Opus Arte
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William Shakespeare: Antony and Cleopatra
Josette Simon (Cleopatra), Antony Byrne (Mark Antony), Andrew Woodall (Enobarbus), Patrick Drury (Lepidus/Schoolmaster), Ben Allen (Octavius Caesar), David Burnett (Pompey), Amber James (Charmian)
Iqbal Khan (director)
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Rossini: Il barbiere di Siviglia
Danielle de Niese (Rosina), Alessandro Corbelli (Dr Bartolo), Björn Bürger (Figaro), Taylor Stayton (Count Almaviva), Christophoros Stamboglis (Basilio) & Janis Kelly (Berta)
London Philharmonic Orchestra & The Glyndebourne Chorus, Enrique Mazzola (conductor) & Annabel Arden (director)
High-flying American tenor Taylor Stayton proves vocally agile and dramatically vital as Count Almaviva, with Danielle de Niese an entrancing Rosina…as for Alessandro Corbelli’s Bartolo, his... — More…
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Verdi: Otello
Plácido Domingo (Otello), Kiri Te Kanawa (Desdemona), Sergei Leiferkus (Iago), Robin Leggate (Cassio), Ramon Remedios (Rodrigo), Mark Beesley (Lodovico), Roderick Earle (Montano), Claire Powell (Emilia)
The Royal Opera & The Orchestra of the Royal Opera House, Georg Solti
Sergei Leiferkus's dark Russian tone… suits Iago down to the ground. Kiri Te Kanawa's limpid tone makes her a near-ideal Desdemona… Plácido Domingo… is noble and heroic. — More…
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Shakespeare: Love’s Labours Won or Much Ado About Nothing
Recorded live at the Royal Shakespeare Theatre, Stratford-upon-Avon, March 2015
Sam Alexander (Don John), David Horovitch (Leonato), Edward Bennett (Benedick), Michelle Terry (Beatrice), Tunji Kasim (Claudio), Chris Nayak (Borachio), Flora Spencer-Longhurst (Hero) & Nick Haverson (Dogberry)
Royal Shakespeare Company, Simon Godwin (director)
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Gianni Schicchi & The Miserly Knight
Sergei Leiferkus & Matilda Leyser, Alessandro Corbelli (Gianni Schicchi), Sally Matthews (Lauretta), Felicity Palmer (Zita), Massimo Giordano (Rinuccio), Adrian Thompson (Gherardo), Olga Schalaeva (Nella), Christopher Waite (Gherardino), Maxim Mikhailov II (Betto di Signa), Luigi Roni (Simone),...
Annabel Arden’s dark staging of Rachmaninov’s opera and her brilliantly funny view of Puccini’s comedy make for a perfect Glyndebourne evening. Sergei Leiferkus and Alessandro Corbelli are memorable... — More…
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Mozart: Idomeneo
Eric Cutler (Idomeneo), David Portillo (Idamante), Anett Fritsch (Ilia), Eleonora Buratto (Elettra), Benjamin Hulett (Arbace), Oliver Johnston (High Priest), Alexander Tsymbalyuk (Voice of Neptune), Teatro Real Chorus & Orchestra, Ivor Bolton
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Saimir Pirgu: Il Mio Canto
Saimir Pirgu (tenor)
Orchestra del Maggio Musicale Fiorentino, Speranza Scappucci
Pirgu's timbre isn't quite Italianate but he sounds rather like Giuseppe di Stefano in the area from A flat to B flat above the stave - slightly strained but exciting too...The heroic ring in... — More…
CD
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Meyerbeer: Robert Le Diable
Bryan Hymel (Robert), Patrizia Ciofi (Isabelle), John Relyea (Bertram), Marina Poplavskaya (Alice), Nicolas Courjal (Alberti), David Butt Philip (Master of Ceremonies), Pablo Bemsch (Second Chevalier/Herald), Ashley Riches (Prince of Granada), Jihoon Kim (Fourth Chevalier/Priest), Jean-Francois Borras...
Meyerbeer's vocal writing demands virtuoso singing, and receives that here. Bryan Hymel hurls himself unstintingly at the title role, impossible high notes and all. Marina Poplavskaya suggests... — More…
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Shakespeare: Love’s Labour’s Lost
Recorded live at the Royal Shakespeare Theatre, Stratford-upon-Avon, March 2015
Sam Alexander (King of Navarre), Peter Basham (Gamekeeper), William Belchambers (Longaville), Edward Bennett (Berowne), Nick Haverson (Costard), Emma Manton (Jaquenetta), John Hodgkinson (Don Armado), Tunji Kasim (Dumaine)
Royal Shakespeare Company, Christopher Luscombe (director)
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Verdi: Aida
Cheryl Studer (Aida), Dennis O’Neill (Radames), Luciana d’Intino (Amneris), Alexandru Agache (Amonasro), Robert Lloyd (Ramfis), Mark Beesley (King), Yvonne Barclay (High Priestess), John Marsden (Messager), Stage Director: Elijah Moshinsky
The Royal Opera Chorus & The Orchestra of the Royal...
This DVD of a distinguished account of Verdi's grand opera from 1994 has a great deal to recommend it, yet in the end I'm not sure that it manages to avoid cliché of the sense that the work... — More…
