Let's celebrate Christmas with a special discount on emblematic albums!
Celebrate Christmas in music with the Outhere special december promos!
As this particularly challenging year draws to a close, the resonance of the symbolism of Christmas is all the more important. The triumph of light over darkness has been celebrated for centuries from Pagan festivities to Christian rituals.
As every year, Outhere is at your side to celebrate the return of this light by offering you up to 50% off throughout December with new promotions on selected albums. This week, we start with a Christmas selection of around fifteen albums of baroque (Bach, Charpentier,...), classical or even medieval music.
Other special promotions will be announced each week, so that these festivities, although they are not those of the long-awaited reunion, will always be associated with the rebirth of hope.
We wish you happy holidays!
DISCOVER THE COMPLETE CHRISTMAS PROMO
ALPHA CLASSICS TO RECORD PERFORMANCES OF PELLÉAS & MÉLISANDE IN BORDEAUX AND LA CLEMENZA DI TITO IN ROUEN CANCELLED DUE TO CORONAVIRUS
The second lockdown has prompted the cancellation of performances of Debussy's Pelléas & Mélisande at the Opéra National de Bordeaux and Mozart's La Clemenza di Tito at Rouen Normandie Opera. Thanks to the Government’s and the Minister of Culture, Roselyne Bachelot’s, decision to allow artists to continue working without an audience, the two institutions have decided to continue the work they started and join forces with French record label Alpha. Together they will go ahead with the audio recording of these two masterpieces.
“In a curious turn of events, the terrible crisis of today has in fact made it possible for us to record two complete operas in studio perfect conditions. This is something that has become extremely rare over the past few years due to the significant production costs. The Bordeaux and Rouen Operas have brought together leading artistic teams with exceptional singers and conductors from the younger generation. It’s an opportunity and a duty to capture these productions for posterity, “ said Didier Martin, director of Alpha Classics.
Marc Minkowski, General Director of Opéra National de Bordeaux continues: “Born out of the urgency of the second lockdown, this project to record the complete Pelléas & Mélisande is a formidable testimony to the vitality and adaptability of our sector in these challenging times. I am very grateful to Alpha Classics and to all the teams at the Opera for their enthusiasm and determination which has allowed us to capture this exceptional Pelléas for life. Stanislas de Barbeyrac, Chiara Skerath and Alexandre Duhamel all originally performed their roles here two years ago. Today, their interpretations have matured, so this record comes at just the right time to showcase the richness of their interpretations. And it is with great emotion that I hand over the baton for this production - which has been so important to me as an artist and conductor - to Pierre Dumoussaud, whose talent, energy and sensitivity will galvanise, I am sure, the lifeblood of our beautiful house: Orchestre national Bordeaux Aquitaine and the Choir of the Opéra national de Bordeaux.”
Loïc Lachenal, director of the Opéra de Rouen Normandie concludes: “Thanks to this recording of la Clemenza di Tito, it’s a beautiful outcome that we are able to make a record of Ben Glassberg’s new role of music director at the Opéra de Rouen Normandie. We cannot stress enough how fundamental these moments are for the work and the relationship between the conductor and the musicians. Surrounded by an all-star cast, notably Nicky Spence and Simona Šaturová (another great career highlight) - Ben Glassberg shows us yet again his undeniable Mozartian flair, which fits so well with the orchestra of the Opéra de Rouen Normandie. Mozart’s final masterpiece, at the height of his art, sees some of the finest pages of music intertwined with matters ranging from romantic passion and the complexity of feelings, to the absurd disaster of betrayal. Thank you to Alpha Classics who have worked so hard to conserve the work of this inspiring team!”
PELLÉAS ET MÉLISANDE
STANISLAS DE BARBEYRAC
ORCHESTRE NATIONAL BORDEAUX AQUITAINE
CHŒUR DE L'OPÉRA NATIONAL DE BORDEAUX
AUTUMN 2021 RELEASE
LA CLÉMENCE DE TITUS
ORCHESTRE DE L’OPÉRA DE ROUEN NORMANDIE
CHŒUR ACCENTUS / OPÉRA DE ROUEN NORMANDIE
AUTUMN 2021 RELEASE
ALPHA CLASSICS has been named Label of the Year 2020 by Gramophone Magazine.
The award - from one of the oldest and most prestigious classical music magazines in the world - is a supreme honour for the label, and is especially encouraging during this time of crisis.
Alpha Classics has been championing quality music-making for more than 20 years: rare repertoire that is frequently off the beaten track, and recorded in the best possible conditions by artists of all generations and from all walks of life. New talent also remains a top priority for the label.
Firmly rooted in Baroque music since its beginning, Alpha has opened its doors to more diverse repertoire and adventurous programming since the arrival of Didier Martin at its head six years ago. Alpha has become a family of artists of international dimension, reinventing themselves through a similar desire for artistic freedom and excellence. This was recognised in 2018 when Alpha Classics won two GRAMMY Awards, for soprano and conductor Barbara Hannigan’s Crazy Girl Crazy and violinist Patricia Kopatchinskaja’s Death & The Maiden.
ALPHA is a label of the OUTHERE MUSIC group, founded in 2005 by Charles Adriaenssen. It also includes fellow labels Linn, Ricercar, Phi, Arcana, Ramée, Fuga Libera and jazz label Outnote.
“I am proud and happy that our flagship label has received this prestigious award. It is a tribute to all the artists who have chosen to join us and to the work of a superb team. It also confirms that there is a place for those who champion culture and quality in the face of the deluge of commercial nonsense. The public, whether established or new, deserves only the best!”
~ Charles Adriaenssen, President of Outhere Music2
Didier Martin, Director of Alpha Classics and CEO of Outhere Music, added:
“It is more than an honour to receive this award. It is a particularly joyous gift that motivates us to keep going and stay on course. It’s also a huge encouragement for all the Alpha and Outhere teams who work tirelessly and passionately. In this moment of global pandemic - which comes on top of an ongoing crisis within the cultural sector - it is more urgent and crucial than ever to put our heads together and unite to save musical diversity. A high quality press is essential, and ever more important in the digital world.”
The label records regularly with: singers Adèle Charvet, Jodie Devos, Barbara Hannigan, Véronique Gens, Kate Lindsey, Sandrine Piau, Anna Prohaska, Eva Zaïcik, Julien Behr, Damien Guillon, Julian Prégardien, Konstantin Krimmel, Georg Nigl and Reinoud Van Mechelen… Instrumentalists Nicolas Altstaedt, Olivier Cavé, Bruno Cocset, Céline Frisch, Olivier Fortin, Nelson Goerner, Amihai Grosz, Marie-Elisabeth Hecker, Martin Helmchen, Juliette Hurel, Filippo Gorini, Victor Julien-Laferrière, Patricia Kopatchinskaja, Eric Le Sage, Paul Meyer, Alexei Lubimov, Olga Pashchenko, Tedi Papavrami, Anthony Romaniuk, Justin Taylor, Chouchane & Astrig Siranossian, Anna Vinnitskaya, Jörg Widmann and Sarah Willis… Conductors Giovanni Antonini, Simon-Pierre Bestion, Barbara Hannigan, Alexandre Bloch, Vincent Dumestre, Mikko Franck, Leonardo García Alarcón, Paavo Järvi, François Lazarevitch, Lionel Meunier, Hervé Niquet, Denis Raisin- Dadre, Santtu-Matias Rouvali, Krzysztof Urbanski, Jos Van Immerseel… Chamber ensembles quartets Belcea, Van Kuijk, Voce, the Busch Trio and the Nevermind Ensemble…
Three further Gramophone Awards were presented this year to Alpha Classics artists or recordings:
Chamber Music category: VERESS BARTÓK recorded during the Lockenhaus festival by its artistic director Nicolas Altstaedt (cello), with Vilde Frang & Barnabás Kelemen (violin), Lawrence Power, Katalin Kokas (viola), Alexander Lonquich (piano).
Recital category: SI J’AI AIMÉ by Sandrine Piau (soprano), Le Concert de la Loge, Julien Chauvin (in collaboration with the Palazzetto Bru Zane).
A Special Award within the context of the «Beethoven 250» celebrations to Martin Helmchen for his recording of Beethoven’s Piano Concertos Nos 2 and 5 with the Deutsches Symphonie-Orchester Berlin, under the direction of Andrew Manze.
Watch the ALPHA CLASSICS Label of the Year video:
'La Passione' by Barbara Hannigan & Ludwig Orchestra
THE WORLD OF SONIA WIEDER-ATHERTON
The Franco-American cellist signs an editorial partnership with Alpha Classics, which starts with the Bach’s Cello Suites nos.1 and 2, to be released exclusively on vinyl and on download and streaming platforms. The recording will be available on digital platforms from 19 June 2020, and the vinyl will be available in France on 20 June, exclusively in the shops participating in the Record Store Day.
"I'm very happy to be a part of Record Store Day...
I can already imagine that day, everyone in the streets of Paris, going from one record store to another, rummaging through the racks full of treasures. These independent record shops, activist places that pay no attention to passing trends and commercial philosophies, prove to be a bit more important and vital to us every day.
I'm also happy that so-called classical music is joining the party, and is represented on Record Store Day when these beautiful black vinyls will impart their rhythms, songs and dances to the streets of Paris."
- Sonia Wieder-Atherton
The Vinyl will be released in other channels and territories on 11 September 2020. This volume and the two others that will follow (Suites 3 to 6) feature photos by the great Sarah Moon:
"For me, whenever I play the Bach suites, all of a sudden I find myself visualising Giacometti’s hands incessantly moulding the earthen clay until a face appears – his hands engaging with the physical material.
And so one becomes aware that the way by which facial features materialize forms an inherent part of the face itself. Getting to grips with the Bach suites is very closely related to that sense. You have to dig deeply into the string to give birth to the phrase, to make sure it breathes correctly: a phrase that is perpetually becoming, endlessly making and remaking itself.
I waited a long time before recording these suites.
Then one day, or rather one night, I began.
It was at Noirlac Abbey, in the monastic refectory. We arrived as the white stone of the building was being gradually shrouded in darkness. And when everything was quiet, we began.
These are the first two suites.
The others will follow.
Then there was my meeting with Sarah Moon. When I first felt my longing to record the Bach suites, I dreamt constantly of her images; because whenever I look at them I think of the creation of the world, the separation of the waters, the earth appearing, all before the beginning of history."
- Sonia Wieder-Atherton
ABOUT SONIA WIEDER-ATHERTON
Sonia Wieder-Atherton has always sought to make music a language open to the world. It is this quest that has led her over the years from one repertory to another, from discovery to discovery.
She was born in San Francisco to a mother of Romanian origin and an American father, but grew up in New York and subsequently in Paris, where she began playing the cello. She entered Maurice Gendron’s class at the Conservatoire National Supérieur de Musique de Paris, then, aged nineteen, set out for the Tchaikovsky Conservatory in Moscow to continue her studies with Natalia Shakhovskaya. Back in France, at the age of twenty-five, she was a prizewinner at the Rostropovich Competition.
Alongside her concerts devoted to the Classical and Romantic repertories, Sonia Wieder-Atherton collaborates with many contemporary composers (including Pascal Dusapin, Georges Aperghis and Wolfgang Rihm), whose interpreter of choice she has become.
She has also turned her attention to other forms of expression and artists from different horizons, initially with the filmmaker Chantal Akerman, for whom she wrote several film scores, as well as collaborating on live performances and installations. The voice of her cello has also encountered the voices of Fanny Ardant and Charlotte Rampling in a focus on illustrious texts, such as Navire Night by Marguerite Duras and the poems of Sylvia Plath.
In recent years, she has originated many projects that she conceives and stages: The Odysseys was premiered in Aix-en-Provence, then performed in many cities around the world, recently at the Avignon Festival and La Nuit Blanche in Paris. ‘With my cello, surrounded by the sea, I talk, I shout, I whisper. To the earth, to the murmurs of crowds, to breathing, to waves, to the storm, to chaos. I am confronted with a soundtrack in a dreamlike time, in thirteen adventures built around the music of Bach, Bellini, Prokofiev, Krawczyk, Aperghis and Schumann, as well as Berber, Egyptian and Syrian folksongs.’
Sonia Wieder-Atherton’s discography is very rich. It was launched with Jewish Songs, a cycle for cello and piano in which she was inspired by the art of the hazzans, and which has enjoyed considerable success since its release in the 1990s. She also made three recordings for the Naïve label: From the East, for cello and instrumental ensemble, conceived as a journey from Russia to Mitteleuropa; Vita, for solo cello and three cellos, in which she recounts the life of Angioletta-Angel through music by two geniuses out of their time, Monteverdi and Scelsi; and finally Little Girl Blue, from Nina Simone.
These four albums, currently unavailable, will gradually be reissued by Alpha.
Several new recordings will follow, including an album of Boccherini cello concertos in a transcription integrating the sound of the cimbalom and highly unpredictable cadenzas...
The Odysseys will be published in short formats, only on digital platforms, then in an enriched edition with a book.
For Sonia Wieder-Atherton, to play Bach, Boccherini, Jewish songs or Nina Simone is to perform the same gesture, to ask the same question: that of a voice that will never be able to understand itself if it listens to itself in isolation.
DISCOVER FRENCH ROMANTICISM WITH VÉRONIQUE GENS
DISCOVER FRENCH ROMANTICISM WITH VÉRONIQUE GENS
A specialist in 19th-century French repertoire, Véronique Gens has released albums that bring long-hidden musical gems back to life. The soprano has just brought out her fourth album with Alpha, Nuits, this time devoted to lyrical pieces that navigate between chamber music intimacy and orchestral ambition.
It is an admirable follow-up to her three previous recordings, which successively explored French melodie in its most stripped-down state (Néère), French Romanticism in all its forms (Visions) and two symphonic pieces written by Ernest Chausson (Poème de l'amour et de la mer / Symphonie Op. 20).
Enter the lyrical universe of Véronique Gens and (re)discover the musical repertoire of France during the Second Empire and La Belle Époque...
Nuits - Véronique Gens & I Giardini
As the symbiosis between the art of the poet and that of the composer, the French mélodie became the jewel of the salons of the ‘Belle Époque’. By placing a string quartet and a piano around the singer, Chausson’s Chanson perpétuelle, Lekeu’s Nocturne and Fauré’s La Bonne Chanson oscillate between chamber musical intimacy and orchestral ambition. Alongside these famous pioneering pieces, this programme devised by the Palazzetto Bru Zane champions a return to the art of transcription, so popular in the nineteenth century, with the aim of expanding the repertory for voice, strings and piano in order to unearth some forgotten treasures. Hence Hahn, Berlioz, Saint-Saëns, Massenet, La Tombelle, Ropartz, Louiguy and Messager all appear in a programme whose guiding thread is the emotions of nocturnal abandonment: the charms of twilight, the trajectory of dreams, the terror of nightmare or the exhilaration of festive occasions. Alexandre Dratwicki has made these arrangements in the style of the nineteenth century. Appropriately enough, the programme ends with La Vie en rose, for this music offers a kaleidoscope of all the colours of human feeling. The texture of solo strings and piano sets Véronique Gens’s incomparable storytelling artistry in a new light.
"The effortlessly elegant Véronique Gens shows why she is one of the great singers of our time on this transcendent work." (The Guardian)
"The playing is rich, both in sound and detail, the brass warm and burnished, the woodwind elegant and refined, while the recording, like that of Poème, is both spacious and exactingly balanced. It’s an outstanding disc, and highly recommended." (Gramophone)
"It's one of the most thrilling recordings of the year !" (Opéra Magazine)
"(...) The art of "La Gens" remains exemplary, because this singer knows how to sing, play, express, tell ... without losing a vowel (a real challenge for sopranos), using her vibrato like baroque singers, that is to say with parsimony and precision." (Classique News)
"Gens, as one might expect, is exceptional in this repertoire. Most of the songs are about erotic anticipation and tristesse, and her dark, slightly smoky tone adds to the sensuality of it all. She sings as much off the text as the line, but nothing is nudged or forced in an overtly interventionist way." (Gramophone)
Discover other recordings that explore the French lyrical repertoire!
ENJOY OUR LP PROMO UNTIL MAY 25!
In this trying time, we will continue to provide you with all the music you need. We know that some of you cannot find our new products in stores, but you can order them via our website, with all the shipping costs offered.
For the moment, we can only ensure deliveries on European territory.
Orders made to other territories cannot be delivered.
TÜÜR // 'Incantation of Tempest' by Paavo Järvi & Estonian Festival Orchestra
BEETHOVEN-KUHLAU // 'Kühl, nicht lau' by Tami Krausz & Shuann Chai
'AKOÉ: Nuevas Músicas Antiguas' by Taracea [EPK]