Les Musiciens du Prince

Dame Felicity Lott stars in a rollicking performance of Offenbach's operetta "La Grande Duchesse de Gerolstein." The stage production was filmed in December 2004 at the Theatre du Chatelet in Paris. The result is a kaleidoscope of artistry and comedy that should not be missed! This production goes back to the original version which had been adjusted and censored after it's premiere at the Theatre des Varietes in 1867.

This is an untouchably great performance of one of Handel's most interesting oratorios: its examination of jealousy is on a par with what can be found in Otello and Pelléas. There's drama galore–in fact, during its first run it was referred to as a "musical drama" (rather than an oratorio), and Handel and his librettist, Thomas Broughton, always referred to its "acts" rather than "parts", as sections of oratorios were commonly known.

At Salzburg Festival, Cecilia Bartoli shines as Ariodante with her dazzling coloratura in a highly acclaimed new production by the German director Christoph Loy, who is known for his clever psychological stagings. Loy turns Handel's splendid baroque opera into an exciting and differentiated reflection on gender roles. A high-class ensemble, first and foremost a brilliant Cecilia Bartoli in the trouser role of the knight Ariodante who effortlessly switches between cheerful and lamenting virtuoso singing makes the production a true triumph. At her side perform audience favourite Rolando Villazón as Lurcano and young American soprano Kathryn Lewek, praised by critics as a „true discovery“ (Neue Zürcher Zeitung).

In ‘Contrabandista’, Javier Camarena delves deep into the life and music of legendary Spanish tenor Manuel García. This collection features works by Manuel García, including three world premiere recordings, alongside favourites by Rossini and Zingarelli. Javier Camarena is joined by Cecilia Bartoli, his mentor for this album, in a stunning duet from Rossini’s Armida. The release of this album ties into Cecilia Bartoli’s 2018 ‘30 Years on Decca’ celebrations.

Offenbach’s La Périchole (1868) will never cease to delights music lovers of all persuasions. Marc Minkowski – long one of the composer’s prophets – was keen to pay tribute to him with this world premiere recording on period instruments, in the company of the young school of French singers, including the bewitching Aude Extrémo, the dashing Stanislas de Barbeyrac and the hilarious Alexandre Duhamel. Combining fashionable rhythms with the most unexpected touches of folklore, the score is a veritable flood of hit numbers. How can one not be swept away by the insolence of the Seguidilla, the frenzy of the Bolero or the furious rhythm of the Prison Trio? Never before, perhaps, had Offenbach gone so far in caricaturing political leaders – nor used drunkenness to resolve the imbroglio of inextricable sentimental relationships. And indeed, the ‘Tipsy Arietta’ is one of the composer's best-known numbers. Cheers!

L'édition posthume des mémoires du compositeur et interprète de Minneapolis, rassemblant les notes retrouvées dans son domaine de Paisley Park. Il y fait le récit de son enfance et de ses premières années dans l'univers musical. L'ouvrage est complété de nombreuses photographies personnelles ainsi que de documents originaux autour de son album Purple rain. …

L'édition posthume des mémoires du compositeur et interprète de Minneapolis, rassemblant les notes retrouvées dans son domaine de Paisley Park. Il y fait le récit de son enfance et de ses premières années dans l'univers musical. L'ouvrage est complété de nombreuses photographies personnelles ainsi que de documents originaux autour de son album Purple rain. …