Loves Me... Loves Me Not...

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Album Name Length Format Sample Rate Price
Loves Me... Loves Me Not... 1:05:51 $17.98
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# Track Title Length Format Sample Rate Price
1 Idomeneo, K. 366: Overture 04:37 96/24 Album only
2 Idomeneo, K. 366: Act I: Quando avran fine omai l'aspre sventure mie? 03:52 96/24 Album only
3 Idomeneo, K. 366: Act I: Padre, germani, addio! 03:51 96/24 Album only
4 Idomeneo, K. 366: Act III: Solitudini amiche, aure amorose 00:57 96/24 Album only
5 Idomeneo, K. 366: Act III: Zeffiretti lusinghieri de volate al mio tesoro 05:21 96/24 Album only
6 Orfeo ed Euridice, Wq. 30: Act III: Recitativo: Qual vita e questa mai 02:05 96/24 Album only
7 Orfeo ed Euridice, Wq. 30: Act III: Aria: Che fiero momento 03:12 96/24 Album only
8 Le nozze di Figaro, K. 492: Act IV: Recitative and Aria: Giunse al fin il momento. 01:11 96/24 Album only
9 Le nozze di Figaro, K. 492: Act IV: Aria: Deh vieni non tardar 03:13 96/24 Album only
10 Cosi fan tutte, K. 588: Act I: Recitative: Temerari! Sortite fuori di questo loco! 01:14 96/24 Album only
11 Cosi fan tutte, K. 588: Act I: Aria: Come scoglio 04:34 96/24 Album only
12 Armide, Wq. 45: Act II: Enfin, il est en ma puissance 02:50 96/24 Album only
13 Armide, Wq. 45: Act II: Aria: Quel trouble me saisit?. Ah quelle cruaute. 04:07 96/24 Album only
14 Armide, Wq. 45: Act III: Ah! Si la liberte me doit etre ravie 03:46 96/24 Album only
15 Cosi fan tutte, K. 588: Act II: Recitative: Ei parte. senti. ah no! 01:27 96/24 Album only
16 Cosi fan tutte, K. 588: Act II: Rondo: Per pieta, ben mio, perdona. 07:37 96/24 Album only
17 Le nozze di Figaro, K. 492: Act III: Recitative and Aria: E Susanna non vien! 01:29 96/24 Album only
18 Le nozze di Figaro, K. 492: Act III: Aria: Dove sono i bei momenti 04:32 96/24 Album only
19 Iphigenie en Tauride, Act II: O malheureuse Iphigenie 04:15 96/24 Album only

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℗ 2017 BIS
© 2017 BIS

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Love plays a significant part in most operas, but all too often it is frustrated, or entangled with deception, humiliation and betrayal. With her new disc Camilla Tilling presents a near-comprehensive catalogue of the emotions that the vagaries of love can raise in the breast of an operatic heroine. And these emotions are universal and timeless, afflicting servants and countesses, Grecian princesses, a sorceress from Damascus and a young lady of 18th-century Naples alike. Gluck’s Armide glories in having Renaud in her power – until she realizes that her feelings makes it impossible to destroy him as she had planned. Newly raised from the dead, his Euridice is defenceless against the strong emotions of the living, and beset by doubts when Orpheus refuses to acknowledge her on their way back to earth. In the bravura aria Come scoglio, Mozart’s Fiordiligi proclaims her steadfast love for Guglielmo, but in the following act of the opera she regretfully admits to having been enamoured by another. And from The Marriage of Figaro we hear Susanna inviting the loved one to a nocturnal rendez-vous (‘Deh vieni, non tardar’) as well as her mistress, the Countess, wondering in ‘Dove sono’ what happened to the loving marriage she once had. With a soprano typically described as ‘radiant’, ‘vernal’ or ‘silvery’, Camilla Tilling has performed several of the roles featured here at venues such as Opéra National de Paris, Covent Garden, Salzburg Mozarteum and Drottningholm Slottsteater. On this recording she partnered by Philipp von Steinaecker and his Musica Saeculorum, whose period instruments bring out all the sweetness, pain and regret that Gluck and Mozart magically worked into their scores.