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Classical - Released December 29, 2014 | harmonia mundi

In almost 20 years, since the release of the much-acclaimed Cosi fan tutte in 1999 (with Gens, Fink, Güra), René Jacobs has recorded the entirety of Mozart’s great operas, a feat considered as one of the most important discographical achievements of the beginning of the 20th century for its theatrical force, volcanic intensity of direction and vocal quality.Among this renewed collection, the recording of Die Zauberflöte is most Mozartian in nature: after the discovery of a new interpretation of his Da Ponte trilogy and a profoundly reimagined approach to two other opera serias (Idomeneo and La Clémence de Titus), Jacobs works to sensitively combine an array of perspectives in The Magic Flute, going well beyond the Masonic elements and integrating a range of theatrical genres.This sometimes rather sombre work contains a rather welcome light to it! Anna-Kristiina Kaappola’s “Queen of the night” is beautiful although less virtuoso than the former Cristina Deutekom’s rendition or the radiant “double” Pamina/Papageno by Marlis Petersn and Daniel Schmutzhard. © Qobuz“[…] Jacobs wanted a stripped down Flute, one that is de-romanticised […] and here, he works in a disc-oriented, hyper-theatrical mindset. The work displays an energy capable of charming a traditional Viennese audience (the work was created in Vienna’s Theater auf der Wieden) without losing any of its philosophical and Masonic airs […]. The interpretation includes a subtle study of dialogues: how to move from song to spoken word (the scenes with the Ladies of the Night are particularly revelatory), how to weave them into the music with the help of a loquacious and blunt pianoforte […] A masterfully captivating work in which multiple listens are required to extract all its riches […] (Diapason, novembre 2010/Michel Parouty)
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Symphonies - Released April 7, 2015 | Deutsche Grammophon (DG)

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Karl Böhm's set of the last Mozart symphonies, recorded for Deutsche Grammophon between 1959 and 1966, rank among the greatest performances of these extraordinary works. The Berlin Philharmonic brings genuine warmth and vitality to the symphonies, yet maintains a poise throughout, which, in terms of balance and measured phrasing, is decidedly Classical. Böhm's rendition of the Symphony No. 35 "Haffner" is exciting in the outer movements, but steadily paced in the Andante and the stately Menuetto. The Symphony No. 36 "Linzer" is admirable for its clarity of form and sturdiness, though the performance is briskly paced to keep the music from seeming rigidly architectural. The Symphony No. 38 "Prager" glows with amorous feeling and humor, and Mozart's orchestral palette is at its most colorful in the Andante. After an intensely dramatic introduction, the Symphony No. 39 proceeds in a relaxed, gemütlich manner, and the slower tempi allow the winds to be fully resonant. In the Symphony No. 40, tenderness and pathos are emphasized over anxiety and drama, and Böhm's dynamics are carefully gauged to make this distinction clear. The Symphony No. 41 "Jupiter" is grand and energetic, and the Berlin Philharmonic's performance of the miraculous finale is this set's crowning achievement. © TiVo
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Classical - Released March 17, 2011 | Alpha

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This release stands out from among both the dozens or hundreds of available recordings of Mozart's Requiem in D minor, K. 626, and from among the recordings in the catalog of France's Alpha label. On the latter count, while most of Alpha's recordings have been historically oriented, this one falls into glorious Russian tradition of luxurious expression, and the usual art-historical essay included with Alpha's discs is missing here (although the packaging does bear some gorgeous Byzantine iconography). The recording pairs four western European soloists, who traveled all the way to Novosibirsk for the lengthy recording sessions, with the New Siberian Singers and the chamber orchestra MusicAeterna under its conductor, Teodor Currentzis. This is not a large choir (33 singers), but it has the rich sound associated with Russian opera choruses, which is what this group does as a general rule. If you're thinking this sounds a bit like Mozart as conducted by Rachmaninov, you're about right, especially in the sections where the dying Mozart seems to gaze into the fires of hell. The considerably more delicate soloists, especially alto Stéphanie Houtzeel, make a vivid contrast with the choir in this deeply colored, almost raw performance, which is nevertheless very carefully done in its details and sonically matched to the Novosibirsk opera house where it was recorded. By any measure this choir is a striking new talent. © TiVo
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Keyboard Concertos - Released June 12, 2020 | Piano 21

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Keyboard Concertos - Released July 10, 2020 | Piano 21

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Keyboard Concertos - Released June 19, 2020 | Piano 21

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Keyboard Concertos - Released July 17, 2020 | Piano 21

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Keyboard Concertos - Released July 24, 2020 | Piano 21

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Full Operas - Released June 16, 2017 | Warner Classics

Hi-Res Booklet Distinctions Diapason d'or - The Qobuz Ideal Discography
' This set... put into the hands of those who have not yet unlocked the paradise of Mozartean opera, is worth... what ? A year at a foreign university ? I don't believe I exaggerate.' (Gramophone)
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Solo Piano - Released September 30, 2016 | Warner Classics

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica - Choc Classica de l'année - Exceptional Sound Recording
« [...] Well recorded, in the hall of the Salzburg Mozarteum and on a singing instrument, the pianist-composer returned to Wolfgang Amadeus eighteen years after dedicating his very first record to him. At the time he was not approved unanimously, so much did he break with a clean Mozart on him, drawn with a line, smooth [...] Fazil Say has not calmed down over the years. So much the better! [...] the artist chooses the path of theater, surprise, fantasy at the same time as drama, when he highlights the modulations. An improviser as facetious as he is the fort in subject, Fazil Say grabs hold of these sonatas less to reinvent them than to project them into our imagination. [...] Almost everywhere else, this theatrical Mozart, alive, dominated by an irresistible loquacity, suddenly, without warning, lowers his tone and plunges in a fraction of a second into the very heart of some mystery. The slow movements have a finesse, a sensitivity, a candor rarely heard.» (Diapason, October 2016 / Alain Lompech)« A Mozart that is by no means classical and unclassifiable. Fazil Say offers his personal vision of Mozartian Sonatas with a dynamic, subtle, dazzling piano. One of the larger modern versions. [...] Listening is a big surprise. The variety of climates, the mobility of play so particular to Fazil Say work here admirably. It does not play for showing off, nor does it add incongruous effects. His Mozart is personal, simple and obvious at the same time. [...] The sound is direct, "vertical" and full of subtleties, but also of bursts, of striking contrasts in the same line of song. [...] Fazil Say dedicates a passion to Mozartian opera. In fact, he commits no error of taste, playing roles distributed from one hand to the other, while pushing the expressive limits of the Steinway admirably prepared and recorded in the acoustics of the Mozarteum of Salzburg [...].» (Classica, October 2016 / Stéphane Friédérich)   
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Symphonies - Released May 28, 2013 | Naxos

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Violin Concertos - Released May 6, 2014 | PentaTone

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice - Hi-Res Audio
With several of her recordings of Romantic and modern violin concertos already issued on the PentaTone label, Arabella Steinbacher releases her first Classical-era album with this hybrid SACD of Mozart's Violin Concertos No. 3, No. 4, and No. 5. One may presume that she will eventually round out the series with the first two violin concertos and the Sinfonia concertante, but it's still a fine program for connoisseurs of Mozart and aficionados of Steinbacher's exquisite playing. Performing with Daniel Dodds and the Festival Strings Lucerne, she delivers all three works with bright sonorities and fluid grace, and plays with an elegance that is quite attractive. Even so, she reserves her virtuosity for the cadenzas (Wolfgang Schneiderhan's in the Violin Concerto No. 3, and Joseph Joachim's in the last two concertos), and the brilliance and warmth of her sound is well matched by the rounded tone of the orchestra, which in spite of its name includes woodwinds and horns. While the ensemble isn't a period orchestra, and Steinbacher makes no attempt to play in the historically informed manner, that's just as well, considering that the later vintage of the cadenzas would clash stylistically, and that this group of musicians obviously knew what they'd feel comfortable playing. In the end, it comes down to taste, and these are quite tasteful performances, so putting the historical debate aside, they are an enjoyable change of fare for this artist. © TiVo
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Classical - Released January 8, 2016 | BnF Collection

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Classical - Released October 9, 2020 | Sony Classical

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Classical - Released May 3, 2019 | Mirare

Hi-Res Booklet Distinctions 5 de Diapason - 4F de Télérama
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Classical - Released September 4, 2020 | Sony Classical

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In 2016, Sony Classical published its first recital dedicated to Mozart’s arias sang by the young cantata singer Regula Mühlemann alongside the Chambre de Bâle Orchestra under the direction of Umberto Benedetti Michelangeli (the nephew of the famous pianist). After the success of this first part, the same artists are back four years later to do it all again, with this new rosary of concert and opera airs from the Noces de Figaro, The Magic Flute and the sublime “Ruhe sanft, mein holdes Leben” extracted from Zaide. Here, we hear the vocal quality of this full-bodied and fresh voiced soprano with a fine and joyous musicality. The nine tracks on this new album demonstrate the full extent of Regula Mülemann’s sensitivity and the variety of his Mozartian incarnations. Present at the 2020 Salzbourg Festival for his interpretation of Pamina (The Magic Flute), the young soprano was victim, like most of his colleagues, to the ongoing pandemic which heavily impacted the arts this year, leading to an array of cancellations all over the world. © François Hudry/Qobuz
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Classical - Released February 7, 2020 | harmonia mundi

Hi-Res Booklet Distinctions 5 de Diapason
Using period instruments, Isabelle Faust and Alexander Melnikov breathe new life into these ‘sonatas for keyboard with violin accompaniment’, a tradition Mozart renewed from within, blazing the trail for Beethoven, Schubert and Schumann. The first volume was widely praised: ‘The greater similarity of tone between Faust’s sparkling violin and Melnikov’s glittering fortepiano (within an airier acoustic) results in a sound more akin to the jingling of small bells. It’s delicious’ (Gramophone). ‘In a world full of star violinists, all with technical facility and individual style, it’s rare to find one that everyone agrees is just – brilliant. Isabelle Faust is that violinist’ (The Strad). © harmonia mundi
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Keyboard Concertos - Released August 26, 2016 | harmonia mundi

Hi-Res Booklet Distinctions Diapason d'or de l'année - Gramophone Editor's Choice - Diapason d'or / Arte - Le Choix de France Musique - 4 étoiles Classica - 5 Sterne Fono Forum Klassik
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Opera - Released February 14, 2014 | Sony Classical

Hi-Res Booklet Distinctions 4F de Télérama - 4 étoiles Classica - Hi-Res Audio
There are many splendid recordings of Mozart's Le nozze di Figaro that appeal to every taste, but there are relatively few that can be categorized as historically authentic, in the truest sense of the term. Of these, the 2014 Sony release by Teodor Currentzis and Musicaeterna may be the most thoroughly researched and carefully restored version available. Taking pains to consult original sources, and to use period instruments or modern replicas (including a fortepiano, a lute, and even a hurdy-gurdy), Currentzis creates a Classical sound that works brilliantly with the score as written and as Mozart intended, and makes the music as vivid and exciting as possible. Currentzis also has called for a historical approach to singing, and embellishments that were typical of Mozart's day are employed, as well as a more intimate delivery and purer vocal style with less vibrato. The cast may not feature international stars, but the artists are well-suited to Currentzis' goals of presenting Figaro in true period practice. Prominent in this production are Andrei Bondarenko as Count Almaviva, Simone Kermes as the Countess, Fanie Antonelou as Susanna, Mary-Ellen Nesi as Cherubino, and Christian van Horn as Figaro, who give their roles distinctive characterizations along with their impeccable vocal production. Sony's recording is rich in details and close enough to the musicians to give a front-row feeling. Le nozze di Figaro is presented on three CDs in a deluxe hardcover book that includes an interview with the conductor and the complete libretto in English, Italian, German, and French. © TiVo
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Classical - Released June 16, 2017 | Warner Classics

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