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Barber of Seville (The) (Highlights)
Franco de Grandis
Classical - Released July 24, 1997 | Naxos
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Thalberg: Piano Works
Francesco Nicolosi
Classical - Released May 14, 2021 | Naxos
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Couperin: Concerts
Emanuel Abbühl
Classical - Released April 5, 2024 | Genuin
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Monteverdi: Daylight. Stories of Songs, Dances and Loves
Rinaldo Alessandrini
Classical - Released November 5, 2021 | naïve
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Piano Works by Chopin, Clementi, Haydn, Moszkowski, Scriabin & Schumann (Les indispensables de Diapason)
Vladimir Horowitz
Classical - Released April 1, 2023 | Les Indispensables de Diapason
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Cello 360
Christian-Pierre La Marca
Classical - Released November 27, 2020 | naïve classique
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This new concept album confirms an already well-established trend, that of a new generation of young classical musicians who feel stifled by their repertoires and want to open the doors to freedom, or to what they see as freedom. In Cello 360, Christian-Pierre La Marca created a work for solo cello without any accompaniment, totally cross-genre, which pays no heed to temporal or stylistic boundaries. It runs from Marin Marais to Dutilleux, from Purcell to Ligeti, from Thierry Escaich to Charlie Chaplin and The Beatles with disarming ease and a technical mastery which lets him give free rein to his artistic expression. Having only one (beautiful) instrument at his disposal, he plays with different bows, which prove so important for the production of sound, attack, power and rhythmic subtlety. He also selects different acoustics and sound recording techniques to match his chosen works. His album, which doesn't belong in any one realm, defies classification. © François Hudry/Qobuz
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Diva Eterna
Montserrat Caballé
Classical - Released October 4, 2019 | Sony Classical - Sony Music
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"Dear Mademoiselle": A Tribute to Nadia Boulanger
Astrig Siranossian
Classical - Released November 6, 2020 | Alpha Classics
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An emblematic figure of her time, Nadia Boulanger (1887-1979) taught and inspired several generations of musicians, from Igor Stravinsky to Quincy Jones. Her musical and pedagogical philosophy, demanding yet highly stimulating, influenced the entire twentieth century. Astrig Siranossian, a rising star of the cello, is fascinated by this musical personality whom everyone respectfully called ‘Mademoiselle’. She met some of her most illustrious students, including the late Michel Legrand, and Daniel Barenboim who has agreed to accompany her in a piece on the album. With the pianist Nathanaël Gouin, she has devised a very eclectic programme, including the Three pieces for cello and piano written by Nadia Boulanger in 1915, three years before the death of her sister Lili. A wide-ranging album, featuring Igor Stravinsky’s Suite italienne, Elliott Carter’s Cello Sonata, Astor Piazzolla’s Le Grand Tango, Tissue No. 7 by Philip Glass, Soul Bossa Nova by Quincy Jones, and music by Michel Legrand and others. © Alpha Classics
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Karol Szymanowski: Piano Works
Krystian Zimerman
Classical - Released September 30, 2022 | Deutsche Grammophon (DG)
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Diapason d'or -
Choc de Classica
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
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Johann Sebastian Bach: The Complete Works for Keyboard, Vol. 8: Köthen, 1717-1723 - For Maria Barbara
Benjamin Alard
Classical - Released May 12, 2023 | harmonia mundi
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The new delivery of the complete works for keyboard of Johann Sebastian Bach (Volume 8), brought to us by harmonia mundi, and featuring Benjamin Alard on the harpsichord, clavichord, and organ, is centred around the composer’s work while he was with his first wife, Maria Barbara. Featuring 3 CDs, or 85 tracks in this digital version, it brings together a series of compositions for educational purposes. On the one hand the Inventions and Sinfonias, on which all apprentice pianists and harpsichordists have tried their hand, and, on the other hand, the six French Suites probably composed to perfect the musical skills of their eldest son, Wilhelm Friedemann.They are “French” only in virtue of the apocryphal title which was given to them after Bach’s death. We find no trace of this mentioned on the original manuscripts. Bach's music also escapes strict classification, even if the influence of Couperin can be quite clearly perceived in this vast corpus, demonstrated by Benjamin Alard’s clever introduction of some Preludes by the French composer as an epigraph to the French Suites of Bach. Above all, these pieces are reminiscent of his own genius, with various influences intended to create a world belonging to the Cantor.Faithful to his organological research, here Benjamin Alard uses a pedal clavichord like that built by the French organ maker, Emile Jobin. The colour of this discreet instrument is simply bewitching. A sort of fruitiness is exuded, the full depth and subtlety of which can be savoured, notably in the Pedal-Exercitium, BWV 598 and in the transcription for keyboard of the famous Chaconne - Second Partita, initially composed for the violin. We also like the golden tones of the Couchet harpsichord from 1645, "restored" (modified later) by Blanchet in around 1720. We find the entirety of Benjamin Alard’s skill in this new recording; his science which illuminates complicated polyphony, his clean energy, and his curiosity for fascinating worlds of sound. © François Hudry/Qobuz
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The Complete Warner Recordings 1972 -1980
Itzhak Perlman
Classical - Released September 25, 2015 | Warner Classics
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Kagami - Mirror
Kaori Uemura
Classical - Released September 1, 2023 | Ramée
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Casta Diva - Operatic arias transcribed for trumpet
Matilda Lloyd
Opera - Released April 28, 2023 | Chandos
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Five years after her solo debut recording, Direct Message, which programmed 20th and 21st century works for trumpet and piano, trumpet player Matilda Lloyd departs the traditional repertoire (aside from the two Arban arrangements from the Complete Conservatory Method for Trumpet). Instead of following more well-worn routes, Lloyd elects to present a program of Romantic period opera arias, mostly in arrangements for trumpet and chamber orchestra (undertaken here by the Britten Sinfonia under Rumon Gamba) by William Foster, who worked closely with Lloyd on this project. Lloyd's skill as a musician is evident throughout, though the two Arban tracks most clearly allow her abilities to shine. The arrangements throughout are good, though how much they add to the performances rather than transcriptions and transpositions is up for debate. Lloyd notes with excitement the decision to include two pieces by Pauline Viardot, and one of the highlights here is the treatment of Viardot's Havanaise. This is certainly a trumpet release aimed at a wider audience than trumpet and brass circles, and it has already found success on the retail market. Chandos delivers just the right atmosphere from the Church of St. Augustine, Kilburn, in London. The future is bright for this trumpeter, and one looks forward to where her path may take her.
© Keith Finke /TiVo
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Mio caro Händel
Simone Kermes
Classical - Released February 8, 2019 | Sony Classical
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While the German soprano follows in the footsteps of Cecilia Bartoli, her virtuoso voice separates her fans from the purists who prefer a less fanciful vocal-line. This long-awaited new album from Simone Kermes shows off her masterful voice in almost every register and there is no sign of the excessiveness for which she has previously been criticised. Typically referred to as a “Ba-rock” star, some people are irritated by her gestures and extreme theatrics during her concerts, but those mannerisms are long forgotten here in the absence of any images. The title of the album, “Mio caro Händel”, says a lot about the affinity Simone Kermes feels with the Saxon composer. She has selected his most popular pieces, such as Ombra mai fù(Largo of Love), Piangeró la sorte mia(I will lament my fate) and Lascia ch’io pianga(Let me weep), along with some much less well-known pieces, which are some of the most wonderful revelations and rare musical gems on the album. The singer recorded this testimony of love to Händel in Berlin’s famous Jesus-Christus-Kirche in 2018 accompanied by Amici Veneziani, an ensemble put together especially for her which mostly comprises of German musicians and is led by Russian violinist Boris Begelman. As a great traveller who went all over Europe, this captures Händel’s European spirit perfectly. © François Hudry/Qobuz
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Rossini: Figaro? Sì!
Florian Sempey
Classical - Released April 22, 2022 | Alpha Classics
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The French baritone Florian Sempey has established himself as a key player on today’s operatic scene. For his first solo recital, Rossini was the obvious choice, first of all because he has already performed the title role in Il barbiere di Siviglia in the leading opera houses, from Paris to London, and of course by way of Orange and Pesaro. But there is another reason: "Rossini was the first composer’s name I heard in my life. At my grandparents’ house, there was a bust above the piano, on a little rococo display stand" - the bust that appears on the cover of this album. "Rossini’s music is a challenge for singers and also a great and very strict technical training for them. It calls for the highest standards and degree of precision". This programme presents arias in French and Italian, mingling the most famous (including Figaro’s "Sono il factotum") with rarities such as Germano’s aria from La scala di seta and Don Parmenione’s from L’occasione fa il ladro. It also includes magnificent duets with two dream partners, Karine Deshayes and Nahuel Di Pierro. And who better to conduct the Orchestre de l’Opéra National Bordeaux Aquitaine than the accomplished Rossinian Marc Minkowski, who gives this music an inimitable sparkle? © Alpha Classics
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Rossini : The Barber of Seville (Highlights)
The Chamber Orchestra of Europe
Opera Extracts - Released January 1, 1972 | Deutsche Grammophon (DG)
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Tchaikovsky: Symphony No. 5 & Schulhoff: Five Pieces
Pittsburgh Symphony Orchestra
Classical - Released July 28, 2023 | Reference Recordings
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Gramophone: Recording of the Month
This release made classical best-seller lists in the summer of 2023. It might seem that few listeners would be moved to add yet another version of Tchaikovsky's Symphony No. 5 in E minor, Op. 64, to their collections, but this is one of the strongest readings to come along in some years. Conductor Manfred Honeck and the Pittsburgh Symphony have specialized in big, bold interpretations of traditional Romantic repertory, and this one is no exception. It is an intense, brooding Tchaikovsky Fifth in the vein mined by the great Russian conductors of the middle 20th century (Honeck is not afraid to let the brass blare), and parts of it are really transcendent. After a bleak, moody first movement, hear the perfectly suspended horn solo in the second movement, sneaking in quietly at first, almost beneath notice. This is a virtuoso piece of playing, and even those not enamored of everything Honeck does will be hard-pressed to contend that he has not raised the Pittsburgh Symphony, which he has led since 2008, to the top rank of American orchestras. The work that rings down the curtain of this live recording is also unusual; the orchestration of Erwin Schulhoff's Five Pieces for String Quartet is by Honeck himself, with Tomás Ille. Another draw here for physical album buyers is the set of detailed booklet notes by Honeck; few conductors do that, and they offer plenty of insight into his interpretations. Top it off with clean live sound from Pittsburgh's Heinz Hall (no audience noise or applause), and the result is a superior Tchaikovsky recording.© James Manheim /TiVo
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Robert Schumann: Complete Piano Trios, Quartet & Quintet
Trio Wanderer
Chamber Music - Released April 30, 2021 | harmonia mundi
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Diapason d'or -
Diapason d'or / Arte
Constantly shifting from the most impulsive exuberance to the most restrained meditation, from the most intense passion to the most innocent tenderness, this programme forms a representative panorama of Schumann’s chamber music. Going beyond the Piano Trios, which already give us a fully rounded account of Schumann, the Trio Wanderer have invited their favourite partners to join them for their interpretation of two supreme masterpieces, the Piano Quartet and Piano Quintet. © harmonia mundi
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Mozart & Contemporaries
Víkingur Ólafsson
Classical - Released September 3, 2021 | Deutsche Grammophon (DG)
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Between tradition and modernity - Víkingur Ólafsson's repertoire is extremely extensive and spans several centuries. In his previous recordings, contemporary composers such as Philip Glass play just as important a role as the early music by Bach, or the impressionistic sounds of Debussy. He himself describes such a diverse repertoire in a simple way: "I see all music as contemporary music, I don’t make a distinction". Now, on his new and thus fourth Deutsche Grammophon album, the Icelandic pianist covers another century with Mozart and his contemporaries. At first glance, the program seems a bit thrown together: In addition to various piano works by Mozart, you’ll find selected works by Carl Philipp Emanuel Bach and Joseph Haydn, as well as their Italian colleagues Baldassare Galuppi and Domenico Cimarosa who pop up in between. However it quickly becomes clear that Ólafsson is once again immersing himself in a new musical era and wants to draw as much as possible from it before presenting it to the listeners. And this is done amazingly well! The pianist manages to reflect the German-Italian influence of the early and high classical period, in the midst of the 18th century, in a uniquely versatile way. In addition to extreme precision, there is also an impressive lightness to his playing at the same time. Another special feature of this album are Ólafsson's self-penned arrangements of Mozart's Adagio in E-flat major, the third movement from the original String Quartet No. 3 in G minor, K. 516, as well as to Cimarosa's Sonatas No. 42 and No. 55. Here one can discover the performing musician in the role of co-creator at the same time - Ólafsson deals with the music with hair-pin precision and provides it with his personal sensual Icelandic, and, indeed, contemporary touch. © Lena Germann/Qobuz
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Florence Price: Piano Concerto in One Movement; Symphony No. 1 in E Minor
Jeneba Kanneh-Mason
Classical - Released June 23, 2023 | Decca Music Group Ltd.
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Fifteen years in advance of this 2023 release, the name of African-American composer Florence Price was known mostly to specialists in the field of African-American music in her native U.S. The discovery of a large cache of her manuscripts in 2009, which included the Piano Concerto in One Movement heard here, helped her reputation along, but of most importance has been the warmth and accessibility of her music, which approaches the fusion of European and African American elements in consistently fresh ways. The final section of the Piano Concerto in One Movement and the third "Juba" movement of the Symphony No. 1 lay on the syncopation, but that is not the only arrow in Price's quiver. Consider the concerto's second part (although titled "Concerto in One Movement," it has three distinct sections, marked by short pauses), which doesn't quote anything but has an indefinable air of African American song. Pianist Jeneba Kanneh-Mason catches this and brings out how Price is often at her best when she is most subtle. Anyone who has attended some student recitals in the U.S. knows how young musicians have taken to Price's music, and it seems to fit Kanneh-Mason's personality nicely; there is a spontaneous, enthusiastic quality to her playing, and she is confident in the technically difficult, Rachmaninov-influenced music of the concerto's first movement. The Chineke! Orchestra lacks a certain snap in the really syncopated sections of the Symphony No. 1, but on balance, this is a recording likely to contribute to Price's growing international popularity; various factors cohere to make it a satisfying listen.© James Manheim /TiVo
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