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Susan Patterson, Stefano Antonucci, Paul Charles Clarke, Charles Castronovo, Andrew Foster-Williams, Katherine Manley & Mark Le Brocq Geoffrey Mitchell Choir & London Philharmonic Orchestra, Maurizio Benini Every leading Italian operatic composer of the first six decades of the 19th century had problems with censors. Verdi’s disputes over Rigoletto and Un ballo in maschera were notorious, but many other works by Rossini, Bellini and Donizetti were rewritten to appease the arbiters of what was deemed morally, religiously or politically correct. An extreme reaction to the censor’s red pencil is provided by the last of Saverio Mercadante’s works to reach the stage. Virginia, completed in 1850, was not performed until 1866 because the composer simply refused to make alterations; it was only after a regime change in 1860–1 that he premiered his score at the Teatro San Carlo, Naples. Like his stirring Orazi e Curiazi of 1846, recorded by Opera Rara on ORC12, Virginia is set in ancient Rome, where the heroine (sung by Susan Patterson), daughter of the soldier Virginio (Stefano Antonucci), is assailed by the corrupt and powerful Appio (Paul Charles Clarke) as part of an ongoing conflict between patricians and plebeians that ends with Virginia’s father stabbing her rather than relinquish his daughter to their oppressor. Opera Rara revived Virginia in concert back in 1976, and now presents the work’s CD debut as part of our ongoing commitment to the music of one of 19th century opera’s most fascinating figures. The 2CD set comes with a lavishly illustrated book including a complete libretto with an English translation and introduction by Jeremy Commons. | 
| | | Scheduled for release on 2 February 2009. Order it now and we will deliver it as soon as it is available. |
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Rebecca Evans (soprano), Barry Banks (tenor), Simon Keenlyside (baritone) & Alastair Miles (bass) Geoffrey Mitchell Choir & London Philharmonic Orchestra, Brad Cohen Bizet’s exotic opera The Pearl Fishers is now released on the Chandos Opera in English label. Although not as well-known as Bizet’s Carmen, The Pearl Fishers contains a wealth of attractive music, including the well-known duet ‘Au fond du Temple saint’, one of the UK’s ‘favourite tunes’. There is surely no better way of discovering the jewels of this romantic work than listening to the superb voices of Rebecca Evans, Barry Banks, Simon Keenlyside, and Alastair Miles. A leading interpreter of the bel-canto repertoire, internationally renowned for his conducting of operas of Rossini, Donizetti and Bellini, the Australian Brad Cohen here makes his debut on Chandos. He first came to public attention when, a year after winning the 1994 Leeds Conductor’s Competition, he conducted the world premiere of Thomas Adès’s Powder Her Face. Since that promising beginning he has conducted a wide-ranging repertoire at English National Opera, Opera Australia and Opera North, to name but a few. This recording is the first to use Cohen’s own edition of The Pearl Fishers. Cohen was able to secure the original conductor’s score from 1863 and has created a new version, published by Peters Edition, that is arguably much closer to Bizet’s intentions. The soprano Rebecca Evans takes the role of Leila. Her previous appearances on OiE include the role of Gretel in the Grammy-Award-winning Hansel and Gretel. ‘It was Rebecca Evans’s Gretel, who took the honours. Spinning out radiant lines of delicious purity, she made it hard to see how the role could be sung better’, wrote The Times. The baritone Simon Keenlyside, who takes the role of Zurga, has previously appeared on Chandos’ The Magic Flute. In September he will appear in Don Giovanni at the Royal Opera House. Both Barry Banks and Alastair Miles have recorded discs of arias for Chandos and here take the roles of Nadir and Nourabad, respectively. “Au fond du temple saint' has long been a favourite in the recording studio. Barry Banks and Simon Keenlyside, singing the aria in English… do Bizet proud. Banks and Rebecca Evans as the priestess Leïla make the most of their seductive Act II number 'Leïla! Leïla!'. And when Leïla begs Zurga to spare his rival's life Keenlyside makes 'I would speak but I cannot' into a genuine feast.” BBC Music Magazine, September 2008 *** |
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Patrizia Ciofi is Alaida (The stranger) with Mark Stone (Il barone di Valdeburgo), Darío Schmunck (Arturo), Enkelejda Shokas (Isoletta), Graeme Broadbent (Il Priore), Roland Wood (Il signore di Montolino) and Aled Hall (Osburgo) Geoffrey Mitchell Choir and The London Philharmonic Orchestra, David Parry Three of Bellini’s operas – La sonnambula and Norma (both 1831), and his last work, I puritani (1835) – remain classics of the bel canto repertoire, yet the slightly earlier La straniera (The Stranger) remains curiously neglected. In fact, this highly romantic melodrama, first staged at La Scala in1829, was initially a success and only fell from grace when the bel canto style itself became unfashionable. Its plot centres on the identity of the mysterious woman who roams, heavily veiled, through the landscape of Brittany. Ignorant peasants suppose her to be a witch, little suspecting that she is the castoff wife of the King of France. But she has attracted the attention of the local Count, Arturo, who is supposed to be engaged to Isoletta, and who finds himself jealous of her visitor, Valdeburgo. The result is confusion, violence and a tragic ending. The score points forward to Bellini’s greatest works and on its own account includes superb dramatic writing and those characteristic ‘long, long melodies of which he alone had the secret’, as Verdi put it. Opera Rara’s cast boasts singers with the vocal skills and dramatic insight to enliven this neglected masterpiece of romantic opera, which has been lost to Bellini fans for far too long. The 2CD set comes with a lavishly illustrated book including a complete libretto with an English translation. Article and synopsis by Benjamin Walton – Lecturer of Music, Jesus College, Cambridge. “…this… is the first studio recording of the work, and Opera Rara has done it proud. David Parry leads the LPO in a gripping account of a tricky piece. Patrizia Ciofi is meltingly pathetic and then imperious when necessary. Dario Schmunck makes a virile and ardent Arturo, and in the crucial role of Valdeburgo... Mark Stone is suitably warrior-like. The contribution of the Geoffrey Mitchell Choir are splendid. A must for lover of the bel canto repertory.” Gramophone Magazine, November 2008 |
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Laura Claycomb, Alastair Miles, Joan Rodgers & Sébastien Droy Geoffrey Mitchell Choir & Philharmonia Orchestra, Andrew Litton In recent years there has been increased interest in the works of Ambroise Thomas, particularly in his ambitious setting of Hamlet (1868), which has been revived with success at London’s Covent Garden, the New York Met, Barcelona, Paris and elsewhere. His other major success was Mignon (1866), which had more than 1,200 performances at the Opéra-Comique up to the end of the 19th century. Opera Rara now takes a further important step in the rediscovery of this fascinating figure with a new recording of his 1855 opéra-comique La Cour de Célimène (Célimène’s Court). Set in 1750 in a château near Paris, the opera deals with a young widowed Countess who has no fewer than 14 suitors. The role was written for the legendary coloratura Marie Miolan-Carvalho, who also created roles in four of Gounod’s operas, notably Marguerite in Faust, Juliette in Roméo et Juliette and the title-role in Mireille. Here, the Countess is sung by Laura Claycomb, with Alastair Miles, Joan Rodgers and Sébastien Droy at her side. Given the large cast, it’s not surprising that the work’s ensembles have been picked out by scholars as highlights of a score that is sure to delight lovers of French opera.
The 2CD set comes with a lavishly illustrated book including libretto with an English translation. Richard Langham Smith gives a detailed account of the composer, the opera and its composition. “Andrew Litton and his cast deliver this high-class froth with verve and lightness of touch. Alastair Miles impresses as the affably cynical Commander, more excited by property than love. Sébastien Droy delivers his lovesong with honeyed elegance, while Laura Claycomb's Countess pirouettes into the stratosphere with easy grace.” The Telegraph, 7th June 2008 “We are in Opera Rara's debt again as they offer another obscure delight… Both sopranos manage the florid work with apparent ease… Alastair Miles enjoys himself in this role of worldly aristocrat… Chorus and orchestra contribute splendidly; Andrew Litton conducts with stylish zest; recorded sound is clear and well balanced.” Gramophone Magazine, August 2008 “La cour de Célimène is an utterly charming work. Within just a few bars, the overture evokes an atmosphere of the ancien régime, and the music remains graceful and lively throughout. There is plenty of listening pleasure here in another well-recorded Opera Rara gem.” BBC Music Magazine, August 2008 **** | | | Usually despatched in 2 - 3 working days. |
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| |  | Mayr Rediscovered
Daniela Barcellona, Bruce Ford, Eiddwen Harrhy, Della Jones, Yvonne Kenny, Diana Montague & Antonino Siragusa Philharmonia Orchestra, Orchestra of the Teatro Lirico ‘Giuseppe Verdi’ Trieste & Geoffrey Mitchell Choir, David Parry & Tiziano Severini Giovanni Simone Mayr was born in Mendorf, a small village not far from Ingolstadt in Bavaria, on 14 June 1763. Ever ambitious to study in Italy, he travelled to Bergamo and on to Venice. He is particularly remembered for Medea in Corinto (Naples, 1813), but many of his works enjoyed great success and were widely heard in their day. In 1803 he was appointed maestro di cappella of S. Maria Maggiore, the great Romanesque basilica of Bergamo, a position which gave him a home-base and a stability enjoyed by few composers at the time. It was in Bergamo that he also became famous as a teacher, founding in 1806 his celebrated lezioni caritatevoli or ‘charitable lessons’, which were designed to train the sons of indigent parents as choirboys. His most famous pupil was Gaetano Donizetti. He was one of several composers credited with the invention of the so-called Rossinian crescendo. He is also believed to have been the first to introduce the harp and the cor anglais among the instruments of the Italian operatic orchestra. Believing that ‘the simplest means are always the best’, he concentrated on purity of melody, and on choosing instruments, especially solo instruments, for their timbre and colour. Consequently one has to listen ‘inwardly’ to his music: to harmonies, to instrumental colours and textures, to the unfolding of melodies, to the expression of words and emotions. As Louis Spohr remarked, Mayr has, ‘if not so much imagination as Rossini, yet, certainly, more knowledge and aesthetic feeling’. The introduction in English, French, Italian and German and accompanying booklet notes are by
Jeremy Commons. | | | Usually despatched in 2 - 3 working days. |
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| |  | Great Operatic Arias - Sir Thomas Allen (Volume 2)
Sir Thomas Allen with Claire Rutter (soprano), Susan Gritton (soprano), Gwyn Hughes Jones (tenor) & Philip Tebb (bass) Geoffrey Mitchell Choir & Philharmonia Orchestra, David Parry Over a long and still flourishing career Sir Thomas Allen has given benchmark performances in several
operatic roles of which Mozart and Verdi operas figure strongly. With two spicy exceptions, every item
in this programme comes from an opera by Mozart or Verdi. Part of the design of this recital series is to
highlight the particular type of voice and explore its repertoire. The works chosen for this disc provide a
unique showcase of Sir Thomas Allen’s unique gifts and that of the baritone in general. The Sunday
Telegraph wrote of volume one, “How good to have this anthology of Thomas Allen’s versatility in a
wide range of his operatic roles… anyone who cherishes good singing will rejoice in this great baritone’s
smooth legato, perfect diction, subtle characterisation and, of course, beautiful and unmistakable voice,”
and The Guardian noted “As always, Allen was a supremely intelligent recitalist, matching sound with
sense, probing the meaning of a text without fracturing the vocal line.”
As in previous issues, the solos are interspersed with longer excerpts, duets and ensembles, including
performances with Susan Gritton and Claire Rutter. With Ford’s monologue in Falstaff, Sir Thomas
extends his lyrical voice to encompass the more theatrical style of late Verdi and in the lighter Weill
‘September Song’, he extends it further, albeit in a different direction altogether. Other repertoire
includes an aria from Meyerbeer’s Dinorah, recitatives and arias from Verdi’s Macbeth and La Traviata,
arias from Mozart’s Marriage of Figaro and Don Giovanni, and duets from The Magic Flute. “The voice is beautifully captured by the clear recording and, as ever, David Parry and the Philharmonia provide sterling support. Pure pleasure. ” Gramophone Magazine, June 2008 | | | Usually despatched in 2 - 3 working days. |
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| |  | Entre Nous: Celebrating Offenbach traces the extraordinary career of one of the great personalities of the 19th century: the composer, entrepreneur and satirist Jacques Offenbach. He composed over 100 stage works, yet only a fraction of Offenbach’s output is regularly performed today. This new recording assembles some of the finest moments from forgotten works – arias, duets and ensembles – performed by a glittering array of singing stars. Offenbach’s composing life was driven by commercial success. He opened his first theatre, the Bouffes-Parisiens, in 1855 with a mission to revive the art of high-quality comic opera. Yet the notorious jester who spent so much time poking fun at the leading figures of his day longed to be taken seriously by the musical establishment. He pinned great hopes on his works for the Opéra-Comique, including the delightful Vert-Vert, which brought him closer to his ‘serious’ style. Along the way there is much Offenbachian charm and wit; discover the once wildly popular Geneviève de Brabant, the risqué La Jolie Parfumeuse, and Le Roi Carotte, where Prince Fridolin’s kingdom is taken over by vegetables! Find out about the personalities of Offenbach’s world – including Hortense Schneider, whose life-story is dramatised in the preposterous La Diva!
Laura Claycomb, Elizabeth Vidal, Colin Lee, Yvonne Kenny, Jennifer Larmore & Alastair Miles Geoffrey Mitchell Choir & London Philharmonic Orchestra, David Parry This two CD set is accompanied by a 240 page booklet containing notes and texts for each excerpt by Offenbach enthusiast Nicholas Jenkins. World Premiere Recording “Too many highlights to choose from, but for starters there's Diana Montague and Mark le Brocq in a winning duet from Les Braconniers, Laura Claycomb's peerless vocalism in the haunting extract from Monsieur et Madame Denis, the train journey ensemble from Le Roi Carotte, and many more. Indispensable for Offenbach fans.” BBC Music Magazine, November 2007 ***** | | | Usually despatched in 2 - 3 working days. |
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Judith Howarth, Manuela Custer, Jennifer Larmore, Colin Lee & Pauls Putnin Geoffrey Mitchell Choir & Philharmonia Orchestra, Antonello Allemandi world premiere | | | Usually despatched in 2 - 3 working days. |
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Mirco Palazzi, Majella Cullagh, Manuela Custer, Colin Lee & Simon Bailey Geoffrey Mitchell Choir & London Philharmonic Orchestra, Giuliano Carella  BBC Music Magazine
Opera Choice - December 2006 |
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Jennifer Larmore, Paul Nilon, Rebecca Evans, Colin Lee, Mirco Palazzi & Lucy Crowe Geoffrey Mitchell Choir & Philharmonia Orchestra, Marco Guidarini This is the fourth opera in the Essential Opera Rara series and once again a vivid impression of the opera is captured on a single disc, accompanied by a complete libretto and article by the eminent 19th century musical scholar, Jeremy Commons. A delightful array of
talent has been gathered
by Opera Rara to essay
excerpts from a rarely
heard score. Paul Nilon,
Jennifer Larmore,
Rebecca Evans – the
admirable philosophy
seems to be that if you’re
going to do a rarity, do it
darn well. They all do
Paer proud; it is only a
shame that they couldn’t
stretch to the whole
thing. - Gramophone Magazine | | | Usually despatched in 2 - 3 working days. |
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Gramophone Magazine
Gramophone Awards 2008
