Similar artists



Symphonic Music - Released August 10, 2018 | Warner Classics

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Record of the Month - Exceptional sound - 5 étoiles de Classica
If Leonard Bernstein was one of the greatest conductors from the second half of the 20th Century, his interpretation job never outshone his composer one. But the durable and worldwide success of West Side Story has often irritated him, as it left in the shadowed the rest of his abundant and varied catalog. Antonio Pappano has had the good idea to gather the three symphonies from Bernstein in a single album recorded in several concerts in Rome with his Orchestra dell'Accademia Nazionale di Santa Cecilia, which reaches under his baton an international dimension. Bernstein had a special relation with this institution that he has frequently conducted. Jeremiah, Bernstein’s first symphony, dates from 1944. Bernstein was 26 and wrote it the same year as his first ballet for Broadway, Fancy Free.He blends genres in a way that is now typical of him, disturbing many timorous music lovers who don’t understand that this dichotomy is the result of his genius. This first symphony sung in Hebrew denounces the horror of the Holocaust in Europe. 1949 is the year of The Age of Anxiety, his strange second symphony inspired by a long and difficult poem by W. H. Auden. Rarely played because of his difficult solo piano section that few interprets possess in their repertoire, this symphony is a succession of “themes and variations”. If the beginning flirts with the European Art music, notably from Prokofiev, it ends in a syncopated sentimentalism in the style of the great Hollywood movies. The excellent pianist Beatrice Rana (who has recorded for Warner Classics a very exciting Second Concerto by Prokofiev with the same conductor, as well as, more recently, the most talked-about Goldberg Variations by J. S. Bach) is here a brilliant and convinced performer of the work. Written in 1963 and dedicated to President Kennedy, Kaddish, his third symphony, is probably the most personal work of this trilogy. Heterogeneous as is all Bernstein music, it goes together with a text written by him that caused a scandal because of his iconoclastic arrogance, as Bernstein is giving advice to God to better rule mankind… Unsatisfied with his text, the composer did several revisions of his work to give it the form that is mostly used today. © François Hudry/Qobuz

Classical - Released September 7, 2009 | Warner Classics

Distinctions 5 de Diapason - Choc de Classica

Classical - Released October 6, 2014 | Warner Classics

Hi-Res Distinctions 5 de Diapason - 5 Sterne Fono Forum Klassik
It would be hard to find ground more trodden in the orchestral repertory than the Rossini overtures recorded here by Antonio Pappano and the Orchestra dell'Accademia Nazionale di Santa Cecilia, most of all the William Tell (Guillaume Tell) Overture made popular by The Lone Ranger. And, as a result, the album offers a strong illustration of why this conductor has become so popular. Not only does he make the William Tell Overture sound completely fresh, with such a wealth of delicately traced instrumental detail in the earlier sections that the listener will almost forget the famous finale is coming. He structures the entire program in a way that's both fun and instructive. The seven overtures are presented in chronological order, beginning with the rarely heard but very effective La scala di seta overture (1812) and ending with William Tell (1829). This is not a common way to perform them, but it works: the big tunes are there throughout, but the internal structure and especially the orchestration bloom like the interior petals of a flower. The similarly rare Andante e tema con variazioni, a set of variations for chamber winds from 1812, is another bonus, in this little piece Rossini seems to have developed some of the wind writing woven throughout the overtures. A superior Rossini instrumental album that anyone might enjoy, most especially those who've heard it all before.

Opera - Released September 22, 2017 | Warner Classics

Hi-Res Booklet Distinctions 4 étoiles de Classica
The pianists are perhaps the most exotic of all the creatures in the Carnival of the Animals. A very rare and treasurable pairing has been made by Warner Classics for this new recording of Saint-Saëns’ enchantingly witty suite: Martha Argerich, often described as the world’s finest example of the pianist species, and Antonio Pappano, a particularly fine specimen of the conductor-pianist. Beside such natural wonders as the graceful swan, the mighty lion, the waltzing elephant, the iridescent denizens of the aquarium and the rattling fossils, the pianists are the prize exhibits of the Carnival, bringing their colour and virtuosity to all but one of its fourteen movements. Their big solo moment comes towards the end of proceedings as they relentlessly practise their scales, which are punctuated with peremptory chords from the strings. Argerich and Pappano met in Italy for the recording – not in Venice, the city of Carnival, but in Rome, where, since 2005, Pappano has been Music Director of the Orchestra dell'Accademia Nazionale di Santa Cecilia. Nine of its players partner the two star pianists in Saint-Saëns’ suite. In 2012, when Argerich performed Schumann’s Piano Concerto with the Orchestra dell’Accademia Nazionale di Santa Cecilia, Pappano told Euronews that he was “just knocked over by the amount of energy that she has, but actually what she does is always extremely natural, as if the music can’t go any other way.” Argerich’s daughter, Annie Dutoit also makes a contribution to the Carnival: she recites verses written for the piece by the French actor, singer, humorist Francis Blanche (1921-1974). The Carnival shares the album release with another of Saint-Saëns’ most celebrated works, the magnificent Symphony No. 3. The prominent organ part is played by Daniele Rossi. Both the Carnival and the Symphony No. 3 were composed in the same year, 1886, but their aesthetics could hardly be more different. In Spring 2016 the Symphony No. 3 featured on a European tour that Pappano made with the Orchestra dell'Accademia Nazionale di Santa Cecilia. In Germany, the Hamburger Abendblatt reported that the audience responded to the performance of the symphony with “euphoria …stamping on the ground and calling for two encores,” while the Frankfurter Rundschau wrote that “under Pappano’s inspiring direction the Italian musicians captured the reverential, ethereal atmosphere [of the first movement’s Poco adagio] with the same precision as the circus-like uproar of its combined instrumental masses [in the Allegro finale].” This was the last symphony that Saint-Saëns composed, though he lived for a further 35 years. When asked why, he responded: "With it I have given all I could give. What I did I could not achieve again." © Warner

Classical - Released November 8, 2010 | Warner Classics

Distinctions Gramophone Record of the Month

Classical - Released July 11, 2011 | Warner Classics

Booklet Distinctions Choc de Classica
Antonio Pappano's recording of Guillaume Tell with Accademia di Santa Cecilia Orchestra and Chorus is the first commercial recording of the authoritative 1994 edition of the opera by M. Elizabeth C. Bartlet. At three and half hours, it is essentially compete, with only a few cuts the composer had sanctioned. The performance, recorded live at 2010 concert presentations, reveals the seldom-heard opera as a masterpiece that deserves a place in the repertoire. It was Rossini's last opera, and it both summarizes his mastery of musical drama and moves opera into new directions that were to influence both Verdi and Wagner. The finale is a remarkable moment, unlike quite anything that had come before it in opera, resplendently Wagnerian in the luminous, cathartic serenity of its depiction of the Swiss peoples' joy at being freed from a century of Austrian oppression. Gerald Finley is splendid in the title role. He projects nobility and humanity, and his singing is nuanced, powerfully ringing, and warm. The bulk of singing falls not to Tell, but to the morally complex Arnold, sung by tenor John Osborn, who handles the long, arduous, dramatic, (and high-lying role) with distinction. His voice is not large, but he conveys an Italianate ardor and maintains an appropriate lyrical intensity throughout. Soprano Malin Byström as Mathilde delivers a less-even performance. When she is highlighted, as in her second-act solo "Sombre forêt" and extended scene with Arnold, she tends to sound forced and labored, but otherwise, when she is interacting as part of the ensemble, she seems considerably more relaxed, and by the fourth act her singing is eloquent and assured. In the significant role of Jemmy, Tell's son, Elena Xanthoudakis is entirely convincing, singing with youthful energy and winsome simplicity. The large supporting cast is uniformly excellent, and the excitement generated by the characters' interactions is terrific, particularly in the fabled scene in which Tell is compelled to shoot an apple off his son's head. The chorus plays an unusually large role and sings with dramatic urgency and sumptuous tone. Pappano draws gorgeous, stylish, graceful playing from the orchestra and creates tremendous excitement in the dramatic moments. The sound of the recording is consistently well-balanced, clear, and resonant, and the audience and page-turning noises are only minimally distracting. Highly recommended for anyone who loves opera.

Classical - Released April 15, 2013 | Warner Classics

Distinctions 4 étoiles de Classica

Classical - Released October 11, 2010 | Warner Classics

Distinctions Gramophone Record of the Year

Classical - Released September 1, 2013 | Warner Classics International

Booklet Distinctions 4 étoiles de Classica
Benjamin Britten's War Requiem of 1958 remains one of the composer's most popular works, and a host of new recordings and reissues surfaced in connection with the composer's centennial year of 2013. This one from conductor Antonio Pappano and musicians and singers from the venerable Accademia Nazionale di Santa Cecilia has a satisfying way of seeming to reflect Britten's own aims for the work. There are smoother choristers in some of the purely English versions of the work. But internationalism was part of Britten's plan. He wrote the work for soloists from the countries of the wartime combatants: a Russian soprano (Galina Vishnevskaya), a British tenor (Peter Pears), and a German baritone (Dietrich Fischer-Dieskau). Here the German baritone is replaced by American Thomas Hampson. But the fundamental contrasts Britten built into the work, among its three singers and among its various sections of text, are nicely realized. The highlight is Anna Netrebko in the Vishnevskaya soprano part. The soprano sections are restricted to the portions of the work drawn from the traditional Requiem mass, and Britten defines these as operatic in character. Those Latin texts are interspersed with poems by the antiwar World War I writer Wilfred Owen, who was killed in action a week before the armistice. The power of the work derives from its mixture of formal mourning and direct evocation of the experience of war, accomplished in the music as well as in the texts. This is a performance that brings that contrast to life. The dynamic level of the whole is extremely low, but the work's considerable dynamic range doesn't seem to be squeezed.

Symphonic Music - Released August 26, 2016 | ICA Classics

Hi-Res Booklet Distinctions 5 de Diapason

Classical - Released February 25, 2011 | Warner Classics

Distinctions Gramophone Editor's Choice
Conductor Antonio Pappano and Rome's Orchestra dell'Accademia Nationale di Santa Cecilia are frequently found performing Italian operatic standards and sacred music by Rossini and Verdi, and their discography for EMI is quite impressive. But their 2011 concert recording of Sergey Rachmaninov's Symphony No. 2 in E minor and Anatol Lyadov's The Enchanted Lake is not a sudden departure into Russian music. Indeed, Pappano and his ensemble have had modest success with recording the music of Tchaikovsky, and Pappano is quite versatile in a wide range of styles and international repertoire. Yet this experience and the musicians' feeling for dramatic expression are insufficient to make Rachmaninov's most popular symphony really work, because the brooding Russian spirit of the work's melodies is diffused with the surface loveliness of the orchestra's technique, and Pappano doesn't dig deep enough to find the darkness in this piece, just the gorgeousness. His efforts in the Lyadov are better, though this is such a slight, atmospheric composition, it seems all impressionistic prettiness and little else, and as a filler work, it doesn't offer much of an incentive to acquire the full album. One thing that can be said in favor of the performance of Rachmaninov's Second is that there is nearly perfect audibility and every note can be heard in its proper place. This provides value for someone who is studying the score and wants to hear every detail, but listeners who want to feel what this symphony is about should look elsewhere, possibly for recordings by Russian conductors and orchestras.

Classical - Released November 25, 2005 | Warner Classics


Classical - Released January 4, 1997 | Warner Classics


Classical - Released March 5, 2010 | Warner Classics


Opera - Released June 22, 2018 | Warner Classics


Classical - Released November 28, 2005 | Warner Classics


Classical - Released February 11, 2013 | Warner Classics


Classical - Released October 1, 1999 | Warner Classics


Classical - Released March 18, 2013 | Warner Classics

Antonio Pappano leads a sensuous and dramatically taut reading of Werther on EMI's all-star release. Werther is one of the most intimate and interior of operas, and Pappano successfully captures the mood of the protagonist's turmoil that constitutes its real drama. The leads are in strong voice and make dramatic impressions as the victims of passion in whose face they feel helpless. Roberto Alagna's Werther is consumed with love and anguish, and he sings with a ringing, heroic tone. Angela Gheorghiu's Charlotte is capable of expressing the fire that finally ignites in the third act, and her tone is pure and true, but she sounds a little mature for a 20 year old and misses the girlishness that makes Charlotte's predicament so poignant. In Werther's death scene, both are hugely moving. Thomas Hampson's voice is rich and dark, and he ably conveys the complexity of Albert's emotions. In a bit of luxury casting, Patricia Petibon sparkles as the adolescent Sophie. The smaller roles are well taken, and the singers make the most of their vignettes. The London Symphony responds with sensitivity to Pappano's fluid tempi and plays with gorgeous tone. EMI's sound is ideal -- realistically present, with excellent balance.

Classical - Released August 10, 2018 | Warner Classics


News feed Prev. Next