performing edition of Idomeneo was commissioned by Glyndebourne’s music director Fritz Busch. Glyndebourne’s 1951 Messel production of Mozart’s Idomeneo was the first professional performance in Great Britain. This 1964 recording is from the last staging of the Messel production and an opera John Pritchard had conducted at Glyndebourne since 1952. Pritchard was a consummate Mozartian and this recording allows, for the first time, Janowitz and Pavarotti to be heard before their respective international careers took off. Their vocal timbres are instantly recognisable - fresh, vital, flexible and already burgeoning with a distinctive projection of the text and drama. Pavarotti went on to have a long association with this opera, moving to the title role at the Metropolitan Opera in New York and recording it in the early digital age of 1983 with the Vienna Philharmonic Orchestra conducted once again by Pritchard. Richard Lewis as Idomeneo in the recording has a gracious sense of style and carries the day. In the past (10+ years ago) there have been pirated/bootlegged releases of this production taken from a BBC off air recording. This release is from Glyndebourne’s own archive and is NOT the previously available BBC performance. “Of the newcomers to the cast, 27-year-old Gundula Janowitz, of the Vienna State Opera, created an immediate impression as the captive Princess Ilia. She is the possessor of a lovely soprano voice, crystal clear and even over its entire range. Her phrasing is beautifully executed and she has, in addition, a charming stage presence.” Daily Mail, July 1964 “Luciano Pavarotti’s Idamante provided the most charming vocal tone of the evening’ Daily Telegraph, July 1964 “This has always been one of John Pritchard’s favourite pieces…he inspired the orchestra and chorus to some of the best playing and singing they have given us this season.” The Observer, July 1964 “...the most attractive and characterful singing on this recording comes from Richard Lewis in the title-role. A singer of great versatility and with a most appealing voice, he has been scandalously under-rated and this is a fitting tribute to him at his peak.” BBC Music Magazine, June 2010 *** “Richard Lewis owned the title-role for two decades at Glyndebourne, and realises much of the king's nobility and anguish...[Pavarotti] produces some thrilling, ringing tone, and uses the text more keenly than any of the other principals. He is incontestably the highest-testosterone Idamante on disc.” Gramophone Magazine, August 2010 | | | In stock - usually despatched within 1 working day. |
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Conducted by Benjamin Britten, using his own performing edition, the opera is sung in English with Peter Pears singing Idomeneo – the only film recording with Peter Pears in the title role. “The cast, dominated by Peter Pears's superb Idomeneo, also brought fine singing from Heather Harper in a convincing assumption of Ilia...The score was pruned and then conducted by Britten with a composer's understanding and much passion.” Penguin Guide, 2010 **/* | | | In stock - usually despatched within 1 working day. |
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| |  | Mozart: Idomeneo, K366Video Director Brian Large & Production by Jean-Pierre Ponnelle
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| |  | Mozart: Idomeneo, K366Sung in English (translation by David Parry)
“Bruce Ford's distinctive tenor is powerfully expressive...The cast of women is outstanding...The vivid Chandos recording brings excellent balances between voices and orchestra, with words admirably clear. Mozart's score has never sounded fresher.” Penguin Guide, 2010 *** | | | (also available to download from $21.00) | In stock - usually despatched within 1 working day. |
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| |  | Mozart: Idomeneo, K366Recorded live at the Cuvilliés Theatre, Munich, June 2008
With this wonderful production, Mozart’s “Munich” opera returns to the place where it was first performed in 1781, the lovingly restored Cuvilliés Theatre, a veritable jewel of Rococo architecture. In Dieter Dorn’s production, the characters are real people of flesh and blood, their emotions and conflicts intelligible to every member of the audience. The cast includes some of the finest Mozart singers of our day, headed by the British tenor John Mark Ainsley in the title role, while Kent Nagano in the orchestra pit appears to unleash an elemental force of nature. Picture format BD: 1080i - 16:9 Sound formats BD: PCM Stereo, DTS-HD Master Audio Region code: All (worldwide) Original language: Italian Subtitles: English, German, French, Italian, Spanish Booklet Notes: English, German, French Running Time: 176 mins “marvellously sung. John Mark Ainsley is an authoritative Idomeneo, but it is Julianne Banse one especially remembers for her lovely singing as Ilia...Annette Dasch is a properly fiery Elettra...Nagano conducts the Bavarian Chorus and Orchestra with plenty of spirit (the storm chorus is especially riveting)” Penguin Guide, 2010 **/* | | | Usually despatched in 2 - 3 working days. |
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| |  | Mozart: Idomeneo, K366
With this wonderful production, Mozart's 'Munich' opera returns to the place where it was first performed in 1781, the lovingly restored Cuvilliés Theatre, a veritable jewel of Rococo architecture. In Dieter Dorn's production, the characters are real people of flesh and blood, their emotions and conflicts intelligible to every member of the audience. The cast includes some of the finest Mozart singers of our day, headed by British tenor John Mark Ainsley in the title role, while Kent Nagano in the orchestra pit appears to unleash an elemental force of nature. "In the title role, John Mark Ainsley was impressive as the distraught king; the final scene between father and son (before the gods happily offer a last-minute sacrificial reprieve) was gripping… In Dieter Dorn’s stark, modernist production, a startling contrast with the Cuvilliés’ lavish Rococo interior, the stage turned green, and black-clad male Furies ripped off Elettra’s red velvet dress and dragged her away. In an earlier scene Rainer Trost, convincing as Arbace (Idomeneo’s loyal sidekick), sat cutting himself, blood dripping all over as he offered to sacrifice himself to the gods. The Chorus of the Bavarian State Opera sounded excellent and was intelligently deployed, wearing bright African prints that brightened the bleak sets.While singing “Placido è il Mar” the chorus members wore blue robes and stood on white bleachers. Other decorative touches included a red broken head of a Trojan horse, a blood-smeared wall and a black Halloween pumpkinlike mask that filled with flames when Idamante slayed the monster.The voice of the Oracle came thundering through unseen from the back of the theater in one particularly effective moment. Kent Nagano conducted the small orchestra in a lithe, bristling reading that illustrated the drama of the score. At the end of the last act, when Idamante is spared and reunited with Ilia, the orchestra was mechanically lifted to stage level. It was a worthy homecoming for “Idomeneo.” New York Times “...marvellously sung. John Mark Ainsley is an authoritative Idomeneo, but it is Julianne Banse one especially remembers for her lovely singing as Ilia...Annette Dasch is a properly fiery Elettra...Nagano conducts the Bavarian Chorus and Orchestra with plenty of spirit (the storm chorus is especially riveting)” Penguin Guide, 2010 **/* | | | Usually despatched in 2 - 3 working days. |
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| |  | Mozart: Idomeneo, K366arranged by Richard Strauss
By way of an appendix to the Mozart celebrations of 2006, Orfeo present Richard Strauss' version of
Idomeneo on its Salzburg Festival label.
Strauss prepared his arrangement of Idomeneo in 1930-31. An example of his active love of Mozart, it was
intended to bring to the attention of a wider audience a work he valued very highly. Live Recording 25/8/2006 “Strauss's lushed-up Mozart exerts its grotesque if absorbing power… A clear-cut choice, then, for anyone wanting this strange, perversely absorbing slice of operatic history.” Gramophone Magazine, February 2008 | | | Usually despatched in 3 - 4 working days. |
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| |  | Mozart: Idomeneo, K366Stage directors: Ursel Herrmann, Karl-Ernst Herrmann
“For Idomeneo classical masks, coppery sunscapes and a white square walkway dominate a stunningly lit space in which the house of Crete and Troy suffer their personal anguish. The cast is superb… Ramón Vargas is a statuesque Idomeneo; Magdalena Kožená a red-headed, highly strung boy of an Idamante; Ekaterina Siurina an exquisitely sung Ilia - and, best of all, Anja Harteros illuminates and enflames Mozart's writing for Elettra, under the robust, if occasionally brusque, baton of Roger Norrington.” BBC Music Magazine, May 2007 **** “A vocal ensemble of the highest quality...this was scintillating as well as moving Mozart.” Salzburger Volkszeitung | | | Usually despatched in 2 - 3 working days. |
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| |  | Mozart: Idomeneo, K366Sung in Italian
live recording Salzburg 30/07/1956 | | | Usually despatched in 3 - 4 working days. |
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| |  | Mozart: Idomeneo, K366
(Idomeneo) Aldo Bertocci, (Idamante) Georg Jelden,(Ilia) Agnes Giebel, (Elettra) Irmgard Stadler, (Arbace) Cesare Ponce de Leon, (Gran Sacerdote di Nettuno) David Ward & (La Voce) Ottokar Schofer RAI Symphony Orchestra & Chorus of the Rome, Peter Maag “If you are on a budget Peter Maag conducting the Rome RAI SO, recorded live in 1965, is a good choice. Irmgard Stadler, his Elettra, manages to just about sing her way into a padded cell in her final area 'D'Oreste e de'Aiace'!” BBC Music Magazine, August 2007 | | | Usually despatched in 4 - 5 working days. |
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