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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
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Classical - Released September 7, 2009 | Warner Classics

Distinctions 5 de Diapason - Choc de Classica
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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.
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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
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Classical - Released November 8, 2010 | Warner Classics

Distinctions Gramophone Record of the Month
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Classical - Released April 15, 2013 | Warner Classics

Distinctions 4 étoiles de Classica
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Classical - Released October 11, 2010 | Warner Classics

Distinctions Gramophone Record of the Year
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Classical - Released September 1, 2013 | Warner Classics International

Booklet Distinctions 4 étoiles de Classica
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Classical - Released February 25, 2011 | Warner Classics

Distinctions Gramophone Editor's Choice
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Symphonic Music - Released August 26, 2016 | ICA Classics

Hi-Res Booklet Distinctions 5 de Diapason
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Classical - Released November 25, 2005 | Warner Classics

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Classical - Released November 28, 2005 | Warner Classics

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Classical - Released March 5, 2010 | Warner Classics

Booklet
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Opera - Released June 22, 2018 | Warner Classics

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Classical - Released January 4, 1997 | Warner Classics

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Classical - Released February 11, 2013 | Warner Classics

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Classical - Released March 18, 2013 | Warner Classics

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Opera - Released May 4, 2018 | Warner Classics

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Classical - Released October 1, 1999 | Warner Classics

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Classical - Released August 10, 2018 | Warner Classics

Booklet