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

March 2021
“Blue Hour” is the name of this new album by Deutsche Grammophone / Universal Music Canada. With this release, the exclusive alliance between the artist and yellow label since 2013 has been renewed.  

In this CD Andreas Ottensamer shows his soloist side giving an outstanding performance at his best musical and interpretive level. He pairs up with her friend and colleague, Yuja Wang, forming an unparalleled duo. This new album collects jewels from the Romantic period of great meaning for Ottensamer; the Intermezzo Op. 118 Nº2 from Brahms, his favorite composer, a Mendelssohn arrangement of “Lieder ohne Worte” . From Carl Maria von Weber the “Gran Duo Concertante” Op.4 and, accompanied by the famous Berlin Philharmonic Orchestra,  in which he performs as the first Clarinet, we’ll find in this recording the Clarinet Concerto No. 1 in F minor Op. 73 recorded live under the baton of Mariss Jansons.  

The selection of works that build up the program, seems a bit shocking for some critics who feel that might not be very fortunate. Pairing a live Weber Clarinet Concerto No. 1, Op. 73, with a studio recording of clarinet-and-piano pieces, mostly transcriptions, by Weber, Mendelssohn, and Brahms, doesn’t go with the taste of everybody. 

The concerto is very well executed by the artist with precise technical polish. The sublime fusion of the solo clarinet with the other winds in the slow movement; leaves us with one of the best version of this movement, and his playing keeps his playing keeps smooth and delicate as well in the following movements. We must point out the marvelous work of Mariss Jansons and the Berlin Philharmonic, who offer an exceptional accompaniment, besides not being much recognized by the media coverage.

We can listen pianist Yuja Wang, here in an unusual second term role, with an immaculate technical interpretation, vivid and joyful and with great musicality, as usual she has no problem keeping up with the level of the other two protagonists.  

The adequacy of the record’s title, Blue Hour has been a cause of debate. Because we are in front of a compilation of dissimilar works by Weber, Brahms and Mendelssohn, the latter two represented by arrangements, the link between the title and the program is not evident. It could just be a melancholic selection, but in any case, no explanation is been given so far.

The tight synchronization between clarinetist and pianist Yuja Wang is remarkable and the highly skilled musicianship is undeniable throughout the disc.  Nobody would doubt of the quality of the performers and their flawless technique. It’s been a controversial release, which definitely deserves to be listened and judged by any music lover.

– David Smith

Blue Hour
Andreas Ottensamer · Yuja Wang

Johannes Brahms
1. 6 piano pieces, Op. 118 (Arr. Popov for piano and clarinet): II. Intermezzo in A Major. Andante teneramente
Carl Maria von Webber
2. Clarinet concerto No. 1 in F Minor, Op. 73: I. Allegro
3. Clarinet concerto No. 1 in F Minor, Op. 73: II. Adagio ma non troppo
4. Clarinet concerto No. 1 in F Minor, Op. 73: III. Rondo
5. Lieder ohne Worte, Op. 85: No. 6 – Allegretto con moto
6. Lieder ohne Worte, Op. 102: No. 1 – Andante un poco agitato
Johannes Brahms
7. Five songs, Op. 105: I. Wie Melodien zieht es mir
8. Lieder ohne Worte, Op. 30: No. 4 – Agitato e con fuoco
9. Lieder ohne Worte, Op. 67: No. 3 -Andante tranquillo
Carl Maria von Webber
10. Grand Duo Concertant: I. Allegro con fuoco
11. Grand Duo Concertant: II. Andante con moto
12. Grand Duo Concertant: III. Rondo. Allegro
13. Lieder ohne Worte, Op. 30: No. 6 – Allegretto tranquillo “Venetianisches Gondellied”
14. Lieder ohne Worte, Op. 67: No. 2 – Allegro leggiero
15. Lieder ohne Worte, Op. 85: No. 4 – Andante sostenuto

March 2021
Nikolai Medtner’s exquisite songs, presented by soprano Sofia Fomina and pianist Alexander Karpeyev, showcase a compelling blend of Eastern and Western influences in a collection that transports listeners through the realms of Russian and German literature. The album offers a thoughtful exploration of Medtner’s artistry, where both instruments merge to create a refined and creative dialogue.

The Op. 36 set, featuring Six Poems by A. Pushkin, serves as a mesmerizing introduction to Medtner’s profound artistry. An exquisite interplay between Fomina’s soprano and Karpeyev’s piano brings to life the harmonic journey of “The Angel,” evoking echoes of Rachmaninoff’s brilliance. This duet embodies the central dichotomy of the poem, seamlessly intertwining vocal and piano lines with a touch of individuality. Fomina’s spirited spontaneity in “The Flower” is beautifully complemented by Karpeyev’s climactic piano, infused with a brief but captivating sense of mysticism.

“Spanish Romance,” built on Pushkin’s terse verses, reveals Medtner’s ability to weave textures that mirror gaiety and dreaminess. Fomina and Karpeyev’s artistry paints a vivid picture of a warm Spanish night, where the soprano’s versatile interpretation captures moments of soothing tranquility and tempestuous passion. The Op. 46 Seven Lieder, inspired by Medtner’s German roots, unveils a more subtle palette. “Hallowed Place” showcases Fomina’s resonant grace, harmonizing beautifully with Karpeyev’s translucent and whimsical piano.

The album’s pinnacle arrives with “Winter Night,” a hauntingly intense performance. Fomina expertly navigates through the emotions, from hopeful comfort to cataclysmic anticipation, while Karpeyev’s piano conjures a chilling winter landscape punctuated by crystalline and menacing dissonances. The cathartic “Spring” that ensues is a juxtaposition of lightheartedness and perpetual sadness, masterfully capturing Medtner’s irony.

Notably, “Sleeplessness” from Op. 37 stands out, as Fomina’s husky lower register melds seamlessly with Karpeyev’s brooding piano, breathing life into Medtner’s listless harmonies.

Recorded at Wyastone Concert Hall in the UK, the album offers a live feel, though the balance at times struggles to accommodate the intricate interplay of Medtner’s piano and vocal nuances. While minor missteps exist, the album’s liner notes provide a deeper understanding of Medtner’s influences and compositional style.

In conclusion, “Medtner – Songs – Sofia Fomina, Alexander Karpeyev” is a compelling testament to the convergence of Medtner’s heritage and artistry. Fomina and Karpeyev’s collaborative efforts bring these compositions to life, despite occasional balance challenges. With its rich tapestry of emotions and nuanced performances, this release undoubtedly merits a place in the collection of any true song enthusiast, shedding light on the profound beauty of Medtner’s musical legacy.

February 2021
The new album by the North American soprano Renée Fleming is vivid example of the art of singing. It leaves no doubt of how an artist of her stature can continue to surprise her audience and critics with such refined and sublime performances. 

With a careful selection of her favorite songs by Brahms, Schumann and Mahler, including Wiegenlied (Lullaby) by Brahms, the beauty that the interpreter achieves with her phrasing deeply reaches the listener’s heart. 

The record begins with eight songs by Brahms starting with the famous piece, “Wiegenlied”, op. 49 no. 4. Fleming interprets this lullaby with exquisite elegance and with admirable fluency. The brilliant accompaniment stands out in the following song “Ständchen”, op. 106 no. 1. The CD continues with “Lerchengesang”, op. 70 no. 2, with a precise and clear piano melody; and a subtle velvety voice. 

Equally exquisite and refined is «Mondnacht», WoO 21. Besides choosing songs of great lyricism, we can also find others with a more playful character, such as «Die Liebsten Schwur», op. 69 no. 4. and “Vergebliches Ständchen”, op. 84 no. 4.  

Fleming’s interpretive maturity enriches each song even more. We can hear her round voice in in each of the eight pieces that make up the Frauenliebe und Leben, op. 42 by Schumann, with chiaroscuro in the center register, vibrant highs and a great understanding of the style. The  is not in vocal display but in explaining each little story that the eight songs of the cycle contain: “Seit ich ihn gesehen”, “Er, der Herrlichste von allen”, “Ich kann’s nicht fassen, nicht glauben”, “Du Ring an meinem Finger”, “Helft mir, ihr Schwestern”, “Süsser Freund, du blickest mich verwundert an”, “An meinem Herzen, an meiner Brust”, and “Nun hast du mir den ersten Schmerz getan”.

The surprise comes in the last five tracks, in which the soprano sings Mahler along with the distinguished baton of Christian Thielemann, who masterfully conducts the Münchner Philharmoniker in the Rückert-Lieder (2010). Her “Liebst du um Schönheit” is deeply moving as well as her epic “Um Mitternacht” and the breathtaking “Ich bin der Welt abhanden gekommen” in which she also excels. Her immaculate tuning together with her strong communication power makes the perfect convination to make listeners fall in love with her expressiveness and the accents that she proposes in her phrasing.

Fleming’s latest album is a real treat for the ears from beginning to end. A true delight for the listeners to be carried away by her unique vocal charm.

– Paul Thomas

Lieder
Renée Fleming

Johannes Brahms
1. Wiegenlied, Op. 49, No. 4
2. Fünf Lieder Op. 106: 1. Ständchen “Der Mond steht über dem Berg”
3. Vier Gesänge Op. 70: 2. Lerchengesang
4. Vier Gesänge Op. 70: Mondnacht, WoO 21
5. Neun Gesänge Op. 69: 4. Des Liebsten Schwur
6. 4 Lieder Op. 43: 2. Die Mainacht
7. 49 Deutsche Volkslieder WoO 33: 6. Da unten im Tale
8. Romanze und Gesänge Op. 84: 4. Vergebliches Ständchen

Robert Schumann
9. Frauenliebe und -leben Op. 42: 1. Seit ich ihn gesehen
10. Frauenliebe und -leben Op. 42: 2. Er, der Herrlichste von allen
11. Frauenliebe und -leben Op. 42: 3. Ich kann’s nicht fassen, nicht glauben
12. Frauenliebe und -leben Op. 42: 4. Du Ring an meinem Finger
13. Frauenliebe und -leben Op. 42: 5. Helft mir, ihr Schwestern
14. Frauenliebe und -leben Op. 42: 6. Süsser Freund, du blickest mich verwundert an
15. Frauenliebe und -leben Op. 42: 7. An meinem Herzen, an meiner Brust
16. Frauenliebe und -leben Op. 42: 8. Nun hast du mir den ersten Schmerz getan

Gustav Mahler
17. Rückert-Lieder Op. 44: 1. Ich atmet’ einen linden Duft
18. Rückert-Lieder Op. 44: 2. Liebst du um Schönheit
19. Rückert-Lieder Op. 44: 3. Um Mitternacht
20. Rückert-Lieder Op. 44: 4. Blicke mir nicht in die Lieder
21. Rückert-Lieder Op. 44: 5. Ich bin der Welt abhanden gekommen