Wolfram Lattke, Tenor
Robert Pohlers, Tenor
Frank Ozimek, Baritone
Daniel Knauft, Bass
Holger Krause, Bass

Hille Perl, Viola da gamba
Lee Santana, Theorbo & Guitar
Michael Metzler, Percussion

John Dowland:
Come away, come, sweet love
Come again, sweet love doth now invite
Orlando di Lasso: Toutes les nuitz
Lucia, celu
Une puce j’ay dedans l’oreille
Im Mayen hört man die Hanen krayen

Josquin des Prez:
Scaramella va alla guerra
Carlo Gesualdo: Io tacerò / In van dunque

Orazio Vecchi:
Rallegratevi meco (from the madrigal comedy L’Amfiparnaso)
Oh ecco il Capitano (from the madrigal comedy L’Amfiparnaso)
Anchor ch’al parturire (Parody of Anchor che col partire)

Alonso de Alba: La tricotea
Heinrich Schütz: Così morir debb’io
Adrian Willaert: Vecchie letrose
Nicolas Gombert: Triste départ
Luca Marenzio: Dura legge d’Amor / E so come in un punto (words by Petrarch)
Baldassare Donato: Chi la gagliarda
Cipriano de Rore: Ben qui si mostra il ciel
Giovanni Gabrieli: Vagh’ amorosi
Juan del Encina: Cucú, cucú, cucucú / Fatal la parte
Anonymus: Tarantella del Gargano
Anonymus: Quand je bois du vin clairet

The secular repertory of the Renaissance seems made to order for the five singers of amarcord. In the incomparable setting of the Villa Godi in northern Italy, the group recorded some of the best-known and most beautiful madrigals of the 16th century, creating a bridge to the present day. Fiery declarations of love and the deep pain of parting, erotic innuendoes and bawdy humor – in the interpretations of this prizewinning ensemble, the texts always seem contemporary and relevant. The members of amarcord are accompanied by the exceptional instrumentalists Hille Perl (viola da gamba) and Lee Santana (theorbo), as well as the virtuoso percussionist Michael Metzler.

Picture Format DVD: 16:9 NTSC
Sound Formats DVD: Dolby Digital 5.0, DTS 5.0, PCM Stereo
Region Code: 0 (worldwide)
Running Time Film: 76:52
Disc Format: DVD-9
Subtitles: German, English, French

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Review:

There's no doubting the singers' pedigree - diction, ensemble and intonation are all impeccable - and they are highly responsive to the changing moods and innuendos (often none too subtle) of the texts. Musically, this provides a veritable banquet.

– BBC Music Magazine

BOLCOM: Songs of Innocence and of Experience

MASS IN B MINOR DVDA

Three Donizetti masterpieces in a limited edition box set of internationally acclaimed productions.

L’ELISIR D’AMORE: Heidi Grant Murphy, Paul Groves, Ambrogio Maestri, Laurent Naouri, Orchestre et Chœurs de l’Opéra national de Paris / Conductor Edward Gardner Stage production Laurent Pelly - HD recording: Opéra national de Paris (2006)

• 133 MINS | SUBTITLES: ENGLISH, FRENCH, GERMAN. SPANISH | AUDIO: 2.0 PCM, 5.1 DOLBY DIGITAL, 5.1 DTS | 1 DVD9 16:9

"well worth catching for Kurzak and Gavanelli alone. And there's plenty in the production to impress visually and much to enjoy as a series of stylishly assembled tableaux." Hugo Shirley

DON PASQUALE: Patrizia Ciofi, Simone Alaimo, Norman Shankle, Orchestre de la Suisse Romande, Chœur du Grand Théâtre de Genève / Conductor Evelino Pidò Stage production Daniel Slater - HD recording: Grand Théâtre de Genève (2007)

• 127 MINS | SUBTITLES: ENGLISH, FRENCH, GERMAN, SPANISH | AUDIO: 2.0 PCM, 5.1 DOLBY DIGITAL, 5.1 DTS | 1 DVD9 16:9

"Donizetti’s final comic masterpiece demands velocity, pathos and above all wit. This Don Pasquale from Geneva has them all, and with Evelino Pidò conducting in the pit it bubbles with excitement...Patrizia Ciofi’s Norina is a joy. Looking like the Hollywood comic actress Aline McMahon (Ginger Rogers’s gold-digging friend in Top Hat), this is a benchmark performance" DVD CHOICE, BBC MUSIC MAGAZINE [BAC033]

LE CONVENIENZE ED INCONVENIENZE TEATRALI (VIVA LA MAMMA): Jessica Pratt, Vincenzo Taormina, Simon Bailey, Christian Senn, Orchestra e Coro dell’Accademia del Teatro alla Scala / Conductor Marco Guidarini Stage production Antonio Albanese - HD recording: Teatro alla Scala (2009)

• 114 MINS | SUBTITLES: ENGLISH, FRENCH, GERMAN, SPANISH | AUDIO: 2.0 PCM, 5.1 DOLBY DIGITAL | 1 DVD9 16:9

'Le convenienze ed inconvenienze teatrali' was inspired by two comedies written by Antonio Simone Sografi between 1794 and 1816. It follows the theatrical tradition of Goldoni, Gozzi and Metastasio, and subjects the bad habits of the operatic world to biting and sardonic criticism.

Along with the young singers of the Opernstudio der Bayerischen Staatsoper, Director and Grimme Award winner Axel Ranisch presents an unusual approach to two rarely performed works: In Peter I. Tchaikovsky’s last opera Iolanta, a blind princess is in search of reasons for her sadness and finds love. In Igor Stravinsky’s neoclassical one act opera buffa Mavra, an inventive young woman decides to act on a risky idea and smuggle her lover into her mother’s house disguised as a cook. Through his immense love of his characters and impressive affinity for the relationships between them, Ranisch weaves both works into a magical coming of age fairy tale of family, love, realisation and self determination: Mavra and Iolanta become Mavra / Iolanta. Alevtina Ioffe in the conductor’s stand for the Bayerisches Staatsorchester and a magnificent ensemble of the Opernstudio der Bayerischen Staatsoper create a breath takingly electric atmosphere in which the intimate lyrical moments and the great romantic arcs of Tchaikovsky shine as much as the relational, musical comedy of the neoclassical Stravinsky sparkles.

A breath of fresh air is blowing over the Ural Opera Ballet with this new version of Paquita, halfway between tradition and modernity! A festive ballet recounting the thwarted loves of a Romani woman and an officer, Paquita marked the debut of Marius Petipa in Saint Petersburg. But only the last scene of the ballet, the famous Grand pas Classique, remained in the companies’ repertoire. Thanks to a careful reconstruction, the Ural Opera Ballet finally revives the original version in three acts. The product of methodical research by expert Sergei Vikharev and former Principal Vyacheslav Samodurov, the choreography scrupulously recreates Petipa’s 1881 version, according to notes kept at the Harvard Theater Collection. The original score has been rearranged by the famous Saint Petersburg composer, Yuri Krasavin. But if this new production uses the original libretto of the ballet, it nonetheless transposes it in time. The result is a show of great relevance, which brings up to date the strong political and social substrate of the original plot by illustrating it with artistic references gleaned throughout the 20th century. A powerful theatrical experience, crowned with the jury’s special award of the ‘‘Golden Mask’’ in 2019.

A 3-Opera Digistack (Limited Edition) featuring great productions seen at the prestigious Arena di Verona: Bizet’s Carmen, Verdi’s Nabucco, and Rossini’s Barbiere di Siviglia. Bizet’s Carmen – one of the most beloved operas – staged at the world-famous Arena di Verona. This opulent production is directed by Franco Zeffirelli and sung by an international cast of excellent singers: Ekaterina Semenchuk, Irina Lungu, Carlo Ventre and Carlos Álvarez. The famous opera is staged as a colorful feast for the eyes, true to its source and convincingly acted by soloists, chorus and ballet alike. Boldly transposing the action out of biblical times and into Italian Risorgimento, French director Arnaud Bernard goes as far as to center the entire opera Nabucco during the popular uprisings of 1848 and in the insides of the Milanese opera house. A clever way to emphasize on the legends that have been building around Verdi’s operas and the role they played in the political process of uniting the Italian peninsula, and in the construction of an authentic italianità. For this reprisal of Hugo de Ana’s famous staging at the Arena di Verona, Rossini’s masterpiece Il Barbiere di Siviglia is conducted by Maestro Daniel Oren. Italian baritone Leo Nucci, a true connoisseur of the part, is a boastful and virtuoso Figaro, while soprano Nino Machaidze and tenor Dmitry Korchak are perfect as the not-so-candid lovers around whom the opera revolves. And who better than Italian bass Ferruccio Furlanetto, who shines in the “Calunnia” aria, for the part of Basilio?

Metanoia – the word itself – means beyond thought; to broaden and change the way of seeing. ‘Metanoia’, which crosses both time and borders with the works of Giacomo Puccini, Arvo Pärt, Alexander Borodin, Johann Sebastian Bach, Heitor Villa-Lobos and Ennio Morricone, is steeped in this concept: From Puccini, who only wrote one sacred work on account of the ‘Almighty God’ commanding him to write ‘only for the stage’, to Bach, who possessed an astonishing ability to make us experience transcendence using the simplest of elements, to Pärt, whose ten-year creative crisis birthed a new, highly original musical language. Together with her ensemble, K, the choir Sequenza 9.3, and violinist Manon Galy, Simone Menezes travels across Italy and invites us to experience the thought-transcending aspects of music, and to uncover the personal journeys of Metanoia of some of the greatest figures in music and art.

Inspired by hearing performances of Handel’s oratorios during his visits to London, Haydn composed Die Schöpfung (‘The Creation’) in 1798. Through a series of accompanied recitatives, arias, duets and choruses, the music depicts the creation of the universe and the carefree existence of Adam and Eve. Haydn drew on the full complement of his symphonic and vocal prowess which reach peaks of almost operatic intensity. With rich harmonies and sonic magnificence in abundance, Die Schöpfung represents the apex of the Viennese oratorio tradition.

You never know what American original soprano saxophonist Jane Ira Bloom is going to do next. After the success of her GRAMMY® Nominated 2014 all-ballads release Sixteen Sunsets Bloom shifts into another gear showcasing the kinetic energy of her acclaimed trio playing with the musicians that she knows best on Early Americans. It’s her first trio album, sixteenth as leader and sixth recording on the Outline label. Her sound is like no other on the straight horn and she lets it fly on every track. She’s joined by long-time bandmates Mark Helias on bass & drummer Bobby Previte and with over fifty years of shared musical history together the album is sure to be a winner. Bloom’s collaboration with Helias dates back to the mid 70’s in New Haven CT and her unique chemistry with Previte has been ongoing since 2000. She brought the group together in summer 2015 to Avatar Studio B in NYC to capture their breathtaking sound in both stereo and surround-sound with renowned audio engineer Jim Anderson. The album features twelve Bloom originals ranging from the rhythmic drive of “Song Patrol” and “Singing The Triangle” to the spare melancholy of “Mind Gray River.” She closes the album with a signature solo rendition of the American songbook classic, Bernstein & Sondheim’s ”Somewhere.” World-renowned portrait photographer Brigitte Lacombe contributes a stunning cover image of Bloom. “Playing in threes” has always held a special fascination for jazz artists - it offers the possibility that something can be slightly off balance and that’s just what fires the imagination of players like Bloom, Helias, & Previte. With Early Americans Jane Ira Bloom stands in the vanguard of her generation carving out new territory in the heart of the jazz tradition. Don’t miss this trio of “fearless jazz explorers who share a commitment to beauty & adventure.” Soaring, poetic, quick silver, spontaneous and instantly identifiable are words used to describe the soprano sound of saxophonist Jane Ira Bloom. She’s been steadfastly developing her singular voice on the straight horn for 35 years creating a body of music that marks her as an American original. She’s an nine-time winner of the Jazz Journalists Association Award for soprano sax, the Downbeat International Critics Poll, and the Charlie Parker Award for Jazz Innovation and has collaborated with such outstanding jazz artists as Charlie Haden, Ed Blackwell, Kenny Wheeler, Julian Priester, Mark Dresser, Jerry Granelli, Matt Wilson, Billy Hart and Fred Hersch. Her 2014 all-ballads release Sixteen Sunsets was nominated for a GRAMMY® Award for surround-sound. In addition she’s garnered numerous awards for her creativity including a Guggenheim Fellowship in music composition and the Mary Lou Williams Women In Jazz Award for lifetime service to jazz. JIB was the first musician commissioned by the NASA Art Program and was honored to have an asteroid named in her honor by the International Astronomical Union (asteroid 6083janeirabloom). A strong visual thinker, Bloom's affinity for other art forms has both enriched her music and led to collaborations with other innovative artists such as actors Vanessa Redgrave & Joanne Woodward, painter Dan Namingha, cartoonist Jules Feiffer, director John Sayles and legendary dancer/ choreographer Carmen DeLavallade. Her long-standing interest in space exploration and neuroscience has lead to cutting edge recording projects inspired by outer and inner space. Performance venues include Carnegie Hall, the Kennedy Center, Dizzy’s Club Jazz @ Lincoln Center, St. John the Divine Cathedral and the Einstein Planetarium in Washington DC. She has composed several works commissioned through the Chamber Music America/ Doris Duke New Jazz Works Program including Chasing Paint, a series of compositions inspired by painter Jackson Pollock, Mental Weather, a suite of neuroscience inspired pieces, and recently Wild Lines, a jazz reimagining of Emily Dickinson’s poetry. JIB has recorded and produced 16 album projects since 1977 for CBS, Arabesque, ENJA, Pure Audio and Artistshare Records, and founded her own record label (Outline Records). A professor at the New School for Jazz in New York City, she holds degrees from Yale University and the Yale School of Music.

Kes reimagined is a new film by award-winning choreographer Jonathan Watkins and International Emmy award-winning director Ross MacGibbon, based on the novel A Kestrel for a Knave by Barry Hines. Jonathan Watkins’s acclaimed production was conceived and created for Sheffield’s Crucible Theatre in 2014. Set in a Yorkshire mining community, this re-imagining of Hines’ tale told through dance and puppetry, takes us on a journey with the young working-class boy, Billy Casper. Billy is troubled at home and at school but his outlook on life is transformed when he finds and trains a kestrel. As the beloved Kes swoops and spins in the expansive freedom of the Yorkshire countryside, Billy’s self-confidence begins to soar, and boy and bird become one.

Stage director Kasper Holten’s 2014 production of Don Giovanni for the Royal Opera offers a glimpse inside the mind of one of opera’s most notorious seducers. With a spectacular revolving set by award-winning designer Es Devlin, ingenious video projections by Luke Halls, and an ‘ideal cast on world beating form’ (The Independent), this staging brings Mozart’s dazzling score to life, in all its wit, glamour, and darkness. With Roberto Tagliavini’s Leporello and Erwin Schrott’s Giovanni, we get a definitive pairing.

REVIEW

I saw this production’s first run in 2014 and its first revival, though not this 2019 third revival. It is a very fine production, Kasper Holten’s best achievement of his time at the Royal Opera House, and the filming does it justice.

Erwin Schrott gives a very fine performance as Don Giovanni, especially in relation to Leporello – oddly enough the key relationship in this opera of weak, imagined and imperilled relationships. Louise Alder as Zerlina gives us the most beautiful female singing in this performance. Daniel Behle’s Ottavio sings with particularly good line and tone in his tenderly lyrical music. Because this is the familiar mix of the Prague and Vienna versions, he gets both his Prague original solo and the Viennese one designed to replace it. Petros Magoulas’s Commendatore is vocally commanding when alive and even more so when dead.

Hartmut Haenchen’s old-school conducting, with broad tempi and plenty of weight, suits the conception of a demonic and doomed Don. The set blackens as dark forces gradually summon him to the infernal reckoning which he challenges to the last. This is essentially how the 19^th century saw the opera, and to that end Holten jettisons much of the scena ultima, the buffo ending when the survivors tell us what they each will do next and point the moral of the tale.

The extras are a diverting couple of short films, one of the director, conductor, designer and cast talking about the work and its setting, and one of Erwin Schrott preparing the title role.

--MusicWeb International (Roy Westbrook)

Here Joseph Haydn's music is revealed as the perfect expression of truth. And the Auryn's performance of his string quartets is exactly as it should be: vigorous, beautiful to listen to, and full of feeling. A rediscovery both of sheer beauty and intellectual development.'

Composer: Joseph Haydn (1732 - 1809)

Performers:
Matthias Lingenfelder, violin
Jens Oppermann, violin
Stewart Eaton, viola
Andreas Arndt, violoncello


Track Listing:
1. String quartet op. 33 No. 5, Hoboken III: 41 in G major: Vivace assai
2. String quartet op. 33 No. 5, Hoboken III: 41 in G major:Largo e cantabile
3. String quartet op. 33 No. 5, Hoboken III: 41 in G major:Scherzo. Allegro
4. String quartet op. 33 No. 5, Hoboken III: 41 in G major:Finale. Allegretto
5. String quartet op. 33 No. 2, Hoboken III:38 in E flat major: Allegro moderato
6. String quartet op. 33 No. 2, Hoboken III:38 in E flat major: Scherzo. Allegro
7. String quartet op. 33 No. 2, Hoboken III:38 in E flat major: Largo e sostenuto
8. String quartet op. 33 No. 2, Hoboken III:38 in E flat major: Finale. Presto
9. String quartet op. 33 No. 1, Hoboken III:37 in B minor: Allegro moderato
10. String quartet op. 33 No. 1, Hoboken III:37 in B minor: Scherzo. Allegro di molto
11. String quartet op. 33 No. 1, Hoboken III:37 in B minor: Andante
12. String quartet op. 33 No. 1, Hoboken III:37 in B minor: Finale. Presto
13. String quartet op. 33 No. 3, Hoboken III:39 in C major: Allegro moderato
14. String quartet op. 33 No. 3, Hoboken III:39 in C major: Scherzo. Allegretto
15. String quartet op. 33 No. 3, Hoboken III:39 in C major: Adagio ma non troppo
16. String quartet op. 33 No. 3, Hoboken III:39 in C major: (Finale) Rondo. Presto
17. String quartet op. 33 No. 6, Hoboken III:42 in D major: Vivace assai
18. String quartet op. 33 No. 6, Hoboken III:42 in D major: Andante
19. String quartet op. 33 No. 6, Hoboken III:42 in D major: Scherzo. Allegretto
20. String quartet op. 33 No. 6, Hoboken III:42 in D major: Finale. Allegretto
21. String quartet op. 33 No. 4, Hoboken III:40 in B flat major: Allegro moderato
22. String quartet op. 33 No. 4, Hoboken III:40 in B flat major: Scherzo. Allegretto
23. String quartet op. 33 No. 4, Hoboken III:40 in B flat major: Largo
24. String quartet op. 33 No. 4, Hoboken III:40 in B flat major: (Finale). Presto

Timing: 122:32

• Maurice Ravel's music needs no introduction. A sampling of orchestral works, including Valse and the famous Boléro. • Carlo Rizzi leads the Netherlands Philharmonic Orchestra • One of the first set of 5 Blu-ray audio discs from TACET. • The Blu-ray audio disc was mastered in 24 bit / 96 kHz resolution, both in stereo and in TACET Real 5.1 Standard Surround Sound. • The Blu-ray disc joins the TACET assortment as the fifth sound carrier alongside CD, LP, DVD audio and SACD.

These two wonderful quartets have been audiophile touchstones ever since the Amadeus Quartet (three of them, anyway) and Clifford Curzon recorded them for Decca in the 1950s. Those performances were full of personality, charm and fire, and the sound (at the time) seemed alive and rich in color (today, it sounds a little harsh and aggressive). Along the way there have been fine recordings by many illustrious ensembles, on both modern and original instruments, of which the best purely in terms of sound may have been the musically limpid RCA version with the Guarneri Quartet and Artur Rubinstein. Now, from the German audiophile label Tacet, comes a version that banishes the competition, combining the musical sparkle and sparkle of the early Decca version with the sumptuous sonic radiance of the RCA. The sound, in fact, is so clear and natural that it is like being in the room with the musicians. Operating at moderate speeds, the way the young Austrian pianist Markus Schirmer rolls out phrases as if they were pearls, the way he illuminates the music with a luminous inner elegance, and the way he occasionally adorns the music with ornaments of exceptional originality and delight, leaves no doubt that, for this one release at least, here is a major talent. This is not to say that the very excellent Gaede Trio takes a mere supporting role, for they play as gloriously as on their Tacet recordings of Mozart?s String Trio, KV 563, and their extremely gorgeous transcription of Bach?s Goldberg Variations. I reviewed the 44.1 CD version (numbered just plain 116), but it is hard to imagine anything more musically and sonically satisfying than this CD. Thomas Seedorf?s curious liner notes are quite endearing, especially in an English translation that seems like a gentle parody of German syntax. Ed.: I?ve just auditioned the surround DVD-A, and whether a listener would consider it more musically and sonically satisfying depends on how open they are to the alternative use of the acoustic space made by producer Andreas Spreer. He works from the idea that any sound-carrier is a synthetic product and feels that using the surround field to place the listener in the middle of the performance is more interesting and involving. Thus on the first of these quartets we have the viola at the center speaker, the piano on the right side, the violin on the left speaker and the cello on the left rear surround speaker. For the second quartet the violin/cello and the piano change places. Personally I?m beginning to get used to this, find it much more involving, and in fact find the standard frontal placement of instruments on other recordings a bit boring. But I can imagine some listeners might be freaked out. Laurence Vittes Total playing time: 54'51