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ROSSINI, Gioachino (Antonio) - Les compositeurs

   Les titres retrouvé: 31
 

Compositeur: ROSSINI, Gioachino (Antonio) ((1792-1868))
ROSSINI, Gioachino (Antonio)

To the Music - Charles Dekeyser

To the Music - Charles Dekeyser
ID: ACDBL081-2
CDs: 1
Type: CD
Collection:
Vocal Collection
Subcollection: Vocal and Piano

The joined forces of music and literature can lift up both arts beyond themselves. It is this promise that impelled many composers throughout the centuries to transcend their talents in the own musical discipline to create a higher reality - whether in the intimate atmosphere of the Lied or in the exhilarating publicity of the opera. A late seventeenth-century testimony of this is the semi-opera King Arthur (1691) by Henry Purcell: In What Power art thou, who from below… chills run down the spine when the allegorical figure Cold Genius shakes off the snow from his cloak at the request of Cupid, who wants to incite a new spring with his love.
15.00 eur Buy

G. Rossini - La Cenerentola - Moscow Radio Symphony Orchestra - Onissim Bron, coductor

G. Rossini - La Cenerentola - Moscow Radio Symphony Orchestra - Onissim Bron, coductor
ID: AQVR135-2
CDs: 2
Type: CD
Collection:
Opera Collection
Subcollection: Voices and Orchestra

Complete version
25.00 eur Buy

Sergei Lemeshev, tenor - "Opera Arias" - Tchaikovsky - Napravnik - Arensky - Verdi, and etc…

Sergei Lemeshev, tenor - "Opera Arias" - Tchaikovsky - Napravnik - Arensky - Verdi, and etc…
ID: AQVR343-2
CDs: 5
Type: CD
Collection:
Vocal and Opera Collection
Subcollection: Voice, Piano and Orchestra

CD1: Lemeshev "Opera Arias: 1928 - 1936 recordings" (AQVR 284-2)
Rimsky-Korsakov, Tchaikovsky, Napravnik, Arensky, Verdi, Puccini,
Massenet, Leoncavallo, Gounod, Borodin a.o.
CD2: Lemeshev "Opera Arias: 1937 - 1940 recordings" (AQVR 281-2)
Flotov, Meyerber, Grechaninov, Tchaikovsky, Massenet, Bizet,
Dargomyzhsky, Serov, Thomas, Poncielli, Verdi a.o.
CD3: Lemeshev "Opera Arias: 1940 - 1948 recordings" (AQVR 285-2)
Verstovsky, Rachmaninov, Delibes, Verdi, Gounod, Monyuszko,
Arensky, Tchaikovsky, Massenet a.o.
CD4: Lemeshev "Opera Arias: 1948 - 1952 recordings" (AQVR 282-2)
Glinka, Rubinstein, Flotov, Borodin, Wagner, Verdi, Puccini, Donizetti a.o.
CD5: Lemeshev "Opera Arias: 1953 - 1956 recordings" (AQVR 283-2)
Rossini, Verdi, Arensky, Tchaikovsky, Ober, Thomas, Massenet,
Monyuszko, Leoncavallo, Kabalevsky a.o.


CD1: (AQVR 284-2) - Lemeshev "Opera Arias: 1928 - 1936 recordings"
Composers: Rimsky-Korsakov, Tchaikovsky, Napravnik, Arensky, Verdi, Puccini, Massenet, Leoncavallo, Gounod, Borodin etc...
Orchestra of Russian opera in Kharbin, conductor Y.Pozen (1-8); an orchestra of the Bolshoi theatre, conductors L.Steinberg (13-19), A.Melik-Pashaev (22), A.Orlov (23); solo on a violin - A.Shilo (22)
Piano: A.Slutsky (9), A.Makarov (11, 12, 20, 21)

CD2: (AQVR 281-2) - Lemeshev "Opera Arias: 1937 - 1940 recordings" (AQVR 281-2)
Flotov, Meyerber, Grechaninov, Tchaikovsky, Massenet, Bizet,
Dargomyzhsky, Serov, Thomas, Poncielli, Verdi a.o.
Bolshoi Theatre Orchestra
Conductor: L. Steinberg (3-6, 8, 9), A.Orlov (1, 2, 7, 15-19), A Melik-Pashaev (13, 14), A. Tchugunov (20, 21)
Year of recording: 1937 (7), 1938 (8, 9), 1939 (5, 6), 1940 (1-4, 10-21)

CD3: (AQVR 285-2) - Lemeshev "Opera Arias: 1940 - 1948 recordings"
Verstovsky, Rachmaninov, Delibes, Verdi, Gounod, Monyuszko, Arensky, Tchaikovsky, Massenet, etc…
Irina Maslennikova - soprano (15)
An orchestra of the Bolshoi Theatre (1, 6, 7, 13-22), an All-Union Radio Committee's orchestra (2-5, 8-12)
conductors: V.Nebolsin (1, 14-17, 19, 21, 22), A.Orlov (2-5, 8-10, 13), K.Kondrashin (6, 7), M.Zhukov (11, 12), S.Sakharov (18), A.Melik-Pashaev (20)
recorded in: 1940 (1-2), 1943 (6, 7), 1944 (8), 1945 (3, 4, 9-13), 1946 (5, 14-19), 1947 (21, 22), 1948 (20)

CD4: (AQVR 282-2) - Lemeshev "Opera Arias: 1948 - 1952 recordings"
Glinka, Rubinstein, Flotov, Borodin, Wagner, Verdi, Puccini, Donizetti, etc…
Bolshoi Theatre Orchestra
Conductor: A Melik-Pashaev (1 - 4), V. Nebolsin (5 - 12), S. Sakharov (13, 14),
M. Zhukov (15 -18)
Year of recording: 1948 (1 -4) 1949 (8 - 12) 1951 (13 - 14) 1952 (15 - 17)

CD5: (AQVR 283-2) - Lemeshev "Opera Arias: 1953 - 1956 recordings"
Rossini, Verdi, Arensky, Tchaikovsky, Ober, Thomas, Massenet,Monyuszko, Leoncavallo, Kabalevsky, etc…
Bolshoi Theatre Orchestra
Conductor: S. Samosud (1, 17), V. Nebolsin (3-5), B.Khaikin (6-16), A Melik-Pashaev (18)
Harp: L. Mnyzhina (2)
53.00 eur Buy

Vitaly KILCHEVSKY - The Concert from the Small Hall of the Moscow Conservatory January 1, 1958

Vitaly KILCHEVSKY - The Concert from the Small Hall of the Moscow Conservatory January 1, 1958
ID: AQVR388-2
CDs: 1
Type: CD
Collection:
Vocal and Opera Collection
Subcollection: Voice, Piano and Orchestra

Presenter - M. Balaksheev (1 - 14)
Piano - B. Rakova (1-14), G. Orentlikher (15, 16)
Bolshoi Theatre Orchestra, conductor - Vassily Nebolsin (17)
Recorded in 1947 (17), 1950 (15, 16)
From the private collection of K. Vershinin (15, 16)
14.00 eur Buy

Voci dell'Anima

Voci dell'Anima
ID: BAR2013-05
CDs: 1
Type: CD
Collection:
Vocal Collection
Subcollection: Vocal Ensemble

Musiche per ensemble vocale e pianoforte con strumento d’epoca
Gruppo Vocale Heinrich Schütz
Carlo Mazzoli, Fortepiano
Roberto Bonato, Direttore
12.00 eur Buy

Ave Verum - Popular Choral Classics

Ave Verum - Popular Choral Classics
ID: BRIL6323
CDs: 1
Type: DVD5
Collection:
Choral Collection
Subcollection: Choir

1 DVD 16:9
Total time: 01:25:23
Region: (All) PAL, 2.35:1 ALL FORMATS
Sound Tracks: Dolby Digital 5.1, Dolby Digital Stereo 5.1
12.00 eur Buy

The Oboe 1903-1953

The Oboe 1903-1953
ID: CC2012
CDs: 2
Type: CD
Collection:
Instrumental
Subcollection: Oboe

The 24-page CD booklet has a 6,000 word programme note in English by the compiler Geoffrey Burgess with a description of each performer, each track, and many unusual photographs.


Introduction by compiler Geoffrey Burgess: It would be hard to claim the oboe as a main player in the rise of the phonograph in the early years of the twentieth century. In both contemporary literature and retrospective histories, oboists barely rate a mention alongside the Carusos, Melbas, Elgars and Kreislers, and the lack of a comprehensive discography or historic anthology backs this up. But why have early oboe recordings been silent for so long? It is time to discredit the popular belief that of the few recordings of oboists that have survived, most are worthless from a musical standpoint. While not featured as frequently as most other instruments, the oboe was not entirely silent in the recording studio: however, the problem lies much more in how and where to retrieve those distant echoes. Catalogues, reviews and the like cite specific recordings, but this is only a beginning. The next and harder step is to track down serviceable copies of this material which in most instances was considered of merely ephemeral value. We have to consider ourselves lucky with what has survived. Contrary to what we might think, the scarcity of oboe recordings is not a reflection of the difficulties encountered in capturing its tone. Even the earliest acoustic recordings demonstrate that, with the player projecting directly into the recording horn, the oboe sounded better than many other instruments. The reason for the scant presence of the oboe on disc has to do more with its musical and cultural persona. Just as now, the recording industry in the early decades of the twentieth century was dictated by popular taste. Not only did the Classical selections in gramophone catalogues constitute a small percentage of the total offerings, but they were dominated by operatic excerpts and rousing tunes performed by bands. In such a climate the oboe was not exactly a winner, rather it was considered a novelty, of interest to the refined connoisseur. It’s not needles, but the records themselves that need hunting down in the haystacks of archival repositaries and collectors’ attics. Artists’ names and instruments were given only rarely on the discs. Manufacturers’ catalogues can help but it is often necessary to resort to intelligent guesswork. According to the renowned audiofile Melvin Harris, it was Louis Gaudard who made the earliest oboe recording in 1899, but this claim is still to be substantiated. The oldest surviving recordings date from the first decade of the 20th century, with showy solos of ephemeral appeal usually accompanied by band, orchestra or, more rarely, piano. Despite the scant examples, we are blessed with multiple recordings of some favorites such as Une Soirée prčs du lac and standard orchestral repertoire like the overture to Guillaume Tell. These multiple versions allow direct comparison between different oboists, although it should always be borne in mind that the different settings and the recording process contributed in no small measure to the total sonic record. This anthology spans the acoustic and electric eras and all recordings are monoaural. Léon Goossens was the most widely recorded oboist of the first half of the 20th century, but otherwise, all of the oboists featured in this anthology were active before the rise of the oboe “heroes” still familiar today - André Lardrot, Pierre Pierlot, Heinz Holliger, etc. Many were celebrated in their own day, but most are now forgotten. We have intentionally avoided duplicating the already copious quantity of re-released material. Oboists like Roger Lamorlette, who can be heard playing Poulenc’s trio for oboe, bassoon and piano with the composer, have been omitted, and well known players like Goossens and Tabuteau whose work is already widely available, are represented only by noteworthy selections hitherto unavailable. There is no natural terminus ad quem for this anthology. Stylistic changes in oboe playing tended to overlap advances in recording technology in complex ways. Still, it seems appropriate to draw the line at the mid century with the dawn of the LP era with the Viennese recording of Beethoven’s variations on La ci darem (CD II track 21). Direct contact with these remarkable performances from the past is still hampered by the limitations of the available recording technology and the state of preservation of this delicate material. Most of the original recordings used here are in an exceptionally fragile state and the audio quality of many is quite simply deplorable. Any wax cylinder or shellac disc that has miraculously survived the junk yard inevitably bears the signs of abuse - damaged through overuse, poor storage conditions, or the jostle of the flea market before falling into the hands of a responsible collector. Every effort has been made to locate clean copies, but in some cases there was simply no choice. To understand these vestiges of players from the past, we have to learn to listen “through” the recording technology. Most early recordings have what today would be an unacceptable signal-to-noise ratio. The distraction of surface noise and crackles and limited frequency response and can hinder drawing conclusions on individual players’ tone. Most acoustic recordings registered a relatively narrow band of frequencies from 1000-3000Hz. With the introduction of microphones this was expanded to 200-6000Hz, but this is still far short of present standards which were set in the stereo LP era at 20Hz-20KHz. To those used to digital stereo, the monoaural configuration of early recordings may seem one-dimensional and, particularly in the case of acoustic recordings, the insensitivity of the technology to dynamics often obliterated nuance, and can also give a false sense of balance. At the same time we must listen “with” the technology. That is, we must learn to respond to what the technology could register faithfully - tempo, intonation, vibrato and questions of ensemble - always mindful that, once in the recording studio, players may have had to make adjustments from their regular practices. Up to the use of magnetic tape in the recording process in the 1940s, all recordings were “live” in the sense that virtually no editing was possible. Realizing that durations of 2 to 4 minutes (the length of a side of a disc) were recorded as complete takes makes it easier to forgive occasional slips - indeed, it should enhance our admiration for these players. It is always dangerous to draw general conclusions from limited data, so rather than viewing these recordings as documents of the essential characteristics of each oboist, it is wiser to treat them as “snapshots” of unique performances. Out-of-focus or underdeveloped due to the shortcomings of the recording apparatus, these passing glimpses are the closest we can get to the artistry of these lost musicians. Despite this material’s limitations, it’s revelations are manifold. The recordings of Georges Gillet CD I track 2) and his pupils (Gaudard, CD 1 track7; Mercier, CD I track 8; Brun, CD I track 9; Longy, CD I track 11; and Bleuzet, CD II tracks 5-8) show that prior to World War II French players did not all cultivate the bright tone typical of the younger players of the Paris Conservatoire school. We can appreciate why Tabuteau praised Bruno Labate (CD I track 16), and why Goossens could not have failed to have been impressed by Henri de Busscher’s playing (CD II tracks 13-15). The different performances of the J.C. Bach Sinfonia, Brahms’ Violin Concerto and the Beethoven Variations provide invaluable comparisons of different schools of oboe playing.
18.00 eur Temporarily out of stock

Oboe Divas!-Operatic Duos and Ensembles from Handel to Wagner

Oboe Divas!-Operatic Duos and Ensembles from Handel to Wagner
ID: CC2018
CDs: 1
Type: CD
Collection:
Opera Collection
Subcollection: Oboe

The 24-page full colour CD booklet has a 6,000 word programme note in English
with full details of each item, setting it in its operatic and historical context.
There are biographies of all the players and many photographs.

Emily Pailthorpe (the youngest winner of the Gillet International oboe competition) joins Elaine Douvas (Principle Oboe of the Met Opera Orch.) to give an oboist’s-eye-view of opera.


Introduction by Emily Pailthorpe:

This is a CD for lovers of opera and lovers of the oboe alike. Indeed it is often the vocal quality of the oboe to which listeners and players are drawn. Whether reaching out from the pit orchestra in accompaniment, or taking centre stage for a chamber work, playing the oboe does feel like singing. Portrayed here are some of the great oboe moments in opera (Fidelio, Meistersinger) as well as many that we always wanted to stand up and sing ourselves! (For example the 'Queen of the Night' aria from Mozart's Magic Flute, the Duo from Donizetti's Lucia di Lammermoor.) Both the Diva and the gracious accompanist appear here - often swapping seamlessly from one role to the other.

My own love affair with opera grew when I was a student at The Juilliard School in New York, and my teacher Elaine Douvas gave me standing passes to come and hear the productions at the New York Metropolitan Opera, where she was principal oboe. It is a great pleasure to collaborate on this CD with her and her colleagues from the Met, and also to highlight the opera connection of players from the London CONCHORD Ensemble. Daniel Pailthorpe was principal flute at English National Opera for ten years and Andrea de Flammineis is principal bassoon at the Royal Opera House. I think that in this recording the operatic experience of all these players shines through.
12.00 eur Buy

Voices of the Estonian National Opera

Voices of the Estonian National Opera
ID: ERP2409
CDs: 2
Type:
Subcollection: Voices and Orchestra

(1CD + bonus 1 DVD)
Estonian National Opera -Most popular opera arias and ensembles

Recorded in Estonia Concert Hall, Tallinn, Aug 24th-26th, 2009

Performed by Riina Airenne, Rauno Elp, Nadia Kurem, Oliver Kuusik, Andres Köster, Mart Laur, Juuli Lill, Helen Lokuta, Mart Madiste, Urmas Põldma, Aare Saal, René Soom, Janne Ševtšenko, Jassi Zahharov, Valentīna Tāluma, Heli Veskus, Priit Volmer

Estonian National Opera Chorus, chorus master Elmo Tiisvald
Estonian National Opera Orchestra -Conductor - Jüri Alperten
22.00 eur Temporarily out of stock

MOZART - CILEA - VERDI - BELLINI - ROSSINI - PUCCINI - OGHNYAN NICOLOV, tenor

MOZART - CILEA - VERDI - BELLINI - ROSSINI - PUCCINI - OGHNYAN NICOLOV, tenor
ID: GD206
CDs: 1
Type: CD
Collection:
Vocal and Opera Collection
Subcollection: Voices and Orchestra

The CD contains some of the favourite and frequently performed tenor arias from operas by Verdi, Rossini, Puccini. Alongside with them Oghnyan Nikolov has included in the programme several duets. Having started his career in the last decade of the 20th century, Oghnyan Nikolov became famous as a master of interpreting such trying parts as Scipione, Idomeneo and Titus, all of them from operas by Mozart. An amazing balance of registers and technical skills, combined with musical talent and beautiful voice are features characteristic of the tenor, who has already become popular not only in his native country but also in a number of European opera theatres. Of special merit are his interpretations of Baroque and Early-classical music. At the same time the density of his voice enables him to perform tenor parts from operas by Verdi and Puccini, which makes the release of particular artistic value.

Participating: Elena Stoyanova (soprano), Rumyana Petrova (mezzo-soprano)
Sofia Symphony Orchestra
Boris Hinchev, conductor

Recorded in March 1999
12.00 eur Buy

 
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