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Rameau - Le Grand Theatre de l'amour - Sabine Devieilhe, Les Ambassadeurs, Alexis Kossenko - 2013 - Erato

Rameau - Le Grand Theatre de l'amour - Sabine Devieilhe, Les Ambassadeurs, Alexis Kossenko - 2013 - Erato
Release Date: 2013
Duration: 01:20:07
Recorded: Paroisse Notre Dame du Liban, Paris, 6-8 mai 2013

Sabine Devieilhe, the young French lyric-coloratura soprano is a name to watch. Over the 2013-14 Paris season she will star in Delibes’ Lakmé at the Opéra Comique and make her debut at the Opéra as the dazzling Queen of the Night in Die Zauberflöte. She has been described as a singer “whose upper register, like her virtuosity, appears limitless, while her verbal sense and dramatic engagement are breathtaking”. Both her achievement and her potential were recognised at the 2013 Victoires de la Musique Classique, France’s equivalent of the Grammys, where she won the award in the category for ‘Révélation artiste lyrique’...

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Опубликовал 30-06-2014, 11:02 : pr3ss   |   Просмотров: 126   |   Комментарии (0)
     


Mozart - Adagios & Fugues (after J.S. Bach) - Akademie fur Alte Musik Berlin - 2014 - Harmonia Mundi

Mozart - Adagios & Fugues (after J.S. Bach) - Akademie fur Alte Musik Berlin - 2014 - Harmonia MundiTracklist:
It has too often been overlooked that, between Bach’s death (1750) and the triumphant revival of his St Matthew Passion by Mendelssohn in 1829, other composers had already investigated the œuvre of this ‘old master’. Mozart was the most fervent among them; thanks to the discoveries of Baron van Swieten, he had the opportunity to explore The Well-Tempered Clavier and make the string arrangements from it featured on this disc.



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Опубликовал 26-05-2014, 10:49 : pr3ss   |   Просмотров: 140   |   Комментарии (0)
     


Joseph Haydn - The Seven Last Words of Christ - Cuarteto Casals - 2014 - Harmonia Mundi

Joseph Haydn - The Seven Last Words of Christ - Cuarteto Casals - 2014 - Harmonia Mundi
An instrumental ‘oratorio’
Haydn wrote his Seven Last Words in 1786/87 for Good Friday devotions in Cádiz. The task of composing a purely instrumental ‘oratorio’ consisting of seven contemplative slow movements was by no means an easy one; but the outcome was a work of sublime nobility, which in Haydn’s own transcription for string quartet has enjoyed unfailing popularity ever since.

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Опубликовал 21-04-2014, 11:09 : pr3ss   |   Просмотров: 135   |   Комментарии (1)
     


Mozart - Violin Concertos - Marianne Thorsen & TrondheimSolistene - 2006

Mozart - Violin Concertos - Marianne Thorsen & TrondheimSolistene - 2006
Концерт в Трондхейме. 2006 год.
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Опубликовал 13-04-2014, 11:02 : Sade   |   Просмотров: 145   |   Комментарии (0)
     


Stamitz, Richter - Early String Symphonies, Vol.1 & 2 - New Dutch Academy, Simon Murphy - 2003 - PentaTone

Stamitz, Richter - Early String Symphonies, Vol.1 & 2 - New Dutch Academy, Simon Murphy - 2003 - PentaToneStamitz, Richter - Early String Symphonies, Vol.1 & 2 - New Dutch Academy, Simon Murphy - 2003 - PentaTone
Сomposer: Johann Stamitz (1717–1757), Franz Xaver Richter (1709–1789)
Artist: New Dutch Academy, Simon Murphy
Title: Early String Symphonies, Vol.1 & 2
Genre: Classical
Period: Baroque
Brand/Label: © PentaTone
Quality: Studio Master 24bit 96kHz
Source: HIGHRESAUDIO
Duration: 00:54:39 + 01:06:43
Release Date: 2003
Recording: at concerts and sessions at the Oud-Katholieke Kerk of The Hague on 10, 11 and 13 January, 2003

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Опубликовал 24-03-2014, 11:06 : pr3ss   |   Просмотров: 49   |   Комментарии (1)
     


Handel to Haydn - Birth of the Symphony - Academy of Ancient Music, Richard Egarr - 2013 - AAM

Handel to Haydn - Birth of the Symphony - Academy of Ancient Music, Richard Egarr - 2013 - AAM
Сomposer: George Frideric Handel (1685–1759), Franz Xaver Richter (1709–1789), Johann Wenzel Anton Stamitz (1717-1757), Wolfgang Amadeus Mozart (1756–1791), Franz Joseph Haydn (1732–1809)

The first release on AAM Records, the new label of the Academy of Ancient Music – recently described as “the finest period-instrument orchestra in the world” by Classic FM.
Birth of the symphony explores the development of the symphony in the eighteenth century, surveying groundbreaking musical advances across Europe.
The recording includes brilliant and rarely-heard works by composers of the avant-garde “Mannheim school”, Richter and Stamitz, as well as Haydn’s mature “La passione” symphony.
Supplementary materials available online include a documentary film featuring AAM musicians discussing and performing these symphonies.


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Опубликовал 21-02-2014, 11:01 : pr3ss   |   Просмотров: 29   |   Комментарии (2)
     


Vivaldi, Handel, Porpora, Mozart - Alleluia - Lezhneva, Il Giardino Armonico, Antonini - 2013 - Decca

Vivaldi, Handel, Porpora, Mozart - Alleluia - Lezhneva, Il Giardino Armonico, Antonini - 2013 - Decca
Quality: Studio Master FLAC Stereo 96kHz 24bit
Recorded: Sala 1 Pau Casals, l‘Auditori de Barcelona, 12–17 October 2012
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Опубликовал 6-02-2014, 11:08 : pr3ss   |   Просмотров: 216   |   Комментарии (6)
     


d'Anglebert, Marais, Dolle & Forqueray - Hommages - Mieneke van der Velden, Glen Wilson - 2013 - Ramee

d'Anglebert, Marais, Dolle & Forqueray - Hommages - Mieneke van der Velden, Glen Wilson - 2013 - Ramee
Quality:Studio Master FLAC Stereo 88,2kHz/24bit
Homage in music can express different things: gratitude towards a benefactor, a more personal greeting to a friend or acquaintance, recognition of a colleague’s talent, or a testament raised in memory of a teacher or other departed dear one. Paying homage to a late musician with a Tombeau was already an ancient tradition in the time of Marin Marais. Initially, tombeaux were instrumental transcriptions of middle-age and Renaissance vocal lamentations, and were developed around the middle of the 17th-century for the lute, then for the harpsichord by Louis Couperin and Jean-Henri d’Anglebert, and finally for the viola da gamba by Sainte-Colombe. The Tombeaux of Marin Marais are amongst the most original and expressive of those written for the viol, while the last examples of this tradition are the Tombeau pour Marais le Cadet, by Marin Marais (1725) and the Tombeau de Marais le Père, by Charles Dollé (1737). A programme full of worship, grandeur and sadness.
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Опубликовал 5-02-2014, 10:51 : pr3ss   |   Просмотров: 125   |   Комментарии (2)
     


A New Joy - Estonian Philharmonic Chamber Choir - 2006 - HM

A New Joy - Estonian Philharmonic Chamber Choir - 2006 - HM
Paul Hillier leads the Estonian Philharmonic Chamber Choir through breathtaking performances of well-crafted Orthodox music from Russia, Estonia and Ukraine. The rich repertoire is full of uplifting harmonies and powerful tunes; the album includes several first recordings by Kastalsky, Izevkov, among others. This sublime Christmas recording can be enjoyed year-round.
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Опубликовал 27-01-2014, 11:00 : LKir   |   Просмотров: 134   |   Комментарии (2)
     


Pergolesi - Stabat Mater, Laudate pueri & Confitebor - Lezhneva, Jaroussky, I Barocchisti - 2013 - Erato

Pergolesi - Stabat Mater, Laudate pueri & Confitebor - Lezhneva, Jaroussky, I Barocchisti - 2013 - Erato
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Release Date: 2013
Recorded: Auditorio Stelio Molo/Studio 2, RSI, Lugano, Switzerland; Chiesa del Sacro Cuore, Bellinzona, Switzerland, 14-21 March 2012
Duration: 01:11:46

Disc reviews by James Manheim "AMG"
Russian Julia Lezhneva here shows an admirably gutsy attitude toward developing her repertory, avoiding familiar milestones in favor of an original project. Here she is paired with French countertenor Philippe Jaroussky in a program of works by Pergolesi for two high voices, strings, and continuo: the Stabat mater, for which there are plenty of other recordings, and the less-common Laudate pueri dominum and Confitebor tibi Domine. The distinctive feature here -- which might tempt some to use the word "gimmick," but listen before doing so -- is that Lezhneva fashions her voice into a very close copy of Jaroussky's, which is not at all an easy thing to do. Put this together with the precise, rather edgy playing of I Barocchisti under Diego Fasolis, and the result is a rather otherworldly Stabat mater. The tragic quality of the work and its association with Pergolesi's short life are played down (probably a good thing, for Pergolesi wasn't planning to die at age 26 ) in favor of creating a hypnotic globe of sound from which the two singers' voices emerge as flashing accents along with the punchy sound of Fasolis' strings. It may not be to everyone's taste, but it's quite an accomplishment, and the album continues to serve notice of Lezhneva's emergence as a major star in Baroque singing.
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Опубликовал 25-01-2014, 11:02 : pr3ss   |   Просмотров: 140   |   Комментарии (2)
     


 
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