Dame Janet Baker - Philips And Decca Recordings 1961-1979 (2003)
BAND/ARTIST: Dame Janet Baker, Janet Baker, London Symphony Orchestra, English Chamber Orchestra, Raymond Leppard, Sir Colin Davis, Sir Neville Marriner, Academy of St. Martin in the Fields
- Title: Philips And Decca Recordings 1961-1979
- Year Of Release: 2003
- Label: Decca Music Group Ltd.
- Genre: Classical
- Quality: FLAC (tracks)
- Total Time: 6:15:20
- Total Size: 1.56 GB
- WebSite: Album Preview
Tracklist:
01. T. Giordani: Caro mio ben
02. Amarilli mia bella
03. Stradella: Ragion sempre addita
04. Sarri: Sen corre l'agnelletta
05. Cesti: Intorno all'idol mio
06. Lotti: Pur dicesti, o bocca bella
07. A. Scarlatti: Spesso vibra per suo gioco
08. Caldara: Come raggio di sol
09. Già il sole dal Gange
10. Bononcini: Deh più a me non v'ascondete
11. Durante: Danza fanciulla gentile
12. A. Scarlatti: Sento nel core
13. Caldara: Sebben crudele mi fai languir'
14. Caldara: Selve amiche
15. Pergolesi: Ogni pena più spietata
16. Plaisir d'amour
17. Piccinni: O notte o dea del mistero
18. Paisiello: Nel cor più non mi sento
19. Ardo, sospiro e piango
20. Ascender qui ved'io
21. "O Numi eterni"
22. "Già superbo del mio affano"
23. "Ma voi forse nel cielo"
24. "Il suol che preme"
25. "Ah! che ancor nell' abiso"
26. "Questi la disperata anima"
27. "A voi, a voi, padre, consorte"
28. "Già nel seno comincia compir"
29. "Sento ch'il cor"
30. "Pompe vane de morte!...Dove sei, amato bene?"
31. "Frondi tenere e belle...Ombra mai fù"
32. "Where shall I fly"
33. Care selve
34. O Had I Jubal's Lyre
35. "Oh! felice mio core!...Con l'ali di costanza"
36. "E vivo ancora?...Scherza infida in grembo al drudo"
37. "Dopo notte, atra e funesta"
38. 1. "Vergnügte Ruh, beliebte Seelenlust"
39. But death...When I am laid...With drooping wings...
40. Haydn: Arianna a Naxos - Cantata, Hob.XXVIb/2
41. Haydn: Scena di Berenice 'Berenice, che fai?' (Hob XXIVa:10)
42. "Deh se piacer mi vuol" - "Chi ciecamente crede"
43. "Non più di fiori" - "Infelice! qual orrore!"
44. "Ah, scostati!...Smanie implacabili"
45. Schubert: Ständchen, D. 920
46. So schlummert auf Rosen
47. Beethoven: Ah perfido!, Op.65
48. Prélude.."Cruelle mère des amours"
49. "Quelle plainte en ces lieux m'appelle?"
50. "Che farò senza Euridice?"
51. "Che puro ciel, che chiaro sol"
52. "Divinités du Styx"
53. 1. "C'en est donc fait"
54. 2. "Ah! qu'ils sont loin"
55. 3. Méditation: "Grands Pharaons"
56. 4. "Non!...non, de vos demeures funèbres"
57. 5. "Dieux du Nil"
58. 1. Récit: "Quel trouble te poursuit"
59. 2. Air: "Ah! Si de la tendresse"
60. 3. Récit: "Que dis-je?"
61. 4. Air: "Arrête! Arrête! Cher Tancrède
62. "Que Clorinde est heureuse!"
63. 5. Air: "Venez, venez, terribles armes!"
64. 6. Prière: "Dieu des chrétiens!"
65. "Venez, venez, terribles armes!"
66. "Non! Que viens-je d'entendre?" - "Il m'en souvient" - "Je l'aime donc?"
67. 1. Soupir
68. 2. Placet futile
69. 3. Surgi de la croupe et du bond
70. 1. Andante quasi allegretto: Nahandove
71. 2. Andante: Aoua! Aoua!
72. 3. Lento: Il est doux de se coucher
73. Chausson: Chanson Perpetuelle, Op.37
74. 1. Une Belle (Madras)
75. 2. Un sapin isolé (Lahore)
76. 3. Naissance de Bouddha (Benares)
77. 4. Si vous pensez (Jaipur)
78. "Lucretia! Lucretia!"
79. "Last Night Tarquinius Ravished Me"
80. "Ah, Owen, what shall I do?"
81. In May, In Brilliant Athens
82. Oh Gods Of Wrath
83. My Time's Too Short, Your Highness
01. T. Giordani: Caro mio ben
02. Amarilli mia bella
03. Stradella: Ragion sempre addita
04. Sarri: Sen corre l'agnelletta
05. Cesti: Intorno all'idol mio
06. Lotti: Pur dicesti, o bocca bella
07. A. Scarlatti: Spesso vibra per suo gioco
08. Caldara: Come raggio di sol
09. Già il sole dal Gange
10. Bononcini: Deh più a me non v'ascondete
11. Durante: Danza fanciulla gentile
12. A. Scarlatti: Sento nel core
13. Caldara: Sebben crudele mi fai languir'
14. Caldara: Selve amiche
15. Pergolesi: Ogni pena più spietata
16. Plaisir d'amour
17. Piccinni: O notte o dea del mistero
18. Paisiello: Nel cor più non mi sento
19. Ardo, sospiro e piango
20. Ascender qui ved'io
21. "O Numi eterni"
22. "Già superbo del mio affano"
23. "Ma voi forse nel cielo"
24. "Il suol che preme"
25. "Ah! che ancor nell' abiso"
26. "Questi la disperata anima"
27. "A voi, a voi, padre, consorte"
28. "Già nel seno comincia compir"
29. "Sento ch'il cor"
30. "Pompe vane de morte!...Dove sei, amato bene?"
31. "Frondi tenere e belle...Ombra mai fù"
32. "Where shall I fly"
33. Care selve
34. O Had I Jubal's Lyre
35. "Oh! felice mio core!...Con l'ali di costanza"
36. "E vivo ancora?...Scherza infida in grembo al drudo"
37. "Dopo notte, atra e funesta"
38. 1. "Vergnügte Ruh, beliebte Seelenlust"
39. But death...When I am laid...With drooping wings...
40. Haydn: Arianna a Naxos - Cantata, Hob.XXVIb/2
41. Haydn: Scena di Berenice 'Berenice, che fai?' (Hob XXIVa:10)
42. "Deh se piacer mi vuol" - "Chi ciecamente crede"
43. "Non più di fiori" - "Infelice! qual orrore!"
44. "Ah, scostati!...Smanie implacabili"
45. Schubert: Ständchen, D. 920
46. So schlummert auf Rosen
47. Beethoven: Ah perfido!, Op.65
48. Prélude.."Cruelle mère des amours"
49. "Quelle plainte en ces lieux m'appelle?"
50. "Che farò senza Euridice?"
51. "Che puro ciel, che chiaro sol"
52. "Divinités du Styx"
53. 1. "C'en est donc fait"
54. 2. "Ah! qu'ils sont loin"
55. 3. Méditation: "Grands Pharaons"
56. 4. "Non!...non, de vos demeures funèbres"
57. 5. "Dieux du Nil"
58. 1. Récit: "Quel trouble te poursuit"
59. 2. Air: "Ah! Si de la tendresse"
60. 3. Récit: "Que dis-je?"
61. 4. Air: "Arrête! Arrête! Cher Tancrède
62. "Que Clorinde est heureuse!"
63. 5. Air: "Venez, venez, terribles armes!"
64. 6. Prière: "Dieu des chrétiens!"
65. "Venez, venez, terribles armes!"
66. "Non! Que viens-je d'entendre?" - "Il m'en souvient" - "Je l'aime donc?"
67. 1. Soupir
68. 2. Placet futile
69. 3. Surgi de la croupe et du bond
70. 1. Andante quasi allegretto: Nahandove
71. 2. Andante: Aoua! Aoua!
72. 3. Lento: Il est doux de se coucher
73. Chausson: Chanson Perpetuelle, Op.37
74. 1. Une Belle (Madras)
75. 2. Un sapin isolé (Lahore)
76. 3. Naissance de Bouddha (Benares)
77. 4. Si vous pensez (Jaipur)
78. "Lucretia! Lucretia!"
79. "Last Night Tarquinius Ravished Me"
80. "Ah, Owen, what shall I do?"
81. In May, In Brilliant Athens
82. Oh Gods Of Wrath
83. My Time's Too Short, Your Highness
While mezzo-soprano Janet Baker was best known for her performances of British music, especially that of her compatriot Benjamin Britten, she was also a fine performer of art song, sacred music, and Classical and pre-Classical opera. Her repertoire, as well as her background, frequently overlapped that of her great predecessor, Kathleen Ferrier; though her career was mostly centered in England, and she always had a special place in the regard of English audiences, her fame was international.
In 1956, she won the second prize in the Kathleen Ferrier Competition; that year also saw her operatic debut as Roza in Smetana's The Secret, in an Oxford University Opera Club performance. In 1962, she first sang with the English Opera Group, as Polly in Benjamin Britten's famous production of The Beggar's Opera at Aldeburgh. She later credited the leading spirits of that group, Britten and tenor Peter Pears, as giving the ensemble and its singers the highest possible standards, as well as raising the reputation of British singers internationally. In 1966, she made her Covent Garden debut as Hermia in Britten's A Midsummer Night's Dream, and her Glyndebourne debut as Purcell's Dido. In 1971, Britten wrote the role of Kate Julian for Baker in his opera Owen Wingrave, written for BBC television.
As her operatic career progressed, Baker focused on pre-Classical and Classical works such as Gluck's Orfeo ed Euridice, Handel's Giulio Cesare, the title role of Gluck's Alceste, Dido in Purcell's Dido and Aeneas, Ottavia in Monteverdi's L'incoronazione di Poppea, and Dorabella in Mozart's Così fan tutte. However, she also performed Romantic and 20th century roles such as Dido in Berlioz's Les Troyens a Carthage; Donizetti's Maria Stuarda; Charlotte in Massenet's Werther; and Octavian in Richard Strauss' Der Rosenkavalier. Much of her recital repertoire was drawn from the standard works of Fauré, Schumann, Schubert, Duparc, Haydn, and Mahler, and the British masters such as Purcell and Elgar; however, she also drew from the works of lesser-known composers, particularly from the pre-classical period, taking special pleasure in bringing their works to public attention. In 1982, she gave her farewell performances as Orfeo in London and at Glyndebourne. ~ Anne Feeney
In 1956, she won the second prize in the Kathleen Ferrier Competition; that year also saw her operatic debut as Roza in Smetana's The Secret, in an Oxford University Opera Club performance. In 1962, she first sang with the English Opera Group, as Polly in Benjamin Britten's famous production of The Beggar's Opera at Aldeburgh. She later credited the leading spirits of that group, Britten and tenor Peter Pears, as giving the ensemble and its singers the highest possible standards, as well as raising the reputation of British singers internationally. In 1966, she made her Covent Garden debut as Hermia in Britten's A Midsummer Night's Dream, and her Glyndebourne debut as Purcell's Dido. In 1971, Britten wrote the role of Kate Julian for Baker in his opera Owen Wingrave, written for BBC television.
As her operatic career progressed, Baker focused on pre-Classical and Classical works such as Gluck's Orfeo ed Euridice, Handel's Giulio Cesare, the title role of Gluck's Alceste, Dido in Purcell's Dido and Aeneas, Ottavia in Monteverdi's L'incoronazione di Poppea, and Dorabella in Mozart's Così fan tutte. However, she also performed Romantic and 20th century roles such as Dido in Berlioz's Les Troyens a Carthage; Donizetti's Maria Stuarda; Charlotte in Massenet's Werther; and Octavian in Richard Strauss' Der Rosenkavalier. Much of her recital repertoire was drawn from the standard works of Fauré, Schumann, Schubert, Duparc, Haydn, and Mahler, and the British masters such as Purcell and Elgar; however, she also drew from the works of lesser-known composers, particularly from the pre-classical period, taking special pleasure in bringing their works to public attention. In 1982, she gave her farewell performances as Orfeo in London and at Glyndebourne. ~ Anne Feeney
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