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Franz Welser-Most, Orchester der Oper Zurich - Mozart: Le Nozze di Figaro (2009)

Posted By: ArlegZ
Franz Welser-Most, Orchester der Oper Zurich - Mozart: Le Nozze di Figaro (2009)

Franz Welser-Möst, Orchester der Oper Zürich - Mozart: Le Nozze di Figaro (2009)
NTSC 16:9 (720x480) |Italiano (LinearPCM, 2 ch) | (Dolby AC3, 5 ch) | (DTS, 5 ch) | 192 min | 5,80+6,39 Gb (2xDVD9)
Classical | Label: EMI | Sub: English, Francais, Deutsch, Italiano, Espanol | Recorded: 2007

This production of Mozart's Le Nozze di Figaro caused a sensation when it first came out, stunning critics and audiences alike with its perfect balance of joyous humor, improvisatory brilliance, and always subtle music-making.

Mark Elder, London Philharmonic Orchestra, Venera Gimadieva, Michael Fabiano - Verdi: La Traviata (2015)

Posted By: Vilboa
Mark Elder, London Philharmonic Orchestra, Venera Gimadieva, Michael Fabiano - Verdi: La Traviata (2015)

Mark Elder, London Philharmonic Orchestra, Venera Gimadieva, Michael Fabiano - Verdi: La Traviata (2015)
NTSC 16:9 (720x480) VBR | Italiano (LinearPCM, 2 ch) | (DTS, 6 ch) | 7.55 Gb (DVD9) | 132 min
Classical | Opus Arte | Sub: English, Francais, Deutsch, Japanese, Korean

Verdi's tragic masterpiece is elegantly updated by director Tom Cairns in this 'fresh and thrillingly unfamiliar' (Independent) Glyndebourne production, in which Violetta's death is cast as an idée fixe, creating a liberating framework that is well supported by Hildegard Bechtler's semi-abstract designs. Described as a soprano of 'huge presence, compelling to watch', Venera Gimadieva is 'thrilling' (Guardian) in her company debut as the doomed courtesan, well matched by Michael Fabiano's sharply suited and 'robustly-sung' Alfredo (Financial Times), with Tassis Christoyannis delivering an imposing performance as the formidable Germont père. Conductor Mark Elder reveals his mastery of the opera's dramatic shape, coaxing each and every nuance out of the London Philharmonic Orchestra to create beautifully stylish music-making.

Franz Welser-Most, Orchester der Oper Zurich - Mozart: Don Giovanni (2007)

Posted By: ArlegZ
Franz Welser-Most, Orchester der Oper Zurich - Mozart: Don Giovanni (2007)

Franz Welser-Möst, Orchester der Oper Zürich - Mozart: Don Giovanni (2007)
NTSC 16:9 (720x480) |Italiano (LinearPCM, 2 ch) | (Dolby AC3, 5 ch) | (DTS, 5 ch) | 185 min | 6,91+5,74 Gb (2xDVD9)
Classical | Label: EMI | Sub: English, Francais, Deutsch, Italiano, Espanol | Recorded: 2006

This stylish and beautifully sung and acted 2006 performance of Don Giovanni from the Zurich Opera House should be of strong interest to anyone who loves the opera. The production, directed by Sven-Eric Bechtolf with costumes by Marianne Glittenberg and particularly striking sets by Rolf Glittenberg, is visually and dramatically dazzling. The timeframe is contemporary, but the clever trompe l'oeil set suggests the infinitely receding stage depth that flourished in 18th century scenic design. Don Giovanni's palace is a cosmopolitan playboy's penthouse, and the costumes clearly define the social standing of the characters in modern terms. It would be hard to imagine a Don Giovanni more suave, seductive, and confident than Simon Keenlyside; he's a terrific actor and he perfectly conveys the casual arrogance and entitlement that can attend someone well aware of his own attractiveness. His singing is every bit as fine as his acting; his tone is large and warm, his lines soar lyrically, and he has the effortless-sounding agility necessary for the rapid-fire recitative and arias like "Fin ch'han dal vino." The entire cast is vocally superb, if not consistently as dramatically assured as Keenlyside.

Ennio Gerelli, Orchestra e Coro da Camera di Milano, Quartetto di Milano - Handel: Il Pastor Fido (2003)

Posted By: ArlegZ
Ennio Gerelli, Orchestra e Coro da Camera di Milano, Quartetto di Milano - Handel: Il Pastor Fido (2003)

Ennio Gerelli, Orchestra e Coro da Camera di Milano, Quartetto di Milano - Handel: Il Pastor Fido (2003)
EAC | FLAC | Image (Cue & Log) ~ 460 Mb | Total time: 44:34+43:12 | Scans included
Classical | Label: Warner Fonit | # 5050466-3302-2-2 | Recorded: 1961

… One would say that it was real miracle of style, of vocalism, of delicacy and even of far-sightedness. Apart from the fact that it was the very first recording of Handel's ill-fated work (a few pages had been included in various selections of baroque music), this edition represented a highly personal and supremely Italian alternative to the contemporary English performances of Handel's operas and aratorios. It is true that in Italy it was hard to an Anthony Lewis (all hopelessly in love with Handel's operas), but our Ennio Gerelli - a conscientious Lombard musical institution associated with the Angelicum Franciscan monastery in Milan - may only have managed, when compared with the English conductors, to demonstrate a love for 18th-century vocal writing, but when compared with Gavazzeni, Von Matacic, Previtali or Pedrotti in Handel performances he was a giant of style, wisdom and grace. Rodolfo Celletti (who devotes several lines to this recording in his essential book "Il teatro d'opera in disco", Milan 1988) describes the vocal performances as "appreciable" and quotes a previous, English review by Stanley Sadie which concentrates on the fine performance by the mezzo-soprano Anna Reynolds.

Galilei Consort & Benjamin Chenier - Cavalli: Missa 1660 (2019)

Posted By: delpotro
Galilei Consort & Benjamin Chenier - Cavalli: Missa 1660 (2019)

Galilei Consort & Benjamin Chenier - Cavalli: Missa 1660 (2019)
WEB FLAC (tracks) - 321 Mb | MP3 CBR 320 kbps - 159 Mb | 01:09:03
Classical, Opera | Label: Château de Versailles Spectacles

Mazarin managed to sign the Treaty of Paris which validates the future Peace of the Pyrenees, and therefore the marriage of Louis XIV with the Infanta of Spain in 1660. In the context of these celebrations, the French ambassador in Venice commissions a mass from Cavalli, the greatest composer of his time. He thus composed this sumptuous Missa, performed in January 1660 in the Basilica of San Giovanni e Paulo and brought together the best voices and most famous musicians around viols, violins, cornets and trumpets in a spatialisation in the Venetian manner. In this recording, Benjamin Chénier takes on this chef d'oeuvre which celebrates France and Louis XIV with brilliant soloists and a strategy of spatialisation in the Royal Chapel which recreates the splendid sound of 1660.

Cecilia Bartoli, Jean-Christophe Spinosi, Ensemble Matheus - Antonio Vivaldi (2018)

Posted By: ArlegZ
Cecilia Bartoli, Jean-Christophe Spinosi, Ensemble Matheus - Antonio Vivaldi (2018)

Cecilia Bartoli, Jean-Christophe Spinosi, Ensemble Matheus - Antonio Vivaldi (2018)
EAC | FLAC | Image (Cue & Log) ~ 337 Mb | Total time: 58:29 | Scans included
Classical | Label: DECCA | # 483 4475 | Recorded: 2018

Cecilia Bartoli presents a brand-new album of arias by Antonio Vivaldi, two decades after her ground-breaking 'Vivaldi Album'. The original Vivaldi Album was a seminal event, launching a substantial revival of Vivaldi s long dismissed operas and setting a standard for classical concept albums that stands to this day. In the 20 years since, Cecilia Bartoli has recorded less than 5 minutes of additional Vivaldi music, making her return to this composer with a new album a true event. Bartoli is joined on this recording by French baroque experts Ensemble Matheus under the baton of Jean-Christophe Spinosi.

Constantine Orbelian, Kaunas City Symphony Orchestra, Dmitri Hvorostovsky - Verdi: Rigoletto (2017)

Posted By: ArlegZ
Constantine Orbelian, Kaunas City Symphony Orchestra, Dmitri Hvorostovsky - Verdi: Rigoletto (2017)

Constantine Orbelian, Kaunas City Symphony Orchestra, Dmitri Hvorostovsky - Verdi: Rigoletto (2017)
EAC | FLAC | Image (Cue & Log) ~ 486 Mb | Total time: 59:28+67:36 | Digital booklet
Classical | Label: Delos | # DE 3522 | Recorded: 2016

Giuseppe Verdi may have written his most glamorous and heroic roles for tenors, but he often assigned his more psychologically complex and conflicted character portrayals to baritones- and Rigoletto is just such a role: perhaps the greatest baritone role ever written. It demands not only a magnificent voice, but also a supremely gifted actor who is able to convey a broad range of emotions, human qualities, and inner subtleties. Enter universally beloved Dmitri Hvorostovsky: a prolific Delos artist and supreme Verdi baritone. The resplendent beauty and incomparable versatility of his voice is matched only by the depth of his interpretive soul. In this- Dmitri’s first ever (and long-awaited) complete recording of Rigoletto- he performs the title role magnificently, along with an all-star supporting cast. Choral-orchestral splendor comes courtesy of renowned maestro Constantine Orbelian, his Kaunas City Symphony Orchestra, and the men of the Kaunas State Choir.

Riccardo Muti, Luigi Cherubini Youth Orchestra - Saverio Mercadante: I due Figaro (2013)

Posted By: ArlegZ
Riccardo Muti, Luigi Cherubini Youth Orchestra - Saverio Mercadante: I due Figaro (2013)

Riccardo Muti, Luigi Cherubini Youth Orchestra - Saverio Mercadante: I due Figaro (2013)
EAC | FLAC | Image (Cue & Log) ~ 692 Mb | Total time: 53:42+38:14+74:28 | Scans included
Classical | Label: Ducale | # DUC045-47 | Recorded: 2011

Riccardo Muti's 2011 performances of Saverio Mercadante's I due Figaro (The Two Figaros) were the first it had received since 1835, and this Ducale release of the presentation at the Teatro Alighieri in Ravenna, Italy, is the world-premiere recording. The story of this comic opera is a sequel to events in the Beaumarchais plays, which inspired Rossini's Barber of Seville and Mozart's Marriage of Figaro; the characters of Figaro, Susanna, Cherubino, and the Count and Countess Almaviva are seen a decade later in another farce of disguises and deception. The music is very much in the animated style of Rossini, with an exotic quality that Mercadante discovered on his visit to Madrid, and the mood of the opera is brightened by the combination of Neapolitan tunefulness and Spanish dance rhythms. With Mario Cassi as Figaro, Eleonora Buratto as Susanna, Annalisa Stroppa as Cherubino, Antonio Poli as the Count, and Asude Karayavuz as the Countess, the talented cast is energetic and lively, especially in the rapidfire patter, though there is some lovely bel canto singing in the many cavatinas that admirers of Donizetti and Bellini will appreciate. The Orchestra Giovanile Luigi Cherubini gives Muti a sunny instrumental blend to work with, and the woodwinds stand out for their distinctive timbres. Considering that this is a live recording, the audio is quite clear and relatively noise-free, and the orchestra has a warm, vibrant presence.
–Blair Sanderson

James Levine, Metropolitan Opera Orchestra, Renata Scotto, Placido Domingo - Verdi: Luisa Miller (2006/1979)

Posted By: Vilboa
James Levine, Metropolitan Opera Orchestra, Renata Scotto, Placido Domingo - Verdi: Luisa Miller (2006/1979)

James Levine, Metropolitan Opera Orchestra, Renata Scotto, Plácido Domingo - Verdi: Luisa Miller (2006/1979)
NTSC 4:3 (720x480) VBR | Italiano (LinearPCM, 2 ch) | (DTS, 5 ch) | (Dolby AC3, 6 ch) | 7.64 Gb (DVD9) | 148 min
Classical | Deutsche Grammophon | Sub: Italiano, English, Deutsch, Francais, Espanol, Chinese

“Levine's version of Luisa Miller consistently demonstrates his Verdian mastery, and not just in the best-known masterpieces…Not only in Levine's conducting but also in the sets and costumes of Nathanial Merrill's production the attractive rustic element of the piece is effectively brought out.” (Penguin Guide)

James Levine, Metropolitan Opera Orchestra, Bryn Terfel, Renee Fleming - Mozart: Don Giovanni (2005/2000)

Posted By: Vilboa
James Levine, Metropolitan Opera Orchestra, Bryn Terfel, Renee Fleming - Mozart: Don Giovanni (2005/2000)

James Levine, Metropolitan Opera Orchestra, Bryn Terfel, Renée Fleming - Mozart: Don Giovanni (2005/2000)
NTSC 4:3 (720x480) VBR | Italiano (LinearPCM, 2 ch) | (DTS, 5 ch) | (Dolby AC3, 6 ch) | 5.90 Gb + 5.31 Gb (2xDVD9) | 180 min
Classical | Deutsche Grammophon | Sub: Italiano, English, Deutsch, Francais, Espanol, Chinese

Mozart’s darkest operatic masterpiece with a superb cast featuring Renée Fleming and Bryn Terfel, masterfully conducted by James Levine with Franco Zeffirelli’s beautiful staging.
Bryn Terfel, giving his first Don Giovanni at the MET, received rave reviews for both his singing and his dramatic performance – as the Los Angeles Times puts it: “Terfel is exquisite as the Don, raping and pillaging his way through Europe: His voice, diction and acting are perhaps the best in the role since Cesare Siepi.”

William Christie, Les Arts Florissants - Handel: Orlando (1996)

Posted By: ArlegZ
William Christie, Les Arts Florissants - Handel: Orlando (1996)

William Christie, Les Arts Florissants - Handel: Orlando (1996)
EAC | FLAC | Image (Cue & Log) ~ 831 Mb | Total time: 65:99+51:34+52:13 | Scans included
Classical | Label: Erato | # 2564 67743-0 | Recorded: 1996

The Handel opera boom continues apace. And no wonder. Over the last 20 years singers, directors and audiences have collectively discovered that these musically rich works are also penetrating human dramas. And no Handel opera is more psychologically astute than “Orlando.” … The formidable conductor William Christie, in his 1996 recording, draws a fervent, deeply expressive yet stylistically informed performance from his acclaimed early-music ensemble, Les Arts Florissants, and a fine cast headed by the mezzo-soprano Patricia Bardon in the title role.
- Anthony Tommasini

James Levine, The Metropolitan Opera Orchestra - Berlioz: Les Troyens (2007/1983)

Posted By: Vilboa
James Levine, The Metropolitan Opera Orchestra - Berlioz: Les Troyens (2007/1983)

James Levine, The Metropolitan Opera Orchestra - Berlioz: Les Troyens (2007/1983)
NTSC 4:3 (720x480) VBR | Français (LinearPCM, 2 ch) | (Dolby AC3, 6 ch) | (DTS, 6 ch) | 7.62 Gb + 6.96 Gb (2xDVD9) | 250 min
Classical | Deutsche Grammophon | Sub: Français, English, Deutsch, Espanol, Chinese

"This very fine account…features the most starry casts of soloists, all at their peak, and is strongly directed by James Levine. Jessye Norman is magnetic…Domingo is at his most heroic in both halves of the massive narrative… an obvious principal DVD recommendation for the foreseeable future.” - The Penguin Classical Guide

Alexander Weimann, Pacific Baroque Orchestra - Handel: Orlando (2013)

Posted By: ArlegZ
Alexander Weimann, Pacific Baroque Orchestra - Handel: Orlando (2013)

Alexander Weimann, Pacific Baroque Orchestra - Handel: Orlando (2013)
EAC | FLAC | Image (Cue & Log) ~ 674 Mb | Total time: 59:47+48:41+49:29 | Scans included
Classical | Label: ATMA Classique | # ACD2 2678 | Recorded: 2012

The complete version of Orlando, considered to be one of Handel’s most successful operas, is presented for the first time on a Canadian label. Singing the title role is the English countertenor Owen Willetts, a rising figure on the international scene. He is joined by the American soprano Amanda Forsythe, and several of the finest Canadian singers: Karina Gauvin, Allyson McHardy, and Nathan Berg.The Pacific Baroque Orchestra (PBO) is the only professional period-instrument orchestra west of Toronto. Under the direction of renowned conductor and harpsichordist Alexander Weimann, the PBO is recognized as one of Canada’s most exciting and innovative ensembles performing “early music for modern ears.” This recording was produced following Orlando’s performances at the 2012 Vancouver Early Music Festival.

Charles Mackerras, Orchestra del Teatro La Fenice - Handel: Orlando (1999)

Posted By: ArlegZ
Charles Mackerras, Orchestra del Teatro La Fenice - Handel: Orlando (1999)

Charles Mackerras, Orchestra del Teatro La Fenice - Handel: Orlando (1999)
EAC | FLAC | Image (Cue & Log) ~ 879 Mb | Total time: 64:00+52:53+53:32 | Scans included
Classical | Label: Mondo Musica | # MFOH 10502 | Recorded: 1985

This is a fine alternative to Christopher Hogwood’s period performance on L’Oiseau-Lyre, and will be welcomed heartily by fans of Marilyn Horne. Orlando is a great role, filled with arias and scenes acrobatic, tender, and exclamatory (he goes mad in Act 2 and stays that way for much of Act 3). In l985, when this present set was taped live at Venice’s La Fenice, Marilyn Horne was still in control of her awesome powers–her breath control, fluidity, big, round tones, impeccable diction, and sheer intelligence still astound after all these years. And she’s certainly superior to the nasty-sounding, if dramatic, James Bowman for Hogwood. Lella Cuberli’s Angelica is fine but is outclassed by Arleen Auger; however, I prefer Jeffrey Gall’s countertenor Medoro to Catherine Robbins’ girly one (both for Hogwood again). Giorgio Surjan is okay as Zoroastro and Adelina Scarabelli’s Dorinda is nicely warbled. Charles Mackerras leads with more rubato and larger, more modern forces than Hogwood, but each makes his point. As I said, it’s hands down, really: Horne fans won’t be able to do without this–and Handel-lovers will be pleased too.
–Robert Levine

Nicholas McGegan, FestspielOrchester Gottingen - Handel: Orlando (2008)

Posted By: ArlegZ
Nicholas McGegan, FestspielOrchester Gottingen - Handel: Orlando (2008)

Nicholas McGegan, FestspielOrchester Göttingen - Handel: Orlando (2008)
EAC | FLAC | Image (Cue & Log) ~ 804 Mb | Total time: 65:29+50:20+50:51 | Scans included
Classical | Label: NDR kultur | Recorded: 2008

Den auf Ludovico Ariosts „Orlando furioso“ (Der rasende Roland/1516) basierenden Stoff hatte ein unbekannter Bearbeiter nach dem Libretto von Carlo Sigismondo Capece (Rom 1711) erstellt und eine ganze Reihe Veränderungen vorgenommen, die Händels Oper zu einer seiner originellsten Londoner Opern werden ließ.
Außer, dass er mit Dorinda eine gänzlich neue Rolle eingeführt hat (und die zu einer ganz zentralen Figur des Stückes wird), bricht das Stück mit vielen Konventionen der opera seria seiner Zeit. So eröffnet nicht der „Held“ die Oper, sondern eine Nebenfigur, der Magier Zoroastro, der zudem noch von einem Bass gesungen wird, wobei dieser Stimmgattung bis dahin sonst nur kleine Partien (oft Diener) vorbehalten waren. Gar eine „Frechheit“ war es demzufolge auch, dass er dieses dann auch noch mit einer heroischen Arie macht. Der Grund dafür war, dass Händel zu dieser Zeit der herausragende und gefeierte Bassist Antonio Montagnana zur Verfügung stand (diesem war letztes Jahr bei den Händel-Festspielen in Göttingen 2007 sogar ein eigenes Konzert gewidmet).