Queen of Baroque

This is a sort of self-portrait of the Great Organ of the Royal Chapel of Versailles, delivering all its aspects, enhanced by the choice of a repertoire emblematic of the baroque era: the major classic French organ works (Couperin, Marchand, de Grigny, Corrette) composed to glorify the very specific aesthetics of instruments like that of Louis XIV's Chapel; but also to reveal its other sound riches, transcriptions of chefs d'oeuvres, from Le Sommeil d'Atys by Lully, to the contredanses of Rameau's Boréades. To add a new dimension to the organ's sound universe and to enhance its orchestral qualities, modern editing and "re-recording" processes were gently used to serve the superposition of musical voices, as if invisible hands filled in for the organist in certain works, which are true Proust's "madeleines" for Gaétan Jarry. He goes all out to play the instrument of Versailles "for the Glory of God and the King"!

With stiff competition from Norrington on EMI and Östman on L’Oiseau-Lyre, Gardiner’s Magic Flute enters the period instrument stakes somewhat belatedly. It offers no major musicological revelations – no reinstated numbers or serious reorderings that often come with period Mozart these days. Its only textual novelties are the trumpets and drums at the start of Act I, where in accordance with Mozart’s original manuscript Tamino is pursued by a lion rather than a snake, and a selection of numbers, presented as an appendix, sung to the alternative texts given in the first printed score.

Limited edition 100 CD box set on the premiere classical label Deutsch Grammophon. Subtitled from Gregorian Chant to Gorecki. For some it will be the ultimate reference tool. For others a big place to start on something they always wanted to know about. Either way, the idea is to present a comprehensive history of Classical Music from its origins to the present day, covering all periods, including all major composers.

Simone Kermes, crowned 'The Queen of Baroque' by Opera News, presents her eagerly awaited new album. Colori d'Amore (The Colours Of Love) is a selection of virtuosic baroque arias bound together by the theme of love, almost all of which are world premiere recordings, having been unjustly neglected for centuries.
Echo Award, Midem Award, several Diapason d’Or, “BBC Music Choice” (BBC Music Magazine), “Disc of the Month” (Gramophone).

Covent Garden’s 2003 production of The Magic Flute , designed by John F. Macfarlane, directed by David McVicar, and conducted by Sir Colin Davis, is magnificent from a strictly musical standpoint. More than that, it’s vastly entertaining. The comedic elements of the story integrate far more comfortably than is often the case with Schikaneder’s high-minded (if vague) theme of a quest for enlightenment, particularly in the second act. Visually, the production is a feast, yet it doesn’t distract from the music.

Covent Garden’s 2003 production of The Magic Flute , designed by John F. Macfarlane, directed by David McVicar, and conducted by Sir Colin Davis, is magnificent from a strictly musical standpoint. More than that, it’s vastly entertaining. The comedic elements of the story integrate far more comfortably than is often the case with Schikaneder’s high-minded (if vague) theme of a quest for enlightenment, particularly in the second act. Visually, the production is a feast, yet it doesn’t distract from the music.

Simone Kermes, crowned “The Queen of Baroque” by Opera News, presents her eagerly awaited follow-up album to her multi-award-winning album Lava, which was Editor’s Choice in Gramophone and Disc of the Month in BBC Music Magazine. Colori d'Amore (The Colours Of Love) is a selection of virtuosic baroque arias bound together by the theme of love, almost all of which are world premiere recordings, having been unjustly neglected for centuries.