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That centrality was reflected in a series of top orchestral and operatic posts and in his interpretations, free of self-regarding eccentricities. His modest but highly effective conducting technique also made him the ideal recording artist. Sawallisch was a Bavarian born in Munich, city of orchestras and a great opera company, which he headed for 21 years. He started his career as an outstanding pianist and remained a sought-after accompanist to great Lieder singers and instrumentalists. Volume 1 of a complete conspectus of his Warner Classics recordings (made for Electrola and EMI Classics between 1954 to 1997) includes wonderful Lieder and song collaborations, as well as famous concerto accompaniments for eminent soloists and a heartwarming traversal of Schubert's secular vocal and sacred choral music with Bavarian Radio colleagues. 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Mozart's \"dramma per musica\" from 1781 completely revitalised the opera seria genre, which had previously been considered outmoded. It opens the series of operas from the composer's mature period. For this commissioned work for the excellent ensemble of the Munich Residenztheater, Mozart had unlimited musical resources at his disposal. It was his most extensive and ambitious stage work to date, featuring demanding arias, differentiated role portraits, a virtuoso orchestral part and several large choral scenes that rank among the most impressive in his oeuvre. - Mozart's first great opera gave Simon Rattle the opportunity to work intensively with the Chorus immediately after taking up his position as the new Chief Conductor of the Bavarian Radio Chorus and Symphony Orchestra in the autumn of 2023, further deepening his interest in historical performance practice in Munich. 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The mystical work, whose form and genre defy the usual categorizations, revolves around the most important stations in the life of Jesus, told from the perspective of the Virgin Mary and mirrored, as it were, in her gaze. Each of the three parts consists of an extended instrumental prelude and five episodes. The first begins with the Annunciation, recounts the Visitation of Mary, the birth of Christ and his time in the Temple of Jerusalem. The second part turns to the mysteries of pain: Jesus' scourging, the crown of thorns, the way of the cross and the agony, and finally his death. The last part reflects on the \"Glorious Mysteries\": Jesus's Resurrection, the Ascension, Pentecost and finally Assumption and Coronation.\u003c\/p\u003e\n\u003cp\u003eA mezzo-soprano takes on the perspective of Mary. Occasionally the voice changes to recitation or even recitative, but the singing always serves the text, guaranteeing its comprehensibility and at the same time interpreting the words through musical means. Later, the choir introduces the respective poem titles and also emerges at a few points that are all the more significant: at the end of the first rosary, it reinforces the message of Ghéon's text with a Latin biblical quotation, and later on with eulogies such as \"Sanctus\" and \"Alleluia\". In \"Le miroir de Jésus\", Caplet found a musical form for the mysteries of the ancient passion story that brings together past and present into a peaceful synthesis.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEWS:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLe Miroir de Jésus\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ewas André Caplet’s last major completed work, composed two years before his early death at the age of 46.\u003c\/p\u003e\n\u003cp\u003eCaplet’s writing is precise and considered, and his accomplished use of melancholic presentiment – as in the Nativité of the First Part – possesses a simplicity, and yet a directness, that proves consistently compelling. His handling of what are deliberately reduced orchestral forces of strings and a harp reveals a master orchestrator. Incidents such as the rippling water evocations in the Présentation simply reinforce his command of impressionist-derived devices put to his own use.\u003c\/p\u003e\n\u003cp\u003eArman and the Munich Radio Orchestra catch the spare unisons in Part Two’s Prélude and they expand density over the final bars the better to explore the Gregorian implications of the succeeding\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAgonie au Jardin\u003c\/em\u003e. Over this section one encounters reflective lyricism and much beauty as well as terse, jagged writing in the scene where Christ is crowned with thorns.\u003c\/p\u003e\n\u003cp\u003eThe richness and variety of his imagination is palpable throughout and in the Prélude to Part Three Arman ensures that Caplet’s presaging of elements of minimalism is clear even as Caplet generates a halo-like subtlety after the Resurrection scene. The spiritual intensity reaches a transcendence and moving intensity, the women of the choir of Bavarian Radio exuding exultant echo effects as the work draws to a close, Vondung both speaking and then singing rapturously with choral support.\u003c\/p\u003e\n\u003cp\u003eThe performance is beautifully balanced and is taken from a live performance in the Herz-Jesu-Kirche, Munich – not that one would know it’s live, as there’s no audience noise audible. Vondung is a splendid exponent, as she has proved in Baroque Passions and cantatas on disc, whose mezzo provides a sympathetic and rich-voiced conduit both for Ghéon’s texts and for Caplet’s richly varied, spiritually charged music.\u003c\/p\u003e\n\u003cp\u003eArman paces the work perfectly drawing out its radiance as well as its ethereal beauties, and – occasionally – its more harmonically astringent elements.\u003c\/p\u003e\n\u003cp\u003eThere’s a good booklet and full texts are provided in French with German and English translations.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e-- \u003c\/span\u003eMusicWeb International\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012446540010,"sku":"4035719003420","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4164088-2937099.jpg?v=1786676617"},{"product_id":"silvestrov-requiem-fur-larissa-4035719003444","title":"Silvestrov: Requiem for Larissa \/ Mustonen, Munich Radio Orchestra","description":"\u003cp\u003e\u003cstrong\u003eAwarded a Golden Tuning Fork by \u003cem\u003eDiapason \u003c\/em\u003eMagazine!\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eValentin Silvestrov is probably the best-known Ukrainian composer, and his \u003cem\u003eRequiem for Larissa\u003c\/em\u003e, now released on album by BR-KLASSIK, was written in response to the unexpected death in 1996 of his wife, the music and literature scholar Larissa Bondarenko. She had stood by his side from the very beginning of his artistic career. It was in 1999, shortly before the turn of the millennium, that Silvestrov was finally able to complete his \u003cem\u003eRequiem\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eHe did not set a drama of the Last Judgement to music, as Mozart, Berlioz or Verdi had done before him, but rather wrote a lament - in seemingly endless, world-forlorn repetitions. The composer stepped out of the present and into the past, commenting on his life with Larissa with memories of music that had inspired her, and with profound allusions, retrospections and epilogues of the most personal nature. Silvestrov set the words of the Latin mass for the dead to music, yet he did not compose a mass in the sense of a liturgically close or ecclesiastically compatible piece of music. In his seven-movement requiem, the theological order of the Catholic requiem mass is irrevocably dissolved. As if religious gravity had been suspended, isolated words drift about freely and forlornly. The work begins and ends with \"Requiem aeternam\". At the end, only the wind rushes out of the synthesiser – and, at the very end, an echo of the wind.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEWS:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003ePerhaps there’s never been a more apposite time for a Ukrainian Requiem. Composed in 1999, the piece is as deeply personal as it gets, being a response by the composer to the death of his wife, three years earlier. As such, it would be improper to seek to reappopriate the work as some kind of surrogate ‘Requiem for Ukraine’. Yet it’s difficult if not impossible, amid the ongoing violence to which Ukraine pointlessly continues to suffer, to listen to any Ukrainian music, particularly music expressing mourning, without some simultaneous reflection on a wider sense of loss.\u003c\/p\u003e\n\u003cp\u003eThe work is a refreshingly unusual take on what has become a bit of a hackneyed, even rather vainglorious concept. Silvestrov’s\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRequiem\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003esidesteps the usual drama and pseudo-spiritual histrionics, for the most part showing disinterest to the familiar Latin text.\u003c\/p\u003e\n\u003cp\u003eOf course, such a mindset stems from a vast, inconsolable mix of emotions, and signs of this manifest in the following\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTuba mirum\u003c\/em\u003e, where the pent-up tension turns volatile, causing turbulence. The words continue in a semi-disoriented stream, articulating an angry\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eKyrie\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003enot so much directed at a deity as hurled in its face. We soon become aware that, though the music is so tragically entrenched, we’re nonethless progressing through the conventional Latin text at surprising speed: less than halfway through this second section we’ve already heard\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRequiem aeternam\u003c\/em\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eKyrie\u003c\/em\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eDies irae\u003c\/em\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTuba mirum\u003c\/em\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRex tremendae\u003c\/em\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRecordare\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLacrimosa\u003c\/em\u003e, each one reduced to a truncated utterance petering out in ellipsis.\u003c\/p\u003e\n\u003cp\u003e...the subsequent\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLacrimosa\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e– how heard in its entirety – is a soft-edged return to reality, but again its language is pained, the solo soprano progressing one phrase at a time. There’s the distinct impression of an attenuated music, physicality hobbled, pulse fibrillated, coagulating into rising choral clusters as the bass sags and drags downward. We’ve moved into another form of stasis, cycling round and round, rising and falling. Again that paradoxical duality of infinity and the infinitesimal: of being locked into a single “day … of weeping”, stretching on forever.\u003c\/p\u003e\n\u003cp\u003eThe central movement, ‘Prochai svite, prochai zemle’ (Goodbye, o world, o earth, farewell), setting words by renowned Ukraininan poet Taras Shevchenko, both sits outside this traumatised immobility and also serves as another instance of imaginary escape from reality. Its blend of folksong- and chant-like melodic writing sounds dream-like, but is again articulated one phrase at a time, evidently still as pained and doom-laden as everything that preceded it, and its closing moments are an ominous indication that we are in precisely the same place as we were before.\u003c\/p\u003e\n\u003cp\u003eThe remainder of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRequiem für Larissa\u003c\/em\u003e, its final three movements, reinforce the same all-pervading stasis of grief. The\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAgnus Dei\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eoffers illusory evocations of Mozart that, drifting and drenched in reverb, sound even more hauntological than that glimpse of a memory in the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLacrimosa\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eWe’re back in darkness, and the final two sections fixate, again elliptically, on the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRequiem aeternam\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003etext. The work’s conclusion, in keeping with its immobility, presents music heard previously: that radiant memory from the\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eLacrimosa\u003c\/em\u003e, as lovely as it is heartbreaking, slowly evaporating, via timpani rolls and lone string phrases, into a blackness without end.\u003c\/p\u003e\n\u003cp\u003ePerformed by the Munich Radio Orchestra with the Bavarian Radio Choir, conducted by Andres Mustonen, this is a live recording from June 2011. It’s good that it’s not a studio recording, polished and honed; don’t get me wrong, it’s an absolutely superb performance, but a work like\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eRequiem für Larissa\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ebenefits immensely from the vibrancy and tension that permeate the live experience. It’s not the first recording of the work, and i’m sure more recordings will come, but everything about this sounds definitive.\u003c\/p\u003e\n\u003cp\u003e-- 5 Against 4\u003c\/p\u003e\n\u003cp\u003eA remarkable piece, [here] handled with great delicacy and control.\u003c\/p\u003e\n\u003cp\u003e-- Choir \u0026amp; Organ\u003c\/p\u003e\n\u003cp\u003eThe composition of the \u003cem\u003eRequiem\u003c\/em\u003e was a necessity for Silvestrov to come to terms with the unexplained death of his wife Larissa. That is why his work became a lament and not a drama of the Last Day. The endless, world-forlorn repetitions may be heard as a commentary on their life together, peppered with reminiscences, retrospectives and personal epilogues. Meanwhile, one may hear the work of this Ukrainian composer more generally also against the background of the war of Putin and the Russian army against the brother country with connotations of senseless murder.\u003c\/p\u003e\n\u003cp\u003eFor a good half century Silvestrov has had an independent style, which he himself calls meta-music and which one might locate close to Western neo-romanticism or post-modernism. The sweeping gestures still show mourning and the time of processing loss rather than reconsideration. The five-part chorus, rounded out with a basso profundo in the low register, and the soloists who come from it, make this mood, which lets nothing but dejection be heard, impressively clear.\u003c\/p\u003e\n\u003cp\u003eIn this recording of a concert that took place back in 2011, the orchestra finds more of an underlining role, where accents are also added. In some sections, including those in which a synthesizer is added, natural sounds such as wind, are also imitated, as well as the old, ideal world with Mozart sounds. Andres Mustonen keeps all participants in contact with the necessary freedom with good coordination in such a way that a very dense and impressive music becomes audible, which nevertheless does not let despair arise despite all the pain. The recording, produced by the Bayerischer Rundfunk technical department, together with the informative booklet, therefore offers a high-quality rounding off.\u003c\/p\u003e\n\u003cp\u003e-- \u003cem\u003e\u003c\/em\u003ePizzicato\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012448571626,"sku":"4035719003444","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4118948-2866929.jpg?v=1786632720"},{"product_id":"puccini-messa-di-gloria","title":"Puccini: Messa di Gloria","description":"Puccini's \"Messa di Gloria\" is one of the most popular settings of the Latin Mass, and is also featured on many concert programmes in the Puccini Year of 2024. The musical quality, energy and freshness of this youthful work ensured it's ever-growing popularity after it's rediscovery in the early 1950s. The composer even went on to quote some of the melodies in his famous operas, notably \"Manon Lescaut\". The \"Messa di Gloria\" was most recently performed on June 27, 2024 in the Herz-Jesu-Kirche in Munich by the Bavarian Radio Chorus and the Munchner Rundfunkorchester under it's chief conductor Ivan Repusic. To mark the 100th anniversary of the death of the great Italian composer, BR-KLASSIK is now presenting the live recording of this outstanding concert on CD.    Giacomo Puccini wrote his \"Messa a quattro voci con orchestra\" (\"Mass for Four Voices with Orchestra\") between 1878 and 1880 as the final thesis of his music studies in his hometown of Lucca. The first preparatory work was done when he was just eighteen, and the young composer was only 21 when the work was first performed on July 12, 1880. The Mass remained unpublished during his lifetime but became immensely popular after it's rediscovery in the early 1950s. However, in the first printed edition and in later performances it was inaccurately described as a \"Messa di Gloria\", a term that in fact refers to a (usually shorter) composition consisting only of Kyrie and Gloria; Puccini's Mass is in fact a full work, the complete setting of the Latin Ordinary with Kyrie, Gloria, Credo, Sanctus\/Benedictus and Agnus Dei. Puccini had begun his work on the Credo as early as 1878.     In the \"Messa di Gloria\", the choir takes centre stage with increasingly beautiful melodies; the solo parts for tenor and baritone are sung by Tomislav Muzek and George Petean. The approximately 45-minute-long work is complemented on this CD by Puccini's orchestral works \"Preludio sinfonico\" and \"Crisantemi\" - the latter in an arrangement for string orchestra by Lucas Drew. (Studio recordings from February 2023.)","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012455682282,"sku":"4035719003543","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4371508-3238016.jpg?v=1786709191"},{"product_id":"mozart-kronungsmesse-coronation-mass-kv-317-vesperae-sollenes-de-dominica-kv-321-4035719005301","title":"Mozart: Sacred Choral Works \/ Arman, Academy for Ancient Music","description":"\u003cp\u003eThe mass that Mozart composed in 1779 for the Easter service in Salzburg Cathedral is shrouded in legend. From the very first bar onwards, it exudes the stately tone that would, much later on, earn it the sobriquet \"Coronation Mass\". Soon after Mozart's death, it became the Viennese court orchestra’s favorite mass for coronation ceremonies.\u003c\/p\u003e\n\u003cp\u003eThis new release from BR-KLASSIK is a live recording of a concert, performed on May 21, 2022 in the Herkulessaal of the Munich Residenz. That concert of sacred music by Wolfgang Amadeus Mozart included three other, lesser-known compositions that were also written during his time in Salzburg. Here they are woven in between the short movements of the Coronation Mass, and thus connected to the Mass in a way that might have been required by the practical performance conditions of a Salzburg church service.\u003c\/p\u003e\n\u003cp\u003eIn his \"Vesperae solennes de Dominica\", composed during the same year as the Mass, Mozart fulfilled the Salzburg prince-archbishop's demands for the greatest possible brevity in a tongue-in-cheek manner, by means of various compositional tricks as well as a particularly sonorous score. The album is rounded off by the \"Epistle Sonata\" for orchestra with obbligato organ in C major, K 329, written to accompany the \"Coronation Mass\", as well as by the solemn offertory \"Alma Dei creatoris\" for soloists, choir and orchestra in F major, K 277.\u003c\/p\u003e\n\u003cp\u003eThe first-rate cast of soloists consists of Katharina Konradi (soprano), Sophie Harmsen (mezzo-soprano), Steve Davislim (tenor) and Krešimir Stražanac (bass). The soloists and the excellent Bavarian Radio Chorus are accompanied by the Akademie für Alte Musik Berlin, one of the most renowned orchestras in the field of historical and historically informed performance practice. The conductor is Howard Arman.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012461744362,"sku":"4035719005301","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4160708-2926530.jpg?v=1786635911"},{"product_id":"arman-davis-angelus-ad-pastores-weihnachtsgeschichte-bavarian-radio-choir","title":"Angelus ad Pastores - Weihnachtsgeschichte \/ Arman, Bavarian Radio Choir","description":"\u003cp\u003eIn the Revelation of James, an apocryphal gospel that was not included in the Bible, events and details surrounding the birth of Christ are reported that do not appear in the better-known versions of the Christmas story from the gospels of Matthew and Luke. The Christmas story is presented by James in a vivid, dramatic, and almost theatrical manner.\u003c\/p\u003e\n\u003cp\u003eHoward Arman's Christmas Story follows the tradition of works such as Bach's \"Christmas Oratorio\", where newly-composed settings of the Gospel alternate with chorales. Here, Gregorian and polyphonic chorales as well as several motets from the 17th century are woven into Arman's composition and form a second narrative level. They frame the episodes of the Christmas story and can also be understood as musical reactions to the narrated events.\u003c\/p\u003e\n\u003cp\u003eThis new BR-KLASSIK CD is complemented by the chorales from Peter Maxwell Davies' Christmas cantata \"O magnum mysterium\". Arman contrasts the powerful language and mysticism of James’ gospel by reducing musical means to their essentials: monophonic singing, syllabically conceived solo passages and, as the only accompanying instrument, a hurdy-gurdy, which with its monotonous, archaic sound represents a certain timelessness. All of this results in maximum text comprehensibility, whereby the emotional declamatory singing style almost makes the figures resemble characters in a stage play. A key moment is Joseph's vision shortly before the birth of Christ: time seems to stand still, and the mystical and sublime aspect of this scene is intensified by poetic words full of linguistic contrasts and contradictions. – The chorales and motets integrated into Arman’s Christmas Story gradually develop ever greater polyphony. Thus, three settings by Nicolaus Zangius, Hieronymus Praetorius and Hans Leo Hassler, scored for ever greater numbers of voices, lead to a fourth, ten-part composition by Melchior Vulpius, which concludes with the words \"Peace on earth\". In its formal layout, Arman's Christmas Story bears similarities to Peter Maxwell Davies' cantata \"O magnum mysterium\". This work, written in 1960 for the choirmaster of Manchester Cathedral, also consists of chorales and instrumental sonatas, although the order is not compulsory. The four a cappella chorales in particular constitute a self-contained unit in terms of both content and music.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012462432490,"sku":"4035719005318","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4412819-3337353.jpg?v=1786691217"},{"product_id":"papandopulo-hrvatska-misa","title":"Papandopulo: Hrvatska misa","description":"On February 1, 2025, Ivan Repusic, chief conductor of the Munich Radio Orchestra, directed Boris Papandopulo's 1942 Croatian Mass for soloists and a cappella choir in Munich's Prinzregententheater with the Bavarian Radio Chorus. BR-KLASSIK is now presenting this outstanding interpretation of the impressive sacred composition on CD as a live recording.    The Croatian composer and conductor Boris Papandopulo (1906-1991) worked as a choirmaster, conductor and opera director in Split, Rijeka, Zagreb and Sarajevo. He created more than 400 compositions, spanning almost every genre. Although of Greek origin, Papandopulo was deeply rooted in the Croatian musical tradition, and his broad stylistic spectrum extended to neo-classicism, jazz, pop and folk music. His works combine elements of Croatian folk music with twelve-tone music and demand a high level of virtuosity. Papandopulo completed his training in Zagreb and at the New Conservatory in Vienna, spending the majority of his life in Croatia.    The Croatian Mass is a sacred work in the spirit and style of centuries-old Croatian vocal music as well as being a practical choral composition. It is composed without orchestral or organ accompaniment, as Croatian choral music is almost exclusively sung a cappella. Papandopulo composed the mass for the First Croatian Choral Society Kolo, which he directed from 1928 to 1934 and again from 1938 to 1946. He completed his Croatian Mass in 1938, and it premiered in Zagreb on April 1, 1942, performed by the Croatian Choral Society Kolo under the composer's direction. Although the Croatian translation of the Roman Catholic liturgy gives the work a certain national flavour, the piece is primarily influenced by the tradition of old Dalmatian church hymns. Composed in a polyphonic style, it's syllabic and diatonic text settings are generally characteristic of Croatian vocal music.","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012463186154,"sku":"4035719005325","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4442500-3418392.jpg?v=1786675309"},{"product_id":"carissimi-jonas-monteverdi-lasso","title":"Carissimi: Jonas; Monteverdi \u0026 Lasso","description":"The oratorios of Giacomo Carissimi (1605-1674) are seminal works in the early history of a genre that combines sacred narrative, theatrical expression, and musical virtuosity to create a new, dramatic form. Of the mostly Old Testament stories to which Carissimi's oratorios refer, the vivid tale of Jonah stands out. During his divine mission at sea, the biblical hero is caught in a storm and swallowed by a whale. Carissimi shapes this material into a fast-paced plot with emotionally powerful solo recitatives, interspersed with a complex array of choral passages-including a striking double chorus depicting the storm.    Who better to interpret Carissimi's expressive music than Giovanni Antonini, one of the foremost conductors on the period-instrument scene? The performance also features the historically informed performance ensemble Il Giardino Armonico, with instrumentation specially adapted to the Bavarian Radio Chorus and the unique tonal qualities of the oratorio. It's artistic director Giovanni Antonini has worked with the Bavarian Radio Chorus for many years, with critically acclaimed concerts featuring works ranging from the early Baroque period to the First Viennese School-and he also finds the perfect sound for Carissimi's music.    With choral music by Claudio Monteverdi and Orlando di Lasso, this album also traces the development of dramatic vocal music in the transition from the late Renaissance motet to the more emotionally expressive interpretations of the early Baroque period. The famous Lamento d'Arianna is the only surviving piece from the lost opera Ariadne by Claudio Monteverdi (1567-1643), who reworked this lament into an equally expressive madrigal in 1610. Excerpts from the two legendary and mysterious cycles Prophetiae Sibyllarum and Lagrime di San Pietro by the Wittelsbach court composer Orlando di Lasso (1532-1594) conclude the album, allowing us to experience masterpieces of the motet style, to which the Bavarian Radio Chorus regularly devotes itself in historically informed performances.    With it's powerful double-choir storm scene, the oratorio Jonah is a highlight of high Baroque choral music. Carissimi's oratorios are key milestones in the development of the genre. Featuring the renowned early music ensemble Il Giardino Armonico, led by Giovanni Antonini, with whom the BR Chorus has already performed programmes to high acclaim, this release also includes the madrigal version of the legendary Lamento d'Arianna by Claudio Monteverdi, the master of early Baroque opera. Also including excerpts from two important cycles of works by the Munich Renaissance master composer Orlando di Lasso, this dynamic live recording captures performances in Munich's Prinzregententheater.","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012464759018,"sku":"4035719005356","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4466991-3467427.jpg?v=1786682665"},{"product_id":"milica-djordjevic-44-mali-svitac-quicksilver-cvor-mit","title":"Milica Djordjevic, #44 - Mali Svitac; Quicksilver; Cvor; Mit","description":"The music of composer Milica Djordjevic, born in Belgrade in 1984, is based on an exuberant and imaginative use of sound. She has full command of the entire arsenal of contemporary sound and performance techniques, which never cease to surprise. She began her composition studies in her native city of Belgrade, where she was already working with electronic music, then went on to Strasbourg and IRCAM in Paris before completing her studies from 2011-2013 in Berlin with Hanspeter Kyburz at the Hochschule fur Musik Hanns Eisler. Her already extensive oeuvre, which is performed by leading international soloists and ensembles, includes pieces for solo instruments, chamber music works in a wide variety of formations, vocal works, and large-scale orchestral compositions. The diversity of her work highlights her versatility and technical virtuosity. Djordjevic has received numerous prestigious prizes and awards for her compositions, including the Belmont Prize for Contemporary Music (2015), the Composition Prize of the Ernst von Siemens Music Foundation (2016) and the Claudio Abbado Composition Prize of the Berlin Philharmonic (2020). In Milica Djordjevic's short orchestral work Mali svitac, žestoko ozaren i prestravljen nesnosljivom lepotom (Little firefly, brightly lit and shocked by unbearable beauty), commissioned by the Berlin Philharmonic in 2023, the composer is concerned with \"the immense energy it takes to make things glow\". Her extended orchestral work Quicksilver was commissioned by musica viva of Bayerischer Rundfunk and premiered on December 16, 2016 by the Bavarian Radio Symphony Orchestra conducted by Peter Rundel in the Herkulessaal of the Munich Residenz. It is precisely the strict limitation of the melodic movement to very few, narrow interval steps that makes it \"all the richer and more colourful on the inside\". Cvor (Knot) for winds, piano and percussion, a work commissioned for the Donaueschingen Music Festival, briefly but very intensively describes a knot that squeezes and twists and finally bursts. The fourth work on this BR-KLASSIK CD - Mit o ptici (Myth of the Bird) for choir and orchestra - was commissioned by musica viva in 2020 and premiered on October 28, 2022 with the Bavarian Radio Chorus and Symphony Orchestra under the direction","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012470231274,"sku":"4035719006445","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4348906-3201849.jpg?v=1786665349"},{"product_id":"nicolaus-richter-de-vroe-48-violinkonzert-avenir","title":"Nicolaus Richter de Vroe: #48 - Violinkonzert; Avenir","description":"The works of violinist and composer Nicolaus Richter de Vroe (*1955) have been and are regularly performed by the most renowned organisers and festivals of new music. The musician began his training at the Special School for Music in Dresden, now known as the Sachsisches Landesgymnasium fur Musik Carl Maria von Weber. After studying the violin at the Tchaikovsky Conservatory in Moscow, he performed with various chamber music, improvisation and experimental ensembles. In 1980, he joined the Staatskapelle Berlin and completed his composition studies with Friedrich Goldmann and Georg Katzer at the Academy of Arts of the German Democratic Republic. In 1982, he founded the Ensemble for New Music Berlin (East), which quickly became an important platform for contemporary music in the GDR. From the mid-1980s onwards, Richter de Vroe performed his own works and appeared as a performer at all ARD radio stations, as well as at international festivals. In 1988 he joined the Bavarian Radio Symphony Orchestra, and, one year later, founded the XSEMBLE Munich - an ensemble characterised by experimental programming and stylistic openness. In 1996, he co-founded the Munich Society for New Music, dedicated to promoting contemporary music. Alongside his work as a composer and performer, Richter de Vroe has been a regular guest at Goethe Institutes worldwide since 1994, delivering lectures and giving portrait concerts and presentations of his work. In 2008 he was admitted to the Saxon Academy of Arts.    Richter de Vroe's Violin Concerto was composed between 2018 and 2020 as a commission from musica viva of Bayerischer Rundfunk, kindly supported by the Friends of the Bavarian Radio Symphony Orchestra. The world premiere, recorded on this CD, was performed by Ilya Gringolts and the Bavarian Radio Symphony Orchestra under the direction of Johannes Kalitzke on October 28, 2022 in the Herkulessaal of the Munich Residenz. - The initial inspiration for Richter de Vroe's Violin Concerto came from Ilya Gringolts' interpretation of Gyorgy Ligeti's Violin Concerto. The concerto begins with an introduction, followed by a first cadenza accompanied by individual instruments in a drone-like manner. This is followed by the first nocturne, which features sounds reminiscent of natural lutes. In the so-called 'Main Movement', \"things get pretty crazy! There's a real frenzy with lots of momentum and variety, not to mention a lot of - how shall I put it - 'nasty surprises'!\" (Richter de Vroe)    Avenir for organ, choir and orchestra was also commissioned by musica viva of Bayerischer Rundfunk in 2013\/14. This CD features the recording of the world premiere on June 6, 2014, performed by Wolfgang Mitterer on the organ and accompanied by the Bavarian Radio Symphony Orchestra and Chorus under the direction of Johannes Kalitzke.","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012473049322,"sku":"4035719006483","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4449260-3432595_5a7a81d2-0558-458a-9f28-c08c76b592f1.jpg?v=1786665795"},{"product_id":"50-berio-coro-zuraj-automatones","title":"#50 - Berio: Coro; Zuraj: Automatones","description":"From the outset, Sir Simon Rattle's conducting career has been marked by a spirit of innovation and renewal - and contemporary music in all it's facets continues to play a significant role in his work. So it was only natural that, upon taking up his post as chief conductor of the Bavarian Radio Chorus and Symphony Orchestra, he should dedicate a concert to musica viva. The programme featured the world premiere of Vito Žuraj's \"Automatones\" as well as Luciano Berio's \"Coro\". Sir Simon Rattle has conducted the latter piece several times before, but this performance marks the first recording under his baton. This is due to the unique demands that the composition places on recording technology: choir singers and orchestra musicians are positioned in pairs on the podium to overcome the visual and acoustic separation of choir and orchestra voices. This presented a particular challenge to the Bavarian Radio recording team, but they rose to it successfully, as can be heard on the new CD from BR-KLASSIK. Composed between 1975 and 1976, Luciano Berio's \"Coro\", for forty voices and orchestra, takes anonymous folk poems by the Sioux, the Navajo and the Zuni, as well as song texts from Polynesia, Peru, Croatia, Venice, Piedmont, Chile, and the Song of Solomon - all of them reflecting the deeply human urge for freedom - and combines them with the moving poetry of Pablo Neruda, whose death coincided with the bloody suppression of the Allende democracy in Chile by Augusto Pinochet in September 1973.","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012474556650,"sku":"4035719006506","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4454935-3445132.jpg?v=1786665890"},{"product_id":"bernard-haitink-portrait-vol-2","title":"Bernard Haitink - Portrait, Vol. 2","description":"\u003cp\u003eBR-KLASSIK is dedicating a second portrait edition to the eminent Dutch conductor Bernard Haitink, containing a total of 9 CDs. Bernard Haitink died in October 2021; he would have turned 95 in March 2024.\u003c\/p\u003e\u003cp\u003eThese exceptional live recordings document the long-standing and intensive collaboration between Bernard Haitink, the Bavarian Radio Chorus, and the BRSO. Since Haitink conducted a subscription concert for the first time in 1958, he repeatedly led the BRSO for over six decades—sometimes in the Herkulessaal of the Residenz, sometimes in the Philharmonie im Gasteig. The orchestras’ musicians and singers were just as happy to work with him as the Bayerischer Rundfunk’s sound engineers.\u003c\/p\u003e\u003cp\u003eThe box set includes complete recordings of Beethoven's Symphony No. 9 (CD 1) from 2019, Bruckner‘s Symphonies No. 4 (CD 2) from 2012, No. 7 (CD 3) from 1981, and No. 8 (CD 4 \/ CD 5) from 1993, as well as his Te Deum (CD 4) from 2010. Also featured are Dvořák‘s Symphony No. 7 from 1981 and his Scherzo Capriccioso (CD 6) from 1981, Mahler‘s Symphony No. 7 (CD 7) from 2011, and Shostakovich's Symphonies No. 8 (CD 8) from 2006 and No. 15 (CD 9) from 2015.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012477276394,"sku":"4035719007206","price":79.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4362744-3219432.jpg?v=1786668433"},{"product_id":"j-s-bach-die-geheimnisse-der-harmonie-eine-hoerbiografie-von-joerg-handstein-4035719009361","title":"Bach: Die Geheimnisse der Harmonie - Eine Hoerbiografie von Joerg Handstein","description":"\u003cp\u003eYou don't have to like every composer - but there's no getting around J. S. Bach. The successful series of BR-KLASSIK audio biographies is now devoted to this central star of the musical firmament. His sparsely documented life leaves plenty of room for the imagination in works of fiction, but the authentic sources – well narrated – are just as captivating in every way. \"If ever a tone artist brought the hidden secrets of harmony into the most artistic execution, it was undoubtedly our Bach.” (from the Necrology published by C.P.E. Bach in 1754). Son of a town piper, organist, concertmaster, Kapellmeister, then Thomaskantor in Leipzig for 27 years. Married twice, 20 children. Active in Thuringia and Saxony. When compared with the spectacular biography of Handel (BR-KLASSIK 900911), this one seems rather short on excitement – yet Bach's biography also provides a fascinating insight into an age that is very distant and foreign to us today. An age of proud, aspiring cities, magnificent courts, simple-minded town councillors, music-loving but unpredictable princes, church music that was already somewhat antiquated, and fashionable instrumental music from France and Italy. Bach moves confidently in the field of tension created by these opposing worlds – while creating music that surpasses that of all his contemporaries in terms of its artistry, depth and expressiveness. In Leipzig, Bach intends to raise church music to a completely new level and place it on a par with theology; he wants it to be multi-layered and speak directly to the faithful. Only a few years later, however, this initial enthusiasm wanes. Headstrong and uncompromising by nature, he now becomes restless and dissatisfied due to his frustrating battles with the petty town authorities. He composes a lot of secular music once again, seeks contact with the Dresden court, and finally retreats into his very own world to fathom the final \"secrets of harmony\". For all its modesty, therefore, the story of Bach's life is nevertheless magnificent, moving, and sometimes even shocking. This audio biography gets as close to the protagonist as the sources allow, also bringing his environment to life – the princes, churchmen and town councillors, and his friends and adversaries. In addition, we are introduced to the frequently bizarre everyday world of the 18th century: not always edifying church services, terrible transportation, lavish dining and drinking, or the horrors of an eye operation. At the centre of it all, however, is the music. \"He should not be called brook (in German: Bach) but sea,\" Beethoven once apparently said, \"because of his infinite inexhaustible wealth of tone combinations and harmonies.\" The numerous musical examples in this audio biography are densely interwoven with the narrative, and literally immerse the listener in this boundless abundance. Famed as an actor in the popular German detective series “Tatort”, Udo Wachtveitl is also a music lover and long-time narrator of the BR audio biographies. He regards the \"structure behind music\" as highly important, so Bach's life and work are a special source of inspiration to him. The Jena-born and currently highly regarded actor Albrecht Schuch (\"All Quiet on the Western Front” plays the role of Johann Sebastian Bach, and several other outstanding BR narrators also shine in a wide variety of roles – making this audio biography a real treat!\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012481634538,"sku":"4035719009361","price":39.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4201647-2975037.jpg?v=1786679615"},{"product_id":"brk-bruckner-mass-in-e-motets-bruckners-world-vanhoefer","title":"Bruckner: Mass in E minor \u0026 Motets - \"Bruckner's World\", an introduction to the works by Markus Vanhoefer","description":"\u003cp\u003eIn addition to his symphonies, Anton Bruckner is best known for his sacred works: his stirring masses and his deeply moving a cappella motets. On this new BR-KLASSIK CD, to mark the Bruckner Year 2024, the Bavarian Radio Chorus and the Münchner Rundfunkorchester conducted by Peter Dijkstra present his Mass No. 2 together with five well-known motets and the two short Aequali for three trombones from 1847. The new studio recordings were made in connection with the opening concert of the 2023\/24 season on October 28, 2023. On a second CD, \"Bruckner's World\" by Markus Vanhoefer offers not only an introduction to the recorded works but also a detailed description of the life and work of this important Late Romantic composer.\u003c\/p\u003e\n\n\u003cp\u003eAfter Bruckner's uncommissioned Mass (No. 1) in D minor had brought him to the attention of a wider public – following its premiere on November 20, 1864 in the Old Cathedral in Linz and a repeat performance in the city’s Redoutensaal – Bishop Franz Joseph Rudigier commissioned a second mass from the composer. Bruckner wrote the work between August and November 1866, and it was to be premiered at the consecration of the Votive Chapel of the New Cathedral; due to delays in the construction work, however, the performance could not take place until September 29, 1869. The premiere of the Mass (No. 2) in E minor for eight-part mixed choir and wind ensemble was also a great success, and Bruckner described it as “the most glorious day” of his life. The unusual instrumentation was due to the occasion and the open-air performance venue on the cathedral building site (the new chapel had proven too small for the choir). The work derives its particular tension from the sharp contrasts between archaic, psalm-like monophony and a strictly polyphonic movement structure modeled on Palestrina, combined with the \"modern\" wind accompaniment in sweeping, romantic harmony.\u003c\/p\u003e\n\n\u003cp\u003eBruckner thoroughly revised the Mass (No. 2) between 1876 and 1882, and the premiere of the second version in the Old Cathedral on October 4, 1885, as part of the Diocesan Jubilee in Linz, was once again an outstanding success. The composer \"stood at the organ during the performance and gazed rapturously at the vault of the cathedral, his lips moving in silent prayer.\"\u003c\/p\u003e\n\n\u003cp\u003eBruckner's sacred motets are characterized by Catholic worship and the church spaces that were Bruckner's home from childhood. In 1837, at the age of 13, he was admitted as a choirboy to the Augustinian canons' monastery of Sankt Florian near Linz, where he worked as an organist from 1848 to 1855. His religious devotion and early influence meant that he initially saw himself as a church musician, before broadening his scope to include symphonic music - in whose sound architecture the organ also found an audible echo.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012484616426,"sku":"4035719009408","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4322768-3149130_ac227cfb-b06d-4501-a081-c241522314f9.jpg?v=1786713947"},{"product_id":"messiaen-mozart-beethoven-braunfels-schubert-sacred-wo","title":"Messiaen, Mozart, Beethoven, Braunfels \u0026 Schubert: Sacred Wo","description":"Selected sacred works under the direction of Gunter Wand  Wand's music-making moved those who heard it with it's impeccable balance of perfection coupled with faithfulness to the original, emotional fulfilment, intellectual control, utmost sensitivity and spiritual penetration. He described his mission as \"serving music\", a cause to which this totally unpretentious man remained committed for seventy years. He rose to be one of the true \"greats\" of the twentieth century, a figure standing head and shoulders above our restless times, his name synonymous with the highest musical quality","brand":"Haenssler Classic","offers":[{"title":"CD","offer_id":46012520825066,"sku":"881488240313","price":32.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4344206-3202062.jpg?v=1786668133"},{"product_id":"massenet-ariane-bruzane","title":"Massenet: Ariane \/ Campellone, Munich Radio Orchestra","description":"\u003cp\u003e‘It would be difficult to find a simpler and more poignant subject’, Massenet remarked during the composition of Ariane, a vast score in five acts premiered at the Paris Opéra in October 1906. The libretto by Catulle Mendès is part ancient drama, part symbolist poem, and sets Phaedra and Ariadne, two sisters in love with Theseus, in violent conflict with each other. This epic work does not shrink from relating the combat against the Minotaur, from showing a ship tossed by the raging billows, nor even from transporting the audience to the Underworld where Persephone reigns. Despite its flamboyant orchestration, its grandiose scenography and its triumphant premiere, Ariane remains one of the few Massenet operas never recorded until now. The young Egyptian soprano Amina Edris takes the title role with ardour and passion, surrounded by a cast well versed in the specificities of the French style. The Bavarian Radio Chorus provides dedicated support in the epic scenes, under the baton of Laurent Campellone, a great champion of Massenet.\u003c\/p\u003e","brand":"Bru Zane","offers":[{"title":"CD","offer_id":46012553199850,"sku":"8055776010120","price":44.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4235471-3144017.jpg?v=1786633192"},{"product_id":"clemence-de-grandval-mazeppa","title":"Clemence de Grandval: Mazeppa","description":"'The subject of Mazeppa has inspired Mme Clémence de Grandval to write a truly remarkable score, the success of which will cause a stir in the musical world.' It was with these flattering words that the press greeted the premiere of the five-act opera by one of the women composers most frequently performed in late nineteenth-century France. For her career was regularly marked by flattering reviews and lasting successes, spanning all genres, from chamber music to oratorio and opera. Yet Mazeppa, though regarded as her testamentary work, did not enjoy the honour of a premiere at the Paris Opéra and had to fall back on Bordeaux to reap the rewards of glory. A model of concision, this powerful, dramatic opera relates in a little over two hours the apotheosis and fall of the Cossack general Ivan Mazeppa, a fugitive in war-torn Ukraine. It was predicted that the work would enjoy a long career, but the subsequent evolution of the musical language of the Belle Époque, followed by the composer's death, meant that Mazeppa sank into oblivion for more than a century. It was high time for it's hero to get back in the saddle.","brand":"Bru Zane","offers":[{"title":"CD","offer_id":46012562243818,"sku":"8055776010250","price":42.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4484259-3505487.jpg?v=1786675431"},{"product_id":"romeo-et-juliette-op-17","title":"Romeo et Juliette, Op. 17","description":"When 23-year-old Hector Berlioz saw Shakespeare's \"Romeo and Juliet\" on stage for the first time in 1827, he was deeply moved by the experience, probably not least because of the Irish actress Harriet Smithson, who played Juliet. She became Berlioz's wife in 1833, and another six years later he completed his chorus-symphony \"Romeo et Juliette\", Op. 17. \"Romeo et Juliette\" is by no means intended as an attempt to transpose Shakespeare's drama as faithfully as possible; not a single verse of Shakespeare's text was included in the libretto, which was written by the poet emile Deschamps based on Berlioz's drafts. When the Prologue refers to Shakespeare as the only person who knew the highest secret of poetry, it is clear that the listener is deliberately placed in Berlioz's perspective, whose imagination is ignited by Shakespeare's genius. As in the case of the \"Harold\" symphony based on Byron, Berlioz adapts the original very freely. In both cases, he develops entire movements from episodes that are of only minor importance in the poem and adds scenes that do not appear there at all.    The present live recording from 1982 showcases Gary Bertini at the peak of his career, conducting the Stuttgart Radio Symphony Orchestra of the SWR. An exquisite cast of singers - Alfreda Hodgson, Philip Langridge and John Shirley-Quirk - as well as internationally renowned choirs like the Chor des Bayerischen Rundfunks and the SWR Vokalensemble (known until 1998 as Sudfunk-Chor) accompany him in the performance of one of the most complex symphonic works of the Romantic era.","brand":"SWR","offers":[{"title":"CD","offer_id":46012719137002,"sku":"747313916788","price":28.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4439333-3412755.jpg?v=1786668251"},{"product_id":"lortzing-der-gross-admiral-2-cds-761203513321","title":"Lortzing: Der Groß-admiral \/ Schirmer, Munich Radio Symphony","description":"\u003cp\u003eAnett Fritsch is dignified as Heinrich’s betrayed wife Catharina, but Julia Sophie Wagner is the pick of a more than passable bunch in the trouser role of the page Eduard. The choral singing has spirit, the recording (in Munich’s Prinzregententheater, though it doesn’t sound live) is nicely balanced, and it’s all swept cheerfully along by conductor Ulf Schirmer. - Gramophone\u003c\/p\u003e","brand":"CPO","offers":[{"title":"CD","offer_id":46012736438506,"sku":"761203513321","price":36.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4069308-2811002.jpg?v=1786694665"},{"product_id":"br-klassikmozart-requiem-in-d-minor-op-626","title":"Mozart: Requiem \/ Jansons, BRSO","description":"\u003cp\u003eIt is difficult to say anything about Mozart's famous Requiem – the masterpiece having been described and analysed all too often. It is known to almost everyone in the world, either in its entirety or in large parts, or is familiar to them at the very least from its title. Almost everybody has come into contact with the Requiem’s music, whether from the concert hall or merely from watching Miloš Forman's 1984 film drama \"Amadeus\". What breathes new life into this work and this music time and again are congenial performances with outstanding casts. A true highlight in the performance history of the Requiem was Mariss Jansons' interpretation of it in May 2017, which absolutely delighted the Munich concert audience and was also highly acclaimed by the trade press. Under Jansons' direction, the Bavarian Radio Chorus and the Symphonieorchester des Bayerischen Rundfunks gave of their best, with an excellent quartet of vocal soloists rounding off the outstanding ensemble. This made the performances of Mozart's Requiem in the popular completed version by his student Süßmayr a truly memorable experience.\u003c\/p\u003e\n\u003cp\u003eThe live recording from the Herkulessaal of the Munich Residenz was made on May 11 and 12, 2017 and has now been released on a single CD by BR-KLASSIK.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012789948650,"sku":"4035719001174","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4322769-3141323.jpg?v=1786637072"},{"product_id":"part-berliner-messe-poulenc-stabat-mater-stravinsky-psalmensymphonie","title":"Pärt, Poulenc \u0026 Stravinsky: Choral and Orchestral Works \/ Jansons, BRSO","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eThree great choral and orchestral works of the 20th century are gathered together in outstanding interpretations on the new album from BR-KLASSIK: Arvo Pärt's \"Berlin Mass\" for choir and string orchestra from 1990, Francis Poulenc's \"Stabat mater\" for soprano, mixed choir and orchestra from 1950, and Igor Stravinsky's \"Symphony of Psalms\" for choir and orchestra from 1930. The soprano Genia Kühmeier, the incomparable Bavarian Radio Chorus and the Bavarian Radio Symphony Orchestra - two undisputedly world-class ensembles! - under the direction of Mariss Jansons guarantee the highest listening pleasure. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe Estonian composer Arvo Pärt, famed for his magical sounds, created his \"Berlin Mass\" as a commission for the 90th German Catholic Convention in Berlin. It was premiered in 1990 for four mixed solo voices and organ. In 1997, Pärt reworked his Mass, written in the so-called \"Tintinnabuli\" style, for choir and string orchestra. Francis Poulenc wrote his \"Stabat mater\" in response to the unexpected death of his friend, the artist Christian Bérard. Like other sacred works written after his visit to the Black Madonna of Rocamadour, where he found his Catholic faith, this one ranks among his most important compositions. Igor Stravinsky's well-known \"Symphony of Psalms\", a three-movement symphonic work for choir and orchestra, was written in 1930 as a commission for the Boston Symphony Orchestra. The unusual orchestration – with strong woodwind and brass, percussion instruments, two pianos and only the bass strings (violoncellos, double basses without violins or violas – gives the work its distinctive sound.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eREVIEWS\u003c\/strong\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan id=\"ctl00_MainContent_gvReviews_cell3_12_ASPxPopupControl1_ASPxLabel2\" class=\"dxeBase_PlasticBlue\"\u003eJust how much we miss Mariss Jansons is manifest in this Munich concert of three sacred works. Jansons, who died in November 2019, aged 76, was not principally noted for religiosity or choral masterpieces, but his shaping of this triptych is so masterful that one can hardly imagine them presented with greater coherence or sincerity.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan class=\"dxeBase_PlasticBlue\"\u003e\u003cspan id=\"ctl00_MainContent_gvReviews_cell3_12_ASPxPopupControl1_ASPxLabel2\" class=\"dxeBase_PlasticBlue\"\u003eThis is altogether an outstanding record of the conductor’s art. Jansons was one of the greats. Happily, Bavarian Radio have more of his big nights coming out of their archives.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan class=\"dxeBase_PlasticBlue\"\u003e\u003cspan class=\"dxeBase_PlasticBlue\"\u003e-- Ludwig van Toronto\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eA\u003cspan class=\"dxeBase_PlasticBlue\" id=\"ctl00_MainContent_gvReviews_cell1_12_ASPxPopupControl1_ASPxLabel2\" data-mce-fragment=\"1\"\u003epproaching these works with the great seriousness they deserve, Mariss Jansons and the choir create wonderous moods and make the music float in evocative fashion. \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan class=\"dxeBase_PlasticBlue\" data-mce-fragment=\"1\"\u003e-- Pizzicato\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012791849194,"sku":"4035719002010","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4080200-2818700.jpg?v=1786693893"},{"product_id":"1923-wild-sounds-1920s-toch-weill-krenek-bartok","title":"The Wild Sound of the '20s - 1923","description":"\u003cp\u003eOctober 29, 1923 - a date steeped in history. In the midst of a year of political and economic crisis, the age of public radio in Germany was ushered in with the first broadcast of the \"Berliner Funkstunde\", from the attic of an office building on Potsdamer Platz. The composers assembled on this album not only profited from these developments, but also, in part, actively shaped them.\u003c\/p\u003e\n\u003cp\u003eThe composer Ernst Toch experienced the crisis year of 1923 in Mannheim, where his \"Dance Suite\" op. 30 was premiered on with great success. In this work, Toch was able to realize his interest in cross-disciplinary collaboration and new forms of expression. His imaginative use of instruments is one of the most fascinating aspects of the suite.\u003c\/p\u003e\n\u003cp\u003eThe \"Frauentanz\" for soprano, flute, viola, clarinet, horn and bassoon op. 10 by Kurt Weill, written in the summer of 1923, reflects the interest in chamber music line-ups typical of the time. The decisive factor was not only a new ideal of sound and expression, but also the experience that in times of crisis, pieces with small ensembles had better chances of being performed.\u003c\/p\u003e\n\u003cp\u003eErnst Krenek had found essential impulses for his work in Berlin; when the crisis came to a head in the summer of 1923 he composed the \"Three Mixed Choirs\" a cappella op. 22 on poems by Matthias Claudius. Krenek designed these folksong-like works written by a lyricist from the epoch of Empfindsamkeit as parables.\u003c\/p\u003e\n\u003cp\u003eFor the festive concert celebrating the 50th anniversary of the unification of the cities of Buda and Pest to form the capital and residence city of Budapest in the autumn of 1923, Béla Bartók created his \"Dance Suite\" for orchestra - a \"rather touchy issue\", as the internationalist-minded composer explained in a private note.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEWS\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eGiven [the events of 1923 in central Europe], you might imagine a CD of mostly German music entitled \u003cem\u003e1923: Wild Sound of the 1920s\u003c\/em\u003e might sound a bit, well, wild. Far from it. If anything, it shows the opposite: surrounded by violence and the threat of chaos, the four composers represented here by works they composed in 1923 responded by raising their art to the nth degree of refinement and subtlety. Take Ernst Krenek, a composer who nowadays is remembered for a smash hit opera about a Black jazz musician, and for writing later in life some of the most fearsomely intellectualized, complex works in the entire history of music. He’s represented on this disc by three settings for choir of the 18th-century poet Matthias Claudius, of a ravishing otherworldly beauty caught to perfection in these performances.\u003c\/p\u003e\n\u003cp\u003eKurt Weill, known to the world for his bitingly satirical music dramas, appears as the composer of seven exquisitely allusive, bittersweet songs based on medieval German poems. Ernst Toch’s Dance Suite is a brilliantly imagined set of six “character” pieces for just a handful of instruments, with titles like The Red Whirling Dance and Idyll. Standing somewhat to one side of all this German romantic\/modernist intensity and compression is the Dance Suite by the Hungarian composer Béla Bartók, with its rumbustious evocations of Balkan and North African Music.\u003c\/p\u003e\n\u003cp\u003eThe occasional whiff of expressionist harshness or a gently satirical distortion of a waltz shows these composers were not completely cocooned in their composing studios. They were alert to the jarring, shifting currents outside. But what the CD reveals most strongly is how much these composers were focused on their own internal, imaginative world – and how much they cared about craftsmanship. Every bar in all four pieces is exquisitely made, and that quality is caught in the performances, which are all of enormous refinement.\u003c\/p\u003e\n\u003cp\u003e-- The \u003cem\u003e\u003c\/em\u003eTelegraph\u003c\/p\u003e\n\u003cp\u003eThe year 1923 was a year of crisis in Germany; inflation was heating up and far right-wing parties were jockeying for power. In October, the first broadcast of public radio in Germany took place from the “Berliner Funkstunde” station on Potsdamer Platz. This provocative new disc from the Choir and Symphony of Bavarian Radio includes four works written a hundred years ago by a group of innovative composers who all made use of the new, disruptive technology of radio.\u003c\/p\u003e\n\u003cp\u003eKurt Weill’s \u003cem\u003eFrauentanz\u003c\/em\u003e is a suite of seven medieval songs, scored for soprano, flute, viola, clarinet, horn and bassoon. Weill helped to create the familiar soundtrack for Weimar Berlin, and this performance by Anna-Maria Palii and the fine instrumentalists of the Bayerischen Rundfunks orchestra provides the authentic feel of a society that was becoming increasingly decadent and hysterical in 1923 and beyond.\u003c\/p\u003e\n\u003cp\u003eErnst Toch’s \u003cem\u003eDance Suite\u003c\/em\u003e is another clever and imaginative piece with interesting orchestration: flute, clarinet, violin, viola, double bass and percussion. The Berlin sound is also evident here, something a bit harsh and raw, in contrast with the softer-focused, more lyrical and pastoral modernism of Paris.\u003c\/p\u003e\n\u003cp\u003eThe Ernst Krenek work is a bit of a surprise: his \u003cem\u003e3 Choruses\u003c\/em\u003e for a cappella choir . The ‘antique’ sound of these pieces remind me of two of my favorite works: Vaughan Williams’ \u003cem\u003eG minor Mass\u003c\/em\u003e, from 1921, and Heitor Villa-Lobos’s \u003cem\u003eMissa São Sebastião\u003c\/em\u003e, from 1937. All three provide old wine in new bottles: ancient cadences with a modernist twist.\u003c\/p\u003e\n\u003cp\u003eThe final work on the disc is probably the best known: Bela Bartok’s \u003cem\u003eDance Suite for Orchestra\u003c\/em\u003e. This is an orchestral showpiece, a kind of try-out for his \u003cem\u003eConcerto for Orchestra\u003c\/em\u003e written more than two decades later. Both pieces treat orchestral instruments in a solistic, virtuosic way. The source material might be folkloric, but this is definitely written in a modernist idiom.\u003c\/p\u003e\n\u003cp\u003eInflation, far right-wing agitation, disruptive technology: yes, we’re talking about 1923, not 2023. And the music on this disc is as fresh and forward-looking as some of the best music written today.\u003c\/p\u003e\n\u003cp\u003e-- Music for Several Instruments (Dean Frey)\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012792897770,"sku":"4035719002065","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4164087-2933929.jpg?v=1786686663"},{"product_id":"bellini-i-capuleti-e-i-montec","title":"BELLINI: I CAPULETI E I MONTEC","description":"Classical Music","brand":"Sony Masterworks","offers":[{"title":"CD","offer_id":46012837986538,"sku":"886978565228","price":9.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1836874.jpg?v=1786698054"},{"product_id":"missa-cellensis-te-deum-hybr-2pk-399401","title":"Haydn: Missa Cellensis \u0026 Jommelli: Te Deum and Mass in D major \/ Kubelik, Bavarian Radio Symphony Orchestra and Choir","description":"\u003cp\u003eKnown as St Cecilia Mass, Haydn’s fifth Missa is the longest and most complex setting of the Latin Mass text. Rich in elaborate contrapuntal interweaving and with a duration of more than one hour, it reveals Haydn the opera composer. The present recording of a concert, performed in 1982 in the Ottobeuren Basilica with the Bavarian Radio Symphony Orchestra and Choir under the baton of Rafael Kubelik, is still considered a reference recording of the work. Niccolò Jommelli’s Mass in D major and his Te Deum were both written during his time at Charles Eugene’s Württemberg court, where he is said to have held the highest paid musician post in Europe. The Württemberg court loved French music and at the same time the virtuoso Mannheim school. These, together with Jommelli’s Italian roots, also shaped the composer’s stylistically diverse sacred oeuvre. The Te Deum with a brief length of not even a quarter of an hour, was frequently played even up until the early 19th century.\u003c\/p\u003e","brand":"Orfeo","offers":[{"title":"SACD","offer_id":46012855615722,"sku":"4011790190624","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3920591-2669353.jpg?v=1786646660"},{"product_id":"verdi-attila-repusic-munich-radio-orchestra-291941","title":"Verdi: Attila \/ Repusic, Munich Radio Orchestra, Bavarian Radio Choir","description":"Following Giuseppe Verdi's \"Luisa Miller\", with which Ivan Repušic made his debut as principal conductor of the Münchner Rundfunkorchester in September 2017, and \"I due Foscari\" in October 2018, the conductor’s successful cycle of early masterpieces by the famous Italian opera composer now continues with “Attila”. In the recording of the concert performance from the Prinzregententheater, outstanding performers provide authentic fluidity and vocal splendor. This highlight of Munich musical life from the end of last year is now already being released on BR-KLASSIK as a double album. Like its predecessors \"Nabucco\" and \"I Lombardi\", Verdi's early masterpiece \"Attila\" is a choral opera in the best sense, and gained an enthusiastic reception from the Italian unification movement: its themes reflected the aspirations of the Risorgimento in the restless Italy of that time. The line \"Avrai tu l'universo, resti l'Italia a me\" (\"You may have the universe, but let Italy remain mine\") was enthusiastically received right from the start, helping to pave the way for the opera on the stages of Italy and Europe. It was not only the audience at the premiere at the Teatro La Fenice in Habsburg-ruled Venice who understood the full import of those words. Hardly any other opera by Verdi was received in Italy with so much euphoria. Outside the country, of course, it failed to make a lasting impression – probably also due to the extremely difficult role of Odabella.","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012861219050,"sku":"4035719003307","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3812178-2561278.jpg?v=1786717653"},{"product_id":"part-stabat-mater-repusic-chor-des-943301","title":"Pärt: Stabat mater \/ Repušic, Chor des Bayerischen Rundfunks, Münchner Rundfunkorchester","description":"\u003ctable\u003e  \u003ctbody\u003e  \u003ctr\u003e  \u003ctd\u003e  \u003cp\u003eAfter TE DEUM (900511), ARVO PÄRT – LIVE (900319) and MISERERE (900527), STABAT MATER is already the fourth album to emerge from the close artistic collaboration between the composer and the Bavarian Radio Chorus, and to be recently released by BR-KLASSIK. - In addition to the impressive STABAT MATER, this newly-released album offers some of the works that are key to the composer's stylistic development, and rarely appear in the concert repertoire or as recordings. Despite or perhaps precisely because of the radical reduction of its means of expression, Pärt's music demands the greatest care in its performance from those playing, and is masterfully realized in this recording by the Bavarian Radio Chorus and the Münchner Rundfunkorchester under the conductor Ivan Repušic. Like almost no other contemporary composer, the Estonian Arvo Pärt (born 1935) has succeeded in bringing sacred music back to the attention of a larger audience, even outside the church service. Because of its meditative character and its return to the simplest basic musical forms, his music gives us an insight into key spiritual moments. To this end, even before his emigration from the Soviet Union, Pärt invented what he referred to as the \"tintinnabuli style\" (Latin for “little bells”) of composing. In 1977 he delivered one of the first significant examples of this style with the first version of FRATRES (Brothers), which still has no fixed and prescribed instrumentation. In its ascetic austerity and almost liturgical solemnity, the work is reminiscent of a communal prayer or a spiritual act.\u003c\/p\u003e  \u003c\/td\u003e  \u003c\/tr\u003e  \u003c\/tbody\u003e  \u003c\/table\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012903129322,"sku":"4035719003352","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3993593-2736354.jpg?v=1786713086"},{"product_id":"gluck-opera-gala-397090","title":"Gluck: Opera Gala","description":"\u003cp\u003eGluck Opera Gala is a 2-album compilation of highlights from seven previously released albums on the ORFEO label. It contains excerpts from Gluck's semi seria opera Alceste (album 1, tracks 1-7); his reformist operas Iphigénie en Tauride (album 1, tracks 8-14), Orfeo ed Euridice (album 2, tracks 1-9) and Paride ed Elena (album 2, tracks 10-16); and two works in a more light-hearted vein, Le Cinesi (album 1, tracks 15-16) and Les Pélegrins de la Mecque (album 2, tracks 17-23). All of the recordings are star-studded, featuring performances by legendary artists such as Jessye Norman, Nicolai Gedda, Thomas Moser, Ileana Cotrubas, Dietrich Fischer-Dieskau, Franco Bonisolli and Julia Kaufmann.\u003c\/p\u003e","brand":"Orfeo","offers":[{"title":"CD","offer_id":46012953559274,"sku":"4011790190525","price":8.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3862688-2651592.jpg?v=1786671469"},{"product_id":"elgar-partsongs-from-the-bavarian-highlands-hanft-397628","title":"Elgar: Partsongs - From The Bavarian Highlands \/ Hanft, Arman, Bavarian Radio Chorus","description":"\u003cp\u003eThe British composer Edward Elgar wrote a great deal more than just his “Pomp \u0026amp; Circumstance” marches: his highly diverse oeuvre encompasses symphonies, concertos, chamber works, piano music and numerous choral works (oratorios, cantatas and partsongs). On this release, partsongs by Elgar can be heard with and without accompaniment as part of a representative selection of live and studio recordings. The album begins with the song cycle “From the Bavarian Highlands” op. 27; its six cheerful numbers were written while Elgar and his wife were on holiday in Garmisch in 1895. Alice Elgar had sketched verses from Bavarian folk melodies, and Upper Bavarian songs and dances can be heard in her husband’s settings. These were happy memories of carefree holidays in a region rich in music and full of fine landscapes. The Bavarian Radio Chorus, conducted by Howard Arman, sings the songs in their original version with piano accompaniment (the orchestral version came later). As a composer of English-language choral songs, Elgar is still little-known on the European mainland; in the United Kingdom, however, the situation is very different. The country has long had a lively choral scene, focusing primarily on English music – from Purcell and Handel to Hubert Parry, Charles Villiers Stanford and Elgar, all the way to Benjamin Britten and today’s contemporary composers. The program on this release has been compiled and conducted by the Englishman Howard Arman, one of today’s most knowledgeable experts on British choral music and artistic director of the Bavarian Radio Chorus, and these recordings should do much to boost the popularity of this highly appealing music on the European mainland as well.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46013167534314,"sku":"4035719005226","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3890285-2659418.jpg?v=1786656878"},{"product_id":"bach-johannes-passion-dijkstra-concerto-koln-dvd-140388","title":"Bach: Johannes-Passion \/ Dijkstra, Concerto Köln","description":"\u003cp\u003eThe music of J.S. Bach's \"St. John Passion\", which the composer wrote for Holy Week in 1724, immediately after his appointment as cantor of St. Thomas's Church in Leipzig, still retains all its freshness and vitality nearly 300 years later, and is a true Baroque delight. The two main choruses \"Herr, unser Herrscher\" and \"Ruht wohl, ihr heiligen Gebeine\" form the beginning and culmination of a large-scale orchestral and vocal structure in which Bach reveals his absolute mastery of polyphony. Inwardly reflective chorales are as much interwoven into the events of the Passion as the haunting arias which comment on the biblical texts of the Gospel of St. John. Throughout this solemn Passion oratorio, there is a constant emphasis on Baroque musical magnificence. What makes this live recording of the concert version in March, 2015 so special? The fresh voices of the young and excellent vocal soloists, the regularly praised \"astonishing three-dimensionality\" and \"crystalline clarity\" of the Chor des Bayerischen Rundfunks under the direction of Peter Dijkstra and, of course, the renowned period instrument ensemble Concerto Köln.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"DVD","offer_id":46013205610730,"sku":"4035719005158","price":28.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3571968.jpg?v=1786652909"},{"product_id":"requiem-d-moll-kv-626-396581","title":"Mozart: Requiem (with Intro \u0026 Commentary) \/ Arman, Academy of Ancient Music Berlin","description":"\u003cp\u003eThe version submitted by Howard Arman for the Bavarian Radio Chorus is based on surviving Mozart sources as well as on his colleague Süßmayr's additions; in several places, however, it reaches new conclusions that are implemented with due caution and humble respect for Mozart's magnificent original. Mozart's \u003cem\u003eRequiem\u003c\/em\u003e is followed by Neukomm's Respond Libera me, Domine – and for musical, liturgical and chronological reasons, the programme begins with Mozart's \u003cem\u003eVesperae solennes de Confessore\u003c\/em\u003e KV 339 (1780), composed of psalms from the Old Testament as well as the Magnificat from the Gospel of St Luke and composed for the liturgical festival of a holy confessor. Howard Arman has prepended Mozart’s movements for the festival vespers with antiphons taken from the vespers \u003cem\u003eDe Confessore Pontifici\u003c\/em\u003e (for a confessor who was a bishop) of the Gregorian \u003cem\u003eLiber usualis\u003c\/em\u003e, and has also composed his own organ intonations to enhance the antiphons.\u003c\/p\u003e\n\u003cp\u003eAlthough it remained incomplete as Mozart’s last work, the \u003cem\u003eRequiem\u003c\/em\u003e in D minor (1791) ranks as one of the most important settings of the Latin Mass for the Dead ever written. Immediately after Mozart's all too premature death, his pupil Franz Xaver Süßmayr elaborated a completed version that is still appreciated and regularly performed to this day because of its close proximity to the original – and this despite a number of new adaptations created over the years that sometimes add cautious improvements to the Süßmayr version or instead follow their own lights entirely. – \u003cem\u003eMozart’s Requiem\u003c\/em\u003e KV 626 from 1791 is followed by Sigismund von Neukomm's \u003cem\u003eLibera me, Domine\u003c\/em\u003e, the Respond from the Liturgy of Exequies composed by Neukomm in 1821 as a liturgical completion of Mozart's \u003cem\u003eRequiem\u003c\/em\u003e for a performance in Rio de Janeiro (the Salzburg composer Neukomm had emigrated to Brazil in 1816).\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan id=\"ctl00_MainContent_gvReviews_cell11_12_ASPxPopupControl1_ASPxLabel2\" class=\"dxeBase_PlasticBlue\"\u003eHoward Arman conducts all pieces with assurance, in a period-informed style. Choral singing complements the accomplished period-informed playing of the thirty-four-strong Akamus on authentic instruments. The world-class Bavarian chorus shows a unanimity of cause, and supplies an inspired sacred sound, ardent, ample and immediate. Arman’s vocal soloists integrate splendidly and convincingly. Amid the emotional drama generated in the performances, the reverential nature of these sacred scores remains fundamental, and is honoured here faithfully.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"dxeBase_PlasticBlue\"\u003e–\u003cem\u003eMusicWeb International\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46013226975466,"sku":"4035719009262","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3851154-2606596.jpg?v=1786654516"},{"product_id":"fall-die-rose-von-stambul-schirmer-937388","title":"Fall: Die Rose von Stambul \/ Schirmer, Munich Radio Orchestra","description":"\u003cp data-mce-fragment=\"1\"\u003eOur Leo Fall cycle continues with Die Rose von Stambul (The Rose of Stamboul). This operetta in three acts offers music that is full of feeling. This highly emotional work celebrated its premiere with great success at the Theater an der Wien in 1916. Die Rose von Stambul’s 422 straight performances made it the most successful operetta in the history of the Theater an der Wien, next to Franz Lehár’s The Merry Widow. Within the shortest time performances followed throughout Central Europe. However, like Emmerich Kálmán’s The Csárdás Princess, it did not become an international success – primarily because of World War I, since the theaters of the Allied counties had stopped staging German-language works. Achmed Bey, the son of a Turkish minister, is married to Kondja, “The Rose of Stamboul.” However, she has exchanged letters with a passionate novelist and fallen in love with him. What she does not suspect: none other than her husband is behind this pseudonym –which provides plenty of opportunities for the expression of emotions – rendered in the Viennese waltz mode (“Ein Walzer muss es sein”) or tunes of Oriental flair.\u003c\/p\u003e","brand":"CPO","offers":[{"title":"CD","offer_id":46013252600042,"sku":"761203503629","price":36.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3978770-2717174_35baa905-8be3-45ef-8375-9b13fd41fc08.jpg?v=1786712745"},{"product_id":"protrait-jansons-bavarian-radio-symphony-71028","title":"Mariss Jansons: Portrait - Beethoven, Haydn, Mahler, R. Strauss \u0026 More \/ BRSO","description":"\u003cp\u003eIn an interview about great conductors with the newspaper \u003cem\u003eDie Welt\u003c\/em\u003e in 2015, Sir Simon Rattle said of Mariss Jansons, “He’s the best of all of us!” This new release from BR-Klassik focuses on the career of Mariss Jansons, and contains a total of five albums offering a representative cross-section of the classical symphonic repertoire- as well as a cross-section of the repertoire for which the chief conductor of the Symphonieorchester des Bayerischen Rundfunks has been highly praised again and again for his outstanding interpretative qualities. Landmarks of great choral music can be found here, as well as milestones in symphonic development and select orchestral songs. The works range from music of the First Viennese School to early 20th-century late romanticism; from Haydn’s “Harmoniemesse” to the Minuet from Haydn’s Symphony Hob. I:88; from Beethoven’s Fourth Symphony, Brahms’ Fouth Symphony and Mahler’s Ninth Symphony to Strauss’ \u003cem\u003eEine Alpensinfonie\u003c\/em\u003e.\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eREVIEW\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eJansons’ thoughtful interpretations are consistently clear and often profoundly insightful, and the playing of the Bavarian Radio Symphony Orchestra is impressive, whether in purely orchestral performances or with the Bavarian Radio Chorus in the Haydn and the Stravinsky. Considering Jansons’ high productivity, this set can only give a small sample of his many recordings, but fans who have yet to delve into his full repertoire will appreciate this package.\u003cbr\u003e \u003cbr\u003e – AllMusic Guide.com\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46013409165546,"sku":"4035719001570","price":24.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3756764.jpg?v=1786688021"},{"product_id":"bellini-i-capuleti-e-i-montecchi-abbado-142366","title":"Bellini: I Capuleti e I Montecchi \/ Abbado, Kasarova, Mei, Vargas, Munich Radio Symphony","description":"\u003cp\u003eI Capuleti e i Montecchi, Bellini’s exquisitely lyrical treatment of Romeo and Juliet, has garnered renewed popularity in recent decades. The 1998 Munich recording reissued here is one of the catalogue’s most acclaimed, particularly for the vibrant, expressive Romeo of mezzo Vesselina Kasarova and the conducting of Roberto Abbado, who, wrote Gramophone, “has Bellini’s lyricism within him (hear the finale to Act 1, for instance). He elicits fine playing from the Munich orchestra.”\u003c\/p\u003e","brand":"Sony Masterworks","offers":[{"title":"CD","offer_id":46013409624298,"sku":"889854043223","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3519882.jpg?v=1786640679"},{"product_id":"weber-der-freischutz-op-77-j-277","title":"Weber: Der Freischütz, Op. 77, J. 277","description":"Weber: Der Freischütz, Op. 77, J. 277","brand":"Urania Records","offers":[{"title":"CD","offer_id":46013434724586,"sku":"8051776572347","price":16.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3814869.jpg?v=1786646274"},{"product_id":"wolfgang-amade-mozart-imperial-hall-concerts-100th-856937","title":"Mozart: Imperial Hall Concerts","description":"\u003cp\u003eGermany’s oldest Mozart festival celebrates its 100th anniversary in 2021. The present jubilee boxed set presents previously unpublished treasures from the archive of the Bavarian Broadcasting. All live recordings from the Baroque Imperial Hall at Würzburg Residence are digital remasters.\u003c\/p\u003e","brand":"Orfeo","offers":[{"title":"CD","offer_id":46013457629418,"sku":"4011790210162","price":37.48,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3968953-2714226.jpg?v=1786713026"},{"product_id":"donizetti-la-favorite-kasarova-viotti-munich-radio-284349","title":"Donizetti: La favorite \/ Kasarova, Viotti, Munich Radio Orchestra","description":"This 1999 recording of Marcello Viotti conducting La Favorite is the most recent of the reissued sets from Sony. This four act grand opera by Donizetti is based on the play Le comte de Comminges by Bacular d’Arnaud. The work which premiered in 1840 at the Academie Royale de Musique in Paris has a French libretto by Alphonse Royer and Gustave Vaez. Ramon Vargas is a featured soloist, who has long been praised for his fluent, stylish arias. He meets the high range of these pieces with virtuosity. “(Marcello Viotti) gets the long lines of Donizetti’s melodies just right and holds the big ensembles together well. His Munich forces play and sing handsomely…” (ClassicsToday.com)","brand":"Sony Masterworks","offers":[{"title":"CD","offer_id":46015551242474,"sku":"888751947627","price":16.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3312442.jpg?v=1786644123"},{"product_id":"strauss-feuersnot-schirmer-eiche-woldt-schneider-schwinghammer-205084","title":"Strauss: Feuersnot \/ Schirmer, Eiche, Woldt, Schneider, Schwinghammer","description":"\u003cp\u003eJust after the 150th anniversary of Richard Strauss's birth, CPO are releasing a concert performance of his rarely performed sung poem \"Feuersnot\" under the baton of Ulf Schirmer. The satirist Ernst von Wolzogen, who wrote the libretto for this \"Bavarian burlesque\" founded the first literary cabaret in Berlin, the Ueberbrettl.\u003c\/p\u003e","brand":"CPO","offers":[{"title":"CD","offer_id":46019947266282,"sku":"761203792023","price":36.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2839319.jpg?v=1786725230"},{"product_id":"lachner-catharina-cornaro-weikert-munich-radio-orchestra-70260","title":"Lachner: Catharina Cornaro \/ Weikert, Munich Radio Orchestra","description":"\u003cp\u003eAt a time when the majority of German composers turned from the opera to the singspiel and its considerably smaller dimensions, Franz Lachner continued the tradition of the grand historical opera with Catharina Cornaro. Lachner’s once so very successful opera, last performed in Munich in 1903, was forgotten for many decades, but a few years ago the editor Volker Tosta of Stuttgart prepared a new edition of this work, its first published version, especially for the concert performance by the Munich Radio Orchestra. The action of the tragic opera is based on the true-life story of the Queen of Cyprus. Political intrigues and great passions distinguish the plot. It is difficult to believe that this musically so very appealing work, which captivated the audience at Munich’s Prince Regent Theater already with its highly atmospheric overture during the performance on which this album is based, ever could be forgotten. “With this opera the German school has been enriched with a dramatic work that has to be counted as one of the most genial and magnificent of the works belonging to it.” This is what the Allgemeine Musikalische Zeitung wrote after the premiere, and Max Zenger’s Geschichte der Münchner Oper of 1923 documents the pathbreaking effect of this opera when it states that Catharina Cornaro had “quite literally become Munich’s hallmark, like the two towers of the Cathedral of Our Lady.”\u003c\/p\u003e","brand":"CPO","offers":[{"title":"CD","offer_id":46020003463402,"sku":"761203781225","price":36.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3821134.jpg?v=1786701485"},{"product_id":"sondheim-sweeney-todd-henschel-stone-schirmer-241367","title":"Sondheim: Sweeney Todd \/ Henschel, Stone, Schirmer","description":"\u003cbr\u003e \u003cbr\u003e  \u003cspan class=\"COMPOSER12\"\u003eSONDHEIM \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eSweeney Todd \u003c\/span\u003e \u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e Ulf Schirmer, cond; Mark Stone (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eSweeney Todd\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Jane Henschel (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eMrs. Lovett\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Gregg Baker (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eAnthony Hope\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Rebecca Bottone (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eJohanna\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Jonathan Best (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eJudge Turpin\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Adrian Dwyer (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eBeadle Bamford\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Diana DiMarzio (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eBeggar Woman\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Ronald Samm (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003ePirelli\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Pascal Charbonneau (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eTobias\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Bavarian R Ch; Munich R O \u003c\/span\u003e \u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e BR 900316 (2 CDs: 123:59) Live: Munich 5\/6\/2012 \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eComposer-librettist Stephen Sondheim maintains that \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eSweeney Todd\u003c\/span\u003e \u003cspan\u003e is not an opera, and so does the annotator for the present release. Nevertheless, \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eSweeney Todd: The Demon Barber of Fleet Street\u003c\/span\u003e \u003cspan\u003e (its full title), since it premiered on Broadway in 1979, has been revived by several opera companies, including the New York City Opera, the Houston Grand Opera, and the Chicago Lyric Opera. Why? Musically, it is highly sophisticated, and operatic voices are not wasted on it. Furthermore, with its larger-than-life dramatic themes, including mistaken identity, lust, vengeance, obsession, madness, and murder, how more operatic could a theatrical work be? \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThere have been several recordings of this work, including the unforgettable original cast recording on RCA with Len Cariou in the title role, and Angela Lansbury in the role of Mrs. Lovett, his cheerfully amoral partner in crime. That version will never be eclipsed, but each new recording adds a welcome new perspective. The one reviewed here, recorded in the Munich’s Prinzregententheater, is the most operatic yet, even more than the one with the New York Philharmonic which features singers such as Heidi Grant Murphy (Johanna), John Aler (Beadle Bamford), and Paul Plishka (Judge Turpin). This time around, we have legitimate operatic singers in all of the main roles; only DiMarzio appears not to be a “classical” musician per se. In other words, here we have an ensemble of acting singers, as opposed to singing actors such as Cariou, Lansbury, George Hearn, Patti LuPone, and Michael Cerveris, who all have made major contributions to this opera’s . . . I mean, \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003emusical’s\u003c\/span\u003e \u003cspan\u003e performance history. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eIt turns out fairly well. I was immediately pulled in by Ulf Schirmer’s conducting, which is tense, taut, and stylish. In fact, you might not hear a better conducted \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eSweeney Todd\u003c\/span\u003e \u003cspan\u003e anywhere. The Bavarian Radio Choir also adds much to the success of this performance. Although their diction is less clear than that of English-speaking ensembles who have recorded this music, their dramatic involvement is high, as is their musicianship. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThis is an actual performance. Apparently the time, funds, or energy to correct the inevitable live lapses was unavailable, and thus we have oddities such as Henschel at one point rechristening Beadle Bamford as “Beadle Rumford.” A few memory lapses are covered professionally, but will leave those who know the show well asking, “What did (s)he just sing?” These issues are minor, though. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eI’m more concerned about two other points. One is the lack of (black, very black) humor in this production. For example, I can’t understand why, in “A Little Priest,” the wonderfully uncomfortable pun about a meat pie made from a general (“With or without his privates?”) has been removed. This is a grim show, still there is much about it that can be very funny, and allowing it to be so makes the gore and horror even more effective. As the original Mrs. Lovett, Angela Lansbury was charming and endearing; she might bake you into a meat pie, but you couldn’t stay angry with her for long! Henschel can’t inspire that kind of affection, and she makes it clear that her murderous instincts were present even before opportunity allowed them to come out. The other thing that concerns me is the way in which some of the big dramatic moments are almost thrown away. Todd’s aborted murder of Judge Turpin (interrupted by Anthony’s untimely arrival) should be a big moment, but it isn’t. Similarly, soon after, in Todd’s “Epiphany,” we should feel his mind crack and his murderous rage insanely swell to encompass all of mankind, not just the Judge, but Mark Stone is not that fine an actor, the direction is too hurried, and one of the show’s most Brechtian moments doesn’t come off. The last segment of the show, with its string of murders and its Grand Guignol effects, moves forward jerkily, sometimes grinding to a halt, and sometimes not pausing long enough to make its points. On Broadway, Harold Prince would have fixed these miscalculations, but, at least as I am hearing them on CD, they were not addressed in Munich’s Prinzregententheater. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eAll of the singing itself is very fine. One curiosity is a baritone Anthony; Gregg Baker’s voice is darker than Mark Stone’s. Anthony is supposed to be an inexperienced sailor, newly arrived in London, and the early scenes between him and Todd feel strange, because the voice relationships have been inverted from the original production. I really missed hearing a tenor’s voice soar into “Johanna,” one of Sondheim’s most rapturous love songs. Also, the multinational cast presents a variety of accents. In 1979, Cariou had almost no accent at all, while Lansbury made the most of hers. Here, we have the reverse: a cockney Todd in Baker, and a Mrs. Lovett of no particular nationality or region in Henschel. Someday, there will be a production of this work in which everyone gets on the same page with dialects. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eSo, if you want an operatic \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eSweeney Todd\u003c\/span\u003e \u003cspan\u003e, or a fresh look at it, this new recording will satisfy. It has many enjoyable moments, but a few unfortunate ones as well. If you do not know this show at all, however, the Broadway cast recording—still in print, thank goodness!—is the only place to begin. This show is one of the masterpieces of American musical theater, and absolutely needs to be heard. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan style=\"font-weight:bold\"\u003eFANFARE: Raymond Tuttle \u003c\/span\u003e\u003cbr\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46024137507050,"sku":"4035719003161","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2109104.jpg?v=1786631376"},{"product_id":"beruhmte-opernchore","title":"Berühmte Opernchöre","description":"Fuoco di gioia -at the beginning of Verdi's \"Otello\", the compatriots of the victorious protagonist cheer his triumphant return to his home port with a vocal \"fire of joy\". The opera quote is also the title of this new album recently recorded by the Bavarian Radio Chorus, together with the Münchner Rundfunkorchester under it's chief conductor Ivan Repušic. The opera chorus from \"Otello\" begins this selection of famous choruses and instrumental pieces from stage works of Italian belcanto (Verdi), Italian verismo (Leoncavallo, Puccini, Mascagni), Russian opera (Borodin, Glinka, Tchaikovsky), and the romantic operas of Richard Wagner. These very recent recordings from January, February and July 2019 contain well-known and enjoyable melodies that are perfect for singing along to (secretly or otherwise)!","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46024137900266,"sku":"4035719003291","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3738135-2519784.jpg?v=1786728799"},{"product_id":"verdi-i-due-foscari","title":"Verdi: I due Foscari","description":"Ivan Repusic, who made his debut as Principal Conductor of the Munchner Rundfunkorchester in the autumn of 2017 with Giuseppe Verdi's \"Luisa Miller\", now presents a further and lesser-known masterpiece by the famous Italian opera composer. The concert performance of Verdi's early stage work \"I due Foscari\" was recorded on November 25, 2018 at the Munich Prinzregententheater. Outstanding performers provide an authentic atmosphere and vocal magnificence, and no less a person than the multiple-award-winning Italian baritone Leo Nucci was successfully engaged for the role of the Doge of Venice. This highlight of the Munich music scene from late last year is now available from BR-KLASSIK as a double album. Verdi's early masterpiece \"I due Foscari\" was the first of the operas he wrote for the Teatro Argentina in Rome. He had already worked on the material (Lord Byron's drama \"The Two Foscari\"), and, after a first subject had been rejected by the Roman censors, Verdi returned to it and had the libretto written by Francesco Maria Piave. Although the opera's premiere on November 3, 1844 was only moderately successful and Verdi would even distance himself from it later on, the work was still frequently performed up to the 1870s. It was rediscovered during the early 1950s and has since become a fixed part of the international opera repertoire. The concert performance (sung in the Italian original) in Munich's Prinzregententheater received great acclaim from audience and critics alike, again justifying the Munchner Rundfunkorchester's strategy of successfully reviving underrated music-theatrical works by means of standard-setting performances. Ivan Repusic conducts a genuine theatrical Verdi here: vital, robust, fiery and extremely lively.","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46024138391786,"sku":"4035719003284","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3927497.jpg?v=1786686610"},{"product_id":"amor-fatale-rebeka-armiliato-munich-radio-orchestra-62625","title":"Amor fatale \/ Rebeka, Armiliato, Munich Radio Orchestra","description":"\u003cp\u003eMarina Rebeka is one of the most successful sopranos of her generation. To mark the occasion of the upcoming Rossini year of 2018, she and the Munchner Rundfunkorchester, conducted by Marco Armiliato, have recorded an album of highly dramatic opera arias that is now being released by BR-KLASSIK. The album \"Amor fatale\" offers the opportunity to reacquaint oneself with the great soprano arias from Rossini's less well-known but musically convincing tragic operas, in a fine interpretation.The concept album entitled \"Amor fatal\" focuses on powerful female roles from the operas Otello, Armida, La donna del lago (The Lady of the Lake), Maometto II, Semiramide (Semiramis), Moïse et Pharaon (Moses and Pharaoh) and Guillaume Tell (William Tell). The women are obliged to choose between love and duty, and frequently have to subordinate their personal fate to that of their family, nation or homeland.The Latvian soprano has quite some experience with roles in Rossini, above all from his great tragic operas: the role of Anna Erisso from Maometto II, which she performed in 2008 at the Rossini Opera Festival in Pesaro, the composer’s birthplace, marked the very start of her career. She went on to attract international attention in 2009 when she debuted at the Salzburg Festival, as Anaï in Moïse et Pharaon. For her album she has worked through Rossini's original handwritten manuscripts and included this in her performance; she also developed her own coloratura, which not only suits her voice both musically and technically, but also best corresponds to the specific stage events and emotions encountered in her respective operatic roles.\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46024138424554,"sku":"4035719003215","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3740130.jpg?v=1786625242"},{"product_id":"graupner-das-leiden-jesu-solistenensemble-ex-tempore-barockorchester-mannheimer","title":"Graupner: Das Leiden Jesu - Passion Cantatas \/ Solistenensemble Ex Tempore, Barockorchester Mannheimer Hofkapelle","description":"Classical Music","brand":"CPO","offers":[{"title":"CD","offer_id":46025339175146,"sku":"761203733026","price":36.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1550369.jpg?v=1786748478"},{"product_id":"lehar-das-furstenkind-schirmer-muenchner-rundfunkorchester","title":"Lehar: Das Furstenkind \/ Schirmer, Muenchner Rundfunkorchester","description":"\u003cp\u003eDas Fuerstenkind (The Prince’s Child) has always been an “insider’s tip” in Lehár’s oeuvre, and the composer himself regarded this robbers’ tale from Greece premiered in 1909 as one of his best works. It was also his problem child because it never became a sensational success. The reason may have been due to the works blurring of boundaries between opera and operetta.\u003c\/p\u003e","brand":"CPO","offers":[{"title":"CD","offer_id":46025345237226,"sku":"761203768028","price":36.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2248404.jpg?v=1786676424"}],"url":"https:\/\/arkivmusic.com\/collections\/chor-des-bayerischen-rundfunks.oembed?page=3","provider":"ArkivMusic","version":"1.0","type":"link"}