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  Le Ragn de Fanes

  Susy Rottonara' s first album Le Rëgn de Fanes (The Reign of Fanes), in which her soprano voice is accompanied by wind wood, brass and percussion instruments, spreads out of her love for the Dolomites' mountains and is her debut as composer. Magic sounds describe the mysterious atmosphere of the legends bound to the wild nature telling of bewitched creatures of the woods and the lakes, princesses, strong warriors and wicked sorceres. She grows up in contact with the most ancient culture in the Alps, the "Ladin" one -("Ladin" is a language yet spoken today in some Dolomites' valleys) and her dream as a child is to become princess Dolasila. When she grows up she succeeds in playing the role of the princess and of the twin-sister Lujanta in the first movie shot 2005 by Ladin Television about the legend of the Reign of Fanes, where she also writes the screenplay together with the director and sings the film music she herself has composed. This music has been awarded with the first prize at two international film festivals: at Renderyard Film Festival 2007 in London and at Garden State Film Festival 2008 in Asbury Park (NJ). As musician she grows up with classical music, getting the degree in piano and classical singing at the Conservatory of Music. She performers as pianist and soprano soloist in many concerts in Europe and wins the Rotary Prize as pianist and singer during the years of study at the Conservatory. She has artistic experiences with important conductors like Claudio Abbado and opera singers like Mirella Freni. As classical singer she specializes on opera roles for coloratura-soprano.

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  • Price: 23.81 EUR excl. shipping
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  Oh Joy! Oh Rapture!

  Oh, Joy! Oh, Rapture! New York Gilbert & Sullivan Players Albert Bergeret, conductor and music director 'Hail, hail, the gang's all here!' What better way to begin this sampling of our company's enthusiasm for G&S than with the original chorus from Pirates of Penzance whose melody was later borrowed for those familiar words? With cat-like tread TRACK 1 The Mikado the most popular of the G&S collaborations and only nominally Japanese, is one of several works for which Gilbert chose an exotic setting as a thin disguise for the English society of which he was making fun. Even Nanki-Poo's famed catalogue of song includes only standard English offerings, sentimental parlour ballads, martial music, and sea chanteys! A wand'ring minstrel I TRACK 2 Comes a train of little ladies TRACK 3 Three little maids from school TRACK 4 A more humane Mikado TRACK 5 Patience spoofs the Aesthetic movement (Whistler, Oscar Wilde) but, more broadly, the excesses of any fad or cult and it's mindless followers. In this piece, one of the idols gives a 'how to' recipe for posing successfully as a cult icon. Am I alone and unobserved? TRACK 6 H.M.S. Pinafore the 2nd full-length G&S collaboration (1878), is only half as long as The Mikado (1885). While later works became more subtle, complex, and elaborate, Pinafore has a palette of bright primary colors and needs no apology for it's relative simplicity, it is a model of brevity and clarity, and estabished the pattern of Gilbert's witty poking of fun at social and individual human foibles, perfectly set off by Sullivan's music. The more pretentious Titanic sank, but this saucy ship has proven virtually indestructible. Our selections are the pieces with which the characters introduce themselves. I am the Captain of the Pinafore TRACK 7 I'm called Little Buttercup TRACK 8 I am the monarch.. When I was a lad TRACK 9 The Yeomen of the Guard is the most 'operatic' of the Gilbet & Sullivan works, full of rich texture and subtle color. Sullivan's stirring overture is one of his finest orchestral settings. In the first chorus, a tough 16th century street crowd is brilliantly evoked by Gilbert's use of archaic vocabulary with alliteration and by Sullivans' use of hard driving rhythms with angular uneven meters, jarring dissonance and stark modal harmony. In 'I have a song to sing' each verse is longer than the last, it's structure finds many precedents in English folksong and was inspired by a sea chantey sung by the crewmen on Gilbert's yacht. The lyrics mirror the story of the opera's central love triangle the way Jack Point wishes it would turn out, the next selection, 'When a wooer goes a-wooing,' presents the reality of what actually happens. In between comes a paean to the grim glory of the Tower of London, where the story is set in a historical context. Overture TRACK 10 Here's a man...I have a song to sing, O TRACK 11 When our gallant Norman foes TRACK 12 When a wooer goes a-wooing TRACK 13 The Gondoliers presents a world where 'all is merry May.' It is as sunny and upbeat as Yeomen is shadowed. The first selection here is extracted from the ebullient 20-minute musical extravaganza that opens the work, rich in Italianate melodies and Italian lyrics to set the mood. The second selection poses a universal Gilbertian philosophic point: 'take life as it comes.' Buon giorno... We're called gondolieri TRACK 14 Try we lifelong TRACK 15 The Pirates of Penzance is the most 'child-friendly' of the G&S, with it's colorful pirates, comic police, and nearly non-stop action. It also contains the best-known and most often parodied pattersong and, in 'Poor Wand'ring One,' not only a splendid aria for a coloratura soprano but an example of one of Sullivan's deliberate and delicious borrowings from other composers, here, the classic 'Sempre libera' from La traviata. We leave you with the first, and still one of the best, of the G&S 'double choruses,' as the Victorian maidens rapturously romanticize 'death and glory' to the more realistically apprehensive policemen. Hail, Poetry TRACK 16 I am the very model TRACK 17 Poor wand'ring one TRACK 18 When the foeman bares his steel TRACK 19 New York Gilbert & Sullivan Players Albert Bergeret, Artistic Director Andrea Stryker-Rodda, Assistant Music Director and Rehearsal Accompanist Lucy Ito, Sally Small, Production Assistants Larry Tietze, Orchestra Manager NYGASP Ensemble SOPRANOS: Robin Bartunek, Meredith Borden, Kimilee Bryant, Susan Case, Charlotte Detrick, Lynelle Johnson, Margaretha Ohse, Laurelyn Watson, Lauren Wenegrat ALTOS: Lee Berman, Victoria Devany, Laura Koeneman, Melissa Parks, Ariane Reinhart, Angela Smith, Maariana Vikse, Lara Wilson TENORS: Michael Connolly, Thomas Donelan, Michael Galante, Michael Scott Harris, Alan Hill, Keith Jameson, Mark Montague, Larry Raiken, Paul Sigrist BARITONES/BASSES: Christopher Briggs, Louis Dall'Ava, Gary Dimon, Richard Holmes, Keith Jurosko, Lance Olds, Stephen Quint, Philip Reilly, Samuel Shaw, William Whitefield NYGASP Orchestra VIOLINS: Andrea Andros, concertmistress, Paula Flatow, Rachel Heineman, Valerie Levy, Maxim Moston, Eleanor Schiller, Svetoslav Slavov, Peter Van DeWater, William Zinn VIOLAS: Carol Benner, Carol Landon CELLOS: Daniele Doctorow, Amy Camus BASS: Deb Spohnheimer FLUTES: Laura George, Margaret Swinchoski, OBOE: Nancy Ranger CLARINETS: Larry Tietze, Joan Porter, Renee Rosen BASSOONS: Andrea Herr, James Jeter FRENCH HORNS: Heidi Garson, Peter Hirsch TRUMPETS: Terry Sizor, Richard Titone TROMBONES: Steve Shulman, Paul Geidel, Joseph Stanko PERCUSSION: Michael Osrowitz.

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  • Price: 24.50 EUR excl. shipping
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  Lucia di Lammermoor

  Robert Merrill (Bariton) - Kenneth Macdonald (Tenor) - Cesare Siepi (Bass) - Chorus and Orchestra of the Accademia di Santa Cecilia, Rome - John Pritchard (Dir) // "full of fresh innocence, Sutherland's coloratura virtuosity remains breathtaking, and the cast is a strong one, with a most understanding conductor" (Penguin Guide, 3*)

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  • Price: 18.11 EUR excl. shipping
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  Harfenkonzert/concerto For Coloratura Soprano

  No description.

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  • Price: 18.49 EUR excl. shipping
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  Die Zauberflöte – Sternstunden der Oper

  Mozart’s final opera Die Zauberflöte is also his most famous. The general public is familiar with its array of popular arias, most notably the Queen of the Night’s breathtaking coloratura. Since its premiere in 1791, two months before the composer’s death, the opera’s fairy tale plot, eccentric cast and fantastic scenery have exerted an almost childlike fascination on generations of audiences. The production is infused with an all-pervading sense of playful joy – packed with wonderful effects including flying machines, colourful costumes and magical scene changes.The Opéra national de Paris production is cast of the finest rank: Sarastro is played by the bass Matti Salminen, while the other main roles are taken by young singers - meanwhile all well-established on the international scene - who were then at the start of their careers: Pamina is sung by Dorothea Röschmann, while the Queen of Night is played by the soprano Désirée Rancatore. The tenor Piotr Beczala is Tamino, and the baritone Detlef Roth is a fabulously fresh and lively Papageno. For this musical highlight, they come together under the baton of worldwide successful Hungarian conductor Iván Fischer.Benno Besson’s detailed, even scholarly knowledge of the work’s genesis and his supreme grasp of its cultural and ideological background are placed entirely in the service of its fairytale aesthetic offering the viewer a truly magic opera!

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  • Price: 73.69 EUR excl. shipping
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  Die Zauberflöte

  Mozart’s Die Zauberflöte (The Magic Flute) is one of the most well-known and most staged operas in the world. Especially the appearance of the Queen of the Night is said to be one of the most stunning coloratura arias in opera history. Piotr Beczala, acclaimed all over the world for the clarity of his light-lyric tenor, is Tamino. Matti Salminen, one of the most magnetic and sought-after bass singers in the world, offers solemnity and grace as Sarastro. Supported by a distinguished cast (Anton Scharinger as Papageno, Malin Hartelius as Pamina, Julia Neumann as Papagena and Elena Moşuc as The Queen of the Nigth), this opera promises outstanding listening pleasure. In this brilliantly conceived and executed performance singers and instrumentalists often approach perfection while providing moments of subtle beauty. Under Franz Welser-Möst’s fabulous conducting this production of the Zurich Opera House is setting musical standards. This superb audio-visual recording with its beautifully lifelike sound valorizes the high artistic quality and is an example of updating an opera using imagination and skill.

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  • Price: 71.60 EUR excl. shipping

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