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Volledige opera's - Verschenen op 2 november 2018 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - 5 étoiles de Classica
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Volledige opera's - Verschenen op 7 juni 2019 | Aparté

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
While Mozart was largely overlooked in the French capital, Antonio Salieri took on the reigns of the Académie Royale de Musique (Paris Opera), a fruitful collaboration that was completely broken up by the French Revolution. After the success of his work Les Danaïdes, composed for Paris in 1784, Salieri worked tirelessly with Beaumarchais, spurred on by the success and scandal of his Figaro, on a new project which would become Tarare. Beaumarchais moved himself shamelessly toward stardom, skillfully self-promoting and attending rehearsals so as to assure that the orchestra played pianissimo to emphasize the primacy of his verse during performances. Beaumarchais found that the music was too overwhelming to “embellish the lyrics”.Created one year after Mozart’s The Marriage of Figaro (which was relatively well-received in Vienna before triumphing in Prague), Tarare was an immense success in Paris maintaining the status of the composer’s repertoire despite the political turmoil of the time before disappearing from view around 1826, thereon ceasing to be played. Beaumarchais’ words were immediately adapted into Italian by Lorenzo Da Ponte to be performed and met with equal success in Vienna. Tarare is half lyrical tragedy, half comic opera with a hint of orientalism.After resuscitating Les Danaïdes and Les Horaces, Christophe Rousset finished off his series of recordings dedicated to Salieri’s French operas for the Parisian public. Tarare is very much of its time, that of the Lumières, and used the power of art to challenge despotism in all its forms. Thanks to Christophe Rousset’s excellent delivery and lively direction, this recording enables one to judge the merits of the composition and the chasm that separates an honest and talented musician from a solitary and impassioned one like Mozart. © François Hudry/Qobuz
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Ouvertures - Verschenen op 16 november 2018 | PentaTone

Hi-Res Booklet Onderscheidingen Diapason d'or - Exceptional sound
From the moment they were performed, Gioachino Rossini’s overtures have enjoyed the status of colourful, elegant orchestral showpieces. With their sweet cantilene, their rich harmonies, their brilliant orchestration, and their powerful and exciting rhythmic drive, these overtures encapsulate all that was modern, exhilarating and electrifying in Rossini’s music, yet maintain their freshness and attraction to modern audiences. This album features a collection of Rossini overtures, taken from less well-known operas such as La Scala di seta, Tancredi, La gazza ladra, Matilde di Shabran and Semiramide, as well as from the classic comic operas L’italiana in Algeri and Il barbiere di Siviglia, concluding with the preludes to Rossini’s French operas Le siège de Corinthe and Guillaume Tell, in which the composer explored musical Romanticism. The overtures are performed by the Orchestra del Teatro Comunale di Bologna, which has played a seminal role in the Rossini renaissance of the last three decades. The orchestra is led by its Musical Director Michele Mariotti. Being born in Rossini’s native town Pesaro, Mariotti cherishes a life-long affinity with the city’s most famous son, and is commonly considered as one of the outstanding Rossini conductors of his age. He frequently works with the world’s most prestigious opera houses. © Pentatone
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Piano solo - Verschenen op 15 maart 2019 | Decca Music Group Ltd.

Hi-Res Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 19 oktober 2018 | PentaTone

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
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Klassiek - Verschenen op 12 oktober 2018 | ECM New Series

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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Symfonieën - Verschenen op 18 januari 2019 | Sony Music Labels Inc.

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Opera - Verschenen op 26 oktober 2018 | SDG

Hi-Res Booklet Onderscheidingen Gramophone Record of the Month
Il ritorno d’Ulisse in patria by Monteverdi poses a lot of problems for modern performers. There exists no definitive manuscript – although one may doubt how much people bothered back then with "definitive" versions of works which were re-written from one performance to the other, depending on the singers and instrumentalists that were on hand, the tastes of this or that star, the diktat of the Church – and the only copy dating from the composer's time, discovered in Vienna in 1881, is incomplete. When we try and compare this manuscript with different copies of the libretto which are still around today, the difficulties only increase. For this recording by Sir John Eliot Gardiner and the English Baroque Soloists, recorded live at concerts in September 2017, the decision was taken to fill in everything that could be filled in with a few passages borrowed from earlier works by Monteverdi. The Return of Ulysses dates from 1640, when Monteverdi was 74 years old, so there was a lot to choose from for these fillers. This version is almost certainly the closest approximation we have to the original yet, the singers have worked hard to give the most accurate reproduction possible of the vocal inflections demanded by the various formats employed by Monteverdi. These inflections are often very declamatory and sometimes sung to the fullest. The recitations and the melodies, the ensembles and the choirs: everything is treated with the utmost care and the effort put into contrast and clarity only enhances the quality of this recording. A magnificent rendition. © SM/Qobuz
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Klassiek - Verschenen op 16 november 2018 | harmonia mundi

Hi-Res Booklet
The famous Ballet Royal de la Nuit, danced on by Louis XIV when he was fifteen years old, was performed at the Louvre in 1653 over seven evenings. It was a complete success: Mazarin, back from exile after the Fronde, wanted to make an impact with this ballet he had conducted himself: the goal was to impose respect for the aristocracy, impress Parisians, and spread the royal message through the ambassadors. Without a doubt, the Ballet Royal de la Nuit was one of the most striking spectacles of Louis XIV’s reign, on many levels: politically, institutionally, aesthetically, and musically. For the first time, a score had been built around four parts and a final ballet with everything working towards the same objective: staging a sunrise. The King himself danced, as well as his brother and several Dukes. Characters, scenes, decors and costumes perfectly encapsulate the Great Century. Each verse alternates between whimsical, serious, comic, burlesque, mythological, and Romanesque. As previously mentioned the objective is to impose a royal figure above all others, whilst creating a never seen proximity between the monarch and his subjects. With each part, ladies of the court, hunters, gods, bandits, cripples, soldiers, Egyptians, etc. coexist freely. The show highlights everything that goes on at night, when the good people are asleep. The message is clear: ”The Sun that follows me is the young Louis!”, and yet, after 1653, the Ballet Royal de la Nuit was never performed again. On top of this, the ballets partition – authored by several composers as it was a collective work – was lost with the exception of the first violin part, copied by Philidor a few decades later. However, the vocal music was retrieved, as well as the score. The work had to be pieced back together, a colossal task: this is a “pastiche” in the historic meaning of the word, but fantastically convincing. The excellent accompanying booklet for this wonderful recording by Sébastien Daucé and his Correspondances Ensemble cites all the sources that were used for the reconstitution. © SM/Qobuz
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Symfonieën - Verschenen op 1 maart 2019 | Decca Music Group Ltd.

Hi-Res Booklet
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Opera - Verschenen op 9 november 2018 | Naxos

Hi-Res Booklet
The Tetralogy in China: even Wagner himself would never have dreamt it, even in his wildest dreams of world conquest armed with his "Gesamtkunstwerk". But Hong Kong Philharmonic finished recording the Götterdämmerung in January 2018, led by their musical director Jaap van Zweden. It is the product of four years of public performances and live recordings, a fine recipe for preserving the vivaciousness and continuity of the work. And if Wagner had had such a high-quality orchestra at his disposal, maybe he would have had the Bayreuth festival set up on the bank of the Pearl River in order to see real justice done for his masterpiece... The record itself brings in some of the most experienced voices of the time. The "touchstone versions" have some stiff competition in the form of this new complete edition. The Hong Kong Philharmonic may lack some of the sometimes-weighty "traditions" of some other outfits, but they play this music as if it had just been written… © SM/Qobuz
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Klassiek - Verschenen op 19 oktober 2018 | Warner Classics

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Kamermuziek - Verschenen op 3 mei 2019 | audite Musikproduktion

Hi-Res Booklet
After forays to Spain and France, the Cheng2 Duo ventures to Russia for their third audite album. The "Süddeutsche Zeitung" described Bryan and Silvie Cheng's last CD, dedicated to Spanish music, as an "event of austere and severe, but also dreamy beauty", and praised the siblings' interpretation for "finding the correct idiom which manages to raise the temperature". Their new double album centres on the three great sonatas for cello and piano by Dmitri Shostakovich, Sergei Rachmaninov and Sergei Prokofiev. The Cheng2 Duo contrasts these with a series of shorter pieces by Anton Arensky, Piotr Ilyich Tchaikovsky and Alexander Glazunov. This comprehensive programme represents a short history of Russian cello music which began with the foundation of the great music conservatoires in Saint Petersburg and Moscow in the middle of the nineteenth century. Cellist Bryan Cheng is hailed internationally for his "absolutely astonishing" (La Presse, Montréal) command of the cello, and "abundant facility, innate musicality, and sense of joy" (New York Concert Review). He made his solo debut at age 10 with the Orchestre de chambre I Musici de Montréal, his Carnegie Hall recital debut at 14, and most recently, his Elbphilharmonie solo debut with the Deutsche Kammerphilharmonie Bremen and conductor Joshua Weilerstein in 2018. Lauded for her "extraordinarily varied palette" (WholeNote Magazine) and "purely magical" playing (New York Concert Review), pianist Silvie Cheng illuminates musical works with her exquisite touch at the keyboard. Since her Carnegie Hall solo debut in 2011, she has performed as both soloist and collaborative pianist across the globe. As guest soloist with orchestra, Silvie most recently made her debut with the New Amsterdam Symphony Orchestra in 2018 and will debut with Symphony Nova Scotia in the 2019-20 season. © Audite
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Liederen - Verschenen op 5 juli 2019 | PentaTone

Hi-Res Booklet
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Klassiek - Verschenen op 2 november 2018 | Decca Music Group Ltd.

Hi-Res
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Klassiek - Verschenen op 12 april 2019 | PentaTone

Hi-Res Booklet
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Klassiek - Verschenen op 20 april 2019 | Les Belles Ecouteuses

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Klassiek - Verschenen op 5 april 2019 | PentaTone

Hi-Res Booklet
In Rossini’s Petite Messe sollenelle (1863-1867), sacred tones blend in seamlessly with allusions to his comic operas. “Is this sacred music which I have written or music of the devil?”, the composer tellingly asked himself in a personal letter. Rossini’s enigmatic but highly enjoyable mass demonstrates his rich musical palette, ranging from “archaic” remnants of Bach, Haydn and Mozart to harmonic audacities that point towards the music of Fauré and even Poulenc. Despite this stylistic range, the Petite Messe sollenelle sounds unmistakably Rossinian, and continues to enchant audiences to this day. Initially composed for a small ensemble of singers accompanied by two pianos and a harmonium, the piece is presented here in Rossini’s orchestration. © Pentatone
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Klassiek - Verschenen op 19 oktober 2018 | PentaTone

Hi-Res Booklet
This album offers a testimony to Stravinsky’s overwhelming musical heritage, covering all the phases of his creative life. Igor Stravinsky (1882-1971) is twentieth-century music ! More than any other composer, he continued to develop his compositional style throughout his seven-decade-spanning career, innovating and adopting all the most important musical trends of his century. Historically, the musical journey starts with one of the first recordings of the recently rediscovered Funeral Song (1909), composed as a tribute to his teacher Rimsky-Korsakov. The next phase in his development is represented with the raw but tremendously refined Rite of Spring (1913), Stravinsky’s most famous work that created a scandal at its Paris world premiere, and immediately turned him into a star. His Neoclassical style is showcased by Jeu de cartes (1937) and the Concerto in D (1947), whereas Agon (1957) presents Stravinsky’s original take on Schoenberg’s serialism. © Pentatone
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Klassiek - Verschenen op 27 januari 2019 | Everest

Hi-Res Booklet