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ID: GFO00562
CDs: 2
Type: CD
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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:
CD:1
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
CD:2
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 |
| 29.00 eur Buy |
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ID: GFO00664
CDs: 2
Type: CD
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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 |
| 29.00 eur Buy |
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ID: GFO00960
CDs: 2
Type: CD
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Subcollection: Opera
Recorded live at Glyndebourne on 5 June 1960.
Includes 3 discs in a 80 page hard-bound book.
Italian conductor Vittorio Gui was Glyndebourne’s musical director from 1951 - 1963, and introduced a strong Italian theme in his programming - Rossini and Bellini amongst them. Bellini’s last and arguably richest opera I Puritani, comes from Glyndebourne’s recording archive, dated 1960 and was the first performance of this opera in Britain since 1887.
This is Joan Sutherland’s debut in the role of Elvira. This young and extraordinary bel canto talent is the heroine in this production. She has a beauty of tone, her voice fluent and eloquent, the intimate confines of the Glyndebourne opera house allowing the warm glowing colour in Sutherland’s voice to radiate.
So acclaimed was this production that it was selected for Glyndebourne’s return to the Edinburgh Festival after a 4 year absence and Sutherland, so in love with her Glyndebourne costumes was she, that she borrowed them from the production for her performances as Elvira at the Gran Teatro del Liceo in Barcelona in December 1960.
Joan Sutherland (Elvira), Nicola Filacuridi (Arturo), John Kentish (Bruno), Giuseppe Modesti (Giorgio), Ernest Blanc (Riccardo), David Ward (Valton) & Monica Sinclair (Enrichetta)
The Royal Philharmonic Orchestra & The Glyndebourne Chorus, Vittorio Gui
Track list:
CD: 1
I Puritani, opera
1. Act 1. Introduzione
2. Act 1. All'erta! All'erta! L'alba apparì,
3. Act 1. O di Cromwell guerrieri
4. Act 1. A festa!
5. Act 1. Recitativo ed Aria. Or dove fuggo io mai?
6. Act 1. Recitativo ed Aria. Ah! per sempre io ti perdei
7. Act 1. Recitativo ed Aria. T'appellan le schiere
8. Act 1. Scena e Duetto. O amato zio, o mio secondo padre!
9. Act 1. Scena e Duetto. Chi mosse a' miei desir il genitor?
10. Act 1. Coro e Quartetto. Ad Arturo onore
11. Act 1. Coro e Quartetto. A te, o cara
12. Act 1. Finale primo. Il rito augusto si compia senza me
13. Act 1. Finale primo. Cavalier
14. Act 1. Finale primo. Figlia a Enrico, a Carlo sposa
15. Act 1. Finale primo. Son vergin vezzosa
16. Act 1. Finale primo. Sulla virginea testa
17. Act 1. Finale primo. Ferma! Invan rapir pretendi
18. Act 1. Finale primo. Dov'è Arturo?
19. Act 1. Finale primo. Oh vieni al tempio, fedele Arturo
20. Act 1. Finale primo. Ma tu già mi fuggi?
CD: 2
1. Act 2. Introduzione e Romanza. Ah dolor! Ah terror!
2. Act 2. Introduzione e Romanza. Cinta di fiori e col bel crin disciolto
3. Act 2. Introduzione e Romanza. E di morte lo stral non sarà lento
4. Act 2. Scena ed Aria. O rendetemi la speme...
5. Act 2. Scena ed Aria. Qui la voce sua soave mi chiamava e poi sparì
6. Act 2. Scena ed Aria. Vien, diletto, è in ciel la luna
7. Act 2. Duetto - Finale secondo. Il rival salvar tu dêi
8. Act 2. Duetto - Finale secondo. Se tra il buio un fantasma vedrei bianco, lieve...
9. Act 2. Duetto - Finale secondo. Riccardo! Riccardo!
10. Act 2. Duetto - Finale secondo. Suoni la tromba
11. Act 3. Uragano
12. Act 3. Romanza e Duetto. Son salvo, alfin son salvo
13. Act 3. Romanza e Duetto. A una fonte afflitto e solo
14. Act 3. Romanza e Duetto. Qual suon!
15. Act 3. Romanza e Duetto. Son già lontani
16. Act 3. Romanza e Duetto. Finì... me lassai
17. Act 3. Romanza e Duetto. Che provò lontan da me?
18. Act 3. Romanza e Duetto. Vieni, vieni fra queste braccia
19. Act 3. Finale terzo. Arturo? Lo sciagurato!
20. Act 3. Finale terzo. Cavalier, ti colse il Dio
21. Act 3. Finale terzo. Credeasi, misera!
22. Act 3. Finale terzo. Suon d'araldi? |
| 29.00 eur Buy |
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ID: GFO00206
CDs: 2
Type: CD
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Subcollection: Opera
Recorded live at Glyndebourne on 12, 15 & 22 August 2006. A recording of a rarely performed work with consummate Russian conductor and cast.
Prokofiev’s last opera, Betrothal in a Monastery, launched the Glyndebourne label in 2008. According to Shostakovich it was ‘one of Prokofiev’s most radiant and buoyant works’. It has been unavailable for several months and back in stock, repackaged in line with the more recent Glyndebourne releases.
Luxury 256-page hard-bound book.
Essay by Harlow Robinson, world authority on Soviet and Russian cultural history.
Includes full libretto in Cyrillic with English, French and German translations.
Viascheslav Voynarovskiy (Don Jerome), Andrey Breus (Ferdinand), Lyubov Petrova (Louisa), Alexandra Durseneva (The Duenna), Vsevolod Grivnov (Don Antonio), Nino Surguladze (Clara), Sergei Alexashkin (Mendoza), Alan Opie (Don Carlos)
London Philharmonic Orchestra & The Glyndebourne Chorus, Vladimir Jurowski
Track list:
CD:1
Betrothal in a Monastery ('The Duenna'), Opera, Op. 86
1. Prelude
2. Act 1. Tableau 1. Scene 1. But this is just fantasy!
3. Act 1. Tableau 1. Scene 2. Plain. Round-shouldered
4. Act 1. Tableau 1. Scene 3. She has shaken your hand
5. Act 1. Tableau 1. Scene 4. The moon looks in your window
6. Act 1. Tableau 1. Scene 5. Stop that mewing
7. Act 1. Tableau 1. Scene 6. Masker's Dance
8. Act 1. Tableau 1. Scene 7. I had better get her married off
9. Act 1. Tableau 1. Scene 8. Friends, depart
10. Act 2. Tableau 2. Scene 1. It will work, Nanny, won't it?
11. Act 2. Tableau 2. Scene 2. Splendid, Señor, splendid
12. Act 2. Tableau 2. Scene 3. Will you cherish me in my old age?
13. Act 2. Tableau 2. Scene 4. Give it back!
14. Act 2. Tableau 2. Scene 5. If you have a daughter
15. Act 2. Tableau 2. Scene 6. It looks like the first act has been played out wi
16. Act 2. Tableau 3. Scene 1. Buy some fish from Señor Mendoza's barges!
17. Act 2. Tableau 3. Scene 2. Rosina... Rosina...
18. Act 2. Tableau 3. Scene 3. Ferdinand alone is dearer
19. Act 2. Tableau 3. Scene 4. I had known what pranks
20. Act 2. Tableau 3. Scene 5. My beard? My beard is not at all bad
21. Act 2. Tableau 3. Scene 6. There is no greater happiness
22. Act 2. Tableau 4. Scene 1. Yes, yes, yes!
23. Act 2. Tableau 4. Scene 2. My pretty... my pretty
24. Act 2. Tableau 4. Scene 3. When the cheerful fop
25. Act 2. Tableau 4. Scene 4. Well?
CD:2
1. Act 3. Tableau 5. Scene 1. Ah, time does not want to move on
2. Act 3. Tableau 5. Scene 2. Come in, come in
3. Act 3. Tableau 5. Scene 3. Should we take a sly look?
4. Act 3. Tableau 5. Scene 4. It's bad to peep
5. Act 3. Tableau 5. Scene 5. How my soul is beaming!
6. Act 3. Tableau 6. Scene 1. You are not playing in tune
7. Act 3. Tableau 6. Scene 2. My respectful greetings to the Señor!
8. Act 3. Tableau 6. Scene 3. Please, let us continue
9. Act 3. Tableau 6. Scene 4. Lopez! Lopez!
10. Act 3. Tableau 7. Scene 1. Here I am, a nun
11. Act 3. Tableau 7. Scene 2. They have gone, gladdened, happy and in love...
12. Act 3. Tableau 7. Scene 3. It must be here
13. Act 4. Tableau 8. Scene 1. The bottle is the sun of our lives
14. Act 4. Tableau 8. Scene 3. They bring more wine!
15. Act 4. Tableau 8. Scene 4. Take care, Antonio!
16. Act 4. Tableau 8. Scene 5. Straight down to business now, Don Ferdinand
17. Act 4. Tableau 9. Scene 1. I can't understand it
18. Act 4. Tableau 9. Scene 2. Aha, here's Mendoza at last
19. Act 4. Tableau 9. Scene 3. What is this? Why are you here?
20. Act 4. Tableau 9. Scene 4. Son! At last
21. Act 4. Tableau 9. Scene 5. Don Jerome, Don Herome! |
| 29.00 eur Buy |
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ID: GFO01260
CDs: 2
Type: CD
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Subcollection: Opera
Recorded live at Glyndebourne in June 1960.
Includes 2 discs in a 153 page hard-bound book.
Glyndebourne’s association with Falstaff commenced in 1955 for a production staged at the Edinburgh Festival, directed by Carl Ebert, designed by Osbert Lancaster and conducted by the great Carlo Maria Giulini.
Falstaff quickly proved to be a favourite and enjoyed 5 revivals in quick succession. This recording comes from Glyndebourne Festivals’ 1960 season, conducted by Vittorio Gui, in what was Geraint Evan’s third outing as Falstaff.
Evans sung in the 1957 and 1958 Glyndebourne restagings, in a role that was to go on and have a role in defining him as a singer, performing Falstaff in numerous productions including Covent Garden and the Metropolitan Opera, and on record under Georg Solti.
On this recording, Geraint Evans is joined by Sesto Bruscantini as Ford, Juan Oncina as Fenton, Ilva Ligabue as Alice Ford, a role she is most remembered for having recorded it twice: under George Solti and Leonard Bernstein, this (new/archive) recording predating both these.
The remaining classic cast member is the Swiss tenor Hugues Cuénod as Dr Caius, his glorious sense of the role's comedy beautifully portrayed here. Hugues Cuénod passed away in December 2010 at the age of 108, having a career that spanned 66 years. He was something of an institution at Glyndebourne, walking the Glyndebourne stage for over 30 years and involved in some 470 performances. At the age of 82 he appeared in Glyndebourne’s production of Le nozze di Figaro and in 1990, at the age of 87, was offered the role of Monsieur Taupe in Capriccio, a role he had sung previously at Glyndebourne, but declined.
Geraint Evans (Sir John Falstaff), Ilva Ligabue (Alice), Anna Maria Rota (Meg), Oralia Dominguez (Mistress Quickly), Sesto Bruscantini (Ford), Mariella Adani (Nannetta), Juan Oncina (Fenton) & Hugues Cuénod (Dr Caius)
The Royal Philharmonic Orchestra, Vittorio Gui
Track list:
CD: 1
Falstaff, opera
1. Act 1. Scene 1. Falstaff!
2. Act 1. Scene 1. Sss. Sei polli: sei scellini
3. Act 1. Scene 1. So che se andiam
4. Act 1. Scene 1. V'è noto un tal
5. Act 1. Scene 1. L'Onore! Ladri!
6. Act 1. Scene 2. Alice, Meg, Nannetta
7. Act 1. Scene 2. 'Fulgida Alice! Amor t'offro...'
8. Act 1. Scene 2. Quell'otre! Quel tino!
9. Act 1. Scene 2. È un ribaldo, un furbo, un ladro
10. Act 1. Scene 2. Psst, Psst. Nannetta, Vienqua
11. Act 1. Scene 2. Falstaff m'ha canzonata
12. Act 1. Scene 2. Torno all' assalto
13. Act 1. Scene 2. Udrai quanta egli sfoggia
14. Act 1. Scene 2. Del tuo barbaro diagnostico
15. Act 1. Scene 2. Qui più non si vagoli
16. Act 2. Scene 1. Siam pentiti e contriti
17. Act 2. Scene 1. Alice è mia!
18. Act 2. Scene 1. Padron; di la cè un serto Maestro Fontana
19. Act 2. Scene 1. Signore, v'assista il cielo!
20. Act 2. Scene 1. Io l'amo e lei non m'ama
21. Act 2. Scene 1. Il diavolo Se lo porti all' inferno
22. Act 2. Scene 1. È sogno? O realtà?
23. Act 2. Scene 1. Eccomi qua. Son pronto.
CD: 2
1. Act 2. Scene 2. Presenteremo un bill, per un tassa
2. Act 2. Scene 2. Giunto all' albergo della Giarrettiera
3. Act 2. Scene 2. Gaei comari di Windsor!
4. Act 2. Scene 2. 'Alfint'ho colto'
5. Act 2. Scene 2. Quand'ero paggio
6. Act 2. Scene 2. Mia signora!
7. Act 2. Scene 2. Il diavolo cavalca
8. Act 2. Scene 2. Vien qua. Che chiasso!
9. Act 2. Scene 2. Al ladro! Al pagliardo!
10. Act 2. Scene 2. Se t'aguanto! Se ti piglio!
11. Act 2. Scene 2. Ned! Will! Tom!
12. Act 3. Scene 1. Ehi! Taverniere!
13. Act 3. Scene 1. Reverenza. La bella Alice!
14. Act 3. Scene 1. Legge. Legge
15. Act 3. Scene 1. Quando il rintocco della mezza notte
16. Act 3. Scene 2. Dal labbro il canto est a siato vola
17. Act 3. Scene 2. Nossignore!
18. Act 3. Scene 2. Una, due, tre, Quattro
19. Act 3. Scene 2. Odo un soave passo!
20. Act 3. Scene 2. Ninfe! Elfi! Silfi!
21. Act 3. Scene 2. Sul fil d'un soffio etesio
22. Act 3. Scene 2. Alto là! Chi va là? Pietà!
23. Act 3. Scene 2. Ruzzola, ruzzola
24. Act 3. Scene 2. Naso vermiglio!
25. Act 3. Scene 2. Ogni sorta di gente dozzinale
26. Act 3. Scene 2. Ah! Ah! Ah! Ah!
27. Act 3. Scene 2. Tutto nel mondo è burla |
| 29.00 eur Buy |
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ID: SIGCD348
CDs: 2
Type: CD
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Subcollection: 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.) |
| 29.00 eur Temporarily out of stock |
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ID: RCD70041
CDs: 2
Type: CD
|
Collection: Czech Historical Recordings
Subcollection: Opera
Catalogue RCD:
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Comic Opera in 3 Acts to the Libretto by Karel Sabina
Czech historical recordings - 1933
Notes in English, French, German and Czech.
The story of the opera
Overture
A cheerful mood ata Czech country fair, with the folk dancing and singing, young couples meeting, weddings being arranged.
Act 1
Mařenka and Jeník want to marry. However, Mařenka’s father, Krušina, has other ideas. He wants Mařenka to marry a boy she has never met, Vašek, the son of Micha, who is a wealthy landowner. The marriage-broker Kecal is hired to broker the marriage between Mařenka and Vašek. Kecal is made aware of the relationship between Mařenka and Jeník, and becomes determined to break them up in order to facilitate the marriage of Mařenka with Vašek.
Act 2
Mařenka and Vašek meet each other by accident and, while Mařenka works out who Vašek is, on the other hand, Vašek is too much of a simpleton to realize who she is. Mařenka starts painting a picture of Vašek’s intended bride as a woman who would make his life a total misery if he should marry her. This turns Vašek off the idea of marrying his intended wife, and also makes him interested in this girl who obviously has his best interests at heart. Meanwhile, Kecal starts his campaign to pay off Jeník, so that Jeník will renounce his right to marry Mařenka. Kecal eventually reaches a price which Jeník finds agreeable, and Jeník agrees to sell the rights to his fiancée for 300 guilders. Jeník also specifies that this is on condition that Mařenka marries Mícha’s son. Since Kecal intends Mařenka to marry Vašek, so that he can get his money, he readily agrees. As soon as the contract is signed, the entire town repudiates Jeník.
Act 3
A travelling circus comes to town, and Vašek becomes entranced with the gypsy, Esmeralda. There is some trouble with one of the acts, and Vašek is persuaded to assist the circus. Mařenka is angry with Jeník for what he has done, and she angrily turns her back on him and agrees to marry Vašek. When both sets of parents meet Mařenka, the appearance of Jeník at the meeting results in the revelation that Jeník is the long-lost son of Mícha from his first marriage, and that Jeník had been hounded out of house and home by his stepmother, Háta (who is also Vašek’s mother). As a result of this revelation, the terms of the contract between Kecal and Jeník, whereby Jeník gave her up (on condition that Mařenka should marry the son of Mícha), allows Mařenka to marry either Jeník or Vašek. Mařenka chooses Jeník, and Kecal is left with the embarrassment of having paid Jeník 300 guilders in order for Jeník to give up the right to marry Mařenka, to Jeník, himself. At this time, a frightened child rushes in and exclaims that a bear has escaped from the circus. As everybody cowers, the bear wanders in and pulls off its head, revealing that it was just the immature Vašek disguised in a bear costume for the circus. Embarrassed, Háta drags Vašek off and the parents and the villagers congratulate the happy couple. |
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ID: NFPMA9931_32
CDs: 2
Type: CD
|
Collection: St. Petersburg Musical Archive
Subcollection: Opera
CD series “St. Petersburg Musical Archive”
“St. Petersburg Musical Archive” is a series dedicated to St. Petersburg’s 300th anniversary. Many of the works in this series will be CD premieres, and many of the recordings will introduce famous St. Petersburg musicians, composers and ensembles as well as new performing artists. The “St. Petersburg Musical Archive” series includes rediscovering forgotten works - both of the 19th and 20th centuries. |
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ID: OPD7050
CDs: 2
Type: CD
|
Subcollection: Opera
Domingo/Olivero |
| 29.00 eur Temporarily out of stock |
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ID: OPD7047
CDs: 2
Type: CD
|
Subcollection: Opera
Guy/Pilou |
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