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Classical - Released June 11, 2021 | Naïve, a label of Believe Group

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Classical - Released June 4, 2021 | Naïve, a label of Believe Group

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Four years after her boundary-breaking album "Bach Unlimited", pianist Lise de la Salle presents an extremely personal odyssey inspired by her love of the dance and her fascination with the period 1850 to 1950. More than just a question, Lise de la Salle’s "When do we dance?" is an invitation to a voyage, "one that explores the different ways in which dance takes possession of the body". A voyage in time, through a whole century (1850-1950) with the accent on modernity; a voyage over the oceans, from North America to Eastern Europe, criss-crossing Argentina, Spain, France, Hungary and Russia; a voyage to the very core of rhythm, that essential anchor point for the dance as for music in general, that enlivens the ragtimes of Gershwin and Bolcom, Bartók’s folk dances, a waltz by Saint-Saëns and a tango by Stravinsky. Pursuing her synchronic route with radiant versatility, the French pianist moves freely around the globe, encompassing diverse cultures with as much poetry as virtuosity, by turns setting the piano aflame with sensuality in Ginastera’s Argentine Dances, making it sound impishly seductive in 1930s swing, exquisitely refined in Ravel’s Valses nobles et sentimentales, or powerfully romantic in a Waltz by Scriabin. There are evergreens, such as Art Tatum’s take on Tea for Two, Gershwin’s When Do We Dance? and the Ritual Fire Dance by de Falla. There are also several less familiar pieces to discover: Stravinsky’s Tango, Rachmaninoff’s Polka italienne, and the Étude en forme de valse by Saint-Saëns. As a luminous pendant to this amazing multi-journey to thefour corners of the globe, we can read a declaration of love: Lise de la Salle’s own tribute to the art of the dance that has forever fascinated her. To her own wonderment, at the piano she finds dance simply flowing through her, and she is constantly learning from it. This pianist for whom "dance is a pleasure to be shared with others" here divulges its secrets. © naive classique
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Classical - Released June 4, 2021 | Naïve, a label of Believe Group

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Classical - Released May 21, 2021 | Naïve, a label of Believe Group

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World - Released April 30, 2021 | Naïve, a label of Believe Group

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Noa, an iconic Israeli singer of Yemeni heritage, opens up the "American Songbook", digs out some great jazz standards and then pastes in a few pages of her own. We get This Masquerade by Leon Russell, and also some personal creations in a jazzy vein (Eyes of Rain, Waltz for Neta). This project was born in the midst of the global lockdown, which kept people isolated, and inspired many to return to their fundamental values. The singer and her musical partner of 30 years, guitarist and arranger Gil Dor, found themselves working together on a collection of songs which had made profound impressions on them. The album starts with an intimate performance of the legendary My Funny Valentine by Rodgers and Hart. These two legendary songwriters are soon joined by Cole Porter (Anything Goes and Every Time We Say Goodbye, an obvious choice to close out the album) as well as the composers Jimmy Van Heusen (But Beautiful, Darn That Dream) and Billy Strayhorn (Lush Life). These masterpieces from the 30s and 40s sit alongside Something Coming which Leonard Bernstein wrote for West Side Story in the early 60s; and a composition by Pat Metheny named Calling Home, with added lyrics by Noa. Gil Dor also arranges a musical setting of some verses by the Israeli poet Leah Goldberg. Goldberg is a source of inspiration for the duo on Oh Lord, on which the singer gets an opportunity to do some scatting. The Afterallogy project enjoys judicious, no-frills production, and it is intended to be adapted by bands of varying size. The pair plan to follow it up with a release which draws more heavily on rock'n'roll. © Benjamin MiNiMuM/Qobuz
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Classical - Released April 16, 2021 | Naïve, a label of Believe Group

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Only now are we fully aware of the true immensity of Vivaldi’s concerto repertoire. The violin is by no means the only instrument he favoured: the place of the bassoon in his work catalogue is remarkable for its size and stylistic homogeneity, as well as for his solistic treatment of an instrument previously confined to the continuo. Seven new concertos here join the twenty-six already recorded in the first four volumes of the Vivaldi Edition, an anthology Sergio Azzolini embarked on in 2009 with L’Aura Soave, and now builds on with L’Onda Armonica. Press reviews have unfailingly acclaimed every new release. "[Sergio Azzolini] is an accomplished master of his instrument, and despite all the difficulties with which Vivaldi challenges the performer, he transforms them into something wondrous - his virtuosity is amazing, but he also has a gift for characterizing every melody in an almost magical way", wrote Early Music Review on the appearance of his first volume of the concertos in October 2010.
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Classical - Released April 2, 2021 | Naïve, a label of Believe Group

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The complete Suites for Solo Cello by Bach, in the hands of lutenist/theorbo player Hopkinson Smith. This double album does restorative justice to a complete edition that up to now was split into two albums, appearing separately between 1981 (Astrée) and 2013 (Naive classique). It provides an opportunity to fully appreciate the art of Hopkinson Smith, this master of Renaissance and Baroque plucked string instruments, a performer and pedagogue who is honoured and respected by generations of early music practitioners. It also offers the chance of surveying in full Bach’s six Suites for Solo Cello (BWV 1007-1012) in the new, colourful light of their arrangement for lute and theorbo. Being on intimate terms with Bach’s music, having studied it for several decades, Hopkinson Smith is the perfect mediator of these dance movements, by turns virtuoso and contemplative, constantly highlighting the polyphonic possibilities of the solo cello, somehow intensified by the stirring sound of the plucked strings, while also bringing out the music’s energetic expressiveness and lyricism. It all emerges so naturally under his masterly hands, which have also crafted five of the six transcriptions – the Suite BWV 1011 arrangement being by Bach’s own work. ‘From the very first notes, one is struck by the sheer completeness of the performance’, wrote Classica in March 2013, awarding a "Choc" distinction to the first three Suites. "The choice of keys, the ornamentation, the addition of the bass voices, the rhythmic flexibility, and the way the tempi are adapted to suit the resonance of the instrument: it has all been carefully throught through so as to reach the heart of Bach’s music". This tour de force has made these six works into benchmark recordings without equal, now integrated in this re-issue. © naive classique
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Classical - Released March 19, 2021 | Naïve, a label of Believe Group

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As Esteban Hernández Castello explains in the accompanying booklet: "This enables us to range through the whole gamut of musical languages the composer employed, from the simplest to the most elaborate, including – and why not – pieces whose attribution is still uncertain". In Rinaldo Alessandrini’s playing we again encounter the unpretentious elegance that is his hallmark, his attention to detail and nuance, and the radiant thoughtfulness he bestows on the polyphony – qualities that have been refined over the years by his work with Concerto Italiano and his intensive cultivation of the vocal repertoire. © naive classique
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World - Released March 19, 2021 | Naïve, a label of Believe Group

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World - Released February 12, 2021 | Naïve, a label of Believe Group

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Classical - Released November 27, 2020 | Naïve, a label of Believe Group

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This new concept album confirms an already well-established trend, that of a new generation of young classical musicians who feel stifled by their repertoires and want to open the doors to freedom, or to what they see as freedom. In Cello 360, Christian-Pierre La Marca created a work for solo cello without any accompaniment, totally cross-genre, which pays no heed to temporal or stylistic boundaries. It runs from Marin Marais to Dutilleux, from Purcell to Ligeti, from Thierry Escaich to Charlie Chaplin and The Beatles with disarming ease and a technical mastery which lets him give free rein to his artistic expression. Having only one (beautiful) instrument at his disposal, he plays with different bows, which prove so important for the production of sound, attack, power and rhythmic subtlety. He also selects different acoustics and sound recording techniques to match his chosen works.  His album, which doesn't belong in any one realm, defies classification. © François Hudry/Qobuz
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Opera - Released November 20, 2020 | Naïve, a label of Believe Group

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The impression of the ink still being wet on the page is not an unfamiliar one when listening to Fabio Biondi and Europa Galante, such is the freshness and elan they inject into everything they turn their musical attentions to. However in the case of their Vivaldi Edition Argippo the ink pretty much was still wet as they recorded it, because this is Bernardo Ticci's 2019 reconstruction of what is in fact a lost Vivaldi pasticcio (a cutting and pasting together of music from other operas), created in 1730 for the Venetian impresario Antonio Peruzzi to stage in Vienna and Prague. The reconstruction has been possible because the librettos from those two productions remain, plus a set of arias, and also the full score of a complete three-act, untitled and anonymous opera featuring arias from up to twelve other composers – and both the arias and the score appear to be derived, albeit with many changes, from the Prague libretto. The result is a reconstruction which on the one hand is decidedly scant on actual music by Vivaldi, given that even those arias believed to be from his pen can't be confirmed as such, and they appear alongside arias by Galeazzi, Pescetti, Hasse, Porpora, (possibly) Fiorè and Vinci. However, it's also a stylistically diverse and thus thoroughly entertaining offering that bears all the hallmarks of a Vivaldi pasticcio, and is undoubtedly in the spirit of one. Argippo's action takes place in the Bengali Kingdom – a tapping into the contemporary Venetian enthusiasm for tales of the East, although that influence didn't bleed into the musical style itself. A classic Baroque opera plot centred around lies and mistaken identities – King Argippo of Chittagong and his wife Osira almost lose their lives while visiting the court of the Gran Mogol Tisifaro, because the Tisifaro's cousin Silvero seduces his daughter Zanaida while disguised as Argippo – it's high on drama and strife before eventually reaching its happy conclusion. So, add the multi-composer score, and Biondi's five-strong cast have plenty to get their teeth into. Highlights include the opera's first fizzing showstopper, “Se lento ancora”, contralto Delphine Galou as the Gran Mogol Tisifaro's daughter Zanaida making light work of her leaping figures and embellishments as she anguishes over being betrayed by her lover. Also the soft and fruity-toned fluidity to the vocal acrobatics of ‘Un certo non so che’, sung by soprano Marie Lys as a fearful Osira. Equally fine voiced are soprano Emőke Baráth in the title role, contralto Marianna Pizzolato as Silvero, and bass Luigi de Donato as Tisifaro. Europa Galante themselves bring it all together with their characteristic blend of warmth, fizz and dramatic flair, having launched things with a cracker of an opening Sinfonia. In short, great fun. © Charlotte Gardner/Qobuz
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Classical - Released November 20, 2020 | Naïve, a label of Believe Group

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Opera - Released November 5, 2020 | Naïve, a label of Believe Group

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Opera - Released November 5, 2020 | Naïve, a label of Believe Group

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Opera - Released November 5, 2020 | Naïve, a label of Believe Group

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Classical - Released November 4, 2020 | Naïve, a label of Believe Group

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Opera - Released October 30, 2020 | Naïve, a label of Believe Group

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No one knows better than Rinaldo Alessandrini that Monteverdi's madrigals – to which he has dedicated a major part of his work and recordings over the past thirty years – were above all texts where the music was the servant, and not the mistress. This form of a cappella vocal polyphony, responding sensitively to the inflections of a highly expressive poetry, was born in the full flowering of Renaissance humanism and developed in the 17th century by composers such as Monteverdi, Marenzio and Gesualdo, before being supplanted by the opera. As the Italian maestro explains, in the Third Book of Madrigals, "we can already see how carefully the twenty-fiveyear-old Monteverdi chooses poetry, e.g. by Guarini and Tasso, which is capable of 'responding to the needs of the drama, of truth, humanity and emotionality, culminating at the end of his life in the lustrous triumph of his final works". This is the fifth collection of madrigals Rinaldo Alessandrini has recorded with Concerto Italiano, and it is the cornerstone of his quest for an intimate understanding of Monteverdi's repertoire – and all the music that came after it. These madrigals have "the power to allow the performers to read the human passions, perceive them empathetically, and restore them in the very finest dress" (Esteban Hernández Castelló). Their analytical yet sensitive approach leads to a precise intonation, a direct transmission of naked emotions, and the restoration of details we can only glimpse behind the words, revealing in all its beauty what lies hidden in the music: mirror images of the soul. © naive classique
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Classical - Released October 28, 2020 | Naïve, a label of Believe Group

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Opera - Released October 21, 2020 | Naïve, a label of Believe Group

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