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Keyboard Concertos - Released April 19, 2019 | harmonia mundi

Hi-Res Booklet Distinctions Diapason d'or - 4F de Télérama - Gramophone Editor's Choice - Le Choix de France Musique
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Sacred Vocal Music - Released June 5, 2015 | Deutsche Grammophon Classics

Hi-Res Booklet Distinctions Diapason d'or - 4F de Télérama - Choc de Classica
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Symphonic Music - Released September 20, 2019 | harmonia mundi

Hi-Res Booklet Distinctions Diapason d'or - Le Choix de France Musique
The discography of Manuel de Falla’s two most famous orchestral scores - El sombrero de tres picos (1916-1919) and El amor brujo (1919-1925) - reveals a certain proximity to French and (of course) Spanish orchestras. These two delicate ballets require fine balances and sharp attacks while showing a sensitivity to timbres and natural balances. Given the general scarcity of recordings of these ballets, fans of the composer must not miss this new Falla release, which presents two surprises: firstly, in El amor brujo, Pablo Heras-Casado uses a “cantaora”, in line with Josep Pons’ attempts more than twenty years ago, giving an exquisite touch of Iberian exoticism. The second surprise is that it is the Mahler Chamber Orchestra who are performing here (which could almost feel incongruous, were it not performed by musicians of such a high calibre). The orchestra is unfamiliar with this repertoire, yet the musicians undeniably virtuosic all the same. Though since Pablo Heras-Casado has been travelling all over the place, has he perhaps lost his sense of direction? El Sombrero de tres picos feels almost like Nielsen’s Aladdin here and the colours deployed in El amor brujo often evoke Carl Orff’s Carmina Burana or Nordic serenades. Doesn’t Falla’s Spain have more nerve and radiance? It calls for us to listen to Ataúlfo Argenta’s version with the Conservatory Concert Society (notably the recording of El amor brujo with Ana Maria Iriarte, 1953) again, just to make sure. © QobuzThe 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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Sacred Vocal Music - Released November 10, 2017 | harmonia mundi

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica
From the outset it should be said that this – sumptuous – album of Monteverdi’s Selva morale e spirituale (literally Moral and Spiritual Forest) doesn’t feature the complete collection of some forty titles contained in the master’s last work published in 1640, but rather a carefully minded selection of fifteen titles to provide the broadest possible overview of the various styles as well as melodic and choral genres approached by Monteverdi, with indeed a penchant for the sacred. A complete collection would have required three to four hours… Let’s get to the point: Pablo Heras-Casado’s reading at the head of the Balthasar Neumann Choir and Ensemble is absolutely stunning, allowing ample room for the vocal and instrumental colours (because Monteverdi quite specifically described the instrumentations and alternations between vocals and instruments) and sound layers so specific to the Venetian language. Undoubtedly Heras-Casado has proven to be not only an excellent symphonic conductor, but also that he fully understand the art of vocals and the writing of the Renaissance. © SM/Qobuz
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Symphonies - Released March 10, 2014 | harmonia mundi

Hi-Res Booklets Distinctions Choc de Classica - Hi-Res Audio
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Classical - Released January 1, 2014 | Deutsche Grammophon Classics

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica
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Symphonic Music - Released September 9, 2013 | harmonia mundi

Hi-Res Booklet Distinctions Choc de Classica - Hi-Res Audio
Franz Schubert's earlier symphonies are often given perfunctory performances that fail to capture the pionts at which the young composer was thinking about the larger dimensions his orchestral music would soon take on. The Symphony No. 3 in D major, D. 200, and Symphony No. 4 in C minor, D. 417 ("Tragic"), were both composed during Schubert's teenage years. This recording by the Freiburg Baroque Orchestra and conductor Pablo Heras-Casado virtually overturns existing conceptions of both works. The orchestra uses period instruments, and it is very light on vibrato, but that is not the real news here; the performances would still have been startling on modern instruments. Heras-Casado crafts fast, ferocious interpretations that get at a certain nervous, questing mood in this music. Sample blistering speed in the Italian dance finale of the Symphony No. 3, or the odd, edgy shapes of the thematic material of both of the C minor symphony's outer movements. In the slow movements Heras-Casado and the Freiburg players are the very essence of lightness and grace; this is a brisk, extremely energetic performance, but not a dry one. If there's one complaint, it's in the rather over-live sound from the Auditorio Manuel de Falla in Granada; the engineering team gets the percussion in the C minor symphony to sound like cannon shots, but the extraneous noise level is high. Still, this is a Schubert symphony recording to make anyone sit up and take notice.
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Symphonic Music - Released November 4, 2016 | harmonia mundi

Hi-Res Booklet Distinctions Gramophone Record of the Month - 5 Sterne Fono Forum Klassik
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Symphonies - Released January 22, 2016 | harmonia mundi

Hi-Res Booklet Distinctions Choc de Classica
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Symphonic Music - Released June 22, 2018 | harmonia mundi

Hi-Res Booklet

Classical - Released July 12, 2019 | harmonia mundi

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