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ID: OPD7035
CDs: 2
Type: CD
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Subcollection: Opera
Live performance, Berlin, September 29, 1955. One of the greatest live complete opera recordings starring Maria Callas, and the best of her recordings of Lucia di Lammermoor. Selected as one of the best performances from the vast Opera d’Oro catalog and reissued with new packaging, performance notes from Callas biographer Robert Levine, the fabulous cover art of Rafal Olbinski, and complete libretto newly translated by Bill Parker.
Vocals:
Luisa Villa, Maria Callas,Giuseppe di Stefano, Giuseppe Zampieri, Rolando Panerai, Mario Carlin
Maria Callas, Giuseppe di Stefano, Rolando Panerai, Nicola Zaccaria, et al.: vocal soloists RIAS Symphony Orchestra, Berlin & La Scala Theater Chorus Herbert von Karajan: conductor |
| 29.00 eur Buy |
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ID: GFO00406
CDs: 2
Type: CD
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Subcollection: 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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| 29.00 eur Buy |
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ID: IDIS6638-39
CDs: 2
Type: CD
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Collection: Opera Live
Subcollection: Voices and Orchestra
This live Covent Garden recording was made in 1961.
Klemperer was the legendary interpreter of Fidelio.
This performance has a sensational cast, including Joan Vickers and Sena Jurinac.
Sena Jurinac (Leonore)
Jon Vickers (Florestan)
Hans Hotter (Pizarro)
Gottlob Frick (Rocco)
Elsie Morison (Marzelline)
John Dobson (Jaquino)
Forbes Robinson (Don Fernando)
Joseph Ward (Erster Gefangene)
Victor Godfrey (Zweiter Gefangene) |
| 29.00 eur Buy |
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ID: OPD7019
CDs: 2
Type: CD
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Subcollection: 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 |
| 29.00 eur Buy |
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ID: OPD7041
CDs: 2
Type: CD
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Subcollection: 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 |
| 29.00 eur Buy |
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ID: OPD7004
CDs: 2
Type: CD
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Subcollection: 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 |
| 29.00 eur Buy |
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ID: OPD7036
CDs: 2
Type: CD
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Subcollection: 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 |
| 29.00 eur Buy |
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ID: MELCD1001869
CDs: 2
Type: CD
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Collection: Opera Collection
Subcollection: Voices and Orchestra
The Voyevoda was Tchaikovsky’s first opera and was based on the comedy A Dream on the Volga, Scenes from Popular Life of the 17th Century by Ostrovsky. It was premiered at the Bolshoi Theatre in 1869 and was very well received. The Russian musicologist Odoyovsky wrote “This opera guarantees a great future for Tchaikovsky.” This performance was recorded in 1982.
Vladimir Matorin (Nechal Shalygin), Leoid Zimenko (Vlas Dyuzhol), Alexandra Fatkina (Nastasya), Galina Guznetsova (Maria Vlasyevna), Lyudmila Bondarenko (Praskovya Vlasyevna), Nina Isakova (Nedviga), Anatoly Mishchevsky (Bastryukov), Yu. Abakumovskaya (Olena), Oleg Klenov (Dubrovnin), Vyacheslav Voinarowski (Jester), Vladimir Svistov (New Voyevoda/Rezvy) |
| 29.00 eur Buy |
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ID: MELCD1001876
CDs: 2
Type: CD
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Collection: Opera Collection
Subcollection: Voices and Orchestra
In 1849, the translator, poet and playwright Lev Mey (1822-1862) wrote a drama The Tsar’s Bride based on one of the passages from the era of Ivan the Terrible’s reign. In 1868, Mily Balakirev drew Nikolai Rimsky-Korsakov’s attention to Mey’s work. However, the composer set to creating an opera based on the plot of The Tsar’s Bride only thirty years later. He began his work in February 1898 and completed it in ten months. Almost without changing Mey’s plot, Rimsky-Korsakov enhanced the dramatic qualities of The Tsar’s Bride with his musical means. The opera was premiered in the autumn of 1899 at a Moscow theatre of the industrialist and patron Savva Mamontov with Mikhail Ippolitov-Ivanov being the conductor. The Tsar’s Bride, a sample of realistic drama, is one of the most popular works for musical theatre at the present time. The performance of 1973 presented on these CDs brought together great artists of Russian stage - Evgeny Nesterenko, Galina Vishnevskaya, Vladimir Atlantov, Irina Arkhipova and others. |
| 29.00 eur Temporarily out of stock |
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ID: MELCD1001849
CDs: 2
Type: CD
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Collection: Opera Collection
Subcollection: Voices and Orchestra
The opera Betrothal in a Monastery (The Duenna) takes a special place not only in Prokofiev's career, but also in the history of Russian Soviet music theatre. It is the first lyrical and comic opera. Richard Brinsley Sheridan's comedy fascinated Prokofiev at once. Having read the play, Prokofiev exclaimed, "This is champagne! It can make an opera à la Mozart or Rossini." The composer immediately started writing the libretto using the English original and translating it into Russian. Prokofiev's wife Mira Mendelson was an author of the rhymed verse. Prokofiev composed the music within a shortest period of time - during the summer and early autumn of 1940. The premiere of the opera was expected at the Stanislavsky Musical Theatre in summer of 1941, but World War II did not let it happen. The first performance took place as late as in November of 1946, at the Kirov Theatre in Leningrad and received acclaim of critics and audience alike. The opera performed by the soloists, choir and orchestra of the State Musical Theatre of Stanislavsky and Nemirovich-Danchenko conducted by Kamil Abdullayev was recorded by Firma Melodiya in 1963 and awarded an André Messager prize of Academy of Lyric Recordings of France in 1967.
Valentina Kayevchenko (Luisa)
Nina Isakova (Clara)
Tamara Yanko (Duenna)
Anatoly Mishchevsky (Antonio)
Nikolai Korshunov (Don Jerome)
Jan Kratov (Ferdinand)
Eduard Bulavin (Mendoza) |
| 29.00 eur Temporarily out of stock |
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