Stuart Skelton, Bergen Philharmonic Orchestra & Edward Gardner – Britten – Peter Grimes, Op. 33 (2020) [Official Digital Download 24bit/96kHz]

Stuart Skelton, Bergen Philharmonic Orchestra & Edward Gardner – Britten – Peter Grimes, Op. 33 (2020)
FLAC (tracks) 24 bit/96 kHz | Time – 02:18:17 minutes | 2,18 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Chandos

‘The burly Aussie tenor is now even more identified with this ill-fated protagonist than Peter Pears, the first Grimes. And everywhere Skelton has sung the part, whether at English National Opera, the Proms, the Edinburgh festival or now on this international tour of a concert staging mounted by the Bergen Philharmonic, the conductor has been Edward Gardner. Theirs is one of the great musical partnerships, and they continue to find compelling new depths in this tragic masterpiece.’ – Richard Morrison (The Times)

This studio recording was made following the acclaimed production at Grieghallen, in Bergen, in 2019 (repeated in Oslo and London and reviewed above). Luxuriant playing from the Bergen Philharmonic and a stellar cast under the assured direction of Edward Gardner make this a recording to treasure.

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Christine Rice, Stuart Skelton, The BBC Symphony Orchestra & Edward Gardner – Verklärte Nacht (2021) [Official Digital Download 24bit/96kHz]

Christine Rice, Stuart Skelton, The BBC Symphony Orchestra & Edward Gardner – Verklärte Nacht (2021)
FLAC (tracks) 24 bit/96 kHz | Time – 01:03:35 minutes | 1,05 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Chandos

Hot on the heels of their acclaimed recording of Britten’s Peter Grimes, Stuart Skelton and Edward Gardner join forces with Christine Rice and the BBC Symphony Orchestra for this fascinating programme of early twentieth-century works. Schoenberg’s Verklärte Nacht needs no introduction, but far rarer is Oscar Fried’s contemporaneous setting of the same poem.

Composed in 1901 for soloists and orchestra, Fried’s version is a true setting of (as opposed to Schoenberg’s reflection on) the text by Richard Dehmel. Lehár wrote Fieber in 1915 as the closing part of his song cycle Aus eiserner Zeit – he then made the orchestral setting a year later. Korngold’s Lieder des Abschieds (“Songs of Farewell”) date from the early 1920s, whilst he was still in Vienna, and shortly after he had completed the opera Die tote Stadt. Setting poetry by Christina Rossetti, Edith Ronsperger, and Ernst Lothar, the cycle is a poignant reflection on the Great War.

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