{"title":"Harvie S","description":"","products":[{"product_id":"bach-matthaus-passion-suzuki-bach-collegium-japan-65934","title":"Bach: Matthäus-Passion \/ Suzuki, Bach Collegium Japan","description":"\"Masaaki Suzuki brings to the St Matthew Passion the same devotional intensity that has characterised his Bach cantata recordings. This focus is immediately evident in the opening chorus\/chorale, which he imbues with compelling power despite opting to use relatively small vocal and orchestral forces throughout. It is evident, too, in Bach Collegium Japan’s impeccable performances, which bespeak a score explored in meticulous detail and with profound affection. There is certainly much to admire here: fierce turbas, gentle chorales, exemplary instrumental solos.\" \u003cbr\u003e  \u003cbr\u003e  \u003cb\u003e5 out of 5 stars for both sound and performace!\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e -- Graham Lock, BBC Music Magazine\u003cbr\u003e","brand":"BIS","offers":[{"title":"CD","offer_id":44711296270570,"sku":"7318591000020","price":39.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2262589.jpg?v=1778320986"},{"product_id":"britten-war-requiem","title":"Britten: War Requiem","description":"Britten: War Requiem","brand":"Naxos","offers":[{"title":"CD","offer_id":44711408304362,"sku":"730099455824","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/127353.jpg?v=1778341193"},{"product_id":"vivaldi-opera-iii-lestro-armonico-concerti-1-6","title":"Vivaldi: Opera III \"L'Estro Armonico\" - concerti 1\/6","description":"Classical Music","brand":"Tactus","offers":[{"title":"CD","offer_id":44716846186730,"sku":"8007194100747","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2563744.jpg?v=1778312063"},{"product_id":"alfano-madonna-imperia-8007068260126","title":"Alfano: Madonna Imperia \/ Gavazzeni, Ushiroda, Valerio, Carraro, Italian Philharmonic","description":"\u003cp\u003eAs soon as he had finished the finale of Turandot [1925-6], Alfano began working with political journalist and man of letters Arturo Rossato, [Vicenza 1882-1942]. He offered Alfano a libretto in one act, Madonna Imperia, based on La belle Impéria, by Honoré de Balzac. The fair lady of high society Imperia enjoys the protection of the chancellor of Ragusa and lives a life of pleasure in Constance among prelates and nobles and bewitches one of the bishop of Bordeaux’s young choristers, Filippo Mala, who declares his love for her and has to sing her a song as though he were a troubadour. This love arouses the jealousy of Ragusa, who makes Filippo go away and leave Imperia to him, but the passion between Imperia and Filippo wins out and the opera ends with an erotic encounter between the two offstage.\u003c\/p\u003e","brand":"Bongiovanni","offers":[{"title":"CD","offer_id":46012437856490,"sku":"8007068260126","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4118946-2879522.jpg?v=1778243053"},{"product_id":"mikis-theodorakis","title":"Mikis Theodorakis","description":"The Athens State Orchestra is the oldest symphony orchestra in Greece. On the occasion of Mikis Theodorakis' 100th birthday, GENUIN evokes the spirits of his homeland and of classical antiquity in three symphonic works by Greece's most famous composer-works that played an important role toward the end of his life: from the early \"Sinfonietta\" in a new version, through the folk-inspired \"Rhapsody for Guitar and Orchestra,\" to the equally moving nine-part \"Rhapsody for Cello and Orchestra,\" Theodorakis's last orchestral work. The young, rising Kornilios Michailidis leads Greece's premier orchestra with verve, while the album's soloists contribute at the highest standard of playing to these remarkable recordings!","brand":"Genuin","offers":[{"title":"CD","offer_id":46012617785578,"sku":"4260036255621","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4467046-3467443.jpg?v=1778195702"},{"product_id":"naivemoving-on","title":"Moving On","description":"\u003cp\u003eTHE CELEBRATED PIANIST JACKY TERRASSON, HAILED BY THE NEW YORK TIMES AS \"ONE OF THE THIRTY ARTISTS POISED TO SHAPE THE TRAJECTORY OF AMERICAN CULTURE,\" UNVEILS \"MOVING ON\". BACK IN FRANCE AFTER THREE DECADES IN NEW YORK, HE ORGANIZES A DOUBLE NATIONALITY TREASURE HUNT, MIXING CHOPIN AND JAZZ, WITH GUEST ARTISTS SUCH AS KAREEN GUIOCK-THURAM, CAMILLE BERTAULT AND GRÉGOIRE MARET. WITH A NEW-FOUND JOIE DE VIVRE, EACH PIECE TELLS AN ADVENTURE, A STORY, A DELICATE CELEBRATION OF HAPPINESS.\u003c\/p\u003e\n\n\u003cp\u003eIntroduced in The New York Times in 1994 as \"one of the thirty artists poised to shape the trajectory of American culture in the following three decades,\" pianist Jacky Terrasson has lived up to this acclaim by becoming the most widely heard French jazz musician on digital platforms. Born in Berlin in 1965 to an American mother and a French father, he pursued studies in classical piano in France before enrolling at the Berklee College of Music. In 1993, he clinched the prestigious Thelonious Monk Institute of Jazz International Piano Competition.\u003c\/p\u003e\n\n\u003cp\u003eHe began his career alongside luminaries such as Betty Carter, Dee Dee Bridgewater, Cassandra Wilson, Charles Aznavour, Guy Lafitte, Barney Wilen, and Ray Brown. Terrasson made his mark. Signing with the legendary Blue Note label under the stewardship of its iconic president, Bruce Lundvall, he embarked on a remarkable 25-year journey of success. An indefatigable globetrotter, he graces the stages of the most illustrious jazz and piano festivals across Europe, the United States, South America, and Asia.\u003c\/p\u003e\n\n\u003cp\u003e\"Moving On,\" the title of Jacky Terrasson’s new album perfectly sums up the new aspirations \"of the most traveling of jazz pianists, a pianist of happiness\" (Telerama). After being the muse of the majors (Blue Note \u0026amp; Universal), it is a new adventure as an artist producer and a new path that Jacky Terrasson decided to begin by creating his own label (Earth Sounds). It is also, after 30 years spent in New York, his choice to live again in France, the country where he grew up. But also continue to play regularly on the American continent, a subtle treasure hunt between leaving and returning to the two countries of his dual nationality. It also means offering two trio recording sessions (in France and New York) for the same record with numerous guests: the singers Kareen Guiock-Thuram and Camille Bertault, the harmonica player Grégoire Maret, and the drummers Billy Hart and Eric Harland. And finally, fully embrace his thirst to bring together a Chopin prelude with a jazz standard (Besame Mucho), to invite a bird recorded in Borneo which becomes a piece (Edit Piaf), to write and compose music for his friends (Are you following me, put into words by Camille Bertault), for his desires (Love Light), his travels (AF 006), and to be happy (Happy by Pharell Williams like a fireworks display almost bringing together all the musicians on the album). Behind each title hides an adventure, a story, depth, and the desire to always want to enjoy life with delicacy.\u003c\/p\u003e\n\n\u003cp\u003e15 titles, including 8 exclusive to the CD edition.\u003c\/p\u003e","brand":"Naïve","offers":[{"title":"CD","offer_id":46012657402090,"sku":"3700187684198","price":9.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4322657-3140872.jpg?v=1778212449"},{"product_id":"webern-vocal-and-orchestral-works-craft-arnold-118013","title":"Webern: Vocal and Orchestral Works \/ Craft, Arnold, Booth, Et Al","description":"\u003cbr\u003e \u003cbr\u003e  \u003cspan class=\"COMPOSER12\"\u003eWEBERN \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eRicercata from Bach’s “Musical Offering.”\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e5 \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003e2 Songs,\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e op. 19.\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e4,6 \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003e5 Movements for String Orchestra.\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e6 \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003e2 Songs,\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e op. 8.\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e1,5 \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003e5 Pieces for Orchestra,\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e op. 10.\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e6 \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003e4 Songs, \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eop. 13.\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e1,5 \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003e6 Songs, \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eop. 14.\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e1,5 \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003e5 Sacred Songs,\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e op. 15.\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e1,5 \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eDas Augenlicht.\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e4,6 \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eVariations for Orchestra.\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e5 \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eSecond Cantata\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e2,3,4,6 \u003c\/span\u003e \u003cspan class=\"BULLET12b\"\u003e•\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e Robert Craft, cond; Tony Arnold (sop);\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e1\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e Claire Booth (sop);\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e2\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e David Wilson-Johnson (bs);\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e3\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e Simon Joly Ch;\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e4\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e 20th Century Classics Ens;\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e5\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e Philharmonia O\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e6 \u003c\/span\u003e \u003cspan class=\"BULLET12b\"\u003e•\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e NAXOS 8.557531 (79:32) \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eCraft was the first to record Webern’s “complete” works, back in the 1950s. His four-\u003c\/span\u003e \u003cspan style=\"text-decoration:underline\"\u003eLP\u003c\/span\u003e \u003cspan\u003e monaural Columbia album was a revelation—and a tribute to the commercial daring of Columbia’s Goddard Lieberson. Although there had been four or five earlier recordings of single Webern works, Craft’s set joined only one other Webern piece in the 1957 \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eSchwann\u003c\/span\u003e \u003cspan\u003e catalogs. It was to remain available for more than two decades, until succeeded by Boulez’s stereo remake in 1979, dubbed—at the last minute—Vol. 1 because a trove of previously unknown works had been discovered. While the stereo LPs were a great improvement, both for their sound quality and their performances, the latter were due to the singers and players more than to the conductor. Webern had gained respect—indeed, had become the guru of musical academia—and musicians were leaning how to perform his works. The learning curve continued well into the CD era; an appropriate punctuation being the 1992 appearance of a superb Webern disc by the Netherlands Ballet Orchestra (nla). Now everyone could play Webern (if not yet sing him), not just the \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eavant-garde\u003c\/span\u003e \u003cspan\u003e specialists. Listeners of my generation learned Webern from that first Craft set, and we are forever in his debt. If he could not then convince us of the music’s beauty, he drew our attention and piqued our interest. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThe Twentieth Century Classics Ensemble is a group contracted for Craft’s recordings, its players handpicked by cellist Fred Sherry. Personnel listings for each piece show it to include the best of free-lance American musicians—I am almost afraid to name some, for fear of slighting equally superb colleagues: Charles Neidlich, William Purvis, Paul Neubauer, and Sherry are so well known that I don’t even need to list their instruments. Soprano Arnold, professor of voice at SUNY Buffalo, is a renowned new-music specialist; she sings Webern with glorious panache. These recordings were made during 2007 and 2008—the Philharmonia sessions at EMI’s Abbey Road Studio No. 1, the American ones at SUNY Purchase, New York, and at the American Academy of Arts and Letters in New York City. The solo songs (at SUNY) are clean and clear, but the chorus (at Abbey Road) is set in a reverberant acoustic that denies us the exact words, even with libretto in hand. As usual with Naxos, librettos are posted on the Internet, but the texts of \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eDas Augenlicht\u003c\/span\u003e \u003cspan\u003e and of the Second Cantata are missing. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eOne of the pleasures of any Craft release is reading his feisty, superbly informed, damn-the-torpedoes program notes. As usual, he insists that these performances are the only correct ones: “[W]e can blame the failure to understand this piece [the op. 30 Variations] on the ignoring of Webern’s admonition to follow his metronomic markings. The present recording is the first attempt to play the work at metronomic speed. Thus, the DGG [Abbado? Boulez?] trudges along at about 116 for the fast pulsation, as against the required 160, and continues at nearly the same 116 for the slow beat.” In addition to his chutzpah, Craft is usually right. Despite that statement, Craft’s Webern performances are generally softer and more listener-friendly than either Abbado’s sophisticated, highly polished renditions or Boulez’s careful but often stolid performances. Although dubbed the BBC Singers, Boulez’s chorus is also directed by Simon Joly; with the Webern \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eœuvre\u003c\/span\u003e \u003cspan\u003e now doubled, Boulez’s DG recordings fill six CDs and are currently distributed only in a complete set. For the op. 30 \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eVariations\u003c\/span\u003e \u003cspan\u003e, however, I recommend the vibrant, superbly recorded performance by Jac van Steen on a surround-sound SACD, MDG 901 1425. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan style=\"font-weight:bold\"\u003eFANFARE: James H. North \u003c\/span\u003e\u003cbr\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":46013253910762,"sku":"747313253128","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1539261.jpg?v=1778288296"},{"product_id":"schoenberg-six-songs-for-soprano-and-orchestra-105617","title":"Schoenberg: Six Songs for Soprano and Orchestra \/ Craft, Welch-Babidge","description":"\u003cbr\u003e \u003cbr\u003e  \u003cspan class=\"COMPOSER12\"\u003eSCHOENBERG \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003e6 Songs, \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eop. 8.\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e1 \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eFriede auf Erden.\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e2 \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003e6 Pieces,\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e op. 35.\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e3 \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eEi, du Lütte.\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e4 \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eKol Nidre.\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e5 \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eMoses und Aron:\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e act II, sc. 3 excerpts\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e6 \u003c\/span\u003e \u003cspan class=\"BULLET12b\"\u003e•\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e Robert Craft, cond; Jennifer Welch-Babidge (sop);\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e1,6\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e David Wilson-Johnson (rabbi-narr);\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e5\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e Simon Joly Chorale;\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e2–6\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e Philharmonia O\u003c\/span\u003e \u003cspan class=\"SUPER12\"\u003e1,5,6 \u003c\/span\u003e \u003cspan class=\"BULLET12\"\u003e•\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e NAXOS 8.557525 (78:31) \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eIt’s our job to listen carefully to every recording, but I sometimes put on a disc—for its first hearing—while doing something else, just to let its music seep into my (un?) consciousness. My immediate response was: This is \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eSchoenberg\u003c\/span\u003e \u003cspan\u003e? Most of the Six Songs, op. 8, of 1903–04 have somehow escaped this Schoenberg-lover; they are all flat-out gorgeous. The Brahms-loving composer leaned more on Wagner here, the rich harmonies only a touch more adventurous than his. The vocal writing is thoroughly operatic; these could be six dramatic arias, each with an orchestral prelude and postlude. The orchestrations are varied and colorful, hinting at Zemlinsky and even Tchaikovsky, as well as \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eThe Ring\u003c\/span\u003e \u003cspan\u003e. The results are closer to \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eGurrelieder\u003c\/span\u003e \u003cspan\u003e than to anything else of Schoenberg. Perhaps the popularity of these songs has been limited because they are not a united song cycle but six separate works, or perhaps it’s because no one has sung them like Welch-Babidge (there are recordings by Anya Silya and by Eva Marton). I was not particularly impressed by her Marzelline in the Met’s \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eFidelio\u003c\/span\u003e \u003cspan\u003e, but she is magnificent here, displaying full, rounded tones over a wide register and dynamic range, consistently landing on pitch across many leaps. Her voice recalls a young Phyllis Bryn-Julson, although I never heard the latter tackle dramatic writing with such a high tessitura. Each song is a major piece; they vary in length from one-and-a-half to nearly six minutes, spanning over 25 minutes altogether. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThis is the \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003ea cappella\u003c\/span\u003e \u003cspan\u003e original of \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eFriede auf Erden \u003c\/span\u003e \u003cspan\u003e(“Peace on Earth”), written in 1907 when Schoenberg was searching for new ways but hadn’t yet settled on any. Craft’s chorus manages the difficult music well, but the piece still fails to make much of an effect. The Six Pieces for male chorus (“Inhibitions,” “The Law,” “Expression,” “Happiness,” “Mercenaries,” and “Obligation”) are no more successful. Schoenberg wrote his own texts, which are poorly expressed pieces of vague social and religious philosophy—at least in English translation; it’s difficult to imagine what he had in mind. The music may be more interesting to analyze than to hear; Craft does so at length in his always-educational program notes. \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eEi, du Lütte\u003c\/span\u003e \u003cspan\u003e (“Oh, you little one”) is a brief, charming chorus written when Schoenberg was 21. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eWith \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eKol Nidre\u003c\/span\u003e \u003cspan\u003e (1938) we return to top-notch Schoenberg—the return of the orchestra is equally welcome. The \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eKol Nidre\u003c\/span\u003e \u003cspan\u003e is a Jewish liturgy; Schoenberg—writing in English—had objections to the historical text, but his modifications merely served to get his piece banned from use in synagogues. This performance is sensational, putting all others I have heard to shame. Craft and the Philharmonia realize all of the music’s oddly moving details, and Wilson-Johnson, who is a singer rather than an actor, gives a superb reading of the extensive, dramatic narration, a no-holds-barred emoting which works perfectly in this wild piece. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThree excerpts from “The Golden Calf at the Altar” scene of \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eMoses und Aron\u003c\/span\u003e \u003cspan\u003e are an odd filler, as there are several top-notch presentations of the opera on disc (and a superlative one on DVD; see \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eFanfare\u003c\/span\u003e \u003cspan\u003e 31:2, page 344). Craft matches any of them but does not offer any special insight, nor does Welch-Babidge singing the Young Girl. The best part may be Craft’s notes: “An orgy follows, but at this point the excerpt ends.” And so does the disc. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThe generally excellent recordings come from six sessions held from 2003 to 2006, all at Abbey Road Studio One. The orchestral songs are very well balanced; Welch-Babidge remains in front of the orchestra, yet instrumental details are always clear, and the whole has beauty and life. An awkward splice at 1:29 of the opening song is unfortunate. A major handicap to appreciating this all-vocal disc is the lack of texts. They are available, but only in German, at www.naxos.com\/libretti\/557525.htm. Sony’s two-CD set of Schoenberg choral music under Boulez (44571) has German and English texts for much of this music, but not the songs for soprano. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eFor the orchestral songs and \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eKol Nidre\u003c\/span\u003e \u003cspan\u003e, a Want List candidate. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan style=\"font-weight:bold\"\u003eFANFARE: James H. North \u003c\/span\u003e\u003cbr\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":46013297721578,"sku":"747313252527","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1206654.jpg?v=1778382468"},{"product_id":"bach-cantatas-vol-48-7318599918815","title":"Bach: Cantatas, Vol. 48","description":"Classical Music","brand":"BIS","offers":[{"title":"SACD","offer_id":46013312237802,"sku":"7318599918815","price":21.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2263837.jpg?v=1778298754"},{"product_id":"weber-der-freischutz-erod-sachsischer-staatsopernchor-79192","title":"Weber: Der Freischutz \/ Erod, Sachsischer Staatsopernchor","description":"\u003ca class=\"links\" href=\"album.jsp?album_id=2147643\"\u003e\u003cb\u003eAlso available on Blu-ray\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e  \u003cbr\u003e Carl Maria von Weber’s dark Romantic era tale of love, faith, and temptation is grippingly performed by the Dresden Staatskapelle led by conductor, Christian Thielemann in this live DVD performance from early 2015. With highly acclaimed staging by Axel Köhler, the singers in leading roles add to the luster of the production with the tenor Michael König’s performance of the anti-hero Max displaying a gloriously free upper register bringing heroic weight to his role and Sara Jakubiak sweet toned and melancholic Agathe.\u003cbr\u003e  \u003cbr\u003e Carl Maria von Weber\u003cbr\u003e  DER FREISCHÜTZ\u003cbr\u003e \u003cbr\u003e  Ottokar - Adrian Eröd\u003cbr\u003e  Kuno - Alberto Dohmen\u003cbr\u003e  Agathe - Sara Jakubiak\u003cbr\u003e  Ännchen - Christina Landshamer\u003cbr\u003e  Kaspar - Georg Zeppenfeld\u003cbr\u003e  Max - Michael König\u003cbr\u003e  Ein Eremit - Andreas Bauer\u003cbr\u003e  Kilian - Sebastian Wartig \u003cbr\u003e \u003cbr\u003e  Saxon State Opera Chorus\u003cbr\u003e  (chorus master: Jörn Hinnerk Andresen)\u003cbr\u003e  Dresden Staatskapelle\u003cbr\u003e  Christian Thielemann, conductor\u003cbr\u003e \u003cbr\u003e  Axel Köhler, stage director\u003cbr\u003e  Arne Walther, set designer\u003cbr\u003e  Katharina Weissenborn, costume designer\u003cbr\u003e  Fabio Antoci, lighting designer\u003cbr\u003e \u003cbr\u003e  Recorded at Semperoper Dresden, 2015 \u003cbr\u003e \u003cbr\u003e  Picture format: NTSC 16:9\u003cbr\u003e  Sound format: PCM Stereo \/ DTS 5.0\u003cbr\u003e  Region code: 0 (worldwide)\u003cbr\u003e  Subtitles: German, English, French, Spanish, Chinese, Korean, Japanese Booklet notes: English, German, French\u003cbr\u003e  Running time: 149 mins\u003cbr\u003e  No. of DVDs: 2 (1x DVD 9 + 1x DVD 5)\u003cbr\u003e","brand":"C Major Entertainment","offers":[{"title":"DVD","offer_id":46019956441322,"sku":"814337013318","price":51.99,"currency_code":"USD","in_stock":false},{"title":"Blu-Ray","offer_id":46019956474090,"sku":"814337013325","price":45.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3038183.jpg?v=1778385125"},{"product_id":"artur-lemba-chamber-music-vol-2","title":"Artur Lemba: Chamber Music, Vol. 2","description":"The music of Artur Lemba has been strangely neglected, even in his native Estonia - although during his lifetime (1885-1963) he was held in high regard as pianist and teacher. That oversight is all the more surprising in view of the expansive, passionate lyricism of his writing - listeners who enjoy the music of Tchaikovsky and Rachmaninov are likely to warm to Lemba's full-blooded Romantic style. This second release in a pioneering series discovering his chamber music reveals three expansive, big-hearted works full of personality.","brand":"Toccata","offers":[{"title":"CD","offer_id":46025292153066,"sku":"5060113447951","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4503338-3553310.jpg?v=1778221790"},{"product_id":"ultimate-chant-music-of-ethereal-beauty-133332","title":"Ultimate Chant - Music Of Ethereal Beauty","description":"The sound of unaccompanied chant moves and inspires those seeking the sublime. In our increasingly busy and secularized world, people return to chant, regardless of their religious beliefs, for the peace and calm that this eternal music offers.","brand":"Naxos","offers":[{"title":"CD","offer_id":46025567469802,"sku":"747313800773","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1600139.jpg?v=1778254133"},{"product_id":"prokofiev-s-amour-des-3-oranges-l-dno-2005-ntsc","title":"PROKOFIEV, S.: Amour des 3 Oranges (L') (DNO, 2005) (NTSC)","description":"Alain Vernhes, Martial Defontaine, and Francois Le Roux star in this Netherlands Opera production of the Prokofiev opera conducted by Stephane Deneve.","brand":"Opus Arte","offers":[{"title":"DVD","offer_id":46025570517226,"sku":"809478009573","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/968205.jpg?v=1778224859"},{"product_id":"mussorgsky-boris-godunov-noseda-anastassov-zubov-marianelli-123583","title":"Mussorgsky: Boris Godunov \/ Noseda, Anastassov, Zubov, Marianelli, Storey, Bronder [blu-ray]","description":"\u003cb\u003eThis Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e  \u003ca class=\"links\" href=\"album.jsp?album_id=594714\"\u003e\u003cb\u003eAlso available on standard DVD\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e  \u003cbr\u003e oris Godunov is the story not only of a troubled leader but of an entire nation, and its history is as eventful as that of Mother Russia herself. In this new production, the legendary director Andrei Konchalovsky presents a personal vision of the opera that takes Mussorgsky’s bare and monumental first version as its basis, while adding the final scene from the composer’s revision, in which not only the Tsar but the people themselves reveal their fatal flaws.\u003cbr\u003e  \u003cbr\u003e Orlin Anastassov stars in the title role, conducted by Gianandrea Noseda.\u003cbr\u003e  \u003cbr\u003e ‘’Orchestrally and vocally outstanding’’ -- The Opera Critic\u003cbr\u003e  \u003cbr\u003e Modest Mussorgsky\u003cbr\u003e  BORIS GODUNOV\u003cbr\u003e  production based on the original 1869 version, with final scene of revised 1872 version\u003cbr\u003e  (Blu-ray Disc Version)\u003cbr\u003e \u003cbr\u003e  Boris – Orlin Anastassov\u003cbr\u003e  Xenia – Alessandra Marianelli\u003cbr\u003e  Fyodor – Pavel Zubov\u003cbr\u003e  Grigory – Ian Storey\u003cbr\u003e  Pimen – Vladimir Vaneev\u003cbr\u003e  Prince Shuisky – Peter Bronder\u003cbr\u003e  Andrey Shchelkalov – Vasily Ladyuk\u003cbr\u003e  Varlaam – Vladimir Matorin\u003cbr\u003e  Missail – Luca Casalin\u003cbr\u003e  Innkeeper – Nadezhda Serdyuk\u003cbr\u003e  Holy Fool – Evgeny Akimov\u003cbr\u003e  Nurse – Elena Sommer\u003cbr\u003e  Nikitich – John Paul Huckle\u003cbr\u003e  Mityukha – Oliviero Giorgiutti\u003cbr\u003e  Boyar-in-attendance – Matthias Stier\u003cbr\u003e  Khrushchyov – Andrei Konchalovsky\u003cbr\u003e \u003cbr\u003e  Torino Teatro Regio Chorus and Orchestra\u003cbr\u003e  Gianandrea Noseda, conductor\u003cbr\u003e \u003cbr\u003e  Andrei Konchalovsky, stage director\u003cbr\u003e \u003cbr\u003e  Recorded live from the Teatro Regio, Turin, 7–13 October 2010.\u003cbr\u003e \u003cbr\u003e  Bonus:\u003cbr\u003e  - Cast Gallery\u003cbr\u003e  - Interviews with Andrei Konchalovsky and Gianandrea Noseda\u003cbr\u003e \u003cbr\u003e  Picture format: 1080i High Definition\u003cbr\u003e  Sound format: LPCM Stereo 2.0 \/ DTS 5.1\u003cbr\u003e  Region code: 0 (worldwide)\u003cbr\u003e  Menu language: English\u003cbr\u003e  Subtitles: English, French, German, Spanish\u003cbr\u003e  Running time: 164 mins\u003cbr\u003e  No. of Discs: 1 (Blu-ray)\u003cbr\u003e","brand":"Opus Arte","offers":[{"title":"Blu-Ray","offer_id":46025612067050,"sku":"809478070870","price":39.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1877892.jpg?v=1778386042"},{"product_id":"symphony-8-154445","title":"Symphony 8","description":"Diamond dedicated his Symphony No. 8 to his friend and mentor, composer Aaron Copland on the occasion of his sixtieth birthday. The work was completed in November 1960 and received it's premi�re with Leonard Bernstein and the New York Philharmonic on 27th October, 1961. While essentially tonal in harmonic language, Diamond incorporated highly chromatic elements and even a twelve-note tone row, not unlike what the Symphony's dedicatee was doing during this same period in his Connotations, though Diamond's work is far less aggressively dissonant in overall sound. The composer provided these notes for the premi�re performance:   I. Moderato-Adagio-Allegro vivo. The basic row is proclaimed in the very opening bars of the introduction; it is in two halves. The first, a forceful rhythmic theme of five notes (4\/4), is thundered out by the orchestra tutti. The second, a more lyric theme of seven notes (3\/4), is sung softly by a single clarinet. Thematically, the second phrase is destined to be the more important; in fact, the row is immediately rearranged and presented by a solo horn, which starts with this second phrase in an even more lyric version, and concludes with a lyric transformation of the thundering five-note opening. The fast body of the movement, a free sonata-allegro structure, starts with a heavily syncopated version of the row as presented by the French horn. This is the principal theme; a contrasting second theme is presented at a more relaxed tempo by a solo clarinet, ben cantando, over a soft counterpart of strings. Both themes are developed, and return in very nearly their original form during the course of this long but highly concentrated movement. The conclusion is a stunning climax compounded of the essence of both themes.  II. Theme (Adagio), Variations and Double Fugue. After a two-measure introduction, which turns into a sequential accompaniment, the first violins begin a high, flowing melody that is the theme (3\/4). Soon the orchestral basses and cellos enter with this same melody, while the violins continue the forty-measure theme. Variation No. 1 is a canon, in which the violins lead and cellos follow with the same melody, always at a distance of one measure. There are seven variations in all, the last of which repeats a long section from No. 1, and then leads without pause into the lively double-fugue. The first principal theme of this is derived from the principal theme of the first movement. Other themes from the first movement make their appearance, too, as the Symphony moves on to it's climax and conclusion.","brand":"Naxos","offers":[{"title":"CD","offer_id":46026405511402,"sku":"636943915622","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/639270.jpg?v=1778282968"},{"product_id":"mahler-symphonies-nos-7-9","title":"Mahler: Symphonies Nos. 7-9","description":"In a nearly unmatchable seven decades-plus of public exposure as a conductor of more than 150 orchestras that included nearly every major American orchestra, more than 5,000 concert appearances and 300 official recordings, Lorin Maazel can be said to have been one of the most important figures in 20th and early 21st c. music. His recordings of symphonic cycles of composer’s complete orchestral works include those of Beethoven, Brahms, Debussy, Schubert, Tchaikovsky, Rachmaninoff, and Richard Strauss, for which he won an astonishing ten Grands Prix du Disques. Another composer who figures prominently and importantly in his discography and concert performances is Gustav Mahler, to which this last of three issued sets of symphonies, recorded live with the Philharmonia Orchestra at London’s Royal Festival Hall, concluding a much-lauded symphony cycle, sees release on Signum Classics. “... it’s wonderfully stylish: that hesitant Viennese-style playing-around and a lovely warm string sound ...” (BBC Radio 3) “This second volume, along with the first, is a treasured set on my shelves. 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This is the first DVD released of this material.\u003cbr\u003e  \u003cbr\u003e  Sergey Prokofiev: The Tale of the Stone Flower, Op. 118: Act I\u003cbr\u003e  Danila – Yuri Soloviev\u003cbr\u003e  Katerina – Alla Sizova\u003cbr\u003e  Mistress of Copper Mountain – Alla Osipenko\u003cbr\u003e  Severyan – Anatoli Gridin\u003cbr\u003e  Kirov Ballet\u003cbr\u003e  Royal Opera House Orchestra, Covent Garden\u003cbr\u003e  Niyazi, conductor\u003cbr\u003e  Yuri Grigorovich, choreographer\u003cbr\u003e  Recorded from the Royal Opera House, Covent Garden on July 1960 \u003cbr\u003e  \u003cbr\u003e  Pyot’r Ilyich Tchaikovsky: Swan Lake, Op. 20, Act II: Scene and pas de deux\u003cbr\u003e  Odette – Galina Ulanova\u003cbr\u003e  Prince Siegfried – Nicolai Fadeyechev\u003cbr\u003e  Bolshoi Ballet\u003cbr\u003e  Royal Opera House Orchestra, Covent Garden\u003cbr\u003e  Yuri Faier, conductor\u003cbr\u003e  Lev Ivanov and Alexander Gorsky, choreographer\u003cbr\u003e  Broadcast from the Royal Opera House, Covent Garden on 21 October 1956 \u003cbr\u003e  \u003cbr\u003e  Sergey Prokofiev: Cinderella, Op. 87, Act II: Cinderella and the Prince at the ball\u003cbr\u003e  Cinderella – Raisa Struchkova\u003cbr\u003e  The Prince – Mikhail Lavrovsky\u003cbr\u003e  Bolshoi Ballet\u003cbr\u003e  Bournemouth Symphony Orchestra\u003cbr\u003e  Alexander Kopylov, conductor\u003cbr\u003e  Algis Zhuraitis, conductor\u003cbr\u003e  Rostislav Zakharov, choreographer \u003cbr\u003e  \u003cbr\u003e  Adolphe Adam: Giselle, Act II: Giselle and Albrecht \u003cbr\u003e  Giselle – Ekaterina Maximova\u003cbr\u003e  Prince Albrecht – Maris Liepa\u003cbr\u003e  Bolshoi Ballet\u003cbr\u003e  Bournemouth Symphony Orchestra\u003cbr\u003e  Alexander Kopylov, conductor\u003cbr\u003e  Algis Zhuraitis, conductor\u003cbr\u003e  Jean Coralli and Jules Perrot, choreographer \u003cbr\u003e  \u003cbr\u003e  Aram Khatchaturian: Gayaneh, Act IV: Gayaneh and Armen \u003cbr\u003e  Gayaneh – Nina Timofeyeva\u003cbr\u003e  Armen – Nikolai Fadeyechev \u003cbr\u003e  Bolshoi Ballet\u003cbr\u003e  Bournemouth Symphony Orchestra\u003cbr\u003e  Alexander Kopylov, conductor\u003cbr\u003e  Algis Zhuraitis, conductor \u003cbr\u003e  Nina Anisimova, choreographer \u003cbr\u003e  \u003cbr\u003e  Ludwig Minkus: Don Quixote, Act I: Kitri and Basilio \u003cbr\u003e  Kitri – Maya Plisetskaya\u003cbr\u003e  Basilio – Vladimir Vasiliev \u003cbr\u003e  Bolshoi Ballet\u003cbr\u003e  Bournemouth Symphony Orchestra\u003cbr\u003e  Alexander Kopylov, conductor\u003cbr\u003e  Algis Zhuraitis, conductor \u003cbr\u003e  Alexander Gorsky, choreographer \u003cbr\u003e  Recorded from 26–30 July 1963 \u003cbr\u003e  \u003cbr\u003e  Picture format: NTSC 4:3 B\/W\u003cbr\u003e  Sound format: Enhanced Mono\u003cbr\u003e  Region code: 0 (worldwide)\u003cbr\u003e  Running time: 81 mins\u003cbr\u003e  No. of DVDs: 1\u003cbr\u003e","brand":"ICA Classics","offers":[{"title":"DVD","offer_id":46027685200106,"sku":"5060244550742","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1987318.jpg?v=1778325772"},{"product_id":"aribert-reimann-melusine-167913","title":"Aribert Reimann: Melusine","description":"\u003cbr\u003e \u003cbr\u003e  \u003cspan class=\"COMPOSER12\"\u003eREIMANN \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eMelusine \u003c\/span\u003e \u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e Peter Hirsch, cond; Marlene Mild (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eMelusine\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Teresa Erbe (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003ePythia\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Gabriele May (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eMadame Lapérouse\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Richard Kindley (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eMax Oleander\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Song-Hu Liu (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eCount Von Lusignan\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Nuremberg P \u003c\/span\u003e \u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e WERGO WER 6719 2 (2 CDs: 96:47 \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eText and Translation) Live: Nuremberg 5\/12\/2007 \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eAribert Reimann (b. 1936) has pursued a dual career as composer and pianist; he was Dietrich Fischer-Dieskau’s accompanist for 20th-century repertoire. Reimann has written perhaps 50 major works in many forms, most of them including the voice. He is best known for his ambitious operas based on major literary works: \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eThe Trojan Women \u003c\/span\u003e \u003cspan\u003e(Euripedes), \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eA Dream Play\u003c\/span\u003e \u003cspan\u003e and \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eThe Ghost Sonata\u003c\/span\u003e \u003cspan\u003e (Strindberg), \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eThe Castle\u003c\/span\u003e \u003cspan\u003e (Kafka), \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eThe House of Bernarda Alba\u003c\/span\u003e \u003cspan\u003e (Lorca), \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eMedea\u003c\/span\u003e \u003cspan\u003e (after Franz Grillparzer), and—talk about ambitious—Shakespeare’s \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eLear\u003c\/span\u003e \u003cspan\u003e, the latter written for Fischer-Dieskau, who suggested the subject and sang the 1978 premiere, recorded live by Deutsche Grammophon. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThe 1971\u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003e Melusine\u003c\/span\u003e \u003cspan\u003e, based on a play by Yvon Goll, is the “Pastoral” Symphony of Reimann’s dramas, a breath of fresh air amid all that heavy breathing. It is the classic story of a mermaid who loves a mortal, for which they both must pay with their lives—\u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eRusalka\u003c\/span\u003e \u003cspan\u003e moved to the big city, or at least to a park at the edge of town. Max’s former lover, Madame Lapérouse, has arranged his marriage to Melusine, who remains virginal despite his complaints. She in turn consorts with her magical friends in the woods; the fairy Pythia (her Ježibaba) gives her the fishtail, which “closes her loins but makes her irresistible to men,” some of whom die for her. Finally, she falls for the Count, and you know the rest. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eAs befits a fairy tale, the elegant music is lighter and easier than the dense, mostly serial expressionism of \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eLear \u003c\/span\u003e \u003cspan\u003eand \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eThe Castle\u003c\/span\u003e \u003cspan\u003e, and the spare, harsh melodrama of \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eBernarda Alba\u003c\/span\u003e \u003cspan\u003e. But the most fascinating—astonishing—thing about \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eMelusine\u003c\/span\u003e \u003cspan\u003e is the title character’s vocal line, which makes the Queen of the Night sound like a basso profundo. It has easily the highest tessitura I have ever encountered, probably around a’’, with excursions up through the next octave. Even more amazing is the apparent ease with which Marlene Mild handles the range and the coloratura; there is no screeching or squeaking here, and—after the astonishment wears off—her singing comes to seem natural for this mythical, magical creature. Baritone Song-Hu Liu is also marvelous as the Count; they share a long, gorgeous duet in the final act, which is surrounded by two impressive orchestral interludes. The whole cast is eminently satisfactory, as is the orchestra. The opera is a bit slow to get started—scene 1 is a tedious debate between Max and Madame which brings us up to snuff on who’s who and what’s what—but it takes wing with Melusine’s entrance. The live recording is clear and clean, with no audience intrusions. German and English texts appear on facing pages. Unless you can’t abide any music beyond Strauss, this is definitely an opera worth getting to know. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan style=\"font-weight:bold\"\u003eFANFARE: James H. North \u003c\/span\u003e\u003cbr\u003e","brand":"Wergo","offers":[{"title":"CD","offer_id":46027849072874,"sku":"4010228671926","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1716807.jpg?v=1778323599"},{"product_id":"bright-dawn","title":"BRIGHT DAWN","description":"On Bright Dawn, his 21st recording as a leader, Harvie S reaffirms why he remains one of the most expressive and sought-after bass voices in modern jazz. Long celebrated for bass lines that function \"like the deep roots of a tree,\" Harvie uses this session to explore the full sonic and emotional range of the instrument, shaping music that is at once grounded, lyrical, and quietly adventurous. His original compositions-thoughtful, rhythmically alive, and rich with harmonic implication-sit naturally alongside inspired interpretations of Chick Corea's \"Humpty Dumpty\" and Bob Dorough's wry classic \"Devil May Care,\" creating a program that feels both personal and expansive. Surrounded by Peter Bernstein's warm, articulate guitar, Miki Hayama's elegant and probing piano, and Matt Wilson's ever-responsive drums, Harvie leaves generous space for interaction, nuance, and collective discovery. The result is a recording that breathes, melodies unfolding organically and grooves emerging with unforced authority, all anchored by the unmistakable sound of a master bassist whose imagination and touch continue to evolve. \"The bassist's horn-like, bebop-based phrasing is as engaging as it is inventive, leaving no doubts about his stature as one of the preeminent bass voices...\" All About Jazz \" a fecund mind that is continually searching for new horizons towards which to stretch, taking with him a bass violin that sings with almost limitless possibilities.\" Raul da Gama","brand":"ORIGIN RECORDS","offers":[{"title":"CD","offer_id":46055025934570,"sku":"805558294723","price":16.6,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4486501-3511237.jpg?v=1780076786"}],"url":"https:\/\/arkivmusic.com\/collections\/harvie-s.oembed","provider":"ArkivMusic","version":"1.0","type":"link"}