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Laura Claycomb, Joan Rodgers, Andrew Litton, Philharmonia Orchestra - Thomas: La Cour de Célimène (2020) [Hi-Res]

Laura Claycomb, Joan Rodgers, Andrew Litton, Philharmonia Orchestra - Thomas: La Cour de Célimène (2020) [Hi-Res]
  • Title: Thomas: La Cour de Célimène
  • Year Of Release: 2008/2020
  • Label: Opera Rara
  • Genre: Classical
  • Quality: flac lossless / flac 24bits - 44.1kHz
  • Total Time: 01:35:58
  • Total Size: 435 / 865 mb
  • WebSite:
Laura Claycomb, Joan Rodgers, Andrew Litton, Philharmonia Orchestra - Thomas: La Cour de Célimène (2020) [Hi-Res]


Tracklist
---------
CD1
01. La Cour de Célimène, Act 1: Overture
02. La Cour de Célimène, Act 1: "Bientot elle arrive" (Young Man, Adolescent, Old Man, Chorus of 12 Men)
03. La Cour de Célimène, Act 1: "Il parait, chere soeur" (The Baroness, the Countess)
04. La Cour de Célimène, Act 1: "Qui, c'est le plus grand des bonheurs" (The Countess, the Baroness)
05. La Cour de Célimène, Act 1: "Charmez, brillez, c'est de votre age" (The Commander, the Baroness)
06. La Cour de Célimène, Act 1: "C'est un mariage" (The Baroness, the Countess, Ensemble)
07. La Cour de Célimène, Act 1: "Ainsi, un fois maries" (The Baroness, the Commander, the Countess)
08. La Cour de Célimène, Act 1: "Que dites-vous?" (The Commander)
09. La Cour de Célimène, Act 1: "Allons, rassurez-vous" (The Countess, the Commander, the Baroness)
10. La Cour de Célimène, Act 1: "Ça va être bien divertissant" (The Commander, the Baroness)
11. La Cour de Célimène, Act 1: "Ah, vous voila donc, chevalier?" (The Baroness, the Chevalier)
12. La Cour de Célimène, Act 1: "Mais pardon ..." (The Chevalier, the Baroness)
13. La Cour de Célimène, Act 1: "Eh bien! Monsieur" (The Countess, the Chevalier)
14. La Cour de Célimène, Act 1: "Oh... Ah! Cessez de grâce" (The Chevalier, the Countess)
15. La Cour de Célimène, Act 1: "Ainsi, madame" (The Chevaliers, the Countess)
16. La Cour de Célimène, Act 1: "Quels fracas!" (Chorus, the Commander, the Chevalier)

CD2
01. La Cour de Célimène, Act 2: "Dieu! Quel mortel ennui" (The Countess)
02. La Cour de Célimène, Act 2: "Que voulez-vous" (The Countess)
03. La Cour de Célimène, Act 2: "Ma soeur! Ma soeur!" (The Baroness, the Countess)
04. La Cour de Célimène, Act 2: "Voila donc la cruelle" (Chorus of 12 Men, the Countess, the Baroness)
05. La Cour de Célimène, Act 2: "Sur le terrain, tous deux enfin" (The Commander, All)
06. La Cour de Célimène, Act 2: "Ainsi, commandeur, vous voila" (The Countess, the Baroness, the Commander)
07. La Cour de Célimène, Act 2: "Nous pouvons arranger l'affaire" (The Commander, the Countess, the Baroness)
08. La Cour de Célimène, Act 2: "Ainsi, noble baronne" (The Commander, the Baroness, the Countess)
09. La Cour de Célimène, Act 2: "Aucun, et je proteste! ..." (The Chevalier, the Baroness)
10. La Cour de Célimène, Act 2: "Et maintenant, chevalier" (The Baroness, the Chevalier)
11. La Cour de Célimène, Act 2: "Que vois-je?" (The Chevalier, the Commander, the Baroness, the 12 Men, the Countess, the Baroness)


In recent years, there has been increased interest in the works of Ambroise Thomas, particularly in his ambitious setting of Hamlet (1868), which was successfully revived at opera houses including London’s Covent Garden, the New York Met, Barcelona and Paris. Ambroise Thomas’ other major success was Mignon (1866), which had more than 1,200 performances at the Opéra-Comique up to the end of the 19th century. Opera Rara now takes a further important step in the rediscovery of this fascinating figure, with a new recording of his 1855 opéra-comique La Cour de Célimène (Célimène’s Court). Set in 1750 in a château near Paris, the opera centres on young widowed Countess who has no fewer than fourteen suitors. The role was written for the legendary coloratura, Marie Miolan-Carvalho, who also created roles in four of Gounod’s operas, notably Marguerite in Faust, Juliette in Roméo et Juliette and the title-role in Mireille. Here, Laura Claycomb sings the Countess, with Alastair Miles, Joan Rodgers and Sébastien Droy at her side. Given the large cast, which includes 13 soloists from the Geoffrey Mitchell Choir, it is unsurprising that the work’s ensembles have been selected by scholars as highlights of a score that is sure to delight lovers of French opera.




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