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La symphonie des oiseaux
Shani Diluka
Classical - Released January 27, 2017 | Mirare
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Charles Koechlin : Orchestral Works
Heinz Holliger
Symphonic Music - Released October 13, 2017 | SWR Classic
Booklet
Distinctions
Diapason d'or -
Choc de Classica
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Messe pour le temps présent
Pierre Henry
Electronic - Released January 1, 1967 | Universal Music Division Decca Records France
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Though it's perhaps Henry's best-known work, Messe Pour le Temps Présent isn't the best display of the powers of musique concrète. Similar to the glut of crossover Moog rock albums around the same time, Henry's occasional bursts of searing computer static are accompanied by a faux '60s go-go beat. It's an intriguing release, but works better for novelty fans and beginners who would rather have a gradual immersion into musique concrète. It earns its stars, however, for its reissue on a French CD that also includes several of Henry's other compositions, including "Variations Pour une Porte et un Soupir."© John Bush /TiVo
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Babel
Jean-Louis Murat
French Music - Released October 13, 2014 | [PIAS] Le Label
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4F de Télérama
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Bryn Terfel: The Verbier Recital
Bryn Terfel
Classical - Released May 27, 2022 | Verbier Festival Gold
Over the years, the Verbier Festival has earned a global reputation for bringin together the world’s biggest stars and promising young artists. Recently, the Swiss festival joined forces with Deutsche Grammophon and announced the launch of the Verbier Festival Gold label, which intends to publish the festivals vast archives at a rate of one publication per month. After Verdi’s Requiem conducted by Gianandrea Noseda and an album dedicated to pianist Yuja Wang, here we have Bryn Terfel’s recital which he performed in the Alps with pianist Llyr in 2011.In the nineteenth century, the beautiful Swiss mountains inspired the imaginations of numerous writers, painters and musicians. A regular at this festival, Bryn Terfel focused his recital programme on a small number of Schubert Lieder, including the sumptuous Liebesbotschaft (“Love message”), as well as Schumann’s great Liederkreis, Op. 39. It was fitting that he performed this with the Swiss Alps as a backdrop.The Welsh baritone had already recorded the vast Schumann cycle for DG with Malcom Martineau in 1999, and his vocals are equally breath-taking in this Verbier recording. His sensational diction and phrasing are coupled with beautiful expression. Something that really stands out on this recording is the increased power in his vocals, likely a result of the audience’s support and his recent involvement with Wagnerian operas that no doubt helped expand and strengthen his bass tone. Somewhat curiously, this high-level recital continued with Jacques Ibert’s Chansons de Don Quichotte and the Five Shakespeare Songs by British composer Roger Quilter. Bryn Terfel and his pianist generously provided numerous encore performances, appeasing the insatiable audience that kept asking for more. © François Hudry/Qobuz
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Schubert: Schwanengesang etc
Dietrich Fischer-Dieskau/Gerald Moore
Classical - Released January 1, 2001 | Warner Classics
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Wanderer
Andreas Scholl
Classical - Released January 1, 2012 | Decca Music Group Ltd.
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5 de Diapason -
4 étoiles Classica
German countertenor Andreas Scholl is known not only for his gorgeous voice, but gutsy programming, and he may never have been more gutsy than in this set of German Romantic and proto-Romantic (an important distinction of which more in a moment) songs. It's pretty clear that any of the composers included on this album would have doubled over with laughter at the idea of hearing his music sung by a countertenor, and the highly gendered quality of the music of the 19th century is one of its primary motivating forces. Thus there's real excitement in hearing that Scholl does, in fact, pull it off. Quoted in the notes, he offers the expected platitudes about how what matters in singing lieder is not voice type but connection with the music. Yet there's more than that to what's happening here. Scholl does not simply program a typical lieder recital; rather, he tailors his repertoire to his unusual voice. Haydn, with three songs, and Mozart (two) are overrepresented, and this helps bridge the acceptance gap: the simple, folklike melodies of these songs (Haydn's are in English) require less suspension of disbelief than do the full-blown Romantic pieces. Moving into Schubert, Scholl makes some interesting choices. The famed Ave Maria is a piece of sheer Italianate melody that works beautifully in Scholl's voice; it's of a piece with any number of his earlier recordings. In Der Tod und das Mädchen, D. 531 (Death and the Maiden, the source of a tremendous set of variations in one of Schubert's string quartets), Scholl sings both of the dialogic parts himself: the Maiden is his usual countertenor voice, while he sings Death as a baritone. The strangeness of this leapfrogs, as it were, that of hearing a countertenor sing Schubert. Add to these the fact that Scholl mostly avoids songs with romantic and erotic themes, and it adds up to an album that continually surprises rather than one that is trying to force something into a mold where it doesn't belong. Accompanist Tamar Halperin stays mostly out of the way, which is the right thing to do, and in all Scholl can claim another in his string of triumphs, even if it's maybe not the first one for newcomers to start out with.© TiVo
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Schubert: Schwanengesang D. 957 / Brahms: Vier ernste Gesänge, Op. 121
Thomas Quasthoff
Classical - Released January 1, 2001 | Deutsche Grammophon (DG)
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Schubert: Messe No. 6, Octuor & Le Chant du cygne
Various Artists
Classical - Released December 31, 2021 | Les Indispensables de Diapason
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Koechlin: Vocal Works With Orchestra
Heinz Holliger
Classical - Released January 1, 2004 | SWR Classic
This set of the vocal works with orchestra by Charles Koechlin has everything going for it. First, with eight of the nine works being world-premiere recordings, most of the music here is terra incognita to even the most determined fan of the decadently voluptuous music of la belle epoch. Second, with aching chromatic melodies, yearning chromatic sonorities, and vibrant orchestral colors, all of the works here are examples of Wagner-influenced French music at its best. Third, with her sumptuous tone and passionate interpretations, Juliane Banse's singing is wholly convincing and utterly compelling. Fourth, with the accomplished former-oboist-turned-conductor Heinz Holliger on the podium, the accompaniment is scrupulously polished and thoroughly sympathetic. Fifth, with the professional but dedicated playing of the SWR Radio-sinfonieorchester Stuttgart and the committed singing of the SWR Vokalensemble Stuttgart, Holliger has a wonderful group of musicians to work with. Sixth, with Hänssler's full, deep, rich sound, Koechlin, Banse, Holliger, and the Stuttgart musicians are represented in a recording that does them all justice. For those who know and love the orchestral songs of Debussy, Ravel, and Chausson, these songs by Koechlin will provide hours of pleasure.
© TiVo
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Au-delà des rêves
Gérard Lenorman
French Music - Released January 1, 1977 | Legacy Recordings
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Le chant des femmes bulgares
Chœur de Femmes de Sofia
World - Released January 1, 1988 | Naïve Jazz - world
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Le Chant du Cygne, D 957
Ernst Haefliger
Vocal Music (Secular and Sacred) - Released January 1, 1986 | Claves Records
Schwanengesang (Chant du cygne)
Benjamin Luxon
Art Songs, Mélodies & Lieder - Released March 1, 2003 | Chandos
Booklet
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David & Jonathas
Gaétan Jarry
Classical - Released June 9, 2023 | Château de Versailles Spectacles
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Offenbach: La Princesse de Trébizonde
Paul Daniel
Opera - Released September 22, 2023 | Opera Rara
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Gramophone: Recording of the Month
The Opera Rara label and company, true to their name, resurrect forgotten operas. There is an abundance of those in the output of Jacques Offenbach, who wrote some 100 operettas and opéras bouffes, few of which are remembered today. Opera Rara made a good pick with La Princesse de Trébizonde (1869), and this release made classical best-seller charts in the autumn of 2023. Offenbach is as full of good, Arthur Sullivan-like tunes as ever, and he even discarded a number of them from the operetta's original production in Baden-Baden in the process of preparing a new version for Paris. Those discarded pieces are included here, and there could hardly be a better testimony to Offenbach's melodic fecundity. Better still is the action, taking place in a carnival sideshow and suggesting all kinds of ideas for a production set in modern times. It is gloriously preposterous even by operetta standards. A girl, Zanetta, accidentally breaks the nose off a wax figure of the Princess of Trébizonde and agrees to stand in for the figure herself. A prince (a pants role) -- who has dropped a lottery ticket into the till in lieu of paying admission -- falls in love with the "Princess." Meanwhile, the lottery ticket, with a castle as the prize, comes up a winner and overturns the relationships between rich and poor. The comic scenes thus spawned are handled with the needed high spirits by the cast and the several choruses (executed by Opera Rara's remarkable house chorus), and conductor Paul Daniel is ideal in this genre, consistently pushing the tempo just slightly in order to bring the forward momentum. This recording is based on a 2022 London production but is a "cast recording," not a live one, and it is quite clear sonically. La Princesse de Trébizonde has been recorded only twice before, once in Russian (!) and once for French radio in 1966; this sprightly performance is much needed.© James Manheim /TiVo
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Schubert: Lieder with Orchestra
Munich Radio Orchestra
Classical - Released October 6, 2023 | BR-Klassik
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Booklets
One might react to this album with initial annoyance and ask whether it is really necessary to hear orchestrated versions of Schubert's supremely pianistic songs. It may come as a surprise, then, to find that most of these Lieder with Orchestra were arranged by great composers. They include Benjamin Britten, Jacques Offenbach, and Max Reger, who took on the job because, he said, he hated to hear a piano-accompanied song on an orchestral program. Perhaps the most surprising name to find is that of Anton Webern, but his arrangements are not the minimal, pointillistic things one might expect; he wrote these arrangements as a way of studying Schubert's music, and they are quite straightforward. Indeed, it is somewhat difficult to distinguish the arrangers simply by listening to the music; Schubert's melodic lines tend to suggest distinctive solutions. Perhaps Reger's are a bit more lush than the others, although his version of Erlkönig, D. 328, is one of the few numbers here that just doesn't work (there is no way to replicate the percussive quality of the accompaniment). As for the performances as such, Benjamin Appl is clearly an important rising baritone, and he has a wonderful natural quality in Schubert. An oddball release like this might seem an unusual choice for a singer in early career, but he contributes his own notes, and he seems to have undertaken the project out of genuine enthusiasm for the material. At the very least, he has brought some intriguing pieces out of the archives and given them highly listenable performances. The Munich Radio Orchestra, under the young Oscar Jockel, is suitably restrained and keeps out of Appl's way. This release made classical best-seller lists in the autumn of 2023.© James Manheim /TiVo
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