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Andreas Spering, Capella Augustina, VokalEnsemble Koln - Joseph Haydn: Il ritorno di Tobia (2007)

Posted By: ArlegZ
Andreas Spering, Capella Augustina, VokalEnsemble Koln - Joseph Haydn: Il ritorno di Tobia (2007)

Andreas Spering, Capella Augustina, VokalEnsemble Köln - Joseph Haydn: Il ritorno di Tobia (2007)
EAC | FLAC | Image (Cue & Log) ~ 710 Mb | Total time: 55:28+58:16+55:20 | Scans included
Classical | Label: Naxos | # 8.570300-02 | Recorded: 2006

Although Haydn’s place in the history of the oratorio has been secured by his great vocal masterpieces The Creation and The Seasons, his first oratorio, Il ritorno di Tobia (The Return of Tobias), is among the better-kept secrets of music history. The Italian libretto deals with the return of Tobias and the curing of his blind father, an exceptionally popular story in eighteenth century Vienna. With its vivid portrayal of the protagonists’ emotional turmoil, achieved largely through wide-ranging arias of great virtuosity, Il ritorno di Tobia is a work of considerable beauty and dramatic impact. This recording includes the two magnificent choruses Ah gran Dio! and Svanisce in un momento written for a performance of Tobia in 1784.

Christophe Rousset, Les Talens Lyriques - Handel: Tamerlano (2015) [BDRip]

Posted By: Vilboa
Christophe Rousset, Les Talens Lyriques - Handel: Tamerlano (2015) [BDRip]

Christophe Rousset, Les Talens Lyriques - Handel: Tamerlano (2015) [BDRip]
BluRay-rip | AVC | MKV 1280x720 / 2735 kbps / 29,97 fps | 190 min | 4,06 Gb
Audio: Italiano / AC3 / 6ch / 48.0 KHz / 320 Kbps
Classical | Alpha | Sub.: French, English, German, Dutch

This Handelian diptych, the brainchild of the director Pierre Audi, was conceived in a style of great purity, right down to the costumes, the decors and the sumptuous chiaroscuro lighting. In order to replicate this aesthetic, reminiscent of Renaissance paintings, with the greatest possible fidelity, the performances, filmed in high resolution, are being released on BLU RAY only. Christophe Rousset and his orchestra convey exceptional fervor in this music, here served by the finest Handelian voices imaginable, foremost among them Sandrine Piau, who enjoyed a genuine triumph in the stage production. Nor can one forget the dramatic performance of Jeremy Ovenden in Tamerlano, or the beauty of the voices of Ann Hallenberg, Sophie Karthauser, Delphine Galou and the countertenor Christophe Dumaux.

Sophie Karthäuser, Julien Chauvin, Le Concert de la Loge - Haydn: L'Impatiente (2019)

Posted By: ArlegZ
Sophie Karthäuser, Julien Chauvin, Le Concert de la Loge - Haydn: L'Impatiente (2019)

Sophie Karthäuser, Julien Chauvin, Le Concert de la Loge - Haydn: L'Impatiente (2019)
EAC | FLAC | Image (Cue & Log) ~ 286 Mb | Total time: 61:19 | Scans included
Classical | Label: Aparté | # AP 210 | Recorded: 2018, 2019

The Haydn series continues with the Paris Symphony no 87. Julien Chauvin and his orchestra keep shaking us up with historical instruments listening Haydn’s works and several other forgotten scores from the same period. All of them were commissioned for the Concert de la Loge Olympique - ancestor and model for Julien Chauvin and his musicians - and all of them sank into oblivion during the 19th century, except for Haydn’s symphonies. The release offers an opportunity to experience some rare works of Grétry, Lemoyne and Ragué and to revive the success that they once knew.

René Jacobs, B'Rock Orchestra Ghent - George Frideric Handel: Orlando (2014)

Posted By: ArlegZ
René Jacobs, B'Rock Orchestra Ghent - George Frideric Handel: Orlando (2014)

René Jacobs, B'Rock Orchestra Ghent - George Frideric Handel: Orlando (2014)
EAC | FLAC | Image (Cue & Log) ~ 952 Mb | Total time: 77:15+82:47 | Scans included
Classical | Label: Archiv Produktion | # 479 2199 | Recorded: 2013

Celebrated Handelian René Jacobs, 'the most exciting opera conductor of the day' (Münchner Merkur), leads the dynamic, exquisitely honed Ghent ensemble and an outstanding cast in one of the composer's most spectacular and ravishingly beautiful creations. The title role, written for the legendary Senesino, is sung by its finest modern exponent, Bejun Mehta, 'one of the most commanding, exhilarating countertenors of the modern era' (New York Times).

Sophie Karthäuser, Stéphane Degout, Eugene Asti, Alain Planès - Debussy: Harmonie du soir: Mélodies (2018)

Posted By: ArlegZ
Sophie Karthäuser, Stéphane Degout, Eugene Asti, Alain Planès - Debussy: Harmonie du soir: Mélodies (2018)

Sophie Karthäuser, Stéphane Degout, Eugene Asti, Alain Planès - Debussy: Harmonie du soir: Mélodies (2018)
EAC | FLAC | Image (Cue & Log) ~ 421 Mb | Total time: 125:51 | Scans included
Classical | Label: Harmonia Mundi | # HMM 902306.07 | Recorded: 2017, 2018

This generous song recital of Debussy Mélodies features soprano Sophie Karthäuser and baritone Stéphane Degout, accompanied by pianists Eugene Asti and Alain Planès. Drawing on Symbolist and Impressionist poets, this program, including Trois Ballades de François Villon and Cinq poèmes de Baudelaire, showcases some of the composer's finest cycles. For Debussy, the artistic journey is first and foremost a matter of color.

Christophe Rousset, Herve Niquet, Jordi Savall, Fabio Biondi - Marc-Antoine Charpentier, un automne musical à Versailles (2005)

Posted By: ArlegZ
Christophe Rousset, Herve Niquet, Jordi Savall, Fabio Biondi - Marc-Antoine Charpentier, un automne musical à Versailles (2005)

Christophe Rousset, Herve Niquet, Jordi Savall, Fabio Biondi, Gérard Lesne, Christina Pluhar - Marc-Antoine Charpentier, un automne musical à Versailles (2005)
PAL 16:9 (720x576) | Français | (Dolby AC3, 2 ch) | 150 min | 7,74 Gb (DVD9)
Classical | Label: Armide | Sub: English, Français, Deutsch | Recorded: 2003

Studio Armide represents magnificent documentary film Olivier Simonnet «Marc-Antoine Charpentier, un automne musical à Versailles». Marc-Antoine Charpentier never had an official function at the court of Louis XIV. In 2004 Versailles finally opened its doors to him for the tercentennial commemorations of his death. The finest performers of baroque music, from Jordi Savall to Christophe Rousset, played the most important works of the time in the Royal Chapel opera house, as well as in the chateau salons and galleries: from instrumental music (Lully’s Alceste) to vocal music (Actéon), from lyric tragedy (Médée) to sacred music (Missa assumpta est Maria). The life of this collaborator of Molière’s and cultural life under Louis XIV are enriched by the participation of conductors and musicians.

Diego Fasolis, I Barocchisti - Handel: Faramondo (2009)

Posted By: ArlegZ
Diego Fasolis, I Barocchisti - Handel: Faramondo (2009)

Diego Fasolis, I Barocchisti - Handel: Faramondo (2009)
EAC | FLAC | Image (Cue & Log) ~ 894 Mb | Total time: 65:59+48:52+51:17 | Scans included
Classical | Label: Virgin Classics | # 2 16611 2 9 | Recorded: 2008

Until it was revived in the late twentieth century, Handel's opera Faramondo was performed just eight times in London in 1738 and then fell into obscurity. According to the conventions of Italian opera of the period, men's roles were often written for women, in spite of the lack of dramatic realism, and the use of castrati was common, so higher voices strongly predominate. Handel wrote the title role, which would have gone to a castrato, usually a male alto, for Cafarelli, who had the range of a mezzo-soprano.

René Jacobs, Akademie für Alte Musik, Berlin - Giovanni Battista Pergolesi: Septem Verba a Christo (2013)

Posted By: ArlegZ
René Jacobs, Akademie für Alte Musik, Berlin - Giovanni Battista Pergolesi: Septem Verba a Christo (2013)

René Jacobs, Akademie für Alte Musik, Berlin - Giovanni Battista Pergolesi: Septem Verba a Christo (2013)
EAC | FLAC | Image (Cue & Log) ~ 349 Mb | Total time: 80:30 | Scans included
Classical | Label: Harmonia Mundi | # HMC 902155 | Recorded: 2013

This Septem verba a Christo in cruce moriente proloata (The Seven Words of the Dying Christ on the Cross) was rediscovered nearly a century ago, and scholars down through the years have reached differing conclusions as to whether or not the work was really by Giovanni Battista Pergolesi, as one manuscript claimed. More and more copies surfaced, and finally the discovery by musicologist Reinhard Fehling of a new set of parts at an Austrian monastery in 2009 showed that the work was at the very least popular over a good part of Europe, and the forces represented here gave the work its modern-day premiere performance and first recording.