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Opera Live, page 9

   Found CDs: 139

Halévy - La Juive (complete opera)

Halévy - La Juive (complete opera)
ID: OPD7022
CDs: 2
Type: CD
Subcollection: Opera

Richard Tucker, Yasuko Hayashi, David Gwynne, et al., vocal soloists/ Anton Guadagno, conductor

La Juive is a spectacular five-act grand opera with high drama, gigantic set pieces, and thrilling music - the Romantic era’s version of Cinemascope. Seldom mounted today due to cost, it can still be greatly enjoyed in the theater of the imagination. Live performance of an important modern revival in London, 1973. This was one of the great tenor Richard Tucker’s last appearances in public, at age 60, not long before his death. And it is one of the most emotional stage appearances ever captured on disc: when he sings the opera’s most dramatic aria, “Rachel, quand du Seigneur,” the audience goes wild. Jacques Halévy (1799-1862) studied at the Paris Conservatory with Cherubini and at age 20 won the highest student honor, the Prix de Rome. He was immediately engaged as a professor, and taught harmony, counterpoint and composition for many years to students such as Gounod,Massé, Saint-Saëns, Lecocq, and also Bizet, who married one of his daughters after his death. Despite his heavy academic responsibility, Halévy composed 38 lyric works for the stage, a majority of them light operas, but ten in the French “grand opera” form.

"A viable masterpiece…with great musical and theatrical force…this performance is one of real commitment; no one holds back in an effort to recreate some of the excitement this music generated in its time…Tucker makes the most of this opportunity, bringing down the house with his ringing tone and emotional outpouring…Anton Guadagno leads a performance which is dramatically taut… the live recorded sound is excellent for the period.” - OPERA NEWS

Ilustration © Rafal Olbinski
15.00 eur Temporarily out of stock

Bellini - I Capuleti e i Montecchi (complete opera)

Bellini - I Capuleti e i Montecchi (complete opera)
ID: OPD7021
CDs: 2
Type: CD
Subcollection: Opera

Fiorenza Cossotto, Antonietta Pastori, Renato Cavarini, Ivo Vinco, et al., vocal soloists/RAI Orchestra & Chorus, Rome/Lorin Maazel, conductor
Bellini’s opera version of the Romeo and Juliet story is one of his finest early works, the first to unequivocally display his mature style. It had a fully successful early run, although it has suffered much neglect in subsequent years, in modern times mostly because the part of Romeo is written for a mezzo-soprano. The opera is now customarily given in the original voice ranges, and the present recording is of one of the first modern performances to do so. Live performance, Rome, October 23, 1958.
“Cossotto is in splendid form…she commands every scene in which she appears…” - FANFARE
“…conducted with tremendous energy and drama by the then 27-year-old Lorin Maazel…Cossotto was then in such glorious voice that she arrests one’s attention at each of her appearances…Pastori…is an affecting heroine...” - GRAMOPHONE
"This live performance…is of particular interest to fans of mezzo Fiorenza Cossotto, here caught early in her career, before the voice had grown into the dramatic, Verdian instrument we’re familiar with. She sings Romeo well, with a fine, boyish tone. Otherwise unknown soprano Antonietta Pastori is a lovely Giulietta, singing with small, well-focused, pretty tone. Similarly not-famous Renato Gavarini is a very good Tebaldo - rhythmically accurate and exhibiting a good-sized, tonally pleasant tenor…its interesting to note what fine singers were floating around Italy in the 1950s; today they might be stars.” - ROBERT LEVINE, CLASSICSTODAY Ilustration © Rafal Olbinski
15.00 eur Temporarily out of stock

Berg - Wozzeck (complete opera)

Berg - Wozzeck (complete opera)
ID: OPD7020
CDs: 2
Type: CD
Subcollection: Opera

Geraint Evans, Anja Silja, Fritz Uhl, et al., vocal soloists/Vienna Philharmonic Orchestra/Karl Böhm, conductor

A gripping performance, one of the best recordings ever of this modern masterpiece, and certainly the best in its price range. Karl Böhm was one of the classic conductors of this opera from the beginning, and this is one of his most dramatic readings. Truly a legend in her own time, soprano Anja Silja recently celebrated her 70th birthday just a few months after performing in Berg’s opera Lulu! For over 30 years, she has been considered a leading vocal interpreter of Berg, Schoenberg, Weill, Janácek and Wagner. Live performance, Salzburg, August 8, 1971.

"Geraint Evans’Wozzeck is a powerful, tragic presence… Balancing clarity and madness, power and impotence, nobility and crudeness, it is one of the great portrayals of the role on disc. It is Böhm’s conducting that sets this performance apart, however, thanks in large part to the Vienna Philharmonic, which has rarely been captured playing with such violence and grit…Böhm seems to have the final catastrophe in sight from the very beginning, and each climax is more harrowing than the last…do not pass up this inexpensive release; it is an extraordinary document not to be missed.” - Gramophone

Ilustration © Rafal Olbinski
15.00 eur Buy

Puccini - Madama Butterfly (complete opera)

Puccini - Madama Butterfly (complete opera)
ID: OPD7017
CDs: 2
Type: CD
Subcollection: Opera

Renata Scotto, Franca Mattiucci, Luciana Palombi, Renato Cioni, et al., vocal soloists/RAI Symphony Orchestra & Chorus,Turin/Arturo Basile, conductor

Italian soprano Renata Scotto is perhaps the most acclaimed of all singers in the role of Madame Butterfly which was one of her specialties. She brought to it a perfection of style and youthful voice which have never been surpassed.

At the time of this recording Mme. Scotto was at the peak of her long career. The singing here is breathtakingly beautiful.

Presented for the first time at mid-price with original artwork by Rafal Olbinski and complete libretto, newly translated by Bill Parker, with a special essay on the performance by Ira Siff.

Live performance, Turin, 1967.

"Scotto [is] in complete control of all her faculties. Her portrait is that of a lovely, sad, victimized girl, who retains her dignity to the end. Remarkable!" - ClassicsToday.com

Ilustration © Rafal Olbinski
15.00 eur Temporarily out of stock

Marschner - Der Vampyr (complete opera)

Marschner - Der Vampyr (complete opera)
ID: OPD7016
CDs: 2
Type: CD
Collection: Opera Collection
Subcollection: Opera

Roland Hermann, Arleen Auger, Anna Tomowa-Sintow, Donald Grobe, Nikolaus Hillebrand, Trudeliese Schmidt, John van Kesteren, et al., vocal soloists/Bavarian Radio Symphony Orchestra and Chorus/Fritz Rieger, conductor
Heinrich Marschner (1795-1861) was a popular Early Romantic opera composer in Germany whose works disappeared for a few decades but have been successfully revived in recent times. Two of his operas, the proto-Wagnerian Hans Heiling, and the spooky Der Vampyr, have had frequent performances and recordings lately, but we do not think there is a better version of Der Vampyr than this one! Recorded live in Munich in 1974, the performance features a number of major singers, something rare in “non-standard” operas. The recorded sound is quite exceptional, too! First performed in 1828, Der Vampyr has a hair-raising Gothic plot about Lord Ruthven, a vampire much like Count Dracula, and his thirst for the blood of young females. The music is much in the vein or Mendelssohn or Weber. Wagner was a great admirer of Marschner and actually quotes one of his themes quite literally in Die Walküre. Ilustration © Rafal Olbinski
15.00 eur Buy

Richard Wagner - Die Walküre - Herbert von Karajan, conductor

Richard Wagner - Die Walküre - Herbert von Karajan, conductor
ID: IDIS6549-51
CDs: 3
Type: CD
Collection: Opera Live
Subcollection: Voices and Orchestra

19.00 eur Temporarily out of stock

Britten - A Midsummer Night's Dream

Britten - A Midsummer Night's Dream
ID: GFO01306
CDs: 2
Type: CD
Subcollection: Opera

Recorded live at Glyndebourne in July and August 2006.
Includes 2 discs in a 65 page hard-bound book.

Glyndebourne staged the premiere of The Rape of Lucretia with Kathleen Ferrier cast as Lucretia and the following year premiered Albert Herring. Thirty four years then elapsed before another of Britten’s operas was staged. In 1981, Glyndebourne presented A Midsummer Night’s Dream. An acclaimed staging by director Peter Hall which has enjoyed 4 revivals since, it has frequently been described by critics, and the press alike, as the ‘perfect realisation of a fairy tale’.
Britten employed disparate musical styles and devices to depict the interaction of the fairy kingdom; the quartet of lovers, the Mechanicals and town tradesmen determined to make it in showbiz. He juxtaposes a wide variety of styles to create the various worlds in the play. Brash trombones clash with Elizabethan flourishes, tormented string sounds and tuned percussion evoke the mood of the dark forests. With the challenging vocal writing a combination of singing, sprechstimme and spoken word cleverly intertwine.
This recording from Glyndebourne’s 2006 Festival, and the most recent revival, is a remarkable production cleverly capturing both the callousness of Oberon’s trickery on Tytania, as well as beautifully conveying the sense of sexual freedom that Bottom experiences when encountering Tytania. The stars in this recording are numerous but without doubt Bejun Mehta’s Oberon is one of the greatest on record. Iride Martinez makes a notable UK debut as Tytania. The lovers’ quartet sing almost all of their scenes as an ensemble, and beautifully at that, with Kate Royal (as Helena) and Jared Holt (as Demetrius) making the most harmonious of couples. Matthew Rose is both a wonderful and beguiling Bottom and is at the very heart of this recording whilst not forgetting the perfect performance from the well drilled Trinity Boys Choir, and show stealer, the 11 year-old Jack Morlen as Puck.

Bejun Mehta (Oberon), Íride Martínez (Tytania), Jack Morlen (Puck), Timothy Robinson (Lysander), Jared Holt (Demetrius), Tove Dahlberg (Hermia), Kate Royal (Helena) & Matthew Rose (Bottom)

London Philharmonic Orchestra & Trinity Boys Choir, Ilan Volkov
20.00 eur Buy

Humperdinck - Hänsel und Gretel

Humperdinck - Hänsel und Gretel
ID: GFO01510
CDs: 2
Type: CD
Subcollection: Opera

Recorded live at Glyndebourne Opera Hause, Lewes, England in 2010
Includes 2 discs in a 85 page hard-bound book.

First conducted in Weimar in 1893 by Richard Strauss, Hänsel und Gretel had immediate worldwide success, the Hamburg premiere in 1894 conducted by Gustav Mahler. In its first year, over 50 German theatres staged a production and it has been translated into over 20 languages. In the UK it was the first complete opera to ever be broadcast from Covent Garden back in 1923, and was a staple in the opera repertory until the 1950s where it fell into a black hole. Here Hänsel und Gretel remained until Glyndebourne’s new production in 2008. This recording comes from the re-staging in 2010.
This recording boasts a fine cast, with Alice Coote a seasoned Hänsel having also performed in the role at the Metropolitan Opera in New York, Lydia Teuscher making a notable UK debut as Gretel with Wolfgang Ablinger-Sperrhacke’s beautiful portrayal of the Witch stealing the show. Robin Ticciati, Glyndebourne’s new Artistic Director from 2013, clearly loves the piece: his conducting is nothing short of wonderful, with the performance from the London Philharmonic Orchestra a real highlight on this recording.

Alice Coote (Hänsel), Lydia Teuscher (Gretel), Irmgard Vilsmaier (Mother), William Dazeley (Father), Wolfgang Ablinger-Sperrhacke (Witch), Tara Erraught (Sandman) & Ida Falk Winland (Dew Fairy)

London Philharmonic Orchestra, Robin Ticciati
20.00 eur Buy

Donizetti - L'elisir d'amore, Opera, Op. 72

Donizetti - L'elisir d'amore, Opera, Op. 72
ID: GFO00562
CDs: 2
Type: CD
Subcollection: Opera

Mirella Freni (Adina), Luigi Alva (Nemorino), Enzo Sordello (Belcore), Sesto Bruscantini (Dulcamara), Emily Maire (Giannetta)

The Royal Philharmonic Orchestra & The Glyndebourne Chorus, Carlo Felice Cillario

Recorded live at Glyndebourne at one performance during June 1962.

The 2CD set is packaged as a 150 page hard bound book containing a full libretto translated into English, French and German along with a commissioned article about the opera, and synopsis in English, French and German.

Designed and Directed by Franco Zeffirelli.

Glyndebourne Opera has a history of trend setting and pioneering opera productions and Donizetti’s opera L’elisir d’amore is no exception. Popular in Donizetti’s own lifetime, L’elisir faded into relative obscurity until the 1890s when Caruso championed the role of Nemorino: his dedication and conviction were such that Covent Garden arranged a production of the opera in 1902. L’elisir was a personal favourite of Caruso’s, so much so that in 1920 he played Nemorino in his last appearance with the Metropolitan Opera. Almost 60 years later, in 1961, it was Glyndebourne who staged a production of L’elisir d’amore designed and directed by Franco Zeffirelli. Such was the success and acclaim for this production that Glyndebourne revived it in 1962, enhancing the production with the addition of the lively and capricious Mirella Freni.

As the press noted: ‘Her [Freni's] looks and her cantabile singing melt, so to speak, on the tongue, and she acts her teasing charades with Sergeant Belcore as if nothing were farther from her mind than cruelty.’ (The Times, August 1962) and ‘Mirella Freni, the sparkling new Adina, rightly allowed real tenderness to shine through vanity and caprice.’ (The Sunday Times, August 1962)

Mirella Freni was first engaged by Glyndebourne in 1960 (and sings Susanna in Glyndebourne’s own recording of Mozart’s Le nozze di Figaro GFOCD00162).

Previously she had also performed at the opera house in Torino in the late 50s and sung with Netherlands Opera in 1959-60 season, but her international break and recognition came by virtue of her role as Adina in this 1962 production.

This recording, released here for the first time, precedes Freni’s EMI recording of L’elisir d’amore with Nicolai Gedda as Nemorino in a Rome Opera production by some 5 years. In this recording, Freni has a cast of equals around her. As the besotted Nemorino, Luigi Alva vividly portrays the wounded innocent with The Daily Telegraph noting in August 1962 that ‘Alva’s Nemorino is a wonderful combination of rustic clowning and exquisitely finished bel canto’, with Enzo Sordello a baritone voice big enough to fill a stadium, providing a fresh virile and bold Belcore. Conductor Carlo Felice Cillario enjoyed a 60 plus year career and is remembered for his masterful interpretations of Puccini, Verdi and Donizetti operas and stands as one of the most singer-friendly conductors of all time.

Track list:
L'elisir d'amore, opera
1. No. 1. Preludio
2. Act 1. Coro d'introduzione. Bel conforto al mietiore
3. Act 1. Cavatina. Benedette queste carte!
4. Act 1. Cavatina. Marziale
5. Act 1. Cavatina. Come Paride vezzoso
6. Act 1. Cavatina. Orse m'ami, com'io t'amo
7. Act 1. Recitativo. Intanto, o mia ragazza, occuperò la piazza
8. Act 1. No. 2. Scena. Una parola, o Adina
9. Act 1. Duetto. Chiedi all'aura lusinghiera
10. Act 1. No. 3. Coro. che vuol dire codesta sonata?
11. Act 1. Cavatina. Udite, udite, o rustici
12. Act 1. No. 4. Recitativo. Ardir! Ha forse il cielo mandato
13. Act 1. Scena e Duetto. Voglio dire... Io stupendo Elisir
14. Act 1. No. 5. Recitativo. Caro Elisir! sei mio!
15. Act 1. Duetto. Lallarallara, la, la, la
16. Act 1. Terzetto. Tran, tran... In guerra, ed in amor
17. Act 1. Finale. Quartetto. Signor sargente
18. Act 1. Finale. Quartetto. Adina, credimi, te ne scongiuro...
19. Act 1. Finale. Quartetto. Andiam, Belcore
1. Act 2. No. 6. Coro d'introduzione. Cantiamo, cantiam
2. Act 2. Barcaruola a due voci
3. Act 2. Le feste nuziali!
4. Act 2. Ai perigli della guerra
5. Act 2. Qua la mano, giovinotto
6. Act 2. No. 8. Coro. Saria possibile?
7. Act 2. No. 9. Quartetto. Dell'elisir mirabile
8. Act 2. Come sen va contento!
9. Act 2. No. 10. Duetto. Quanto amore!
10. Act 2. No. 11. Romanza. Una furtiva lagrima
11. Act 2. No. 12. Recitativo ed Aria. Prendi, prendi, per me sei libero
12. Act 2. No. 13. Aria e Finale. Marziale
13. Act 2. Finale. Ei corregge ogni difetto
20.00 eur Buy

Mozart - Idomeneo, K366 - Pavarotti -1964 Glyndebourne debut recording

Mozart - Idomeneo, K366 - Pavarotti -1964 Glyndebourne debut recording
ID: GFO00664
CDs: 2
Type: CD
Subcollection: Opera

Recorded live at Glyndebourne 14 August 1964.
Includes 2 discs in a 113 page hard-bound book

Mozart is very much Glyndebourne’s signature composer and as a point of fact Glyndebourne was instrumental in putting Mozart back into the repertoire in the UK, so much so that the performing edition of Idomeneo was commissioned by Glyndebourne’s music director Fritz Busch. Glyndebourne’s 1951 Messel production of Mozart’s Idomeneo was the first professional performance in Great Britain. This 1964 recording is from the last staging of the Messel production and an opera John Pritchard had conducted at Glyndebourne since 1952. Pritchard was a consummate Mozartian and this recording allows, for the first time, Janowitz and Pavarotti to be heard before their respective international careers took off. Their vocal timbres are instantly recognisable - fresh, vital, flexible and already burgeoning with a distinctive projection of the text and drama. Pavarotti went on to have a long association with this opera, moving to the title role at the Metropolitan Opera in New York and recording it in the early digital age of 1983 with the Vienna Philharmonic Orchestra conducted once again by Pritchard. Richard Lewis as Idomeneo in the recording has a gracious sense of style and carries the day.

In the past (10+ years ago) there have been pirated/bootlegged releases of this production taken from a BBC off air recording. This release is from Glyndebourne’s own archive and is NOT the previously available BBC performance.

Richard Lewis (Idomeneo), Gundula Janowitz (Ilia), Luciano Pavarotti (Idamante), Enriqueta Tarrés (Elettra), Dennis Wicks (Nettuno), Neilson Taylor (Arbace), David Hughes (Gran Sacerdote)

London Philharmonic Orchestra & The Glyndebourne Chorus, John Pritchard

Track list:
CD: 1
Idomeneo, rè di Creta, opera, K. 366
1. Ouverture
2. Act 1. Recitativo. Quando avran fine omai
3. Act 1. No. 1. Aria. Padre, germani, addio!
4. Act 1. Recitativo. Ecco, Idamante, ahimè!
5. Act 1. Recitativo. Radunate i Trojani, ite
6. Act 1. No. 2. Aria. Non ho colpa
7. Act 1. Recitativo. Ecco il misero resto de' Trojani
8. Act 1. No. 3. Coro. Godiam la pace, trionfi Amore
9. Act 1. Recitativo. Prence, signor, tutta la Grecia oltraggi
10. Act 1. No. 4. Aria. Tutte nel cor vi sento
11. Act 1. No. 5. Coro. Pietà! Numi pieta!
12. Act 1. Recitativo. Eccoci salvi alfin
13. Act 1. No. 6. Aria. Vedrommi intorno l'ombra dolente
14. Act 1. Recitativo. Cieli! che sento?
15. Act 1. No. 7. Aria. Il padre adorato
16. Intermezzo. No. 8. Marcia
17. Intermezzo. No. 9. Coro. Nettuno s'onori, quel nome risuoni
18. Act 2. No. 10. Recitativo. Siam soli. Odimi Arbace
19. Act 2. Recitativo. Se mai pomposo apparse
20. Act 2. No. 11. Aria. Se il padre perdei
21. Act 2. Recitativo. Qual mi conturbai sensi
22. Act 2. No. 12. Aria. Fuor del mar ho un mar in seno
CD: 2
1. Act 2. Recitativo. Chi mai del mio provò piacer più dolce?
2. Act 2. No. 13. Aria. Idol mio, se ritroso
3. Act 2. No. 14. Marcia. Odo da lunge armonioso suono
4. Act 2. Recitativo. Sidonie sponde!
5. Act 2. No. 15. Coro. Placido è il mar, andiamo
6. Act 2. Recitativo. Parti Idamante
7. Act 2. No. 16. Terzetto. Pria di partir, oh Dio!
8. Act 2. No. 17. Coro. Qual nuovo terrore!
9. Act 2. Recitativo. Eccoti in me, barbaro Nume!
10. Act 2. No. 18. Coro. Corriamo, fuggiamo
11. Act 3. No. 19. Aria. Zeffiretti lusinghieri
12. Act 3. Recitativo. Eistesso vien... oh Dei!
13. Act 3. Recitativo. Principessa, a'tuoi sguardi
14. Act 3. No. 20. Duetto. Spiegarti non poss'io
15. Act 3. Recitativo. Cieli! che vedo?
16. Act 3. No. 21. Quartetto. Andrò ramingo e solo
17. Act 3. No. 24. Coro. O voto tremendo!
18. Act 3. No. 25. Marcia
19. Act 3. No. 26. Cavatina con coro. Accogli, o rè del mar
20. Act 3. Coro. Stupenda vittoria!
21. Act 3. Recitativo. Qual risuono qui intorno
22. Act 3. No. 27. Recitativo. Padre, mio caro padre
23. Act 3. No. 27a. Aria. No la morte
24. Act 3. Recitativo. Ma che più tardi?
25. Act 3. No. 28a. La Voce. Idomeneo cessi essere
26. Act 3. Aria. D'Oreste, D'Ajace
27. Act 3. No. 30. Recitativo. Popoli, a voi l'ultima legge impone
28. Act 3. No. 30a. Aria. Torna la pace alcore
29. Act 3. No. 31. Coro. Scenda Amor, scenda Imeneo
20.00 eur Buy

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