Subcategories

Hervé Niquet, Brussels Philharmonic Orchestra, Flemish Radio Choir - Félicien David: Herculanum (2015)

Posted By: ArlegZ
Hervé Niquet, Brussels Philharmonic Orchestra, Flemish Radio Choir - Félicien David: Herculanum (2015)

Hervé Niquet, Brussels Philharmonic Orchestra, Flemish Radio Choir - Félicien David: Herculanum (2015)
XLD | FLAC | Image (Cue & Log) ~ 1.31 Gb | Total time: 72:58+49:06 | Scans included
Classical | Label: Ediciones Singulares ‎| # ES 1020 | Recorded: 2014

Félicien David was already famous through his 'ode-symphonie' Le Désert (1844) when his opera Herculanum was first staged at the Paris Opéra in 1859. This ambitious work, later to gain him entrance to the Opéra-Comique and the Institut de France, also played a part in earning him the Légion d'Honneur. Leaving behind the Middle Eastern inflections of his earlier scores, Herculanum is a remarkably strong composition (vast, intensely dramatic scenes), impressive in the diversity of its style (including Verdian influences) and its vocal variety (including the rare coloratura contralto voice often used by Rossini).

Gérard Lesne, Véronique Gens, Il Seminario Musicale - Alessandro Scarlatti: Motets (1994)

Posted By: ArlegZ
Gérard Lesne, Véronique Gens, Il Seminario Musicale - Alessandro Scarlatti: Motets (1994)

Gérard Lesne, Véronique Gens, Il Seminario Musicale - Alessandro Scarlatti: Motets (1994)
EAC | FLAC | Image (Cue & Log) ~ 329 Mb | Total time: 69:19 | Scans included
Classical | Label: Virgin Veritas | # 5 45103 2 | Recorded: 1993

Depuis plus d'une décennie, Gérard Lesne poursuit un splendide travail de redécouverte du répertoire baroque sacré, qu'il chante avec sa voix merveilleuse de haute- contre, accompagné de son ensemble Il Seminario Musicale. Ce disque est l'occasion de les retrouver dans de très beaux Motets de Scarlatti - Alessandro Scarlatti, le père de Domenico, l'auteur des fameuses 555 sonates pour clavier. Tout est subtilité, douceur et expression, comme toujours avec Gérard Lesne.

Christophe Rousset, Il Seminario Musicale - Niccolo Jommelli: Lamentazioni per il Mercoledi Santo (1996)

Posted By: ArlegZ
Christophe Rousset, Il Seminario Musicale - Niccolo Jommelli: Lamentazioni per il Mercoledi Santo (1996)

Christophe Rousset, Il Seminario Musicale - Niccolò Jommelli: Lamentazioni per il Mercoledi Santo (1996)
EAC | FLAC | Image (Cue & Log) ~ 337 Mb | Total time: 73:58 | Scans included
Classical | Label: Virgin Veritas | # 5 45202 2 | Recorded: 1995

Jomelli, regarded by many of his contemporaries as the greatest opera composer of the century, sets the lamentations in a dramatic and religio-operatic style as a duet between two high voices. Gérard Lesne receives higher billing than Véronique Gens on the cover of the CD, but they both sing exquisitely well – too well, perhaps, for the music to be regarded in the light of a meditation on the Passion, but that’s the way that Jommelli writes it.

Véronique Gens, Alexandre Bloch, Orchestre National de Lille - Chausson: Poème de l'amour et de la mer & Symphonie Op.20 (2019)

Posted By: ArlegZ
Véronique Gens, Alexandre Bloch, Orchestre National de Lille - Chausson: Poème de l'amour et de la mer & Symphonie Op.20 (2019)

Véronique Gens, Alexandre Bloch, Orchestre National de Lille - Chausson: Poème de l'amour et de la mer & Symphonie Op. 20 (2019)
EAC | FLAC | Image (Cue & Log) ~ 285 Mb | Total time: 60:07 | Scans included
Classical | Label: Alpha | # ALPHA441 | Recorded: 2018

Ernest Chausson is a most unusual figure in French music, positioned at the crossroads where the romanticism of Berlioz and Franck meet the language of Wagner and the symbolism of the young Debussy. His Poème de l amour et de la mer is a unique score for the period and certainly his greatest work; simultaneously a profane, naturistic cantata, a monologue, and a song cycle, it was composed between 1882 and 1892.

William Christie, Les Arts Florissants - Purcell: The Fairy Queen (1989)

Posted By: ArlegZ
William Christie, Les Arts Florissants - Purcell: The Fairy Queen (1989)

William Christie, Les Arts Florissants - Purcell: The Fairy Queen (1989)
EAC | FLAC | Image (Cue & Log) ~ 785 Mb | Total time: 64:48+63:54 | Scans included
Classical | Label: Harmonia Mundi | # HMC 901308.09 | Recorded: 1989

On the strength of the immense success of Dido & Aeneas and King Arthur, in 1692 Purcell went on to produce The Fairy Queen, based on Shakespeare’s A Midsummer-Night’s Dream. The work is, in fact, a ‘semi-opera’, or ‘opera with dialogue’, in which only some of the crucial scenes are provided with music. But this version of A Midsummer-Night’s Dream by the ‘Orpheus Britannicus’ became almost as famous as the play that inspired it, with its love scenes, its supernatural scenes and its innate sense of musical humour investing it with an irresistible savour and enchantment.This title was released for the first time in 1989.

Christophe Rousset, Les Talens Lyriques - Gounod: Faust (2019)

Posted By: ArlegZ
Christophe Rousset, Les Talens Lyriques - Gounod: Faust (2019)

Christophe Rousset, Les Talens Lyriques - Gounod: Faust (2019)
EAC | FLAC | Image (Cue & Log) ~ 836 Mb | Total time: 55:59+49:57+68:32 | Scans included
Classical | Label: Bru Zane | # BZ1037 | Recorded: 2018

The masterpiece of French opera – Gounod’s ‘Faust‘ – still has surprises in store for us. Originally conceived in the spirit of opéra-comique, the 1859 score alternated between spoken dialogue and music, intermingling witty comedy and Romantic pathos. It is that ‘first Faust’ that the Palazzetto Bru Zane reveals in this recording, and particularly the many numbers that were subsequently deleted or altered.

Veronique Gens, Les Basses Reunies - Handel: Lucrezia, Armida abbandonata, Agrippina condotta a morire (1999)

Posted By: ArlegZ
Veronique Gens, Les Basses Reunies - Handel: Lucrezia, Armida abbandonata, Agrippina condotta a morire (1999)

Véronique Gens, Les Basses Réunies - Handel: Lucrezia, Armida abbandonata, Agrippina condotta a morire (1999)
EAC | FLAC | Image (Cue & Log) ~ 247 Mb | Total time: 52:36 | Scans included
Classical | Label: Virgin Veritas | # 5 45283 2 | Recorded: 1996, 1997

Véronique Gens's intense soprano shines in this program of tragic cantatas about a trio of fatally wronged Roman heroines written by the twentysomething Handel during his triumphant Italian sojourn. Here, luckless Lucrezia and abandoned Armida vacillate between love and hate for the men who wronged them and agitated Agrippina rages against the son who condemned her to death, the Emperor Nero. Gens is with these wracked souls all the way, bending her lovely voice to capture the verbal nuances of the texts; listen, for example, how she deadens her tone for Agrippina's "A me sol giunga la morte." Throughout, she stays within the stylistic frame of historically informed performance practices, as do her excellent accompanists.
–Dan Davis

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

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

Emmanuelle Haïm, Le Concert d'Astrée - Handel: Arcadian Duets (2002)
EAC | FLAC | Image (Cue & Log) ~ 259 Mb | Total time: 62:18 | Scans included
Classical | Label: Virgin | # 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. The accompaniments (harpsichord or organ, lute and cello) are faultless. The appeal of this disc extends far beyond Baroque specialists to anyone who enjoys outstanding singing.
–Dan Davis

Christophe Rousset, Les Talens Lyriques - Niccolo Jommelli: Armida abbandonata (2005)

Posted By: ArlegZ
Christophe Rousset, Les Talens Lyriques - Niccolo Jommelli: Armida abbandonata (2005)

Christophe Rousset, Les Talens Lyriques - Niccolò Jommelli: Armida abbandonata (2005)
EAC | FLAC | Image (Cue & Log) ~ 929 Mb | Total time: 61:04+66:40+44:10 | Scans included
Classical | Label: Naïve | # AMB 9983 | Recorded: 1994

Armida abbandonata is one of Niccolo Jommelli's finest operas. It was the first he composed after returning to Naples from his triumphant years in Stuttgart (1754-1769), receiving its first performance at the Teatro San Carlo on May 30, 1770. Among those who attended was the 14-year old Mozart, whose report that Armida was "beautiful, but too serious and old-fashioned for the theater," has been frequently quoted and almost as frequently misunderstood. "The theater" almost certainly refers specifically to the San Carlo, which did indeed find Armida "too serious," in the sense of its harmonic and orchestral complexity, ironically a criticism Mozart himself would later encounter in Vienna.

Gerard Lesne, Il Seminario musicale - Vivaldi: Salve Regina, Violin concerto RV 581; Galuppi: Motets (2004)

Posted By: ArlegZ
Gerard Lesne,  Il Seminario musicale - Vivaldi: Salve Regina, Violin concerto RV 581; Galuppi: Motets (2004)

Gérard Lesne, Il Seminario musicale - Vivaldi: Salve Regina, Violin concerto RV 581; Galuppi: Motets (2004)
EAC | FLAC | Image (Cue & Log) ~ 507 Mb | Total time: 66:34+56:29 | Scans included
Classical | Label: Virgin | # 5 62413 2 | Recorded: 1991-92

Gérard Lesne founded the Il Seminario musicale Ensemble in 1985. Since 1990, the Ensemble has been in residence at the Royaumont Foundation, where it attracts vocalists and instrumentalists who share Lesne's enthusiam for the 17th and 18th century Italian repertoire. The musicians perform on old instruments and strive to reproduce as faithfully as possible the lilt and narrative line characteristic of the baroque style as expressed in works by composers such as Monteverdi, Cavalli, Scarlatti, Vivaldi, Caldara, Pergolesi, and the others. The size of the ensemble is variable depending on the repertoire. Based on a rich and varied continuo section (theorbo, cello, basson, double bass, organ and harpsichord) supporting one or more soloists, it can be expanded with the addition of a string quartet to make a small chamber orchestra suitable for performing chamber operas. Responsibility for the Ensemble's musical direction is shared by the instrumentalists and vocalists.

Christophe Rousset, Il Seminario Musicale - Niccolo Jommelli: Lamentazioni per il Mercoledi Santo (1996)

Posted By: ArlegZ
Christophe Rousset, Il Seminario Musicale - Niccolo Jommelli: Lamentazioni per il Mercoledi Santo (1996)

Christophe Rousset, Il Seminario Musicale - Niccolò Jommelli: Lamentazioni per il Mercoledi Santo (1996)
EAC | FLAC | Image (Cue & Log) ~ 319 Mb | Total time: 73:58 | Scans included
Classical | Label: Virgin Veritas | # 5 45202 2 | Recorded: 1995

Jomelli, regarded by many of his contemporaries as the greatest opera composer of the century, sets the lamentations in a dramatic and religio-operatic style as a duet between two high voices. Gérard Lesne receives higher billing than Véronique Gens on the cover of the CD, but they both sing exquisitely well – too well, perhaps, for the music to be regarded in the light of a meditation on the Passion, but that’s the way that Jommelli writes it. Listen to tracks 27-30: at first you would hardly believe that what you hear is a setting of a lament that the heathen have entered the sanctuary of the temple (tr.27). The mood changes dramatically on track 28, in which the speaker concludes that his sufferings have made him vile. After a happily skipping setting of the letter Lamed (tr.29), the most famous words from this chapter receive an appropriately affective treatment: O vos omnes qui transitis per viam – O all you that pass by the way, attend and see if there be any sorrow like my sorrow (tr.30) – words repeated on Good Friday in the Improperia or Reproaches.