Glyndebourne Opera has a history of trend setting and pioneering opera productions and Donizetti’s opera L’elisir d’amore is no exception. Popular in Donizetti’s own lifetime, L’elisir faded into relative obscurity until the 1890s when Caruso championed the role of Nemorino: his dedication and conviction were such that Covent Garden arranged a production of the opera in 1902. L’elisir was a personal favourite of Caruso’s, so much so that in 1920 he played Nemorino in his last appearance with the Metropolitan Opera. Almost 60 years later, in 1961, it was Glyndebourne who staged a production of L’elisir d’amore designed and directed by Franco Zeffirelli. Such was the success and acclaim for this production that Glyndebourne revived it in 1962, enhancing the production with the addition of the lively and capricious Mirella Freni.As the press noted: ‘Her [Freni's] looks and her cantabile singing melt, so to speak, on the tongue, and she acts her teasing charades with Sergeant Belcore as if nothing were farther from her mind than cruelty.’ (The Times, August 1962) and ‘Mirella Freni, the sparkling new Adina, rightly allowed real tenderness to shine through vanity and caprice.’ (The Sunday Times, August 1962)Mirella Freni was first engaged by Glyndebourne in 1960 (and sings Susanna in Glyndebourne’s own recording of Mozart’s Le nozze di Figaro GFOCD00162).Previously she had also performed at the opera house in Torino in the late 50s and sung with Netherlands Opera in 1959-60 season, but her international break and recognition came by virtue of her role as Adina in this 1962 production.This recording, released here for the first time, precedes Freni’s EMI recording of L’elisir d’amore with Nicolai Gedda as Nemorino in a Rome Opera production by some 5 years. In this recording, Freni has a cast of equals around her. As the besotted Nemorino, Luigi Alva vividly portrays the wounded innocent with The Daily Telegraph noting in August 1962 that ‘Alva’s Nemorino is a wonderful combination of rustic clowning and exquisitely finished bel canto’, with Enzo Sordello a baritone voice big enough to fill a stadium, providing a fresh virile and bold Belcore. Conductor Carlo Felice Cillario enjoyed a 60 plus year career and is remembered for his masterful interpretations of Puccini, Verdi and Donizetti operas and stands as one of the most singer-friendly conductors of all time.The 2CD set is packaged as a hard bound book containing a full libretto translated into English, French and German along with a commissioned article about the opera, and synopsis in English, French and German.

• Wykonawca Freni Mirella , Alva Luigi
• Data premiery 2010-01-01
• Nośnik CD

Na płycie usłyszymy m.in. takie utwory jak: Małgośka, Opera Mydlana, Moja Europo...

• Wykonawca Rodowicz Maryla
• Data premiery 2006-03-07
• Nośnik CD

“LA GIOCONDA” to znana na całym świecie opera w 4 aktach autorstwa AMILCARE PONCHIELLI. Według znawców, to pomiędzy "AIDA" Verdiego i "OTELLO" największa opera w historii włoskiej muzyki klasycznej. “LA GIOCONDA” jest regularnie wystawiana we włoskiej Arena Di Verona - wzniesionym w I wieku n.e. starożytnym, rzymskim amfiteatrze, trzecim co do wielkości, zaraz po Koloseum i amfiteatrze w Kapui.“LA GIOCONDA” to klasyczny, włoski dramat poruszający uniwersalne tematy takie jak miłość, zazdrość, radość, smutek i śmierć. Główną rolę odgrywa jedyna w swoim rodzaju, arcygwiazda sceny operowej Maria Callas!Wydanie zawiera 3 płyty CD, w sumie 178 minut wspaniałej muzyki klasycznej. Must-have dla miłośników muzyki poważnej!Tracklista:CD 11. Preludio2. Feste E Pane!3. E Cantan Su Lor Tombe!4. Figlia, Che Reggi Il Tremulo Pi5. L`ora Non Giunse Ancor6. Gloria A Chi Vince7. Questi8. Suo Covo9. Ribellion10. Voce Di Donna O D'angelo11. Enzo Grimaldo12. Maledici? Sta Ben...13. O Monumento!14. Carneval! Baccanal!15. Angele Dei...CD 21. Ho! He! Fissa Il Timone2. Pescador, Affonda L'esca3. Sia Gloria Ai Canti4. Cielo E Mar5. Ma Chi Vien?6. Deh! Non Turbare7. E Il Tuo Nocchier8. Stella Del Marinar9. E' Un Anatema10. L'amo Come Il Fulgor Del Creato!11. Il Mio Braccio T'afferra12. Laura! Laura, Ove Sei?13. Tu Sei Tradito!... Noto M'CD 31. Si Morir Ella De!2. Ombre Di Mia Prosapia3. Qui Chiamata M'avente?4. Morir!5. E' Gi6. O Madre Mia7. Benvenuti Messeri8. Grazie Vi Rendo9. Danza Delle Ore Del Giorno10. Vieni! Lasciami! Ahime11. D'un Vampiro Fatal12. Preludio13. Nessun V'ha Visto?14. Suicidio!.. In Questi Fieri Momenti15. Ecco Il Velen Di Laura16. Enzo! Sei Tu!17. O Furibonda Jena18. Ten Va, Serenata19. La Barca S'avvicina20. A Te Questo Rosario21. Ora Posso Morir22. Si, Il Patto Mantengo

• Wykonawca Orchestra Sinfonica di Torino
• Data premiery 2009-12-11
• Nośnik CD

Barokowa opera w stylu neapolitańskim skomponowana współcześnie przez znanego muzyka z kręgu stylowego wykonawstwa muzyki dawnej Guido Moriniego. Wykonawcy to Marco Beasley - tenor oraz zespół Accordone pod dyrekcją Guido Moriniego.

• Wykonawca Beasley Marco , Accordone , Morini Guido
• Data premiery 2014-10-13
• Nośnik CD

Tracklista:1. Rodelinda, regina de' Langobardi, opera, HWV 19: Act 2. Scene. 3. Spietati, io vi giurai 4:172. Rodelinda, regina de' Langobardi, opera, HWV 19: Act 1. Scene. 7. Ombre, piante, urne funeste! 4:463. Riccardo Primo, rč d'Inghilterra, opera, HWV 23: Act 3. Scene. 8. Il volo cosě fido 5:104. Giulio Cesare in Egitto, opera, HWV 17: Act 2. Scene. 8. Accomp.: Che sento? / Aria: Se pi 10:565. Giulio Cesare in Egitto, opera, HWV 17: Act 3. Scene. 3. Recit.: E pur cosě / Aria: Piange 6:036. Giulio Cesare in Egitto, opera, HWV 17: Act 3. Scene. 6. Da tempeste il legno infranto 6:177. Scipione (Publio Cornelio Scipione), opera, HWV 20: Act 2. Scene. 8. Scoglio d'immota fronte 5:278. Ottone, re di Germania, opera, HWV 15: Act 1. Scene. 3. Recit.: Č tale Otton? / Aria: Fal 7:179. Ottone, re di Germania, opera, HWV 15: Act 1. Scene. 10. Recit. Giunge Otton? / Aria: Aff 7:3410. Tamerlano, opera, HWV 18: Act 1. Scene. 5. Recit.: Serve Asteria / Aria: Se 7:1411. Alesandro, opera, HWV 21: Act 3. Scene. 4. L'Amor che per te sento 4:4212. Flavio, Rč di Longobardi, opera, HWV 16: Act 1. Scene. 13. Recit.: Chi mai l'intende / Aria 4:2413. Agrippina, opera, HWV 6: Act 2. Scene. 20. Recit.: Favorevol la sorte / Ari 5:2114. Agrippina, opera, HWV 6: Act 2. Scene. 13. Pensieri, voi mi tormentate 4:4715. Radamisto, opera, HWV 12: Act 2. Scene. 2. Ombra cara di mia sposa 8:0216. Radamisto, opera, HWV 12: Act 3. Scene. 1. Recit.: Oh Dio! parte Zenobia / A 6:1617. Muzio Scevola, opera, Act III, HWV 13: Act 3. Scene. 3. Accomp.: Io d'altro regno / Aria: 6:3018. Ottone, re di Germania, opera, HWV 15: Act 2. Scene. 4. Recit.: Ben a raggion / Aria: Vie 7:5519. Giulio Cesare in Egitto, opera, HWV 17: Act 1. Scene. 4. Recit.: Vani soni i lamenti / Ari 5:1220. Giulio Cesare in Egitto, opera, HWV 17: Act 1. Scene. 8. Cara speme 4:5421. Giulio Cesare in Egitto, opera, HWV 17: Act 2. Scene. 6. Recit.: Figlio non č / Aria: L'an 5:4722. Giulio Cesare in Egitto, opera, HWV 17: Act 2. Scene. 11. L'aure che spira 5:1723. Giulio Cesare in Egitto, opera, HWV 17: Act 3. Scene. 5. La giustizia 4:2224. Arianna in Creta, opera, HWV 32: Act 1. Scene. 2. Mirami altero in volto 3:5425. Arianna in Creta, opera, HWV 32: Act 2. Scene. 6. Qual leon 5:5626. Giulio Cesare in Egitto, opera, HWV 17: Act 1. Scene. 9. Va tacito 6:1727. Giulio Cesare in Egitto, opera, HWV 17: Act 1. Scene. 7. Non č si vago e bello 3:0228. Rodelinda, regina de' Langobardi, opera, HWV 19: Act 3. Scene. 4. Vivi, tiranno 5:3329. Tolomeo, rč d'Egitto, opera, HWV 25: Act 3. Scene. 6. Recit.: Che piů si tarda omai / A 6:3630. Riccardo Primo, rč d'Inghilterra, opera, HWV 23: Act 2. Scene. 7. Recit.: Nube, che il Sole / Aria: 6:1431. Riccardo Primo, rč d'Inghilterra, opera, HWV 23: Act 1. Scene. 6. Agitato da fiere tempeste 4:3832. Orlando, opera, HWV 31: Act 2. Scene. 11. Accomp.: Ah! Stigie larve / Ario 7:5033. Orlando, opera, HWV 31: Act 3. Scene. 8. Accomp.: Giŕ per la man / Arioso: 5:4534. Orlando, opera, HWV 31: Act 1. Scene. 9. Recit.: T'ubbidirň, crudele / Ari 3:3535. Orlando, opera, HWV 31: Act 2. Scene. 3. Recit.: Č questa la Mercede / Ari 5:0436. Flavio, Rč di Longobardi, opera, HWV 16: Act 3. Scene. 4. Amor, nel mio penar 6:0537. Ezio, opera, HWV 29: Act 1. Scene. 6. Recit.: Perché tanto tormento? / 3:2938. Ezio, opera, HWV 29: Act 2. Scene. 8. Accomp.: Folle č colui / Aria: Na 5:3939. Ezio, opera, HWV 29: Act 3. Scene. 13. Recit.: Che indegno! / Aria: Giŕ 5:3740. Sosarme, re di Media, opera, HWV 30: Act 1. Scene. 5. Recit.: Addio, principe scrupolos 5:0741. Sosarme, re di Media, opera, HWV 30: Act 2. Scene. 7. Recit.: Quanto piů Melo / Aria: S 5:0542. Sosarme, re di Media, opera, HWV 30: Act 3. Scene. 9. Recit. Tanto s'esguirŕ / Aria: Ti 3:0643. Esther, oratorio, HWV 50a: Act 1. Scene. 3. Recit.: I'll hear no more / Aria: 2:2644. Esther, oratorio, HWV 50a: Act 2. Scene. 6. Turn not, O Queen 2:3545. Esther, oratorio, HWV 50a: Act 3. Scene. 6. How art thou fall'n 4:2146. Acis and Galatea, oratorio, HWV 49: Part 2. Recit.: Avampo / Aria: Ferito son d'Amore 3:4747. Tolomeo, rč d'Egitto, opera, HWV 25: Act 2. Scene. 7. Piangi pur 2:3448. Orlando, opera, HWV 31: Act 1. Scene. 2. Recit.: Mira, e prendi l'esempio 4:1049. Orlando, opera, HWV 31: Act 3. Scene. 6. Recit.: Impari ognun da Orlando / 6:4250. Deborah, oratorio, HWV 51: Act 1. Scene. 3. Recit.: Barak, my son / Aria: Asa 3:3351. Deborah, oratorio, HWV 51: Act 2. Scene. 2. Recit.: Thy ardours warm / Aria: 3:2652. Deborah, oratorio, HWV 51: Act 3. Scene. 2. Tears, such as tender fathers she 2:3953. Athalia, oratorio, HWV 52: Act 2. Scene. 1. Ah, canst thou but prove me! 3:22

• Wykonawca McGegan Nicholas , Lorraine Hunt Lieberson , Saffer Lisa , Minter Drew , Thomas David
• Data premiery 2008-10-09
• Nośnik CD

The 2008 Salzburg Festival production of Dvorák's opera Rusalka was outstanding even by the Festival's high artistic standards. Its exceptional nature was due in part to the fact that in the pit the Cleveland Orchestra was appearing for the first time as an opera orchestra in Salzburg. The high expectations raised by the orchestra and its Music Director, Franz Welser-Möst, were fully met, and even in the live recording of the opening night made by Austrian Radio, the conductor's genuinely dramatic approach to the work is never less than gripping.  The fairytale narrative gains in psychological focus and depth, aided and abetted by the team of soloists headed by Camilla Nylund as Rusalka and Piotr Beczala as the Prince. To the role of the water nymph, Nylund brings a beautiful lyric soprano voice that retains its focus and penetrating power even in the score's most dramatic outbursts, while the bright tenor voice of Piotr Beczala produces a convincing vocal portrait of the hapless heroine's inconstant lover, following her decision to enter the world of mortals.  The remaining roles were cast from strength, notably the admonitory figure of the Water Goblin, taken here by Alan Held, whose powerful Wagnerian bass-baritone lends the role an impressive profile; Birgit Remmert, with her dark-hued, impressively full-toned voice and Emily Magee's burnished soprano, with its brilliant upper register.  Particularly gratifying in a Salzburg Festival production is the casting of minor roles with promising young singers including Eva Liebau as the Turnspit, Adam Plachetka as the Gamekeeper and the three well-modulated wood nymphs of Anna Prohaska, Stephanie Atasanov and Hannah Esther Minutillo. Appearing alongside this team of singers is the Vienna State Opera Chorus on outstanding form. All in all, then, it comes as no surprise to know that the response to the musical side of this production was extremely positive, a response which it is hoped will be repeated in the case of the present live recording

• Wykonawca Beczała Piotr , Magee Emily , Nylund Camilla
• Data premiery 2011-07-01
• Nośnik CD

The Bergen Philharmonic Orchestra under Sir Andrew Davis here perform seven dazzling orchestral overtures by Hector Berlioz, a composer who excelled in blending literary and musical elements into highly energetic and personal creations.The overtures are widely varied in mood, as are the operas from which they were drawn. Berlioz wrote his first largescale instrumental composition, the Overture to Les Francs-juges, in 1826, the year in which he enrolled at the Paris Conservatoire. Even though the opera itself was never performed, Berlioz remained proudly affectionate of the overture, which was played all over Germany and Holland in its early days. His second opera, Benvenuto Cellini, followed in 1838; its music gave rise both to the opera’s overture and to the concert overture Le Carnaval romain which depicts its subject in brilliant colour through breathtakingly vibrant orchestration.The comic opera Béatrice et Bénédict took its inspiration from Shakespeare’s Much Ado about Nothing. The overture draws on an intense solo scene for Béatrice and adds elements of the cheerful banter that make up the story of the title characters’ playful courtship.When Berlioz visited the Hungarian capital Pest in 1846, it was suggested to him that one way of winning the hearts of the audiences there would be to make an arrangement of the beloved Rákóczy March, which up until that point had been known only as a piano piece. Berlioz agreed, and on the very night before he left for Pest, he put together his own orchestral version of the piece. It was a resounding success when performed at his first concert, to the extent that Berlioz promptly included it in the large work on which he was working at the time: La Damnation de Faust.Le Roi Lear, Le Corsaire, and Waverley have one thing in common: all are independent concert pieces that have been given the title overture as in many respects they do resemble opera overtures – but none is in actual fact connected to an opera. The composer here took his inspiration from literary works. Le Roi Lear, for instance, is a remarkable tone portrait of Shakespeare’s deranged king, full of energy and anger, while Le Corsaire may be loosely based on Byron’s The Corsair. Berlioz based Waverley on a novel of the same name by Sir Walter Scott, and the score bears a quotation in English: ‘Dreams of love and Lady’s charms, give place to honour and to arms.’ The contrast expressed so well in this simple quotation is equally evident in the music itself. Here the ‘dreams of love’ unfold in a long cello melody, which is repeated with richer orchestrations, before leading into the vigorous musical depiction of ‘honour and arms’.

• Wykonawca Various Artists
• Data premiery 2013-03-01
• Nośnik SACD

Klasyczna opera Mozarta w wykonaniu chóru i orkiestry teatru La Scala pod przewodnictwem Riccardo Muti.

• Wykonawca La Scala Orchestra
• Data premiery 2004-01-01
• Nośnik DVD

Tracklista: CD 1 1. Someone Like You 2. Dressed Up Vamp 3. Night Songs 4. Nobody's Fool 5. Gypsy Road 6. Scared 7. Teas'n, Pleas'n 8. Turn On The Action 9. Breaking The Chains 10. Paris Is Burning 11. Wicked Sensation 12. Ramble On 13. D'yer Maker 14. Stairway To Heaven CD 2 1. Simple Man 2. Hollywood 3. Sex Action 4. Never Enough 5. The Ballad Of Jayne 6. Close My Eyes Forever 7. Shot Of Poison 8. Kiss Me Deadly 9. When You Close Your Eyes 10. Don't Tell Me You Love Me 11. Sister Christian CD 3 1. Phantom Of The Opera 2. Wrathchild 3. Let's Get Crazy 4. Cum On Feel The Noize 5. Metal Health (Bang Your Head) 6. Round And Round 7. Body Talk 8. Wanted Man 9. Fields Of Rape 10. Coming Home 11. Yngwie Is God (Guitar Solo From Hell) 12. Old Man Wise 13. You've Got To Hide Your Love Away

• Wykonawca Various Artists
• Data premiery 2017-04-21
• Nośnik CD

Płyta powstała z myślą o dzieciach, a także o rodzicach odpowiadających za rozwój umysłowy swoich pociech. Wiele badań potwierdza, że słuchanie muzyki poważnej wpływa na poprawienie funkcji intelektualnych, szczególnie zdolności wizualno- przestrzennych. Dzieciaki stymulowane taką muzyką podczas codziennej zabawy szybciej się koncentrują i stają się bardziej kreatywne.Dobroczynny wpływ muzyki klasycznej rozpoczyna się już w łonie matki. W 14. tygodniu ciąży przestaje rozwijać się aparat słuchu i dziecko zaczyna rejestrować coraz więcej dźwięków dochodzących z zewnątrz, które pamięta nawet po urodzeniu. Warto, więc wykorzystać ten fakt pamiętając, że rytm, harmonia i wprost matematyczna dokładność zapisana w nutach Mozarta, Bacha, czy Vivaldiego wpływają dobrze nie tylko na rozwój intelektualny dziecka, ale również wyciszają emocje jego mamy.Tracklista:CD 1:1. L.C. Daquin - Le Coucou2. J.S. Bach – Vivace from Concerto for two violins in D minor BWV 10433. E. Elgar - Chanson de matin4. J.S. Bach - Bist du bei mir from "Anna Magdalena Notebook"5. G. Fauré - Cantique de Jean Racine6. W.A. Mozart – Aria “Là ci darem la mano” from „Don Giovanni”7. J.S. Bach – Prelude in D Minor8. W.A. Mozart – Overture from opera “Die Entführung aus dem Serail”9. P. Tchaikovsky -  Waltz from Serenade in C Major for String Orchestra, Op. 4810. W.A. Mozart – I. Molto allegro from Symphony No. 40 in G minor11. J. Strauss – Waltz “An der schönen, blauen Donau, Op. 314”12. W.A. Mozart – Trio “Schnelle Füße, rascher Mut” from opera “Die Zauberflöte”13. F. Chopin - Waltz in B minor, Op. 69, No. 214. G. Fauré – Pavane15. P. Tchaikovsky – Waltz from ballet “Swan Lake” CD 2:1. W.A. Mozart – I. Allegro from Serenade “Eine Kleine Nachtmusik” in G Major2. J.S. Bach/Ch. Gounod – Ave Maria for Cello and Orchestra3. G.F. Haendel – Aria “Lascia ch’io pianga” from opera “Rinaldo”4. J.Haydn – “Andate Cantabile” from String Quartet in F Major, Op.3, No.55. W.A. Mozart – “Andante” from Piano Concerto “Elvira Madigan” in C Major, No.216. R. Schumann - Träumerei, Op. 157. G. Fauré - Berceuse de Dolly8. P. Tchaikovsky - "Barcarolle” from “The Seasons”9. W.A. Mozart - "Dove sono" from Le nozze di Figaro10. E. Grieg – “Solvejg's Song” from “Peer Gynt”, Op. 4611. G. Fauré – Sicilienne, Op. 7812. G. Gershwin – Summertime from opera “Porgy and Bess”13. E. Morricone – Gabriel’s Oboe from film “The Mission”

• Wykonawca Various Artists
• Data premiery 2015-04-28
• Nośnik CD