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Barbara Hendricks (soprano), June Anderson (soprano), Kenneth Tarver (tenor), Neil Jenkins (tenor), Thomas Hampson (baritone), Victor Acquah (vocals), London Voices (choir, chorus), London Symphony Orchestra, Kent Nagano (conductor)
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Cello-Ensemble Peter Buck, Dietrich Henschel (baritone), Ensemble Musique Oblique, Ensemble Walter Boeykens, Frederic Chiu (piano), Hans Peter Blochwitz (tenor), Heidi Meier (soprano), Quatuor Debussy, Berlin Radio Symphony Chorus (choir, chorus)
What an odd little Kent Nagano collection! First up, his recording Stravinsky's Le Sacre du printemps with the London Philharmonic taken from their two disc-set coupling Le Sacre with Stravinsky's Persephone. Next is the March from Prokofiev's L'amour des trois oranges with the Orchestre de l'Opera Lyon culled from their two-disc set of the ...
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Alain Planès (piano), Carlo Colombo (bassoon), Eric Sammut (drums), Herve Derrien (cello), Jean-Michel Bertelli (clarinet), José van Dam (baritone), Pascal Savignon (cornet), Peter Csaba (violin), Ruth Vissier (oboe), Lyon National Opera Orchestra
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Brigitte Fournier (vocals), Catherine Dubosc (vocals), Emilio Roman (vocals), Eric Freulon (vocals), Francois LeRoux (vocals), Georges Bouquet (vocals), Georges Gautier (vocals), Helene Perraguin (vocals), Jean-Luc Viala (vocals), José van Dam (vocals)
EMI has reissued Virgin's 1992 recording of Dialogues des Carmélites with Kent Nagano leading l'Opéra de Lyon and an outstanding group of soloists in a performance that emphasizes the opera's dramatic qualities. It's inevitable to compare any new recording with the first, made in 1958, with Pierre Dervaux leading a comparably outstanding group of ...
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Beatrice Uria-Monzon (mezzo-soprano), Brigitte Fournier (soprano), Catherine Dubosc (soprano), Consuelo Caroli (mezzo-soprano), Didier Henry (baritone), Gabriel Bacquier (baritone), Georges Gautier (tenor), Gregory Reinhart (tenor)
Although produced in quick succession in Chicago, New York, Cologne, Berlin, Leningrad, and Moscow in the '20s, Prokofiev's opera L'Amour des Trois Oranges as quickly dropped out of the repertoire and has only rarely been heard since. Various reasons for this eclipse have been suggested: that the opera was too light, too ironic, too scattered and ...
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Jeanne Loriod (ondes martenot), Luc Hery (violin), Marie Griffet (soprano), Michel Sendrez (celeste), Yvonne Loriod (piano), Kent Nagano (conductor)
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Akos Banlaky (vocals), Chris Merritt (tenor), Dawn Upshaw (vocals), Dirk d'Ase (vocals), Guy Renard (tenor), John Aler (tenor), José van Dam (bass baritone), Tom Krause (vocals), Urban Malmberg (baritone), Arnold Schoenberg Choir (choir, chorus), Hallé
Pairing Johannes Brahms' Symphony No. 4 in E minor, Op. 98, with Arnold Schoenberg's Variations for Orchestra, Op. 31, is an interesting notion, not only because both works have in common variation forms, as well as motives borrowed from Bach, but also because many of Schoenberg's concepts were derived directly from Brahms and can be identified ...
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Dietrich Henschel (baritone), Juliane Banse (soprano), Berlin Radio Symphony Chorus (choir, chorus), Deutsches Symphony Orchestra Berlin, Kent Nagano (conductor)
Like it does with so many mediocre artists, it took a tragedy to transform Alexander von Zemlinsky into a great artist. Before he was forced out of Europe by the rise of the National Socialists, Zemlinsky had almost succeeded in writing what might have been his greatest opera, a three-act setting of Andre Gide's Der König Kandaules. But the ...
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