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See Terms & Conditions for p&p rates. | |  | Plácido Domingo - Opera Gala
Plácido Domingo (tenor) Los Angeles Philharmonic Orchestsra, Carlo Maria Giulini | | | In stock - usually despatched within 1 working day. |
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| |  | Joshua Bell - Voice of the Violin
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| |  | Richard Tucker
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| |  | Jussi Björling - In Song
Arthur: | Today | Bizet: | Je crois entendre encore (from Les Pêcheurs de Perles) | Brahms: | Die Mainacht, Op. 43 No. 2 | Curtis, E: | Torna a Surriento | Geehl: | For You Alone | Grieg: | En svane, Op. 25 No. 2 Seks Sange, Op. 48 No. 6 'Ein Traum' | Kalman: | Du Veilchen vom Montmartre | Körling: | Vita rosor | Leoncavallo: | Mattinata | Liszt: | Es muss ein Wunderbares sein, S. 314 | Rachmaninov: | Lilacs, Op. 21 No. 5 | Schubert: | Die Forelle, D550 Die Allmacht, D852 Ständchen 'Leise flehen meine Lieder', D957 No. 4 Wandrers Nachtlied II 'Über allen Gipfeln ist Ruh', D768 Die böse Farbe, from Die schöne Müllerin, D795 | Sibelius: | Svarta rosor, Op. 36 No. 1 (Ernst Josephson) | Sjögren: | I drömmen du är mig nära | Strauss, R: | Ständchen, Op. 17 No. 2 Morgen, Op. 27 No. 4 | Tosti: | Ideale | trad.: | Ack Värmeland du sköna arr. Randel Allt under himmelens fäste | Wolf, H: | Verborgenheit |
Historic Masters Ltd. Is delighted to be associated with, and to have contributed to, this CD release of little known material by one of the truly great tenors of the twentieth century. In the course of our researches we have discovered original metal parts for three recordings by Jussi Björling which were not released by EMI at the time they were made. All three have now been issued as part of our Historic Masters series and we are delighted to be able to make copies available for transfer to this CD. The tenor solo from Bizet’s Les Pêcheurs de perles was recorded in April 1947. Given that it is Björling’s only studio version of this aria, it seems surprising that it remained unissued until November 1977, late in the LP era. Only then was it included in an EMI boxed set entitled The Art of Jussi Björling. The other two items, the songs Mattinata and For you alone, rank amongst our most sensational discoveries in the EMI archive. These were the very first recordings made by Björling as an adult on 4 September 1929. Piano accompanied, they were almost certainly intended as tests to determine Björling’s suitability for a recording contract. Listening to these first recordings, there can be no surprise that Björling clearly passed this examination with flying colours. Three months later he was in the studio for what was in effect the launching of his hugely successful recording career with HMV and Victor. In the first few months of that career Björling repeated both songs – this time with full orchestral accompaniment. Perhaps this explains why the original tests were forgotten and, indeed, were marked in March 1930 as ‘destroyed’. In 1952, RCA, using the recently developed tape technology, decided to record a selection of the songs that Björling performed at his recitals. It is unlikely that all of these pieces would have been given at one time, but they were certainly included in his programmes over the years and give a very representative selection of the range of his repertoire. Apart from German Lieder, he always liked to sing some Swedish pieces, as well as works by the Finnish composer Sibelius, who complimented him on his interpretations of his songs, particularly those written to Swedish words. This recording from 1952 remained on the catalogue for many years as an LP in the USA, but it was less widely available in Europe and can now be heard here for the first time in a CD transfer from the original master tape. It finds Björling in particularly glorious voice. Extract from the booklet | 
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| |  | Nicolai GeddaRecordings From 1952-1957
The recordings for this 2 CD set have been carefully selected to show to advantage the extraordinary control
Gedda has over his vocal resources and also to demonstrate his remarkable gift for language. The French opera
excerpts all display an appealing sense of style together with excellent musicianship, both traits so much admired
in the 19th and early 20th centuries. His Russian scenes and arias have an authentic ring, his German highly
romantic and his Italian arias although his voice does not possess that particular Mediterranean warmth, do
nevertheless have a sense of morbidezza (tenderness) usually more associated with the Latin tenor. |
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| |  | The Essential Plácido Domingo
Bizet: | La fleur que tu m'avais jetée (from Carmen) London Philharmonic Orchestra, Sir Georg Solti Je crois entendre encore (from Les Pêcheurs de Perles) Los Angeles Philharmonic Orchestra, Carlo Maria Giulini | Brodszky: | Be My Love arr.Ebbinghouse London Symphony Orchestra, Marcel Peeters | Cardillo: | Core 'ngrato arr.Peeters London Symphony Orchestra, Marcel Peeters | Curtis, E: | Non ti scordar di me arr.Engelen London Symphony Orchestra, Karl-Heinz Loges | Donizetti: | L'elisir d'amore: 'Una furtiva lagrima' L’elisir d’amore Los Angeles Philharmonic Orchestra, Carlo Maria Giulini Tombe degl'avi miei … Fra poco a me ricovero (Edgardo) Lucia di Lammermoor Los Angeles Philharmonic Orchestra, Carlo Maria Giulini | Franck, C: | Panis Angelicus Orchestra Sinfonica di Milano Giuseppe Verdi, Marcello Viotti | Freire: | Ay, ay, ay arr.Loges London Symphony Orchestra, Karl-Heinz Loges | Gardel: | Volver arr.Pansera Orchestra Roberto Pansera, Roberto Pansera | Halévy: | La Juive: 'Rachel, quand du Seigneur' La Juive Los Angeles Philharmonic Orchestra, Carlo Maria Giulini | LaCalle: | Amapola arr.Engelen London Symphony Orchestra, Karl-Heinz Loges | Lara, A: | Granada arr.Peeters London Symphony Orchestra, Marcel Peeters | Lecuona: | Siboney arr.Ebbinghouse London Symphony Orchestra, Karl-Heinz Loges | Lehár: | Lippen schweigen (from Die Lustige Witwe) Renée Fleming Chicago Symphony Orchestra, Daniel Barenboim Dein ist mein ganzes Herz (from Das Land des Lächelns) arr.Loges London Symphony Orchestra, Karl-Heinz Loges | Leoncavallo: | Pagliacci: Vesti la giubba Pagliacci Orchestra del Teatro alla Scala di Milano, Georges Prêtre Mattinata London Symphony Orchestra, Marcel Peeters | Mascagni: | Ave Maria (arranged from Intermezzo sinfonico from Cavalleria Rusticana) Orchestra Sinfonica di Milano Giuseppe Verdi, Marcello Viotti | Offenbach: | Il était une fois à la cour d'Eisenach (Hoffmann) Les Contes d’Hoffmann Les Chœurs de la Radio de la Suisse Romande, Pro Arte de Lausanne, Du Brassus & L’Orchestre de la Suisse Romande, Richard Bonynge | Puccini: | Manon Lescaut: 'Donna non vidi mai' Manon Lescaut Philharmonia Orchestra, Giuseppe Sinopoli Ch'ella mi creda libero (Dick Johnson) Ch’ella mi creda libero (Dick Johnson)La fanciulla del West Sherrill Milnes Orchestra of the Royal Opera House, Covent Garden, Zubin Mehta Recondita armonia (Cavaradossi) Tosca Philharmonia Orchestra, Giuseppe Sinopoli Tosca: 'E lucevan le stelle' Tosca Philharmonia Orchestra, Giuseppe Sinopoli Turandot: 'Nessun dorma' Turandot Konzertvereinigung Wiener Staatsopernchor & Wiener Philharmoniker, Herbert von Karajan | Rossini: | Il barbiere di Siviglia: Largo al factotum Il barbiere di Siviglia The Chamber Orchestra of Europe, Claudio Abbado | Tosti: | Preghiera Orchestra Sinfonica di Milano Giuseppe Verdi, Marcello Viotti | Verdi: | Celeste Aida (from Aida) Los Angeles Philharmonic Orchestra, Carlo Maria Giulini La donna è mobile (from Rigoletto) Nicolai Ghiaurov & Piero Cappuccilli Wiener Philharmoniker, Carlo Maria Giulini Parmi veder le lagrime (from Rigoletto) Wiener Philharmoniker, Carlo Maria Giulini Oh figli … Ah, la paterna mano (Macduff) Macbeth Orchestra del Teatro alla Scala di Milano, Claudio Abbado Fontainebleau! Forêt immense et solitaire … (from Don Carlo) Orchestra del Teatro alla Scala di Milano, Claudio Abbado Quando le sere al placido (from Luisa Miller) Orchestra of the Royal Opera House, Covent Garden, Lorin Maazel De' miei bollenti spiriti (from La traviata) Bayerisches Staatsorchester, Carlos Kleiber Di quella pira (from Il trovatore) Rosalind Plowright & Walter Gullino Coro e Orchestra dell’Accademia
Nazionale di Santa Cecilia, Roma, Carlo Maria Giulini Forse la soglia attinse (from Un ballo in maschera) Orchestra del Teatro alla Scala di Milano, Claudio Abbado Niun mi tema (from Otello) Ramon Vargas, Ildebrando d’Arcangelo & Giacomo Prestia Orchestre de l’Opéra Bastille, Myung-Whun Chung | Wagner: | In fernem Land (Lohengrin) Lohengrin Wiener Philharmoniker, Sir Georg Solti |
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| |  | Joseph Calleja - The Golden Voice
Joseph Calleja The Academy of St Martin in the Fields, Carlo Rizzi 'This is a discerning, often thrilling recital by a singer in his first full bloom.' Daily Telegraph | | | Usually despatched in 2 - 3 working days. |
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| |  | The Gigli Edition 6New York Recordings 1929-30
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