From the Operas of Erich Wolfgang Korngold (1949)

Zielenski: Offertoria et Communiones Totius Anni

CHOPIN - OPERA IN 4 ACTS

The purpose of this CD, with it's wonderful historic recordings, is to keep alive the memory of the golden voice of Belgian contralto Ria Bollen (b. 1942). The CD gathers a large selection of live recordings, made both at home and abroad, that takes into account both the quality and diversity of her recorded performances.

Recorded in: Brangwyn Hall, Swansea 13-18 July 1989 Producer(s) James Mallinson Jane Woodfield (Assistant) Sound Engineer(s) Mark Vigars Peter Newble (Remastering)

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"A soprano star with one of the loveliest voices this reporter has ever heard," Henry Humphries, the late Cincinnati music critic once wrote of one of Dorothy Warenskjold's opera performances, declaring further, "she is a singer of finely grained musicianship, personality and temperament - one the Golden Age of Song would have been proud to call its own." Dorothy Warenskjold is a third generation Californian. She was born in Piedmont and received all her education and musical training in and around San Francisco. As James Schwabacher, tenor and founder of San Francisco Opera's Merola Program, recently remarked, "I have been constantly amazed at the consistency over the years of Dorothy's vocal technique which produces the pristine lyric quality uniquely hers." And nowhere is this more obviously shown than in the present choice of arias which span a period of nineteen years. These arias date from the young and budding prima donna's first major radio broadcast, through mid-career opera performances, up to the latest recorded arias. This consistency is a tribute not only to her training, but to her intelligent dedication to her art.

Puccini: Madame Butterfly (Highlights)

LEONTYNE PRICE SINGS STRAUSS A

This selection features Leontyne Price reading the story of 'Aida' along with highlights from the opera.
REVIEWS:
Opera News (5/00, p.82) - "...The narrative itself is completely successful. The plot has been reduced for clarity, but the characters maintain individuality....Most importantly, the directness, warmth and drama of Price's storytelling involve the listener irresistibly..."

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The Frankfurt Opera and Museum Orchestra is one of the most important orchestras in the Germans-peaking world. In 2001 it was selected Orchestra of the Year for the third time in succession in the critics' survey of the specialist journal Opernwelt. Currently they perform as a concert orchestra at the Museum Concerts organized by the Museum Society.

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Recorded in: Auditorium of Swiss Radio, Lugano, Switzerland 13 January 1996 (La Princesse jaune, live recording); 1 June 1999 (Suite algérienne) Producer(s) Gian Andrea Lodovici Carlo Piccardi Sound Engineer(s) Lucienne Rosset (La Princesse jaune) Jochen Gottschall (Suite algérienne)

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Few operas benefit as much as does Mozart’s Marriage of Figaro from being sung in the language of the audience. Even in this age of super-titles, there is no substitute for the direct communication from singers to audience in this brilliantly conceived social comedy. Thus, this new recording may well be one of the most important releases in Chandos’s admirable “Opera in English” project...this is a very well paced, lovingly shaped performance that binds into a persuasive whole. Chandos’s recording is, as is usually the case, on the reverberant side, but not unpleasantly so. An excellent essay accompanies the set, along with a complete English printed text. Henry Fogel, FANFARE

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OVERTURE TO THE BALLET THE CRE

The 2008 Salzburg Festival production of Dvorák's opera Rusalka was outstanding even by the Festival's high artistic standards. Its exceptional nature was due in part to the fact that in the pit the Cleveland Orchestra was appearing for the first time as an opera orchestra in Salzburg. The high expectations raised by the orchestra and its Music Director, Franz Welser-Möst, were fully met, and even in the live recording of the opening night made by Austrian Radio, the conductor's genuinely dramatic approach to the work is never less than gripping.

The fairytale narrative gains in psychological focus and depth, aided and abetted by the team of soloists headed by Camilla Nylund as Rusalka and Piotr Beczala as the Prince. To the role of the water nymph, Nylund brings a beautiful lyric soprano voice that retains its focus and penetrating power even in the score's most dramatic outbursts, while the bright tenor voice of Piotr Beczala produces a convincing vocal portrait of the hapless heroine's inconstant lover, following her decision to enter the world of mortals. The remaining roles were cast from strength, notably the admonitory figure of the Water Goblin, taken here by Alan Held, whose powerful Wagnerian bass-baritone lends the role an impressive profile; Birgit Remmert, with her dark-hued, impressively full-toned voice and Emily Magee's burnished soprano, with its brilliant upper register.

Particularly gratifying in a Salzburg Festival production is the casting of minor roles with promising young singers including Eva Liebau as the Turnspit, Adam Plachetka as the Gamekeeper and the three well-modulated wood nymphs of Anna Prohaska, Stephanie Atasanov and Hannah Esther Minutillo. Appearing alongside this team of singers is the Vienna State Opera Chorus on outstanding form. All in all, then, it comes as no surprise to know that the response to the musical side of this production was extremely positive, a response which it is hoped will be repeated in the case of the present live recording.

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Zielenski: Opera Omnia, Vol. 2 - Offertoria Totius Anni

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HALKA