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Though it has been recorded live in a concert performance, Franz Lehars successful operetta has plenty of theatrical presence. The cast is strong with to really good singers in the principal roles, Daniel Behle as Graf von Luxemburg and Camilla Nylund as Angèle Didier.

Van Der Graaf Generator Formed in the UK in 1967 by Peter Hammill, Chris Judge Smith and Nick Pearne (now deceased). After a period of activity during the 1970s, the band broke up (although not for the first time) in 1978, seemingly for good.

Opéra conciliant la flamboyance romantique et la simplicité dramatique de l'âge classique, Le Chevalier à la Rose marque un tournant radical dans l'oeuvre lyrique de Richard Strauss, après la démesure des premiers poèmes symphoniques, Salomé et Elektra. Porté par trois rôles aux contours psychologiques aussi complexes que profondément humains, cet opéra est d'une rare délicatesse, culminant en un trio pour trois voix de femmes bouleversant. L'équipe soutenue par Christian Thielemann, et composée ici de Renée Fleming (La Maréchale), Sophie Koch (Octavian) et Diana Damrau (Sophie), relève avec un certain d'enthousiasme le défi.

On the occasion of the tenth anniversary of the band's formation, Caustic Records releases this exclusive edition limited to 300 copies, presented in a luxurious collector's box that includes the band's first three albums, booklet and a commemorative metallic pin with Der Blaue Reiter logo.

When this recording of Der fliegende Holländer first appeared in 1968, Gramophone magazine declared it “as perfect as we have any right to demand”. Otto Klemperer conceives the score on an epic scale, and Theo Adam, reaching deep into the heart of the world-weary Dutchman, meets his match in the young and incandescent Senta of Anja Silja.

‘This performance is as perfect as we have any right to demand. Klemperer’s magisterial interpretation of the opera has a blazing intensity, the orchestra plays superbly and the cast give of their considerable best.’ - Gramophone

Der 40 Stunden Excel-Kurs - Alles in einem Kurs (Diagramme, Pivots, VBA) - Vom absoluten Anfänger zum echten Excel Profi

Opulent and imaginative Telemann oratorios In the church year 1730/31, Telemann performed a year of a special conception: in the divine service, downright oratorios were to be sounded.

In the church year 1730/31, Telemann performed a volume of special conception: Regular oratorios were to be heard in the church service. And so the focus of our latest Telemann album is his magnificent oratorio for the feast of St. John, Gelobet sei der Herr, with expressive texts by the poet and musician Albrecht Jacob Zell. Zell succeeds in imagining dramatic, almost theatrical scenes, thus providing Telemann with models for tone-painting. Not only is the vocal cast extremely lush, including three basses, but the instrumentation is also very rich, including the use of four horns and three transverse flutes. Once again, Telemann unfolds a wide range of expression. The lament of the Egyptians over the slain children, in F minor and chromatic turns, is moving; the depiction of the fleeing people and their pursuers, who cannot reach them, is full of external movement and tension, with chains of sixteenth notes on the one hand and syllabic declamation on the other.