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Symphonies - Verschenen op 3 mei 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Gramophone Record of the Month - 5 Sterne Fono Forum Klassik
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Classique - Verschenen op 25 oktober 2019 | Warner Classics

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Le Choix de France Musique - Choc de Classica - 5 Sterne Fono Forum Klassik
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Musique symphonique - Verschenen op 22 februari 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique
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Violon solo - Verschenen op 19 april 2019 | Channel Classics Records

Hi-Res Booklet Onderscheidingen Diapason d'or
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Lieder (Allemagne) - Verschenen op 31 mei 2019 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice - Qobuzism
Born in a small Norwegian village in 1987 (and is thus inevitably compared to her long-time compatriot Kirsten Flagstad), soprano Lise Davidsen was almost built to embody Wagnerian and Straussian heroines. For her first record under the label Decca, with whom she has signed an exclusive contract, she has chosen to present several facets of femininity in the vocal stylings of Elisabeth (Tannhäuser), Ariane (Ariane à Naxos) and… Pauline. Pauline being Richard Strauss’ beloved wife to whom he dedicated many Lieder from his opus 27 - the 1894 cycle offered to his wife as a wedding gift - until the last Vier letzte Lieder in 1948.Under the supple baton of Esa-Pekka Salonen, the Philharmonic Orchestra embraces the brassy voice of the Norwegian soprano with finesse and elegance. As you will see, this record, with its carefully devised programme, oscillates between youth and old age, in the presence of ghosts and death. You may wonder how one can express mortality at just 30 years old with such a powerful timbre, radiant health and a whole life ahead of you. The answer lies in Lise Davidsen’s voice, which upsurges as if it were a promise of immortality, the music of the last Strauss piece returning one last time to its past, to a Europe in ruins.Discovered in 1984, after the death of the singer and dedicatee Maria Jeritza, Malven (“The Mallows") is Richard Strauss’ true “last song”. Lighter in tone than the Vier letzte Lieder to which it might have belonged, it is presented here in an orchestration by Wolfgang Rihm. © François Hudry/Qobuz
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Musique de chambre - Verschenen op 3 mei 2019 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - Diapason d'or
‘The senses reign, and Reason now is dead’ (Petrarch). Giovanni Antonini, flautist and founder of the legendary Italian ensemble Il Giardino Armonico, enjoys musical voyages, the discursiveness of music. He begins with an anonymous 16th century pavane, La Morte della Ragione ("The Death of Reason"), which he believes refers to In Praise of Folly, in which its author Erasmus distinguishes between two forms of madness: ‘a sweet illusion of the spirit', and a negative form, ‘one that the vengeful Furies conjure up from hell...’. This succession of ‘musical pictures’ leads us to the threshold of the baroque era, starting out with the Puzzle Canon by John Dunstable (1390- ca.1453), whose manuscript is an enigma, via the ‘bizarre’ style of Alexander Agricola (1446- ca.1506) and his obsessive, ostinato rhythm – almost an anticipation of minimalist music… to the improvisatory freedom of the Galliard Battaglia de Scheidt (1587-1654), a battle piece involving a great many diminutions or ‘divisions’, a common technique of improvisation in the Renaissance... This grand instrumental musical fresco of time and space is a kind of self-portrait of Giovanni Antonini and his longstanding musical colleagues. To accompany this recording, a richly-illustrated booklet presents a free-ranging iconographical tour combining pictures and contemporary photos. © Alpha Classics
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Musiques pour le cinéma - Verschenen op 7 juni 2019 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen Diapason d'or
What a pleasure it is to return to Riccardo Chailly, at the head of the Filarmonica della Scala, with a collection on Rota (1911-1979) and more particularly his songs written for the great films of Fellini such as Amarcord, Huit et Demi, and La Dolce Vita! Before him, another Riccardo, Muti, had dedicated, in the 1990s, two albums with Sony Classical to the film scores of the Italian composer – with one collection on his non-cinematographic corpus. Whether Rota’s music was for cinema or the concert hall was of little importance as he rolled out, to the likes of Bernard Herrmann in the United States, a style that was true to himself where one feels his genius and prowess for evoking ambiance mixed with an incredible dexterity for the most diverse genres, as can be heard in Suite taken here from La Dolce Vita. The beginning (O Venezia, Venaga, Venusia) of the following Il Casanova di Federico Fellini, in which the chiming of the pendulum evokes the tragic destiny of the character and the harmonization of somber colors creates a sea-like atmosphere, remains without a doubt one of the most striking tracks on the album. This ambiance returns in the final part, this time all the more mind-blowing (The Dancing Doll). Often influences from the East, of Chostakovitch and Khachaturian (Il Duca di Württenberg), can be heard along with more meridian styles inherited from Italian symphonists from the end of the 19th century and the beginning of the 20th century. A passionate album not to be missed. © Pierre-Yves Lascar/Qobuz
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Concertos pour clavier - Verschenen op 19 april 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Gramophone Editor's Choice - Le Choix de France Musique
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Musique symphonique - Verschenen op 20 september 2019 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique
The two splendid works on this album resulted from Manuel de Falla's encounter with the husband-and-wife team of dramatists Martínez Sierra-Lejárraga: El amor brujo, whose eminently ‘gypsy’ inspiration takes us to the very heart of the flamenco repertory, here magnificently embodied under the direction of maestro Pablo Heras-Casado; and the brilliant pantomime El sombrero de tres picos, for which Picasso designed the sets and costumes – exactly 100 years ago! © harmonia mundi
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Musique de chambre - Verschenen op 23 augustus 2019 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - Diapason d'or
On the sleeve, musicians are waiting patiently for a metro train at the imaginary Opus 1 station. This is how the ensemble Le Consort, led by young harpsichordist Justin Taylor, frame their first recording, which is made up of  Sonatas in trio opus 1 by Jean-François Dandrieu, a French composer known for his organ music.Born in Paris in 1682, Dandrieu, like Justin Taylor, came from Angers, where his whole family lived. A child prodigy, he would perform before the Princess Palatine at the age of 5, and later he would dedicate to her this imposing collection. He then took holy orders and became the titular organist of Saint Merry, a much-sought-after post at the time. He would become the organist of the Royal Chapel of Versailles, and one of the most important musicians in the Kingdom, accumulating admiration, privileges, honours and official recognition.Published in 1705, this collection of his Sonatas in trio, presented here interspersed with sonatas by Corelli which were Dandrieu's model, is bursting with inventiveness and vocality, and it artfully blends a French spirit with Italian influence. This new album is also a meaningful wink from this young ensemble, Le Consort, which originally formed around one of these sonatas and this Opus 1, which turned out to be lucky for them. So this is at once a musical thunderclap and an homage to friendship; and it gives us a key to an overlooked, yet essential part of late-baroque French music. © François Hudry/Qobuz
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Duos - Verschenen op 15 november 2019 | Warner Classics

Hi-Res Booklet Onderscheidingen Diapason d'or
It's often said that opposites attract. On that basis, Vilde Frang has gambled on bringing together Schubert and Paganini onto one record. Far from trying to measure these composers against each other in terms of virtuosity, the Swedish violinist turns a spotlight onto their shared love of song. Sandwiched between two Caprices – the first by Paganini (Capriccio, Op. 38 after the aria Nel cor più non mi sento from La Molinara by Paisiello); and the latter by Ernst (the Grand Caprice, Op. 26, in a breathtaking transcription for solo violin based on Erlkönig) – Vilde Frang's recital deploys an incredible armada of assets in service of the music. She moves from one mode of playing to the other as if it was nothing. This confounding facility makes us forget the imposing technical demands made by the scores recorded here: Paganini's of course, but also Schubert's work. And she doesn't overburden the moving fragility of, for example, the opening of the Fantasie in C major, D.934.We should take a moment to salute pianist Michail Lifits – whom we have already seen play Prokofiev alongside Alexandra Conunova for Aparté. In the second movement Allegretto, piano and violin converse cheerily, with a grace that brings out every bit of these two much-decorated musicians' even, firm temperament. The mismatched writing recalls the Scherzo from Beethoven's Frühlingssonate, Op. 24, with added Schubertian melancholy, and further underlines the complicity between our musicians.Marvellously contrasted, these works provide a choice terrain for this incredible violinist, Vilde Frang. She follows her heart and her... caprices, to create the most varied atmospheres. Her interpretation of this Erlkönig howls like an icy blast in the dead of winter and takes your breath away. Laughter turns to horror. But a deliciously perfected horror! © Elsa Siffert/Qobuz
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Classique - Verschenen op 10 mei 2019 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or - 5 Sterne Fono Forum Klassik
2019 will see the 500th commemoration of the death of one of the greatest geniuses humanity has produced: Leonardo da Vinci, scientist, inventor, painter – and musician. Doulce Mémoire, having devoted themselves to Renaissance music for the past 30 years, have decided to pay homage to Leonardo. Their founder-director, Denis Raisin Dadre, an eminent specialist in the music of the period and a great lover of pictorial art, has devised an original programme: ‘Rather than just make music from the time of Leonardo, I’ve taken my cue from the paintings themselves. I’ve worked on what could be the hidden music of these pictures, what musical pieces might be suggested by them….’ He chose around fifteen paintings, many of which are now in the Louvre: The Baptism of Christ, The Virgin of the Rocks, Portrait of Isabella d’Este, Portrait of an Unknown Woman (La belle ferronnière), Saint Anne, St. John the Baptist… and of course La Gioconda. He then matched them with works by Jacob Obrecht (1457-1505), Josquin Desprez (1450-1521), laude for the Annunciation. There are also some frotolle, and songs to texts by Petrarch accompanied by the lira da braccio, an instrument Leonardo played himself. This recording comes with a handsome booklet, including reproductions of the pictures by Leonardo, some in detail, giving an intimate insight into them; there is also a text by Denis Raisin Dadre explaining his selection. © Alpha Classics
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Musique de chambre - Verschenen op 15 maart 2019 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or - Choc de Classica
Two years after releasing her CD dedicated to Book I of J.S. Bach’s Well-Tempered Clavier, Céline Frisch now presents the second volume of this musical landmark. Bach compiled Book II in 1744, twenty-two years after Book I. It took until 1801 for both volumes to be printed: from then until the present day they have inspired countless composers. After a series of recordings with the Ensemble Zimmermann she helped to found, Céline Frisch returns to the harpsichord recital, for a programme of this, her very favourite music. Through these preludes and fugues, she reminds us that far from being technical exercises, the Well- Tempered Clavier is a work of pure pleasure and constant renewed discovery. As Robert Schumann declared: ‘You should frequently play the fugues of the great masters, particularly those of J.S. Bach. Make the Well-Tempered Clavier your daily bread.’ © Alpha Classics
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Musique de chambre - Verschenen op 18 oktober 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique
 
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Quatuors - Verschenen op 15 maart 2019 | Warner Classics

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - Diapason d'or
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Classique - Verschenen op 22 maart 2019 | harmonia mundi

Hi-Res Booklets Onderscheidingen Diapason d'or de l'année - Diapason d'or
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Symphonies - Verschenen op 5 april 2019 | Sony Classical

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique - 5 Sterne Fono Forum Klassik
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Concertos pour violon - Verschenen op 21 juni 2019 | Warner Classics

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama
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Classique - Verschenen op 8 november 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Diapason d'or - Choc de Classica
For several years, the young Franco-Swiss tenor has been gaining a name as a heartthrob on all the great stages of the world. Perhaps thanks to his French origins, he has the perfect diction of a Georges Thill and the vocal power of a Roberto Alagna, with whom he is often compared. On the Helvetian side, Benjamin Bernheim has the class of an Ernst Haefliger or an Éric Tappy, not to mention their modesty and simplicity of style. As part of an exclusive contract with Deutsche Grammophon, he has produced this very successful début album, which presents the roles that he is currently performing in Covent Garden, Zurich, Milan, Vienna, Chicago and Paris. Having won critical acclaim for the quality of his performances, in 2018 Benjamin Bernheim gave French audiences the original 1859 version of Faust by Gounod, at a concert at the Théâtre des Champs-Elysées, with Christophe Rousset conducting. He bided his time, making no abrupt moves and working on his roles as part of the troupe at the Zürich Opera, preparing his characters patiently, with the fine psychological sense of an actor. The beauty of his natural timbre is married to his perfect diction on this first recital, which alternates between French song (Massenet, Gounod, Godard, Berlioz), Italian opera (Donizetti, Verdi, Puccini) and the Russian repertoire (Lenski's famous aria in Tchaikovsky's Eugene Onegin). This recording was made with the Prague PKF Orchestra, with Emmanuel Villaume conducting – in the generous acoustics of the Smetana Hall – over two sessions in 2017 and 2018. © François Hudry/Qobuz
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Musique vocale (profane et sacrée) - Verschenen op 4 oktober 2019 | Alpha

Hi-Res Booklet Onderscheidingen Diapason d'or
Who was Louis Gaulard Dumesny? Dumesny was not the first haute-contre historically speaking, but he was the first to have become famous in his lifetime. Sources agree that he was a cook when Lully discovered him. He made his debut in 1677 and everyone was amazed by his acting, the power of his voice and also his ability to learn everything by ear, since he could not read music. A few centuries later, Reinoud Van Mechelen, star tenor of the international Baroque scene, has decided, with his ensemble A Nocte Temporis, to pay tribute to this ‘haute-contre’ register, a high tenor voice (not to be confused with the countertenor!), by devoting three recordings to it, paying tribute in turn to Lully, Rameau and Gluck. The first part of this trilogy therefore contains the finest operatic airs and suites by Lully, featuring excerpts from Isis, Persée, Armide, Amadis, Acis et Galatée and Achille et Polyxène, but also pieces by Marin Marais (Alcide), Marc-Antoine Charpentier (Médée), Élisabeth Jacquet de La Guerre (Céphale et Procris), Henry Desmarets, Pascal Colasse, Charles-Hubert Gervais and André Cardinal Destouches. © Alpha Classics/Outhere