No matter how many times you've heard Le nozze di Figaro, you owe it to yourself to hear this Le nozze di Figaro. It is fresh and funny and silly and moving and enchanting and as wise and as knowing as the work itself. The singers are the ideal kind of opera singers who make you forget they're singing because their acting is so good and their ...
Even in context of the original instruments and historically informed performance practice movement, there are other ways to perform Bach's B minor Mass than the way Philippe Herreweghe performs it. To name only the most obvious alternatives, there's the austerely inward Leonhardt approach, the extravagantly outward Gardiner approach, and the ...
Orlande de Lassus' Psalmi Davidis Poenitentiales (Penitential Psalms of David) is the Renaissance master's setting of seven Davidic psalms -- 6, 31, 37, 50, 101, 129, and 142 -- sometimes referred to as the "psalms of confession." As the result of a proclamation of Pope Innocent III, who died in 1216, these particular psalms are read during Lent, ...
Long one of the finest living interpreters of Bach's sacred music, Philippe Herreweghe here adds two secular cantatas to an already distinguished discography. In the festive Vereinigte Zwietracht der wechselnden Saiten and the celebratory Tönet, ihr Pauken! Erschallet, Trompeten, Herreweghe leads his Collegium Vocale, Ghent in performances of rare ...
Philippe Herreweghe and his Collegium Vocale Gent have already made a couple of other great Schütz recordings. There's the heartrending Musikalische Exequien from 1987 and the awe-inspiring Geistliche Chormusik from 1994. But good as those recordings were, they aren't in the same league as this 2005 recording of Schütz's opus ultimum, his ...
There are folks out there who never care to attend another Measure for Measure, who never care to watch another Modern Times, and who never care to hear another Le Nozze di Figaro because to them, comedy is obviously a lesser art form than tragedy. To them one can only say: "too bad!" because as this immensely musical and enormously humorous ...
If the idea of six sorrowful sacred cantatas written by four pre-Bach German composers appeals to you, this disc by the Collegium Vocale Gent under the direction of Philippe Herreweghe is the disc for you. Opening with three works by Lübeck organist Franz Tunder (1614-1667) -- Dominus illuminatio mea, Wend' ab deinen Zorn, and an Ein feste Burg ...
In a time when Bach cantatas are recorded in big bunches, it's a pleasure to find a single-disc grouping, beautifully selected and performed. Weinen, Klagen... (Weeping, Lamentation...) presents three cantatas with a common theme and plan. The theme of lamentation in the face of suffering and death transmuted into the comfort of Christ is a common ...
Mendelssohn's sacred works are wholly sincere expressions of his deeply held Lutheran faith. If, after the passing of the nineteenth century in the Great War, the rhetorical oratorios Elijah and Paulus came to seem slightly over-done to younger audiences, that was the perhaps understandable reaction of clear-eyed youth to religiously sentimental ...
This three-CD set from Harmonia Mundi purports on the packaging to offer "the finest masses in musical history." Of course that's an impossible goal, and the liner notes back off from it with various disclaimers. The question to ask about a set like this, assembled from existing Harmonia Mundi releases going back to 1986, is whether it either ...
Whether you think it's spiritual or sentimental, you can't deny that Berlioz's L'Enfance du Christ is a charming little oratorio. Deliberately composed in an archaic idiom and scored with the utmost delicacy, L'Enfance du Christ sounds utterly unlike the better-known fantastic and bombastic works of Berlioz. In this period-instrument performance ...
This 1994 recording of most of Mendelssohn's incidental music from Ein Sommernachtstraum coupled with his Fingal's Cave Overture was one of Philippe Herreweghe's first with the Orchestre des Champs Elysées, one of the first French romantic period instrument orchestras, and it was almost but not quite a success. While the Orchestre's sound is fresh ...
This is a rather brisk reading of Brahms' masterpiece, the most ambitious work in his output and one of the greatest compositions of its type. Though Herreweghe's tempos often pushed the music to its limits here (except for the first section), the performance never actually sounded fast, or at least not offensively fast. In fact, it challenges the ...
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