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State Academic Orchestra of the Bolshoi Theatre - Ensemble

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Berlioz - Symphonie Fantastique - Gounod - Walpurgisnacht - G. Rozdestvensky

Berlioz - Symphonie Fantastique - Gounod - Walpurgisnacht - G. Rozdestvensky
ID: MELCD1001433
CDs: 1
Type: CD
Kolektion: Orchestral WorksSubkolektion: Orchester

This CD features recordings by the outstanding Russian conductor Rozhdestvensky, who gave much attention to musical novelties in his performances. None could be more famous than Symphonie Fantastique.

The romantic school that was characteristic of the European spiritual environment of the beginning of the 19th century originally appeared in the circle of the German writers and philosophers: Wackenroder, Ludwig Tieck, Novalis, brothers Schlegeli. Being picked up in different European countries it became simultaneously apparent in various genres of art but the most conspicuous - in music. The development of romanticism in music was formed in its peculiar way in every particular country corresponding national and historical conditions. However, they were united by the common tendency to reflect individual inner life of human emotions that were connected with the social position of a person. The tragedy was that the society did not understand and rejected personal credo. An artist’s personal drama who was seeking consolation in the realm of day dreaming and fantasy was put in the forefront in the creative work of the romantic composers. Miniature became the most essential form in the works of the most outstanding representatives of romanticism. Vocal art was represented by the romances and song cycles of Schumann and Schubert. There appeared many piano pieces of different genres in the heritage of Chopin, Schumann and Mendelssohn. The operatic art that was crowned by the theatre productions of Bellini, Verdi and Wagner reached its peak.



Berlioz:
Symphonie fantastique, Op. 14
Gounod:
Walpurgisnacht from Faust

All Union State Radio and TV Orchestra & Orchestra of the Bolshoi Theatre, Gennady Rozdestvensky
16.00 eur Temporarily out of stock

A. Glazunov - Raymonda, Op. 57, Ballet in 3 acts - Orchestra of USSR State Academic Bolshoi Theatre - E. Svetlanov

A. Glazunov - Raymonda, Op. 57, Ballet in 3 acts - Orchestra of USSR State Academic Bolshoi Theatre - E. Svetlanov
ID: MELCD1001959
CDs: 2
Type: CD
Kolektion: Ballet MusicSubkolektion: Orchester

In spring of 1896, Alexander Glazunov received a commission from the director of the St. Petersburg Imperial Theatres Ivan Vsevolozhsky to compose the score to the ballet Raymonda. Despite being busy (Glazunov was already a well-known composer at the time whose works were loved by the public, an author of five symphonies, chamber and instrumental pieces), Glazunov found the offer interesting and agreed. "Acceptable orders to write compositions did not tie me. On the contrary, they heartened me. For example, I composed the ballet Raymonda quickly enough with special fervour and enthusiasm," he wrote later. It was the composer's first experience with a score for a ballet performance. However, he had had some creative experience of realizing the principles of dancing. It would suffice to recall his previous opuses such as Characteristic Suite and Ballet Suite, and concert waltzes. The libretto was written by Princess Lidya Pashkova, a traveler and columnist of the Parisian newspaper Le Figaro, who also wrote novels and librettos. The script plot belonged to Marius Petipa, an illustrious ballet master who staged ballets in Russia in the second half of the 19th century. The story involved characters who actually existed (Jean de Brienne and King Andrew) and fictional ones, and was historically inaccurate. But that was not a serious obstacle for the composer who started to think over the first ten numbers of Raymonda and wrote them down in summer of 1897 before he even received the script. The first two acts were finished in August, and the third one in autumn of 1897. The score autograph has the composer's inscription: "The ballet finished 21 October, 1897. Orchestrated within 1 year." While working on the music, Glazunov closely cooperated with the author of the script. Marius Petipa gave the composer a thoroughly developed plan of each scene with tempos, measures, and even the number of times. In that way Glazunov perceived the nature of choreography. Spending a great deal of time at the theatre working with the ballet dancers, musicians and the ballet master, he left all his other business behind to a great chagrin of Mitrofan Belyayev, who was Glazunov's partner in not only the same music circle, but in publishing activities as well (Glazunov helped Belyayev publish works by the contemporary Russian composers in Leipzig). Pyotr Lambin, Orest Allegri and Konstantin Ivanov worked on the sketches of the ballet set. Many of the costumes for the first staging were created by Ivan Vsevolozhsky himself. The premiere took place on 7 (19) January, 1898, on the stage of the Mariinsky Theatre and was conducted by Riccardo Drigo. The main parts were performed by Pierina Legnani as Raymonda, Sergei Legat as Jean de Brienne and Pavel Gerdt as Abderakhman. The performance was a real triumph. The encores began as early as after the first act. Glazunov was presented a laurel wreath, and the artists read a letter of greetings to him. One of the reviews explained the success of the ballet as a combination of three factors - "beautiful, melodic and captivating music, the ballet master's unfading talent and the artists' wonderful performance." Glazunov's progress in symphonic music obviously influenced the music of the ballet with its principles of through development and diverse techniques of orchestral writing. The music plays a huge role in Raymonda (in that way, Glazunov continued the reforms in the art of ballet initiated by Pyotr Tchaikovsky). The musical content facilitates the expansion of the plot line, at times prevailing over the plot thanks to its depth and vivid development of the musical characteristics so important to the dramaturgic function of dance and pantomime. The dances in Raymonda are not illustrative yet efficient as they embody the situation, the state and disposition of the characters. The continuing symphonic development, wealth of melodic patterns and organic integrity of the work are what help us perceive the performance as completely as possible. The destiny of Raymonda has been happy. The ballet has been staged many times both in the Soviet Russia and overseas. Synopsis France in the time of crusades Act I Tableaux 1 Pages and court ladies have gathered in a big castle of Countess Sybille de Doris to congratulate the countess's niece Raymonda on her name day. Awaiting Raymonda, the pages play the lutes and viols, some compete in fencing. A few girls leave their fancywork to dance with the pages. Soon, Countess Sybille appears. Her coming ruins the common merriment. The countess tells the young ones about the foremother of the Doris family, who was known as the White Lady. It is her statue that stands on the terrace. The White Lady does not stand idlers and can strictly punish those who do not fulfill their duties, but she always protects the members of her household, and every time one of them is in danger she shows up and warns. The young people do not take the countess's words seriously and continues to amuse themselves. Before long, a messenger appears sent by Jean de Brienne, Raymonda's fiancé, who is crusading with Andrew II of Hungary. The messenger hands Raymonda a letter from de Brienne, in which he informs Raymonda that he is returning home in triumph and he will be at the Doris castle the next day. Raymonda rejoices. She orders a sumptuous reception in honour of her fiancé. Vassals and peasants congratulate Raymonda on her name day, and dances begin. The day is over and the evening comes. Exhausted, Raymonda falls asleep on the terrace. Tableaux 2 Illuminated by the light of the moon, the White Lady comes down from her pedestal. With a gesture, she orders Raymonda to follow her. The garden around the castle gets covered in fog. Tableux 3 The garden has transformed. Jean de Brienne appears before the amazed Raymonda. The beloved are happy. Suddenly, she sees Abderakhman who has taken the place of her fiancé. The White Lady tells Raymonda to be cautious. Abderakhman declares his passionate love for her, but she is frightened. Corpse lights and imps surround her. Raymonda is perturbed. It is dawning. The pages and maids of honour come and find Raymonda unconscious on the terrace. Act II Sybille and Raymonda surrounded by the pages, maids of honour and guests come out to the courtyard. Fanfares sound announcing the arrival of new guests. However, it is not Jean de Brienne, but Saracen Abderakhman accompanied by his suite. Raymonda recognises the stranger seen in her dream. She is agitated, and Sybille reassures her. Captivated by Raymonda's beauty, Abderakhman speaks of his love for her. She is frightened and rejects him with contempt but feels attracted to him at the same time. Dancing goes on. Wishing to impress Raymonda, Abderakhman calls his servants. Jugglers, Arab boys and Saracens appear. The dances follow one after another becoming bacchanal. Using the bustle, Abderakhman's servants abduct Raymonda. But at that moment, Jean de Brienne and the knights stands on the Saracens' way. Raymonda is freed. King Andrew II of Hungary allows de Brienne to challenge Abderakhman to a duel, during which de Brienne kills Abderakhman. De Brienne requests the king to be present at his wedding. The king agrees. The procession enters the castle. Act III The garden in Jean de Brienne's castle. A celebration for the wedding of de Brienne and Raymonda. King Andrew II comes out surrounded by the retinue and guests. Everyone greets the bride and groom. One dance is followed by another. A knightly tournament on the occasion of the wedding. The anxiety of the past is forgotten.
29.00 eur Temporarily out of stock

NIKOLAI RIMSKY-KORSAKOV - MOZART AND SALIERI - THE NOBLEWOMAN VERA SHELOGA

NIKOLAI RIMSKY-KORSAKOV - MOZART AND SALIERI - THE NOBLEWOMAN VERA SHELOGA
ID: MELCD1002344
CDs: 1
Type: CD
Kolektion: Opera CollectionSubkolektion: Oper

Firma Melodiya presents an album with two rare operas of Nikolai Rimsky-Korsakov - The Noblewoman Vera Sheloga and Mozart and Salieri.
Both of the one-act operas were written in the second half of the 1890s, in the period of the great Russian composer’s new heyday. Mozart and Salieri continued a peculiar tradition that was begun by Alexander Dargomyzhsky in The Stone Guest, a musical incarnation of Alexander Pushkin’s Little Tragedies. Similar to its predecessor, Rimsky-Korsakov did not change anything in Pushkin’s text turning the opera into a continuous dialogue of two characters. The citation from Mozart’s Requiem wonderfully fits into the musical development of the opera that is based on a striking contrast between the descriptions of the symbolically generalized figures - the Genius and the Envious One.
The Noblewoman Vera Sheloga emerged as an addition (prologue) to Rimsky Korsakov’s opera The Maid of Pskov that he worked on in those years. The scale and certain independence of this musical and dramatic picture that tells a story of secret love between the young Ivan the Terrible and a young boyarynia, as well as the difference in the author’s musical style that evolved over twenty years of his artistic career, induced him publish The Noblewoman Vera Sheloga as an individual work.
Rimsky-Korsakov’s operas were recorded in 1986 by the company of the USSR Bolshoi Theatre led by the prominent conductor Mark Ermler starring Tamara Milashkina, Nina Grigorieva, Evgeny Nesterenko, Alexander Fedin and other leading soloists of the theatre.


Characters and performers:
Mozart - Alexander Fedin, tenor
Salieri - Evgeny Nesterenko, bass
A blind fiddler
S. Girshenko, violin solo
V. Chasovennaya, piano
The USSR State Choir conducted by I. Agafonnikov
The Orchestra of the USSR StateAcademic Bolshoi Theatre
Conductor - Mark Ermler
Recorded in 1986.


Characters and performers:
Boyar Ivan Semyonovich Sheloga -Vladimir Karimov, bass
Vera Dmitriyevna, his wife - Tamara Milashkina, soprano
Nadezhda Nasonova, Vera’s sister -Olga Teryushnova, mezzo-soprano
Prince Yuri Ivanovich Tokmakov -Vladimir Karimov, bass
Vlasyevna, Nadezhda’s nurse -Nina Grigorieva, contralto
The Orchestra of the USSR StateAcademic Bolshoi Theatre
Conductor - Mark Ermler
Recorded in 1985.
16.00 eur Buy

Zurab Anjaparidze - Arias and Scenes from Operas

Zurab Anjaparidze - Arias and Scenes from Operas
ID: MELCD1002373
CDs: 1
Type: CD

Firma Melodiya presents recordings of the prominent singer and soloist of the USSR Bolshoi Theatre Zurab Anjaparidze.

“For eleven years of his career on the stage of the USSR Bolshoi Theatre he was … the best Herman, the best Radames, the best José. Whatever the singer undertook, he created, and id it in a thorough, unhurriedly, with a sense of enormous responsibility and his own artistic dignity.” This is how the outstanding Irina Arkhipova described the performing art of Zurab Anjaparidze who was one her perennial partners at the Bolshoi Theatre.

Thousands of spectators and listeners could not help but agree to her appraisal. Anjaparidze’s voice preserved on tape still resonates with the beauty of its sound, wealth of its timbre with an inimitable Italian flavour, emotional fullness of every character he went through. Zurab Anjaparidze debuted at the Bolshoi as José in Bizet’s Carmen in 1957. Along with the part of Radames in Verdi’s Aida, that role became Anjaparidze’s trademark, and soon the singer took the place of the leading heroic tenor of the opera company.

The role of Herman in Tchaikovsky’s Queen of Spades was the artist’s highest accomplishment at the Bolshoi. He also sang Herman on the Bolshoi’s tour at La Scala in 1964. After that making the Italian press dubbed him the “Soviet Franco Corelli.” The album includes fragments from the operas performed by Zurab Anjaparidze - The Queen of Spades, Carmen, Aida, as well as Verdi’s Il Trovatore and Otello, Puccini’s Tosca and Manon Lescaut, Donizetti’s L’elisir d’amore and Leoncavallo’s Pagliacci. The recordings were made in the 1960s and 1970s with the orchestra of the USSR Bolshoi Theatre conducted by Alexander Melik-Pashayev, Boris Khaikin and Mark Ermler.

Zurab Andzhaparidze, tenor
O. Klenov, baryton (8)
T. Milachkina, soprano (13)
V. Levko, mezzo-soprano (14)
Choir and the Orchestra of the Bolshoi Theatre (14)
State Academic Orchestra of the Bolshoi Theatre
Chefs d'orchestre : M. Ermler (1-11), B. Khaikine (12-14)
Ingénieurs du son : A. Grossman (1-7, 10-14), E. Chakhnazarian (8-9)
Enregistrement effectué en 1967 (12-14), 1968 (1-7, 10-11), 1973 (8-9)
16.00 eur Buy

Ivan Kozlovsky - Opera Recital - I.Kozlovsky, tenor - P.Nikitin, piano - P.I.Tchaikovsky - Borodin - Mussorgsky - Rachmaninov, etc...

Ivan Kozlovsky - Opera Recital - I.Kozlovsky, tenor - P.Nikitin, piano - P.I.Tchaikovsky - Borodin - Mussorgsky - Rachmaninov, etc...
ID: RCD16001
CDs: 1
Type: CD
Kolektion: Russische SängerschuleSubkolektion: Oper

15.00 eur Buy

Vera Dulova - Harp Recital: Villa-Lobos / Meyer and Debussy

Vera Dulova - Harp Recital: Villa-Lobos / Meyer and Debussy
ID: RCD16229
CDs: 1
Type: CD
Kolektion: Harp RecitalSubkolektion: Harp and Orchestra

15.00 eur Temporarily out of stock

 
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