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Piano solo - Verschenen op 11 september 2015 | Sony Classical

Hi-Res Booklet Onderscheidingen Diapason d'or - The Qobuz Ideal Discography
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Musique de chambre - Verschenen op 15 juli 2013 | naïve classique

Hi-Res Booklet Onderscheidingen Diapason d'or - 10 de Répertoire - Gramophone Editor's Choice - Hi-Res Audio
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Classique - Verschenen op 9 september 2016 | ECM New Series

Hi-Res Booklet Onderscheidingen Diapason d'or - Choc de Classica - Exceptional Sound Recording - 5 Sterne Fono Forum Klassik
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Lieder (Allemagne) - Verschenen op 3 november 2014 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - 4F de Télérama - Le Choix de France Musique - 4 étoiles Classica
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Classique - Verschenen op 1 oktober 2012 | Passacaille

Hi-Res Onderscheidingen Diapason d'or - The Qobuz Ideal Discography - Exceptional Sound Recording
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Musique symphonique - Verschenen op 26 november 2010 | Sony Classical

Hi-Res Booklet Onderscheidingen Diapason d'or
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Musique concertante - Verschenen op 13 mei 2016 | Warner Classics

Hi-Res Booklet Onderscheidingen Diapason d'or
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Musique symphonique - Verschenen op 13 april 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - 5 Sterne Fono Forum Klassik
Recording Ravel's music on period instruments is the kind of thing that might raise a smile... until you realise just how much the production of instruments has changed in less than a hundred years: it's the return of catgut strings, skin drum heads, the French basson (and not the German system bassoon which is used across all the world's orchestras today), shaper tips, trumpets and trombones of French manufacture. At the head of his orchestra Les Siècles, François-Xavier Roth gives a new, orthodox, historically-informed version of Ma Mère l’oye (complete ballet), the Tombeau de Couperin and Shéhérazade, the long-neglected "ouverture de féérie" [Fairy Overture] which is pure Ravel. This return to the roots is clearly easier and more straightforwardly authentic for this period of music history, because, unlike earlier works, we possess recordings which date back to the 1920s, and even earlier, which can tell us about the style, the colours, the phrasing and the tempo. But it isn't enough just to have all this historical information to hand to make something interesting. What makes this record thrilling is that all the musicians in the Siècles are excellent, and François-Xavier Roth is a talented artist himself, who knows this music inside out. At which point, his complete recording of Stravinsky's Firebird has already struck us with its quality. This rediscovery of Ravel resounds with clarity and finesse; it is a feast of well-defined timbres which cuts against the "beautiful sound" which prevails in orchestras around the world today. © François Hudry/Qobuz
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Musique vocale sacrée - Verschenen op 12 mei 2011 | Ricercar

Hi-Res Booklets Onderscheidingen Diapason d'or - Gramophone Record of the Year - Hi-Res Audio
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Opéra - Verschenen op 22 maart 2019 | Opera Rara

Hi-Res Booklet Onderscheidingen Diapason d'or
Gaetano Donizetti’s Ange de Nisida has had a strange history. It is never included in the composer’s list of operas for a very simple reason: Escaping Italian censorship, Gaetano Donizetti decided to have it performed in French in Paris (libretto by Alphonse Royer and Gustave Vaëz). Rehearsals began in 1840, but stopped when the company went bankrupt. Donizetti ended up using some of this work in La Favorite, similar to the way Rossini used Il Viaggio a Reims in Le Comte Ory.Sir Mark Elder’s record is therefore a world premiere. The maestro is surrounded by outstanding soloists in this recording made in July 2018 at Covent Garden in London. The concert was made in collaboration with the label Opera Rara, dedicated to opera premieres. The opera’s libretto had never been printed before. At the French National Library, the piece required major archival research using three different manuscripts for it to be to put together. Candida Mantica worked as an archeologist carefully exploring and comparing numerous versions including the composer’s own manuscript. The scenes that were discovered were not in the right order and often not fully orchestrated.Though it was written for France and in French, the opera is a 100% Italian in its style. It shines as a wonderful discovery, even if it never changes our idea of Donizetti. Now that the record is out, we are looking forward to its rendition on stage. The plot takes place in the 15th century on a desert island, the way opera lovers liked at that time. The king of Naples is keeping his mistress a prisoner when a young and fiery tenor falls in love with her. The story goes through many twists, featuring the pope, between comedy and tragedy before its tragic ending for poor Sylvia, who dies, creating one more female martyr in the history of opera. © François Hudry/Qobuz
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Musique concertante - Verschenen op 1 januari 2012 | harmonia mundi

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Record of the Month - Diapason d'or / Arte - Qobuzism - Hi-Res Audio
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Musique vocale profane - Verschenen op 28 oktober 2016 | Glossa

Hi-Res Booklet Onderscheidingen Diapason d'or - 4 étoiles Classica
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Classique - Verschenen op 23 maart 2018 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Diapason d'or
Nestled up cosily with Sergei Babayan, gazing into the distance, rather like Juliet next to Romeo, Martha Argerich seems to have had an eye on marketing when she produced the "Prokofiev for Two" album cover for her longstanding publisher, Deutsche Grammophon. Although well-known, these works haven't yet been released in this format: each of the 19 pieces is an accomplished transcription by Sergei Babayan. More than half of this album is given over to extracts from the ballet Romeo and Juliet, originally a symphonic work, but one that sounds devilishly good when brought to life by these two exceptional pianists. The remainder of the album is made up of various pieces of stage music, from Hamlet, Eugene Onegin and the opera War and Peace. This is a reinvigorating album, with an eighty-year-old Martha Argerich who has lost none of her extraordinary technique. As for the Armenian pianist Sergei Babayan, a student of Mikhail Pletnev and a teacher of Daniil Trifonov, he seems to be having great fun with his own transcriptions alongside his long-time partner and friend. © François Hudry/Qobuz
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Piano solo - Verschenen op 10 april 2015 | Sony Classical

Hi-Res Onderscheidingen Diapason d'or - Gramophone Editor's Choice
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Concertos pour violon - Verschenen op 1 maart 2011 | harmonia mundi

Hi-Res Booklets Onderscheidingen Diapason d'or - Hi-Res Audio
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Musique vocale (profane et sacrée) - Verschenen op 1 januari 2013 | Glossa

Hi-Res Booklet Onderscheidingen Diapason d'or - Choc de Classica - Hi-Res Audio
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Classique - Verschenen op 29 september 2011 | Zig-Zag Territoires

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - Diapason d'or - Choc de Classica - Choc Classica de l'année - Hi-Res Audio
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Musique de chambre - Verschenen op 26 mei 2017 | Accent

Hi-Res Booklet Onderscheidingen Diapason d'or - 5 Sterne Fono Forum Klassik
The six sonatas by Jan Dismas Zelenka ZWV 181 are among the most noteworthy pieces of chamber music of their day and are some the most difficult works in the Baroque oboe and bassoon repertoire, while also being key works of Zelenka’s musical legacy. Nowadays, Zelenka, a Czech composer who spent most of his life in Dresden, no longer needs much introduction because he finally has a firmly established place among the greatest composers of the first half of the eighteenth century. That, however, has not always been the case. His nearly forgotten music did not attract wider attention until the latter half of the twentieth century, and it was these sonatas that played an important role in this. In Zelenka’s day, collections of trio sonatas were a traditional form of presentation of a certain maturity of compositional artistry, and as a matter of fact the composer was here entering the fourth decade of his life – recent musicological research has placed their composition around the years 1721 and 1722. His sonatas likewise are not early works dependent on models. Five of the six sonatas have a four-movement layout and other external features of a sonata da chiesa in the Corelli manner, but the Fifth Sonata has a three-movement structure, quick movements in ritornello form, and other features directly alluding to Antonio Vivaldi’s chamber concertos or to the special sonata of the “auf Concertenart” type. In the application of four- part writing “con due bassi obligati”, manifesting itself in the more or less independent bassoon part or in the abundant use of counterpoint, the sonatas are exceptionally long, so they make great demands on the technical skill and endurance of the players. Zelenka’s writing, however, takes the chosen instruments into consideration by employing suitable keys, keeping in mind the need for places to breathe, etc. Another striking feature is the enormous intensity of expression. Although the composer makes plentiful use of sophisticated contrapuntal techniques and forms for the construction of broadly striding themes and for the combination of the individual voices, this “learnedness” is never at the expense of musical spontaneity. The Czech early music ensemble Collegium 1704, founded 1991 by harpsichordist and horn player Václav Luks (was formerly horn soloist of the Akademie für Alte Musik Berlin, an excellent school for historically informed performance) plays on period instruments, as may be expected. © SM/Qobuz
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Musique symphonique - Verschenen op 27 juli 2010 | BIS

Hi-Res Booklet Onderscheidingen Diapason d'or - Choc de Classica - The Qobuz Ideal Discography - Exceptional Sound Recording
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Classique - Verschenen op 4 november 2011 | Warner Classics

Booklet Onderscheidingen Diapason d'or - Diamant d'Opéra - Choc de Classica


Opéra in het magazine