May 2021
The Latvian mezzo-soprano Elīna Garanča is gifted with one of the richest voices of the time. Garanča (born 1976) had her first successes as a Mozartian (2003 at the Salzburger Festspielen) singing Annio’s rôle at La clemenza di Tito. She has performed on prestigious stages around the world, most notably as Carmen at the MET where the New York Times named her “best Carmen for the past 25 years”. An extraordinary trajectory based on a powerful base, stylistic accuracy and surprising performing capacity.

Her privileged voice has reached the first 20 years of its career and she recently finished the release of her new album, the first that she dedicates entirely to the Lied, with works by Schumann and Brahms.

Her tone is smooth, her singing contained (magnificent pianissimi) and she reaches the high notes with ease. She seems to have no weaknesses in any of her registers, in addition she knows how to communicate and bring to life her characters, knowing how to give impressive lyricism in her phrasing.

Now, in a moment of personal and vocal maturity, she has decided to release this album which appears to be her first incursion into the German Lied genre with a combination of German Romantic works: a Robert Schumann cycle (chronicling the various stages on a woman’s love journey, from the first contact with her future partner, all the way from the birth of the first child to the death of the companion) and Johannes Brahms (“Lieder von Zorn und Bitterkeit, von Naivität und Sehnsucht, von tiefer Zärtlichkeit und schwebendem Glück”). The Scottish pianist Malcolm Martineau accompanies her on the piano.

Her unusual mutable capability is admirable, providing her opulent timbre and adapting to the Liederistic style with spotless pronunciation. If the Schumann cycle narrates the sentimental evolution of a woman, Brahms’ works follow the same dramatic line: from the innocence of the first love, to the mature passion of a moving final Von ewiger Liebe. Interestingly, Garanča seems to feel more comfortable with the Brahms tragic overtones which seem to suit the singer’s qualities better than the Schumannian lyricism. Apart from some metallic intonations in the high register, Garanča’s voice is unassailable. And so is her style.

This disc shows off Ms Garanča’s magnificent voice to perfection and demonstrates that not only does she shine in Bel Canto operatic roles but is well capable of transferring delicacy and expression to the distant register of Lieder.

– David Smith

Lieder – Schumann · Johannes Brahms
Elina Garanča

Robert Schumann
1. Frauenliebe und -leben Op. 42: I. Seit ich ihn gesehen
2. Frauenliebe und -leben Op. 42: II. Er, der Herrlichste von allen
3. Frauenliebe und -leben Op. 42: III. Ich kann’s nicht fassen, nicht glauben
4. Frauenliebe und -leben Op. 42: IV. Du Ring an meinem Finger
5. Frauenliebe und -leben Op. 42: V. Helft mir, ihr Schwestern
6. Frauenliebe und -leben Op. 42: VI. Süsser Freund, du blickest
7. Frauenliebe und -leben Op. 42: VII. An meinem Herzen, an meiner Brust
8. Frauenliebe und -leben Op. 42: VIII. Nun hast du mir den ersten Schmerz getan

Johannes Brahms
9. Sechs Gesänge Op. 3: I. Liebestreu
10. Lieder und Gesänge, Op. 63: VIII. Heimweh II
11. Fünf Lieder Op. 107: V. Mädchenlied
12. Sechs Gesänge, Op. 3: III. Liebe und Frühling II
13. Fünf Gesänge, Op. 72: III. O kühler Wald
14. Fünf Gesänge, Op. 72: IV. Verzagen
15. Fünf Lieder, Op. 94: IV. Sapphische Ode
16. Fünf Lieder, Op. 47: IV. O liebliche Wangen
17. Fünf Lieder, Op. 71: III. Geheimnis
18. Four songs, Op. 96: II. Wir wandelten
19. Fünf gesänge, Op. 72: I. Alte Liebe
20. 4 Lieder, Op. 43: II. Die Mainacht
21. 4 Lieder, Op. 43: I. Von ewiger Liebe

April 2021
“Nightfall” was released on August 24, 2018 by Yellow Label affiliated with Deutsche Grammophon. Having been Deutsche Grammophon artist for 10 years, Alice Sara Ott has successfully completed another recording, this time including Claude Debussy, Erik Satie and Maurice Ravel in her horizons.  

The album comprises a choice of works both luminous and dark, very well combined throughout the entire program. This “Nightfall” album has a nostalgic air in the vision of the pianist Alice Sara Ott, who aims to delve into the mysteries and interior images starting from “the dichotomy of human feelings and experiences, all against the background of a nocturnal atmosphere”.  

Debussy’s youthful work ‘Reverie’ is the first piece of the album. It’s a charming piece full of marvelous simplicity, repeated motifs and lack of climaxes, which makes it very appropriate to begin the album.  
 
It is followed by the four movement ‘Suite bergamasque’ also by Debussy. The remarked strident character of the outer movements ‘Prelude’ and ‘Passepied’ but also ‘Menuet’ makes a beautiful contrast in opposition to the melancholic spirit of ‘Clair de Lune’. This last movement with its fascinating tune and performed with implicit transparencies and a subtle detachment, gets into our souls in a momentum full of joy and bliss.  

Alice Sara Ott musical discourse is very well elaborated, honest, clear and  with a direct approach and  technical ease. We can easily detect a nuance of melancholy, largely increased in the music of Erik Satie. The pianist chose two Gnossiennes, between which is interspersed a Gymnopedie. This works of captivating simplicity from the genuine bohemian Erik Satie, are deeply enchanting for its harmonious originality.  

In Scarbo, the last piece of the cycle “Gaspard de la nuit” by Maurice Ravel, one of the most difficult episodes, Alice Sara Ott unfolds all her marvelous dexterity. The pianist sharply attacks the piece with an admirable command and great sensitivity, maintaining the tension of the moment that finally dissolves in “Pavana for a deceased infant” also by Ravel. The choice of this piece to end this very nuanced and intricate album was very fortunate. Ravel himself described the piece as ‘an evocation of that little prince who might, in former times, have danced at the Spanish court’. Here it’s the listener’s decision to choose by themselves whether this expresses a desire for eternal youth, or the dilemma of someone who cannot grow up. 

Ott’s precision and dynamics are her strong points. Sometimes, she sacrifices expression for accuracy.  We are glad that this didn’t happen in this case, full of genuine emotion and sensitivity, especially in Ravel’s works.  

We totally reccomend you joining Alice Sara Ott in her journey through bright and darkness. 

– Clara Horner

Nightfall
Alice Sara Ott

Claude Debussy
1. Réverie
2 – 5. Suite Bergamasque
Erik Satie
6. Gnossienne No. 1
7. Gymnopédie No. 1
8. Gnossienne No. 3
Maurice Ravel
9 – 11. Gaspard de la nuit
12. Pavane pour une infante défunte

April 2021
A great supporter of the Baroque repertoire throughout her career, Cecilia is joined in this recording by the special guests Philippe Jaroussky, June Anderson, Franco Fagioli and Sol Gabetta, who share her great passion for the musical pearls that have come to light throughout the centuries.

The CD is Cecilia Bartoli’s first compilation album in a decade, and contains the best recordings of joys and musical discoveries of the 17th and 18th centuries, including George Frideric Handel’s“ Lascia ch’io pianga ”and his famous aria“ Ombra mai fu “As well as two tracks, composed by Leonardo Vinci and Agostino Steffani, which are veritable world premiere recordings. 

Queen of Baroque is definitely a double tribute: to Bartoli herself, widely celebrated for her study and performance of baroque arias, but also to the composers who created the greatest compositions of their time.  The CD covers moments of peaceful introspection in contrast with others of upstanding temperament: the entire immense variety of the human condition is encompassed by religious fervor, lulling love duos, war and drama with moments of despair, subtle humor, and genuine feelings. 

The style hides no secrets for her. She masters all the technical and expressive resources of the Italian seventeenth and eighteenth century. Largely recognized for her immaculate diction, this is definitely one of her strongest points.  And with the legato at times unlimited in almost infinite sentences, with and without coloratura, she proves that nothing is impossible.

Some listeners might find an excessive languor for their taste and or an overdose in the emphasis in an attempt to bring even more vivacity and sentiment into the music.

What we are certain about is that her passion for the baroque repertoire suits her audience, interested like her in musical curiosities, especially since she has chosen arias with grace and beauty that perfectly highlight all the qualities of her wonderful warm mezzo-soprano voice.

– Paul Thomas

Queen of Baroque
Cecilia Bartoli

Agostino Steffani
1. I Trionfi del fato: E l’honor stella trianna

Leonardo Vinci
2. Alessandro nelle Indie: Act 1 – Quanto invidio la sorte chi vive amante

Georg Friedrich Händel
3. Rinaldo, HWV 7a: Act 2 – Lascia ch’io pianga

Riccardo Broschi
4. Artaserse: Son qual nave
5. Stabat Mater: 1. Stabat Mater dolorosa

Antonio Vivaldi
6. Griselda – Dramma per musica: Act 3 scene 6: Agitata da due venti

Agostino Steffani
7. Niobe, Regina di Tebe: Serena, o mio bel sole… Mia fiamma… Mio adore

Alessandro Scarlatti
8. Il Sedecià, Rè di Gerusalemme: Caldo sangue

Georg Friedrich Händel
9. Serse, HWV 40: Act 1. Ombra mai fu

Tomaso Albinoni
10. Il nascimento dell’Aurora: Aure andate e baciate

Carl Heinrich Graun
11. Adriano in Siria: Deh, tu bel Dio d’amore… Ov’è il mio bene?

Agostino Steffani
12. Stabat Mater: Eja Mater, fons amoris Fac, ut ardeat Sancta Mater Tui nati vulnerati

Antonio Caldara
13. Il Trionfo dell’Inocenza: Vanne pentita a piangere

Georg Fredrich Händel
14. La Resurrezione (1708) HWV 47: Disserratevi, o porte d’Averno

Nicola Porpora
15. Germanico in Germania: Parto ti lascio, o cara

Agostino Steffani
16. I trionfi del Fato: Combatton quest’alma

Georg Fredrich Händel
17. Bel piacere

April 2021
The Münchener Rundfunkorchester conducted by Massimo Zanetti accompanies the Bulgarian soprano Sonya Yoncheva for her last album: “The Verdi Album”, including a selection of the most favorite arias by Il trovatore, Luisa Miller, Attila, Stiffelio, La forza del Destino, Otello, Simon Boccanegra, Don Carlo and Nabucco. This recital was recorded in 2017 at Studio 1 of the Bavarian Radio in München. 

Yoncheva’s superb voice has been one of the greatest revelations in the classical signing world. Her wide breathing capacity and silky tone have been praised by many critics worldwide. She’s also well known for her wide palette of vocal colors (particularly dark ones), and a controlled beautiful vibrato. 

The recorded areas cover a wide range of moods and emotions and not all of them have been sung live by the soprano. Yocheved’s  Verdian roles have been particularly praised for the deep feeling, attraction and mournfulness that accompany her vocal production. She sings with true honesty but without taking many risks. 

To complete the selected program, the singer must face such a diverse highly skill demanding characters with different vocal needs; as different as Abigaille and Odabella, which requires an exhausting work of dramatic agility, and Simon’s Amelia Boccanegra and Desdemona form Otello marked by a clear and inspirational lyricism, or the epic roles of Elisabetta del Don Carlo, Lina d’Stiffelio, and the two great Leonora, so contrasting and lively, from Il Trovatore and La forza del destino.

With a collection of emotions as varied as the chosen selection, the Bulgarian soprano struggles to give sufficient nuances to each character, and as a result everything has an expressive uniformity with low emotional temperature.  The attractive color of her voice and her undeniable technique doesn’t completely make up for her limitations in the lower sounds, and her not always flawless and confident highest pitched notes. Compared to other historical sopranos like Maria Callas, she lacks a bit of power and strength on the most dramatic roles. 

However, there are some exceptions where the artist really shines with all her potential, like the ‘Ave Maria’ by the Otello or in the Amelia and Desdemona, full lyricism with a well achieved and intense dramatic interpretation. And the orchestra masterfully conducted by Massimo Zanetti supports the soprano with a flexible accompaniment, creating a very appropriate atmosphere with a dense and rich sonority.

– Clara Horner

The Verdy Album
Sonya Yoncheva

Giuseppe Verdi
Il trovatore Act 1, Scene 2
1. “Tacea la notte placida … Di tale amor che dirsi” (Leonora)
Luisa Miller Act 2, Scene 1
2. “Tu puniscimi, o Signore” (Luisa)
Attila Act 1, Scene 1
3. “Liberamente or piangi … Oh! Nel fuggente nuvolo” (Odabella)
Stiffelio Act 1, Scene 6
4. “Tosto ei disse! … A te ascenda, o Dio clemente” (Lina)
La forza del destino Act 4, Scene 6
5. “Pace! Pace, mio Dio!” (Leonora)
Otello Act 4, Scene 2
6. “Ave Maria, piena di grazia” (Desdemona)
Simon Boccanegra Act 1, Scene 1
7. “Come in quest’ora bruna” (Amelia)
Don Carlo Act 4, Scene 1
8. “Tu che le vanità … Francia, nobile suol” (Elisabetta)
Nabucco Act 2, Scenes 1 & 2
9. “Anch’io dischiuso un giorno … Salgo già del trono aurato” (Abigaille)

March 2021
Recognized by the New York Times for his “exquisitely responsive playing” and “impressive agility,” Grammy nominated mandolinist extraordinaire Avi Avital, has made an album where for the first time the entire repertoire was originally written for the mandolin. The Venice Baroque Orchestra, harpist Anneleen Lenaerts, guitarist Sean Shibe, harpsichordist Yizhar Karshon and theorbo player Ophira Zakai all joined him in this recording. 

Avi Avital is one of the most important young artists in the music world today. The Israeli has revalued the mandolin by interpreting adaptations of various works of the Baroque and, he has explored traditional and contemporary music. 

Vivaldi’s enchanting Double Mandolin Concerto (partnered by Alon Sariel), is brilliantly performed with the skillful accompaniment of the Venice Baroque Orchestra which definitely keeps up with the level. Staying in the Baroque period, Domenico Scarlatti’s D minor Keyboard Sonata K.89 belongs to a selection of works that are believed to have been conceived originally for the mandolin. Avital’s rich and powerful performance proves it right. 

Anneleen Lenaerts on harp teams up with Avital to interpret Adagio ma non troppo for Mandolin and Harp by Ludwig van Beethoven. For this love song the pair works perfectly together reaching the listener with their exquisitely lyrical reading of Beethoven’s music.  

After that is “Death Is a Friend of Ours” by British composer David Bruce. Here we get an amazing creation for a modern work reaching a delightful combination of a plainly contemporary sensibility and the best of the nineteenth century. The result is vivid and dynamic with a wonderful middle section.

We also must point out the Prelude for Solo Mandolin by Giovanni Sollima. It’s the most-recent composition on the program. It’s also probably the most fascinating and imaginative piece on the agenda.  

Avital and all the artists who joined the recording show an exquisite musicality and a serious and balanced technical command. The whole performance alternating between percussive sounds and lyricism is bright and warm. The result is a marvelous collection of textures and timbre. The disc’s accent on chamber music for plucked instruments is a great choice, and a we can almost feel the sense of joy that comes from the playing. 

Jumping to the last piece of the program we find the Carillon, Recitatif, and Masque by Hans Werner Henze. The sounds are intrinsically ingenious and put in hands of the virtuous soloists, the three instruments magically blend into one. The album as a whole is kaleidoscopic and naturally lively.  We are facing a highly recommended recording. 

– Paul Thomas

Art of the mandolin
Avi Avital

1. Concerto for 2 Mandolins, Strings and Continuo in G, R.532: I. Allegro
2. Concerto for 2 Mandolins, Strings and Continuo in G, R.532: II. Andante
3. Concerto for 2 Mandolins, Strings and Continuo in G, R.532: III. Allegro

Ludwig van Beethoven
4. Adagio for Mandolin and Harpsichord in E Flat Major, WoO 43b

David Bruce
5. “Death is a friend of ours”: I. Inside the Wave
6. “Death is a friend of ours”: II. The Death of Despair
7. “Death is a friend of ours”: III. Death Is a Friend of Ours

Giovanni Sollima
8. Prelude for Mandolin solo

Domenico Scarlatti
9. Keyboard Sonata in D minor, Kk. 89: I. Allegro
10. Keyboard Sonata in D minor, Kk. 89: II: Grave
11. Keyboard Sonata in D minor, Kk. 89: III: Allegro

Paul Ben-Haim
12. Sonata a Tre for Mandolin, Guitar, Harpsichord: I. Allegro aperto
13. Sonata a Tre for Mandolin, Guitar, Harpsichord: II. Lentamente recitando
14. Sonata a Tre for Mandolin, Guitar, Harpsichord: III. Lo stesso movimento

Hans Werner Henze
15. Carillon, Récitatif and Masque for Mandolin, Guitar, Harp: I. Carillon. Allegretto
16. Carillon, Récitatif and Masque for Mandolin, Guitar, Harp: II. Récitatif. Adagio
17. Carillon, Récitatif and Masque for Mandolin, Guitar, Harp: III. Masque