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See Terms & Conditions for p&p rates. | |  | Turina: Guitar Works
Turina: | Ráfaga, Op. 53 Garrotin y Soleares Fandanguillo, Op. 36 Sevillana, Op. 29 Sonata for Guitar, Op. 61 Poema en forma de canciones, Op. 19: No. 2, 'Nunca olvida' arr. for guitar by Sebastien Llinares Poema en forma de canciones, Op. 19: No. 3, 'Cantares' arr. for guitar by Sebastien Llinares Poema en forma de canciones, Op. 19: No. 4, 'Los dos miedos' arr. for guitar by Sebastien Llinares Miniaturas, Op. 52: La aldea duerme arr. for guitar by Sebastien Llinares Copla de cante jondo |
Sebastien Llinares (guitar) | | | Usually despatched in 2 - 3 working days. |
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| |  | Patricia Petibon: MelancoliaSpanish Arias and Songs
| | Adiós Granada Rafael Calleja Gómez & Tomas Barrera Saavedra with Daniel Manzanas, Joël Grare | Bacri: | Melodias de la Melancholia, Op.119b | Falla: | La vida breve: ‘Vivan los que rien!' | Giménez: | La tempránica: Zapateado 'La tarántula é un bicho mú malo' | Granados: | Ay majo de mi vida!: No. 1, La maja dolorosa orchestrated by Rafael Ferrer Tonadillas: No. 8, El mirar de la maja orchestrated by Rafael Ferrer | Montsalvatge: | Canción negra No. 4, Cancion de cuna para dormir a un negrito Canción negra No. 5, Canto negro | Nin: | El Vito (from Cantos populares españoles) with Daniel Manzanas, Joël Grare | Simeon: | Cancíon de Marinela | Torroba: | Peterna | trad.: | Ogundé - uaréré adapted by Wieland Reissmann with Susan Manoff, Joël Grare | Turina: | Poema en forma de canciones, Op. 19: No. 3, 'Cantares' | Villa-Lobos: | Bachianas Brasileiras No. 5: Aria (Cantilena) |
Unique for her dramatic flair, expert musicality, and interpretive powers, soprano Patricia Petibon indulges in her love of Luso-Iberian music. From zarzuela to art song, folk song, the Aria Cantilena of Brazil’s Villa-Lobos, and the traditional Afro-Brazilian Ogundé uareré, Patricia Petibon also samples the new. She includes the world-premiere recording of Nicolas Bacri’s song cycle, which was written in dedication to her. Patricia Petibon adds spice by teaming up with flamenco musicians for one-of-a-kind performances of the zarzuela hit Adios, Granada and the folk tune El vito. Beloved favorites are not neglected: Petibon’s take on La tarántula, Marinela, Canto negro, and La petenera sparkle with light and life. “A remarkable achievement: a fan letter to Spanish music (not excluding South America or an excursion to Villa-Lobos's Brazil) including a new commission from Nicolas Bacri. It's carried out with aplomb...Petibon is especially effective in the zarzuela numbers...Throughout, Petibon's acting and character skills evidently lift each interpretation...Hugely recommended.” Gramophone Magazine, January 2012 “a more apt title is would be hard to imagine...This is in every respect a superlative disc and demonstrates yet again that in Patricia Petibon we have a singer with a real gift for vivid and colourful performances supported by an impeccable technique and real all-round artistry. This is not the best thing she has ever done, simply because just about everything she does is exceptional.” International Record Review, January 2012 “There's a pleasingly rich core to Petibon's voice besides the coloratura heights she's renowned for. She performs with total commitment and without fear and this injects everything she sings with tremendous character.” Classic FM Magazine, February 2012 **** | | | Usually despatched in 2 - 3 working days. |
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| |  | Joaquin Turina (1882-1949) - Historical Recordings
Turina: | Mujeres Espanolas, Op. 17 Sonata for Guitar, Op. 61 La Procesion del Rocio, Op. 9 Poema en forma de canciones, Op. 19: No. 3, 'Cantares' La Andaluza Sentimental Danzas fantásticas, Op. 22: Ensueno Zapateado Cinco Danzas Gitanas, Op. 55 Tu Pupila es Azul La Oración del torero, Op. 34 Fandanguillo, Op. 36 Rapsodia sinfonica, Op. 66 Semana Santa, Op. 37 No. 2 (from Canto a Sevilla) Las Fuentecitas del Parque, Op. 37 No. 3 (from Canto a Sevilla) El Fantasma, Op. 37 No. 5 (from Canto a Sevilla) La Giralda, Op. 37 No. 6 (from Canto a Sevilla) |
Recorded between 1928 & 1974 | | | Usually despatched in 2 - 3 working days. |
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| |  | Love Songs
Bridge: | Love went a-riding | Britten: | Down by the Salley Gardens | Cimara: | Stornello | Copland: | Heart we will forget him Pastorale | Coward, N: | I'll Follow My Secret Heart | Donaudy: | O del mio amato ben | Foster, S: | Why No One To Love? | Gounod: | Sérénade | Lippé: | How Do I Love Thee? | Loewe, F: | Camelot: Before I Gaze at You Again | Mahler: | Liebst Du um Schönheit (Rückert-Lieder) | Marx: | Selige Nacht | Poulenc: | Fleurs | Quilter: | Music, when soft voices die, Op. 25 No. 5 (Shelley) | Schubert: | Claudine von Villa Bella, D239: Liebe schwärmt auf allen Wegen | Schumann: | Widmung, Op. 25 No. 1 Du bist wie eine Blume, Op. 25 No. 24 | Straus, O: | Je t’aime | Strauss, R: | Das Rosenband, Op. 36 No. 1 Ständchen, Op. 17 No. 2 | Turina: | Poema en forma de canciones, Op. 19: No. 3, 'Cantares' |
| | | (also available to download from $10.50) | Usually despatched in 2 - 3 working days. (Available now to download.) |
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| |  | Vocal Recital: Italian Songs and Arias
recorded in Rome, July 1956 | |
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| |  | Arleen Auger, American Soprano
Bach, J S: | Bist du bei mir, BWV508 | Bridge: | Love went a-riding | Cimara: | Stornello | Copland: | Pastorale | Coward, N: | I'll Follow My Secret Heart | Donaudy: | O del mio amato ben | Foster, S: | Why No One To Love? | Gounod: | Sérénade | Handel: | Messiah: Rejoice Greatly, O Daughter of Zion Piangerò la sorte mia (from Giulio Cesare) Care selve (from Atalanta) Samson: Let the bright seraphim Lascia ch'io pianga (from Rinaldo) | Lippé: | How Do I Love Thee? | Loewe, F: | Camelot: Before I Gaze at You Again | Mahler: | Liebst Du um Schönheit (Rückert-Lieder) | Marx: | Selige Nacht | Obradors: | Del cabello más sutil | Ovalle: | Azulao | Poulenc: | Fleurs | Quilter: | Music, when soft voices die, Op. 25 No. 5 (Shelley) Love's Philosophy, Op. 3 No. 1 (Shelley) | Schubert: | Liebe schwarmt auf allen Wegen, D239 No. 6 (Goethe) | Schumann: | Widmung, Op. 25 No. 1 Du bist wie eine Blume, Op. 25 No. 24 | Straus, O: | Je t’aime | Strauss, R: | Ständchen, Op. 17 No. 2 Das Rosenband, Op. 36 No. 1 | Turina: | Poema en forma de canciones, Op. 19: No. 3, 'Cantares' | Villa-Lobos: | Bachianas Brasileiras No. 5: Aria and Dança (Martelo) |
| | | (also available to download from $21.00) | Usually despatched in 2 - 3 working days. (Available now to download.) |
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| |  | Victoria de los Angeles: The Early Recordings 1942-1953
Brahms: | Von ewiger Liebe, Op. 43 No. 1 | Falla: | El pano moruna (No. 1 from Siete canciones populares españolas) Seguidilla murciana (No. 2 from Siete canciones populares españolas) Jota (No. 4 from Siete canciones populares españolas) | Fuste: | Háblame de amores | Granados: | Tonadillas: No. 3, La maja dolorosa Tonadillas: No. 4, El majo discreto Tonadillas: No. 8, El mirar de la maja | Guridi Bidaola: | Jota (from Six canciones castellanas) No quiero tus avellanas (from Six canciones castellanas) | Handel: | Joshua: Oh! had I Jubal's lyre | Nin: | El paño murciano (from Cantos populares españoles) El Vito (from Cantos populares españoles) | Respighi: | Stornellatrice E se un giorno tornasse, P. 96 | Schumann: | Widmung, Op. 25 No. 1 Der Nussbaum, Op. 25 No. 3 Ich grolle nicht (No. 7 from Dichterliebe, Op. 48) | Toldrá: | Madre, unos ojuelos ví | trad.: | Hungarian folksongs & Csárdás | Turina: | Farruca (from Triptico, Op. 45) Saeta en forme de Salve a la Virgen de la Esperanza, Op. 60 Poema en forma de canciones, Op. 19: No. 3, 'Cantares' | Valverde: | Clavelitos | Vives: | El retrato de Isabela El amor y los ojos |
“The two Respighi songs are magical performances – Stornellatrice, with the golden voice at its richest and E se un giorno tornasse, a study in subtle shading of tone, a dialogue between a mother and her dying, jilted daughter. For those two brief items alone, superbly transferred, this collection is an essential for all admirers of this singer, but there's much more. Handel's 'O had I Jubal's lyre' in German rather than English may be odd, but the performance sparkles and among the Lieder it's good to have not just 'Der Nussbaum' – the Schumann song which was always special to her – but two previously unpublished, 'Widmung' from the Myrthe songs and 'Ich grolle nicht' from Dichterliebe.
Through the whole collection the superb transfers capture the full–throated glory of los Angeles's voice at the beginning of her career.
The 1942 recordings of two Hungarian folk– songs, previously unpublished, may be rough and limited – made when the singer was only 18 – but they amply demonstrate that already the voice was fully developed in its beauty. No fewer than 18 of the 27 items are of Spanish songs, and though in one or two instances los Angeles was destined to make even more idiomatic readings later with a Spanish accompanist, these ones with Gerald Moore as her partner have a freshness and brilliance that has rarely been matched in this repertory. In particular it's good to have her first recording of the encore number which she made her own, Clavelitos.” Gramophone Classical Music Guide, 2010 | | | Usually despatched in 4 - 5 working days. |
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| |  | Victoria de los Ángeles: The Voice of an Angel
Bach, J C: | Ah! lamenta, oh bella Irene | Barbieri, F: | Canción de Paloma (from El Barberillo de Lavapiés) Profesores de la Orquesta Nacional de España, Rafael Frühbeck de Burgos | Barrera Saavedra: | Adiós Granada (from Emigrantes) arr. de los Angeles Victoria de los Angeles (guitar) | Beethoven: | Oh! would I were but that sweet linnet, WoO. 154 No. 9 Eduard Drolc (violin), Irmgard Poppen (cello) He promised me at parting, WoO. 154 No. 12 They bid me slight my Dermot dear, WoO. 152 No. 8 Eduard Drolc (violin), Irmgard Poppen (cello), Gerald Moore (piano) | Bizet: | Carmen (highlights) Nicolai Gedda (Don Jose), Denise Monteil (Micaela), Marcelle Croisier (Frasquita), Monique Linval (Mercédès) Chœurs et Orchestre National da la Radiodiffusion Française, Sir Thomas Beecham | Brahms: | Wiegenlied, Op. 49 No. 4 (Lullaby) Dein blaues Auge, (No. 8 from Acht Lieder und Gesänge, Op. 59) Vergebliches Ständchen, Op. 84 No. 4 Gerald Moore (piano) Sapphische Ode, Op. 94 No. 4 Gerald Moore (piano) | Caballero: | Romanza de Pilar (from Gigantes y cabezudos) Profesores de la Orquesta Nacional de España, Rafael Frühbeck de Burgos | Canteloube: | Songs of the Auvergne Orchestre des Concerts Lamoureux, Jean-Pierre Jacquillat | Catalani: | Ebben? Ne andrò lontana (from La Wally) Orchestra del Teatro dell’Opera di Roma, Giuseppe Morelli | Chapí: | Canción de Pastora (from La patria chica) Rafael Frühbeck de Burgos Canción de la gitana (from La chavala) Profesores de la Orquesta Nacional de España, Rafael Frühbeck de Burgos Carceleras from Las hijas de Zebedeo Sinfonia of London, Rafael Frühbeck de Burgos | Chueca: | La gran vía: Tango de la menegilda Rafael Frühbeck de Burgos La gran vía: Chotís del eliseo madrilène Profesores de la Orquesta Nacional de España, Rafael Frühbeck de Burgos | Debussy: | Fêtes galantes - Set 1 Gonzalo Soriano (piano) | Delibes: | Les filles de Cadix | Duparc: | L'Invitation au voyage Orchestre de la Société des Concerts du Conservatoire, Georges Prêtre | Dvorak: | Als die alte Mutter (No. 4 from Zigeunermelodien, op. 55) Moglichkeit Der Apfel, Op. 38 No. 2 Gerald Moore (piano) | Falla: | La vida breve: ‘Vivan los que rien!' Alli está! Riyendo (from La vida breve) Philharmonia Orchestra, Stanford Robinson El sombrero de tres picos: Overture Philharmonia Orchestra with Chorus, Rafael Frühbeck de Burgos El Amor Brujo: excerpts Philharmonia Orchestra, Carlo Maria Giulini Siete Canciones populares españolas Gonzalo Soriano (piano) | Fauré: | Tristesse, Op. 6 No. 2 Au bord de l'eau, Op. 8 No. 1 (Prudhomme) Les roses d'Ispahan Op. 39 No. 4 Toujours!, Op. 21 No. 2 Gonzalo Soriano (piano) | Gounod: | Ah! Je ris de me voir (from Faust) Il se fait tard ! Adieu ! (from Faust) Nicolai Gedda (Faust), Boris Christoff (Mephistopheles) Orchestre du Théâtre National de l’Opéra, André Cluytens | Granados: | Tonadillas: No. 2, Callejeo Tonadillas: No. 11, El tra la la y el punteado Gerald Moore (piano) Goyescas: Quejas ó La Maja y el Ruiseñor New Philharmonia Orchestra, Rafael Frühbeck de Burgos Iban al pinar Gracia mía Alicia de Larrocha (piano) | Grieg: | Ich liebe Dich, Op. 5 No. 3 | Guridi Bidaola: | Jota (from Six canciones castellanas) Gerald Moore (piano) | Hahn, R: | L'Enamourée Trois jours de vendange Le rossignol des lilas Gonzalo Soriano (piano) | Handel: | Joshua: Oh! had I Jubal's lyre Gerald Moore (piano) | Haydn: | Schlaf in deiner engen Kammer Eduard Drolc (violin), Irmgard Poppen (cello) | Leoncavallo: | Qual fiamma avea nel guardo!.... Hui! Stridono lassù (from I Pagliacci) RCA Victor Orchestra, Renato Cellini | Lleó Balbastre: | Couplets babilónicos (from La corte del Faraón) Profesores de la Orquesta Nacional de España, Rafael Frühbeck de Burgos | Lorca: | Canciónes (13) españolas antiguas: Anda, jaleo Canciónes (13) españolas antiguas: Los cuatro muleros Canciónes (13) españolas antiguas: Las tres hojas Canciónes (13) españolas antiguas: Los mozos de Monleón Canciónes (13) españolas antiguas: Las morillas de Jaén Canciónes (13) españolas antiguas: Sevillanas del Siglo XVIII Miguel Zanetti (piano) | Luna, P: | El Niño Judío: De España vengo Profesores de la Orquesta Nacional de España, Rafael Frühbeck de Burgos | Martini, J P: | Plaisir d'amour | Mascagni: | Voi lo sapete o mamma (from Cavalleria rusticana) Orchestra del Teatro dell’Opera di Roma, Giuseppe Morelli | Massenet: | Allons! Il le faut pour lui-même!... Adieu, notre petite table (from Manon) Je marche sur tous les chemins (from Manon) Chœurs et Orchestre du Théâtre National de l’Opéra-Comique, Pierre Monteux Werther! Werther!…Je vous écris de ma petite chambre (from Werther) Va! Laisse couler mes larmes (from Werther) Orchestre de Paris, Georges Prêtre | Mendelssohn: | Auf Flügeln des Gesanges, Op. 34 No. 2 | Montsalvatge: | Canciones negras (5) Orchestre de la Société des Concerts du Conservatoire, Rafael Frühbeck de Burgos | Mozart: | Porgi amor (from Le nozze di Figaro) Orchestra del Teatro dell’Opera di Roma, Giuseppe Morelli Ecco quel fiero istante, K346 Elisabeth Schwarzkopf (soprano), Dietrich Fischer Dieskau (baritone), Gerald Moore (piano) | Nin: | Granadina (from Cantos populares españoles) Gerald Moore (piano) | Offenbach: | Elle a fui, la tourterelle (from Les Contes d' Hoffmann) Orchestre de la Société des Concerts du Conservatoire, André Cluytens | Ovalle: | Azulao Profesores de la Orquesta Nacional de España, Rafael Frühbeck de Burgos | Puccini: | Si, mi chiamano Mimi (from La Bohème) O soave fanciulla (from La Bohème) Donde lieta usci (from La Bohème) Jussi Björling (Rodolfo), Robert Merrill (Marcello) RCA Victor Orchestra, Sir Thomas Beecham O mio babbino caro (from Gianni Schicchi) Orchestra del Teatro dell Opera di Roma, Tullio Serafin Ancora un passo…Spira sul mare (from Madama Butterfly) Jussi Björling (Pinkerton), Mario Sereni (Sharpless) Bimba dagli occhi pieni di malia (from Madama Butterfly) Jussi Björling (Pinkerton) Un bel di vedremo (from Madama Butterfly) Con onor muore (from Madama Butterfly) Coro e Orchestra del Theatro dell’Opera di Roma, Gabriele Santini | Purcell: | Let us Wander not Unseen (from The Indian Queen, Z630) Lost is my quiet for ever, Z502 Gerald Moore (piano) | Ravel: | La Flûte enchantée (Shéhérazade No. 2) Orchestre de la Société des Concerts du Conservatoire, Georges Prêtre | Rossini: | Nacqui all'affanno, al pianto...Non più mesta (from La Cenerentola) Giuseppe Morelli Una voce poco fa (from Il barbiere di Siviglia) Royal Philharmonic Orchestra, Vittorio Gui | Sadero: | Era la vo Profesores de la Orquesta Nacional de España, Rafael Frühbeck de Burgos | Scarlatti, A: | Le violette Gerald Moore (piano) | Schubert: | Der Tod und das Mädchen, D531 Wohin? (No. 2 from Die schöne Müllerin, D795) An die Musik D547 Gerald Moore (piano) | Serrano: | Cancion de la gitana (from Le alegria del battallon) Rafael Frühbeck de Burgos Escena lírica (Los claveles) Rafael Frühbeck de Burgos Romanza de Gloria (Los de Aragón) Profesores de la Orquesta Nacional de España, Rafael Frühbeck de Burgos | Stanford: | An Irish Lullaby | Tchaikovsky: | Schottische Ballade, Op. 46 No. 2 Gerald Moore (piano), Dietrich-Fischer Dieskau (baritone) | Toldrá: | Cançó de grumet (A l’ombra del Leidoner) Gonzalo Soriano (piano) | Turina: | Saeta en forme de Salve a la Virgen de la Esperanza, Op. 60 Poema en forma de canciones, Op. 19: No. 3, 'Cantares' Philharmonia Orchestra, Walter Susskind | Valls Gorina: | Canciones Sefarditas Jean-Claude Gérard (flute), Oscar Ghiglia (guitar) | Valverde: | Clavelitos Gerald Moore (piano) | Verdi: | Surta è la notte...Ernani! Ernani, involami (from Ernani) Era più calmo? (from Otello) Mia madre aveva...Piangea cantando...Ave Maria (from Otello) Orchestra del Teatro dell’Opera di Roma, Giuseppe Morelli Come in quest'ora bruna (from Simon Boccanegra) Orchestra del Teatro dell’Opera di Roma, Gabriele Santini Libiamo, ne' lieti calici (from La Traviata) È strano! è strano!...Ah! fors è lui (from La traviata) Teneste la promessa...Addio, del passato (from La Traviata) Carlo del Monte (Alfredo) Coro e Orchestra del Teatro dell’Opera di Roma, Tullio Serafin | Villa-Lobos: | Bachianas Brasileiras No. 5: Aria (Cantilena) Bachianas brasileiras no 5 ; Dança (martelo) Orchestre National de la Radiodiffusion Française, Heitor Villa-Lobos | Wagner: | Dich, teure Halle (from Tannhauser) Einsam in trüben Tagen (from Lohengrin) Orchestra del Teatro dell’Opera di Roma, Giuseppe Morelli | Yradier: | La Paloma Profesores de la Orquesta Nacional de España, Rafael Frühbeck de Burgos |
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