May 2022
Mitsuko Uchida’s long-awaited recording of Beethoven’s Diabelli Variations proves to be a remarkable and enthralling experience. This colossal work, born out of a publisher’s seemingly unremarkable request for a single variation, encapsulates the depth and contradictions of Beethoven’s genius, a challenge that Uchida embraces with exceptional skill.

Uchida’s interpretation of the music is both lighthearted and profound, expertly capturing the piece’s inherent humor while revealing the underlying sincerity and truth in each passage. With a keen sense of the music’s absurdities, she navigates through Beethoven’s deliberate heavy-footedness, playfully raising an eyebrow, and inviting us to glimpse what lies beyond. Her sudden changes of inflection allow us to see through the music, as if she unveils the inner workings of the composer’s mind.

From the very start, Uchida sets the stage for a captivating journey. The theme’s playful bounciness, with subtle emphasis on the downward scales, hints at potential humor ahead. As the variations progress, Uchida masterfully weaves a constant thread that ties them together through various mood shifts, creating a sense of continuity and cohesion.

In Variation 20, Uchida’s skillful touch brings out the strangely modern harmonies, searching for a melody that keeps the listener entranced. Then, a few variations later, Beethoven’s nod to Mozart’s Don Giovanni adds an extra layer of charm to the performance, with Uchida’s clarity and dexterity shining brightly.

Finally, Beethoven concludes the variations with a dance, beautifully presented by Uchida as a delicately wrought yet expansive minuet. This elegant finale serves as the culmination of the captivating journey embarked upon and opens up a whole new vista of emotions and artistic expression.

Mitsuko Uchida’s rendition of Beethoven’s Diabelli Variations is a triumph. Her profound understanding of the piece, combined with her impeccable skill and ability to convey both humor and depth, make this recording a must-listen for classical music enthusiasts. Whether you are familiar with the work or new to it, Uchida’s performance will undoubtedly leave a lasting impression on your musical soul.

May 2022
Jonas Kaufmann, the internationally acclaimed tenor, continues to captivate audiences with his powerful communication and unique baritonal timbre. Sony, his recording label, celebrates their collaboration with Kaufmann in a remarkable new album titled “The Tenor,” a collection of some of the most beloved and accessible classical vocal works for the general public.

The album’s diverse selection encompasses arias from renowned operas such as “Rigoletto,” “Carmen,” “Werther,” “Manon Lescaut,” “Tosca,” and “Turandot,” as well as Neapolitan songs like “Mattinata,” “Torna a Surriento,” “Core ‘ngrato,” and “Non ti scordar di me.” In a nod to Italian pop music, the album also features three of the country’s most famous songs: “Volare,” “Parla più piano,” and “Caruso.”

Since signing with Sony, Jonas Kaufmann has produced an impressive array of records spanning various repertoires, achieving record-breaking sales with each release. “The Tenor” stands as a testament to his versatility, as it seamlessly weaves together operatic arias, Neapolitan classics, and popular Italian songs, leaving no doubt about Kaufmann’s vocal prowess and artistic finesse.

The Italian and French repertoire is showcased with a selection of arias and duets, including iconic pieces like “Nessun dorma,” “Donna non vidi mai,” “La donna è mobile,” “O soave fanciulla” (performed with Kristine Opolais), “La fleur que tu m’avais jetée,” and the spectacular “Pourquoi me réveiller.” The lighter side of the album features timeless Italian songs, such as “Caruso,” “Mattinata,” “Volare,” “Torna a Surriento,” “Non ti scordar di me,” and “Parla più piano” from the movie “The Godfather.” The selection concludes with Johannes Brahms’ beloved “Wiegenlied” (Lullaby).

Jonas Kaufmann’s artistry has earned him praise as “The world’s greatest tenor” (The Telegraph, London), and he regularly graces prestigious opera houses around the globe. His performances have reached millions through cinema and TV broadcasts, making him a global star in the classical music realm. The album also pays homage to his impressive contribution to the Last Night of the Proms in 2015 and the Vienna Philharmonic’s Summer Night Concert in 2020.

“The Tenor” is a feast for music lovers, showcasing the incredible talent of Jonas Kaufmann, who has been described as “a box-office draw and the most important, versatile tenor of his generation” by the New York Times. His brilliance shines through each track, making this album a must-listen for connoisseurs of classical and popular music alike.

April 2022
Martin James Bartlett’s “Rhapsody” is a captivating album that showcases his exceptional talent as a pianist, along with the London Philharmonic Orchestra’s musical prowess. The album revolves around the theme of Rhapsody and explores the works of two great composers, Rachmaninoff and Gershwin, both of whom share intriguing commonalities in their compositions.

The first part of the album features Rachmaninoff’s “Rhapsody on a Theme of Paganini,” a work known for its unforgettable lyricism and structural treatment. Bartlett’s interpretation shines in the A minor section, where his crisp articulation and lively staccatos bring a vibrant vivacity to the music. The interplay between the piano and the orchestra is well-executed, but at times, the bassoon’s importance could have been emphasized more, and Bartlett’s phrases could benefit from added color. Comparisons with other performances, such as Trifonov’s version with the Philadelphia Orchestra, show slight differences in instrumental balance and dynamic gradients, but Bartlett’s rendition still impresses with its lyricism.

The middle sections of the Rhapsody introduce various vibrant personalities, and Bartlett navigates them skillfully. The brass section of the London Philharmonic adds oomph to Variation 14, and Bartlett’s runs in Variation 15 are noteworthy for their mellow tone and playfulness. However, in the iconic D-flat major variation (Var. 18), where sensitivity and a long-term buildup are essential, Bartlett’s interpretation is beautiful but lacks the desired fullness in sound. Other performances, like Abduraimov and the Lucerne Symphony, offer a more organic fluidity to the lines, making them preferred choices for some listeners.

The second part of the album features Gershwin’s “Rhapsody in Blue,” presented in the symphonic scoring by Ferdé Grofe, who premiered it with Toscanini and the NBC Symphony in 1942. Bartlett’s version captures the essence of the piece, but the clarinet solo disappoints due to its quick glissando and a slower tempo, missing the slinky jazz vibe. Benny Goodman’s version on the Toscanini/Wild recording excels in capturing the work’s energy, with a longer-than-usual trill and a perfectly executed glissando. While Bartlett’s performance is smooth and suave, it lacks some of the boisterousness, humor, and fun that make the piece truly enthralling. However, the finale is done justice, with Bartlett and the orchestra delivering a sweeping reprisal of the main theme.

The album includes solo works by Earl Wild, whose connections to both Rachmaninoff and Gershwin are evident. Bartlett’s rendition of Wild’s Etude No. 4 after ‘Embraceable You’ is a high point, displaying his technical prowess and providing a soothing and romantic experience. The melodic continuity, warmth, and vocal quality in Bartlett’s interpretation create a captivating atmosphere, and the passionate and radiant high point showcase his virtuosity.

The liner notes offer concise introductions to the works, focusing on the connection between the composers and the thematic basis of the album. The sound engineering is generally good, though it can feel a little up-close at times. Nevertheless, this allows listeners to catch subtle textural details that enrich the performances.

“Rhapsody” by Martin James Bartlett and the London Philharmonic Orchestra is an enjoyable and well-executed album. Bartlett’s pianistic brilliance and the orchestra’s skillful support make this recording a must-listen for lovers of Rachmaninoff, Gershwin, and virtuosic piano music. While there are minor areas for improvement, the overall solid performances and the choice of compelling works make this album a delightful addition to any classical music collection.

March 2022
Jan Lisiecki’s “Night Music” is a masterful display of his profound talent and interpretative creativity, showcased through an enthralling selection of Mozart, Ravel, Schumann, and Paderewski. Released on Deutsche Grammophon in 2022, this album not only reinforces Lisiecki’s reputation as a virtuoso pianist but also presents a delightful and sonically excellent experience for twilight listening.

The album’s title aptly captures the essence of Lisiecki’s carefully curated repertoire. Rather than opting for traditional Sunday afternoon recitals like Vladimir Horowitz, Lisiecki takes listeners on an enchanting journey through “night music.” The centerpiece of the album is Mozart’s 12 Variations in C Major on “Ah, vous dirai-je Maman,” where Lisiecki’s impressive touch and deep understanding of the classical canon shine through.

The album opens and closes with hidden gems, featuring Paderewski’s lesser-known Miscellanea, Op.16: No.4, Nocturne in B-Flat Major. This bookending effect creates a cohesive and immersive experience, drawing the listener into a realm of relaxation and tranquility.

One remarkable moment that showcases Lisiecki’s exceptional talent is his rendition of Maurice Ravel’s Gaspard de la nuit – Scarbo. In just nine minutes, Lisiecki mesmerizes with dynamic touches in the piano’s lower register and a full exploration of the keyboard, leaving the listener in awe of his pianistic prowess. The depth and maturity he brings to this piece are commendable and make it a highlight of the album.

At the age of 27, Jan Lisiecki continues to amaze listeners with his musical maturity, and “Night Music” is no exception. His ability to play with the theme of night, following his previous two-CD set of Chopin’s Complete Nocturnes, reveals an artist deeply committed to exploring different facets of his craft and bringing ongoing delight to his audience.

The acoustically beautiful and well-executed recording enhances the listening experience, allowing the listener to immerse themselves fully in Lisiecki’s skillful interpretations. Whether it’s the elegance of Mozart, the emotive passages of Schumann, or the nocturnal enchantment of Paderewski, each piece receives the utmost care and attention, leaving no doubt about Lisiecki’s musical dedication.

“Night Music” by Jan Lisiecki is an enthralling album that reaffirms his position as one of the most exciting young talents in the classical music scene. With his impressive touch, interpretative creativity, and deep understanding of the piano repertoire, Lisiecki delivers an idealized and relaxed twilight listening experience. This album is a must-listen for classical enthusiasts and a testament to the boundless potential of this remarkable pianist.

March 2022
Daniel Hope’s “America” is a captivating exploration of American music, where the violinist takes his audience on a journey through an attractive range of vernacular-tinged pieces that showcase the unique essence of American musical heritage. While Hope may question what truly makes music sound American, his performance on this album undeniably carries an authentic spirit that resonates with listeners.

The album opens with a promising start as the Zurich Chamber Orchestra gracefully accompanies Hope’s violin in the arranged pieces. Paul Bateman’s arrangements breathe new life into these compositions, giving them a fresh perspective for the modern audience. However, the rendition of the Gershwin Song Suite falls short of expectations. The integration of the violin with the jazz trio doesn’t quite hit the mark, leaving the listener wishing for a more cohesive blend.

A standout moment on the album is “A Change Is Gonna Come,” where Joy Denalane’s soulful vocals shine through. Her emotive delivery gives the piece a heartfelt depth, despite the slight disconnect between the violin and the jazz accompaniment. One wishes that this pairing had been better balanced, as it has the potential to be a true highlight.

Hope excels when he ventures into pieces that suit the violin logically. Longer sets of tunes by Bernstein and Weill showcase his masterful control over the instrument. The inclusion of Ellington’s “Black, Brown & Beige” is a welcome addition, adding diversity to the program. Perhaps a few more classical selections by Copland could have further enriched the album’s musical landscape.

The album concludes with a heartwarming rendition of “America the Beautiful,” where Hope’s signature style shines through. His emotive and sentimental approach is undeniably appealing, even if some might find it a touch saccharine. Nevertheless, it’s an uplifting and fitting conclusion to this musical journey.

The Zürcher Kammerorchester demonstrates its prowess with supple responses to Hope’s direction, providing excellent support throughout the album. Their collaboration with Hope has undoubtedly matured, creating a cohesive and engaging listening experience.

Overall, “America” is a strong release that will please Daniel Hope’s fans and attract new listeners. While a few moments may lack the desired synergy, the album’s prevailing charm and captivating selection of American music make it a compelling addition to any music lover’s collection. Despite the occasional missteps, Hope’s dedication to exploring and celebrating American musical heritage shines through, making this album a worthy listen.