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See Terms & Conditions for p&p rates. | |  | Vision Mahler
Karina Gauvin (soprano) & Yvonne Naef (alto) WDR Sinfonieorchester Köln, NDR Choir & WDR Radio Choir, Semyon Bychkov 3D Visualisation by Johannes Deutsch and Ars Electronica Futurelab Linz “What a world this is that brings forth such sounds and shapes as its reflected likeness!” Gustav Mahler | | | In stock - usually despatched within 1 working day. |
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| |  | HyverFrench Cantatas
Karina Gauvin (soprano) Les Boréades, Francis Colpron | | | In stock - usually despatched within 1 working day. |
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| |  | American Classics - Samuel Barber
Karina Gauvin (soprano), Thomas Trotter (organ) Royal Scottish National Orchestra, Marin Alsop “Ravishing. … One of the finest versions of Knoxville to date. … Alsop’s ear-opening Barber series reaches a new high-point with this instalment. Strongly recommended.” Gramophone | | | In stock - usually despatched within 1 working day. |
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Karina Gauvin (soprano) Orchestre Métropolitain du Grand Montréal (OM), Yannick Nézet-Séguin The immense scope and originality of Mahler's symphonies were unprecedented in the history of Western music. The composer himself affirmed that composing a symphony was for him to “express the entire content of my life,” and to “create a universe using all the means at my disposal.” In particular, Symphony No. 4 explores the convergence of the symphonic genre with that of the lied, borrowing from his cycle Des Knaben Wunderhorn (The Youth's Magic Horn) in the final movement. The lied he selected, Himmlishe Leben (Heavenly Life), is a deliciously naive depiction of “daily life” in Paradise as imagined by a child. It contributes to make this symphony one of Mahler's best loved works and perhaps the most serene, happy, and luminous within the composer's symphonic output.
This recording marks the second collaboration on disc of the OM with the ATMA label, following the very successful 2003 release, Nino Rota – La Strada, Concertos. | | | In stock - usually despatched within 1 working day. |
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Karina Gauvin (soprano), Daniel Taylor (countertenor) Les Violons du Roy, Bernard Labadie | | | In stock - usually despatched within 1 working day. |
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| |  | Hear My Prayer - Hymns and Anthems
Bainton, E: | And I saw a new Heaven | Chatman: | Remember | Daley: | Requiem: In Remembrance | Duruflé: | Ubi caritas, Op. 10 No. 1 | Elgar: | Lux aeterna | Fauré: | Cantique de Jean Racine, Op. 11 | Finzi: | God is gone up, Op. 27 No. 2 | Franck, C: | Panis Angelicus | Howells: | Magnificat (Collegium Regale, 1945) | Lotti: | Crucifixus | Mendelssohn: | Hear my prayer | Mozart: | Laudate Dominum from Vesperae Solennes de Confessore, K339 | Purcell: | O God, Thou art my God Remember not, O Lord, our offences, Z50 | Stanford: | Justorum animae, Op. 38 No. 1 |
Karina Gauvin (soprano) & Matthew Larkin (organ) Choir of St John’s, Elora, Noel Edison | | | Usually despatched in 2 - 3 working days. |
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| |  | Vivaldi: Motets for Soprano
Karina Gauvin (soprano) Les Chambristes de Ville-Marie | | | Usually despatched in 3 - 4 working days. |
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Karina Gauvin (Soprano) Tafelmusik, Jeanne Lamon | | | Usually despatched in 3 - 4 working days. |
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Karina Gauvin (soprano) Les Boréades, Francis Colpron | | | Usually despatched in 3 - 4 working days. |
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Ann Hallenberg, Karina Gauvin, Anna Bonitatibus, Romina Basso & Pietro Spagno Il Complesso Barocco, Alan Curtis “There is not a weak link in this superb cast, with all the singers perfect for the vocal and dramatic properties of their roles. The overture oozes with charisma and the orchestral playing is beautifully paced and articulated. All in all, this is a perfect Handel opera recording” Gramophone Magazine, July 2008 | | | In stock - usually despatched within 1 working day. |
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Gramophone Magazine