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See Terms & Conditions for p&p rates. | |  | Essential Opera Divas
Beethoven: | Abscheulicher! Wo eilst du hin? (from Fidelio) | Bellini: | Casta Diva (from Norma) | Donizetti: | Spargi d'amaro pianto (from Lucia di Lammermoor) | Dvorak: | Mesícku na nebi hlubokém 'Song to the Moon' (from Rusalka) | Gluck: | Dieux puissants que j'atteste… Jupiter, lance la foudre (from Iphigénie en Aulide) | Gounod: | Ah! Je ris de me voir (from Faust) Ah! Je veux vivre dans ce rêve (from Roméo et Juliette) | Handel: | Ma quando tornerai (from Alcina) | Korngold: | Glück, das mir verbleib 'Marietta's Lied' (from Die Tote Stadt) | Meyerbeer: | Ombra leggiera (Dinorah) | Mozart: | Dove sono i bei momenti (from Le nozze di Figaro) Or sai chi l'onore (from Don Giovanni) Batti, batti, o bel Masetto (from Don Giovanni) In quali eccessi ... Mi tradì quell'alma ingrate (from Don Giovanni) Non mi dir (from Don Giovanni) Der Hölle Rache kocht in meinem Herzen (from Die Zauberflöte) Ach, ich fühl's (from Die Zauberflöte, K620) Ruhe sanft, mein holdes Leben (from Zaïde) | Puccini: | Vissi d'arte (from Tosca) Si, mi chiamano Mimi (from La Bohème) Un bel di vedremo (from Madama Butterfly) Chi il bel sogno di Doretta (from La Rondine) O mio babbino caro (from Gianni Schicchi) In questa reggia (from Turandot) | Rossini: | Una voce poco fa (from Il barbiere di Siviglia) | Verdi: | D'amor sull'ali rosee (from Il Trovatore) Pace, pace mio Dio! (from La forza del destino) Ô ma chère compagne (from Don Carlos) Ave Maria (from Otello) | Vivaldi: | Il Bajazet (Il Tamerlano) : Anch'il mar par che sommerga | Wagner: | Dich, teure Halle (from Tannhauser) Euch Lüften, die mein Klagen (from Lohengrin) |
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| |  | Elisabeth-Maria Wachutka - Arias
Elisabeth-Maria Wachutka trained as an opera and concert singer at the Richard Strauss Music Conservatory and at the University of Music and Performing Arts in Munich. The focus of her repertoire is the works of Wagner and Richard Strauss. | | | In stock - usually despatched within 1 working day. |
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| |  | The Singers: Frida Leider
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| |  | Huberte Vecray: Airs d’opéra
Huberte Vecray was born in 1923 and her exceptional voice was noticed when she was very young. She entered the Conservatoire at Verviers just before World War II. She made her debut at La Monnaie in 1946. She became a great exponent of contemporary repertoire due to her great musicianship and memory. Here she performs arias by Grétry, Beethoven, Verdi, Cilea, Puccini, Jongen and de Boek. “One hears Vecray as an ADriana not reduced to excessive interpretation of her aria, an equally well-sung 'Signore ascolta' on a sustained line aand with a smooth rise to the final note and as a Tosca able to cope with the duet with a rather hard-driven [Cavaradossi]” International Record Review, December 2012 | | | Usually despatched in 2 - 3 working days. |
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| |  | Concert Arias: The Complete Studio Recordings
Bach, J S: | Mass in B minor, BWV232: Laudamus Te | Beethoven: | Ah! Perfido, Op. 65 Abscheulicher! Wo eilst du hin? (from Fidelio) | Brahms: | Ihr habt nun Traurigkeit (Ein Deutsches Requiem, Op. 45) | Humperdinck: | Der kleine Sandmann bin ich (from Hänsel und Gretel) Wo bin ich? (from Hänsel und Gretel) | Mozart: | Martern aller Arten (from Die Entführung aus dem Serail) Porgi amor (from Le nozze di Figaro) E Susanna non vien! … Dove sono i bei momenti (from Le nozze di Figaro) Come scoglio (from Così fan tutte) Per pietà (from Così fan tutte) | Puccini: | Si, mi chiamano Mimi (from La Bohème) O mio babbino caro (from Gianni Schicchi) | Strauss, J, II: | Klänge der Heimat (from Die Fledermaus) | Strauss, R: | Herr Gott in Himmel! (from Der Rosenkavalier) Four Last Songs Es gibt ein Reich (from Ariadne auf Naxos) Da geht er hin (from Der Rosenkavalier, Op. 59) Ach, du bist wieder da! (from Der Rosenkavalier, Op. 59) Die Zeit, die ist ein sonderbar Ding from Der Rosenkavalier,Op. 59 Mein schöner Schatz (from Der Rosenkavalier) Ich werd' jetzt in die Kirchen (from Der Rosenkavalier) |
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| |  | Great Soprano Arias
The great British soprano Rita Hunter will always be remembered as a great Wagnerian soprano, having sung Brünhilde at the Metropolitan Opera in New York, ENO and the Australian Opera. This CD of Arias stands as a fitting memorial to her. | | | Usually despatched in 2 - 3 working days. |
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| |  | Opera 125 - Éves Az Operaház (1884-2009)Stars of the Hungarian Opera Vol. 1/4
Ney Dávid (bass), Környei Béla (tenor), Rózsa S. Lajos (baritone), Sándor Erzsi (soprano), Pilinszky Zsigmond (tenor), Székelyhidy Ferenc (tenor), Basilides Mária (soprano), Kálmán Oszkár (bass), Halmos János (tenor), Palló Imre (baritone), Závodszky Zoltán (tenor), Maleczky Oszkár (baritone), Pataky Kálmán (tenor), Németh Mária (soprano), Fekete Pál (tenor), Báthy Anna (soprano), Székely Mihály (bass), Lendvai Andor (baritone) | | | Usually despatched in 4 - 5 working days. |
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| |  | Great Operatic Arias 20 - Christine Brewer Volume 2
We were delighted when the internationally renowned soprano Christine Brewer agreed to record some of her favourite repertoire pieces on her first recital disc for Chandos in 2005. No surprise that it was a huge success – so we were even more delighted when she returned to record this second volume – repertoire which you would never hear in a single concert or operatic performance, but here capturing Brewer’s glorious range, wonderfully supported by Judith Howarth, Timothy Robinson and the London Philharmonic Orchestra, conducted by David Parry. Christine Brewer’s earlier recital (CHAN3127) introduced into this series the dramatic soprano voice and included in its programme, as does its successor, arias from Gluck’s Alceste and Wagner’s Tannhäuser. In a previous age both operas were sung by Kirsten Flagstad, by general consent the greatest heroic-dramatic soprano of all. Christine Brewer now adds one of the most formidable challenges in the repertoire, Leonore’s solo in Act I of Beethoven’s Fidelio. Otherwise, the two significant extensions are in time, backward to Handel and forward to Britten and Menotti. “This is a spectacular demonstration not only of Christine Brewer's vocal strength with every note firm from top to bottom, but of her extraordinary versatility in this wide range of repertory. She starts with a flawless account of the Countess's "Porgi amor" from Figaro with a wonderful range of tone colour. The Wagner items include both Elisabeth's Prayer from Tannhäuser and Elsa's Dream from Lohengrin, again both flawless, making one want to hear Brewer in a complete Wagner opera. ...when it comes to the aria from Korngold's Die tote Stadt and Magda's big aria from Menotti's The Consul one marvels at the power and tonal range of the voice.” Gramophone Magazine, July 2009 “[The Beethoven] is the finest piece of singing on this disc by a country mile. Brewer’s diction is superb, whilst the voice cuts through the orchestra with laser-like precision. Furious and unyielding, it is a performance to treasure.” Opera Britannia, 30th July 2009 | | | (also available to download from $10.50) | Usually despatched in 2 - 3 working days. (Available now to download.) |
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| |  | Schwarzkopf sings Schubert Lieder
Beethoven: | Ah! Perfido, Op. 65 Recorded 20th September, 1954 in Watford Town Hall Philharmonia Orchestra, Herbert von Karajan Abscheulicher! Wo eilst du hin? (from Fidelio) Recorded 20th September, 1954 in Watford Town Hall Philharmonia Orchestra, Herbert von Karajan | Schubert: | An die Musik D547 Im Frühling, D882 Wehmut, D772 (Collin) Ganymed, D544 (Goethe) Das Lied im Grünen, D917 Gretchen am Spinnrade, D118 Nähe des Geliebten, D162 Die junge Nonne, D828 An Sylvia, D891 Auf dem Wasser zu singen, D774 Nachtviolen D752 (Mayrhofer) Der Musensohn, D764 (Goethe) Litanei auf das Fest Allerseelen, D343 Recorded 9th and 10th January, 1954 in EMI Abbey Road Studio 1 Gerald Moore (piano) Ungeduld (No. 7 from Die schöne Müllerin, D795) Recorded 9th and 10th January, 1954 in EMI Abbey Road Studio 1 Gerald Moore (piano) |
Recorded 4th - 7th October, 1952 in EMI Abbey Road Studio 1A “These studio sessions don’t really compare well with recordings of Schwarzkopf's live recitals - the voice can, at times, sound tired and over-studied - but there's a magnificent 'Abscheulicher!' from Fidelio.” BBC Music Magazine, December 2008 *** “a magical partnership, with even the simplest of songs inspiring intensely subtle expression from singer and pianist alike. Though Fischer's playing is not immaculate, he left few records more endearing than this, and Schwarzkopf's colouring of word and tone is masterly.” Penguin Guide, 2010 edition **** | | | (also available to download from $9.00) | Usually despatched in 2 - 3 working days. (Available now to download.) |
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