High Fidelity Pure Audio edition of the Genesis album Selling England By The Pound. High Fidelity Pure Audio is a range of physical HD audio products from Universal Music Group which uses Blu-ray technology to deliver the ultimate listening experience to the user. High Fidelity Pure Audio discs are playable through all Blu-ray devices.
In this recording Riccardo Chailly directs Verdi’s Un ballo in maschera for the first time in his function as General Music Director of the Leipzig Oper on the 2nd of November 2005. Un ballo in maschera is as exciting as a thriller, but with a passion that can only be experienced in a Verdi opera. It stands to reason that only a man of equal passion would have the ability of bringing this spectacle to the stage adequately.
Rebellious servants, capricious lovers, cross-dressing farce and a happy ending: the fast paced action of this comic Baroque opera had all the ingredients to please the self-confessed ‘low-brow taste’ of an Austro-German prince, who commissioned Giuseppe Scarlatti for a piece to celebrate his son’s wedding. This is the opera’s first revival in modern times, and it takes place in the very same Baroque theatre, impeccably restored to its original glory, which hosted the first performance. With a cast of young singers drawn from Prague’s National Theatre and a stylish period-instrument ensemble, this vivid reconstruction will delight audiences as much today as it did the aristocratic guests at Ceský Krumlov in 1768.
Ludwig Minkus’s Don Quixote has held a place in the repertoire since its premiere at the Bolshoi Theater in 1869. The music is charming and well orchestrated, but persistently a little bland. There are plenty of melodies, but none of them are particularly distinctive. This is certainly not Tchaikovsky or Prokofiev. The poor boy meets rich girl love story interwoven with the fantastic adventures of Don Quixote has attracted the biggest names in ballet over the years, with Marius Petipa’s original classical production being followed by Rudolph Nureyev, Mikhail Baryshnikov, and George Balanchine. Now, it is Carlos Acosta’s turn. His choreography is based on Petipa, but he has modernized it with his trademark physicality, and some new unclassical sounds (clapping, vocal exclamations) from the corps de ballet on stage.
Who loves whom in Così fan tutte, Mozart’s and Da Ponte’s cruelly comic reflection on desire, fidelity and betrayal? Or have the confusions to which the main characters subject one another ensured that in spite of the heartfelt love duets and superficially fleetfooted comedy nothing will work any longer and that a sense of emotional erosion has replaced true feelings? Così fan tutte is a timeless work full of questions that affect us all. The Academy Award-winning director Michael Haneke once said that he was merely being precise and did not want to distort reality.
A grand opera that dominated the stages of Europe for most of the 19th century, Robert le diable is a masterpiece.
Director Laurent Pelly breathes new life into Giacomo Meyerbeer’s great spectacle and audaciously entertaining moral fable, in this colourful new staging for The Royal Opera. The wonderful score includes brilliant arias, dramatic ensembles, rousing choruses and a ballet of ghostly nuns, and with the wavering hero of the title sung by Bryan Hymel, acclaimed for his role as Énée in Les Troyens for The Royal Opera and the Metropolitan Opera, this is an unmissable experience.
Rossini’s classic take on the “Cinderella” story is a comic opera full of thrilling arias, beautiful melodies and lots of laughs. The Metropolitan’s charming production was revived in 2009 for star mezzo, Elīna Garanča. The mezzo triumphs in the role and dispatches vocal fireworks throughout. She is joined by American tenor Lawrence Brownlee and a cast of bel canto singers.
This is the first EuroArts release in cooperation with the San Francisco Opera, internationally recognized as one of the top opera companies in the world Renée Fleming as “America's most-loved and most-lauded opera singer”(The Times, London) played Lucrezia Borgia with passion and outstanding virtuosity in line with a top-notch cast: Michael Fabiano, Elizabeth DeShong and Vitalij Kowaljow. Fleming plays a femme fatale renowned for her ruthless pursuit of power that reveals poignant vulnerability when she comes face to face with her long-lost son. Led by internationally acclaimed conductor Riccardo Frizza.
The opera that few tenors dare sing and which Flórez has made his own throughout his career. Recorded at the 2012 Pesaro Festival, Flórez reprises the role that shot him to stardom in 1996 aged twenty-three. Conducting is the up-and-coming young Italian maestro Michele Mariotti who was praised for his pacing in this long opera. The performance also features the much-admired Olga Peretyatko - a fine stage artist and a consummate performer of Rossini’s fiorature - in the title role.