Verdi: Il trovatore (Live)

Classical Music

Richard Strauss: Salome, Op. 54, TrV 215 (Live)

Classical Music

Mozart: Don Giovanni, K. 527 - Schubert: Lachen und Weinen,

Wagner: Das Rheingold, WWV 86a (Recorded 1952) [Live]

This world premiere recording of Schmidt's Notre Dame is dominated not by Paris or Quasimodo, but by Esmeralda, played by Gwyneth Jones. She is the center of the stories which make up the plot and the Esmeralda motif is the principal theme of the opera.

Featuring a front-line cast (Rysanek, Frick, Suthaus, Hotter, Nilsson, etc...) that sends Wagner aficionados into states of reverie at the prospect of listening once again to the authoritative, superlative singing casts one could assemble in the 1950's, this amazing performance of the second opera in the "Nibelungen" tetralogy also proves that conductor Herbert von Karajan live was, like the singers, in a class of his own in the 1950's as well. His few surviving Wagner recordings from this period, like this La Scala 1958 Die W�lkure, are a must for every Wagner connoisseur.

Bellini: Norma [1958]

Bellini: La sonnambula (1957)

Verdi: La forza del destino

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Classical Music

HANSEL & GRETEL

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Brahms’s friend Carl Goldmark completed Merlin in 1886, when it was premiered at the Vienna Hofoper. Fairly successful on both sides of the Atlantic before the Great War but hardly heard since, it’s representative of an almost-forgotten genre of 19th-century operas on aspects of the Arthurian mythos. (Chausson’s Le Roi Arthus and Albéniz’s Merlin are other examples).

The libretto by Siegfried Lipiner concentrates on Merlin’s fatal love for the wild child Viviane, which dims the magical powers with which he had served King Arthur, so that he falls victim to the Demon he had previously enslaved.

This spirited revival reveals a beautifully-scored and theatrically quite sure-footed piece fascinatingly poised between Brahms and Wagner: chromatic, Tristan-esque motifs contrast with choral writing more out of Rinaldo and the Triumphlied.

Between these extremes there is a supple, late-Romantic middle-ground where Goldmark’s declamatory vocal writing rises to occasional eloquence, with some noble orchestral passages that seem to anticipate Elgar.

The piece was certainly worth revival, but actual greatness eludes it. Luckily this production is vocally strong, with Robert Künzli as a noble-voiced Merlin, Frank van Hove as the scheming Demon and Anna Gabler a touching Viviane being the clear stars of the show.

-- Calum MacDonald, BBC Music Magazine

Opera's greatest moments, All the opera you'll ever need! The world's most famous arias and choruses from the greatest operas of all time.

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GURIDI: El caserio (The Homestead)

Classical Music

Donizetti: Anna Bolena

In addition to many non-operatic compositions, he composed in all about a dozen operas, and didn’t lack for success in his lifetime, but today it is Francesca di Rimini almost alone for which Riccardo Zandonai (1883-1944) is best remembered internationally. This June, 1959 La Scala performance of a work with much to recommend in it has been considered by some in the critical establishment as the best Francesca on record. Conducted by Gianandrea Gavazzeni, the cast is headlined by the dynamic, moving and volatile Magda Olivero – still with us at 104 years old! - in the title role.

DIE MEISTERSINGER VON NÜRNBERG

Strauss: Der Rosenkavalier

Available as a recording for the first time ever: the first of Mikis Theodorakis' 3 great ''lyrical tragedies'' (i.e. operas). The composer based his arrangement of the plot on Sophokles' version of the famous ancient tragedy – thus the 'theodorakian' Electra is the protagonist. She is the daughter of King Agamemmnon. After 10 years of battle for Troy the King has just returned to his palace in Mykene – only to be treacherously killed by his faithless wife Klytaimnestra and her lover Aigisthos. The murderous couple marries soon after the crime; however, their plans haven't considered Electra, who is craving revenge for her father ... ''Electra'' was composed between 1991 und 1994; its world premiere was held on May 2nd 1995 at the municipial theater of the former 'european capital of culture', Luxemburg. The 3-CD-recording was actualized under direction of Mikis Theodorakis himself with the St.Petersburg State Academic Orchestra & Choir.