BRILLIANT OPERA COLLECTION
By 1901 Nikolai Rimsky-Korsakov had already been a professor at the St Petersburg Conservatory for thirty years and had achieved considerable renown as a composer. Having written eleven operas of varying subject matter, his interest in folk
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Rimsky-Korsakov's tenth opera, The Tsar's Bride moves away from the fairytale tableaux-style of opera in which he had triumphed. This is a grand narrative in the Verdian style. That said, the musical language is unmistakably Russian, with a
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One of the most influential and revolutionary works of the 19th century, Tristan und Isolde, Wagner's music drama of 1865, more than any other work shaped the course of music right up to the early years of the 20th century. The famous 'Tris
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It was by chance in 1900 that Dvorák came by the libretto for Rusalka by the poet Jaroslav Kvapil. It had
been declined by two of Dvorak's pupils, Nedbal and Suk, as well as J.B. Foerster. Dvorák was delighted
with the libretto, and complet
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First performed in 1917 in Munich (conducted by Bruno Walter), Pfitzner's opera on the great 16th-century composer Palestrina became popular with those in German musical society who had become hostile to the direction which Schoenberg and B
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One of the best-loved of all operas, Puccini's Madama Butterfly was given its premiere at La Scala Milan in 1904, where it received a terrible reception. The chemistry of the collaborators should have ensured success -- the librettists Luig
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Nikolai Rimsky-Korsakov (1844-1908) composed his comic opera May Night in 1878-9, at a time when he was fascinated in the stories for the supernatural and the fantastic. It was also at this time that he had been appointed to a teaching role
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Not strictly speaking an opera, King Arthur, or The British Worthy is a 'semi-opera'. Semi-operas were dramas in four or five acts, with lengthy musical sections. The main characters only speak, and the musical narrative is the preserve of
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Friedenstag is at once Richard Strauss (1864-1949) last operatic collaboration with his librettist Stefan Zweig and his first with Joseph Gregor. The themes of the opera – set in the mid 17th century are about the highest humanitarian and l
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Of all the Strauss-Hoffmansthal collaborations, Die Frau ohne Schatten (The Woman without a Shadow) is by far the most ambitious, and perhaps the opera with the richest musical ideas. Dealing with a complex and lofty subject -- the relation
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Another outstanding recording from the golden era at EMI. Made in 1952, and produced by Walter Legge, it was the first of two that featured Boris Christoff in the title role. The second version, though fine and in stereo (conducted by André
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Parisian composer Georges Bizet was enrolled in the Consevatoire at the age of nine and won a premier prix in solfege within six months of his arrival. He later received prizes for his skill as a pianist, gaining particular renown for his s
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The music of Alexander Aronovich Knajfel was considered too advanced for Soviet Russia in the 1960s, and he was blacklisted from the Union of Soviet Composers in 1979 for having participated in festivals of Soviet music in the West without
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Dividing his time in the 1830s between Paris and Berlin, renowned German composer Giacomo Meyerbeer was considered the father of the Grand Opéra thanks to his skilful combination of elements of both the German and Italian opera traditions.
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'Nancy Argenta's Zerlina has charm and vitality... Huub Claessens makes a firmtoned and spirited Leporello. Markus Schafer's Ottavio is authoritatively sung, a model of style and phrasing. This is altogether a performance that you are sure
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Rimsky-Korsakov: The Golden Cockerel
Autor:
Rimsky-Korsakov
Wydawca:
Brilliant Classics
wysyłka: niedostępny
Nikolay Andreyevich Rimsky-Korsakov showed musical promise as a child, but the pursuit of a Naval career meant that much of his grounding in musical theory was gained in between various tours of duty. Although best known in the Western worl
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This live recording of one of Tchaikovsky's least-known operas derives from a live production of a staging by Graham Vick in Cagliari, Sardinia. It features the always quirky musicianship of Gennady Rozhdestvensky, whose musical appetite fo
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Béatrice et Bénédict was borne of Berlioz's lifelong fascination with Shakespeare. A performance by the Shakespearean actress Harriet Smithson as Juliet in Romeo and Juliet reportedly inspired him to commence work on his own Roméo et Juliet
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It was with this opera, premiered in Milan in 1830, that Donizetti's reputation as one of the leading opera composers of Europe was cemented. The premiere was quickly followed by performances in London, Paris, and in 1839, in New Orleans. F
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Rossini: Armida
Composer: Gioacchino Rossini (1792-1868)
Conductor:Claudio Scimone
soprano:Cecilia Gasdia
tenor: Bruce Ford
tenor: William Matteuzzi
tenor: Chris Merritt
choir: Ambrosian Opera Chorus
orchestra: I'Solisti Veneti
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