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Jewels, ballet in three parts choreographed by George Balanchine for the New York City Ballet, recorded in October / November 2005 at the Opéra National de Paris.
This release captures a performance of the Leoš Janáček opera Katia Kabanova recorded at the Salzburg Festival in 1998.
Thanks to his gifts of clairvoyance, the son of a former servant of a noble family makes his fortune and buys the mansion where he spent his childhood. But he is obsessed by the memory of this house, because the owners were, one by one, victims of an evil spirit. With a troupe of actors, he attempts to reconstruct the dramatic scenes he witnessed.
Live performance from the Opéra National de Lyon.
This 1991 production by the Lyon National Opera presents a welcome opportunity to revel in a uniquely Gallic confection rarely seen outside France. It's also a chance to enjoy one of Offenbach's most inventive, melodic scores in which the starring musical role and many of the best tunes go to the orchestra, here conducted by Jean-Yves Ossonce. This is no accident: the operetta was originally created for a company of actors who relied on pastiche and the composer's help to get them through their "numbers". Not so these singers, of course. As Metella, the languorous courtesan who is responsible for the unravelling debacle, Helene Delavault is in meltingly good voice for her show-stopping rondeau, "A minuit sonnant commence la fete". Her sparring suitors Gardefeu (Jean-Francois Sivadier) and, particularly, Bobinet (Jacques Verzier) combine marvellous visual comedy with fluid singing and there is some dazzling vocal work from the supporting cast. It's a long piece, but hugely enjoyable.
Puccini’s operas are among the most beloved and best-known works in the classical repertoire, but Edgar may be unknown even to aficionados, at least as it is presented here. This original four-act version of Edgar, first performed in 1889, was believed lost for over a century when Puccini’s granddaughter Simonetta discovered the score fully intact in 2008. In addition to the third act’s funeral music, which Arturo Toscanini conducted at Puccini’s funeral in 1924, listeners may recognize the duet from the now-restored fourth act, cut by Puccini in subsequent revisions of the work: it bears more than a passing similarity to the third-act duet in Tosca.
Tosca, suspecting his lover is seeing anothe woman, turn him, painter Mario Cavaradossi, to Baron Scarpia.
Ruggero Leoncavallo's opera recorded in 2009. Conductor Stefano Ranzani leads the orchestra and chorus of the Zurich Opera House, with performances by Argentinian tenor Jose Cura, Carlo Guelfi and Fiorenza Cedolins.
The famos Double Feature of Verismo at La Scala with Daniel Harding conducting from February 2011