Alethea Faust Sex Wizards

Kozlovsky gave many concerts throughout the Soviet Union, singing Russian and Ukrainian songs and romances, as well as German lieder by Schubert, Schumann, and Liszt. He taught singing at the Moscow Conservatory from 1956 to 1980. After 1954, Kozlovsky continued to appear occasionally at the Bolshoi, giving his final appearance in 1970 in the role of Yurodivy (the Simpleton) in Boris Godunov. He continued to appear frequently in public and even sang on July 4, 1985 at Mark Reizen's 90th birthday at the Bolshoi. The last concert given by Kozlovsky took place in 1989 at the Central House of Writers in Moscow. He died in Moscow at the age of 93.

Half grand opera, half roof-raising choral- orchestral spectacular, Berlioz’s ‘The Damnation of Faust’ caused a scandal in 1846 when it was first performed, and with its supernatural story and thumping good melodies, it’s still one of 19th century music’s most rivetingly sinful treats.

Half grand opera, half roof-raising choral- orchestral spectacular, Berlioz’s ‘The Damnation of Faust’ caused a scandal in 1846 when it was first performed, and with its supernatural story and thumping good melodies, it’s still one of 19th century music’s most rivetingly sinful treats.Recorded live at the Southbank Centre on 4 February 2023, Edward Gardner took on the monumental task of conducting the full orchestra, three massed choruses and a charismatic all-star cast.

Busoni's operatic masterpiece, Doktor Faust, was left unfinished on his death in 1924.

Doktor Faust was left incomplete at the time of Busoni’s death. Intended as his masterpiece, the opera’s genesis was complex and long. Based on Goethe’s tragic play, the story of Faust’s pact with the devil is well known but the opera’s structure represents Busoni’s unique conception, cast in two Prologues, a beautiful orchestral Intermezzo and three scenes. Exploring ideas of rationality and metaphysical doubt as well as the concepts of artifice and pretence inherent in operatic performance, the result is one of the most creative and unsettling of Busoni’s works.

Gounod contemplated a Faust opera as early as his residence in Rome in the 1840s. But almost twenty years were to elapse before one of the most famous works of French Romanticism was premiered at the Théâtre-Lyrique (1859). Its debut at the Opéra in 1869 propelled the work into theatres all over the world, but numerous modifications were the price of achieving that fame.

In this mimodrama inspired by a Russian tale, Stravinsky and Ramuz revisit the myth of Faust : by selling the devil his violin in exchange for the book that guesses the future, the soldier will lose his soul.

Le soldat en perdition. Stravinsky et Ramuz revisitent le mythe de Faust… à leur manière: en vendant au diable son violon en échange du livre qui devine le futur, le soldat perdra son âme. Dans ce spectacle musical du genre "mimodrame" créé aux dernières heures de la Première Guerre mondiale, le compositeur du Sacre explore avec les moyens du bord de nouveaux chemins qui le mèneront bientôt vers une forme très personnelle de néo-classicisme.

After the double album of the Violin and Harpsichord Sonatas with Kristian Bezuidenhout, a bestseller in 2018, here is the next installment in a Bach recording adventure that began nine years ago with a set of the Sonatas and Partitas now regarded as a benchmark. Isabelle Faust, Bernhard Forck and his partners at the Akademie für Alte Musik Berlin have patiently explored a multitude of other works by Bach: harpsichord concertos, trio sonatas for organ, instrumental movements from sacred cantatas etc. All are revealed here as direct or indirect relatives of the three monumental Concertos BWV 1041-43.