This is a Barbiere "di qualità, di qualità": in fact, of very great quality indeed, from Deutsche Grammophon. Recorded in London in the summer of 1971, it is one of the first meetings of Claudio Abbado and the London Symphony Orchestra. It is also the first of Alberto Zedda's philological editions of Rossini's works, whose scores have been covered over by inherited errors for over a century. Getting rid of the additions which have, quite wrongly, become traditional, means restoring certain interruptions and the fine instrumentation of the period; and above all, singing and playing without exaggerations, thanks to an innate sense for the theatre. It's a spot of spring cleaning which has restored the youth of the 24-year-old composer's masterpiece. Bravo, signor barbiere, ma bravo! It is a dream record, with singers who are well-versed in the repertoire. Everyone is right where they need to be, from Teresa Berganza's wiley and cheeky Rosina, to the refined and hard-working Figaro played by Hermann Prey, via Luigi Alva's frivolous Count and the utterly ridiculous Basilio played by the outrageous Paolo Montarsolo. We're amused by their antics, as we admire the well-oiled and unstoppable machine of Rossini's theatre, under the unceasingly inventive and thrilling baton of Claudio Abbado. © François Hudry/Qobuz

Leonard Bernstein's 1953 musical Wonderful Town, with song texts by Betty Comden and Adolph Green, hasn't had frequent performances and recordings. It has lots of things going for it: one of Bernstein's memorable tunes in "Ohio" ("Oh, why-o, why-o, why ..."), a conga scene that is inadequately motivated but certainly anticipates West Side Story, and an ensemble cast conception that was certainly known to the writers of A Chorus Line 20 years later. It also has some things going against it: the number "One Hundred Easy Ways to Lose a Man" is retrograde even by the dismal standards of musical theater gender relations, and the storyline is a bit random. Bernstein seems to have acknowledged this with his concert version of the score, which showcases his tunes and his up-to-the-minute familiarity with jazz and Latin rhythms while not weighing itself down with the tale. Rattle and the London Symphony Orchestra are fine, relaxed performers in this repertory, and they deliver a performance that goes beyond usual symphony-orchestra correctness. One wonders how the topical references to American football, Kiwanis clubs, and the like, go down with overseas performers, but Duncan Rock as Wreck seems comfortable with the latter (sample "Pass the Football") and the lead female vocal duo of Australia's Danielle de Niese and the American Alysha Umphress are fine in the more universal theme of small town girls in the big city. The cast's American accents are impressively consistent, probably more so than they would be in a U.S. production, and the sound from this 2017 live recording at the Barbican keeps everything clear. © James Manheim /TiVo

The musical world owes a debt of gratitude to French conductor Christophe Rousset not only for the vital, exquisite performances he delivers with the ensembles Les Talens Lyriques and Choeur de Chambre de Namur, but for his work in bringing to light neglected masterpieces of Baroque opera. Lully's Bellérophon, premiered in 1679, was a huge success in its time, with an initial run of nine months. Part of its popularity was doubtless due to the parallels that could be drawn between its plot and certain recent exploits of Louis XV, but even the earliest critics recognized the score's uniqueness and exceptional quality within Lully's oeuvre, so it's perhaps surprising that it has never been recorded before. The distinctiveness of the music was likely a result at least in part of the fact that Lully's preferred librettist Philippe Quinault was out of favor at the court of Louis XV at the time, so the composer turned to Thomas Corneille for the libretto, and Corneille's literary and dramatic styles were so different from Quinault's that Lully was nudged out of his comfort zone and had to develop new solutions to questions of structure and the marrying of music to text. It is the first opera for which Lully composed fully accompanied recitatives, and that alone gives it a textural richness that surpasses his earlier works. The composer also allows soloists to sing together, something that was still a rarity in Baroque opera. There are several duets and larger ensembles; the love duet, "Que tout parle à l'envie de notre amour extreme!," is a ravishing expression of passion and happiness, as rhapsodic as anything in 19th century Italian opera. The level of musical inventiveness throughout is exceptional even for Lully; the expressiveness of the recitatives, the charm of the instrumental interludes, the originality of the choruses, and the limpid loveliness of the airs make this an opera that demands attention. Rousset and his forces give an outstanding performance that's exuberantly spirited, musically polished, rhythmically springy, and charged with dramatic urgency. The soloists are consistently of the highest order. Cyril Auvity brings a large, virile, passionate tenor to the title role and Céline Scheen is warmly lyrical as his lover Philonoë. Ingrid Perruche is fiercely powerful as the villain, Stéenobée, and Jean Teitgen is a secure, authoritative Apollo. Soloists, chorus, and orchestra are fluent in the subtle inflections of French middle Baroque ornamentation. The sound of the live recording is very fine, with a clean, immediate, realistic ambience. This is a release that fans of Baroque opera will not want to miss. Highly recommended. © TiVo

Jean-Baptiste Lully's Cadmus & Hermione of 1673 was arguably the first true French opera, telling a tragic story (Lully and his librettist Philippe Quinault called it a tragédie en lyrique), employing Italian-style recitatives, and collecting the varied music and dance forms of Louis XIV's opulent court into a coherent narrative that at once celebrated Louis (he is conflated with Cadmus of Thebes) and moved beyond the ceremonial nature of earlier French dramatic music. It's a sprawling work, with five acts, an overture, and a sizable Prologue with its own overture; highlights include a dragon that eats Africans, a monster snake, and a full complement of Greek gods and goddesses. Realization of the work has, until now, been beyond the means of early music performance groups, and this is the world premiere recording of the opera, made in 2019 and based on a 2008 performance at Versailles Palace by some of the same performers. The leader is Vincent Dumestre, conducting the Le Poème Harmonique orchestra and the vocal ensembles Aedes. The forces are large enough to capture the splendor of the music (thankfully, no one-voice-per-part techniques here), and Dumestre is alert to the huge variety of musical devices Lully brings to bear on his story; there are dances, big choruses, bagpipes, and much more. Cadmus & Hermione may be a difficult work to bring to life for modern audiences, but Dumestre keeps things moving along and probably comes as close as anyone could. Of course, anyone interested in the life of the French court in the 17th century will find this an essential acquisition that will keep giving and giving. © TiVo

Festival productions can be hit or miss, depending on how much time the musicians have rehearsed together, and on the chemistry between them. This CD is an absolute hit, recorded at the 20th Rossini in Wildbad Festival. The singers beautifully embody their characters, while the orchestra (Virtuosi Brunensis with Alberto Zedda) is spirited and the Transylvania State Philharmonic Choir richly supportive. The energetic overture draws the listener into the opera's world, with the requisite full orchestra crescendo one expects of Rossini; the only difficulty is that the lower voices of the orchestra are not loud enough (the orchestra may be a bit sparse). This musically spot-on introduction sets the tone for the rest of the album. All the singers have a strong sense of musicality and very clear diction (not surprising, given that many of them are singing in their native Italian): this is especially important in recitatives and in rapid-fire, chaotic, often comedic ensemble numbers that are a hallmark of Rossini. The opera is interpreted so well that the listener can easily follow along even without a libretto. Especially noteworthy are the tenor Lawrence Brownlee, who plays Lindoro, and Lorenzo Regazzo who plays the imperious Mustapha. Brownlee's tenor is very expressive with a fast vibrato, dramatic and heartfelt, even if on occasion all the notes in his melismas are not perfectly defined. Regazzo's charismatic performance recalls an earlier opera star, Tom Krause, and his character's mission and pompousness are comically conveyed. This is not to say that the other singers are any less worthy on this album, for Bruno de Simone's bass is as clear and agile as a tenor's, Marianna Pizzolato's contralto is passionate while always maintaining strong vocal control, and Giulio Mastrototaro's solo is quite enjoyable. Perhaps the only major criticism one could make of this album is that Elvira's timbre does not match the others, as it is very bright (but this is in no way a criticism of the quality of her singing). Fans of The Marriage of Figaro will most certainly like this album, as the opera deals with common themes of infidelity, separated lovers, and trickery. In sum, each element here works, from the harpsichord accompaniment to the singers to the score to the orchestra. Highly recommended and highly entertaining. © TiVo

Recordings by Polish pianist Krystian Zimerman are a rare event, and eagerly awaited by his many fans. They surely won’t be disappointed with this new opus that brings together Szymanowski, Zimerman and legendary pianist Arthur Rubinstein.Returning to his roots, Krystian Zimerman pays tribute to his compatriot Karol Szymanowski on the 140th anniversary of the composer’s birth. This selection of little-known works testifies to the importance of Szymanowski within the piano repertoire. A long twenty-eight years separate Zimerman's recording of Masques, Op. 34 (made in 1994 in Copenhagen) from the rest of the programme, which was recorded in 2022 in the exceptional acoustics of the Fukuyama Concert Hall near Hiroshima.Nevertheless, the considerable lapse of time between these recordings doesn’t detract from the album's coherence. This is thanks to Zimerman's fluid, clear and readable sound, which—as we know—leaves nothing to chance. This fascinating recording reveals various facets of Szymanowski's compositional genius and features both his mature and early works, all of which were influenced by the great Chopin.Composed during the First World War whilst staying at the family estate in Ukraine, the three parts of Masques evoke Debussy, Scriabin and Stravinsky. However, each movement is overlaid with the orientalist perspective so typical of the Polish composer. A few carefully chosen Préludes and Mazurkas stand alongside the splendid Variations on a Polish Folk Theme for piano, Op. 10, composed by a young Szymanowski still in the process of mastering his mother tongue. © François Hudry/Qobuz

Backed by the Sun King despite a lukewarm audience reception at first, Lully's Atys (1676) went on to become one of the composer's most successful operas, with revivals at French court theaters as late as 1753. In modern times, however, it is a considerably rarer item due to the massive forces and time required. Christophe Rousset was in the pit as harpsichordist when conductor William Christie gave the first modern revival of the work in the late '80s. That experience marks this 2024 release, which made classical best-seller lists at the beginning of that year. That is not common for a hefty five-act Baroque opera, but even a bit of sampling will confirm why it happened: Rousset, from the keyboard, brings tremendous energy to the opera. He pushes the tempo in the numerous dances and entrance numbers, and the musicians of Les Talens Lyriques and the singers of the Choeur du Chambre de Namur, all of whom have worked closely with Rousset in the past, keep right up. The singers in the solo roles are all fine; haut-contre Reinoud Van Mechelen in the title role and Ambroisine Bré as the goddess Cybèle, who sets the tragic plot in motion, are standouts. The sound from the increasingly engineering-expert Château de Versailles label is exceptionally clear in complex textures, and the sensuous cover art (representing, it is true, not the Roman mythological figure of Atys but Hippomène and Atalante) is a bonus. In the end, this is Rousset's Atys, and that is a very good thing.© James Manheim /TiVo

One can debate the merits of one-voice-per-part performances of Renaissance sacred music, but it is doubtless most defensible when it comes to the Catholic, Latin-language music of William Byrd, intended for small recusant groups performing in secret spaces. Singers as skilled as those of the Gesualdo Six and their director/bass Owain Park really ought to be given carte blanche to perform whatever they want, however they want. These are brilliant performances. The motets are artfully sequenced so as to place the mass movements under the microscope, and these six singers, if possible, are getting even more uncannily accurate with each new outing. Sample the gorgeous initial gesture of Ave verum corpus, where the voices take on almost woodwind-like tones. The more emotionally intense texts receive special emphasis; Tristitia et anxietas both introduces the Credo of the mass and refers to the difficult situation of Byrd and his co-religionists. However, Park never loses the sense that this is sacred music; his group doesn't begin to suggest the music of its namesake here. Hyperion has, after several albums, achieved optimal results with this sextet in the environment of the church of All Hallows, Gospel Oak, in London. A moving, often breathtaking release.© James Manheim /TiVo

"At the beginning of the twentieth century, all roads led to Paris.... violinist Manon Galy and pianist Jorge González Buajasán capture the flavor of that time of renewal and offer a glimpse of the audacity and modernity that characterized French music during those years." The problem with this is that it doesn't describe the contents very well; much of the music is from considerably earlier (Debussy's Beau soir in Jascha Heifetz's evergreen arrangement) or considerably later (Poulenc's Violin Sonata). This cavil aside, Nuits parisiennes is quite a promising debut for this young duo, whose cooperation was honed by a long acquaintance at the Paris Conservatoire. Galy is an insightful player who keeps control over the rapid flow of events in the two rather thorny sonatas at the center of the program. To surround these, the players devise a consistently delightful program that, by turns, shows Galy's way with a tune and offers some more unusual pieces, with the ragtime-y Braziliera from Milhaud's Scaramouche and his rarely heard Cinéma-fantaisie, Op. 58b, both special pleasures. This release announces the presence of an exciting new duo.© James Manheim /TiVo