February 2023
From the very first notes of Bruch’s Violin Concerto No. 1 in G minor, Esther Yoo weaves a spellbinding performance, infusing well-known phrases with yearning intensity and introspective awe. Vasily Petrenko’s masterful direction delicately balances the orchestra, allowing Yoo’s artistry to shine through effortlessly.

Esther Yoo’s interpretation of Bruch’s Violin Concerto No. 1 in G minor immediately captures the listener’s attention with her yearning intensity and introspective awe in the opening recitativos. Petrenko’s handling of the orchestra strikes a delicate balance, skillfully dialing down the cello and bass pizzicatos to create a true piano un poco marcato. Comparisons with other renowned recordings reveal the Royal Philharmonic Orchestra’s finesse, as they embrace the ominous descending minor thirds with controlled power rather than full-throttle forte, setting this rendition apart.

Yoo’s emotional artistry shines through in the slow movement, where she delicately floats the aching phrases with moving tendresse, inviting the listener into a world of half-whispered correspondences. In contrast, other interpretations like Isaac Stern’s display pulsating longing, creating a different but equally captivating experience. In the Adagio appassionato, Yoo brings out a heart-warming radiance, giving new life to this lesser-known gem, and outshining some previous renditions.

Moving on to the Barber Concerto, Yoo’s poetic resourcefulness and thoughtfulness add a fresh perspective, making the work feel more emotionally wide-ranging. While Stern’s rendition is overwhelmingly charismatic, Yoo’s interpretation provides a unique and captivating listening experience. The Royal Philharmonic Orchestra complements her beautifully, displaying glowing finesse, suppleness, and nimble virtuosity in the finale.

The album closes with Yoo’s spirited and indulgent performance in Vieuxtemps’ Variations on Yankee Doodle, where she confidently embraces portamentos and injects her signature flair. While Yoo excels in this piece, it’s worth noting that Itzhak Perlman’s rendition with Samuel Sanders remains a pinnacle of excitement and energy.

In summary, Barber • Bruch: Violin Concertos is a compelling recording that showcases Esther Yoo’s exceptional skills as a violinist, and the Royal Philharmonic Orchestra’s finesse under the baton of Vasily Petrenko. This album is a must-listen for both classical music enthusiasts and those looking to explore these timeless concertos with a fresh perspective.

January 2023
Eric Lu’s rendition of Schubert’s piano compositions on his album “Schubert” reveals his virtuosic prowess and profound comprehension of the composer’s emotional depth. Lu’s expertise is evident from the very outset in Schubert’s Sonata D959. He expertly sculpts each phrase, extracting the intricate nuances and complexities of the music. His performance encapsulates Schubert’s introspective and poignant style, immersing the audience in a realm of profound sentiments.

An apex of Lu’s execution lies within the Andantino, where he infuses a chorale-like quality into the music. The depth of his expression is utterly captivating, and the tragic allure he bestows upon this movement is deeply affecting. Lu delves beneath the surface, unearthing the core of the music to convey an intense sense of sorrow and longing.

The album also features Schubert’s Sonata in A minor, composed in 1823. Lu’s decision to pair it with the Sonata D959 provides a fascinating juxtaposition, enabling listeners to traverse Schubert’s evolving compositional style. In the Sonata in A minor, Lu demonstrates his virtuosity and technical finesse, navigating the intricate passages with precision while maintaining a sense of musicality and lyricism.

Lu’s inclusion of the Allegretto in C minor (D915) between the two sonatas serves as an interlude, showcasing his ability to capture the essence of a miniature gem with clarity and grace.

Throughout the album, Lu adeptly navigates the emotional trajectory intrinsic to Schubert’s music. He adeptly traverses the emotional contours of the compositions, underscoring the dichotomy between light and darkness, joy and sorrow. Particularly noteworthy is his interpretation of the Rondo in Sonata D959, where he captures the unexpected introspection that lends depth to the movement.

In summation, Eric Lu’s “Schubert” offers an insightful exploration of Franz Schubert’s piano compositions. Lu’s profound sensitivity and technical brilliance breathe new life into these compositions, allowing audiences to experience the full spectrum of Schubert’s emotions. This album highlights Eric Lu’s stature among today’s preeminent Schubert interpreters and is essential listening for those seeking an immersive and emotionally resonant musical encounter.

January 2023
Xuefei Yang’s latest offering, “Guitar Favourites,” is a captivating musical voyage that showcases her virtuosity and artistry as she delves into a rich array of guitar compositions from around the globe. Released under Decca, this album encapsulates the versatility and technical prowess that have become synonymous with Yang’s name.

Notably, Yang infuses her personal touch into every note, imbuing each piece with a distinct energy and interpretation. The album spans an impressive range, including works by renowned composers such as Barrios Mangoré, Sor, Albéniz, Lauro, Rodrigo, Tárrega, Villa-Lobos, John Williams, and her own composition, “Xinjang Fantasy,” which pays homage to the musical heritage of China’s Xinjiang region.

Yang’s technical precision and command over her instrument are undeniable, setting a high bar for her contemporaries. Her meticulous articulation and unwavering musical intention shine through, creating a spellbinding listening experience. While her mastery of technique is evident, it’s Yang’s emotive connection to the music that truly captivates the audience. Her performance of Tárrega’s “Recuerdos de la Alhambra” stands out, as she skillfully employs rubato to infuse the piece with an organic ebb and flow, evoking a sense of nostalgia and longing.

One intriguing aspect of this album is Yang’s decision to switch between two different guitars, each contributing a unique timbral quality to the recordings. Although this choice may occasionally create a subtle discontinuity, it offers a glimpse into Yang’s versatility and ability to adapt her playing style to different instruments. Her affinity for the lighter, brighter tones of her Greg Smallman guitar is palpable, lending an extra layer of authenticity to the performances where it is featured.

Xuefei Yang’s nuanced interpretations breathe new life into beloved classics and offer fresh perspectives on familiar compositions. Whether it’s the delicate harmonies of Barrios Mangoré’s “La Catedral,” the playful variations of Sor’s “Variations on a Theme by Mozart,” or the evocative allure of Rodrigo’s works, Yang proves to be a trustworthy guide through the diverse landscapes of guitar music.

In “Guitar Favourites,” Xuefei Yang proves herself to be a remarkable talent, capturing the essence of each composition while adding her own distinctive touch. Her unwavering commitment to both technical excellence and emotional expression solidifies her reputation as a true maestro of the classical guitar.

December 2022
Regula Mühlemann, a soprano of remarkable talent, invites listeners to a world of enchantment and fantasy with her latest release, “Fairy Tales.” Delving into a collection of arias and songs by diverse composers such as Adam, Britten, Dvořák, Grieg, Massenet, Mendelssohn, Monteverdi, Offenbach, Purcell, and Verdi, Mühlemann showcases her prowess as a storyteller through music. Joined by the CHAARTS Chamber Artists under the direction of Wolfgang Renz, this album takes us on a journey through the realm of fairy tales, both familiar and obscure.

The album’s theme of fairy tales is captivating, as it showcases a medley of characters and narratives, each reflecting a different facet of the magical world. From the ethereal Rusalka in Dvořák’s eponymous opera to the endearing La Fée in Massenet’s Cendrillon, Mühlemann’s vocal versatility shines as she brings these characters to life. While the inclusion of Solveig’s aria from Grieg’s “Peer Gynt” might raise an eyebrow, it nevertheless adds a unique dimension to the compilation, leaving us pondering the intricate connection between literature and music.

One intriguing aspect of “Fairy Tales” is the inclusion of purely orchestral movements from Grieg’s incidental music, contributing an instrumental interlude that beautifully weaves together the thematic essence of the album. While some might question the cohesion of such an approach, it adds an element of diversity and depth to the listening experience, underscoring the ethereal nature of the fairy tale world.

Mühlemann’s vocal artistry is showcased wonderfully in this album, her performances capturing the nuances of each character and narrative. Her rendition of the Cendrillon aria exhibits her ethereal tone and mastery of coloratura, painting a vivid picture of the fairy tale princess. Equally captivating is her interpretation of Mendelssohn’s ‘Neue Liebe,’ which carries a delicate undertone of menace, creating an enticingly mysterious atmosphere. Throughout the album, Mühlemann’s vocal control and emotive delivery draw us into the enchanting tales.

However, some listeners might find themselves wishing for a more substantial orchestral accompaniment to complement Mühlemann’s vocals. The decision to utilize the CHAARTS Chamber Artists, though executed well by Wolfgang Renz, occasionally leaves a yearning for a richer orchestral texture that could have enhanced the magical ambiance even further.

“Fairy Tales” boasts moments of true enchantment, particularly in the selections that align seamlessly with Mühlemann’s strengths. The Barcarolle from Offenbach’s “Die Rheinnixen” and Nannetta’s aria from Verdi’s “Falstaff” hold their own as engaging performances, yet they do not quite reach the same level of exceptional artistry found in other tracks.

In sum, “Fairy Tales” is a captivating journey into the realm of imagination and wonder, where Regula Mühlemann’s captivating vocals and the artistry of CHAARTS Chamber Artists intertwine to bring classic characters and stories to life. With its blend of ethereal enchantment and moments of vocal brilliance, this album is an invitation to escape into the spellbinding world of fairy tales, where music and storytelling converge in harmonious magic.

December 2022
Schwanengesang, a collection of Franz Schubert’s last 14 songs, finds its perfect interpreters in the exceptional baritone Andrè Schuen and the accomplished pianist Daniel Heide. This is Schuen’s second Schubert album in a row, following his reading of the Die schöne Müllerin cycle, and it is evident that he is rapidly establishing himself as a Schubert specialist.

The album opens with ‘Liebesbotschaft,’ where Schuen’s voice beautifully captures the bubbling brook and the emotions of a young man who once fell in love with the Miller’s daughter. Moving on, the mood takes a darker turn in ‘Kriegers Ahnung,’ with Schuen’s introspective rendition and Heide’s piano subtly adding depth to the last verse, leaving a poignant piano note lingering in the air.

One of the strengths of this album lies in its freer structure, as Schwanengesang was posthumously assembled by a publisher, allowing Schuen’s voice to shine and fully express the pure beauty of his singing. It is evident that Schuen drew inspiration from listening to Dietrich Fischer-Dieskau’s recording of this cycle during his youth. While he may not have Fischer-Dieskau’s gift for unexpected psychological insights, Schuen’s performance in the lengthy and sparse ‘Der Doppelgänger’ is impressive, showcasing his vocal control and emotional intensity. Even in familiar melodies like ‘Ständchen,’ Schuen successfully injects expressive spaces that resonate with the listener.

The collaboration between Andrè Schuen and Daniel Heide is nothing short of remarkable, and their partnership seems endlessly productive, akin to the legendary pairing of Fischer-Dieskau with Gerald Moore. Heide’s sensitive and skillful accompaniment perfectly complements Schuen’s vocal artistry, creating a captivating musical experience.

As the album progresses into the Heine settings, Schubert’s protean approach to songwriting comes to the fore. From straightforwardly strophic styles reminiscent of Beethoven to through-composed pieces hinting at the future of German lieder, Schubert’s versatility is masterfully brought to life by Schuen and Heide.

A notable highlight is the haunting ‘Der Doppelgänger,’ where Schuen’s empathetic interpretation evokes deep emotional anxiety as the poet/singer confronts his own reflection. The chilling sequence of slow-moving chords in the piano further intensifies the sense of unease and introspection.

Andrè Schuen and Daniel Heide’s rendition of Schwanengesang is a deeply moving and captivating musical journey. Schuen’s distinct vocal charm and Heide’s brilliant accompaniment paint a vivid picture of Schubert’s final songs, touching upon themes of lost love and introspection. While paying homage to the great interpretations of the past, these young artists bring their unique sensibilities to the music, promising an exciting future for Schubert’s lieder repertoire. This album is an exceptional offering from Andrè Schuen, a singer who is undoubtedly one to watch in the world of classical music.

December 2022
When it comes to interpreting the works of a complex composer like Robert Schumann, various perspectives can illuminate different facets of his music. In this notable release from Deutsche Grammophon, maestro Daniel Barenboim and the Staatskapelle Berlin present Schumann’s Symphonies Nos. 1-4 with a more traditional approach, inviting listeners to immerse themselves in the rich orchestral textures and indulgent pacing that this interpretation offers.

Alfred Brendel’s observation that great music transcends any specific performance finds resonance in this recording. While the lean and quirky interpretation of Schumann’s symphonies, as championed by John Eliot Gardiner’s iconic DG set, has brought new dimensions to the composer’s repertoire, Barenboim’s rendition stands as a counterpoint—a Schumann that is magisterial, embracing unhurried tempos and a sense of unhindered expression.

Barenboim’s ability to craft a compelling long line in his interpretations shines brilliantly throughout this recording. His skillful phrasing creates a sense of continuous, unbroken melody, akin to experiencing a Wagnerian music-drama as one sustained lyrical journey. Moments such as the languid slow movement of the Second Symphony and the grandiose ‘cathedral’ fourth movement of the ‘Rhenish’ Symphony are imbued with a profound emotional depth, stirring both conviction and sentimentality.

The warmth and depth of the orchestral sound presented in this rendition may initially surprise those accustomed to the more modern, revisionist interpretations of Schumann’s symphonies. However, with time, the listener becomes attuned to the indulgence in sonic richness that Barenboim and the Staatskapelle Berlin deliver. The horns and flute ‘awakening’ in the finale of the ‘Spring’ Symphony, for instance, are treated with loving attention, inviting us to appreciate these fleeting moments of beauty.

Yet, in this departure from the edgy, quick-witted Schumann unveiled by Gardiner’s interpretation, certain aspects do recede. The internal struggle within the Second Symphony, which Gardiner masterfully illuminated, takes on a softer hue here, trading intensity for a more lush resonance. Similarly, the Fourth Symphony, historically known for its ability to confound and challenge audiences, emerges from Barenboim’s baton with a sense of grandiosity and confidence that some may find more assertive than introspective.

In a world where Schumann’s symphonies can be dissected and presented through a variety of lenses, Barenboim’s recording stands as a tribute to the enduring power of tradition. While some of the intricate and provocative elements of Schumann’s compositions may be smoothed over in this rendition, what remains is an unabashed celebration of orchestral beauty and melodic lyricism. For those seeking a different angle on these masterworks, Barenboim’s take provides a sumptuous and emotive journey that reminds us that even amidst evolving interpretations, the heart of Schumann’s music still beats with timeless vigor.