This new release is a live opera performance, recorded at the Bologna Teatro on November 28, 1961. Oliviero De Fabritiis conducts this outstanding performance of Giuseppe Verdi’s Ballo in maschera. This performance features Leyla Gencer, Carlo Bergonzi, and Mario Zanasi.

Verdi: Il trovatore (Live)

Classical Music

Classical Music

Classical Music

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

Wagner: Das Rheingold, WWV 86a [Recorded 1948]

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: Aida

Verdi: La forza del destino

Commissioned in 1885 by Great Britain, Anton Dvorak’s The Spectre’s Bride had huge success immediately upon its premiere. The story is of a girl whose dead lover returns to lead her from her home, forcing her to leave behind her prayer book, rosary, and cross. When she is led to his open grave, she flees and is eventually saved by some churchgoers. At the premiere, Dvorak conducted a 400-voice choir and an orchestra consisting of 150 musicians. Many performances across Europe and in the United States followed, cementing Dvorak’s prominence and popularity across the English-speaking world. Dvorak himself wrote: “I just cannot tell you how much these British honor and like me! Everywhere, they are writing and talking about me, saying I am the lion of this year’s musical season in London.” Here the work is performed by the Wiener Singakademie and the Orf Vienna Radio Symphony Orchestra, conducted by Cornelius Meister.

-----

Simona Šaturová is pure and innocent as the girl but thrills when she throttles up. Pavol Breslik is smooth and eager as her ghostly spouse, Adam Plachetka sage-like as the narrator. A nice little discovery.

– Gramophone

There could be the dramatic skeleton of an opera lurking beneath the cantata veneer of The Spectre’s Bride, a work based on a poem about a young girl who is abducted by a ghost she believes to be the spirit of her lover. There are shapely solo contributions from the ORF orchestra, and certainly some very fine expressive singing from soprano Simona Šaturová as the girl and tenor Pavol Breslik as the spectre.

– Guardian (UK)

Glinka: Zhizn' za tsarya (A Life for the Tsar) (1954)

Bellini: I puritani (Recorded Live 1961)

Classical Music

If you fancy a set of the Beethoven piano concertos that’s suitable for listening to at a single sitting, then look no further. The ingredients are ideal for the job: abundant energy; bold, clear-sighted interpretation; brilliant though intelligently deployed pianism; poetic handling of the various slow movements; vital conducting and orchestral playing that fits the ‘chamber orchestra’ template like a glove. Vladar’s conducting is again excellent but it’s his playing and conducting that really makes the grade. The sound is very realistic, though be warned that the piano is very much upfront. An exceptional set.

– Gramophone

During the Fifties Andres Segovia strengthened his fame as the best classical guitarist in the world with a series of wonderful recordings containing the most significant parts of his repertoire. Segovia’s 19th century music repertoire was focused almost exclusively on the Spanish composers, composers the he liked best. He did not often consider Italian composers. Among the Spanish composers Fernando Sor (Barcellona, 1778 – Paris, 1839) had been his favorite; he was a talented composer and performer who wrote Studies for Guitar which featured a great melodic originality that is even now still used in the education of classical guitarists. This album collects, for the first time, all the recordings that Segovia made of Sor works during the 1950s, which were the best moments of his musical career .

Classical Music

Classical Music

The compilation of works on this release is intended to provide a reasonably comprehensive view of the unaccompanied sacred choral music of the Romantic era while confining itself to German-language composers from a wide variety of backgrounds and disciplines. The chronological order of the composers and the consideration of a number of central works aims to show the interrelationships of the choral music scene over a period lasting more than a century. The young singers of the Jugendkonzertchor (the youth choir of the Dortmund Choral Academy) engage in intensive rehearsal work and supplementary voice training, their principal focus being the unaccompanied choral music of all periods. The ensemble’s broad repertoire also encompasses oratorio and choral symphonic works and popular music for choir. The Ruhrnachrichten newspaper praises the “perfectly homogenous overall sound and the admirably well trained soloists” of the jugendkonzertchor, who “fill the space around them with a power of their fresh young voices” to create a “luxury sound” : this is a choir of which “great things can be expected in the coming years.”

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Benjamin Bruns began his singing career as an alto soloist with the boys' choir in his home city of Hanover. After four years of private singing lessons with Prof. Peter Sefcik, he studied at the Academy of Music and Theatre in Hamburg under the Kammers�ngerin Renate Behle. While still a student, he was offered a permanent contract by the Theater Bremen, a position which allowed him to build up a broadly based repertoire at an early stage. It was followed by a similar contract with the opera house in Cologne. His professional journey then took him via the Dresden State Opera to the Vienna State Opera. His repertoire contains such roles as Belmonte (Die Entf�hrung aus dem Serail), Tamino (Die Zauberfl�te), Don Ottavio (Don Giovanni), Ferrando (Cos� fan tutte), Camille de Rosillon (The Merry Widow), Loge (Das Rheingold), or the Italian Tenor in the Strauss operas Capriccio and Der Rosenkavalier. Since his debut in summer 2012 he sang the Steersman in The Flying Dutchman for five seasons at the Bayreuth Festival. Oratorio and lieder form an important counterweight to Benjamin Bruns's stage work. At the heart of his extensive concert repertoire are the great sacred works by Bach, Handel, Haydn, Mozart, Schubert and Mendelssohn. He has sung with such renowned ensembles as Berliner Philharmonics, the S�chsische Staatskapelle Dresden, the Boston Symphony Orchestra, the Munich Philharmonics, the Gewandhausorchester Leipzig, the Bach Collegium Japan, the WDR Symphony Orchestra as well as Choir and Orchestra of the Accademia di Santa Cecilia in Rome or the Akademie f�r Alte Musik Berlin. Together with pianist Karola Theill he is regularly giving Lied recitals, dedicated especially to the important cycles of Schumann, Schubert and Beethoven. But also songs by Wolf, Britten, Faur�, Szymanowski and Strauss are to be found in his programs.

When the Russian art historian and critic Vladimir Stasov declared in 1867 ‘how much poetry, feeling, talent, and intelligence are possessed by the small but already mighty handful of Russian musicians’, the five nationalist composers to whom he referred adopted the nickname with pride. Though each developed his own personal style, they remained committed to forging a truly Russian musical tradition, not least through pieces such as these songs. Russian bass Mikhail Svetlov is a winner of the Viotti International Competition and has been principal soloist of the legendary Bolshoy Theatre of Moscow for more than a decade.

This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.

Also available on standard DVD

This opera, which had fallen into oblivion, was revived in 1973 in the Dutch city of Zaanstad (the Saardam of the libretto) and staged at Bergamo’s Teatro Sociale as part of the Donizetti Festival in a new critical edition made for the Donizetti Foundation by Alberto Sonzogni. In the plot, the Tsar Peter the Great works incognito as a carpenter at the shipyard of Sardaam to acquire technical knowledge to carry back home. On the podium, the knowledgeable Roberto Rizzi Brignoli leads the orchestra of the Donizetti Opera, assisted by the internationally renowned cinema director Davide Ferrario. In the cast, Andrea Concetti (a successful artist who has sung throughout the world) is joined by singers who are emerging in the belcanto repertoire, such as Giorgio Caoduro, Juan Francisco Gatell, Irina Dubrovskaya and Aya Wakizono.

ADAM Giselle • Pavel Klinichev, cond; Svetlana Lunkina ( Giselle ); Dmitry Gudanov ( Albrecht ); Maria Allash ( Myrtha ); Vitaly Biktimirov ( Hans ); Elena Bukanova ( Berthe ); Ekaterina Barykina ( Bathilde ); Alexey Loparevich ( Duke ); Vladislav Lantratov ( Wilfreed ); Chinara Alizade, Andrey Bolotin ( Peasants ); Bolshoi Ballet & O • BELAIR BAC074 (109: 00) Live: Moscow 01/2011


ADAM Giselle: highlights • Andrew Mogrelia, cond; Slovak RSO • NAXOS 8.572924 (61:07)


Giselle is one of the ballet characters that dancers relish, emblematic of the Romantic era, complete with mad scene yet requiring dancing of great purity for the second act. Svetlana Lunkina is one of the new crop of Bolshoi ballerinas equally at home in bravura roles at the same time as being a convincing Giselle or Sylphide. Dmitry Gudanov is a convincing hero, his youthful looks helping to define his character as an innocent, totally unaware of the chaos he has created. Maria Allash possesses the same romantic qualities as Lunkina, allied with a stern demeanor that makes her Myrtha a very steely character. Chinara Alizade and Andrey Bolotin dance the interpolated Peasant Pas de Deux with the requisite charm, while Vitaly Biktimirov’s lovelorn Hans (aka Hilarion) almost arouses our compassion. Pavel Klinichev and the Bolshoi Orchestra offer a straightforward reading. The credit “choreographic version by Yuri Grigorovich after choreography by Jean Coralli, Jules Perrot & Marius Petipa” is puzzling as this appears to be a standard version, other than a hastily choreographed court dance the first time the Duke and his followers arrive. Grigorovich’s only other contribution would appear to be some of the bizarre rhythmic accentuations that he favors.


The CD of orchestral highlights is well-enough performed by Andrew Mogrelia and the Slovak Radio Symphony Orchestra, of particular interest for the music with hunting fanfares that are rarely heard at the start of act II before Myrtha’s entrance. But some of the tempi are unsuitable for the theater and may even jar listeners familiar with the work.


FANFARE: Joel Kasow