Россини Джоаккино Антонио

Rossini’s penultimate opera, premiered in 1828 at the Opéra National de Paris, is a musical comedy about a love triangle set during the Crusades. At the Opéra Comique its plot is transported to the time of the work's creation with France’s military expeditions to Algeria. It is staged by a first-rate creative team: Stage director Denis Podalydès and costume designer Christian Lacroix provide stunning visuals, whilst conductor Louis Langrée leads the Orchestre des Champs-Élysées, the Chœur Les éléments and a stellar cast of soloists in this delightful fool’s game. Mezzo-soprano Gaëlle Arquez shines with her ‘superlative technique’ (Le Monde) and Julie Fuchs’s Adèle elicits ‘more than just admiration, namely enthusiasm in the etymological sense of the word: inspired by the divine’ (Le Monde). ‘A masterpiece!’ (Télérama), ‘Pure pleasure!’ (Les Échos). Le Comte Ory at the Opéra Comique is ‘a true musical and theatrical celebration where everything sparkles!’ (Bachtrack)

Rossini’s penultimate opera, premiered in 1828 at the Opéra National de Paris, is a musical comedy about a love triangle set during the Crusades. At the Opéra Comique its plot is transported to the time of the works’ creation with France’s military expeditions to Algeria. It is staged by a first-rate creative team: Stage director Denis Podalydès and costume designer Christian Lacroix provide stunning visuals, whilst conductor Louis Langrée leads the Orchestre des Champs-Élysées, the Chœur Les éléments and a stellar cast of soloists in this delightful fool’s game. Mezzo-soprano Gaëlle Arquez shines with her ‘superlative technique’ (Le Monde) and Julie Fuchs’s Adèle elicits ‘more than just admiration, namely enthusiasm in the etymological sense of the word: inspired by the divine’ (Le Monde). ‘A masterpiece!’ (Télérama), ‘Pure pleasure!’ (Les Échos). Le Comte Ory at the Opéra Comique is ‘a true musical and theatrical celebration where everything sparkles!’ (Bachtrack)

Maybe not everyone knows that. . . Rossini was also a great pianist! 'My own private musical theatre' falls in the year of the great celebrations for the composer from Pesaro, 150 years after his death. Concerto Classics offers a fresh, catchy and lively work that, in line with Rossini's taste for musical divertissement and for ironic and sly references to the most famous operatic themes loved by the audience, is studded with sparkling self-quotations. In the seventh track Rossini quotes himself several times, subtly and jokingly recalling the themes of the compositions that had already made him famous throughout the world in his day. The vivid spontaneity of music goes well with the young age of the pianist Ginevra Costantini Negri, talented musician and emerging name of Italian pianism, so much so that she has recently been selected as new testimonial for the important Festival Pianocity Milano 2018.

This second and last volume completes two different sets of string quartets: the four so-called Solo Quartets by Franz Anton Hoffmeister and Gioachino Rossini’s six String Sonatas (or Sonate a quattro). Both sets differ from the ‘normal’ configuration in that they allow a double bass to take part, albeit in different roles. Rossini, who composed his sonatas at the age of 12 (!), left out the viola and gave the double bass a more or less conventional bass role – apart from the occasional virtuosic outburst. The sonatas were first published in an arrangement for traditional string quartet and are often heard performed by string orchestras.In Vienna, where he was active as a composer and music publisher, Hoffmeister (1754-1812) chose a different solution than Rossini and gave his double bass player a leading role in the ensemble, letting it replace the first violin. It was no coincidence that this happened in Vienna – considering the amount of solo works for the double bass composed there, the standard of playing must have been exceptional. On the present recording, it is the Dutch player Niek de Groot who takes up Hoffmeister’s challenge in the company of a Finnish trio consisting of Minna Pensola, Antti Tikkanen and Tuomas Lehto. Featuring the same team, Volume 1 (BIS-2317) was described by a reviewer in Gramophone as ‘entertaining, effortlessly enjoyable and beautifully performed’ upon its release in 2017.

Author: Roger Beauvoir; Author: Marco d'Arienzo; Author: Luis Olona; Author: Luigi Balocchi; Author: Jules-Henri Vernoy Saint-Georges; Author: Jean François Alfred Bayard; Author: Jacopo G. Ferretti; Author: Francesco Guidi; Author: Eugène Scribe; Author: Charles-Gaspard Delestre-Poirson; Author: Charles Perrault; Author: Cesare Valle; Author: Andrea Passaro; Author: Alexandre Soumet; Interprète principal: Julie Fuchs; Interprète: Julie Fuchs; Interprète principal: Enrique Mazzola; Chef d'orchestre: Enrique Mazzola; Compositeur: Vincenzo Fioravanti; Compositeur: Pietro Raimondi; Compositeur: Hector Berlioz; Compositeur: Giovanni Pacini; Compositeur: Gioacchino Rossini; Compositeur: Giacomo Meyerbeer; Compositeur: Gaetano Donizetti; Compositeur: Francisco Asenjo Barbieri; Orchestre: Orchestre National d'Ile de France; Autre contribuant: Florent Ollivier Label: Deutsche Grammophon

Artist: Seiji Ozawa Label: Deutsche Grammophon

Artist: Rossini / Alaimo / Sardaryan Label: Bongiovanni

Новое, наиболее полное собрание сочинений Джоаккино Россини в одном бокс-сете, посвященное 150-летию со дня смерти композитора

Miroirs is the debut album from the young French-Danish soprano Elsa Dresig. The winner of Plácido Domingo’s Operalia singing competition in 2016, she has performed opera in Berlin, Paris, Zurich and Aix-en-Provence and sung with Sir Simon Rattle and the Berlin Philharmonic in Berlin, Salzburg, Lucerne and Paris. Miroirs showcases her vocal and dramatic range with different ‘reflections’ on a situation or character in arias and scenes from operas by Gounod, Massenet, Rossini, Mozart, Puccini, Richard Strauss and the rarely-heard Daniel Steibelt. The album includes two world premiere recordings.

Записи арий из опер в исполнении великого эстрадного и оперного певца, композитора, народного артиста СССР Муслима Магомаева. Издание на цветном виниле. В течение многих лет Муслим Магомаев, не изменяя себе и сохранив высочайшее вокальное мастерство, успешно сочетал выступления в оперном жанре с эстрадными концертами. Солист Азербайджанского театра оперы и балета, он прошел стажировку в "Ла Скала", выступал на многих оперных сценах СССР, но отказался (редчайший случай!) от приглашения в Большой театр, понимая колоссальную ответственность такого шага. Свою универсальность и открытость, контакт с миллионной аудиторией, концертную, студийную, актерскую и композиторскую работу он не мог и не хотел принести в жертву даже на такой роскошный оперный алтарь.

Aureliano in Palmira is unique in Rossini’s oeuvre for its inclusion of the only role, Arsace, that Rossini wrote for the castrato voice. Its tale of tragic defeat and the ultimate nobility and triumph of love in seemingly impossible circumstances is a refined and highly innovative example of his style. Set amidst turbulent times in the Roman Empire, Aureliano in Palmira is packed with sublime arias, duets of haunting beauty (notably the three given to Arsace and Zenobia) and excellent choruses, Rossini himself considering this work as ‘divine music’. Even after initial success he re-used many of its melodies in later operas, most famously in Il barbiere di Siviglia.

There’s a sense of discipline and neatness to Marcus Creed’s account of Rossini’s ambiguous Mass setting which brings out the frequent musical delights of the score; carefully sung and touchingly... — BBC Music Magazine, Christmas Issue 2018,

Собрание редких записей великой немецкой оперной певицы Кристы Людвиг, в честь 90-летнего юбилея со дня рождения

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