{"title":"Weekend Spotlight: Voices \u0026 Virtuosity","description":"\u003cp style=\"text-align: center;\"\u003e\u003cspan\u003eThis \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eWeekend Spotlight\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e celebrates \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eTHREE\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e captivating new releases showcasing \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eVoices \u0026amp; Virtuosity\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e—from the grandeur and passion of the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eArena di Verona\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, featuring celebrated voices \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eAnna Netrebko, Sonya Yoncheva,\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eVittorio Grigolo\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, to \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eMatteo Mencarelli’s\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e intimate journey through Italian vocal chamber music, and \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eMark Adamo’s\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e daring contemporary opera \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eLysistrata\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, performed by the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eBoston Modern Orchestra Project\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e under \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eGil Rose\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. Then, continue the journey with a curated collection of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003evocal and operatic recordings\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e in our Outlet, spanning beloved classics, extraordinary voices, and eclectic works for the stage—all at \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e50% OFF\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv id=\"shopify-section-template--18107431616746__blocks_hpEaLT\" class=\"shopify-section\"\u003e\n\u003cdiv id=\"shopify-block-ARk1HUVd2TGNpVktaW__ai_gen_block_00051a3_B6TAYk\" class=\"shopify-block\"\u003e\n\u003cdiv class=\"ai-section-header-ark1huvd2tgnpvktawaigenblock00051a3b6tayk\"\u003e\n\u003cdiv class=\"ai-section-header__container-ark1huvd2tgnpvktawaigenblock00051a3b6tayk\"\u003e\n\u003cdiv class=\"ai-section-header__description-ark1huvd2tgnpvktawaigenblock00051a3b6tayk\"\u003e\n\u003cdiv id=\"shopify-section-template--18107431616746__blocks_hpEaLT\" class=\"shopify-section\"\u003e\n\u003cdiv id=\"shopify-block-ARk1HUVd2TGNpVktaW__ai_gen_block_00051a3_B6TAYk\" class=\"shopify-block\"\u003e\n\u003cdiv class=\"ai-section-header-ark1huvd2tgnpvktawaigenblock00051a3b6tayk\"\u003e\n\u003cdiv class=\"ai-section-header__container-ark1huvd2tgnpvktawaigenblock00051a3b6tayk\"\u003e\n\u003cdiv class=\"ai-section-header__description-ark1huvd2tgnpvktawaigenblock00051a3b6tayk\"\u003e\n\u003cdiv id=\"shopify-section-template--18107431616746__blocks_hpEaLT\" class=\"shopify-section\"\u003e\n\u003cdiv id=\"shopify-block-ARk1HUVd2TGNpVktaW__ai_gen_block_00051a3_B6TAYk\" class=\"shopify-block\"\u003e\n\u003cdiv class=\"ai-section-header-ark1huvd2tgnpvktawaigenblock00051a3b6tayk\"\u003e\n\u003cdiv class=\"ai-section-header__container-ark1huvd2tgnpvktawaigenblock00051a3b6tayk\"\u003e\n\u003cdiv class=\"ai-section-header__description-ark1huvd2tgnpvktawaigenblock00051a3b6tayk\"\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan\u003eShop the sale before it ends at\u003cstrong\u003e 9:00am ET, Monday, August 10th, 2026\u003c\/strong\u003e. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","products":[{"product_id":"ave-maria-sacred-arias-and-choruses-68213","title":"Ave Maria - Sacred Arias And Choruses","description":"Classical Music","brand":"Naxos","offers":[{"title":"CD","offer_id":44626994594026,"sku":"730099475129","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/127470.jpg?v=1785937158"},{"product_id":"the-best-of-opera-vol-3-196670","title":"The Best Of Opera Vol 3","description":"BEST OF OPERA, VOL. 3","brand":"Naxos","offers":[{"title":"CD","offer_id":44624807428330,"sku":"730099416825","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/127206.jpg?v=1785934020"},{"product_id":"berg-lulu-095115954027","title":"Berg: Lulu","description":"Berg: Lulu","brand":"Chandos","offers":[{"title":"CD","offer_id":44624167141610,"sku":"095115954027","price":32.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/107578.jpg?v=1786016371"},{"product_id":"rachmaninov-songs-095115937426","title":"RACHMANINOV: Songs","description":"Classical Music","brand":"Chandos","offers":[{"title":"CD","offer_id":44624154165482,"sku":"095115937426","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/107462.jpg?v=1786016044"},{"product_id":"cedille-vivaldi-vocal-and-instrumental-works","title":"Vivaldi: Vocal and Instrumental Works \/ Chicago Baroque Ensemble","description":"VIVALDI: Vocal and Instrumental Works","brand":"Cedille","offers":[{"title":"CD","offer_id":44623993864426,"sku":"735131902526","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/130588.jpg?v=1785980052"},{"product_id":"vocal-recital-caruso-enrico-denza-l-trimarchi-r","title":"Vocal Recital: Caruso, Enrico - DENZA, L. \/ TRIMARCHI, R. \/","description":"Classical Music","brand":"IDIS","offers":[{"title":"CD","offer_id":44722350588138,"sku":"8021945000148","price":8.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2081623.jpg?v=1785951708"},{"product_id":"ullmann-der-kaiser-von-atlantis","title":"Ullmann: Der Kaiser von Atlantis \/ Eröd, Hahn, Munich Radio Orchestra","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eViktor Ullmann's one-act chamber opera \u003cem\u003eDer Kaiser von Atlantis\u003c\/em\u003e [The Emperor of Atlantis] was written in the Theresienstadt concentration camp and did not see its premiere until December 16, 1975 in Amsterdam, since the performance was banned after its dress rehearsal in 1944. The concert performance of the version by Henning Brauel and Andreas Krause (Schott), which took place on October 10, 2021 at the Prince Regent's Theatre in Munich, was recorded for this CD. Alongside the internationally renowned Austrian \u003cem\u003eKammersänger\u003c\/em\u003e Adrian Eröd in the title role, mainly young performers sang, accompanied by the Munich Radio Choir conducted by Patrick Hahn, who made his debut here as the orchestra's principal guest conductor.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eViktor Ullmann, born in 1898 in Teschen, Silesia, studied with Arnold Schönberg and Alois Hába in Vienna. He worked first as a bandmaster and then as a bookseller, and settled in Prague as a freelance artist in 1933. Because he came from a Jewish family, he was deported to the Theresienstadt camp by the Nazis in 1942. In October 1944 he was murdered in Auschwitz-Birkenau, together with composers Pavel Haas and Hans Krása, who were almost the same age. Since the Nazis allowed a lively cultural life in their \"showcase camp\" of Theresienstadt, Ullmann was also able to be musically active. The intellectual and cultural heritage of that time is reflected in his music – also, and especially, in the \"one-act play\" that he wrote there entitled “Der Kaiser von Atlantis oder Die Tod-Verweigerung\" (The Emperor of Atlantis or the Disobedience of Death), based on a libretto by his fellow prisoner Peter Kien.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eREVIEWS\u003c\/strong\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe confident conducting of the young Austrian Patrick Hahn stands out for a fascinating transparency, as well as an accentuated lightness, which makes the voices all the more haunting. In addition to the striking baritone of Adrian Eröd as the Emperor, the bass Tareq Nazmi is very convincing in the role of the striking Death. Highly expressive and with an impeccably managed mezzo voice, Christel Loetzsch is a most impressive drummer.\u003c\/p\u003e\n\u003cp\u003eSinging very sensitively are tenor Johannes Chum as soldier Harlequin and bass Lars Woldt in the role of the speaker. The soprano Juliana Zara can also please as Bubikopf.\u003c\/p\u003e\n\u003cp\u003eAnd so this is then a gripping interpretation of Ullmann’s opera, which pleases on the one hand by the refinement of the orchestral performance and on the other hand by excellent voices.\u003c\/p\u003e\n\u003cp\u003e--\u003cem\u003ePizzicato\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eIt is remarkable how calmly Patrick Hahn, permanent guest conductor of the Munich Radio Orchestra, with his highly concentrated soloists in the Prinzregententheater, keeps a balance between existential commitment and a certain lightness, which the piece also requires.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan data-number-of-phrases=\"6\" data-phrase-index=\"3\" data-language-to-translate-into=\"de\" data-language-for-alternatives=\"en\" class=\"JLqJ4b ChMk0b\" jsmodel=\"SsMkhd\" jsdata=\"uqLsIf;_;$56\" jscontroller=\"Zl5N8\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;usxOmf:aWLT7;jhKsnd:P7O7bd,F8DmGf;Q4AGo:Gm7gYd,qAKMYb;uFUCPb:pvnm0e,pfE8Hb,PFBcW;f56efd:dJXsye;EnoYf:KNzws,ZJsZZ,JgVSJc;zdMJQc:cCQNKb,ZJsZZ,zchEXc;Ytrrj:JJDvdc;tNR8yc:GeFvjb;oFN6Ye:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" data-mce-fragment=\"1\"\u003e\u003cspan class=\"Q4iAWc\" jsname=\"W297wb\" jsaction=\"click:qtZ4nf,GFf3ac,tMZCfe; contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:qtZ4nf,c2aHje\" data-mce-fragment=\"1\"\u003eThe lively soprano Juliana Zara brings a ray of hope...\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-number-of-phrases=\"6\" data-phrase-index=\"4\" data-language-to-translate-into=\"de\" data-language-for-alternatives=\"en\" class=\"JLqJ4b ChMk0b\" jsmodel=\"SsMkhd\" jsdata=\"uqLsIf;_;$57\" jscontroller=\"Zl5N8\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;usxOmf:aWLT7;jhKsnd:P7O7bd,F8DmGf;Q4AGo:Gm7gYd,qAKMYb;uFUCPb:pvnm0e,pfE8Hb,PFBcW;f56efd:dJXsye;EnoYf:KNzws,ZJsZZ,JgVSJc;zdMJQc:cCQNKb,ZJsZZ,zchEXc;Ytrrj:JJDvdc;tNR8yc:GeFvjb;oFN6Ye:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" data-mce-fragment=\"1\"\u003e\u003cspan class=\"Q4iAWc\" jsname=\"W297wb\" jsaction=\"click:qtZ4nf,GFf3ac,tMZCfe; contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:qtZ4nf,c2aHje\" data-mce-fragment=\"1\"\u003eChristel Loetzsch, as the drummer, gives the best impression of the theatrical potency of the piece: she announces total war in a mezzo whose timbral beauty extends to all registers of the role's enormous scope.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan data-number-of-phrases=\"6\" data-phrase-index=\"4\" data-language-to-translate-into=\"de\" data-language-for-alternatives=\"en\" class=\"JLqJ4b ChMk0b\" jsmodel=\"SsMkhd\" jsdata=\"uqLsIf;_;$57\" jscontroller=\"Zl5N8\" jsname=\"txFAF\" jsaction=\"agoMJf:PFBcW;usxOmf:aWLT7;jhKsnd:P7O7bd,F8DmGf;Q4AGo:Gm7gYd,qAKMYb;uFUCPb:pvnm0e,pfE8Hb,PFBcW;f56efd:dJXsye;EnoYf:KNzws,ZJsZZ,JgVSJc;zdMJQc:cCQNKb,ZJsZZ,zchEXc;Ytrrj:JJDvdc;tNR8yc:GeFvjb;oFN6Ye:hij5Wb;bmeZHc:iURhpf;Oxj3Xe:qAKMYb,yaf12d\" data-mce-fragment=\"1\"\u003e\u003cspan class=\"Q4iAWc\" jsname=\"W297wb\" jsaction=\"click:qtZ4nf,GFf3ac,tMZCfe; contextmenu:Nqw7Te,QP7LD; mouseout:Nqw7Te; mouseover:qtZ4nf,c2aHje\" data-mce-fragment=\"1\"\u003e--Munich \u003cem\u003eEvening Times\u003c\/em\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis is the version of Viktor Ullmann’s opera, recorded live in October, 2021 in Munich, that features an expanded instrumental score...this [version], edited by Henning Brauel, while retaining much of the instrumental ensemble’s theatre\/cabaret aspects, has an overall more polished, softening of the edges quality, thanks to a richer, fuller string sound (helped also by the warm recording ambience).\u003c\/p\u003e\n\u003cp\u003e[The] singers here are all excellent, and the orchestra, members of the Munich Radio Orchestra, is equally, expectedly fine...the notes also include a fascinating discussion...of the many musical and cultural references in the libretto and in the music.\u003c\/p\u003e\n\u003cp\u003e--\u003cem\u003eClassicsToday.com\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-ogsb=\"white\"\u003e\u003ci\u003e\u003cspan data-ogsc=\"rgb(68, 68, 68)\"\u003e\u003cem\u003eThe Emperor of Atlantis\u003c\/em\u003e\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan data-ogsc=\"rgb(68, 68, 68)\"\u003ehas achieved a well-deserved reputation as one of the strongest works to have been composed by any of the several important composers who died in the Holocaust. \u003c\/span\u003e\u003cspan data-ogsc=\"rgb(68, 68, 68)\"\u003eUllmann’s music is a heady mix of grim and playful, making allusions to hymn tunes and popular-music styles, with instrumental flourishes, propulsive rhythms, and sweet-sour harmonies that evoke, at times, such composers of his era as Hindemith, Weill, and Prokofiev but that, taken together, create a distinctive sound-world like no other. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-ogsb=\"white\"\u003e\u003cspan data-ogsc=\"rgb(68, 68, 68)\"\u003eThis latest recording was made during an unstaged (or minimally staged) performance in front of an audience, and it is wonderful[.] The cast members all have steady and healthy-sounding (young?) voices. Often, indeed, they sing with astounding beauty of tone, which helped keep my ear glued to the proceedings, whereas I have sometimes felt that I was being shouted-at in my contacts with the work (on recordings and in live performance). The all-crucial words are rendered clearly and idiomatically by all concerned. I cannot resist praising Tareq Nazmi.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-ogsb=\"white\"\u003e\u003cspan data-ogsc=\"rgb(68, 68, 68)\"\u003e-- \u003cem\u003eArtsfuse\u003c\/em\u003e (Ralph P. Locke)\u003c\/span\u003e\u003c\/p\u003e","brand":"BR Klassik","offers":[{"title":"CD","offer_id":46012444311786,"sku":"4035719003390","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4075182-2810997.jpg?v=1785924968"},{"product_id":"korean-tapestry-747313912971","title":"Korean Tapestry","description":"\u003cp\u003eKorean Tapestry\u003c\/p\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":46012677193962,"sku":"747313912971","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4202489-3143580.jpg?v=1785921954"},{"product_id":"loewe-jan-hus-gropper-l-arpa-festante","title":"Loewe: Jan Hus \/ Gropper, L'arpa festante","description":"\u003cp\u003eIn 1841, Carl Loewe created his oratorio about the Bohemian theologian Jan (or Johann) Hus (or Huss) as a kind of \"opera without a scene\". A good 100 years before the appearance of the reformer Martin Luther, Hus had taken a hard stance on the official church and was burned at the stake on July 6, 1415 in Constance after being condemned by the council. Carl Loewe created the work to a libretto by August Zeune and premiered it on December 16, 1841 in and with the Berliner Singakademie. The rarely performed work deserves more attention and is now finally available in a premiere recording with the Arcis Vocalisten and the Baroque Orchestra L'arpa festante conducted by Thomas Gropper.\u003c\/p\u003e","brand":"Oehms Classics","offers":[{"title":"CD","offer_id":46012687384810,"sku":"4260330917201","price":12.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4223658-3039403.jpg?v=1785916115"},{"product_id":"schurmann-jason-oder-die-eroberung-des-goldenen-vliesses","title":"Schürmann: Jason or the Capture of the Golden Fleece \/ Hochman, Barockwerk Hamburg","description":"\u003cspan data-mce-fragment=\"1\"\u003eFollowing the success of its recording of Georg Caspar Schürmann’s opera \u003cem\u003eDie getreue Alceste\u003c\/em\u003e, the barockwerk hamburg ensemble very much wanted to discover more music by this wrongly neglected Hamburg composer. His opera \u003cem\u003eJason\u003c\/em\u003e enjoyed great success at Hamburg’s Gänsemarkt Opera during 1720-22 and was repeated no fewer than thirty-one times during these years. And the fact that Schürmann occupied himself with his \u003cem\u003eJason\u003c\/em\u003e for thirteen years also clearly indicates that it was regarded as a highly promising work. This recording presents a considerably abridged version of this bilingual stage work containing elements of the Italian and German Baroque opera and lasts about two hours. Along with the highly effective coloratura arias, the harmonic and melodic language of the recitatives also not least merits special mention because it is highly expressive and bold as well as finely nuanced. Medea’s part is throughout the most multifaceted one, and a broad spectrum of emotions can also be heard in her recitatives – ranging from enamorment through doubt, jealousy, revenge, and seduction to desire for power and delight in victory.\u003c\/span\u003e","brand":"CPO","offers":[{"title":"CD","offer_id":46012754755818,"sku":"761203533923","price":18.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4080218-2829632.jpg?v=1785924747"},{"product_id":"schoenberg-pelleas-und-melisande-erwartung-craft-silja-104441","title":"Schoenberg: Pelleas Und Melisande, Erwartung \/ Craft, Silja","description":"Schoenberg' polyphonic tone poem Pelleas und Melisande is often compared to Debussy' opera based on the same text by Maurice Maeterlinck. According to the composer, \"The first performance, 1905, in Vienna, under my own direction, provoked riots amo.","brand":"Naxos","offers":[{"title":"CD","offer_id":46012837757162,"sku":"747313252725","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1402472.jpg?v=1785967211"},{"product_id":"beethoven-fidelio-de-billy-vienna-radio-symphony-orchestra","title":"Beethoven: Fidelio - 1805 Version \/ Nylund, Streit, de Billy, ORF Radio Symphony Vienna","description":"\u003cp\u003e\u003cstrong\u003eREVIEWS\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\"\u003cspan data-mce-fragment=\"1\"\u003eAll Fidelio and Beethoven fans will need this.\"\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAs most opera lovers know, Beethoven toiled greatly over his sole opera which was premiered in 1805 and revised in 1806--and then finally again in 1814, in the version that is now famous and beloved. The recording under consideration here is of the first version; this is the third time it has been recorded commercially.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eListening to this version...is an ear-opener: much music was eventually used in the familiar 1814 version, but even within those many pages there are small alterations everywhere and they're great fun to spot.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe performance is excellent, indeed marginally better than [the recording by John Eliot] Gardiner. It's as tightly led in exciting passages but Bertrand de Billy also captures some rapturous stillness and warmth in \"Mir ist so wunderbar\" and elsewhere, while Gardiner seems a bit clinical. De Billy also has slightly better singers. Camilla Nyland's sound is grander than Hillevi Martinpelto, and her reading of the text is deeper; Kim Begley and Kurt Streit are vocally both fine, but Streit's sweetness and goodness make a better case for Florestan. Peter Rose's understated Rocco is never mugged, and while I prefer a heavier voice than Gerd Gochowski's as Pizarro, his ease with the vocal line is a pleasure to hear. Dietmar Kerschbaum's Jaquino never cloys and Brigitte Geller's Marzelline is beautifully sung. De Billy gets thrilling playing from the Vienna Radio Symphony--the scoring in this version of the opera is very horn-heavy and generally heftier than the 1814--and I have a preference for ORF's non-period instruments here. The Arnold Schoenberg Choir sings with accuracy and feeling. All Fidelio and Beethoven fans will need this.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e-- ClassicsToday.com\u003c\/span\u003e\u003c\/p\u003e","brand":"Oehms Classics","offers":[{"title":"CD","offer_id":46012842934506,"sku":"4260034869196","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1769922.jpg?v=1786007735"},{"product_id":"christmas-concertos-cantatas-standage-collegium-musicum-90","title":"Christmas Concertos \u0026 Cantatas \/ Standage, Collegium Musicum 90","description":"\u003cp\u003eIncluding some of the most beautiful baroque Christmas music on offer, this programme makes for the perfect Christmas collection. 'This is period-instrument performance at its best', wrote American Record Guide on the CD's original release. It is re-issued here for the first time. Three popular favourites, Corelli's gorgeous concerto for Christmas Eve, an idyllic Christmas concerto by Vivaldi, and Manfredini's Concerto grosso are complemented by two little-known cantatas by Telemann and Scarlatti. Each of the Italian composers has his own voice, contrasting tremendously with the more rugged German style of Telemann. Susan Gritton is the soloist in Scarlatti's cantata, described by Classic CD as 'ravishing and ravishingly sung... worth anyone's CD token'. This is a disc of intimate Christmas music, which will make an ideal stocking filler. As Classic CD wrote at the time of the original release, 'This is a delightful addition to the Christmas market, and the careful selection of its items and superb recording ensure that, like the traditional puppy, it's not just for Christmas'.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003eThese Baroque concertos and cantatas are all associated with Christmas, although some only marginally. The Scarlatti and Telemann cantatas were written for Christmas. The Manfredini and Corelli concertos probably received their associations with Christmas because each contains a pastorale movement, shepherds’ music in 12\/8 time that Italian folk tradition associated with Christmas (the “Pifa” from Handel’s Messiah is another example). The Vivaldi concerto, one of his typical string concertos, seems to have received its seasonal connection from Vivaldi’s practice of programming it at Christmas time.\u003c\/p\u003e\n\u003cp\u003eAll of this music is delightful to hear. Many of Fanfare’s readers will probably have one or more of these works already, especially the concertos. The two cantatas are less often encountered, especially the Telemann, from the first movement of which we get the English carol Good Christian Men Rejoice. The playing and singing are excellent in all respects. Susan Gritton makes a major contribution in the solos of the Scarlatti cantata. Members of Collegium 90’s choir are equally good as soloists in the Telemann. Presiding over all, Simon Standage directs lively performances that respect the score and never stray into extremes of tempo.\u003c\/p\u003e\n\u003cp\u003eThis collection was issued 10 years ago under the title “Per la notte di natale.” In this reissue, Chandos provides full notes along with texts and translations, for which I commend them. Anyone looking for an enjoyable collection of Baroque music associated with Christmas need look no further.\u003c\/p\u003e\n\u003cp\u003e-- Fanfare\u003c\/p\u003e","brand":"Chandos","offers":[{"title":"CD","offer_id":46012844212458,"sku":"095115075425","price":6.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1411822.jpg?v=1786023950"},{"product_id":"tchaikovsky-eugene-onegin-op-24-th-5-sung-in-german-l","title":"Tchaikovsky: Eugene Onegin, Op. 24, TH 5 (Sung in German) [L","description":"The unforgettable passion and intensity that soprano Leonie Rysanek and baritone George London brought to their most famous pairing in Wagner's Der fliegende Hollander is well-represented here as well on this recording of a 1955 live performance of Tchaikovsky's Eugen Onegin, starring Ms. Rysanek as Tatyana and Mr. London as Onegin. 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On this new recording (2012) Gemma joins the Early Music group of Stefano Bagliano, also a specialist in the field, in Cantatas for solo soprano, recorder and continuo, drawn from Die Harmonische Gottesdienst, brilliant works displaying vocal and instrumental virtuosity of a high level.","brand":"Brilliant Classics","offers":[{"title":"CD","offer_id":46012937404650,"sku":"5028421943343","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2165899.jpg?v=1785990626"},{"product_id":"cedille-lonely-motel-music-from-slide","title":"Lonely Motel \/ Eighth Blackbird","description":"Lonely Motel: Music from Slide","brand":"Cedille","offers":[{"title":"CD","offer_id":46012937830634,"sku":"735131912822","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1890422_765a9e5e-a4e4-42b3-b3ff-c3f0f47f96d6.jpg?v=1786087622"},{"product_id":"faure-songs-for-bass-voice-piano-5060113442680","title":"Fauré: Songs For Bass Voice \u0026 Piano \/ Schwartz, Howat","description":"\u003cp\u003eThis collection of Gabriel Fauré’s mélodies is the first recording to be conceived for a bass voice. It juxtaposes some of the composer’s best-loved songs with some of his lesser-known works. This recital program draws out connections of poets and poetic themes, some of which restore the composer’s own original groupings. This is also the first recording to be based on the new Peters Edition, which eliminates countless errors in older publications. The young American bass Jared Schwartz received the 2013 ‘People’s Choice’ Award in the American Traditions Vocal Competition.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp\u003e\u003cspan id=\"ctl00_MainContent_gvReviews_cell4_12_ASPxPopupControl1_ASPxLabel2\" class=\"dxeBase_PlasticBlue\"\u003eThere are a total of 25 songs on this disc and each of them has been recorded with care and affection for the music of this wonderful French songwriter\u003c\/span\u003e. \u003cspan class=\"dxeBase_PlasticBlue\" id=\"ctl00_MainContent_gvReviews_cell4_12_ASPxPopupControl1_ASPxLabel2\" data-mce-fragment=\"1\"\u003e Schwartz’s excellent new recording on Toccata gives us pristine sound; it is a recording that should be in the collection of everyone who loves French song.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"dxeBase_PlasticBlue\" data-mce-fragment=\"1\"\u003e-- Fanfare\u003c\/span\u003e\u003c\/p\u003e","brand":"Toccata","offers":[{"title":"CD","offer_id":46012947923178,"sku":"5060113442680","price":10.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2985539.jpg?v=1786039342"},{"product_id":"cantate-e-duetti-vol-2-8007194104868","title":"Cantate e Duetti, Vol. 2","description":"Classical Music","brand":"Tactus","offers":[{"title":"CD","offer_id":46012949430506,"sku":"8007194104868","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1732866.jpg?v=1785955029"},{"product_id":"puccini-turandot-recorded-1955","title":"Puccini: Turandot (Recorded 1955)","description":"Puccini: Turandot (Recorded 1955)","brand":"Urania Records","offers":[{"title":"CD","offer_id":46012958605546,"sku":"8051776572026","price":16.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1969376-2478978.jpg?v=1785948884"},{"product_id":"siegfried-wagner-der-kobold-strobel-broberg-horn-127630","title":"Siegfried Wagner: Der Kobold \/ Strobel, Broberg, Horn, Et Al","description":"\u003cbr\u003e \u003cbr\u003e  \u003cspan class=\"COMPOSER12\"\u003eS. WAGNER \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eDer Kobold \u003c\/span\u003e \u003cspan class=\"BULLET12\"\u003e•\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e Frank Strobel, cond; Rebecca Broberg (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eVerena\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Regina Mauel (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eGertrud\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Andreas Mitschke (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eEkhart\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Achim Hoffmann (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eTrutz\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Johannes Föttinger (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eFink\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Philipp Meierhöfer (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eKümmel\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Volker Horn (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eFriedrich\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Nicholas Isherwood (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eDer Graf\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Martina Borst (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eDie Gräfin\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Ksenija Lukic (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eJeannette\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Marco Bappert (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eJean\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Joachim Höchbauer (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eKnorz\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Heike Kohler (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eKäthe\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Young Jae Park (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eSeelchen\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); PPP Music Theatre Ens; Nuremberg SO \u003c\/span\u003e \u003cspan class=\"BULLET12\"\u003e•\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e Marco Polo 8.225329 (3 CDs: 195:27) \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eEach time I listen to this recording of \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eThe Goblin\u003c\/span\u003e \u003cspan\u003e, I am utterly unnerved—do not be fooled by the descending flute figures that cue the overture, like Pan himself coming down to bless the land. Obviously, there is no shortage of warped and twisted librettos, which tend to serve as jumping off points for music yet more warped and twisted, but my goodness, our man Siegfried was exorcising some personal demons with this work—ironically, by enlivening some. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThe first “sung” note, once the gentle, autumnal instrumental opening has concluded, is a scream, one that comes through on the recording like a spike—no reverb, no vibrato, just fear, hammered home. We are dealing with a dramatis personae of goblins (including one whose entrance into the world comes courtesy of a mixture of a hanged man’s seed and the yellow grass below), a wizard, some assassins, night phantoms, a few satyrs, a circus collective, a rapist, and such cheery pursuits as infanticide, abortion, flesh trading, and prestidigitation for, shall we say, less than salubrious ends. Good luck sorting out the plot, which is about as close to postmodernism as Siegfried ever got, and features an opera within the opera, and a climax not dissimilar to F. W. Murnau’s \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eNosferatu\u003c\/span\u003e \u003cspan\u003e, which had the subtitle, intriguingly enough, of “A Symphony of Horrors.” \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThe quality of the recording itself will jar you, but that’s part of its effectiveness—weapons crash to the ground as though they’ve landed on microphones, or like something is kicking inside the speakers and trying to get out. It’s a fascinating, weird kind of audio-vérité, that further unsettles the nerves; but distortion was Siegfried’s ally in the creation of this work, and some passages even appear, at first, to be atonal. Rebecca Broberg as Verena, the opera’s heroine—a default designation, really, in this case, given her successive and ultimately defeating tragedies—is really stretched on the rack in her exceedingly taxing role, and it is through her vocal lines that we experience whatever empathy—which often takes the forms of anxiety and fear—the opera has to offer. It’s been remarked that for all of its fantastical elements, \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eDer Kobold\u003c\/span\u003e \u003cspan\u003e is something of a gangster story, but the \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003enoir\u003c\/span\u003e \u003cspan\u003e-ish element becomes almost hallucinatory in the constant churn of crises, a vortex of demonism, you might say—of both the supernatural and human variety, the latter, of course, always being worse. Cpo has a Siegfried Wagner sampler disc with the West German Radio Symphony Orchestra and Roman Trekel handling an excerpt, but for the whole, vivid nightmare, you’ll need this set to be properly shocked and disturbed. And for those who cherish their illusions of childhood, there is perhaps no 20th-century opera that poses such a menacing threat to any and all forms of latency. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan style=\"font-weight:bold\"\u003eFANFARE: Colin Fleming \u003c\/span\u003e\u003cbr\u003e","brand":"Marco Polo","offers":[{"title":"CD","offer_id":46012960407786,"sku":"636943532928","price":17.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1075753.jpg?v=1786049113"},{"product_id":"verdi-masked-ball-the-sung-in-english-095115311622","title":"Verdi: Masked Ball (The) (Sung in English)","description":"Classical Music","brand":"Chandos","offers":[{"title":"CD","offer_id":46012960768234,"sku":"095115311622","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/668134.jpg?v=1786020088"},{"product_id":"verdi-g-otello-opera-vinay-1958","title":"VERDI, G.: Otello [Opera] (Vinay) (1958)","description":"Classical Music","brand":"IDIS","offers":[{"title":"CD","offer_id":46012966732010,"sku":"8021945001855","price":16.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2818281_deddc8cf-cef9-4650-a1ff-d905d1eb574c.jpg?v=1785956224"},{"product_id":"schumann-songs-of-love-loss-sarah-connolly-198676","title":"Schumann: Songs Of Love \u0026 Loss \/ Sarah Connolly","description":"\u003cb\u003eConnolly’s is a distinguished addition to the catalogue.\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e In many respects Schumann is the archetype of the romantic artist: deeply influenced by literature, committed to powerfully intense emotions, creatively aware of the virtuosity of performers. He was himself a fine pianist, and the first twenty-three of his published compositions were for his own instrument. He then went on to match this achievement in the field of solo song, in which regard he became the true inheritor of Schubert’s mantle.\u003cbr\u003e  \u003cbr\u003e Another important aspect of Schumann’s creative nature was his fondness for creating large-scale compositions out of sequences of miniatures. He developed this trend in piano works such as Carnaval and Kreisleriana, and continued it in the vocal song-cycles, including for example Frauenliebe und -leben and the two groups of songs under the title Liederkreis (Opp. 24, 39).\u003cbr\u003e  \u003cbr\u003e All of these issues are germane to this collection of songs presented by Sarah Connolly with the expert support of Eugene Asti. Under the collective title 'Songs of Love and Loss', this Schumann programme includes two cycles from the great song year of 1840, the Liederkreis and Frauenliebe und –Leben. The remaining songs come from later in the composer’s life: the collection entitled Gedichte der Königin Maria Stuart Op.135, the beautiful short 'Requiem' from Op.90 and 'Mein schöner Stern!' Op.101 No.4. These show no falling-off in quality, despite the commonly-held view that his encroaching final illness undermined the quality of the composer’s later compositions.\u003cbr\u003e  \u003cbr\u003e There are abundant alternative performances of Frauenliebe und –Leben and the Liederkreis, but Sarah Connolly brings a distinguished addition to the catalogue. While many great artists have brought their insights to the former, a personal favourite is the 1996 Deutsche Grammophon disc by Anne-Sophie von Otter with Bengt Forsberg (445 881 2), while in the Op. 39 Liederkreis there is always the issue of whether a man’s voice is better. Among notable interpretations is that of Bryn Terfel, for instance, with Malcolm Martineau (again DG, 447 042 2). Therefore the excellent Sarah Connolly does not become an instant top recommendation, but she does have both the technique and the insight to do full justice to these great songs.\u003cbr\u003e  \u003cbr\u003e In Frauenliebe und –leben Connolly and Asti tend towards slower tempi, perhaps missing some degree of ardour, though a real highlight of their performance is 'Du Ring an meinem Finger', in which there is much intensity. The balance between voice and piano is nicely achieved by both the artists and the Chandos engineers, while the recording venue, Potton Hall in Suffolk, is a tried and tested acoustic well suited to chamber music and songs.\u003cbr\u003e  \u003cbr\u003e Although Connolly is not a native German speaker, her treatment of the language is assured and the treatment of the text abounds in all the subtleties the songs have to offer, with a vocal timbre that is rich and nicely in focus. The collaboration of the artists seems even better in the lesser-known songs. For instance Requiem moves to a convincing climax after a beautifully chaste opening phase, and the somewhat austere songs on poems attributed to Mary Queen of Scots have an intensity that is all their own. Perhaps her preference for slower tempi pays its strongest dividends here.\u003cbr\u003e  \u003cbr\u003e -- Terry Barfoot, MusicWeb International\u003cbr\u003e","brand":"Chandos","offers":[{"title":"CD","offer_id":46012974366954,"sku":"095115149225","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1426461_81a3c0ea-0e93-4dba-aee6-51cf4733f72f.jpg?v=1786023752"},{"product_id":"lutoslawski-vocal-works-095115168820","title":"Lutoslawski: Vocal works","description":"Classical Music","brand":"Chandos","offers":[{"title":"CD","offer_id":46012975120618,"sku":"095115168820","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1890425.jpg?v=1786015823"},{"product_id":"rachmaninov-francesca-da-rimini-095115144220","title":"Rachmaninov: Francesca da Rimini","description":"Classical Music","brand":"Chandos","offers":[{"title":"CD","offer_id":46012981903594,"sku":"095115144220","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1271636_29bdf741-bb40-4218-aec2-c470e294157d.jpg?v=1786026552"},{"product_id":"rimsky-korsakov-legend-of-the-invisible-city-230373","title":"Rimsky-korsakov: Legend Of The Invisible City Of Kitezh \/ Vedernikov, Kazakov, Panfilov","description":"\u003cbr\u003e \u003cbr\u003e  \u003cspan class=\"COMPOSER12\"\u003e RIMSKY-KORSAKOV \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eThe Legend of the Invisible City of Kitezh and the Maiden Fevronya \u003c\/span\u003e \u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e Vitaly Panfilov (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003ePrince Vsevolod\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Tatiana Monogarova (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eFevronya\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Mikhail Gubsky (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eGrishka Kuterma\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Mikhail Kazakov (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003ePrince Yury\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Gevorg Hakobyan (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eFyodor Poyarok\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Marika Gulordava (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003ePage\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Valery Gilmanov (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eBedyay\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Alexander Naumenko (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eBurunday\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Alexander Vedernikov, cond; Cagliari Th O \u0026amp; Ch \u003c\/span\u003e \u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e NAXOS 2.110277\/78 (2 DVDs: 187:28) Live: Cagliari 5\/2–4\/2008 \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eI wanted to see this video because, for many years, I’ve heard exorbitant praise from certain critics regarding \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eKitezh\u003c\/span\u003e \u003cspan\u003e, yet in listening to the commercial recording conducted by Valery Gergiev I felt let down. The music seemed to me flat and characterless, lacking drama, development, and momentum. Surely, I said to myself, a good stage production would change my mind, as it did with Mussorgsky’s \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eKhovanschina. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eYet opinions on \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eThe Invisible City of Kitezh\u003c\/span\u003e \u003cspan\u003e (to abbreviate its title) are divided. Although many critics wax ecstatic over Rimsky-Korsakov’s magnificent \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eorchestration\u003c\/span\u003e \u003cspan\u003e for this work, few outside Russia are very impressed by the opera as a whole. It is an overlong, derivative grand opera in which two old tales of magic were welded together by librettist Vladimir Belsky, and finally presented intact in 1908. Even the first Russian audiences didn’t care much for it, finding it very old-fashioned in concept and musical style as well as overly rambling, though it is still periodically revived, mostly within Russia. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThis production gives us a rare glimpse of the opera as performed in Italy. The audience reaction is not enthusiastic; on the contrary, when the applause comes at the ends of acts, it sounds like perhaps 80 to 100 people half-heartedly clapping. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eOne glance at the production tells you why. Although it is not \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eRegietheater\u003c\/span\u003e \u003cspan\u003e—the characters are, thankfully, clad in traditional-looking costumes—Eimuntas Nekro?ius’s idiotic staging has too much symbolism and too little that resembles reality. The first act, set in the “woods,” presents a stage littered with “wooden” structures, bird houses and the like. Get it? Woods. The presentation of Little Kitezh, where the maiden Fevronya is to marry Prince Vsevolod, is cluttered with giant, tinfoil-covered bell-like objects with people popping out of their tops. Get it? Bells. This kind of idiocy continues throughout a production of a work in which the music itself is also static and rarely wedded to the text. In act IV, scene 1, where Fevronya and Grishka are supposed to be wandering in the woods, what you see is a plain blue-tiled floor with two Erector-set structures in the background. Apparently, Nekro?ius ran out of birdhouses, but not to despair! When Grishka runs off into the woods and Fevronya is left alone, two giant, hideous bird creatures sneak out of the woods and behind her as she sleeps. Perhaps Nekro?ius has seen too many of the \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eAlien \u003c\/span\u003e \u003cspan\u003emovies. In the final scene, supposed to represent Kitezh triumphant, the stage is filled with objects that look like rocket silos. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eMusically, many passages sound like leavings from \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eBoris Godunov,\u003c\/span\u003e \u003cspan\u003e and not good leavings at that, so even when the singers are excellent the plot crawls along. It is an opera more about characters who stand there and sing than about characters creating a musical drama. Compare, for instance, the first act to the similar situation in Verdi’s \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eDon Carlo.\u003c\/span\u003e \u003cspan\u003e A prince meets a beautiful woman in the woods, and they fall in love. Verdi miraculously manages to wed lovely music, some of it even memorable, to a flexible musical structure in which the orchestra comments on or moves the action. Rimsky-Korsakov creates a static structure wedded to pretty but undistinguished melodies that just toodle along, and do so for half an hour. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eMoreover, the plot is remarkably dismal and depressing for a magic or fairy-tale opera. Everyone sings about death even \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003ebefore \u003c\/span\u003e \u003cspan\u003ethe Tartars invade Russia, and several characters die except Fevronya and the seedy drunkard Grishka Kuterma, who becomes a traitor, willing to turn Kitezh over to invading Tartars \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eand\u003c\/span\u003e \u003cspan\u003e finger Fevronya as the snitch just to save his own worthless hide. Prince Vsevolod goes off to battle for Kitezh, not to win it but to die in it. (I’m guessing he flunked military school.) He does so, but returns in the second half of act IV as a ghost, and at the end of the opera Fevronya marries the ghost. And you talk about overlong … each of the first two acts runs over a half hour, but each of the \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003elast\u003c\/span\u003e \u003cspan\u003e two acts runs more than an hour apiece. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eGetting to the performance, Tatiana Monogarova is simply magnificent as Fevronya, not only vocally but histrionically, which is important because this is a rare Russian opera in that the soprano dominates everything. Here is a woman who fully understands how to inhabit a role. You come to believe wholeheartedly in her character within the first five minutes she is onstage, and she holds you in her thrall to the end. As for her voice, it is a remarkably rich lyric soprano, close to spinto in power, exactly the kind of voice Rimsky wanted for this part. Her midrange, in fact, reminds me strongly of Mirella Freni at her best, only with more power. The top range is not as lovely as Freni’s, but it has its own interesting luster and more metal. Monogarova made her American debut as Lisa in \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003ePique Dame\u003c\/span\u003e \u003cspan\u003e in Houston in 2010, and also began singing Cio-Cio-San around the same time in Europe. She is signed with IMG, and I really do wish her well in what I hope will be a major career. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eVitaly Panfilov, as Prince Vsevolod, is neither an interesting actor nor a particularly fine singer. The voice is fluttery, dry, and percussive. He sings on pitch and phrases well, but that is all one can say of him. His stage presence registers somewhere between nil and mediocre. On the other hand, Mikhail Gubsky as the nefarious Grishka Kuterma is a superb stage actor, though his voice is strictly that of a good comprimario. Nevertheless, the world needs good comprimarios, and he is certainly one of them. His pathetic wheedling is completely believable. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eA word of praise is also due Marika Gulordava in the somewhat thankless role of the Page. The Page is analogous to Cassandra in \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eLes Troyens\u003c\/span\u003e \u003cspan\u003e or the Simpleton in \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eBoris,\u003c\/span\u003e \u003cspan\u003e someone who warns of danger to come. Though her role is important it is not as long as either of the other two, yet Gulordava is simply stunning in her one big scene. Her voice is not as beautiful as Monogarova’s, but it has a laser-beam focus with a bright, perhaps over-brilliant top. As a musician and singing actress she is first-rate. I also hope for her to have a good career. Mikhail Kazakov, singing the role of Vesvolod’s father, Prince Yury, has a nice voice but an uneven flutter and a constricted low range, a real detriment for a Russian bass. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eAlexander Vedernikov is a fine conductor who obviously loves and understands this music. He brings out all of the wonderful orchestral subtleties of the score and moves the opera about as well as can be expected under the circumstances. Indeed, his conducting here is finer for this particular work than Gergiev’s. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eMy copy of the DVD may have been defective, but all through the first two acts the video is out of synch with the audio, as if one were watching something in which the video was on a two-second tape delay. On the second DVD, most of it is in synch, yet there are still strange moments when the picture freezes for a couple of seconds, only to jump ahead and eventually catch up with the audio. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThus there are good and bad points to be taken into consideration in approaching both the work and the performance, but if you are fond of \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eKitezh\u003c\/span\u003e \u003cspan\u003e I would recommend this for the excellent acting of a handful of participants and the excellent singing of the two sopranos. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan style=\"font-weight:bold\"\u003eFANFARE: Lynn René Bayley \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e -------\u003cbr\u003e  \u003cbr\u003e THE LEGEND OF THE INVISIBLE CITY OF KITEZH AND THE MAIDEN FEVRONYA\u003cbr\u003e \u003cbr\u003e  Opera in 4 Acts. Sung in Russian\u003cbr\u003e  Libretto by Vladimir I. Belsky\u003cbr\u003e \u003cbr\u003e  Prince Yuri Vsevolodovich – Mikhail Kazakov\u003cbr\u003e  Hereditary prince Vsevolod Yuryevich – Vitaly Panfilov\u003cbr\u003e  Fevronya – Tatiana Monogarova\u003cbr\u003e  Grishka Kuterma – Mikhail Gubsky\u003cbr\u003e  Fyodor Poyarok – Gevorg Hakobyan\u003cbr\u003e  Page – Marika Gulordava\u003cbr\u003e  Two notables – Gianluca Floris, Marek Kalbus\u003cbr\u003e  Bedyay – Valery Gilmanov\u003cbr\u003e  Burunday – Alexander Naumenko\u003cbr\u003e \u003cbr\u003e  Orchestra e Coro del Teatro Lirico di Cagliari\u003cbr\u003e  (chorus master: Fulvio Fogliazza)\u003cbr\u003e  Alexander Vedernikov, conductor\u003cbr\u003e \u003cbr\u003e  Eimuntas Nekrošius, stage director\u003cbr\u003e  Marius Nekrošius, set designer\u003cbr\u003e  Nadezhda Gultiayeva, costume designer\u003cbr\u003e  Audrius Jankauskas, lighting designer\u003cbr\u003e \u003cbr\u003e  Recorded live from the Teatro Lirico di Cagliari, Sardinia, 2 and 4 May 2008\u003cbr\u003e \u003cbr\u003e  Picture format: NTSC 16:9\u003cbr\u003e  Sound format: PCM Stereo \/ Dolby Digital 5.0 \/ DTS 5.0\u003cbr\u003e  Region code: 0 (worldwide)\u003cbr\u003e  Subtitles: English\u003cbr\u003e  Running time: 187 mins\u003cbr\u003e  No. of DVDs: 2 (DVD 5 + DVD 9)\u003cbr\u003e","brand":"Naxos AudioVisual","offers":[{"title":"DVD","offer_id":46012985245930,"sku":"747313527755","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1912423.jpg?v=1785948643"},{"product_id":"handel-acis-and-galatea-78951","title":"Handel: Acis and Galatea","description":"CPO's previous release with the soloists and ensembles of the Boston Early Music Festival was awarded two prestigious prizes. The recording of Charpentier’s opera La Descente d’Orphée aux Enfers and La Couronne de Fleurs received the Grammy Award for the Best Opera Production in February 2015 and recently won the Klassik-Echo 2015, again for the Best Opera Recording of the Year. Prior to this double success, other productions by cpo and BEMF had been nominated for Gramophone Awards. In the category of the Best Opera Production these were Ariadne by Johann Georg Conradi and Thésée and Psyché by Jean-Baptiste Lully. In addition, Thésée and Psyché received nominations in the category honoring Baroque Vocal Works.\u003cbr\u003e  \u003cbr\u003e  Now the American ensemble joins forces with successful soloists like Aaron Sheehan and Teresa Wakim for our production of Handel’s opera Acis and Galatea in the version of 1718, which was composed for the landed estate of the Earl of Carnarvon and does not recycle music from the earlier version. Both Acis and Galatea and the cantata Sarei troppo felice heard here represent decisive turning points in Handel’s career. The Italian cantata came at the beginning of the one and half decades spent by Handel in the service of  patrons. Acis and Galatea marks the highpoint of this phase and therefore, like the cantata before it, clearly renders recognizable the musical means available to him in the private ensembles of his employers. Moreover, Acis and Galatea contains the musical and textual seeds of the English oratorio, which after 1742 completely supplanted opera compositions.","brand":"CPO","offers":[{"title":"CD","offer_id":46012990587114,"sku":"761203787722","price":18.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3067119.jpg?v=1785936724"},{"product_id":"the-shepherd-on-the-rock","title":"The Shepherd on the Rock","description":"A lasting love affair with the clarinet amongst composers from the dawn until the dusk of the Romantic era (i.e. from Schubert to Strauss) is the key takeaway of this Signum release. In recognition, a trio of leading British soloists - clarinetist Julian Bliss, soprano Ailish Tynan and pianist Christopher Glynn - perform a sumptuous selection of the era's chamber music by Brahms, Chopin, Schubert, Schumann and Richard Strauss. The program is centered around Schubert's iconic The Shepherd on the Rock, virtually the final complete work that Schubert composed before his tragic death in 1828, age 31.","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46012995698922,"sku":"635212042922","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3012480.jpg?v=1785991565"},{"product_id":"cornelius-der-barbier-von-bagdad-leitner-duesing-257785","title":"Cornelius: Der Barbier von Bagdad \/ Leitner, West German Radio Symphony","description":"In comic operas there are stock figures. One of these is the bass, often conceited and self-important, silly or evil – or both – who often ends up being ridiculed, humiliated and has to humble himself. We first meet him in Uberto in Pergolesi’s La serva padrona, then in Il barbiere di Siviglia – Paisiello’s as well as Rossini’s – as Doctor Bartolo. Mustafa in L’Italiana in Algeri is a close relative, as is Don Magnifico in La Cenerentola. The eponymous anti-hero in Don Pasquale is also a pitiable character – the slimy Dulcamara in L’Elisir d’amore less so. Later in history Sir John in Verdi’s Falstaff is possibly the most complex character in this mould, thanks to Boito’s masterly condensation of Shakespeare’s portraits and Verdi’s music. He has predecessors: Salieri wrote a Falstaff before Verdi was even born. On German ground Otto Nicolai created a rather likeable character in Die lustigen Weiber von Windsor. In operas by Lortzing and Flotow we encounter similar second cousins. We shouldn’t forget Osmin in Die Entführung aus dem Serail either. A lesser known but well delineated relative within the German sphere is Abul Hassan Ali Ebn Bekar, the larger-than-life barber in Peter Cornelius’s Der Barbier von Bagdad. He isn’t an evil person, quite the contrary, but he is a big braggart and manages to make a mess of things. The plot goes back to a story from ‘The Arabian Nights’ and a condensed version goes something like this:\u003cbr\u003e  \u003cbr\u003e The young and rich Nureddin is deeply in love with Margiana, the daughter of the Cadi. His childhood friend, Bostana, arranges a meeting and Nureddin sends for Abul Hassan Ali Ebn Bekar, the best barber in town, to make him presentable. The barber is more interested in talking about his knowledge of art and science and Nureddin asks his servants to throw him out. The Barber turns furious and chases the servants, knife in hand, but some tactical flatteries makes him calm down and do his job. When Nureddin tells him about his approaching meeting, the barber gets so excited that he offers to accompany Nureddin. In the second act the two lovers meet but are disturbed by the sudden return of the Cadi. Nureddin hides and when the barber hears cries from a slave being punished he believes it is Nureddin and rushes into the house. Believing Nureddin to have been murdered he sends for the Caliph, who arrives. Nureddin is found and pressurised by the Caliph. The Cadi accepts that the young couple should be married. The verbose barber makes such an impression on the Caliph that he is invited to work for him.\u003cbr\u003e  \u003cbr\u003e Not one of literature’s masterworks, maybe, but much thinner and more incomprehensible librettos have been successfully set to music. Cornelius’s opera was not a success at the premiere on 15 December 1858 at Hoftheater in Weimar. The composer describes the disaster as follows:\u003cbr\u003e  \u003cbr\u003e ‘My work had drawn a full house. The performance filled the evening and was excellent, splendid, considering the difficulties the work presents. Right from the start, the applause was accompanied by persistent hissing from a hired, well-organized and expediently distributed group that was unprecedented in the annals of Weimar … At the end there was a fight lasting ten minutes.’\u003cbr\u003e  \u003cbr\u003e The reason for the debacle was decidedly not the quality of the music or the play. This was a protest against the conductor of the evening, Franz Liszt, whose radical ideas were not to everybody’s liking – and it was successful. The production was taken off the repertoire and Liszt resigned and left Weimar for good. But the one who suffered the most was Cornelius, who never saw his opera staged again during his lifetime. It was revived about twenty years later, again with no success. In 1884 in Karlsruhe, Felix Mottl – who orchestrated Wagner’s Wesendonck-Lieder – presented it, but in truncated and altered form. It was not until 1904 that it was staged in its original shape. After that it was regarded as one of the best German comic operas – next to Die Meistersinger von Nürnberg according to some judges.\u003cbr\u003e  \u003cbr\u003e I hadn’t heard the opera before, although there exist two studio recordings. Columbia set it down in London in 1956 with Erich Leinsdorf conducting and a starry cast including Elisabeth Schwarzkopf, Nicolai Gedda, Hermann Prey and with Oskar Czerwenka as the barber. In the early 1970s Heinrich Hollreiser recorded it with Sylvia Geszty, Adalbert Kraus, Bernd Weikl and with Karl Ridderbusch as the barber. There also seems to have been an even older, Vienna-based recording, from 1952.\u003cbr\u003e  \u003cbr\u003e What I knew from as far back as the early 1960s was the overture, which appeared now and then in recordings and on concerts. I remembered it as something quite different from the usual potpourri of melodies from the subsequent opera. This piece, with a playing time of over seven minutes, is symphonically constructed – a kind of symphonic poem in fact. It is artfully orchestrated with a lot of woodwind solos and an orchestral texture that is transparent and airy - more Mozartean than Wagnerian. What is more: the whole opera is permeated by this artfulness with impressive ensembles and powerful but still translucent choruses with some contrapuntal writing. On top of all this there is an atmospheric entr’acte opening act two, thematically built on the muezzin’s proclamation of prayer. It is the only music in the score with an oriental touch.\u003cbr\u003e  \u003cbr\u003e The proceedings are dominated by Nureddin and Abul Hassan Ali Ebn Bekar, the barber. Both singers are excellent. Horst R. Laubenthal, then at the beginning of a great international career – was born in 1939 and made his debut in 1967. He has a mellifluous lyric tenor, ideally suited to Mozart and the lyric German tenor roles. He is also a vivid actor. The fine love duet in act two is one of the high-spots in the opera. There he is especially winning, partnered by Helen Donath, who here manages to soften her voice a little – elsewhere she can be irritatingly acidulous. There is nothing sour about Hans Sotin’s impressive barber, however. This must be a dream role for a fruity bass and Sotin revels in the opportunities to make a show. His is a large, sonorous, warm and evenly produced voice of exceptional beauty. The very lowest notes – and he is required to sing quite a few of them – are somewhat sketchy but otherwise he is admirable. He produces ringing top notes that many a baritone should envy.\u003cbr\u003e  \u003cbr\u003e The rest of the cast are more or less comprimarios, but the young Dale Duesing – he was only 26 at the time – is a fine Caliph. Veteran Fritz Peter is a Cadi full of character and Marga Schiml – also still in her twenties – does what she can with Bostana’s role. The versatile Ferdinand Leitner, who had a special affinity with Mozart, obviously enjoys the score. He is well supported by the Cologne Radio forces. The male chorus has a field day in the riveting Hinaus aus Hof und Haus (CD 1 tr. 7), where they are ordered to throw the cackling barber out of the house.\u003cbr\u003e  \u003cbr\u003e The sound is what is to be expected from a 35-year-old radio recording: not very spectacular but well balanced. I wouldn’t have minded some more cue-points and a libretto should have been included. Not many listeners will be familiar with the work and the brief synopsis is no substitute.\u003cbr\u003e  \u003cbr\u003e Whether Der Barbier von Bagdad will ever be a standard work again is hard to prophesy – this kind of story has probably lost its attraction to latter-day generations. It is nevertheless rather amusing and the music definitely deserves a better fate than oblivion.\u003cbr\u003e  \u003cbr\u003e -- Göran Forsling, MusicWeb International\u003cbr\u003e","brand":"Profil","offers":[{"title":"CD","offer_id":46013000483050,"sku":"881488803754","price":12.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1411813.jpg?v=1785959862"},{"product_id":"dvorak-der-jakobiner","title":"Dvorák: Der Jakobiner","description":"\"• Die Jakobiner opera sung in German \n• Recorded 1952 Kurt Tenner conducting \n• The young Walter Berry, Kmentt and Uhl together in one recording in Dvorak's great opera. \n• Splendid sound. A must for every collector of voices. \n• 2 CD\"","brand":"Archipel","offers":[{"title":"CD","offer_id":46013003530474,"sku":"4035122405446","price":5.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2521009.jpg?v=1786018816"},{"product_id":"milhaud-oresteia-of-aeschylus-kiesler-138643","title":"Milhaud: Oresteia of Aeschylus \/ Kiesler","description":"\u003cp\u003ePart of the great French musical tradition and a member of Les Six, Darius Milhaud was an important avant-garde figure in early 20th century Paris. The Oresteia of Aeschylus trilogy arose from his lifelong interest in Greek mythology and drama, inspired by the expressive, syncopated rhythms of Paul Claudel’s poetic texts. In addition to innovative rhythmic elements, the trilogy exhibits complex harmonic techniques, particularly polytonality, which Milhaud believed gave him more varied ways of expressing sweetness in addition to violence.\u003c\/p\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":46013009821930,"sku":"730099034975","price":25.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2778600.jpg?v=1785940529"},{"product_id":"die-opernprobe","title":"Die Opernprobe","description":"The German composer Albert Lortzing’s (“Undine”) (1801-51) one-act comic opera “Die Opernprobe oder Die vornehmen Dilettanten” received its first performance in the year of Lortzing’s death. + This Vienna, 1953 performance of this rarely heard opera features famed Bach interpreter Karl Richter conducting an echt-Viennese performance of this little gem of a work.","brand":"MYTO Historical","offers":[{"title":"CD","offer_id":46013010673898,"sku":"801439903333","price":5.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2589306.jpg?v=1785960299"},{"product_id":"ave-maria-rejoice-hallelujah","title":"Ave Maria, Rejoice \u0026 Hallelujah","description":"For Decades, the Zurcher Sangerknaben Have Been One of the Leading European Boys' Choirs. They Run Their Own Concert Series in Zurich, Give Concerts All Over Europe, in the USA and in China, and Have Performed Under Herbert Von Karajan and Nikolaus Harnoncourt, Among Others. The Zurcher Kammerorchester Looks Back on a Prestigious Past. It's Founder Edmond de Stoutz Was a Close Friend of Many Artists: Yehudi Menuhin, Arturo Benedetti Michelangelo and Maurice Andre Were Regular Soloists. Thanks to Sir Roger Norrington, the Ensemble Is Now a Major International Chamber Orchestra. A Particular Attraction of This Recording Is Jonah Schenkel. As Previously in Pergolesi's Stabat Mater, This Outstanding Boy Soprano Is Absolutely Thrilling. He Fearlessly Masters Every Difficulty in the Solo Sections; His Voice Is Expressive, Pure and Agile, and He Has Exceptional Personal Charisma: A Most Felicitous Combination.","brand":"Tudor","offers":[{"title":"CD","offer_id":46013015589098,"sku":"812973012030","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2862249.jpg?v=1785937328"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/collections\/3_fad1ae6b-787f-4a30-9e4b-194e49d6f823.png?v=1786119154","url":"https:\/\/arkivmusic.com\/collections\/weekend-spotlight-voiced-virtuosity.oembed?page=3","provider":"ArkivMusic","version":"1.0","type":"link"}