Voices of Summer Sale
Celebrate the season with the Voices of Summer Sale at ArkivMusic! Discover over 600 vocal favorites—from soaring choral masterpieces and intimate vocal ensembles to unforgettable opera performances—all 25%–30% off for a limited time.
Discover music from Shostakovich, Schumman, Monteverdi and more; as well as stellar performances from Jamie Barton, Bach Collegium Japan, Voces8 and many more!
Shop the sale now before it ends at 9:00am ET, Tuesday, August 11th, 2026.
653 products
Stradella: La Forza Delle Stelle / De Carlo, Ensemble Mare Nostrum
Am bruch zur Moderne (Schweizer Lieder nach 1900)
Gouvy: Songs
Crescentini And Giuliani Songs For Soprano And Guitar
Verdi: Songs
Ramón Vargas is one of the leading tenors of our time and one of the most sought-after worldwide. His breakthrough came in 1983 with the Mexican conductor Eduardo Mata. (Capriccio)
Te Deum Laudamus: Music On The Freiberg Cathedral Angel Instruments From 1594
At the suggestion of Freiberg’s cathedral music director Albrecht Koch, CPO here releases sacred music from the Freiberg Latin School Library on Freiberg instruments from the time of this repertoire’s composition (16th c.), thus rendering audible a practically unknown and forgotten sound world. The Te Deum of Rogier Michael, one of the leading Saxon chapel masters prior to Heinrich Schütz, is the concert’s highlight. The program is complemented by more music collected and preserved in Freiberg.
The Guerra Manuscript, Vol. 3
Pilar Lorengar - Berlin 1952-1962
Lorengar shows herself from a rather unusual side in them, both in the field of opera and in the Lieder: she is not heard here in her established Mozart role of Donna Elvira, but as Donna Anna; in addition, she can be heard singing repertoire that was unusual for her, e.g. the prayer „Casta Diva" from Bellini's Norma, „Piangerò la sorte mia" from Handel's Cleopatra and a Handel cantata, an aria from a Scarlatti opera, the „Ernani, involiami" of Elvira from Verdi's early opera „Ernani" and the role of Rosario from the opera „Goyescas" by Granados.
The Mozart singer also reveals herself here to be an agreeable Lied singer; where she already brings her sensitivity for this genre into play with Mozart, she then enriches her programme with the inclusion of a love lament by Bellini and Lied-like aria sketches - four canzonette by the young Verdi.
With two thirds of this anthology, Pilar Lorengar then covers an area that pays homage to the musical traditions of her homeland. As a young schoolgirl in Madrid, she acquired extensive theatrical practice and presence in the music cafes and the zarzuela theatre. In her contributions to the present release, she unfolds a panorama of Spanish music history extending over five centuries, ranging from the vocal art of the 16th-century vihuelistas to the folklore collections and adaptations of Federico García Lorca. The modern guitar is the legitimate successor to the time-honoured vihuela, and Siegfried Behrend is Pilar Lorengar's congenial partner in theseart songs.
This release is furnished with a "producer's comment" by producer Ludger Böckenhoff.
Rachmaninoff: Monna Vanna, Act I Songs / Isokoski, Ashkenazy
Sergei Rachmaninoff’s (1873-1943) rarely heard, unfinished opera Monna Vanna was the only major score he took with him into exile in the USA after the 1917 revolution. + This new recording is based on Gennadi Belov’s new edition and conducted by an iconic artist and Russian music expert Vladimir Ashkenazy. The second part of this disc features Finnish soprano Soile Isokoski singing seven Rachmaninov songs (including the hauntingly beautiful Vocalise), accompanied on the piano by Mr. Ashkenazy.
Carlo Gesualdo Da Venosa: Sacrarium Cantionum Quinque Vocibus
Although the madrigals of Carlo Gesualdo da Venosa constitute the best-known part of his oeuvre, his religious music is no less important, revealing a completely different facet of the composer. Aside from the Responsoria (1611), of which Philippe Herreweghe recently made a magnificent recording (LPH 010), most of Gesulado's religious music was published in 1603 under the title Sacrarum cantionum. Unlike the Responsoria, intended for Holy Week services, the motets of 1603 are settings of texts for all circumstances of the liturgical year. For this recording, made in the Santa Trinità abbey church in Venosa, ODHECATON has enriched the sound palette of its men's voices with a few instruments, including an ensemble of violas da gamba. Liuwe Tamminga counterpoints this programme with selected pieces by Giovanni Maria Trabaci and Giovanni de Macque on an historical organ of the Venosa region.
Scarlatti: Alto Cantatas
Christoph Graupner: Frohlocke Gantzes Rund Der Erden - Bass Cantatas
Like Telemann, Christoph Graupner (1683-1760) was a universal spirit and a highly original, independent composer, undeserving of his relative obscurity. This selection of his bass cantatas is free of baroque overloading, extreme figurations or colorations in the vocal part, and evidences his assimilation of musical innovations through to the end of his creative career. The bass baritone Klaus Mertens, holds a "prominent position among German singers in the field of early music." (klassik-heute).
David Lang: Love Fail
Haydn: Anne Hunter's Salon, Scottish Folk Songs etc. / Mields, Les Amis De Philippe
•Dorothee Mields is one of the leading female vocalists in the field of the music of the 17th – 18th centuries and is especially loved by the public and press for her unique timbre and moving interpretations. Possessing in addition a flawless technique and an ethereal vocal clarity, makes her a fortunate choice for the interpretation of Haydn's Scottish songs and English canzonettas. The ensemble Les Amis de Philippe assists her with great sensitivity.
Sheldon Harnick - Hidden Treasures 1949-2013
Three cuts feature Harnick as recorded just last year for this special collection, and other archival recordings star three-time Tony Award-winner Audra McDonald, Brian d'Arcy James, Hugh Martin, Charlotte Rae, and more. This 2-CD set is a grand celebration of Harnick's 90th birthday on April 30th and the 50th anniversary of Fiddler on the Roof. That musical's iconic "Sunrise, Sunset" is being released for the first time in its original demo recording by Bock and Harnick.
The deluxe package includes a 60-page booklet with extensive notes by Harnick and a foreword by famed Broadway producer Harold Prince, who comments: “This magnificent set is testimony to Sheldon’s extraordinary gifts, and to his place in the pantheon of Broadway musical creators.”
Bernstein Conducts Berlioz
Vertù contra furore
Medieval Chant, Tallis Lamentations / Nigel Short, Tenebrae Consort
MEDIEVAL CHANT AND TALLIS LAMENTATIONS • Nigel Short, dir; Tenebrae Consort • BENE ARTE 901 (65:23 Text and Translation)
This is the third disc in Andrew Carwood’s Tallis series. The first one marked his debut on Hyperion ( Fanfare 29:3), but now the next two have come in such quick succession (37:4 for the second one) that it seems as if he may be planning an alternative to Alistair Dixon’s set of the complete works on 10 Signum CDs (the ninth issue had an extra disc to get the overflow in). His favorite venue is Arundel Castle, probably for the historical significance of the recusant Catholic Duke of Norfolk’s estate as much as for the superb acoustics of Fitzalan Chapel, for he made his complete set of Byrd’s sacred music on 13 CDs there. The two recent discs each include a Mass, but this time he adds the chant introit for the third Mass of Christmas, though no Kyrie is supplied (Dixon included a Kyrie and a whole set of Mass Propers). Unlike Dixon’s homogeneous discs, Carwood offers more varied programming. The first disc had Latin-texted music, the longest being Gaude gloriosa (almost as long as a Mass). The second had more English-texted pieces than Latin to fill out the Mass. This one has mostly Latin works, including the two great gospel canticles, with only the Benedictus set in English.
Much as I have admired Alistair Dixon’s work, influenced certainly by the ambition of his project, Carwood has achieved a standing second to none among English vocal ensemble directors. That is saying a great deal, but in this field, it is crowded at the top, and each group will have its partisans. The Mass for Christmas of 1554 on this disc has attracted several recordings recently because of its connection with Queen Mary, whose presumptive “puer” (not the Christmas “Puer”) would have been the heir to the throne if he had been born. As it turned out, he was not even conceived. The closest competition in the Mass comes from the exquisite Stile antico (34:4), Peter Phillips, Harry Christophers, and Dixon’s volume 3 (21:6). Grant Llewellen (27: 5) is also good, though his choir is larger than these vocal ensembles. Reconstruction of the Mass parts started with David Wulstan (4:1; CD in 12: 1), but now this new entry must be considered in any comparison of the recordings.
The shorter works range from the familiar Videte miraculum to the seldom recorded Quod chorus vatum , though both belong to the feast of Candlemas. The latter was first recorded by Christopher Robinson (20:2) and is found now only in Dixon’s volume 4. Since Tallis wrote for both Catholic and Anglican liturgies, the juxtaposition of the English Benedictus followed by the Latin Magnificat must be a conscious effort to make the point. If this is indeed a new complete works in the making, it will be worthy of careful comparisons with Dixon’s set. Highly recommended.
The second disc consists of chant for Passiontide along with three polyphonic works: the two Lamentations of Thomas Tallis and the respond In manus tuas (I) by John Sheppard, all familiar on records, the last in Harry Christophers’s latest disc herewith. I have 21 recordings of the Lamentations dating back to the early 1950s, but the two Lamentations have never been coupled with chant responsories on record as here, though this practice has been adopted in settings of Lamentations by other Renaissance composers. Tallis made two Lamentations out of the text used in modern editions for the first Lamentation for Holy Thursday, the beginning of the Old Testament book.
This disc offers 40 minutes of chant to 25 minutes of polyphony, so the main interest is in Medieval Holy Week observances. The hymn Pange lingua for Good Friday (not the familiar text for Corpus Christi) begins the program—just four strophes and a doxology—followed by a complete Office of Compline because Sheppard’s responsory belongs to this Office, though it is placed further on. The responsories that follow the two Lamentations are In monte Oliveti and Tristis est anima mea ; the latter is from the familiar Tenebrae service but the former, oddly enough, is the variant version for Palm Sunday. The final track is a Holy Week chant that I have indexed on many recordings as Kyrie ... Qui passurus , found in several uses. Here it is titled a litany after Lauds of Holy Thursday, and may be a version from the Sarum use. Like many Holy Week chants, it is uniquely touching. The Tallis Lamentations, of course, are the featured tracks, as the disc title indicates, and they are sung elegantly. Nigel Short has given us some adroitly programmed discs, and this one is an original approach. You will know by now if this is for you, but I urge you to give it a chance.
FANFARE: J. F. Weber
Chansonnettes frisquettes, joliettes & godinettes
Dowland: A Game of Mirrors
Schumann: Ausgewählte Lieder
"A choice Robert Schumann song recital featuring baritone Paul Armin Edelmann and pianist Charles Spencer.
Mr. Edelmann maintains an international operatic and recital stage presence, winning critical acclaim worldwide.
Charles Spencer, a much sought-after accompanist, is Professor of Lied Interpretation for singers and pianists at the Hochschule für Musik in Frankfurt.
""Paul Armin Edelmann is the perfect song-poet...a wonderfully balanced and seamless voice... - FonoForum"
