C Major Entertainment Sale 2026
Explore the artistry of C Major Entertainment with over 100 titles on sale now!
Shop timeless works by Bellini, Verdi, Faccio, and more. Experience unforgettable performances from renowned artists and ensembles including the Wiener Philharmoniker, Paul Anka, and the San Francisco Ballet. From grand opera and orchestral masterpieces to ballet and legendary live performances, discover something spectacular for your collection!
Shop the sale before it ends at 9:00am ET, Monday, September 7th, 2026.
127 products
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SaleKarajan: The New Year's Concerts, 1987-1988 / Battle, Vienna Philharmonic [Blu-ray]
C Major Entertainment · Nov 2021Blu-Ray$45.99$22.98 -
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SaleVerdi: Falstaff - Salzburg Festival 1982 / Taddei, Panerai, Aranza, Ludwig, Karajan
C Major Entertainment · Jan 2023Blu-Ray$45.99$22.98 -
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SaleMozart: Don Giovanni / Karajan, Vienna State Opera Orchestra
C Major Entertainment · Jun 2022Blu-Ray$45.99$22.98 -
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SaleVolpini: The Lover's Garden (Il Giardino degli Amanti)
C Major Entertainment · Jan 2018Blu-Ray · DVD$32.99$22.98 -
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SaleThree Tenors: Voices for Eternity - A Documentary / Domingo, Pavarotti, Carreras, Mehta
C Major Entertainment · May 2022DVD$32.99$16.49 -
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SaleHorowitz in Moscow - The Legendary 1986 Concert
C Major Entertainment · Jun 2023Blu-Ray$45.99$22.98 -
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Debussy: Image, La mer, Prelude a l'apres-midi d'un faune / Bernstein
C Major Entertainment · Mar 2010DVD$32.99 -
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Sale4 Symphonies - Brahms, Dvorak, Sibelius, Nielsen / Dausgaard, Danish National Symphony Orchestra
C Major Entertainment · Jun 2012DVD$32.99$16.49 -
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SaleVerdi: Luisa Miller / Renzetti, Surian, Franci, Alvarez, Cedolins [blu-ray]
C Major Entertainment · Feb 2013Blu-Ray$37.99$18.99 -
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SaleVerdi: Falstaff / Battistoni, Maestri, Salsi, Gandia, Pini
C Major Entertainment · Jun 2013DVD$26.99$13.49 -
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Puccini: La boheme / Dessi, Galli, Puccini Festival Orchestra
C Major Entertainment · May 2016DVD$35.99 -
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SaleProkofiev: Romeo & Juliet / West, San Francisco Ballet Orchestra [Blu-ray]
C Major Entertainment · Apr 2017Blu-Ray$45.99$22.98 -
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SaleBeethoven's Ninth: Symphony for the World / Currentzis
C Major Entertainment · Jun 2020DVD$32.99$16.49 -
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SalePlacido Domingo: Opera Gala - 50 Years at the Arena di Verona [Blu-ray]
C Major Entertainment · Jul 2020Blu-Ray$45.99$22.98
Bellini: Norma
Karajan: The New Year's Concerts, 1987-1988 / Battle, Vienna Philharmonic [Blu-ray]
The New Year´s Eve Concert 1988 was one of the last concerts that Herbert von Karajan gave with the Berliner Philharmoniker in Berlin. For this concert he invited the 17 year old Evgeny Kissin to his debut with the orchestra. After the concert the press did raving reviews about Kissin´s musicality and technical skills and he proves till today that he is one of the best pianists of our time. The New Year´s Concert from the Golden Hall of the Musikverein Vienna with the Wiener Philharmoniker is always one of the best-selling classical albums each year. In 1987 Herbert von Karajan conducted his only performance of the New Year´s Concert performing famous pieces from Johann Strauss I, Johann Strauss II and Josef Strauss. As soloist in one piece you can hear the legendary soprano Kathleen Battle.
Verdi: Falstaff - Salzburg Festival 1982 / Taddei, Panerai, Aranza, Ludwig, Karajan
Based, in part, on Shakespeare’s The Merry Wives of Windsor, Falstaff is Verdi’s last work for the stage – and only his second comic opera. And yet the humor in this multilayered masterpiece is distinctly wry, for all the main characters exhibit an array of human weaknesses that are implacably exposed by Verdi and his librettist Arrigo Boito. In this legendary performance from the Salzburg Festival, Herbert von Karajan is not only leading a stunning cast of singers featuring the Wiener Philharmoniker, he too directed the opera, in the amazing set design of Günther Schneider-Siemssen.
Mozart: Don Giovanni / Karajan, Vienna State Opera Orchestra
Don Giovanni
Giordano: Andrea Chénier
Faccio: Hamlet
Volpini: The Lover's Garden (Il Giardino degli Amanti)
Three Tenors: Voices for Eternity - A Documentary / Domingo, Pavarotti, Carreras, Mehta
Horowitz in Moscow - The Legendary 1986 Concert
In 1986, the legendary pianist Vladimir Horowitz, who left his homeland 61 years ago, announced that he would return to the Soviet Union for the first time since 1925 to give recitals in Moscow and Leningrad. This sensational historic recital from Moscow includes works by Sergei Rachmaninoff and Alexander Scriabin, whom Horowitz knew both, Domenico Scarlatti, W.A. Mozart, Franz Liszt, Frédéric Chopin, Robert Schumann and Moritz Moszkowski. The disc too contains additional documentary footage with Horowitz. “Horowitz, playing with a clarity and dynamic range that friends said he had not matched in many years“ (New York Times) made an outstanding performance of musical, as well as political, significance.
Tancredi
Andris Nelsons conducts the Wiener Philharmoniker
Tristan und Isolde
Debussy: Image, La mer, Prelude a l'apres-midi d'un faune / Bernstein
Claude Debussy: Images, Prélude à l'apres-midi d'un faune, La Mer
Orchestra dell'Accademia Nazionale di Santa Cecilia
Leonard Bernstein, conductor
Recorded live from the Accademia Nazionale di Santa Cecilia, Rome, 1989.
Picture format: NTSC 4:3
Sound format: PCM 2.0 / DTS 5.1
Region code: 0 (worldwide)
Booklet notes: English, German, French
Running time: 86 mins
No. of DVDs: 1 (DVD 9)
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DEBUSSY Images pour orchestre. Prélude à l’près-midi d’un faune. La Mer • Leonard Bernstein, cond; Santa Cecila Natl Academy O • UNITEL 701608 (DVD: 86: 00)
Although Debussy did not figure largely in Bernstein’s repertoire, the conductor had an innate affinity for the composer’s music. We are therefore fortunate to have this concert, from scarcely a year before Bernstein’s death, preserving his interpretations of this repertoire in digital sound. Bernstein’s older Columbia recordings with the New York Philharmonic from 1960–63 are also still in print, although to duplicate this particular program one must acquire two different CDs (one from Sony, the other an ArkivMusic reissue). Those performances, however, are completely superseded by the present ones, both sonically and interpretively. In his later years Bernstein became decidedly self-indulgent, and his performances sometimes assumed bloated dimensions, as in the famous (or notorious) 1989 Christmas Day Berlin performance of the Beethoven Ninth. (I was blessed to attend that concert in person, being resident in East Berlin for my doctoral dissertation research at the time. As an interpretation it verged on the preposterous, but I still wouldn’t have missed it for all the world.) Here, however, he is in top form, eliciting performances with superb clarity of line, pellucid orchestral color and instrumental balance, and moderate tempi that are convincingly right at every point. Debussy is not the first thing I, as someone partial to Romantic German and Slavic orchestral repertoire, think to take off the shelf for personal listening pleasure, but Bernstein leaves me marveling at the sheer genius of these masterworks, providing a joy of rediscovery.
There are of course many performances of these works available on CD; most readers will already have their favorites, so I will not assay a broader discussion that in any case would exceed the bounds of this review. Regarding performances on DVD, this is the only complete performance of Images available. (For whatever reason, Bernstein altered the order of its three movements and placed Iberia in third position.) The Naxos issue with Alexander Rahbari and the Belgian Radio Symphony, which also has the Prélude and La Mer , omits Iberia in favor of the Nocturnes ; those are solid performances but not in the same class as these. The only other DVD to feature both the Prélude and La Mer is with Herbert von Karajan and the Berlin Philharmonic, reviewed negatively by Christopher Abbot in Fanfare 26:2 and positively by Colin Clarke in 32:3. I do not intend to enter the lists of the debates between champions and detractors of the German and American maestros; suffice it to say that in these works I prefer Bernstein’s clarity and sense of motion to Karajan’s lushness and perfumed languor. His DVD has more interesting camerawork to boot, with better lighting and more varied and better close-ups of the instrumentalists. The sound quality is excellent, the recordings having been made for commercial issue at the time. For those with more slender wallets, or who are uninterested in the visual aspects of an orchestral concert, these same performances were issued on CD by DG and are still in print as an ArkivMusic reissue. Strongly recommended.
FANFARE: James A. Altena
4 Symphonies - Brahms, Dvorak, Sibelius, Nielsen / Dausgaard, Danish National Symphony Orchestra
4 SYMPHONIES • Thomas Dausgaard, cond; Danish Natl SO • C MAJOR 710508 (DVD: 168:00) Live: Copenhagen 2009
BRAHMS Symphony No. 1. DVO?ÁK Symphony No. 9. SIBELIUS Symphony No. 5. NIELSEN Symphony No. 3
If, as I did, you were to begin your examination of this release with disc 1, track 1 (the Brahms symphony), you might well conclude that there was little need to continue. There is something rather too cool and casual about Dausgaard’s interpretation of this powerful music. It lacks inner tension. There is not enough contrast between ideas. Accents are in the wrong places. Short notes are cheated of their value. And that’s not all. The second movement just plods on, the third is charmless, the fourth frantic and lurches from one tempo change to the next. Listening to the complete symphony several times could not induce me to alter my initial unfavorable observations. Adding visual insult to aural injury, sight and sound are not synchronized, and the difference between the two is disturbing, to put it mildly.
But then came the Nielsen symphony. What a difference! Right from the opening moments it had all the vigor and élan and determination lacking in the Brahms. Rhythms were tight and crisp. The music bristled with enthusiasm and commitment. The finale positively beamed with Elgarian nobility and breadth, rising to an absolutely thrilling climax. What a joy! Nielsen’s Third had hitherto never been one of my favorite symphonies, but Dausgaard nearly made it so in this performance.
Does Dausgaard work his magic on the two remaining works as well? The answer, I’m glad to say, is yes. Furthermore, the synchronization problem that affected the Brahms symphony is only minimal in the Nielsen and nonexistent in Dvo?ák and Sibelius. The “New World” Symphony receives one of the finest performances I have heard. Dausgaard’s approach is no romantic wallow but rather a clean, purposeful traversal filled with taut rhythms, precise attacks and releases, glowing sound, and architectural strength. Dausgaard likewise makes a strong case for the Sibelius Fifth, never allowing momentum to sag, carefully propelling the music forward with masterly control. I am particularly impressed with the ease in which he handles the tempo change for the second part of the first movement. By the time the grand climax of the finale arrives, one feels a great journey has been completed.
All four performances were recorded live in Copenhagen’s Koncerthuset in 2009. The personnel changes from symphony to symphony, but both principal horns, both principal trumpets, and both timpanists are star players. Generally the woodwinds are excellent, but violins seem a bit thin for an orchestra that is otherwise so assured and well balanced. However, the basses make up for this deficiency with their huge, rich sound, heard at its best at the quiet endings of three of the Brahms movements and in some of the more powerful moments of the Dvo?ák symphony. Aside from the basses, the orchestra plays with a bright sound, textures are clear and clean, balances are well controlled.
The camerawork is devoted about 20 percent of the time to Dausgaard and his facial contortions, 10 percent to views of the full orchestra from afar, and 70 percent to the business of jerking the viewer’s eyes from one instrumental close-up to another—two seconds of a horn player’s embouchure, a second of flute keys, two notes from the timpani, etc. Who determined that this is what we want to see? I find it annoying to the point where I simply can’t bear to watch.
On ArkivMusic the price for these four symphonies is $27 ($40 for the Blu-ray version)—just under $7 a symphony, a good buy even without the inferior Brahms symphony, especially for performances as fine as the other three.
FANFARE: Robert Markow
Salzburg Festival 2011 Opening Concert
Verdi: Luisa Miller / Renzetti, Surian, Franci, Alvarez, Cedolins [blu-ray]
VERDI Luisa Miller • Donato Renzetti, cond; Fiorenza Cedolins (Luisa); Marcelo Alvarez (Rodolfo); Leo Nucci (Miller); Giorgio Surian (Count Walter); Rafal Siwek (Wurm); Francesca Franci (Federica); Katerina Nikolic (Laura); Teatro Regio Parma O & Ch • C MAJOR 722904 (Blu-ray: 147: 00 + 10:00 bonus) Live: Parma 2007
& Introduction to Luisa Miller
Some commentators say Giuseppe Verdi’s opera Luisa Miller represents a transition in his work from the use of traditional musical forms seen early in his career to the more innovative style of his great middle period works beginning with Rigoletto and continuing with Il Trovatore and La traviata. That very well may be true, but another trend I can attest to is that with this opera Verdi’s music is getting noticeably better. Perhaps it is not consistently better throughout the opera, but certainly notable in the ensemble pieces, the finales of acts I and II and the extended duet which ends the last act. The arias for both tenor and soprano are also well conceived, if not as catchy as “Caro nome” or “La donna è mobile.” Verdi’s Luisa overture is one of the best from his pen until La traviata comes along. All of this fine music unfortunately is a bit wasted on another of Frederich Schiller’s rather dreary romantic tragedies, but the opera has proved popular enough to remain in the repertoire of houses both big and small, particularly on the continent of Europe,
The story is of the love between peasant Luisa and Rodolfo, son of the local count (although Luisa doesn’t know that at first). Their match is opposed by both fathers, who know it means trouble, and by the Count’s principal retainer, Wurm, who wants the girl for himself. Miller père challenges the Count after he insults Luisa, and Miller is thrown in jail. Wurm tells Luisa that in order to free her father she must write a letter denying her love of Rodolfo and saying she is in love with Wurm himself. She does so under duress and the father is freed, but Rodolfo takes the letter seriously amiss. He shows up at the Miller house to confront Luisa, who is honor bound not to explain her actions. Rodolfo, in despair, gives them both poison, so they can expire slowly together while singing a love duet. Rodolfo still has enough strength left to get the Wurm before he dies himself. Oh, and there’s a stray Countess around somewhere that Rodolfo is supposed to marry who gets to sing in a set piece or two.
The Parma production seen here from 2007 is a pretty good one. It is one of the sets in the Tutto Verdi project, and one of the better I have seen in that series. Tutto Verdi aims to record all of Verdi’s operas and his Requiem on high definition Blu-ray disc for release this year to honor the composer’s 200th birthday. Stage Director Denis Krief has done a clever job of providing stylized yet evocative sets of time and place which can be changed quite quickly and easily, sometimes in full view of the audience. The Millers’ humble village domicile, with wooden walls contrasts with a backdrop of geometric shapes meant to represent the Count’s much grander quarters. Video projections of swaying trees mark one or two of the outdoor scenes. Krief also uses the costumes to emphasize the difference between peasants and aristocrats so crucial to the story line. All the denizens of the Count’s estates seem to be wearing plush finery while the peasants are dressed as . . . well, peasants. Stage action is blocked quite naturally and the video direction provides a good account of it. Although a bit stylized, the whole production has a traditional feel which I enjoy.
Unlike some other Verdi operas, this one requires six solid principal singers to be performed really successfully. Here we get five, which is above average for the Tutto Verdi series, at least in the early operas. Only the bass of Giorgio Surian as the Count really disappoints. His heavy vibrato has developed a beat which he doesn’t control, and it disfigures any attempts at lyrical singing, even noticeable in the ensembles. It is refreshing to hear a really first class tenor like Marcelo Alvarez singing here. I have always liked Argentinean Alverez’s voice, he adds a touch of vocal class to any role, and here his dramatic involvement nearly matches his fine singing. Almost the same can be said of Fiorenza Cedolins in the lead soprano role of Luisa. Her voice is just a bit heavy for the lyric agility Verdi asks for in Luisa, but Cedolins still outsings a bevy of other sopranos cast in these early Tutto Verdi productions and her high range is very enjoyable. She can also act, and if she and Alvarez are a bit more than callow youths, they still provide a properly satisfying couple in their duets together. Then we come to 65-year-old Leo Nucci, who has been a staple in several of these C Major sets. Nucci performs quite well here as Miller, and for once he is not asked to sing more than his aging stamina allows. Mezzo Francesca Franci sings the Countess and bass-baritone Rafal Siwek the role of Wurm to round out the principal singers. Both perform well, although Siwek’s vocal tone sounds too similar to the other lower voices in some of the duets and ensembles. Donato Renzetti leads the Parma orchestra members in one of their better outings, and we video viewers actually get to watch them playing during the Overture for a change.
There are several sets of Luisa Miller available on DVD; I have only seen the one from Venice, recorded in 2006. That set features another strong soprano performance by Darina Takova; she rivals Cedolins on this set but only the Count of Alexander Vinogradov tops the group of male leads seen and heard here. The Venice production is also quite traditional, but I like the Parma sets and costumes better. In an earlier review Fanfare colleague Bob Rose recommends the 1979 Met production with Scotto, Domingo, Milnes, and Morris, which I have not seen, but despite the strong cast, that video technology is nearly 35 years old, and this C Major set is in breathtaking Blu-ray video and high definition sound. It is better than satisfactory, it is quite good, and I recommend it.
FANFARE: Bill White
PAUL ANKA (BLURAY) LIVE IN SWI
Salzburg Festival Opening Concerts
Stravinsky in Hollywood
Stravinsky in Hollywood, a film by Michael Capalbo, tells the story of an "old school" European artist knocking heads with the brash New World. The documentary uses a combination of existing archival footage (some never before seen), interviews with Stravinsky and his assistant Robert Craft, and premieres several big studio film scenes of the 40s with music Stravinsky wrote for them.
Stravinsky in Hollywood
Also available on standard DVD
Stravinsky in Hollywood, a film by Michael Capalbo, tells the story of an "old school" European artist knocking heads with the brash New World. The documentary uses a combination of existing archival footage (some never before seen), interviews with Stravinsky and his assistant Robert Craft, and premieres several big studio film scenes of the 40s with music Stravinsky wrote for them.
Strauss: Arabella / Fleming, Hampson, Thielemann
2014 marks a year of celebration recognizing the 150th birthday year of the German late-Romantic orchestral, operatic and lied master composer, Richard Strauss (1864-1949). Arabella (premiered 1933, Dresden) was the last of the half dozen Strauss works to feature a libretto by the great Austrian writer Hugo von Hofmannsthal. This production, from the most recent Salzburg Easter Festival is, after Capriccio, the second of three Richard Strauss operas C Major is releasing in honor of the composer’s birth, life and work. The star-laden cast includes soprano Renèe Fleming, baritone Thomas Hampson, Albert Dohmen (Covent Garden, Wiener Staatsoper, MET) and Gabriela Benacková (Wiener Staatsoper, Covent Garden). With Christian Thielemann and the Staatskapelle Dresden, “the music of Richard Strauss is in the best of hands.” (ORF) “Thielemann gets the best out of the cast...especially Renée Fleming with her “luxurious” soprano …” FAZ
Richard Strauss
ARABELLA
Graf Waldner - Albert Dohmen
Adelaide - Gabriela Be?a?ková
Arabella - Renée Fleming
Zdenka - Hanna-Elisabeth Müller
Mandryka - Thomas Hampson
Matteo - Daniel Behle
Sächsischer Staatsopernchor Dresden
(chorus master: Wolfram Tetzner)
Staatskapelle Dresden
Christian Thielemann, conductor
Florentine Klepper, stage director
Martina Segna, set designer
Anna Sofie Tuma, costume designer
Bernd Purkrabek, lighting designer
Volker Michl, choreographer
Recorded live at Salzburg Easter Festival, 2014
Picture format: NTSC 16:9
Sound format: PCM Stereo / DTS 5.0br> Region code: 0 (worldwide)
Subtitles: German, English, French, Spanish, Chinese, Korean, Japanese
Booklet notes: English, German, French
Running time: 178 mins
No. of DVDs: 1
Puccini: La boheme / Dessi, Galli, Puccini Festival Orchestra
With an outstanding cast including Daniela Dessi, Fabio Armiliato, Alessandro Luongo, and Alida Berti, this incomparable performance is Puccini at his finest. Directed by Ettore Scola, who has created a great number of award-winning films, this performance is from the Puccini Festival in Torre del Lago. One of the most represented operas in history, becoming the inspiration for many works to come, La Boheme is a rich, grandiose opera, which is wonderfully represented in this recording.
Picture Format: NTSC, 16:9
Sound Formats: PCM Stereo, DTS 5.1
Subtitles: Italian, German, English, French, Spanish, Chinese, Korean, Japanese
Region Code: 0 (Worldwide)
Total Running Time: 123 mins
Prokofiev: Romeo & Juliet / West, San Francisco Ballet Orchestra [Blu-ray]
From grand spectacles to poignant close-ups, experience Helgi Tomasson's bravura interpretation of Shakespeare's Romeo & Juliet like you've never seen it before. With passionate choreography, spine-tingling swordsmansip, and a celebrated score by Sergei Prokofiev, San Francisco Ballet's passionate retelling of the Bard's greatest tragedy has packed houses around the world. Romeo & Juliet is one of the Company's most popular and widely toured ballets and has been seen by more than 200,000 people since it premiered in 1994. Choreographed by Helgi Tomasson, with sets and costumes by Jens-Jacob Worsaae, this visually stunning production and the brilliant dancers of San Francisco Ballet bring this powerful and touching tragedy - and Renaissance-era Verona - vivdly to life. "Tomasson lifts Shakespeare's complex and familiar language off the gilded pages and translates it into lucid classical choreography that is visceral, fresh, and ultimately sublime" (Huffington Post).
Mozart: Requiem - Ave verum corpus - Miserere
Great Conductors
Beethoven's Ninth: Symphony for the World / Currentzis
To this day, Beethoven’s Symphony No. 9 is one of the most popular pieces of classical music in the world. But what is it about this global hit? The film charts the success of the symphony around the globe and encounters passionate amateur musicians and musical personalities. Watch as Greek conductor Teodor Currentzis works on Beethoven’s Ninth with his ensemble, MusicAeterna. Follow Chinese composer and Oscar winner Tan Dun as he creates a new composition inspired by the great Beethoven symphony. Experience the Orchestre Symphonique Kimbanguiste in the Democratic Republic of the Congo, as they play the Ninth. Visit a favela in Brazil, where Beethovens’s music helps people get off the streets. Be amazed as a choir of 10,000 in Japan sings the final chorus of Beethoven’s Ninth Symphony, with great enthusiasm. Learn how Paul Whittaker helps make Beethoven accessible for deaf people. And find out how British DJ Gabriel Prokofiev performs a symphonic remix of Beethoven’s Ninth.
Placido Domingo: Opera Gala - 50 Years at the Arena di Verona [Blu-ray]
This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.
Also available on standard DVD
What a pompous and exquisite gala to celebrate opera legend Plácido Domingo in the breathtaking Arena di Verona! 50 years ago the young Madrilenian singer Plácido Domingo gave his debut at the ancient open-air theatre: the beginning of a lasting and exceptional relationship. To mark the anniversary, Domingo presents a programme entirely dedicated to Verdi, performing three of his most complex and majestic baritone roles. No effort was spared to create an unforgettable evening in a unique atmosphere in the completely sold-out amphitheatre, which has been at the heart of Italian entertainment for almost 2,000 years. Whether as Babylonian king Nabucco, Scottish general Macbeth or as Doge Simon Boccanegra: Domingo’s versatility and aura is more than impressive, with “top phrasing and articulation, his baritone with full and sonorous intonation and a unique timbre – all this substantiates his exceptional position” (Das Opernglas). At the side of Domingo shines an excellent cast including Anna Pirozzi and Arturo Chacón-Cruz, supported by a perfectly rehearsed ballet under the baton of conductor Jordi Bernàcer who sovereignly leads the Orchestra of the Arena di Verona from scene to scene. A triumphal, almost historic moment for Domingo and the Arena di Verona!