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Performer: Karen Cargill

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MadridSinfónico 4: (R)Evolución

Sinfónico 4: (R)Evolución
Schoenberg: Gurrelieder
Orquesta Nacional de España; David Afkham; Thomas Quasthoff; Juliane Banse; Karen Cargill; Barry Banks

StockholmHarding meets Gerhaher and Cargill

Schoenberg, Dvořák, Wagner
Swedish Radio Symphony Orchestra; Daniel Harding; Christian Gerhaher; Karen Cargill

Hong KongJaap and Mahler 2

Mahler: Symphony no. 2 in C minor 'Resurrection'
Hong Kong Philharmonic Orchestra; Jaap van Zweden; Ying Fang; Karen Cargill; Netherlands Radio Choir (Groot Omroepkoor); Hong Kong Philharmonic Chorus


Wagner: Götterdämmerung
Sir Antonio Pappano; Keith Warner; Royal Opera; Stefanos Lazaridis; Marie-Jeanne Lecca; Stefan Vinke; Nina Stemme


Saariaho, Berlioz
BBC Philharmonic; Ludovic Morlot; Karen Cargill; Jan Lehtola
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Wonderful choral singing in Edinburgh's Mahler 8

Daniel Harding © Aly Wright
A superb choral performance and some memorable solo moments bring Mahler's "Symphony of a Thousand" to life, even if the sheer energy of the Swedish Radio Symphony Orchestra turns frantic at times.
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Glyndebourne's baffling Pélleas et Mélisande at the Proms

Christina Gansch (Mélisande) and John Chest (Pelléas) © BBC | Chris Christodoulou
The annual transfer of a production from Glyndebourne to the Proms this year saw Herheim's baffling production of Debussy's masterpiece. 
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An enigmatic Pelléas et Mélisande at Glyndebourne

John Chest (Pelléas) and Christina Gansch (Mélisande) © Richard Hubert Smith
Stefan Herheim's dreamlike production of Debussy's opera sets it squarely in the Sussex manor house that gave birth to Glyndebourne's festival. 
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From Naxos to Carthage: Ancient Classical Tales from Karen Cargill and the Scottish Ensemble

Karen Cargill © Ken Dundas
Mezzo soprano Karen Cargill and the Scottish Ensemble guest-led by Matthew Truscott in a programme of music from Purcell to Stravinsky all inspired by tales from Ancient Greece.
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Ticciati revisits former glories with his SCO team

Robin Ticciati © Giorgia Bertazzi
Is there any instrument more bittersweet than the viola? The violin does the acrobatics, the cello is more conventionally beautiful, but the viola sits in the middle of the orchestral palette like no other instrument. Neither high nor low, it’s perfectly placed to embody the contradictory and the conflicted, ideal for a sense of desire denied or of fulfilment deferred.
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