Angelika Kirchschlager has a committed following among lovers of Baroque music and the release of this superb CD should bring raves of applause from that audience as well as from anyone new to her voice fortunate to hear this fine recital. In excess of an hour of music is on this handsome CD with Kirchschlager magnificently collaborating with Lawrence Cummings conducting the period instrument ensemble of the Kammerorchester Basel.
Graham Johnson’s complete Schubert and Schumann songs series for Hyperion are landmarks in the history of recorded music. Now this indefatigable performer and scholar turns to the songs and vocal works of Brahms. Each disc of this Hyperion edition takes a journey through Brahms’s career. The songs are not quite presented in chronological order but they do appear here in the order that the songs were presented to the world. Each recital represents a different journey through the repertoire (and thus through Brahms’s life). In a number of these Hyperion recitals an opus number will be presented in its entirety (in the case of this disc, Op 48). The folksongs of 1894 will be shared between all the singers in the series.
This second volume of Hyperion’s newest Lieder series features the great dramatic and musical gifts of mezzo-soprano Angelika Kirchschlager. Internationally renowned on the opera stage, the concert hall and the recording studio, Kirchschlager is an ideal performer of these most varied, complex and emotionally charged songs. She is accompanied by the multi-Gramophone Award-winning Julius Drake, who curates the series.
Recorded live in 2011 at the Aldeburgh Festival, which Benjamin Britten founded in 1948, this performance of his dark, intense chamber opera The Rape of Lucretia stars Angelika Kirchschlager, Peter Coleman-Wright and Ian Bostridge, with Oliver Knussen conducting. “Everything, without exception, was right on the money,” said The Guardian,” … a dazzling success.”
An operatic anthology of beloved opera performances spanning multiple vocal ranges that capture the joyous essence of the Christmas season.
“Kurt Rydl crowns a fine stage career with a gloriously eccentric impersonation of La Roche…The singing honours belong entirely to Angelika Kirchschlager as Clairon.” (BBC Music Magazine). “this Countess's preference for 'Ton' over 'Wort' is clear from the start…The greatest pleasure of the performance, for me, undoubtedly comes in the wonderful playing of the Staatsoper orchestra, the sweet, tender strings and the mellifluous horns in particular; and Christoph Eschenbach conducts a leisurely and loving account of Strauss's gorgeous score.” (Gramophone Magazine)
In 2009 the music world celebrates the 250th anniversary of Georg Friedich Handel's death.
"Caro Amor" presents on 2 CDs the most beautiful and expressive arias from his most famous operas and oratorios, performed by the best in their field: Ian Bostridge ("Ombra mai fu", "Where'er you walk"), Maria Bayo ("Lascia ch'io pianga"), Vesselina Kasarova ("Caro Amor"), Nuria Rial and Lawrence Zazzo ("Alma mia, dolce ristoro", "Caro amico amplesso"), Angelika Kirchschlager ("Qui d'Amor," "Scherza Infida","Cara Spem"), Marijana Mijanovic ("Qual nave smarrita"), Annette Dasch ("Ah Crudele") and instrumental gems, played by Gabor Boldoczki ("Arrival of the Queen of Sheba"), Il Complesso Barocco, Kammerorchester Basel, etc. The double CD will be released as a high quality 2 CD digipak with a very attractive cover and is the right product for the many fans of beautiful Baroque music.
The eighteenth century is probably the most extraordinary period of transformation Europe has known since antiquity. Political upheavals kept pace with the innumerable inventions and discoveries of the age; every sector of the arts and of intellectual and material life was turned upside down. Between the end of the reign of Louis XIV and the revolution of 1789, music in its turn underwent a radical mutation that struck at the very heart of a well-established musical language. In this domain too, we are all children of the Age of Enlightenment: our conception of music and the way we ‘consume’ it still follows in many respects the agenda set by the eighteenth century. And it is not entirely by chance that harmonia mundi has chosen to offer you in 2011 a survey of this musical revolution which, without claiming to be exhaustive, will enable you to grasp the principal outlines of musical creation between the twilight of the Baroque and the dawn of Romanticism.