Utwory na płycie:

• The Ghosts of Versailles: Act I: Prologue: Mon coursier hors d'haleine (Woman with Hat, Louis XVI, Marquis, Gossips, Aristocrats)
• The Ghosts of Versailles: Act I: All-powerful Queen of Beauty and ruler of my willing heart (Beaumarchais, Marie Antoinette)
• The Ghosts of Versailles: Act I: Aria: They are always with me: the unbounded waiting, the odor of blood on steel, the terrible sound (Marie Antoinette)
• The Ghosts of Versailles: Act I: My wife was always hard to please (Louis XVI, Aristocrats, Woman with Hat, Marquis, Gossips, Beaumarchais)
• The Ghosts of Versailles: Act I: Oh no. Here we go again!! (Chorus, Figaro, Susanna, Almaviva, Aristocrats)
• The Ghosts of Versailles: Act I: Prologue: They wish they could kill me (Figaro, Marie Antoinette, Woman with Hat, Aristocrats)
• The Ghosts of Versailles: Act I: Bravo, Beaumarchais! Brilliant! - Then why are you weeping, your Majesty? (Louis XVI, Beaumarchais, Marie Antoinette, Aristocrats)
• The Ghosts of Versailles: Act I: Magic! It is Paris, the autumn of '93 (Beaumarchais, Marie Antoinette, Louis XVI, Almaviva)
• The Ghosts of Versailles: Act I: And with the one million pounds, grant Her Majesty a safe refuge in the New World (Almaviva, Figaro, Susanna, Louis XVI, Wilhelm)
• The Ghosts of Versailles: Act I: Fool! Idiot! Moron! You forgot where Almaviva plans to sell the jewels? (Begearss, Wilhelm, Aristocrats, Marie Antoinette)
• The Ghosts of Versailles: Act I: Recitative: I can't wait to betray Almaviva (Begearss, Florestine)
• The Ghosts of Versailles: Act I: Aria: Oh, the lion may roar and the eagle may soar. (Begearss)
• The Ghosts of Versailles: Act I: I remember, Master, I remember! (Wilhelm, Begearss, Susanna, Figaro, Aristocrats, Woman with Hat)
• The Ghosts of Versailles: Act I: Poor Florestine, I pity her. (Marie Antoinette, Beaumarchais, Louis XVI, Aristocrats)
• The Ghosts of Versailles: Act I: New Scene: Rosina's boudoir. They say New York is a lively town (Beaumarchais, Louis XVI, Begearss, Rosina, Almaviva)
• The Ghosts of Versailles: Act I: Now we go back in time - Cherubino, Cherubino (Rosina, Beaumarchais, Cherubino)
• The Ghosts of Versailles: Act I: Duet: Look at the green here in the glade (Beaumarchais, Rosina, Cherubino, Marie Antoinette, Louis XVI)
• The Ghosts of Versailles: Act I: No. I've had enough. I see what's happening here (Louis XVI, Beaumarchais, Woman with Hat, Aristocrats, Marie Antoinette, Marquis, Chorus)
• The Ghosts of Versailles: Act I: Finale: Selamunaleykum, (Welcome!) (Pasha, Louis XVI, Marie Antoinette, Leon, Florestine, Almaviva, Rosina, Susanna, Marquis, Beaumarchais, Begearss)
• The Ghosts of Versailles: Act I: Finale: His Excellency, the English Ambassador (Page, English Ambassador, Almaviva, Pasha)
• The Ghosts of Versailles: Act I: Finale: I am in a valley and you are in a valley (Samira, Pasha)
• The Ghosts of Versailles: Act I: Finale: Ya omri. Limatha hajartani? (Samira, Figaro, Chorus)
• The Ghosts of Versailles: Act I: Finale: Tafaddaloo marhabun bikoom - Shall we? (Figaro, Chorus, Almaviva, English Ambassador, Begearss, Wilhelm, Marie Antoinette, Aristocrats, Florestine, Rosina, Susanna)

The Ghosts of Versailles:
Act I
Act II;

Commissioned by the Metropolitan Opera to celebrate its 100th anniversary, John Corigliano’s The Ghost of Versailles received its premiere at the Met in 1991, twelve years after it had been commissioned and eight years past the centennial season for which it had first been envisioned. Nonetheless, it was an instant success. Because of the unique situation, a large cast and extravagant orchestral forces were made available, but aside from that specific context, both John Corigliano and librettist William Hoffman conceived of Ghosts as a work of music theater that celebrates and even takes as one of its principal themes the artistic power of opera: it puts into use lavish operatic resources precisely to introduce a contemporary audience to grand opera. More particularly, a ”grand opera buffa” is what John Corigliano decided to create, to combine his love for opera buffa, with the requirements of a grand opera house, which is the Met. The success of Ghosts resulted in many performances throughout the North- American continent in the 25 years to follow, one of which took place in February 2015 at the LA Opera, to great critical acclaim. “It's comic and serious, entertaining and erudite, silly and thoughtful, emotional and mysterious, harrowing and uplifting, intimate and over-the-top and the more times you see it, the more you'll find in it and the more you'll get out of it.” -Los Angeles Times Conducted by James Conlon, the production was recorded live by the renowned Soundmirror recording company and will now be released on a splendid 2-SACD album as part of PENTATONE’s newly launched American Opera Series. “The artists of Los Angeles Opera’s 2014 production made as compelling a case for The Ghosts of Versailles as I heard on its first night at the MET in 1991. To have that performance preserved in a recording of this quality is, for this composer, a dream come true.” - John Corigliano

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Live recording / World Premiere