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.

November 2022
With “La Femme – A Journey of Female Composers,” Flaka Goranci and a group of exceptionally talented musicians bring to light a collection of compositions that have long been overshadowed by history’s gender biases. This album serves as a profound tribute to the creativity, strength, and resilience of women composers throughout history. Featuring a diverse selection of pieces spanning various genres and eras, this recording is not only a captivating musical experience but also a compelling narrative of empowerment and artistic triumph.

From the very first note, it is evident that this album is a labor of love and a testament to the overlooked talents of female composers. The repertoire chosen spans an impressive array of composers, some familiar and many obscure, highlighting the rich tapestry of women’s contributions to the musical world. From haunting melodies to vibrant folk tunes and intricate instrumental compositions, the album covers a broad spectrum of emotions and styles.

Flaka Goranci’s mezzo-soprano voice shines as the cornerstone of the album, weaving a thread through each piece that binds the diverse compositions into a coherent narrative. Her ability to convey a wide range of emotions, from melancholy and reflection to fervor and hope, is truly captivating. Joining her are Dima Orsho and Zoryana Kushpler, whose sopranos and mezzo-soprano voices add further depth and dimension to the vocal selections.

The collaboration between the artists and the World Chamber Orchestra under the baton of Konstantinos Diminakis is a masterstroke. The orchestra’s sensitivity to the nuances of each composition, as well as their ability to create a seamless backdrop for the vocal performances, is commendable. The orchestral selections offer a richly layered experience that complements the vocal pieces, allowing the listener to fully appreciate the intricate interplay between voices and instruments.

The album showcases a plethora of memorable moments, such as the hauntingly beautiful “The borrowed dress” by Suad Bushnaq, the waltz-like elegance of Jasmin Reuter’s “Salomea,” and the poignant expression of Ilse Weber’s “Wiegala.” Each piece contributes to the tapestry of female voices and perspectives that have often been silenced or overshadowed.

The accompanying booklet provides insightful context for each composition, delving into the lives and struggles of the composers, as well as the societal and historical contexts in which they lived and created. This background enhances the listener’s appreciation of the music, shedding light on the challenges faced by women artists and their determination to overcome barriers.

“La Femme – A Journey of Female Composers” is a triumphant celebration of women’s artistic achievements and a moving tribute to their perseverance. Flaka Goranci and her ensemble have crafted an album that is not only musically captivating but also culturally significant. Through their performances, they remind us that the power of music transcends time, place, and gender, and that the voices of women composers deserve to be heard, cherished, and celebrated. This album is a true gem that should be treasured by music enthusiasts and advocates of gender equality alike.

November 2022
“From Afar,” Vikingur Ólafsson’s latest piano album, is a remarkable musical journey that was born from an unexpected encounter with the esteemed composer György Kurtág during a concert visit in Budapest. The surprise meeting between the two musicians led to a transformative experience for Ólafsson, who was both humbled and elated to discover that Kurtág was already familiar with his work. The initial plan of a short meeting extended into a two-hour session where Ólafsson played various pieces for Kurtág, receiving invaluable suggestions and inspiring stories that would leave a lasting impact.

Gratitude and artistic inspiration intertwined as Ólafsson set out to express his appreciation to Kurtág. Instead of a conventional thank-you note, he crafted a program for this album, incorporating several of Kurtág’s own compositions. These pieces act as a “compass” that guides the listener through the diverse musical landscape showcased in the album.

Throughout “From Afar,” Ólafsson’s piano mastery shines, capturing the listener’s attention with a tone that is both ethereal and captivating. His delicate touch shapes every chord and inner voice with utmost care, revealing a translucent beauty that seems to emanate from the heart of the music itself. The artist’s impeccable articulation ensures clarity even in the most delicate and tender passages, inviting the audience to be enveloped in a world of sublime tranquility.

A noteworthy aspect of the album is the dual performance of the recital. Ólafsson ingeniously presents the program twice, once on a magnificent Steinway concert grand piano, and then again on an upright piano. The latter, covered with a layer of felt on the strings, imparts a permanent soft pedal effect. This intriguing approach adds a unique and evocative dimension to the music, further enhancing its emotional resonance.

While Ólafsson’s playing is undeniably enchanting, some listeners may find that the pursuit of perfection, though admirable, at times results in a certain homogeneity in his interpretations. As the album weaves through works by various composers, the sameness in attack, color, and tone might blur the distinctive voices of each composer. While the link between the pieces through Kurtág’s compositions is commendable, a more diversified palette of expression could have further enriched the listening experience.

For instance, the juxtaposition of Bach’s “Adagio” from the Keyboard G Major Sonata with Kurtág’s “Harmonika” from “Játékok (Games)” and Bartók’s “Three Hungarian Folksongs from the Csik District” showcases Ólafsson’s exquisite touch but may leave one longing for more contrasting emotional depths and colors.

Nevertheless, when encountering Brahms’ “Intermezzo in E Major” (from 7 Fantasien), Ólafsson’s ethereal interpretation finds a harmonious resonance with the preceding tracks. The unity achieved in the album is indeed commendable, but a touch more expressive variety could have brought even more richness to the collection.

In closing, Vikingur Ólafsson’s “From Afar” is an album that skillfully captures the essence of the music it presents. His artistry and sensitivity shine through every note, creating a serene and mesmerizing atmosphere. The concept of connecting the works through Kurtág’s compositions is both an innovative and thoughtful touch. While some may desire a more diverse emotional range, “From Afar” remains a captivating musical journey that showcases Ólafsson’s exceptional talent as a pianist and his profound ability to communicate through the keys.

November 2022
Hans Rott’s Symphony No. 1 in E major is a remarkable and tragic tale of a forgotten masterpiece that has finally found its rightful place in the world of classical music. Completed in 1880, the symphony remained in obscurity for over a century, with its creator suffering from mental illness and a series of unfortunate events. But thanks to conductor Jakub Hrůša and the Bamberg Symphony’s recent recording on Deutsche Grammophon, this hidden gem has been brought to life and introduced to a wider audience.

The symphony’s history is riddled with intrigue and misfortune. After being rejected for performance by none other than Johannes Brahms himself, Rott’s mental health deteriorated, culminating in a bizarre incident involving a train and accusations of sabotage. This unfortunate turn of events contributed to the symphony’s near-forgotten status until its first performance in 1989.

Jakub Hrůša’s passion for rediscovering overlooked works led him to stumble upon Rott’s symphony on the Internet. Already renowned for his interpretations of Gustav Mahler’s music, Hrůša proved to be an ideal choice for breathing life into Rott’s masterpiece. His deep understanding of Mahler’s style shines through in this recording, allowing him to grasp the symphony’s intricate nuances and connections to Mahler’s own works.

Rott’s musical lineage is evident, having been a star pupil of the great Anton Bruckner. Gustav Mahler, who held a strong appreciation for Rott’s compositions, even considered him to be the visionary behind the “new symphony.” This recording highlights the symphony’s influences, drawing comparisons to Mahler, Wagner, and Bruckner. The Scherzo, in particular, boasts Mahlerian characteristics, capturing the essence of Mahler’s symphonic language.

The symphony is a testament to Rott’s prowess in constructing grand musical structures. With boundless energy coursing through its movements, the nearly 25-minute finale stands as a testament to Rott’s ability to captivate listeners with its dynamic and engaging soundscapes. The Bamberg Symphony players, under Hrůša’s skilled guidance, deliver stunning performances, especially during the numerous demanding solo passages that pepper the symphony.

Hrůša’s advocacy for including this symphony in the regular repertoire is evident in the conviction and passion conveyed throughout the recording. He skillfully brings out the symphony’s emotional depth and intricacies, leaving an indelible mark on listeners who may be experiencing this work for the first time. It is a must-hear for any lover of symphonic music, and it firmly establishes Hans Rott’s Symphony No. 1 as a timeless addition to the classical canon.