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Dame aux camélias, La
Marguerite Gautier: Agnès Letestu
Armand Duval: Stéphane Bullion
Monsieur Duval: Michaël Denard
Prudence Duvernoy: Dorothée Gilbert
Manon Lescaut: Delphine Moussin
Des Grieux: José Martinez
Olympia: Eve Grinsztajn
Gaston Rieux: Karl Paquette
Le Duc: Laurent Novis
Nanine: Béatrice Martel
Le Comte de N.: Simon Valastro
The Paris Opera Ballet
Orchestra of The Opera national de Paris
Conductor: Michael Schmidtsdorff
Stage Director: John Neumeier
Recorded live at the Palais Garnier, Paris, on 2nd, 5th and 8th July 2008.
Based on the Alexandre Dumas novel that also inspired the stories of Verdi's La Traviata and Hollywood's Moulin Rouge, John Neumeier creates a riveting dance drama around the famous woman of lore, La Dame aux camélias. The passionate tale of Marguerite Gautier and Armand Duval unfolds ingeniously through a drama-within-a-drama as they meet at the theatre during a performance of Manon Lescaut. So begin their romantic adventures in Paris, brought to life by Neumeier's intense and refined choreographic language. Chopin's ravishing music highlights this exceptional neo-classical ballet, featuring the star dancers of the Paris Opéra Ballet. This lavish production, filmed live at the Palais Garnier in High Definition and full surround sound, is all about love, passion, danger and glorious dancing from one of the best ballet companies in the world.
PICTURE FORMAT: 16:9
LENGTH: 191 Mins
SOUND: 5.0 DTS SURROUND / PCM STEREO
Also available on Blu-ray: OA BD7025
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kr 198 (kr 349)
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Triple Bill
Also available on Blu-ray: OA BD7074
MacMillan's vision has been vital in shaping The Royal Ballet's style and repertory, and what better way to appreciate his art than with this rare chance to experience three contrasting works in a single performance. Abstract, dramatic, humorous - this programme gives a wonderfully varied introduction not just to MacMillan's work but to the beauty and dramatic power of ballet itself. Concerto, to Shostakovich's Second Piano Concerto, contrasts moments of exuberance and elegiac reflection. The Judas Tree places a single woman among 13 men to enact a harrowing event that is recognizably contemporary but with biblical overtones. Elite Syncopations completes the programme with a sparkling evocation of a dance hall that brings ragtime rhythms to the dance, and a ragtime band to the stage.
Concerto
Music: Dmitry Shostakovich
Artists: Marianela Nuñez, Yuhui Choe, Steven McRae
Conductor: Dominic Grier
Elite Syncopations
Music: Scott Joplin & other Ragtime composers
Artists: Sarah Lamb, Valeri Hristov, Steven McRae
Conductor: Robert Clark
The Judas Tree
Music: Brian Elias
Artists: Carlos Acosta, Leanne Benjamin, Edward Watson
Conductor: Barry Wordsworth
The Orchestra of the Royal Opera House
Recorded live at the Royal Opera House, March 2010
Extra features:
Introductions to each ballet piece by Deborah MacMillan
"There has never been a choreographer that I can think of who could produce three such contrasting works, and you sit watching in wonderment at the fertile imaginings of his mind. "
(Telegraph)
"It's grisly, and yet horribly exciting in its momentum, as the men show off to each other like skateboarders, flinging themselves into barrel turns while knotting and unknotting their legs."
The Independent
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kr 198 (kr 299)
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Peer Gynt
In Peer Gynt Zurich choreographer Heinz Spoerli has attempted a daring combination of Grieg's score and modern sounds for a dance translation of the interior monologue of Ibsen's hero. Going beneath the surface of Ibsen's narrative, Spoerli explores the emotional abyss the protagonist is plunged into. Finding that the Grieg work alone fell short of his ambitions, the choreographer turned to two contemporary composers whose music, rather than competing with Grieg's, enriches it and gives rise to different worlds. Thus the Grieg lends itself to the ballet's classical, narrative-style aspect, while the input from Brett Dean and Mark-Anthony Turnage provides an excellent vehicle for visual expression of PeerGynt's moods and his inner distress. The production is performed by the Zurich Ballet, of which Spoerli is the director, with Peer Gynt danced by Stuttgart Ballet soloist Marijn Rademaker. The Orchestra and Choir of the Zurich Opera are conducted by Eivind Gullberg Jensen. The Swiss Heinz Spoerli receives the German Dance Prize 2009. In addition Marijn Rademaker, Principal Dancer of the Stuttgart Ballet, is the recipient of the German Dance Price ´Future´2009.
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kr 198 (kr 299)
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Kraggerud Plays Kreisler
Henning Kraggerud plays works by Fritz Kreisler
Works arr. by Nils Thore Røsth
Henning Kraggerud, Violin
Oslo Camerata
Playing on Fritz Kreisler's own 'Bergonzi' violin (from c. 1740), the brilliant young violinist Henning Kraggerud presents a programme of Kreisler's compositions for violin. Filmed in the intimate surroundings of Oslo's historic 'Old Lodge', this is a world premiere recording of many of these arrangements for violin and orchestra. Kraggerud introduces the works himself, and leads the Oslo Camerata in a sparkling, thrilling concert.
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kr 98 (kr 159)
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Gurrelieder (2 SACD)
Recorded live on SACD in the sumptuous acoustic of Grieghallen in Bergen, this mind-blowing interpretation of Schoenberg’s Gurre-Lieder involves 350 performers: large choral forces, six exceptional soloists, and the legendary Bergen Philharmonic Orchestra – extended for the occasion – all conducted by Edward Gardner. Marking the pinnacle of the Orchestra’s 250th anniversary celebrations, the same forces offered two evening concerts that met with unanimous acclaim in the press, including a five-star review from The Daily Telegraph praising the ‘sweep of Gardner's conducting, by turns luminous and incisive’. It added, ‘He unleashed the piece’s volcanic passions while never becoming mired in its high-calorific density, and somehow avoided drowning the singers’, and also congratulated the ‘heroic’ Stuart Skelton, ‘warm’ Alwyn Mellor, ‘ethereal’ Anna Larsson, and ‘powerful’ Thomas Allen.
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kr 149 (kr 229)
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Rite of Spring / Jeu de cartes
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kr 39 (kr 79)
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The Four Seasons / The Elements
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kr 49 (kr 89)
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Symphonies Nos. 4 & 7 (SACD)
Bergen Philharmonic Orchestra / Andrew Litton
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kr 98 (kr 159)
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Violin Concerto
Sibelius violinkonsert, som är ett av de mest populära verken inom sin genre, tolkas här av den hyllade norske violinisten Henning Kraggerud. Denne unge virtuos spelar här även Christian Sindings första violinkonsert. Kraggerud har tidigare spelat in Griegs "Violinsonat 1-3" (8.553904) och "Norska favoriter för violin och orkester" (8.554497) på Naxos.
Henning Kraggerud, violin.
Bournemouth Symphony Orchestra / Bjarte Engeset.
Jean Sibelius
Violinkonsert
1. Allegro moderato
2. Adagio di molto
3. Allegro ma non tanto
4. Serenad g-moll Op 69b: Lento assai
Christian Sinding
Violinkonsert nr 1 A-dur Op 45
5. Allegro energico
6. Andante
7. Allegro giocoso
8. Romans D-dur Op 100
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kr 39 (kr 79)
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Orchestral Suites Nos. 1-4
4 AV 5 MÖJLIGA I BETYG I DAGENS NYHETER
"En tolkning som får denna sprudlande musik, baserad på franska dansformer, att framstå som ren och skär musikalisk charm - utan att för den skull låta särskilt fransk. Med sin "jazziga" Badinerie-sats, sin smäktande Air-sats och sin erotiskt virvlande Forlane-sats är detta ett av Bachs mest underhållande verk. Och nu ännu lättare att älska."
(Dagens Nyheter)
Freiburger Barockorchester
Called "Ouvertüren" in Germany, because they began with a large-scale overture à la française, Bach's 'Suites for orchestra' offer a unique synthesis of the French and the Italian styles. The Leipzig Cantor did not content himself with a mere set of amiable dances for his Collegium Musicum: he revived the genre in his own manner, accenting the contrasts, refining the orchestration, and introducing a hitherto unknown contrapuntal element.
Two centuries later these joyous orchestral works represent an indispensable treasure of the Baroque.
- Supporting Andreas Staier on his shortlisted CPE Bach
- Their Complete Tafelmusik by Telemann was also shortlisted
"a winner from all perspectives...I was reminded time and again that Telemann's music is extraordinarily good, and amazed at the quality of the Freiburg Baroque Orchestra's performances. This is an unmitigated joy." David Vickers, Editor's Choice, Gramophone, January 2011
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kr 99 (kr 189)
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2SACD+DVD-BOX: Matthäus-Passion
Werner Güra (Evangelist),
Johannes Weisser (Christus),
Sunhae Im,
Christina Roterberg,
Bernarda Fink,
Marie-Claude Chappuis,
Topi Lehtipuu,
Fabio Trümpy,
Konstantin Wolff,
Arttu Kataja
Staats- und Domchor Berlin,
RIAS Kammerchor & Akademie für Alte Musik Berlin
René Jacobs
It has haunted René Jacobs since childhood: first as a boy soprano in Ghent, then as a countertenor, he has constantly frequented the supreme masterpiece that is the 'St Matthew Passion'. Jacobs uses the layout of the Good Friday Vesper service from Bach's time, with choirs front and back, rather than side-by-side. He also gives us extra soloists to complete the bi-choral effect. For Bach, the two halves were 28 metres apart. At that distance, coordination difficulties begin to appear between the speed of light, and the speed of sound, and we cannot determine how Bach dealt with this problem. However the wonders of SACD multichannel surround sound can at last give an impression of what Bach intended for St Thomas' Church in Leipzig.
As ever, harmonia mundi's production values are such that we are given several essays on the concept of the layout in Bach's time, reflections on the new recording by René Jacobs, full texts and biographies in a 176 page booklet, with sumptuous packaging. This is, somewhat surprisingly, René Jacobs' first recording of 'St Matthew'.
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kr 198 (kr 279)
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Piano Works
Firma Melodiya presents recordingsof the outstanding St. Petersburg pianistGrigory Sokolov. This musician's performance is notable for particular concentration and complete immersion in the musical element. His manner amazes with perfectionof technique in the absence of external effects of any kind. Grigory Sokolov is one of the few contemporary pianists who always include intellectual piano masterpieces in their programmes, which requires a special mood from both the performer and the audience - Beethoven's sonatas of the latter period, J.S. Bach's The Art of Fugue, Brahms's last pieces.
Most of Sokolov's recordings were made from live broadcasts in Leningrad/St. Petersburg and Moscow - he prefers concert performancesto studio work. This set combines the large-scale dramatic canvases of Beethoven's sonatas with the restless romantic heroics of Scriabin's Third Sonata where Sokolov emphasizes the Promethean spirit withouterasing the individuality of the Russian geniusof the 20th century. However, what makes this set particularly interesting is Grigory Sokolov's recordings of the works by his contemporary, Leningrad composer Boris Arapov. The piano sonata and concerto for violin, piano, percussion and chamber orchestra recordedby the pianist are released on Melodiyafor the first time. Grigory Sokolov made the featured recordingsof the works by Beethoven, Scriabin and Arapovin 1972 to 1988.
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kr 159 (kr 239)
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Orchestral Works, Vol. 3
Bergen Philharmonic Choir, Choir of Collegium Musicum, Edvard Grieg Kor, Bergen Cathedral Choir, Bergen Philharmonic Orchestra / Edward Gardner
Not only does this collection of orchestral works by Janácek follow two highly praised volumes with such great soloists as Jean-Efflam Bavouzet and James Ehnes, but it also features one of the composer's most monumental works - with the vividly admired organist Thomas Trotter - along with three contrasting shorter pieces.
The Glagolitic Mass is considered his finest non-operatic work. It was premiered a year after the Sinfonietta - recorded in Volume 1 [CHSA 5142] - to critical acclaim. This impressive piece makes full use of the orchestra and chorus, with virtuosic solo parts for tenor and soprano, as well as organ. It is set within a frame of purely orchestral movements in which the Bergen Orchestra and its new Chief Conductor, Edward Gardner, demonstrate with authority their deep empathy with the repertoire.
The album is completed by three highly diverse characteristic works: the mournful Adagio, the Slavonic Otce náš and the deeply personal Zdrávas Maria.
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kr 98 (kr 159)
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As Dreams (SACD)
Per Nørgård: Drømmesange (Dream Songs) (1981); Singe die Gärten, mein Herz (1974)
Helmut Lachenmann: Consolation II (Wessobrunner Gebet) (1968)
Alfred Janson: Nocturne (1967)
Kaija Saariaho: Überzeugung (2001); Nuits, adieux (1991/96)
Iannis Xenakis: Nuits (1967–68)
The Norwegian Soloists’ Choir (Det Norske Solistkor)
Oslo Sinfonietta
Grete Pedersen, conductor
• Night, dreams and farewells with an outstanding choir
Although different in many respects – compositional approach, geographical origin, language – the works that make up this adventurous programme from the Norwegian Soloists’ Choir and its artistic director Grete Pedersen are all, to quote Shakespeare, ‘such stuff as dreams are made on’. In various ways they refer to night and dreams, to the distant past or to an uncertain future. With composers from Denmark, Norway, Finland, Germany and Greece, and texts ranging from fragments of ancient Assyrian and Sumerian (in Xenakis’s Nuits) and the 8th-century Wessobrunner Prayer (Lachenmann) to poems by Balzac (Saariaho), Nietzsche (Janson) and Rilke (Nørgård), the concept of ‘here and now’ becomes blurred and, indeed, dreamlike. The choir and Grete Pedersen released their first disc for BIS in 2007 – an all-Grieg programme awarded a Diapason d’or and with interpretations described in Le Monde de la Musique as ‘so beautiful as to make you lose your breath’. The five titles that have followed since then range from the folk-inspired ‘White Night’ (‘some of the most striking and moving singing put down on disc for years’, Gramophone) and most recently a programme combining works by the Norwegian composer Knut Nystedt (1915 – 2014) with motets by Bach (BIS-2184). Meeting the different challenges posed by such varied repertoire with flawless and always idiomatic performances, the Norwegian Soloists’ Choir is a wonderful instrument in the hands of Grete Pedersen. On the present disc musicians from Oslo Sinfonietta join the team in the accompanied works, which include Nørgård’s Singe die Gärten for eight-part choir and 8 instruments and Janson’s Nocturne for double choir, 2 cellos, harp and 2 percussionists
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kr 98 (kr 159)
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Violin Concertos 3, 4 & 5
Arabella Steinbacher (violin)
Festival Strings Lucerne, Daniel Dodds
Arabella Steinbacher is one of the fastest-rising stars in the world of music today. This young performer is already being hailed as one of the truly great violinists of our times, acclaimed by The New York Times for playing with 'balanced lyricism and fire'.
At the age of 8, Ms Steinbacher was already performing her first violin concerto by the composer. And since then, the work has reappeared throughout her successful career like a leitmotiv. Yet her performance has never appeared on a CD, Following repeated requests from concert audiences, it is now finally 'Zeit Fur Mozart' (= time for Mozart): the fulfilment of a long-cherished wish, not only for Arabella, but also for her many followers. For all those aficionados who want to enjoy Mozart's most playful melodies, this is sure to be a case of 'love at first listen'.
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kr 98 (kr 189)
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A Beethoven Journey
Leif Ove Andsnes is undoubtedly one of the top pianists of our age. For four years he has been performing and recording the five Beethoven piano concertos, primarily with the Mahler Chamber Orchestra but also with the major conductors & orchestras worldwide - such as Gustavo Dudamel and the LA Philharmonic. Award-winning film-maker Phil Grabsky has been with him throughout.
The film is much more than a portrait of a great pianist on tour - it is an in depth exploration into the much misunderstood life of Ludwig van Beethoven, as revealed by these five masterworks. The relationship between Beethoven and his world is mirrored by the relationship between the pianist and orchestra in these concertos. Grabsky's acknowledged skill is biography and he believes that many people know too little about arguably the greatest composer of all time.
This is an exciting, beautifully cinematic film offering a fresh look at Beethoven through the widely acclaimed performances and articulate insight of the great Leif Ove Andsnes.
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kr 159 (kr 239)
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Wozzeck
Georg Nigl, Mardi Byers
Orchestra & Chorus of the Bolshoi Theatre
Teodor Currentzis
Stage direction and set design: Dmitri Tcherniakov
In 2010, for the first time in its history, the Bolshoi Opera presented Alban Berg's masterpiece 'Wozzeck'. Dmitri Tcherniakov's truly historic production is now available in this HD DVD.
The Russian director's aim with this bold, sensitive transposition was "to highlight the hidden sorrows of a late 20th-century man dwelling in a megalopolis." The redoubtably complex title role was entrusted to Austrian baritone Georg Nigl. Nigl studied with Kammersängerin Hilde Zadek. Over the last few years he has worked with, among others, Thomas Hengelbrock and his Baltasar Neumann Ensemble, Jordi Savall and his Hesperion XXI Ensemble, and Giovanni Antonini and Luca Pianca and their Il Giardino Armonico.
American soprano Mardi Byers plays Marie. A native of Colorado, she made her international debut as 'Tosca' in Lübeck and Elisabetta in 'Don Carlos' in Wiesbaden and Basel. She has also sung Donna Anna and Suor Angelica at the New York City Opera, as well as Elisabeth in 'Tannhäuser' and Ariadne. The Proms audience saw her in Mahler 8 in 2010 with Jiri Belohlavek.
Greek conductor Teodor Currentzis directs the Bolshoi Theatre Orchestra and Chorus. Artistic director of the Perm Opera and founder and musical director of the Musica Aeterna ensemble, Currentzis is now to be seen in the world's leading venues: the Opéra de Paris, Opernhaus Zurich, Bayerische Staatsoper Munich, the Royal Opera House Covent Garden and the Teatro Real in Madrid.
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kr 199 (kr 299)
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Un giorno di regno
Loconsolo, Porta, Antonacci, Marianelli, Magrì, Bordogna
Orchestra e Coro del Teatro Regio di Parma / Donato Renzetti
Staged by Pier Luigi Pizzi
Bonus: Introduction to the opera
Un giorno di regno is the rare case of a musical comedy by Verdi. But his second stage work proved a complete fiasco when unveiled at La Scala, Milan, in 1840 and more than half a century was to pass before he attempted a second comedy with his final opera, Falstaff. Today, conversely, Verdi's early melodrama giocoso enjoys increasing popularity thanks to its wellspring of musical ideas and effervescent melodies.
"This is how Verdi should be played"
Frankfurter Allgemeine Zeitung on Tutto Verdi
NTSC
Region Code 0
Picture Format: 16:9, HD
Sound Format: DVD: DTS 5.1, PCM 2.0
Running Time: 129 minutes (Opera 119 minutes, Bonus 10 minutes)
Booklet: English, German, French
Subtitles: Italian (original language), English, German, French, Spanish, Chinese, Korean, Japanese
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kr 199 (kr 299)
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Il Corsaro
Ribeiro, Lungu, Salsi, Dalla Benetta, Bonfatti, Papi, Villari
Orchestra E Coro Del Teatro Regio Di Parma / Carlo Montanaro
Lamberto Puggelli
Teatro Verdi Di Busseto And Verdi Festival Parma, 2008
C Major presents a production of Il corsaro, performed in 2008 at the Verdi Festival in Parma.
Written in 1848, this three-act opera is based on Lord Byron's poem The Corsair.
"This is how Verdi should be played" Frankfurter Allgemeine Zeitung on Tutto Verdi
PICTURE: 16:9, HD
SOUND: DVD: DTS 5.1, PCM STEREO • BD: DTS-HD MA 5.1, PCM 2.0
RUNNING TIME: TOTAL: 117 MINUTES
(OPERA: 107 MINUTES, BONUS: 11 MINUTES)
SUBTITLES: ITALIAN (ORIGINAL LANGUAGE), ENGLISH, GERMAN, FRENCH, SPANISH, CHINESE, KOREAN, JAPANESE
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kr 199 (kr 299)
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Roberto Devereux (DVD)
In the last and most dramatic aria in “Roberto Devereux,” one of the four Tudor period operas composed by Donizetti in 1837 (along with “Anna Bolena,” “Maria Stuarda,” and “Il Castello di Kenilworth,”) the protagonist, Queen Elizabeth I of England, exclaims: “I do not reign, I do not live.” This statement encapsulates great operatic themes, and it is the culmination of an opera that reveals the passions of characters who live among palace intrigues. Written in the mature period of the leader of Italian romanticism, the opera displays a great vocal virtuosity, and is an example of Donizetti prizing the voice above all in the genre. The staging, by South African director Alessandro Talevi, who has been very successful in great opera houses as well as with more experimental theatre, places the play in an undetermined period, focusing on the chiaroscuro. Bruno Campanella conducts the production with Mariella Devia in the lead. “This was a most promising start to the season, a first-class rendition of a neglected work and a joyful confirmation of Mariella Devia’s well-deserved place in bel canto history.” (Bachtrack.com)
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kr 199 (kr 299)
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Don Giovanni
Stage direction: Dmitri Tcherniakov
Costumes: Dmitri Tcherniakov & Elena Zaitseva
Lighting Gleb Filshtinsky
Festival d'Aix-en-Provence - 07/2010
Bo Skovhus [Don Giovanni]
Kyle Ketelsen [Leporello]
David Bizic [Masetto]
Colin Balzer [Don Ottavio]
Marlis Petersen [Donna Anna]
Kristine Opolais [Donna Elvira]
Kerstin Avemo [Zerlina]
Anatoli Kotscherga [Il Commandatore]
English Voices / Freiburger Barockorchester
Louis Langrée
A new 'Don Giovanni' in Aix from renowned Russian stage director Dmitri Tcherniakov, awarded best director at the International Opera Awards 2013, and conductor Louis Langrée.
More than two centuries after its creation, the emotional pull of this supreme opera remains absolutely intact. Dmitri Tcherniakov duly revisits the myth and makes the seducer of Seville a 'man without qualities', a cipher whose words have a hypnotic power over women. His words will disrupt the proprieties ruling the Commandatore's family. His words are also what makes Don Juan such a subversive figure and the embodiment of one of the most powerful modern European myths.
Leading the Freiburg Baroque Orchestra is one of the best Mozart conductors, Louis Langrée. Bo Skovhus portrays a dispirited Don Giovanni, old playboy and anti-hero. Kyle Ketelsen is his servant Leporello, currently a shoe-in for this rôle.
The superb female trio is composed of Marlis Petersen (Donna Anna), Kristine Opolais (Elvira) and Kerstin Avemo (Zerlina).
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kr 199 (kr 349)
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Tosca
Angela Gheorghiu, Roberto Alagna, Ruggero Raimondi
Chorus and Orchestra of the Royal Opera House / Antonio Pappano
Tosca: it is opera, it is Italy. It is desire, passion and murder...
Featuring opera superstars Angela Gheorghiu, Roberto Alagna and Ruggero Raimondi, with musical direction by the world-renowned Antonio Pappano.
Prestige of official selection at Venice Film Festival, a comprehensive and successful commercial run in cinemas and outstanding critical acclaim.
10th anniversary special edition, with exclusive DVD bonus features including a new 10th anniversary interview with soprano Angela Gheorghiu, a collector's booklet and a "Costume Design" featurette plus original 2001 interviews with Angela Gheorghiu on her role as Tosca, director Benoît Jacquot on creating Tosca as film and Antonio Pappano on Puccini's music for the opera.
"brings this opera vividly to life... this is a classic of the future" The Guardian
"gripping and very well sung" Opera Now
"superb" Gramophone Magazine
"Gheorghiu gives a performance that cuts to the core of Puccini's tragedy... Pappano's conducting; a rich reading that conjures the ideal mixture of syrup and bitterness" Independent on Sunday
Audio: Dolby Stereo & Optional 5.1
Aspect Ratio: 1.85:1
Feature Running Time: 120 mins
Italian with optional English subtitles
Bonus Features Running Time: 41 mins
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kr 149 (kr 239)
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L'Orfeo
...With his new production for NETHERLANDS OPERA of Orfeo, Pierre Audi has completed a well-received cycle of Monteverdi’s major stage works. On stage we saw the usual Audi juxtaposition of elements: some vast tree trunks, a stone wall, an immense round pond, and later, fire. The prologue was magnificently sung by the counter-tenor David Cordier as La Musica. … The chorus sang with such spirit and refinement that one regretted that they did not have more to do. … Stephen Stubbs, seconded by Emmanuelle Haïm playing various keyboard instruments, led his ensemble Tragicomedia with obvious affection and understanding. All the instrumentalists played with fluent ease, a long way from the scratchy ‘authentic’ bands of 20 years ago...
(Opera)
Ljudformat: DTS Surround Sound, LPCM-stereo
Bildformat: 16:9
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kr 298 (kr 399)
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Carmen
From the Glyndebourne Opera House...
An exhilarating new Carmen from Glyndebourne. Director David McVicar describes Carmen as "the first ever musical", and in his new production, with Anne Sofie von Otter in the title role, Carmen is restored to the original Opera. Comique as Bizet wrote it, stripping away subsequent re-workings which turned it into a grand opera. Philippe Jordan makes his Glyndebourne debut with the London Philharmonic Orchestra, the Glyndebourne Chorus and a cast that includes Marcus Haddock, Laurent Naouri and Lisa Milne. This double disc set also includes extensive extra features on costume, dance, characters and the gardens of Glyndebourne.
Anne Sofie von Otter, Marcus Haddock Laurent Naouri, Lisa Milne
Glyndebourne Chorus / London Philharmonic Orchestra / Philippe Jordan
Stage Director David McVicar
TV Director: Sue Judd
Penguin Guide - 3 stars
Diapason d'Or
DVD BEST BUY - Classic fM Magazine
DISCS OF THE YEAR 2003 - Musicweb
Regions: NTSC
Picture Format: 16:9 / 4:3
Sound Type: DOLBY SURROUND / LPCM STEREO
Subtitles: EN
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kr 298 (kr 399)
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Wozzeck (BD)
Christian Gerhaher (Wozzeck)
Gun-Brit Barkmin (Marie)
Philharmonia Zürich, Chor der Oper Zürich / Fabio Luisi
Andreas Homoki, Stage Director
The soldier Wozzeck (Christian Gerhaher) flits through a world that he is unable to decipher. The doctor torments him with absurd medical experiments; the captain humiliates and ridicules him. And Wozzeck’s lover, Marie (Gun-Brit Barkmin), with whom he has a child, cuckolds him with the drum major. Wozzeck becomes a murderer, stabbing Marie to death. Georg Büchner’s drama fragment, on which Alban Berg based his first opera, is an unflinching case study of social injustice and human suffering. But it is also a grotesque piece that thrives on exaggeration – and in which only a fine line separates the unfathomable from the ridiculous. Accordingly, director Andreas Homoki forgoes all realism. His nightmarishly radical production is inspired by puppet theatre. Christian Gerhaher’s role début as Wozzeck can only be described as sensational: his capacity for vocal and dramatic subtlety is simply breath-taking. At the rostrum of the Philharmonia Zurich, Fabio Luisi explores both the expressionistic and the more intimate aspects, reminiscent of chamber music, in Berg’s seminal score.
Picture Formats: 16:9 NTSC, FULL HD
Sound Formats: PCM Stereo, DTS HD Master Audio
Running time: 100:58 min
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kr 279 (kr 389)
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Wozzeck
ARTISTIC QUALITY: 10
SOUND QUALITY: 10
(CLASSICSTODAY.com)
Calixto Bieito’s controversial but visually stunning production of Wozzeck is set in a grisly, chaotic, post-industrial maze, giving a contemporary edge to the disturbing and hair-raising intensity of Alban Berg’s expressionistic masterpiece. The all too human drama is emphasised, with terrifying beauty, by the stupendous cast of singing actors with the Orchestra and Chorus of the Gran Teatre del Liceu, producing a strong, relentless musical experience under the inspired baton of maestro Sebastian Weigle.
Wozzeck: Franz Hawlata
Marie: Angela Denoke
Drum Major: Reiner Goldberg
Margret: Vivian Tierney
Doctor: Johann Tilli
Captain: Hubert Delamboye
Andres: David Kuebler
Plus
Documentary, including interviews with Sebastian Weigle & Calixto Bieito
Illustrated synopsis & cast gallery
Reviews
‘The quite sensational Chorus and Orchestra, revealed a world-class theatre company, with a conductor London should book soon. Sebastian Weigle read the score with suavity, so that it seemed as if Wozzeck was more than a little influenced by Mahler; and how thankful I felt for that ingratiating, mellow and fierce sound!’
(Musical Opinion)
‘…it is a very theatrically effective, coherent production.’ (baybuzz.com)
PICTURE FORMAT: 16:9
SOUND: DTS 5.0
LENGTH: 129 Mins
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kr 198 (kr 299)
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Bohème (La)
Teodor Ilincai (Rodolfo), Hibla Gerzmava (Mimì), Gabriele Viviani (Marcello), Inna Dukach (Musetta), Kostas Smoriginas (Colline), Jacques Imbrailo (Schaunard), Jeremy White (Benoit), Donald Maxwell (Alcindoro)
Royal Opera Chorus & Orchestra of the Royal Opera House, Andris Nelsons (conductor) & John Copley (director)
John Copley's enduring production of one of the most famously melodious and popular of all operas is a classic of the Royal Opera repertory. With historically accurate designs by Julia Trevelyan Oman and an excellent cast headed by Hibla Gerzmava and Teodor Ilincai, this 2009 revival, in which conductor Andris Nelsons makes a distinguished Royal Opera House debut, does full justice to Puccini's masterpiece. Filmed in High Definition and recorded in true surround sound.
"[Ilincai] gave a thoroughly assured and engaging performance. ... Sumptuously sung, Gerzmava's portrayal was sensitive and well-rounded - timid yet warm and attractive in her first scene with Rodolfo, intimate rather than melodramatic in her final death-bed moments." Classical Source
Extra features:
Cast gallery
Interview with Jonathan Copley
Interview with Andris Nelsons
Running time 121 mins
Region code All regions
Video codec: AVC/MPEG-4
Disc size: BD50
Picture format 1080i High Definition / 16:9
Sound format 2.0 LPCM & 5.1 DTS-HD Master Audio
Menu language EN
Subtitles EN/FR/DE/ES/IT
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kr 198 (kr 299)
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Cosi fan tutte
Recorded at the Teatro Real de Madrid, 2013
Anett Fritsch (Fiordiligi),
Paola Gardina (Dorabella),
Kerstin Avemo (Despina),
Juan Francisco Gatell (Ferrando),
Andreas Wolf (Guglielmo),
William Shimell (Don Alfonso)
Chorus and Orchestra of the Teatro Real de Madrid
Sylvain Cambreling, conductor
Staged by 2013 Oscar winner Michael Haneke. Michael Haneke´s film "Amour" won an Oscar for best foreign-language film, the film too won 4 Césars, Palme d´Or (Cannes) and a Golden Globe. Great reviews about the staging, the performance and the singers.
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kr 149 (kr 239)
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Serenade to Music
"Profoundly moving"
(Gramophone)
Corydon Singers
English Chamber Orchestra
Matthew Best, conductor
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kr 49 (kr 89)
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Concerti per archi II
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kr 98 (kr 159)
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Cello Concertos
Nicolas Altstaedt, cello
Arcangelo / Jonathan Cohen
The unpredictable and ‘fantastical’ qualities which are so fundamental to the music of C P E Bach are here given free rein by Nicolas Altstaedt, aided and abetted by Jonathan Cohen and Arcangelo in performances of astonishing brio.
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kr 99 (kr 159)
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St Matthew Passion (CD version)
«For kjærligheten til Bach og Guds herlighet» skriver René Jacobs i CD-teksten til sin innspilling av Matteus pasjonen . Mange vil bli overrasket over den utenom jordlige sanseligheten og umiddelbarheten ved Jacobs sin innspilling. Dens blanding av drama, korsang og meditasjon er forbløffende vedvarende i sin skjønnhet . Rett og slett en ny fantastisk CD fra Jacobs stødige hender. Dette er en oppvisning av sangere her som Johannes Weisser (Jesus), Werner Gura , Bernarda Fink, Topi Lehtipuu og Konstantin Wolff.
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kr 98 (kr 169)
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Entführung aus dem Serail (Die)
Mari Eriksmoen (Blondchen), Robin Johannsen (Konstanze), Maximilian Schmitt (Belmonte), Julian Prégardien (Pedrillo), Dimitry Ivashchenko (Osmin), Cornelius Obonya (Bassa Selim)
RIAS Kammerchor & Akademie für Alte Musik Berlin / René Jacobs
The 1782 premiere in Vienna of 'Die Entführung aus dem Serail' was an unprecedented success. This dazzling triumph was enhanced by a libretto celebrating and counter to contemporary prejudices concerning the Ottoman Empire. Mozart gave an important place to the spoken dialogue, often severely cut, but fully restored and brought to life here by René Jacobs in the culmination of his Mozart opera recordings for harmonia mundi.
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kr 198 (kr 289)
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Swan Lake (Complete)
This is the second instalment in our series devoted to Tchaikovsky's three great ballets. The first recording, of The Sleeping Beauty, was praised upon its release, described by a reviewer in American Record Guide as 'one of the finest I've heard'. Here Neeme Järvi and the Bergen Philharmonic Orchestra present the complete version of Swan Lake, with the pre-eminent James Ehnes lending his magic to the violin solos. This was Tchaikovsky's first full-length ballet, but its premiere in 1877, staged at Moscow's Bolshoy Theatre, was by no means a resounding success. According to most accounts, the choreography was inept, the shabby sets and costumes were borrowed from other productions, and the orchestral playing was poor. Most ballet companies today base their productions on the 1895 revival by the distinguished choreographer Marius Petipa. Although this revival has been seen as more 'danceable', one may argue that the overall cuts and reordering ultimately destroyed Tchaikovsky's ground plan of drama and tonality. Here we present Tchaikovsky's original Bolshoy score of twenty-nine numbers across four acts, along with two supplementary numbers which Tchaikovsky provided not long after the premiere.
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kr 198 (kr 318)
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The Ghosts of Versailles
Victoria Livengood, So Young Park, Vanessa Becerra and others.
LA Opera Orchestra & Chorus / James Conlon
Commissioned by the Metropolitan Opera to celebrate its 100th anniversary, John Corigliano’s The Ghost of Versailles received its premiere at the Met in 1991, twelve years after it had been commissioned and eight years past the centennial season for which it had first been envisioned. Nonetheless, it was an instant success. Because of the unique situation, a large cast and extravagant orchestral forces were made available, but aside from that specific context, both John Corigliano and librettist William Hoffman conceived of Ghosts as a work of music theater that celebrates and even takes as one of its principal themes the artistic power of opera: it puts into use lavish operatic resources precisely to introduce a contemporary audience to grand opera.
More particularly, a ”grand opera buffa” is what John Corigliano decided to create, to combine his love for opera buffa, with the requirements of a grand opera house, which is the Met. The success of Ghosts resulted in many performances throughout the North- American continent in the 25 years to follow, one of which took place in February 2015 at the LA Opera, to great critical acclaim.
“It's comic and serious, entertaining and erudite, silly and thoughtful, emotional and mysterious, harrowing and uplifting, intimate and over-the-top — and the more times you see it, the more you'll find in it and the more you'll get out of it.” Los Angeles Times
Conducted by James Conlon, the production was recorded live by the renowned Soundmirror recording company and will now be released on a splendid 2-SACD album as part of PENTATONE’s newly launched American Opera Series.
“The artists of Los Angeles Opera’s 2014 production made as compelling a case for The Ghosts of Versailles as I heard on its first night at the MET in 1991. To have that performance preserved in a recording of this quality is, for this composer, a dream come true.” John Corigliano
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kr 249 (kr 359)
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MUSIKK TIL DIN LESNING
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kr 19 (kr 79)
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VÅRSTEMNING
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kr 29 (kr 79)
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Holberg Suite
1884 skrev Grieg "Holbergsvit" för att hedra att det då var 200 år sedan författaren Ludvig Holberg föddes. Precis som Grieg var Holberg från Bergen. För att sviten skulle få samma tonspråk som användes på Holbergs tid använde sig Grieg av bl a musikformer som var vanliga under 1700-talets första hälft, som t ex "Sarabande" och "Gavotte".
Oslo Camerata/Stephan Barratt-Due
EDVARD GRIEG
Fra Holbergs tid Op 40 (Holbergsvit)
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kr 29 (kr 49)
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Violin Concertos
This is the world première recording of Johan Halvorsens recently rediscovered Violin Concerto. Less well-known as a composer than Carl Nielsen, Halvorsens chamber music (8572522) has been described as delightful (American Record Guide) and effervescent though occasionally darkly hued (Fanfare). Described as tremendously beautiful by its original soloist, this once acclaimed concerto in the tradition of Grieg was long thought to have been lost, its score burned by the composer. Its rediscovery is bound to create a buzz amongst musicians and connoisseurs alike. Brilliant violinist Henning Kraggeruds affection for his native Norwegian composers is well established in Naxos recordings such as his strikingly successful (Gramophone) arrangements of Griegs sonatas with orchestra (8573137), his two volumes of works for violin and piano by Christian Sinding (8572254 and 8572255) and a Sibelius Violin Concerto (8557266) described as a masterly performance by Edward Greenfield in the Gramophone.
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kr 49 (kr 89)
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Piano Sonatas Vol 4
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kr 29 (kr 79)
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German Dances
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kr 40 (kr 79)
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Don Quixote (Complete Ballet)(2 CD)
Flera tonsättare har skrivit verk som inspirerats av Miguel Cervantes novell "Don Quixote", bl a Telemann, Ravel och Richard Strauss. Här kan vi höra en tonsättning av "Don Quixote" av den österrikiske tonsättaren Léon Minkus, som större delen av sitt liv var verksam i Ryssland. Han hade ett långt och framgångsrikt samarbete med koreografen Marius Petipa, för vilken Minkus skrev över femton baletter, bl a den kända "La Bayadère".
Sofia National Opera Orchestra / Nayden Todorov.
Don Quixote
(Balett i tre akter, originalversion från 1869)
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kr 110 (kr 159)
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West Side Story (Original Score)
"...Kenneth Schmererhorns ensemble håller precis den ungdomlighet och direkthet som krävs för att man ska tro på vad som sägs och sjungs"
"Mike Eldred gör den Tony jag alltid har längtat efter, ung och streetsmart, med en jazzig musikalitet som förflyttar mig till New Yorks bakgator på nolltid"
(Dagens Nyheter)
'...It's good to have this complete Naxos recording of West Side Story. It's very well cast with an ardent and smooth-voiced Mike Eldred as Tony, and Betsi Morrison, a fragile, heartbreaking Maria. The playing of the Nashville Symphony Orchestra and the conducting of Kenneth Schermerhom are exemplary...'
(Fanfare)
"West Side Story" är Leonard Bernsteins (1918-1990) mest kända verk, men det finns förvånansvärt få inspelningar. Bernstein gjorde 1984 en själv, men den led dessvärre av svårartad elefantiasis och hade världens äldsta tonåringar i huvudrollerna. Det var ett misslyckat försök att placera "West Side Story" i operans värld. Vår inspelning hör alldeles självklart hemma på Broadway. Sångarna är unga friska förmågor, som gör denna moderna version av "Romeo och Julia" trovärdig. Hela produktionen har en entusiasm och vitalitet som är ganska oemotståndliga. "Maria", "America", "Tonight", "Somewhere", "Gee Officer Krupke" och alla de andra låter som aldrig förr!
Betsi Morrison, sopran;
Mike Eldred, tenor m fl.
Nashville Symphony Orchestra / Kenneth Schermerhorn.
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kr 30 (kr 89)
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Piano Concerto Nos. 1 & 3
Den inledande satsen i Tjajkovskijs första pianokonsert, med sina mäktiga ackord, är nog den mest kända musiken inom denna genre. Här kan vi höra den hyllade ryske pianisten Konstantin Scherbakov framföra detta mästerverk. Scherbakov, som vann den prestigefyllda Rachmaninov-tävlingen 1983, har kallats "en ny Rachmaninov".
Konstantin Scherbakov, piano.
Russian Philharmonic Orchestra / Dmitry Yablonsky.
Peter Tjajkovskij
Pianokonsert nr 1 b-moll Op 23
1. Allegro non troppo e molto maestoso - Allegro con spirito
2. Andantino semplice - Prestissimo - Tempo I
3. Allegro con fuoco
Pianokonsert nr 3 Ess-dur Op 75
4. Allegro brillante
Andante och Final Op 79 (orkestrering S. Taneyev)
5. Andante
6. Allegro Maestoso
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kr 29 (kr 49)
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Violin Concertos Nos. 3, 4 & 5
Henning Kraggerud, violin
Norwegian Chamber Orchestra
Mozart wrote his Violin Concertos in 1775 while still living in his home town of Salzburg and in service to Prince-Archbishop Hieronymus Colloredo. Mozart had already toured internationally and found his parochial environment restricting, but as ever he rose above circumstances to create sublime and thrillingly unconventional masterpieces filled with wit and charm. The finely sustained melodic expression of each concerto’s slow centre provides the perfect foil for inventive sparkle in outer movements that include a cheeky reference to the opera Il re pastore in K. 216, and an exotic ‘Turkish’ moment in the finale of K. 219.
HÖGSTA BEYG I DN (5 av 5): "Den som besöker Salzburg kan lätt få samma flyktimpulser som den unge Mozart fick när man blickar upp mot det mäktiga biskopspalatset. En byggnad från vilken biskopens polischef kunde se exakt allt som hände i staden. När Henning Kraggerud och hans briljanta orkester nu tar sig an tre av Mozarts violinkonserter ger de denna tonårsmusik just den oro i steget som gör att den säger något mer än att bara slösa med sina geniala infall. Med härligt nytänkande får de Mozart att sjunga och dansa som såg vi honom skaka av sig all världens auktoritära tyngder. Och göra sig osynlig för dess dömande blickar. En befriande narraktighet, med plötsliga stråk av svärta, som även gjorde dessa konserter till Astrid Lindgrens favoritmusik."
Martin Nyström (DN)
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kr 49 (kr 89)
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3CD-BOX: Don Giovanni
ÅRETS BÄSTA 2007 I DAGENS NYHETER & SYDSVENSKAN
GRAMOPHONE EDITOR'S CHOICE /
RECORDING OF THE MONTH
HÖGSTA BETYG I SVENSKA DAGBLADET
HÖGSTA BETYG I DAGENS NYHETER
HÖGSTA BETYG I GÖTEBORGS-POSTEN
OPUS REKOMMENDERAR
HÖGSTA BETYG I MOTALA TIDNING/NERIKES ALLEHANDA/VADSTENA TIDNING
4 AV 5 MÖJLIGA I BETYG I SYDSVENSKAN
4 AV 5 MÖJLIGA I BETYG I UPSALA NYA TIDNING
ARTISTIC QUALITY: 10
SOUND QUALITY: 10
(CLASSICSTODAY.com)
"Samtliga sångare är utsökta"
"Ljudet är sensationellt med perfekt balans mellan röster och orkester"
(Opus)
"...årets höjdpunkt på den musikdramatiska himlen. Klarhet, det personliga tilltalet och den musikaliska intelligensen är bedövande"
(Norrköpings Tidningar)
"Lika härliga som de tidigare inspelningarna av "Figaros bröllop" och "Cosí fan tutte".
(Landskrona-Posten)
If there is one thing that marks out René Jacobs's approach to Mozart, it is the way he constantly asks himself questions - and the specifically musical brilliance of the answers he comes up with. The success of his recent version of La clemenza di Tito is proof of that! After Così fan tutte and Le nozze di Figaro, his recording of this centrepiece of the Mozart/Da Ponte trilogy offers us the latest fruits of his reflections on Classical opera. Premiered at the 2006 Innsbruck Festival and recorded shortly afterwards, this production is nourished by his thoughts on Don Giovanni as taboo-breaker and on a 'physiology of roles' that respects Mozart's intentions as nearly as possible.
Also available on Super Audio CD: HMC 801964
DON GIOVANNI: Johannes Weisser,
LEPORELLO: Lorenzo Regazzo,
DONNA ELVIRA: Alexandrina Pendatchanska,
DONNA ANNA: Olga Pasychnik
RIAS Kammerchor; Freiburger Baroque Orchestra/René Jacobs
'Simon Keenlyside had been pencilled in for the title-role for this recording, with Johannes Weisser only playing it in the warm-up live performances. Apparently, however, conductor René Jacobs was so impressed with his young baritone that he got the gig, as they say. No Giovanni can fully encompass every aspect of this multi-faceted role but (and I know I am even more enthusiastic about him than our reviewer, Richard Wigmore) I feel that he has reinvented the role for our age. Weisser is young, only 26 when this was recorded, and sounds it. If his tone sounds a touch callow, that is actually an advantage for a Don who here is presented as utterly narcissistic, shallow in every respect except his deeply felt love for himself. He is not evil, just spoilt. Doubtless thanks to those live performances, the cast feel like a played-in ensemble and they create real drama and genuine comedy (graced by some of the most sparkling recitative accompaniments you will hear). Three cheers for someone having the sense to record Kenneth Tarver’s graceful, agile Ottavio. And, despite the odd pipey moment from Pendatchanska’s impassioned Elvira, there are no real weak links.'
(Gramophone)
"Kan en "Don Giovanni" där den handlingsförlamade fästmannen och adelstönten Don Ottavio fått huvudrollen vara nåt att lyssna på? Tenorrollen som man på de mest sarkastiska vis alltid gjort narr av? Som i Joseph Loseys filmatisering där han ena gången får sjunga enbart för ett helt öde flodlandskap och andra gången för högar av totalt utslagna festdeltagare. Men i den belgiske mästerdirigenten René Jacobs nya tolkning av "Don Giovanni" behöver Don Ottavio inte längre sjunga för döva öron. En inspelning som kröner Jacobs redan oöverträffade serie av Mozartperor ("Figaros bröllop" och "Cosi fan tutte"). Och som är lika ljuvligt musikalisk som den är idémässigt utmanande. Självklart inte bara för att den lanserar en ny syn på Don Ottavio, utan för att den ställer hela operan i ett nytt ljus. Inspelningen presenterar en lysande ensemble med ungdomligt lätta röster som tillåts broderar sina arior med sällsynt frihet - när de inte helt släpps lös i ensemblenumrens närmast gatu-kakafonisk pratsjungande. I spetsen och i rollen som Don Giovanni hör vi en lite rå och kameleontiskt ombytlig Johannes Weisser. En farlig men misslyckad tabuöverskridare. Och blankt anonym som vore han en gästartist i sina egna låtar. Med denna gestaltning gör Jacobs upp med romantikens syn på Don Giovanni som sensuellt och erotiskt geni och låter honom istället framstå som det frågetecken som Mozart kanske tänkt sig. Freiburger Barockorchester är en furiös soundmaskin som redan i uvertyren etablerar ett makalöst tryck och ett hisnande växelspel mellan mörker och ljus, lätthet och tyngd. Och som i första aktens final skapar känslan av ett mörkt virvlande kaos av branta temposkiften och spöklika dansfragment. Stundtals går det inte att urskilja harmonierna - till förmån för en rent vidunderlig klanglig och rytmisk intensitet. Jacobs dirgentkonst har i dag ett toscaniniskt bett i accenterna och en furtwänglersk frihet i förhållande till grundpulsen. Det låter som att han gör precis som han vill med detta partitur. Liksom Giorgio Parunuzzi på sitt pianoforte i rectativen. Hans stumfilmspiano i kyrkogårdsscenen är ett måste! Men hur var det nu med Don Ottavio? Jo, det som gör "Don Giovanni" till ett så mångtydigt verk är hur Mozart fört samman sin samtids två motsatta koder inom operan spel. Hur han konfronterar det "höga" hos opera seria-stilen med det "låga" hos opera buffa-stilen. Och utan att alltid bry sig om var gränserna går. För en jämförelse i dag: Tänk er komedin "Göta Kanal" där man bytt ut halva besättningen och ersatt den med Ingrid Thulin och Gunnar Björnstrand, Erland Josephsson och Liv Ullman. En "Göta Kanal" med Ingmar Bergmans tystnader i båten - mitt i all pratsjuk action. Där har ni ungefär Don Ottavios och hans monologiskt allvarsamma adelsvänners sits i den för övrigt dialogiskt skämtsamma "Don Giovanni". Men istället för att se Don Ottavio som en representant för det högstämda och aristokratiskt förgågna gör Jacobs honom till en modern gestalt. Till ett uttryck för den så kallat "känslosamma stil" som gjorde sig allt starkare i musiken inom radikala borgerliga kretsar i slutet av 17oo-talet. En framtidsman med sin gränslösa omsorg, sitt obönhörliga sanningskrav och med sin emotionella drive. Att höra den fenomenale tenoren Kenneth Tarver i denna så oftade förlöjligade älskarroll är att acceptera att orden: "Jag skulle inte kunna leva utan dig" kanske är det mest utmanande som sägs i hela denna opera."
(Martin Nyström, Dagens Nyheter)
Wolfgang Amadeus Mozart
Don Giovanni
Opera in two acts
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kr 199 (kr 269)
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Piano Concerto & Peer Gynt
This much awaited recording offers keenly idiomatic performances of the most famous works by Grieg, played by the composer’s own orchestra, the Bergen Philharmonic, and its Chief Conductor, Edward Gardner. The drama and passion of such favourite pieces as the incidental music to Peer Gynt and the Piano Concerto are superbly captured in surround-sound with exemplary Chandos sound quality. Unlike most existing recordings, offering only the orchestral suites, this disc presents numerous extra excerpts from Peer Gynt, which follow the sequence of Henrik Ibsen‘s dramatic poem, including sections for the unique Norwegian 'Hardanger Fiddle’. Having collaborated with the orchestra on several occasions, Jean-Efflam Bavouzet is the soloist in the Piano Concerto, a piece that stands out as a shining example of a single great thought captured and expressed in music. The power of this conception is evident throughout the concerto in the pianist’s faithful, yet highly romantic interpretation.
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kr 98 (kr 159)
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Bach, Bartók, Boulez: Michael Barenboim
Conceived like a solo recital, Michael Barenboim's first solo album features the works of three composers that have had a profound impact on his musical upbringing. On paper, these pieces could not seem any more different, but together they create an unexpectedly astonishing listening experience. J. S. Bach’s Sonata No. 3 for solo violin demands the greatest artistic and technical skills of the violinist and yet its melodic simplicity remains unmatched in its beauty. Béla Bartók’s Sonata Sz.117 was clearly inspired by Bach’s works for solo violin, carrying Bach’s ideas into the music of the 20th century. Filled with contrasts and yet bearing a uniquely poetic aura, the work is equally demanding for the violinist - if not more so - as the Bach. Finally, in his "Anthèmes", Pierre Boulez explores the boundaries of what can actually be played on the violin. The abstractness of Boulez's "Anthèmes 1" is surpassed by "Anthèmes 2", where live electronic elements that Boulez helped to develop at the IRCAM studios in Paris are added into the music. These two works create an entirely new sonic experience that serves as a musical frame for this exceptionally unique and extraordinary recording.
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kr 99 (kr 159)
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Sciarrino, Tartini, Berio, Paganini
After his debut solo album with music by Bach, Bartók and Boulez, Michael Barenboim’s second album is also dedicated to works for solo violin and features compositions by Salvatore Sciarrino, Giuseppe Tartini, Luciano Berio, and Niccolò Paganini, sketching a short history of Italian solo violin literature. The four works seem very heterogenous at first glance but what unites them is their rich technical and stylistic spectrum. The juxtaposition of traditional and contemporary music works creates an inimitable sound cosmos and makes the works by Tartini and Paganini sound incredibly modern alongside 20th-century music. Michael Barenboim creatively navigates the sometimes obsessive and diabolical elements of the works and creates an inspired and unique interpretation. Recorded at the Jesus-Christus-Kirche Berlin. June 2017
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kr 99 (kr 159)
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La Traviata (DVD)
Star tenor and director Rolando Villazón’s staging of La Traviata at the Festspielhaus in Baden Baden is “visually spectacular” (The Huffington Post) and made for “an enthusiastic reception for the premiere” (Stuttgarter Zeitung)! Villazón “proves again his excellent narrating skills on stage” (WDR Klassik). “The setting and opulence of the stage captivates the spectator, as do the stylized costumes designed by Thibault Vancraenenbroeck for circus artists” (Stuttgarter Zeitung). Olga Peretyatko as Violetta delivers “a fantastic portrait of the title role wavering between adolescent joie de vivre, mature insight and anguish” (Stuttgarter Zeitung). Her partner is the tenor Atalla Ayan as the jealous Alfredo, who delivers a “beguiling interpretation with a dark, warm timbre and rich top notes” (Stuttgarter Zeitung). Simone Piazzolla as Alfredo’s strict father Giorgio Germont adds fine vocal lines to provide a strong sense of “Italianità” on stage (Neue Zürcher Zeitung). Conductor is Pablo Heras-Casado, “a great hope of a new generation of conductors” (WDR Klassik).
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kr 199 (kr 299)
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3CD-BOX: Pique Dame (The Queen Of Spades)
Live-Recording, Munich, Philharmonie, October 2014
Misha Didyk (tenor) - Herman
Tatiana Serjan (soprano) - Lisa
Larissa Diadkova (mezzo-soprano) - Countess
Alexey Shishlyaev (baritone) - Tomskij and Plutus
Alexey Markov (baritone) - Yeletzki • et.al.
Kinderchor der Bayerischen Staatsoper
Chor and Symphonieorchester des Bayerischen Rundfunks
Mariss Jansons, conductor
In its history as a concert orchestra, the Symphonieorchester des Bayerischen Rundfunks has also devoted itself on numerous occasions to opera, under such eminent conductors as Rafael Kubelik and Leonard Bernstein. Chief conductor Mariss Jansons also maintains the tradition, for example with concert performances of Russian operas such as "Eugene Onegin". BR-KLASSIK now presents the 2014 live recording in Munich's Philharmonie im Gasteig of the semi-staged performance of Tchaikovsky's late masterpiece "The Queen of Spades". With great connoisseurship, Mariss Jansons has brought together a group of singers for this performance in original Russian who are all native speakers of the language, and very familiar with the work. They include Misha Didyk as Hermann, Tatiana Serjan as Lisa, and Alexey Markov as Prince Yeletsky.
Booklet: in German / in English
Libretto: in German, in Russian, in English
Total Time: 168'43
3 CD opera - jewel case
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kr 199 (kr 318)
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Elliott Murphy
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kr 89 (kr 149)
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Håp
Hemsedal Barnegospel er et helt unikt barnekor. I den lille bygda Hemsedal har de fleste barna mellom 2.-7.klasse vært med I koret gjennom de siste 30 åra! Barnegospelkoret har vært en "brobygger" I bygda, der barn tilknyttet flere samfunnslag og livssyn har hatt en felles arena. På albumet "Håp" er det hele 125 barn som synger, og de formidler sangglede og budskapet på en troverdig måte.
Kjellaug Solbakken, som har skrevet og arrangert låtene, har sammen med ektemannen Alf Erik ledet koret i disse 30 åra, og sammen med Hemsedal Skisenter blir koret trukket frem som et av kjennetegnene ved skibygda.
Musikalsk lever koret i en verden av blues og rock, hvor sarte ballader og sanger med røtter i salmetradisjonen går hånd i hånd med låter med fullt trøkk. Platen fremstår som ukommersiell og med et voksent preg, takket være arrangementene og et fantastisk band, i tillegg til de 125 sangerne. Tekstene bærer preg av forståelse for hva barn er opptatt av, om tro og trygghet, sårbarhet, engasjement og livsglede, og med av alt: Håp!
Kjellaug skriver tekster både på nynorsk og bokmål, og broker et poetisk og metaforisk språk. "Håp" er Hemsedal Barnegospel sin aller siste CD, og vi vet at denne vakre og varierte platen vil berøre lytterne på en helt spesiell måte.
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kr 79 (kr 139)
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In Our House
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kr 89 (kr 149)
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Symphonies Nos. 3-5
Swedish Chamber Orchestra / Thomas Dausgaard
Working their way backwards through the symphonic output of Franz Schubert, Thomas Dausgaard and his Swedish Chamber Orchestra have now reached Symphonies Nos 3, 4 and 5. The team's accounts of the 'Unfinished' and 'Great C major' made critics sit up and take notice: 'a consistently refreshing view of both masterpieces' was the verdict of the reviewer in Gramophone, whose colleague in Daily Telegraph compared the result to 'having a layer of varnish removed from a much-loved painting'. That disc was followed by a Sixth which 'does away with many clichés of interpretation aimed at lending the work an inappropriate late-beethovenian heaviness' (klassik.com), coupled with the orchestral movements of the music to 'Rosamunde' in 'a tremendously transparent, clear and precise interpretation' (Pizzicato). The three symphonies that Dausgaard and the orchestra now offer us were all composed before Schubert had turned twenty, mainly for the use of student or private orchestras. They nevertheless demonstrate their composer's astonishing command of the orchestral medium, and although influences from Haydn and Mozart are clearly discernible, the young Schubert exhibits a striking independence in his approach to this the most prestigious of all genres. Schubert himself doesn't seem to have taken much interest in the works after having composed them, however, not even mentioning them to prospective publishers. This possibly influenced Brahms when he was co-editor of the first critical edition of Schubert's works and advised against the publication of these early symphonies, regarding them as nothing more than preliminary stops on the way to the late masterworks. But that was at a time (the late 1800s) when Schubert's genius was not yet widely recognized - today it is hard to imagine being without the irrepressible tarantella-finale of the Third Symphony, the dramatic tension of the opening of the 'Tragic' No. 4, or the Mozartian minuet of the Fifth.
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Plays Mozart
Martin Fröst, basset clarinet* & clarinet
Die Deutsche Kammerphilharmonie Bremen*
Antoine Tamestit, viola; Leif Ove Andsnes, piano**
Janine Jansen & Boris Brovtsyn, violins; Maxim Rysanov, viola; Torleif Thedéen; cello***
W.A. Mozart:
Concerto in A major for Clarinet and Orchestra, K 622*
Trio for Clarinet, Viola and Piano, 'Kegelstatt', K 498**
Allegro for Clarinet and String Quartet in B flat major,
K Anh.91 (516c) (completed by Robert Levin)***
One of a small handful of truly international wind players, Martin Fröst mesmerizes audiences throughout the world, whether he is performing one of the several concertos that have been composed especially for him or core repertoire such as the sonatas by Brahms, the concertante pieces by Weber or, indeed, the clarinet works by W.A. Mozart. Released 10 years ago, in 2003, Fröst's first recording of the Concerto in A major is one of the best-selling discs in BIS' history. Returning to this glorious work, he now also directs the eminent Deutsche Kammerphilharmonie Bremen himself. For the couplings on this very special release, Martin Fröst has assembled a truly star-studded group of musician friends, with Leif Ove Andsnes and Antoine Tamestit partnering him in the so-called Kegelstatt Trio, and with Janine Jansen, Boris Brovtsyn, Maxim Rysanov and Torleif Thedéen joining him in the rarely heard Allegro for Clarinet and String Quartet, K Anh.91. Probably composed in 1787 - two years before the famous Quintet in A major for the same forces - the Allegro, in the extant autograph manuscript, breaks off after 93 bars, or three bars into the development section. If Mozart actually completed the movement and for what purpose he intended it isn't known, but the completion made by Robert Levin adds to the modern clarinetist's repertoire a work of great imagination that would otherwise have languished unperformed.
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Image of Melancholy (The)
Barokksolistene / Bjarte Eike, artistic director & violin
Berit Norbakken Solset, soprano; Jon Balke, organ / soundscapes; Milos Valent, viola and vocals
Conceived by the baroque violinist Bjarte Eike for his period band Barokksolistene, this programme is his very personal 'image of melancholy'. As he writes in his liner notes, 'for me, melancholy is not only synonymous with sadness and despair, it is a state also harbouring reflection, meditation and relief.' The connection between music and melancholy is far from new - at least since the time of the ancient Greeks, and probably long before them, there has been a belief that music has the power to influence our mood, to alleviate sadness or melancholy - or to induce it. Melancholy has at various times been the height of fashion - think of John Dowland, whose motto was: 'Semper Dowland, semper dolens' ('always Dowland, always mourning'). Dowland is of course included here, as is his near-contemporary Anthony Holborne - but there are also a number of later pieces, as well as folk music from Eike's native Norway and elsewhere. This music, writes Eike, 'does not belong to any particular style, nationality or period in time; it's rather a string of tunes that have all had a personal significance to me, and that together form a musical matrimony between a Nordic melancholy, the rich sounds of the Elizabethan consort and a modern approach to music-making.' Joined by the soprano Berit Norbakken Solset and by the jazz pianist Jon Balke, Eike and his ensemble have created an intensely atmospheric and highly suggestive disc, which richly lives up to its motto - a quote by Victor Hugo: 'Melancholy is the pleasure of being sad.'
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Martin Fröst plays Brahms
Martin Fröst, clarinet
Janine Jansen & Boris Brovtsyn, violins
Maxim Rysanov, viola
Torleif Thedéen, cello
Roland Pöntinen, piano
Janine Jansen appears courtesy of Decca Classics
HÖGSTA BETYG "Kan vara den vackraste Brahms-skiva som gjorts" Martin Nyström (DN)
BETYG 5 AV 6 "Martin Fröst gör Brahms med känsla för tajming" (SvD)
Johannes Brahms's Clarinet Quintet is core repertoire, not just for clarinettists but also in the entire chamber music genre. As such, it has been on Martin Fröst's 'to-be-recorded list' for a long time, and when he gathered a dream-team of string players for a concert in Stockholm in February 2013, it was the perfect opportunity for BIS to organize a recording session. Brahms's Quintet was written in 1891 by a composer who only a year previously had renounced composing, but whose creative urge had been reawakened by his encounter with the leading clarinettist of the time, Richard Mühlfeld. Some 120 years later, Fröst - one of today's most highly regarded musicians and the recipient of the 2014 Sonning Prize - steps into Mühlfeld's shoes, in the company of Janine Jansen, Boris Brovtsyn, Maxim Rysanov and Torleif Thedéen. As a complement to this substantial work - with a duration of almost 35 minutes - Martin Fröst has transcribed six much-loved songs by Brahms, performing them with his chamber music partner of long standing, the eminent pianist Roland Pöntinen. The songs, composed between 1866-1886, range from high lyricism (Die Mainacht) to bitter-sweet nostalgia (Wie Melodien...), via the humourous Vergebliches Ständchen. To these new recordings has been added a substantial 'bonus' - Martin Fröst's performance with Pöntinen and Thedéen of the Trio for clarinet, cello and piano, which Brahms composed for Mühlfeld in the same year as the quintet. Originally released in 2005, the recording of the Trio received a warm welcome, including an Editor's Choice in Gramophone, as well as a 'Disc of the Month' on website ClassicsToday.com.
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kr 99 (kr 159)
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Plays Nordic Concertos
Martin Fröst (born 14 December 1970) is a Swedish clarinetist. He lives in Stockholm and works with the most prominent orchestras and conductors all over the world. As a dedicated Chamber Musician he is also the artistic leader of the Mora Vinterfest in Sweden and Stavanger International Chamber Music Festival in Norway.
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Clarinet Concertos
ÅRETS BÄSTA 2007 I SYDSVENSKAN
GRAMOPHONE EDITOR'S CHOICE
HIFI & MUSIK / ÅRETS BÄSTA SKIVOR 2007
BETYG: *****
LJUDKVALITET: *****
(Opus)
'Martin Fröst and Osmo Vänskä again prove a most persuasive partnership in this latest collaboration. There is something utterly idiomatic about Fröst’s approach to the Nielsen, while he announces the Aho as a major concerto for the new century. At the same time, his unshrinking approach finds links between the two. Atmospheric and deeply absorbing.'
(Gramophone)
"...Fröst, ett fenomen..."
(Aftonbladet)
"...kombinationen Fröst-Aho suverän i Kalevi Ahos symfoniskt anlagda verk."
(Dagens Nyheter)
"Den makalöse Martin Fröst utvinner allt ur klarinettens enorma förråd av uttrycksmöjligheter. Och vilket virtuoseri sen!
(Göteborgs-Posten)
Martin Fröst’s latest releases feature the core repertoire for his instrument from the 18th and 19th centuries: the Mozart Concerto and Quintet, Brahms’s sonatas and, most recently, Weber’s concertos. All of these offerings have been singularly well received by reviewers and record buyers alike, and have contributed to Fröst’s flourishing concert career. While his concert programmes certainly include the works of Brahms, Schumann and their likes, Fröst is however also known as one of today’s most charismatic performers of contemporary music, and on this disc he shows us why. Combining two great Scandinavian works for the clarinet, from 1928 and 2005 respectively, he makes a passionate case for music as a timeless and universal means of communication. Carl Nielsen’s Concerto was one of the composer’s last works, but although Nielsen had by this time reached the status of elder statesman in Danish musical life, the work was met with consternation at its première. It has since become part of the repertoire, but as implied in a recent Copenhagen concert review, it can still misfire: ‘There are those who play Carl Nielsen’s knotty clarinet concerto from 1928 as a chunk of dogged, fragmented and rather shrill modernism. And then there are those, like the Swede Martin Fröst, who bring it off as a piece of wild and visionary leprechaun music, almost like an extraordinary breakneck improvisation.’ In marked contrast, Kalevi Aho’s Concerto, composed for Fröst some 80 years later, was immediately hailed as ‘a masterpiece’ at its première, in London in April 2005: ‘Until you've heard Martin Fröst, you really haven't heard the clarinet. This young Swedish musician becomes the clarinet. His entire body moves and breathes with the instrument - and he creates sounds the likes of which you will go a very long way to hear… It's a mark of Fröst's imagination and genius that he chose the Finnish composer Kalevi Aho to write him a clarinet concerto... a work of beguiling beauty and huge excitement’ (The Times, UK). Supporting Fröst in both works is the Lahti Symphony Orchestra under Osmo Vänskä, whose expertise in the music of both Kalevi Aho and Nielsen is well documented, in the concert hall as well as on disc.
Martin Fröst, clarinet
Lahti Symphony Orchestra/Osmo Vänskä
Carl Nielsen
Concerto for Clarinet and Orchestra
Allegretto un poco –
Poco adagio –
Allegro non troppo – Adagio – Allegro vivace
Kalevi Aho
Concerto for Clarinet and Orchestra
I. Tempestoso
II. Cadenza. Tranquillo
III. Vivace, con brio
IV. Adagio, mesto
V. Epilogo. Misterioso
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Holberg Suite
HÖGSTA BETYG I SVENSKA DAGBLADET
4 AV 5 MÖJLIGA I BETYG I GÖTEBORGSPOSTEN
ARTISTIC QUALITY: 10
SOUND QUALITY: 10
(CLASSICSTODAY.com)
...Musikerna i Griegs hemstad har spelat den här musiken ofta alltsedan Griegs dagar. De har musiken i blodet, och de älskar den fortfarande. Det hörs...
(Östgöta Correspondenten)
Bergen Philharmonic Orchestra/Ole Kristian Ruud.
Edvard Grieg
Holbergsvit Op 40
Två melodier Op 34
Två melodier Op 53
Två nordiska melodier Op 63
Två lyriska stycken Op 68
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Siwan
Their ECM debut, released in 2009, won awards including the Jahrespreis der deutschen Schallplattenkritik, the album of the year prize of the German record critics. Now Siwan, the international collective led by Norwegian keyboardist-composer-arranger Jon Balke, is back, rallying its powerful instrumental forces behind a new lead singer, Mona Boutchebak from Algeria. Perceived correspondences between Arabic music, Andalusian classical music and European baroque music fired Jon Balke’s imagination when he started this project a decade ago. To bring these sound worlds closer together he set poetry of Al Andalus, reflecting upon a period of coexistence between adherents of the three great religions. But Siwan does not set out to be an “historical” project: it’s a contemporary creation, delivered by an alliance of strongly individual players, fronted by a vocalist deeply rooted in Arab music traditions. The new album is launched as Siwan begins a European tour.
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kr 99 (kr 169)
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REQUIEM
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kr 98 (kr 159)
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