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ID: OPD7019
Disk: 2
Type: CD
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Podkolekce: Opera
Teresa Berganza, Nicola Monti,Mario Petri, Sesto Bruscantini, Ornella Rovero,Mitì Truccato Pace & Leonardo Monreale, vocal soloists/Chorus of Teatro San Carlo & RAI Symphony Orchestra, Naples/Mario Rossi, conductor
Among Rossini’s numerous comic operas, La Cenerentola (1817) has long held a place second only to The Barber of Seville. In fact, for many years it was often more popular than The Barber, until its extreme vocal difficulties became too much for a generation of singers not trained in the Rossini style, and its fantastic atmosphere fell afoul of a preference for verismo, the school of realism. In recent years, the revival of the bel canto style and intense interest in resurrecting authentic Rossini manuscripts has brought about a happy new lease on life for La Cenerentola, which once again is rivaling The Barber in popularity. The libretto by Jacopo Ferretti, though based on the Cinderella fairy tale as told by Charles Perrault, is far different in tone. Rossini and Ferretti agreed to suppress the supernatural themes and create a comedy of manners steeped in irony. This live performance, recorded in Naples in 1958, is one of the finest of its era, with a virtual all-star cast thoroughly schooled in the Rossini style.
Ilustration © Rafal Olbinski |
| 25.00 eur Buy |
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ID: OPD7004
Disk: 2
Type: CD
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Podkolekce: Opera
Leonie Rysanek, Hans Hopf, Eberhard Wächter, Grace Hoffman,Waldemar Kmentt, Murray Dickie, Kurt Equiluz, et al., vocal soloists/Orchestra & Chorus of the Vienna State Opera/Karl Böhm, conductor
Live performance, 1972, with a world-class cast, comparable to the best available anywhere. As with the other releases in the new Grand Tier series, this opera recording includes a full libretto in the original language and in English. Karl Böhm was one of the greatest Strauss conductors of all time, and his cast assembled here is truly stellar. Soprano Leonie Rysanek was legendary in the Strauss and Wagner roles.
Includes a 48-page deluxe booklet! Ilustration © Rafal Olbinski
Track Listing 1. Salome, opera, Op. 54 (TrV 215): Wie schön ist die Prinzessin Salome heute nacht! 2. Salome, opera, Op. 54 (TrV 215): Ich will nicht bleiben 3. Salome, opera, Op. 54 (TrV 215): Wo ist er, dessen Sündenbecher jetzt voll ist? 4. Salome, opera, Op. 54 (TrV 215): Intermezzo 5. Salome, opera, Op. 54 (TrV 215): Wo ist Salome? Wo ist die Prinzessin? 1. Salome, opera, Op. 54 (TrV 215): Tanz für mich, Salome 2. Salome, opera, Op. 54 (TrV 215): Dance of the Seven Veils 3. Salome, opera, Op. 54 (TrV 215): Ah! Herrlich! 4. Salome, opera, Op. 54 (TrV 215): Still, sprich nicht zu mir! 5. Salome, opera, Op. 54 (TrV 215): Ah! Du wolltest mich nicht deinen Mund küssen lassen 6. Salome, opera, Op. 54 (TrV 215): Sie ist ein Ungeheuer, deine Richter |
| 25.00 eur Buy |
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ID: GFO00406
Disk: 2
Type: CD
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Podkolekce: Opera
Recorded live at Glyndebourne, August 2006
Includes 2 discs in a 150 page hard-bound book
Anja Kampe (Leonore), Torsten Kerl (Florestan) Andrew Kennedy (Jaquino), Lisa Milne (Marzelline), Brindley Sherratt (Rocco), Peter Coleman-Wright (Don Pizarro), Nathan Vale (First Prisoner), Anthony Cleverton (Second Prisoner), Henry Waddington (Don Fernando)
London Philharmonic Orchestra & The Glyndebourne Chorus, Mark Elder
Product Description
With Fidelio, Beethoven found the perfect vehicle to express his lifelong commitment to liberty. The work exposes the reality that at any moment in the world, at any point in history, unjust atrocities are being committed, which can only be prevented by an individual belief in the sanctity of human life and the all-conquering power of universal love. This timeless theme is as relevant today as it was when Beethoven started to write his opera in 1804. Anja Kampe and Torsten Kerl made their Glyndebourne debuts in the roles of Leonore and Florestan in 2006 to rapturous critical praise and this production won the Royal Philharmonic Society Opera Award in 2001.Libretto translated from the original French into English, Italian and German.
Extensive accompanying booklet including a commissioned article about the opera.
Feature and review publicity in national newspapers, radio and specialist music magazines
Features two exciting Glyndebourne debuts from Anja Kampe and Torsten Kerl.
Track list:
Fidelio, opera, Op. 72
1. Act 1. No. 1. Dialog. Jaquino, jaquino!
2. Act 1. No. 3. Quartett. Mir ist so wunderbar
3. Act 1. No. 3. Dialog. Höre, Fidelio...
4. Act 1. No. 4. Arie. Hat man nicht auch Gold beineben
5. Act 1. No. 4. Dialog. Ihr habt schon recht, Meister Rocco
6. Act 1. No. 5. Terzett. Der Gouverneur... der Gouverneur soll heut' erlauben
7. Act 1. No. 5. Terzett. Nur auf der Hut, dann geht es gut
8. Act 1. No. 6. Marsch
9. Act 1. No. 6. Dialog. Die Depeschen?
10. Act 1. No. 7. Arie mit Chor. Ha! Welch ein Augenblick!
11. Act 1. No. 8. Duett. Jetzt, Alter, jetzt hat es Eile!
12. Act 1. No. 9. Rezitativ und Arie. Abscheulicher! Wo eilst du hin?
13. Act 1. No. 9. Rezitativ und Arie. Komm, Hoffnung, lass den letzten Stern
14. Act 1. No. 9. Dialog. Aber Marzelline
15. Act 1. No. 10. Finale. O welche Lust!
16. Act 1. No. 10. Finale. Nun sprecht, wie ging's?
17. Act 1. No. 10. Finale. Ach! Vater, eilt!
18. Act 1. No. 10. Finale. Verweg'ner Alter, welche Rechte legst du dir frevelnd selber bei?
19. Act 1. No. 10. Finale. Leb' wohl, du warmes Sonnenlicht
CD 2
1. Act 2. No. 11. Introduktion
2. Act 2. No. 11. Arie. Gott! Welch' Dundel her!
3. Act 2. No. 12. Melodram und Duett. Nur hurtig fort, nur frisch gegraben
4. Act 2. No. 12. Dialog. Er erwacht!
5. Act 2. No. 13. Terzett. Euch werde Lohn in besser'n Welten
6. Act 2. No. 13. Dialog. Alles ist bereit, ich gehe, das Signal zu geben
7. Act 2. No. 14. Quartett. Er sterbe!
8. Act 2. No. 14. Dialog. Vater Rocco!
9. Act 2. No. 15. Duett. O namenlose Freude!
10. Act 2. No. 15. Dialog. Gute Botschaft
11. Act 2. No. 16. Finale. Heil sei dem Tag, Heil sei der Stunde
12. Act 2. No. 16. Finale. Gott! Welch ein Augenblick!
13. Act 2. No. 16. Finale. Wer ein holdes Weib errungen, stimm' in unsern Jubel ein!
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ID: OPD7041
Disk: 2
Type: CD
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Podkolekce: Opera
Mariano Stabile, Renata Tebaldi, Cesare Valletti, et al.: vocal soloists / La Scala Orchestra and Chorus / Victor de Sabata: conductor
Verdi’s last opera, written when he was approaching eighty, was only the second comedy of his long career, following the ill-fated Un giorno di regno of fifty years before. His friend and collaborator Arrigo Boito, who had with some difficulty talked him into composing Otello several years earlier, now had an easier time convincing him to crown his glory with one more tribute to his beloved Shakespeare. The three principals are all famous portrayers of their roles, aided by an outstanding supporting cast. Mariano Stabile was a veteran Italian basso buffo who had the role of Falstaff in his belly, if not his bones. Renata Tebaldi was the most famous Italian lyric soprano of her era and she remains, along with Maria Callas, the most loved soprano of recent years. Cesare Valletti was a tenore di grazia, a tenor with a light, flexible head voice of exquisite beauty. Live performance, Milan, May 26, 1951.
Ilustration © Rafal Olbinski |
| 25.00 eur Buy |
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ID: OPD7036
Disk: 2
Type: CD
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Podkolekce: Opera
Franco Corelli, Tito Gobbi, Gigliola Frazzoni, et al.: vocal soloists / Orchestra and Chorus of La Scala, Milan / Antonino Votto: conductor
Live performance, Milan, April 4, 1956. Puccini made a big hit with the American public when his new opera, The Girl of the Golden West, had its fi rst performance, not in Italy but at the Metropolitan Opera in New York, with Emmy Destinn and Enrico Caruso in the leading roles, and Toscanini conducting. The enthralled audience called out the composer and cast forty-seven times and placed on Puccini’s head a silver crown bearing the national colors of Italy and the US. When Franco Corelli died recently in Milan at the age of eighty-two, the opera world lost one of its most colorful figures, and the most thrilling Italian tenor of his generation. With his powerful voice and movie-star looks, Corelli became an opera matinee idol from the 1950s until his retirement in 1976. Opera d’Oro’s Grand Tier series presents the best-selling Opera d’Oro titles with libretto and deluxe new packaging at mid-price!
Ilustration © Rafal Olbinski |
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ID: SIGCD154
Disk: 2
Type: CD
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Kolekce: Opera CollectionAn Opera in two acts by David Carlson. Libretto by Colin Graham
World Premiere Recording
Synopsis: Anna Karenina
ACT ONE
Prolog, Moscow, December. Anna visits her brother Stiva and his wife Dolly, hoping to save their marriage. A man falls under the train. When Anna meets Vronsky, she is so disturbed by the accident that she hardly notices him. He's very taken with her. 1.1 Stiva's house. Anna persuades Dolly to forgive Stiva's infidelity. 1.2 The ball at Betsy's, St. Petersburg, New Year, 1875. Levin proposes to Kitty and is refused because she is infatuated with Vronsky. Anna is compromised by Vronsky's too-obvious attentions. She is affected by his declarations but resists him. Karenin notices others' reactions. 1.3 At Karenin's. Karenin insists that Anna make an effort to preserve appearances for the sake of society. Trying to persuade her to open her heart to him, he discovers that it is locked against him. 2.1 - 2 Stiva's home, next spring/Levin's house in the country. Dolly, comforting Kitty, tries to persuade her that Vronsky is not worthy of her. She also asks about Kitty's feelings for Levin. Even the feeling of life reborn in the spring is not enough to comfort Levin. Stiva visits and gives him news of Kitty and of Vronsky's dangerous infatuation with Anna. 2.3 Karenin's country house. Anna reveals to Vronsky that she is to bear his child. He tries to persuade her to leave her husband, but she refuses because the Russian divorce laws would cause her to lose her son Seriosha. 3.1 A box at the races that afternoon. Vronsky suffers a severe accident. Karenin insists that the distraught Anna comport herself properly. She informs him that she cannot bear the sight of him and that she loves Vronsky. 3.2 Karenin's study some days later, night. Karenin cannot decide what to do. While hoping to preserve his marriage to Anna, who, he tries to persuade himself, is evil and corrupt, he must at all costs preserve his reputation. He writes to her insisting that she return to him and continue as before: He will not consider a divorce. 3.3 Anna, incensed, realizes that she must choose between her lover and her son. She tells Vronsky of her recurring death-dream, connected with the accident at the station. He is unable to comfort her, and she suspects him of selfishness when he again urges her to go away with him. She goes to Karenin and tells him she cannot continue as before, but begs him to let her have her son. Consumed with rage and disgust, he refuses.
ACT TWO
4.1 The Admiralty Gardens, St. Petersburg, early autumn. Levin cannot reconcile the problems and ironies of life and longs for death. Dolly insists that he come to meet Kitty at their house. Stiva learns with horror from Karenin of his impending divorce and begs him to talk to Dolly. Yashvin tries to persuade Vronsky to give up Anna for the sake of his career. He refuses. 4.2 A supper party at the Oblonskys'. Levin and Kitty meet for the first time since Betsy's ball and are both very moved. Karenin is angered by the general conversation concerning unfaithful wives and luckless husbands, and Dolly is unable to persuade him to forgive. Levin and Kitty declare their love for each other during a game of solitaire. "Not time to die yet!" exclaims a delighted Stiva. 4.3 Anna's bedroom that night. Karenin returns home to find Anna near death after a miscarriage. He is reconciled to Vronsky at her bedside and promises forgiveness. 5.1 Levin's house six months later. Although Levin is now happily married to Kitty, who is pregnant, he remains dissatisfied with what he regards as a useless and unproductive life, exemplified by news from Dolly that Anna, now recovered, has left Karenin for Vronsky and that Seriosha is being looked after by his aunt Lydia. 5.2 Letters. Anna writes to Karenin asking to be allowed to see Seriosha one last time, on his birthday. Lydia urges Karenin to forbid this. He does so, against his better judgment. 5.3 Seriosha's bedroom two days later. Anna forces her way into her son's bedroom. Since he had been told she was dead, he is overjoyed to see her. He does not realize that this is the last time he will see his mother, but he is distraught when Anna has to leave. 6.1 Anna's apartments at a hotel that evening. Anna, now addicted to opiates, is at the end of her tether: She doubts Vronsky's fidelity. Death is always on her mind: She is like a train hurtling to destruction. Dolly and Stiva are appalled at her condition when they bring Levin to meet her. Levin is much struck with this beautiful, sad woman and her situation. She asks him to tell Kitty not to forgive her, for to be able to do so, Kitty would have to suffer what Anna has herself suffered. When left alone with Vronsky, her jealousy leads to a schismatic quarrel. Vronsky leaves to visit his mother, and Anna is certain that he is in fact leaving her forever. She contemplates an overdose of morphia and then decides to follow Vronsky to the station to beg his forgiveness. 6.2 At the station. Everything passes like a dream. Anna has missed Vronsky and waits to follow him on the next train. She reviews her situation and the tortured life before her: She realizes, as if a light had suddenly illumined her soul, that death would release her from the pain and responsibility of life. When the train comes into the station, she throws herself beneath it. 6.3 Levin's country estate months later, in spring. In the aftermath of Anna's death, Levin cannot come to terms with the irony of life. Through the wisdom of his old nurse, he at last understands the reason for living: To live, love, and be loved; not to judge or envy others, nor to bewail their suffering; life is everything in itself. His blind eyes have been opened. -Colin Graham |
| 26.00 eur Buy |
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ID: SN8808
Disk: 2
Type: CD
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Podkolekce: Opera
Antonio Vivaldi
CD1
1. Aure Voi Piu Non Siete: Recitativo
2. Il Povero Mio Cor: Aria (Largo)
3. Si Levi Dal Pensier: Aria (Allegro)
CD 2
1. Nel Partir Da Te Mio Caro: Aria (Largo)
2. All'ombra DUn Bel Faggio: Recitativo
3. Del Suo Natio Rigore: Recitativo |
| 26.00 eur Temporarily out of stock |
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ID: SIGCD348
Disk: 2
Type: CD
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Podkolekce: Opera
Alan Oke
Alexandra Hutton
Britten-Pears Orchestra
Catherine Wyn-Rogers
Charles Rice
Charmian Bedford
Chorus Of Opera North
Chorus Of The Guildhall School Of Music & Drama
Christopher Gillett
David Kempster
Gaynor Keeble
Giselle Allen
Henry Waddington
Robert Murray
Stephen Richardson
Steuart Bedford
2CD SET
CD1
Prologue
[1] Peter Grimes (Hobson, Swallow, Peter) 1.32
[2] You sailed your boat round the coast
(Swallow, Peter, Mrs. Sedley, Hobson, Ellen,
Chorus) 3.20
[3] Peter Grimes, I here advise you (Swallow,
Hobson, Peter, Chorus) 2.10
[4] The truth - the pity - and the truth (Peter,
Ellen) 1.55
[5] Interlude I: Dawn 2:47
ACT I
Scene 1
[6] Oh, hang at open doors (Auntie, Boles,
Balstrode, Chorus) 4.21
[7] Good morning, good morning! (Rector,
Nieces, Mrs. Sedley, Ned, Swallow, Auntie,
Boles, Balstrode, Chorus) 1.05
[8] Hi! Give us a hand (Peter, Boles, Balstrode,
Ned, Auntie, Hobson) 3.22
[9] I’ll have to go from pub to pub (Hobson,
Ellen, Ned, Chorus) 1.54
[10] Let her among you without fault (Ellen,
Hobson, Mrs. Sedley, Ned) 3.00
[11] Look! The storm cone! (Balstrode, Ned,
Boles, Chorus) 2.35
[12] And do you prefer the storm (Balstrode,
Peter) 3.24
[13] They listen to money (Peter, Balstrode) 1.35
[14] What harbour shelters peace (Peter) 1.02
[15] Interlude II: Storm 4.05
Scene 2
[16] Past time to close (Auntie, Mrs. Sedley,
Balstrode, Boles, Nieces) 2.22
[17] Loud man (Auntie, Nieces, Mrs. Sedley)
1.00
[18] There’s been a landslide up the coast
(Fisherman, Boles, Balstrode, Auntie) 0.59
[19] No, I mean love (Boles, Balstrode, Chorus)
0.32
[20] Pub conversation should depend (Balstrode,
Chorus) 1.19
[21] Have you heard the cliff is down (Ned,
Auntie, Mrs. Sedley, Chorus) 1.34
[22] Now the Great Bear and Pleiades (Peter,
Nieces, Boles, Balstrode, Auntie, Chorus) 3.34
[23] For peace sake (Balstrode, Peter) 2.29
[24] The bridge is down (Hobson, Ned, Ellen,
Boles, Auntie, Nieces, Peter) 1.27
ACT II
[25] Interlude III: Sunday Morning 2.26
Scene 1
[26] Glitter of waves (Ellen) 1.29
[27] Now that the daylight fills the sky (Ellen,
Rector, Chorus) 3.39
[28] Child you’re not too young (Ellen, Rector,
Peter, Chorus) 3.11
[29] This unrelenting work (Ellen, Peter, Chorus)
4.18
[30] Fool to let it come to this (Auntie, Ned,
Boles, Mrs. Sedley, Balstrode, Swallow, Nieces,
Rector, Chorus) 3.13
[31] People ... No! I will speak! (Boles,
Balstrode, Rector, Auntie, Ellen, Chorus) 2.09
Total time - 73.32
CD2
ACT II
Scene 1 (continued)
[1] We planned that their lives (Ellen, Rector,
Mrs. Sedley, Boles, Ned, Nieces, Auntie,
Balstrode, Hobson, Swallow, Chorus) 2.15
[2] Shall we go and see Grimes in his hut?
(Rector, Swallow, Balstrode, Mrs. Sedley, Boles,
Chorus) 0.47
[3] Now gossip is put on trial (Chorus) 2.02
[4] From the gutter (Nieces, Auntie, Ellen) 4.01
[5] Interlude IV: Passacaglia 5.29
Scene 2
[6] Go there (Peter) 1.54
[7] They listen to money (Peter) 5.02
[8] Now! Now! (Peter, Chorus) 2.09
[9] Peter Grimes (Rector, Swallow, Ned) 2.50
ACT III
[10] Interlude V: Moonlight 3.39
Scene 1
[11] Assign your prettiness to me (Swallow,
Nieces, Ned) 3.12
[12] Mr. Keene (Mrs. Sedley, Ned) 1.27
[13] Murder most foul it is (Mrs. Sedley, Ned) 1.24
[14] Come along, Doctor (Burgess, Burgesses,
Rector, Mrs. Sedley, Ellen, Balstrode) 2.43
[15] Embroidery in childhood was (Ellen,
Balstrode) 4.47
[16] Mr. Swallow (Mrs. Sedley, Auntie, Swallow,
Hobson) 1.55
[17] Who holds himself apart (Chorus) 3.27
[18] Interlude VI 2.08
Scene 2
[19] Grimes! (Voices, Peter) 5.09
[20] Peter, we’ve come to take you home (Ellen,
Peter, Balstrode) 2.23
[21] To those who pass the Borough (Swallow,
Fisherman, Auntie, Boles, Chorus) 5.13
Total time - 63.47
Britten’s powerful and masterful evocation of the North Sea in all its moods has to audiences all over the world become inextricably linked with the Aldeburgh that was home to George Crabbe (author of the ‘The Borough’ from which the story originates) in the eighteenth century and Britten in the twentieth.
Steuart Bedford leads a vast and accomplished ensemble on this new live recording, created shortly before the group’s unique staging of the work on the beach at Aldeburgh as part of the town’s world-renowned festival.
(Physical product booklet includes the full libretto to the opera, however this not available in the linked booklet below for copyright reasons.) |
| 26.00 eur Temporarily out of stock |
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ID: SIGCD499
Disk: 2
Type: CD
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Podkolekce: Opera
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| 26.00 eur Temporarily out of stock |
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ID: SN8807
Disk: 2
Type: CD
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Podkolekce: Opera
Antonio Vivaldi
CD1
1. AMOR HAI VINTO
Recitativo - Aria (Largo) -Recitativo - Aria (Allegro) [15'14'']
2. INDARNO CERCA LA TORTORELLA
Aria (Adagio) - Recitativo - Aria (Larghetto) [17'07'']
3. TRA L'ERBE I ZEFFIRI
Aria (Andante) - Recitativo - Aria (Allegro) [12'40'']
4. ELVIRA, ANIMA MIA
Recitativo - Aria (Larghetto) - Recitativo - Aria (Allegro non molto) [12'44'']
CD2
1. ALLOR CHE LO SGUARDO
Aria (Larghetto) - Recitativo - Aria (Allegro) [13'44'']
2. ALLA CACCIA
Aria (Allegro) - Recitativo - Aria (Allegro) [11'40'']
3. LA FARFALLETTA S'AGGIRA AL LUME
Aria (Andante molto) - Recitativo - Aria (Largo) [16'45'']
4. CARE SELVE, AMICI PRATI
Aria (Allegro non molto) - Recitativo - Aria (Allegro ma poco) [14'09''] |
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