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Daniel Barenboim, Wiener Philharmoniker - Tchaikovsky: Eugene Onegin (2008)

Posted By: Vilboa
Daniel Barenboim, Wiener Philharmoniker - Tchaikovsky: Eugene Onegin (2008)

Daniel Barenboim, Wiener Philharmoniker - Tchaikovsky: Eugene Onegin (2008)
NTSC 16:9 (720x480) | Русский (LinearPCM, 2 ch) | (DTS, 5 ch) | 7.81 + 3.40 Gb (DVD9+DVD5) | 157 min
Classical | Deutsche Grammophon | Sub.: English, Deutsch, Francais, Espanol, Chinese

Recorded at the 2007 Salzburg Festival, this production of Tchaikovsky's Eugene Onegin features an excellent, young cast and the Vienna Philharmonic conducted by maestro Daniel Barenboim. Director Andrea Breth has created an intimate production that mines the depths of expression and charisma of her singer-actors and integrates silent secondary episodes and miniature dramas to heighten the intensity of the story. The title role–a tour de force for any baritone–is taken by Peter Mattei, who starred as Figaro in the Metropolitan Opera's HD Live Broadcast of Il Barbiere di Siviglia. He is joined by dazzling young Russian soprano Anna Samuil, a protégée of Daniel Barenboim who has been acclaimed as a vibrant new presence on the opera stage. The opera includes a wonderful performance from the young tenor, Joseph Kaiser, recently acclaimed for perfomances at The Met opposite Anna Netrebko in Roméo et Juliette, as well as a solid contribution from bass Ferruccio Furlanetto.

Ton Koopman, The Amsterdam Baroque Orchestra - Johann Sebastian Bach: Matthäus-Passion (1993

Posted By: ArlegZ
Ton Koopman, The Amsterdam Baroque Orchestra - Johann Sebastian Bach: Matthäus-Passion (1993

Ton Koopman, The Amsterdam Baroque Orchestra - Johann Sebastian Bach: Matthäus-Passion (1993)
EAC | FLAC | Image (Cue & Log) ~ 647 Mb | Total time: 144:36 | Scans included
Classical | Label: Erato | 2292-45814-2 | Recorded: 1992

This is vintage, classic Koopman: Tempi that never linger, orchestral textures that accord privilege to clarity and insight over effect and superb, beautifully articulated, solo vocal lines. Koopman's lucidity might appear a little too detached or cool for some listeners who are used to responding to the emotional charge of Bach's Passions. One of Koopman's greatest strengths is his grasp of architecture: of the unfolding of the passion events; of the relative roles and interactions of the soloists and 'crowds'; of the inevitability of events in a musical - as opposed to a Biblical - sense.
A logical consequence of this is a performance that's neither perfunctory nor devoid of emotion. It knows where it's going. It bases one event on foreknowledge of what happens next. As a result there is a certain businesslike feel though it’s never perfunctory.

Jean Guillou - Johann Sebastian Bach: The Goldberg Variations (1988)

Posted By: ArlegZ
Jean Guillou - Johann Sebastian Bach: The Goldberg Variations (1988)

Jean Guillou - Johann Sebastian Bach: The Goldberg Variations (1988)
EAC | FLAC | Image (Cue & Log) ~ 261 Mb | Total time: 53:56 | Scans included
Classical | Label: Dorian Recordings | DOR-90110 | Recorded: 1987

"Clavier-Übung (keyboard exercise) consisting of an Aria with diverse variations for 2-manual harpsichord, dedicated to music-lovers to gladden their hearts, by J. S. Bach, composer to the Elector of Saxony and King of Poland, Kapellmeister and Civic Director of Music for Leipzig. Edited by Balthasar Schmid at Nuremberg.” So runs the very modest title for a piece of harpsichord literature that can be described only as a work of towering complexity and of the most profound expressive grandeur. Its richness derives on the one hand from its great number of rhythmic figures (only, perhaps with Stravinsky does such profusion again occur), and on the other hand from a composing style that makes use of almost all the possible canonic intervals and inversions.

Kurt Redel - Telemann: Matthäus-Passion; Magnificat (1992)

Posted By: ArlegZ
Kurt Redel - Telemann: Matthäus-Passion; Magnificat (1992)

Kurt Redel - Telemann: Matthäus-Passion; Magnificat (1992)
EAC | FLAC | Image (Cue & Log) ~ 674 Mb | Total time: 130:37 | Scans included
Classical | Label: Philips | 432 500-2 | Recorded: 1964, 1965

Kurt Redel conducts unaffectedly but with passion and is beautifully supported in this with an excellent orchestra and beautifully balanced choir of faultless intonation. The story moves at a good pace as the the tragedy unfolds and is interspersed with some stunning arias, many of them affording moments of still reflection as is befitting for a passion. The singers are faultless and often superb with Sena Jurinac at the height of her artistry, Theo Altmeyer a fine evangelist who knows how to tell a story. Franz Crass always was a lovely, musical singer with a well-rounded, rich voice.

Felix Koch, Neumeyer Consort, Gutenberg-Kammerchor - Johann Sebastian Bach: Markus-Passion, Fassung von 1744 (2018)

Posted By: ArlegZ
Felix Koch, Neumeyer Consort, Gutenberg-Kammerchor - Johann Sebastian Bach: Markus-Passion, Fassung von 1744 (2018)

Felix Koch, Neumeyer Consort, Gutenberg-Kammerchor - Johann Sebastian Bach: Markus-Passion, Fassung von 1744 (2018)
EAC | FLAC | Image (Cue & Log) ~ 381 Mb | Total time: 87:04 | Scans included
Classical | Label: Christophorus | CHR77423 | Recorded: 2017

Bach’s lost St Mark Passion was first performed in Leipzig on Good Friday 1731 and a second time in 1744 in a revised version. Though Bach's music is lost, the libretto by Picander is still extant, and from this, the work can to some degree be reconstructed. Unlike Bach's earlier existing passions (St John Passion and St Matthew Passion), the Markus-Passion is probably a parody – it recycles previous works. Which of his own works Bach may have taken for his St Mark Passion led to numerous speculations. Differently from further reconstructions the Frankfurt musicologist Prof. Karl Böhmer used the revised Picander text from 1744 which schedules one Aria and a chorale more than the 1731 version. Other parts have been revised and complemented.

Kenneth Gilbert - Johann Sebastian Bach: Partiten / Partitas - Clavierübung I (1985)

Posted By: ArlegZ
Kenneth Gilbert - Johann Sebastian Bach: Partiten / Partitas - Clavierübung I (1985)

Kenneth Gilbert - Johann Sebastian Bach: Partiten / Partitas - Clavierübung I (1985)
EAC | FLAC | Image (Cue & Log) ~ 978 Mb | Total time: 71:57+72:52 | Scans included
Classical | Label: Harmonia Mundi | # HMC 901144.45 | Recorded: 1984, 1985

The publication of the Partitas led to some ferment among music lovers in Germany. Some praised the works, others criticised them, but always in terms which suggest that they represented a turning point in harpsichord composition. Following the lead of the theoretician Johann Mattheson, the critics' principal complaint was the extreme technical demands, and the complexity of writing. In his biography of Bach, Johann Nikolaus Forkel writes of the Partitas: »One has hitherto seldom seen or heard harpsichord compositions of such excellence. He who learned to play some of these pieces well, was able to do well with them in the world; and even in our time a young artist can gain honour with them - brilliant, pleasing, expressive, and constantly fresh as they are.«

Fabio Luisi, Chor und Orchester der Wiener Staatsoper - Verdi: Nabucco (2009/2001)

Posted By: Vilboa
Fabio Luisi, Chor und Orchester der Wiener Staatsoper - Verdi: Nabucco (2009/2001)

Fabio Luisi, Chor und Orchester der Wiener Staatsoper - Verdi: Nabucco (2009/2001)
NTSC 16:9 (720x480) | Italiano (LinearPCM, 2 ch) | (Dolby AC3, 6 ch) | (DTS, 6 ch) | 7.73 Gb (DVD9) | 126 min
Classical | Arthaus Musik | Sub.: English, Deutsch, Francais, Espanol, Italiano

After personal tragedies and the fiasco of his last opera Un giorno di regno, Verdi wanted to give up composing for ever. Fortunately he made a further attempt: Nabucco. His first real success, the first genuine “Verdi opera”, was born. Nabucco – the complex story of Nebuchadnezzar the King of Babylon, who proclaims himself God and is hereon affl icted with madness – remains a success with audiences. The renowned director Günter Krämer paid particular attention to the interpersonal component of the opera accentuating the conflict-ridden king’s loss of power as the core.

Diego Fasolis, I Barocchisti, Coro della Radiotelevisione svizzera - Gluck: Orfeo ed Euridice (2018)

Posted By: ArlegZ
Diego Fasolis, I Barocchisti, Coro della Radiotelevisione svizzera - Gluck: Orfeo ed Euridice (2018)

Diego Fasolis, I Barocchisti, Coro della Radiotelevisione svizzera - Gluck: Orfeo ed Euridice (2018)
EAC | FLAC | Image (Cue & Log) ~ 420 Mb | Total time: 77:38 | Scans included
Classical | Label: Erato | 0190295660239 | Recorded: 2016-2017

Star countertenor Philippe Jaroussky continues his exploration of operatic settings of the Orpheus myth with the most famous of the many operas inspired by the story of the Greek poet who searches for his dead wife in the Underworld: Gluck's Orfeo ed Euridice. It contains one of the world's best-loved operatic arias, Orfeo's restrained, but moving lament, 'Che farò senza Euridice'.

Marco Longhini, Delitiae Musicae - Adriano Banchieri: Pazzia Senile; Saviezza Giovenile (2016)

Posted By: ArlegZ
Marco Longhini, Delitiae Musicae - Adriano Banchieri: Pazzia Senile; Saviezza Giovenile (2016)

Marco Longhini, Delitiae Musicae - Adriano Banchieri: Pazzia Senile; Saviezza Giovenile (2016)
EAC | FLAC | Image (Cue & Log) ~ 393 Mb | Total time: 75:48 | Covers included
Classical | Label: Stradivarius | STR11005 | Recorded: 1998

An important composer during the late Renaissance and early Baroque eras, Adriano Banchieri is most noted for his founding of the Accademia dei Floridi in Bologna. Banchieri was one of the first composers to convert the madrigal into use for dramatic purposes. He developed a form called “madrigal comedy,” which was an unstaged, but still dramatic, collection of madrigals which told a story when sung together. These works are performed by the Delitiae Musicae, conducted by Marco Longhini.

Marco Longhini, Delitiae Musicae - Adriano Banchieri: Il studio dilettevole, Il metamorfosi musicale (2010)

Posted By: ArlegZ
Marco Longhini, Delitiae Musicae - Adriano Banchieri: Il studio dilettevole, Il metamorfosi musicale (2010)

Marco Longhini, Delitiae Musicae - Adriano Banchieri: Il studio dilettevole, Il metamorfosi musicale (2010)
dBpoweramp | FLAC | Track (Cue & Log) ~ 316 Mb | Total time: 65:16 | Covers included
Classical | Label: Stradivarius | STR33587 | Recorded: 2000

Little is known about one of the most productive of Italian musicians, Adriano Banchieri. Relegated to a marginal sector of Renaissance history, still defined by madrigals, Banchieri lived in the most extraordinary innovative period of Italian 'harmonic' music: we find clear signs of a new 17th-Century sensibility in adaptation, or rather in making the word serve representational needs, in the use of the basso concertante and in the extensive use of continuo. The two works presented on this CD represent the chronological heart of Banchieri’s most typical production and may be appreciated in modern recordings for the first time: this is an ambitious project to shed light on Italian 'minor' musical history of the end of the 16th century.

Paolo Arrivabeni, Orchestra e Coro del Teatro La Fenice - Donizetti: Pia de Tolomei (2005)

Posted By: Vilboa
Paolo Arrivabeni, Orchestra e Coro del Teatro La Fenice - Donizetti: Pia de Tolomei (2005)

Paolo Arrivabeni, Orchestra e Coro del Teatro La Fenice - Donizetti: Pia de Tolomei (2005)
NTSC 16:9 (720x480) | Italiano (LinearPCM, 2 ch) | (Dolby AC3, 6 ch) | (DTS, 6 ch) | 4.05 + 4.13 Gb (2xDVD5) | 137 min
Classical | Dynamic | Sub.: Italiano, English, Francais, Deutsch, Espanol, Chinese, Japanese

In recent years not only music festivals but also important opera theatres have turned their attention towards the neglected masterpieces of the lyrical repertoire. Thus also Venice’s Teatro La Fenice, in a commendable effort, staged this Pia de’ Tolomei by Donizetti, with some of the best singers available today for this type of repertoire. Initial response to this opera, which was performed for the first time in 1837, was ambiguous, so much so that Donizetti re-worked it as many as three times. The version here recorded is that of the critical edition recently published by Ricordi, with the tragic finale originally conceived by the composer. The listener will undoubtedly wonder, once more, at Donizetti’s wealth of melodic inspiration, especially when it comes to the character of Pia, wonderfully interpreted, here, by Patrizia Ciofi.

Ana Fernández-Vega, Coro Victoria - Alonso Lobo: Sacred Vocal Music (2019)

Posted By: ArlegZ
Ana Fernández-Vega, Coro Victoria - Alonso Lobo: Sacred Vocal Music (2019)

Ana Fernández-Vega, Coro Victoria - Alonso Lobo: Sacred Vocal Music (2019)
EAC | FLAC | Image (Cue & Log) ~ 282 Mb | Total time: 58:27 | Scans included
Classical | Label: Brilliant Classics | 95789 | Recorded: 2017

On this new recording, Coro Victoria offers a portrait of Alonso Lobo (1555-1617) through a cross-section of his sacred output (his works in Spanish are all lost). The group also illustrates the variety of interpretative practices of the period. The concluding O quam suavis est Domine is sung by a single soprano while the vihuela accompaniment supplies the remaining five parts. Church choirs sang this music in the liturgy, but minstrels also played it during processions, and there was free traffic between sacred and secular contexts.

William Dongois, Le Concert Brisé - Buxtehude: Cantatas & Sonatas (2011)

Posted By: ArlegZ
William Dongois, Le Concert Brisé - Buxtehude: Cantatas & Sonatas (2011)

William Dongois, Le Concert Brisé - Buxtehude: Cantatas & Sonatas (2011)
EAC | FLAC | Image (Cue & Log) ~ 370 Mb | Total time: 76:24 | Scans included
Classical | Label: Accent | # ACC24240 | Recorded: 2010

This is a selection of outstanding examples of Buxtehude’s vocal and instrumental music. Settings of Latin biblical texts and ariosa-style works based on German hymns, alternate with instrumental sonatas. The recording has been given a special “North German” colouring through the use of a wide range of historical wind instruments such as the Baroque trombone and dulcian.

Sequentia - Hildegard von Bingen: The Complete Edition [9CDs] (2017)

Posted By: ArlegZ
Sequentia - Hildegard von Bingen: The Complete Edition [9CDs] (2017)

Sequentia - Hildegard von Bingen: The Complete Edition [9CDs] (2017)
EAC | FLAC | Image (Cue & Log) ~ 2.16 Cb | Total time: 09:09:23 | Scans included
Classical | Label: Sony Slassical | 88725431682 | Recorded: 1982-2012

The first ever collection of the complete works by Hildegard von Bingen recorded by Sequentia, in a specially designed Deluxe Edition in shape of a Graduale book. 9 CD-set including 152 page standalone book with complete texts and translations. The Sequentia recrdings of Hildegard s works are contained on 8 releases (more than eleven hours of music) for the DHM label and include all of Hildegard s 77 symphoniae as well as her music drama Ordo Virtutum (recorded twice, with an interval of 15 years between the two radically different productions).

Rinaldo Alessandrini, Concerto Italiano - Vivaldi: Armida al campo d'Egitto (2010)

Posted By: ArlegZ
Rinaldo Alessandrini, Concerto Italiano - Vivaldi: Armida al campo d'Egitto (2010)

Rinaldo Alessandrini, Concerto Italiano - Vivaldi: Armida al campo d'Egitto (2010)
EAC | FLAC | Image (Cue & Log) ~ 693 Mb | Total time: 62:09+67:01+41:12 | Scans included
Classical | Label: Naïve | # OP 30492 | Recorded: 2009

Armida is the tenth opera in the Vivaldi Edition; it's the second one to be recorded by Rinaldo Alessandrini (their first was L’Olimpiade). It's a great success. Marking the end of Vivaldi's first period in Venice, it lacks music for Act II. Alessandrini has reconstructed it here using carefully chosen existing music of the composer with the assistance of the musicologist Frédéric Delaméa.