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Choir and Orchestra, page 3

   Found CDs: 28
 

S. Taneyev - Oresteia. A music trilogy

S. Taneyev -  Oresteia. A music trilogy
ID: MELCD1002277
CDs: 2
Type: CD
Collection: Choral Collection
Subcollection: Choir and Orchestra

Recorded: 1965

Firma Melodiya presents a recording of Sergei Taneyev’s opera Oresteia, a revived masterpiece of Russian music.

The author worked on the opera for twelve years (1882-1894), in a period when Prince Igor, the Queen of Spades, Iolanta and Mlada were created. However, Oresteia remained a unique phenomenon in history of Russian opera. Sergei Taneyev was the best and favourite pupil of Tchaikovsky and Nikolai Rubinstein, a prominent educator and music theorist who brought up Rachmaninoff, Scriabin and many other famous pupils. Unexpectedly for his friends and peers, he was inspired with the ancient story (Aeschylus’s tetralogy) which met his aesthetic ideals of harmony and perfection.

Taneyev masterfully used a broad arsenal of music and dramatic techniques of the late 19th century - an intricate system of leitmotifs, evolving dramaturgy of operatic scenes, and a combination of freely recitative and arioso fragments. The special part of the chorus reflects the spirit of ancient theatre with bright orchestral bits frequently becoming culminations (the famous entr’acte The Temple of Apollo at Delphi). The opera is full of tragic anticipation of Fate, which makes it close to Tchaikovsky’s symphonism, but a heartwarming finale resolving the conflict is typical for Taneyev’s views thus deviating from Aeschylus’s fatalism. Wisdom and Love conquer the dark forces of revenge, insidiousness and malice - that is the bottom line of this monumental operatic interpretation.

Oresteia did not have a lucky stage life - it has been staged on a small number of occasions. The version of the State Bolshoi Opera and Ballet Theatre of Belarus realized and recorded in the 1960’s is one of the best productions of the opera. That recording is featured in this set. The main parts are performed by the soloists of the Belorussian theatre V. Chernobayev, L. Galushkina, A. Bokov, T. Shimko, I. Dubrovkin and N. Tkachenko. The choir and orchestra are conducted by the People’s Artist of the Belorussian SSR Tatiana Kolomiytseva.
20.00 eur Buy

PEETER VÄHI - IN THE MYSTICAL LAND OF KAYDARA - An African initiation rite

PEETER VÄHI - IN THE MYSTICAL LAND OF KAYDARA - An African initiation rite
ID: ERP8817
CDs: 1
Type: DVD
Collection: Movies
Subcollection: Choir and Orchestra

PAL
Screen format: 16:9
Stereo 2.0
Region: all
Total time: 62:32

− It was in the mysterious, distant country of Kaydara which no one can locate exactly nor tell us when or where the story took place. It was only a few years after the mountains had hardened, when the world-forces were just finishing carving out the river beds. Hesitating, Hammadi advanced to a large crossroads and stopped at the hour when a soft golden glimmering shone on the horizon like the aura that lights the One-Eyed King.

In the Mystical Land of Kaydara is an epic-like traditional tale of the Fulani or Fula people, who live in Mali, Senegal and some regions in Western Africa. This originally oral history was compiled and written down in the Fulani language by a Malian writer and ethnologist Amadou-Hampâté Bâ (1901-1991). The story of the land of Kaydara is in its essence a description of an initiation rite, a story of consecration − a person, who is deemed worthy gets to know something that others never will. His or her social status is elevated and he or she is given bigger power. But in order to prove their readiness and capability, they must undergo certain tests and trials. And so, three friends − Hammadi, Hamtudo and Demburu − start their journey towards the mystical land of Kaydara. It is a world of shadows ruled by the invisible Kaydara − the god of knowledge and gold (it is believed that the name Kaydara means ‘purpose’ or ‘end’). On this journey they encounter different symbols, but the only one who can notice and give important meaning to these symbols is Hammadi. He is also the only one of the three friends, who follows Kaydara's advice derived from the laws of nature and ancestors experience. Kaydara gives the friends a lot of gold for their journey. They are warned about the ambiguity of this gesture − the gold can bring them riches and well-being but it can also be a destructive force. Once again, Hammadi is the only one of the three friends who is able to maintain a clear head when faced against challenges, foreseeing that gold, when used wisely, can be helpful in acquiring new knowledge. And so he is blessed to live in happiness and contentment and becomes a great ruler without ever desiring it. Many of Peeter Vähi’s earlier works have been inspired by distant and exotic places. For example, the cantatas Supreme Silence andGreen Tārā are directly related to his repeated stays in Tibetan and Himalayan Buddhist monasteries; percussion concerto Call of Sacred Drums is a result of collaboration with Japanese taiko-drummers; the inspiration for Antartic Concerto is not hard to guess;Mary Magdalene Gospel, lasting more than an hour, was composed after visiting former Coptic churches in Ethiopia. Such is the case for this composition as well − the idea of the piece started growing on the expedition African Round, took the author through 27 African countries in 2012 and 2013. Therefore, Kaydara isn’t technically composed sitting behind a desk or a piano, but is rather Vähi's African experiences and impressions that have taken the form of music. Peeter Vähi doesn’t directly use Fulani folk tunes in this composition, but the exotic colouring is given by the Fulani language and African rhythms. In addition, the percussion arsenal of the symphony orchestra was complemented with various instruments that the composer brought with him from numerous trips to Africa.


Performers: Tanel Padar (narrator), Mati Turi (Demburu − tenor), Rauno Elp (Hammadi − baritone), Priit Volmer (Hamtudo − basso), Girls’ Choir Ellerhein (chorus master Ingrid Kõrvits and Ülle Sander), Estonian National Male Choir RAM (chorus master Rasmus Erismaa), Estonian National Symphony Orchestra (concert master Arvo Leibur), conductor Mihhail Gerts
21.00 eur Buy

Rimsky-Korsakov - Christmas Eve - (Noch pered Rozhdestvom) - Orchestra and Choir of All-Union Radio - N. Golovanov

Rimsky-Korsakov - Christmas Eve - (Noch pered Rozhdestvom) - Orchestra and Choir of All-Union Radio - N. Golovanov
ID: AQVR172-2
CDs: 2
Type: CD
Collection: Opera and Ballet
Subcollection: Choir and Orchestra

Opera: folk-tale in 4 acts, 9 scenes. Libretto based on the novel by Nikolai Gogol written by the composer
The first performance took place on November 28, 1895 in St. Petersburg at the Mariinsky Theatre.

Tchub - Sergei Krassovsky (bass)
Oksana - Natalia Shpiller (soprano)
Vakula - Dmitri Tarkhov (tenor)
Solokha - Nina Kulagina (mezzo-soprano)
Golova - Sergei Migai (baritone)
Panass - Vsevolod Tutunik (bass)
Deacon - Sergei Streltsov (tenor)
Patsuk - Alexei Korolev (bass)
Devil - Pavel Pontryagin (tenor)
Empress - Ludmila Legostaeva (mezzo-soprano)
23.00 eur Buy

Rimsky-Korsakov - "The Legend of the invisible city of Kitezh and the maiden Fevroniya" - The choir and orchestra of the All-Union radio - S. Samosud

Rimsky-Korsakov - "The Legend of the invisible city of Kitezh and the maiden Fevroniya" - The choir and orchestra of the All-Union radio - S. Samosud
ID: AQVR374-2
CDs: 2
Type: CD
Collection: Opera Collection
Subcollection: Choir and Orchestra

Prince Yuri Vsevolodovitch . . . . . . . . . ALEXANDER VEDERNIKOV
Prince Vsevolod Yurevitch . . . . . . . . . . . . . . VLADIMIR IVANOVSKY
Fevroniya . . . . . . . . . . . . . . . . . . . . . NATALIA ROZHDESTVENSKAYA
Grishka Kuterma . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DMITRI TARKHOV
Feodor Poyarok . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ILYA BOGDANOV
Young lad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LIDIYA MELNIKOVA
Psaltery player . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BORIS DOBRIN
Bear handler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PAVEL PONTRYAGIN
Bedyai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . LEONID KTITOROV
Burunday . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SERGEI KRASOVSKY
Alconost . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . NINA KULAGINA

The choir and orchestra of the All-Union radio, conductor - Samuel Samosud
Recorded live from the Great Hall of the Moscow Conservatory, January 19, 1955
Narrator - Boris Plotnikov
23.00 eur Buy

D. Shostakovich - Katerina Ismailova - An Opera in 4 acts and 9 scenes Op. 29/114

D. Shostakovich - Katerina Ismailova - An Opera in 4 acts and 9 scenes Op. 29/114
ID: MELCD1002050
CDs: 3
Type: CD
Collection: Opera Collection
Subcollection: Choir and Orchestra

E. Andreyeva, E. Bulavin & V. Radziyevsky
Choir & Orchestra of the Moscow State, Gennady Provatorov

It is hard to name another opera with a fate as complicated and dramatic as that of its heroine. Shostakovich came up with the idea of composing an opera based on Nikolai Leskov’s novel Lady Macbeth of Mtsensk District, perhaps the most outright and cruel work of the Russian classical literature, in the early 1930s. Finished in 1932, Lady Macbeth of Mtsensk District (as the opera was originally titled) was staged two years later in Leningrad and then in Moscow caused a heated controversy.

However, the opera was condemned after Stalin saw it. “A mess instead of music” - that was a title of a scathing article in the Pravda in January 1936. It marked the beginning of unfounded criticism at Shostakovich for “formalism”, while Lady Macbeth was banned from the stage. The ban was lifted as late as in the early 1960s when Shostakovich had realized the second edition of the opera under the name of Katerina Izmailova. The opera was staged in Moscow and later it took the place it deserved in Russian and foreign theatres. Melodiya presents a historically first recording of Shostakovich’s opera made at the Moscow Stanislavsky and Nemirovich-Danchenko Music Theatre in 1964 soon after the premiere of the second edition. The premiere was conducted by a young maestro Gennady Provatorov.

In 1966, the recording was given a Grand Prix du Disquein France.
26.00 eur Buy

Dmitry Shostakovich - Symphonies Nos. 4 and 13 - Kirill Kondrashin - World Premiere Performances

Dmitry Shostakovich - Symphonies Nos. 4 and 13 - Kirill Kondrashin - World Premiere Performances
ID: SMCCD0162-163
CDs: 2
Type: CD
Collection: Choral Collection
Subcollection: Choir and Orchestra

Live in Grand Hall of The Moscow Tchaikovsky Conservatory
December 30, 1961 (CD1)
December 18, 1962 (CD2)


CD1
Symphony No. 4 in C minor, Op. 43

CD2
Symphony No. 13
For bass solo, Male Bass Choir and Orchestra in B Flat minor, Op. 113 on poems by Evgeny Evtushenko

(CD1) Moscow Region Philharmony Symphony Orchestra
(CD2) Moscow Philarmonic Orchestra
(CD2) Bass Group of The Republician Russian Choir
(CD2) Artistic Director: lexander Yurlov
(CD2) Vitaly Gromadsky, bass
(CD1,CD2) Conductor:Kirill Kondrashin
26.00 eur Buy

Robert Shaw Chorale and Orchestra - J.S.Bach - Mass in B minor - Deluxe Edition

Robert Shaw Chorale and Orchestra - J.S.Bach - Mass in B minor - Deluxe Edition
ID: SMCCD0151-152
CDs: 2
Type: CD
Collection: Baroque
Subcollection: Choir and Orchestra

Live Moscow 1962
26.00 eur Buy

Mussorgsky - Boris Godunov

Mussorgsky - Boris Godunov
ID: MELCD1000764
CDs: 3
Type: CD
Collection: Opera Collection
Subcollection: Choir and Orchestra

Libretto by the composer after the Tragedy by Alexander Pushkin.
Version and orchestration by Nikolai Rimsky-Korsakov

Opera in 4 Acts with a Prologue. Libretto by the composer after the Tragedy by Alexander Pushkin. Version and orchestration by Nikolai Rimsky-Korsakov. Boris Godunov-Ivan Petrov; Feodor-Valentina Klepatskaya; Xenia-Tamara Sorokina; Nurse to Xenia-Yevgeniya Verbitskaya; Prince Vasily Ivanovich Shuisky-Georgy Shulpin; Andrey Schelkalov-Alexey Ivanov; Pimen-Mark Reshetin; Grigory, the Pretender-Vladimir Ivanovsky; Marina Mnishek-Irina Arkhipova. Chorus and Orchestra of the Bolshoi Theatre of the USSR. Recorded in Moscow, 1962.


“I see the people as a single great personality inspired by one definite idea. That was my task, that was what I wanted to bring out in my opera”, said Mussorgsky of Boris Godunov. The revolutionary idea of Boris Godunov is clearly brought out in the brilliant scene of the people’s revolt (the final scene, “At Kromy”). The mighty song of the rebellious people comes as a burst of indignation against Tsar Boris and his “offsprings” whom the people hold reponsible for all their misfortunes. The idea of composing an opera after Pushkin’s historical tragedy waz suggested to Mussorgsky by his friend and admirer V. Nikolsky, a specialist in history of the Russian language. Thet was in 1868. By this time Mussorgsky’s realistic talent and interest in the life of the people had already become apparent. He accepted the idea of writing a historical opera with enthusiasm. He was absorbed in study of the historical material of the epoch. V. Stasov aided him in finding the texts of folk songs and supplied him with the information drawn from various historical sources. The opera was staged in Moscow’s Bolshoi Theatre on December 16, 1888.
26.00 eur Buy

 
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