28/11/2009
112) Hector Berlioz Benvenuto Cellini
Even Sir Colin Davis has rarely conducted a more electrifying Berlioz performance on record than here, demonstrating—with the help of singers from the presentation he promoted at Covent Garden—that for all its awkwardness on stage, this can be a thrilling opera on record. He is enormously helped by his cast, and most of all by Nicolai Gedda here giving one of the very finest, most powerful, most searching performances of his whole career.
The Philips transfer engineers have been just as concerned as in the other big opera project in this series, Les troyens, to use the format of CD with maximum benefit. So the First Act is complete on the first two discs, with each of the two tableaux (six scenes in the first, seven in the second) taking up a whole disc each. That leaves the third disc for the whole of the Second Act, over 70 minutes meaning that there is no unnecessary break anywhere.
The sound too remains very vivid, with the firmness of focus and sense of presence characteristic of Philips engineering of the period all the more apparent on CD. The orchestra is not quite so forward as in some of the Davis Berlioz series, but that sets the stage picture the more clearly, and even the most complex scenes notably the final scene of the casting—are sharpened by the separation of voices. What is not so welcome is that there seems to be rather more treble emphasis than usual, occasionally to the point of fierceness, but that is something which will very much depend on individual hi-fi equipment. I should prefer to have had that brightness compensated by more body in the orchestral sound, but that is to be hyper-critical. This is a superb set, which as in the original issue comes with generous essays as well as libretto. David Cairns's essay on the romantic cult of the Artist-hero, is particularly valuable, along with its explanation of Davis's text, which restores cuts enforced in Liszt's Weimar version and presents the piece (as at Covent Garden) as an extended opera-comique with dialogue.
-- Edward Greenfield, Gramophone [1/1989]
Benvenuto Cellini - Nicolai Gedda
Teresa - Christiane Eda-Pierre
Giacomo Balducci - Jules Bastin
Fieramosca - Robert Massard
Pope Clement VII - Roger Soyer
Francesco - Derek Blackwell
Bernardino - Robert Lloyd
Innkeeper - Hugues Cuisnod
Pompeo - Raimund Herincx
Ascanio - Jane Berbioli
Speaker - Janine Reiss
BBC Symphony Orchestra, Chorus of the Royal Opera House, Covent Garden
Conductor Sir Colin Davis
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111) Giuseppe Verdi Messa da requiem - live performance
17/10/2009
110) Charles Gounod Mireille
Synopsis
The action takes place in 19th century Provence.
Act 1: A mulberry grove on Midsummer night (Fête de la Saint-Jean).
Girls sing as they pick the leaves to feed to silkworms. Taven, an old woman who lives in nearby caves, joins them and comments on their jollity, but they laugh at "the witch" and Clemence voices her wish for a rich husband. Mireille however wants to marry for love, even if her husband be poor and shy, but is teased by the other girls who know that she has set her heart on a poor basket-weaver, Vincent. Taven shares her forebodings with Mireille. Vincent passes by and Mireille gets him to confess his love. As they part, they swear to meet in the church of Saintes-Maries-de-la-Mer if anything befalls one of them. The girls are heard singing the opening chorus in the distance.
Act 2: In front of the Arles Amphitheatre the same afternoon.
The crowd is singing and dancing a farandole as it waits for the start of a race. Mireille and Vincent arrive separately but they are greeted joyfully and sing the Song of Magali. After the race, Taven takes Mireille aside and tells her that she has just seen three young men, Ourrias, Alari and Pascoul arguing who should claim Mireille's hand. Alone, Mireille swears that nothing will part her from Vincent. Ourrias enters and forces his boastful attentions on her but Mireille politely rejects his advances. Mireille's father Ramon enters, followed shortly by Ambroise, the father of Vincent. Ambroise asks for advice on what to do about his son who is in love with a rich heiress; Ramon suggest beating the boy to cure him. Shocked, Ambroise is reminded by Ramon of a father's prerogative which used to extend even to life and death over his children. At this, Mireille comes forward crying "Kill me!" - she is the one Vincent loves. Ramon is outraged, orders Mireille to go home then turns on Vincent and Ambroise.
Act 3: First Tableau. The Val d'Enfer in the country outside Arles. Night.
Ourrias and some friends are in the wild spot, supposedly peopled by spirits. Ourrias wants to buy a potion from Taven. Alone, Ourrias vents his fury and jealousy and lies in wait for Vincent, who soon appears. Ourrias insults him but although Vincent tries to calm him down, Ourrias strikes him with his trident, and thinking he has killed him, runs off. Taven hears cries and curses Ourrias as he rushes off, then tends to the unconscious Vincent.
Second Tableau. The banks of the Rhone.
Full of remorse, Ourrias hurries to the river bank and calls the ferryman. An echo greets his call and moans sound with ghosts floating above the water. The ferryman (Passeur) arrives and Ourrias impatiently gets aboard. The waters swell, and as the boatman reminds Ourrias of his crime, the boat sinks beneath the waves.
Act 4: First Tableau. Ramon's farm late the same night.
While the harvesters celebrate, Ramon is sad and knows that by denying Mireille's love he has destroyed his dream of a happy old age. From her window Mireille sees a young shepherd singing, and envies his carefree life. Unseen, Vincenette, Vincent's sister, comes to tell her that Vincent is wounded: Mireille resolves to set off at once to Saintes-Maries.
Second Tableau. The Crau desert.
Mireille, staggers in already tired, and dazzled by the sun, faints as she hears shepherd's pipes in the distance. She makes a last effort to continue her journey.
Act 5: In front of the chapel of Saintes-Maries-de-la-Mer. Midday.
Pilgrims are singing. Vincent is there, looking for Mireille, and she arrives, exhausted and collapses in his arms. Ramon arrives with Vincenette, and forgives her, but Mireille dies and is called to heaven by a celestial voice.
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108) Johann Strauss II Eine Nacht in Venedig
Elisabeth Schwarzkopf - Annina
Nicolai Gedda - Duke
Emmy Loose - Ciboletta
Erich Kunz - Caramello
Philharmonia Chorus, Philharmonia Orchestra London,
Conductor Otto Ackerman
Recorded in London, May 1954
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107) Nicolai Gedda in recital in Zurich, 1998 - live performance
Recital in Zurich on 21 December 1998
Henri Duparc:
L'invitation au voyage
Le manoir de Rosemonde
Extase
Chanson triste
Phidylé
Edvard Grieg:
Verborgene liebe
Ich liebe dich
Ein schwan
Dem lenz soll mein lied erklingen
Ein traum
Pjotr Iljič Čajkovski:
O du mondhelle nacht
Inmitten des balles
Legende
Serenade des Don Juan
Sergej Rahmaninov:
O singe nicht für mich
Was ist dieses schmertz
In the silence of the night
Christus ist auferstanden
Frühlingsfluten
Encores:
Kalman, O Bayadere
Grečaninov, Russian lullaby
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106) Pjotr Iljič Čajkovski Iolanta - live performance
Live performance from Salle Pleyel in Paris, December 1984
Synopsis
Time: The 15th century
Place: The mountains of southern France
Scene 1
Iolanta has been blind from birth, but no one has ever told her. In a beautiful garden on the king's estate, her friends bring flowers and sing to her.
Scene 2
After announcing the king's arrival, Alméric is warned by Bertrand not to speak of light with Iolanta or to reveal that Iolanta's father is the king. She is betrothed to Robert, who is also unaware of her misfortune. The king arrives with a physician who states Iolanta can be cured, but only if she is told and desires to see. The king refuses the treatment, fearing for Iolanta's happiness.
Scene 3
Wishing to avoid the marriage, Robert and Vaudémont escape to the garden where they encounter Iolanta. Robert, convinced she is a sorceress, leaves to prepare his troops. Vaudémont stays and discovers her blindness. They fall in love, after he explains light and color to her.
Scene 4
The couple is discovered. Vaudémont pledges his love, whether Iolanta is blind or not. The king threatens to kill Vaudémont if the physician's treatment fails. Robert returns, having fallen in love with another. The king cancels the wedding contract, and gives Iolanta to Vaudémont. The treatment works and Iolanta can see!
Iolanta - Galina Višnjevskaja
René - Dimiter Petkov
Vaudemont - Nicolai Gedda
Ibn-Hakia - Tom Krause
Robert - Walton Grönroos
Almeric - James Anderson
Bertrand - Fernand Dumont
Martha - Viorica Cortez
Brigitta - Tania Gedda
Laura - Colleen Gaetano
Conductor - Mstislav Rostropovič
Orchestra - Orchestre de Paris
Chorus - Groupe vocale de France
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105) Gustave Charpentier Louise
Performers: José Van Dam (Bass), Mignon Dunn (Mezzo Soprano), Éliane Lublin (Soprano),
Christiane Château (Soprano), Sonia Nigoghossian (Soprano), Marie Bertola (Soprano),
Martine Surais (Alto), Claude Vierne (Soprano), Carla Rutili (Alto),
Mireille Laurent (), Elya Weismann (Soprano), Maria Mella (Alto),
Martyn Hill (Tenor), Jacques Mars (Baritone), Jean-Jacques Doumene (Bass),
René Massis (Baritone), Nicolai Gedda (Tenor), Pierre-Yves Lemaigat (),
Robert Tallec (Baritone), Tibere Raffalli (Baritone), Guy De Kehrig (Tenor),
Jean-Marie Frémeau (Baritone), Beverly Sills (Soprano), Guy Gabelle (Baritone)
Conductor: Julius Rudel
Orchestra/Ensemble: Paris Opera Chorus, Paris Opera Orchestra, Maitrise de la Resurrection Chorus
Recorded in Paris, June 1977
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104) Franz Lehar Die Lustige Witwe
Graf Danilo Danilowitsch - Erich Kunz
Camille de Rosillon - Nicolai Gedda
Valencienne - Emmy Loose
Philharmonia Orchestra and Chorus, London, November 1952
Conductor Otto Ackerman
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102) Franz Lehar Die Lustige Witwe (highlights)
Graf Danilo Danilowitsch - Nicolai Gedda
Valencienne - Erika Köth
Camille de Rosillon - Robert Ilosfalvy
Chor der Bayerischen Rundfunks
Chorleitung Eolfgang Schubert
Simfonie-Orchester Grunke
Dirigent Willy Mattes
Recording from 1967.
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101) Edward Elgar The Dream of Gerontius
Gedda, Watts, Loyd
Conductor Sir Adrian Boult.
Recorded in London, July 1975
Elgar's friend Jaeger (Enigma 's "Nimrod") asserted that The Dream of Gerontius was not a work that could be appreciated after one hearing. Well said, but the loving dedication of Boult's recording (made in 1975, and the conductor's valedictory choral recording) has tremendously persuasive powers. There was a time when this recording competed with versions led by Malcolm Sargent and John Barbirolli; neither of those seem to be in the catalogue at the moment, and among the "old classics," only Benjamin Britten's version still is around. Boult's soloists are jewels. Gerontius is sung operatically (but with subtlety and grace) by Gedda, whose faint accent provides an unexpected touch of exoticism. Perhaps this recording's finest moment is when Gerontius's soul is granted a lightning-flash glimpse of the Almighty; "Take me away," he exclaims, "and in the lowest deep / There let me be." No one I've heard captures that moment's agony and ecstasy as well as Gedda, and certainly not with such tonal beauty. Watts is a formidable angel, but she shows great compassion. As the Priest (and later, the Angel of the Agony), Robert Lloyd's dark bass scores more points, and his two arias also are highlights of this recording. Boult conducts like a convert, inspiring the choirs and the orchestra to spiritual heights. His conducting is not the most dramatic, but it is the most alluring, "sacred" as it is.
The Dream of Gerontius is not an easy work – it's like Strauss's Death and Transfiguration, but with the scale and flavor of Parsifal – but eventually every devotee of choral music needs to come to term with it. Boult's recording is an excellent opportunity.
1999, Raymond Tuttle.
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14/10/2009
99) Pjotr Iljič Čajkovski Eugen Onegin - live performance
Tatjana - Teresa Zylis-Gara
Lenski - Nicolai Gedda
Olga - Isola Jones
Gremin- Martti Talvela
Larina - Jean Kraft
Filipevna - Batyah Godfrey Ben-David
Trinquet - Andrea Velis
Captain - Richard Best
Zaretski - Andrij Dobrianski
Metropolitan Opera House
Conductor James Levine
In house recording on October 20, 1977
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98) Nicolai Gedda and Slovenski oktet - live performance
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97) Vincenzo Bellini La Sonnambula - live performance
Live performance from MET, October 17, 1972
Amina - Renata Scotto
Elvino - Nicolai Gedda
Il Conte Rodolfo - Bonaldo Giaiotti
Lisa - Colette Boky
Alessio - Giorgio Tozzi
Metropolitan Opera Chorus and Orchestra
Conductor Carlo Felice Cillario
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95) Georges Bizet Carmen - live performance
92) Giuseppe Verdi Un ballo in maschera - live performance
91) Albert Roussel Padmavati
Synopsis
Chitoor, a city in 13th Century India, is ruled by the noble and just Prince Ratan-Sen, who is married to the beautiful Padmavati.
Disaster looms on the horizon of their peaceful life, however, because the Mogul ruler of Delhi, Alauddin, is approaching Chitoor with an army.
Act I
The opera opens with Alauddin and his envoys coming to Ratan-Sen's court to discuss peace or war. After dances of welcome by the Hindu palace dancers, Alauddin asks to see Padmavati, of whose beauty he has heard. When Ratan-Sen bids his wife to lower her veil, Alauddin seems overcome by her beauty and makes an excuse to leave.
Then Alauddin sends an ultimatum to Ratan-Sen: hand over the beautiful Padmavati, or the city of Chitoor will be sacked. Ratan-Sen refuses. The people of Chitoor lynch Alauddin's cruel messenger, who dies prophesying death for Ratan-Sen and Padmavati and the destruction of Chitoor.
In the final scene of the act, with calls to arms echoing in the distance, Padmavati sings a lament that she should, innocently, be the cause of disaster and prays that she die rather than be separated from Ratan-Sen.
Act II
In the Temple of the god Shiva, Padmavati awaits the return of her husband, who is leading his troops in a desperate sortie against the Moguls. The priests of Shiva tell her that a supreme sacrifice at dawn is necessary to save Chitoor, and that there must be more than one victim.
Ratan-Sen returns, wounded. His army has been routed; a truce is in place until dawn, the deadline to hand over Padmavati. He pictures the horrors that will befall the people of Chitoor. And then Padmavati stabs her beloved husband - the first sacrificial victim - knowing that tradition dictates she commit suttee, or suicide on her husband's funeral pyre. The preparations for her sacrificial death are a solemn ritual that Padmavati handles with dignity and honor. As she is carried, with a final song of terror, to her immolation, Alauddin bursts through the Temple door - too late.
Padmâvâtî, epouse de Ratan-Sen - Marilyn Horne, contralto
Ratan-Sen, roi de Tchitor - Nicolai Gedda, ténor
Alouddin, sultan des Mongols - José Van Dam, bayton
Nakamti, jeune fille de Tchitor - Jane Berbié, mezzo-soprano
Le Brahmane, attaché à Alaouddin - Charles Burles, ténor
Gora, intendant du Palais - Marc Vento, baryton
Badal, envoyé de Ratan-Sen - Laurence Dale, ténor
Le veilleur - Thierry Dran, ténor
Un prêtre - Jean-Jacques Cubaynes, basse
Première femme du Palais - Martine Mahé, mezzo-soprano
Deuxième femme du Palais - Elena Perez, contralto
Un guerrier - Henri Amiel, baryton
Un marchand - Hugues Brambilla, ténor
Un artisan - Gérars Blatt, baryton
Femmes du peuple - Isabel Alvarez, soprano
- Marian Etxeberria, soprano
- Hermina Laborde, soprano
Orfèon Donostiarra
Chef des choeurs: Antxon Ayestarán
Orchestre du Capitole de Toulouse
MICHEL PLASSON
Recorded in the Halle-aux-Grains de Toulouse from 17 till 19 November 1982 and from 1 till 3 July 1983
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90) Giuseppe Verdi La traviata
Keith Erwen (Tenor)
Mario Carlin (Tenor)
Beverly Sills (Soprano)
Mirella Fiorentini (Soprano)
Robert Lloyd (Bass)
Delia Wallis (Mezzo Soprano)
Richard Van Allan (Bass)
Rolando Panerai (Baritone)
Terence Sharpe (Baritone)
William Elvin (Bass)
Nicolai Gedda (Tenor)
Conductor
Aldo Ceccato
Ensembles
John Alldis Choir
Royal Philharmonic Orchestra
Recorded in London, July 1971
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13/10/2009
89) Erich Wolfgang Korngold Das Wunder der Heliane
Synopsis
Das Wunder der Heliane is set an unnamed totalitarian state in an unknown era.
Act One
The cruel ruler exercises his power the over the land. The Ruler suffers because he is unable to win the love of his wife Heliane. Since he is unhappy, he will not tolerate his subjects living in happiness. A young Stranger has recently arrived in the land and was bringing the people joy; as a result he was arrested and sentenced to death. He will be executed at sunrise. The ruler visits him in order to learn the reason for his actions. The Stranger pleads for mercy but the Ruler is intent on his death. However, he agrees to allow the Stranger to remain unchained this last night of his life. When her husband has left, Heliane comes to the cell to comfort the Stranger. As she speaks to the Stranger and realizes his goodness, her feelings of pity and sadness turn to love. The Stranger tells Heliane how beautiful she is and she reveals to him her long golden hair. She then exposes her bare feet and then, finally, stands completely naked before him. The stranger asks Heliane to give herself to him on his last night of life, but she refuses and goes to the chapel to pray for the Stranger. The ruler returns to the cell, proposing that if the Stranger can teach Heliane to love the Ruler then he will offer him his life and Heliane. Heliane returns, still naked. She is shocked to meet her husband in the cell. In anger, he orders the Stranger's death and Heliane's trial.
Act Two
The ruler and his messenger (also his former lover whom he has rejected) await the coming of the executioner and the members of the high court. Heliane will be tried when the six judges and the blind Chief Justice arrive. The Ruler accuses her of adultery with the Stranger. Heliane cannot deny that she stood naked before the Stranger , but she insists that she gave herself to him in thought only. The Ruler presses his dagger into her breast telling her she should kill herself. The Stranger is brought in to testify but he will not speak, wanting to be left alone for a few moments with Heliane. He kisses her and then takes the dagger and kills himself, making it impossible for the Ruler to prove that Heliane is lying. The Ruler dismisses the court and tells Heliane that she will be on trial before God: if she is innocent, as she claims, she must bring the Stranger back to life. In shock she agrees to undergo the trial.
Act Three
A crowd has assembled outside out side of the Ruler's palace. The Judges together with the Chief Justice arrive to witness Heliane's attempt to bring the Stranger back to life. The messenger stirs up the crowd against Heliane as the test begins. She cries, she will not lie, admitting that she did love the young Stranger. When the ruler sees her cry he wants to save her, but only on the condition that she will be his. Heliane resents her husband more than ever and she refuses this last offer for life. The crowd drags her away to the stake where she will die. Suddenly all are shocked as thunder crashes. Just as suddenly, stars begin to appear in the sky and everyone is amazed to see the young Stranger's corpse rise, transfigured from the funeral bier. By some miracle he is alive. Heliane breaks away from the shocked crowd and runs into the arms of this Stranger whom she loves. In a fit of rage the Ruler plunges his sword into her breast. The Stranger offers a blessing to the people and banishes the ruler whose power is broken. The Stranger takes Heliane in his arms. United in their love they rise to heaven.
Performers: Nicolai Gedda (Tenor), Hartmut Welker (Tenor), Martin Petzold (Tenor),
Anna Tomowa-Sintow (Soprano), René Pape (Bass), Ralph Eschrig (Tenor),
Reinhart Gröschel (Tenor), Gotthold Schwarz (Baritone), John David De Haan (Tenor),
Julian Metzger (Baritone), Andreas Scholz (Bass), Josef Becker (Bass),
Regine Gebhardt (Soprano), Regina Schudel (Soprano), Reinhild Runkel (Mezzo Soprano)
Conductor: John Mauceri
Orchestra/Ensemble: Berlin Radio Symphony Orchestra, Berlin Radio Chorus
Date of Recording: 02/1992
Venue: Jesus Christus Kirche, Dahlem, Berlin
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86) Albert Lortzing Zar und Zimmermann
Zar Peter I - Hermann Prey
Peter Iwanow - Peter Schreier
Van Bett - Gottlob Frick
Marie - Ericka Koth
Witwe Browe - Annelies Burmeister
Marquis de Chateauneuf - Nicolai Gedda
Admiral Lefort - Fred Teschler
Staatskapelle Dresdnen
Chor des Leipziger Rundfunkd
Conductor Robert Heger
Recorded in 1966
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85) Nicolai Gedda First Recital 1953
Philharmonia Orchestra
Alceo Galliera, conductor
Recorded in 1953
Čajkovski - Eugene Onegin - Lenski's Aria
Massenet - Werther - Pourquoi me réveiller
Bizet - Les pecheurs des perles - Je crois entendre encore
Massenet - Manon - La rêve
Auber - La muette de Portici - Du pauvre seul
Gounod - Roméo et Juliette - Ah! Lève-toi, soleil
Ponchielli - La gioconda - Cielo e mar!
Verdi - Rigoletto - Parmi veder le lagrime
Flotow - Martha - Ach so fromm
Donizetti - L'elisir d'amore - Una furtiva lagrima
Donizetti - La favorita - Spirito gentil
Cilea - L'Arlesiana - È la solita storia
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80) Jean-Philippe Rameau Platée - live performance
Hans Rosbaud, conductor and harpsichord
Janine Micheau (La Folie)
Nadine Sautereau (Clarine, Thalie)
Christiane Castelli (Junon)
Monique Linval (L'Amour)
Michel Sénéchal (Platée)
Nicolai Gedda (Thespis, Mercure)
Jacques Jansen
Huc Santana (Jupiter)
Jean-Christophe Benoit (Momus)
Robert Tropin (un satyre)
Chorus of the Aix-en-Provence Festival, dir Elisabeth Brasseur.
Live recording from Aix-en-Provence, 1956
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79) Nicolai Gedda and Geoffrey Parsons (piano) in Northern and Russian songs
Queen Elisabeth Hall, London
21 November 1971
01. No 04 Sigh Russia Sigh, Jan Sibelius
02. No 01 Jubal,Jan Sibelius
03. No 01 Black Roses, Jan Sibelius
04. Dulgt kjærlighed (Hidden love),Edvard Grieg
05. Jeg elsker Dig (I Love but Thee),Edvard Grieg
06. En Svane (A Swan),Edvard Grieg
07. Ein Traum (A Dream), Edvard Grieg
08. Sleeping Forest, Hugo Alfvén
09. First Song, Wilhelm Peterson-Berger
10. Second song, Wilhelm Peterson-Berger
11. Doubt (Someniye), Mikhail Glinka
12. Ah, my sweetheart, (Ah tï, duschecka), Mikhail Glinka
13. I recall that wonderful moment
(Ya pomnyu chudnoye mgnoven'ye), Mikhail Glinka
14. Where art thou, little Star? (Gde tï, zvezdochka?),
Modest Mussorgsky
15. The Garden by the Don (Po nad Donom sad tsvetyot),
Modest Musorgski (edited by Rimsky-Korsakov)
16. A Society Tale: The Goat (Svetskaya skazochka: kozyol),
Modest Mussorgsky
17. In this moonlight,Pyotr Il'yich Tchaikovsky
18. Amid the noise of the ball, Pyotr Il'yich Tchaikovsky
19. Don Juan's Serenade, Pyotr Il'yich Tchaikovsky
20. Tonerna (Visions), Carl Leopold Sjöberg
21. The Song Of The Young Gypsy Aleko, opera, Sergey Rachmaninov
22. How fair this spot,Sergey Rachmaninov
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08/10/2009
78) Jules Massenet Cendrillon
Le Prince Charmant - Nicolai Gedda
Madame de la Haltière - Jane Berbié
Pandolfe - Jules Bastin
La Fée - Ruth Welting
Noémie - Teresa Cahill
Dorothée - Elizabeth Bainbridge
Le Roi - Claude Méloni
Le Doyen de la Faculté - Paul Crook
Le Surintendant des Plaisirs - Christian du Plessis
Le Premier Ministre - John Noble
La Voix du Heraut - Claude Méloni
Ambrosian Opera Chorus (Chorus master: John McCarthy)
Philharmonia Orchestra
Julius Rudel, conductor
Recorded in All Saints' Church, Tooting Graveney, London SW17, 14-24 June 1978
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