To trzeci album Josepha Calleji nagrany dla wytwórni Decca. Pochodzący z Malty tenor jest uznanym na świecie artystą, występującym na najlepszych scenach świata i cieszącym się wielkim powodzeniem wśród publiczności oraz przychylnością krytyki muzycznej.Album zarejestrowany został w Genewie z towarzyszeniem Orchestre de la Suisse Romande pod dyrekcją Marco Armiliato i zawiera popularne arie z oper Pucciniego (Tosca, Cyganeria), a także francuskich dzieł Masseneta, Gounoda, Offenbacha i Bizeta.W dwóch utworach – duecie z Cyganerii oraz  „Les Pêcheurs des perles” Bizeta  - artyście towarzyszy znakomita polska sopranistka Aleksandra Kurzak! GIACOMO PUCCINI (1858–1824)La bohèmeLibretto: Giuseppe Giacosa & Luigi Illica[1] Act I, Aria: "Che gelida manina" (Rodolfo)[2] Act I, Duet: "O soave fanciulla" (Rodolfo, Mimì)GIUSEPPE VERDI (1813–1901)Simon BoccanegraLibretto: Francesco Maria Piave[3] Act II, Scena and Aria: "O inferno! Amelia qui! –Sento avvampar nell'anima" (Gabriele Adorno)JACQUES OFFENBACH (1819–1880)Les Contes d'HoffmannThe Tales of Hoffmann · Hoffmanns ErzählungenLibretto: Jules Barbier & Michel Carré[4] Act I, Chanson (Légende de Kleinzach): "Il était une fois à la cour d'Eisenach"(Hoffmann)GIACOMO PUCCINIToscaLibretto: Giuseppe Giacosa & Luigi Illica[5] Act I, Aria: "Recondita armonia" (Cavaradossi)[6] Act III, Aria: "E lucevan le stelle" (Cavaradossi)ARRIGO BOITO (1842–1918)MefistofeleLibretto: Arrigo Boito[7] Act I, Romanza: "Dai campi, dai prati"(Faust)[8] Epilogo, Romanza: "Giunto sul passo estremo" (Faust)CHARLES GOUNOD (1818–1893)FaustLibretto: Jules Barbier & Michel Carré[9] Act III, Cavatina: "Salut, demeure chaste et pure!" (Faust)GIACOMO PUCCINIManon LescautLibretto: Marco Praga, Domenico Oliva, Giulio Ricordi,Luigi Illica, Giuseppe Giacosa[10] Act I, Aria: "Tra voi, belle, brune e bionde" (des Grieux)[11] Act I, Aria: "Donna non vidi mai" (des Grieux)JULES MASSENET (1842–1912)ManonLibretto: Henri Meilhac & Philippe Gille[12] Act III, Aria: "Ah! fuyez, douce image!" (des Grieux)GIUSEPPE VERDILuisa MillerLibretto: Salvatore Cammarano[13] Act II, Scena ed Aria: "Oh! fede negar potessi –Quando le sere al placido (Rodolfo)Un ballo in mascheraLibretto: Antonio Somma[14] Atto III, Romanza: "Ma se m'è forza perderti" (Riccardo)GEORGES BIZET (1838–1875)Les Pêcheurs de perlesLibretto: Eugène Cormon & Michel Carré[15] Act II, Chanson et Duo: "De mon amie, fleurendormie – Leïla, Leïla! Dieu puissant"(Nadir, Leïla)JOSEPH CALLEJA tenorAleksandra Kurzak soprano (2, 15)Chœur d'hommes du Grand Thêatre de Genève (4)Chorus Master: Ching-Lien WuL'Orchestre de la Suisse RomandeMARCO ARMILIATO

• Wykonawca Calleja Joseph
• Data premiery 2011-05-20
• Nośnik CD

Tracklista:1. La Pastorella2. Belta Crudele3. Il Trovatore4. La Regata Veneziana: 1: Anzoleta Avanti la Regata5. La Regata Veneziana: 2: Anzoleta co Passa la Regata6. La Regata Veneziana: 3: Anzoleta Dopo la Regata7. Mi Lagnero Tacendo: a Major8. Mi Lagnero Tacendo: d Major9. Mi Lagnero Tacendo: g Major (Sorzico)10. Mi Lagnero Tacendo: e Major (Sabat Mater)11. Mi Lagnero Tacendo: g Major12. Il Resentimento13. La Grande Coquette14. Ariette a L'ancienne15. L'orpheline du Tyrol16. La Legende de Marguerite17. Nizza18. L'âme Delaissee19. Canzonetta Spagnuola 'en Medio a Mis Colores'20. Giovanna D'arco (Cantata)

• Wykonawca Bartoli Cecilia
• Data premiery 1991-01-01
• Nośnik CD

1. Giacomo Puccini: CYGANERIA / LA BOHÈME Aria Rudolfa z I aktu „Che gelida manina” 4’45 2. Giuseppe Verdi: AIDA / Aria Radamesa z I aktu „Celeste Aida” 3’30         3. Friedrich Flotow: MARTA / Aria Lyonela z III aktu „Ach so fromm”   3’00      4. Giacomo Puccini: TOSCA /Aria Cavaradossiego z I aktu „Recondita armonia” 2’25         5. Giacomo Puccini: TOSCA /Aria Cavaradossiego z III aktu „O dolci baci”  2’45 6. Giuseppe Verdi: TRUBADUR / IL TROVATORE /Aria (Stretta) Manrica z III aktu „Di quella pira”     1’35  7. Georges Bizet: CARMEN / Aria Don Joségo z II aktu (Aria „z kwiatkiem”) „La fleur que tu m’avais jetée”    3’25      8. Giacomo Puccini: TURANDOT / Aria Kalafa z I aktu „O Weine nicht”  3’35 9. Giacomo Puccini: TURANDOT / Aria Kalafa z III aktu „Keiner schlafe”  3’55 10. Giuseppe Verdi: RIGOLETTO / Aria Księcia z I aktu „Questa o quella” 1’55   11. Giuseppe Verdi: RIGOLETTO / Aria Księcia z IV aktu „La donna e mobile” 2’20 12. Gioacchino Rossini: LA DANZA 2’45 13. BRUNETKI, BLONDYNKI (Robert Stolz – Michał Halicz) z filmu „Kocham wszystkie kobiety” 2’25       14. MUSISZ W TĘ NOC MOJĄ BYĆ (Robert Stolz – Michał Halicz) z filmu „Kocham wszystkie kobiety” 3’05         15. WITH ALL MY HEART (Mischa Spoliansky – Frank Eyton) z filmu „Pieśń dla Ciebie” 2’55 16. MY SONG FOR YOU (Mischa Spoliansky – Frank Eyton) z filmu „Pieśń dla Ciebie” 2’55 17. TELL ME TONIGHT (Mischa Spoliansky – Frank Eyton) z filmu „Pieśń nocy”  3’10 18. O SOLEMIO (Eduardo di Capua) 2’55 19. TORNA A SURRIENTO (Ernesto de Curtis) 2’17 20. O MARIE, O MARIE (Eduardo di Capua)  2’30 21. NINON, ACH UŚMIECHNIJ SIĘ (Bronisław Kaper – Michał Halicz) z filmu „Pieśń dla Ciebie" 2’22     22. SIGNORINA (Bronisław Kaper – Michał Halicz) z filmu „Zdobyć Cię muszę” 3’00   23. MANUELA (Robert Stolz – Pothier) 2’58 24. ICH LIEBE DICH (Robert Stolz) z filmu „Czar cyganerii” 3’00 25. MEIN HERZ IST VOLLER SONNENSCHEIN (Dénes von Buday) z filmu „W blasku słońca” 2’45

• Wykonawca Kiepura Jan
• Data premiery 2006-03-07
• Nośnik CD

The eight overtures by Gioacchino Rossini recorded on this CD were written between 1810 and 1814, and as such cover the early operatic period of the composer, who was born in Pesaro in 1792. Despite his world-wide popularity, primarily thanks to his popular operas, Rossini never managed to rise above the ranking of a musically aesthetic, yet rather second-rate composer, especially in German-speaking countries (in complete contrast to countries such as England and, of course, Italy). Rossini had his German antipode, Beethoven, to thank for this ranking. Both are considered outstanding examples of strongly contrasting "music cultures", which by the way have lost little of their validity right up to the present day. Thus Beethoven represents the symphonic style, exploring the smallest details of every theme and motif, whereas Rossini is considered the exponent of a style which, though decorative, is lacking in content and simply aiming for effect. Take for instance the division between light and serious music, which still exists today in Germany, derived from this very problem. Carl Dahlhaus expressed this contrast in musical aesthetics in the following words: Beethoven‘s scores were portrayals of "sacrosanct musical 'texts', the meaning of which should be disclosed through the interpretations, which should be seen as 'explanations'. On the other hand, a Rossini score is merely a model for a performance, which is given form by the aestheticians in charge as the realization of a design, and not as the interpretation of a text."Disregarding these reflections on musical aesthetics, Rossini was without a doubt the most important operatic composer in the period between Mozart and Verdi. One sees with amazement just how confident the young composer was in his mastery of the sophisticated tone languages of his time. Rossini managed to find his own musical voice at a very early stage. This "voice" is demonstrated superbly in his operatic overtures.Apart from one exception – La cambiale di matrimonio is really more an exponent of the older tradition of the sinfonia – the overtures all have a specific structure typical of Rossini: a slow introduction is followed by a quick main subject with two themes, which is brought to a halt by a ritardando, before a new intonation leads to a coda which outshines all else. But just how does Rossini fill this almost mechanical and pedantic structure he has chosen with musical energy? He links a lively melody to rhythmic vitality and bounces simple harmonic patterns off sudden humorous and surprising modulations. The motivic material, which is generally simple, is not subjected to symphonic development. Instead, by simply ordering the individual elements, Rossini creates a more extensive construction of areas of relaxation and tension, which achieve a spacious effect. In this context, the crescendi should be interpreted in the spirit intended by the composer: their typically characteristic features include simple metrical models, rousing melodies, sequential passages and the alternation of dynamics and instrumentation with radiant intensifications. Not without justification was Rossini fêted as "Monsieur Crescendo" upon his arrival in Paris. His instrumentation contains especially individual traits: in the first place, the solo entry of the winds, which can be discerned most strikingly in the horn soli in La cambiale di matrimonio. Besides, some of Rossini‘s very best ideas can be found in his overtures: such as the perpetuum mobile in La scala di seta or the violin bows striking the music stands in the overture to Il Signor Bruschini. The overtures do not contain much – if any – similarity to the ensuing operatic plots, as far as theme or programme content are concerned. This explains why Rossini made multiple use of some pieces, such as the overture to Il barbiere di Siviglia, which he had originally written for Aureliano in Palmira, or the introduction to Tancredi, which he borrowed from his La pietra del paragone, without making a single change.

• Wykonawca Academy of St. Martin In Fields
• Data premiery 2002-09-26
• Nośnik CD

1. La Traviata, opera: No. 3 Scena ed Aria: "Č strano! č strano! - Ah, fo 4:552. La Traviata, opera: "Sempre libera" 3:393. La sonnambula, opera: No. 12 Scena ed Aria finale: "Ah! se una volta sol 5:384. La sonnambula, opera: "Ah! Non credea mirarti" 4:475. La sonnambula, opera: "Ah! Non giunge uman pensiero" 2:416. I Puritani, opera: No. 7 Scena ed Aria: "O rendetemi la speme - Qui l 4:367. I Puritani, opera: "Ah! tu sorridi e asciughi il pianto!" 4:028. I Puritani, opera: "Vien, diletto, č in ciel la luna!" 2:569. Lucia di Lammermoor, opera: No. 14 Scena ed Aria: "O giusto cielo!" - "Il dolc 3:1810. Lucia di Lammermoor, opera: "Ohimč!...sorge il tremendo fantasma" 3:1511. Lucia di Lammermoor, opera: "Ardon gli incensi" 5:0012. Lucia di Lammermoor, opera: "Spargi d'amaro pianto" 3:3713. Otello, opera: "Era piů calmo?" - "Mia madre aveva una povera anc 4:5914. Otello, opera: "Piangeo cantando nell'erma landa" 7:0315. Otello, opera: "Ave Maria" 5:3616. Gianni Schicchi, opera: "O mio babbino caro" 2:51

• Wykonawca Netrebko Anna
• Data premiery 2004-01-01
• Nośnik CD

Niezwykle utalentowany francuski pianista Cédric Tiberghien tym razem prezentuje program fortepianowych dzieł Béli Bartoka. Wymagający repertuar dosłownie wciąga Tiberghiena, przedstawiającego jedną z najbardziej osobliwych i wyróżniających się interpretacji węgierskiego kompozytora.

• Wykonawca Tiberghien Cedric
• Data premiery 2016-02-01
• Nośnik CD

Tracklista:Disc 1Requiem, Op. 631. Introit: Adagio 00:08:032. Kyrie: Allegro tranquillo ed espressivo 00:04:403. Gradual: Larghetto 00:04:384. Sequence - Dies irae: Allegro moderato ma energico 00:30:215. Offertorium: Allegro 00:11:37Disc 2Requiem, Op. 631. Sanctus: Allegro non troppo 00:10:072. Agnus Dei et Lux aeterna: Tempo di marcia funebre 00:11:01The Veiled Prophet of Khorassan (excerpts)3. Overture 00:07:534. Ballet Music No. 1 00:07:205. There's a Bower of Roses 00:05:056. Ballet Music No. 2 00:03:17

• Wykonawca Various Artists
• Data premiery 2014-12-04
• Nośnik CD

Recital jednej z najsłynniejszych Australijskich sopranistek. Urodzona i wychowana w Perth, w Australii Zachodniej Sara Macliver to artystka bardzo aktywna. Bierze udział w wielu nagraniach, spektaklach operowych. Jest uważana za czołowego propagatora muzyki barokowej w Australii.

• Wykonawca Macliver Sara
• Data premiery 2016-07-01
• Nośnik CD

1.     Sonatina canonica, for 2 guitars, Op. 196 9:562.     Les Guitares bien tempérées preludes & fugues (24) for 2 guitars, Op. 199: Prelude No. 1 in G minor 1:553.     Les Guitares bien tempérées preludes & fugues (24) for 2 guitars, Op. 199: Fugue No. 1 in G minor 2:514.     Les Guitares bien tempérées preludes & fugues (24) for 2 guitars, Op. 199: Prelude No. 2 in D major 2:205.     Les Guitares bien tempérées preludes & fugues (24) for 2 guitars, Op. 199: Fugue No. 2 in D major 1:406.     Les Guitares bien tempérées preludes & fugues (24) for 2 guitars, Op. 199: Prelude No. 3 in A minor 2:177.     Les Guitares bien tempérées preludes & fugues (24) for 2 guitars, Op. 199: Fugue No. 3 in A minor 3:058.     Les Guitares bien tempérées preludes & fugues (24) for 2 guitars, Op. 199: Prelude No. 4 in E major 2:249.     Les Guitares bien tempérées preludes & fugues (24) for 2 guitars, Op. 199: Fugue No. 4 in E major 1:5710.     Les Guitares bien tempérées preludes & fugues (24) for 2 guitars, Op. 199: Prelude No. 5 in B minor 2:3311.     Les Guitares bien tempérées preludes & fugues (24) for 2 guitars, Op. 199: Fugue No. 5 in B minor 2:2112.     Les Guitares bien tempérées preludes & fugues (24) for 2 guitars, Op. 199: Prelude No. 6 in F sharp minor 1:2313.     Les Guitares bien tempérées preludes & fugues (24) for 2 guitars, Op. 199: Fugue No. 6 in F sharp minor 2:0814.     Les Guitares bien tempérées preludes & fugues (24) for 2 guitars, Op. 199: Prelude No. 7 in C sharp minor 1:4015.     Les Guitares bien tempérées preludes & fugues (24) for 2 guitars, Op. 199: Fugue No. 7 in C sharp minor 3:3316.     Les Guitares bien tempérées preludes & fugues (24) for 2 guitars, Op. 199: Prelude No. 8 in A flat major 2:2417.     Les Guitares bien tempérées preludes & fugues (24) for 2 guitars, Op. 199: Fugue No. 8 in A flat major 2:4418.     Les Guitares bien tempérées preludes & fugues (24) for 2 guitars, Op. 199: Prelude No. 9 in E flat minor 3:0119.     Les Guitares bien tempérées preludes & fugues (24) for 2 guitars, Op. 199: Fugue No. 9 in E flat minor 2:3420.     Les Guitares bien tempérées preludes & fugues (24) for 2 guitars, Op. 199: Prelude No. 10 in B flat major 1:5721.     Les Guitares bien tempérées preludes & fugues (24) for 2 guitars, Op. 199: Fugue No. 10 in B flat major 2:0622.     Les Guitares bien tempérées preludes & fugues (24) for 2 guitars, Op. 199: Prelude No. 11 in F minor 3:2023.     Les Guitares bien tempérées preludes & fugues (24) for 2 guitars, Op. 199: Fugue No. 11 in F minor 3:1924.     Les Guitares bien tempérées preludes & fugues (24) for 2 guitars, Op. 199: Prelude No. 12 in C major 1:1025.     Les Guitares bien tempérées preludes & fugues (24) for 2 guitars, Op. 199: Fugue No. 12 in C major 1:56

• Wykonawca Brasil Guitar Duo
• Data premiery 2008-11-07
• Nośnik CD

Tracklista: 1. Scena E Duetto2. Aria Di Renato, Canzone Di Oscar E Coro3. Farfalle Nere4. Pout Pourri5. L'artiglio Di Nedda6. Aria E Miserere7. L'usignolo8. Scena E Duetto9. Preludio

• Wykonawca Ensemble Novecentro
• Data premiery 2013-11-18
• Nośnik CD