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Emmanuelle Haim, Le Concert d'Astree - George Frideric Handel: Arcadian Duets (2002)

Posted By: ArlegZ
Emmanuelle Haim, Le Concert d'Astree - George Frideric Handel: Arcadian Duets (2002)

Emmanuelle Haïm, Le Concert d'Astrée - George Frideric Handel: Arcadian Duets (2002)
EAC | FLAC | Image (Cue & Log) ~ 259 Mb | Total time: 62:18 | Scans included
Classical | Label: Virgin Veritas | # 5 45524 2 | Recorded: 2001-2002

It's tempting to think these duets, which Handel composed at various points in his career, are just chips from the master's block. But they constitute a delightful hour's worth of music, and when sung with the vocal brilliance and stylishness displayed here by ten top singers in various pairings, they add up to one of those rare discs it's hard to stop returning to. Handel must have thought a lot of them too–since he reused some of this music for oratorios like Messiah–and turned to the chamber duet form in his last years as well. There isn't a weak link among the soloists, though the contributions of Natalie Dessay, Veronique Gens, and Sara Mingardo are especially noteworthy. Whether asked to sing plaintive laments or flashy coloratura displays, these well-matched voices thrill.

Lumieres - La musique du XVIIIeme siecle (29 CD): Part 06 [2011]

Posted By: Vilboa
Lumieres - La musique du XVIIIeme siecle (29 CD): Part 06 [2011]

Lumières - La musique du XVIIIème siècle (29 CD), Part 06 - Mozart: Le nozze di Figaro [2011]
EAC (flac, image, cue, log) | TT: 45.16+57.05+69.48 | Scans | 718 Mb
Classical | Harmonia Mundi | 2908601.30 | Rec: 2003

The eighteenth century is probably the most extraordinary period of transformation Europe has known since antiquity. Political upheavals kept pace with the innumerable inventions and discoveries of the age; every sector of the arts and of intellectual and material life was turned upside down. Between the end of the reign of Louis XIV and the revolution of 1789, music in its turn underwent a radical mutation that struck at the very heart of a well-established musical language. In this domain too, we are all children of the Age of Enlightenment: our conception of music and the way we ‘consume’ it still follows in many respects the agenda set by the eighteenth century. And it is not entirely by chance that harmonia mundi has chosen to offer you in 2011 a survey of this musical revolution which, without claiming to be exhaustive, will enable you to grasp the principal outlines of musical creation between the twilight of the Baroque and the dawn of Romanticism.

Christophe Rousset, Les Talens Lyriques - Jean-Philippe Rameau: Castor et Pollux (2008)

Posted By: ArlegZ
Christophe Rousset, Les Talens Lyriques - Jean-Philippe Rameau: Castor et Pollux (2008)

Christophe Rousset, Les Talens Lyriques - Jean-Philippe Rameau: Castor et Pollux (2008)
NTSC 16:9 (720x480) | Français (LinearPCM, 2 ch) | (DTSC, 6 ch) | 155 min | 3,95+5,58 Gb (DVD5+DVD9)
Classical | Label: Opus Arte | Sub: English, Français, Deutsch, Español, Italiano, Nederlands | Recorded: 2008

Castor et Pollux is arguably Rameau's finest creation in the tragdie lyrique style. Its libretto, based in mythology, focuses on an unusual theme: the self-sacrificing love between Castor, who is mortal, and his immortal brother, Pollux. When Castor is killed while defending his beloved Tlare from an attempted abduction, Pollux resolves to give up this immortality and take Castor's place in the Underworld. After passionate debate over who will live and who will die, the brothers are eternally united, transformed into the constellation Gemini. The striking luminous sets, depicting a stylized version of the constellation, give this fabulous production a glorious 21st century baroque look.

Pascal Rophé, Orchestre National des Pays de la Loire - Maurice Ravel: Cantates pour le Prix de Rome (2022)

Posted By: ArlegZ
Pascal Rophé, Orchestre National des Pays de la Loire - Maurice Ravel: Cantates pour le Prix de Rome (2022)

Pascal Rophé, Orchestre National des Pays de la Loire - Maurice Ravel: Cantates pour le Prix de Rome (2022)
EAC | FLAC | Image (Cue & Log) ~ 447 Mb | Total time: 102:11 | Scans included
Classical | Label: BIS Records | # BIS-SACD-2582 | Recorded: 2020, 2021

Between 1803 and 1968, the Grand Prix de Rome marked the zenith of composition studies at the Paris Conservatoire. In Maurice Ravels time the competition included an elimination round (a fugue and a choral piece) followed by a cantata in the form of an operatic scena. The entries were judged by a jury which generally favoured expertise and conformity more than originality and Ravels growing reputation as a member of the avant-garde was therefore hardly to his advantage, and may explain why he never won the coveted Premier Grand Prix, and the three-year stay at Romes Villa Medici that went with it.

Bertrand de Billy, Orchestra Academy of the Gran Teatre del Liceu - Mozart: Don Giovanni (2006/2002)

Posted By: Vilboa
Bertrand de Billy, Orchestra Academy of the Gran Teatre del Liceu - Mozart: Don Giovanni (2006/2002)

Bertrand de Billy, Orchestra Academy of the Gran Teatre del Liceu - Mozart: Don Giovanni (2006/2002)
NTSC 16:9 (720x480) | Italiano (LinearPCM, 2 ch) | (DTS, 5 ch) | 5.44+4.91 Gb (2xDVD9) | 156 min
Classical | Opus Arte | Sub.: Catalan, Deutsch, English, Espanol, Francais, Italiano

Calixto Bieito's famously controversial 2002 production of Mozart's great opera sets the action in the late twentieth century and brings to life an ancient story brilliantly retold. Bertrand de Billy conducts an energetic cast led by Wojtek Drabowicz in the title role, with the Liceu's Orchestra Academy.

Jean-Claude Malgoire, La Grande Écurie et la Chambre du Roy - George Frideric Handel: Agrippina (2004)

Posted By: ArlegZ
Jean-Claude Malgoire, La Grande Écurie et la Chambre du Roy - George Frideric Handel: Agrippina (2004)

Jean-Claude Malgoire, La Grande Écurie et la Chambre du Roy - George Frideric Handel: Agrippina (2004)
NTSC 4:3 (720x480) | Italiano (LinearPCM, 2 ch) | (Dolby AC3, 6 ch) | (DTS, 6 ch) | 172 min | 7,05+3,83 Gb (DVD9+DVD5)
Classical | Label: Dynamic | Sub: Italiano, English, Francais, Deutsch, Espanol | Recorded: 2003

Agrippina was staged for the first time in late December 1709 - or possibly at the beginning of 1710 - at Venice’s Teatro San Grisostomo and met with enormous success, as testified by twenty-seven following performances, a record number even for 18th-century standards. Agrippina’s triumph sanctioned Handel’s definitive investiture as an operatic composer. After nearly 300 years this opera appears as a masterpiece of 18th-century music and an innovative work, considering that when Handel composed it he was just twenty-four years old. The composer’s melodic creativity and sense of theatre are quite remarkable. The cast, conducted by Jean-Claude Malgoire, includes Véronique Gens in the title role.

Fabio Biondi, Europa Galante - Alessandro Scarlatti: La Santissima Trinita (2004)

Posted By: ArlegZ
Fabio Biondi, Europa Galante - Alessandro Scarlatti: La Santissima Trinita (2004)

Fabio Biondi, Europa Galante - Alessandro Scarlatti: La Santissima Trinità (2004)
EAC | FLAC | Image (Cue & Log) ~ 392 Mb | Total time: 67:27 | Scans included
Classical | Label: Virgin veritas | # 5 45666 2 | Recorded: 2003

With this exciting release, Fabio Biondi, the outstanding Europa Galante, and a cast led by stars Véronique Gens and Vivica Genaux strike a decisive blow for Alessandro Scarlatti's obscure Oratorio per la Santissima Trinità. Old-fashioned even in its day, the work is a musicalized instructional debate about the mysteries of the Holy Trinity between the allegorical personae of Faith, Theology, Faithlessness, Time, and Divine Love. If you're asleep already, it's for good reason. The libretto is the definition of dry – boring both for its rhetorical contrivance and its verbosity. But before you run for the nearest exit, know that Scarlatti responded to this uninspired mess of ideological bickering with outstanding music, entertaining from beginning to end. Drawing only on a small ensemble of strings and continuo, he created an improbably diverse-sounding score full of infectious rhythms, appealing vocal melodies, and rich textures.

Marc Minkowski, Les Musiciens du Louvre - Jean-Philippe Rameau: Dardanus (2000)

Posted By: ArlegZ
Marc Minkowski, Les Musiciens du Louvre - Jean-Philippe Rameau: Dardanus (2000)

Marc Minkowski, Les Musiciens du Louvre - Jean-Philippe Rameau: Dardanus (2000)
EAC | FLAC | Image (Cue & Log) ~ 723 Mb | Total time: 78:49+76:54 | Scans included
Classical | Label: Archiv Produktion | # 403 476-2 | Recorded: 1998

The story of rival factions, divine interventions, and love triumphing over obstacles political and personal clearly inspired some of Rameau's most adventurous musical evocations (just one example might be the fascinating harmonic language he uses to depict a magician commanding an eclipse). It's this spirit of daring experiment that Rameau expert Marc Minkowski relishes throughout this magnificent, high-octane, deftly tailored account. He fires the authentic-instrument group Les Musiciens du Louvre into his customary whiplash speeds, which are just perfect for the air of martial excitement that prevails, while the many dance-centered numbers have a muscular grace. The result in general is some of his best work to date on disc, with a special emphasis on the through line of the score.

Marc Minkowski, Les Musiciens du Louvre - Jean-Philippe Rameau: Hippolyte et Aricie (2011)

Posted By: ArlegZ
Marc Minkowski, Les Musiciens du Louvre - Jean-Philippe Rameau: Hippolyte et Aricie (2011)

Marc Minkowski, Les Musiciens du Louvre - Jean-Philippe Rameau: Hippolyte et Aricie (2011)
EAC | FLAC | Image (Cue & Log) ~ 808 Mb | Total time: 56:05+57:13+54:07 | Scans included
Classical | Label: Archiv Produktion | # 477 9393 | Recorded: 1994

Hippolyte et Aricie was Rameau's first surviving lyric tragedy and is perhaps his most durable, though you wouldn't know it from the decades we had to wait for a modern recording. Now there are two: this one, conducted by Marc Minkowski, and William Christie's version on Erato. Choosing between the two is tough. Minkowski uses a smaller and probably more authentic orchestra, and with the resulting leaner sound, the performance has more of a quicksilver quality accentuated by Minkowski's penchant for swift tempos. His cast is excellent. The central lovers in the title are beautifully sung by two truly French voices, soprano Véronique Gens and especially the light, slightly nasal tenor of Jean-Paul Fourchécourt. In the pivotal role of the jealous Phèdre, Bernarda Fink is perfectly good but not in the exalted league of Christie's Lorraine Hunt. So there's no clear front-runner, but anyone interested in French Baroque opera must have at least one.

Christophe Rousset, Orquesta Sinfónica de Madrid - Vicente Martín y Soler: Il Burbero di buon cuore (2009)

Posted By: Vilboa
Christophe Rousset, Orquesta Sinfónica de Madrid - Vicente Martín y Soler: Il Burbero di buon cuore (2009)

Christophe Rousset, Orquesta Sinfónica de Madrid - Vicente Martín y Soler: Il Burbero di buon cuore (2009)
NTSC 16:9 (720x480) | Italiano (LinearPCM, 2 ch) | (Dolby AC3, 6 ch) | 5.63+4.23 Gb (DVD9+DVD5) | 140 min
Classical | Dynamic | Sub.: Italiano, English, Francais, Deutsch, Espanol

The comedy in two acts, to a libretto by Lorenzo da Ponte, is based on one of Carlo Goldoni's best-known and most amusing French comedies, Le bourru bienfaisant. The opera premiered with triumphant success on January 4, 1786 at the Vienna Burgtheater. Mozart liked the work so much that he composed two “substitute arias” for it, both of which found their way into this Teatro Real de Madrid production. The director Irina Brook, daughter of the well-known English director Peter Brook, made her debut at the Teatro Real with this production. She brings the plot to our time, mixing several styles and eras, which, together with Soler's light, cheerful music, makes the work really amusing evening entertainment.

Hervé Niquet, Le Concert Spirituel - Jean Gilles, Volume 3: Te Deum; Motet "Diligam te, Domine" (1990)

Posted By: ArlegZ
Hervé Niquet, Le Concert Spirituel - Jean Gilles, Volume 3: Te Deum; Motet "Diligam te, Domine" (1990)

Hervé Niquet, Le Concert Spirituel - Jean Gilles, Volume 3: Te Deum; Motet "Diligam Te, Domine" (1990)
EAC | FLAC | Image (Cue & Log) ~ 283 Mb | Total time: 56:05 | Scans included
Classical | Label: Adda | # 581221 | Recorded: 1990

After receiving his musical training as a choirboy at the Cathedral of Saint-Sauveur at Aix-en-Provence, he succeeded his teacher Guillaume Poitevin as music master there. After moving on several times, he became music master at the Cathedral of St Etienne at Toulouse in 1697, as the successor of Andre Campra. His musical style was influenced by Campra, as were most musicians of his day. He composed motets and a famous requiem, which was performed for the first time at his own funeral (because the original commissioner thought it too expensive to perform), but was later sung at the funeral services for the King of Poland in 1736, Jean-Philippe Rameau in 1764, and Louis XV in 1774. His motets were played frequently from 1728-1771 at the Concert Spirituel.

Hervé Niquet, Le Concert Spirituel - Jean Gilles, Volume 2: Requiem; Motet "Beatus quem elegisti" (1989)

Posted By: ArlegZ
Hervé Niquet, Le Concert Spirituel - Jean Gilles, Volume 2: Requiem; Motet "Beatus quem elegisti" (1989)

Hervé Niquet, Le Concert Spirituel - Jean Gilles, Volume 2: Requiem; Motet "Beatus quem elegisti" (1989)
EAC | FLAC | Image (Cue & Log) ~ 303 Mb | Total time: 64:38 | Scans included
Classical | Label: Adda | # 581175 | Recorded: 1989

After receiving his musical training as a choirboy at the Cathedral of Saint-Sauveur at Aix-en-Provence, he succeeded his teacher Guillaume Poitevin as music master there. After moving on several times, he became music master at the Cathedral of St Etienne at Toulouse in 1697, as the successor of Andre Campra. His musical style was influenced by Campra, as were most musicians of his day. He composed motets and a famous requiem, which was performed for the first time at his own funeral (because the original commissioner thought it too expensive to perform), but was later sung at the funeral services for the King of Poland in 1736, Jean-Philippe Rameau in 1764, and Louis XV in 1774. His motets were played frequently from 1728-1771 at the Concert Spirituel.

Hervé Niquet, Le Concert Spirituel - Jean Gilles, Volume 1: Motet à St Jean Baptiste; Trois Lamentations (1989)

Posted By: ArlegZ
Hervé Niquet, Le Concert Spirituel - Jean Gilles, Volume 1: Motet à St Jean Baptiste; Trois Lamentations (1989)

Hervé Niquet, Le Concert Spirituel - Jean Gilles, Volume 1: Motet à St Jean Baptiste; Trois Lamentations (1989)
EAC | FLAC | Image (Cue & Log) ~ 253 Mb | Total time: 58:04 | Scans included
Classical | Label: Adda | # 581119 | Recorded: 1988

After receiving his musical training as a choirboy at the Cathedral of Saint-Sauveur at Aix-en-Provence, he succeeded his teacher Guillaume Poitevin as music master there. After moving on several times, he became music master at the Cathedral of St Etienne at Toulouse in 1697, as the successor of Andre Campra. His musical style was influenced by Campra, as were most musicians of his day. He composed motets and a famous requiem, which was performed for the first time at his own funeral (because the original commissioner thought it too expensive to perform), but was later sung at the funeral services for the King of Poland in 1736, Jean-Philippe Rameau in 1764, and Louis XV in 1774. His motets were played frequently from 1728-1771 at the Concert Spirituel.

Philippe Herreweghe, La Chapelle Royale - Jean Gilles: Requiem & Diligam te, Domine (1990)

Posted By: ArlegZ
Philippe Herreweghe, La Chapelle Royale - Jean Gilles: Requiem & Diligam te, Domine (1990)

Philippe Herreweghe, La Chapelle Royale - Jean Gilles: Requiem & Diligam te, Domine (1990)
EAC | FLAC | Image (Cue & Log) ~ 289 Mb | Total time: 67:47 | Scans included
Classical | Label: Harmonia Mundi | # HMC 901341 | Recorded: 1990

Herreweghe's 1990 performance was the first modern reading of Gilles' celebrated Requiem from manuscript, shorn of Andre Campra's beefed up orchestration, and very fine it is. In the style of the French Grand Motet, much of the singing is given to soloists and quite florid - as is the choral work.

William Christie, Les Arts Florissants - Michel de Lalande: Te Deum & Grands Motets (1991)

Posted By: ArlegZ
William Christie, Les Arts Florissants - Michel de Lalande: Te Deum & Grands Motets (1991)

William Christie, Les Arts Florissants - Michel Delalande: Te Deum & Grands Motets (1991)
EAC | FLAC | Image (Cue & Log) ~ 305 Mb | Total time: 64:19 | Scans included
Classical | Label: Harmonia Mundi | # HMC 901351 | Recorded: 1990

Called the Latin Lully"(whose worthy successor he was for 43 years under Louis XIV and Louis XV), Delalande took the "grand motet" practised at Versailles to the peak of its glory and its popularity. The Te Deum of 1684 is the epitome of his achievement in the genre, and it was organised, composed, and performed with the care reserved for true masterpieces. The listener will be equally astonished by the manner in which Delalande sets the words of Psalms 110 (111) and 137, whose emotional impact goes far beyond the conventions of the genre.