Showing results by publisher "Naxos AudioBooks" in Arts & Entertainment

Madama Butterfly runs the gamut of operatic emotions. The title heroine has a fragility wonderfully expressed in her entry music, deep sexual instincts as shown in the love duet, and immense tragic stature in her last hours. The fate of Madama Butterfly - married to an American sailor and then abandoned - engages our emotions to a degree equaled by few other opera heroines. The oriental setting and the exquisite orchestral and choral writings are treasured bonuses.

With the possible exception of Mozart, Verdi is the most popular opera composer who ever lived. Quite early in his career his tunes were being cranked out by barrel organs throughout Europe and were well known to many who may never even have heard his name. But the complex man behind them remains elusive and puzzling. In this portrait-in-sound, Jeremy Siepmann and a group of distinguished actors take an in-depth look behind the popular image of a man who was, and perhaps remains, the most enduring national hero in Italian history and a colossus in the history of music itself.

Symphonies, quartets, concertos and keyboard works poured from the pen of Joseph Haydn, making him one of the most important figures in classical music. Jeremy Siepmann tells the story of the man and his work in this lively autobiography, enhanced by numerous examples of the music itself, taken from the Naxos catalogue. There is no better programme with which to mark the 200th anniversary of the composer's death.

One of the best-loved composers of all time, Dvorák rose from rural origins to become not only a great but an influential composer. The first composer to put his native Bohemia on the musical map of the world, he was invited to do the same for America. One result was the famous "New World" Symphony, which made him a household name across the globe. Writing music of irresistible color, lilt and peasant vitality, he was also a melodist-in-a-million. This portrait-in-sound follows a lovable and in many ways a very simple, man from hay cart to imperial palace, from tragic loss to heart-warming joy, to pigeon-raising and world celebrity.

No great composer’s story is more predominantly happy than Haydn’s, though even his has its share of clouds. A classic rags-to-riches tale, it sees him move from humble beginnings through decades as a liveried servant to his emergence as the most popular and successful composer of his time. One of the healthiest and least neurotic artists in musical history, he did more than any other single figure to pioneer the symphony, the piano sonata and the string quartet - and he was the first truly great practitioner of each.

Massenet’s Werther combines a deeply tender story with music of beauty and eloquence. One act alone contains two of the greatest arias in the repertoire: the mezzo-soprano aria "Va! Laisse couler mes larmes" and the tenor’s "Pourquoi me rèveiller". In their sentimental power and melodic richness these arias encapsulate the qualities that account for the universal popularity of this great work.

Monteverdi’s Orfeo, first performed in 1607, generates a special excitement because it is the first unquestioned masterpiece of opera. Notable for its precise orchestration and powerful drama it was a groundbreaking work. It concerns the legend of Orpheus, the demigod whose music had the power to conquer the forces of Hell and to bring his wife back, briefly, to life. The extracts used in this introduction are from Naxos’ full recording; it uses authentic period instruments, which serve to evoke the early Baroque period of the opera’s composition.

Tosca is Puccini at the peak of his theatrical power. The story of the jealous, impassioned opera singer Floria Tosca and her doomed love for the painter Mario Cavaradossi is played out against backgrounds both historically and geographically overwhelming. It is set in three great and historical locations of Rome during the Napoleonic era. Spectacle, sensuality, and cruelty battle for our attention in one of the most truly "action-packed" works of theatre. Enticing us with just a couple of the "great tunes" from this deeply affecting opera, David Timson then begins setting the biographical and operatic scene.

Liszt's life was as daring and spectacular as his music. Famed throughout Europe as the greatest pianist of the 19th century, Liszt was one of the most original and prophetic composers who ever lived. Beautiful in youth, glowering in age, his high-profile love affairs were the talk of the town wherever he went and his generosity to young musicians was legendary. In this account of his epic life, actors’ readings combine with plentiful musical excerpts to paint a living portrait of a highly complex man.

Amid a background of wars and revolution, the 19th century produced many of the world's best-loved composers, including Beethoven, Brahms, Chopin, and Tchaikovsky. Discover: Music of the Romantic Era charts the course of music through those turbulent but exhilarating times with 40 music excerpts. Light-hearted but authoritative, it tells the fascinating, often scandalous life stories of the 19th century's greatest composers and describes how they created musical history.

In this audio-original production, author Richard Fawkes traces the development of the musical, highlighting composers and lyricists including Irving Berlin, George Gershwin, Rodgers and Hammerstein, Lerner and Loewe, Andrew Lloyd Webber and Stephen Sondheim. Presented by the vivacious singer Kim Criswell, star of Cats, and including nearly 100 famous musical extracts.

Cavalleria rusticana is the short opera that has all the elements of a grand opera compressed into a single highly dramatic time span. The story of love, lust, blood-feud, and betrayal played out against the pageantry of the Easter celebrations in a Sicilian village delivers an emotional wallop because of the youthful vigor and musical wealth of its great score which includes the glorious "Easter Hymn" and the deeply moving "Intermezzo". Mascagni was never to repeat his youthful success but this brief work is enough to ensure his immortality.

L’elisir d’amore, or The Elixir of Love, has remained popular for almost two centuries because of a touching tale and a galaxy of comic characters adapted from the traditional commedia dell’ arte. Above all Donizetti poured into the score all the warmth and tenderness of the Italian temperament.

Die Fledermaus is one of the few operatic works to which the phrase "never a dull moment" can be truthfully applied. From the explosive opening of the famous overture - reminiscent of a volley of champagne corks - through the surging energy of the "Fledermaus Waltz" and the many comic numbers, of which the accelerando trio is the finest, up to such huge concerted numbers as the "Duidu" finale to Act II, this is an operetta which almost incarnates nostalgia. Thomson Smillie and David Timson infuse their exploration of Die Fledermaus with as much life as the operetta itself.

Il Trovatore has been ruthlessly parodied. It is a tale of murder and mayhem, burned babies, roasted hags, would-be nuns, strolling minstrels, and bad baritones. And indeed the libretto does call for a willing suspension of disbelief. The reward is in the music, a score as prodigally melodic as only the mature Verdi could write: the "Anvil" chorus, the "Miserere" scene, two great tenor arias, a beautiful baritone aria - a richness without embarrassment.

Dating from the last decade of the 19th century, Pelléas et Mélisande points the way into the 20th century. The score is hauntingly beautiful, but there is more to the work than shifting panels of elusive, impressionistic sound. Debussy retains the text of Maeterlinck’s play, and the linguistic subtleties of the French text are matched perfectly by the musical detail. Taking a little time to explore the romantic, elusive world of this opera is particularly rewarding.

Verdi’s Falstaff repays careful study with real pleasure. It is opera’s happiest irony that the great Italian master should cap a career - distinguished for its blood-and-thunder tragic masterpieces - with the greatest comic opera in the Italian repertory. The genius of Shakespeare is harnessed (in a miracle of compression) by master-librettist Boito to give the 80-year-old Verdi a superb libretto, on which he lavished more wonderful tunes than most composers manage in a lifetime.

La sonnambula was written by Bellini as a vehicle for two of the supreme singers of his age and accordingly is a fine example of the school we call bel canto, where beauty of voice and the virtuosity of the singers is integral to conveying the emotions in the soul of the composer. The fact that Bellini was one of the great melodists, writing long, beautiful vocal lines, that he was a master orchestrator and that he could write stirringly for the chorus all conspire to make La sonnambula extremely enjoyable.

Così Fan Tutte contains some of Mozart’s most sublime music. On one level, the opera is purely a social anecdote about young people falling in and out of love; but Mozart was a supreme sensualist and a great humanist, and invested the tale with all his understanding of humanity and young love. In this title, David Timson refutes the charge that Mozart squandered his genius on a work full of trivial nonsense and proves this "miraculous yet problematic" opera to be a great work of theatre. To listen to this thought-provoking examination of the characters and the music is both thoroughly enriching and great fun.

Rigoletto is simply wonderful entertainment with superb music. It is also much more - a daring (for its time) attack on aristocratic privilege, a tender love story, and an impassioned appeal on behalf of the disadvantaged, all set to music of such wealth and beauty that, with its sister operas La traviata and Il trovatore, it has defined Italian opera for 150 years. Overcoming initial trouble with the censors, Verdi's Rigoletto was a smash hit at its premiere and has not been out of the repertoire since. It’s not hard to see why.